Category Archives: Thoughts

Writers? Teachers? Everyone Else?: To read the classics or not read the classics?

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Library traditional wooden bookshelves classic fiction

Which is more ‘important’ reading material for a budding writer, classics or contemporary fiction? It’s a matter of more debate than I expected because I thought the answer was obvious; the classics. I was a book buyer for a small book shop and I’m now a writer, I can’t help seeing it this way.

This isn’t because the classics are objectively ‘better written’. It isn’t even to do with gaining an understanding of more ‘traditional’ narrative structures (as an apprentice carpenter might start with more simplistic wood joins and carving techniques). Though the latter is definitely worth mentioning.

For me the reason that the classics are, by far, a better use of reading time for an aspiring author comes down to natural selection.

Won’t knowing what’s ‘in’ help you get published?

Coffee shop contemporary trends

Contemporary fiction is the driving operation of modern publishing. It characterises who we currently are (or at least it captures our contemporary literary culture). If an aspiring author wants to aim at being published then getting a feel for the current zeitgeist from contemporary fiction feels like the way to go.

However, maybe aiming to get published is less important than telling a good story. Connecting to the zeitgeist is great but what is it that you want to say? What place is your take on the world coming from?

About a decade back vampires became the ‘in thing’ for teen readers. I lost count of the number of vampire tales available in the ‘teen reads’ section of our book traders magazines. This went on for a few years.

However, if you were a teen author at this time there was no way for you to know how long this trend would last. To be frank it crashed hard after the release of the last Twilight book.

Wasting time being ‘trendy’

Imagine you were a ‘teen reads’ author in 2008 (the year that ‘Twilight: Breaking Dawn’ was published). You are so excited about your new book. You had the idea to jump on the vampire love train and write a great new twist on this where the girl is the vampire (breaking from Twilight, Buffy the Vampire Slayer, and Vampire Diaries).

Vampire contemporary teen romance

It can easily take two to three years to get a book into a ready state and by 2010/2011 the catalogues looked very different. The vampire bubble had burst.

The writer with the vampire story in hand was me and I had put so little thought into what I was actually doing (focusing on the goal rather than my book) that my creativity suffered.

I’ve since gone back and fixed this manuscript and one day it may see the light of day. However, the thing that helped me was not reading more contemporary work, it was returning to the core works in the genre (the classics).

It was only by knowing the typical format that I could hope to rearrange it for my own purposes. It was only by becoming more aware of the expectations of this sort of book that I could hope to usurp them. In short, I needed to see what vampires really were in our culture in order to play with the concept properly.

Fiction by Natural Selection

I feel that every creative work creates forks in the literary road. The classics aren’t necessarily ‘classic’ because they’re good (though a lot of them are thoroughly engaging, well crafted works). Instead they are examples of where our literary culture has travelled.

With some degree of certainty, you can still reference great works of the past and know that the reference will make sense to a contemporary audience. Shakespeare, Austen, Dickens, even ‘newer’ works by the likes of Arthur C. Clark, Stephen King, or JRR Tolkein have reached this stage of cultural significance. Reading their work helps a writer hone in on where we’ve been and experiment with where our literary world may go next.

Contemporary fiction just doesn’t ‘fit in’ yet

Contemporary fiction hasn’t had time to catch the public consciousness. Long term success isn’t even something we can predict with awards or other honours placed on these works by peers. Contemporary fiction, by its very nature, is still in the throws of cultural natural selection.

The boy who lived

Take the Harry Potter series for example. These books are still wildly popular. We might assume that they will go on to become markers to the culture we’ll come to be part of, but they have also received backlash from two very vocal cultural camps.

On the liberal side JK Rowling has received backlash for her views on trans women. On the conservative side (small ‘c’, small ‘l’ for both, these aren’t necessarily political concepts, more ideological) the Harry Potter books have received criticism and hatred because they depict sorcery, witches, and wizards in a positive light. This can be extremely concerning for those with a belief system that regards these things as ‘sinful’ or ‘the devil’s work’. To put books like these in the hands of children must seem truly abhorrent to those who feel this way.

We don’t yet know if there will be an ideological ‘winner’ in regards to these (not exactly overlapping) groups. If one or the other takes a leading role in the direction our literary culture may go, then there’s a chance that the Harry Potter books may be pushed aside in favour of something else when that new generation is choosing books for their children.

Instead of being cemented in cultural significance, they could slowly disappear into the margins in the same way that Enid Blyton’s Famous Five and Secret Seven books have.

Admittedly some children may still know the names of Enid Blyton’s (arguably) most famous books (including her ‘Noddy’ series). However, as someone who bought books for an independant toy/book shop for over ten years, children just aren’t reading them any more.

In another generation I find it highly unlikely that the Famous Five and their antics catching smugglers and other ‘criminal sorts’ in and around Cornwall and beyond will be remembered or known. As much as I enjoyed them as a child it’s when watching my own children read them that I see how culturally removed the Famous Five have become. Enid Blyton’s works have become too distant from modern culture to become ‘classics’.

The ‘classics’ are the works that are left once the culturally insignificant is worn away. This process is as unintentional and unpredictable as biological evolution (though it happens much more quickly). We don’t choose which things become culturally significant, history will decide that for us.

Contemporary fiction can be extremely enjoyable. It can also, obviously, teach us a great deal about the craft of writing. However, from a writer’s perspective, at best, it may help us see which things are currently proving popular with publishers.

That’s the blessing and the curse of concentrating solely on contemporary fiction; all it takes is a tidal shift and we hear things like ‘no one is reading vampire books any more’ or ‘post-apocalyptic wasteland has been overdone’.

Contemporary fiction is modern craft at it’s best (sometimes) but it hasn’t yet felt the harsh winds of cultural change. The very same winds which have tested the mettle of the classics and shown them as pillars and markers of who we are and where we’ve been.

I would never suggest skipping over contemporary fiction. There’s a lot to be gained from seeing writers rearrange expectations and norms to create something new. However, if any reading experience is to be truly useful to an aspiring author then it will come from the works that show them where our writing culture comes from.

Please feel free to debate this out in the comments below. I welcome any and all takes on this topic.

As always, thanks for reading, all the best, John

I’m now officially looking for a literary agent (but it’s not for the reason I expected)

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Green glowing test tube Creative commons licence image by PRHaney

I’ve been (fairly) proudly self-published for a few years now. The overal experiences seem similar to those of a ‘traditionally published’ author (even though self publishing is arguably the more ‘traditional’ of the two routes). I have hosted book talks and writing workshops, participated in author events with other authors, I’ve also been a judge on the panel of a large-scale writing competition.

