The Weather Girls: Writing Historical Fiction for Children by Sarah Webb

Sarah at Blacksod Lighthouse

I’ve always been fascinated by history and as a child I loved novels set in the past like The Secret Garden by Frances Hodgson Burnett. A few years ago I visited Dublin’s brilliant tenement museum, 14 Henrietta Street and while walking through the rooms, I imagined what it must have been like to live in one of the well-furnished upper floor flats or in one of the damp, dark basement flats.

These families came alive in my mind and gave me the spark to write a children’s book about them, my first historical novel for children, The Little Bee Charmer of Henrietta Street. It took two years of research, a process that I greatly enjoyed, and I loved bringing early 20th century Irish history alive for young readers.

In 2019 I watched RTÉ’s Great Lighthouses of Ireland and first heard the remarkable story of Maureen Flavin and the Blacksod D-Day weather reports, as told on screen by her husband, Blacksod Lighthousekeeper Ted.

I was fascinated. I knew immediately it would make a great story for children but I also knew I’d need to make some changes to the real events to make the plot work.

Maureen was just twenty-one when she gave the D-Day weather reports in 1944 but she didn’t discover the significance of her role until ten years later when workers from the Irish Met Office came to close the Blacksod weather observation station. She married Ted in 1946 and they went on to live in Blacksod lighthouse with their family.

In my book I created a fictional Blacksod lighthouse family, the Devines, inspired by the Sweeny family. I gave it a working title, The Weather Girls, which stuck and is now the actual title. I created a main character, twelve-year-old Grace Devine who lives in the lighthouse with her nine-year-old brother, Dannie, her dad, the Lighthousekeeper and her Mum who she calls Flora (a Scottish woman with a Masters in Engineering), and their two Labradors Lucky and Poppy, named after my own dogs!

As well as the weather reporting for D-Day plot line, I also created a sub-plot. Grace and her best friend, Sibby rescue a young German airman from a burning plane. There are mixed reactions to this in the village, some think they should not have saved him, which creates tension in the plot.

Here’s what I have learned about writing historical fiction for children while researching and writing both The Little Bee Charmer of Henrietta Street and The Weather Girls. I’m now starting research on another historical novel for children and I’m sure I’ll learn even more during that process!

1/ Children are very interested in history if you give them the right story and the right characters. Generally they like when the story is narrated by children their own age or a little older than they are (not an adult).

2/ Don’t presume that children know anything about the period of history in your book. Set the scene and the time carefully from the start.

The Weather Girls is set over five years into World War 2. My editor suggested adding a short introduction at the start of the book explaining the war, the different countries involved on each side and when it had started.

I also added a prologue which is set in 1941. In this scene set in a cinema, the main character, Grace and her best friend, Sibby are in the cinema. They watch a newsreel about the Belfast bombings, foreshadowing incidents later in the book and discuss the war on the way home from the cinema (or picture house as it was known as at the time).

3/ Research! Research! Research!

I cannot emphasise this enough. Do your research. For The Weather Girls I started off by reading a general book about Ireland during ‘The Emergency’ (WW2). Then I read books about other aspects of the era, people’s lives at the time, especially children’s. I watched documentaries and films about the time and read up about D-Day and weather forecasting, plane crashes, Éire signs… all kinds of things.

I used the internet to look things up, making sure to check several sources and a book if possible for definitive facts. I spoke to people who remembered the 1940s about things like school at the time and rationing. I visited Blacksod twice, and was lucky to have Fergus Sweeney, Maureen’s grandson as a guide. He also read an early draft of the book and the historical notes at the end and was really helpful with the details.

The Writing Process

I wrote a quick first draft and then went through it carefully myself several times, reworking scenes and making changes. I worked hard on the friendship dynamic between Grace and Sibby, making sure it was realistic. They have strong personalities and don’t always see eye to eye on things, which makes for an interesting relationship! I was delighted that Marita Conlon-McKenna picked up on this in her review of the book. She said ‘I loved this story of two best friends, Grace and Sibby, caught up in all the excitement and tensions of World War Two. Sarah Webb has not only brilliantly captured life during the Emergency, but the dynamics of friendship between two very different girls.’

Once I was happy that I’d done all I could with the manuscript, I sent it to my editor at The O’Brien Press. She had lots of great editorial suggestions in her structural edit and it was at this stage that I added information at the start of the book to explain World War 2 to children who had not read or heard about it yet. Children study WW2 in 5th and 6th class but before that may not have come across it.

A few more edits and the book was ready for production. The team at The O’Brien Press added a map, illustrations of weather instruments and typeset the manuscript beautifully. With a stunning cover by Charli Vince, five years after first hearing Maureen’s story, The Weather Girls is now ready for its readers!

Sarah Webb is an award-winning Irish children’s writer and creative writing teacher. She is also the Events Manager at Halfway up the Stairs children’s bookshop in Greystones, Co Wicklow. Her books include Blazing a Trail: Irish Women who Changed the World (illustrated by Lauren O’Neill) and I Am the Wind: Irish Poems for Children Everywhere, both winners of Irish Book Awards. Her latest book is The Weather Girls which was inspired by real WW2 events in Ireland.

The Business of Children's Books - #Properbook Event November 2023

On Thursday 9th November the latest in the #Properbook series of professional development events for children’s writers and illustrators took place. These events are run by Children’s Books Ireland and this one was in association with Dublin Book Festival and dlr Libraries. It took place in the lovely dlr Lexicon in Dún Laoghaire. It was programmed by myself, Sarah Webb.

Here is are some notes from the evening. Thank you to all the speakers for taking part and to the audience who came along on the night.

On the first panel Marie-Louise Fitzpatrick and Mary Murphy spoke about their experiences of sustaining a career as a children’s writer and illustrator.

They shared some figures about children’s authors’ and illustrators’ earnings.

£7k is the average advance payment for a picturebook in the UK at present (this can vary a lot)

The publishing panel talked more about advances, see below. Here are most of Mary’s books - she’s written and/or illustrated a lot of books!

And here are Marie-Louise’s - again there are a lot!

Here are some slides that Mary shared - thank you, Mary!

Next up was the publishing panel, brilliantly chaired by Aoife Murray from Children’s Books Ireland.

The publishers taking part were Ivan O’Brien from The O’Brien Press, Matthew Parkinson-Bennett from Little Island Books and Róisín Adams from Futa Fata.

Here is some of the information shared by this panel in note form. Hope it’s useful!

The O’Brien Press is always looking for new children’s books, inc. from debut writers. Children’s books are around 50% of The O’Brien Press’ list and are very important to the publishing house. In 2023 they published 33 new children’s books (some are new editions). They publish around 10 picturebooks a year and are pretty much full up unti 2025 (but will squeeze in any brilliant books they are offered).

Little Island are looking for ‘the best books that we love the most’. They don’t chase trends they like to change the market rather than follow it. They have been active in seeking out diverse voices.

Futa Fata commission a lot of their books and love working with new writers and illustrators. They are very keen on nurturing new talent in the Irish language world and are esp. looking for short novels for the 5 to 7 age group. They would love to find an Irish language author/illustrator but are open to working with illustrators who do no speak Irish (yet).

You do not need an agent to subit to all three of these publishers. For submission guidelines see here:

O’Brien

Little Island (closed at present but will open again soon)

Futa Fata

Advances and Royalties

Little Island pay an average advance of e1.5k to their author for a book. (It’s an advance against your royalties - so once it’s paid off then you start earning royalties.)

