It’s a huge honour to welcome the multi-talented Maura Pierlot back to Book Chat. Maura is an award-winning author, as well as a respected editor, poet, ethicist, playwright and book reviewer.
The last time we chatted, Maura had just released Fragments, a script and video series exploring young adult mental health issues. Now a feature film, YA hybrid novella and award-winning web series, Fragments has connected with people of all ages and opened the doors to all sorts of vital conversations.
Maura is now back with a picture story book for younger readers, Clutterbugs, which delivers a powerful sustainability message through a fun, rhyming story that empowers kids to make important changes in their own lives.
Thanks so much for chatting again, Maura! The last time we met here, we were welcoming Fragments into the world. I’m sure our readers would love to know what you’ve been up to in the three-and-a-half years between then and the arrival of Clutterbugs.
It’s great to be back, Cam. Thanks for the opportunity! It’s been a super-busy three-and-a-half years. I’ve welcomed two (creative non-fiction) picture books into the world: What Will You Make Today? (Storytorch Press, June 2023) and Alphabetter – A Better You and Me, from A to Z (Affirm Press, February 2024). I’ve finalised my new picture book, Clutterbugs (out 1st April) and my long-awaited young adult novel, The Lies We Tell Ourselves (out 1st August this year).
Meanwhile, I’ve been knee-deep in memories and memoir-writing, supported by writing residencies and fellowships (Salamanca Arts Centre and KSP Writers’ Centre, to name a few). I’ve recently qualified as an art therapist – not sure why, as I don’t plan to practise, but the intense training and insights dovetailed brilliantly with my memoir work. When I’m not writing, I’ve been busy running The Book Bench Project (a weekly book drop across Canberra suburbs) and working behind the scenes with various community organisations in Canberra and beyond. During my downtime, I’ve travelled the NSW and Victorian coasts, top to bottom, and a good part of WA’s, before spending a blissful two months in Italy and Croatia last northern summer.
Thank you. What an incredibly productive and inspiring 3.5 years!
I’m curious to know what specifically drove you to write Clutterbugs. Did anything in particular make you see the need for a book that shares its themes and messages?
I’ve hopefully instilled in our kids a sense of personal responsibility for their room and belongings, environmental awareness and the importance of sustainability. That said, they’re (still) forever misplacing things. Simply put, people today have too much stuff, and the blatant consumerism that drives 21st century living has never sat well with me. I’ve been a virtuoso repurposer and op shopper since my school days. My mother was an artist, so not surprisingly, we made much more than we bought. I crafted gifts for friends and family, sold my wares at markets at a young age, hand-painted Christmas cards and introduced food coops and clothing swaps when I was in my early 20s. I’ve always been passionate about the environment, not in a flag-waving, look-at-me kind of way, just quietly working and living a life that honours values I hold dear.
In this digital age, so many people talk the talk when they should be focusing instead on walking the walk. Clutterbugs is my way of continuing to walk to the walk, while encouraging young readers to do the same.
I love the idea of the clutterbugs themselves – a cohort of cute critters who help people unclutter their lives and reap all the resultant benefits. I’m curious to know where the idea of these very helpful bugs came from.
The term ‘clutterbugs’ is often used in a lighthearted way to describe someone who holds on to things they arguably don’t need, which can lead to disorganisation and mess. I wanted to flip the term on its head and embellish it with some friendly zoomorphism: What if the clutterbugs were cute creatures that collected, organised and repurposed clutter? What if a child was so messy that they couldn’t see the carpet or door in their room? (A hypothetical inspired by my daughter, age 23, who recently moved out, so her room is the cleanest it's ever been.)
I’m a clutterbug from way back when. My mother was always telling me, You have too many tchotchkes! I think I tend to hold on to memorabilia because it’s a lifeline to my past and, in an odd way, helps me unpack emotions around various events, relationships, and experiences, both good and bad. As an expat, I’ve found it difficult over the years to let go of some items, even though they serve no practical use. Perhaps it’s because the items reflect my identity and cultural heritage, and offer a sense of comfort and continuity amidst change. But some people are clutterbugs simply because they lack organisation skills, or time and attention, or they succumb to marketing pressures and define themselves in terms of the ‘stuff’ they own.
Clutterbugs doesn’t dive into the reasons for mess. It’s a fun, quirky adventure that offers simple steps for children (and big people!) to take responsibility for their room and belongings, while considering the environmental impact of their choices. Clutterbugs aims to instil a sense of agency, ownership and accountability in children as individuals, while fostering an appreciation for sustainability on a collective level.
One of the things I loved most about Clutterbugs was the beauty of its rhyme. It’s so hard to sustain an extended piece of rhyme but you’ve really nailed it. I’d love to know if you have any advice for other scribes venturing to write for children in a similar style.
I’ve told myself countless times, No more rhyming books! Then, each time I procrastinate (a chronic condition for my memoir WIP), I come up with a rhyming text that draws me in as a creative challenge. That’s because I love the musicality of rhyme, its playful nature and the rhythmic patterns – building blocks for phonemic awareness and literacy. If the rhyme features wordplay, all the better!
Many writers fall apart with rhyme because they overlook metre, which provides the rhythmic structure. Rhyme isn’t just making words at the end of a line rhyme, or fitting rhyming sequences into patterns. It’s about hitting the accent on the right syllable at the right time so the words flow with a musical quality, allowing readers to anticipate the beats and patterns. But even more importantly, some rhyme-writers struggle because they focus on rhyme rather than story. The text reads as though it was constructed with rhyme first, meaning the rhyming word/s are determining the direction of the story. Ultimately, there needs to be good progression and purpose for the rhyming text.
