Monthly Archives: November 2018

Why Dave Rudden is supporting #DACBaccess

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Dave Rudden is the author of The Knights of the Borrowed Dark trilogy, and is our partnering author for YA books in our #DACBaccess month. Here is why Dave is supporting the open month:

When I’m not writing, I run a live roleplay show in school for 10-year kids. It’s glorious and chaotic – the kids all play characters, I and the other performer tell them a story, and they provide suggestions at crucial moments. That’s all stories are really – a selection of crucial moments, and what people decide to do in them. We’ve had kids defeat the story’s villain by proposing to them, unlock magical cages by singing, and teachers are always so impressed that the kids not only accept the crucial moments we throw them, but are well fit to come up with a host of solutions that have sometimes surprised even us. We could just tell the kids a story, but we learn a lot more when we listen and they tell us theirs.

The thing is, kids are immersed in nick-of-time rescues and famous last stands from the moment they’re old enough to be read to. By the age of ten, kids are fluent in adventure. Proficient in peril. They soak up every rule and detail of the stories they hear because it’s at that age that you believe you may need them.

The only time I’ve ever seen a kid nonplussed is when we unveil the artwork for our characters. The leader of our party of heroes is Lady Jayna Falchion, who has armour, a sword that talks, and dark skin. When we clicked through to the slide with Jayna’s picture (drawn by the very talented Dearbháil Clarke) a little black girl at the back of the room exclaimed;

‘She looks like me!’

She didn’t say this with joy, or pride, or interest, but with a blank sort of shock. She simply had no frame of reference for seeing herself as a main character, let alone a leader of a band of heroes. When I hear white, straight people (usually men) complain that the world is being taken over by diversity, that every character now must be a person of colour, or LGBTQ or other than themselves, I don’t think about the numbers –

(though the numbers are damning. Bigotry is as irrational as it is systemic, but research shows that, no matter how loud certain protests are, no such takeover is taking place)

– I think about just how much children learn from story. Stories tell kids what is possible, and what is impossible, and all the odds in between. We are soaked in the visual language of narrative, and when you present heroes as all white and straight and able-bodied, you are lying to your audience.

You are letting them know where they stand, telling them that crucial moments and the options bound into them only belong to others, and not to them. It’s our responsibility as authors and creators – especially those who have directly or indirectly benefited from being on the inside looking out – to not right this wrong, but to make room for the voices that have not yet had a chance to speak, because you can only learn so much from telling your own story again and again and again. There are better stories out to hear.

Rashmi Sirdeshpande’s Tips for Picture Books

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Rashmi Sirdeshpande is a picture book author, writing both fiction and non-fiction texts, and is our partnering author for picture books for the #DACBaccess month. Here are her thoughts on why the open month is important, and her very best tips for picture book writers and illustrators.

 

A note about the open submissions month 

 

The agency is ALWAYS open to writers and illustrators of ALL backgrounds and they actively seek them out too (I can vouch for that bit!). But this is a shout-from-the-rooftops kind of initiative to make the whole process feel more accessible to underrepresented groups. Sort of a “yes, I mean YOU”. Before I was selected for Penguin Random House’s WriteNow programme, I didn’t think children’s publishing was really open to writers like me. WriteNow was my “yes, I mean YOU” moment. I hope this can be yours! 

 

Rashmi’s top tips for new picture book writers and illustrators 

 

1. READ! Oh my goodness, if you do nothing else, READ, READ, and READ! Pull apart picture books you love to really understand what works. Get a feel for the language, the page turns, how the words and pictures work together. If you’re a writer, you need to leave space for the illustrator to work their magic. Leave out anything that can be expressed visually. By reading lots, you’ll get a sense for how this is done. There are also some brilliant blogs out there with lots of guidance like SCBWI’s Words and Pictures, Notes from the Slushpile, and the Picture Book Den!  

 

2. WRITE/ILLUSTRATE LOTS and if you do, call yourself a WRITER or ILLUSTRATOR (drop the “aspiring”!). It sounds like a tiny thing but it’ll make a big difference to how you see yourself and your work. We all have other commitments so don’t beat yourself up if you have a slow patch but you know what works for you – get that practice in. Writing/illustrating is a learned craft. Don’t let anyone scare you with the idea that you either got it or you ain’t. If you ain’t got it, you can go and get it. The more you do, the better you get. 

 

3. DON’T WORRY ABOUT TRENDS or if someone is doing something similar. If you’re a writer, write the story YOU want to write. If you’re an illustrator, work in the style or styles that speak to you. Publishing takes AGES and by the time your book is on submission or even on the shelves, everything will have changed. Be yourself. Tangent: if you’re looking for an agent, find someone who really gets you, someone who can back your entire career. I’m lucky to have found that here at The Darley Anderson Children’s Book Agency. 

 

4. SEEK OUT HELP. Surround yourself with writers and illustrators you look up to and with people who love and believe in you and your writing. When Imposter’s Syndrome strikes (and it will!), go back to those people. Find mentors who can bring out the best in you. Find other writers on similar journeys – look for them in groups like the Society for Children’s Book Writers and Illustrators (SCBWI). Join a critique group (online versions work too!) – it’s a great way of getting fresh eyes on your work but ALSO, reviewing and commenting on someone else’s work will fine-tune your own skills. Win, win. Just make sure you work with people on the same page as you. Fit is everything. 

 

5. BE PATIENT. Publishing takes time. Pictures books can take two years to publish even after they’re acquired by a publisher. A lot depends on book fairs and illustrator availability but also what else is on the publisher’s list. So many factors out of your control. The one thing you can control is this: keep working on your craft. It’s not a race and it’s not a competition. Well, OK, it’s business but there really is enough pie for everyone. Keep writing and illustrating, and keep believing in yourself. Somewhere, somehow, when the time is right and the stars are aligned, it WILL happen for you. And when it does, be prepared to keep LOTS of secrets. Publishing is full of them! 

