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Children's Writers' & Artists' Yearbook 2019
Children's Writers' & Artists' Yearbook 2019
Children's Writers' & Artists' Yearbook 2019
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Children's Writers' & Artists' Yearbook 2019

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The annual, bestselling guide to all aspects of the media and how to write and illustrate for children and young adults. Acknowledged by the media industries and authors as the essential guide to how to get published.

The 70+ articles are updated and added to each year. Together they provide invaluable guidance on subjects such as series fiction, writing historical or funny books, preparing an illustration portfolio, managing your finances, interpreting publishers' contracts, self-publishing your work.

Foreword by Sarah Crossan, Carnegie Medal winner and author of One, Breathe, Moonrise (published July 2018) and We Come Apart (with Brian Conaghan)

NEW articles for the 2019 edition include:

LGBT+ characters in children's fiction by Lauren James
The hybrid author by Shelli R. Johannes
A jobbing writer's lot by Joanna Nadin
Adapting children's books for stage and screen by Emma Reeves
Where does your book sit? by Jasmine Richards
Murderous inventions by Robin Stevens
The long and winding road to publication by Paul Stewart
Writing picture books by Tessa Strickland
The ups and downs of being a writer by Theresa Tomlinson

All of the 2,000 listings of who to contact across the media have been reviewed and updated.

The essential guide for any writer for children.
LanguageEnglish
Release dateJul 26, 2018
ISBN9781472947604
Children's Writers' & Artists' Yearbook 2019

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    Children's Writers' & Artists' Yearbook 2019 - Bloomsbury Publishing

    Children’s Writers’ & Artists’

    Yearbook 2019

    Other Writers & Artists titles include

    Writers’ & Artists’ Companions

    Series Editors: Carole Angier and Sally Cline

    Each title is full of expert advice and tips from bestselling authors.

    Writing Children’s Fiction by Yvonne Coppard and Linda Newbery ‘. . . a book for anyone interested in children’s books: the authors manage – with a very light touch – to pass on masses of information and ideas.’ Wendy Cooling

    Crime and Thriller Writing by Michelle Spring and Laurie R. King

    Life Writing by Sally Cline and Carole Angier

    Literary Non-fiction by Sally Cline and Midge Gillies

    Writing Historical Fiction by Celia Brayfield and Duncan Sprott

    Writing Short Stories by Courttia Newland and Tania Hershman

    Novel Writing by Romesh Gunesekera and A.L. Kennedy

    Playwriting by Fraser Grace and Clare Bayley

    Writing for TV and Radio by Sue Teddern and Nick Warburton

    You can buy copies from your local bookseller or online at www.writersandartists.co.uk/shop

    Special offer

    Visit www.writersandartists.co.uk before 30 June 2019 and enter the promotional code CWAYB19 to receive an exclusive 10% discount on our editorial services.

    Children’s Writers’ & Artists’

    Yearbook 2019

    FIFTEENTH EDITION

    The essential guide for children’s writers and artists on how to get published and who to contact

    About the Yearbook

    The Editor welcomes readers to this edition of the Children’s Writers’ & Artists’ Yearbook.

    The Children’s Writers’ & Artists’ Yearbook provides up-to-date information and a wide range of practical guidance from some of the most established writers and professionals in the field of children’s books, including advice from three Carnegie Medal winners and recipients of other major prizes, and from seven out of the ten UK Children’s Laureates. This year’s Foreword (here) is by Sarah Crossan, who was appointed the new Laureate na nÓg, the Irish Children’s Laureate, in May 2018.

    Writing is a solitary activity, but publishing is a team effort; several of the new articles this year celebrate the importance of collaborative working. In The long and winding road to publication (see here), Paul Stewart refers to his partnership with illustrator Chris Riddell; in Murderous inventions (here), Robin Stevens thanks her agent for pulling her manuscript into shape; and Theresa Tomlinson in Keeping going: the ups and downs of being a published writer here, describes with affection her working relationship with renowned children’s editor Julia MacRae. Tessa Strickland shares her combined publisher and author experience in How to write a picture book here and, here, Joanna Nadin extols the benefits of finding a range of work to support a creative career in A jobbing writer’s lot. Lauren James writes about Including LGBT+ characters in children’s fiction here and Emma Reeves provides practical tips Adapting children’s books for stage and screen (here). Shelli R. Johannes balances the pros and cons of the traditional and self-publishing routes to market in The hybrid author: you can do it all – your way! here. If you want to know more about the wider children’s publishing environment, turn to Breaking down the market: where does your book sit? by Jasmine Richards (here) and News and trends in children’s publishing 2017-18 by Caroline Horn (here).

    All the articles and listings in this Yearbook are reviewed and updated every year. We make every effort to contact all the organisations and institutions listed so that they can update their information. To the best of our knowledge the websites, emails and other details are correct at the time of going to press.

