The SCBWI Tokyo Newsletter Spring/Summer 2011

Carp Tales is the bi-annual newsletter of the Tokyo chapter of the Society of Children’s Book Writers and Illustrators (SCBWI). The newsletter includes SCBWI Tokyo chapter and member news, upcoming events, a bulletin board of announcements related to writing and illustrating for children in Japan, reports of past events, information on industry trends, interviews with authors and illustrators, and other articles related to children’s literature. To submit inquiries or learn how to contribute to Carp Tales, contact [email protected]. The submission deadline is May 1 for the spring issue and November 1 for the fall issue. All articles and illustrations in Carp Tales are © SCBWI Tokyo and the contributing writers and illustrators. For more information about SCBWI Tokyo, see www.scbwi.jp. The Carp Tales logo is © Naomi Kojima. From the Editors Contents SCBWI Tokyo wishes to express condolences to all those who have suffered From the Editors ...... 1 losses from the March 11, 2011 Great East Japan Earthquake. These have been trying times in Japan, but we are so encouraged by energetic efforts to help SCBWI Tokyo Event Wrap-Ups ...... 2 those in the affected regions. SCBWI is donating over $3,500 to the Books for 2011 Sakura Medal Tomorrow Project (Ashita no Hon), and SCBWI Tokyo has raised $500 for Ehon Winners Announced ...... 3 Project Iwate. Both projects are providing book-related relief and activities plus mobile libraries to the quake-affected areas. Kidlit for Japan, an auction J-Boys: The Story of one MG Novel organized by Greg Fishbone who lived in Japan during the Great Hanshin in Translation ...... 4 earthquake, raised over $10,000 for Red Cross Japan. SCBWI Tokyo members have donated artwork, writing, and considerable time and money to various Books for Tomorrow Project and relief projects. While we mourn for the losses and devastation up north, we other Initiatives for Tohoku ...... 7 are determined to move forward and help the country heal. More than ever, ™‡—†‡”•–ƒ†–Š‡˜ƒŽ—‡‘ˆ•–‘”‹‡•‹†‹ˆϐ‹ —Ž––‹‡•Ǥ Review of Write Great Fiction: Plot and Structure ...... 9 Although SCBWI Tokyo suspended activities in March and April, we returned to monthly scheduled events beginning in May. In this issue Of Magatama and Moribito: of Carp Tales we bring you our event wrap-ups, a book review, a feature An Excerpt from the New SCBWI on the unusual collaborative journey to publication for one middle Tokyo Translation Group Blog ...... 10 grade book, a recap of the Asian Festival of Children’s Content, and 2011 Asian Festival of announcements of Sakura Medal winners and the new SCBWI Tokyo Children’s Content ...... 11 Translation Blog. We hope you enjoy this issue.

Bulletin Board ...... 14 Holly Thompson, Carp Tales Editor, SCBWI Tokyo Regional Advisor Annie Donwerth Chikamatsu, Carp Tales Assistant Editor About SCBWI Tokyo ...... 15 Avery Udagawa, Carp Tales Assistant Editor

Carp Tales Spring/Summer 2011 1 SCBWI Tokyo Event Wrap-Ups by the Editors

Creating Global Children’s Books Next he guided participants through with Author/Illustrator Frané Lessac a series of exercises drawing a simple –”‡‡™‹–Šϐ‹‡Ž†ƒ†•›ǤŽŽ–Š‡™Š‹Ž‡Š‡ January 28, 2011 instructed on technique and offered Frané Lessac, a self taught artist of color suggestions. Dan Schallau (www. “naïve art,” discussed her journey of danielschallau.com) focused on winter becoming an author-illustrator as well scenes and explained the many shades as her journeys to do research with co- of colored pencils he uses to create author and husband, Mark Greenwood. snow scenes. He then gave participants Together, they have created many Sharing sketches and writing an outlined scene to color, offering books. To illustrate their research guidance on various effects that can be Everyone met up after about 75 techniques, she told the story behind —•‡†–‘ ”‡ƒ–‡•Šƒ†‘™•ƒ†”‡ϐŽ‡ –‹‘•ǡ minutes to share results. Participants the creation of Simpson’s Donkey. emphasize objects in the snow and had taken many different approaches-- Interviewing locals, visiting museums, reveal snow’s many textures. Both realist sketches of objects and animals; ‘—‡–•ǡƒ†•’‡ ‹ϐ‹ Ž‘ ƒŽ‡• ‹ŽŽ—•–”ƒ–‘”•ϐ‹‡Ž†‡†ƒ›“—‡•–‹‘• sketches of children looking at and associated with the story were among about paper, pencils, sharpeners, interacting with the exhibits; sketches the techniques. Lessac also mentioned erasers, pens and showed their original or plans of stories that were inspired by details from other books to illustrate and published illustrations. exhibits; full drafts of stories for teens; how accuracy is vital to adhere to the notes for developing story content protocols for producing indigenous Writers’ Night: Writing for later; research for works in progress; Australian literature. She and Mark and more. There was an impressive Young Adults with Suzanne Greenwood continue to travel and array of material on the table, and Kamata and Holly Thompson research art and book projects. Details participants agreed that museums are can be found on Lessac’s blog, www. June 11, 2011 great resources for inspiring story. franelessac.com/blog. Suzanne Kamata’s short stories Š‹•™ƒ•–Š‡ϐ‹”•– ‘›‘‡– Š for young adults and adults have and Word Crawl. At the next Crawl, we been widely published. She started plan to spend more time sketching and the evening with two key points to writing before coming together to share remember when writing for young results, and we hope to introduce a adults and then read from samples collaborative element. of YA short stories from different Two Artists Two Expressions publications. After summarizing some Colored Pencil Workshop YA plot lines to give attendees an idea with Katsuya Takahashi and of the range that is accepted, Kamata handed out a list of publications that Daniel Schallau accept YA short stories and answered May 21, 2011 questions about her writing and Frané Lessac and her books Katsuya Takahashi (http://homepage3. publishing experience. SCBWI Regional nifty.com/katz-t/) gave us a hands-on Advisor and author Holly Thompson Sketch and Word Crawl workshop in several key colored pencil started her power point presentation at the National Museum of –‡ Š‹“—‡•Ǥ ‡ϐ‹”•––ƒ—‰Š––Š‡„ƒ•‹ • by saying that voice is integral to the Science and Nature, Ueno, Tokyo of hatching, impressing and burnishing plot of a verse novel. She pointed out and shared examples of his own work. verse novel types and formats and February 27, 2011 gave examples of their characteristics. On a Sunday afternoon, writers and She showed the structure and the illustrators gathered at the Museum internal systems that add to or aid the ‘ˆ ‹‡ ‡ƒ†ƒ–—”‡ǡ‡–„”‹‡ϐŽ› storytelling then mentioned poetic then spread throughout the museum. elements that some verse novelists Some headed for particular exhibits employ. She read excerpts from many like those on the Japanese archipelago, novels including her own, Orchards, peoples of Japan, dinosaurs, forests, and shared titles of numerous verse and biodiversity. Others roamed about novels to illustrate the points she L to R: Artwork by Katsuya Takahashi; presented. Discussion and questions sketching the visitors to the museum. artwork by Dan Schallau