More than these I have come to find that my books are read (and enjoyed) by hundreds of readers.

For a while these were the primary experiences I associated with being an author. However, recently I’ve come to see that in some cases a book may need more behind it, and with this additional backing it might be able to do more.

Two years ago I wrote a science-fiction story aimed at teen readers. The story came to me of it’s own accord, and I enjoyed the process of helping it grow and take shape. However, on my first editing pass I came to realise that the book may be a means to showing the usefulness, excitement, and wonder of scientific knowledge.

At its core it’s a story about a young girl dealing with the long-term truth of grief. However, it also uses this emotional journey to draw her through axperiences which highlight how useful (and powerful) scientific knowledge and exploration can be.

It’s a perspective that I think could resonate well with a lot of young people, at a time when misinformation and ignorance gain huge viewership online (with channels like ‘5 minute crafts’ and others sharing sometimes wildly dangerous fake ‘hacks’ and experiments).

It’s good to know objective, undeniable truths. In fact it can be helpful as a means of grounding your thoughts. This sense of solidity can also offer something stable and unyielding, an objective fixed point on which to one can draw emotional stability.

The book is complete and is currently running through a first full edit. However, I feel that it could gain more with more eyes on it. It’s the first time that I’ve really felt that something I’ve written has a big enough message to require a bigger team behind it.

I used to imagine that an agent and a publisher were there to help promote your book. After all, with their investment of time (and, in the case of publishers, money) it’s more than just you who has a vested interest in your book’s success.

This always sounded nice but if additional promotion was all they brought to the table I often felt it was better to simply publish myself and be my own book promoter.

However, I’ve learned a lot about the publishing industry over the past few years. Sometimes from reading things, but mainly from conversations with other authors.

I’ve come to realise that the literary industry is more than simply a book selling machine. It’s also a space filled with people who value a really good book. They want a book to be it’s best.

Whilst I’ve been happy in the past to simply self publish my books. I’m becoming more aware of the strain to be found in attempting to be a Jack of all trades.

With this newest project I’m realising that my core story could be improved greatly if I were to see it from more perspectives.

I have a few agents in mind already (courtesy of an author friend who took time to give me some insight). Many of these agents open their inbox to unsolicited submissions in November, so I have just over a month to get this manuscript to my editor and tidy it up.

It’s a weird new experience for me and, as I say, my motivation for it has changed over the past few years. Fingers crossed that someone out there will look at this story and see what I see in the emotional and intellectual journey that ‘Lisa’ goes through. Wish me luck!

As always, thanks for reading, all the best, John

A young child sits alone in a quiet library corner — evoking the quiet, unseen moments of book deprivation.

One in Five UK children do not own a single book

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You’re wrapped in blankets, it’s way past bedtime, torch and book in hand, you venture off to other worlds and wild adventures…

You’re in a calm spot in the playground during lunch, snack in hand and one of those awesome books from the book fair in the other…

You look up from a two-hour car journey, oblivious to the entire drive because you were so engrossed in your story…

Having that book in your hand may have been a significant part of your childhood (I know it was part of mine).

However, for almost one out of every five UK children, these experiences may sadly be alien and unheard of for them. Though, as we may find below, the truth could be a little more promising.

The headline behind the headline

Headline illustration showing that 1 in 5 UK children do not own any booksIn a study conducted by the National Literacy Trust, researchers found that 18.6% of UK children aged between five and eight do not have a single book that is theirs at home.

It’s a fairly shocking statistic, and one that can be hard to imagine for book lovers. It’s also one that many commentators (such as this recent Guardian article) have been quick to jump on.

Personally, I find the focus on book ownership a bit odd. After all, you can own a whole library of books and never read any of them. In fact, there are considerably more concerning statistics to consider (which I’ll go into later in this post).

How do different families define ‘ownership’?

On the subject of ‘ownership’, I have a few concerns. Firstly, children self-reported their book ownership, and this leaves a lot of room for misunderstandings and misinterpretations.

It’s also worth remembering that these children may have hand-me-down books from older siblings or parents. The chance that this alone would prevent a child from describing such books as ‘theirs’ is minimal. However, it does speak to a potential bias to be found when assessing ‘ownership’ in some households.

I had access to many books as a child, only a handful of these were books I would have described as ‘mine’ at the time, and even then I would only think of myself as ‘owning’ books when I was a little older. The other books in the house were treated in a more utilitarian manner. Basically, most of the books in our house were ‘family books’.

Books as a shared family resource

Illustration of a cozy family setting where multiple children share books and toys togetherMany families encourage an outlook like this regarding resources like books, toys, games, game systems, and more. A more utilitarian approach could come from a number of reasons, whether it’s a household where money is tight or simply a household that avoids conflict over leisure resources. In households where parents choose this more utilitarian approach, the children themselves may not feel that it’s appropriate to describe themselves as ‘owning’ certain toys, and perhaps books as well.

A favourite teddy bear may belong to an individual child but maybe toy cars or lego blocks are sort of “everyone’s”. In circumstances such as this, books could theoretically be regarded in a similar fashion.

I’m not saying this is the situation in the case of every one of those ‘one in five’ but the potential is there for a five-year-old to regard themselves as a non-book-owner in a household where books are a family resource.

Libraries are amazing!

It’s also worth remembering that library use is heavily promoted by most primary schools at this stage in a child’s life (5-8 years old). They might not consider themselves to own any books, but they could still be reading regularly.

Half of the children surveyed said that they read daily, with twelve in every thirteen children saying that they read sometimes at home.

This made me pause; if twelve children out of thirteen still read occasionally at home, then where are they getting access to that reading material? As noted, maybe self-reported book ownership isn’t everything.

A More Concerning Statistic

Illustration highlighting that 1 in 13 children don’t read for pleasure, with a lone chair highlighting a non reader in classroom reading circle.However, let’s circle back to a more real and still troubling statistic.

It’s true that, despite the apparent lack of access implied by not owning their own books, twelve out of every thirteen children reported that they read at home. If these results are to be believed, then twelve out of thirteen children aged 5 to 8 are reading sometimes.

Something encouraging seems to be happening here. I’d like to think that access to library books and other borrowed reading material plays a role (though I don’t have any figures to back that up).

