Tony Shillitoe: a writer's journey
The formative period
My formative writing begins in Year 3 at school when our teacher, Margaret Wakefield, teaches and encourages us to write poetry. My first publication is in the Coomandook Area School school magazine in 1963, and I ensure I have something published in every subsequent year book. My first book is an illustrated story titled Squadron 306, a Battle of Britain Spitfire tale in Year 5. I also begin a comic book series in Year 8 - hand-drawn and written and shared around the school, with jokes and sketches in the style of Mad magazine (I was an avid fan and collector of Mad). I write song lyrics as I fumble my way through learning guitar. I am an avid reader.
Into university years (1973-1977), I write several hundred poems and song lyrics on a wide variety of topics, especially exploring the Liverpool and Beat poetry styles. I submit work and fill the back of my study door with rejections, but one very brief poem ends up in a 1977 FAW/BHP anthology, Neon Signs to the Mutes.
Inspired by Max Harris and Peter McFarlane, as an English teacher I encourage students to write poetry and frequently do live writings in class to demonstrate techniques, but my dreams of becoming a John Keats or Bruce Dawe rapidly evaporate as teaching consumes my life.
My first attempt at a novel is a teenage coming-of-age piece based on kids in Whyalla. Hand-written in pencil into an exercise book, the attempt dribbles out to 45,000 words and quietly disappears into a desk drawer (I suspect it is still in one somewhere around our home). I shelve writing as an activity. Instead, I learn how to design and deliver original Dungeons and Dragons games for several role-play groups (1981-1988), and they become my creative outlet.
In 1987 I begin drafting a fantasy tale, based on the scenarios and Non-Playing Characters from the games I designed. I have no idea where the tale will head other than, after a few weeks, I have ten typed chapters (think typewriter, not computer) and the fledgling outline of a character named Andra. I stop writing poems.
Coincidentally, in 1989 I confess to an acquaintance, Graham Phillips (who, as it turns out, distributed books for Pan MacMillan), that I am writing a fantasy novel and he gives me the contact details for Roxarne Burns and encourages me to send her a synopsis and a sample chapter. I do. And nothing happens. So, I assume the publishing company has a giggle and bins my proposal. After all, I am nobody asking to open a door into a niche publication that is dominated in Australia by overseas writers like Raymond Feist, David Eddings, Janny Wurts and Anne McCaffery.
Into university years (1973-1977), I write several hundred poems and song lyrics on a wide variety of topics, especially exploring the Liverpool and Beat poetry styles. I submit work and fill the back of my study door with rejections, but one very brief poem ends up in a 1977 FAW/BHP anthology, Neon Signs to the Mutes.
Inspired by Max Harris and Peter McFarlane, as an English teacher I encourage students to write poetry and frequently do live writings in class to demonstrate techniques, but my dreams of becoming a John Keats or Bruce Dawe rapidly evaporate as teaching consumes my life.
My first attempt at a novel is a teenage coming-of-age piece based on kids in Whyalla. Hand-written in pencil into an exercise book, the attempt dribbles out to 45,000 words and quietly disappears into a desk drawer (I suspect it is still in one somewhere around our home). I shelve writing as an activity. Instead, I learn how to design and deliver original Dungeons and Dragons games for several role-play groups (1981-1988), and they become my creative outlet.
In 1987 I begin drafting a fantasy tale, based on the scenarios and Non-Playing Characters from the games I designed. I have no idea where the tale will head other than, after a few weeks, I have ten typed chapters (think typewriter, not computer) and the fledgling outline of a character named Andra. I stop writing poems.
Coincidentally, in 1989 I confess to an acquaintance, Graham Phillips (who, as it turns out, distributed books for Pan MacMillan), that I am writing a fantasy novel and he gives me the contact details for Roxarne Burns and encourages me to send her a synopsis and a sample chapter. I do. And nothing happens. So, I assume the publishing company has a giggle and bins my proposal. After all, I am nobody asking to open a door into a niche publication that is dominated in Australia by overseas writers like Raymond Feist, David Eddings, Janny Wurts and Anne McCaffery.
Professional writer: round one: 1990-1997
March, 1990 is a month etched into my personal history.
On March 9th, a Sunday, the Royal Adelaide Hospital rings to tell me that my father died suddenly from a massive heart attack. As the only child, I ring my mother, who is home on the farm, to tell her the news. Then there is the trip in to identify Dad, and organising the funeral for the coming weekend. On March 11th, a Tuesday, I receive a letter from Roxarne Burns at Pan MacMillan saying they will commission me to write a fantasy trilogy based on the material I shared almost six months previously. To say that week becomes an emotional roller-coaster is to understate it profoundly. I loved my father and sometimes I still feel I never fully grieved for him because in the same week the best and worst events coincide.