    Alysoun Owen, Editor

    Contents

    About the Yearbook

    More than a book

    Foreword – Sarah Crossan

    Books

    Publishing advice

    Spotting talent – Barry Cunningham

    What makes a children’s classic? – David Fickling

    Breaking down the market: where does your book sit? – Jasmine Richards

    News and trends in children’s publishing 2017–18 – Caroline Horn

    Building a successful children’s publishing list – Emma Blackburn

    Children’s books: genres and categorisation – Caroline Horn

    Listings

    Children’s book publishers UK and Ireland

    Children’s book publishers overseas

    Children’s audio publishers

    Children’s book packagers

    Children’s book clubs

    Children’s bookshops

    Resources about children’s books – Caroline Horn

    Inspiring writers

    Notes from a Children’s Laureate – Anthony Browne

    Notes from Jacqueline Wilson – Jacqueline Wilson

    A word from J.K. Rowling – J.K. Rowling

    If at first you don’t succeed... – Frances Hardinge

    My way into a different world – Sally Green

    Getting published – Andy Stanton

    From dream to reality – Frank Cottrell Boyce

    A jobbing writer’s lot – Joanna Nadin

    Wanting to be a writer – Simon Mason

    Who do children’s authors write for? – Michael Rosen

    A writer’s ten commandments – Michael Morpurgo

    Writing for different genres and markets

    Writing books to read aloud – Anne Fine

    Writing for reluctant readers – Jon Mayhew

    Finding new readers and markets – Tom Palmer

    Writing adventures in the real world: children’s non-fiction – Isabel Thomas

    Writing for a variety of ages – Geraldine McCaughrean

    Overnight success – Lauren St John

    Writing humour for young children – Jeremy Strong

    How to write a picture book – Tessa Strickland

    Writing ghostly stories – Cornelia Funke

    Keeping going: the ups and downs of being a published writer – Theresa Tomlinson

    Writing historical novels – Michelle Paver

    Writing for teenagers – Holly Smale

    Writing crime fiction for teenagers – Anne Cassidy

    Writing thrillers for teenagers – Sophie McKenzie

    Plotting: how to keep your YA readers reading – Sarah Mussi

    Series fiction: writing as part of a team – Lucy Courtenay

    Including LGBT+ characters in children’s fiction – Lauren James

    The long and winding road to publication – Paul Stewart

    Murderous inventions – Robin Stevens

    Who am I today? Writing under multiple pseudonyms – Julia Golding

    Ghostwriting children’s books – Di Redmond

    Children’s writing in the digital age – Linda Strachan

    Self-publishing

    From self-publishing to contract – Janey Louise Jones

    An indie’s journey to award-winning success – Griselda Heppel

    What do self-publishing providers offer? – Jeremy Thompson

    The hybrid author: you can do it all –your way! – Shelli R. Johannes

    Listings

    Editorial services and self-publishing providers

    Poetry

    Flying the poetry flag – John Foster

    An interview with my shadow – Brian Patten

    Listings

    Poetry organisations

    Literary agents

    How to get an agent – Philippa Milnes-Smith

    What do agents do for their commission? – Julia Churchill

    How to sell your book to an agent – Madeleine Milburn

    Choosing the right agent – Gill McLay

    Meet the parents: agent, author and the birth of a book – Stephanie Thwaites

    Do you have to have an agent to succeed? – Philip Ardagh

    Listings

    Children’s literary agents UK and Ireland

    Children’s literary agents overseas

    Illustration

    Notes from a successful children’s author and illustrator – Lauren Child

    Being an illustrator and a writer – Liz Pichon

    Picture books for children: the writer’s story – Valerie Thomas

    On being a storyteller: the illustrator’s story – Korky Paul

    Creating graphic novels – Raymond Briggs

    Notes from the first Children’s Laureate – Quentin Blake

    Eight great tips to get your picture book published – Tony Ross

    Writing and illustrating picture books – Debi Gliori

    Listings

    House of Illustration

    Illustrators’ agents

    Magazines and newspapers

    Writing for the teenage market – Michelle Garnett

    Creating a children’s comic – Tom Fickling

    Listings

    Magazines and newspapers for children

    Magazines about children’s literature and education

    Television, film and radio

    Creating content for multi-platform media – Greg Childs

    Adapting children’s books for stage and screen – Emma Reeves

    Children’s literature on radio and audio – Neville Teller

    Writing to a brief – Di Redmond

    Listings

    Children’s television and radio

    Theatre

    Writing for children’s theatre – David Wood

    Adapting books for the stage – Stephen Briggs

    Listings

    Theatre for children

    Societies, prizes and festivals

    Society of Authors

    Alliance of Independent Authors

    Society of Children’s Book Writers & Illustrators

    BookTrust

    Seven Stories – The National Centre for Children’s Books

    The Children’s Book Circle

    Federation of Children’s Book Groups

    National Literacy Trust

    Listings

    Societies, associations and organisations

    Children’s book and illustration prizes and awards

    Children’s literature festivals and trade fairs

    Children’s writing courses and conferences

    Publishing practice

    Publishing agreements – Caroline Walsh

    ISBNs: what you need to know

    Public Lending Right

    Glossary of publishing terms

    Editing your work

    Copyright

    Copyright questions – Gillian Haggart Davies

    Copyright Licensing Agency Ltd

    Authors’ Licensing and Collecting Society

    DACS (Design and Artists Copyright Society)

    Finance

    FAQs for writers – Peter Vaines

    Income tax – Peter Vaines

    National Insurance contributions and social security benefits – Peter Arrowsmith and Sarah Bradford

    Index

    Plates

    Praise for the Yearbook

    ‘How to get published? 1. Write a good book. 2. Read a good book – this one.’

    Charlie Higson

    ‘Riffle these pages and turn your dream into an ambition.’

    Frank Cottrell Boyce

    ‘Take the great advice that’s in this Yearbook.’

    David Almond

    ‘Contains a wealth of essays, articles and advice.’

    Frances Hardinge

    ‘Every writer has to take a first step. Make the Children’s Writers’ & Artists’ Yearbook yours.’

    Meg Cabot

    ‘Between the covers of this book is everything you need to know to get published.’

    Julia Donaldson

    ‘... absolutely essential. If it were a person, it would be your most knowledgeable and trusted confidant.’

    Andy Stanton

    ‘The Children’s Writers’ & Artists’ Yearbook has two great virtues: one is the wealth of information it contains and the other is the impressive raft of advice and notes on every aspect of the business.’

    Quentin Blake

    ‘Stuffed full of useful facts to help you get writing (and drawing).’

    Liz Pichon

    More than a book

    The Writers & Artists website (www.writersandartists.co.uk) provides up-to-the-minute writing advice, blogs, competitions and the chance to share work with other writers. You can sign up to our regular newsletter; browse our Writing Calendar; and learn about the editorial services we offer. We also run courses, workshops and other events, including How to Hook an Agent lunches and one-day How to Get Published conferences around the country, including some specifically related to writing and publishing for children.

    Our listings service can be accessed at www.writersandartists.co.uk/listings. In addition to all the contacts in this edition of the Yearbook, subscribers are able to search hundreds of additional organisations and companies.

    Whatever your needs, we hope that Writers & Artists resources, whether delivered in print, online or at our events, will provide you with the information, advice and inspiration you are looking for.

    Short story competition

    The annual Writers’ & Artists’ Yearbook Short Story Competition offers published and aspiring writers the chance to win a place on an Arvon residential writing course (worth £1,000). In addition, the winner’s story will be published on the Writers & Artists website.

