The View of a Debut Highlights
Spotlighting new authors and their journeys to publication, whether that be trad, indie or self-publishing and sharing the the real story behind first books - the triumphs, the surprises and the 'what now?' moments.
Lellie Lopter
Bella Grows A Bicycle
June 2026
Jane McIntyre
The Feathers of Farwood & The Gripps Curse
May 2026
Claire Peters
When the zoo followed me home
April 2026
The Feathers of Farwood & The Gripps Curse blends middle-grade adventure, mystery, and magical realism into a story full of wonder, danger, and emotional heart. The idea first sparked from a simple question: what would it actually feel like to become an owl? From there, the world of Farwood — a quirky Australian town with cosy English influences — slowly unfolded, along with curses, underground archives, and Eva Feather’s race to save her father before he’s lost forever. Balancing high stakes with accessibility for younger readers was central to the story’s development. Through extensive world-building and refining Farwood’s lore, the author focused on creating a magical world that still felt grounded and safe enough for children to step into. Themes of communication, identity, and belonging weave quietly through the series, influenced in part by growing up with Auslan as a second language at home and an awareness of accessibility and connection. The road to publication was years in the making. After multiple manuscripts, rejections, and signing with an agent more than five years ago, things shifted when The Feathers of Farwood was shortlisted for the Text Prize. That recognition helped the manuscript find its way to Riveted Press, where editor Rowena Beresford connected strongly with the story and signed it as a trilogy. Alongside writing, the author balances family life, a career in marketing and communications, school pick-ups, and even half-marathon training. That background in journalism and marketing has also shaped the practical side of publishing, from navigating edits and deadlines to building community online and creating launch events filled with Farwood-themed details, owl footage, crafts, and book signings. Looking ahead, the next two Farwood books are already written, with future stories set to explore more of the town’s hidden history and mysteries. Beyond the trilogy, there are more middle-grade projects waiting in the wings, alongside workshops and school visits focused on bringing the magic of storytelling beyond the page.
Karyn Savage
My Pet Archie
March 2026
The Feathers of Farwood & The Gripps Curse blends middle-grade adventure, mystery, and magical realism into a story full of wonder, danger, and emotional heart. The idea first sparked from a simple question: what would it actually feel like to become an owl? From there, the world of Farwood — a quirky Australian town with cosy English influences — slowly unfolded, along with curses, underground archives, and Eva Feather’s race to save her father before he’s lost forever. Balancing high stakes with accessibility for younger readers was central to the story’s development. Through extensive world-building and refining Farwood’s lore, the author focused on creating a magical world that still felt grounded and safe enough for children to step into. Themes of communication, identity, and belonging weave quietly through the series, influenced in part by growing up with Auslan as a second language at home and an awareness of accessibility and connection. The road to publication was years in the making. After multiple manuscripts, rejections, and signing with an agent more than five years ago, things shifted when The Feathers of Farwood was shortlisted for the Text Prize. That recognition helped the manuscript find its way to Riveted Press, where editor Rowena Beresford connected strongly with the story and signed it as a trilogy. Alongside writing, the author balances family life, a career in marketing and communications, school pick-ups, and even half-marathon training. That background in journalism and marketing has also shaped the practical side of publishing, from navigating edits and deadlines to building community online and creating launch events filled with Farwood-themed details, owl footage, crafts, and book signings. Looking ahead, the next two Farwood books are already written, with future stories set to explore more of the town’s hidden history and mysteries. Beyond the trilogy, there are more middle-grade projects waiting in the wings, alongside workshops and school visits focused on bringing the magic of storytelling beyond the page.
Heather Gallagher
My Brother the Orangutan?
