Not many of my books have sold as well as "Snake and Lizard" and yet when I first wrote those stories, there was a general opinion that they would not be published because people didn't like snakes. So now I'm asking you not to shudder when I tell you that the latest book, scheduled for publication in 2016, is about rats. This is "Ratenburg", the story of a family of rats who set out on a long journey made difficult by predators and ratophobic humming beans, in an attempt to reach the fabled city of Ratenburg where rats may live in peace and luxury. It is one of those "heroes journey" stories, but I have tried to make it unique with humour and strong characters. Some of you may ask why did I choose to write about rats. I confess that I admire rats. Yes, we have too many of them; but this is probably due to their strengths: they are intelligent, socially well-ordered, have a strong sense of survival and are very good parents. I've used all these qualities in this book told by the rat father Spinnaker who is of the ship rat clan. Of course, the fact that I was born in the Chinese Year of the Rat, did not influence me at all!

I wrote the tale in January when we were in the bay in Kenepuru Sound, back in Millig, the old house now owned by son and daughter-in-law James and Maria Cowley. During holidays the back of the house is the place of hospitality, swarming with family and friends plus the warm smells of baking and fresh coffee. My writing sanctuary is at the front, on the verandah overlooking bush and sea. Apart from the occasional shy approach of a bellbird, or dear Maria bring out a mug of coffee, there were no interruptions and the book, already planned, flowed into first draft in just over two weeks.

I'm often asked about my work methods. A 38,000 words book like Ratenburg can sit in my mind for 1 - 3 years. I'm a plot-driven person who is less strong on character, and I need a lot of time to flesh out credible characters for my stories. This happens in spare moments in the day, sitting in a train, waiting at a bus stop, while weeding the garden. The most effective creative time is when my mind is not occupied with something else. When the story is ripe and ready to be written, I'm like some animal that goes off to find a quiet place to give birth. That happens as fast as I can type. But the editing process takes months. There are the immediate edits, 3 or 4 times, then the document stays on the computer untouched for about 3 months before I go back to it. At this distance, I am disengaged and can see the writing more objectively. After more tweaking I send it to the publisher. Eventually, I will have an outside editor look at it. My choice for this is the wonderful Patricia Lee Gauch of New York who has the reputation of being one of the best editors in the United States. She was the publisher for Philomel but now, in retirement, lectures on writing and editing children's books. She has remarkable insight and her suggestions always bring patches of dead prose to life.

So that's it, an overview of the creation of "Ratenburg" to answer a common question: how do you work on a book?

For those who want to know progress on other books, Kevin Chapman of Upstart Press is publishing board books of the Buzzy Bee stories I wrote a couple of years ago. These stories have basic learning for pre-school children, counting 1 - 10, days of week, colours, simple fractions, time, etc. The traditional Buzzy Bee and friends are re-created by talented illustrator Richard Hoit.

Last year, Scholastic asked me to write a New Zealand version of an old lullaby, "Hush Little Baby". The book, coming out this May, has glorious art by Andrew Burden. It is rare to get illustrations so beautiful that one is tempted to take the book apart and frame the pages to hang on a wall.

Another title coming out in May, is a book of spiritual reflections for adults, "Honest to Goodness". As most of you know my activities have been divided between children's writing and retreat work. I describe the latter as "cup of tea spirituality" in that is grounded in the ordinary, an awareness of the sacred in all creation. "Honest to Goodness" is a series of new reflections on familiar church liturgy, written to encourage people to pause, reflect and then create their own responses. This book will be published by Pleroma Press, Otane.

In February, Hameray of Los Angeles, published "What Is a Book?" to celebrate 30 years of Reading Recovery in North America. This book for beginner readers, illustrated by Philip Webb, was written as a fund-raiser for the intervention reading programme taken to the States by founder Dame Marie Clay. I wish that Marie could have been there at the celebrations in Columbus Ohio. A record number of Reading Recovery teachers attended, and Marie Clay's photos were everywhere, fluttering as banners of significance. My time at the conference was full, a 90 minute workshop, a 50 minute keynote and total of 13 hours of book-signing. Conferences such as these, leave me feeling both exhausted and energised. Don't ask me how that works, but it is true.

After the Reading Recovery final keynote, I was hurried away to the Columbus airport for a flight to LAX and then another to Taipei where New Zealand was guest of honour at the Taipei International Book Exhibition. With the Reading Recover commitment, I missed the opening day - and also much of the next day, because I spent six hours of it, asleep in a comfortable hotel bed! My first impressions of the TIBE were of slack-jawed wonder at the size and busyness of the exhibitions.

Imagine, if you will, four buildings each as big as a city airport, each packed with exhibits, and the paths between so crowded that it took minutes to walk a short distance to the New Zealand exhibition in Hall 1. Fortunately I had Peng Li, a very capable minder who would have been adept at parting the Red Sea. She not only got me to appointments on time, she also found a way to sidestep a long queue to the Michelin Star restaurant that claims the best dumplings in the world. Peng Li was as necessary as a battery to a mobile toy, and I would not have got anywhere without her. It was lovely to be with Kiwi friends, sometimes for just a minute or two, and I felt much pride at the attention given New Zealand writers and publishers. I didn't know we were so interesting! I understood that I was there because I had a Taiwan publisher, but being foggy-minded about contracts and rights sales, I didn't realise I had three publishers. This meant that obligations to talk, sign books, have interviews and publisher dinners, had tripled. So with this and the set New Zealand programme, I didn't have time for sight-seeing, but discoveries were there, all the same. They were of lovely people and delicious food, so I left Taiwan a little heavier and with a full heart.

Now for a word or two about home. The best thing about any travel is to see Terry's smile when I step off the air-bridge into Wellington airport. After Taipei, I let people know that this was my last writing related overseas travel. No more work trips. I feel a little sad about this, but also greatly relieved. I'm nearly 79 and don't need excuses for semi-retirement. I need more time with my precious Terry, with my family, children, grandchildren, great-grandchildren, and I would like to put some time into my other interests such as wood-turning, icon writing, music, spinning and knitting, playing Scrabble. Terry has health issues that prevent him from flying long distances, but we are going to Norfolk Island for his 85th birthday next month, and if that works well for him, we might try the occasional trip to Sydney - which is a special place for him.

I will continue with retreats in New Zealand. I don't seek to do these but try to say yes if asked. It is a pleasure to share journey with others. And who knows? With more "free" time I might be more regular with these web letters! We shall see.

I send love to you all, and wish you good health and happiness.