    To enter the competition, submit a short story (for adults) of no more than 2,000 words, on any theme by 13 February 2019 to competition@bloomsbury.com. For full details, terms and conditions, and to find out more about how to submit your entry, visit www.writersandartists.co.uk/competitions.

    You can find details of competitions for children’s writing under Children’s book and illustration prizes and awards here.

    runs three historic writing houses in the UK, where published writers lead week-long residential courses. Covering a diverse range of genres, from poetry and fiction to screenwriting and comedy, Arvon courses have provided inspiration to thousands of people at all stages of their writing lives. You can find out more and book a course online at www.arvon.org.

    Foreword

    Sarah Crossan

    I never thought a person like me could be a writer. I was an incredibly ordinary child, have become an even more ordinary adult, and believed many untruths about writing and writers. Firstly, I didn’t come from a family connected to the literati, which I perceived as a major problem, though at the time I probably hadn’t even come across the word ‘literati’. Secondly, I wasn’t privately educated and didn’t have anything close to a BBC newsreader’s accent – grand drawback. Finally, and perhaps most importantly, I didn’t own a serious-looking scarf. You know the ones. All proper artists own them.

    When I went to university, to study Philosophy and Literature, my fears about what went into making a writer were compounded as I carefully stalked the creative writing students: they all seemed aloof, important and occasionally sad, hanging out in the humanities building, wearing oversized jumpers and, yes, their scholarly scarves.

    After my undergraduate degree, convinced writing wasn’t for me (and secretly hating all those creative writing students who’d spent three years smugly impersonating Margaret Atwood), I went off to study teaching. It was a way to make books a part of my daily life. And I was actually really good at it. The students fell in love with words and sentences, with poems and novels. I even convinced a class of hardened Shakespeare haters (one of whom offered to steal my car for £50 so I could pick up the insurance money!) to perform scenes from Romeo and Juliet, as well as partake in some Renaissance dancing. I loved teaching – my job was about books and kids, words and relationships.

    Then came an afternoon that changed everything – a lesson that had an outcome missing from my planning notes. I was teaching poetry, encouraging students to write about their dreams, their hopes, how they saw their lives developing. I believed in those kids. I knew they could be anything they wanted to be if they just puffed out their chests and did some hard work. They wrote wonderful poems. They wrote moving poems. And then, at the end of the lesson, one child put up his hand and asked a question: ‘Have you always wanted to be an English teacher, Miss?’. Now, a more sensitive person might have read some subtext into this, namely ‘Why are you a teacher, Miss? You’re terrible at your job.’ But I don’t think that’s what he meant. He genuinely wanted to know whether or not I’d lived my dreams, so shyly I explained that, as well as being a teacher, I wanted to be a writer, a poet and a novelist, but that I didn’t think I quite had what it took. The boy frowned, as did a few other students, and angrily replied, ‘Well you have a bit of cheek then, don’t you, telling us to live our dreams when you haven’t even done it yourself. Have you even tried?’

    Despite being young, I was a strict teacher; I never tolerated rudeness, but in that moment I was dumbstruck – because he was right. Who was I to lecture them on bravery and risk when I had never taken myself nor my own desires seriously? Instead of asking him to leave the room, where I could speak to him about his tone of voice, I quietly said, ‘You’re right. I’ve been too afraid to try.’

    On the basis of that very bald conversation, I applied to go back to university and study creative writing – which I did the very next year, annoying the head teacher who had to find a replacement for the next academic year at short notice.

    And so I began to write. And I began to take my writing seriously. Rather than going to the cinema when friends asked, I started to say, ‘Sorry, I can’t. I’m writing.’ When they seemed irritated by my resolve, I didn’t care. If I wanted to achieve my dream of writing for a living, I had to believe in myself, otherwise no one else would. I found a way out of my shame and into a pattern of work that I loved.

    That doesn’t mean a contract came quickly; it didn’t. It was another ten years of graft and fine-tuning my skills before I found an agent, listed in the Writers’ & Artists’ Yearbook in the children’s section, who seemed to fit the bill. I sent her my book and astonishingly she took me on within days. We are still together, for better or for worse, and when I start to flounder and find myself wondering if I should pack it all in, she reminds me that I don’t need anything to succeed except a dash of self-belief and a bit of hard work. Oh, and my serious writerly scarf, of course. Everyone needs one of those!

    Sarah Crossan is the award-winning author of the Young Adult novel, One (Bloomsbury 2015), which won the CILIP Carnegie Medal, the YA Book Prize, the CBI Book of the Year award and the CLiPPA Poetry Award in 2016. Also published by Bloomsbury, her books The Weight of Water (2011) and Apple and Rain (2014) were both shortlisted for the CILIP Carnegie Medal, and Sarah’s other children’s novels are Breathe (2012), its sequel Resist (2013), We Come Apart (co-authored with Brian Conaghan; 2017) and the free verse novel Moonrise (2017), which was shortlisted for the Costa Children’s Book Award 2017, the YA Book Prize 2018, and the CBI Book of the Year Award 2018. Sarah has lived in Dublin, London and New York, and now lives in Hertfordshire. She graduated from the University of Warwick with a degree in Philosophy and Literature and subsequently trained as an English and drama teacher at Cambridge University, later obtaining an MA in Creative Writing. In May 2018 Sarah was appointed as the new Laureate na nÓg, the Irish Children’s Laureate.

    Books

    Spotting talent

    Publishers and literary agents are not looking for what they like but for what children will like. Barry Cunningham famously accepted the manuscript of the first Harry Potter book which – as everyone knows – turned out to be the first of an international bestselling series. He explains here what he is looking for when he reads a new manuscript.

    I’m a fan: I love reading and I love great stories. My background is in sales and marketing, and for many years I travelled with Penguin the length and breadth of the country – on tours with authors like Roald Dahl, to schools with the Puffin Book Club or to lonely writers’ festivals. It was during this time that I learnt the most important part of my trade – how children react to the books they love, the authors that they adore, and how they put up with the material that they are coerced into reading. Reluctant readers indeed!

    So what I’m looking for is what they want, not what I like or what you think is good. More of this later.

    First steps

    All publishers get streams of brown envelopes – especially, like divorces, after Christmas or the summer holidays – when writers finally feel something must be done with that story they’ve been working on.

