Undiscovered Voices 2022 Long List Announcement

We are thrilled to share the longlist of writers who will be considered for the Undiscovered Voices 2022 anthology.

UV2022 Longlist

These talented writers were selected from 270 submissions from SCBWI members in the British Isles and the EU.

Alex Atkinson
Alison Clack
Andrew James
Barny Hobbs
Cara Lovelock
Catherine Rosevear
Colm McGeever
Deborah Longstaff
Ele Nash
Emily Randall
Emma Norris
Gerry Rush
Julie Farrell
Karen Walk
Katja Kaine
Katrina Sansone

Kelly Smith
Lucy Sharmila Mohan
Mandy Rabin
Miriam Craig
Natalie Perry
Paula Thompson
Sarah Broadley
Sarah Harrison
Sarah Wood
Stuart White
Sue Cunningham
Tom Mann
Victoria Benstead-Hume
William Dobson
Zoe Cookson

The fourteen novel extracts that will be featured in the Undiscovered Voices 2022 anthology will be announced in mid-January.

The Undiscovered Voices team endeavours to create an anthology that showcases the variety of writing available from SCBWI members in the British Isles and the Europe. The goal of the anthology is not only to help the selected authors to find agents and editors, but also to promote the quality of work abounding in SCBWI in Europe.

The stories were considered anonymously and selected by a distinguished panel of industry experts:

  • Davinia Andrew-Lynch, literary agent and the founder of boutique agency, ANDLYN
  • Megan Carroll, literary agent at Watson, Little Ltd
  • Sarah Davies, founder and agent at Greenhouse Literary Agency
  • Jane Griffiths, editorial director at Penguin Random House Children’s Books
  • Sarah Levison, senior commissioning editor for fiction at Farshore Books
  • Yasmin Morrissey, commissioning editor at Scholastic
  • Jo Williamson, literary agent at Antony Harwood Ltd

Congratulations to these talented writers!

All the best,

The Undiscovered Voices Team

Guest blog: The pressure of time (Kate Scott)

Welcome to one of our original Undiscovered Voices finalists, Kate Scott  (UV2008). Her guest blog talks about the forces that seek to whittle away the precious time that writers have to write. There are times to write slowly, she suggests, and some occasions that require writing quickly!

The pressure of time

Whether published or pre-published, it’s easy to feel under pressure as a writer. The pressure to produce a book, to submit it (or, if under contract, to market it), then to write another, and another, and another. But writing books with frazzled speed is not the way to produce your best work – and if you’re not producing your best work then maybe it needs a new approach…

Slow writing

We have slow cooking, why not slow writing? Wallow in your words. Ponder your paragraphs. Curl into your chapters. Submerge yourself in your story. (And avoid too much alliteration.) Creating good stories takes time – so take the time. What you produce will be the better for it. What sticks is a good story, so don’t rush or you’ll write something that slips from the reader’s mind, rather than lingering there.

R. J. Palacio, author of Wonder, is about to publish a new book, Pony. She says: “I love to tell stories, and writing is my preferred way of doing that. But I also love spending time with family and friends, and I can’t say I’m one of those writers that writes ever day even when I’m not working on a book. I write until a story is finished, then I do other things. Then when I have another story to tell, I write that one.”

She talks about how she put her new manuscript aside when she realised it wasn’t working. She only went back to it a few years later when she’d figured out the way to fix it. The result? A better book. The lesson? Take your time.

The pressure of the brand

As a writer or an illustrator, you’re also pushed to create a brand, to promote that brand, extend it, and work to make it ‘sticky’ (among other vaguely unpleasant-sounding marketing terms).

You’re told to network, promote, create acres of content. You’re told to choose your social media platform and to dance on that platform until your feet bleed and you have followers in their thousands…

To which I say (and editors and marketing managers may want to cover their ears at this point): No.

It’s not that having a social-media platform or a brand is a bad thing – of course it’s not – but it’s not what should come first.

If you are spending more time online networking and promoting than you are offline writing and editing your stories, then you have things the wrong way around. Funny memes may get the likes, but good stories pull in the readers. Social media fans are fickle, readers of good books are anything but. Take your time.

