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BY XI ZUQ: ASIAN FESTIVAL OF CHILDREN'S CONTENT 2015 6/28/2015 The National Library of Singapore was teeming with people on 3 June 2015. It was the first day of the Writers and Illustrators Conference, one of the programmes of the Asian Festival of Children’s Content (AFCC). AFCC is a gathering of creators for children from Asia and other parts of the world. Candy Gourlay with Jonathan Ranola Day 1 This year’s AFCC opened with Candy Gourlay’s keynote address on why Asia needs more writers for children. Ani Almario also talked about Adarna House’s experience in publishing children’s books in five Philippine languages, while Andrea Pasion-Flores introduced Jacaranda Agency in a panel on working with literary agents. During the breaks, I chatted with Cheeno Marlo Sayuno, Rommel Joson, Jhoan Medrano, and Maria Gabriela Aparentado. The four of them were participants in the Writers and Illustrators Retreat, which happened at Bintan, Indonesia days before the conference. Hezky Kurniawan, Jonathan Ranola, La Aparentado, Jhoan Medrano and Rommel Joson. I spent the rest of my day listening to Fred Chao’s sharing on producing comics with 'mature' themes; Michael Heyman’ lecture-workshop on nonsense literature; and Ying Chang Compestine’s experience in working with several literary agents. And the day ended with a celebration of Singaporean creators and books for children since Singapore is celebrating its 50th year of statehood. Michael Heyman facilitates a writing exercise. Day 2 I started my second day with Sarah Odedina and Allison Norrington’s talk about transmedia publishing. They looked at the trends in digital publishing and social media and how these affect creators for children. Then I listened to Anushka Ravinshakar, who reacquainted us with the uses of humour in children’s works. Anushka jokes that writing for children is for bored housewives. I skipped some sessions to check out the books at Closetful of Books, the bookstore for the event, and Adarna House and other booths of Asian publishers. I met there Dr. Rosario Torres-Yu and her daughter, Karina Yu, Pamela Imperial, and Jonathan Rañola, whose illustration was exhibited at the library’s gallery. I then sat in the first AFCC debate, which featured Shirin Yim Bridges, Christopher Cheng, Sarah Odedina, and Nury Vittachi. Each of them opined on the topic, “Asian readers deserve better than translations of Western works.” The speakers for the first AFCC debate. Christopher Cheng and I had to rush down the building for our panel with authors Reenita Maholtra Hora and Golda Mowe. He became our new moderator, since Ken Spillman couldn’t make it that day. Reenita shared how she infused traditional Indian mythology in her latest YA novel, while Golda explained the intricacies of the Iban culture of Borneo present in her novels. I closed the session (and my day) with a short presentation on creating picture books for indigenous children. I open my brief talk on picture books for indigenous children. Day 3 On the third day, I decided to listen to several YA authors. AJ Betts shared her experience in writing about love without the cliché and the melodrama; Elaine Forrestal presented her process of writing the historical YA fiction, Straggler’s Reef ; and Reenita Maholtra Hora and Suzanne Kamata talked about writing across cultures. Reenita Maholtra Hora, Suzanne Kamata and Elaine Forrestal. I also sat in Wendy Bink’s talk about making the most of one’s published work by sharing how she marketed one of Australia’s well-loved characters, Stripey, and Sally Murphy and Genevieve Sarah Loh’s session on reviewing works for children. Sally Murphy and Genevieve Sarah Loh answer a question from the audience. During the break, I sneaked in the children’s section of the National Library. It houses a lot of books and educational materials partitioned according to types and ages. (I hope to see a library for Filipino children as organized and beautiful as this.) I then went home after two days, bringing the books I bought and the insights I gained in the different aspects of creating and producing for children. AUTHOR Q&A: AUGIE RIVERA, ISANG HARDING PAPEL 5/28/2015 Renowned Filipino author of children’s books Augie Rivera recently released his new title, Isang Harding Papel. Through his generous donation, Sambat Trust beneficiaries are now enjoying this wonderful story set during the Martial Law Period. Augie Rivera is a founding member of Kuwentista ng mga Tsikiting, a group of Filipino writers for children and young adults. Some of his books include Alamat ng Ampalaya , Magnificent Benito and His Two Front Teeth, Alamat ng Sibuyas, Batang Historyador series, Elias and His Trees, Ang Lihim ni Lea, Mantsa, and XILEF. His works, including translations, are recognized by several award-giving bodies. He was Head Writer for several educational children’s shows like the