However, we still have a child missing out on the benefit of reading. It may not be the one in five kids who report not owning a book, but there is a child in every thirteen who reports never reading. I feel this is the child we should be concentrating on.

Who isn’t reading?

The related statistic that I feel we should return to is this idea that one in thirteen of the children surveyed supposedly ‘never read’.

However, even here, I can’t help but wonder if this ‘scary number’ might be able to be softened a little.

First, let’s think about their sample age group; the children in this study were between the ages of five and eight. Whilst many five-year-olds can read surprisingly well, I do have doubts that a significant number of them would be doing so with enough confidence to say that they read for pleasure themselves at home.

Let’s also remember that reading confidence may come on much more slowly for some children. Factors such as learning impairments, as well as issues regarding concentration, will inevitably make it harder for a child to self-describe as a ‘reader’.

Just looking at dyslexia, the NHS website lists the estimated UK incidence of dyslexia as one in ten. However, Dyslexia comes in varying levels of severity, so I wouldn’t suggest that this will be the only influence on readership in children between five and eight years old.

I know several people with dyslexia who happen to be more avid readers than I am (and were so as children too), so I won’t simply jump to the conclusion that a child being dyslexic will instantly mark them as a ‘non-reader’.

All in all, I’m finding it hard to come to any concrete conclusion from the National Literacy Trust’s findings. So let’s return to the matter that many news outlets have focused on; book ownership.

Why get so hung up on book ownership?

Image of a large stack of unread books The 'To-Be-Read Pile’ emphasizing book ownership versus actual readingAs an author, I obviously see a more pragmatic benefit from people buying my books for their children. Book ownership supports your favourite authors and helps ensure the publication of more books you like. Is this important for child literacy, though? No, not really.

So, what is the argument for having a child perceive some books as ‘theirs’?

For some families, the purchase of a book may seem frivolous, an unnecessary expense when libraries are available. As a parent, I’m aware of how much it costs to provide your child with all the other things they need. If money gets tight, I imagine sacrificing book ownership seems like a small sacrifice in the face of other financial concerns.

I prioritise book ownership because I (and my wife) like to read. However, this isn’t enough on its own for anyone to criticise or question another parent who doesn’t prioritise book ownership.

My children typically get a few new books for their birthdays and more for Christmas. I also use Kindle Unlimited myself, meaning that they can access any Unlimited book they like using my account (and read it using our kindle, our household tablet, or on the app on their phones).

They both read fairly regularly, and I know that this provides considerable educational benefits (as I’ve noted in a previous blog post). However, they also both get books from the library. Between library use and the Kindle Unlimited lending library, often what they read wouldn’t count as ‘their’ books either.

This said, I know my children are in a privileged position when it comes to book ownership. Reading for pleasure and literacy proficiency aren’t just ‘nice to have’ perks; they have a profound and tangible effect on job prospects.

Keep reading for pleasure

Oxford Uni conducted a study on the correlation between reading for pleasure as a teen and management positions later in life. The results are fascinating, but, needless to say, it’s probably a good idea to encourage teenagers to read for pleasure as well.

Warm, cozy illustration of a child reading in bed her mother reading by her side evoking the joy of reading for pleasureChildhood reading can also influence your adult wage level (especially if you start off less well off). In a study for ‘The Institute for Fiscal Studies’ (Crawford and Cribb, 2015) their findings gave little correlation for other quality of life indicators. However, in terms of average wage, those who read as children had a much better rate of pay as adults.

In another study (2021), The National Literacy Trust pointed out a similar important correlation between book ownership and literacy:

“…children who reported that they had a book of their own were not only more engaged with reading but also six times more likely to read above the level expected for their age than children who didn’t own a book (22% vs. 3.6%)…” (‘Book Ownership in 2021‘ posted on the National Literacy Trust’s website 12 Nov 2021

There’s no question that book ownership is a good thing for children. My primary concern is whether news sources like the Guardian are focusing too strongly on ownership. As though simply owning a book is ‘enough’.

But why are so many children not reading at all?

Perhaps, but perhaps some children aren’t reading for other reasons. I’m most interested in what’s happening with the one in thirteen who report that they ‘never read’.

The statistics for non-readers are presented in the Guardian as though they’re a worrying new development. However, it would seem that 1 in 13 non-readers has been a UK constant for some time.

Is this lack of reading a ‘new development’?

Illustration of a puzzled child sitting alone while others are enjoying books, representing children who don’t read for pleasure at allThe reported one in thirteen ‘non-readers’ (7.7%) is remarkably close to the same figures regarding ‘non-readers’ in a similar 1980s study on the same subject (here it was 7.3%). This study was conducted by the Centre for Longitudinal Studies, Institute of Education, University College London.

For four decades (at least), one out of every thirteen British children has reported themselves as not reading for pleasure/recreationally.

Many factors may lead to their lack of recreational reading. A lack of book ownership may (of course) play some part in this, but I suspect that it isn’t the only reason that these children don’t read.

Whatever the cause may be, there’s little doubt that their lack of recreational reading will have a negative effect on both their personal and professional lives.

In a previous post, I looked in much more detail at the positive effects of recreational reading, so I won’t go into it too much here. Needless to say, reading recreationally is proven to be good for an individual on multiple levels.

The positive responses to a tricky problem

Obviously, any country would hope to promote a behaviour that has a positive effect on its citizens’ future. Seeing the number of non-recreational readers go up over the course of forty years is not exactly ideal (if only by a fraction of a percent). It is, however, promising to hear the measures described at the end of the Guardian article.

Private companies such as McDonald’s have made a concerted effort to get more books into the hands of children. On top of this, we have phenomenal events like World Book Day, which also strive for the same outcome.

In fact, World Book Day (also run by the National Literacy Trust) goes a step further, by hosting and promoting events and activities which help to normalise reading for children who may not otherwise recognise it as a ‘normal’ behaviour.

1 in 13 children not reading in 2022 is as troublesome now as it was in 1980. We should be doing what we can to lower this number. Reading is a phenomenal activity, whether viewed as leisure, an escape, or as a learning tool.

However, this statistic has only shifted by a minimal amount over the course of forty years so I’m also wary of treating it like a new development.

I suppose the moral of the story is that we should read more to our children. We should also buy books as gifts for any children we know (when finances allow), and (crucially, perhaps) we should try to normalise reading for pleasure. Children mimic what they see adults do, after all; if we adults read more, then it seems more like the ‘done thing’.

