ESSENTIAL GUIDE to PUBLISHING for CHILDREN 2018 WELCOME to the BOOK: the ESSENTIAL GUIDE to PUBLISHING for CHILDREN

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ESSENTIAL GUIDE to PUBLISHING for CHILDREN 2018 WELCOME TO THE BOOK: THE ESSENTIAL GUIDE TO PUBLISHING FOR CHILDREN.

This book is the crown gem of the Society of Children’s Book Writers and Illustrators publications. It contains virtually all the information you will need about writing and illustrating for the children’s book market. It will help you chart your creative work from inception all the way through the process of publishing and marketing. THE BOOK includes the latest market reports, articles on social media, discussions of emerging publishing options, and up-to-the-minute directories of everything from agents to book reviewers to relevant blog sites. Time-sensitive material contained in THE BOOK is updated regularly on our website, scbwi.org. The SCBWI staff takes great pride in presenting you with this invaluable tool that will optimize your career, whether you are already well published or a newcomer to the field. Use it as your primary reference and workbook. Don’t hesitate to contact us if you have any remaining questions. We wish you great success in the children’s book field and hope that THE BOOK will guide you along your creative path.

With all best wishes,

Lin Oliver | Executive Director

Stephen Mooser | President

EXECUTIVE EDITOR: Kim Turrisi ASSISTANT EDITOR: Sarah Diamond ART DIRECTOR: Sarah Baker INTERIOR DESIGN: Meagan Bennett

2018, SCBWI THE BOOK: ESSENTIAL GUIDE TO PUBLISHING FOR CHILDREN. © 2018 SOCIETY OF CHILDREN’S BOOK WRITERS & ILLUSTRATORS. Published by Society of Children’s Book Writers and Illustrators, 4727 Wilshire Blvd. Suite 301, Los Angeles, California 90048. Printed and bound in the United States of America. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechancial means including information storage and retrieval systems without written permission from the publisher. This publication is intended for the personal use of SCBWI members only. It may not be used, sold or lent for any purpose, commercial or otherwise. CONTENTS

PREPARING & SUBMITTING Book Reviewers Directory...... 179 YOUR WORK International School Directory...... 193 Writing & Illustration Courses Directory...... 195 Benefits of SCBWI Membership...... 5 From Idea to Execution...... 203 From Keyboard to Printed Page...... 9 Essential Reference Books on Writing & The Query Letter...... 13 Illustrating for Children & Teens...... 225 The Synopsis...... 15 Grants, Fellowships, Residencies, and Retreats... 231 SCBWI Illustrators Guide...... 17 Jumpstart Your Creative Career...... 23 Putting Together a Prize-Winning Portfolio...... 25 PUBLICIZING YOUR Creating Picture Book Dummies...... 27 PUBLISHED WORK De-mystifying Digital Dummies...... 29 1,000+ Ways to Promote Yourself and You’re Hired to Illustrate Your First Your Books...... 237 Childrens Book: What Comes NEXT?...... 31 Grassroots Book Publicity...... 241 From the Editor’s Desk...... 33 Keeping Your Book Alive...... 243 Starting a Critique Group...... 37 Resources for Published The Give & Take of Critique...... 39 Authors & Illustrators...... 247 Mentoring Matters...... 43 Principles for Using Social Media Effectively...... 251 Self-Publishing: Best Practices...... 45 7 Steps To Blogging Success...... 255 The Wild West of Self-Publishing...... 49 International Bloggers...... 259 Hiring an Illustrator for Your RIP for the Press Release?? Not So Fast!...... 261 Self-Published Book...... 51 Fifty-two Kidlit Blogs to Visit What the Heck is an Informational Book?...... 53 Before You Die...... 263 Nonfiction for Children: Growing and Changing.. 55 All About Book Trailers...... 267 Crafting Your Book Marketing Plan...... 271 MARKET SURVEYS PAL Speaking Opportunities...... 273 2018 SCBWI Market Survey Publishers of Books for Young Readers...... 59 SCHOOL VISITS International Market Survey...... 91 Doing School Visits in the United States...... 277 Edited By...... 93 Guide to Intenational School Visits...... 281 Small Press Market Survey...... 105 Sample Lecture Contract...... 283 Magazine Market Guide...... 115 Public Speaking Primer...... 285 Religious Press Market Survey...... 129 Educational Press Market Survey...... 135 LEGAL QUESTIONS Copyright Facts for Writers...... 289 DIRECTORIES & RESOURCES SCBWI Sample Children’s Book Contracts...... 293 Agents Directory...... 145 Archiving Your Work...... 309 Agented By ...... 161 Freelance Editors Directory...... 167 MY WORK A-Z Guide to Publishing in the Digital World...... 173 My Projects...... 312 Book Producers Directory...... 175 Submission Record...... 316

BENEFITS OF SCBWI MEMBERSHIP

by Lee Wind

he Society of Children’s Book Writers and Illustrators is here to help you with your craft, aid you in the business of having a successful career T in children’s literature, keep you inspired, give you opportunities to advance on your journey as a writer and/or illustrator, and embrace you in the community of people just like you—those of us who love creating works for children and teens!

CRAFT Keynotes That Rock Your World! Feedback & Accountability! »» It happens at every International Conference. That moment »» Your local chapter can help you find writer and/or illustrator peers so (sometimes more than one!) that resonates so powerfully, it inspires you can join (or form) a critique group. you for the journey ahead. »» Voice, Plot, Character, Setting, Book Dummies, and More! »» Local and international events offer sessions on the nuts and bolts of OPPORTUNITY writing and illustrating for children and teens. Speakers Bureau! Learn From Experts! »» We help you find out what you need to know to do school visits and »» DVD Master Classes, exclusive podcast interviews, and conference help schools find you. intensives take you further towards mastering your craft. Get Discovered! »» With over twenty different categories of annual Awards and Grants, BUSINESS plus critiques, contests and illustrator showcases at local and Sell Your Books! international events, membership is loaded with merit-based chances »» Our new online bookstore links readers to where you want them to for your work to be noticed. buy your books. Be Mentored! Agents, Editors & Art Directors! »» Mentoring programs and professional critiques are all about helping »» Meet and get your work in front of industry decision-makers and you get your writing and/or illustrating, and your career, to the next gatekeepers at local and international events. level. Book Launch Parties! »» Celebrate your book being published across all social media with a COMMUNITY Book Launch Party on our website. Your Tribe! »» With over eighty regions around the world—wherever you go, SCBWI INSPIRATION is there, too. Author & Illustrator Stars! Your Tribe Online! »» Newbery, Caldecott and National Book Award Winners, New York »» Newly merged with Verla Kay’s famous Blueboards, our discussion Times Bestsellers, lifetime achievement honorees . . . Faculty at our boards can keep you connected and talking about kid lit around the conferences are astonishingly accomplished. clock and around the world! Profiles, Ideas, Craft Book Reviews, Art Tips & More! Volunteer Opportunities! »» All SCBWI Bulletin articles and features are searchable online and at »» With over 23,000 members, SCBWI runs on volunteer power. Pitching your fingertips. in is a great way to give back, make new friends, and feel like you belong to our tribe. Because you do.

SCBWI PREPARING & SUBMITTING YOUR WORK

2018 publicationsPUBLICATIONS guide: GUIDE: the THE book BOOK | www.scbwi.org | www.scbwi.org

FROM KEYBOARD TO PRINTED PAGE

edited by Kim Turrisi

o you’ve written a book or an article for young readers? Whether you’re submitting to agents or have decided to submit directly to editors on your S own, here are the basics on formatting your writing and the process of sending it out.

QUERY FIRST writers’ periodicals, and, most importantly, examination of books A query letter is always recommended before submitting a full themselves should indicate to you which publishing houses would manuscript. This letter is an introduction of you and your story for be most receptive to your work. the editor. If your manuscript is of interest, the editor will request Here are some basic suggestions: a submission. Read “The Query Letter” on page 13 of this guide, or online at scbwi.org “Resource Library.” Click on SCBWI THE BOOK. »» Your manuscript should be addressed to the editor who requested it in response to your query letter. Include a self- AGENTS addressed, stamped envelope of the correct size to hold your While an agent is not necessary to submit a manuscript to an manuscript, with a sufficient amount of postage affixed. editor, many publishers accept only solicited material represented »» Include a brief cover letter with only information that by an agent. When submitting to an agent, here are some things is necessary for the editor to know, as it relates to your you should know: manuscript (e.g., for nonfiction, describe what qualifies you to discuss your subject; for fiction, include any previous »» Not all agents handle children’s material. Consult the Agents publishing credits). If you are submitting your manuscript in Directory on page 145, or online in the “Resource Library” response to a previous query, be sure to mention this in your portion of the SCBWI website. Click on “SCBWI THE BOOK cover letter. Online” and “Directories & Resources.” »» Keep copies of all correspondence. »» Most agents list their submission guidelines and procedures »» Unless you are a professional illustrator, do not include at their websites. It is imperative that you research these illustrations with your picture book manuscript. An art guidelines prior to submitting. director will choose an illustrator that suits your work. »» The SCBWI recommends that you not deal with agents who »» Do not attempt to indicate where you would like illustrations charge up-front for any of their services or have a “reading” fee. to be placed in your picture book story, or what they should portray. This is the job of the art director and the illustrator. SUBMITTING YOUR MANUSCRIPT »» While not all editors will do so, you may include a self- Most legitimate publishers post their submissions guidelines at addressed, stamped envelope to encourage the acknowledgment their website. A simple Google search will pull up any publishing of your manuscript. house you might want to submit to. Be sure to read their specific submission policies prior to sending in a manuscript. A decision on your manuscript may take six months or more. To assist you in determining which publishers might be a good Some editors are slower to respond than others. If you have not match for your writing, the SCBWI offers a resource called “Edited had a response at the end of three months, send a polite letter By,” a house-by-house listing of what editors have published or e-mail of inquiry to the editor and ask about the status of recently. A careful investigation of publishers’ catalogs (available your manuscript. by request from the publisher), Children’s Books in Print (available Submitting a manuscript to several editors at the same time (a in the “Resource Library”), various marketing lists found in policy called “multiple submissions”) is sometimes frowned upon 10 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org where your specificstory falls. defines yourbook.Research prior tosubmitting will help youknow characters grab them, they willhelp youdecide whatgenre best being offered bypublishers. visiting abookstore (not alibrary) toseewhatbooksare currently trends for the genres listedbelow. We recommend thatyoubeginby NUMBER OFMANUSCRIPTPAGES page below. » » » » » » FORMATTING YOUR MANUSCRIPT that thisisa“multiple submission.” up front. Simplyinclude asentence inyourcoverletterstating by editors, butifyouchoose todo so,youmust notify the editor | FROM KEYBOARD TO PRINTED PAGE TOPRINTED | FROM KEYBOARD » » » » » » Agents and editors seekgood writing. Ifyourvoice, plotand While there are no specific requirements, here are current market The format of the firstpage might looksomething like the agent specifically requests youdo so. Do not submitelectronically (i.e., e-mail) unlessthe editoror use a1-inch or1.25-inch margin oneachside of the page. document are acceptable. Ifyouare setting margins manually, The default margin settings thatappearinanew Microsoft Word Pages should benumbered consecutively. Double spaceallmanuscripts. Use 12-point Arial orTimes New Roman. black ink. All manuscripts must betypedon8½”x11”whitepaperin Here are suggested guidelines from the publishing industry:

Your E-mail Address Your Telephone Number City, StateZIP Your Address Your Name Your storybegins here... TITLE INALLCAPS(halfwaydown page) By Your Name 1 guidelines attheir websites. Many include their editorial deadlines MAGAZINES editor’s suggestions for revisions. accompanying yourrevised manuscript that youhavefollowed the expecting toseethe manuscript again.Mention inthe letter back tothateditor. revisions, youare professionally obligated tosend that manuscript would beimproved bythe editor’ssuggestions, and completethe editor’s suggestions carefully. Ifyoudecide thatyourmanuscript for the time and interest giventoyourmanuscript. Consider the suggestions, butno formal contract, respond bythanking the editor RESPONDING TO EDITORIAL FEEDBACK *In manuscriptform, onepoem perpage. GRADE MIDDLE BOOKS CHAPTER EASY-TO-READ BOOKS PICTURE BOOKS BOARD READERS* FOR OLDER POETRY READERS* YOUNGER POETRY FOR NONFICTION NOVELS ADULT (YA) YOUNG Most magazines for young readers publishtheir submission No editorspends time writing adetailed editorial letterwithout If youreceive apersonal response from aneditorwithrevision GENRE 100–250 40–60 10–20 2–3 ½–1 50–150 15–40 GROUP BY AGE VARIES LENGTH 200–350 # OFTYPED PAGES 8–12 7–9 5–8 3–8 3 UNDER UP 12 AND TYPICAL AGE SERIES, DIARY OFA GHOST BUDDY TREE HOUSE SERIES SERIES, MAGIC CLEMENTINE SERIES, UNDERPANTS CAPTAIN Great My Homework, Natethe Marley: TheDogWhoAte Madeline’s Tea Party, Express, Fancy Nancy and Soul, ThePolar Goodnight Moon,Heart & LEARN SERIES LITTLE KIDS LOOK GEOGRAPHIC NATIONAL SHEL SILVERSTEIN BOOKS BY BY BETSY LEWIN Animal Snackers MCCLAFFERTY CARLA PAMELA TURNER, FREEDMAN, BOOKS BY RUSSELL Between Shades of Gray Moon Over Manifest, The Fault inOurStars, LOSER WIMPY KIDSERIES, SAMPLE TITLES

FROM KEYBOARD TO PRINTED PAGE | 11 and calendars so that you can submit work that is appropriate for PREPARING & SUBMITTING the theme of a specific issue. Be sure to research the submission policies for the specific publication you are interested in prior to submitting. Here are some general guidelines: »» Include the word count on the first page of your article submission. »» Magazine publishers generally do not acknowledge receipt of articles. »» It is appropriate to inquire about your article after two months have passed. »» Some magazines, especially in the religious field, will accept MARKET SURVEYS multiple submissions. »» Magazines plan issues far in advance; it is important to keep this in mind when submitting seasonal material. »» Some magazines pay upon publication. They may hold your submission for a considerable length of time before either printing or returning it. »» Most children’s magazines do not pay large amounts for their

material, but can provide the novice writer with valuable DIRECTORIES & RESOURCES experience. PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS

THE QUERY LETTER

by Carla Killough McClafferty

ometimes the same author who is capable of writing a book, short story, or article is filled with anxiety and dread when considering what to write in S a query letter. If you are one of these people, I hope that by the end of this article you will be free from the qualms of the query.

Part of the confusion about what a query letter should say comes synopsis, and sample chapters. from the fact that there are different genres. An effective query letter So what makes an effective query letter? Although each letter will that represents a nonfiction magazine article will be very different from be different, each one should contain four basic parts: hook, summary, one for a YA novel. Then within each genre, each manuscript is unique, biographical information, and a closing. which means that every query letter must be one-of-a-kind. The most important thing to understand, regardless of whether Hook the manuscript is fiction or nonfiction, is that a query letter has one A writer wants to hook his/her readers with the first sentence of a purpose and one purpose only: to cause the editor or agent to want to manuscript. Likewise, the first line of a query letter should hook the read your manuscript or book proposal. That’s it. Period. The writer’s job reader. Think of this section as a sound bite, not the entire newscast. is to craft a letter that will create that desire. Find an original, creative way to begin the letter using something Think of a query letter as a sales tool that can market a product. relating to the manuscript that makes the reader want to find out A writer’s product is a group of words that tell a story. The query more. The only exception to beginning your query with a hook would letter is an advertisement that should make the reader want to know be if the writer has personally met the editor or agent. In that case, more about the product. In some ways, that might sound harsh. It it could begin with something like, “I enjoyed meeting you recently may even contradict the “touchy, feely, love of books” reason most at the Arkansas SCBWI conference and appreciate your willingness to people become writers. Yet writers must understand that they work in consider submissions from attendees.” Editors are usually nice people a creative business. The process of writing is creative, but publishing who would like for writers they have met personally to succeed, so they is a business. In order for a writer to get the words they have lovingly will consider such a query carefully. If a query begins with a meeting crafted into the hands of children to enjoy, they need to market their reminder, it should be brief, then go immediately to the hook. product. Often that marketing plan includes a query letter. A query letter should fit on one single page—never longer. It Summary should be clear and concise so that a busy editor gets the meaning of In this section, summarize what your manuscript is about in three the letter in one quick read. A query letter is a business letter. In it, or four sentences. For novels, this does not mean the plot points of the writer is not looking for a friend; he/she is looking for an editor your novel. It means an overview that includes the setting, characters, or agent. Since the goal is to create a professional relationship, the conflict, and how the novel is different from other similar novels. For tone of the letter should not be overly chummy or personal. When nonfiction, it means an overview of how the material will be handled, an editor or agent reads a query, their impression should be that the the availability of photos, access to experts, and facts or statistics that author is a professional writer, not an amateur who is dabbling with a indicate how many potential readers may be interested in such a book. hobby. Part of being a professional is following the guidelines found in As in every section of the query letter, the summary details must be market guides such as Children’s Writer’s and Illustrator’s Market. Each explained in an interesting, exciting way. publisher is specific about what he/she wants to see in a submissions package, so writers should send the requested items. For both fiction Biographical Information and nonfiction, what each company requests varies widely. Some book In the hook and summary sections of a query letter, the writer’s publishers ask for a query only, while others request a query, outline, goal is to convince the editor or agent to read the offered manuscript. 14 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org one believes inamanuscript more thanitsauthor. can make it.Any writercanwriteaneffectivequeryletter. Afterall,no draft, then revise, revise, and revise again—until itisasgood asyou writer worksonthe queryjustasthey did the manuscript: Writearough describe their workinaone-page letter. It isaccomplished when a manuscript; then, when itisfinished, wonder how they couldpossibly express asense of anticipation. feeling. Anonfiction bookaboutan exciting new discoveryshould be humorous. Ifitisamystery, the lettershould conveyamysterious If the manuscript youare marketing ishumorous, the queryshould they already know why youare writing tothem. start chopping. Although apoliteclosing isnice ifyouhavethe space, letter runs toolong and needs tobecutdown, the closing iswhere to complete bookproposal for Successful QueryLetters?”However, ifthe as “Ilookforward tohearing from you”or“Would youlike toseethe Closing it.” you,” or“Iread thistomy son’ssecond grade classand they justloved editors havealready rejected thismanuscript, butIthinkitisright for submission toaneditor, soIreally hope youlike it,”or“Sixdifferent they are justbeginning. Never make comments like “Thisismy first SCBWI.” attention tothe fact. Instead say, “Iamanactivemember of the If awriterdoes not haveany publishing credits, they should not call “I haveanarticle forthcoming inthe May issueof or bookhasnot yetbeenpublished, they couldsaysomething like, best-known ones first.Ifthe writerhassigned acontract butthe article would highlight her previous workatthe dig. she wouldnot mention thatshe wasaphysical therapist. Instead, she marketing anonfiction book manuscript aboutanarchaeological dig, athletes recover from their injuries. However, ifthatsame writerwas been aphysical therapist for twenty yearsand hadhelped many young to overcome aninjury, then she wouldhighlight the fact thatshe had written aboutanice skater who undergoes months of rehabilitation an archaeological dig. Ifthatwriterwasmarketing anovel she had therapist and she spends twoweekseverysummer volunteering at an expert onthe topic. Forexample, let’ssayawriterisphysical the writermust highlight the areas of his/her lifethatmake him/her successfully writethe manuscript described. Inthisbrief section, editor oragent thatthe writerof the queryisthe onlyone who could In the biographical information section, the goal istoconvince the | THE QUERY LETTER | QUERY THE Some writersspend months, evenyears, writing and revising their Finally, the querylettershould match the tone of the manuscript. Bring the letterquickly toaclose. It couldbesomething assimple Writers should alwayspresent themselves asprofessionals, evenwhen The biographical section isalsowhere publishing credits are listed— Cricket magazine.” sending aqueryletter. 10. Don’t beoverly familiar withthe editor oragent you are ever written.” 9. Don’t say or“This “I’m anew is the writer” first bookI have 8. Don’t talk about sequels you have planned. submitting aproject. 7. Don’t follow uplessthan three to four weeks after Know editors’ lists and what they acquire before you submit. 6. Don’t send apicture bookmanuscript to ateen novel editor. relevant and normal, but stillsuccessful. are impossible-to-replicate successes. Find something more successful, like the Harry Potter orTwilight series. Those 5. Don’t compare your work to something unprecedentedly everything else that’s being published. if it’s goodand intriguing and compelling and stands out from friend loves your work. That doesn’t matters matter—what is 4. Don’t mention that your niece, student,child,grandchild, or ask the editor oragent to provide feedback onyour query. unreserved enthusiasm for your project. Similarly, please don’t Your energies would bebetter spent onaneditor oragent with contact him/her asking that he/she reconsider your query. 3. Ifaneditor oragent passes onseeing your work, donot 2. Don’t include marketing plans. 1. Don’t openwithaquestion. Don’ts represents so you know their taste. 10. Try to read something aneditor has edited orthat anagent agent. 9. Have astrong opening, something to hook the editor or spelling oftheir name—and gender!—correct! 8. Always include apersonalized salutation. Dogetthe workshop. 7. Let the reader know ifyou’ve met ataconference or etc. are interested in(see ifyou can find interviews they’ve given), (subject matter, age level, genre, etc.) they publish, what they 6. Research who you’re submitting to—what kinds ofbooks and genre. 5. Know how to categorize your bookinthe correct age group 4. Close withashort bioand include any publication credits. copy for examples.) of itas advertising copy, not aplotsummary. (Look atflap 3. Include aone- ortwo-sentence teaser for your story. Think but remember that you and the reader are not personal friends. 2. Befriendly, but professional. No need to besuper serious, agents willskip it. 1. Keep itsimple!Ifit’s more than aparagraph, most editors/ Dos query letter. and following are the top ten dosand don’ts when writing your you write one. We spoke withmany publishing professionals, personality, there are some triedand truedosand don’ts when While every queryletter is different and should reflect your INDUSTRY INSIDERS TIPS FROM

THE SYNOPSIS

by Deborah Fletcher Blum

or some writers, the thought of writing a synopsis, a short summary of their book, causes panic, downturned eyes and heavy sighs. It can be a F somber task to whittle one’s beloved story down to its bare essentials. But it can also be exhilarating. Here are some tips to guide you through the process.

Attempt to fit the essentials of your story into a neat package— Highlight the main character’s personality with one or two vivid between one to three pages—though lengths vary depending on the adjectives. This may seem like type-casting, but it a useful tool that audience. Synopses (plural based on the Latin root) are often requested allows the reader visualize the character quickly. by agents and editors. Writers may or may not be given a word count or For Example: Shy, but adventurous Katy longs to discover what is page length guide. Either way, a writer does best to ponder the highs hidden in the old chest in the attic that belonged to her grandmother. and lows of his or her story, the main character’s arc, the tone and But first she must gather up the courage to ask her stern grandfather setting before beginning. Then take a deep breath and begin, knowing for the key. that there will be a chance to edit and revise. Step 5: Construct the Body of Your Synopsis A GUIDE TO WRITING SYNOPSES: Use paragraphs to write out the main events of each chapter. Or pick out the high and low points and chart the story’s progression from Step 1: Always Use the Third Person Present Tense beginning to end. Major events focus on the rising action and the main Regardless of the tense in which the story is written or the voice of character’s conflict or goals, and how they are achieved or not achieved. the narrator, a synopsis should always be written in the third person, Keep paragraphs tight. Only details critical for the reader’s present tense. understanding should be included. Each paragraph must include: an ACTION, REACTION and DECISION by a main character. Include thoughts, Step 2: Write a One Sentence Character Arc Before Starting beliefs, mistaken-beliefs and assumptions, if they are critical to the Write a one sentence arc for the main character before starting, and outcome of the story. keep this sentence available for later use, and as a reference guide to For Example: Sam takes Jeremy’s lunch box at recess. Jeremy runs keep you on track. after him, falls down and skins his knee. Jeremy decides he will take a paper bag lunch from now on and throw it away. Step 3: Hook the Reader Start your synopsis with a gripping, one sentence summary that Step 6: Put Character Names in ALL CAPS captivates and mirrors the tone of the story. A mystery may use a Which secondary characters are involved in the major scenes included mysterious question. A synopsis for a middle grade novel or a picture in the synopsis? Each new character’s name should be written in all book might require vocabulary more elevated than that used in the capitals the first time it appears, exactly as it appears in the story. story, but the language should not be too overblown. A tone that Characters mentioned unnecessarily will only take up valuable space. evokes the story itself is best. The hook provokes thought and forces the reader to ask: What happens next? It can be the same few sentences Step 7: Reveal the Ending used in a query letter. In fact, the beginning of your synopsis might Tell the story to the end. Even if the story is a mystery, do not be sound very much like the plot-summary paragraph of a query letter. mysterious with the ending. State it clearly and briefly. Devote one to two paragraphs to the CLIMAX (CRISIS) and RESOLUTION (ENDING). Step 4: Introduce the Main Character Describe the main character’s final struggle and its outcome. Why does Describe the main character’s MOTIVATION, CONFLICT and GOALS. this matter? This is the time to state what the main character learns. 16 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SYNOPSIS THE writing. It canbetoanaudience ortoyourself. have done agood job. Reading aloud isthe bestwaytohear your Does the synopsis sound like the storyonlyshorter? Ifyes, then you Step 11:ReaditAloud character’s journey through the story. thought lostshould beregained. The synopsis should reflect the main the world, overcomes afearorrepairs abroken relationship. Something should bemeaningful. Maybe he orshe learns anew wayof looking at Your main character need not change dramatically, butthe change Step 10:Checkfor theMainCharacter’s Arc character are themselves partof the plot. or twomight appearinasynopsis, thiswouldbeifthe words said bya dialogue tobreak upthe sentences. Though, itispossiblethataquote of the storyspeakfor itselfnow, withno flowery details orquirky exposition, butitmust not drag eventhe tiniest bit.The bare bones A synopsis should bequick toread. It must not slowdown. It isall Step 9:Remove Extra Words Be patient. The process isavaluable one. a three tofour page summary and whittleitdown toone ortwopages. until the synopsis flowsand isthe length you desire. You may startwith of the story. Use strong adjectivesand verbs. Keep revising and editing Each sentence must flowand conveythe power, excitement, and humor Step 8:Revise andPolish make ituptothe person. She learns thatifyoumake amistake, sometimes youget achance to back the money she stolefrom himand ends upwithanew bestfriend. Don’t keep editorsoragents guessing. Good luck—and enjoy! For Example: Inthe end, Jess makes peacewithher brother, pays

SCBWI ILLUSTRATORS GUIDE

written and updated by Christina A. Tugeau, LLC, 2001, 2005, 2012

ven with the big changes in the publishing world going on today, it is still true that some of the best art to be seen is in children’s books! It is also a E constantly changing challenge. The market by nature is competitive and cyclical. Artists need to be aware of this fact and plan for it. There is very little room for any mediocrity. What was acceptable just years ago is not good enough today. Artists need to continually learn, grow, and change. Don’t follow trends— make them! Be the very best you can be as an artist and a promoter of your talent, and cherish your passion for your craft. Get it seen!

What should I put in my portfolio? Picture book action is going on within its own world. Characters Let the art do the talking! It’s your style, your characters, are normally unaware of the readers’/viewers’ observations. Your your color palette, your conceptual thinking, your design sense, images should reflect this. Some educational work and greeting that will attract the attention of art buyers. The purpose of a cards may use the presentation posture more often. portfolio, whether in a book, online, or in a mailing package, is If you are interested in doing jacket art for middle grade to get the best you have to offer into the hands of the buyers or young adult (YA) novels, you should also include images of who might want to hire you. These samples must do the right kind preteens and teens in appropriate settings. Perhaps design and of talking for you. It is more professional to keep the portfolio show mock jackets with titles as well. For middle grade chapter simple, neat, orderly, and a manageable size (8 1/2 x 11, or an books, include black-and-white line and tone action vignettes. iPad maybe). You will want to present a competent, consistent Think humor. style and attitude. Do not confuse. The inclusion of a book dummy along with your portfolio will Be memorable. Include about ten to fifteen strong pieces of art help the editor/art director learn a great deal about the way that show the range and consistency of your talents. Definitely you think about a book. This is particularly true if you have have full-color and perhaps a few black-and-white samples (line not been published. The dummy may reassure them that you are and/or tone). Show only styles and mediums you are comfortable knowledgeable of the overall design of picture books. If you have and proficient with and can afford to do (time = money!). It a printed book, do include pages from it (perhaps the cover with seems obvious, but show only your best work. Any weakness text). They might ask for information about how the book sold, as will be spotted by the buyers, and they will pass. You may show the bottom line is more important than ever now. original artwork during a personal visit to a publisher, but never For the dummy, you might illustrate a favorite fairy tale, leave or send original artwork for viewing. If you cannot get in folktale (don’t be trite), or original story, or reillustrate another the door (and it’s harder and harder), have a copy portfolio with book just for show. Use written text as part of your design and reproductions only that you can leave behind and pick up later. layout. Include one or two finished color pieces of art. Work Better yet, have printed sheets of samples you can leave for them should be highly original, unique, and provocative, but at the to keep with contact information, website, and blog links. same time kid-friendly and accessible. Think about reproduction, Most picture books and educational assignments contain too; be careful of grays, browns, and muddied colors. The dummy representations of children and/or animals, so you should should also show your ability to draw the same characters show both if you do both well. Show character development by consistently and believably, in a variety of settings, positions, having the same characters in different narrative settings, doing and attitudes. They will want the illustrations to relate to the different activities, and showing different expressions and moods. manuscript text but give the reader more than just what the Remember to avoid presentation poses generally for trade work. words would convey alone. This dummy book will let the editor 18 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org majority of publishers are based, do so!It’s agreat learning you tostop! have precious littletime. Dokeep sending samplesuntil they tell back unlessthey haveanassignment orwant toseemore. Buyers checked-off response possibilities, but youprobably won’thear You might trysending asmall, self-stampedpostcard witheasily returned, include anSASE, butavoid thisasthey do not like it. will not make the desired impression. Ifyouwant yoursamples their needs. Again, yourartdoes the talking for youand willor about yourselfifyoureally thinkitmight behelpful infilling credits. You might givesome brief background information several sheets. Arésumé isonlyhelpful ifyouhavepublishing contact information and website .which youshould have. 11 pages for filing reasons. Mark SEND ORIGINAL ARTWORKEVER. Donot send bigger than81/2x without checking first. You do Not allbuyerslike toreceive samplesonline, sodon’t do this postcard withmultiple images, orseveral printed glossysheets. order tointroduce yourself.Thiscanbeasingle page ordeluxe very industry attimes. Ifyoucannot visitthe house (and thatis and/or artdirectors are stillcurrent. Turnover ishigh inthe story, check directly withthe houses toconfirmthatthe editors publishers thatmight beagood match withyourstyleand out the publishers’ websites. these tomake sure yourworkisseenand not discarded. Check instructions for submission policies, and it’simportant tofollow searching online. Most publishers willhavetheir ownguidelines/ lists provided bythe SCBWIand updated eachAugust, and by e-mails, etc., canbe found inreference booksatyourlibrary, Send for publishers’ catalogs. Current listsof names, addresses, How havethey made their characters interesting and believable? illustrations show the story?Notice the pacing of the page turns. makes them successful. Whatmediums are used?How do the the booksyouparticularly like inorder tounderstand what different publishers and their pastand current booklists. Study libraries, bookstores, and Googletoget familiar withthe many How doIshow my work toapublisher? hello! several times ayearwithmailers ore-mailed JPEGs/PDFsand a connection. Leavethem withthe WOWfactor, and then follow up you, butultimately itisyourartthatwillmake orbreak the the art,willtellthem alotabouthow itmight betoworkwith they willremember . ornot. Meeting you,the personbehind portfolios these days. Alwayskeep inmind thatitisthe send anSASE along aswell,butIdiscourage youfrom sending pages). Ifyouhavesent yourportfolio and want itreturned, behinds, promotional sheets, postcards, orsourcebook reprint with ahouse’s designer and/or artdirector onaproject. picture books. Thatwillreassure them aboutyourabilitytowork formats, number of pages, text placement possibilities, etc., of know thatyouare atleastsomewhat familiar withthe size, | SCBWI ILLUSTRATORS GUIDE | ILLUSTRATORS SCBWI If youare able tomake atriptoNew York City, where the Include ashort coverletterinthispacket ifyouare combining After yourresearch iscompleteand youhavealistof You must be Lastly, youmay include ashort résuméand keepers (leave- difficult today), send asamplepacket for them tokeep in seen tobehired. Doyourhomework! Goto not each want toannoy them. DONOT piece withyourname and art that interested. Beaware, though, thatifthe writing orartof current editor atahouse youhaveresearched and youfeelmight be pictures for abookproject, submitthem toachildren’s book Should Ipresent abookideaifIhave one?(author/illustrators) program tohelp visitorsnew toNYC .take advantage of it! floor. HINT: The SCBWIMetro New York chapterhasacitybuddy Security istight, and sometimes youhavetowaitonthe ground your meetings are onand where the reception area islocated. are the easiest waytotravel, butexpensive. Ask whatfloor whenever possible. Getagood busand subwaymap—taxies the city. Group visitsnear eachother orwithinthe same building to allowplenty of time betweenappointments for travel around individual artists, buttake advantage of their drop-off days. Try crises come upthroughout the day. Some houses willnot see art directors are extremely busy, and emergency meetings and day and times afewdays toaweekbefore the visit.Editorsand at leastthree tofour weeksinadvance, and then confirmthe to actually get firsthand feedbackand suggestions. Callorwrite Midwinter Conference eachJanuary/February! Thisisagood way illustrating for thismarket. Perhaps combine itwiththe SCBWI experience and willshow them thatyouare serious about artwork isusually done onflexible paperillustration board for paper, photography, and increasingly digital, of course. Reflective (graphite), ink,watercolor, acrylics, oils, gouache, pastel,cut art director. The most common mediums usedtoday: pencil medium, orit’sreproduction, besure todiscussthiswiththe the typeof bookyouare doing. Ifyouare not sure aboutthe books. Choose any thatare comfortable for youand thatsuit that canbereproduced onaprinted page issuitablefor picture about traditional, printed books. Any medium ortechnique What techniquesare usedfor illustrating children’s books? ‘folded and gathered’ process. and folded into acompletebook.The termF&Gcomes from the multiple bookpages onitisputthrough the press, then cut way toproduce aprinted picture book.A single sheet with » » » » should include: reject yourproposal basedonlyonthatfact. Your submission authors/artists ontheir listis » » » » By allmeans, ifyouhaveanoriginal storywithtext and Of course, today we havetodefine *Note: information. See paragraphs onebooksand appsfor more presentation a wrap jacket), and sometimes endpapers. and asingle final page, atitlepage, acredit page, acover(possibly page. A32-page bookusually includes fourteen double-page spreads 48)*. Startthe numbering of the main story usually onthe left-hand appropriate number of pages for the dummy, usually 32(or24,40, the pages, and yourknowledge of bookmaking ingeneral. Use the gives the buyeranidea of yourcharacters inaction, the flow of a dummy: one ortwo samplesof finishedart: pasted indummy typed manuscript: Why these numbers of pages? It isthe most economical a mock-up of the bookinblack-and-white sketches. This double-spaced and presented separately from text too similartoyours, they might good colorcopies, book ! Butlet’stalkhere not originals SCBWI ILLUSTRATORS GUIDE | 19 canvas. If you use hard, nonflexible board, films, pastels, or agents to find artists. The SCBWI has a good listing of agents in PREPARING & SUBMITTING other high-maintenance media or backings, be sure to share this this market, and you can research them further online, too. Do with the art director before beginning. spend time on their websites to get to know them before sending With the common use of today’s sophisticated electronic off samples. equipment for color separation, publishers are printing full-color books as a matter of course. Artists have more freedom than ever What should I do if asked to illustrate an uncontracted to work in any medium they choose. Electronic equipment can manuscript? require flexible surfaces, but there are reproduction solutions that Say, “Thank you. I’m flattered, but no.” Do not work for may add to the cost of production. Always check before starting an author directly unless you understand that the author your finishes if you have any doubts. has no authority to hire you as an illustrator for a publisher. Editors choose the illustrators for their books. They have the MARKET SURVEYS What is color pre-separation? experience and knowledge to match the right illustrator with Artists rarely need to consider pre-separating colors; it is done the right manuscript and demand a free hand in doing this. inexpensively by very sophisticated electronic equipment, or by Many beginning writers will think that presenting art with their layering programs used by the artists on their home computers. picture book manuscript will help their chances of publication, The occasional two-color book or educational job may require when actually it will probably hurt it. Books are manuscript- separation, but the buyer will tell you how they wish this to be driven, meaning that the manuscript is bought first on its own done. If you are interested in the time-consuming old-school merits, and then the artist is chosen for the project . . . even methods, you can Google it! with picture books. DIRECTORIES & RESOURCES Self-publishing has grown to such an extent as to now be a Must/should I have an agent represent me? viable option for authors. And artists might want to consider It is never necessary to have an artist agent represent you . . . participating if the payments and rights are competitive and but it can be very helpful! There are several reasons for wanting appropriate. Your time and talent have value. Few self-publishers to work with an agent. If you do not live near enough to visit can afford the price for art for a 32-page picture book on their the larger NYC and Boston publishing houses, an agent may do own. But if they can, and you reach a fair agreement of terms, it this visiting for you. Many houses now do not accept unsolicited might be a good practice project. Keep in mind there is less legal artwork or manuscripts from writers or artists, but will always do protection for the artist in these cases. Distribution is always a so from an agent. Agents have ongoing business relationships challenge, so the books may not get into bookstores or sell well. with editors and creative directors and can encourage them to But the artist will have a published book to show off. try their talent group. Editors will occasionally send manuscripts to respected agents (literary and artist agents) to have them What fees or royalties can I expect for illustrating a children’s PUBLICIZING YOUR PUBLISHED WORK suggest artists who might work for their story. There is a certain book? professionalism that is assumed when an artist is represented. The standard book royalty is 10 percent of the retail price of If the artist is a poor businessperson, an agent can be invaluable. the book, shared between author and illustrator. It is normally It is unusual to be picked up by a representative early in your a 50/50 split for picture books, unless the experience of one art career. Artists need to do their own homework and research of the parties may be so much greater than the other that the to learn about the market(s) they wish to work in. This learning royalty would be divided more equitably to reputation. For older- process helps with gaining a more realistic expectation of the children’s books that include illustration and some board books, market. Artists need to work at their style development to learn either a small percentage of the royalty is given to the illustrator what they do best. A good agent will continue to work on the or a flat fee is worked out. artist’s personal artistic development and expand the market All payments to authors and illustrators are figured from possibilities as their relationship continues. Not all agents do, projections made by the publisher indicating costs against the however. number of books the publisher believes they can sell. No offer Finding a good match with an agent can be as time-consuming is arbitrary. The range occurs because each book is projected

as getting published on your own. Some agents represent artists differently with its own distinct costs and sales potential. These SCHOOL VISITS only in the children’s markets, some in advertising and editorial offers might be a bit negotiable. as well, or exclusively. Some are literary and artist agents. Some The Graphic Artists Guild (90 John Street, Suite 403, New York, are very large operations with many reps, and others are single NY 10038) recommends certain fees for illustrations based on the rep agencies offering much personal contact. Even when you find market norms and averages for trade and mass market illustrated the perfect marriage possibility, the rep might not have room to books. You can obtain from them their publication, The Graphic take you on at the present time. Be sure to ask a lot of questions, Artist Pricing and Ethical Guide Handbook, which holds a wealth LEGAL QUESTIONS know their expectations, and know how that meshes with yours. of helpful industry information. These are ideal figure ranges Talk to a couple of their other artists and clients perhaps (with from their thirteenth edition (fourteenth edition coming January permission), study their contract obligations carefully, and be 2013) from a random sampling, and the publishers may offer somewhat patient once the relationship begins—it takes time lower or higher fees than the Guild recommends. to get your work known! Keep the interactive communications Jacket (front only): $F–$3,000+ (flat fee) very open and honest always. Ethical, professional behavior is Jacket + Interior Art (black-and-white): $2,500–$4,000 (flat expected on both sides, and also assumed by the buyers using fee or advance) 20 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » from the SCBWIorthe Graphic ArtistsGuild. language. Ifyouare uncomfortable, do find acontracts lawyer and youneed toread and understand allof this. Most istypical is typical). There willbelegaltalkaboutindemnity and such, dates, and payment schedules (1/3atsigning, sketch, and finish and the typeand number of the pieces of art,sketch dates, finish and the artistsand writers. It should clearlyexplain the project, to spelloutexpectations and legallyprotect boththe publishers intimidated abouteducating yourself.The purposeof contracts is either! You may not beable tochange anything, butdon’t be terminology. Many editorsdon’t understand allof their contracts, contracts carefully and askifyoudo not understand the What shouldIknow whensigningacontract? | SCBWI ILLUSTRATORS GUIDE | ILLUSTRATORS SCBWI » » » more fair school rights only (SRO)contracts, where they buyonly the had traveled along wayinto convincing the publishers tousethe they transfer tothe digital age needs of schools. Agents and artists of income. The market hasbeenterriblyslowthese pastfewyearsas for experience, honing skills, and sometimes a more consistent source best!) for one flatfee. These educational assignments are wonderful often the ownership of the original artwork (thus digitally sent artis hire (WFH).Thismeans thatyousign away are abitdifferent, as they are normally flatfeesand often work for the norm these days (Illustrator, Photoshop, etc.). These contracts very specific. Electronically produced and transmitted finishes are will passonstylesthey approve. Schedules are tight, and needs are these studios, butsend samplesheets to the publishers and they production studios. It isveryhard for independent artiststofind actual artassigning is outsourced bythe publishers todesign and illustrators find thisistheir bread-and-butter work. Much of the etc. Different programs are updated incyclical yearpatterns. Many programs include reading, social studies, math, science, music, art, books and supplemental projects for classrooms and library use. The Educational Contracts percent off). the contract, and areduced contributors’ ordering cost(normally 50 Be sure toaskfor tentofifteenfree copies of allprinted editions in book. The copyright isusually placedinyourname for trade books. It belongs toyouand ithasvalueseparate from the printing of the sure the contract guarantees the safereturn of youroriginal artwork. rights). Take note of the royalty statement and payment clauses. Be received from such sales (typically 25percent ormore onmost sub on this. Simplymake sure youreceive afair share of any income future rights, such asfor digital books, butmost publishers frown Perhaps youmay wishtolimitthe time frame of the unknown and that willfinancially benefit you and them, solet them do their job. cannot sellyourself.The publisher issetuptosellthese rights Royalty Agreements: educational printed samples.) mass market and educational. (Though itisrare these days toget catalog.) Ask for printed copies of the finished project . usually its use. (Exception: when artisbeing usedinapublisher’s adsor If the publisher wishes tousethe artworkagain,he should payfor Flat Fees: Do NEGOTIATE! It isprofessional and expected. Readthe Picture BookText and Art:$10,000–$60,000(advance) Picture BookArtOnly:$3,000–$15,000+(advance) You should beselling one-time reproduction rights only. Do not asktoretain subsidiary rights you

and Market: Educational publishers produce all yourcopyrights, and books aswell,butthe future willtellthattale. The field is only asebooks. Most likely these willoften beoffered asprinted done, publishers willbelooking for new stories thatmay appear might beadded, butno new artisneeded. Once backlistsare reformatting backlistsand classic books. Some enhancements devices) are not original atthispoint. Publishers are mostly What are ebooks, andhow canIgetintoillustrating them? sure youallowfor extra model and shooting costsaswell. invasion-of-privacy lawsuitsand libelsuits. You may want tobe included inyourphotography. Thiswillprotect youagainst would betousesigned model releases for any minor oradult pertains tophoto-illustrating aswell.The onlyadditional hint What aboutphoto-illustrators? Graphic ArtistPricingandEthicalGuideHandbook keep upwithwhatisthe market norm. One good resource is particularly digital rights thatseemtochange sooften! Try to story inthe forefront of yourimagination. but youmust stillkeep the childand hisinteractivity withthe picture bookdummy. You are not limitedto acertainpage count, an idea, workupalayered thumbnail visual dummy, justlike a strive toexpand and deepen the storyexperiences. To present advantage ingetting into thisarea, asit’sveryvisual. You will about the like the bestbooks:They engage and appealtokids! It’s stillall characters pacing, and anarc” (saysDryden). The bestappsare with asolid storyline, justlike any book,thatincludes “a plot, tablet era now.” in a point . and the future willpresent possibilities. As Alex Knapp could change overnight. Again, the devices are limiting atthis are fewpaying opportunities inthisfield atthis time, butthat this industry. Artistsshould continue towatchand read. There exciting and expensive experimentation and rights battlesin publisher, and averydifferent one the next. It’s atime of convoluted, complex answers. It’s one answer one day, one require agreat deal of complex production and design.” Nor are they ebooks .They are something elseentirely, that publishing consultant withdrydenbks) says, “Apps are not books. industry? What are apps, andhow canIgetintothisexciting new a printed bookdummy isfine. these ideas atthistime. APDFdummy bookasyoumight do with improving monthly. There isreally no presentation guideline for themselves, asthey need toadvance further, and they are in development. Abig limiting factor isactually the devices Most ebooks(digitally enhanced booksread onelectronic All of the preceding information, including pricing, generally There are several articles, blogs, and booksaboutcontracts, they most often onlyoffer WFH. rights they need for the educational market. Now withsolittlework, If youwant totryenter thisarea, youstillneed tostart We are allasking good questions towhich there are many The moving target! As Emma D.Dryden (children’s editorial and Forbes story article mentioned recently, “We are atthe dawn of the before allthe bellsand whistles. Artistshavean ( www.gag.org The ). SCBWI ILLUSTRATORS GUIDE | 21

How can I learn more about illustrating children’s books? PREPARING & SUBMITTING Besides the traditional methods of training, such as local art schools and private consultations with local artists and critique BOOKS FOR ILLUSTRATORS groups, study the works of past and current illustrators. Note their use of color, form, space, and other visual elements. How do they solve the problems of technique, character development, • 20th Century Children’s Book Treasury (reissue editions), by and story pacing? There are many older books about writing and Janet Schulman, Knopf, 1998. illustrating for the children’s publishing market, and new ones are • A Basic Guide to Writing, Selling, and Promoting Children’s coming out all the time. There are many blogs by reps, writers, Books, by Betsy B. Lee, Learning Abilities Books, 2000. illustrators, and SCBWI regional advisors with a multitude of • ABC’s of Writing for Children, by Elizabeth Koehler-Pentacoff, interviews, hints, and how-to articles. The industry and trends Quill Diver Books, 2002. MARKET SURVEYS are constantly changing, but much of the information about • Art and Design in Children’s Picture Books: An Analysis of illustrating remains age-old truths. Good art is good art. No Caldecott Award–Winning Books, by Lyn Ellen Lacy, American way around that. Enjoy the partial list following of some of the Library Association, 1986. wealth of information out there! And enjoy the journey. • A Writer’s Guide to a Children’s Book Contract, by Mary Flower, Fern Hill, 1988. • Bookmaking: Editing, Design, Production (3rd edition), by Marshall Lee, W. W. Norton, 2004.

• Children’s Book Illustration: Step by Step Techniques, by Jill DIRECTORIES & RESOURCES Bossert, RotoVision, 1998. • Children’s Books and Their Creators: An Invitation to the Feast of 20th Century Children’s Literature, edited by Anita Silvey, Houghton Mifflin, 1995. • Children’s Writers & Illustrators Market, by Alice Pope, Writers Digest Books, annual publication. • Complete Idiot’s Guide to Publishing Children’s Books (3rd edition), by Harold D. Underdown, Alpha Books, 2008. • Enchanted World: The Magic of Pictures, by Bryan Holme, Thames and Hudson Ltd., 1979. • Exploring Color (revised edition), by Nita Leland, North Lights,

1998. PUBLICIZING YOUR PUBLISHED WORK • Graphic Artists Guild Handbook: Pricing and Ethical Guide, by Graphic Artists Guild, 2007 edition. • How to Write & Illustrate Children’s Books and Get them Published, edited by Treld Pelkey Bicknell and Felicity Trotman, Writers Digest Books, 2000. • How to Write, Illustrate, and Design Children’s Books, Frieda Gates, Library Research Associates, 1986. • Illustrating Children’s Books: A Guide to Drawing, Printing and Publishing, by Nancy S. Hands, Prentice Hall, 1986. • Illustrating Children’s Books: Creating Pictures for Publication, by Martin Salisbury, Barrons, 2004. • Illustrating Children’s Picture Books, by Steven Withrow and Lesley B. Withrow, Writers Digest Books, 2009. • Illustrator’s Notebook, edited by Lee Kingman, Horn Book, 1978. SCHOOL VISITS • It’s a Bunny-Eat-Bunny World: A Writer’s Guide to Surviving and Thriving, by Olga Litowinski, Walker & Co., 2001. • Minders of Make-Believe, edited by Leonard Marcus, Houghton Mifflin Harcourt, 2008. • Picture This, by Molly Bang, Seastar Books, 2000. • Storybook Art: Hands-On Art for Children in the Styles of 100 Great Picture Book Illustrators, by MaryAnn Kohl, Bright Ring LEGAL QUESTIONS Publishers, 2003. • Writing Picture Books, by Ann Whitford Paul, Writers Digest, 2009. • Writing with Pictures: How to Write and Illustrate Children’s Books (reprint edition), by Uri Shuevitz, Watson-Guptill, 1997. 22 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI ILLUSTRATORS GUIDE | ILLUSTRATORS SCBWI illustrationfriday.com www.textbook.com Educational publisher list www.ala.org American Library Association www.bookpage.com Book reviews www.bookweb.org/aba American Booksellers Association www.bookwire.com Book industry info and links www.catugeau.com Artist agent’s atArticlesand site—look Blog www.underdown.org The PurpleCrayon—editor Harold Underdown lcweb.loc.gov/copyright US Copyright Office www.cbcbooks.org Children’s BookCouncil www.lights.com/publisher Listing ofpublishers’ catalogs www.hbook.com The Horn Bookmagazine www.publishersweekly.com Publishers Weekly online magazine www.gag.org Graphic Artists Guild www.scbwi.org Society ofChildren’s Books Writers and Illustrators WEBSITES member blogs. See thescbwi.org homepage for amothly selection of kathytemean.wordpress.com Daily industry info and interviews characterdesign.blogspot.com lynnechapman.blogspot.com penandoink.com dulemba.blogspot.com chrisoatley.com blaine.org/sevenimpossiblethings designofthepicturebook.com www.simplymessingabout.com catugeau.wordpress.com Agent’s tips BLOGS JUMPSTART YOUR CREATIVE CAREER

by Katie Wools

s illustrator coordinator, new members who have a drive to make picture books often approach me for advice. There are as many paths to publica- A tion as there are artists. The article below will help kick start your art to go from hobby to creative career.

1) Admit it. five different scenes of the same fairy tale, three scenes of a Mother The first step is to tell everyone you know that you’re an artist. This Goose rhyme, four scenes of what your pet does when everyone leaves, is one of the hardest steps of all. Saying your dream out loud is scary. a story your child tells you. In a perfect world, you will show you can What if people laugh or don’t think you’re good enough? An accountant draw children, adults, senior citizens, and animals, and that you can doesn’t worry if her friends think she is good at numbers. She does it draw the same character in different poses. And if you can do different because she likes working with numbers. You do art because you like nationalities, even better! doing it. If you want to do art, do it!!! Once YOU really start to think of yourself as an artist, you will be amazed how much quicker things begin 4) Choose. to happen. Choose twelve sketches you like the most and execute them in black and white. This will help you understand the values in the composition 2) Community. and make your color illustration stronger. Plus, bonus if you have black Surround yourself with other artists. It’s incredibly hard to do art in and white pieces for your portfolio! You might not have time to do this a vacuum. I cannot tell you how many horror stories I’ve heard from for all your pieces, but consider doing a handful. people who asked their mother/huband/wife/friend to critique their art. Love ones mean well, but their advice can sometimes do more harm 5) Execute your drawings in color. than good. You need other artists to keep you focused, answer technical As an artist you will always find fault with your pieces. Do them questions and, most important, motivate you. Nothing energizes me the best you can, learn from them, and then move to the next one. more as an artist than a night of talking art with a friend. You can Be daring! If you feel you have perfected your talent at drawing a do this by attending SCBWI events. (Please, please, please come to mouse, but someone needs a moose eating mousse instead, then by the events. We want as many people there as possible!!!) Join online golly, draw that moose! groups on Facebook or Twitter. You need community! Even if your first step is contacting me, as illustrator coordinator I am happy to answer 6) Displaying your portfolio. questions. I am easy to talk to, I promise! Okay, now you have your portfolio! When I say portfolio I am referring to the collection of your work that represents your style, not 3) Subject. necessarily an actual book. It’s important to get that portfolio online Two or three drawings are not enough of a foundation to show so people see it. The best way is to build a website. A Tumblr page will your work quite yet. You need more. And your drawings can’t just be also work, and it’s a quick tool to use. Be careful not to fall into the a still life, a portrait smiling directly at the viewer, or an abstract. trap of constantly telling yourself your portfolio will ready after the They should show some kind of narrative/story. As an illustrator you next piece. It’s easy to tell yourself your portfolio isn’t ready to avoid are clarifying what is happening in a story. A smiling portrait of your taking the somewhat scary next step. child/grandchild—no matter how nicely drawn—does not necessarily tell a story. If your drawings are just a well-drawn vase of flowers, you 7) Announce. will need to show you can tell a story. Sketch. Sketch. Sketch. Draw Choose your favorite piece and to make a postcard to send out. 24 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | CAREER YOUR CREATIVE JUMPSTART at is theformer IllustratorCoordinatorof Missouri.LearnmoreaboutKatie She isalsoaCreativeDirectoratWashington UniversityinSt.Louis. Katie toward the goal itwillhappen. and Iwillcheer youon!You cando this. Ipromise ifyoukeep working to beyourowncheerleader. Ifyouneed aboost,send me anemail Remember everything happens outside of yourcomfort zone. Continue yourself the same permission to,for lackof abetterterm,fail inart. just kept sending outresumes until Igot anew job. You need togive for ajob, move into my parents basement, and eatRamen noodles. I rejected from companies, Ididn’t take itasasign Ishould quitlooking getting. Eventually, Ilanded agreat job. When Ididn’t hear backorwas fraction of them. Ihadsome interviews for jobsthatIended upnot experience. Isent outmany, many resumes. Ionlyheard backfrom a Not long ago, Iwaslooking for ajob. Ihadthe normal jobhunting This isnormal and okay. It’s not asign youshouldn’t beanartist. as many times asittakes! blogspot.com/2012/11/sending-art-promotional-postcards-to.html promo cards. She saysitbetterthanIevercould. Kristi Valiant hasagreat explanation of how tomake and distribute Katie Wools isanawardwinningillustratorlivinginSt.Louis, Missouri. Good luck!!! Yes, lifeisfullof distractions. Stayfocused. Persevere. 10) Look,abird! This isabusiness where youwillmost likely receive rejections. 9) Relax. Continue tomake artand update yourportfolio. RepeatSteps3to7 8) RinseandRepeat. www.katiewools.com www.kristivaliant. PUTTING TOGETHER A PRIZE-WINNING PORTFOLIO

by Molly Idle

here are a plethora of ways to present your work these days: Online portfolio sites, Pintrest, Flickr, Facebook . . . the list goes on and on. But when T you’re meeting face to face with editors and art directors—there is still something to be said for putting together a prize-winning printed portfolio.

At the first SCBWI conference I attended in LA, 12 years ago, I was fortunate enough to sit in on a workshop with Dilys Evans—agent, founder of The Original Art Show, and author of Show and Tell: Exploring the Fine Art of Children’s Book Illustration. Dilys said that whenever she was considering representing someone, she would pick out both the strongest piece and the weakest piece in their portfolio, and she would take those pieces to a meeting of her staff. There, she’d hold up the best piece—which presumably would get “Oohs” and “Ahhs.” Then, she would hold up the worst piece . . . Now, when she said this—almost every person in our workshop cringed. I knew we were all thinking the same thing—“What would they say if she held up my weakest piece?” I resolved then and there to take anything “cringe-inducing” out of my portfolio. So, whether you’re “in it to win it”—or just placing your work out there to see and be seen—putting together a portfolio that is both professional and personal is essential. Here are a few tips to help you create a portfolio to be proud of . . .

1. Presentation Counts. It’s my “little black dress” of portfolios. Made of board covered Before a person even looks at the artwork inside your portfolio they in black book-cloth, it feels like a beautiful hardcover book. Which will encounter the portfolio itself. The outer case should reflect the is just what I want people to think when they hold it: “This book is same professionalism and style you present on the inside. something of quality.” It need not be fancy and frilly or sparkly and glittery. The same manufacturer of this portfolio also makes available When I design my pieces I am always searching for the simple custom covers—so you have the option of creating your own unique yet elegant solution to my compositional challenges, and I want my design. But whatever you choose—be it sleek and black or wonderfully portfolio to reinforce that. whimsical—make sure it suits your work. So, here’s what mine looks like . . . 2. Introduce Yourself. Like a good strong handshake—a strong title card or introductory piece lets those opening your portfolio discern quite a bit about you. My advice? You don’t want to start off with a limp-fish handshake (i.e., a weak piece). I prefer to add a title piece as the first page of my printed portfolio, rather than clutter up the rest of the pieces with my contact information. If you can swing it, I think it’s a good idea to have your “title” piece tie in with the rest of your promotional pieces. For instance, feature the same piece on your business card. That way, when someone who has met you (and has your card) opens your portfolio, they will immediately make the connection between the two. Here’s one from 2010 as seen in my portfolio . . . 26 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org showcase the working sketch of apiece opposite the finished piece. subject withconsistency and grace. (pardon the upcoming pun), is animals that EVERYportfolio should contain. Butinmy opinion this, people. Ofadults and babies. I’veevenbeengivenalistof barnyard illustration portfolio should haveaperfectbalance of animals and amazing? You know which waytogo . animals. PRETTY WELL. portfolio? use the extraordinary talent of the townspeople to savethe day! infamous the terrorized villagers of Santo Poco) are forced to stand up tothe 3. BestFoot Forward. | PUTTING TOGETHER A PRIZE-WINNING PORTFOLIO APRIZE-WINNING TOGETHER PUTTING | Your portfolio should show what YOU do best. Humility aside—one of my strong points ismy line work.So,Ilike to I’ve heard lotsof peoplesaythateverychildren’s Is yourblackand whiteworkso-so,butyourcolorpieces are Are yourillustrations of insects adorable? Gowithbugs. Are animals yourthing, butpeoplenot somuch? Then putin That thing .iswhatyouneed to putinyourportfolio. Ask yourselfwhatisitthatyouREALLY DOWELL!Not justOK,not So, whatdoes thishavetodo withputting together aprizewinning The Amigos ask“Whatisitthistown One of my favorite movies is ElGuapo tosavetheir homes. Buthow? hogwash The ThreeAmigos . Not everyartistdraws every really does well?” And then they . Init,the Amigos (and end pages . to twelveorthirteenpieces plusmy titleand end page. And speaking of believe thatlessismore when itcomes toaprinted portfolio. I limitit that mediocre piece becauseIhaveanextra page tofillup.Itruly filler? pages. Don’t youhatethe feeling of turning toablankpage that’sjust attribute thatsoldme onitwas my abilitytocontrol the number of 5. LessisMore. with similarlines of action, orlighting, orcolor. between one project and another? Consider creating asense of flow Group pieces from the same project together. Pages thattransition layout asmuch asitdoes tothe individual pieces themselves. and timing. Your design sensibilities. And thisapplies toyourportfolio tell astoryvisually. How youutilizepage turns. Your sense of pacing and editorslookatyourportfolio—they are thinking abouthow you the order inwhich youshow them. Remember thatwhen artdirectors 4. GowiththeFlow. pages inbetween) yourportfolio showcases the bestof you! must do thisagainsoon!”parting handshake. handshake, agood end page isyour:“It’s beenlovelytomeet you,we By controlling the number of pages, Ialsoeliminate the urge toadd Aside from the lovely feelof my screw-post portfolio case, the other Think aboutmaking the transitions betweenpieces flow naturally. Just aboutasimportant asthe quality of the pieces youshow, is Bottom line— Just asthe titlepage servesasyournice, firm,introductory make sure thatfrom starttofinish(and all the CREATING PICTURE BOOK DUMMIES by Elizabeth O. Dulemba

udding author/illustrators tend to get very nervous about putting together proper dummies. How many finished pieces should there be? Should it all B be in color? How should it be bound? The key goal of a book dummy is to relay the idea of what the book could be—the vision.

Dianne Hess, executive editor of Scholastic Press said, “A book to the same proportions). They can be as simple as twenty pieces of dummy shows that you have a sense of how your picture book will be regular paper or card stock stapled together at one end, or ten pieces paced. This can be achieved through a thirty-two-page sketch dummy.” of paper folded over and stapled in the middle. This will give you a Some artists choose to make book dummies that are works of art full, standard-length, thirty-two-page picture book made up of forty unto themselves. They can be wonderful portfolio pieces, treasures to facing sides from cover to cover, including the endpapers, title page, their creators and admirers. Although, from a submissions standpoint, copyright page, and dedication page. To see how many pages need to Dianne feels that, “a full-color dummy with finished art is fun to look be accounted for and where they go, you can download my thumbnails at, but totally unnecessary. And it’s a waste of your time, since even template at www.dulemba.com/FreeTools/storyboard, or look at a picture if the book does get sold, you will most likely still need to make some book you like and count it out. extensive changes—and you need to be flexible.” Follow the same rule as your portfolio—never include original As Meredith Mundy, executive editor of Sterling Children’s Books artwork in a dummy. Instead, scan your work into your computer and said, “Even if an author/illustrator says in the cover letter that he/she print it to each side of a page on your home printer. Staple it together is fully willing to revise/reshape a project, when it looks done, it feels and, voilá! done. I’d much prefer to see a project in rough form and feel that the While you can find directions for hand-made books with sewn art director and editor will have a chance to work with the creator to bindings and such online, Dianne says, “Fancy bindings are completely shape a project to completion.” unnecessary. Staples are fine. Just make sure your pages are numbered.” My personal formula has been to pencil out the entire story and I do suggest getting one of those over-sized staplers that can reach take two or three of the pieces to final. The wiggle room has been all the way to the middle. I love mine. If you’re worried about sharp how finished those pencils are. I’ve recently loosened up, sometimes ends, put some masking or fabric tape over the spine. including enlargements of my thumbnail sketches to get the general If you do want to get fancy, you can lay your story out in printer ideas across. spreads in InDesign, ready to fold into a proper book. Or a little bit of Both Dianne and Meredith believe it’s important to share at least skill in Photoshop can go a long way if you’d like to format your pages two finished pieces in a proposal to show what your final art will look there. You can have your local copy shop put it together or send your like. Meredith said, “Even finished art unrelated to the proposed project dummy off to Lulu.com for a seriously slick finish. But it’s really not is fine. What I’m really looking for is the finished style, since sketches necessary. don’t convey that well enough.” As Meredith said, “No need to provide anything super fancy—the Dianne said, “I have seen sketch dummies with very loose, simpler, the better.” rudimentary drawings that are just fine. But whether you are a new So, do dummies work? Do dummies sell books? artist—or a veteran artist—it’s good to create a full sketch dummy. You When I asked Dianne if she’d ever acquired a book because of a don’t need refined sketches—just something loose. But enough to dummy, she said, “I can’t say how often—but I have bought many a show placement, have some feeling of character development and page book based on a dummy.” design, and logical movement of the story.” Meredith has too. She said, “Twice that I can think of . . . Dummies don’t have to be hard to make. They don’t even have to be and one of those times, we didn’t even end up using the author as the true to the book’s final intended size (although you can trim them down illustrator! BUT the dummy showed very clearly the author’s vision for 28 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org are many different waystoget the point of yourstoryacross. long asyouhavethe page count right for astandard picture book,there if the storyisworking ingeneral. verbiage spots, ifthe text fitsthe standard thirty-two-page layout,and images/scenes are changing up,ifthere are any text dumps vs. spare benefit from laying outtheir text inapage-turning format to seeifthe simple manuscript. It really did need visuals toclarifythe concept.” the book,and without it,Iwouldnot havelooked twice atthe very | CREATING PICTURE BOOK DUMMIES BOOK | PICTURE CREATING Bottom line, don’t letcreating apicture bookdummy scare you.As Creating bookdummies isn’tjustfor illustrators. Allcreators can Take note authors!

ELIZABETH DULEMBA DE-MYSTIFYING DIGITAL DUMMIES

by Bonnie Adamson

Creating the files pdf driver (when I experimented, this option added an arbitrary white Essential tools for producing a digital dummy are: border to my image), or use a pdf converter tool. It is also possible to 1) a way to scan sketches and final art (if you work traditionally), to find low-cost or free open source alternatives to Photoshop (GIMP is create digital files; one)—and there’s Scribus as an alternative to InDesign. As with all the 2) a way to add text to image files; and software mentioned in this article, research carefully before investing! 3) a way to combine the resulting files into a multi-page pdf. Don’t be seduced by fancy page-turn technology for your dummy. It’s When scanning or having your images scanned, specify a file format very cool but unnecessary—and may even get in the way of the primary other than jpeg, which compresses the information in the scan and objective, which is to showcase your work. If this is a piece you want to re-compresses with every editing session, resulting in a progressive loss put on your tablet to show off your mad skills to colleagues, however, of quality. Bitmap or tiff formats are safer choices. A suggestion: scan there are free options (google “page-turn software”). Be sure to keep and process at print resolution (300 pixels per inch) if possible. It’s a that pdf spread dummy in reserve for submissions. good idea to think of this as a print project from the start so that you retain as much information as possible in your native files—including Sizing the files converting color images to CMYK. That way you can use your digital As a rule of thumb, try to get the size below 5 MB, in case you dummy to produce a more polished print dummy if asked. need to e-mail as an attachment. There are ways to play with pdf The easiest way to combine images and text into a multi-page pdf is compression: start with “Smallest File Size” as the pdf Preset option with layout software such as Adobe InDesign. Set up your document to in InDesign. (If you’ve already exported, you must open the original the dimensions of the finished page size, import scanned images, create InDesign file and export again.) Experiment with different settings text, and save. Once saved, you can export the document as a pdf. Be (renaming your file each time) to determine a workable balance sure to check “Spreads” in the Export dialog window under Pages so between size and quality. If you’re using Photoshop to create spreads, that each panel of the pdf is a spread rather than a single page. choose “Low” or “Medium” Quality as your pdf option. You can also try The next easiest method is to set up a spread-sized template in the “Reduced-size pdf” option under “Save As Other” in Adobe Acrobat Photoshop or CorelDraw and proceed as above, dropping in art and Pro’s drop-down “File” menu. adding text. The difference is that each saved spread will be a separate file. Name each pdf file to reflect the order in which you want the Some tips: files seen: Dummy 1 for the cover image, Dummy 2 for the title page »» Always check “Optimize for fast web view,” which controls how your spread, etc. (There are excellent resources online that explore the many file will load. permutations of the standard 32-page picture book format. For dummy »» Choosing the highest available version of Acrobat in the purposes, I generally disregard endpapers: page one is the title page, “Compatibility” menu can have a dramatic effect on file size—just be page two is designated for copyright information, and the story spans sure the person viewing has upgraded to the latest version of Adobe pages 3-32.) Once you have your spread files saved, you can use a pdf Reader. converter such as Adobe Acrobat Pro or one of its less costly clones »» Standard screen resolution is 72 ppi. You can down-sample your (google “pdf converter software”) to combine the individual pdfs into images to this resolution without worry for on-screen viewing. one multi-page file. »» If you’ve created your dummy at full print size—say, 11” x 9” page For those of you who do not own one of the pricier image-editing size—try scaling down proportionately: resize pages to 8.25” x 6.75” programs, any simple utility—like Paint (part of the basic MS package (75%) or 5.5” x 4.5” (50%). for PC), or Paintbrush for Mac (not included with the basic operating »» If you’re including finished color art samples, consider storing and system but available as a free add-on)—will allow you to size your sending them as separate files to keep your dummy in grayscale. images and add text. But they’re a bit clunky for the purpose of creating dummies. My Paint program will allow me to resize by percentage or by pixel dimension only (you must work out the math for yourself), Storing the files and files cannot be saved directly as pdfs—you can either print to a A Wordpress website will allow you to upload a pdf to your media 30 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DE-MYSTIFYING DIGITAL DUMMIES | DE-MYSTIFYING permission. storage limits, never attachapdfdummy filetoane-mail without doubt, ask.Although e-mail hosts are continually upgrading their requirements vary, soresearch yourintended targets, and when in Delivering thefiles your tabletorphone. device, youcanstore yourfilesonlaptopor desktop and sync to Android. utilities employFlash,which isno longer supportedfor iPhone, iPad or to embedthe dummy withathird-party reader, however. Most of these Issuu (besure yoursettings are setto“private”).Resistthe temptation store yourfileonaserverorfree publishing sitesuch asScribdor externally, inane-mail. IfyouownaBlogger orTumblr site, youmust use tolinkinternally toapassword-protected page onyoursiteor library. Once uploaded, the filewillhaveitsownurlwhich youcan The safestoption when querying istoprovide alink.Submission If you’re concerned onlywithviewing the dummy onyourown YOU’RE HIRED TO ILLUSTRATE YOURCOPYRIGHT FIRST CHILDRENS FACTS BOOK WHATFOR COMESWRITERS NEXT?

by Laurent Linn

s a dedicated illustrator, focused on getting that first book deal, no doubt you’ve worked hard—practicing and experimenting with your art, discover- A ing and finessing your unique style, making connections in the children’s book community, polishing your portfolio/website, and soaking up all you can at conferences and workshops.

So much energy and work is put into preparing one’s craft. But often left to the artist to decide the pacing of the text in relation to the art. when an illustrator is hired to create the art for a picture book, it can In this case the freedom—and responsibility—is for the illustrator to be a bit of a surprise what comes next. choose which scenes get the most emphasis in the arc of the story. Almost without exception, when I work with an illustrator on her As a first-time illustrator, it might be best to ask for the manuscript or his first picture book, there’s a learning curve for the artist on the to be paginated for you. It may come that way first, but if not, feel free process and nitty-gritty of how a book comes together. Often, getting to ask for the page breaks to be inserted by the author and editor. That up-to-speed on those details slows the whole process, can cause could help avoid much confusion. confusion, waste time and effort, and be stressful for the illustrator trying to navigate the whole thing. So, here, I’d like to demystify some AUTHOR’S ART NOTES: of the process so you can be better prepared for the happy day you are Many picture book authors, with the best intentions, will add hired to illustrate your first book. illustration notes throughout their manuscripts. Often it’s for the editor By no means do I cover all the things that could come up, but this to better understand the story, which can help with the editing process. list can certainly give you a head start when you get that call. But many times these art notes are left in the manuscript that is given to the art director to then send to the illustrator. THE MANUSCRIPT Unless an art note is essential for the artist to understand (for Most first-time illustrators are creating the art for a manuscript example: a major aspect of the story that’s not mentioned in the written by someone else. While it certainly does happen that a first- text), I always take out the art notes when giving an illustrator the time illustrator is also the author of her or his first book, it’s quite manuscript. A picture book is a shared and equal creation of both the rare. Illustrating a book that’s written by another is a fantastic way author and illustrator (and, by extension, the editor and art director). to get into the children’s book world (and the usual way.) Even more We hire the best illustrators for their unique and singular vision, than that, many top illustrators only create art for books they haven’t for how they would interpret a story. I feel that, by art directing an written. Not all illustrators are writers—that’s a very individual thing illustrator right away, it’s like putting handcuffs on that artist—I want based on one’s interest, skills, and talents. However, anything is to see what you will bring to the illustrations, not how you would draw possible! my ideas, or the author’s. So, let’s say you are hired to illustrate a manuscript by someone else For various reasons, many art directors and editors will leave the (that the publisher has acquired.) There are certain things you should author’s art notes in a manuscript that may come to you. You should consider. Of course, your art director (or, in some cases, editor) will absolutely feel free to talk with your art director and ask for them to be be there to help you, but it pays to be informed so you can know your taken out or, at the very least, discuss that you would like the freedom options. to draw what you envision without those restraints. The Big Exception: non-fiction. With non-fiction, the author has PAGINATION: probably spent years researching the topic and, since the art must Some art directors will give the illustrator a manuscript that has all factually reflect the topic, art notes are often needed. In fact, the the page breaks inserted throughout, so it’s clear what text falls on author’s notes will be a treasure trove of resources for you and you may which page. But often the text is presented as one flowing story, so it’s want even more information from the author as you do your sketches. 32 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org kinds of media beautifully. and bounds from where itwas yearsago. We can now reproduce all scanning or photographing art for the printed page hasjumpedleaps to collage topastelacombination, aswellsomany other media, right for the artist and bestsuitedfor the story. From paint tocutpaper wonderful freedom tocreate picture bookartusing whichever media is is essential. and/or setting upyourdigital filesinthe right waysfrom the beginning scanned and printed inspecificways, and crafting yourphysical artwork when the final art was delivered, weboth were in for ashock. Artis assumed wewere understanding how the artwouldbecreated. But, than I’dlike toadmit, boththe illustrator onaproject and Ihaveboth will saveyoumuch potential hassleand headache. Inmore instances you willdeliver the final illustrations, knowing certainthings upfront your initial compositions, you’llbeahead of the game. of design. art inanorganic way, all the whileknowing the parameters and “rules” etc. The bookdesigner’s expertise isinincorporating the typeinto the text—like injazz,I“riff”off of the artstyle, colorpalettes, emotions, the final artis done to decide uponthe fonts and final design of the course of the bookcreation. Infact, when Idesign abook,Iwaituntil text. will help youtoknow how much room isneeded toaccommodate the (it’s usually from anun-copyeditedversion of the manuscript), butit the final book.By no means willthe fonts befinal or the text finessed the pages, withthe typeplacedoneachpage atthe sizeitwillbein very provided for youatthe start,besure to ask for atypedummy: thisisa know how much room toleavefor the text oneachpage. So,ifit’snot the startof the illustration process. But,asthe artist,it’sessential to house’s responsibility and expertise, certainlyisn’tdecided uponat character the storycallsfor, then youcanjumpinto the fullbook. they different from their surroundings? Etc. Do they share the same design qualities astheir environment orare the outside and how canthe design hint atwho they are onthe inside? or animal (orobject..)?Whatdo they show abouttheir character on illustrators togo wild—tryoutallsortsof designs. Who isthisperson world youare creating for them, butisalsoalotof fun.Ialwaysask with the character visually willnot onlyinform how youillustrate the change. take valuable time) tore-sketch eachpage ifthe character designs that canbefine, itcouldcreate even more work for the illustrator (and whole booksketches before refining the main character design. While eager tojumpinto the storysketches thatshe orhe willsubmitthe | YOU’RE HIRED TO ILLUSTRATE YOUR FIRST CHILDRENS BOOK: WHAT COMES NEXT? COMES WHAT BOOK: CHILDRENS YOUR FIRST TOILLUSTRATE HIRED | YOU’RE Because of where weare withtechnology now, illustrators havea TRADITIONAL MEDIA(NON-DIGITAL): No matter how youcreate art,whatmedia youuse, and however DELIVERY OFFINALART But ifyouhavethe basic idea of how tousethe sizedtext blocksin Of course, justlike the art,the typedesign willevolveoverthe The typedesign of abook,which isthe designer atthe publishing TYPE DUMMY Once youand the artdirector are satisfiedthatyou’vecreated THE Most allpicture booksare character based, and experimenting Sometimes, and understandably, afirst-time illustrator willbeso CHARACTER DESIGN rough layoutof the book,setatthe actual sizeand dimensions of the art. look and adjustyourdigital palettesaccordingly tocreate the rest of as they willwhen printed. Then youcanseehow the colorswillactually for testproofs. They willmake printed proofs of your artfilesthatlook you’ve done yourfirstfewcolorpieces, send the filesto the publisher palette canbetricky. The bestwaytoavoid surprisesis, assoon definitely lookdifferent onthe printing press—choosing yourcolor look different from how itlooksonanartdirector’s screen—and itwill art tobesure yourcolorpalettewillreproduce the wayyouwant itto. perhaps send ittoyourartdirector before youjumpinto the rest of the like they lookinoriginal art,sowhen youcreate yourfirstcolorpiece, certain colorssimplywon’treproduce. Aboveall,neon colorswon’tprint should produce. Be sure toaskyourartdirector ifthere isasizelimittothe artyou marvelous thing.) Butthe sizeof the scanner needs tobeconsidered. is no longer usedtomy knowledge, you’llunderstand why thisisa the artboard canberigid. (Ifyou’veheard of adrum scanner, which the betterthe bookwillbe! beginning, and the betterrelationship youhavewithyourartdirector, is alwaysappreciated and cansaveeveryone time and stress. you don’t understand the process yet.Believe me, opencommunication afraid toaskeverypossiblequestion youcanthinkof, oreventosay practice—once youare hired toillustrate abook,you’re in!Sodon’t be essential. need tobe300dpiat100%of print size, butconfirming thisfirstis the filesinto CMYK. spend rushed and needless hours reworking the artonce youconvert time creating yourlovelyartwithRGBcolors, youmay then haveto the art,Irecommend doing itinCMYKfrom the start.Ifyouspend your in CMYK, Since the waycolorlooksonyourcomputerscreen willinevitably DIGITAL MEDIA: In four-color press printing (cyan,magenta, yellow, and black), Most artisscanned onaflatbedscanner, which is good news, since However, there are stillparameters toconsider. Your firstbookshould beajoy, and the more toolsyouhaveatthe NEVER BESHYABOUTASKINGQUESTIONS. Honesty isthe best ABOVE ALL: Also, discussthe filespecifications Also—and thisisimportant—the final artfiles needtobe delivered not RGB. Allbooksare printed using CMYK.So,asyoucreate before youstart.Artfilesusually FROM THE EDITOR’S DESK: EDITORIAL FACTS QUESTIONS MOST FREQUENTLY ASKED BY CHILDREN’S BOOK WRITERS

by Beverly Horowitz | VP & Publisher, Delacorte Press, Random House Children’s Books

Where should I send my writing? addition, the SCBWI’s “Edited By” list (page 71) will help you research It may be difficult to think about your manuscript from the other side specific editors’ tastes and the types of manuscripts for which they of the desk, but do so for a moment and the process may seem a little look. less overwhelming. Editors need to discover new talent, and indeed, Another valuable resource is the Children’s Book Council (CBC), it’s what makes their job exciting. With this in mind, you have a real a nonprofit organization of the children’s book industry. The CBC shot at finding a home for your manuscript. It does, however, take some maintains a list of publishers who are committed to publishing books serious work. Unfortunately, many people believe that writing is easy. for young people. See their website, www.cbcbooks.org, for more These same people do not realize that their text goes off into the world information. alone and must withstand the tests of a variety of readers and tastes as Literary Market Place (LMP) is another source for a list of publishers; well as changing trends. In light of these demands, it is encouraging it also lists literary agents. It is available at any reference desk at that so many manuscripts do find their niche. public libraries across the country and is updated annually. The match between the kind of project you’ve written and the house/ Although the CBC and LMP are important sources for you to use, your editor to whom you send it is important. You may receive a response real work is more complex. You need to determine whether there is a that says your project is “not right for our list.” For some editors, that publisher who is currently publishing titles in the vein of your work. may simply be a kind way of saying no. For others, it is true—your This seems obvious—send a picture book to any children’s publisher, specific project does not work for them because they do not edit picture because they all publish picture books, right? Not really. A better books, or nonfiction, or whatever genre you have submitted. No matter approach is to try to figure out exactly what you’ve got. If you have a how good your manuscript is, you won’t get on that list. One thing holiday story, try to figure out who might have a subcategory of holiday many authors should know, however, is that if there is some element titles. If you don’t see any general trend, then you need to visit a in a project that strikes the editor as inventive or well written, he or bookstore and really look at what is similar to your work and check who she may take the time to write an encouraging note even if the work is the publisher is. Be certain to find the exact imprint and not just the declined. You may have written a work that will, in fact, appeal to only overall corporate name. Many large publishers are umbrellas for smaller a limited readership; it may not be appropriate for wide distribution. imprints. Each imprint has its own staff and its own mission. You can This should not deter you, but should help you put in perspective the see this for yourself by visiting various publishers’ websites. These sites enormous task ahead. Now let’s assume you are willing and ready to will list each imprint, with examples of exactly the type of books each seek the widest recognition possible and form a relationship with a one publishes. It may seem to you at first glance that all the imprints publisher. are essentially the same, but they are not. Within the large houses Begin to think about where to send your work and develop a plan especially, the identity each imprint has is important. of action. Some questions to answer: What are you selling? Fiction or This distinction, however, leads to another rule: Decide which nonfiction? A picture book? A middle grade or young adult novel? There imprint/editor you are writing to, and do not send your submission are some general rules for picture book submissions. Do not send a text to someone else in that group at the same time. Once you have your that is equivalent to a greeting card, or send one that is so long it list of publishers and specific imprints, find out whether unsolicited cannot possibly fit the standard thirty-two-page picture book format. manuscripts are being accepted. Post-9/11, many houses determined Do your research. Never assume your book is for all ages. An editor that for security reasons they would return manuscripts addressed as well as a bookseller or librarian needs to place the book in some simply to “The Editors,” without a specific name attached. This may category. Who is really the best reader for your work? Of course, a book make you feel as if it’s even harder to find a home for your work, but can cross over and appeal to other groups, but you should understand understand that from the publisher’s side, security measures are not that it needs to start in some specific category. Once you know what unreasonable. Your research should include finding the names of editors kind of book you have written, it will be easier to focus. to whom you should submit your work. This security policy applies The SCBWI’s “Publishers of Books for Young Readers” list (page 49) to many literary agencies as well. It is up to you to find out each is updated annually and is a good place to begin your research. In recipient’s requirements. 34 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org has purchased. Ifthe magazine hasbought nonexclusive serial rights published inbookform aswell? I’ve soldastorytomagazine. Isitallright totrygetit book willbeabletoenvision ashe orshe reads the text. leave extra spacewhere page breaks fall. The editorwho acquires your director tocreate avision for the final book. Type the manuscript and is preferable. Remember, partof aneditor’sjobistoworkwiththe art so itisunnecessary tolayout the book.Adouble-spaced manuscript leaving blanks where theartwillgo? preplanning theactualpagesasthey willappearinthebook, Should Isendthemanuscriptonly, ormake upalayout by What isthebestprocedure regarding picture bookmanuscripts? chance of acceptance—although itispossible. match. Ifyoudo send the project along asateam,youhavesmaller he orshe knows. However, do not expect thatthiswillbeanaccepted is accepted, the author cansuggest the possibilityof using the artist known. How besttopropose suchabook? by teams. Bothof usare published,but neitherof usiswell you are theauthorandillustrator. Yet we doseebooks done advisable tosendamanuscriptwithproposed artwork unless us isawriter, theotheranillustrator. We bothknow itisnot A friendandIwishtocollaborate onapicture book.Oneof to find awinner. Thatiswhy they bother torunthe contest. contests are agood betbecausethe house running the contest wants worth it.Try tosend the project toaspecificeditorby name. Also, to make itoutof suchahugeslushpile? dismaying. How can any manuscript,nomatterhow good,hope The news inPublisher’s Cornerisinformative, but itcanalsobe with the Copyright OfficeatLibrary of Congress to register yourwork. Once the workispublished, the publisher willfilethe necessary forms in tangible form, sothere isno need toregister itbefore mailing itout. send ittoapublisher? Should Iregister my work withtheUSCopyright Officebefore I time and energy into the process sothatyourmanuscript finds a home. Nonetheless, like any teenager applying tocollege, youneed toput a perfectmatch for yourmanuscript, butnot allof them willworkout. some waysthe twoare alike! There are plenty of placesthatcouldbe manuscript isasanxiety-provoking asapplying tocollege. And in and issuesinchildren’s books. Some peoplefeelthatsubmitting a July, sold insome of the larger bookstores. Twice ayear, inFebruary and Weekly up witheditorsand who might beworking where istoread speaking, evenifyoudo not attend their sessions. Another waytokeep the country (and throughout the world).Find outabouteditorswho are unsolicited submissions? How doyou discover whichagentsandeditors willaccept | FROM THE EDITOR’S DESK | EDITOR’S FROM THE Usually yes, butthisalwaysdepends onthe rights the magazine Most editorscanimagine the possiblevisuals for apicture booktext, Realistically, itisbestfor the author tosend inatext, and ifthis If ahouse hasanopen-door policy, then submitting yourworkis The copyright lawstatesthatworkiscopyrighted assoonitexists No need tohire Sherlock Holmes. The SCBWIhasconferences across PW ( PW hasads, interviews, reviews, and general coverage of trends ), which should alsobeavailableatyourlibrary and iseven Publishers I sentmy manuscript off andwaited ayear for ananswer. It effort. text withone-inch margins allaround. Anything elseisawasteof likely tobuy it? look like abookwillcatchaneditor’s eye andmake himmore Isn’t ittruethataword-processed manuscriptsetintypeto books, youshould mention thatand listthe titles. point isbest;not more thanone page should do. Ifyouhavepublished editor know aboutwhathe orshe willbereading. Short and tothe Don’t concentrate onselling yourselfasmuch assuccinctly letting the to pitchthe project sothatthe editorgets atasteof whattoexpect. What difference doesitmake ifI’ve includedanSASE? Do Ireally needacover letterwhenIsubmitmy manuscript? book publisher. agreement withthe magazine before going ontosubmitthe worktoa However, some magazines buyexclusive rights inperpetuity. Check your is yourstodo withasyouwishonce the rights havereverted toyou. and agrees toreturn the rights toyouafterpublication, then the story one? Will Ihave betterluckwithanagent?How doIgoaboutfinding more happily, bought. Save the second one tooffer afterthe first one hasbeen declined—or, not send more than one manuscript toapublisher atthe same time. manuscript toone publisher atatime. It isstrongly advisedthatwriters manuscript from consideration. is withthe editor, writeagain,stating thatyouare withdrawing the with it,grant her another month ortwobefore youwrite again. says the manuscript ishaving asecond reading, orshe’d like more time editor canjotanote onitand return ittoyouquickly.) Ifthe editor much better. (It’s agood idea toenclose aself-addressed postcard; the telephone inquiries aboutthe statusof awriter’smanuscript; lettersare track of allthe unsolicited material thatcomes inand cannot answer from the workontheir desks. Editorsalsodo not personally keep Editors find telephone callsannoying and intrusive, taking them away note (do not telephone orfax) asking whether she’s made adecision. doing so. recommended bythe SCBWI: than one personatanimprint. Editorsfind thisannoying. submitting toonlyone editoratanimprint. Donot submittomore multiple submission. You should alsocheck tobecertainthatyouare work to;however, youshould sayinyourcoverletterthatitisa published! work sittingaround inaneditor’s office for a year. I want toget to five different publishers atonce. Ican’tafford tohave my came withaform rejection letter. ThistimeI’msendingitout No. Thisisunnecessary and canbeoff-putting. Send adouble-spaced An editorgets many submissions. Your coverletter isawayfor you It isnot necessary tohaveanagent ifyoudo yourresearch and Most editors, agents, and the SCBWIbelieve it’sbesttosend one If youhear nothing at allduring the three months yourmanuscript If youhaven’theard withintwomonths, writethe editorafriendly Send acopyof yourmanuscript and sayinyourletterthatyouare The following procedure isfair toyouand the editorand You haveeveryright tosubmitanyone you’dlike tosend your FROM THE EDITOR’S DESK | 35 submit to a house that has an open policy, or if you learn of an editor PREPARING & SUBMITTING and write directly to that person. However, an agent is the person whose business it is to have contacts in the publishing industry. What an agent might do is match your work with an appropriate editor more quickly. However, it is difficult to make agent connections, and the process takes time. The “Agents Directory” on page 129 of this guide is a listing of agents and artists’ representatives. Once you’ve selected a few agents to write to, send one of them a query letter (with an SASE) outlining your writing history and a sample of your work. Do not submit your work simultaneously to several agents, even though you may need to query MARKET SURVEYS several before you find one willing to take you on and with whom you will feel comfortable working. Most agents will not charge you a reading fee or ask you to sign a contract with them or charge you for incidental expenses such as telephone calls and messengers; some agents, however, have instituted such practices. After you’ve published a number of books, you may find an agent a great help in negotiating better terms and relieving you of concern about various business details. In short, there are arguments for and DIRECTORIES & RESOURCES against new writers having an agent, and the final decision rests with you.

Several publishers have turned down my book. Should I pay to have it published? This is a decision only you can make. Self-publishing has its place: as a gift for the family, to make a controversial political statement, or to put forward an unconventional point of view. But as a means of selling your book, it falls far short of what a commercial publisher can do. Most libraries and schools won’t even consider purchasing a self-published book for children. Today, technological advances do make it possible to self-publish. The issues after creating the actual printed volume arise in PUBLICIZING YOUR PUBLISHED WORK terms of distribution and publicity. It is a big job to do alone; however, the choice is yours. Sometimes it is satisfying enough to print your book and share it with those you most care about. SCHOOL VISITS LEGAL QUESTIONS

STARTING A CRITIQUE GROUP

by Sara W. Easterly & Jolie Stekly

ne of the primary goals of the SCBWI is to bring writers, illustrators, and others in the children’s book field together. We very much appreci- O ate your interest in helping to start a critique group and we want you to know that the national organization is ready to help you in any way we can.

GETTING STARTED of course, but we may be able to match you with one or more Before you start looking outward, carefully reflect on the kind of possibilities. critique group you’d like to belong to by asking yourself the following »» SCBWI activities. Hang out where others with similar interests questions: will be: Check out the SCBWI website and the Bulletin for a comprehensive list of conferences and happenings geared exclusively »» Do you prefer to mingle exclusively with others in your genre or for writers and illustrators of children’s books. field, or are you open to mixing (e.g., picture book writers only; all »» Writing classes and events. Also be on the lookout for various children’s writers, novelists and picture book writers alike; writers classes that are offered in your community via libraries, universities, only; or writers and illustrators)? community colleges, and other professional organizations. Critique »» How prolific/productive are you, and how often do you need feedback groups regularly launch from these kinds of activities. from your peers? »» Blogs and social networking sites. Facebook, Twitter, and other »» How do you handle comments from colleagues? Are you able to listen social networking platforms have opened up a whole new world to to criticism without getting defensive? Is it easy for you to tune out the children’s book community, and critique groups have sprung up comments you disagree with and stick with your intuition? Are you as a result of how easy it is to connect and share work electronically. willing to give others’ suggestions a try, even if at first you disagree? Children’s writer and podcaster Tony Dirksen recently advertised his »» Do you feel more comfortable with others at your same level, or cyber-critique group’s search for another writer by making a comment are you more inspired when you work with people across levels of on other writers’ blogs and on Meetup.com. It paid off, too! Tony experience? connected with two great writers and is thrilled about his new group. Using online tools to find a critique group allows all parties How you answer these questions will give you an idea of the kind to be completely honest about what they’re looking for—in terms of group you’ll want to find—one that will be most successful for you. of commitment level, experience, feedback needs, and relationship While it’s not always a breeze finding the perfect group, being clear style. with what you’re looking for will help you stay focused in your search. RULES OF ENGAGEMENT FINDING YOUR GROUP If you’re starting a brand-new critique group, or as you fold into an The process of finding or starting a critique group can often be just existing group, you’ll have some decisions to make together. Talking like finding one’s soul mate—and often equally daunting. But before through each person’s expectations, goals, and styles at the onset will you start crafting that personal ad to post on Craigslist, there are other help ensure you’re all on the same page. Here are some things you’ll routes to consider first: want to discuss:

»» Established groups. The SCBWI is a matchmaker of sorts. Contact »» How regularly do you want to meet? Weekly, biweekly, monthly, or as your chapter’s regional advisor or check your regional page at scbwi. needed? org to inquire about critique group opportunities in your area. The »» Where? In person at a home, library, or café, or online? SCBWI can’t force a critique group to accept you as a new member, 38 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » a fewimportant things toremember aboutthe process. SEARCHING SUGGESTIONS » » » » » » » » for sharing! as toyourchapter’sregional advisorornewsletter editor. Goodnews is publication successes bysending anote [email protected], aswell an appendix devoted tosuccessful peergroups. Ursula K.LeGuin’s sure toread Linda SuePark’s “Giveand Take of Critique”onpage 33. notes without being defensive. constructive feedbackwithpraise. When being critiqued, listenand take respect the workand privacyof yourpeers. When critiquing, sandwich KEEPING ITREAL | STARTING A CRITIQUE GROUP | ACRITIQUE STARTING » » » » » » » » » » » members may end up going their separate ways. Remember thatthere Even inthe bestof critiquegroups, dynamics canchange and great for others—especially when spread across geographies. In-person meetings workreally wellfor some, whileonline groups are Remember successful critiquegroups come inmany shapesand forms. overnight—or evenafterameeting ortwo. group cantake along time, sodon’t expect ittocome together Be proactive and dedicated inyoursearch. Finding the right critique Regardless of how yougo aboutfinding yourcritiquegroup, there are (or willyounot)? What willbethe group’s sizeand how willyoubring innew members letting the feedbackflowfreely asinspired? How willyoucomment onone another’s work—taking turns or Will the writerprovide photocopies for eachgroup member? do the honors? Will the writerread hisorher ownworkaloud orhavesomeone else e-mail, oronthe spotwhileread aloud atyourmeeting? How do youprefer toreview one another’s work—inadvance by for critique? an entire manuscript, orwouldyouprefer tobring individual scenes If you’re critiquing one another’s novels, are youcomfortable reading How willyoushare costsfor guestspeakers, snacks, orcelebrations? critique? Will youinclude refreshments and food, orare youthere strictly for Finally, besure tokeep usposted!Letthe SCBWIknow about For more information aboutnurturing asuccessful critiquegroup, be Once youfind the right critiquegroup, cherish it.Firstand foremost, it! are justasmany critiquegroups asthere are fishinthe sea. Keep at Steering theCraft isanother excellent resource, with goes off, and not untilthen. anti–black licorice tirades) take place after the last alarm All non–critique specific conversations (and this includes when five people have been meeting weekly for ten years. » » » » and inthe years since, we’ve built up anincredible trust. very, very candid during critique. That was adecade ago, mind ofblack licorice.” licorice.” irrelevant, but it’s agoodjumping-off place for critique. we all hate black licorice. WhichIsuppose seems alittle a drive to become the bestwriters we can. The second is different generations. having beenbornondifferent continents and into » » » » Of course, great friendship has cropped up, as itwill I love itthat: I joke, but from the beginning, we agreed to bekind but “Hmm, this description misses the mark. Itputs me in “I like this treatise onlawn care more than Ilike black We have two important things incommon. The first is We call ourselves the Scribbling Siblings, despite turn. End ofstory. versa. When the alarm goesoff, it’s the next person’s discussion time, they’ll skip the reading aloud, orvice ten willbespent indiscussion. Ifsomeone wants more Usually, about ten willbespent inreading aloud and we adhere strictly to the RuleofTwenty Minutes. only way Ican work to overcome them. me identifyweaknesses inwhat I’ve written. This is the hear our work praised. Itruly count onthe group to help the drive to improve faroutpaces the desire to simply be lessdefensive. the writing and not about the writer allows each ofusto critiques are confined to the writing. Knowing it’s about advance. This allows usfreedom to digdeep. what I’ve written. We send our pieces out aweek in the Scribbling Siblings take time to thoroughly read CRITIQUE GROUP WHY ILOVE MY

THE GIVE & TAKE OF CRITIQUE

by Linda Sue Park

or most writers, critique is a crucial part of the writing process. If you have any experience with critiques, you already know that some critiques F are more helpful than others. Here are some guidelines for giving and receiving successful critiques.

THE PLAY Conversely, people sometimes feel that a commenter has torn apart Whether your work is being critiqued by a group or one other reader their work and has absolutely nothing good to say about it. These (online or in real life), the first rule of thumb should be this: The writer critiques are depressing at best and downright hurtful at worst. The does not speak during the comments phase of the critique session. Not sandwich method helps avoid either pitfall. once. Not a single word. Exactly what are you looking for when you are reading someone else’s Why not? Because the work must stand or fall on its own. When the work? It varies, of course, depending on the genre. Although every piece eventually gets submitted and is read by an editor, the writer piece is different, the following give a general blueprint for what a won’t be there to say things like, “Well, what I meant there is . . .” critiquer should be looking for: or “That’s supposed to refer back to . . .” The writer should listen, take notes, and listen some more. Later, when all the commenters are Plot finished, there can be discussion including the writer. But not at first. »» Page turnability: Is the story interesting? Does it make you want Some groups or partners exchange work in advance. Others read to read on? Do you ever feel impatient and wish things would get on the spot. Both systems have their advantages, but for in-depth going? critiquing, reading the piece in advance and spending time on it before »» Problem: Does the main character have a clearly delineated problem the meeting is invaluable. confronting him/her? Does each scene develop either impediments to a solution or progress toward a solution? GIVING »» Logic: Do the scenes connect in a logical manner? Is there something The method I like best is often referred to as “the sandwich.” A happening in the middle or at the end of the piece that simply commenter begins by saying something he/she likes about the piece, doesn’t make sense given the setup? then goes on to point out weaknesses, and finishes up with another »» Ending: “Unexpected inevitability”—has the writer laid the positive comment—sandwiching the negative between two positives. groundwork for the ending, even if it’s a twist or surprise? When a writer hears something good first, he/she is more likely to be open-minded about the criticisms. And finishing with a positive point Character keeps the critique friendly. »» Believability: Do the characters seem real? Do they talk and act like Just as the writer should abide by the rule of not speaking during people you might know—even if they’re hedgehogs? Do they have the critique, the commenters should abide by the sandwich rule. flaws, or are they too perfect? Do they have characteristics, quirks, Everyone should offer both positive and critical comments on the piece. idiosyncrasies that increase their individuality, or are they generic? I can’t count the number of times a writer has said to me, “My critique »» Empathy: Do you care about the characters? Do you feel anxious for group always praises my work. That makes me feel good, but I end up them as they face their problem? Do you feel like cheering wildly or not knowing how it can be improved.” Once in a blue moon, maybe at least smiling if/when they finally solve it? someone does offer a perfect or near-perfect piece for critique. But »» Growth: Has the character grown or changed in some way by the end 99.99 percent of the time, a good critiquer will be able to offer helpful of the story? comments for improvement. 40 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org job now istoreceive responses and information—not togivethem. will.” As awriterwho presumably wants comments onyourwork, happened onpage two,butIhadtostopthere to explain Grandma’s making statements: “The scene onpage four isacontinuation of what due tocharacterization orscene-setting?” The writershould avoid you said thisscene onpage four isunclear toyou.Would yousaythat’s the writershould posehis/her responses asquestions. Example: “Ann, and the writerisnow allowedtojoininthe discussion. Where possible, critiques focus onthe writing, not the writer. paragraph!!), he/she is here” (and beforewarned! It willalmost alwaysbeyourveryfavorite doesn’t workfor me,” or, “Ireally don’t thinkyouneed thisparagraph critique personally. When atrustedcommenter says, “Thisscene overstated. Coupledwiththisisthe difficulttask of not taking a TAKING weakness. can do insuch casesistopoint outtothe writerthathe/she hasthis work isbestdone one-on-one, withanediting partner. The bestagroup tedious and difficulttopoint outthese errors inagroup setting. Such heavy line editing. Ifapiece isriddled withgrammatical errors, itis words orphrases, butthe storyitself. invisibility inhis/her techniquesothatwhatshines isnot individual should note wherever the writing pulledthem outof the story. paragraphs inarowof soliddescription—it’s gettingboring and thinking things like, the techniquesimplydisappears?Orare youstopping asyouread In other words, isthe storysocompelling and wellwrittenthat be putinto asingle concept: invisibility. Is the writing “invisible”? points thatagood critiquershould beonthe alertfor. Butthey can Writing say such athing!? Iletafewdays go byand Idecided toprove her dismayed. Thiswasmy ending—the climax of the book!How couldshe at all.She toldme soand made analternative suggestion. Iwas utterly dies atthe end. My critiquepartner thought the wayhe died didn’t work each side of the fence. Inone of my middle grade novels, acharacter them—rather thandismissing them emotionally. comments subside and I’mabletobemuch more objectiveabout No! about the other twocolumns—especially aboutthe items under think of that?Thankyouthankyouthankyou!”Imake those changes first. says something and you think,“Eureka! That’sperfect!Why didn’t I column—the comments Ilove. You know what Imean—when someone on the comments Ireceived. Then Istart revising. Istartwiththe Yes head, butIactually make alist.Three columns atthe topof apage: method Ilike best. differ greatly onhow they workwithcritiquecomments, buthere isthe manuscripts and perhapsapadof notes, the real workbegins. People | THE GIVE & TAKE OF CRITIQUE &TAKE | GIVE THE Once the writerisbackhome withastackof scribbled-on Let’s assume thatthe commenters havefinished their “sandwiches” The importance of listening when receiving acritiquecannot be One more point: Inmy opinion, critiquegroups are not the placefor It may seemironic, butthe goal istohelp the writerachieve An article of thislength cannot, of course, coverallthe writing Here are acoupleof examples of how helpful thiscanbe—one from Then Istopand think.Alot.Thisphasetakes the longest. Ithink First, Isortthe comments. Isupposethiscould be done inyour / Ifenough time goes by, my wounded feelings aboutthose negative Maybe / No No! not Iputbrief notes under eachheading based That sentenceisawkward saying, “You are abadwriter.” Good , or, That’s three ? Critiquers No Yes

submit when it’sone of the a piece ready tosubmit?Here ismy ruleof thumb: Apiece is ready to READY TO SUBMIT? as youlearntotrustyourpartners and gainconfidence inyourwriting. suggestions toheed and which toignore, butbelieve me, itgets easier initially. complete. Now she finds ithard tobelieve she everthought itfinished She ended upwith37,000words—and abeautifulstorythatfeelstruly for awhile, then wrote alittlemore justtoseewhere itwouldtake her. had finally finished, and nowIwastelling her no? She thought aboutit story. Icanwellimagine her dismay inthiscase—here she thought she not complete. Where she hadended the bookwasnot the end of the 25,000 words toread. Iread itand lovedit—butItoldher thatitwas dismissed her suggestion outright. onto something evenbetter. Thisnever wouldhavehappened hadI the same—because intrying toworkouther suggestion, Istumbled up being similartowhatshe hadsuggested, although not exactly possibly work.I’msure youcanguesswhathappened. The scene ended wrong. Iwouldwritethe scene her wayjusttoshow her how itcouldn’t there. achieve. And acritiquegroup orpartner youtrustcanhelp get you trying yourhand atadifferent genre, that’sthe standard youmust But whether you’re anew writertrying tobreak inorapublished author is one of the believe thatbookgot published. Mine ismuch better.” sweet story. My kid’s class loveditwhen Iread ittothem.” Not “Ican’t real rejection lettersinstead of sending forms!) Not “Thisissuch a work and ourpartners’ work?Editorsmight evenhavetime towrite how much smaller slushpileswouldbeifweallfeltthiswayaboutour very bestof whatyou’veread, it’sready tosubmit.”(Canyouimagine books inyourgenre. Compare yourstorytotheirs. Ifit’sasgood asthe that’s the wayitshould be. Editorssaythings like, “Readathousand this wonderful storyI’veread! can’t A critiquegroup orpartner should help youanswer thisquestion: Is I won’tdeny thatit’sareal balancing act,trying todecide which In another instance, my partner gaveme amiddle-grade of about No—the response of yourcritpartners and yourselfshould be, “This How often do youfeelthatway?The truthis, not veryoften. And wait for my partner tosend itout.Iwant totelleveryone about best things I’veeverread.” Yes, itsounds like atallorder. best things I’veeverread. It’s sogood, I TYPES OF PUBLISHERS | 41 PREPARING & SUBMITTING TYPES OF PUBLISHERS

ere is a brief overview of the types of publishers EDUCATIONAL PUBLISHERS Hand what you can expect when they say “We want Educational publishers publish curriculum-related to publish your book.” Above all, when any publisher material geared for use primarily in schools. Contracts offers you a contract, know what kind of publisher you are may include an advance against royalties, a royalty only, MARKET SURVEYS dealing with, and don’t be afraid to ask questions. or a flat fee only. Marketing is generally accomplished through a force of sales representatives who present TRADITIONAL TRADE PUBLISHERS the material to educators (in their offices/schools Traditional publishers contract with an author, ideally and at conferences) and educational supply stores offering an advance against royalties. A few traditional throughout the nation. These representatives often publishers offer a flat fee only. Smaller publishers might sell internationally, as well. Reviews can be found in offer a royalty without advance. Whether the terms are educators’ periodicals. an advance against royalties or a flat fee, the author owns DIRECTORIES & RESOURCES the copyright and his/her name is on the book. Other SUBSIDY PUBLISHERS terms of a traditional publishing contract may vary. Trade Subsidy publishers or co-op publishers (often known books are marketed by publishers’ sales representatives as vanity publishers) will offer to publish a book if the and wholesalers to bookstores, libraries, and schools, and author will pay all or part of the cost. A recent Writer’s are reviewed in dedicated book media such as Publishers Market indicated the expense to range from $1,000 to Weekly, School Library Journal, Horn Book, Booklist, Kirkus $18,000. This type of publisher offers back a royalty, a Reviews, and reviewed and/or synopsized in bookstore percentage of each book sold (the amount varies from 3 newsletters. percent to 40 percent). However, it is unlikely that a large number of books will be sold. The amount of marketing MASS MARKET PUBLISHERS done by subsidy publishers varies, but will not equal that Mass market publishers offer similar contracts to trade of traditional publishers. In some cases, an author may be PUBLICIZING YOUR PUBLISHED WORK publishers, though sometimes the copyright may be in the asked to pay for promotional expenses. Subsidy publishers publisher’s name or a joint copyright. Mass market books will usually offer to send out sample copies to the media are handled by publishers’ sales representatives and and libraries. However, dedicated book media rarely, if wholesalers and are stocked primarily by bookstores and ever, review these books, thus leaving the real work of discount retailers, such as Target and Kmart. These books marketing and distribution to the author. The SCBWI receive reviews in some of the dedicated media. recommends that you avoid any publisher who asks you to pay for the publication of your work. BOOK PACKAGERS Packagers or book developers generate story and series SELF-PUBLISHING concepts, which they sell to traditional and mass market Self-publishing requires the author to oversee all of the publishers, then find writers and illustrators to produce details of book production, from total cost to marketing the work. Their contracts range from offering an advance and distribution. A self-published book almost never gets against royalty to a flat fee. Copyright is sometimes joint, review media attention. If you are writing a book just to but is often in the packager’s name alone. Sometimes share with your children or grandchildren, a local printer SCHOOL VISITS the author’s name is on the book; sometimes it’s not. may be able to help you self-publish several copies, or a Distribution depends on the publisher, and reviews desktop computer publishing program may give you the depend on the market for the book. book you want. This kind of publishing is primarily for a book that will have a limited, personal audience. SMALL PRESSES Some small presses publish books for young readers. ELECTRONIC PUBLISHING Smaller publishers generally produce fewer titles and Since the information on electronic publishing is LEGAL QUESTIONS may offer a contract with advance against royalties, a constantly and quickly changing, coverage on this area is royalty-only contract, or a flat fee contract. Review media found on our website in order to accommodate the rapid occasionally cover small press books, and distribution is changes in the marketplace. usually through direct mail catalogs and/or wholesalers. MENTORING MATTERS MENTORING MATTERS

by Carrie A. Pearson

hroughout history, mentorship has played a vital role in success: Walter Kronkite mentored Dan Rather, Maya Angelou mentors Oprah Winfrey, T and in the children’s book world, Lucy Sprague Mitchell (founder of Bank Street College) mentored Margaret Wise Brown. Many people say their mentor relationship had a powerful impact on their careers—and their lives. SCBWI encourages mentoring and offers programs through several regional chapters. More regions are creating programs every year.

What are mentors? Reference books say mentors are advisors, tutors, and counselors. But in reality, mentors are that and much more. Simply put, mentors are farther up the learning curve in an industry and are willing to share what they’ve learned in ways that are beneficial to their mentees.

Why do I need a mentor? You’ll gain access to experience and knowledge that would take much longer to acquire independently. You’ll have consistent feedback from an insider. You’ll be encouraged, maybe even pushed, to create in ways you might not have considered. Best of all, the quality of your work will improve.

Okay, I’m convinced. How do I find a mentor? As part of a recent survey, the following SCBWI regions responded that they offer regular mentorship programs:

Region Contact/Coordinator For Information Austin Shelley Jackson Austin Avant-Garde Mentoring Program regionaladvisor@austinscbwi. com CA North/Central Patricia Newman or Catherine Meyer www.scbwi.org/Regional-Chapters.aspx?R=5&sec=Events Iowa Connie Heckert [email protected] Michigan Catherine Bieberich kidsbooklink.org/id69.html Minnesota Quinette Cook www.minnesotascbwi.org/Events_Mentorships.html Missouri Joyce Ragland www.moscbwi.org/Mentorship_Program.html Nevada Jenny MacKay www.nevadascbwi.org/Mentor.html Northern Ohio Victoria Selvaggio [email protected] Oklahoma Anna Myers [email protected] San Diego Janice Yuwiler www.sandiego-scbwi.org/mentorship.htm Southern Breeze Elizabeth O. Dulemba (Illustrator Coordinator [email protected] for illustration mentorship) Wisconsin Julie Shaull www.scbwi.org/Regional-Chapters.aspx?R=51&sec=News [email protected] 44 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | MENTORING MATTERS | MENTORING www.scbwi.org this way. volunteering tohelp yourregion—and ourSCBWIcommunity—grow in coordinator tofind out how tobeselected. program onyourhome region’s websiteand/or contact yourmentorship members. Many mentors volunteer and some must apply. Check outthe mentorship programs require mentors tobePAL authors How doIbecome amentor? improve. they become more organized, and their editing and critiquing skills mentors feeltheir owncreative endeavors benefit from the program, How doesamentorbenefit? regions offer free mentorships. is builtinto the price of attending aconference. Alimitednumber of is included inthe program. Insome regions, the costof the mentorship participate. The costmay range from $25-$1,350depending uponwhat Do Ihave topayfor amentor? so you’llknow ifthatmentor and program isagood fit for you. goals. Regardless, afocus willbeclearlydefined in marketing materials year depending uponwho isavailabletomentor and/or annual regional expertise inthatarea withmentees. The focus may change from yearto nonfiction, YA, illustration, etc.—and match mentors having particular Will thementorfocus onmy interests? Results from the firstannual Mentorship Surveyare provided at Whether youare amentor ormentee, mentoring moves usall. Many regions want tostartaprogram and need support.Consider Each region finds their mentors abitdifferently. Overhalf of SCBWI The good news ismentorship isnot allaboutthe mentee! Many A littleoverhalfof SCBWImentorship programs do charge afeeto Most regions choose afocus—picture books, middle grade,

and SCBWI

COPYRIGHTSELF-PUBLISHING: FACTS BESTFOR PRACTICESWRITERS

by Deborah Halverson and Randal Morrison

o . . . you’re giving serious consideration to one or more of the new DIY (do-it-yourself) publishing models. It worked for Christopher Paolini, S Amanda Hocking, John Locke, Rachel Yu, and others. Could it work for you?

Maybe. This article walks you through the process so you can weigh Your Goal. Will you be satisfied with a book you can give or sell to the pros and cons, determine your budget and goals, produce and family, friends, or some other personal network, or do you hope that publish the book, and then (hopefully) sell it. We hope this article will your book can be a real competitor in the commercial marketplace? help you make the right decision for you and, if you decide to pursue You’ll likely spend more time and money on a book intended for retail the DIY path, start you on your journey. sale to the general public. For the remainder of this article, we will The self-publishing realm is changing daily and growing in assume that your goal is a finished product that is a worthy entrant in importance. There are three basic approaches: the commercial market. 1. Hire an author services company to put all the pieces together for Yourself. Are you a total DIYer, the general contractor type, or a you for a fee (and sometimes a cut of the profits). writer who just wants to write while others handle the bookmaking and 2. Act like a general contractor and seek out the experts for each marketing? Can you meet the time and financial commitments required element and then publish your assembled book package through a POD for your hands-on level? Be realistic about your personality, skills, and (print on demand/digital) printer, a traditional press printer, an ebook comfort level. If you’re still game for self-publishing (sometimes called publisher, or some combination of them. independent publishing or micropublishing), move on to the next step: 3. Cut out the middlemen by DIYing most or all of the elements and weighing your budget against your projected costs. To do that, make a taking them straight to a POD printer like Lightning Source or uploading business plan. the digital files to an ebook seller. MAKING YOUR BUSINESS PLAN MAKING YOUR DECISION Know the costs and be honest about your financial comfort level Here are several crucial points to carefully ponder before making the before you commit to self-publishing. Here are the major steps. final decision to self-publish, and if you decide to, which path to take. Establish Your Budget. Determine how much money you’re willing The Pros. You keep all (or most) of the profit from your book sales, to spend to make this book. If you never recover your costs—which you are in control, and your book can be available much sooner than it happens too often, even with traditionally published books—how will would be from a traditional publisher. If you’re one of the lucky few who that affect your overall financial situation? How will it affect your attracts strong reader interest and high-profile sales, then the traditional important personal relationships? publishers may come looking for you. No more query-go-round. Establish Your Format. Will your final product be an ebook, a printed The Cons. You pay all of the costs and assume the financial risk. book, or both? This decision will greatly affect your costs and choices. You are in control and thus must do all the research and make all the Calculate Costs. Next, work out the cost of making the book and decisions. Making and marketing a book takes time that you could reconcile that with your budget. The costs will include some or all of spend writing your next book. Some recent high-profile examples these items: of successful self-published fiction have lessened the long-standing traditional stigma of self-published books (“not good enough to make »» Professional fees—editing, author services, attorney fees for it in the real publishing world . . .”), but skepticism still lingers, thanks reviewing your contracts to far too many authors publishing books that are, to put it bluntly, not »» Book design costs (interior and cover)—illustrations, stock photos, very good. design services or software 46 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org they are seeking reviews), and then switchtopress printing. (typically three orfour months before official publication date, when a fewdozen orhundred copies for the Advance Reading Copyphase edition, not tothe printer. Some self-publishers usePODtoproduce does not require achange of ISBN; thatnumber isassigned tothe makes sense toprint inthousands, switchovertopress printing. This printed bythe PODmethod and then, ifactual salesindicate thatit up withagarage fullof booksthey couldnot sell. a print runinseveral thousands toget the unitcostdown, onlytoend long the bane of the bookbusiness. Too many self-pubbershaveordered costs of transportation and warehousing, aswellthe riskof returns, to refer tothe digital printing technology.) PODcangreatly reduce the are made onlyafter they are ordered, evensingly. Others usethe term Some peopleusethe termPODtorefer toabusiness model where books competitive withpress printing eveninmoderately higher runs. (Note: a unitcostthatcanbelowerthanpress printing inlowruns and on demand—a digital process witharelatively lowstart-upcostand cost isspread overmore units. print rungoes higher, the unitcostcomes down becausethe start-up or fewercopies—then the unitcostwillbehigh. Butasthe sizeof the each print run.Thismeans thatifaprint runislow—sayathousand all havesignificant start-upcosts, both for the initial setupand for must haveprinted products. Traditional methods of printing onapress or learntodo most orallof the essential stepsyourself. project and staywithinyourbudget, enlistanauthor services company, individual professionals who havethe time and talent toworkonyour want toensure aprofessional-level, quality bookpackage, youmust hire together yourcoverrequire creative and technological skills. Ifyou manuscript, designing and formatting yourtext files, and putting matter. MAKING YOUR BOOK more price-sensitive thanbooksfor adults. marketplace tobreak even.Remember, ingeneral, children’s booksare book and decide ifit’srealistic for youtoreach enough readers inthat all costs)tobreak even.Very important: Estimate the market for your and workouthow many booksyou’llneed tosellatthatprice (net of » » | SELF-PUBLISHING: BEST PRACTICES BEST | SELF-PUBLISHING: » » POD: TheCons. Switching Midstream. POD: ThePros. Printed Books. These are justthe bare bones, however. Editing and finalizing your 6. Publishand market the final product. 5. Receiveand review proofs of the book. 4. Prepare and uploadyourdigital filestoyourpublisher’s system. 3. Puttogether yourcoverimage, backcover, front matter, and back 2. Ifyougo for aprinted book,choose itssizeand format the text. 1. Write, edit,revise, editagain,and finalize your manuscript. The basic stepsinvolvedinmaking yourbookare these: Set Your Price. consultants or hardware for creation of promo items, marketing/publicity presence (websites, blogs, social media), specialized software Marketing copyright registration barcode procurement, printing/binding/transportation/warehousing, Publication costs —printed promo items, mailing lists, postage, online Today self-pubbershaveanother option: POD—print Finally, decide how much you’llcharge for yourbook Ifyouhope tosellbooksinbookstores, then you Ofcourse, there are some negative factors on the —digital filecreation and uploading, ISBN/ Today youcanlaunch yourproject withbooks it willbemany months before youcollectrevenue from yoursales recovered onlyifyoursalespredictions come true. Evenifthathappens, warehousing costs. You willbelaying outsignificant cashthatwillbe payment before delivering the books. You willhavetransportation and printing iscashflowrisk.The printing company will demand full pod_publishers focused onPODpublishing withLS: publisher and dealing directly withLS.There isanactiveYahoo group POD for Profit publishers; itisnot anauthor services company. Aaron Shepard’s book book wholesale distributorinthe United States. LSdeals onlywith United States:Lightning Source. LSisowned byIngram, the largest to the company thatactually makes virtually allPODbooksinthe POD booksfor you,butinreality they are simplysubmitting the order paperback format; the great majority are soldonline, not instores. them. PODcanbeusedfor hardcovers, butmost PODbooksare intrade quality for PODbooksand agradual lessening of the prejudice against it aslessdesirable stock.However, the trend seems tobeever-better Professional bookbuyerscanspotaPODproduct, and some stillview some claimthatthe quality isstillshy of a“real press-printed book.” POD approach. Whilethatmethod willquickly produce aquality book, of yourtarget audience transitioned to ebooks? ebooks evenasthe totalnumber of ebookcustomers rises. Has enough is the ambiguity abouthow many young readers are transitioning to their workavailabletopeoplewho read onscreens. And then there complicating the problem for the author who simplywants tomake e-reader. Unfortunately, there are many software file formats for ebooks, simple software downloads canturnaPCorMac computerinto an and other tablets;some mobile phones candisplaybooktext, and e-readers are inabattle for future market share withApple’siPad Nook, Kobo, PocketBook, the Sony Reader, and many others. All the Kindle. Thatfamily of e-readers isnow competing withB&N’s the ebookrevolution exploded withAmazon’s 2007introduction of bargaining strength from the success of her ebooks. seven-figure deal withSt. Martin’s Press (Macmillan), butshe gained her sales withebookssoldonline. Yes, Amanda Hocking eventually made a of fiction self-publisher success all made the great majority of their the recorded music business and record stores? The famous examples ebooks do topublishers and bookstores whatMP3sand iTunes did to their business models tostayintune withrapidly shifting trends. Will book bizhard. Allpublishers, big and small, are struggling toadjust handle the cashflowand financial risk? are the real costsand risksthatapplytoyourspecific project? Canyou decision, youmust do some serious research and calculations. What advances. little orno revenue, and authors receive no royalties orcredits against merchandise, or“cut-outs”—sales for which the publisher collects authorize the bookstore tosellleftoverstockasremainders, distressed the costof return transportation. To avoid the returns, publishers often of yourdeal withthe distributor orwholesaler, youmay havetopay return ifnot soldwithinacertaintime. And, depending onthe terms in bookstores, since they take booksonconsignment and subjectto Press Printing. Lightning Source. Simple Answers. Readers andTablets. The EbookOption. Fact-Based Decisions. details how youcanmaximize profit bybecoming a real . The main negative factor withtraditional press There are afewrelatively simple answers. One Many author services companies offer tomake No doubt, the digital revolution hashit the Although there were afewearlier players, Before making yourPODvspress printing finance.groups.yahoo.com/group/ SELF-PUBLISHING: BEST PRACTICES | 47 choice is to limit yourself to just the two biggest players, Amazon your material. Avoid legal disputes with a written agreement that PREPARING & SUBMITTING Kindle (Kindle Direct Publishing: kdp.amazon.com) and B&N’s Nook spells out the basic fee, the increments in which it is payable, what (PubIt! by Barnes & Noble: pubit.barnesandnoble.com). If you want to happens if you decide against using the designer’s work, and who cover the whole market, Smashwords offers one-stop-shopping; they can owns the copyright in the design. adapt your MS Word text to the file formats needed for compatibility Cover Illustration. Despite the old saw “You can’t judge a book by with most reading devices and set up distribution with major vendors its cover,” most people get their first and most important impression (www.smashwords.com). With ebooks, interior design means almost of a book from its cover. Indeed, an attractive cover that hints at the nothing, since the reader chooses the font and the size and most other story’s essence and appeals to the core audience is often the first step aspects of appearance of the text. in building awareness, which hopefully will lead to interest, and then to desire, and then to action. (Pick it up! Check it out! Buy it! Read HIRING PROFESSIONALS it! Recommend it!) To locate candidates for your cover illustration, MARKET SURVEYS With all the changes in the publishing industry, lots of experts who check Web portals such as www.directoryofillustration.com and www. used to work in traditional publishing houses are now offering their illustrationweb.com, as well as portfolios and samples at SCBWI talents on a freelance basis. conferences and in your local SCBWI group. If you see a book with a Professional Editing. Is your text as strong as it can be? Does it cover illustration that you like, you can probably find the artist by a attract and hold readers’ attention? For fiction, are the plot, characters, standard Web search. Some illustrators are represented by agents, but and narrative voice fully developed? Are you sure there are no typos many work entirely freelance. Remember that just as important as talent or bad grammar? Missing or double words? You can’t buy software to and style are availability, budget, and reliability. evaluate and guide you in revising a manuscript. No matter what else To protect both you and the illustrator, the details of the art DIRECTORIES & RESOURCES you do with the other stages, do not scrimp on professional editing. commission should be spelled out in a written contract before work Poorly written and poorly edited content is what gives self-published begins. Most commonly, a portion of the fee is due upon approval of books the presumption of inferiority. Separate your book from the glut the rough compositional sketch, another portion is due upon approval of mediocre books by investing in the manuscript. Your story needs to of the line drawing, and the final payment is due upon approval and satisfy readers if you want them to buy your next book and give you acceptance of the full-color artwork. The agreement should specify good reviews. ownership of the copyright in the artwork; if it remains with the artist, Find qualified editors through the SCBWI’s Freelance Editors then the exact rights granted to you by the contract should be spelled Directory, available to members (www.scbwi.org and on page 147), the out in detail. Editorial Freelancers Association (www.the-efa.org), online searches Author Services Companies. There are now many “self-publishing” and writers’ forums, and by asking for recommendations from your companies, sometimes called author services companies or writing community or from an agent. publishers for hire. Among the well-known names are Aventine Press,

Before you sign a contract with a freelance editor, clarify the level of BookLocker, CreateSpace (an Amazon company), Dog Ear Publishing, PUBLICIZING YOUR PUBLISHED WORK editing you are buying (substantive editing, line editing, copyediting, Infinity Publishing, Lulu, and Outskirts Press, but there are many proofreading), the availability and turnaround time, the fee structure others, with new entrants in the field almost daily. Such companies and payment expectations (some editors charge per word or page, typically offer an à la carte menu of services, with fixed prices for others per hour or per project, some require partial or full prepayment), each and discount pricing for bundles. The typical offerings include and the editor’s credentials (books he/she’s edited and references). editing, cover and interior design, printing and ebook setup, listing Finally, make sure that the copyright in the editor’s comments on your with online sellers, and marketing and promotion packages. With text belongs to you, the author. CreateSpace, your ebook can be on Amazon in just a few days, and Book Design. At least for printed books, professional book design they also do POD (as do most of their competitors). Mark Levine’s is crucial to a first class product. Powerful as today’s word processors book The Fine Print of Self-Publishing explains what these companies are, they are not page designers. Even if a casual reader can’t articulate do, details the differences between them (naming names), and ranks exactly what’s bugging them, a poorly laid out page will give them them in five levels: outstanding, pretty good, just okay, publishers to a nagging sense that something is off. When justifying margins, avoid, and worst of the worst. The Independent Publishing Magazine word processors only adjust the space between words, resulting in site also reviews author service companies (mickrooney.blogspot.

“rivers of white”—awkward spaces between words—running down com). Using an author services company will simplify the journey, but SCHOOL VISITS the page. In contrast, a true page design program fine-tunes the you will not be able to make your own choices of editor, designer, spaces between letters (kerning) to produce text lines that are visually illustrator, etc. If you want that level of control and customization, smooth, with a consistent balance between black ink and white space. then you will have to don the general contractor hat, acting much Certainly industry professionals—book buyers and sellers, librarians, like a traditional publisher by seeking out and hiring the expertise reviewers—will notice if a book is not professionally designed. For a that is most appropriate for your project. good introduction to this topic, see Book Design and Production by Pete WARNING: It has traditionally been considered unethical for a publisher LEGAL QUESTIONS Masterson or InDesign Type by Nigel French. to make the author pay for the manufacturing costs and to also demand a Find book designers through writing community recommendations portion of the proceeds; under that model (usually called a vanity press), and standard Web searches. Most have online portfolios that give the companies make most of the money from the fees they charge to you samples of their work. If their sites don’t already list clients and authors, and thus they have little incentive to market the books. However, credentials, ask about those. As with other freelance professionals, the publishing realm is in the midst of a major transformation, and author their standard asking fee is often negotiable and can vary with their service companies and e-publishers are blurring lines with their mix of current workload, your schedule, and how strongly they relate to paid-for services and royalty requirements. Read contract language carefully 48 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org so widely known. their prices are much lowerthanAdobe, butthe Serif products are not markets design programs, including the page designer calledPage Plus; costs and some major learning time. The Serifsoftware company also programs. Ifyouchoose thisroute, beprepared for substantial software includes Acrobat, Photoshop, Illustrator, and many other design-related program. It canbebought onitsownoraspartof aCreative Suitethat Adobe’s InDesign program isthe industry standard page layoutdesign books, isnoticeably less impressive thanprofessionally designed pages. formatting features; the quality you’llend upwith,atleastfor printed prepare yourfiles. Word and WordPerfect programs havelimited DOING MOSTORALLOFITYOURSELF index.html U.S. Copyright Office’se-copyright feature at isn’t theirs. You canregister the copyright onyourownthrough the their name, that’sared flagthatthey’re grabbing atsomething that that itwillbein author service companies willregister copyright for you,butbesure at your bookwillbestocked inlibraries, youcanobtainanLCCNdirectly Catalog Numbers, usedbylibraries for cataloging purposes;ifyouthink in which they handle ISBNs, barcodes, and LCCNs(Library of Congress that haveyourISBN. Some author services companies offer apackage also provides barcodes readable bystore scanners for printed books who are listedat ISBN agency for the United States)orany of Bowker’s approved sellers, your ownISBNs singly orinbulkdirectly from R.R. Bowker (the official to anyone else. To ensure thatyouare the soleowner of yourbook,buy them and provide them totheir customers—and thus those ISBNs identify service companies, PODproducers, and e-publishers buyISBNs inbulk uniquely identifies eachedition of eachbookand itspublisher. Author (International Standard BookNumber) isthe thirteen-digit number that where?). will beresolved (cancellation, arbitration, mediation, orlitigation; including their editorial suggestions and the manner inwhich disputes explicit statement thatyouretain the copyright inallresulting works, are buying, the payment terms thatapplytoeachservice, and an around writers’forums and yourwriting community. Editors ( Beware ( is itself. You are hiring these companies for services only;the bookitself “best efforts.” written contract willoverride the salespitchand likely willrequire only sales pitches for marketing and promotion programs; the language of the earned cashand profits eachcompany requires. Bewaryaboutenthusiastic to make sure youunderstand itand know exactly how much of yourhard- | SELF-PUBLISHING: BEST PRACTICES BEST | SELF-PUBLISHING: yours If you’re going the DIYroute, software isavailabletohelp you Copyright. ISBNs, etc. Review theContract. Background Check. One thing hasn’tchanged: www.loc.gov/publish/cip/ asthe publisher, not you.ISBNs cannot betransferred orassigned . Bestpractices include the following. www.pred-ed.com www.sfwa.org/for-authors/writer-beware/ . Registeryourcopyright yourself,under yourname. Some BuyyourownISBNs and barcodes. AnISBN your www.isbn.org/standards/home/Pubresellers.asp name. Ifyourpublisher wants toregister itunder Lookupyourprospective publisher onthe Writer Lookfor anexact description of services you ) websites, do ageneral online search, and ask ). Never sign awayyourrights tothe content www.copyright.gov/eco/ ) and Preditors & . Bowker all atstake. Lookinto the Independent BookPublishers Association company orpath.Your money, reputation, and personal happiness are Research, research, and research some more before committing toa OTHER RESOURCES audience aware of yourbook. program thatsomehow makes the opinion leaders inyourtarget public inthe retail market, youmust develop and execute amarketing is this:Ifyourgoal istosellyourself-published booktothe general marketing, and harnessing the powerof social media. Ourpoint here age thirteen.See law thatrestricts collecting the personal information of children under aware of the Children’s Online PrivacyProtection Act (COPPA), afederal Internet tomarket bookstochildren under thirteen,then youmust be your booktoreaders’ attention. However, ifyouplantousethe books. Thankstothe Internet, there are more waysthanevertobring take off.” EvenBig Sixpublishers havetoaggressively market their It’s not realistic tosay, “It’s onAmazon; readers willfind itand itwill if potential readers don’t know aboutit,youwon’tsellmany copies. MAKING READERSAWARE OFYOUR BOOK a priorlifehewasradiobroadcaster. of attorneys, landuseplanners, authors, andindependentpublishers. In frequent speaker atnational,state, andlocalconventionsmeetings using thegeneralcontractormodeldescribedinthisarticle. Heisa ( Moon Circus: The Adventures of aWildBoyinSpaceTraveling Circus copyright101.us practices primarilyinFirstAmendment,copyright,andtrademark Randal Morrison(Randytofriends)isaSanDiego–basedattorneywho DeborahHalverson.com Diego withherhusbandandtripletsons. Visitheronlineat while specializinginteenfictionandpicturebooks. Shelives inSan and conferencesfor writers, andeditsadultfictionnonfiction Harcourt Children’s Books. Deborahspeaks extensively atworkshops writers’ advicewebsiteDearEditor.com andaformer editorwith Remix strugglingreadersseries. Sheisalsothefounder of thepopular Big Mouth Adult Fiction ForDummies Deborah Halversonistheaward-winningauthorof industry asawhole ( online magazine, which coversself-publishing alongside the publishing affiliates at one-page flyerstoschools and libraries. Find alist of the IBPA’s local cooperative marketing programs, including twice-yearly mailings of independent bookpublishers. The IBPA offers many educational and ( www.ibpa-online.com www.7MC.com Self-publishing isexciting, butdon’t letpassion trumpdue diligence. Other articles inthisguide tellyouabouthiring consultants, self- You canknock yourselfoutwriting and producing aquality book,but , thepicturebook bit.ly/7bnuxH ), whichissetfor independentpublicationinearly2013, ). Heisalsotheauthorof theMGfictionbook www.ftc.gov/privacy/coppafaqs.shtm www.independentpublisher.com ), anot-for-profit trade association representing . . Also,check outIndependent Publisher , theteennovels Letters toSanta Honk IfYou Hate Me , andthreebooks inthe ). Writing Young

. www. Seven (www. and THE WILD WEST OF SELF-PUBLISHING

by Molly Hahn

elf-publishing success stories are on the rise, and the tools to create and distribute printed or digital content are at our fingertips. With S the click of a mouse, your dream book can be distributed worldwide for the price of a coffee and a toasted bagel.

YA author Brittany Geragotelis self-published Life’s a Witch through drag and drop images, input text, and add background music or invisible Wattpad, an online community where fans and writers connect. In one audio buttons. “For me, digital publishing is all about removing the year, her book had 18 million reads, landing Geragotelis major press barriers to entry for creators. Digital provides a platform for great and a three-book deal with Simon & Schuster. “I was constantly getting stories, art, and ideas to reach their audience,” says Dan Amos of Red requests from fans who wanted to purchase their own copy of the Jumper Studio, who developed Book Creator. book . . . that was really what ended up fueling my reasoning to The equivalent of Book Creator for other e-readers has yet to emerge. publish,” she said. Several digital ebook distribution services, like Book Baby, offer Geragotelis used Amazon’s CreateSpace, a user-friendly print-on- standard ebook conversion for a wide range of devices, but are limited demand service with a free online setup and 24/7 customer support. in the number of e-readers they convert children’s books for. Building The simple step-by-step format at www.createspace.com offers templates fixed-layout or standard ebooks in-house takes time and technical for formatting your book as well as free ISBNs, wide distribution expertise; to help, Lynda.com offers excellent tutorials. options, an online storefront, placement on Amazon’s website, and We are in the Wild West of self-publishing, where possibilities outstanding print quality, all with a low cost of production. Familiarity abound. Though new approaches to publishing are changing rapidly, with Microsoft Word or Adobe InDesign is recommended when the self-publisher is emerging as an increasingly important role. formatting your book. If these programs aren’t your cup of tea, you can always hire a professional. CreateSpace is the service that I use for all of my children’s books, and with great success. Other print-on-demand services may be a better fit for your needs, such as Lulu.com, Xlibris, and Blurb, which all offer a range of comprehensive services, including turning your printed book into an ebook. For any self-publishing service that you consider, it’s wise to carefully investigate customer reviews and be cautious when paying for extras, like marketing packages. Children’s ebooks and graphic novels are formatted in a “fixed layout,” replicating each printed page with static text and images contained in a set width. Novels are formatted as “standard ebooks” and have resizable text that automatically reflows. The ePub file format is accepted as the industry standard for ebooks, but the technology hasn’t quite evolved into a centralized system. The top four online ebook retailers (Amazon, Apple, B&N, and Kobo) each have their own unique reading device and file specifications. Book Creator ($4.99), the number one book-making app for the iPad in forty-two countries, is a simple and intuitive way for adults and children to make fixed-layout books. With the touch of a finger, you can

HIRING AN ILLUSTRATOR FOR YOUR SELF-PUBLISHED BOOK

by Elizabeth O. Dulemba

n today’s market, self-publishing has become a norm. More people than ever before are able to write their great American novel and see it in print. But I that dream gets complicated when the book is a picture book. Most self-publishers need to hire an illustrator for the picture half of the equation.

Illustrators often receive e-mail requests from self-publishers. Yet, already established media platforms to get their books noticed. Unless so many of those writers are new to the publishing industry, they don’t a writer is already out there in some large marketing capacity for their know what to ask for or what to expect when hiring an illustrator. I’ll core career, their self-published projects have an even harder time clarify the main concepts. reaching the marketplace’s radar. The first thing is to know the difference between self and traditional As a result, whatever you pay that illustrator before publication is publishing—in traditional publishing, the publisher pays you. In most likely all they’ll ever see from your project. You can negotiate self-publishing, you pay the publisher. This means that you, as a self- royalties, but in self-publishing, royalties should be thought of as an publisher, will need to pay an illustrator for their work. unexpected bonus, not fair compensation for the job. How much? That depends. Even in traditional publishing amounts “Good exposure” is another term illustrators hear too much of—the vary wildly. But here’s how to think about it. Illustrating a picture joke being that you can die from exposure. Hiring an illustrator is book takes time—anywhere from two months to a year. How much a business arrangement like hiring a painter or a stock broker (who do you make in that same amount of time? Your project will be the would never work for free or for good exposure). It’s a professional compensation for that illustrator’s life (mortgage/rent, food, car, relationship like any other and requires a contract. insurance, etc.). You should expect to pay a fair wage and for the In the contract will be listed several key points. The first point will number to be at least four or five digits. be the amount to be paid and when those payments will be made. (1/2 Don’t have the money? Oftentimes, self-publishers ‘invite’ up front, 1/2 upon acceptance of final art, or 1/3 up front, 1/3 on illustrators to reap the rewards of royalties once the book comes out. acceptance of sketches, 1/3 upon acceptance of final art are standard But if there’s no money to pay the illustrator, there’s probably no money arrangements.) to advertise, which means the project stands little chance of success. Another key point is the matter of copyright—who will own the final The result is the illustrator could end up working for free. And nobody artwork. Typically the copyright stays with the illustrator (copyright can eat on that. applied and paid for by the publisher). However, you can purchase the But your book is a guaranteed seller... copyright to the artwork from the illustrator to be able to do whatever The sad news is there’s no such thing. Add to that, most booksellers you like with it—this is called work-for-hire. Expect to pay more for have limited policies when dealing with or representing self-published this. Although honestly, you don’t need to hold the copyright. It’s one books. Their reasons are good: of those misconceptions of hiring an artist—that you have to own the 1. Most small publishing houses don’t accept returns, the artwork to use it. The contract should spell out exactly how the usage bookstore could get stuck with books they can’t sell. breaks down, both for you and for the illustrator (use of the artwork for 2. While there are exceptions, most self-published books have an the illustrator’s self-promotion should be expected and allowed). amateur look to them. To be fair to the illustrator, there should be a limit to the number 3. It can be more hassle to deal with people who don’t know the of revisions permitted at each stage of creation. (No more than three industry than it’s worth. revisions per sketch is reasonable.) Few revisions should be made after So if traditional bookstores won’t carry them, self-published books the completion of the art. (If communication has been good, the client are rarely noticed unless accompanied by serious advertising. In should have a good understanding of what they will receive.) traditional publishing, companies spend millions of dollars using their 52 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org professionally, it canbeawonderful experience for allinvolved. really want and achieve asuccessful product. you come prepared, youare much more likely toland the illustrator you of inexperience orunrealistic expectations). Don’tletthatbeyou!If be toodifficulttoworkwithworththeir time (usually because signs (red flags) of those who have not done their homework and may worked withclients from allsortsof backgrounds and recognize the don’t know, how much wouldyoucharge?” Most illustrators have the terms I’veusedabove, and walkinwithabudget. Never say, “I any professional. Doyourindustry research, make sure youunderstand reason. clear for them toeither usefor advertising ortokeep for whatever illustrator atleastfivetotwenty copies of the final product free and buying into the concept. projects, younger illustrator, butthe valuefor the illustrator onself-published might make for some nice portfolio pieces orbegood practice for a popular success, they typically cannot further anartist’scareer. They a project thinking thisway, butsometimes itcan’tbeavoided. circumstance youhope never willoccurand certainly, nobody goes into standard depending onhow deep into the project you get. Thisisa keep for already completedwork.The 1/2or1/3down payment is an amount should beagreed uponastohow much the illustrator will If for whateverreason youorthe illustrator needs toleavethe project, for the project.) Its why there should alsobeakillfeeinthe contract. illustration direction orthe illustrator couldloseenthusiasm/patience happen more often withinexperienced creators. (You couldhatethe bring their uniquevision tothe project. this should beinthe contract.) Ideally, youare hiring anillustrator to willing topayextra for revisions aboveand beyond the limit.(Again, “I’ll know itwhen Iseeit”isnever afair waytoworkunlessyouare sucking upany benefit of compensation by requiring too much time. untenable and unrealistic scenario and canleadtocountless revisions can seethe images intheir head butcan’tdraw themselves, which isan | HIRING AN ILLUSTRATOR FOR YOUR SELF-PUBLISHED BOOK FOR YOUR SELF-PUBLISHED ILLUSTRATOR AN | HIRING Bottom line, self-publishing isagrowing industry. When approached The bottomline is, approach hiring yourillustrator like youwould And finally, itisonlypolite(and traditionally expected) togivethe Also, understand thatbecausesofewself-published worksreach That said, sometimes, things don’t work.It’s rare, butdoes tend to This avoids the illustrator being hired as‘hands’ for apersonwho if theyarewillingtotake themon , lies inthe cashflow, not

QUESTIONS YOU SHOULD 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1. BEFORE APPROACHING

BE ABLETO ANSWER Number ofcopies to illustrator: Use ofartwork: Payment arrangement: sketch stage and one atcolor stage is acceptable) illustration perstage: (no more than three at Limit ofrevisions contractually permitted per Time for project completion: ____months Copyright ofartwork willgo to ____ for-hire Illustration terms: advance withroyalty orwork- Illustration budget: berealistic cover Illustrations needed for: entire book, vignettes, bookstore.) are, spend some time inyour local library or young adult novel. (Ifyou don’t know what these nonfiction, chapter book,middlegrade novel, Genre ofbook:board book,picture book, has one, and they can’t becopyrighted) stealing your idea -ideas are like noses, everybody Subject ofbook:(don’t worry about anybody Name ofbook: AN ILLUSTRATOR

WHAT THE HECK IS AN INFORMATIONAL BOOK?

By Melissa Stewart

andace Fleming, one of America’s most highly-acclaimed authors of fiction and nonfiction for children, says that writing fiction is like baking a C cake with ingredients you’ve carefully selected at a well-stocked grocery store. In other words, when we probe our imaginations for ideas, there are no limitations. Fleming compares writing nonfiction to baking a cake with a mis- matched assortment of ingredients your husband (who has never cooked a meal in his life) picked up at a small, local market.

I love this analogy because it perfectly explains the challenges arranged alphabetically by the author’s last name. Soon, librarians of crafting a true story based on documentable facts. Nonfiction began calling everything left behind (still arranged according to writers work long and hard to gather information, but sometimes the Dewey’s system) nonfiction. Besides factual books based on documented tantalizing tidbits we’re hoping to find simply don’t exist. When that research, the nonfiction section included drama, poetry, and folktales. happens, it can be tempting to invent dialogue or imagine scenes or Eventually, librarians realized that they needed a term rearrange chronology to improve a story arc. So tempting that we’d to describe just the factual, research-based books in the nonfiction love a term that justifies doing so. That’s why it’s no surprise that some section, and around 1970, they began calling these titles informational writers are currently misusing the term informational book, thinking books. That’s why the Robert F. Sibert Informational Book Medal, which it’s a kind of nonfiction that’s based on true information but takes is sponsored by the American Library Association, definesinformational occasional liberties with the verifiable facts. books as “those written and illustrated to present, organize, and But that is NOT a legitimate use of the term. If your goal is to write interpret documentable, factual material.” nonfiction, you can’t tinker with the facts to strengthen a story. If you make up anything, anything at all, you’re writing fiction. Period. Definition 2: Literacy Educators But that’s not the end of the story. Unaware of what was happening Definition 1: Librarians in the library world, in the 1980s, literacy educators began using the So what is an informational book? To answer this question, we need term informational texts to describe a narrow subset of nonfiction to jump into a time machine, strap on our seatbelts, and head back to writing that presents information about science, history, and other 1876. That’s when John Dewey invented an ingenious book cataloging content areas. system that was quickly adopted by libraries around the world. According to this usage, informational books do not include But the Dewey Decimal System wasn’t perfect. By the early biographies, how-to descriptions (instructions), or any kind of narrative 1900s, a growing number of library patrons were complaining that writing. This definition, which is roughly equivalent toexpository it was difficult to find a good novel. That’s because fiction (novels nonfiction, became widespread in 2000, following the publication of a and short stories) was interspersed among all the other categories landmark academic article by Nell Duke. of literature (essays, letters, speeches, satire, etc.) in the 800s. For a while, librarians and educators used their separate definitions In addition, all the books were organized by original language of with few problems. But when Congress passed the No Child Left Behind publication, so novels by American writers were nowhere near novels by Act of 2001, schools changed their funding priorities, and school German writers or French writers. library budgets started to shrink. To save their jobs, school librarians How did librarians solve this problem? Sometime between began taking on new roles, including teaching responsibilities. Not 1905 and 1910, they started pulling novels and short story collections surprisingly, this led to disagreements about the proper use of the term out of the 800s and creating a separate fiction section with books informational books. 54 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | WHAT THE HECK IS AN INFORMATIONAL BOOK? | INFORMATIONAL AN IS HECK THE WHAT www.melissa-stewart.com science books for childrenandamemberof theSCBWIBoardof Advisors. Is itfact orisitfiction? to do thatistobetransparent aboutthe literature wecreate for them. need toteachchildren toidentify truthiness. And one of the bestways demand toknow the source of statistics. Ifwewant thattochange, we themselves ifaparticular news outlethasanagenda. They don’t rhetoric without question. They don’t check facts. They don’t ask real, what’strue, what’sverifiableand what’s not. emphasizes the critical importance of distinguishing betweenwhat’s way toshare ideas and information withyoung readers. Butitalso creative liberties withtrue, documentable facts canbeaneffective animal lifecyclestories. embellishments. Examples include The Magic School Busseries and some accurately, butcontain made-up characters, fantastical art,orother storytelling. scenes orevents presented outof chronological order toimprove and picture bookbiographies withsome made-up dialogue orimagined but not completelysupportedbydocumented research. informational fiction NONE. the useof made-up material withthe goal of strengthening astory. three definitions haveone thing incommon. None of them condones around. etc. As aresult, wenow havethree contradictory definitions floating plus reference books, instructions, forms, maps, persuasive essays, all narrative and expository nonfiction books(the librarian definition) Standards defined Melissa Stewartistheaward-winningauthorof morethan180 Again and again,weseeexamples of Americans trusting political This helpful new termacknowledges that,insome cases, taking They alsoinclude STEM-themed booksthat present concepts These booksinclude historical fiction, like the DearAmerica series Recently, some librarians and educators havebegunusing the term What theHeckisInformational Fiction? And yet,despite the contradictions and the confusion they cause, all The confusion intensified in2010when the Common Core State Definition 3:CommonCore StateStandards informational text todescribe booksthat inamuch broader way, including are largely trueand accurate

NONFICTION FOR CHILDREN: GROWING AND CHANGING

By Melissa Stewart

ot long ago, nonfiction books for children routinely included dry, stodgy, expository writing—prose that explains, describes, or informs. Most N books were text heavy, with just a few scattered images decorating rather than enriching the content and meaning. But nonfiction has changed tremendous- ly in recent years, evolving in three distinct directions.

