Book Power Q&A: Introduction
This page answers some of the questions that we didn’t have time to include in the 2024 Book Power Webinar, featuring disability advocate and children’s author Eliza Hull, young advocate and book reviewer Lily Gaulton, advocate and PHD student Chloe Rattray and writer and advocate Laura Pettenuzzo. The session was hosted by Tiana Offord and Ezra Burnett.
Our hosts and speakers took some time after the session to answer some additional questions in writing here.
Click on the questions below to skip to the answers you want to readđ
Questions
How can writers, publishers, and educators collaborate to improve the representation of disabled characters in books. What support systems need to be in place for disabled writers?
Laura:  Publishers can make sure that disabled writers have the best possible shot and the most successful and inclusive environment for them to be able to tell their stories. That starts from the very beginning. It starts from having a website that is accessible that meets web content accessibility guidelines. It starts with having multiple methods of communication or contact options on their website, not just an email address or phone number. It starts with thinking about the ways that the authors that publishers are engaging with choose to communicate and how to meet their access needs, which could be things like, hybrid meetings or online meetings during the ongoing pandemic. Â
It also means publishers thinking about, once they have accepted a story for publication, what kind of language they use around disability, not just the ways that disabled characters are portrayed.
The use of ableist slurs in publication is an ongoing problem. The copy editor, the structural editor, every single person involved in the publishing process has a role in calling out that ableism, in choosing different words. Speaking up can be hard, particularly when a lot of people don’t understand the origins of many normalised ableist slurs, but if you do speak up the world will be better for it. Â
Educators are one of the first ports of call for young students. Itâs important for educators to talk to students about disability, don’t just hide it away, don’t just brush it aside, because all that does is again perpetuate that notion that weâre somehow âotherâ.
Educators have the power to introduce the books through the authors that they choose to have to come in and do author talks to challenge the norms and the assumptions that many people might hold around disability. Educators and publishers can collaborate through the books that come into school libraries and Reading Australia can consider disability in books that are studied in the curriculum.Â
How can local communities, libraries, and schools support the inclusion of more books with disabled characters and by disabled authors? What tangible steps can they take?
Laura:Â Publishers are driven by money, ultimately. If they see thereâs a hunger and a demand for authentic disabled stories, theyâll release more of them.Â
Local communities: Start the conversation about disability representation. Word of mouth is vital for selling books and the past few years have been tough for the publishing industry. Itâs more important than ever to support books and the people who make them as much as we can. If you see a book with ableist representation or the use of ableist slurs, say something and/or offer the reader a book with more authentic representation instead.Â
Libraries: My local library is hosting an in conversation hybrid event for Disability Pride Month in July. Local libraries could do something similar for International Day of People with Disability in December, for example. If an event isnât possible, make a display of books by disabled authors that patrons will see when they enter the library, or make a post on social media with suggestions of books people could read to learn more about disability.Â
Schools: if you can afford to host authors for author talks, make an effort to host disabled authors. We have so many talented disabled authors in so-called Australia. A few that come to mind are Kate Foster, Kay Kerr, Jess Walton and Sophie Beer. Order in books by disabled authors into your school library, if you have one. Suggest books by disabled authors to your students. If your students are curious about disability, engage with them about that, and make sure you have the knowledge of what makes authentic disability representation so that youâre not inadvertently perpetuating damaging ideas such as inspiration porn.Â
Useful link:Â Inspiration and objectification of people with disability – a resource for teachers and parents by Carly Findlay.
What are your hopes for the future of disability representation in literature, and what can our audience do to support this movement?
Chloe: My hope for the future of disability representation is for everyone to be able to find characters and stories that represent them in nuanced, complex, and genuine ways. My hope is that these stories will be available in a wide range of formats so they can be accessible to all
What are your visions for the future and practical ways the audience can contribute, such as advocating for inclusive books, supporting diverse authors, and raising awareness?
Laura: My hopes are that accurate disability representation will become the norm rather than the exception. I want all disabled young people to be able to see themselves authentically represented in something that they read.
