Wow - I didn't see this coming! I'm thrilled to share that I'm the winner of the Mindfood 2019 Short Story Competition. 

The story, Flotsam and Jetsam, (published in the August edition of Mindfood magazine) is described as the 'unexpectedly poignant adventure of schoolgirl Amy and her mother'. 

The competition was judged by Rebecca Thorne (HarperCollins), Jenny Hellen (Allen & Unwin) and Michael McHugh (Mindfood Editor-In-Chief), who had some lovely things to say, including:

"A wonderful example of the power of short stories"

"There's a gradual reveal throughout the story, leading to a complex and heart-rending ending that's perfectly pitched"

"I am looking forward to reading more from this talented writer"

The competition will run again in 2020 and I highly recommend entering. 

​Thanks, Mindfood! 

I've finished Pet, my manuscript of short stories! Next steps are yet to be determined ... but I'm sure I'll get it out into the world somehow. 

In the meantime, I've been getting back into my Bruce the Cat children's book series. I"m working on the second book, Bruce Goes Outside. And in a stroke of perfect timing, I was part of the Wild Imaginings National Children's Writers and Illustrators' Hui this weekend. 

Notes from the hui

Illustrators Inc
I co-presented this with the inspirational Fifi. I talked about my early illustration (rock band posters) and how finding a kitten on the footpath changed the course of my writing career. I also talked about my crowdfunding journey. Fifi talked about an extraordinary career that spans illustration, writing, costume design, wearable arts, mascot-making and more! The incredibly talented Fifi lives a courageous and creative life, and I think everyone was uplifted and energised by her talk. 

Kate de Goldi in conversation with David Elliot

• As a kid David copied Leonardo da Vinci's drawings.
• Later, he created models of animals, and this gave him a different way to think about illustration.
• David says setting parameters for yourself can be useful - "give yourself a job". 
• Bonus fact - I live in the same suburb as David and can see his pōhutukawa tree from my kitchen window. His pōhutukawa always flowers before ours does! 

Different routes to market
We heard from a range of authors and publishers. 

• It can be cheaper to reprint than to hold stock
• Read Publishers Weekly
• Read Lani Wendt Young's Book Council lecture 

Gathering images with Robyn Belton
The incredible Robyn Belton shared her life's work in this extraordinary session. Robyn puts heart, soul and magic into her beautiful images. Robyn is an absolute genius ... and also the nicest person you'll ever meet. 

Pathways to imagination
I was a bit late to this session after sticking around after Robyn's session with all her other groupies to get my books signed, but I did turn up in time to hear Kyle Mewburn ask why everyone is trying to climb Mt Everest, when we could be getting pleasantly lost in a forest. Melinda Szymanik then freaked me out by saying that the imagination is a muscle and you have to use it regularly and train yourself to spot ideas. Yikes! I haven't used my imagination for at least a week - it's probably gone soft! 

Conference dinner
The dinner was wonderful. We heard from several past recipients of The University of Otago College of Education/Creative New Zealand Children's Writer in Residence (try saying that after a few drinks). Professor Tony Ballantyne gave a moving account of what reading, writing and children's literature has meant to him. At the other end of the emotional spectrum, Kyle was hilarious as the MC and should be the MC for everything, ever. 

Writing for the classroom
I don't know anything about writing educational books and early readers, so this session with Fifi, Maria Gill and Dame Wendy Pye was really useful for me. 

• Writing early readers can help you get a foot in the door of the children's writing world
• You can turn your story into a readers theatre play
• You can create teaching resources to accompany your book 
• You can do 3D modelling in Daz Studio 
• There were also some amusing anecdotes about what not to include for American audiences (stay away from pink jelly) 

Our journey to publication
With Stacy Gregg and Rachael Craw, chaired by Kate de Goldi. Stacy and Rachael have very different working styles, which made for an interesting session. 

• "Always set your novel somewhere you want to go on holiday"
• Visit the places you are writing about - for atmosphere, a sense of geography, and to see if there are squirrels 
• Use music as an inspirational tool 
• Putting facts in YA stories is like putting carrot in a carrot cake
• What are your deep stories - the stories that you are drawn to tell? 