Adding Narrative Scenes nonfiction by giving fact-loving kids a fresh, engaging way to access In the mid-1990s, children’s authors began crafting narrative information. nonfiction—prose that tells a true story or conveys an experience. Early By the mid-2000s, National Geographic, Time for Kids, the Discovery standouts included The Great Fire by Jim Murphy (Scholastic, 1995); An Channel, and others were also publishing what is now known as Extraordinary Life: The Story of a Monarch Butterfly by Laurence Pringle, “browseable books,” “data books,” and “factoid books.” Popular illus. Bob Marstall (Orchard/Scholastic, 1997); and The Snake Scientist examples include the National Geographic Kids Everything series, the by Sy Montgomery, photos Nic Bishop (Houghton Mifflin Harcourt, Time for Kids Big Book of Why series, and For Boys Only: The Biggest, 1999). This style of writing gradually gained momentum during the Baddest Book Ever by Marc Aronson and H.P. Newquist (Feiwel & 2000s. Today, it’s both incredibly popular and highly esteemed. Friends/Macmillan, 2007). Narrative nonfiction appeals to fiction lovers because it includes Inspired by the maker movement, these publishers, as well as others, narrative scenes that give readers a bird’s eye view of the world and the have recently begun offering what booksellers call “active nonfiction”— people being described. These scenes are linked by expository bridges browseable books that teach skills readers can use to engage in an that provide necessary background while speeding through parts of activity. Examples include Sewing School: 21 Sewing Projects Kids Will the true story that don’t require close inspection. The art of crafting Love to Make by Andria Lisle (Storey, 2010), Minecraft: Construction narrative nonfiction lies in pacing, which means choosing just the right Handbook by Matthew Needler (Scholastic, 2014), and Brain Games: scenes to flesh out. The Mind-Blowing Science of Your Amazing Brain by Jennifer Swanson The ratio of narrative to expository text ranges widely in narrative (National Geographic Kids, 2015). nonfiction. Most picture book biographies are brimming with narrative scenes. Books about historical events often include a bit more The Rise of Expository Literature exposition. Science-themed books like Neighborhood Sharks: Hunting When Congress passed the No Child Left Behind Act inof 2001, with the Great Whites of California’s Farallon Islands by Katherine Roy school funding priorities changed. School library budgets were slashed, (Roaring Brook/Macmillan, 2014); When Lunch Fights Back: Wickedly and many school librarians lost their jobs. Around the same time, the Clever Animal Defenses by Rebecca L. Johnson (Millbrook Press/Lerner, proliferation of websites made straightforward, kid-friendly information 2014); and Giant Squid by Candace Fleming, illus. Eric Rohmann widely available without cost, which meant general survey books about (Roaring Brook/Macmillan, 2016) devote roughly equal numbers of volcanoes or whales or the Boston Tea Party were no longer mandatory pages to narrative and expository text. purchases for libraries. As nonfiction book sales to schools and libraries slumped, authors Books For Browsing and illustrators had to raise their game. The result has been a new Thanks to Dorling Kindersley’s innovative Eyewitness Books series, breed of finely-crafted expository literature that delights as well as the 1990s also brought remarkable changes to traditional expository informs. nonfiction. These beautifully designed, lavishly illustrated books with Besides being meticulously researched and fully faithful to the facts, short text blocks and extended captions revolutionized children’s expository literature features captivating art, dynamic design, and rich, 56 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | NONFICTION FOR CHILDREN FOR NONFICTION | www.melissa-stewart.com science books for childrenandamemberof theSCBWIBoardof Advisors. » » » » » specific editorswho may beinterested inyour manuscript. nonfiction you’re writing sothatyoucan identify publishers and even any time soon.Before submitting, it’simportant toknow which kind of acquiring nonfiction, and there’s no reason tothinkthatwillchange Degrand (Knopf/Penguin Random House, 2016). Discovering theWorld’s Perfectly PinkAnimals Sarah C.Campbell(BoydsMillsPress, 2014);and (Bloomsbury, 2014); Harcourt, 2011); Swirl bySwirl:SpiralsinNature The Ageless Ideasof LeonardodaVinci Lightship Is Quiet text structure, and purposefultext format. Examples include characteristics: strong voice, carefully-chosen point of view, innovative engaging language. It alsoincludes acreative mixof the following text » » » » » Melissa Stewartistheaward-winningauthorof morethan180 guide yoursubmissions process. York houses allthe time. Again, read widely and usesimilartitlesto of these booksare being acquired byspecialized imprints atbig New expository literature, butthat’sbeginning tochange. More and more Until recently, smaller publishers were often the bestfit for what it’sstocking. about thisgrowing bookcategory, visitalocalbookstore and see open tomanuscripts and proposals from new writers. To learnmore companies, it’salsoproduced bysmall niche publishers who are often While some activenonfiction isalsopublished bylarge media browseable books, which are often assigned toexperienced writers. Entertainment are justafewof the companies currently interested in Dorling Kindersley, National Geographic Kids, and Ripley manuscript. can help youidentify editorsand imprints thatmight acquire your narrative nonfiction. Reading awide range of books similartoyours looking for engaging picture bookbiographies and other kinds of Chronicle, aswellmany imprints of large New York houses, are Editors atsmall publishers like Charlesbridge, Peachtree, and published writerswho submitaresume and writing sample. library market, these booksare usually assigned topublished and pre- with traditional expository text. Aimed specifically atthe school and Publishers like Capstone, ABDO, and Rosencontinue toproduce books Today, awide range of children’s bookpublishers are actively Tips for SubmittingNonfiction byDianna Hutts Aston, illus. Sylvia Long (Chronicle, 2006); byBrian Floca(Atheneum/Simon &Schuster, 2007); Bugged: HowInsectsChangedHistory Mysterious Patterns: FindingFractalsinNature byJoyce Sidman (Houghton Mifflin byGene Barretta (Holt, 2009); byJess Keating, illusDavid Pink isfor Blobfish: bySarah Albee An Egg Neo Leo:

by SCBWI MARKET SURVEYS

2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

compiled & edited by Deborah Halverson

ABDO PUBLISHING ESSENTIAL LIBRARY research and reference a large trim for beginning readers. 800-800-1312 imprint publishes 100+ page, well-researched QUERY LETTERS: Not acepting. www.abdopublishing.com historic, scientific, and current event titles, MULTIPLE SUBMISSIONS: Not accepting. PRESIDENT: Jill Hansen grades 6–12. UNSOLICITED MANUSCRIPTS: Not accepting PUBLISHER: Jim Abdo DASH! nonfiction imprint publishes K–4 leveled nonfiction. EDITOR-IN-CHIEF: Paul Abdo nonfiction readers aimed at building reading PAYMENT: Flat fee. EDITORIAL DIRECTOR: Tam Britton skills and vocabulary as readers progress ARTWORK INTEREST: Not accepting. SENIOR MANAGING EDITOR: Heidi Elston through three reading levels. ARTWORK PAYMENT: Flat fee. ART DIRECTOR: Candice Keimig LAUNCH! PreK–2 nonfiction imprint features DESCRIPTION: A publisher of nonfiction titles books with photos, fun facts, and quick stats to ABDO MAGIC WAGON for the school and library market. Its PreK–12 immerse young readers in beginning research. (A Division of Abdo Publishing) educational nonfiction titles support a wide SANDCASTLE beginning nonfiction imprint DESCRIPTION: Publishing PreK–8 titles blending range of state curriculum standards as well as publishes titles for beginning readers, grades imagination and information with original personal interest reading. Includes the divisions PreK–3. illustrations and story lines. and imprints below, as well as the Abdo SPORTSZONE imprint publishes sports titles for a CALICO chapter book imprint publishes original Spotlight division, which consists of several range of readers, grades 2–12. fiction with larger type for transitional readers, imprints publishing popular licensed character SUPER SANDCASTLE oversized early nonfiction grades 3–8. titles for young readers. imprint publishes larger trim size titles with CALICO KIDS early chapter book imprint A&D XTREME hi-lo nonfiction imprint publishes full-spread designs for beginning readers, grades publishes introductory fiction with full-color high-interest content with bold, full-spread K–4. illustrations, grades PreK–3. photos for reluctant readers, grades 3–9. QUERY LETTERS: Not accepting. GRAPHIC PLANET graphic novels imprint ABDO & DAUGHTERS middle grade nonfiction MULTIPLE SUBMISSIONS: Not accepting. publishes original fiction and nonfiction graphic imprint publishes high-interest and highly UNSOLICITED MANUSCRIPTS: Not accepting novels, grades 2–10. informative titles for research and independent nonfiction. LOOKING GLASS LIBRARY picture book imprint reading, grades 5–9. PAYMENT: Flat fee. publishes original fiction and nonfiction picture BIG BUDDY BOOKS oversized elementary ARTWORK INTEREST: Not accepting. books, grades PreK–4. nonfiction imprint publishes larger trim size ARTWORK PAYMENT: Flat fee. MAGIC READERS leveled readers imprint titles with popular nonfiction content, grades publishes leveled reading with photo-realistic 2–5. ABDO KIDS illustrations, grades K–3. BOLT! nonfiction imprint publishes hi-lo books (A Division of Abdo Publishing) SHORT TALES adapted stories nonfiction imprint written at a second-grade reading level and of www.abdokids.com publishes adapted myths, classics, fairy tales, interested to readers from grades 2–8. DESCRIPTION: Abdo Kids is a print and digital and fables, grades 1–6. BUDDY BOOKS elementary nonfiction imprint division for readers in grades PreK–2, with SPELLBOUND imprint publishes high-interest, publishes introductory level titles to high- many nonfiction series designed with simple low-level (hi-lo) titles written at a second-grade interest nonfiction content, grades 2–5. text and photos. Abdo Publishing is a publisher reading level yet aimed at middle-grade interest CHECKBOARD LIBRARY curriculum-based of nonfiction titles for the school and library level. nonfiction imprint publishes in-depth content market. QUERY LETTERS: Accepting. with a cross-curricular approach, grades 3–6. ABDO KIDS JUNIOR primary nonfiction PreK–2 MULTIPLE SUBMISSIONS: Accepting. CORE LIBRARY common core nonfiction imprint imprint with clean design, clear photos, and UNSOLICITED MANUSCRIPTS: Accepting publishes titles aligned with Common Core simple sentences for the youngest readers. Looking for series concepts; not accepting State Standards that promote in-depth learning, ABDO KIDS JUMBO oversized primary nonfiction nonfiction. Email samples of manuscripts to grades 3–6. PreK–2 imprint with huge, full-color images and [email protected] or fiction@ 60 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org flat fee, depending onthe project. ARTWORK PAYMENT: responsible ifsubmitted. or other original material accepted;not Director Chad Beckerman. No original artwork ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: series. a mixof original books, imports, and branded preschoolers, ages birthto5years. Publishes young picture booksfor babies, toddlers, and DESCRIPTION: CREATIVE DIRECTOR: LICENSED PUBLISHING: EDITORIAL DIRECTOR, ABRAMSAPPLESEED& abramsappleseed/ www.abramsbooks.com/imprints/ (An Imprint of Abrams Books) ABRAMS APPLESEED Smith SVP, PUBLISHER,CHILDREN’SBOOKS: www.abramsbooks.com 212-206-7715 New York, NY10007 195 Broadway, 9thFloor ABRAMS BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: SASE. Post; pleasespecify“EPIC Press” and include epicpress.com. Submissions acceptedvia U.S. Email samplesof manuscripts tosubmissions@ UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: books—are bold, edgy, emotional, and mature. alike, EPIC books—calledYoung Adult chapter young adult readers. Foravid and hi-loreaders DESCRIPTION: MANAGING EDITOR: (A Division of Abdo Publishing) EPIC PRESS ARTWORK PAYMENT: com. submissions toillustrations@abdopublishing. ARTWORK INTEREST: PAYMENT: “illustration” and include SASE. via U.S.Post; pleasespecify“fiction” or abdopublishing.com. Submissions accepted | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Flatfee. Flat fee. Board books, novelty books, and YA fiction imprint withseries for Not accepting. Accepting. Kenneth Abdo Flatfee. Flatfee. Accepting. Advance against royalty or Yes, through Creative Accepting. Email Chad Beckerman Traci Todd Not accepting. Accepting. Accepting. Not accepting. Andrew Andrew www.abramsbooks.com/imprints/abramsbyr/ (An Imprint of Abrams Books) ABRAMS BOOKSFORYOUNG READERS SENIOR EDITOR, AMULET &COMICARTS: Pamela Bobowicz EXECUTIVE EDITOR OFLICENSEDPUBLISHING: EXECUTIVE EDITOR: www.abramsbooks.com/imprints/amuletbooks/ (An Imprint of Abrams Books) AMULET BOOKS advance against royalty orflatfee. ARTWORK PAYMENT: ARTWORK INTEREST: against royalty orflatfee. PAYMENT: “ATTN: Abrams ComicArts Editorial.” submissions, withSASE, via U.S.Post, marked UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: cartoons. and the historyof comics art,animation, and novels and illustrated booksaboutthe creators DESCRIPTION: CREATIVE DIRECTOR: Charles Kochman EDITORIAL DIRECTOR, ABRAMSCOMICARTS: COMICARTS: ASSOCIATE PUBLISHER,ABYR &ABRAMS abramscomicarts/ www.abramsbooks.com/imprints/ (An Imprint of Abrams Books) ABRAMS COMICARTS advance against royalty orflatfee. ARTWORK PAYMENT: responsible ifsubmitted. or other original material accepted;not Director ChadBeckerman. No original artwork ARTWORK INTEREST: against royalty orflatfee. PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: middle-grade readers. and illustrated nonfiction for preschool through DESCRIPTION: ART DIRECTOR: CREATIVE DIRECTOR: EDITORIAL ASSISTANT: EDITOR, ABRAMS/AMULET: EXECUTIVE EDITOR: EDITOR-AT-LARGE: EDITORIAL DIRECTOR: COMICARTS: ASSOCIATE PUBLISHER,ABYR &ABRAMS Depends onproject. Either advance Depends onproject. Either advance Jody Mosley Jody Mosley Publishes groundbreaking graphic Publishes picture bookfiction AlyssaNassnerå Not accepting. Accepting. Howard W. Reeves Maggie Lehrman Maggie Lehrman Depends onproject. Either ChadBeckerman Depends onproject. Either Yes, through Creative Yes. Chad Beckerman Tamar Brazis Masha Gunic Not accepting. Accepting. Erica Finkel Accepting. Mail Not accepting. Anne 1328 Greenleaf Street (a line withinthe Agate Bolden imprint) DENENE MILLNERBOOKS flat fee, depending onthe project. ARTWORK PAYMENT: responsible ifsubmitted. or other original material accepted;not Director ChadBeckerman. No original artwork ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: paperbacks. imprint, alistof reprints and original grade readers. Includes the Amulet Paperbacks and nonfiction for young adults and middle- DESCRIPTION: CREATIVE DIRECTOR: ASSISTANT EDITOR: EDITOR, ABRAMS/AMULET: Heltzel EDITOR: EDITOR: PUBLISHING DIRECTOR: EDITORIAL MANAGER: www.albertwhitman.com 0039 800-255-7675 or847-232-2800;Fax 847-581- Park Ridge, IL60068 250 SouthNorthwest Highway, Suite320 ALBERT WHITMAN&CO. or flatfee. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: first made an email inquiry. not send hard-copy submissions unlessyouhave UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: [email protected]. QUERY LETTERS: African-American children. of being achildfrom the perspectivesof African American lifebysharing the experience Denene Millner Booksillustrates the diversityof the Agate Bolden imprint of Agate Publishing. and illustrator. Launched Spring 2018aspartof readers, created byAfrican-American writers children and fiction and nonfiction foryoung DESCRIPTION: EDITOR: PUBLISHER: www.agatepublishing.com 847-475-4457 Evanston, IL60202 Eliza Swift Annie Nybo Denene Millner Advance against royalty. Advance against royalty. Doug Seibold Publishes novels, graphic novels, Publishing picture booksfor Not accepting. Accepting via email at Courtney Code Advance against royalty or Accepting. ChadBeckerman Advance against royalty Yes, through Creative Wendy McClure Sue Tarsky Not accepting. N/A Erica Finkel Not accepting. Accepting, but do 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 61

email only. Looking for realistic-style (not ASSOCIATE EDITOR: Andrea Hall SENIOR EDITOR, SKYSCAPE/47 NORTH: Jason PREPARING & SUBMITTING ASSOCIATE EDITOR: Jonathan Westmark Kirk cartoon) illustrations for children; color DESCRIPTION: List of 40 hardcover titles a year, SENIOR EDITOR, SKYSCAPE/47 NORTH: only, no black and white. Submit to Katie@ including picture books, chapter books, and Adrienne Procaccini arbordalepublishing.com per illustration middle-grade and teen fiction. DESCRIPTION: Publishes fiction from new and submissions on house website. QUERY LETTERS: Accepting via email only. established authors. Offering teen, young adult, ARTWORK PAYMENT: Advance against royalty or MULTIPLE SUBMISSIONS: Accepting. and crossover readers books from contemporary flat fee, depending on project. UNSOLICITED MANUSCRIPTS: Yes, accepting to science fiction to fantasy and more. submissions via email to submissions@ QUERY LETTERS: Not accepting. BAREFOOT BOOKS albertwhitman.com. See http://www. MULTIPLE SUBMISSIONS: Not accepting. 2067 Massachusetts Avenue, 5th Floor albertwhitman.com/submission-guidelines- UNSOLICITED MANUSCRIPTS: Not accepting. Cambridge, MA 02140 MARKET SURVEYS for-unrepresented-authors/ for instructions. PAYMENT: Advance against royalty 617-576-0660; Fax 617-576-0049 Response within six months, but only if they ARTWORK INTEREST: Not accepting. www.barefootbooks.com have further interest. ARTWORK PAYMENT: N/A CO-FOUNDER & CHIEF EXECUTIVE OFFICE: PAYMENT: Advance against royalty. Nancy Traversy ARTWORK INTEREST: Yes, but do not send TWO LIONS MANAGING EDITOR: Kate DePalma originals. Art samples should show pictures of (An Imprint of Amazon Children’s Publishing) DESCRIPTION: An independent publisher with children. ASSOCIATE PUBLISHER: Hai-Yen Mura offices in Cambridge, Massachusetts, and Oxford,

ARTWORK PAYMENT: Advance against royalty EDITORIAL DIRECTOR: Kelsey Skea UK. Specializes in children’s books, CDs, games, DIRECTORIES & RESOURCES or flat fee. EDITOR-AT-LARGE: Melanie Kroupa puppets, puzzles and gifts that celebrate EDITOR: Marilyn Brigham enduring values and inspire creativity. AMAZON CHILDREN’S PUBLISHING EDITOR: Miriam Juskowicz QUERY LETTERS: Not accepting. (A Division of Amazon Publishing) DESCRIPTION: Publishes picture books, chapter MULTIPLE SUBMISSIONS: Not accepting. 276 Fifth Avenue, Suite 1007 books, and middle-grade fiction for kids ages 8 UNSOLICITED MANUSCRIPTS: Not accepting. New York, NY 10001 to 12. PAYMENT: Advance against royalty. https://amazon.com/l/16144524011 QUERY LETTERS: Not accepting. ARTWORK INTEREST: Yes, via U.S. Post PUBLISHER, ADULT AND CHILDREN’S TRADE MULTIPLE SUBMISSIONS: Not accepting. only. Send nonreturnable samples to “ATTN: GROUP: Mikyla Bruder UNSOLICITED MANUSCRIPTS: Not accepting. Acquisitions Editor.” VP, PUBLISHING: Jeff Belle PAYMENT: Advance against royalty ARTWORK PAYMENT: Advance against royalty EDITORIAL DIRECTOR: Sarah Smith ARTWORK INTEREST: Not accepting. for picture books.

ARTWORK PAYMENT: N/A PUBLICIZING YOUR PUBLISHED WORK ALLOY ENTERTAINMENT BARRON’S EUCATIONAL SERIES (A Joint Imprint of Amazon Children’s ARBORDALE PUBLISHING 250 Wireless Boulevard Publishing and Alloy Entertainment) 612 Johnnie Dodds Blvd., Suite A2 Hauppauge, NY 11788 1325 Avenue of the Americas, 29th Floor Mt. Pleasant, SC 29464 800-645-3476 New York, NY 10019 843-971-6722 or 877-243-3457; Fax 843-216- www.barronseduc.com 1-212-329-8449 3804 ACQUISITIONS MANAGER: Wayne Barr www.alloyentertainment.com www.arbordalepublishing.com SENIOR ART DIRECTOR: Bill Kuchler EDITOR: Viana Siniscalchi PUBLISHER: Lee German DESCRIPTION: Ongoing interest in children’s EDITOR: Hayley Wagreich EDITOR: Donna German books (fiction and nonfiction), both text and DESCRIPTION: A digital-first imprint focusing ASSOCIATE EDITOR: Katie Hall artwork. Children’s books make up roughly on young adult, new adult, and commercial DESCRIPTION: Publishing picture books that 1/5 of publishing program; most are foreign fiction, which are Alloy’s specialty areas in blend math, science, and geography, and acquisitions. its book packaging business. Alloy’s offerings dual language (English/Spanish), interactive QUERY LETTERS: Accepting. Send query letters

include Gossip Girl, Pretty Little Liars, and the eBooks for young readers. (Formerly Sylvan Dell via email to [email protected]. SCHOOL VISITS Vampire Diaries. Publishing.) MULTIPLE SUBMISSIONS: Accepting. QUERY LETTERS: Not accepting. QUERY LETTERS: Accepting via email only. UNSOLICITED MANUSCRIPTS: Accepting. Send MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. full submissions via regular U.S. Post, preferably UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. Send after first sending an emailed query letter. See PAYMENT: Advance and royalties. to [email protected]. Primarily barronseduc.com/info.html for instructions. ARTWORK INTEREST: Not accepting. looking for fiction manuscripts with nonfiction Response time is approximately 4 weeks; please LEGAL QUESTIONS ARTWORK PAYMENT: N/A facts woven into the story. Manuscripts must do not call. be 1000 words or less and meet all the criteria PAYMENT: Usually advance against royalty. SKYSCAPE listed in the submission guidelines listed on the ARTWORK INTEREST: Yes, by regular mail. (An Imprint of Amazon Children’s Publishing) house website. Not accepting previously self- Address material to “Art Director.” EDITORIAL DIRECTOR: Courtney Miller published books. ARTWORK PAYMENT: Advance against royalty or EDITOR: Marilyn Brigham PAYMENT: Advance against royalty. flat fee, depending. EDITOR: Miriam Juskowicz ARTWORK INTEREST: Accepting with 62 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org middle-grade fiction for general teen readership DESCRIPTION: ASSOCIATE EDITOR: EDITORIAL DIRECTOR: Temple PUBLISHER &EDITOR-IN-CHIEF: www.akashicbooks.com 718-643-9193; Fax718-643-9195 Brooklyn, NY11215 232 Third Street, SuiteA115 (An Imprint of Akashic Books) BLACK SHEEP ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: on awork-for-hire basis. Titles are developed in-house and are assigned UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: up. and BRBTeen publishes booksfor grades 6and K-12. BRBKids publishes booksfor grades K-5, DESCRIPTION: ASSOCIATE PUBLISHER: ASSOCIATE PUBLISHER: @blackrabbitbooks 507-388-1609; Fax507-388-1364 Mankato, MN56002 P.O. Box 3263 BLACK RABBITBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: picture booksubmissions. proposals from agents only. Not accepting QUERY LETTERS: traditional wisdom and spiritual practices. science titlesthatexplore and/or question practices. Alsopublishes contemporary new raise awareness through innovative ideas and well askids’ powertochange and expand and and inspire wellness and healthy living as for adults, children, and teens thatfosters at Simon &Schuster, publishing nonfiction imprints Atria Books, Aladdin, and Simon Pulse DESCRIPTION: EDITOR: PRESIDENT &PUBLISHER: www.beyondword.com 503-531-8700; Fax503-531-8773 Hillsboro, OR97124 20827 NWCornell Road, Suite#500 BEYOND WORDS PUBLISHING | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Lindsay Brown Advance against royalty orflatfee. Advance against royalty. Publishes young-adult and Publisher of booksfor grades Small press partnered with Not accepting. Accepting manuscripts and Aaron Petrovich N/A N/A Not accepting. No. Ibrahim Ahmad Jennifer Besel Jonathan Strickland Not accepting. Not accepting. Richard Cohn Not accepting. Not accepting. Johnny QUERY LETTERS: year. as wellreluctant readers, 3to5booksper SENIOR EDITOR: EXECUTIVE EDITOR: EDITORIAL DIRECTOR, FICTION: EDITORIAL DIRECTOR: PUBLISHING: VP &PUBLISHINGDIRECTOR OFCONSUMER www.bloomsbury.com/us/childrens/ (A Division of Bloomsbury Publishing PLC) BLOOMSBURY CHILDREN’SBOOKS CHILDREN’S BOOKS: VP, U.S.PUBLISHINGDIRECTOR, BLOOMSBURY www.bloomsbury.com/us/childrens/ www.bloomsbury.com/us/ 212-419-5300 New York, NY10018 1385 Broadway, 5thFloor BLOOMSBURY PUBLISHINGPLC or flatfee. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: titles such asautobiographies. historical fiction. Doesinclude select nonfiction dystopian/commercial futuristic novels, and to) contemporary, fantasy, romance, suspense, and spans genres, including (butnot limited ethical standards. The listisprimarily fiction and approach and which represent morals and real issueswhilestriving for apositivebalance faith. Looking for hopeful booksthattouch on Blink fiction is for all readers, regardless of titles for the general trade market peryear. imprint publishes 5to6young adult fiction Harpercollins Christian Publishing. The Blink DESCRIPTION: EDITOR: SENIOR EDITOR: www.zondervan.com/children.html www.BlinkYABooks.com 800-226-1122 Grand Rapids, MI49546 3900 SparksDrive (An imprint of Zondervan) BLINK ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: Jillian Manning Advance against royalty orflatfee. Advance against royalties. Cindy Loh Zondervan isadivision of Jacque Alberta Not accepting. Not accepting. Sarah Shumway Mary Kate Castellani N/A Advance against royalties Not accepting. Cindy Loh Not accepting. Bethany Buck Not accepting. Not accepting. Not accepting. Not accepting. Liese Mayer categories including romance, mystery, thriller, adult readers, and new adult readers, inall publishing fiction eBooks for teens, crossover DESCRIPTION: bloomsbury.com/us/bloomsbury-spark/ (An Imprint of Bloomsbury Publishing) BLOOMSBURY SPARK flat fee, depending onproject. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: annually. fiction, and fantasy. Publishes 100to125books easy readers, middle-grade and teennovels, DESCRIPTION: ART DIRECTOR: ASSOCIATE EDITOR: EDITOR, NONFICTION: EDITOR: imprint publishes picture books, chapterbooks, CALKINS CREEKhistorical fiction/nonfiction middle-grade and selectteenfiction. chapter books, illustrated nonfiction, and nonfiction. Listconsists of picture books, educational fiction and informative, lively DESCRIPTION: ART DIRECTOR: ART DIRECTOR: ASSISTANT EDITOR: EDITOR, HIGHLIGHTSPRESS: SENIOR EDITOR, CALKINSCREEK: WORDSONG: SENIOR EDITOR, BOYDS MILLSPRESS/ Colgan SENIOR EDITOR, BOOKPUBLISHING: CHILDREN: VP, BOOKEDITORIAL AT HIGHLIGHTSFOR DEVELOPMENT: SVP, BOOKPUBLISHINGSTRATEGY, &PRODUCT www.boydsmillspress.com 800-490-5111 or570-253-1164 Honesdale, PA 18431 815 Church Street BOYDS MILLSPRESS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: first option for print editions. fantasy. Contracting for digital rights, witha paranormal, dystopian, historical, contemporary, AllisonMoore Advance against royalty. Offering standard ebook royalty rates. Elizabeth Van Doren RebeccaDavis Aglobal,digital-first imprint Publishes trade picture books, Imaginative, socially conscious, Donna Mark Barbara Grzeslo TimGillner Mary-Alice Moore Not accepting. Not accepting. Cherie Matthews Hali Baumstein Advance against royalty or N/A Not accepting. Not accepting. SusanDobinick Not accepting. Not accepting. Not accepting. Not accepting. Marlo Scrimizzi Carolyn Yoder Mary 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 63 and novels. PUBLISHER: Karen Lotz ASSOCIATE EDITOR, SWITCH PRESS: Eliza Leahy PREPARING & SUBMITTING HIGHLIGHTS PRESS imprint publishes activity EXECUTIVE V-P, EXECUTIVE EDITORIAL MANAGING EDITOR: Shelly Lyons books and innovative novelty formats, including DIRECTOR, & ASSOCIATE PUBLISHER: Elizabeth CREATIVE CONCEPT DIRECTOR, FICTION: puzzle books, craft books, joke books, and Bicknell Michael Dahl season titles. EXECUTIVE EDITORIAL DIRECTOR, WALKER CREATIVE DIRECTOR, FICTION: Heather WORDSONG imprint publishes poetry collections BOOKS US: Susan Van Metre Kindseth-Wutschke and anthologies. ASSOCIATE PUBLISHER & CREATIVE DIRECTOR: DESCRIPTION: Publishing program of the QUERY LETTERS: Send cover letter with Chris Paul Capstone imprints includes nonfiction, fiction, materials. (See below.) GROUP EDITORIAL DIRECTOR: Joan Powers picture books, interactive books, audio books, MULTIPLE SUBMISSIONS: Acceptable, but not EDITORIAL DIRECTOR, DIRECTOR OF EDITORIAL and literacy programs. Capstone Young Readers encouraged. OPERATIONS: Mary Lee Donovan is a trade division, publishing several imprints MARKET SURVEYS UNSOLICITED MANUSCRIPTS: Reading SENIOR EXECUTIVE EDITOR: Sarah Ketchersid into the trade market; it includes board books, everything, but please review guidelines EXECUTIVE EDITOR: Hilary Van Dusen picture books, chapter books, middle-grade and catalog or website (https://www. SENIOR EDITOR: Kate Fletcher series fiction, and graphic novels. Nearly all boydsmillspress.com/Submissions) before SENIOR EDITOR: Andrea Tompa books are written on a work-for-hire basis and submitting fiction. Will not accept any SENIOR EDITOR: Kaylan Adair are part of a larger series; publisher is always submission by email except from overseas. EDITOR: Carter Hasegawa looking for new authors and illustrators to Please see website for full instructions. Will ASSOCIATE EDITOR: Miriam Newman help craft high-appeal titles. Copyright and all reply to all submissions; response time 3 ASSISTANT EDITOR: Allison Cole reproduction rights are held by the company DIRECTORIES & RESOURCES months. SENIOR EDITOR, BIG PICTURE PRESS, unless otherwise expressly stated. PAYMENT: Advance against royalty. CANDLEWICK STUDIO: Katie Cunningham COMPASS POINT BOOKS imprint publishes ARTWORK INTEREST: Yes, particularly for EXECUTIVE ART DIRECTOR: Ann Stott smart nonfiction for middle school readers. The picture books. Send nonreturnable samples. DESCRIPTION: American publisher from London- imprint weaves comprehensive narrative with Label package “Art Sample Submission.” based firm of Walker Books. Strength is picture intriguing facts and real-world examples to ARTWORK PAYMENT: Advance against royalty books and middle-grade and teen fiction. make history, science, and biographies come for picture books. Emphasis on literary quality and superior alive for readers in grades 5-12. design. Approximately 200 titles annually, HEINEMANN-RAINTREE imprint publishes CAMERON KIDS both hardcover and paperback. The Candlewick curriculum-driven nonfiction that encourages (An Imprint of Cameron + Company) Entertainment imprint handles its media- inquiry and satisfies curiosity for students 149 Kentucky Street, Suite 7 related children’s publishing, including TV and grades K-8. Comprehensive text and captivating

Petaluma, CA 94952 movie tie-ins. The Candlewick Studio publishes images combine to create a reading experience PUBLICIZING YOUR PUBLISHED WORK 707-769-1617; Fax 415-223-8520 design-driven books with high production rich in content and diverse points of view. www.cameronbooks.com values, appealing to both children and adults, Among its most recognized brands include PUBLISHER: Chris Gruener as well as book collectors. Candlewick is the Acorn, Heinemann First Library, and Raintree CHILDREN’S PUBLISHER: Nina Gruener U.S. publisher for the Nosy Crow and Templar Perspectives. CHILDREN’S EDITOR: Amy Novesky imprints, as well Big Picture Press and the PICTURE WINDOW BOOKS imprint publishes CREATIVE DIRECTOR: Iain Morris Walker Books imprint, launching 2018. illustrated fiction and nonfiction easy readers, CHILDREN’S ART DIRECTOR: Melissa Nelson QUERY LETTERS: Not accepting. picture books, and chapter books for grades pre Greenberg MULTIPLE SUBMISSIONS: Not accepting. K-4. DESCRIPTION: Publishing primarily picture UNSOLICITED MANUSCRIPTS: Not accepting. STONE ARCH BOOKS imprint focuses on books. PAYMENT: Varies. inspiring independent reading with compelling QUERY LETTERS: Accepting. ARTWORK INTEREST: Accepting. Send contemporary and appropriate fiction for readers MULTIPLE SUBMISSIONS: Accepting. correspondence, art samples, and dummies to in grades K-9. The imprint transforms reluctant UNSOLICITED MANUSCRIPTS: Accepting. “Attn: Art Resource Coordinator.” Do not send readers into reading enthusiasts through an

For submission information, contact info@ originals; materials will not be returned. exciting array of topics and genres. SCHOOL VISITS cameronbooks.com. ARTWORK PAYMENT: Varies. SWITCH PRESS is a young adult imprint PAYMENT: Advance against royalty. publishing contemporary nonfiction such ARTWORK INTEREST: Accepting. CAPSTONE YOUNG READERS as cookbooks, craft and how-to titles, and ARTWORK PAYMENT: Advance against royalty 1710 Roe Crest Drive narrative nonfiction, as well as historical or flat flee. North Mankato, MN 56003 fiction, fantasy, graphic novels, and poetry. 800-747-4992; Fax 888-262-0705 Titles released both in hardcover and digital LEGAL QUESTIONS CANDLEWICK PRESS www.capstonepub.com formats. (A Division of The Walker Book Group) CHIEF CONTENT OFFICER: Ashley Andersen QUERY LETTERS: Not accepting. Send full 99 Dover Street Zantop materials (see below). Somerville, MA 02144 EDITORIAL DIRECTOR, NONFICTION: Nick Healy MULTIPLE SUBMISSIONS: Accepting. 617-661-3330; Fax 617-661-0565 SENIOR EDITOR: Christianne Jones UNSOLICITED MANUSCRIPTS: Accepting, www.candlewick.com SENIOR EDITOR: Alison Deering though most titles are developed in-house and MANAGING DIRECTOR, PRESIDENT, & SENIOR EDITOR: Kristen Mohn written and illustrated by freelance writers and 64 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018

artists. For full details, please visit http://www. capstonepub.com/library/service/submissions/. No phone calls; will respond only if they have further interest. PAYMENT: ARTWORK INTEREST: be sent to email address listed at http://www. capstonepub.com/library/service/submissions/. ARTWORK PAYMENT:

CHARLESBRIDGE PUBLISHING 85 Main Street Watertown, MA 02472 800-225-3214 or 617-926-0329; Fax 800-926- 5775 www.charlesbridgeteen.com www.charlesbridge.com ASSOCIATE PUBLISHER & EDITORIAL DIRECTOR: EXECUTIVE EDITOR-AT-LARGE: SENIOR EDITOR: EDITOR: ASSOCIATE EDITOR: ART DIRECTOR: DESCRIPTION: run publisher of approximately 50 illustrated picture books, board books, and transitional books (early readers to middle-grade chapter books) a year. Nonfiction makes up 60% of the list; virtually any subject of interest to an elementary-school child will be considered. Especially seeking innovative nonfiction. CHARLESBRIDGE TEEN imprint publishes Young Adult fiction, with an interest in publishing new voices. Launched Fall 2018, with the goal of publishing three to five new titles a year. QUERY LETTERS: manuscript (see below). MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: full submission instructions, visit https://www. charlesbridgeteen.com/pages/submissions. PAYMENT: flat fee. ARTWORK INTEREST: submission instructions, visit https://www. charlesbridgeteen.com/pages/submissions. ARTWORK PAYMENT: (usually) or flat fee.

CHARMZ (An imprint of Papercutz) 160 Broadway, Suite 700E New York, NY 10038 646-559-4681; Fax 212-643-1545 www.papercutz.com www.papercutz.com/kids-comics-graphic- novels/charmz

Julie Bliven

Flat fee, work-for-hire.

Advance against royalty (usually) or

Yolanda Scott

A smaller, independent, family-

Susan Sherman

Alyssa Mito Pusey

Not accepting. Send full

Karen Boss

Flat fee.

Illustrator inquiries can

Advance against royalty

Accepting. For full

Accepting.

Accepting. For

Monica Perez

CEO & PUBLISHER: EDITOR-IN-CHIEF: EDITOR, CHARMZ: DESCRIPTION: imprint from children’s graphic novel publisher Papercutz featuring “relationship-driven stories” tailored toward pre-teen and early teen girls. Publishes between 50 and 60 graphic novels a year, including original graphic novels. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: query and synopsis via email to Salicrup@ papercutz.com. PAYMENT: ARTWORK INTEREST: [email protected]. ARTWORK PAYMENT: or flat fee.

CHRONICLE BOOKS 680 Second Street San Francisco, CA 94107 415-537-4200; Fax 415-537-4460 www.chronicle.com CHILDREN’S PUBLISHING DIRECTOR: EDITORIAL DIRECTOR, CHILDREN’S: Chipponeri EDITOR-AT-LARGE: SENIOR EDITOR: SENIOR EDITOR: EDITOR: EDITOR: ASSITANT EDITOR: ART DIRECTOR: DESCRIPTION: titles annually. Focuses on highly visual books with words that inspire the art; one must complement the other. Age range is from toddler and early chapter books to teen fiction. Interest in nonfiction, picture books, beginning readers, middle-grade fiction, and novelty formats. Looking for writing and illustration with unusual and distinctive flavor. Titles range from classically illustrated fairy tales to contemporary concept books. QUERY LETTERS: MULTIPLE SUBMISSIONS: query/cover letter. UNSOLICITED MANUSCRIPTS: regular U.S. Post. Responding only if interested; rejected submissions are recycled so don’t include SASE. Response time of 6 months. See www.chroniclebooks.com/submissions for complete submission guidelines. PAYMENT: ARTWORK INTEREST: original artwork; materials will not be returned.

Ariel Richardson Taylor Norman

Advance against royalties.

Varies.

A full-color graphic novel

Publishes approximately 90

Kristine Brogno

Naomi Kirsten Melissa Manlove

Accepting.

Jim Salicrup

Zaneta Jung

Mariah McCourt

Victoria Rock

Terry Nantier

Accepting. Contact

Advance against royalties

Accepting. Do not send

Accepting.

Ok, but indicate on

Accepting. Send

Accepting via

Kelli

Ginee Seo

See www.chroniclebooks.com/submissions for complete submission guidelines. ARTWORK PAYMENT:

CRESTON BOOKS PO Box 9369 Berkeley, CA 94709 www.crestonbooks.co PUBLISHER & EDITOR: DESCRIPTION: small publisher of picture books. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: novels, include outline and 3 sample chapters. For picture books, send entire manuscript. Email to [email protected]. PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT:

DAVID FICKLING BOOKS 31 Beaumont Street Oxford, OX1 2NP, United Kingdom +44 (O) 1865 339000 www.davidficklingbooks.com PUBLISHER: MANAGING DIRECTOR: PUBLISHING DIRECTOR: EDITOR: EDITOR, PICTURE BOOKS: EDITOR: DESCRIPTION: based David Fickling Books is an independent publisher of fiction and picture books for ages 0 to 18; approximately 12 to 20 books a year. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: through the periodic Master of the Inkpot competitions, which dates and guidelines are posted at www.davidficklingbooks.com/submit. PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT: and flat fee, depending on project.

DISNEY BOOK GROUP (A Division of Disney Publishing Worldwide) Disney Publishing/Hyperion Books for Children 114 Fifth Avenue New York, NY 10011-5690 books.disney.com

DISNEY PRESS (A Division of Disney Book Group) EXECUTIVE VP, DISNEY PUBLISHING WORLDWIDE:

Rosie Fickling

Anthony Hinton

Advance against royalty or flat fee.

Advance against royalty.

David Fickling

An author/illustrator-driven

Partnered with Scholastic, UK-

Andrew Sugarman

Accepting.

Not accepting.

Varies.

N/A

Advance against royalty

Not accepting.

Marissa Moss

Simon Mason

Bella Pearson

Accepting.

Not accepting.

Alice Corrie

Accepting. For

Accepting 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 65

2014, and holds the annual Helen Sheehan YA VP & PUBLISHER, DISNEY BOOK GROUP: Mary ARTWORK INTEREST: Yes, through art director. PREPARING & SUBMITTING Ann Naples ARTWORK PAYMENT: Advance against royalty or Book Prize contest. VP, DISNEY PUBLISHING WORLDWIDE, & flat fee, depending on project. QUERY LETTERS: Not accepting. EDITORIAL DIRECTOR, DISNEY EDITIONS: MULTIPLE SUBMISSIONS: Not accepting. Wendy Lefkon FREEFORM UNSOLICITED MANUSCRIPTS: Accepting EXECUTIVE EDITOR, DISNEY/LUCASFILM (An Imprint of Disney Publishing Worldwide) only via submissions to the Helen Sheehan PUBLISHING: Jennifer Heddle DISNEY PUBLISHING WORLDWIDE EDITOR-IN- YA Book Prize contest, winner awarded every SENIOR EDITOR, DISNEY PUBLISHING CHIEF, ASSOCIATE PUBLISHER: Emily Meehan other year. Next submission period opens WORLDWIDE: Brooke Dworkin Vitale SENIOR EDITOR, DISNEY-HYPERION, summer 2018: www.elephantrockbooks. SENIOR EDITOR, DISNEY PUBLSHING FREEFORM: Kieran Viola com/about.html#submissions, http://www. WORLDWIDE: Lauren Burniac DESCRIPTION: Focusing on young-adult and elephantrockbooks.com/ya.html. MARKET SURVEYS EDITOR: Brittany Rubiano crossover fiction and nonfiction aimed at PAYMENT: N/A EDITOR: Brett Wright readers ages 14 to 34. Will publish original book ARTWORK INTEREST: N/A ASSOCIATE EDITOR: Erinn Pascal properties as well as material that can span ARTWORK PAYMENT: N/A DESCRIPTION: Publishes approximately 35 formats—from books to television—and tie in hardcover and 55 paperback books a year with existing TV programming. ENSLOW PUBLISHERS based on Disney characters from live-action QUERY LETTERS: Not accepting. (A Division of Rosen Publishing) and animated films, TV, and other areas of the MULTIPLE SUBMISSIONS: Not accepting. 101 West 23rd Street, Suite #240 company. All assignments are work-for-hire. UNSOLICITED MANUSCRIPTS: Not accepting. New York, NY 10011 DIRECTORIES & RESOURCES QUERY LETTERS: Not accepting. PAYMENT: Advance against royalty. 800-398-2504; Fax 877-980-4454 MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Yes, through art director. www.enslow.com UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK PAYMENT: Advance against royalty or www.scarletvoyage.com PAYMENT: Flat fee; work-for-hire. flat fee, depending on project. www.speedingstar.com ARTWORK INTEREST: Not accepting. PRESIDENT: Mark Enslow ARTWORK PAYMENT: Flat fee; work-for-hire. DK PUBLISHING VP & PUBLISHER: Brian Enslow (A Division of Penguin Random House Group) DESCRIPTION: Program of children’s and teen DISNEY-HYPERION 345 Hudson Street nonfiction and fiction offering approximately (An Imprint of Disney Book Group) New York, NY 10014 225 titles a year primarily targeting the DISNEY PUBLISHING WORLDWIDE EDITOR-IN- 646-674-4000 education market. Interested in authors with CHIEF & ASSOCIATE PUBLISHER: Emily Thomas www.dk.com/us/ specialized knowledge in high-interest topics

Meehan EXECUTIVE DIRECTOR: Lori Hand for reluctant readers and in elementary and teen PUBLICIZING YOUR PUBLISHED WORK EDITOR-AT-LARGE, DISNEY-HYPERION/RICK EXECUTIVIE MANAGING EDITOR: Billy Fields fiction. RIORDAN PRESENTS: Stephanie Owens Lurie SENIOR EDITOR: Shannon Beatty ENSLOW ELEMENTARY imprint publishes EXECUTIVE EDITOR: Rotem Moscovich EDITOR: Allie Singer elementary nonfiction. SENIOR EDITOR, DISNEY-HYPERION, DESCRIPTION: Family reference books, SCARLET VOYAGE imprint publishes young FREEFORM: Kieran Viola nonfiction and educational books for young adult fiction for grades 6 and up and features SENIOR EDITOR: Tracey Keevan children. Known for heavily illustrated contemporary, dystopian, fantasy, mystery, SENIOR EDITOR: Laura Schreiber nonfiction for teens ages 13−17. paranormal romance, science fiction, and ASSISTANT EDITOR: Hannah Allaman QUERY LETTERS: Not accepting. Please, no thrillers, many of which are foreign imports in SENIOR ART DIRECTOR: Joann Hill phone calls. translation. DESCRIPTION: Picture books and middle-grade MULTIPLE SUBMISSIONS: Not accepting. SPEEDING STAR imprint publishes middle grade and teen fiction published in both the Disney- UNSOLICITED MANUSCRIPTS: Not accepting. fiction featuring topics that appeal to boys and Hyperion Books and Jump at the Sun imprints. PAYMENT: Advance against royalty or work-for- like-minded readers from third grade through Disney-Hyperion Books publishes approximately hire, depending on project. high school.

70 hardcover and 50 paperback books a ARTWORK INTEREST: Unsolicited samples not QUERY LETTERS: Preferred. All requests for SCHOOL VISITS year that are either linked to ABC television kept on file. guidelines and all submissions should be made properties or that it believes can be extended ARTWORK PAYMENT: Work-for-hire; flat fee. through [email protected]. to television or other corners of Walt Disney. All MULTIPLE SUBMISSIONS: Accepting. Please assignments are work-for-hire. ELEPHANT ROCK BOOKS indicate on query/cover letter. JUMP AT THE SUN imprint publishes titles that (An Imprint of Elephant Rocks Productions) UNSOLICITED MANUSCRIPTS: Accepting. celebrate African-American culture. PO Box 119 PAYMENT: Advance against royalty and purchase LEGAL QUESTIONS RICK RIORDAN PRESENTS imprint publishes Ashford, CT 06278 outright. mythology-based books for middle graders, www.elephantrockbooks.com ARTWORK INTEREST: Not accepting. launching Spring 2018. PUBLISHER: Jotham Burrello ARTWORK PAYMENT: Usually flat fee. QUERY LETTERS: Not accepting. EDITOR-AT-LARGE, ERB YA: Amanda Hurley MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Publishes a few titles each year. UNSOLICITED MANUSCRIPTS: Not accepting. Its young adult imprint, ERB YA, has been PAYMENT: Advance against royalty. publishing fiction for young adult readers since 66 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 ENTANGLED TEEN imprint publishes high-concept adventure, and everything inbetween. fantasy, edge-of-your-seat thrills, paranormal strong heroines, contemporary issues, intrigue, in allsubgenres withstories featuring romance, EMBRACE imprint publishes New Adult fiction publishing digital-first. and print, withsome imprints primarily new adult markets. Publishes bothelectronic romantic fiction inthe adult, young adult, and DESCRIPTION: EDITOR: EDITOR: EDITOR: EDITOR: EDITOR: EDITOR: EDITOR: Grove EDITORIAL DIRECTOR &SENIOREDITOR: EMBRACE, AMARA: EXECUTIVE EDITOR ANDEDITORIAL DIRECTOR, TEEN, TEENCRUSH/CRAVE: EXECUTIVE EDITORIAL DIRECTOR, ENTANGLED Pelletier CHIEF EXECUTIVEOFFICER&PUBLISHER: www.entangledpublishing.com ENTANGLED PUBLISHING EDITORIAL DIRECTOR: www.factsonfile.com 800-322-8755; Fax800-678-3633 New York, NY10001 132 West 31stStreet, 17thFloor (A Division of Infobase Publishing) FACTS ONFILE ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: guidelines. information/ for additional submission https://entangledpublishing.com/submission- UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: category romance format. teen romances thatfollow the traditional TEEN CRUSH imprint publishes contemporary world, trope-driven bend. characters’ teenyears—withanout-of-this- format. Features first-lovestories set during the following the traditional category romance teen romance withaparanormal twist, TEEN CRAVE imprint publishes contemporary romantic subplot. paranormal, and fantasy, withatleasta contemporary, suspense, sci-fi,historical, young adult fiction inallsubgenres including Maria Loggia-Kee Kate Brauning Tracy Montoya Lydia Sharp Erin Molta Stephen P. Morgan Robin Haseltine Advance against royalty. Independent publisher of Accepting. Candace Havens N/A N/A Laurie Likoff Accepting. Stacy C.Abrams Accepting. See Karen Liz Andrew Gyory MULTICULTURAL STUDIES,WOMEN’S STUDIES): EDITOR-IN-CHIEF (AMERICANHISTORY, series. Series spanhistorical and contemporary adult titlesayear;allbooksare partof a school students. Publishes about60–100young nonfiction books for middle school and high DESCRIPTION: EDITORIAL DIRECTOR: www.chelseahouse.com (An Imprint of FactsonFile) CHELSEA HOUSE level of difficulty. ARTWORK PAYMENT: limited number of pieces of line artonly. ARTWORK INTEREST: work-for-hire. PAYMENT: email [email protected]. regular mail addressed to“Editorial Director,” or send manuscript unlessrequested. Send via with résuméand listof publications; do not UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: list of publications. QUERY LETTERS: for young children. No phone calls. and science. No fiction, activitybooks, orbooks 4–9, withfocus onhistory, multicultural topics, grades 6–12and multivolume series for grades Interested insingle-volume reference worksfor market and the general nonfiction trade market. DESCRIPTION: ART DIRECTOR: ECONOMICS, LAW): POLITICAL SCIENCE,MILITARY HISTORY, EDITOR-IN-CHIEF (HISTORY, GEOGRAPHY, STUDIES, RELIGION): EXECUTIVE EDITOR (WORLD HISTORY/GLOBAL LITERATURE): EXECUTIVE EDITOR (LANGUAGE AND work-for-hire. PAYMENT: email [email protected]. regular mail addressed to“Editorial Director,” or send manuscript unless requested. Send via with résuméand listof publications; do not UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: list of publications. QUERY LETTERS: for young readers ingrades 2through 5. imprint, presents easy-to-read, full-colorbooks welcome. Chelsea Clubhouse, itselementary are developed in-house, butsuggestions are health, high-interest titles, and more. Most biographies, social studies, geography, science, Some advance against royalty; some Some advance against royalty; some Jeff Soloway Publishes curriculum-based Publishes for the school/library Erika Arroyo Accepting, withrésuméand Accepting, with résuméand OwenLancer Varies withexperience and Commissioning very Claudia Schaab Laurie Likoff Accepting. Accepting. Send queryletter Send query letter of Harlequin Teen and Seventeen magazine. joys of being ateenager today. Ajoint venture situations thathighlight the challenges and female characters and exploring topics and young adult fiction focusing onempowered SEVENTEEN FICTION imprint publishes realistic Smulski ASSOCIATE EDITOR, HARLEQUINTEEN: EDITOR, HARLEQUINTEEN: VP, EDITOR: SEVENTEEN FICTION: EDITORIAL DIRECTOR, HARLEQUINTEEN, www.harlequinteen.com 888-432-4879 New York, NY10279 233 Broadway, Ste. 1001 (An Imprint of Harlequin Enterprises, Ltd.) HARLEQUIN TEEN level of difficulty. ARTWORK PAYMENT: limited number of pieces of line artonly. ARTWORK INTEREST: EDITORIAL DIRECTOR, AMISTAD: VP, EDITORIAL DIRECTOR: VP, PUBLISHING DIRECTOR: IN-CHIEF: SENIOR VP, ASSOCIATE PUBLISHER,&EDITOR- PRESIDENT &PUBLISHER: www.harpercollins.com/childrens 212-207-7000; Fax212-702-2583 New York, NY10017 195 Broadway HARPERCOLLINS CHILDREN’SBOOKS or flatfee. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: soyouthinkyoucanwrite.com. See submission guidelines atwww. only agented submissions atthistime. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: element. and preferably include acompelling romantic Books are 50,000–100,000words inlength and authenticity. Allsubgenres are welcome. experience and willspeak toreaders withpower high-concept stories thatcapture the teen historical worlds. Looking for commercial, paranormal, fantasy, science-fiction, and and extraordinary stories setincontemporary, unforgettable romance, extraordinary characters, memorable young-adult fiction featuring to building authors and publishing unique, DESCRIPTION: Advance against royalty/flat fee. Kate Jackson Margaret Marbury Asingle-title program dedicated Not accepting. Varies withexperience and Commissioning very Not accepting. Advance against royalty Natashya Wilson Not accepting. Suzanne Murphy Tara Weikum T.S. Ferguson Rich Thomas Accepting Tracy Sherrod Lauren 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 67

EDITORIAL DIRECTOR, EARLY CHILDHOOD: ARTWORK INTEREST: Yes, samples through MULTIPLE SUBMISSIONS: Not accepting. PREPARING & SUBMITTING Nancy Inteli regular mail fine, but no original art. UNSOLICITED MANUSCRIPTS: Not accepting. VP, EDITORIAL DIRECTOR, HARPERTEEN: ARTWORK PAYMENT: Usually advance against PAYMENT: Advance against royalty. Rosemary Brosnan royalty, except flat fee for jacket art. ARTWORK INTEREST: Yes, samples through EDITORIAL DIRECTOR: Margaret Anastas regular mail fine, but no original art. EDITORIAL DIRECTOR, HARPERCOLLINS BALZER + BRAY ARTWORK PAYMENT: Usually advance against CHILDREN’S BOOKS, HARPERTEEN: Erica (An Imprint of HarperCollins) royalty, except flat fee for jacket art. Sussman VP & CO-PUBLISHER: Alessandra Balzer SENIOR EXECUTIVE EDITOR: Toni Markiet VP & CO-PUBLISHER: Donna Bray WALDEN POND PRESS EXECUTIVE EDITOR: David Linker EXECUTIVE EDITOR: Kristin Daly Rens (An Imprint of HarperCollins) EXECUTIVE EDITOR, HARPERTEEN: Kristen EXECUTIVE EDITOR: Jordan Brown EXECUTIVE EDITOR: Jordan Brown MARKET SURVEYS Pettit ASSOCIATE EDITOR: Kelsey Murphy SVP, EDITORIAL DIRECTOR: Debbie Kovacs EXECUTIVE EDITOR: Sara Sargent EDITORIAL ASSISTANT: Tiara Kittrell DESCRIPTION: Publishes books for children in SENIOR EXECUTIVE EDITOR: Alexandra Cooper DESCRIPTION: Publishes picture books, middle- collaboration with Walden Media. SENIOR EDITOR: Karen Chaplin grade fiction, and teen fiction. QUERY LETTERS: Not accepting. SENIOR EDITOR: Alyson Day QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. SENIOR EDITOR: Tamar Mays MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. SENIOR EDITOR, HARPERTEEN: Emilia Rhodes UNSOLICITED MANUSCRIPTS: Not accepting. PAYMENT: N/A

SENIOR EDITOR: Andrew Harwell PAYMENT: Advance against royalty. ARTWORK INTEREST: Not accepting. DIRECTORIES & RESOURCES EDITOR: Jocelyn Davies ARTWORK INTEREST: Yes, samples through ARTWORK PAYMENT: N/A EDITOR: Chris Hernandez regular mail fine, but no original art. EDITOR: Jessica MacLeish ARTWORK PAYMENT: Usually advance against HOLIDAY HOUSE BOOKS FOR YOUNG PEOPLE EDITOR: Stephanie Stein royalty for picture books; usually flat fee for 425 Madison Avenue ASSOCIATE EDITOR, HARPERTEEN: Alice Jerman novel jacket art and interior illustrations. New York, NY 10017 ASSOCIATE EDITOR: Alyssa Miele 212-688-0085; Fax 212-421-6134 ASSOCIATE EDITOR, HARPERTEEN: Catherine GREENWILLOW BOOKS www.holidayhouse.com Wallace (An Imprint of HarperCollins) VP & EDITOR-IN-CHIEF: Mary Cash ASSISTANT EDITOR: Elizabeth Lynch www.greenwillowblog.com VP & PUBLISHER, NEAL PORTER BOOKS: Neal VP & CREATIVE DIRECTOR: Barbara Fitzsimmons VP & PUBLISHER: Virginia Duncan Porter EXECUTIVE ART DIRECTOR: Alison Donalty EXECUTIVE EDITOR: Martha Mihalick PUBLISHER OF MARGARET FERGUSON BOOKS:

DESCRIPTION: The HarperCollins Children’s Book ART DIRECTOR: Paul Zakris Margaret Ferguson PUBLICIZING YOUR PUBLISHED WORK Division publishes hardcover trade titles and DESCRIPTION: List includes mostly fiction and EXECUTIVE EDITOR: Grace Maccarone novelty product. Number of titles: roughly 500 picture books (no nonfiction over the second- ASSOCIATE EDITOR: Kelly Loughman a year. grade level). EDITOR: Elizabeth Law AMISTAD imprint publishes picture books and QUERY LETTERS: Not accepting. EDITOR: Sally Morgridge young adult novels by people of African descent MULTIPLE SUBMISSIONS: Not accepting. DIRECTOR OF ART & DESIGN: Claire Counihan on subjects and themes that have significant UNSOLICITED MANUSCRIPTS: Not accepting. DESCRIPTION: Independent publisher with list influence on the intellectual, cultural, and PAYMENT: Advance against royalty. of 60 titles a year. Acquiring picture books, historical perspectives of a world audience. ARTWORK INTEREST: Send art samples middle-grade and teen fiction, and nonfiction. HARPERFESTIVAL imprint publishes classic/ (postcards only) in duplicate to Paul Zakris and No toy or novelty books. Note: Holiday House novelty/merchandise. Virginia Duncan. Publishing will move to 50 Broad Street, New HARPERTEEN imprint publishes teen fiction ARTWORK PAYMENT: Advance against royalty York, NY 10004 in April 2018. in hardcover and both original and reprint or flat fee. QUERY LETTERS: Not accepting. Send entire paperback. www.harperteen.com manuscript, whether submitting a picture book

HARPERTEEN IMPULSE imprint publishes digital- KATHERINE TEGEN BOOKS or a novel. SCHOOL VISITS only short fiction (short stories and novellas) (An Imprint of HarperCollins) MULTIPLE SUBMISSIONS: Not accepting. for the young-adult genre. VP & PUBLISHER: Katherine Tegen UNSOLICITED MANUSCRIPTS: Accepting. HARPERTROPHY is a HarperCollins paperback SENIOR EXECUTIVE EDITOR: Claudia Gabel Address to “Editorial Department.” Responding imprint. EXECUTIVE EDITOR: Jill Davis (within four months) only if interested so do RAYO imprint publishes culturally inspired SENIOR EDITOR: Maria Barbo not include SASE. Don’t accept certified or Spanish, English, and bilingual books for SENIOR EDITOR: Melissa Miller registered mail; no email submissions. LEGAL QUESTIONS children. SENIOR EDITOR: Ben Rosenthal PAYMENT: Advance against royalty. TOKYOPOP imprint publishes manga titles for EDITOR: Alex Arnold ARTWORK INTEREST: Accepting. Send copies young readers. EDITOR: Rebecca Aronson only, no original artwork. No submissions will be QUERY LETTERS: Not accepting. ASSISTANT EDITOR: Mabel Hsu returned. Send samples to Claire Counihan. MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Publishes picture books and ARTWORK PAYMENT: Usually advance against UNSOLICITED MANUSCRIPTS: Not accepting. middle-grade and teen fiction. royalty, unless for jacket. PAYMENT: Advance against royalty. QUERY LETTERS: Not accepting. 68 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 SENIOR EXECUTIVEEDITOR: VP, ASSOCIATE PUBLISHER: 617-351-5000 Boston, MA02110-2112 125 High Street, Floor5 YOUNG READERS/BOSTON OFFICE HOUGHTON MIFFLINHARCOURTBOOKSFOR imprint of HMHinNew York. single team;Clarion Booksremains aseparate York and BostonHMHeditorsoperate asa books, fiction, and nonfiction. Note: The New of print and e-bookformats, including picture books for children and young adults inavariety DESCRIPTION: www.hmhco.com/trade-publishing YOUNG READERS HOUGHTON MIFFLINHARCOURTBOOKSFOR authors/manuscript-submissions. page http://www.hmhco.com/popular-reading/ both locations. Formore info, seesubmissions or New York office. OKtosubmit artsamplesto Samples” ortoindividual editorsatthe Boston for Young Readers, Design Department/Art illustration assignment. Send to“HMH Books Will contact youonlyifthey haveapotential artwork orslides. Sampleswillnot bereturned. copies ortearsheets; do not send original ARTWORK INTEREST: PAYMENT: UNSOLICITED SUBMISSIONS: MULTIPLE SUBMISSIONS: QUERY LETTERS: nonfiction. books, middle-grade and teenfiction, and DESCRIPTION: Hardcover picture books, chapter ASSOCIATE ASSISTANT: SENIOR VP&PUBLISHER: 212-420-5800 New York, NY10016 3 Park Avenue South,19thFloor YOUNG READERS/NEWYORK OFFICE HOUGHTON MIFFLINHARCOURTBOOKSFOR Christine Krones ASSOCIATE EDITOR, FRANCHISE PUBLISHING: Vinhateiro EDITOR, FRANCHISEPUBLISHING: EDITOR, FRANCHISEPUBLISHING: EDITORIAL ASSOCIATE: EDITORIAL ASSOCIATE: ASSOCIATE EDITOR: ASSOCIATE EDITOR: CONSULTING EDITOR: CONSULTING EDITOR: SENIOR EXECUTIVEEDITOR: EXECUTIVE EDITOR: Advance against royalty. High-quality, award-winning Not accepting. Nicole Sclama Ann Rider Lily Kessinger Accepting. Send color Erica Zappy Wainer Cynthia Platt Nicole Sclama Harriet Low Allison Vroegop Not accepting. Catherine Onder Mary Hogan Wilcox Kate O’Sullivan Margaret Raymo Not accepting. Alex Preziosi Bethany or flatfee. ARTWORK PAYMENT: PO Box 3088 (An Imprint of Insight Editions) INSIGHT KIDS or flatfee. ARTWORK PAYMENT: authors/manuscript-submissions. pages http://www.hmhco.com/popular-reading/ Clarion Books. Formore info, seesubmissions to bothHMHBooksfor Young Readers and individual editors. OKtosubmitartsamples Books, Design Department/Art Samples”orto illustration assignment. Send to“Clarion Will contact youonlyifthey haveapotential artwork orslides. Sampleswillnot bereturned. copies ortearsheets; do not send original ARTWORK INTEREST: PAYMENT: authors/manuscript-submissions. page http://www.hmhco.com/popular-reading/ to Clarion Books/Submissions.” Seesubmissions UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: fiction, and nonfiction. books, chapterbooks, middle-grade and teen DESCRIPTION: EDITORIAL ASSISTANT: SENIOR EDITOR: SENIOR EDITOR: EDITOR-AT-LARGE: EDITOR: VP, ASSOCIATE PUBLISHER,SENIOREXECUTIVE SENIOR VP&PUBLISHER: 212-420-5800 New York, NY10016 3 Park Avenue South,19thFloor (An Imprint of Houghton Mifflin Harcourt) CLARION BOOKS samples only(no original artwork) via U.S.Post ARTWORK INTEREST: PAYMENT: Director.” Submit querylettervia U.S.Post to“Art UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: via U.S.Post to“Art Director.” QUERY LETTERS: licensed as well asoriginal booksfor children. culture books. Imprint Insight Kids publishes independent publisher innovative artand pop DESCRIPTION: PUBLISHER ANDCEO: www.insighteditions.com San Rafael, CA94912 Anne Hoppe Advance against royalty orflatfee. Advance against royalty. Listincludes hardcover picture Insight Editions isan Lynne Polvino Jennifer Greene Accepting. Submit queryletter Accepting. Dinah Stevenson Advance against royalty Advance against royalty Accepting. Submit Accepting. Send color RaoulGoff RachaelStein Catherine Onder Accepting. Accepting. Accepting. “Send Accepting. Send synopsis, author bio, and manuscript to UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: original characters and settings. with editorsinto wholly original bookswith popular fan fiction thathasbeen re-envisioned works developed exclusively for Duetaswell offering universalappeal.The listincludes diverse perspectivesonLGBTQ characters and readers featuring new voices and fresh, Duet publishes fiction appropriate for teenage imprint Duetrepresents LGBTQ characters. romantic fiction, Interlude’s young adult fiction DESCRIPTION: ART DIRECTOR: PUBLISHER, MANAGING EDITOR: www.duetbooks.com www.interludepress.com INTERLUDE PRESS PAYMENT: to “Art Director.” books, and middle-grade fiction. Interested in DESCRIPTION: PUBLISHER, EDITOR: www.kanemiller.com 858-456-0540 San Diego, CA92117 4901 Morena Blvd, Ste213 (A Division of EDCPublishing) KANE MILLERPRESS (for picture books);otherwise flatfee. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: should go to [email protected]. QUERY LETTERS: Launched Fall2018. graphic novels, approximately twelveayear. publisher Kadokawa. Publishing middle grade joint venture betweenHachette and Japanese DESCRIPTION: DEPUTY PUBLISHER: www.yenpress.com New York, NY10017 1290 Avenue of the Americas Hachette BookGroup) (An Imprint of Yen Press LLC,Division of JY ARTWORK INTEREST: submissions for guidelines. months for reply. Seeinterludepress.com/open- [email protected]. Pleaseallow3 Advance against royalty orflatfee. Advance against royalty. Aboutiquepublisher of LGBTQ Publishing picture books, chapter JY isanimprint of Yen Press, a C.B. Messer Not accepting. Accepting. Editorial inquiries Advance against royalty JuYoun Lee Accepting. No. Kira Lynn Not accepting. Accepting. Accepting. Accepting. Annie Harper 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 69 great stories in all genres (mystery, fantasy, ages 10-14. are encouraged. PREPARING & SUBMITTING adventure, historical, etc.), especially those SHINE imprint publishes short, fast-paced QUERY LETTERS: Accepting for middle- with particularly American subjects. young adult and new adult fiction in all genres, grade and teen fiction, but prefer the entire QUERY LETTERS: Accepting. but with a preference for thriller, mystery, manuscript for younger works. MULTIPLE SUBMISSIONS: Accepting contemporary, and horror. MULTIPLE SUBMISSIONS: Accepting. UNSOLICITED MANUSCRIPTS: Accepting. SURGE imprint publishes young adult fiction in UNSOLICITED MANUSCRIPTS: Accepting full See submission guidelines at www.friends. all genres; geared to readers ages 14-19. picture book manuscripts. See submission kanemiller.com/submissions.html. QUERY LETTERS: Not accepting. guidelines at https://www.leeandlow.com/ PAYMENT: Advance against royalty or flat fee. MULTIPLE SUBMISSIONS: Not accepting. wirters-illustrators/writing-guidelines. Will ARTWORK INTEREST: Accepting. Illustrators UNSOLICITED MANUSCRIPTS: Not accepting. respond only if there is interest. Response time may send postcards (preferred) or other non- PAYMENT: N/A up to 6 months. Note that Tu Books holds an MARKET SURVEYS returnable illustration samples via USPS, or links ARTWORK INTEREST: Not accepting. annual contest for fiction called the New Vision to external websites via email to submissions@ ARTWORK PAYMENT: N/A Award. kanemiller.com. Please do not send original PAYMENT: Advance against royalty. artwork, or samples on CD. See full guidelines at LEE & LOW BOOKS ARTWORK INTEREST: Yes, artists should www.friends.kanemiller.com/submissions.html. 95 Madison Avenue #1205 send nonreturnable color samples, attention ARTWORK PAYMENT: Advance against royalty New York, NY 10016 “Submissions Editor.” See submission guidelines or flat fee. 212-779-4400; Fax 212-683-1894 at https://www.leeandlow.com/wirters-

www.leeandlow.com illustrators/writing-guidelines. Especially DIRECTORIES & RESOURCES KCP LOFT PRESIDENT: Craig Low interested in samples featuring children/people (An Imprint of Kids Can Press, a Division of PUBLISHER: Jason Low of color and that show an ability to illustrate Corus Entertainment, Inc.) EDITORIAL DIRECTOR: Cheryl Klein the same character consistently over many 25 Dockside Drive EDITOR-AT-LARGE: Louise May scenes. Will keep artwork of interest on file. Toronto, Ontario, Canada M5A OB5 SENIOR EDITOR: Jessica Echeverria ARTWORK PAYMENT: Advance against royalty. 416-479-7000; Fax 416-960-5437 EDITORIAL ASSISTANT: Kandace Coston www.kidscanpress.com PUBLISHER, TU BOOKS: Stacy Whitman LERNER PUBLISHING GROUP PRESIDENT: Lisa Lyons Johnston (receives illustration samples for Tu Books 1251 Washington Avenue North EDITORIAL DIRECTOR-AT-LARGE, KCP LOFT: imprint) Minneapolis, MN 55401 Kate Egan DESCRIPTION: Independent publisher 800-328-4929; Fax 800-332-1132 EDITOR: Semareh Al-Hillal specializing in multicultural and diversity www.lernerbooks.com

EDITOR: Yvette Ghione themes, including non-traditional family VP & EDITOR-IN-CHIEF: Andy Cummings PUBLICIZING YOUR PUBLISHED WORK DESCRIPTION: Publishes young-adult fiction structures and gender identity, or that feature ASSOCIATE TRADE PUBLISHER, CAROLRHODA, and nonfiction. Launched Spring 2018. a person with a disability integrated into the CAROLRHODALAB: Alix Reid QUERY LETTERS: Not accepting. story but not as the main storyline. List includes EDITORIAL DIRECTOR, DARBY CREEK: TBD MULTIPLE SUBMISSIONS: Not accepting from fiction and nonfiction with a strong storyline. EDITORIAL DIRECTOR, KANE PRESS: Juliana authors outside of Canada. BEBOP BOOKS imprint publishes child-centered Hanford UNSOLICITED MANUSCRIPTS: Not accepting. stories with both text and pictures that support EDITORIAL DIRECTOR, MILLBROOK PRESS: PAYMENT: Advance against royalty or flat fee. literacy learning content for beginning readers Carol Hinz ARTWORK INTEREST: Yes. Direct inquiries to in guided reading and intervention settings. EDITORIAL DIRECTOR, TWENTY-FIRST CENTURY [email protected] or send via regular post CHILDREN’S BOOK PRESS imprint publishes BOOKS: Domenica Di Piazza c/o “Art Director.” bilingual and multicultural books. SENIOR EDITOR, CAROLRHODA, DARBY CREEK, ARTWORK PAYMENT: Advance against royalty LEE & LOW BOOKS imprint primarily publishes LERNER, MILLBROOK PRESS: Anna Cavallo or flat fee. illustrated books for ages 5–11; fiction SENIOR EDITOR, CAROLRHODA, GRAPHIC (maximum 1,500 words) and nonfiction UNIVERSE: Greg Hunter

LEAP BOOKS LLC (maximum 3,000 words). They do not publish PUBLISHER, KANE PRESS: Joanna Kane SCHOOL VISITS P.O. Box 63 folklore or animal stories. Also chapter books EDITOR, KANE PRESS: Jen Arena Otego, NY 13825 and middle-grade works for ages 8–12. Of EDITOR, CAROLRHODA: Amy Fitzgerald www.leapbks.net particular interest are realistic fiction and DESCRIPTION: Publishes primarily nonfiction PUBLISHER: Shannon Delaney nonfiction; folktales and animal stories not for juvenile readers of all grade levels. List CO-PUBLISHER: Judith Graves being considered. includes titles encompassing nature, geography, EDITOR: Sara Biren SHEN’S BOOKS imprint emphasizes cultural natural and physical science, current events, LEGAL QUESTIONS EDITOR: Tara Kelly diversity and tolerance, introducing young ancient and modern history, world art, special EDITOR: Laura Taylor readers to the cultures of Asia. interest, sports, world cultures, and numerous DESCRIPTION: Independent publisher of middle TU BOOKS imprint publishes only middle-grade biography series. grade, young adult, and new adult fiction. and teen science fiction, fantasy, and mystery. CAROLRHODA BOOKS imprint publishes fiction SEEK imprint publishes middle grade fiction in A special effort is made to work with writers primarily, including picture books, chapter all genres, but with a preference for mystery, and artists of color, and submissions from books, middle-grade and young adult novels. contemporary, and fantasy. Geared to readers authors and artists at all levels of experience Nonfiction includes unique photo essays. No 70 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Group’s paperbackimprint; no original titles. FIRST AVENUE EDITIONS isLerner Publishing intermediate fiction, and YA fiction. 7–18 (grades 2–12).Includes chapterbooks, emerging, striving, and reluctant readers ages DARBY CREEKimprint publishes series fiction for www.lernerbooks.com/carolrhodalab and paradigms inthe human condition. http:// to explore and experiment withthoughts, ideas, affording YA authors and readers anopportunity the young adult condition one novel atatime, and their sympathizers. Carolrhoda Labexamines provocative, boundary-pushing fiction for teens Books. It isdedicated todistinctive, CAROLRHODA LABisanimprint of Carolrhoda or plays. textbooks, workbooks, religious subjectmatter, alphabet books, puzzlebooks, songbooks, ARTWORK PAYMENT: attention of “Creative Director.” or tearsheets. Willreply ifinterested. Send to pdfs ondisk,colororblack-and-white copies, photographers. No original art.Send jpgsor and portfolio samplesfrom illustrators and illustrated withphotos.) Accepting resumes ARTWORK INTEREST: PAYMENT: newsletters such asthe SCBWIBulletin. website www.lernerbooks.com and innational seek targeted solicitations onthe company carolrhoda.blogspot.com. Allother imprints unsolicited submissions announced onthe blog imprint (seebelow)and periodic opencallsfor themed children’s booksfor Kar-Ben Publishing unsolicited manuscripts except for Jewish- UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: titles. grade and high-school levelaswellsingle curriculum-related series atboththe middle- TWENTY-FIRST CENTURYimprint publishes many subjectareas. topics, and Kathy Rosscraft booksamong its curriculum-oriented picture books, social studies for preschool through grade 6,including MILLBROOK PRESSpublishes nonfiction nonfiction series for grades K–5. photo-illustrated, educational and high interest LERNER PUBLICATIONS imprint publishes children ages 3to10. KANE PRESSpublishes illustrated titlesfor adults. all ages from beginning readers through young nonfiction graphic novels inall genres and for GRAPHIC UNIVERSEpublishes fiction and Flatfee/advance against royalty. Not accepting. No phone calls. Flat fee. Will consider. (Most books Not accepting. Not accepting Kar-Ben Publishing (A division of Lerner Publishing Group) KAR-BEN PUBLISHING and licensed products for readers 0-12years activity books, picture books, nonfiction titles, concept books, board books, novelty books, (note: alllowercase) publishes earlylearning U.K.-based Bonnier Publishing, littlebeebooks DESCRIPTION: ASSISTANT EDITOR: EDITOR, SIZZLEPRESS: SENIOR EDITOR: SIZZLE PRESS: PUBLISHER, LITTLEBEE,YELLOW JACKET, PRESIDENT &CEO: www.littlebeebooks.com 844-321-0237 New York, NY10010 251 Park Avenue South,Floor12 (An Imprint of Bonnier Publishing USA) LITTLE BEEBOOKS or flatfee. ARTWORK PAYMENT: send original art. email orprinted samplesvia U.S.Post. Donot ARTWORK INTEREST: phone calls. for details). Send [email protected]; no Jewish-themed children’s booksfor (seewebsite UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: and nonfiction. children’s worksthrough middle-grade fiction Jewish content annually. Preschool and young DESCRIPTION: Sussman PUBLISHER, KAR-BENPUBLISHING: www.karben.com Minneapolis, MN55401 241 FirstAve Design Department.” ARTWORK INTEREST: PAYMENT: Only agented manuscripts willbereviewed. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: readers ages 6-8. chapter booksaimed atnewly independent LITTLE BEECHAPTERBOOKS imprint publishes ages. books, and pop-culture titlesfor readers of all imprint for licensed properties, media tie-in alongside SizzlePress, aBonnier Publishing USA old. DistributedbySimon &Schuster. Works Advance against royalty orflatfee. Publishes upto20new titlesof Sonali Fry The U.S.children’s imprint of KristinZelazko Not accepting. Not accepting. Shimul Tolia Charlie Ilgunas Accepting samplesvia Advance against royalty Yes. Send postcards “Attn: RebeccaWebster Not accepting. Not accepting. Accepting Not accepting. Joni of thisregion butthatwillappealtochildren as wellbooksthatoriginate from writers stories thattake placeinthe Pacific Northwest, Penguin Random House. LittleBigfoot features nonfiction, owned by—but not adivision of— is aNorthwest regional publisher specializing in DESCRIPTION: EDITOR: EDITOR-AT-LARGE: ASSOCIATE PUBLISHER: PUBLISHER: PRESIDENT: subjects/?subject=childrens_books http://www.sasquatchbooks.com/ www.sasquatchbooks.com 206-467-4300; Fax206-467-4301 Seattle, WA 98101 1904 Third Avenue, Suite710 (An Imprint of Sasquatch Books) LITTLE BIGFOOT or flatfee. ARTWORK PAYMENT: VP, EDITORIAL DIRECTOR, LITTLE,BROWN FOR YOUNG READERS: VP, EDITOR-IN-CHIEF, LITTLE,BROWN BOOKS PUBLISHING DIRECTOR: VP, PUBLISHER, JAMES PATTERSON PUBLISHING: EDITOR-IN-CHIEF, BRAND,LICENSED,ANDIP BOOKS FORYOUNG READERS: VP &ASSOCIATE PUBLISHER,LITTLE,BROWN PUBLISHER, LBYR: EXECUTIVE VPHACHETTE BOOKGROUP& kids/ www.lb-kids.com, www.hachettebookgroup.com/ com/teens/ www.lb-teens.com, www.hachettebookgroup. brown-books-for-young-readers/ www.hachettebookgroup.com/imprint/little- 212-364-1100 New York, NY10017 237 Park Avenue (A Division of Hachette Book Group) READERS LITTLE, BROWN BOOKSFORYOUNG ARTWORK INTEREST: please allowuptothree months for reply. not accepted. Responding onlyifinterested; original materials of any sort;email inquiries you’d like materials returned. Please do not send via U.S.Post to“The Editors.” Include SASE if query letter, proposal, oracompletemanuscript UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: anywhere. Christy Cox Sarah Hanson Gary Luke Kara Sargent Kara Seattle-based Sasquatch Books Accepting. Tegan Tigani Megan Tingley Advance against royalty No. Alvina Ling Jenny Abrami Ned Rust Accepting Jackie Engel Accepting. Send 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 71

http://us.macmillan.com/mackids/ BOOKS FOR YOUNG READERS: Andrea Spooner EXECUTIVE EDITOR: Janine O’Malley PREPARING & SUBMITTING EDITORIAL DIRECTOR, JIMMY PATTERSON PRESIDENT& PUBLISHER, MACMILLAN EDITOR: Grace Kendall BOOKS: Jenny Bak CHILDREN’S PUBLISHING GROUP: Jonathan ASSOCIATE EDITOR, ROARING BROOK PRESS: EDITORIAL DIRECTOR, POPPY & NONFICTION: Yaged Mekisha Telfer Farrin Jacobs SENIOR VP & PUBLISHER, FEIWEL & FRIENDS, EDITORIAL ASSISTANT: Megan Abbate EXECUTIVE EDITOR: Mary-Kate Gaudet HENRY HOLT BOOKS, SWOON READS, SQUARE EDITORIAL ASSISTANT: Nicholas Henderson EXECUTIVE EDITOR: Lisa Yoskowitz FISH: Jean Feiwel EDITORIAL ASSISTANT: Melissa Warten EDITOR-AT-LARGE: Susan Rich VP, ASSOCIATE PUBLISHER: Angus Killick ART DIRECTOR, FSG, ROARING BROOK PRESS: SENIOR EDITOR, BRAND, LICENSED, & MEDIA Elizabeth Clark TIE-IN PUBLISHING: Rex Ogle CHRISTY OTTAVIANO BOOKS MARGARET FERGUSON BOOKS imprint publishes SENIOR EDITOR: Pam Gruber (An Imprint of Macmillan Children’s Publishing about 15 new hardcovers each year across all MARKET SURVEYS EDITOR, JIMMY PATTERSON BOOKS: Aubrey Group’s Henry Holt Books for Young Readers) ranges and formats, with a main interest in Poole PUBLISHER: Christy Ottaviano fiction and picture books. EDITOR: Deirdre Jones ASSISTANT EDITOR: Jessica Anderson PRIDDY BOOKS imprint publishes photographic EDITOR: Michael Strother DESCRIPTION: Publishes approximately 20 books for children. ASSISTANT EDITOR: Nikki Garcia books per year ranging from preschool picture DESCRIPTION: Publishes books for toddlers ASSOCIATE EDITOR FOR LICENSING, BRAND, books to middle-grade and young adult fiction, through young adults in hardcover and AND MEDIA TIE-INS: Russell Busse as well as some nonfiction. Of particular paperback. Includes the Francis Foster Books

ASSOCIATE EDITOR: Kheryn Callender interest: picture books—humor, curriculum- imprint. DIRECTORIES & RESOURCES ASSISTANT EDITOR: Anna Prendella focused, nature, history, exploring childhood QUERY LETTERS: Not accepting. ASSISTANT EDITOR, BRAND, LICENSED, AND milestones and feelings; middle-grade and MULTIPLE SUBMISSIONS: Not accepting. MEDIA TIE-IN PUBLISHING: Daniella Valladares young adult fiction—adventure, mystery, urban UNSOLICITED MANUSCRIPTS: Not accepting. EDITORIAL ASSISTANT: Hannah Milton fantasy, coming of age, historical, commercial ARTWORK INTEREST: Not accepting. EDITORIAL ASSISTANT: Hallie Tibbetts and edgy YA fiction. The line’s broad scope ARTWORK PAYMENT: Advance against royalty or VP, CREATIVE DIRECTOR: David Caplan features author-illustrators and encompasses flat fee, depending on project. EXECUTIVE ART DIRECTOR: Sasha Illingworth literary and commercial picture books and DESCRIPTION: List of about 150 original titles a fiction for all ages with a focus on the middle- FEIWEL AND FRIENDS/SWOON READS year. Wide range of interests, specifically young grade market. Books that encourage imagination (An Imprint of Macmillan Children’s Publishing adult and middle-grade fiction as well as picture and free-thinking, foster a sense of family and Group) books and novelty books. Open to quality community, target the feelings of children, and us.macmillan.com/publishers/feiwel-and-friends nonfiction projects also. speak directly to young people’s interests as www.swoonreads.com PUBLICIZING YOUR PUBLISHED WORK JIMMY PATTERSON BOOKS imprint publishes they explore various milestones—contemporary SENIOR VP & PUBLISHER, FEIWEL & FRIENDS, 8 to 12 middle-grade and young adult titles classics that both challenge and entertain HENRY HOLT BOOKS, SWOON READS, SQUARE annually, with 4 to 6 of those titles being inquisitive readers. FISH: Jean Feiwel James Patterson’s books and the others being QUERY LETTERS: Not accepting. DIRECTOR, SWOON READS: Lauren Scobell acquisitions overseen by James Patterson. MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE PUBLISHER: Liz Szabla LBKIDS imprint produces novelty and brand/ UNSOLICITED MANUSCRIPTS: Not accepting. EDITOR, SWOON READS, SQUARE FISH: licensed tie-ins. Agent submissions only. Christine Barcellona NOVL imprint produces e-only novella and short- PAYMENT: Advance against royalty. EDITOR: Holly West story-length titles tied to existing properties ARTWORK INTEREST: Accepting. Copies and EDITOR: Anna Roberto whose release is often timed to coincide with printed material (but no original art) are EDITOR, SWOON READS AND FEIWEL & that of new full-length work. Led by Executive welcome through regular mail. FRIENDS: Kat Brzozowski VP & Publisher Megan Tingley. ARTWORK PAYMENT: Advance against royalty or SWOON READS imprint is a crowdsourced teen POPPY imprint produces paperback original flat fee, depending on project. all-genre imprint working with both writers and

series for teen girls. readers to discover (and then publish) “swoon- SCHOOL VISITS QUERY LETTERS: Not accepting. FARRAR, STRAUS & GIROUX BOOKS FOR worthy” teen romance novels (with protagonists MULTIPLE SUBMISSIONS: Not accepting. YOUNG READERS ages 14–19) and New Adult novels (with UNSOLICITED MANUSCRIPTS: Not accepting. (A Division of Macmillan Children’s Publishing protagonists ages 19–23). PAYMENT: Advance against royalty. Group) DESCRIPTION: Publishes list of picture books, ARTWORK INTEREST: Not accepting. us.macmillan.com/publishers/farrar-straus- fiction, and nonfiction with broad commercial ARTWORK PAYMENT: Advance against royalty giroux#FYR appeal for readers from preschool through LEGAL QUESTIONS (for picture books); otherwise flat fee. 175 Varick Street, 9th Floor young adult. New York, NY 10014 QUERY LETTERS: Not accepting. MACMILLAN CHILDREN’S PUBLISHING PRESIDENT & PUBLISHER, ROARING BROOK, MULTIPLE SUBMISSIONS: Not accepting. GROUP FSG BOOKS FOR YOUNG READERS, FIRST UNSOLICITED MANUSCRIPTS: Accepting only 120 Broadway SECOND: Jennifer Besser for Swoon Reads, for which interested writers New York, NY 10271 VP & EDITORIAL DIRECTOR: Joy Peskin submit online via www.swoonreads.com, 646-307-5151 EXECUTIVE EDITOR: Wesley Adams at which viewers can read the material and 72 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: young adults. with distinctive voices, including booksfor nonfiction with commercial appealbyauthors Committed topublishing intelligent fiction and Macmillan publishing 8-10novels peryear. DESCRIPTION: EDITOR: FICTION: EXECUTIVE EDITOR, EDITORIAL DIRECTOR, YA VP &ASSOCIATE PUBLISHER: SENIOR VP&PUBLISHER: us.macmillan.com/publishers/flatiron (An Imprint of Macmillan Publishing Group) FLATIRON BOOKS flat fee, depending onproject. ARTWORK PAYMENT: welcome through regular mail. printed material (butno original art)are ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: Approximately 15titlesperyear. DESCRIPTION: EDITORIAL ASSISTANT: ASSOCIATE EDITOR: EXECUTIVE EDITOR: EDITORIAL &CREATIVE DIRECTOR: SECOND: FSG BOOKSFORYOUNG READERS,FIRST PRESIDENT &PUBLISHER,ROARING BROOK, firstsecondbooks.com Group’s Roaring Brook Press) (An Imprint of Macmillan Children’s Publishing :01 FIRSTSECOND flat fee, depending onproject. ARTWORK PAYMENT: original art. Friends, c/oArtDepartment”; do not send Please send via regular mail to“Feiweland samples tokeep inmind for apotential cover. ARTWORK INTEREST: PAYMENT: publication bythe SwoonReadsStaff. by the most readers willbeconsidered for site. The manuscripts giventhe highest ratings exclusive toSwoonReadswhilepostedonthe contract withapublisher; submissions are complete novels thathavenever beenunder report onittothe publisher. Must beoriginal, | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Caroline Bleeke Sarah DottsBarley Jennifer Besser Advance against royalty. Advance against royalty. Advance against royalty. Flatiron Booksisadivision of Graphic novels for allages. Not accepting. Not accepting. CalistaBrill Robyn Chapman Advance against royalty or Not accepting. Advance against royalty or Accepting. Copies and Only accepting art Kiara Valdez Not accepting. Amy Einhorn Not accepting. Not accepting. Not accepting. Liz Keenan Mark Siegel flat fee, depending onproject. ARTWORK PAYMENT: combination of picture books, middle grade, DESCRIPTION: ASSISTANT EDITOR: EDITOR: EXECUTIVE DIRECTOR: PUBLISHER: us.macmillan.com/publishers/imprint Group) (An Imprint of Macmillan Children’s Publishing IMPRINT for jackets). complete picture bookart)orflatfee(primarily ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: through young adult. chapter books, and novels for preschoolers year for allage groups. Publishes picture books, DESCRIPTION: CREATIVE DIRECTOR: EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSOCIATE EDITOR: EDITOR: EDITOR: SENIOR EDITOR: EDITORIAL DIRECTOR: FISH: HENRY HOLT BOOKS,SWOON READS,SQUARE SENIOR VP&PUBLISHER,FEIWELFRIENDS, us.macmillan.com/publishers/henry-holt Group) (An Imprint of Macmillan Children’s Publishing HENRY HOLT BOOKSFORYOUNG READERS flat fee, depending onproject. ARTWORK PAYMENT: welcome through regular mail. printed material (butno original art)are ARTWORK INTEREST: PAYMENT: Agent submissions only. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: across allage ranges. DESCRIPTION: VP &PUBLISHER: Readers) (An Imprint of Henry Holt Booksfor Young GODWIN BOOKS Jean Feiwel Rhoda Belleza Tiffany Liao Brian Geffen Advance against royalty. Advance and royalty. Erin Stein Publishing fiction and nonfiction Publishing aroughly equal General listof 60–70titlesper Kate Farrell Not accepting. Not accepting. Laura Godwin Nicole Otto Rachel Murray Julia Sooy Advance against royalty or Advance against royalty or Accepting. Copies and Advance and royalty (for Not accepting. Patrick Collins John Morgan Christian Trimmer Mark Podesta Not accepting. Not accepting. Not accepting. Not accepting. EXECUTIVE EDITOR: SECOND: FSG BOOKSFORYOUNG READERS,FIRST PRESIDENT &PUBLISHER,ROARING BROOK, press us.macmillan.com/publishers/roaring-brook- Group) (An Imprint of Macmillan Children’s Publishing ROARING BROOKPRESS flat fee, depending onproject. ARTWORK PAYMENT: welcome through regular mail. printed material (butno original art)are ARTWORK INTEREST: PAYMENT: Agent submissions only. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: commercial fiction. publishing, new content creation, and original, and young adult, withthe focus onbranded PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: fiction. of fiction and nonfiction including young adult Martin’s Press division, publishing awide range DESCRIPTION: EDITORIAL ASSISTANT: Peter J.Wolverton VP, EDITOR-IN-CHIEF, ASSOCIATE PUBLISHER: VP, PUBLISHER: http://us.macmillan.com/thomasdunne/about www.thomasdunnebooks.com Group) (An Imprint of Macmillan Children’s Publishing THOMAS DUNNEBOOKS flat fee, depending onproject. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: above), and the paperbackimprint Square Fish. :01 FirstSecond imprint (listedseparately Approximately 60titlesperyear. Includes the nonfiction for preschool through young adult. DESCRIPTION: Elizabeth Clark ART DIRECTOR, FSG,ROARING BROOKPRESS: ASSISTANT EDITOR: EDITOR: SENIOR EDITOR: Emily Feinberg Jennifer Besser Advance against royalty. Advance against royalty. Advance against royalty. An imprint of MacMillan’s St. Trade picture books, fiction, and Tom Dunne Not accepting. Katherine Jacobs Not accepting. Not accepting. Claire Dorsett Connie Hsu Advance against royalty or Advance against royalty or Accepting. Copies and Not accepting. Janine Barlow Not accepting. Not accepting. Not accepting. Accepting. Not accepting. Not accepting. 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 73

ARTWORK INTEREST: Accepting. WEDNESDAY BOOKS ARTWORK INTEREST: N/A PREPARING & SUBMITTING ARTWORK PAYMENT: Advance against royalty (An Imprint of Macmillan Children’s Publishing ARTWORK PAYMENT: N/A or flat rate. Group) EVP & PUBLISHER, ST. MARTIN’S PRESS, MILKWEED EDITIONS TOR BOOKS WEDNESDAY BOOKS: Jennifer Enderlin 1011 Washington Avenue South (An Imprint of Macmillan Children’s Publishing EDITORIAL DIRECTOR: Sara Goodman Open Book Building, Suite 300 Group) EDITORIAL DIRECTOR, ROMANCE & EXECUTIVE Minneapolis, MN 55415 Tom Doherty Associates, LLC EDITOR, ST. MARTIN’S PRESS: Monique 612-332-3192; Toll Free 800-520-6455 175 Fifth Avenue New York, NY 10010 Patterson www.milkweed.org us.macmillan.com/TorForge SENIOR ASSOCIATE EDITOR: Vicki Lame PUBLISHER & CEO: Daniel Slager Tor.com EDITOR, ST. MARTIN’S PRESS, WEDNESDAY EDITOR: Joey McGarvey MARKET SURVEYS FOUNDER, PRESIDENT, & PUBLISHER, TOR/ BOOKS: Eileen Rothschild EDITORIAL ASSISTANT: Annie Harvieux FORGE: Tom Doherty DESCRIPTION: A crossover imprint of ART DIRECTOR: Mary Austin Speaker PUBLISHER, FORGE: Linda Quinton MacMillan’s St. Martin’s Press division, DESCRIPTION: A literary nonprofit press that ASSOCIATE PUBLISHER, TOR BOOKS, & publishing YA and adult titles focused on publishes 15–20 award-winning middle grade CREATIVE DIRECTOR TOR.COM: Irene Gallo coming-of-age themes. Focuses on bold, diverse, and young adult titles a year. For the children’s ASSOCIATE PUBLISHER, TOR: Patrick Nielsen and commercial voices in fiction and nonfiction program, looking for high-quality novels for ASSOCIATE PUBLISHER, TOR: Devi Pillai who speak to readers looking for stories in and readers ages 8–13 (middle grade and YA).

SENIOR EDITOR, TOR TEEN: Whitney Ross beyond the YA category. Launched Fall 2018. Seeking books that embody humane values. A DIRECTORIES & RESOURCES SENIOR EDITOR, TOR TEEN: Melissa Frain QUERY LETTERS: Not accepting. yearly Milkweed Prize for Children’s Literature SENIOR EDITOR, TOR TEEN, TOR STARSCAPE: MULTIPLE SUBMISSIONS: Not accepting. is offered in addition to royalties agreed upon Susan Chang UNSOLICITED MANUSCRIPTS: Accepting. at time of acceptance to the best manuscript SENIOR EDITOR, TOR: Miriam Weinberg PAYMENT: Advance against royalty. received during the calendar year by a writer EDITOR, TOR TEEN: Bess Cozby ARTWORK INTEREST: Accepting. not previously published by Milkweed. No toy, EDITOR, TOR TEEN, TOR STARSCAPE: Ali Fisher ARTWORK PAYMENT: Advance against royalty board, poetry, or picture books. EDITOR, TOR/FORGE: Amy Stapp or flat rate. QUERY LETTERS: Not accepting in 2018. PUBLISHING COORDINATOR: Juliet Pederson MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Includes the children’s books IMPRINT YET TO BE NAMED UNSOLICITED MANUSCRIPTS: Accepting during imprints Tor Teen and Tor Starscape. Tor Teen (An Imprint of Macmillan Children’s Publishing periodic submission periods announced on their publishes critically acclaimed science fiction Group) website, but no submission period anticipated and fantasy for young adult readers ages 13 and PUBLISHER: Daniel Nayeri for 2018. Visit www.milkweed.org/submissions/ PUBLICIZING YOUR PUBLISHED WORK up (grades 8 and up), published in hardcover EDITORIAL DIRECTOR: Nathalie Le Du for complete guidelines and instructions. No and paperback. All titles are age- and theme- CREATIVE DIRECTOR: Colleen AF Venable phone calls. appropriate. Some editions include reader’s DESCRIPTION: New children’s book imprint PAYMENT: Advance against royalty. guides and other supplemental materials. Tor announced October 2017. Details to be ARTWORK INTEREST: Not accepting samples. Starscape publishes award-winning science announced. ARTWORK PAYMENT: N/A fiction and fantasy for middle-grade readers ages 10 and up (grades 5 and up), published MIGHTY MEDIA PRESS MUDDY BOOTS in hardcover and paperback. All titles are (An Imprint of Mighty Media) (An Imprint of Globe Pequot, a Division of age- and theme-appropriate. Some editions 1201 Currie Ave Rowman & Littlefield) include reader’s guides and other supplemental Minneapolis, MN 55403 246 Goose Lane materials. www.mightymediapress.com Guilford, CT 06437 QUERY LETTERS: Not accepting. 612-399-1969; Fax 612-338-4817 203-458-4500 MULTIPLE SUBMISSIONS: Not accepting. VP & PUBLISHER, CREATIVE DIRECTOR: Nancy www.GlobePequot.com

UNSOLICITED MANUSCRIPTS: Accepting. Send Tuminelly PUBLISHER, GLOBE PEQUOT: Jim Childs SCHOOL VISITS cover letter, synopsis, 3 sample chapters, PUBLISHING DIRECTOR: Lauren Kukla EDITORIAL DIRECTOR & EXECUTIVE EDITOR: and SASE for reply only (materials will not be DESCRIPTION: Formerly Scarletta Press. Mighty Rick Rinehart returned). No email submissions. Response Media Kids imprint publishes picture books, and DESCRIPTION: Publishing books that help kids time 4–6 months. See website for details Mighty Media Junior Readers imprint publishes ages 12 and under engage with the outdoors. us.macmillan.com/torforge/about/faq. middle-grade fiction and nonfiction. QUERY LETTERS: Accepting. See guidelines at PAYMENT: Advance against royalty. QUERY LETTERS: Accepting. https://rowman.com/Page/RLAuthRes. LEGAL QUESTIONS ARTWORK INTEREST: Yes, for cover art MULTIPLE SUBMISSIONS: Accepting. MULTIPLE SUBMISSIONS: Accepting. consideration. Tearsheets/copies only; no UNSOLICITED MANUSCRIPTS: Accepting UNSOLICITED MANUSCRIPTS: Not accepting. original art. See website for portfolio review in submissions only during announced reading PAYMENT: Royalties or flat fee. formation. periods; see submission guidelines for dates ARTWORK INTEREST: Not accepting. ARTWORK PAYMENT: Advance against royalty or http://www.mightymediapress.com/submissions. ARTWORK PAYMENT: Royalties or flat fee. flat fee, depending on project. PAYMENT: Advance against royalty. 74 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org ARTWORK INTEREST: PAYMENT: the NorthSouth Bookswebsite. instructions locatedonthe “Contact” page on submission. Pleaserefer tothe “How toSubmit” manuscripts for picture booksvia electronic UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: manuscript submission. QUERY LETTERS: annually. some board books. Publishes over30titles (primarily fiction), earlychapterbooks, and DESCRIPTION: EDITOR, PICTUREBOOKS: MANAGING DIRECTOR: ASSOCIATE PUBLISHER: PUBLISHER: www.northsouth.com 917-210-5868 New York, NY10016 600 Third Avenue, 2nd Floor (An Imprint of Oetinger Publishing Group) NORTHSOUTH BOOKS fee, depending onproject. ARTWORK PAYMENT: ARTWORK INTEREST: depending onproject. PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: society for ages 3–16. adventure, exploration, and the multicultural biography, science, nature, geography, and kids. Subjectsof interest include history, a year, appealing togift-givers, librarians, mail narrative nonfiction and reference titles DESCRIPTION: ASSOCIATE EDITOR: ASSOCIATE EDITOR: SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: VP &EDITORIAL DIRECTOR: VP, CONTENT, KIDS&FAMILY: Gerosa Bellows OFFICER, BOOKS,KIDS&FAMILY: EXECUTIVE VP, PUBLISHER&CHIEFCREATIVE about-us/our-program/ http://www.nationalgeographic.com/books/ 877-873-6846 Des Moines, IA50340 P.O. Box 4002864 NATIONAL GEOGRAPHICKIDS | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Advance against royalty orfee, Advance withroyalty orflatfee. Herwig Bitsche The listincludes picture books Listof about50trade and direct Kate Hale Shelby Alinsky Not accepting. Priyanka Lamichhane Not accepting. Prefer full Marfé Ferguson Delano Ariane Szu-Tu Rebecca Baines Paige Towler Advance against royalty or Yes, through editors. Send N/A Heather Lennon Andrew Rushton Not accepting. Yes. Beth Terrill Erica Jacobs Green Not accepting. Accepting full Jennifer Emmett Melina or flatfee ARTWORK PAYMENT: postcard samplesand email submissions. ARTWORK INTEREST: PAYMENT: redlineeditorial.com. send aresume and publication listtojobs@ work iswork-for-hire. Interested authors should UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: and visuals aimed toengage younger readers. grades 3–7 with anemphasisonaccessibletext January 2018,focusing ontitlesfor students in distributed byNorth StarEditions, launched DESCRIPTION: SENIOR EDITOR: www.focusreaders.com (An Imprint of LiftBridge Editions) FOCUS READERS or flatfee. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: approaches. time travel; high fantasy; oruniqueliterary alternate realities/magical realism/flashbacks/ realistic fiction/voice-drive contemporary; Interested inmystery/thrillers/suspense; voice, engaging plot,and uniquecharacters. Looking for well-crafted YA fiction withastrong details seewww.fluxnow.com/submissions. [email protected]. For Submit queryletterand first3chaptersto UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: everything from literary tocomedic reads. specializing inedgy, realistic books, with DESCRIPTION: EDITOR: MANAGING EDITOR: www.fluxnow.com Mendota Heights, MN 55120 2297 Waters Drive (An Imprint of North StarEditions) FLUX www.northstareditions.com 888-417-0195; Fax952-582-1000 Mendota Heights, MN 55120 2297 Waters Drive NORTH STAR EDITIONS McKelle George Per project, work-for-hire. Advance against royalty orflatfee. Young-adult fiction imprint Middle-grade nonfiction imprint Nick Rebman Not accepting. Accepting. Accepting. Mari Kesselring Advance against royalty Advance against royalty Not accepting. Accepting. Not accepting. Not accepting. All Accepting. PAYMENT: your email. com; include yoursubmission inthe body of synopsis, and querytosubmit@jollyfishpress. submission only. Send firstthree chapters, UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: unconventional lovestories. crafted characters and auniquevoice; and and visual scope;thrillerswithstrong, carefully ways; science fiction and fantasy withanepic stories thatare emotional inunpredictable international market. Particular interest in and young-adult fiction inthe national and DESCRIPTION: EDITORIAL DIRECTOR: jollyfishpress.com Mendota Heights, MN 55120 2297 Waters Drive c/o North StarEditions, Inc. (An Imprint of North StarEditions) JOLLY FISHPRESS ASSOCIATE YA EDITOR: ASSOCIATE YA EDITOR: Wenger ASSOCIATE CHILDREN’S EDITOR: PUBLISHER, PAGE STREETKIDS: PUBLISHER: www.pagestreetpublishing.com 978-594-8758 Salem, MA01970 27 Congress Street, Suite103 PAGE STREETPUBLISHINGCO. or flatfee. ARTWORK PAYMENT: ARTWORK INTERET: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: Schuster. graphic novel publisher. Distributedby Simon & DESCRIPTION: MANAGING EDITOR: EDITOR: EDITOR-IN-CHIEF: FOUNDER &PUBLISHER: onipress.com 503-233-1377 Portland, OR97214 1305 SEMartin Luther King JrBlvd ONI PRESS or flatfee. ARTWORK PAYMENT: ARTWORK INTEREST: Robin Herrera Advance against royalty orflatfee. Advance against royalty orflatfee. William Keister Apremier comic bookand Publishing middle-grade Not accepting. Accepting. James Lucas Jones No. Advance against royalty Ari Yarwood Advance against royalty Accepting. Lauren Knowles Mari Kesselring Ashley Hearn Joe Nozemack Accepting. Not accepting. Not accepting. Accepting. Email Kristen Nobles Charlotte 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 75

888-5-PELICAN; Fax 504-368-1195 book-based characters, not original books. YA EDITOR: Alyssa Raymond PREPARING & SUBMITTING DESCRIPTION: Publishing illustration-focused www.pelicanpub.com picture books for the Page Street Kids imprint PRESIDENT & PUBLISHER: Kathleen Calhoun DIAL BOOKS FOR YOUNG READERS and Young Adult fiction in all genres. Launching Nettleton (A Division of Penguin Young Readers Group) Fall 2018. Distributed by MacMillan. EDITOR-IN-CHIEF: Nina Kooij www.penguin.com/publishers/ QUERY LETTERS: Accepting. ART DIRECTOR: Kevin Johnson dialbooksforyoungreaders/ MULTIPLE SUBMISSIONS: Accepting. DESCRIPTION: Family-owned, medium-sized PRESIDENT & PUBLISHER: Lauri Hornik UNSOLICITED MANUSCRIPTS: Accepting. publisher, publishing approximately 50–60 titles ASSOCIATE PUBLISHER & EDITORIAL Send submission to childrensubmissions@ a year. General list with a strong local emphasis; DIRECTOR: Namrata Tripathi pagestreetpublishing.com. See full guidelines always looking for good material if focus is EXECUTIVE EDITOR: Kate Harrison at www.pagestreetpublishing.com/submission- correct. Nonfiction or fiction. Age levels 5–8. SENIOR EDITOR: Jessica Dandino Garrison MARKET SURVEYS guidelines. QUERY LETTERS: Accepting, with full SENIOR EDITOR: Lucia Monfried PAYMENT: Advance against royalty or flat fee. manuscript. ASSOCIATE EDITOR: Stacey Friedberg ARTWORK INTERET: Yes. MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE EDITOR: Dana Chidiac ARTWORK PAYMENT: Advance against royalty UNSOLICITED MANUSCRIPTS: Accepting; ASSISTANT EDITOR: Ellen Cormier or flat fee. require exclusive submission for 12 weeks. ASSISTANT EDITOR: Claire Evans Picture books: submit query letter with full VP & EXECUTIVE ART DIRECTOR: Lily Malcom PEACHTREE PUBLISHERS manuscript and SASE via regular mail; cannot DESCRIPTION: List of 75 hardcover books

1700 Chattahoochee Avenue exceed 1,100 words. Novels: submit query annually. Interested in picture books for DIRECTORIES & RESOURCES Atlanta, GA 30318 letter with synopsis, 1 or 2 sample chapters, preschool and ages 4–8 as well as fiction 404-876-8761; Toll Free 800-241-0113; Fax and SASE. No emailed or faxed submissions (middle grade and YA). 404-875-2578; Fax Toll Free 800-875-8909 accepted. SASE required for reply or return of QUERY LETTERS: Accepting. www.peachtree-online.com materials. See website for full query letter, MULTIPLE SUBMISSIONS: Not accepting. www.peachtreepub.blogspot.com submission, and specific manuscript guideline. UNSOLICITED MANUSCRIPTS: Accepting PRESIDENT & PUBLISHER: Margaret Quinlin PAYMENT: Advance against royalty. but only respond if interested. This policy VP, ASSOCIATE PUBLISHER: Kathy Landwehr ARTWORK INTEREST: Often choose from is different from other Penguin Random SENIOR EDITOR: Vicky Holifield samples in our files. Sample submissions House imprints. For more, see imprint ACQUISITIONS EDITOR: Helen Harriss welcome and should be directed to “Art page www.penguin.com/publishers/ SENIOR ART DIRECTOR: Loraine Joyner Director.” Do not send originals. No emailed or dialbooksforyoungreaders/. DESCRIPTION: An independently owned trade faxed submissions accepted. ARTWORK INTEREST: Yes, direct to Art Director. publisher, publishing 30 titles annually of ARTWORK PAYMENT: By purchase or royalty as Send nonreturnable samples through regular PUBLICIZING YOUR PUBLISHED WORK children’s fiction and nonfiction, including per agreement; depends on type of material and mail. No originals. Present as wide a variety of picture books, chapter books, and middle-grade the format. styles as possible. Show examples of children and young adult novels. and animals. Include SASP (postcard) if you QUERY LETTERS: Not accepted. Send synopsis, PENGUIN YOUNG READERS GROUP want a response. outline, and first three chapters of middle grade 345 Hudson Street ARTWORK PAYMENT: Advance against royalty and YA manuscripts; prefer full manuscript for New York, NY 10014 for picture books. picture books. 212-366-2000 MULTIPLE SUBMISSIONS: Accepting. www.penguinrandomhouse.com DUTTON CHILDREN’S BOOKS UNSOLICITED MANUSCRIPTS: Accepting www.penguin.com/children/ (A Division of Penguin Young Readers Group) full manuscripts for picture books, and Penguin Young Readers Group submission www.penguin.com/publishers/ accepting either full manuscripts or 3 samples guidelines page: http://www.penguin.com/ duttonchildrensbooks/ chapters for full-length fiction. Send to Helen aboutus/faq/#manuscripts PRESIDENT & PUBLISHER: Julie Strauss-Gabel Harriss, Acquisitions Editor. No email or Fax PRESIDENT OF PENGUIN YOUNG READERS ASSOCIATE PUBLISHER & EXECUTIVE

submissions. Author bio helpful, enclose SASE GROUP U.S.: Jennifer Loja MANAGING EDITOR: Steve Meltzer SCHOOL VISITS if return requested, and allow 6 to 9 months for VP, ASSOCIATE PUBLISHER: Jocelyn Schmidt EXECUTIVE EDITOR: Andrew Karre response. VP, EXECUTIVE DIRECTOR OF PUBLICATION: ASSOCIATE PUBLISHING MANAGER: Melissa PAYMENT: Advance against royalty. Nadine Britt Faulner ARTWORK INTEREST: Yes, send nonreturnable VP & EXECUTIVE ART DIRECTOR: Cecilia Yung DESCRIPTION: Boutique teen and middle- samples and résumé to Art Director (if artwork ART DIRECTOR: Marikka Tamura grade fiction imprint with a focus on titles only). DESCRIPTION: Random House and Penguin of exceptional literary quality and strong LEGAL QUESTIONS ARTWORK PAYMENT: Advance against royalty or Publishing merged in 2013 to form Penguin commercial appeal. Publishes approximately 15 flat fee, depending on project. Random House; at present, the children’s titles a year; eager to see new writers, breakout books divisions of the two respective merged talent. Looking for material that is entertaining PELICAN PUBLISHING COMPANY companies function separately. Penguin Young and audience oriented; contemporary stories 1000 Burmaster Street Readers Group imprints also include the licensed with strong, original voices. No picture books or Gretna, LA 70053-2246 book imprint Cartoon Network Books and the nonfiction, please. 504-368-1175; Toll free 800-843-1724 or Frederick Warne imprint, which develops classic QUERY LETTERS: Not accepting. 76 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR: SENIOR EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: VP &EDITOR-AT-LARGE: EDITORIAL DIRECTOR: PSS!, WARNE: ASSOCIATE PUBLISHER,GROSSET&DUNLAP/ Francesco Sedita WORKSHOP, &CARTOON NETWORK BOOKS: WARNE &EARLY READERS,PENGUIN DUNLAP/PSS!, PENGUINYOUNG READERS, PRESIDENT &PUBLISHER,GROSSET penguinworkshop/ www.penguin.com/publishers/ www.penguin.com/publishers/grossetdunlap/ (A Division of Penguin Young Readers Group) WORKSHOP GROSSET &DUNLAP/PSS!/PENGUIN flat fee, depending onproject. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: Nancy Paulsen Booksimprint. Some young nonfiction material. Includes the preschool leveland ages 8–12aswellYA. DESCRIPTION: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: Kochan ASSOCIATE EDITORIAL DIRECTOR: BOOKS: PRESIDENT &PUBLISHER,NANCYPAULSEN VP &PUBLISHER: gpputnamssonsbooksforyoungread/ www.penguin.com/publishers/ (A Division of Penguin Young Readers Group) READERS G.P. PUTNAM’SSONSBOOKSFORYOUNG ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Nancy Paulsen Stephanie Pitts Laura Roberts Advance against royalty. Advance against royalty. Daniel Moreton Focusing onfiction atthe Paula Manzanero Eve Adler Not accepting. Jennifer Klonsky Hannah Campbell RobValois Margo Lipschultz Katherine Perkins Renee Hooker Max Bisantz Arianne Lewin Stacey Barney Karl Jones Kate Meltzer Advance against royalty or Advance against royalty. Yes, send toArtDirector. Not accepting. Sarah Fabiny Anu Ohioma Jane O’Connor Not accepting. Not accepting. Not accepting. Not accepting. Susan VP &PUBLISHER: kathydawsonbooks/ www.penguin.com/publishers/ (An Imprint of Penguin Young Readers Group) KATHY DAWSON BOOKS royalty. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: include SASE. the firstchapterortwo for longer works. Must formats except for picture books. Summary and UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: original books. predominantly novelty and paperbacktitles, not The PSS!/Price SternSloanimprint publishes novelty ideas, some nonfiction uptoage 12. and licenses. Interest inseries, licensing and paperback series, leveledreaders, brands, 135 titlesperyearand deals largely inoriginal through sixthgrade. Publishes approximately school market listfor audience from preschool DESCRIPTION: annually. work uptopublishing approximately 30titles for everytypeof reader, from ages 0–12.Will 2018. Publishing accessibletitlesand brands PENGUIN WORKSHOP imprint launched Fall MULTIPLE SUBMISSIONS: months. if interested, withresponse time being four include postcards orSASE, aswillrespond only no fullmanuscripts, please. Pleasedo not U.S. Post only, no e-mail submissions and QUERY LETTERS: young adult fiction across avariety of genres. publishing emotionally driven middle grade and DESCRIPTION: ASSISTANT EDITOR: the human experience and spirit. Interest in must havevoice. Picture booksoften deal with DESCRIPTION: ART DIRECTOR: ASSISTANT EDITOR: SENIOR EDITOR: EDITORIAL DIRECTOR: PRESIDENT &PUBLISHER: www.penguin.com/publishers/philomel/ (A Division of Penguin Young Readers Group) PHILOMEL BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: Flat feeoradvance against royalty. Advance against royalty. Strong trade, mass market, and Listwithstrong interest instory, Aboutiquehardcover imprint Semadar Megged LizaKaplan Not accepting. Accepts queries via regular Kathy Dawson Talia Benamy Claire Evans N/A Yes, send toArtDirector. Not accepting. Flat feeoradvance against JillSantopolo Not accepting. Not accepting. Michael Green Accepting all Not accepting. DESCRIPTION: VP, EXECUTIVEARTDIRECTOR: EDITOR: EDITORIAL DIRECTOR: PRESIDENT &PUBLISHER: www.penguin.com/publishers/puffin/ (A Division of Penguin Young Readers Group) PUFFIN BOOKS flat fee for novel jackets. ARTWORK PAYMENT: Director. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: concept books. building; mystery; and historical fiction. No warm, human component and uniqueworld sports books;literary fiction; fantasy with and havechildappeal.Action/adventure and regional and ethnic pieces thatare authentic PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: 11–18). titles for middle-grade and teenreaders (ages DESCRIPTION: Kaplan VP &EXECUTIVEARTDIRECTOR: ASSOCIATE EDITOR: ASSISTANT EDITOR: EDITOR: ASSOCIATE PUBLISHER: PRESIDENT &PUBLISHER: www.penguin.com/publishers/razorbill/ (A Division of Penguin Young Readers Group) RAZORBILL ARTWORK PAYMENT: Director. Donot send originals. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: firebirdbooks.com). books peryearfor teens and adults (www. imprint Firebird, which publishes 12–18 Speak, and the science fiction/fantasy crossover writers. Includes the paperbackreprint imprint and nonfiction. Alwaysinterested in new originals, such asmiddle-grade and teenfiction and young adult books. Includes paperback and nonfiction. Picture books, middle grade, from preschool toteen,withbothfiction Julie Moody Rosenberg Dana Leydig Advance against royalty. Advance against royalty. Advance against royalty. Original contemporary fiction Paperback listthatranges Not accepting. Not accepting. Not accepting. Jessica Harriton Marissa Grossman Advance against royalty; Flatfee. Accepting. Send toArt Accepting. Send toArt Kristin Gilson CaseyMcIntyre Not accepting. Not accepting. Not accepting. Eileen Bishop Kreit Ben Schrank Not accepting. Not accepting. Not accepting. Deborah Kaplan Deborah 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 77

ARTWORK INTEREST: Not accepting samples. DESCRIPTION: Publishes approximately EDITOR, YA: Ellen Larson PREPARING & SUBMITTING ARTWORK PAYMENT: N/A one hundred books and ancillary products DESCRIPTION: Publishes fast-paced, edgy annually, including gift books, humor books, traditional and cross-genre mysteries for young VIKING CHILDREN’S BOOKS compact references, travel guides, journals, adult readers (not middle grade), with emphasis (A Division of Penguin Young Readers Group) and stationery. The house has also established on stories that reflect our multicultural, www.penguin.com/publishers/ a presence in the children’s market with its multiracial universe and current teen issues. vikingchildrensbooks/ various lines of activity books. Its trade picture Off-beat approaches and narrative choices that VP & PUBLISHER: Ken Wright book line publishes two to four hardcover reflect the complexity and ambiguity of today’s ASSOCIATE EDITORIAL DIRECTOR: Tracy Gates picture books annually. world are encouraged. EDITOR-AT-LARGE: Regina Hayes QUERY LETTERS: Accepting via U.S. Post mailed QUERY LETTERS: Not accepting. ASSOCIATE EDITORIAL DIRECTOR: Kendra Levin to the attention of “Editorial Submissions.” Will MULTIPLE SUBMISSIONS: Not accepting. MARKET SURVEYS EDITOR: Joanna Cardenas respond within three months only if they feel UNSOLICITED MANUSCRIPTS: Not accepting. ASSOCIATE EDITOR: Leila Sales the project is a match for the list. PAYMENT: Advance against royalty. ASSOCIATE EDITOR: Alex Ulyett MULTIPLE SUBMISSIONS: Accepting. ARTWORK INTEREST: Not accepting. ASSISTANT EDITOR: Diego Nunez UNSOLICITED MANUSCRIPTS: Accepting. ARTWORK PAYMENT: N/A ASSISTANT EDITOR: Maggie Rosenthal PAYMENT: Advance against royalty. VP & EXECUTIVE ART DIRECTOR: Denise Cronin ARTWORK INTEREST: Accepting. Submit via POLIS BOOKS DESCRIPTION: List of high quality trade hardcopy to the attention of “Art Submissions.” New York, NY hardcover books for children of all ages through Nonreturnable pieces only. www.polisbooks.com DIRECTORIES & RESOURCES young adult, including picture books, fiction, ARTWORK PAYMENT: Advance against royalty PUBLISHER: Jason Pinter nonfiction, and novelty books. Output averages or flat fee. DESCRIPTION: A digital-first independent 60 titles annually. publishing company publishing 30 to 40 titles QUERY LETTERS: Not accepting. PHAIDON CHILDREN’S BOOKS annually, including young adult fiction. MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Phaidon Press) QUERY LETTERS: Accepting. UNSOLICITED MANUSCRIPTS: Not accepting. 65 Bleecker Street, 8th Floor MULTIPLE SUBMISSIONS: Accepting. PAYMENT: Advance against royalty. New York, NY 10012 UNSOLICITED MANUSCRIPTS: Accepting. ARTWORK INTEREST: Accepting. Send to Art 212-652-5400, Fax 212-652-5410 Please send a query letter and three sample Director. No originals, please. www.phaidon.com/about-phaidon/ chapters attached to an email to submissions@ ARTWORK PAYMENT: Advance against royalty www.phaidon.com/store/childrens-books/ polisbooks.com. Will respond only if interested. or flat fee. PUBLISHING DIRECTOR, CHILDREN’S BOOKS PAYMENT: Advance against royalty.

(NEW YORK OFFICE): Cecily Kaiser ARTWORK INTEREST: Not accepting. PUBLICIZING YOUR PUBLISHED WORK PERSNICKETY PRESS ART DIRECTOR, CHILDREN’S BOOKS: Meagan ARTWORK PAYMENT: Advance against royalty (An Imprint of Phoenix St. Claire Publishing, Bennett or flat fee. LLC) DESCRIPTION: Phaidon Press is best known www.persnickety-press.com for publishing and distribution books on the POW! BOOKS CEO/PUBLISHER: Brian Scott Sockin creative and visual arts. They are broadening (An Imprint of powerHouse Books) DESCRIPTION: Publishing books for children and their children’s books program, publishing board 37 Main Street young adults, both fiction and non-fiction from books, novelty books, and picture books for Brooklyn, NY 11201 picture books through teen titles. Persnickety ages 0–8. 212-604-9074 is a little edgy, pushing boundaries to explore QUERY LETTERS: Accepting book proposals, powkidsbooks.com topics in unique and humorous ways. Its focus via email only at [email protected]. EXECUTIVE PUBLISHER: Craig Cohen is on nonfiction and fiction titles that aim For book proposal submission guidelines, see EDITOR: Jordan Nielsen to contribute to the well-being, growth, and http://www.phaidon.com/about-phaidon/ DESCRIPTION: An imprint of independent empowerment of children. submitting-a-book-proposal/. publisher powerHouse Books, publishing picture

QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: No. books that are visually striking, imaginative, SCHOOL VISITS MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. funny, and have an offbeat or edgy sensibility, UNSOLICITED MANUSCRIPTS: Not accepting. PAYMENT: N/A with crossover into the adult market. ARTWORK INTEREST: Not accepting. ARTWORK INTEREST: Not accepting. QUERY LETTERS: Accepting. PAYMENT: Advance against royalty or flat fee. ARTWORK PAYMENT: N/A MULTIPLE SUBMISSIONS: Accepting. UNSOLICITED MANUSCRIPTS: Accepting. PETER PAUPER PRESS THE POISONED PENCIL Send to “POW! Submissions” at the mailing LEGAL QUESTIONS 202 Mamaroneck Ave., Suite 400 (An Imprint of Poisoned Pen Press) address above, or email to info@bookpow. White Plains, New York 10601-5376 6962 E. First Avenue, Suite 103 com. Submissions containing attachments will 914-681-0144; Fax 914-681-0389 Scottsdale, Arizona 85251 be rejected. Please do not call; publisher will www.peterpauper.com 480-945-3375; Toll free 800-421-3976 contact you if interested. See full submission PRESIDENT & CEO: Larry Beilenson www.thepoisonedpencil.com guidelines at http://powkidsbooks.com/ EXECUTIVE EDITOR: Mara Conlon PUBLISHER: Robert Rosenwald submissions/. 78 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org guidelines postedathttp://www.quartoknows. and other materials listed onsubmission qualifications, signed Submission Agreement, ARTWORK INTEREST: depending onthe project. PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listed onsubmission submit proposal, signed Submission Agreement, UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: focusing onscience, nature, and discovery. edutainment-quality nonfiction picture books 20 titlesannually. Publishing original, DESCRIPTION: EDITORIAL DIRECTOR: http://www.quartoknows.com/MoonDance-Press 949-380-7510; Fax949-380-7575 Lake Forest, CA92630 6 Orchard, Suite100 (An Imprint of Quarto USA) MOONDANCE PRESS www.quartous.com 949-380-7510; Fax949-380-7575 Lake Forest, CA92630 6 Orchard Road, Suite100 (A division of Quarto Group) QUARTO USA or flatfee. ARTWORK PAYMENT: originals. ARTWORK INTEREST: PAYMENT: and other materials listedonsubmission submit proposal, signed Submission Agreement, UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: Will publish12to16titlesannually. focused titles for pre-K tofifth-grade readers. DESCRIPTION: Moran PUBLISHER, EDITORIAL DIRECTOR: VP &GROUPPUBLISHER: http://www.quartoknows.com/Seagrass-Press 949-380-7510; Fax949-380-7575 Lake Forest, CA92630 6 Orchard, Suite100 (An Imprint of Quarto USA) SEAGRASS PRESS flat fee, depending onthe project. ARTWORK PAYMENT: com/Corporate/Submission-Guidelines/. | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Advance against royalty orflatfee. Advance against royalty orflatfee, Publishing environmentally Publishing approximately Not accepting. Not accepting. Advance against royalty or Advance against royalty Yes. Pleasesubmit Yes, butdo not send CharlesNurnberg Not accepting. Anne Landa Not accepting. Accepting. Please Accepting. Please Josalyn com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listed onsubmission qualifications, signed Submission Agreement, ARTWORK INTEREST: depending onthe project. PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listed onsubmission submit proposal, signed Submission Agreement, UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: more. transportation, history, craft, gardening, and covering awide range of subjects, including art, ages, encouraging learning and exploring and publishes booksand kitsfor children of all for adults and children. Walter FosterJr. publisher of instructional artbooksand kits DESCRIPTION: EDITORIAL DIRECTOR: VP &GROUPPUBLISHER: http://www.quartoknows.com/Walter-Foster-Jr 949-380-7510; Fax949-380-7575 Lake Forest, CA92630 6 Orchard, Suite100 (An Imprint of Quarto USA) WALTER FOSTERJR. flat fee, depending onthe project. ARTWORK PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission qualifications, signed Submission Agreement, ARTWORK INTEREST: depending onthe project. PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. illustrated nonfiction for ages 2–10with an DESCRIPTION: LINCOLN: EDITORIAL DIRECTOR, WIDEEYED,FRANCIS PUBLISHER: Editions https://www.quartoknows.com/Wide-Eyed- wideeyededitions.com 212-779-1809; Fax212-779-6058 New York, NY10018 142 West 36thStreet, 4thFloor (An Imprint of Quarto USA) WIDE EYEDEDITIONS flat fee, depending onthe project. ARTWORK PAYMENT: Advance against royalty orflatfee, Jenny Broom Advance against royalty orflatfee, Rachel Williams Part of Walter FosterPublishing, Specializes incurriculum-focused Not accepting. Advance against royalty or Advance against royalty or Yes. Pleasesubmit Yes. Pleasesubmit Pauline Molinari Anne Landa Not accepting. Accepting. Please The OldBrewery (An Imprint of Quarto USA) WORDS &PICTURES ARTWORK PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission qualifications, signed Submission Agreement, ARTWORK INTEREST: PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission submit proposal, signed Submission Agreement, UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: authors and illustrators are American. audiences. Many of the Wide EyedEditions are editedinthe U.S.for North American Based inthe U.K.,Wide EyedEditions releases emphasis onart,geography, and natural history. 215-627-3581; Fax 215-627-5220 Philadelphia, PA 19106 215 Church Street QUIRK BOOKS ARTWORK PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission qualifications, signed Submission Agreement, ARTWORK INTEREST: PAYMENT: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission submit proposal, signed Submission Agreement, UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: England-only imprint launched Spring 2018. enriching it.U.S.expansion of thisformerly see—and then coming backtothe worldand learning something thatyoudon’t normally with afocus onescaping thisworldand titles thatcelebrate imagination and creativity, DESCRIPTION: EDITOR: PUBLISHER: GROUP PUBLISHER: www.quartoknows.com/words-pictures 8066 +44 (0)2078008043;Fax7700 UK London N79BH 6 Blundell Street Jill Saginario N/A N/A Maxime Boucknooghe Publishing illustrated children’s Accepting. Accepting. Zeta Jones N/A N/A Yes. Pleasesubmit Yes. Pleasesubmit Not accepting. Not accepting. Accepting. Please Accepting. Please 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 79

www.quirkbooks.com ASSOCIATE EDITOR: Kelly Delaney books; only for book covers or line interiors. PREPARING & SUBMITTING PUBLISHER: Jason Rekulak ASSISTANT EDITOR: Samantha Gentry ARTWORK PAYMENT: Advance against royalty EDITOR: Blair Thornburgh ASSISTANT EDITOR: Karen Greenberg and flat fee, depending on project. EDITOR: Rick Chillot EXECUTIVE ART DIRECTOR: Isabel Warren-Lynch DESCRIPTION: Publishing innovative books for DESCRIPTION: The CBYR imprint has a list RANDOM HOUSE/GOLDEN BOOKS YOUNG middle graders and young adults within their of distinguished middle grade fiction and READERS GROUP program of approximately 25 books per year; narrative nonfiction for ages 8–12, although (A Division of Random House Children’s Books) distributed by Penguin Random House. publishes the occasional YA. Publishes 10–15 SVP & PUBLISHER, RANDOM HOUSE/GOLDEN MULTIPLE SUBMISSIONS: Accepting. new hardcovers each year. Interested in books BOOKS, DOUBLEDAY, & CROWN BOOKS FOR UNSOLICITED MANUSCRIPTS: Accepting. Email with strong kid appeal that integrate nonfiction YOUNG READERS GROUP: Mallory Loehr submissions preferred, but U.S. Post accepted. into fiction and might have a curriculum SVP, ASSOCIATE PUBLISHER, RANDOM HOUSE MARKET SURVEYS Please submit to editor specified at www. hook. Includes Tricycle Press, which publishes CHILDREN’S BOOKS: Judith Haut quirkbooks.com/page/submissions. award-winning board books, picture books, and VP, EDITOR-IN-CHIEF, EXECUTIVE DIRECTOR PAYMENT: Advance against royalty. novels for young people. Includes the imprint LICENSED PUBLISHING/GOLDEN BOOKS: Chris ARTWORK INTEREST: Not accepting. Make Me a World, curated by Christopher Myers, Angelilli ARTWORK PAYMENT: N/A publishing literature for young people that PRESIDENT & PUBLISHER, RANDOM HOUSE’S reflects the diversity of a broadening world; list BEGINNER BOOKS, DR. SEUSS: Cathy Goldsmith RANDOM HOUSE CHILDREN’S BOOKS launches 2018. ASSOCIATE PUBLISHING DIRECTOR, RANDOM

(A Division of Random House, Inc.) QUERY LETTERS: Not accepting. HOUSE/GOLDEN BOOKS GROUP: Michelle H. DIRECTORIES & RESOURCES 1745 Broadway MULTIPLE SUBMISSIONS: Not accepting. Nagler New York, NY 10019 UNSOLICITED MANUSCRIPTS: Accepting. ASSOCIATE PUBLISHING DIRECTOR, GOLDEN 212-782-9000 Submission guidelines posted at http:// BOOKS/DOUBLEDAY: Frances Gilbert www.penguinrandomhouse.com knopfdoubleday.com/contact-us/. Send a sample EDITORIAL DIRECTOR OF LICENSED www.randomhousekids.com, www.rhcbooks.com of your work, 25-50 pages, and a stamped, self- PUBLISHING, RANDOM HOUSE/GOLDEN BOOKS www.randomhouse.com/teens addressed envelope, to THE EDITORS / Knopf / GROUP: Dennis Shealy DESCRIPTION: Random House and Penguin 1745 Broadway / New York, NY 10019. It will EDITORIAL DIRECTOR, PICTURE BOOKS & Publishing merged in 2013 to form Penguin be reviewed with other unsolicited work. Allow BEGINNING READERS, RANDOM HOUSE: Heidi Random House; at present, the children’s 2-6 months for a response. Please do not submit Kilgras books divisions of the two respective merged manuscripts via email. EDITORIAL DIRECTOR, PICTURE BOOKS: Maria companies function separately. Random House PAYMENT: Advance against royalty. Modugno

Children’s Books includes the paperback/reprint/ ARTWORK INTEREST: Yes, for picture books, EDITORIAL DIRECTOR, GOLDEN BOOKS: Diane PUBLICIZING YOUR PUBLISHED WORK classics imprints Bantam Books, Dragonfly, middle-grade and teen fiction and nonfiction. Muldrow Delacorte Press Trade Paperbacks, Yearling Send sample postcards; email submissions will EDITOR-AT-LARGE, EXECUTIVE EDITOR: Shana Books, Laurel Leaf, Golden Books, Ember, not be reviewed. Corey Bluefire, and Knopf Trade Paperbacks, and the ARTWORK PAYMENT: Advance against royalty EXECUTIVE EDITOR, RANDOM HOUSE/ Disney properties imprint Disney Books for and flat fee, depending on project. BEGINNER BOOKS: Alice Jonaitis Young Readers. EXECUTIVE EDITOR: Mary Man-Kong PRESIDENT & PUBLISHER, RANDOM HOUSE DELACORTE PRESS BOOKS FOR YOUNG SENIOR EDITOR: Carolyn Abbey CHILDREN’S BOOKS U.S.: Barbara Marcus READERS SENIOR EDITOR: Chelsea Eberly (An Imprint of Random House Children’s Books) SENIOR EDITOR: Diane Landolf ALFRED A. KNOPF SVP & PUBLISHER, DELACORTE PRESS: Beverly EDITOR: Frank Berrios Crown Books for Young Readers Horowitz EDITOR: Rachel Poloski (Imprint of Random House Children’s Books) SENIOR EXECUTIVE EDITOR: Wendy Loggia ASSOCIATE EDITOR: Kristen Depken SVP & PUBLISHER, RANDOM HOUSE/GOLDEN SENIOR EXECUTIVE EDITOR: Krista Marino ASSOCIATE EDITOR: Michael Joosten

BOOKS, DOUBLEDAY, & CROWN BOOKS FOR SENIOR EDITOR: Kate Sullivan ASSOCIATE EDITOR: Jenna Lettice SCHOOL VISITS YOUNG READERS GROUP: Mallory Loehr ASSOCIATE EDITOR: Kelsey Horton ASSOCIATE EDITOR: Anna Membrino VP & PUBLISHER, CROWN: Phoebe Yeh ASSISTANT EDITOR: Monica Jean EDITORIAL ASSISTANT: Rachel Chlebowski VP & PUBLISHER, ALFRED A. KNOPF, MAKE ME EDITORIAL ASSISTANT: Alexandra Hightower PUBLISHING ASSISTANT: Molly Lo Re A WORLD: Jennifer Brown EDITORIAL ASSISTANT: Audrey Ingerson SENIOR ART DIRECTOR: Roberta Ludlow VP & PUBLISHER, CROWN BOOKS FOR YOUNG DESCRIPTION: List of literary and commercial DESCRIPTION: This list includes color and READERS: Emily Easton fiction for the middle grade and YA categories, activity books, board and novelty books, fiction LEGAL QUESTIONS ASSOCIATE PUBLISHING DIRECTOR: Melanie as well as nonfiction that crosses both and nonfiction for beginning readers, hardcover Nolan educational and general interest categories. and paperback fiction for ages 0–18. SENIOR EXECUTIVE EDITOR: Nancy Siscoe QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. SENIOR EXECUTIVE EDITOR: Erin Clarke MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. EXECUTIVE EDITOR: Michelle Frey UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. EDITOR: Katherine Harrison PAYMENT: Advance against royalty. PAYMENT: Advance against royalty. EDITOR: Julia Maguire ARTWORK INTEREST: Not accepting for picture ARTWORK INTEREST: Contact art director. 80 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 DESCRIPTION: ASSOCIATE PUBLISHER: VP &EXECUTIVEEDITOR: PRESIDENT &PUBLISHER: www.regnery.com 202-216-0600; Fax202-393-1781 Washington DC20001-2253 300 New Jersey Ave NW, Suite500 (A Division of EaglePublishing) REGNERY PUBLISHING and flatfee, depending onproject. ARTWORK PAYMENT: samples; no email submissions willbereviewed. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: at thistime. 8–12 and 12–18.Not publishing picture books young adult fiction and nonfiction for readers DESCRIPTION: ART DIRECTOR: ASSISTANT EDITOR: VP &PUBLISHINGDIRECTOR: (An Imprint of Random House Children’s Books) WENDY LAMBBOOKS and flatfee, depending onproject. ARTWORK PAYMENT: Wade orArtDirector RachaelCole. ARTWORK INTEREST: PAYMENT: submission preferences. penguinrandomhouse.com/faqs/#manuscripts for New York, New York 10019.Seehttp://www. Submissions Editor, 1745Broadway, 10-4, may besent to:Schwartz&Wade Books, proposals for longer books. Allsubmissions unsolicited picture bookmanuscripts and UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: nonfiction, and graphic novels. grade and young adult fiction, non-traditional a year, mostly picture books, as wellmiddle DESCRIPTION: ART DIRECTOR: EDITORIAL ASSISTANT: SENIOR EDITOR: VP &PUBLISHER: VP &PUBLISHER: (An Imprint of Random House Children’s Books) SCHWARTZ &WADE BOOKS flat fee, depending onproject. ARTWORK PAYMENT: Advance against royalty. Advance against royalty. Listof literary middle-grade and Publisher of conservative Publishes about15to20books Isabel Warren-Lynch RachaelCole Not accepting. Not accepting. Ann Kelley Anne Schwartz LeeWade Dana Carey Advance against royalty or Accepting. Send postcard Contact VP&Publisher Lee Advance against royalty Advance against royalty William Vogan Alex Novak Harry W. Crocker Not accepting. Not accepting. Marji Ross Not accepting. Accepting Wendy Lamb specialty: fitness, self-help, and health. and giftbooksand anemphasisonRodale’s books, early-reader titles, graphic novels, teens, withafocus onpicture books, chapter and nonfiction titles for infants, children, and DESCRIPTION: KIDS: CREATIVE ANDEDITORIAL DIRECTOR, RODALE EDITORIAL ASSISTANT: EXECUTIVE EDITOR: CREATIVE &EDITORIAL DIRECTOR: VP, EDITORIAL DIRECTOR: VP, PUBLISHER: www.rodalekids.com New York, NY10017 733 Third Avenue (An imprint of Rodale Books) RODALE KIDS and flatfee, depending onproject. ARTWORK PAYMENT: agents only, via [email protected]. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: regnery.com. proposals from agents only, via submissions@ QUERY LETTERS: picture books. patriotic, non-partisan, entertaining, funny DESCRIPTION: www.regnery.com/imprint/regnery-kids/ (An Imprint of Regnery Publishing) REGNERY KIDS submissions). team for readers 5–8yearsold;not accepting civic-minded educational titlesbyanin-house below), aswellLittlePatriot Press (alistof Regnery Kids and Regnery Adventure (details books. Imprints for young readers include www.rosenpublishing.com 800-237-9932; Fax 888-436-4643 New York, NY10010 29 East21stStreet, #2 THE ROSENPUBLISHINGGROUP and flatfee, depending onproject. ARTWORK PAYMENT: agents only. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: 30–45 titlesperyear. Launched Fall 2018;willeventually publish Eric Wight Advance against royalty. Advance against royalty. Children’s imprint featuring Publishing avariety of fiction GailGonzalez Accepting from agents only. Accepting manuscripts and Mark Weinstein Advance against royalty Advance against royalty Accepting samplesfrom Accepting samples from Kailee Baylor Not accepting. Not accepting. Jennifer Levesque Not accepting. Not accepting. Eric Wright ROSEN CENTRALimprint publishes middle grade resolution. science, nature, guidance, and conflict building, multicultural issues, biographies, such ascurriculum-related subjects, character nonfiction (grades K–8)addressing topics POWERKIDS PRESSimprint publishes children’s company. Publishers; Enslow remains astandalone In 2014,RosenPublishing acquired Enslow library-bound one-volume reference works. self-help, and career guidance. Alsopublishes audience. Subjectareas include multiculturalism, books geared toayoung adult (grades 7–12) Multivolume, library-bound series nonfiction interest, curriculum-correlated materials. preschool through high school, withhigh- DESCRIPTION: PHOTO DIRECTOR: Jacob Steinberg ASSOCIATE EDITORIAL DIRECTOR, ROSENYA: VP: Gina Strazzabosco PRESIDENT &PUBLISHER: New York Office: 1290 Avenue of the Americas, 200, Philadelphia, PA 19103, 215-567-5080 Philadelphia Office:2300Chestnut Street, Suite Division of Hachette BookGroup) (A Member of the Perseus BooksGroup, a RUNNING PRESSKIDS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: send queries only, not manuscripts. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: form onthe website. No telephone calls, please. Rosen Publishing Group via anonline contact team for information aboutcontributing to illustrators cancontact the Customer Service as SASE toguarantee areply. Writersand including outline withsample chapteraswell mail only, addressed to“Submissions” and QUERY LETTERS: novels for young readers. nonfiction, from basic-concept board booksto WINDMILL BOOKS imprint publishes fiction and and current events. develop adeeper understanding of core subjects publishes reference books thathelp students BRITANNICA EDUCATIONAL PUBLISHING critical thinking skills. activities and other features tohelp develop interest booksfor teens grades 7–12,often with ROSEN YOUNG ADULT imprint publishes high- career guidance. including science, history, self-help, health, and (grades 5–9)nonfiction inseries ontopics Flat fee. Educational publisher for Accepting. Send via regular Cindy Reiman Flat fee. Yes, photos only. Accepting. Roger Rosen Accepting, but 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 81

New York, NY 10104, 212-364-1100 query letters except in the case of picture book PAYMENT: Advance against royalty or flat fee. PREPARING & SUBMITTING www.runningpress.com/rpkids dummies, which will be accepted via U.S. post; ARTWORK INTEREST: Yes, through Art Director. https://www.hatchettebookgroup.com/imprint/ please mail those to Arthur A. Levine Books ARTWORK PAYMENT: Advance against royalty or perseus/running-press/page/rp-kids/ at the above New York address, and include flat fee. SVP, PUBLISHER, PERSEUS BOOKS: Susan an SASE if you’d like the materials returned. Weinberg See full submission guidelines at https:// GRAPHIX VP, PUBLISHER: Kristin Kiser arthuralevinebooks.submittable.com/submit. (An Imprint of Scholastic Trade) EDITORIAL DIRECTOR: Julie Matysik PAYMENT: Advance against royalty. www.scholastic.com/graphix/ ASSCOCIATE EDITOR: Adrienne Szpyrka ARTWORK INTEREST: Accepting. Send three VP, CREATIVE DIRECTOR, & EDITORIAL DESCRIPTION: Publishes about 30–40 titles sample illustrations and links to your online DIRECTOR, GRAPHIX: David Saylor annually. Focus is on novelty, picture book, and portfolio via email to http://arthuralevinebooks. SENIOR EDITOR, GRAPHIX AND SCHOLASTIC MARKET SURVEYS YA titles with a select amount of middle grade submittable.com/submit. Submit picture book BOOKS: Cassandra Pelham books. Target audience ranges from newborn dummies (full text and illustrations) via U.S. EDITOR: Adam Rau to teen. Looking for unique formats, creative post with query letter to Arthur A. Levine ART DIRECTOR, ASSOCIATE TO CREATIVE concepts, distinctive writing and illustration, Books, 557 Broadway, New York, NY 10012. If DIRECTOR: Marijka Kostiw visual stories, and strong, accessible voices. you would like to receive a response, include a DESCRIPTION: Imprint publishing original BLACK DOG & LEVANTHAL PUBLISHERS imprint self-addressed, stamped envelope. If you would graphic novels for children. publishes twenty to thirty nonfiction titles for like your dummy to be returned to you, include QUERY LETTERS: Accepting. readers of all ages annually. enough postage to cover its return. MULTIPLE SUBMISSIONS: Not accepting. DIRECTORIES & RESOURCES QUERY LETTERS: Not accepting. ARTWORK PAYMENT: Advance against royalty. UNSOLICITED MANUSCRIPTS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. PAYMENT: Advance against royalty. UNSOLICITED MANUSCRIPTS: Not accepting. THE BLUE SKY PRESS ARTWORK INTEREST: Accepting samples. PAYMENT: Advance against royalty or flat fee, (An Imprint of Scholastic Trade) ARTWORK PAYMENT: Advance against royalty if depending on project. VP & EDITORIAL DIRECTOR: Bonnie Verburg picture book; flat fee if jacket only. ARTWORK INTEREST: Not accepting. ASSOCIATE EDITOR SCHOLASTIC, ORCHARD, ARTWORK PAYMENT: Flat fee or advance against BLUE SKY: Natalia Remis KLUTZ royalty, depending on project. DESCRIPTION: Publishes around 60 hardcover (An Imprint of Scholastic Trade) titles per year that cross over into bookstore, SENIOR VP, GENERAL MANAGER: Stacy Lellos SCHOLASTIC TRADE library, and school markets. SENIOR PRODUCT EDITOR: Caitlin Harpin 557 Broadway QUERY LETTERS: Not accepting. DESCRIPTION: Klutz is a “books plus” imprint

New York, NY 10012 MULTIPLE SUBMISSIONS: Not accepting. that publishes hands-on formats, including PUBLICIZING YOUR PUBLISHED WORK 212-343-6100 UNSOLICITED MANUSCRIPTS: Not accepting. activity books, guides, and an educational www.scholastic.com PAYMENT: Advance against royalty. product line. Most of their projects are generated PRESIDENT, TRADE PUBLISHING: Ellie Berger ARTWORK INTEREST: Yes, through editors and in-house and they are closed to submission. EDITORIAL DIRECTOR: Nancy Mercado art directors. QUERY LETTERS: Not accepting. VP, PUBLISHER, SCHOLASTIC INC.: Tracy Mack ARTWORK PAYMENT: Advance against royalty. MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Total of 450 titles a year for UNSOLICITED MANUSCRIPTS: Not accepting. all imprints. Scholastic also publishes the UK CARTWHEEL BOOKS PAYMENT: N/A imprint Chicken House (www.chickenhouse.com) (An Imprint of Scholastic Trade) ARTWORK INTEREST: N/A books in the U.S. and Canada. VP, EXECUTIVE EDITORIAL DIRECTOR, ARTWORK PAYMENT: N/A CARTWHEEL BOOKS AND ORCHARD BOOKS: Liza ARTHUR A. LEVINE BOOKS Baker MICHAEL DI CAPUA BOOKS (An Imprint of Scholastic Trade) SENIOR EDITOR, CARTWHEEL BOOKS AND (An Imprint of Scholastic Trade) VP & PUBLISHER: Arthur A. Levine SCHOLASTIC PRESS: Orli Zuravicky PUBLISHER: Michael di Capua