Don’t do what makes you feel uncomfortable

Some people are natural networkers, happy to share their lives online. If this is you, that’s wonderful – use your gift-of-the-online gab. If it’s not you, don’t worry that you are losing out. It’s unlikely that your online presence will have as much as an effect on sales or reach as you might have been led to believe. Other people’s recommendations will snag sales, your own promotions? Not so much. And other people’s recommendations will come if the work is good.

So again, take your time to make it so. Just like the Field of Dreams quote: ‘If you build it, they will come.’

The exception proves the rule

BUT. If you’re reading this and you’re thinking of entering the Undiscovered Voices competition? Ignore everything I’ve just said and HURRY UP.

This is the chance of a children’s writing career lifetime…

type at your fastest speed and grab it!

Kate Scott is the author of 35 children’s fiction and non-fiction titles, including Giant, Just Jack and Spies in Disguise: Boy in Tights, which won a Lancashire Fantastic Book Award. Kate has also written over 90 episodes of children’s television for CBeebies, C5, CITV, Disney and Netflix. She was the script-editor for the animation-film, A Christmas Letter, narrated by Kate Winslet (Sky) and was recently commissioned to write the treatment for a 45-minute TV film special based on the classic children’s series, Brambly Hedge, by Jill Barklem.

She is currently the Story Editor for a new pre-school show coming to Apple TV. Kate co-founded the Book Pen Pals initiative with Sara O’Connor in May 2018.

Guest blog: Crossing the finish line – three writing hacks (Michael Mann)

In our latest guest blog post, Undiscovered Voices finalist Michael Mann (UV2020) reveals three of his favourite pre-submission writing hacks, which were tried and tested on his forthcoming debut novel Ghostcloud.

Crossing the finish line – three writing hacks for the submission sprint

The UV2022 submission window is open! You are (hopefully) almost there, fine-tuning your piece, or perhaps (more my style) sprinting madly to the finish line.

Fear not. Both methods work. And now, as I cheer you on from the sidelines, I will not share deep, wise words (Annaliese and Anna stole mine anyway) but a few tried and tested hacks I used on Ghostcloud ahead of submission (which worked, I think, as it’s coming out in October!).

1. Shake it like a polaroid picture (aka Robot Voice)

In the film Clueless, Alicia Silverstone’s character Cher states ‘I don’t rely on mirrors’, explaining she takes a polaroid of her outfit each day. Why? Because polaroids are less flattering than mirrors. If she looks good on a polaroid, she knows she looks good.

Reading your work aloud is like looking in the mirror. You round up. You hear what you want to hear. The good news is that an (unflattering) polaroid lies just around the corner: the robotic voice of your Mac/PC. It’ll read it horribly, butcher it even, but that’s what you need. If it still sounds good in robot voice, then it’s ready.

In a Mac, you just highlight the text, and press Option+Esc. I’m sure there’s a shortcut on PCs too. I use it all the time – it helps so much with rhythm, pace, typo spotting – and is a great way to give your eyes a screen break.

2. Cut out the ‘wases’ (and ‘weres’ and ‘ises’…)

When my friend Louise gave me this tip, I was angry. How ridiculous! I mean, the novel was in the past tense, how could I avoid was?

But after I cooled down, reworked the passage and sent it round, most preferred the ‘was-less’ version. They just said it was tighter. Here’s a before and after, when my protagonist, Luke, enters the haunted corridors of the East Wing.

Before: It wasn’t just the length that made him feel dizzy. The lights were flickering, the dark paint was peeling, and the black and white floor tiles were zigging and zagging.  

After: The corridor stretched into the darkness. Lights flickered dimly, flakes of dark paint hung from the walls and black-and-white tiles zigged and zagged underfoot.

In fact, I still like the original, and sometimes a ‘was’ is what you need… but so often, when I check my ‘wases’, I find stronger verb or more concise expression. In kids’ books, every word has to earn its place, so this is usually a good thing.

3. Make it smelly. (Or touchy. Or tasty.)

I know we all know this, but I still forget daily, so I want to remind you because the UV2022 finish line is so close! You can practically see the white ribbon. You can hear the crowds cheering.

But can you smell it?

I doubt it. A smelly crowd would be slightly off-putting. And usually ribbons don’t smell at all. I’d go as far to say that people avoid smells, both in life and writing. But I dare you to stick in a smell in your extract. I’ll raise that, why not try the first page or two?