They like to sell foreign language rights where they can.

Futa Fata pay around e1k advance to writers per book (depending on the length of the book). They pay e4k to e7k to illustrators for a picturebook, depending on the amount of illustration work needed and the length of the book.

O’Brien Press - they pay a higher advance for a higher print run

They have sold rights for Fox and Son Tailers by Paddy Donnelly to around 7 or 8 different foreign publishers. They paid out e300,000 in royalties in 2022.

Print Runs

O’Brien - they printed 26k of last year’s World Book Day book. The lowest print run they would do is around 3k copies.

Little Island printed 5k of their new book, Black and Irish. And have just ordered another 3k print run.

Futa Fata print runs are smaller - from 1k to 2k.

All three publishers are devoted to author care and to looking after their authors and illustrators. I’ve published with both O’Brien and Little Island and I can say with confidence that this is 100% the case.

I have published 9 books with O’Brien and I have 2 more coming in 2024. I really enjoy working with them. My latest book, I am the Wind: Irish Poems for Children Everywhere (with Lucinda Jacob and Ashwin Chacko) was published by Little Island and I’ve really enjoyed working with them too.

it was a really interested evening and I learned lots of new information, especially about Irish language publishing. Thank you again to all the speakers and to Children’s Books Ireland, Dublin Book Festival and dlr Libraries.

Good luck with your writing journey!

My latest book - with Lucinda Jacob and Ashwin Chacko

The Best Children’s Book Agents 2022 as Recommended by their Writers and Illustrators + Irish Publisher Submission Details

Getting Published

Every year I try to update this post - one of the most popular posts on my blog. I hope it's helpful. If you are a published writer or illustrator and would like to recommend your agent, please contact me. I'd be delighted to add your agent to the list. 

All the agents on this list are recommended by people in the know - their writers and illustrators. Thank you to all the writers and illustrators who have responded to my call out for recommendations over the years. 

YOU CAN SEND YOUR BOOK DIRECTLY TO MOST IRISH PUBLISHERS (WITHOUT AN AGENT)

In Ireland we are lucky to have The O’Brien Press whose editors are happy to read unsolicited manuscripts. You can send your book directly to one of their editors. Submission details are on their website and they publish a wide range of fiction and non-fiction for children and young people, including my books: https://www.obrien.ie/submissions

The team at Little Island are also happy to read unsolicited manuscripts (however they do close submissions at certain times of the year): https://littleisland.ie/submissions/

Gill Books publish some terrific picturebooks, children’s novels and children’s non-fiction. Venetia Gosling is their new Associate Publisher and she is in charge of the children’s list.:

https://www.gillbooks.ie/write-for-us

HarperCollins Ireland has recently appointed an editor, Catherine Gough who is actively looking for new children’s books. opensubmissions@harpercollins.ie

Website link here

Bonnier Books has also recently appointed an Irish publishing director, Deirdre Nolan

Find out what she’s looking for here

Bonnier website

I will post her contact details when they are available.

Mercier and Poolbeg also publish some children’s books and accept unsolicited manuscripts.

Poolbeg submission details here

Mercier: Submissions can be sent by email to commissioning@mercierpress.ie or by post to Commissioning Editor, Mercier Press, Unit 3B, Oak House, Bessboro Road, Blackrock, Cork, Ireland.

UK PUBLISHERS

Most UK publishers do not accept unsolicited manuscripts so you will need to submit your work through an agent.

WHAT DOES AN AGENT DO EXACTLY?

1/ An agent can advise you on your manuscript and on how to make it more attractive to a publisher. Many will act as editors and help improve a manuscript before it is sent out to editors.. They are also excellent at coming up with zippy book titles as I’ve discovered.

2/ An agent can find the right editor or publisher for your work – like a book matchmaker. And they can sell your UK, US, digital and foreign rights. They can also look after any film or television rights.

3/ Agents deal with the difficult and technical area of contracts. This is particularly important at the moment as digital rights can be tricky.

4/ Financial back up – they can chase up your royalties and talk to your publishers about outstanding monies owed to you.

These days having potential isn’t enough, your manuscript must be as perfect as you can make it before it goes anywhere near a publisher. A good agent can play a vital role in this process.

WHO REPRESENTS SOME OF THE BEST CHILDREN'S WRITERS?

Remember to check each agent’s website for submission guidelines before you send anything out. Or ring the agency for details – I know it’s daunting but they are always happy to advise you on how (or if) to submit. Be warned – you may get the agent herself/himself on the phone. Be prepared.

RECOMMENDED CHILDREN’S AGENTS: IRISH WRITERS

Eoin Colfer is represented by Sophie Hicks. Sophie is a very experienced agent and her writers rate her highly. She also represents Oisín McGann. www.sophiehicksagency.com

Lucy Coats adds ‘Sophie Hicks of SHA is, of course, the best agent in the world! Sympathetic and positive in adversity, great sense of humour and fights her authors’ corner like a tigress on speed. Highly recommended.’

Derek Landy is represented by Michelle Kass, who also represents Patrick Ness. www.michellekass.co.uk

Darren Shan is represented by Christopher Little   For general enquiries email: www.christopherlittle.net

Sarah Webb and Chris Judge are represented by the wonderful Philippa Milnes Smith at The Soho Agency

Steve McCarthy says: ‘I'll second that for Philippa! I can attest to her kindness, wise-ness and hilarity.’

Contact: https://thesohoagency.co.uk/submission

Marita Conlon McKenna is represented by Caroline Sheldon www.carolinesheldon.co.uk

Patricia Forde is represented by Anne Clarke. Trish says ‘She is absolutely wonderful and I recommend her wholeheartedly!’
http://anneclarkliteraryagency.moonfruit.com/home/4574290903

Elizabeth Rose Murray recommends her agent, Sallyanne Sweeney of Mulcahy Associates (London). She says she’s ‘supportive, thorough, creative, knowledgeable & really champions her authors. And she really loves children’s/YA literature too – always a bonus!’

Let's hear from some other Irish writers:

Dave Rudden: 'I'm with Clare Wallace at Darley Anderson - can't recommend her enough!'

Clare also represents Olivia Hope.

Shirley McMillan: 'My agent is Jenny Savill at Andrew Nurnberg Associates. She is wonderful.'

Jenny also represents Nigel Quinlan.

Sinéad O'Hart is represented by Polly Nolan who is also recommended by Louis Stowell.

Celine Kiernan says: 'I changed agencies late 2015. I am with Sallyanne Sweeney now, of Mulcahy Literary Agency. Have worked with her on two books now and find her wonderful.'

Sheena Wilkinson: ‘Faith O'Grady. Not a children's specialist -- handy as I am writing adult now, but very supportive and approachable. Based in Dublin.’

Sheena Dempsey says:  ‘Felicity Trew is absolutely brilliant, a determined bulldog but with a lovely manner and thorough to the last where contracts are concerned. Incredibly supportive where editorial and art direction are concerned. Always pushes for better terms. Top marks.’

Marianne Gunn O'Connor represents Shane Hegarty and Cecelia Ahern. 

OTHER RECOMMENDED AGENTS - UK AND INTERNATIONAL WRITERS

Cathy Cassidy is represented by Darley Anderson and highly recommends him.

Eve Ainsworth:  'I'm with Stephanie Thwaites at Curtis Brown, she's fab.'