award-winning and long-running Batibot and Art Angel. He also wrote for the political parody news program May Tamang Balita, children’s fantasy drama series, One Day, Isang Araw, musical variety show Party Pilipinas, and educational game show Picture! Picture! Currently, he is Head Writer for various programs of GMA 7/GMA News TV, including the award-winning and long-running infotainment show Ang Pinaka, review show Pop Talk, profile show Tunay na Buhay, and science show AHA! Firstly, thanks for donating copies of Isang Harding Papel. Can you tell us the story behind this story? I originally wrote this story in 2000 for a series of historical fiction for children called Batang Historyador (published by Adarna House and UNICEF in 2001; still available in bookstores) featuring stories of Filipino children from five significant eras in our history: Pre-Spanish, Spanish Occupation, American Occupation, Japanese Occupation, and Martial Law years. Isang Harding Papel was supposed to be my story for ‘Martial Law’ but I changed my mind and opted to write a new story instead, set before Martial Law or the First Quarter Storm (FQS). This was Si Jhun-jhun, Noong Bago Ideklara ang Batas Militar . It’s a story of Jhun-jhun and his older brother who was involved in rallies and demonstrations before the declaration of Martial Law. So the Hardin story has slept in my ‘baul’ (wooden chest) for 14 years. Last year, I read it again, did some revisions, and submitted it to Adarna House. They showed it to the EDSA People Power Commission (EPPC) and this became their next book project. What important aspect or insight from that period that you think kids nowadays should know? How is this reflected in the book? One of the most important skills that children need to develop is the coping skill necessary in dealing with changes and unexpected events in life. In Isang Harding Papel , the child character Jenny has to grow up separated from her mother. She has to make sense and learn to cope with all these difficult changes happening in her life, of course with the support of her mother and grandmother. As this story is a historical fiction, how did you manage being descriptive of the period’s milieu while making it accessible or relatable to present child readers? When I wrote Isang Harding Papel , there was a conscious effort to make the story not too hardcore or in-your-face ‘taas-kamao’ but rather focus more on the character, to make Jenny believable and childlike, so other children can easily relate and empathize with her. Through Jenny’s story, I hope that the present day child reader will get curious and will want to know more about the history and the conditions and struggles of children during this dark period in our past. How is this book different from your other historical fiction works, especially from Si Jhun-jhun, Noong Bago Ideklara ang Batas Militar? The inspiration for Jhun-jhun was an imagined scenario—a street scene after a violent rally dispersal vis-à-vis the children’s street game of ‘tumbang preso.’ Isang Harding Papel , on the other hand, is loosely based on the real life experiences of Jenny Cortes, a cousin-in-law whose mother was a political detainee during the Martial Law years. As with my other historical fiction for children, a lot of research went into the making of this book. Aside from interviewing my cousin who gladly shared her experiences with me, I also interviewed other people who grew up during Martial Law, and read several books on the topic, before I developed my story. I’ve always been a history buff, so I really enjoy writing stories like Isang Harding Papel . Plus I also grew up during Martial Law so it was an opportunity for me to look back at my own experiences and use them as details to add more nuances and texture to the story. The style, medium, and technique used in the illustrations of Isang Harding Papel are superb. How did you work with the illustrator? I just had an initial meeting with Rommel Joson, the illustrator, and Adarna House to discuss the story, where I brought a prop— a sample makeshift flower made from tissue paper by my wife. Other than that, there wasn’t much collaboration. Rommel pretty much did his own thing. I know he did a lot of research too, and it shows, and I’m very happy with the new layers and meanings his illustrations gave to my story. And any words for the teachers, students, and librarians who have now access to your book? Actually, one of the reasons why I decided to revisit the story and submit it for possible publication is in reaction to the many revisionist takes in our history being spread now on social media, i.e. that Martial Law wasn’t so bad etc, etc. One way to counter this is by educating our children about history. We should stop ranting that children nowadays have ‘no sense of history.’ As Martial Law babies who are now grownups and some are now parents too, it is our responsibility to let them know about our history. Ikuwento natin sa kanila ang kasaysayan . I think that in the K-12 curriculum, as early as grade 2, lessons on nationalism, human rights, and even Martial Law are now included. That’s good. This book hopes to do its share by giving teachers, parents, and librarians a springboard when discussing with children what actually happened during this most difficult time. The lessons of the past will help young readers develop a deeper love of country and love for history. AUTHOR Q&A: MAY TOBIAS-PAPA 4/15/2015 Award-winning author and illustrator May Tobias-Papa shares with us the story of her story, Araw sa Palengke ! May Tobias-Papa is a founding member of Kuwentista ng mga Tsikiting (KUTING), the group of Filipino writers for children, and Ang Ilustrador ng Kabataan (Ang INK), the organization of Filipino illustrators for children. Her works include Can We Live Without Trees? , The Luckiest Girl in the World, Christmas in February, Estrellita: The Little Wishing Star , Tuldok, among many others. Araw sa Palengke, illustrated by Isabel Roxas and published by Adarna House (2008), was named as one of the Best Reads at the 2010 National Children’s Book Awards (NCBA). How was Araw sa Palengke conceived? It was the happy result of circumstance. My publisher, Ms Ani Almario, had wanted a book to introduce kids to the market. I happened to have this picture book story in my head about the first time my mom brought me to the market when I was 3. That week that I got the email from Ani, my mom and I had been poring over my baby albums. My son was already about two that time and I had just quit my teaching job at UP [University of the Philippines]. As we reminisced, my mom told me the story again, of how her suki put fruits, and kakanin because they were so amused with me and my little bayong . Since Araw sa Palengke is a picture book, the illustrator played an important role in the creation process. How was your interaction with illustrator Isabel Roxas? I wrote two drafts for the book, which were subjected by Adarna to a survey among schoolchildren. My first draft was the one chosen by the kids. After this, Ani asked me to submit studies for the approved story. I am a published illustrator of children’s books but I opted out. For many years I had worked as an art director for advertising agencies, and I knew from the start, even as I was writing the story, that Isabel Roxas’s style was perfect for the book. A little girl drawn in Isabel’s style danced with a little yellow bayong in my head, and she had this tiny voice. The story practically wrote itself. My desire for Isabel to illustrate the story was greater than my desire for another chance to write and illustrate a book. What did winning a National Children’s Book Award for Araw sa Palengke mean for you as a book creator ? It feels special to be cited. When I wrote the book, I had no idea it would resonate the way it did with readers. To me, it was just a straightforward recollection of my first experience in a market. Of course, I had to reconstruct the experience, and I did it methodically, structuring it based on the five senses, and in this order: sound, smell, touch, taste, sight. The language was intentionally plain, unembellished. The National Children’s Book Award is different from the other awards for literature or illustration for children’s books in such a way that it recognizes all the quality effort that goes into one book—the writing, the illustration, the production, and how all of these work well together. My worry about a lot of Philippine children’s books had always been that the fancily-written and lavishly illustrated stories do not genuinely appeal to kids as they do to teachers, critics, or students of literature or art. I like writing and illustrating books that authentically connect with children. The NCBA reassures me that books like the ones I like to help create will prevail somehow in children’s book industry which has been a bit commercial of late. A Day in the Market is the book app version of Araw sa Palengke. How does it feel seeing your story in a new platform? Having come from advertising, I am always appreciative and cognizant of the power of emergent media. As a mother of a young child, I saw the potential of the book app in teaching. I was a very willing guinea pig for Adarna’s first book app. What future book projects can we expect from you? I have long wanted to do chapter books and a graphic novel. I have several notebooks with ideas for them. I also have offers to write for some publishers. So many things, though I couldn’t find the time to get around to doing them because of my other projects (that are not related to children’s books). I’m afraid I can’t really talk about the books I want to write, because, at the rate I’m doing, somebody might beat me to them, hahaha. And any words to Sambat Trust’s readers? It is inevitable; a book