Carp Tales Spring/Summer 2011 2 followed. Links to their work and blogs site’s history, its current presence on for those wanting to learn about the can be found at their websites: Suzanne the web, and its outreach projects. world of English-language books Kamata, www.suzannekamata.com; PaperTigers was initially a part of written about or translated from the Holly Thompson, www.hatbooks.com. Pacific Rim Voices website which Pacific Rim region. had once been associated with the Kiriyama Prize. The focus of PaperTigers has recently become more centered on the PaperTigers blog and its outreach programs. Bloggers focus on books and materials written about or from Pacific Rim cultures, making Writers’ Night after party recommendations, giving reviews as well as interviews with authors and illustrators. Recent outreach Discovering PaperTigers, programs include donations of the Online Forum for signed books to the auction Kidlit Multicultural Children’s Literature Japan for the East Japan earthquake and tsunami victims, donations of with Sally Ito book sets to Pacific Rim schools, and July 8, 2011 donations of funds to water projects Sally Ito, one of the bloggers for in Haiti and India. PaperTigers, www. PaperTigers, gave an overview of the papertigers.org, is a rich resource Sally Ito of PaperTigers

2011 Sakura Medal Winners Announced by Annie Donwerth Chikamatsu English and Japanese books in four categories were read, High School: The Nest by Paul Jennings reviewed, voted for and awarded the 2011 Sakura Medal by Japanese Picture Books (Tie!): 100 kaidate no ie (The the students of 19 international schools across Japan. Each House with 100 Floors) by Toshio Iwai May, librarians from participating schools select 25 to 30 books for the award process. Schools hold a variety of activities Japanese Intermediate: Bebeben bentou (All About throughout the year to promote this reading program, and Bento) by Shinobu Saito and Mushiba ikka no ohikkoshi •–—†‡–•™Š‘”‡ƒ†ϐ‹˜‡„‘‘•ȋ–Š”‡‡ˆ‘”Š‹‰Š• Š‘‘Ž„‘‘•Ȍ‹ (Cavity Family on the Move) by Yasuko Hashimoto any category are eligible to vote for their favorite. Japanese Chapter Books: Chiisana ryu (Little Dragon) Authors or publishers interested in sending books for the by Ruriko Nagai, illustrated by Masami Ogura nominating committee should contact Wouter Laleman wlaleman (at) asij.ac.jp. Books should be published within Japanese Middle School: Shofukudo no manekineko two years of the award selection. (The Welcome Cat from Lucky House, Matatabi Travel Series) by Kumiko Moichi, illustrated by Ken Kuroi 2011 Sakura Medal Winners Japanese High School: Kamisama no karute (God’s Picture Books: The Book That Eats People by John Perry Medical Files) by Sosuke Natsukawa Chapter Books: Where the Mountain Meets the Moon Annie Donwerth Chikamatsu is revising a middle grade by Grace Lin novel set in Texas and maintains a photoblog for children, Here and There Japan, www.hereandtherejapan. Middle School: Cosmic by Frank Cottrell Boyce blogspot.com.

Carp Tales Spring/Summer 2011 3 J-Boys: The Story of One MG Novel in Translation by Shogo Oketani, Leza Lowitz and Avery Fischer Udagawa

J-Boys: Kazuo’s World, Tokyo, 1965 years later, when I was around ten who was moving to the States needed (Stone Bridge Press, July 2011) is a or eleven, an older boy told me about work, so I hired her to do this. I then middle grade novel in linked stories Bob Hayes and how fast he’d run in emailed them to Ralph, who translated about a nine-year-old boy growing up the Olympics. The article jogged my “Minoru Kaneda’s Story.” I changed in Tokyo in the mid-1960s. Written memory of that boy, and I created the the title to “A Day and a Half of in Japanese for an audience of teens character of Kazuo, a boy who hated Freedom” and sent it to Kyoto Journal. through adults, the book saw a tofu and wanted to be a good athlete After it was published in KJ No. 67, I number of changes on its way to like Bob Hayes. sent it to Trevor Carolan in Canada, publication for the U.S. MG market. who accepted it for publication in Also, in the 1960s, there were lots of Another Kind of Paradise: Stories from SCBWI Tokyo members Shogo Oketani, American cartoons and dramas on –Š‡‡™•‹ƒƒ ‹ϔ‹ (Cheng & Tsui). Leza Lowitz, and Avery Fischer Japanese TV every night, and Japanese Sending the stories out and having Udagawa all took part in the process kids—including me—loved those them accepted for publication gave and share here their respective roles. shows. So, I started writing scenes of ‡‘”‡ ‘ϐ‹†‡ ‡–Šƒ––Š‡„‘‘ 1960s Tokyo through the eyes of a boy should be widely read. Though I’d Shogo Oketani: I am the author of ™Š‘‰”‡™—’‹ϐŽ—‡ ‡†„›‡”‹ ƒ personally felt they were really good, J-Boys, which originally was called pop culture. I eventually completed I knew I was probably not the most only that, with no subtitle. I wrote ϐ‹ˆ–‡‡•–‘”‹‡•–Šƒ–†‡• ”‹„‡•‡˜‡”ƒŽ objective reader, being married to the –Š‡ϐ‹”•– Šƒ’–‡”ǡDzŠ‡‘ˆ—ƒ‡”dz months in the life of eight-year-old ƒ—–Š‘”ǤŠ‘‰‘ǯ•ϐ‹ˆ–‹‡–Š„‹”–Š†ƒ›™ƒ• (originally entitled “Yoshino Tofu”) Kazuo and then look into his future. coming up, and he hadn’t yet published around 2002. At that time, I needed ƒ„‘‘‘ˆŠ‹•‘™ϐ‹ –‹‘Ǥ ™ƒ–‡†–‘ to buy a new computer and Leza Leza Lowitz: I am perhaps the give him a special gift, so I asked Joe suggested I write a short story “producer” of J-BoysǤ ϐ‹”•–‰‘– Zanghi of Printed Matter Press if he for Wingspanȋ–Š‡‹ǦϐŽ‹‰Š– involved in 2002 when Matthew could publish a limited edition of the magazine). If the story were accepted, — ‡”ƒǡ–Š‡ϐ‹ –‹‘‡†‹–‘”‘ˆ Japanese (six copies). I also decided –Š‡’ƒ›™‘—Ž†„‡ϐ‹˜‡Š—†”‡††‘ŽŽƒ”•Ǥ Wingspan, mentioned he was looking to take a leap of faith and have the We were living in Northern California for stories. I’d been sending Wingspan collection translated in its entirety, then, and everyone eats tofu there stories for years, but they’d never but as Ralph had just taken on a book- in every imaginable way. Most „‡‡ƒ ‡’–‡†Ǥˆ–‡”ƒϐ‹˜‡Ǧ›‡ƒ” length translation for Ryu Murakami, Americans think Japanese love tofu, hiatus, I started again. This time I I asked Avery Fischer Udagawa if she and of course, we do eat a lot of tofu in had better luck, and Matthew said was available, and much to our good Japan. But when I was a boy, I hated it. he was looking for more. Shogo and fortune, she was. I were struggling freelance writers At the same time, I came across an and translators in California then, and Shogo and I had met Avery a few years article about the death of Olympic Shogo wanted to buy a new computer. before when she’d interviewed us for runner Bob Hayes. I didn’t remember Wingspan paid well, so I told Shogo he an article on translation for Kyoto the Tokyo Olympics very well, because should write something and we could Journal No. 56. Her translations had also I was too young to be very interested translate it together. So we translated appeared alongside my co-translations in sports when it happened. But a few “Yoshino Tofu,” changed the title to in Inside and Other Short Fiction, an “The Tofu Master,” and sent it in. To anthology of contemporary Japanese my surprise, it was quickly accepted ™‘‡ǯ•ϐ‹ –‹‘ˆ”‘‘†ƒ•Šƒ and published. International. I knew she was an excellent translator. In spring of 2008, Two years later, we moved to Tokyo. she began the full translation of J-Boys. The translator Ralph McCarthy came to stay with us, and Shogo, who never •‡”˜‡†ƒ•ϐ‹”•– ‘–ƒ –†—”‹‰ talks about what he is working on the translation process, providing until it’s done, told Ralph he’d written feedback and explanation of Avery’s more Kazuo stories and made a book. questions to Shogo whenever needed. –Š‹–Šƒ–™ƒ•–Š‡ϐ‹”•– ǯ†Š‡ƒ”† Š‡–”ƒ•Žƒ–‹‘™ƒ•ϐ‹‹•Š‡†‹ about the collection. Ralph offered to December 2008. The following March, translate another story, but they were Four Stories sponsored a reading in handwritten in fountain pen (which Tokyo, and I read portions of Avery’s ‹•Š‘™Š‘‰‘ƒŽ™ƒ›•™”‹–‡•ϐ‹ –‹‘Ȍ translation of “What Wimpy Ate,” Shogo Oketani and needed to be typed up. A friend ƒ„‘—–ƒœ—‘ǯ•ϐ‹”•–‰”‡ƒ–Ž›ƒ–‹ ‹’ƒ–‡†