EDITOR: Nicholas Thomas EDITOR, CARTWHEEL BOOKS, ORCHARD BOOKS, QUERY LETTERS: Not accepting. SCHOOL VISITS ASSOCIATE EDITOR: Kait Feldmann AND SCHOLASTIC PRESS: Celia Lee MULTIPLE SUBMISSIONS: Not accepting. ASSISTANT EDITOR: Weslie Turner CREATIVE DIRECTOR, CARTWHEEL BOOKS, UNSOLICITED MANUSCRIPTS: Not accepting. DESCRIPTION: Publishes titles that cross over ORCHARD BOOKS, READERS, BRANCHES, & PAYMENT: Advance against royalty or flat fee. into bookstore, library, and school markets. LITTLE SHEPHERD: Patti Ann Harris ARTWORK INTEREST: Accepting. Send samples QUERY LETTERS: Accepting. For picture books, DESCRIPTION: Publishes roughly 80 books a year to attention of “Art Director.” submit query letter with the full text. For novels, for children from the ages of 0 to 6. List includes ARTWORK PAYMENT: Advance against royalty or LEGAL QUESTIONS send query letter, the first two chapters, and concept, novelty, young nonfiction, seasonal/ flat fee. a one-page synopsis. For other items, submit curricular picture books, and board books as query letter plus five page samples (five poems, well as the Scholastic Reader line for beginning ORCHARD BOOKS five nonfiction pages, etc.). Submit to http:// readers. (An Imprint of Scholastic Trade) arthuralevinebooks.submittable.com/submit. QUERY LETTERS: Not accepting. VP, EXECUTIVE EDITORIAL DIRECTOR, MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. CARTWHEEL BOOKS AND ORCHARD BOOKS: Liza UNSOLICITED MANUSCRIPTS: Only accepting UNSOLICITED MANUSCRIPTS: Not accepting. Baker 82 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 CHAPTER BOOKS,NONFICTION,&LICENSING: VP &PUBLISHEROFREADERS,EARLY BOOKS: DIRECTOR TRADEHARDCOVER PICTURE VP, ASSOCIATE PUBLISHER,&CREATIVE David Levithan FICTION, MULTIMEDIA PUBLISHING,&PUSH: VP, PUBLISHER,&EDITORIAL DIRECTOR FOR (An Imprint of Scholastic Trade) SCHOLASTIC PRESS thisispush.com for novel contests. UNSOLICITED SUBMISSIONS: originals and series. DESCRIPTION: VP &EDITORIAL DIRECTOR: www.thisispush.com (An Imprint of Scholastic Trade) PUSH picture book;flatfeeifjacket only. ARTWORK PAYMENT: attention “Art Director.” ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: books, ages 0–10. Primarily picture booksand earlychapter DESCRIPTION: ORCHARD BOOKS: CREATIVE DIRECTOR, CARTWHEELBOOKS, BLUE SKY: ASSOCIATE EDITOR SCHOLASTIC,ORCHARD, BOOKS, ANDSCHOLASTICPRESS: EDITOR, CARTWHEELBOOKS,ORCHARD EXECUTIVE EDITOR: Aimee Friedman EXECUTIVE EDITOR, TRADEPAPERBACKS: Lisa Sandell EDITORIAL DIRECTOR, SCHOLASTICPRESS: PUBLISHING: EDITORIAL DIRECTOR, MULTIPLATFORM Rachel Leyshon EDITORIAL DIRECTOR, CHICKENHOUSE: VP, EXECUTIVEEDITOR: & SCHOLASTICINC.: ASSOCIATE PUBLISHER,PILKEYPUBLISHING NONFICTION: ASSOCIATE PUBLISHER,LICENSINGAND PAPERBACKS: ASSOCIATE PUBLISHER&DIRECTOR, TRADE CHICKEN HOUSE: PUBLISHER &MANAGING DIRECTOR, THE PRESS PICTUREBOOKS VP &EDITORIAL DIRECTOR, SCHOLASTIC Debra Dorfman David Saylor Advance against royalty. Natalia Remis Rachel Griffiths Abigail McAden Samantha Schutz Listof 15plustitlesperyear. Publishes teenfiction paperback Not accepting. BarryCunningham Patti AnnHarris Dianne Hess Advance against royalty if Send samplestothe Anamika Bhatnagar : Ken Geist Andrea DavisPinkney Not accepting. David Levithan Seewww. Not accepting. Celia Lee

MANAGER: EXECUTIVE EDITOR &LEGOPUBLISHING EXECUTIVE EDITOR: Jefferson City, MO 65102-3765 P.O. Box 3765 (Scholastic Library Publishing) SCHOLASTIC LIBRARYPUBLISHING ARTWORK PAYMENT: art directors. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: quite prepared for atraditional chapter book. the exciting leapfrom leveledreaders, butnot independent readers who are ready tomake early chapterbooksdesigned for newly Press. Scholastic Branches imprint publishes publishing company and partof Scholastic Chicken House isasmall children’s book seeking interesting and wellwrittenYA fiction. and quality chapterbooksfor ages 7–9.Also appealing middle-grade novels for ages 8–12, DESCRIPTION: Elizabeth Parisi CREATIVE DIRECTOR, HARDCOVER NOVELS: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSOCIATE EDITOR: EDITOR, TRADEPAPERBACKS: JUNIOR EDITOR, CHICKENHOUSE: BLUE SKY: ASSOCIATE EDITOR SCHOLASTIC, ORCHARD, ASSOCIATE EDITOR: ASSOCIATE EDITOR: BOOKS, ANDSCHOLASTICPRESS: EDITOR, CARTWHEELBOOKS,ORCHARD EDITOR, NONFICTION: EDITOR: EDITOR: EDITOR: EDITOR: EDITOR: EDITOR: SENIOR EDITOR: BOOKS: SENIOR EDITOR, GRAPHIXANDSCHOLASTIC SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR: Bignell Woehr SENIOR EDITOR, LICENSEDPUBLISHING: READERS: SENIOR EDITOR, LICENSING/NONFICTION/ Cassandra Pelham EmilySeife Anna Bloom Paige Hazzan Nick Eliopulos Orlando DosReis Erin Black Jenne Abramowitz Advance against royalty. Natalia Remis Michael Petranek Interest instrong picture books, Jody Corbett Matt Ringler Mallory Kass Katie Carella Not accepting. Michael Coulter Savannah Kuper Kait Feldmann Megan Peace Samantha Swank Amanda Maciel Advance against royalty. Yes, through editorsand Marisa Polansky Jeffrey West Patrice Caldwell Not accepting. Zack Clark Not accepting. Celia Lee Kesia Lupo Katie DESCRIPTION: FRANKLIN WATTS ARTWORK PAYMENT: art samplesto“Art Director.” ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: fiction of any kind. Press are inthe Rookie Readers series. No YA The onlypicture bookspublished byChildren’s natural and physical science, and biography. Main subjectareas are history, social issues, series atelementary and middle school level. concentration oncurriculum-related nonfiction DESCRIPTION: CHILDREN’S PRESS about-us/ http://scholasticlibrary.digital.scholastic.com/ 800-621-1115 EDITOR, ALADDIN, MAX: EDITOR, ALADDIN, MAX: EXECUTIVE EDITOR: EDITORIAL DIRECTOR: Liesa Abrams ASSOCIATE EDITORIAL DIRECTOR, ALADDIN: VP &EDITORIAL DIRECTOR, PULSE& Mara Anastas VP &PUBLISHER,SIMONPULSE,ALADDIN: www.simonandschusterpublishing.com/aladdin/ (An Imprint of Simon &Schuster) ALADDIN PUBLISHING: PRESIDENT &PUBLISHER,CHILDREN’S www.simonandschuster.com 212-698-7000 New York, NY10020 1230 Avenue of the Americas Division) (Simon &Schuster Children’s Publishing SIMON &SCHUSTER ARTWORK PAYMENT: nonreturnable artsamplestoArtDirector. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: and physical science, history. areas are cutting-edge social issues, natural school and high school readers. Main subject individual and series titles, directed tomiddle concentration oncurriculum-related nonfiction Various terms, mostly work-for-hire. Various terms; mostly work-for-hire. Jon Anderson School and library listwith School and library listwith Not accepting. Not accepting. Karen Nagel Flatfee. Yes, send nonreturnable Accepting. Send Flat fee. Fiona Simpson Amy Cloud AlysonHeller Not accepting. Not accepting. Not accepting. Not accepting. 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 83

EDITOR, ALADDIN: Jen Ung PAYMENT: Advance against royalty. EDITORIAL DIRECTOR: Jeff Salane PREPARING & SUBMITTING EDITORIAL ASSISTANT: Tricia Lin ARTWORK INTEREST: Submit samples through EDITOR: Hannah Lambert EXECUTIVE ART DIRECTOR: Karin Paprocki mail to “Art Director.” ASSISTANT EDITOR: Cindy Kim DESCRIPTION: Publishes hardcover and ARTWORK PAYMENT: Advance against royalty or EXECUTIVE ART DIRECTOR: Chani Yammer paperback originals for ages from preschool flat fee, depending on the project. DESCRIPTION: Generally mass-market end of through tween, including picture books, Simon & Schuster’s children’s list: novelty and beginning readers, chapter books, middle-grade BEACH LANE BOOKS merchandise only, including board books, pop- and tween series as well as single-title fiction, (An Imprint of Simon & Schuster) up books, lift-the-flaps, glitter books, sticker with emphasis on quality and recreational 5666 La Jolla Boulevard #154 books, pull-tab books, gate-fold books, touch ‘n’ reading in all genres. Of particular interest La Jolla, CA 92037 feel, etc. About 50 titles a year. are school stories, action-adventure, humor, www.simonandschusterpublishing.com/beach- QUERY LETTERS: Not accepting. MARKET SURVEYS and coming-of-age stories. MAX, a paperback lane/ MULTIPLE SUBMISSIONS: Not accepting. line publishing a range of fiction genres for VP & PUBLISHER: Allyn Johnston (La Jolla UNSOLICITED MANUSCRIPTS: Not accepting. middle-grade boys, and MIX, a paperback line office) PAYMENT: Flat fee or advance against royalty. publishing contemporary stories for middle- VP & DEPUTY PUBLISHER: Anne Zafian (New ARTWORK INTEREST: Send copies only. grade girls who have outgrown early chapter York office, 1230 Avenue of the Americas, New ARTWORK PAYMENT: Advance against royalty books but aren’t yet ready for YA. York, NY 10020) or flat fee. QUERY LETTERS: Not accepting. EXECUTIVE EDITOR: Andrea Welch (La Jolla

MULTIPLE SUBMISSIONS: Not accepting. office) MARGARET K. MCELDERRY BOOKS DIRECTORIES & RESOURCES UNSOLICITED MANUSCRIPTS: Not accepting. ASSISTANT EDITOR, BEACH LANE BOOKS, (An Imprint of Simon & Schuster) PAYMENT: Advance against royalty and some PAULA WISEMAN BOOKS: Sarah Jane Abbott www.simonandschusterpublishing.com/ work-for-hire series projects. DESCRIPTION: West-coast-based imprint margaret-k-mcelderry-books/ ARTWORK INTEREST: For picture books, offering 18–20 hardcover and paperback titles VP & PUBLISHER: Justin Chanda beginning readers, chapter books, jacket/covers. a year, mostly picture books for the very young, VP & DEPUTY PUBLISHER: Anne Zafian ARTWORK PAYMENT: Flat fee or advance against but also select middle-grade and teen fiction. VP & EDITORIAL DIRECTOR: Karen Wojtyla royalty, depending on project. QUERY LETTERS: Not accepting. SENIOR EDITOR: Ruta Rimas MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE EDITOR, S&S BFYR, ATHENEUM, ATHENEUM BOOKS FOR YOUNG READERS UNSOLICITED MANUSCRIPTS: Not accepting. MARGARET K. MCELDERRY, SAGA PRESS: Alexa (An Imprint of Simon & Schuster) PAYMENT: Advance against royalty. Pastor www.simonandschusterpublishing.com/ ARTWORK INTEREST: Yes, if requested. EDITORIAL ASSISTANT: Nicole Fiorica atheneum ARTWORK PAYMENT: Advance against royalty EDITORIAL ASSISTANT: Alyza Liu PUBLICIZING YOUR PUBLISHED WORK VP & PUBLISHER: Justin Chanda for picture books. EXECUTIVE ART DIRECTOR: Ann Bobco VP & DEPUTY PUBLISHER: Anne Zafian DESCRIPTION: Publishes primarily fiction but EDITORIAL DIRECTOR, RICHARD JACKSON CAITLYN DLOUHY BOOKS some nonfiction, from picture books to teen BOOKS: Richard Jackson (An Imprint of Atheneum Books/Simon & fiction. Has a special interest in preschool EXECUTIVE EDITOR: Reka Simonsen Schuster) picture books and teen material. Looking for ASSISTANT EDITOR, CAITLYN DLOUHY BOOKS, www.simonandschusterpublishing.com/ humor and top-quality fiction, and encouraging ATHENEUM: Alex Borbolla atheneum/ new authors and illustrators. ASSOCIATE EDITOR, S&S BFYR, ATHENEUM, VP & EDITORIAL DIRECTOR: Caitlyn Dlouhy QUERY LETTERS: Not accepting. MARGARET K. MCELDERRY, SAGA PRESS: Alexa ASSISTANT EDITOR, CAITLYN DLOUHY BOOKS, MULTIPLE SUBMISSIONS: Not accepting. Pastor ATHENEUM: Alex Borbolla UNSOLICITED MANUSCRIPTS: Not accepting. SENIOR EDITOR: Emma Ledbetter DESCRIPTION: Publishing picture books, middle PAYMENT: Advance against royalty and advance. EDITORIAL ASSISTANT: Alyza Liu grade, and young adult fiction. ARTWORK INTEREST: Accepting. EDITORIAL ASSISTANT: Julia McCarthy QUERY LETTERS: Not accepting. ARTWORK PAYMENT: Advance against royalty

EXECUTIVE ART DIRECTOR: Ann Bobco MULTIPLE SUBMISSIONS: Not accepting. for picture books only; otherwise flat fee for SCHOOL VISITS DESCRIPTION: Publishes approximately 60 UNSOLICITED MANUSCRIPTS: Not accepting. jacket art. hardcover and 20 paperback titles a year. PAYMENT: Advance against royalty. Looking in most categories, especially for ARTWORK INTEREST: Submit samples through PAULA WISEMAN BOOKS picture books, contemporary middle-grade mail to “Art Director.” (An Imprint of Simon & Schuster) fiction, “cutting edge” teen fiction, and ARTWORK PAYMENT: Advance against royalty or www.simonandschusterpublishing.com/paula- interesting nonfiction. flat fee, depending on the project. wiseman-books/ LEGAL QUESTIONS MOONBOT BOOKS publishes approximately three VP & PUBLISHER: Paula Wiseman books annually (picture books and middle grade LITTLE SIMON VP & DEPUTY PUBLISHER: Anne Zafian books), all illustrated by William Joyce and (An Imprint of Simon & Schuster) SENIOR EDITOR: Sylvie Frank other artists at Joyce’s Moonbot Studios. www.simonandschusterpublishing.com/little- ASSISTANT EDITOR, BEACH LANE BOOKS, QUERY LETTERS: Not accepting. simon/ PAULA WISEMAN BOOKS: Sarah Jane Abbott MULTIPLE SUBMISSIONS: Not accepting. VP & PUBLISHER FOR NOVELTY & LICENSED DESCRIPTION: Publishes picture books, novelty UNSOLICITED MANUSCRIPTS: Not accepting. PUBLISHING: Valerie Garfield books, and novels focusing on stories and art 84 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 ARTWORK PAYMENT: [email protected]. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: [email protected]. MULTIPLE SUBMISSIONS: QUERY LETTERS: nine titlesperyearfor allages. Launched 2018. young adult titles. Aims topublishaminimum of and nonfiction, picture booksand middle grade and children and families, including fiction of all genres DESCRIPTION: EXECUTIVE EDITOR: VP &PUBLISHER: reads/ www.simonandschusterpublishing.com/salaam- www.salaamreads.com (An Imprint of Simon &Schuster) SALAAM READS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: hardcovers ayear. predominantly adult titles. Publishing 12to15 readership. Titlesare for YA and above, although special emphasisonworksthatspeaktoabroad fiction from literary tocommercial appeal,witha fiction imprint publishing the best of speculative DESCRIPTION: Pastor MARGARET K.MCELDERRY, SAGA PRESS: ASSOCIATE EDITOR, S&SBFYR, ATHENEUM, SENIOR EDITOR: EXECUTIVE EDITOR: VP &PUBLISHER: www.sagapress.com (An Imprint of Simon &Schuster) SAGA PRESS picture booksonly;otherwise flatfee for jacket art. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: artists through agents and from SCBWIconferences. submissions from new and published authors and UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: agents and from SCBWIconferences. new and published authors and artiststhrough QUERY LETTERS: 20–30 booksayear. innovative, and timeless for children of allages. that are wholly childlike, centered inemotion, Advance against royalty. Advance against royalty. Advance against royalty. Publishing bookscentered onMuslim An all-inclusive fantasy and science Navah Wolfe Accepting. Actively seeking submissions from Not accepting. JustinChanda JustinChanda Joe Monti Zareen Jaffery Advance against royalty for Flatfeeoradvance against Flat feefor jacket art. Yes. Send samplesto Yes, through agents only. Yes, through agents only. Not accepting. Accepting. Accepting. Send to Accepting. Not accepting. Actively seeking Alexa Anastas VP &PUBLISHER,SIMONPULSE,ALADDIN: www.simonandschusterpublishing.com/simonpulse/ (An Imprint of Simon &Schuster) SIMON PULSE picture books;flatfee for jackets and b&winteriors. ARTWORK PAYMENT: send originals. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: school. markets. Age range isfrom infant through high that willfitinto bothinstitutional and bookstore middle-grade and teenfiction, and some nonfiction Full range of picture books, firstchapterbooks, approximately 95titlesayearon3seasonal lists. & Schuster Children’s Division. Publishes DESCRIPTION: ART DIRECTOR: ART DIRECTOR: ART DIRECTOR: ART DIRECTOR: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: ASSISTANT EDITOR: Pastor MARGARET K.MCELDERRY, SAGA PRESS: ASSOCIATE EDITOR, S&SBFYR,ATHENEUM, EDITOR: SENIOR EDITOR: VP &EDITORIAL DIRECTOR: VP &DEPUTYPUBLISHER: VP &PUBLISHER: www.simonandschusterpublishing.com/bfyr/ READERS SIMON &SCHUSTERBOOKSFORYOUNG royalty, depending onproject. QUERY LETTERS: and single-title contemporary commercial fiction. ages 12and up.Original publishing includes series hardcover and paperback and alsosome reprints for DESCRIPTION: actions. who havefaced the consequences of their illegal chronicling actual crime stories involving real teens SIMON TRUEimprint publishes YA nonfiction EXECUTIVE ARTDIRECTOR: EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSOCIATE EDITOR: EDITOR, SIMONPULSE,ALADDIN: EDITORIAL DIRECTOR, ALADDIN: VP &EDITORIAL DIRECTOR, PULSE&ASSOCIATE LizKossnar Advance against royalty. Publishes original fiction in The flagshipimprint of Simon Laurent Linn ChloeFoglia Lucy RuthCummins Krista Vossen KristaVitola Not accepting. Not accepting. JustinChanda Nicole Ellul Catherine Laudone Sarah McCabe Advance against royalty for Yes, via regular mail. Donot Amanda Ramirez Alyza Liu Jessica Smith Not accepting. Anne Zafian Karin Paprocki David Gale Not accepting. Liesa Abrams Jennifer Ung Alexa Mara Mara titles ayear. array of formats and age ranges. Approximately 100 original paperbackseries, publishing across awide Explorer and SpongeBob SquarePants), brands, and DESCRIPTION: EXECUTIVE ARTDIRECTOR: EDITORIAL ASSISTANT: EDITOR: EDITOR: SENIOR EDITOR: EDITORIAL DIRECTOR: PUBLISHING: VP &PUBLISHEROFNOVELTY &LICENSED spotlight/ www.simonandschusterpublishing.com/simon- (An Imprint of Simon &Schuster) SIMON SPOTLIGHT ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: [email protected]. ARTWORK INTEREST: PAYMENT: jpeg for art submissions. com. Attach allmaterial asWord documents, orasa email toskyponysubmissions@skyhorsepublishing. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: and young adult fiction. educational books, novelty books, and middle grade interests. The growing listincludes picture books, broad range of subjectmatter tocelebrate diverse DESCRIPTION: EDITORIAL ASSISTANT: ASSISTANT EDITOR: EDITOR: SENIOR EDITOR: EDITOR-IN-CHIEF: GROUP EDITORIAL DIRECTOR: PUBLISHER: www.skyponypress.com 212-643-6816; Fax212-643-6819 307 West 36thStreet, 11thFloor (An Imprint of Skyhorse Publishing) SKY PONYPRESS ARTWORK PAYMENT: characters only. Donot send originals. ARTWORK INTEREST: PAYMENT: projects are developed in-house. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: BethBarton BeckyShapiro Herrick Suzy Capozzi Advance against royalty orflatfee. Flatfee. Advance against royalty. Tony Lyons Valerie Garfield Publishing children’s booksacross a Licensed properties (e.g. Dora the Lisa Rao Nicole Frail-Magda Accepting. Not accepting. AlisonWeiss Rachel Stark Flatfee. Flatfee. Limited. Send samplesvia email to Samples of existing licensed Siobhan Ciminera SallyHosokawa Kat Enright Not accepting. Accepting. Not accepting. ChaniYammer Not accepting. Not accepting, as Mark Gompertz Accepting. Send via 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 85

Attach art samples as a jpeg. SVP & EDITORIAL DIRECTOR: Todd Stocke STERLING CHILDREN’S BOOKS PREPARING & SUBMITTING ARTWORK PAYMENT: Varies. EDITORIAL DIRECTOR, SOURCEBOOKS (A Division of Sterling Publishing Co., Inc.) CHILDREN’S BOOKS: Steve Geck 1166 Avenue of the Americas, 17th Floor SLEEPING BEAR PRESS EDITORIAL DIRECTOR, SOURCEBOOKS New York, NY 10036 (An Imprint of Cherry Lake Publishing) CHILDREN’S NONFICTION, JABBERWOCKY: 212-532-7160 2395 S Huron Parkway, Suite 200 Kelly Barrales-Saylor www.sterlingpublishing.com Ann Arbor, MI 48104 EDITORIAL MANAGER, SOURCEBOOKS FIRE: www.sterlingpublishing.com/childrens-books. 800-487-2323; Fax 734-794-0004 Annette Pollert-Morgan html www.sleepingbearpress.com EDITOR, SOURCEBOOKS JABBERWOCKY AND EXECUTIVE EDITOR: Meredith Mundy PUBLISHER: Heather Hughes SOURCEBOOKS FIRE: Annie Berger SENIOR EDITOR: Eliza Berkowitz SENIOR EDITOR: Barb McNally ASSOCIATE EDITOR, SOURCEBOOKS SENIOR EDITOR: Brett Duquette MARKET SURVEYS EDITOR: Sarah Rockett JABBERWOCKY AND SOURCEBOOKS FIRE: Kate SENIOR EDITOR: Christina Pulles EDITORIAL ASSISTANT: Lois Hume Prosswimmer EDITOR: Ada Zhang DESCRIPTION: Publishes 25–30 titles per year. EDITORIAL ASSISTANT: Margaret “MJ” Johnston DESCRIPTION: Owned by Barnes & Noble, Looking for stories that entertain and educate, EDITORIAL ASSISTANT: Sarah Kasman Sterling’s children’s list includes picture books with 50% fiction and 50% nonfiction. Their list SOURCEBOOKS FIRE imprint publishes young and nonfiction for every age, from babies is primarily picture books but includes middle- adult fiction. through young adults. They do not publish grade and teen fiction. SOURCEBOOKS JABBERWOCKY imprint publishes fictional chapter books or novels. Their

QUERY LETTERS: Not accepting. picture books, chapter books, and middle nonfiction list primarily focuses on activity- DIRECTORIES & RESOURCES MULTIPLE SUBMISSIONS: Not accepting. grade novels that make a difference and foster based subjects, such as: crafts, activities, UNSOLICITED MANUSCRIPTS: Accepting. kindness—to self, others, and our Earth. puzzles (math/word/picture/logic), and science Submit cover letter, sample of the work DESCRIPTION: Publishes children’s picture experiments. They also have a small focus (up to 15 pages), and SASE. Address U.S. books, chapter books and middle-grade fiction. on history and biographies. Also a general Post submissions “Manuscript Submissions.” QUERY LETTERS: Accepting. nonfiction list, including crafts, games, history, Electronic submissions to submissions@ MULTIPLE SUBMISSIONS: Accepting. puzzles, humor. Has a small focus on history and sleepingbearpress.com. UNSOLICITED MANUSCRIPTS: Accepting. See biographies. PAYMENT: Advance against royalty. https://www.sourcebooks.com/resources/ SPLINTER imprint publishes edgy YA fiction for ARTWORK INTEREST: Send samples to “Art submissions-guidelines.html for instructions. teens, including fantasy, romance, and thrillers. Director.” PAYMENT: Advance against royalty. QUERY LETTERS: Accepting, but full manuscript ARTWORK PAYMENT: Varies. ARTWORK INTEREST: Not accepting. needed for picture books. Submit via U.S. Post

ARTWORK PAYMENT: N/A only. PUBLICIZING YOUR PUBLISHED WORK SOHO TEEN MULTIPLE SUBMISSIONS: Accepting. (An Imprint of Soho Press) LITTLE PICKLE PRESS UNSOLICITED MANUSCRIPTS: Accepting. 853 Broadway (An Imprint of Sourcebooks, in affiliation with See https://www.sterlingpublishing. New York, NY 10003 March 4th) com/wp-content/uploads/2018/01/ 212-260-1900; Fax 212-260-1902 www.littlepicklepress.com AuthorGuidelines_1.26.17.pdf for full www.sohopress.com/soho-teen/ CHIEF EXECUTIVE & FOUNDER: Rana DiOrio submission guidelines. PUBLISHER: Bronwen Hruska AQUISITIONS: Jordan Abbott PAYMENT: Advance against royalty. SENIOR VP & ASSOCIATE PUBLISHER: Juliet AQUISITIONS: Nicole Nyffenegger ARTWORK INTEREST: Accepting. Send Grames DESCRIPTION: Publishing inspiring stories and nonreturnable art samples. VP & EDITORIAL DIRECTOR, SOHO TEEN: Daniel compelling products for middle grade youth and ARTWORK PAYMENT: Depends on project. Ehrenhaft young adults. Includes the Big Dill Stories and ART DIRECTOR, SOHO TEEN: Janine Agro relish stories imprints. THE STUDIO DESCRIPTION: Publishing YA mysteries and QUERY LETTERS: Accepting. (An Imprint of Glasstown Entertainment)

thrillers, including paranormal, dystopian, MULTIPLE SUBMISSIONS: Accepting. Brooklyn, NY SCHOOL VISITS humorous, and realistic. UNSOLICITED MANUSCRIPTS: Accepting. Visit www.thestudiopll.com QUERY LETTERS: Not accepting. http://www.littlepicklepress.com/resources/ www.glasstownentertainment.com MULTIPLE SUBMISSIONS: Not accepting. submitting-manuscript/ for submission FOUNDER & PRESIDENT, PRODUCTION: Lauren UNSOLICITED MANUSCRIPTS: Not accepting. guidelines. Oliver PAYMENT: N/A PAYMENT: Advance against royalty. FOUNDER & PRESIDENT, PUBLISHING: Lexa ARTWORK INTEREST: Not accepting. ARTWORK INTEREST: Accepting digital Hillyer LEGAL QUESTIONS ARTWORK PAYMENT: N/A portfolios and website URLs at submissions@ EDITOR: Kamilla Benko march4thinc.com See http://www. EDITOR: Jessica Sit SOURCEBOOKS CHILDREN’S BOOKS littlepicklepress.com/resources/submitting- EDITOR & DIRECTOR OF WRITER RECRUITMENT: 232 Madison Avenue, Suite 1100 manuscript/ for guidelines. Alexa Wejko New York, NY 10018 ARTWORK PAYMENT: N/A DESCRIPTION: The Studio is a boutique digital 212-414-1701 imprint of Glasstown Entertainment, publishing www.sourcebooks.com original middle grade, young adult, and new 86 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 MULTIPLE SUBMISSIONS: QUERY LETTERS: by Publishers Group West. young adult fiction and nonfiction. Distributed nonfiction, from around the world, including publishing arange of literature, from sci-fito DESCRIPTION: ART DIRECTOR: EDITOR-AT-LARGE: EXECUTIVE EDITOR: PUBLISHER: www.unnamedpress.com Los Angeles, CA90041 UNNAMED PRESS or flatfee. ARTWORK PAYMENT: nonreturnable artsamples. ARTWORK INTEREST: PAYMENT: or any unsolicited fullmanuscripts. include SASE. Not accepting email submissions Send via regular mail to “Acquisitions” and a coverletterand uptotwosamplechapters. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: courage and commitment. and memoir, and emphasizespersonal stories of young adults. Listincludes fiction, nonfiction, books and booksfor middle-grade readers and DESCRIPTION: PUBLISHER &PRESIDENT: triangle-square https://www.sevenstories.com/imprints/ 212-226-8760; Fax212-226-1411 New York, NY10013 140 Watts Street (An imprint of SevenStories Press) TRIANGLE SQUARE EDITIONS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: portal. www.thestudiopll.com for linktosubmission UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: website istransitioning, sourlsmay change. Spring 2018(previously: Paper Lantern Lit);its Glasstown Entertainment wasrebranded in work-for-hire arrangement withauthors. Note: projects for other publishers, withaflat-fee and content company developing publication for authors. GlasstownEntertainment isamedia titles, withanadvance plusroyalty arrangement adult titlesaswellpreviously self-published Work-for-hire. Advance against royalties. C.P. Heiser Independent publisher, Publishing asmall listof picture Jaya Nicely Not accepting. Not accepting. Accepting. J.RyanStradal Olivia Taylor Smith Advance against royalties Accepting. Send N/A Not accepting. Accepting. Not accepting. Not accepting. DanSimon Accepting, with Accepting. See www.algonquinyoungreaders.com York, NY10015 New York: 225Varick Street, 9thFloor, New 27515 919-967-0108;Fax919-933-0272 North Carolina: P.O. Box 2225,ChapelHill,NC, (An Imprint of Workman Publishing Company) ALGONQUIN YOUNG READERS or flatfee ARTWORK PAYMENT: on the backof eachpiece of art. telephone number, and e-mail address must be 10014-4381.” Include SASE. Your name, address, Company, 225Varick Street, New York, NY to “Children’s Department, Workman Publishing PDF. You may alsosend hard-copy submissions [email protected] inthe form of a electronic submissions, which may besent to ARTWORK INTEREST: PAYMENT: Include SASE. 225 Varick Street, New York, NY10014-4381.” Department, Workman Publishing Company, also send hard-copy submissions to“Children’s form of aWord document oraPDF. You may sent [email protected] inthe Prefer electronic submissions, which may be UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: us/author-submissions#workman. details: http://www.workman.com/work-with- [email protected]. Forsubmission QUERY LETTERS: young adult fiction. not publishpicture booksormiddle grade and novelty giftbooksand kitsfor children. Does DESCRIPTION: EDITORIAL ASSISTANT: ASSOCIATE EDITOR: EDITOR: EDITOR: SENIOR EDITOR: SENIOR EDITOR: EDITOR-AT-LARGE: WORKMAN PUBLISHING: PUBLISHER &EDITORIAL DIRECTOR, www.workman.com 212-254-5900; Fax212-254-8098 New York, NY10014-4381 225 Varick Street Workman Publishing Company WORKMAN PUBLISHINGCOMPANY ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: Submit via [email protected]. UNSOLICITED MANUSCRIPTS: EvanGriffith Justin Krasner Advance against royalty. Advance against royalties. Publishing high-concept, Mary EllenO’Neill Carol Burrell Accepting. Send via email to Raquel Jaramillo Olivia Swomley N/A Advance against royalties N/A Accepting. Prefer Zoe Maffitt Susan Bolotin Not accepting. Accepting. Accepting. Columbia, SC29208 1600 Hampton Street, 5thfloor The University of SouthCarolina Press Young Palmetto Books Center for Children’s Booksand Literacy) Press, incollaboration withthe SouthCarolina (An Imprint of University of SouthCarolina YOUNG PALMETTO BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: fiction (romance, science fiction, etc.). narrative nonfiction. Does not publish genre literary listof middle-grade and teenfiction and DESCRIPTION: EDITOR: PUBLISHER &EDITOR: young-readers https://www.workman.com/imprints/algonquin- flat fee, depending onthe project. ARTWORK PAYMENT: responsible ifsubmitted. artwork orother original material accepted;not ARTWORK INTEREST: PAYMENT: uscpress/microsites/ypbooks/submissions.html 30. Forsubmission details: http://www.sc.edu/ May 1toJune 30and October1toNovember Accepting during tworeading periods eachyear: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: its regional books. most commonly byboth.USC Press isknown for State,” either bycontent orbyauthorship and connected toSouthCarolina, the “Palmetto fiction and nonfiction, focusing onseries books Literacy. Includes picture booksand young adult South Carolina Center for Children’s Booksand University of SouthCarolina Press and the created through apartnership betweenthe Carolina-focused booksfor young readers DESCRIPTION: INQUIRIES: TITLES, ORIGINALFICTION,&GENERAL ASSISTANT DIRECTOR FOR OPERATION –TRADE DIRECTOR: SERIES EDITOR, EDITORIAL BOARD EXECUTIVE DIRECTOR: html www.sc.edu/uscpress/microsites/ypbooks/index. Krestyna Lypen Advance against royalties. Advance against royalty KimJeffcoat Jonathan Haupt Linda Haines Fogle Publishing asmall, focused, Series of educational South Not accepting. Accepting. N/A Advance against royalty or Not accepting. Accepting. No original Elise Howard Not accepting. Accepting. Accepting. Not accepting. 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 87

ZEST BOOKS PREPARING & SUBMITTING 2443 Filmore Street, Suite 340 San Francisco, CA 94115 415-777-8654; fax 415-777-8653 www.zestbooks.net PUBLISHER & CREATIVE DIRECTOR: Hallie Warshaw PUBLISHING DIRECTOR: Daniel Harmon DESCRIPTION: Publishing young adult nonfiction about entertainment, history, science, health, fashion, and lifestyle advice. MARKET SURVEYS Distributed by Houghton Mifflin Harcourt. QUERY LETTERS: Accepting. MULTIPLE SUBMISSIONS: Accepting. UNSOLICITED MANUSCRIPTS: Accepting. Most projects are developed in-house and then hired through Author Pool. For information, visit http://zestbooks.net/opportunities/.

PAYMENT: Advance against royalty/flat fee. DIRECTORIES & RESOURCES ARTWORK INTEREST: Accepting. Visit http:// zestbooks.net/opportunities/. ARTWORK PAYMENT: Advance against royalty/ flat fee.

PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS 88 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET | SCBWI 2018 Launch! Essential Library EPIC Press Dash Core Library Checkerboard Library Buddy Books/Big Buddy Books Bolt! ABDOSpotlight ABDOMagic Wagon ABDOKids Junior/Jumbo ABDO&Daughters A&DXtreme ABDO KIDS Readers.” substituted for the words “Booksfor Young the abbreviation “BFYR”issometimes company. Pleasenote: Duetospaceconstraints, then resubmit toanother imprint of the same company, youmust submittoone imprint and samples toimprints thatare owned byone When submitting manuscripts orartwork IMPRINTS PUBLISHER WordSong Highlights Press Calkins Creak BoydsMillsPress BOYDS MILLSPRESS Bloomsbury Spark Bloomsbury Children’s Books BLOOMSBURY PUBLISHINGPLC BRBTeens BRBKids BLACK RABBITBOOKS Two Lions Skyscape AlloyEntertainment AMAZON CHILDREN’SPUBLISHING Amulet Books Abrams ComicArts Abrams Booksfor Young Readers Abrams Appleseed ABRAMS BOOKSFORYOUNG READERS SportsZone Spellbound Sandcastle/Super Sandcastle Candlewick Press Big Picture Press CANDLEWICK PRESS Amistad HARPERCOLLINS FactsonFile Chelsea House FACTS ONFILE Teen Crush Teen Crave Entangled Teen Embrace ENTANGLED PUBLISHING Speeding Star ScarletVoyage Enslow Elementary Enslow ENSLOW PUBLISHERS Rick Riordan Presents Jumpatthe Sun Freeform Disney-Hyperion Disney Press DISNEY BOOKGROUP SwitchPress Stone Arch Books Picture Window Books Heinemann-Raintree Capstone Young Readers Capstone Press CompassPoint Books CAPSTONE YOUNG READERS Walker Books Templar Nosy Crow Candlewick Studio Walden Pond Press TOKYOPOP Rayo Katherine Tegen Books HarperTrophy HarperTeen Impulse HarperTeen HarperFestival HarperCollins Children’s Books Greenwillow Books Balzer+Bray LEE &LOW BOOKS Surge Shine Seek LEAP BOOKS KPCLoft KIDS CANPRESS Duet INTERLUDE PRESS Neal Porter Books Margaret Ferguson Books Holiday House HOLIDAY HOUSE Readers Houghton Mifflin Harcourt Books for Young Clarion Books YOUNG READERS HOUGHTON MIFFLINHARCOURTBOOKSFOR Henry Holt Books for Young Readers Flatiron Books :01FirstSecond Feiweland Friends/Swoon Reads Books/Priddy Books Farrar, Straus &Giroux BFYR/Francis Foster ChristyOttaviano Books GROUP MACMILLAN CHILDREN’SPUBLISHING Poppy Novl Little, Brown Books for Young Readers LBKids JIMMYPatterson Books READERS LITTLE, BROWN BOOKSFORYOUNG Twenty-First Century Books Millbrook Press Lerner Publications Kar-Ben Publishing Kane Press Graphic Universe FirstAvenue Editions DarbyCreek Carolrhoda Lab Carolrhoda Books LERNER PUBLISHINGGROUP Tu Books Shen’s Books Lee&LowBooks Children’s BookPress BebopBooks 2018 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 89

Imprint ROSEN PUBLISHING GROUP PREPARING & SUBMITTING Roaring Brook Press/Square Fish Britannica Educational Publishing Thomas Dunn Books PowerKids Press Tor Books/Tor Teen/Tor Starscape Rosen Central

MIGHTY MEDIA PRESS Rosen Young Adult Mighty Media Kids Windmill Books Mighty Media Junior SCHOLASTIC TRADE NORTH STAR EDITIONS Arthur A. Levine Books Flux The Blue Sky Press MARKET SURVEYS Focus Readers Cartwheel Books Jolly Fish Press Chicken House Graphix PENGUIN YOUNG READERS GROUP Klutz Cartoon Network Books Michael di Capua Books Dial Books for Young Readers Orchard Books Dutton Children’s Books Push

Frederick Warne Scholastic Press DIRECTORIES & RESOURCES G.P. Putnam’s Sons Grosset & Dunlap/PSS!/Price Stern Sloan SCHOLASTIC LIBRARY PUBLISHING Kathy Dawson Books Children’s Press Penguin Workshop Franklin Watts Philomel Books Puffin Books/Firebird SIMON & SCHUSTER CHILDREN’S Razorbill PUBLISHING DIVISION Viking Children’s Books Aladdin Atheneum Books for Young Readers QUARTO USA Beach Lane Books Moondance Press Caitlyn Dlouhy Books

Seagrass Press Little Simon PUBLICIZING YOUR PUBLISHED WORK Walter Foster Jr. Margaret K. McElderry Books Wide Eyed Editions MAX words & pictures MIX Moonbot Books RANDOM HOUSE CHILDREN’S BOOKS Paula Wiseman Books Alfred A. Knopf/Crown Books for Young Saga Press Readers/Tricycle Press Salaam Reads Bantam Books Simon & Schuster Books for Young Readers Bluefire Simon Pulse Delacorte Press BFYR/Delacorte Press Trade Simon Spotlight Paperbacks Simon True Disney Books for Young Readers Dragonfly SOURCEBOOKS CHILDREN’S BOOKS

Ember Little Pickle Press/Big Dill Stories/relish SCHOOL VISITS Knopf Trade Paperbacks stories Laural Leaf Sourcebooks Fire Make Me a World Sourcebooks Jabberwocky Random House/Golden Books Young Readers Group STERLING CHILDREN’S BOOKS Schwartz & Wade Books Splinter LEGAL QUESTIONS Yearling Books Sterling Children’s Books Wendy Lamb Books WORKMAN PUBLISHING COMPANY REGNERY PUBLISHING Algonquin Young Readers Little Patriot Books Workman Publishing Company Regnery Kids/Regnery Adventure

INTERNATIONAL MARKET SURVEY

compiled & edited by Christopher Cheng with assistance from International Regional Advisors.

he International Market Survey contains a list of publishers big and small in active SCBWI regions outside the USA. These include publishers T in Australia, Austria, Canada, Germany, Greece, India, Israel, Malaysia, New Zealand, Philippines, Singapore and South Africa. It is a valuable resource for members in these countries where the publishers are based as well as for members around the globe. This is not a comprehensive listing of all the international publishers in these regions but it does include many of those who desired to be listed and who are active participants in SCBWI conferences and meetings.

You can find the International Market Survey on SCBWI.org under “Resource Library.” Click on The Book and follow the directions to the International Market Survey link.

Many of the publishers have existed for a long time and are part of • many of these publishers only take submissions from nationals large multinational publishers. These houses may publish many hundreds and those who are residents of their countries, and some of the of books each year while other publishers are much newer independent publishers have limited times for receiving manuscripts. publishers, and they might only publish a few titles each year. Many • work samples will probably not be returned due to the are trade publishers but some only publish educational titles. Some will restrictive costs of international postage. take only agented submissions while others are open to unsolicited • some have very specific content focus and genres. manuscripts but only at specific times of the year. Many publish in English (some in addition to their native tongue), while others publish The survey contains many details but it is imperative that as well as in their native tongue only—the respective websites (which might be in reading this information, members visit the websites of the publishers a native tongue and not in English) will be the most appropriate source to obtain the most up-to-date information. of information. We look forward to hearing of your successes. Maybe you have a manuscript or illustrations that are perfectly suited to these international publishers. That is fantastic! BUT before inquiring of a publisher, it is of critical importance that members consider whether their creative work is culturally respectful—is the text, or are the illustrations appropriate for the publisher in that country! Some other important considerations: • the large multinational publishers have different requirements in their respective international offices. • payment rates and times vary but all are PAL publishers and will pay in their local currency. It would be up to the recipient to arrange for exchange to their national currency. • all publish for the markets in their countries. Some of their titles are also co-published or the rights sold for publication elsewhere.

EDITED BY A HOUSE-BY-HOUSE LISTING OF EDITORIAL CREDITS

compiled by Kim Turrisi

ach year, the SCBWI surveys publishers and editors for lists of up to ten books acquired or edited recently. It is our hope that this publication will be a useful Etool in targeting your manuscript submissions. By providing you with information about each publisher/editor’s tastes and acquisition decisions, this document can help you determine where to submit your manuscripts and/or illustrations.

Listed under each publisher’s or editor’s name are the books they case of picture books, the book’s author is listed first, followed listed as indicative of their preferences, tastes, and sensibilities. by its illustrator (Author/Illustrator). This list is designed Understanding these editors’ tastes can help you better target your to act as a companion piece to the SCBWI Market Survey of submissions—not by duplicating the books on their list, but by Books for Young Readers. Please review the Market Survey for learning what types of stories and voices interest them. specific submission information as not all houses are accepting This publication is alphabetized by publishing house. In the submissions at this time.

ABRAMS BOOKS »» Camp Rolling Hills, Stacy Davidowitz TWO LIONS 115 West 18th Street »» The Boy with Seventeen Senses, Sheila New York, NY 10011 Grau Kelsey Skea, Editorial Director 212-206-7715 »» The Movie Version, Emma Wunsch »» Twenty Yawns, Jane Smiley, illustrated by »» The Last Thing You Said, Sara Biren Lauren Castillo Tamar Brazis, Editorial Director »» That’s (Not) Mine, Anna Kang, illustrated »» The Night Gardener, Jonathan Auxier AMULET BOOKS by Christopher Weyant »» Like Pickle Juice on a Cookie, Julie »» Pipsie, Nature Detective (3-book series), Sternberg Anne Heltzel, Editor Rick DeDonato, illustrated by Tracy Bishop »» Klickitat, Peter Rock »» The Graces, Laure Eve »» Turkey Trick or Treat, Wendi Silvano, »» Hiawatha and the Peacemaker, Robbie »» The Romantics, Leah Rowan illustrated by Lee Harper Robertson and David Shannon »» RoseBlood, A.G. Howard »» Captain Freddy Counts Down to School, »» Peanut Butter and Brains, Joe McGee and »» Devil and the Bluebird, Jennifer Mason- Elizabeth Shreeve, illustrated by Joey Chou Charles Santoso Black Marilyn Brigham, Editor »» I am Yoga, Susan Verde and Peter H. »» Seven Ways We Lie, Riley Redgate »» Go to School, Little Monster, Helen Reynolds »» How To Lead a Life of Crime, Kirsten Miller Ketteman, illustrated by Bonnie Leick »» The Dog Who Belonged to No One, Amy »» The Daring Escape of the Misfit Menagerie, »» The Secret Knock Club: Going Green, Hest and Amy Bates Jacqueline Resnick Louise Bonnett-Rampersaud, illustrated by »» Cloth Lullaby, Amy Novesky and Isabelle »» Firecracker, David Iserson Adam McHeffey Arsenault »» There Was an Old Mummy Who Swallowed a Erica Finkel, Associate Editor AMAZON Spider, Jennifer Ward, illustrated by Steve »» Fraidyzoo, Thyra Heder Amazon Publishing Gray »» The Bear Report, Thyra Heder 1350 Avenue of the Americas, 17th Floor »» Loud Lula, Katy S. Duffield, illustrated by »» In My Heart, Jo Witek and Christine New York, NY 10019 Mike Boldt Roussey 646-722-5100 »» Puppy and Bear: The First Day of School, »» Brobots, Sudipta Bardhan-Quallen and Larry Dane Brimner, illustrated by John Scott Campbell Bendall-Brunello 94 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » Elizabeth Van Doren, EditorialDirector 800-490-5111 or5700-253-1164 Honesdale, PA 18431 815 ChurchStreet BOYDS MILLSPRESS » » » » » » Director of EditorialOperations Mary LeeDonovan, EditorialDirector, » » » » » » Editorial Director, &Associate Publisher Elizabeth Bicknell,Executive VP, Executive 617-661-3330 Somerville, MA02144 99 DoverStreet CANDLEWICK PRESS » » » » » » » » » | BY EDITED » » » » » » » » » » » » » » » » » » » » » » Staub, illustrated byJeff Mack Time for EarthSchool, DeweyDew, Leslie illustrated by Angela Barrett The Night Fairy, Laura Amy Schlitz, Juan and Luca, Juana Medina Lavender, LeslyeWalton The Strange and BeautifulSorrows of Ava Journey; Quest;Return,Aaron Becker Rocco Jason CarterEaton,illustrated byJohn How toTrain aTrain; How toTrack aTruck, George O’Connor If IHad aRaptor;IfIHad aTriceratops, Boston Weatherford Spirit of the CivilRights Movement, Carole Voice of Freedom: Fannie LouHamer, the Crocodile, Laura Amy Schlitz The Hired Girl;Princess Cora and the Timmy Failure series, StephanPastis We Found aHat, Jon Klassen This Is Not My Hat; IWant My Hat Back; Herrera Imagine WhatYou CanDo,Juan Felipe M.T. Anderson Shostakovich and the Siege of Leningrad, Symphony for the Cityof the Dead:Dmitri Jack E.Davis Monster Goose, Judy Sierra, illustrated by illustrated byTerry Widener Lou Gehrig, the Luckiest Man, David Adler, Peek-A-Boo Kisses, Barney Saltzberg Mary, Bloody Mary, Carolyn Meyer illustrated byStephen Alcorn Let It Shine, Andrea DavisPinkney, Love, RubyLavender, Deborah Wiles Each LittleBird ThatSings, Deborah Wiles Johanna Wright series, Julie Sternberg, illustrated by The Top Secret Diary of Celie Valentine Heidi Stemple, illustrated byMelissa Sweet You Nest Here WithMe, Jane Yolen and

» » Hilary Van Dusen,Executive Editor » » » » » » » » » » Melissa Manlove, Editor 415-537-4200 San Francisco,CA94107 680 SecondStreet CHRONICLE BOOKS » » » » » » » » » » Andrea Tompa, SeniorEditor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Almost Astronauts, Tanya LeeStone The ImpossibleRescue, Martin Sandler Swan: the Life and Dance of Anna Pavlova, Rinker, illustrated byTom Lichtenheld Steam Train, Dream Train, Sherri Duskey illustrated byVladimirRadunsky On aBeamof Light, Jennifer Berne, Diane Goode Ninja Baby, David Zeltser, illustrated by illustrated byJohn Parra Marvelous Cornelius, PhilBildner, by Melissa Sweet Little RedWriting, Joan Holub, illustrated Christian Robinson Baker, Patricia HrubyPowell, illustrated by Josephine: the Dazzling Lifeof Josephine by Jeremy Tankard It’s aTiger, David LaRochelle, illustrated Underwood, illustrated byMeg Hunt Interstellar Cinderella, Deborah illustrated byMark Siegel How toReadaStory, Kate Messner, Magoon X: ANovel, IlyasahShabazzwithKekla Backyard, Annette LeBlanc Cate Look Up!:Bird-watching inYour Own Vittur Kennedy Ragweed’s FarmDogHandbook, Anne Personal Effects, E.M.Kokie Judith Robbins Rose Look BothWays inthe Barrio Blanco, The LittleSnowplow, Lora Koehler Ulysses, Kate DiCamillo The Illuminated Adventures of Flora & Girls Like Us, GailGiles Jesse Joshua Watson Ghetto Cowboy, G.Neri, illustrated by The BlackRabbit,PhilippaLeathers illustrated byBarryRoot Passing the Music Down,Sarah Sullivan, illustrated byDavid Slonim The DeerWatch, Pat LowryCollins, The Chance You Won’t Return,Annie Cardi Spotswood A Tyranny of Petticoats, editedbyJessica translated byGuyPuzey Adventures withWaffles, Maria Parr, Can We Help, George Ancona Beyond Magenta, SusanKuklin DISNEY-HYPERION New York, NY10011 114 FifthAvenue Global Children’s Books DISNEY BOOKGROUP » » » » » » » » » » Naomi Kirsten, SeniorEditor » » » » » » » » » » Rotem Moscovich, SeniorEditor » » » » » » » » » Publisher &EditorialDirector Stephanie Owens Lurie, Associate » » » » » » » » » » » » » » » » » » » » » » » » » » » » » The Land of Lines, Victor Hussenot Chris Edmundson Yeti, Turn Outthe Light!, Greg Long and Girl, Micah Player Lately Lily:The Adventures of aTraveling Bonjour Camille, FelipeCano Cat SaysMeow, Michael Arndt The Bear’sSurprise, BenjaminChaud The Bear’sSeaEscape, BenjaminChaud The Bear’sSong, BenjaminChaud School, Davide Cali A Funny Thing Happened onthe Way to Davide Cali I Didn’t DoMy Homework Because…, Laurel Snyder, illustrated byJulie Morstad The Doorby the Staircase, Katherine Marsh Hook’s Revenge, Heidi Schulz Smek for President, Adam Rex Boiger Alexandra Clover’s Luck, Kallie George, illustrated by The Magical Animal Adoption Agency: My Pen, Christopher Myers by Mark Fearing Tommy Can’tStop,TimFederle, illustrated To the Sea,CaleAtkinson illustrated byLondon Ladd Frederick’s Journey, Doreen Rappaport, illustrated byKevin Cornell Count the Monkeys, Mac Barnett, The Watermelon Seed, Greg Pizzoli Pennypacker, illustrated byMarla Frazee Waylon! One Awesome Thing, Sara A Listof Cages, RobinRoe Were-Hyena, Bruce Hale Monstertown Mystery: The Curseof the Monsters, Margaret Dilloway Momotaro: Xander and the Lost Island of Shadow Magic, Joshua Khan Munsinger Tammi Sauer, illustrated byLynn Ginny Louiseand the School Showdown, Shea Ballet Cat:The Totally Secret Secret, Bob Staircase, Jonathan Stroud Lockwood and Company: The Screaming Sword of Summer, Rick Riordan Magnus Chaseand the Godsof Asgard: The EDITED BY | 95

HARPERCOLLINS CHILDREN’S BOOKS Suzanne Young »» Spirit Hunters, Ellen Oh PREPARING & SUBMITTING 195 Broadway Erica Sussman, Editorial Director, »» The Ethan I Was Before, Ali Standish New York, NY 10017 HarperCollins Children’s Books »» Mars Evacuees, Sophia McDougall 212-207-7000 »» The Selection series, Kiera Cass »» Sweet Evil series, Wendy Higgins »» My Lady Jane, Cynthia Hand, Brodi Ashton, »» Skatefate, Juan Felipe Herrera Tara Weikum, VP, Editorial Director and Jodi Meadows Tamar Mays, Senior Editor »» Inside Out & Back Again, Thanhha Lai »» The Last Time We Say Goodbye, »» Shakespeare Retold, E. Nesbit, illustrated »» Say What You Will, Cammie McGovern Cynthia Hand by Antonio Caparo »» September Girls, Bennett Madison »» The Warriors series, Erin Hunter »» Christmas To Color, Mary Tanana »» Infinite In Between, Carolyn Mackler »» Storybound, Marissa Burt »» Rappy the Raptor Goes to School, »» Scavengers, Mike Perry »» Ferals, Jacob Grey Dan Gutman, illustrated by Tim Bowers MARKET SURVEYS »» Shatter Me, Tahereh Mafi »» Roxbury Park Dog Club, Daphne Maple »» The Clark the Shark series, Bruce Hale, »» I Am Number Four, Pittacus Lore David Linker, Executive Editor illustrated by Guy Francis »» Dorothy Must Die, Danielle Paige »» Bedtime for Chickies, Janee Trasler »» Ranger Rick I Can Read titles, Sandra »» After the End, Amy Plum »» There’s a Giraffe in My Soup, Ross Burach Markle »» Big Mouth & Ugly Girl, Joyce Carol Oates »» A Bed for Bear, Clive McFarland »» Let’s Read And Find Out Science titles, Nancy Inteli, Editorial Director, Early »» Alien in My Pocket: Blast Off, Nate Ball authors including D.J. Ward, Melissa Childhood »» Action Presidents: George Washington, Stewart, Carolyn DeCristofano, Kathy

»» Imaginary Fred, Eoin Colfer, illustrated by Fred van Lente and Ryan Dunleavy Zoehfeld and Sarah Thomson; illustrators DIRECTORIES & RESOURCES Oliver Jeffers »» Shivers: The Pirate Who Was Afraid of including Taia Morley, Eric Puybaret, »» Ella and Penguin Stick Together, Megan Everything, Annabeth Bondor-Stone and Mike Lowrey, and Amy Schimler-Safford Maynor, illustrated by Rosalinde Bonnet Connor White »» Gran on a Fan, Kevin Bolger and »» Punk Skunks, Trisha Speed Shaskan, »» Seven Wonders: The Colossus Rises, er Ben Hodson illustrated by Stephen Shaskan Lerangis Emilia Rhodes, Senior Editor »» The Dead Bird, Margaret Wise Brown, »» Lock & Key, Ridley Pearson »» Let’s Get Lost, Adi Alsaid illustrated by Greg Pizzoli »» This May Sound Crazy, Abigail Breslin »» Out of Reach, Carrie Arcos »» Tea with Oliver, Mika Song Kristen Pettit, Executive Editor »» The Zombie Chasers series, John Kloepfer, »» I Am a Story, Dan Yaccarino »» Thirteen Reasons Why, Jay Asher illustrated by Steve Wolfhard and David »» The Keeper: The Unguarded Story of Tim »» Red Queen, Victoria Aveyard DeGrand Howard, Tim Howard with Ali Benjamin »» Anatomy of a Misfit, Andrea Portes »» The Merciless, Danielle Vega

»» The Naughty List, Michael Fry and Bradley »» Magonia, Maria Dahvana Headley »» Reign of Shadows, Sophie Jordan PUBLICIZING YOUR PUBLISHED WORK Jackson »» What We Saw, Aaron Hartzler »» Queen of Hearts, Colleen Oakes Rosemary Brosnan, Editorial Director, »» Eleven and Holding, Mary Penney »» Ruined, Amy Tintera HarperTeen »» A Tale of Highly Unusual Magic, »» The Thousandth Floor, Katharine McGee »» Before I Fall, Lauren Oliver Lisa Papademetriou Andrew Harwell, Senior Editor »» Challenger Deep, Neal Shusterman »» Schizo, Nic Sheff »» Nimona, Noelle Stevenson »» Faking Normal, Courtney C. Stevens »» Emmy and Oliver, Robin Benway »» The Asylum series, Madeleine Roux »» Fortunately, The Milk, Neil Gaiman »» Positive, Paige Rawl and Ali Benjamin »» The My Weirdest School series, Dan Gutman »» The Graveyard Book Graphic Novel, Alexander Cooper, Senior Executive Editor »» The Blood Between Us, Zac Brewer Neil Gaiman, Adapted by P. Craig Russell »» The Distance Between Lost and Found, »» Frannie and Tru, Karen Hattrup »» Juba!, Walter Dean Myers Kathryn Holmes »» Swing Sideways, Nanci Turner Steveson »» Liesl & Po, Lauren Oliver »» The Forget-Me-Not Summer, Leila Howard »» Secrets of Valhalla, Jasmine Richards »» One Crazy Summer, Rita Williams-Garcia »» Things We Know By Heart, Jessi Kirby »» Almost Super, Marion Jensen »» Proof of Forever, Lexa Hillyer »» Hillary Rodham Clinton: Dreams Take »» The Jupiter Pirates series, Jason Fry

»» The Rest of Us Just Live Here, Patrick Ness Flight, Kathy Krull, illustrated by Amy June »» The Case File 13 series, J. Scott Savage SCHOOL VISITS »» A Tale of Two Castles, Gail Carson Levine Bates Jennifer Klonsky, Editorial Director, Teen »» Cut Both Ways, Carrie Mesrobian BALZER + BRAY & Tween »» The Boy and the Airplane, Mark Pett Alessandra Balzer, VP & Co-Publisher »» Honey, Baby, Sweetheart, Deb Caletti »» Kissing in America, Margo Rabb »» Shark Detective, Jessica Olien »» Wake, Lisa McMann Alyson Day, Senior Editor »» Louise Loves Art, Kelly Light »» Fade, Lisa McMann »» Enzo Races in the Rain!, Garth Stein, Hello, My Name is Octicorn, Kevin Diller LEGAL QUESTIONS »» Gone, Lisa McMann illustrated by Bob Alley and Justin Lowe »» The Program, Suzanne Young »» More Caps for Sale, Esphyr Slobodkina, »» Dumplin’, Julie Murphy »» Bittersweet, Sarah Ockler with Anne Marie Mulhearn Sayer »» 99 Days, Katie Cotugno »» Paperweight, Meg Haston »» Hamsters Don’t Fight Fires, Andrew Root, »» Fans of the Impossible Life, Kate Scelsa »» The Outliers, Kimberly McCreight illustrated by Jessica Olien »» The Miseducation of Cameron Post, Emily »» The Thousandth Floor, Katherine McGee »» The Fog Diver, Joel Ross Danforth »» Just Like Fate, Cat Patrick and »» Scarebaby, Clive Barker »» Ungifted, Gordon Korman 96 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » » » » Kristen DalyRens, Executive Editor » » » » » » Alexandra Arnold,Assistant Editor » » » » » » » » » » Martha Mihalick,SeniorEditor GREENWILLOW BOOKS » » » » » » » » » » Jordan Brown, SeniorEditor, Walden Pond » » | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Prisoner of Night and Fog,Anne Blankman Ten, Gretchen McNeil The Madman’s Daughter, Megan Shepherd Peterfreund For Darkness Shows the Stars, Diana Omega City, Diana Peterfreund Trophy, CrystalAllen How Lamar’s BadPrank Won aBubba-Sized by LeUyenPham Born To Lead, Michelle Markel, illustrated Hillary RodhamClinton: Some GirlsAre Bentley Little Penguin Getsthe Hiccups, Tadgh Warga My Heart and Other BlackHoles, Jasmine Jennifer Maschari The Remarkable Journey of Charlie Price, 16 Ways toBreak aHeart, Adina Bishop and Mindi Scott This Way BackTo You, Michelle Andreani Elan McVoy This isAllYour Fault,Cassie Parker, Terra Shallow Graves, Kali Wallace This Savage Song, Victoria Schwab Christine Heppermann Poisoned Apples: Poems for You, My Pretty, The Girlfrom Everywhere, Heidi Heilig One, Sarah Crossan Walk onEarthaStranger, RaeCarson Heppermann and Ron Koertge Backyard Witch:Sadie’s Story, Christine The Doldrums, Nicholas Gannon A Riddle inRuby, Kent Davis illustrated byRuthChan Thing inthe World, ColleenAFVenable, Mervin the SlothIs about toDothe Best Tap the Magic Tree, Christine Matheson Touching Snow, M.Sindy Felin Partials, DanWells The FourthStall,ChrisRylander Sidekicked, John David Anderson Podos The Mystery of Hollow Places, Rebecca A Trick of the Light, LoisMetzger illustrated byGrisGrimly Gris Grimly’sFrankenstein, Marry Shelley, Guy InRealLife, SteveBrezenoff Breadcrumbs, Anne Ursu Bone Gap,Laura Ruby Snow Like Ashes, Sara Raasch Symptoms of Being Human, Jeff Garvin » » » » » » New York, NY10017 425 MadisonAvenue HOLIDAY HOUSEBOOKSFORYOUNG PEOPLE » » » Sally Morgridge, Associate Editor » » » » » » » » » » » » » » » » » » Mary Cash,VP&Editor-in-Chief 212-688-0085 Margaret Raymo,SeniorExecutive Editor 617-351-5000 Boston, MA02116 222 Berkeley Street Boston Office FOR YOUNG READERS HOUGHTON MIFFLINHARCOURT BOOKS Grace Maccarone, Executive Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » and GothGirl, BarryLyga The Astonishing Adventures of FanBoy Dairy Queen,Catherine Murdock The Testing, Joelle Charbonneau Just Grace, ChariseMericle Harper Steve Jenkins What DoYou DoWithaTail Like This, The Crossover, Kwame Alexander Desert Dark,SonjaStone Clayton Stone, At Your Service, EnjaJones Carmella Van Vleet Eliza Bing Is (Not) aBig, FatQuitter, illustrated byMike Wohnoutka Hanukkah Bear, Eric A.Kimmell and Owl Boy, Brian Schatell Nicola Costa The LittleTree ThatWould Not Share, Look!, Ted Lewin Thumpy Feet,BetsyLewin A Bird Is aBird, LizzyRockwell Fun inthe Sun,David Catrow Dirty Gert,Tedd Arnold 3, 2,1Go,EmilyArnold McCully illustrated byEric Velasquez Ol’ Clip-Clop,Patricia C.McKissack, America, RussellFreedman Campaign for Voting Rights ThatChanged Because They Marched: The People’s illustrated byJames Ransome Jazz Band inHistory, LesaCline-Ransome, the Stage asthe FirstBlack-and-White Benny Goodman and Teddy Wilson:Taking Alan Schroeder, illustrated byJohn O’Brien Abe Lincoln: HisWitand Wisdom from A-Z, Civil Rights inMississippi,SusanRubin Freedom Summer: The 1964Strugglefor Giff Hunter Moran Digs Deep,Patricia Reilly Dee and Me, Amy Schwartz Hillenbrand Off We Go!ABearand Mole Story, Will Look and BeGrateful, Tomie dePaola

» Adah Nuchi,Associate Editor » » » » » » » » » Sarah Landis, SeniorEditor 212-420-5800 New York, NY10003 215 Park Avenue South New York Office » » » » » Jennifer B. Greene, Senior Editor » » » » » » » » » » Senior Executive Editor Anne Hoppe, VP, Associate Publisher, 212-420-5800 New York, NY10003 215 Park Avenue South CLARION BOOKS » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » The Question of Miracles, Elana K.Arnold Parallel, Lauren Miller Eve, Anna Carey The Taking, KimberlyDerting Tiger Lily, Jodi LynnAnderson The Distance BetweenUs, Kasie West Undertow, Michael Buckley With Malice, EileenCook We’ll Never BeApart,Emiko Jean Into the Dim,Janet B. Taylor Flash Burnout, L.K.Madigan Roskos Dr. Bird’s Advice for SadPoets, Evan Polkabats and OctopusSlacks, CalefBrown Son, LoisLowry Nana in the City, Lauren Castillo Ghost, KjartanPoskitt Agatha Parrot and the Odd Street School Hercufleas, SamGayton Mummy Cat,Marcus Ewert Tell the Wind and Fire, Sarah ReesBrennan Pink, LiliWilkinson Reger and Jessica Gruner Emily The Strange: The LostDays, Rob When IGrow Up,AlYankovic The Stray Dog,Marc Simont Applegate The One and OnlyIvan, Katherine Nation, Terry Pratchett A Death-Struck Year, Makiia Lucier Dear Life, You Suck, ScottBlagden Emily MacLachlan Charest, and Matt Phelan Little RobotAlone, Patricia MacLachlan, Davis Stuck withthe Blooz,Caron Levisand Jon Davis Small Blueand the DeepDarkNight, Jon Santoso Spy Guy, Jessica Young and Charles Robin Mellom Confessions From the Principal’s Kids, Far from Fair, Elana K.Arnold EDITED BY | 97

»» Tallulah’s Tutu and sequels, Marilyn Singer; Hoshino »» What We Found in the Sofa and How It PREPARING & SUBMITTING illustrated by Alexandra Boiger »» Twenty-two Cents: Muhammad Yunus and Saved the World, Henry Clark »» I Yam a Donkey, Cece Bell the Village Bank, Paula Yoo, illustrated by »» Glory O’Brien’s History of the Future, A.S. »» First Grade Dropout, Audrey Vernick; Jamel Akib King illustrated by Matthew Cordell »» Lend a Hand, John Frank, illustrated by »» The Drowned Cities, Paolo Bacigalupi »» Grumpasaurus, Edward Hemingway London Ladd »» Just Call My Name, Holly Goldberg Sloan »» Brothers at Bat: The Amazing True Story of »» Ira’s Shakespeare Dream, Glenda Armand, Farrin Jacobs, Editorial Director, Poppy Twelve Baseball, Audrey Vernick; illustrated illustrated by Floyd Cooper »» I Am Malala, Malala Yousafzai with Patricia by Steven Salerno »» The Story I’ll Tell, Nancy Tupper Ling, McCormick »» Fairy Spell: How Two Girls Convinced illustrated by Jessica Lanan »» Wildlife, Fiona Wood the World that Fairies Are Real, Marc »» A Morning with Grandpa, Sylvia Liu, »» Hello, Goodbye and Everything in MARKET SURVEYS Nobleman; illustrated by Eliza Wheeler illustrated by Christina Forshay Between, Jennifer E. Smith »» Water Balloon, Audrey Vernick »» Rainbow Weaver, Linda Marshall, »» Those Girls, Lauren Saft »» Marked, Laura Williams McCaffrey illustrated by Elisa Chavarri »» Jellicoe Road, Melina Marchetta »» Frida & Diego: Art, Love, Life, Catherine »» The Crane Girl, Curtis Manley, illustrated by Lisa Yoskowitz, Executive Editor Reef Lin Wong »» Bad Luck, Pseudonymous Bosch Lynne Polvino, Editor »» Midnight Teacher, Janet Halfmann, »» The Odd Squad series, Michael Fry »» Jimi: Sounds Like a Rainbow, A Story illustrated by London Ladd »» Gracefully Grayson, Ami Polonsky

of the Young Jimi Hendrix, Gary Golio; Stacy Whitman, Publisher, Tu Books »» The Adventurer’s Guide to Successful DIRECTORIES & RESOURCES illustrated by Javaka Steptoe »» Killer of Enemies series, Joseph Bruchac Escapes, Wade Albert White »» Swallow the Leader: A Counting Book, »» Summer of the Mariposas, Guadalupe »» The Enchanter Heir, Cinda Williams Chima Danna Smith; illustrated by Kevin Sherry Garcia McCall »» The Loose Ends List, Carrie Firestone »» Five Little Monkeys Trick-or-Treat, Eileen »» Ink and Ashes, Valynne Maetani »» Girl in the Blue Coat, Monica Hesse Christelow »» Perfect Liars, Kimberly Reid »» Far From You, Tess Sharpe »» Tales for Very Picky Eaters, Josh Schneider »» Cat Girl’s Day Off, Kimberley Pauley »» Time Between Us, Tamara Ireland Stone »» The Carver Chronicles series, Karen English, »» The Monster in the Mudball, S.P. Gates »» Every Last Word, Tamara Ireland Stone illustrated by Laura Freeman »» Diverse Energies, ed. Tobias Buckell & Pam Gruber, Senior Editor »» Greenglass House, Kate Milford Joe Monti »» VIP: I’m With the Band, Jen Calonita, »» It Ain’t So Awful, Falafel, Firoozeh Dumas »» Hammer of Witches, Shana Mlawski illustrated by Kristen Gudsnuk »» Hoodoo, Ronald L. Smith »» Vodnik, Bryce Moore »» Not If I See You First, Eric Lindstrom

»» Mechanica, Betsy Cornwell »» Tankborn series, Karen Sandler »» The New Guy (and Other Senior Year PUBLICIZING YOUR PUBLISHED WORK »» Black River Falls, Jeff Hirsch Distractions), Amy Spalding LITTLE, BROWN BOOKS FOR YOUNG READERS »» The Witch Hunter, Virginia Boecker LEE & LOW BOOKS 237 Park Avenue »» Illusive, Emily Lloyd-Jones 95 Madison Avenue, Suite #1205 New York, NY 10017 »» Diamond Boy, Michael Williams New York, NY 10016 212-364-1100 Jenny Bak, Editor 212-779-4400 »» The Maximum Ride series, James Patterson Alvina Ling, VP, Editor-in-Chief, LBBYR »» The Middle School series, James Patterson Louise May, VP & Editorial Director »» The Diviners, Libba Bray and Chris Tebbetts, illustrated by Laura »» Parrots Over Puerto Rico, Susan L. Roth »» I Hunt Killers, Barry Lyga, Park and Cindy Trumbore »» Daughters of Smoke & Bone, Laini Taylor »» Jacky HA-HA, James Patterson and Chris »» Little Melba and Her Big Trombone, »» Forgive Me, Leonard Peacock, Matthew Grabenstein, illustrated by Kerascoët Katheryn Russell-Brown Quick »» Word of Mouse, James Patterson and Chris »» Maya’s Blanket/La Manta de Maya, Monica »» Where the Mountain Meets the Moon, Grabenstein, illustrated by Joe Sutphin

Brown Grace Lin »» Sci-Fi Junior High, Scott Seegert, SCHOOL VISITS »» Water Rolls, Water Rises/El Agua Rueda, El »» The Land of Stories, Chris Colfer illustrated by John Martin Agua Sube, Pat Mora »» The Truth About Twinkie Pie, Kat Yeh »» It Jes’ Happened, Don Tate »» Wolfie The Bunny, Ame Dyckman MACMILLAN CHILDREN’S PUBLISHING GROUP »» Poems in the Attic, Nikki Grimes »» The Curious Garden, Peter Brown 175 Fifth Avenue »» Rainbow Stew, Cathryn Falwell »» Knock Knock, Daniel Beaty New York, NY 10010 »» Sunday Shopping, Sally Derby Andrea Spooner, VP, Editorial Director, 646-307-5151 LEGAL QUESTIONS »» Dreaming Up, Christy Hale LBBYR »» ¡Olinguito, De La A A La Z!/Olinguito from »» The Lion and the Mouse, Jerry Pinkney CHRISTY OTTAVIANO BOOKS A to Z!, Lulu Delacre »» Me . . . Jane, Patrick McDonnell Christy Ottaviano, Publisher Jessica Echeverria, Editor »» Dinotrux, Chris Gall »» Cloudette, Tom Lichtenheld »» The Hula-Hoopin’ Queen, Thelma Godin, »» The Thing about Jellyfish, Ali Benjamin »» Same, Same, but Different, Jenny Sue illustrated by Vanessa Brantley-Newton »» The Tapper Twins Go To War (With Each Kostecki-Shaw »» Juna’s Jar, Jane Bahk, illustrated by Felicia Other), Geoff Rodkey »» The Scrambled States of America, Laurie 98 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | BY EDITED » » » » » » » » » » Joy Peskin, VP&EditorialDirector YOUNG READERS FARRAR, STRAUS &GIROUXBOOKSFOR » » » » » » » » » » » Holly West, Associate Editor » » » » » » » » Liz Szabla,Editor-in-Chief » » » » » » » » » » Lauren Scobell,Director, Swoon Reads FEIWEL ANDFRIENDS/SWOON READS » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Where You’ll Find Me, Natasha Friend A Unicorn Named Sparkle, Amy Young Underwater, Marisa Reichardt Rules for 50/50Chances, Kate McGovern The Riverman Trilogy Jen White Survival Strategies of the Almost Brave, Freakboy, KristinElizabethClark Little Humans, Brandon Stanton This Song WillSaveYour Life, LeilaSales Love Letterstothe Dead, Ava Dellaira Girl, Stolen,AprilHenry Book Scavenger, Jennifer Bertman Masterpiece, EliseBroach Kimberly WillisHolt When Zachary BeaverCame toTown, Jake Tashjian My LifeasaBook,Janet Tashjian, ill.by Bowling AlleyBandit, Laurie Keller The Adventures of Arnie the Doughnut: Stone, ill.byMarjorie Priceman Who Said Women Can’tBeDoctors, Tanya Keller Buckle and Squash: The Perilous Princess Monument 14,Emmy Laybourne My Big FatZombie Goldfish, Mo O’Hara School for Sidekicks, Kelly McCullough Shutter, Courtney Alameda The F-It List,Julie Halpern Cinder, Marissa Meyer Behind the Canvas, Alexander Vance Rain Reign, AnnM.Martin Bystander, James Preller Shane W. Evans Mixed Me!, Taye Diggs, illustrated by illustrated byStevenHenry It’s Raining Batsand Frogs, RebeccaColby, Finding You, Lydia Albano Meg &Linus, Hanna Nowinski Love, Lies &Spies, Cindy Anstey No LoveAllowed, Kate Evangelista Cozzo How toKeep Rolling AfteraFall,Karole You Don’tKnow My Name, KristenOrlando All the Feels, Danika Stone Kiss Cam,Kiara London Zekas These Vicious Masks, Tarun Shanker &Kelly A LittleSomething Different, Sandy Hall » » » » » » » » » » » Sally Doherty, Executive Editor HENRY HOLT BOOKSFORYOUNG READERS » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » A LittleSomething Different, Sandy Hall The Ministryof S.U.I.T.s, Paul Gamble Plot, Sarah Courtauld Ada’s Violin: The Storyof the Recycled It Came inthe Mail, BenClanton by Eric Fan The Night Gardener, Terry Fan;illustrated Christian Trimmer, Executive Editor Blizzard of Glass, SallyM.Walker illustrated byLeUyenPham Bo atBallard Creek, Kirkpatrick Hill, Jonathan D.Voss Winnie, SallyM.Walker, illustrated by by TimZeltner Little Boo,Stephen Wunderli, illustrated Wonder Horse, EmilyArnold McCully Eugene Yelchin Won Ton, LeeWardlaw, illustrated by Lovato Staying Strong: 365DaysaYear, Demi Finding Bigfoot, Animal Planet Jenn Bennett The Anatomical Shapeof aHeart, Goldfish, Nat Luurtsema Boys Don’tKnit,T.S. Easton Ladybirds series), Jenny McLachlan Flirty Dancing and LoveBomb(The The Mighty Dynamo, Kieran Crowley O’Dowd and Nick V. Murphy Moone Boy:The Blunder Years, Chris How toFind aFox, NilahMagruder Little Bird’s BadWord, Jacob Grant Anna Roberto,Associate Editor All the Feels, Danika Stone No LoveAllowed, Kate Evangelista Kelly Zekas These Vicious Masks, Tarun Shanker and Kimberly Karalius Love Fortunes and Other Disasters, McKay Heidicker Cure for the Common Universe, Christian Daniel Kraus The Deathand Lifeof Zebulon Finch, Lock &Mori, Heather W. Petty In aWorld JustRight, Jen Brooks We AllLooked Up, Tommy Wallach illustrated byDustyHiggins Attack of the Alien Horde, RobertVenditti; by Amy June Bates Red Butterfly, A.L.Sonnichsen; illustrated illustrated bySallyWern Comport Orchestra of Paraguay, SusanHood;

» » » » » » » Connie Hsu,SeniorEditor ROARING BROOKPRESS » » » » » » Erin Stein,Publisher IMPRINT » » » » » Editorial Director Namrata Tripathi, Associate Publisher& DIAL BFYR 212-366-2000 New York, NY10014 345 HudsonStreet PENGUIN YOUNG READERSGROUP » » » » » » » » » Teen Melissa Frain, SeniorEditor, Tor/Forge, Tor TOR BOOKS » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Patrick Griffin’s LastBreakfast on Ask My Mood Ring How I Feel,Diana Lopez illustrated byAngela Dominguez Marta! Big &Small, Jen Arena and Where’s the Party?, RuthChan illustrated byElizaWheeler Wherever You Go,Pat Zietlow Millerand Lichtenheld This isaMoose, Richard Morris and Tom Unimaginary Friend, DanSantat The Adventures of Beekle:The The Fix-It Friends, Nicole Kear The Wicker Throne, Kayla Ancrum The Ones, Daniel Sweren-Becker The LovelyReckless, Kami Garcia Tomo, Trevor Lai and Illustrated byRobbiBehr Babies RuinEverything, Matthew Swanson illustrated by Lane Smith Lulu and the Brontosaurus, Judith Viorst, Poor LittleGuy, Elanna Allen illustrated byLeslie Staub Mama’s Nightingale, Edwidge Danticat, Christian Robinson Gaston, Kelly DiPucchio, illustrated by Hug Machine, ScottCampbell The Rains, Gregg Hurwitz Vicarious, Paula Stokes Nightstruck, Jenna Black Seriously Wicked, Tina Connolly Flying, Carrie Jones The LastHarvest, KimLiggett Article 5,KristenSimmons Anna Dressed inBlood, Kendare Blake Riders, Veronica Rossi Hapgood The Square Rootof Summer, Harriet Reuter Saving Montgomery Sole, Mariko Tamaki Bright Lights, DarkNights, Stephen Emond Earth, Ned Rust EDITED BY | 99

»» Circus Mirandus, Cassie Beasley GROSSET & DUNLAP/PSS! »» The Baby Tree, Sophie Blackall PREPARING & SUBMITTING »» Full Cicada Moon, Marilyn Nelson Ever Adler, Editor »» Little Poems for Tiny Ears, Lin Oliver; art »» Where Things Come Back, John Corey »» Hello, World: Paris, A Book of Shapes, by Tomie de Paola Whaley Ashley Evanson »» Looking at Lincoln, Maira Kalman »» Highly Illogical Behavior, John Corey »» Phoebe G. Green, Veera Hiranandani »» Maple, Lori Nichols Whaley »» Monstrous Fun: A Doodle & Activity Book, »» Miss Maple’s Seeds, Eliza Wheeler »» Thieving Weasels, Billy Taylor by Travis Nichols »» Little Dog Lost, Monica Carnesi Jessica Garrison, Senior Editor »» Night-Night, Forest Friends, Annie Bach »» Tad and Dad, David Ezra Stein »» Wink Poppy Midnight, April Genevieve »» What Am I?: Frog & Friends, Joyce Wan Arianne Lewin, Executive Director Tucholke »» The 5th Wave Series »» I’ll Give You the Sun, Jandy Nelson KATHY DAWSON BOOKS »» Juniors, Kaui Hart Hemmings MARKET SURVEYS »» My Life Next Door, Huntley Fitzpatrick Kathy Dawson, VP & Publisher »» Nightfall, Jake Halpern and Peter »» Love and Other Foreign Words, Erin »» Trouble is a Friend of Mine, Stephanie Kujawinski McCahan Tromly »» Blood and Salt, Kim Liggett »» The Wrong Side of Right, Jenn Marie »» The Accident Season, Moїra Fowley-Doyle »» The Rebel Belle Series, Rachel Hawkins Thorne »» Pieces of Why, K.L. Going »» Pointe, Brandy Colbert »» The Books of Elsewhere, Jacqueline West »» Three Times Lucky, Sheila Turnage »» Dreamwood, Heather Mackey »» The War that Saved My Life, Kimberly »» Where Futures End, Parker Peevyhouse »» The Wrong Side of the Bed, Lisa Bakos and

Brubaker Bradley »» Rocks Fall, Everyone Dies, Lindsay Ribar illustrated by Anna Raff DIRECTORIES & RESOURCES »» The Forgetful Knight, Michelle Robinson, Stacey Barney, Senior Editor illustrated by Fred Blunt PHILOMEL BOOKS »» Firebird, Misty Copeland »» Here Comes Santa Cat; Here Comes Jill Santopolo, Executive Editor »» The Wrath and the Dawn, Renée Ahdieh Valentine Cat etc., Deborah Underwood, »» A Tangle of Knots, Lisa Graff »» Silent Alarm, Jennifer Banash illustrated by Claudia Rueda »» The Wild Ones, Alex London »» Original Fake, Kristin Cronn-Mills and E. »» All of Baby, Nose to Toes, Victoria Adler, »» A Tiny Piece of Sky, Shawn K. Stout Eero Johnson illustrated by Hiroe Nakata »» Invisibility, Andrea Cremer and David »» Golden Boy, Tara Sullivan Kate Harrison, Senior Editor Levithan »» The Lions of Little Rock, Kristine Levine »» I Won a What?, Audrey Vernick; illustrated »» The Secret Sky, Atia Abawi »» The Secret Hum of a Daisy, Tracy Holczer by Robert Neubecker »» Fell of Dark, Patrick Downes »» Unlocking the Truth: Three Brooklyn Teens »» Pink is for Blobfish, by Jess Keating; »» It’s Your World: Get Informed, Get Inspired of Life, Friendship, and Making the Band,

illustrated by David DeGrand & Get Going!, Chelsea Clinton with Charisse Jones PUBLICIZING YOUR PUBLISHED WORK »» Rump: The True Story of Rumpelstiltskin, »» Peanut Butter & Cupcake!, written and »» Counting Thyme, Melanie Conklin Liesl Shurtliff illustrated by Terry Border »» Ask Elizabeth, Elizabeth Berkely »» The Goblin’s Puzzle: Being the Adventures »» Little Cub, Olivier Dunrea of a Boy with No Name and Two Girls »» A Dance Like Starlight, Kristen Dempsey, VIKING CHILDREN’S PUBLISHING Called Alice, Andrew S. Chilton illustrated by Floyd Cooper Kendra Levin, Senior Editor »» A Boy Called Christmas by Matt Haig, with »» Yellow Copter, Kersten Hamilton, illus. by illustrations by Chris Mould G.P. PUTNAM’S SONS Valeria Petrone »» Love and Other Perishable Items, Jennifer Besser, VP & Publisher »» By Mouse and Frog, Deborah Freedman Laura Buzo »» Percy Jackson and the Olympians, Rick »» Max Helsing and the Thirteenth Curse, »» The Tyrant’s Daughter, J.C. Carleson Riordan Curtis Jobling »» This Is The Part Where You Laugh, »» Legend, Marie Lu »» My Brother is a Superhero, David Solomons Peter Brown Hoffmeister »» Conversion, Katherine Howe »» The Charmed Children of Rookskill Castle, »» A Song to Take the World Apart, »» Last Stop on Market Street, Matt de la Janet Fox

Zan Romanoff Pena, illustrated by Christian Robinson »» All the Truth That’s in Me, Julie Berry SCHOOL VISITS Andrew Karre, Executive Editor »» The Apothecary, Maile Meloy »» Man Made Boy, Jon Skovron »» Sex & Violence, Carrie Mesrobian »» The Trilogy of Two, Juman Malouf »» Blythewood, Carol Goodman »» The Freak Observer, Blythe Woolston »» Max and Marla, Alexandra Boiger »» Starbird Murphy and the World Outside, »» The Story of Owen, E.K. Johnston »» The Insomniacs, Karina Wolf Karen Finneyfrock »» No Crystal Stair, Vaunda Micheaux Nelson »» Blue Bloods, Melissa de la Cruz »» Rebel of the Sands, Alwyn Hamilton »» Lament, Maggie Stiefvater »» Pennyroyal Academy, M.A. Larson LEGAL QUESTIONS »» The Dust of 100 Dogs, A.S. King Joanna Cardenas, Associate Editor »» Brooklyn, Burning, Steve Brezenoff NANCY PAULSEN BOOKS »» Snappsy the Alligator (Did Not Ask to Be »» 4th Down and Inches, Carla Killough Nancy Paulsen, President & Publisher in This Book!), Julie Falatko, illustrated by McClafferty »» Brown Girl Dreaming, Jacqueline Woodson Tim Miller »» The Bunker Diary (U.S. Edition), »» Fish in a Tree, Lynda Mullaly Hunt »» Archie the Daredevil Penguin, Andy Rash Kevin Brooks »» The Blossoming Universe of Violet »» ’Twas Nochebuena, Roseanne Greenfield »» The Sin Eater’s Confession, Ilsa J. Bick Diamond, Brenda Woods Thong, illustrated by Sara Palacios 100 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » Erin Clarke, Executive Editor » » » » » » » » » » Nancy Siscoe, Senior Executive Editor » » » » » » » » » » Phoebe Yeh, VP&Publisher ALFRED A.KNOPF 212-782-9000 New York, NY10019 1745 Broadway RANDOM HOUSECHILDREN’SBOOKS » » » » » » | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » Wonder, R.J.Palacio The BookThief, Markus Zusak Julia Vanishes, Catherine Egan Denton Little’sDeathdate, Lance Rubin Skink—No Surrender, CarlHiaasen Draanen The Sammy Keyes mysteries, Wendelin Van Poultry Farmer, Kelly Jones Unusual Chickens for the Exceptional Cynthia Voigt Mister Max: The Bookof LostThings, Pearsall The Seventh Most Important Thing, Shelley Quackers, LizWong Emberley Barbara Bottner, illustrated byMichael Miss Brooks LovesBooks(and Idon’t), Sarcone-Roach The BearAte Your Sandwich, Julia Dear Martin, Nic Stone Reeve’s End, Kelly Armstrong Humans, Laurence Yep and Joanne Ryder A Dragon’s Guide tothe Care &Feeding of Ellen Oh Tim Tingle, Jacqueline Woodson; editedby Grace Lin,Meg Medina, Walter DeanMyers, Chainani, Matt de laPena, TimFederle, Sherman Alexie, Kelly Baptist,Soman Stories for Allof Us, Kwame Alexander, Silverworld, Diana AbuJaber Dead Boy, Laurel Gale The Wizard’s Dog,Eric Kahn Gale Lucy &Andy Neaderthal, Jeffrey Brown Anders Frostborn (Thrones &Bones series), Lou illustrated byGusGordon The CatawumpusCat,Jason CarterEaton; McAndrew Brawny, Aaron Reynolds, illustrated byPhil Caveboy Dave:More Scrawny Than Cartaya The Epic Failof Arturo Zamora, Pablo Will Mabbitt, illustrated byRossCollins The Unlikely Adventures of Mabel Jones, Me and Miranda Mullaly, Jake Gerhardt Nope, Drew Sheneman illustrated byCorey R.Tabor A Dark,DarkCave, Eric Hoffman,

» » » » » » » » » » » Krista Marino,SeniorExecutive Editor » » » » » » » » » » Wendy Loggia,SeniorExecutive Editor DELACORTE PRESSBFYR » » » » » » » » » » Allison Wortche, SeniorEditor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Seeker, Arwen ElysDayton The GirlatMidnight, Melissa Grey Places No One Knows, Brenna Yovanoff Michael Scott of the Immortal Nicholas Flamel series), The Alchemest (and the completeSecrets Hunted, Matt de laPena Mexican WhiteBoy;The Living, The The Mark of the Dragonfly, Jaleigh Johnson These ShallowGraves, Jennifer Donnelly The Darkest Corners, Kara Thomas Nightmares!, Jason Segel &KirstenMiller series), Brandon Sanderson Steelheart (and the completeReckoners The Maze Runner series, James Dashner Everything, Everything, Nicola Yoon And IDarken, Kiersten White Project UnPopular, KristenTracy Mary ElizabethSummer Trust Me, I’mLying, I Woke UpDeadatthe Mall, Judy Sheehan The Trouble WithDestiny, Lauren Morrill Save Me, Kurt Cobain,Jenny Manzer Dead GirlsSociety, Michelle Krys The Fallenseries, Lauren Kate Look BothWays, AlisonCherry Graffiti Moon, CathCrowley All the Bright Places, Jennifer Niven The Great Trouble, Deborah Hopkinson One Came Home, Amy Timberlake Anne Frank’s Window, Jeff Gottesfeld The Tree inthe Courtyard: Looking Through Barb Rosenstock Sounds of Kandinsky’s Abstract Art, The Noisy Paint Box: The Colorsand Horace Pippin,Jen Bryant A Splashof Red:The Lifeand Artof Ninja Bunny, Jennifer Gray Olson A Bookof Sleep,IlSung Na How toBabysitaGrandpa, Jean Reagan illustrated byMatt Hunt Lady Liberty’sHoliday, Jen Arena, Anna Alter The Sprout Street Neighbors series, Mare’s War, Tanita S.Davis Show and Prove, SofiaQuintero illustrated byJane Massey Eat, Sleep,Poop, Alexandra Penfold, Karen Foxlee Ophelia and the Marvelous Boy, Kate Hattemer The Vigilante Poets of SelwynAcademy, Taking Flight, Michaela DePrince

» » » » » Director Michelle H.Nagler, Associate Publishing RANDOM HOUSE/GOLDENBOOKSYRG » » » » » » » Kate Sullivan, SeniorEditor » » Books Marina Modugno,EditorialDirector, Picture » » » » » » » » » » Director Frances Gilbert,Associate Publishing » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Wednesdays inthe Tower, Jessica Day Holm, Jarrett Krosoczka, etal. Comics Squad II,Jennifer Holm, Matt others The Voyagers series, D.J.MacHale and Brigette Barrager Louise Trapeze, Micol Ostow, illustrated by Puppy Pirates, ErinSoderberg and Lucy Ivison A Totally Awkward LoveStory, Tom Ellen Burning Midnight, WillMcIntosh Rapture Practice, Aaron Hartzler Etiquette &Espionage, GailCarriger Carrie Ryan The Map toEverywhere, JPDavisand Kody Keplinger The DUFF(Designated UglyFatFriend), Ash, Malinda Lo Heart, Sara Gillingham How toGrow aFriend and How toMend a illustrated byStevenKellogg Snowflakes Fall, Patricia Maclachlan, Prince; illustrated byMacky Pamintuan I SawanAnt onaRailroad Track, Josh Dan Santat Chicken Dance, Tammi Sauer;illustrated by illustrated byKristiValiant Pretty Minnie inParis, Danielle Steel; by Michael Fleming 10 BusyBrooms, Carole Gerber;illustrated illustrated byTatjana Mai-Wyss Bunny’s BookClub, Annie Silvestro; by Christine Devanier Amanda Peet and Andrea Troyer; illustrated Dear Santa, LoveRachel Rosenstein, illustrated byVirginia Allyn Mother Goose’sPajama Party, Danna Smith; by PriscillaBurris Mom School, RebeccaVan Slyke; illustrated Wessels; illustrated byTimBowers Pirate’s Lullaby:Mutiny atBedtime, Marcie illustrated byMike Boldt I Don’tWant toBe aFrog, DevPetty; The Need series, Carrie Jones Our Children CanSoar, Michelle Cook,etal Finding Family, byTonya Bolden Margolis The Maggie Brooklyn Mysteries byLeslie George EDITED BY | 101

»» Mission: New Baby, Susan Hood, illustrated Arthur A. Levine »» Polar Bear Morning, Lauren Thompson, PREPARING & SUBMITTING by Mary Lundquist »» A Tangle of Gold, Jaclyn Moriarty illustrated by Stephen Savage »» There Was an Old Dragon Who Swallowed »» The Game of Love and Death, Martha »» Where’s Walrus?, Stephen Savage a Knight, Penny Parker Klosterman, Brockenbrough »» Where’s Walrus? And Penguin?, Stephen illustrated by Ben Mantle »» The Kidney Hypothetical, Lisa Yee Savage »» Uni the Unicorn, Amy Krouse Rosenthal, »» Rules of Summer, Shaun Tan »» Fish, Greg Mone illustrated by Brigette Barrager »» Cleonardo: The Little Inventor, Mary »» Space Dumplins, Craig Thompson Diane Muldrow, Editorial Director Grandpre »» Zen Shorts, Jon J Muth »» Bringing the Outside In, Mary McKenna »» Unidentified Suburban Object, Mike Jung »» The Three Questions, Jon J Muth Siddals, illustrated by Patrice Barton »» The Summer Prince, Alaya Dawn Johnson »» The Lost Boy, Greg Ruth »» Shivery Shades of Halloween: A Spooky »» Love, Santa, Martha Brockenbrough, »» The Dumbest Idea Ever, Jimmy Gownley MARKET SURVEYS Book of Colors, Mary McKenna Siddals, illustrated by Lee White Cassandra Pelham, Senior Editor illustrated by Jimmy Pickering »» Welcome to My Neighborhood: A Barrio »» Smile, Raina Telgemeier »» My Pet Book, Bob Staake ABC, Quira Hudes, illustrated by Shino »» Drama, Raina Telgemeier »» The Noisy Garage, Dennis Shealy, Arihara »» Sisters, Raina Telgemeier illustrated by Mike Yamada »» The Letter Q: Queer Writers’ Notes to Their »» Ghosts, Raina Telgemeier »» Puppy Princess, Sue Fliess, illustrated by Younger Selves, edited by Sarah Moon and »» The Amulet Series, Kazu Kibuishi Steven Salerno James Lecesne »» The Cleopatra in Space series, Mike

»» I’m a Bulldozer, Dennis Shealy, illustrated Cheryl Klein, Executive Editor Maihack DIRECTORIES & RESOURCES by Bob Staake »» Openly Straight by Bill Konigsberg »» The BONE series, Jeff Smith »» Football With Dad, Frank Berrios, »» The Great Greene Heist, Varian Johnson »» The Clem Hetherington series, Jen Breach illustrated by Brian Biggs »» Grounded: The Adventures of Rapunzel, and Douglas Holgate Chelsea Eberly, Associate Editor Megan Morrison »» Twerp, Mark Goldblatt »» The Best Friend Battle, Lindsay Eyre SCHOLASTIC PRESS »» Damage Done, Amanda Panitch »» Shadowshaper, Daniel José Older Ken Geist, VP & Editorial Director, »» Astray, Amy Christine Parker »» The Princess and the Pony, Kate Beaton Scholastic Press »» Dualed, Elsie Chapman »» What’s New? The Zoo!: A Zippy History »» An Animal Alphabet, Elisha Cooper »» Up to This Pointe, Jennifer Longo of Zoos, Kathleen Krull, illustrated by »» Train, Elisha Cooper »» A Shadow Bright and Burning, Jessica Marcellus Hall »» Hey, Seymour!, Walter Wick Cluess »» The Memory of Light, Francisco X. Stork »» Giraffes Can’t Dance, Giles Andreae and

»» Words on Bathroom Walls, Julia Walton »» Words in the Dust, Trent Reedy Guy Parker-Rees PUBLICIZING YOUR PUBLISHED WORK »» Srsly Hamlet, William Shakespeare and »» The Nazi Hunters: How a Team of Spies »» Please, Mr. Panda, Steve Antony Courtney Carbone and Survivors Captured the World’s Most »» The Three Little Pigs and the Somewhat »» The Amazing Book Is Not on Fire, Dan Notorious Nazi, Neal Bascomb Bad Wolf, Mark Teague Howell and Phil Lester »» I Love You Through and Through, CARTWHEEL BOOKS Caroline Jayne Church SCHWARTZ AND WADE BOOKS Orli Zuravicky, Senior Editor, Cartwheel Rachel Griffiths, Editorial Director, Lee Wade, VP & Publisher Books and Scholastic Press Multiplatform Publishing »» A Ball for Daisy, Chris Raschka »» If You’re a Robot and You Know It: Musical »» It’s All Your Fault, Paul Rudnick »» How Rocket Learned to Read, Tad Hills Robot, illustrated and engineered by »» The Finisher, David Baldacci »» Duck & Goose, Tad Hills David A. Carter »» The Maze of Bones, Rick Riordan »» Bluebird, Bob Staake »» Five Stinky Socks, Jim Benton »» Loot, Jude Watson »» How Many Seeds in a Pumpkin, Margaret »» What’s in My Truck?, Linda Bleck »» Woof, Spencer Quinn McNamara and illustrated by G. Brian Karas »» Pepper & Poe, Frann Preston-Gannon »» Wolves of the Beyond #1: Lone Wolf,

»» Here is the Baby, Polly Kavevsky and »» ABC School’s for Me!, Susan B. Katz, Kathryn Lasky SCHOOL VISITS illustrated by Taeeun Yoo illustrated by Lynn Munsinger »» The Romeo and Juliet Code, »» Rosie Goes to Preschool, Karen Katz »» You Can Do It, Stinky Face!, Lisa McCourt, Phoebe Stone »» Little Penguins Snow Day, Cynthia Rylant illustrated by Cyd Moore »» Sidekicks, Dan Santat and illustrated by Christian Robinson »» How to Dress a Dragon, Thelma Godin, »» My Invisible Boyfriend, Susie Day »» I Love my Hair doodle and coloring book, illustrated by Eric Barclay »» Medusa Jones, Ross Collins Andrea Pippins »» Bedtime Blastoff!, Luke Reynolds, Tracy Mack, Executive Editor LEGAL QUESTIONS »» Douglas, You Need Glasses!, Ged Adamson illustrated by Mike Yamada »» Echo, Pam Muñoz Ryan »» Esperanza Rising, Pam Muñoz Ryan SCHOLASTIC TRADE GRAPHIX »» The Marvels, Brian Selznick 557 Broadway David Saylor, VP, Creative Director, & »» The Invention of Hugo Cabret, New York, NY 10012 Editorial Director Brian Selznick 212-343-6100 »» Polar Bear Night, Lauren Thompson, »» All the Broken Pieces, Ann E. Burg ARTHUR A. LEVINE BOOKS illustrated by Stephen Savage »» The Lost Track of Time, Paige Britt, 102 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » Katie Carella, SeniorEditor » » » » » » » » » » Licensing/Nonfiction/Readers Jenne Abramowitz, SeniorEditor, » » » » » » » » Paperbacks Aimee Friedman,Executive Editor, Trade » » » » » » » » » » » » » » » Amanda Maciel,Executive Editor » » » » Lisa Sandell,Executive Editor | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Eerie Elementary #1:The School isAlive, Z. Jones #1: Moldylocks and the Three Beards, Noah Princess Pinkand the Land of Fake-Believe Balloon Goons, Troy Cummings The Notebook of Doom#1:Riseof the Boris onthe Move, Andrew Joyner Robert Neubecker Tales of the Time Dragon, The DollGraveyard, LoisRuby Petlandia, Peter Hannan The BadGuys, Aaron Blabey Key Hunters, Eric Luper The World From UpHere, Cecilia Galante Race the Wild, KristinEarhart Starring Jules, BethAin The Yeti Files, Kevin Sherry Cake Pop Crush,Suzanne Nelson PS ILike You, Kasie West Prisoner B-3087,AlanGratz Katie Alender The DeadGirlsof Hysteria Hall, Luanne Rice The Secret Language of Sisters, Can’t LookAway, Donna Kooner Skinny, Donna Cooner The WhateverAfterseries, Sarah Mylnowski Wendy Wan-Long Shang The Great Wall of Lucy Wu, A Night Divided, Jennifer A.Nielsen The FalsePrince, Jennifer A.Nielsen Saving Wonder, Mary Knight Icefall, Matthew J.Kirby Untwine, Edwidge Danticat Rook, Sharon Cameron Pet Trouble series, T.T. Sutherland Charmed Lifeseries, LisaSchroeder Suzanne Williams Grimmtastic Girlsseries, Joan Holub and The Serious Kiss, Mary Hogan Border Town series, Malin Alegria Emma Is Onthe Airseries, Ida Siegal My Secret Guide toParis, LisaSchroeder Wings of Fire series, Tui T. Sutherland illustrated byEdwin Fotheringham What To DoAboutAlice?, Barbara Kerley, illustrated byLaura Huliska-Beith The RecessQueen,Alexis O’Neill, Grumpy Bird, Jeremy Tankard Ice Cream Summer, Peter Sis illustrated byLeeWhite

» » » » Celia Lee, Associate Editor » » » » » » » » Erin Black,Associate Editor » » » » » » Emily Seife, Editor » » » » » » » » Paige Hazzan,SeniorEditor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Peek-a-boo Zoo and Peek-a-boo Farm, by Laura Logan Ten EasterEggs, VijayaBodach, illustrated Let itShine, Maryann Cocca-Leffler David Slonim Monster!, Kenn Nesbitt, illustrated by Believe It OrNot, My Brother hasa B. Mason and Sarah Hines Stephens The Dogand HisGirlMysteries series, Jane The Haunted Museum series, Suzanne Weyn Secrets of Bearhavenseries, K.E.Rocha Once UponaCruise, Anna Staniszewski Revenge of the Angels, Jennifer Ziegler Jennifer Ziegler Revenge of the FlowerGirls, Fire &Floodbooks, Victoria Scott Titans, Victoria Scott, Waddle! Waddle!, James Proimos The Angel Tree, Daphne Benedis-Grab How toSpeakDolphin,Ginny Rorby TombQuest series, Michael Northrop Faceless, AlyssaSheinmel Moving Target, Christina Diaz Gonzalez George Sullivan Mr. President (2016RevisedEdition), Koob: The Backwards Book,Anna Brett Way toGlow!,LisaRegan Calkhoven Women Who Changed the World, Laurie Illustrated byErwinMadrid When IGrow Up:Taylor Swift,Lexi Ryals, Military Animals, Laurie Calkhoven Mary Kay Carson Edition), Melvin Berger and Discovering Mars (Revisedand Updated Scholastic Inc Scholastic Almanac for Kids 2016, David Milgrim Scholastic Reader: LevelOne: Moo Bird, Dog, Eric Seltzer Scholastic Reader: LevelOne: The Long Cyndi Marko Kung Pow Chicken #1:Bok!Boom!, James Burks On Deck,Jessica Young, illustrated by Haggis and Tank Unleashed #1:AllPaws Spiders, Amy Marie Stadelmann Olive &Beatrix#1:The Not-So-Itty-Bitty Rebecca Elliott Owl Diaries #1:Eva’sTreetop Festival, Jones Dragon, Tracey West, illustrated byDamien Dragon Masters #1:Riseof the Earth Jack Chabert,illustrated bySamRicks

» » » » » » » » » David Gale, VP&EditorialDirector SIMON &SCHUSTERBFYR » » » » » » » Emma Ledbetter, Associate Editor » » » » » » » » » » Reka Simonsen,Executive Editor ATHENEUM BFYR » » » » » » » » » » Zareen Jaffrey, Executive Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Randoms, David Liss Last LeavesFalling, Sarah Benwell UnDivided, Neal Shusterman 100 Sideways Miles, Andrew Smith Redeemed, Margaret Peterson Haddix Rundell Cartwheeling in Thunderstorms, Katherine Better Nate ThanEver, TimFederle Murphy inthe City, Alice Provensen Bear &Hare GoFishing, EmilyGravett Press Start!Series, Thomas Flintham Papercuttables, David Landis Super Happy Magic Forest, Matty Long Slack Pirasaurs, Josh Funk,illustrated byMichael Caroline Jayne Church I LoveMy Dinosaur and ILoveMy Puppy, illustrated byBinny Talib The Very StuffedTurkey, Kate Kenah, Joyce Wan by CharlesSantoso I Don’tLike Koala, SeanFerrell, illustrated illustrations byBrian Pinkney In Your Hands, Carole BostonWeatherford, Tell Me Something Real,CallaDevlin The Storyteller, EvanTurk This isNot aWerewolf Story, Sandra Evans Coats The Wicked and the Just,Jillian Anderson Jinks How toCatchaBogle trilogy, Catherine A Pocket Fullof Murder, R.J.Anderson Hahn The Shadow Behind the Stars, Rebecca Enchanted Air, Margarita Engle A Nearer Moon, Melanie Crowder Some Kind of Happiness, Claire Legrand Spencer Randi Rhodes, NinjaDetective, Octavia The Pregnancy Project, GabyRodriguez Hidden Girl,Shyima Hall Lucky Few, Kathryn Ormsbee Sarvenaz Tash The Geek’sGuide toUnrequited Love, Gemini, Sonya Mukherjee Dangerous Lies, BeccaFitzpatrick The House, Christina Lauren Han To Allthe BoysI’veLovedBefore, Jenny Draw the Line, Laurent Linn EDITED BY | 103

»» The Backwards Birthday Party, Tom Chapin »» Irena’s Children, Young Readers Edition, »» Pyramid Hunters: The Iron Tomb, Peter PREPARING & SUBMITTING and John Forster, illustrated by Chuck Tilar Mazzeo, adapted by Mary Cronk Farrell Vegas Groenink »» SIX, M.M. Vaughan »» What About Moose?, Corey Rosen Schwartz »» MiNRS, Kevin Sylvester SKY PONY PRESS and Rebecca J. Gomez, illustrated by Keika »» The Way I Used to Be, Amber Smith Alison Weiss, Editor Yamaguchi »» Fig, Sarah Elizabeth Schantz »» Tabula Rasa, Kristen Lippert-Martin »» Island Treasures, Alma Flor Ada »» The Gospel of Winter, Brendan Kiely »» Valiant, Sarah McGuire »» Ida, Always, Caron Levis, illustrated by »» Of Metal and Wishes, Sarah Fine »» A Million Times Goodnight, Charles Santoso Sylvie Frank, Editor Kristina McBride »» If Not for You, Bob Dylan, illustrated by »» Strictly No Elephants, Lisa Mantchev, »» Wandering Wild, Jessica Taylor David Walker illustrated by Taeeun Yoo »» dotwav, Mike A. Lancaster MARKET SURVEYS »» The Sword in the Stove, Frank W. Dormer »» New Shoes, Susan Lynn Meyer, illustrated »» A Summer of Sundays, Lindsay Eland »» The Snurtch, Sean Ferrell, illustrated by by Eric Velasquez »» Amity, Micol Ostow Charles Santoso »» Roar!, by Tammi Sauer, illustrated by Liz »» Goofballs series, Tony Abbott »» The Marvelous Thing That Came from a Starin »» Code Busters Club series, Penny Warner Spring: The Accidental Invention of the »» My Story, My Dance: Robert Battle’s »» Tear You Apart, Sarah Cross Toy That Swept the Nation, Gilbert Ford Journey To Alvin Ailey, Lesa Cline- »» Four-Four-Two, Dean Hughes Ransome, illustrated by James E. Ransome SOHO TEEN

»» Miss Mary Reporting: The True Story Daniel Ehrenhaft, Editorial Director DIRECTORIES & RESOURCES BEACH LANE BOOKS of Sportswriter Mary Garber, Sue Macy, »» Dancer, Daughter, Traitor, Spy, Allyn Johnston, VP & Publisher illustrated by CF Payne Elizabeth Kiem »» Is Mommy?, Victoria Chang, illustrated by »» Footer Davis Probably is Crazy, Susan »» Liv, Forever, Amy Talkington Marla Frazee Vaught »» I’m Glad I Did, Cynthia Weil »» Rain Fish, Lois Ehlert »» Peter Lubinsky and the Magician’s Dog, »» Razorhurst, Justine Larbalestier »» Say Hello!, Linda Davick Frances Sackett »» The Unfinished Life of Addison Stone, »» Gooseberry Park and the Master Plan, »» Whistle in the Dark, Susan Hill Long Adele Griffin Cynthia Rylant, illustrated by Arthur »» Ticket to India, NH Senzai »» More Happy Than Not, Adam Silvera Howard »» The Devil and Winnie Flynn, Micol and »» Blue on Blue, Dianne White, illustrated by SIMON PULSE David Ostow Beth Krommes Liesa Abrams, VP & Editorial Director, »» It Wasn’t Always Like This, Joy Preble

»» Nasreen’s Secret School, Jeanette Winter Pulse »» Dark Horses, Cecily von Ziegesar PUBLICIZING YOUR PUBLISHED WORK »» Rhyming Dust Bunnies, Jan Thomas »» Story Thieves, James Riley »» Black Sabbath, John Hamburg and »» All the World, Liz Garton Scanlon, »» The Blackthorn Key, Kevin Sands Lev Novak illustrated by Marla Frazee »» The Unwanteds, Lisa McMann »» Deer Dancer, Mary Lyn Ray, illustrated by »» Five Kingdoms series, Brandon Mull ALGONQUIN YOUNG READERS Laura Stringer »» Dork Diaries series, Rachel Renee Russell Elise Howard, Publisher & Editor »» The Scraps Book: Notes from a Colorful »» Suicide Notes from Beautiful Girls, Lynn »» The Witch’s Boy, Kelly Barnhill Life, Lois Ehlert Weingarten »» The Entirely True Story of the Unbelievable Andrea Welch, Executive Editor »» The Remedy, Suzanne Young Fib, Adam Shaughnessy »» LMNO Peas series, Keith Baker »» Zeroes, Scott Westerfeld, Deb Biancotti, »» The Jumbies, Tracey Baptiste »» Baby Bear Sees Blue, Ashley Wolff Margo Lanagan »» Thee-Ring Rascals series, Kate and »» Some Bugs, Angela DiTerlizzi, illustrated »» Other Broken Things, Christa Desir Sarah Klise by Brendan Wenzel »» Me Being Me is Exactly As Insane As You »» The Girl in the Well is Me, Karen Rivers »» Mama Built a Little Nest, Jennifer Ward, Being You, Todd Hasak-Lowy »» The Wall Around Us, Nova Ren Suma

illustrated by Steve Jenkins »» Jackaby series, William Ritter SCHOOL VISITS »» Raindrops Roll, April Pulley Sayre Michael Strother, Associate Editor »» Tell Me Again How a Crush Should Feel, »» The Tree Lady, H. Joseph Hopkins, »» Willful Machines, Tim Floreen Sara Farizan illustrated by Jill McElmurry »» Diary of a Haunting, M. Verano »» The Art of Secrets, James Klise »» Dinothesaurus, Douglas Florian »» Violent Ends, Shaun David Hutchinson, »» Radioactive!, Winifred Conkling »» The Great Good Summer, Liz Garton et al. Scanlon »» Shades of Darkness, A. R. Kahler LEGAL QUESTIONS »» The Secrets of Eastcliff-by-the-Sea, Eileen »» We Are the Ants, Shaun David Hutchinson Beha »» Three Truths and a Lie, Brent Hartinger Ruta Rimas, Senior Editor »» Secrets, Lies, and Scandals, Amanda K. »» Long May She Wave, Kristen Fulton Morgan »» Mouseheart, Lisa Fiedler, illustrated by »» Savage, Thomas E. Sniegoski Vivienne To »» Bounders, Monica Tesler

SMALL PRESS MARKET SURVEY

compiled by Chelsea Mooser, updated by Kayla Heinen

here are scores of small presses currently publishing books for children and young adults. Some are well-established publishing houses that have T been in business for decades. Others start up, publish books for a few years and then quietly fade away. Many small presses are niche publishers, cater- ing to a specific need not met by mainstream publishers. Generally, small presses will pay a small advance plus a small royalty, or will offer an author or illustrator a flat fee. As one small press publisher noted, publishing with a small press is not the road to riches. It can, however, be the road to getting your offbeat manuscript published. Many authors and illustrators report that they get very personal attention from small press editors, even though the first printing may only be between 500 to 1,500 copies.

What is most important for users of this guide is to study the kinds needs are, check out the submission guidelines at its website. Send for of books published by small presses. Learn who the audience is for a catalogue and for author’s/ illustrator’s guidelines. Always enclose a each publisher to whom you intend to send your work. Many publishers self-addressed, stamped envelope (SASE) with your catalogue request. now have websites and we have included this information when it Over 70 small to medium size independent publishers were sent was provided. However, it doesn’t hurt to surf the web for a particular questionnaires to determine if they were receptive to unsolicited publisher, since this is becoming a popular way for publishers to submissions from SCBWI members. We included publishers who are advertise their books. Although we have included e-mail addresses of actively seeking new authors and illustrators as well as those who are those who supplied them, check with a publisher before you submit currently closed to submissions with the hope that eventually they will your work through electronic mail. reopen. We tried to get as much specific information as possible about Do your homework: in your cover letter, let the publisher know that the kinds of books each small press publishes. Many publishers included you have studied its list. Give solid reasons why you think your proposal specific titles you might want to read before submitting your work. or manuscript will fit its needs. In order to find out what a publisher’s Enclose an SASE with all correspondence to these publishers.

WE LOVE CHILDREN’S BOOKS Children’s books as my Web team! I’ve worked GENRE(S): Educational and Fiction 2500 Painter Ct. with Bobbie Combs and Laurina Cashin for BOOKS PUBLISHED YEARLY: 10 Annapolis, MD 21401 four years and have consistently found them METHOD OF SUBMISSION: Writers: Snail mail 609-502-8147 enthusiastic, prompt, professional and ready with SASE for reply Contact: Bobbie Combs to help me solve problems.” —Pat Mora, SUBMISSION GUIDELINES: absey.com/ [email protected] www.patmora.com submission.php?PHPSESSID=323a40a6d2a4e5a3 www.welovechildrensbooks.com 237fbd6ffbe846ca Fee: No hourly rate; establishes a project fee ABSEY AND CO. MULTIPLE SUBMISSIONS: No after discussing a client’s needs 23011 Northcrest Drive WILL REPLY IN: 8 weeks Description: Website design and creation of Spring, TX 77389 OTHER INFORMATION: We do not accept email educator guides. www.absey.com submissions Testimonial: “I’m honored to have We Love CONTACT PERSON: Edward E. Wilson 106 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Boyd Biro; TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: php SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: cover letter. No queryletters. manuscript. Illustrators: Colorcopies witha in upperright corner. ChapterBooks:Full Cover letter, fullmanuscript withword count for submissions until further notice. Writers: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: Nonfiction, Fiction GENRE(S): CONTACT PERSON: www.aakp.com [email protected] Gilroy, CA95021 P. O. Box 159 ALL ABOUTKIDSPUBLISHING Family of Reeseries TITLES TO STUDY: MULTIPLE SUBMISSIONS: submission_guidelines_for_writers.html SUBMISSION GUIDELINES Email submissions. summary. Illustrators send samples. SASE. No complete manuscripts. Non fiction send chapters and outline. Picture Bookssend METHOD OFSUBMISSION: ages. and young adult fiction and non-fiction forall GENRE(S): CONTACT PERSON: actionpublishing.com/index.html Glendale, California 91209 P.O. Box 391 ACTION PUBLISHING MULTIPLE SUBMISSIONS: Illustrators: Send insamplesof portfolio. submissions. Outline and samplechapters. SUBMISSION GUIDELINES: and proposal withsamplechapters. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.andrewsmcmeel.com/index.html Kansas City, MO64106 1130 Walnut St. Andrews McMeelPublishing,LLC (AN IMPRINTOFMcMEEL PUBLISHING) ACCORD PUBLISHING | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Picture books, Chapterbooks, Children’s picture books, juvenile Shadowbox Hunt:A Search andFind Fiction, no YA 90Days

Walking with Maga The DinosaurDogseries; Linda Guevara, Editor Submissions Editor Submissions Editor Advance; Royalty

: Yes Yes Have withdrawn itscall actionpublishing.com/ aakp.com/guidelines. 6 No YA send sample Send incoverletter

No Email 200 byMaureen MULTIPLE SUBMISSIONS: Illustrators: Sample colororB&Willustrations METHOD OFSUBMISSION BOOKS PUBLISHEDYEARLY: by Mary Burke Peterson Odyssey GENRE(S): CONTACT PERSON: www.azropress.com [email protected] Santa Fe, NM87505 PMB 342,1704LlanoStreetB AZRO PRESS TITLES TO STUDY: WILL REPLY IN: MULTIPLE SUBMISSIONS: send portfolio samplestoArtDirector. manuscript. No Email orphone calls. Illustrators METHOD OFSUBMISSION: storytelling. folktales, and the artand application of GENRE(S): CONTACT PERSON: www.augusthouse.com/ Atlanta, GA 30305 NE Suite310 3500 PiedmontRoad AUGUST HOUSEBOOKS METHOD OFPAYMENT: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: and childdrama education. audience. Booksontheatrical design, directing, GENRE(S): CONTACT PERSON: [email protected] www.applays.com Woodstock, IL60098-3308 311 Washington St. Dramatic Publishing ANCHORAGE PRESSPLAYS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: submissions. with SASE. We do not acceptemail orfax METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: Acquisitions Editor CONTACT PERSON: Worcester, MA01605 91 PrescottStreet AMBASSADOR BOOKS byLaura L.Seely; Stories pertaining tofolklore, Theatrical playsfor K-12 and family Children’s Books 5 Months 5 4 months 4 Owner: Gae Eisenhardt Submissions Editor Surf War; TheUglifiedDucky Publisher Ms. Kathryn Conlan

Royalty Royalties onsales.

Yes Yes Yes Mail proposal or Writers: Queryletter See website 6 6-8 : Writers:Ms. Yes A, MyNameisAndrew

1-2

METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.barefootbooks.com Cambridge, MA02140 2067 MassachusettsAve. BAREFOOT BOOKS Nancy Poes Festival CD); Owlhoots Guggenheim and DrSpencer Lucas; TITLES TO STUDY: Mexico, Colorado, Arizona, West Texas. illustrator must liveinthe Southwest:New books withaSouthwesterntheme. Author and OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: submissions.html SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: information. METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: www.bayoakpublishers.com [email protected] Dover, DE19904 34 WimbledonSt. BAY OAK PUBLISHING WILL REPLY IN: MULTIPLE SUBMISSIONS: mail. Illustrators: Regularmail METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.baylightpub.com [email protected] Mooresville, NC28117 P.O. Box 3032 BAY LIGHTPUBLISHING We GotoMexico; TheAnimalBoogie TITLES TO STUDY: or queries. OTHER INFORMATION: WILL REPLY IN: MULTIPLE SUBMISSIONS: Illustrators: Queryletterwith1or2samples Paloma andtheDustDevilatBalloon (2010)byMarcy Heller, illustrated by (2011)bySid Hausman (includes a Fiction and non fiction. Children’s Books Christian Children’s Books 6weeks 6-8months Writers:Tessa Strickland Writers:CharlotteSoutullo 3-4months The BoyWhoGrewFlowers;Off Submissions Editor

Triassic Hall No email submissions Royalty Currently looking for Yes Writers:FullMS. Contact publisher for Writers:Email orregular Yes Yes 2 30-35

azropress.com/

(2011)byJaenet

Emus and

SMALL PRESS MARKET SURVEY | 107

TITLES TO STUDY: Christmas Delicious; Lines that children and those working with children in BEACHHOUSE PUBLISHING PREPARING & SUBMITTING P.O. Box 5464 Wiggle grades pre-K through 6 however we selectively Kaneohe, HI 96744 publish outside of that grade range. [email protected] BLUE STOCKING PRESS QUERY LETTERS: Accepting www.beachhousepublishing.com P.O. Box 1014 MULTIPLE SUBMISSIONS: Yes CONTACT PERSON: Jane Gillespie, Publisher Placerville CA 95667 UNSOLICITED MANUSCRIPTS: Yes, send to EDITOR CONTACT: Jane Gillespie, Publisher www.bluestockingpress.com/index.html publisher’s attention. WRITER CONTACT: Jane Gillespie, Publisher CONTACT PERSON: Submissions Editor PAYMENT: Depends on project. Either work for ILLUSTRATOR CONTACT: Jane Gillespie, Publisher GENRE(S): Stories for young adults that focus on hire or royalty. GENRE(S): Board books, bath books, picture business, economics, finance. ARTWORK INTEREST: Yes, Send to publisher’s books, nonfiction. METHOD OF SUBMISSION: Does not take attention. MARKET SURVEYS BOOK PUBLISHED YEARLY: 6 - 12 unsolicited submissions at this time. ARTWORK PAYMENT: Depends on project. Either METHOD OF SUBMISSION: Mail or email TITLES TO STUDY: Common Sense Business for work for hire or royalty. Writers: A cover letter with manuscript. SASE. Kids Illustrators: No originals BRIGHT RING PUBLISHING MULTIPLE SUBMISSIONS: Yes BLUE MARLIN PUBLICATIONS P.O. Box 31338 SUBMISSION GUIDELINES: www. 823 Aberdeen Road Bellingham, WA 98228 beachhousepublishing.com/submission_info. West Bay Shore, NY 11706 www.brightring.com html 631-666-0353; Fax: 631-666-0353 CONTACT PERSON: MaryAnn Kohl DIRECTORIES & RESOURCES WILL REPLY IN: 2-6 months www.bluemarlinpubs.com GENRE(S): Nonfiction [email protected] BOOKS PUBLISHED YEARLY: 1 BESS PRESS CONTACT PERSON: Francine Poppo Rich METHOD OF SUBMISSION: Not accepting 3565 Harding Avenue WRITER CONTACT: Francine Poppo Rich manuscripts or art submissions at this time. Honolulu, HI 96816 ILLUSTRATOR CONTACT: Francine Poppo Rich SUBMISSION GUIDELINES: brightring.com/ www.besspress.com GENRE(S): Picture books; middle-grade novels submissions.html GENRE(S): Hawaii and the Pacific – trade, (historical fiction only, please). WILL REPLY IN: 4 weeks children’s, textbooks, educational, cookbooks, BOOKS PUBLISHED YEARLY: 2 METHOD OF PAYMENT: Flat Fee. Range: $500- literature METHOD OF SUBMISSION: United States Post Office $1000 METHOD OF SUBMISSION: Writers: Please submit MULTIPLE SUBMISSIONS: Yes, send your OTHER INFORMATION: In business 15 years. a hard copy and SASE. For longer books send an manuscripts to as many publishers as you like, Please visit website for complete submission outline and sample chapter. It is not necessary but only one to ME at a time, please! guidelines. Free catalogue available. Bright Ring PUBLICIZING YOUR PUBLISHED WORK to send illustrations, but if you do, we prefer SUBMISSION GUIDELINES: www.bluemarlinpubs. has one author and all books are a collaboration photocopies. No email inquiries will be accepted com/Page06ForAuthors.html with her advice, guidance, approval, and MULTIPLE SUBMISSIONS: Yes WILL REPLY IN: 3 months editing. WILL REPLY IN: 4-6 weeks METHOD OF PAYMENT: Advance and royalties TITLES TO STUDY: Scribble Art OTHER INFORMATION: We only publish trade books TITLES TO STUDY: In the Shadow of the Mammoth; about Hawaii, and educational materials about Hanni and Beth: Safe & Sound; Miles of Smiles: BRIGHT SKY PRESS Hawaii and the Pacific. If you would like a full The Story of Roxey, the Long Island Rail Road Manuscript Department description of our manuscript guidelines, please Dog; The Teacher Who Would Not Retire 2365 Rice Boulevard contact us with your mailing information Suite 202 BOULDEN PUBLISHING Houston, TX 77005 BLUE APPLE BOOKS 30 Oregon Street www.brightskypress.com 515 Valley Street, Suite 180 P.O. Box 1186 [email protected] Maplewood, NJ 07040 Weaverville, CA 96093 866-933-6133

www.blueapplebooks.com 530-623-5399; Fax: 530-623-5525 CONTACT PERSON: Lucy Chambers SCHOOL VISITS [email protected] [email protected] GENRE(S): All CONTACT PERSON: Publisher www.bouldenpublishing.com BOOKS PUBLISHED YEARLY: 24 GENRE(S): Picture books that address important EDITOR: Richard Morris METHOD OF SUBMISSION: Send proposals as hard themes of early childhood (separation, loss, ASSOCIATE EDITOR: Mark Tangard copies, rather than on disk over the Internet or by reunion, emotional bond between parents and GENRE(S): Story and activity books, CD-ROMs, fax. Please send copies no originals. See website kids, development of empathy). videos, and DVDs, lesson plans, games, etc. for for details on proposal content for fiction and LEGAL QUESTIONS BOOKS PUBLISHED YEARLY: 50 children, counselors, teachers and professionals nonfiction. METHOD OF SUBMISSION: No longer accepting on a wide range of subject matter, bullying, MULTIPLE SUBMISSIONS: Yes unsolicited manuscripts. teasing, bereavement, parental substance WILL REPLY IN: 6-12 months MULTIPLE SUBMISSIONS: abuse, sexual abuse, academic improvement, METHOD OF PAYMENT: Royalties WILL REPLY IN: 2-8 months character education, drug awareness, parental METHOD OF PAYMENT: Varies incarceration, divorce and remarriage, family issues and more. Primary focus is materials for 108 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org GENRE(S): CONTACT PERSON: www.cedarfortbooks.com Springville UT84663 2373 W. 700S. CEDAR FORTPUBLISHING Carolina AlphabetBook TITLES TO STUDY: contests. Seewebsitefor details. manuscripts atthistime. Writerscansubmit totwo METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: mainstream publishing. especially bywritershistorically neglected by disease, difference, gender issues, bullying, GENRE(S) CONTACT PERSON: carolinawrenpress.org [email protected] Durham, NC27701 120 MorrisSt. CAROLINA WRENPRESS Mischief TITLES TO STUDY: MULTIPLE SUBMISSIONS: WILL REPLY IN: SUBMISSION GUIDELINES full manuscripts only. Send via Email orpost. METHOD OFSUBMISSION: older children. GENRE(S): CONTACT PERSON www.busterbooks.co.uk [email protected] London SW47NQEngland 9 LionYard Tremadoc Road (IMPRINT OFMICHAEL O’MARABOOKS) BUSTER BOOKS WILL REPLY IN: MULTIPLE SUBMISSIONS: subject of yoursubmissions. including yourqualifications asan expert onthe For allsubmissions, pleaseinclude ashort bio files [email protected]. reviewed orreturned. Pleasesend yourdigital Printed manuscripts sent touswillnot be WRITERS: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.at-risk.com [email protected] Woodbury, NY11797 303 CrosswaysPark Drive BUREAU FORAT-RISK YOUTH | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL : Will onlyacceptdigital submissions. Stories inthe subjectsof prayer, Children’s literature thatdeals with Informative butfunnon-fiction for Nonfiction only. 6+Months Project-by-project basis : TheBoysSummerBook;Meerkat Diane Baur Andrea Selch SubmissionsEditor Peace ComestoAjani;TheNorth Submissions Editor Yes Yes : No fiction. Not accepting unsolicited Non fiction send synopsis or 3 6-10 METHOD OFSUBMISSION: fiction, historical fiction, and behavioral issues. The Bookof Mormon, general fiction and non OTHER INFORMATION: Match, RainbowWeaver, Finding theMusic Olinguito, fromAtoX!,MarisolMcDonald Doesn’t TITLES TO STUDY: METHOD OFPAYMENT: acquiring yourwork WILL REPLY IN: MULTIPLE SUBMISSIONS: about-us/contact-us SUBMISSION GUIDELINES: website for completesubmission guidelines) METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: approach. nonfiction with adistinct voice orunique are realistic fiction, historical fiction, and for readers ages 5to12.Ofspecial interest nonfiction) featuring children/people of color, only (fiction, historical fiction, poetry, literary GENRE(S): CONTACT PERSON: www.childrensbookpress.org [email protected] NEW YORK,NY10016 95 MadisonAvenue, Suite#1205 An imprintof Lee&LowBooks Inc. CHILDREN’S BOOKPRESS MULTIPLE SUBMISSIONS: WILL REPLY IN: submissions.html SUBMISSION GUIDELINES: mail submissions withSASE. samples. Seewebsitefor further guidelines. Can Writers submitcoverletter. Illustrator submit SUBMISSION METHOD: entertaining giftbooks. GENRE(S): Editor CONTACT PERSON: cidermillpress.com/index.html [email protected] Kennebunkport, ME04046 12 SpringStreet PO Box 454 CIDER MILLPRESS of Rime TITLES TO STUDY: MULTIPLE SUBMISSIONS: BOOKS PUBLISHEDYEARLY: guidelines/ cedarfortbooks.com/manuscript-submission- and usethe submission form. www. manuscripts. Pleaseseesubmission guidelines Currently publishing picture books Interactive, creativity booksand 6months ONLY ifinterested in 4 weeks

John Whalen,submissions Garden of LostSouls;TheRifts ¡Olinguito, delaAaZ!/ Submissions Editor Email asPDFpreferred. advance on royalties Publishes workfrom Yes Yes Via snail mail ONLY (see Yes Accepting unsolicited childrensbookpress.org/ cidermillpress.com/ 100 Approximately 4 www.clearlightbooks.com [email protected] Santa Fe, NM87505 823 DonDiego CLEAR LIGHTBOOKS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: submissions. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: Activity books GENRE(S): CONTACT PERSON: www.childswork.com [email protected] Woodbury, NY11797 303 CrosswaysPark Drive CHILDSWORK CHILDSPLAY from the communities represented intheir work. established and emerging authors and artists Boston, MA02108-4715 Fifteen CourtSquare, Suite320 DAVID R.GODINEPUBLISHING board, giftand activity books). and Intervisual Books(quality pop-up,novelty, language), Seeseparate entries for Piggy Toes submissions atthistime), Sonrisas(Spanish IMPRINTS INCLUDE: submissions atthistime. METHOD OFSUBMISSION: board books, educational and classics. GENRES: CONTACT PERSON: www.dalmatianpress.com [email protected] 800.815.8696 Franklin, TN37067 Suite C-250 113 SeaboardLane DALMATIAN PRESS Christmas TITLES TO STUDY: MULTIPLE SUBMISSIONS: WILL REPLY IN com/ SUBMISSION GUIDELINES: samples of artwork.Illustrators submitsamples. summary, and fullmanuscript. Alsoinclude METHOD OFSUBMISSION: philosophy and religion. history; SouthwesternAmericana; and Eastern GENRE(S): CONTACT PERSON: Color and activitybooks, storybooks, American Indian culture, religion, and Nonfiction, Therapeutic workbooks, : 4+weeks 6 weeks Submissions Editor Native AmericanTwelve Days of Diane Baur Publisher Spirit Press (not accepting Determined byproject Yes Coverletter, brief Yes Only acceptdigital Not accepting www.clearlightbooks. 6-10 SMALL PRESS MARKET SURVEY | 109 [email protected] picture books. OTHER INFORMATION: Looking for books set in PREPARING & SUBMITTING godine.com/index.asp METHOD OF SUBMISSION: ONLY ACCEPTING Canada or intriguing U.S. cities and regions. CONTACT PERSON: Submissions Editor ILLUSTRATION SAMPLES. Send samples via post “We work very closely with writers to produce a GENRE(S): Children’s fiction and non fiction or email with cover letter. fine book—to our specifications.” BOOKS PUBLISHED YEARLY: 20-30 WILL REPLY IN: Up to a year if interested. TITLES TO STUDY: Blues Across the Bay by Whitney METHOD OF SUBMISSION: Does not accept Stewart; Speechless in New York by Ellen Dreyer; unsolicited material. Will accept submissions FARCOUNTRY PRESS Jammin’ on the Avenue by Whitney Stewart from an agent. P.O. Box 5630 TITLES TO STUDY: The Lonely Phone Booth; The Helena, MT 59604 FULCRUM PUBLISHING Farmer’s Alphabet [email protected] 4690 Table Mountain Dr., Ste. 100 www.farcountrypress.com Golden, CO 80403 MARKET SURVEYS DAWN PUBLICATIONS CONTACT PERSON: Submissions Editor [email protected] 12402 Bitney Springs Rd. GENRE(S): Nature and history for children. https://fulcrum.bookstore.ipgbook.com/ Nevada City, CA 95959 Educational CONTACT PERSON: Publisher [email protected] METHOD OF SUBMISSION: SASE. Book proposal and GENRE(S): Nonfiction www.dawnpub.com/submission-guidelines/ sample chapters. BOOKS PUBLISHED YEARLY: 10-20 CONTACT PERSON: Writers: Glenn Hovemann. SUBMISSION GUIDELINES: www.farcountrypress. METHOD OF SUBMISSION: Writers: Query letter, Illustrators: Muffy Weaver. com/contact/submitproposal.php proposal with writing sample. Illustrators:

GENRE(S): “Nature Awareness” Mainly picture WILL REPLY IN: As soon as possible Sample color or B&W illustrations. E-mail DIRECTORIES & RESOURCES books that are intended to encourage an TITLES TO STUDY: Who Pooped in Central Park?; A submissions only. appreciation for nature and a respectful Cow’s Boy MULTIPLE SUBMISSIONS: Yes participation in it. SUBMISSION GUIDELINES: www.fulcrum-books. METHOD OF SUBMISSION: Writers: email cover FLASHLIGHT PRESS com/client/client_pages/submissions.cfm letter and submission. See guidelines for 527 Empire Boulevard WILL REPLY IN: 4-6 weeks more details. SASE if sending in a hard copy. Brooklyn, NY 11225 METHOD OF PAYMENT: Advance and royalties Illustrators: cover letter and samples, preferred 718-288-8300 hard copies for samples. www.flashlightpress.com GIFTED EDUCATION PRESS SUBMISSION GUIDELINES: WWW.DAWNPUB.COM/ [email protected] 10201 Yuma Court, P.O. Box 1586 SUBMISSION-GUIDELINES CONTACT PERSON: Shari Dash Greenspan. Manassas, VA 20108 MULTIPLE SUBMISSIONS: yes GENRE(S): picture books [email protected]

BOOK PUBLISHED YEARLY: 2-4 www.giftededpress.com PUBLICIZING YOUR PUBLISHED WORK EAKIN PRESS METHOD OF SUBMISSION: Only email queries to CONTACT PERSON: M. Fisher P.O. Box 21235 according to online submission guidelines. GENRE(S): Nonfiction environmental sciences or Waco, TX 76702 WRITERS: See online submission guidelines for environmental studies books for gifted children [email protected] details BOOKS PUBLISHED YEARLY: 20 www.eakinpress.com ILLUSTRATORS: See online submission guidelines METHOD OF SUBMISSION: Writers: Query first via CONTACT PERSON: Kris Gholson, publisher for details e-mail. GENRE(S): Fiction and non fiction that cover the MULTIPLE SUBMISSIONS: Yes MULTIPLE SUBMISSIONS: No history and culture of the Southwest, especially SUBMISSION GUIDELINES: www.flashlightpress. WILL REPLY IN: 4-6 weeks Texas and Oklahoma. com/submissionguidelines.html METHOD OF PAYMENT: Royalty based on sales METHOD OF SUBMISSION: Email full manuscripts WILL REPLY IN: 1-2 weeks from receipt of email with query letters that include synopsis and bio. query GINGERBREAD BOOKS SUBMISSION GUIDELINES: www.eakinpress.com/ METHOD OF PAYMENT: Advance and royalties 602 Montauk Highway html/submissions.html TITLES TO STUDY: I Need My Monster, Hammer and Westhampton Beach, New York 11978

WILL REPLY IN: 3+ months Nails [email protected] SCHOOL VISITS MULTIPLE SUBMISSIONS: Yes www.gingerbreadbooks.com TITLES TO STUDY: The Rachel Resistance; The FOUR CORNERS PUBLISHING CONTACT: Illustrators: Maria Nicotra Feester Filibuster by Molly Levite Griffis 45 West 10th Street, Suite 4J GENRE(S): children’s historical fiction and fiction New York, NY 10011 picture books FABER & FABER www.fourcornersbooks.com METHOD OF SUBMISSION: Not accepting Bloomsbury House CONTACT PERSON: Publisher unsolicited material at this time. Illustrators: LEGAL QUESTIONS 74-77 Great Russell Street GENRE(S): Travel and Fiction send samples in PDF form or by post to Art London WC1B 3DA BOOKS PUBLISHED YEARLY: 2 Director. UNITED KINGDOM METHOD OF SUBMISSION: Writers: Sample chapter WILL REPLY IN: As soon as possible [email protected] from published novel for this age group. TITLES TO STUDY: Frances Woke Up Early by www.faber.co.uk Illustrators: None needed now. Maureen Hyde CONTACT PERSON: Design dept. MULTIPLE SUBMISSIONS: Yes GENRE(S): Fiction, YA, middle grade, and METHOD OF PAYMENT: Flat fee 110 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org GENRE(S): CONTACT PERSON: www.hendricklongpublishing.com [email protected] Houston, Texas 77070 10635 Tower Oaks, SuiteD HENDRICK-LONG PUBLISHING WILL REPLY IN: MULTIPLE SUBMISSIONS: com/testimonials/ mail isfine also.www.bookpublishersnetwork. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: books, memoir, cookbooks. GENRE(S): CONTACT PERSON: www.bookpublishersnetwork.com [email protected] 425 483-3040;Fax:483-3098 Bothell, WA 98041 P. O. Box 2256 Book PublishersNetwork HARA PUBLISHINGGROUP of thePeaceful Warrior Bea; TITLES TO STUDY: publisher’s net receipts METHOD OFPAYMENT: WILL REPLY IN: Submissions/tabid/70/Default.aspx SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: children’s bookmanuscripts attachments. No longer accepting unsolicited or coverletterwithproposal materials asfile METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: environment, sustainability GENRE(S): CONTACT PERSON: www.newworldlibrary.com [email protected] Novato, CA94949 14 Pamaron Way New World Library H.J. KRAMER TITLES TO STUDY: for details. accepted from May 1-September1.Seewebsite METHOD OFSUBMISSION: website for details. GENRE: [email protected] www.guardianangelpublishing.com GUARDIAN ANGELPUBLISHING | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Smudge Bunny children’s hygiene and health. See Self-help, Children’s books, business Spirituality, self-improvement, the Texana 10weeks 2-4 weeks Check website Where DoesGodLive? Michael orVilma Long Sheryn Hara Submissions Editor byDr. Bernie Siegel; Royalties basedon byDanMillman Yes Yes Writers:E-mail query email only. Submissions Electronic is bestbut newworldlibrary.com/ 30-35 2-4 byHolly Secret Illustrators: SASE; Hard copyonly. manuscript withSASE. No email, please. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: 866-418-2572 www.dalmatianpress.com [email protected] Franklin, TN37067 Suite C-250 113 SeaboardLane (an imprint of Dalmatian Press) INTERVISUAL BOOKS TITLES TO STUDY: &id=26&Itemid=53 com/index.php?option=com_content&task=view SUBMISSION GUIDELINES: color/B&W withSASE. manuscript with SASE. Illustrators: Sample METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): Art Director CONTACT PERSON: www.innovativekids.com [email protected] Norwalk, CT06854 50 Washington Street INNOVATIVE KIDS Terrific “4s” TITLES TO STUDY: 1-page bio withsubmission. available onwebsite. Illustrators should send a Publishers catalogueand author’s guidelines OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: Submit_Manuscript.php SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: Original artworkwithSASE. manuscript orquerywithSASE. Illustrators: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: activity books, resources for teachers. GENRE(S): Editor CONTACT PERSON: www.humanicspub.com [email protected] Lake Worth, FL33460-3737 12 S.DixieHwy, Suite203 HUMANICS PUBLISHINGGROUP METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: Educational Middle-grade nonfiction, K-3 teacher 2 weeks 6 months 6 Bubbleology; BugsintheGarden Super SimpleScience;Teaching W. Arthur Bligh, Acquisitions Writers: Editor;Illustrators: No advance. Royalty:10% Advance against royalties In business for 27years. Writers:Completed Writers:Submit Writers:Picture book Yes No www.innovativekids. www.humanicspub.com/ 2-5 10 30 only disposableduplicate copies. background); artwillnot bereturned sosend email address, phone and fax, professional copies withresume’, coverletter(name, address, of full-colorprint samplesorhigh-quality color background +SASE. Illustrators: send arange description and info aboutyourprofessional fax +fullms. (100-250word count), novelty with name, address, email address, phone and SUBMISSION GUIDELINES: WILL REPLY IN: Lane, Suite250,Franklin, TN37067. Illustrator: Gina Rhodes Haynes, 113Seaboard 110 W. 5thStreet, New York, NY10019-2200. Senior EditorWillHollis, Stacks2nd Floor, METHOD OFSUBMISSION: touch-and-feel, collectiblebooksfor ages 0-6. and grow, popup,magic ribbonbooks, holiday, touchable counting, uniqueformats, giggle GENRE(S): (Tennessee) (New York). Illustrator: Gina Rhodes-Haynes CONTACT: BOOKS PUBLISHEDYEARLY: YA Biography GENRE(S): CONTACT PERSON: users.tm.net/sherwells/ [email protected] Royal Oak,MI48068 P.O.Box 1338 LAWELLS PUBLISHING Ride Ever!andMysteryonPineLake TITLES TO STUDY: MULTIPLE SUBMISSIONS: WILL REPLY IN: New England orthe Northeast United States. authors and illustrators who are connected to com/submission-guidelines. Prefer to workwith MANUSCRIPT GUIDELINES: samples. and bio. Illustrators: coverletter, bio, and submissions. Fullmanuscript withcoverletter METHOD OFSUBMISSION: books withNew England sensibilities. grade chapterbooks, and young adult titles; GENRE(S): CONTACT: www.islandportpress.com [email protected] Yarmouth, Maine04096 PO BOX10 ISLANDPORT PRESS calls. letters orhandwritten submissions and no phone OTHER INFORMATION: Author: Senior Editor/WillHollis Melissa Kim,Editor Picture books, storybooks, middle Memory albums, board books, Middle-grade Creative Nonfiction; Three tosixmonths Within 6months Sherry A. Wells The Iciest,Diciest,ScariestSled No picture books, query Yes Regularmail. Author: Prefer email www.islandportpress. Authors: Coverletter 5 SMALL PRESS MARKET SURVEY | 111

METHOD OF SUBMISSION: Writers: Check website examples of your work in an electronic format. METHOD OF PAYMENT: 5% Royalties PREPARING & SUBMITTING for submission guidelines. Illustrators: N/A. Please put “artwork submission” in the subject MULTIPLE SUBMISSIONS: No line of your email. Include your bio within MEADOWBROOK PRESS WILL REPLY IN: 3 weeks or attached to your email. Send to leslie@ 6110 Blue Circle Drive METHOD OF PAYMENT: Royalties, Work for hire littlepicklepress.com. Suite 237 TITLES TO STUDY: Father Ford; The Mullers from MULTIPLE SUBMISSIONS: Yes Minnetonka, MN 55343 Missouri WILL REPLY IN: 3 months from the time we [email protected] receive a complete query package from Creative www.meadowbrookpress.com LEAP BOOKS, LLC Byline CONTACT PERSON: Submissions Editor PO Box 63 METHOD OF PAYMENT: Upfront compensation GENRE(S): Nonfiction Otego, NY plus royalties. METHOD OF SUBMISSION: Writers: Cover letter. MARKET SURVEYS 13825 TITLES TO STUDY: What Does It Mean to Be Global? Illustrators: submit nonreturnable copies (color http://leapbks.net/ (October 2009), What Does It Mean to Be Green? copies are fine) of work that best represents [email protected] (March 2010) What Does It Mean To Be Present? their style and strengths. CONTACT PERSON: Shannon Delany (July 2010) MULTIPLE SUBMISSIONS: Yes WRITER CONTACT: Shannon Delany WILL REPLY IN: 4 months ILLUSTRATOR CONTACT: Shannon Delany MAGINATION PRESS / APA METHOD OF PAYMENT: Advance and royalty for GENRE(S): Middle-grade novels, young adult 750 First Street NE authors; flat fee for illustrators. novels, young adult and new adult novellas, and Washington, DC 20002 OTHER INFORMATION: In business 30 years. DIRECTORIES & RESOURCES themed anthologies. [email protected] Catalog free to authors and illustrators. BOOKS PUBLISHED YEARLY: 10 www.maginationpress.com TITLES TO STUDY: Arts and Crafts Busy Book METHOD OF SUBMISSION: Accepting agented CONTACT PERSON: Acquisitions submissions to the appropriate editor as per our GENRE(S): Nonfiction and Fiction MITCHELL LANE PUBLISHERS submission guidelines. Occasional open calls BOOKS PUBLISHED YEARLY: 8-10 P.O. Box 196 posted to our website or Facebook page. METHOD OF SUBMISSION: Writers: Complete Hockessin, DE 19707 MULTIPLE SUBMISSIONS: Yes, send your manuscript. No electronic submissions. www. www.mitchelllane.com manuscripts to as many publishers as you like, apa.org/pubs/magination/guideline.aspx CONTACT: Submissions Editor but only one to Leap at a time, please! ILLUSTRATORS: Sample color or B&W illustrations GENRE(S): Non fiction for all age ranges SUBMISSION GUIDELINES: http://leapbks.net/ with website info METHOD OF SUBMISSION: Work for hire basis. Send about/submissions/ MULTIPLE SUBMISSIONS: Yes in resume with cover letter and sample work.