Normalising a healthy habit

Illustration of a busy city street where people from all walks of life—students, businesspeople, pensioners, teens—are all reading books.The 1980s study also checked in with the children when they reached 16. At this point they asked about ‘reading culture’ at home. Only 43.6% reported that their dads read books, and 57.6% reported their mums reading books. Maybe if more of us allowed our children to see us reading (and enjoying) books, they might be more inclined to do it themselves.

The forty-year span of the one in thirteen non-readers may seem fairly inescapable. From the data we see, it would be easy to assume as much. However, I wouldn’t want to suggest that we go so far as to throw the baby out with the bath water.

Statistics such as these focus our attention on what matters to us as a culture. Do we want to promote literacy? Do we, as a culture, recognise its benefit?

Do we feel like we could (and should) encourage those final one in thirteen children to read?

If we answer yes to these (and it’s hard to find anyone who wouldn’t). If the end result of studies like the one conducted by the National Literacy Trust is more effort to get children reading. Then the study has done its job. Big headlines aside, the studies and stories themselves are there to remind us that, as a culture, we all want more children to feel the benefits of reading.

Starting small

If this post makes you feel inclined to buy a book for a young person you know, I would thoroughly recommend purchasing from a local bookshop. Your local bookshop will be able to advise you on great stories and appropriate reading levels, with marked expertise and you will also help support your local economy.

The range of children’s books available now is a vast, incredible cavalcade when compared to my childhood bookshelves. There are so many options that a child of any age and any interest might like. Your local bookshop will be able to guide you to the perfect book for the child you want to buy for.

What’s important to remember is this: even if all you do is share a love of reading, you’re already doing something fantastic. It allows you the chance to make a lasting impact on a young person’s wellbeing and learning journey.

Please don’t feel obligated

Alternatively, if you would like to buy one of my books, you could go to Fun Junction’s book section.

They deliver throughout the UK and have always been big supporters of my books, so I always like to return the favour where I can.

(Amazon is always there, and you can get my books on Kindle here, but I always personally prefer to support smaller, more independent online retailers).

Fun Junction also stocks a brilliant selection of toys, games, and puzzles for children and adults, so it’s well worth a visit to their website.

As always, thanks for reading, all the best, John

One Hundred Thousand Welcomes!

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ceud mile failte a hundred thousand welcomes

The algorithm goblins have scoured this site and discovered that there has been a spontaneous jump in visitors (or so they informed me this morning). In light of this new surge in popularity (so far it’s a whole ten visitors per day over the past week and counting!) I thought I’d pop in a quick post to say hello and welcome.

As you’ll no doubt see, I haven’t kept up with my blogging lately. This is partly due to a busy schedule on my end (unfortunately books don’t write themselves, I asked the algorithm goblins but they answered in indecipherable ones and zeros then ran away). However, my blogging absence has predominantly come from an odd shift in the way people use the Internet in our (semi) post-pandemic world. Namely, people seem to be using it less.

I have no idea what brought all of you new visitors. I don’t know how old you are, I have no idea whether you are all avid readers looking for advice on good books, or whether you are a new/experienced writer trawling the Internet for tips.

Whatever brought you here… ‘ceud mìle fàilte’, that’s ‘one hundred thousand welcomes’ in Gaelic. (Gaelic was one of many new things which I took up during lockdown and have promptly forgotten more than ninety per cent of)

I’m an author based in Perthshire in Scotland. I primarily write children’s fantasy/ dark-fantasy books. However, my most recent first drafts have been teen and adult sci-fi and fantasy. This blog started off as a way to communicate with fans of my Jack Reusen books (and later, this would include talk, and samples of other writings too).

You can find a full draft copy of my dark fantasy book ‘Marcus’ in the menu above (for readers 10+). You’ll also find sample stories involving a tribe of ogres who wandered into our world from Fey as it appears in my ‘Jack Reusen’ books (these are suitable for children aged 5 years and up).

However, through multiple school visits and workshops, the content on this site has evolved to include book recommendations, writing tips, and information on the process of self-publishing (for those who might be interested).

As I say, I have no idea what brought you here but if you happen to read this post please pop a comment below and say hello. If you feel like asking questions as well, or if you’d like to request more of a particular topic, please feel free to add this too.

Thanks for stopping by,

All the best, John

3 easy ways to make reading fun for kids

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I’ve now been on bedtime story duty for twelve years. We’ve been on adventures in day-to-day worlds, trailed through fantastical realms, crept through sinister space ships, been on arctic expeditions, and much more besides.

It’s great to read to your kids, it offers lots of benefits. I’ve written before about the importance of reading to children. If you’d like to check that out just click this link.

If you are an adult in the UK who struggles to read but would like to get better you can get help from ‘The Big Plus’. You can find out more by clicking this link or phone them on 0800 917 8000.

Make Storytime Fun

In the past twelve years of bedtime stories, I’ve explored as many different ways of holding a child’s attention as I could think of. Some of these didn’t work, some had the opposite effect, and some were downright ridiculous.

However, in among all of the experimentation I’ve found at least a few things that definitely helped keep my kids enthralled enough for a half-hour or so of reading each night. This immersion in the story world has definitely helped develop their own love of reading too (to the point where I’m steadily being made redundant).

Giving the characters some personality

Photo by Gravitylicious.com on Pexels.com

The big thing that really caught their attention in the early days of story reading was something that might make many feel self-conscious, but it’s well worth the effort…voices.

You don’t have to be perfect; your Winnie the Pooh doesn’t have to sound exactly like the Disney version, your Gruffalo doesn’t have to sound like Robbie Coltrane, and later on, your Hagrid won’t have to sound lie Robbie Coltrane either.

You’re not trying to win an award, your kids won’t be overly critical (especially if you start early). Just make an effort. Changing your voice, even a little, will encourage most children to pay attention.

At baby and toddler stage they’re keyed-in to notice even the slightest changes in your voice. The more you change your speech patterns, the bigger the interest will be (at least that’s what I found).

I’ve always included voices when reading. They haven’t always been perfect but when we moved on to books without pictures it almost became a necessity. With a larger group of main characters, it helped a lot to have different voices so my kids could keep up with the story.

This has apparently had such an effect that my eldest son recently told me that when he reads by himself he hears different character voices inside his head. Good to know it was worth the odd sore throat.