    So, how do you get your manuscript read by a publisher? Firstly, find out what the publisher wants: A sample? The complete manuscript? Perhaps, like us, they only accept submissions at certain times of the year. For most editors, first on the reading list are the submissions from agents, manuscripts recommended by other authors or by someone whose judgement they trust. So, if you know someone who knows someone, use the contact.

    Next, know a little about the list you are submitting to: look at their catalogue or read some of their books. Let publishers know how much you like their publications (we all like those sorts of comments!) and how you think your novel might sit with the rest of their titles.

    Then, write a short snappy synopsis – a page will do (I’ve had some that are as long as half the novel itself!). It should tell the publisher what the book is about, its characters and why they should read it. Also include a little bit about you, the author. Don’t forget that. It can be almost as important as anything else in these days of marketing and personality promotion (no, you don’t have to have had an exciting job, but it does give an impetus to read on ...).

    I worked with a very famous editor in my first job who was talking one day about her regular advice to first-time writers. Her advice began with a simple question: ‘Have you thought of starting at Chapter 2?’ Strangely, I find myself repeating this regularly. Often I find the first chapter is tortured and difficult, before the writer relaxes into the flow of the story in Chapter 2. And often things improve if we start straight into the action, and come back and explain later. But more importantly, first novels often fail because the editor doesn’t get past a poor opening section. Beginnings are crucial, because I know children won’t persevere if the story has a poor start, either.

    So what am I looking for?

    Back to the heart of things ... There are writers who know a lot about children – they might be teachers or parents – so does this mean they can write more relevantly for young people? There are authors who know nothing about modern children, don’t even really like children – does this mean they will never understand what a child wants? There are ‘crossover books’ that don’t appear to be for real children at all. There are books with children in them that aren’t children’s books. Confused?

    To me it’s simple. Books that really work for children are written from a child’s perspective through an age-appropriate memory of how the author felt and dreamed and wondered. The best children’s writers carry that childhood wonder, its worry and concern, or even its fear and disappointment, around with them. They have kept the child within alive – so writing is not a professional task of storytelling for tiny tots but a simple glorious act of recreating the excitement of childhood.

    That’s part one of what you need. Part two, in my view, is a concentration on your audience. I’ve worked with adult writers too and there is a difference here. Children’s authors are creating for a distinctly different readership – they need to think in a more humble way than if their work was for their contemporaries. What I mean is that they have to be mindful of how their work will impact on children. Characters must have convincing voices, descriptions must be good enough for children to visualise, and authors must be aware of things like children’s attention span when it comes to detailed explanations.

    But perhaps even more important is an awareness of the emotional effect of a story on a child. We must always remember their hunger for hope and a bright tomorrow, the closeness and importance of relationships – how easily a world can be upset by parents, or loss of an animal or a friend – and the way in which action really does speak to children, for fantasy and adventure is part of the process of literally growing an imagination.

    (If all this means nothing to you, and writing for children is just another category, then I don’t think you should bother. That’s not to say all this should operate consciously in the mind of the new writer – but that’s what a publisher seeks, and that’s what I’m looking for.)

    Categories and concepts

    Everyone has read about the older children’s market, and its lucrative crossover into the kind of children’s book that adults buy for themselves. I think this will continue to be a growing phenomenon – but the best books in the field will still be clear in their intent: not looking ‘over their shoulder’ at adults, but true to themselves and their subjects.

    I’m sure fantasy will continue to hold a firm following – but with the best books based around character and not simply wild lands and strange people. Historical fiction is poised for a comeback for older children – showing the rich material and heritage we have in our shared everyday culture, as well as the ‘big battles’ of yore.

    At last all kinds of young adult fiction has found a firm market and any number of clear voices: hard-edged, romantic, comic, or a wild mixture of all three! Both here and in the USA, the 13–18 age group is firmly established as a permanent adjunct to the children’s market, buying for themselves thrillers, dystopian adventures and books that speak to crises and concerns.

    But my favourite category is the most neglected – real stories and novels for 7–9 year-olds. This was once the classic area of children’s books, with the biggest names and the greatest longevity of appeal. Sadly, it has become the haunt of derivative series and boring chapter books. But there are clear signs of revival, with bestselling stories for this age group and the slightly older 9–12 category coming thick and fast. It’s a great area for new talent, and; our own Beetle Boy by M.G. Leonard (Chicken House 2016) is a prime example.

    Picture books have had a great revival – seeing off the apparent challenges of apps and new technology to reassert the love of a beautifully-produced picture story, so I expect more innovations coming here. The success of cartoon novels and graphic story treatments for older readers has shown how story and illustration can work together in amusing and stimulating ways, enticing those who are looking for something a little bit different.

    Language and setting

    It’s often said that, like exams, children’s books are getting easier, that the language is getting ‘younger’ while the plots are getting more sophisticated. I don’t think this is true. Certainly, for all markets, dialogue is more important than ever – and less time is taken in description. Children are used to characters who say what they mean, and whose motivations and subtleties emerge in speech. But largely I think this makes for more interpretation and imagination. Descriptions now concentrate on setting and atmosphere, rather than telling us authoritatively what the hero or heroine feels. All to the good in my view, and something new writers for children should absorb.

    Also welcome in contemporary children’s books is the freeing up of the adult! These characters are no longer confined to small walk-on parts and ‘parental’ or ‘villainous’ roles. Nowadays, adults in children’s novels are as well drawn as the children, sometimes as touchingly vulnerable people themselves. But as in life, the most potent and frightening image in any children’s book remains the bad or exploitative parent.

    International scope

    Children’s literature is truly one of our most glorious ‘hidden exports’. British writers continue to be very successful around the world, particularly in the USA and Europe. It is worth remembering this – while setting is not so important as inspiration, obviously UK-centred plots, regional dialogue and purely domestic issues, if not absolutely necessary, are best avoided. But there is no need either – like a creaky old British film – to introduce ‘an American boy’ or mid-Atlantic slang to your work to appeal to another audience. This seldom works and is often excruciating!

