Joanne Harris hails ‘writing as a force to be reckoned with’

Winners of the 2021 Society of Authors’ Awards announced

The Society of Authors has revealed the names of the winning writers, poets and illustrators from around the world who will share in the UK’s biggest literary prize fund, worth over £100,000, in an online ceremony.

“Graeme Armstrong: ‘I hope this prize speaks volumes to the young men and women in my community about the distinct possibility of their impossible.”

The acclaimed author of Chocolat Joanne Harris (above) invited an international audience to celebrate the 2021 Society of Authors’ Awards run digitally for the second year because of Covid-19 restrictions.

Speaking from her home in Yorkshire, Harris joined previous award recipients to announce the 2021 winners of ten prizes for debut novels, poetry, historical biography, illustrated children’s books, and lifetime bodies of work. The trade union – which counts such household literary names as Philip Pullman, Hilary Mantel, Kazuo Ishiguro, Neil Gaiman and JK Rowling among its members, as well as 11,500 jobbing writers, translators, illustrators and journalists – shared £105,775 between 35 writers, poets and illustrators in a celebration of the ‘phenomenal depth and breadth of books and words’

The winners included Thomas McMullan, who won the £10,000 Betty Trask Prize for his dark dystopian debut The Last Good Man; poet Paula Claire who this week celebrates 60 years of creating poetry as well as her Cholmondeley Award; Graeme Armstrong, who won both a Betty Trask Award and a Somerset Maugham Award for The Young Team; lawyer turned children’s writer Rashmi Sirdeshpande and illustrator Diane Ewen who won the Queen’s Knickers Award, now in its second year, for Never Show a T-Rex a Book; Waterstones Children’s Book Prize and British Book Awards winner Kiran Millwood Hargrave who won a Betty Trask Award for her debut adult novel The Mercies; and Pulitzer Prize winner Fredrik Logevall who won the Elizabeth Longford Prize for Historical Biography for JFK Volume 1.

Gboyega Odubanjo, Milena Williamson and Cynthia Miller were among the young poets celebrated in the Eric Gregory Awards, while other award recipients included Forward Prize winner Kei Miller, award-winning columnist Lola Okolosie, playwright and education worker Lamorna Ash, and short fiction author and literary reviewer DM O’Connor.

Introducing the Awards, Joanne Harris reflected on the current challenges facing the author community, saying, ‘for authors, whose careers are precarious at the best of times, the challenge to sustain themselves right now is more acute than ever.’

She continued, ‘that is why all of us are here to celebrate the phenomenal depth and breadth of books and words. Authors at the very beginning of their careers. Authors that are well established. Fiction, non-fiction, poetry, and everything that lies in between. Literature as a treasure at the centre of society. Writing as a force to be reckoned with.’

In his acceptance speech, Kei Miller (above) described his Cholmondeley Award as ‘a wonderful reminder that we belong to so many societies and so many countries’. McKitterick Prize winner Elaine Feeney spoke of the ‘lovely boost’ the prize has given her, confirming ‘signs of life off the West coast of Ireland!’

Queen’s Knickers Award winner Rashmi Sirdeshpande thanked ‘everyone who has helped [Never Show a T-Rex a Book] find its way into the hands of a child’. 

And Graeme Johnson whose novel The Young Team mirrors his own experiences of addiction and Scottish gang culture said he hopes his two awards will ‘speak volumes to the young men and women in my community about the distinct possibility of their impossible.’

As she closed the ceremony, Joanne Harris said, ‘There’s no better way to support authors than to read them, so I urge you all to pick up tonight’s winners from your local bookshop and discover their worlds.’

The winners for each award are:

The ALCS Tom-Gallon Trust Award

Sponsored by the Authors’ Licensing and Collecting Society (ALCS), the ALCS Tom-Gallon Trust Award is awarded for a short story by a writer who has had at least one short story accepted for publication. Judged by Claire Fuller, Sophie Haydock, Billy Kahora, Ardashir Vakil and Mary Watson. Past winners include Benjamin Myers, Lucy Wood, Grace Ingoldby and Claire Harman. Total prize fund: £1,575.

  • Winner: DM O’connor for I Told You Not to Fly So High Awarded £1,000
  • Runner-Up: Sean Lusk for The Hopelessness of Hope Awarded £575

Betty Trask Prize & Awards

The Betty Trask Prize and Awards are presented for a first novel by a writer under 35. Judged by Sara Collins, Elanor Dymott and Vaseem Khan. Past winners include Zadie Smith, David Szalay, Hari Kunzru and Sarah Waters. Total prize and award fund: £26,200.

Betty Trask Prize Winner

  • Thomas Mcmullan for The Last Good Man (Bloomsbury) Awarded £10,000.

Betty Trask Awards Winners

Five winners, each awarded £3,240.

  • Maame Blue for Bad Love (Jacaranda Books)
  • Eley Williams for The Liar’s Dictionary (William Heinemann/Cornerstone Prh)
  • Kiran Millwood Hargrave for The Mercies (Pan Macmillan/Picador)
  • Nneoma Ike-Njoku for The Water House (Unpublished)
  • Graeme Armstrong for The Young Team (Pan Macmillan Picador)

Cholmondeley Award winners

5 winners each awarded £1,680

The Cholmondeley Awards are awarded for a body of work by a poet. Judged by Moniza Alvi, Grace Nichols and Deryn Rees-Jones. Past winners include Seamus Heaney, Carol Ann Duffy, John Agard and Andrew Motion. Total prize fund: £8,400

  • Kei Miller
  • Paula Claire
  • Maurice Riordan
  • Susan Wicks
  • Katrina Porteous

Elizabeth Longford Prize for Historical Biography

The Elizabeth Longford Prize for Historical Biography is an annual award for historical biography which combines scholarship and narrative drive. Judged by Roy FosterFlora Fraser, Antonia Fraser, Richard Davenport-Hines and Rana Mitter. Past winners include D.W. Hayton, Anne Somerset and Philip Ziegler. Total prize fund: £5,000.

