Author, copywriter and editor Rebecca Fraser talks about her writing process, the inspiration for her new middle-grade novel Sea Glass, and the power of intergenerational relationships.

When did you first know you wanted to be an author?

I think I was born fascinated with words! I was a voracious reader from a very young age, and started writing fiction early—probably when I was about eight or nine years old. I tinkered with stories, composed endless poetry, and whenever it was a family member’s birthday, a poem from me would always accompany their gift.

From there my writing turned to song lyrics, false novel starts, articles, and short stories. It wasn’t until the mid to late 2000’s when my life was a lot more settled that I finally started taking my writing seriously—honing my craft, researching markets, networking with other writers, learning industry standards, expectations, and pitfalls, and submitting, submitting, submitting.

I cut my teeth on short stories, and eventually moved on to longer works. While I loved writing for an adult market, when my son was born (he’s now 14), I wanted to write the sort of stories I loved reading when I was a kid. I began working on my first middle grade novel Curtis Creed and the Lore of the Ocean, while completing my Master of Arts in Creative Writing. Sea Glass is my second middle grade novel.

What does a usual day look like?

As far as a daily writing routine, I don’t always sit at the keyboard every day, but I always try to do something ‘writerly’, even if it’s not all about the word count. This can involve anything from thinking about my characters, or working through plot devices (I find the shower and daily walks the best time for this), reading the works of others, or checking in with my writing community.

What do you enjoy most about writing?

I really love the editing process. I write relatively clean drafts (or so I’m told), but there’s nothing quite like going over your work with a reader’s eye after the manuscript has had time to rest for several weeks. I pick up so many things that lack either continuity, sense, or reality!

Then, the professionals come in and give it true polish. (I would never recommend anyone edit/ proofread their own work when it comes to a publishable gold standard). There’s a certain joy that comes with the process of seeing your stories become the best they can be.

What do you find the most difficult?

I sometimes struggle to find a good writing/work and family life balance. As such, as often as I can, I schedule a block of consecutive days to escape to a writing retreat, usually with a group of writing friends, and never too far from home. I find removing myself completely from my home environment, and focussing purely on the writing, really maximises my momentum and productivity.

Do you have a favourite Middle-Grade book?

Now, this is a hard question! Just one...not fair! If I had to choose, I would say How to Bee by Bren MacDibble. Such a clever and original book that worked so well on so many levels. I wish I’d written it!

Can you describe Sea Glass in a single sentence?

Sea Glass explores the relationship between cricket-mad Cailin and her estranged grandfather and how, despite difference and disaster, they reconnect over a shared enthusiasm for sea glass.

Where did that idea come from?

I live on the Mornington Peninsula, south of Melbourne. While we are considered a regional area, during the pandemic the Peninsula was classified as “Metro”. At the height of the pandemic, Melbourne earned the unenviable title of the ‘world’s most locked down city’, clocking up 260 days over six lockdowns under some of the country’s toughest COVID-19 restrictions. Curfews were introduced, along with a travel bubble restricted to a five kilometre radius for a permitted one hour of daily exercise.Thankfully, my five kilometres included the beach!

Beachcombing, a pastime I’d always enjoyed for its meandering freedom, became my physical and emotional salvation. It also sparked the idea for Sea Glass.

As a writer, my creativity seemed to sputter like a dying flame with each passing month of lockdown. My daily beach walks revived me. Characters began to leave their footprints in the sand beside me—a city-dwelling girl, and her estranged grandfather who lived a hermit-like existence on a remote coastline. Their characters and plotlines grew with each ebb and flow of the tide, and when their voices grew from a whisper to a roar in my head, I knew it was time to commit their story to paper.

As a long-term sea glass enthusiast, I’ve always been fascinated by the science behind how sea glass is formed, and how the history of each piece tells its own remarkable story. I also understand the close relationship many grandparents have with their grandchildren...and I got to wondering “what if” when it came to a family torn apart by the weight of grief.

...I’m continually fascinated by the human condition...

Intergenerational relationships and grief are prominent themes in Sea Glass. Why is that?

I was thinking about the many roles grandparents play in family dynamics. They can be mentors, caregivers, teachers, companions, even historians! Often they

are ‘generational bridges’ and custodians of culture and family rituals and traditions, passing down stories, wisdom, memories, and proverbs. It was my hope that Sea Glass would be a celebration of grandparents, and give a nod to all the things they teach their grandchildren—and what they learn from them in return.

The exploration of grief is something that seems to come up a lot in my work. I’m continually fascinated by the human condition, and the varied and various ways we respond to the burden of it. Do we turn to others, or turn away from them? Do we turn inwards?

When it comes to writing for children, I feel a sense of responsibility when tackling some of the weightier topical and relevant issues and themes that impact our youth, to tell a story that ultimately uplifts, inspires, and offers hope. I’m equally mindful that kids don’t want to be spoon-fed and they can pick a lack of authenticity a mile away. When it comes to reading they deserve the same thing as adults—authentic voices, engaging characters, and an entertaining plot that doesn’t sugar coat or condescend. They also want to see themselves and their families represented on the page.

How did your interest in sea glass arise? Is there underlying meaning to it?

It’s safe to say it came from my personal interest with sea glass, but from a literary standpoint I also love the metaphoric element of it. There’s a beautiful piece of writing by author Bernadette Noel that resonates with me, and the character of Grandpa. 

Are you writing anything now?

I’ve always got something on the go! I’m currently near completion on an upper middle grade novel—an eco survival thriller about a girl who gets lost in Tasmania’s south western wilderness while trying to prove the thylacine still exists.

I’m also reworking a junior fiction manuscript, that features a vulnerable but courageous feline protagonist, inspired by one of my other great loves: cats!