By Wang Chu Qiao

Calling: When you first left the corporate world, how do you arrive at the decision of writing children’s books next, instead of say, dance therapy? Can you share how you discern your calling in this, so as to speak?

Initially, I had no idea what I was going to do. I then came across an advertisement in the newspapers, a few months after, about an overseas writing course. As I’ve generally been inclined towards writing (both in school and at work), I decided to sign up for the course. Writing children’s books came about a year later when I became a winner at the MDA/Book Council First Time Writers Publishing Initiative, which is for children’s books. Through that, I experienced newfound passion in the writing and publishing of my debut book Prince Bear & Pauper Bear. But it was only when I was at the stage of deciding if I should publish my second book, The Tale of Rusty Horse, that it became clearer that I had calling to write. The confirmation came through scripture and confirming circumstances — from my pastor’s sermon in church to my bible dean’s morning devotion verse as well as the encouragement of readers.

Crunch-time: You mentioned that your faith has helped you on the journey of your struggle with your voice condition. What do you feel you now know about God and yourself that you wouldn’t have realised without this journey?

My whole journey of seeking God started with my voice condition — it began with the realisation that I could not control something as basic as speaking, and also with my desire to recover my voice. As medical solutions from Man proved futile, I started seeking God for recovery and answers. And slowly, God’s Word started to make sense like never before. The first revelation was that I cannot save myself from sin and it is only by grace that I am saved through Christ. The second was the revelation that God loves me, cares for me and wants me to live my life to the full. I also realised that we are made differently and have different gifts. Before this, I assumed that being a Christian meant I should lead a mediocre life and be contented being the ‘half-person’ that I was because of my voice deficiency. After I lost control of my voice, I found God and myself.

Curve-balls: What was the steepest learning curve and what were the unexpected challenges you had to negotiate when you first stepped into the career of writing children’s books?

Well, it was a humbling process hanging up the corporate suit and becoming a nobody, so to speak. With a corporate business card, you can always fall back on your company’s name to open doors for meetings and the like. As an aspiring writer with no track record, you have nothing to rely on except the goodwill of others to meet you and work with you. It wasn’t easy to plough on with the writing and publishing of my first book on my own and to discern what worked best for me as everyone I spoke to had a different opinion of how things should work. But it was during these times that I again realised how little control I had over the process and I learnt to rely on prayer and saw God’s favour each step of the way.

Condense: A lot of (aspiring) writers struggle with saying too little with too many words. What’s your thought process like when you’re condensing your ideas into so few words?

During the manuscript writing stage, I put on the hat of an author and write what I feel. When I get to a reasonably satisfactory draft, I take a few steps back and put on the hat of an editor. I put my manuscript through many rounds of self-editing — cutting the text down and substituting for fewer words which can say as much. It does take some discipline and willingness to be corrected to be able to critique your own work. I sought comments from friends and made it a point not to take things personally. I then put on the publisher’s hat and brought in a freelance editor at the end of the writing process of all my children’s book manuscripts for that final critical eye to language and grammar. I was quite deliberate in keeping to these steps.

Creative Process: How do you and your illustrator approach the tension between word and image? Share with us your creative working processes from the seed of an idea to the published work?

Actually, I found the creative process to be most enjoyable and I welcomed the differing viewpoints from my illustrator as our creative tension brought out the best work in both of us. I would provide him my manuscript along with a simple character design brief and sample artwork styles. He would revert with several options and we would work through those till we reached character designs which worked for us both. I kept my initial storyboard briefs brief as I wanted to see his interpretation first. Following his initial thumbnail storyboards, I would then provide my detailed input on those which I felt really needed revision. But we were generally on the same page so we would be quite agreed on 70% or so of his interpretation of my text. From there, I would also revisit everything to see if I could cut back on text if I felt the illustrations said enough.

Characters: How do you find inspirations for the stories and characters that you conjure up? Any particular reason to focus on animals as protagonists?

I used animals and toys as I wanted universal characters which children can relate to. That also allowed greater creative liberty since talking toys and animals are not limited in what they can say and do, as opposed to using children as main characters which would require some conformance to real life. For example, whilst it seemed perfectly acceptable for Pauper Bear to be a teddy without a mouth, it would be somewhat more limiting to express that for a child character.

Last, Caution: Having written, published and won awards for your works, what advice would you give aspiring writers looking to pursue that same path?

Write what you are passionate about and it will bear fruit in its own way. I did not set out to win awards although receiving them has been a blessing and encouragement in my writing. I wrote what I felt for in spite of some negative comments telling me otherwise. It ultimately paid off when readers shared how they could relate to it.

Commissision: We love it that you publicly share about how your faith and how it’s one of your sources of inspiration. Do you think you’d ever write an obviously Christian-themed story? Why or why not?