Russell Sanderson and Lu Hersey recommend their agent, Ben Illis.

Zana Fraillon recommends her agent, Claire Wilson.

Julia Churchill at A M Heath who says 'my speciality is checking if people need to go to loo before meetings.' I have met Julia several times and she is a funny and smart woman who knows her onions. Well worth sending your manuscript to. Nikki Sheehan says Julia 'would win against 100 horse sized ducks.' 

Jo Nadin says: ‘I love Julia Churchill without reservation. She’s quietly kickass, clever, kind, and, best of all, listens.’

Mark Burgess: 'I’m represented by excellent & wonderful Nancy Miles of Miles Stott Children's Literary Agency. She also represents Gill Lewis & Frances Hardinge.'

Sarah McIntyre: ‘I'm represented by Jodie Hodges at United Agents, she's brilliant! I couldn't do without her, she keeps my life in order.’

Catherine MacPhail says: ‘Caroline Sheldon. Always keeps in touch. Great agent.’

Cathy Brett says ‘And Felicity Trew, Caroline's co-agent. A little terrier!’

Mary Hoffman: ‘ It was Pat White and, since her retirement, is now Claire Wilson, both of Rogers, Coleridge and White.’

Also recommend are:

Eve White, Eve White Literary Agency

Catherine Clarke at Felicity Bryan

Robert Kirby at United Agents

Jodie Hodges at United Agents (recommended by William Bee); Catherine Mary Summerhayes, Jo Unwin and Clare Conville at United Agents

Hilary Delamere at The Agency

Lindsey Fraser at Fraser Ross

Gemma Cooper at The Bent Agency

Penny Holroyde at Holroyde Cartey

Elizabeth Roy – www.elizabethroy.co.uk

Laura Cecil – www.lauracecil.co.uk

Madeleine Milburn – www.madeleinemilburn.co.uk

Sam Copeland and Claire Wilson at Rogers Coleridge and White – www.rcwlitagency.com

Good luck with finding a great agent!

Children's Book Salon Thursday 28th January - Paul Howard, Alan Nolan, Emma Carroll, Lesley Parr and Lorraine Levis in Conversation with Sarah Webb

#ChildrensBookSalon on Thursday 28th January at 7.30pm on Zoom

Special Guests: Paul Howard, Alan Nolan, Emma Carroll, Lesley Parr and Lorraine Levis

Full details below

7.30pm to 8.30pm (on Zoom)  

Let’s talk children’s books and stay connected!

Cost: e5 which can be redeemed against our speakers’ books (purchased via Halfway Up the Stairs website) or will be donated to CBI

Tickets on sale now on the Halfway Up the Stairs website here.

More about the Children’s Book Salon:

Online talks and conversations celebrating Irish and international children’s books, writers and illustrators.

Discover new Irish and international children’s titles and hear experienced children’s writers and illustrators talk about their craft.

Love children’s books? Want to connect with and learn from talented Irish children’s writers and illustrators? Want to kick start your own creativity and/or write a children’s book? Join us!

More about our guests:

Paul Howard will talk about his latest book Blue Thunder from the Gordon’s Game series and his forthcoming book, Aldrin Adams and the Cheese Nightmares.

Alan Nolan will share illustrations from his latest book, Animal Crackers, written with Sarah Webb and talk about his recent online events and drawing videos and how he’s making the internet his own.

Emma Carroll and Lesley Parr will talk about their new historical novels for children, The Ghost Garden and The Valley of the Lost Secrets with fellow writer, Sarah Webb.

And Lorraine Levis will share some of the 2021 children’s titles she is most excited about.

First Children's Book Salon - 14th January - Blog by Ruth Ennis

2021 is already off to a fantastic start in the world of children’s books with a hugely successful inaugural event in the new series Children’s Books Salon. Curated by author Sarah Webb and bookseller Trish Hennessy of Halfway Up the Stairs, this fortnightly event showcases some of the best authors, illustrators, and all-round children’s books enthusiasts that 2021 has to offer. This week Sarah Webb interviewed Natasha Farrant and Chris Haughton, with presentations from booksellers Trish Hennessy and David O’Callaghan as well.

            Natasha Farrant is an author of teenage / young adult novels and, more recently, middle-grade fiction. She is also a literary scout. Her published works include the Diaries of Bluebell Gadsby and the Lydia series, The Children of Castle Rock, her upcoming book The Girl Who Talked to Trees and many more. Her 2020 middle-grade novel Voyage of the Sparrowhawk won the Costa Children’s Book Award, with the judges calling it "a modern classic" and "a book that makes you fall in love with reading".

            Natasha spoke about where her inspiration for her stories comes from. In the case of Voyage of the Sparrowhawk it originated from the light-hearted suggestion that she write about her friend’s chihuahua. Natasha talked about her process in creating a unique narrative voice with a light but significant presence in her books. She spoke about the importance of showcasing themes of agency in children’s books, a message Natasha took from the works of Enid Blyton. She expressed how she wanted to write stories about children who are capable of changing the world, referencing the work of child climate change activists such as Greta Thunberg. She concluded her interview with advice for aspiring children’s writers who may be struggling to write creatively in these unusual times: read often (her recommendations being Journey to the River Sea and The Secret Countess both by Eva Ibbotson) and to be kind to yourself while holding yourself to a sense of structure.

            Trish Hennessey then presented her top 20 books of 2020, noting that a significant number of books on this list were created by Irish authors and illustrators. It demonstrated the influence that comes from booksellers advocating for and hand-selling their favourite titles, particularly from independent bookshops. Elsetime by Eve McDonnell was mentioned to be their favourite book of the year. The full list can be found on the Halfway Up the Stairs website here.

            Chris Haughton was the next guest to be interviewed. With his bold, vibrant, technicolour illustrations and perfect comic timing, Chris Haughton is one of the most popular authors and illustrators working today. His infamous picture books include Goodnight Everyone, Shh, We have a Plan, A Bit Lost, Oh No, George! Don’t Worry Little Crab, and his upcoming book Maybe.

            Chris spoke about his creative process when illustrating his picture books, which involves him sitting out in the back garden of his London home, surrounded by nature, ripping up sheets of sugar paper, and making collages that will eventually form his distinctive artistic style. He mentioned that the idea for his upcoming book Maybe appeared around the same time as his 2019 book Don’t Worry Little Crab but emphasised that he wanted to tell a story with a bit more “peril” than his usual books – in a fun and charming manner, of course! Attendees of this event were treated to a sneak peek of Maybe where Chris read through his hilarious story about pushing your limits and lots of monkey-business.

            The last guest of the evening was David O’Callaghan, Children’s and Teen Books Buyer of Eason, or as he is better known, The King of Children’s Books. David gave an excellent presentation of all the books to look out for in 2021, from picture books to young adult novels. For picture books, he looks forward to Books Make Good Pets by John Agard and Momoko Abe, The Whale Who Wanted More by Rachel Bright and Jim Field, and Oscar the Hungry Unicorn Eats Easter by Lou Carter and Nikki Dyson. For early readers (5+ years) he comments on the popularity of “Yemo” (Young-Emo) and graphic novels, with new additions to the Isadora Moon and the new Mirabelle series by Harriet Muncaster, the Dogman series by Dav Pilkey, and the Bunny vs Monkey series by Jamie Smart to watch out for. In middle-grade novels (8+ years) David recommends Amari and the Night Brothers by B. B. Alston, Aldrin Adams and the Cheese Nightmares by Paul Howard and Lee Cosgrove. For teen and young adult readers, he is looking forward to the release of What Love Looks Like by Jarlath Gregory and The Supreme Lie by Geraldine McCaughrean. When asked about his favourite YA book of 2020 and most anticipated YA book of 2021, he named Savage Her Reply by Deirdre Sullivan and Ace of Spades by Faridah Abike-Iyimide respectively.