A simple one will do. For our sprint, maybe cut grass, old trainers or cheap deodorant. Or if it really doesn’t fit, at least try some touch (a chafing sports t-shirt, a powdery start line) or taste too (salty-sweat, minty lip balm). Suddenly that finish line feels so much closer.

Mark Haddon (I think) said he tries to get all five senses in each chapter. And he’s wiser than me. 

Now, stop reading this blog and start editing! I’ll be cheering loudly (in cheap deodorant) from the metaphorical sidelines.

Good luck!

Michael Mann is a teacher by day, dad by night, and mostly writes when he should be sleeping. He was a UV2020 finalist and a 2019 London Writers Award winner.

His debut middle grade novel, Ghostcloud, is a thrilling, magical adventure that will be published by Hachette in October 2021 with a sequel the year after. He owes the idea for the story to his coal-mining grandad and a lifelong love of cloudspotting.

He lives in London with his (patient) partner and their (less patient) toddler, and can be found playing board games when he’s not busy losing his wallet.

UV2022 is open for submissions

Official announcement

Submissions Are Now Open for SCBWI-BI’s Eighth Undiscovered Voices Anthology

Once again SCBWI British Isles plans to help fresh, new voices in children’s literature find agents and publishers through its Undiscovered Voices project. 

Submissions will be accepted online at www.undiscoveredvoices.com from now until 18th July 2021 via an online submissions process. There is no submissions fee, but only unagented and unpublished members of SCBWI living in the UK and Europe (writing in the English language) are eligible. ‘Unpublished’ means you have not had a book (including a picture book, novel, non-fiction book or collection of short stories) accepted for publication or currently published in any country. 

The Undiscovered Voices anthology will include at least twelve fiction extracts – from early readers to young adult novels – from SCBWI members in the UK and EU. The anthology will be published in January 2022 and sent free of charge to editors and agents whose focus is children’s literature. The book is produced with the financial support of Working Partners Ltd, a London-based company that creates series fiction. 

Authors and illustrators from the seven previous anthologies have received publishing contracts for more than 400 books and have been nominated for or won more than 160 literary prizes, including the Carnegie Medal, Waterstone’s Children’s Book Prize, Branford Boase Award, Blue Peter Award, the SCBWI Crystal Kite Award, and more than 30 regional awards.

What You Need to Submit:

  • The first 4,000 words of a completed novel for children/teens. Picture book texts and nonfiction work are not accepted.
  • The target age range of your book, choosing from 5–8 year olds, 9–12 year olds and Young Adults (YA).
  • A 75-word synopsis of your story.
  • A 50-word bio written in the third person. 

You may not resubmit any extract from a novel you submitted for consideration in previous Undiscovered Voices anthologies ­– even if it has been significantly revised.

Before you submit, please review the complete submissions eligibility and rules.

Judges

Four UK literary agents and three editors comprise the stellar judging panel for Undiscovered Voices 2022:

  • Davinia Andrew-Lynch, literary agent and the founder of boutique agency ANDLYN
  • Megan Carroll, literary agent at Watson, Little Ltd
  • Sarah Davies, founder and agent at Greenhouse Literary Agency
  • Jane Griffiths, editorial director at Penguin Random House Children’s Books
  • Sarah Levison, senior commissioning editor for fiction at Farshore Books
  • Yasmin Morrissey, commissioning editor at Scholastic
  • Jo Williamson, literary agent at Antony Harwood Ltd

Honorary Chair

Patrice Lawrence, an award-winning writer for children, teenagers and adults, is the honorary chair for Undiscovered Voices 2022. Her books include Orangeboy, (shortlisted for the Costa Children’s Book Award and winner of the Bookseller YA Prize and Waterstones Prize for Older Children’s Fiction), Indigo Donut (winner of the Crimefest YA Prize and shortlisted for the Bookseller YA prize), RoseInterrupted and Eight Pieces of Silva (winner of Woman and Home Teen YA, the Jhalak prize for writers of colour and the Crimefest YA Prize). All four books have been nominated for the Carnegie Medal. She was a 2020 Costa Book Awards judge and is a judge for the Little Rebels Children’s Book Award for Radical Fiction.

