THE

The ESSENTIAL GUIDE to PUBLISHING for CHILDREN 2021 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 websites. 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

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

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2021, SCBWI THE BOOK: ESSENTIAL GUIDE TO PUBLISHING FOR CHILDREN. © 2021 SOCIETY OF CHILDREN’S BOOK WRITERS & ILLUSTRATORS. Published by Society of Children’s Book Writers and Illustrators, 6363 Wilshire Blvd. Suite 425, 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 SCBWI EN ESPAÑOL YOUR WORK Introducción...... 83 From Keyboard to Printed Page...... 7 Del teclado a la página impresa...... 85 The Query Letter...... 11 La carta de presentación...... 89 The Synopsis...... 13 Guía para ilustradorxs de SCBWI...... 91 SCBWI Illustrators Guide...... 15 La organización de un portfolio ganador...... 99 Jumpstart Your Creative Career...... 21 Del escritorio de la editora...... 101 Prize-Winning Portfolio...... 23 Creating Picture Book Dummies...... 25 SCBWI MARKET SURVEYS Demystifying Digital Dummies...... 27 2021 SCBWI Market Survey of Publishers of You’re Hired to Illustrate Your First Children’s Books for Young Readers...... 105 Book: What Comes Next?...... 29 International Market Survey...... 135 From the Editor’s Desk: Editorial Facts...... 31 Edited By...... 137 Starting a Critique Group...... 33 Small Press Market Survey...... 147 The Give & Take of Critique...... 35 Magazine Market Guide...... 155 Mentoring Matters...... 39 Religious Press Market Survey...... 167 What the Heck is an Informational Book?...... 43 Educational Press Market Survey...... 173 Nonfiction for Children: Growing and Changing... 45 SCBWI DIRECTORIES & PUBLISHED AND LISTED RESOURCES Are You Making the Most of Your Virtual Visits?. 49 Agents Directory...... 183 Doing a Video Presentation from Home?...... 51 Agented By...... 197 Writing a Proposal for Conferences and Festivals.55 Finding an Agent: Best Practices...... 207 Bringing Your Backlist Forward...... 57 Saying Yes to the Rep...... 209 Freelance Editors Directory...... 211 SELF PUBLISHING A-Z Guide to Publishing in the Digital World ...... 219 What You Need to Know Before You Self-Publish.61 Book Producers Directory...... 221 Self-Publishing: Best Practices...... 63 Book Reviewers Directory...... 225 Hiring an Illustrator for Your Self-Published International School Directory...... 237 Book...... 67 Writing & Illustration Courses Directory...... 239 How Good Design Can Elevate Your Book’s Writing & Illustrating for Children & Teens ...... 247 Allure...... 69 Grants, Fellowships, Residencies, & Retreats ...... 253 Using Kickstarter to Fund Your Self-Published Residencies & Retreats for Writers & Artists ...... 257 Book...... 73 The Ten Steps of Self-Publishing: A Guide for Beginners...... 75 Beware Author Solutions Self-Publishing Scams...79 PUBLICIZING YOUR PUBLISHED WORK Book Release Checklist...... 261 100 Ways to Promote Your Children’s Book ...... 263 Grassroots Book Publicity...... 265 Keeping Your Book Alive...... 267 Resources for Published Authors & Illustrators ...... 271 7 Steps to Blogging Success...... 275 International Bloggers: What They Can Do For Your Book...... 279 RIP for the Press Release? Not So Fast!...... 281 Thirteen Kidlit Podcasts to Inspire Your Writing.. 283 A Podcasting Primer ...... 285 Fifty Kidlit Blogs to Visit Before You Die ...... 289 All About Book Trailers...... 293 Crafting Your Book Marketing Plan...... 297 PAL Speaking Opportunities...... 299 SCBWI SCHOOL VISITS Doing School Visits in the United States...... 303 Guide to International School Visits...... 307 Sample Lecture Contract...... 309 Public Speaking Primer...... 311 SCBWI LEGAL QUESTIONS Plagiarism...... 315 Copyright for Writers & Illustrators...... 317 SCBWI Sample Children’s Book Contract...... 321 Archiving Your Work: What You Should Know ..... 337 MY WORK My Projects...... 340 Submission Record...... 344 SCBWISCBWI PREPARINGPREPARING && SUBMITTINGSUBMITTING YOURYOUR WORKWORK