            The next Children’s Book Salon is certainly one to look forward to. Details for the next event can be found on the Halfway Up the Stairs website.

With thanks to Ruth Ennis for this log

Writing a Children’s Book? Some Fuel for Thought… by Eve McDonnell

To celebrate the publication of her new book, Elsetime, Eve McDonnell has written this guest blog post all about writing for children and her road to publication - thanks, Eve!

You’re here, so I’m guessing you’re a children’s writer, and you don’t need me to tell you the road to publication is long – filled with ups and downs, scary junctions (far too many!) and, unfortunately, the odd roadkill manuscript! But, if you are anything like me, once in that driver’s seat of ambition, we are there to stay, stubborn as mules. If we are going to make it from A to Z, one thing is pretty obvious: we need to stop for fuel in order to get to the final destination – the seemingly unmapped town called Publication.

Puddling about in a career as an artist, my writing journey began when a fortune-teller shrieked at me to Write! Write! Write! I went home, opened up a blank page rather than a canvas, and began my first children’s book. Like a brand-new car, the words flowed so smoothly! The ideas felt shiny! And within minutes I experienced one of those eureka-OMG moments – this is what I should be doing with my life!

I went full-throttle, and with every word I wrote, the dream of one day seeing it printed grew bigger. But, here’s the thing: books take time. SO much time! As an artist, I was used to putting the effort in and all I needed to do to effectively have it ‘published’, was nail it to a wall. Job done. If it was good, it brought smiles – my ultimate goal. However, in that time between the first brush stroke and hanging it on a nail, I had something precious – bubbling up inside me was a fuel that spurred me on, even through the trickiest bits. A fuel called hope.

I was always one for enjoying the buzz of the run-up to Christmas rather than the day itself so whether a painting was successful or not didn’t matter. As long as I had hope, I kept going. I quickly realised this was the best fuel for my writing journey too, and where I found it was at a serendipitous meeting with Vanessa Fox O’Loughlin of Writing.ie.

The Writing.ie and ILFDublin’s Date with an Agent competition was soon closing, and she encouraged me to go for it. Not knowing if my work was truly awful or held potential made pressing the send button difficult, but press it, I did. Immediately I filled up with that wonderful fuzzy feeling of hope! Regardless of the outcome, I had all I needed to change gear and motor on. A couple of agent dates and manuscripts later, I took a sharp turn and began to write a children’s book called Elsetime.

As my courage grew, I sent what I thought were finished drafts (lol!) to more competitions and, later, agents. Even rejections were worth the anticipation and hope they had delivered! Then, came some good news including longlisting in the Bath Children’s Novel Award and winning the Wells Festival of Literature Book for Children competition. These earned me not only joy but something else too – a precious shortcut for my journey. With each win or long-listing, Elsetime hopped up a few places on agents’ slush-piles until it stood proudly near the top where it might, at least, be considered. My tank of hope was ready to burst!

Flash forward a couple of years and I write this just as my phone beeps with photos of Elsetime appearing in bookshops. I can’t put into words the feeling that brings, suffice it to say every bump on that long road was more than worth it.

Maybe DO consider that writing competition that grabbed your eye. Unlike Premium Unleaded, hope is cheap – and sometimes free – so put your foot to the pedal and get your work out there.

Enjoy the ride!

Eve x

The Best Children's Book Agents 2020 - As Recommended by Their Writers and Illustrators

Every year I try to update this post - one of the most popular posts on my blog. I hope it's helpful. If you are a published writer or illustrator and would like to recommend your agent, please contact me. I'd be delighted to add your agent to the list. 

All the agents on this list are recommended by people in the know - their writers and illustrators. Thank you to all the writers and illustrators who responded to my call out for recommendations. 

WHY DO YOU NEED AN AGENT?

In Ireland we are lucky to have the O’Brien Press whose editors are happy to read unsolicited manuscripts. You can send your book directly to one of their editors. Submission details are on their website and they publish a wide range of fiction and non-fiction for children and young people: https://www.obrien.ie/submissions

The gang at Little Island are also happy to read unsolicited manuscripts however I see from their website they are not currently open to submissions (until mid 2020). https://littleisland.ie/submissions/

Gill Books publish some terrific picturebooks, children’s novels and children’s non-fiction: https://www.gillbooks.ie/write-for-us

Mercier and Poolbeg also publish children’s books and accept unsolicited manuscripts.

But most UK publishers do not accept unsolicited manuscripts so you will need to submit your work through an agent.

WHAT DOES AN AGENT DO EXACTLY?

1/ An agent can advise you on your manuscript and on how to make it more attractive to a publisher. Some of them will act as unofficial editors to their clients or at the very least can suggest changes or improvements. They are also excellent at coming up with zippy book titles as I’ve discovered.

2/ An agent can find the right editor or publisher for your work – like a book matchmaker. And they can sell your UK, US, digital and foreign rights. They can also look after any film or television rights.

3/ Agents deal with the difficult and technical area of contracts. This is particularly important at the moment as digital rights can be tricky.

4/ Financial back up – they can chase up your royalties and talk to your publishers about outstanding monies owed to you.

These days having potential isn’t enough, your manuscript must be as perfect as you can make it before it goes anywhere near a publisher. A good agent can play a vital role in this process.

WHO REPRESENTS SOME OF THE BEST CHILDREN'S WRITERS?

Remember to check each agent’s website for submission guidelines before you send anything out. Or ring the agency for details – I know it’s daunting but they are always happy to advise you on how (or if) to submit. Be warned – you may get the agent herself/himself on the phone. Be prepared.

RECOMMENDED CHILDREN’S AGENTS: IRISH WRITERS

Eoin Colfer is represented by Sophie Hicks. Sophie is a very experienced agent and her writers rate her highly. She also represents Oisín McGann. www.sophiehicksagency.com

Lucy Coats adds ‘Sophie Hicks of SHA is, of course, the best agent in the world! Sympathetic and positive in adversity, great sense of humour and fights her authors’ corner like a tigress on speed. Highly recommended.’

Derek Landy is represented by Michelle Kass, who also represents Patrick Ness. www.michellekass.co.uk

Darren Shan is represented by Christopher Little   For general enquiries email: www.christopherlittle.net

Sarah Webb and Chris Judge are represented by the wonderful Philippa Milnes Smith at LAW

Steve McCarthy says: ‘I'll second that for Philippa! I can attest to her kindness, wise-ness and hilarity.’

Contact: https://thesohoagency.co.uk/submission

Marita Conlon McKenna is represented by Caroline Sheldon www.carolinesheldon.co.uk

Patricia Forde is represented by Anne Clarke. Trish says ‘She is absolutely wonderful and I recommend her wholeheartedly!’
http://anneclarkliteraryagency.moonfruit.com/home/4574290903

Elizabeth Rose Murray recommends her agent, Sallyanne Sweeney of Mulcahy Associates (London). She says she’s ‘supportive, thorough, creative, knowledgeable & really champions her authors. And she really loves children’s/YA literature too – always a bonus!’