For more details on how to submit, tips for writers, blogs from previous writers featured in the anthology, and to sign up for news and updates about Undiscovered Voices, visit www.undiscoveredvoices.com

Guest blog: The power of seeing yourself as the hero (Serena Patel)

Undiscovered Voices finalist Serena Patel (UV2018) shares the importance of making sure children can see themselves in the stories they read and how diverse voices are a gift to every reader.

Seeing yourself as the hero

Imagine loving stories, inhaling book after book, books being such an important part of your life. Now imagine never seeing yourself in books. Imagine never seeing someone like you as the hero of the story. Imagine never believing you can be a hero in your own story.

I loved books as a child. Reading was comfort, escapism, mystery, adventure. Books held my hand through difficult times and kept my head above water when I couldn’t express how I felt as a young person growing up.

I never realised that in the stories I loved I never saw myself. I was never the hero of the story.

The hidden impact of being invisible

I’ve only realised as an adult what the impact of that can be. Seeing yourself in stories can be validating, empowering, educating. We know books create empathy. We know books help children make sense of the world around them. The world I was seeing was white centred, not just in books but in my primary school too as I was the only child of colour there. I felt like I didn’t belong, that there was no place for me.

I hadn’t realised that was the message I was receiving but it makes sense now. If I couldn’t see anyone who looked like me in stories, what did that make me? Invisible? Not to say there weren’t books about people of colour but those that did exist were not made accessible to us, not given the same visibility.

Don’t stop believing

I had always loved writing, but had never shown anyone my words, never believing anyone would want to hear what I had to say. Then much later as a mother, I remember looking at our bookshelves and thinking something is not right here. Where are the books that reflect our life, where are the British Indian main stories?

So I started writing again, but still disbelieving even as I embarked on the journey to publication that anyone would want to read this book.

Sharing stories with the world

When I entered the Undiscovered Voices competition I had no idea what could happen. It was the most wonderful thing. The judges heard my voice, they valued it and they put it in front of publishing and said ‘look at this!’ I am forever grateful to them for providing this platform to new writers.

How wrong I was thinking no one would want to hear what I had to say – the reception for the book from readers, librarians, teachers, parents and children has been amazing. They all accept and love Anisha as the hero, no questions asked. And now it feels so simple – of course, Anisha can be the hero. Why couldn’t I see it before?

How I wish I’d had these books as child, how validated I would have felt, I might have felt differently about myself? Seen myself and my culture through a positive lens. Seen myself as a hero of my own story?

But how glad I am we have a chance to give this to the next generation. Those books that reflect realities, act as windows and mirrors can make a real difference to our children. Reading those stories, hearing new voices, opening up the world and our minds. What a gift that is.

Serena Patel is the author of the Anisha, Accidental Detective series which won the Sainsbury’s Children’s book Award for Fiction and the CrimeFest award for Best Children’s Crime Fiction.

She lives in the West Midlands with her family. Serena believes all children deserve to feel seen in the stories they read and that books are an important tool for empathy. When she’s not writing Serena enjoys watching movies, reading and eating cake. Chocolate cake preferred.

UV Masterclass report, part 2

This year’s Undiscovered Voices preparations are bigger than ever with our very first UV Masterclass series proving hugely popular. But if you missed out, don’t panic! Here’s a breakdown to clue you in. Each of the three sessions focused on different elements of your UV submission. Our second report focuses on WRITING A SYNOPSIS with author and editor Benjamin Scott, sharing his secrets for distilling your novel into a 75-word synopsis. This might feel impossible, but Benjamin makes it look easy.

Writing a Synopsis

Firstly, it’s important you don’t try to say too much – it’s only 75-words – try to capture the essence of your story and don’t try to squeeze in all the finer details. Remember, you don’t have to keep it forever – it’s a specific tool to woo our judges.

Hot tip! The writing does matter. Fluidity and intrigue that pulls you in is key, a bit like a movie trailer. You might like to keep that in mind when you’re writing yours. They should tell you just enough to give you a picture of the story and where it might go.

What were the big pointers to look out for?

Make sure you’re pitching your story to the right age group, that the tone and style are reflective of your chapters, be sure to tell the judges about the bigger picture and read the previous anthologies to see successful examples – they’re all available for free!

