3D Review - Kate Wiseman - Editor Interview with Elaine Bousfield the MD of Zuntold Publishers

What was your favourite children’s book as a child?

I loved reading more than anything else in the world. It is difficult to choose just one book to be honest. As a younger child there were two books that stayed with me for quite a long time. The first was Carbonel by Barbara Sleigh and the second was The Water Babies by Charles Kingsley.

I loved, and still love, books with a magical element or fantasy edge to them. I drove my sister mad with the Water Babies because I insisted that if I poked my heads under my bed covers at night, there was an ocean waiting for me, where I would turn into a Water Baby and have all sorts of adventures. I was so convinced of this, that my sister went crying to my mum, saying she was afraid that I would drown.

What is your favourite children’s book as an adult?

Ok..again this is difficult. I think my favourite has to be Northern Lights by Phillip Pullman. It is quite a tricky read for many children though - I think it is more likely to be enjoyed by older children - age 11 or 12 onwards. I love this book because of its beautifully detailed world building, and the amazing concept of the daemon - that part of our soul that lives outside our body as a separate but intricate part of ourselves.

I loved it, also because it combined a wonderful female character (Lyra - strong, curious, impatient, kind) with a fantastic life-changing adventure. It was pure genius. It was an important book because it tackled questions of adult power and how adults abuse their power sometimes and of course, the role of religion. It asked the important question, how can we find meaning if there is no God? They are big questions but I think children all over the world think about these things. Not many children’s books explore such complex themes. I also loved A Monster Calls by Patrick Ness, a masterpiece in that it explores grief and loss, and the suppression of guilt which so often accompanies it.

What do you think makes children’s books so inspirational?

Ok…my immediate answer to this is they are not self -conscious; they remind us of the importance of play. They allow us to imagine again. And they teach us things about ourselves and the world without preaching at us (the best ones do anyway). I think our education system drills the imagination out of us and we forget how to play. Children’s books allow us recourse once more to a deeper, more connected inner world.

What do you love about this book and what makes it stand out?

I love gangster school because of the reasons mentioned above. Kate is so playful - the story turns the normal world of school on its head and gives us chaos, naughtiness and rule breaking instead. And it places at the centre of the story, two very different personalities who soon learn that despite being different, they need each other. So its about friendship and loyalty but it is also hilariously funny. I love Gruffles and Wolf. Kate develops characters well alongside a sizzling plot-line that keeps you turning the pages. The second Gangster school had me laughing so much, my entire family came up to my loft room where I work to see what I was laughing at.

How many people have worked on this book and for how long?

I got to Gangster School quite late in the day and didn’t have to do much editing to be honest. Just a little bit here and there. Kate worked on it for four years I think, but the other Gangster School books are being written much more quickly - the characters now have a life of their own I think. We also have our production team at Carnegie - Anna the MD there took a look and loved it p- and Lucy did that typesetting. Isla Donohoe, a young artist from Manchester designed the cover - like me she read both the first Gangster School and the second and could not stop laughin

Elaine Bousfield has worked in mental health and trained as a counsellor, working for many years with young people. She ran her own business, Xenzone, and developed an online counselling and support platform for young people called kooth.com . She sold Xenzone in 2015 and is still its chair and founding director. She writes fiction herself and in 2017 set up Zuntold with the aim of publishing new and exciting fiction for children and young people. She is particularly interested in diversity and the role that fiction can play in changing lives. She is interested in exploring fiction which can be used in therapeutic work with children.

#BooksMadeBetter Interview with David Stevens founder of Knight Of

Diversity is a hot topic, whether it is white-washing on the silver screen or seats in the Houses of Parliament, it is a conversation that is being translated into action in many industries.

Publishing is no different. Steps are being seen to be taken to promote diversity, eg with many BAME competitions and scholarships being set up to seek out authors and illustrators that reflect a varied society.

Shiny new publishers Knights Of (as in of the round table where everyone is equal) launched just last week on a pledge to increase diversity behind the scenes. The news was met with a frenzy of anticipation of just how this new publisher was going to rise to the challenge of doing things differently.