Set the scene

Another important discovery in the early days of storytime was to add a bit of theatre to make ‘story time’ into an event.

We didn’t do this all the time but sometimes I felt it was necessary. One of the biggest changes was the move on to chapter books. Without pictures, it was sometimes necessary to do something to draw my kids deeper into the story. I had to think outside the box.

For example, we might build a fort in their room after tea, then read in it for bedtime. I sometimes set up special lights to make the room look different (cheap battery-powered fairy lights bought in the pound shop or other bargain shops were ideal for this).

Whatever made storytime stand out was worth a try. If we had time, it could be something big but most nights it was as simple as switching off the room light and using a reading lamp and some fairy lights. Here’s one tactic that I found really useful.

Let them pick

You should let them pick their own story. I won’t lie to you here; you may have to read the same picture book every night for a month if you do this. However, back at a time when their whole day was dictated by others (where they went, who they met, what they ate), this was one of the only ways my kids were getting to engage in making their own choices in life (albeit on a pretty small scale).

What’s more, it also gave me an early insight into their tastes and personalities. They’ve surprised me many times, especially at the library or book shops when looking for something new.

Let them look through and see what stories really stand out to them. This is actually a lovely experience, and it’s something I’m sure most parents will get a kick out of.

Try and enjoy it yourself

This is a sort of ‘bonus tip’ on top of the three mentioned so far I’d add this extremely important extra. Make sure you’re comfortable, happy, that you’ve got a good seat/beanbag/ whatever you like to sit on, and most importantly that you’ve got a wee cup of tea/coffee on hand to stop sore throats.

It can be hard to disconnect from things now. I know my phone beeps multiple times an hour, I’m guessing yours does too. I’ve come to see that half-hour as a welcome break in that constant stream of information. I put my phone away, I grab a cup of coffee, my kids get into bed (or sometimes sit with me) and we take a step away from our world for a little bit.

Reading to your kids doesn’t have to be a begrudging task that we do because we feel we ‘have to’. It can be a relaxing break from day-to-day life. Do what you can to enjoy the slower pace, the focussed time, the moments to catch up and laugh with your kids. Don’t get me wrong, I’ve had more than a few nights where I can’t believe we’re reading the Gruffalo AGAIN (for example), but most of my nights have been something brilliant.

I wouldn’t give up story night for anything and I hope these hints help you find ways to enjoy it more too.

Please let me know if you try any of these hints in the comments below and as always thanks for reading,

All the best, John

One simple tip for a first time writer (and three that may only work for me)

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First off, I should point out that most ‘real’ first-time writers are around four to six years old. This fact is central to what we’ll be looking at in this post.

It may sound pedantic, but it’s true; pre/early school is typically the age at which we begin developing our writing habits, as we learn to get our point across using the written word.

If you are older than a preschooler, and I’ll assume you are, then you are probably not a ‘first time writer’.

This is obviously a bit trite but it does help to keep it in mind as you work: You have been writing for a long time, you’re not as new to this as it appears. I’m not sure how other writers will react to what I’m saying here but from my own experience, I know how important this idea can be. This particular reminder has already helped me countless times when my writing confidence has taken a nosedive.

So with this trite idea in hand let’s forge on. The first issue to tackle is experience. If you aren’t a ‘first-time writer’ then what are you?

Teenager?

If you are in your teens then you have about a decade of projects and creative writing exercises under your belt.

What’s more, you already have your own perspective on the world. In our teens, we experiment with our identities possibly more than at any other time in our lives. We start to step back from our beginnings and try as best we can to look at them objectively.

If you are a teenager then you are probably currently right in the midst of this existential crisis. Who are you? Is your family ‘normal’? Is your upbringing ‘typical’? Are you seeing cracks in your worldview from asking these questions?

We may call it ‘teenaged rebellion’ but really it’s the beginning of considering who we are and what we truly identify with. This gives you a unique voice that will only become more unique the more you use it. Your writing will be all the stronger if you embrace your individuality as it stands at this moment.

Twenty-Something

In your twenties, you may have gained experience from college/university-level assignments. Perhaps you’ve dabbled in fiction already and/or worked together a collection of short stories.

Alternatively, you may have written reports for work, or you may have provided social media support for an employer. (We all know what it’s like; ‘You’re young. You’ll know how this social media stuff works’.)

Whatever your work or education level, it’s likely you’ll have had to write a few words since leaving school.

This is also a time that most older adults remember fondly (and definitely explains why the TV show ‘Friends’ is still so popular). It’s a time when people form a more independent identity and potentially develop deeper relationships than they did in high school.

With this in mind, what you have to say should appeal to a fairly wide audience. Combine your individuality, a bit of youthful energy, and some more life experiences than you had as a teenager, and you have a backdrop from which to write something excellent.

Thirties

As above, but add ten years of changing jobs, more complex life circumstances, and/or varying responsibilities. By this stage, you’ll likely have written a good few more words.

Chances are you will have honed your ability to get your point across and you may even have found subtle ways to include your own slant in your writing.

Your life choices, experiences, disappointments and triumphs are there to draw from in your writing.

Onwards

You get the idea. Every extra year provides you with more life experience and a more complex skillset.

Whether you’re fifteen or fifty, keep in mind the fact that you will have something to say and there will be someone out there who wants to read it.

The Tip

So what’s the tip?

I’ll try and condense it. Stop thinking of yourself as a ‘first time writer’. Even as a teenager you have around a decade of writing experience. Whilst this might not make you a writing ‘expert’ it’s enough for you to forget the ‘first-time’ label. Throw it away, the term ‘first time writer’ is dead weight.

Remember this and allow yourself to relax. There’s enough work to be done in completing your first book and reworking it over and over into something you feel proud to call your own. Why add the extra work of belittling what you have achieved already?

I could come up with analogies like the relationship between running and completing a marathon, or baking and creating a wedding cake.

You have the basic skills to write your first draft and you can sort out your more obvious mistakes in your second draft.

You’ve got this.

Hold on to your ideas

You have the basic skills needed to write. You may even have more comprehensive capacities drawn from various jobs and other training. You’ll know yourself whether you feel confident in getting an idea across.

However, ‘getting an idea across’ implies that you have an idea and this may not always be the case when you sit down to write. Sometimes all those great ideas evaporate as soon as you switch on your computer. This is the guts of every writer’s primary villain; writers’ block.