Pan MacMillan offers me a contract and an advance. In return, I am to write three fantasy novels. I sign. I panic. I have ten rough chapters and an idea for a bigger picture. And a typewriter. And a deadline for the first manuscript. I negotiate buying a Mac SE from the school for $4000 (the amount of the Pan MacMillan advance) to resolve the typewriter issue (typing, correcting, retyping etc). And I write Andra's tale as a young Guardian warrior about to face the rise of the Dragonlords. And it isn't going to fill a novel - until A Ahmud Ki, a whole new character, appears. The novel morphs into something much better than a single character tale. I meet the deadline for manuscript one. The original opening chapter becomes the thirteenth chapter. The novel morphs again. And the second novel manuscript starts.
1992-1993: Guardians, Kingmaker, Dragonlords - Andrakis trilogy published by Pan MacMillan Australia
Guardians: Andrakis Book One hits the shelves in July 1992, followed by Kingmaker in October 1992 and Dragonlords in 1993. Guardians has a successful opening, moving into top ten lists around Australia, nesting among the same great fantasy writers I revered. TV, radio and newspaper interviews follow. Pan MacMillan had launched its new Australian fantasy writer stable with Martin Middleton and his Chronicles of Custodians series in 1990, and I am now lucky enough to be part of that project. In 1993, on leave from the Education Department for six months, I complete and submit a new fantasy manuscript to Pan MacMillan.
1995: The Last Wizard published by Pan MacMillan Australia.
The Last Wizard is shortlisted in the inaugural Aurealis Awards: Best Fantasy Novel category.
1996-1998: short stories and scripts appear in Penguin - Dreamweavers (ed Paul Collins), HarperCollins - Fantastic Worlds (ed Paul Collins), AATE - The Girl Who Married a Fly (ed Michael Hyde) and Oxford Uni Press - Solo Spots (ed Ruth Starke and Chris Tugwell) anthologies, and short stories appear in Altair and Harbinger magazines.
In 1997, the professional writing comes crashing down due to dramatic changes in my personal life and publication changes at Pan MacMIllan, and my writing career is over as quickly as it started.
On March 9th, a Sunday, the Royal Adelaide Hospital rings to tell me that my father died suddenly from a massive heart attack. As the only child, I ring my mother, who is home on the farm, to tell her the news. Then there is the trip in to identify Dad, and organising the funeral for the coming weekend. On March 11th, a Tuesday, I receive a letter from Roxarne Burns at Pan MacMillan saying they will commission me to write a fantasy trilogy based on the material I shared almost six months previously. To say that week becomes an emotional roller-coaster is to understate it profoundly. I loved my father and sometimes I still feel I never fully grieved for him because in the same week the best and worst events coincide.
Pan MacMillan offers me a contract and an advance. In return, I am to write three fantasy novels. I sign. I panic. I have ten rough chapters and an idea for a bigger picture. And a typewriter. And a deadline for the first manuscript. I negotiate buying a Mac SE from the school for $4000 (the amount of the Pan MacMillan advance) to resolve the typewriter issue (typing, correcting, retyping etc). And I write Andra's tale as a young Guardian warrior about to face the rise of the Dragonlords. And it isn't going to fill a novel - until A Ahmud Ki, a whole new character, appears. The novel morphs into something much better than a single character tale. I meet the deadline for manuscript one. The original opening chapter becomes the thirteenth chapter. The novel morphs again. And the second novel manuscript starts.
1992-1993: Guardians, Kingmaker, Dragonlords - Andrakis trilogy published by Pan MacMillan Australia
Guardians: Andrakis Book One hits the shelves in July 1992, followed by Kingmaker in October 1992 and Dragonlords in 1993. Guardians has a successful opening, moving into top ten lists around Australia, nesting among the same great fantasy writers I revered. TV, radio and newspaper interviews follow. Pan MacMillan had launched its new Australian fantasy writer stable with Martin Middleton and his Chronicles of Custodians series in 1990, and I am now lucky enough to be part of that project. In 1993, on leave from the Education Department for six months, I complete and submit a new fantasy manuscript to Pan MacMillan.
1995: The Last Wizard published by Pan MacMillan Australia.
The Last Wizard is shortlisted in the inaugural Aurealis Awards: Best Fantasy Novel category.
1996-1998: short stories and scripts appear in Penguin - Dreamweavers (ed Paul Collins), HarperCollins - Fantastic Worlds (ed Paul Collins), AATE - The Girl Who Married a Fly (ed Michael Hyde) and Oxford Uni Press - Solo Spots (ed Ruth Starke and Chris Tugwell) anthologies, and short stories appear in Altair and Harbinger magazines.
In 1997, the professional writing comes crashing down due to dramatic changes in my personal life and publication changes at Pan MacMIllan, and my writing career is over as quickly as it started.