Our audience can seek out books by disabled authors and that feature disabled characters. This doesnât have to be expensive, either. Use your local library. My local library service has a delivery option for disabled members, which means I donât have to use my energy on getting to the library. Borrowing books is free and you can often renew the loan if you need more time to read. If the library doesnât have the book youâre looking for, you can request it. And authors get paid for each time someone borrows one of their books, physically or digitally. So even if you borrow a book and you donât get to finish it before it has to go back, youâve still helped the author.
Follow disabled writers/authors on social media and share their content. Tell your friends and family about any books you read with authentic disability representation. Word of mouth is so powerful for the reach and success of a book. Â
Support independent bookstores, which stock a much wider variety of books than retailers like K-Mart or Big W, if you can. Authors donât earn much at all, and they earn even less through sales from big retailers like K-Mart or Big W.
If youâre a bookseller, order books by disabled writers. Make sure your store is accessible to those writers and readers. For example, make sure your staff donât wear perfume, because that will automatically be a barrier for people with chemical sensitivities. Implement COVID precautions because the ongoing pandemic is another barrier for many disabled readers and writers. The Leaf Bookstore in Ashburton does this really well.Â
If your local bookstore doesnât have a book youâre looking for, ask them to order it in. In my experience, theyâre more than happy to do so, and it only takes about a week for the book to arrive.
How can authors ensure authentic representation of different disabilities and marginalised groups in their work? Are there any specific strategies or considerations you recommend?
Eliza: Share your own lived experience and seek consultation from other disabled people. We are the best at telling our own stories.
What opportunities are there for writers and disabled people to participate in this community and contribute to the literature?
Laura: So many! Join your state writers centre or, if you canât afford the membership fee, sign up to their free newsletters. Sign up to the Arts Access Victoria newsletter and listen to literary podcasts. Join Facebook groups for other writers, disabled and nondisabled alike.
Go to book launches and/or festivals and chat to people there. Unfortunately, a lot of these have moved back to in person without online options, but there are still some online events. Â The website and Instagram account Literary Listings provides weekly updates on upcoming events across Australia. I would recommend following them.
Join your local library, if youâre not already a member. Libraries will often hold events with writers and authors that you can attend.
A blog is a great way to get started and build your writing voice and practice. Follow other bloggers and writers on social media.
Get to know your local booksellers and bookstores. Enter short story competitions and/or pitch to journals. There are several opportunities focused on disability. For example, Bramble journal is run by and for disabled writers. The Jennifer Burbidge short story competition is run annually, and entries have to involve disability in some way.
What past titles do you think have flown under the radar and need to be highlighted? And what upcoming titles are you most excited about?
Laura:Â
Past titles:
- The Bravest Word by Kate Foster
- Sick Bay by Nova Weetman
- This by Les Zig
- The Amazing Edie Eckhart by Rosie Jones
- Asterâs Good Right Things by Kate Gordon
- Xavier in the Meantime by Kate Gordon
- A Curse So Dark and Lonely by Brigid Kemmerer
- One for All by Lillie Lainoff (young adult)
- Stars in their Eyes by Jess Walton Future Girl by Asphyxia
- How to Write the Soundtrack to your Life by Fiona Hardy (middle grade)
- The Girl in the Window by Penny Joelston (young adult)
- Things I Never Said by Samantha Wheeler (middle grade)
- How it Feels to Float by Helena Fox (young adult)
- Sugar by Carly Nugent (young adult)
- Sensitive by Allayne Webster (middle grade)
- You, Me and Our Heartstrings by Melissa See (young adult)
Upcoming titles:
- Kate Foster has a few books coming out with Autistic characters
- Conditions of a Heart by Bethany Mangle (Ehler Danlos Syndrome representation)
- Thunderhead by Sophie Beer.
- Penny Draws a Class Trip by Sara Shepard (anxiety representation)
- Legend of the Lighthouse Moon by Helen Edwards (diabetes representation)
- Give me a Sign by Anna Sortino (Deaf author and MC) young adult novel
- Rosie Jonesâ Edie Eckhart series, next instalment due in August this year (author and MC have cerebral palsy)
Tiana: August and Jones by Pip Harry is a beautiful representation of blindness in a childrenâs book, and I definitely think itâs flown under the radar. Itâs about a young boy who becomes blind and his close friend at school. A sensitivity reader was consulted in the making of this book, which really makes it special and very accurate. The blindness in this book, while a big part, isnât the only thing discussed, and itâs not the main part of the story.