There’s one way to minimise the risk of that blank screen; always trust that you can write (at least well enough for your first draft) but I would suggest that you never place too much trust in your memory. The truth is that most of the things we think of writing about are fairly ephemeral until we nail them down onto the page. These woolly ideas can be pretty hard to remember even a few minutes later.

Put simply, don’t trust your memory to hold on to those important plot points, character traits, scene-setting descriptions, and action-driving moments of conflict.

When you have ideas write them down. Send yourself ideas as private messages, carry a notebook with you, phone your house and leave a message on your answering machine, whatever it takes. Just don’t lose your ideas.

When you’re at your laptop/PC get those ideas organised and added to the main text. Get that first draft written. Add to it as often as you possibly can.

After the first draft?

From then on it could be down to asking a (good*) friend to read your work and give you the most detailed feedback they can manage. (*Giving truly objective and detailed feedback is not an easy task so be careful who you ask).

After this, a proofreader or editor is a must. Someone even more objective, and importantly someone with industry experience. You should expect to pay for this service but it really is worth it. This individual will help you make your work the best it can be.

Get that first draft written!

However, none of that is important right now. You only have to think about your first draft.

You are not a ‘first-time writer’, you know enough to get started already. Go write!

You said something about three other tips?

Yep, three more tips (that’s the way these posts work isn’t it?). I’ll keep this brief:

Drink tea

Maybe not tea, but pick a beverage which you will need to prepare somewhere away from your desk/workspace.

You’re likely to find your drink cold or at least feel thirsty within about a half-hour to an hour of taking your beverage to your desk and this gives you an excuse to step away from the screen.

If you’re feeling the dreaded ‘writers’ block’ kicking in, you’ve now got an excuse to leave the keyboard/notebook and clear your head for five minutes. (And stop staring at a blinking cursor.)

Alternatively, if you’re immersed in your writing, then you won’t notice you need another cup. Another cup of tea isn’t important enough or jarring enough to draw your attention away when things are going well. This means that you can happily write away until you reach a natural stopping point and the only price is a slightly dry throat.

It’s honestly the most useful writing habit I have formed.

Leave the house/ get exercise

Fresh air can’t be beaten to help you feel better. Add to that some green spaces and you have a recipe for a huge wellbeing increase. Even in the current lockdown, most places are still allowing individuals a bit of time outside for exercise. Go out and use it, go somewhere with life in it if you can, green spaces, in particular, can be great mood enhancers (this sounds like hippy-dippy stuff but there’s some real science behind it, the citations in this post on heart.org are pretty comprehensive)

Alternatively, take up some other activity which gets you moving. I used to go for a swim as a one-hour break before I had lunch. I would try and beat my previous speed/ number of lengths. Swimming isn’t an option for most of us now but some other activity which allows you to compete purely with your past self could be just as good.

The personal challenge and the change in focus got me ready for my afternoon writing session. What’s more, I can’t help but feel that the increase in oxygen in my blood helped sharpen my mind.

The afternoon soon became my most productive writing time.

Talk to other writers

It can be hard to meet other writers in person but I can heartily recommend using Twitter as a means of sharing the highs and lows of writing.

Great hashtags to follow are #amwriting #WritingCommunity and #writerslife.

If you feel like chatting about writing with me you’ll find me at @Johntoyshopguy.

If you aren’t a Twitter user then I can’t suggest any alternative I’m afraid. In terms of a free to use, easy to access, writing community resource, my own experience has led me to realise that there simply is nothing remotely comparable as a place to communicate with other writers.

It’s easy to join Twitter. It’s much less probing than Facebook, You can use a pseudonym, you don’t have to display any personal details, and all you need is an email address to join. Click this link to join now.

(Bonus tip) Reward yourself

Pick an achievable short to mid-term goal and choose a reward to give yourself when you reach it. Here are some I use.

  • A (small) favourite chocolate bar when you complete a chapter (mine is a Kinder Maxi bar, at 21g every few hours of writing, it’s not going to ruin my health).
  • Ten minutes of a favourite show/ podcast/ book when you’ve written a thousand words.
  • A very special treat (you pick) once you reach a special stopping point. E.g. half-way through your plan, once an important scene is complete, once you finish your first draft.
  • Etc. Etc. You get the idea. Basically, look after yourself. Writing a book is a large undertaking. It can be emotionally draining. Make sure you look after your own needs and find ways to congratulate yourself as you progress.

Be nice, leave a comment

I’d love to hear about your project or anything else you’d like to share about your experiences with your first book.

Please leave a comment below. I’m happy to respond to any comments/ questions.

As always thanks for reading, and all the best with your writing, cheers, John

Bumface Poohands?!

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Who is Bumface Poohands? Why does he exist? Is this really supposed to be for kids? Will someone be outraged? Read on for (my attempt at) some answers (N.B Do NOT read on if you are easily upset by poo jokes)…

Finding a Bumface

I recently launched the Kindle edition of one of my books and, as many authors probably do, I thought I’d have a browse around to see what new books I was up against. It was then that I spotted a children’s book unlike any other.

I mean this wholeheartedly, as a book buyer in a Toy and children’s book shop for around a decade, I thought I had seen everything. I was unbelievably wrong.

There, in with all the typical popular children’s books, was something truly unique. A book of such unrivalled uniqueness and scatological humour that, at first, I thought I had imagined it.

I went back and checked again. There was Bumface Poohands; his face a bum, his hands made of poo. Absolutely no doubt remained. This book existed. I had to read it.

And seeing his poo hands

I took a chance and read it for the first time with my kids. I’m glad I did. Bumface Poohands is having a Birthday party. All of his friends are coming and his mum lets him help prepare the food (one look at his hands and you’ll see why this is a bad idea).

As the party progresses he opens all manner of gifts and shows his appreciation. As his gifts mount up keep an eye out for his distinctive markings on them in the background illustrations.

The pièce de résistance, the crowning moment for the story-teller and the illustrator is when Bumface’s cake is brought out and it is time for him to blow out the candles!

This moment sent my children (two boys ages 9 and 11) into hysterics, I joined in too. I won’t spoil the end but it is so very very much worth the wait.

What did I just read?

I’m still not sure how I feel about little Bumface. I’m trying not to overanalyse the story. However, one thing that jumps out at me is that it is a story of positivity and about accepting who you are. Bumface can’t help the fact that his face is a bum, nor can he help his poo hands, and he still stays positive and has a group of friends who clearly also accept him for who he is.