  • Winner: Fredrik Logevall for JFK Volume 1 (Viking)

Eric Gregory Award winners

7 winners each awarded £4,050

The Eric Gregory Award is presented for a collection of poems by a poet under 30. Judged by Vahni Capildeo, Andrew McMillan, Sarah Howe, Jamie McKendrick and Roger Robinson. Past winners include Carol Ann Duffy, Helen Mort and Alan Hollinghurst. Total prize fund: £28,350.

  • Phoebe Walker for Animal Noises
  • Michael Askew for The Association Game
  • Gboyega Odubanjo for Aunty Uncle Poems
  • Kandace Siobhan Walker for Cowboy
  • Cynthia Miller for Honorifics
  • Milena Williamson for The Red Trapeze
  • Dominic Hand for Symbiont

McKitterick Prize

The McKitterick Prize is awarded for a first novel by a writer over 40. Judged by Sabrina Mahfouz, Nick Rennison and Christopher Tayler. Past winners include Helen Dunmore, Mark Haddon and Petina Gappah. Total prize fund: £5,250.

  • Winner: Elaine Feeney (above) for As You Were (Harvill Secker, Vintage) Awarded £4,000
  • Runner-Up: Deepa Anappara for Djinn Patrol on the Purple Line (Chatto & Windus, Vintage) Awarded £1,250

​Paul Torday Memorial Prize

Now in its third year, the Paul Torday Memorial Prize is awarded to a first novel by a writer over 60. The prize includes a set of the collected works of British writer Paul Torday, who published his first novel Salmon Fishing in the Yemen at the age of 60. Judged by Paul Bailey, Roopa Farooki and Anne Youngson. Past winners are Anne Youngson and Donald S Murray.

Total prize fund: £1,000.

  • Winner: Kathy O’shaughnessy for In Love with George Eliot (Scribe Uk) Awarded £1,000
  • Runner-Up: Karen Raney for All the Water in the World (John Murray/Two Roads)

The Queen’s Knickers Award

Now in its second year, this annual prize, founded by Nicholas Allan, author of The Queen’s Knickers, is awarded for an outstanding children’s original illustrated book for ages 0-7. It recognises books that strike a quirky, new note and grab the attention of a child, whether in the form of curiosity, amusement, horror or excitement. Judged by Alexis Deacon, Patrice Lawrence and Tony Ross. ​The inaugural winner of this award in 2020 was Elena Arevalo Melville for Umbrella. Total prize fund: £6,000.

  • Winners: Writer Rashmi Sirdeshpande and Illustrator Diane Ewen for Never Show a T-Rex a Book (Puffin) Awarded £5,000
  • Runner-Up: Alex T. Smith for Mr Penguin and the Catastrophic Cruise (Hachette) Awarded £1,000

Somerset Maugham Award winners

4 winners each awarded £4,000

The Somerset Maugham Awards are for published works of fiction, non-fiction or poetry by writers under 30, to enable them to enrich their work by gaining experience of foreign countries. Judged by Fred D’Aguiar, Nadifa Mohamed and Roseanne Watt. Past winners include Helen Oyeyemi, Julian Barnes, Zadie Smith and Jonathan Freedland. Total prize fund: £16,000.

  • Lamorna Ash for Dark, Salt, Clear (Bloomsbury Publishing)
  • Isabelle Baafi for Ripe (Ignition Press)
  • Akeem Balogun for The Storm (Okapi Books)
  • Graeme Armstrong for The Young Team (Pan Macmillan Picador)

Travelling Scholarships

5 winners each awarded £1,600

The Travelling Scholarships are awarded to British writers to enable engagement with writers abroad. Judged by Tahmima Anam, Aida Edemariam, Anne McElvoy, Adam O’Riordan and Gary Younge. Previous recipients have included Dylan Thomas, Laurie Lee and Margaret Drabble. Total prize fund: £8,000.

  • Clare Pollard
  • Guy Gunaratne
  • Yara Rodrigues Fowler
  • Tom Stevenson
  • Lola Okolosie

Why poetry is just what we need to lift our lockdown mood

WORLD POETRY DAY – 21st MARCH

World Poetry Day is the ideal opportunity to share poems with your youngsters. Playful, silly, beautiful, fun… there’s something for everyone. Former primary school teacher Becky Cranham of education resources experts PlanBee shows you how

A Lockdown Haiku
Another zoom call
Daily freezing groundhog walk 
Will this ever end?

Writing poetry has always been a way for people to express difficult feelings and emotions. There is something so cathartic about immortalising thoughts on paper, particularly if those words are arranged in a precise and pleasing arrangement of sounds and syllables. 

Yet as technology advances and people find other outlets for self-expression, poetry is becoming less and less mainstream. For those for whom poetry is unfamiliar, it can seem a daunting and curious art form, especially when it comes to introducing children. Where do you start? What forms should you teach? How do you condense something so vast into manageable and understandable chunks? 

Part of the joy of poetry, however, is its simplicity. It doesn’t have to be ‘The Iliad’; it can be playful and silly and freeing. It can also be tender or thoughtful, pensive or angry, hopeful or despairing. Poetry can be anything you want it to be, and that is its unique beauty. 

World Poetry Day is the perfect excuse to use poetry to help children (and adults) through these tough times.

So how exactly can poetry help? First and foremost, poetry is fun! Search ‘nonsense poetry’ online with your children and you will find a plethora of hilariously stupid poems to make your children laugh. Or look up the poems of the nonsense king, Spike Milligan, for some classic nonsense such as ‘On the ning nang nong’ or ‘Land of the Bumbly Boo’.