WILL REPLY IN: Approximately three months WILL REPLY IN: 3-6 months SUBMISSION GUIDELINES: Will not accept PUBLICIZING YOUR PUBLISHED WORK METHOD OF PAYMENT: Competitive royalties, no METHOD OF PAYMENT: Authors: 5-15% Royalty on unsolicited material. mitchelllane.com/pages/ advances at this time. net revenues. Usually no advance; Illustrators: auth_guide.php TITLES TO STUDY: Storm Watcher, When Sparrows Usually fee, no royalty. TITLES TO STUDY: A Kid’s Guide to Genealogy; The Fall, Lethally Blonde, Island Sting, Half-Life, OTHER INFORMATION: Catalogue: enclose 9” x 12” Minotaur Right Kind of Mistake, Beware the Little White SASE. Enclose SASE with sufficient postage with Rabbit. all submissions if you want materials returned. MONTH9BOOKS Include credentials, intended audience/ market; 4208 Six Forks Road Suite 1000 10th Floor LITTLE PICKLE PRESS description of book (how does it benefit readers, Raleigh, North Carolina 27609 P.O. Box 983 and how does it differ from other books). www.month9books.com Belvedere, CA 94920 TITLES TO STUDY: Magic Box; The Year My Mother CONTACT PERSON: Georgia McBride. www.littlepicklepress.com Was Bald; Why Are You So Sad?; Big Ernie’s New OTHER INFORMATION: We accept unagented [email protected] Home; Feeling Better; Ginny Mom’s and Mom’s submissions. Advances and royalties are paid on all 877-415-4488 House; Dad’s House; Don’t Squeal Unless It’s a books. We publish speculative fiction for teens and

CONTACT PERSON: Submissions Editor Big Deal; What To Do When You Worry Too Much tweens. SCHOOL VISITS GENRE(S): Children’s fiction and non-fiction for ages 0 - 8. MAVAL PUBLISHING MOUNTAIN PRESS BOOKS PUBLISHED YEARLY: 5+ 3900 East 6th Avenue P.O. Box 2399 METHOD OF SUBMISSION: Electronic. Writers: Denver, CO 80206 Missoula, MT 59806 Submit a complete manuscript and cover letter [email protected] [email protected] along with a signed and dated copy of our www.mavalpublishing.com www.mountain-press.com LEGAL QUESTIONS Manuscript Submission Policy & Agreement, CONTACT PERSON: George Luder CONTACT PERSON: Writers: Acquisitions which you may download from the website. GENRE(S): Picture Books GENRE(S): History - YA biography and nonfiction. Illustrators: If you have a Website or your BOOKS PUBLISHED YEARLY: 5-10 Science & Natural History--illustrated for work is otherwise available online (e.g., on MULTIPLE SUBMISSIONS: Yes. Please contact elementary, K-5. JacketFlap), provide a link. We will contact you publisher for more Information about BOOKS PUBLISHED YEARLY: 15 if we need more info or samples of your work. If submissions. MULTIPLE SUBMISSIONS: Yes with notice in cover your work is not online, please email at least 10 WILL REPLY IN: 6 months letter. 112 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org synopsis and firstthree chapters inthe body of METHOD OFSUBMISSION: or poetry. picture books. We do not publish short stories and young adult novels. We do not publish GENRE(S): CONTACT: www.onstagepublishing.com [email protected] Madison, AL35758 190 LimeQuarryRoad,Suite106 ONSTAGE PUBLISHING TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: Illustrators: Send samplestokeep onfile. website for more information. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: CONTACT PERSON: www.nbnbooks.com Lanham MD20706USA 4501 ForbesBlvd. National BookNetwork NORTHWORD BOOKS Not accepting submissions perwebsite. www.newleafbooks.net [email protected] 630-832-8337 Villa Park, IL60181 P.O. Box 6992 WigWam PublishingCo. NEW LEAFBOOKS PAYMENT: M site: Send to SUBMISSIONS: SUBMISSIONS: Books published yearly:6-8 paperback, and ebookformats. are published simultaneously inhardcover, middle grade and young adult readers. Books nonfiction, and poetry for DESCRIPTION: [email protected] www.namelos.com NAMELOS (covers). illustrators. Flatfeefor single illustrations METHOD OFPAYMENT: for_authors.php SUBMISSIONS GUIDELINES | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL ULTIPLE SUBMISSIONS: www.namelos.com/submissions.php [email protected] Royalty chapter books, middle grade novels Willcritiqueyourmanuscript. Doesnot acceptunsolicited High quality literary fiction, 12weeks Seewebsite Publisher Flat feeorroyalty/advance Royalties toauthors and Yes, withnotice Yes Email queryand/or Writers:Fulltext. See : mountain-press.com/ 20 . Seeweb Illustrators may send their websitestothe art Send [email protected] an email. NO ATTACHMENTS willbeaccepted. background); artwillnot bereturned sosend email address, phone and fax, professional copies with resume’, coverletter (name, address, of full-color print samplesorhigh-quality color background +SASE. Illustrators: send arange description and info aboutyourprofessional fax +fullms. (100-250word count), novelty with name, address, email address, phone and SUBMISSION GUIDELINES: WILL REPLY IN: 250, Franklin, TN37067. Gina Rhodes Haynes, 113Seaboard Lane, Suite Street, New York, NY10019-2200.Illustrator: Senior Editor, Stacks2nd Floor, 110 W. 5th METHOD OFSUBMISSION: touch-and-feel, collectiblebooksfor ages 0-6. and grow, popup,magic ribbonbooks, holiday, touchable counting, uniqueformats, giggle GENRE(S): Illustrator: Gina Rhodes-Haynes (Tennessee). CONTACT: 866-418-2572 www.dalmatianpress.com Franklin, TN37067 Suite C-250 113 SeaboardLane (an imprint of Dalmatian Press) PIGGY TOES Story TITLES TO STUDY: cover letter. MULTIPLE SUBMISSIONS: BOOKS PUBLISHEDYEARLY: node/20 SUBMISSION GUIDELINES: WRITERS. No Email. with fullmanuscript. ONLY ACCEPTS CANADIAN METHOD OFSUBMISSION: Canadian writers. GENRE(S): CONTACT: www.oolichan.com [email protected] Fernie, B.C. CanadaV0B1M0 P.O. Box 2278 OOLICHAN BOOKS Mission Shanghai TITLES TO STUDY: WILL REPLY IN: onstagepublishing.com/submissions.php SUBMISSION GUIDELINES: of the email. NO ATTACHMENTS. director. They may putillustrations inthe body Author: Senior Editor Memory albums, board books, Submissions Editor Chapter booksand YA fiction by As soonaspossible Within6months Kid Dynamite:TheGerryJames Huntsville, 1892:Clara; Yes. Pleasespecifyin

Regular mail. Author: www.oolichan.com/ SASE and coverletter Authors: cover letter 10 www. my Mother TITLES TO STUDY: WILL REPLY IN: MULTIPLE SUBMISSIONS: through submission form METHOD OFSUBMISSION: States. customs of Hispanic culture inthe United of the themes, languages, characters, and GENRE(S): CONTACT: [email protected] Houston, TX77204-2004 Rm 100 University of Houston4902GulfFwy, Bldg19, (ARTE PUBLICO PRESSIMPRINT) PINATA PRESS calls. letters orhandwritten submissions and no phone OTHER INFORMATION: only disposableduplicate copies. [email protected] McHenry IL60050-7030 1400 MillerParkway RAVEN TREEPRESS Shadows; Visibility TITLES TO STUDY: WILL REPLY IN: for-writers/submission-guidelines/ SUBMISSION GUIDELINES: necessary. SASE. and samplechapters. Onlymail ifabsolutely METHOD OFSUBMISSION: GENRE(S): CONTACT: www.raintownpress.com [email protected] Portland, OR97214 1111 E.BurnsideSt.#309 RAINTOWN PRESS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: providencepublishing.com Illustrators: pleasessubmitsamplesto help@ letter via the contact page onthe website. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.providencepublishing.com Houston, Texas 77069 13607 BelindaCourt PROVIDENCE PUBLISHING Submissions Editor Submissions Editor Middle Grade and YA fiction. Seeks realistic and authentic portrayal Children’s Books 4 months 4 90days 2-6weeks Pepita Talks Twice; TheDesertis Spartacus and the Circus of Vuthy Kuon No picture books, query Negotiable Yes Yes Pleasesend aquery Submit manuscript raintownpress.com/ Email queryletter 3-6 SMALL PRESS MARKET SURVEY | 113 www.raventreepress.com METHOD OF SUBMISSION: Writers: Proposal SHEN’S BOOKS PREPARING & SUBMITTING CONTACT PERSON: Publisher 1547 Palos Verdes Mall, #291 or manuscript with cover letter. Email GENRE(S): Bilingual (English/Spanish) Children’s Walnut Creek, CA 94597 [email protected]. Picture Books. 800-456-6660 MULTIPLE SUBMISSIONS: Yes BOOKS PUBLISHED YEARLY: 6-8 www.shens.com WILL REPLY IN: 8 weeks METHOD OF SUBMISSION: Not accepting any [email protected] METHOD OF PAYMENT: Bi-annual royalty submissions at this time. Check website. CONTACT PERSON: Renee Ting, Publisher MULTIPLE SUBMISSIONS: Yes WRITER CONTACT: Renee Ting TANGLEWOOD PRESS WILL REPLY IN: 4-6 weeks ILLUSTRATOR CONTACT: Renee Ting P.O. Box 3009 METHOD OF PAYMENT: Advance and Royalties, GENRE(S): Asian and multicultural children’s Terre Haute, IN 47803 some work for hire. picture books. www.tanglewoodbooks.com MARKET SURVEYS OTHER INFORMATION: See website for submission BOOKS PUBLISHED YEARLY: 2 [email protected] guidelines. Check before sending materials METHOD OF SUBMISSION: No email or fax. Send 812-877-9488 please. cover letter including brief bio and publishing CONTACT PERSON: Kairi Hamlin, Acquisitions TITLES TO STUDY: Polar Slumber; Oh Crumps; history, complete ms. and SASE. Send self- Editor Mason Moves Away; Isabel and the Hungry addressed stamped postcard for confirmation WRITERS: Kairi Hamlin Coyote of receipt. Writers: As above. Illustrators: ILLUSTRATORS: Kairi Hamlin mail color copies, tearsheets, and/or other GENRE(S): Picture books, middle-grade, YA

RONSDALE PRESS illustration samples; no electronic samples on BOOKS PUBLISHED YEARLY: 5-10 DIRECTORIES & RESOURCES 3350 West 21st Avenue CD or by email; no original artwork; include METHOD OF SUBMISSION: Email query or cover Vancouver, B.C., Canada V6S 1G7 web address if you have a site with additional letter with sample chapters to khamlin@ [email protected] samples, send contact info; can receive tanglewoodbooks.com. See website for further ronsdalepress.com confirmation of receipt if send self-addressed, guidelines. CONTACT: Veronica Hatch stamped postcard. MUTIPLE SUBMISSIONS: Yes GENRE(S): Middle grade and YA novels, for ages MULTIPLE SUBMISSIONS: Yes WILL REPLY IN: 3-6 months 8-15. Interest in historical fiction. SUBMISSION GUIDELINES: www.shens.com/ METHOD OF PAYMENT: Royalties METHOD OF SUBMISSION: Cover letter and sample submissions/ BOOKS PUBLISHED YEARLY: 5-10 chapters. SASE if you want the manuscript WILL REPLY IN: up to one year TITLES TO STUDY: Those written by Audrey Penn, returned. METHOD OF PAYMENT: Negotiable Katie McKy or illustrated by Barbara Gibson, MANUSCRIPT GUIDELINES: ronsdalepress.com/ TITLES TO STUDY: The Wakame Gatherers, Cora Christa Unzner. submissions/ ONLY CANADIAN AUTHORS/ Cooks Pancit PUBLICIZING YOUR PUBLISHED WORK ARTISTS THREE BEARS PUBLISHING MULTIPLE SUBMISSIONS: Yes SLEEPING BEAR PRESS Box 132 TITLES TO STUDY: Eco Warrior; Hannah and the Spindle 315 Eisenhower Parkway, Suite 200 Aldergrove, BC, Canada V4W2T7 Whorl Ann Arbor, MI 48108 [email protected] www.sleepingbearpress.com www.threebearspublishing.com SCOBRE PRESS CORPORATION CONTACT PERSON: Acquiring Editor CONTACT: Acquisitions Editor 2255 Calle Clara GENRE(S): Picture Books GENRE(S): Picture books for ages 5 and up. La Jolla, CA 92037 BOOKS PUBLISHED YEARLY: 25-28 METHOD OF SUBMISSION: Cover letter and [email protected] METHOD OF SUBMISSION: Not accepting manuscript. Illustrators: send samples and cover www.scobre.com submissions at this time. Check website letter. Send in post. CONTACT PERSON: Scott Blumenthal periodically. SUBMISSION GUIDELINES: www. GENRE(S): Children’s and YA MULTIPLE SUBMISSIONS: Yes threebearspublishing.com/new_page_21.htm BOOKS PUBLISHED YEARLY: 6-9 WILL REPLY IN: 9-12 months MULTIPLE SUBMISSIONS: Yes

METHOD OF SUBMISSION: Writers: Email, Mail. METHOD OF PAYMENT: Royalties TITLES TO STUDY: What do You Want to Be?; If I SCHOOL VISITS Illustrators: Portfolio, website links. TITLES TO STUDY: The Legend of Mackinac Island; was Mayor WILL REPLY IN: 7-10 days Z is for Zamboni: A Hockey Alphabet; Mercedes METHOD OF PAYMENT: Almost double industry and the Chocolate Pilot; The Scarlett Stocking TURTLE BOOKS standard, re: royalty percentages. Spy 897 Boston Post Rd OTHER INFORMATION: “We are publishers of young Madison, CT 06443 peoples books designed to increase literacy by SPORTS PUBLISHING [email protected] LEGAL QUESTIONS reaching young people through sports. Scobre Skyhorse Publishing, Inc. www.turtlebooks.com Press is currently adding an 18 book career 307 West 36th Street, 11th Floor CONTACT PERSON: Ronald Zollshan series to their line.” New York, NY 10018 GENRE(S): Illustrated children’s trade picture TITLES TO STUDY: Hoop City; The Road to the www.sportspubbooks.com books in English & Spanish editions. Majors; The Highest Stand; Long Shot; The Long CONTACT PERSON: Submissions BOOKS PUBLISHED YEARLY: 6 Way Around; The Kid from Courage GENRE(S): Sports Nonficiton METHOD OF SUBMISSION: Writers: Submit BOOKS PUBLISHED YEARLY: 80 manuscripts with an SASE. Illustrators: Submit 114 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org two atatime, please. MULTIPLE SUBMISSIONS: [email protected] westside-books.com. Illustrators: send queryto email. Writers: send querytosubmissions@ of manuscripts inhard copy, ondiscorvia queries byphone orfax; orno coldsubmissions Word docs, then possiblya fullmanuscript. No email samplepages from the novel asMs. a 1-2page synopsis; ifinterested, we’llrequest describing your novel inafewparagraphs with METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: verse and graphic novels. nonfiction (issue-based); willconsider novels in GENRE(S): Contact: same asabove. Writer Contact: same asabove. Illustrator CONTACT PERSON: [email protected] www.westside-books.com 973-458-0485 Lodi, NJ07644 60 IndustrialRoad WESTSIDE BOOKS WILL REPLY IN: MULTIPLE SUBMISSIONS: except for erotica /no submissions to711press SUBMISSION GUIDELINES: no submissions first 2-3chapterthrough secure uploadserver/ Method of Submission: electronic submission of BOOKS PUBLISHEDYEARLY: action &adventure fantasy, sci-fi,spaceopera, crime drama, spy, fiction / for 711press- horror, fantasy, children’s help and vocalinstruction, fiction- children’s GENRE(S): venderapublishing.com CONTACT PERSON: www.venderapublishing.com, 711press.com Franklin FurnaceOhio45629 PO BOX116 VENDERA PUBLISHING Jo Harper Daddy: AStoryof theGreatDepression Prairie DogPioneers McGovern; TITLES TO STUDY: manuscripts (No Young Adult Books). OTHER INFORMATION: royalties. METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: samples for files. | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL YA fiction (no fantasy orchick lit), YA non-fiction instructional including self The CrabMan Email /NA As soonaspossible

The LadyintheBox Evelyn M.Fazio, Publisher. Jaime Vendera admin@ byJo Harper; No queries. Send complete Contract withadvance and Querybyemail Yes /NA OK Yes, butno more than Alltitlesaccepted byPatricia Van West; 15-20 6 / 12 Finding byAnn by

METHOD OFPAYMENT: WILL REPLY IN: com SUBMISSION GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT: www.zipperpress.com [email protected] Englewood, OH45322-0164 PO Box 164 ZIPPER PRESS TITLES TO STUDY: MULTIPLE SUBMISSIONS: com/ SUBMISSION GUIDELINES: and send in manuscript via email METHOD OFSUBMISSION: GENRE(S): CONTACT: www.yorkshirepublishing.com [email protected] Tulsa, Oklahoma74147 Post OfficeBox 472246 YORKSHIRE PUBLISHING catalogs. material orrecipe/cookbooks. Willprovide free fiction, poems, short story collections, religious board booksmysteries, romances, science OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: authoring.html. SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: description of proposed market, SASE. table of contents, intro and atleast3chapters, submissions. Querybymail withbrief overview, METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: educational value. children’s literature and occasional Fiction with history and science, outdoor recreation and GENRE(S): CONTACT PERSON: [email protected] www.finneyco.com 952-469-6699 Lakeville, MN55044 8075 215thStreetWest (An Imprint of Finney Company, Inc.) WINDWARD PUBLISHING Life, TheRing,Listen,SavedbytheMusic TITLES TO STUDY: royalties basedonsales. Submissions Editor Submissions Editor Picture booksand easyreader fiction Primarily nonfiction covering natural Children’s fiction and non fiction 4-6months toreview fullms. 10-12 weeks

The Tortoise andtheHairPiece Stepping Up,Runningfor My Finney Company Royalties royalty advance and No A,B,Cor1,2,3books, Yes Yes Currently not accepting No electronic Fill outform onwebsite yorkshirepublishing. www.finneyco.com/ www.westside-books. 6-8 Raining Whisper TITLES TO STUDY: submissions, butcheck websiteperiodically. The LittleWooden Table; It’s MAGAZINE MARKET GUIDE

his market guide should not be used as a substitute for a particular magazine’s guidelines. It is intended as a reference guide only. URLs for online guidelines for many Tmagazines are listed in this guide. The listings include juvenile, preteen, teenage, and young adult, as well as secular, religious, and special interest magazines. This survey was conducted by sending out a questionnaire and request for guidelines to the editors of each magazine listed. Some previously listed magazines have gone out of business or have asked not to be listed. Also not included are magazines that pay with copies. The SCBWI feels that writers and illustrators should be paid money for their work.

Wherever possible, explicit information is provided for each done by following the magazine’s guidelines closely. If you are writing publication’s requirements, policies, and procedures. An effort has a nonfiction piece, be sure to include all documentation the magazine been made to include more information for illustrators and artists. In requires. Understand the terms before you submit your work; the time some instances, publishers may not have provided all the information spent researching the magazine and its guidelines could mean the requested, and guidelines change, so always send for guidelines. difference between a sale and rejection.

KNOW THE MAGAZINE MARKET THINK LIKE AN EDITOR Study this guide to get an idea of which magazines interest you Editors want a professional-looking manuscript (see “From Keyboard and may be interested in your work. Then get your hands on those to Printed Page”). In the top left-hand corner of the first page you magazines! If your library or newsstand does not carry a magazine, should include your name, address, zip, phone number, and social write a letter to the editor requesting guidelines and a sample copy security number (single spaced). In the top right-hand corner, include (there is usually a fee). You can often find details for doing this along the word count. with back issues and theme lists on a magazine’s website. Some editors prefer queries (make sure to check), especially for nonfiction articles. When submitting queries, include writing samples STUDY THE MAGAZINE or clips of your published work. Describe your idea and qualifications, Look at the quality, format, style, and trends of the magazine. Note listing your publishing credits, if any. Before you query make sure how much is devoted to fiction, nonfiction, short stories, artwork, etc. you will be able to gather enough information to write the article. Notice the titles, types of stories, articles, word length, and vocabulary. Illustrators should query with color copies (no larger than 8” x 10”) of Compare and critique your work against the published work. Would your at least five different pieces of art, all labeled with your name, address, work fit in with this magazine? Remember that the stories and articles phone number, and type of media. Send with a cover letter or résumé, you read are the type of work the magazine is seeking. It’s best to study tear sheets if any, and an SASE. Send only what each editor asks for in current issues as formats and what is included in the magazine change. the guidelines and state that the editor may keep the work for his/her file. Never send original art work. Editors may keep your work on file to STUDY THE GUIDELINES contact you for future assignments. When they are available, look up online guidelines for more current information. Take notice of the description of the magazine, the age KNOW YOUR RIGHTS level, and what the magazine accepts. What will they pay you? What When a magazine purchases your work, its buys certain rights. Be rights do they buy? How long will it take to get a response? Take note sure you understand what rights you are selling before you agree to the of the editor’s comments. All editors want contributors to submit work purchase. that fits the magazine’s format and requirements. This can only be 116 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org you are rejected: ithappens tothe bestof us! your workpublished isnot easyand takes persistence. Don’tgiveupif along withanSASE asking the statusof the work.Remember, getting the editorinthe time statedinitsguidelines, writeacourteousletter that and tryanother suitablemagazine. Ifyouhavenot heard from which editor, date). Ifyourmanuscript isreturned, make anote of IN GENERAL equal size. Mark envelope:PHOTOS—DO NOT BEND.Include anSASE. releases. Mail photos inphoto envelopesorplacebetweencardboard of of eachphoto. Donot mount photos onboard orpaper. Include model (with numbered photos) ortypedonalabeland attached tothe back identity and source of eachphoto, either onaseparate piece of paper some prefer an8”x10”. Include yourname, address, phone number, MAILING PHOTOGRAPHS lost inthe mail. Federal Express. Thiswayyouwillbeabletotrace the package ifitgets same waybutmake sure tosend the package bycertified mail, UPS,or an SASE. When the editorrequests the original artwork,protect itthe mark the envelope:ILLUSTRATIONS—DO NOT BEND.Alwaysinclude stock thatwon’tbend easily, inalarge manila envelope. Besure to querying, send colorcopies of artworkprotected bycardboard orcover MAILING ILLUSTRATIONS you are asked byaneditortodo so. Never e-mail yourmanuscript unlessthe guidelines sayitisallowedor back: [Name of magazine] isinreceipt of [manuscript title] on[date]. addressed, stampedpostcard withthe following information onthe an SASE withsufficient postage. You may alsowant toinclude aself- for yourfiles. Mail the copyflatinalarge manilaenvelope and include MAILING YOUR MANUSCRIPT » » » » | MAGAZINE MARKET GUIDE MARKET | MAGAZINE » » » » Keep copies of everything yousend (whatyousend, which magazine, Most editorsrequest 5”x7”black-and-white glossyprints, although Never send original artworkuntil instructed bythe editor. When Always send acopyof yourmanuscript whilekeeping the original writing the piece butyoucannot resell itelsewhere. without further payment toyou.You willalwaysbegivencredit for your workasmany times asitwants to,atany time, inany place, back toyou.Selling allrights means youallowthe publication touse Sometimes the editorisflexible, and may allowthe rights to revert All Rights means the editorpurchases allthe rights toyourwork. especially inthe religious Sunday School take-home papers. illustrations and artworkbutoccasionally willapplytowriting, to publishthe work.One-time rights most often applytophotos, that the purchasers haveno guarantee thatthey willbethe first One-time rights differfrom FirstNorth American Serial Rights in belong toyou,the creator of the work. the firsttime inits magazine, journal, orperiodical. Allother rights First Serial Rights permitsthe publisher topublishyourworkfor only. Allother rights belong toyou,the creator of the work. permission topublishthe workfor the firsttime in North America First North American Serial Rights means the publisher purchases the Assignment Byline completion date, and ifthere is akillfee. upon, when itwillbepaid, ifthere willbeany payment inadvance, a agreement may include adescription ofthe assignment, the fee agreed tor, inwhich the writer orillustrator agrees to doaspecified job. The poetry, puzzles, recipes, quips, etc. column oraspecial space inthe magazine, such as jokes, anecdotes, Fillers unless otherwise stated. DONOT send cash orloose stamps. lines, include check or money order, made payable to the magazine, Fee special topics orthemes, special departments ofthe magazines. Features/Articles requested your manuscript orillustration. your background, special knowledge, orremind the editor she/he ing the editor pertinent information, oritmay outline your expertise, Cover Letter notice ofapublication is the year ofpublication, not creation. is not copyrighted, you mustdoso. The year stated inthe copyright lication formally copyrights your work for you, but ifthe publication all rights,benefits and privileges the ownership entails. Usually a pub- It recognizes you as the creator and owner ofthe work and grants you soon as ithas beencreated intangible form, even ifnot yet published. Copyright more free copies ofthe magazine inwhich your work appears. Contributor’s Copy your work (receiving anaward for your work, for example). It can also mean reviews ofyour work orpublicity about you and/or Clips This is anagreement between the publisher and writer, orillustra Author’s orillustrator’s name as itappears inpublished work. Usually ashort item used by aneditor to “fill” remaininga space in If afee is indicated for asample copy of the magazine and/or guide- Features and articlesgenerally fall into categories: special columns, Abriefletter accompanying aqueryorcomplete manuscript tell- The copyright law, effective January 1,1978, protects your work as As the contributor ofwork to amagazine, you may receive one or Samples ofpublished work, usually from magazines ornewspapers. GLOSSARY OFTERMS - MAGAZINE MARKET GUIDE | 117 PREPARING & SUBMITTING GLOSSARY OF TERMS (CONT’D)

Illustrations text, or is on both. Sometimes photo essays or features tell their own Can refer to any kind of artwork or graphic designs, engravings or story with few words. photography. They are usually paid for separately from manuscripts unless it is specified as a package sale. A package sale includes the sale Public Domain of the manuscript and illustrations, which can be done by one person or Material whose copyright has run out or lapsed is in the public in partnership with another. domain. Since copyright law has changed several times in recent years,

determining if a particular work is public domain or not may require MARKET SURVEYS International Reply Coupon considerable research. This coupon, also known as an IRC, is purchased at the post office to be used instead of stamps for the SASE when sending a manuscript Query to a foreign country. The editor exchanges the IRC for that country’s A letter addressed to an editor that tells about a written item or illus- corresponding stamps to return your manuscript. The number of IRCs tration you wish to submit to the magazine. It includes your proposed required depends upon the weight of the manuscript. Never send a idea, a sample of your work, bibliography for nonfiction, your expertise personal check instead of IRCs. and background, and why you believe your work can make a difference DIRECTORIES & RESOURCES to the readers. Kill Fee The writer or illustrator receives a portion of the agreed-upon fee Reprints for a work which was subsequently canceled. Kill fee terms should be Occasionally magazines will purchase reprints of previously agreed upon when the assignment is accepted; otherwise, the writer published pieces. When sending reprints, make sure you have fulfilled or illustrator will not be entitled to one. Kill fees are not common and the obligations of the first magazine in which it was published. Your are only offered to writers or illustrators working on assignment, not contract will explain when you are free to resell your writing. Even if on speculation. After receiving the kill fee, the writer or illustrator may you were paid on acceptance for the first publication of your writing, it submit the work elsewhere. does not guarantee that the work will be published at any specific date unless so specified in the purchase. It may mean that the work can be

Legal-size Envelope held for months or years before publication. This means that you, the PUBLICIZING YOUR PUBLISHED WORK Also known as the #10 or business-size envelope, used in sending creator, cannot resell the work until it is published. business correspondence, and is often the size required for an SASE. Response Time Model Release The length of time the editor takes to report back to you about the This form is signed by the person in the photograph (or by his/her work you submitted, a query, or to a request for information. If the edi- legal guardian if a minor). It authorizes the photographer to use the tor hasn’t responded in the promised time, a courteous follow-up letter photograph for business as well as editorial purposes. If the subject of is in order. Do not call or fax the editor. the photograph is an animal, object, building, or place, then a model release must be signed by the owner. SASE A self-addressed, stamped envelope for the return of your material. MS For foreign publishers, you may be required to use foreign postage as Manuscript. Plural: mss. US postage will not be valid. Check with your post office for information. SCHOOL VISITS Payment on Acceptance The editor, purchaser of a written piece or illustration, agrees on Tearsheets behalf of the publisher to send a check for the work upon acceptance or Originally this term referred to pages torn out of a magazine or news- agreement of purchasing the work. Payment on acceptance could be as paper containing your printed work, a review of your work, a reference long as several months, depending on the magazine’s pay schedule. to your work, or all of the above. Today photocopies of these are often used instead of originals. LEGAL QUESTIONS Payment on Publication The editor, purchaser of a written piece or illustration, agrees to Unsolicited Manuscript send a check for the work upon publication of the work. This could be A manuscript sent without prior authorization. Magazines that do several months to several years, depending upon its editorial calendar. not take unsolicited manuscripts require that you query first and wait for a response. Photo Essays/Photo Features The emphasis of the essay or article is on the photo rather than the 118 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org resources. important. Use primary sources and up-to-date Scientific and historical accuracy extremely appropriate, and exhibit original approach. Looking for articles thatare lively, age- articles for individual themes separately. website under editorial guidelines. Query theme. Theme list ispostedonCobblestone any issueand must becloselyrelated tothe COMMENTS: per 150-word page. TERMS: “Experts inAction,” “The Artist’sEye”). “Reading Corner,” “Where inthe World,” departments (“FunStuff,”“Bythe Numbers,” (1-4 pages; nonfiction, interviews, how-to); queries only. Email preferred. Feature articles ACCEPTS: AGE GROUP: multidisciplinary social studies magazine. DESCRIPTION: editorial.html GUIDELINES: CONTACT: Email: [email protected] www.cobblestonepub.com 140 E.83rdSt. NewYork, NY10028 APPLESEEDS submit tous. a worldwithout racal and religious prejudice to writers, wewant everyone interested increating COMMENTS: TERMS: more than4,000words. stories thatshow how alike allraces are. No ACCEPTS: AGE GROUP: magazine. through the writtenword. AIMisanon-profit focus of eliminating racism from ourworld DESCRIPTION: GUIDELINES: CONTACT: Email: [email protected] www.aimmagazine.org Milton, WA 98354-0390 P.O. Box 390 MAGAZINE) AIM (AMERICA’S INTERCULTURAL MAGAZINES SECULAR | MAGAZINE MARKET GUIDE MARKET | MAGAZINE $25pluspublication Allrights purchased. Rateof payis$50 Focusisonnonfiction. Send Articles, poems, essaysand short SusanBuckley, Editor RuthApilado, Associate Editor Writersmay propose anarticle for We not onlyappealtohigh school 7-10 High School

www.cobblestonepub.com/guides_ www.aimmagazine.org/submit.htm 36-page, theme-based Aquarterly magazine withthe www.cricketmag.com/submissions GUIDELINES: CONTACT: Email: [email protected] www.cricketmedia.com/art-submissions guidelines www.cricketmedia.com/babybug-submission- months-3-years submit/17819/babybug-magazine-for-ages-6- www.cricketmag.submittable.com/ Chicago, IL60601 70 EastLake Street,Suite800 BABYBUG submitting. com submittable.com or list of resources. Please visit cricketmag. paragraph, and comprehensive bibliography/ COMMENTS: Rights vary. TERMS: a question, not afact. engaging stylewithplenty of humor. Startwith technology, orthe arts. Prefer aninformal, interesting discovery, event, or idea inscience, well-researched, engaging storyaboutsome words. The ideal Ask article should tella articles, photo essays, and stories, 400-1600 ACCEPTS: AGE GROUP: science, and art(nine issuesperyear) exploring science, technology, nature, historyof DESCRIPTION: cricketmag.com/submissions GUIDELINES: CONTACT: Email: cricketmedia.com/ask-submission-guidelines Chicago IL60601 70 EastLake Street,Suite800 ASK Poems: upto$3.00per line, $25.00minimum. TERMS: details about submitting portfolio samples). assignment only(seesubmission guidelines for ideas); action rhymes and finger plays. Art:By “first concepts” (playfultakes onsimple fiction and nonfiction (sixsentence maximum); they may be more whimsical); very short, clear poetry (poems may explore ababy’sday, or especially interested inrhythmic and rhyming to read together againand again.We are that adults and veryyoung children willwant ACCEPTS: AGE GROUP: babies and toddlers (9issuesperyear). DESCRIPTION: for themes and editorial calendar before [email protected] Rates vary. Payment afterpublication. Stories and articles: upto25¢ per word. Writing: We seekliterary manuscripts Query pitches for theme-specific Liz Huyck, Editor Submissions Editor 7-10 Send querypitch,samplefirst 6 months –3years cricketmag.submittable.com, www. submittable.cricketmag.com; Alook-and-listen magazine for Themed nonfiction magazine cricketmag.sumittable. completed ms). (1000-1500 words; queryFiction Editororsend 750 words; queryAssociate Editor)short stories Articles Editor),columns/how-to features (300- ACCEPTS: AGE GROUP: since 1911. magazine published byBoyScoutsof America DESCRIPTION: resources-for-contributors GUIDELINES: Aaron Derr, Nonfiction Senior Writer CONTACTS: www.boyslife.org Irving, TX,75038 1325 W. Walnut HillLane BOYS LIFE time. submissions. Pleaseallow3-6months response query. Include exact word count. Prefers online COMMENTS: Payment afterpublication. Rights vary. topics such aspets, nature, hobbies, science, nonfiction and poetrythat deal withtimeless COMMENTS: puzzle; art:$35fullpage, $25for partial page. word for fiction and nonfiction, $10perpoemor pays uponpublication. Minimum of 5cents per TERMS: art ispen&ink.) (send sampleof arttobekept onfile—inside accepted basedonarticles, artisbyassignment projects, jokes and riddles. Photography is words) puzzles, poems, cooking, carpentry ACCEPTS: AGE GROUP: DESCRIPTION: bq_guidelines GUIDELINES: Email: [email protected] www.boysquest.com Bluffton, OH45817-0227 P.O. Box 227 BOYS QUEST returned. Querybymail, not byphone. unsolicited nonfiction manuscripts willbe Style and Usage. Allarticles are commissioned; Editors follow the New York Times Manual of in relatively short, straightforward sentences.” 12. Ourreaders demand crisp,punchy writing, COMMENTS: acceptance. for alloriginal, unpublished material, payson $300; short stories: $750and up.Firstrights columns: $150-$400;how-to articles: $250- TERMS: BuysfirstAmerican serial rights and Major nonfiction articles: $400-$1,500; Nonfiction (500-1,500words; query Fiction and nonfiction (around 500 Johnny D.Boggs, Fiction Editor; No advance listof themes. Donot Looking for “articles, fiction, “Writefor aboyyouknow who is 6-13 8-18

www.boyslife.org/home/383/ funforkidzmagazines.com/ General-interest monthly Boys’ bimonthly MAGAZINE MARKET GUIDE | 119 etc.” Each issue revolves around a theme; as well as humor, mysteries, fantasy, and bibliography, listing all resource materials and PREPARING & SUBMITTING check the website for a list of future themes. science fiction. Nonfiction (to 5,000 words): notes as the sources of facts and information Nonfiction should be accompanied by black and First-person experiences of interest to teens given. white photographs. Prefers complete ms with and young adult readers. Poetry (to 25 lines): cover letter, “Attn: The Editor.” serious, humorous, rhyming or free verse. COBBLESTONE Comics: Cicada publishes comics, zines, visual Cobblestone Publishing CHESS LIFE FOR KIDS poems, and any other work in image and/or 30 Grove St., Suite C U.S. Chess Federation text. Peterborough, NH, 03458 P.O. Box 3967 TERMS: Fiction: up to 10 cents/word. www.cobblestonepub.com Crossville, TN 38577 Nonfiction: up to 25 cents/word. Poems: up to Email: [email protected] www.uschess.org $3/word, $25 minimum CONTACT: Meg Chorlian, Editor MARKET SURVEYS [email protected] Payment after publication. Rights vary. DESCRIPTION: Theme-based history magazine AGE GROUP: 12 and under COMMENTS: No advance list of themes. Do not for young people. ACCEPTS: Chess games and instruction, chess query. Include exact word count. Prefers online AGE GROUP: 8-14 news, puzzles, photos, humor, tips, cartoons. submissions. Please allow 3-6 months response ACCEPTS: Related to theme: Feature articles Unsolicited manuscripts on speculation are time. (700-800 words; in-depth nonfiction, plays, welcomed, but queries with clips are preferred. Email comics to [email protected] first-person accounts, biographies); supplemental TERMS: Payment is generally $75 per page (800- (subject line: COMIC SUBMISSIONS). nonfiction (300-600 words); fiction (up to 800

1,000 words). All rights unless negotiated. words; authentic historical/biographical fiction, DIRECTORIES & RESOURCES COMMENTS: Submissions should be made on CLICK adventure, legends); activities (up to 700 words; disk or emailed. Guidelines available. 70 East Lake Street, Suite 800 crafts, recipes, etc. Sketches should accompany Chicago, IL 60601 these queries); poetry (up to 100 lines); puzzles CHIRP www.cricketmedia.com/cricket-submission- and games (crosswords, mazes and picture Owl Magazine Group guidelines puzzles relating to theme—no word finds). 49 Front St. E., 2nd Floor www.cricketmag.submittable.com/ TERMS: Feature articles, supplemental Toronto, M5E 1B3, CANADA submit/17789/cricket-magazine-for-ages-9-14 nonfiction and fiction pay 20-25¢/word; others www.owlkids.com/magazines/chirp/ www.cricketmedia.com/art-submissions are paid on an individual basis. We buy all Email: [email protected] Email: [email protected] rights. GUIDELINES: Not accepting unsolicited CONTACT: Amy Tao, Editor COMMENTS: A query including cover letter, manuscripts as of 8-2009. GUIDELINES: www.cricketmag.com/submissions outline, bibliography, writing sample and SASE

DESCRIPTION: A see and do magazine for pre- DESCRIPTION: Themed nonfiction magazine that must accompany each individual idea; may send PUBLICIZING YOUR PUBLISHED WORK schoolers, printed monthly during school year. explores science, art, and nature (9 issues per multiple queries. Go-aheads requesting material AGE GROUP: 2-6 year). proposed is usually sent five months prior to ACCEPTS: Solicited Submissions Only AGE GROUP: 3-7 publication date. Response time may be several TERMS: Buys all rights, $100-$250 for longer ACCEPTS: Click presents nonfiction concepts to months. We only notify people if a query is stories, and $10-$50 for shorter stories or young children through a variety of formats: accepted; we no longer return unused queries. poems. articles, photo essays & stories. Articles & photo Theme list and index of past issues is available COMMENTS: Aimed at non-readers, basic text is essays (200-400 words) should explain the how online. important with suggestions of visual reference. & why of something in a friendly, engaging, Submissions from outside Canada must be humorous way. Prefer informal, conversational COLLEGE BOUND accompanied by a money order or IPC for $2. style; best articles tackle one idea or concept 1200 South Ave., Suite 202 Allow 12 weeks to review ms. in-depth rather than several ideas superficially. Staten Island, NY 10314 Stories (600-1,000 words) should contain www.collegebound.net CICADA and explain nonfiction concepts within them; Email: [email protected]

70 East Lake Street, Suite 800 successful stories often show children engaged CONTACT: Gina LaGuardia, Editor SCHOOL VISITS Chicago, IL 60601 in finding out about their universe with the DESCRIPTION: Bimonthly college prep magazine www.cricketmag.com/cicada help of supportive, but not all-knowing, adults. AGE GROUP: High School www.cricketmag.submittable.com/submit/17820/ TERMS: Rates vary. Payment after publication. ACCEPTS: Feature articles (800-1,100 words; cicada-magazine-for-ages-14 Rights vary. real-life student experiences, college life tips) Email: [email protected] COMMENTS: Click themes introduce children to and specific departments (150-1,000 words: CONTACT: Submissions Editor ideas and concepts within the natural, physical, campus survival tips, admissions advice, money LEGAL QUESTIONS GUIDELINES: submittable.cricketmag.com; or social sciences; the arts; technology; math; tips, college experiences, opinion on college www.cricketmag.com/submissions and history. The goal is to allow young children controversies). Should be original, thought- DESCRIPTION: Bimonthly literary magazine (six access to the world of ideas and knowledge in provoking ideas. issues per year) an age-appropriate yet challenging way. Articles TERMS: Features: $70-$100; departments: $15- AGE GROUP: 14+ and stories are commissioned. Please see theme $100. Buys first rights and will consider second ACCEPTS: Fiction and novella (to 9,000 words): list and writers guidelines at www.cricketmag. rights. Realistic, contemporary, and historical fiction, com/submissions. Authors must provide COMMENTS: Query first (via e-mail or mail), 120 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org DESCRIPTION: guidelines/ http://www.cricketmedia.com/submission- GUIDELINES: CONTACT: Email: [email protected] www.cricketmagkids.com http://www.cricketmedia.com/ CRICKET-Magazine-for-Kids.html http://shop.cricketmedia.com/magazines/ Chicago, IL60601 70 EastLake Street,Suite800 CRICKET first-class stamps. $2.50 for sampleissueand 9”x12”SASE w/3 line drawings toscientific illustrations. Send biology background. Needs range from simple but alsoneeds illustrators, especially with publication.” CousteauKids isphoto-oriented, the content orstyleisinappropriate for our 95% of submissions are rejected because beginning writer. Readatleast3recent issues; COMMENTS: and rates. Onlyduplicate slides accepted. one-time rights. Queryfor photo submissions $100 for shorter pieces onpublication and buys TERMS: queried. realistic. Willreview artworkfor assignment if will bereturned unread. Illustrations must be an oceantheme.” Queryfirst! Unsolicited mss experiments, and artprojects thatare related to on scientific fact, original home science environment. Alsointerested in“games based science, nature, marine biology, ecology, words; shorter pieces to250words) about Wants nonfiction articles (features 500-700 first-person accounts orarticles bychildren! ACCEPTS: AGE GROUP: publication. Formerly DolphinLog. DESCRIPTION: CONTACT: Email: [email protected] www.cousteaukids.org New York, NY10003 P.O. Box 112,61E.8thSt. The CousteauSociety COUSTEAU KIDS 6 weeksfor response. make itcatchy—grab ourattention!” Allow4to with the leadyouexpect toputonthe article; is light-hearted and fun;when youquery“begin samples of writing and SASE. Tone of the articles interview orstories youwilltell,twoorthree include asummary, specificsaboutwho youwill | MAGAZINE MARKET GUIDE MARKET | MAGAZINE Pays $100-$300for features and $15- No fiction! No talking animals! No Melissa Norkin, Editor Submissions Editor It “isnot agood market for the 7-12

Bimonthly educational submittable.cricketmag.com; Monthly literary magazine (nine

COMMENTS: publication. Buysallrights. TERMS: encouraged. Computer-generated art, when appropriate, is on “bendable” paperfor scanning purposes. with queryorarticle). Allartmust beproduced finds); photos (must relate totheme, submit or withsupervision; puzzles/games (no word activities (max. 700words) achildcando alone fiction, adventure, retold legends, etc.); 800 words, authentic historical/ biographical words, little known information); fiction (max. biographies); supplemental nonfiction (300-600 (700-800 words, in-depth nonfiction, plays, ACCEPTS: AGE GROUP: magazine published 5times ayear. DESCRIPTION: CONTACT: [email protected] www.cricketmedia.com/art-submissions www.cricketmedia.com/Dig-Into-History-for-kids Peterborough, NH03458 30 GroveSt.,SuiteC Exploring World HistoryCobblestonePublishing DIG INTO HISTORY Please allow3-6months response time. exact word count. Prefers online submissions. advance listof themes. Donot query. Include with name, address, and phone number. No tear sheets orphotocopies, eachclearlylabeled but not caricatures or“cartoony.” Forartsend material. Artshould berealistic and humorous, very high, and wewillacceptonlytop-quality for original contributions, butourstandards are children’s illustrators and authors aspossible COMMENTS: after publication. Rights vary. Activities and recipes: $75.00flat rate. Payment Poems: upto$3.00perline, $25.00minimum. TERMS: woodcut. watercolor, acrylic, oil,pastels, scratchboard, illustrations invarious media: pencil, ink, is commissioned separately from text. Accepts Puzzles, mazes, crafts, recipes, plays, music. Art 35 lines): serious, humorous, nonsense rhymes. culture, travel, adventure, sports. Poetry (max. history, social science, geography, foreign biography, history, science, technology, natural legend, myth. Nonfiction (1,200-1,800words): fantasy, science fiction, folk/fairy tales, contemporary, historic, humor, mysteries, ACCEPTS: AGE GROUP: issues peryear). Queryfirst;pays20¢-.25¢/word on Stories and articles: upto25¢perword.

Relatedtotheme: Feature articles Rosalie Baker, Editor Fiction (1,200-1,800words): realistic,

Contact for future themes. Queries

9-14 Cricket wouldlike toreach asmany 9-14 Theme-based worldhistory children’s theater pieces, teenangst dramas unpublished; performable inhigh schools; no humor pieces. Plays(one-act and full-length, surveys, photo spread withcopy, bookreviews, ACCEPTS: AGE GROUP: published September-May. DESCRIPTION: guidelines.asp GUIDELINES: CONTACT: [email protected] www.schooltheatre.org/resources/dramatics Cincinnati, OH45219-2815 2343 Auburn Ave. Educational TheatreAssociation DRAMATICS freelance. Response time 2-4months. May submitmultiple queries; magazine is80% outline, bibliography, SASE, and writing sample. stating subject/word length, detailed one-page (no e-mail) preferred withbrief coverletter consumer awareness, popularTVshows and/ stories onsports, careers, famous personalities, math explained inthe story;couldinclude including anactivitythat usesthe typeof applications of math skills(upto 600 words) ACCEPTS: AGE GROUP: magazine (September -May). DESCRIPTION: CONTACT: dynamath.scholastic.com/ New York, NY10012-3999 555 Broadway, Room367 Scholastic Inc. DYNAMATH basic conventions of the stage.” conventions of playscriptformat or even the be playwrights who do not understand the basic themselves asexperts when they’re not; would- reporting and research; writerswho represent cranky: writerstoolazyorcareless todo basic queries. Samplecopyfor $2.50.“Whatmakes us will respond toqueries. No phone ore-mail COMMENTS: other rights. Responds in6weeks. publication rights toplays; playwright retains all publication rights. Buysone-time, non-exclusive TERMS: or larger), line artare alsoacceptable. transparencies, 35mm+,colororB&Wprints (5x7 with article. High-res JPEGspreferred; color Style. Submitany photos and/or illustrations ms should conform toChicago Manual of or overtlydidactic “message” plays).Finished Pays $25-400onacceptance for first Articles thatshow real-life Matt Friedman Articles (800-4,000words), interviews, Don Corathers, Editor High School Grades 3-6 Prefers finished manuscript but www.edta.org/publications/writers_ Themed monthly classroom Educational theater magazine MAGAZINE MARKET GUIDE | 121 or movies. Interdisciplinary articles (up to 600 com/faces-submission-guidelines and www. HIGHLIGHTS FOR CHILDREN PREPARING & SUBMITTING words) including activity that uses math that is cricketmedia.com/art-submissions 803 Church St. relevant to story; could include graph reading Honesdale, PA 18431 activities, issues in the news; best when they FUN FOR KIDZ www.highlights.submittable.com/submit have a kid-oriented slant. P.O. Box 227 Email: [email protected] TERMS: Pays $250+. Bluffton, OH 45817-0227 CONTACT: Manuscript Coordinator COMMENTS: Query first through mail. “The tone www.funforkidzmagazines.com/writers DESCRIPTION: General interest, ad-free monthly of DynaMath is casual. We aim to show kids that Email: [email protected] AGE GROUP: 6-12 math can be fun and relevant to their lives. CONTACT: Marilyn Edwards ACCEPTS: Crafts: should have concise, numbered All the while, we remain true to the middle GUIDELINES: funforkidzmagazines.com/ directions, up to 5 steps. Should appeal to boys and upper elementary math curricula: place ffk_guidelines and girls MARKET SURVEYS value; whole number addition, subtraction, DESCRIPTION: A theme based, no-ad magazine Puzzles: “should not require a reader to write multiplication, division; whole number for boys and girls published on alternate months in the magazine.” Current needs include math conceptualization, addition and subtraction of as Boys’ Quest and Hopscotch. puzzles, code activities, and visual puzzles fractions and decimals; chart and graph reading; AGE: 6-13 Cartoons: can be single-panel or multiple-panel, measurement; geometry; problem-solving skills ACCEPTS: Activities or stories based on theme. black-and-white or full-color, with or without like using a logic line or classifying attributes; Payment: Min. 5 cents/word for fiction and a caption, and with either human or animal critical thinking; and other skills of similar nonfiction. Additional payment if piece is characters. difficulty levels.” accompanied by photo/art. Max. $10 per poem Nonfiction: can include science, arts, sports, DIRECTORIES & RESOURCES or puzzle. Complimentary copy given how-to’s, world cultures, history, What a Pro FACES TERMS:First American serial rights. Pays upon Knows articles, and Gallant Kids articles. Cobblestone Publishing publication. Reserves the right to publish all Fiction: should have an engaging plot, strong 30 Grove St., Suite C materials from magazine on the website as a characterization, a specific setting, and lively Peterborough, NH 03458 sample of the magazine, which will be displayed language. www.cricketmedia.com/Faces-travel-magazinefor a limited time. Contributors paid whenever Verse: purchased sparingly at the moment. for-kids work is published However, if you’d like to submit poetry, it www.shop.cricketmedia.com/FACES-Magazine- COMMENTS: For a sample copy and theme list, should be appealing to kids and no longer than for-Kids.html send $6 if from within the U.S. or $7.50 if from about 16 lines. [email protected] overseas. TERMS: Buys all rights, pays on acceptance CONTACT: Elizabeth Crooker Carpentiere $150+ for fiction/nonfiction, $25+ for crafts,

DESCRIPTION: Theme-based magazine published GIRLS’ LIFE $25+ for finger plays/action rhymes, $25+ for PUBLICIZING YOUR PUBLISHED WORK September - May. 4529 Harford Rd. verse. $40+ for puzzles. Cartoons: $40 for BW, AGE GROUP: 8-14 Baltimore, MD 21214 $50+ for color ACCEPTS: Related to theme: Feature articles www.girlslife.com Responds in 4-6 weeks, longer if holding for (800 words, in-depth nonfiction and personal [email protected] consideration. accounts), supplemental nonfiction (300-600 CONTACT: Katie Abbondanza, Associate Editor COMMENTS: Accepts mss year round, including words), fiction (800 words), activities (700 Creative Director Chun Kim: [email protected] seasonal material. Prefers mss to queries. words), poetry (to 100 lines, serious and light (photography and illustration pitches) Highlights is a secular magazine “dedicated to verse), puzzles and games (no word finds). Assistant Editor Sydney Adamson: sydney@ helping kids grow in basic skills and knowledge, Illustrations done on assignment; roughs only; girlslife.com (entertainment) creativeness, ability to think and reason, send samples of work, interested in photos Assistant Editor Amanda Tarlton: amanda@ sensitivity to others, high ideals and worthy relating to theme. Query must include brief girlslife.com (health, wellness, beauty, lifestyle, ways of living.” cover letter stating subject and word length, inspirational stories detailed one-page outline of information to be Submission guidelines: www.girlslife.com/ HIGHLIGHTS HIGH FIVE

presented, extensive bibliography of materials Writers-Guidelines 807 Church St. SCHOOL VISITS to be used, SASE, 2-3 line biographical sketch Guidelines and comments: Email or mail Honesdale, PA 18431 and writing samples. queries with detailed story ideas. No poetry. www.highlights.submittable.com/submit TERMS: Pays on publication 20-25¢/word for Stories should include title, blurb, and byline, Email: [email protected] feature articles, supplemental nonfiction, author’s full contact info (email, address, phone CONTACT: Kathleen Hayes, Editor fiction. Buys all rights to text and illustrations. number). AP format, double-spaced, 12-point DESCRIPTION: The magazine is designed to Photos are usually one-time rights. font, Verdana font. be shared by child and parent (or other skilled LEGAL QUESTIONS PHOTOGRAPHS AND ILLUSTRATIONS: $25- Must have complete list of only primary sources reader), but we are also keeping the text short $100. Email queries responded to within 90 days and the readability low so that good first and COMMENTS: “Lively, original approaches to the Rights/terms: “Unless submission is stated to second grade readers can read it independently. subject are the primary concerns of the editors be a possible work for hire, submission will be AGE GROUP: Ages 2-6 and their parents in choosing material.” Send for guidelines and considered property of Girls’ Life magazine.” ACCEPTS: Stories are 150 words or less. Poems theme list. “A memorandum of agreement is to be executed typically 1-3 stanzas. We are buying stories from Submission guidelines at www.cricketmedia. by both parties before payment is made.” freelance writers with a proven track record who 122 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Sample copies $6. nonfiction 3times more often thanfiction. look atqueryletters. No fax submissions. Uses publications.” Prefers completemss, butwill cosmetics, fashion, and the like toother We leavedating, romance, human sexuality, anything elselikely tointerest ayoung girl. games, sports, careers, simplecooking, and topics, such aspets, nature, hobbies, science, nonfiction, and poetrythat deal withtimeless COMMENTS: and $5/colorslide. $35/full-page illustrations. Pays $5-$10/photo cartoons, etc. Pays $25/partial illustrations and with variable rates offered for games, crafts, and nonfiction. Pays $10/poemorpuzzle and pays5¢/word onpublication for fiction TERMS: transparencies. with mss. Uses 5”x7”B&Wprints and 34mm will beassigned. Buysphotos separately and sample work,which willremain onfile.” Artwork stories and features and welcomes copies of anxious tofind artistscapable of illustrating client listand tearsheets. “The magazine is recipes. Illustrators send resume, portfolio, stories (500+words). Alwayslooking for traditional, wholesome, humorous, and rhyming lines, submitno more than6atone time), nonfiction (upto500words), poetry(8-16 ACCEPTS: AGE GROUP: DESCRIPTION: hs_guidelines GUIDELINES: CONTACT: Email: [email protected] www.hopscotchmagazine.com Bluffton, OH45817-0164 P.O. Box 164 The Magazinefor Girls HOPSCOTCH age group.” they havepublished anumber of things for this currently seeking manuscripts from folks unless COMMENTS: information. TERMS: freelance writers. and willpublishsome nonfiction articles by in-house, orcommissioned, although wehave of the nonfiction features are either written can successfully writefor young children. Most | MAGAZINE MARKET GUIDE MARKET | MAGAZINE BuysFirstNorth American Serial Rights Watch websiteguidelines for updated Fiction (upto1,000words), Marilyn Edwards, Editor “Iwant tostress thatweare not Looks “for articles, fiction, 6-12

funforkidzmagazines.com/ Bimonthly magazine for girls Indianapolis, IN46206 P.O. Box 567 HUMPTY DUMPTY’SMAGAZINE Chicago, IL60601 70 EastLake Street,Suite800 LADYBUG submission guidelines. COMMENTS: TERMS: maximum). fiction that relates toourthemes (500words of published nonfiction; freelance poetry and for assignments may send resumes and clips ACCEPTS: AGE GROUP: children. The science magazine for curious kids. technology, math, and engineering for young DESCRIPTION: CONTACTS: Email: [email protected] www.knowmag.ca Victoria, BCV8X4A3,CANADA 501-3960 QuadraSt KNOW by mail. Sample copies $2.95.Send entire manuscript COMMENTS: Crafts: $40and up Poetry: $25and up time rights for photos. Fiction: $30and up. TERMS: can make withabitof adult help” “Crafts of 250words orlessthatyoung children 4-12 line poems Mini stories 70-125words photos) photos; willpurchase short photo features (8-10 Does not acceptartworkorpurchase single accepted. Work isonspeculation only. Queries not count should beonfirstpage of ms. number, email, date of submission, and word a response. Author’s name, address, phone 8 months inadvance. SubmitanSASE for Seasonal material should besent atleast into the storyorarticle, not bethe focus of it.” ACCEPTS: AGE GROUP: magazine published 8times ayear. DESCRIPTION: guidelines/ GUIDELINES: Rob Falcon,ArtDirector CONTACTS dumpty/ www.uskidsmags.com/magazines/humpty- Buysallrights for manuscripts, one- One-time print rights “Health topics should beincorporated Writerswanting tobeconsidered : Nancy S.Axelrad, Editor Shannon Hunt, Adrienne Mason Pleaseseeourwebsitefor Send for author guidelines first. 4-6 6to9 www.uskidsmags.com/writers- Healthy living/educational Amagazine of science, TERMS: about submitting portfolio samples). only (seesubmission guidelines for details plays, crafts, and activities. Art:Byassignment gentle nonfiction, action rhymes and finger usually rhythmic/rhyming. Alsolooking for (up to20lines): canbehumorous orserious, and folk tales, multicultural stories. Poetry contemporary stories, original retellings of fairy shorter manuscripts welcome): imaginative ACCEPTS: AGE GROUP: issues peryear). art and literature for young children (nine DESCRIPTION: www.cricketmedia.com/art-submissions www.cricketmag.submittable.com/submit submit/17818/ladybug-magazine-for-ages-3-6; GUIDELINES: CONTACT: Email: [email protected] for-Kids.html shop.cricketmedia.com/LADYBUG-Magazine- of their achievements and wholesome, upbeat, focusing onteenagers and adults who, because others); personalities and organizations (articles achievement and/or involvement inhelping to increase sense of self-worththrough other drugs); positivealternatives (activities on nature and effectsof alcohol, tobaccoand use); factuals (current, accurate information may ormay not bedirectly related todrug about situations teenagers face each day; words) of 5 types: narratives (truestories only, ACCEPTS: AGE GROUP: for teens) DESCRIPTION: php?id=17 GUIDELINES: CONTACT: Email: [email protected] Email: [email protected] www.listenmagazine.org Hagerstown, MD,21740 55 West OakRidgeDrive LISTEN MAGAZINE months response time. Prefers online submissions. Pleaseallow3-6 themes. Donot query. Include exact word count. childlike point of view. No advance listof a sense of joyand wonder, and agenuinely editors lookfor clearand beautifullanguage, COMMENTS: after publication. Rights vary. Activities and recipes: $75.00 flat rate. Payment Poems: upto$3.00perline, $25.00minimum. Stories and articles: upto25¢perword. Articles and stories (1,000-1,200 CelestePerrino Walker, Editor Fiction (upto800words, Submissions Editor When reviewing submissions, the Teenagers 3-6

www.cricketmag.submittable.com/ www.listenmagazine.org/article. Animaginative magazine with Monthly (Drug-free possibilities

MAGAZINE MARKET GUIDE | 123 drug-free lifestyles, are positive role models); NEW MOON COMMENTS: Writers new to Odyssey should send PREPARING & SUBMITTING self-help and social skills (positive practical 2 W. First St a writing sample with query. Prefers queries by ways to help teenagers cope with everyday #101 mail rather than e-mail. Sample issue available conflicts and develop self-esteem). Query. Duluth, MN 55802 for $4.50 and SASE. Send for theme list and Responds in 6 weeks. www.newmoon.org guidelines for submissions. TERMS: Pays 5-10¢/word on acceptance. [email protected] COMMENTS: Editorial philosophy of primary drug GUIDELINES: www.newmoon.com/adult- OWL prevention “on total abstinence from alcohol contributors-new-moon-girls/ Owl Communications and other drugs.” Listen Magazine doesn’t DESCRIPTION: Portrays women and girls as 370 King St. E., Suite 300 accept articles and stories with overt religious powerful, active, and in charge of their lives. Toronto, Ontario M5V 1J8, CANADA emphasis. Please visit website. AGE GROUP: 8-12 www.owlkids.com/magazines/owl/ MARKET SURVEYS ACCEPTS: Global Village (600 words): first- [email protected] METROKIDS person account of a girl who is a native of/lives GUIDELINES: No longer accepting unsolicited 4623 S. Broad St. outside the US. Adults can translate and add submissions. Philadelphia, PA 19112 accompanying material about the country and DESCRIPTION: No longer accepting unsolicited www.metrokids.com its historic women. manuscripts or queries. A discovery magazine Email: [email protected] Herstory (600 words): profile of girls, women, for kids featuring amazing facts, fascinating CONTACT: Tom Livingston, Editor or girl-related events in history; best chance of articles on science, technology, and the natural

DESCRIPTION: Parenting publication that acceptance if it fits an editorial theme world, plus challenging puzzles and experiments DIRECTORIES & RESOURCES emphasizes educational and recreational Women’s Work (600 words): profiles a woman in kids can try on their own. resources for families in the tri-state area (PA, her chosen career; best chance of acceptance if AGE GROUP: 9+ NJ, DE). it fits an editorial theme. TERMS: Varies. Purchases extensive rights. AGE GROUP: 0-16 Fiction (900-1,600 words): short stories where COMMENTS: Study magazine available at ACCEPTS: Articles on local region or health main character(s) are girls ages 8+ that shows newsstands and libraries. Send money order (no topics. power of girls at this age. Not interested in stamps, includes GST) for reply to manuscripts. TERMS: Pays $30-$40 for articles of 1,000 “perfect” girls; best chance of acceptance if it -1,200 words. Pays on publication for one-time fits editorial theme. PLAYS rights. For the Curious: (300-600 words): science, tech, P.O. Box 600160 COMMENTS: Email for writers’ guidelines. engineering, and math activities that relate to Newton, MA 02460 girls’ daily lives and/or imagined futures. www.playsmagazine.com/

MUSE TERMS: Varies. [email protected] PUBLICIZING YOUR PUBLISHED WORK 70 East Lake Street Suite 800 COMMENTS: Writers and illustrators are CONTACT: Elizabeth Preston, Editor Chicago, IL 60601 encouraged to read New Moon prior to DESCRIPTION: The drama magazine for young www.cricketmedia.com/Muse-science-magazine submitting. Guidelines posted on website. Only people. Publishes approximately 75 wholesome, [email protected] electronic submissions are accepted; please one-act plays each year (in seven issues). CONTACT: Submissions Editor send submissions to [email protected]. AGE GROUP: Lower and middle grades to junior Guidelines: www.cricketmedia.com/muse- and senior high. submission-guidelines ODYSSEY ACCEPTS: One-act plays including comedies, DESCRIPTION: Muse, “The Magazine of Life, the 30 Grove Street, Suite C farces, dramas, mysteries, and melodramas, as Universe, and Pie Throwing,” is a nonfiction Peterborough, NH 03458 well as plays for holidays and special occasions. magazine for kids and teens. The editors seek www.odysseymagazine.com Lower grades, 6-10 typed pages; middle grades, engaging, challenging stories about unexpected Email: [email protected] 12-15 typed pages; junior and senior high, 15- subjects related to science and culture. Humor CONTACT: Elizabeth Lindstrom 20 typed pages. and irreverence are encouraged (nine issues per DESCRIPTION: Adventures in science. Odyssey TERMS: Pays on acceptance. Rates vary

year). seeks scientific accuracy, lively approaches to according to length and age level. Buys all SCHOOL VISITS AGE GROUP: 9-14 subject, and the inclusion of primary research. rights. ACCEPTS: Featured articles (1,200-2,000 words, All material must relate to theme of specific Comments: We use only secular plays for including sidebars), profiles and interviews, upcoming issues. Christmas and other religious holidays. Above particularly of underrepresented STEM AGE GROUP: 10-16 all, plays must be entertaining and relevant professionals (500-800 words), activities and ACCEPTS: Fiction up to 1,000 words. Feature to young people. We do not publish musicals. experiments (500-800 words), photo essays articles of 750-950 words, in-depth nonfiction Do not send photos or tapes of productions. LEGAL QUESTIONS (100-300 words), sci-fi or science-focused (interactive approach a plus), Q&A interviews, Send for guidelines. We do not accept e-mail fiction (1,000-1,600 words), and infographics. plays, and biographies. Supplemental submissions. TERMS: Rates vary. Payment after publication. nonfiction, 200-500 words. Activities, up to 750 Rights vary. words. Department features, 400-650 words. READ Articles must be submitted on disk. Weekly Reader Corporation TERMS: Pays 20-25¢/word. Photos range from P.O. Box 120023 $15-$100. Purchases all rights. Stamford, CT 06912-0023 124 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org issues. covering entertainment, guys, health, and teen DESCRIPTION: [email protected] www.seventeen.com New York, NY10018 1440 Broadway, 13thFloor SEVENTEEN clips assamplesof yourwork.SASE. proposals, including suggested sources, and 2-3 COMMENTS: items and $200-$650 for features. TERMS: scientific topics (750words). give in-depth treatment toone ormore major current science (200words); features that ACCEPTS: AGE GROUP: and health. life, earth,physical and environmental sciences, designed tocomplement classroom teaching of DESCRIPTION: CONTACT: Email: [email protected] www.scienceworld.scholastic.com/ New York, NY10012-3999 555 Broadway Scholastic, Inc. SCIENCE WORLD background. a science, education, and/or children’s writing written byasingle writer. Prefer writerswith a topic, guidelines are provided. Eachissueis submissions. Once awriter hasbeenassigned COMMENTS: TERMS: Washington, D.C.,MDand VA areas. resumes from writersinthe metropolitan ACCEPTS: AGE GROUP: language arts. DESCRIPTION: Email: [email protected] www.scienceweekly.com Silver Spring,MD20904 2141 IndustrialParkway, Suite202 SCIENCE WEEKLY submissions. ACCEPTS: AGE GROUP: distributed through schools. DESCRIPTION: CONTACT: [email protected] www.weeklyreader.com | MAGAZINE MARKET GUIDE MARKET | MAGAZINE Varies. Ratesrange from $100-$125for news Science news; articles emphasizing Onlyacceptsinquirylettersand Mark Bregman, Editor Read isnot currently accepting Debbie Nevins, Managing Editor Send well-researched story Doesnot acceptfreelance 5-14 12-18 Grades 6-10 Award-winning magazine Readisaliterary magazine Basic content isscience and Beauty/fashion magazine GUIDELINES: ACCEPTS: AGE GROUP: pieces are rarely more than2,000words. books, and other book-related features. Main books and reading, word games, news about interviews withauthors, activities related to ACCEPTS: AGE GROUP: illustrators, and the worldof literature. kids excited aboutbooks, reading, authors, DESCRIPTION: Email: [email protected] storyworks.scholastic.com New York, NY10012-3999 555 Broadway Scholastic, Inc. STORYWORKS time. submissions. Pleaseallow3-6months response query. Include exact word count. Prefers online COMMENTS: after publication. Rights vary. Activities and recipes: $75.00 flat rate. Payment Poems: upto$3.00perline, $25.00minimum. TERMS: photos considered. math, and word activities. Artsamplesand crafts, recipes, puzzles, games, brainteasers, serious, humorous, nonsense rhymes. Other: history. Poetry (not longer than20lines): technology, environment, foreign culture, (300-1,000 words): nature, animals, science, science fiction, fables and myths. Nonfiction easy-to-read, fantasy, folk and fairy tales, ACCEPTS: AGE GROUP: the world’sbestchildren’s authors. pages witha4-page activitypullout.Features DESCRIPTION: submission-guidelines GUIDELINES: CONTACT: Email: [email protected] magazine cricketmedia.com/Spider-stories-for-children- Chicago, IL60601 70 EastLake Street,Suite800 SPIDER [email protected]. pitch for ideas via mail toappropriate editorat guidelines before submitting. Send one-page COMMENTS: Payment varies. TERMS: a12135/about-us/ Stories and articles: upto25¢perword. Pays onacceptance for first-time rights. Solicited Submissions Only Fiction, nonfiction, poetry, plays, Fiction (300-1,000words): realistic, Submissions Editor Readmagazine and send for 13-21 8-12 No advance listof themes. Donot 6-9 www.seventeen.com/about/ www.cricketmedia.com/spider-

Amagazine designed toget Spider isfull-color, 8”x10”,34 TERMS query, résumé,and recent clips. No fantasy, science fiction, etc. Nonfiction, send have teenage girlascentral character. Romance. ACCEPTS: AGE GROUP: magazine for junior high girls. DESCRIPTION: CONTACT: www.teenmag.com Santa Monica,CA90407 300 OceanPark Blvd. TEEN work. original word game. Querywithlistof published describing afunactivityrelated tobooks;oran to books, reading, orwriting; ahow-to article children doing something interesting related Best chance for freelancers isbrief article about accepted, especially from unpublished writers. COMMENTS: TERMS: Englewood Cliffs, NJ07632 P.O. Box 1663 Heinrich BauerPublishing TWIST with SASE. Pleasevisitwebsite. time aboutthree months. Guidelines available acceptable, especially holiday material. Review material with more general themes is children. Although emphasisisonhealth, COMMENTS: Payment made onpublication. games, no fixed rates. Purchases allrights. word. Poetry $25+.Photos $15+.Puzzlesand TERMS: Need easyrecipes. No single photos. that accompany articles are alsoconsidered. experiments. Short photo features and photos Also poems, games, crafts, and simplescience and creative nonfiction, upto350words. activities withhealth-related themes. Stories ACCEPTS: AGE GROUP: with emphasisonhealth and fitness. DESCRIPTION: www.turtlemag.org Indianapolis, IN46202 1100 Waterway Blvd. TURTLE fiction and nonfiction on alimitedbasisonly. problems handled sensitively. At present buying concerned withcontemporary teeninterests and COMMENTS: all rights. Nonfiction, varies. : Payment for fiction, $500-$1000.Buys Fiction and nonfiction upto22¢per Purchases allrights. Payment varies. Fiction, 2,500-4,000words. Should High quality stories, articles, and Jane Ford, Editor-in-Chief Very fewunsolicited manuscripts Turtle isdesigned toberead to Looking for realistic, upbeatstories 10-15 2-5 Monthly general interest Magazine for pre-school children MAGAZINE MARKET GUIDE | 125

situations. org/submissionshelp/quest-authors-info/ www.twistmagazine.com PREPARING & SUBMITTING Email: [email protected] AGE GROUP: Grades 4-6 DESCRIPTION: Christian-oriented magazine for DESCRIPTION: Twist is a teen magazine that ACCEPTS: Fiction, nonfiction, how-to, and self- boys. captures the energy, attitudes, and interests of help features. Article should be no more than AGE GROUP: 9-14 young women. 600 to 650 words. ACCEPTS: Fiction (1,000-1,300 words) that AGE GROUP: 14-19 TERMS: $80 payment. Purchases first rights. appeals to boys’ sense of adventure/sense of ACCEPTS: Features include input of real COMMENTS: Look at a sample copy to get feel humor to show them how God is working in teenagers wherever possible, either in an of magazine. Please visit website. their lives and in the world around them (no as-told-to format or through direct quotation. science fiction or romance); nonfiction (up to “Real life” stories will deal with school, friends, YES 1,500 words); project/hobby articles; camping romance, and a broad selection of relevant 501-3960 Quadra St and nature articles; cartoons, puzzles. All MARKET SURVEYS current issues. Other articles cover beauty, Victoria, BC V8X 4A3, CANADA Christian-themed. college and careers, entertainment, health and www.yesmag.ca TERMS: Pays 5¢/word on acceptance; pays fitness, self-improvement, etc. Email: [email protected] $5+ for single gag cartoons, $15+ for full- COMMENTS: Query with clips preferred. Study CONTACTS: Jude Isabella, Editor page panels; pays $5 for each photo used with magazine (on newsstands nationwide). DESCRIPTION: A magazine of science, article. Buys all rights. technology, math, and engineering for children. COMMENTS: Editorial theme list and/or author U*S*KIDS AGE GROUP: 9-14 guidelines available at our website or by

P.O. Box 567 ACCEPTS: Science-related articles only, 250-800 sending request with #10 SASE. If e-mailing DIRECTORIES & RESOURCES Indianapolis, IN 46206 words. manuscripts, copy your material into the body www.uskidsmags.com/ TERMS: One-time print rights. of the e-mail, we will NOT open attachments. [email protected] Comments: Guidelines are available on the Write to our audience and to the issue’s DESCRIPTION: A weekly reader magazine. website, under “contact.” theme. Keep stories or articles exciting and Emphasis is on health, fitness, and an active entertaining. Include humor. The best time lifestyle for kids. YOUNG RIDER to send your submissions to Cadet Quest is AGE GROUP: 5-10. P.O. Box 8237 between January and April. Remember our ACCEPTS: Fiction, nonfiction, poetry, recipes, Lexington, KY 40533. purpose of showing God’s work in boys’ lives! and photo features. www.youngrider.com GUIDELINES: www.uskidsmags.com/writers- Email: [email protected] GUIDE guidelines/ CONTACT: Lesley Ward, Editor 55 West Oak Ridge Drive

TERMS: Purchases all rights. One-time book GUIDELINES: www.youngrider.com/writers- Hagerstown, MD 21740 PUBLICIZING YOUR PUBLISHED WORK rights may be returned. guidelines.aspx www.guidemagazine.org COMMENTS: Submit specifically to one of our DESCRIPTION: Small equestrian magazine for [email protected] two magazines–Humpty Dumpty or Jack and young riders. CONTACT: Randy Fishell, Editor Jill–not U.S. Kids. Does not accept artwork AGE GROUP: 8-14 GUIDELINES: www.guidemagazine.org/writers- Does not accept single photos, only photo ACCEPTS: Fiction: 800-1000 word stories guidelines features (8-10 photos). Must be high-quality, involving teens and horses. Likes humor. DESCRIPTION: Weekly Christian journal. high-resolution photos. Purchases one-time Nonfiction: 800-1000 word horse interest with AGE GROUP: 10-14 rights but reserves rights to use photos on good photos or slides. ACCEPTS: Nonfiction articles (800-1,200 words) website. TERMS: First North American serial rights. $150 on inspiration, adventure, personal growth, Mail or email entire manuscript. Work is on for fiction, $200 nonfiction. Christian humor, biography, nature. speculation only. Queries are not accepted COMMENTS: Study guidelines and a copy of the TERMS: Buys First North American Serial Rights except for nonfiction pieces submitted to Jack magazine before querying. or reprint rights and pays 7-10¢/word on and Jill magazine. acceptance. Payment is $25-40 for first serial

rights. SCHOOL VISITS WINNER COMMENTS: “Our mission is to show readers, 55 West Oak Ridge Drive Religious through stories that illustrate Bible truth, Hagarstown, MD 21740 how to walk with God now and forever.” Some www.winnermagazine.org MAGAZINES topics of interest include: choices, self-esteem, Email: [email protected] friendship, changes, school, peer pressure, Email: [email protected] CADET QUEST (FORMERLY CRUSADER) adventure, and nature. See website for detailed LEGAL QUESTIONS CONTACT: Jane Schleifer, Editor P.O. Box 7259 guidelines. GUIDELINES: www.winnermagazine.org/ Grand Rapids, MI 49510 Our preferred version is the New King James listwinner/var_pages/guidelines.asp#winner www.about.calvinistcadets.org/cadet-quest- Version. Please indicate the version for any DESCRIPTION: Winner communicates the facts magazine/ Bible quotes that are not from the NKJV. and figures about the dangers of drugs, tobacco, [email protected] and alcohol, but also include articles that stress CONTACT: Editor social skills and real world, problem-solving GUIDELINES: www.counselors.calvinistcadets. 126 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Christian teens. DESCRIPTION: guidelines/index.asp GUIDELINES: Email: [email protected] www.insightmagazine.org Hagerstown, MD21740 55 West OakRidgeDrive INSIGHT teenagers.” religious language; lackrespect and empathy for use religious clichés and overuseormisuse simplistic solutions; take anadult tone; they: become moralistic orpreachy; offer in 3-6weeks. “Manuscripts are rejected if indicated onthe firstpage. Expecta response Query first.Simultaneous submissions must be COMMENTS: acceptance. TERMS: life experience). No essaysorhow-to articles. college bound (allmust betied toteenager’s hyperbole), poetry, and information for the 1000 words, canincorporate satire, parody, words), fiction (upto2000words), humor (250- ACCEPTS: AGE GROUP: DESCRIPTION: help/about-us/writers-guidelines.html GUIDELINES: CONTACT: [email protected] www.christianitytoday.com/iyf/ Carol Stream,IL60188 465 GundersonDr. IGNITE YOUR FAITH AGE GROUP: interesting, and enlightening. facts of creation inwaysthatare factual, DESCRIPTION: CONTACT: [email protected] pl?linkid=12;class=gen www.naturefriendmagazine.com/index. Dayton, VA 22821 4253 Woodcock Ln. NATURE FRIEND detailed guidelines. Adventist Church. Seewebsiteorsend for COMMENTS: on acceptance. Terms: youth, and general articles. celebrities, profiles of outstanding Christian ACCEPTS: AGE GROUP: | MAGAZINE MARKET GUIDE MARKET | MAGAZINE One time rights. Pays 15-20¢/word on Buys firstrights orone-time rights. Pays True stories, profiles of Christian First-personstories (1,200-2,000 Christopher Lutes, Editor Kevin Shank, Editor Publication of the Seventh-Day No unsolicited manuscripts. 13-19 5-18 13-17 www.insightmagazine.org/ www.christianitytoday.com/ct/ Weekly 24-page magazine for A nature magazine thatpresents Christian Monthly (FORMERLY CAMPUSLIFE) Sabbath School atthe Seventh-Day Adventist written for children, distributedweeklyat DESCRIPTION: php?pgName=newsOLFPTsub GUIDELINES: CONTACT: Email: [email protected] www.primarytreasure.com/?page=authors Nampa, ID83653 P.O. Box 5353 OUR LITTLEFRIEND purchase unsolicited articles. and focuses onscheduled themes. Doesnot COMMENTS: for Web-only features is$30/article. word plusfirstand electronic rights. Payment TERMS: and nonfiction. Interested in humorous stories. ACCEPTS: AGE GROUP: emphasize biblical approaches toteenlife. are contemporary issues-oriented and articles quarterly print magazine for teens. Themes DESCRIPTION: GUIDELINES: Email: [email protected] www.oncourse.ag.org Springfield, MO65802-1894 1445 N.BoonvilleAve. ON COURSE studying itisrecommended before submitting. $5 for samplecopy. Magazine isunique, so with SASE (9X12SASE with$2.00postage). projects, how-to, etc. Guidelines available, $5 COMMENTS: photos. Buys one-time rights. Alsopaysfor artworkand TERMS: centered onanature theme. ACCEPTS: this time. Prefers electronic submissions. buying poetry, games, puzzles, orartworkat on website. Prefers completemanuscript. Not COMMENTS: One-time rights. Responds within4months. TERMS: Mom. Humor helps. stories thatfeature Dadasthe adult instead of and getting along withsiblings. Need more portray God’slove, coping withpeerpressure, appropriate for age level.True stories that ACCEPTS: AGE GROUP: Church. Payment for assigned stories is10¢/ Pays 5¢pereditedword onpublication. Payment is$25-$50onacceptance. One ortwopage manuscripts Resumes withwriting samples;fiction AileenAndres Sox, Editor Stories, puzzles, science activities Extensive guidelines available Content isnow onassignment basis 13-18 1-5 Needs more science/nature related

www.oncourse.ag.org/writer4oc.cfm www.pacificpress.com/index. Aspiritually-oriented magazine Bimonthly e-magazine and COMMENTS: and games $25+. Stories and articles 14¢/word; poetry, activities, accepts one-time previously published material. newspaper, periodical, and electronic rights; TERMS: appropriate and related totheme. words); crafts, puzzles, and jokes thatare age lines); nonfiction related totheme (400-1,000 settings (600-1,400words); poems (upto24 upcoming_themes.asp. ACCEPTS: AGE GROUP: DESCRIPTION: writer_guidelines.asp GUIDELINES: CONTACT: Email: [email protected] writers-guidelines/ www.pockets.upperroom.org/write-for-us/ Nashville, TN37203-0004 P.O. Box 340004 POCKETS and coaches. DESCRIPTION: CONTACT: [email protected] www.fca.org/fca-magazine Kansas City, MO64129 8701 LeedsRd. Fellowship of ChristianAthletes SHARING THEVICTORY this time. Prefers electronic submissions. buying poetry, games, puzzles, orartworkat on website. Prefers complete manuscript. Not COMMENTS: One-time rights. Responds within4 months. TERMS: animals orother fantasy stories. child. Humor helps. Stories must betrue. No talking positive rather thannegative. Speaktotoday’s ACCEPTS: AGE GROUP: at aSeventh-Day Adventist church. written for children who attend SabbathSchool DESCRIPTION: com/?page=authors GUIDELINES: CONTACT: Email: [email protected] www.pacificpress.com Nampa, ID83653 P.O. Box 5353 PRIMARY TREASURE website for extensive guidelines and theme list. children grow intheir relationship toGod. View Pays onacceptance. Purchases Payment is$25-$50onacceptance. Prefers stories four pages orshorter. Be

LynnW. Gilliam, Editor AileenAndres Sox, Editor www.upperroom.org/pockets/ Jill Ewert,Editor The primary purposeistohelp Extensive guidelines available 7-9 6-11

www.upperroom.org/pockets/ www.primarytreasure. Christian magazine. Aspiritually-oriented magazine A Christian magazine for athletes Fiction withreal-life MAGAZINE MARKET GUIDE | 127

humor, inspirational, personal experience, photo GUIDELINES: www.fca.org/quick-links/submit- PREPARING & SUBMITTING a-story feature, religious, travel. (100-400 words). AGE GROUP: Junior high through college Prefers manuscripts over queries. ACCEPTS: Nonfiction profiles/stories on TERMS: Buys first rights. Payment on Christian coaches, athletes, or supporters; publication. Fiction and nonfiction pays $20 per amateurs and professionals; current. No fiction, article. Poetry from $5-15. Puzzles and games crafts, puzzles, or jokes. Average 700-1,200 from $5-10. words. COMMENTS: Sparkle’s mission is to prepare TERMS: First-time rights and second young girls to live out their faith and become (reprint) rights. $150-$400 for manuscripts. world changers—to help girls make a difference Photographers paid by the photo. in the world. Authors should see their writing MARKET SURVEYS COMMENTS: See website for guidelines. style as exciting and appealing to girls ages 6-9. Subjects should be current and important SHINE BRIGHTLY to Sparkle readers. Use the GEMS Girls’ Clubs GEMS Girl’s Clubs annual theme as a guide. We like to receive P.O. Box 7259 material with a multicultural slant. Grand Rapids, MI 49510 www.gemsgc.org STORY FRIENDS

Email: [email protected] 616 Walnut Avenue DIRECTORIES & RESOURCES DESCRIPTION: Christian magazine for girls. Scottdale, PA 15683 AGE GROUP: 10-14 www.mph.org GUIDELINES: gemsgc.org/shine-brightly- CONTACT: Susan Reith Swan, Editor writers-guideline/ DESCRIPTION: Monthly magazine that reinforces ACCEPTS: “Stories, articles, quizzes, poems, Christian values through stories. games, puzzles, crafts, and cartoons that AGE GROUP: 4-9 are fresh, that present the Christian life ACCEPTS: Stories and articles (300 to 800 realistically, and that cause young readers to words), poems (6-20 lines), and activities that see how Christian beliefs apply to their daily speak to the needs of all children. lives.” Fiction: adventure, mystery, animals, Terms: Purchases one-time rights. 3-5¢/word; relationships, and a little romance (400-900 $10 per poem. words). Nonfiction: wide range of articles COMMENTS: Send for guidelines. PUBLICIZING YOUR PUBLISHED WORK dealing with interests of teens (100-400 words). Prefers manuscripts over queries. YOUTH UPDATE TERMS: Buys first rights. Payment on St. Anthony Messenger Press publication. Fiction and nonfiction pays 3-5¢/ 1615 Republic Street word up to $35. Poetry from $5-15. Puzzles and Cincinnati, OH 45210-1298 games from $5-10. www.americancatholic.org COMMENTS: Goal is to help girls discover how DESCRIPTION: Catholic magazine. God is at work in their lives. View guidelines AGE GROUP: 14-18 and theme list on website. ACCEPTS: One essay per issue that includes the following elements: a statement of purpose, SPARKLE narrative, box, and questions. Gems Girl’s Clubs TERMS: Pays 15¢/word on acceptance. P.O. Box 7259 COMMENTS: Mission is to support the growth

Grand Rapids, MI 49510 of teenagers in a life of faith through the SCHOOL VISITS www.gemsgc.org/writers-guideline-sparkle- application of Catholic principles to topics of magazine/ timely interest. Submit by disk with printed Email: [email protected] copy. Guidelines available. DESCRIPTION: Christian magazine for girls AGE GROUP: 6-9 ACCEPTS: Stories, articles, quizzes, poems, LEGAL QUESTIONS games, puzzles, and crafts that are fresh, presents the Christian life realistically, and causes young readers to see how God’s word— His Truth—applies to their daily lives. Fiction: Adventure, ethnic, fantasy, humorous, mystery, religious, slice-of-life vignettes. (100-400 words). Nonfiction: How-to (crafts/recipes),

RELIGIOUS PRESS MARKET SURVEY

n the religious book market you will discover a vast number of writing opportunities, including, but not limited to, publishers for board books, I picture books, activity books, riddle books, puzzle books, devotionals, biographies, story collections, easy readers, workbooks, textbooks, poetry, journals, curriculum materials, Bible story retellings, plays, puppet skits, value tests, and contemporary problems with Biblically-based solutions, etc.

Some publishers are associated with a specific denomination while If you have not already done so, join a local writers group in your others are nondenominational. Some only utilize writers of the same area. You can swap guidelines, publications, and critique each other’s faith while others will publish work submitted by a writer of any manuscripts. Through your networking, you may find out about a faith. Some will take simultaneous submissions while others will only publisher who is compiling a collection of short stories, poems, accept exclusive submissions. Some publishers are looking for series retold Bible stories, etc. and submit your work to them for possible ideas while others want a great single title book. Besides reading publication. the information presented in this booklet, send for the publisher’s Publishers are looking to fill needs in people’s lives with books from guidelines, familiarize yourself with their catalog, and go to your local freelancers. They want strong writing with memorable characters as well bookstore and see firsthand what types of books they are currently as a theme or message woven into the manuscript, not a lesson tacked publishing. Does the publisher you are about to submit your polished on at the end. manuscript to want Bible passages quoted directly or implied value It is a good idea to do your homework by visiting websites and concepts? looking at catalogs. Think about working as a volunteer with the ages of children you Remember: Always include a SASE with enough postage for are writing for. Your experiences may give you several writing ideas. return!

ABINGDON PRESS assignments. Illustrators: color samples of 2-4 published United Methodist Publishing House METHOD OF PAYMENT: Royalty without advance illustrations for future assignments. 201 Eighth Avenue South, P.O. Box 801 or flat fee; flat fee for illustrators. METHOD OF PAYMENT: Royalty without advance Nashville, TN 37202 for authors, flat fee for illustrators. www.abingdonpress.com ALEF DESIGN GROUP FAITH AFFILIATION: Methodist 4423 Fruitland Avenue AUGSBURG FORTRESS PUBLISHERS RESTRICTIONS OR TABOOS: avoid concept books Los Angeles, CA 90058 P.O. Box 1209 BOOKS PER YEAR: 4-6 FAITH AFFILIATION: Jewish Minneapolis, MN 55440-1209 TYPES OF BOOKS: Picture books on biblical RESTRICTIONS OR TABOOS: Accepts only books www.augsburgfortress.org themes and characters, Christmas books, all with Jewish content. FAITH AFFILIATION: Evangelical Lutheran books must have some explicitly religious BOOKS PER YEAR: 1-2 RESTRICTIONS OR TABOOS: Only accept content. TYPES OF BOOKS: Easy books, middle-grade books that provide academic and professional METHOD OF SUBMISSION: We work with authors fiction, YA fiction, story collections. resources that inform and reform Christian faith. previously published or acquired through METHOD OF SUBMISSION: Writers: send query TYPES OF BOOKS: Picture books on biblical agents and our acquisition editors. Illustrators: letter with synopsis, author bio, and SASE; themes, middle-grade and YA with biblical color samples (not original artwork) for future does not accept simultaneous submissions. subjects. 130 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org submissions from allwriters. RESTRICTIONS OR TABOOS: EMAIL: FAITH AFFILIATION: www.badipublishing.com Phone: 888-909-1919 Phoenix, Arizona85069 P.O. Box 39651 BADI PUBLISHINGCORPORATION ARTWORK INTEREST: website for specificguidelines. [email protected] Kids staff.You may submityourworkto and writersconferences attended byB&H Submissions acceptedthrough agents UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: include the message of the Gospel. teens, with20titlesperyearplanned. Books but willalsopublishsome titlesfor tweens and kids, primarily for the 4–8and 8–12age groups, DESCRIPTION: EDITOR: DIRECTOR: www.bhpublishinggroup.com/category/kids/ Nashville, TN37234-0188 One LifeWay Plaza (An Imprint of B&HPublishing Group) B&H KIDS negotiable sliding scales. METHOD OFPAYMENT: with notification. address; simultaneous submissions accepted complete manuscript withquerytothe above via email to METHOD OFSUBMISSION: teens. biographies for teens; activitybooksfor pre- TYPES OFBOOKS: BOOK PERYEAR: tradition. teachings, confessional doctrine, and spiritual within the general framework of Catholic RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.avemariapress.com Notre Dame, IN46556 P.O. Box 428 AVE MARIAPRESS company/submitfp.jsp guidelines at augsburgfortress.org proposal oremail submissions to METHOD OFSUBMISSION: | RELIGIOUS PRESS MARKET SURVEY MARKET | PRESS RELIGIOUS

[email protected] Michelle Prater Burke

Dan Lynch [email protected]

Publishes bible-basedbooksfor www.augsburgfortress.org/ Not accepting. 1-2 Nonfiction, devotionals and

Not accepting artsamples. . Pleaseseesubmission Catholic Bahai .

10% onnet receipts with Not accepting.

SASE withbook

Not accepting. Writers: Content must be We accept booksub@ send query . Check the

moral or collections, board booksand picture books. TYPES OFBOOKS: BOOKS PERYEAR: METHOD OFPAYMENT: to ArtDirector ataboveaddress. 5-10 samplesof published illustrations oronline Expect reply in3months. Please do not send simultaneous submissions. www.behrmanhouse.com/submission-guidelines. manuscript, and review submission guidelines at submissions toRina Maimon. Email cover letter, METHOD OFSUBMISSION: and activity/workbooks. TYPES OFBOOKS: BOOKS PERYEAR: nature only. RESTRICTIONS ORTABOOS: EMAIL: CONTACT: FAITH AFFILIATION: www.behrmanhouse.com Springfield, NJ07081 11 EdisonPlace BEHRMAN HOUSE METHOD OFPAYMENT: Varies perproject. the aboveaddress. published illustrations or completeportfolio to on website. Please seesubmission guidelines for nonfiction agencies. Nonfiction submissions accepted. they are submittedthrough professional literary accepts unsolicited fiction submissions unless METHOD OFSUBMISSION: except poetry. TYPES OFBOOKS: BOOKS PERYEAR: Christian perfection. times, Lord’s Supper, women’s ordination, and relating tobaptism,giftsof the Spirit,end RESTRICTIONS ORTABOOS: Christian FAITH AFFILIATION: www.barbourpublishing.com Uhrichsville, OH44683 P.O. Box 719,1810BarbourDrive BARBOUR PUBLISHING METHOD OFPAYMENT: reply inuptothree months. guidelines.php. No multiple submissions. Will manuscripts atwww.badipublishing.com/ website for details onhow tosubmityour and hardcopy submissions. Pleasevisitour METHOD OFSUBMISSION: Nonfiction and fiction. [email protected] Rina Maimon Illustrators: Nonfiction for allage levels 6+ 2-3 5-10 activity/workbooks, story We willconsider any type Jewish. Conservative evangelical 10%royalty Average royalty of 5%. submit 5-10samplesof Illustrators: We acceptelectronic

Writers: Writers: Avoid content Topics of a Jewish

Prefer email No longer submit submissions. letters: 3months. We prefer no simultaneous letters onwebsite. Response time toquery query letterand entire manuscript. Email query readers, Activity, workbook,and puzzlebooks- letter only. Board books, picture books, early books, devotionals and series books-query METHOD OFSUBMISSION: riddle and puzzlebooks. middle-graders, activitybooksand workbooks, collections, nonfiction for young readers and early readers, middle-grade fiction, story TYPES OFBOOKS: BOOKS PERYEAR: witty nature. based. Allsubmissions must beof afunand must benondenominational and biblically RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.veggietales.com Franklin, TN37064 230 Franklin,Bldg.2A BIG IDEA TYPES OFBOOKS: histories. Christ of Latter-day Saints. No poetryorfamily the values espoused byThe Church of Jesus RESTRICTIONS ORTABOOS: FAITH AFFILIATION: Salt Lake City, UT 84130 PO Box 30178 DESERET BOOK [email protected] METHOD OFSUBMISSION: ages. TYPES OFBOOKS: the Scriptures and the Lutheran Confessions. RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.cph.org St. Louis, MO63118-3968 3558 SouthJeffersonAvenue CONCORDIA PUBLISHINGHOUSE would fitasaBig Idea property. sharp, innovative, witty, and something that yourself toevaluate honestly ifthe material is polished and ready for publishing. Challenge do not submitamanuscript unlessitishighly that onlyfitwiththe Big Idea style. Please we are alsolooking for potentially new products writing witty. We are looking for writerscapableof for manuscripts thatare fun,whimsical, and ADDITIONAL COMMENTS: METHOD OFPAYMENT: freelance illustrators atthistime. VeggieTales Illustrators: Board books, picture books, Nonfiction and fiction forall Children’s picture books booksonassignment; and 20-30 None Church of LatterDaySaints Lutheran Flat feeonallprojects. We are not seeking any Big Idea islooking

Email queryto Writers: Allsubmissions Stories thatreflect Subjectsfaithful to Chapter RELIGIOUS PRESS MARKET SURVEY | 131 through YA. HACHAI PUBLISHING escalation above 15,000 copies. PREPARING & SUBMITTING METHOD OF SUBMISSION: Please send a 527 Empire Boulevard manuscript with a SASE and a cover letter to Brooklyn, NY 11225 IDEALS PUBLICATIONS the above address. View submission guidelines www.hachai.com 2630 Elm Hill Pike, Suite 100 on the website. deseretbook.com/pages/author_ FAITH AFFILIATION: Jewish Nashville, TN 37214 guidelines. Will reply in 12 weeks. RESTRICTIONS OR TABOOS: No fantasy, animal www.idealspublications.com METHOD OF PAYMENT: Varies with contract. stories, romance, violence, preachy sermonizing FAITH AFFILIATION: Judeo/Christian but or references to other religions. nonsectarian EERDAMAN’S PUBLISHING BOOKS PER YEAR: 6 RESTRICTIONS OR TABOOS: Content should not 2140 Oak Industrial Dr. NE TYPES OF BOOKS: Board books, picture books, be inappropriate in any way for young children. Grand Rapids, MI 49505 and easy readers on Jewish topics for the very BOOKS PER YEAR: 50-75 MARKET SURVEYS [email protected] young and historical fiction that highlights TYPES OF BOOKS: Fiction and nonfiction picture www.eerdamans.com devotion and relevance of the Torah for ages books for children ages 4 to 8. Subjects include CONTACT PERSON: Jon Potts, editor-In-chief 7-10. holiday, inspirational, and patriotic themes; FAITH AFFILIATIN: Christian METHOD OF SUBMISSION: Writers: submit cover relationships and values; and general fiction TYPES OF BOOKS: Biblical studies and theology letter and complete manuscript to editor@ METHOD OF SUBMISSION: Writers: submit and in religious approaches to philosophy, hachai.com or mail with SASE. Simultaneous board book manuscripts to CandyCane Press and history, art, literature, ethics, and contemporary submissions acceptable if informed. Expect picture book manuscripts to Acquisitions Editor, social and cultural issues. reply in 6 weeks. Illustrators: Submit color Ideals Publications, both with SASE at above DIRECTORIES & RESOURCES METHOD OF SUBMISSION: Send query letter, photocopies and tear sheets of work with address. Simultaneous submissions accepted if bio, table of contents, or entire manuscript by inclusion of human character to the above informed. Illustrators: submit color samples to MAIL ONLY. No email submissions. address. Include SASE for response. Art Director at above address with SASE if reply SUBMISSION GUIDELINES: www.eerdmans.com/ METHOD OF PAYMENT: Flat fee to both author expected. Pages/YoungReaders/EBYR-Guidelines.aspx and artist. METHOD OF PAYMENT: Both flat fee and WILL REPLY IN: 3 months negotiable royalty based on net, depending on MULTIPLE SUBMISSIONS: Yes HERALD PRESS project. TITLES TO STUDY: A Girl Called Problem by 1251 Virginia Ave Katie Quirk; The Chickens Build a Wall by Jean- Harrisonburg, VA 22802-2434 THE ISLAMIC FOUNDATION Francois Dumont www.heraldpress.com Ratby Lane, Markfield FAITH AFFILIATION: Mennonite Church (U.S. Leicestershire, LE67 9SY

FOCUS ON THE FAMILY and Canada) United Kingdom PUBLICIZING YOUR PUBLISHED WORK www.focusonthefamily.com RESTRICTIONS OR TABOOS: No positive www.islamic-foundation.com Clubhouse Magazine (ages 8 to 12) and views of violence, aggression or weapons. FAITH AFFILIATION: Islam Clubhouse Jr. (ages 3 to 7) We also generally avoid holding up the RESTRICTIONS OR TABOOS: We only accept SUBMISSION GUIDELINES: www. military, celebrities in pop culture or sports, manuscripts that portray a positive Islamic clubhousemagazine.com/submission-guidelines. politicians, judges, and police as role models. perspective. aspx BOOKS PER YEAR: 2-3 BOOKS PER YEAR: approximately 10 GENRE: Fiction and nonfiction. See guidelines. TYPES OF BOOKS: Picture books, middle- TYPES OF BOOKS: Board books, Young Adult ROYALTIES: Generally 15 to 25 cents per word. grade fiction, and young adult fiction. fiction, story collections, poetry, puzzle books, $200 and up for feature-length fiction stories. METHOD OF SUBMISSION: Writers :See activity/workbooks, middle-grade fiction. $150 and up for nonfiction stories our complete guidelines at our website METHOD OF SUBMISSION: Please send a query above. Email or mail submissions to Dorothy letter first providing details of your manuscript GROUP PUBLISHING, INC. Hartman at [email protected] or to [email protected]. 1515 Cascade Ave. the above address. Include a SASE and expect All manuscripts must be accompanied with

Loveland, CO 80539 a reply in about two months. If your proposal SASE. Manuscripts must be in Word format. SCHOOL VISITS www.grouppublishing.com has potential for Herald Press, we will No simultaneous submissions. Will reply in FAITH AFFILIATION: Christian request a finished manuscript. Simultaneous 3 months. Please review guidelines on the RESTRICTIONS OR TABOOS: All of our material submissions are accepted. website. is leader/teacher oriented. Illustrators: Please send samples for our METHOD OF PAYMENT: Advance flat fee 200-500 BOOKS PER YEAR: 65-70 files to Merrill Miller at the above address Sterling Pounds. TYPES OF BOOKS: Leadership based material. and SASE if you want a reply or via email at LEGAL QUESTIONS METHOD OF SUBMISSION: Writers: send query [email protected]. Samples may JOURNEY FORTH letter only to Submissions Editor at above include tear sheets, photocopies (both b/w 1700 Wade Hampton Blvd. address. and color), slides, photographs, and original Greenville, SC 29614 METHOD OF PAYMENT: Flat fee or royalty, art. All must fit in an 8.5 x 11” file folder. www.bjupress.com/category/Books depending on project. Include a cover letter and short resume. FAITH AFFILIATION: Christian METHOD OF PAYMENT: Usually up to 10% RESTRICTIONS OR TABOOS: Only accept of the net sales and the possibility for Christian-based subjects. Avoid subjects with 132 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS: BOOKS PERYEAR: individuals. curriculum orprivatelysubsidized editions for principles and values. We do not publish biblically based and emphasizesolid Christian them. Allof ourchildren’s products must be imagination, and interest inthe worldaround by engaging their God-givencreativity, and educational development of children materials that target boththe spiritual committed topublishing booksand collateral RESTRICTIONS ORTABOOS: available atourwebsite. agreement withourmission statement, which is Evangelical Christian. Ourauthors must bein FAITH AFFILIATION: www.kregelpublications.com Grand Rapids, MI49501-2607 P.O. Box 2607 Kregel Publications KREGEL KIDZONE METHOD OFPAYMENT: Flatfeeorroyalty. illustrations sent [email protected]. We request either 3-4slices oronline are accepted, butwewant toknow. response in12weeks. Simultaneous submissions Submit to to bothquerylettersand completemanuscripts. METHOD OFSUBMISSION: community. reflecting the rich diversity of today’s Jewish contemporary stories and picture books, activity and workbooks, holiday books, folktales, easy readers, nonfiction for young readers, TYPES OFBOOKS: BOOKS PERYEAR: Orthodox strains of Judaism. geared toward the Reform/Conservative/Modern RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.karben.com Minneapolis, MN55401 241 FirstAvenue North Lerner PublishingGroup KAR-BEN PUBLISHING or send withSASE tothe aboveaddress. qualifications to Nancy [email protected] pdf books/documents/2011-freelance-guidelines. manuscript guidelines METHOD OFSUBMISSION: teen Biblestudies. Christian biographies, read-aloud books, and TYPES OFBOOKS: magic ortime travel. | RELIGIOUS PRESS MARKET SURVEY MARKET | PRESS RELIGIOUS . Willrespond in12weeks. [email protected] 14-16 Novelties of allsorts, picture Board books, picture books, Christian fiction books, 20 Jewish Nondenominational, www.bjupress.com/

Writers: Writers Our publications are Kregel Kidzone is Illustrators . Expect : See we respond Illustrators: : Email

nonfiction for alllevels, and devotionals. and YA fiction, activityand puzzlebooks, books, Biblestories, easyreaders, middle-grade the website. submissions atthistime. Pleasekeep checking METHOD OFSUBMISSION: and diverse society inawesternizedcountry. Muslims living asaminority inamulticultural Stories withcharacters and settings thatinclude cookbooks, “how to”books, CDs, e-books. Adult fiction, poetry, activity/workbooks. Other: TYPES OFBOOKS: BOOKS PERYEAR: violence/intolerance. RESTRICTIONS ORTABOOS: No erotica or FAITH AFFILIATION: www.muslimwriterspublishing.com Phone: 480-894-6014 Tempe, Arizona85285 P.O. Box 27362 MUSLIM WRITER’SPUBLISHING advance. METHOD OFPAYMENT: 10%of net sales, no to proposal document onthe websiteand submit METHOD OFSUBMISSION: No fiction. ranges, activitybooks, riddle and puzzlebooks. easy readers, educational nonfiction for allage TYPES OFBOOKS: BOOK PERYEAR: fiction or YA fiction. evolution, inchildren’s minds. No Children’s children’s booksaimtoestablishcreation, not biblical doctrine, Christian ideas/principles; RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.masterbooks.net Green Forest,AR72638 P.O. Box 726 MASTER BOOKS/NEWLEAFPRESS on aproject-by-project basis. METHOD OFPAYMENT: from professional literary agents. a moderate fee. We alsoacceptqueryletters over 40Christian publishers simultaneously for opportunity for youtoshare yourproposal with manuscript-screening services provide an Manuscript Submissions regularly. These summaries from The Writers’Edge and Christian material for review. We do, however, review Publications does not acceptunsolicited METHOD OFSUBMISSION: [email protected] 10 Board books, picture books, Middle-grade fiction, Young 3-4 Protestant Islam Royalties are determined Not accepting Downloadauthor’s Writers: Listisstrong in . Kregel P.O. Box 261129 RAINBOW PUBLISHERS/LEGACY PRESS project. METHOD OFPAYMENT: slides Attn: ArtDirector. No simultaneous submissions. accepting unsolicited manuscripts atthistime. METHOD OFSUBMISSION: 0-14. TYPES OFBOOKS: BOOKS PERYEAR: submitting any manuscript. competitors’ books, and market needs before booksellers market, assessing current trends, have thoroughly researched the Christian RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.tommynelson.com Nashville, TN37217 402 BNADrive Building 100,Suite600 TOMMY NELSON sure “Children’s MinistryResource Submission” to manuscript guidelines onwebsite. METHOD OFSUBMISSION: books aboutprayer, seasonal books. as Biblestorybooks, board books, devotionals, resources, booksthatreinforce teaching such TYPES OFBOOKS: BOOKS PERYEAR: Classroom and ministrymaterials. RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.standardpub.com Cincinnati, OH45249 Suite 400 8805 Governor’s HillDr. STANDARD PUBLISHING website. Willrespond in2-8weeksifinterested. Submissions. Seeguidelines for Rainbowat Illustrations chapters. LabelManuscript Submissions. with coverletter, tableof contents, and 2-5 METHOD OFSUBMISSION: to creatively teachthe Bibletokids ages 2-12. use crafts, games, puzzles and other activities TYPES OFBOOKS: BOOKS PERYEAR: bookstore market. to meet the general standards of the Christian RESTRICTIONS ORTABOOS: FAITH AFFILIATION: www.rainbowpublishers.com San Diego,CA92196 [email protected] : Send samplestoIllustration Alltypesfor children ages 10-20 Children and teenclassroom classroom resource booksthat 50-75 new titles 15-20 Evangelical Christian Christian Evangelical Christian Varies from project to

Writers: Writers: Writers Writers need to No fiction or poetry. Manuscripts need Illustrators: : Send SASE

not EMAIL ONLY See . Make

send

RELIGIOUS PRESS MARKET SURVEY | 133 appears in the subject line of the email. Will themed. BOOKS PER YEAR: 75-90 new titles PREPARING & SUBMITTING respond in 6 months. BOOKS PER YEAR: 4-6 new titles and 15 TYPES OF BOOKS: Novelties, board books, coloring and activity books. picture books, middle-grade fiction, Bible TA-HA PUBLISHERS TYPES OF BOOKS: Picture books and coloring stories, and prayer books Unit 4, The Windsor Centre and activity books written in an easy-to-read METHOD OF SUBMISSION: Writers: only Windsor Grove, West Norwood style. Most books focus on a Bible story or accepting submissions for resource books at London, SE27 9NT, UK biblical theme such as love, forgiveness, etc. this time. See guidelines on website. www.tahapublishers.com Ages range from pre-school (2-5 years old) to METHOD OF PAYMENT: Royalty and flat fee. FAITH AFFILIATION: Islamic upper elementary (8-10). TABOOS OR RESTRICTIONS: No poetry. Only METHOD OF SUBMISSION: E-mail a query letter subjects relating to the teachings of Islam in a and brief summary of your story and your past MARKET SURVEYS positive manner. published writing experience to Robin Fogle, TYPES OF BOOKS: Traditional and modern Acquisitions Editor at [email protected]. Islamic stories for children and young adults. Submission deadline is July 31. METHOD OF SUBMISSION: Email query letter METHOD OF PAYMENT: Payment varies, with synopsis and target market to editor@ depending on the project. tahapublishers.com. Will reply in six weeks if interested. WATERBROOK PRESS

METHOD OF PAYMENT: Varies with contract. 12265 Oracle Blvd. Suite 200 DIRECTORIES & RESOURCES Colorado Springs, CO 80921 TAU PUBLISHING www.randomhouse.com/waterbrook 4727 North 12th Street FAITH AFFILIATION: Evangelical Christian Phoenix, AZ 85014 RESTRICTIONS OR TABOOS: Christian based www.tau-publishing.org subjects only. FAITH AFFILIATION: Catholic BOOKS PER YEAR: 10-15 new titles RESTRICTIONS OR TABOOS: Catholic themed TYPES OF BOOKS: Picture books and middle- subjects. grade fiction, concept books and historical TYPES OF BOOKS: Inspirational and Catholic fiction. themed children’s books. METHOD OF SUBMISSION: Not accepting METHOD OF SUBMISSION: Submit book unsolicited manuscripts at this time. Only proposal and query letter online or to the material submitted from a literary agent. PUBLICIZING YOUR PUBLISHED WORK above address with a SASE. Will respond in METHOD OF PAYMENT: Royalty and flat fee. six weeks. See submission guidelines on the website. WISDOM PUBLICATIONS METHOD OF PAYMENT: Royalties given out 199 Elm Street quarterly. Somerville MA 02144 www.wisdompubs.org TYNDALE HOUSE PUBLISHERS FAITH AFFILIATION: Buddhism 351 Executive Drive RESTRICTIONS OR TABOOS: Only topics Carol Stream, IL 60188 directly related to Buddhism and written by www.tyndale.com people with relevant professional, academic, or FAITH AFFILIATION: Christian Dharma-teaching credentials. RESTRICTIONS OR TABOOS: Christian based BOOKS PER YEAR: 20 new titles stories only. TYPES OF BOOKS: Inspirational stories related

TYPES OF BOOKS: Christian fiction, nonfiction, to Buddhism for children and young adults. SCHOOL VISITS and children’s books. METHOD OF SUBMISSION: Please see website METHOD OF SUBMISSION: Tyndale reviews only for guidelines. Submit with cover letter to manuscripts submitted by professional literary Acquisitions Editor at editors@wisdompubs. agents, Tyndale authors, authors known to us org. from other publishers, or other people in the publishing industry. See website guidelines. ZONDERKIDZ LEGAL QUESTIONS 5300 Patterson Avenue SE WARNER PRESS Grand Rapids, MI 49530 P.O. Box 2499 www.zonderkidz.com Anderson, IN 46018 FAITH AFFILIATION: Christian www.warnerpress.com RESTRICTIONS OR TABOOS: All our publications FAITH AFFILIATION: Church of God must be biblically based and developmentally RESTRICTIONS OR TABOOS: Must be Christian appropriate for children.

EDUCATIONAL PRESS MARKET SURVEY

compiled by Melissa Stewart. updated by Jessica Costello 2018

riting for educational publishers can include a variety of assignments, such as leveled readers, curriculum-related books, teacher resources, Wand ancillary materials. Writers must have a solid understanding of national educational standards and age-level appropriateness. Classroom teaching experience is a real advantage. A strong background in science, math, or history is also a plus.

Before contacting the publishers listed in this guide, visit their or book dummies if they are requested. See each company’s author and/ websites. Studying their online catalogs will help you gain a solid or illustrator guidelines for more details. understanding of each company’s product line and specific needs. Once Educational publishing projects often require intense work over short you have identified a few publishers with offerings that seem to match periods of time. Be sure that kind work is appropriate for your schedule your experience and interests, submit a brief letter of introduction, a and lifestyle. Educational publisher typically offer work-for-hire resume, and relevant clips (writing samples from previous projects) or contracts with a flat fee as payment. non-returnable illustration samples. Only send proposals, manuscripts,

ABC-CLIO ABDO PUBLISHING COMPANY and cover letter via email to submissions@ 130 Cremora Drive [email protected] abdopublishing.com or by mail with SASE to Santa Barbara, CA 93117 DESCRIPTION: publishes pre-K–8 educational ABDO Publishing. Illustrators please submit 3-5 1-800-368-6868 nonfiction books that contain high-quality samples. Contracts vary. www.abc-clio.com text features, including a table of contents, CONTACT: [email protected] a glossary, and an index, timelines, maps, BARRONS EDUCATIONAL SERIES DESCRIPTION: high-quality, authoritative, diagrams, sidebars, full-color photos and 250 Wireless Blvd reference scholarship and innovative coverage captions. Hauppauge, NY 11788 of history, humanities, and general interest EDITOR-IN-CHIEF: Paul Abdo 1-800-645-3476 topics across the secondary and higher SUBMISSIONS: Send manuscript and cover letter www.barronseduc.com education curriculum. Contact for submission via email to [email protected] [email protected] guidelines and inquiries. Libraries Unlimited is or by mail to the above address. Include SASE. DESCRIPTION: Publishes a wide range of the librarian reference book imprint. Illustrators please submit three to five pieces children’s books, activity kits, study guides, and that reflect your style and range as hard copies standardized test preparation materials both ABDO GROUP or jpg images. Contracts vary. fiction and nonfiction. NO EMAIL submissions. P.O. Box 398166 Send fiction manuscript with cover letter and Minneapolis, MN 55439 MAGIC WAGON BOOKS SASE; nonfiction only proposal and cover letter 952-831-2120 [email protected] to Acquisitions Manager. Will reply in 8 months. www.abdopub.com/ DESCRIPTION: Picture book, beginning reader, Royalties vary. DESCRIPTION: Publishes educational resources or chapter book manuscripts that can become a for grades K-12. See imprints for more details. series of 4-6 titles. EDITOR-IN-CHIEF: Paul Abdo SUBMISSIONS: Send manuscript submission 136 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org website toquery. library titles. Submitcontact form onthe authors with experience writing school and publishers, grades K-12. Currently looking for hi-lo nonfiction series for school and library DESCRIPTION: PUBLISHER: bowpublications.com 1-858-248-4926 San Diego, CA 92131 10755 ScrippsPoway Parkway BOW PUBLICATIONS qbslearning.com. Send resume and querylettertofreelance@ magazines, teachers guides, and webcontent. leveled readers, posters, assessment materials, textbooks, reference books, activitybooks, education print and digital media, including DESCRIPTION: www.billsmithgroup.com 1-512-349-2500 Austin, TX78731 Suite 285 8310-1 NorthCapitolof Texas Highway BILL SMITHGROUP Check websiteperiodically. accepting unsolicited submissions atthistime. market, elementary through high school. Not nonfiction series for the school and library DESCRIPTION: www.marshallcavendish.us 1-914-332-8888 Tarrytown, NY10591 P.O. Box 2001 99 WhitePlainsRd. An imprintof MarshallCavendishCorporation BENCHMARK BOOKS address. grades K-6), oryoucanmail them tothe above and writing samples(ideally nonfiction for bearportpublishing.com along withyourresume SUBMISSIONS: larger series. individual titles, butbooksthatare partof a nonfiction for grades K-6. We do not publish DESCRIPTION: bearportpublishing.com EDITORIAL DIRECTOR: www.bearportpublishing.com (877) 337-8577 New York, NY10010 45 West 21stStreet,Suite3B BEARPORT PUBLISHING | EDUCATIONAL PRESS MARKET SURVEY MARKET | PRESS EDUCATIONAL

Bonnie Szumski

Developsawide variety of High-interest narrative Develops curriculum aligned and Publishes curriculum-aligned Email proposal toasiegel@

Adam Siegel, asiegel@

Suite 200 6807 N.SheridanRoad BRAINWORX STUDIO, INC. chicagoreviewpress.com PUBLISHER: www.chicagoreviewpress.com 1-312-337-0747 Chicago, IL60610 814 N.FranklinSt. CHICAGO REVIEWPRESS fiction. [email protected] samples, and proposal toEditorial Director at SUBMISSIONS: across awide range of disciplines. biographical dictionaries and encyclopedias science, ecology, and cultural studies, and offer We havestrong curriculum-based titlesin history, worldhistory, and globalissues. particularly multi-cultural studies, women’s DESCRIPTION: [email protected] www.infobasepublishing.com New York, NY19008 132 West 31 Infobase PublishingImprint CHELSEA HOUSEPUBLISHERS [email protected] saved at72dpiinGIForJPGformat to in asingle ZIParchive. Images should be art samplesshould becollectedand provided (grades PK–5)and animals. Individual digital types. We typically show images of children and four-color artsamples, pleasesend both com samples to SUBMISSIONS: materials inallcontent areas. DESCRIPTION: www.carsondellosa.com 1800-329-0943 Greensboro, NC27425 PO Box 35665 CARSON-DELLOSA PUBLISHING writing samplesto Writers should email acoverletter, resume, and tools, inallcontent areas, for grades K-12. ancillary materials, and innovative instructional including leveledreaders, teacher’s guides, DESCRIPTION: brainworxstudio.com CLIENT DIRECTOR: brainworxstudio.com 773-743-8200 Chicago, IL60626 . Illustrators ifyou

freelancesamples@carsondellosa. st St,17 Cynthia Sherry, csherry@

Publishes preK-8 educational Developseducational materials, American historybooks, Writerssubmitresume and Send query, resume, writing

Derrick Everett, derrick@ [email protected] th

Floor

have bothline art . Flatfeepaid. No . . SUBMISSIONS: preparation materials for grades K-12. interested inspecialized math, reading, and test and other reading intervention programs. Also familiar withReading Recovery, guided reading, literacy for grades K-2. Writersshould be leveled readers and other materials thatsupport DESCRIPTION: www.continentalpress.com 1-800-233-0759 Elizabethtown, PA 17022 520 EastBainbridgeStreet CONTINENTAL PRESS chapters to should send aresume, proposal, and sample seeking biographies and activitybooks. Writers to 1year. Royaltywithsmall advance. Actively art. Authors provide photos. Deadlines 9months about.cfm#manuscriptguidelines guidelines at and activitybooks, ages 9-12.Seeauthor DESCRIPTION: to LisaShawat corwinpress.com/publish.nav Press’s detailed author guidelines at Deadlines vary. Payment varies. View Corwin and skill-building resources for grades K-12. activity books, lessonplans, reproducibles, supplementary classroom materials, including DESCRIPTION: corwin.com EDITORIAL DIRECTOR: www.corwinpress.com/home.nav 805-499-9734 Thousand Oaks, CA91320 2455 Teller Road CORWIN PRESS sample artworktothe ArtDirector withaSASE. guidelines onthe website. Illustrators send submissions. Send toManaging Editor. See cover levelbymail onlywithSASE. NO EMAIL SUBMISSIONS: preparation materials for grades K-12. interested inspecialized math, reading, and test and other reading intervention programs. Also familiar withReading Recovery, guided reading, literacy for grades K-2. Writersshould be leveled readers and other materials thatsupport DESCRIPTION: SEEDLING PRESS sample artworktothe ArtDirector withaSASE. guidelines onthe website. Illustrators send submissions. Send toManaging Editor. See cover levelbymail onlywithSASE. NO EMAIL [email protected] www.chicagoreviewpress.com/ Publishes fiction and nonfiction Publishes children’s nonfiction Publishes avariety of Publishes fiction and nonfiction Writerssend manuscript and Writerssend manuscript and [email protected]

LisaShaw, lisa.shaw@

. Send submissions . No need for www. . EDUCATIONAL PRESS MARKET SURVEY | 137

COUGHLAN COMPANIES CREATIVE TEACHING PRESS SUBMISSIONS: Writers please see submission PREPARING & SUBMITTING 1710 Roe Crest Drive PO Box 2723 guidelines on the website www.dawnpub.com/ North Mankato, MN 56003 Huntington Beach, CA 92647 submission-guidelines/. Email submissions to 1-800-747-4992 1-800-287-8879 [email protected] or mail submission www.coughlan-companies.com www.creativeteaching.com with a SASE to Glenn Hovemann. Illustrators DESCRIPTION: Publishes teacher resource books, send samples and cover letter to Muffy Weaver CAPSTONE PRESS emergent readers, and other supplemental with SASE. www.capstonepress.com learning products in the areas of phonics, DESCRIPTION: Publishes curriculum-aligned and reading, writing, math, science, and social DRAMATIC PUBLISHING high interest nonfiction series for the school studies. Materials serve grades PreK-8. 311 Washington St. and library market, preK-9. Actively seeking SUBMISSIONS: Submit cover letter, proposal, Woodstock, IL 60098-3308 MARKET SURVEYS writers with solid research and writing skills and sample chapters with SASE to: 1-800-448-7469 to deliver assigned easy-to-read ad hi-low Attn: Idea Submissions www.dramaticpublishing.com nonfiction titles. 15342 Graham Street DESCRIPTION: Plays for children K-12. No SUBMISSIONS: Writers send resume, sample Huntington Beach, CA 92649 adapted fairy tales. Email Submissions Editor chapters, and prior experience to sub@ Also print out and include author submission at [email protected] with cover capstonepub.com for fiction submissions. form found on the website. letter and manuscript. Mail in manuscripts with NONFICTION BY MAIL ONLY with SASE to SASE. Will respond in three months. See website

Editorial Director. Illustrators send samples and THE CRITICAL THINKING CO. for more guidelines. DIRECTORIES & RESOURCES resume to [email protected]. 1991 Sherman Ave, Suite 200 North Bend, OR 97459 ENSLOW PUBLISHERS COMPASS POINT BOOKS 1-800-641-6555 Box 398 www.compasspointbooks.com www.criticalthinking.com 40 Industrial Road DESCRIPTION: Publishes curriculum-aligned EDITORIAL DIRECTOR: Michael Baker Berkeley Heights, NJ 07922 nonfiction for the school and library market, DESCRIPTION: Publishes curriculum programs 1-908-771-9400 grades 5 and up. that align with state standards, study guides, www.enslow.com SUBMISSIONS: Writers send resume, sample activity books, games, puzzles, and test EDITOR IN CHIEF: Dorothy Goeller chapters, and prior experience to sub@ preparation materials for reading, writing, DESCRIPTION: Publishes curriculum-aligned capstonepub.com for fiction submissions. math, science, and social studies. All products nonfiction series for the school and library NONFICTION BY MAIL ONLY with SASE to emphasize critical thinking skills. markets, grades K-12. Send resume and

Editorial Director. Illustrators send samples and SUBMISSIONS: Send cover letter and full writing samples, series proposals, unsolicted PUBLICIZING YOUR PUBLISHED WORK resume to [email protected]. manuscript to Michael Baker at the above manuscripts, and non-returnable art samples address with a SASE to Dorothy Goeller. Actively seeking nonfiction PICTURE WINDOW BOOKS ideas for early elementary readers (grades 1 and www.picturewindowbooks.com DAVIS PUBLICATIONS 2) and math and character building presented in DESCRIPTION: Publishes informational picture 50 Portland Street a story format. books, easy readers, and chapter books for the Worcester, MA 01608 school and library market, grades preK-4. (508) 754-7201 EVAN-MOOR CORPORATION SUBMISSIONS: Writers send resume, sample www.davis-art.com 18 Lower Ragsdale Dr. chapters, and prior experience to sub@ PUBLISHER: Valerie Sullivan, vsullivan@ Monterey, CA 93940 capstonepub.com for fiction submissions. davisart.com 1-800-714-0971 NONFICTION BY MAIL ONLY with SASE to DESCRIPTION: Art textbooks, resource guides, www.evan-moor.com Editorial Director. Illustrators send samples and student activity books, posters, videos, and EDITORIAL DIRECTOR: Andrea Weiss resume to [email protected]. books for K-12. ART DIRECTOR: Cheryl Pucket

SUBMISSIONS: Writers submit a proposal, DESCRIPTION: Publishes a variety of preK-8 SCHOOL VISITS STONE ARCH BOOKS cover letter, outline, and sample chapter with educational materials in language arts, math, www.stonearchbooks.com SASE. See author guidelines for more details. reading, science, social studies, arts & crafts, DESCRIPTION: Publishes funny, scary, Royalties. ELL, and writing that support and enrich the mysterious and adventurous novels and non- core curriculum. WFH. Actively seeking writers violent graphic novels intended for reluctant DAWN PUBLICATIONS with experience creating K-5 language arts readers, grades 2-8. Most titles have strong ties 12402 Bitney Springs Rd. products. Send resume and writing samples. LEGAL QUESTIONS to the curriculum. Nevada City, CA 95959 SUBMISSIONS: Writers send resume, sample www.dawnpub.com FREE SPIRIT PUBLISHING chapters, and prior experience to sub@ EDITORIAL DIRECTOR: Glenn Hovemann 217 Fifth Ave. N., Suite 200 capstonepub.com for fiction submissions. ART DIRECTOR: Muffy Weaver Minneapolis, MN 55401 NONFICTION BY MAIL ONLY with SASE to DESCRIPTION: Nature awareness books for 1-612-338-2068 Editorial Director. Illustrators send samples and children. No stories about pets, animal rescue, www.freespirit.com resume to [email protected]. or fantasy. DESCRIPTION: Publishes a variety of learning 138 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org multicultural/ESL, aswellprofessional studies, mathematics, science, artsand drama, phonics. Alsointerested inmaterials for social for language arts, writing, reading, and and WFH.Currently seeking quality materials materials, grades K-8. Deadlines vary. Royalty supplemental educational and classroom DESCRIPTION: [email protected] www.goodyearbooks.com Culver City, CA90232 10200 JeffersonBlvd.,Box 802 GOOD YEARBOOKS Will respond in3months onlyifinterested. Include samplechaptersand proposal ifneeded. only using submission form onthe website. humor, and giftbooks. Pleaseemail submissions popular culture, gardening, artsand crafts, focus onabroad array of topics including cookbooks. We alsoacceptsubmissions that along withinterior design, architecture, and DESCRIPTION: www.gibbs-smith.com 801.544.9800 Layton, Utah84041 PO Box 667 GIBBS SMITHPUBLICATIONS frogstreet.com submissions and queryto for great product ideas and artsamples. Email students. guides topromote literacy inearlyelementary books, reproducibles, flipcharts, and activity DESCRIPTION: FOUNDER: www.frogstreet.com 1-800-884-3764 Grapevine, TX76051 800 IndustrialBlvd.Suite100 FROG STREETPRESS Will respond in2-6months. Acquisitions atthe aboveaddress withSASE. proposal, samplechaptersorfullmanuscript to SUBMISSIONS: needs. Deadlines vary. prevention, social action, creativity, and special school success, peacemaking and violence esteem and self-awareness, stress management, children/teens withemphasisonpositiveself- counselors, orprofessionals working with nonfiction materials writtenbyeducators, materials, and teacher guides. Looking for include books, classroom supplemental emotional development of children. Products tools thatsupportthe social health and | EDUCATIONAL PRESS MARKET SURVEY MARKET | PRESS EDUCATIONAL Deadlines vary. WFH.Alwayslooking Sharon Barnett Publishes arange of Activity booksfor children Publishes teacher resource . Send resume, coverletter,

customerservice@

www.goodyearbooks.com/client/client_pages/ parents. Submission details availableat: resources for teachers orhome-schooling above address. Illustrators send samples. manuscript withSASE toMatt Mulder atthe Mail incover letter, resume, proposal, and librarians. Deadlines vary. Royaltyand WFH. library media specialists and children’s public way aswellprofessional resources for school and reading programs inafresh and playful books thatintroduce libraries, bookselection, DESCRIPTION: [email protected] PUBLICATIONS MANAGER: www.upstartbooks UPSTART BOOKS www.highsmith.com 1-800-694-5827 Madison, WI53707-7820 P.O. Box 7820 HIGHSMITH CORPORATE an idea, email 1-9. Deadlines vary. Royaltyand WFH.To submit reading programs for struggling readers, grades DESCRIPTION: www.highnoonbooks.com/ 1-800-422-7249 Novato, CA94949 20 CommercialBoulevard AcademicTherapy Publications HIGH NOONBOOKS above address. and twenty page sampletoAcquisitions atthe grades PreK-3. Send queryletter, proposal, including activitybooksand lessonplans, DESCRIPTION: www.gryphonhouse.com 1-800-638-0928 Lewisville, NC27023 6848 Leon’s Way PO Box 10 GRYPHON HOUSE [email protected] social studies for K-12. Send queryemail to reading, writing, mathematics, science, and DESCRIPTION: www.greatsource.com 800.225.5425 Wilmington, MA01887 181 BallardvaleStreet (HOUGHTON MIFFLINHARCOURT) GREAT SOURCEEDUCATION GROUP publishwithus.cfm Publishes library-centered picture Publishes hi-lobooksand [email protected] Publishes teacher resources, Materials and booksthatsupport . .com

Matt Mulder,

. and personal growth. Seemanuscript guidelines health, violence prevention and intervention, and educators withsubjectsrelating towomen’s DESCRIPTION: www.hunterhouse.com 510-865-5282 Alameda, CA94501 P.O. Box 2914 HUNTER HOUSEPUBLISHERS above address. Illustrators send samples. manuscript withSASE toMatt Mulder atthe Mail incoverletter, resume, proposal, and librarians. Deadlines vary. Royaltyand WFH. library media specialists and children’s public way aswellprofessional resources for school and reading programs inafresh and playful books thatintroduce libraries, bookselection, DESCRIPTION: [email protected] PUBLICATIONS MANAGER: www.edupressinc.com EDUPRESS samples, and proposal toEditorial Director at SUBMISSIONS: across awide range of disciplines. biographical dictionaries and encyclopedias science, ecology, and cultural studies, and offer We havestrong curriculum-based titlesin history, worldhistory, and globalissues. particularly multi-cultural studies, women’s DESCRIPTION: www.infobasepublishing.com 212-967-8800 New York, NY10001 132 West 31stStreet,17thFloor INFOBASE PUBLISHING envelope toArtDepartment. pieces withawarm,whimsical style. Address the should send good quality photocopies orprinted envelope toManuscript Submissions. Illustrators contents, and asample chapter. Address the should send aletterof introduction, tableof grades K-12. Deadlines vary. WFH.Writers (grades 5-8)and teaching strategy booksfor educational resources for middle school students DESCRIPTION: PUBLISHER: www.incentivepublications.com 1-800-421-2830 Nashville, TN37215 2400 CrestmoorRoad,Ste. 211 INCENTIVE PUBLICATIONS [email protected] and email submissions to Acquisitions Editorat at www.hunterhouse.com/docs/Manuscript.pdf JillS.Norris

Publishes booksfor counselors Publishes library-centered picture American history books, Publishes supplemental Send query, resume, writing

Matt Mulder,

EDUCATIONAL PRESS MARKET SURVEY | 139 [email protected]. Flat fee paid. No PUBLISHER Julie Graddy, publisher@ MORGAN REYNOLDS PUBLISHERS PREPARING & SUBMITTING fiction. maupinhouse.com 620 Elm St., Suite 223 Chelsea House and Chelsea Clubhouse DESCRIPTION: Publishes professional resources Greensboro, NC 27406 chelseahouse.infobasepublishing.com/ for K-12 teachers. Deadlines vary. Payment 1-800-535-1504 Facts on File varies. Currently seeking classroom-proven ideas www.morganreynolds.com factsonfile.infobasepublishing.com/ and resources on writing craft, integrating DESCRIPTION: Publishes engaging nonfiction Ferguson Publishing technology into the reading and writing for K-12 grades. Send ideas and inquiries to ferguson.infobasepublishing.com/ curriculum, and reading strategies. Authors [email protected]. See website should send a resume, list of publications, and to become familiar with the types of books KAEDEN BOOKS proposal plus table of contents, introduction, published. P.O. Box 16190 and sample chapter to publisher@maupinhouse. MARKET SURVEYS Rocky River, OH 44116 com. Include intended audience, competition, NOMAD PRESS 1-800-890-7323 and what makes your book better than what is 2456 Christian Street www.kaeden.com currently available. White River Junction, VT 05001 DESCRIPTION: Publishes early literacy books 1-802-649-1995 and beginning chapter books that support MERIWETHER PUBLISHING www.nomadpress.net young readers. Submissions needed in beginning 885 Elkton Drive PUBLISHER: Alex Kahan chapter books, unique non-fiction manuscripts, Colorado Springs, CO 80907 DESCRIPTION: Publishes a range of how-to and manuscripts with strong characters (800) 937-5297 and curriculum-aligned nonfiction books DIRECTORIES & RESOURCES that have potential to become a series. Mail www.meriwether.com for grades K-8. Deadlines vary. Primarily cover letter and manuscript to the Editorial DESCRIPTION: Publishes a variety of theatre WFH. Writers should send a detailed resume, Department at the above address. Illustrators subjects from play anthologies to theatrecraft. including relevant experience and previous send samples and cover letter to the above We publish books on monologs, duologs, publication credits to [email protected]. address. short one-act plays, scenes for students, Send art samples to Alex Kahan. acting textbooks, how-to speech and theatre KENDALL HUNT PUBLISHING textbooks, improvisation, and theatre games. OLIVER PRESS 4050 Westmark Dr. SUBMISSIONS: Send query letter, outline, and Charlotte Square P.O. Box 1840 sample chapters to [email protected]. If 5707 West 36th Street Dubuque, IA 52004 sending hard copies, include SASE. Will reply in Minneapolis, MN 55416-2510 1-800-228-0810 6 weeks if interested. (952) 926-8981 www.kendallhunt.com www.oliverpress.com PUBLICIZING YOUR PUBLISHED WORK DESCRIPTION: Publishes student and teacher MITCHELL LANE PUBLISHERS DESCRIPTION: Publishes nonfiction and materials in science, math, language arts, P.O. Box 196 classroom supplements in social studies, health, and physical education as well as Hockessin, DE 19707 biographies, and sciences for young readers. custom curriculum programs and resources. 1-302-234-9426 Send query letter to [email protected]. Deadlines vary. Royalty or WFH. All books are www.mitchelllane.com See website for more details about the types of written by experts in the field. Illustrators may DESCRIPTION: Publishes nonfiction, books published. send art samples and a resume to the above supplemental books, resource books, easy-to- address. reads, reluctant readers in all subject areas, ON THE MARK grades 4-8. Deadlines vary. WFH. Send a P.O. Box 433 LERNER PUBLISHING GROUP comprehensive resume and list of previously Clayton, NY 1251 Washington Ave N published work along with a cover letter 13624 Minneapolis, MN 55401 expressing your interest, and an unedited 1-800-463-6367 1-612-332-3344 writing sample that does not need to be www.onthemarkpress.com/

www.lernerbooks.com returned to the address above. Most books are PRESIDENT: Lisa Solski SCHOOL VISITS DESCRIPTION: Publishes informative picture photo illustrated, so little need for art. Publishes curriculum-aligned reproducible books, illustrated nonfiction titles, and inspiring activities and workbooks. Deadlines vary. WFH. photo-driven titles, for the school and library MONDO PUBLISHING Writers send in a sample of lesson plans, a markets, grades K-5. Deadlines vary. See website 980 Avenue of the Americas sample of writing you’ve done for children and a for various imprint submission guidelines. New York, NY 10018 resume to the address above or email them to: Illustrators send samples and cover letter to the 1-888-88-MONDO [email protected] LEGAL QUESTIONS address above. www.mondopub.com EDITORIAL DIRECTOR: Susan Eddy OTTN PUBLISHING MAUPIN HOUSE PUBLISHING DESCRIPTION: Publishes reading and writing 16 Risler Street 2300 NW 71st Place programs for grades K-5 and teacher resources Stockton, NJ 08559 Gainesville, FL 32653 and professional development materials. 1-866-356-6886 1-800-524-0634 Deadlines vary. WFH. Not currently looking for www.ottnpublishing.com/index.htm www.maupinhouse.com writers or illustrators. DESCRIPTION: Develops curriculum-aligned 140 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org supplemental books, workbooks, videos, science, DESCRIPTION: www.phoenixlearninggroup.com 314-569-0211 x104 Saint Louis, MO63043-2509 141 MillwellDr., SuiteA PHOENIX LEARNINGRESOURCES ideas onthe typesof booksthatare published. submission form onthe website. Seewebsitefor Guidelines.pdf personhoodpress.com/pdf/5_Submission%20_ K-6. Writersseespecificguidelines at social responsibility inthe worldfor grades that generate aculture of personal and supplements, easyreader books, and subjects DESCRIPTION: www.personhoodpress.com (909) 866-2912 Fawnskin,CA92333 P.O. Box 370 PERSONHOOD PRESS Acquisitions. sample chaptersoracompletemanuscript to or WFH.Send coverletter, outline, and guides for grades K-12. Deadlines vary. Royalty workbooks and resource books, and assessment leveled readers, hi/loreaders, DESCRIPTION: www.perfectionlearning.com (800) 543-2745 Logan, IA51546-0500 P.O. Box 500 1000 NorthSecondAvenue PERFECTION LEARNINGCORPORATION mailing inasubmission. [email protected] K-3. Send aqueryletterand manuscript to a lessonorhistorical connection for grades ethnic/regional fiction, and picture bookswith DESCRIPTION: www.pelicanpub.com (504) 368-1175 Gretna, Louisiana70053-2246 1000 BurmasterStreet PELICAN PUBLISHINGCOMPANY ottnpublishing.com. No phone calls. Alsoinquire atinquiries@ published workbymail toAcquisitions Editor. proposals orresumes and samplesof previously photo illustrated, solittleneed for art.Send 4-12. and library markets and servestudents ingrades social studies. Booksare created for the school nonfiction series inthe area of historyand | EDUCATIONAL PRESS MARKET SURVEY MARKET | PRESS EDUCATIONAL Deadlines vary. WFH.

. Alsosubmitamanuscript Publishes textbooks, classroom Publishes educational Publishes content-area readers, Easyreaders, biographies,

. Send inSASE if Most booksare

language arts

phoenixlearninggroup.com. K-12. Send queryletterand ideas toinfo@ social studies, reading, and math for grades DIRECTOR: www.rcowen.com 1-800-262-0787 Katonah, NY 10536 P.O. Box 585 RICHARD C.OWEN PUBLISHERS letter to Deadlines vary. RoyaltyorWFH.Send query variety of clients. Materials for grades K-12. guides and other educational materials for a readers, student workbooks, textbooks, teacher’s DESCRIPTION: PRESIDENT: www.quarasan.com 1-312-981-2500 Chicago, IL 60610 405 West SuperiorSt. QUARASAN and other required material. submissions onlywithcoverletter, proposal, pdfs/Book_Prospectus.pdf here: books supplementary college textbooks, and for children withspecial needs development resources for children professional development books classroom materials DESCRIPTION: com EDITOR: www.prufrockpress.com 512.300.2220 Austin, TX78731 5926 BalconesDr, Ste. 220 PRUFROCK PRESS com Send submissions to requested todo sobythe acquisitions editor. MP3s, manuscript .docs, orpicture .jpgsunless link(s) withyourinquiry. PleaseDONOT send letter and pleaseinclude abrief bio and/or web music supplements. EMAILONLY. Send query including activitybooks, song books, and materials for music teachers and students DESCRIPTION: www.pianopress.com (619) 884-1401 Del Mar, CA92015-0085 P.O. Box 85 PIANO PRESS . www.prufrock.com/Assets/ClientPages/ . Seespecificsubmission guidelines SeanRedman, [email protected] Phyllis Greenspan,

Randi Brill Developsleveledand content Publishes Publishes

(e.g., activitybooks pianopress@pianopress.

sredmond atprufrock.

fun and interesting supplementary .

NO EMAIL.Mail in . , , primary and talent , resources

trade ), on the website. Send querytoaddress above oruseemail form Currently looking for cover samplesfrom artists. authors withexperience writing hi-lotexts. looking for writing samplesand resumes from about 4months, butcanflexible. WFH.Always workbooks, and educational software. Deadlines reproducible, read-alongs, videos, textbooks, for grades K-12, including DESCRIPTION: PRESIDENT: www.sdlback.com/ (714) 640-5200 Costa Mesa,CA92626 3120-A PullmanStreet SADDLEBACK EDUCATIONAL PUBLISHING WFH. Send querylettertoPhyllis Greenspan. for teachers and administrators. Deadlines vary. literacy for grades PreK-8 and professional books and other classroom materials thatpromote DESCRIPTION: [email protected] EDITORIAL COORDINATOR www.scholastic.com 1-800-724-6527 New York NY10012 555 Broadway, 5thFloor SCHOLASTIC TEACHING RESOURCES Director. vary. WFH.Send non-returnable artworktoArt and library markets, grades 6-12. nonfiction series and single titles for the school DESCRIPTION: ART DIRECTOR: 10012) (at NYoffice: 524Broadway, New York, NY EDITORIAL DIRECTOR: FRANKLIN WATTS artwork toArtDirector. Deadlines vary. WFH.Send non-returnable the school and library markets, grades K-6. Readers series (leveledreaders). Allbooksfor nonfiction series and fiction for the Rookie DESCRIPTION: 10012) (at NYoffice: 524Broadway, New York, NY EDITORIAL DIRECTOR: CHILDREN’S PRESS www.scholastic.com 203-797-3500 Danbury, CT06816 90 OldShermanTurnpike SCHOLASTIC LIBRARYPUBLISHING

Arianne McHugh Publishes curriculum materials Publishes guided reader programs Publishes curriculum-aligned Publishes curriculum-aligned Marie O’Neil

Elizabeth Ward Jannelle Cherrington

: paperback books,

Adriane Rozier Deadlines

EDUCATIONAL PRESS MARKET SURVEY | 141

for submission details. Submissions must meet ART DIRECTOR: Jaime Lucero TRILLIUM PUBLISHING PREPARING & SUBMITTING DESCRIPTION: Publishes classroom all guidelines. Deadlines vary. Royalty. 1222 N. 185th Street, Suite 201 supplemental books, teacher’s guides, big TEACHER CREATED MATERIALS Shoreline, WA 98133 books, resource books, reproducibles, student 6421 Industry Way 1-206-652-4698 activity books, games, audio cassettes, and Westminster, CA 92683 www.trilliumpublishing.com plays in all curricular areas. Targets grades 888-343-4335 PRESIDENT: Sunny Gagliano Pre-K-8. Deadlines vary. WFH. Currently www.teachercreated.com DESCRIPTION: Develops a wide range of literacy seeking proposals for teacher/classroom-tested DESCRIPTION: Publishes classroom programs with a focus on integrating the professional books to be used in mainstream supplemental books, teacher guides, resource content areas, grades K-12. Deadlines vary. Pre K-8 classrooms across all curriculum areas. books, workbooks, student activity books, Primarily WFH. Illustrators should send non- Writers should send query, proposal, and sample science, social studies, reading, math, art/ returnable art samples. Writers should send a MARKET SURVEYS chapter or complete manuscript. Illustrators music, movement. See submission guidelines at resume and relevant writing sample with SASE should send non-returnable art samples. www.teachercreated.com/contact/manuscript- or send via email to info@trilliumpublishing. submission-guide.pdf. NO EMAIL submissions com. SLEEPING BEAR PRESS at this time. Send cover letter and samples 315 Eisenhower Parkway, Suite 200 to Editor in Chief with SASE. Will reply in six WEIGL PUBLISHERS GROUP Ann Arbor, MI 48108 months if interested. 350 5th Avenue 1-800-487-2323 59th Fl www.sleepingbearpress.com THE CRITICAL THINKING COMPANY New York, NY 10118-0069 DIRECTORIES & RESOURCES PUBLISHER: Heather Hughes 1991 Sherman Ave, Suite 200 1-866-649-3445 AR DIRECTOR: Jennifer Bacheller North Bend, OR 97459 www.weigl.com/american.asp DESCRIPTION: Publishes picture books, 800-458-4849 SENIOR MANAGING EDITOR: Heather Hudak illustrated nonfiction titles, and teacher’s www.criticalthinking.com ART DIRECTOR: Terry Paulhus guides for the school and library markets, grades EDITORIAL DIRECTOR: Michael Baker DESCRIPTION: Publishes curriculum-aligned K-5. Deadlines vary. Royalty. Not accepting DESCRIPTION: Publishes educational products nonfiction book series for the school and library manuscript submissions. Please continue to for parents, homeschoolers, and teachers for markets, grades K-12. Deadlines vary. WFH. check the website for submission updates. grades pre-K to 8. Looking for activity based Submit query letter to [email protected] products in reading, writing, math, science, STEMMER HOUSE PUBLISHERS or social studies that also teach/develop ZEPHYR PRESS P.O. Box 89 critical thinking skills. The material should be 814 Franklin St

Stemmer House Publishers challenging, of high interest, and fun where Chicago, IL 60610 PUBLICIZING YOUR PUBLISHED WORK P.O. Box 89 appropriate. Content materials should be [email protected] 4 White Brook Road aligned to current state and national standards. www.zephyrpress.com Gilsum, NH 03448 The reading level should match the targeted EDITOR: Jerome Pohlen 603-357-0236 grade range. DESCRIPTION: Publishes classroom [email protected] SUBMISSIONS: Send cover letter and complete supplemental books; teacher guides, resource www.stemmer.com/ manuscript to Michael Baker with SASE by mail. books, student activity books, posters, videos, DESCRIPTION: Educational nature books for comic books for students based in sound grades 1-8. No fiction needed. Contact the TILBURY HOUSE PUBLISHERS education research; science, social studies, editor at [email protected] with a query 103 Brunswick Avenue reading, math, health, and movement for grades letter and manuscript. Email preferred. Will Gardiner, Maine 04345 Pre K-12. No chapter or picture books. Submit contact within three months if interested. 800-582-1899 query letter with sample chapters with SASE or Royalty based. Illustrators send query letter and www.tilburyhouse.com via email to [email protected]. Will samples. EDITOR: Audrey Maynard reply in six months if interested. Royalty based.

