What are the main barriers that you feel are there for working class people wanting to get into writing?
I always think the baseline of it is knowing the process. I grew up in East London, but it was only really once I got that role in publishing that [I understood] the process of, if you want to have a career, you would need to find a literary agent to represent you. Publishing as well is an industry where, whether you want to be a writer or if you're someone who wants to maybe get a career in publishing, it can feel very opaque.
There have been lots of improvements in the last few years, but it's definitely an industry where there's a lot of talk about low-paid roles, and that's the same for writers as well as people that work in publishing. You might feel like that kind of career as a writer isn't open to you, because you need money to live. And definitely, I've noticed in my time working in publishing that it is predominantly middle class white people. It feels like a job for the privileged, which absolutely, as we all know, it shouldn't be. There are these institutional hierarchies that have been in place for so long, and it's slowly now trying to do the work to slowly dismantle them. We're seeing a lot more bursaries and financial support schemes.
You're so right about the lack of knowledge. Loads of people want to write a book, and a lot of people are able to do the hardest part of that process, which is the actual writing, but the next stage is so intimidating.
The Writers’ and Artists’ Yearbook has been published since 1906 and it's got loads of advice articles from writers, illustrators, creatives. And then it's also like a big directory, updated annually. They look through all the different publishers, literary agencies. And I work on the website, which is an extension of that. All of the information is out there, but it's how you access it. And you're right that it definitely feels quite intimidating if you don’t know. It can also be a bit like a part-time job, researching. There's a lot of work on the writer’s part outside of making ends meet. And I think that's especially true for people from working class backgrounds who have got to find the time and the effort and the energy to do this research.
So sort of what we do at Writers and Artists is try to find a way to make that much more accessible and much easier. I think definitely, because of those kinds of hierarchies that have existed, it can feel inaccessible. But a lot of literary agents that I've met over the years doing events, they want to find this work. So it's almost like bridging that gap: How do I get to these agents? How do I put my best foot forward?
You can come to us for advice for free. We've got events online that are paid for, but you don't need to pay. We always say you don't need to pay anything to be an author. If you just want to sign up to our community for free, we can chat through the process with you and give you some pointers and tips. Once you get some advice, then it feels that bit more accessible. Being a writer can be such a solitary act, so reaching out for help on the next steps is really crucial.
Writers & Artists organises lots of events to help people into publishing
(Credit: Amelia Brown)
I think the economics of the industry are quite difficult, especially for first-time, working class writers, because a lot of publishing is waiting for your money. You might get an advance, but it's not going to be a big advance. If you're a working class person, you need money now, and you need money regularly. And publishing is so difficult in that respect.
It feels like an indulgence. And then that's obviously a barrier to more writers from working class backgrounds actually being able to push through. It does feel like an indulgence. It feels like something that isn't necessarily going to support you or your family, or whatever your situation is. There's been a lot of chat throughout the years about the difference in advances. But then also that advance is normally split into three payments. You'll get one upon signing the contract as a writer. Once you've got the final version of your manuscript, you get the next bit, and then on publication day you get a bit. For the majority of writers, they are small advances. So especially if you're splitting that into three payments, it becomes unsustainable – especially for a writer from a working class background. The structures that are in place do feel quite unequal.
There are some publishers, for example, that perhaps don't offer an advance, but they have a really good rate on royalties. But again, everything is a bit of a roll of the dice because you can't always predict how sales are going to go. It's not a guarantee. So much is out of your control and so, if you're working class, [writing] doesn't feel like a priority. But carving out that time for yourself to be creative is so important. Most writers will have fingers in many other pies, so it's trying to find that balance.
I always try to remind myself and others that you can only do the best that you can do with the tools that you've got in that specific moment, because not everyone is as lucky to be able to write full-time and to spend days thinking about paragraphs or sentences. A lot of writers, especially working class writers, are writing in the cracks of the day, so it's really tricky.
How is the work you're doing with the W&A Working-Class Writers' Prize helping to address the divide we’ve talked about?
I grew up in East London, Barking and Dagenham, and I always wanted to be a writer. My English teacher would say become a teacher. As a bookish kid from that background, being an author didn't feel like something that was an option. When I got my job in publishing, I originally started out just doing events. I put forward the idea [for the prize] to my boss James, who’s also a working class person, and I wanted it to be free to enter. I wanted it to not just be a short story competition, but to say that writers from working class backgrounds can enter the first 2,000 words of the manuscript that they're working on as well as the synopsis.
