I wrote an article for The Society of Children’s Book Writers and Illustrators’ Words and Pictures Magazine about the evolution of SCBWI’s relationship with The Edinburgh International Book Festival, which you can read here:
Oh how I love August in Edinburgh! As soon as I walk through to Charlotte Square and breathe in the Edinburgh International Book Festival vibes it feels like I’ve come home. I was lucky enough to get through for all three weekends this year and even more privileged to be asked to chair two fantastic events in my capacity as one of the Network Organisers of the Scottish branch of The Society of Children’s Book Writers and Illustrators (SCBWI).
First up was ‘Picturing Pathways To The Future’ where my co-network organiser, Justin Davies, and I chatted to SCBWI members Jill Calder and Morag Hood about how books can help children navigate their way in an often daunting world. It was lovely to be up there with three friends and brilliant to see and hear about their creative processes and where they get their inspiration from.
On the final weekend we had another panel event with David Almond and Lauren James – ‘How To Be A Writer For Life’ – and, as before, the hour flew by. David and Lauren were so generous with their advice and insights in to the writing and publishing world and we could have spoken to them all day. I also attended both their other events the following day and enjoyed being in the audience for those and hearing more about their respective writing careers.
Of course, given that it’s the perfect place for writers to meet, it would have been rude not to arrange a Scottish SCBWI Social event during the festival! 😉 We’re so lucky to have such a friendly, supportive network and it’s always great when we have a chance to catch up with each other.
There are so many fantastic events scheduled throughout the festival with a host of authors from all over the world, and some of my favourite events were ones where I was introduced to new authors that I hadn’t read before.
Of course, no stationery/book addict can leave such a place without picking up some stationery and adding more books to their TBR pile, and here are a few that I picked up over the final weekend.
So that’s it for another year… Roll on August 2020!
So it’s April tomorrow already! Where did the first part of this year go?
I’ve been busy with various writing-related activities in my Chasing Time, SCBWI (Society of Children’s Book Writers and Illustrators), and Scottish Association of Writers guises, and there’s lots to report. Including a couple of exciting developments on the writing front and meeting a literary hero of mine…
But first up SCBWI.
In January we ran a Synopsis Teach-In in Edinburgh with the help of lovely SCBWI member and 2019 recipient of a New Writers Award from Scottish Book Trust, Sheila Averbuch. It was a packed event, with lively discussion on how to conquer the dreaded synopses.
Next up on the busy Scottish SCBWI calendar was a Scribble and Scrawl Crawl at the stunning new V&A in Dundee, where we were ably assisted on the illustration front by the very talented Jill Calder. This was a brilliant way to spend a morning and we couldn’t help but be inspired by the building and its exhibits.
Then earlier this month we ran an event for our growing published and agented network members with special guest Dawn Geddes, freelance journalist, Book Correspondent for The Scots Magazine and YA author, who spoke about the business of being an author and how to find your brand, build your platform and market yourself. Phew – it’s been busy in the world of SCBWI!
In between this, Sandra, Dawn and I ran a Tick Tock – Writing Detox Chasing Time Retreat in February covering editing, structure and prioritising your writing time. We had a great group of writers join us and it was a fantastic weekend.
The last two months have been particularly exciting personally as, first of all, I found out I had been longlisted in the Mslexia Children’s Novel Award. Aargh!
Then at the annual Scottish Association of Writers Conference last weekend I picked up the T.C. Farries Trophy for the Children’s Novel Category with my current YA WIP, ‘The Eyelash Dandelion’, as well as third place with a previous novel, and second in the Under 7s category too, so that was exciting! My writing group, Angus Writers’ Circle, did amazingly overall, with us taking home 17 placed entries, including 5 trophies between us.
All topped off nicely with a little welcome home message from the kids…
And as to that literary hero I mentioned? A major highlight of the year to date was attending an early Edinburgh International Book Festival event with the one and only Angie Thomas, which was chaired perfectly by Nadine Aisha Jassat. Angie is such an inspirational speaker and it was hard not to cheer after everything she said!
