I have worked with Wendy Hue on several manuscripts, and gave her editorial feedback on two drafts of her recent self-published book, Tópé Arrives. I have always been impressed with how passionate and articulate Wendy is. You will see from the interview below how hard she has worked to develop, and ultimately self publish, her novel after having doors closed on her from the publishing industry.

Here's a quick blurb about the book from her website:

Longlisted for The Times/Chicken House Fiction Competion, Tópé Arrives is the story of a young boy suddenly orphaned, having to leave his home in Nigeria for England.

It is a time of tears and tussles for Tópé as he adjusts to his new life and school. Will his nimble football skills and precious wooden boat somehow help him to carve out a new beginning?  Will he ever again  be able to believe in himself and drum in with the dundun drums his renewed sense of fun and pride?

'A touching and compelling story for young readers' Richard Taylor OBE

Wendy kindly took the time to do this interview with me about the process of self pubishing her book:

How did your decision to self publish come about?

I began writing children’s stories (that all embrace inclusion and diversity) when the flow of writing became immense after writing for my late Dad the story of his life as a gift for his 80th birthday, which I had bound into a book. As my stories started to grow I decided to put feelers out to see if I could gain a literary agent. My first letter to an agent was successful after I sent in a few of my short stories and a covering letter. I now know that this is absolutely unusual. My agent worked tirelessly trying to attract mainstream publishers to take on some of my stories, but after a good while was unsuccessful. However, in that time I had been to meet an editorial director and editor, and had discussions and sight of numerous e-mails with many professionals from the UK mainstream children’s book world who gave positive feedback in relation to my work despite no book deal. During this time I also independently managed to gain acceptance from an international publishing company of one of my short stories for publication in an anthology for Caribbean sales. I worked with a good editor and spent much time polishing this story, ‘Sisterly Plaits’, but again after a good time was sent an e-mail (as were all the others who had written stories for the book) and told that the project was not to go ahead. My then editor was non too pleased to say the least.

As time went on I was busily trying hard to sharpen my writing skills, and despite working full-time in local government, studying part-time and looking after my family, I attended many courses on either writing for children or creative writing in general. I took annual leave from work to attend a course at the City Lit in London and also a summer university course in creative writing and one year a module at university in short story writing. I also had a fun and constructive weekend in Brighton when I attended Laura Atkins' Writing Workshop last year. In addition I continued to write my stories, which by now were growing.

In much of my time delving further with writing children’s stories I rarely met others who mirrored my background or ethnicity. Despite the best efforts of many, I still thought that there was (and is) a lack of complete inclusion within the children’s book world that should represent and be for all of ‘our’ children within our diverse society. My passion and perseverance grew further, until I eventually decided to take my project into my own hands and progress with it. This first book of mine was also long listed for The Times Chicken House children’s writing competition. I thought, I can and I will!

Did you work with an editor and/or illustrator?

Did I work with an editor? I’m laughing! I don’t think I could have budged any further without the professionalism and assistance of a good editor. However, as I was pushing a children’s book out into the public domain, and it was my first, I worked with not one, but two editors, as I wanted my manuscript to be the best it could. I did my homework well with searching over a good period of time, as I did not believe any editor would have grasped my remit and also understand the diversity elements within my stories.

The Hilary Johnson Authors’ Advisory Service did a very good, full and comprehensive reader’s report on Tópé Arrives, and also the final copy edit. For the fine-tuning and long haul editing I worked with Children’s Literature Specialist Laura Atkins who was brilliant. I also had to get to grips with re-writing and re-writing over and over again. Laura’s view is global rather than insular and I felt as if she got right to the core of my characters, and was always willing to suggest remedies to problem areas to do with every single angle of the editing process and more.

Illustrations? I attempted to do some sketches and illustrations, but quite quickly realised how they were not to the standard I desired, and a few people were honest enough to let me know this too. Zara Slattery was recommended to me after I was having a few hitches in commissioning a professional and talented illustrator. I think her work on Tópé Arrives says it all. We discussed at length and I gave suggestions, but was always conscious of not wanting to get in the way of Zara’s creativity. I am thrilled to bits with the work that Zara has created for my book. The only thing that may prevent me from working with professional illustrators in the future is funds, and for that reason alone, I may be forced to further attempt to put pen or paint brush to paper.

Are you happy with the finished product – the book, Tópé Arrives?

Seeing the book in print was like getting the Christmas present and more that I always wanted. I am very happy with the book, but am fully aware of what I will do different in the future.  Tópé Arrives is my first children’s book and I know precisely what changes I will make for book number two, which is to be called, ‘Ria – Sisterly Plaits’. Self publishing costs, and sometimes you have to cut corners a bit because of this and not because of want.

How has the book been marketed?

Marketing for my book has been a ‘one woman band’ and has to a degree detracted from creative writing time, but it is vital if you want to get your book out there. There would be no point in me having my book and doing nothing with it, or no one knowing about it. I’ve not found this bit easy, but you either do it or you don’t and sometimes you have to push yourself.

So far I have had articles published in three local British newspapers, three of the best national Nigerian newspapers and The Chinese Weekly, which has UK and some distribution in China, and many local authorities have suggested purchasing the book for libraries and/or schools. I’ve also started to do promotional events and have future dates set up. Last Friday I had an event where I was reading, dancing and drumming with the dundun drums at Dulwich Library in London with a fun group of children and adults. Some great people have given me solid advice and helped me on my way with this. My book is also for sale on online international listings and through Amazon. One of the few main book suppliers in the UK has also taken my book onto their list and I have online marketing strategies in place, but these needs far more work. And… I have recently set up ‘Hue Publications’, but that’s a longer story for another time.

Do you have concerns as to how others will perceive your books?

‘Mouth was made to speak – word is wind - blow it and gone’ – basically people can say whatever they like, but it is just words and air coming out. Surely, if we are all born with a voice, we all have a right to speak – or in this case write and say something. For me Tópé or Ria (who is the main protagonist in my next book) have as much right to speak and have a voice (if only fiction) as Harry, Bruno, Alex or Katie. What we say must be done responsibly though, especially in terms of writing for children. So my concern is for the quality of the work and not what others feel ownership of.

What would you say about the process of self publishing?

If you do not have passion and perseverance then don’t even venture. It is also important to listen to comments from others, be they negative or positive, and take them on in a forward thinking manner. I think it is important to not think one goes into writing children’s books and eventually self publishing for any financial gain, as this would not only be naïve, but incorrect too – well, especially for the vast majority initially anyway. Self publishing is not an easy route and there are no guarantees, but I well know that I decided to progress because I felt strongly about what I wanted to do, and had an idea that filled a gap, creating something that would benefit others. I went into self publishing with my eyes wide open.