Aimeé Felone and David Stevens have launched Knights Of with a stated aim to approach publishing in a new way and to ‘DO THINGS DIFFERENTLY - and in this way, to make books for every kid.

We at SOTB are delighted to share this interview with Knights Of founder David Stevens to share his vision of this new publishing company, how he plans to make a difference … and just what that difference will be.

The publishing industry is really focused on diversity at the moment, with lots of publishers trying to seek greater submissions from diverse authors/diverse intern applications etc. What are the main barriers currently to finding a job in publishing and what will ‘Knights Of’ do differently that might address them?

We’re inspired by what publishing and other children's media have been doing, every initiative and call for openness has strengthened our belief that now is the right time for an inclusive publisher. KNIGHTS OF is trying to address as many barriers as it can – making ourselves available via live chat to answer questions, if there’s a barrier we’ll work to address it.



We love the idea of a ‘fairer team’ – what sort of different opportunities are you going to offer?

We love the idea too! We’re offering paid, remote freelance positions on every aspect of publishing a title. We’re hoping to circumvent prohibitive costs of having to live in major cities, and where possible, we will aim to pair an experienced hand with an entry/mid-level candidate for added value.



You say that Knights Of is “creating a better pipeline: working with writers, illustrators, agents, retailers and other publishers to make books better” and it is really interesting that you are looking at so many aspects of how an author’s work gets to readers. Which of these changes of approach will make the biggest difference to the books you will publish?

It is the one small change that we’re hoping will have the most impact. If your editor, designer, marketer, production team, publicist and sales team are all from broadly different backgrounds the end result will be different.



We have noticed you are accepting direct submissions as well as through agents. What is the main reason for this? Is this a long-term plan or just a short-term ‘open window’?

We’ll keep Live Chat open as long as we can – it’s not going away any time soon. We’re working hard to make sure we’re as accessible as possible – being available as much as possible is part of that.



You mention the relationship with retailers. Do you have plans to reach readers differently other than through the usual channels of bookshops and school libraries or online?

One of the biggest pieces of work we want to undertake is working with retailers to bring non-traditional readers into bookstores. Partnering with as many communities, booksellers, librarians and readers as we can.



Talking of readers, has there been any research into whether there is lower interest in books by children with BAME backgrounds?

Not that we’ve seen. (Cheeky, but with so few books published that meet the criteria would any research be reliable?). Look at what Empathy Lab can do – proving that engagement with as many characters as possible has positive results.



Do you plan to publish in other languages to reach those children who have English as a second language? Will you take submissions in other languages?

We’re just getting started – our first focus is home-grown talent. We’ll look at submissions in translation but, for now, it’s unlikely we’ll be publishing into the UK and Irish markets in multiple languages.



It sounds like we are witnessing the start of a really exciting, forward-thinking publisher. How can we get involved?

Sign up to the #BooksMadeBetter newsletter [http://knightsof.media/#sign-up/] – come write for BooksMadeBetter.com – and tell everyone who might be interested about us. We’re a new start-up company so always willing to talk investment at varying levels.


So - they are being different and being very open, so what are you waiting for - sounds like a brilliant opportunity to get involved. SOTB will certainly be watching this space and wish Knights Of the very best for getting it dreams realised.

Lastly I must say a BIG SOTB THANK YOU to David for taking time out of the hectic start up week to be interviewed and to wish Knights Of the very best of luck. We look forward to reviewing some of their books in due course!

Find out more at Knights Of Website


You can also follow Knight on Twitter @_KnightsOf

Tommy V Cancer - 3D Review - The Terrible Tale of Melody Doom - Tommy Donbavand – Editor Interview with Danny Pearson

Today we are concluding our 3D review of Tommy Donbavand's, The Terrible Tale of Melody Doom with an interview with his editor Danny Pearson.

Danny Pearson is senior editor at Badger Learning. To find out more about Danny and Badger follow
@Danny_D_Pearson  and @BadgerLearning.

What was your favourite children’s book as a child?