Let's hear from some other Irish writers:

Dave Rudden: 'I'm with Clare Wallace at Darley Anderson - can't recommend her enough!'

Clare also represents Olivia Hope.

Shirley McMillan: 'My agent is Jenny Savill at Andrew Nurnberg Associates. She is wonderful.'

Jenny also represents Nigel Quinlan.

Sinéad O'Hart is represented by Polly Nolan who is also recommended by Louis Stowell.

Celine Kiernan says: 'I changed agencies late 2015. I am with Sallyanne Sweeney now, of Mulcahy Literary Agency. Have worked with her on two books now and find her wonderful.'

Sheena Wilkinson: ‘Faith O'Grady. Not a children's specialist -- handy as I am writing adult now, but very supportive and approachable. Based in Dublin.’

Sheena Dempsey says:  ‘Felicity Trew is absolutely brilliant, a determined bulldog but with a lovely manner and thorough to the last where contracts are concerned. Incredibly supportive where editorial and art direction are concerned. Always pushes for better terms. Top marks.’

Marianne Gunn O'Connor represents Shane Hegarty and Cecelia Ahern. 

OTHER RECOMMENDED AGENTS - UK AND INTERNATIONAL WRITERS

Cathy Cassidy is represented by Darley Anderson and highly recommends him.

Eve Ainsworth:  'I'm with Stephanie Thwaites at Curtis Brown, she's fab.'

Russell Sanderson and Lu Hersey recommend their agent, Ben Illis.

Zana Fraillon recommends her agent, Claire Wilson.

Julia Churchill at A M Heath who says 'my speciality is checking if people need to go to loo before meetings.' I have met Julia several times and she is a funny and smart woman who knows her onions. Well worth sending your manuscript to. Nikki Sheehan says Julia 'would win against 100 horse sized ducks.' 

Jo Nadin says: ‘I love Julia Churchill without reservation. She’s quietly kickass, clever, kind, and, best of all, listens.’

Mark Burgess: 'I’m represented by excellent & wonderful Nancy Miles of Miles Stott Children's Literary Agency. She also represents Gill Lewis & Frances Hardinge.'

Sarah McIntyre: ‘I'm represented by Jodie Hodges at United Agents, she's brilliant! I couldn't do without her, she keeps my life in order.’

Catherine MacPhail says: ‘Caroline Sheldon. Always keeps in touch. Great agent.’

Cathy Brett says ‘And Felicity Trew, Caroline's co-agent. A little terrier!’

Mary Hoffman: ‘ It was Pat White and, since her retirement, is now Claire Wilson, both of Rogers, Coleridge and White.’

Also recommend are:

Eve White, Eve White Literary Agency

Catherine Clarke at Felicity Bryan

Robert Kirby at United Agents

Jodie Hodges at United Agents (recommended by William Bee); Catherine Mary Summerhayes, Jo Unwin and Clare Conville at United Agents

Hilary Delamere at The Agency

Lindsey Fraser at Fraser Ross

Gemma Cooper at The Bent Agency

Penny Holroyde at Holroyde Cartey

Elizabeth Roy – www.elizabethroy.co.uk

Laura Cecil – www.lauracecil.co.uk

Madeleine Milburn – www.madeleinemilburn.co.uk

Sam Copeland and Claire Wilson at Rogers Coleridge and White – www.rcwlitagency.com

Good luck with finding a great agent!

WRITING FOR CHILDREN WEEKEND WITH GRAINNE CLEAR and SARAH WEBB - 31ST AUG/1ST SEPT

I’ll be running a weekend course for anyone interested in writing for children very soon with Grainne Clear, who is a Senior Editor at Walker Books, London.

There are only 15 places so if you are interested email or text me quick!

Grainne Clear and Sarah Webb (with Lucky)

Writing for Children Weekend with Grainne Clear (Editor) and Sarah Webb (Writer)

Focus on Fiction

Sat 31st August and Sun 1st September 

 Everything you need to know about writing for children and getting published!

 Grainne Clear is a Senior Editor with Walker Books and Sarah Webb is an award-winning children's writer

 (look out for our picturebook day in early 2020)

During the weekend they will cover:

Age groups and genres

Creating compelling characters

Plotting and the story arc

Creating authentic dialogue

Rewriting and editing 

The world of agents, editors and children's publishing 

and much more! 

 The weekend will also feature a guest author of MG or YA fiction to speak about the day-to-day of being an Irish writer and share their writing tips

 Before the course begins, Grainne or Sarah will critique your work (or book idea if you are just starting out) so you can concentrate on the areas that need attention over the two days

Max 15 people to guarantee plenty of individual attention 

 Cost - including 1 page manuscript critique and notes, lunch on Saturday and coffee/tea both days: e250 

 Venue: Royal St George Yacht Club, Dun Laoghaire (e5 parking per day to the right of the club on the pier, e6 per day in dlr Lexicon Library car park), 2 mins walk from 46A bus stop and Dun Laoghaire DART station 

Times: Sat 10am to 5pm (coffee/tea and light lunch provided)

Sun 11am to 4pm (coffee/tea provided) 

Booking - sarahsamwebb@gmail.com or text 0866086110

Children's Books Ireland Book of the Year Awards 2019

The CBI Book of the Year Awards shortlist has just been unveiled. The winners will be announced at a ceremony to be held on 22nd May at Dublin’s Smock Alley Theatre as part of International Literature Festival Dublin. Tickets will be available for the event if you’d like attend. Stay tuned to http://ilfdublin.com/ for details.

Well done to all the shortlisted writers and illustrators!

Mucking About by John Chambers

 The Weight of a Thousand Feathers by Brian Conaghan

 Beag Bídeach scríofa ag Sadhbh Devlin, maisithe ag Róisín Hahessy

 The Great Irish Weather Book written by Joanna Donnelly, illustrated by Fuchsia MacAree

 Between Tick and Tock written by Louise Greig, illustrated by Ashling Lindsay

 Tin by Pádraig Kenny

 Tuesdays are Just as Bad by Cethan Leahy

 The Pooka Party by Shona Shirley Macdonald

 Dr Hibernica Finch’s Compelling Compendium of Irish Animals written by Rob Maguire,

illustrated by Aga Grandowicz

 Flying Tips for Flightless Birds by Kelly McCaughrain

The Best Children's Book Agents 2018 - Recommended by their Writers

Every year I update this post - one of the most popular posts on my blog. I hope it's helpful. If you are a published writer and would like to recommend your agent, please contact me. I'd be delighted to add your agent to the list. 

All the agents on this list are recommended by people in the know - their writers and illustrators. Thank you to all the writers and illustrators who responded to my call out for recommendations. 

WHY DO YOU NEED AN AGENT?

In Ireland we are lucky to have the O’Brien Press whose editors are happy to read unsolicited manuscripts. You can send your book directly to one of their editors.

Little Island are also happy to read unsolicited manuscripts – they have excellent submission guidelines.

Gill Books has recently started publishing children’s fiction, Mercier and Poolbeg also publish children’s books and accept unsolicited manuscripts.

But most UK publishers do not accept unsolicited manuscripts so you will need to submit your work through an agent.

WHAT DOES AN AGENT DO EXACTLY?

1/ An agent can advise you on your manuscript and on how to make it more attractive to a publisher. Some of them will act as unofficial editors to their clients or at the very least can suggest changes or improvements. They are also excellent at coming up with zippy book titles as I’ve discovered.