Professional writer: round two: 1999-2010
1998 is a watershed year.
It begins with a teenage novel draft that I started in 1993, inspired by the stealing of a metropolitan bus by two youths, being initially optioned and then rejected by Random House, and then taken up by Michael Bollen at Wakefield Press.
1999: Joy Ride published by Wakefield Press.
Peter MacNamara introduces me to Robert Stephenson and when we discuss how I might get back into the fantasy market, especially as I have a new project I am keen to sell it, Robert offers to be an agent. And that's what he becomes. Robert also launches his own speculative fiction magazine, Altair and he publishes several of my short stories.
1999-2000: short stories published in issues of Altair magazine
Robert Stephenson approaches HarperCollins Australia with my proposal for a new fantasy series in 2000 and succeeds in negotiating a deal for three books.
2002-2003: Blood, Passion, Freedom - The Ashuak Chronicles published by HarperCollins Australia Voyager.
Blood is shortlisted in the Aurealis Awards: Best Fantasy Novel 2002.
In 1999, I begin drafting a teenage novel loosely based on my experiences growing up in the Malinong/Coomandook country district. The story is partly prompted by a news report of a marijuana plantation discovered in the local mallee area. Robert offers the manuscript to HarperCollins Angus and Robertson imprint.
2003: Caught in the Headlights published by HarperCollins Australia Angus and Robertson.
Caught in the Headlights is listed as a Notable Book for Older Readers in the Children's Book Council of Australia Awards in 2003. It also subsequently appears in several Premier's Reading Challenges.
Robert Stephenson moves into Print-on-demand publishing as Altair Australia. He republishes the original but out-of-print Andrakis series with their original titles and an anthology of my fantasy stories.
2006: The Waking Dragon, Maker of Kings, Dragonlord War - Andrakis trilogy republished by Altair Australia
2006: Dreams of the Dragon story anthology published by Altair Australia
Robert Stephenson also negotiates a deal with HarperCollins Australia for my new fantasy series of four novels with an Australian flora and fauna flavour.
2008-2010: The Amber Legacy, A Solitary Journey, Prisoner of Fate, The Demon Horsemen - Dreaming in Amber series published by HarperCollins Australia Voyager.
It begins with a teenage novel draft that I started in 1993, inspired by the stealing of a metropolitan bus by two youths, being initially optioned and then rejected by Random House, and then taken up by Michael Bollen at Wakefield Press.
1999: Joy Ride published by Wakefield Press.
Peter MacNamara introduces me to Robert Stephenson and when we discuss how I might get back into the fantasy market, especially as I have a new project I am keen to sell it, Robert offers to be an agent. And that's what he becomes. Robert also launches his own speculative fiction magazine, Altair and he publishes several of my short stories.
1999-2000: short stories published in issues of Altair magazine
Robert Stephenson approaches HarperCollins Australia with my proposal for a new fantasy series in 2000 and succeeds in negotiating a deal for three books.
2002-2003: Blood, Passion, Freedom - The Ashuak Chronicles published by HarperCollins Australia Voyager.
Blood is shortlisted in the Aurealis Awards: Best Fantasy Novel 2002.
In 1999, I begin drafting a teenage novel loosely based on my experiences growing up in the Malinong/Coomandook country district. The story is partly prompted by a news report of a marijuana plantation discovered in the local mallee area. Robert offers the manuscript to HarperCollins Angus and Robertson imprint.
2003: Caught in the Headlights published by HarperCollins Australia Angus and Robertson.
Caught in the Headlights is listed as a Notable Book for Older Readers in the Children's Book Council of Australia Awards in 2003. It also subsequently appears in several Premier's Reading Challenges.
Robert Stephenson moves into Print-on-demand publishing as Altair Australia. He republishes the original but out-of-print Andrakis series with their original titles and an anthology of my fantasy stories.
2006: The Waking Dragon, Maker of Kings, Dragonlord War - Andrakis trilogy republished by Altair Australia
2006: Dreams of the Dragon story anthology published by Altair Australia
Robert Stephenson also negotiates a deal with HarperCollins Australia for my new fantasy series of four novels with an Australian flora and fauna flavour.
2008-2010: The Amber Legacy, A Solitary Journey, Prisoner of Fate, The Demon Horsemen - Dreaming in Amber series published by HarperCollins Australia Voyager.
The 'lost' years: 2011-2020
A career change into IT in 2010 forces my hand insofar as time to dedicate to writing because I am effectively stepping out of classroom teaching into a different role entirely and that means I have a lot to learn. I shelve multiple concepts for new fantasy series, even several partly written starts and chapters, because I am unable to finish anything. At the same time, a revolution is underway in the publishing world with digital self-publishing, and people I know in publishing companies who are my most reliable connections in the industry are leaving or swapping companies, or retiring.
