FWA: Davina, you have written celebrated books for young people of all ages, from babies to teens. What is it that you like about writing for those different audiences?
DB: I never set out to write across all age groups, and to be honest I find it surprising that I’ve ended up covering such a broad range in my career. But I see it as a privilege to be able to speak to children at different phases and challenges in their lives, and to hopefully provide them with some combination of comfort, wonder and joy through my work. I became an author because I wanted to pay forward the hours of absolute joy that I experienced as a child reader. Writing across these audiences allows me to tap into different aspects of storytelling and consider how they might give kids the chance to escape, to feel seen or understood, to experience life in another place or time or dimension, to laugh and to cry – all the gifts that reading has given me.
FWA: For over fifteen years, you worked as an editor, commissioning editor and publisher at Penguin Books, Affirm Press, and Allen and Unwin. How does that industry experience inform your writing and teaching?
DB: I think the main elements from my publishing career that I’m able to impart in my teaching are an understanding of how students’ work might fit into the market, as well as an insight into how their work can be developed to give it the best shot of making it onto a publisher’s list. Having worked with multiple publishers, I have an understanding of how they differ and the kinds of work they’re looking for, which could be useful for aspiring authors when considering how to pitch their work. And – I hope! – I’m able to share that perspective with the empathy and sensitivity that comes from being a writer, knowing firsthand how it feels to put your work out into the world.
FWA: You have some fabulous guests lined up for Writing For Kids: Picture Books and Children’s Fiction. Could you tell us about those guests and what you expect each will bring to the course?
DB: Publishing people across the children’s book industry are so wonderful to listen to – so smart and insightful and creative in their own right – that I’m already excited to be able to sit and chat with them and call it work. Here are a few highlights…
Sally Rippin and Gabrielle Wang are both former Australian Children’s Laureates, and bring with them a wisdom and steadiness that comes from having watched the industry grow and change over many years. In very different ways, they’ve made a place for themselves and their books by staying true to their unique creative essence, and I can’t wait to discuss with them how they’ve managed to do that.
When it comes to the world of rights, particularly international ones, Annabel Barker is a luminary. She is able to talk about the author-agent relationship with such encouraging warmth, intelligence and clarity, which I think will be really useful to those who are starting out.
Anna McFarlane is such a sparky, engaged and passionate publisher. She truly understands and appreciates the creators who are lucky enough to work with her, and her knowledge of Australian children’s books – both contemporary and historical – is unparalleled. She has a strong sense of what’s happening in the market, and she is also extremely funny.
FWA: As part of this course, students will have the opportunity to work directly with illustrator, Beau Wylie. What is the experience of working with an illustrator like and how does it feel to see your characters come to life through visual storytelling?
DB: What an opportunity! Working with an illustrator who shares your vision is truly like having a magical pixie bring your work to life, often with a depth, pathos and attention to detail that goes far beyond what you’d hope for or dream of when writing your manuscript. To see your words inspire not only the characters but a whole visual world – it’s aesthetic, setting, action, its cast of minor characters – is one of the most uplifting parts of being a writer. But it also requires flexibility, humbleness, and an ability to collaborate and hand over control, which can be challenging at times for new writers. Learning to give constructive and supportive feedback while championing the elements you feel passionate about is a skill that took me a while to develop, and I look forward to being able to share that experience with the course participants.
FWA: What are you most looking forward to in teaching Writing For Kids: Picture Books and Children’s Fiction?
DB: I’m the mother of a three-year-old, and so I’m deep in the world of picture books right now, and the highs and lows of reading aloud. As a result, I’ve become pathologically obsessed with bad rhyme and how to fix it. When done well, rhyme is such a joy to read and be swept along by – it can be soothing, whimsical and humorous, often at the same time. But done badly, it’s infuriating, off-putting and frankly an insult to both child and reader. All this to say – I cannot wait to teach the section of the course that covers rhyming picture book texts. Wow – turns out I REALLY have a lot to say, and I’m passionate about it!
FWA: Are there any writers of picture books or children’s fiction that we should be keeping our eye on?
DB: In terms of new-ish talent, Jo Dabrowski is a really versatile and interesting writer. Sally Soweol Han makes beautiful books. Sarah Zwek is a gloriously talented illustrator who can also write. I could read Maura Finn’s rhyme forever – ditto for Hilary Bell. Probably nobody at this point needs telling that Zeno Sworder is a total savant.
Writing For Kids: Picture Books and Children’s Fiction
with Davina Bell and guests including Anna McFarlane and Beau Wylie
ONLINE
Tuesdays 6.30 – 8.30pm (AEDT/AEST)
10 February – 26 May 2026