20202021 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 Here are some basic suggestions: A query letter is always recommended before submitting a full manuscript. This letter is an introduction of you and your story for » Your manuscript should be addressed to the editor who the editor. If your manuscript is of interest, the editor will request requested it in response to your query letter. Include a self- a submission. Read “The Query Letter” on page 13 of this guide. addressed, stamped envelope of the correct size to hold your manuscript, with a sufficient amount of postage affixed. AGENTS » Include a brief cover letter with only information that While an agent is not necessary to submit a manuscript to an is necessary for the editor to know, as it relates to your editor, many publishers accept only solicited material represented manuscript (e.g., for nonfiction, describe what qualifies you by an agent. When submitting to an agent, here are some things to discuss your subject; for fiction, include any previous you should know: publishing credits). If you are submitting your manuscript in response to a previous query, be sure to mention this in your » Not all agents handle children’s material. Consult the Agents cover letter. Directory on page 143, or online in the “Publications” portion of » Keep copies of all correspondence. the SCBWI website. » Unless you are a professional illustrator, do not include » Most agents list their submission guidelines and procedures illustrations with your picture book manuscript. An art at their websites. It is imperative that you research these director will choose an illustrator that suits your work. guidelines prior to submitting. » Do not attempt to indicate where you would like illustrations » The SCBWI recommends that you not deal with agents who to be placed in your picture book story, or what they should charge upfront for any of their services or have a “reading” fee. portray. This is the job of the art director and the illustrator. » While not all editors will do so, you may include a self- SUBMITTING YOUR MANUSCRIPT addressed, stamped envelope to encourage the acknowledgment Most legitimate publishers post their submissions guidelines at of your manuscript. their website. A simple Google search will pull up any publishing house to which you might want to submit. Be sure to read their A decision on your manuscript may take six months or more. specific submission policies prior to sending in a manuscript. Some editors are slower to respond than others. If you have not To assist you in determining which publishers might be a good had a response at the end of three months, send a polite letter match for your writing, the SCBWI offers a resource called “Edited or email of inquiry to the editor and ask about the status of By,” a house-by-house listing of what editors have published your manuscript. recently. A careful investigation of publishers’ catalogs (available Submitting a manuscript to several editors at the same time (a by request from the publisher), various marketing lists found in policy called “multiple submissions”) is sometimes frowned upon writers’ periodicals, and, most importantly, examination of books by editors, but if you choose to do so, you must notify the editor themselves should indicate to you which publishing houses would upfront. Simply include a sentence in your cover letter stating be most receptive to your work. that “this is a multiple submission.” 8 | FROM KEYBOARD TO PRINTED PAGE

FORMATTING YOUR MANUSCRIPT GENRE # OF TYPED TYPICAL SAMPLE TITLES Here are suggested guidelines from the publishing industry: PAGES AGE BOARD ½–1 UNDER National Geographic » All manuscripts must be typed on 8½ ” x 11” white paper in BOOKS 3 Little Kids Look & black ink. Learn series » Use 12-point Arial or Times New Roman. » Double space all manuscripts. PICTURE 2–3 3–8 Goodnight Moon, » Pages should be numbered consecutively. BOOKS Heart and Soul, The » The default margin settings that appear in a new Microsoft Word Polar Express, Fancy document are acceptable. If you are setting margins manually, Nancy use a 1-inch or 1.25-inch margin on each side of the page. INDEPENDENT 10–20 5–8 Madeline’s Tea Party, » Do not submit electronically (i.e., email) unless the editor or READER Marley: The Dog Who agent specifically requests you do so. Ate My Homework, Nate the Great The format of the first page might look something like the CHAPTER 40–60 7–9 Captain Underpants page below. BOOKS series, Clementine series, Magic Tree Your Name House series Your Address City, State ZIP MIDDLE 100–250 8–12 Hank zipzer series, Your Telephone Number GRADE Diary of a Wimpy Kid Your Email Address series, Merci Suarez Changes Gears, Twins, Prairie Lotus, Amal Unbound YOUNG 200–350 12 AND The Hate You Give, ADULT (YA) UP The Poet X, Shout NOVELS TITLE IN ALL CAPS (halfway down page) NONFICTION LENGTH Books by By Your Name VARIES Candace Fleming, BY AGE Steve Sheinkin, Your story begins here... GROUP Pamela Turner POETRY FOR 15–40 Animal Snackers YOUNGER by Betsy Lewin READERS* POETRY 50–150 Books by FOR OLDER Shel Silverstein READERS* *In manuscript form, one poem per page.

RESPONDING TO EDITORIAL FEEDBACK

www.scbwi.org 1 If you receive a personal response from an editor with revision | suggestions, but no formal contract, respond by thanking the editor for the time and interest given to your manuscript. Consider the NUMBER OF MANUSCRIPT PAGES editor’s suggestions carefully. If you decide that your manuscript While there are no specific requirements, here are current market would be improved by the editor’s suggestions, and complete the trends for the genres listed below. We recommend that you begin by revisions, you are professionally obligated to send that manuscript visiting a bookstore (not a library) to see what books are currently back to that editor. being offered by publishers. No editor spends time writing a detailed editorial letter without Agents and editors seek good writing. If your voice, plot, and expecting to see the manuscript again. Mention in the letter characters grab them, they will help you decide what genre best accompanying your revised manuscript that you have followed the defines your book. Research prior to submitting will help you know editor’s suggestions for revisions. where your specific story falls. MAGAZINES Most magazines for young readers publish their submission PUBLICATIONS GUIDE: THE BOOK guidelines at their websites. Many include their editorial deadlines

2021 and calendars so that you can submit work that is appropriate for FROM KEYBOARD TO PRINTED PAGE | 9 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 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 experience.

