0 Feel the Fear, continued. By Keren David

A couple of days ago Cecilia Busby wrote an excellent post on diversity in children's literature.  I hope she will not mind if I pick up her post and write about the fear involved in writing about a minority group even when you happen to belong to it.

In my up-coming book, This is Not a Love Story, there is a diverse cast. There is an African-American  girl, and a bisexual boy.  The mixing of cultures, the judging and the misunderstanding and the lack of comprehension that can arise is one of the themes of the book.

I was not especially worried about imagining my way into the heads of these characters. For me, they were individuals, with their own histories, as easy to imagine as any other person.  I hope that I have got them right. I do not have great worries about having tried to imagine what it is like to be them.  I want all my books to reflect the diverse world in which I live.

I've posted before about why I decided to write about Jewish teenagers in this book. I was not expecting to find it so difficult. Suddenly I had a load of new fears and worries to deal with, that I'd never had to grapple with before.

Here are some of the questions that I thought about.

 -  How to get the voices right - without my characters explaining words and concepts to themselves that they'd know, but their readers may not.
 -  How to show a range of experiences which all fit into the general heading 'Jewish' -  to go against the impression given in school RE lessons that  Jews 'believe' certain things, and are defined by those beliefs.
 - How to show frustration with tradition, anger within a family, the flaws of a community  without falling into stereotypes, self-deprecation, disrespect and, at the worst, anti-semitism.
 -  How to talk about the Holocaust -  difficult enough in real life, let alone a book. 
 -  How to portray the London Jewish community and some of the kids within it, without generalising too much.
 -  Was there a danger of being labelled as a Jewish writer?
 - Were my thoughts and experiences in any way representative? Did that matter? 
 -  Should I write about Israel, even though it was not very relevant to my characters? Should I write about antisemitism? (The bulk of the book was written before the summer of 2014, otherwise my answers to these questions might have been different)
 - How to do all of this without upsetting a) my mother b) my kids c) the wider Jewish community.

It took forever to find the voices of my narrators, partly because of these questions. In despair, I sent some early chapters to my brother (he has a PhD in English Literature from Oxford University, and occasionally can be helpful) 'Lose the Jewish stuff,' he said.  I persevered, and showed an early draft to my mother. 'Well,' she said, 'You're obviously very disturbed.'  (She relented once she read the final version)  Later drafts were showed to some Jewish friends. They demanded: 'Why are you using words like 'frummer'? No one will understand!'  I carried on, regardless.

There is a lot of talk about anti-semitism around at the moment. I'm curious to see if there's any hostility to my book as a result. Jewish people, unlike many other minority groups, can often hide their difference. Our fear is often about being visible. And so, like Cecilia, I am feeling the fear and doing it anyway.

Oh, and my kids haven't read it yet.


This is Not a Love Story is published by Atom on May 7. 

Detail: Feel the Fear, continued. By Keren David

0 Being a Real Person Sheena Wilkinson

I’ve just become Ireland’s first Patron of Reading. Trinity Comprehensive School, Ballymun, is a north Dublin school in an area which was, in the past, a byword for deprivation. In recent years, Ballymun has been the subject of a huge regeneration programme, and it’s a place where I have been welcomed since I did my very first school visit there four years ago.

This was drawn by the principal, Ms Fran Neary.

where it all started 

In 2011, my first novel, Taking Flight, had just come out, and I’d only done a few local visits in Belfast schools. I was a fulltime teacher so I wasn’t nervous about talking to teenagers, but when the invitation from Trinity Comprehensive came in, it felt different. It was the first time I realised that readers outside Northern Ireland would connect with my characters. Joe Kelly, Trinity’s wonderful librarian, assured me that his pupils had liked Taking Flight‘because it seemed so real to them.’

That was the first of many visits to the school. I’ve done lots of talks and workshops in the library which is, like all good school libraries, central to the school, promoting literacy in its widest sense. I think I kept being invited back because I’m unpretentious and realistic. Earlier this year Joe and I decided to formalise the relationship by designating me Trinity’s Patron of Reading. I’m sure readers of this blog are familiar with the PoR scheme. It’s an excellent way for schools to connect with writers, and for writers to connect with readers. When I attended a ceremony in Trinity last month to mark becoming its Patron, one of the things I promised to do was to use my December ABBA post to celebrate being Ireland’s first PoR.

me on a school visit -- unglamorous but real 

In the last week, however, my thoughts have also been exercised by the furore over ghost-writing, transparency, and celebrity culture. There’s been a lot of nonsense in the media, as well as a lot of good common sense – not least here on ABBA: thank you, Keren David.

How does this link with the PoR scheme, and with school visits in general? I think the most important thing about authors visiting schools is that they make things real for the pupils. As a child, I had little concept of my favourite writers as actual people. The books just sort of appeared in the library, as if by magic, though I gleaned every little snippet of biographical information I could from the dust flap. When I wrote to Antonia Forest and she wrote back it felt like the most exciting thing that had ever happened anyone – to have a letter written by the same hand that had written the Marlow novels. (And I should point out that I was 23 and a PhD student at the time.)

the book that drove me mad

What I always emphasise on school visits is that writing is a process, and often a fairly torturous one. I don’t pretend to write quickly and easily. I show the pupils the whole journey of a novel, from notebooks with rough planning, through printed-out and much scribbled over drafts, to the final book. I’m not precious – I tell them about the times when it’s been hard; I show them a six-page critique of an early draft of Taking Flight, and point out that there is a short paragraph of ‘Positives’ followed by five and half pages of ‘Issues to Consider’. I tell them about going to an editorial meeting to discuss Still Falling, and how my editors spent five minutes telling me what they liked about the novel and 55 minutes telling me what wasn’t working.

I’m not trying to put kids off. I always emphasise that making things up is magical, and seeing your ideas develop into actual stories that people read is the best thing in the world. But I do let them see that it involves a lot of hard work.

Nowadays I think that’s even more important. I once shared a platform with two children who had self-published. It was a ridiculous, uncomfortable event: there I was talking about hard work and rejection and editing and how hard it is to get published, and there were these two little pre-teen moppets with their shiny books. The primary school audience, who won’t have known the difference between self-publishing and commercial publishing, probably thought I was some kind of slow learner. But I least I told them the truth.

Honesty. I think we need more of it. I’m so proud to be Ireland’s first Patron of Reading, and I intend to keep on being honest about writing as a magical, but difficult craft.

Trinity Comprehensive School, Ballymun.

Detail: Being a Real Person Sheena Wilkinson