I would love to say something romantic like at the age of four I had my head in The Wind in the Willows or War and Peace, which are pretty much the same book, but I can’t. I loved non-fiction books especially a book that may not have been entirely appropriate for me at a young age - The Usborne Guide to the Supernatural World. Worth a look see if you ever get the chance. The images alone are horrific. I don’t know how Usborne thought it was appropriate for anyone under the age of 18! But no complaints from me as they all helped mold me into the human I am today.

What is your favourite children’s book as an adult?

I have become a massive fan of picture books. To tell a story using a very limited amount of words (sometimes now words) is a tricky task. A lot of professional writers struggle when faced with the limits of a low word count. I am a very visual being and I love to see how the illustrator has interpolated the writers words.

It is impossible for me to narrow down all the books I have seen and to say ‘That one... that one there is the best there has ever been!’ But I will say among the best modern picture books I have seen are The Day the Crayons Quit and Oi Frog. Again, worth a look see if you ever get the chance.

What do you think makes children’s books so inspirational?

Passion!!!... and a good marketing team who have a bottomless pot of gold as their budget,

Illustration's by Peter Richardson

What made you want to work in children’s publishing?

I heard it paid well. I can confirm that it does not. Unless you are JK Rowling.

But in all honesty I used to work in a Waterstones store. I was promoted to looking after the entire Children’s department and from there my love of children’s books came flooding back. I wanted to be on the ‘other side’. I wanted the chance to make the books!

What makes The Terrible Tale of Melody Doom stand out?

The plot is great and it grabbed my attention as soon as it arrived onto my desk.

Following her supervillain parents being captured and locked away in jail, Melody Doom is adopted by a family who couldn’t be more different to hers.

Her goody two shoes foster family are a complete nightmare. They sing songs, wear bright colours and, worst of all, play charades every night! Melody knows she needs to escape, but how?

Hatching a plan involving her fluffy pink foster sister as a sidekick, Melody attempts to break into the jail and release her parents. But will the pony-loving princess give the game away?

Find out in The Terrible Tale…

I loved it!

Badger Books Gems are designed for challenged readers. Does this impact how you edit these books?

Massively! Thankfully Tommy is an expert at writing for reluctant/ struggling readers and knows what language we can use. The imagery in these books can say more than what a 100 words can a lot of the time. Tricky, long and hard to decode words are out in most cases. This does make it very difficult for an author to keep the story entertaining but the prized authors I work with make it look easy.

 

Tommy V Cancer was initially started to create moral support for Tommy and his family in the difficult time, but as his battle has gone on, the reality of being a jobbing writer (like any self-employed professional) has reared its ugly head; income. So if after reading this of any you wish to find out more about Tommy’s battle, or how to support him, visit: Tommy V Cancer.

Also Don't forget to check out the other posts in the Tommy V Cancer Blog Tour...

3D Review – Lying About Last Summer by Sue Wallman - Editor Interview with Lucy Rogers of Scholastic UK

Rounding up our 3D review of Sue Wallman's 'Lying about Last Summer', we have an interview with the book's editor,  Lucy Rogers who is an editor at Scholastic UK where she works on a variety of fiction books for 7+ readers right up to teen/crossover.

 

What was your favourite children’s book as a child? 

Ooh this is a tough one, but I think I’d have to pick Enid Blyton’s The Enchanted Wood for capturing my imagination and making me believe in lands above the clouds. 

What is your favourite children’s book as an adult? 

The books that I’m lucky enough to work on every day! And also Harry Potter – a magical world that I discovered as a child but re-enter regularly as an adult.

What do you think makes children’s books so inspirational? 

With children’s books, there are no limits in terms of creativity and possibility – worlds can be entered through wardrobes and cats can wear boots. I like too that children bring their own boundless imaginations to the reading process, making these stories even more colourful and exciting. 

What do you love about ‘Lying about Last Summer’ and what makes it stand out? 

I love a lot of things about this book. Firstly, Sue’s beautiful, descriptive writing which brings her characters and the atmospheric setting of the summer camp to life (I could almost smell the chlorine in the swimming pool scene!). Then there’s the story itself, which – from the intriguing opening to the twisty, heart-pounding ending – had me hooked. But, as well as being completely gripping, Lying about Last Summer has an emotional heart at its core, and for me, this really sets it apart from the competition. 