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 from So what makes an effective query letter? Although each letter will the fact that there are different genres. An effective query letter that be different, each one should contain four basic parts: hook, summary, represents a nonfiction magazine article will be very different from one biographical information, and a closing. for a YA novel. Then within each genre, each manuscript is unique, which means that every query letter must be one-of-a-kind. HOOK The most important thing to understand, regardless of whether the A writer wants to hook their readers with the first sentence of a manuscript is fiction or nonfiction, is that a query letter has one purpose manuscript. Likewise, the first line of a query letter should hook the and one purpose only: to cause the editor or agent to want to read your reader. Think of this section as a sound bite, not the entire newscast. manuscript or book proposal. That’s it. Period. The writer’s job is to craft Find an original, creative way to begin the letter using something a letter that will create that desire. relating to the manuscript that makes the reader want to find out more. Think of a query letter as a sales tool that can market a product. A The only exception to beginning your query with a hook would be if writer’s product is a group of words that tell a story. The query letter the writer has personally met the editor or agent. In that case, it could is an advertisement that should make the reader want to know more begin with something like, “I enjoyed meeting you recently at the about the product. In some ways, that might sound harsh. It may Arkansas SCBWI conference and appreciate your willingness to consider even contradict the “touchy, feely, love of books” reason most people submissions from attendees.” Editors are usually nice people who would become writers. Yet writers must understand that they work in a creative like for writers they have met personally to succeed, so they will consider business. The process of writing is creative, but publishing is a business. such a query carefully. If a query begins with a meeting reminder, it In order for a writer to get the words they have lovingly crafted into the should be brief, then go immediately to the hook. hands of children to enjoy, they need to market their product. Often that marketing plan includes a query letter. SUMMARY A query letter should fit on one single page—never longer. It should In this section, summarize what your manuscript is about in three be clear and concise so that a busy editor gets the meaning of the letter or four sentences. For novels, this does not mean the plot points of in one quick read. A query letter is a business letter. In it, the writer is your novel. It means an overview that includes the setting, characters, not looking for a friend; they are looking for an editor or agent. Since conflict, and how the novel is different from other similar novels. For the goal is to create a professional relationship, the tone of the letter nonfiction, it means an overview of how the material will be handled, should not be overly chummy or personal. When an editor or agent reads the availability of photos, access to experts, and facts or statistics that a query, their impression should be that the author is a professional indicate how many potential readers may be interested in such a book. writer, not an amateur who is dabbling with a hobby. Part of being a As in every section of the query letter, the summary details must be professional is following the guidelines found in market guides such as explained in an interesting, exciting way. Children’s Writer’s and Illustrator’s Market. Each publisher is specific about what they want to see in a submissions package, so writers should send BIOGRAPHICAL INFORMATION the requested items. For both fiction and nonfiction, what each company In the hook and summary sections of a query letter, the writer’s requests varies widely. Some book publishers ask for a query only, while goal is to convince the editor or agent to read the offered manuscript. others request a query, outline, synopsis, and sample chapters. In the biographical information section, the goal is to convince the 12 | THE QUERY LETTER

editor or agent that the writer of the query is the only one who could successfully write the manuscript described. In this brief section, the TIPS FROM writer must highlight the areas of their life that make them an expert on the topic. For example, let’s say a writer is a physical therapist and INDUSTRY INSIDERS she spends two weeks every summer volunteering at an archaeological dig. If that writer was marketing a novel she had written about an ice While every query letter is different and should reflect your skater who undergoes months of rehabilitation to overcome an injury, personality, there are some tried and true dos and don’ts when then she would highlight the fact that she had been a physical therapist you write one. We spoke with many publishing professionals, for twenty years and had helped many young athletes recover from their and following are the top ten dos and don’ts when writing your injuries. However, if that same writer was marketing a nonfiction book query letter. manuscript about an archaeological dig, she would not mention that Dos she was a physical therapist. Instead, she would highlight her previous 1. Keep it simple! If it’s more than a paragraph, most editors/ work at the dig. agents will skip it. The biographical section is also where publishing credits are listed— 2. Be friendly, but professional. No need to be super serious, but best-known ones first. If the writer has signed a contract but the article remember that you and the reader are not personal friends. or book has not yet been published, they could say something like, 3. Include a one- or two-sentence teaser for your story. Think of “I have an article forthcoming in the May issue of Cricket magazine.” it as advertising copy, not a plot summary. (Look at flap copy for If a writer does not have any publishing credits, they should not call examples.) attention to the fact. Instead say, “I am an active member of the 4. Close with a short bio and include any publication credits. SCBWI.” 5. Know how to categorize your book in the correct age group Writers should always present themselves as professionals, even when and genre. they are just beginning. Never make comments like “This is my first 6. Research who you’re submitting to—what kinds of books submission to an editor, so I really hope you like it,” or “Six different (subject matter, age level, genre, etc.) they publish, what they are editors have already rejected this manuscript, but I think it is right for interested in (see if you can find interviews they’ve given), etc. you,” or “I read this to my son’s second grade class and they just loved 7. Let the reader know if you’ve met at a conference or workshop. 8. Always include a personalized salutation and get the spelling it.” of their name correct! If you aren’t sure about their gender, omit the honorific. It is perfectly professional to start a letter with CLOSING “Dear [First Name] [Last Name].” Bring the letter quickly to a close. It could be something as simple 9. Have a strong opening, something to hook the editor or agent. as “I look forward to hearing from you” or “Would you like to see the 10. Try to read something an editor has edited or that an agent complete book proposal for Successful Query Letters?” However, if the represents so you know their taste. letter runs too long and needs to be cut down, the closing is where to start chopping. Although a polite closing is nice if you have the space, Don’ts they already know why you are writing to them. 1. Don’t open with a question. Finally, the query letter should match the tone of the manuscript. 2. Don’t include marketing plans. If the manuscript you are marketing is humorous, the query should 3. If an editor or agent passes on seeing your work, do not be humorous. If it is a mystery, the letter should convey a mysterious contact them asking that they reconsider your query. Your feeling. A nonfiction book about an exciting new discovery should energies would be better spent on an editor or agent with express a sense of anticipation. unreserved enthusiasm for your project. Similarly, please don’t Some writers spend months, even years, writing and revising their ask the editor or agent to provide feedback on your query. 4. Don’t mention that your niece, student, child, grandchild, or manuscript; then, when it is finished, wonder how they could possibly friend loves your work. That doesn’t matter—what matters is describe their work in a one-page letter. It is accomplished when a