Thatâs what makes it a really beautiful story. I am looking forward to the many books that the speakers from this webinar will write for children and young people with disability. I love being able to read books that include disabled characters to my young cousins. It teaches them that disability is an everyday occurrence and that weâre not hidden away.
How can authors find beta readers with disabilities for constructive feedback to ensure good representation in their books? And what is a beta reader?
Laura: Â A beta reader is a member of your intended audience, and beta readers are useful for getting feedback on your work. Sensitivity readers are even better, because they are a member of your audience with lived experience of what youâre writing about. For example, if you were writing a young adult about a character who was a wheelchair user, a sensitivity reader would be someone who reads young adult books and is also a wheelchair user.
You can find a sensitivity reader through reaching out to peak body organisations, such as CYDA. That was how I did my first sensitivity read: an author reached out to an organization I was involved with, for young people with mental health challenges.
If thereâs not a peak body for the group youâre wanting to represent, or you want another option, I recommend the Australian Society of Authors website, which has a register of sensitivity readers available to their members.
Have you come across books that represent speech and language disabilities well? How can authors incorporate these representations effectively?
Lily: Yes! Definitely the Komi Canât Communicate Mangas! Itâs very insightful on what Komi is thinking and can be very fun to read. I also enjoy it when, sometimes, I can relate to Komi as well, and, like I said, Komi has a communicating disorder and, in fact, one or two other characters do too.
Also, I think it would probably help by being able to research more, by asking people with lived experience what they think, even if the author themselves has lived experience, because then theyâll get more knowledge about what itâs like for everyone whilst having that lived experience, and basically thatâs it, because it prevents having offensive things and makes it so the author can include the best information and the best insightful things as possible
Laura: Not as many as Iâd like. The main character of Everything Iâve Never Said is nonverbal and uses eye gaze technology.
I Talk Like a River is a picture book about a child who stutters, based on the authorâs lived experience.Â
In terms of incorporating those representations effectively, consult with someone with lived experience. Read the work aloud which can help you identify phrases/sentences/ideas that do not work.
What are some of your favourite books that portray disability in a way that feels authentic and empowering to you?
Eliza:Â
- What Happened to You? and Youâre so Amazing by James Catchpole
- I am not a Label (lots of stories included)
- Stars in their Eyes by Jessica Walton (YA book)
- Two Mates (one friend is a wheelchair user)
- Listen (book with a Deaf character)
- Samâs Super Seats (a girl with cerebral palsy)
- Fighting for Yes (about rights activist Judith Huemann)
- Jessica Goes Swimming by Jessica Smith (limb difference)
Autistic representation:
- A Day with no Words
- Speak Up
- My Kind of Spark
- Different not Less
- The Rainbow Brain (Autistic character who also has ADHD)
- My Brain is Magic
Ezra: Iâm one of those people who prefers to read non-fiction over fiction most of the time! Iâd highly recommend Anything by Leah Lakshmi Piepzna-Samarasinha. I recently read their memoir Dirty River. Almost every page made me laugh out loud or cry because I found so much solidarity in their words. Itâs also important to note that their work is mostly made for older readers, as it touches on some heavy and triggering topics.
What are some effective ways to advocate for accessibility and inclusive representation in literature? How can writers and publishers be more proactive in this area?
Eliza: Authentic disability representation serves as a catalyst for social change. By challenging societal norms and perceptions, we pave the way for a more inclusive world.Â
But the responsibility does not rest solely on authors and publishers. As consumers of books and advocates, we have the power to demand better representation and to support books that authentically portray disability. Whether through grassroots activism, social media campaigns, or advocating for policy changes within the publishing industry, each of us has a role to play in driving this much-needed change.
The stories we tell our children have the power to shape their worldview and influence the kind of society they will one day inherit. By embracing authentic disability representation in children’s literature, we not only empower children to embrace their differences but also sow the seeds for a more inclusive world, where difference is celebrated not feared.Â
I think publishers need to make sure their process from pitching, to publishing needs to be inclusive and accessible.Â
They also should have quotas in place to make sure theyâre publishing a percentage of disabled content.Â
What past titles do you think have flown under the radar and need to be highlighted? And what upcoming titles are you most excited about?