How many people have worked on ‘Lying about Last Summer’ and for how long? 

Quite a few, as publishing is a hugely collaborative process. Another editor, Lena McCauley, worked with me on the text itself, Seam Williams designed a striking cover that really captures the feel of the story, and then there were all the other departments: Production, Publicity, Sales, who helped get the book to print and to an audience. In terms of how long this process took, I first read the manuscript in March 2015 and the book is publishing this week, so just over a year. 

What made you want to work in children’s publishing? 

A job where I got to read every day and work with talented and creative individuals was always the dream. I feel very lucky to be part of this lovely industry, and to have serious business meetings about pirates and unicorns! 

What are the things that changed most from first draft to final draft and is there anything you wish you had done differently? 

There weren’t any drastic changes from first to final draft. Rather, we focused on really bringing out the brilliant twists and turns in the plot – to thrill and surprise the reader – and making Skye’s reaction to the messages from her sister even bigger. Another thing we looked at was making sure the layout of the summer camp was as clear as possible. Sue ended up scribbling lots of home-drawn maps! 

‘Lying about Last Summer’, deals with some very serious, does this effect the editorial advice and support that you gave to Sue? 

Sue made our job very easy in this respect, by writing a story that explores difficult and often distressing subjects in a sensitive and believable way. As an editor, it was my job to ensure that the subject matter was appropriate and relevant for the teen audience, something Sue mastered without ever seeming to talk down to the reader or censor her writing (no easy feat!).

Summer of Children's Classics - Editor Interview - Robin Stevens - Assistant Editor at Egmont - Robin Stevens

How did you come to be working on Egmont Classics? 

I work across the Fiction department, supporting all of the editors in a variety of projects – but helping to revamp our Classics range has become a favourite project for me. We published the first six books in the series – Treasure Island, A Little Princess, Peter Pan, Just So Stories, Alice’s Adventures in Wonderland and The Wind in the Willows – this month, and plan to publish six Modern Classics (The Animals of Farthing Wood, The Snow Spider, You’re a Bad Man, Mr Gum!, Kensuke’s Kingdom and Whispers in the Graveyard) next spring.

What is involved with editing classic books, and how does it differ from editing new fiction? 

Because Classic texts are extremely well-known and beloved, there isn’t really any editing involved! It’s more of a project management role, although I did create the back material in each of the first six books in the series. The really stand-out part of the books are their covers, and that was all down to our Design team and the illustrators, who did amazing work on them.

When editing a classic, do you encounter difficulties as everyone already has nostalgic views about the books? 

You have to be very respectful with Classic texts – there have to be very good reasons for any edits, and so we’ve chosen to add in extra material instead.

When planning the publication of new-editions of Classics, do you ever look for ways to make them more appealing/relevant to younger readers? 

Absolutely, and that was why we decided to add in the back material that we did – most Classics are written using language that children will be unfamiliar with, so we created glossaries to help them understand the text, and short sections explaining aspects of each book.

There have been so many editions of the staple Classic titles released by numerous publishers over many years, plus many are available without cost in electronic book form, why do you think it is that so many new editions are still brought out today? 

It’s important to have a reason to republish – a lovely new cover, special extra material, an introduction and so on – but I think that there will always be room for new editions of Classics. The stories are so good that they demand good presentation, and the new Egmont editions do them justice.

Now for the ultimate question: What do you think it is that makes a book a Classic? 

Working on the range gave me a chance to re-read each one, often for the first time since I was a child (the perks of the job!) and I was reminded of just how good they all are. They’re Classics because they’re genuinely great stories that stick in people’s heads. They’re fast-paced, funny, exciting, heart-breaking and wildly imaginative, and they all absolutely deserve their Classic label. It’s the 150th anniversary of Alice’s Adventures in Wonderland this year, and I’m fairly convinced that it and the other books on our list will be around for another 150 years at least!

Robin is also the author of the Wells and Wongs Detective Society books. 

Robin will be back tomorrow sharing with us her favourite children's classic! 