Otago gold slam - place and creativity
The final session was a fun session with several Otago authors and illustrators who gave Pecha Kucha-style presentations about place. 

All in all - a truly wild and imaginative weekend. A huge thank you to the organisers for an inspirational event. 

What a strange, fun and stressful week it's been! 

• I passed the first part of my doctorate
• I was shortlisted for the Surrey Hotel Steve Braunias Memorial Residency 
• My stories 'Good Dog' and 'Continuation of the Species' were selected for publication in The Valley Review
• I didn't win a residency ... but Mr Steve Braunias himself did describe me as "real funny and super talented" (evidence here)

What a roller coaster! Must be time for a cup of tea and a lie down. 

Although it sounds a bit like some kind of swearword, 'Complete MS' is actually an abbreviation of 'Complete Manuscript Assessment'. Being a recipient of the programme means being matched with a literary guru who reads your manuscript and provides feedback on your work. 

This year thirteen lucky writers were beneficiaries of the programme - and I was one of them! 

The assessment couldn't have come at a better time for me. I was putting the finishing touches on my short story collection, Pet, and it was exciting to print out the full manuscript, get it boxed up and send it off to Auckland, not knowing who would read it or if they would like the cut of my jib.  

I included a brief cover letter for my assessor, asking for specific feedback on:

• Which stories to jettison
• How to structure the collection as a whole.

A few short weeks later I received a detailed eight-page report filled with suggestions and advice. I received useful feedback on the above points and many more. I also had a Skype meeting with my lovely assessor where we discussed the feedback in more detail. 

As a result of the assessment I have a bit further to go before submitting my manuscript to publishers, but I have an eight-page road map to help me get there. 

The changes I have made, or am making, include:

• Cutting almost all of the flash fiction I had optimistically included
• Cutting the two personal essays I had tried to disguise as stories 
• Writing an entirely new story to fill the word count hole left by the above cuts
• Rewriting a story that was identified as one of the weaker ones, but which I'm not ready to let go of 
  (I think I can save it!)
• Structuring the collection in three sections (mammals, reproduction and the human condition)

As a result of my Complete MS experience I feel confident that my collection will be stronger and more professional when I do pitch it to publishers. My assessor has also left me feeling hopeful that I am on the right track with my writing. 

A huge thank you to my assessor, and to the New Zealand Society of Authors (who run the Complete MS programme) for this opportunity. 

Find out more about the Complete MS Programme. 
Meet the other 2019 programme recipients. 

Over the next little while I'll jot down some of the ideas that the lessons are sparking in me. I am really enjoying being introduced to so many other great works and writers through Joyce Carol Oates. I think this course will also provide a lot of beneficial insights that will form part of my doctoral study. 

Lesson one: Introduction 

• A short introduction to the series. The videos are beautifully produced. You feel as though you are in Joyce's Princeton's office with her, having a one-on-one tutorial. 

​The exercise was to put aside a journal for this course. Tick!

Lesson two: Principles of writing short fiction

• Start with a character. Something happens to your character, and that starts the story. People are mysterious. What secrets does your character have? What have they left unexplored about their life? What are the climactic moments in their life? Will you choose to tell a story about one of those moments?
• I learned a new word: Synecdoche. A figure of speech in which a term for a part of something refers to the whole of something or vice versa. Examples from common English expressions include "suits" (for "businessmen") and "America" (for "the United States of America". (From Wikipedia.)
• We are introduced to Edgar Allan Poe's The Philosophy of Composition. Poe says, " It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention." 
• Joyce talks about the difference between telling a story transparently and using language itself to tell the story. I think, possibly because of my background in communications, that I write more on the 'transparent' side. I could work on using language more creatively to add layers of meaning. 
• The lesson notes refer learners to Virginia Woolf's essay A Room of One's Own, which I had actually never read before. What I have read so far is wonderful, and the rest I will listen to on audio book. 

