The drafting phase
We Saw What You Started was the first manuscript I’d ever attempted – but it morphed and grew with many iterations. I completed the first draft in eight months. At that stage it was a 40K Middle Grade novel written from a single POV, past tense, third person. Over six months, and about fifteen drafts, that original draft transformed into a 70k Young Adult mystery, with two alternating perspectives, present tense, first person. The setting and characters (personalities/relationships/histories) were reasonably solid from the beginning, but the character voices and story arcs – as well as the mystery – changed many times. I never contemplated giving up, but there were certainly moments when my brain felt like it was exploding!
While I was writing and rewriting, I was learning about the industry. I joined the Queensland Writers Association, Australian Society of Authors (ASA), the Society of Children’s Writers and Book Illustrators (SCWBI) and Book Links and went to every book launch and writing event available. I also started building my brand as an author, creating my website and social media platforms.
Seeking and managing feedback
I was desperately hungry for feedback and learning more about the craft. I’m not scared of being told how I can improve my work – I love receiving clues that bring me closer to my goals more quickly. I implemented many strategies from the structural editing course The Next Draft (particularly the visual storyboarding), and made the most significant changes to my initial draft as a result.
I asked my students and teachers at my school to read early drafts, gaining crucial feedback, and garnered feedback from closer to home, reading aloud a new chapter each night before dinner to my husband and children (who were 11 and 13 at the time). Then we’d have lively discussions (and debates) about how the characters would react and how the story would progress.
Dealing with rejection and finding an agent
I first reached out to 30+ international agents, figuring the odds were better as there are so many more of them, but with bites it was time to rethink.
Rejections are always disappointing but I approach them from a business perspective. I’m offering a product and there are so many factors influencing whether or not my product will fit. I’ve always received some form of feedback in the knock backs which have taken me a step closer to my goals.
I grabbed every opportunity I could find. I heard a local Queensland agent was going to be at a Gold Coast event. With my husband away, my parents drove from Gympie to Brisbane to babysit. I jumped in my car after teaching and made it to the event just in time. I found the agent in the crowd and… totally choked on my pitch. The agent generously encouraged me to send my manuscript anyway (which was later gently rejected) but during our chat she suggested that my book may be better suited for the younger end of YA. That information was a huge turning point, an opportunity to rewrite and redirect my story to appeal directly to the audience I really wanted to write for.
I sent a revised draft to Kate Foster, who had offered to read my work, and did more research on Australian agents. Kate responded with the suggestion to shift the most significant event from the climax to the orientation – and she was right. However, my dream agent, Annabel Barker, had a submission closing date three days later. For me, the decision was easy – I said goodbye to my family, locked myself away for three days, and rewrote the entire 70K story.
It was worth it. Just two weeks later, Annabel requested a meeting, and 6 months later, she had secured a two-book deal with Pan Macmillan.
I love being part of my agent’s team. Having someone who is passionately in your corner, cheering you on, seeking opportunities and guiding all communication is not only comforting but a great way to fast-track learning in the industry.
Working with the publisher
My publisher is passionately invested and oversees all elements of my books from the words, title, cover, blurb, quotes, publicity and marketing. Our meetings are dynamic, energy-charged collaborations that are difficult to measure in terms of personal satisfaction. They make me feel alive and determined to work until my story is the very best it can possibly be, because it matters. I think that’s where the magic lies.
The first round of structural edits for We Saw What You Started resulted in decisions to remove characters (including the person responsible for the crime!), unpicking those strands and rewriting. Learning how to keep hold of the various threads during editing was the most intense learning I’ve experienced since quadratic equations in senior school. But that moment when it all clicks? The highest of highs.
Once I’ve worked through structural changes, my book moves to inhouse editors for copy edits and line edits. By this stage, I have three sets of highly experienced, insightful, kind and honest eyes all working with me. I’m extremely tough on myself during edits because I know how lucky I am to have this support – every revised draft is the best I can possibly offer. This is physically and emotionally draining for each four-week block, but I can’t imagine feeling satisfied if I knew I hadn’t given it my all at each stage.
How has writing your second book differed from writing your first?
The key difference with my second book is that I’ve incorporated visual storyboarding to review my chapters as I write. I can’t seem to plot the entire story in detail before I commence the first draft – when I’ve tried, the characters simply argue and refuse to do what I had planned for them. I’ve learned that I need to trust them and follow their guidance, so the arcs develop authentically.
Instead of plotting in detail, I’m finding it more beneficial to reflect with a visual storyboard. I use a whole wall in my office and map out the details in each chapter with character portraits and post-it notes, checking threads and arcs lead to hook questions and plot points that drive the story forward. It also helps me discuss the story with my most valuable beta readers – my own teens.
The writing life
When I started writing We Saw What You Started I was a full-time teacher in an Acting Head of Year role, with two young teens and a husband who worked away most weeks – it was hard. I was very lucky to have my family’s support to focus. When I signed a two-book deal, my school supported me with a job-share teaching arrangement. Now, I’m a part-time teacher, author and speaker with a much better balance.
Now I try to write daily, ideally 500–1000 words. As soon as I’ve submitted edits or a new manuscript, I start working on the next manuscript. I think writing is like a muscle – the more you exercise it, the fitter you become. I also read extensively, paying close attention when I love another author’s style, and considering why the story concept/character/setting/plot affected me. My goal is for readers to feel a connection and care about my characters, so I am excited when I enjoy that experience as a reader.
What’s next?
I’m in the final stages of editing my next book, We Did It Anyway (July 2026) which is another standalone mystery set in the same surf lifesaving world as We Saw What You Started. I’m also working on Books 3 and 4. Fingers crossed my agent and publisher like them as much as I do!
LC: Many thanks to Carla for taking the time to answer my questions and share her journey to publication. I encourage you to track down We Saw What You Started. You can find out more about Carla here: www.carlasalmonbooks.com, including links to her socials.