Funny poems, whether nonsense or not, are fantastic at any time of day to lighten the mood – and we could all use a bit more of that at the moment!

Poetry is also a great way of encouraging children to explore their feelings. Children have had to deal with so much this past year: a scary virus, school closures, virtual learning, missing family and friends, as well as the loss of loved ones for many.

Poetry gives children the chance to reflect on how they feel and give a voice to their feelings. Encouraging your children to write a poem, carefully choosing which words they want to include, can help them process difficult emotions. 

It also affords children the chance to look to the future and the (hopefully) brighter days ahead. We all need a big old dose of hope right now and poetry can help children express what they are looking forward to about the future, helping them recognise that current events are just temporary and that life will look different soon.

Which is why at PlanBee, we’re running a special poetry competition this year. 

Write a poem entitled ‘When Lockdown is Over’ for your chance to win a beautiful poetry anthology

In honour of World Poetry Day 2021, PlanBee is running a competition for children aged five to 11 to encourage them to engage with poetry. All they need to do is write a poem about what they will do, or are hoping for, when lockdown ends, called ‘When Lockdown is Over’.

The poem can be in any form at all but some ideas and templates are included in this free download to get them started. 

Five lucky winners will receive a copy of ‘The Folio Book of Children’s Poetry’ – a beautiful anthology of poems for children to treasure. 

Email your entries, along with your child’s first name and age, to info@planbee.com or tag them on PlanBee’s Facebook or Instagram pages. 

Entries close at midnight on Friday 19 March and the winners will be announced on World Poetry Day, Sunday 21st March, on our social media.

The winners will be emailed individually too, so keep an eye on your inbox! 

Media collaboration offers opportunities to writers from under-represented backgrounds

A new initiative co-funded by the Joseph Rowntree Foundation and supported by the New Statesman and Daily Mirror aims to increase opportunities for aspiring writers and journalists from under-represented backgrounds.

A WRITING CHANCE is a UK-wide programme, delivered by New Writing North and literature organisations nationally, with research from Northumbria University. It is looking for fresh perspectives and great stories from people whose voices have historically not been heard in publishing and the media.

Through mentoring with established writers and journalists, bursaries, insight days, broadcast and publication with by-lines, A Writing Chance seeks to prise open a persistently elitist industry to encourage access for all.

A Writing Chance is a positive intervention, designed to discover new talent, support new writers from under-represented backgrounds to break into the creative industries, and empower publishers and editors to make space for a broader range of perspectives.

Who gets to write for the British media we all read?

The media may be one of the most competitive industries to break into, but it isn’t a meritocracy. For many new writers, progress does not always correspond to their talent and those with huge potential are often held back by a range of barriers.

A London-centric industry; unpaid and low-paid internships; the casualisation of jobs; and a reliance on personal contacts make finding work in the media far more difficult for people from working-class and lower income backgrounds. What’s more, people from these backgrounds often face intersecting challenges due to historic under-representation in the media, including but not limited to ethnicity, disability, sexuality, gender identity, age and religious beliefs.

  • 47% of authors and writers are from the most privileged social starting points, contrasting with only 10% from working-class backgrounds. Office for National Statistics’ Labour Force Survey, 2014
  • 12.6% of those working in publishing come from working-class social origins, compared with a third of the population as a whole. Cultural Capital: Arts Graduates, Spatial Inequality, and London’s Impact on Cultural Labor Markets, 2017
  • Newspaper columnists, who significantly shape the national conversation, draw from a particularly small pool, with 44% attending independent school (compared with 7% of the population) and 33% coming through the independent school to Oxbridge ‘pipeline’ alone (compared with less than 1% of the population who attend Oxbridge). Sutton Trust, Elitist Britain 2019
  • Just 0.2% of British journalists are Black (compared to 3% of the population) and 0.4% of British journalists are Muslim (compared to nearly 5% of the population). City University, 2016

Husna Mortuza, Deputy Director of Advocacy and Public Engagement, Joseph Rowntree Foundation said: “We are delighted to support ‘A Writing Chance’. This powerful project will bring new voices to the public, and address inclusivity in our media and publishing industries head on.

“Far too often, talented storytellers from working-class backgrounds have found it difficult to break into the industry whether through lack of support, networks or space to develop their craft. This project aims to better understand the many barriers that budding writers from under-represented groups face, and to create opportunities for more non-fiction and creative writers to be part of the industry.

“Hearing a diverse range of voices from across society matters, and both writers and readers will benefit from a widening of the lens. I look forward to reading some new work and fresh perspectives on the year we’ve just lived: Life in 2020-2021.”

Alison Phillips, Editor-in-Chief of the Mirror, said: “At the Mirror we understand the power of having a voice and holding people accountable.

“Ensuring that everyone has access to that power will only make the national conversation that much more interesting and effective. I can’t wait to see the new talent this project uncovers.”

Jason Cowley, Editor of the New Statesman, said: “For too long the world of journalism has favoured a privileged minority. The New Statesman, which thrives on discovering new voices, is delighted to lend its support to this vital scheme to redress the balance.”

A Writing Chance is now open for application until 26 March 2021. A group of ten new and aspiring writers of journalism, fiction and creative non-fiction will be selected for the programme, which includes the opportunity to have work published in the New Statesman or Daily Mirror (in print or online), or broadcast as part of a new podcast series.

Full details of A Writing Chance are available at AWritingChance.co.uk

Tweet Yourself a Book Deal!

XpoNorth Tweet Pitch returns on Friday 15th January

If you have always dreamed of having your very own book published, 280 characters could be all that is standing between you and securing a literary agent to make your dream a reality.

Now entering its sixth year, the XpoNorth Writers’ Tweet Pitch returns on Friday 15 January 2021 to give writers from across Scotland the chance to pitch their work to a panel of Scotland’s literary agents and publishers.