March 2026
There’s something wonderfully chaotic about imagining a debut picture book arriving in a neat, cinematic flash — but Claire E. Peters is quick to gently correct that idea. When the Zoo Followed Me Home didn’t appear in a single magical moment; it came together more like life does, somewhere between everyday routines and slightly unglamorous real-world pauses, slowly gathering shape rather than striking all at once. What did arrive early, though, was the emotional core. Beneath the playful surface of hidden animals and zoo-based whimsy sits a quieter thread about change within a family. That layer didn’t so much arrive as reveal itself over time, like one of the animals quietly stepping into view when she least expected it. Writing picture books, as she points out, is deceptively tricky — the kind of deceptively simple that makes you rethink every creative decision you’ve ever made. The challenge wasn’t just one thing, but a balancing act: pacing the story so it flowed, holding back from overcrowding it, and resisting the very strong temptation to add “just one more animal” every time the page felt nearly finished. The road to publication wasn’t a straight line either. It had more of a wandering, exploratory feel — less polished highway, more “figuring it out as you go” with a few wrong turns and unexpected discoveries along the way. The shift from writing a manuscript to realising it might actually become a book didn’t happen all at once, but gradually, as interest and momentum started to build. One of the most surprising parts of the process was how many layers sit beneath a finished picture book — decisions, collaborations, and steps most readers never see. Even with her background in marketing and communications, she found the launch side of things both useful and a little overwhelming in equal measure. Knowing how things work doesn’t always make it feel simpler when you’re suddenly the one in the spotlight. Launch day itself was less a red carpet moment and more a mix of excitement, disbelief and trying to stay present in it all. A bit of celebration, a bit of watching things unfold in real time, and a quiet awareness that the book was no longer just hers. Since publication, the most rewarding moments have been the unexpected ones — small reader reactions, children engaging with the hidden details, and those quiet signs that the book is landing in ways she couldn’t fully predict. With writing that spans picture books, poetry, junior fiction and YA, ideas don’t always arrive neatly labelled. Sometimes they announce themselves clearly, and other times they need to be gently shaped — or occasionally firmly steered — into the form they’re meant to take. Her desire to create stories that linger is rooted in the books she grew up with — the ones that stayed long after childhood ended. While she doesn’t name a single influence here, it’s clear that sense of lasting emotional imprint is something she’s consciously writing towards. And the closing question brings things back to the present moment: today’s view isn’t just a window scene, but something slightly more reflective — a reminder of the everyday spaces where stories actually begin, even when they eventually become something far more magical on the page.
Alysia Kelly
The long road to yes
February 2026
Heather Gallagher’s journey into middle grade fiction feels like a really intentional step rather than a sudden leap. After years of writing for children across different age groups, she found herself drawn more seriously into kid-lit at the end of 2022, when a Highly Commended in the NYC Midnight Rhyming Story Challenge and a poem accepted by The School Magazine gave her the push she needed to properly commit. From there, she immersed herself in the community — joining a critique group, attending CBCA events, booking manuscript assessments, and actively seeking feedback to figure out where her writing could go next. Behind My Pet Archie, though, there were plenty of drafts before anything clicked. Around twenty manuscripts came and went in various forms, some submitted, some shelved, some still waiting for their moment. Archie himself actually began life as a rhyming ABCDarian poem before a mentor suggested it had strong enough character and narrative to become a picture book. That shift paid off, with a Highly Commended in the CYA competition and later interest from Riveted Press helping move things towards publication. There wasn’t really a point where she nearly gave up, but there was definitely a stretch of uncertainty after signing her debut contract, waiting to see what would come next. That in-between space led her to keep experimenting — writing poems for The School Magazine, trying different styles, and eventually starting a middle-grade novel, while still keeping a stack of picture book ideas on the go. Her experience at CYA was a real turning point in terms of confidence. Attending online in 2023 and then in person in 2024, she was surprised by how generous and open the kid-lit community is. Even the tougher assessments ended up being useful in hindsight, helping her understand which publishers align with her voice and where her work fits best. For her, simply showing up consistently has been one of the most important lessons. Archie himself came from a playful mix of ideas — originally called Arggie, the character evolved into a dragon with allergies who sneezes his way through the alphabet. Once that landed, everything fell into place, including the final “ARCHIEOOO” ending, which she says felt like the perfect fit. Although the alphabet rhyme structure sounds complex, the writing process itself was surprisingly fluid. The first draft came quickly, more like wordplay than structured plotting, and then was refined over time. That sense of rhythm and play is something she connects to her background in music and drama teaching, where storytelling, voice and timing naturally feed into her writing. At the heart of My Pet Archie is a simple hope: that children see themselves in Archie’s feelings of wanting connection and inclusion, and feel encouraged to reach out to others. The response so far has been deeply moving, from children rereading it daily to non-verbal readers engaging with the character in their own way. Debut year has also brought unexpected realities, especially around marketing and visibility. The writing is only part of the job — promoting the book, attending events, and stepping into a more public-facing role has been a learning curve, particularly for someone who naturally prefers quieter, smaller interactions. When she finally held the finished book, it was a very physical, emotional moment — the colours, the texture, even the smell of the pages all adding to the sense that Archie had become real. It wasn’t just her book anymore; it belonged to the whole team who brought it to life. Looking ahead, she’s continuing to juggle picture book manuscripts, poetry for The School Magazine, and a growing focus on her middle-grade novel. There’s no single direction, just a lot of creative threads in motion — and a clear sense that more stories, especially ones with a bit of rhythm, humour and heart, are definitely on the way.
