In this world, nothing is truly created in isolation. Every piece of work we produce is a tapestry woven from the threads of our relationships, interactions, experiences and, most importantly, our connection with Country.
In the literary world, it’s a common misconception that writing is a solitary endeavour. Many authors feel they’ve toiled alone, but in truth, they’ve collaborated in countless ways.
For me, collaboration transcends mere creative partnerships – it’s a way of life. As a First Nations person, I have been taught the value of collectivism, of working hand-in-hand with community and Country. This philosophy is embodied in Yarn Quest.
In July 2021, Jade Goodwin and I were working together at a First Nations creative start-up. Jade proposed we develop a one-off podcast episode to celebrate National Aboriginal and Torres Strait Islander Children’s Day on 4 August, a day dedicated to honouring First Nations children. This day brings communities together, hosting events that focus on kids, culture, family and community.
What started as a single episode quickly grew into 21 episodes, each spotlighting stories written and narrated primarily by children. Yarn Quest became more than a celebration of First Nations children; it became a platform to uplift the voices of all children aged four to 12, with me and Mot Dyer (Uncle Mot) as hosts.
During one of our brainstorming sessions, Jade and I envisioned transforming Yarn Quest into a universe where kids are the heroes, and neurodivergent First Nations kids (like those in our lives) could see themselves represented authentically. Jade, already an illustrator with a book deal, and I, a published writer and poet, decided to turn this dream into reality. Jade even added Yarn Quest to her manifestation board, hoping for a series.
Our creative process began chaotically but enthusiastically, as do most of my projects. On my 90-minute drive to Jade’s house, I recorded a series voice notes imagining how my daughter Sibyl and Jade’s niblings, Tane and P, could join forces to save a magical realm (that would later become the Story Realm). We crafted a plot, I wrote a sample, Jade sketched sample characters, and we pitched our concept to the amazing Penguin’s children’s books team.
The collaboration continued as we developed the series. Jade’s illustrations shaped the story, and the evolving narrative influenced her artwork. Fable, a Story Spirit in the series, was as much Jade’s brainchild as mine. I imagined a spirit resembling Casper the Friendly Ghost, but adorned with the cosmos’ colours and beauty. Jade brought this idea to life, creating the character we now see in the series.
My favourite character, the Great River, was inspired by the sacred Clarence River on Bundjalung Country. I knew that I wanted her human form to celebrate all big, beautiful women whose strength and love are a core part of every community. I described her as having flowing hair, soft arms and beautiful belly rolls, much like Te Fiti from Moana but made of river elements. Jade’s illustration surpassed my wildest dreams, making the character even more vivid and real in my mind while I was writing her story.
Our collaboration extended beyond just the two of us. We involved the kids, asking them about their interests, appearances and the adventures they wanted in their stories. P, the oldest, suggested that their book should centre on the theme of greed, which became the heart of book two, The Great River Rescue.
Many collaborators contributed to this series. One of my closest friends (and Jade’s sister-in-law), Tully De Vries, appears in the series as she is the real life mum of P and Tane. An Elder in book three was inspired by Aunty Robyn Reid from my local community organisation, Mingaletta. Yet, our greatest collaborator was Country itself.
Living on Darkinjung land and reminiscing about my homeland on Bundjalung Country, I drew inspiration for the series’ environments. The flora, fauna and even the weather were depicted to reflect Country. Jade would do the same where she lives now on Wonnarua land, she would sit with Country and draw all the beauty she saw around her.
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Yarn Quest embodies ‘Own Stories’ for me, Jade, the kids and Country, for we all come from Country and all will return to it. I encourage more writers to embrace this approach – move beyond writing outside your lived experiences, beyond sensitivity readers and last-minute approvals. Engage in active, transparent collaboration with community, peers, strangers, kids and Country, and your stories will flourish.
This series exemplifies the power of collective creativity and the richness of inclusive storytelling. It invites everyone to see the magic of honouring our roots, celebrating difference and working together. As Yarn Quest prepares for its debut, I hope it inspires others to embrace collaboration, celebrate culture and recognise storytelling’s profound impact when deeply connected to Country.
Yarn Quest 1: The Search for the Story Realm will be published by Penguin on 30 July 2024.