    The marketplace

    The market still remains delightfully unpredictable. It is hopeless to look at last year’s trends and try to speculate. The sound and timelessly good advice is to find your own voice and, above all, to write from the heart. If you can touch what moved you as a child or still moves the child within you, then there’s your ‘market appeal’. Whether it’s aboard the frigate of your imagination or in the quieter but equally dangerous seas of the lonely soul, skill and inspiration will win you your readership.

    Oh, and finally, don’t give up. As I once said to a certain young woman about a boy called Harry ...

    Barry Cunningham OBE was the editor who originally signed J.K. Rowling to Bloomsbury Children’s Books. He now runs his own publishing company, Chicken House (see here), specialising in introducing new children’s writers to the UK and USA. Notable recent successes include James Dashner, Cornelia Funke, M.G. Leonard, Kiran Millwood Hargrave, James Nicol, Maz Evans and Lucy Christopher. Chicken House and The Times jointly run an annual competition to find new writers; visit www.chickenhousebooks.com or see here. Barry was awarded an OBE in 2010 for services to publishing.

    What makes a children’s classic?

    David Fickling describes how he chooses a story for publication and hints at how it is crafted into the final book.

    This is a variation of the age-old exam question, the general one you attempted in a hyperventilating panic as a last resort and with a plunging heart because the question you had swotted up on had been unaccountably and unfairly omitted. This was the makeweight question that looked deceptively easy but you knew was a trap. But you couldn’t resist it because it looked like you could write something. It was really only meant for the brainiest, to sort them out from us goats. So, if you want a considered, deeply reflective and wonderfully good-humoured and, more to the point, beautifully written answer, then may I respectfully refer you to Italo Calvino and his essay Why Read the Classics?. Answers to all the ‘whys’ and most of the ‘whats’ are in there. Calvino offers 14 increasingly mysterious and connected answers in all, and each one is a gem. There is little more to be added by way of definition. By implication Calvino leads the reader onto ‘How do you write a classic?’. Of course the question asked of an editor is entirely different: ‘How do you recognise a classic?’, and that is the one I propose to attempt here in a deeply personal way with special reference to younger readers.

    Recognising a good story

    Recognition is everything. We publishers don’t do much but recognise and act on the recognition. (The famous editor Maxwell Perkins just said we add enthusiasm.) ‘No!’ we say, ‘We won’t publish that’. Or ‘Yes!’ we say, ‘I love this. Please please can we publish your story?’ We are often wrong but at least we make a decision.

    For good or ill, I am a potato print publisher. By which I mean that I do not analyse the decision (much) once it has been made. I am sent a story to consider for publication. I read the story (eventually). And if it moves me to laughter or tears or affects me in some other mysterious and powerful way and seems to be better than all the other things I am being asked to consider at that time, I say to myself ‘Let’s publish that’. In short, I recognise it. I see it, make it happen, publish it – ‘there!’ – like a potato print. I try to do all that as quickly as possible to the highest possible standard of manufacture. For the reader! Oh and I really like to meet the author, to see if we’ll get on, and most of all to make sure they have tons of stories in them. There is really nothing in the world more exciting than meeting a writer with new stories to tell and a singing voice with which to tell them. And then to help bring those stories to readers. I am blessed.

    A story is a whole thing in itself, like a melody, to which it is related. It must make sense in relation to itself. It is a wonderful pattern snatched out of the chaos. I try not to take it apart like a pocket watch fearing that I may not be able to reassemble it. It is not good if an author says back to you, ‘Well if you know so much David, why don’t you write it?’. As a young editor I once sent a five-page letter of quite brilliant, or so I thought, closely argued and typed editorial comments to an elderly experienced author who lived in Wales. My then boss received a sad note from his wife to the effect that Arthur (name changed) had been unfortunately taken to hospital after a heart attack. Nothing to do with David’s letter of course, but... I have never since written such a letter even though I always write myself copious notes on a book. If I can, I boil those notes down to four or five practical points to say to the author in a relaxed way over lunch or a cup of coffee. Things ‘said’ can be more easily ignored, discarded, digested or given to the writer. Nowadays I never suggest that the author puts in any different ingredients. I never say, can we have some ‘Tanks at the beginning’ or could we have some ‘Nude Women’ or have you tried ‘Vampires’? When I suggested to the late Jan Mark that she write about Japan, she reserved for me some choice language (not bad language, choice) that previously I had only heard her use about Tony Blair. Of course it was me that was interested in Japan, not Jan. I might venture something like, ‘There seems to be something missing in Chapter Four, tho’ I don’t know what it is.’ And the author might say, ‘No there isn’t, it’s absolutely fine you fool’. To which I shall not demur. Or the author might say, ‘Wow David, you are so right, you’re a genius, we need some heavy artillery in there. I didn’t tell you but I left out the pomegranates but now I am going to put them right back in. Thank you! Thank you!’. At this point my demeanour must be that of Beech the butler, or Jeeves. I may allow myself a raised eyebrow: ‘Pomegranates’ (no inflection). ‘Very good sir. Will that be all?’ P.G. Wodehouse contains in his butlers nearly all the editorial advice a good editor will ever need. The point here is that the story – however long – is the whole thing. I am interested in the whole thing and not just the parts.

    When I was nine years old I can remember getting bored while reading the Wind in the Willows by Kenneth Graham, an acknowledged classic. The story seemed to be winging along quite merrily. I had been enjoying it. Mole, Rat, Badger and Toad were up and adventuring and then I came to Chapter Seven: The Piper at the Gates of Dawn. At that point the story gets interrupted by some long-winded poetical interlude (as it seemed to me at the time). Nowadays I am fond of poetical interludes. Not then. ‘What was all that about?’ my nine-year-old self asked. This is not to say my nine-year-old self was right. Recently I found myself editing the accumulated essays and articles of that amazing writer, Diana Wynne-Jones. Her young self was electrified by reading Piper at the Gates of Dawn at an even younger age and she believed reading and recognising the poetic brilliance of that chapter almost kick-started her career as a writer. My point is not about being correct but understanding all readers change over the course of their lives. My editorial point to Kenneth Graham would be this chapter may stop some readers and his answer could have been but it will inspire some too. I hope I would have said ‘Okay, we’ll leave it in.’ Which brings me to the special circumstances in publishing for children. There really aren’t any, apart from the fact that most of us are woefully bad at remembering what our minds were like when we were only seven years old. The single biggest error made by all of us publishers is to fail to empathise properly with the reader. Children suffer in particular.