Kristy Nita Brown
Beyond the Book: A Deep Dive into Self‑Publishing & Entrepreneurship
January 2026
Lellie Lopter’s path to publication has been anything but straightforward, but every twist seems to have found its way back into her work. Long before she became an author, illustrator, and advocate for literacy, she was a self-described "fictional writer and illustrator who probably lives in Australia"—a tongue-in-cheek bio that perfectly captured her sense of humour and refusal to take herself too seriously. Although she now works across words and pictures, writing came first. Illustration entered her life through art therapy after multiple surgeries and chronic pain forced her to rethink what creativity looked like. Rather than focus on what she could no longer do, Lellie poured her energy into developing a new artistic skill, and she's proud of how far that journey has taken her. That same combination of lived experience and curiosity shapes her stories. With a background in children's services, university teaching, and raising neurodivergent children, she's spent years helping young people navigate big emotions and complex ideas. It's little surprise that her books make space for difficult topics while remaining warm, accessible, and hopeful. Her debut picture book, Bella Grows a Bicycle, grew from her own childhood experiences of making the most of what was available. Swapping books, games, and even babysitting duties for violin lessons taught her that creativity and persistence can often achieve what money cannot. Those ideas became the heart of Bella's story. When it came to publication, Lellie was strategic. She carefully researched publishers before targeting Five Mile Press, polishing the manuscript through feedback at the CYA Conference before eventually receiving the call every writer dreams of. She was equally thrilled to see illustrator Chiara Francheschetti bring Bella to life, describing the collaboration as professional, supportive, and a perfect match for the story. The lead-up to publication involved just as much learning as writing. Lellie invested in courses on author branding and marketing, assembled a team to help where needed, and embraced the parts of promotion she enjoys most. As a former bookseller and bookstore manager, one of the highlights of her launch was creating a bookshop window display for Bella Grows a Bicycle—a full-circle moment after years of building displays for other authors. Working with young readers remains one of her greatest joys. She loves hearing children's reactions to Bella and hopes the story inspires not just rereading but action—the feeling that maybe they can create, build, or solve something themselves. Underlying much of Lellie's journey is resilience. Living with ASD, chronic illness, and an autoimmune condition that has required numerous surgeries, she's learned to build a creative life around sustainability rather than comparison. A detailed ten-year plan helped her focus on the opportunities that mattered most to her and let go of the pressure to chase everything at once. Community is equally important. Raised in a small town where volunteering was simply part of life, she sees supporting literacy, libraries, and the arts as both a privilege and a responsibility. Her work is guided by a belief that small acts of effort and generosity can create lasting change. Perhaps the biggest surprise of publishing has been watching a story gradually transform into a book. Somewhere between manuscript and bookshelf, the focus shifts, the idea becomes tangible, and the magic becomes real. As for the advice she'd give her younger self? Don't worry about taking the long road. Lellie spent years focusing on family, career, and education before returning to her publishing dream, and now she knows the wait was worth it. Her view today is particularly bright: she's just been accepted into a children's writers' retreat at Nan Tien Temple, where she'll spend time working on a new project. Not a bad view at all.