2/ An agent can find the right editor or publisher for your work – like a book matchmaker. And they can sell your UK, US, digital and foreign rights. They can also look after any film or television rights.

3/ Agents deal with the difficult and technical area of contracts. This is particularly important at the moment as digital rights can be tricky.

4/ Financial back up – they can chase up your royalties and talk to your publishers about outstanding monies owed to you.

These days having potential isn’t enough,  your manuscript must be as perfect as you can make it before it goes anywhere near a publisher. A good agent can play a vital role in this process.

WHO REPRESENTS SOME OF THE BEST CHILDREN'S WRITERS?

Remember to check each agent’s website for submission guidelines before you send anything out. Or ring the agency for details – I know it’s daunting but they are always happy to advise you on how (or if) to submit. Be warned – you may get the agent herself/himself on the phone. Be prepared.

RECOMMENDED CHILDREN’S AGENTS: IRISH WRITERS

Eoin Colfer is represented by Sophie Hicks. Sophie is a very experienced agent and her writers rate her highly. She also represents Oisín McGann. www.sophiehicksagency.com

Lucy Coats adds ‘Sophie Hicks of SHA is, of course, the best agent in the world! Sympathetic and positive in adversity, great sense of humour and fights her authors’ corner like a tigress on speed. Highly recommended.’

Derek Landy is represented by Michelle Kass, who also represents Patrick Ness. www.michellekass.co.uk

Darren Shan is represented by Christopher Little   For general enquiries email: www.christopherlittle.net

Sarah Webb and Chris Judge are represented by the wonderful Philippa Milnes Smith at LAW

Steve McCarthy says: ‘I'll second that for Philippa! I can attest to her kindness, wise-ness and hilarity.’

Contact: All submissions should be sent, in hard copy, by post to: LAW, 14 Vernon Street, London, W14 0RJ www.lawagency.co.uk

Marita Conlon McKenna is represented by Caroline Sheldon www.carolinesheldon.co.uk

Elizabeth Rose Murray recommends her agent, Sallyanne Sweeney of Mulcahy Associates (London). She says she’s ‘supportive, thorough, creative, knowledgeable & really champions her authors. And she really loves children’s/YA literature too – always a bonus!’

Let's hear from some other Irish writers:

Dave Rudden: 'I'm with Clare Wallace at Darley Anderson - can't recommend her enough!'

Clare also represents Olivia Hope.

Shirley McMillan: 'My agent is Jenny Savill at Andrew Nurnberg Associates. She is wonderful.'

Jenny also represents Nigel Quinlan.

Sinéad O'Hart is represented by Polly Nolan who is also recommended by Louis Stowell.

Celine Kiernan says: 'I changed agencies late 2015. I am with Sallyanne Sweeney now, of Mulcahy Literary Agency. Have worked with her on two books now and find her wonderful.'

Sheena Wilkinson: ‘Faith O'Grady. Not a children's specialist -- handy as I am writing adult now, but very supportive and approachable. Based in Dublin.’

Sheena Dempsey says:  ‘Felicity Trew is absolutely brilliant, a determined bulldog but with a lovely manner and thorough to the last where contracts are concerned. Incredibly supportive where editorial and art direction are concerned. Always pushes for better terms. Top marks.’

Marianne Gunn O'Connor represents Shane Hegarty and Cecelia Ahern. 

OTHER RECOMMENDED AGENTS - UK AND INTERNATIONAL WRITERS

Cathy Cassidy is represented by Darley Anderson and highly recommends him.

Eve Ainsworth:  'I'm with Stephanie Thwaites at Curtis Brown, she's fab.'

Russell Sanderson and Lu Hersey recommend their agent, Ben Illis.

Zana Fraillon recommends her agent, Claire Wilson.

Julia Churchill at A M Heath who says 'my speciality is checking if people need to go to loo before meetings.' I have met Julia and she is a funny and smart woman who knows her onions. Well worth sending your manuscript to. Nikki Sheehan says Julia 'would win against 100 horse sized ducks.' 

Jo Nadin says: ‘I love Julia Churchill without reservation. She’s quietly kickass, clever, kind, and, best of all, listens.’

Mark Burgess: 'Im represented by excellent & wonderful Nancy Miles of Miles Stott Children's Literary Agency. She also represents Gill Lewis & Frances Hardinge.'

Sarah McIntyre: ‘ I'm represented by Jodie Hodges at United Agents, she's brilliant! I couldn't do without her, she keeps my life in order.’

Catherine MacPhail says: ‘Caroline Sheldon. Always keeps in touch. Great agent.’

Cathy Brett says ‘And Felicity Trew, Caroline's co-agent. A little terrier!’

Mary Hoffman: ‘ It was Pat White and, since her retirement, is now Claire Wilson, both of Rogers, Coleridge and White.’

Eve White, Eve White Literary Agency

Catherine Clarke at Felicity Bryan

Robert Kirby at United Agents

Jodie Hodges at United Agents (recommended by William Bee); Catherine Mary Summerhayes, Jo Unwin and Clare Conville at United Agents

Hilary Delamere at The Agency

Lindsey Fraser at Fraser Ross

Gemma Cooper at The Bent Agency

Penny Holroyde at Holroyde Cartey

Elizabeth Roy – www.elizabethroy.co.uk

Laura Cecil – www.lauracecil.co.uk

Madeleine Milburn – www.madeleinemilburn.co.uk

Sam Copeland and Claire Wilson at Rogers Coleridge and White – www.rcwlitagency.com

Good luck with finding a great agent!

Interview with Children's Writer, Helena Duggan

Children's writer, Helena Duggan has made the transition from self-published writer to traditionally published writer this year. She tells us about her writing and publishing journey. 

Helena, can you tell us about your latest book,  A Place Called Perfect and where the idea came from?

A Place Called Perfect is a children's middle grade book about a girl named Violet who moves to a town called Perfect because her Dad, the worlds finest Opthamologist is offered a job by the Archer Brothers Edward and George. He's been tasked with fixing the only problem this perfect little place has. After only a short time in the town anyone who visits goes blind...

That's the main background to the story and, of course, not all is as it seems in Perfect.

The idea came from a pair of glasses I picked up while backpacking in Australia. I bought them in an antique shop with the intention of changing the lenses to suit my sight. The more I carried them however, the more I began to think about their past owner and how their memories might have become locked inside the lenses. That's how Perfect began.

How long did it take you to write?

About 6 months for the first draft and then a very long time to edit! There were a few different editing versions as I self published first after rounds of edits. Then I found a home with Usborne and had to edit further!

You originally self-published the book in 2012. Why did you decide to go that route first?

I had been following the self publishing revolution and had written a previous book title "A Load of Rubbish" that had been through the publishing mill without much luck. I'm a graphic designer by day so I decided self publishing would be easy for me to do. I thought I'd gather together some reviews and sales figures and then look for a publisher. That's exactly how it turned out!

Self-published cover for A Place Called Perfect 

How did it come to be published by Usborne (a UK publisher)?

I had decided that I wanted to try for a UK publisher after taking advice from other authors and booksellers. The local bookshops in Kilkenny were amazing support and Khan Kiely from Khans books offered me a ticket to the London book fair and told me to arrange meetings with agents. I contacted a few that had shown interest in my work first time round and secured some meeting. Of the back of that I was taken on by Bell Lomax Moreton in London and they found a home for Perfect with Usborne.