always transforms you that you are never quite the same person who opened and then closed the book. Whether it’s a step away or kilometers away, you are always in a different place, with a different point-of-view, for sure. CANVAS + SAMBAT TRUST: 498 CHILDREN RECEIVE MESSAGE IN THE SAND 3/23/2015 Message in the Sand, a beautiful marine conservation-themed book that inspires children to change the world, is just one of the award-winning stories given to children throughout the Philippines by CANVAS, a non-profit organization celebrating Philippine art, culture and environment. Through its Global Giving project, CANVAS aims to give away one million books to one million children. The book giving was part of Sambat Trust's World Read Aloud Day celebration in selected Tanauan City schools, Batangas. AUTHOR Q&A: Jomike Tejido 2/18/2015 Tagu-Taguan, a counting book that features ten Philippine insects, was chosen as one of the Best Reads at the 2010 National Children’s Book Awards (NCBA). Published by Tahanan Books, it's written and illustrated by Jomike Tejido. Jomike is a prolific author for children with titles that include Ang Pambihirang Sombrero, Dindo Pundido, Foldabots, and the Jepoy Jeep series. Lub-Dub, Lub-Dub, the book he illustrated and written by Russell Molina, was also one of the Best Reads at the 2010 NCBA. He is a member of Ang Ilustrador ng Kabataan (Ang INK), the Philippines' first and only organization of illustrators for children. Jomike answers some of our questions about Tagu-Taguan. How was the idea of Tagu-Taguan conceived? Tagu-Taguan is based on my interest in insects since childhood. As an only child fascinated by all things science-oriented, I often observed plants and insects in our garden. I eventually caught insects and put them in tanks so that I could observe their nocturnal behaviour and feeding habits in a safe place away from mosquitoes. I was a fan of David Attenborough, a famous National Geographic documentarist in the early 90's. I really enjoyed the natural world and used my observations to draw monsters and other things. What were the advantages and disadvantages of being both the writer and illustrator of the book? One of the advantages is that I get full control of the content. This is a very powerful factor since I get to choose what I want to illustrate instead of being forced to illustrate an insect I do not like. I do not see any disadvantages. Though writing may seem too academic to some who are not attuned to it, children's book writing in particular, is for me a very artistic and poetic approach. It does have a few speed bumps along the way, like finding an appropriate rhyme or a sufficient syllabic count. But all these are just like drawings that you can erase and redraw. In the end, you gain experience and improvement. Working as both writer and illustrator is the most wonderful thing in the world. I feel like I am inventing my own tiny world inside each book, and my readers are those who are nice enough to care and join me in it. How did you feel after Tagu-Taguan won at the 2010 National Children’s Book Awards? Firstly, I was surprised since I never expected it. I did not even attend the awarding ceremony because I knew there were so many other books out there. I feel thankful it gained this recognition. Though it is not part of my plan for my books to gain awards, I only aim to produce quality work in each publication, for the books to be effective for its readers and its primary use (counting 1-10) and secondary use (interest in insects). We’ve heard that Tagu-Taguan was translated into other Philippine languages? Can you tell us more about it? I was lucky enough to have my title chosen for it. I was just informed by the publisher that it was chosen among others. I feel blessed that this was part of it. I guess it is the general appeal of insects that transcends cultures, beliefs, and ethnicities that made it a viable choice. I am happy it will gain a wider readership. We did not have these opportunities in the early 2000's when kid lit in Manila was still picking up its pace. And any word to our supporters? Thank you for your continued support, and for choosing my work. This really is icing on the cake. As book creators and content providers, we already have a sweet profession, but awards like this give us more drive to continually improve ourselves and outdo our previous work. To the readers and educators, thank you for the readership. If this book has inspired you or your students in any way, feel free to share it with me in the social network. I am always happy to hear from my readers. BY ZARAH GAGATIGA: CANDY GOURLAY SHINES! 