Jenny Marshall
Cami and the Lost Letters
November 2025
Jenny Marshall’s debut picture book, Cami and the Lost Letters, turns the tricky business of learning to read into a joyful adventure. The story follows Cami on a quest to find the letters she’s “lost,” and along the way, she discovers patience, perseverance, and the quiet magic of words. Jenny wanted the book to be more than a resource—she aimed to create a story that’s interactive, empowering, and fun for beginner readers, like sneaking veggies into a bolognese. Cami’s frustration is real, but it’s balanced with wonder and excitement, showing kids that learning can be an adventure rather than a hurdle. Jenny embeds learning experiences throughout the story, like spotting rhyming words hidden in the illustrations, so children are discovering skills while enjoying the narrative. Jenny draws on her own experience starting school with little English and her work as a teacher supporting children with additional needs and language learners. She knows how important it is for every child to have access to literacy and how stories can make reading feel magical. Her own love of books began with Enid Blyton, and she’s passionate about helping kids build reading confidence while connecting with stories. For Jenny, the ideal reader is a child who might not have many picture books at home—she wants her story to reach those who need it most. And if Cami could step off the page, she’d tell a struggling reader: “You can do hard things. Just practise, practise, practise and don’t give up.” Looking out the window today, Jenny sees her sunny backyard—probably a perfect spot for a pillow fort and a little reading adventure.
I recently chatted with children’s author and reviewer Heather Gallagher, and her path into middle grade fiction feels like a very natural evolution. She’s been writing for children for over 20 years, but with My Brother the Orangutan, she was drawn to the extra space the format gives — more room for character, humour and layered themes. She also has a clear soft spot for slightly kooky animal stories, which this one leans into brilliantly. Her time working as a writer-in-residence and storytime presenter definitely shaped how she approached the book. She’s very aware of how quickly young readers can lose focus, so she wrote with pace in mind — lots of energy, cliffhanger chapter endings, and a real push to keep things fun and engaging from start to finish. Moving from picture books like Happy Pants and Scaredy Cat into a full-length novel was a big shift, but one she clearly enjoyed. Having more space meant she could really dig into relationships, especially the sibling dynamic and the wonderfully eccentric granny character. That interplay between characters is where a lot of the humour and heart sits. The idea for My Brother the Orangutan came from a mix of real-world inspiration and a playful “what if?”. A visit to the “Don’t Palm Us Off” exhibition at Melbourne Zoo left a big impression, particularly around the impact of palm oil on orangutans. Add to that the very human behaviour of zoo visitors trying to get the animals’ attention, a love of body-swap stories like Freaky Friday, and even a mischievous real-life Great Uncle Rex, and the story began to take shape. While the book is full of humour and adventure, there’s also a strong thread around conservation and everyday environmental choices. She’s hoping it sparks small but meaningful conversations at home — especially around palm oil and how common it is in supermarket products. At its core, it’s about awareness, but also about feeling empowered to make change. There are emotional layers too. Balancing Esther’s grief — both for her beloved Pop and for the upheaval of moving away from her old life — alongside the lightness of the story was something she was very conscious of. She wanted it to stay fun, but still feel real and relatable for young readers navigating similar experiences. Her writing process has shifted quite a bit between formats. Picture books allow for short bursts of tinkering, but novels require deeper immersion and consistency over time. Finishing this one has given her confidence to keep going, especially with such a positive early response. As a long-time reviewer and contributor to the Children’s Book Council of Australia, she reads widely and that definitely feeds into her writing. While she naturally leans towards funny, light-hearted stories, she’s also interested in experimenting — she loves verse novels and YA crime, so there’s a sense she’s just getting started in terms of range. She’s celebrating the book’s release in a very fitting way — with a launch at the One Planet Festival in Ocean Grove, alongside fellow author Amy Adeney. It’s a nice full-circle moment, given the book’s environmental themes. More than anything, she hopes young readers simply laugh and enjoy the ride when they meet Rex, Harta and the rest of the cast. Looking ahead, she’s keen to keep writing in the environmental space — and yes, more quirky animal stories are definitely on the cards. And her current view? Pretty idyllic. She’s just returned to her family hideaway in Ocean Grove, where she can see gum trees, chickens and cockatoos, with the soft hush of the sea in the distance — not a bad place at all to dream up the next story.