DESCRIPTION: Publishes primarily picture SCHOOL VISITS SYLVAN DELL PUBLISHING books for ages 7-12 with issues of cultural 612 Johnnie Dodds Blvd., Suite A2 diversity (global), nature, or the environment Mount Pleasant, SC 29464 with a national market and could have teacher 843-971-6722 supplements to go along with the book. www.sylvandellpublishing.com/ SUBMISSIONS: Send query letter and complete EDITOR: Donna German, donnagerman@ manuscript with SASE to the Audrey Maynard. LEGAL QUESTIONS sylvandellpublishing.com If emailing submission please put “Book Query” DESCRIPTION: Publishes picture books with as the subject and do not include attachments. fictional stories that relate to animals, nature, Email [email protected]. Will take a the environment, and science. Books should minimum of one month to respond. convey an educational theme. Each book has curriculum-aligned back matter that reinforces the educational theme. See author guidelines

SCBWI DIRECTORIES & RESOURCES

2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

AGENTS DIRECTORY

he Society of Children’s Book Writers & Illustrators’ Agents Directory should not be used as a substitute for agents’ submission guidelines, but is intended to be used as a T reference guide. The listings include both literary agents and artist representatives. A survey was conducted through a questionnaire requesting current submission procedures in order to provide up-to-date information.

The process of finding a good agent is quite a challenge for children’s CHOOSING AN AGENT book writers or illustrators. Many literary agents specifically do not Not all agents are created equal. Again, it is in your best interest represent children’s books. We hope then that this directory will to research an agent as much as possible before contacting him/her. facilitate your search for representation. As with every other aspect You will want to take at least the same amount of care as you would in of the children’s book business, a writer or illustrator should act choosing a lawyer, doctor, or plumber. Word of mouth is one legitimate professionally. Seek advice from more experienced writer or illustrator way of learning an agent’s reputation. Anyone can set him or herself up friends. In addition, it will be in your best interest to carefully read and do business as a literary agent. Many, but not all, reputable agents the entries in this publication and to follow the procedures indicated. belong to the Association of Author’s Representatives, Inc. (AAR), as For instance, most agents will only look at multiple query letters, not indicated in this list. The AAR is a not-for-profit organization that sets multiple manuscripts. professional standards and requires members to subscribe to its Canon All correspondence with an agent should be accompanied by a self- of Ethics. For example, the AAR officially discourages the practice of addressed stamped envelope (SASE). Also, you should always keep a charging fees for reading and evaluating submissions. Agents who copy of your manuscript and/or art samples. Do not send original art charge reading fees have been so indicated in this list. Please note that and unpublished material unless specifically requested to do so by an the SCBWI believes agents should make money from selling your work, agent. not from charging fees. Choosing an agent is a highly individual decision, and some factors THE AGENT’S JOB will be more important to you than others. Choose carefully! The choice In general, an agent advises you about your work’s potential, markets you make will affect you longer than even your choice of a mate. You the work to publishers, negotiates your contracts, and protects your will be tied to that agent for the life of the contract he/she negotiates interests on many different levels. The agent should be knowledgeable for you (a period which, in the case of books that stay in print a long about current trends, practices, and conditions in the industry. The time, could extend past your death). agent reviews royalty statements, exploits rights that you have reserved You will want to evaluate this list with an eye toward which factors (foreign, film, merchandising, etc.), and collects and disburses the are most important to you: money owed to you. An agent cannot sell an unsellable manuscript or inappropriate »» Does the agency specifically represent the type of material you write artwork. Also, an agent cannot make basic, personal decisions about or illustrate? your writing, which only you can make. An agent works with you, but »» Are the agency’s commission and expenses in line with what you are does not do your work for you. You are the most important factor in looking for? your writing career, not the agent. »» Has the agency been in business a long time or is it relatively new? Some agents are more flexible than others are. Some on this list, as (Both can have advantages.) indicated, are willing to let clients do their own marketing (i.e., make »» Who are its current clients? their own sales) and will then negotiate the contract for a specified fee »» Is the agency based in New York or in your geographic area? or commission. Such an arrangement must be worked out in advance, as »» Does the agent offer editorial guidance before submitting must any other special circumstance you desire. manuscripts to publishers? 146 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org unsolicited queries ormanuscripts. Seewebsite Submission Procedure: Multiple Submissions: Rep Agreement: deducted from monies received Other Fees: Reading Fees: Commission: Preferred Clients: artists Agent for: Secondary Contact: Contact Name: Established: [email protected] www.adamsliterary.com Charlotte, NC28226 7845 ColonyRoad ADAMS LITERARY source of encouragement inanoften difficultbusiness, where editors emotional supportontopof allthat,looking tothe agent asasteady your agent asaconsultant indeveloping yourwork.Some writersneed editorial guidance inaddition tobusiness support,and youwilllookto only when financial negotiations are taking place. Oryou may need your relationship onadollars-and-cents level,and rely onthe agent work, and the agent’s policies and practices. Ifyouwish,cankeep author-agent relationship depends onyourneeds, the nature of your who canperform many services inhelping youbuildyourcareer. The be inarelationship of mutual confidence and trust,withsomeone researching the market onyourown. and the energy might bebetterspent inperfecting one’s craft and it canbejustasdifficulttofind an agent astosellyourfirstbook, to haveanagent toget published. Foranunpublished writer, infact, not. Inother words, withthe majority of publishers, itisnot necessary adult books, isone area where manuscripts are read whether agented or careers. And most editorswilltellyouthatchildren’s books, unlike illustrators do not haveagents, preferring tocontrol allaspectsof their you begincontacting agents. Many successful children’s writersand DO YOU NEEDANAGENT? submissions? industry asyoudesire? How does he/she keep the writerinformed about aggressive orpassiveaboutmarketing? Is he/she asup-to-date onthe personality and workmethods compatiblewithyours?Is the agent the agent beensuccessful withthe typeof workyoudo? Are the agent’s you abetterchance toevaluate anagent’s expertise. Forinstance: Has arrange aninterview, either overthe phone orinperson,thiswillgive » » | DIRECTORY AGENTS » » The advantages tohaving anagent are complex. Ideally, youwill This isanimportant question youwillwant toconsider before If anagent does express interest inyourworkand youare able to desire? Is the agency willing toletyoudo yourownmarketing, ifyouso break withthatagent atany time? binding youtogether for aspecifiedperiod of time, orare youfree to Does the agent require youtosign arepresentation agreement, Fiction, middle grade, picture books, Postage, photocopying expenses 2004 15% domestic, 20%foreign None Tracey Adams Yes Published/unpublished Josh Adams, QuinlanLee No Not accepting PO Box 2000 ALISON J.PICARDLITERARY for updated submission information. list uponrequest; works withbookpackagers; Other Comments: have seenmanuscript. No phone orfax queries. synopsis publishing history, orifany publishers Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: Preferred Clients: Agent for: Contact Name: Established: [email protected] Cotuit, MA2635 YA, PB,fiction, nonfiction None 1985 15% text domestic, 20%foreign None AlisonPicard Yes, one-year contract Published/unpublished Willing tosend current client Yes, queryletters Queryletterswith creatively spent elsewhere. The wrong agent for youcanbeworsethan spend much time complaining aboutthem—time thatcouldbemore rapport orarelationship of long standing. Some writerswithagents between youand aneditor, especially one withwhom youhavegreat especially one withwhom you’re not happy, can alsoget inthe way on domestic salesoverthe lifeof the book)toanagent. Anagent, keep allof yourmoney, instead of paying 15%(the average commission have soldyourfirstfewbooksyourself. started outthisway;itisdifficultto get taken onbyanagent until you smart enough tonegotiate his/her owncontract. Certainlymost writers writers willagree thatanyone smart enough towriteand sellabookis then youmay decide thatrepresenting yourselfisyourbestbet. Many agent might bejustone more barrier betweenyouand yourreaders, ALTERNATIVES TO GETTINGANAGENT be wellworthit. agent who meets allorsome of these needs may take time, butitcan and effort frees yourbrain for creative endeavors. Therefore, finding an taking care of business whileyoufocus onyourwork.The agent’s time and, inparticular, canactasabufferbetweenyouand youreditor(s), can change frequently. The agent canbeahelpful problem-solver, SASE withany correspondence. remember tobeprofessional inyourapproach and alwaysinclude an of aliterary lawyer, orto market and negotiate onyourownbehalf— Literary Market Place. recommends literary lawyersand similarinformation isavailableinthe contract, youwillwant toresearch thisoption further. The Authors Guild you do yourownmarketing and merely want anattorney’s help withthe lawyers billtheir clients bythe hour. Paying yourbillends the expense. If negotiations withpublishers. Instead of charging a commission, such with the publishing industry, who regularly represents authors incontract without istohire aliterary lawyer—not justany lawyer, butone familiar having no agent. The main advantage tonot having anagent issimple:youget to If talking aboutmoney doesn’t bother you,and youfeelthatan Whatever youdecide—to seekrepresentation byanagent, the advice Finally, one compromise betweensigning onwithanagent and doing Other Fees: critique Reading Fees: domestic Commission: Preferred Clients: fiction, nonfiction Agent For: Contact Name: Established: [email protected] www.alparts.com (970) 949-1856 Vail, CO81658 PO Box 669 ALP ARTSCOMPANY YA fiction. picture books. Primary focus ismiddle grade/ offers editorial guidance. Accepting veryfew Authors and illustrators, allgenres, Yes, for unpublished authors 1994 10–15%text domestic, 20%art Onlyifdiscussedinadvanced for Sandy Ferguson Fuller, Director

Published/unpublished AGENTS DIRECTORY | 147

Rebecca Janni, James Burks, and Salina Yoon. Fax: (631) 286-1538 Rep Agreement: Yes PREPARING & SUBMITTING Multiple Submissions: Yes, query letters Established: 1980 Submission Procedure: Letter of inquiry and ASCIUTTO ART REPRESENTATIVES Contact Name: Barbara Kouts SASE 1712 East Butler Circle Agent For: YA, PB, fiction, nonfiction Other Comments: Works with all publishers, all Chandler, AZ 85225 Preferred Clients: Published/unpublished types of contracts. Specializing in picture books. (480) 814-8010 Commission: 10% text domestic, 20% foreign Honest, candid relationships with authors and www.aartreps.com Reading Fees: None illustrators. References available. [email protected] Rep Agreement: None Established: 1980 Multiple Submissions: Yes, if stated ANDERSON LITERARY MGMT Contact Name: Mary Anne Asciutto Submission Procedure: Letter of inquiry first 12 W. 19th Street, Second Floor Agent For: Illustrators, PB, educational including a description of previously published MARKET SURVEYS New York, NY 10011 Preferred Clients: Published/unpublished work, current projects, and samples of published (212) 645-6045 Commission: 25% art and in-progress books. Fax: (212) 741-1936 Reading Fees: None www.andersonliterary.com Other Fees: None BARRY GOLDBLATT LITERARY [email protected] Rep Agreement: Yes, of reasonable notice 320 7th Avenue #266 Established: 1999 Submission Procedure: Letter of inquiry Brooklyn, NY 11215 Contact Name: Kathleen Anderson including previously published work and several Fax: (718) 832-8787

Agent For: YA fiction and nonfiction samples of illustration and SASE. Send full color www.bgliterary.com DIRECTORIES & RESOURCES Preferred Clients: Writers copies and black and white via e-mail, showing [email protected] Commission: 15% domestic, 20% foreign children, animals, and nature. Art should be Established: 2000 Reading Fees: None interactive, representing storytelling in either Contact Name: Barry Goldblatt Other Fees: None humorous or realistic styles. Agent For: MG and YA fiction, all genres Rep Agreement: Yes Other Comments: Interested in seeing a Commission: 15% domestic, 20% translation + Multiple Submissions: Accepted quality of style and consistency. Specialize in dramatic/film/TV Submission Procedure: Query first by mail with illustration materials for pre-K through eighth Reading Fees: None SASE. Include bio, synopsis, and first fifty pages grade educational art specs. Other Fees: Reimbursement for costs (mail, of completed novel. courier, etc.) ASHLEY GRAYSON LITERARY AGENCY Rep Agreement: Yes ANDREA BROWN LITERARY AGENCY 1342 18th Street Multiple Submissions: No

1076 Eagle Drive San Pedro, CA 90732 Submission Procedure: E-mail queries only PUBLICIZING YOUR PUBLISHED WORK Salinas, CA 93905 Fax: (310) 548-4672 with synopsis and first five pages pasted into www.andreabrownlit.com [email protected] body of e-mail; no attachments. [email protected] Established: 1976 Established: 1981 Contact Name: Ashley Grayson THE BENT AGENCY Contact Name: Andrea Brown Secondary Contact: Carolyn Grayson 204 Park Place Number Two Secondary Contact: Laura Rennert, Caryn Agent For: PB, fiction Brooklyn, NY 11238 Wiseman, Jen Rofe, Jennifer Laughran, Jamie Preferred Clients: Published/unpublished www.thebentagency.com Weiss Chilton, Jennifer Mattson, Kelly Sonnack, Commission: 15% text domestic, 20% foreign [email protected] Lara Perkins Reading Fees: None Established: 2009 Preferred Clients: Published/unpublished Other Fees: None Contact Name: Jenny Bent, Gemma Cooper, Commission: 15% domestic, 20% foreign/film Rep Agreement: Written contract with one-year Heather Flaherty, Louise Fury, Susan Hawk, Reading Fees: No mutual option for termination Molly Ker Hawn, Victoria Lowes,Brooks Sherman Submission Procedure: Query first via e-mail Multiple Submissions: Yes Agent For: Fiction, nonfiction, illustrators,

only. Choose one agent and e-mail that one. If Submission Procedure: Letter of inquiry with in all genres from babies to teenagers. See SCHOOL VISITS interested, we will contact writer. Send entire author background and project description. If submission guidelines for specific details picture book texts via e-mail, and writers may picture book, submit entire manuscript with Commission: 15% send one page of text with query letters for query. Reading Fees: No fiction. Other Comments: Willing to let clients do own Rep Agreement: Yes Other Comments: Agency has offices in marketing, but require complete and current Multiple Submissions: Yes California, New York, and Chicago. We accept updating from client and consultation with all Submission Procedure: Query by e-mail LEGAL QUESTIONS published and unpublished writers and love cases; offer editorial guidance; member of AAR. only. See submission guidelines at www. starting off new authors. Some authors we thebentagency.com/submissions. represent include Maggie Stiefvater, Jay BARBARA S. KOUTS Asher, Tom Angleberger, Catherine Ryan Hyde, PO Box 560 BLANCHE C. GREGORY Neal Shusterman, Ellen Hopkins, Ying Chang Bellport, NY 11713 2 Tudor City Place Compestine, Daniel Pinkwater, Mitali Perkins, [email protected] New York, NY 10017 Nate Evans, Kate Messner, Kimberly Derting, (631) 286-1278 (212) 697-0828 148 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org be sent [email protected] with with acoverletter. E-mail submissions should or e-mail firsttenpages of manuscript along Submission Procedure: Rep Agreement: expenses Other Fees: Reading Fees: foreign sales Commission: Preferred Clients: illustrations Agent For: Secondary Contact: Contact Name: Established: [email protected] www.bookstopliterary.com Orinda, CA94653 67 MeadowViewRoad BOOKSTOP LITERARYAGENCY website and blog: Penny Warner, and many others. Pleasevisitour Lainez, Diana Lopez,Mara Price, Jennifer Ward, Monica Brown, F. Isabel Campoy, Rene Colato Alma Flora Ada, Karen Benke, Toni Buzzeo, to represent many SCBWImembers including types of contracts.Full Circle Literary isproud Other Comments: art samples;must include SASE for return. Submission Procedure: Rep Agreement: Preferred Clients: educational Agent For: Contact Name: Established: [email protected] www.bookmakersltd.com Fax: (505)776-2762 (902) 697-2569 Wolfville, NSCanadaB4P2K8 32 Parkview Avenue BOOKMAKERS, LTD Other Comments: Submission Procedure: Multiple Submissions: Rep Agreement: agent Commission: Agent For: Contact Name: Established: [email protected] www.bcgliteraryagency.com Fax: (212)697-0828 | DIRECTORY AGENTS PB,fiction, nonfiction, poetry, plays, PBillustrations, fiction, nonfiction, Fiction, nonfiction Upto$25ayearfor incidental 1984 1972 1936 15%text/art domestic, 20% 15%;20%ifworking withasub- None Kendra Marcus Kendra June Ogilvie Lynda C.Gregory None No Yes Works withallpublishers, all No unsolicited manuscripts. Published/unpublished Published only www.fullcircleliterary.com MinjuChang Not accepted Letterof inquirywith Queryfirstwith SASE. Pleasemail (withSASE) . Do NOT send original art;photos orcopies are last name and ms title. Pleasemail artsamples. subject line reading “Submission” followed by that understands them and their work.We work to berepresented and managed byanagency specialize in children’s publishing who want for illustrators, artists, and designers that Other Comments: cannot look atexternal websites. or zippedfileattachments. We regret thatwe com We do not acceptany other file formats attached tosubmissions@thebrightagency. please send tentotwelvelowres jpegsamples are atalented artistlooking for representation crucial that you follow ourguidelines. Ifyou be happytolookatyoursamplesbutitis each week.We lovereceiving artworkand will and therefore receive hundreds of submissions Submission Procedure: Rep Agreement: Reading Fees: Preferred Clients: Agent For: Contact Name: Established: [email protected] www.thebrightagency.com (917) 741-1919 New York, NY10009 435 East14thStreet,#11F THE BRIGHTAGENCY bradfordlit.com. and firstchapterinbody of e-mail toqueries@ Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Commission: Justin Matott Preble, CharlotteBennardo, Natalie Zaman, Domovitch, Roseanne Thong, KittyGriffin,Laura Preferred Clients: Agent For: Secondary Contact: Contact Name: Established: [email protected] www.bradfordlit.com San Diego,CA92108 5694 MissionCenterRoad#347 BRADFORD LITERARYAGENCY book packagers, offers editorial guidance. an arrangement tobenegotiated; workswith who wishtosubmittheir ownmanuscripts, in Other Comments: okay. Bradford Literary Agency Illustrators, artists, designers None None 2001 1971 15%

None Natalie Lakosil, Sarah LaPolla Alexandra Gehringer No Yes Willing toworkwithauthors Bright actsasaresource

Jessica Souders, Monique Illustrators

Laura Bradford

No No We are abusyagency E-mail query, synopsis,

Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: Preferred Clients: picture books Agent For: Secondary Contact: Contact Name: Established: [email protected] www.browneandmiller.com (312) 922-3063 Chicago, IL60605 410 SouthMichiganAvenue, Suite#460 BROWNE &MILLERLITERARYASSOCIATES do best. relationships—leaving them todo whatthey taking care of alltheir promotional and business best opportunities and commissions, aswell hard toensure thatourartistsfind the very of Illustrators, SCBWI,GAG, NAEA Other Comments: samples, and SASE. No original art. jpg orpdfsamples, orsend letterof inquiry, Submission Procedure: Rep Agreement: Other Fees: Commission: Preferred Clients: books Agent For: Contact Name: Established: [email protected] www.carolbancroft.com Fax: (203)730-8275 (203) 730-8270;(800)720-7020 Danbury, CT6813 PO Box 2030 CAROL BANCROFT &FRIENDS a selectlistof juvenilewriters. interested inprofessional writersonly. We have packagers; offers editorial guidance. We are upon request; sometimes workswithbook contract; member of AAR; client listavailable contracts or10%of earnings ifweagent the marketing, butcharge $125/hour toconsult on Other Comments: who are already professional artists. synopsis of project. No artists unlesswriters previous publishing history, brief bio, and Submission Procedure: YA, PB,fiction, nonfiction—no Illustrators; specializing inchildren’s None None 1971 1972 15%text domestic, 20%foreign 25% None Danielle Egan-Miller Joy Tricarico Yes, two-yearterm Yes Memberships include Society Willing toletclients do own Published/unpublished Published/unpublished Joanna MacKenzie No E-mail twotothree Letterof inquirywith AGENTS DIRECTORY | 149

CHRISTINA A. TUGEAU Preferred Clients: Published/unpublished. Established: 2000 PREPARING & SUBMITTING 3009 Margaret Jones Lane Highly selective Contact Name: Jennie Dunham Williamsburg, VA 23185 Commission: 25% art Secondary Contact: Bridget Smith (757) 221-0666 Other Fees: Agent pays 25% of agreed upon Agent For: Writers and illustrators Fax: (757) 221-6669 promotion expenses, artist pays 75% Preferred Clients: Usually published www.CATugeau.com Rep Agreement: Yes Commission: 15% text/art domestic, 20% [email protected] Submission Procedure: Letter of inquiry foreign sales Established: 1994 accompanied with previously published work. Reading Fees: None Contact Name: Christina A. Tugeau Please send illustration samples we can keep Other Fees: Reimbursement for fees according Agent For: Illustrators and illustrator/authors on file or enclose a SASE for return. Do not to AAR ONLY send originals or slides. Four to six weeks for Rep Agreement: Exclusive MARKET SURVEYS Preferred Clients: Prefer published response. Will accept e-mail submissions. Multiple Submissions: Yes Commission: 25% Submission Procedure: Letter of inquiry first Other Fees: None CURTIS BROWN with SASE. No slides or original art; color copies Rep Agreement: Yes 10 Astor Place okay with SASE—if requested from query letter. Submission Procedure: Best is to e-mail New York, NY 10003 Does not accept e-mail or fax queries. three or four JPEGs of samples, live link to (212) 473-5400 Other Comments: Member of AAR, SCBWI. website, with introduction—best pieces in one www.curtisbrown.com style showing animals/children in narrative Established: 1914 DYSTEL & GODERICH LITERARY MGMT DIRECTORIES & RESOURCES situations; B/W & F/C; list of awards and/or Contact Name: Ginger Knowlton One Union Square West, Suite 904 books published, clients, possibly. Secondary Contact: Ginger Clark, Elizabeth New York, NY 10003 Other Comments: Offers art guidance; member Harding (VP), Laura Blake Peterson, Maureen (212) 627-9100 of SCBWI. Always open and happy to look, Walters (Sr. VP), Mitchell Waters, Anna Webman Fax: (212) 627-9313 though full at the moment. Please read articles Agent For: YA, MG, PB, fiction, nonfiction, www.dystel.com posted on the website. illustration [email protected]; [email protected]; Preferred Clients: Published/unpublished [email protected] THE CHUDNEY AGENCY Commission: 15% text/art domestic; 20% Established: 1994 72 North State Road foreign sales Contact Name: Michael Bourret Briarcliff Manor, NY 10510 Reading Fees: None Secondary Contact: Jim McCarthy, Stacey Glick www.thechudneyagency.com Other Fees: None Agent For: Fiction, nonfiction [email protected] Rep Agreement: Yes Preferred Clients: Published/unpublished PUBLICIZING YOUR PUBLISHED WORK Established: 2002 Multiple Submissions: No, not preferred, but if Commission: 15% Contact Name: Steven Chudney you do it, please advise us Reading Fees: None Agent For: PB, fiction, novels. See website for Submission Procedure: Letter of inquiry first, Rep Agreement: Yes more detail with SASE. For picture books, send one sample Multiple Submissions: Yes Preferred Clients: talented writers and picture book with letter & SASE. Please see the Submission Procedure: Query letter with illustrators agents page of our website for more specifics. outline and first fifty pages. Commission: 15% domestic; 20% foreign Other Comments: Handle film, TV and foreign Reading Fees: none DEBORAH WOLFE, LTD. rights. Other Fees: international postage 731 North 24th Street Rep Agreement: yes Philadelphia, PA 19130 EAST/WEST AGENCY Multiple Submissions: Okay as long as www.illustrationOnLine.com 1158 26th Street, Suite 462 informed [email protected] Santa Monica, CA 90403 Submission Procedure: Initial queries are Established: 1978 www.publishersmarketplace.com/members/

preferred over submissions; see website for Contact Name: Deborah Wolfe eastwestagency SCHOOL VISITS details. Agent For: Illustrators and animators only [email protected] Preferred Clients: Published/unpublished Established: 2000 CORNELL & MCCARTHY Commission: 25% Contact Name: Deborah Warren 2-D Cross Highway Reading Fees: None Agent For: Authors (of board books up to Westport, CT 06880 Other Fees: None young adult fiction and nonfiction), authorial (203) 454-4210 Rep Agreement: Yes illustrators, and illustrators LEGAL QUESTIONS Fax: (203) 454-4258 Submission Procedure: Submit inquiry via Preferred Clients: Seeking clients by referral www.cmartreps.com e-mail. only [email protected] Commission: 15% text/art domestic, 25% Established: 1989 DUNHAM LITERARY, INC. foreign, 20% film Contact Name: Merial Cornell 156 Fifth Avenue, Suite 823 Reading Fees: None Secondary Contact: Pat McCarthy New York, NY 10010 Other Fees: Outside photocopying of text/ Agent For: Illustrators ONLY www.dunhamlit.com art, overseas and overnight mail (deducted 150 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org [email protected] Saco, ME04072 20 CrossStreet EDITE KROLLLITERARYAGENCY INC. novels. and synopsis for middle grade and young adult synopsis and picture bookms; queryletter Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Commission: Gloria Whelan, Sucie Stevenson Dan Gutman, Joan Holub, Suzanne Williams, Agent For: Contact Name: Established: [email protected] www.edenstreetlit.com Fax: (845)223-7108 Billings, NY12510 PO Box 30 EDEN STREETLLC of adiverseclientele. in many genres enables ustomeet the demands first-time authors and ourbreadth of experience provides career management for established and attention toourauthors and their books. E/WL facilitate hands-on, personalized service and (E/WL) is, purposely, aboutiqueagency, to Tyler Whitesides. East/West Literary Agency Richard Jesse and Jesse Joshua Watson, and Paul, RobSanders, Holly Schindler, Judy Sierra, MacLachlan, Gianna Marino, AnnWhitford #2 onthe NYTpixbooklist—Jeff Mack, Patricia Cat: ILoveMyWhiteShoes the Cat:RockinginMySchoolShoes collaborators Eric Litwinand James Dean— Bowers, PlatteClark,Anna Dewdney, David Diaz, Austin, JimAverbeck, Marion Dane Bauer, Tim illustrators including: Danielle Arbour, Mike medalists, well-established/debut authors and illustrated, award-winning Newbery/Caldecott (among others) renowned Other Comments: and/or dummy. credits. Forpicture books, submitentire ms or fewer),synopsis (one page), and publishing sample chapter, tableof contents (twopages chapter books/novels, submitthe firstthree Submission Procedure: Multiple Submissions: day writtencancellation clause Rep Agreement: incurred) as monies are received, not asexpenses are | DIRECTORY AGENTS

AlyssaSatinCapucilli, LoisEhlert, None None 2009 15%domestic, 20%foreign LizaPulitzerVoges Letterof agreement withsixty Yes We’re honored torepresent

No Yes Queryletterwith QuerywithSASE. For

NYT are currently #1and

best-selling/best

and

Pete the

Pete Secondary Contact: Contact Name: Established: foreign, 25%foreign when a localco-gent is Commission: authors. YA. We workwithdebut and established Preferred Clients: Contact Name: Established: [email protected] www.EmeraldCityLiterary.com Tacoma, WA 98406 2522 N.ProctorST, #359, EMERALD CITYLITERARYAGENCY Other Comments: submissions. of market and need, SASE; prefers electronic content outline, manuscript sample, description Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: Preferred Clients: materials for K–12school market, college Agent For: Contact Name: [email protected] www.educationaldesignservices.com (301) 881-8611 North Bethesda,MD20852 5750 BouAvenue, Suite1508 EDUCATIONAL DESIGNSERVICES based ontrends orcelebrities. Other Comments: but without attachments. chapter books),and SASE. E-mail queries okay of picture booksortwochaptersof novels or relevant samplematerial (e.g. dummies and text project(s) and publishing background, plus ONLY (no fax orphone) withdescription of Submission Procedure: Multiple Submissions: thirty-day cancellation Rep Agreement: and legalfees Other Fees: Reading Fees: commercial Commission: accepts veryfewclients Preferred Clients: fiction Agent For: PB(especially writtenbyartists), Professional development &text Photocopying of novel manuscripts None 1981 15%domestic, 20%foreign, 25% 5%domestic, 20%dramatic/ 15%text domestic, 25%foreign 2015 None None EditeKroll Mandy Hubbard Bertram L.Linder Ifrequested byclient with Yes, time-dated contract Not interested inmanuscripts Offerseditorial guidelines. Published/unpublished; ECLArepresents PBthrough Published/unpublished Heather McManus Okay oninitial query Yes Letterof inquiry Letterof inquirywith Commission: illustrators Preferred Clients: Evans Rebecca Ehrenberg, Pamela Chris Scofield, Sarah Prager, Isabel Bandeira, Agent for: Secondary Contact: Contact Name: Established: [email protected] www.empireliterary.com 10001 NY York, New 115 West 29thStreet,3rdfloor. EMPIRE LITERARY information for eachagent. website for individual agent bios and contact the first5pages pastedinbelowthe pitch.See Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: used. Fax: (212)941-4652 (212) 431-4554 New York, NY10012 548 Broadway#5E ETHAN ELLENBERGLITERARYAGENCY met atconferences. by referral; also opentoqueries from writers Other Comments: the website. requirements (seebelow),the contact form at Submission Procedure: Multiple Submissions: Rep Agreement: shipping Other Fees: Reading Fees: used for foreign, dramatic, etc.) Commission: Preferred Clients: interest; no educational only clients, though author-illustrators are of Agent For: Secondary Contact: Contact Name: Established: emliterary.com/contact.php (928) 525-2056 Flagstaff, AZ86001 2700 Woodlands Village#300-458 ERIN MURPHYLITERARYAGENCY Multiple Submissions: Rep Agreement: Other Fees: Melissa Gorzelanczyk, PB,middle grade, YA; no illustration- Photocopying (rarely), overseas N/A None 2013 1999 15% 15%(20–25%when co-agent is None are Howland Carrie ErinMurphy Yes Yes yes Considering new clients only YA, MG,some PBand Published/unpublished nra azi Pny Moore Penny Barzvi, Andrea Ammi-Joan Paquette Okay Yes yes E-queries onlywith When meeting

AGENTS DIRECTORY | 151 www.ethanellenberg.com FINEPRINT LITERARY MANAGEMENT FOUNDRY LITERARY + MEDIA PREPARING & SUBMITTING [email protected] 240 West 35th Street, Suite 500 33 West 17th Street, PH Established: 1984 New York NY 10001 New York, NY 10011 Contact Name: Ethan Ellenberg (212) 279-1282 (212) 929-5471 Agent For: Picture books, middle grade, YA, and www.fineprintlit.com www.foundrymedia.com all children’s fiction, activity books, novelties. Established: 2007 Contact Name: See website for agent listing Selected nonfiction and selected illustration. Contact Name: Peter Rubie, Rachel Coyne, and e-mails for all. Preferred Clients: Published/unpublished Marissa Walsh, Becky Vinter Established: 2007 Commission: 15% text/art domestic, 20% Preferred Clients: Published/unpublished Agent For: Fiction, esp. YA and middle grade foreign Commission: 15% Commission: 15% domestic, 20% foreign Reading Fees: None Rep Agreement: Yes Other Fees: None MARKET SURVEYS Other Fees: None Submission Procedure: Please follow the Rep Agreement: Standard Rep Agreement: Yes submission guidelines on fineprintlit.com. Multiple Submissions: Yes Multiple Submissions: Yes Other Comments: Primary focus is MG/YA. No Submission Procedure: Query by e-mail or mail Submission Procedure: Picture Books: 1–3 picture books, please. Other Comments: Member of AAR complete manuscripts. Middle Grade/YA: Synopsis with first three chapters. Writer/ FLANNERY LITERARY THE FRIEDRICH AGENCY illustrators: 1–3 dummies or manuscripts 1140 Wickfield Court 19 West 21st Street, Suite 201, accompanied by artwork. All submissions must Naperville, IL 60567 New York, NY 10010 DIRECTORIES & RESOURCES be accompanied by SASE. Do not send original (630) 428-2682 Fax: (212) 317-8811 artwork. [email protected] www.friedrichagency.com Other Comments: Member of AAR; client Established: 1992 [email protected] list available upon request; works with book Contact Name: Jennifer Flannery Contact Name: Lucy Carson packagers; provides editorial guidance. We Agent For: PB, fiction, nonfiction for middle Established: 2007 are actively seeking Published/Unpublished grade and YA Agent for: Fiction and Non-Fiction for adults children’s and young adult clients. We represent Preferred Clients: Published/unpublished and teens the the 2002 Caldecott winner, Eric Rohmann, Commission: 15% text domestic, foreign & film Preferred Clients: Judy Blundell, Anna Banks, among our other fine writers and illustrators. split with co-agents Jessica Khoury, William Ritter, Josh Sundquist, Please check website for a wealth of information Reading Fees: None Lori Goldstein, Robin Epstein. on agency and publishing in general. I’m proud Other Fees: None Commission: 15% Domestic, 10% Foreign of the articles I’ve written that have appeared Rep Agreement: Contracts on a book-by-book Other Fees: None PUBLICIZING YOUR PUBLISHED WORK in a number of writer’s magazines and are now basis for the life of the book and its subrights Rep Agreement: None available on my site. We look forward to your Multiple Submissions: Letters and manuscripts Multiple Submissions: Acceptable submission. okay, but please let us know. Submission Procedure: Query letter in writing Submission Procedure: Letter of inquiry, only, with presentation of the author, the FARBER LITERARY AGENCY project synopsis, and SASE project, and any relevant writing experience, 14 East 75th Street Other Comments: Prefers contact through preferably 3-5 paragraphs with contact New York, NY 10021 regular mail only—no e-mail queries. information provided. (212) 861-7075 Fax: (212) 861-7076 FLETCHER & COMPANY FULL CIRCLE LITERARY [email protected] 78 Fifth Avenue, 3rd Floor 7676 Hazard Center Drive, Suite 500 San Diego, Established: 1992 New York, NY 10011 CA 92108 Contact Name: Ann Farber fletcherandco.com www.fullcircleliterary.com Agent For: YA, PB, fiction, nonfiction [email protected] [email protected]

Preferred Clients: Published/unpublished Contact Name: Lisa Grubka Contact Name: Stefanie Von Borstel SCHOOL VISITS Commission: 15% text domestic Title: Literary Agent Secondary Contact: Adriana Dominguez, Reading Fees: None Preferred Clients: Young Adult Taylor Martindale Other Fees: None Commission: Standard Established: May 2005 Rep Agreement: Yes Other Fees: None Agent For: Children’s books toddler to teen, Multiple Submissions: Yes Rep Agreement: Yes author-illustrators, middle grade fiction Submission Procedure: Letter of inquiry Multiple Submissions: Yes (contemporary and historical), young adult LEGAL QUESTIONS accompanied by manuscript/art samples. Please Submission Procedure: Please send a query fiction, nonfiction with a distinct voice; also mention who has seen work. to [email protected]. Please do not represents select adult crossover areas such as Other Comments: Member of AAR. We offer include e-mail attachments with initial query. lifestyle and design. the services of Donald C. Farber, a specialist in Please do not query more than one agent at Preferred Clients: We work with both veteran entertainment law and publishing. a time. You may refer to our website’s Staff and debut writers and artists and our team has section to review each agent’s interests and a knack for finding and developing new and specialties. diverse talent. Especially looking for diverse 152 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org been awarded Pura Belpre Honors, ALANotable with talented writers and artiststhathave books for allages. She ishonored to work books, middle grade novels and nonfiction is interested instand-out picture books, chapter marketing withPenguin and Harcourt. Stefanie Prior toagenting, she worked ineditorial and experience inchildren’s bookspublishing. Stefanie von Borstelhasalmost 20yearsof accessible, entertaining, and compelling. ideas and perspectives, withwriting thatis approach, and hopes tofind authors withfresh non-fiction projects, Taylor uses much the same and/or multicultural novels. When considering unforgettable voices incontemporary, historical projects. She isinterested infinding uniqueand middle grade fiction, and select non-fiction Taylor islooking for young adult fiction, literary where she studied English and Hispanic Studies. a graduate of The College of William and Mary, with the Sandra Dijkstra Literary Agency and is and non-fiction projects. She beganagenting Taylor Martindale isactivelyacquiring fiction of view. welcomes submissions thatoffer diversepoints underrepresented authors and illustrators, and Adriana hasalong trajectory of publishing grade novels, and literary young adult novels. interested inchildren’s picture books, middle 2009, and isbasedonthe EastCoast.She is imprint, Rayo.Adriana joined FullCircle in managed the children’s division of the Latino at HarperCollins Children’s Books, where she in publishing, most recently asExecutive Editor Adriana Dominguez has15yearsof experience diverse talent. a knack for finding and developing new and and debut writersand artistsand ourteamhas Other Comments: current interests. website tolearnthe latestnews, titlesand would bebestfit for yourwork.Visitour in subjectline and name of agent youfeel fullcirclelitery.com. Pleasenote SCBWIMember submissions onlysent tosubmissions@ Submission Procedure: potential representation. opportunity tofullyconsider yourproject for another agency, sothatwemay alsohavethe and ifyouare offered representation from in coverletterand keep uspostedonstatus Multiple Submissions: None RepAgreement: and translation rights. film (Taryn Fagerness Agency handles foreign Commission: author-illustrators. voices, middle grade and young adult fiction, | DIRECTORY AGENTS 15% domestic, 25%foreign and

We workwithbothveteran Pleaseletusknow written agreement We accepte-mail

Charlotte Zolotow Award. NCTE OrbisPictus, the Agatha Award, and the Children’s Books, the Christopher Award, 04870 StMichell’Observatoire, France La Désirée–Tavernoure HEN&INK LITERARYSTUDIO and manuscript. if wefeelthere isreal potential inbothauthor are prepared togo through editswith writers around the world. We are alsoveryeditorial and Rights People, represents ourforeign rights international inoutlook.Oursistercompany, DC, metro area and London, butalso highly transatlantic, withoffices inthe Washington, Other Comments: that most interests us. represent and guidance onthe kinds of work be viewed alongside afulllistof authors we date submission guidelines, which canthen visit Submission Procedure: Multiple Submissions: Rep Agreement: translation and UK/Commonwealth; 20%onfilm/TV;25% Commission: Preferred Clients: seeking) debut picture books, which we’re not currently Agent For: Secondary Contact: Title: Contact Name: Established: [email protected] www.greenhouseliterary.com Oakton, VA 22124 11308 LaphamDrive GREENHOUSE LITERARYAGENCY [email protected] be sent via e-mail toGillian MacKenzie at Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Agent For: Contact Name: Established: [email protected] www.gillianmackenzieagency.com (212) 496-8064 GILLIAN MACKENZIE AGENCY (GMA) fullcircleliterary.com. For more information, pleasevisitwww. www.greenhouseliterary.com Founder, VPand agent Fiction, nonfiction Children’s and YA fiction (excluding None 2005 2008 15%onsalestoNorth America None Gillian MacKenzie Sarah Davies Yes Yes Greenhouse isnot only Middle grade, tween,and YA Julia Churchill (inLondon) Yes Yes Allqueries should We prefer writersto for upto Twitter, Henandinkblots blog,and website – and watchHen &InkLiterary Facebookpage, books through time and fullsubmission details Coop” days. Pleaseseewebsitefor favorite by professional recommendation; during “Open from writers/illustrators met atconferences; submissions only. Submissions acceptedonly Submission Procedure: mitting exclusively) Multiple Submissions: Rep Agreement: Other Fees: market) Commission: illustrators who canwrite Preferred Clients: non-fiction. graphic novels, middle-grade &teenfiction & Agent for: Title: Established: Contact Name: www.henandink.com Nancy Holder, Debbie Viguie, TimLebbon, AGENT FOR: SECONDARY CONTACT: TITLE: ESTABLISHED: CONTACT NAME: [email protected] www.morhaimliterary.com 30 PierrepontSt.Brooklyn,NY11201 HOWARD MORHAIMLITERARYAGENCY queries only. and author/artists for picture books. E-mail of workwerepresent. Iworkwithillustrators Other Comments: this category, pleasecontact bye-mail. successfully inthe trade market. If you fitinto clients unless published extensively and Submission Procedure: Multiple Submissions: Rep Agreement: Commission: Agent For: Title: Contact Name: Established: [email protected] www.HermanAgencyInc.com New York, NY10025 350 CentralPark West, Apt.4i HERMAN AGENCY for firstrights. worldwide withaconcentration inUS and UK for “OpenCoop”announcements. Submits Agent/Founder Owner President Illustrators and authors Illustrators and authors --PB, Cathrynne Valente, AmberBenson, None None 2010 1999 25%art,15%text ortext/art 15% (domestic, originating 1979 ErzsiDeak Ronnie AnnHerman Yes Howard Morhaim Yes Seewebsitetoseethe kind Published/unpublished; Kate McKean Not accepting new Yes (pleaseadviseifsub Yes Accepts email

AGENTS DIRECTORY | 153

Christopher Golden, Tom Sniegoski foreign sales KIRCHOFF/WOHLBERG PREPARING & SUBMITTING Preferred Clients: Young adult and middle grade: Reading Fees: None 897 Boston Post Road contemporary, science fiction, fantasy, thriller, Rep Agreement: Yes Madison, CT 06443 horror Multiple Submissions: No (203) 245-7308 COMMISSION: 15% domestic Submission Procedure: Send a query letter, Fax: (203) 245-3218 OTHER FEES: none synopsis, and either the first thirty pages or the www.kirchoffwohlberg.com REP AGREEMENT: yes first three chapters via e-mail or regular mail. [email protected] MULTIPLE SUBMISSIONS: yes Established: 1930 SUBMISSION PROCEDURE: for Howard: by JEAN V. NAGGAR LITERARY AGENCY, INC. Contact Name: Ronald Zollshan referral only 216 East 75th Street, Suite 1E Agent For: Baby through YA, fiction, nonfiction CONTACT NAME: Kate McKean, kmckean@ New York, NY 10021 (trade only) MARKET SURVEYS morhaimliterary.com (212) 794-1082 Reading Fees: None ESTABLISHED: 2007 www.jvnla.com Other Fees: None TITLE: Vice-President [email protected] Submission Procedure: Query first with outline, AGENT FOR: Madeleine Roux, Delilah S. Dawson, Established: 1978 sample chapter, and SASE. Caela Carter, Mary G. Thompson, Carey Wallace, Contact Name: Jennifer Weltz Other Comments: Handle film & TV rights. Jessica Verdi, Lucas Klauss, Eric Devine, Secondary Contact: Jessica Regel, Alice Shalanda Stanley, Anna Pellicioli Tasman, Elizabeth Evans THE KNIGHT AGENCY

Preferred Clients: Young adult and middle grade: Agent For: YA, MG, PB, fiction, nonfiction 570 East Avenue DIRECTORIES & RESOURCES contemporary, thriller, horror, fantasy, science Preferred Clients: Previously published Madison, GA 30328 fiction Commission: 15% text domestic, 20% foreign www.knightagency.net COMMISSION: 15% domestic Reading Fees: None [email protected] OTHER FEES: none Other Fees: None Established: 1996 REP AGREEMENT: yes Rep Agreement: Yes Contact Name: Elaine Spencer MULTIPLE SUBMISSIONS: yes Multiple Submissions: No Agent For: Young adult/middle Grade SUBMISSION PROCEDURE: query and first three Submission Procedure: Submit form at www. Preferred Clients: Published/unpublished chapters by email only jvnla.com/submissions and Include bio, books Commission: 15% on domestic deals; 20%–25% published, pertinent awards, and a summary of foreign rights; 20% film ICM the work in question. Reading Fees: None 530 Fifth Avenue Other Comments: Member of AAR; some Rep Agreement: Yes

New York, NY 10019 editorial guidance. Jennifer handles picture Submission Procedure: We are a green agency PUBLICIZING YOUR PUBLISHED WORK www.icmpartners.com books, Jessica and Alice do not. Elizabeth only and, therefore, only accept e-mailed queries. We [email protected], amachinist@ handles YA. request that queries be kept to approximately icmpartners.com one-page in length and that all text be ESTABLISHED: 1975 JILL CORCORAN LITERARY AGENCY contained in the body of an e-mail (we do not CONTACT NAME: Tina Wexler, Alexandra 777 Silver Spur Road, Suite 219 open attachments.) All queries will be reviewed Machinist Rolling Hills Estates, CA 90274 on an individual basis by our submissions AGENT FOR: Fiction/nonfiction, specifically: www.JillCorcoranLiteraryAgency.com coordinator and relevant agents. If we feel that chapter books, middle grade, young adult, [email protected], your project matches the Knight Agency’s needs, picture books for existing clients only [email protected] we will then request additional materials from COMMISSION: 15% domestic, 20% foreign Established: August 2013 the author. In such cases, authors will be asked REP AGREEMENT: Yes Contact Name: Jill Corcoran to submit a partial manuscript. The response MULTIPLE SUBMISSIONS: Yes, so long as it’s an Agent For: PB, CB, MG, YA time for queries is two to three weeks from the exclusive submission within ICM Commission: 15% without sub-agents, 20% time of receipt. Review of requested material

SUBMISSION PROCEDURE: Query with first five with dramatic rights sub-agent, 25% with currently takes six to eight weeks from the time SCHOOL VISITS pages. foreign rights agent of receipt. Rep Agreement: Yes JANE ROTROSEN AGENCY Multiple Submissions: Yes KT LITERARY, LLC 318 E. 51st Street Submission Procedure: If you have been 9249 S. Broadway, #200-543 New York, NY 10022 referred by someone I know or have been to Highlands Ranch, CO 80129 Fax: (212) 593-4330 a conference where I have spoken and want (720) 344-4728 LEGAL QUESTIONS [email protected] to submit please your query plus the first ten www.ktliterary.com www.janerotrosen.com pages of your manuscript pasted into the body [email protected], [email protected] Established: 1974 of your e-mail to queryjillcorcoran@gmail. Established: 2008 Contact Name: Carlie Webber com. All submissions with attachments and/or Contact Name: Kate Schafer Testerman, Title: Jr. Agent sent to [email protected] will Sara Megibow Secondary Contact: Christina Hogrebe be deleted. Agent For: Authors Commission: 15% on US and Canada, 20% on Preferred Clients: YA and middle grade; We do 154 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Submission Procedure: Multiple Submissions: Rep Agreement: Commission: Preferred Clients: Contact Name: Established: [email protected] www.ldlainc.com Fax: (212)947-0460 New York, NY10001 350 SeventhAvenue, Suite2003 LAURA DAIL LITERARY [email protected] [email protected]. Allages: Submissions: MG&YA ONLY: Other Comments: the correct agent’s e-mail. No attachments. pages plusatwo-page synopsis inthe body of Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: up toyoung adult. all ages of children’s books from picture books genres—nothing younger. Kat Salazarhandles and young adult children’s booksonlyinall Preferred Clients: Agent For: ([email protected]) Secondary Contact: Title: Salazar, Associate Agent Contact Name: Established: [email protected] [email protected]; correspondence: www.agentsavant.com www.larsenpomada.com; Fax: (415)673-0367 San Francisco,CA94109 1029 JonesStreet LARSEN POMADA LITERARYAGENTS attachments. included inthe body of the e-mail. No to [email protected] withthree pages Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: foreign and dramatic rights. Commission: not represent picture booksatthistime. | DIRECTORY AGENTS Agent Authors None None 1996 1972 10% 15%(20%for foreign/dramatic) 15%ondomestic deals; 20%on None None Laurie McLean, Agent &Kat Tamar Rydzinski Yes Onwebsite Yes

Reading Time: Eight weeks. Laurie handles middle grade

No picture books Kat Salazar

Yes Yes Yes E-mail the firstten Send e-mail query Queryletter, preferably

optional. via e-mail. Synopsis and uptotenpages E-mail: [email protected] www.redpaintbox.com (212) 397-7330 New York, NY10036 676A NinthAve. #458 LINDGREN &SMITH/REDPAINTBOX.COM need tobereturned. original artwork, photos orother items that completing the form there. Pleasedo not send by going to the “How toSubmit”page and electronic submissions, which youcan send respond toqueries sent bymail. We prefer of submissions wereceive, weare unable to Submission Procedure: Reading Fees: Agent For: Contact Name: Established: www.levinegreenberg.com Fax: (212)337-0948 (212) 337-0934 New York, NY10001 307 SeventhAvenue Suite2407 LEVINE GREENBERGLITERARYAGENCY, INC. something “large,” i.e., picture book. outlets (galleries, CD-ROM,etc.) afterplacing will workwithartists/illustrators onother I amthe “first”line editor/critic. Also, lines, 12thcentury hands/feet perspective). illustration must beperfect(no smears, stray be (oreventually be)inpublishableform; art/ techniques. Iamasevere critic. Writing must development of a“name” through promotional artists todevelop long-term goals, including the who do ownmarketing. Iworkwithmy writers/ Other Comments: resume, and SASE. 1–3 page proposal orsynopsis of project, c.v. or Submission Procedure: Multiple Submissions: terminated atwill Rep Agreement: agreement; the agreement tellshow toavoid it) Other Fees: Reading Fees: Commission: Preferred Clients: Agent For: Contact Name: Established: New York, NY10010-5315 5 East22ndStreet,Suite15D LAURENS R.SCHWARTZ PB,fiction, nonfiction YA, fiction, nonfiction Photocopying (specifiedinagency 1982 1989 15%text domestic, artupto25% None None Laurens R.Schwartz Kerry Sparks, Stephanie Rostan Writtencontract, canbe Willing toworkwithauthors Published/unpublished No Letterof inquirywith Duetothe volume Agent For: Contact Name: [email protected] Fax: (212)876-5565 (212) 876-8557 New York, NY10029 155 East116thStreet,#2F LINN PRENTISLITERARY respond ifweare interested. jpgs and alinktoblogorwebsite. Willonly Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: material. No fee Reading Fees: Commission: Preferred Clients: Agent For: Secondary Contact: Contact Name: Established: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: foreign, 20%film Commission: Preferred Clients: and authors of adult books children’s books—board bookstoyoung adult, Agent For: Contact Name: Established: [email protected] www.lizadawsonassociates.com (212) 465-9077 New York, NY10001 350 SeventhAvenue, Suite2003 LIZA DAWSON ASSOCIATES boxed withcover. double spaced, unbound, one side of page, Other Comments: ten pages. genre, target audience), two-page synopsis, first cover letter(credits, bio, word count, title, e-mail queries. Querybymail withSASE. Include Submission Procedure: Rep Agreement: charges Other Fees: Reading Fees: sales Commission: No littlekids books. fantasy, screwball fiction, YA ,and family sagas. Fiction, special interest inSFand Illustrators only Authors and author illustrators of None None Unusual printing and/or shipping 1986 1997 25% 15%text/art domestic, 20%–25% 15%;20%ondramatic & foreign We onlyread author/illustrator None None LinnPrentis Pat Lindgren LizaDawson

Yes Letterof agreement At the time of the firstsale

Submissions should be Established illustrators Published/unpublished PiperSmith

Yes Yes Pleasesend one ortwo No phone, fax, or

AGENTS DIRECTORY | 155

[email protected] Submission Procedure: E-mail only. Query with LIZ SANDERS AGENCY PREPARING & SUBMITTING first five pages. No attachments. Turnaround 2415 E Hangman Creek Lane Established: 1977 time to queries: 1 week Spokane, WA 99224 Contact Name: Maria Carvainis (509) 993-6400 Agent For: YA, fiction, nonfiction LIZA ROYCE AGENCY LLC www.lizsanders.com Preferred Clients: Published/unpublished Mailing address: 1049 Park Avenue [email protected] Commission: 15% text domestic & 20% foreign New York, NY 10028 Established: 1985 Reading Fees: None Main Meeting offices: 6 East 81st Street Contact Name: Liz Sanders Other Fees: None New York, NY 10028 Agent For: Illustration only, PB, YA nonfiction/ Rep Agreement: Agreement is two-year book- (212) 722-1950 fiction. Trade, educational & mass market, by-book basis Fax: (212) 628-2705 general children’s market. Multiple Submissions: Yes MARKET SURVEYS www.lizaroyce.com Preferred Clients: Published/unpublished Submission Procedure: Letter of inquiry with [email protected] (me); [email protected] Commission: 30% SASE. Include a 1–2 paragraph description (partner); [email protected] (general Rep Agreement: Written agreement of the project, including where it fits into mailbox) Submission Procedure: Via e-mail (include the market place, and writing credentials if Established: 2009—changed to official LLC Feb link/website address) or 5–10 non-returnable applicable. Also, identify what material is 2010 color samples via mail. Response only upon available: complete manuscript, sample chapter, Contact Name: Liza Fleissig interest. or synopsis.

Title: Founding Member Other Comments: Encourages clients to DIRECTORIES & RESOURCES Secondary Contact: Ginger Harris-Dontzin LOIS DE LA HABA AGENCY generate marketing plans; AAR member, serving Agent For: All children’s works, from Novelty, to 1133 Broadway, Suite 810 as Board member, Treasurer, Committee Chair, PB, to MG to YA. We also represent adult books New York, NY 10010 etc.Does offer editorial guidance if necessary. in many genres. We lean towards suspense/ (212) 929-4838 Prior to establishing the agency in 1977, Ms. thriller, commercial woman’s fiction and comedy, Fax: (212) 924-3885 Carvainis worked for ten plus years in the but are open to anything that speaks to us, in [email protected] publishing industry as an editor and then senior the past to include historical fiction, true crime Contact Name: Lois de la Haba editor at Macmillan Publishing, Basic Books, and memoirs. Agent For: YA fiction, nonfiction Avon Books, and Crown Publishers. Preferred Clients: We represent both Reading Fees: None established authors to writers in the early Submission Procedure: Query first with outline MARIE BROWN ASSOCIATES stages of their development. Examples are NY and sample chapters. 412 West 154th Street

Post Critic and Columnist Linda Stasi, Journalist New York, NY 10032 PUBLICIZING YOUR PUBLISHED WORK Paula Woodward, Photographer and Professor LUPINE GROVE CREATIVE, LLC (212) 939-9725 Art Perry, YA Writer Amalie Howard, PB Writer 3940-7222 Broad St Fax: (212) 939-9728 Tori Corn, MG Writer Darlene Beck-Jacobson, San Luis Obispo, CA 93401 [email protected] Netherlands Author Arjen Terpstra, MG Series (805) 481.1716 Established: 1984 Author Michael Gibney, Novelty Author Margaret www.lupinegrove.com Contact Name: Marie Dutton Brown Hyde, US Marine James duPont, Diane Crafford [email protected] Agent For: YA fiction, nonfiction, PB in conjunction with Author Marc Olden’s Estate, [email protected] Preferred Clients: Multicultural among others. Established: 2016 Commission: 15% Commission: 15% domestic, 20% ancillary, 25% Contact Name: Danielle Smith Reading Fees: None foreign Agent for: YA, middle grade, PB, illustrators Other Fees: Yes Other Fees: None—no expenses, etc., other Commission: 15%-25% Rep Agreement: Yes than straight commission Other Fees: None Multiple Submissions: Prefer exclusive Rep Agreement: Yes, written Rep Agreement: Agency Agreement Submission Procedure: Query first. Submit

Multiple Submissions: Yes, but please indicate outline and sample chapters or full manuscript SCHOOL VISITS Multiple Submissions: No (there are Submission Procedure: E-mail only. Query on request. Send SASE, 12-point, double- exceptions) with first five pages in the body of the email. spaced, one sided only, typed, white paper & Submission Procedure: All queries should be No attachments. Art samples sent via dropbox unbound. sent to [email protected]. It should or website link. See submission guidelines on include a brief synopsis of the work, along with website for further details: www.lupinegrove. MARTHA MILLARD LITERARY AGENCY some information about the writer. Comparison com/submissions 420 Central Park West #5H LEGAL QUESTIONS to current published books is helpful but not New York, NY 10025 necessary. We prefer submissions to be sent MARIA CARVAINIS AGENCY [email protected] in Word, but PDFs have been accepted. Lastly, Rockefeller Center Established: 1980 referrals are our main source of business, so if a 1270 Avenue of the Americas, Suite 2320 Contact Name: Martha Millard writer is reaching out at someone’s suggestion, New York, NY 10020 Agent For: YA fiction, nonfiction they should let us know. (212) 245-6365 Preferred Clients: Published only Fax: (212) 245-7196 Commission: 15% domestic, 20% foreign 156 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Multiple Submissions: Rep Agreement: Reading Fees: foreign Commission: Preferred Clients: illustration Agent For: Contact Name: Established: [email protected] Fax: (212)687-6894 (212) 687-7400 New York, NY10016 353 Lexington Avenue MCINTOSH &OTIS Previously known asHKPortfolio. toys, game boards orother applications. publications, licensed merchandise, advertising, for the juvenilemarket in books, editorial illustrators whose workisprimarily intended Other Comments: Presentation isnot important. 12–15 images withasignature/consistent style. as broad arange asthey can.Show atleast are most interested indoing, and withinthat, Artists should submitthe typeof workthey art samplesvia regular orelectronic mail. Submission Procedure: the juvenilemarket required. Rep Agreement: Other Fees: Commission: Preferred Clients: toys, stationery, etc.) (trade books, textbook, advertising, editorial, Agent For: Contact Name: Established: [email protected] www.mbartists.com Fax: (212)689-7829 (212) 689-7830 New York, NY10001 775 SixthAvenue, #6 MB ARTISTS currently accepting unsolicited queries. Ficton Writersof America, Authors Guild. Not Other Comments: professional colleaguesonly Submission Procedure: preferably withsamplesof published work. Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: | DIRECTORY AGENTS YA, PB,fiction, nonfiction, Illustrators for the juvenilemarket None None 1927 1986 15%text/art domestic; 20% 25%art None None ChristaHeschke Mela Bolinao None Exclusive representation for Optional MBArtistsrepresents Member of AAR,Science Published/unpublished Published/unpublished Yes, initial queries only, No Letterof inquirywith Referrals through a SASE. Lettertoinclude the target audience, accompanied byamanuscript/art samplesand Submission Procedure: Agent For: Established: Beth Phelan Contact Name: www.galltzacker.com Phone andFax:(973)761-6358 South Orange, NJ07079 273 CharltonAvenue GALLT ZACKER LITERARYAGENCY not justwhatyouhavebeenhired todo.” without art.Show me whatyoulovetopaint, illustrators/authors only—no manuscripts member.”I workwithillustrators and Other Comments: samples. website linkorattachment of illustration Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: Preferred Clients: natural science) Agent For: Contact Name: Established: [email protected] www.melissaturk.com Suffern, NY10901 9 BabblingBrookLane MELISSA TURK&THEARTISTNETWORK Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: Preferred Clients: Agent For: Contact Name: Established: derrickandbriggs.com [email protected]; briggs@ Oklahoma City, OK73102 100 NorthBroadwayAvenue, 28thFloor M. COURTNEYBRIGGS Member of AAR. Other Comments: author. publication historyand background of the genre, short synopsis of the manuscript, PB,fiction, nonfiction, illustration Picture books, middle grade, young Illustration only(children’s and None None 1994 2000 1984 15%domestic, 25%foreign 25%artdomestic None None Courtney Briggs Nancy Gallt,Marietta Zacker, Melissa Turk Contract, terminable atwill. Varies Offerseditorial guidance. Graphic Artist Guild Published Published No Yes Letterof inquiry E-mail, including QuerywithSASE.

Submission Procedure: Commission: Preferred Clients: Agent For: Contact Name: Established: [email protected] com/neisgroup www.neisgroup.com; www.childrensillustrators. (616) 450-1533 Dripping Springs, TX78620 14600 SawyerRanchRoad THE NEISGROUP website. and online submissions form found onour Submission Procedure: Multiple Submissions: Rep Agreement: Commission: and illustrators Preferred Clients: adult, graphic novels nelsonagency.com/pub-rants listed at the work.Submission guidelines and FAQs are letter should bea1–2paragraph description of pages, no head shots, no weblinks. The query letter [email protected]. No sample grade (and sub-genre) may e-mail aquery complete manuscript inyoung adult ormiddle Submission Procedure: submissions—we never askfor anexclusive Multiple Submissions: other fee. client, with client approval. That’sthe only then wecharge the costof those books tothe of aclients’ bookfor foreign orfilmco-agents, Other Fees: Commission: (not chapterbooks and not picture books) young adult and middle grade books Preferred Clients: Title: Established: Contact Name: nelsonagency.com [email protected]; smegibow@ www.nelsonagency.com Denver, CO80202 1732 Wazee Street,Suite207 NELSON LITERARYAGENCY, LLC small filesine-mail form. President and Senior Literary Agent www.nelsonagency.com Illustrators. Seewebsite. Ifthe agency needs to buy copies 1983 2002 25% 15% domestic, 20%international 15% Judy Neis KristinNelson Yes Published/unpublished Authors, author/illustrators, bothare activelyacquiring Yes We encourage multiple Mail them in,orvery Submissions guidelines Writerswitha100% Kristinblogsat: AGENTS DIRECTORY | 157

NEW LEAF LITERARY & MEDIA, INC. Submission Procedure: E-mail only. Query Contact Name: Julie Just PREPARING & SUBMITTING 110 West 40th Street, Suite 410 with first five pages in the body of the email. Secondary Contact: Lauren Weber, Sara Crowe New York, NY 10018 No attachments. Turnaround time to queries: 1 Agent For: Picture books, middle grade, young (646) 861-4654 week adult, graphic novels, and adult books on www.newleafliterary.com occasion [email protected] or PAINTED WORDS Preferred Clients: Authors and illustrators [email protected] (formerly Lori Nowicki & Associates) Commission: 15% Contact Name: Joanna Volpe, Susan Townsend, 310 W. 97th Street #24 Other Fees: No Mackenzie Brady New York, NY 10025 Rep Agreement: Agency agreement Established: 2007 New Leaf Literary & Media, www.painted-words.com Multiple Submissions: Yes, but we greatly Inc., is the former team of Nancy Coffey Literary [email protected] prefer one-month exclusive MARKET SURVEYS & Media Representation. Joanna took over the Contact Name: Lori Nowicki Submission Procedure: Please follow business and changed the name in 2012. Agent For: Illustrators and author/illustrators submission guidelines on our website— Title: President and Agent Preferred Clients: Illustrators who are www.pippinproperties.com/submissions Secondary Contact: Danielle Barthel, assistant interested in writing Agent For: Divergent trilogy (Katherine Tegen Reading Fees: None PROSPECT AGENCY Books/HarperCollins), The DUFF (Designated Other Fees: None 551 Valley Road, PMB 337 Ugly Fat Friend) (Poppy/Little Brown), Shadow Rep Agreement: Yes Upper Montclair, NJ 07043 and Bone/The Grisha trilogy (Henry Holt/ Submission Procedure: Please send a link to (718) 788-3217 DIRECTORIES & RESOURCES Macmillan Children’s), Sway (Disney-Hyperion), your website or non-returnable samples. We www.prospectagency.com The Seven Tales of Trinket (FSG/Macmillan review all inquiries, however only reply to those [email protected] Children’s), See a Heart, Share a Heart (Dial/ we have interest. Established: 2005 Penguin Young Readers), Ever Afters: Of Giants Other Comments: We are currently working in Contact Name: Emily Sylvan Kim and Ice (Simon & Schuster Books for Young all disciplines of illustration and developing Secondary Contact: Rachel Orr, Becca Stumpf, Readers), Puzzled by Pink (Viking/Penguin artists as writers. Illustrators who are interested Teresa Kietlinski, Carrie Pestritto Young Readers), etc. in writing should be open to critique and Agent For: YA, middle grade, PB, illustrators Preferred Clients: Published/unpublished revisions. Preferred Clients: Published/unpublished Commission: 15% domestic, up to 20% film (if Commission: 15% we work with co-agents), up to 25% foreign (if PEMA BROWNE LTD. Reading Fees: None we work with co-agents) 11 Tena Place Other Fees: None

Other Fees: None Valley Cottage, NY 10989 Rep Agreement: Yes PUBLICIZING YOUR PUBLISHED WORK Rep Agreement: Yes (845) 268-0029 Multiple Submissions: Yes Multiple Submissions: We don’t accept [email protected] Submission Procedure: Prospect Agency multiple submissions in-house as we share all of Established: 1966 requests that all work be submitted through the our submissions with one another. Contact Name: Pema Browne “Submissions” section of our website. Submission Procedure: Query + 5 double- Agent For: PB, fiction, nonfiction, board books Other Comments: Prospect Agency is currently spaced pages in the body of the e-mail (for full Preferred Clients: Published/unpublished looking for published and unpublished young set of guidelines, go here: www.newleafliterary. Commission: 20% adult, middle grade and picture book authors com/submissions.cfm) Reading Fees: None and illustrators. We are looking for authentic Other Fees: None writing that will strike a note with children of OLSWANGER LITERARY LLC Rep Agreement: Letter of agreement all ages. 16-60 Chandler Drive Multiple Submissions: No Fair Lawn, NJ 07410-2715 Submission Procedure: Letter of inquiry with PUBLISHERS’ GRAPHICS 201-791-4699 synopsis of fiction or nonfiction proposal, 231 Judo Road

www.olswanger.com publishing history and bio. Art: send good color Easton, CT 06612 SCHOOL VISITS [email protected] copies or printed samples (no slides). Must (203) 445-1511 Established: 2014 include a SASE. www.publishersgraphics.com Contact Name: Anna Olswanger Other Comments: Agent does not accept [email protected] Agent For: Author-illustrators of board books manuscripts sent to publishers or handled by Established: 1970 and picture books, authors of middle grade other agents. Accepts only new material. Contact Name: Paige Gillies fiction and nonfiction, authors of YA nonfiction, Agent For: Children’s, YA, PB, illustration LEGAL QUESTIONS authors of adult nonfiction PIPPIN PROPERTIES INC. Preferred Clients: Not taking on new clients Preferred Clients: Published/unpublished 155 East 38th Street, Suite 2H Commission: 25% art Commission: 15% text/art domestic, 20% New York, NY 10016 Other Fees: None foreign, 20% film Fax: (212) 338-9579 Rep Agreement: Yes Reading Fees: None www.pippinproperties.com Multiple Submissions: No Rep Agreement: Informal letter of agreement [email protected] Submission Procedure: Not taking on new Multiple submissions: Yes Established: 1998 clients, reviewing manuscripts, or accepting 158 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org only; no mail. Pleaseseewebsite for updated Submission Procedure: Multiple Submissions: Rep Agreement: Reading Fees: Commission: Preferred Clients: Published/ Unpublished adult. No educational. illustrators, chapter books, middle grade, young Agent for: Secondary Contact: Contact Name: Established: www.twitter.com/rodeenliterary www.facebook.com/rodeenliterary www.rodeenliterary.com Chicago, IL60657 3501 N.Southport#497 RODEEN LITERARYMANAGEMENT work bymail ore-mail. Submission Procedure: Rep Agreement: Commission: and illustration commission Agent For: Contact Name: Established: [email protected] www.annremenwillis.com (503) 954-1209 Portland, OR97209 1420 NWLovejoy#516 REMEN-WILLIS DESIGNGROUP www.redfoxliterary.com/submissions guidelines onwebsitefor further details: she meets atconferences. Seesubmission Abigail: Onlyaccepting submissions from people submissions the firstweek of each month. Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Reading Fees: Commission: Agent For: Contact Name: Established: [email protected] www.redfoxliterary.com (805) 459-3327 Shell Beach,CA93449 129 MorroAvenue RED FOX LITERARY Other Comments: portfolios atthistime. | DIRECTORY AGENTS picture book authors and author/ Trade and text bookartmanagement YA, middle grade, PB,illustrators None 2008 1985 2011 25% 15%–25% 15%;20%co-agents No None Karen Grencik; Abigail Samoun Paul Rodeen AnnRemen-Willis Yes Yes Yes Member of Author’s Guild. LoriKilkelly

Yes, pleasestate Yes, butseeguidelines. Colorsamplesof current Karen: Onlyaccepting Electronic submissions .

Fax: (212)463-8718 (212) 206-5600 New York, NY10003 55 FifthAvenue SANFORD J.GREENBURGER&ASSOCIATES client list;workswithbookpackagers. hour orstraight commission of 25%; willsend a who wishtodo their ownmarketing for $100/ Other Comments: E-mail linktoyourwebsite. samples (images/portfolio) need tobereturned. samples tokeep onfile. SASE requested onlyif Submission Procedure: Multiple Submissions: cancellation clause. Rep Agreement: expenses. Other Fees: Reading Fees: Commission: requirement ishigh-quality artwork. Preferred Clients: Agent For: Contact Name: Established: [email protected] www.salzint.com Fax: (707)825-6600 (707) 822-5500 Arcata, CA95521 1751 CharlesAvenue SALZMAN INTERNATIONAL www.rootliterary.com/submissions/ rootliterary.com. Fullsubmission guidelines at: in the body of anemail to submissions@ letter and the first10pages of your manuscript Submission Procedure: we’ll direct yourmaterial internally. welcome toquerythe agency ingeneral, and in the subjectline of youremail. You’re also one agent inspecific, pleaseinclude their name of usisano from allof us. Ifyou’re querying submissions backand forth, soano from one Multiple Submissions: Rep Agreement: Commission: Second Contact: Title: Contact Name: Established: [email protected] www.rootliterary.com 617 SOlive, Suite1207,LosAngelesCA90014 ROOT LITERARY submission information. President Illustration only Artistspayshare of advertising 2018 1982 15% 25–30%artdomestic None Richard Salzman Holly Root Yes Contracts with thirty-day Taylor Haggerty Willing toworkwithartists Published/unpublished; We regularly pass Yes Pleasesend aquery Send illustration

files oralinksend colorcopies inthe mail. Original artworkisnotaccepted. Send electronic addressed envelopefor reply. Forillustrators: the work(for fiction), aswellastampedself- chapters of the manuscript and asynopsis of manuscript (for picture books);orthefirst three Please submitaqueryletter, and the entire fiction). Ifyouplantosend ahard copyquery: the manuscript and asynopsis of the work(for picture books);orthefirst three chapters of Word attachments: the entire manuscript (for in the body of the e-mail, and the following as query via e-mail: Pleasesubmitaqueryletter prefers e-mail submissions. Ifyouplanto Submission Procedure: Multiple Submissions: Reading Fees: Some adult fiction and narrative nonfiction. graphic novels, middle-grade &teenfiction. Agent For: Contact Name: Established: www.greenburger.com date of publication include withqueryletter. published books must include publisher and unless specifically requested. Bibliography of Other Comments: queries. No queries via phone orfax. page no attachments. We do NOT acceptpostal Submission Procedure: Multiple Submissions: agreement Rep Agreement: Other Fees: Reading Fees: Commission: Preferred Clients: Agent For: Contact Name: Established: [email protected] blogspot.com profschia/; www.schiavoneliteraryagencyinc. www.publishersmarketplace.com/members/ Fax: (561)996-9294 (561) 996-9294 West Palm Beach,FL33413 236 Trails End SCHIAVONE LITERARYAGENCY work. passing onthe opportunitytorepresent your you havenot heard within8weeks, then weare generally replyto queries within6–8weeks. If wish tohaveyourmaterials returned toyou.We Enclose astamped, self-addressed mailerif you Illustrators and authors—PB, Fiction, nonfiction None 1932 1996 15%domestic, 20%foreign None None Brenda Bowen James Schiavone Offerswrittenagency Donot send any materials Published authors Yes Acceptable E-mail queries only. One Brenda Bowengreatly AGENTS DIRECTORY | 159

SCOTT TREIMEL NY Multiple Submissions: Yes Reading Fees: None PREPARING & SUBMITTING 434 Lafayette Street Submission Procedure: See website for detailed Other Fees: None New York, NY 10003 submission guidelines Rep Agreement: Written contract—can be Fax: (212) 505-0664 SHANNON ASSOCIATES mutually cancelled on sixty days’ notice. scotttreimelny.com 333 West 57th Street, Suite 810 Multiple Submissions: On occasion, depending [email protected] New York, NY 10019 on property Established: 1994 www.shannonassociates.com Submission Procedure: Query letter with Contact Name: Scott Treimel [email protected] detailed proposals. Title: Agent Established: 1994 Other Comments: Willing to let clients do Agent For: Illustrators and all text categories Contact Name: Tammy Shannon own marketing in specialized circumstances; PB (for author/illustrators only) through YA Agent For: Illustrators and writers works with book packagers; offers full editorial MARKET SURVEYS Preferred Clients: Very highly talented; Preferred Clients: Published/unpublished guidance. Only represents writer/ illustrators professional; durable; dedicated; ambitious; Reading Fees: Depends on need who originate book products, not illustrators commercial Other Fees: $200 for one hour consultation “for hire.” Commission: 15–20% text domestic, 20–25% with industry art director foreign Rep Agreement: Standard TRANSATLANTIC LITERARY AGENCY Reading Fees: None Multiple Submissions: Yes 2 Bloor Street East, Suite 3500 Other Fees: None Submission Procedure: Online Toronto, ON Canada

Rep Agreement: Agency clause inserted in (416) 488-9214 DIRECTORIES & RESOURCES license agreements SHELDON FOGELMAN AGENCY Fax: (416) 929-3174 Multiple Submissions: Yes 10 E. 40th Street www.tla1.com Submission Procedure: Only through STNY New York, NY 10016 [email protected] website (212) 532-7520 Established: 1993 Other Comments: Member of AAR, SCBWI, Fax: (212) 685-8939 Contact Name: Refer to website Author’s Guild; comprehensive editorial www.sheldonfogelmanagency.com Secondary Contact: Refer to website. guidance. Sub-agencies throughout Europe [email protected] Reading Fees: None and Asia and South America.Dedicated film Established: 1965 Submission Procedure: Initial letter of inquiry and television subagent. We offer editorial Contact Name: Sheldon Fogelman essential. Refer to guidelines on website. guidance (sometimes extensive). We are looking Secondary Contact: Sean McCarthy, Amy Stern for authors able to sustain long-term careers. Agent For: PB, fiction, nonfiction, illustration TRIDENT MEDIA GROUP

We see ourselves as career managers—and Preferred Clients: Published/unpublished 41 Madison Avenue, Floor 36 PUBLICIZING YOUR PUBLISHED WORK certainly ardent author advocates—as much as Commission: 15% domestic; 25% foreign New York, NY 10010 manuscript sellers. we craft individual strategies Reading Fees: None (212) 333-1531 for each client, for each project. our reach Other Fees: Messengers, photocopying, Fax: (212) 262-4849 inside the major trade publishers enables us overnight/overseas mail—deducted from monies www.tridentmediagroup.com to secure in-house support for the talent we received, not as incurred. [email protected] manage. We negotiate contracts meticulously. Rep Agreement: Contract, either party may [email protected] terminate at any time Established: 2000 SERENDIPITY LIT Multiple Submissions: Yes, but must indicate Contact Name: Alyssa Eisner Henkin, Alexander 1633 Broadway, 30th Fl, Submission Procedure: Letter of inquiry with Slater NY, NY 10019 previous publishing credits, where author Agent For: Fiction, Nonfiction; children’s and YA (718)230-7689 learned of the agency, and a brief description of Preferred Clients: Published or debut authors Fax: (718)230-7829 the project. Commission: 15% domestic, 20% foreign www.serendipitylit.com Reading Fees: None

[email protected], STERLING LORD LITERISTIC Other Fees: Books ordered for subsidiary rights SCHOOL VISITS [email protected] 65 Bleecker Street, 12th Floor and foreign rights submissions Established: 2000 New York, NY 10012 Rep Agreement: Letter Contact Name: Regina Brooks (212) 780-6050 Multiple Submissions: Letter of inquiry only. Title: President Fax: (212) 780-6095 Submission Procedure: Accepts e-mail queries Secondary Contact: Folade Bell, Dawn Hardy, www.sll.com only; no hard copy queries. Karen Thomas [email protected] Other Comments: Willing to let clients LEGAL QUESTIONS Agent For: Fiction and nonfiction, picture Established: 1979 participate in marketing; works with book books, MG, YA Contact Name: George M. Nicholson, Erica purchasers; offers editorial guidance; member Preferred Clients: Published/unpublished Silverman of AAR. Commission: 15% domestic, 20% foreign Agent For: Fiction (preschool to YA), especially Reading Fees: None literary fiction TUGEAU 2 Other Fees: None Preferred Clients: Published/unpublished 2231 Grandview Avenue Rep Agreement: Yes Commission: 15% domestic, 20% foreign Cleveland Heights, OH 44106 160 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org has expired. Thankyou! contact usafterthe time listed onourwebsite you for yourpatience inadvance. Feelfree to read eachsubmission personally sowethank our besttorespond inatimely manner, wedo partners, sopleasebeprofessional. Whilewedo authors/ illustrators who willbegood business link toyourportfolio online. We’re looking for to you.Forartists, pleasesend aquerywith system, anautomated response willbee-mailed document. Ifyoursubmission isreceived byour of the e-mail, and attachyourpages asaWord our website. Pleaseputyourqueryinthe body manuscripts tosubmission e-mail addresses on may submitaqueryand twenty pages of their hard copyand the US post.Interested writers anyway), and wedo not acceptsubmissions via paper-free office environment (ortryto, Submission Procedure: they are multiply submitting. ask onlythatprospective authors letusknow Multiple Submissions: offer them representation. we send potential clients for review afterwe Rep Agreement: Other Fees: Reading Fees: foreign &subsidiary Commission: Preferred Clients: Agent For: Contact Name: Established: www.upstartcrowliterary.com Brooklyn, NY11202 PO Box 25404 UPSTART CROW LITERARY, LLC areas of children’s publishing. relationship withproject opportunities inall To ourrepresented artists, weoffer adynamic new talent. Please, share yourworkwithus! Other Comments: via regular mail ifinterested inseeing more. your websitetostart.Willrequest fullportfolio 4–5 colorexamples of yourworkand/or linkto Submission Procedure: year tostart. Rep Agreement: Commission: Preferred Clients: illustrators Agent For: Contact Name: Established: [email protected] www.tugeau2.com (216) 707-0854 | DIRECTORY AGENTS YA, middle grade fiction Illustrators/artists and author/ None 2009 2002 Fiction: 15%domestic, 20% Generally 25% None Alexandra Penfold Nicole Tugeau We haveaformal contract that Varies, though typically one We’re alwayslooking for Authors of YA/middle grade Published/unpublished

We do acceptthem and We runacompletely Send abrief e-mail with www.waxmanleavell.com 10016 NY NY 1004 Suite S. Ave. Park 443 WAXMAN LEAVELL LITERARY Rep Agreement: deducted from monies received Other Fees: Reading Fees: Commission: Preferred Clients: book, middle grade, and YA. Allgenres. Agent For: Established: Emily Mitchell Contact Name: [email protected] www.wernickpratt.com Beacon, NY12508 1207 NorthAvenue WERNICK &PRATT AGENCY, LLC marketing strategy. AARBoard Member. Other Comments: preferred. guidelines onourwebsite. E-mail queries Submission Procedure: Multiple Submissions: with thirtydays’ notice byeither party Rep Agreement: Reading Fees: film Commission: unpublished Preferred Clients: Agent For: Contact Name: Established: [email protected]. www.wsherman.com New York, NY10010 27 W. 24thStreet,700B WENDY SHERMANASSOCIATES confirm successful receipt. in the body of the email; autoresponder to Submission Procedure: Multiple Submissions: Rep Agreement: Other Fees: Commission: Preferred Clients: Victoria Schwab, Kiera Stewart Amanda Maciel, Myra McEntire, CJRedwine, Alison Cherry, Rachel Hawkins, Christina Lauren, Agent for: Contact: Agency, established 1997) Established: [email protected] [email protected] RaeCarson,Nancy J.Cavanaugh, Authors and illustrators. Picture Fiction and nonfiction None None Postage, photocopying expenses, 2012(expanded from The Waxman 2011 1999 15%domestic 15%domestic, 25%foreign 15%domestic, 20%foreign and None None Marcia Wernick, Linda Pratt, or Wendy Sherman Yes Yes Contract offered, terminable Offerseditorial guidance and Published/unpublished Previously published/ NA, YA, &MGnovelists Yes Letterof inquiry Query&firsttenpages Pleaseseesubmission

Rep Agreement: Commission: Preferred Clients: Agent For: Secondary Contact: Contact Name: Established: [email protected] www.wilkinsonstudios.com Fax: (630)945-3241 (630) 549-0504 Chicago, IL60607 901 West Jackson Boulevard,Suite201 WILKINSON STUDIOS,INC. SCBWI Other Comments: submissions-policy submission guidelines at agent only, withattachments. Pleasesee Submission Procedure: month exclusive. Multiple Submissions: Other Comments: query one agent atatime. book uniqueand special, and asynopsis. Only credentials, anexplanation of whatmakes your or hard copywithSASE. Pleaseinclude your compelling letterof inquiryeither via e-mail Submission Procedure: in query Multiple Submissions: Rep Agreement: received, not asincurred overnight/overseas mail\deducted from monies Other Fees: Reading Fees: Commission: Preferred Clients: young adult fiction and nonfiction, illustration Agent For: Sherman Steven Malk, RobinRue, Jodi Reamer, Rebecca Merrilee Heifetz, Daniel Lazar, Simon Lipskar, Contact Name: Established: www.writershouseart.com www.writershouse.com; Fax: (212)685-1781 (212) 685-2400 La Jolla,CA92037 San Diego/StevenMalk:7660FayAvenue, #338H New York NY10010 New York office: 21 West 26thStreet WRITERS’ HOUSELLC website under “Contact Us.” Submission Procedure: Illustrators for allindustries Picture books, middle grade and Messengers, photocopying, 1998 1973 30% 15%text domestic, 20%foreign None Christine Wilkinson Amy Berkower, SusanCohen, Yes Yes Members AAR;members Officesin New York, San Published/unpublished Published/unpublished LisaO’hara

Yes, butweprefer one- Yes, butpleasespecify E-mail querytoone Instructions onour Write aconcise, www.wernickpratt.com/

ADAMS LITERARY HOURS (Henry Holt) BEAM OF LIGHT (Chronicle), CALVIN CAN’T FLY Michael Tougias, A STORM TOO SOON and TEN and CALVIN, LOOK OUT! (Sterling) TRACY ADAMS HOURS BEFORE DAWN (Henry Holt) Middle Grade Picture Book Sara Hunt, THREE CHEERS FOR GIRLS (Lerner/ Tom Angleberger, Origami Yoda series (Abrams/ Margery Cuyler,100TH DAY WORRIES Millbrook) Amulet), Qwikpick Papers series (Abrams/ Cynthia Lord, HOT ROD HAMSTER Middle Grade Amulet) Fred Koehler, HOW TO CHEER UP DAD Jennifer Gennari, MY MIXED-UP WILD BERRY YA Vaunda Micheaux Nelson (Coretta Scott King SUMMER (Houghton Mifflin) Tamara Ireland Stone, TIME BETWEEN US and Award winner), BAD NEWS FOR OUTLAWS YA TIME AFTER TIME (Disney*Hyperion) Middle Grade Carol Tanzman, DANCERGIRL and CIRCLE OF Tara Sullivan, GOLDEN BOY (Putnam) Cynthia Lord (Newbery Honor winner), RULES SILENCE (Harlequin Teen) Margaret Peterson Haddix, The Missing series Stephanie Guerra, TORN (Marshall Cavendish) LAURA RENNERT Jacqueline Davies, The Lemonade War series Picture Book YA ALP ARTS COMPANY Tammi Sauer, NUGGET AND FANG Anne Blankman, PRISONER OF NIGHT AND FOG Nina Laden, ONCE UPON A MEMORY Ryan Graudin, THE WALLED CITY SANDY FULLER Middle Grade Kristin Clark, FREAKBOY Picture Book Shannon Messenger, Keeper of the Lost Cities Terry Farish, THE GOOD BRAIDER Carmela LaVigna Coyle, DO PRINCESSES WEAR series Amie Kaufman & Meagan Spooner, THESE HIKING BOOTS? Matt Ward, THE FANTASTIC FAMILY WHIPPLE BROKEN STARS Dylan Pritchett, THE FIRST MUSIC YA Louise Schroeder/Carol Malnor/S. Fuller, The Maggie Stiefvater, THE RAVEN CYCLE JOSH ADAMS Blues Go Birding series Ellen Hopkins, Crank trilogy Picture Book J.P. McDaniel/Jon Van Zyle, MARDY MURIE DID Jay Asher, THIRTEEN REASONS WHY Alan Katz, TAKE ME OUT OF THE BATHTUB Pattie Schnetzler, EARTH DAY BIRTHDAY Hilary Smith, WILD AWAKE Middle Grade Michael Engler/Joelle Tourlonias, Sarah Cross, KILL ME SOFTLY Henry H. Neff, The Tapestry series ELEPHANTASTIC Kimberly Derting, THE TAKING Kat Falls, Dark Life series Mira Lobe/Angelika Kaufmann, HOBBLEHOP! Jeffrey Salane, Justice series Nonfiction KELLY SONNACK YA Anthony D. Fredericks, UNDER ONE ROCK Picture Book Megan Crewe, THE WAY WE FALL John Denver, The Music Is You series Bridget Heos and Joy Ang, MUSTACHE BABY Emily Kate Johnston, THE STORY OF OWEN YA Middle Grade Amie Kaufman & Meagan Spooner, THESE Anne Baldwin, CATIARA’S TREASURE Gordon McAlpine, The Misadventures of Edgar BROKEN STARS and Allan Poe series Sara B. Larson, Defy trilogy ANDREA BROWN LITERARY AGENCY James Burks, Bird and Squirrel series Veronica Rossi, Under the Never Sky trilogy YA Megan Shepherd, The Madman’s Daughter trilogy CARYN WISEMAN Courtney Stevens, FAKING NORMAL Picture Book Sharon Cameron, THE DARK UNWINDING ALISON J. PICARD LITERARY Tom Angleberger, CRANKEE DOODLE (Clarion) Cece Bell, SOCK MONKEY (Candlewick), RABBIT JENNIFER ROFÉ ALISON J. PICARD & ROBOT (Theodore Geisel Honor Award winner) Picture Book Middle Grade Nonfiction (Candlewick), EL DEAFO (Abrams) Mike Boldt, 123 VERSUS ABC Michael Tougias & Casey Sherman, THE FINEST Jennifer Berne, MANFISH (Chronicle), ON A Bob Boyle, ROSIE & REX 162 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org JENNY BENT THE BENTAGENCY Emily Martin, THIS SIDEOFINFINITY Tracy Barrett, THESTEPSISTER’S TALE YA Dianna DorisiWinget, A MILLION WAYS HOME Matthew Ward, THEFANTASTIC FAMILY WHIPPLE Middle Grade Anne SibleyO’Brien, I’MNEWHERE Ross Burach, THERE’SAGIRAFFEINMY SOUP BED Denise Vega, IFYOUR MONSTER WON’TGOTO Picture Book LARA PERKINS Joy Preble, FINDINGPARIS YOUR ASS Meg Medina, YAQUI DELGADO WANTS TO KICK YA WRONG? Graeme Stone, WHAT COULDPOSSIBLY GO Middle Grade Nonfiction POPULARITY SPELL Toni Gallagher, TWIST MYCHARM:THE CAME EARLY Kathryn Fitzmaurice, THEYEARSWALLOWS BUBBA-SIZED TROPHY Crystal Allen,HOW LAMAR’SBAD PRANKWONA Middle Grade Mary Peterson Renée Kurilla Eliza Wheeler Illustrators MAIDEN STIRRED Samantha Vamos, THECAZUELATHAT THEFARM- Sheila Grau, DR.CRITCHLORE’S SCHOOL FOR Middle Grade MOLLY KERHAWN Rachael Allen,17FIRSTKISSES YA 2015) Lisa Tyre, THEWARS OFZOLLICOFFER (summer Shelley Tougas, THEGRAHAMCRACKER PLOT Sarah Lariviere, THEBAD KID(2016) ACCIDENTAL KEYHAND Jennifer Downey, THENINJA LIBRARIANS:THE Middle Grade SUSAN HAWK Shannon Greenland, KILLERINSTINCT BEAUTIFUL GIRLS Lynn Weingarten, SUICIDE NOTES FROM AG Howard, Splintered Trilogy Sandra Waugh, LARKRISING YA | BY AGENTED Cory Putman Oakes, DINOSAUR BOY Middle Grade SARAH LAPOLLA BRADFORD LITERARYAGENCY House Children’s, fall 2016) Jessica Cluess, ACLOAK OFFLAME(Random Teen, 2015) Adam Silvera, MORE HAPPY THANNOT (Soho AGENDA (Balzer+Bray, 2015) Becky Albertalli,SIMON VS.THEHOMO SAPIENS Emma Trevayne, CHORUS (Running Press Kids) YA May 2015) and THECABINETOFCURIOSITIES (Greenwillow, MYSTERIOUS TIMES(Simon &Schuster) Emma Trevayne, FLIGHTS ANDCHIMES PIRATE CODE (Disney*Hyperion) and HOOK’S REVENGE:THE Heidi Schulz, HOOK’S REVENGE Middle Grade Schuster fall 2016) Rita Meade, EDWARD GETS MESSY (Simon & (Bloomsbury Children’s, spring 2016) Heidi Schulz, GIRAFFESRUINEVERYTHING winter 2016) Sean Ferrell, IDON’TLIKEKOALA (Atheneum, Bray) Sam Garton,The IAmOtterseries (Balzer+ Picture Book BROOKS SHERMAN (Scholastic Press, 2015) Tricia Stirling, WHENMYHEARTWAS WICKED YA 2015) Simon P. Clark,EREN(Constable &Robinson, House, 2015) PEOPLE’S HOUSES (Wendy LambBooks/Random Bonnie-Sue Hitchcock,THESMELLOFOTHER MINIONS (Abrams, 2015) Jessica Souders, RENEGADE YA (Aladdin) Rachele Alpine, OPERATION PUCKERUP Middle Grade Andria Rosenbaum,TRAINS DON’TSLEEP(HMH) Roseanne Thong, TWAS NOCHE BUENA(Viking) Lane Books) Geoff Stevenson, GERALDTHEGIANT(Beach Picture Book NATALIE LAKOSIL Kaitlin Ward, BLEEDINGEARTH Jessica Taylor, WANDERING WILD Jennifer Mathieu, THETRUTHABOUTALICE YA CURTIS BROWN, LTD. Sharon Roat,BETWEENTHENOTES Jackie LeaSommers, TRUEST Moriah McStay, EVERYTHINGTHAT MAKESYOU Patrick Flores Scott,JUMPEDIN WAR Tanita S.Davis, HAPPY FAMILIES and MARE’S BARGAINING Carly Anne West, THEMURMURINGSand THE LIKE THESE Tess Hilmo, WITHANAMELIKELOVEand SKIES YA COOL BEANS Lisa Harrader, ADVENTURESOFBEANBOY AND Middle Grade STEVEN CHUDNEY THE CHUDNEYAGENCY OPS (Thomas Dunn/St.Martin’s) Natalie Zaman and CharlotteBennardo, BLONDE YA Jody Feldman, The Gollywhopper Games series Middle Grade Nick Bruel, BAD KITTY Barbara McClintock, MY GRANDFATHER’S COAT Robert Sabuda, THELITTLEMERMAID Picture Book JENNIE DUNHAM DUNHAM LITERARY Eve Yohalem, CASTOFF UNTHINKABLE Nancy Werlin, RULESOFSURVIVAL and Linda SuePark, ALONGWALK TO WATER Todd Mitchell, BACKWARDS YA BIRTHDAYS Wendy Mass, AMANGOSHAPEDSPACE and 11 Middle Grade Uma Krishnaswami, THREADSOFPEACE Picture Book GINGER KNOWLTON Scott Tracey, MOONSET Julia Gibson,COPPERMAGIC Ursula K.LeGuin,AWIZARDOFEARTHSEA Gretchen McNeil, GETEVEN Elizabeth Wein, CODENAMEVERITY Patricia Wrede, The Enchanted Forest Chronicles YA Debbie Ridpath Ohi,WHEREAREMYBOOKS? Kelly Bingham, CIRCLE,SQUARE, MOOSE Picture Book GINGER CLARK AGENTED BY | 163

Leslie Connor, THE THINGS YOU KISS GOODBYE Vin Vogel, THE THING ABOUT YETIS (Dial Books, TAYLOR MARTINDALE PREPARING & SUBMITTING Anna Shinoda, LEARNING NOT TO DROWN YA 2015) Emery Lord, OPEN ROAD SUMMER and THE START Gina Ciocca, LAST YEAR’S MISTAKE (Simon Pulse, BRIDGET SMITH OF ME & YOU (Bloomsbury) 2015) YA Annie Cardi, THE CHANCE YOU WON’T RETURN Marina Cohen, INN BETWEEN (Roaring Brook Emma Mills, FIRST & DOWN (Candlewick) Press, 2015) Lee Gjertsen Malone, THE LAST BOY AT ST. Aisha Saeed, WRITTEN IN THE STARS (Penguin) Rahul Kanakia, ENTER TITLE HERE (Disney- EDITH’S Anna-Marie McLemore, THE WEIGHT OF FEATHERS Hyperion, 2015) Ellen Goodlett, THE QUIET ONES (St. Martins) Michelle Modesto, MACHINE AND THE WILD Debra Driza, MILA 2.0 series (HarperCollins) (Balzer & Bray, 2016) DYSTEL & GODERICH LITERARY MARKET SURVEYS MANAGEMENT STEFANIE VON BORSTEL ICM Picture Book MICHAEL BOURRET Jennifer Ward, MAMA BUILT A LITTLE NEST TINA WEXLER YA (Beach Lane Books/S&S) Middle Grade James Dashner, Maze Runner series Toni Buzzeo, MY BIBI ALWAYS REMEMBERS Donna Gephart, HOW TO SURVIVE MIDDLE Gayle Forman, IF I STAY and I WAS HERE (Disney) SCHOOL Lisa McMann, THE UNWANTED and Wake series Monica Brown, WAITING FOR THE BIBLIOBURRO Alice Hoffman, NIGHTBIRD

Sara Zarr, STORY OF A GIRL and THE LUCY (Random House) Anne Ursu, BREADCRUMBS DIRECTORIES & RESOURCES VARIATIONS Middle Grade YA Andrew Smith, WINGER and GRASSHOPPER Diana Lopez, ASK MY MOOD RING HOW I FEEL Brandy Colbert, POINTE JUNGLE (Little, Brown) Gina Damico, Croak series A.S. King, EVERYBODY SEES THE ANTS and YA GLORY O’BRIEN’S HISTORY OF THE FUTURE Malin Alegria (Scholastic) ALEXANDRA MACHINIST Middle Grade EAST WEST LITERARY GREENHOUSE LITERARY AGENCY M. A. Larson, PENNYROYAL ACADEMY J.A. White, THE THICKETY DEBORAH WARREN SARAH DAVIES YA Picture Book Middle Grade Sabaa Tahir, AN EMBER IN THE ASHES Jim Averbeck, IN A BLUE ROOM Caroline Carlson, THE VERY NEARLY HONORABLE Jennifer McGowan, MAID OF SECRETS

James & Kimberly Dean, Pete the Cat series LEAGUE OF PIRATES Kate Karyus Quinn, ANOTHER LITTLE PIECE PUBLICIZING YOUR PUBLISHED WORK Anna Dewdney, Llama Llama series Tricia Springstubb, WHAT HAPPENED ON FOX Mike Lowery, The Gingerbread Man series STREET JEAN V. NAGGAR LITERARY AGENCY Gianna Marino, TOO TALL HOUSES Shawn Stout, Penelope Crumb series (JVNLA) Antoinette Portis, FROODLE Kat Yeh, THE TRUTH ABOUT TWINKIE PIE Middle Grade Donna Cooner, SKINNY JENNIFER WELTZ Kwame Alexander, THE CROSSOVER Elle Cosimano, NEARLY GONE Picture Book Platte Clark, Bad Unicorn trilogy Lindsey Leavitt, GOING VINTAGE Emily Kate Moon, JOONE YA Erica L. Scheidt, USES FOR BOYS Paul Dubois Jacobs and Jennifer Swender, Alethea Kontis, Enchanted series Tess Sharpe, FAR FROM YOU COUNT ON THE SUBWAY Holly Schindler, FERAL Brenna Yovanoff, FIENDISH Middle Grade Alexander Vance, THE HEARTBREAK MESSENGER FULL CIRCLE LITERARY JOHN CUSICK YA Picture Book Kelly Moore, Tucker Reed, Larkin Reed, AMBER

ADRIANA DOMINGUEZ Chana Stiefel, DADDY DEPOT (Feiwel & Friends, HOUSE SCHOOL VISITS Picture Book 2015) Katheryn Russell-Brown, LITTLE MELBA AND HER Middle Grade ELIZABETH EVANS BIG TROMBONE (Lee and Low) Ryan Gebhart, THERE WILL BE BEARS Nonfiction Lorena Siminovich, YOU KNOW WHAT I LOVE? (Candlewick Press, 2013) Kim Arcand and Megan Watzke, YOUR TICKET (Dial), You are My Baby series (Chronicle) Hannah Moskowitz, A HISTORY OF GLITTER AND TO THE UNIVERSE: A GUIDE TO EXPLORING THE Middle Grade BLOD (Chronicle Books, 2015) COSMOS LEGAL QUESTIONS Angela Cervantes, GABY, LOST AND FOUND YA Gabrielle Ford, GABE & IZZY: STANDING UP FOR (Scholastic) Sharon Biggs Waller, A MAD, WICKED FOLLY AMERICA’S BULLIED Eric Pierpoint, THE LAST RIDE OF CALEB O’TOOLE (Viking, 2013) (Sourcebooks) Courtney Alameda, SHUTTER (Feiwel & Friends, LAURA BIAGI YA 2015) Picture Book Michaela and Elaine DePrince, TAKING FLIGHT: Tommy Wallach, WE ALL LOOKED UP (Simon & Lisa Charrier and Agnes Domergue, OH MY, OH FROM WAR ORPHAN TO STAR BALLERINA (Knopf) Schuster, 2015) NO! 164 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Carin Bramsen, JUST ADUCK Picture Book MARIETTA ZACKER NANCY GALLT LITERARYAGENCY Jess Verdi, MYLIFEAFTERNOW Calea Carter, MYBESTFRIEND,MAYBE Madeleine Roux,ASYLUM and SANCTUM Delilah S.Dawson,SERVANTS OFTHESTORM Eric Devine, TAP OUT, DARE MEand PRESS PLAY YA Carey Wallace, THEGHOST INTHEGLASSHOUSE Middle Grade KATE MCKEAN HOWARD MORHAIMLITERARYAGENCY THE DEMENTEDLIFEOFFRENCHIEGARCIA Jenny Torres Sanchez, DEATH, DICKINSON, AND Carrie Arcos, OUTOFREACH Jennifer Niven,ALLTHEBRIGHT PLACES YA Jennifer AnnMann, The Sunny SweetSeries Middle Grade Mark Pett, THEBOY ANDTHEAIRPLANE Picture Book KERRY SPARKS AGENCY, INC. LEVINE GREENBERGROSTAN LITERARY and 13LITTLEBLUEENVELOPES Maureen Johnson, The Shades of London series Alexandra Duncan, SALVAGE SMALL PERSONSWITHWINGS Ellen Booraem, TEXTINGTHEUNDERWORLD and SOMETHING LIKENORMAL Trish Doller, WHERETHESTARS STILLSHINEand THE HAPPILY EVERAFTER LOLA ANDTHEBOY NEXTDOOR,and ISLA AND Stephanie Perkins, ANNAANDTHEFRENCHKISS, YA WILL INSCARLET, THEDEADGENTLEMAN Matthew Cody, The Supersof Noble Green series, Middle Grade KATE TESTERAMAM KT LITERARY, LLC. Ellen Potter, OtisDooda series Picture Book ALICE TASMAN J.C. Carleson,THETYRANT’SDAUGHTER YA Ellen Potter, THEKNEEBONEBOY Middle Grade | BY AGENTED CHRISTMAS Bagram Ibatoulline, ALITTLEWOMEN Bonnie Adamson, RUTABAGA BOO Picture Book HOLLY MCGEE PIPPIN PROPERTIES Vince Vawter, PAPERBOY LONDON MIDNIGHT GHOST SHOW Steve Bryant, LUCASMACKENZIE ANDTHE Middle Grade KAY KAY’S ALPHABETSAFARI Dana Sullivan,OZZIE ANDTHEARTLESSONand Alan Rabinowitz, ABOY ANDAJAGUAR DAZZLING LIFEOFJOSEPHINEBAKER Patricia HrubyPowell, JOSEPHINE:THE JUNGLES OFHENRIROUSSEAU Michelle Markel, BRAVE GIRLand THEFANTASTIC Rich Lo,FATHER’S CHINESEOPERA A CRAYON’S STORY SQUARE, IT’SANORANGEAARDVARK!, and RED: Michael Hall, MYHEARTIS LIKEAZOO, PERFECT HAS ADREAM Rebecca Dudley, HANKFINDSANEGG, Picture Books ANNA OLSWANGER OLSWANGER LITERARYLLC T. Michael Martin, THEENDGAMES Kody Keplinger, THEDUFF Leigh Bardugo, SHADOWANDBONE Veronica Roth,DIVERGENT YA Kirk Scroggs, SNOOP TROOP Shelby Bach,The EverAftersseries Amber McRee Turner, Circa Now TRINKET Shelley Moore Thomas, THESEVENTALES OF Middle Grade Lori Nichols, MAPLE Elizabeth RoseStanton, HENNY Picture Book JOANNA VOLPE NEW LEAFLITERARYANDMEDIA Nora Raleigh Baskin,RUBY ONTHEOUTSIDE Mary Amato, GETHAPPY YA Paige Britt,THELOSTTRACK OFTIME Rick Riordan, PERCYJACKSON’S GREEKGODS HUMPHREY Betty G.Birney, IMAGINATION ACCORDING TO Middle Grade Sophie Blackall, BABY TREE Ben Clanton, SOMETHINGEXTRAORDINARY Katherine Applegate Garret Freymann-Weyr Renata Liwska Sujean Rim David Small Isabel Roxas Taeeun Yoo OTHER CLIENTSINCLUDE: Jason Reynolds, WHENIWAS THEGREATEST Jandy Nelson, I’LLGIVEYOU THESUN YA Kate DiCamillo,FLORA&ULYSSES MAN SWAMP Kathi Appelt,THETRUEBLUESCOUTS OFSUGAR Middle Grade Alison McGhee and Peter Reynolds, SOMEDAY Jon Agee, LITTLESANTA WORM Doreen Cronin and Harry Bliss, DIARYOFA TYPE Doreen Cronin, CLICK CLACK MOO: COWSTHAT Kate McMullan and JimMcMullan, ISTINK! Anna Kang, YOU ARE(NOT) SMALL Julie Berry’sALLTHETRUTHTHAT’S INME YA Jennifer Roy, YELLOW STAR Lisa Greenwald, MYLIFEINPINK&GREEN R.J. Palacio, WONDER Middle Grade Jen Bryant, A SPLASHOFRED Picture Book ALYSSA EISNERHENKIN TRIDENT MEDIAGROUP HarperCollins) AND JOHNNYTHENINJAS (Balzer+Bray/ Kevin Serwackiand ChrisPallace, JOEY Middle Grade Hannah Harrison, EXTRAORDINARY JANE (Dial) Sarah Watts, HOW HIPPOSAYS HELLO(Sterling) Picture Book ABIGAIL SAMOUN (Charlesbridge) Bobbi Miller, Michelle Houts, Middle Grade (Millbrook) AND THERECYCLINGWOMENOFGAMBIA Miranda Paul, Picture Book KAREN GRENCIK RED FOX LITERARY BIG RIVER’SDAUGHTER ONE PLASTIC BAG: ISATOU CEESAY WINTERFROST (Candlewick)

AGENTED BY | 165

WAXMAN LEAVELL LITERARY AGENCY REBECCA SHERMAN PREPARING & SUBMITTING Picture Book HOLLY ROOT Jared Chapman, PIRATE, VIKING, & SCIENTIST Middle Grade Matt Phelan, STORM IN THE BARN, AROUND THE Nancy J. Cavanaugh, THIS JOURNAL BELONGS TO WORLD, and BLUFFTON RATCHET; ALWAYS, ABIGAIL Dan Yaccarino, DOUG UNPLUGGED Victoria Schwab, The Archived & Everyday Angel Daniel Salmieri, DRAGONS LOVE TACOS series Melissa Sweet, FIREFLY JULY YA Selina Alko and Sean Qualls, THE CASE FOR Rae Carson, The Girl of Fire and Thorns trilogy LOVING CJ Redwine, Defiance trilogy Scott Magoon, THE BOY WHO CRIED BIGFOOT MARKET SURVEYS Rachel Hawkins, Hex Hall series and Rebel Belle and BREATHE series Nonfiction Christina Lauren, SUBLIME Andrea Davis Pinkney and Brian Pinkney, HAND- IN-HAND WRITERS HOUSE, INC. Middle Grade Jarrett J. Krosoczka, The Lunch Lady series JODI REAMER Grace Lin, WHERE THE MOUNTAIN MEETS THE

Picture Book MOON, STARRY RIVER OF THE SKY, and the Ling DIRECTORIES & RESOURCES Michelle Knudsen, LIBRARY LION & Ting series Brad Meltzer, Ordinary People Change the World series Dan Santat, BEEKLE and RICKY RICOTTA Middle Grade Michelle Knudson, DRAGON OF TRELIAN Lisa Yee, MILLICENT MIN and Bobby vs. Girls Accidentally series YA John Green, THE FAULT IN OUR STARS Stephenie Meyer, The Twilight Saga

Ransom Riggs, MISS PEREGRINES HOME FOR PUBLICIZING YOUR PUBLISHED WORK PECULIAR CHILDREN and HOLLOW CITY Kami Garcia, BEAUTIFUL CREATURES and UNBREAKABLE Tahereh Mafi, Shatter Me series Carolyn Mackler, THE EARTH, MY BUTT AND OTHER BIG ROUND THINGS and THE FUTURE OF US with Jay Asher Michelle Knudsen, EVIL LIBRARIAN Lisa Yee, THE KIDNEY HYPOTHETICAL

STEVEN MALK Picture Book Jon Klassen, I WANT MY HAT BACK

Marla Frazee, THE FARMER AND THE CLOWN SCHOOL VISITS Mac Barnett & Jon Klassen, EXTRA YARN Jon Scieszka & Lane Smith, THE TRUE STORY OF THE THREE LITTLE PIGS Sara Pennypacker & Marla Frazee, CLEMENTINE Kadir Nelson, HEART AND SOUL Middle Grade LEGAL QUESTIONS Adam Rex, THE TRUE MEANING OF SMEKDAY YA Jennifer Donnelly, A NORTHERN LIGHT Ruta Sepetys, BETWEEN SHADES OF GRAY Matt de la Peña, MEXICAN WHITE BOY

FREELANCE EDITORS DIRECTORY

CAROL BARKIN issues. For more details about her services and Client references at: www.publishersmarketplace. 47 Villard Avenue fees, visit her website. She is a frequent speaker at com/members/lbuccieri Hastings-on-Hudson, NY 10706 writing conferences with an expertise in plot and (914) 478-0612 story structure. If you would like a free copy of her NORA COHEN [email protected] article on classic story structure for the Children’s [email protected] Carol Barkin has been a senior editor at various Writers and Illustrators Market, just send an e-mail www.childrensbookediting.com publishing houses, including Lothrop, Lee & to the above address. Nora Cohen was a senior editor and managing Shepard, Prentice-Hall Children’s Books, and editor at G. P. Putnam’s Sons. She now Simon & Schuster Books for Young Readers. LISA ROJANY BUCCIERI runs a children’s book editing service, She has written numerous books with Elizabeth Editorial Services of Los Angeles ChildrensBookEditing.com, to edit, polish, and James, both fiction and nonfiction, and she 1543 Sycamore Canyon Drive evaluate manuscripts of both first-time and has been a freelance editor and book doctor for Westlake Village, CA 91361 experienced writers prior to their submission to more than fifteen years. Ms. Barkin offers a full (818) 707-1042 (phone & fax) publishers and literary agents. She also provides range of editorial and book-doctoring services [email protected] a packet of informational sheets about the from diagnosis to prescription and treatment, www.editorialservicesofLA.com publishing and submission process. At Putnam, from concise evaluation to detailed critique to www.absolutewrite.com/novels/lisa_rojany.htm Ms. Cohen worked with such award-winning developmental and line editing. She has extensive www.publishersmarketplace.com/members/ authors and illustrators as Tomie dePaola, Eric Hill, experience in critiquing and editing all genres of lbuccieri Catherine Stock, Rachel Isadora, Jan Brett, Margot children’s and young adult books, with a particular Lisa Rojany Buccieri is a publishing executive with Tomes, Diane Stanley, Lorinda Bryan Cauley, and interest in nonfiction for all age groups. Fees vary, twenty years of experience in the industry. Lisa Rafe Martin. Her editing and evaluating rates depending on length of manuscript and the kind has also written over a hundred children’s books are per manuscript page and vary for picture of work needed. For more information, contact Ms. and has been translated into many languages. books, easy-to-read books, chapter books, and Barkin; for e-mail, use “SCBWI editing query“ in She was lead author on Writing Children’s Books young adult novels. She also consults with the subject line. for Dummies 2nd Ed (Wiley, 2013) and cowrote publishers as a freelance editor. Please see her the New York Times best seller Fund Your Future ChildrensBookEditing.com website for specifics BONNY BECKER (Berkley, 2002) with Julie Stav. Her books have on rates and services, and contact her with any PO Box 15268 received various accolades, such as reaching questions. Seattle, WA 98115 #1 on the Publishers Weekly Bestseller List two (360) 597-3432 years in a row (Make Your Own Valentines, PSS!/ NANCY RAINES DAY [email protected] Penguin) and winning the American Bookseller’s 217 Villager Drive www.bonnybecker.com Pick of the List (Giant Animal Fold-Outs: Kangaroo St. Simons Island, GA 31522 Bonny Becker is the author of nine books & Company, PSS!/ Penguin). She was the VP (912) 634-9610 including picture books and novels from various and publisher of Americhip Books, and has been [email protected] publishing houses such as Simon & Schuster, editorial/ publishing director for Golden Books, Nancy Raines Day is the author of nine picture Dutton, Holt, and HarperCollins. She is an PSS!/ Penguin RandomHouse, Intervisual Books, books, many in rhyme, including the most recent, instructor for the Institute of Children’s Literature Gateway Learning Corp (Hooked on Phonics), and What in the World? Numbers in Nature (Beach and has been a freelance manuscript doctor and others. She charges by the hour for her editorial Lane, 2015). Her first title,The Lion’s Whiskers writing coach for over five years. Her clients services, depending on the length and state of (Scholastic,1995), was a New York Times Notable include published authors and beginners alike. the manuscript, negotiable on a sliding scale; Book. Nancy has helped her students from the Fees are $100 for a picture book and $200 for SCBWI members get a substantial discount. Instituteof Children’s Literature and fellow initial feedback on a novel, including plot, Extensive experience with self-publishing as well children’s authors polish manuscripts that have character development, voice, theme, and genre as traditional submissions. Free query letter edit. since been published. She has also worked as a 168 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org children, ranging from board booksand picture of award-winning and highly lauded books for Throughout her career, Emma haseditedhundreds Children’s Publishing. K. McElderry Books, imprints of Simon &Schuster Atheneum Booksfor Young Readers and Margaret of McElderry Books, and then VP, Publisher of retired, Emma became VP, Editorial Director Margaret K.McElderry Books. After McElderry and Random House, followed byaposition with long children’s publishing career beganatViking publishers, and eBookand apppublishers. Her illustrators, agents, foreign and domestic editorial and consultancy supporttoauthors, drydenbks LLC, through which she provides book editorial and publishing consulting firm, Emma DDryden isthe founder of the children’s pinterest.com/drydenbks/ www.facebook.com/drydenbks?ref=ts twitter.com/drydenbks emmaddryden.blogspot.com/ [email protected] www.drydenbks.com DRYDENBKS: EMMAD.DRYDEN per hour; feesfor writing services are negotiable. rate for editing and coaching isapproximately $60 authors inallgenres reach their fullpotential. Her specializes inhelping bothnew and experienced editing, creative coaching, and ghostwriting. She proposal evaluation, substantive editing, line of services for writers, including manuscript and the University of London. Ellenoffers arange holds amaster’s degree inEnglish literature from Canada, including the University of Michigan. She at numerous schools inthe United Statesand teacher. She hasbeenawriter-in-residence is currently aneditorial consultant and writing finest authors and illustrators inthe business, and Kindersley, she hasworked withsome of the Dial Books, Morrow Junior Books, and Dorling twenty years’experience asastaffeditorwith books for the trade and educational markets. With of the Year, aswellpicture booksand chapter The GlowStone Ellen Dreyer isthe author of the young adult novel www.ellendreyer.com [email protected] (973) 868-4396 Maplewood, NewJersey07040-1846 392 ElmwoodAvenue ELLEN DREYER e-mail, with“SCBWIMS DR”inthe subjectline. for amanuscript upto1000words. Contact her by help withqueryorcoverletters. Ratesare $100 copyediting for submission orself-publishing and she offers suggestions for revision aswell magazine editor. Specializing inpicture books, | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE , aBankStreet College BestBook have received awards and honors including: The nonfiction. Books acquired and editedby her from picture bookstonovels inversetonarrative and nonfiction children’s books ranging in format Catherine isthe editorof award-winning fiction Frank Editorial Services in2011. Orleans withher family and created Catherine working inManhattan, she returned home toNew Executive Editorthere. Afterelevenyearsof eventually rose through the ranks tobecome editorial assistant atViking Children’s Booksand and publishing. She beganher career asan consultancy specializing inchildren’s literature Editorial Services, LLC,which isaneditorial Catherine Frank isthe founder of Catherine Frank www.editedbycatherine.com [email protected] CATHERINE FRANKEDITORIAL SERVICES please visitwww.drydenbks.com. information, and completecontact information, submission guidelines and general pricing authors and illustrators, reviews and references, learn more aboutthe services drydenbks offers to encourages connection inthe social network. To and she shares information through and explores intertwined themes of lifeand writing, of Advisors. Her blog,“OurStories, Ourselves” eBook platform uTales; and onthe SCBWIBoard leader of the Editorial Quality Panel for picture long writer’sretreat for MGand YA authors; the faculty of “Your BestBook,”anannual week- the digital landscape, Emma isonthe permanent A highly sought-after speaker aboutcraft and Zelinsky. Colon, LeeBennett Hopkins, David Diaz, and Paul Karma Wilson,SusanCooper, AlanKatz, Raul whom Emma haseditedinclude EllenHopkins, and paperbacktitles. Authors and illustrators annual publication of overone-hundred hardcover fiction and fantasy. As publisher, she oversawthe books topoetry, novelties, non-fiction, MG,and YA approach to editing. information and tolearnmore aboutCatherine’s Please visiteditedbycatherine.com for additional for older readers, and middle grade and YA novels. edits picture booktexts, chapterbooks, nonfiction small presses, and the largest trade houses. She independent authors, agents, appdevelopers, Catherine works onawide variety of projects with Through Catherine Frank Editorial Services, Book Prize. Children’s BookAward, and the LosAngeles Times Times BestIllustrated Award, the Jane Addams Award, the CharlotteZolotow Award, the New York Boston GlobeHorn BookAward, the Golden Kite see websitefor more details and fees. You can YA novels, aswellcompletemanuscripts. Please and firstchapters for picture booksand MGand Pages isuniqueinthatitcritiquesthe firstpages others asaneditorial consultant and writer. F1rst Cavendish, Weekly Reader, Innovative Kids, and National Geographic, Santillana USA, Marshall markets. She hasalsoworked withScholastic, fairs aswelltrade and educational/library have gone into Scholastic bookclubsand book for Harcourt asaneditorial manager. Her books fiction—for Scholastic asan executive editorand over 150booksayear—amixof nonfiction and writers get their firststart.She haspublished unpublished authors and hashelped many new Robinson hasworked withbothpublished and With overtenyearsinchildren’s publishing, Eileen www.f1rstpages.com [email protected] (203) 709-0490 Seymour, CT06483 2 KlaridesVillageDrive, 183 F1RST PAGES: EILEENROBINSON Sag Harbor, NY11963 PO Box 839 EMMA WALTON HAMILTON her website. triplet sons. Formore aboutDeborah, check out in SanDiego, California, withher husband and such asparents, teachers, and librarians. She lives simultaneously toyoung readers and toadults and subjects, and develop stories thatappeal voices, synchronize age-appropriate language Deborah helps authors hone their storytelling editing ormore general substantive editing, book deals. By conducting word-by-word line published authors and writersseeking their first freelance edits fiction and nonfiction forboth including UCSD’sExtension Program. Deborah and awriting teacher for groups and institutions com, afrequent speaker atwritersconferences, of the popularwriters’advice websiteDearEditor. leaving towritefull-time. She isalsothe founder for Harcourt Children’s Booksfor tenyearsbefore Deborah editedpicture booksand teennovels Armed withamasters inAmerican literature, teen novels Writing Young Adult Fictionfor Dummies Deborah Halverson isthe award-winning author of www.deareditor.com www.deborahhalverson.com [email protected] DEBORAH HALVERSON word the abovee-mail address. (Note: the letter contact Eileenwithany additional questions at first isreplaced withthe number Honk IfYou HateMe and Big Mouth 1 and the .) i in the in the . FREELANCE EDITORS DIRECTORY | 169

Story: A Writer’s Alphabet. A former classroom copyediting in preparation for submission, and [email protected] PREPARING & SUBMITTING www.childrensbookeditor.com teacher, Esther has taught Writing for Children final polishing for self-publication. Rates are $50/ Emma Walton Hamilton is a best-selling children’s workshops in the University of Chicago’s Writer’s hour, with $100 minimum. Clients may send a book author, editor and educator. She has co- Studio since 2002 and at Chicago’s Newberry manuscript and get a free estimate of the total authored over thirty children’s books with her Library since 2001. She also proudly serves as hours required (please contact by e-mail first). mother, Julie Andrews, seven of which have been the Regional Advisor Emeritus of the Illinois Clients can set a limit on what they wish to spend. on the New York Times best-seller list, including SCBWI Chapter and recently concluded her two See website for more details. References available The Very Fairy Princess series (#1 NY Times elected terms of service on SCBWI’s Board of upon request. Bestseller), Julie Andrews’ Collection Of Poems, Advisors. Esther’s manuscript evaluations and Songs And Lullabies; Julie Andrews’ Treasury: editing suggestions reflect her teaching talents JACQUELINE HORSFALL Poems and Songs to Celebrate the Seasons; the as well as her personal investment in each 2683B Spencer Hill Road MARKET SURVEYS Dumpy The Dump Truck series; Simeon’s Gift; writer and his story. Her thoughtfully-worded Corning, NY 14830 The Great American Mousical and THANKS TO comments focus on the story and telling’s [email protected] YOU – Wisdom From Mother And Child (#1 New audience and format suitability, the elements of (Please email for initial contact, describing York Times Bestseller). Emma’s own book, Raising narrative (especially character, plot, voice and project and intended audience) Bookworms: Getting Kids Reading for Pleasure and scene creation), marketability and comparable www.amazon.com/author/ Empowerment, premiered as a #1 best-seller on literature. Extensive comprehensive notes jacquelinehorsfallbooks Amazon.com in the literacy category and won a precede and follow two-hour meet-ups via Jacqueline Horsfall is a writing instructor for

Parent’s Choice Gold Medal, silver medals from the phone, Skype or in person (if in the Chicago the Institute of Children’s Literature and the DIRECTORIES & RESOURCES Living Now and IPPY Book Awards, and Honorable area), ensuring the writer is able to move author of 20+ books and hundreds of magazine Mention from ForeWord Magazine’s Best Book of forward on his plotline informed, supported and pieces for both children and adults. She has the Year. Emma teaches children’s lit for Stony smarter. In a successful picture book, the writer been freelance editing for over 15 years, Brook Southampton’s MFA in Creative Writing offers concrete details from which the reader specializing in middle-grade novels and early and Literature Program, and serves as Director of draws life’s universal truths. Esther works hard readers, rhyming picture books, memoirs, and their Children’s Literature Fellows program and the so her comments do the same, so that from her general nonfiction, especially for writers who Southampton Children’s Literature Conference. She specific remarks about a specific manuscript, the plan to self-publish. Jackie also gives honest serves as Editorial Director for The Julie Andrews writer learns the tenets of writing for children yet gentle appraisals of manuscripts that have Collection publishing program, formerly with in today’s marketplace. Esther especially enjoys been repeatedly rejected by publishers. An Harper Collins and now with Little, Brown Books coaching new writers, helping them ready their initial $200 retainer covers 4 hours of appraisal/ for Young Readers, and is also an award-winning manuscripts for traditional or independent evaluation/critique. In-depth editing at $50/ freelance children’s book editor, providing editorial publishing while grounding them in today’s hour on a pay-as-you-go plan. Client may PUBLICIZING YOUR PUBLISHED WORK evaluations, line editing, and mentoring services. Children’s Book World. Line-editing is also terminate at any point. Edited book samples Among the many books she has edited are the available. Esther takes enormous pride in her available upon request. Moonbeam Children’s Book Award Gold Medalist clients’ writing strides and publishing successes. picture books Sunny Bunnies (Marjorie Blumberg) Visit www.estherhershenhorn.com/coach to read PAM GLAUBER and A Shovelful of Sunshine (Stacie Vaughn writers’ testimonials. Email [email protected] (203) 556-3751 Hutton) and the Mom’s Choice Gold medalist for a description of fees. [email protected] middle grade novel, Celtic Run (Sean Vogel.) For Pam Glauber is a freelance editor, copyeditor, more information, visit her website. EILEEN HEYES and proofreader. She was most recently an 7012 Tanbark Way editor at Holiday House, where she spent six ESTHER HERSHENHORN Raleigh, NC 27615 years acquiring and editing award-winning 222 E. Pearson St., #1108 (919) 848-3858 picture books, early readers, and middle-grade Chicago, IL 60611 [email protected] and young adult novels. She knows what it 312-255-1619 www.eileenheyes.com takes to work with an author to transform a

[email protected] A longtime member of the SCBWI, Eileen Heyes is well-conceived draft into a published book. SCHOOL VISITS www.estherhershenhorn.com/coach the author of three young adult nonfiction books While at Holiday House, she edited both Writing Coach Esther Hershenhorn has worked and two middle-grade mysteries, one of which fiction and nonfiction. Authors she has edited one-on-one with children’s book writers since was a finalist for a 2003 Edgar Award. Eileen has include Eric A. Kimmel, David Adler, Caroline 2000, helping them discover, craft and market worked as a newspaper editor from 1979 to the Jayne Church, Eve Bunting, Sue Macy, Bobbi their stories. Esther works with writers of all present. She has been a freelance copy editor Miller, Lee Bennett Hopkins, Saci Lloyd, and formats and genres, no matter where they are and content editor of books for Millbrook Press, Jane Cabrera. Her titles have earned the Bank LEGAL QUESTIONS in the writing or publishing process, utilizing Carolina Moon, and Crescent House. She reviewed Street Best Book of the Year award, the Sydney her writing, teaching and Children’s Book World children’s books from 1995 to 2002 for The News Taylor Honor, the ALA Notable Children’s Book knowledge and experience. Esther’s titles include & Observer (Raleigh, NC) and served as a judge selection, the IRA/CBC Children’s Choice award, the picture book and Sydney Taylor Book Award for the 2006 Juvenile Edgar Award. She conducts various Booklist Top 10 selections, and many winner Chicken Soup by Heart, the middle grade writing workshops and residencies for children state awards. She also acquired and edited novel The Confessions and Secrets of Howard and adults. Macro and micro services offered: Holiday House’s first paranormal romance and J. Fingerhut and Teacher’s Choice winner S is comprehensive manuscript analysis and critique, first steampunk novels, and she particularly 170 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org com book review journal ( and publishing her own online monthly children’s Review. Inthe fall of 2003,she beganediting Literature, kidsreads.com, and Midwest Book book review websites. These include Children’s books for several yearsfor anumber of children’s Marya Jansen-Gruber hasbeenreviewing children’s www.childrensbookws.com [email protected] (541) 552-0753 Ashland, OR97520 1380 N.MountainAvenue MARYA JANSEN-GRUBER details. Rush jobsare not aproblem. In ahurry? Contact David via e-mail withproject for free, toensure agood writer-editormatch. first chapterorfewpages ofa manuscript members. Further, David ishappytocritique the website. Discounts offered tofellowSCBWI and writing samples, are availableonDavid’s consistency). More information, including rates writing (e.g. voice, style, story, characterization, would-someone-want-to-read-this structure of paragraph arrangement) and the high-level why- of writing (e.g. grammar, spelling, sentence/ analytical eyetoboththe low-levelmechanics technical background, David brings akeen at making good writing great. Withanextensive from picture bookstoyoung adult, David excels Having editeddozens of manuscripts ranging g-revisions.com [email protected] (518) 225-2133 Delanson, NY12053 475 Weaver Road G-REVISIONS: DAVID E.GOLDSCHMIDT, PHD gmail.com books). Pleasecontact Pam at hour free (new clients only;excludes picture Her rate for manuscript editing is$50/hour, first picture editing), line editing, and copyediting. evaluation, developmental editing (broad, big- Editing services include manuscript and proposal the fulfilment of seeing thatworkpublished. over producing hisorher bestwriting and Pam enjoyssharing anauthor’s excitement She isnow raising ayoung reader of her own. has expertise asaprofessional balletdancer. University. She isalsoproficient inSpanishand professional certificateinediting from New York BA inEnglish from Cornell University and a conferences around the country. She holds a spoken atvarious SCBWIand regional writing contemporary fiction, and nonfiction. Pamhas enjoys editing historical fiction, fantasy, | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE ). Inaddition toreviews of children’s books todiscussyourdeveloping piece! www.lookingglassreview. pam.glauber@ manuscript editing and evaluation services. In launching her journal, Marya begantooffer writers many topics, author profiles, and more. Soonafter of allgenres, the journal includes features on best-selling picture book including the award-winning and She isthe author of forty booksfor young readers, publishing industry for more thanfifteenyears. Michelle Knudsen hasworked inthe children’s [email protected] www.michelleknudsen.com MICHELLE KNUDSEN website orcontact her bye-mail. classes. Formore information, pleasevisither She alsooffers editing services, mentoring, and critiques bothfiction and nonfiction manuscripts. years of writing experience. Ms. Jansen-Gruber degree from Oxford University and hashadmany for aEuropean publisher. Ms. Jansen-Gruber hasa ebooks for children, and haseditedapicture book the lastfewyears, Marya haswrittendozens of and more. She hasalsobeenanelementary Choose Your Own Adventure, The Saddle Club, popular series such asEncyclopedia Brown, Adult fiction, nonfiction, and oversaw many acquired and editedmiddle-grade fiction, Young Dell (Random House). As asenior editor, she at Simon &Schuster and Bantam Doubleday Managing Editorand rose through the ranks (NAL) asaneditorial assistant tothe Executive began her career atNew American Library publishing for nearly twenty-five years. She Susan Korman hasbeenworking inbook korman/18/9b2/793 www.linkedin.com/pub/susan- www.susankorman.net [email protected] 215-295-7503 Yardley, PA 19067 101 ShelleyLane SUSAN KORMAN directly atthe address listedabove. current rates and availability, oremail her fantasy novels. Pleasesee her websitefor her are picture books, beginning readers, and genres and age levels, although her specialties offers afullrange of editing services for all at GothamWriters’Workshop inNYC.Michelle She hasalsotaught children’s bookwriting on various children’s and educational projects. to workwithindividual and corporate clients best-selling Junie B. Jones series and continues Publishing, she wasthe editorof Barbara Park’s a full-time editoratRandom House Children’s books tobeginning readers and novels. Formerly written everything from board booksand activity Library Lion New York Times , and has , and has including references, orcontact her bye-mail. Please visither websitefor more details, projects, aflatfee may bearranged inadvance. Susan’s rates are $50perhour. Formany proofreading, and manuscript critiques. editing, e-bookconsultation, writing, rewriting, services include line editing, developmental to locatethe stories they want totell.Her strength asaneditorlies inhelping them She enjoyscoaching writersand believes her reluctant readers. to nonfiction and two Young Adult novels for books tostories basedonlicensed properties books for children; these range from picture Publishing. She isthe author of more thanforty Running Press, Random House, and Lerner HarperCollins, Simon &Schuster, Readers Digest, of writersaswellpublishers such as As afreelancer, Susanhasworked withhundreds for children. that creates leveledanimated stories and apps a senior editorfor school librarian and currently workspart-time as aboutandcontact/ http://www.semadarmegged.com/ and testimonials pluscontact information on on http://www.semadarmegged.com/services/ of whatto expect from the process. Find rates find detailed explanations inwords and pictures com/picture-book-development/, where you’ll book dummies visithttp://www.semadarmegged. To understand her method of coaching picture and other publishers since the early90s. a freelance jacket designer for New Directions first US picture book.Inaddition, she hasbeen Liwska’s firstpicture bookand AleBarbain her to nurturing debut talents including Renata Ted Lewinand Patricia Polacco, inaddition Ed Young, David Small, Eric Carle, Loren Long, Book Show and Society of illustrators) including Best Illustrated Children’s Books, The New York Times BestSellersList,The New York Times and authors (Caldecott Medal, The New York with award-winning and best-selling illustrators Random House Semadar hasworked closely Over the yearsatvarious imprints of Penguin fully developed dummy withfinal artsamples. illustrators from preliminary rough sketches toa development, coaching illustrators and author- one-on-one in-depth picture bookdummy designer toher independent studio, offering experience asanartdirector and picture book Semadar Megged brings overtwenty yearsof www.semadarmegged.com [email protected] 5 EastThirdStreet#2,NewYork, NY10003 SEMADAR MEGGED www.littlefox.com , awebsite FREELANCE EDITORS DIRECTORY | 171

ANNA ORCHARD and a New York Times Best Illustrated Children’s children’s publishing for authors, illustrators, PREPARING & SUBMITTING www.anagrameditorial.com Book. and others. And he is the author of The Complete [email protected] She loves collaborating with authors and Idiot’s Guide to Publishing Children’s Books. He After working in publishing, at bookstores, and illustrators, helping to identify a work’s strengths performs a range of editorial services, from with authors around the country, Anna founded and weaknesses, and ensuring that an author or critiques to developmental editing and beyond. Anagram Editorial, an editorial and research illustrator’s vision is shining through from start Full details of services, rates, and availability service for a variety of manuscript and content- to finish. Whether you are an author, illustrator, (he may be busy with long-term projects) can strategy needs. At Scholastic, Anna acquired and agent, or publisher, she is available for a range of be found at the page listed above. He asks that edited middle grade, young adult, nonfiction, and editorial services for children’s and young adult you review the information on his site before fiction novels. She has consulted for authors such projects, including critiques; detailed editorial contacting him by e-mail with a description of as Patricia McCormick and Paul Griffin, spoken on feedback; developmental and line editing; query, your project. panels for aspiring writers at The New School and synopsis, proposal, and copy review; as well MARKET SURVEYS Stony Brook, and currently serves as US Event as consultation and coaching. Julie also has WENDY WAX Planner and Brand Consultant for the Roald Dahl experience as a speaker and presenter for a variety PO Box 218 Estate. Collaborating with Penguin, the Estate, of conferences, panels, and workshops. To learn Remsenburg, NY 11960 and creative businesses across the country, Anna more about the editorial services Julie offers, see [email protected] produces high-quality, brand-orientated events some of the books she’s edited, read testimonials, www.wendywax.com with an eye toward long-term strategy for the late and request a free project estimate, please visit Wendy Wax wears many hats in children’s

author’s estate. www.juliescheina.com. Standard editorial fees publishing as editor, author, illustrator, and DIRECTORIES & RESOURCES Editing services include proposal evaluation, start at $95/hour; flat fees are available in some consultant. She was a senior editor at Parachute developmental and line editing, and extensive cases. Publishing, an executive editor at Byron Preiss editorial notes. Research services include exploring Visual Publications, and a freelance editor at topics for fiction and non-fiction projects as TINY TALES EDITING: AMY BETZ Simon & Schuster Books for Young Readers. well as agencies and houses best suited for your www.tinytalesediting.com Wendy has written numerous children’s books, submission. There’s little Anna enjoys more than [email protected] including City Witch, Country Switch (Marshall working with imaginative and passionate writers [email protected] Cavendish), Even Princesses Go to the Potty, to figure out tricky plot points and character As a professional children’s book editor for over Even Firefighters Go to the Potty (Little Simon), development. Whether crafting marketing and twenty years, Amy Betz’s passion is collaborating Bus to Booville (Grosset & Dunlap), A Very Mice brand strategies, or sculpting a manuscript into a with authors. Whether you are looking for editorial Christmas (HarperFestival), and Renoir and tight piece of literature, Anna enables creativity, feedback on a completed manuscript or need help the Boy with the Long Hair (Barrons). With pushes for the highest quality, and brings your with further development of an idea, Amy will a BFA in graphic design and experience as a PUBLICIZING YOUR PUBLISHED WORK idea to life. She holds certificates in editing from provide an honest and constructive assessment, collage artist (having illustrated three of her New York University and a BA with highest honors including line editing and a detailed editorial books), Wendy brings unique, visual thinking in English Literature from Lehigh University. letter. From picture books to young adult novels, to picture book consultations. Wendy offers fiction and nonfiction, she can help you craft a a full range of editorial services, including JULIE SCHEINA EDITORIAL SERVICES book that will engage your readers. manuscript consultations (picture books, middle www.juliescheina.com In her role as Senior Editor at Scholastic and grade fiction, nonfiction), editing, rewriting, [email protected] Disney, Amy Betz worked with award-winning critiquing, project development, proposal www.twitter.com/juliescheina and best-selling authors and illustrators such as writing, and proofreading. An initial $200 www.facebook.com/JulieScheinaEditorialServices Joanna Cole, Edwidge Danticat, Bruce Degen, fee covers four hours of evaluation, critique, publishersmarketplace.com/members/JulieScheina Walter Dean Myers, Mary Pope Osborne, and editorial suggestions, and creative examples and instagram.com/juliescheina Cynthia Rylant. ideas for revisions. $50 for additional hours. linkedin.com/in/juliescheina She has received the Golden Kite Editor Award, Find out more: www.wendywax.com. pinterest.com/juliescheina was a mentor at the Northern New England SCBWI

Julie Scheina is a freelance editor of children’s Writers’ Retreat, and has spoken at numerous JIM WHITING SCHOOL VISITS and young adult fiction with in-depth professional children’s literature conferences. Jim Whiting publishing experience. As a senior editor at Little, Visit tinytalesediting.com to learn more. 13881 John St. NE Brown Books for Young Readers, she had the Bainbridge Island, WA 98110 pleasure of working with talented authors and HAROLD UNDERDOWN 206-295-0337 artists on books for ages 0–18+ in a variety of (917) 656-7683 [email protected] genres, from picture books and poetry collections [email protected] www.jimwhiting.com LEGAL QUESTIONS to middle grade and young adult novels. During www.underdown.org/pced.htm Jim Whiting has an especially versatile background her career, she has edited numerous acclaimed and Harold has worked for almost twenty years in publishing. He has written more than 160 bestselling books for children and teens, including in children’s publishing, both as an editor children’s nonfiction books and edited well over #1 New York Times bestsellers, a Lamda Literary with houses such as Macmillan, Orchard, and 200 titles. He has worked with picture book, Award finalist, a William C. Morris Young Adult Charlesbridge and as a freelance editorial chapter book, middle grade and YA authors. He Debut Award finalist, an Andre Norton Award for consultant. He runs The Purple Crayon (www. emphasizes maintaining the authorial voice while Young Adult Science Fiction and Fantasy nominee, underdown.org), a website with information about gently suggesting improvements. He’s also a 172 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE Debra Mostow Zakarin hasbeenachildren’s www.ZoitMedia.com [email protected] (310) 804-5545 Los Angeles, CA90272 17151 Palisades Circle Zoit Media,Inc. DEBRA MOSTOW ZAKARIN helping you! guarantee astronger manuscript. We lookforward to We cannot guarantee asale; westrivewithyouto details before submitting work.WritersInkMotto: invoice through PayPal. Pleasee-mail for other 5 pages add $8perpage. WIacceptschecks orcan appropriate). Fees:Up to5pages $75.More than notations, and suggestions for marketing (when SERVICE includes awrittencritiquewithmanuscript the SCBWIBoard of Advisors. WRITERSINKCRITIQUE Both Stephanie and Judy are Emeritus members of edited “Totally Fox Kids,” achildren’s magazine. served asfreelance editorsfor BoydsMillsPress and books. As partof their publishing experience, they lists and were Children’s Choice and Parents’ Choice End? Badd Babies Principessa! from picture bookstoYA. Titlesinclude: INK and co-authors of over35published books AKA Jeffie RossGordon are partners inWRITERS Judith RossEnderle and Stephanie Jacob Gordon [email protected] *www.writersinkville.com 818-851-9629 Agoura Hills, CA91301 29915 RainbowCrestDrive STEPHANIE JACOB GORDON/WRITERSINK www.writersinkville.com [email protected] * 360-306-5438 Bellingham, WA 98226 3646 Woodlake Road JUDITH ROSSENDERLE/WRITERSINK and turnaround time. Please contact Jimfor information regarding rates official photographer for the Antarctica Marathon. Evening Post school newspaper, light verseinthe quality control, advising anAll-American high Island Review, e-commerce writing, editing and zoology, astint assportseditorof the Bainbridge scores of freelance credits ranging from antiques to the firstpiece of original fiction inRunner’s World, Runner as editor/publisher for award-winning Before turning tochildren’s literature, Jimserved fanatical fact-checker and painstaking proofreader. (Scholastic). Their bookswere onstatereading magazine for 17years. Other credits include (Simon and Schuster/McElderry), (BoydsMillsPress), and other magazines, and acting as

Will Third Grade Ever Will ThirdGradeEver Saturday Saturday Northwest Northwest Smile, Two Two domestic and international publishing atUniversal She wasaneditoratScholastic, the director of publishing executive for twenty-five years. upon request. See websitefor more details. References available and goals intact. encouraging, whilealwayskeeping the writer’svoice on-one attention thatisinsightful, honest, and very hard toget them there. She provides one- about the success of her clients—and working professionalism, Debra is known for trulycaring in the marketplace and aconsummate, friendly consultation. Withakeen eyefor what works discount aswellaone-hour phone orSkype services, and offers SCBWImembers asignificant Debra charges bythe hour for her various editorial houses. Schuster, Random House, and many other publishing Dunlap, Golden BooksPublishing Company, Simon & Penguin Putnam Booksfor Young Readers, Grosset & Scholastic, Little, Brown Booksfor Young Readers, seventy-five booksthathavebeenpublished by hundreds of titlesand haswrittenwellover Piggy Toes Press. She hasdeveloped and edited Studios, and the publisher atIntervisual Books/

A-Z GUIDE TO PUBLISHING IN THE DIGITAL WORLD

By Jaimie Engle

n today’s digital marketplace, it seems everyone is writing a book. With the ease of publishing through print-on-demand platforms, publishers are pop- I ping up like acne on a teenager, and some of them are just as puss-filled. So what’s an aspiring author to do? Some things are easy to figure out, like thst you don’t EVER work with a publisher that is charging you for ANY service, be it editing, marketing, or buying books prior to print. Others are harder to read, hidden behind fancy promises, compliments, and vague contracts.

CAVEAT EMPTOR If you look at your cover and it doesn’t look like it can sit side by To be on the safe side, you want to investigate an independent side with books on the NY Times Bestseller’s list, then why bother? publisher before you submit. You can check their website to see who Why would you want to produce a sub-par product? All that does is they have published, where, what awards they’ve acquired, and other saturate the market and drive down prices. If you haven’t invested in information such as how long they’ve been in business (usually given a professional editor, your book gives every indie published book a away by the date at the bottom of their website). Other places to check disadvantage, especially those authors who have invested time and out are: money to be professional. To Publish or Not to Publish Absolute Write – This is the “water cooler” of the writer’s world. When making the decision to become your own publisher, you must Everything you need to know is discussed here. http://absolutewrite. understand one hard fact: you are opening a business. I know, catch com/forums/activity.php your breath . . . breathe in, breathe out. Whether you like it or not, Writer Beware – Another must is Writer Beware, a place to discover you are now an entrepreneur of a fabulous new company that sells literary scams, schemes and pitfalls. This site is sponsored by the a product. This product is your book. If you have an entrepreneurial Science Fiction & Writers of America. http://accrispin.blogspot.com/ spirit, you will find a most rewarding and challenging experience awaits you. If not, you may waste a lot of time and money for disappointment. LET’S LOOK AT THE MATH The truth is that you must hustle and sell your book, regardless of your On average, a paperback book selling for $9.95 on Amazon will net status with a big house, small press, or self-published venue. Most the author $1.75 in royalties. An ebook can earn nearly twice as much businesses fail within the first year, so you have to know that you must (and cost zero dollars to publish). So let’s say you earn $3.00 per book. work your business for a solid year before you should expect to see a The average indie author can expect to sell 50 copies of their book over profit. You must be willing to: the lifetime of the title. At two bucks a pop, you’re looking at expecting to make a whopping $150.00 on your book. An author working their Put in 40-60 hours a week working toward building a client base business every day can expect to sell nearly 600 a year, which is still Study the industry just $1800.00 . . . per year. Generate leads Yes, you can increase your sales price to increase your profit, but if Service your customers (fans) the competition, whose name the consumer already knows, is selling Invest to grow a similar book for under $10, then you’d better be close in price to compete. Keep in mind: You must purchase sales tools such as business cards, postcards, Your book production must be equal to the Big 5 publishers to posters, marketing freebies, and books in advance to giveaway. Books include professional editing, cover and interior formatting. on hand will always sell faster than books that must be ordered. You must invest in your book, just like a publisher because you ARE Bottom line, you will become the publisher, distributor, sales force and the publisher. marketing/publicity team, in addition to the creative writer and editing 174 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DIGITAL WORLD THE IN A-Z TOPUBLISHING GUIDE followers. 50% ormore) from these followers versesFacebook fans orTwitter for yourmailing list.You canexpect ahigher conversion rate (upto available tosellorgiveaway. stuffed animals, coloring pages, and other items related toyourbook highlight afewideas: results everytime. Icouldwriteanentire bookonmarketing, soI’lljust market yourbookeffectivelytothe right audience withthe desired to the literary community. Once youfigure that out,youcanbeginto and organic process thatisbestdescribed asyouruniquecontribution important thing youcando istocreate yourbrand. Thisisacomplex product: yourbook. It’s time toshare itwiththe world. The most WHAT NOW? insurance ($600peryear). will need toget fingerprinted through the state($100)and apply for fined hefty fees. And ifyouare planning on doing author visits, you sales taxonallbookssales, which youwillneed topayquarterly orbe before submitting Awards &Contests Book launch less than$10 Reviews much higher ifincolor Books education management, social media funneling, subscriptions, continued Promotional tools swag for giveaways, postcards, etc. ($50-$100amonth average) cards, website, sellsheets (amust have!),booktalker, booktrailer, Marketing material an artist(average $350) Cover Copyright Barcode ISBN Formatting Editing expect topayself-publishyournovel: READY, SET, GO! year and take twice aslong tomake aprofit. an income next quarter. Remember, most businesses fail intheir first today willpayoff inthree months, soifyoustopnow, youwon’thave But you have tocontinuallywork your business you alone made ithappen,pushes youthrough tothe next milestone. publicity worksand doors open,the feeling of knowing thatyouand brain workthatmakes creative thinking more difficult; however, when become aformatter, coverdesigner and booking agent. It’s tireless, left pro youare already. You must also—depending onyourbudget— Collect names ateveryevent youattend. They willbecome the base People loveswag,sohavestickers, candy, bookthemed jewelry, Congratulations! You’ve opened abusiness and haveyourfirst You willalsoneed toapplyfor astatesalesand usetaxIDtocollect Here’s abreakdown of the publishing process and whatyoucan : Free-$25 : $25-?depending onwhere youget the image orifit’screated by : $2.50-$6.00for print-on-demand, basedoff page count and : $550-$1500depending onquality of draft : $25 : Varies, butshouldn’t bemore thanthe price of abookand : $35 : $200-$300 : From $50-$500,depending : Ongoing and monthly feesfor newsletter : Varies and should beresearched for reputation : Ongoing feesfor bookmarks, stickers, business . The workyoudo As achild,shewassucked intoastorybookandhasbeenwriting ever happen! the ones who make itnever gaveup.Now get outthere and make it who prey off author’s dreams of being published. Finally, remember that and the industry toeducate yourselfand avoid the many scamartists and investigate everything for yourself.Bevigilant. Study the market author, no matter whatsome blogsmay promise. You need tobesmart independent publishing thatwillmake youanovernight best-selling There isno magic formula. Nor isthere aone-size-fits-all approach to Be assertiveand thinkoutside the box. novellas thatexpand yourcharacters oryourstoryworldfor yourfans. translations, television, film,stage, bookclubs, foreign publishers, and marketplace and become anexpert inthatarea. apart from the pack?Find thatniche thatmakes youspecial inthe your brand. Ifeveryone isselling abookthese days, whatsetsyou bank account and taxID,asalegalentity. sure toputmoney backinto yourbusiness, which should haveitsown Twitter |InstagramFacebookPinterestSnapchat@jmebooks Agency. Learnmoreat com. and offers freewritingtipsfor aspiringauthorsat at conferences, colleges, andelementaryschoolsthroughoutthecountry, because wordshavepower. Jaimieteacheswritingandmarketing classes since. Herpassionisspeakingtokidsaboutwritingandsocialissues, Jaimie Engleisanaward-winningchildren’s bookauthorfromFlorida. Don’t forget, itwilltake hard workand perseverance tofind success. Consider additional products inyourline such asaudiobooks, Find social issuesinyourbookthatyoucanusetoestablish Spend aslittlepossible. Weigh youroptions and setabudget. Be She isrepresentedbySaritzaHernandezof theCorvisieroLiterary www.jmebooks.com.

www.awriterforlife. COPYRIGHTBOOK PRODUCERS FACTS FORDIRECTORY WRITERS

ook producers, also known as book packagers, provide all the services necessary for publication except sales and order fulfillment. Many traditional B publishers hand over the production process of complex books that involve a large volume of reference work, illustrations and/or deal with a specific subject in great detail to book producers.