www.scbwi.org if it’s good and intriguing and compelling and stands out from writer works on the query just as they did the manuscript: Write a rough | everything else that’s being published. draft, then revise, revise, and revise again—until it is as good as you 5. Don’t compare your work to something unprecedentedly can make it. Any writer can write an effective query letter. After all, no successful, like the Harry Potter or Twilight series. Those one believes in a manuscript more than its author. are impossible-to-replicate successes. Find something more relevant and normal, but still successful. 6. Don’t send a picture book manuscript to a teen novel editor. Know editors’ lists and what they acquire before you submit. 7. Don’t follow up less than three to four weeks after submitting a project. 8. Don’t talk about sequels you have planned. 9. Don’t say “I’m a new writer” or “This is the first book I have ever written.” 10. Don’t be overly familiar with the editor or agent you are sending a query letter. PUBLICATIONS GUIDE: THE BOOK 2021 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 to visualize the character quickly. by agents and editors. Writers may or may not be given a word count or wFor example: Shy but adventurous Katy longs to discover what is page length guide. Either way, a writer does best to ponder the highs and hidden in the old chest in the attic that belonged to her grandmother. lows of their story, the main character’s arc, the tone and setting before But first she must gather up the courage to ask her stern grandfather for beginning. Then take a deep breath and begin, knowing that there will the key. 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 beginning Step 1: Always Use the Third Person Present Tense to end. Major events focus on the rising action and the main character’s Regardless of the tense in which the story is written or the voice of the conflict or goals, and how they are achieved or not achieved. narrator, a synopsis should always be written in the third person present Keep paragraphs tight. Only details critical for the reader’s 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 keep outcome of the story. this sentence available for later use, and as a reference guide to keep For example: Sam takes Jeremy’s lunch box at recess. Jeremy runs after you on track. 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 in mysterious question. A synopsis for a middle grade novel or a picture the synopsis? Each new character’s name should be written in all capitals book might require vocabulary more elevated than that used in the story, the first time it appears, exactly as it appears in the story. Characters but the language should not be too overblown. A tone that evokes the mentioned unnecessarily will only take up valuable space. story itself is best. The hook provokes thought and forces the reader to ask: What happens next? It can be the same few sentences used in a Step 7: Reveal the Ending query letter. In fact, the beginning of your synopsis might sound very Tell the story to the end. Even if the story is a mystery, do not be 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. 14 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 world, overcome afearorrepair abroken relationship. Something should bemeaningful. Maybe they learnanew wayof looking atthe 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. | THE SYNOPSIS | THE 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 constantly changing chal- E lenge. 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 16 | SCBWI ILLUSTRATORS GUIDE