Talking; Devopling Series Fiction with Amber Caravéo, Editorial Director for Orion Children’s Books

Amber Caravéo is the Editorial Director for Orion Children’s Books and Indigo. Her publishing career began many years ago when she worked for a children’s magazine, inventing mystery adventures for Special Agent Sophie Smart and interviewing celebrities such as Gordon the Gopher! From there she moved to Working Partners where she continued dreaming up crazy ideas for children’s stories and worked on a huge variety of series from The Lady Grace Mysteries and Vampire Beach to Rainbow Magic. Eventually she moved to become Senior Editor for Random House Children’s Books before joining Orion just over 4 years ago. In November 2014, Amber and her business partner, Joanna Moult, will be launching a new specialist Children’s and YA literary agency and creative consultancy called Skylark Literary (www.skylark-literary.com) and they will welcome submissions.

What was your favourite children’s book as a child?

I loved Enid Blyton’s Famous Five and also her ‘Adventure’ series. I used to read those books again and again, imagining that I was one of the children having the adventures. It was pure escapist stuff but because of those books I developed a reading habit that I’ve never lost!

What is your favourite children’s book as an adult?

It’s very hard to choose one book when there are so many fabulous titles for children around nowadays but I think it might be Fire and Hemlock by Diana Wynne Jones. I have always been impressed and delighted by the sheer breadth of imagination and ingenuity in Diana’s writing. She was so inventive. I also love the fact that she wasn’t afraid to explore ideas that many children’s authors would shy away from. Somehow she had an innate sense of what was and was not appropriate for her readers and a wonderful feel for what would resonate with them. Fire and Hemlock is a clever mix of the real world and the world of fairytale and legend and, for me, it perfectly depicts that transition from childhood to adulthood while being an utterly gripping and fascinating story at the same time.

What do you think makes children’s books so inspirational?

For me it’s the freedom. Children’s books are not hidebound by genre or realism. So long as authors can write convincingly, they can venture into any genre and be just as inventive and fantastical as they like. Children’s fiction gives you a sense that anything is possible – even magic! That is hugely hopeful, exciting and inspiring for young readers – and for grown-up ones too! I love the sense of all those possibilities!

What made you want to work in children’s publishing?

See my answer above! The creative freedom definitely. The opportunity to venture anywhere, to explore anything and the magical worlds and possibilities that fiction opens up. That is very exciting to me and makes every day an adventure! J

You have created and developed series of books like the hugely popular Gargoylz and Magic Trix. Does this mean that you come up with the concept?

Yes, in those cases I came up with the concept. Generally, when I’m developing a series in that way it is because I’ve come up with the initial idea. However, the further development of individual plotlines for each book can be, and usually is, very collaborative with the writers involved – not to mention a lot of fun!

Have you created and developed any other series?

Yes, quite a few. I used to work for Working Partners who specialize in creating brilliant series fiction for children so I worked on lots of projects for them – including Rainbow Magic where I developed plotlines for almost 100 of those books! I love coming up with new ideas so I have continued to invent and develop series ever since – including Adventure Island, Magic Trix and Pets from Space for Orion Children’s Books.

 

Creating and developing a series like Gargoylz or Magic Trix, how much say do you have in the story line; do you guide the plots or do the authors have creative freedom or is it a team approach?

It’s very much a team approach and it varies from project to project. Usually I will have had the original idea. Then sometimes I will also go on to develop the plot for each book and other times I’ll let the author do that and will simply work with them to guide the story or help if they hit a plot problem or obstacle. I try to work with authors in whatever way best suits them and makes it easiest for them to be creative. I think that’s the way to get the best out of people – especially when you’re working together on a creative enterprise.

When creating a series how do you choose the author to write the books?

Often a particular author who I’ve worked with before will spring to mind as I’m dreaming up the concept. I just know that a certain person will have the perfect style or voice for the project I have in mind. It doesn’t always work that way though and sometimes we’ll ask several authors who might be interested in a project to write some sample chapters for it. Usually you can then see very quickly who has captured the flavour of the series or the voice of the main characters and is therefore the natural author for the project.

Why is it necessary to create series like Gargoylz and Magic Trix? Is it to fill gaps in the market?