Adelle & Claudia Frittitta
My Nonno Loves
December 2025
Today we’re chatting with debut picture book author Alysia Kelly, whose first book Celebration Festival is a vibrant, heartfelt story that’s been years in the making. Alysia’s path to publication is very much one of persistence and passion. She began writing picture books seriously with a clear decision: this wasn’t just a hobby, it was something she wanted to pursue properly. That meant learning the craft, seeking feedback, revising (again and again), and bravely putting her work out there. A significant part of that journey was spent immersed in the workshops, pitch parties and learning opportunities offered by Larrikin House. Rather than submitting once and hoping for the best, Alysia built a relationship over time — showing up consistently, refining her voice, and steadily growing in confidence. Like many writers, she experienced the long middle: the waiting, the near-misses, the reworking of manuscripts that almost made it. But each round of feedback strengthened her storytelling. So when Larrikin House eventually offered her a contract, it wasn’t just a professional milestone — it was a deeply personal, full-circle moment. The ‘yes’ carried the weight of years of effort and belief. Celebration Festival reflects that same warmth and intention. Through Evie’s eyes, readers experience celebrations that are joyful, loud, colourful, messy and sometimes overwhelming. Alysia doesn’t present culture as something polished or performative; instead, she captures the real sensory experience of joining in. Even Biscuit the dog, who isn’t thrilled by fireworks and noise, adds a gentle reminder that it’s okay not to love every part of every celebration. At its heart, Alysia’s debut is about curiosity, belonging and embracing difference with openness. It’s a book that invites children — and the grown-ups reading with them — to explore the world’s rich tapestry of traditions with empathy and wonder.
Jillean McClory
A Certain Kind of Sadness
December 2025
Adelle and Claudia Frittitta’s debut picture book is a tender tribute to their Nonno, celebrating family, gardens, and quiet moments of love that leave lasting impressions on small hearts. The idea started simply: Claudia made a few drawings of their Nonna and Nonno that captured their personalities so beautifully they deserved more than just Instagram posts. From there, the story grew into a heartfelt picture book honoring the magic of childhood memories with their Nonno. Growing up with the same Nonno, garden, and smell of coffee, the sisters drew heavily on lived experience. Adelle recalls wandering through Nonno’s “Garden of Eden,” picking figs, and watching him carefully peel prickly pears — small moments that became central to the story. Collaborating as sisters, even across a 15-year age gap and mostly over FaceTime, was surprisingly seamless. Adelle could sense the feelings behind Claudia’s illustrations, and Claudia made sure the images were true to life yet universal enough that anyone reading could feel the warmth of their Nonno’s presence. Some moments were unexpectedly emotional — the last page and even the cover design brought real tears, reflecting just how personal this project was. The book captures family rituals and everyday magic — Nonno holding a glass of wine, singing at the top of his lungs, walking through the garden giving tips about growing perfect peaches. These snapshots show the joy, patience, and care that made their childhood special. Beyond honoring their Nonno, the sisters hope the story inspires families to treasure the small, meaningful moments that build lasting memories: planting sunflower seeds, sharing meals, and telling stories together. Today, Adelle describes her view as her desk surrounded by plants, catalogues, and gifts, with her garden glowing fresh and green after rain — a perfect reflection of the warmth and love woven throughout My Nonno Loves.