 

Can’t wait to see what you come up with! Good luck! 

Why Polly Ho-Yen is supporting #DACBaccess

d7ab377c9fb0a45131800085199c77e1Polly Ho-Yen is the award-winning author of Boy in the Tower, Where Monsters Lie and Fly Me Home. She is our partnering author for Middle Grade writers during our #DACBaccess open month. Here’s why Polly is supporting the open month, and her top tips on putting together a submission:

‘There was a winding line of children waiting to have their book signed at the school I visited last week. We’d been doodling ideas for stories. Each student, as they approached me, was gripping on tightly to their piece of paper as though their idea might take flight and disappear if they didn’t. I talk to school groups about the value and the richness of their everyday experience – how no one else in the world is quite like them and so whatever they choose to make will be completely original because they made it. I tell them about my family. I show them a picture of my dad when he’s about four, with a little rounded sticking out pot belly. I tell them about small things that I’ve experienced that become big things when I write them down. We talk about soggy broccoli (possibly too much.)

I love visiting schools because it’s as though you can see a switch has been flicked; I can almost see them thinking, ‘well, if she can do it, then …’ Possibilities swarm the room, with excitement following as its tail.

The next boy stepped in front of me. “I’m like you,” he told me, grinning so widely that his cheeks expanded out. Two inflating balloons. “I’m half Chinese too. Only it’s my mum who’s Chinese. My dad’s English,” he went on. He told me the story of how they met, finishing with, “There’s no one else like me in the school” before launching into his idea for his book, without pausing for breath.

Next month I’ll be reading submissions made to Darley Anderson as part of their open submission month for BAME writers. #DACBaccess is a simple idea – over the month of November BAME authors can submit their work to a dedicated inbox to be read by agents over December and a shortlist will be given detailed feedback from both an agent and an author. I’ll be looking at the middle grade stories. I’m doing this for a very simple reason: we need more diverse writers and we have to do more to find them. Of course, submissions are open to all, all of the time but #DACBaccess has been created to make little more space for BAME writers to send in their submissions.

Like the standard submission, #DACBaccess asks for a covering letter, a synopsis and the first three chapters. It has to be a piece of work that you have finished (and that you feel that you’ve finished – it needs to be as polished and edited as you can possibly make it.) You might be reading this and decide here and now that you’re simply not at this stage in time for this open access month. I would urge you not to give up and wait until you truly feel that you have the whole book finished and that you’re as happy with it as possible, before you submit, open submission month or not. You need to be at the point where when you whisper softly to your book, “Are you the best you can be?” and it solemnly nods its head back at you, before you think about submitting. If you’re at this stage, then approach the covering letter and the synopsis like they are writing exercises. I’ve got to say I hated writing my covering letter because I felt a bit like a fraud and that I definitely was not good enough and I HATE talking about myself and I’m not even sure that my writing is any good in the first place. So if you’re feeling like that’s you, take a deep breath and remember these things when writing your covering letter:

Try to keep it short and succinct. Don’t give the agent a sinking feeling that they have to trawl through reams of writing to try and work out who you are and what your book is – make it nice and easy and clear for them.

– Start with a basic introductory sentence that tells them the title of what you are submitting. (There’s no point reinventing the wheel here.)

– Followed by (roughly) a one or two paragraph summary/introduction to your book which will tell them why it will interest them. This is the tricky bit of the letter – it needs to be direct, clear and communicate the plot, tone and style of what you have written. Think of that one line hook that captures what your book is. For ‘Boy in the Tower’ I wanted to communicate that it was a kind of ‘The Day of the Triffids’ for kids in a modern urban setting that I knew.

In fact, this is exactly what I wrote:

I would like to submit BOY IN THE TOWER for your consideration.

I started writing this book after I couldn’t get a picture out of my head: A lone tower block standing, amidst a lush, jungle-like landscape. I work in a South London Primary School, which is surrounded by tower blocks, estates and a network of busy roads, and so perhaps it was a reaction to the inner city that brought me to BOY IN THE TOWER.

It tells the story of a nine-year-old boy called Ade who is a survivor of the attack and invasion of the Bluchers, a type of plant or fungus which feed upon the buildings of the city, dissolving them down into nothing. Ade finds himself trapped in his tower block as the world around him changes beyond all recognition. I am a fan of post-apocalyptic literature and film and I wanted to create a modern day story for children on this theme, with a nod to Wyndham’s The Day of the Triffids.

I can’t say it better than Patrick Ness who in his tips for writing at Booktrust (which are brilliant – maybe don’t read this anymore and check them out: https://www.booktrust.org.uk/books-and-reading/tips-and-advice/writing-tips/writing-tips-from-authors/patrick-nesss-guide-to-writing) to remember that the covering letter “is an advertisement for yourself and for the book, so make it as good as possible. It must serve the same function as your fiction: it must be good enough to make them turn the page.”

I also hate writing synopses and so I’m sorry that we’re asking you to have to write and send that in too but the agent needs to see quickly what happens in your book. They want to get the sense that the plot is strong and will hold up. Be as short and clear as you can, but include all the plot twists and turns – it needs to tell the complete, full story.

Then those first three chapters. That should be the easy part, as you have already written those and read them to yourself a million times and have had anyone you’re living with asking you why you’re talking to yourself because you’ve been reading them aloud when you think no one else is in.

Then press send to access@darleyanderson.com and think about something else for a while. Maybe eat a brownie.

I hope that you will think about submitting and that this is just the start of things for you. I wish you all the luck for the beginning of your book journey and beyond, and hey, I can’t wait to get reading!’