know that you are at least somewhat familiar with the size, illustrating for this market. Perhaps combine it with the SCBWI formats, number of pages, text placement possibilities, etc., of Winter Conference each February! This is a good way to actually picture books. That will reassure them about your ability to work get firsthand feedback and suggestions. Call or write at least with a house’s designer and/or art director on a project. three to four weeks in advance, and then confirm the day and Lastly, you may include a short résumé and keepers (leave- times a few days to a week before the visit. Editors and art behinds, promotional sheets, postcards, or sourcebook reprint directors are extremely busy, and emergency meetings and crises pages). If you have sent your portfolio and want it returned, come up throughout the day. Some houses will not see individual send an SASE along as well, but I discourage you from sending artists, but take advantage of their drop-off days. Try to allow portfolios these days. Always keep in mind that it is the art that plenty of time between appointments for travel around the they will remember . . . or not. Meeting you, the person behind city. Group visits near each other or within the same building the art, will tell them a lot about how it might be to work with whenever possible. Get a good bus and subway map—taxies or you, but ultimately it is your art that will make or break the Uber are the easiest way to travel, but expensive. Ask what floor connection. Leave them with the WOW factor, and then follow up your meetings are on and where the reception area is located. several times a year with mailers or emailed JPEGs/PDFs and a Security is tight, and sometimes you have to wait on the ground hello! floor. HINT: The SCBWI Metro New York chapter has a city buddy program to help visitors new to NYC . . . take advantage of it! How do I show my work to a publisher? You must be seen to be hired. Do your homework! Go to Should I present a book idea if I have one? (author/illustrators) libraries, bookstores, and Google to get familiar with the many By all means, if you have an original story with text and different publishers and their past and current book lists. Study pictures for a book project, submit them to a children’s book the books you particularly like in order to understand what editor at a house you have researched and you feel might be makes them successful. What mediums are used? How do the interested. Be aware, though, that if the writing or art of current illustrations show the story? Notice the pacing of the page turns. authors/artists on their list is too similar to yours, they might How have they made their characters interesting and believable? reject your proposal based only on that fact. Your submission Send for publishers’ catalogs. Current lists of names, addresses, should include: emails, etc., can be found in reference books at your library, lists provided by the SCBWI and updated each year, and by » typed manuscript: double-spaced and presented separately from text searching online. Most publishers will have their own guidelines/ pasted in dummy instructions for submission policies, and it’s important to follow » one or two samples of finished art: good color copies, not originals these to make sure your work is seen and not discarded. Check » a dummy: a mock-up of the book in black-and-white sketches. This out the publishers’ websites. gives the buyer an idea of your characters in action, the flow of After your research is complete and you have a list of the pages, and your knowledge of bookmaking in general. Use the publishers that might be a good match with your style and story, appropriate number of pages for the dummy, usually 32 (or 24, 40, check directly with the houses to confirm that the editors and/ 48)*. Start the numbering of the main story usually on the left-hand or art directors are still current. Turnover is high in the industry page. A 32-page book usually includes fourteen double-page spreads at times. Send a sample packet for them to keep in order to and a single final page, a title page, a credit page, a cover (possibly introduce yourself. This can be a single page or deluxe postcard a wrap jacket), and sometimes endpapers. with multiple images, or several printed glossy sheets. Not all » See paragraphs on ebooks and apps for more presentation buyers like to receive samples online, so don’t do this without information. checking first. You do not want to annoy them. DO NOT SEND ORIGINAL ARTWORK EVER. Do not send bigger than 8 1/2 x 11 *Note: Why these numbers of pages? It is the most economical pages for filing reasons. Mark each piece with your name and way to produce a printed picture book. A single sheet with www.scbwi.org contact information and website . . . which you should have. multiple book pages on it is put through the press, then cut | Include a short cover letter in this packet if you are combining and folded into a complete book. The term F&G comes from the several sheets. A résumé is only helpful if you have publishing ‘folded and gathered’ process. credits. You might give some brief background information about yourself if you really think it might be helpful in filling What techniques are used for illustrating children’s books? their needs. Again, your art does the talking for you and will or Of course, today we have to define book! But let’s talk here will not make the desired impression. If you want your samples about traditional, printed books. Any medium or technique returned, include an SASE, but avoid this as they do not like it. that can be reproduced on a printed page is suitable for picture You might try sending a small, self-stamped postcard with easily books. Choose any that are comfortable for you and that suit checked-off response possibilities, but you probably won’t hear the type of book you are doing. If you are not sure about the back unless they have an assignment or want to see more. Buyers medium, or it’s reproduction, be sure to discuss this with the have precious little time. Do keep sending samples until they tell art director. The most common mediums used today: pencil you to stop! (graphite), ink, watercolor, acrylics, oils, gouache, pastel, cut If you are able to make a trip to New York City, where the paper, photography, and increasingly digital, of course. Reflective PUBLICATIONS GUIDE: THE BOOK majority of publishers are based, do so! It’s a great learning artwork is usually done on flexible paper illustration board for experience and will show them that you are serious about canvas. If you use hard, nonflexible board, films, pastels, or 2021 SCBWI ILLUSTRATORS GUIDE | 17 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 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. 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 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 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 recommends certain fees for are very large operations with many reps, and others are single illustrations based on the market norms and averages for trade rep agencies offering much personal contact. Even when you find and mass market illustrated books. You can obtain from them the perfect marriage possibility, the rep might not have room to their publication, The Graphic Artists Guild Handbook: Pricing take you on at the present time. Be sure to ask a lot of questions, and Ethical Guidelines, which holds a wealth of helpful industry know their expectations, and know how that meshes with yours. information. These are ideal figure ranges from their fourteenth Talk to a couple of their other artists and clients perhaps (with edition from a random sampling, and the publishers may offer permission), study their contract obligations carefully, and be lower or higher fees than the Guild recommends. somewhat patient once the relationship begins—it takes time Jacket (front only): $F–$3,000+ (flat fee) to get your work known! Keep the interactive communications Jacket + Interior Art (black-and-white): $2,500–$4,000 (flat very open and honest always. Ethical, professional behavior is fee or advance) expected on both sides, and also assumed by the buyers using Picture Book Art Only: $3,000–$15,000+ (advance) agents to find artists. The SCBWI has a good listing of agents in Picture Book Text and Art: $10,000–$60,000 (advance) 18 | SCBWI ILLUSTRATORS GUIDE

