Wednesday, 26 August 2020

Chapter or Verse, a poet’s guide to getting published

By Dom Conlon 

So you’ve opted for the life of a writer.  Congratulations. The race to the depths of your soul begins now. But fear not, there are many wise people to guide your way and darkness shall never... oh, wait. What’s that? You’ve chosen to write poetry? For children? 

Oh, dear. 

You’re screwed. Plus, this is a post-pandemic world so… y’know… you’re doubly screwed for reasons which become clearer further down. There are several differences between getting published as a writer of fiction versus getting published as a writer of poetry. 

Neither is easy, but poetry is (perhaps fittingly) more peculiar.  
Fortunately ‘peculiar’ is my middle name so I’m going to offer a few tips and the occasional beard-stroking word of wisdom. 

You will probably not get an agent

The first issue to raise is that you will probably not get an agent. I mean sure, you’re amazing. It’s just that agents for poets are few and far between. 

I know only a handful of professional poets who have agents. And those tend to have agents because of their non-poetry publications. That poses a problem right away: namely that whole getting published thing. Which may or may not be why you write but probably is, given the title of this article. 

The good news is that submissions for poetry aren’t quite the same as they are for fiction. Sort of. 

There are specialist publishers of poetry who welcome direct contact from poets but... you’re going to have to stand out. But that’s ok, you’re amazing! 

You have to stand out

One way to stand out is to get yourself into anthologies. Easier said than done (of course) but not impossible. 

Some editors put out public calls for entries, some don’t. The former tend to be rarer and if you are unknown then you won’t hear about the latter. 

Don’t worry. Don’t give up. 

You have to be visible.

My top tip for all your poetry writing is: BE VISIBLE. 

 Let’s face it, writing poetry differs from its fictional cousin in one big way: it’s shorter (usually). 

Which means you’ve probably not spent three years writing a poem. 

So write lots of poems. Write as many as you possibly can. Not all of them will be gems but you’ll get to know yourself better (and who you are as a poet) in the process. 

You have to share.

So share them. I view the sharing of my poetry as a way to say something nice (or interesting) about the world. Why wouldn’t I want to share that? 

Of course, sharing your poetry isn’t guaranteed to get you into anthologies. It might catch the eye of other poets who (generally) love nothing more than to celebrate great poetry. 

I will share other people’s poetry if it speaks to me. I don’t look at the person’s Poeticum Vitae in order to assess whether or not I should be sharing it. If I love it, I’ll want others to see it. But as inclusive and welcoming as the world of children’s poetry is, there is a deep pool of talent for editors and publishers to draw from. 

You have to try different things.

So in addition to being visible, you might want to try other things. Like entering competitions and submitting to magazines. There are not THAT many competitions but the ones which do exist are marvellous. Write for them. Try them out. Just don’t bet your entire future as a poet on the outcome. 

Magazine submissions, however, are a whole different kettle of haiku. We are in the golden age of magazines for children. Online and print magazines have sprung up to inform and delight children and they rely on great content. 

Buy them, read them, get to understand who they are for and what the editorial policy is, then submit something. 

I wish the same were true for open mic events. In the world of adult poetry, open mic is a rapidly expanding phenomenon. They provide a platform to air your poetry and develop a reputation. But kids don’t tend to hang out in bars or dark gin joints and so you are going to have to turn to festivals, libraries and street corners (I’m joking on the last one, don’t be weird). 

There are festivals where new acts are welcomed. Film yourself and try to get on the bill. Visibility is the goal here, something which isn’t always easy for attention-shy poets. 

You have to sell.

The other, often unsaid, tip for getting published comes down to sales. 

Can you demonstrate an ability to sell your work? Are you a regular visitor to schools? Do you have three million followers on Twitter? Will your extended family buy every last copy of your book and pass them around on street corners (don’t do this, don’t be weird)? 

Publishers are businesses and business rely on sales. At some point in your poetry publishing career, you will have to face this. Part of every publisher’s marketing plan (sometimes the only part) is YOU. Which, in this post-pandemic, socially-distanced world… is really tough. 

It’s something which probably needs to change but that’s a whole different article. All of which, in a roundabout-maybe-I-ought-to-have-mentioned-this-earlier kind of way, leads me to talk about self-publishing. 

There is less of a stigma about self-publishing these days. It’s a natural (albeit more costly) extension of sharing your work publicly and can act as a calling card to publishers. 

You have to be patient.

But here’s another tip: don’t be hasty. Putting a collection together (even a pamphlet) requires you to step back. The role of an editor isn’t always present in children’s poetry but that doesn’t mean you are the best judge of your own work. 

If you want to showcase your work then get some input on it. Someone who you trust to be honest. That said, if you are only using this as a calling card then it is an expensive method of attracting attention so think through your aims and motivations with care. 

 Finally, the most difficult part of being a poet lies in finding opportunities for your voice to shine through. It is, I find, also the most wonderful. 

Poetry can be small enough to slide beneath the door and loud enough to be sung. There may be times when you have to find your own way, but try to remember that there is always a way.

@Dom_Conlon is a poet and author whose unique blend of science and poetry can be seen in This Rock That Rock, a collection of fifty poems illustrated by Viviane Schwarz (@VivSchwarz), and Leap, Hare, Leap! the picture book about bio-diversity and environment illustrated by Anastasia Izlesou (@izlesou). Dom has no cats, three pens, and a fondness for cake. You can read more about him and invite him to tea via

Saturday, 15 August 2020

How Not to Get an Agent: Submission Pet Peeves plus a Passive Aggressive Ukulele Ode to an Agent

By Candy Gourlay 


Inspired by You'll Be Back, mad King George's song in the musical Hamilton by Lin Manuel Miranda, George Kirk scarily demonstrates how not to communicate with literary agents. If you haven't seen Hamilton, you can hear the original song below. We love it! 