You’ll notice those who’ve previously bagged themselves a spot in the anthology ensured their audience knew who their stories were about, their conflicts or goals, the stakes and what they intended to do about them, and if they had time, they’ve thrown in a small peppering of setting too.

At the end of the day, Benjamin advises not to let this task consume you – it’s a functional tool just for our judges – if you’re submitting directly to agents, they’ll likely want a longer synopsis.

Get friends and family to check it or write several different versions to let them choose. Why not also get your friends and family to read a selection of your favourite synopses from the previous anthologies? Then ask them what appealed to them.

Make every word count and trust your gut!

Discover more – UV Masterclass report, part 3

Don’t miss the great tips in our UV masterclass report, part 1 on Titles That Sell.

Andrew James is originally from the Lake District and teaches English, Film and Media. He completed his MA in Children’s Literature at Goldsmiths in 2018 and for the past five years, he has organised and hosted monthly agent pitch evenings for his local writing group. He has a passionate dislike for anything referred to as an ‘easy peeler.’ Satsumas are the only way to go.

UV Masterclass report, part 3

This year’s Undiscovered Voices preparations are bigger than ever with our very first UV Masterclass series proving hugely popular. But if you missed out, don’t panic! Here’s a breakdown to clue you in.

Our final report focuses on HOOKING YOUR READER FROM THE START, which saw editor and author Catherine Coe and author and screenwriter Simon James Green discussing how to polish those opening lines, including dispelling the most common myths about openings and highlighting the key components your openings really do need.

Hooking your reader from the start

What were the common myths? You’ve heard them all before: avoid exposition, start with action, make sure your first line sparkles and never, ever, ever use a prologue. I know what you’re thinking. Should you now ignore these conventions? Not exactly. They’re just not necessarily absolutes, nor should each be taken to extremes.

Lights, Camera, Exposition

With exposition, readers don’t want to see lots of clunky backstory, but they do need to know some details, otherwise it’s confusing. Exposition should come naturally. Trust your writing to be strong enough so you don’t need to cram the twists and turns into your opening.

Action’s great to start with, but don’t be fooled by the word action. It doesn’t necessarily have to be something physical. E.g. Alan Garner’s The Owl Service merely has the children hearing something in the attic. It’s intrigue we want. Physical action might work brilliantly for some genres but not for all, so try your best to interpret this into something appropriate for your story.

If a prologue is key to your story, if you absitively posolutely have to have it, then why not just name it Chapter One? And a sparkly first line? Really, the whole book really needs to sparkle. If it does, you won’t need to worry about the first line. Sounds easy, doesn’t it?

So, what’s the big idea of dispelling myths you’ve worked so hard to adhere to? It’s all about not letting yourself get bogged down trying to follow rules, but instead using your common sense to write your story with these conventions as guidelines.

That’s what not to do. Here are the six key components every opening should have:

One – Start in the right place

Start where your story really starts. You’ve heard it before, I’m sure, yet aspiring writers continually make this mistake. Get to your inciting incident ASAP. It doesn’t have to start where it starts in your head.

Two – How are you going to say it?

Voice! Oh, I know, you’ve had that feedback before. It is key though. The voice of your character, narrator and your voice as the author all have to shine through. Isn’t that why you love your favourite writers so much

Three – Get under the skin of your characters

Use your characters to create engagement and connection. You have to know your characters inside out, but we don’t need every detail on the page. We can see brushstrokes in their actions and reactions, but again, this should feel natural. Don’t list their traits. It’s a classic show, don’t tell situation.

Four – Everyone should know where they are

Setting is vital. Just because you can see it in your head, doesn’t mean your reader can. Your setting is likely as important as your characters, so use it.

Five – Making sure you keep the reader reading

How do you? Intrigue! You need to think about how you begin and end your chapters, the pacing of your story and how to hook the reader to keep turning those pages.

Six – Give us enough clues to know what we’re reading!

It’s important to give a sense of genre to your writing. It helps our judges (and your readers) understand where your story falls and what might come next. Conventions are useful but again, not absolutes. They can be broken, but that’s all part of your intrigue.

And, lastly…

One final brilliant tip from our wonderful Benjamin Scott regarding your 50-word bio. Re-visit the previous anthologies (all free to download) and read some. You want the judges to be interested in you and see that you take your writing seriously. Think about how you present yourself.