Eliza: I think What Happened To You by James Catchpole should have been used more at schools here in Australia. I also feel Weâve Got This â Stories by Disabled Parents should be used as a resource in medical spaces and universities. I feel Growing up Disabled in Australia should also be used as a resource. Jessica Walton has a new book coming out soon which I am really excited about reading, itâs a childrenâs book about disability.
Lily: Well, thereâs a few. First of all, literally any Rebel Girls books are perfect sharing about many disabled and famous people and their life stories. Also, there are these books about a girl with level 4 cerebral palsy by Sharon M. Draper called Out of my Mind and Out of my Heart which are quite good (I read one of them, I really liked it). And, finally (Iâd share more but maybe next time) there is a book called A Different Sort of Normal by Abigail Balfe who is Autistic. The book is about her and her life, and is a great way to encourage disabled kids to believe in themselves.
Chloe: I have heard good things about Izzy at the End of the World by K.A. Reynolds. Reynolds is a neurodivergent author, and the book is a mysterious adventure story centring Izzy, an autistic main character.
Iâm excited to read the Yarn Quest graphic novel series by Brooke Scobie. Scobie is a queer, AuDHD, First Nations author. The illustrator, Jane Goodwin, is also First Nations. The story follows a young boy named Tane who goes on a magical adventure with the Story Spirit.
Are there any childrenâs books on disability history that youâd recommend?
Laura: Fighting for Yes is a picture book about Judy Heumann and the disability rights movement in America. However, there arenât any books on disability history in Australia that Iâm aware of.Â
Do you know of any books where a kid has a metabolic disorder and low energy?
Laura:Â For low energy, I would recommend The Girl in the Window by Penny Joelston. Penny has mild ME/CFS and the main character of her Young Adult novel does too.Â
Foggy Frog by Megan Schartner is a picture book written by a woman with ME/CFS to explain her fluctuating energy levels and pain to her nieces and nephews. Â
How do you create good representation without taking away from the storyline?
Eliza: I think itâs important to show your disabled character as someone who is layered. It needs to be about the story first in my opinion, and the disability can be part of that, but doesnât always need to be the focus at all times.
Laura: Weave the disability (or whatever youâre trying to depict) naturally into the writing and plot. Read books for the same age group that have done this well. Representation doesnât have to take away from the storyline at all. Disabled characters are multidimensional, just like any other characters. It might help to write character profiles for your disabled and non-disabled characters. What do they want? Why do they want it? What is getting in their way? This can be related to their disability but doesnât have to be.
How do I go about writing a book for children with disabilities? Do you have any tips for writing diďŹerent communication styles? For example, using an AAC device or text to speech?
Laura:Â It might help not to think of it as writing a book âfor children with disabilities,â but just as writing a book. You can write it in the same way youâd write anything else.Â
Out of my Heart and Out of My Mind by Sharon Draper are great examples of a young girl who uses AAC to communicate. Iâd suggest reading those and making notes on how/where disability and communication is mentioned and considering how you might replicate it.
Tiana: I think the key lies in writing a story around disabled characters, not about them alone. As a disabled person, what I want is to see myself in books. That doesnât necessarily mean the disabled person should have magical powers or be a superhero, or even be the main character. We want representation, so if that, for you, looks like a side character in a story like a classmate or a teacher with a disability, just functioning in their normal life then thatâs perfect. Itâs important not to accentuate their disability to where it becomes the only thing known about them. They should have a personality apart from their condition. As for writing assistive technology into the story, write it just like youâd write speech, but give time to the character just like youâd give time to a disabled person in real life so they can communicate.Â
For example: Emma excitedly picks up her device and begins cycling through the options. âIâd like an apple for lunchâ Emma exclaims using her device.
Please consult a sensitivity reader who experiences using these devices so that your representation is accurate.
What are your thoughts about picture books about disability that seek to educate, where disability is a focus of the story, vs picture books that have characters with disabilities that are not necessarily central to the plot?
