PHOTO: Carole Wilkinson, acclaimed author of the Dragonkeeper series, whose literary path began after a decade spent working in science laboratories.
Imagination History And The Power Of Late Beginnings
Carole Wilkinson reflects on her unique path to becoming a beloved author, blending fantasy and history to create compelling stories for young readers across the world.
Carole Wilkinson’s stories are woven from a rich tapestry of imagination, research, and lived experience. From her early days in England to a life re-rooted in Australia, her creative journey has been anything but linear. Having spent more than a decade working in laboratories, she pivoted toward a new path later in life—one that would see her conjure dragons, unearth historical truths, and explore the past through the eyes of young readers.
Best known for the Dragonkeeper series—set in ancient China and beloved around the world—Carole brings to her storytelling a rare blend of precision and wonder. Her fascination with mythology, history, and culture breathes life into every page, from the silken scrolls of Han Dynasty palaces to the dusty roads walked by Ned Kelly. She writes not only with clarity and care, but also with the exuberance of someone discovering her calling as she writes.
Wilkinson’s ability to write for children and teens, while never talking down to them, is part of her signature charm. Whether adapting Shakespeare for a teenage musical or reconstructing Australia’s past in her nonfiction work, she approaches each subject with curiosity and heart. And it is perhaps that heart—quietly defiant, deeply empathetic—that makes her books resonate across generations.
What inspired you to set the Dragonkeeper series during the Han Dynasty in ancient China?
I have always had an interest in China and its mythology. Perhaps it came from reading Rupert Bear books as a child! One of Rupert’s friends was a Chinese girl. I loved her exoticness (and her pet dragon!)
I got first-hand experience of China when I visited China in 1987.
I chose the Han Dynasty because I wanted to avoid Buddhism. Also there was a Han Emperor who came to power when he was 15. I used him as a character in the books.
How did your scientific background as a laboratory assistant influence your writing or approach to storytelling?
I don’t think it had much effect really. Doing blood tests and staining very thin slices of some sort of material (cat brain, in my job!) to make microscope slides, required sticking precisely to instructions. After years of following directions to the letter, I love the freedom of being able to make up characters and stories and place them anywhere I like.
Was there a particular reason you chose to begin writing later in life, and how did that affect your perspective as an author?
Writing was not something I had always aspired to. It crept up on me. I always felt I wanted to do something creative but it wasn’t until I went to university as an adult and chose to major in creative writing that I realised that was what I wanted to do. I started off writing non-fiction, including articles for weekend newspapers, and I did get a number of pieces published. I also tried scriptwriting, and I wrote a script for a telemovie which was produced, and screened in England, Germany and Australia. But when I got a job writing scripts for production company, I discovered they were usually written by a team of writers which didn’t suit me. It wasn’t until I did Fiction as an elective at university that I realised I loved the challenge of having complete freedom to invent my own stories.
Black Snake blends fact with fictional perspectives—what challenges did you face in balancing historical accuracy with imaginative storytelling?
I didn’t want to invent aspects of Ned Kelly’s life for the fictional pieces, so I used less known incidents. That gave me the space to imagine the detail, and to work these events into the well-documented story of his life.
As well as books written about Ned and his life, I also read contemporary newspaper articles about his exploits to discover what people thought of him at the time.
And Ned himself wrote about his adventures. His own writing gave me a wonderful insight into what sort of man he was.
How did your daughter’s experiences at school help spark the idea for Stagefright, and did she contribute to the story in any other way?
When I started writing, Lili was involved in drama at high school with a diverse group of kids. They created a musical version of the Odyssey, which I thought was great. When I approached a publisher, looking for a writing job, she was commissioning a series of books for teenagers. She asked if I could write a book for teens. I said Yes, even though I didn’t have any ideas for a teen story! But I remembered how much I’d enjoyed Lili and her fellow students’ modern take on the Odyssey. I thought I could write about teenagers who did something similar. I had studied Shakespeare’s Richard III at school and decided that was what my characters would adapt as a musical drama. The publisher liked the idea and it became my first published book, setting me on a path to becoming a writer for children and teens.
Lili didn’t contribute to the story in any other way. In fact when she became a writer for teens, she was miffed that I had stolen this idea from her life! She has however developed into a bold and brilliant writer of novels for older teenagers.
Do you find it easier to write for younger readers or for older audiences, and why?
Apart from those early newspaper articles and university essays, everything I’ve written has been for young people. I have never attempted to write a novel for adults. I enjoy writing page-turning fantasy stories, and kids love them! Writing for younger readers also makes it easier for me to add humour. And young readers are so wonderfully enthusiastic about reading!
What kind of research do you typically undertake when writing historical fiction or books set in other cultures?
I often start with a strong sense of where and when I want to set a story, but a much vaguer idea of the actual story. I find library books about the era and read them with a view to getting story ideas. I like to make the historical detail as authentic as possible (apart from the introduction of dragons and necromancers of course), so I search for everyday detail as well. Then I start to plot out the story, usually in a three-act structure. I do that on a large whiteboard. I find plotting while standing up is much more productive than sitting at a computer. Plotting is challenging, but very rewarding when it comes together.
What advice would you give to aspiring authors, especially those who might be starting their writing journey later in life?
I recommend joining a writers’ group. I found talking with other new writers made the process of creating stories for the first time less daunting. A short writing course can help to get new writers used to deadlines. No publisher is interested in an overdue book!
Authors who begin writing later in life often have family and work commitments. Finding time to write can be challenging. Writers must learn how to find time to write. One way is getting up early and writing for an hour while the rest of the family is still asleep. Cutting back on time spent online and watching less television are others! The reward of finishing a writing project makes the sacrifices worthwhile.