There you have it. All three of our amazing Undiscovered Voices Masterclasses in a nutshell. So, what’s stopping you? Get to work!

Good luck and remember, it’s supposed to be fun!

Don’t miss the great tips in our UV masterclass report, part 1 on Titles That Sell and part 2 on Writing your Synopsis.

Andrew James is originally from the Lake District and teaches English, Film and Media. He completed his MA in Children’s Literature at Goldsmiths in 2018 and for the past five years, he has organised and hosted monthly agent pitch evenings for his local writing group. He has a passionate dislike for anything referred to as an ‘easy peeler.’ Satsumas are the only way to go.

UV Masterclass report, part 1

This year’s Undiscovered Voices preparations are bigger than ever with our very first UV Masterclass series proving hugely popular. But if you missed out, don’t panic! Here’s a breakdown to clue you in. Each of the three sessions focused on different elements of your UV submission. Our first report focuses on the first, TITLES THAT SELL, with freelance editor Jenny Glencross and Dani Wilson from Simon & Schuster Children’s sales team.

Titles that sell: what did they say?

Titles are important. They’re the first thing an agent, editor, publisher, or reader will see. They have to work hard to grab attention, hint towards your book’s genre and intended readership and entice them to actually open the book. The right title can make a big difference to sales! Would you pick up a book called Trimalchio in West Egg? No? But you might pick up The Great Gatsby. How about a book called First Impressions? You might be surprised to learn that one later became Pride & Prejudice.

Why not consider the titles of your favourite books – what do they tell you about the story, the intended readership, the genre and tone? e.g. The Day the Screens Went Blank tells you so much, including the timeframe the story is set in.

They Both Die at the End means you instantly know it’s YA and it gives you the ending, but you buy it hoping it’s not true.

So, how do you pick the right title for you? Jenny and Dani suggest brainstorming keywords or phrases that describe the plot, character and themes of your book or even phrases that might be in the book that encapsulate your story.

If you’re really stuck, maybe consider some of the classic title conventions and structures, such as the one-word title (Brightstorm, Cogheart, Nevermoor), the name + noun title (Amelia Fand and the Barbaric Ball, Harry Potter and the Philosopher’s Stone), the play on words title (Who Let The Gods Out, Murder Most Unladylike), the juxtaposition title (Dragon Mountain, Dangerous Remedy, Demolition Dad), the noun title (The Boy at the Back of the Class, The Clockwork Sparrow) and the list title (Angus, Thongs and Perfect Snogging; Me, My Dad and the End of the Rainbow; Chocolate Mile, X-Ray Specs and Me).

If in doubt, don’t overcomplicate it and don’t try to be too poetic or clever. Remember, if you get signed by an agent, they might want you to change the title, as might an editor or publisher, or maybe even the booksellers! Keep an open mind and whatever you do, don’t use picking a title as a device to procrastinate and keep you from writing!

Discover more – UV masterclass report, part 2

Andrew James is originally from the Lake District and teaches English, Film and Media. He completed his MA in Children’s Literature at Goldsmiths in 2018 and for the past five years, he has organised and hosted monthly agent pitch evenings for his local writing group. He has a passionate dislike for anything referred to as an ‘easy peeler.’ Satsumas are the only way to go.

SCBWI-BI Kicks Off Its Eighth Undiscovered Voices Anthology

Once again SCBWI British Isles plans to help fresh, new voices in children’s literature find agents and publishers through its Undiscovered Voices project. New this year is a series of free and low-cost events to help writers prepare their submissions.

The Undiscovered Voices anthology will include at least twelve fiction extracts – from early readers to young adult novels – from SCBWI members in the UK and EU. The anthology will be published in January 2022 and sent free of charge to editors and agents whose focus is children’s literature. The book is produced with the financial support of Working Partners Ltd, a London-based company that creates series fiction.

Authors and illustrators from the seven previous anthologies have received publishing contracts for more than 400 books and have been nominated for or won more than 160 literary prizes, including the Carnegie Medal, Waterstone’s Children’s Book Prize, Branford Boase Award, Blue Peter Award, the SCBWI Crystal Kite Award, and more than 30 regional awards.