If you're a ukulele strummer, you can download the chords and lyrics here.

Always keen to be of service, we asked literary agents what their top subbing peeves were. 


If this has made you fear for George's chances of getting an agent, don't worry, she's already got one, Alice Williams of Alice Williams Literary

We asked Alice what her top subbing peeve was and it wasn't 'Passive aggressive ukulele lyrics' but interminable submission letters.  

Alice says: "Remember an agent will often sit down and sort through a big batch of submissions in one sitting. They are looking for the standout ideas and writing, and interesting creative people. An overly long covering email can slow the process down and be a bit offputting." 


Author Nizrana Fahrook, author of the utterly brilliant The GirlWho Stole an Elephant, kindly asked her agent Joanna Moult what pet peeve gets up the collective noses of her agency Skylark Literary.

Joanna Moult
Joanna replied: "Amber (Caraveo) and I often talk about our most hilariously unappealing submission! It came in from a writer who said next to nothing about themselves in the covering email, other than to insist in VERY STRONG TERMS that they were only willing to communicate by email and that a publisher would not be allowed to change a single word of it. It all sounded so mysterious, so we were intrigued and opened it immediately. It turned out to be a disastrously badly written story. So that was a pretty easy ‘no’!"


Notes from the Slushpile denizen Nick Cross offers this from his agent, Heather Cashman of Storm Literary Agency (you can read a brilliant article on Nick and Heather's author agent relationship over on the SCBWI newsletter Words & Pictures and you might be interested in Heather's Manuscript Wishlist)

Heather Cashman
Heather says: "This is such a difficult question to answer, because it's hard to choose 'the worst' thing that people have done. I've been told (by aspiring authors that) they have book deals when they didn't, I've been DM'd or emailed incessantly by the same person, I've been propositioned ... but I think the worst would be showing blatant prejudice through the authorial voice. It really offends me."


New York Times bestselling author Mo O'Hara (whose graphic novel Agent Moose just came out ), has this from her agent Gemma Cooper of The Bent Agency.

"Sending a book out on submission is stressful, and lots of agencies have different requirements, so you are adding complicated systems to that stress! That is to say that for me, I understand if mistakes happen. Check the website and try your best to follow the guidelines."

Please don't gaze at the starkly worded instructions on agent websites and think you can do it better.


Gemma collected some comments from other agents at The Bent Agency and there was an astounding number of comments about the lack of self belief on display in submissions.

"I don’t like to see authors putting themselves down," said one agent, citing the number of times she's had to read lines like: “It’s probably not very good" and “I’m sorry for wasting your time”.

"If I’m open to submissions I want to hear from you, so my time is yours to take. You’ve written a whole book. That goal is on a lot of bucket lists, and you did it! Be proud of this and confident in your approach. Be professional. Don’t put doubt in my mind before I’ve read a single word."


Molly Ker Hawn riffed on query letters that didn't actually query.

"Query letters that are all about the author and why they wrote the book, and don’t include a solid pitch for the book itself."


Zoe Plant
Zoƫ Plant adds: "Queries for books in areas or g
enres that I don’t represent."

So, guys, please don't submit a children's book to an agency that only represents adult non fiction, or a young adult novel to a picture book literary agent. It's a waste of everybody's time.

Candy, Mo and George are children's authors who love playing the ukulele together and rewriting the lyrics of songs. During the lockdown they made a video rewording the World War II anthem We'll Meet Again as We'll Write Again. They are pictured playing their ukuleles at the 2018 conference of the Society of Children's Book Writers and Illustrators (left to right: Candy Gourlay, Mo O'Hara, George Kirk and Tania Tay)

Tuesday, 4 August 2020

Launching a book in lockdown: disaster or opportunity?

by Teri Terry
Do you have a book coming out - during lockdown or post-lockdown or possible future lockdown? The book trade and publishing landscape has changed - the world has changed - and we're just finding our feet again. Dark Blue Rising came out on 9th July. It was a difficult, stressful time in the lead up to publication. But some positives definitely did come out of it.

I ADORE my cover!!!!
Designer: Michelle Brackenborough
GIF by Sara O'Connor
A new book - a new series! - a new imprint, Hodder - a new year. It was all change for me after a 2019 that, well, let's just say had more than its share of challenges. But somehow I got through it, finished editing, was happy with the story, AND - the dream! - got a book cover that I ADORE. So around February 2020 I was feeling cautiously optimistic about the launch of Dark Blue Rising, coming in July.

And then ... well, you know what happened.

At first there was denial: this isn't as bad as it seems, it is an over-reaction, everything will be back to normal in a blink.

Then panic: it isn't as bad as it seems - it's worse. I'm worried about my family, my friends, the world. I can't write, can't concentrate on anything. 
(I got past my block, eventually - I'll post a vlog on that below.)

Then guilt crept in: I'm worried about launching my new book. 
The very entertaining, tail-wagging,
sock-stealing Scooby

It felt wrong to even admit it with so much going wrong for so many people. So far, the worst for me was having to cancel some events and a long overdue trip to Canada to see family. We were healthy and well, had Scooby to entertain us, a park across the road for our early morning walk, a decent sized garden for outdoor space, no immediate financial concerns. We had it good, and I knew this - still know it now. 

