Notes from the London Book Fair

 

I went on the Tuesday and Thursday this year using the SCBWI members three day ticket. Fellow SCBWI’s have been asking if the Fair is worth it and I would say, yes, if you are gearing up for submission, if you want to meet/hear/talk to well known authors and publishers and if you want to find out about new releases and the publishing world in general.

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Little Tiger stand, The Children’s Hub @LBF

There are agents and editors about but unless you know them or have pre-booked the 15 minute pitch slots, it’s unlikely you’ll get time with them. Their priority is selling rights and networking, not new authors. Having said that, I did manage to get 20 minutes with an editor I’ve been having an email conversation with about one of my stories. It is always good to put names to faces.

YA & MEG ROSOFF

Meg is one of my favourite authors and I found her in the Penn Literary Salon talking about writing and her new adult screwball comedy, Jonathan Unleashed. Meg has also just won the prestigious Astrid Lindgren Prize for her YA novels and deservedly so, her characters are quirky and original, and she is superb at first person voice.

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Meg Rosoff: Winner of the 2016 Astrid Lindgren Memorial Award

Meg says she “writes on the edge of reality, where the strange might happen,” weaves into her stories the two big questions teens and young adults are preoccupied with. Will anybody love me? and What will I do with my life?

She says her stories reflect her “cape crusader personality”. She believes in “being good in an unconventional way,” and that life is not about finding happiness, “it’s about being useful and being loved.”

She spends a lot of her day thinking and a small part writing and then rewriting and rewriting and rewriting, until her characters resonate.

Seminar Notes: The Power of Pictures: Working with Picture Book Creators in Primary Schools.

I stumbled upon this talk and I’m so glad I did!

This is a three year Arts Council funded project, from Centre for Literacy in Primary Education (CLPE), where nine author illustrators have worked alongside teachers to help them understand the creative process that goes into writing picture books. The teachers use this experience to support the children in their classes to become better readers and writers. Author/illustrators taking part included Mini Grey, Nicola Davies, Alexis Deacon and Benji Davies.

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“Good picture books are complex”

Charlotte Hacking, the CLPE programme leader, demonstrated the complexity of the picture books chosen and how they communicate subtle layers of meaning through: body language, expression, line of vision, background, context, colour, page breaks, page turns, rhythms and rhymes, the contrast between words and pictures, and so on.

With a teacher or parent’s support, picture books not only entertain children, they encourage them to use their imagination, organise their thoughts and look for deeper meaning in stories. When children engage fully with a story it can help them learn life skills; one of the most important is EMPATHY.

The CLPE aren’t the only ones thinking like this. Agents/editors are currently seeking picture books that feature a life lesson, e.g. loss, worries, standing up for yourself, finding love, etc. Take a look at the latest SCBWI Slush pile challenge; this is exactly what Helen from Bell Lomax Moreton wants.

I asked the sales reps at some of the  children’s publisher stands: “What’s selling well in picture books at the moment – in the UK and aboard?”

And guess what! Books with a life lesson, stories that make children think, stories that evoke emotion and resonate with both children and adults do, and importantly, they must be humourous.

And bonus! They export well, especially in the Far East’s growing markets.

There was a lot of talk about picture books being relevant to ALL ages. Why do we frown on 7+ year old children reading picture books and push novels on them as soon as possible? Charlotte Hacking advocates breadth of reading for all ages: magazines, digital, comics, picture books and novels, because, “breadth of reading builds reading stamina for life.” 

Seminar: The Future of Children’s Publishing

In this later session, there was a warning and an opportunity. Children’s market are still growing, buoyed in part by adults buying children’s books (seeking what they loved as a child and recognizing the great new writing in this market) and super child readers (from affluent middleclass backgrounds) who are consuming more than their weight in books. Overall though, children of 6+ years are spending less time reading due to digital platforms (YouTube and Apps) becoming more accessible and more attractive. Ensuring diversity and breadth of appeal in children’s publishing is key and creative concepts, which can cross formats are a real opportunity.

INSPIRING AUTHORS

I also attended talks by crime author Peter James, children’s writer Judith Kerr, and watched a ‘Dragons Den’ style panel event called the Write Stuff where five brave authors pitched their novels to agents.

Listening to them talk, it was obvious that successful authors pour their life experiences and passions into their books. Peter James enjoys accompanying the police on raids and his real life tales are every bit as fascinating as his fictional ones.

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Peter James, crime writer

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Judith Kerr, 93

Judith Kerr’s novel, When Hitler Stole Pink Rabbit, was based on her childhood experiences as a jewish refugee narrowly escaping Nazi persecution. The winner of the Write Stuff pitched a book about the fallout of a relationship after a soldier arrived home from a conflict zone, psychologically damaged and irrevocably changed. Both the author and her husband have been deployed in the Middle East and it was a story she needed to tell.

This kind of passion is catching and inspiring and sells lots of books.

Lastly, here’s my pile of children’s publisher catalogues featuring current lists and what’s debuting spring and autumn this year!