From 9am to 9pm on Friday 15 January, writers of all levels from across Scotland can tweet pitch their work to top Scottish literary agents and publishers including Jenny Brown, Birlinn, Sandstone Press, Canongate, Floris Books and Saraband simply using #XpoNorth to be in with the chance of a book deal. Completed work or projects still in development from all genres including fiction, non-fiction and children’s writing and illustration will be considered from writers living and working in Scotland. The only requirement is that the work must be unpublished.

The panel of esteemed agents and publishers will review all tweet pitches in real time and will contact the author directly to find out more or make a deal to represent or publish their work.

Produced by XpoNorth and the Association of Scottish Literary Agents, last year’s Tweet Pitch was a trending topic throughout the day with over a thousand direct pitches and reaching more than 650,000 people.

Over the past five years, the project has turned numerous applicants in to published authors including author of Scottish historical and eco-fiction for children, Barbara Henderson; picture book author and illustrator, Corrina Campbell; author of This Golden Fleece – A Journey Through Britain’s Knitted History, Esther Rutter and Leonie Charlton who successfully had Marram published this year by Sandstone Press.

Jenny Brown, Co-Chair of the Association of Scottish Literary Agents said: “The Tweet Pitch gives everyone in Scotland the chance to pitch their ideas to Scotland’s agents and publishers.

“This year, alongside fiction, I’m hoping to see more memoirs, not celebrity biographies, but extraordinary and well-told stories from ordinary people which give insight into their lives, be they care workers, vets, shop owners,  firefighters, or mountain rescuers. 

“One of the most successful memoirs I’ve represented is Shaun Bythell’s Diary of a Bookseller about his experiences running a bookshop in Wigtown. It’s now been translated into 25 languages.  I’d love to find more memoirs which shed light onto experiences and ways of life we know little about.”

Peter Urpeth, Publishing Sector Specialist Advisor at XpoNorth said: “The annual Tweet Pitch has become a very important and unique part of Scotland’s writing and publishing calendar and provides a key moment of open access for Scotland’s writers to the nation’s amazing literary agents and publishers. 

“This year more than any other I would say if you have not tried this approach try it now, and that’s especially true of writers in communities who might feel that professional publishing is not open to them. This platform enables a pitch to a very wide range of different editorial needs and tastes, and all at the same time.

“We all know that so many events for authors and for the writing development process have been a victim of the pandemic. But many of us have also witnessed and benefitted from the incredible energy and commitment that the community of writers, writing agencies, agents and publishers in Scotland have shown to each other and to the cause of just keeping going. 

“We’ve also seen the immense role that stories, books and all forms of creative narrative whether for escape, for connection or for truth and deep realism have played in getting many of us through these difficult times.

“The tweet pitch is that first moment in the new Year when we connect again, when we try and when we hope, and when we take that vital step of promoting our work. That energy is at the heart of the Tweet Pitch day.”

Aspiring authors keen to learn more about how to make the perfect tweet pitch should visit www.xponorth.co.uk 

Edinburgh Ignite Fellowship awardees announced

Scottish Book Trust has announced the third Ignite Fellowship awardees.

The Fellowship supports established writers who are embarking on a significant project. This year, the panel selected poet and performer Courtney Stoddart and artist and filmmaker Raman Mundair. Poet and translator Niall O’Gallagher has been selected as the Gaelic Ignite Fellowship awardee, funded by the Gaelic Books Council.

The Ignite Fellows will receive a £2000 bursary and tailored creative support to suit their individual projects. The fellowship will run for one year, from December 2020 to December 2021.

Courtney Stoddart, from Edinburgh, is a Scottish-Caribbean performer whose work focuses racism, womanhood and growing up in Scotland.

She has featured in various theatrical productions, including Hannah Lavery’s Lament For Sheku Bayoh at the Lyceum Theatre. Courtney recently featured at the Edinburgh International Book Festival and appeared on Damian Barr’s The Big Scottish Book Club.

During her Ignite Fellowship, Courtney will work on her first poetry pamphlet featuring themes of race, identity and the ramifications of colonialism and imperialism.

Courtney Stoddart said: “I am absolutely delighted to have been selected for this year’s Ignite fellowship. I am incredibly thankful to Scottish Book Trust for this opportunity and can’t wait to get started on my project.”

Raman Mundair is an Indian born writer who is based in Shetland and Glasgow. She is an award-winning author and was longlisted for the Rolex Mentor and Protégé Arts Initiative Award and is a winner of the Robert Louis Stevenson Award and a Leverhulme Fellowship.

Raman has published poetry, fiction, drama and non-fiction and has performed and exhibited her artwork around the world from Aberdeen to Zimbabwe. She is currently a dramaturg and mentor for Scottish Youth Theatre on the Stories 2020 project. Raman will use the fellowship to bring her work into focus with the help of her mentor.

Raman Mundair said: “I am delighted to be offered this opportunity and look forward to possibilities that it will open for me and chance to amplify my voice and work as a hitherto overlooked writer, artist and director.”

Niall O’Gallagher, based in Glasgow, is the author of three books of poetry in Gaelic and was the recipient of a New Writers Award from the Scottish Book Trust ten years ago.

In 2019 Niall was named Bàrd Baile Ghlaschu, the City of Glasgow’s first Gaelic Poet Laureate. In 2020 he won the Gaelic prize in the Wigtown Poetry Competition for his poem ‘Penelope’.

During his fellowship, Niall will be working on his fourth book, a verse-novella called Litreachan Plàighe (Plague Letters), told through a series of letters between characters who find themselves separated from one another.

Niall O’Gallagher said: “I’m delighted. The New Writers Award I received from Scottish Book Trust and Gaelic Books Council in 2010 really helped me take my poetry from my notebook into print.

