Skip to content

Coral Vass

Picture book illustration: Dub Leffler

  • by

If you’ve ever wondered what goes into the illustration process of a picture book, this is the post for you. Illustrator Dub Leffler is a descendant of the Bigambul people of South West Queensland and one of Australia’s most sought after children’s book illustrators. He has created 23 books and I’ve been fortunate enough to edit two of them — Sorry Day by Coral Vass (2018) and Strangers on Country by Kirsty Murray and Dave Hartley (out April 2020).

Read More »Picture book illustration: Dub Leffler

In this interview he takes us behind the scenes on his creative process and gives us an insight into the publishing process, which is particularly invaluable for emerging picture book creators wanting to understand the nuts and bolts of it. I didn’t manage to get him to dish the dirt on working with the illusive Banksy (damn it) but he explains how new books have come to him through psychics and werewolves, how coffee and salt can be a medium for illustration, and what makes him want to illustrate an author’s manuscript.

Irma Gold: You are one of 13 kids, what was life like growing up? And did you spend a lot of time drawing?

Dub Leffler: Yes, it is a big family, however I didn’t grow up with my family due to being adopted at birth. Growing up in my adoptive family — who had five boys including myself — I always had time for drawing and did so quite frequently. I remember drawing a lot — before and after school, usually using spare pages in my school exercise books. I even made my own picture books using spare paper and dodgy staples.

Storyboard for Our Dreaming by Kirli Saunders

IG: What led you to illustrating children’s picture books?

DL: My mother went to a psychic and the psychic told her, ‘Your son, is going to write a book and he will travel overseas.’ A few months later, I moved back to Sydney and the following morning a lady came to the house I was renting to speak with my flatmate about working on children’s books. So it literally came to my doorstep. And the rest, as they say, is history.

IG: What does a typical day or week look like for you?

DL: A typical day for me is — drop daughter off at school, take dog for a jog and then work until 12 pm. Coffee break and then work again until about 2 pm. I often work late into the night/early morning too, because it is the quietest time. Going to bed between 1 am and 2 am is not uncommon.

Literary adventures

This month I thought I’d bring you a newsy post about my latest literary adventures. First up, I had the absolute pleasure of chatting with two brilliant writers, Kate Mildenhall and Katherine Collette, for their new podcast, The First Time, which is launching in August. Katherine has recently signed her novel, The Helpline, and the podcast is part reality show, following Katherine’s journey through the publication process, and part masterclass as the pair interview writers about their experiences of publishing a book for the first time. It’s such a brilliant idea and I had way too much fun recording the podcast. The first ep comes out in August but in the meantime you can follow the podcast on Twitter and Insta.

Read More »Literary adventures

Later that night we met up again for an event hosted by the ACT Writers Centre in the Canberra Contemporary Art Space (CCAS). It was rainy and stupidly cold (please hurry up, spring) but CCAS was deliciously warm and there was a lovely audience waiting for us. With Jack Heath and Karen Viggers, we chatted about writing and publishing. Jack revealed that with his first advance (as a teenager!) he bought a pair of outrageous boots that he wore to school visits. Sadly, my first advance was swallowed by dull things, like bills. I suppose that’s what happens when you’re all grown up and sensible, but I’ve resolved to buy something indulgently wonderful with my next advance.

Following us were Rosanna Stevens who read a brilliant new essay that had us laughing and wincing, and Jacqueline de-Rose Ahern who spoke about the overwhelming experience of having her first picture book published. There was also a panel of visual artists talking about their processes which I found fascinating. I particularly loved Jodie Cunningham’s ‘Talking to the Tax Man About Poetry’ series which converts eight artists’ lives from stats into sculptures, examining the balance of time for creating art versus doing work that pays the bills. I’m sure all the writers in the room could relate to the struggle to reconcile the two.

THE GOOD STUFF

  • by

Working in publishing is full of ups and downs, and it can be easy to dwell on the ‘downs’, allowing them to taint, or even eclipse, the ‘ups’. So in the spirit of celebrating all the good stuff, I thought I’d put together a newsy post about the ups of the last couple of months.

First up, the big news. I recently signed a contract for my next picture book, Seree’s Story, with Walker Books (publisher of Megumi and the Bear). Getting the call from your editor to give you the thumbs up is The Best. Let’s just say there was much dancing around the house and celebratory mid-afternoon champagne.

