Representing everything from picture books right through to YA, literary agent Clare Wallace has wide and varied taste, but is always led by voice. In her BCNA judge’s Q&A, Clare describes what makes a voice sing out and the qualities which make a standout opening page.

As judge for this year’s award, what are you most excited to discover?

Part of the joy of this job is not always knowing what you’re looking for until you find it – and I love it when a submission takes me by surprise and I connect with something I wasn’t particularly looking for. But, to answer more helpfully, I am always drawn to voice – what makes an author’s style and tone completely distinctive to them – just as you can identify a certain singing voice without being told who the singer is. I’m always looking for an unusual or hooky premise, and of course I am looking for unforgettable characters, big heart, and pacy plotting.

What makes a writer’s voice sing out?

Voice is everything. From my list, I’m thinking about Growls in Steady For This, Hanan in You think You Know Me, the voice of Birdie (by J P Rose) and Conn from Conn of the Dead, to name a few, and I could go on and on. I think in each case, the writer has expertly brought the reader very close to their characters – whether it’s first person or limited third, we’re right there with them viewing the world uniquely through their lens, and it’s this that makes voice special.

The beauty of books is the ability to walk in the shoes of another – crucial to empathy and therefore kindness, and it is voice that is the vehicle for this. A great exercise I was given when I was learning about creative writing was to describe your character doing something very ordinary and mundane – how do they do it? What is uniquely them? Of all the books I mentioned above, for example, I can immediately imagine them all making a cup of tea very differently and this is because I know their voices so well.

What qualities do you look for in a standout opening page?

A cracking first line! The first page is the first time the reader meets the author’s work so, no pressure, but those early opening pages are crucial in terms of a promising reading experience. Something active should be happening, it doesn’t need to be huge, but it does need to be interesting, relevant to what’s to come, and immediately engaging, and again, I want to discover voice! I want to care about what’s going on, I want to be drawn in, and I want to feel that this manuscript is unputdownable.

Can you share a moment when you knew you absolutely had to represent a writer? What made their work unmissable?

I realise I am sounding very repetitive now but voice is so intrinsically linked to character, and when it’s done right, it’s utterly compelling. So, this is very clear in those authors I’ve been fixed on signing – a good example of this is Olivia Levez. Olivia’s voice is so distinctive and immediate that when I’ve been reading a bulk of submissions, and sometimes I might read 50 in one go, and I’m tired and starting to wonder about my judgement, I go and open a book by Olivia and remember that I know exactly what excellent writing is! If you want to know what I mean, go and read the opening pages of her latest YA title, SILVER.

Are there any particular themes or genres within children’s fiction that feel especially timely or in demand right now?

Yes, although this is a dangerous question because the market moves all the time. Right now though, YA is back! Romantasy and fantasy are thriving, and there is a focus on shorter, more accessible reads in middle grade and chapter books, as well as an underserved space for those Alex Rider readers, and in picture book texts more funny, please, and full narratives.

What’s one thing that might surprise people about your role as a literary agent?

I don’t actually do any reading at my desk. That all happens in my own time at home or on my commute.

Can you describe the kind of author-agent relationship you like to build with debut writers?

Collaborative, transparent, and editorial. Trust in each other and some creative chemistry is absolutely key.

How do you feel about Junior Judges aged 7 to 17 choosing the shortlist?

I think this is the best thing about this children’s award and what makes it distinctive to others. There are a lot of gatekeepers in children’s publishing before stories are in the hands of the readers they’re intended for. Here I get to see what those readers have found truly exciting.

How do you feel about judging blind?

I’m trusting those Junior Judges and super intrigued to see what they’ve selected!

Lastly, any other advice for entrants?

Read as much as you can in the area you want to write. You can never read too much. And be brave and be bold! Go for it!