“I’m excited to work with them again as I develop my work further.”

Marc Lambert, CEO of Scottish Book Trust, said: “The Ignite Fellowship is important as it helps to give already established artists a boost in their career.

“In what has been a challenging year, we hope this award will provide inspiration and support, and we look forward to seeing the new projects from the writers.”

Edinburgh writers are Nesta storytelling prize finalists

Nesta, the innovation foundation, is supporting creators to revolutionise the age-old art of storytelling to fit a modern world, from InstaNovels to watching Romeo and Juliet’s relationship blossom over WhatsApp – and two of the shortlisted writers are from Edinburgh.  

  • Nesta has shortlisted and supported 9 writers with £1.5k of development funding, mentor sessions with experienced digital writers and a creative technologist, and 3 months of R&D time
  • In the autumn, one of these 9 writers will be awarded £15,000 based on innovation in form, interface and interactivity, as well as in overall quality of content
  • The works can be tested and experienced on the BBC Taster website from 7 August until 14 September, with Nesta asking young people to give feedback to help select the final winner

The Alternarratives Prize encouraged storytellers to imagine how short stories told in creative ways could help re-engage young people with the act of reading, focusing on those aged 13-16.

In one of their recent reports the National Literacy Trust found that reading enjoyment levels in children and young people had continued to decline and are at their lowest since 2013, only 53% said they enjoyed reading in 2019 vs 58.63% in 2016.

Daily reading levels are also at their lowest, with just 25.8% of children in 2019 saying they read daily in their free time. Nesta is seeking ways to encourage young people to read more via accessible and familiar mediums, technology and language. 

The finalists include:

  • Viccy Adams, Edinburgh – Explore an abandoned theme park in Berlin while you listen to this audio short story of teenage self-discovery. Spree is designed to be experienced on a computer: get your laptop out, turn up the volume and enjoy getting lost.
  • Gavin Inglis, Edinburgh – The Reader Remix invites active participation in an audiobook by adding layers of music beneath the narration, which the reader can manipulate. The R&D period of this project will produce new spoken and musical content, and experiment with existing tools for their delivery.
  • John Dinneen, London – Introducing the Insta Short, for a new generation of storytellers. This first-of-a-kind, contemporary Instagram short story tells the fictional account of Nel, an aspiring artist who finds support for her artwork online. Nel’s account is inseparable from social media and so naturally told through it. At the end of it all, Nel’s story will leave you ever more conflicted about the possibilities and the dangers of life lived online.
  • Emma Hill, Manchester – “I have ten minutes to tell you everything.” After Words is a story to a young person, from the adult who cares for them, designed to last a lifetime of them being apart from each other. Read the story once straight through, and then read it again slowly, many times, exploring all the links on the page. Each read through tells a different piece of the story, exploring connection, distance and the stories we leave behind. 
  • Rachael Hodge and Felicity Brown, Oxford – WillPlay: Romeo & Juliet will take the form of a WhatsApp-style group chat, allowing young people to engage with Shakespeare’s story and interact with his characters via a familiar, accessible medium. The reader/player will be cast as a character in three key scenes, invited to take part in the conversation, in order to move through the narrative, sending it in new and exciting directions.
  • Thomas McMullan, London – The Unsettled Ground. A file lands on your desktop: the last documents of the journalist Angus Bead. A small town has been wiped off the map, and you must unravel what happened by searching through Bead’s articles, diaries, notes, strange stories and troubling testimony. Draw your own connections. Read like a detective.
  • Jasmine Richards, Oxford – Earworm is an immersive short story experience on your phone that tells the tale of Ayesha and a creature called Earworm. The Earworm reveals people’s true intentions through sound and music. Using small sections of text, chat stories, and immersive soundscapes with embedded audio cues the reader will learn the truth of Earworm and the secrets of those around Ayesha. The reader will also get to produce their own piece of music.
  • Ben Samuels at Limbik Theatre, London – The Garden combines the written word with ambisonic, spatial audio, bringing a new layer of immersion to the act of reading. The dark, magic realism of The Garden of Earthly Delights is designed to be accompanied by an ambisonic audio soundtrack, played through headphones linked to a phone or tablet. The soundscape supports the narrative, locating, placing, and immersing them within the world of the story.
  • Shane Strachan, Aberdeen – Do we control technology or does it control us? Jenna took part in IMBED-X’s tech experiment in January 2020 and has since vanished. Adam needs Instagram, Google and you to help find her in this thrilling online mystery. Told across multiple Instagram stories and accounts, this narrative encourages readers to use online tools such as Google Translate and Google Books to help find Jenna by harnessing the power of language, literature and digital connection. Along the way, the story also encourages young readers to reflect on how embedded technology is in their lives and to question whether or not they have an over-reliance on it. 

Fran Sanderson, Nesta’s Director of Arts and Culture Programmes and Investments said: “With Alternarratives, our aim is to encourage writers to experiment in their practice. In this pilot year, we had the more specific target of changing the way young people think about and engage with reading.

“The way we consume narrative content has changed rapidly, and this has accelerated in the pandemic. The shift towards an experience economy, perhaps in addition to a more general sense of a lack of control, has led audiences to expect more agency and interaction, and we believe this can be an opportunity for literary storytelling. 

“We wanted to explore how we can support writers to be more innovative and think outside the linear format. We have been amazed by the creative ideas these writers had, and humbled by their tenacity and ingenuity in the R&D phase – it’s been a real privilege to see these projects turn into a reality, and we’re incredibly excited to share them with the public, especially the young people we’re hoping to reach.”

Next Chapter Award opens for submissions

Scottish Book Trust, the national charity changing lives through reading and writing, has announced today that the Next Chapter Award 2021 is open for applications. Now in its seventh year, the award seeks submissions from talented yet unpublished writers over the age of 40.