As a self-confessed elephant nerd, this book is very close to my heart. The manuscript has emerged from the culmination of many experiences, beginning with a trip to the circus at age seven. I started writing the book at 3.30 one morning when, seemingly out of nowhere, the opening line popped into my head. By 5.30 I had a first draft. Then came an artsACT-funded trip to volunteer at an elephant sanctuary in Thailand, which saw a complete rewrite, and now a book contract. I’ll save the full story behind the book for another time since it won’t be out for two years, but the story itself is about a captured baby elephant, forced to work in the circus, who is eventually rescued and brought to a sanctuary.

Picture books take a long time to come together (painfully long for the author who can do nothing but wait). One thing most readers aren’t aware of is that the publisher, not the author, chooses the illustrator. At this stage an illustrator for Seree’s Story has not yet been finalised, but Walker has such an incredible stable of talented illustrators to draw upon that I am awaiting the decision with great anticipation.

Read More »THE GOOD STUFF

Another call came at the end of last month from CAPO (Capital Arts Patrons Organisation) with exciting news of a different kind. The organisation has awarded me a travel grant to research a new full-length work. It’s a fledgling thing at the moment and a grant like this means everything in allowing me to develop it. I don’t want to say much more about it at this stage, except that I’m grateful to CAPO for believing in its potential.

On to more tangible things, and the publication of a couple of new short stories in Westerly and Contrappasso literary journals. Westerly is one of Australia’s oldest and most respected literary journals, and is always chock full of good stories and poetry. So I’m stoked to see my story, ‘Rescuing Chang’, in its pages. It’s set in Chiang Mai and features tuktuks, elephants, ladyboys and a magnetic attraction. It was pretty much the most fun I’ve had writing a story in recent times. ‘Hose’, on the other hand, which appears in Contrappasso is a much darker tale. It features alongside a Nobel Prize winner, no less. In fact, the line-up in this issue is crazy, with writing from China, Malaysia, Iraq, Greece, Hungary, Italy, Russia, Ireland, England, Argentina, the US, New Zealand and, of course, Australia.

I must also give a shout-out to Duncan Felton and the Grapple Annual which has just picked up a MUBA. This award is close to my heart as Two Steps Forward was shortlisted for its inaugural award, but Grapple Publishing has gone one better and actually won the thing. It’s great news for publishing in Canberra, and I’m so pleased to have a short story included in what is now a multi-award-winning publication. Look out for the next annual which is due out before the end of the year.

Still on short fiction, the ACT Writers’ Centre invited me to run a six-week short story critique group which turned out to be even more enjoyable than expected, largely because I had such a lovely group of emerging writers to work with. I’m told feedback was entirely positive (a rarity, apparently — so how nice is that?) and I’ve been asked to run another next year. So if you’re a writer with some stories in your back pocket keep an eye out.

As always I’ve been working on all of the above around editing books for various publishers. November has been editing madness with two novels, two picture books, one non-fiction book, and five novellas all at various stages. There’s lots to be excited about but I’ll mention just two. The first is a stunning picture book by Coral Vass called Sorry Day (out with National Library of Australia Publishing 2017). This is a heartfelt and beautifully-written story about the Stolen Generation that moves so cleverly between past and present. I can’t wait for kids to get their hands on this book, and I’m sure it’s going to become a staple of schools around the country. The second is really five, that is five novellas by Nick Earls (out with Inkerman & Blunt 2016). There’s a lightness to these stories that is so enjoyable, but then they sneak up on you to reveal deep truths about families that are struggling in different ways. Working with Nick on these novellas has been such a pleasure, and I really hope they do well; they certainly deserve to. So look out for the Wisdom Tree series, launching early next year.

As we head into December I’m looking forward to getting back to my own writing (I have barely put down a word during this madly busy November). I still have another three books to finish editing before Christmas but then come January I’m jetting overseas on a writing adventure! And my littlest is off to preschool in February, which means two-point-five days to write and edit and read! I know I’m imagining that I can pack in way more than I actually can (the literary version of eyes being bigger than the stomach) but nevertheless it’ll be the first time in 13 years that I won’t have to fit in everything around full-time mothering. And that, my friends, is thrilling.