Pip Marney
Hugo and the house of Strangers
October 2025
Pip Marney’s debut picture book, Hugo and the House of Strangers, coming December 2025, is a tender story about family, belonging, and the big emotions little humans carry. The idea came from imagining what Hugo might be feeling meeting a whole side of his family—because meeting new people can be nerve-wracking for adults, let alone a child. Pip wrote down Hugo’s thoughts, and the story naturally grew from there. The book handles emotions like uncertainty, anxiety, and love in a way that’s accessible for 4–7-year-olds. Pip draws on her own shy childhood and memories of feeling out of place, pairing simple text with expressive illustrations to layer in unspoken feelings. Everyday moments—long drives, birthday parties, family routines—make Hugo’s journey relatable for children. Pip’s own writing journey took off during the Covid lockdowns. She found courses, editors, and constructive feedback invaluable in shaping her manuscript. Inspired by situations from her kids, her own childhood, and close observation, Pip follows poet Joy Harjo’s advice: “Listening comes before writing.” She chose to self-publish, wanting her stories to reach kids who need them while keeping creative control over the illustrations. Collaborating with illustrator Luke Harrap brought her vision to life, though patience has been the biggest challenge along the way. Looking ahead, Pip has two more books being illustrated for next year, exploring different themes but circling back to children learning, growing, and navigating emotions without feeling preachy
Jillean McClory’s debut novel takes readers deep into the messy, heart-stirring twenties of Rachel Wharton, a young woman navigating first love, friendships, and the ups and downs of starting adulthood. Rachel is an introvert with a lot of insecurities, especially around abandonment and feeling connected, and McClory doesn’t shy away from showing how complicated life can be at that age. Between a new job far from her family, a growing romance with childhood friend Morgan, and the added tension of dealing with a stalker, Rachel’s story is full of real, relatable challenges. Distance plays a huge role in Rachel’s growth. Being in Ottawa forces her to rely on herself, confront fears, and make choices on her own — even when it’s uncomfortable. Her relationship with Morgan is both sweet and challenging, moving from friendship to love in a way that feels authentic, full of both joy and the occasional clash of emotions. McClory describes love as “a war of polarities between sadness and joy,” and it’s clear in Rachel’s journey that heartbreak and happiness often come hand in hand. One of the most touching aspects of the book is how McClory captures the quiet, everyday moments of loneliness and self-reflection — like Rachel sitting alone on Thanksgiving, while everyone else around her celebrates. These moments are relatable in a way that feels almost cinematic, making the highs and lows of her twenties resonate deeply. Despite all the chaos, the book ultimately celebrates resilience, self-discovery, and the reassurance that you’re not alone in navigating life’s early adult years. McClory’s own debut journey hasn’t been smooth sailing either. Publishing during the pandemic, amidst paper shortages and publisher mergers, was challenging, but it gave her the opportunity to focus on new writing projects and reconnect with her creative community. She hopes readers come away with the idea that circumstance is geography, not fate — that your twenties might be confusing, but self-discovery, resilience, and finding your people make it a worthwhile ride.
Vanessa Alexander
Someone
September 2025
Vanessa Alexander’s debut picture book, Someone, is a funny and heartwarming story about… well, Someone. In the book, Someone is everywhere, doing—or not doing—all the things, and the idea is that anyone can be the Someone who makes a difference. The spark for the story actually came from a real-life family moment: Vanessa was eyeing a double-coated Tim Tam she’d been saving, only to find all eleven mysteriously gone. That mix of frustration and laughter inspired the story, imagining Someone doing all sorts of things, big and small. Vanessa wanted to capture how kids interpret adult conversations literally. She dropped into her own childhood mindset, thinking about what it would be like to believe Someone was an actual person, and explored the clever, creative ways children solve family problems. The result is a story that balances humour, warmth, and a lot of charm. Growing up on a rural property in Charleville, Vanessa’s childhood was full of wide-open spaces, chores, and adventures—from horse riding to creek swimming—which gave her plenty of inspiration. Her background in education, religion, and linguistics has also shaped her storytelling, deepening her appreciation for language, culture, and the role of stories in learning. Publishing Someone took almost three years from concept to hard copy, and Vanessa was surprised by how collaborative and fun the process was. Seeing the illustrations for the first time, watching editors transform her story, and experiencing the timing and luck required to get the book out there were all delightful surprises. She particularly loves pretending to be a kid again through her storytelling. These days, Vanessa balances teaching, parenting three kids, baking bagels, and writing. She carves out focused writing time on Thursdays, usually for a few hours at a coffee shop, at home, or in her garden. Being hearing impaired has influenced her perspective, teaching patience and shaping how she tells stories. Vanessa isn’t stopping with Someone—she has five more books on the way, including stories about teamwork, dads, park play, and some very personal themes. Outside writing, she loves cheese more than chocolate, enjoys testing her stories on live audiences, and even admits to a surprise love of K-Pop. Her quickfire essentials? Polly Waffle bites for the road, Fluff by Matt Stanton as a recent favourite read, and a backyard that’s always keeping her on her toes—especially when the dogs find a box to shred.