Often it’s less about necessity and more about inspiration. The idea comes along and if enough people think it’s good then it gathers a momentum of its own and becomes a reality! Of course, working in the Children’s Publishing world as I do, I have a good idea of the market and I can see where I feel there are gaps. That will often inspire an idea and so a new series is born! Maybe I’ve been longing to find a particular type of story for a certain age group and if the right submission doesn’t cross my desk in the traditional way – i.e. from an agent – then I might just set out to create what I’m looking for.

WOW! Let’s Celebrate; Comics, Graphic Novels and Magazines! Stew Magazine 3D Review; Editor Interview with Ali Fraser

Creator and editor of Stew Magazine Ali Fraser finds time to answer a few questions about children's books, magazines and of course making Stew.

 

What was your favourite children’s book as a child?

Without doubt, it was Anthony Buckeridge's series of books about Jennings and Derbyshire. The gentle, funny stories about two public school boarders captured a world very different from my own, one that seemed idyllic - no parents, but benevolent adults (the teachers) reassuringly there yet in the background, plus tuck shops and lots of scrapes and adventures.

What was your favourite children’s magazine/comic/annual as a child?

Look and Learn was pounced on the moment it came through the letterbox ( that is, if one of my teenage brothers hadn't got to it first, which I think is testament to the magazine's ability to be aimed at a pre-teen market, yet be interesting enough to appeal to older readers). I loved its mixture of articles and vivid illustrations. Friends would read comic strips, about Batman and so on, but for me those storylines were tediously improbable and relentlessly similar.

What is your favourite children’s book as an adult?

It's usually the last good one I've put down, but off the top of my head books I would recommend include Patrick Ness's The Knife of Never Letting Go and Wonder, by RJ Palacio.

Do you read comics/graphic novels as an adult? If so which is your favourite?

A graphic novel seems to me to be a contradiction of styles - a short-form way of storytelling stretched into a long-form shape, and as such they've never appealed to me. Obviously I look at comics and children's magazines for professional reasons but there's none I'd elbow my children out of the way to read.

What do you think is the purpose of comics/children’s magazines in today’s society?

Unless you're living in North Korea, I'm not sure they should have a purpose, which sounds a bit doctrinaire. Clearly they need to be entertaining, or children simply won't look at them, and it would be nice if they weren't patronising or shallow, which unfortunately many are.

Why did you choose to format Stew magazine the way you have?

I love printed matter and I think children do, too. The digital world has enriched and widened their options; I don't believe it's replaced more traditional media. Besides, I wanted to set myself a challenge in producing a physical magazine, which is so much more complex than creating an online title.

How did you decide which features will appear in each issue of Stew magazine?

It's quite arbitrary - I choose topics that interest me and that I think will interest older children. Often I'll run an idea by my daughter Ellie, who's 10; if it grabs her imagination, then I'm probably on the right lines.

How many people work on any one copy of The Stew Magazine, and for how long does it take to produce?

A number of very talented illustrators and writers contribute to each issue, and currently they generously offer their work for free. The number of subscriptions is increasing with each issue, and I hope to be able to pay fees before long. When that happens, these people who are supporting Stew in its early days will be the first to be offered paid commissions. At the moment, though, I'm the only person who works on the magazine. Ideally there would be an assistant editor - pages should always be seen by a second pair of eyes - and a commercial manager, who would explore and develop the numerous ways in which the magazine can grow. Though the magazine is only bi-monthly, it takes up all my time (I even dream about the things I haven't done for each issue).

Murder Most Unladylike - Robin Stevens – Editor Interview - Natalie Doherty Random House - 3D Review

What was your favourite children's book as a child?

I loved The Wolves of Willoughby Chase and A Little Princess – anything sweeping and a little bit gothic with miserable orphans! The Suitcase Kid by Jacqueline Wilson was a huge favourite for me too – I had divorced, constantly squabbling parents and I felt like it was talking directly to me.

What is your favourite children's book as an adult?

