Charles Kingsford Smith in the cockpit of the Southern Cross. Part of the extensive research needed for writing On Wings of Steel.

This week I have been working on the Bigger Picture Note for On Wings of Steel. While the novel itself is firmly based on the facts of Charles Ulm’s life I need to be aware of making the story work for the Young Adult reader. As I try to balance the two elements of history and fiction I am reminded of a very useful phrase used by one of my mentors. He refers to the splicing of history with fiction. When you splice two pieces of rope you weave together all the strands, some of which are frayed or broken, so that they become completely integrated. The one whole rope formed by this interweaving will be stronger and more useful than either of the two pieces you began with.

There has been a lot of debate about where the line between fact and fiction should be drawn or whether, in the end, such a line exists at all? Obviously in our law courts it is imperative to present only those facts which can be proven. But when writers become involved in telling stories from the past many of the ‘facts’ are not, and can never be, known. The writer of historical fiction takes on the task of bringing the past back to life. It is important to do this, not only so that we can be aware of, and learn form, previous mistakes, but so that we can build a picture of who we are and where we come from.

In today’s time-poor society people need relatively easy access to their history. What better way to provide this than by using the age-old vehicle of story? In order to capture and hold someone’s attention, however,  the story needs to be lively, believable and comprehensive. While staying true to the facts, the bare bones of the story, a little imagination must be applied to flesh out the skeleton and bring to life those important milestones in our history.

This is my job. Using thorough research and complete immersion in the life and times of my characters, I believe I do it! Wish me luck.

Authors and illustrators, Meg McKinlay, Jen Banyard, Frane Lessac and Elaine Forrestal

Now that the first line-edit of On Wings of Steel has gone back to join the queue on the editor’s desk, I have been trying to deal with all the nitty-gritty bits and bobs. The blurb, the blog (for the publisher’s website), the biog. and so on, which invariably turn out to be more time-consuming than they look.

With so few words to play with (250) and yet so much riding on them in terms of who buys the finished book, the blurb and cover-copy line can take weeks to write. The blurb is like love, or hate, at first sight. Browsing through the bookshop my potential reader picks up my book. After briefly taking in the title and author’s name, the book is flipped over. Then comes the make or break moment when the blurb is read.

As a writer I agonise over that blurb. More than any other words in the whole book, they will seal my fate. The blurb must encapsulate the story, without giving away too many clues. It must grab the reader’s attention without diluting the dramatic, surprising, exciting moments to come if they buy the book. It must say just enough, not too much or too little. Although I do at least seven, and sometimes twenty, drafts of the manuscript, the blurb will always take more as I desperately try to both reveal and conceal what the reader will find within the covers of my book.

Don’t judge a book by its cover, the saying goes. But authors and publishers know that, inevitably, people will. I for one want to rise to the challenge, and grasp the opportunity offered by the blurb.

The Southern Cross levelling out after take-off.

My manuscript has now flown the coop for the second time.

Mid-year, after I did a quick revision and sent it off to my publisher at the National Library of Australia, it was formally accepted by the children’s book advisory panel. Now the contract has been signed and the first line-edit has been completed. I feel really lucky to be working with the same editor who did To See the World. And, as I probably said back then, I do love the line-editing process. While it means several weeks of intense concentration, self examination and fact-checking, I relish the challenge that working with a good editor presents. The opportunity to bounce ideas off someone who knows and appreciates your work is relatively rare in any profession, and the sense of the story moving forward is worth all the hours of sitting in front of my computer screen.

The manuscript will come back, probably several times. However, the chance to revisit it and give it another polish will be just as rewarding then as it is now.

Elaine Forrestal speaking to a group in the main gallery at The Literature Centre.

What a treat! After being a presenter at the International Book Fair in Bologna, a speaker at the AFCC Conference in Singapore, and a workshop presenter at the Creative Writing Camp in Singapore and at the schools on the Cocos Islands, all in one year, it was a real luxury for me to simply relax and soak up the atmosphere  of the annual Celebrate Reading National Conference at The Literature Centre in Fremantle.

Celebrate Reading is always an inspiring event. The single stream format with a carefully thought-out mix of individual speakers, panel sessions, readings and illustrators demonstrating their art, provides something for everyone. The meticulous attention to detail of The Literature Centre staff ensures that every part of the programme runs smoothly. Of course  acts of God can not be foreseen, but when they do occur you can be confident that these versatile, hard-working people will not only have a Plan B, but they will be able to switch to it with a minimum of disruption. Indeed the first two Celebrate Reading Conferences were challenged. The first by a heatwave and the second by a violent storm. So when the air-conditioning unit in the main marquee broke down at the beginning of day two of this, the fourth Conference, we all thought, ‘Oh oh. Here we go again.’ But the sides of the marquee were opened up and, after an hour or so, the Fremantle Doctor came in and saved the day. And what a great day it was. We laughed, we cried and we came away enriched by the quality of the speakers and the books they produce.

Many, many thanks to the Director, Lesley Reece, and the dedicated team of staff and volunteers she is able to gather around her to help promote top quality Australian children’s literature.