Most book producers, especially in the juvenile book market, cater In this directory, you will find information about book producers to reference books and information books (nonfiction). Some book in the USA and UK who have expressed interest in working with producers also produce series fiction, novelty books and commercial freelancers—both illustrators and writers. At the end is a list of recent merchandise based on popular books. statuses from other production houses on their submission policies. Book packagers conceive and pitch a project to publishers who would be When you are writing to a book producer, please do not fail to review interested in the project. In some cases, publishers would have a specific and follow the recent guidelines on the company websites. You can also idea in mind and would shop around for the best possible book production find more details atwww.abpaonline.org . house that can take the project from concept to finished product.

BECKER&MAYER PROJECT SUBMISSIONS: Yes; Novelty nonfiction only. PREFERRED METHOD OF CONTACT: Regular Mail. 11010 Northup Way Bellevue, SPECIALTIES: Novelty Non-fiction QUERY LETTER: Proposal. WA 98005 AGE-GROUP: Ages 0-6 425-827-7120; Fax 425-828-9659 FICTION/NON-FICTION: Non-fiction only CHARLES DAVEY LLC, BOOK PRODUCTIONS [email protected] ASSIGN PROJECTS TO FREELANCERS: Yes 2 Deertrack Lane CONTACT: Beth Lenz SERIES BOOKS/SINGLE TITLES: Both Irvington, NY 10533, USA. PROJECT SUBMISSIONS: No. PREFERRED METHOD OF CONTACT: Emai/Regular 914-231-5120 SPECIALTIES: Non-fiction mail. [email protected] AGE-GROUP: Ages 7-12 QUERY LETTER: Detailed description of the CONTACT: Charles Davey FICTION/NON-FICTION: Non-fiction only project history of previously published work PROJECT SUBMISSIONS: Not generally. ASSIGN PROJECTS TO FREELANCERS: Yes experience SPECIALTIES: mostly educational, some trade SERIES BOOKS/SINGLE TITLES: Both PAYMENT: Flat Fee Illustrated books in art and sciences PREFERRED METHOD OF CONTACT: Email. AGE-GROUP: Grades K-12 QUERY LETTER: Examples of nonfiction writing, CADER BOOKS FICTION/NON-FICTION: Mostly non-fiction published work and art portfolio. 2 Park Place, #4 ASSIGN PROJECTS TO FREELANCERS: Yes PAYMENT: Flat Fee Bronxville, NY 10708 SERIES BOOKS/SINGLE TITLES: Both Fax: 914-961-6946 PREFERRED METHOD OF CONTACT: Email BROWN WELLS & JACOBS www.caderbooks.com QUERY LETTER: Writing samples - art through Foresters Hall, 25-27 Westow Street PROJECT SUBMISSIONS: No. e-mail or website London SE19 3RY, United Kingdom SPECIALTIES: Licensed Characters, PAYMENT: Usually Flat Fee +44 208-771-5115; Fax +44 208-771-9994 Merchandising [email protected] AGE-GROUP: All www.bwj.org FICTION/NON-FICTION: Mostly Non-fiction CONTACT: Graham Brown ASSIGN PROJECTS TO FREELANCERS: Yes 176 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org AGE-GROUP: learning, from birthtoage 12 SPECIALTIES: PROJECT SUBMISSIONS: Norwalk, CT06854 18 AnnStreet innovativeKids INNOVATIVE KIDS PAYMENT: original, unedited manuscripts) offered, aresume and samplesof work(artor QUERY LETTER: PREFERRED METHODOFCONTACT: SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: FICTION/NON-FICTION: AGE-GROUP: libraries SPECIALTIES: PROJECT SUBMISSIONS: [email protected] 312-829-5456; Fax312-275-7141 Chicago, IL60607-2148 Suite 203 1000 W. Washington Blvd. EDITORIAL DIRECTIONS,INC. FICTION/NON-FICTION: SPECIALTIES: PROJECT SUBMISSIONS: [email protected] +49-30-31 51770;Fax23 Germany D- 10625Berlin Leibnizstrasse 33 Peter DeliusVerlag GmbH&CoKG DELIUS BOOKPACKAGERS PAYMENT: QUERY LETTER: mail. PREFERRED METHODOFCONTACT: SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: FICTION/NON-FICTION: AGE-GROUP: SPECIALTIES: illustrators) PROJECT SUBMISSIONS: CONTACT: www.davidwestchildrensbooks.com [email protected] 9313 +44 (0)2087803836;Fax: London, SW151AZ,UnitedKingdom 7 PrincetonCourt,55FelshamRoad DAVID WESTCHILDREN’SBOOKS | DIRECTORY PRODUCERS BOOK LynnLockett FlatFee FlatFee Ages 0-12 Grades Kto 12 Ages 8-13 everyday playand extraordinary Nonfiction for schools and Fiction and non-fiction Illustrated reference books Work History. A brief description of services Both Mostly Non-fiction Yes. No. No. Yes (authors and Non-fiction only Both Both Email or Email Yes Yes SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: FICTION/NON-FICTION: negotiation). PAYMENT: chapters together withaSASE. what isoffered. Include synopsis and two stance and imprints and precise details about QUERY LETTER: Regular mail. PREFERRED METHODOFCONTACT: SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: for children. Non-fiction only for adults. FICTION/NON-FICTION: AGE-GROUP: SPECIALTIES: two samplechapters. PROJECT SUBMISSIONS: CONTACT: [email protected] 302757 +44 (0)1865302750;Fax(0)1865 Oxford OX27DH,England Mayfield House, 256,BanburyRoad LION HUDSONPLC PAYMENT: record writing for educational publishers QUERY LETTER: PREFERRED METHODOFCONTACT: SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: FICTION/NON-FICTION: students) AGE-GROUP: guides, workbooks, student materials, etc. educational publishing clients like teacher’s SPECIALTIES: PROJECT SUBMISSIONS: CONTACT: [email protected] 732-892-4994; Fax732-892-2212 Pt. PleasantBeach,NJ08742 802 CedarAvenue JUMP START PRESS PAYMENT: educational formats. formats thatwilllend themselves tointeractive, non-fiction) aswellproposals for new book We consider manuscripts (bothfiction and QUERY LETTER: PREFERRED METHODOFCONTACT: Kate Leech Mary Pearce FlatFee Royalties orFlatFee(by FlatFee Grades Kto6(teachers and All Instructional materials for Christian Religious titles QueryLetterorManuscript. Indicate familiarity withour Evidence of aproven track Both Fiction and non-fiction Non-fiction only No. Yes withsynopsis and Both Single Project-based Regularmail Email or Email Yes Yes Yes CONTACT: [email protected] 416-923-5027; Fax416-923-9708 Toronto, Ontario,CanadaM4W2K2 1000 Yonge Street,Suite200 MADISON PRESSBOOKS PAYMENT: QUERY LETTER: PREFERRED METHODOFCONTACT: SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: some fiction FICTION/NON-FICTION: AGE-GROUP: SPECIALTIES: PROJECT SUBMISSIONS: CONTACT: [email protected] 612-338-2075x102;Fax612-338-4817 Minneapolis, MN55402 10 S.5thSt.,Suite1105 MIGHTY MEDIA in the published work. PAYMENT: only. sense of the marketplace. Samples-highlights published, anote of special areas of interest, a QUERY LETTER: PREFERRED METHODOFCONTACT: SERIES BOOKS/SINGLETITLES: ASSIGN PROJECTSTO FREELANCERS: fiction. FICTION/NON-FICTION: AGE-GROUP: titles, tonon-fiction. from board books, through fiction and novelty SPECIALTIES: plans. a project to“fit”withthe publisher’s existing with. However, itisrare inthe mass market for sent in,wewillshow ittopublishers wedeal from concept. Occasionally, ifagood project is PROJECT SUBMISSIONS: CONTACT: [email protected] +44 (0)1508491111 Norwich, Norfolk NR147UREngland Framingham EarlRoadYelverton The BrewHouse PO Box 215 NICOLA BAXTER FICTION/NON-FICTION: AGE-GROUP: SPECIALTIES: PROJECT SUBMISSIONS: OliverSalzmann Pam Scheunemann Nicola Baxter FlatFee FlatFee. Work willbeacknowledged Grades Kto6 Ages 0-14 Ages 6-13 Non-fiction Allmass-market children’s books Non-fiction, reference Info aboutthe person’swork Detailsof previous work Mostly non-fiction, but Non-fiction Only No. We produce books No. 0-8 fiction 0-14 Non- Both Both Email ormail Email. Yes Yes BOOK PRODUCERS DIRECTORY | 177

popups, flaps etc) and lots of artwork. Text no ORPHEUS BOOKS LTD PREPARING & SUBMITTING 6 Church Green more than 700 words. No poetry. We publish Witney, Oxon OX28 4AW, England. under Tango Books in the UK and produce (+44) 01993 774949; Fax (+44) 01993 international co-editions. 700330 SPECIALTIES: Multi-cultural; historical subjects; [email protected] concept books; fun and humorous fiction CONTACT: Nicholas Harris AGE-GROUP: Ages 0-8 PROJECT SUBMISSIONS: Only from illustrators. FICTION/NON-FICTION: Non-fiction only Detailed, realistic non-fiction subjects only, ASSIGN PROJECTS TO FREELANCERS: Yes especially figures. SERIES BOOKS/SINGLE TITLES: Both SPECIALTIES: All subjects PREFERRED METHOD OF CONTACT: Email MARKET SURVEYS AGE-GROUP: Ages 3-12 preferred. FICTION/NON-FICTION: Non-fiction only QUERY LETTER: Synopsis or entire text ASSIGN PROJECTS TO FREELANCERS: Only to PAYMENT: Flat Fee illustrators SERIES BOOKS/SINGLE TITLES: Both VICTORY PRODUCTIONS, INC. PREFERRED METHOD OF CONTACT: Email 55 Linden Street QUERY LETTER: Art portfolio. Worcester, MA 01609

PAYMENT: Flat Fee 508-755-0051; Fax 508-755-0025 DIRECTORIES & RESOURCES [email protected] PARACHUTE PUBLISHING, L.L.C. www.victoryprd.com 156 Fifth Avenue, Suite 302 CONTACT: Victoria Porras New York, NY 10010 PROJECT SUBMISSIONS: No 212-691-1421; Fax 212- 647-9650 SPECIALTIES: Victory develops, writes, CONTACT: Susan Lurie designs, and composes leveled readers for both PROJECT SUBMISSIONS: Query letters only struggling and ESL readers for many educational SPECIALTIES: Fiction publishers. Additionally, we develop K–12 AGE-GROUP: Middle-grade, tween, teen basal and supplementary materials across the FICTION/NON-FICTION: Both curriculum. ASSIGN PROJECTS TO FREELANCERS: Yes AGE-GROUP: pre-K to College Level

SERIES BOOKS/SINGLE TITLES: Both FICTION/NON-FICTION: materials for classrooms PUBLICIZING YOUR PUBLISHED WORK PREFERRED METHOD OF CONTACT: Query letter that teach both fiction and non-fiction. by post Assign projects to freelancers: Yes QUERY LETTER: Information about author’s SERIES BOOKS/SINGLE TITLES: Both previous works, details about project (if PREFERRED METHOD OF CONTACT: Email. proposing one), one chapter as attachment. QUERY LETTER: Resume PAYMENT: Royalties or Flat Fee (depending on PAYMENT: Flat Fee project)

SPICE BOX 1627 Ingleton Avenue Burnaby, British Columbia, Canada V5C 4L8 001 6042912662; Fax 001 6042912672

CONTACT: Mark Batt SCHOOL VISITS PROJECT SUBMISSIONS: No SPECIALTIES: Activity, Coloring and Novelty AGE-GROUP: Ages 0- FICTION/NON-FICTION: Non-fiction only

TANGO BOOKS LEGAL QUESTIONS PO Box 32595 London W4 5YD, United Kingdom +44 208996 9970; Fax +44 208996 9977 [email protected] CONTACT: Sheri Safran PROJECT SUBMISSIONS: Yes. Books must lend themselves to novelty elements (touch-and-feel,

BOOK REVIEWERS DIRECTORY

compiled by Jim Averbeck

his directory is intended to help SCBWI members market their published work to readers by getting their books reviewed. It is not a comprehensive T listing of all reviewers, but does include many who wished to be listed, including both print and online reviewers.

When deciding to whom you should send your book, consider the Once you have submitted your material, it is out of your hands. Even types of books they review and the publications or sites where the if a reviewer enjoys your book, they may not be able to include it in a review will appear. Circulation and page view figures for the various review. Word counts are limited, and entire columns may be canceled outlets are estimates. They are meant to give you an idea of how many due to overall space limitations within a publication. The book may also people may read the reviews in each publication. have to meet the tastes and standards of the editor and publisher as Pay attention to what each reviewer wants. Some reviewers prefer well as the individual reviewer. to receive press releases and not copies of books. Others never review Unless otherwise indicated, don’t expect the reviewer to return your picture books or fantasy titles. Some reviewers need copies of the book book to you. After reading your book, a reviewer may donate it to a in a timely manner and would like to receive galleys because they local school or as a door prize at a writer’s conference. must review a book closer to when it is released. Others are less timely At the end of this listing, several means of publicity other than but still must have the book within the year it is published. Many reviewers are provided. Even if you cannot find an eligible reviewer reviewers give priority to authors or books with a connection to their within these pages, these additional resources may help you publicize geographical region. If the bio on your book doesn’t tell people where your work. If a contact has included their phone number, only call you are from and there is a connection, let the reviewer know! Send during normal business hours. Treat them with the same courtesy and them what they want and there is a better chance that your book will professionalism you would treat an editor. Remember that they, too, be included in a review. want to help authors reach young readers.

JAN ADKINS REVIEWS EBOOKS: Yes audience deserves the very best writing. I reject 25 Wildwood Lane REVIEWS MATERIAL THE SEASON IT IS the notion that our culture is post-literate and Novato, CA 94947 RELEASED: Yes the fiction that we are a nation of boobs. As [email protected] ADDITIONAL INFORMATION: I expect much a writer and as a reviewer, I insist on respect REVIEWS FOR: New York Times, Washington Post, of a book. If it sets out to tell a story, real for a reading audience that is remarkably Boston Globe, History & Technology, CoEvolution or fictional, I expect to be carried along with sophisticated, informed, and curious. Quarterly style and skill. I appreciate innovation, admire DURATION: I’ve reviewed occasional books creativity, but “new” and “unusual” aren’t TESS ALFONSIN (THE READING COUNTESS) for these and other magazines since the sufficient criteria. The real test is whether a Katy, TX midseventies. book does its job. Does it tell the story? Does it [email protected] TYPES OF BOOKS: My particular oeuvre as a create its world or explain its subject? Does it REVIEWS FOR: www.recycleyourreads.com writer and illustrator is nonfiction for young introduce me to a new way of seeing something DURATION: Two years people, but I’ve reviewed many books about familiar or a rare glimpse of something exotic? TYPES OF BOOKS: Fiction, nonfiction, picture marine subjects and technology (including The I expect even more style, wit, and skill from books, middle grade, young adult. As a middle Pencil and The Evolution of Useful Things by writers addressing a young audience; children school English language arts teacher, I prefer Henry Petroski). are discerning, sensitive readers, training middle grade or YA in any genre. REVIEWS SELF-PUBLISHED MATERIAL: Yes themselves to appreciate literature. This REVIEWS SELF-PUBLISHED MATERIAL: No 180 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS: DURATION: Magazine, MADMagazine Kirkus Reviews, REVIEWS FOR [email protected] Sherman Oaks, CA91423 3740 BenedictCanyonLane VICKI ARKOFF Kathleen T. Horning (Collins, 2010). Reviewing Children’s Books reviews by reviewer. I’mguided inthe preparation of my Capitol Choices; and anactiveblogger and book member of the SCBWI,ALAand ALSC,and educator at the National Galleryof Art;a ADDITIONAL INFORMATION LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: grade; multicultural and international books. and nonfiction); fantasy, especially middle and museums inchildren’s books(bothfiction TYPES OFBOOKS: DURATION: REVIEWS FOR: [email protected] Arlington, VA 22205 856 N.LarrimoreStreet ANAMARIA ANDERSON challenging, afterall. really are inabody thatisconstantly influxis and adash of patience. Discovering who you the writtenword, butwithalittlemore sarcasm hope tostillspread my loveand enthusiasm for teach thisparticular age group. You see, it’smy language arts. And yes, Iactually found me teaching (gulp)seventh grade English and fifthgrades. The 2011–2012school year reading identity. I’vetaught first,third, fourth, in directing my students ontheir ownpaths of reader of any text inmy home), I’mconfident listener tographic novel gobbler tovoracious tick (I’veseenthe transformation from avid bookworms. BecauseIknow how boyreaders mother of three boys, I’mproud tocallthem my readers, bothathome and atschool. The reader, my goal istoforge more lifelong ADDITIONAL INFORMATION RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK Yes From CovertoCover:Evaluatingand Thirteenyears Sevenyears Yes

: MidwestBookReview, www.bookstogetherblog.com No HolidayGoddess.com, No Fiction, nonfiction, picture Booksfor allage groups; art No Yes (revised edition) by : Iamamuseum : As alifelong Two weeks wanted Susie No to REVIEWS SELF-PUBLISHEDMATERIAL: market titlesfrom traditional print publishers. books, middle grade, young adult; allmass- Jenny, and Ireview booksonour site REVIEWS FOR [email protected] Seattle, WA 98115 3158 NE82ndStreet Our TimeinJuvie RUBY LBAYLOR RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: it, and thatwouldnaturally include allgenres. connected toWWIIinsome way, Iwillreview War IIand children. As long asthe bookis My blogfocuses onbookswrittenaboutWorld books, earlyreaders, middle grade, young adult. TYPES OFBOOKS: DURATION: REVIEWS FOR: [email protected] ALEX BAUGH weeks LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: books, earlyreaders TYPES OFBOOKS: DURATION: REVIEWS FOR [email protected] Warminster, PA 18974 1404 HamptonLane NICHOLE ARMSTRONG query orSASE. separate the wheat from the chaff.No need for manuscripts, ittakes more time thanIhaveto but without acquiring editorstoprescreen I’m sure there are indie gems outthere, ebooks, ortitlesfrom nontraditional publishers. press, print-to-order, regional, narrow-niche, distribution. No self-published, subsidized from traditional houses withnational retail published review copies of mass-market titles ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: Withinthe firstquarter of release Sometimes Yes Two years Two years : My partner-in-crime, : www.justchildrensbooks.com thechildrenswar.blogspot.com No Yes Yes Fiction, nonfiction, picture Fiction, nonfiction, picture No Yes No Pleaseonlysend Two toeight

No Yes No being abletodo thisisagreat pleasure. in the bookindustry for overfifteenyears, so books and authors withothers. I’veworked write aboutbooks. Ilovetoshare fantastic ADDITIONAL INFORMATION: titles. RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: from ages 0–18,genre doesn’t matter. and nonfiction). Ifit’spublished for anyone up and nonfiction) toyoung adult books(fiction Anything from children’s picture books(fiction books, earlyreaders, middle grade, young adult. TYPES OFBOOKS: DURATION: publishers via NetGalley. Baylor account. Reviews are alsosent to available through Goodreads under my Ruby www.ourtimeinjuvie.com good character! Relying uponthe psychological books whose characters demonstrate . well, education guidelines. We endeavor toilluminate fiction against acriteria baseduponcharacter first service to review children’s and young adult ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: other outlets. review issubsequently promoted there and at available for salethrough Amazon.com, asthe to older teens (ages 16+).Allbooksmust be well asfiction writtentoadults but of interest books inother categories are alsoconsidered as fiction of all genres for ages 9–18, exceptional demonstrate classic virtues. Primarily reviewing Litland.com reviews books whose protagonists TYPES OFBOOKS: DURATION: and Facebook(Litland reviews). Announcements are made onTwitter (Litland) to the author’s bookfor saleonAmazon.com. on JacketFlap and Goodreads, and are posted Subsequently, Litland.com’s reviews appear and other reading-/learning-related resources. education guidelines, along withteaching com REVIEWS FOR [email protected] Bellingham, WA 98227 PO Box 684 DEBRA BLACK ) provides reviews against character Ireview bothnew and backlist Anytime Fiveplusyears Three years : Litland.com ( No No Fiction, nonfiction, picture Booksfor allage groups. Yes Yes . My reviews are also www.litland. Ilovetoread and Litland.com isthe Yes No BOOK REVIEWERS DIRECTORY | 181 and social sciences, which inform of healthy degree in English/American literature. I am a two million) PREPARING & SUBMITTING moral and cognitive lifespan development, teacher, wife, and mother. I am also a writer, DURATION: Since 1994 stories must focus on the nature of the and I know the work that goes into writing TYPES OF BOOKS: I work with themes, but I am protagonist’s relationships, dilemma, and/or great stories. I read constantly, and I keep an open to any and all books—fiction, nonfiction, situation in a manner that exemplifies healthy open mind while reading books and writing poetry, adventure, etc., for ages 10 and up. I choices and selfless behavior. As such, storylines reviews. look for good books for/about girls or books that distract with unnecessary hedonism or that contain strong heroines, but I will also aggression are not reviewed. Our website is PATTY CAMPBELL include any book that I think is good regardless designed for families to choose books based 1842 Santa Margarita Drive of male or female characters. upon their own value system, a process which Fallbrook, California 92028 REVIEWS SELF-PUBLISHED MATERIAL: Yes we call Do-Re-Mi. Book reviews link to a blog REVIEWS FOR: Horn Book Magazine and REVIEWS EBOOKS: No MARKET SURVEYS with commentary on the book, allowing general Amazon.com REVIEWS MATERIAL THE SEASON IT IS discussion about it. Litland.com is also a TYPES OF BOOKS: Young adult fiction RELEASED: Yes teaching resource for classroom and homeschool REVIEWS SELF-PUBLISHED MATERIAL: No ADDITIONAL INFORMATION: If your book is instruction, highlighting books and resources REVIEWS EBOOKS: No selected for review, two additional copies will that will aid in character development of REVIEWS MATERIAL THE SEASON IT IS be needed for copyediting and artwork. I rarely students. As such, reviews provide suggestions RELEASED: Yes review picture books. as to the use of books in many settings. We also ADDITIONAL INFORMATION: I have been a provide parent and teacher activities and links critic, reviewer, and columnist in the field of SUE CORBETT DIRECTORIES & RESOURCES to free resources, which can be very useful for young adult literature for thirty-seven years. 202 Hilton Terrace tying the book into a homeschool or classroom I am the author of five books on the subject Newport News, VA 23601 curriculum. (see Presenting Robert Cormier) and have REVIEWS FOR: People magazine, Publishers written for most of the major review journals, Weekly, Miami Herald ELLEN R. BRAAF including the New York Times Book Review. DURATION: Sixteen years PO Box 3215 Currently I write The Sand in the Oyster, TYPES OF BOOKS: Fiction, nonfiction, picture Reston, VA 20195-1215 a column for Horn Book Magazine, which books, middle grade, young adult REVIEWS FOR: Children’s Literature (reviews focuses on controversial issues in young REVIEWS SELF-PUBLISHED MATERIAL: No appear in database); BarnesandNoble.com adult books and publishing. I also review REVIEWS EBOOKS: No DURATION: Since February 1999 teen books for Amazon.com online bookstore. REVIEWS APPS: No TYPES OF BOOKS: Picture books, easy readers, I prefer realistic young adult fiction, the REVIEWS MATERIAL THE SEASON IT IS middle grade and young adult novels, and darker the better; I deplore horror but RELEASED: Yes PUBLICIZING YOUR PUBLISHED WORK nonfiction occasionally consider fantasy. LEAD TIME FOR PUBLICATION: One month REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: No JACKIE CASTLE TRACEY COX REVIEWS MATERIAL THE SEASON IT IS 701 Queens Way PO Box 573 RELEASED: Yes Bedford, TX 76021 Ocilla, GA 31774 ADDITIONAL INFORMATION: If a book is not [email protected] [email protected] assigned, I’ll only review it if I love it. REVIEWS FOR: www.castlereads.blogspot.com; REVIEWS FOR: Tifton Gazette and Ocilla Star the Castle Library does weekly features on (both are monthly) ALISON BREIDENSTEIN newly released books. TYPES OF BOOKS: Picture books (my first San Diego, CA DURATION: One year choice), middle grade, and young adult, fiction [email protected] TYPES OF BOOKS: Fiction, picture books, early and poetry REVIEWS FOR: literarylunchbox.blogspot.com reader, middle grade, young adult REVIEWS SELF-PUBLISHED MATERIAL: Yes TYPES OF BOOKS: Picture book, middle grade, REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: Not at this time

young adult. I am a middle grade writer, so I REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS SCHOOL VISITS tend to favor middle grade books, but I also like REVIEWS APPS: No RELEASED: Yes young adult dystopia and wonderfully written/ ADDITIONAL INFORMATION: I cannot ADDITIONAL INFORMATION: I will only publish illustrated picture books with a story. guarantee a feature on my blog. I do not good reviews. Sender of the book needs to REVIEWS SELF-PUBLISHED MATERIAL: Yes generally review, but rather introduce a book understand that if the book doesn’t grab me REVIEWS EBOOKS: Yes and offer activity ideas to go along with it. (text/pictures), I have the option of not doing REVIEWS APPS: Yes Young adult books I will feature if I like them, a review. I would rather not say anything about LEGAL QUESTIONS REVIEWS MATERIAL THE SEASON IT IS but seldom offer activity ideas with this age a book than write a bad review. RELEASED: Yes level. ADDITIONAL INFORMATION: My blog is NAOMI DANIS limited to favorable reviews. I want my readers, KIM CHILDRESS, BOOK EDITOR Lilith Magazine students, and parents to use my blog as a 4287 Aztec Way 250 W. 57th Street, #2432 resource for well-written literature, so I do not Okemos, MI 48864 New York, NY 10107 post reviews of books I did not like. I have a REVIEWS FOR: Girls’ Life Magazine (circulation REVIEWS FOR: Lilith Magazine (11,000 copies 182 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS: DURATION: simplyscience.wordpress.com REVIEWS FOR [email protected] Jemez Springs, NM87025 37 PineConeDrive SHIRLEY DUKE query prior tosending review items. and rural subject matter. Pleasesend e-mail Midwest authors and illustrators and/or Midwest interested in reviewing worksof Wisconsin/ ADDITIONAL INFORMATION: newly released aswellbacklist/outof print. RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: with the interests of my children. content. Subjectmatter of postsvaries along readers and middle grade, depending on nonfiction. Occasionally I review beginning review picture books, bothfiction and books, earlyreaders, middle grade; Iprimarily TYPES OFBOOKS: DURATION: 8,000) Readers; average uniquemonthly visitors= brimfulcuriosities.com REVIEWS FOR [email protected] JANELLE DAVIS aol.com. free (888)2‑LILITH,ore-mail lilithmag@ subscription orsamplecopyof not necessarily yourstandard reviews. Fora Books Share the World’s BadNews withKids”; children’s bookauthor roundup on“How reading The this year’sroundup of readers remembering feature related tochildren’s books, such as books for young readers. We usually do a fall issuewehavehadaspecial feature on also review adult books).Since 1996,inour our quarterly Jewish feministmagazine (we reviewed some booksfor young readers in ADDITIONAL INFORMATION RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: are of special interest toJewish feminists TYPES OFBOOKS: DURATION: reaching about25,000readers) | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK Random schedule. Ireview both Not necessarily Fouryears Since 1976 Three years Diary of AnneFrank : SimplyScience ( : BrimfulCuriosities, Yes Fiction, nonfiction, picture Booksfor young readers that Nonfiction. I review Yes No (Feedburner =1,237 ) Particularly : We havealways www. Lilith , orlastyear’s www. , calltoll No Yes subjects. Imostly aminterested ingrades (science, technology, engineering, and math) nonfiction that relates toany of the STEM RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: don’t like. young adult fantasy. Ido not review booksI have aparticular fondness for middle grade and those Iconsider tobetrulyoutstanding. I that Ienjoy. Forpicture books, Ionlyreview ages. When possible, Ireview everything Iread TYPES OFBOOKS: years, posting the websitefor one. DURATION: com REVIEWS FOR: [email protected] Centreville, VA 20120 5914 BaronKent Lane SONDRA EKLUND RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: books. and young readers find avariety of excellent authors. The goal of my blogistohelp parents that feature Missouriorare writtenbyMissouri nonfiction. Iespecially enjoy receiving titles science fiction, fantasy, historic fiction, and board books, orchick lit.Ilovemysteries, your bestchoice for toddler picture books, TYPES OFBOOKS: DURATION: ( REVIEWS FOR [email protected] Florissant, MO63033-6244 1725 St.AnthonyLane SUE BRADFORDEDWARDS additional exposure. Monday and STEMFriday—so the bookgets I participate inblogroundups—Nonfiction the information. Iblogonlyonce aweek,but activity toaccompany the bookthatextends ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: for grades 9–12. preK–8, although onoccasion I’llreview abook suebe2.wordpress.com (approximately 10,000hitspermonth) Yes Ifpossible Flexible I’vebeenwriting the ezine for two Fifteenyears : Bookshelf: WhatWe’re Reading My ownwebsite, No No Alltypesof books, for all Allbooks, though Iamnot No Yes No ) I suggest an Sonderbooks. No No No [email protected] Ithaca, NY14850 102 TheCommons BRYNA J.FIRESIDE weeks LEAD TIMEFORPUBLICATION: REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: readers. international issues. Current preference for early nonfiction orfiction dealing withculture/travel/ on nature, how things work,lifelessons; any books, earlyreaders; educational books, books TYPES OFBOOKS: DURATION: wordpress.com REVIEWS FOR [email protected] Columbia, MD21046 6429 BelleviewDrive KAREN ESTRADA REVIEWS FOR storytimesecrets.blogspot.com [email protected] Rockville, Maryland20850 714 Elmcroft Boulevard KATIE FITZGERALD one month before Hanukkah. considered for review must bereceived atleast to my picks for the season.Bookstobe but readers trust my judgment and lookforward ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS SELF-PUBLISHEDMATERIAL: ordered for my congregation’s bookfair aswell. but which Ibelieve willsellinthe area, willbe in the area. Many booksthatare not reviewed, will beordered for various Hanukkah bookfairs general audience. Allbooksthatare reviewed while the the Reporter most twelvebooksfor eachpaper—although or really good literature. However, Ireview at related, humor, allholidays, interfaith families, deal withhistorical orcurrent topics, family and nonfiction. Must have Jewish content, can TYPES OFBOOKS: DURATION: holiday seasonfor Hanukkah only) NY state;columnisdone once yearlyduring the daily Gannett paperserving Tompkins County in County incentral NY)and the newspaper serving Broome, Tioga, and Tompkins REVIEWS FOR Ithaca Journal Not necessarily Two months Eight years focuses more onreligious material : StoryTime Secrets : : goodreadswithronna. The Reporter No Fiction, nonfiction, picture All age levels, bothfiction No appeals toamore (aweeklyJewish I’mveryselective, Ithaca Journal One totwo No No (a BOOK REVIEWERS DIRECTORY | 183

(storytimesecrets.blogspot.com). This blog than middle grade books, but the subject matter LUCY FUCHS PREPARING & SUBMITTING has over 600 subscribers and averages 3500- 178 Morris Road is more important than the target demographic. 4000 pageviews per week. Reviews include a Ambler, PA 19002 REVIEWS SELF-PUBLISHED MATERIAL: No brief plot summary, critique and suggestions [email protected] REVIEWS EBOOKS: No for who might enjoy the book, as well as REVIEWS FOR: The Small Press Review REVIEWS APPS: No recommendations about purchasing the book for (circulation 3,000) REVIEWS MATERIAL THE SEASON IT IS library collections. DURATION: Five years RELEASED: Yes, if possible DURATION: Since January 2011 TYPES OF BOOKS: Picture books, beginning TYPES OF BOOKS: Realistic fiction in the readers, middle grade fiction, nonfiction, DAVE GOODALE following categories: early readers, beginning seasonal 65 Sutton Place chapter books, middle grade, young adult. No REVIEWS SELF-PUBLISHED MATERIAL: Yes Bloomfield, CT 06002 MARKET SURVEYS fantasy, tearjerkers, scary stories, speculative/ REVIEWS EBOOKS: Yes [email protected] science fiction, or non-fiction. Particular REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: Voice of Youth Advocates favorites: humor, tween romance and friendship, RELEASED: Yes DURATION: Approximately one year school stories, mysteries, books about surviving ADDITIONAL INFORMATION: I review three or TYPES OF BOOKS: Young adult and middle grade middle school/high school, sports stories, four books, four times a year. fiction and nonfiction novels in verse, and YA romance without sexual REVIEWS SELF-PUBLISHED MATERIAL: No content. DEBBIE GLADE REVIEWS EBOOKS: No

REVIEWS SELF-PUBLISHED MATERIAL: Yes [email protected] REVIEWS MATERIAL THE SEASON IT IS DIRECTORIES & RESOURCES REVIEWS EBOOKS: Yes REVIEWS FOR: Good Reads with Ronna RELEASED: Yes, if possible REVIEWS APPS: No (goodreadswithronna.wordpress.com)—feeds ADDITIONAL INFORMATION: For libraries with REVIEWS MATERIAL THE SEASON IT IS through various parenthood websites, such as teen collections (school and public). Reviews RELEASED: Yes LA Parent Magazine); Smart Poodle Publishing every other month. LEAD TIME FOR PUBLICATION: About one (smartpoodlepublishing.com/blog); I am also an month Amazon Top Reviewer. HEIDI GRANGE ADDITIONAL INFORMATION: I consider self- DURATION: Four years 223 Penny Lane published books on a case-by-case basis. Most TYPES OF BOOKS: Fiction, nonfiction, picture Logan, Utah 84341 self-published books I have reviewed have been books, middle grade; I review picture books [email protected] YA romance novels. I don’t review self-published of all types. I especially enjoy books related REVIEWS FOR: My blog (geolibrarian.blogspot. picture books. I schedule my reviews about a to science, nature, art, or gardening, or books com), Goodreads, and Amazon month in advance, and I do my best to ensure with extraordinary illustrations. I also enjoy DURATION: One year, five months PUBLICIZING YOUR PUBLISHED WORK that reviews are published on or near the books’ biographies for middle readers. I only publish TYPES OF BOOKS: Fiction, nonfiction, picture publication dates. I have a Nook, so EPUB and reviews of books I like and do not review books books, early readers, middle grade, young PDF are the best formats for digital review I would not highly recommend. adult; fantasy, contemporary, humor, clean copies. I can also read Kindle books on my REVIEWS SELF-PUBLISHED MATERIAL: No romance, mystery, books featuring other places smartphone, if other formats are not available. REVIEWS EBOOKS: No and/or cultures, historical fiction, graphic REVIEWS APPS: No novels; nonfiction on any topic, but especially MICHELLE FRANZ REVIEWS MATERIAL THE SEASON IT IS geography/history related topics Springfield, VA 22153 RELEASED: Yes REVIEWS SELF-PUBLISHED MATERIAL: Yes [email protected] ADDITIONAL INFORMATION: I will review REVIEWS EBOOKS: Yes REVIEWS FOR: My reviews appear on my blog, galleys and prefer to review books before REVIEWS APPS: No Galleysmith (www.galleysmith.com). publication date. I do not review books that REVIEWS MATERIAL THE SEASON IT IS DURATION: Three years were published more than a year ago. I post my RELEASED: Yes, as much as possible TYPES OF BOOKS: Young adult contemporary, reviews on Amazon. LEAD TIME FOR PUBLICATION: Usually at least

dystopian, paranormal, fantasy (though not a month, unless specifically scheduled SCHOOL VISITS high fantasy, a bit more mainstream), historical PAUL GOLDSCHMIDT ADDITIONAL INFORMATION: I work as a fiction 5625 Highland Way school librarian, so I’m always looking for REVIEWS SELF-PUBLISHED MATERIAL: No Middleton, WI 53562 great new books to share with my students and REVIEWS EBOOKS: Yes [email protected] to put in my school library. I read a little bit REVIEWS APPS: Yes REVIEWS FOR: Not Acting My Age of everything in children’s literature (except REVIEWS MATERIAL THE SEASON IT IS DURATION: Seven years horror). I’m more selective about young adult LEGAL QUESTIONS RELEASED: Year-round reviewing TYPES OF BOOKS: Fiction, middle grade, young because I prefer books to be clean (little if any LEAD TIME FOR PUBLICATION: Two to three adult; my key focus is contemporary coming- bad language, mild sexual situations). months of-age books. Books dealing with interpersonal relationships are also of interest. I review some fantasy works dealing with these subjects in a realistic fashion. On occasion, I will review historical novels. I tend to do more young adult 184 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org RELEASED: REVIEWS MATERIAL THE SEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: young adults. fiction and nonfiction, for middle grade and TYPES OFBOOKS: DURATION: newspaper) REVIEWS FOR [email protected] Napa, CA94558 429 MontecitoBoulevard HILLARY HOMZIE months LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: for children, orteaching writing. pertain tothe writing process, writers, writing TYPES OFBOOKS: DURATION: REVIEWS FOR [email protected] Chicago, IL60611 222 E.Pearson Street,#1108 ESTHER HERSHENHORN LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: every bookthat’ssent tous. with the others. We don’t guarantee areview for always classroom use. We review poetryalong blog. The context for ourbookreviews isalmost an education blogmore thanjustastraight book teachers for useintheir classrooms. Ourblogis use inourclassrooms orrecommend toother teaches fourth grade. We review bookswe’d books, middle grade. Iteachfifthgrade; Franki TYPES OFBOOKS: DURATION: blogspot.com REVIEWS FOR [email protected] Columbus, OH43214 523 E.LincolnAvenue MARY LEEHAHN | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK Yes Yes Yes Three years Sixyears Irregularly for four years ) withFranki Sibberson : : AYear of Reading ( : www.teachingauthors.com The PhiladelphiaInquirer No Rarely Ireview Fiction, nonfiction, picture Ireview all typesof books, No Rarely No (not yet) only Two tothree One month those booksthat readingyear. No Rarely No (daily teens, and other librarians, soitisimportant for good and the badinabook.Iwritefor parents, always bepositive, although Itrytobalance the ADDITIONAL INFORMATION: want the review atacertaintime LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: interested in poetryorgraphic novels related toparenting, crafts, orgardening; not infant through young adult, some adult ifitis books, earlyreaders, middle grade, young adult; TYPES OFBOOKS: DURATION: Their Pet Librarian, butmerged the twoblogs. old); Ipreviously reviewed onThree Turtles and (just passed10,000visitors, alittleoveryear REVIEWS FOR [email protected] High RollsMtPark, NM88325 PO Box 204 AMI JONES policy.html genres): information onfavorite authors, books, and review policy available here (where wehave [email protected]. We haveafull to reach usallvia ourgroup e-mail address, ADDITIONAL INFORMATION reviews, though, butItry my best. months, please. Ido not make promises on LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: fiction. interested inparanormal orChristian/spiritual interest infantasy and romance. We are not review middle grade and young adult, with “magical realism” subgenre. My co-bloggers fiction, mystery, sci-fi, horror, or are of the stuff), butIwillread booksthatare historical adult; Iprefer contemporary (and I TYPES OFBOOKS: DURATION: month); Icross-post toGoodreads. org REVIEWS FOR [email protected] Delavan, WI53115 1117 SpruceStreet KELLY JENSEN ) (between15,000and 25,000pageviews a www.stackedbooks.org/p/review- Yes Three years Three years No : STACKED books( : amomssparetime.blogspot.com No No Fiction, middle grade, young Fiction, nonfiction, picture No Yes My reviews may not : Thirtydays ifyou Two tothree You’re welcome stackedbooks. love No dark No

conferences. that Iworkwith,and for saleatservice learning of teacher education, libraries, and bookstores identify booksfor recommendation for schools magazine articles; parenting newsletters; to how touseliterature toinspire social action; the country witheducators toteachthem below). Ialsousebooksinworkshops around connect withany theme of social action (listed hundred children’s and young adult titlesthat an annotated bibliography of overthree Publishing, 2003).Thispublication includes and CD-ROM(bothpublished byFree Spirit Guide toServiceLearning REVIEWS FOR [email protected] Los Angeles, CA90066 13108 Warren Avenue CATHRYN BERGERKAYE for themselves ortheir library. whether they want toorder/purchase the book me togivethem enough information todecide used orimpactelementary and middle grade series titlesand describe how these canbe I particularly review alarge number of nonfiction books, early readers, middle grade, young adult; TYPES OFBOOKS: DURATION: REVIEWS FOR [email protected] Lebanon, Tennessee 37090-8812 2655 HollowayRoad DIANE R.CHENKELLY literature connections. field of education with many opportunities for they cancontact me. Thisisahuge, growing questions about my workorservice learning, ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: welcome. literacy. Bilingual booksonthese themes also justice, special needs and disabilities, and violence, hatecrimes), social change, social safe and strong communities (bullying, local choices, hunger and homelessness, immigrants, environment, gardening, healthy lives, healthy animals indanger, elders, emergency readiness, themes: AIDSeducation and awareness, adult; allbooksthatrelate to books, earlyreaders, middle grade, young TYPES OFBOOKS: DURATION: Yes Sevenyears Twenty plusyears : Use inmy book, : www.PracticallyParadise.org No Fiction, nonfiction, picture Fiction, nonfiction, picture No (future editions), Ifanyone has any any The Complete of these No BOOK REVIEWERS DIRECTORY | 185 students. I review all types of books including Bookmarks, The Bark, Foreword Reviews SHARON LEVIN PREPARING & SUBMITTING board books, picture books, biographies, STEM DURATION: Since 1997 475 Quartz Street (science, technology, engineering, and math) TYPES OF BOOKS: Children’s and young adult Redwood City, CA 94062-2225 related titles, young adult literature, and adult fiction, nonfiction, and poetry; North Carolina [email protected] fiction. and Southern books; dog books REVIEWS FOR: I review regularly for the REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS SELF-PUBLISHED MATERIAL: Yes Unshelved website. Much of my reviewing REVIEWS EBOOKS: Yes REVIEWS EBOOKS: No happens in the form of book talks. I am a REVIEWS APPS: Yes REVIEWS MATERIAL THE SEASON IT IS regular at the Raising a Reader Conference in REVIEWS MATERIAL THE SEASON IT IS RELEASED: Yes Redwood City and at Nevada Reading Week RELEASED: All year every year in Reno. I also give book talks for ADDITIONAL INFORMATION: I review Android MARGO LEMIEUX students (fourth grade through high school), MARKET SURVEYS apps as I do not have an iPhone. If I were to 22 Highland Avenue parents, teachers, librarians, etc. I have a San receive an iPhone, I would review iPhone apps Mansfield, MA 02048 Francisco Bay Area children’s literature list that relate to elementary and middle school [email protected] (although there are people on it as far away as education. REVIEWS FOR: Sun Chronicle (circulation London) with 1,300+ people on it, and I will 25,000) share books with them. If a book inspires a JOANNA KRAUS DURATION: Since 1997 column, I send it to my list and to the Child Lit 3117 Terra Granada Drive #4 TYPES OF BOOKS: All types of children’s books Listserv out of Rutgers.

Walnut Creek, CA 94595 REVIEWS SELF-PUBLISHED MATERIAL: No DURATION: Sixteen years DIRECTORIES & RESOURCES REVIEWS FOR: San Francisco’s East Bay Area ADDITIONAL INFORMATION: The Attleboro, TYPES OF BOOKS: All books; I will look at pretty Sunday Times (circulation 350,000); Auntie Jo’s MA, Sun Chronicle is a daily paper that serves much anything. I’m always looking for books Bookshelf for the Rossmoor News (circulation ten communities in central southeastern that will make readers’ eyes light up. 10,000); Downeast Coastal Press (circulation Massachusetts and has a strong commitment REVIEWS SELF-PUBLISHED MATERIAL: Yes 10,000) to family and educational news. In my monthly REVIEWS EBOOKS: No DURATION: Since 1995 column, I review all types of children’s book, REVIEWS APPS: No TYPES OF BOOKS: Primarily middle grade and including poetry, fiction, and nonfiction; I REVIEWS MATERIAL THE SEASON IT IS young adult fiction; biographies and memoirs; review very little young adult. I am an author/ RELEASED: Not always some picture books illustrator. No self-published or religious books. REVIEWS SELF-PUBLISHED MATERIAL: No Column is theme-based. I try to review as much HARRY LEVINE REVIEWS EBOOKS: No as I can. Center on Aging

REVIEWS MATERIAL THE SEASON IT IS 800 S. Limestone Street PUBLICIZING YOUR PUBLISHED WORK RELEASED: Try to, but not always KAREN LEMMONS University of Kentucky ADDITIONAL INFORMATION: For the Sunday 19467 Snowden Lexington, KY 40536-0230 Times, I write quarterly reviews that are theme- Detroit, MI 48235-1263 REVIEWS FOR: Reviewed for Appraisal (children’s focused columns, and I annually try to do a [email protected] science books for librarians) from 1991 until column on new books by California authors. REVIEWS FOR: Contributor to the upcoming it closed in 2002. Now not affiliated with a For the Rossmoor News, I write a holiday gift book, ALSC Popular Picks for Kids. My blog is The specific publication, but willing to review. column that comes out in November. This Eclectic Kitabu Project. TYPES OF BOOKS: Science, nature, technology, is in a northern California adult community DURATION: Two to three years and medicine for K–12, although prefer middle publication. For the Downeast Coastal Press, TYPES OF BOOKS: Fiction, nonfiction, picture school through high school I write a biannual column that comes out in books, early readers, middle grade, young adult; REVIEWS SELF-PUBLISHED MATERIAL: No December and June. The winter column is for my particular focus is African, African-American, REVIEWS EBOOKS: No a holiday gift issue; the spring column runs or Caribbean fiction and nonfiction. In addition REVIEWS MATERIAL THE SEASON IT IS around the time of school graduations. This is to reviewing books, I will sometimes include RELEASED: Within a year of publication

a weekly newspaper serving the communities lesson plans and/or other related resources that ADDITIONAL INFORMATION: I donate the SCHOOL VISITS of the northeastern coast of Maine. Special feature/use the reviewed books. books I get to local school libraries. I review attention to books about Maine or by local REVIEWS SELF-PUBLISHED MATERIAL: Yes content as well as style. authors. In all cases, authors should always REVIEWS EBOOKS: No query first and should not send books unless REVIEWS APPS: No JONE MACCULLOCH requested. REVIEWS MATERIAL THE SEASON IT IS 4397 SE Glen Echo RELEASED: No Milwaikie, OR 97267 LEGAL QUESTIONS ANGELA LEEPER ADDITIONAL INFORMATION: At the present [email protected] Educational Consultant time, I do not review ebooks and apps. REVIEWS FOR: maclibrary.wordpress.com 817 S. White Street However, I do plan to review books in these DURATION: Six years Wake Forest, NC 27587 formats in the future. TYPES OF BOOKS: Nonfiction, middle grade; [email protected] poetry and novels in verse REVIEWS FOR: Kirkus Reviews, MultiCultural REVIEWS SELF-PUBLISHED MATERIAL: Yes Review, BookPage, Our State (North Carolina), 186 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: young readers TYPES OFBOOKS: DURATION: twentieth year) in Albuquerque/ Santa Fearea, now inits (three‑hour Sunday morning radio show REVIEWS FOR: [email protected] Santa Fe, NM87505 911B DonGaspar PARVATI MARKUS author interviews, too. coverage when Iblogaboutabook.lovetodo Twitter Imake itapriority todo social media can do special promotions such asgiveaways. On relationship withmany publishing houses, soI where Ishare lotsof book news. Ihaveastrong readings and launches. My Facebookpage is them. Ialsopublicize events such asbook books from localLAauthors and help promote ADDITIONAL INFORMATION: LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: We alsowant toreview more special needs titles. motherhood, divorce, special circumstances, etc. pertains tofamilies and parenting, fatherhood, adult nonfiction and fiction occasionally ifit (college-aged) aswellfamily cookbooksand we review allgenres for children through teens books, earlyreaders, middle grade, young adult; TYPES OFBOOKS: DURATION: Parenthood.com’s Practical Parenting newsletter. parenthood.com westchester.parenthood.com, colorado. parenthood.com, boston.parenthood.com, bayareaparent.parenthood.com, sanantonio. and onthe blogat our children’s bookreviews inprint, online, www.facebook.com/goodreadswithronna (on Twitter @goodreadsronna, onFacebookat REVIEWS FOR [email protected] La Canada,CA91011 4813 IndianolaWay RONNA MANDEL REVIEWS APPS: REVIEWS EBOOKS: | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK Not necessarily Yes One year Fouryears : Transitions Radio Magazine www.goodreadswithronna.com , and featured weeklyin Yes No Picture books, beginning, and Fiction, nonfiction, picture No No Yes losangeles.parenthood.com Ireally like tosee Two months ); find No No ,

out there and deserve their consideration. Adult schools and libraries aware thatnew writersare interested inencouraging writersand making of the book,not a ADDITIONAL INFORMATION newspaper space LEAD TIMEFORPUBLICATION: receive the book RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: books thatfitinto whatIamwriting. cross culture; veryfewnonfiction; I review the contemporary, historical, humor; no fantasy, books orshort middle grade and YA; TYPES OFBOOKS: DURATION: section of the reviews are published weekly inthe Lifestyle for parents, grandparents, and teachers. The of bothnew and award-winning children’s books me towritetwo-three-hundred-word reviews Municipal Library, Baytown’spublic library, asked quarterly librarians; newsletter; Sterling Banner; Reviewof Texas Books paper; REVIEWS FOR www.joanwmartin.com [email protected] Baytown, TX77520 2407 KilgoreRoad JOAN WATSON MARTIN RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: regulation coping strategies, tolerance, emotional social skills, organization, learning strategies, that commonly co-occurwithADHD;friendship, somehow relate toADD/ADHD,LD,orconditions books, middle grade, young adult; booksthat TYPES OFBOOKS: DURATION: (ADDitudeMag.com/adhdblogs/4) REVIEWS FOR [email protected] Ames, IA50014 5304 CervantesDrive KAY MARNER vacation. material usually before Christmas and summer ADDITIONAL INFORMATION: Galveston CountyDailyNews Withinaboutone yearof release Yes, assoonpossibleafterI Nine years Twelve years : : Baytown Sun ADDitude The BaytownSun Yes No Fiction, nonfiction, picture Allbooks;mostly picture Yes No critique magazine . Iamespecially . : Iwritea Reviews seasonal , Lamar University Varies with , localdaily

; The Houston review Yes Yes

refer booksfor the international school libraries publication orsite, butamwilling toreview and REVIEWS FOR: [email protected] 1190 Vienna,Austria Keylwerthgasse 10 TRACY GAMES MCCAFFERTY I canreview yourbook.Iwillrespond quickly. a copyof the review. Pleasee-mail me and askif conferences. Pleasesend anSASE soIcansend libraries and offer them asdoor prizesatSCBWI I share them withschool libraries and public with the publisher. When the booksstackup, assess my ownwriting, and Igainacontact behind. Writing areview teaches me how to be reviewed, butusually amsixtoeight books publisher. Ilovereceiving beautifulbooksto in any promotional material, tothe author or published copy, along withpermission touseit books. Afterthe review ispublished, Isend a that my reviews make them want toread the readers havebeenverycomplimentary, saying donated tolocalliteracy orother localcharities. ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THE SEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: occasionally prefer YA tomiddle grade; not alotof sci-fi,but grade, young adult; picture booksany subject; TYPES OFBOOKS: DURATION: readingkidsbooks-teenreads.blogspot.ca com; readingkidsbooks.blogspot.ca; REVIEWS FOR [email protected] Victoria, BC—BritishColumbiaV8R4Z3 2540 Trent Street SHERYL MCFARLANE to me, sopleasefollow these rules. over $40isheld incustoms and results infees with avalue. Any unvaluedpackage orpackage shipments should belabeledassuch and marked libraries/collections throughout Europe. Allbook in the United Statesfor useinEnglish-speaking am alwaysinterested inwhat’snew coming out American International School’s library aide, I ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: markets inEurope. Not usually Yes Fiveand ahalfyears No longer reviewing for a : sherylbooks.wordpress. No Fiction, picture books, middle No No Allreview books As Vienna No No BOOK REVIEWERS DIRECTORY | 187

I rarely review books that I cannot give a TYPES OF BOOKS: Fiction, nonfiction, picture LISA L. OWENS PREPARING & SUBMITTING positive review. books, early readers, middle grade, young 18730 SE 45th Place adult; I am open to all genres. The books I Issaquah, WA 98027 ERIK METZROTH write are historical fiction, sustainability, [email protected] 1725 34th Street NW biographies, and art. However, I read all www.llowens.com Washington, District of Columbia 20007 genres including mysteries and science REVIEWS FOR: Freelance reviews have been [email protected] fiction. At this point I don’t review apps, featured in a variety of publications, including: REVIEWS FOR: kidbookratings.com but will when I can get the technology. Prevention Update, a quarterly journal sent to DURATION: Two years I have an extensive background in early schools nationwide by Committee for Children; TYPES OF BOOKS: Fiction, nonfiction, picture childhood education, and so will include Middle Level Learning, a supplement to the books, early readers, middle grade, young recommendations for classrooms and parents National Council for the Social Studies journal MARKET SURVEYS adult; picture books are highly preferred by if appropriate to the book. (three and seven issues/year, respectively); The this reviewer, although books for older kids REVIEWS SELF-PUBLISHED MATERIAL: Yes Writer, a monthly magazine for working writers; will be mixed in from time to time REVIEWS EBOOKS: Yes TDMonthly, ToyDirectory.com’s monthly trade REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS APPS: No magazine for the toy, hobby, game, and gift REVIEWS EBOOKS: Yes REVIEWS MATERIAL THE SEASON IT IS industry; LLOwens.com, the writer’s personal REVIEWS APPS: No RELEASED: Yes author site featuring her books for children and REVIEWS MATERIAL THE SEASON IT IS LEAD TIME FOR PUBLICATION: Two to four young adults, with regular trade book reviews

RELEASED: Rarely weeks depending on the length of the book and literature-based activity ideas; assorted DIRECTORIES & RESOURCES ADDITIONAL INFORMATION: The best and ADDITIONAL INFORMATION: I charge a small educational publishing industry newsletters worst children’s books of all time, and reader’s fee, plus I keep the copy of any (in-house publications) and writers’ association everything in between. Just one dad’s books sent to me, which I later donate to a newsletters (for members only) opinion . . . plus thousands more from people children’s ward or a school. DURATION: Ten plus years like you! TYPES OF BOOKS: Picture books, middle grade, CATHERINE NICHOLS and young adult fiction and nonfiction, classic ELLEN BIRKETT MORRIS 149 4th Avenue literature 2165 Eastview Avenue Phoenixville, PA 19460 REVIEWS SELF-PUBLISHED MATERIAL: No Louisville, KY 40205 [email protected] REVIEWS EBOOKS: No [email protected] REVIEWS FOR: The Cath in the Hat blog REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: Horizons Magazine, national (thecathinthehat.blogspot.com) RELEASED: Yes; also some older material publication for Presbyterian women, two to DURATION: Eighteen months ADDITIONAL INFORMATION: Reviewer writes PUBLICIZING YOUR PUBLISHED WORK three times a year; Babyzone.com, frequent TYPES OF BOOKS: Fiction, nonfiction, picture and edits children’s books and K–12 classroom contributor; Borderlines, the SCBWI Midsouth books, early readers; the focus of my blog is materials; she reviews only books that she newsletter, once a year easy readers and beginning chapter books. I endorses. DURATION: I have been reviewing books for also review picture books for ages 4–8. the last three years. REVIEWS SELF-PUBLISHED MATERIAL: No J. L. PARKER TYPES OF BOOKS: Children’s books for all REVIEWS EBOOKS: Yes 3877 Westwood Drive ages, mainstream and literary fiction, books REVIEWS APPS: No Carson City, NV 89703 on writing REVIEWS MATERIAL THE SEASON IT IS [email protected] REVIEWS SELF-PUBLISHED MATERIAL: No RELEASED: Yes REVIEWS FOR: Children’s Museum of Northern REVIEWS EBOOKS: Yes Nevada Newsletter in a monthly column REVIEWS MATERIAL THE SEASON IT IS WENDIE OLD (circulation 5,000) RELEASED: Yes, and previously released [email protected] TYPES OF BOOKS: Picture books, beginning material also REVIEWS FOR: blog.wendieold.com readers, middle grade, fiction and nonfiction;

ADDITIONAL INFORMATION: I focus on DURATION: Four years online, forty years in a seasonal material okay, if received three months SCHOOL VISITS concise, user‑friendly reviews that offer library in advance of holiday readers a real flavor of the book. TYPES OF BOOKS: Nonfiction, picture books, REVIEWS SELF-PUBLISHED MATERIAL: No early readers; easy-reading nonfiction suitable REVIEWS EBOOKS: No JUDITH NASSE for preschoolers and first readers; nothing ADDITIONAL INFORMATION: The Reading Room 6561 NDCBU longer; no fiction of the Children’s Museum of Northern Nevada Taos, NM 87571 REVIEWS SELF-PUBLISHED MATERIAL: No appeals to children and their families ages LEGAL QUESTIONS [email protected] REVIEWS EBOOKS: No toddler through junior high. We seek to review REVIEWS FOR: Amazon.com; Barnes&Noble. REVIEWS APPS: No quality books that will appeal to diversified com; my children’s book review blog REVIEWS MATERIAL THE SEASON IT IS cultural and socioeconomic backgrounds. (childrens-book-reviews.blogspot.com); I RELEASED: Yes announce the review on my Facebook page ADDITIONAL INFORMATION: I am a retired and any other publications that will accept librarian and a working writer with over thirty the review published books. DURATION: Since 1994 188 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org (circulation 20,000) REVIEWS FOR [email protected] Mitchell, SD57301 120 S.Lawler PO Box 1288 Book Columnist,c/oTheDailyRepublic JEAN L.S.PATRICK REVIEWS FOR Flagstaff, AZ86001 3020 N.SnowCapWay ANNE PISACANO recent copyright dates. RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS E-BOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: seasonal. and nonfiction, poetry, activity, crafts, and books for giftedstudents ingrades 1–8. Fiction TYPES OFBOOKS: DURATION: Discover REVIEWS FOR [email protected] Boulder, CO80305 3190 EndicottDrive PHYLLIS J.PERRY RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: young adult; fiction, nonfiction, and poetry books, beginning readers, middle grade, and TYPES OFBOOKS: DURATION: and author interviews well‑respected websitethatdoes bookreviews REVIEWS FOR [email protected] Tecumseh, MI49286 512 EastChicagoBoulevard Associate Editor, JanuaryMagazine PAMELA C.PATTERSON 1989. youth. I’vebeencoordinating thisprogram since are accompanied byreviews writtenbylocal ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: Occasionally REVIEWS SELF-PUBLISHEDMATERIAL: TYPES OFBOOKS: DURATION: | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK Ireview new booksorwith Yes Yes Two years Since 1998 Since 1989 : : : : The DailyRepublic Arizona DailySun Above &Beyond January Magazine Children’s books. Ireview Allgenres, including picture Alltypes No No No My bookreviews and , monthly , a , weeklycolumn Think&

Yes Yes [email protected] Staten Island,NY 10312 232 HamptonGreen JOAN REGEN-RAMIREZ year of publication RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: (small) press. long asthey were published byanindependent TYPES OFBOOKS: DURATION: reaches over 20,000peopleaday. well. The online magazine ( month; Iam beginning amonthly columnas Independents REVIEWS FOR [email protected] JESSICA POWERS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: young adult, poetry, fiction, nonfiction, seasonal TYPES OFBOOKS: Parents Parenting, JanuaryMagazine, LongIsland Writer’s Journal,MidwestBookReview, Christian many forums, including several yearsand havebeenpublished in DURATION: freelance) staff reviewer); com Crescent Blueswebsite( only; staffreviewer, assigned reviews only); Literature REVIEWS FOR [email protected] Nesconset, NY11767-2707 26 PineDrive LYNNE MARIEPISANO column. book reviews featuring three tofivebooksper ADDITIONAL INFORMATION: theme Ihaveplanned. particularly moving orI’mlacking booksfor a publication. Imake exceptions ifIfind abook RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: fiction, nonfiction, and young adult TYPES OFBOOKS: DURATION: column, Sunday (circulation 16,000) ) (weekly, middle grade/young adult only; , and many more. (bimonthly, middle grade/young adult Iusually review booksinthe yearof Yes, fairly current bookswithinthe Since 2001 Overtwoyears Ihavebeenreviewing booksfor , approximately four booksa : : MidwestBookReview Kliatt Journalof Young Adult New Pages, ThePortal of Picture books, middle grade, I’llreview any and allbooksas Picture books, middle grade, No No No Publisher’s Weekly, www.crescentblues. www.newpages.com Iwritethemed (monthly; No No No ) DURATION: Children’s Literature Database, monthly reviews 101.com (circulation 6,000),monthly reviews; (circulation 15,000),quarterly reviews; Suite REVIEWS FOR Columbia Crossroads, PA 16914 RD 3Box 264 SUE REICHARD CocoaJava.com magazine. Award-winning teenessayonline at have apublished children’s storyin and anMS degree inspecialized journalism. I working knowledge of bothFrench and Spanish programs and teacher training. Ialsohavea international earlychildhood education training writing and published photography, aswell includes bothcorporate communications ADDITIONAL INFORMATION RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: Manila Bulletin opinion makers (circulation approx. 10,000); read bybooklovers, academicians, scholars, and Newsbreak Magazine 350,000; infrequently until June 2006); largest circulating national daily (approx. REVIEWS FOR [email protected] [email protected] Metro Manila,Philippines Tahanan Village, Parañaque 1700 #146 DonRufino Avenue NENI STA. ROMANA-CRUZ nyjournalofbooks.com. is SCBWImember. Contact: reviewrequests@ advance ifpossible. Publisher and EditorinChief books are sent tousatleastthree weeks in posts onbook’srelease date soweaskthat small presses. No self-published books. Review of children’s and adult booksfrom large and since 2009.No feefor review. Reviews alltypes and often published themselves. Inbusiness winning reviewers who are experts intheir fields Premier respected bookreview sitewithaward- http://ww.nyjournalofbooks.com LISA ROJANY positive spinonallbooks. ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: and young adults, butparticularly nonfiction TYPES OFBOOKS: Yes Yes Sevenyears : : . , anational daily broadsheet, Sunday Review Philippine DailyInquirer Alltypesof booksfor children Yes No , abiweeklypublication : My background Itrytoputa , Towanda, PA Hodgepodge , the No Yes

BOOK REVIEWERS DIRECTORY | 189 second in national circulation (infrequently CHRISTINE GERBER RUTT REVIEWS MATERIAL THE SEASON IT IS PREPARING & SUBMITTING until June 2006) Rheinländerstrasse 16 RELEASED: Yes TYPES OF BOOKS: Locally published children’s 4056 Basel, Switzerland LEAD TIME FOR PUBLICATION: One month books for all ages and juvenile literature from [email protected] other countries that may be of significance and REVIEWS FOR: Basel Childbirth Trust MERIBETH C. SHANK relevance to the Filipino audience (newsletter), monthly column (circulation 200) 10200 N. Miami Avenue REVIEWS SELF-PUBLISHED MATERIAL: No DURATION: Since September 2003 Miami Shores, FL 33150 REVIEWS EBOOKS: Yes TYPES OF BOOKS: Picture books, beginning [email protected] REVIEWS MATERIAL THE SEASON IT IS readers, poetry, and seasonal material REVIEWS FOR: Miami Family Magazine (www. RELEASED: Yes, especially for locally published REVIEWS SELF-PUBLISHED MATERIAL: Yes, if miamifamilymagazine.com) (circulation 40,000) books exceptional DURATION: Since October 2004 MARKET SURVEYS ADDITIONAL INFORMATION: Only review REVIEWS EBOOKS: No TYPES OF BOOKS: Picture books, beginning books that are worthy of mention because REVIEWS MATERIAL THE SEASON IT IS readers, middle grade, young adult, fiction, they personally appeal to me or deserving an RELEASED: Book reviews are slotted to fit with nonfiction, poetry, and seasonal material; I endorsement for purchase by parents, teachers, the newsletter theme often have a theme when I write reviews. and school libraries; would like a network for ADDITIONAL INFORMATION: Our readers are ex- REVIEWS SELF-PUBLISHED MATERIAL: No continuing to hone the craft of book reviewing pats who are interested in helping their children REVIEWS EBOOKS: No for me and young reviewers. I am on the boards maintain or develop a connection to the English ADDITIONAL INFORMATION: My reviews appear of the Philippine Board on Books for Young language and culture. Two to four books are monthly. DIRECTORIES & RESOURCES People and the Sa Aklat Sisikat [Books Are reviewed each issue. Cool!] Foundation. The latter trains grade 4 JENNIFER SINGER public school teachers on promoting the love TARIE SABIDO 2523 NE 115th Street of reading and envisions a nation of readers. I 21 F. Manalo Street Seattle, WA 98125 am a published author of books for children and Brgy. Pinagkaisahan [email protected] adults and have been teaching at International Cubao, Quezon City 1111 REVIEWS FOR: Cofounder and contributor to School Manila for all of my professional life Philippines children’s and young adult book review blog where I headed the Children’s Media Center. [email protected] Our Time in Juvie (www.outrimeinjuvie.com). We REVIEWS FOR: Into the Wardrobe, an provide book reviews, book recommendations/ SHEILA RUTH international blog on literature for the young lists (by category and age), author interviews [email protected] and young at heart; Asia in the Heart, World and guest blog posts, local event information,

REVIEWS FOR: Wands and Worlds (blog1. on the Mind, a blog on Asian children’s and YA etc. PUBLICIZING YOUR PUBLISHED WORK wandsandworlds.com) books DURATION: Two years DURATION: Eight years DURATION: Eight years TYPES OF BOOKS: Fiction or nonfiction, picture TYPES OF BOOKS: Fiction, middle grade, young TYPES OF BOOKS: Fiction, nonfiction, picture books, early readers, middle grade, young adult; adult; fantasy, science fiction, and speculative books, early readers, middle grade, young adult all books written for children and teens are fair fiction REVIEWS SELF-PUBLISHED MATERIAL: Yes game, whether they’re fiction or nonfiction, REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS EBOOKS: Yes wordless picture-book or epic-novel length. REVIEWS EBOOKS: No REVIEWS APPS: Yes In the past, our site has covered virtually REVIEWS APPS: No REVIEWS MATERIAL THE SEASON IT IS every genre and lists even more books for REVIEWS MATERIAL THE SEASON IT IS RELEASED: I have no specific schedule for recommendation. RELEASED: Some books reviewing books. REVIEWS SELF-PUBLISHED MATERIAL: No LEAD TIME FOR PUBLICATION: One to two REVIEWS EBOOKS: Yes months MARY ANN SCHEUER REVIEWS APPS: No ADDITIONAL INFORMATION: Please query by 3132 Lewiston Avenue REVIEWS MATERIAL THE SEASON IT IS

e-mail to [email protected], and if Berkeley, CA 94705 RELEASED: Review year-round, new and old SCHOOL VISITS I’m interested, I’ll send you the address to send [email protected] titles alike the book. Please be aware that I receive many REVIEWS FOR: Parents’ Press, a monthly ADDITIONAL INFORMATION: While I will more submissions than I can read, so if I don’t newspaper distributed throughout the San happily read ebooks, my preferred format is respond to your query, it’s not personal. I don’t Francisco Bay Area (monthly Bookshelf column); the physical book. I will occasionally review promise a review, and I rarely review books that my blog, Great Kid Books (greatkidbooks. self-published material, but I request specific I don’t like. I do try to analyze each book I blogspot.com) inquiries for those. Our e-mail and additional LEGAL QUESTIONS review critically and discuss the strengths and DURATION: Three years information on the materials we accept for weaknesses, as well as suggested audience for TYPES OF BOOKS: Fiction, nonfiction, picture review can be found at www.ourtimeinjuvie.com. the book. More information can be found in my books, early readers, middle grade; my target review policy at: blog1.wandsandworlds.com/p/ age group is ages 2–14; I do not review YA. ART SPENCER blog-review-policy.html. REVIEWS SELF-PUBLISHED MATERIAL: No 2632 26th Place SE REVIEWS EBOOKS: No Auburn, WA 98002 REVIEWS APPS: Yes [email protected] 190 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: folktales or original stories Asian cultures, and mountain adventures; Asian special interest inbooks setinAsia, bookson books, middle grade, young adult; Ihave a TYPES OFBOOKS: DURATION: newspaper, Blueear.com, online journals REVIEWS FOR [email protected] New Orleans, LA70118 6030 HurstStreet WHITNEY STEWART secondary language artsclassroom. especially lookfor booksthatwillworkwellina study guide manuscript intended for teachers. I of my bookreviews inthe firstedition of a teachers, and librarians. Ihaveusedahundred book talkworkshops eachyeartostudents, ADDITIONAL INFORMATION: audience undiscovered byteachers, parents, orchild older booksthatare stillfavorites orperhaps RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: and young adult novels; fiction, some nonfiction TYPES OFBOOKS: DURATION: submissions used SIGNAL Journal column (circulation 400); Utah Children’s WritersListserv, weekly Fork Press REVIEWS FOR [email protected] Spanish Fork,UT84660 804 East1050South LU ANNBROBSTSTAHELI RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: elementary age, and allgenres. of my reviews are for booksappropriate for a favorite; Ireview onlyafewYA books;most TYPES OFBOOKS: DURATION: students Destiny Library Manager (internal only),440 bookvoyages.com REVIEWS FOR | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK , weeklycolumn(circulation 4,000); Whenever possible;alsoreview No Since 1991 Three years Elevenyears : Freelance for : ReadAllAboutIt, : BookVoyages blog( , and No ); Auburn School District Fiction, nonfiction, picture Picture books, middle grade, Allbooks;realistic fiction is No Yes No NCTE Selects The ALANReview The Times-Picayune Ialsogiveseveral quarterly as Spanish www. No Yes No ,

book comes my way, Ireview it for aspecial ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: especially nonfiction; audiobooks for children graphic novels, no manga; picture books, books, middle grade; baseball-themed books; TYPES OFBOOKS: DURATION: Shelf-employed on Twitter @shelfemployed; on Facebook: daily regular readers via RSSfeedand e-mail); (5,000 visitspermonth—approximately 275 employed ( REVIEWS FOR [email protected] LISA TAYLOR RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: science fiction for kids and teens grade, young adult; primarily fantasy and TYPES OFBOOKS: DURATION: ( REVIEWS FOR [email protected] Providence, RI2903 150 BenefitStreet CHARLOTTE TAYLOR particular bookscanbeusedwithmy students. negative reviews. Inmy blog,Ishow how ADDITIONAL INFORMATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: just aboutanything that canbeusedwithmy students—which is books, earlyreaders, middle grade; any books TYPES OFBOOKS: DURATION: ( REVIEWS FOR [email protected] Mendocino, CA95460 45331 S.CasparDrive JEANETTE STICKEL interest publication. charlotteslibrary.blogspot.com speakwellreadwell.blogspot.com Yes Yes Yes www.shelf-employed.blogspot.com Sixmonths Fouryears Fiveand ahalfyears : SpeakWell, ReadWell blog : : My blog,Charlotte’sLibrary School LibraryJournal No No No Fiction, nonfiction, picture Fiction, nonfiction, picture Fiction, earlyreaders, middle No Yes No Idon’t do any When the right ) ) ; Shelf- No No No ) Year, 2012from the Texas Library Association. site; itjustwonBestHigh School Blogof the ADDITIONAL INFORMATION: weeks LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: more info funny coming-of-age books;seemy sitefor adult; paranormal romance, realistic fiction, TYPES OFBOOKS: DURATION: com Reading Now ( REVIEWS FOR [email protected] El Paso, TX79935 10701 MillerBarberDrive PAMELA THOMPSON RELEASED: project before submitting abookormanuscript. courteous and e-mail me first to describe your ADDITIONAL INFORMATION: LEAD TIMEFORPUBLICATION: RELEASED: REVIEWS MATERIAL THE SEASONITIS REVIEWS APPS: REVIEWS EBOOKS: REVIEWS SELF-PUBLISHEDMATERIAL: fairy tales, and mythology. Middle Ages, Renaissance artand life, theater, and professional bookswithanemphasisonthe contemporary fiction, poetry, and also reference and young adult science fiction and fantasy, grade, young adult; Ireview middle grade TYPES OFBOOKS: DURATION: at all. you know. Inthatcase, Iwillnot postareview give apositivereview for yourbook,Iwilllet that yourbookhasmerit. IfIhonestly cannot or Goodreads for fellowSCBWImembers ifIfeel provide areview for Amazon, Barnes &Noble, not guarantee apublished review in editor. My recommendation for inclusion will included solelyatthe discretion of the review professionals and teachers). of 7,000,butareadership of 30,000library REVIEWS FOR www.nancykwallace.com [email protected] Ellwood City, PA 16117 549 DutchRidgeRoad NANCY K.WALLACE ); YA booksfor Yes, and before publication Any time Yes Twenty yearsand five months Sixteenyears : Young Adult Books—WhatWe’re : booksbypamelathompson.blogspot. VOYA No Fiction, middle grade, young Fiction, nonfiction, middle No No The ElPaso Times magazine (circulation

REVIEWS APPS: VOYA Pleasecheck my Pleasebe Abouttwo Three months reviews are VOYA No No No . Ican BOOK REVIEWERS DIRECTORY | 191

Unsolicited works will not necessarily be RITA ZOBAYAN PREPARING & SUBMITTING reviewed or receive a response. I require a [email protected] physical copy of your book to review it. www.ritazthewriter.com @ritazthewriter LAURIE WHITMAN www.facebook.com/rita.thewriter.3 [email protected] REVIEWS FOR: Good Reads with Ronna REVIEWS FOR: BookReview.com DURATION: Three years TYPES OF BOOKS: Picture books, beginning TYPES OF BOOKS: Fiction, nonfiction, picture readers, fiction, nonfiction, seasonal books, early readers, chapter REVIEWS SELF-PUBLISHED MATERIAL: No books, middle grade, young adult REVIEWS EBOOKS: No SELF-PUBLISHED: No MARKET SURVEYS REVIEWS MATERIAL THE SEASON IT IS EBOOKS: No RELEASED: Yes REVIEWS APPS: Yes LEAD TIME FOR PUBLICATION: Two months MARK L. WILLIAMS ADDITIONAL INFORMATION: I review only 10765 Tabor Street books that I have enjoyed reading. My Los Angeles, CA 90034 background is in education and writing, so I [email protected] look for books that would be well-placed in

REVIEWS FOR: Kids’ Shelf column for Studio City classrooms DIRECTORIES & RESOURCES Sun (www.studiocitysun.com) (preS-12th grade). DURATION: Nearly a year TYPES OF BOOKS: All MARKETABILITY: BOOK PUBLICITY AND REVIEWS SELF-PUBLISHED MATERIAL: Yes PROMOTION WITH A TWIST REVIEWS EBOOKS: No 813A 14th Street REVIEWS MATERIAL THE SEASON IT IS Golden, CO 80401 RELEASED: Generally (888) 55-TWIST (fax) (303) 279-7950 LISA A. WROBLE www.marketability.com 441 Quail Forest Blvd., #301 ADDITIONAL INFORMATION: In cooperation Naples, FL 34105 with the Mining Company, MarketAbility has [email protected] formed a network of sites on over five hundred PUBLICIZING YOUR PUBLISHED WORK REVIEWS FOR: “Read & Play” column for topics. Each Mining Co. GuideSite™ is devoted Early On newsletter, Wayne RESA, (circulation to a single topic and includes site reviews, 100,000); Christian Library Journal (circulation articles, and discussion areas. Many Guides are 1,000, to Christian, school, and public interested in receiving review copies of books librarians)–editor provides assignments; plus in their subject area for review on their site. reviews posted on Goodreads, Books Use in To review the list of subject areas, visit www. Classrooms board on Pinterest, and blogs. marketability.com. Follow the directions on this DURATION: Early On since 2012; Christian site to receive contact information. Library Journal since 1997. TYPES OF BOOKS: Picture books, any type and THE CHILDREN’S LITERATURE PROGRAM genre; classic and well-loved picture books Department of English and Comparative suitable for ages 0–5, fiction and nonfiction for Literature all ages. For Early On: board and novelty books, San Diego State University

apps, picture books for ages 0-4. For Christian San Diego, CA 92182‑8140 SCHOOL VISITS Library Journal, editor provides suggestions. All www-rohan.sdsu.edu/~childlit others: all ages, fiction, picture book through TYPES OF BOOKS: Children’s books on a variety New Adult; genres: fantasy, science fiction, of topics mystery/suspense, paranormal, historical, ADDITIONAL INFORMATION: Book reviews are literary; MG/YA nonfiction to build self-esteem, posted on the website by topic and are written deal with growth/personal issues/self-help; by academics associated with the program. In LEGAL QUESTIONS parenting how-to and specific educational order to have your book considered for review, issues nonfiction. have your publisher submit it to the above REVIEWS SELF-PUBLISHED MATERIAL: Yes address. A list of topics and other information is (send e-mail first) available on the website. REVIEWS EBOOKS: Yes REVIEWS MATERIAL THE SEASON RELEASED RELEASED: NOT ESSENTIAL INTERNATIONAL SCHOOL DIRECTORY INTERNATIONALCOPYRIGHT FACTSSCHOOL FORDIRECTORY WRITERS

by Holly Thompson

he SCBWI Directory of International Schools helps connect SCBWI authors, illustrators and translators who do school visits with interested T international schools around the world. The Directory lists international schools that feature (or plan to feature) author and illustrator (and occasionally translator) visits. Each year the submission period for schools to submit data for the Directory is April 1 to June 1. Librarians at international schools worldwide are encouraged to submit info for their schools. International schools worldwide wishing to submit data should visit www.scbwi.org and under “Find a Speaker”, click on “About School Visits”, then click on “Submit International School Visit Information.”

International schools usually embrace a global outlook. The Listings of international schools may also be found on the following community of an international school—the administrators, faculty, sites: students and families—typically includes members of many different cultures, languages and belief systems. The approach to education »» Council of International Schools (International Schools Directory) tends to be truly international. Some international schools follow the www.cois.org International Baccalaureate (IB) programs, including the IB Primary »» International Schools Service (Directory of International Schools) Years Program, the IB Middle Years Program, and the IB Diploma www.iss.edu Program. Some international schools follow the national curriculum of »» The SHAMBLES in South East Asia (The Education Project Asia; a particular country, such as the Australian Schools and British Schools. International Schools in S.E. Asia) www.shambles.net/allschools/index. Some international schools include many students of the local culture, htm whereas other international schools are forbidden by local law from »» East Asia Regional Council of International Schools (Member Schools) accepting local students. In countries such as South Korea, international www.earcos.org schools may be composed almost entirely of students from the local culture studying in English. Some international schools are aligned with Note: For the below SCBWI Directory of International School listings, a particular religious faith. Most international schools are located in or “percent native English speakers” refers to the estimated percentage near major cities. of native English speaking students at the school; “other languages The information in this Directory was contributed by librarians at taught” refers to languages besides English taught at the school. the international schools listed. The SCBWI hopes that this Directory of International Schools will continue to grow, and that this Directory, See the complete International School Directory in the “Resource combined with the Guide to International School Visits, ultimately will Library” section of www.scbwi.org. benefit schools, authors, illustrators, and children worldwide.

Authors, Illustrators and Translators: Please see also the SCBWI Guide to International School Visits. Besides reading the information in the Guide and this Directory, be sure to check individual school websites.

WRITING & ILLUSTRATION COURSES DIRECTORY

ompiled by SCBWI regional advisors, the Writing & Illustration Courses Directory lists institutions that offer courses, regularly or occasionally, C in writing or illustrating for young readers. There may be other courses than those listed here. Members seeking courses in areas where none are listed should contact local institutions.

The 2010-2011 edition of this list has been updated with phone contacted us with information are listed in more complete detail. numbers and/or websites for each listing. Further details, course Finally, while we encouarge you to hone and sharpen your craft by descriptions, costs and registration deadlines are readily available taking a class, this listing is not a recommendation or endorsement of online for most of the classes listed below. Programs that have any specific institution or course.

Pima Community College/Tucson ARKANSAS US COURSES Tuscan, AZ WRITING COURSES www.pima.edu/ University of Arkansas ARIZONA COURSE TITLE: Literature/Social Studies for Department of English OCCASIONAL WRITING COURSES Children 333 Kimpel COURSE DESCRIPTION: Survey of principles, Fayetteville, AR 72701 Arizona State University materials, and techniques for the selection 479-575-4301 Virginia G. Piper Center for Creative Writing and evaluation of children’s literature www.uark.edu/depts/english/ Mollie Connelly and social studies materials. Includes PO Box 875002 incorporating an appreciation of other CALIFORNIA Tempe, AZ 85287-5002 cultures, and planning and implementing WRITING COURSES 480.727.0818 developmentally appropriate activities. http://piper.asu.edu CSU/Northridge Tucson Parks and Recreation Department of English Cochise Community College/Wilcox 509-573-3933 CSUN, 18111 Nordhoff Street, English Department www.ezeereg.com Northridge, CA 91330-8248 800-966-7943, Ext. 4058 or Ext. 5490 818-677-3434 www.cochise.edu/deptsdirs/englishdept/index. Tucson Public Library www.csun.edu/english/index.php asp Pima County Public Library www.library.pima.gov/ City College of San Francisco Glendale Community College The University of Arizona Department of English www.gc.maricopa.edu/ Department of English www.ccsf.edu/Departments/English/ COURSE TITLE: Children’s Literature 1423 E. University Blvd. Rm. 445 COURSE DESCRIPTION: Review of folk and Modern Languages Building Learning Annex/San Diego modern literature, including application of P.O. Box 210067 619-544-9700 literary criteria to folk and modern literature Tucson, Arizona 85721 Writing and Publishing Channel 520-621-1836 www.learningannex.com/categories/ english.arizona.edu/ writing+%2526+publishing 196 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.hancockcollege.edu/Default.asp?Page=520 805-922-6966 English Department Allan HancockCollege OCCASIONAL WRITINGCOURSES https://www.uclaextension.edu/fos/Writing.aspx [email protected] 310-825-9415 Writing Program UC Extension/LosAngeles www.marinlearn.com/ Tamplais UnionSchoolDistrict for children ages 1-13. students interested in the field of literature aides, childdevelopment professionals and Designed for parents, prospective teachers, practices inpresentation and analysis. child develop including criteria for selection, usesin and contemporary children’s litera Course Description: Literature Course Title: 916-660-8018 Department of English www.sierra.cc.ca.us/index.html Sierra College www.scu.edu/english/ Department of English 408-554-4142 Santa Clara University www.sbcc.edu/english/ 805-965-0581 ext. 2340 Department of English Santa Barbara CityCollege www.ces.sdsu.edu/ 619-594-5821 San DiegoStateUniversity Extension academic/english/index.shtml www.oxnardcollege.edu/departments/ 805-986-5800, ext. 1949 Department of English Oxnard College www.otis.edu/ 310-665-6800 Otis Collegeof ArtandDesign www.learningexchange.com/ 916-929-9200 Learning Exchange/Sacramento | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING ment and education, and Introduction toChildren’s

Examination of classic ture, Art Deparment City Collegeof SanFrancisco REGULAR ILLUSTRATING COURSES www.vcccd.edu/ 805-652-5500 Ventura CommunityCollege english.ucr.edu/ 951-827-5301 English Department UC ContinuingEducation/Riverside www.napavalley.edu/apps/comm.asp?$1=26 Writing Center Napa Valley College mcweb.moorparkcollege.edu/english/ 805-378-1400 English Department Moorpark CommunityCollege english/ www.mjc.edu/prospective/programs/litlang/ [email protected] Department of English Modesto JuniorCollege 310-478-6677 Learning Annex/Los Angeles www.csustan.edu/English 209-667-3361 Department of English California StateU/Stanislaus www.csuchico.edu/engl/ 530-898-5124 English Department California StateU/Chico www.csub.edu/English/index.htx 661-654-2144 English Department California StateU/Bakersfield www.arnenixoncenter.org/ 559-278-8116 Literature Arne Nixon Centerfor Children’s LITERATURE: and Literature: Storytelling; Children and COURSE TITLES: English.htm www.arc.losrios.edu/Programs_of_Study/ 916-484-8101 American River College/Sacramento Multicultural Literature Children and Literature; Children entire process, from the cultivation of ideas or illustrating achildren’s book?Learnthe COURSE DESCRIPTION: Illustrate It, PublishIt! COURSE TITLE: conted.colorado.edu/ [email protected] 303-492-5148 UC ContinuingEdu/Boulder REGULAR WRITINGCOURSES COLORADO on=saDetail&vStudyAreaID=1 extension.ucsd.edu/StudyArea/index.cfm?vActi Art Department UC Extension/SanDiego www.otis.edu/ 310-665-6800 Otis ArtInstitute www.ccsf.edu/Departments/ 415-239-3157 203-254-4110 (nighttime continuing education courses) Fairfield University REGULAR WRITINGCOURSES CONNECTICUT conted.colorado.edu/ [email protected] 303-492-5148 UC ContinuingEdu/Boulder www.artinstitutes.edu/denver/ 303-837-0825 The ArtInstituteof Colorado OCCASIONAL ILLUSTRATING COURSES www.rmcad.edu/ 303-753-6046 Rocky MountainCollegeof Art&Design REGULAR ILLUSTRATING COURSES to joinusfor lunch. super-creative hands-on class!Allare welcome consultations during breaks. ThisisaFUN, advice -not destructive. Free fiveminute private you from getting valuable advice -constructive it’s justonanapkin!). Don’tletshyness stop publish. Bring yourownartorwriting (evenif straightforward and profitable itcanbetoself- publishers. We’ll alsotake agood lookathow for successfully submitting manuscripts tolarge development, picture booklayouts, and secrets to the published work.We’ll covermanuscript The Children’s Book:WriteIt, Everdreamed of writing WRITING & ILLUSTRATION COURSES DIRECTORY | 197

[email protected] OCCASIONAL WRITING COURSES OCCASIONAL ILLUSTRATING COURSES PREPARING & SUBMITTING www.fairfield.edu/admission/csa_index.html College of DuPage Art Institute of Chicago Continuing REGULAR ILLUSTRATING COURSES 630-942-2800 Studies home.cod.edu/ 312 629-6100 University of Hartford Art School College of Lake County [email protected] Illustration Department 847-543-2000 www.saic.edu/continuing_studies/ace/index. www.hartfordartschool.org/departments- www.clcillinois.edu/ html illustration.php Harper Community College Columbia College OCCASIONAL WRITING COURSES Department of English 573-875-8700 MARKET SURVEYS 847-925-6284 www.ccis.edu/ Southern Connecticut State University www.harpercollege.edu/libarts/eng/dept/ English Department Ragdale Foundation 203-392-6147 Newberry Library 847-234-1063 [email protected] 312-943-9090 [email protected] www.southernct.edu/english/ www.newberry.org/ www.ragdale.org/

FLORIDA Northern Illinois University IOWA DIRECTORIES & RESOURCES REGULAR ILLUSTRATING COURSES Department of English REGULAR WRITING COURSES 815-753-0611 Palm Beach Community College [email protected] University of Iowa Summer Writing 561-868-3350 www.engl.niu.edu/index.shtml Festival [email protected] C215 Seashore Hall www.pbcc.edu/ Oakton Community College The University of Iowa Department of English Iowa City, IA 52242 GEORGIA 847-635-1953 319-335-4160 REGULAR ILLUSTRATING COURSES [email protected] www.continuetolearn.uiowa.edu/iswfest/ www.oakton.edu/acad/dept/egl/ Savannah College of Art and Design LOUISIANA

912-525-5000 Off Campus Writers Workshop REGULAR WRITING COURSES PUBLICIZING YOUR PUBLISHED WORK Illustration Master of Arts and Master of Fine [email protected] Arts Degrees www.ocww.bizland.com/ University of New Orleans www.scad.edu/illustration/ma_mfa. The University of New Orleans cfm#illudesign Ragdale Foundation 2000 Lakeshore Drive 847-234-1063 New Orleans, LA 70148 HAWAII [email protected] 504-280-6000 OCCASIONAL WRITING COURSES www.ragdale.org/ www.writing.uno.edu/

University of Hawaii/Hilo Saint Xavier University MAINE English Department 773-298-3236 REGULAR WRITING COURSES 808-974-7479 [email protected] www.uhh.hawaii.edu/depts/english www.sxu.edu/Academic/Liberal/English_ University of Southern Maine (Stone Foreign_Lang/default.asp Coast MFA Program)

University of Hawaii/Manoa 207-780-4141 SCHOOL VISITS Department of English University of Chicago Publishing usm.maine.edu/stonecoastmfa/ [email protected] Program OCCASIONAL WRITING COURSES 808.956.3032 773-702-2768 Course Title: Children’s Literature [email protected] University of Maine www.english.hawaii.edu/ https://grahamschool.uchicago.edu/php/ 207-581-1110 museumpublishingseminar/index.php www.umaine.edu/ LEGAL QUESTIONS ILLINOIS REGULAR ILLUSTRATING COURSES Waubonsee Community College MARYLAND 630-466-7900 REGULAR WRITING COURSES Evanston Arts Center www.waubonsee.edu/ 847-475-5300 Winnetka Community House Writer’s Center/Bethesda www.evanstonartcenter.org/catalog. 847-446-0537 301 654-8664 aspx?did=5 www.winnetkacommunityhouse.org/ https://www.writer.org/workshops/index.asp 198 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org with afaculty mentor. During each 10-day one-on-one from home via mail and email the semesters inbetween, students work and faculty members are oncampus;during summer (startof fall term)when students each winter (startof spring term)and two-year program features 10-day residencies genre study isavailableand supported. The writing for children &young adults. Cross- on fiction, poetry, creative nonfiction, and Writing Program enables students tofocus The Solstice Low-Residency MFA inCreative www.pmc.edu/mfa (617) 731-7631fax (617) 731-7684 Chestnut Hill,MA02467 400 HeathStreet Pine ManorCollege Creative Writing Program The SolsticeLow-Residency MFA in www.salemstate.edu/academics/2500.php 978-542 6331 Salem StateCollege htm www.framingham.edu/dgce/cert_childlit_grad. 508-626-4550 Framingham State College www.ccae.org/ 617-547-6789 Cambridge Centerfor Adult Edu. www.bcae.org/ 617-267-4430 Boston Centerfor Adult Edu. www.berkshirecc.edu/ Berkshire CommunityCollege REGULAR WRITINGCOURSES MASSACHUSETTS authors. and published children and young adult including editorsatmajor publishing houses courses are taught byexperts inthe field, publishing inthe field. The graduate online professionals who want astraight pathto Certificate Program is designed for working Writing for Children &Young Adults (WCYA) COURSE DESCRIPTION: http://www.mcdaniel.edu/WCYA 410-857-2501 2 CollegeHill,Westminster, MD21157-4390 Graduate andProfessional Studies McDaniel College | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING The McDaniel College MINNESOTA reced.aaps.k12.mi.us/reced.home/classes_ 734-994-2300 Education Ann ArborPublicSchoolsCommunity REGULAR WRITINGCOURSES MICHIGAN www.radcliffe.edu/research/arts.aspx Radcliffe Seminars COURSES OCCASIONAL WRITING/ILLUSTRATING 978-542-6515 Art Dept. Salem StateCollege www.massart.edu/x394.xml 617-879-7000 Massachusetts Collegeof Art www.capecodcreativearts.org/workshops.cgi 508-945-3583 Cape CodLiterary ArtsWorkshop www.ccae.org/catalog/courses/?id=1 Cambridge Centerfor Adult Education www.lesley.edu/aib/curriculum/programs.html 617-585-6600 Art Instituteof Boston REGULAR ILLUSTRATING COURSES www.umass.edu/ University of Massachusetts/Amherst edu/mfa for more information. by members of the public. Visitwww.pmc. writing for children—are availablefor audit classes inwriting for young adults and residency, selectcraft classes—including www.cce.umn.edu/ Eduaction University of Minnesota Continuing www.english.mnsu.edu/cw/index.htm Mankato StateUniversity www.loft.org/ 612-215-2575 The Loft Literary Center centerfordevelopingwriters.com/ 763-755-4966 Center for Developing Writers REGULAR WRITINGCOURSES 314-977-2222 St. LouisUniversity REGULAR WRITINGCOURSES MISSOURI www.extension.umn.edu/ [email protected] 612-624-1222 University of MinnesotaExtension OCCASIONAL WRITINGCOURSES www.cce.umn.edu/splitrockarts/ 612-624-4000 Program University of MinnesotaSplitRockArts REGULAR ILLUSTRATING COURSES www.cce.umn.edu/splitrockarts/ 612-624-4000 Program University of MinnesotaSplitRockArts www.unr.edu/programs/graduate/cla/ 775-784-4700 University of Nevada www.tmcc.edu/wdce/ 775-829-9010 Truckee Meadows CommunityCollege REGULAR WRITINGCOURSES NEVADA www.southeast.edu/academics/default.asp 402-228-3468 Southeast CommunityCollege OCCASIONAL ILLUSTRATING COURSES www.southeast.edu/academics/default.asp 402-228-3468 Southeast CommunityCollege OCCASIONAL WRITINGCOURSES cfm?SRC=DB&SRCN=&GnavID=19 www.cccneb.edu/igsbase/igstemplate. [email protected] 308-398-4222 Central Community College REGULAR WRITINGCOURSES NEBRASKA www.slu.edu/index.xml WRITING & ILLUSTRATION COURSES DIRECTORY | 199

NEW HAMPSHIRE NYU School of Continuing Education 212-592-2251www.schoolofvisualarts.edu PREPARING & SUBMITTING REGULAR WRITING COURSES 212-998-7200 www.scps.nyu.edu/academic-programs/ SUNY/Purchase College Lebanon College continuing-education/ 914-251-6750 603-448-2445 www.purchase.edu/Departments/ Quackenbush Studios AcademicPrograms/arts/ REGULAR ILLUSTRATING COURSES www.rquackenbush.com/workshops.htm OCCASIONAL WRITING COURSES Lebanon College Queens College 603-448-2445 718-997-4600 Barnard College www.lebanoncollege.edu/cgi-bin/ www.qc.cuny.edu/Academics/Degrees/DAH/ 212-854-2116 MARKET SURVEYS courselistings.pl English/Pages/default.aspx www.barnard.edu/english/

OCCASIONAL WRITING COURSES Stony Brook University Hofstra University University of New Hampshire Continuing http://childrenslitfellows.com Hempstead, NY 11549-1000 Education COURSE DESCRIPTION: Twelve Fellows are 516-463-6600 603-862-2015 selected each year to work independently in the www.hofstra.edu/Academics/Colleges/HCLAS/ [email protected] Spring and Fall with acclaimed faculty mentors, ENGL/MAECW/maecw_course_desc.html www.learn2.unh.edu/programs/index.html and, twice a year, come together as a cohort - Learning Annex/NYC DIRECTORIES & RESOURCES OCCASIONAL ILLUSTRATING COURSES once in July during the Southampton Writers www.learningannex.com/categories/ Conference and again in January for a special writing+%2526+publishing University of New Hampshire Continuing Publishing and Editing Conference. During their Eduaction year, Fellows complete one publishable YA or Manhattanville College 603-862-2015 middle grade manuscript, or, for chapter and 914-323-5239 [email protected] picture book writers, three to four separate www.manhattanville.edu/ www.learn2.unh.edu/programs/index.html manuscripts. Admission is highly selective. AcademicsandResearch/GraduateStudies/ Children’s Lit Fellows receive Advanced Writing/Default.aspx NEW YORK Certificates in Creative Writing from Stony Brook REGULAR WRITING COURSES Southampton’s MFA in Creative Writing and The Manuscript Workshop(VT) Literature. www.themanuscriptworkshop.org/

Baruch College PUBLICIZING YOUR PUBLISHED WORK 646-312-5000 SUNY/Purchase College Marymount Manhattan College www.baruched.com/ 914-251-6000 [email protected] www.purchase.edu/Departments/Admissions/ specialprograms.mmm.edu/listings.cfm?cat_ Brooklyn College AreasOfStudy/ id=163 718-951-5195 www.brooklyn.cuny.edu/pub/Department_ The New School OCCASIONAL ILLUSTRATING COURSES Details.jsp?div=G&dept_code=32&dept_id=83 https://continuingeducation.newschool. edu/flexibleregistration/index. Graphic Arts Guild Cooper Union jsp?frc=NC&q=NLIT,NWRW www.graphicartistsguild.org/ 212-353-4195 Children’s Book Illustration and Writing www.cooper.edu/administration/continuing_ Class runs 15 weeks starting in January and Hofstra University ed/Welcome.html August 516-463-5474 (Art Dept) Gotham Writer’s Workshop

212-974-8377 REGULAR ILLUSTRATING COURSES NORTH CAROLINA SCHOOL VISITS www.writingclasses.com/ Cooper Union Fayetteville State University Long Island University/Brookville www.cooper.edu/art/Welcome.html Department of English and Foreign Languages 1-800-548-7526 1200 Murchison Road www.liu.edu/liu_start.html Parsons School of Design G.L. Butler Building, Room 123 212-229-5855 Fayetteville, NC 28301 LEGAL QUESTIONS Mediabistro www.parsons.edu/departments/index.aspx 910-672-1416 http://www.mediabistro.com/courses/ www.uncfsu.edu/english/descriptions.htm childrens-book-writing-and-illustrating/new- Quackenbush Studios COURSE TITLE: Writing Children’s Literature york/8942/ www.rquackenbush.com/workshops.htm INSTRUCTOR: Carole Boston Weatherford Children’s Book Writing and Illustrating School of Visual Arts COURSE DESCRIPTION: This course will provide Class runs 8 weeks throughout the year 209 East 23 Street students with an understanding of how to write Check schedule for next class New York, NY 10010-3994 for children in different literary genres and with 200 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING 503-725-3515 Art Department Portland StateUniversity www.pcc.edu/ 503-244-6111 Portland Community College www.lclark.edu/college/departments/art/ 503-768-7390 Art Department Lewis &ClarkCollege OCCASIONAL ILLUSTRATING COURSES www.english.pdx.edu/index.php 503-725-4944 Portland StateUniversity www.pcc.edu/ 503-244-6111 Portland CommunityCollege www.occbww.com/ Workshop Oregon Coast Children’s BookWriters www.lclark.edu/college/departments/english 503-768-7405 English Department Lewis &Clark College OCCASIONAL WRITINGCOURSES OREGON art.okstate.edu/ [email protected] 405-744-6016 Oklahoma StateUniversity REGULAR ILLUSTRATING COURSES english.okstate.edu/home/index.htm [email protected] 405-744-9474 Oklahoma StateUniversity REGULAR WRITINGCOURSES OKLAHOMA 800-223-4700 www.cia.edu/ Cleveland Instituteof Art OCCASIONAL ILLUSTRATING COURSES OHIO PREREQUISITES: trends inthe children’s publishing industry. and for children. The coursewillalsoconsider issues an opportunitytocreate writtenmanuscripts English 110and English 120. 401-863-7900 Brown University, ContinuingStudies OCCASIONAL WRITINGCOURSES www.risd.edu/conted.cfm 401-454-6200 Continued Education Rhode IslandSchoolof Design, REGULAR ILLUSTRATING COURSES RHODE ISLAND www.susqu.edu/ 570-374-0101 Susquehanna U/Selinsgrove www.dccc.edu/ 610-359-5050 Delaware CountyCollege/Media OCCASIONAL WRITINGCOURSES www.pcad.edu/ 717-396-7833 Pennsylvania Collegeof Art+Design REGULAR ILLUSTRATING COURSES www.rosemont.edu/ 610-527-0200 Rosemont College 717-626-8481 Rabbit HillWriter’s Studio www.chatham.edu/ 412-365-1100 Chatham College REGULAR WRITINGCOURSES PENNSYLVANIA www.pdx.edu/art/ www.tcu.edu/ 817-257-7000 Texas ChristianUniversity REGULAR WRITINGCOURSES TEXAS www.rhodes.edu/academics/4416.asp English Department 901-843-3000 Rhodes College/Memphis REGULAR WRITINGCOURSES TENNESSEE www.brown.edu/scs/adult/continuingstudies/ UTAH www.utexas.edu/ 512-475-7348 University of Texas/Austin https://www.twu.edu/ 940-898-2000 Texas Woman’s University www.ollusa.edu 210-434-6711 Our Ladyof theLake University www.actx.edu/ 806-371-5000 Amarillo College OCCASIONAL WRITINGCOURSES www.utdallas.edu/ 972-883-2111 University of Texas/Dallas Green River Community College [email protected] Department of English Edmonds CommunityCollege REGULAR WRITINGCOURSES WASHINGTON www.jtcc.edu/ 804-796-4000 John Tyler CommunityCollege www.hollins.edu/ 540-362-6000 Hollins University REGULAR WRITINGCOURSES VIRGINIA www.westminstercollege.edu/ 801-484-7651 Westminster College www.uvu.edu/ 801-863-1636 Utah Valley StateCollege continue.utah.edu/ 801-581-6461 University of UtahContinuingEducation www.byu.edu 801-422-4636 Brigham Young University REGULAR WRITINGCOURSES WRITING & ILLUSTRATION COURSES DIRECTORY | 201

253-833-9111 (Main Campus-Auburn) WISCONSIN WRITING FOR CHILDREN PREPARING & SUBMITTING Department of English OCCASIONAL WRITING COURSES Online course taught by Carol Parenzan Smalley www.greenriver.edu/programs/az/info/english. is good for credit at over 2400 colleges and shtm Mount Mary College universites around the world. A new section Department of English starts each month and runs for 6 weeks. Lake Washington Technical College 414-258-4810, ext. 395 Department of English www.mtmary.edu/dept_english.htm [email protected] 425-738-8100 x308 University of Wisconsin www.lwtc.edu/ www.uwsa.edu/ [email protected] MARKET SURVEYS Renton Technical College 425-235-2352 www.rtc.edu INTERNATIONAL

University of Washington Extension AUSTRALIA 206-685-8936 REGULAR WRITING COURSES www.extension.washington.edu/ext/ certificates/wfc/wfc_gen.asp VICTORIAN WRITERS’ CENTRE DIRECTORIES & RESOURCES COURSE TITLE: Certificate in Writing for 03-9654-9068 Children www.vwc.org.au/ COURSE DESCRIPTION: Investigate the world of children’s fiction and nonfiction, including COUNCIL OF ADULT EDUCATION picture books, chapter books, and novels. Learn 03-9652-0611 to bring your own tales to life and captivate [email protected] children’s imaginations. Discover how to www.cae.edu.au/ transform the idea of a story into an enthralling narrative, page by page. Explore how to use AUSTRALIAN CATHOLIC UNIVERSITY your own inner resources to strengthen your www.acu.edu.au/ creative voice and prepare for the long, quiet phase of writing and rewriting on your own. DEAKIN UNIV/MALVERN PUBLICIZING YOUR PUBLISHED WORK 03-5227-1100 REGULAR ILLUSTRATING COURSES www.goingtouni.gov.au/Main/ CoursesAndProviders/ProvidersAndCourses/ University of Washington Extension HigherEducationProviders/VIC/ 206-685-8936 DeakinUniversity.htm www.extension.washington.edu/ext/ certificates/dap/dap_gen.asp BOX HILL COLLEGE OF TAFE COURSE TITLE: Certificate in Drawing and +61-3-9286-9222 Painting www.bhtafe.edu.au/ COURSE DESCRIPTION: Discover the artist Holmesglen College of TAFE within and develop basic skills in drawing, holmesglen.vic.edu.au painting, and mixed media. Explore the technical, philosophical, and historical tools

of drawing and painting. Build composition SCHOOL VISITS skills as you draw still life, figure, and botanical ONLINE subjects. Study the basics of painting with acrylic or oil. Learn to develop a personal style ACCREDITED SCHOOLS ONLINE and visual voice. http://www.accreditedschoolsonline.org/art- schools/ OCCASIONAL WRITING COURSES LEGAL QUESTIONS ED2GO Kirkland Arts Center www.ed2go.com/cgi-bin/ed2go/newcrsdes.cgi? 425-822-7161 course=wfc&title=Writing%5efor%5eChildren&d www.kirklandartscenter.org/ epartmentnum=PW FROM IDEA TO EXECUTION RESEARCH RESOURCES FROM IDEA TO EXECUTION RESEARCH RESOURCES

wealth of information is available to writers and illustrators in libraries, bookstores, and on the Internet. Some valuable resources are out of print but can still be found in librar- A ies and in used bookstores. Good reference resources are available free of charge on Internet websites or as part of commercial databases, some of which are costly. Libraries often provide patrons free access to fee-based databases. This listing includes general reference sources and subject- and genre-specific sources, both in print and online. Appended to this publication are two essays you may find useful: “Using Historical Associations Effectively” by Alexis O’Neill and “Tips for Researching a Culture Different from Your Own” by Sherry Garland.

magazines, news services, and more in the US. Links to publisher Web sites and submission GENERAL An International edition is also available. guidelines. Some articles about writing for children. REFERENCE Writers’ and Artists Yearbook A&C Black Limited, London How to Find Out of Print Books DIRECTORIES Directory of agents, publishers of all media types, by Marylaine Block American Library Directory festivals, advice from professional writers and marylaine.com/bookbyte/getbooks.html Bowker, annual more. An article full of great tips and links to Lists libraries by state and city in the US, used booksellers from an expert information Canada, Mexico, plus library networks and The Writer’s Handbook professional. special libraries, including those accessible to The Writer, annual the physically challenged. A similar directory covering all aspects of LibWeb publishing world, with how-to advice on writing lists.webjunctrion.org/libweb Directory of Special Libraries and Information and getting published. A directory site linking to libraries around the Centers world, including special research collections and Gale Research Writers’ Market museums. Lists libraries across the US that have special Writer’s Digest Books collections on many topics. Annual listing of publishers. Publishers, Book Stores, Distributors, & Vendors Encyclopedia of Associations GENERAL REFERENCE - ONLINE RESOURCES www.uky.edu/Subject/publishers.html#bs Gale Research, biennial Abebooks.com Links to all of the above. Lists association by type (eg. Trade and Consortium of international used booksellers; Business, Social Welfare). This is a good great for finding out of print books. BIBLIOGRAPHIES AND INDEXES reference tool for finding out about association The 101 Best Graphic Novels publications. Bookfinder.com Edited by Weiner, Stephen & Keith R.A. Search for new and used books and compare DeCandido Literary Market Place prices. Nantier Beall Minoustchine Pubishing, 2001 Bowker, annual Defines the graphic novel and offers concise Lists literary agents, artist and book services, Colossal Directory of Children’s Publisher’s reviews with reading levels. book clubs, publishers, book reviewers, www.signaleadeer.com 204 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Libraries Unlimited, 1995 Rothschild, D.Aviva Comics Graphic Novels: AGuide to Book-Length of the field. informative articles and interviews on aspects conferences, and contests. Alsoprovides submission guidelines. Listsorganizations, Includes up-to-date contact information and magazines and playsinthe youthmarket; Comprehensive guide topublishers of books, Writer’s Digest Books, updated annually Children’s Writer’s &Illustrator’s Market Senior High School Library Catalog. publishes: Junior High Library Catalogand author, titleand subjectindex. Wilsonalso Annotated listof selectedbooksfor children: H.W. Wilson Children’s Catalog Children’s BooksinPrint. Children’s BooksinPrint and SubjectGuide to Author, title, subject index. Alsoavailable: Bowker, annual Books inPrint Guide tobookreviews appearing inallmedia. Gale Group, three times yearly Book Review Index Guide tobookreviews appearing inallmedia. H.W. WilsonResearch, bi-monthly Book Review Digest world literature. Considered one of the bestencyclopedias of Harper-Collins, 1991 Siepmann, Katherine Baker Benet’s Reader’sEncyclopedia organized bytime period. 3,000 titlesfor young adults and adults Oryx Press, 1998 Adamson, Lynda Guide to Novels for Adults andYoung Adults American Historical Fiction:AnAnnotated books. Subject index toapproximately 23,000picture Libraries Unlimited 2001 Lima, Carolyn &John Lima Books A to Zoo: SubjectAccess to Children’s Picture | TOEXECUTION FROM IDEA bookgirl3.tripod.com/historicalfiction.html Historical Fictionfor Children ONLINE BIBLIOGRAPHIESANDINDEXES Arranged chronologically by author. Little Brown, 1992 Bartlett, John Familiar Quotations all kinds of sources. Guide tofinding allkinds of information using Writer’s Digest Books, 1999 Metter, Ellen Facts inaFlash companion website: commercial sites, thisisthe bookfor you.See If you’re tired the thousands of false hitsand search and keys tothe invisibleordeep web. Strategies for going beyond simple keyword CyberAge Books, 2004 Hock, Randolph Extreme Searcher’s Handbook Greenwood Press, 1987 Adamson, Lynda G. Children andYoung Adults A Reference Guideto Historical Fictionfor Comprehensive guide torecent historical fiction. Libraries Unlimited, 2005 Johnson, Sarah Historical Fiction:AGuideto theGenre characters, literary allusions, art,and music. information onbooks, authors, fictional Updated version of Benet’s Reader with HarperCollins, 2002 Perkins, George and Perkins, Barbara American Literature HarperCollins Reader’sEncyclopedia of RESEARCH AIDS January 1994-April2005. publications availablefor their use. Coverage is by stateorarea code thatcanmake print libraries feature enables userstofind libraries of these publications. Additionally, the locate available, linksare provided tothe full-text publications created byFederal agencies. When provides anindex toprint and electronic The Catalogof US Government Publications www.gpoaccess.gov/cgp/index.html US Government Publications the West Indies. Asia, Canada, Europe, Middle East,Mexico, US & Titles organized byAncient Civilizations, Africa, www.extremesearcher.com grammars, current events, quotations, style demographic data, biographies, geneology, encyclopedias, calendars, conversion tools, includes almanacs, directories, dictionaries, Comprehensive, user-friendly reference site www.ipl.org/div/subject/browse/ref.00.00.00 Internet PublicLibrary: Reference Strunk’s Elements of Style. including Gray’s Anatomy, Roget’s Thesaurus and sources, poetry, fiction and non-fiction, multiple dictionaries, encyclopedias, quotation General Reference website. Free accessto Bartleby.com ONLINE RESEARCHAIDS for easyaccess. maps conveniently arranged in26subjectareas Contains awealthof facts, figures, chartsand A researcher’s dream and abrowser’s delight. Hyperion, 2002,4thedition Farqis, Paul &The New York Public Library New York PublicLibrary DeskReference Dated, butvaluable source. Cross-referenced. Wilson, 1955 Shankle, George American Nicknames DICTIONARIES, STYLE&USAGE GUIDES sites.) is often availablethrough Public Library Web htm go to: code orcity. To read more aboutthisservice, WorldCat sitewilldirect youtoinputyourzip author’s name and aword from the title. The library” along withthe titleof the workorthe Run asearch withthe phrase “Find inyour libraries inyour area: The waytofind outifabookisavailablein WorldCat: FindinaLibrary Web Service current events and much more. dictionaries, encyclopedias, maps, yellowpages, Well-organized general reference websitewith RefDesk.com author’s completeorpartial name, Search for aquote byentering aphrase oran www.quotationspage.com The Quotations Page image libraries, expert databases, and more. government information, maps, styleguides, Easy navigation toencyclopedias, almanacs, LibrarySpot.com guides and much more. Invaluable. . (The fullWorldCat service [for fullrecords] www.oclc.org/worldcat/open/how/default. FROM IDEA TO EXECUTION | 205

more. Also covers spelling, formation of plurals, Brewer’s Dictionary of 20th Century Phrase The Synonym Finder PREPARING & SUBMITTING and Fable pronunciation and punctuation. Rodale, J.I., Nancy LaRoche & Laurence Urdang Brewer, E. Cobham Dictionary of Slang and Unconventional Warner Books, 1986 Orion Publishing, 1992 English A thesaurus in dictionary form with Concise collection of miscellaneous literary Partridge, Eric comprehensive synonym listings. information. Macmillan, 1984 Comprehensive, including a high proportion of ONLINE DICTIONARIES, STYLE & USAGE Bernstein’s Reverse Dictionary historical slang since circa 1600. GUIDES Menline, Theodore & David Grambs OneLook.com Amereon Ltd., 1999 Dictionary of Word Origins Searches multiple sources. Includes translation An aid for all of us who know there’s a word for Shipley, Joseph T. and a reverse look up function. MARKET SURVEYS something but can’t think of what it is. Philosophical Library, 1945 There are other good reverse dictionaries, Traces selected words back to their roots, often The Phrase Finder among them: Oxford Reverse Dictionary and providing insight into their present-day www.phrases.org.uk Illustrated Reverse Dictionary. meanings and uses. Find meanings and origins of English phrases, sayings, idioms and clichés. The Chicago Manual of Style DK Illustrated Oxford Dictionary University of Chicago Press, 2003 Dorling Kindersley/Oxford University Press, YourDictionary.com

Style manual. Guide to copy preparation. 1998, 2000 Multiple languages, glossaries, thesauri, DIRECTORIES & RESOURCES 187,000 definitions; 4,500 illustrations abbreviations and more. Cyclopedia of Literary Characters Sobczak, A.J.; Janet Alice Long The Elements of Style See also under General Reference, Online & Frank Magill Strunk, William Jr., E.B. White & Robin Angell Research Aids: Bartleby.com, RefDesk.com, and Salem Press, Revised ed., 1998 Longman, 2000 LibrarySpot.com. Identifies characters from all periods and Concise handbook addressing the basics of literature types. composition, grammar, word usage and writing ALMANACS style. The newest addition, Elements of Style The American Book of Days Descriptionary Illustrated (2005) comes with art by children’s Christianson, Stephen & Jane M. Hatch McCutcheon, Marc artist Maira Kalman. Wilson, 2000 Facts on File, 2005 Arranged by month with a day by day list and

Word lists grouped by categories for those times The New Fowler’s Modern English Usage background information on holidays, festivals, PUBLICIZING YOUR PUBLISHED WORK when you don’t know or can’t remember the Fowler, H.W., ed. By R.W. Burchfield notable anniversaries, and birthdays. precise term. Oxford University Press, 2000 The original guide to grammar and syntax. Chase’s Calendar of Events 2006 Dictionary of American Regional English McGraw-Hill, 2005 (annual) Cassidy, Fred The New Shorter Oxford English Dictionary Exhaustive guide to holidays, festivals, events. Belkap Press Brown, Lesley Multivolume scholarly documentation of living Oxford University Press, 2005 Famous First Facts language as it is used by various communities Historical dictionary of modern English includes Kane, Joseph N. and subcultures around the US. Includes maps. literary, colloquial, slang, regional, scientific Wilson, 1997 and technical English from the 1700s through A record of first happenings, discoveries, and Dictionary of American Slang the 1990s. Tracing terms from first known use, inventions in the US; indexed by years, days of Wentworth, Harold and S.B. Flexner, ed. Includes quotations. month. R. Chapman

Crowell, 1995, 3rd edition Oxford English Dictionary Guinness Book of World Facts SCHOOL VISITS Excellent dictionary covers all periods of Murray, James Bantam, annual American history with quotations and citations. Oxford University Press, 1989 Gives facts on tallest, fastest, slowest, etc. of This is the monumental granddaddy of the whatever it is you want. Good for winning bets Dictionary of American Slang English language, present every word introduced or settling arguments. and Colloquial Expressions since 1150, with etymology and quotations to Spears, Richard A. show usage. Statesman’s Yearbook 2006, 142nd Edition LEGAL QUESTIONS National Textbook Co., 1989 Turner, Barry, ed. Roget’s International Thesaurus Palgrave Macmillan, 2005 Dictionary of Modern English Usage HarperCollins, 1992 Standard source for info on every country, Fowler, Henry W. Grouped according to related concepts and including members of diplomatic corps, and Greenwich House, Oxford, 1979 alphabetically arranged. short bibliography for each. Also see guidebooks Famous guide to usage of the English language. like Fodor’s, published annually, about foreign Essays on grammar, syntax, word choice, and countries and regions of the US 206 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Essays bylibrarian, editors, writers and American Library Association, 1982 Carr, Jo Beyond Fact Libraries Unlimited, Inc.,1989 Roginski, Jim Young Adults, Vols. IandII and Illustrators of Booksfor Children and Behind theCovers: Interviews withAuthors Peck, R.L.Stine, and Jane Yolen. Hopkins, Thatchur Hurd, Sid Fleischman, Richard Authors include: Rosemary Wells, LeeBennett Short interviews and quotes organized bytopic. Quill DriverBooks, 2002 Koehler-Pentacoff, Elizabeth Writing Children’s Literature the Art,Business, theCraft andtheLifeof Children’s Authors andIllustrators Talk About The ABC’sof Writing for Children: 114 CREATORS ABOUT CHILDREN’SBOOKSANDTHEIR and the baseballalmanac. infoplease, Guinness world, CIAworldfactbook Access toanumber of almanacs, including www.libraryspot.com/almanacs.htm Library Spot.com Online almanac InfoPlease.com events worldwide. The Calendar Directory of days, dates & DateDex.com statistics oncountries of the world. maps, political maps as well askey facts and Atlapedia Online contains fullcolorphysical Atlapedia.com ONLINE ALMANACS information, completelyupdated. A great source for allkinds of quick reference World Almanac, 2005 World AlmanacandBookof Facts 2006 what youneed. It’s good toknow thatone of them willhave Slight differences inarrangement and features. World Almanac and Bookof Facts Reader’s Digest Almanac Information PleaseAlmanac economics, industry, and more. Statistics onpopulation, business, ethnicity, Gale Research Inc., 1994 Statistical Abstract of the United States | TOEXECUTION FROM IDEA science, history, biography and controversy. reviewers onchildren’s nonfiction, including Meek, Margaret, etal. Reading The CoolWeb: ThePattern of Children’s literature withbibliographies. Guide tochildren’s booksand issuesinchildren’s University of Illinois, 1999,3rd edition Hearne, BetsyGould&Deborah Stevenson A CommonsenseGuide Choosing Booksfor Children: 325 terms relevant tochildren’s literature. Neal-Schuman, 2002 Latrobe, K.,Brodie, C.S.&White, M. Definitions, Resources andLearning Activities The Children’s Literature Dictionary: artist. biographical sketches and quotations from the Full colorreproductions from booksalong with PBC International, 1998 Cummins, June Children’s BookIllustration andDesign the major authors and illustrators. developmental perspectives, concentrating on of the field, including psychological and Classic college text, thisbookisanoverview HarperCollins, 1991 Sutherland, Zena Children andBooks publishers, teachers, reviewers and librarians. from view points of writers, editors, illustrators, Considers major issuesin children’s literature Lothrop, Lee&Sheppard, 1981 Hearne, Betsyand Marilyn Kaye, eds. Sutherland Children’s Literature inHonorof Zena Celebrating Children’s Books:Essayson Allsburg Marcia Brown, David Wiesner &ChrisVan Robert McCloskly, William Steig, Maurice Sendak, Walker, 2002 Marcus, Leonard Paths to theCaldecottMedal A CaldecottCelebration: SixArtistsandTheir examination of selectedEuropean classics. place of booksinthe livesof children, withan A lyrical and philosophical defense of the Horn book,1960 Hazard, Paul Books, Children andMen

populated by disobedient children who challenge These essaysexplore why children lovebooks Avon, 1991 Lurie, Alison Books They Do Don’t Tell theGrown-Ups: Why KidsLove the award winning booksand aglossaryof terms. The appendices include evaluating, and alistof recommended books. with asummary, suggestions for reading and books, and nonfiction. Eachchapterconcludes setting, point of view, style, tone, rhyme, picture Chapters covergenre, character, plot,theme, HarperCollins, 1990 Lukens, RebeccaJ. A CriticalHandbookof Children’s Literature stories for children. scholarship, onthe nature and importance of perspectives, including writing, teaching, 50 essays, mostly British,from avariety of Atheneum, 1978 field. should berequired reading for everyone inthe children’s writers. Perceptive, honest, wise, this Inspirational essaysbyone of the foremost E.P. Dutton/Lodestar Books, 1988 Paterson, Katherine Books for Children Gates of Excellence: OnReadingandWriting such asBruce Brooks and RobertCormier. insight into the more complex writing of authors Looks critically atthe problem novel and offers History of the YA novel from 1960sto1990s. HarperCollins, 1996 Cart, Michael Growth and ChangeinYoung Adult Literature From Romanceto Realism:FiftyYears of offer criteria for evaluating them. Examine bestexamples of children’s booksand HarperCollins, 1997 Horning, Kathleen T. Children’s Books From Cover to Cover: Evaluating andReviewing of children’s books, and areading list. process, historyof children’s books, importance should bebooksfor children. Coverswriting Discussion bywell-known editoronwhy there The John DayCo.,1970 Karl, Jean and TheirCreators From Childhoodto Childhood:Children’s Books adult points of view. FROM IDEA TO EXECUTION | 207

and essays, and gives insight into writing for The Heart Has its Reasons: Young Adult Literature PREPARING & SUBMITTING Literature with Gay/Lesbian/Queer Content Egoff, Sheila, et al children. 1969-2004 (Scarecrow Studies in Young Adult Oxford University Press, 1969, 2005 Literature) Over 40 essays representing a varied and Ways of Telling: Conversations on the Art of Cart, Michael fascinating collection of writers and scholars, the Picture Book Scarecrow Press, 2005 their views and recommendations. Marcus, Leonard Examines the growing body of literature for Dutton, 2002 young adults with gay themes or characters. Pauses: Autobiographical Reflections of 101 Interviews with 14 prominent picture book Creators of Children’s Books creators, including Maurice Sendak, Mitsumasa Humor and Children’s Development: Hopkins, Lee Bennet Anno, Eric Carle, Tana Hoban, Karla Kuskin, A Guide to Practical Applications HarperCollins, 1995 William Steig, Charlotte Zolotow, gives insight MARKET SURVEYS McGhee, Paul A collection of interviews with the Greats of into the creative process. Haworth Press, Inc.1987 children’s books offering sound advice as to A study of children’s humor, including a quick what being a writer entails. What’s So Funny? : Wit and Humor in reference table and thorough bibliography. American Children’s Literature Picture This: How Pictures Work Cart, Michael Innocence and Experience: Essays and Bang, Molly HarperCollins, 1995 Conversations on Children’s Literature SeaStar, 2000 Offers a serious look at the importance of

Harrison, Barbara and Gregory Maguire Fascinating and nsightful analysis of the humor in children’s literature. DIRECTORIES & RESOURCES Lothrop, 1987 emotional components of color, line and Over 70 lectures, presentations and informal perspective by award winning children’s book ABOUT CHILDREN’S BOOKS AND THEIR remarks gleaned from 10 years of programs author and illustrator. CREATORS - ONLINE RESOURCES at Simmons College Center for the Study Barahona Center for the Study of Books in of Children’s Literature by notable authors, Radical Change: Books for Youth in a Digital Spanish for Children and Adolescents illustrators, editors and others in field. Age www.csusm.edu/csb Dresang, Eliza T. Promotes literacy in English and Spanish; The Invisible Child Wilson, 1999 about books centered around Latino people and Paterson, Katherine Thought-provoking and in-depth exploration culture. Two searchable databases. Dutton, 2001 of the changes in YA books and how young More moving, thought-provoking and inspiring people raised in the electronic age interact Carol Hurst’s Children’s Literature Site essays and speeches by award-winning novelist. with literature differently than did previous www.carolhurst.com PUBLICIZING YOUR PUBLISHED WORK generations. Looks at current YA literature and Book reviews, subject lists, teaching ideas, The Mask Beneath the Fact: Reading about methods of evaluation. professional topics. and with, Writing about and for Children Konigsburg, E.L. The Seed and the Vision: On the Writing and Children’s Book Council Library of Congress, 1990 Appreciation of Children’s Books www.cbcbooks.org An eloquent and moving talk delivered in 1989 Cameron, Eleanor Sponsored by a consortium of publishers; by the Newberry Award winning author about Dutton, 1993 includes book and author showcases, directory how books touch and shape children’s lives, Eleven essays explore the creative process of member publishers, resources for writers. about why children’s books are important. and provide insight into the full spectrum of children’s literature. Companion to the author’s Children’s Literature The Marble in the Water: Essays on Green and Burning Tree. www.childrenslit.com/home.htm Contemporary Writers of Fiction for Children Reviews, themed book lists, author/illustrator and Young Adults Side by Side: Five Favorite Picture-Book Teams interviews, ideas for teachers.

Rees, David go to Work Children’s Literature Web Guide SCHOOL VISITS Horn Book, 1980 Marcus, Leonard www.ucalgary.ca/~dkbrown/index.html Academic criticism of writers: Judy Blume, Walker, 2001 Directory of Links related to children’s books Robert Cormier, Beverly Cleary Ursula LeGuin, In depth examination of the collaborative E.B. White, and others. processes includes Yorinks & Egielski, Lane Cooperative Children’s Book Center Smith and Molly Leach, Julius Lester and Jerry www.soemadison.wisc.edu/ccbc Norton Anthology of Children’s Literature Pinkney. Written for ages 8 up, of interest to Annotated bibliographies, author interviews, LEGAL QUESTIONS Zipes, Jack, et al all ages. etc. Norton, 2005 170 authors and illustrators included in The Spying Heart International Children’s Digital Library this exhaustive tome covering 350 years of Paterson, Katherine www.icdlbooks.org children’s books. Lodestar Books, 1980 Project of the National Science Foundation, the Companion to Gates of Excellence provides Institute for Museum and Library Services and Only Connect: Readings on Children’s more of Paterson’s book reviews, speeches, Microsoft Research. A digital library of children’s 208 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org offers anessential insight: awriter’sfulfillment the writing process and the writer’slife. She her soulwhile offering practical guidance on In thiswise, funny, gentle bookLamott bears Pantheon, 1994 Lamott, Anne Bird by Bird and mind. Insight into how the writerworksfrom heart getting started and continuing asa writer. Both practical and inspirational advice on 1981, Diane Pub. Co,2004 Harcourt Brace, 1934;J.P. Tarcher Paperback, Brande, Dorothea; forward byJohn Gardner Becoming aWriter on writing exercises from her workshops. and working witheditors. Practical help based elements of craft, choosing agenre and finding Well-respected, longtime editorsheds light on Archon Books, 1991 Epstein, Connie C. Techniques for theCraft The Artof Writing for Children: Skillsand published. writers canimprove chances of getting Insight into whateditorslookfor and how Writer’s Digest Books, 1989 Krull, Kathleen 12 Keys to Writing Books thatSell FOR CHILDREN ILLUSTRATING WRITING & INFO ON GENERAL publishers, booksellers, and more. organizations, materials and techniques, Links toconferences, awards, galleries, www.picture-book.com/resources.asp illustrators, publishers, &booklovers PictureBook: Theresource for children’s learning, ascholarly snow-white, and more. young adult literature, linking literature with Pages include historyof children’s literature, www.scils.rutgers.edu/~kvander Kay E.Vandergrift’s SpecialInterest Page book from around the world. | TOEXECUTION FROM IDEA

Forest for theTrees: AnEditor’s Advice to novelizations and working withpackagers. book alsooffers information onwriting YA Christopher Pike, R.L.Stine, and others. This and teens withFrancine Pascal, AnnM.Martin, Short articles and essaysonwriting for children Romantic Times Publishing Group, 1990 Falk, Kathryn and Cindy Savage Published a Novel for Young ReadersandGetit Fiction Writers’ Magazine:How to Write entertaining and instructive read. and examples from her work,making itan to troubleshooting, Naylor usesanecdotes character development, to style, tostructure author of Shiloh.From nurturing the idea to the children’s novel byNewberry-winning Everything youwanted toknow aboutwriting Writer, 1989 Naylor, Phyllis Reynolds The Craft of Writing theNovel to publication from submission topromotion. in picture bookform, and offers practical steps children, provides overview of what’savailable Explore the principles of good writing for Writer’s Digest Books, 1981 Roberts, EllenE. How to SellIt The Children’s Picture Book:How to Write It, master, essential for illustrators. “Bible” for bookdesign and production bythe Bowker, 1979 Lee, Marshall Production, Editing Bookmaking: TheIllustrated Guideto Design, writing itself. engagement inthe deep and satisfying workof comes, not from publication, butfrom regular aspect of story. Illustrated withsamples from while showing how touseartenhance every Emphasizes the importance of good narrative Poorhouse Press, 1996 Eisner, Will Graphic Storytelling editor relationship. writers’ personalities and demystifies the writer- & Schuster and Doubleday. She hasinsights into Lerner wasaneditoratHoughton-Mifflin, Simon editor’s point of view. Now aliterary agent, Reflections on writing and publishing from an Riverhead Trade, 2001 Lerner, Betsy Writers

interactive computerformats. writers everything from whole language to publishers, and opportunities for teachers and covers the writing process, educational This reference bookonthe educational market Walker and Company, 1994 Stangl, Jean Writer’s Guideto EducationalPublishing How to GetYour Teaching IdeasPublished:A organizations. bibliography of books, Web sites, courses, and will interest allwriters. Exhaustiveannotated nonfiction, butthe insight into publishing world dealing withpromotion. Focusisonadult empowers writersingetting published and Common sense, nitty-grittyadvice that Collins; 5thedition, 1998 Appelbaum, Judith A CompleteandCandidGuide How to GetHappilyPublished: Art Spiegelman, AlCapp,and RobertCrumb. A completehandbook, onwriting fiction and Johnson Books, 1987 Fitz-Randolph, Jane It What to Write, How to Write It,Where to Sell How to Write for Children andYoung Adults: of picture books, marketing, acceptance. specialized fieldwithchaptersonspecifictypes Easy-to-read information basic tothis Writer’s Digest books, 1994,2000 Karl, Jean How to Write andSellChildren’s Picture Books structuring the picture book. with afocus onthe special problems of Analyses classic picture bookstoteachbasics E &Publishing, 2004 Bine-Stock, EveHeidi and OtherFavorite Stories Night Gorilla,Sylvester andtheMagic Pebble, the WildThingsAre, TheCarrot Seed,Good Chicka BoomBoom,Corduroy, Where Learning from TheVery Hungry Caterpillar, How to Write aChildren’s Picture Book: pro. Practical and inspiring ideas for beginner and publishing and the artistic craft of writing. earlier overview of the business side of A revised and expanded version of Seuling’s Wiley; 3rd edition, 2004 Seuling, Barbara Published How to Write aChildren’s BookandGetIt

FROM IDEA TO EXECUTION | 209 nonfiction for children and YA with principles, up good work habits and reflect on their process practitioner who takes children and their PREPARING & SUBMITTING techniques and examples. along the way. literature seriously. Steering the Craft: Exercises and Discussions How to Write, Illustrate and Design Children’s on Story Writing for the Lone Navigator or the What’s Your Story? A Young Person’s Guide to Books Mutinous Crew Writing Gates, Frieda LeGuin, Ursula Bauer, Marion Dane Lloyd-Simone Moore, 1986 Eighth Mountain Press, 1998 Clarion, 1992 A practical reference from initial idea to signed Focusing on story as exploration of change, Though this book is aimed at young people, contract. LeGuin shares techniques, examples, and it contains valuable information – from idea exercises in a warm, encouraging voice. She through finished manuscript – for all writers on Illustrating Children’s Books: Creating Pictures also offers advice for making critique groups how to structure a story and keep the tension MARKET SURVEYS for Publication productive and constructive. high. Salisbury, Martin Barron’s Educational Series, 2004 Story Sparkers: A Creativity Guide for Writing and Illustrating the Graphic Novel: A brief introduction to many aspects of Children’s Writers Everything You Need to Know to Create children’s book illustration from materials to Thornton Jones, Marcia & Debbie Dadey Graphic Works techniques to design and composition, using Writer’s Digest Books, 2000 Chinn, Michael artwork from children’s books to demonstrate Advice and exercises by the authors of the Barron’s Educational Series, 2004 ideas. Bailey School Kids books. Nuts and bolts guide to the graphic novel from DIRECTORIES & RESOURCES idea to finished work. Looks at genres within The Illustrator’s Notebook Story Writing this format, such as sci-fi, crime, gothic, and Kingman, Lee, ed. Mirrieless, Edith literary fiction. Advice on publication process. The Horn Book, Boston, 1978 The Writer, 1947 Artists discuss their philosophies and share the Dated, but aspects of the craft are timeless; Writing Books for Children methods of illustration. especially helpful are the chapters on time and Yolen, Jane characterization. The Writer, 1984 It’s a Bunny-Eat-Bunny World: A Writer’s Examines the wide range of children’s literature, Guide to Surviving and Thriving in Today’s Techniques of Fiction Writing its various types and genres. Inlcudeds business Competitive Children’s Book Market Surmelian, Leon advice from marketing basics to the author- Litowinsky, Olga Doubleday, 1969 editor relationship

Walker, 2001 This classic work for writers struggling with PUBLICIZING YOUR PUBLISHED WORK Historic overview of children’s publishing the intricacies of plot, theme, and structure, is Writing Books for Young People industry. Advice on craft of writing, business of clear, concise, and truly helpful. Giblin, Jame Cross getting published and surviving the writing life. Writer, Inc. 1990, 1995 Answers many fundamental questions. Take Joy This experienced editor and award winning Yolen, Jane author offers a encouragement and solid advice Nonfiction for Children: How to Write It, How Writer, Inc, 2003 in this thorough, practical guide with specifics to Sell It A spirited and personal look at the writing on picture books, nonfiction, middle grade and Roberts, Ellen E. process with advice both practical and YA. Writer’s Digest Books, 1986 inspirational by award-winning author of just Comprehensive guide covers writing and about every genre of children’s book. Yolen has Writing Down the Bones marketing to magazine and book market. taught writing for many years at Centrum in Goldberg, Natalie Port Townsend, WA. Shambhala, 1986 On Writing Well Designed to free up the muse. Uses exercises

Zinsser, William The Thorny Paradise: Writers on Writing for to get writers past their own inner critic and SCHOOL VISITS Collins, 25th Annv. Ed., 2001 Children into the creative soul of writing. A nurturing This is an overview of the profession and Blishen, Edward approach for beginners and pros. business of writing, and a thoughtful guide Kestrel, 1975 to techniques of the craft, including advice Highly personal, intelligent essays by some Writing for Children on interviews, humor, usage and punctuation. of the most accomplished children’s authors: Woolley, Catherine Doesn’t address children’s writing. Richard Adams, Nina Bawden, Leon Garfield, Jill Penguin Books, 1989; Plume, 1991 LEGAL QUESTIONS Paton Walsh and 18 others. Prolific writer whose picture books were Picture Writing: A New Approach to Writing The Way to Write for Children published under the name Jane Thayer discusses for Kids and Teens Aiken, Joan the principles of writing for children with an Suen, Anastasia St. Martin’s Press, 1982, 1998 emphasis on connecting with the child who will Writer’s Digest Books, 2002 With as much advice on how not to write for read or hear the work. Of particular note are the Based on Suen’s Intensive Picture Book Courses, children as how-to, this is thought provoking, sections on how children’s humor differs from offers advice and exercises, leads writers to set idiosyncratic commentary from a master adult. 210 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Covers publishing and filmindustries. Capital Books, 2005 Davis, Stacy, etal Rights andResponsibilities Author Law Ato Z:ADesktop Guideto Writers may beof most interest tothe beginner. first time authors, and pros, although thisguide Provides suggestions for self-published writers, strategy, orifthe publisher makes littleeffort. their booksinaddition tothe publisher’s An introduction tohow authors canpromote Raab Associates, 1992,1999 Raab, SusanSalzman Promotion An Author’s Guideto Children’s Book ILLUSTRATING OF WRITING& THE BUSINESS houses. news onwhich editorshavemoved towhich interviews; current trends inpublishing. Updated Articles onwriting, illustrating, publishing, www.underdown.org Site The PurpleCrayon, AChildren’s BookEditor’s Articles, tips, linkstopublishers. www.childrenslit.com Children’s Literature Comprehensive Database Children’s Writer’s &Illustrator’s Market children’s publishing from Alice Pope, editorof Not-quite-daily news and information on www.cwim.blogspot.com Market (CWIM)Blog Alice Pope’s Children’s Writer’s &Illustrator’s ONLINE RESOURCES WRITING &ILLUSTRATING FORCHILDREN- form, content and style. Chapters onsensory perception, rhythm, sound, how tomake useof itwhen writing for them. Looks atthe language of young children and Doubleday, 1981 Lewis, Claudia Writing for Young Children nonfiction. Nuts and boltsof juvenilewriting, fiction, and Writer’s Digest, 1989 Wyndham, Lee, revised byArnold Madison Writing for Children andTeenagers | TOEXECUTION FROM IDEA . and PublishingChildren’s Books, orHow to An Award WinningAuthor’s TipsonWriting The Businessof Writing for Children: Getting Your BooktheAttention ItDeserves Publicize Your Book:AnInsider’sGuideto but applicable. nonfiction; not specifically forchildren’s writers, the reader. Emphasisonmagazine articles and editor, and, equally important, how totreat a friendly, professional relationship withan Sound advice onestablishing and maintaining Writer’s Digest Books, 1989 Brohaugh, William Professional Etiquettefor Writers licensing agreements. background for understanding and negotiating books, thisguide givesthe reader the creates characters and ideas beyond children’s Aimed atthe illustrator/artist/designer who Allworth Press, 1995(North Light Books) Leland, CarynR. Licensing ArtandDesign Legal issues, copyright, etc. Allworth Press, 1999 Crawford, Tad Legal Guidefor theVisualArtist face, withapolitical analysis. realistic approach tothe many obstacleswriters on many aspectsof the business of writing; a market, thisbookhasvaluable information While not specificallyonthe children’s book National WritersUnion, 2000 Waller, James, editor Freelance Writer’s Guide coping withcontract-related questions. a thorough index, aswellusefuladvice on what “workfor hire” means. The bookincludes when toobtainarelease orpermission, and to understand how copyright protection works, offering basic assistance toany writerseeking out the general principles of copyright law, Newly revised informative legalguide sets Owl Books, 2004 Kozak, EllenM. Publishing Law Every Writer’s Guideto Copyright and publication tomarketing. essential guide coverseverything from idea to Concise, comprehensive and practical, this Shepard Publications, 2000 Shepard, Aaron Write, Publish,andPromote aBookfor Kids collaboration, agents, defamation, copyright and Covers many legalissuesincluding contracts, Perseus BooksGroup, 1998 Bunnin, Brad &Peter Beren Handbook for theWorking Writer Writer’s LegalCompanion:TheComplete (usually) negotiable. provides insight onwhatisfair and whatis emphasis onwhateachclausemeans. Also special problems of children’s bookswithan typical children’s bookcontract, geared tothe provides aclause-by-clausetripthrough a children’s bookcontracts, thispractical guide Written byanattorney who specializes in Fern HillBooks, 1988 Flower, Mary A Writer’s Guideto aChildren’s BookContract novice and pro, withextensive resource list. Incisive guide to all aspects of promotion for the Perigee Books, 2003 Deval, Jacqueline Contains how-to articles and markets for artists. www.artistsmagazine.com monthly The Artist’sMagazine JOURNALS ART &BOOK WRITING, published before 1963are under copyright. Search byauthor ortitletofind outif books www.scils.rutgers.edu/~lesk/copyrenew.html Copyright Renewal Records music and other registered works. Search for copyright information aboutbooks, www.copyright.gov/records/cohm.html Copyright Office Selection of events across the US and worldwide www.loc.gov/loc/cfbook/bookfair.html Literary Events Center for theBook:BookFairs andOther related sites Links tomany writing, bookand publishing Bookwire.com ONLINE RESOURCES BUSINESS OFWRITING&ILLUSTRATING - taxes. FROM IDEA TO EXECUTION | 211

advertising, illustration, photography and Booklist The Writer PREPARING & SUBMITTING semi-monthly September-June, monthly July- interactive design, as well as information on monthly August industry trends and annual competitions. www.writermag.com Reviews fiction and nonfiction books for young The Horn Book Magazine Articles and essays on writing, often from adults, as well as Spanish language books and bi-monthly luminaries in the field. Monthly market lists. children’s books. Special sections include media Contains essays, news, and book reviews. Each reviews, foreign language books, and reference booklist of reviews is divided into sections Writer’s Digest and subscription reviews. (Picture Books, Stories for Younger Readers, Folk Articles of instruction for writers. Tips on “how Tales and Legends). Special sections include to” and suggested markets for all kinds of Book Links “Of Interest to Adults” and “Recommended literary productions. Bi-monthly Paperbacks.” MARKET SURVEYS A publication of the American Library ONLINE JOURNALS Association (ALA), Book Links pulls together Kirkus Reviews Children’s Literature – Electronic Journals and books around themes such as forests, Reviews adult and children’s books. website Book Review endangered animals, or the Civil War. Many features many free reviews. www.acs.ucalgary.ca/~dkbrown/journals.html articles contain teaching strategies and The Lion and the Unicorn Directory of Links. discussion questions. A comprehensive guide for A journal which focuses on the broader world using books in the classroom, Book Links also of international children’s literature, but with ArtistsNetwork.com includes thematic bibliographies with related frequent reference to and discussion of fairy Artist forums and community site hosted by the DIRECTORIES & RESOURCES discussion questions and activities, author and tales. Published three times a year. publishers of The Artist’s Magazine. illustrator interviews and essays, and articles by educators on practical ways to turn children Parent’s Choice: A Review of Children’s Media CreativeHotList.com onto reading. bi-monthly A dedicated career site for creative professionals As the subtitle suggests, this informal hosted by the publishers of Communication Arts Bulletin of the Center for Children’s Books newspaper supplies articles, reviews, Magazine. monthly, except August bibliographic suggestions about a variety of An advisory committee meets weekly to discuss children’s media. Each issue covers books, books and reviews, which are written by the television, films, records, and includes a special PERIODICAL editor. The result is a list of “New Titles for Parent’s Essay. Children and Young People” in alphabetical INDEXES order by author. Each entry is coded for child’s Publisher’s Weekly PUBLICIZING YOUR PUBLISHED WORK reading range and kind of recommendation. The journal of the book industry. Contains Without an index to their contents, the user Intended for librarian use, it is of interest to articles, reviews, statistics of sales, marketing/ of periodicals is hopelessly lost. This fact was anyone who follows new books for children. editorial news. Two issues annually (February realized nearly a century ago when a group of and July) are devoted to children’s books. librarians compiled the first index. Children and Libraries, The Journal of the Association of Library Service for Children Reading Teacher Children’s Magazine Guide Three times a year; Discusses library services monthly October-May; and winter supplement Libraries Unlimited, to date to children; articles on children’s literature, A professional journal for teachers of reading, Nine issues per year; subject index to children’s authors and illustrators. it has specialized articles and book reviews. magazines at the elementary and middle school “Critically Speaking” reviews literature for level. Children’s Book Review Magazine children. quarterly Gale Directory of Publications & Broadcast Devoted to reviewing children’s books and some School Library Journal Media

media. monthly, except June and July Gale, to date SCHOOL VISITS A large 100-page journal, it has columns and Includes US newspapers, mazazines, journals, Children’s Literature in Education departments of interest to school librarians, as collecge publications, radio and television Articles and interviews on noted children’s well as essays and book reviews of wider appeal. stations and cable. authors. Reviews, articles on children’s books in the classroom. Wildlife Art Magazine New York Times Index semi-monthly New York Times Co., to date LEGAL QUESTIONS Communication Arts Information about art and artists depicting This indexes events reported in the New York 8 issues, annually the natural world, including wildlife, Western, Times. By noting the date an event was reported www.commarts.com Southwestern, Indian, landscapes and more… in the Times, you can locate similar reports in Founded in 1959, Communication Arts is the subjects include artistic media, the masters and other newspapers that may be more available leading trade journal for visual communications. new artists, regional and national art shows, to you. It’s the largest design magazine in the world and collectibles. Reader’s Guide to Periodical Literature and showcases the top work in graphic design, Wilson, to date 212 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Directory siteusefulfor finding news sources www.naa.org/hotlins/index.asp Newspaper Associationof America Directory site usefulfor finding news sources ajr.newslink.org AJR Newlsink portals tomany periodicals. These sitesare not indexed, butthey are good ONLINE NEWSDIRECTORIES Education. Entertainment, Business &Finance, Reference & fee todownload. Categories include: Arts& free articles only orthe ones thatrequire a journals and magazines. You cansearch the A database of articles from many popular www.findarticles.com Look Smart/FindArticles now availablefor free. available through fee-basedservices only, are documents (issued1993-2004),previously 1966. More than107,000full-text non-journal more than1.1million citations going backto searching the ERIC bibliographic database of the public withacentralized ERIC websitefor literature. The ERIC online systemprovides database of journal and non-journal education Education, produces the world’spremier Sciences (IES)of the US Department of (ERIC), sponsored bythe Institute of Education The Education Resources Information Center Authoritative Education Database www.eric.ed.gov ERIC materials. will discoveranamazing wealthof resource website for their Databasesection and you is alibrary card. Check yourpublic library’s access toawide variety. Usually allthisrequires However, public libraries offer their patrons indexes and fulltext articles canbepricey. Commercial Databasesthatoffer searchable ONLINE DATABASES both foreign and domestic. Classified guide towide range of periodicals, Bowker, todate Ulrich’s InternationalPeriodical Directory technology. education, engineering, law, medicine, psychology, indexes relating tospecial subjects:art,agriculture, of interest tothe general public. There are alsomany Author, subject,and titleindex topopularmagazines | TOEXECUTION FROM IDEA BIOGRAPHY dates. Brief butprecise description of Thorough and accurate check for spellings and Merriam-Webster, 1995 Dictionary Merriam-Webster’s New Biographical “The Biographical Mode.” helpful toour workisher introductory section: women’s impactonourhistory. Especially status atvarious times inourhistoryand of dealing with possibleinterpretations of women’s making women’s stories the stuffof history, and feminists, eachspeaking tosome aspectof Essays byleading contemporary historians and University of Illinois, 1995 Scott, Anne Firor Making theInvisibleWoman Visible Public Library. originated asaseries of talksatthe New York McCullough, RobertCaro, and Jean Strouse) that contemporary biographers (including David A usefulcollection of essaysbysix Houghton Mifflin,1988 Zinsser, William, ed. of AmericanBiography Extraordinary Lives: TheArt&Craft reference listof magazine articles and books. to three pages and provides agood starting subject and/or beginning awork.Eachruns one information for looking into abiographical Annual withindex. Overall biographical Wilson, todate Current Biography Yearbook current people. Points tobiographical sources of historical and Wilson, annual Magazines to Biographical MaterialinBooksand Biography Index: ACumulative Index problems of writing biography. A classic discussion of the pleasures and Little Brown &Company, 1969 Bowen, Catherine Drinker Biography: TheCraft andtheCalling and marketing. on everything from handling quotes toresearch Fantastic reference thatprovides helpful advice Harper and Row, 1986 Lomask, Milton The Biogrpaher’sCraft

and eachcontains avaluable listof sources at scholar especially knowledgeable onthe subject, entry (over1,300inall)hasbeenwrittenbya biographies not easilyfound elsewhere. Each American history;anindispensable source of Encyclopedia of women of achievement in Harvard University Press, 2005 Ware, Susan,editor A Biographical Dictionary Notable AmericanWomen: please contact [yourname and address].” having information orpersonal knowledge, anecdotes: “Forabiography on[Mr. X],anyone and askthe public for direct knowledge or Review, 229W. 43rd St.,New York, NY10036, Query” notice tothe New York Times Book when working onbiographies. Send an“Author’s An unusual buthelpful (and interesting) source New York TimesBookReview background. biographical subject,hisorher workand century. Includes Rachel Carson, ecologist; late 18thcentury through the early 20th Biographies of 25women naturalist from the Texas A&MUniversity Press, 1991 Bonta, Marcia Myers Women Naturalists Women intheField,America’sPioneering chapter. conservationist. Bibliography atthe end of each Dark, the “sharklady,” and Margaret Murie, related tothe outdoors. Includes Eugenie adventurous women whose livesand work Wildlife ecologistLaBastilleprofiles 15 Sierra ClubBooks, 1984 LaBastille, Anne Women andWilderness biographies of women ormen. a focus onthe differences betweenwriting Reflections onthe writing biographies, with Rutgers University Press, 1994 Wagner-Martin, Linda Telling Women’s Lives capture and conveythe human story. all worthconsideration, of how toeffectively others) onthe artof telling lives. Many views, biographers (Edel, Tuchman, Kazin, Kaplan and A collection of essaysbythe bestmodem University of Pennsylvania Press, 1981 Pachter, Marc, ed. Telling Lives: TheBiographer’s Art the end of the article.