Carp Tales Spring/Summer 2011 4 was essentially a beautiful though character Kazuo, were very lucky to have ‡Žƒ Š‘Ž›”‡ϐŽ‡ –‹‘‘•—‹ ‹†‡Ǥ had such a dedicated and visionary team She also shortened the collection to behind J-Boys, guiding it to publication. standard MG length by cutting over 20,000 words. Then Shogo, Avery, Avery Fischer Udagawa: I am myself and Peter went through Susan’s the translator of J-Boys: Kazuo’s edit, restoring various elements and World, Tokyo, 1965ǤŠ‡‡œƒϐ‹”•– ϐ‹ŽŽ‹‰‹ƒ›‰ƒ’•–Š‡‡†‹–‹‰Šƒ† contacted me about this book in inadvertently left in the storyline. spring 2008, there were two J-Boys stories available in English: “The Tofu After letting that draft sit, I asked a Master” (originally “Yoshino Tofu” and friend, the novelist Deni Béchard, to now “The Tofu Maker”), translated read through the edited manuscript. by Shogo and Leza, and “A Day and a Deni line-edited and offered Half of Freedom” (“Minoru Kaneda’s further suggestions and revisions Story,” now part of “Minoru and the for readability. Meanwhile, Peter Scrap Cart” and “Kazuo’s Typical Leza Lowitz Goodman suggested adding historical Tokyo Saturday”), translated by encounter with a hamburger. Shogo photographs to make the book even Ralph McCarthy. I read both of these answered questions in the Q & A. The more appealing, and I dusted off translations and the full manuscript audience reaction was very positive, dozens of Shogo’s family albums in Japanese, and quickly realized that and Shogo’s story was praised in the from the 1960s in search of possible J-Boys was a text I could spend time Daily Yomiuri’s coverage of the event. candidates. While I was doing that, with and return to repeatedly. Shogo’s Around the same time, I pitched the Shogo discovered that Shinagawa characters, themes, and heart struck book to Peter Goodman at Stone Ward had a wonderful archive of me as something readers of English Bridge Press, and Peter was very historical photographs that were should experience. I also knew that enthusiastic in his acceptance of it also online, and together we went with him and Leza behind the book, it about a year later, in March 2010. through hundreds of these images, stood an excellent chance of reaching culling our favorites and sending those readers. With the translation It was not clear complete and the ”‘•–ƒ”––‘Ƥ‹•Šǡ–Š‡’”‘ ‡••Šƒ•–ƒ‡‘˜‡”ƒ†‡ ƒ†‡ǡ from the outset book accepted that the target for publication, „—– ™‘—Ž†ǯ–Šƒ˜‡–”ƒ†‡†ƒ†ƒ›‘ˆ‹–Ǥ readers included another phase children. When „‡‰ƒǣϐ‹‰—”‹‰‘—–Š‘™–‘‡†‹–ƒ† our choices to Stone Bridge. Peter translating, my goal was not to market the book for U.S. readers. suggested adding sidebars to help gear the text to a certain age level It became clear due to feedback young readers understand the book’s but to translate it as what it was, from SCBWI Tokyo members Holly historical and cultural contexts, so and the original included some Thompson and Suzanne Kamata that I helped prepare and research those observations and events that were with its young narrator and childhood initial drafts as well. I also worked on rather adult, though the protagonist themes, the book should be edited other aspects of preparing the book was a child. Shogo indicated early to appeal directly to middle grade for launch, such as writing to authors on that the collection was intended readers, with an adult crossover for blurbs, commissioning a friend in for an audience of teens through potential. Since I had no experience New York to build the J-Boys website adults. As late as summer 2010, a in the MG or YA genre, I found (www.j-boysbook.com), working with year before publication, I understood editor Susan Korman in the SCBWI Shogo and Avery on website content, that J-Boys was an adult or perhaps Publication Guide. Susan had over 20 ƒ†Š‡Ž’‹‰Š‘‰‘ϐ‹ŽŽ‘—––Š‡Ž‡‰–Š› a young adult novel. As discussions years experience in the U.S. children’s and useful author questionnaire Stone progressed, however, I learned and literature market and had worked as Bridge’s publicist Jeanne Platt sent. grew excited about gearing the book a senior editor at Bantam Doubleday I will be active in promoting J-Boys toward MG and up. This ultimately Dell, acquiring and editing middle- with Shogo in giving readings and involved making Kazuo a year ‰”ƒ†‡ϐ‹ –‹‘Ǥ—•ƒƒ†‡J-Boys presentations in the States and in older; making some of his thoughts suitable for middle grade readers by Japan after the book comes out in July. younger; altering the look ahead changing the age of the main character at his future; and shortening the Kazuo, editing out passages where ”‘•–ƒ”––‘ϐ‹‹•Šǡ–Š‡’”‘ ‡••Šƒ•–ƒ‡ manuscript as a whole. the awareness was too mature or over a decade, but I wouldn’t have traded elegiac for a child, tightening the a day of it. Though one person might I played a number of roles in prose where it was too explanatory, write a book, it takes many people to see preparing J-Boys beyond translating and cutting the last story, which it to fruition, and Shogo, plus his main the original manuscript from spring