But what about MY BOOK?? WAHHHHH

Sometime around April I called my lovely agent - wondering if the publication date should be postponed. There were conversations back and forth with my publisher. They felt we should stick to the July date; that so many books were being postponed that the Autumn would be too crowded, and with the only other option leaving it to 2021, I agreed. 

Then things seemed to be getting even worse, both with the pandemic and in the book and publishing sphere. There were tales of new books being held up and not delivered to shops, supply chain woes, even Amazon was putting book delivery down the priority list. And again - feeling guilty to even be thinking about things like this when people were losing family, friends.

There is no point worrying about things out of my control, right? I'm rubbish at listening to my own voice of reason though. I half-heartedly read up a little on zoom and other virtual event platforms, but I was scared: of working out the technology, of security and privacy issues using virtual events with my mostly 12 - 14 year old readers, our woeful broadband, being on screen, etc etc etc. I was putting in time learning how to use a number of different platforms on free trials even as I didn't really want to go that way, and feeling increasingly unsure of the right approach.

Then on 9th June I attended - virtually! - a Society of Authors event with Candy Gourlay and Chitra Soundar, entitled Social Media 101. In the chat box I confessed my worry about launching my book, that nothing would happen if I didn't go virtual, that I didn't know what to do. And it felt so good to say it out loud! Well, typed in a chat box. And it really was from that moment on that I decided to take control of what I was going to do.

I won't go into all the details of how I came up with and structured my virtual events as I've blogged about it elsewhere; I'll post the link below. But this is what I did:
1. Virtual Publicity Tour:

I offered a week of free virtual events run on password-protected pages on my website, complete with live Q&A with me, but done in comment boxes: so there was no live video of me or them, no requirement for me to have their personal details. It worked kind of like chat boxes - the sort of thing I felt comfortable doing myself. 

Would schools be too stretched and stressed to want to take part? No! I ended up with eighteen school events being booked, from class size to year groups. I found them in a variety of ways: past teacher and librarian contacts; twitter; Facebook; being shared on a few librarian groups.

the tweet that started things off
Why free? Well, it was my book launch week. Also, I felt I didn't really know how it would work; it was a learning experience. From what I learned, I'm ready to go forward with paid events in the new school year.

2. GIF and Book Trailer:

The GIF was total serendipity - from lunching with lovely Sara O'Connor, previously of publishing fame but now working in coding and programming. I showed her my book cover which, in case I haven't mentioned yet, I ADORE, and she offered to make a GIF, as above. With everything going online it was brilliant timing.

The trailer I made myself: on Vimeo!

3. Social Media:

Hachette Childrens Books rightly focused their efforts here, and they truly did a great job of getting the word out on Instagram and Twitter. They made some great images that were perfect for sharing, and share I did. I did worry a little if I was sending out too much book spam, but actually I think that at the moment, we're all more tolerant and supportive of these things. We all understand - this is our megaphone just now, and we have to use it.

Overall: Disaster or Opportunity?



1. Not getting to events in person. 

2. Missing YALC. WAH! I was really looking forward to that.

3. Book Fairs being cancelled and foreign publishers likely being more cautious; time will tell how that pans out. 

4. Difficulty getting books sold with virtual events.

5. Worry about a certain large online retailer taking over, while independent bookshops and highstreet chains struggle. 


1. I know how to do stuff I didn't before. I'm much more comfortable making videos, something I used to HATE. I know how to make them look and sound better. There was a fair amount of hair pulling and occasional swearing along the way as I worked it out, but if I can do it - anyone can.

2. Even though I was quite seriously stressed about what to do/not to do in the lead up, I actually really enjoyed the virtual event experience! Answering an avalanche of questions in comment boxes took concentration and good touch typing skills, but it was FUN. I'm sure I'll continue promoting virtual events even if - finger's crossed - there is a miracle vaccine available just around the corner. 

3. Comments from librarians afterwards were that they felt the format engaged the students, in some cases even more than an in-person event: students who wouldn't readily engage or ask questions were comfortable doing so using this format (link to their comments, below).

4. Going forwards with paid virtual events in the new school year, the reduced cost compared to a live event will make it more accessible and less something only schools with bigger budgets can afford.

5. Shouting out about the virtual event offering got a huge amount of engagement from librarians and teachers around the UK. Many of those who couldn't take part for one reason or another expressed interest in hearing about my coming virtual workshops. Yay!

these were LUSH
6. The reach of virtual publicity events is far greater than just the few I could have travelled to in person. The word is out, even if only time will tell how that translates to sales.

7. I missed some hugs, but Zoom book launches have some pluses: you only have to buy your own wine, and you get to eat ALL the cupcakes.

8. At last: I could dye my hair to match my book cover! In complete confidence that no one would see it unless I wanted them to.

A final word: After my launch week, I was tired - but happy. I did all that I could to give my book its chance in the world, and what more can you do?


And finally, below is my Vlog on struggling to write during a pandemic: other narratives are important!

Saturday, 18 July 2020

What if this is the Last Book You’ll Ever Write?

By Nick Cross

Photo by Kimberly Farmer on Unsplash

Not to get too morbid here, but it’s definitely going to happen that you’ll stop writing at some point in the future. Either through disease, or death, or taking up some exciting new hobby like competitive topiary. Would the knowledge that you’re writing your last book help or hinder your current work-in-progress?

