Issue 134

The cover of ‘Selfie’.

What inspired you to write Selfie and how did you develop Tully Sinclair’s character?

Selfie was inspired by my own misgivings with social media. Authors must have an online presence to promote our work and not all of us are comfortable, confident performers. Many of us suffer from imposter syndrome. We, too, are susceptible to making negative comparisons when viewing other’s highlights reels. Writing Selfie was cathartic because I was able to work through those issues via story. I thought, if I’m struggling with this, how on earth are teenagers dealing with it? (Spoiler: I still struggle with it!) I thought back to ‘teenage me’ and knew I would’ve been a nightmare on socials – I would’ve overshared, been performative, and I definitely would’ve succumbed to diet culture, and done things I regretted.

In Selfie, Tully is an anxious overthinker (not a far stretch for me) and her actions and reactions are intensified by Dene’s unpredictable behaviour. Tully desperately wants to please Dene, and meanwhile Dene is trying to please her ‘Mumager’ (as they call them in the trade) who is profiting from Dene’s online following. As the story progresses, Tully must learn to dig deeper, to think harder about what’s really going on. She comes to realise that most of it is smoke and mirrors, and that Dene’s life isn’t as glamorous as she makes it out to be.

How does Selfie explore the impact of social media on teenage identity and self-esteem?

Tully is a follower of Dene’s Insta account before she meets her in real life, so she already knows a lot about her, and when she speaks of Dene’s product endorsement deals and her number of followers, it’s clear Tully idolises Dene. But not long after meeting Dene, Tully starts to register that what happens online doesn’t necessarily marry to real life. She becomes confused and starts asking questions. When Dene and Tully’s relationship becomes strained, Tully becomes withdrawn and depressed, and she reverts to creating artwork and posting it online. Suddenly Tully’s the one receiving attention, and she starts to gain even more insight into what life must be like for Dene. Meanwhile, Dene is watching Tully and is coming to terms with how she’s been commodified. Ultimately? There are no villains. There are only misunderstandings and assumptions generated by social media.

What do you hope young readers take away from Tully’s experience with influencer culture?

To ask questions. To think critically. To not just see the glossy product, but to look beyond it and consider what might be going on behind the scenes. Also: the money might be tempting, but are you selling your soul?

How did you approach portraying the fine line between authentic friendship and online validation in the novel?

Ironically, I didn’t do it by showing the highlights reel. I did it by depicting every screw up, every misunderstanding, all the anxiousness and overthinking, every painful attempt at genuine connection. The messiness is where the truth lies. The relationship between Dene and Tully is fraught with contradictions. As the story progresses, both girls begin to look beyond surface level, instinctually searching for a deeper meaning and connection.

What are your thoughts on Australia’s upcoming social media ban for those under 16?

For those who’ve lost loved ones to suicide as a result of online bullying, I can readily see how cut and dried the argument is: ban social media. Simple. But for those who crave connection, and particularly those who feel marginalised or who feel as though they’ve found their tribe in an online world, or even for those who live in remote communities, cutting those links could be equally detrimental – and the statistics associated with doing that are hard to measure.

The government is attempting to wrangle an unregulated space and be seen to be trying something. How that will work in practice is anyone’s guess. When I learned of the ban, my immediate thought was: if I was a teenager and I was told ‘no you can’t’, that would make it even more attractive and I’d likely find ways around it. I imagine this generation will too. Sending social media underground (which is where it will be forced to go) might have ramifications we didn’t see coming.

How do you think this ban might affect the way young people navigate friendships and self-image?

To answer that, you only need to look at what did we do before social media. We found our icons in magazines, film, literature and music. I think teens will revert to those spaces. When you’re growing up and figuring out who you are, it’s natural to look beyond yourself and question who your tribe is or who you identify with. Many a teen movie depicts social groups: sporty kids, theatre kids, jocks, nerds etc, and I think post–social media, that’s where friendships and self-image will continue to take shape. Identity issues were always there. The amount of time we spend thinking about them is what’s changed, amplified by social media. Hopefully switching off will dial back the intensity. Kids can come home from school, clock off, and not have their home life invaded by external pressures.

What role do you believe books like Selfie can play in helping teens critically assess their social media habits?

Our most powerful ally is education. Selfie provides a platform to get the conversation started. I write these stories with the hope that readers will point to my work and say, ‘There! That’s me! I feel like that!’ or ‘I’ve experienced that!’ Sometimes it’s easier to discuss fictional characters because we can distance ourselves and not need to admit our own failings. Novels combat embarrassment – a powerful, limiting emotion. Remove the shame, you’ve changed the game.

What’s next for you as a writer? Are you working on any new projects that address similar themes?

My next YA novel Maisy Hayes is not for sale comes out in September 2025 and it’s for the same readership as Selfie: tweens and up. In some ways, Maisy does explore similar themes to Selfie, in that the story is focused on social comparison, but this time financial hardship, the haves and the have-nots. Maisy’s family is doing it tough. There’s never enough money to pay the bills and she’s used to going without. Maisy dreams of a better life. And then one day her absent father offers her exactly that. Maisy is suddenly thrust into a world where money is no object. But she soon learns that it comes with problems too. She starts to question what true wealth actually is.

Maisy is about shame: wearing it and shirking it. And about not letting others write your story.