So there we are, my partner and I, and we’re slogging up Whitsunday Peak on Whitsunday Island, and it’s hot and humid. My sandfly bites are driving me crazy, and mozzies the size of elephants are trying to carry me away. I’m wondering if my desire not to be the first one to say ‘let’s stop’, will beat my desire to get back to Dugong Beach as quickly as possible and plunge myself into the beautiful, clear, turquoise water.

I give in. “Greg,” I whinge. “Let’s go back.”

He stops almost mid-step. “Phew,” he says. “I thought you’d never say it.”

So we turn around and pick our way back down through the rainforest, and into the scrub, and back along the path to the beach, and as we do, I’m thinking about my (then) 13-year-old daughter Anna, and how much she loves to do dance. I’m swatting away the mozzies, and wiping the sweat from my brow, and I suddenly get this little dancing image in my mind. At least, it’s a little girl, but she’s not exactly dancing, she’s doing Ninja moves.

“Yee-hah!” she’s shouting, as she puts up a hand to stop an imaginary opponent, and I’m surprised though, that she’s dressed in a little pink tutu and ballet slippers – because even though I’ve only just made her acquaintance I’m absolutely sure she doesn’t want to be a ballerina, she wants to be a Ninja.

The Ninja Ballerina I think to myself, and suddenly a name pops into my head.   Belinda.

Belinda the Ninja Ballerina.

I’m almost jumping up and down on the spot – I’d be doing Ninja moves at the brush turkeys if I was supple enough.

One of Mitch Vane’s early drawings for Belinda.

“I’ve got an idea for a children’s book,” I say. “I think I’ve got to write it now.”

There’s a wonderful moment as a writer, when an idea comes to you – and just for a moment you see it there, already written, already published even, and it’s perfect, it’s just as you imagined it, it’s a success, everybody loves it…and then, reality hits. To begin with, you actually have to get the words out of your head on to paper, or computer, and then you have to begin the arduous process of working on the words, and even worse, fight off the internal nay-sayers who are only too happy to tell you that your idea is no good, and why on earth do you think you can write a book. Those voices don’t even listen when you tell them you’ve written books before – “yeah, well,” they’ll say in derision, “just because you’ve done it before doesn’t mean you can do it again.” When I teach creative writing I always tell people – when you write something, at some point or other you’re going to have to cross Mordor.

But as I sat on a wooden bench, under a palm tree, trying to get this cheeky curly-headed girl out of my head and into a story, the words flowed as swiftly as a river, and within an hour, she was written. There was only one problem – I wished desperately that I could draw – I so wanted Belinda to look as I imagined her, and not how someone else might imagine her. But I needn’t have worried, because for whatever magical reason it might be, Belinda’s birth into the world of books, has been as easy and blessed as the moment of creation.

Some people have already asked me the obvious question of whether I did ballet as a child, and I did – but let’s just say that I was not the most graceful child on the block. In fact I was pretty much permanently traumatized from the age of four when my father came to see me dance at my end of year kindergarten concert. We were doing a Little Miss Muffet sequence, and I was very proud of my pink tutu, tights and ballet shoes. I ran up to my parents after it was over, and my father looked at me solemnly.

“Well,” he said, “Stay as clumsy as that and you’ll never make a dancer.”   I sat down on my little pink bottom and burst into tears while my mother hugged me and not for the first or last time looked at my father reproachfully.

And there I was sitting under a palm tree on the other side of the world over 50 years later, and the idea of the Little Miss Muffet sequence came flooding back in – but this time, Belinda took control. No cute little costumes for her – no way, she wanted to be the Ninja spider. Graceful be damned – she was going to dance her way, or no way.

Mitch working up the concept of Belinda through mood boards to familiarize herself with the characters.

When Paul Collins, the publisher of Ford Street books in Melbourne, accepted Belinda I was delighted. I love what he does with children’s books – the care he takes, the fact that he’s stuck to his guns and still prints picture books in hardback, and when he mentioned to me that perhaps we should approach Mitch Vane to do the illustrations, I was over the moon. I know Mitch’s work well, although I’ve never met her, and sitting far away in Byron Bay, waiting for the first drawings to come in, I felt a combination of excitement and trepidation. How would Mitch see Belinda? After all, they’re not called ‘picture’ books for nothing – the words may have come first, but the pictures were essential. Would Mitch’s vision match mine, or would she see Belinda completely differently?

When the email arrived with the first roughs, I almost broke the keyboard in my excitement to open them – and WOW – there was Belinda. My Belinda. A cheeky curly-haired red-head, with a grin, and a Ninja costume, cart-wheeling her way through the pages of the book.

It’s interesting when you write a book, or a story, or essay, how other people see it – sometimes as a writer you may question their interpretation, sometimes they see something you didn’t even see when you were writing. Mitch spotted an element to the book that was entirely unconscious in the writing, and that was Belinda’s constant movement.