I loved – and still love – anything by Roald Dahl. Probably The BFG was my special favourite when I was younger, but I read Boy over and over too – the moment where his nose is sliced off in the car accident isn’t easily forgotten - and I can still quote big chunks of The Wonderful Story of Henry Sugar and Six More. When I got a bit older, it was his incredible short stories in books like Kiss Kiss and The Great Automatic Grammatizator and Other Stories. The twists in stories like Royal Jelly and The Landlady never fail to send a shiver down my spine. I wish I’d worked in children’s publishing thirty years earlier so that I might have got the chance to meet him.

What do you think makes children's books so inspirational?

I love how there are just no rules and no limitations whatsoever in children’s books – anything goes and they can take you anywhere.

What do you love about Murder Most Unladylike and what makes it stand out?

So many things made me fall in love with this book! The narrative voice is the most obvious – I knew within a couple of pages that it was really special, genuine and authentic, and I just wanted to keep reading. Hazel and Daisy’s friendship and double-act is gorgeous – it really reminded me of the relationships you have with your school friends at that age, and as one of the quieter ones in my friendship group, I definitely had my own Daisy to contend with! Plus, I was blown away when I found out who the murderer was, and that showed me what a skilful, clever plot I’d just worked through – and made me really want to work with Robin.

How many people have worked on this book and for how long?

Robin and her lovely agent Gemma had already done lots of work on the story before it arrived at Random House, and once we acquired it, which was just over a year ago, lots of people have played a part. Other than me, there were two copyeditors and two proofreaders working on the text; a designer and an illustrator creating the cover and the wonderful map inside; a publicist, Harriet, who sent copies of the book out to reviewers and bloggers; and various people in the Sales, Marketing and Production teams. All in all probably fifteen people have had a direct role, and then lots more who are more behind the scenes.

What made you want to work in children's publishing?

I’d always been a big reader and it was the only thing I felt really passionately about, but it had never occurred to me to try to work in publishing – I’d been told it was super competitive and I was convinced I didn’t stand a chance. Then I did a children’s literature module at university, and at the same time I signed up to do some work experience with the brilliant, encouraging, very enthusiastic New Writing North, up in Newcastle. The two things put together made me realise I needed to give it a shot.

For a chance to win a copy of Murder Most Unladylike tweet us with the hash tag #MMU3DReview to @BookshelfSpace or e-mail us atspaceonthebookshelf@yahoo.com with MMU GIVEAWAY in the subject bar. Good Luck!

3D review –Looking at the Stars- Jo Cotterill – editor interview

We took the chance to talk to Ruth Knowles, Editorial Director, Fiction, Random House about her favourite books and about editing Jo Cotterill's 'Looking at the Stars'.

What was your favourite children’s book as a child?

I was a keen ballet dancer and so read and re-read Ballet Shoes and the Drina series. But, like so many of my generation, it was Enid Blyton who got me properly into reading. I love Mallory Towers.

What is your favourite children’s book as an adult?

The classic book that has stayed with me is The Silver Sword. I read it first age 11 - when I did enjoy it - but have come back to it many times since and I can remember the journey of Ruth, Edek and Bronia so vividly and with such emotion. It's a wonderful, haunting WW2 novel that still feels fresh.

The more modern book I've loved and that stays with me (and I should say that I'm purposely not choosing a Random House title or a book I worked on at Andersen. There are so many of those that I love, but I don't want to choose one author and their work over another!) is Martyn Pig by Kevin Brooks. Phil Earle, who was then part of the RHCP sales team, gave me it to read when I was in my first week as the editorial assistant at RHCP. It really showed me what teen books could be like - gritty, pacy and with such vivid, real characters. It really changed the way I thought about my new job.

Recently, I've also loved Rooftoppers by Katherine Rundell.

What do you think makes children’s books so inspirational?

For any adult who was a child bookworm as I was, the thought of going anywhere without a book is unthinkable. I know - first hand from my TA days - this isn't the experience every child has, by  any means, but I do think that the thought that there could just be one book out there that changes a child's mind about reading is so very inspirational. It means that everybody involved in writing and making children's books could play a part in changing a person for ever.

What do you love about this book and what makes it stand out?

