Lightness and humour are what keep me going. In life and in my writing
Dimity Powell talks to Maryam Masters about writing, books, and her latest novel My Tiny Universe.
Why do you write for children?
They’re the most important people in society. Curious, open hearted, not yet jaded or cynical. They look at the world with wonder and optimism. If only we could all stay like that.
Your middle grade stories often address intensely emotive subject matter. What compels you to tackle topics like terminal illness, immigration, and neurodivergent conditions? Are your ideas drawn from your own lived experiences?
I’ve never actually decided to tackle a topic. My stories have all come from my own interests, obsessions, curiosities and experiences. And they usually start with a character that pops into my mind, uninvited. Then it’s a matter of getting to know that character and creating a world around them. Putting obstacles in their way and hopefully having them grow in some unforeseen way. The writing process is mysterious. You can plot all you like but inevitably you end up surprising yourself with what ends up on the page. I have a love/hate relationship with it!
Despite the intensity of your storylines, your narratives marry wit with wisdoms, anxiety with heartwarming compassion, grief with ‘belly-shaking’ humour. How do you do it? Why do you think this sort of juxtaposition works?
It works because we all experience light and shade, joy and sorrow, hardships and triumphs. They’re inseparable. I try and incorporate the full spectrum of human emotion into the journey of my characters, so that they’re relatable. It’s also what I need to do for myself. After writing a chapter about an awful bully, or a harrowing escape from a tyrannical regime, I personally need a break. I need a laugh. Something absurd. Something wildly funny and hopeful. Otherwise, it becomes unbearable. Lightness and humour are what keep me going. In life and in my writing.
Tell us a bit about My Tiny Universe.
It’s set in the not-too-distant future. Climate change has transformed cities, splitting them into inner and outer circles. The protagonist is a young boy named Leif. He’s a certified science enthusiast, quirky, whip smart and he also happens to be the first kid to be born with CIA (climate induced anomalies). When his family is forced to move to the inner city for his treatment, Little Leify has trouble fitting in. He’s a misfit who doesn’t fit in with other misfits. All alone in this vast universe. Until he meets Albie … and that’s when all the trouble really begins!
This novel is set in the not-too-distant future. As authors we often encourage readers to ‘read up’ about characters older than they are. Why do you think encouraging kids to ‘look into the future’ is valuable in telling your stories?
The future belongs to them. They’re the ones who are going to have to clean up this mess that we’ve created. I wanted to write a story that gives us a glimpse of the challenges that await us in the future – but not overwhelm the reader. I hope that a kid reading this story in 2026 will feel empowered and know that they have agency when it comes to the future. How we treat our planet and each other.
My Tiny Universe deftly weaves a tapestry of themes together throughout the narrative. Do you find this process difficult or is it something that comes naturally? Please describe the ethos behind this complexity.
Oh thank you, what a lovely thing to say. I honestly don’t overthink the themes when writing. I try and submerge myself into the world and inhabit the characters. Then I follow them. In a way, I become their scribe. The complexity woven into the tapestry comes from the characters, not me. That may sound pretentious but it’s true!
Tales about the underdog give kids reason to rally and cheer on a character. Do you regard Leif as the underdog? How important do you feel it is to represent those disfavoured in society within stories like Leif’s?
I think coming to Australia as a refugee has informed my writing style and my characters. As a schoolkid in Iran, I was confident, popular and bold. Then I moved to Australia and things completely flipped. I immediately became the underdog. I didn’t speak the language, the cultural gap was vast and I had trouble finding acceptance and friends. So, consciously or subconsciously (I don’t know which!) I always have an underdog in my stories. I’m very interested in how status can shift and change in a nanosecond. I’ve experienced both sides of that coin and I find it fascinating. My heart always goes out to the underdog, however. It’s a lonely existence. But makes for good stories!
Can you tell us what your next writing project is?
I’m currently writing a feature film based on my second novel No Words.
Who / what was your favourite author / book growing up? Do you think these informed your eventual career as a writer for children?
I loved The Catcher in the Rye. A masterclass in voice. I was completely absorbed by that book in high school. I also loved all things Roald Dahl – that combination of funny and macabre. As an adult I enjoy all kinds of books – from the wit and humour of Nick Hornby to the spare, yet emotionally intense work of Claire Keegan and Max Porter.
And yes, all of it informs my writing today. Reading is my greatest form of inspiration. That, and long walks.
What does your current reading stack look like?! Do these include kids’ books!
A mile high!! Definitely includes kids’ books. Top of the pile at the moment is Suzy Zail’s A New Kind Of Beautiful’ and Sarah Armstrong’s The Wave.
Name a favourite place to write that also describes you as a person.
I have the cosiest, loveliest office but I never use it. I mostly write on the living room couch with my dog Simba leaning into me. His deep little breaths (and snores) help me to relax and find my words. He’s the perfect writing companion.
Thank you for sharing a tiny piece of your universe with us, Maryam! 😊
Dimity Powell is an Australian author and reviewer whose books include Oswald Messweather, and At the End of Holyrood Lane. Her latest book is The Boy Who Lost His Laugh.