Clare Povey is a children's author and creator of the W&A Working Class Writers PrizeIn our first year, we had an author called Natasha Carthew, who was published by Bloomsbury. She created the Working Class Writers Festival so, when I had this idea, I reached out to her and got her on board to be a judge who would offer mentoring sessions to the winner, and I also secured some budget for a cash prize. It was modest, but money equals comfort, security, and a bit more time to pursue the creative.
We had a decent uptake, the first year – a couple of hundred entries. The winner for our first year was a writer called Lucy Kissick, who wrote climate sci-fi, and she went on just after the prize to get a literary agent, and then she also secured a publishing deal. That was amazing, because it just kind of showed the need. So over the years, [the prize] has established itself as a bit of a pipeline for talent. We're seeing an uptick in the number of entries that we receive, and definitely the quality.
In the last couple of years, I also decided everyone who enters would receive feedback on their entries. That is all done in-house by me, which is a massive undertaking on top of my job. But it's something that I felt was really important because I've been a writer and, when I've submitted to prizes, you'll get accepted or you'll get blanket rejection, and I think, especially for working class writers who might not have access to feedback, I wanted to offer them something. They know that someone has sat down and taken the time to carefully read their words. I never underestimate the importance of someone feeling able to share their words and their stories, especially for working class writers who have never shared this with anyone. I don't take that lightly. It's a really important job to me.
You've touched on a bit of this already, but what are the challenges that you’ve faced in trying to improve working class representation through the prize?
We are quite a small team and it's definitely a resource thing. I'm lucky that I do have a great team, but also we are limited by the budgets that we get given. A way to help combat that is, to work with other like-minded partners, like bringing the Society of Authors on board for the prize. I'm really glad that I was never questioned ‘why is there a need for this prize?’, perhaps because myself and my boss are from that background. We understand the importance of it and we don't take it for granted. In an ideal world, of course, there would be no prizes that are so individualistic. But we're not all on the same, level playing field. There are these inequalities and to ignore them would be to do a disservice to these writers who want to see their books on the bookshelves.
I think it is just resources, and definitely time. The feedback can be such a huge time commitment. I think when I'm marketing the prize and trying to reach out to people. I'm not just going to these traditional publishing communities. Working class writers come from all backgrounds, so it's trying to reach out to as many different organisations and communities as possible, to make them aware that this exists and to encourage them to join.
Robert Muchamore is interviewed elsewhere in the Kick Some Class seriesThe point you made about yourself and your colleague being from this background is so significant. I remember growing up and loving the Alex Rider books, but then I picked up Robert Muchamore’s CHERUB series and suddenly I was like: “Oh, this is like the book I already like, but it feels like people I know are in it.” That was so significant for me.
We can never take that for granted or underestimate the importance of it. Every child from every background deserves to read a book and spot a character that is exactly like them, or something that they resonate with. My prize might feel small-fry to some, but actually, it's about making sure that the little kids from 20 years ago who grew up and wanted to be writers are able to break through so that future kids can read their books and think: “Oh wow, that's a kid like me.” It just makes you feel seen and that’s so important at any age.
On that note, what advice would you give to a working class writer today who's trying to break into the industry?
I would definitely say come to Writers & Artists and sign up to our community online. It's totally free. It’s finding your community or knowing that these communities exist. You don't need to come with a fully-formed idea. It's also getting past that imposter syndrome a bit and feeling like: “Actually, no, this is something that I really enjoy. This is something that I want to do. And I'm gonna make time for it.”
Publishing seems so opaque. How do I get to be that person with their name on the front of the book? That is something that we can take people through. We can explain the processes to them and there's lots of free advice on our website. Also, the resources have been slightly decimated, but you’ve got local libraries and groups. You just chat and find like-minded people and people from similar backgrounds. It's giving yourself permission to to write, because if you don't make time for it, you don't do it. I know we talk about working class writers being time-poor, but even if it's just a few minutes a day. Lots of stuff I’ve written has been on public transport, allowing yourself to take those moments of creativity.
There's also a lot of brilliant regional literacy organisations throughout the UK – New Writing North, New Writing South, Literature Works. All these organisations are great for under-represented writers who are perhaps looking for opportunities or craft advice or information about bursaries. It's making people aware of that, and that's what we do at Writers & Artists. There is support out there for you. It's just knowing how to find it.
You can find out more about the W&A Working Class Writers Prize here and keep up with Clare's writing on her official website.
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