Previous winners include Gail Honeyman, author of Eleanor Oliphant is Completely Fine, which was named book of the year at the British Book Awards in 2018. It was also the most borrowed e-book of last year. Ryan O’Connor, who won the Next Chapter Award two years ago, recently signed a two-book deal with Scribe. His debut novel The Voids will be published in 2022.

The Next Chapter Award supports an emerging writer for whom finding time and space to write has proved especially challenging. Developing a specific piece of work to publication standard will be the central aim of the award and applicants must demonstrate genuine potential for publication.

Run by Scottish Book Trust, the award provides a £2000 bursary; nine months of mentoring from a writer or industry professional; a two-week retreat at Moniack Mhor Creative Writing Centre; training in PR, social media and performance and the opportunity to showcase work to publishers and agents.

The winner of last year’s Next Chapter Award, Olive M. Ritch, is currently working on a poetry collection, inspired by her career in social work and her home town of Orkney.

Marc Lambert, CEO of Scottish Book Trust, said: “The Next Chapter Award proves that it’s never too late to start writing, as seen from the success of Gail Honeyman’s Eleanor Oliphant is Completely Fine.

“The award gives the gift of time and support to write, something that many struggle to fit around their daily lives. We look forward to finding new, exciting talent within Scotland’s literary scene.”

Olive M. Ritche said: “Being the recipient of this year’s Next Chapter Award has given me a tremendous boost. As a poet of a certain age, I much appreciate the Next Chapter Award’s support for a writer over the age of forty as it is an implicit acknowledgement of the fact that age does not diminish ambition.

“I am currently working on a collection of poetry with the support of an inspiring mentor. I am also enjoying being part of a writing community. Do apply for the Next Chapter Award – it is a life-changing experience.”

The award is open to poets, novelists, authors of narrative non-fiction and children’s authors who are 40 years of age or above. The closing date is Wednesday 2 September at midday. 

Visit Scottish Book Trust’s website for more information.

Coronavirus is 2020 Oxford Children’s Word of the Year …

… and ‘Scotland’ is the most popular word in Scotland!

  • The word coronavirus appears for the first time in the 500 Words stories in 2020.
  • Young writers used it 459 times, with Wuhan and Covid-19 also featuring among the total of 134,709 entries to the competition.
  • The competition closed on 27th February – before the UK’s first recorded coronavirus case and before lockdown in the UK, showing how engaged many children were with the emerging pandemic.
  • Children have responded to the developing threat to the world’s health by becoming problem solvers and finding a cure for the disease.
  • The Australian bush fires and their impact on wild animals, especially kangaroos and koalas, feature strongly in the stories. Awareness of environmental activism has also risen, with mentions of Greta Thunberg up 1755% on last year.
  • Technology also features widely, with YouTube the most frequently referenced platform. Mentions of Instagram are not far behind however, increasing 99% in 2020.
  • As cool as a crab with sunglasses on’ is just one example of children’s ability to invent fun similes and use language inventively.
  • The Oxford Children’s Word of the Year will be announced ahead of the 500 Words final.
  • The final will be broadcast live on BBC Radio 2’s Zoe Ball Breakfast Show on Friday 12th June 2020, with the winning stories read by celebrities including David Walliams, Dua Lipa, Joanna Lumley, Jodie Whittaker and Mwaka Mudenda.
  • Along with competition winners, special guests will include 500 Words judges Frank Cottrell-Boyce, Malorie Blackman, Francesca Simon and Charlie Higson, and honorary judge Her Royal Highness, The Duchess of Cornwall.

 

There is a somewhat apocalyptic feel to many of the entries in this year’s BBC Radio 2 Breakfast Show’s 500 Words story-writing competition and run in partnership with Oxford University Press.

The devastating impact of coronavirus, the terrible bush fires in Australia and ongoing fears of the effects of climate change show that Britain’s children are very much in touch with the most pressing issues of our time and respond to them with sensitivity, compassion, and a desire to find positive, practical solutions.

From the 134,709 entries, analysis by lexicographers at Oxford University Press has revealed fascinating data and discoveries about how children use language to express themselves.

This is the 10th anniversary of 500 Words. The competition was originally created by Chris Evans for the Radio 2 Breakfast Show in 2011 and has now received over 1 million entries, generating more than 440 million words.

Why coronavirus? 

Previous Children’s Word of the Year include Brexit (2019), plastic (2018), Trump (2017), and refugee (2016), indicating the influence of global affairs on children’s creativity.  Standing out this year was the first appearance of the word coronavirus and associated names or words, such as Covid-19 and Wuhan.

Coronavirus was used 459 times in 2020, with words associated with the pandemic also increasing in frequency, including NHS, virus, antibodies, epidemic, and lockdown. Boys and girls wrote almost equally on the topic; however, the subject of the unfolding coronavirus pandemic was more widely covered in older children’s writing (10-13 years).

In many stories, the word is specifically associated with China. Given that the closing date of the 500 Words competition was 27 February 2020 (which was, coincidentally, the day before the first case of transmission within the UK was documented), this can be understood on the basis that news stories had been reporting on the rapidly emerging crisis in the city of Wuhan and later across China.

Many narratives contained realistic physiological and medical details associated with the coronavirus:

‘The nurses came running over. I felt a pain in my neck, I started to gasp for air. My body started shaking I couldn’t control myself. My eyes rolled to the back of my head, a mask covered my mouth, my heart rate dropped, my temperature raised and I have the corona virus’ (The Ex, girl 13)

On the other hand, the young writers also show a delightful blend of humour, fantasy, and creativity as they write about searching for cures and dive into science fiction.

A boy of 10 writes about a getting a blue magic potion from The Smurfs and from a girl of 8 we have: That night I had an interesting dream, a magical sparkling unicorn came and whispered to me the secret ingredients of the cure for the Coronavirus. (The Magical Cure).