“Belinda’s character is never what you would call ‘quiet’ or ‘still’,” Mitch said to me when we were talking about the teacher’s notes for the book. “Throughout the story she never stops practicing her Ninja moves, and that’s why I felt the energetic squiggly pen and ink line and splashes of colour wash best reflected her personality – but I think what was most important for me was to portray Belinda’s determination and passion.”

The final cover, and Belinda bounces into bookshops…

It seemed that Mitch and Paul both connected with Belinda’s determined personality, and then throughout the publishing process there was also Dmetri Kakmi – Belinda’s editor – the contact point between us all – publisher, author and illustrator. He too loved Belinda, and carefully negotiated the minefield of dealing with ‘creatives’ to gather the various strands into the whole that has become the book that at this moment – after 14 books – has most perfectly realized that moment of creation.

I know how lucky I am as a writer to have had this experience, and as Belinda the Ninja Ballerina is launched into the world next week, I hope many young readers enjoy her message about the importance of standing up for yourself.

Belinda the Ninja Ballerina is published by Ford Street Publishing.  It’s available in hardback, $25.95, or paperback, $15.95, through bookshops and supermarkets.  If you want teacher’s notes or to purchase directly from the publisher you can go to fordstreetpublishing

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“We’re presenting part of two absolutely classic ballets next weekend,” says Director and choreographer of the Byron Ballet, Yvonne Hall.  “What I personally like about Coppelia is that although it’s a comedic story, it’s also about romance, betrayal and mistaken identity.”

Most of us, of course, know the storyline: Dr Coppelius, the eccentric toymaker, creates beautiful, life-like dolls.  A village boy, Franz, is intrigued by the prettiest doll of all – Coppelia. Franz’s fiance becomes jealous and  sets out with her friends to find out more about this mysterious young woman, and so the comedic chaos begins. The company will be presenting Act 2/3.

“We’ll be presenting Acts Two and Three,” says Hall.  “Coppelia is the perfect family ballet and the music, composed by Leo Delibes, and it’s a wonderful introduction to classical music for young children.”

Hall is delighted that the production sees the return to the company of the now Brisbane based Laura Kate Terry.  “The principal female role, Swanhilda, will be danced by  Laura Kate Terry – a Lennox Head girl originally, who has worked her way up throught the ranks of Byron Ballet over the years. She is a great actress as well as a dancer, which is really important in this comedic role,” says Hall.

Jeremy Gates will be performing with the Byron Ballet for one weekend only.

Professional dancers Jeremy Gates and Thomas Dilley will also be performing variations from other class ballets.  Gates came to ballet via a somewhat unusual route.  Originally a keen footballer and cricketer, Gates was also interested in acting while he was at school, and a friend suggested to him that to improve his acting skills he should learn to dance. Fast forward a few years and Gates is now embarked on an international career, dancing with the Thuringer Staatsballett in Germany. Originally he had no intention of doing ballet.  “I thought it was for girls,” he says, “but I was also starting to enjoy it more and more, so in the end I decided to give away the hip-hop and break dancing and concentrate on ballet.”

Hall is thrilled to have a dancer of Gates’ calibre for the show.  “Unfortunately Jeremy will be returning back to his ballet company in Germany after the show – but it’s a shame we can’t keep him,” she laughs.

Thomas Dilley will be in Byron Bay next weekend to perform in Coppelia and Bolero.

For ballet lovers the chance to see dancers of the standard of Gates, Thomas Dilley, who outdanced hundreds of dancers to get through to the finals of Youth America Grand Prix Ballet (featured in our main shot) and Laura Kate Terry doesn’t happen too often in the Northern Rivers.  “This is really ballet of an oustandingly high level,” says Hall.  “I’m extremely proud to be able to present the company in our Gala performance, doing work of this calibre.:

The famous Ravel’s Bolero is one of the most sensual and hypnotic works of all time, building to an irresistable climax. Byron Ballet dancers will be presenting a contemporary work with a flamenco flair.

“The dancers are really enjoying the contrast of these two dance pieces – the music of Bolero is really quite addictive – it does put everyone into a trance, it’s amazing,” says Hall.  “I’m sure the audience are going to walk away having enjoyed a truly amazing Gala programme.”

The Byron Ballet’s Gala Performance is on Saturday August 29 at 2.00pm and 7.00 pm at the Byron Theatre.  To book tickets go to: www.byroncentre.com.au  To win a free double pass and a copy of Candida Baker’s latest book, Belinda the Ninja Ballerina leave a comment in the box below, or on Verandah Magazine’s Facebook page, or on our instagram – Verandahmagbyron.

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This photo was shot using a Canon 5D with available light.

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