Eight years ago, I became convinced that the book I was writing would be my last. My magnum opus. Of course, it didn’t help that I was suffering from a serious mental illness and feared that I might die at any second. Or that I felt my agent at the time was pressuring me to finish the book so we could get it out on submission. Anyhow, I pushed and struggled my way through that novel, with a weird mix of fear, self-hatred and messianic overconfidence.

Photo by Christine Keller on Unsplash

Looking back, I’m not sure how I got through that period. What I really should have done is stop writing and trying to get published, because that was part of the reason why I got sick in the first place. If I’d had more of a flair for the dramatic, perhaps I might have taken my own life after typing THE END. I certainly had plenty of suicidal thoughts to work with. But somehow I clung on, through the disappointment of my agent rejecting the book, through me leaving her and the book failing to find a publisher (thought to be fair, it hardly had a fair shot as I only sent it to three editors).

I was wrong about a lot of things from that period, not least that it would be the last book I’d ever write (I’ve written another four since then). But something has kept pulling my thoughts back to the novel I’d written during that dark time, a feeling of unfinished business. Was it still the masterpiece I’d imagined it to be?

Well, no.

It isn’t bad, actually, but it definitely isn’t world-changing in its current form. They say that you should leave your manuscript in a drawer for as long as you can to get a fresh perspective on it, but I’m not sure they were thinking about eight years! Still, I’d recommend it if you feel you can spare the time. With the benefit of hindsight, I can see now that it’s just a book, something that can be revisited and moulded into a different form. With the guidance of my new (and much nicer) agent, I’m doing just that, rewriting it as a graphic novel. The rewrite is still not an easy process, but at least there’s a lot less drama this time around.

It’s fascinating looking back at my life and work from such a distance, seeing how much my mental state bled into the characters I’d created. The protagonist is burdened by massive guilt and self-loathing, putting himself in dangerous situations in the hope he might be set free by death. Medication to control behaviour is everywhere. Even the overriding concept of the novel is an elaborate metaphor for depression.

Photo by Brandi Redd on Unsplash

If the novel I wrote reflected the man I was then, the new version will surely reflect me now – older, somewhat wiser and definitely more cynical. It’s ironic that we’ve just gone through another period of maximum fear and loathing during lockdown, a period that was not helpful in the least to my creative process, and during which I wrote very little. It’s only since the emergence of a tentative new normal that I’ve been able to start moving forward on the book again, to recognise the kind of persistent, low-level depression many of us have been suffering from in the last few months. And with that realisation comes the uncomfortable truth that I will never be truly free of mental illness, just better able to recognise and control it.

There’s an argument that knowing you were working on your final book wouldn’t change anything, because to write successfully you must pour the whole of yourself into the work, holding nothing back. And while I understand that theory, it also puts a hell of a lot of pressure on you as a writer, denying you the space to experiment and make mistakes. By all means, write your heart out and leave an amazing legacy of work for future generations. But don’t forget to be kind to yourself and others while you’re still here.


Nick Cross is a children's writer/illustrator and Undiscovered Voices winner. He received a SCBWI Magazine Merit Award, for his short story The Last Typewriter.
Nick is also the Blog Network Editor for SCBWI Words & Pictures magazine. His Blog Break column appears fortnightly on W&P.

Monday, 17 February 2020

Is there Power in Procrastination?

By Candy Gourlay


I've fired up my favourite productivity app and typed the chapter number on top of the page.

I am ready to write this thing and remind myself of that quote from my new favourite screenwriter Greta Gerwig:

"You have to will it into existence because no one needs it until they know they need it."

This is what I'm gonna do today: will my story into existence.

But then I go downstairs and mop the floor.

Sounds familiar?

The good news is, I know I am not alone. All I have to do is check my Twitter / Instagram / Facebook feed ... and there they are, all my writing friends, in various stages of procrastination. It's a wonder that anything gets published at all.

If we're all procrastinating, is this a normal thing? And if it is, how do we avoid it?

Apparently screenwriter Aaron Sorkin likes to say:

"You call it procrastination, I call it thinking."

Hmm. Somehow when I'm giving those skirting boards one more polish, it doesn't feel like thinking.


Tim Urban, describes procrastination perfectly on his blog Wait But Why.

He says it's like there are several characters fighting over the steering wheel to your brain.

One is the Rational Decision Maker, who can visualise the future, see the big picture, make long term plans.

Unfortunately, the other character is the Instant Gratification Monkey, who lives in the present moment, has no memory of the past and "only cares about two things: Easy and Fun".

Explains Tim: "The Rational Decision Maker will make the rational decision to do something productive. But the monkey doesn't like that plan. So he takes the wheel and says, 'Actually let us read the entire Wikipedia page of the Nancy Carrigan-Tonya Harding Scandal because I just remembered that that happened ... then we're gonna go over to the fridge and see if there's anything new in it since ten minutes ago.'"

Then there's another character: the Panic Monster. The Panic Monster is in hibernation most times, but emerges in a frenzy when there's a deadline.

Panic is the only thing that can scare the Instant Gratification Monkey away from your brain's steering wheel.

(You can watch Tim's Ted Talk, Inside the Mind of a Master Procrastinator below – but scroll down and read this blog post first.)

But what if you have to go sit in your garrett (without anyone nagging you to do it, of course) and come up with fresh chapters time and again.  How do you fight procrastination when, like many of us, you are still – in Greta Gerwig parlance – willing into being a novel that nobody is waiting for?

(Though this is a bit of a rhetorical question for me as my publisher is DEFINITELY waiting for me to finish writing my novel – yikes!)