I think Jo has got the perfect balance between showing us the reality of war and all its hardships and brutality, with hope and imagination. What makes the book stand out for me from other children's books that are set in wartime is Amina's storytelling. There's the most wonderful scene - Jo read it at her launch party - where a young boy who has been stunned mute by the horrors he's seen is able to talk again thanks to his engagement in the stories Amina (the book's heroine) is telling and the world she's created. I read the book so many times but it still gives me goosebumps.

How many people have worked on this book and for how long?

I know that Jo has been working on it off and on for many years, but my involvement started in the summer of 2010. Jo's Sweet Hearts series had just launched, and we were having lunch in Queen's Park. I asked Jo what else she'd been working on when she came up with the idea for Sweet Hearts, and she told me about this book she had in her bottom drawer - Looking at the Stars. I loved the sound of it and said to Jo that when she was happy to share it I'd love to read it.

I bought the book for Random House and did my first edit in the Autumn of 2011. Then I went away for a year - on a secondment to Andersen Press - and Jo had her second daughter. We carried on working on it at the start of 2013, but it didn't need much more doing to it at all, just a few tweaks here and there.

In addition to me, there is obviously a wonderful designer and publicist involved. A sales team, who loved the book, a production department who made it,  and also I had support from a lovely RH editor who is now at Orchard books, Jessica Clarke.

What made you want to work in children’s publishing?

I always knew I wanted to work with words, and for a long time thought Journalism was the route for me. Then I went to a graduate talk and heard horror stories about journalists rooting through bins to find a gossip story and decided against it! I then thought about teaching, and spent a wonderful year working as a Teaching Assistant in the SEN department of a high school. I ended up doing a lot of work with teenage boys who had behavioural issues and dyslexia. I couldn't find things they wanted to read really - other than car magazines! - and suddenly everything fell into place and I thought that if I could be involved in the making of books that one day teenage boys just like the ones I'd worked with might find the right book to turn them into a reader.

Ruth Knowles, Editorial Director, Fiction, Random House

3D review - The Dawn Chorus - Suzanne Barton - editor review

Fiz Osborne  is Senior Editor of picture books, novelty and eBooks at Bloomsbury Children's Books and is editor of debut author/illustrator Suzanne Barton's picture book 'The Dawn Chorus', which we are featuring as our 3D review for April.

What was your favourite children’s book as a child?

There were a few! Ramsbottom Rag by Christopher Masters, Roald Dahl’s Matlida and George’s Marvellous Medicine, the Heidi books by Joanna Spyri and Beyond the Rolling River by Kate Andrew and Chris Riddell. I didn’t actually own lots of books, but I was constantly borrowing from my local library.

What is your favourite children’s book as an adult?

I love any book by Anna Kemp and Sara Ogilvie, and Rhinos Don’t Eat Pancakes is a firm favourite. Aaaarrgghh, Spider! by Lydia Monks is another book after my own heart and I am in love with anything by Yasmeen Ismail, especially Time For Bed, Fred!, If I Had a Cat and Specs For Rex.

What do you think makes children’s books so inspirational?

They can challenge, excite, help, stimulate, and effect us so strongly – in a way that nothing else can – and that is exactly what I think makes children’s books inspirational.

What is it that you like most about picture books?

The way that the perfect balance between story and illustrations creates a little bit of magic. Anything can happen in a book. That’s quite fantastic.

What do you love about this book and what makes it stand out?

I love how Suzanne’s illustrations sing out from the pages. Her story is almost like a lullaby, surrounded by beautifully detailed, characterful illustrations that are incredibly endearing. The Dawn Chorus feels very special, there’s nothing else quite like it.

How many people have worked on this book and for how long?

So many people! I mean, in the confines of the Bloomsbury picture books team there was an editor (me) and a designer working with Suzanne. But while the book evolves, the Bloomsbury children’s team works hard to support it. Marketing, publicity, sales, rights, production . . . Every book has the entire team behind it.

Time-wise, the average picture book takes about 18 months-2 years to be published.

What made you want to work in children’s publishing?

I just love children’s books. I can still remember the excitement I’d feel when my dad read me bedtime stories as a child, and I can also remember quite clearly how it felt to read Harry Potter for the first time. I naturally gravitated towards children’s publishing and I’m very passionate about what I do. There’s a little piece of my heart that I set aside for each book that I work on.