Q&A The big issues


gees is testament to the wonderful Michael Bond’s incredible talent and perception.


Cunningham It’s got to be the Beatrix Poter series. I worked on the first relaunch for Beatrix Poter aſter Penguin bought Freder- ick Warne, and I love the way the magic of the stories and art create a perfect introduc- tion to the world of books for each genera- tion. And, of course, the creativit behind the Harry Poter brand is clever and innova- tive, and delivers a classic story to new fans.


Murray Hill Dr Seuss still works for the reasons he always has—the anarchy, the colour, the irreverence. It’s completely appealing to contemporary children, as well as parents who grew up with him. The rhymes and repetition give children such confidence when they’re learning to read. Couple that with the peerless fun of the books and it’s no surprise Dr Seuss has endured. I’d be amazed if he was ever reillustrated.


There seems to be an unspoken agreement in publishing about who YA books are for and, judging by the events, publishing schedule and social media promotion, it’s not anyone between the age of 13 and 19. Seeing the same campaign cycle over and over again feels exclusionary: multiple events in London on weeknights; big releases during June, when most 15 to 18-year-olds have exams; and minimal promotion on YouTube and Insta- gram, where most teenagers spend their time online. Something needs to change, and quickly.


Catherine Johnson author The major issues are the same as have been ever since I was first published (in 1993... I know!) and those are the demands on young readers’ time. These demands have become more and more insistent, due to the rise of TV and interactive games. Publishers seem to be chasing a dwindling pool of new readers.


Q industry right now?


What are the major issues facing the children’s publishing


Ludow and Irving Two key issues have made it harder to reach young readers: reduced space for children’s book reviews in national print media and fewer dedi- cated book reviewers, and funding cuts for schools and libraries. Coinciding with this is the need for publishers to beter engage with young people on social media. Another well- documented issue is the lack of diversit in the industry. It will be interesting to see the impact of initiatives like the Jhalak Prize and Penguin Random House’s WriteNow and Inclusivit Tracker.


Miranda McKearney EmpathyLab founder How to publish for an increasingly diverse UK, so that every child feels they belong to our societ. This challenge has been rumbling around for so long, it feels like it’s time for some truly decisive steps. Because libraries are in every kind of communit, I’d like to see publishers tapping more into their network and grassroots knowledge, both for recruitment and for finding new writing talent too.


Powrie I am increasingly frustrated by publishers’ refusal to engage with teenagers.


www.thebookseller.com


Cunningham Simply, range in store and the lack of “discoverabilit” for new talent, as libraries continue to close and school fund- ing is downgraded.


Murray Hill In many ways, the same issues that children’s publishers have faced since the industry began: how we can predict what (and how) children of the next generation want to read, and how to balance that long- term vision with increasingly rapid changes in trends and opportunities; how we can make sure we are publishing for children themselves, and not the gatekeepers. The qualit of many books being published for children in 2017 is extraordinary, and something we should celebrate, as well as making strides towards improving diversit and addressing the inequalities of access to books. We still have a long way to go. There are many children in the UK who can’t see themselves in a book.


focus on illustrated fiction for older children and the promotion of comics and more graphic forms of literature in the classroom to engage reluctant readers.


McKearney Far more diverse books (in the widest possible sense), especially for primary-aged children. YA publishing is stronger here, but at EmpathyLab we’ve found there are a real dearth of great books at primary level. I’d like to see fewer pink books for girls! Surely it’s time to move away from gender stereotping. I hope [gender- neutral campaign] No More Boys or Girls will really up the ante on this.


Powrie I’d like to see more publishers embracing YouTube as a marketing tool and working with existing YouTubers as busi- ness partners, not just free labour. There is a real need to “go where the kids are” and not expect them to come to you. If the intended target audience is going to be reached, there can’t be the expectation that teenagers will easily find publishers. Finding new books can be overwhelming, and YouTube can help to bridge the gap between publishers and large, daunting bookshops. In terms of books, I’d like all teenagers to feel repre- sented in YA, and not have to feel that they don’t fit into either YA or adult books.


Cunningham Fewer copycat series—and more new formats for older readers.


Q and YA publishing in 2018?


Ludow and Irving More books created by diverse authors and illustrators to ensure that all children see themselves reflected in stories. We’re also strong believers in visual literacy, so we’d also like to see a greater


What would you like to see more and/or less of in children’s


Murray Hill The whole range of publishing for children needs to widen as much as it can. And we need to remember our read- ers, whatever genre they happen to like. It doesn’t mater what publishing I would like to see thrive, as long as children are read- ing a book that encourages them to pick up another. I’d like everyone to love [Joyce Lankester Brisley’s series]Milly-Molly- Mandy as much as I did when I was six, but that’s entirely irrelevant!


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