Tag: books

  • Better Representation

    Better Representation

    There is change happening in the way people are portrayed in children’s books as publishers realise better representation is good for business.

    Books are products, after all, and fortunately businesses are realising that representation in children’s books makes good business sense. The inclusive representation of all voices will hopefully continue becoming ‘normal’, but no one should get complacent. Change is happening, albeit slowly.

    For us to sell to the rest of the world from wherever we are, means being prepared to bring the world’s stories into our territories in return. Acknowledging how similar people are, more than how different, in other words aiming for better representation, can lead to business opportunities in more terr. It also makes the differences more interesting when we are treating everyone the same. A reader is a reader after all.

    The National Literacy Trust (UK) defines reading for pleasure as:

    Reading we do of our own free will, anticipating the satisfaction we will get from the act of reading.

    But less people are reading these days, unless they are after specific information. Some people blame screens and devices for this change, forgetting that books can also be read on them. The answer is perhaps not so simple. Devices are a factor in the decline of reading for pleasure, along with the prices of books, less libraries, and the lack of a variety of stories for hungry minds.

    In classrooms, and students from different places often sit next to each other exchanging experiences, becoming friends, inviting each other to their homes. Children and young people don’t see the ‘other’ as much as their parents or grandparents might. They have largely embraced their differences and want to see a world that reflects that. Can publishers meet these expectations? Can they help to boost reading for pleasure in a meaningful way by offering a larger variety of books? Can they find a new balance between theh necessity of making money and the risk of experimenting with new stories?

    Making more children proud readers includes making it possible for them and their friends to see themselves in the stories they read. This involves checking that we in publishing are not slowing down our efforts or becoming complacent. It also means keeping up with the stories children want and bringing in new talent into publishing in an effective way. Given the cautious nature of children’s book manufacturing and publishing, these tasks can’t happen overnight.

    The terms we use in business have to evolve too. The words ‘diversity’ and ‘inclusion’ have come to mean niche and low sales, far from their true meaning. They are not seen as aspirational as the concepts deserve. So let’s take them out of the business vocabulary, and relegate them to being part of the description of plans and proposal rather than the headlines.

    ‘Representation’, and ‘belonging’, these are words publishers can work with. They are broad enough to cover all aspects of the business, and specific enough to apply to the newer generations of readers. Furthermore, they are goals and skills that all professionals are trained to achieve. Why should it be easier to make dragons and aliens more relatable than real people from a different background? Why not use the same principles of storytelling to make this happen?

    It takes the whole publishing sector to bring about change, not just the creative side. If comppanies decide to change then they will have to acept that every part of their business might have to adjust. It is worth pausing every now and then to look at the big picture to see how much change has already occurred. Better representation is good business.

  • Amazing Aqua Boy!

    Amazing Aqua Boy!

    30 years ago, my first books were published. It’s a milestone I never thought about till now.

    I didn’t imagine how long I would be creating books. I only ever thought about making the next one better than the last.

    That’s not to say I don’t dream of writing and illustrating forever! I’m a dreamer, and proud. There is always an understanding that dreams don’t always come true, nor they aren’t the same as clear plans or purpose. But they are important. Letting a dream go can be devastating, so learn to hold on to them for use later.

    Dreams are the gold by which creatives make their living, combined with a way of turning them into reality that is unique to each of us. Publishing is, on some level, harnessing those dreams and turning them into products.

    A few years ago Astro Girl was published to wide acclaim. Its been doing well since in all the places its published. It was followed by Eco Girl and all of a sudden I had two books about global topics that young children can understand. That was a dream come true!

    So its with enormous pride and excitement that I introduce to you the next book in the series – Aqua Boy!

    photo of Aqua Boy cover

    This story is all about life below water and how we should be paying more attention to it. In it, young Aaronfinally gets to do something brave because of his new friend from the ocean.

    All of a sudden this is a series.

    Astro Girl (US) (UK), Eco Girl (US) (UK)and Aqua Boy are available at all cool bookstores. My thanks to the UK Publishers, Otter Barry Books, US publishers Candlewick, two amazing teams of people.

  • Old is new again

    Old is new again

    I came across Officina do Cego, run by a group of crafts and art people in Lisbon, thanks to Kristine Martinova. She introduced us to the president of the Association, Nuno Ramos, who explained how they teach and make work using screen and letterpress printing. They make their own books, so also teach bookbinding.

    Walking into the place I found machines that fondly reminded me of my early days in graphic design. I started young, around 15 years old, working during school holidays in the Maviyane Project.

    These were the days before computers in the office and we did all the artwork by hand. I mean, totally by hand. We traced letters to make layouts and stuck things down with hot wax. We calculated the size of type that would work for a book using a formula and then sent that to the typesetters who sent us back rolls of text on photographic paper. If it wasn’t right the whole process had to be done again, causing delays, among other things. Attention to detail meant a lot more than it does now- it could end a project, or worse still a job.

    We carried all of that experience to the computer age, thankfully.

    It was a wonderful trip down memory lane.  I might take one of their courses next time.