Library trips are often followed by a great big luxurious readathon at home. That didn’t happen this time, but managed to look at a few, which probably means that’s why I remembered them.
Here are the ones I didn’t remember first off:
– One about a flying cat, Blue. Michael Rosen on words, Michael Foreman on pics. Both masters of their craft. Got to be done, and haven’t seen them work on a book together before.
– A Friend for Little Bear, by Harry Horse. Partly chosen for simple text (important at the moment for solo reading). I’ve read rather too many ‘value of friendship’ children’s books, though this one is a bit different as it pits possessions against friendship.
– Another Fine Mess. Don’t know the author or illustrator from before, but a fun read re rubbish, recycling and the imminent arrival of a fearsome relative. Good combination really. I also rather like Improving Themes hidden in fiction, but conveyed with humour. Blame my inner pedagogue.
– The Lying Carpet, by David Lucas. Suddenly realise that this is the same illustrator as the Skeleton Pirate one I mentioned yesterday. A longer illustrated book, which is quite nice as a change in format.
Skimming through, I can see snippets of verse, lots of interesting pics, and usefully, some part sections, which can be helpful when reading aloud and working out where to stop. Plus I’m pretty sure there’s talking animals. Generally a winner.
Findings: there are some authors always worth reading. And some illustrators always worth looking at. You may not like everything they do, but so much of what they do is good that it would be silly not to check.
It’s nice to have the familiar – and the new, when it comes to format. It’s equally worth taking a punt on someone whose work you don’t know, if the subject matter seems good, or seems handled in a different way.
Where does that leave the fledgling author? We can’t rely on our work being read as much as for established authors. But there’s always room for more authors, it seems, as long as we have a good story to tell – or a good way to retell a familiar story.
There’s also the notion of writing for oneself, rather than for the market. I’m guessing that the more I read, the more I know both – what I like, and (presumably, as it’s in the library) what others are expected to like.
Children’s books are both very simple and very complex. Daunting when you love them, you want to write them, and you’re more than a bit overwhelmed by what else is out there. But maybe the answer is to start with stories, themes, new handlings of them if possible, and let the rest of the writing unfold.