Chloe: I think both are important. Some readers ⌠may benefit from more straightforward âeducationâ books. I think that âincidentalâ representation is really important, i.e. stories that feature characters with disability, but their disability isnât the main focus. I think these incidental instances of representation are important for building a worldview that reflects real life. People with disability are all around, doing all sorts of different things in their day to day lives. Our disabilities are integral to who are and impact the way we move through life, but it is not the only thing about us!
Can I ask what your process has been for building more creative representation? Taking the books further (beyond a story) and making them an experience that is disability friendly.
Eliza: I am working on a new childrenâs book now that is really embedding access within it, so there will be tactile elements: an audio read of the book, Auslan interpreted, braille etc âŚÂ
I think these books are possible, and I hope it will be an experience that is not only disability friendly, but enables all people to experience the book in a new way.
As a young writer with disability, what kinds of stories do you like to tell?
Lily: Okay, so I am especially good at writing narratives in school, and I always aim to get the most interesting and entertaining narratives as possible! They are always often quite long, but I absolutely love making creepy, even scary, stories which maybe, at some point, I can share some. In fact, maybe Iâll write a new one just for that!
As a librarian, where would I be able to go to purchase children's books in Braille?
Tiana: In Australia, we have two main braille library services. Braille House operates from their headquarters in Brisbane, Queensland, and Vision Australia operate their library nation-wide.Â
You can always refer young readers and their families to these services where they will be able to borrow braille books.Â
As for purchasing, overseas is often the way to go. Seedlings in the US ship to Australia, and they have started offering braille books in Unified English braille, which is the international standard for braille production in the English-speaking world.
Is it better to self-publish or go through a publisher?
Eliza: I think a publisher, if possible, because they have the ability to get it into festivals and get it into international markets as well. They have a whole team of people who will be focused on your book, and able to publicise it.Â
But if thatâs not possible then self-publishing is the way to go, and I have seen people do that in a really successful way!
Do publishers receive a list of books that are wanting to be published? How does this process work?
Laura:Â There are many different pathways to publication, but the standard one is that you can either get an agent who will approach the publisher on your behalf (not required but advised) or you can approach the publishers yourself.Â
Most publishers have certain times of the year that they will accept submissions. For example, Affirm Press accepts submissions only on the first Monday of each month. Ford Street Publishing, on the other hand, accepts submissions year-round.Â
Someone from the publishing house will read your manuscript and get back to you if they like it. This does not guarantee publication. You can listen to literary podcasts for more information about the publishing process.Â
A few Australian ones I would recommend:Â
- The Garrett by Astrid Edwards (a disabled woman)
- The First Time Podcast by Katherine Collette and Kate Mildenhall (not producing new episodes but their old episodes are still relevant and extremely useful)
- So You Want to be a Writer? by Valerie Khoo
Check which genres/kinds of books a publisher focuses on before you submit. For example, Walker Books Australia publishes childrenâs books, so thereâs no point sending them a 100,000 word historical fiction manuscript.Â
Make sure your manuscript adheres to the conventions of the style youâre writing in. For example, middle grade books (for 8â13 year-olds) are around 50,000 words and picture books are usually 32 pages.
How do you find the balance of bringing up a focus on an aspect of disability (i.e. blindness) without it being seen as a superpower to abled bodied people or becoming tokenistic?
Eliza: I think this is a great question, I just try and make it feel relatable and authentic. I try and make sure itâs doesnât fall into old disability tropes, and instead is more meaningful and executed in a way that relies on lived experience
Tiana: You write about it as if you were writing about a character with brown hair, blue eyes, long fingers, long legs, etc. A disability is a part of someone, just like their long legs or brown eyes.Â
When you write about a character whose eyes are brown, the whole book doesnât revolve around their eye colour, so try to do the same with a disability. Donât dedicate too much time to explaining their disability and how it affects them, spend that time talking about them as a character and work in their disability using the situations in the story.Â
For example, if youâre writing about a school lunch and the children get up to walk to class, use that time to talk about the blind child unfolding their cane and grabbing onto the arm of a close friend to be guided to the classroom. Careful here as you donât want to make the disabled character seem helpless either. Itâs a hard thing to write about, and I once again suggest a sensitivity reader to make sure youâre nailing the representation.