Carp Tales Spring/Summer 2011 5 through winter 2008. I submitted a Jeanne Platt. I drafted endorsement translation of the story “Christmas requests to several MG/YA authors, and Report Cards” as an assignment which led to two endorsements that for an MA program of The University now appear on the J-Boys cover. In of Sheffield, and completed an addition, I wrote copy for the J-Boys annotated translation of “Winter website and sought feedback about Earnings” as my final thesis for educational use of the book at an the program in June 2009. For international school where I live in “Christmas and Report Cards,” I Thailand. Finally, I made up J-Boys wrote an introduction of Shogo and postcards to distribute at the Asian J-Boys; for the thesis, I researched the Festival of Children’s Content held in theme of seasonal labor migration Singapore in May. I am now gathering (dekasegi) as experienced in growth- ideas for a school visit to share about era Japan and depicted in selected J-Boys and the role(s) of a translator. Japanese children’s fiction. Material from my writing about J-Boys for the J-Boys: Kazuo’s World, Tokyo, 1965 MA, as well as for several journal is unusual compared with other Avery Fischer Udagawa Japanese MG/YA novels in English submissions that I carried out in Japan-U.S. Friendship Commission translation. Typically, such books consultation with Leza, proved useful Award and an NEA grant. His work has are edited and published in Japan in the “pitch” to Stone Bridge Press also appeared in Language for A New before a translation is arranged, and/or publicity materials. Century (W.W. Norton), The Poetry and the translator is selected by the of Men’s Lives (University of Georgia After Stone Bridge accepted J-Boys, I English-language publisher. With Press), Manoa, The Poem Behind played a role in the editorial process. J-Boys, by contrast, the author and his the Poem: On Translating Asian This began with discussions by email wife commissioned the translation Poetry (Copper Canyon Press), and about the subtitle and target audience in before a publisher was found; they The Columbia Anthology of Modern summer 2010. From fall 2010 through sold directly to an English-language Japanese Literature. He and Lowitz spring 2011, I took part in several publisher; and my translation are completing a YA novel about a thorough editorial passes. The early functioned as the original writing female ninja. His website is www.j- passes followed up on the major edit sold to that publisher. The editing was boysbook.com. by Susan Korman; as the translator, I done in English, the target language, checked both internal consistency of not in Japanese. So unlike other books Leza Lowitz is an award-winning –Š‡ƒŽ–‡”‡†–‡š–ƒ†‹–•ϐ‹†‡Ž‹–›–‘–Š‡ recently published by my colleagues in writer, editor, screenwriter and co- original. Later on, the focus broadened the SCBWI Tokyo Translation Group, translator. Her work has appeared in to include new elements such as photos, J-Boys is not available in its present Š‡ —ˆϐ‹‰–‘‘•–, Shambhala Sun captions, sidebars, and a glossary. I form in a Japanese-language edition. and The Best Buddhist Writing of performed several tasks in this phase If readers could compare the original 2011. She has published over 16 books, that I might not have predicted earlier, with the English, they might be including the newly released Yoga such as translating captions for photos surprised by the many changes! Heart: Lines on the Six Perfections and suggesting photo placement; (Stone Bridge Press). Her awards That said, I feel the result of the checking sidebar text and placement; include the PEN Josephine Miles Award, J-Boys process is a book that, while and sometimes suggesting additional a PEN Syndicated Fiction Award, grants appropriately market-focused, material. As perhaps the closest reader from the NEA and NEH, and the Japan- remains faithful to the manuscript of the original after Shogo, I had lots U.S. Friendship Commission Award for by Shogo that I received from Leza of ideas that kept Peter busy! I was the Translation of Japanese Literature in March 2008. I am excited, nearly grateful that all stakeholders got from Columbia University. She can be three and a half years later, to see to suggest changes throughout the reached at www.lezalowitz.com. process, and that Peter, Shogo, and this writing pass into the hands Leza could all read comments that of readers. I am also pleased, as a Avery Fischer Udagawa grew up in incorporated both English and Japanese. translator, to have gained this look at Kansas and lives with her Japanese/ publishing for MG readers and up. American family in an international Besides taking part in the editing, I school community near Bangkok. Shogo Oketani is author of Cold River also assisted with promotion of the J-Boys: Kazuo’s World, Tokyo, 1965 (in Japanese; poems), co-author of book. I read a number of historical is her first book-length translation. Designing with Kanji: For Surface, MG and YA novels with Asian main Her writing has appeared in Kyoto Skin and Spirit, and co-translator of characters to learn how J-Boys added Journal and Literary Mama. See America and Other Poems by Nobuo –‘–Š‡ƒ”‡–ǡƒ†•Šƒ”‡†›ϐ‹†‹‰• averyfischerudagawa.com. with Shogo, Leza and the publicist, Ayukawa, for which he received the

Carp Tales Spring/Summer 2011 6 Books for Tomorrow Project and Other Initiatives for Tohoku by Holly Thompson

spoke of her experience reading to children in Tohoku. She also recalled her return to Tokyo a couple years after the end of World War II and how on her arrival in Akihabara destruction was still evident everywhere. She likened the landscapes of the tsunami-hit coasts of Tohoku to post-war Japan. She urged us each to take responsibility to help Japan forward.

Sachiko Kashiwaba, author of Dai obasan no fushigina reshipi (Great Aunt’s Mysterious Recipes) and L to R: many other titles, described the Books for Tomorrow’s Mobile Library ; Author Eiko Kadono has a closer look frightening night of 3/11 in Iwate, and the fear and worry that day for On July 3, I attended the event Charity the exhibition of children’s book all the people living on the coast. She Lectures: Writers Talk about the 3/11 illustrations for the Books for talked of later meeting with teachers Disaster and the Books for Tomorrow Tomorrow Charity Auction (www.jbby. and the principal of a school in a Project. The Books for Tomorrow org/ae/category/auction/?lang=en). tsunami-hit town, of listening to their Project (in Japanese あしたの本) is a Before and after the event, joint initiative by the Japanese Board participants wandered through on Books for Young People (JBBY), the gallery area viewing Japan P.E.N. Club, the Japan Publishers donated artwork, still open Club (JPC), and the Japan Publishing to bidding online. There are Foundation for (JPIC). The mission of so many great illustrations in the Books for Tomorrow Project is to this auction, including several support children affected by the Great donated by SCBWI Tokyo East Japan Earthquake and Tsunami members. through books. As stated on the JBBY website, “By working to put books in The talks were moderated by the hands of children, the Books for Akira Nogami, director of the Tomorrow Project seeks to provide ƒ’ƒǤǤǤŽ—„ǡƒ†–Š‡ϐ‹”•– sources of comfort and enjoyment speaker was International that will bolster their strength as Board on Books for Young they cope with the fears, anxieties, People (IBBY) president, Ahmad and uncertainties they face. The Redza Ahmad Khairuddin, project involves a variety of activities visiting Japan for a week and centered on books and book-related on his way up to Tohoku. He programs.” SCBWI is generously mentioned that the Books for donating funds to this project thanks ‘‘””‘™’”‘Œ‡ –‡š‡’Ž‹ϐ‹‡† to an SCBWI Regional Relief Grant and the fact that often the best of fundraising efforts by the Illinois and people comes to the surface in Eastern Pennsylvania SCBWI chapters bad times. in the U.S. Following Ahmad Redza, Eiko The Charity Lectures event was Kadono, author of Majo no held in Tokyo in conjunction with takkyubin (Kiki’s Delivery Service),

© Paul Richardson

Carp Tales Spring/Summer 2011 7 ǤǤǤƒ—–Š‘”•ƒ”‡–Š‡’‡‘’Ž‡™ƒŽ‹‰„‡Š‹†‡˜‡”›‘‡‡Ž•‡ǡ–Š‡ ‘‡•Ž‡ˆ–’‘†‡”‹‰ƒˆ–‡”‡˜‡”›‘‡‡Ž•‡Šƒ•Ž‡ˆ––Š‡• ‡‡Ǥ

harrowing tales of escape, and of the dangers have been hidden from bus, decorated with fair-weather monumental challenge of helping people in Japan. clouds and favorite children’s book children process their experiences characters. He said that they would when there are so few counselors in Wrapping up the event, novelist Eto first take this mobile library to the Tohoku. She urged people to visit and Mori shared her struggle to discover hard-hit cities of Rikuzentakata, in support Iwate and other prefectures what she could do to help. She Iwate Prefecture, and Kesennuma in of Tohoku. recalled being asked to write pieces Miyagi Prefecture. immediately after the earthquake, Author Jun Saito spoke about the but she explained that authors are The Books for Tomorrow Project Ehon Project Iwate (www.ehonproject. the people walking behind everyone welcomes monetary donations. For org/iwate/e/index.html) begun by else, the ones left pondering after those in Japan see JBBY’s Books children’s book editor and founder everyone else has left the scene, for Tomorrow Donating Funds of Suemori Books, Chieko Suemori. and that she needed time to process page (www.jbby.org/ae/donating- He explained that the call for the disaster. She went to Tohoku funds/?lang=en) and for those books led to mountains of donated to volunteer but was discouraged outside Japan see the IBBY Appeal books and that now the task lies that she didn’t have more physical for Japan page (www.ibby.org/index. in delivering them via their mobile strength for clean-up operations. php?id=1193). libraries. Manga artist Machiko She came to realize there were other Satonaka talked of the desire to help ways she could help and decided Holly Thompson is the SCBWI Tokyo through manga and the resulting to focus on rescuing pets from the Regional Advisor and author of the Manga Japan group’s charity auction affected areas. YA verse novel Orchards, the picture (http://topic.auctions.yahoo.co.jp/ book The Wakame Gatherers, and charity/2011sanrikuoki_ms/post_34/ After the talks, participants were the novel Ash. She is the editor of the index.html in Japanese). Atsuo invited to view the Books for forthcoming Tomo: Stories to Help Nakamura, actor and writer lamented Tomorrow mobile library (toshokan and Heal, an anthology of YA Japan- the destruction to the environment basu), which heads up to Tohoku related fiction to benefit teens in the through nuclear power dependency this month. I chatted with Kiyoshi earthquake and tsunami affected and the unfortunate manner in which Nakaizumi of JPIC beside the areas of Tohoku.