What should I know when signing a contract? particularly digital rights that seem to change so often! Try Do NEGOTIATE! It is professional and expected. Read the to keep up with what is the market norm. One good resource contracts carefully and ask if you do not understand the is The Graphic Artist Pricing and Ethical Guide Handbook (www. terminology. Many editors don’t understand all of their contracts, graphicartistsguild.org). either! You may not be able to change anything, but don’t be intimidated about educating yourself. The purpose of contracts is What about photo-illustrators? to spell out expectations and legally protect both the publishers All of the preceding information, including pricing, generally and the artists and writers. It should clearly explain the project, pertains to photo-illustrating as well. The only additional hint and the type and number of the pieces of art, sketch dates, finish would be to use signed model releases for any minor or adult dates, and payment schedules (1/3 at signing, sketch, and finish included in your photography. This will protect you against is typical). There will be legal talk about indemnity and such, invasion-of-privacy lawsuits and libel suits. You may want to be and you need to read and understand all of this. Most is typical sure you allow for extra model and shooting costs as well. language. If you are uncomfortable, do find a contracts lawyer from the SCBWI or the Graphic Artists Guild. What are ebooks, and how can I get into illustrating them? Most ebooks (digitally enhanced books read on electronic » Flat Fees: You should be selling one-time reproduction rights only. devices) are not original at this point. Publishers are mostly If the publisher wishes to use the artwork again, it should pay for reformatting backlists and classic books. Some enhancements its use. (Exception: when art is being used in a publisher’s ads or might be added, but no new art is needed. Once backlists are catalog.) Ask for printed copies of the finished project . . . usually done, publishers will be looking for new stories that may appear mass market and educational. (Though it is rare these days to get only as ebooks. Most likely these will often be offered as printed educational printed samples.) books as well, but the future will tell that tale. The field is » Royalty Agreements: Do not ask to retain subsidiary rights you in development. A big limiting factor is actually the devices cannot sell yourself. The publisher is set up to sell these rights themselves, as they need to advance further, and they are that will financially benefit you and them, so let them do their job. improving monthly. There is really no presentation guideline for Perhaps you may wish to limit the time frame of the unknown and these ideas at this time. A PDF dummy book as you might do with future rights, such as for digital books, but most publishers frown a printed book dummy is fine. on this. Simply make sure you receive a fair share of any income received from such sales (typically 25 percent or more on most sub What are apps, and how can I get into this exciting new rights). Take note of the royalty statement and payment clauses. Be industry? sure the contract guarantees the safe return of your original artwork. The moving target! As Emma D. Dryden (children’s editorial and It belongs to you and it has value separate from the printing of the publishing consultant with drydenbks) says, “Apps are not books. book. The copyright is usually placed in your name for trade books. Nor are they ebooks . . . They are something else entirely, that Be sure to ask for ten to fifteen free copies of all printed editions in require a great deal of complex production and design.” the contract, and a reduced contributors’ ordering cost (normally 50 We are all asking good questions to which there are many percent off). convoluted, complex answers. It’s one answer one day, one » Educational Contracts and Market: Educational publishers produce publisher, and a very different one the next. It’s a time of books and supplemental projects for classrooms and library use. The exciting and expensive experimentation and rights battles in programs include reading, social studies, math, science, music, art, this industry. Artists should continue to watch and read. There etc. Different programs are updated in cyclical year patterns. Many are few paying opportunities in this field at this time, but that illustrators find this is their bread-and-butter work. Much of the could change overnight. Again, the devices are limiting at this actual art assigning is outsourced by the publishers to design and point . . . and the future will present possibilities. As Alex Knapp production studios. It is very hard for independent artists to find in a Forbes article mentioned recently, “We are at the dawn of the www.scbwi.org these studios, but send sample sheets to the publishers and they tablet era now.” | will pass on styles they approve. Schedules are tight, and needs are If you want to try to enter this area, you still need to start very specific. Electronically produced and transmitted finishes are with a solid story line, just like any book, that includes “a plot, the norm these days (Illustrator, Photoshop, etc.). These contracts characters pacing, and an arc” (says Dryden). The best apps are are a bit different, as they are normally flat fees and often work for like the best books: they engage and appeal to kids! It’s still all hire (WFH). This means that you sign away all your copyrights, and about the story before all the bells and whistles. Artists have an often the ownership of the original artwork (thus digitally sent art is advantage in getting into this area, as it’s very visual. You will best!) for one flat fee. These educational assignments are wonderful strive to expand and deepen the story experiences. To present for experience, honing skills, and sometimes a more consistent source an idea, work up a layered thumbnail visual dummy, just like a of income. The market has been terribly slow these past few years as picture book dummy. You are not limited to a certain page count, they transfer to the digital age needs of schools. Agents and artists but you must still keep the child and their interactivity with the had traveled a long way into convincing the publishers to use the story in the forefront of your imagination. more fair school rights only (SRO) contracts, where they buy only the rights they need for the educational market. Now with so little work, How can I learn more about illustrating children’s books? PUBLICATIONS GUIDE: THE BOOK they most often only offer WFH. Besides the traditional methods of training, such as local art schools and private consultations with local artists and critique

2021 There are several articles, blogs, and books about contracts, SCBWI ILLUSTRATORS GUIDE | 19 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, BOOKS FOR ILLUSTRATORS and story pacing? There are many older books about writing and illustrating for the children’s publishing market, and new ones are coming out all the time. There are many blogs by reps, writers, » 20th Century Children’s Book Treasury (reissue editions), by Janet illustrators, and SCBWI regional advisors with a multitude of Schulman, Knopf, 1998. interviews, hints, and how-to articles. The industry and trends » A Basic Guide to Writing, Selling, and Promoting Children’s Books, are constantly changing, but much of the information about by Betsy B. Lee, Learning Abilities Books, 2000. illustrating remains age-old truths. Good art is good art. No » ABC’s of Writing for Children, by Elizabeth Koehler-Pentacoff, Quill way around that. Enjoy the partial list following of some of the Diver Books, 2002. wealth of information out there! And enjoy the journey. » Art and Design in Children’s Picture Books: An Analysis of Caldecott Award–Winning Books, by Lyn Ellen Lacy, American Library Association, 1986. » 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 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. » 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. » 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 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. 20 | SCBWI ILLUSTRATORS GUIDE