In Microbial Madness (from a girl of 12), Salmonella, Flu, and Legionnaire’s Disease join forces against coronavirus, while we have a triumphant diary entry which finds the cure on Day 2370: The cure was successful, we did it. We are putting every penny of our funding into distributing the cure. We will use drones to spray droplets of the liquefied version of the cure. Well, I guess I have no more time to write, I have a planet to cure! (Inside the life of a Coronavirus doctor, boy 11). 

Climate change, current affairs, and activism

Children’s concern for the environment has been growing since plastic was the Children’s Word of the Year in 2018. Indeed, mention of this word has increased by 32% year on year (2019 – 20), while phrases such as global warming, save the planet, and climate change jumped in use; by 126%, 156%, and a staggering 839% respectively.

In light of this, it is perhaps unsurprising that Greta Thunberg has seen her appearance in stories increase 1755% on last year. In one wonderful, feminist mash-up – notably written by an 11-year-old boy – she is working with three other iconic women to bring about political and societal change: ‘The P.O.W (Protectors Of Women) Brigade were having a meeting in their secret cellar beneath the magnificent Buckingham Palace. The head of the team Emmeline Pankhurst was leading the meeting… “Now down to business. Rosa Parks, Greta Thunberg and Marie Curie – I would like you three to take this one: a man in America doesn’t believe that world problems and gender inequality is happening.’ (The P.O.W Brigade)

Sharing the young activist’s anxiety across a range of issues, many stories were set in the future, imagining earth suffering catastrophic environmental damage as a result of climate change – ‘Earth looked like a tiny burning speck, red flames visible even from here. Her sobs became uncontrollable. Earth was finished, climate change had seen to that. Her home, family and friends were gone for good. All over, time up. The end.’ (The End, girl 12) 

Throughout December 2019 and January 2020, the media was filled with heart-rending stories about the Australian bush fires. Responding to this, the UK’s children wrote about the threat to Australian wildlife, most notably koalas and kangaroos.

In such stories, the narrator often tries to save animals trapped by the fires, with many showing empathy with animals in danger, while others narrate tales through the eyes of the creatures in peril – ‘What caught their eyes was the poor kangaroo in front of them crying, looking at the fire rapidly moving towards her joey.’ (Set alight, girl 12)

A number of stories also featured the series of storms that swept across Britain last winter, particularly Ciara and Dennis – ‘It was the night of the storm Ciara, the wind whistled, the thunder was as loud as seven cars falling from the sky, fences blew over, as the wind was so powerful and strong. I laid in my bed with my eyes shut as tight as possible. I could hear bins, trampolines and all sort of things falling over.’ (The silhouetted figure, girl 10).

Technology and social media

Technology and gaming once again featured strongly in the submissions for 2020’s competition and as in 2019, the Xbox is the leading games console mentioned. However, other platforms have seen large rises in their inclusion in stories, which are mainly written by boys.

The games Minecraft, Fortnite, Roblox, Call of Duty, and Just Dance all experienced increased mentions, by an average of 75%. Albeit that Fortnite, while remaining the second most-included game in related stories, saw a fall in its use by 33%.

In a revealing insight that many parents will recognise, one youngster wrote vividly about being denied access to his favourite tech: ‘Tom was a 13 year old boy. He never did any work because he was too busy playing on Nintendo, watching TV or playing on his iPad…. He was about to grab his Nintendo when he realized that it was not there. So, he went to find the TV remote but that was not there either…. “Where is my technology?” asked Tom. “I have taken it away until you do some science,” answered Mum.’ (Life without Technology, boy 9)

YouTube continues to be by far the most-mentioned platform, although Instagram is beginning to rival it – increasing 99% in 2020. Girls write about social media far more than boys, especially older girls who also appear to be spearheading the rise of TikTok.

With almost chilling acuity, fake identities and catfishing are also brilliantly observed: ‘My name is Tilly.  I’ve got darkish hair but on insta it will be raven black. I’ve got brown eyes, but soon they’ll sparkle like emeralds. (Evil Instagram, girl 10).

Reflecting the use of Insta as part of creating a new portmanteau word and promoting a message about having a positive self-image, Pickle the Pig’s Story is something of a latter-day morality tale: ‘She looked back at her phone and realized that she posted the ugly picture of herself on Instasnort a couple of seconds ago.  However, it had received a million likes and many kind comments of all types.  From that day Pickle had understood that you must be yourself not what someone else said you should.’ (girl 11) 

The big names of 2020

Famous people, real or imagined, continue to feature strongly in many stories, as do mythological and fictional characters. Once again, Santa tops the list with 2,293 mentions, with Donald Trump continues to provide a rich source of material in 2nd place overall and heading the list of ‘real’ people. Boris Johnson enters the list for the first time, with 278 hits.

The top 25 ‘famous people’ (including fictional and mythological characters) are:

1) Santa – no change

2) Donald Trump – ↑ 3

3) Zeus – no change

4) Adolf Hitler – ↑ 4

5) Cinderella -↑ 6

6) Christiano Ronaldo – ↓ 2

7) Lionel Messi – new entry

8) Harry Potter – ↓ 2

9) Snow White – ↑ 6

10) David Walliams – ↑ 12

11) Tooth Fairy – ↓ 4

12) Cleopatra – new entry

13) Queen Victoria – new entry

14) Pegasus – ↓5

15) Gingerbread Man – ↑ 4

16) Little Red Riding Hood – new entry

17) Henry VIII – new entry

18) James Bond – new entry

19) Boris Johnson – new entry

20) Albert Einstein – new entry

21) Sherlock Holmes – new entry

22) Mo Salah – new entry

23) Neil Armstrong – new entry

24) Easter Bunny – ↑ 1

25) Usain Bolt – new entry.