So, that’s my 2019 news to date – I hope you have all had a great start to the year too.
There are lots more exciting book/writing related things coming up over the next few months as well, but April looks surprisingly quiet, so think I’ll go and have a quick lie down to recover in the meantime. 😉
Well, August came and went pretty quickly, huh? But what a month it was. Between managing to get lots of writing done on my own YA novel, Sixteen Again, whilst on holiday, to coming home and launching straight into the fabulous Edinburgh Book Festival, then formalising lots of arrangements for our first Chasing Time Writing Retreat in Angus at the end of the month, it’s been all go.
The Edinburgh Book Festival has quickly become a highlight of my literary year, and this year I was lucky enough to include an overnight stay in Edinburgh and to attend lots of author events, as well as two SCBWI (Society of Children’s Book Writers and Illustrators) crit groups in the Spiegeltent. Special mention has also to be made of the Unbound evening on the 18th, where singer/songwriter Genevieve Dawson ( @gdawsonmusic ) and novelist Sarah Perry ( @_sarah_perry ) in particular were amazing. (Watch out for Sarah’s book coming out – the writing is beautiful and I was seriously holding back tears by the end).
It was also the first time that I had heard Matt Haig speak, and he had us all spellbound, even as it was touch and go at one point as to whether the Bosco Theatre venue would be blown away by the fierce winds outside. And of course, there was the sold out SCBWI event, The Great Gender Debate, with authors Jonathan Stroud, David Leviathan and Kathryn Evans, ably chaired by the South East Scotland SCBWI Coordinators, Sarah Broadley and Anita Gallo.
I even managed to squeeze in a visit to Blackwell’s Writers at the Fringe to support my lovely author friend, Sandra Ireland, who was one of five authors reading from their books. (Check out ‘Beneath the Skin’ by Sandra if you love a slice of gothic noir and fantastically well-written novels).
So that brings me smoothly on to the writing retreats that Sandra, Dawn Geddes and I are launching, with the first one being at the end of this month. It’s come round fast and we’re really looking forward to welcoming all our guests soon. The venue is superbly atmospheric and bound to inspire, and I might even be able to squeeze some more of my own writing in over the weekend too!
The Chasing Time team
For more information go to http://www.chasingtimescotland.wordpress.com/retreats
Hope your own writing/reading is going well too – bye for now.
WHAT EDITORS WANT
A SOCIETY OF CHILDREN’S BOOK WRITERS AND ILLUSTRATORS (SCBWI) PANEL AT THE EDINBURGH INTERNATIONAL BOOK FESTIVAL, 18 AUGUST 2016.
Panel – Barry Cunningham, Chicken House Publishing
Lauren Fortune, Scholastic
Sally Polson, Floris Books
Chaired By Louise Kelly and Sheila M Averbuch
I was lucky enough to attend an interesting and lively panel event at this year’s Edinburgh Book Festival in the esteemed company of an amazing panel of children’s/YA book industry heavyweights, so I thought I would share some of their comments and advice here.
Q. What does editing entail?
How much work we do completely varies from author to author. We are looking for something to identify with, or to be transported to a fantastic land, but the kernel is to find something you love and something similar to the feeling you had as a child when discovering your favourite books.
Editors are far more engaged in the process now and think we look for a manuscript in all its possibilities and for how it works in its broader sense. We could perhaps be seen as a ‘midwife for books’ but ultimately represent our readers and must look at how it will work around the world and in the context of how our other books work.
With debut authors we can tell if something has been worked on so much that the voice has been lost and so it is a case of having to go back to the beginning to re-establish that unique thing.
Have you got a good villain/problem/disadvantage? Children’s books tend to be about struggle. Maybe change the POV?
Q. What personality traits do you like in your authors and book characters?
I enjoy working with writers that like receiving feedback and are quite open minded in receiving criticism and are then able to go off and find their own way. For example, Ross McKenzie of ‘The Nowhere Emporium’ and ‘Shadowsmith’ is good to work with as he takes feedback well and writes excellent villains.