Did you have to do much editing for the Usborne edition?

Yes it was a really good learning curve actually. I had an initial meeting with Anne my editor and she asked me lots of questions about the story. I remember answering all of them but thinking she couldn't have read the book if she had these questions, they are all answered in it! Then I expressed this sentiment and discovered that, while all of the answers were in my head, I hadn't committed them to the page. I also learned quiet alot about timelines and technicalities like when do the characters eat or sleep etc... the process was hard but well worth it.

What did you find surprising about being traditionally published?

How nice Usborne are. I had thought I'd be in the big bad world of publishers and I'd be a number on a list of other numbers but with Usborne it is not like that at all. I don't know if I'm just lucky or if it's because Usborne is family run or because that's just the way publishers are but my experience has been amazing. Everyone is so nice to deal with and they are all really just people who love books.

Would you recommend self-publishing? And if so, why?

Well yes because if it wasn't for self publishing Perfect would never have been traditionally published. It is difficult though as you have to be everything, the writer, designer, editor, sales person, accounts etc. It can be draining. The hardest part was sales, a book is personal and for this reason I found it extremely hard to sell, luckily I have a mother who would sell her soul for her kids so she did it for me. I also would also strongly advise getting your book professionally designed and edited, a self published book has to almost be produced better than a traditional book to get into a shop. There is still a stigma around self publishing.

How do you organise your writing day? For example, where do you write? And when?

At the moment it's very disorganised. I'm on maternity leave with a four month old baby. I go to my Mam and she minds Jo while I write but the days and times vary. I will be heading back to work in 6 weeks so it'll be scary to figure out how to balance a baby and writing with all of that...if anyone has any tips I'd gladly take them!

Do you use a computer or write long hand?

Even though I'd love to say long hand I don't, I write onto a computer. I wrote my first book long hand and then typed it all up but it's much quicker I find now to type everything straight in.

Do you edit as you go along? Or at the end of the first draft?

I do small edits as I go and then larger ones at the end of the first draft. I'm writing the sequel to Perfect at the moment and trying to remember what I did the first time round. It's all a learning process I think, and I'm forever learning.

Do you find rewriting difficult?

Yes and no, sometimes if I get a little stuck I remind myself that it's my world and therefore I can really do whatever I want. That makes the whole process a little easier!

Do you use the internet for research? What research tips can you give writers?

Yes I do, I love to research actually and take names etc from real people or places if they fit the story. My only tip with researching is to remember your meant to be writing and get of the internet in a reasonible amount of time! I still struggle with that one and can find myself trawling through pages hours later.

What type of books do you like to read? Do you have a favourite book?

I read all sorts of books really. I like crime thrillers and childrens books but I can be found dipping in and out of anything. My favourite books are all childrens really. I love Roald Dahl and all the Harry Potters, I also love All The Light You Cannot See, for some reason that book has stuck with me lately. I will never forget how I felt reading Under the Hawthorn Tree as a kid either.

What is the best thing about being a writer?

Finding yourself lost in a world you created and getting so deep into writing that when you come out and read back you don't believe you've written it and can't for the life of you remember where the story came from!

The worst?

Time. I'm bad at managing time!

What are you working on next?

The sequel to Perfect. I'm about 40,000 words in and trying to juggle it with a small baby, a bit more difficult than the first time round. The story is all plotted though so it makes it easier.

And finally, do you have any advice or tips for writers?

I'm not sure really if I should give any advice. I'm new to all this myself and everybody has their own way of doing things. What worked for me was persistence, I believed in my story and was lucky to have an amazing family who believed in it too so I kept going. Also when I write I try not to think of an audience and just go with the story that comes into my head, I feel if I write for an audience then I won't enjoy myself in the process and that misses the point.

Thank you, Helena, for sharing your writing life with us.

Friendship and Writing Buddies by Judi Curtin

I'm delighted to welcome Judi Curtin to my blog. Judi's new book, Stand by Me, is out this week and a brilliant read it is too, a wise and funny novel for readers aged 8+ about friendship. As well as being a bestselling writer, Judi is also one of my dearest friends. We go back a long way as Judi explains below. Check out the visual record of our friendship - including Judi's stunning green 1980s dress and one of my own 1980s outfits, and watch me interview Judi about her writing at the end of the blog.

Thanks to Judi for her lovely piece. I wish her all the very best with her new book, Stand By Me!

Writing can be a lonely job, and that’s why we authors need our writing buddies. When my first book was published in 2002, my old friends were suitably supportive and enthusiastic, but none of them really understood the new world I’d stepped into. Then I got an e-mail from Sarah Webb (who I’d never met), inviting me to a writers' lunch. With some trepidation, I joined a large group of warm and welcoming women - and I haven’t looked back since!

Judi and Sarah at Listowel Writers' Week 

Sarah and I have been friends since that day. She’s a fount of knowledge on the writing world, and is incredibly generous with her time. We bounce new ideas off each other, share the pain when our writing’s not going the way we’d like and (look away publishers) gripe about some of the terms in our contracts.  Mostly though, when we meet, we have a laugh, both well aware of how lucky we are to have such a great job.

Judi and Sarah at Electric Picnic 

Sarah and I have even made a career out of our friendship, visiting schools and libraries with our ‘Friendship Tour.’ This involves a fun and interactive talk for children (with weird props, including Sarah’s firebrush costume). I love to talk about writing and being friends with Sarah, but for me these events are mostly a chance to hang out with one of my best friends!

Judi and Sarah at their friendship event - sketch by Sarah McIntyre 

Dlr Writer in Residence, Sarah Webb talks to Judi Curtin about her books including her new title, Time After Time.

Sarah Webb's Top 3 Tips - Writing Picturebooks

1/ Picturebooks are generally short – around 500 words – and are made up of 12 double page spreads. Make every word count and work on the text until it shines.

2/ You do not need to provide artwork. Concentrate on the text, don’t worry about illustrations. An editor’s job is to match text with the right artwork and they are gifted picturebook matchmakers.

3/ Read award winning and best-selling picturbooks. Study Julia Donaldson’s poetry – and it is poetry – every line is carefully worked out. Just because you can rhyme sat with hat doesn’t mean you can write a rhyming picturebook. The whole line has to sing. More about this in another blog soon.

Read Maurice Sendak. Read some of the best Irish picturebook talent: Yasmeen Ismail, Oliver Jeffers and Chris Haughton.

Coo over Helen Oxenbury’s babies and Mem Fox’s outstanding text in the modern classic, Ten Little Fingers and Ten Little Toes.

Learn from the greats – and then get back to your own work.

Work at it and keep working at it until you crack it. Don’t give up!

I’ve been teaching creative writing for over 20 years now. Good writers with tenacity and grit, writers who are prepared to work hard at their craft, they are the ones who get published. Good luck!

Yours in writing, Sarah X

Mammoth March!

My Writer in Residence Diary for March 

March was a manic but wonderful month, full of book events and book fun. The picturebook art exhibition, A World of Colour featuring the work of Beatrice Alemagna and Chris Haughton -  images above - ran from 4th  February to the end of March and it was such a joy passing it daily on the way to my Writer in Residence room on the 5th floor. A world of colour it certainly was!

On 10th March I attended a conference about Mental Health and the Written Word in the Lexicon Studio which was most interesting and I also spoke on a panel called Happy Kids: Raising Children in the Digital Age with some experts in the area of children and safely online. The podcast is available here. 