I wonder what the gaps in the market are…..

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How to evoke emotion in your readers?

Karl Iglesias in Writing for Emotional Impact, states we can experience three different types of emotion when we read books or watch movies.

Voyeuristic emotions relate to our curiosity about new information, new worlds and the relationship between characters. In this mindset we are interested onlookers but perhaps not fully emotionally engaged.

Vicarious emotions are when we identify so closely with a character, we feel what they feel. Their struggle is our struggle.

Visceral emotion is an intense physical (stomach clenching) sense of curiosity, anticipation, tension, surprise, fear, excitement, laughter, and so on (a real page turner!)

Great books evoke all these emotions.

So first ask yourself, what’s the heart of my story?

And by heart I mean emotional truth. That little nugget of familiarity, which has your reader identifying with your character and his situation, that spark of recognition that makes your character feel believable and real.

For every hurdle your character faces, ask yourself, what would I feel and what would I do in that situation (at that age and that time)? Life experience is invaluable, but research can help fill the gaps: first person letters/autobiographies/live film footage.Failing that, a keen perception, a good imagination and a way with words!

These are the three ways I build a connection between readers and my characters. 

Recognition (understanding and empathy) To identify with a character we must feel (or have felt) the same as they do. If a character is well drawn (and the author understands human nature well) readers can empathise with and share the characters situation, feelings and motives, and then experience the story directly through the characters eyes.

Fascination (interest) We are attracted to what’s different and unusual. It’s human nature to be curious. A multidimensional villain, flawed hero or quirky sidekick are great hooks, as are the magical or dangerous worlds they inhabit.

Mystery (curiosity, anticipation and tension) Children’s books are full of characters with mysterious origins, super powers and secrets to be unlocked.

Think about Harry Potter.

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What character and story elements did J.K Rowling use to help us identify with and care about Harry?

He’s an orphan. He lives in the cupboard under the stairs. The horrendous Dursley’s. The scar on his forehead. The mystery of his parent’s death. Wizards on the front lawn. Magic… and that’s only in the first two chapters!

So how exactly do we show a character’s emotional reaction on the page.

After every event (action) there is a reaction.

As a writing exercise, note all the emotional highs and lows you have in a single day and your physical, verbal and emotional reactions to them.

Use all the usual writing techniques to show, don’t tell, and mix them up a little.

Internal monologue (voice)

Dialogue

Body language/behaviour

Action

This extract is from We Were Liars by E. Lockhart16143347 – 14-year-old Cadence describes how she felt when her father walked out on her and her mother.

My father put a last suitcase in the back of the Mercedes and started the engine. Then he pulled a handgun and shot me in the chest. I was standing on the lawn and I fell. The bullet hole opened wide and my heart rolled out of my rib cage and down onto a flowerbed. Blood gushed rhythmically from my open wound then from my eyes, my ears, my mouth, it tasted like salt and failure. The bright red shame of being unloved soaked the grass in front of our house…

This scene is three pages into the book and sets up Cadence’s state of mind. You can feel her pain.

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Even the fast moving, criminally cool, Artemis Fowl (Eoin Colfer), “felt a lump in his throat. Most uncharacteristic,” at the mention of his missing father and “blinked back a few rebellious tears,” at his mother’s mad ramblings. (Chapter 2)

 

 

Picture books

At Christmas, I watched 50 Best Children’s Books, presented by David Walliams and guests. Winnie the Pooh was in the top spot. Julia Walters read an extract and it struck me how emotive the writing is.

“We’ll be friends forever won’t we, Pooh?” Asked Piglet.th-7

“Even longer,” Pooh answered. “Sometimes the smallest things take up the most room in your heart.”

I’ve read a lot of picture books lately (drafts and published) that completely omit emotional content. There’s lots of colourful action but no point to it at all. Very young children cannot articulate moods and emotions but they certainly do feel and show them. Picture books are an important aid to learning and talking about feelings. They teach empathy.

Here is a great guide to structuring picture books because it makes space for the character to feel, react and learn.

Spread 1: Intro character/world

Spread 2: Establish problem (worry/dilemma/misunderstanding/first experience)

Spread 3-8: Action

Spread 9: Crisis moment (show immediate emotional reaction- Shock/laughter/confusion)

Spread 10: Examine feelings

Spread 11: Solve problem (new understanding put into practise)

Spread 12: Emotional resolution (answers the stories emotional problem)

Courtesy of Hodder/Hachette (with a little elaboration)

Character emotions vs. reader emotions

There is one final point I want to make about evoking emotion.

Authors don’t always want their readers emotional experience to mirror the characters. An unreliable narrator or an inexperienced, over confident or haphazard character can make the reader feel wonderfully superior and knowing. Humour also works this way. A clumsy character might trip over and fall into things with hilarious consequences. We will be laughing, but the character won’t be. It’s a very effective devise, if done well. It makes the reader feel clever, and flattery, as they say, gets you everywhere.