The story concept and rhyme often pop into my head when I least expect it, and I usually play around with ideas for a while. Before I start writing the manuscript, I flesh out the story arc in a non-rhyming way, mapping elements to certain page spreads to keep the action moving: an early challenge introduced, then a complication, perhaps a reversal, followed by a resolution with themes or messages teased out. Some people claim children’s books don’t need to have (and should not have) a message. I say, Hooey! Every story has a message or there is literally no point.
So many beautiful lessons are gently delivered in Clutterbugs – the importance of reusing and recycling, the futility of materialism and the value of homemade, heartfelt gifts – but it never feels at all moralistic. Can you offer some advice to other writers who wish to write texts that convey messages without sounding preachy?
As you rightly said, it’s all about a ‘gentle’ delivery, and how to do this isn’t easy to put into words. For me, it’s a combination of things. Firstly, I assume the child is an intelligent reader, and by that, I’m not talking about intellect but curiosity and open-mindedness. Children are thinking beings who are capable of understanding much more than we give them credit for. Secondly, I try to ask questions and shy away from presenting all the answers. Reading is often treated as a passive exercise but it’s an active pursuit. To truly engage with the story, readers have work to do – pondering, questioning, imagining and drawing connections, rather than taking a back seat, expecting a word shower to rain on them. Thirdly, I often use metaphors that convey complex concepts in relatable ways, so young readers can easily engage with the story and understand some ‘big picture’ elements, even if intuitively rather than rationally. Fourthly, I never lose sight of the ‘story’ and love to incorporate humour and playful language, which helps young readers to relate to, and internalise, the message/s.
The illustrations in Clutterbugs are a barrel of fun, and complement your text so well. I’d be curious to know a little about how you and Maya Bora worked together to create such a fantastic final result.
Tadaa (Ozan and Anil Tortop) seamlessly managed the pre-production phase, from editing, illustrations, typesetting/design to preparation of print-ready files. I chose Maya Bora from a long list of excellent illustrators on Tadaa’s website, and I’m so glad I did – she was a joy to work with! She’s hugely talented, has an open mind, works tirelessly and has a great eye for detail. Her vibrant illustrations are imbued with an energy that brings my words to life in ways I never imagined. Ozan, my main point of contact who coordinated the various threads of the project, was always so attentive, gracious and quick to respond. Nothing was too hard! It was arguably the easiest, most efficient, most hassle-free publishing experience I have ever had.
You’ve now written in all sorts of formats for the full spectrum of age groups. Do you find that you need to put very different ‘author hats’ on for different age groups, or are the commonalities more prevalent than we might think?
The basics are the same (Story, story, story!) although the vehicles are different. Like any journey, there can be detours, accidents, roadworks and mishaps, no matter how well you think you’re travelling. On a related note, during the first COVID lockdown, I wrote and produced a video series for children titled ‘Our Wellbeing Toolbox’, likening the skills needed for a positive and healthy mindset to a toolbox within arms’ reach for our travels. Well, I’ve had to dip into that toolbox on many occasions over the years to polish and pitch manuscripts, navigate the rocky road to publication and then promote the work to get my books into the hands of eager readers.
The publishing industry today is highly competitive, highly commercialised and highly saturated. It often seems to be less about literary value and the work itself and more about the creator’s backstory, connections and persona, ie, sales potential. As a result, people spend too much time crafting an online presence for who they think a creator should be rather than who they truly are. I try to keep things simple. I write about issues that matter in the best way that I can, focusing on the integrity and value of the story and the message/s, while continuously striving to learn and grow, both personally and as an artist, in a way that is authentic to who I am and how I live my life.
I really admire this approach to your craft. So, what’s next for Maura Pierlot?
I won the Cook Creative Writing Prize late last year, which is supporting the early development and writing stages of a hybrid chapbook, a creative response to grieving and loss. I’m also working on a wellbeing title that will help young and old alike to feel better. I have a zany but heartfelt (rhyming) picture book out with Scholastic Australia in mid-2026. Then there’s that damn memoir which is taking F.O.R.E.V.E.R. I’m meant to be heading to Alaska and Canada then back to my old stomping ground (New York City) later this year. I can already taste the pizza at Joe’s on Broadway.
What an exciting time. I'll be keen to see the fruits of your work!
Finally, where are the best places for people to find you online, and to follow Clutterbugs as it catapults its way across the internet?
Readers can find Clutterbugs in most online retailers and also at The Book Cow, who ships throughout Australia. I post mainly on Instagram (@maurapierlot_author) and Facebook (@maurapierlotauthor). My professional website is http://maurapierlot.com/. Big Ideas Press, the imprint for my self-published work, wellbeing initiatives and home of The Book Bench Project, has a website (http://bigideaspress.com/) and YouTube channel (https://www.youtube.com/@bigideaspress). Fragments – the play, the playscript, the novella, the web series and the feature-length anthology – has its own website: http://fragmentsthefilm.com/.
Many thanks for chatting again, Maura. I really appreciate how generous you are in sharing your thoughts, processes, and experiences. I wish you every success for your wonderful Clutterbugs!
This post is part of a blog tour for Clutterbugs, presented by Books On Tour PR & Marketing. Please keep following Maura's journey on all of the fine blogs and sites below.
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