9/14/2014 Novelist Candy Gourlay will be in Manila for a series of book talks, school visits and literacy advocacy work .Her new novel, Shine, will be launched on September 27, 2014 at the National Bookstore Glorietta branch. Ms. Gourlay graciously replied to my request for an interview. Here she talks about Shine, the novel she wished she had written and the experiences that shaped and influenced her in writing about Rosa. What made writing Shine different from Tall Story? Tall Story was very successful. Did you feel any weight or pressure to do better in Shine? Yes indeed! As I began working on Shine, Tall Story began clocking up shortlistings and great reviews. Every morning when I started writing, my head was not in the right place. What if it was just a fluke, what if you can't do it again? This book can't possibly be any good! Have you chosen the right story to write? And on. And on. I had to shake off all the doubt in order to be in a place to lay down the words of my next book ... in the end it took me three long years to write Shine. I learned some things about myself - that it wasn't success that gave me self-belief but a confidence in my story. And to get the confidence in my story, I had to ask every question that had to be asked. Your use of folktales and legends in both Tall Story and Shine to prove a point or address a message is very effective. What folktale or legend best describe your life? It has been said that Mythology was the first Science. Because it is through mythology that we try to explain our world. To write a legend, you have to imagine the world that existed before whatever it was came to be. Perhaps the title of my legend will be How the Writer Learned to See - because the process of writing long-form fiction involves digging deep to see what lies under the surface. I'm really mesmerized by your use of tales and legends. Where most writers fumble at this technique, you SHINE. What do you see in tales and legends that seamlessly bridge reality from our own imagined worlds? Ah but to have these tales and legends, you need a storyteller. The myths are a reflection of the storyteller's own perception of the world, the stories bring to life both her deepest fears and highest ambition. I like having these characters because they bring me home. Every Filipino has someone at home who described the world to them in this way. So I feel they are an essential part of the casting of any Filipino book. Also, when I was growing up, I became aware of a certain embarrassment amongst Filipinos about the limitations of our literature. Epics and other grand forms are thin on the ground of our cultural heritage. But does that mean the legend and folk tale should be denigrated? These are such important parts of our literature, I want to celebrate them. The women characters in your novels are interesting and complex. Who is your pattern for Rosa? Even her voice and personality SHINE through the novel the whole time. Even Yaya is funny and hilarious! The idea for Rosa was sparked when I met a Vietnamese teenager who had arrived in England as an unaccompanied minor. This meant she came to the UK, speaking no English, with no apparent adult companion. Because she was a child, UK government took her into care even though she was an economic migrant. I didn't get to know this girl at all, but I was thinking about her a lot. She was only a child, and yet she had to hide many secrets about how she got to the UK and who took her in. As an unaccompanied minor, she was regarded by derision by many who resented the fact that she was being cared for by the state. She was innocent. And yet she wasn't. And I thought, how unfair it was to put a child into that position. Originally, most of Shine had Rosa, mute and lost in the streets of London. It was only as I explored Rosa's character that it dawned on me that the story didn't belong to London but to Mirasol, the island where Rosa was born. My musings about innocence fed into Rosa's situation: in which she is undeservedly shunned by the islanders. As for Yaya, I think there is a Yaya character in every Filipino's life. Feisty, complaining, scolding in non-sequiturs, off kilter, funny-but-not-on-purpose, down to earth, loving, irritating, essential. (I have sneaking feeling that I am that character in my children's lives!) Yaya is like Jiminy Cricket, she says aloud what Rosa and her father know to be true. She doesn't tiptoe around niceties which means she is the one person Rosa can really trust. From a review in the Philippines You made me sympathise with Kat. She is a complicated character and she fits in the climax of the novel perfectly. How do you form your characters: plot dictating the character or character dictating the plot? I always begin with the character. I have a rough idea of my plot but to begin with, I try to get to know my character by writing the scenes that reveal to me who she is. I write many, many, many scenes. And then the story begins to take shape and I become aware of the rise and fall of a plot. Then I rearrange my scenes and develop the structure of the book, heightening the conflict here and there to create a sense of rising tension as the