Characters – are they memorable and will they stay with me?
A general comment would be that if we commission a book, the position in the schedule can determine how much/how quickly it is worked on. We tend to do one structural edit – i.e. plot, beginning/end, characters, pacing…
Monsters and villains are so important. An example would be ‘Robyn Silver: The Midnight Chimes’ by Paula Harrison.
Things that are not so good: are writers reluctant to make their characters suffer? Would always encourage writers to put their characters in difficult situations.
We have to see the main character change. Linking back to the last question, ‘The Girl of Ink and Stars’ by Kiran Millwood Hargrave was originally written in 3rd person, but when Kiran changed it into 1st person it brought it to life.
Also, it’s important for characters to have some loss as well as victory.
Q. Would you encourage reading as ‘writers’ as well as simply for enjoyment?
Reading is an enormous part of writing, you absorb a lot, sometimes without realising. Dialogue, for example, is hugely important and difficult to do.
Reading also helps writers to understand the market.
Q. What are the new trends in illustration?
MG illustrated fiction (black and white line pictures) is having a moment. It is good for more reluctant readers and we are very keen on this at Scholastic. David Baddiel and Jim Field are a great example of when an author and illustrator work well together.
Floris are keen on it too, but don’t have an author/illustrator in that field at present.
Chicken House don’t do picture books any more as are not keen on them and find a lot don’t have much story and leave the art to do all the work.
However, we are now seeing more illustrated content even in older books, including YA, which sit somewhere between the more traditional books and graphic novels.
Q. What about age banding? Are there any issues/shifts occurring?
Older MG is different in America where it is up to 14 years of age instead of 12 here, but a lot of books are being bought by a wide range of ages. For overseas markets we sometimes get advice to bring content down or similar and YA is fracturing into older and younger YA.
Age banding is more for publishing categories though rather than reader categories.
Q. Is there anything that you would like to see?
More diverse, ethnic, disabilities, plus a series for 6-8 year olds, e.g. ‘Thorfinn the Nicest Viking’. Are also looking for author/illustrators as don’t have a lot of these.
This can be influenced by the demands of the list. Scholastic is strong on series fiction, so are more looking for standalone stories, and would also like to see a YA fantasy. Anything page turning, cinematic, high concept.
For non-fiction we publish the ‘Horrible Histories’ books and would look at others to tie around an historical event or similar.
Q. What do you look for in a book?
Humour, superlative villain or dark force, great dialogue.
Would recommend that authors write complete character studies even though a lot doesn’t end up in the book as you will get to know the character better.
Q. What would be the main reason(s) to reject a ‘nearly there’ manuscript?
It could be to do with other factors, e.g. the existing list, or it doesn’t quite fit, or may need author to be in Scotland…
Can always work on plot, but is looking for an original voice and that bit of ‘magic’. It has to stay with her. Can pick up one page and recognise the author.
Whether he thinks he can work with the author and share the same vision. Mostly if don’t think they can work with the author to make it better.
- Should we use dialect or not?
Could use an element, but sustaining it for a whole book may be hard.
If it fits into a broader narrative would welcome it, but should always read dialogue aloud when writing it.
Plus a child must be able to understand it.
- What do you not want?
Something you’ve seen before told in a fairly familiar voice.
A misunderstanding of being unique, where people might think they need to be completely wacky and all over the place.
Would be scared of multi volume fantasy where the synopsis is longer than the first book.
“I’d quite like that!”
- Should writers look at current themes?
There’s no point as publishers and agents tend to be inundated with these and they would be likely to be over too soon by the time any book was ready for publication.
Perhaps look at themes but then strip out the actual theme and see what’s left that works and has the broad appeal.
- Would you advise authors to use freelance editorial services?
Not sure you can tell which manuscripts have or haven’t used one.
If we see something that has come from Golden Egg then ears immediately prick up.
So there you have it! I found the event to be very useful and hope my notes are of some interest to you too.