Featured SCBWI Tokyo Member Illustrators in this Issue

Paul Richardson is a Los Angeles-born artist. He was schooled in Pasadena, California, and at The School of the Art Institute in Chicago and is now settled down living and working in Japan. Visit his website: www.pcstudio.me

Izumi Tanaka was raised in Nagasaki and practiced Japanese traditional goache painting at classes in Kawasaki while raising her two children. She loves to draw children, animals and plants. Fascinated by Japanese mythology, she has been working on a picture book on the Kojiki, Japan’s earliest chronicle. She is the exhibit coordinator for the SCBWI Tokyo Illustrators Exhibition 2011. Visit her website: http://izumi-picturebooks.jimdo.com © Izumi Tanaka

Carp Tales Spring/Summer 2011 8 Review of ”‹–‡ ”‡ƒ– ‹ –‹‘ǣŽ‘–Ƭ–”— –—”‡ by James Scott Bell

Reviewed by Claire Dawn

In Write Great Fiction: Plot and structure, asserting that even daily a checklist of important points the Structure, James Scott Bell promises: life unfolds in this manner: “We get book makes, and Appendix B being up in the morning and get ready to go a cover copy exercise aimed at Ȉ Techniques for crafting strong to work. We work or do whatever we helping to streamline your novel. beginnings, middles, and ends do. Eventually we wrap up the day’s Ȉ Easy-to-understand plotting business and hit the sack.” Overall, Write Great Fiction: Plot and diagrams and charts Structure was a useful addition to From this point, Bell takes my writing craft library, providing Ȉ Brainstorming techniques for us through the plot progress implementable advice in a down- original plot ideas chronologically from idea through to-earth manner while still being Ȉ Thought-provoking exercises at beginning, middle and end. He shows palatable. It’s a book I’d recommend to the end of each chapter what is important at each stage of anyone who, like me, struggles with Ȉ Story structure models and the game. He acknowledges the two plot and structure, or on the other methods for all genres camps of writers: plotters (outline Šƒ†ǡ‹•Ž‘‘‹‰–‘”‡ϐ‹‡–Š‡‹” ”ƒˆ–Ǥ people or OPs) or pantsers (no Ȉ Tips and tools for correcting outline people or NOPs), mentioning Claire Dawn is a YA writer from common plot problems the plot issues that can be inherent Barbados who currently lives in Iwate. ‡”‘ϔ‹ –‹‘ƒ†’‘‡–”› ƒ„‡ˆ‘—† And he delivers! in their work: lack of spontaneity and lack of cohesion. He takes a few in the CLAIR Forum, Write for Tohoku, Bell begins the book by illustrating pages to discuss plotting methods and JET Journal 2009. She blogs online the LOCK system. Basically, a good for pantsers, who are largely ignored at http://aclairedawn.blogspot.com plot consists of taking an interesting in most plotting discussions, before and amuses herself by compiling a list of character (Lead), giving him something showing a plethora of methods for 100 books every writer should read. to go after (Objective), putting plotters. Then he goes on to offer something in his way (Confrontation), suggestions for revision. and then delivering a powerful, satisfying ending (Knockout). I loved Throughout the book, Bell offers that Bell’s plot method considers the examples from his own work, main character early on. I have read contemporary best sellers, and the other theorists who seem to separate classics. He tends towards thrillers plot and character, but to my mind, one and crime novels, but he also points can’t develop without the other. Even out plot and structure in books such when you consider crime novels and as The Wizard of Oz and movies like procedurals, novels heavy on plot twists, It Happened One Night. they often have a well-loved character Bell wraps up the book with at the fore. Jessica Fletcher in Murder, lists of common plot types with She Wrote, Horatio in CSI, Nancy Drew, examples, plot problems and their Encyclopedia Brown, Veronica Mars, solutions, and tips and tools for Miss Marple and Sherlock Holmes are plot and structure. just a few examples. Even the appendices to this book ˆ–‡”†‡ϐ‹‹‰’Ž‘–‘ƒƒ ”‘Ž‡˜‡Žǡ are handy, with Appendix A being Bell goes on to highlight the three-act

Carp Tales Spring/Summer 2011 9 Of Magatama and Moribito: An Excerpt from the New SCBWI Tokyo Translation Group Blog

Editors’ note: For several years, SCBWI Tokyo has hosted an Below is an excerpt from a May 24 blog post by Alexander O. email listserv for published and aspiring translators of Japanese Smith, which consists of an interview with Cathy Hirano, trans- Š‹Ž†”‡ǯ•Ž‹–‡”ƒ–—”‡‹‘‰Ž‹•ŠǤŠ‡ϔ‹”•– ‘›‘”ƒ•Žƒ- lator most recently of Mirror Sword and Shadow Prince, the tion Day was held in June 2010. Now, the SCBWI Tokyo translator second volume in the Tales of the Magatama series by Noriko members have launched a blog—SCBWI Tokyo Translation Group: Ogiwara (VIZ Media). Hirano has also translated the Batchelder Japanese Children’s Literature in English— viewable at http:// Award-winning novel Guardian of the Spirit by Nahoko Uehashi ihatov.wordpress.com. This blog offers posts on the craft and and its sequel, Guardian of the Darkness (Arthur A. Levine business of translating Japanese children’s and teen literature, and Books). Below, Smith asks Hirano about differences between currently highlights the children’s literature and culture of Tohoku translating the books in these two series. To read the full, in-depth in the wake of the March 2011 disasters. interview, please visit the SCBWI Tokyo Translation Group Blog.

