So this looks like an amazing thing.https://cleanprose.co.uk/ I have tried writing in co-working spaces before, but I found that writing didn’t quite gel with other professions’ working methods. People would take phone calls and so on, and it just didn’t work. Y I loved the sense of community and being around other people, though. Working from home is great in many ways, but can be very isolating. And of course, things like Arvon, which are perfectly designed for writers to work together, are just not available every day of the year.
Clean Prose looks like an imaginative way for writers to work together – it provides quiet space, community space, and events. I hope the idea spreads to other towns and cities in the UK.
Many of the barriers that people of colour encounter as writers can, in my view, be traced back to the lack of diversity in publishing. Editors of colour are few and far between, and literary agents still fewer and further! The Carole Blake Open Doors project is one example of a literary agency trying to improve things. Could this opportunity be right for you? DEADLINE: MARCH 1ST.
“The Carole Blake Open Doors Project, is a programme specifically aimed at encouraging candidates from a diverse range of backgrounds to enter the publishing industry.
The Carole Blake Open Doors Project will offer ten days of work shadowing to a selected applicant over a two-week period, including funding for travel and up to thirteen nights’ accommodation in London. The programme, which will run twice a year, will include close mentorship with Blake Friedmann’s book agents, the opportunity to attend selected meetings with editors and clients, and the chance to be involved in every aspect of day-to-day life as an agent. It is intended that candidates will come away from the project with varied knowledge of working for a leading literary agency, the beginnings of new and essential relationships in the publishing industry, and some excellent experience to include on their CVs.
“Carole offered me my first internship in publishing at Blake Friedman. She was a formidable figure, yet warm and funny. She was deeply encouraging to me as one from a diverse background based on my age, class and race – though it was our mutual love of a great pair of shoes that really sealed the deal! An unforgettable, truly phenomenal woman.” – Valerie Brandes, Founder & Publisher, Jacaranda Books, and former BFA intern.
Carole Blake and the Blake Friedmann team have always placed great value on diversity and openness, in the company’s client list as well as its hiring practices. We aim to build on this foundation and be proactive about drawing from a wider pool of talented applicants who are passionate about books and ambitious about getting a job in publishing.
Tickets for the fourth A PLACE AT THE TABLE conference are now on sale! https://www.inclusiveminds.com/ The speakers are Catherine Johnson and Patrice Lawrence who will be marvellous. It is a great day for networking and finding out what is going on.
I am incredibly excited to be holding the proof copy of And the Stars Were Burning Brightly by Danielle Jawando. Just look at this gorgeous thing! Then go and pre-order it from your bookseller of choice!
And the Stars Were Burning Brightly was written during the Megaphone scheme, so it is an amazing and really special experience to be reading it again two years on and seeing how it has developed during the editorial process. I was not surprised to see that it was the most requested proof on NetGalley, nor to hear that Melvin Burgess has called it ‘an utter page turner from a storming new talent’.
Stars’ subject matter remains – and will remain – extremely important. No teenager or parent in Britain today will be unaware of the potential for social media to get out of hand. Danielle has personal experience of this, which she draws on for this wise, moving YA novel. But the novel is so much more than a documentary. My heart ached for Nathan, on a quest for the truth behind his brother’s death. Beautiful meditations on art and space science mingle with a gritty story of ordinary teenagers trying to find human connections and freedom in a world that wants to dehumanise them.
And The Stars Were Burning Brightly is an extraordinary book and deserves all the praise it is getting (and it’s getting a lot). Published by Simon and Schuster, it comes out in March 2020 . You can follow it on Twitter on #Burnbright @DanielleJawando @SimonKids_UK.
Since Megaphone, Danielle has also written a life of Maya Angelou for the children’s series: Little Guides to Great Lives. Thanks to series such as these, there is now no excuse for parents and teachers to not introduce children to great people of colour in history. The books are out there – go and buy them!
As the recent Book Trust Represents report showed, writers of colour are still under-represented in children’s literature. In 2017, just 1.98% of children’s book creators were British people of colour. For context, the 2011 census indicated that 19.5% of people in England and Wales were from minority ethnic backgrounds. That is a stark contrast, and it’s the very reason that Megaphone was created. So this copy of And The Stars Were Burning Brightly isn’t just a proof copy. It is wonderful and encouraging evidence that writers can make a difference. Well done Danielle!
I’ve known The Emma Press for a while now, as an energetic and exciting Birmingham-based poetry publisher with a strong reputation for bringing translated work to the UK. They are now branching out into picture books, and having seen some of their illustrated books, I am looking forward to some wonderful, high quality publications. Good luck to all who apply!
Back in June, I posted a survey into how many single-authored children’s books (7-11 age range) by BAME (Black, Asian and Minority Ethnic) writers were due for release in 2018. I can only apologise for the delay in publishing the results – it has just been a really busy year. Anyway, this is a small sample of 6 respondents and therefore limited conclusions can be drawn (you should wait for the big research by Book Trust and Melanie Ramdarshan Bold!), but I thought people might be interested to see the results anyway.