    I don’t conduct research beforehand. I don’t consult other people, unless they are members of the DFB editorial team. The DFB editorial team is like a gestalt mind, a hive mind. We are the editorial Borg. We always agree and no one can tell our opinions apart – in public. Behind the scenes we argue away like (polite) snarling dogs over a bone. Editors work well in teams. When I write ‘I’ I always mean ‘We’. I certainly don’t consult the accounts department, the marketing team, the sales department or the bookshop owner or anybody else in the book trade. I listen to them and respect them too, of course I do, but I don’t consult them. I might pretend to consult them but I never really take any notice. (Please don’t worry on my account as none of them ever bother reading this kind of article because they are usually too busy grappling with the appalling reality of sales figures.) But most of all, I never consult children. How much better it is to be told a wonderful story rather than be asked to choose one. Sometimes I feel I’m sailing against the world’s prevailing wind. Children don’t want to be asked. They want to be given. Actually all human beings want to be given stories and to learn how to give them to others. If a child likes something, you learn that very quickly. If they don’t like something, you learn that quicker. They are the most honest audience on this Earth. Anybody who has read to five-year-olds and seen them peel off courteously to the sand pit will know this. Don’t listen to all those comedians who talk about ‘dying’ in the clubs in Glasgow. They know nothing if they haven’t ‘died’ in a nursery school. The test of a story for children is the intentness with which they listen and then how quickly they get their pencils out and start to write, draw or act their own stories. It is a guiding rule: Good stories promote creation, Classic stories promote a culture.

    The editing secret

    The point is, I have already made the decision to publish before the editorial stage, before any possibility of consultation, exulting inside myself as a reader. The recognition has already happened. I am in love. It’s just a case of when not if.

    It is in the editorial phase with the author where we check that the story is in as good a shape as it can be. This is really just another phase of the writer’s work. It is the author who matters here, not the editor. This is the holy of holies, now, when classics are made. Editors may be useful in the early days, telling authors things they already know but haven’t admitted to themselves or learned yet. Later on, good writers invariably know how to edit themselves. Then we editors are happy to be friends and supporters. This editorial phase is a secret, to be kept forever. The editing is important, not the editor. Any editing is like the scaffolding on a house: once the building is finished the scaffolding is taken away and forgotten. Once the story is published, that is how it is. Any new versions are new versions. The original story still stands and if we read it and loved it, we love it as we first read it. Were changes made? I am not saying. Was the first version different? None of your business! The author can talk about the building process if they want. The editor must never speak. It’s not polite.

    Another kind of group writing that is becoming more and more popular is where teams of writers get together to write stories. It happens a lot in films and television series, for example The Simpsons, etc. It has been done before: the great French storyteller Dumas had a lot of help. I admire this kind of writing but am not a practitioner. I like it because it raises the text and the reader’s response above all other considerations. However, the set-up and the way of working needs to be established from the outset and all participants need to be given and to accept their due recognition as co-creators. This can be difficult, and besides, I suspect that there is always a presiding authorial mind that takes the decisions. For this reason I am happier with a clear editor/author demarcation. However it is written, the final version is the one to read.

    Fairies and money

    So you see it is not initially a matter of money, though the definition of Calvino’s that most applies is No 6: ‘A classic is a book that has never finished saying what it has to say.’ And clearly, if that is the case then it need never go out of print. And it will keep making money for the author and the publisher forever – publisher heaven! A publisher’s definition of a classic is a book that never stops selling. But this does not mean that everything that sells is a classic, nor that all classics sell immediately.

    I have no desire to rehearse the reasons why money is in charge as it will be obvious to all of you: the huge agglomeration into mighty international corporations, the demise of the Net Book Agreement, the adoption of new technology, the internet, the withering of story value, as stories become ‘loss leaders’ for other more profitable products and thus we crazily sell the most desired books at a loss and the newest and least reader-tested books are priced highest. All this is driven by the insane, bonkers drumbeat of the vast corporations searching for double-digit growth forever... In my experience the people who work within corporations are nicer and cleverer than those outside. But they have been ‘taken’ and are dancing under the hill with the fairies and cannot stop. When the corporation throws them out eventually, they are bemused and cannot remember where they have been or why. I have seen the sales graphs soaring into the future, and still they climb on and on, faster and faster. Speed is killing the book. Everything has to happen faster these days. Mark my words, there will be a crash. The fairies are powerful but they are no good with money. Put the sales graphs away. Stop consulting. Put the story horse before the sales cart and pile the sales in the back. Of course the sales are important. We need to earn a living. I love sales. Like everyone else, I want more. But the way to more is to make things; stop fiddling and checking and get writing and making.

    It is the story that matters. When I read a text that is new and original and hits the mark, I know. You know. Everyone knows. You would be deaf and blind not to feel the thrill of it. It is like seeing the northern lights or hearing the horns of elfland and the trumpets of the seventh cavalry sounding together. Or it could be just hearing Christopher’s voice in The Curious Incident of the Dog in the Night-Time, it is not loud but is so clear and it sounds as if it has always been there and never been heard before.

    Why you might ask do I get to choose? Who do I think I am? What gives me the right? You do, dear reader. You do. Thank you. Oh, and a favour, please stop asking our very best storytellers to do so many things. Personal appearances, opening shops, writing reviews, giving quotes. Hush children! They are working. There will be a new story all in good time.

    What makes a children’s classic? Wait and see.

    David Fickling is an award-winning children’s book editor and publisher. He started his career with Oxford University Press in 1977, moving on to Transworld and then to Scholastic UK. In 1999, David formed his own imprint, the Oxford-based storyhouse David Fickling Books, which he then set up as an independent company in July 2013. DFB’s successful fiction titles include Philip Pullman’s The Book of Dust, Mark Haddon’s The Curious Incident of the Dog in the Night-Time, John Boyne’s The Boy in the Striped Pyjamas, Jenny Downham’s Before I Die and Lisa Williamson’s The Art of Being Normal, as well as four novels by the late Siobhan Dowd. In January 2012 David independently launched The Phoenix Comic, which has now passed 300 issues. David published three, and commissioned a fourth, of the titles on the 2016 World Book Day’s list of ‘Top 10 Future Classics’.