story progresses. In one of Shine's many drafts, the character of Kat emerged at the very end of Rosa's adventure as one long piece of exposition. It was as if an entire story was playing out ... except it was at the wrong end of the book! I needed Kat's story to develop alongside Rosa's, following the rise and fall of the plot. I thought of having Rosa read letters from Kat or even a diary, but it seemed too contrived. In the end, my editor said, 'Well why don't you just tell Kat's story alongside Rosa's in semi alternate chapters. You don't have to explain anything.' And that is what I did. Some people get confused and annoyed when Kat's voice appears. But nobody said a book should make things easy for the reader. What is the novel you wish you had written? I love so many novels. Perhaps Holes by Louis Sachar . But you know what, I believe each novel is as unique as a fingerprint. And if Holes appeared under my pen, I would've freaked out, wondering where the hell it came from. One of my favorite lines in the novel: "a librarian would never lie"- where did this come from? Heh, it's just my little homage to librarians. I've always had great friendships with my school librarians. And now, visiting schools as an author, I get a real peek into the impact they can have on children's lives. It was a grade school librarian that once took me by the hand and said, 'Here, you might like this.' And look at how it's made my life turn out! Every child deserves to have a librarian around to change her life. BY LIZA FLORES: YOUR IMPACT SO FAR 8/7/2014 Special thank you to Liza Flores for this wonderful infographic. Guest Blog by Annie Pacana-Lumbao: A LIFE CHANGING JOURNEY 7/12/2014 Annie Pacana-Lumbao is an author and illustrator of children's books and teaches graphic design at the University of the Philippines. Here Annie shares her experience as guest author at the launching of the new school library at Janopol Elementary School in Batangas. **** It was a breezy morning in Tanauan, Batangas last June 26, unlike the heat in Manila where I came from. Zarah Gagatiga of Sambat Trust and I had breakfast at the city proper of Tanauan and then went off on a tricycle ride to the town of Janopol Occidental. The roads grew smaller and smaller. More trees and fields were in sight. The air got fresher and colder. Finally we arrived and got off at Janopol Elementary School where a teacher greeted us and invited us in. Batangas Coffee and a Warm Welcome on a Rainy Day The teachers of Janopol Elementary School welcomed us with a warm cup of Batangas coffee before the program began. When we were wide awake and ready to kick off the program, they led us to the new library. There, I met more teachers, representatives of the local government, of the Department of Education, and of Sambat Trust. Rain started to pour as we listened to welcome remarks, words of gratitude and an outpour of emotions on how this new library is empowering the school and community’s vision for the students of Janopol. It was very touching. “ Nakakakilabot ,” as we say in Filipino. The ribbon-cutting ceremony took place and everyone was happy when the boxes of book donations from publishers and authors were turned over to the library. Story Time In the afternoon, we met the students of Janopol Elementary School who were all eager to use the new library and listen to a storytelling session we promised. I shared with them the story “But That Won’t Wake Me Up” which was the first storybook I published with Adarna House in 2010. I told the students how this storybook all started from a storytelling session with my daughter when she was very young. They listened closely and helped me voice out the sounds in the story. They giggled as they crowed like a rooster, shouted like a taho vendor and marched like a parading band. They also enjoyed looking at the beautiful way Liza Flores had illustrated our storybook. Thumbs Up to Teachers After the morning session with the students, we had a roundtable discussion with the teachers. I shared with them my experience, not as a teacher but as a mother who encourages her own children to read. I told them how it’s good to write stories they know about or have actually experienced with the encounters they have with the students. The teachers told us that they do create stories using their mother-tongue language in Batangas and how they also ask students to do the same. In the end, we all agreed that these kind of stories will strengthen the language and culture of our children. Fittingly, at the back wall of the library were the words: “Today a reader, tomorrow a leader.” With the vision of the teachers, the support of the government and the enthusiasm of the students of Janopol Elementary School, the writings on that wall will surely be a reality. How Does One Pull in the Sun? I remember one particular question that a young student asked after our storytelling session: “How did you pull the sun in the room?” referring to a scene in the story of “But That Won’t Wake Me Up.” The teachers and I smiled at this student who believed the mother in the story was really able to pull in the sun from the window. But now, as I come to think of it, it is possible after all to pull in the sun. It is just the same as how Sambat Trust brightens up a school and a community when they open new libraries in the towns of Batangas. As the day ended, I travelled back to Manila where the roads got wider, the trees and fields in view got fewer, the heavy rains flooded the streets and the traffic left commuters stranded everywhere. Still, I could not wipe away the smile in my mind for having learned first-hand how it really “takes a village to raise a child,” as Zarah quoted from a proverb in her message to the school community. One does not come back from a journey like this unchanged. I thank Sambat Trust for making me realize my part in raising more communities of readers. It is amazing how help from people near and far has contributed to the growth of students in Batangas through the opening of public school libraries. Interview with Candy Gourlay, Author of Tall Story and Shine 3/11/2014 Candy Gourlay, the author of the 2012 National Children’s Book Award-winning book Tall Story , released last year a new work, Shine. Candy answers some of our questions about her second young adult novel. Photo: Jackie Rice What is the story behind the publication of Shine? Can you describe its path to publication? I started thinking about Shine three years ago at the height of Twilight mania. I thought, I'd like a bit of that and pitched a vampire story to my publisher - except it wasn't a European vampire but the Philippines' own vampire like monster, the manananggal . I even wrote a chapter in which a boy is sitting on the top floor of a double decker London bus at night when suddenly something flies into the bus. He has a glimpse of a fearsome face before the windscreen explodes and the bus is forced to stop. He gets off the bus with everyone else and while everyone is standing around muttering, he finds something in a hedge. A decapitated head. Nice idea? Easy to write the first chapter but it got harder and harder to execute as time passed. It took me three years to finish Shine to my satisfaction during which I wrote three versions of the novel. I lost the vampire angle. There was a human trafficking story that came and then went. There were many characters that lost their roles. In the end, the one thing I managed to retain from the original concept was an island where it never stopped raining. There is still a monster story - but it's not the monster that I had started out to write. It was a tough path to publication, but the hardship was all in the writing. My publishers were patient with me and every time I missed a deadline, they simply moved my publication date along. I learned a lot in those three years - about myself not only as an author but as a human being. What are the similarities between Tall Story and Shine? Were there elements from Tall Story that influenced you in writing Shine? On a superficial level there are many similarities. In Tall Story, Bernardo suffers from gigantism and becomes a giant. He is seen as something of a freak. In Shine, Rosa suffers from a disease called the Calm and must hide away because she lives on a superstitious island where people like her are considered monsters. In both books there is a tension between faith and science, Bernardo is seen to be a magical creature because he's a giant, whereas Rosa is feared because she is believed to bring death and danger. I promise that I wasn't trying to write the same book. It's just that living on the other side of the world, I am am constantly aware that what differentiates society here in the West and there in the Philippines is belief, or the lack of it. What are your favorite Filipino books for children and young adults? I don't get much access to Filipino books over here so my reading is not representative of what's available at home. I am not up to date with what's available for younger children. But here are some good reads I can recommend for young adults - books and short stories - from the Philippines: Subversive Lives by Susan F. Quimpo and Nathan Gilbert Quimpo - a powerful memoir written by siblings who were prepared to die for what they believed in. The Quimpos are my cousins and friends. Manananggal Terrorizes Manila by Jessica Zafra - surprising and clever Soledad's Sister by Jose Dalisay - a comic novella The Butcher, the Baker, the Candlestick Maker by Gilda Corder Fernando - my favourite amongst the 13 short stories is People in the War, a tragic story from the Japanese Occupation of Manila, which you can read here . What will we expect after Shine? Will there be a sequel to any of your books? At this stage, all I can tell you is that my next