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1. The Power of (UK)YA - Lucy Coats

Young Adult and children's books are a force to be reckoned with in the UK economy.

"Children’s represented a record 24% of the print market in 2014, and for the first time the sector’s full-year value sales eclipsed those of BookScan’s Adult Fiction category" 
said The Bookseller's review of the 2014 market. This should be good news for all UK children's authors, but it's the UKYA authors in particular I want to focus on here.
"2015 will be OUR year!" 
If I heard that said once, I heard it twenty times last Monday night, at #DrinkYA - a party to celebrate the shortlist for the newly fledged YA Book Prize, sponsored and supported by The Bookseller and others including  (Movellas, The Reading Agency and World Book Day, and organised by Anna James (@acaseforbooks) along with the fab Bookseller team, the indefatigable Jim Dean (@yayeahyeah blog) and Louie Stowell (@louiestowell). It wasn't the authors there who were saying it, though. It was the bloggers, and in particular the bloggers passionate about UKYA, and determined that books coming out of Great Britain and Ireland should be as big as those in the currently US-dominated market.

Jim Dean and Abi
Elphinstone at
#DrinkYA
It is an indisputable truth that US authors currently lead the YA market. John Green, Veronica Roth, Suzanne Collins - all have had massive bestsellers, and not only due to the films that have been made out of their books. Why shouldn't UKYA authors have the same success? It's a tricky one. For a start, the UK and Ireland fit into the state of Texas not once, but twice. The US market is huge from a population point of view. They just sell a vaster quantity of books there. However, I firmly believe we can compete.

Last year we had YALC, organised by our brilliant Children's Laureate, Malorie Blackman. It was a stonking success. This year, hopefully, there will be another YALC. But first there will be the YA Book Prize. The shortlist is out, with eleven UKYA authors on it (one of the shortlisted titles, Lobsters was jointly written by Tom Ellen and Lucy Ivison). What struck me about the list was how diverse it was in subject matter and writing style. There is modern myth (A Song for Ella Gray), fantasy witches (Half Bad), family dysfunction (Salvage), ghostly horror (Say Her Name), contemporary teen issues (Trouble, Goose, Lobsters, Finding a Voice), dystopia (Only Ever Yours) and thriller (The Ghosts of Heaven).
James Dawson and
Non Pratt at
#DrinkYA
Also, although there are a couple of more well-known names on the list, there are some debuts too, and some who deserve to be better-known than they currently are. This can only be a good thing. The YA Book Prize is a bold initiative, arising from a strong feeling that it was time to celebrate the wonderful homegrown authors we have, to promote them, and to let everyone know that we can stand shoulder to shoulder with the best of the rest of the world in terms of quality, and we should all be applauding that.
Book bags at
#DrinkYA

Those bloggers who were at #DrinksYA (and many more who weren't) do an amazing job in helping to get the word out to readers. I've said it before, and I'll say it again. We need to appreciate their dedication, their passion, and the time they give to writing about (or filming) pieces about what they love and sharing it. There is a HUGE book buying community out there - we know that more than ever now - and the bloggers and vloggers are doing more than their bit to fuel its appetite. I am constantly amazed and heartened by the amount of book chat there is both on Twitter and Tumblr (just look up 'booklr' on the latter, and join in the frequent #UKYAchat, #YAie and #UKMGchat events on the former). There are forums too, and the latest - Bookish Peeps - is a wonderful community (just created by blogger Jesse Owen of Books 4 Teens), all enthusing about books and reading.

Anna James of
The Bookseller at
#DrinkYA



In the end, if 2015 IS going to be our year as readers and writers of UKYA, we have to engage, be passionate, talk about the books we love (and yes, put up positive reviews on the dreaded Amazon and Goodreads), and generally support events like YALC and the YA Book Prize.  'Proselytize' and 'Evangelize' are not two of my favourite words. However, I am prepared to be both a proselytizer and an evangelist on behalf of getting UKYA the worldwide attention it deserves. How about you?

Out now from Piccadilly Press UK & Grosset and Dunlap USA: Beast Keeper and Hound of Hades (Beasts of Olympus)
"rippingly funny…offers food for thought on everything from absentee parenting to the mistreatment of animals (even immortal ones)." Publishers Weekly US starred review
Coming in May 2015 from Orchard, Cleo (UKYA paranormal/historical novel about the teenage Cleopatra VII)
Follow Lucy on Twitter

Lucy is represented by Sophie Hicks at The Sophie Hicks Agency

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2. How I Fell in Love With Twitter - Liz Kessler

It wasn’t love at first sight. Noooo. Not by a long way.


My first experience of Twitter was actually on Facebook. I noticed that various friends had started writing very strange status updates. They would say, for example, something about how well Chapter Six was going that day, or how they were struggling with a character or a scene. And then for some inexplicable reason, the status update would have #amwriting at the end of it. I would wonder a) why they kept on telling us they were writing; b) why they needed to do so anyway, when it was obvious from the previous sentence; and c) why these people – and I’m talking about folk of the likes of Mary Hoffman in terms of their spelling calibre – kept on writing ‘am’ and ‘writing’ as one word. 