There is currently a toilet roll shortage, we’re all panicking, but I know for sure that Bumface Poohands wouldn’t care at all. After all, it won’t make any difference to him…

Apologies

I should probably apologise here for what might have been an alarmingly gross post on an otherwise ordinary blog by an otherwise fairly ordinary children’s author. However, I also feel that true genius should be praised.

Authors (and possibly illustrators, it’s hard to tell) Mr. Jels and Kay Mann are geniuses. They have managed to surprise me in a way that a children’s book hasn’t for a long time.

If you would like to read Bumface Poohands too, simply click this link to see the Kindle edition (you can read Kindle books on almost any device, all you need is the free Kindle Reader app).

‘Bumface Poohands’ is available to read for free as part of a monthly subscription service called Kindle Unlimited (click here to find out more and sign up). My books are all on it too. You can follow this link to my author page if you would prefer a (much) less poo-centric fantasy story.

However, most of all, I recommend a nice out-loud reading of Bumface Poohands. A bit of humour can go a long way at the moment.

As always, thanks for reading,

All the best, John

 

Bedtime stories: How long till I’m ‘sacked’?

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Some parents struggle with ‘story time’. It can be hard to fit it in with all the other demands modern parents have on their time.

All the same, my family and I have somehow managed to squeeze ‘story time’ into our routine from the very beginning.

I really mean the very beginning; on Logan’s first night home from the hospital I sat beside his cot and read The Lion the With and the Wardrobe. (And yes, I knew he didn’t understand. It was just nice to have an excuse to spend some time with the new little person in our house).

Why we continue night after night

Since then we’ve barely missed a night. Maybe the routine has been easier to maintain because we started so early (and I genuinely don’t know how we managed to fit it in alongside nappies, feeding times, and utter, bone-crumbling, exhaustion). Maybe we’ve just been lucky to have to free time in the evenings to read a story together.

Reading to my kids is one of the most enjoyable experiences I’ve shared with them. We’ve gone on a lot of adventures together, each longer and more complex than the last.

However, there’s no escaping the fact that my kids are getting older. They’re both avid independent readers now and, to be honest, I’m not sure how much longer I’ve got till I’m ‘sacked’ as a Storyteller.

New adventures

We don’t really call it ‘story time’ any more but we still keep up the tradition. Our nights used to consist of a quick visit to the ‘deep dark wood’ with the Gruffalo, an adventure with the ‘Night Pirates’, or dropping in for some hunny with Winnie the Pooh.

Now, we’re adventuring with Harry Potter, ‘The Wee Free Men’, or more recently following high tech shenanigans with Artemis Fowl. We’ve enjoyed a seasonal adventure with the Christmasaurus and visited a very odd spaceship alongside ‘Cakes in Space’.

These stories are deeper than their old picture books (even the wacky ones). It has changed our evenings a bit. Now we might discuss tricky topics and my kids can ask about some pretty grown-up concepts but it’s easy(ish) as it all comes from the comfort of a fictional universe.

A parenting tool like no other

This is the tricky bit for me, if reading were simply an entertaining thing that myself and my kids enjoy together, then I could step back and let them enjoy it themselves. However, it has always had a discussion component too.

Years ago we would ask about whether Winnie the Pooh was being selfish by eating all of Rabbit’s honey, or we might talk about fear and what it means to be brave while reading the Gruffalo’s child. Because you’re reading, you can slow down, you can stop for a moment and go over story points. It’s not the same as watching TV or a movie.

The more nuanced books we read now let me check in with my children in a casual way. Topics in the book can be compared to their school or home life to see if there’s anything troubling them, or even simply something that they don’t understand.

Learning big life lessons in a fictional universe

This is what’s so hard about letting go of story-time now; at precisely the moment when discussions like these are of growing importance, my children are pulling back on family reading time in favour of reading by themselves.

There’s so much good for them to get from reading alone, I can’t deny them that, but I also feel the increased need for this distinctive form of family time.

I know the time will come (and soon) when I really will have to step back, but for now I’m going to try to hold on tight to what has been one of the most useful parenting tools I have ever had access to.

A tool to communicate? What do you use?

I can’t help but wonder how many other parents might be feeling this tug. Losing a tool for parenting that has few rivals.

To use a programming expression, I have always found fictional worlds to work as ‘sandbox’ worlds; places where you can experiment with ideas with no real-world risk. It’s imaginary so the (real-life) stakes are low, but you can still encounter complex social and moral problems.

Are any other parents missing the loss of their ‘sandbox’?

Do parents of older children have any insight on what can take the place of reading together?

Let me know in the comments below, and as always, thanks for reading,

All the best, John

Writers, don’t get too big for your boots!

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Are you ‘serious’ about your writing? I’ve taken my writing ‘seriously’ for about twenty years but what that means has changed a lot in that time.

At first, being a writer was a very teenaged whim; I wanted to be the artsy, brooding intellectual, the ‘thinker of deep thoughts’.

Since then I (thankfully) came to realise how important it was to keep my feet on solid ground. (I’m really stretching the ‘boots’ analogy here aren’t I? To be honest I also needed an excuse to share this picture of my youngest from a few years ago.)

Anyway, back to my teens. I took Sixth Year Studies English, chose English Litt and Philosophy at University, and immersed myself in the work of ‘serious’ writers. (I’m ashamed to admit that back then I even refused to read Harry Potter because it was ‘too popular’ and ‘just for kids’.)

Nothing wrong with being bit ‘serious’

Some of the work of these ‘serious writers’ was incredible; it touched a nerve, struck a chord, all the things you would expect of great works of literature. Only when I stepped back and spoke to other students did the inherent problem with studying literature become apparent.

We didn’t all like the same books. Even worse, when we did, it often wasn’t for the same reasons. What’s more, I came to realise that we sometimes couldn’t even agree on what some of the books were about.

It became clear to me that the hunt for any strict rules on how to write a ‘great book’ was likely to be fruitless. Despite our seemingly ‘objective’ study and analysis, we were still coming from a subjective place, so I wasn’t going to get any ‘rules for writing’ there.

The books themselves were pivotal in helping me see what I enjoyed most in what I read. I wouldn’t take back reading a single one of them. OK, maybe I wouldn’t read ‘Catcher in the Rye’ again if given the chance, but the rest were really informative and (generally) enjoyable reads.

Isn’t reading supposed to be enjoyable?