Small publishers are doing a much better job of publishing BAME authors than medium-to-large publishers.
50% of respondents were publishing no BAME authors at all in 2018.
7% of forthcoming titles in the 7 – 11 age range are by BAME authors. 13% of the general UK population is of BAME origin. This is a discrepancy of nearly 50%.
Late to this party, but there’s still time to apply for this excellent opportunity:
“Penguin has launched WriteNow – a programme which aims to find, mentor and publish new writers and illustrators from communities under-represented on the UK’s bookshelves!
Free workshops in Liverpool, London or Nottingham where budding writers and illustrators can learn more about the publishing process, hear from published authors and literary agents, and receive one-on-one feedback on their work from one of our editors or designers;
Chance to join our mentoring programme, being matched with a Penguin editor or designer for a year to develop their book or artwork;
Aimed at people from under-represented communities including Black Asian Minority Ethnic (BAME) writers, LGBTQ writers, writers with disabilities and writers from socio-economically marginalised backgrounds
Open to illustrators of children’s picture books this year for the first time.
Now entering its third year, WriteNow is already having a tangible impact on our publishing – so far we’ve signed deals with 5 writers from the programme, with many more to come.
To apply, writers and illustrators need to visit www.write-now.live. The deadline for applications is Monday 9 July.”
Happy National Writing day! As good a day as any to let you all know that I AM planning to run Megaphone again. It was so successful and we built such a warm and supportive group, that it seems right to build on that foundation. The current plan (open to your suggestions for change) is to run the Writer Development Scheme once again, offering places to six mentees, and, in addition, to run events around England that support BAME children’s writers at different stages of their writing life. The details are still being firmed up and the grant application is in progress, but I wanted to let you know that things are moving.
Here’s how you can get involved right now:
Last time, Megaphone was supported by some fantastic partners, without whom the programme would simply not have happened. This time, we are continuing to build on these partnerships and to make new ones. Are you a writer, publisher, agent or organisation who would like to be involved in the next phase of Megaphone? There are lots of ways in which this could happen, and I’d be glad to talk through ideas. Please get in touch to let me know of your interest. Email Leila at firstname.lastname@example.org
Are you a children’s writer of colour who has strong feelings about what is really needed to create, support and sustain meaningful diversity in children’s literature? Are you reading this, shaking your head and thinking “Yes but….” or “What she ought to be doing is…” Please get in touch. Email Leila at email@example.com . I would love to hear your thoughts. There is a Facebook group for consultation so please let me know if you would like to be added to that too. Or tweet me using the hashtag #MegaphoneWhatWeNeedIs . Or comment below!
Huge thanks to everyone who has supported the scheme so far – you have made the difference.
An opportunity that may be of interest – NEW deadline: 5th August 2018.)
The Lancaster Playwriting Prize is a new initiative arising out of the cultural partnership between Lancaster University and The Dukes Theatre, Lancaster; it is supported by Lucy Briers, Tamasha Theatre Company and Arts Council England. In this inaugural year, the Prize is focused on BAMER (Black, Asian, Minority Ethnic and Refugee) playwrights. The aim is not just to discover new voices, but to empower playwrights from culturally diverse backgrounds in general by building skills, confidence and networks.
All longlisted scripts will be read in full. Up to five shortlisted finalists will have their script workshopped with professional actors and directors, and see extracts performed at a public showcase event held at The Dukes, Lancaster.
The winner will receive £1500 and will be invited to become part of the Tamasha Playwrights group for 2018/19, receiving tailored training and mentoring as they develop their careers (http://www.tamasha.org.uk/tamasha-playwrights/). The winner will also receive travel support to attend weekly Tamasha Playwrights workshops in London from October 2018 to July 2019. Two of the other shortlisted writers will receive writer on attachment bursaries at The Dukes of £500 each (with further support to cover travel costs); these postings will entail mentorship opportunities and the chance to observe the development of two shows at the theatre.
The window for scripts opens on 23rd April 2018. Scripts must be emailed by noon 22nd June 2018.
The competition is open to any BAMER (Black, Asian, Minority Ethnic and Refugee) writers who are originally from, resident or work in the North West of England. For the purposes of this prize, the North West consists of Cheshire, Cumbria, Greater Manchester, Lancashire and Merseyside.
Writers must be over 16.
The play must be an original, unpublished and unproduced piece of work. It cannot have had a professional production anywhere in the world. For the purposes of this prize, development performances (such as rehearsed readings and workshops) do not constitute full productions; amateur productions also do not count as full productions under these criteria.
Adaptations of existing works of musical theatre, radio, television or other media are not eligible; translations of said works are also excluded.
Musical theatre scripts are not eligible.
Scripts must be a minimum of 40 minutes long and all pages must be numbered.