No. When I wrote my first children’s book, it was with the aspiration of writing a meaningful story which could hopefully touch readers. It was only after I completed my manuscript that I realised I had written my own personal story. It showed me how sub-conscious writing is and I came to see how the inspiration of the Holy Spirit guided me through all my 4 children’s books as each book told an aspect of my personal journey. Prince Bear & Pauper Bear was my “coming out” story and God’s restoration of my voice just as Pauper Bear was repaired and given a voice. The Tale of Rusty Horse is about letting go of the past and being true to self over bowing to crowd opinion. Just Teddy is about the realisation of being “fearfully and wonderfully made”. Bunny Finds The Right Stuff is about the realisation that it is what is on the inside that fills you, not the outward stuff.

And of course, by the time I wrote my memoir Finding My Voice, I knew that I was really writing two stories — God’s story in my life and my life in God’s story.

Dawn Fung catches up with Terry Phillips, singer, pastor and missionary, for Part 2 of this interview (see December 2010′s issue for Part 1). Terry is based in Singapore with his wife, Rose. They are with FCF.org.

Dawn:  Something grabbed me in the line “hanging out with “beatniks” in a coffee house outside Boston, Massachusetts, singing protest songs and reciting poetry” because I’m an ardent fan of folk music during the 60s. How did people view Jesus then, and why aren’t these (protest songs and poetry) part of the church culture today?

Terry: In one sense this culture did eventually permeate the church. I see the correlation of “protest” coffee shops and the early Jesus movement of the 70s. Jesus was seen more as a man, a deliverer from the oppression felt by the youth of the day. Remember, the 70s was characterized by “free love” and flower power. Jesus represented the ultimate Love Story. So there was a “bleed” of modern culture into the church.

The early music of the Jesus movement was some of the first crossover music from secular into Christian. The way that impacted me was to sing secular songs with Christian lyrics. Many were dead set against that intrusion but historically not much different from the Wesley brothers taking popular tunes from the pubs and adding Christian lyrics.

Dawn: Your conversion story made me laugh and moved. Moving on, how did Jesus bring you and Rose together, and how have you influenced each other in the arts?

Terry: Actually, music brought us together! I heard Rose, her older sister and another girl sing in a trio at a church camp. I was enamoured but misdirected to the wrong person. I tried to “woo” Rose’s older sister. (I was always attracted to older women.) That didn’t last too long.

Two years later I was running from the Lord’s call but somehow ended up at a Christian College. Rose’s sister was there. By this time she was engaged to a senior. Through a series of interesting circumstances I ended up rooming with him in the senior dorm. Eventually, I left the college under a cloud. Months later I surrendered to the Lord and His Call.

Rose came to visit the college several months later. Her sister asked that I “host” her for these few days. I was immediately smitten. However, she was totally uninterested. That summer we each sang a solo at the sister’s wedding. In the fall she came to the college and we began to date.

Even in the early days of our relationship we saw music as a platform for ministry. In the early years of ministry music was an integral part of our lives. The television studio was not too keen for women to be involved. We did co-host a show or two but so after a few months they only asked for me for solo guest slots. Also, the large church we served in seemed to have the same attitude. That’s why the albums were solo.

Rose developed a strong ministry and following as a worship leader in an international women’s organization. I encouraged her development and ministry. In fact, on her first visit to Indonesia she was invited to minister to minister in Jakarta for that same organization. (Today, she still provides training and vocal coaching for churches and individuals in Singapore.)

Dawn: I’m going to play a few tracks from your album you passed me. Wonderful archive in my collection. Could you share some history behind this work?

Terry: Perhaps one of the most interesting stories is about the motivation and studio work.

I really had a heart for my music to be ministry, NOT entertainment. That’s why I moved to recording. I didn’t just want to be a Christian entertainer to Christian audiences. I really had a desire for my music to make a difference.

My first studio experience started as a disaster. I wanted it to be musically perfect and I came across and cold and formal. My producer was a true southern gentleman. He brought me into the control room and talked about why I wanted to make this album. After hearing my heart he suggested we cut the studio lights and had me imagine a specific individual I wanted to minister to with each song. EVERYTHING changed. Suddenly, I was full of emotion and sang from a different place. Since the release of the albums years ago I have had dozens of people share how they were touched by specific songs.

One interesting story, a number of years ago a Lady in Indonesia was given one of my cassettes (antique already). She played for her husband and a particular song ministered to a need in his life at that moment. A few years later, I was invited to do a series of meetings on the island Sumbawa in Indonesia. We were amazed how easily the doors opened and opportunities were available, including a special visit with the Governor and his wife. (They happened to be the aforementioned couple.)

You can contact Terry at coach.terry.phillips@gmail.com