Tim says creativity takes emotional and mental toil over time.

"Procrastination forces you to slow down, which is why it can be a direct asset."


Procrastination, an asset? Say what?

"If you really stretch time a bit and go deep into something, it gets more and more interesting, the deeper you're into it."

This is Tomas Hellum, a Norwegian TV producer who came up with Slow TV, streaming hours sometimes days of television.

Notes the New Yorker: "Most art, even the naturalistic stuff ... comes in espresso form: the complexities of human perception are picked when ripe, roasted to intensity, milled, tamped down, and infused into something that’s quickly consumed. It is surprising, then, to find a challenge to this ancient premise arriving in a novel entertainment form—suddenly everywhere—known as 'slow TV.'"

But Tomas insists that this is precisely what people need. "We are living in times when coherent stories and context is somehow exotic. People are longing for some kind of connection or an unbroken story."

"Slowness gives you the ability to take back some control."

1.2 million Norwegians watched Tomas's first seven hour film of a train journey to the Arctic Circle. Slow TV programmes have even been streaming on Netflix.

Listening to a Ted Radio Hour programme on Slowing Down, I was struck by how much my/our art – novel writing  – shares with the slowing down sensibility.

What we write has to compete with the bite-size snacking offered by social media, which has regrettably come to define leisure expectations around the world – entertain me with something easy, quick, disposable.

It's becoming harder and harder to hook readers into long reads, harder to persuade them to invest time and emotion into stories that require concentration and time.

So the idea of Slow TV gives me hope for my art.

But this is by the by. It's not just the consuming of art that needs to slow down, but the creating of it.


Have I mentioned that Greta Gerwig is my new favourite screenwriter? Watching her take on Little Women had me listening to every writing podcast I could find that featured her.

In The Q&A with Jeff Goldsmith, Jeff asked Greta about her process. Did she outline? Did she plan? How long did it take her to write her award winning films, Lady Bird and Little Women?

She said she keeps her writing "diaphanous" as long as she can, that she doesn't even put the manuscript in a screenplay form until much later because anything that looks final "gives you the illusion it's a final draft – it gives you a cosiness that you haven't earned" making it harder to change it.  "I find when I outline before I write its the fastest way to kill all my ideas. It makes everything quite literal for me."

Screenshot of Jo March laying pages of her manuscript on the floor  from the film Little Women
 Writing is a messy business – documents everywhere, sheets in longhand, she even writes using a typewriter. "I write a lot of scenes, gather a ton of material. I write until it feels like I can see a shape to it."

Tacked above her desk is a sign:


"I got good advice at the beginning: write everything. Write the things you think might be boring because there might be something in it. I think sometimes, when you're writing you’re in such a hurry to entertain, you can miss something that could be fruitful.”

FYI here is Greta Gerwig's Annie Leibowitz cover for Vogue

"It’s not about output it’s about sitting with the problem. That’s the thing about writing."


Hearing Greta explain that she is more interested in earning that final draft than writing it, is fascinating to anyone who feels the pressure to perform, especially in the children's book world, where your reader can outgrow you before you've finished writing a series.

American psychologist, Adam Grant tells the story of how Martin Luther King Jr was rewriting his speech until seconds before he took the podium before a 1963 civil rights rally in Washington, then leaving the speech in his chair to utter the words "I have a dream ..." which was not in the script.

"By delaying the task of finalising the speech until the very last minute," Adam says, "he left himself open to the widest range of possible ideas. And because the text was not set in stone, he had freedom to improvise."

Adam says we often misunderstand procrastination as laziness when it is actually discouragement that makes you want to flee a particular task. The danger is that the procrastinator might "rush ahead with their simplest idea because they didn't have time to work out their creative ones." But the non procrastinator is in as much danger of being less creative: "(non procrastinators) tend to rush ahead with our first ideas which are usually most conventional. We also make the mistake of thinking in very structured, linear ways."

In fact, says Adam, studies have shown that procrastination can boost creativity as long as it doesn't take too long. "People who started (work) early and then put it away for a while and then came back to it were more likely to do divergent thinking and incubation. Actually boosting their creativity."

Here is a video clip of what Adam said about procrastination in his Ted Talk The Surprising Habits of Original Thinkers (watch it after you've finished this article!):


We procrastinate because of doubt.

Self doubt - an inability to believe in yourself – can be paralyzing.

Idea doubt, though, the kind that makes me mop my floor instead of writing the next chapter, is different. It can be energizing.

Says Adam: "It motivates you to test, to experiment to refine, just like MLK did.

"Instead of saying I'm crap, you say the first three drafts are always crap and I'm just not there yet."

Like Greta Gerwig, we need to put off our final draft as long as we can, we need to earn it. Says Adam: "Procrastination can become creative when you've actively grappled with the problem".

There is actually a name for why we are advised to set aside a manuscript's first draft before attempting an edit. The Zeigarnik Effect – named for the German phsychologist who identified the process  – describes how we unconsciously continue to work on incomplete tasks that we've set aside.

Explains Adam: "When you finish something, you check it off your to do list and  it's erased ...whereas incomplete tasks ... Your brain continues to work on a problem, testing out different ideas" even as you are pursuing other activities.


I was inspired to write this after listening to the Ted Radio Hour Podcast on the theme Slowing Down.

We writers often talk about how showing up is half the battle of writing a novel. But how many times have I shown up and ... no matter how hard I stared at my screen, could not make my writing go to the next level ... then, after setting a project aside in  despair, found myself refreshed, full of new ideas again?