    See also...

    Spotting talent, here

    Who do children’s authors write for?, here

    Breaking down the market: where does your book sit?

    Author and editor Jasmine Richards provides a breakdown of the established market categories used by publishers and booksellers, to help budding authors know where their own work might fit in.

    Writing for children is big business. Around 10,000 children’s books are published every year in the UK. Publishers and agents are saying that children’s books are having a renaissance. That’s despite the fact that, ten years ago, some in the industry were pronouncing the death of the printed book for young readers. We now know that parents are worried about screen time and its effects. Parents want their children to turn pages rather than swipe left. To tell the truth, adults still seem to prefer reading printed text also. There is something comforting and nourishing about the physical book and that realisation is why sales of that format will continue to increase.

    So, if the children’s market is so buoyant, why is it so hard to get published? The fact is, the children’s market is a very established and mature business, and competition is ferocious. It also has some very big players who have a lot of the market share. Amazingly, the three biggest-selling authors of 2017 were children’s authors. David Walliams’ sales totalled more than £16m. J.K. Rowling sold £15.47m worth of books and Julia Donaldson £14.65m.

    Thrown into the mix, you also have celebrity fiction from musicians, TV personalities, YouTubers and sports stars. Then you have the perennial children’s classics that book buyers return to again and again because they are excellent stories that stand the test of time. Established adult writers have also entered the marketplace, creating books for young adults and increasing their range of readers downwards. Finally, you have several well-established series each written by a team of writers on a rapid publishing cycle (such as the Rainbow Magic and Beast Quest series). There are an awful lot of books on the shelves and, for a new book to go on, another will have to come off. Obviously, there is infinite space online – but that doesn’t help with discoverability.

    In this fiercely competitive market, publishers are looking for exceptional books – novels that will stand out in this crowded arena and grab, not just the readers’ attention, but also the attention of all the gatekeepers who will encounter the book before it even reaches the bookshop. A new book needs to convince sales directors selling in and also the head buyers at the main book chains, planning their offering. The book will need to be able to hold its own; it needs to be ‘sticky’ or, in other words, memorable and really easy to pitch. People in the industry love books, but the bottom line is that publishing is a business. Each book needs to have the potential to perform, if it is going to be published and if it is going to stay in print.

    So, what can an author do to give themselves the best chance? Well – write a great story! A story with characters that readers will care about. A plot that turns the pages for the reader. A world that feels real and rich. A children’s author must produce all those things, but it would be wise for them also to master an understanding of the market so they can appreciate the universe their book will operate in. There are a few ways to do this:

    • Attend writing conferences or children’s book events put on by people like SCBWI (see here) where you’ll see people in the industry talking about what they are buying and why.

    • Spend lots of time in bookshops and see what kind of books are on the table tops or in promotion.

    • Keep an eye on what novels are winning key children’s book awards or getting a lot of reviews in the print media.

    • Read publications like the Bookseller to see what is happening in the world of publishing.

    • Follow authors, book publicists, agents, booksellers and editors on social media to see what they are saying about the industry.

    • It’s also worth visiting libraries or talking to teachers about what books kids are reading.

    • Most importantly, chat to children and ask what they are enjoying about the books they’re reading. Their answers might surprise and inspire you.

    Authors also need to get an understanding of the age ranges of children’s books, a sense of word lengths for each of those age brackets, and some of the other features that are unique to certain parts of the market. Editors, including this one, can be a bit reticent when it comes to defining word counts. There is a good reason for this caginess. Books are works of art. They are an author’s creative endeavour and thus not something that will always sit neatly in predefined categories. Still, if a book is going to sit outside some of the established norms when it comes to word count, then that needs to be for a good reason.

    There are also some practical considerations to do with word counts; the bigger the book, the more it costs to print, after all, but there are set price points at the different age ranges. For instance, a middle-grade book will normally have a higher price point than a book for a 5-7 year-old and the middle-grade book can take a heftier page count because the publisher can charge more for that book.

    You also need to consider the reading stamina of the children at the different age ranges. If an author writes a 70,000-word book for a 7-9 year-old, when the average is 10,000-15,000 words, then they are asking an awful lot of that reader. That’s not to say that some readers won’t be up to the task, but is that extended word count really serving the story well? Is it giving the book its best chance of being published? Is it giving the child reader the best reading experience? The guidelines provided below are just that: a guide – the average word count for the different age ranges of books – but there will always be exceptions. Ultimately, a story should be as long or as short as it needs to be.

    Picture books

    Golden rule: keep picture book text short! Remember, the pictures will do a lot of the telling in the story. The best picture books really take advantage of that fact. Picture books are often split out into two categories:

    Books for age 0-2. These will not have many words at all (300 words or fewer) but they will have very strong images that tend to relate to the everyday and familiar rather than more fantastical settings or themes.

    Books for 2-5 year-olds (although older children will still get a lot out of picture books and will be reading these alongside first chapter books). These books are on average between 300 and 1,500 words, but some books might just be one word! Although short, these books need to have definite story beats, and twists and turns that will delight both the adult reader and child listener. They should explore the experiences and possible feelings that young children may be dealing with for the first time. The best picture books are those where a kind of magic happens in that space between the images and the text, and in which that interplay brings new meaning. The picture book should be a pleasure to read out loud, with rhythm but not necessarily rhyme – as this could have an impact on how well the book sells internationally. Rhyme can be pretty tricky to make work in translation, although not impossible!

    Printing a book in full colour is not cheap; the publishing house that commissions the title needs to be sure that they will achieve co-editions with overseas publishers to keep printing costs down and make the book profitable. When writing a picture book, it is worth keeping the 32-page format front and centre – this roughly works out at 24 pages or 12 spreads in which to tell the story. The narrative needs to offer ample opportunity for illustration, but that does not mean the author should dictate what these illustrations might be. It is a collaboration. Part of the publisher’s role in the process of publishing a picture book is to find the perfect pairing of author and illustrator.

    Younger readers

    Books for readers aged 5-7. These tend to have shorter sentences and simpler diction. Some may feature chapters, and illustration can either be in colour or in black-and-white. They average between 500 and 4,000 words.