 

The top 10 ‘real people’ are:

1) Donald Trump

2) Adolf Hitler

3) Cristiano Ronaldo

4) Lionel Messi

5) David Walliams

6) Cleopatra

7) Queen Victoria

8) Henry VIII

9) Boris Johnson

10) Albert Einstein

And now for something completely different

This year’s 500 Words has again demonstrated that children delight in the unusual. Whether it is creating an invented word, fun similes, or dramatic and witty story openers, there has been another feast of creativity for the judges to revel in.

At nineteen letters long, the Transligualiminator was a real eye-catcher: ‘Finally, after weeks of preparation, the new life-changing device was ready for sale. Timmy Rykon called it The Transligualiminator. It could be a phone, a microwave, or it could dispense anything including nachos, fire-balls or socks. (The Transligualiminator, boy 11).

Could the charming simile as cool as a crab with sunglasses on (girl 9) be set to replace the more usual and staid cucumber? Many must surely have felt as confused as a blind goldfish (boy 9), or that awkward moment in a conversation when things fall as silent as an exam hall (girl 9)?

Helen Freeman, Director, Oxford Children’s Dictionaries & Language Data at Oxford University Press says: “Once again, the analysis of the children’s writing has revealed how tuned in young people are to global events and how real-world  events can inspire such a variety of stories and writing styles, from apocalyptic science fiction, to fairy tales, and humour.

“It’s striking that so many children are choosing to explore these themes and ideas in their writing, and it’s a complete delight for us to read their stories in this special 10th anniversary year.”

Zoe Ball, Radio 2 Breakfast show presenter comments: “The OUP’s analysis is so fascinating.

“Revealing, to no surprise, that kids are so aware of everything that’s going on in the world around them and then are able to turn it into the most brilliant, engaging and imaginative stories!”

While Helen Thomas, Head of Radio 2 Content Commissioning says: “I’d like to thank OUP for their incredible work analysing this year’s 134,709 stories and building a unique Corpus of words from the entries to 500 Words.

“I’d also like to thank all the talented children who entered in the competition’s 10th year, as well as the teachers and judges who initially judged the entries – we could not have done it without you!”

The Top 10 words which are used more in the stories of Scottish children than in any other are: 

  1. Scotland
  2. gran
  3. wee
  4. vikings
  5. couch
  6. bunker
  7. Edinburgh
  8. Glasgow
  9. celtic
  10. Liath

Sign Up for StoryCon

Young people encouraged to sign up to free online conference, 18-19 June

Scottish Book Trust, the national charity transforming lives through reading and writing, has today announced the six teenage writers and illustrators who have been recruited to steer the nationwide What’s Your Story? programme, aimed at helping to increase opportunities for young people to access and contribute to literary culture across Scotland.

Niamh Weir (below) from Clifton has been selected for the What’s Your Story? programme. Niamh, 16, is a short story writer and enjoys building worlds and creating suspense in action-packed stories while taking inspiration from issues, events and trends happening in society currently.

She has been working with her mentor, Julie Bertagna, children’s and young adult author of the award-winning Exodus (Young Picador).

This team of young writers and illustrators have been responsible for planning and hosting StoryCon 2020, Scotland’s biggest creative writing and illustration conference for young people.

This year, it will be hosted online, through Zoom workshops and how-to videos. Bestselling author Juno Dawson, comic artistic Frank Quitely and award-winning writer and journalist Patrice Lawrence are among the line-up.

StoryCon will run from Thursday 18 June to Friday 19 June, and young people can sign up for free registrations on EventBrite.

Gaelic content will also be available, supported by the Gaelic Books Council. Poet and author Morag Ann MacNeil and author Tim Armstrong will offer tips on comedy writing and sci-fi.

Young people across Scotland will also be encouraged to submit a story around the idea of ‘see you in ten years’. A selection of the work will be published and put in a time capsule, which will be re-opened in a decade’s time.

More information can be found at the What’s Your Story? website.

Marc Lambert, CEO of Scottish Book Trust, said: “This is the fifth year of the What’s Your Story? programme, which nurtures new and upcoming talent in the Scottish literary scene.

“We are grateful to our funders for making this programme possible, and also to our mentors for providing life-changing support and advice to the young people. Although it is disappointing we cannot hold StoryCon in person, we have a fantastic line-up planned, which will support young people currently learning at home.”

 Niamh Weir said: “I applied to What’s Your Story? to challenge myself to explore and develop my abilities as a writer. I hope to build my confidence and have the best time working with inspirational mentors and like-minded teens.

“I am so excited to be on the StoryBoard and to be involved in this amazing, creative community.”

The What’s Your Story? participants have been involved in creative development: benefitting from an induction programme with the National Library of Scotland, professional mentoring in their chosen forms and genres, and a week-long retreat at Moniack Mhor, Scotland’s creative writing centre, where they had dedicated time with their mentors.

The programme will culminate with a showcase, presenting the work the young people have created throughout the year. Industry experts will train the teens to perform their work live, against a background of visuals and music.

What’s Your Story? is free to take part in and travel expenses will be covered for all participants. The programme is funded by Badenoch & Co., Kiran’s Trust and private individuals.

Six teens in total were selected by a judging team, which included representatives from Creative Scotland, the National Youth Arts Advisory Group, the Super Power Agency and Scottish Book Trust. Participants were selected on the enthusiasm and dedication they expressed for teenage participation in creative and literary culture.

Book Week Scotland programme launched

Scottish Book Trust has launched Book Week Scotland’s 2019 programme with comic book artist Frank Quitely of DC Comics All Star Superman and Batman and Robin fame.

Book Week Scotland, the country’s biggest celebration of reading and writing, returns for its eight year with hundreds of events taking place all over Scotland from intimate community gatherings to flagship events with well-loved authors. Continue reading Book Week Scotland programme launched