I attended two talks by international writers for adults, Mohsin Hamid and George Saunders which were excellent (preview Mountains to Sea dlr Book Festival events).

I took part in a World Book Day event for schools with Marita Conlon-McKenna and Chris Judge and my book clubs and writing clubs continued during the month. We had a very well attended Drop in Writing Clinic with over 15 young writers and also a clinic for adults writing for children which was also very well attended. Our teen creatives had workshops in Vlogging with Dave Lordan and Comic Books with Alan Nolan and on 1st April were visited by Dave Rudden who gave them tips for their Junior Cert which went down a treat!

I also continued with the Baby Book Clubs in Deansgrange library (last Tues of every month at 10am and Dalkey (31st March, 7, 21 + 28th April 10.30am), Kids Create Workshops in Stillorgan for age 7+ (next ones are 4th May + 15th June booking required with the library) and a writing workshop in Blackrock Library all about creating realistic characters.

The Mountains to Sea dlr Book Festival also took place in March. I programmed the children's and school's events and the highlight for me was meeting two of my book heroes, Judith Kerr (The Tiger Who Came to Tea) and Beatrice Alemagna.

It was a fantastic five days of book fun and here are some of my favourite photos from the week. Enjoy! 

Robin Stevens, Katherine Woodfine and Jo Cotterill start the slide show from the festival - click on their image to see the other photos.

Yours in books,

Sarah XXX

Lessons I've Learnt from Writing Geek Girl - Guest Post by Holly Smale

To celebrate the launch of my new look website - with thanks to Martin Reilly for the design and hard work - I have a very special blog post for you from bestselling UK writer, Holly Smale. The brand new book in her hugely popular Geek Girl series has just been published. Take it away, Holly! 

1.        Trust in your own sense of humour.

I’ve never considered myself to be particularly funny, and I certainly never thought I’d end up writing a comedy series: my sense of humour tends to be quite off-the-wall, weird and obscure, as well as extremely dry (in real life people frequently don’t even realise I’m joking when I actually am). If I’d thought about it too much, I’d have worried that what I found funny other people wouldn’t (and sometimes they still don’t). But in relaxing, having fun and making myself laugh as often as possible I discovered that we each have our own way of seeing the world, and that there’s room for all kinds of comedy: even the weird stuff. There will always be people out there with the same sense of humour as you. So think about what you find funny, and write that: don’t worry about who you’re writing for of if they’ll laugh too.

2. Be yourself.

 Obviously if you’re writing a character then you don’t have to be you - at least not all of the time - but your voice, your quirks and your flaws are what make you different to everybody else: that’s what makes a character feel real and relatable. So don’t try to write like any other writer. Just write the truth of your story as you feel it, be as honest as you can, and your uniqueness will shine through.

3. Plot well

This one is tricky, because every writer has different ways of doing things: I know many great writers who have no idea what’s going to happen before they sit down to write a book. But, for me (and maybe for you), I realised quite quickly that I really need to know the bigger points of what’s going to happen - the overall structure, the point of the story, key scenes, how my characters are going to develop - before I start. It means I can relax more when I’m writing, because I understand what the story is I’m trying to tell.

 4. But also leave room for imagination and playfulness

 And here’s the caveat: plan and structure away, but always give yourself plenty of opportunity to have fun, change your mind, go off on tangents and have those brilliant moments of “aha!” Your characters will often misbehave, and that’s okay: it means they’re alive, and you should listen to what they want and what it is they’re trying to do. It doesn’t always mean they’re right, but you should use the plot as a pencil-outline rather than trying to stick to it religiously. Honestly, the inspiration that comes without being planned or plotted is my favourite part of writing: there’s nothing more exciting than realising that the story is developing in a bit of your brain you’re not aware of!

5. Remember that all your characters are important

Especially when you’re writing a first-person narrative, it can be easy to make the mistake of thinking that your hero or heroine is the only character you need to focus on: that their story, their humour, their voice, is the point of the book. It’s not. Just as in real life, everyone is the hero of their own story and your writing needs to reflect that. Every single person - whether they’re the parent, or the best friend, or a random receptionist who only gets one line - needs to feel real, and interesting, and three-dimensional. Otherwise your book is going to feel flat, boring and unrealistic..

 6. Get weird

 This is harder than you’d think: so many times at the beginning, I’d try something new and then worry that my readers would find it off-putting. They almost definitely won’t: in fact, frequently the passages I write that feel a little bonkers are usually the bits my readers love the best. So be as brave as you can when you’re writing, and if that means going off on a weird thought-train then enjoy it and go for it.

7. Be honest. Always.

This doesn’t mean “write your real life”, because nobody’s interested in that: you’re probably not a celebrity, and you’re not scribing an autobiography. But when you’ve put your character in a situation, ask yourself how you’d really feel: not how you’d like to feel, or how you would hope to feel, or what would look nice on the page. Usually, our emotions aren’t always pretty and they’re not always “cool”: real people can be selfish, or embarrassing, or bad-tempered, or wrong, and it’s far too easy to try and make your character ridiculously ‘good’ all of the time. So be as brutal as you can with your character and their reactions: that’s exactly what’s going to make them feel like a real person.

8. It’s not a race and it doesn’t have to be perfect

Writing a book is not a speedy process: you’re very unlikely to sit down and get it down in a week. And you’re even less likely to get it right, first time. My first drafts are generally terrible: I frequently have to go back and change huge plot points, or even whole characters. For a perfectionist, that’s a hard lesson, and it took a long time to give myself permission to write a bad novel, first time round. It’s in the re-writing that the real story comes through, so don’t rush it, don’t get impatient and don’t beat yourself up if it isn’t what you’d hoped for, straight off the bat.

9. Writer’s Block is normal

 Frankly, I’ve lost count of the amount of times I get asked “do you ever get writers block?” The answer - for every writer I’ve ever met - is absolutely. I get stuck frequently, in every single book I’ve ever written. It’s a part of the process, and I’ve slowly learnt to stop panicking and thinking my writing career is over, every single time. For me, getting stuck usually means I’m out of creative juice and I need a break and some space, I’m tired (so I need to sleep) or I’ve simply taken a wrong path. It’s my brain’s way of saying ‘hold up, something doesn’t feel right’, so I’ll stop, look over what I’ve done and work out at what point the story took a wrong direction. But it’s going to happen, so see it as a sign that your story has a life of its own, and that’s a good thing.

10. Don’t limit yourself

 Okay, so maybe you want to write “for” younger children, or for younger teens, or for adults, or for little green aliens. Maybe you think there are some topics or subjects you can’t tackle or write about as a result. It’s not true: as long as it’s done sensitively, you can include everything. There may be no swearing in my books, but - if you look carefully - there are many occasions where someone swears: you just don’t hear it, because Harriet doesn’t relate it to you. Stick to the truth of who your character is, and they will inform what you write about and who you’re writing for: not the other way round.

When Are You Going to Write a Proper Book? Full Podcast

Photo by Peter Cavanagh from The World of Colour Exhibition in the Lexicon Library 

Here is the Soundcloud podcast from the recent When Are You Going to Write a Proper Book? event. #properbook if you want to check out the posts on Twitter. It's the full day and thanks to dlr Libraries for providing the podcast. A must listen if you are interested in writing or illustrating for children. 

Soundcloud Podcast