That’s the crux of it, something that took me too long to realise; I have always read fiction for enjoyment. For big thoughts, I go directly to Philosophy (I studied it/researched in it for ten years after all) but fiction always needs to give me some form of interest and escape.

When you consider the fact that most reading will take place outside of an academic environment, the issue of how we make good literature becomes even more compounded.

My own perspective on it is that, as writers, the most we can really hope for is to offer our reader an experience for a day/ a few days/ a week (maybe two).

The lucky few of us who leave a lasting effect often won’t even know they’ve done so.

But people don’t always read because it makes them ‘happy’

We might not always bring our readers happiness, but that’s not really what a book is for either. Happy endings are great but sometimes a happy ending isn’t what’s needed. Sometimes we need catharsis. Enjoyment isn’t always about happiness.

In some moments a flaming ball of nihilistic rage might be the order of the day (may I recommend Fight Club). Alternatively, someone may be in need of some cathartic release due to some personal struggle or tragedy (I’d recommend ‘The Girl of Ink and Stars’ by Kiran Millwood Hargrave, or ‘Nation’ by Terry Pratchett).

As authors, we can’t second-guess our readers. They’ll read our work and they’ll either love it or hate it, or more likely (if we’re being honest) their response will fall somewhere in between.

We make something special, we give people a taste of what it’s like to be in someone else’s mind (our own). We spend a year/ two years/ even more sometimes, on a project that will give someone that sensation for a matter of days or weeks.

Is it worth it?

For me it is, every word quietly typed at 2am, every sentence scrawled down on the bus ride home, every story idea jotted into digital notes while waiting at the school gates for my kids.

I gave up my old ideas about writing ‘great literature’ years ago. I’m happy to share my writing with those who want to read it.

I have to hope that what I write is enjoyable for someone and if I’m lucky perhaps it could prove to be special as well. Whether any of it is seen as ‘profound’ really isn’t up to me, I’ll just have to leave that to the readers.

Yes…but look after yourself

Having ambitions beyond this is potentially self-destructive and, at it’s worst, it could lead to leaving your work in an endless loop of perfectionism.

After all, it can hardly become a ‘great work’ if no one else ever gets to read it.

So, as I say, we should try not to get too big for our boots. Or more accurately don’t get too big for our books. I’ve got my (now) nine-year-old son to thank for that wee play on words. He popped in and wondered why I was adding an old picture of him to this post, then promptly showed me that his copy will surpass mine pretty quickly.

If you’re a writer and you feel I’m off base, or if you agree and would like to add something to the discussion, please feel free to click the ‘comment’ button below and let me know what you think.

As always, thanks for reading,

All the best, John

How does a Writer make money?

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Many don’t. I didn’t for the first five years or so. However, I stuck at it, I kept the day job going but put in consistent writing time too. It isn’t an easy route to being a full time writer (and if I’m honest I’m not 100% there yet myself). All the same, it does seem to work. Step by step, book sale by book sale, copy-writing job by copy-writing job; I am getting there.

But what does it mean to be a full-time writer?

This is where I have to draw the distinction between ‘writer’ and ‘author’.

The real end goal (for me at least) is to be able to write books full-time. This is when I’ll comfortably start calling myself an ‘author’.

For now I’m a ‘writer’ and to be honest I’m pretty happy with that. There’s a lot of interesting work to be done in the sort of wordplay and language use that I’m employed to do as a copywriter.

It makes me a better writer by forcing me to acknowledge the real effects of the words I write (occasionally these are even real-time effects).

What’s more, it allows me to meet more people from more walks of life. I’m reminded daily that it’s important to meet as many people as possible if I want to write believable characters.

So many people, so many characters

My own copy-writing work puts me face to face with dozens of different people on a weekly basis. I’m writing a lot of blog posts and other copy about local businesses in my area.

Our conversations often encompass hopes and dreams, the development of rare and unusual skills, and how they feel about what they do.

It’s a rich experience in character and in stories. Every business is a story, every owner or manager has their own dreams for that business.

They are so passionate about such different things, they know about worlds that I have never encountered; from equestrian husbandry, to jewelry making, to the challenges and triumphs of running a social enterprise.

I wouldn’t dream of simply inserting one of these people directly as-is into my books. It would feel wrong for some unplacable reason. All the same, I pay attention. They are such interesting people.

An entrepreneurial spirit seems to draw them together but their own loves, skills, and passions set them apart from one another. I would be foolish not to see this as a chance to understand a lot more about what makes for a gripping character.

I often get asked about how a writer makes a living, but I’m starting to see that making a living can also go a long way to making me a better author.

But how do I make money?

Here’s the big question. I’m not sure how to answer it simply. I have a background in retail, accademia, and I have a small amount of experience in town management. I’ve used this to set myself up as a freelance copywriter. I’ve got a growing list of contacts who know what I do and know they can contact me to create copy of a certain standard when they need it.

There’s not much room in that sort of business for being introverted (unless you have someone fighting your corner for you). This means that a fair bit of my month is spent chasing down content for clients and looking at new avenues which might bring me more work.

Writing with pen on paperIn short I’m a self-employed writer but a lot of my time isn’t spent writing; it’s spent with people. I interview people for blog content. I visit people to see if they need the services I offer. I try to figure out how to write things that will catch people’s attention. I like people, and I enjoy being sociable, so this isn’t a problem for me.

However, if you suffer from social anxiety or anything similar this path might not work for you. Here would be the stage to look at your list of talents to see which might combine to make writing a source of income. Perhaps a podcast would work for you, perhaps writing reviews for products, movies, music, or books.

There are places where you can apply for a ‘job’ as a writer, some of these jobs might be brilliant, I don’t know. All I do know is that so far I’ve personally found more fulfillment from doing things this way.

On top of the copywriting I also do author talks in schools about my books and about writing in general. This probably isn’t as lucrative as the copywriting but these talks are the times when I get to feel like an ‘author’. It’s me at my most celebratory about creativity.

You need to find a balance where you find a way for your writing to pay, where you still feel like you’re being creative, and where it makes sense (to you) in tems of money earned and time spent. If you’re aiming for this life, I sincerely hope you find a way to make it work.

I hope this post helps. It’s a question I get asked a lot (at school talks etc.) and this is a rough summary of my usual answers.

Thanks for stopping by and feel free to leave questions or comments in the comments section below (or over on Twitter, or Facebook)