A few questions I’ve often been asked and my honest answers.
Q: What made you want to write your debut manuscript in the first place?
With AI (Artificial Intelligence) seemingly everywhere, I was fed up seeing AI books on well-known websites full of gibberish. Too many stories were about dragons in garden sheds granting wishes to any kid that knocked. Add in the claims from “authors” who said they were writing fifteen books a week, and I’d had enough. Kids deserved better. I needed to do something and put reality back into writing.
Q: Did you always imagine yourself writing for children, or did that surprise you?
No surprise at all. My humour has always been a bit childish - I’ll laugh at silly things like someone putting a soggy pizza on their head. I love repetition too; if you’ve seen the BBC comedy Alan Partridge, there’s a moment where he shouts “Dan!” fifteen times in a row - that sort of thing makes me laugh, and you’ll find touches of that in my manuscript. I’m not a horror or thriller writer. I draw from my own life - I remember my primary and comprehensive school years vividly and still use those memories, along with experiences from later jobs and my personal life, as material.
Q: What is your book about?
It’s about kids who feel real - navigating school, friendship, and everyday life. There are funny moments, tougher ones, and twists you might not expect. That’s as far as I’ll go… unless you are a recognised industry agent.
Q: If you had to sum up your debut manuscript in one sentence for an 8–12 year old, what would you say?
A funny and sad realistic read based on actual events and experiences, featuring characters you think you might know in real life.
Q: On the main page of your website you say, “Not everything needs a dragon or a magic wand. Sometimes the most powerful stories are the ones that could have happened in real life.” Are you against fantasy stories?
Not at all. Fantasy has its place, and some of the best examples are incredible. What I meant is that AI often churns out dragons and dinosaurs with endless “special abilities,” because it leans on clichés. Personally, I love a touch of magic, but I prefer human writing - the kind that’s been carefully imagined and worked on over time. For me, there’s something more meaningful about creating stories rooted in reality, where the “magic” is in how believable they feel.
Q: Are any characters based on anyone you know in real life?
One boy is partly based on me. He is good at writing. My stories were read out in class - it became a “thing.” A few other characters also draw on people I’ve known. The emotions and small moments in the book come from those memories, though the characters and situations soon took on lives of their own.
Q: You’ve said you believe we need to “get back to reality.” In what context?
When I was growing up, children’s TV often leaned on fantasy. I remember watching E. Nesbit’s The Phoenix and the Carpet and Frances Hodgson Burnett The Secret Garden. They were classics, but there wasn’t much I could personally relate to, aside from having a carpet in my bedroom and a garden at home. Then along came Grange Hill. A gritty, real-life school drama. Suddenly it felt authentic. I think the middle grade book market is in a similar place now: there are a lot of “gardens and phoenixes,” but not enough that show real kids in real situations. In my manuscript, I’ve really tried to keep it grounded. Many of the storylines actually happened, most of the characters are inspired by people I’ve known, and even the head teacher’s personality is written exactly as I remember him. I’ve also hidden clever historical references in a couple of chapters - little Easter eggs for sharp-eyed readers. It’s all about giving children something that feels real, while still rewarding them if they look deeper.
Q: Which character do you think you’re most like - and which one do you secretly wish you were more like?
One boy loves dares, which was certainly like me at that age. He uses an amusing word when he’s annoyed - he can’t swear, of course, it’s a children’s book. The word just came to me as I was writing. I looked it up online and found it was a typical insult in the 1800’s. I think I wish I were more like him now. As we get older, we lose that sense of daring, risk-taking, and pure silliness.
Q: If any of your characters could step out of the book and talk to you, what do you think they’d ask or say to you?
“Why isn't our story published yet, Gavin?” is the most likely question they would ask.
Q: When you were at school, were you more like the kid who followed the rules or the one who got dared into trouble?
A bit of both. I would knuckle down and get on with things - sometimes even finishing the English homework I’d been given in the previous lesson while sitting in maths. But other times I was the complete opposite, like when I made telephone calls to freephone numbers on the school’s new payphone. We even tried to get double-glazing companies to send the school brochures. We got into trouble for that!
Q: How do you picture your characters when you’re writing?
I replay scenes in my head over and over, almost like a TV script, until they feel real. I’ll even create a visual reference to pin down the look of a character or a moment. It isn’t artwork for the book, just a way of keeping the world consistent in my mind as I write. You can see some of those early visuals on the Concept Art page.
Q: What was your favourite subject at school?
Throughout my time at school, it was English. I loved coming up with funny stories with a twist. As a grown-up, I work differently. It’s much easier to come up with a 400-word story instantly than to write a layered multi-chapter manuscript of 40,000 words. The way I write now works for me. I’m not a “Once upon a time” author - I’d suffer from writer’s block after four words.
Q: If your manuscript had a soundtrack, what three songs or kinds of music would be on it?
There’s a character in the manuscript who has an anxiety breakdown. In the background I’d have Nozomi’s Theme from the Shenmue computer game. It brings a tear to my eye every time, just as it does when I read that scene. Next would be the instrumental to Crash by Matt Willis, which was used in the film Mr Bean’s Holiday. I love the vibe and energy, which sums up the feel of the manuscript. Finally, Don’t Worry, Be Happy by Bobby McFerrin - I can imagine it playing after the character with anxiety gets the help they need.