WEBSITES BLOGS

Society of Children’s Books Writers and Illustrators Agent’s tips www.scbwi.org catugeau.wordpress.com

Graphic Artists Guild designofthepicturebook.com/blog www.graphicartistsguild.org blaine.org/sevenimpossiblethings Publishers Weekly online magazine www.publishersweekly.com chrisoatley.com

The Horn Book magazine dulemba.blogspot.com www.hbook.com kidlitartists.com Children’s Book Council www.cbcbooks.org penandoink.com

US Copyright Office lynnechapman.blogspot.com www.copyright.gov characterdesign.blogspot.com The Purple Crayon—editor Harold Underdown www.underdown.org Daily industry info and interviews kathytemean.wordpress.com Artist agent’s site—look at Articles and Blog www.catugeau.com

Book industry info and links www.bookwire.com

American Booksellers Association www.bookweb.org

Book reviews www.bookpage.com

www.scbwi.org American Library Association | www.ala.org

Educational publisher list www.textbook.com PUBLICATIONS GUIDE: THE BOOK 2021 JUMPSTART COPYRIGHTYOUR CREATIVE FACTS FORCAREER WRITERS

by Rebecca Foxby | KatieEdited Wools by Sara Rutenberg

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 kickstart your art to go from hobby to creative career.

1) Admit it. different scenes of the same fairy tale, three scenes of a Mother Goose The first step is to tell everyone you know that you’re an artist. This rhyme, four scenes of what your pet does when everyone leaves, a story is one of the hardest steps of all. Saying your dream out loud is scary. your child tells you. In a perfect world, you will show you can draw What if people laugh or don’t think you’re good enough? An accountant children, adults, senior citizens, and animals, and that you can draw the doesn’t worry if her friends think she is good at numbers. She does it same character in different poses. And if you can do different races and because she likes working with numbers. You do art because you like ethnicities, 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. Loved 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 do Be daring! If you feel you have perfected your talent at drawing a this by attending SCBWI events. (Please, please, please come to the mouse, but someone needs a moose eating mousse instead, then by events. We want as many people there as possible!!!) Join online groups golly, draw that moose! on Facebook or Twitter. You need community! Even if your first step is contacting me, as illustrator coordinator I am happy to answer questions. 6) Displaying your portfolio. 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 necessarily 3) Subject. an actual book. It’s important to get that portfolio online so people see Two or three drawings are not enough of a foundation to show your it. The best way is to build a website. A Tumblr page will also work, and work quite yet. You need more. And your drawings can’t just be a still it’s a quick tool to use. Be careful not to fall into the trap of constantly life, a portrait smiling directly at the viewer, or an abstract. They telling yourself your portfolio will ready after the next piece. It’s easy to should show some kind of narrative/story. As an illustrator you are tell yourself your portfolio isn’t ready to avoid taking the somewhat scary clarifying what is happening in a story. A smiling portrait of your child/ next step. grandchild—no matter how nicely drawn—does not necessarily tell a story. If your drawings are just a well-drawn vase of flowers, you will 7) Announce. need to show you can tell a story. Sketch. Sketch. Sketch. Draw five Choose your favorite piece and make a postcard to send out. 22 | JUMPSTART YOUR CREATIVE CAREER

Kristi Valiant has a great explanation of how to make and distribute promo cards. She says it better than I ever could. www.kristivaliant. blogspot.com/2012/11/sending-art-promotional-postcards-to.html

8) Rinse and Repeat. Continue to make art and update your portfolio. Repeat Steps 3 to 7 as many times as it takes!

9) Relax. This is a business where you will most likely receive rejections. This is normal and okay. It’s not a sign you shouldn’t be an artist. Not long ago, I was looking for a job. I had the normal job hunting experience. I sent out many, many resumes. I only heard back from a fraction of them. I had some interviews for jobs that I ended up not getting. Eventually, I landed a great job. When I didn’t hear back or was rejected from companies, I didn’t take it as a sign I should quit looking for a job, move into my parents basement, and eat Ramen noodles. I just kept sending out resumes until I got a new job. You need to give yourself the same permission to, for lack of a better term, fail in art. Remember everything happens outside of your comfort zone. Continue to be your own cheerleader. If you need a boost, send me an email and I will cheer you on! You can do this. I promise if you keep working toward the goal it will happen.

10) Look, a bird! Yes, life is full of distractions. Stay focused. Persevere.

Good luck!!!

Katie Wools is an award-winning illustrator living in St. Louis, Missouri. She is also a creative director at Washington University in St. Louis. Katie is the former Illustrator Coordinator of Missouri. Learn more about Katie at www.katiewools.com www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 PUTTING TOGETHER A PRIZE-WINNING PORTFOLIO

by Molly Idle

here are a plethora of ways to present your work these days: online port- folio 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 same is just what I want people to think when they hold it: “This book is 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 custom When I design my pieces I am always searching for the simple yet covers—so you have the option of creating your own unique design. But elegant solution to my compositional challenges, and I want my portfolio whatever you choose—be it sleek and black or wonderfully whimsical— to reinforce that. 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 . . . 24 | PUTTING TOGETHER A PRIZE-WINNING PORTFOLIO

4. Go with the Flow. Just about as important as the quality of the pieces you show, is the order in which you show them. Remember that when art directors and editors look at your portfolio—they are thinking about how you tell a story visually. How you utilize page turns. Your sense of pacing and timing. Your design sensibilities. And this applies to your portfolio layout as much as it does to the individual pieces themselves. Think about making the transitions between pieces flow naturally. Group pieces from the same project together. Pages that transition between one project and another? Consider creating a sense of flow with similar lines of action, or lighting, or color . . .