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Florence Merriam Bailey, ornithologist; and Alice ABC-CLIO, 1997 The Classic Fairy Tales PREPARING & SUBMITTING Eastwood, botanist. Good bibliography. Opie, Iona and Peter In-depth, essential resources, historical Oxford, 1980 overviews, cross-cultural perspective. Writing a Woman’s Life The introduction to the book and the individual Heilbrun, Carolyn introductions to the stories tell a lot about the The Folktale Ballantine Books, 1989 genre of the fairy tale. The Opies, scholars and Thompson, Stith Looks at ways in which traditional attitudes literature lovers, fill the book with facts and University of California Press, 1978 about women have informed biographies of opinions, such as, “A child who does not feel This is a classic work about folklore in general. women and suggests ways to do it differently. wonder is but an inlet for apple pie.” It will teach you more about folk and fairy tales than you want to know, and is an important Writing Biography and Autobiography Dictionary of Chicano Folklore reference tool to keep on any shelf. MARKET SURVEYS Osborne, Brian D. Castro, Rafaela, G. Funk & Wagnalls Standard Dictionary of A & C Black, 2004 ABC-CLIO, 2000 Folklore, Mythology, and Legend All aspects of researching, writing and Terms, genres, concepts, stories and folklore from Funk & Wagnalls, 1984 publishing biography and autobiography. Mexican American culture selected from oral and A good, solid, basic (if uninspired) compendium written literature, folk arts, customs and beliefs. of all sorts of folkloric characters, ideas, BIOGRAPHY - ONLINE RESOURCES attitudes, motifs, A-Z. A good starting place. Biographical Dictionary The Dictionary of Imaginary Places, The Newly www.s9.com Updated and Expanded Classic The Glass Harmonica DIRECTORIES & RESOURCES Covers more than 28,000 people from ancient Manguel, Alberto Byfield, Barbara Ninde time to present. Harcourt, 2000 Macmillan, 1967 An astonishingly complete encyclopedia of over Sometimes known in paperback as “The Book Biography.com 3000 places fantasy places that “a traveler could of Weird.” An encyclopedia full of useful Sponsored by the A & E Biography Channel. expect to visit” on or under our world. Maps and information, like the difference between a wizard charming black-and-white pictures accompany and a warlock. A wonderful childlike approach to Biographies at InfoPlease.com many of the entries, and all entries are annotated fantastic things. www.infoplease.com/people.html by primary source material. Over 30,000 biographies. The Great Fairy Tale Tradition: From Straparole An Encyclopedia of Fairies, Hobgoblins, and Basile to the Brothers Grimm Brownies, Bogies, and other Supernatural Zipes, Jack, editor - Norton, 2000 FANTASY, Creatures Tales grouped by subject and critical essays. PUBLICIZING YOUR PUBLISHED WORK Briggs, Katherine Zipes has written and edited many valuable FOLKLORE & Pantheon, 1977 books on fairy tales and children’s literature. An extensive cross-referenced source covering SCIENCE folk and fairy lore of Great Britain. Green and Burning Tree Cameron, Eleanor FICTION Encyclopedia of Things That Never Were Atlantic, Little, 1969 Page, Michael and Robert Ingpen Classic study of time travel fantasy serves as both Angel in the Parlor Viking, 1987 introduction and crash course in certain kinds of Willard, Nancy Using articles that treat each item as if it is fantasy and the machinery of fantastic worlds. Harcourt, 1983 real, and beautiful original art, this oversized Five stories and eight essays that illustrate how encyclopedia of fantasy people, places, and The Hero with a Thousand Faces life and story intertwine, by the Newbery winner, things from all over the world is a useful Campbell, Joseph poet and fantasist. reference and creativity jogger. The index is very Princeton University Press, 1968, 2004

helpful for making unusual connections. This brilliant study of world myth tells the story SCHOOL VISITS Anthology of Traditional Literature behind the story, the single story that underlines Lechner, Judith V. The Fairies in English Tradition & Literature the mythic patterns found in virtually every Allyn & Bacon, 2003 Briggs, K.M. culture. Tales from all over the world, scholarly sources, University of Chicago Press, 1967 cultural contexts. This is an erudite, scholarly, and fascinating The Impossible People ; The Beasts of Never account of the fairy tradition in Great Britain, McHargue, Georgess LEGAL QUESTIONS The Arthurian Handbook from medieval times to the present. If you traffic Holt, Rinehart, Winston, 1972 Lacy, Norris, et al. with fairies, this is the book to own. If you have A pair of elegantly written books that look at monsters Garland, 1997 a favorite tale you want to retell, the fairy’s and monstrous characters out of myth and legend Critical study, historical facts and discussion of background is here. around the world. Witty, charming, anecdotal as well as Arthurian history, legend, archeology, literature Folklore: An Encyclopedia of Beliefs, Customs, descriptive, these books are a delight. and the arts. Tales, Music and Art Index to Fairy Tales, Myths and Legends Green, Thomas Eastman, Mary H. 214 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Its main drawback isthat there have beenmany a usefullisting of 31other booksonthe subject. science fiction and modern society. There isalso concentrating onmany aspectsof the role of known science fiction writers of the time “A DiscursiveSymposium”by15of the best Penguin, 1974 Bretnor, Reginald, ed. Science FictionToday andTomorrow book and magazine publishing. history of science fiction, various sub-genres, and number of science fiction writersdiscussthe A good introduction for the non-specialist. A Van Nostrand Reinhold Co.,1984 Wingrove, David The ScienceFictionSource Book those who teachwhatthey write. slim volume are asapplicable tothe writersasto teachers and storytellers, the insights inthis the fantasy genre. Though itisessentially for This isthe basic bookfor anyone interested in Cambridge, 1976 Cook, Elizabeth to Myths, LegendsandFairy Tales The Ordinary andtheFabulous: AnIntroduction Illustrations and bibliography. Mary Stewart,and Marion Zimmer Bradley. references tomodem authors like T.H. White, and literature, from the earliest 6thcentury alphabetical cross-reference toArthurian legends A revised and expanded, comprehensive, Garland, 1995 Lacy, Norris J.,ed. The New ArthurianEncyclopedia numbers, decimals, standard names. modeled onLCclassification systemusing Several volumes break down talesinto motifs; Indiana University Press, 1955,1989 Thompson, Stith Motif-Index of Folk Literature seen infantasy and fairy tale. Shadow,” onthe dark side of human nature as and the equally brilliant “The Childand the essay ondiction, “From Elfland to Poughkeepsie,” the language usedinit.Included isher brilliant with boththe substance of the fantasy genre and Essays onfantasy and science fiction that deal Putnam, 1979 LeGuin, Ursula The Languageof theNight Title index totalesinnumerous collections. Scarecrow Press, Faxon, 1978-1986 | TOEXECUTION FROM IDEA publication. new developments inthe fieldsince thisbook’s that givethem such universal, lasting power. of fairy stories and their essence, the elements “On FairyStories” where he discussesthe origin Tolkien, butmost of itistaken upwithhisessay fantasy. The book contains an early short story by A beautifulpiece bythe father of modern Unwin Books, London, 1964-2001 Tolkien, J.R.R. Tree andLeaf ballads, sayings, providing anoverview. A general grab bagof quips, stones, yams, Random House, 1993 Botkin. B.A., ed. A Treasury of AmericanFolklore on storytelling worldwide. 100 wide-ranging brief essaysbyleading scholars Fitzroy DearbornPublishers, 1999. Holmes McDowell, Linda Degh,Barre Toelken Edited by:MacDonald, Margaret Read, John Sourcebook Traditional Storytelling Today: AnInternational of atale. importance of “touch magic,” and the structure in achild’slife, the language of faerie, the covered include the valueof fantasy stories and storywriting byaworking fantasist. Topics This isthe synthesis of 25 yearsof storytelling Philomel Books, 1981 Yolen, Jane Literature of Childhood Touch Magic:Fantasy, Faerie andFolklore inthe Index of folktale retellings. Neal-Schuman/Gale, 2001 MacDonald, Margaret Read The Storyteller’s Sourcebook researching folk tales, copyright issuesand more. award winning picture bookauthor, covering Concise overview of fieldbystorytellerand Folkprint 1996 Sierra, Judy & Legends Storytellers’ Research Guide, Folktales, Myths Journal BestReference Source. fairies, nymphs and more. Illustrated. ALibrary Over 2,000entries covering angels, demons, Norton, 1998 Rose, Carol Encyclopedia Spirits, Fairies, Leprechauns, andGoblins:An The World of Storytelling Writer’s Digest Books, 2001 Gillett, Stephen &BenBova World Building(ScienceFictionWriting) mythic underpinnings of fantasy. sledding, butitisamagnificent study of the is idiosyncratic, and the bookcanberough the single storyfrom the female side. Graves “historical grammar of poetic myth” handles Brilliant, quirky, provocative, alittlemad, this (amended and enlarged 1966) Farrar Strauss, 1948 Graves, Robert The WhiteGoddess and time travel asjumping off points. such topics asspacecraft, galactic civilizations, An overview of science fiction using essayson Harmony Books, 1977-1983 Ash, Brian, ed. The VisualEncyclopedia of ScienceFiction advice, links. Very usefulinformation. reader’s theater scripts, stories to tell,articles, children’s writers, and storyloversof allages – Resources for teachers, librarians, storytellers, www.aaronshep.com/index.html#storytelling Aaron Shephard’s World of Story FANTASY -ONLINERESOURCES particularly instructive. “How toBuildaFuture” byJohn Barnes is articles byeditorsof science fiction magazines. some of the special requirements of the field, and Yolen, and other known SF/Fantasy writerson Essays byIsaac Asimov, RobertHeinlein, Jane St. Martin’s Press, 1993 Dozois, Gardner, etal. 20 DynamicEssaysby Today’s Top Professionals Writing ScienceFictionandFantasy: the pitfalls awaiting newcomers tothe field. provide asolid foundation, and point outsome of treatment of any one idea, butthe authors of the bookprecludes exhaustive, in-depth to nanotechnology and virtual reality. The scope orbital mechanics tocreating galactic empires An excellent reference covering everything from Writer’s Digest Books, 1993 Ochoa and Osier Universe A Writer’s Guideto Creating aScienceFiction and through history. Examination of storytelling indifferent cultures Pellowski, Anne, &H.W. Wilson,1991 FROM IDEA TO EXECUTION | 215

Arabian Nights GENERAL HISTORY - ONLINE RESOURCES PREPARING & SUBMITTING www.arabiannights.org GENERAL BBC History Timelines Translations of the entire Rubaiyat and the www.bbc.co.uk/history/timelines Arabian Nights can be found online here, HISTORY courtesy of the Electronic Literature Foundation. Best of History Web sites Chronicles of Western Fashion www.besthistorysites.net Bulfinch’s Mythology Peacock, John www.bulfinch.org Abrams, 1991 Costume History Guide from Cornell Online costume.cornell.edu Children’s Literature - Resources for Storytellers The Columbia History of the World The Cornell University Costume and Textile www.ucalgary.ca/~dkbrown/rstory.html Garraty, John A. and Peter Gay, ed. Collection now has an online database of over MARKET SURVEYS Harper, 1972 5,000 records online. Encyclopedia Mythica Narrative of civilization’s origins and progress. www.pantheon.org/information/about.html Maps. Dover Publications Free online encyclopedia, over 5100 articles on store.doverpublications.com/by-subject.html mythologies and folklore worldwide. Daily Life Through History Look for books on Americana, Costume, Greenwood Press Series Furniture, Folklore, Period Style, and more for Fairy Stories and Anecdotes (and Greenwood Encyclopedia of Daily Life) many useful publications. faeryland.etsu.edu/~earendil/faerie/story/ DIRECTORIES & RESOURCES Over 75 story links grouped by type, such Dover Publications Pictorial Archives Eye Witness to History as “Fairy Changelings”, “Fairy Trickery” and Dover publishes books and CDs filled with www.eyewitnesstohistory.com “Mermaids and Tales of the Sea.” Connects with images of clothing and everyday items from Eyewitness account with a brief description Faery Dictionary Page. Stories are from the British different times and places in history. of the event and of the person recounting it, Isles, Germany and Scandinavia. includes a bibliography and related links. Sears Catalogues Folklore and Mythology Electronic Texts Catalogues from different time periods have Guide to History on the Web Ashliman, D.L. been published by a variety of publishers chnm.gmu.edu/assets/historyweb/historyweb.php www.pitt.edu/~dash/folktexts.html (Dover, Chelsea, etc) and are a great source of a database of 5000 US and World history Web Folktales, folklore, fairy tales, and mythology historical detail. sites, which you can search by type of website, from around the world, arranged by theme. geographical area and topic.

The Expansion of Everyday Life: 1860-1876 PUBLICIZING YOUR PUBLISHED WORK Frank Rogers Page of Fairy Tale Links Sutherland, David E. Harper and Row, 1989 HistoryWorld.net frankrogers.home.mindspring.com/fairy.html A good practical history of everyday inventions Hyper History Online A collection of annotated links to sites and fairy and customs. www.hyperhistory.com/online_n2/History_n2/a. tales and mythic lore, including sites for reading html lists, lesson plans, and classroom activities. Every Day Life In . . . Series An expanding scientific project presenting Grey House Publishers 3,000 years of world history with an interactive Index to Andrew Lang’s Colored Fairy Books and The History Highway 2000: A Guide to combination of synchronoptic lifelines, the Arabian Nights Entertainments Internet Resources timelines, and maps. www.mythfolklore.net/andrewlang Trinkle, Dennis & Scott A. Merriman Internet History Sourcebooks Project Index to Andrew Lang’s colored Fairy Books and M.E. Sharpe, 2000 www.fordham.edu/halsall the Arabian Nights. Over 500 pages of online history sources. Ancient History Sourcebook, Medieval Sourcebook, and Modern History Sourcebook. Science Fiction Chronicle History Timeline www.dnapublications.com/sfc Cooke, Jean, Ann Kramer, and Theodore Museumland.com SCHOOL VISITS “Science Fiction’s Only Professional News & Trade Rowland-Entwistle This “world wide Portal to Museums and Cultural Journal.” Crescent Books, 1981 heritage,” offers over 11,000 links from 142 Each chapter contains a short overview and a countries through English and Italian interfaces. SurLaLune Fairy Tale Pages summary of important events taking place in Heiner, Heidi Anne different parts of the world simultaneously. www.surlalunefairytales.com Maps, photos, reference tables of presidents, AMERICAN LEGAL QUESTIONS Annotated, hyper-linked fairy tales; history, rulers, battles, more. analysis, bibliography. HISTORY Tales of Wonder: Folk and Fairy Tales from Writer’s Guide to Everyday Life In…. Around the World Writer’s Digest Books series American Decades Darsie, Richard Pendergast, Sara & Tom Pendergast members.nbci.com/darsie/tales UXL, (Gale), 2002 Series covers American social history decade by 216 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org preachers, lawyers, etc. Citedasascrap inthe Classic onYankee peddlers, strolling actors, Lippincott, 1927 Wright, Richardson Hawkers andWalkers in EarlyAmerica bibliography. Chronology of events, notes onthe text, and consequences of the European invasion. spread and growth of their culture, and the from Siberia toNorth America, the remarkable Describes the migration of nomadic people W. W. Norton &Company, 1993 Jennings, Francis Migrations to thePresent The Founders of America:From theEarliest is covered. annotations. Children’s clothing, often omitted, illustrations are clear, accompanied bydetailed A good mixture of drawings and text. The Dover, 2004 Wilcox, R.Turner Five Centuriesof AmericanCostume format. and needs accurate information inabrief the author who writesaboutAmerican history policies inAmerica’s past. Aninvaluable aid for gives specific facts aboutevents, trends, and With more than7,000entries, thisdictionary Scribners, 1983 Concise Dictionaryof AmericanHistory music, and medicine. drinking customs, developments infine arts, popular sportsand pastimes, eating and history” bothpolitical and social, including this book“traces the major strands inAmerican Written byone of America’s foremost historians, Oxford, 1965 Monson, Samuel Eliot Oxford History of theAmericanPeople Good battlediagrams and general background. American Heritage, 1960;Gramercy, 1994 Catton, Bruce of the CivilWar The AmericanHeritage Picture History archaeology, folkways, arts, and more. state’s history, government, people, industry, Everything here for the period novelist abouta Series byStates, 1941 Hastings orDuell,Sloanand Pearce American GuideFederal Writer’s Project decade, starting in1900. | TOEXECUTION FROM IDEA Images of Americaseries Americana crazy quilt. Pantheon Books, 1982 Clinton, Catherine Old South The Plantation Mistress: Woman’s World inthe frontier. an intimate feel for the livesof women onthe It ispoignant, filledwithinformation, and gives experience thatno other reference cansupply. women hasthe authenticity and grit of true This collection of oral historyof frontier Simon and Schuster, 1981 Stratton, Joanna L. Pioneer Women medicine. customs, developments infine arts, music, and popular sportsand pastimes, eating and drinking history” bothpolitical and social, including this book“traces the major strands inAmerican Written byone of America’s foremost historians, Oxford, 1965 Monson, Samuel Eliot Oxford History of theAmerican People photographs. bibliographies ineachbook,plushistorical The Pioneers, and The Frontiersmen. Good include such titles as: The Cowboys, The Women, These booksare aboutthe American frontier and Time-Life Booksseries The OldWest something happened, etc. basic structure of the U.N.orthe placewhere dates compare withPascal’s? Fordetails of the History. When wasGalileoborn?How do his Columbia University Press, 1975 Harris, William H.and Judith S.Levey, eds. The New ColumbiaEncyclopedia source. could bewrittenwithout looking atanother horse trappings, and more. Many period novels windmills, farm implements, cowboyregalia and guns and ammo, wagons, fences, steamboats, wants toseeit“real.” Uniforms, ladies’ dress, Obscure detail ishere for the writerwho Viking, 1955 Harris, Foster The Lookof theOldWest Period postcards from cities alloverthe US. Arcadia Publishing A ShortHistory of theAmericanRevolution taming of westernland bypioneers. Over 300photographs plustext telling of the Scribners, 1955 Schmitt, Martin F. and DeeBrown The Settlers’West the westernlands of 1870-1890. summaries of advertisements and descriptions of Fifty-one pages of railroad maps and brief Found onlyinuniversityorlarger libraries. Rand McNally, 1956 West Rand McNally’sPioneerAtlas of theAmerican draws onher ownexperience asabiographer. observations of the international scene. She insights into American historytoher Provocative essaysthatrange from Tuchman’s Ballantine Books, 1981 Tuchman, Barbara Practicing History enslaved before the CivilWar, recorded originally First personaccounts of African-Americans Scholastic, 1968 Lester, Julius To BeaSlave available. Microfilm, Microfiche, facsimileeditions Collections Division of Library of Congress. manuscript in the Rare Bookand Special testimonies of the peoplewho livedit.Original What itwaslike toliveasaslave, from (reprint of 1941WPA ed.) American Guide Serv., 1989 the USfrom Interviews withFormer Slaves Slave Narratives: AFolk History of Slavery in Jefferson and Adams onJuly4,1826. turmoil and disorder, closing withthe deaths of progress and expansion butalsoatime of formative years. Depicts not onlyanera of An in-depth portrait of American history’s McGraw-Hill, 1980 Smith, Page the Young Republic The Shapingof America:APeople’s History of strategies. Comprehensive bibliography. sides, aswellthe battlefieldaction and and personalities of the major playersonboth issues leading uptothe conflict: the politics the American Revolution thatlooksatthe A brief, veryreadable, one-volume historyof William Morrow and Co., 1991 Stokesbury, James L. FROM IDEA TO EXECUTION | 217 in the Federal Writer’s Project in the 1930s. and more, in addition to video and audio clips. Huizinga, Johan PREPARING & SUBMITTING Princeton University Press, 1984 Women’s Diaries of the Westward Journey Cultural history, sociology, politics, psychology, Schlissel, Lillian EUROPEAN and the arts are combined to form a broad Schocken, 1982 image of the two periods, with emphasis on This compilation of diaries, letters, and HISTORY individuals. information about the westward trek is invaluable. Schlissel’s meticulous research and The Anglo-Saxon Chronicles EUROPEAN HISTORY - ONLINE RESOURES feminist perspective give new insight into Savage, Anne, trans. and coll. British History Online historical material and the reality of women’s Written by monks between 880 and 1154, this www.british-history.ac.uk routines, losses, and delights on the frontier. history of Britain begins with 6th century “The digital library of text and information MARKET SURVEYS events and concludes with the reign of Henry II, about people, places and businesses from the AMERICAN HISTORY - ONLINE RESOURES father of Richard the Lion Heart. medieval and early modern period, built by the African American Odyssey Institute of Historical Research and the History memory.loc.gov/ammem/aaohtml/aohome.html The Discoverers of Parliament Trust.” Among the resources: Part of the American Memory project. Boorstin, Daniel J. Journals of the Houses of Commons and Lords, Random House, 1983 Office-Holders in Modern Britain, 1660-1939, a The American Civil War Homepage A sweeping examination of important variety of documentary resources for the history sunsite.utk.edu/civil-war discoveries and the desire to explore and of London and ecclesiastical history. Searchable. DIRECTORIES & RESOURCES Directory of links examine the unknown. Subjects vary from exploration of the planet to the concept HistoricalDirectories.org American Memory of time. Many familiar and not-so familiar This new “digital library of eighteenth, lcweb2.loc.gov/ammem or memory.loc.gov personalities are brought to life. Detailed nineteenth and early twentieth century local Project of the Library of Congress with many reference notes included. and trade directories from England and Wales” online exhibits. should be of particular interest for genealogists. Encyclopedia of European Social History, EarlyAmerica.com 1350-2000 Life in Elizabethan England: a Compendium of Primary resource material of 18th century Stearns, Peter N. editor Common Knowledge 1558-1603 America. Scribner, 2001 elizabethan.org/compendium/home.html Values, ideas, social and political movements of A cross between an illustrated glossary and a

Database of Early American Furniture Europe. backgrounder on the social and cultural milieu of PUBLICIZING YOUR PUBLISHED WORK digital.library.wisc.edu/1711.dl/DLDecArts Elizabethan England – its games, fashion, food, Eyewitness to History occupations, household management, etc. Very Making of America Carey, John, ed. useful companion for courses in the literature or www.umdl.umich.edu/moa/index.html Avon Books, 1987 history of the era. A collaboration between the University of Firsthand accounts of major and minor events Michigan and Cornell University offering a large in world history beginning with the Plague of collection of primary sources on American social Athens in 430 BC and ending with the fall of history from the antebellum period through Ferdinand Marcos in 1986. Includes a list of MULTICULTURAL Reconstruction. sources. EXPERIENCES National Women’s History Project A History of Middle Europe from www.nwhp.org the Earliest Times to the Age The African American Encyclopedia

Links to sites on women’s history. of the World Wars Williams, Michael, W. SCHOOL VISITS Tihany, Leslie C. Marshall Cavendish, 1996 PBS “The West” Page Rutgers University Press/Dorset Press, 1987 Eight volumes. www.pbs.org/weta/thewest A pre-1918 history of the nations of Middle An extraordinary resource for research into the Europe, wedged between Germany, Italy, and American Indian Myths and Legends American West. It includes a Russia, a geographical area much neglected in Erdoes, Richard and Alfonso Ortiz, eds. biographical index, a timeline index, first person other historical accounts. Pantheon, 1984 LEGAL QUESTIONS journal accounts. A History of Their Own: Women in Europe from A superb collection which includes 160 tales Prehistory to the Present, Volumes I & II gathered from 80 different tribes. These tales PictureHistory.com Anderson, Bonnie S. & Judith P. Zinsser of creation, love, animals, and the end of the Kunhardt Productions presents images and Harper, 1988 world make this the most comprehensive and footage illustrating more than 200 years of authentic volume of American Indian myths American history: images of maps, postcards, Men and Ideas: History, the Middle Ages, the available. photographs, cartoons, stereo cards, periodicals, Renaissance 218 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org identifiable peoples. cultural characteristics of some 400separately (in aboriginal times and present day), and on identity, kinships, locations, populations Grande. It offers essential basic information peoples, from the Canadian Arctic tothe Rio A compactreference workonNative American Macmillan, 1994 Johnson, Michael A ConciseEncyclopedia The Native Tribes of NorthAmerica: height of their culture. describing the lifestyleof the Plains Indians atthe and nearly 1,000detailed drawings bythe author, rich text iscomplemented by32colorillustrations in itsresearch and dramatic initsnarrative. The A classic encyclopedia of Plains Indian lore, detailed Mallard Press, 1991 Mails, Thomas E. The MysticWarriors of the Plains Cavendish, 1996 Cahbrin, Richard YRafael Chabrin The LatinoEncyclopedia local library. or cultural services office inthe US, oryour are typically availablefrom the country’s tourist elaborates ontheir land. Copies of these books Get the handbook most countries putoutthat Samhwa Printing Co.,1990 Korean OverseasInformation Service A Handbookof Korea groups inthe United States. Over 100articles withinformation onethnic Gale, 2000 Galens, Judy, Anna Sheets, RobynYoung, eds. Gale Encyclopedia of Multicultural America States; supplements and updated appendixes. Detailed treatment of ethnic groups of the United Marshall Cavendish, 1998 Encyclopedia of Multiculturalism Simon &Schuster, 1996 Tenenbaum, Barbara, ed. Culture Encyclopedia of LatinAmericanHistory and Simon &Schuster Macmillan, 1996 History Encyclopedia of African-AmericanCulture and Marshall Cavendish, 1995 Ng, Franklin, ed. The AsianAmericanEncyclopedia | TOEXECUTION FROM IDEA Ilyon Three Kingdomsof AncientKorea) Samguk Yusa (LegendsandHistory of the resources and more. Jewish American, Multiracial, Native American American, Asian American, Chicano, Immigrant, Links tositesonAfrican American, Arab vos.ucsb.edu/browse.asp?id=2721 Voice of theShuttle:MinorityStudies World religious holidays and festivalsexplained. MulticulturalCalendar.com culture and literature. Documents relating toAfrican American history, www.toptags.com/aama AFRO-American Almanac Links tosources onbiography and history. www.multcolib.org/homework/aframhc.html African AmericanResources study of blackhistoryand culture. A Library of Congress resource guide tothe www.loc.gov/exhibits/african/intro.html African AmericanMosaic RESOURCES MULTICULTURAL EXPERIENCESONLINE to some of the speeches. speakers and information onaudience reaction of subjects. Includes biographical info on 230 speeches by130peopleonawide variety Gale, 1995 Straub, Deborah Gillan,editor Hispanic and Native Americans, 1790-1995 Notable Speeches Delivered byAfrican, Asian, Voices of Multicultural America: versions from three different authors. suggest trying tofind atleastthree different wants todo aretelling of anancient story, I Folktales are avaluable reference. Ifawriter Charles E.Tuttle Co.,1976 Carpenter, Frances Tales of aKorean Grandmother An A-Z reference tomultiethnic storytelling. Oryx Press, 1997 Leeming, David Adams, ed. Around theWorld and MultiethnicApproach to Oral Traditions Storytelling Encyclopedia: Historical, Cultural, the “history”needed toretell folktales. the earliest writerof astory. Thisisanexample of It’s wisetoget backasfar intime as possibletofind Yonsei University Press, 1972 techniques inwriting and selling. Includes in Advice toother writersand tohimself about Collection from Gardner’s notebooks and letters. Morrow, 1980 Fugate, Francis L.and RobertaB. Storytelling Techniques of Stanley Gardner Secrets of theWorld’s BestSellingWriter: The fiction in general. to structuring not justthe mystery novel, but nuanced guide byanaward winning author Booklist calledthisbookindispensable. A Perseverance Press, 2003 Wheat, Carolyn Mystery &theRollerCoasterof Suspense How to Write KillerFiction:TheFunhouseof MYSTERY Index toNative American resources. www.hanksville.org/NAresources WWW VirtualLibrary –AmericanIndians Writer, 1977 Nixon, Joan Lowery Writing Mysteries for Young People luminaries inthe field. Essays onallaspectsof the genre by37 Writer’s Digest Books, 2002 Grafton, Sue, ed. Writers of America Writing Mysteries:AHandbookby theMystery exercises; advice ongetting published aswell. Practical advice onplanning and plotting, with Writer’s Digest Press, 2005 Ephron, Hallie to Knock‘EmDeadwithStyle Writing andSellingYour MysteryNovel: How Marcia Muller, EllenHart, and Val McDermid. American women mystery writers, including Essays onthe crafting mysteries byBritishand Spinsters Ink,2000 Windrath, Helen, editory Writers Tell All They Wrote theBook:ThirteenWomen Mystery professionals. (SeeMWA websitebelow) Memberships availablefor newcomers and America (MWA). Goodarticles and market lists. Official newsletter of the Mystery Writers of The Third Degree and the creator orPerry Mason. Gardner wasaprolific author of popularliterature appendices, “Formulae for Writing aMystery.” FROM IDEA TO EXECUTION | 219

How-to on all aspects of the juvenile mystery Online directory linking to image catalogs with Photography for Writers PREPARING & SUBMITTING from characterization to plotting. Chapters Abrams, Lawrence F. an emphasis on history and documentary. on writing the easy-to-read, middle-grade, Entwood Publishing, P.O. Box 268, Wausau, WI young adult, or magazine mystery story. 54402-0268 Library of Congress: Prints and Photographs Includes steps, from idea to marketing the final Photography basics (cameras, lenses, film Online manuscript. processing), and specifics of how a writer can www.loc.gov/rr/print/catalog.html best combine text and photos. Searchable database. MYSTERY - ONLINE RESOURCES MysteryNet.com The Smithsonian Institution Lots of useful resources, including a list of Office of Printing and Photographic Services POETRY & Mystery Writers Organizations. National Museum of American History MARKET SURVEYS Washington, D.C. 20560 VERSE Mystery Writers of America www.mysterywriters.org PHOTOGRAPHY - ONLINE RESOURCES The Child as Poet: Myth or Reality Premier organization for mystery writers. All You Wanted to Know About Digital Livingston, Myra Cohn website has great resources. Photography Horn Book, 1984 www.basic-digital-photography.com A truly handsome volume. Discusses the writing SistersInCrime.org Advice and tutorials. of poetry by children, but with a wealth of rich

Promotes the professional advancement of material for the adult poet. DIRECTORIES & RESOURCES women who write mysteries and addresses American Historical Images on File: The Native discrimination against women in the mystery American Experience Climb into the Bell Tower: Essays field. A great support network. www.csulb.edu/projects/ais/nae Livingston, Myra Cohn Comprehensive collection arranged Trophy Press, 1990 chronologically from prehistoric to 1900. PHOTOGRAPHY How Does a Poem Mean? Corbis.com Ciardi, John When you’re doing photo research for a One of the most comprehensive sites for photo Random House, 1990 nonfiction article or book, art museums, US research. With imagination, wit, and intelligence, John government agencies, local historical societies, Finding Images Online: Directory of Web Ciardi ask readers and writers to consider what and museums of natural history are likely to Image Sites goes into a poem, how a poem may mean, and prove the most valuable resources, depending Berinstein, Paula, 2006 how to recognize poor verse and doggerel. A PUBLICIZING YOUR PUBLISHED WORK on the subject matter of the particular book or www.berinsteinresearch.com/fiolinks.htm must for anyone interested in poetry. article. These can be contacted via snail mail Large directory of links to image sites by or online. category. Index to Poetry for Children & Young People: 1993-1997 The Library of Congress Prints and GettyImages.com Wilson, 1998 Photographs Division Image archive: creative, film, and editorial Indexes by author, title, and subject of Room 337, James Madison Memorial Bldg., images. children’s poetry in collections. Also an index First Street and Independence Avenue, S.E.; by first line. Washington, D.C. 20540 Internet Public Library, Pathfinder to Americana of all kinds. Write for a free brochure Historical Photographs An Introduction to Poetry describing the extent of the collection. www.ipl.org.ar/ref/QUE/PF/histphotos.html Kennedy, X. J. & Dana Gioia Introductory advice and links. Longman, 2005 (11th edition) The Library for Photographic Collections Exploring poetry in the traditional as well

The American Museum of Natural History Looking for Good Art as contemporary mode, the noted poet X. J. SCHOOL VISITS Central Park West at 79th Street, NYC www.infotoday.com/searcher/sep04/mattison. Kennedy examines various elements of the craft For animal, nature, and anthropological shtml of writing. An index of terms makes the book material. An amazing three part article on finding art and useful for beginners; the excellent examples image research online with lots of great links. enhance usefulness. The Metropolitan Museum of Art Photograph & Slide Library New York Public Library Image Collection The Making of a Poem: A Norton Anthology of LEGAL QUESTIONS Fifth Avenue and 82nd Street, NYC www.nypl.org/research/chss/spe/art/photo/ Poetic Forms For art and historical material. The library contains research.html Strand, Mark & Eavan Boland photographs of all the paintings, sculptures, prints, Search over 600,000 images by subject; in the Norton, 2001 drawings, and decorative objects owned by this arts, humanities, performing arts and sciences. Concise explanation of all the various forms: comprehensive museum, the largest of its kind in the Library of Congress: Picture Catalogs Online- villanelles, sestinas, sonnets, elegies, patorals, Western Hemisphere. Guides, Reference Aids, and Finding Aids pantoums, odes. Features examples from many www.loc.gov/rr/print/resource/223_piccat.html poets. 220 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Arranged according tonumber of syllables. Thames &Hudson, 2004 Stillman, Frances Poets’ Manual andRhyming Dictionary payment information, and how tosubmit. of editors, addresses, typeof poetryneeded, containing market listings indetail: names Comprehensive marketing toolfor poets, Writer’s Digest Books, annual Poet’s Market writing poetry. and passionately aboutthe artand craft of National BookAward winner writes concisely Harcourt, 1994 Oliver, Mary A Poetry Handbook understandable and lavished withquotations. Very handy, concise dictionary of terms, readable, Collins, 1982 Deautsch, Babette Poetry Handbook ages willfind inspiration. writing. Forgrades 5-7,butaspiring poetsof all great examples and exercises toget readers Introduction toforms and typesof poems with Simon &Schuster, 1994 Janeczko, Paul Poetry from Ato Z writing poetryfor allages. introduction tothe mechanics and craft of Written for grades 4-9,thisisawonderful HarperCollins, 1991 Livingston, Myra Cohn Poem-Making: Ways to BeginWriting Poetry classic text. Children’s poetrybegins withnursery rhymes. A Oxford University Press, 2006 Opie, Iona, Peter Opie &Joan Hassall The Oxford NurseryRhyme Book For Grade 6and up,organized bysubject. Oxford University Press, 2006 Harrison, Michael, etal. One Hundred Years of Poetry for Children poetic tradition inthe world.” Everything aboutpoetry;coverage of “every Princeton University Press, 1993 Preminger, Alex, etal of Poetry and Poetics The New Princeton Encyclopedia | TOEXECUTION FROM IDEA Candlewick, 2002 Janeczko, Paul Seeing theBlueBetween reproduction, order, colorphotograph, map, and details (size, weight, habitat, food, lifespan, Well-documented information onmammals with This setisamust for animal/mammal research. National Geographic Society, 1981 Book of Mammals, Volumes I&II ancient times tothe 1970s. achievements of 1,195great scientists from This paperbackvolume describes the lives and Avon, 1976 Asimov, Isaac Technology Biographical Encyclopedia of Scienceand habitats, behavior, etc. withcharsand maps. Exquisite photograph and information about DK Adult, 2001 Wilson, DonE.&David Burnie World’s Wildlife Animal: TheDefinitive VisualGuide to the NATURE SCIENCE & Directory of worldwide linkstopoetrysources. www.poetry-portal.com Poetry Portal and subject. Thousands of poems, searchable byauthor, title www.theotherpages.org/poems The Poets’ Corner Contains thousands of public domain poems. www.emule.com/poetry The Poetry Archives www.poets.org Academy of AmericanPoets POETRY -ONLINERESOURCES between personal experience and writing. Willard’s uniqueperspectiveonthe relationship Though not restricted topoetry, these essaysoffer Harcourt Brace, 1993 Willard, Nancy Telling Time representing avariety of styles. how they work,along withselectedpoems they share advice and inspiration and discuss Letters from 32children’s poetsinwhich

Photos and colordrawings. by scientific classification with introduction. Contributions byexperts inthe field. Arranged Facts onFileNatural Science Library, 2001 Macdonald, David, ed. Encyclopedia of Mammals drawings and colorphotos. checked accuracy. Contains black-and-white Expert consultants are listedwho presumably Written intruealphabetical encyclopedia form. Facts onFile, 2004 Campbell, Andrew &John Dawes The New Encyclopedia of Aquatic Life full colorillustrations and line drawings. Good general reference toanimal kingdom with UC Press, 2005 McKay, George, etal Guide Encyclopedia of Animals:ACompleteVisual more). Glossaryatend of Volume II. Oxford University Press, 2001 Macdonald, D. The New Encyclopedia of Mammals illustrated glossary. Past, present and future of the universe; Random House, 1995 Ronan, Colin The Natural History of theUniverse book. tables. Besure toget the latestedition of this star maps, maps of the moon and planets, and solar system,stars, and galaxies. It hasmany This bookgivesup-to-date information onthe Firefly Books, Ltd. 2003 Moore, Patrick Firefly Atlas of theUniverse animals. is agood investment ifyou’re writing about libraries haveit,butthe paperbackedition 13-volume zoologyencyclopedia. Most large other experts around the worldtocompilethis Zoological Gardens, gathered entries from Grzimek, who wasdirector of the Frankfurt Gale, 2003 Grzimek, Dr. H.C.Bemhard, ed. Grzimek’s AnimalLifeEncyclopedia Houghton, 1983(movie tie-in edition, 1988) Fossey, Dian Gorillas intheMist FROM IDEA TO EXECUTION | 221

The New York Public Library Desk Reference, Natural History Museums and Collections Encyclopedia of African American Religions PREPARING & SUBMITTING 4th Edition www.lib.washington.edu/sla/natmus.html Murphy, Larry G. ed, Hyperion, 2002 Directory of links worldwide. Garland Publishing, 1993 This 1,016-page volume is packed with answers Covers founders of larger African American to the most frequently asked questions, as well as Paleontology Portal religious groups, descriptions of denominations, easy-to-read charts, graphs, and tables, insightful www.paleportal.org groups and organizations. sidebars, full-color maps, and illustrations, plus Encyclopedia of American Religions cross-references and web addresses to aid more Plants Database Melton, J. Gordon in-depth research. plants.usda.gov Gale, 2002 Database of regional and state characteristics, Comprehensive and scholarly. Oxford Dictionary of Science fact sheets plant guides, and 25,000+ images. MARKET SURVEYS Oxford University Press, 2006 Encyclopedia of Eastern Philosophy and Covers biology, chemistry, physics, earth Public Library of Science Religion sciences and astronomy. www.plosbiology.org Schreiber, Ingrid Fischer, et al PLoS Biology is a peer-reviewed, open-access Shambhala Pub. 1994 The Whitetail Deer: A Year’s Cycle journal published by the Public Library of Covers Buddhism, Taoism, Tibetal Buddhism, Stadtfeld, Curtis K. Science (PLoS), a non-profit organization Hinduism and Zen. Dial Press, 1975 committed to making scientific and medical Comprehensive and scholarly.

literature a public resource. DIRECTORIES & RESOURCES Women in the Field, America’s Pioneering Encyclopedia Judaica Women Naturalists Science Gateway Roth, Cecil Bonta, Marcia Myers www.academicinfo.net/subsci.html Keter, 1972, supplements through 1994 Texas A & M University Press, 1991 Exhaustive directory of links to all subjects A 26-volume English-language encyclopedia of Biographies of 25 women naturalists from scientific. the Jewish people and their faith. the late 18th century through the early 20th century. Good bibliography. Wildfinder Encyclopedia of Native American Religions www.worldwildlife.org/wildfinder Hirschfielder, Arlene & Paulette Molin World of the White-Tailed Deer A map-driven database of more than 26,000 Facts on File, 2001 Rue, Leonard Lee, III birds, mammals, reptiles, and amphibians that Good introduction to Native American beliefs, Lippincott, 1962 allows users to discover where species live. ceremonies and religions.

The Year of the Gorilla Encyclopedia of Religion PUBLICIZING YOUR PUBLISHED WORK Schaller, George B. RELIGIOUS Eliade,Mircea, ed University of Chicago Press, 1964 Macmillan Reference, 2004 TOPICS One of the most important reference works of SCIENCE & NATURE - ONLINE RESOURCES the millennium according to Library Journal. Animal News Center The Anchor Bible Dictionary www.anc.org Freedman, David Noel, ed Forward Newspaper (English Edition) News about animals – pets, wildlife, farm and Doubleday, 1994 (CD-ROM, 1998) Forward Publishing Co. Inc. lab – from around the world. Comprehensive and scholarly compendium of Contemporary American/international Jewish issues in the field of bible studies including issues. Very literate with heavy emphasis on the Avibase Old and New Testament, Apocrypha, Dead Sea arts and language. www.bsc-eoc.org/avibase/avibase.jsp Scrolls, and the Nag Hammad texts. Database with records of over 32,000 bird A Guide to Jewish Religious Practice species and subspecies, distribution data and Celebrate! The Complete Jewish Holidays Klein, Isaac Jewish Theological Seminary of

maps. Handbook America, 1979 SCHOOL VISITS Ross, Leslie Koppelman A guide to the further understanding of the eNature.com Jason Aronson, 1996 rites, ceremonies, liturgy, and ritual of Judaism. Includes field guides to birds, plants, shells, Comprehensive non-denominational resource on insects, mammals, regional wild life and more. the history and customs of Jewish holidays. Hadassah Magazine Contemporary articles on art, music, women’s Geology.com Encyclopedia of African and African American issues in the US and Israel. LEGAL QUESTIONS Earth science news, dictionary, maps, satellite Religions images, and more. Glazier, Stephen The Jewish Holidays: A Guide and Commentary Routledge, 2001 Strassfeld, Michael National Aeronautics and Space Extensive and in-depth coverage of religions in Harper and Row, 1985 Administration (NASA) Africa and their influence on African-American Good background material to the history, values, www.nasa.gov religious life. and practices of the Jewish holy days. 222 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.gate.net/~critch/libraryofgod Library of God observances, and more. Jewish history and the Holocaust, holidays, culture and government, US agencies inIsrael, and Yiddish languages, aswellIsraeli sites onart,archaeology, and the Hebrew Comprehensive. Linkstolibraries, museums, shamash.org/trb/judaism.html Judaism andJewish Resources Links tomany resources onIslam and Muslims. www.uga/islam Islam: Resources for theStudyof Islam mythology, and folklore. Free archive of worksof worldwide religion, www.sacred-texts.com/index.htm Internet Sacred Text Archive www.csn.net/advent/cathen Catholic Encyclopedia Buddhism. Source for information and resources on Buddhanet.net RELIGIOUS TOPICS -ONLINERESOURCES Biblical doctrines are presented. biographical, and doctrinal. Nonsectarian archeological, historical-geographical, Four emphasescharacterize thisdictionary: Moody Press, 1988 Unger, Merrill F. Unger’s BibleDictionary God and religion. and agnostic children ontheir thoughts about psychiatrist with500Christian, Jewish, Islamic Fascinating interviews byHarvard child Mariner Books, 1991 Coles, Robert The SpiritualLifeof Children McGraw-Hill, 1967,supplements to1997 Mcdonald, William J. New CatholicEncyclopedia Mennonite Publishing, 1990 Kran, Cornelius Mennonite Encyclopedia life cycle, synagogue, and home observance. An excellent introduction toJewish holidays, Harper Perennial, 1991 Diamant, Anitaand Howard Cooper Living aJewish Life | TOEXECUTION FROM IDEA www.refdesk.com/factrel.html My Facts Page: World ReligionResource Links toreligious denominations. www.refdesk.com/factrel.html World ReligionResources many aspectsof worldreligion and spirituality. Website for the public radio show. Articles on speakingoffaith.publicradio.org Speaking of Faith subjects related toreligion. Vast and diversedirectory of linkstoall www.religionwriters.com/library.php Religion Writers OnlineLibrary maps, religion, and more. subject: history, women, reference, biography, all aspectsof the New testament. Organized by Directory of internet linkstoinformation on www.ntgateway.com The New Testament Gateway FROM IDEA TO EXECUTION | 223

USING HISTORICAL ASSOCIATIONS EFFECTIVELY PREPARING & SUBMITTING

Historical associations can hold unimaginable treasures system of filing materials, so you’ll be expected to use their card for you—if you know how to access them. What it takes is a files, indexes and coding systems to locate appropriate topics. little homework, focused searching and appropriate research You’ll fill out a request form and a staff member will retrieve the etiquette. material. Some materials may require a day or two to locate, so

be prepared. All materials must be used on-site. MARKET SURVEYS DO YOUR HOMEWORK Prioritize your wish list. Request the most important materials Before you even think about using specialized collections, first. Then look for those gems in the more obscure sources. read everything you can on and around your subject. You won’t Use tools of the trade. Pens are poison to historical want to waste time reading general sources at the historical documents, so you will be asked to take notes in pencil. (The Bic association (HA) site where hours and staff time are limited. or Scripto plastic mechanical pencils are great: points always Instead, use the HA to dig for unique sources of information. stay sharp.) Oils from your hands make permanent marks. So, if DIRECTORIES & RESOURCES Understand how historical associations work. The HAs I’m you are handling original documents, artifacts, or photographs, most familiar with have boards of directors, small (under) you will probably be asked to wear white gloves. (Usually, HAs paid staffs, and as many volunteers as they can find. These have a supply of these thin cotton coverings.) I have been in a associations collect and save information for either a town, few places that don’t require pencils and gloves, but believe me, city, county or state, depending on their mission. Research once you understand why they’re so important, you’ll want to facilities vary widely. I’ve worked in multi-storied centers, but use them. These precautions keep items from being damaged, I’ve also taken notes in a closet on top of a file cabinet. Typically, ruined or worn out over time. though, the HA will have a room with library tables that can Be a defensive note-taker. Remember those “unique” accommodate maps and oversize materials. Seating goes to the classifications systems each HA has? Whether you use note first ones to arrive. Hours vary but are usually restricted. cards or sheets of paper, make a habit of documenting each

Try to be knowledgeable about the collection. A phone call source of information carefully. Besides the regular bibliographic PUBLICIZING YOUR PUBLISHED WORK to the HA, a brochure or inquiry at the local library can tell data, I record the current date, where I am, and all the HA you what the collection may focus on. For example, Cornell information I need to locate that specific item again. This might University published what is nicknamed the Red Book Guide, include the title on a file folder, the painted number on an artifact, a series which lists historical resources by county throughout the drawer from which it came—anything useful. This habit has New York State. Studying documents like these ahead of time paid off for me more than once. might give you new leads to explore—or may steer you away Bring money for fees. Some HAs charge non-members to from collections that might not be profitable to your project. use their research facilities, others appreciate a donation. All Understand that most historical associations today collect HAs I’ve worked with charge a fee for photocopying material. only those items that help interpret the life and times of that Steel yourself: there’s usually a policy about what can be copied. specific region. The more familiar you are with the region, the Old books with fragile bindings are out; prepare to take notes. more efficient your searching will be. Photocopying is usually done by staff members as time permits. I have waited up to a week for some copies, but generally I FOCUS YOUR SEARCH receive them at the end of that day or the next. SCHOOL VISITS Advance notice can be useful. If you’re traveling a distance About photographs: usually, if you want a copy just for to the HA, you might want to write a letter to the research reference, it will be done on the copier. However, if you want librarian before you go. Tell what your project is about and a duplicate photo on photographic paper, it will be sent list the key information you wish to research. This gives the to a specialist and will take time. The price of the photo is HA time (if possible) to consider materials before you arrive.

determined by how the researcher plans to use it. (There’s a LEGAL QUESTIONS However, since some researchers never follow up on their higher fee if it is to be used in a book.) Ask for the HAs policy requests, staff members usually don’t begin the search until you when you arrive. come and sign in. Your letter will serve as a useful guide at that time. APPLY PROPER RESEARCH ETIQUETTE Know that retrieval systems vary. Typically, you won’t be Don’t be a hit-and-run researcher. I’ve worked with HAs on allowed to browse the stacks like you can in a library. Staff will both coasts. The worst nightmare consists of the “RV Raiders” pull only what you request. Most HAs have their own unique who “drop by” and say, “Give me everything you have on the 224 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | TOEXECUTION FROM IDEA » » » » » » friendships. Get to know members ofthe culture; develop genuine » » » » » Immerse yourself inthe culture. your book,anyway! work and takes staffaway from other duties.They’ll read itin you discover, no matter how juicy. Itinterrupts others intheir you are about what you find. Resist the temptation to share what to chat about itwithyou. Don’t worry ifthey aren’t as excited as thousands staffmembers address each year. Don’t expect them do this are stealing history. photographs into their notebooks. This is criminal. People who things—like tear pages out ofirreplaceable books orslipping Smith family. Now.” Hurriedresearchers also dodesperate » » » » » » » » » » » Be sensitive. Your research project is only one among interactions, attitudes, mores. differently than American children? Observe family Get to know children ofthis culture—are they treated Have abasic understanding oftheir religion. Learn their holidays—how and why they are celebrated. Learn their superstitions and beliefs. festivals, ceremonies, parties, orother functions. Ask them to explain certain activities, costumes, etc. at famous sights,etc. clothes, languages, occupations, plants, animals, of questions about their homeland, customs, foods, Show respect and never mock their beliefs.Ask millions Visit their homes. Eattheir foods, obey their customs. their language. specialty stores; listen to their music;learn some of Watch their movies attheaters orrent movies at recipes. taste, and feel. Try to cook some oftheir more popular grocery stores; learn how their foods look,smell, Eat atrestaurants from that culture; shop attheir parties, etc. Attend festivals, religious ceremonies, weddings, sights, sounds, and smells. then travel to San Francisco’s Chinatown to observe subcultures. For example, ifyou cannot travel to China, If you cannot travel to the country itself, visit American of the country. the weather, plants, animals, smells, sounds, colors, etc. If possible, travel to the setting ofyour bookto learn TIPS FOR RESEARCHING ACULTURE DIFFERENT FROM YOUR OWN » » » » » travel there yourself. Obtain physical descriptions ofyour setting ifyou can’t » » Understand the culture’s literature. » » Understand the culture’s history. » » be areference for future researchers. will It book. you can, sendyour them acomplimentary copy of HAs inyour bookfor information and photos you use. And, if » » » » » » » » » » » Give duecredit and share the results. Always acknowledge or tourists who have traveled there. Interview peoplewho once lived inyour novel’s setting Watch movies set inthat locale. Study videosorslides taken by visitors to the locale. Consult photo-journalist books. street maps. Consult travel guides, especially those withphotos and famous poetry, sagas, ballads, novels, orother literature. Read English translations oftheir country’s most tell you some popular legends and folktales. find them inbooks, then ask members ofthe culture to Learn the culture’s legends and folktales. Ifyou cannot are. Ask members ofthe culture who their historical heroes ancient and modem. until you have abasic knowledge ofitshistory, both Irish immigrants. Read several books about the culture are adescendant from African slaves, Aztec fanners, or Your people’s history influences your life, whether you the culture, especially those set inthe home country. Read autobiographies ornovels written by members of characters inyour novel. culture who have orhad the same occupations as the locale as your novel’s setting, and also members ofthe Locate members ofthe culture who lived inthe same

FOR CHILDREN &TEENS

WRITING &ILLUSTRATING ESSENTIAL REFERENCEBOOKS ON

ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS

by Lee Wind

magine you’re at a dinner party. The food? Your favorites. The guests? Some of the top authors, illustrators, and author/illustrators working in children’s literature Itoday. We’re joined by a book seller, an agent, an art director, a lawyer, a few poets, and an editor. The conversation? Not their National Book Awards and Honors, SCBWI Golden Kite Awards, or Sid Fleischman Humor Awards; not their Caldecott Honors, or Geisel Medals, or New York Times best sellers; not even the moment when one of them published his three hundredth book for children.

What these more than twenty-five experts* are talking about are the “She talks about telling the truth—your truth, which I believe is the books on craft that inspire them, that are must-reads, and that they most important thing I can teach my students.” recommend. You’re scrambling for a pen and paper, but relax—I’m your “Invaluable and inspiring.” note-taker, and I’ve made some fantastic lists of their favorites. It was fascinating to see so much crossover: books for writers On Writing: A Memoir of the Craft, by Stephen King (Scribner, 2000) recommended by illustrators, and books for illustrators that writers “Offers tough love, and he pulls no punches about the hard work and found essential. As Jane Yolen said, “If you can get into the head of an joys of writing.” illustrator, you will write a more illustratable book.” “The grown-up map to writing for . . . adults. YA writers are writing So sit back, sip your favorite drink, and picture yourself so much for adults-in-waiting, after all.” richer for all the information in these remarkable resources. “Smart and eye-opening.”

The Top Nine Recommended Books on Writing Dear Genius: The Letters of Ursula Nordstrom, collected and edited by These are the books that were on more than one short list. In fact, Leonard S. Marcus (HarperCollins, 1988) Bird by Bird won the race, with eight total recommendations! “Meet an old-school editor who supported writers and helped them through the revision process, filled with gems about the creative process.” Bird by Bird: Some Instructions on Writing and Life, by Anne Lamott “It is reassuring to know that even the best authors struggled in the (Anchor Books, 1995) process of creating books that are now classics.” “Smart and fun. She gives permission to write badly.” “Ursula Nordstrom was a wicked-funny letter writer.” “Lamott uses laugher, tears, and practical advice (write shitty first drafts) to persuade readers they’re not alone in an admittedly crazy art/business.” The Complete Idiot’s Guide to Publishing Children’s Books, by Harold “I recommend this book to anyone who is involved in a creative Underdown (Alpha Books/Penguin, 2008) process of any kind because it allows us to believe that we aren’t alone “I’m constantly opening Harold’s book and gasping, ‘So, that’s how it and that we aren’t crazy.” works!’ For me, it’s essential.” “Tender and hilarious and sharp-edged all at once. This is the book to “Because it’s so clearly laid out and because I know Harold, and he read when you get a rejection and think maybe you’ll give up. And then knows whereof he speaks . . . and he is continually updating this book you won’t.” to keep current in this quickly changing landscape.”

* Please know that any omissions to these lists are mine and mine alone. Having said that, my thanks to the experts who so kindly shared their recommendations: M. T. Anderson, Peter Brown, Priscilla Burris, Kathleen Duey, Terri Farley, Candace Fleming, Marla Frazee, Esther Hershenhorn, Bonnie Berry LaMon, David LaRochelle, Aileen Leijten, Alvina Ling, Katherine Linka, Laurent Linn, Mac McCool, Kate Messner, Ann Whitford Paul, Dan Santat, Ruta Sepetys, Melissa Sweet, Richard Jesse Watson, April Halprin Wayland, Tina Wexler, Mo Willems, Dan Yaccarino, and Jane Yolen. 226 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org interviews withpublishing pros.)” annuals should not beoverlooked, asthey are packed withtimeless of publishers, magazines, agents and artreps, and more. (Earlier articles inform, educate, advise, challenge, and inspire.” annual) to-understand steps and exercises. Invaluable. And from amaster.” turns, emotional effect,etc.” spatial relationships, composition, technique, and style.” character development, sequencing, rhythm, storyboard, bookdummy, covers most aspectsof the craft from concept topublication; including to allbooksof any decade.” illustrated, butthe main elements of visual storytelling he coversapply and technologies have evolvedquitealotsince this waswrittenand picture bookand why wedo whatwedo. The printing techniques Uri Shulevitz (Watson-Guptill, 1997) with Pictures The Top Seven RecommendedBooks onIllustrating Longman, 2010) Elizabeth Stuckey-French, and Ned Stuckey-French (8thedition, leave their oldselvesbehind.” Using MythtoPower Your Story Vogler (3rd edition, Michael Wiese Productions, 2007;audio version: plot isusefuleventothose who aren’t writing screenplays.” by RobertMcKee (ReganBooks, 1997) and writing ingeneral. Ilovedher clarity.” (Riverhead Trade, 2010) eight hundred well-writtenentries.” century—authors, illustrators, editors, formats, genres, inmore than best of the best,especially of the lastfiftyyears of the twentieth Harcourt, 1995) Twentieth CenturyChildren’s Literature | ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN &TEENS FOR CHILDREN &ILLUSTRATING ON WRITING BOOKS REFERENCE ESSENTIAL | “A comprehensive marketing resource, which includes current listings “A vitallyimportant resource book,updated annually . Relevant Children’s Writer’s &Illustrator’s Market Book “Breaks down the process of telling stories withpictures into easy- “He looksateverything, the whole bookcovertocover, layout,page “An indispensable guide topicture bookillustration. Shulevitz “A must-have for anyone who isserious aboutdeveloping their craft.” “It’s great for stepping backand pondering the anatomy of a Writing withPictures:HowtoWriteandIllustrateChildren’s Books These are the booksthatwere onmore than one short list. “Clear and comprehensive withanexcellent discussion of characterization.” Writing Fiction:AGuidetoNarrativeCraft “Young protagonists are allonajourney tochange and grow and The Writer’s Journey:MythicStructurefor Writers “What he hastosayaboutthe waythatcharacter should influence Story: Substance, Structure, StyleandthePrinciplesof Screenwriting “Useful, practical waystounderstand and usevarious writing skills— The Forestfor theTrees: AnEditor’s Advice toWriters “Belongs oneverychildren’s bookwriter’sshelf. Readers meet the Children’s Books andTheirCreators:AnInvitationtotheFeastof wonthe overall race, withatotalof tenrecommendations! , Writer’sAudioShop, 2002) , byAnitaSilvey(Houghton Mifflin , byJanet Burroway, (Writer’sDigest Books, , byChristopher , byBetsyLerner Writing CWIM , by ,

amuses, and resonates.” David Jauss isbrilliant and writesinawaythat explains, details, 2008) About theCraftof FictionWriting this bookisfullof tools, exercises, and inspiration. morning pages toartistdates tothe importance of “filling the well,” blocks, replacing them withartistic confidence and productivity. From Cameron withMark Bryan(G.P. Putnam’s Sons, 1992) (including anecdotes abouttheir creation). (Mariner, 2005) Choices for Your Young Reader, Toddler toPreteen More Recommended Books onWriting say whatyouneed tosayassimplypossible.” it not onlyasabiblefor writing, butapplyitswisdom tomaking art— Longman, 1999) composition, design, and basic figure drawing.” (Touchstone, 1984) and thinkaboutyourownstorytelling innew ways.” look into the effectiveuseof illustration.” on their workwhileexamining the deeper currents . Anenlightening Dilys Evans (Chronicle Books, 2008) before.” which wealready maybe do buthavenever consciously thought about eyes whatcanmake for extraordinary images and compositions.” on those forms and shapes. Agreat bookfor helping usseethrough artists’ know well,such astriangles and horizontals, tothe effectcolor canhave 2000) Press, 1991;retitled as whole children’s bookindustry.” “My all-time favorite craft bookfor somany reasons, just because Alone withAllThatCouldHappen:RethinkingConventionalWisdom A twelve-weekprogram torecover yourcreativity from avariety of The Artist’s Way: ASpiritualPath toHigherCreativity “The booksthateverychildren’s author and illustrator should know,” 100 BestBooks for Children:AParent’s GuidetoMakingtheRight “There are atleastfivecopies around my house and studio. Ilookat The Elementsof Style “It givesmost artistsallthe essential toolsthey need tostudy Bird by “It’s like amaster classinhow tolookatart,learn from the best, “This anthology features twelvecontemporary illustrators, focusing Show andTell: ExploringtheFineArtof Children’s BookIllustration “It makes usaware of intuitive principles of making pictures, many of “Provides fun,dynamic teaching throughout, from using simpleforms we Picture This:Perception andComposition “The bestand most up-to-date source for information aboutthe How toDrawComicstheMarvelWay , byAnne Lamott (asonprevious page) , byWilliam Strunk&E.B. White(4thedition, Picture This:HowPicturesWork , byDavid Jauss (Writer’sDigest Books, , byStanLeeand John Buscema , byMolly Bang (Bulfinch , byAnitaSilvey , Chronicle Books, , byJulia , by 227

The Anatomy of Story: 22 Steps to Becoming a Master Storyteller, by Old Friend from Far Away: The Practice of Writing Memoir, by Natalie PREPARING & SUBMITTING John Truby (Faber & Faber, 2007) Goldberg (Free Press, 2009) “It’s a great one for considering how your characters relate to one “This book is geared toward writing memoir, but I found it extremely another and how their desires, flaws, and actions all intersect.” helpful for tapping into emotional and attentive states of thought . . . [It] contains a series of associative writing prompts that are particularly Anatomy of Nonfiction: Writing True Stories for Children, by Margery useful for capturing emotions and tactile detail.” Facklam and Peggy Thomas (Writer’s Institute Publications, 2011) Step-by-step instructions for developing nonfiction articles and Poem Making: Ways to Begin Writing Poetry, by Myra Cohn Livingston books, covering resources, ways to organize your research, markets, and (HarperCollins, 1991) nonfiction techniques used in history, biography, science and nature, “Written for children, but is a must for anyone wanting to write how-to, and self-help. poetry for young people. She covers sound, rhyme, rhythm, poetic MARKET SURVEYS techniques, and poetic forms clearly and simply.” Art and Fear: Observations on the Perils (and Rewards) of Artmaking, by David Bayles and Ted Orland (Image Continuum Press, 2001) Random House Webster’s Word Menu, by Stephen Glazier (Ballantine “Bottom line: It’s okay to be afraid. That’s part of making art. You Books, 1997) just have to be brave, too.” “A thesaurus/reverse dictionary/almanac with genius categories. Writing a scene in a restaurant? Turn to eating verbs (savor, gorge, Biography: A User’s Guide, by Carl Rollyson (Ivan R Dee, 2008) nosh . . .), and a few pages on you’ll see cutting techniques, and pretty

Written in an encyclopedic fashion to “show that biography has soon you’re deciding if assault with a trivet, trussing needle, or Spork DIRECTORIES & RESOURCES many . . . dimensions.” best suits your story. This is my new favorite because you don’t have to know what you’re looking for to find it.” By Cunning and Craft: Sound Advice and Practical Wisdom for Fiction Writers, by Peter Selgin (Writer’s Digest Books, 2007) Real Revision, by Kate Messner (Stenhouse Publishers, 2011) “Selgin clearly presents the elements of narrative—character, plot, Revision strategies from Kate and forty other children’s authors, with point of view, voice, theme, and dialogue—as well as revision, offering exercises and sections on character development, pacing, returning to easily understandable explanations and examples.” research, word choice, and cutting.

Characters and Viewpoint (Elements of Fiction Writing), by Orson Scott S Is for Story: A Writer’s Alphabet, by Esther Hershenhorn (Sleeping Card (Writer’s Digest Books, 2011) Bear Press, 2009) “Some great visuals that really helped with distance (close-in/limited An abecedarian (ABC) book on how to create good stories. Written vs. distant) as well as pros/cons to POV choices.” for kids, but with lots of inspiration, advice, and tools for adult writers PUBLICIZING YOUR PUBLISHED WORK as well. Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Dynamic Characters and Effective Viewpoints (Write Great Fiction), by Save the Cat: The Last Book on Screenwriting You’ll Ever Need and Save Nancy Kress (Writer’s Digest Books, 2005) the Cat Strikes Back: More Trouble for Screenwriters to Get Into . . . and “Practical and useful for understanding omniscient POV issues.” Out Of, by Blake Snyder (Michael Wiese Productions, 2005, and Save the Cat! Press, 2009) Children’s Writer’s Word Book, by Alijandra Mogilner (Writer’s Digest “These are actually books about screenwriting . . . but the same things Books, 2006) that play into a great film are also essential in great novels. Lots of “To check the grade level of every word.” practical, try-it-right-now activities for plotting, conflict, and pacing.”

From Where You Dream: The Process of Writing Fiction, by Robert Olen Second Sight: An Editor’s Talks on Writing, Revising & Publishing Books Butler (Grove Press, 2006) for Children and Young Adults, by Cheryl B. Klein (Asterisk Books, 2011) “What does your character want? I struggled with this question, Self-professed “narrative nerd,” continuity editor on the last two

feeling that often characters themselves don’t know what they want. Harry Potter books, and executive editor at Arthur A. Levine Books SCHOOL VISITS Butler’s chapter on longing answers this question by showing writers (Scholastic), Cheryl Klein compiles her conference talks and blog posts. that characters can be motivated by ambiguous feelings or hungers they This Kickstarter-funded and self-published book culminates in essays on are only now discovering.” point, character, plot, voice and “25 Revision Techniques.”

Made to Stick: Why Some Ideas Survive and Others Die, by Chip Heath The Spying Heart: More Thoughts on Reading and Writing Books for and Dan Heath (Random House, 2007) Children, by Katherine Paterson (Puffin, 1990) LEGAL QUESTIONS “Mark Twain said, ‘A lie can get halfway around the world before the “Whenever I need to be reminded of the true, deep, and real reasons truth can even get its boots on.’ This book explores creating concepts, I write for children, I pull out this book and open it to any page.” ideas, and fiction that ‘sticks’ in a way that readers and the public will remember them forever.” Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew, by Ursula K. Le Guin (The Eighth Mountain Press, 1998) “Great chapter with examples for each POV based on the same scene/ 228 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org character bibles, outlining and illustrating, the writing process itself, book from choosing the format and age range, tocreating concepts and Rojany Buccieri and Peter Economy. with great exercises.) tension, and developing aninspiring premise. (The workbookisloaded out. Covering time and place, subplots, characters, themes, narrative genre—and shows writing techniquestomake yourownbooksstand Books, 2004) by Donald Maass (Writer’sDigest Books, 2002,and Writer’sDigest wit, intelligence, and candor are wildlyinspiring.” other writerswho inspired her (from Shakespeare toEudora Welty). “Her 2005) essential questions thateditorsusetoevaluate manuscripts everyday. authors tackledactual revisions ontheir ownstories. Includes the nine Their Stories will liftyourspiritsand help youthrough difficulttimes.” quotes aboutwriting and the creative life, willsurely havesomething that About Writing worksheets, samplecritiques, and examples. of how torevise yourownworkaswellsomeone else’s. With Books, 2009) Feedback, Self-Edit,andMake Revisions needs, and Fiction writersseeinstantly: Dane Bauer(Sandpiper, 1992) Padgett (Teachers and WritersCollaborative, 2000) afraid tograb hold of the experience withbothhands and take joy.” tourniquets and ibuprofen canhavesome chance of helping. Donot be with anidea. As Jane explains, “Save the bloodand painfor real life, where and endings, rejection, the technical aspectsof writing, and coming up Digest Books, 2006) characters butfrom different POVs.” A primer for children’s bookwritersonhow to writeachildren’s Writing Children’s Books for Dummies(2ndEd.)(2013, Wiley) Details the elements thatallbreakout novels share—regardless of Writing theBreakout Novel The National BookAward Winner’s essaysonwriting, teaching, and The WritingLife Behind-the-scenes lookathow twenty accomplished children’s Writing ItRight!HowSuccessfulChildren’s Authors ReviseandSell “Whenever you’re ina funkaboutyourwork,thisbook,fullof wonderful Writing ChangesEverything:The627BestThingsAnyoneEverSaid Tools tohone yourediting skillsand deepen yourunderstanding Writing &CritiqueGroupSurvivalGuide:HowtoGiveandReceive “Newbery Medalist Bauerwrote thisbookfor middle-schoolers . What’s Your Story?AYoung Person’s GuidetoWritingFiction Defines and gives examples of poetic terms and forms. The Teachers &WritersHandbookof Poetic Forms A guide todealing withwhatwritersstrugglewith:voice, beginnings Take Joy:AWriter’s GuidetoLovingtheCraft why , bySandy Asher (Writer’sInstitute Publications, 2009) , editedbyDeborah Brodie (St.Martin’s Press, 1997) must drive ourstories.” , byEllenGilchrist(University Press of Mississippi, and who ourcharacter is, Writing theBreakout NovelWorkbook , byBeckyLevine (Writer’sDigest , byJane Yolen (Writer’s , editedbyRon what he wants/ , byMarian by Lisa , More Recommended Books onIllustrating writing classesand for the do-it-yourselfer.” information, the guide wouldmake anexcellent textbook for creative everything I’velearned overthe years.” (Linda Ashman, 2013) of eachchapter.” need toknow aboutwriting for children . withexercises atthe end (Writer’s Digest Books, 2001) like butterfly nets tocatchfleeting thoughts.” anyone elsewho writes. Iuseher techniquesdaily becausethey work directions and illustrations onitsapplication for students, authors, and contracts and self-publishing. Aclassroom inabook. they solvevisual problems, and whatsparksthem.” children’s bookillustrators. Ilovereading aboutother illustrators, how Library of Applied Design, 1992) your confidence.” days when youfeellike things aren’t going welland youneed tobolster in 1945;60thAnniversaryEdition byHarperCollins, 2004) contributions tothe artof the children’s book. illustrators’ workand anautobiographical section onhisown illustrating for children, exploring bothhiscritiquesof other Straus and Giroux, 1988) stages, and aphoto of their workspace.” childhood photograph and earlydrawing, sketches, their workshown in their work.Eachcontributor hasincluded anunusual self-portrait, a to them whenever Ineed inspiration.” read them countless times. They sitonmy nightstand where Icanrefer Both copies of her booksare held together byathread becauseI’ve and Mariner Books, 1993) Angels, Ancestors, andStories “Clearly written,well-organized, and loaded withpractical “A practical, “nuts and bolts”handbook for new writersbasedon The NutsandBoltsGuidetoWritingPictureBooks “Explains structure, plotting, characterization, and everything you The Writer’s GuidetoCraftingStoriesfor Children “Explores left-right brain science, and then givesstep-by-step Writing theNaturalWay “Insightful lookinto the livesand workof eighty-plus acclaimed Children’s BookIllustrationand Design “It ishandy tokeep thisprofound littlepicture bookaround for the The CarrotSeed The legendary illustrator’s essaysand musings onwriting and Caldecott &Co.:NotesonBooks &Pictures “An anthology of twenty-three major illustrators talking about Artist to “Pure genius. Nancy shares rich insights into the creative process. Angel intheParlor: FiveStoriesandEightEssays (Philomel Books, 2007) , byRuthKrauss and Crockett Johnson (first published , byGabriele Rico (Tarcher, 2000) , byNancy Willard (BookthriftCo,1983, , editedbyJulie Cummins (PBC , byMaurice Sendak (Farrar, , byNancy Lamb and , byLinda Ashman Telling Time: 229

Children’s Picturebooks: The Art of Visual Storytelling, by Martin Understanding Comics, by Scott McCloud (William Morrow Paperbacks, PREPARING & SUBMITTING Salisbury and Morag Styles (Lawrence King Publishers, 2012) 1994) “An historic overview of picture books through the ages.” Looks at the history, meaning, and art of comics and cartooning.

Comics and Sequential Art: Principles and Practices from the Legendary Writing Picture Books: A Hands-On Guide from Story Creation to Cartoonist, by Will Eisner (W. W. Norton & Company, 2008) Publication, by Ann Whitford Paul (Writer’s Digest Books, 2009) Based on Will’s course at New York’s School of Visual Arts, this book “It’s as important for an illustrator to understand the writing process reveals the basic building blocks and principles of comics, including for a picture book as it is for a writer to understand the value and imagery, the frame, and the application of time, space, and visual forms. dynamics of picture in a picture book. This is an excellent resource. Ann walks you through the picture book process with experience, perception, Drawing Words and Writing Pictures: Making Comics: Manga, Graphic and practical advice.” MARKET SURVEYS Novels, and Beyond: A Definitive Course from Concept to Comic in 15 Lessons, by Jessica Abel and Matt Madden (First Second, 2008) Recommended Biographies A course on comic creation centered on storytelling, with chapters A number of our experts spoke about biographies of other children’s on lettering, story structure, and panel layout, culminating in making a book authors and illustrators as sources of inspiration. Here are the finished comic. ones they mentioned:

Framed Ink: Drawing and Composition for Visual Storytellers, by Marcos Beatrix Potter’s Art, by Anne Stevenson Hobbs (Frederick Warne, 1989)

Mateu-Mestre (Design Studio Press, 2010) DIRECTORIES & RESOURCES Using lessons learned from working in the comic and movie Margaret Wise Brown: Awakened by the Moon, by Leonard S. Marcus industries, Mateu-Mestre shares his step-by-step system for how to (Harper Paperbacks, 1999) make the audience feel the story while they are reading the story. The Pooh Sketchbook: Drawings by Ernest H. Shepard for the Pooh How to Make Webcomics, by Scott Kurtz, Kris Straub, Dave Kellet, and Stories by A.A. Milne, edited by Brian Sibley (E. P. Dutton, 1982) Brad Guigar (Image Comics, 2008) Advice on how to create compelling characters, develop a solid comic Self-Portrait: Trina Schart Hyman, by Trina Schart Hyman strip, build a website, forge a community, and start earning money from (HarperCollins, 1981) your webcomic . . . without having to sell your soul. Tomie dePaola: His Art & His Stories, by Barbara Elleman (Putnam, How to Write and Illustrate Children’s Books and Get Them Published, 1999) edited by Treld Pelkey and Felicity Trotman (Writer’s Digest Books, PUBLICIZING YOUR PUBLISHED WORK 2000) If you have a favorite book on the craft of writing and/or illustrating “Lots of great general information about the industry and about for children and teens that isn’t mentioned, please let me know at submitting work to publishers.” [email protected]. Include why it’s your favorite, and I’ll post them on SCBWI: The Blog (scbwi.blogspot.com). Thanks! Illustrating Children’s Books: Creating Pictures for Publication, by Martin Salisbury (Barron’s Educational Series, 2004) From media and materials to composition and typography, this book “covers a lot of territory” and includes artwork examples.

Interaction of Color, by Josef Albers (Yale University Press, 1963) Color studies demonstrating the principles of color relativity, intensity, and temperature, vibrating and vanishing boundaries, and the illusions of transparency and reversed grounds. SCHOOL VISITS The Original Art Catalog (The Society of Illustrators, annual) The exhibition catalog of the annual show of the best children’s book illustration at the Society of Illustrators. “The best way to see what books, art styles, subjects, and mediums are currently being published. Also, it credits the artist, publisher, art director, editor, and author of each book—a great research tool!” LEGAL QUESTIONS

Talking with Artists, Volumes I, II, and III, by Pat Cummings (Simon & Schuster, 1992, Simon & Schuster, 1995, and Clarion Books, 1999) Pat’s conversations with more than forty luminaries of children’s book illustration, with “childhood photos and drawings, pictures of their studios, and sample illustrations from published books. At the back of the book, each artist shares their secret techniques.”

GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS

by Melissa Stewart

GENERAL U.S. GRANTS & FELLOWSHIPS Alabama Arts Idaho Commission on the Arts QuickFund Grants www.arts.alabama.gov/grants/index-grants.html www.arts.idaho.gov/grants/indoverview.aspx Creative Capitol creative-capital.org/ Alaska State Council on the Arts, Career Idaho Commission on the Arts Fellowships Opportunity Grants www.arts.idaho.gov/grants/indoverview.aspx McKnight Artist Fellowships for Writers of www.eed.state.ak.us/aksca/grants3.htm#fellow Children’s Literature Arizona Commission on the Arts Artist Project Illinois Arts Council Individual Artist Support https://www.loft.org/for-writers/contests-and- Grants www.arts.illinois.gov/Individual%20Artist%20 awards/103-loft-contests-grants-a-awards/216- www.azarts.gov/grants/artists/#APG Support mcknight-artist-fellowships-for-writers Arkansas Arts Council Individual Artist Fellowships Indiana Arts Commission Individual Artist National Endowment for the Arts Literature www.arkansasarts.org/grants/iaf.aspx Fellowships Fellowships www.in.gov/arts/individualartistprogram.htm www.nea.gov/grants/apply/Lit/index.html Arkansas Arts Council Sally A. Williams Artist Fund Kentucky Arts Council Individual Artist SCBWI/Book Launch Award www.arkansasarts.org/grants/williamsfund.aspx Fellowship Program www.scbwi.org/Pages.aspx/Book-Launch-Award artscouncil.ky.gov/Grants/ASF/asf_gdl.pdf North Little Rock, Arkansas, Laman Library SCBWI/Don Freeman Grant Writers Fellowship Maine Community Foundation’s Martin Dibner www.scbwi.org/Pages.aspx/Don-Freeman-Grant www.lamanlibrary.org/page/42/laman-library- Fellowship writers-fellowship www.mainecf.org/Default.aspx?tabid=616 SCBWI/Work-in-Progress Grants www.scbwi.org/Pages.aspx/Work-In-Progress- Arts Council Silicon Valley, California Artist A Louisiana Division of the Arts rtist Career Grants Laureate Program Advancement Grants www.artscouncil.org/page/grants_artist_ www.crt.state.la.us/arts/guidelines2012-ca.aspx SCBWI/Jane Yolen Mid-list Author Grant laureate Maine Arts Commission Individual Artist www.scbwi.org/Pages.aspx/Jane-Yolen-Mid-list- Fellowship Author-Grant San Francisco, California Arts Commission mainearts.maine.gov/grant_individualfellowship. www.sfartscommission.org/programs/cultural_ aspx SCBWI/Martha Weston Grant equity_grants.htm www.scbwi.org/Pages.aspx/Martha-Weston-Grant Colorado Council on the Arts Artist Fellowships Maryland State Arts Council www.coloarts.state.co.us./grants/apply/artists/ www.msac.org/grantsforartists STATE AND REGIONAL GRANTS & index.htm FELLOWSHIPS Massachusetts Cultural Council Artist Connecticut Commission on Culture and Tourism Fellowships Most of the programs listed below are awarded www.cultureandtourism.org/cct/cwp/view. www.massculturalcouncil.org/programs/ by state Arts councils and funded by state asp?a=3933&q=293740 artistfellows.asp governments. Many local cultural councils also award grants to artists. Check with Arts and Delaware Division of the Arts Individual Artist Kansas Arts Commission Artist Innovation Grant cultural organizations in your area to find out Fellowships arts.ks.gov/fy11grants/artists/innovation/index. what is available. www.artsdel.org/grants/IAFinfo13_DE.pdf shtml 232 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org North Dakota Council onthe ArtsProfessional html Artist Fellowshipwww.nd.gov/arts/grants/grant. North Dakota Council onthe ArtsIndividual FellowshipWritersFAQ.pdf www.ncarts.org/elements/docs/ North Carolina ArtsCouncil www.larac.org/Artist_Grants.html Council Individual ArtistGrants New York--Lower Adirondack Regional Arts www.nyfa.org/level2.asp?id=1&fid=1 Fellowships New York Foundation for the Arts Artists’ sk=view&id=1043&itemid=367 nac.nevadaculture.org/?option=com_content&ta Grant Nevada ArtsCouncil Professional Development sk=view&id=1043&itemid=367 nac.nevadaculture.org/?option=com_content&ta Nevada ArtsCouncil ArtistFellowships fellowships_1 www.pw.org/writing_contests/individual_artist_ Individual ArtistFellowships New Hampshire StateCouncil onthe Arts art.mt.gov/artists/artists_innovation.asp Montana ArtsCouncil Artist’s Innovations Grant www.artskc.org/inspirationgrants.aspx Grants Missouri—Kansas CityArtsCouncil Inspiration php www.arts.state.ms.us/grants/artist-fellowship. Fellowships Mississippi ArtsCommission Literary Artist php www.arts.state.ms.us/grants/artist-fellowship. Grants Minnesota StateArtsBoard ArtistInitiative www.fwac.org Minnesota FiveWings ArtCouncil programs/index.html www.midatlanticarts.org/funding/artists_ Grants Mid-Atlantic ArtsFoundation Individual Artist kresge.collegeforcreativestudies.edu Kresge ArtsinDetroit, Michigan | GRANTS, FELLOWSHIPS, RESIDENCIES, &RETREATS RESIDENCIES, FELLOWSHIPS, | GRANTS,

artscouncil.sd.gov/grants/grantartist.aspx Grant Oregon ArtsCommission IndividualExcellenceAwards.asp www.oac.state.oh.us/grantsprogs/guidelines/ Excellence Awards Ohio ArtsCouncil Funding for ArtistsIndividual GrantProcessArtists.asp www.oac.state.oh.us/grantsprogs/guidelines/ Ohio ArtsCouncil Funding for Artists www.nd.gov/arts/grants/grant.html Development artscouncil.sd.gov/grants/grantartist.aspx Grant South Dakota ArtsCouncil fellowships.shtml www.southcarolinaarts.com/grants/artists/ Fellowships South Carolina ArtsCommission Artist www.arts.ri.gov/individuals/fellowships09.php Individual Fellowships Rhode Island StateCouncil onthe Arts tabid/362/Default.aspx GrantOpportunities/MacCollJohnsonFellowship/ www.rifoundation.org/Nonprofits/ MacColl Johnson Fellowships Rhode Island Foundation Robert&Margaret www.literary-arts.org/oba-home/fellowships/ Oregon Literary Fellowships for-individual-artists www.oregonartscommission.org/grants/grants- Grants Oregon ArtsCommission Career Opportunity for-individual-artists www.oregonartscommission.org/grants/grants- Fellowships Fellowship Texas—Houston ArtsAlliance New Works artists/ www.houstonartsalliance.com/grants/individual- Grant Program Texas—Houston Arts Alliance Individual Artist www.tn.gov/arts/grant_categories.htm Fellowship Tennessee ArtsCommission Individual Artist South Dakota ArtsCouncil

Individual Artist

Artist Artist Fellowship Artist Project cid=171 ubcatid=3324&linkcatid=3398&linkid=1653&lo artsboard.wisconsin.gov/subcategory.asp?links Wisconsin artisttrust.org/index.php/for-artists/money Washington ArtistTrust html www.arts.virginia.gov/grants/Artistfellowships. Fellowships Virginia Commission for the ArtsArtists Default.aspx www.vermontartscouncil.org/Grants/tabid/65/ Vermont ArtsCouncil Creation Grant Default.aspx www.vermontartscouncil.org/Grants/tabid/65/ Vermont ArtsCouncil ArtistDevelopment Grant artists/ www.houstonartsalliance.com/grants/individual- Highly regarded, rustic, rural, beautiful www.bluemountaincenter.org/whatsnew Blue Mountain Center New Smyrna Beach, FL www.aca35.org/artist-residence-program Atlantic Center for the Arts Red Wing, MN www.andersoncenter.org/index.html The Anderson Center based scholarships tocoverthe costof travel. travel expenses. Most of the others offer need- cover the costof food. Afewprograms cover provided orparticipants receive astipend to other creative people. Inmost cases, food is opportunity tospend time interacting with free workspaceand housing aswellthe All of the programs listedbelowinclude U.S. RESIDENCIES funding/grants-for-the-arts/ www.artscouncil.org.uk/funding/apply-for- Arts Council England www.canadacouncil.ca/writing/ Canada Council onthe Arts INTERNATIONAL GRANTS&FELLOWSHIPS wyoarts.state.wy.us/Artists/Literature.aspx Wyoming ArtsCouncil Literature Fellowship

Artist Fellowships

GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS | 233

Blue Mountain Lake, NY Norton Island Residency Program PREPARING & SUBMITTING www.easternfrontier.com/about.html Boston Public Library Extremely rustic, isolated Children’s Writer-in-Residence Program Norton Island, ME www.bpl.org/general/associates/childrensres. htm Sitka Center for Art & Ecology www.sitkacenter.org/10-0.html Byrdcliffe Artist in Residence Program Otis, OR www.woodstockguild.org/artist-in-residence Woodstock, NY Thurber House thurberhouse.org/childrens-writer-in-residence. MARKET SURVEYS Djerassi Resident Artists Program html www.djerassi.org/index.html Reserves a slot especially for children’s writers Woodside, CA Columbus OH Dorland Mountain Arts Colony dorlandartscolony.org/index.php/about-dorland/ Ucross Residency Program artist-residencies www.ucrossfoundation.org/residency-program/ Temecula, CA Sheridan, Wyoming DIRECTORIES & RESOURCES Edward F. Albee Foundation Virginia Center for the Creative Arts www.albeefoundation.org/Mission.html www.vcca.com/main/index.php Montauk, Long Island, NY Amherst, VA

Fine Arts Work Center Yaddo www.fawc.org/fellowships/index.php yaddo.org/ Provincetown, MA Very prestigious, very competitive. Saratoga Springs, NY Headlands Center for the Arts www.headlands.org/program/air/ RETREATS Fort Barry, CA

Many SCBWI regions offer retreats. Check PUBLICIZING YOUR PUBLISHED WORK Hedgebrook with your Regional Advisor to find out what www.hedgebrook.org/ is available in your area. The programs listed Women only below are highly regarded and are intended for Whidbey Island, Puget Sound, adjacent to children’s authors and illustrators from all over Seattle, Washington North America.

Jentel Artist Residency Program Highlights Foundation Workshop Retreats www.jentelarts.org/sitepages/application03.htm www.highlightsfoundation.org/ Banner, WY Kindling Words Kimmel Harding Nelson Center for the Arts kindlingwords.org/ www.khncenterforthearts.org/residency. html#resfee

Nebraska City, NE SCHOOL VISITS

Marguerite and Lamar Fellowship for Writers www.mccullerscenter.org/fellowships.php Columbus, Georgia

MacDowell Colony LEGAL QUESTIONS www.macdowellcolony.org/ Very prestigious, very competitive. Peterborough, NH

Millay Colony for the Arts www.millaycolony.org/residencies Austerlitz, NY

SCBWI PUBLICIZING YOUR PUBLISHED WORK

2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 1,000+ WAYS TO PROMOTE YOURSELF AND YOUR CHILDREN’S BOOKS 1,000+ WAYS TO PROMOTE YOURSELF AND YOUR CHILDREN’S BOOKS

by Susan Salzman Raab

s it just me, or have you noticed that there are at least a dozen new ideas coming at you each day? New apps for iPhone and for Twitter, new groups on I Facebook, new blogs to follow, and always new technologies to try. Hard to choose what to look at, impossible to get a handle on all the options, and frus- trating to know that somewhere in all those outlets are things that may really be beneficial, if only you had the time to uncover them and still do your day job.

What to do? Well, as Douglas Adams advised in The Hitchhiker’s Guide 100 Ways to Measure Social Media to the Galaxy, don’t panic. Stay grounded and be strategic. What works bit.ly/yAsm9 for a colleague who tells you he knows the latest and greatest about how to use Twitter, Facebook, YouTube, and Flickr might not work for 100 Ways to Use Twitter in Your Library you—there’s more available than anyone can try, or anyone can know. bit.ly/buX3H The real question is, what is out there, and how does that relate to what you’re trying to accomplish? Even that’s not easily answered, 100+ Flickr Resources because the information is evolving daily. But if you recognize that, bit.ly/cSgDGt you’ll be more prepared to experiment and move forward. There are lots of ways to go about it, but one is to let someone else do 100+ Ways to Market Your Website the research for you. And voilà! Below are a variety of sites to help you bit.ly/atlDAy with what you need. For example, a recent article showcased “100 Inspiring Ways to Use Social Media in the Classroom.” On that list are writing projects 100 Ways to Get More Traffic using the short Twitter format and research ideas that could be used by bit.ly/bQVfvh authors with student groups. Other items are not as much of a fit, but you can quickly peruse the list to figure out which can be of interest and then Top 100 Ways to Build Your Sports Career Using Social Media adapt them. Another thing to consider is which mechanisms have been bit.ly/W8ZA proven to offer the best results. Look for that in “100 Ways to Measure Social Media.” There are similar lists for using Twitter and Flickr, doing The Top 100 Ways a Home Office Warrior Can Utilize a Virtual Assistant website marketing, and for audience building. On other sites you can get bit.ly/cCzH7v good advice for organizing and conducting your work, and you can explore ways to market your career—here related to sports, but you’ll find a good 100+ Ways to Organize Your Life amount that apply to our work as well. bit.ly/iVUJ Of course, the main objective is to market children’s books, so inspired by these, I’ve provided a new list of “100 Ways to Promote Susan Salzman Raab is the author of An Author’s Guide to Children’s Your Children’s Books.” But be sure to take note of the last few items Book Promotion and the marketing advisor for the SCBWI. She is host of there, which are to recognize that this will take perseverance, time, and the University of Connecticut’s Teachers for a New Era children’s literature patience—and know, too, that we can’t expect to do it all. podcasts and records for Kids Public Radio. She’s been a correspondent for the nationally syndicated, Recess! Radio and is president of Raab 100 Inspiring Ways to Use Social Media in the Classroom Associates Inc., a marketing and public relations agency that works bit.ly/alnyIq with authors and publishers internationally. Visit her online at www. raabassociates.com. Questions can be sent to [email protected]. 238 | 1,000 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS

1,000 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS

1. Prepare a query letter that includes marketing ideas. 33. Prepare a school program. 2. Research what authors of similar books have done. 34. Sit in on other authors’ programs. 3. Get an agent. 35. Listen to author podcasts to hone your interview skills. 4. Ask your editor for tips on what’s been effective. 36. Attend workshops and webinars. 5. Get to know the in-house marketing team. 37. Visit schools. 6. Keep in touch with the PR department. 38. Send out postcards and e-cards on new books. 7. Find out what social networking is done from in-house. 39. Prepare an e-blast list. 8. Ask what publicity will be done for your book. 40. Have a contract for school visits. 9. Suggest marketing outlets and angles to the publisher. 41. Conduct workshops. 10. Keep your online profiles updated. 42. Propose to speak at regional school and library 11. Get a good author photo. conferences. 12. Have photos taken at appearances to post online. 43. Do bookstore appearances on your own or with a group of colleagues. 13. Join a writer’s group, have marketing brainstorming sessions. 44. Invite people to attend your store and library events. 14. Join the SCBWI and use online resources and attend 45. Send event announcements to media. events. 46. Leave bookstores with autographed copies to sell. 15. Participate in Listservs. 47. Attend national conferences—BookExpo, ALA, IRA. 16. Read reviews of similar books. 48. Attend and speak at book festivals. 17. Talk with kids about your ideas. 49. Reach out to the home school market. 18. Follow key bloggers. 50. Build a contact database. 19. Keep a to-do list of marketing plans. 51. Build a website. 20. Learn the acronyms—BEA, ALA, NCTE, CBC. 52. Make your site an information destination showcasing 21. Google key media outlets. your expertise. 22. Read Publishers Weekly. 53. Create a book trailer.

www.scbwi.org 23. Read American Libraries Direct. 54. Do social networking. |

24. Read the New York Times and the NYT Book Review. 55. Set up a Facebook page. 25. Read Booklist, School Library Journal, and Horn Book 56. Use LinkedIn. blogs. 57. Join Twitter. THE BOOK 26. Research awards. 58. Write a teacher’s guide. 27. Submit your book for awards. 59. Apply for a grant. 28. Design a bookmark. 60. Draft a set of good pitches for media outreach. 29. Run a contest. 61. Plan a book tour. 30. Design an e-card. 62. Schedule a blog tour.

PUBLICATIONS GUIDE: 31. Prepare your elevator speech. 63. Stay engaged with your readers. 32. Get comfortable with networking at events and online. 64. Hire a marketing agency or an assistant. 2018 1,000 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS | 239

65. Get media training. PREPARING & SUBMITTING 66. Take a speaking course. 67. Become a self-promoter. 68. Prepare a PowerPoint presentation. 69. Get videotapes of your TV appearances. 70. Post video clips on your website. 71. Issue topical press releases. MARKET SURVEYS 72. Publish articles on related topics. 73. Get a booth at a conference. 74. Pitch local news outlets. 75. Remember to follow up with media. 76. Become an expert on your book topic. DIRECTORIES & RESOURCES 77. Do niche marketing. 78. Read Newbery and Caldecott Medal and key award books. 79. Get your book nominated for the Cybils (blogger) Awards. 80. Build an Amazon list. 81. Research awards for your books. 82. Promote your backlist. 83. Don’t be shy about marketing. 84. Add feature sections to your website. PUBLICIZING YOUR PUBLISHED WORK 85. Try out new technology. 86. Update your mailing list. 87. Research new marketing opportunities. 88. Explore sales to book fairs and book clubs. 89. Get the help you need to succeed. 90. Develop a five-year plan. 91. Explore foreign rights. 92. Approach an audiobook company. 93. Develop an iPhone app.

94. Pursue licensing. SCHOOL VISITS 95. Make sure rights revert to you when books go out of print. 96. Be persistent and enthusiastic. 97. Be patient—marketing takes time. 98. Make time for yourself. LEGAL QUESTIONS 99. Set manageable goals. 100. Celebrate your success.

GRASSROOTS BOOK PUBLICITY

by Kerry Madden

n author was once overhead saying, “Usually, a new book comes out like A cat paws: very soft, barely heard; and then it goes away.”

Regardless of how well a book is written, critical praise doesn’t 8. Join a YA and middle-grade fiction writers or picture book always translate into sales, and often even well-reviewed books listserv. The Child_Lit Serve out of Rutgers is another great listserv disappear, out-of-print within a couple of years. No matter how of authors, professors, librarians. Richie Parrington has started an much publicity and support your publisher offers, you are the best excellent listserv for middle school books for librarians, teachers, and advocate for your book, and there are actions you can take to authors. Also, Cynthia Leitich Smith (www.cynthialeitichsmith.com), prolong its life in print. and Alice Pope (www.cwim.blogspot.com) both maintain excellent Perhaps you’re about to publish a first book and have no idea what to blogs about the world of children’s literature. There are many great expect. Maybe you’re a seasoned pro looking for new ideas on promoting children’s and YA book blogs. Clicking on one will lead you to many your books. Here are 25 surefire ways to keep your book selling. more. Children’s and young adult book bloggers are the ones who keep 1. Begin laying the groundwork for your book promotion six your books alive. Thank them. Send them your books to review, but only months before your book is published. Write a press release and e-mail devote a little time each day to these blogs; you want to be protective it to newspapers and TV stations closer to the publication date along of your writing time. with a review or two if you have them. Bookpromotion101 (www. 9. Create your own book tour! Stay with friends and family. Rent bookpromotion101.com) is a good workshop, as is Author Buzz (www. the cheapest rental car and purchase airline tickets through inexpensive authorbuzz.com), run by MJ Rose. online travel sites. Visit bookstores before your book comes out—six 2. Hire a publicist. If you can’t do that: barter. Find a friend or a months is a good rule of thumb. Set up e-mail correspondence with the student and you offer to edit their stories and novels for free (forever) store manager, or the person in charge of scheduling their author visits in exchange for helping you do publicity. This may sound extreme, but or promotions. Over the next few months, set up dates for the book book publicity can be grueling work and it helps so much to have a signings/writing workshops. If you just have a handful of galleys, make friend with a sense of humor who “gets it.” photocopies and get them out to select book reviewers. This especially 3. Check out websites like Winding Oak at www.windingoak.com and works well for regional newspapers. The bigger markets are so glutted, the Children’s Literature Network. They are incredibly knowledgeable at but the smaller papers do a great job of author profiles and reviews if helping authors set up events, creating fliers, and doing regular website you let them know in time. updates. They charge, of course, but they do a great job. Little Willow is 10. E-mail bookstores with your information (book, website, jacket also great for website design. quotes) and follow up those e-mails with store-visits or phone calls. 4. Make postcards and/or bookmarks. Start with a printing of 5,000 Explain how you are able to offer writing workshops for kids instead copies. You can leave stacks in bookstores, restaurants and libraries. of traditional readings. Hint: Be upbeat and professional even when Hand them out on school visits. clerks can and will be indifferent. You will find the ones who get you, 5. Set up a website where kids can write to you and learn more and as for the ones who don’t, move on with grace. Try to focus on the about the world of the book and what you do as an author. Peruse other independent bookstores because they are the ones who will hand-sell author sites to give you ideas. your book. 6. Update your website regularly. Offer creative writing ideas, story 11. Set up writing workshops for kids in schools, libraries, and prompts, etc. bookstores. Lead a guaranteed audience of kids in writing their own 7. Send out e-mail blasts as often as you feel comfortable, but stories and poems. Make sure art supplies are on hand so the kids can don’t overdo it; three or four times a year is a good rule of thumb, and illustrate their creations, and offer to publish any stories that they only if there are real updates. Be wary of e-mailing in bulk too often. e-mail you in a special section of your blog or website. The fee for 242 | GRASSROOTS BOOK PUBLICITY

attendance? Have the bookstore require the purchase of one of your or blog, or simply mention their books in a short review. We’re all in books to participate in the writing workshop. Talk to the parents and this together, and the more we can reach out and support each other, teachers who attend. Networking can lead to “artist-in-residencies” at the more we’ll get back. schools and more school visits. 18. Send your press release to your old grade school, high school, Keep writing workshops high-energy: MORE participation. Get kids or college. Offer to meet with students from your alma mater to talk to excited through sincere praise, and encouragement, then up on their them about writing. feet to read their poems or stories. With older kids and teen groups, 19. Write an essay for your alumni magazine about writing for smaller circles work best. Get them writing about favorite secret places kids, or about how you became a writer. You’ll get readers; universities or magic powers or fishing—whatever relates to them. Bring in the like to hear about their graduates and their adventures. If a rural library five senses. Tell them funny stories about your childhood: the bus asks you to donate books, say yes. Say yes as much as you can. Just bully in fourth grade, the nun in sixth grade, your father’s driving. Kids do it. If you can’t do it all the time, that’s okay, but say yes whenever will identify with stories about how you survived childhood and be possible. encouraged to write their own stories. 20. Write an essay/op. ed. piece for a newspaper with a large For the writing workshops with young readers, bring in a suitcase of readership. This will get your name out to more readers. props that inspired your book. In other words, what do your characters 21. Record your book at your local Braille Institute and offer to love and collect? I bring in special agate stones, peacock feather, do a workshop at its summer reading program. You’ll meet amazing kids books, pictures, music, old cow bones, paintings, drawings, journals in who are budding storytellers. my characters’ voices, fairy books, and The Synonym Finder. The kids 22. Go to ALA, Book Expo, SCBWI events or book festivals on your can see how messy writing is before a book is a book. They will love own dime at least once if you have a book coming out that season. Ask to explore the table of props and it will inspire the shyer kids to ask your publisher to “badge” you in to ALA and Book Expo if they cannot questions... Oftentimes, librarians or teachers will contact local media offer you a signing during the conventions. Go meet people. It’s worth to cover your school visit and announce your next signing or even do a it. You will make connections you cannot make e-mailing from home. story. Tight budget? Stay with friends and family to save money, or contact Tell the kids they are also “storycatchers”! Tell them to interview the SCBWI regional advisor in your area to see if a nearby member their parents and grandparents; encourage them to be “storycatchers” might have a guest room available. in their family. In one of my workshops a boy said, “I am not a writer.” 23. Find a local chapter of the SCBWI and offer to do a workshop “What do you like to do?” I replied. on setting, plot, voice. He said, “Fish.” 24. Write thank-you notes to everyone: librarians, teachers, “Well, write about fishing,” I told him. “Tell me about night crawlers. booksellers. Be appreciative. Don’t whine. Say “thank you.” How much does a can of night crawlers cost?” 25. Get a GPS navigation device. It really helps out there on the “About a $1.25 a can,” he said. “I can write about fishing?” road. I said, “You may write about anything you want!” He wound up writing Remember, the more you give of yourself as an author, the more you a great story about how he loves to brag when he catches a big bass. will connect with your readers at every level. But also give yourself a 12. Consider having a reading/book signing at a place other than break and time to be alone to write and just be, so you can gather the a bookstore. Go to the pancake house, a bar, a tea house or some other stamina needed to get out there again. nontraditional place. A friend’s backyard or your own if you like. An independent bookseller will love to sell books, and you’ll be able to woo more friends into coming and bringing their friends. If you have kids, your kids can run around and celebrate too. Hire a musician; a left- handed banjo player was a hit at my most recent reading. 13. Do as many free writing workshops as you feel you can at first.Do them for foster kids, kids in juvenile hall—kids who don’t have

www.scbwi.org a chance to meet with writers. Publish their stories on your blog if they |

want you to do so. 14. 826 Valencia, a San Francisco–based organization, is a great place to do free writing workshops for kids, and they will announce your visit on their website which reaches people across the country.

THE BOOK They are opening more places in more cities. Check out their site: www.826valencia.org. 15. Pitch workshops or classes to MediaBistro, UCLA online or at a university near you. It’s free advertising for you and your book and your class. You also get to meet wonderful students in your workshop. 16. Set up a six- or ten-week writing workshop at a local bookstore for teens or adults wanting to write children’s stories. You will be able to charge, of course, and the bookstore will advertise the class and your book on its website and in its newsletter. PUBLICATIONS GUIDE: 17. Go support other authors. Show up at their signings and readings and buy their books. Host them in interviews on your website 2018 COPYRIGHTKEEPING YOUR FACTS FORBOOK WRITERS ALIVE

by Frances A. Miller | edited & revised by Harold Underdown

he publishing process, from manuscript to publication to out-of-print, is long and can be intimidating. Many things will happen to your book over which you T have no or only limited control. But as an author, you do have some rights and responsibilities. They fall into two categories: those spelled out in the publisher’s contract, and those to your books, to give them the longest life possible. What follows is a list of decisions to be made and steps to be taken by the author throughout the publishing process to help your book stay alive. If you have an agent, he/she will help with this process, and actually handle some of these items themselves, but the ultimate responsibility is yours.

You have a right to be concerned about what happens to it. Never schoolers, and you are reasonably happy with your publisher and be shy about looking after its interests when the end result will be editor, you will want to stay with them. Your editor will help you higher sales, which will please the publisher; more readers reached, develop your writing and career, and your publisher may support which will please you; and the satisfaction of knowing you didn’t let your growing backlist as well as your new titles. If you are writing it die an untimely death. in a variety of genres, you will want to try to find two or more publishing houses. Do not overdo this. Flitting lightly from genre PRE-ACCEPTANCE to genre and publisher to publisher will not win you or your books »» Should you go for hardcover or paperback? The kind of book you the friends and advocates you need in the publishing world. (See want to write may determine that. But if your writing could work in “Your editor leaves . . .” below.) In the early stages of your career, either market, keep the differences in mind. The hardcover market establish yourself in the genre you do best. At some point you is more prestigious, but difficult to break into. Most hardcover may want to branch out or move on, and by then you will have a books will be reviewed in all or almost all of the major review professional track record. publications. They will sell in modest numbers but may stay in »» Contract negotiations: During contract negotiations, maintain print longer than paperbacks do. Paperback publishers often want a cordial and professional tone at all times. Especially early in writers for existing or proposed series, so your artistic freedom may your career, you may not be able to get many changes made, and be limited. Paperback originals do have their own review sources, being overly demanding may damage your relationship with your but their sales are strongly affected by the publisher’s promotional editor. According to Brad Bunnin, coauthor of The Writer’s Legal efforts and early reactions in the marketplace. Paperback series, in Companion, you need to understand four crucial points about particular, can be lucrative, but do not stay in print long. negotiations. The first point is that they are negotiations. Some »» Timing: Plan to follow your first published book with a second and things are not negotiable, but you will be surprised at how many a third at regular intervals. At least one a year is a good schedule, things can be changed. Know what you want—what is really if you can achieve it. Be sure to leave time for writing. You want to important to you—and it’s more likely that you will get it. Don’t build an audience for your books who will be waiting impatiently ask for things that are not important. The second is don’t agree for your next one. (Think of Dick Francis and Sue Grafton. Think of to anything, including the advance, over the phone. When the Patricia Polacco and Eve Bunting!) Don’t let two or three years go publisher calls to offer you a contract, ask to see the offer in by between books. You will be quickly forgotten. Your readers will writing first so you can think it over. Contracts are complicated also grow up and move on to other authors. legal documents. You need time to understand what it is you »» How many publishers should you publish with? If you are are signing. The third point—don’t sign it until you understand committed to writing in one genre, such as picture books for pre- everything in it. This is not as impossible as it sounds. The SCBWI 244 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » staff during the pre-publication period. will workbestasyouinteract withyoureditorand other publishing POST-ACCEPTANCE/PRE-PUBLICATION | KEEPING YOUR BOOK ALIVE YOUR BOOK | KEEPING » » » » » to make the corrections yourself. about itisincorrect, tell yourpublisher; do not askthe bookstore before itspublication date. Ifit does not, orifany information image, atAmazon and other online bookstores amonth ormore in the next edition. Your bookshould alsoappear, withajacket immediately tellyourpublisher ifnot, sothatitcanbeincluded edition. When many booksellersand smaller libraries take onlythe general listed inthe general edition rather thanthe children’s because Given achoice of only one, it’spreferable tohaveyourbooks edition, orpaperbacks. The more placesitislisted, the better. which edition yourbookwillbelistedin—children’s, the general booksellers. Most take care of thisasamatter of routine. Find out job toseethatyourbookislistedin Books inPrint forgotten youand yourbook. to them the day youvisit,bythe time itdoes come they may have libraries. Ifthe ordering information (orthe book)isnot available you canmaximize the effectof yourvisitstolocalbookstores and your bookwillbelistedinand when the catalogwillbemailed so Inclusion inthepublisher’s catalog: for stylistic reasons, however. information aboutyouthatisincorrect. Avoid asking for changes giving readers afirstimpression you don’t want them tohave, or the front flapand backcovercopy. Otherwise you may find the copy it, butstillshould beaccurate. Ask toseeand edit(ifnecessary) Cover copy: illustrations. Generally, thisisimportant onlyinnonfiction. contract, ifyoucan:askfor “consultation, not approval” onthe the right toseethem and request changes. Putthisright inthe detail, youwant the illustrations tobeequally accurate. Negotiate which the text isscrupulouslyresearched and accurate tothe last Checking illustrations for accuracy: everything, including the copyright information, for accuracy. if youpromise and provide aquick review. Don’tforget tocheck do not routinely send ARCstoauthors may bewilling todo so receiving, and make yourexpectations clear. Evenpublishers that Be sure toaskearlyoninthe process aboutwhatyou’llbe advance reader copies (ARCs)toauthors asamatter of routine. publishers usually send the copyeditedmanuscript and then the The copyedited manuscriptandadvance reader copies: As withcontract negotiations, apoliteand professional approach binding. into the contract. Anything agreed tooverthe phone isnot legally all the others—if any point isimportant toyou,get itwritten even todo yournegotiating for you.The fourth point incorporates paying apublishing lawyertoexplain whatthe contract saysand a guide, askyoureditorfor clarification. As alast resort, consider the dark aftertaking atourthrough yourowncontract withitas Book Contract” for members touse(page 265).Ifyouare stillin publishes, and regularly updates, the “SCBWISampleChildren’s Copyonthe jacket of yourbookisintended tohelp sell ( BIP BIP comes out,check thatyourbookislistedand ) andonlinebookstores: Ifyouhavewrittenabookin BIP Find outwhich catalog and atonline It’s the publisher’s Hardcover » » YOUR BOOK’SLIFEAFTERPUBLICATION » » » monitoring. Try tocultivateone personasyourcontact. in addition toyours. They willappreciate help, butnot constant they most likely are verybusyand responsible for dozens of titles MARKETING » » » » » of, inyourauthor’s questionnaire ifyouare sent one. At the very reviewers, and youshould suggest other review sources youknow at all.You canand should check thatcopies are sent tothese will guarantee yourbookwillbereviewed positivelyorbereviewed Library Journal send outreview copies toimportant review sources such as Paperback rights: in will,occasionally, tipthe balance infavor of reprinting. stimulate demand and orders for yourbook—DOIT!Orders coming may not beplans toreprint. Ifyoucando anything atthispoint to “indefinitely.” It has soldoutthe current printing and there may or should beabletogiveyouareprint date. The “I”inOSImeans “OS” usually means “outof stocktemporarily.” The publisher ordering department atonce, orcheck itsstatuswithyoureditor. isn’t onany of them, orislistedasOSOSI,callyourpublisher’s independent booksellertocheck the wholesalers’ lists. Ifyour book availability of yourbookbyperiodically asking your local Is your bookavailable? have thought of your bookfor aparticular award. Publishers do send out booksfor award consideration, butmay not enter and sends the correct number of copies tothe right address. sure yourpublisher knows which ones yourbookmay beeligible to Research. These are availableatyourpublic library oronline. Be such asthose published bythe Children’s BookCouncil and byGale Eligibility for awards: effort. coordinate withthe marketing department toavoid duplication of you, although not allpublishers willdo this, and youwillneed to own campaign, youcanalsoasktohavereview copies sent to publisher. Ifyouhavethe time and personal contacts for your make alistof these peopleand publications and send ittoyour special segment of the reading public withitsownpublications, it. Ifyouhavefriends inhigh placesorifyourbookappealstoa a detailed plotsummary orlisting the advance readers who loved the urge topersuade them toread yourwonderful bookbygiving timely, orfascinating aboutit,saysoinasingle sentence. Resist may help get itsome attention, and ifthere issomething unique, book issent tothem. Anote saying thatyouare alocalauthor least, find outwho writes reviews inyourarea and make sure your Reaching reviewers: homework, and then do the footwork. It makes adifference. groups, geographic areas, telephone conferencing, etc. Doyour through schools, libraries, bookstores, websites, special interest Ways toMarket Your Book Author’s GuidetoChildren’s BookPromotion can do. Lookinyourlocallibrary for bookssuch asSusanRaab’s professional journals. The rest is uptoyou,and there isalotyou tell the salesreps aboutit,and generally include itinalistad do their selling. Your publisher willputyourtitleinthe catalog, Marketing your book: When working withapublisher’s marketing staff,keep inmind that , Booklist Most publishers keep paperbackrights in-house Publishers generally canberelied uponto Hardcover publishers rely onreviews to Check listsof competitions and awards , and , for ideas onhow topromote yourbook You can keep track of the current Publishers Weekly and John Kremer’s . Nothing youcando School 1001 An An KEEPING YOUR BOOK ALIVE | 245

nowadays, but you or your agent need to keep tabs if rights are PREPARING & SUBMITTING sold to another publisher. Ask for a copy of the contract or a clear summary of the terms. Once the paperback royalties have exceeded the advance, they will be paid to your hardback publisher, who puts half of them in your account. There they stay until your publisher’s royalty payment date, which can be six months later. There is nothing you can do about this. What you can do, however, is stipulate that copies of the paperback publisher’s statement be sent to you (or your agent) as well as to the hardback publisher. Make sure that once the paperback advance has earned out, royalty payments are in fact being made to the hardback publisher and MARKET SURVEYS that you are getting your share. If payments are not being made, call your publisher or agent. Keep track of what happens after paperback rights are sold. In the unlikely event that the hardback publisher sells reprint rights to a paperback publisher who doesn’t exercise the option, you’ll know, and can call your publisher. You keep the advance on royalties, and your publisher can now resell reprint rights to another paperback publisher.

»» Your editor leaves or is laid off: When the editor who has been DIRECTORIES & RESOURCES working closely with you on your book (thereby making it his/ her book in the eyes of the publisher) abruptly departs, your book may become an orphan. Unless it’s an award-winner, no one at the original publisher will feel as strongly as your editor did about its survival and success. You have two options here. You can stay with that publisher, sending them your next manuscript and acquiring a new editor, who will then take on responsibility for all of your books, or you can stay with your editor, sending your next manuscripts to his/her new publishing house. (This is only an option if your editor will still be publishing the kind of books you are writing, which is not always the case.) If you do follow your

editor, accept that the book you both left behind may be short- PUBLICIZING YOUR PUBLISHED WORK lived unless you want to write a sequel. »» Your book goes out-of-print: Increasingly, many books are put out-of-print within a year or two of publication. Do not take it personally. When your publisher notifies you that your book is going out-of-print, it is most likely too late for you to be able to do anything to stop this from happening. It may be out-of-print already, since OP decisions are not made by the editor, who may only be told after the fact. Don’t fight, but do look to the future. If you are offered copies of your book at a steep discount, buy as many as you can afford and can store. You will be able to sell them at school visits and through your website, and to give them away as samples or prizes. Find out about getting the digital file or film. Be sure to get a “reversion of rights” letter from the publisher.

Though it’s difficult to resell publication rights to an OP book, it’s SCHOOL VISITS not impossible. Keeping it in print yourself as an ebook or print- on-demand title (or both) is more likely, and authors do follow this strategy, promoting these resuscitated books along with their in-print titles. But don’t put time into supporting a book this way instead of into writing the next one. Books die, for many reasons. When one does, the best remedy is to write the next. LEGAL QUESTIONS

RESOURCES FOR PUBLISHED COPYRIGHTAUTHORS FACTS & ILLUSTRATORSFOR WRITERS

by Melissa Stewart

WEB DESIGN, BOOK TRAILERS, & CURIOUS CITY Description: Websites, book trailers. MARKETING MATERIALS 118 Emery Street Testimonial: “Julie and Marissa made Portland, Maine 04102 producing a trailer seem so easy. I told them AIMEE E. SUEN 207-699-2755 what I had in mind and they took it from 5625 Crescent Park West #335 Contact: Kirsten Cappy there. Marissa is a delight to work with and Playa Vista, CA 90094 [email protected] she’s incredibly creative and gifted at what 310-691-6474 visitcuriouscity.wordpress.com she does. She took an idea and turned it www.ascwpartnership.com Fee: $75.00/hour; for large projects, may into an adorable trailer that people gushed [email protected] establish a project fee discussing a client’s over! In fact, it was “Trailer of the Day” on www.accentaigu.com needs Shelf Awareness. I couldn’t have been more Fee: $50.00/hour; for large projects, may Description: Web design, book trailers, pleased.” —Sarah Sullivan, www.youtube. establish a project fee after discussing a photography, marketing materials. com/watch?v=ZvprKsvfD5s client’s needs Testimonial: “Kirsten has knowledge of Description: Web design the children’s book market, technological JOHN BALD Testimonial: “Aimee Suen redesigned and know-how, realistic expectations, integrity, 10 Columbia Avenue updated my children’s author website. I boundless creative energy, connections in Brunswick, Maine 04011 asked for a tailored, sleek look and she the library and publishing field . . . and (207) 729-7531 met every request I made. The site works a desire to make my book “sparkle” for [email protected] beautifully and I am so pleased with the the right readers at the right time. Using www.johnbald.net quality of work, her quick response, and her fount of knowledge and skills, Kirsten Fee: Establishes a project fee after discussing fair pricing.” — Shirley Smith Duke, www. transformed my website, designed a book a client’s needs; typically $400 to $1000 shirleysmithduke.com trailer for my upcoming picture book (that Description: Web design, photography. the publisher loved so much, they used on Testimonial: “I heartily recommend my BILAN, INC. their website too), and helped me design web designer, John Bald. John is quick 1344 Chalmette Drive an outstanding classroom activity guide. I to respond, flexible, creative, and highly Atlanta, GA 30306 look forward to working with her on my two professional. It’s a pleasure to work with 404-607-1735 upcoming books.” — Kathleen T. Pelley, him, and he does great work.” —Charlotte Contact: Shelli Johannes-Wells www.kathleentpelley.com Agell, www.charlotteagell.com [email protected] www.bilaninc.com JKS COMMUNICATIONS RAAB ASSOCIATES Fee: No hourly rate; establishes a project fee 511 Avenue of the Americas #317 345 Millwood Road after discussing a client’s needs New York, NY 10011 Chappaqua, NY 10514 Description: Web design, logos, marketing 646-318-1193 914-241-2117 materials. 6132 Hillsboro Pike #101 Contact: Susan Raab Testimonial: “Shelli Johannes-Wells has been Nashville, TN 37215 [email protected] a tremendous asset to the Southern Breeze 615-476-1367 www.raabassociates.com region (AL, GA, MS) of SCBWI. She beautifully Contacts: Julie Schoerke and Marissa DeCuir Fee: No hourly fee, charges for a suite of redesigned our website, created an impressive [email protected] services over a period of time logo and other attractive marketing materials. [email protected] Description: Web design, book trailers. Her work has always been professional and www.jkscommunications.com Testimonial: “Raab Associates gave shape timely.” — Jo Kittinger, Regional Advisor, Fee: No hourly rate; establishes a project fee and style to my website, unifying a widely SCBWI Southern Breeze after discussing a client’s needs diverse collection of titles. Identifying the 248 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org vickyalvearshecter.com beautiful work.”— Vicky AlvearShecter, represented inthe e-worldthankstoher I feelproud and confident about how Iam different kinds of booksIwrite. Bestof all, I needed anidentity thatworked among the thanks toShelli. She completely “got” how and twitter[background] lookand it’sall about how awesome my blog,website, Testimonial: percent discount to SCBWI members. a wide range of marketing materials. Twenty networking consulting, designs websitesand Description: after discussing aclient’s needs Fee: www.bilaninc.com [email protected] Contact: 404-607-1735 Atlanta, GA 30306 1344 ChalmetteDrive BILAN, INC. Publicity, Promotion, &Presentations nikkigrimes.com from Winding Oak.”—NikkiGrimes, and it’ssomething I’vecome tocount on do. Follow-through iseverything tome, They do whatthey saythey’re going to most, though, istheir unstinting integrity. of the client. WhatIappreciate aboutthem while remaining truetothe creative vision a special giftfor enhancing those ideas their clients, they consistently demonstrate makes ittick. Whiletranslating the ideas of of the children’s bookmarket and what creativity, and abroad-based understanding offer the perfectmarriage of hi-techsavvy, Testimonial: materials, videos, booktrailers. Description: a project feeafterdiscussing aclient’s needs Fee: www.windingoak.com [email protected] Contact: 763-416-5385 Maple Grove, MN55311-3542 6985 CrestDr. WINDING OAK Armstrong, thanks toSusanand her team.”—Jennifer to beonthe receiving end of it,too!Many around itwasfuntowatch--and itwasgreat and then planning apublicity campaign common thread thatruns through my work | RESOURCES FOR PUBLISHED AUTHORS &ILLUSTRATORS AUTHORS FOR PUBLISHED | RESOURCES

No hourly rate; establishes aproject fee $60/hour; for large projects, establishes

Shelli Johannes-Wells Vicki Palmquist www.jennifer-armstrong.com

Author branding, social Web design, marketing “I get alotof comments “Steve and Vicki Palmquist www. Portland, Maine04102 118 EmeryStreet CURIOUS CITY —Diane Stanley, author together for anevenbigger marketing buzz.” getting everybody excited and working energy levelintheir marketing department, giving SAVING SKYastellarlaunch raised the publisher. Seeing how committedIwasto ‘out there’. The rippleeffectevenreached my been adelight and she really got my book Testimonial: programs. materials, KidsBuzz and TeacherBuzz design, and production of promotion and special interest events; development, coaching for media appearances; school visits coordination; event design and coordination; blog adcampaigns; tourbooking and online marketing; social media consultations; educational, specialty and consumer markets; contacts; national campaigns toretail, Description: client’s needs establishes aproject feeafterdiscussing a Fee: deborahsloanandcompany.com [email protected] Contact: 978.684.5005 Andover, MA01810 Box 2095 DEBORAH SLOAN ANDCOMPANY them.” —Anne SibleyO’Brien, author books find the readers who are waiting for or develop curriculum guides, tohelp your produce anevent, get school visits, and/ supplement yourpublisher’s efforts, planand service todevelop apromotion planto literature, allof which she canputatyour and reading), and apassion for children’s book world(creating, publishing, selling, extensive knowledge of allphasesof the with abrilliant, quirky, creative mind, an Testimonial: photography, webdesign. launch event planning, mailing lists, book trailers, giveaways, event kits, book Description: client’s needs establish aproject feeafterdiscussing a Fee: visitcuriouscity.wordpress.com [email protected] Contact: 207-699-2755 $125/hour; for large projects, $75.00/hour for large projects, may Deborah Sloan Kirsten Cappy

Activities and lessonplans, Networking among key industry “Kirsten Cappyisagenius “Working withDeborah has Nashville, TN37215 6132 HillsboroPike #101 646-318-1193 New York, NY10011 511 Avenue of theAmericas#317 JKS COMMUNICATIONS fast!” —Mayra Calvani,author excellent press releases. Bestof all,she’s Donna McDine’s publicity service. She writes about it,Icanwhole-heartedly recommend book, orsimplyaren’t sure how togo and distributeapress release aboutyour Testimonial: media placement Description: Fee: donnamcdine.com/dynamicmediareleases.html [email protected] 845-359-6646 Tappan, NY10983 334 Washington Street DONNA MCDINE mailings; target mailings toniche markets; press releases; press kits;trade and review Description: client’s needs establishes aproject fee afterdiscussing a Fee: maxbookpr.com [email protected] Contact: 404-447-6242 Atlanta, GA 30324 2865 N.Lenox Road,Suite302 MAX COMMUNICATIONS friend.” —CharlesGhigna, author publisher’s, bookseller’s, and author’s best into celebrations. Simplyput,Julie isa workaholic wizard who turns challenges in everyaspectof the business, afriendly charm and aplomb. She isaprofessional book promotion withsuch joy, grace, enough tobaskinher glow. She handles fire who ignites the bestineveryone lucky Testimonial social media training. book tours, websites, booktrailers, and media appearances and liveand virtual Description: after discussing aclient’s needs Fee: www.jkscommunications.com marissa@jkscommunications julie@jkscommunications Contacts: 615-476-1367

No hourly rate, establishes aproject fee $30.00-$120.00, seewebsitefor details $100/hour; for large projects,

Mimi Schroeder

Julie Schoerke and Marissa DeCuir :

”Ifyouare toobusytowrite “Julie isanenergetic ballof Press releases, writing and Publicity plans; media lists; Promotional campaigns, RESOURCES FOR PUBLISHED AUTHORS & ILLUSTRATORS | 249

proposals to book festivals, conferences, I have learned so much from this site! It is PREPARING & SUBMITTING trade shows; book signings; media tracking; a comfort knowing that everything I need JENNIFER RICHARD JACOBSON book award nominations. for an effective school visit is there waiting 89 Tuttle Rd Testimonial: “Mimi is savvy, experienced, for me in one place--to return to again and Cumberland Center, ME effective and a delight to work with—always again.” —Joanne Rocklin, author 207-829-8373 upbeat and encouraging, always on the ball, [email protected] always looking for the right combination of WINDING OAK www.jenniferjacobson.com activities to maximize public awareness and 6985 Crest Dr. Fee: Please contact Jennifer for rates. demand for my books.” — Grady Thrasher, Maple Grove, MN 55311-3542 Testimonial: ”Jennifer Jacobson wrote author 763-416-5385 the wonderful discussion guide for my Contact: Vicki Palmquist novel, Extraordinary (Dial/Penguin 2010). MARKET SURVEYS RAAB ASSOCIATES [email protected] The questions she developed showed her 345 Millwood Road www.windingoak.com understanding of how the book could be Chappaqua, NY 10514 Fee: $60/hour; for large projects, used by reading groups and in schools that 914-241-2117 establishes a project fee after discussing a went beyond anything I had imagined; she Contact: Susan Raab client’s needs was prompt and professional; and her work [email protected] Description: Promotional planning, press required no editing whatsoever and was a www.raabassociates.com kits, social networking and advanced pleasure to read. My publisher was thrilled.

Fee: No hourly fee, charges for a suite of technology consultation, marketing I’d recommend her work to anyone. ” DIRECTORIES & RESOURCES services over a period of time materials, press releases, teachers —Nancy Werlin, author Description: National media campaigns, guides, presentation development, author tours, blog tours, marketing video production, website design and KATE PALACES NARITA consulting, website design and web maintenance, career planning. 227 Mountain Road consulting, library market outreach, media Testimonial: “When I signed on to work Princeton, MA 01541 training, teacher’s guides. with Vicki and Steve at Winding Oak, I did (603) 401-8144 Testimonial: “I have worked with Susan not realize that I would be joining a kind [email protected] Raab for well over fifteen years. And in that of “dream team” for wandering authors katenarita.blogspot.com time, the number of my interviews, reviews, and illustrators! They are supremely Fee: $200-$250, depending on the length of book tours--and just plain book sales--has knowledgeable about the field and fearless the guide risen dramatically. She has always been in the face of the new 21st Century Testimonial: “I am so pleased that I enthusiastic, supportive, knowledgeable, demands on writers. This combination partnered with Kate Narita to develop PUBLICIZING YOUR PUBLISHED WORK inventive, and certainly very attentive. I of knowledge and courage is fortified by curriculum guides based on my books. Her can’t see going on toward the future without a willingness to learn anything that a teaching experience and insight helped having her as part of my team.” —Jane challenge requires. In addition, they are develop curriculum guides that peak interest Yolen, author cheerful, witty, and seem to know everyone and benefit students. I often hear from everywhere. They have a passion for teachers who have used these materials, and SCHOOLVISITEXPERTS.COM connecting people, interests and skills, so they tell me that the curriculum guides are 1001 Hillview Lane working with them immediately makes your creative, helpful, and fun.” —Rose Kent, Simi Valley, CA 93065 own world larger. They are just the best.” author (805) 581-1906 —Debra Frasier, author-illustrator Contact: Alexis O’Neill SHIRLEY SMITH DUKE [email protected] CURRICULUM & BOOK CLUB 2801 Apple Valley Dr. www.schoolvisitexperts.com GUIDES Garland, Texas 75043 Fee: No fee to access information on the 972-840-0204 or 575-834-0503 website; consulting services will be added CASSANDRA REIGEL WHETSTONE [email protected] SCHOOL VISITS soon. 159 Red Ridge Court, www.shirleysmithduke.com Description: Advice on designing programs Folsom, CA 95630 Fee: $175-$225, depending on the length of for schools, libraries, bookstores, and 916-989-9499 the guide conferences; assistance managing the [email protected] Testimonial: “Shirley Smith Duke is a terrific business side of appearances. www.cassandrareigelwhetstone.com Teacher’s Guide writer. Easy to work with Testimonial: “SchoolVisitExperts is my go-to and a great researcher with a creative mind Fee: $125-$250 LEGAL QUESTIONS site for expertise about school visits. The Testimonial: ”Cass is an amazingly gifted for the types of activities and information writing style is clear and concise, and the writer, teacher, and mom. Her teacher’s useful in the classroom setting. Highly range of topics covered is all-inclusive, wide- guides are developed from her rich recommended!” —Kenyette Kilpatrick, School ranging, and unique, everything from the experiences as an educator, and I’ve never Marketing Manager/Peachtree Publishers latest technology with regards to equipment known anyone with a greater passion and computer programs, to the psychology for educating children.” —Katy Duffield, of school presentations, to business matters. author 250 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org and professional.” —Sarah Lamstein, author a successful children’s bookauthor herself), curriculum guides. She’s fast, insightful (she’s Tracie Vaughn Zimmer for the creation of Testimonial: Fee: wildgeeseguides.blogspot.com www.TracieVaughnZimmer.com [email protected] Liberty Township, OH45011 5795 FurlongWay TRACIE VAUGHN ZIMMER series. Schuricht, and Lynda Pflueger’s biography Yoon, Carolina Hatton, Randy Morrison, Cindy for Children’s BookAuthor Bruce Hale, Salina materials. She hascreated Educator Guides Reviewer for Common Core Curriculum California Department of Education Adoption Board Certified Teacher and hasservedasa Core Standards. Grace Nall isaNational Educator Guides aligned tothe Common Description: Fee: Visit: [email protected] Contact: San Diego,CA92138 P.O.Box 83581 TEACHINGSEASONS.COM | RESOURCES FOR PUBLISHED AUTHORS &ILLUSTRATORS AUTHORS FOR PUBLISHED | RESOURCES

Please contact Tracie for rates. Pleasecontact Grace for rates. www.teachingseasons.com Grace Nall Reviews, consults, and creates

“I canrecommend heartily SOCIAL MEDIA PRINCIPLES FOR USING EFFECTIVELY

PRINCIPLES FOR USING SOCIALCOPYRIGHT MEDIA FACTS FOREFFECTIVELY WRITERS

by Alice Pope

o tweet or not to tweet; that is the question. Or to Facebook. Or to blog. Or to Pinterest. Or whatever’s next. By now everyone’s aware of social T media, and it’s becoming more and more a staple for promotion of authors and illustrators. Even renowned, award-winning author Richard Peck— who a few years ago, with a great deal of conviction, declared to a packed ballroom at an SCBWI Summer Conference that “friend is not a verb”—now tweets (@RichardPeckAuth). He joins the ranks of Judy Blume (@judyblume), Bruce Coville (@brucecoville), Laurie Halse Anderson (@halseanderson), Libba Bray (@libbabray), and other children’s publishing luminaries. That speaks volumes about the importance of not just an online presence, but a social online presence, for authors and illustrators. And this applies to both the published and the aspiring.

Contrary to popular belief, social media isn’t just about going to see results overnight, whether that’s gaining thousands learning what everyone had for lunch. It’s also not about hard of followers or seeing an increase in book sales. Using social selling. Your friends and followers won’t be around for long if media as an author or illustrator is all about building long-term you do nothing but ask them for things (“read my blog post,” awareness, developing an audience, and general networking. “attend my event,” “buy my book”). As a writer or illustrator, the You’re building a network that will ultimately help you market purpose of social media is to create a network, make connections, your books (which, really, you can’t do on your own these days). and share things of value with like-minded fans and followers. And in that capacity, social media should be part of your overall If you haven’t yet joined the conversation, or if you’re currently plan as you create your identity and build yourself as a brand. engaged in social media, here are some things to keep in mind so you can use Facebook and Twitter to your best advantage. Reach Out and Participate When you engage in social media, it’s all about expanding Invest Time your group of friends, not just talking to the same ones. Don’t When it comes to social media, if you’re not willing to invest be cliquish, but instead judiciously broaden your base, increase time to participate in them, they will not be much of a help your circle, and be open to new friendships and contacts. You to you. Social networking is about building relationships. never know when a small moment of reaching out via social media Relationships that start online may often be solidified offline, (retweeting someone or sharing their book trailer on Facebook) just as relationships that start offline can blossom via social could turn into something positive for your career down the line. media. Think about a friend you met at a conference who you now If you’ve cultivated a network of fans, friends, and followers interact with regularly on Facebook, or that writing group you before you have a book to promote, that can only have a positive found online who you now meet with in person. impact when you do have work available. Users of social media And just like with any other relationship, there’s a trust- notice when they’re noticed, and if you’re helping them expand building process, and you have to be committed for the long their reach, they will likely respond in kind when the opportunity term. Creating a network is a slow build; it happens over time. presents itself. It takes patience and perseverance. Note also that you’re not Social media like Facebook and Twitter are just that: social. 252 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org recommending blogposts, retweeting), youmay gainthe in the discussion and being generous yourself(sharing links, supporting you—social networking isreciprocal. Byparticipating favor. Supporting the community willresult inthe community you retweeted orreposted willremember and likely return the your friends and followers. They willbegrateful, and those whom something that’svaluable toyou,itwilllikely bevaluable to social media. networks. There’s a generosity present among like-minded users of all partof the community-building thathappens ononline social share knowledge and insights, and engage indiscussions. Thisis helpful blogposts, articles, and news bits, answer questions, illustrators, editors, and agents offer tipsand advice, linkto it easytokeep upwithindustry news and headlines. Writers, Learn andShare; Don’tSell easily recognize youasthey move betweenplatforms. theme of yourwebsite/blogthrough tosocial media sousers photo and Twitter background. It’s alsogreat tocarrythe design work (anillustration from yourportfolio) inyourFacebookcover your books, yourlatestbookjacket) orsomething related toyour Conference poolpartyisayes. Showcase yourwork(ashelf of is ano; ashot of youinyourthemed outfitatthe SCBWISummer headshot, useit.Aphoto of youtipsyinyourHalloween costume but thatdoesn’t mean stuffyand no fun.Ifyouhaveagreat also aboutyourappearance. Your photos should beprofessional, about. Passion iscompelling—get thatacross. Tweet. It’s more aboutyourpassion for the things you’re talking necessarily abouthow skilledyouare atwriting anupdate ora about posting something, youprobably shouldn’t. And it’snot you, soalwaysuseyourbestjudgment. Ifyou’re atallhesitant Internet ispublic, and things yousaycancome backtohaunt it’s okay torelax and beyourself.Butalwaysremember thatthe meaningful. And keep inmind thatsocial media isinformal, so Be anauthentic you. Focusonbeing genuine, sincere, and Colbert). Don’tbeajerk.complain.salesman. not apersona youtrytoproject (unlessyou’re, say, Stephen yourself online. Readers and potential readers want toknow you, Be Yourself, but BeProfessional consistent. of gaining afollowing. Try yourbesttobebothvisibleand Popping inonce aweekisn’tgoing tohelp youmuch interms rest isoutof yourhands. control yourlevelof participation and how activeyouare. The make peoplebuyyourbookorread yourblog.You canonly other peopleand how they respond toyourefforts. You can’t remember thatwhen itcomes tosocial media, youcan’tcontrol Show peopleyou’re listening and you’re interested inthem. And and blogpostsyourfriends linkto.Engage indiscussions. interested in.Respond toTweets. Comment onFacebookupdates You can’tengage withpeopleifyoudon’t know whatthey’re Social networking isabouttalking, butit’salsoaboutlistening. | PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY MEDIA FOR SOCIAL USING | PRINCIPLES Retweet and share the linksand postsof others. Ifyouread Facebook and Twitter are rich sources of information and make Presenting aprofessional selfisaboutyourwords, butit’s It’s okay—ideal, even—toshow yourpersonality and be Just trytobeconsistent withyourposting and participation. to talkaboutwhatyou’re having for lunch—people loveand responses from, some of yourfriends. And, honestly, itisokay are fine solong asthey willbeinteresting to,and likely elicit that daily). day onTwitter isjustfine (and some userspostevenmore than platform. Sixpostsaday onFacebookistoomany. Sixpostsa subscribers. Ifyoulike toupdate frequently, Twitter isabetter too often onFacebook,asthatcanannoy friends/followers/ newsfeeds rather thanbyvisiting yourpages. Avoid updating majority of yourfriends and followers willfind them via their Posting DosandDon’ts socializing, not selling. Social media sitesare communities. and thus participating inand building community. Focuson of yourtime supporting, encouraging, promoting, orsharing, conference inwhich you’re participating), butspend the majority (your latestblogpost,yourupcoming bookstore appearance, a readership inthe long run. professionals) who canultimately help yougrow yournetwork and attention of gatekeepers (bookreview bloggers, publishing to yourentire network of personal and professional contacts. The disseminate personal information toyourinner circle rather than to those who willnot beinterested. It alsoallowsyouto your efforts and keeps youfrom offering certaininformation news toonlyalistof writer friends. Using listshelps youfocus list of localfriends toabooksigning, orpost linkstopublishing certain specific groups of friends. Forexample, youcan invitea subscriptions. Listsallowyoutoprovide certaincontent to you couldonyourown. that they found valuable and thus spread the word further than of youraudience, they willalsorepost/retweet aboutcontent Facebook and Twitter friends and followers likely bethe majority they probably won’tmake ahabitof it.And not onlywillyour essential toremind readers tovisityour blog, becauseotherwise you’re well-known), withsomuch online content outthere, it’s about. The reality isthatunlessyou’re well-known (and evenif blog orawebsiteaslong as that’snot the onlything youpost your network and allowing them toget toknow you. a balance of industry and personal, thus being bothusefulto certainly usefuland of interest toyournetwork, it’sgood tooffer not bepublishing/book-related. Whilethese typesof postsare about itvia comments. Allyourphotos, videos, and linksneed relate towhatyou’re posting and start/participate inadiscussion posting. Thisallowsfriends tolearnaboutyou,and they may find interesting/funny/outrageous/important aboutwhatyou’re a good idea toget visual now and again.Comment onwhatyou as . oatmeal. and reveals alittleaboutyou.“Time for my oatmeal” isasdull I catchuponpublishing industry blogs”iskind of interesting boring. “Munching onleftoverturducken ongrilledsourdough as to know you.Justdon’t do itallthe time, and don’t make it respond tofood, and these kinds of postshelp yournetwork get As far aswhattosay, straightforward “whatI’mdoing” posts When itcomes toseeing yourpostsand yourTweets, the It’s great topromote whatyou’re doing via social media On Facebook,take advantage of features like listsand Social media isagreat waytoremind peopleyouhavea Photos, videos, and linksstand outinaFacebookfeed, soit’s PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY | 253

Facebook subscription feature allows people to follow your posts PREPARING & SUBMITTING rather than be your friend—that way they get to see what you have to say, but their posts won’t show up on your newsfeed. For authors with personal (rather than fan) pages, lists and subscriptions can be invaluable. (Check Facebook’s help pages or Google for instructions on setting up these features.)

Enjoy Social networks are places where writers and illustrators can hang out, vent, commiserate, share, and get refreshed. Engaging in social media can be fun. If it feels like a chore, something you MARKET SURVEYS dread, then either it’s not right for you or you’re doing it wrong. If it’s not working for you, reassess, consider the above advice, and give it another shot. Social media can certainly play a role in the success of an author or illustrator, and you don’t want to miss out on the opportunity to have it work for you. DIRECTORIES & RESOURCES PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS 254 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY MEDIA FOR SOCIAL USING | PRINCIPLES help authors reach their audience. in their networks. Reviews are searchable by author, title, ISBN, and genre. Goodreads also features anauthor program to programming knowledge. You can follow other users to see their posts. chat, music,and video. It’s agreat platform for those who wish to integrate media to blogs but don’t have extensive recommendations for others intheir network. You’ll find a wealth of publishing types here. can videochat with,say, awriters group orbookclub. “circles,” allowing for focused social networking. Plus, you can upload avideoplug-in and create “hangouts,” where you YouTube “channels.” websites, loaded onto Facebook and Google+,linked to from Twitter, and pinned onPinterest. Users can create their own Reading.”) It’s easy to accumulate followers by signing inwithyour Facebook account. share things, like bookcovers and trailers, and see what others are looking atinvarious “Books Worth categories (like congregate: quirky, as opposed to what’s inane/inappropriate/vague/cryptic/TMI. Seek out the former and unfriend the latter. from adaily chuckleto links to consistently helpful blogposts). Become agoodjudgeofwhat’s interesting/relevant/ time you dodevote to keeping upwithyour network willbemore focused and more valuable. endlessly noisy Twitter orFacebook newsfeed can beannoying and justplain daunting. With fewer poststo deal with,the to share. offline for a week (or a month) so you can concentrate on work. When you come back to check in, you’ll likely have plenty the day (or whatever works for you)—and stickto it. your creative time. waster—it’s funand can bealittle addictive. Take aself-disciplined approach so social networking doesn’t infringe on Goodreads (goodreads.com): This is asocial network all about reading. Users share their reviews ofbooks withfriends Tumblr (tumblr.com): This is ablogging platform that allows users to easily upload text, images, quotes, links, LinkedIn (linkedin.com ): Amore professional social network, LinkedIn users list jobexperience and skills and can leave Google+ (plus.google.com): Just as withFacebook, users can share updates, videos,and photos and easily create YouTube Pinterest (pinterest.com): Asite allowing users to “pin”images and videosto “boards”. It’s agreat way to visually Beyond Facebook (facebook.com) and Twittertwitter.com) ( , here are afew other social networks where bookish types It’s absolutely okay to unfollow orunfriend those from whom you are getting no value (and “value” could beanything Don’t follow everyone who follows you, and don’t accept every friend request that comes your way. Weeding through an It’s perfectly acceptable to temporarily disconnect when you find it necessary. Tell your friends and followers you’ll be Consider giving yourself atime limit—say, thirty minutes inthe morning, withacouple offive-minute check-ins during While it’s essential to invest time engaging insocial media, beware: Ifyou’re not careful, itcan become ahugetime (youtube.com): Upload booktrailers and other promotional orfunvideosthat can beembedded inblogs and OTHER PLACES TO CONNECT AVOIDING THETIMESUCK 7 STEPS TO BLOGGING SUCCESS

by Lee Wind

o you want to start a blog. Or, maybe someone (like an editor or an agent) has told you that you need a blog. Or, you’ve seen other au- S thors and illustrators’ blogs and thought, I can do that.

Well, you can. But the web is crowded and loud, and to break How is my blog uniquely authentic – a genuine expression of me? through you need a plan. Here are seven steps to build that plan: Action Plan for Step 1: STEP 1: BE AUTHENTIC »» Make a list of the three blog posts you’re most proud of (or the three posts you’d most like to write.) You don’t need “a” blog – you need your blog, one that’s unique, »» What is the common element that makes them stand out? What content-rich and effective. In a word: Authentic. makes them uniquely you? »» Defining this is the first step to finding your authentic blogging “What is your unique voice?” voice!