I work on two teenage novels, one focused on a youth coming to terms with his father's bisexuality and a murder mystery associated with his family; the other about boys' obsession with cars. I am also keen to learn how digital self-publishing worked, so I dabble with CreateSpace and Amazon Kindle Publishing, eventually using the platform to republish out-of-print works from the past: the Andrakis trilogy and the Ashuak Chronicles. I try to get interest in the teenage novels from publishers with no success. In the end, I publish both teenage books on Amazon.
2015: In My Father's Shadow published on Amazon Kindle
2016: The Need published on Amazon Kindle
I also amassed several short stories over the years covering a range of genre from fantasy through science fiction, murder/mystery, horror to an Australian yarn in the style of Henry Lawson, A couple are published in 2016 and 2019, but most languish on my computer because I do not have the time to market them. Having learned a little - maybe a dangerous too little - about the Amazon Kindle process, I clean up and collect the stories into an Australian-themed anthology.
2016: The Red Heart story anthology published on Amazon Kindle
In 2017, I draft an apocalyptic story in diary format based around a virus spreading world-wide and opening the doors to ISUS-style insurgents to invade Australia; a virus that mutates and creates zombies to sustain the virus. I finish the first draft in 2019 - and cue the Corona Virus pandemic! The project screams to a halt in the face of overwhelmingly amazing real life research opportunities.
I plan for a career change in 2019 that might involve full-time writing. I have several projects either underway, but incomplete, or at least sketched out and ready to write. I just need time to get the work done.
Sadly, in 2019, my long-time friend and literary agent, Robert N Stephenson, with whom I was planning to begin a new phase, commits suicide. It feels like every door to the writing industry via traditional means fully close. I reconsider my options. It is already ten years since I had a publishing contract and I have 'vanished' from Australian writing on every level.
I work on two teenage novels, one focused on a youth coming to terms with his father's bisexuality and a murder mystery associated with his family; the other about boys' obsession with cars. I am also keen to learn how digital self-publishing worked, so I dabble with CreateSpace and Amazon Kindle Publishing, eventually using the platform to republish out-of-print works from the past: the Andrakis trilogy and the Ashuak Chronicles. I try to get interest in the teenage novels from publishers with no success. In the end, I publish both teenage books on Amazon.
2015: In My Father's Shadow published on Amazon Kindle
2016: The Need published on Amazon Kindle
I also amassed several short stories over the years covering a range of genre from fantasy through science fiction, murder/mystery, horror to an Australian yarn in the style of Henry Lawson, A couple are published in 2016 and 2019, but most languish on my computer because I do not have the time to market them. Having learned a little - maybe a dangerous too little - about the Amazon Kindle process, I clean up and collect the stories into an Australian-themed anthology.
2016: The Red Heart story anthology published on Amazon Kindle
In 2017, I draft an apocalyptic story in diary format based around a virus spreading world-wide and opening the doors to ISUS-style insurgents to invade Australia; a virus that mutates and creates zombies to sustain the virus. I finish the first draft in 2019 - and cue the Corona Virus pandemic! The project screams to a halt in the face of overwhelmingly amazing real life research opportunities.
I plan for a career change in 2019 that might involve full-time writing. I have several projects either underway, but incomplete, or at least sketched out and ready to write. I just need time to get the work done.
Sadly, in 2019, my long-time friend and literary agent, Robert N Stephenson, with whom I was planning to begin a new phase, commits suicide. It feels like every door to the writing industry via traditional means fully close. I reconsider my options. It is already ten years since I had a publishing contract and I have 'vanished' from Australian writing on every level.
Professional writer: round three: 2020-
In 2018, I begin a blog as I work on a novel project devoted to my mother's formative years up until she married. It is not only fun to explore my mother's life and loves, but the project demands significant research as I set it against the background history from 1944-52 in Adelaide and Australia. The first draft is completed by 2020.
And then I capitulate willingly in 2021 to a very long-term request from many readers and friends to add to the original The Last Wizard project. This forces me back to read and immerse myself in the original to re-capture the style and characters and scenarios, and to go over old notes for a sequel, before the project began. Out of a possible sequel grows three books to follow on from the original. The drafts are ready at the beginning of 2023.
In 2022, I announce my retirement from 45 years in education, and my intention to begin a full time writing career in 2023.
And then I capitulate willingly in 2021 to a very long-term request from many readers and friends to add to the original The Last Wizard project. This forces me back to read and immerse myself in the original to re-capture the style and characters and scenarios, and to go over old notes for a sequel, before the project began. Out of a possible sequel grows three books to follow on from the original. The drafts are ready at the beginning of 2023.
In 2022, I announce my retirement from 45 years in education, and my intention to begin a full time writing career in 2023.