Time passed, and about a year ago, my publicist at Orion suggested I go on Twitter. I had massive resistance to this – not just because of the hashtags and the joined up words thing, although that was part of it. With everything I was already doing online, it just felt like a step too far for me at that time. Eventually, she wore me down and I agreed to give it a go.

At first, the whole thing was utterly bewildering. How on earth was I expected to get people to follow me? And what did it mean if I followed them? How was I meant to keep track of anything when it all moved so fast? How did I get to be part of anyone’s conversations? And most of all, what on earth were they all talking about anyway?

I spent a few weeks gradually going through the lists of people who followed writer friends and choosing the ones who I thought sounded interesting. I’d follow twenty at a time, and, bit by bit, some of them followed me back. Slowly slowly, I built up a list of followers and followees. Even more slowly, I began to understand (a bit of) what was going on. I learned what those hashtags were all about. I understood how they bring people together; I even learned how to use them to tell a joke.

But it was still, for the most part, a bewildering place to spend time, and I still hadn’t fully forgiven my publicist for making me be there. How was this place ever going to do anything useful for me if the only people who ever saw anything I wrote were those who happened to look at their twitter feed within five minutes of me posting anything? How could I ever promote any of my books when I knew that I cringed inside every time I read other people’s tweets that were clearly trying to market their books? And how was I ever to feel good about my own books ever again when I was bombarded on an hourly (at least) basis with tweets from others announcing their latest five-star review, their latest book award nomination and their latest twelve-city book tour?

I began to think about how to tell Twitter (and my publicist) that I wanted us to break up. It wasn’t Twitter; it was me. It just wasn’t right for me.

And then something wondrous happened. I read an article that was doing the rounds. The article, on the aptly named ‘Red Pen of Doom’ blog, stated that Twitter did not help to sell books.

You can read the article here, if you want to…

The Twitter, it is NOT for selling books

I certainly didn’t agree with every word of it, but when I read it, something amazing happened. I felt liberated; I felt freed of this need to try to attract thousands of followers and direct them all to Amazon (or, even better, to their local bookshop) to buy my books. BECAUSE THEY WERE NEVER GOING TO, ANYWAY!

Yes, of course, you could see this as depressing,

25 Comments on How I Fell in Love With Twitter - Liz Kessler, last added: 5/16/2012
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3. On being understood (or not) - by Rosalie Warren







Do you want to be understood? As an author, I mean, though possibly as a person, too.

I imagine you probably do - as an author, at least, in the sense of wanting to write clearly and cogently and to bring your fictional world alive to your readers. And I think most of us want to feel understood as individuals, at least by our loved ones, at least some of the time.

But on what level do I want my books to be understood? Given all the above... I would still hate it if someone - child or adult - finished one of my books and thought: 'Oh, I see. I get it now. I've sussed her out. I understand what that story was about, what I was supposed to get from it, what the author was trying to say...'

Urrrggghhh. That is not what I want at all.

All this was prompted by an email exchange I had yesterday with a longstanding writer friend - someone who, if anyone does, appreciates my work and has given me lots of good advice and help. She admitted that she had never 'really understood' my first novel, Charity's Child. Good, I said - you weren't meant to. Enjoy it, yes. I hope you found my story interesting and that it perhaps raised a few questions in your mind. But 'understand' it - please God, no!

I don't understand it myself. And I don't think that novels are written to be understood any more than people are born to be understood. Glimpses of comprehension, yes. Sudden insights, and those wonderful moments when a reader points out something about one of your characters that you hadn't seen yourself, or finds a 'theme' in your book that you certainly never intended putting there. That's OK. What's not OK is someone feeling that they've successfully and thoroughly deconstructed you, your work, the whole caboodle. If it were true, it would be somehow demeaning. And I don't believe it ever is true, anyway. If a novel can be deconstructed in that way - if that's all there is to it - then it's not a novel at all but something else.

As a reader, my favourite works of fiction are the ones that leave me satisfied in one sense but, in another, not quite sure. What exactly was going on there? Yes, the plot was tight and well-constructed, the characters were alive and real, the story plausible (if it was meant to be) - the whole thing worked... and yet... I think that's one reason I hated the stuff we did at school. 'What were Hamlet's motives for a, b, c...?' Did Shakespeare know? Are we really meant to know? I'm pretty bad at working out my own motives, let alone anyone else's.

I think, ideally, I would like to be one of those disappearing authors like J. D. Salinger and Harper Lee, who wrote their books and then ducked out of sight. No explanations, and certainly no apologies, if any were needed. I don't like the idea of trying to explain myself as a writer, or of trying to explain my work. (So why am I blogging? Good question, I suppose...)

Answer: I'm a realist, who knows t

9 Comments on On being understood (or not) - by Rosalie Warren, last added: 11/19/2011
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