I am always impatient when I write, wanting to churn out chapters quickly, religiously recording my word count, and hating myself when I fail to meet my objectives.

But learning about slowing down, thinking about Greta Gerwig's advice to "sit with the problem", I realise that I have known all along what gets my novels written.

I must turn up, yes. But I must also give myself permission to take time. Procrastination is taking time. It allows your brain to work on the problem. It's good for you, Adam Grant says, as long as you grapple with the problem first, and don't take too much time.

So I mustn't let it be a source of stress, but of creativity.

Besides, my house will be cleaner for it.

Candy Gourlay is the author of Bone Talk, which was shortlisted for the Carnegie and the Costa children's book awards. Her next book is a biography for young readers on the explorer Ferdinand Magellan. In the UK, it will be published in paperback by David Fickling Books this April. Pre-order here. In the United States it will be published in hardback by Abrams in September. Pre-order here.

First Names: Ferdinand Magellan by Candy Gourlay Illustrations by Tom Knight

Monday, 27 January 2020

What matters more - the destination or the journey?

by Paula Harrison

One of the oddest things about how I ended up as a published writer was being picked up from a publisher's slushpile. Most writers go through an extended "nearly there" phase. They are shortlisted in writing competitions. They get full manuscript requests from agents. Then they get signed by an agent and go on submission but their story doesn't manage to sell. These are normal stages. Writers' successes usually come in tiny increments. Whereas I spent years and years writing with little sign that I was getting anywhere at all. Then suddenly - bam! Nosy Crow wanted to offer me a contract for a series.

But I think we can get too fixated on our destination as writers. We forget that any creative endeavour is a journey. We focus on getting an agent and getting a publisher. Of course these are important, but looking back they seem less important than they did at the time.

I think we can get too fixated on our destination as writers. We forget that any creative endeavour is a journey.

I started writing around age six when I invented a world of talking bookworms. I drew a map of their country in an empty exercise book and started writing down their adventures. I can't remember why I chose to write about talking bookworms. I suspect someone had told me that I was a bookworm and my brain had run away with the idea. Somehow in late childhood I lost the belief that I was able to write and, aside from some teenage poetry, I didn't return to writing until I was in my late 20's and by then a qualified primary school teacher.

A focus on readers has been a key part of my writer's journey. I spent years noticing how the children I taught reacted to stories. I noticed which books they picked from the library. I saw how they would return to a series or an author they loved over and over again. Then I became a parent and I got an even deeper insight into how children love stories and how they grow into readers.

Like all of us here on Notes from the Slushpile, finding SCBWI (the Society of Children's Book Writers and Illustrators) absolutely transformed my journey. Not only did I find a wealth of expertise and information through their events, but I also met lots of lovely writers and illustrators. Nobody can work and improve in a vacuum, and suddenly I had a huge source of inspiration and commiseration for every stage I went through. Whether I was at the peak of a wave or down in a trough there was always someone there with me.

Suddenly I had a huge source of inspiration and commiseration for every stage I went through.

Around 2009, I was just coming to the end of submitting what seemed like my millionth middle-grade book to an slew of uninterested agents and publishers, when my children started enjoying young series fiction. Tired and fed up of endlessly writing and submitting fiction for 9+, I started writing my own younger stories. It would be a break from longer books, I told myself, and I could finish the books faster and get rejected faster too!

I was spending every bedtime reading all sorts of stories to a five and a seven year old. Somehow, without realising it, I internalised the story structure and pacing for young fiction. Suddenly I had a contract for my first series - The Rescue Princesses. Writing younger books gained me my first publishing contract and several more since. But I have found that more than anything, I love the journey. Success is wonderful. But publishers and readers often want more of the same. Writers like to try something new! So how do we balance the needs of our readers and the market with our need to move on as writers?

Publishers and readers often want more of the same. Writers like to try something new!
I am still working out the answer to this one. I have been lucky enough to publish several middle grade novels as well as the younger fiction that gained me my first contract. Writing is my living so I am always balancing creative and commercial impulses. I always have readers in the back of my mind and I am always up for trying something new!

Paula Harrison has published over 30 books including The Rescue Princesses, the Red Moon Rising trilogy and the Secret Rescuers series. Her next book Kitty and the Sky Garden Adventure publishes Feb 2020.

Friday, 10 January 2020

Well, how did I get here? Luck & making your own luck

I honestly think most of the things that set us down one path or another and change our lives forever are random chance.

Take my start at university. My air force dad was transferred to Edmonton, Alberta, to take effect the summer after I finished high school at the other end of Canada, in Nova Scotia. I sent off for the engineering prospectus at the University of Alberta; they accidentally sent me medicine. I read it and found a thing called medical lab science – and hey, presto: I applied and did the first year! It didn’t last, though: as soon as I found out if I kept on the course I’d have to spend the third year in a hospital taking blood, I was out of there. I have an absolute phobia of needles, and swiftly switched to science in my favourite subject that year, microbiology. 

It’s startling - and a little embarrassing! - how many of my other major decisions weren't planned or even imagined before the moment.

Was pursuing writing and getting published any different – was it inevitable or more a combination of unexpected twists of fate?

Yes and no to both.

I loved reading and making things up as long as I can remember. When I was 17 I decided I wanted to be a writer, so the intention was there from quite a young age – but the belief wasn’t. I’d never met an author or heard one speak; nobody I knew wrote. It felt kind of like saying I wanted to win lottery: it’d be great if it happened, but how likely was it, really? I was also desperate for independence and set out to get it – studying and working at various things in Canada and then Australia: science, law, optometry. I still wrote; poetry, mostly. But it was something I did on the side, didn’t talk about much and definitely never let anybody read.