two books will be historical. I'm not sure I would like to do a sequel to either Tall Story or Shine (though I have some ideas). I am not a fast writer and there are other novels I'd really like to write first! Any last thoughts for our readers? I am very grateful to my readers in the Philippines for their unstinting support and deathless loyalty. I am often told that Filipinos do not read - but becoming an author has put me in touch with so many readers, I am full of hope. But it is not enough for us as a people to become readers, we must become writers as well, in fiction and non-fiction. We must tell the world our stories, in our own voices. Author Ken Spillman donates a set of Robert Magnuson’s picture books to each Sambat Trust school library 2/21/2014 Children’s author Ken Spillman generously donated a set of Robert Magnuson’s picture books to each Sambat Trust school library. We caught up with Ken via email. *** Can you tell our readers about yourself? I’m an Australian author, based in Perth. Well over half of the 40 books I’ve written are for children or teens, and these are published in many countries around the world. In 2012, Scholastic brought my successful series of Jake books to the Philippines and I was also a guest at the Philippines International Literature Festival. I met some wonderful people at the festival, including Manila author Robert Magnuson. Why did you choose to donate a set of Robert Magnuson's picture books to Sambat Trust school libraries ? I was fortunate to discover the magic of books early in life, and I was brought up believing that it’s important to try to make some positive difference to the lives of other people. Over the past five years I’ve taken every opportunity to donate books and, where possible, visit organisations that connect children with books and stories. Until recently my giving had been confined to India, Malaysia and Vietnam, but when I learned about Sambat Trust I saw an opportunity to extend it to the Philippines. I was very impressed with the work of Robert Magnuson and I like the values that underpin his books – kindness, for example. I know the books will entertain the children and also promote an appreciation of all that is good about the world. Children reading the books in the school library at Laurel Elementary School, Batangas. You donated the books via One for One. Could you tell us more about the organisation and its concept? One for One Books [www.oneforonebooks.org] is a not-for-profit organisation that was set up in Malaysia. The idea is simple – to sell books and then to donate a book for every book sold. Donations are made to disadvantaged kids, and One for One is now establishing 50 libraries in underserved local communities. The organisation also runs Wisdom Clubs, which aim to build a love for reading and critical thinking across a cross-section of society. I met the founder of One for One Books at a conference and decided I’d do anything I could to help the organisation grow and extend its reach. Individuals like me are more effective when we work with others. Why is it important for children to have access to books? I believe that the value of books goes far beyond education. Improving basic literacy skills is important, of course, but stories also provide unparalleled access to the hearts, minds and souls of others. They lead us a deeper understanding of ourselves and equip us to deal with situations we haven’t yet encountered. These are some of the messages I like to spread as I write and as I travel. In the last three years, I’ve spoken to more than 70,000 kids, telling them that books are the best exercise for the imagination, and that we all need imagination to be the best that we can be. This is the same for people everywhere – whether living in the Philippines, Australia, India or France. Sadly, there are children everywhere whose imaginations are not being fed by books. For some, poverty is the cause. For others, there is a kind of ‘privileged neglect’ – here I mean children who are materially comfortable but deprived of stories through the misguided priorities of parents. "Such a pleasure to see these pictures. I sincerely hope that these and many more Sambat Trust library users, now and in the future, enjoy the books!" Ken Spillman Finally Ken, do you have any plans to visit the Philippines? We’d love to invite you to our schools for an author talk! Oh yes. After my first visit in 2012, I visited the Philippines twice in 2013 – once for the Little Lit Fest in Manila, and then for a conference and a visit to Davao campus of the University of the Philippines, where I spoke to creative writing students. I will certainly visit again in 2014, and I hope to be able to visit many schools. It would be a real pleasure to meet kids at Sambat Trust schools and to donate more books! –I’ll try to make that happen. <<Previous
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