Q: What do you hope kids (and parents) would take away if they read your debut manuscript?
That there’s more to reading than a silly AI story about a twelve-legged dinosaur handing out free burgers. Real emotions, real stories, and real experiences are what life is about. I’ve just added a bit of fun, humour, and heart. Kids, parents, and teachers will see themselves as one of the characters. No one is going to see themselves as a purple elf from the planet Bog. Then again, I did dye my hair purple last year, which made a mess of the bathroom - so maybe I’m halfway there… Moving on, next question.
Q: Can we expect more adventures from your characters in the future?
Definitely - there’s series potential. I have tons of storylines from my school days and beyond, full of humour, “wow,” “omg,” and “that’s so sad” moments. I’m itching to get them down on paper. Someone asked me the most bizarre question earlier in the year. There’s a backstory to it, and I know exactly how it would play out in another storyline in a future book. That’s the way I write: I play storylines over and over in my head until they feel like memories. When I write, it’s like writing an autobiography.
Q: If you could sit down for pizza with any author or TV writer who inspired you, who would it be and why?
That’s a tricky one. I could pick a childhood author, but I’m going to choose John Sullivan, the creator of the BBC sitcom Only Fools and Horses. He had an incredible ability to create humour immediately after something sad. For example, after Grandad’s funeral, Del Boy accidentally threw the priest’s hat onto the coffin, thinking it was his grandfather’s. We then see the priest asking where is his hat. The timing was perfect. I’ve tried to blend sadness and humour in a similar way in my manuscript. Pizza with the late John Sullivan would have been luvly jubbly.
Q: Any favourite books or authors?
When I was growing up, it was C.S. Lewis and The Chronicles of Narnia. My favourite was actually The Magician’s Nephew - the prequel to The Lion, the Witch and the Wardrobe, which everyone knows. I also preferred Enid Blyton’s Secret Seven over The Famous Five. The latter always seemed too busy solving crimes, while the Secret Seven seemed happier looking for missing dogs. Roald Dahl deserves a mention too, especially Charlie and the Chocolate Factory and The Magic Finger. Amusingly, when I worked in the Civil Service, my team was responsible for administering Dahl’s war pension!
As for modern books, I enjoy dipping into the Tom Gates series. With 23 titles, you can pick and choose, and they’re refreshingly accessible compared to a 200,000 word adult novel. I also found Wonder a powerful read. Kids often poke fun at others - whether it’s for something small like not getting a birthday present, or something more serious like an illness. In Wonder, I admired how August’s classmates learned to stand by him, and how he found the strength to rise above the bullying. I’ve explored something similar in my own manuscript, but with the roles reversed. Let’s just say it involves a character with a “tic” - a repeated phrase or habit - and the deeper story behind why they do it. It begins with humour but, when the truth comes out, it’s actually quite sad. As adults, I think most of us outgrow the impulse to laugh or tease. In my own case, I try to look for empathy instead.
Q: What has the submission process to literary agents been like for you?
A learning curve! In the USA it’s called querying, while in the UK it’s usually submissions. UK agents tend to give you more space to show off your work - typically a pitch email, three chapters, and a one-page synopsis. In contrast, the few US agencies I’ve queried often only wanted ten pages pasted into the email plus a short pitch.
My tip to other authors: don’t keep refreshing your inbox. Most UK agencies won’t reply beyond an auto-receipt, which I understand - agents are very busy - but it would be nice if a standard “no” auto-reply were the norm so authors could cross them off their list.
For me, one of the most important parts of submissions is research. I always look at which agent is right for the book, dig into the agency itself, and even check Companies House here in the UK to see how healthy the business is financially. One long time agency I looked at had just over £1,000 in the bank the previous tax year - I chose not to submit there.
If you’re writing fiction, make sure your manuscript is complete. If an agent is interested and you’ve only written three chapters, you’re unlikely to be taken on if you then ask for four months to finish.
Q: Why go to an agent rather than self-publish? What’s the difference?
Self-publishing works brilliantly for some writers, but I know my manuscript belongs in the traditional space. With an agent and publisher, you’re not doing everything alone - all the production costs are covered, and you have a team behind you. An agent can also help place the book with the right publisher, reach schools and bookshops, and guide it as part of a series. The other big difference is focus. In self-publishing, the author is looking at making money directly. With an agent and publisher, you’re working to make the book succeed commercially for everyone involved. For me, the value is also personal: having someone experienced on my side who knows the industry, can champion the story, and help take it further.
Q: Final thoughts?
I’ll keep plugging away and hoping an agent takes an interest in my manuscript. It is relatively early days for me in the submission process. If there’s no success via agents, I have experience in presenting, music composing, marketing, and PR, and I know a few influencers. I’ve even pitched in front of the UK government and been interviewed by the BBC for their regional and World News show about my previous mental health journey. That experience helped me write the anxiety storyline with honesty and hope. I’m not afraid of putting myself out there - but my aim is firmly the traditional route. I believe that’s where my manuscript belongs.