This is something that editors and agents are talking about all the STEP 2: CLAIM YOUR POWER time. They’re asking authors and illustrators, are you telling your story in a way that only you – and no one else – could? Blogging is publishing 2.0

Imagine you want to do a picture book about The Boy Who Cried There are no gatekeepers (for good and bad – make sure you Wolf. You’re going to need to figure out what makes your take on the proofread before hitting ‘publish!’) and it’s pretty much free. There story unique, right? Are you telling it from a different point of view? Is is some hardware involved, though internet time and computers are there an unexpected twist? What about your retelling makes it uniquely available in many libraries. yours? Blogger, Wordpress, YouTube, Twitter, Facebook*, Squarespace, Look at John Rocco’s “Wolf! Wolf!” [link here: http://roccoart.com/ Tumblr, Pinterest… the list of blogging platforms is constantly wolf-wolf/ ] changing, and as of this writing a quick search turned up more than 20 It’s a retelling of that Boy Who Cried Wolf fable, but told from the available options. There are people out there who will be interested in wolf’s point of view, in China, and with a great twist at the end that what you have to say… But what are you going to say? makes it the version that only John could have written and illustrated. Blogging is your opportunity to create content, filter content and “Wolf! Wolf!” has its own voice, and that makes it stand out and be share content. successful. Want to write your own poems? Share your illustration process? Now you need to ask yourself these questions about your blog: Conduct an interview? That’s all content you create. What is my blog voice? What’s going to make my blog post on something 300, or 3,000, or Want to let your blog readers know about your favorite movies that 30,000 other people are also blogging about stand out? (hint: the only relate to your blog’s theme? Discuss how a book or TV show works thing you have that no one else has is you!) or doesn’t work from your perspective? Want to rant about the latest 256 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » why wouldIcome back?’ think, ‘Ifthe blogowner doesn’t care enough tokeep thisplacenice, full of spammy, inappropriate, unrelated comments. They’re going to coming yourway, and nothing turns off readers quicker thanthreads and you’re the publisher. You decide whatgets inand whatdoesn’t. seems off-topic, go ahead and delete it.Your blogisself-publishing, you moderate every comment? Willyouallowanonymous comments? your virtual dinner party?How are yougoing tocontrol yourblog?Will news! employer toseeonthe front page of the New York Times orthe local your mother, yourkid’s kindergarten teacher, and any possiblefuture for yourself. members bycategory, like “Teen” or“Husband.” Make some decisions STEP 3:SHOW RESPECT created. from yourFacebookfriends butyoustayincharge of the content you’ve somewhere elseand postaboutitonFacebook.Thatgets youthe traffic I’d recommend against making ityouronlyplatform. Bettertoblog not giving upright of usage. Alotof peopleare onFacebook,but Wordpress oranother platform) keeps yourmaterial yours, and you’re become Facebook’s. Blogging atyourownsite(through Blogger or » » » share. need toread? Orafascinating blogpostoncraft? That’sallcontent you conversation aboutthat.) as amixof someone else’scontent and yourcontribution tothe Disney kid’s App?That’sallcontent youfilter. (Think of filtering content | 7 STEPS TO BLOGGING SUCCESS | TOBLOGGING 7 STEPS » » » » Be polite. When commenting anywhere online, don’t blatantly self- Action Plan for Step3: Similarly, youmust monitor for spam.There’s alotof itthatwillbe It’s yourblogand youare incharge. Ifacomment offends you,or Do youhaveacontroversial topic? How much dissent do you want at How safeaspaceisyour blog? Respect yourselfand others willrespect you,too. Remember thatyoushouldn’t bloganything youwouldn’twant Some peoplepostphotos of their kids. Others refer totheir family How personal do youwant togo? *A note onFacebook:technically, things youpostonFacebook What content do youwant toshare? What content do youwant tofilter? What content do youwant tocreate? Try toanswer these questions: Action PlanFor Step2: Create. Filter. Share. Blogging ispowerful! Seen agreat cliponYouTube? Oraninsightful article more people passion willhelp youstayontheme. sell more of their books. Dig deeper.) thematic message? value. create. Oftenthisrevolves around some personal passion for acauseor STEP 4:LEADWITHPASSION publish (or inadvance) yourposts. Thatwayyoucancreate three months after. longevity of yourblog)thansevenpostsone weekand nothing for month) onaregular day isbetter(for readers, search engines and the get youtolong termgoals. will deflate youifthey’re not met. Focusonshort termstepsthatwill roll outcontent over time. Becareful of unrealistic expectations that without asix-month planfor sustaining yourposting. Allowyourselfto STEP 5:BEDILIGENT » where youwant togo. content withaneyetohow itallfitstogether synergistically. you’re posting willhaveyourreaders caring, too. you do care aboutit–it’syourpassion! And you caring aboutwhat sense thatit’simportant. It willseemlike youcare aboutit,because » Define thispassion. Writeit down. Sayitoutloud. Defining your (Note that‘selling books’isnot ahelpful answer. Everyone wants to What isthepointof you havingablog? To help youputitinto words, seeifyoucananswer thisquestion: You need tofigure out,whatare yourpassions? Whatisyour Writers tend toworkaround similarthemes inthe content they clicking backtoyou. wondering ‘Justwho isthatinsightful commenter?’ and they’ll start good Karma, and overtime, sharing great comments willhavereaders promote. Stayon-topic and contribute totheir conversation. It’s Explore the ‘scheduling’ function onmany blog platforms topre- A regular blogging schedule (like posting once aweek,oronce a Set yourself upfor success Recognize thatanaudience buildsovertime. Don’tstartablog Short Term/Long Term on yourtheme. contribute meaningfully. Overtime, youcanbecome aleading voice passion. Join inthe conversation where it’salready happening, and is talking aboutyou,butwho istalking aboutyoursubject, Use Googlealertsand twitter#searches tofind out not justwho Action Planfor Step4: Think of yourpassion asyourblogging compass. It willhelp youget Knowing yourpassion you’llbeabletocreate, filterand share Sticking toyourpassion willimbueeverything youpostwiththe 7 STEPS TO BLOGGING SUCCESS | 257

posts in a clump, but have them go up on your blog on a regular middle of it. Write the name of your blog there. Around it, in circles PREPARING & SUBMITTING schedule. that touch the first, add in those additional audiences and groups.

Note: There are no rules with blogging, and it’s all under your I spent five minutes doing this for my personal blog, I’m Here. I’m control. There are bloggers who don’t blog consistently, but once Queer. What The Hell Do I Read? in a while have a brilliant idea, make it happen and get tons of traffic and attention, and then they focus on other things until their next amazing idea… A great example is how author/illustrator Jim Averbeck decided to create a ‘red carpet’ for the Newbery and Caldecott awards. [link to http://www.kidlitredcarpet.com/ ] Jim got dressed up and shot video of himself interviewing famous authors and illustrators MARKET SURVEYS standing on a red bath mat before they went in for the ceremony! He did it for a number of years, and each time it got lots of well-deserved attention.

Consider Solo Blogging Versus Group Blogging With a solo blog, it’s all yours. Your voice, your passion, your content, your control and your promotional vehicle. What’s also all yours is the responsibility for regularly creating, filtering and sharing DIRECTORIES & RESOURCES content, and you are on your own dealing with comments, changes, archiving, link updating, spam and other ‘blog business.’ You’re also on your own in terms of getting people to come to your blog. This brainstorming exercise doesn’t have to be neat, it’s just for you.

With a group blog, the responsibilities are vastly less, but you don’t This helps you see where you can go to connect and hook into get the control or the same promotional/branding value. For a group your communities. What’s extra-cool is that it’s also the secret to blog, having a clear theme is critical! Also, consider how many more generating content ideas. people will come to a blog when there are multiple people who are passionate about promoting it! For each circle, ask yourself ‘What can I offer this group?’

Action Plan For Step 5: When the #WeNeedDiverseBooks movement took off (after I’d

Don’t overwhelm yourself. You don’t have to do it all right now. been blogging at I’m Here. I’m Queer. What the Hell Do I Read? for PUBLICIZING YOUR PUBLISHED WORK »» Narrow down your to-do list to the top three things you want to do seven years), I wanted to do something more on my blog to support with your blog. it but I wasn’t sure what. This exercise helped me discover the »» Pace yourself. Setting realistic goals – and meeting them – will feel connection between “other authors and illustrators who include LGBTQ great! characters and themes,” “Ally for other diversity in Kid Lit” and the “#WeNeedDiverseBooks” circles. What could I offer other children’s STEP 6: DEFINE YOUR CIRCLES OF INFLUENCE content creators to help get more diverse books out there in the world? That’s how my “Agents Looking For Diversity” series [link to: Most blogs have less than 20 unique visitors a day, because their http://www.leewind.org/search/label/Agents%20Looking%20For%20 circle of influence is limited to their friends and family. Diversity ] came about, and one or more of those interviews are consistently in the top ten most popular posts for my blog. I didn’t What you need to do is find the people and groups out there who do them because they’d be popular, I did them because I wanted to share your passions and affiliations. Who else is your audience? contribute. But it’s a nice perk. Working moms? Queer teens? School counselors? Independent

booksellers? Sport camps? Pre-school teachers? Knitters? Girl Scout STEP 7: BLOG WITH JOY SCHOOL VISITS troop leaders? Lee & Low Books’ Marketing and Publicity Director Hannah Ehrlich Whatever you’re writing about, whoever you are, your values/issues/ said this in her post Marketing 101: The Best Social Media Platforms identities hold opportunity: You care passionately, and you’re not For Authors [link: http://blog.leeandlow.com/2015/09/03/marketing- trying to sell them your books. You’re trying to engage them about 101-best-social-media-platforms-for-authors/#more-11304 ] “One your passion, which maybe they share… of the questions I get most often from authors – both new and LEGAL QUESTIONS experienced – is, “Which social media platforms do I have to be on?” Note: While the children’s book community is super-supportive, There are a lot of ways to answer this question but I want to start beware of the echo chamber. You want to speak to your fellow writers by addressing the question itself, which is often phrased in exactly and illustrators, sure, but you want your books and stories to go this way. The answer is: you don’t have to be on any social media beyond that audience as well. platforms you don’t want to be on. …the number one thing you Action Plan for Step 6: should ask yourself is whether a particular platform will be enjoyable »» Take a blank piece of paper, and draw an egg-sized circle in the and sustainable to you.” 258 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 7 STEPS TO BLOGGING SUCCESS | TOBLOGGING 7 STEPS and therestof thetimehecanbefound writingandblogging! Programming for theIndependent BookPublishersAssociation, SCBWI Memberof theYear.By dayheworks asDirectorof Marketing and Blog scbwiconference.blogspot.com. In2015hewasrecognized as SCBWI: TheBlogscbwi.blogspot.comandOfficialSCBWIConference What theHellDoIRead?www.leewind.org, andthetwoSCBWIblogs, pageviews for hisaward-winningpersonalblog,I¹mHere. I¹mQueer. Lee Windhasbeenbloggingsince2007,tallyingupmillionsof roadmap toblogging success. Seeyouonline! » passion, andshow your joy. should youcare? Make peoplecare aboutwhatyouwrite. be writteninawaythatmakes youfeelthatthe author cared, orwhy should beinteresting, inspired, intriguing and passionate. It should And eventhen…) food issomehow expressive of yourpassion. Oryou’re acelebrity. lunch, no matter how popularfood photos seemtobe. (Unless the ultimately, ifyou’re not enjoying blogging, you’re not doing itright. Post” tobesuccessful. Success canmean many different things, but conversations do youwant tojoin? with yourfriends and colleaguesinthe lastmonth? temperature. Whatmakes youwant toshare? Whathaveyoushared results youwant. be good atit.You won’tbring yourpassion. And itwon’toffer youthe » Work through the abovestepsand action plans, and you’llhaveyour to find yourjoy. It willhave found you. Consider thatifyou’re trulyblogging yourpassion, youwon’thave Action Planfor Step7: When you’re doingsomethingyou love, itshows. Show your What wouldyoucare toread aboutonthe blogof astranger? It The worlddoesn’t need another blogpostaboutwhatyouhadfor Not everyblogneeds tohaveanaudience like “The Huffington Where do youwant tospend youronline reading time? What Think aboutwhatmakes youlaugh.Whatchanges youremotional It’s great advice. Ifyoudon’t enjoyblogging, you’re not going to

INTERNATIONAL BLOGGERS: WHAT THEY CAN DO FOR YOUR BOOK

by Angela Morrison

t’s late. You’re sitting in bed with your laptop, catching up on e-mail. A blogger from Brazil requests an ARC (advance review copy). Her English isn’t I perfect. Suspicious, you move to delete it. Your publisher won’t send books out of the country anyway.

Hang on. Check out her blog. Whoa, this young Brazilian woman » Raila at booksoutofthebookshelves.blogspot.com in Brazil has 10,000+ followers, close to a million pageviews, reviews posted » Regie at theundercoverbooklover.blogspot.com in the Philippines for the season’s hottest YA novels, and relationships with a long list » Amber at serenehours.blogspot.com in Vietnam of Brazilian publishers. Write her back! » Iris at www.literalmentefalando.com.br in Brazil About four months after my novel Sing Me to Sleep (Penguin/ » Eloisa at www.mientraslees.com in Spain Razorbill, 2009) released, I received such a request. I didn’t delete » Lucia at the-itzel-library.blogspot.com in Mexico it. I had a few ARCs left. Why not take a chance? I sent one to » Jess at sheknownasjess.blogspot.com in Australia Brazil and answered interview questions. After the initial review » Aik at aik-friendsnfamily.blogspot.com in Malaysia went up, I received more and more requests. Deciding it was worth the investment, I sent several more, and several bloggers created I always: book tours, sending my books from one blogger to another. I did 1. investigate the blog and make sure it’s legitimate. If the interview after interview. They translated my answers—and usually blogger doesn’t include a link to their blog, ask for it. posted them in both English and Portuguese. 2. sincerely compliment the blogger’s English. They’re usually Because I enjoyed existing relationships with international nervous about it and always better at English than I am at any blogger reviewers, shipping ARCs to Brazil wasn’t out of the norm foreign language. for me. Having lived abroad, I knew how hungry readers around the 3. ask international bloggers to share my review books with other world are. English is the universal language of business. Students bloggers—either casually with acquaintances or via a book tour they everywhere study English. They watch American television and organize. This can bloom into something quite amazing. Lucia at movies. Reading a foreign language is easier than speaking or Itzel Library put together a huge tour of Hispanic blogs featuring writing it. Further exposure in an up-and-coming market could yield both my YA books—and translated all the interview questions and a foreign rights deal. my answers. And even if that didn’t happen, I understood that more and 4. happily grant requests for an interview. I’m very selective more books published in the United States are finding international regarding the bloggers I mail books to. When I have to say no, I readers. Services from Amazon to the Book Depository reach readers always offer to answer interview questions. around the globe, especially with ebooks and devices like the new 5. double-check the address. International mailings cost between international Kindle. Websites like Goodreads have readers worldwide $10 and $18, so you don’t want to make mistakes. Check the Book posting reviews. The YA blogging craze doesn’t stop at your border. Depository. Even with free or discounted review copies from your There are no boundaries in cyberspace. publisher, it might be less expensive to use. And maybe, if you bug your publisher enough with updates of 6. ask them to send a link when the post is up so I can blog, reviews and interviews, they’ll shoot an e-mail to their agent in tweet, and FB it up. the target country in question. I ended up being featured on about 7. refuse to send electronic copies. If you have access to thirty YA review blogs in Brazil. Six months later, Penguin signed a safeguarded ebooks and permission from your publisher or can get contract for Sing Me to Sleep to be published in Brazil. your publisher to send them, this might be a viable, inexpensive Some of my favorite international bloggers include: option, but it ups the risks of pirating. I have heard suspicions » Bee at talkmusebanter.blogspot.com in India of black marketers posing as international bloggers, but have no » Jo at onceuponabookcase.blogspot.com in the UK evidence of this personally. Be careful, though.

260 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | INTERNATIONAL BLOGGERS | INTERNATIONAL www.angela-morrison.com Portuguese translationreleasedinBrazil2011.Visitheronlineat Vermont Collegeof FineArtsandaBA fromBYU. fiction, and 2011 YA Winneranda2010GoodreadsChoiceAward nomineefor YA Angela Morrisonistheauthorof tour around the world—without everleaving yourbedroom. welcoming and enthusiastic asIdid. Sitback,relax, and enjoyabook I’m confident you’llfind the international blogging community as Taken byStorm

. (Books 1–3).SheholdsanMFA from Sing Me toSleep Sing Me toSleep , USA BestBooks ’s ’s RIP FOR THEPRESS RELEASE?? NOT SOFAST!

RIP FOR THE PRESS RELEASE?? NOT SO FAST!

by Susan Salzman Raab

e know media has undergone massive change in recent years. Print has been giving way to online, the blogosphere fostered an explosion of Wcitizen journalists, and social media changed our notion of timeliness as Twitter brings global news in real time.

Along with that have been reports about the demise of the press Facebook is number one. It’s where more than half of every Internet release. News releases are definitely still with us, but require new user already is. Make sure you are there and interacting with your thinking to be effective. friends and fans. Today, releasing news is about sharing, creating conversation, and YouTube, Vimeo, and a Flip camera are priceless. It doesn’t cost much using links, keywords, and multimedia to engage your audience. Of to create a quick video. Again, people follow people, not businesses or course there are tools to help present your story in a more dynamic way. books. Let people make a connection with you and they’ll come back for PitchEngine is one designed to create social media releases, and I asked more, again and again. founder Jason Kintzler for his thoughts. PitchEngine provides a great way to tell your story or summarize your book. Websites are good, but hard to create, and even harder 1. What need was PitchEngine created to address, and how has it to optimize for search engines, etc. Social networks are great for evolved over time? cultivating and sharing with your audience, but they aren’t for It was built as an alternative to the traditional press release and storytelling. PitchEngine fills this role. Package up your content and push distribution process. Instead of sending documents via e-mail share it on your site, social networks, search, and more. or newswires, for the first time, PR pros could easily package up their own branded content into a single Web page. Before PitchEngine, 4. What emerging trends do you see as key for marketing? press releases were for journalists almost exclusively, and PDFs and Mobile and tablet devices are big. Other countries are somewhat ahead image e-mail attachments were the norm. It has evolved into a tool for of us in this arena—mostly because they didn’t have the PC adoption that businesses and organizations of all sizes to get the word out to their we did in previous decades. The more relevant and easily accessible your customers, fans, and other online influencers. It’s one part content content can be, the better. Look for ways to help your audience connect. creation, two parts storytelling. (When I’m at a public place for dinner with my kids, there’s nothing better for us than to find an interesting cartoon for our two-year-old to 2. What do you think is most important in effective promotion watch on YouTube via iPhone for a distraction when things are getting a today? little crazy. Be a solution and a resource at the same time.) Authenticity. People are savvy to the traditional “push” marketing methods. People follow people, not businesses. Be real, be 5. What about the press release specifically? Do you think that’s conversational, and interact with consumers and fans in authentic ways. still a key publicity tool, and what other formats do you think are Then, when you do have the need to “pitch,” it isn’t unexpected or effective? annoying to your audience. They follow YOU and realize YOU are your Well, I think the days of the traditional press release are long gone. business. The saying holds true for social media as well: Do unto others Black-and-white, AP format copy just isn’t engaging anymore. Content as you would have done to you. ;) consumers (which include journalists as well as consumers) like to be engaged. Images, video, illustrations, whatever. What is still cool 3. What tools do you recommend for authors and illustrators who about the press release is the utility. Make your content accessible and may not have a big budget, but are willing to put in the time to sharable so that bloggers, journalists, and fans can evangelize for you. promote their books? That’s when the word will get out. FIFTY-TWO KIDLIT BLOGS TO VISIT BEFORE YOU DIE FIFTY-TWO KIDLIT BLOGS TO VISIT BEFORE YOU DIE

by Joni Sensal

verything you could possibly need to know to create books for children is on the Web, a lot of it in blogs. But with blogs being published by everyone E from anonymous editors to MFA programs, where do you begin?

We’re taking a tip from the bucket lists and must-see travel guides. FROM THE LIBRARY (MOSTLY) Here are fifty-two kidlit blogs you’ll want to check out at least once— Bookshelves of Doom explore one a week for a year, perhaps—along with tips for using your Book news, reviews, and fun tidbits surfing time effectively. www.bookshelvesofdoom.blogs.com/bookshelves_of_doom Prioritize what you want. Blogs exist for different reasons, and their readers reap different rewards. Are you after how-to tips? Moral A Chair, a Fireplace & a Tea Cozy support? Industry news? Lively debate? Shared deadlines? Friends? Almost Reviews and commentary from New Jersey librarian Lizzy Burns; anything you’re after can be found in a blog, at least part of the time. currently hosted by School Library Journal “Sometimes it’s just the experience of reading something beautiful,” blog.schoollibraryjournal.com/teacozy says Mirka Breen, author of The Voice of Thunder. “But the surprise revelation of my dip into the blogosphere is that blogs become company Charlotte’s Library and remind me of pulsating hearts out there.” Reviews of mostly fantasy and sci-fi for young readers While that connection is important to many, you’ll enjoy blogs most charlotteslibrary.blogspot.com efficiently if you identify what you most want but can’t get elsewhere (such as your in-person critique group). Click first to those blogs that A Fuse #8 Production reliably provide it, create your own don’t-miss list, and leave the “also Reviews and industry commentary from Manhattan librarian Betsy fun” blogs for spare time. Bird; currently hosted by School Library Journal Participate. The community that develops among readers who blog.schoollibraryjournal.com/afuse8production comment is a key benefit of many blogs. Discussions keep things lively, so add your perspective, too. Ms. Yingling Reads Watch the procrastination factor. You literally could read kidlit A teacher reviews books for middle-schoolers, especially boys blogs all day long—especially if you use them as an anxiety crutch, as msyinglingreads.blogspot.com described in an insightful post by The Intern (bit.ly/JbMKD2). Don’t let them cut into your own creation time. One good strategy is to set aside Seven Impossible Things Before Breakfast a finite time, such as thirty minutes a day or an hour on Sundays, to Reviews and interviews, mostly about illustrated books read and comment. Then get to work. blaine.org/sevenimpossiblethings Subscribe to favorites. Although the distinction between a blog and a website is blurring, most blogs have RSS feeds or similar methods of Stacked getting new posts by e-mail or in a reader. Reviews and library perspectives, including a special interest in cover Don’t be afraid to move on. Most blogs wax and wane with the art www.stackedbooks.org blogger’s interest level, life events, and career demands, and each year’s debut authors often start new ones. If a fabulous blog fades or ends, don’t despair. Just move on. There’s always another great blog (or Yahoo group or Twitterchat or NewFangledThang) to discover. 264 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org First SecondBooks: DoodlesandDailies The EnchantedInkpot The Brown Bookshelf Blue RoseGirls The Bookshelf Muse Book Dads SCBWI: TheBlog GANG EFFORTS Writer’s DigestGuidetoLiterary Agents Read Roger The PurpleCrayon Blog PW ShelfTalker Kidlit.com Editorial Anonymous Levine Books Brooklyn Arden INDUSTRY VETSBLOGGING | FIFTY-THREE KIDLIT BLOGS TO VISIT BEFORE YOU DIE BEFORE TOVISIT BLOGS | KIDLIT FIFTY-THREE firstsecondbooks.typepad.com/mainblog Cool graphic novel stuff enchantedinkpot.blogspot.com Fantasy folks thebrownbookshelf.com Celebrating African-American voices in kidlit bluerosegirls.blogspot.com Several illustrators, authors, and aneditor thebookshelfmuse.blogspot.com Writing thoughts and tools, including bookdads.com Reviews and news from daddy readers scbwi.blogspot.com Need wesayit?Interviews, conference scoop,and more www.writersdigest.com/editor-blogs/guide-to-literary-agents Interviews and tipsbyChuck Sambuchino www.hbook.com/category/blogs/read-roger Rants and raves from www.underdown.org/blog.htm Industry news and insights from Harold Underdown blogs.publishersweekly.com/blogs/shelftalker Vermont children’s booksellersonthe business kidlit.com Movable Type agent Mary Kole editorialanonymous.blogspot.com Apparently inhiatus, ifnot retirement, buthasvaluable archives chavelaque.blogspot.com Manuscript analysis and revision tipsbyCheryl KleinatArthur A. Horn Book editorRoger Sutton The EmotionThesaurus The Picture BookJunkies Blog Literary Rambles Illustration Portfolio Mentorship Program. Kidlit Artists I.N.K. Guys LitWire From theMixed-Up Files.of MiddleGrade Authors Cynsations A Children’s Author’s Eye View of Writing andLife INDIVIDUAL CREATORS WITHCONTENTTO SPARE YA OutsidetheLines YA Highway Viva Scriva writing tips Through theTollbooth Teaching Authors Readergirlz Illustrators and art www.literaryrambles.com Zillions of agent interviews kidlitartists.blogspot.com Tips, news, and resources from the recipients of the SCBWI inkrethink.blogspot.com Interesting Nonfiction for Kids guyslitwire.blogspot.com Book news and reviews for teenboys www.fromthemixedupfiles.com The name pretty much saysit! cynthialeitichsmith.blogspot.com Interviews and more from Cynthia Leitich Smith susannahill.blogspot.com Help for picture-book creators bySusanna Leonard Hill yaoutsidethelines.blogspot.com Teen angst and authors www.yahighway.com Great linksonField Trip Fridays vivascriva.com Thoughts particularly oncritiqueand revision thru-the-booth.livejournal.com A bunch of Vermont College of Fine ArtsMFA graduates withgreat www.teachingauthors.com Teaching, writing, and teaching writing readergirlz.blogspot.com Teen literacy, interviews, and hipinteractions www.pbjunkies.blogspot.com FIFTY-THREE KIDLIT BLOGS TO VISIT BEFORE YOU DIE | 265

I’m Here. I’m Queer. What the Hell Do I Read? Nathan Bransford, Author PREPARING & SUBMITTING GLBTQ books and views from Team Blogger Lee Wind And former agent www.leewind.org blog.nathanbransford.com Pub Rants The Happy Accident Tips from Nelson Literary agent Kristin Nelson Social media tips from Greg Pincus pubrants.blogspot.com www.thehappyaccident.net Query Shark Inkygirl Agent Janet Reid gets tough on queries Fun writer/illustrator comics from Debbi Ridpath Ohi queryshark.blogspot.com inkygirl.com MARKET SURVEYS And check out her archives as Miss Snark: Jen Robinson’s Book Page misssnark.blogspot.com Possibly the longest kidlit blogroll you’ll find, in case this list isn’t enough Writer Beware® Blogs jkrbooks.typepad.com Warnings, gotchas, and industry watchdogging www.accrispin.blogspot.com Middle Grade Ninja

Reviews and seven-question interviews with agents and authors Joni Sensel is a former co–regional advisor for SCBWI Western Washington DIRECTORIES & RESOURCES middlegradeninja.blogspot.com and the author of middle-grade fantasies, including The Farwalker Trilogy (Bloomsbury). Don’t blame her if your favorite blog’s not on this list— No Water River just compile and post your own! Kid’s poetry from Renée LaTulipee and friends www.nowaterriver.com

The World According to Maggie Novelists: Don’t miss the “From Rough to Final” revision peeks (bit. ly/zotypA) maggiestiefvater.blogspot.com

Writing for Kids (While Raising Them) PUBLICIZING YOUR PUBLISHED WORK Author Tara Lazar and PiBoIdMo taralazar.wordpress.com

NOT EXCLUSIVELY KIDLIT, BUT TOO GOOD TO MISS Buzz, Balls & Hype A best-selling author’s marketing tips and ideas mjroseblog.typepad.com/buzz_balls_hype

Cartoon Snap! Cartooning, character, and animation resources from Sherm Cohen cartoonsnap.blogspot.com

Drawn

Daily art inspiration SCHOOL VISITS blog.drawn.ca

Evil Editor Maybe even better for laughs than query tips evileditor.blogspot.com LEGAL QUESTIONS GalleyCat Industry scoop from MediaBistro mediabistro.com/galleycat

The Intern Publishing insights from (now unveiled) Hilary Smith internspills.blogspot.com ALL ABOUT BOOK TRAILERS ALL ABOUT BOOK TRAILERS

by Sara Wilson Etienne

book trailer has the same function as a movie trailer. It’s a short film that introduces an audience to a story, generating excitement and building A anticipation. Book trailers can vary widely, from movie-style live-action trailers, to an author talking about their book, to pictures and text that give a brief synopsis.

Though making trailers is a popular marketing trend for authors and audience for your book trailer will be parents, teachers, and librarians. publishers, book trailers can be an expensive and complicated endeavor. Consider what these people look for when they are picking out books for This publishing guide will help you decide if you need a trailer for your children. Author interviews can be a good choice for these genres. book and, if so, how to go about creating one. If you are writing young adult fiction, then your target audience is your readers. Think about how to captivate teens and get them excited Do I need one? about your story. Book bloggers, librarians, and parents might also This is the first and most important question you must ask yourself watch your book trailer, but they are not your target audience. when considering a book trailer. Trailers must be thought about as one piece of a larger promotional picture. Authors and publishers have a What are my resources? finite amount of resources when it comes to marketing, and there can If you need to fund your own book promotion, think about what your be a lot to do: website design, printing bookmarks, swag, funding a resources are and build your marketing plan around them, rather than book tour, etc. A book trailer might be a wonderful use of marketing the other way around. In terms of a trailer, make a list of your resources resources, creating buzz about your book. Or you might find another in each area. way to create this buzz and a different use for your time and money. The goal of a book trailer is the same as putting a best-selling »» Money: A book trailer can cost anywhere from $50 to over $10,000. author’s blurb on your front cover or a gripping synopsis on the Think about what you want to spend for your total book promotion. jacket flap: to get people to pick up and read your book. Therefore, What portion of that can you spend on making a trailer? just like your book, your trailer must have a hook. Something that »» Skills: Do you write music? Know how to shoot or edit movies? will set it apart from other trailers. Something that will get it shared Are you an artist who can animate? Be honest with yourself when and reshared with potential readers across the Internet. If you don’t thinking about your abilities. Can you do these things in a way that have the resources or interest in creating a trailer that will captivate will feel professional? potential readers and buyers, consider skipping it. There are many other »» Friends, family, and community: What skills do your friends have? compelling ways to spend marketing money. Do these skills lend themselves to book trailers? Are there film After all, having no book trailer is better than having a bad book trailer. schools nearby where students might be able to help with your endeavor? Who pays for a book trailer? »» Locations: Do you have any locations for filming at your disposal That depends. Most book trailers are paid for by the author, out of that would fit your book? their own pocket. Occasionally, publishing houses will both pay for and create trailers for their books. Make sure to have a conversation with Once you’ve taken a look at your resources, think about how you your editor about this so that you are on the same page when it comes might be able to build a trailer around your strengths. to trailers. »» Have a friend who composes music? Make the sound track do the Who is my audience? work, letting the music carry the tension, drama, or romance of your If you are writing middle grade or picture books, much of the story. 268 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » anyone you’re working withare onthe same page. interested inyourproject. It willalsoallowyoutobesure thatyouand idea of whatyouwant tocreate and giveyouawaytoget other people own, and that’sokay! Thissecond planning stage cangiveyouaclear » » » » » » can behelpful for allof them. text and pictures, author interview etc.), and these planning techniques endless variety of booktrailers youcancreate (live-action, animated, intensive, it’simportant tomaximize the planning stage. There are an So! You want tomake abooktrailer? Thenlet’s getstarted! » » | ALL ABOUT BOOK TRAILERS BOOK | ABOUT ALL » » » » » » » » » » » get afeelfor the style. Read yourscriptsoutloud tocheck for pacing short, direct phrases; typeupscriptsfrom movie trailers youlike to the scriptrepeat information youwillbeseeing onthe screen. Use a picture book.Letthe visuals do atleasthalf of the work.Don’tlet Write aRoughDraft of Your Trailer: there. music thatcommunicates the feeland tone of yourstoryand start Jaws would DarthVader bewithout “The Imperial March”? Whatwould Music: point. actual trailer, soyoudon’t need toworryaboutcopyrights atthis life. These pictures are onlyfor inspiration, not tobeusedinthe what their worldlookslike. These images canbring yourconcept to specific moments, whatyourcharacters wear, whatthey looklike, and real lifethatcommunicate the feelof yourbook.Thinkabout Create aLookbook: Most peopledon’t havethe skillstocreate agreat trailer ontheir 2. MakingaPlanYou CanShare dream big, butstillbeflexible basedonyour resources. C—the bare minimum of whatyouwant tocreate. Thiswayyoucan needed; B—ifyouhadamore modest budget and time frame; and scenarios for yourtrailer: A—ifyouhadallthe time and money you What isthe scopeand ambition of yourtrailer? Create A,B,and C advance of yourrelease date. exposure orputituponAmazon, they may want ittwomonths in to youreditor:Ifyouwant yourpublisher tohelp yourtrailer get most trailers come outatleastamonth before their books. Also,talk How much time do youhavetocreate the trailer? Keep inmind that What isyourbook’shook? Canitbethe hook for yourtrailer, too? main character? Introduce the setting? readers? Thatit’sathrillerorromance orfunny? Introduce your What isitaboutyourbookthatyouwant toget across toyour moments thattellalotaboutyourcharacters. visually. Thinkaboutcritical moments of yourplot.Thinkabout What scenes/moments from yourbookdo youwant toconvey?Think What isthe tone of yourtrailer? Ask yourselfthese questions toget started. Planning isfree! Since creating trailers canbetime- and money- 1. Dreaming UpaConcept better, consider taking thatpath. If you’vediscovered resources thatwouldfitadifferent promotion money getting great footage of the setting and letittellyourstory. Have astunning location thatworksfor yourbook?Spend your bewithout thatinsistent, menacing sound track? Listenfor Music isvitaltoyourtrailer, butiseasytooverlook.Who

Collect images from movies, magazines, online, Remember, atrailer isabitlike flexible, open,and attentive toother people’s ideas. There isa reason their time and talents, then yourtrailer becomes acollaboration. Be people involvedand excited! Remember, ifyouaskpeopletovolunteer what youare getting into when planning yourtrailer. animals. You don’t haveto avoid these completely, justbeaware of complicated: multiple locations/scenes/montages, using kids, and using » » » » » » » » you are coming tothem for help! » » » » » » » » Now thatyouhaveaconcept youcanshare, it’stime toget other 3. Approaching OtherPeople Also, some things canmake creating atrailer exponentially more if itmeans creating abettertrailer. combine scenes and change times of day orwhatsomeone iswearing The trailer is Watch Out! accompany the scriptishelpful. need toget thisdetailed, creating alistof scenes/images/visuals to shots tobefilmed, including camera angles. Whileyouprobably don’t Create aShotlist/Listof Scenes: caught upinthe details. the idea of yourbook,not the storyitself.It’s important not toget range from thirtyseconds totwominutes. Thinkof communicating and tone. Keep the whole trailer short: Ideally, yourtrailer should people tofind yourbooktrailer. Once you’veuploaded yourtrailer to Where Else? trailer isreleased. that some websiteswillwant exclusivity for the firstfew days the or other websitesand ask them todebut yourtrailer. Keep inmind the other hand, youasthe author canalwaysapproach bookbloggers ideas and contacts toget yourtrailer shown ininteresting places. On created the booktrailer yourself,yourpublisher might havegood they canevenbeshown inmovie theaters. Evenifyoupaid for and Weekly orSeventeen tobookwebsitesand blogs. Inrare cases, debut inmany places, from traditional media siteslike Entertainment Releasing Your Trailer: Now thatyou’vemade abooktrailer, whatdo youdo withit? 4. GettingYour Trailer OutintheWorld terms of use. (SeeOnline Resources sidebar.) purchase pictures, beaware thatprices canvarybasedonsizeand very careful also are many online resources for samples inorder tochoose someone who fitsyourvision. There create Online: doesn’t looktoomuch like acommercial. professional results. Ifyougo thisroute, becareful thatthe trailer significantly increase the cost of abook trailer, butcanalso get Production Companies: to collaboration. can beasource of innovative ideas and talent. Remember tobeopen Film andTheaterSchools: resources of their own! be interested inhelping. They might surpriseyouwithideas and Friends:

visual effects Happily, youcanfind peopleonline to Approach friends withyourlookbookand seeifthey would toget permission touseanything inyourtrailer. Ifyou Don’tget obsessedwithgetting the storydetails exact. not YouTube and Vimeo are easyand expected placesfor yourbook,it’smerely atasteof it.Allowyourselfto and First,talktoyoureditor. Booktrailers can Using aproduction company will music Know afilmstudent oractor?Students . You can listentoand lookatwork Ashotlist isanordered listof pictures . Withallof these, be

do voiceovers and ALL ABOUT BOOK TRAILERS | 269

YouTube or Vimeo, you can add that link on your own website, your PREPARING & SUBMITTING Goodreads page, and your e-mail signature, share it on Facebook and Twitter, and give it to any bloggers who interview or feature you. You ONLINE RESOURCES can also add the video to your own author page on Amazon, and your publisher can add the video to your book’s Amazon page as well. TECHNICAL RESOURCES Mandy.com (www.mandy.com) A website that connects you with film professionals all over the world. Voiceovers, make-up artists, actors, etc. Flickr (Creative Commons) (www.flickr.com/

creativecommons/) MARKET SURVEYS »» Only use pictures from Flickr that have a Creative Commons license that allows for commercial use. »» Always give attribution if specified. »» Using a person’s likeness without their permission is illegal, so never use pictures of people from Flickr, even if they have a Creative Commons license. »» Understand and follow the law when using any picture DIRECTORIES & RESOURCES found online. Getty Images (www.gettyimages.com) A website where you can purchase a whole array of images, film clips, and music. Expensive, but expansive. A good place to brainstorm. YouTube (www.youtube.com) This help page (bit.ly/rZZlI8) will explain how to set up a YouTube account and upload videos.

BOOK TRAILER EXAMPLES PUBLICIZING YOUR PUBLISHED WORK Book trailers are evolving quickly, so if you’re looking for examples, make sure you look at recent ones. Watch. Connect. Read. (mrschureads.blogspot.com) A great blog about children’s literature and book trailers. Entertainment Weekly’s Shelf Life (shelf-life.ew.com/ tag/book-trailers) A good source for catching new book trailers.

CINEMATIC BOOK TRAILERS Harbinger by Sara Wilson Etienne (youtu.be/ EPLHl1Urjnk)

Struck by Jennifer Bosworth (youtu.be/hkce1uCzlk8) SCHOOL VISITS

BOOK TRAILERS WITH A HOOK Bittersweet by Sarah Ockler (youtu.be/CppKq1-j2jc) Oh No! written by Mac Barnett and illustrated by Dan Santat (youtu.be/nDTyTtsKzvo) LEGAL QUESTIONS

AUTHOR INTERVIEW BOOK TRAILERS Warp Speed by Lisa Yee (youtu.be/qCgg3Zwdtxw) Wonderstruck by Brian Selznick (youtu. be/9K2YaVxeTiM) CRAFTING YOUR BOOK MARKETING PLAN CRAFTING YOUR BOOK MARKETING PLAN

by Susan Salzman Raab

he road to success can be a speedway or a long, winding country lane, depending on the route you take and the tools you use to map your way. T Whether you intend to or not, your marketing journey begins as you make your first decisions about what and how you will publish.

You need to evolve a strategic plan that capitalizes on your strengths, and weaknesses. Are you tied in with the school market? Are you a good engages consumers, and has sufficient flexibility to evolve with a public speaker or journalist? Are you active in social media and set up marketplace that is constantly changing. Each follows logically from the to do traditional media outreach? Do you see yourself connecting via other, once you have a clear picture of the role you want to play. gatekeepers—parents, teachers, librarians—or going directly to your The first step is to consider the industry as it pertains to you and end consumer—readers? your work. Ask yourself why you’ve chosen to come into the market Identify your opportunities. Now you’re ready to look at what can now. Are you pursuing a passion to publish a particular kind of work, be done to move forward with your goals. Start by looking at the tools or for a particular kind of reader? Did you recognize a need in the you have and the processes you can easily put in place. Do you have marketplace that you’re particularly qualified to fill? Are you entering a good contact database, media list, and e-mail system (e.g. Constant an underserved or overcrowded part of the market in terms of type of Contact, Mail Chimp) that you can use for regular outreach? Are you set consumer, genre, or format? How are you entering the market—will up with Facebook, Twitter, and LinkedIn accounts? What about Pinterest you self-publish, start your own publishing entity, or publish with a and Google+? Look at what others in your space have done to generate small or large publisher, and will you publish a print book or go directly interest and excitement. Do they do giveaways and contests? Are they to digital? Once you have the answers to those questions, it’s time to positioning themselves as experts or news makers, or trying to become consider how that will affect your timing, presentation, and strategy. popular with their fan base (which is often the case with the teen Define your platform. This is a core issue and incorporates both why market)? Can you speak at conferences, do public events, or be brought you’ve chosen to publish now and what need you intend to fulfill. Start in to teach on a topic? by researching what has been published previously on the same topic Consider your resources. There’s a lot of ground to cover, so it’s or similar to your book. Set up Google Alerts to get notified of new and helpful to have others who will play a role in the marketing process. If forthcoming books that relate to what you’re doing. Look for similarities you have a publisher, they will certainly play a role, but what that will and points of differentiation. Also compare timing. Is your book for a be will vary depending on a variety of factors. If you’ve published with different type of consumer? Is the perspective fresh or original in a way the company before, then it will depend on your track record and status you can demonstrate? Can you benefit from timing, either because there with the publisher. If not, then it will depend on the potential they see hasn’t been anything like yours in a while or because there is current for your book and what they’re set up to do to promote it. The more interest in something related to your project? information you can find out about this, the better, but know that it’s Outline your objectives. You need to think about your objectives only one aspect of what you need to do to promote your work. The big for each book and how they fit with your career as a whole. Does the difference here is that the publisher will focus on the books you publish book represent a key step in your publishing career? Is it a first book, with them, while your work needs to focus on evolving your reputation the beginning of a series, one that will introduce you to a different and career as a whole and over the long term. type of consumer? This will help determine the type and extent of Ask yourself what alliances and connections you can make that can the marketing you’ll want to do. If it is a book that serves your core provide you with more resources and capabilities than you might have or existing customer base, consider what has worked well for others on your own. There are many answers to this, including working in working in that space, or if you have a track record, what you can do peer groups with other authors or illustrators who have shared goals, to engage with them in a new or creative way. Consider your strengths looking at services and tools you can use to make the work easier 272 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | CRAFTING YOUR BOOK MARKETING PLAN MARKETING YOUR BOOK | CRAFTING their schedules. Withpublicity outreach, yourtiming willvarybythe to givepotential hosts asmuch leadtime aspossibletofityouinto to different segments of the market. Inpitching for events, youwant is truewithbothprint and digital—and when itshould besampled when earlyand finished copies of yourbookwillbeavailable—this on what’smost effective. Timing isimportant, soyoushould know small and then expand marketing inagivenarea once youget aread mechanism thanyouthought there might be. You canalwaysstart timing isn’tadvantageous; orthatthere’s lessresponse toagiven sampling of contacts. You may find thatwhilethe idea is good, the For the bestresults, consider testing some of yourideas onasmall messaging inplace, it’stime toprioritize and execute yourcampaign. objectives, know the kind of outreach youwant todo, and haveyour understanding of the larger concept youwant toconvey. and anyone elsewho isinvolvedwithyourmarketing haveaclear and the speaking youdo. It’s alsoimportant tohaveyourpublisher your promotional copy, yourpublicity, yoursocial media outreach, your work.Thisshould carryoverfrom one platform tothe next—in marketplace, the betterchance you’llhaveof evolving afollowing for brand. The more youcanidentify and conveywhatyourepresent inthe messaging tohelp the gatekeepers and consumers understand your or post)for you. publicity services, blogtours, ortogenerate content (toblog, tweet, aggregators (HootSuite, TweetDeck), and contracting withagencies for on newswires (PRWeb, PRNewswire, Marketwire), using social media and quicker. Thiscaninclude buying advertising orpaid placement strategically and creatively. what willhappen,butyoucansucceed ifyou’re prepared towork persistence tosucceed. There isno crystalballtotellyouexactly is along-term process thatneeds toevolve. It takes dedication and comes and adjustyourplans accordingly. So youneed tobeprepared torecognize these realities when the time to writeand produce abook,youcan’tknow these things inadvance. you? Whatgenre orage bracket istrending? Withthe leadtime required have abudget tospend? Is there competition thatcanhelp orhurt change aswell.What’sthe economy like? Which partsof the market what may workfor another. Certainlyconditions inthe market will one bookataparticular stage of yourcareer willnot bethe same as love interactivity. People like when material ispresented invisual and audio media and with booktrailers, YouTube, podcasting, Pinterest, and evengames. posts tobewrittenatyourconvenience. Thinkinterms of multimedia, to postsimultaneously tomultiple platforms and canpreschedule your each one-by-one orwithacalendar inhand. You cancertainlysetup engage onaregular schedule. Thisdoesn’t mean thatyouhavetodo with awebsiteand withsocial media and are prepared toupdate and to ensure good results. Make sure thatyou’veestablished apresence you should beprepared todo strategic advance outreach tocontacts social). Know thatfollow-up willbeabig partof the equation and that type of outlet(long leadfor print and broadcast, short for online and Define and execute tourplan. Craft your message. Be confidentthat your efforts willmake adifference. Evaluate your results. You need anoverarching idea and consistent Each situation isdifferent. Whatworksfor Now thatyou’veidentified your Marketing feel athome, and become fans. young readers get your books, they can goto your site, the materials onitinateen-friendly manner so that after teen audience, though, you can present your website and folks before landing inakid’s hands. Inanod to your Every YA bookmustpass through atleast one ofthese booksellers—collectively referred to as gatekeepers. primarily to parents, teachers, librarians, reviewers, and targeting young readers as direct customers, you market information ofchildren under age thirteen. Instead of parental permission before collecting the personal Act (COPPA), for example, requires websites to obtain purposes. The Children’s Online Privacy Protection the Internet for inappropriate ordownright nefarious (FTC) enforce laws protecting kids from adults who use Commission (FCC) and the Federal Trade Commission networking sites. Boththe Federal Communications their e-mail addresses orchatting withthem onsocial unknown kids has limits.You certainly can’t becollecting interact withthem; you’re agrown-up, and your access to ages nine and eighteen. You mustbecareful inhow you considerations. Your readership is somewhere between As aYA writer, you have special marketing

PAL SPEAKING OPPORTUNITIES

by Nancy Castaldo

heck out these great festivals and conferences to share your books with readers all over the country. These not only offer you the chance C to promote your books, but they also serve to connect you with other speaking opportunities. Book festivals are the perfect place to connect with local teachers, librarians and reviewers. They can also introduce you to readers in the parts of the country. You might even want to schedule your next vacation around attending one. Keep in mind, though, that they often have their authors lined up months before the event. Make contact early!

www.scbwi.org/pal-speaking-opportunities

Nancy Castaldo is the author of many notable nonfiction titles, including Crystal Kite winner Sniffer Dogs: How Dogs (and Their Noses) Save the World.

SCBWI SCHOOL VISITS

PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org DOING SCHOOL VISITS IN THE UNITED STATES to presentations. system withother authors toexchange observations and ideas related and whatyouwoulddo with anaudience. Consider setting upabuddy involve audiences inmeaningful ways?Picture yourselfinthe spotlight audiences restless? When are they most attentive? How do presenters at aschool. Take notes on whatworks, whatdoesn’t. When are the books—picture books, novels, nonfiction—if youcanshadow them ask SCBWIPAL members who havewritteninthe same genres asyour authors and illustrators inaction atavariety of venues. Forexample, Observe OtherPresenters creates buzzthatmotivates others tohire youtodo school visits. and promote the ideas thatyourbookrepresents. Aquality presentation reading astoryaloud toagroup of children. of audience members?” Inother words, school visitsare not justabout “What willIdo when Iget there thatwillmake adifference inthe lives do Iget aschool tohire me?” Butthe most important question is PLANNING ANDSHAPINGYOUR PRESENTATION concerns, and reinforce the valueof school visits. promote youravailability, follow upwithclients, deal withcommon obtaining school visits, setfees, prepare contracts and agreements, and shapeyourpresentation, explore venues thatare gatewaysto school sites to present assemblies, workshops, and/or classroom sessions. audiences. These visits are where authors and illustrators meet studentsrightat School visits are one ofthe bestways for authors and illustrators to meet desired plement your royalty income so that you can continue to thrive as abookcreator. and drawing. Making appearances can create lifelong fans, sell books, and sup W UNITED STATES The firststepinplanning any presentation isobserving other Your book ispublished. The next stepistoplanyourpresentation The most common question authors askaboutschool visitsis“How As youprepare todo school visits, you’llneed toknow how toplan DOING SCHOOLVISITS brarians, parents, and booksellers to share the joy ofreading, writing, is having opportunitiesto connect withyoung readers, teachers, li hat’s exciting about being apublished children’s author orillustrator IN THE by Alexis O’Neill and make sure thatthey can beseenclearlyatthe back of the room. photographs, yourbook,drafts and revisions, props, artifacts, costumes) that youcancloseonaunifying high note withthe whole group. answer segment, consider placing it at the end of your middle segment so of the audiences. Ifyouchoose toincorporate aformal question-and- The middle, then, canbeadjustedtosuittime limits, venues, orthe age It helps ifyoumap outanattention-getting opening and a solid closing. process thatthey canapplytotheir owncreative endeavors? or character? Identify aspecificaspect of yourownwriter’sjourney and in the classroom? Writelettersrelated toacause?Draw aspecial item example, do youwant them tobeableapplyaspecificwriting skill the audience tobeabledo asaresult of having heard you?For Content sixty minutes for grades 4–6. assemblies are thirtytoforty minutes for grades K–3and forty-five to and adifferent one for the intermediate grade students. Typical authors create one kind of presentation for the primary grade students through grade 3)and intermediate (grade 4through grade 6).Most assemblies are usually divided bygrade levels:primary (kindergarten from yourvisit,solarge assemblies are common. Elementary school smaller groups (content area classes),orasingle class. middle school and high school visitscanbevirtual (Skype),targeted to in middle schools orhigh schools. Because of scheduling challenges, Understanding How SchoolAssemblies Work Choose visuals thatcomplement yourassemblystory(e.g., family Divide yourpresentation into three parts:Beginning, middle, and end. Decide whatyourbig-picture presentation goal is. Whatdo youwant Most schools expect the greatest number of students tobenefit In-person school visitsare more common inelementary schools than

- - SCHOOL VISITS 278 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DOING SCHOOL VISITS IN THE UNITED STATES UNITED THE IN | VISITS SCHOOL DOING » » » » Adults andchildren together(usuallyallages) » » Students (theprimaryaudiencefor authorandillustrator visits) hosts: presentations, including venues thatoffer gatewaystoschool visit TYPES OFVENUES that workbest. experience, modify yourpresentation until youcome upwithprograms Based onfeedbackfrom others and from yourowntake onyour librarian, orSCBWIcolleaguetogiveyoufeedbackonyourprogram. your wayuptolarger ones. During these “rehearsals,” aska teacher, your presentation withsmall groups inclassrooms and libraries, working gate. Enlistthe assistance of alocalteacher orlibrarian and practice Practice control. you canusethem toassistyouwithhanding outmaterials and crowd representative hastoaccompany youwhen youworkwithstudents, some offer different ones according tograde levels. Becauseaschool and sixtyminutes. Some authors limitworkshops toolder students; researching, orillustrating. Usually these runbetweenforty-five Workshops bring withyouand whatyouneed yourhost toprovide. newsprint pad, microphone, audio speakers). Determine whatyouwill presentation (e.g., PowerPoint slide sequence, LCDprojector, flash drive, Presentation Tools arm motions, orreciting poems and singing songs). (e.g., employing rhythmic activities such asclapping, finger-snapping, second-language learners especially appreciate whole-group interaction source of pride for the students inthe volunteers’ classes. student volunteers are not onlyego-boosting tothe volunteers, buta of yourbook,being amodel for adrawing). Interactions thatinvolve calling onstudents toassistwithequipment, props, acting outparts Interaction enormously. Projecting PowerPoint slides of smaller items youbring along helps » » » » » » Book festivalsorliteracy festivals(school, city, orregional) nights, and book signings) Bookstores (independent and chain for author programs, educator Schools (family nights, young author fairs) events) Libraries (public story times, summer reading programs, family Libraries (public and school for large group programs, workshops) Schools (public and private, for assemblies, workshops, residencies) Here are some common venues for author and illustrator Don’t expect tobefabulous (ortocharge afee)right outof the You may decide tooffer workshops onanaspectof writing, Decide whatkinds of equipment orprops youwillneed for your Elementary schools withhigh populations of students who are Include waystoinvolvethe audience inyourpresentation (e.g., » » » » your school visitsand other presentations? Here are some guidelines. charge afeefor their services. Buthow much should youcharge for SETTING FEES » » made) Adults (where contactsfor schoolandlibrary visitsare often sites where yourworkcanbeseenbypotential hosts. available todo school visits and other appearances? you letteachers, librarians, parents, and booksellersknow thatyouare recommendations from trustedsources trumpeverything. Sohow do consideration), and presentation fee. Butinthe end, word-of-mouth the author’s orillustrator’s body of work,locality (travel feesare a PROMOTING YOUR AVAILABILITY will greet you. adopt oradapt.) The more youiron outinadvance, the fewersurprises Guide includes aSampleLecture Contract onpage 255thatyoucan a letterof agreement, orasaformal contract. (ThisSCBWIPublication book sales, cancellation policy). Thiscanbedone via e-mail, through conditions of yourappearance (i.e., schedule, setup,compensation, CONTRACTS &AGREEMENTS » » Many offer discounts for: » » » » » Some authors offer amenu of options withfeesfor: » » » » » » » » » » » » » » » » » » » Bookstore visitsare generally free asacourtesytothe booksellers. accordingly. See whatothers withsimilarexperience charge and position yourself visit section onitswebsiteoremployanauthor visitcoordinator. Research national markets: Your publisher islikely tohaveanauthor the fee;others charge aflat,inclusive fee. Most authors charge for expenses (travel, lodging, food) ontopof » » » school visits?Honoraria often fall withinthese three categories: experience (number of books, background) charging for in-person Research localmarkets: Whatare others inyourregion withsimilar You are aprofessional, not aprofessional volunteer. Professionals Service clubs(Rotary, Lions, Kiwanis, Zonta, Assistance League) writers and illustrators) reading, library, and specificschool subjectareas; organizations for Professional conferences (local,state, and national associations for Create anauthor orillustrator website. Bevisibleonsocial media Most peoplewho request anauthor visitare doing sobasedon It istoeveryone’s benefit tospellout visits totwoseparate schools withincloseproximity inthe same day multiple-day bookings inthe same region virtual school visits keynote addresses each separate assemblyorpresentation half-day bookings full-day bookings $500, depending onthe length of the visit. Virtual school visits(bySkype, etc.) generally range from free to keynote address. payment (i.e., admission tothe conference), unlessyoudeliver a Professional conferences range from free tolowfeeorin-kind you are amain-stage attraction. Author festivalsand bookfestivalsrange from free tolowfee, unless » » » $2,000 and up $1,000–$2,000 $500–$1,000 in writing the terms and DOING SCHOOL VISITS IN THE UNITED STATES | 279

Be active in your own community and become known locally as Controlling the Crowd PREPARING & SUBMITTING a published author or illustrator. Introduce yourself to your SCBWI Schools love it when you can handle a group on your own and regional advisor, booksellers, librarians, and community news reporters. teachers don’t have to intervene. Here are some ways to keep the Participate in local literacy organizations. audience focused on your presentation. Distribute brochures, postcards, bookmarks, or business cards at Set up the room so that everyone can see and hear you. If the group events in which you participate. is large, it helps to make an aisle in the middle and use a portable Join speakers’ lists maintained by professional organizations to which microphone—or one with a long cord—so that you can move closer to you belong, such as the SCBWI, the Authors Guild, the Children’s Book form a bond with the audience and address issues quickly. Council, and local literacy groups. Make sure that you are included on Say hello to students at the door as they walk into the room. your publisher’s author visit list as well. Demonstrate what your silent “quiet down” signal is. (e.g., two hands Offer to be a luncheon speaker for local service clubs (Rotary, in the air, a peace sign) as it becomes necessary. MARKET SURVEYS Kiwanis, Lions, etc.). To resettle students, be clear about the behavior you require. For Do performance showcases with other local authors and illustrators example, say, “Okay, everyone—crisscross applesauce,” or, “Let me see (typically three or more per showcase) for local booksellers, libraries, all of you sit on your pockets!” or “One-two-three, eyes on me!” county education offices, art galleries, or PTA/PTO councils. If you ask for student volunteers, be clear about how you will choose Participate in book fairs, festivals, literary events, bookstore educator kids. For example, “I’ll be calling on kids who are crisscross applesauce, nights, and library summer reading programs. Contact the event hands raised, who show me with their face, and not with their words, organizer to see how you can assist. that they’d like to help me.” Or perhaps explain, “First I’ll be calling on

Propose a workshop or session, on your own or with colleagues, for girls and then on some boys.” Clarity helps. DIRECTORIES & RESOURCES your state’s regional or state conferences for reading teachers, school If students (or teachers) are chatting, move closer and look at them. library/media specialists, or subject matter specialists. Professional If they don’t stop, you might cover your microphone and with great conferences provide excellent gateways to meeting potential hosts. concern ask, “Is everything okay?” This usually ends their conversation. Send an e-mail to local booksellers—including contact information, If the audience becomes excited during a lively part of your basic information about your book(s), ideas for a bookstore event, presentation, wait for them to settle before you continue. and availability—about three to six months in advance of a proposed The best way to head off crowd control issues in the first place is to program. have a riveting presentation! Before the close of the school year, send a brochure to local PTA/PTO program chairpersons telling of your availability to do assemblies during Selling Books the following school year. Not all schools will want to sell your book. Often this is because the host doesn’t have experience or volunteer-power to do so. While schools

FOLLOW UP can order books directly from publishers, independent booksellers will PUBLICIZING YOUR PUBLISHED WORK If you want to gather testimonials about your school visits, offer the best support, especially if you have books published at more provide your hosts with a simple evaluation form or link to an online than one house. Pass the bookseller’s contact information to your host questionnaire to distribute to teachers after your visit. And if you and have them work together. Alert the bookseller to the date of your want to cement your reputation as a thoughtful presenter, follow up visit. Create a book order form and send it to your host to use or adapt. your visit with a handwritten thank-you note to the host. Building Send along summaries of your books. If the host still doesn’t want to relationships is important! do a sale, bring order forms with you so that teachers can place orders after your event. COMMON CONCERNS AND SOLUTIONS Negotiating a Fee THE VALUE OF SCHOOL VISITS You may be asked in person or by e-mail, “What do you charge?” Staying in front of audiences keeps your books alive and your Follow up by sending your price list via e-mail. Another tactic is to publishers happy. But becoming skillful at the craft and business of ask the potential client, “What’s your budget?” and then be prepared doing school visits doesn’t happen overnight, so take the advice in this to say “I can work with that,” negotiate a fee, or turn the offer down. article in small doses.

If you do have to turn down an event, refer the client to a colleague It’s difficult to quantify the exact effect and reach resulting from SCHOOL VISITS who might be within their range. When you show concern for a client’s authors and illustrators interacting with students in schools. Yet needs, they are more likely to keep you in mind for a future event. you will receive fan letters throughout your career testifying to the life-changing impact you have had on young audiences. An author’s Equipment Failure in-person meeting with students percolates for years—in a dawning Expect the unexpected and be prepared! Can you do your presentation of the type of books children choose, in the volume of books children without images? With props only? If not, consider carrying along backup read, in the validation of children’s own creativity as writers and artists, LEGAL QUESTIONS equipment, including your own computer, a flash drive containing your in the choosing of future careers. And this is why children’s authors and PowerPoint presentation, an extension cord, and, if possible, your own illustrators are dedicated to meeting young readers face-to-face, sharing LCD projector. If this is difficult to do, print your PowerPoint show images a love of books. on paper and display them on a document camera that projects images, commonly called an Elmo, which most schools have in classrooms today. For more information on school visits and other presentations, (FYI: Matte paper projects better than glossy.) go to the column The Truth About School Visits in issues of the SCBWI Bulletin from 2006 to the present, as well as to the website www.SchoolVisitExperts.com. 280 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DOING SCHOOL VISITS IN THE UNITED STATES UNITED THE IN | VISITS SCHOOL DOING calendar/?ShowAsList=True Association Meetings Curriculum) Clients www.Scholastic.com/authorvisits Example ofaPublisher’s Author Visit Page www.nctm.org NCTM: National Council ofTeachers ofMathematics www.nsta.org NCSTE: National Science Teachers Association www.ncss.org NCSS: National Council for the Social Studies www.ncte.org NCTE: National Council ofTeachers ofEnglish www.ala.org American LibraryALA: Association www.reading.org InternationalIRA: Reading Association engage.reading.org/eventsnbspnbsp/ Professional Conference Information, State Reading www.corestandards.org Common Core State Standards Initiative (Educational www.read.gov/resources/statefairs.php Book Fairs and Festivals inthe United States www.scbwicencal.org/authorvisits Author Visit Funding and Hosting Information for www.SchoolVisitExperts.com Advice onthe Craft and Business ofDoing School Visits HELPFUL LINKS GUIDE TO INTERNATIONAL SCHOOL VISITS some schools share alibrarian and author visitfunding across grades, of being invited. However, alsokeep inmind the school’s organization; toward, and remember thatthe wider the range, the betteryour chances study units?Indicate whatage groups yourpresentations are geared storytelling performance? Doyourpresentations tie intoparticular illustrations? Is the presentation interactive? Willyou include a focus onthe process of writing astory, orcreating poems, ormaking what yourvisitwillbring tothe students. Willyourpresentations details aboutthe contents of yourschool programs, besure tospecify librarian orcontact personane-mail withalink to yourwebsiteand to becontacted 3–9months inadvance. Inaddition tosending the schools schedule author visitsduring spring and fall. Most schools wish to visit.Some schools are flexible with regard totiming, but many websites and calendars, contact the schools inthe area you plan of International Schools and other listings and viewing the schools’ You should beabletoanswer “yes”toallof these questions. before? Doyouhavesomething uniquetooffer? Doyouhaveawebsite? appeal? Are youexperienced? Have youdone plenty of school visits or illustrators of self-published books.) Doyourbookshaveuniversal (Note thatmany librarians are reluctant toconsider visitsbyauthors following: Are youaPAL (Published and Listed)member of SCBWI? whether youare qualified or not, besides notoriety, consider the budgets may beeager toinvitelesserknown authors. To determine authors. However, schools inmore remote areas and those withsmaller populated cities around the worldmay invitebig-name, award-winning The following tips willhelp you plan successful international school visits. contact information and details ofthe number ofvisits and time ofyear preferred. schools around the world that schedule author and illustrator visits, as well as tional Schools (see www.scbwi.org under “Resource Library”) provides alist of I If youfeelare qualified, afterconsulting the SCBWIDirectory Planning avisit Qualification depends onseveral factors. Large schools inthe more Are you qualified? Visits provides helpful information, and the companion Directory ofInterna travel withvisits to international schools. This Guide to International School f you are apublished author orillustrator, consider combining some world edited by Holly Thompson many, but not all,schools offer hotel accommodations, oraportion of outstanding presentations orworkshops. Inaddition to the daily fee, for well-published, award-winning authors who are known togive in line withyourexperience and yournotoriety. Schools paymore per day varyfrom author toauthor, and whatyoucharge should be what schools canoffer for fees. Minimum daily feesfor four sessions visits from Parent Teacher Associations. There are huge differences in other toget youfrom one placetoanother. information yourself,asschools may not alwayscommunicate witheach accommodation, etc. Ifthisisnot possible, besure togather this act asacoordinator tohandle the details of localtransportation, meals, with the organizing librarian wellinadvance of yourvisit. Whatever the arrangement, itisextremely important todiscussclearly form and purchase the pre-ordered booksprior tothe author visit. shipping bythe publisher. Many schools offer students abookorder keep inmind thatonline salesmay beeasier and cheaper thanoverseas book sales, givethe librarian the contact details of yourpublisher, but Not allschools willhandle booksales. Ifthe school iswilling tohandle the visit,discussthiswiththe librarian far inadvance of yourvisit. screens, and computersreadily available. equipment. Most, butnot all,international schools haveprojectors, will require any particular physical arrangements in aroom orspecial school librarians. but other schools haveseparate elementary, middle school and high Many international schools receive funding for author/illustrator Guidelines for fees If youwillvisitseveral schools inaregion, askif one librarian can If youhope tosellbooksorhavestudents read yourbooksbefore Let the librarian orcontact personknow wellinadvance ifyou

- SCHOOL VISITS 282 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org you willvisit. to actasyourpersonal travel agent. Doyourownhomework onthe area be expected. country. Alocaltourissometimes included asanextra, butshould not local authors and illustrators. may wishtoinviteyougive apresentation orconduct aworkshop for Regional Advisor well inadvance (3–9months). SCBWIregional chapters and athrillfor students. serious artstudents). Thismay beappreciated byteachers and librarians who are interested inwriting oraselectnumber of illustrations by and comment on(perhaps aselectnumber of pieces byolder students communicate how many stories orillustrations youare willing toread by students, letthe librarians and teachers know this. Besure to audience, plantouseclear, simpleEnglish. address. Ifyouwillhavemany non-native speakers of English inthe with North American culture. represented inthe school. Donot assume thatallchildren will befamiliar in yourbooks. Beconsiderate and respectful of the various cultures Determine inadvance ifthere might beany culturally sensitive material prepared toexplain whatevercontent may beuniquetoyourculture. words, orconcepts withwhich the children might not befamiliar. Be experiences and roots may spanmany cultures. to speakaninternational audience of children whose collective from many different countries, cultures and belief systems. Beprepared numbers, should certainlybeexchanged toconfirmarrangements. as transportation, food, and accommodation, aswellcontact phone book salearrangements, yourfeeand any expenses tobecovered such that includes the overall content of the program, date of visit,schedule, practice. However, afternegotiations, ane-mail letterof agreement contract for aschool visit,not allcultures orschools follow this made inthe localcurrency onthe day of the visit. few international schools canafford this. Note thatpayment isgenerally Caldecott orNewbery author might charge $2,000USD perday, butvery about $500–$700USD ($125–$175USD persession). Anaward-winning fees for four sessions perday for awell-published author seemtobe at all.Some schools provide onlylocaltransportation. Average daily in the same region. Insome cases, however, airfare isnot included class, roundtrip airfare issometimes paid for orshared byseveral schools the librarian and some teachers may becovered bythe school. Economy these costs. Lunch isusually provided bythe school, and dinner with | GUIDE TO INTERNATIONAL SCHOOL VISITS SCHOOL | TOINTERNATIONAL GUIDE Don’t Don’t Dos andDon’ts If there isanSCBWIchapterinthe country youwill visit,contact the If youare willing tocritiquesamplewritings orillustrations Extras Ask inadvance aboutthe English abilities of the children youwill Closely review yourbooksand determine whether there are topics, Most international schools are composedof teachers and children Guidelines for your schoolpresentation Although itmay becommon insome cultures toprepare aformal Contract expect alibrarian orthe school toactasapersonal guide tothe expect the SCBWIRegional Advisor of the country youwillvisit

school librarians. contact and againbefore yourvisit. Do Do Do Do beprofessional from initial contact toyourfinal thankyou note. familiarize yourselfwiththe school via itswebsitebefore yourfirst have apositiveand adventurous spirit! try tobeflexible asyoucommunicate your expectations withthe “Author” rather than “Author orIllustrator.” sponsoring institution. it is meant as aguide, not anabsolute. You willneed to negotiate any contract withthe wish to use the entire document, orpart ofit.Feel free to adapt itto your needs/situation; I LECTURE CONTRACT Home Phone: ______. School representative: ______School Phone: ______School (Sponsor) locatedat______, Phone______, whose address is______AGREEMENT the sumof $______perday of speaking. Thissumshallbepayable tothe Author immediately uponcompletion of services. 3. PAYMENT. 2. WORK OFAUTHOR. ______(length of speaking time). The focus of the presentations shallbe: (date/s), ______to______(#)audiences of approximately ______(#)students each.Grades tobeaddressed are ______for 1. AUTHOR TO LECTURE. NOW, THEREFORE WHEREAS opportunities for itsstudents tohavecontact withworking professional authors; and WHEREAS what she developed for her own use. We have adapted her contract for you. You may Contract for school speaking engagements, member Sheri Cooper Sinykin sent us n response to the many member requests that were received for aSample Lecture SAMPLE LECTURE , the Author wishes tolecture withrespect to(her) workand perform other such services asthiscontract may callfor; , the Sponsor isfamiliar withthe workof the Author and requests thatthe Author personally visitthe Sponsor toenhance the , dated this______day of ______,20______, CONTRACT The Sponsor agrees topayasfullcompensation, inaddition toexpenses, for the Author’s services rendered under Paragraph One , inconsideration of the foregoing and the mutual covenants setforth herein, the parties hereto agree asfollows: The Sponsor agrees tofamiliarize the students withthe published workof the Author prior tothe Author’s appearance. The Author hereby agrees totravel tothe Sponsor’s location onthe following date, ______and speakon PLEASE NOTE: contract by Sheri Cooper Sinykin For clarity, insome cases we have used the word BETWEEN ______(Author/Illustrator), AND ______

SCHOOL VISITS 284 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SAMPLE LECTURE CONTRACT LECTURE | SAMPLE SCHOOL REPRESENTATIVE SIGNATURE AUTHOR/ILLUSTRATOR SIGNATURE 12. GOVERNING LAW. signed bybothparties. 11. MODIFICATION. Sponsor willcheck tomake sure thatallrequired equipment isinplaceand working property. 10. AUDIO-VISUAL AND PHYSICAL ARRANGEMENTS. ensure their arrivalintime for the appearance. Bookordering information for the following booksisincluded (below/onseparate page). available for autographing atthe time and placespecifiedaboveafter______(time of day). Paragraph 1,Sponsor shallberesponsible for ordering, collecting money for, distributing and returning unsold books. Author agrees tobe 9. BOOKSALE ANDAUTOGRAPHING. use. recording shallbemade bythe sponsor without the written consent of the Author and, ifstipulated therein, additional compensation for such recording, film,videotape, orother similarordissimilar method of recording, whether now known or here after developed. No use of any such or any worksshown inthe coursethereof. The term“recording” asusedherein shallinclude any recording made byelectrical transcription, wire record, Sponsor agrees thatthe Author shallretain allrights; including copyrights, in“relation torecordings of any kind made of the appearance 8. RECORDINGS. Three orFour, until such time aspayment ismade. will payasadditional damages 15%ininterest onthe amounts owing tothe Author, said interest torunfrom the dates stipulatedinParagraphs 7. LATE PAYMENT. fee agreed uponinParagraph Three above, inaddition tosuch expenses under Paragraph Fourasthe Author shallactually haveincurred. 6. CANCELLATION FEE. The Sponsor agrees insuch casestoattemptreschedule the Author’s appearance atamutually acceptablefuture date. control, the Sponsor shallberesponsible onlyfor the payment of such expenses under Paragraph Fourasthe Author shallactually haveincurred. acceptable future date. Ifthe Sponsor isprevented from having the Author appearbyActs of God, governmental order, orother causebeyond its no obligation tomake any payments under Paragraphs Three and Four, butshallattempttoreschedule the Author’s appearance atamutually 5. INABILITYTO PERFORM. » » » 4. EXPENSES. » » » IN WITNESSWHEREOF, the parties hereto havesigned thisAgreement asof the date firstset forth above. If Sponsor wishes toorder booksdirectly from the publisher, it must do soapproximately eight weeksprior tothe Author’s appearance to otherwise agreed toinwriting inadvance. Other specifics. The reimbursement for food, lodging, and other expenses shallbe made no laterthanone week following Author’s visit,unless otherwise the Sponsor agrees toacceptand reimburse the Author for food and lodging receipts presented). Food and lodging. (Sponsor willprovide the following meals: Ifmeals are onaperdiem basis, the Sponsor shallinform the Author inadvance; expenses). the tickets; ifbyrental carorother modes of transportation, the Sponsor shallmake arrangements withthe Author for payment of these Roundtrip travel. (Ifbythe Author’s owncar, reimbursement inthe amount of 29cents permile;ifbyairortrain, the Sponsor shallprovide Inaddition, the Sponsor agrees toberesponsible for the following expenses: No recording shallbemade bythe Sponsor without written consent of the Author. Inthe event Author grants permission to The Sponsor agrees that,inthe event thatitislateinmaking payments due the Author under Paragraphs Three and Four, it Thiscontract contains the fullunderstanding betweenthe parties hereto and may onlybemodified inawritteninstrument Thiscontract shallbegoverned bythe lawsof the Stateof ______. If Sponsor cancels appearance byAuthor for any other reason thananactof God, Sponsor agrees topayAuthor the full ______If the Author isunable toappearonthe dates scheduled inParagraph One due toillness the Sponsor shallhave ______IfSponsor desires the availabilityof Author’s booksfor saleand autographing onthe date outlined in ______(Specify everything that you will need, i.e. slide projector and screen, table and chair, etc.) variety of visuals and stylesof delivery. Avoid common pitfalls, like “I stories. simplicity, unexpectedness, concreteness, credibility, emotions, and in Chipand DanHeath’s book that they caneasilyremember. Thinkinterms of “sticky ideas,” defined Counteract thisbybuilding yourpresentation around quick sound bites audience members who are texting, tweeting, orotherwise multitasking. than fifteenseconds. You’ll also face the added challenge of engaging said youcouldexpect aperson’smind towander off topic inless short attention spans. Inarecent seminar Iattended, the speaker Twitter and Facebook. touch afterward toinvitethem tovisityourwebsiteand linktoyouon so youcanreply tothose youdon’t get to.Thiswill alsoletyouget in written questions, invite youraudience toinclude their e-mail address with questions thatyoucouldincorporate asappropriate. Ifyoudo take and why they’ve come tohear you.Alarger group couldfilloutcards group, thatmight mean letting them saysomething aboutthemselves an opportunityfor the audience toprovide direct input.Inasmall attend and consider whatthey’d most like tolearnfrom you. focused.” Soaskfor information ahead of time aboutwho islikely to “speakers need totake onaperspectivethatisintensely audience- actors inatheater play”whom the audience isexcited tosee. Instead, that “most speakers approach their presentation asifthey were the star ( understanding youraudience. Doing wellrequires good preparation and presentation skills, and also how hismessage willbereceived and isafraid of being embarrassed. is ranked atornear the top.Why? Becausethe speaker isnot sure daunting. Infact, according tosurveysof topfears, public speaking adults atconferences and public programs is another matter. Y bit.ly/NHRhL1 During the presentation, change the dynamics periodically, using a When crafting yourpresentation, know thataudiences today have As adouble-check, and toshare thatintent, startyourprogram with Start byfocusing onyouraudience. In“Speaking Is aTeam Sport” For many, the prospect of addressing anaudience of peersis PUBLIC SPEAKING books. Even ifyou’ve mastered speaking atschool visits, presenting to illustrating career, but it’s likely to bepart ofhow you promote your ou may not expect to domuchpublic speaking as part ofyour writing or ), author and consultant Stefania Lucchetti points out Made toStick PRIMER as having sixkey attributes: by Susan Salzman Raab presentation. on aschool visitortalkifthey contact youand saythey attended your Facebook information. Offerthem something special, such asadiscount you directly, giveoutabusiness card listing yourwebsite, Twitter, and booking youfor school visitsand events. Forpeoplewho speakwith with bookinformation. Ifthe audience isappropriate, haveaflier about website, blog,ornewsletter, aswellinformation sheets orpostcards further interaction. Provide handouts directing the audience toyour with youafterward. and include action items toencourage the audience tostayconnected LME6bc outlined byOlivia Mitchell in“Speaking aboutPresenting” ( want totellyoueverything,” “grab bag,”“shopping list,”and others Preparation includes not justrehearsal, butmaterials toencourage ). Focusonmaking the experience memorable, repeat key points, bit.ly/

SCHOOL VISITS

SCBWI LEGAL QUESTIONS

2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

by Mark J. Davis, Esq.

hy is copyright important? We live in a media rich society. Anyone who hopes to communicate in W this environment must be familiar with the legal concepts involved in the creation of their work. Needless to say, if an author or illustrator wishes to earn a living from their efforts, they must understand how copyright allows them to profit from their work.

What is copyright? of types of works it shields, it is not an exclusive list. Copyrightable Copyright is a set of exclusive rights granted to authors, illustrators works include, but aren’t limited to the following: and copyright owners for limited times. Under Section 106 of the Literary works; Copyright Act, copyright owners have these exclusive rights and the Musical works, including any accompanying words; exclusive monopoly to authorize others to: Dramatic works, including any accompanying music; §106(1) Reproduce the work; Pantomimes and choreographic works; §106(2) Make derivatives based upon the work; Pictorial, graphic and sculptural works; §106(3) Distribute copies of the work to the public by sale; Motion pictures and other audiovisual works; §106(4) Perform the work publicly; Sound recordings; §106(5) Display the work publicly; Architectural works. §106(6) To publicly perform sound recordings by digital audio transmission. When does a copyright start? Copyright is just that: the right to make copies. This exclusive right For works created after 1/1/1978, copyright protection begins the is given in §106(1). But what good is the exclusive right to make a moment the original expression of an author or illustrator’s idea is copy if the author or owner can’t distribute and sell those copies? created and fixed in a tangible form that it is perceptible either directly Those rights are granted in §106(3). Section 106(2) is the exclusive or with the aid of a machine or device. In other words, copyright starts right to make derivatives based on the original work. For authors, this when the ink is dry on the paper, the artist has put down the brush or covers the right to translation of their works into foreign languages, the computer file is saved. audiobooks and adaptations for the stage and screen. For illustrators, There’s no need to file a registration or publish the work to have a derivative works include posters, graphics, videos and even t-shirts copyright, as long as it is in a form that is perceptible either directly or using their original art. with the aid of a device like a computer or CD player. The general rule Public performance §106(4) and public display rights §106(5), is that the person who creates the work owns its copyright from the should be considered as twins. You can perform a play or movie, but moment of creation. you can only display a painting or sculpture. The final right of public performance by digital audio transmission §106(6), applies only to What doesn’t copyright protect? sound recordings broadcast on the Internet, digital cable TV or satellite Ideas are not protected, only the tangible expression of those radio. ideas. You may have a great idea for a book, but there’s no protection available for that alone; you have to write the book. Facts are not What can be protected? protected by copyright either, because they’re not original. Titles Copyright protection covers more than expected. Any original work and short phrases are not copyrightable. They too fail the originality of an author or artist’s expression, which has been fixed in a tangible requirement. form, is protected under the Copyright Act. Although the Act has a list Common things are not protected by copyright. You can’t get 290 | COPYRIGHT FOR WRITERS AND ILLUSTRATORS

exclusive rights on a name, short phrase, familiar symbol, list of How long does a copyright last? ingredients or a color. For copyright purposes, originality requires that That depends on how long you live. If the work was created after the author show creativity and independent creation of the work. January 1, 1978, then the copyright lasts for the life of the author Intangibles are not protected by copyright because they are unfixed. plus 70 years. For joint works (two or more authors or illustrators If the work hasn’t been fixed in a tangible form (written down, tape contributed), the copyright lasts for the life of the last surviving joint recorded or burned to a CD-ROM), then it is not eligible for protection. author plus 70 years. There is no renewal of copyright. For works-for-hire (creations of an employee or contractor), copyright Other non-copyright forms of protection lasts in the name of the employer or hiring party for 95 years after Domain names are registered through the Internet Corporation for publication or 120 years after creation, whichever is shorter. The same Assigned Names and Numbers (ICANN) or through your web hosting formula (shorter of 95 or 120) applies to anonymous and pseudonymous service. There is an annual renewal fee. works, unless the author’s identity is revealed. Patents give exclusive rights to an inventor for an invention, discovery or process. To illustrate the difference, H.G. Wells could have Why should I register if protection is automatic? obtained a patent on the time machine he invented and a copyright on Registration is a legal formality intended to make a public record of his book The Time Machine. the basic facts of a particular copyright. However, registration is not Trademarks (or service marks) identify the source of goods or a requirement for protection. There are several excellent reasons to services to prevent public confusion. The trademark Coca-Cola® assures register your claim to copyright: the public that the can contains Coke® not Pepsi® even though you Registrations are public records identifying the copyright claimant; can’t see inside. For information on patents and trademarks, visit the Registration is mandatory before an infringement suit can be filed in U.S. Patent and Trademark Office at https://www.uspto.gov court; Trade Secrets are protected by being kept secret. For example, only For lawsuits, registration creates a presumption that the ownership Colonel Sanders knows the 11 herbs and spices. Copyrights, patents and claim is valid; trademarks are public records; trade secrets can never be revealed to the If registration is made within three (3) months after publication public. or before an infringement, additional damages and attorney’s fees are available; Copyright Notice Registration is necessary to obtain certain compulsory royalties; and Although optional, it is good practice to put the © symbol on your Registration protects against the importation of infringing copies. works with the year of creation and the copyright owner’s name. For example: © 2018 Mark J. Davis. Place the symbol where it would “give International Copyright reasonable notice of the claim of copyright.” The United States has reciprocal copyright relations with 171 countries throughout the world. Under these treaties, each nation Joint Authorship honors the other’s citizens’ copyrights. There is no need to file a Joint works are prepared by two or more persons with the intention duplicate registration in most foreign countries. that their contributions be merged into inseparable or interdependent parts of a unitary whole. Each portion must be independently When do I file the registration? copyrightable; that is, each part must be an original fixed expression. A registration may be filed at any time within the life of the A writer and artist may agree to create a joint work, one supplying copyright, but in order to guarantee the strongest protection, file the the text, the other the illustrations. The text is independently registration within three months of the first publication of the work. copyrightable, as is the art. The effective date of registration is the date that the Copyright Office The author and illustrator are equal owners of the copyright in the first receives the application, payment and deposit copies in proper joint work from the moment of its creation. A Joint Author Agreement form, no matter how long it takes to process the claim and issue a should be signed especially if the ownership is not evenly split. It will registration certificate.

www.scbwi.org also spell out the duties and interests of the heirs of the writer and If registration is made within three months after the first publication | artist. Please see the sample JOINT AUTHOR AGREEMENT. of the work, the effective date of protection becomes retroactive to the date of publication. A registration filed prior to an infringement of the Works-for-Hire work gives the copyright owner the option for asking for an injunction This is an exception to the general rule that the person who creates and additional infringement penalties.

THE BOOK the work owns the copyright. If a work is made by an employee within the scope of their employment or if it was a specially commissioned How long does it take? contribution to a collective work, a part of a motion picture or The Copyright Office gets over 600,000 applications a year – give audiovisual work, a translation, a supplementary work, a compilation, them some time. Even if you’ve filled out the form correctly, sent your an instructional text, an atlas, test or test answer material, it may be deposit copies and proper fee, it might take nine months to receive a work-for-hire. The employer or hiring party is considered to be the your registration certificate. Don’t let that stop you from showing your author and thus the copyright owner. A work-for-hire agreement must work to prospective agents or publishers. be signed by both parties before the creation of the commissioned work. Please see the sample WORK FOR HIRE AGREEMENT. How do I file my registration? PUBLICATIONS GUIDE: Online registration through the electronic Copyright Office (eCO) is

2018 the preferred way to register. Advantages of online filing include lower COPYRIGHT FOR WRITERS AND ILLUSTRATORS | 291

filing fees, faster processing, credit card payment and direct upload of Sale of a copy is not a transfer of the copyright PREPARING & SUBMITTING electronic files. Paper filing is also available. The sale of a physical item that is protected by copyright is not For applicable forms, please visit https://www.copyright.gov/forms/ the same as the transfer of the copyright itself. Buying a book is not Download detailed information on fees, registrations and general equivalent to purchasing the §106 rights to copy, distribute, sell and copyright questions from https://www.copyright.gov/circs/ make derivatives of that book. Can’t I use the “poor man’s copyright” and just mail it to myself? Obtaining copyright protection by mailing your work to yourself Creative Commons and not opening the envelope is an urban myth. Although it may have Creative Commons is a licensing framework within copyright, not a postmark showing the date of mailing, that is not a substitute for a substitute for it. Instead of reserving all §106 rights, the copyright registration. It will still be necessary to file for registration in the owner releases the work with some rights granted. The purpose of CC is Copyright Office before a lawsuit. The postmarked envelope is not a to establish a standardized regime of permissions. This structure relies MARKET SURVEYS public record or proof in court. It’s a waste of time and money because on a single set of definitions and rights that are applicable worldwide it has no legal benefits for infringement lawsuits. under each nation’s copyright laws. CC licenses contain combinations of these four concepts: What is infringement? Attribution of the work to the original author, Infringement is the unauthorized use of any of the six §106 rights No Derivatives of the original are permitted, granted exclusively to the copyright owner. In an infringement lawsuit, Share Alike – Others may distribute derivatives based on the original, the owner must hold a valid copyright, prove that the infringer had but only under a license identical to the author’s original CC license. access to the original work, that the defendant violated the owner’s Non Commercial Use – Others may copy, distribute, display and DIRECTORIES & RESOURCES §106 rights and that the infringing work is substantially similar to the perform the work and its derivatives, but for non-commercial purposes original. only. This prevents a third party from profiting from an author’s original Penalties for infringement include the actual damages suffered by the work. copyright owner plus the infringer’s profits. In certain acts of willful A license cannot feature both the Share Alike and No Derivatives infringement, they can go up to $150,000. options because Share Alike only applies to derivatives. Creative Commons licenses are regularly revised and updated. For the latest Public Domain information please visit: http://us.creativecommons.org There is no such thing as perpetual copyright under U.S. law; all rights granted under §106 expire at the end of copyright. What the §107 Fair Use copyright owner once controlled is now free for all to use. At the end Perhaps the most important limitation on copyright under U.S. law is of copyright protection, anyone may alter, translate, copy and sell the that of Fair Use. Anyone can use a copyrighted work for the purposes of work. criticism, comment, news reporting, teaching, scholarship or research. PUBLICIZING YOUR PUBLISHED WORK Works first published in the U.S. before January 1, 1923 are in However, it is not blanket permission for all purposes. Whether Fair Use public domain. U.S. works from that date to 12/31/1977 are probably shields a particular situation requires the analysis and application of still protected the 1909 Copyright Act. Cornell University has a chart these four factors: explaining Public Domain in the U.S. http://copyright.cornell.edu/ Purpose and character of the use resources/publicdomain.cfm Nature of the original work Amount taken from the original work Transfer of a copyright Effect on the market for the original work Copyrights are assets that can be bought, sold, inherited and given away. It is a personal property right subject to state laws that govern More information divorce, community property, inheritance, contracts and transfer of Circulars, regulations, application forms and other materials are personal property. Please see the sample ASSIGNMENT OF COPYRIGHT. available from the Copyright Office website at www.copyright.gov.

Copyright licensing and publication An attorney since 1978 specializing in music and entertainment law, Mark J. Davis is a nationally recognized expert on copyright; having been Writers and illustrators earn income through issuing licenses to SCHOOL VISITS an arbitrator for the U.S. Copyright Office. He has taught copyright to over their §106 rights (copying, distribution, derivatives, serialization, a thousand students at Loyola University and Northeastern University; and translation, etc.). Only the copyright owner has the authority to publish has spoken to K-12 and college faculties about Fair Use, Creative Commons a work by offering copies for sale to the public. Section 106 rights and TEACH Act guidelines for classroom and distance learning. His publications can be granted exclusively, non-exclusively, and for limited times, include Legal Issues in the Music Industry and The Teacher’s Guide to territories, formats and purposes. The essence of a publishing contract Copyright, now in its 3rd edition. For more information, please visit www.buzzgig.com and the SCBWI website. is the grant of rights held by the author and illustrator to a publisher. LEGAL QUESTIONS

Termination of licenses For copyrights assigned after 1/1/1978, the law grants an opportunity to terminate the assignment after 35 years. Termination by an author or heirs and the form and time periods for notices of termination are technical and require a copyright attorney.

SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

by Mary Flower | updated by Sara Rutenberg

ontracts! A dirty word to some, intimidating to most. Can you negotiate them and if not, what do the whereins and wherefores and perpetuity C clauses all mean to you?

You might not always be able to negotiate for what you want, but you will receive from your publisher. It is based on standard boilerplate you need to have an overall understanding of the meaning of key from many publishing houses. Note that as the industry is changing clauses. Remember, you can always ask. The worst that happens is that with respect to electronic media, some of these clauses may change the publisher says no. Always put your change requests in writing and as well, and new ones will be added. As each publisher has its own send to your editor (who will forward it to the contracts department) standard boilerplate, the sections here may be in a different order and/ or, if the cover letter that came with the contract contains a person’s or have different as the ones in the contract you receive, but they are name to respond to, send it to that person. If you are a first-time book all provisions that you will find somewhere in that contract.. author or illustrator, do not be intimidated and feel you should accept We also include some clarifications, explanations, or suggestions a contract without negotiating. While there are some parts of any for additions or negotiable changes have been noted. While the word contract that are not negotiable, other parts are indeed negotiable even Author has been used throughout, it stands for Illustrator also. Where by first-time authors or illustrators. We have made notations inbold provisions differ, however, that is indicated. which indicate possible negotiation points but obviously there are many Finally, after the contract, there are a few general notes about other permutations too numerous to include here. important contract issues. You should also refer to the legal section on The below agreement is not an idealized contract; rather, it contains our website for additional information and forms. provisions similar to standard boilerplate provisions in the contract

SAMPLE BOOK CONTRACT

HIS AGREEMENT made this ______day of [month], [year] between______(“Author”) [author or illustrator’s name] residing at ______[street address, city, state, zip code, country] and XYZ Children’s Books, an imprint of Books for Young Readers, a division of BigBookCorp, Inc., whose principal office is located at 205 Lexington Avenue, New York, New York 10086 ( “Publisher”). WHEREAS the Author is the proprietor of the following work (the “Work”) Title: [working title of the book] Subject matter description: [genre of book and one-sentence synopsis] [The publisher may want a longer synopsis of the book—this should be attached to the contract.] AND WHEREAS the Author desires to have the Publisher publish, and the Publisher desires to publish the Work on the terms and conditions and in consideration of the covenants set forth herein Grant of Rights [The Grant of Rights sets forth the territories and formats in which the publisher can publish and/or license the work and the length of time that this contract is in force.] AUTHOR AND PUBLISHER AGREE: 1. The Author hereby grants to the Publisher during the full term of copyright [you want to try to limit this to a shorter term; 20–35 294 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

years is fairly standard] and any renewals and extensions thereof, [try to get renewals and extensions deleted] in the following countries and territories: (a) The exclusive right to print, publish, and sell the Work, in whole or in part, in book form in the English language in the United States of America, its territories and possessions, the Philippine Republic, Puerto Rico, and Canada (b) The exclusive right to print, publish, sell the Work, and license the Work, in whole or in part, for publication, in book form in the English language in all other countries of the world; [This language is very critical with ebook rights, as some publishers are arguing that “book form” means ebooks, and authors/illustrators are arguing against that; you might want to say “tangible, physical form”; additionally, you may want to hold back other territories and rights s or give the publisher a limited term—say 18 months—within which to exploit them or they revert to you, and if they do license, make sure you get copies of each translation and ebook. Also applies to c below].] (c) The exclusive right to print, publish, and sell the Work, and to license the Work, in whole or in part, for publication throughout the world in all languages other than English; (d) The exclusive right to license the Work, in whole or in part, for publication in the English language in the following editions: (i) mass market paperback, (ii) trade paperback, (iii) original hardcover, and (iv) hardcover reprint; (e) The exclusive right to license the Work, in whole or in part, for publication by book clubs and in magazine condensations, newspaper syndications, serializations, and all other subsidiary rights as provided in paragraph 9 [subject to Author’s approval]; f) The exclusive right to print, publish, and sell the Work and to license the Work, in whole or in part, for publication in textbook editions, large print editions, anthologies, picture book editions, photonovels; premium, direct mail, coupon advertising; mechanical audio recordings, and mechanical audiovisual recordings[subject to Author’s approval]; [Items—g), h), (i)(j), and ij)(ii)—should be subject to consultation with the Author; this phrase can be added to the contract] (g) The exclusive right to license or otherwise exploit the Work throughout the world in respect to all forms of commercial tie-ins and adaptations, including (but not limited to) the exclusive right to use and license others to use the Work, or the title of the Work, in whole or in part for (i) trademarks or trade names for other products; (ii) toys or games, and (iii) otherwise reproducing the Work, its cover [Ask to add a statement here or elsewhere in the contract that says that you may use the cover of the book, interactivity, and all other elements for publicity purposes—on your website, on postcards, in trailers, etc.; sample language has been included in this agreement in paragraph 29], or associated artwork on any material or in any medium; (h) The exclusive right to license or otherwise exploit motion picture, dramatic, television, radio, lyric, and all other forms of performance rights to the Work throughout the world [try to hold this back-publishers are not movie or TV producers]; and (i)(i) The exclusive right to display the Work in any manner designed to be read and to license the display of the Work in any manner designed to be read, in whole or in part, by any means, method, device, or process now known or later developed [now known or hereafter developed is a dangerous phrase-delete if possible and if they insist on ebook rights get a reversion if they have not been exploited within 12 months], and whether the images of the Work are shown sequentially or nonsequentially [this means whether the text appears in the order in which it does in the book or whether it is taken out of order] (“Display Rights”), including without limitation online or offline electronic displays, mechanical visual recordings, or reproductions (together with accompanying sounds, if any, including a mechanical reading of the Work), microfilm, microfiche, data retrieval and storage systems, computer software systems, and all other forms of copying, recording, or transmitting of Author’s words and/ or illustrations in any manner designed to be read, which are not either granted to the Publisher elsewhere in this Agreement or reserved to the Author; (i)(ii) The exclusive right to produce, publish, sell, and license the Work in Interactive Multimedia Form. “Interactive Multimedia Form” shall mean any electronic magnetic, optical, digital, laser-based, or related form now known or later developed in which the Work, or any interactive adaptation, condensation, or abridgment thereof [this sentence is what makes (i)(ii) different from ij)(i)—it gives the publisher the right to change the work as described; this is something you may wish to consider very carefully before agreeing to any such license] may be, in whole or in part, captured, stored, published, displayed, transmitted, broadcast, downloaded, or distributed, in a manner designed to be viewed and interacted with, sequentially or nonsequentially (together with accompanying sounds and images from the Work or other works, including a www.scbwi.org

| reading of the Work), including without limitation by magnetic tape, floppy disk, interactive CD, CD-ROM, laser disc, optical disc, integrated circuit card or chip, and any other human or machine-readable medium, and by transmission or broadcast, whether online, wireless, or by broadband, narrow band, coaxial cable, twisted pair, fiber optic, or satellite.[You should retain any enhanced rights, images, texts, etc., that may be added to create interactivity or other changes to the material necessary to the new media.] [Note that many publishers are now separating out the language and defining physical versions in one area and electronic/digital in THE BOOK another.]

DELIVERY OF MANUSCRIPT AND CORRECTIONS [For the Author] 2. (a) The Author shall deliver to the Publisher on or before [a specified date] one (1) digital copy that complies with Publishers production requirements and upon request, one hard copy.[Requirements should be included with contract] [For the illustrator] 2. (a) The Illustrator shall deliver to the Publisher on or before [a specified date] complete sketches for the Work, including sketches for

PUBLICATIONS GUIDE: jacket art, and shall deliver to the Publisher on or before [a specified date] the complete, final artwork from the approved sketches of the Work. [Specify number requested and any other details required by Publisher.] 2018 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 295

(b) If the Author fails to deliver the manuscript by that date, the Publisher shall have the right to terminate this Agreement upon written PREPARING & SUBMITTING notice to the Author, in which event the Author shall promptly repay to the Publisher any and all sums paid to the Author. Any extension of the delivery date must be agreed to in writing by the Publisher. [It would be advisable to negotiate some language similar to this to allow you to revise the manuscript or artwork if necessary before the agreement can be terminated: “Should the manuscript as submitted not be acceptable to the Publisher for editorial reasons, the Publisher will provide the Author the opportunity to make the Work acceptable before exercising its option to terminate the Agreement.” It is advisable to negotiate several periods for revisions before the manuscript or artwork is considered unacceptable. Try to keep some or all of the paid advance, though this ability will depend enormously on the negotiating power of the Author. Another option is to repay if it is sold to another publisher-make it a condition of the new deal] (c) If the Publisher should terminate this Agreement due to nondelivery of the manuscript, the Author shall not publish or permit the publication of the Work or any other work of a substantially similar nature or subject matter by any other publisher without first offering the

manuscript for any such work to the Publisher upon the terms set forth in this Agreement. [This provision is totally unacceptable. If the rights MARKET SURVEYS are terminated—and of course the Publisher must notify the Author of this—then they should revert immediately back to the Author upon repayment of the portion of the Advance paid prior to the notice.] (d) If the Publisher exercises its option to terminate this Agreement, the Author shall use his best efforts to sell the Work elsewhere and shall repay any and all sums paid to him under this Agreement out of the first payments due him when and if another publisher accepts the Work for publication. (Such payments from another publisher, up to the total amount of any and all sums paid to the Author under this Agreement, being First Proceeds. [This means if the Author/Illustrator sells the book to a third party, money payable by that third party first goes to repay the initial publisher if the Author has not yet repaid the advance. Another point is to limit this repayment to proceeds from the sale of the book only—not from subsidiary rights, such as movies, etc.] DIRECTORIES & RESOURCES (e) Simultaneously with the delivery of the manuscript, the Author shall deliver to the Publisher, at the Author’s sole cost and expense, all photographs, drawings, captions, maps, charts, tables, appendixes, notes, bibliography, and other matters required by this Agreement. If the Author fails to do so, the Publisher shall have the option to supply such materials itself, if necessary employing outside editorial and artistic assistance, and to charge the cost thereof to the Author against the Work. [The latter sentence should be deleted and the Publisher should pay all costs] (h) If copyrighted material is included in the Work (other than that for which the Author is the lawful proprietor), the Author, at his sole expense, shall secure from the copyright proprietor and deliver to the Publisher written permission, in a form satisfactory to the Publisher, to reproduce such materials in the Work and in all editions, adaptations, and media and in the territory and during the entire term permitted in this Agreement. [This permission form should be provided by the Publisher up front.] (i) The Author shall read, revise, correct, and return to the Publisher all proofs of the Work submitted to him by the Publisher within 60 days of receipt of a written statement from Publisher detailing the changes. The Author shall pay for all alterations in the proof made at the Author’s request exclusive of the cost of correcting typesetter errors or making publisher alterations), to the extent that such alterations exceed ten PUBLICIZING YOUR PUBLISHED WORK percent (10%) of the cost of composition. The Author shall pay for all alterations (exclusive of the cost of correcting typesetter errors or making Publisher alterations) that he requests after page proofs have been made or typesetting of the Work has been corrected in conformity with the Author’s corrected galley proof. [If Publisher fails to comment within 10 days, it is deemed accepted-this is important because portions of the advance are tied to acceptance] 3. (a) The Publisher will, within eighteen (18) months after acceptance of the Work, publish or cause publication of the Work in such editions, imprints, style, and manner and at such prices as it deems suitable. The Publisher shall be authorized to exercise the usual editorial privileges in the course of preparing the Work for composition and to make the manuscript conform to its standard style of punctuation, spelling, capitalization, and usage. [This applies to text-only manuscripts—which basically means novels. The publication time for picture books and nonfiction that requires author-supplied photographs or other material will depend on when the artwork, photographs, or other material is received, in which case the language will read: “The publisher shall, except for circumstances beyond its control, publish the work no more than eighteen (18) months after receipt of such artwork, photographs, or other material.”] (b) The failure of the Publisher to publish or cause publication of the Work within the time period set forth above shall not be deemed to be a violation of this Agreement if such failure to publish is caused by restrictions of governmental agencies, labor disputes, inability to have the book manufactured or to obtain the materials necessary for its manufacture, or by any delay occasioned by the assertion of any claim, or warranties contained n paragraph 13, or for any other cause beyond the control of the Publisher. In the event of a delay resulting from any cause SCHOOL VISITS referred to in this paragraph, the publication date may, at the Publisher’s option, be postponed accordingly, provided, however, that if the delay is occasioned by the assertion of any claim, action, or proceeding covered, and such claim, action, or proceeding is not resolved by settlement or final judgment within six (6) months, the Publisher shall have the option to terminate this Agreement and the Author shall thereupon repay any advance paid to him. (c) If the Publisher fails to publish the Work within the agreed time period, the Author may, at his option, by written notice to the Publisher demand that the Publisher, publish the Work. In the event the Publisher has not published within six (6) months of such notice, the Author LEGAL QUESTIONS may terminate this Agreement. If, however, the Publisher’s failure to publish is the result of delays in delivery and acceptance of the text and/ or artwork for the Work, the Publisher’s time to publish shall be extended accordingly. In such event the only damages recoverable by the Author shall be limited to the total advance payable under this Agreement. (d) Nothing herein shall require the Publisher to publish or license each and every edition permitted to be published or licensed hereunder. Furthermore, the Publisher shall not be required to continue publication of the Work if, in its opinion, it violates the right of privacy or any property or personal right of any person, or contains any libelous, scandalous, or other unlawful matter, or presents a substantial risk of liability 296 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

or injury to third persons or of governmental action against the Work. If in the good faith opinion of Publisher’s legal counsel, the Publisher is unable to publish the Work for the reasons set forth in this paragraph, the Publisher shall have the right to terminate this Agreement, and the Author shall thereupon repay any advance paid to him. (e) The Publisher may elect to have the Work reviewed by its counsel prior to publication, in which event the Author shall cooperate in the vetting process and shall make such changes in the Work as are requested by the Publisher’s counsel. Such vetting and review made as a result of the vetting shall not diminish the Author’s representations, warranties, and indemnities under paragraph 13 of this Agreement.

ADVANCES AND ROYALTIES 4. The Publisher shall pay to the Author as an advance against all royalties and other sums accruing to the Author under this Agreement, the sum of [total amount of the advance to be agreed upon by Author and Publisher] to be paid as follows: One-half upon execution of this Agreement; and One-half upon the Publisher’s receipt and acceptance of the final complete manuscript. [This is the usual way that the advance is paid. It may, however, be paid in full on signing (when the final manuscript has already been accepted), or it may be split into three payments (this is the usual schedule for illustrators, who will receive one-third on signing, one-third on delivery of sketches, and one-third on final acceptance of artwork). Some publishing houses have instituted a three-tiered schedule for payment of the advance—1/3 on signing, 1/3 on delivery of acceptable manuscript, and 1/3 on publication. Usually, this is applied to large advances; however, it may be found in other contracts as well. The third tier—payment on publication—is the most objectionable. Though you may not be able to eliminate the third tier, you may be able to negotiate the payout schedule. Try to get 75% or more of the advance paid on signing and delivery with only 25% or less to be paid on publication.] [If you are an established author or illustrator and/or your publisher is enthusiastic about the book, you may be able to negotiate an additional advance should the book win or be named an honor book for either the Caldecott or Newbery Awards with such payment shall be made within thirty (30) days of the announcement of the award.]

Note: Royalties are only paid after the publisher recoups the advance. Once they are payable, however, you want them based on list or selling price rather than on net sales. Net is the amount the publisher actually receives on all sales; it is usually about half the retail price.

Hardcover 5. The Publisher shall pay to the Author, or credit to the Author’s account, the following royalties on copies sold of any trade hardcover edition of the Work published by the Publisher, less credited returns and less a reasonable reserve for estimated returns: (a) Except as otherwise provided below, the following percentages of the Publisher’s suggested retail price of each copy sold in the United States through normal channels: 10% on the first 20,000 copies of the Work sold[where there are two people involved—author and illustrator or coauthors—the 10% will be split between them. Most often it is an equal split, but there are a number of circumstances in which it may be unequal; e.g., when an unknown author or illustrator is paired with a well-known illustrator or author, or when illustrations make up less than half the book]; and 12.5% on all copies of the Work sold thereafter [this is a common escalation—if the publisher will agree to an escalation at all]. b) Where the discount to jobbers or to wholesale distributors or booksellers on copies of any edition published by the Publisher is fifty-two percent (52%) or more, the Publisher shall pay to the Author one-half the prevailing royalty rate under paragraph 5(a); [Where two people are involved, royalties marked with an asterisk below will be split between them in accordance with the agreement they have reached with the publisher.] *(c) A royalty of ten percent (10%) of the amount in excess of the Publisher’s manufacturing cost received by the Publisher on sales of overstock and damaged copies that the Published deems expedient to sell at a discount of sixty percent (60%) or more. No sale of overstock shall take place within the first year after publication of the Work in book form, except upon the written consent of Author (or the Author’s agent); such consent shall not be unreasonably withheld; www.scbwi.org

| *(d) A royalty of ten percent (10%) of the amount received by the Publisher for copies, bound or in sheets, sold for export, for copies, bound or in sheets, sold in bulk to book clubs, or for copies sold at a special discount of sixty percent (60%) or more of the Publisher’s suggested retail price; (e) A royalty of twelve and one-half percent (12.5%) of the amount received by the Publisher on all sales in Canada on copies of any edition published by the Publisher; THE BOOK *(f) A royalty of five percent (5%) of the actual selling price on copies sold directly to commercial purchasers as a premium or to the consumer through the medium of mail-order coupon advertising, direct by-mail circularization or solicitation by radio or television; *(g) A royalty of ten percent (10%) of the Publisher’s suggested retail price or a royalty equal to the initial royalty rate, whichever is lower, on all copies sold from a reprinting of two thousand five hundred (2,500) copies or less made within the first two years after publication; (h) A royalty of one-half the prevailing royalty rate on all copies sold from a reprinting of two thousand five hundred (2,500) copies or less made two (2) years or more after first publication, provided that sales in the six (6)-month period immediately preceding such reprinting do not exceed five hundred (500) copies, it is understood that there shall be no more than one (1) printing per calendar year; *(i) A royalty of five percent (5%) of the Publisher’s suggested retail price of each copy sold within the United States of any hardcover reprint

PUBLICATIONS GUIDE: edition issued by the Publisher at a suggested retail price of not more than two-thirds (2/3) the original suggested retail price. *(j) A pro-rata share of five percent (5%) of the suggested retail price of any omnibus edition in which the Work appears. 2018 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 297

[The above stipulation is to keep the book in print. This will be discussed more in detail below.] PREPARING & SUBMITTING Trade Paperback 6. The Publisher shall pay to the Author, or credit to the Author’s account, the following royalties on copies sold of any trade paperback edition of the Work published by the Publisher, less credited returns and less a reasonable reserve for estimated returns: (a) Except as otherwise provided in this paragraph 6, the following percentages of the Publisher’s suggested retail price of each copy sold in the United States through normal channels: 6% on all copies of the Work sold. (b) A royalty of two-thirds (2/3) of the above royalty rate based upon the amount received by the Publisher, on all copies sold for export, or outside the United States; *(c) A royalty of five percent (5%) of the amount received by the Publisher on sales of overstock and damaged copies, and on all copies sold to

a governmental agency, or through the medium of mail order; MARKET SURVEYS *(d) A royalty of five percent (5%) of the amount received by the Publisher on special sales, to commercial purchasers as a premium, in bulk to book clubs, and outside normal wholesale and retail channels8 and for each copy sold at a discount of fifty percent (50%) or more from the Publisher’s suggested retail price of the trade paperback edition of the Work. Mass Market Paperback 7. The Publisher shall pay to the Author, or credit to the Author’s account, the following royalties on copies sold of any mass-market paperback edition of the Work published by the Publisher, less credited returns and less a reasonable reserve for estimated returns: (a) Except as otherwise provided in this paragraph the following percentages of the Publisher’s suggested retail price of each copy sold in the DIRECTORIES & RESOURCES United States through normal channels: 6% on all copies of the Work sold. [This is fairly standard but can vary.] *(b) A royalty of three percent (3%) of the Publisher’s suggested retail price on all copies sold for export, or outside the United States; *(c) A royalty of five percent (5%) of the amount received by the Publisher on sales of overstock and damaged copies, and on all copies sold to a government agency, to a book club, or through the medium of mail order; *(d) A royalty of five percent (5%) on special sales, to commercial purchasers as a premium, in bulk outside normal (wholesale and retail) channels [this refers to outlets such as Walmart, Costco, and other companies whose primary business is not selling books], and for each copy sold at a discount of fifty-five percent (55%) or more from the Publisher’s suggested retail price of the mass-market edition of the Work. Royalties for Other Editions 8. *(a) The Publisher shall pay to the Author, or credit to the Author’s account, the following royalties on copies sold by the Publisher of any audio cassette (or other sound recording) of the Work, less credited returns and less a reasonable reserve for estimated returns, a royalty of eight percent (8%) of the net amount received by the Publisher. [You may want to try to make this the suggested retail price rather than net PUBLICIZING YOUR PUBLISHED WORK received.] (b) The Publisher shall pay to the Author or credit the Author’s account, the following royalties on copies sold by the Publisher of any versions of the Work resulting from Publisher’s exercise of Display Rights (as defined in paragraph 1(j)), less any credited returns and a reasonable reserve for estimated returns (i) on copies sold priced comparatively to the hardcover edition, the prevailing royalty rate under paragraph 5(a); or (ii) on copies sold priced comparatively to the trade paperback edition, the prevailing royalty rate under paragraph 6(a). Irrespective of price, in the event the Publisher receives less than forty percent (40%) of the suggested retail price for such edition, the royalty rate shall be reduced by one-half the difference between forty percent (40%) and the amount received by the Publisher for such edition, but in no event shall the royalty exceed one-half the amount received by the Publisher. *(c) The Publisher shall pay to the Author, or credit to the Author’s account, the following royalties on copies sold by the Publisher of any board book (or other similar edition) of the Work, less credited returns and less a reasonable reserve for estimated returns, a royalty of three percent (3%) of the retail amount received by the Publisher. Royalties from Licensing 9. The Publisher shall pay to the Author, or credit to the Author’s account, the specified percentage of the net proceeds received by the Publisher from the licensing of the following rights: Royalties due to Author for Publisher’s Physical and Digital Versions SCHOOL VISITS On regular sales and sales made directly to consumers from Publisher’s e-commerce website the following percentages of Suggested Retail Price [this is critical—many publishers will try to get royalties based upon amounts received (net), which you want to avoid]: Hardcover 5% to 25,000 copies, 6.25% thereafter Paperback 3% Other (big book, board book, etc.) 3%

Mass market on net paperback 50% LEGAL QUESTIONS Trade paperback 50% Hardcover reprint 50% Book club 50% Syndication 50% First periodical rights (prior to first book publication) 70% Second periodical rights (after first book publication): serialization, digest, abridgment, condensation, excerpt 50% 298 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | licensees, and assigns, and any officers, agents, and employees of the foregoing, from and against any and allliability, damage, loss, expense Publisher’s defense and shallindemnify and hold harmlessthe Publisher, any sellerordistributorof the Work, and the Publisher’s successors, the Publisher shallhavethe right todefend the same through counsel of itsownchoosing, and (b)the Author shallfullycooperate inthe the situationswillbedealtwith.] privacy orother personal or property right whatsoever. Agreement and tomake the grants herein contained; (v)thatthe Work does not, inwhole orinpart,infringe any copyright orviolate any right of (iii) thatthe Work isoriginal, hasnot beenpublished inbookform, and isnot inthe public domain; (iv)thathe hasfullpowertoenter into this and exclusive owner of allrights granted tothe Publisher inthisAgreement and hasnot assigned, pledged, orotherwise encumbered the same; licensees, and assigns, and any officers, agents, and employees of the foregoing: (i)that he isthe sole Author of the Work; (ii)that he isthe sole Author during the period covered bysuch request shallbefound tohisdisadvantage, inwhich casethe costshallbeborne bythe Publisher. examination shallbeatthe costof the Author unlesserrors of accounting amounting tofivepercent (5%)or more of the totalsumpaid tothe his duly authorized representative shallhavethe right, uponwrittenrequest, toexamine the Publisher’s records thatrelate tothe Work; such rendered be lessthanfifty dollars ($50) a tax orotherlienagainsttheearningsof theauthor] required bylawtobewithheld and paid bythe Publisher, shallbeproper charges against the Author’s earnings hereunder payments accruing tothe Author under thisAgreement withthe Publisher. State, federal, and foreign taxes onthe Author’s earnings, when that thischangebemadeto thecontract] agreement shouldberecoverable ONLY from thisagreement andnotfrom anothercontract withthispublisher;itishighlyrecommended by the Publisher from any and allmoneys accruing tothe Author under thisAgreement withthe Publisher statements shallbesubmittedtothe Author, together withpayment for allamounts due for eachperiod solong asany payments are due. 1 for the period ending June 30,except thatthe firststatement shall not be rendered until atleastsix(6) months afterpublication date. Such by radio, television, oronline selections from the Work, for publicity and promotion purposesonly. recordings, solelyfor the blind and other physically handicapped persons; and publishing orpermitting others topublishorbroadcast ortransmit otherwise usedtopromote the saleof the Work; to bepublished pursuant tothisAgreement: payments shallbedue the Illustrator. Ifsaid receipts relate only tothe useof artwork,no payments shallbedue the Author. above paragraphs asprinted, provided said sums are related tothe useof bothtext and artwork.Ifsaid sums relate onlytothe useof text, no illustrator.] very low percentage] book (orother similaredition) of the Work, lesscredited returns and lessareasonable reserve for estimated returns In the event of the assertion of any claim, action, orproceeding inconsistent withany of the foregoing representations and warranties, (a) [This sectionisfor your protection. Publisherstake outinsurance whichcovers mostsituations. Thefollowing specifies the way inwhich 13. Author’s Representations, Warranties, and Indemnities All payments made bythe Publisher toor for the account of the Author pursuant tothisAgreement shallbechargeable against and recoverable 12. Statements andPayments (b) Licensing publication of the Work without fee, inBraille (orsimilartactilesymbols),orbymechanical audio recordings orvisual (a) Salesmade atorbelowManufacturing Cost,copies destroyed, copies furnished gratis tothe Author, editorial review copies, orcopies 11. 10. [Thefollowing sectionwillonlyappearinacontract ifthere isaseparate contract withanotherparty—suchasanauthoror (c) The Publisher shallpaytothe Author, orcredit tothe Author’s account, the following royalties oncopies soldbythe Publisher of any board On salesof digital version, 12.5%of amounts received *Commercial adaptations and tie-ins 50% *Motion picture, television, radio, lyric and dramatic rights 70% Publication inother languages 70% Publication inthe English language outside of the United States70% *Interactive multimedia form 50% Mechanical audio recordings 50% Mechanical audiovisual rights 50% Display rights 50% Premium, direct mail, couponadvertising 50% Textbook edition, large print edition, picture bookedition, photonovel 50% Anthology and other selection reprint, inwhole orinpart:complete, condensed, adapted orabridged versions 50% No Royalties The Author hereby represents and warrants tothe Publisher, any sellerordistributorof the Work, and tothe Publisher’s successors, (a)The Publisher shallrender semiannual statements of account no laterthanMay 1for the period ending December31and November Allsums of money due the Author shallbepaid atthe rate of No royalty, fee, orother charge shallbepayabletothe Author for the following, applicable toalleditions of the Work published orcaused [however, you canrequest, inwriting,to have astatement rendered] aroyalty of three percent (3%)of the retail amount received bythe Publisher. [this amountvaries from publisherto publisher—thestandard range is$10to $50] , and allsums owing bythe Author tothe Publisher under thisAgreement may bededucted from . When the balance tothe credit of the Author atthe end of any statement period shall [this isquicklychanging] [a percentage previously negotiated] , and the amount due shallbecarried forward. The Author or [money thatisrecoverable from this of the royalties stipulatedinthe [try to capthereturns to a , no statement shallbe [this iswhenthere is SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 299

(including attorneys’ fees to the extent provided below), and settlement costs, resulting from any such claim, action or proceeding, provided that PREPARING & SUBMITTING no settlement covered by this indemnity shall be effected by the Publisher without the prior written consent of the Author, which consent shall not be unreasonably withheld. If such claim, action, or proceeding is successfully defended, or settled as provided above, the Author and the Publisher will share the Publisher’s attorneys’ fees equally; if such claim, action, or proceeding results in a final judgment or decree against the Publisher, the Author will be responsible for the entire amount of such fees. If the Author desires to settle such claim, action, or proceeding and the Publisher desires to continue the defense thereof, the Author’s liability under the foregoing indemnity shall be limited to the bona fide settlement amount (evidenced in writing) in respect to such claim, action, or proceeding against the Publisher plus one-half the Publisher’s reasonable outside attorneys’ fees up to the time that the claimant and the Author agreed upon the amount. If any such claim, action, or proceeding is threatened or instituted, the Publisher shall promptly notify the Author and, in the Publisher’s sole discretion, may withhold payments due the Author under this or any other

previously executed agreement between the Publisher and the Author [this is what is called a cross default clause—it is critical that this be MARKET SURVEYS deleted, as it means the Publisher can withhold payments under any agreements they may have with you, not just the one which is subject to the litigations] subject to the Author’s right to draw on such sums to defray expenses of the Publisher in defending such claim, action, or proceeding (to the extent covered by this indemnity) and to satisfy and discharge any judgment or decree rendered. In the event that a judgment or decree shall be entered in any court based upon any such claim, action, or proceeding and the Author shall desire to appeal, the Author shall indemnify and hold harmless the Publisher, any seller or distributor of the Work, and the Publisher’s successors, licensees, and assigns, and any officers, agents and employees of the foregoing, from and against any and all liability, damage, loss, and expense (including all[reasonable, outside] attorneys’ fees) of such appeal and shall furnish and file all bonds necessary to perfect said appeal and to stay execution of any such judgment or decree. If a final adverse judgment or decree is rendered in such action or proceeding and is not promptly paid, bonded, or stayed by DIRECTORIES & RESOURCES the Author, or if costs and expenses (including reasonable, outside attorneys’ fees) covered by the foregoing indemnity are not promptly paid by the Author, the Publisher may apply the payments so withheld to the satisfaction and discharge of such judgment or decree and to the payment of such costs and expenses. Irrespective of the foregoing, the Publisher shall have the right at any time on its own behalf and expense to settle any such claim, action, or proceeding without the Author’s consent. [It is important that they come to the author for consent, as any settlement can be taken out of the royalties due to the author.] The representations, warranties, and indemnities contained herein are continuing representations, warranties, and indemnities, and will remain in effect even upon expiration of this agreement. Copyright 14. (a) The Publisher shall print in each edition of the work published by it a proper United States copyright notice in the name of [name of claimant] sufficient to secure United States copyright and Universal Copyright Convention protection in the Work. The Author hereby appoints the Publisher as his attorney-in-fact, and in such capacity the Publisher shall duly register a claim for United States copyright in the Work in such person’s name within ninety (90) days of publication and for any renewals [provided the Publisher still has the rights], extensions, or PUBLICIZING YOUR PUBLISHED WORK continuations thereof if necessary, and shall deposit the required number of copies of the Work with the Library of Congress. The Publisher shall use its best efforts to see that every license granted by it to publish, reproduce, or otherwise use he Work, in whole or in part, shall contain a specific requirement that the licensee will print a proper copyright notice in each edition of the Work published by such licensee. The Publisher’s failure to carry out the obligations in this subparagraph shall not be deemed a breach of this Agreement unless the Publisher shall not use its best efforts to cure such failure after notice from the Author. (b) The Author, his heirs, executors, administrators, successors, and assigns shall render such cooperation and assistance as the Publisher may reasonably request to protect the rights granted hereunder, including (but not limited to) delivering to Publisher appropriate transfers of copyright and other documents, in legally recordable form, in respect to all or any portion of the Work or any edition thereof. In addition, the Author shall promptly notify the Publisher of any arrangement he makes for the publication of the Work, in whole or in part, by any person other than the Publisher, as to any rights reserved to the Author hereunder. (c) If the Work contains a substantial portion of material taken from documents prepared and published by the United States Government and therefore not subject to copyright, the Author shall notify the Publisher in writing of the existence and location of all such material in the Work. Copyright Infringement 15. In the event that the copyright of the Work shall be infringed, and if no mutually satisfactory arrangement shall be arrived at for joint action in regard thereto, either the Author or the Publisher, jointly or separately, shall have the right to bring an action to enjoin such SCHOOL VISITS infringement and to recover damages. If they shall proceed jointly, the expenses and recoveries, if any, shall be shared equally; if they cannot agree to proceed jointly, any party going forward with such action shall bear his or its own expenses, and any recoveries obtained therein shall belong to such party. If the party bringing action does not hold the record title of copyright, the other party will transfer and permit the recordation of such copyright ownership as will permit the former to bring the action in his or its own name. [In order to bring a copyright infringement case to court, the suing party has to be the owner of the copyright. This would be an unusual situation; in most cases such a case would be brought jointly by the author and the publisher.] LEGAL QUESTIONS

Author’s Property 16. The Publisher shall not be responsible for loss or damage to any property of the Author. In the absence of a written request from the Author made prior to publication, the Publisher, after publication of the Work, may dispose of the original manuscript and proofs.

300 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | Agreement, tothe extent permittedbylaw, shallterminate. Publisher to terminate.] book inprint.Withrespect to digital publishing,again, makesure there isacertain revenue amount,whichifachieved, doesnotallow the himself/herself aware of thesalesof thebook,recognizing thatsalesof fewer than500copiesayear willnotnormallybeenoughto keepa below. and sale, the Publisher may givewrittennotice of the termination of thisAgreement tothe Author, withsuch effectasprovided inparagraph 24 allow arevenue amount.Itmaybepossibleto negotiateto raise thenumberof copies.] unless there are totalsalesof 300copies ormore peryear. amount of revenue.] [This isaclauseyou want modified to reflect eitheracertain numbermustbesold—300is reasonable—or youmusthave received acertain long asitisunder contract for publication oronsaleinany edition inthe United States, whether under the imprint of the Publisher oralicensee. Publisher), thisAgreement shallthereupon terminate subjecttothe terms inparagraph 24.The Work shallnot bedeemed tobeout-of-print so to getthisreduced to 2–3monthsmaximum] place the Work in print, orlicense publication of areprint edition byanother publisher aspermitted herein withinaperiod of six(6)months short articleonthisintheappendix.] that work elsewhere withoutpenalty.] the samecharacter”—and to ensure thatifthePublisherrejects awork containing thatsamecharacter thattheauthoristhenfree to sell suggest thattheAuthor considerrevising thelanguageinthissectionto includelimitations—for instance, to limititto “a work featuring “substantially similar.” Whilethislanguageisfairly standard throughout theindustry, itisreally too broad for theauthor’s protection. We granted herein. to bepublished any worksubstantially similartothe Work orwhich isreasonably likely toinjure itssaleof the merchandising orthe other rights advertising, publicizing, licensing, and promoting the Work, and any commercial adaptation thereof. biographical data in it] more and, uponthe Author’s request permitted under thisAgreement where the Author’s share of the proceeds orroyalty isorlikely toamount tofive hundred dollars ($500)or use of your work oranexcerpt andany paymentsfor it.] receive acopy of any printeditioninwhichyour work appears. Thereason for thisbeing inthecontract issothatyou have away to track statement, itispossibleandadvisableto request acopy of any permissiongranted by thePublisher. Itisalsoadvisableto request thatyou price. right topurchase further copies for personal useand not for resale atadiscount of forty percent (40%)from the Publisher’s suggested retail worth more.] the Illustrator feelsthatthesefigures don’t represent theactual value of theartwork, theIllustrator mustprovide documentation thatitis illustrator, you mayhave to askto have thislanguageinserted.Notallpublishersincludeitautomatically inillustrators’ agreements. If (black/white orcolor)black/whitefullpage. It isagreed thatthe Publisher shallnot beresponsible for normal wearand tear. or damaged artwork,and thatsuch artworkisvaluedat$500perfull-colorspread, jacket, orfullindividual page and $100perpiece of spotart is lostordamaged soastorender such artworkunsaleable, itisagreed thatthe Publisher shallreimburse the Author for the valueof the lost of the Work. Inthe event the Author’s original artwork,whileinthe Publisher’s possession and control and due tothe Publisher’s ownnegligence Illustrator’s Property 23. Bankruptcy andLiquidation 22. Termination by Publisher 21. [Note thattheseprovisions are critical,especiallywithdigital distribution.Suggestedlanguagefor thiswillappearbelow. There isalsoa Out-of-Print Provisions TERMINATION 20. No CompetingWork 19. Use of Author’s NameandLikeness 18. Contracts withOthers 17. Author’s Copies 16. , shallfurnishthe Author withacopyof eachsuch contract oragreement. Ifthe Publisher isadjudicated abankruptormakes ageneral assignment for the benefit of creditors orliquidates its business, this Ifthe Publisher shalldetermine thatthere isnot sufficient sale of the worktoenable the Publisher tocontinue the Work’s publication Ifthe Work shall beout-of-print and if,afterwrittenrequest from the Author toputthe Work backinto print, the Publisher shallfail to The Author agrees thatduring the termof thisAgreement he willnot, without the writtenpermission of the Publisher, publishorauthorize The Publisher, initssole discretion, may use and authorize the useof the Author’s The Publisher shallnotify the Author of the terms of any contract oragreement entered into bythe Publisher for any grant orlicense The Author shallbeentitled toreceive onpublication ten(10)free copies of the Work published bythe Publisher, and shallhavethe The original artworkisthe property of the Illustrator and istobereturned tothe Illustrator withinsix(6)months following publication [40% isfairly standard throughout theindustry. Thisdiscountisnotanegotiable item.Whilepermissionsare notcovered by this [It ishighlyunlikelythatthePublisher will,infact, notify the Author thatthebookisgoing out-of-print. TheAuthor shouldkeep [This isavery burdensome anddifficultclause. If you cannotgetitstricken,try to addlanguagethat more clearlydefines [make sure thePublisherisrequired to useonlypictures, bios, etc., thatyou approve inadvance] The existence of anindividual print ondemand edition oranelectronic edition shallnot constitute the Work being inprint [you shouldaddlanguagerequiring thePublisherto dothissothattheburden isnotonyou to askfor afterthe date of such notice (subject,however, todelay from causesbeyond the control of the [Make sure you receive documentation of this. Somepublishersare beginningto [The trusteeinbankruptcy makesalldecisions regarding disposition of thework, [approved] name, likeness, photograph, and connection with [If you are an [try SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 301

regardless of any language in the agreement.] PREPARING & SUBMITTING Rights on Termination 24. Upon termination of this Agreement for any cause, all rights granted to the Publisher shall revert to the Author, subject to the Publisher’s continued participation, to the extent provided, in any licenses previously granted by the Publisher. [You should ask to have language added that states that if there are any such previously granted licenses, the Publisher may not renew them upon their expiration and the rights will revert to you.] The Publisher may dispose of any or all of the copies of the Work remaining on hand as it deems best, subject to the payment of royalties as provided. However, for a period of thirty (30) days after termination the Author shall have the right to purchase any remaining stock at the estimated remainder price plus shipping and handling charges. [This should be at cost or below.] Revision

25. If the Publisher, in its sole discretion, determines that a revision of the Work is desirable, the Author shall have thirty (30) days after MARKET SURVEYS receipt of a request from the Publisher to notify the Publisher that he will make the revision himself within [a period to be mutually agreed]. If the Author fails to deliver such notice, or having delivered such notice he shall fail to deliver a revision satisfactory to the Publisher in style, content, length, and form within that period, the Publisher shall have the right, with the agreement of the Author, to make the revision, charging any outside editorial fee or other fee or royalty to the Author against the Work. It is further agreed that for the purposes of royalty computation, the revised edition shall be considered a new work, and the same scale of royalties shall apply to it as applied to the original edition hereunder. [If a royalty escalation has gone into effect, this will eliminate the escalation and the royalty rate will go back to the original rate as set forth in the contract.] DIRECTORIES & RESOURCES Option on Next Work [This provision is in some but not all contracts. It is best to delete it completely. If the Publisher refuses, some suggested modifications appear below.] 26. The Author hereby grants to the Publisher the exclusive right and option to publish his next book-length work, subject to the terms and conditions hereinafter set forth. The Author shall submit the completed manuscript of such work to the Publisher before offering or submitting it to any other party. The Publisher shall have a period of ninety (90) days after submission within which to notify the Author whether it desires to publish the work. If within such period the Publisher notifies the Author of its desire to publish such work, the parties shall negotiate in good faith with respect to the terms of an agreement to publish such work. For ninety (90) days the Author shall not submit or offer such work to any other party or negotiate with any other party with respect to such work. After ninety (90) days, or if the Author and the Publisher are unable to reach an agreement, the Author may offer such work to other parties, provided, however, that he shall not enter into an agreement for the publication of such work with any other publisher upon terms equal to or less favorable than those offered by the Publisher. [If you can’t delete this, make the option as specific as possible—, for example, a book featuring the same characters, next book in a series, or a PUBLICIZING YOUR PUBLISHED WORK book in the same genre as the contracted work. Many publishers want to have the right to wait until publication of the contracted work before responding to the submission of the next work. This is blatantly unfair, since publication may take three years or more. In the event the Author and the Publisher cannot come to an agreement on this option work, the Publisher may want to continue the option. This is unacceptable.] Agency Clause 27. [If you have an agent, there will be an agency clause, inserted by your agent, to authorize the collection and receipt by the agent of all sums of money payable to you under the terms of this agreement. This clause will also empower your agent to act on your behalf in all matters in any way arising out of this agreement. If you and your agent terminate your relationship, you both must notify the publisher in writing. The publisher may consider the agent’s notification valid without hearing from the author, but the reverse will never be true.] Notices 28. Any notices required or permitted to be given shall be in writing and shall be delivered personally or sent by registered or certified mail, postage prepaid, return receipt requested, to the Publisher or the Author (or his agent) at the respective addresses given above, or at such other addresses as the parties may from time to time designate by written notice given in the manner provided herein. Reservation of Rights to Author 29. All rights in the Work not granted to the Publisher are reserved to the Author and may be exercised or disposed of by him at any time SCHOOL VISITS during the term of this Agreement. [It is recommended that you ask for the following paragraph to be included in your contract, as it is not likely that most contracts will have this provision: “The Publisher acknowledges that the Author has the right to use the cover, any pictures, and all text of the Work for the sole purpose of promotion of the Author on the Author’s own website and in any publicity material the Author may distribute for any self-promotional purposes, including but not limited to flyers, postcards, trailers, social networking, and bookmarks. Additionally the Author may use of the LEGAL QUESTIONS cover of the Work or illustrations or text for use in any presentation the Author may make about his work. The Author agrees to acknowledge the Publisher as the publisher of the Work and to provide ordering information for the Work should the Publisher so desire.”] Assignment of Publication Under Affiliated Imprint 30. This Agreement shall be binding upon and shall inure to the benefit of the parties and their respective heirs, executors, administrators, successors, and assigns. Notwithstanding anything to the contrary contained in this Agreement, the Publisher may assign this Agreement to any parent, subsidiary, or affiliated company that expressly assumes all the obligations of the Publisher or that acquires all or a substantial portion of 302 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | the event thisAgreement iswithmore thanone author and adisputearisesbetweenthe authors thatthreatens toinvolvethe Publisher in or proceeding brought bythe Publisher against either orbothauthors arising outof orinany wayrelating tothisAgreement oritsbreach. In and duties shallbejoint and several, and eachauthor ishereby designated asagent for the other for purposesof service of process inany action deemed completethree (3)days afterthe mailing thereof. or registered mail, postage prepaid, return receipt requested. Service of process made bycertifiedor registered mail as herein provided shallbe located], and the parties hereby consent tojurisdiction of the said courtsand toservice of process uponthem either personally orbycertified relating tothisAgreement oritsbreach may bebrought onlyinacourtof record inthe Stateof [the stateorcountry inwhich the publisher is located], applicable tocontracts made and tobeentirely performed therein. Any suit,action, claim,orproceeding arising outof orinany way such partorpartshadnever beenincluded. void shallbedeemed tohavebeendeleted from thisAgreement, and the remainder of thisAgreement shallhavethe same force and effectasif effect of invalidating orvoiding the remainder of thisAgreement, and the partorpartsof thisAgreement held tobeinvalid, unenforceable, or only pointsinwritingare valid waiver of any subsequent breach ordefault orinany wayaffectany of the other terms orconditions contained inthisAgreement. in writing and signed byoronbehalfof the partygranting such waiverormodification. No waiver of any breach or default shallbe deemed a (whether writtenororal) inrespect tothe matters specified. No waiveror modification of any of these provisions shallbevalid unless done shall benull and void unlessthe assigning partyhasobtained the writtenapproval of the other party. the case, you shouldhave theoptionto terminateandgettherightsback.] continue publishingtitlesithasaccepted—provided thatitcontinuespublishingthegenre of thebooklicensedhereunder. Ifthatisnot the business of the Publisher. are not tobeconsidered alegalpartof thisAgreement. discount of eighty-five percent (85%)or more from the suggested retail price shallbe deemed soldbelow manufacturing cost. shipping costsorother similarcharges, and sales, excise, orsimilartaxes, ifany; and the retail listprice for the edition suggested bythe Publisher initscatalogs, order forms, orpromotional material; ninety (90)days, and, inthatevent, any advances paid toorfor the account of the authors shallberepaid tothe Publisher. litigation, the Publisher shallhavethe right tocancel thisAgreement ifsuch disputeisnot settledorfinally determined bycourtorder within 34. Definition of “Author”; Joint Authors 33. Interpretation, Venue, andServiceof Process 32. Severability 31. Entire Agreement 36. Effect of Headings (c) “Manufacturing cost”willmean the per-unit costof plant, paper, printing, and binding of the applicable edition, butany copysoldata b) “Amount received” willmean amounts actually received bythe Publisher, afterallowances and return credits, and excluding postage and (a) “Suggested retail price” willmean the price onthe jacket orcoverof the applicable edition of the Work or, inthe absence of acoverprice, 35. Definition of terms Descriptivewords and general statements usedinthe paragraph headings of thisAgreement tosummarize the contents of the paragraphs As usedinthisAgreement: The word “Author” shallinclude male, female, orafirmcorporation, and the plural. Inthe case of more thanone author, their rights ThisAgreement shallbeinterpreted and construed inaccordance withthe lawsof the Stateof [state orcountry inwhich the publisher is Ifany provision of thisAgreement isjudicially declared tobeinvalid, unenforceable, orvoid byacourt,such decision shallnot havethe ThisAgreement constitutes the entire agreement betweenthe parties and supersedes allprior agreements, understandings, and proposals [In theevent thatthePublishermerges withorispurchased by anothercompany, thisallows thePublisherto ]. Any other assignment, whether voluntary orbyoperation of law, [ This means SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 303 PREPARING & SUBMITTING JOINT AUTHOR AGREEMENT

The parties listed below desire to collaborate in the creation of a literary work entitled ______.

The parties undertake to create the literary work jointly. It is their intention that their individual contributions merge into inseparable or interdependent parts of a unitary whole. The copyright in the literary work shall be secured and held jointly by the co-authors in the percentages listed below.

All income, licensing fees, and royalties from the literary work, as well as from any and all subsidiary rights of every kind, shall be divided as follows: MARKET SURVEYS

To ______% (______percent) To ______% (______percent) To ______% (______percent) To ______% (______percent) total 100% (One hundred percent)

Each party shall keep the others fully informed of the progress of all negotiations had in connection with licensing, and the disposition of DIRECTORIES & RESOURCES any subsidiary rights therein. No license for the use or publication of the literary work, or for the disposition of any subsidiary rights therein, shall be valid without the approval of all joint authors/owners.

All moneys shall be paid directly to the joint authors/owners at their respective addresses herein stated below.

In all credits, advertisements, posters, or other printed matter used in connection with the literary work, the names of the parties shall be listed as joint authors. In no event shall any name appear without the others.

All expenses, which may reasonably be incurred under this agreement, shall be mutually agreed upon in advance, and shall be shared according to the percentage of interest of the parties.

Nothing contained herein creates a partnership between the joint authors. Their relation shall be one of collaboration on a single literary PUBLICIZING YOUR PUBLISHED WORK work.

The term of this agreement shall be the life of the copyright in the literary work and any renewals thereof.

After the death of a joint author, the survivor(s) shall cause to be paid to the estate of the decedent the decedent’s share of the proceeds of the literary work and of subsidiary rights therein, and furnish to the deceased joint authors’ estate a true copy of all agreements pertaining thereto.

This agreement shall be to the benefit of, and shall be binding upon and oblige the heirs, executors, administrators, and assigns of the parties.

Thus agreed and signed this ______day of ______, 20___. SCHOOL VISITS

______name name address address LEGAL QUESTIONS

______name name address address 304 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | thereof, and any actions thatmay accruefrom the date of creation thereof; inthe United Statesand the world. description attaching toorwhich may attachtosaid workand/or embraced byorincluded inthe copyright and any renewal and/or extension Hiring Party any and allexisting copyrights therein throughout the United Statesand the world, and any and allrights of everykind, nature or commission willbeconsidered aninfringement of Hiring Party’s copyright. creation of the commissioned work. property of Hiring Party, and thatHiring Party retains allrights inthese materials, and thatContractor may usethese materials onlyfor the Party hasthe soleand exclusive useof the commissioned workand any derivative worksmade therefrom. shall remain the property of Hiring Party, thatallcopyright forms willlistHiring Party asanauthor of awork–made-for–hire, and thatHiring specified under WORK FORHIREAGREEMENT Thus agreed and signed this______day of ______,20___. In the event thatthe commissioned workisnot considered awork–made-for–hire, then itshallbedeemed thatContractor hasassigned to Any unauthorized copying orother useof these materials or the commissioned workbyanyone other thanContractor for thisspecific It isfurther understood thatallmaterials, data, property, and other items usedinthe creation of thiscommissioned workremain the It isexpressly understood byContractor thattheir efforts are specially ordered and commissioned, thatcopyright inthe commissioned work Description of the commissioned workfor hire: This document confirms thatacopyrightable work of intellectual property commissioned byHiring Party isa“work–made-for–hire” as and Between address name Hiring address ______Party name § 101 of the 1976Copyright Act of the United States. ______(the Contractor) ______(the Hiring Party) Contractor SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 305 PREPARING & SUBMITTING ASSIGNMENT OF COPYRIGHT

KNOW BY THESE PRESENTS, the undersigned copyright owner:

Name: ______Address: ______Telephone: ______Tax ID #: ______d/o/b: ______MARKET SURVEYS For and in consideration of the sum of $______($ _____.00) and other valuable consideration, receipt of which is hereby acknowledged, does hereby assign, transfer and set over to the Assignee:

Name: ______Address: ______Telephone: ______Tax ID #: ______DIRECTORIES & RESOURCES Description of the assigned work: ______

Which work was solely created and authored by Assignor together with any and all Assignor’s existing copyrights in the work throughout the United States and the world, and any and all Assignor’s rights of every kind, nature or description attaching to or which may attach to said work and/or embraced by or included in the copyright and any renewal and/or extension thereof, and any actions that may accrue from the date of creation thereof; in the United States and the world. PUBLICIZING YOUR PUBLISHED WORK

(If applicable) Which said work the Assignor registered with the Copyright Office of the United States of America on ______, 20___ on Form _____, Registration Number ______.

Thus agreed and signed this ______day of ______, 20___.

______Assignor Assignee name name address address SCHOOL VISITS LEGAL QUESTIONS 306 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | look atthis sample out-of printclause: However, this is more complicated than itseems. Take a them again ordowhatever you want withyour book. the rightsrevert to you, the author, you’re free to sell publisher no longer owns the rightsto your book.When on and has approval ofany new format. devised oronthe derivative works and (2) is consulted in the agreement, ofroyalties being paid onwhatever is clause. This is acceptable only if(1)the author is assured, hereinafter devised.” This is called afuture technologies as CD-ROM, DVD, etc.), include the phrase “now and referring to technological changes and inventions (such stating the rightsthat the publishing house has, and by placing conditions onthem. Some contracts, when agreement that are troublesome, but that can bemodified They are should bedeleted, as they are to the author’s detriment. in anagreement that is not awork-for-hire document, book for PODsales, and then have another sixmonths could receive the letter, state that they are setting upthe (POD) controversy addressed below, as the publisher when looked atinthe context ofthe printondemand to continue selling the book.This takes onnew meaning has sixty days to respond as to whether they are going you want the rightsto revert to you. The publisher then are required to give notice to the publisher stating that property originally furnishedby theAuthor.” way of awrittenreversion letter, together withanyexisting all rightsgranted hereunder shallrevert totheAuthor by available for sale, thenthisAgreement shallterminateand not declare inwritingthatitintendstokeep theWork date of suchnotice. Ifwithin60days thePublisherdoes print, itshallactnot laterthansix(6) monthsfrom the the Publisherdeclares itsintentiontoreturn thebookto of theformats specified previously inthis Agreement. If term “out of print”isdefined asbeingunavailable inany whether itintendstokeep theWork available for sale. The event thePublishershalldeclare within60days, inwriting, Author maygive notice thereof tothePublisherandinsuch “ A reversion of rights refers to the time atwhich the 2. Reversion ofRights:When is abookout ofprint? There are other words/phrases that often exist inan 1. Red Flag Words There are anumber ofproblematic issues. First, you In theevent theWork isatanytimeout of print,the perpetuity , forever There are words that, when found , and universe MISCELLANEOUS NOTES . termination rights. met, and therefore you are not entitled to exercise your the requirement that the bookis stillfor sale has been taking the positionthat ifabookis available as POD, this is not the case, and ingeneral publishers are now by the publisher and listed initscatalog. Most likely English language hardcover orpaperback editionissued copies are available for sale inthe United States inan specified that abook is only considered inprint when ebooks, POD, etc. Ideally, your contract should have has increased incomplexity because ofthe advent of licensed to the publisher. The interpretation ofrights with legal counsel ifnecessary, which rightsyou actually actually being made. Second, you should determine, to accomplish that goal without any requirement ofsales The three primary possibilities are as follows: providing guidelines onhow bestto protect your rights. continue to keep itsmembers informed as well as provision atthe following link: and ifspecific actions are taken. You can read the ability to getyour rightsback under certain conditions discuss here, but this provision basically gives you the section 203 ofthe Copyright Act. This is too complex to book, and that is the termination rightgranted under want to sell itto athird party orlicense ebooks. out ofprint—otherwise you could runinto trouble ifyou acknowledgement from the publisher that your bookis addition to the above, make sure that you obtainwritten the publisher to maintain the rightsto the book.In a minimumamount ofsales are required inorder for very least, attempt to negotiate acontract that specifies Until this definitional issue is resolved, you should, atthe definition ofabookand therefore is considered inprint. the material is capable ofbeing printed, itfalls withinthe book, but publishers are taking the positionthat because taking the positionthat aPODbookis not atraditional just presented. The SCBWI and other authors’ groups are a “book”as historically understood and by the definition The issue centers onthe questionofaPODbookreally There is quite abitofcontroversy onthat last point. The publisher files for bankruptcy (voluntary In what manner didthe publisher goout ofbusiness? 3. As the industry precedents change, the SCBWI will There is one other way to obtainrightsback to your

Did Your Publisher GoOutOfBusiness 1.usa.gov/Zq7NQ . SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 307 bankruptcy). Once bankruptcy has been filed, the PREPARING & SUBMITTING bankruptcy court has control over the publisher and the assets. In this case, the copyrights of the books (we are assuming the publisher holds the copyright ) become assets of the bankrupt estate. This means that the trustee of the bankrupt corporation can either assign the assets to a third party or continue to sell them to pay off debts. It is extremely difficult to get the rights back for a product that has been published by a company that goes bankrupt. Clauses stating that the rights revert to you MARKET SURVEYS in case of bankruptcy have been found invalid; however, they are worth fighting for because they may give some basis for a reversion, particularly if advances have not yet been paid. Creditors file for bankruptcy against the publisher (involuntary bankruptcy). The method of this bankruptcy DIRECTORIES & RESOURCES is different in that creditors file for the bankruptcy rather than the publisher itself, but the implications are the same as above. The publisher simply dissolves. First, what does your contract say? The out of print clause may be useful here. Even if there isn’t, take the position that the publisher will be unable to fulfill its obligations and is thus in breach. Technically in this case, the copyright holder no longer exists in law and so the rights would revert. You can do your best to protect yourself by having a clause that states if the publisher is no longer actively marketing PUBLICIZING YOUR PUBLISHED WORK your book, the rights revert immediately. Tying this clause to sales of the book can be dangerous, particularly in the era of POD and ebooks. However, if the publisher was sold or assigned the rights to a third party before it dissolves, then unless the contract specifically has wording to the contrary; the copyrights would belong to the assignees or the purchaser. The wording in most contracts does allow such assignments, but sometimes specifically requires the author’s/illustrator’s consent, so look carefully at your agreement. Normally, if it is assigned or purchased, then the assignee/purchaser remains obligated to all the terms SCHOOL VISITS of the contract. LEGAL QUESTIONS ARCHIVING YOUR WORK: WHAT YOU SHOULD KNOW NOW ARCHIVING YOUR WORK: WHATCOPYRIGHT YOU SHOULD FACTS FORKNOW WRITERS NOW

by Susan Salzman Raab

ou may not think about archiving your work unless you’ve won an award or are far along in your career. Yet curators of major archives of children’s books, Yincluding the Arnie Nixon Center (CSU Fresno), the de Grummond Children’s Literature Collection (USouthern Mississippi), the Kerlan Collection (UMinnesota), the Mazza Museum (UFindlay, Ohio), and the Northeast Children’s Literature Collection (UConn), say it’s never too early to learn about archival care.

“Authors and illustrators can contact archivists for advice at As to benefits, Tomie dePaola says, “When I started out in the early any point in their career, but earlier is better,” says NCLC curator sixties, there were horror stories floating around about original art from Terri Goldich. “Archivists can give advice about home storage and well-known books disappearing into unknown hands only to turn up for organization prior to donating materials, which can make the donation sale on the open market without the knowledge of the illustrators who process smoother and help preserve materials before they leave home.” created it, about original art being lost forever, and even just thrown Arne Nixon Center librarian Jennifer Crow adds, “There are a number of away. These types of abuses were more common when illustration was reasons why authors might donate papers early in their career. Proper work-for-hire, being paid a flat fee instead of royalties.” storage and preservation should be done before damage might occur. But even now, material that’s not protected can be damaged or lost. Home storage space and conditions are often problematic for optimal “Emotionally, it makes me very content to know that my work is safe, upkeep of materials.” “In fact,” says Ellen Ruffin, curator of the de well cared for in a protective environment, available to researchers and Grummond Children’s Literature Collection, “many of our donors find it especially schoolchildren, who are welcome to visit and see original art a relief to pack up boxes and send them to a place that will organize, and manuscripts and will be long after I’m gone and books are out of preserve, and protect their work.” print,” says dePaola, whose work is at NCLC. Key factors to consider when choosing where to place your work For more about children’s archives, including collecting digital are your comfort level with the facility’s ability to care for it, your material, see raabassociat.es/Kly6tU. accessibility to the material once donated, if your work is a good fit, and how you will relate to the curator who will advise on the process. You should also ask the facility about how your material would be used by scholars, students, and others, what its current acquisition goals are, and what it will do to promote your work within the collection. “Many archives have active online presences (website, blog, Facebook page) announcing new contributions and generally making a splash,” says Ruffin. “The de Grummond also has a newsletter in which we recognize new contributors and a gallery in which we exhibit the original works.” The Arne Nixon Center issues a press release and announcement about donations and tells visiting classes. The NCLC has a similar setup, and Goldich says their material also travels quite a bit to exhibitions and to publishers for the purposes of reprinting. “Activity can vary quite a bit,” Mazza Museum director Ben Sapp explains, “so it’s important to find out in advance what’ll be done. Some institutions exist to house and protect the material and are not concerned with making it available to the public; others are concerned more with viewing material than with archival care.”

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NOTES TO-DO LIST 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TITLE SUBMISSION RECORD of MANUSCRIPT DATE SUBMITTED TO WHOM RESPONSE SUBMISSION RECORD

TITLE of MANUSCRIPT DATE SUBMITTED TO WHOM RESPONSE 2018 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TITLE SUBMISSION RECORD of MANUSCRIPT DATE SUBMITTED TO WHOM RESPONSE