    Books for readers 7-9. These are on average between 10,000 and 15,000 words but can be longer. Readers at this age will have a bit more confidence and may be devouring a lot of series fiction and enjoying the fact that they are reading whole novels. The age of the protagonists in these books will tend to be at the top end of the actual readership or perhaps even older.

    Middle-grade fiction or core readers

    Novels for 9-12 year-olds will be significantly longer than the previous category and average at about 30,000-40,000 words. A novel can be much longer for this age range, especially if it is a fantasy title. Whatever the number, the words should serve the story and ensure that it is being delivered in the optimal way. If the novel is going to be 80,000 words that can work, but there should be a very good reason for it.

    Generally, readers in this age range have a lot more stamina. They will identify strongly with the hero, so a close third-person perspective or first-person narrative can work very well here. The protagonist tends to be aspirational and so often they are aged around 13. Readers in this age range can deal with more complex stories and themes, but a more challenging style choice might be off-putting.

    Books for teenagers and YA

    Books for readers aged 12+ can be anything from 30,000 words upwards. There is series fiction for teenagers, but the idea of author as the main brand is perhaps something teenagers identify with more commonly, rather than a series title. Teenagers are interested in exploring big ideas, regardless of the genre, and an author can take a few more risks with the style choice or perspective in order to help get those big ideas across.

    The protagonists in these books tend to be teenagers rather than 20+ year-olds. There is also a burgeoning category – called NA or New Adult – of books which feature protagonists in their early 20s. In the UK this age range has not become firmly fixed as yet, but may well do in the future.

    Jasmine Richards is a children’s author whose most recent novel, Keeper of Myths, is published by HarperCollins Children’s Books (2017). She is one of the founders of Book Bound who run retreats and workshops for children’s writers and get them ready to submit to publishers and agents. She is also a publishing consultant who has previously worked at Puffin, Working Partners and Oxford University Press as an editor and story developer. Her most recent endeavour is focusing on developing stories and talent from those from diverse backgrounds. Her website is www.jasminerichards.com and her Twitter handle @JRichardsAuthor.

    See also...

    Children’s books: genres and categorisation, here

    News and trends in children’s publishing: 2017–18, here

    News and trends in children’s publishing 2017–18

    Caroline Horn highlights the successes, developments, changes and concerns in children’s publishing over the last year.

    Children’s book sales in the UK remained steady in 2017, with high-profile authors including David Walliams, Julia Donaldson and Liz Pichon helping to drive the market, despite a gloomy backdrop of library closures, falling school budgets and rising childcare costs. Indeed the top three bestselling authors in 2017 were children’s writers – David Walliams taking the pole position with sales of more than £16m for his books including his latest titles, The World’s Worst Children and Bad Dad (HarperCollins Children’s Books). J.K. Rowling came next with sales of 15 million books as children continue to read her Harry Potter books (Bloomsbury), and Julia Donaldson with The Ugly Five (Scholastic) and The Detective Dog (Macmillan) was third, with sales of £14.65m (figures compiled by Nielsen BookScan).

    Altogether, consumers bought 103 million children’s books during 2017, a slight dip of 3% in the number of children’s books sold over the previous year (110 million children’s books were sold in 2016) until sales of J.K. Rowling’s Cursed Child are stripped out and sales level out. With total book sales (including adult books) of 348 million books in 2017, nearly one in three books sold is a children’s book. In value terms, children’s sales were worth £598m from a total market of £2.4bn (Nielsen Books & Consumers survey 2017; © Nielsen Book Services Ltd). Looking deeper, what Nielsen’s figures also show is that children’s sales are holding steady because of dedicated book buyers and readers; it remains as hard as ever to entice those who read fewer books into reading for pleasure.

    One of the challenges for publishers and booksellers is the growing pressure on children’s time. Nielsen’s annual Understanding the Children’s & YA Book Consumer research shows that children up to the age of 10 are busier than ever – with clubs, friends and family, toys and games and other activities – and that’s before you start to explore the impact of on-screen time. Among 5-10 year-olds, 69% of children are watching YouTube weekly; 64% are using games apps and 48% are watching films and TV on devices.

    The good news from Nielsen’s findings is that 84% of 0-4 year-olds and 88%+ of 5-10 year-olds still get involved in books and reading activities on a weekly basis. So what can publishers, and authors, do to encourage more children into reading for pleasure and to tempt them away from their tablets and smartphones?

    Understanding how children choose the books they read is an important start. The Nielsen research reveals that among 0-4 year-olds, the cover is the most important aspect when choosing a book. The choice is more limited for 5-10 year-olds, as many of their books are gifted, although the genre and subject become more important as selection criteria as children get older.

    Among book-buying teenagers, the author, subject and genre increasingly drive sales but the biggest driver for sales to 11-17 year-olds is the reader’s desire to follow a series of titles – seen historically with fantasy epics like The Hunger Games trilogy (Scholastic) and Veronica Roth’s Divergent series (HarperCollins Children’s), and more recently with Ken-dare Blake’s Three Dark Crown series and Victoria Aveyard’s Red Queen series (both HarperCollins). Fantasy sales are also being influenced, perhaps, by the success of the Game of Thrones television series.

    We also need to know what children want to read. Fantasy and humour remained at the top of children’s book purchases in 2017 with accessible, funny books dominating children’s sales, including David Walliams’ The Midnight Gang and Bad Dad (both HarperCollins), Jeff Kinney’s Wimpy Kid books (Puffin), and with more recent arrivals including Kid Normal (Bloomsbury) by Radio1 DJs Greg James and Chris Smith, and Alesha Dixon’s Lightning Girl (Scholastic) showing how well high-profile names in radio and television can do in the children’s fiction market. TV comics and presenters are likewise in demand; alongside David Walliams, David Baddiel (Birthday Boy, HarperCollins), Julian Clarey (The Bolds, Andersen Press) and Harry Hill (Matt Millz, Faber & Faber) all successfully published new books in 2017.

    This focus on famous faces is not without its critics. There was much debate when the World Book Day £1 books – for which children exchange their donated £1 vouchers –were announced for 2018 and the authors included several celebrities such as Clare Balding, Tom Fletcher and Julian Clarey. World Book Day continues to be a big event in the children’s calendar, driving

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