Is there a software authors can use with their books so people can download them onto braille keyboards? Iâm a new braille learner and wondering if the rise in eBooks would work with the keyboards, and how authors can better support access.
Tiana: This is a complex topic, and I would recommend you contact Vision Australia and Braille House, who are the lead producers of braille books and eBooks able to be read on Braille keyboards. It can be done. However, the books need to be configured in a way that allows the braille device to convert it.
We love graphic novels in this house, mainly because, for my ADHD kids and myself, they are easy to follow without âloosing placeâ. Does the panel recommend any graphic novels with authentic representation/stories?
Eliza: Stars in their Eyes by Jessica Walton. Itâs for 13 plus. Link here.Â
Lily: I, for one, do like graphic novels, though there is not many I can think of. Though, there is this great graphic novel series called The Babysitters Club. Donât know if youâve heard of it, but one of the characters has diabetes, and the books are quite engaging. Iâve read all of them and [am] currently waiting for them to make a new one. There is also the Japanese Komi Canât Communicate manga series, which I mentioned in the webinar, although that is for more older kids that could potentially be something to look at.
Chloe: One of my favourite graphic novel series at the moment is the Lightfall series by Tim Probert. Itâs a beautifully illustrated fantasy adventure series about a girl named Bea, who is on a quest to find her grandfather and uncover the secrets of her homeland. I love the portrayal of Bea â she is a brave hero, who also has anxiety, and tends to approach situations with wariness and uncertainty. I love how the books show that anxiety, bravery, heroism can coexist.
For slightly older kids and teens, I highly recommend the Heartstopper graphic novels. The stories follow queer high school sweethearts Nick and Charlie, navigating their first serious relationship. Later in the series, the books explore Charlieâs experiences [of] depression, anorexia, and OCD. The story highlights the importance of seeking help and having a broad support network.
Laura:Â
- Future Girl by Asphyxia (author and main character are Deaf)
- Stars in Their Eyes by Jess Walton (Australian author is an amputee and main character is also an amputee)
- El Deafo by Cece Bell (author is deaf)
- Everything is an Emergency by Jason Katzenstein (Graphic novel memoir about OCD)
Ezra: Graphic Novels I would recommend:
- A Sign of Affection by Suu Morishita
- A Quick and Easy Guide to Sex and Disability by A. Andrews
- Everything is an Emergency: an OCD Story in Words and Pictures by Jason Adam Katzenstein
When talking to customers about the topics of the book, and/or the author/s, what is the best way to convey and describe this?
Laura: You could say the author has lived experience of what theyâve depicted in the book (if they do), or that the book is an Own Voices story. If you know that the author does not have direct lived experience of the topic in the book, you can mention that too, adding any research you know the author has done or any indirect lived experience (for example, as a parent of a disabled person).
When you were a child or young person, did you ever come across a book or character that made you feel represented? What was it about this book that made you feel that way and how did it impact the way you connected with the work?
Ezra: My favourite book as a kid was The Outsiders by S.E Hinton. I first read it when I was 7 and I adored it. It inspired me as a kid because the author started writing the book when she was 15 and worked on writing it through high school. I thought it was so awesome that a teenager could write such a fantastic novel, and it encouraged me to start writing myself as a kid. While this book doesnât have any disability representation, apart from perhaps PTSD, I really related to the narrative voice of the protagonist, Ponyboy, and saw myself in him. Heâs a sensitive young man who doesnât fit in with his friends and doesnât know why. I often felt the same way as a young trans man still coming into my identity. I also loved the Percy Jackson series. Percy was another character I saw myself in, and Rick Riordanâs representation of ADHD was great for me as a young, undiagnosed kid.
When talking to customers about the topics of the book, and/or the author/s, what is the best way to convey and describe this?
Laura: You could say the author has lived experience of what theyâve depicted in the book (if they do), or that the book is an Own Voices story. If you know that the author does not have direct lived experience of the topic in the book, you can mention that too, adding any research you know the author has done or any indirect lived experience (for example, as a parent of a disabled person).