What changed? In one of those twists of fate I found myself moving from Australia to England to get married, and needed to either retrain as an optometrist - my profession at the time - or have yet another career change. What was I going to do this time? And I remembered being that 17 year old who wanted to write but never really took it seriously. At that point I decided I didn’t want to wake up one day decades later and never have tried.

And try I did. My first novel I finished in the summer of 2006. Titled Life Lists, it followed three lifelong friends and how their lives changed from what they'd been so sure of as teens, written on lists and opened when one of them died years later. It was for adult readers and In hindsight it wasn’t great – though at the time I seem to remember feeling so immensely proud at finally having finished something that surely someone would congratulate me and publish it! Alas, no. But I did get some personal comments from submissions. 

I carried on writing – short stories, novels – but somehow felt something wasn’t quite right. Without really understanding why, I started to fall out of love with the process.

Then, chance intervened. I got a job at Calibre audio library – a charity that does audio books for the visually impaired and dyslexics – to develop the children’s side of things. For the interview I had to convince them I knew a lot about children’s books: I didn’t. I did a crash course in libraries and bookshops and somehow got the job. And then I thought I better read some of the authors I'd been telling him I knew all about: children’s books. Something I hadn’t done in years. And I fell back in love with words, reading, writing. This was where I was meant to be. 

I started my first children’s novel on an overnight flight back from Canada. My dad there was very ill and it was an emotionally fraught time to say the least. Soon after I read about the Winchester Writer’s Conference in a writing magazine, and I think I was desperate for an escape, to do something that was just for me. Away I went! I entered that first children’s story I’d started on the overnight flight into a competition … and it won. I'd tell you what it was about but it's still in my might-rewrite-it-one-day file. 

I finished it and then started subbing it to agents and publishers using the handy Children’s Writers and Artists Yearbook, and somewhere in that book a children’s writing organisation was mentioned: the Society of Children’s Book Writers and Illustrators. I looked into it. And went off to their conference that November, in 2008.

And there I found my home. I met Candy Gourlay and loads of other children’s writers at that first conference. Other than one year when I wasn’t well I’ve been every year since, as well as to countless other events. I got a reality check or two along the way – apparently just finishing a novel that wins a prize isn’t enough to guarantee fame and fortune? And I learned and wrote and shared the good news and bad along the way.

There were all the slings and arrows of writing more novels, getting rejected, getting encouraged, getting rejected some more … and some more … and yes, you guessed it: some more. Finally, my novel Slated – the ninth I’d written and submitted – found a home with agent Caroline Sheldon and publisher Orchard books back in 2011; it was published in 2012.
So. How much of getting there was written in the stars, and how much was total luck? I like to think a bit of both.

Teri Terry is the author of best-selling award-winning thrillers for teens, including Fated, the Slated trilogy, Mind GamesBook of Lies and the Dark Matter trilogy. She has lived around the world but now calls a village in Buckinghamshire home. Teri loves all animals but especially Scooby, the world’s cutest puppy.

Thursday, 2 January 2020

What kind of author do you want to be?

By Candy Gourlay

The first time I met my agent, Hilary Delamere, she asked me a question that I have pondered time and again. 'What kind of author would you like to be?'

I really had no idea what she was getting at.

I mean, wasn't it obvious?

What kind of author did I want to be? I wanted to be the kind of author who had a published book. That is all.

It was the truth but of course I didn't say it aloud. I don't remember what I said on the day, something witty (hopefully), something that distracted her from pushing for an actual answer, something that didn't make her wonder if she'd made a mistake, signing me up.

But as I grew into my new identity, as I learned about the way the publishing industry worked, as I experienced the doubt, the fear, the feeling of being an impostor that seems to be the lot of the questing writer, it continued to  haunt me.

What kind of author did I want to be?

I am writing this in January 2020 – ten years after copies of my first book squeezed through my letterbox in a large jiffy bag. That book was Animal Tricksters, a sweet, three-story anthology for the Oxford Learning Tree reading series.

It had my photo on the inside page, under the title 'Letter from the Author'. I remember wrinkling my nose. Letter from the Author? The temerity!

I felt oddly reluctant to accept my new title of 'Author' minus the 'Aspiring'. The truth was, I had become very good indeed at being an Aspiring Author. It was my safe space. In fact, all my friends were Aspiring Authors.

I decided to become an Aspiring Author in 2001. I made time for writing. I attended talks and conferences and visited libraries and bookstores. I researched the market. I stalked agents. I treated being an Aspiring Author as a job, and it upset me when people referred to my writing as a hobby.

Though I did have a hobby. Having worked as a journalist before becoming a housewife and mother of three, I was fascinated by magazine and newspaper design. When the internet began its rise in the 1990s, I was excited by its creative possibilities – all  you needed was a screechy modem and a willingness to learn HTML.

I coded a website from scratch called Mum at Work – so called because I seemed to be surrounded by people who thought motherhood was recreation. I made comics about pregnancy and being a mum, I reviewed children's books and books about parenting, and wrote essays humorously extolling the virtues of creativity in domesticity with titles like 'Why we should all be more like Elizabeth Hurley' when the actress appeared with a flat tummy and 10 inch stilletos soon after giving birth. Mum at Work's motto: 'Let's do it all. We're already tired anyway.'