Deadlines

Submissions will be accepted between 14th June and 18th July 2021 via an online submissions process. There is no submissions fee, but only unagented and unpublished members of SCBWI living in the UK and Europe (writing in the English language) are eligible.

Judges

Four UK literary agents and three editors comprise the stellar judging panel for Undiscovered Voices 2022:

  • Davinia Andrew-Lynch, literary agent and the founder of the boutique agency ANDLYN
  • Megan Carroll, literary agent at Watson, Little Ltd
  • Sarah Davies, founder and agent at Greenhouse Literary Agency
  • Jane Griffiths, editorial director at Penguin Random House Children’s Books
  • Sarah Levison, senior commissioning editor at Farshore Books
  • Yasmin Morrissey, commissioning editor at Scholastic
  • Jo Williamson, literary agent at Antony Harwood Ltd
Honorary Chair

We are thrilled to announce that Patrice Lawrence, an award-winning writer for children, teenagers and adults, will be the honorary chair for Undiscovered Voices 2022. Her books include Orangeboy, (shortlisted for the Costa Children’s Book Award and winner of the Bookseller YA Prize and Waterstones Prize for Older Children’s Fiction), Indigo Donut (winner of Bristol Crimefest YA Prize and shortlisted for the Bookseller YA prize), Rose, Interrupted and Eight Pieces of Silva (Winner of Woman and Home Teen YA). All four books have been nominated for the Carnegie Award. She was a 2020 Costa Book Awards judge and is a judge for the Little Rebels Children’s Book Award for Radical Fiction.

Undiscovered Voice Events
Free Zoom Kick-Off Event on 22 April 2021 from 7:30 – 8:30 p.m.

This event will be a panel discussion with the judges, who will offer valuable advice for those planning to submit to the anthology. To attend, you must be a member of SCBWI in the UK or EU.

Three 90-Minute Masterclasses
8 May – Titles that Sell

Freelance editor Jenny Glencross will discuss how to craft a title to capture the attention of readers with Dani Wilson from Simon & Schuster’s Children’s sales team.

15 May – Writing a Synopsis

Author/editor Benjamin Scott will share the secrets of how to summarize a novel into the 75-word synopsis required for each UV submission.

22 May – Hooking Your Reader from the Start

Editor/author Catherine Coe and author/screenwriter Simon James Green will discuss how to polish those opening lines so readers are compelled to read on. 

Each session will run from 10 – 11:30 a.m. and contain practical advice and hands-on exercises as well as the opportunity for a selection of writers to share their work and receive feedback. The cost for all three sessions is £30. Free places will be available for writers who are financially disadvantaged or underrepresented in children’s publishing.

You will be able to book UV events on the SCBWI-BI web site soon.

For more details on how to submit and to sign up for news and updates about Undiscovered Voices, visit www.undiscoveredvoices.com

UV2020 finalists announced!

Huge congratulations to the twelve incredibly talented writers selected for UV2020 from nearly 250 submissions from SCBWI members in the British Isles and Europe.

The UV2020 finalists

  • Annaliese Avery
  • Yvonne Banham
  • Sharon Boyle
  • Anna Brooke
  • Dr Adam Connors
  • Clare Harlow
  • Urara Hiroeh
  • Helen MacKenzie
  • Michael Mann
  • Angela Murray
  • Laura Warminger
  • Harriet Worrell

Find out more about the selected writers here.

Download your free copy of UV2020 here.

The Undiscovered Voices team endeavours to create an anthology that showcases the variety of writing available from SCBWI members in the British Isles and the Europe. The goal of the anthology is not only to help the selected authors to find agents and editors, but also to promote the quality of work abounding in SCBWI in Europe.

The stories were considered anonymously and selected by a distinguished panel of industry experts:

  • Helen Boyle, Literary and Illustration Agent at Pickled Ink
  • Annalie Grainger, Senior Commissioning Editor at Walker Books
  • Stephanie King, Commissioning Fiction Editor at Usborne Publishing
  • Polly Nolan, Literary Agent at Greenhouse Literary Agency
  • Alice Sutherland-Hawes, Children’s Agent at Madeleine Milburn Literary Agency
  • Clare Wallace, Literary Agent at Darley Anderson Children’s Book Agency