Lucie Stevens
RIP Nanny Tobins
August 2025
R.I.P. Nanny Tobbins follows Albertine, a sweet, fey girl whose beloved governess returns as a ghost after a tragic horse accident. But having a ghostly nanny isn’t all magical—there’s chaos, adult disbelief, and plenty of mischief. Albertine quickly learns she must help Nanny find peace, navigating grief, fear, and the awkward discomforts of life while discovering courage, hope, and a healthy dose of fun along the way. Lucie first imagined Nanny Tobbins during an MA in Writing for Children and Young Adults. A scene requiring a child to encounter something paranormal sparked the idea of a Victorian nursery invaded by a ghostly Mary Poppins–type governess demanding lessons at midnight. Albertine arrived later as the perfect companion for her ghostly mentor, rounding out the story’s heart. The Victorian setting adds charm and chaos, letting Lucie play with upper-class absurdities and ghostly mischief. She wrote the first draft with minimal planning, letting the characters guide her, which resulted in a story she feels stronger than any of her earlier drafts. One tricky subplot—the stepmother—needed revision after feedback, but refining it proved rewarding. Humor also plays a big role, like when Albertine critiques a mythical creature for not being “real enough” for the zoo, gently poking fun at adults’ assumptions. Lucie hopes readers take away resilience, comfort with change, and plenty of laughs. If the book had a theme song, it would be Little Shadow by Yeah Yeah Yeahs. Her current writing life balances freelance editing with large creative blocks, walks in the Botanic Gardens for inspiration, and embracing “writing seasons” rather than juggling everything at once. The journey to publication was surprisingly joyful. HarperCollins loved her messy draft, and seeing Paola Escobar’s illustrations bring the story to life was thrilling. Lucie’s advice to new writers? Learn your genre’s conventions—even if you intend to bend them—and brace for the awkwardness of your first book signings. She imagines Nanny Tobbins as a magical babysitter who inspires curiosity, haunts tyrants, and even visits Jane Austen to deliver compliments. Looking out her window today at Sydney Tower brings memories of Berlin’s TV Tower near the Brothers Grimm cemetery—a fitting view for a writer of ghostly tales. A sequel is set for mid-2026, so Albertine and Nanny’s mischief isn’t over yet.
