“It’s distressing to see white saviourism presented uncritically, and then hear the denigration of Indigenous beliefs, and the neglect of a child in care who’s left alone with a stranger who kidnaps them,” she says. “It’s presented as ‘normal’ and ‘what things are like’. Disadvantage in Indigenous communities isn’t normal, and it’s dangerous for the public to be convinced that it is.”

Consultation would have encouraged those involved to ask themselves important questions they may not have considered, Lynch says.

“Why is it important to the story that [the character Ruby] is an Indigenous kid from Alice Springs? What is it about Central Desert beliefs that serve the narrative? Questions like these would have required the author to reflect on whether they were working from a place of intention and knowledge or a place of stereotype,” Lynch says.

Since those questions weren’t asked, Lynch says, Ruby comes across as an uncanny and off-putting character, a “blank puppet espousing vague Indigenous-like beliefs”.

Bronwyn Bancroft, a Bundjalung writer and illustrator who produced the children’s book Our Birds, says topics involving post-colonial trauma should always be handled with care and sensitivity. Though she has not yet read Billy and the Epic Escape, she says it probably “should not have seen the light of day”.

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“The idea that you could write or edit and publish a book [that includes Indigenous communities or themes] without consulting First Nations people is wrong and presumptive,” she says.

Bancroft also points to the growing number of children’s books written by celebrities and ghostwriters as yet another hurdle for full-time authors and illustrators. The past few years have seen A-list stars, such as Eva Mendes, Jake Gyllenhaal, Cynthia Erivo and Meghan, the Duchess of Sussex, publish their own takes on kids’ literature, arguably crowding out writers.

“I have written and illustrated 47 children’s books since 1992, and it has been difficult to break through as a Bundjalung woman,” Bancroft says. “We should be highlighting and promoting the experience and knowledge embedded in our First Nations authors and illustrators whose job it is to bring these stories to life.”

Lynch agrees, noting that the public should learn about Indigenous culture from First Nations people rather than through the “biased or misinformed lens” of non-Indigenous writers.

Martin – who consistently has her own writing reviewed to avoid unintentionally offensive content – says a systemic approach must be adopted.

“This involves publishing houses implementing stronger prepublication protocols, such as co-authoring, community consultation, and hiring sensitivity editors.”

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