This lesson has five exercises that go with it. They include writing two scenes, writing a character study, revising some work using the suggested method and asking a friend to provide feedback on your work. 
That's a lot more homework than we had in the first session!
I am going to give myself a tick for the fifth exercise because I regularly seek feedback on my work. 
​I'll report back on the rest of the homework in my next MasterClass post!

It's been a delightful two weeks at Eramboo Artist Environment in Sydney Australia's Terrey Hills. I've written the final short story for my collection, Pet, and I've re-drafted a couple more. I put the finishing touches on the stories I co-wrote with Dunedin school children as part of the Little Landers programme earlier this year, and I've also done some work on a Port Chalmers project I'm involved with. So, it's been a pretty productive two weeks!

It's also been nice to have the chance to do some reading. I've read two and a bit books, Billy Bird by Emma Neale (a beautiful, inventively-written novel about a marriage in crisis - excellent), Evie's War by Anna McKenzie (a meticulously-researched young adult WWII novel - also excellent) and I've made a start on The Omnivore's Dilemma (absolutely horrifying, but also excellent). 

I would highly recommend Eramboo to any writers or artists looking for a beautiful, affordable and inspiring  environment in which to develop creative work. We've had the use of a studio bedroom with a little desk in it, and also the use of 'the teaching space' - a long, sunny room with desks, a couch and a well-stocked bookcase. There's also a gallery space, which I've been able to use as a Pilates space in the mornings. There are wallabies in the garden, along with an incredible collection of birds including kookaburra, cockatoos, magpies and our favourite, the cheeky butcherbird. If you're lucky, the friendly brush turkey might also function as your alarm clock by scrabbling around on the porch with its dinosaur claws. 

Several artists have permanent studio spaces here, and everyone we've met has been welcoming and kind. 

The township of Mona Vale is a relatively short drive away, and features an art supply shop, a great library (where you can do printing) and an excellent bookshop. Mona Vale beach is worth a visit, as is the glorious Ku-ring-gai Chase National Park. It's also fairly accessible to central Sydney, and we spent a weekend in the city soaking up the art galleries and an opera. 

A culture shock warning for fellow kiwis - I've never before stayed at a place where I couldn't just go for a stroll when I needed to stretch my legs. Eramboo is on a fairly busy network of roads with no footpaths, and we couldn't find any walks nearby. Having to get in a car to go for a walk was an adjustment - and the best walking spot we found was the National Park, which has a $12 entry fee. (Totally worth it, but not very sustainable for repeat visits.) Be sure to hire a car, otherwise you might find yourself going a bit stir-crazy.

However, we've still managed to see beautiful sights, have cultural experiences and do plenty of our own creative work - and we leave this beautiful environment feeling thoroughly inspired. 

Thank you, Eramboo! 

I've popped over the ditch to experience the Sydney winter for a couple of weeks (it's not dissimilar to the Dunedin summer!). I'm staying at Eramboo Artist Environment, which is a wonderful facility in Terrey Hills, near Sydney's northern beaches. I can't get over the incredible variety of birds here - and the incredible variety of creepy crawlies! Apparently the artists share this space with a goanna and a python, along with a magnificent kookaburra, a friendly butcherbird, several intrepid bush turkeys and the ever-present cockatoos. 

Find out more about Eramboo Artist Environment. 

While I'm here I'm completing what will (hopefully) be the final short story for my collection, Pet. I'll also polish up a couple of older stories, and do a couple of other writing tasks too. 

About Pet
Opening with award-winning story Emotional Support Animal (Sunday Star-Times), Pet is a collection of literary short stories. Each story peels a different layer of meaning from the word ‘pet’, and the collection addresses themes of captivity, animal attraction and pack mentality. The tone of the collection is contemporary and darkly humorous. The stories are not afraid to peer beneath the stone pillars of culture and confront what is wriggling beneath. Stories from Pet have been, or will be, published in Takahē, Fresh Ink, The Sunday Star-Times, Mindfood Magazine, Headland, Bonsai and Pot Roast. Kathryn is the ‘momager’ of one of New Zealand’s most famous pets, Bruce the Cat, about whom she wrote the children’s book Bruce Finds A Home.