Alexander O. Smith: The Magatama feels like (ouch!!). This brings home the Japanese creation myths and Mirror and the Moribito series which you reality of life for the bodyguard Balsa. Sword and Shadow Prince (2011) on also worked on are interesting to me the tale of Yamato Takeru, a legendary ‹–Šƒ––Š‡›„‘–Šϐ‹–•—‰Ž›™‹–Š‹ Ogiwara’s battle scenes, in contrast, Japanese hero of the 4th century. To a very Western Fantasy genre and convey the emotional intensity of the the Japanese reader, these tales and yet their stories and worlds are moment but the smaller details are their setting are familiar territory ‹ϐŽ—‡ ‡†„›•‹ƒŠ‹•–‘”›ƒ† rather blurred, as if viewed through but for English readers they are not. myth. How did you navigate the the subjective lens of a particular A single word in Japanese can conjure process of bringing these worlds into character’s mind. At one crucial point, up a hairstyle (mage), clothing (mo), ‰Ž‹•Š™‹–Š‘—–Ž‘•‹‰–Š‡ϐŽƒ˜‘” for example, I knew that the heroine, building (miya) or social status (osa) of the original? Were you inspired, Toko, had stabbed someone but it for which no English equivalents exist. stylistically or otherwise, by any wasn’t until I tried to translate that Because no explanation is provided in other books in English? part that I realized this fact is not the Japanese, the translation required actually stated. Her intent to stab a hefty amount of background research Cathy Hirano: A hard question! For him and subsequently the fact that a into the tales’ historical and cultural me, it’s a very intuitive process and I’m knife is protruding from the person’s context and plenty of agonizing over never sure if I really have succeeded in side are there but not the act itself. In how much of that information was ‡‡’‹‰–Š‡ϐŽƒ˜‘”‘ˆ–Š‡‘”‹‰‹ƒŽǤ‡ Japanese, readers easily connect these needed for an English speaker and how thing I try to do is read the translation dots but in English, they don’t. So as the to unobtrusively convey the essentials. out loud once I get it to a more polished translator I had to decide when this act state. That helps me see whether it actually takes place and how to convey As for what books inspired me during “feels” the same. What I’m looking for at it without losing the tone. the translation process, I actually a gut level is whether the English grabs •–”‹˜‡‘––‘„‡‹ϐŽ—‡ ‡†•–›Ž‹•–‹ ƒŽŽ› me in the same way as the Japanese. The Moribito world was, in one way, by other authors so that I can remain To me, Uehashi’s voice is fast-paced, much easier to render in English than true to the original. At the same time, powerful, compassionate, clear and the Magatama world simply because however, I do read books in the same deceptively simple. Ogiwara’s voice, Uehashi invented it from scratch. This genre because exposure to good though just as powerful, is completely means that the Japanese readership English helps me avoid an excessively different. Her rich, lyrical images and is just as unfamiliar with it as the literal translation. While translating sweeping descriptions vividly convey English readership so the descriptions the Moribito books I found myself the emotional atmosphere. She has a Uehashi provides are thorough enough rereading Ursula LeGuin’s Earthsea knack for capturing a focal point or for everyone to follow regardless of series. I think what appealed was their detail that draws in the reader and their cultural background. While the common themes such as the search for mirroring the inner worlds of her positioning of these details sometimes for meaning, the painful journey of characters’ minds and hearts in the „‘‰‰‡††‘™–Š‡ϐŽ‘™‹‰Ž‹•Šǡ self discovery and acceptance, and the outer world. However, this style, which occasionally requiring relocation in fact that their voices both evoke the is very Japanese, is less compatible with consultation with the author and the oral tradition of story-telling. When the English language than Uehashi’s. English-language editor, translating translating Ogiwara, on the other hand, To give one example, Uehashi’s battle the cultural context into English I was drawn to Tolkien’s Lord of the scenes are graphically detailed. You was not a problem. In contrast, the Rings. Again, it wasn’t the style but the know exactly when and how each bone Magatama books draw on ancient story’s epic nature and the use of humor is broken, whose bone it is and what it Japanese myths: Dragon Sword and to lighten a serious tale that resonated. Wind Child (2007) on the ancient

Carp Tales Spring/Summer 2011 10 2011 Asian Festival of Children’s Content: ‡ƪ‡ –‹‘•‘ˆ ‘—” ‘›‘‡„‡”•

Holly Thompson, Author editor Neal Porter. Unfortunately, Trevor Kew, Author sessions for authors and illustrators This year’s AFCC had some great were squeezed into only two ideas, particularly the First Pages days this year, so I missed out on sessions in which conference attendees presentations I would have liked to ƒ‘›‘—•Ž›•—„‹––‡†–Š‡ϐ‹”•–’ƒ‰‡ attend that were concurrent with of a work in progress to be analyzed mine, or those I was moderating. and evaluated by a panel of experts. SCBWI members gathered for a ˆ–‡”Š‡ƒ”‹‰–Š‡•’‡ ‹ϐ‹ ǡ ‘•–”— –‹˜‡ meeting and dinner one evening, and and frank feedback from the panel this was a great opportunity to get members, I sincerely wished that I’d to know members from some of the submitted something! Kenneth Quek, SCBWI Singapore newer and rapidly growing SCBWI Regional Advisor; Jade Yong, National regions in Asia. Book Development Council of Singpore; R Š‡ϐ‹”•– Š‘Žƒ•–‹ •‹ƒ‘‘™ƒ”† Ramachandran, AFCC Festival Director; (www.scholasticbookaward.asia) was Kathleen Ahrens, SCBWI International announced at AFCC 2011; the winner Regional Advisor Chairperson was Uma Krishnaswami, for her novel Book Uncle and Me. The President The 2011 AFCC conference sessions of the Democratic Republic of Timor were held at the 200-year-old Arts Leste also gave a special lecture and ‘—•‡ǡ‹‰ƒ’‘”‡ǯ•ϐ‹”•–ƒ”Ž‹ƒ‡– introduced Luis Soriano Bohorquez of ‘—•‡ǡ‡ƒ”ƒˆϐŽ‡•ǯƒ†‹‰‹–‡Ǥ Biblioburro, who started a traveling First Pages Panel Critiques with moderator AFCC is the brainchild of Dr. R library with donkeys in Columbia. Kathleen Ahrens, SCBWI International Ramachandran in particular, and the Regional Advisor Chairperson; Kelly conference has developed rapidly over AFCC 2011 is a conference with Sonnack, Andrea Brown Literary Agency; the past two year thanks to the hard tremendous potential. I hope that in Stephen Mooser, SCBWI President; Sayoni Basu, Scholastic India work of many individuals. 2012 the sessions for authors and illustrators can be spread over three On the evening before the conference I days as they were in 2010 rather than I also attended productive sessions on enjoyed the kickoff panel presentation two days as they were this year. I so Exploring History through Children’s on the Kidlitosphere and YA value the friendships begun at this Literature (Dianne Wolfer); the Global Blogosphere with the amazing trio of conference; the connections made; the Market for Asian Children’s Books Tarie Sabido (Asia in the Heart, World information, techniques and tips shared; (Neal Porter); and the Children’s on the Mind: asiaintheheart.blogspot. and above all the strong underlying Market: What has Changed and What com) Myra Garces-Bacsal (Gathering belief in books from and about Asia. Sells Now (Kelly Sonnack). Books: http://main.gatheringbooks. I felt there could have been more actual org) and Corinne Robson (PaperTigers: Holly Thompson is author of the YA verse novel Orchards and the picture “Asian content” at times, as there did http://papertigers.org). How great to seem to be a rather heavy focus on the meet these bloggers in person! book The Wakame Gatherers. See www.hatbooks.com. American market, although perhaps SCBWI is one of the supporting this is a consequence of the realities of organizations of AFCC, and this year the book business. SCBWI President Stephen Mooser gave One aspect of the conference that I the opening keynote of the conference really valued was meeting several in the lofty parliament chamber. He people who have worked in children’s also presented Writing for Boys and literature for thirty years or more. served on the First Pages panel. With all of the huge changes that At AFCC, I gave two presentations, will inevitably challenge authors in one on author/illustrator school future, it was reassuring to hear from visits, and the other on writing experienced writers and publishers fiction for young adults. In addition, about the changes that have happened I moderated sessions by author over the course of their own careers Christopher Cheng, author/ Tarie Sabido, Myra Garces-Bacsal, and how they have managed to adapt, illustrator YangSook Choi, and Corinne Robson learn and continue to move forward.