MG Hunt
Still Waters Run Deep
June 2025
Still Waters Run Deep has been a long time coming for MG Hunt, and it all started with a scene she couldn’t stop thinking about—a young woman floating in a pool of boiling water during a trip to Iceland back in 2017. At first, she tried turning it into a graphic novel, but the story had other plans and eventually morphed into the novel we know today. That scene sparked not just the plot but also the main character, Asta, whose water-based powers reflect her personality—calm and flexible, but quietly powerful when needed. MG even toyed with giving her more limited water powers, but in the end, she wanted Asta to control water in all its forms for maximum magic fun. The antagonist, Gatira, was partly inspired by iconic “evil women” in media and also by MG’s editor, who dubbed her an “Undead Scholar”—perfectly capturing her intellectual, manipulative menace. And Velum, the world’s secretive hub for elemental magic users? MG built it to feel both safe and controlling, like a cultish sanctuary where freedom is promised but power still lies with Gatira. MG’s indie publishing journey has been full-on. After some tricky experiences with traditional publishing, she embraced self-publishing to keep control over everything from the cover design to internal illustrations. It’s taught her how to wear a million hats—marketing, events, blog posts, ARCs—but her graphic design skills make some of it easier. The most surreal part? Realizing that people all over the world are reading her story, which is still a little mind-blowing. Her visual background really shapes her writing too. She’s been designing characters in her head since childhood, and her skills in illustration and graphic design help bring the story to life visually and in terms of cover art. Hosting The Indie Author Life has also been a big inspiration—chatting with other indie authors has helped her reflect on her own process and appreciate that every writer works differently. MG’s advice to her younger self is simple: don’t be shy. Self-doubt is normal, but the joy is in just getting your story out there. She also debunks the myth that debut authors quit their day jobs—writing can be a serious passion, but it doesn’t have to pay the bills. When it comes to the fun stuff, she’d grab a drink with the loose-cannon Iynx, trust her secrets to Asta, and avoid Gatira at all costs. She even researched hand gestures for elemental magic to make the scenes feel real. And if you want a soundtrack for the book, there’s a Spotify playlist featuring Asta’s unofficial theme song, “My Way Out” by Daine. MG’s favorite scene to write? A chaotic battle scene near the end, leaving one character’s fate up in the air. As for what she’s up to next, MG has book signings and events lined up in Victoria, and she’s continuing to produce episodes of Indie Author Life on Substack, Spotify, and YouTube. You can also catch her on Instagram, TikTok, Threads, Facebook, and Goodreads.
Angie Cui
My Mum is a Bird
July 2025
I recently chatted with debut author Angie Cui, and honestly, her publishing journey is such a good one. She landed her first picture book, My Mum is a Bird, after pitching directly to a UQP editor during a 12-minute session at KidLitVic in 2023 (proof that preparation really does pay off). One of the things that surprised her most about being published was just how collaborative the whole process is — editors, illustrators, designers and publicists all bringing their own creative magic to the book. The idea for My Mum is a Bird came from real life and a simple “what if?” What if your mum was different? What if she was a bird? (In the first draft, she was actually a phoenix.) Beneath the humour, the story is about feeling embarrassed by difference, then slowly realising that difference can be something wonderful. It also quietly reflects Angie’s own experience as a parent who doesn’t always fit the mould at school events. Seeing the illustrations for the first time was a goosebumps moment — the bird mum didn’t look exactly how Angie imagined, but the illustrator added warmth and whimsy she couldn’t have created on her own. Not long after, Angie also released Our Map with Wombat Books, which made for a surreal and slightly overwhelming debut period in the best possible way. While My Mum is a Bird is playful and funny, Our Map is much quieter and more emotional, exploring memory, home and belonging through the idea of a missing country on a map. Very different tones, but both stories are deeply rooted in family and gentle transformation. Angie’s background in Commerce has actually been a huge help, giving her confidence when it comes to the business side of publishing, while her experience in journalism taught her discipline and clarity. Picture books, though, are a whole different challenge — poetic, emotional, and all about what’s left unsaid. What she hopes readers take away is simple but powerful: it’s okay to be different, love deserves celebrating, and sometimes when the map doesn’t show you where to go, you make your own. She’s got plenty happening too, with storytimes and launches throughout the year — including events at Readings Kids Carlton, Where The Wild Things Are in Brisbane, and CBCA Book Week at Fed Square. She’s already working on another picture book and is even dabbling in early middle grade. If she could give her past self one piece of advice, it would be not to wait for perfect — just start writing. On the fun side of things, her writing routine is best described as messy, hopeful and caffeinated, fuelled by milk tea and dark chocolate (preferably in pyjamas). If she were secretly an animal, she’d be a fox — observant, story-loving and a little mischievous. A perfect day for her includes books, bubble tea, long walks and time with family, and her current view is a courtyard overflowing with pot plants, noisy lorikeets and one very hopeful cat.