Upon discovering what I was up to, a friend told me, 'You are writing a weblog!' It was the first time I'd heard of a blog (as it came to be known) ... and when, in 2004, newly nascent Google introduced its blogging platform Blogger, I signed up.

By then I was deep in the submission/rejection cycle and searching the internet for clues on how to rise to the top of that infamous thing called the Slushpile.

I decided to call my blog Notes from the Slushpile. I was attending so many How to Get Published events that I had a LOT of material and I decided to use my journalistic skills to write reports on what I learned.

Looking back at those early years of blog posts, I realise now that I was asking myself that question all along. What kind of author did I want to be?

My debut post in 2004 explored race and children's books, reporting on a speech by Farrukh Dondy, who concluded that his first book East End at Your Feet was published in 1976 under a "deviant impulse":
We are still writing books that are basically written for a white audience, published by publishers because they are liberal enough to want to publish it.
Re-reading my piece, I can see my naivete. Although I reported Farrukh's speech accurately, I myself didn't fully understand systemic racism the way I do now. I, like the liberal publishers he was talking about, assumed and unquestioningly accepted that books should be written for a white audience.

When my first novel, Tall Story, was published in 2010, 'multicultural books' had been rebranded 'diverse' books after the government decided multiculturalism as a policy was a mistake. And my unique selling point became – guess! – being a Diverse Author.

I was learning though. In a 2015 blog post titled The Many Faces of Diversity, you could tell that I'd been doing more research on diversity and inclusion. Enough to offer this advice to anyone trying to write diverse stories:

1. Your character's Otherness doesn't have to be The Story.

2. You can't go wrong if your characters are fully imagined.

3. The best story, the one that will captivate readers, should be built on truth and not on agenda.

In my early years as an Unknown Author, diversity panels were how I got invited to festivals and conferences, panels that told (largely white) audiences about the lack of it.

... but what kind of an author did I ACTUALLY want to be?

Did I want to be a spokesperson for diversity? Nah. I was grateful to those diversity panels for relieving me of anonymity. But yeah, I did secretly wish that someday someone would invite me to speak about my writerly enthusiasms ... like Story Structure! I love talking about Story Structure!

Becoming a published author with actual books on actual bookshop shelves forced a shift in my identity. Suddenly, I was no longer the Aspiring Author, pandering to other aspiring authors by writing about masterclasses, agent parties and too much craft not enough story.

Overnight my audience turned into parents, teachers and librarians and I realised, after all the years of blogging about writing and craft and trying to get published, that my new audience wanted to hear about other things: literacy, reading for pleasure, libraries.

I decided to blog about these things on my author website. I recommended books, I blogged about my ridiculous author schedule, I blogged about books I loved that turned out to be racist. The invitations to talk about diversity grew fewer and far between as the book world became more woke to the issues. The years of blogging were good practice for listening and learning about this brave new world that was all about reading rather than writing.

But what about Notes from the Slushpile? I had built a readership of thousands but with the publication of my novel, I no longer had the time to blog consistently and vociferously as I once did. The solution, as all you dear Slushy readers know, was to wheedle my friends into blogging on Notes from the Slushpile. Which I duly accomplished, recruiting Teri Terry, Addy Farmer, Kathryn Evans, Jo Wyton, Nick Cross, Em Lynas and Paula Harrison.

Rather impertinently, several of them promptly got published and it turned out everyone was just as busy as I was. (We were all learning that the Slushpile reaches beyond getting an agent and beyond publication. But that's a blog post for another time).

I can't believe it's 2020 and I've been an Actual Author for a DECADE. And still that question nags me. What kind of author do I want to be?

Looking back, there doesn't seem to be a clear pattern of the sort of Author I've become. My stories are diverse in theme and genre-less. From writing a light-hearted, family-oriented middle grade book Tall Story in 2010, I've gone on to write a darker, older, middle grade about ghosts and family secrets in 2013's Shine, and thence to 2018, with Bone Talk, a novel set in a forgotten historical moment within a cultural context that the gentle, modern reader might find challenging. I've also written a picture book Is It a Mermaid about a sea cow that believes she is  a mermaid, in addition to some books for young readers that have not yet been published (although lookee, Waterstones has already announced that my Ferdinand Magellan book lavishly and hilariously illustrated by Tom Knight will be out in April 2020!)

Shameless self promotion: Filipino peeps will be pleased to know I have written this book. It was Ferdinand Magellan who "discovered" the Philippines. Heh heh I leapt at the chance to retell this story. Four months to publication day!

Looking through my posts on Notes from the Slushpile, I feel like I'm literally watching myself evolve and learn and change as the book world around me also evolves and continues to evolve. I guess the answer has always been there, in my fevered scribblings.

What kind of author do I want to be?

• I'd like to be a Diverse Author...not just because of the colour of my skin but because of the worlds that can be discovered in my stories.  

• I'd like to be an author surrounded by people who love story as much as I do.

• I'd like to be an author who is always learning to be an author.

What kind of author do YOU want to be?

Candy Gourlay was born in the Philippines, grew up under a dictatorship and met her husband during a revolution. Her novel Bone Talk was recently shortlisted for the Carnegie Medal and the Costa Prize. Her picture book, Is It a Mermaid, lushly illustrated by Francesca Chessa, was nominated for the Kate Greenaway Medal. Her novels have also been listed for the Waterstones, the Blue Peter and the Guardian Children’s Book Prize. She lives in London with her family, where she wages war on the snails in her garden.

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