Carp Tales Spring/Summer 2011 11 And of course, Singapore is always a for Young Adults (Holly Thompson). powerful communicator,” “The good time! In the session On Fairies, Mousedeers, illustrator’s job is to minimize Trevor Kew is author of the YA novels Merpeople, and Magic Spells, Rhoda words,” “Your job is to make people’s Trading Goals and Sidelined. Visit his Myra Garces-Bacsal presented her imagination come alive.” I was sorry blog http://trevorkew.wordpress.com research of folktales and mythology of I could not stay for the entire three- the four countries. It was interesting to hour workshop. Naomi Kojima, Author/Illustrator learn the unique cultural elements and Asian Markets and Experiences was I attended the AFCC this year again, the commonalities and divergences, exactly the kind of presentation I excited to be immersed in the joyful and how characterization of children, was hoping to hear at the conference. spirit of last year’s conference, and family values, aspirations and dreams The three panelists, Le Phuong Lien, to enjoy the diversity and beauty of ƒ”‡’‡” ‡‹˜‡†ƒ†”‡ϐŽ‡ –‡†‹–Š‡ Head of Children’s Literature at the Singapore. The two days were packed folktales of each country. Oft found Vietnamese Writer’s Association, with sessions on children’s books, and themes in Singapore folktales are Sayoni Basu, Publishing Director at many times I wished I had two or three rules and punishment; premium on Scholastic India, and Linda Tan Lingard bodies to attend sessions being offered obedience; and communal pride and of Yusof Gagah Lingard Literary Agency at the same time. It was good to see shame. In the Philippines common Malaysia each presented the history friends from last year, and it was fun themes are comeuppance for a misdeed; and their knowledge of their individual to be in Singapore with SCBWI Tokyo repentance; and winds, rains and domestic markets. friends, being able to share the AFCC typhoons. For Malaysia and Indonesia The very last session of the conference experience together. This year lunch common themes are elevation of the I attended left me in awe. In Evoking was served to all participants at the lowly and the bleak and the underdog. Imagination in Illustration and conference, and this turned out to be a †ƒ›–™‘ǡ ƒ––‡†‡†–Š‡ϐ‹”•–ŠƒŽˆ Animation Films, animator and good time to meet new people and to of Creating Your Own Storyboard ϐ‹Žƒ‡”‹ƒƒ„ƒ‹‹–”‘†— ‡† renew friendships. (YangSook Choi); Turning Life her new book Home, a stand-up book, On day one I attended The Global Experience into Fiction (Diane Wolfer); which unfolds visual narratives like Market for Asian Children’s Books: Asian Markets and Experiences (Sayoni multiple windows on a computer. The What Travels, What Doesn’t (Neal Basu, India; Le Phuong Lies, Vietnam; Kaavad, a portable wooden shrine used Porter), Mythical Stories and Images Linda Tan, Malaysia); The Children’s by traditional storytellers in Rajasthan, of Asia (YangSook Choi), On Fairies, Market: What Has Changed and India, was the inspiration for Nina’s Mousedeers, Merpeople and Magic What Sells Now (Kelly Sonnack); and new book. Nina had done extensive Spells—Threads that Bind Children’s Evoking Imagination in Illustration and research on the Kaavad, visiting Tales from Singapore, Philippines, Animation Films (Nina Sabnani). villages where families for many Malaysia and Indonesia (Rhoda Myra YangSook Choi was reassuring generations have been storytellers. Garces-Bacsal), A Book Reviewer and powerful in her workshop on Š‡•Š‘™‡†—•Š‡””‡•‡ƒ” Šϐ‹Ž‘–Š‡ Speaks: Trends in Children’s Literature Creating Your Storyboard. “Do not Kaavad, which was itself a piece of art. in America (Liz Rosenberg), and Of underestimate the power of the Again the AFCC opened windows into Power and Emotions: Writing Fiction illustrator,” she said. “Visual is a ƒ™‹†‡”™‘”Ž†ˆ‘”‡ǡƒ† ™ƒ•ϐ‹ŽŽ‡† with inspiration and hope, refreshed and ready to work on new books. Naomi Kojima is author/illustrator of the picture book Utau Shijimi (Kaisei-sha) and translator of the Japanese edition of Dear Genius: The Letters of Ursula Nordstrom (Kaisei-sha). Avery Fischer Udagawa, Translator What can a translator learn at a conference on children’s content with tracks on writing and illustration, publishing, media, SCBWI members from Singapore, Hong Kong, Malaysia, Thailand, the Philippines, Japan, and primary and preschool education? the U.S., Australia, and Canada Plenty, I learned at AFCC 2011.

Carp Tales Spring/Summer 2011 12 Staples discussed imparting language about agent-translator relationships. knowledge through storybooks, and In addition, I learned about the storyteller Kiran Shah performed a SCBWI Work-in-Progress Grants at version of Stone Soup. Seeing stories an SCBWI Asia Pacific Dinner, and read and performed reminded me of grew inspired to submit a manuscript our ultimate purpose: to engage and for the Scholastic Asian Book Award, delight young readers. presented at the conference. Certain sessions at the AFCC provided Perhaps the most enjoyable aspect content of immediate use to me as of the AFCC was the opportunity to a translator. Holly Thompson’s talk network, meeting established and on school visits left me with a list of aspiring creators of children’s content ideas to use as I propose talks at an and sharing our stories, postcards, international school about my first and business cards. I also had fun novel translation. A session called catching up with three other members Christopher Cheng on apps First Pages for Authors gave me the of SCBWI Tokyo. I highly recommend chance to have 100 words of a new AFCC to other Japanese-to-English This conference provided a helpful translation critiqued by an agent, translators, as a way of making overview of English-language markets an editor, and an author (I write connections, soaking up inspiration, for children’s literature, particularly about this experience in the “Three and gaining a broad understanding of the U.S. markets. Kelly Sonnack of Readers, One Hundred Words” post our target markets. the Andrea Brown Literary Agency on the SCBWI Tokyo Translation Avery Fishcer Udagawa is the translator presented two info-packed sessions on Group blog: http://ihatov.wordpress. trends in U.S. children’s publishing and of J-Boys: Kazuo’s World, Tokyo, 1965 com). The Q & A at one of Sonnack’s by Shogo Oketani (Stone Bridge Press). the process of marketing children’s sessions allowed me to ask a question books in New York, “from cradle to Seeƒ˜‡”›ϐ‹• Š‡”—†ƒ‰ƒ™ƒǤ ‘. grave.” Neal Porter of Neal Porter Books, an imprint of Roaring Books Press, walked an audience through the pre-publication phases of two recent, acclaimed picture books. Liz Rosenberg, children’s literature reviewer for the Boston Globe, spoke about titles from Asia that work in the U.S. A keynote address by Stephen Mooser, president of SCBWI, surveyed the future of children’s publishing. Other presentations at AFCC 2011 ’”‘˜‹†‡†ƒ™‹†‘™‹–‘•’‡ ‹ϐ‹ ƒ”‡ƒ• of the world of children’s content. Author Christopher Cheng spoke about storybook “apps”; author Ken Spillman spoke about engaging boys with books. In a session designed for educators, professor Susan Harris- SCBWI Tokyo members Naomi Kojima, Holly Thompson, Avery Udagawa and Trevor Kew at AFCC

About the Newsletter Designer

Miki Bromhead is a graphic (mahogarden.jp) aimed at teaching designer, avid reader and cupcake English to young children, she also enthusaist. Born and raised in provides most of the graphics for the Pittsburgh, Pennsylvania, she Duquesne Brewing Company (www. currently resides in Saitama, Japan facebook.com/duquesnebeer) located in with her Australian husband. Pittsburgh, Pennsylvania. While working full time as an art Follow her on Twitter @Vengro director for Moonshoot, a company For enquiries about graphic design which hosts an internet game work: miki.bromhead (at) gmail.com © Miki Bromhead

Carp Tales Spring/Summer 2011 13 SCBWI Tokyo Member News

Suzanne Kamata’s story “Dolphin Day” was published in the July/August 2011 issue of Ladybug. Her YA short story “The Beautiful One Has Come” appeared in the May/June 2011 issue of Cicada.

Trevor Kew’s third novel, Breakaway, will be published by Lorimer & Co.,Toronto, August 15, 2011.

Naomi Kojima’s translation of Dear Genius, Densetsu no Henshusha Nordstrom; America Jidosho no Butaiura was reviewed by picture book artist Gomi Taro on July 16, 2011, in a popular TV series “Weekly Book Review” on NHK BS Premium. The Japanese edition was also featured in the August 1 issue of PEN magazine in the main article “Letters that Shook Hearts.”

Shogo Oketani’s J-Boys: Kazuo’s World, Tokyo, 1965 translated by SCBWI member Avery Fischer Udagawa has been released by Stone Bridge Press, July 2011.

Dan Schallau’s picture book, Come Back Soonǡ‘”‹‰‹ƒŽŽ›’—„Ž‹•Š‡†„› ‘—‰Š–‘‹ƫ‹‹–Š‡ǤǤǡ™‹ŽŽ„‡–”ƒ•Žƒ–‡†‹–‘ Chinese and published in the mainland China market. Publication will be 18 months from signing.

Teri Suzanne’s art will be exhibited from August 22 at Hair Salon Agee in Daikanyama.

Izumi Tanaka was awarded an SCBWI RA Scholarship to attend the 40th Anniversary SCBWI Summer Conference in Los Angeles August 5-8.

Holly Thompson’s novel Orchards was published by Delacorte/Random House in February. She will edit Tomo: Japan Stories to Help and Healǡƒ„‡‡Ƥ–ƒ–Š‘Ž‘‰›‘ˆ ƒ’ƒǦ”‡Žƒ–‡†Ƥ –‹‘–‘„‡’—„Ž‹•Š‡†„›–‘‡”‹†‰‡”‡••‹͖͔͕͖Ǥ

Avery Fischer Udagawa translated two essays for and copyedited Kamishibai Newsletter Vol. 7, the annual English-language journal of the International Kamishibai Association of Japan. Her May interview with novelist Clare Vanderpool, winner of the 2011 Newbery Medal for Moon over Manifest, appears at ™™™ǤŽ‹–‡”ƒ”›ƒƒǤ ‘Ȁ’”‘ƤŽ‡•Ȁ. Her translation of SCBWI member Shogo Oketani’s J- Boys: Kazuo’s World, Tokyo, 1965, has been released by Stone Bridge Press, July 2011. Bulletin Board

Bologna Illustrators Exhibition is now at the Itabashi Art Museum in Tokyo until August 14 then will travel to art museums in various regions of Japan. The itinerary is organized in collaboration with JBBY (Japanese Board on Books for Young People) and can be found at www.bolognachildrensbookfair.com/en/mostraillustratori/mondo

The 2011 SCBWI Tokyo Illustrators Exhibition will be held at Galerie Malle in Ebisu, Tokyo from September 6–11, 2011. Illustrators Akira Hamano, Michael Kloran, Naomi Kojima, John Kolosowski, Midori Mori, Shohei Nishihara, Paul Richardson, Daniel Schallau, Izumi Tanaka, Kazuko Unosawa and Yoko Yoshizawa will be featured. See http://galeriemalle.jp/

The Fifth Annual Japan Writers Conference will be in Kobe this year at Kobe Shoin Women’s University on October 15–16, 2011. Information is at www.japanwritersconference.org/

40th Anniversary SCBWI Summer Conference on Writing and Illustrating for Children will be held August 5–8, 2011, in Los Angeles, California. See www.scbwi.org/Conference.aspx?Con=8

28th Nissan Children’s Storybook and Picture Book Grand Prix is open to aspiring writers. Deadline is October 31, 2011. Details in Japanese only can be found at www.nissan-global.com/EN/NEWS/2011/_STORY/110704-01-e.html?rss

Scholastic Asia Book Award is accepting submissions for the 2012 award. The deadline for submissions is October 17, 2011. See http://www.scholasticbookaward.asia/

Tomo: Japan Stories to Help and Heal is a benefit anthology of YA Japan-related fiction to be published by Stone Bridge Press in Spring 2012. The deadline for submissions is August 15, 2011. See http://tomoanthology.blogspot.com for details and guidelines.

Carp Tales Spring/Summer 2011 14 About SCBWI Tokyo

 ‘›‘ǡ–Š‡‘›‘”‡‰‹‘ƒŽ Šƒ’–‡”‘ˆ–Š‡‘ ‹‡–›‘ˆŠ‹Ž†”‡ǯ•‘‘”‹–‡”•ƒ† ŽŽ—•–”ƒ–‘”•ǡ‘ơ‡”••—’’‘”–ǡ information and community to illustrators and writers of children’s and young adult literature in Japan. Holly Thompson is Regional Advisor; Yoko Yoshizawa is Assistant Regional Advisor and Illustrator Coordinator; the SCBWI Tokyo Advisory Committee includes Miki Bromhead, Annie Donwerth Chikamatsu, Patrick Gannon, Suzanne Kamata, Naomi Kojima, Midori Mori, Gerri Sorrells, Teri Suzanne, Izumi Tanaka, and Avery Fischer Udagawa. Website The SCBWI website www.scbwi.jp features information about SCBWI Tokyo, an online gallery, a speakers directory, a member books section, FAQs, a volunteer page, listserv information, useful links for writers and illustrators, announcements of upcoming SCBWI Tokyo events, and this newsletter. Bookmark the site! Volunteers SCBWI Tokyo is run by volunteers and always needs your help! Volunteers make SCBWI Tokyo an important and vibrant chapter of SCBWI. Volunteers can help in many ways: with their time at actual events, by helping to plan events, by assisting with translation, and by writing articles or conducting interviews for the SCBWI Tokyo newsletter Carp Tales. For further information, contact [email protected]. SCBWI Tokyo Listservs SCBWI Tokyo maintains two main listservs (e-mail groups): one in English and one in Japanese. These networks link members and supporters of SCBWI across Japan in active online communities. Members of the listservs receive up- to-date information on SCBWI Tokyo and announcements of events, and share news related to writing, illustrating and publishing for children. Everyone is welcome to post comments and questions of interest to the SCBWI Tokyo community. Membership in the listservs is open to both members and non-members of SCBWI. For details, e-mail [email protected]. SCBWI Tokyo Online Critique Group Critique groups provide support, encouragement, motivation and marketing suggestions. The SCBWI Tokyo Online Critique Group is for SCBWI Tokyo members who are serious writers and writer/illustrators working on children’s or young adult literature who would like to share their work with other writers for constructive feedback online. At this time all manuscripts must be posted in English; a Japanese-language critique group may open soon. SCBWI Tokyo members interested in joining should contact [email protected]. SCBWI Tokyo Translation Group The SCBWI Tokyo Translation Group is for members and nonmembers involved in translating children’s and young adult literature from Japanese into English. The Translation Group’s listserv is a forum for discussing issues ”‡Žƒ–‡†•’‡ ‹Ƥ ƒŽŽ›–‘ –‘–”ƒ•Žƒ–‹‘ˆ‘” Š‹Ž†”‡ǡ‹ Ž—†‹‰–”ƒ•Žƒ–‹‘‘’’‘”–—‹–‹‡•ǡ ‘›‘–”ƒ•Žƒ–‹‘ events, online critiquing, and marketing of translations. Contact [email protected] for an invitation. Membership Membership in SCBWI Tokyo is included in general SCBWI membership. To join SCBWI, visit the main SCBWI website at www.scbwi.org and click on About SCBWI. Payment can be made online, by post with a U.S. bank- †”ƒ™ Š‡ ǡ‘”„›’‘•–™‹–Šƒ –‡”ƒ–‹‘ƒŽ‘•–ƒŽ‘‡›”†‡”Ǥ‡‡Ƥ–•‘ˆ ‡„‡”•Š‹’‹ Ž—†‡ eligibility for grants, free posting of illustrations and publicity of published books on the SCBWI Tokyo website (www.scbwi.jp), discounted admission to SCBWI events and conferences, and much more.

The Society of Children’s Book Writers and Illustrators www.scbwi.org

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