5. Less is More. Aside from the lovely feel of my screw-post portfolio case, the other 3. Best Foot Forward. attribute that sold me on it was my ability to control the number of One of my favorite movies is The Three Amigos. In it, the Amigos (and pages. Don’t you hate the feeling of turning to a blank page that’s just the terrorized villagers of Santo Poco) are forced to stand up to the filler? infamous El Guapo to save their homes. But how? By controlling the number of pages, I also eliminate the urge to add The Amigos ask, “What is it this town really does well?” And then that mediocre piece because I have an extra page to fill up. I truly they use the extraordinary talent of the townspeople to save the day! believe that less is more when it comes to a printed portfolio. I limit it So, what does this have to do with putting together a prize winning to twelve or thirteen pieces plus my title and end page. And speaking of portfolio? end pages . . . Ask yourself what is it that you REALLY DO WELL! Not just OK, not PRETTY WELL. That thing . . . is what you need to put in your portfolio. Are animals your thing, but people not so much? Then put in animals. Are your illustrations of insects adorable? Go with bugs. Is your black and white work so-so, but your color pieces are amazing? You know which way to go . . . I’ve heard lots of people say that every children’s illustration portfolio should have a perfect balance of animals and people. Of adults and babies. I’ve even been given a list of barnyard animals that EVERY portfolio should contain. But in my opinion this, (pardon the upcoming pun), is hogwash. Not every artist draws every subject with consistency and grace. Humility aside—one of my strong points is my line work. So, I like to Just as the title page serves as your nice, firm, introductory showcase the working sketch of a piece opposite the finished piece. handshake, a good end page is your: “It’s been lovely to meet you, we Your portfolio should show what YOU do best. must do this again soon!” parting handshake. Bottom line—make sure that from start to finish (and all the pages in between) your portfolio showcases the best of you! www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 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 dummy regular paper or card stock stapled together at one end, or ten pieces shows that you have a sense of how your picture book will be paced. This of paper folded over and stapled in the middle. This will give you a full, can be achieved through a thirty-two-page sketch dummy.” standard-length, thirty-two-page picture book made up of forty facing Some artists choose to make book dummies that are works of art unto sides from cover to cover, including the endpapers, title page, copyright themselves. They can be wonderful portfolio pieces, treasures to their page, and dedication page. To see how many pages need to be accounted creators and admirers. Although, from a submissions standpoint, Dianne for and where they go, you can download my thumbnails template at feels that, “a full-color dummy with finished art is fun to look at, but www.dulemba.com/FreeTools/storyboard, or look at a picture book you totally unnecessary. And it’s a waste of your time, since even if the book like and count it out. does get sold, you will most likely still need to make some extensive Follow the same rule as your portfolio—never­ include original artwork changes—and you need to be flexible.” in a dummy. Instead, scan your work into your computer and print it to As Meredith Mundy, former executive editor of Sterling Children’s each side of a page on your home printer. Staple it together and, voilá! Books said, “Even if an author/illustrator says in the cover letter that While you can find directions for hand-made books with sewn they are fully willing to revise/reshape a project, when it looks done, it bindings and such online, Dianne says, “Fancy bindings are completely feels done. I’d much prefer to see a project in rough form and feel that unnecessary. Staples are fine. Just make sure your pages are numbered.” the art director and editor will have a chance to work with the creator to I do suggest getting one of those over-sized staplers that can reach shape a project to completion.” all the way to the middle. I love mine. If you’re worried about sharp My personal formula has been to pencil out the entire story and ends, put some masking or fabric tape over the spine. take two or three of the pieces to final. The wiggle room has been how If you do want to get fancy, you can lay your story out in printer finished those pencils are. I’ve recently loosened up, sometimes including spreads in InDesign, ready to fold into a proper book. Or a little bit of enlargements of my thumbnail sketches to get the general ideas across. skill in Photoshop can go a long way if you’d like to format your pages Both Dianne and Meredith believe it’s important to share at least two there. You can have your local copy shop put it together or send your finished pieces in a proposal to show what your final art will look like. dummy off to Lulu.com for a seriously slick finish. But it’s really not Meredith said, “Even finished art unrelated to the proposed project is necessary. fine. What I’m really looking for is the finished style, since sketches don’t As Meredith said, “No need to provide anything super fancy—the convey that well enough.” simpler, the better.” Dianne said, “I have seen sketch dummies with very loose, So, do dummies work? Do dummies sell books? rudimentary drawings that are just fine. But whether you are a new When I asked Dianne if she’d ever acquired a book because of a artist—or a veteran artist—it’s good to create a full sketch dummy. You dummy, she said, “I can’t say how often—but­ I have bought many a don’t need refined sketches—just something loose. But enough to show book based on a dummy.” placement, have some feeling of character development and page design, Meredith has too. She said, “Twice that I can think of . . . and logical movement of the story.” and one of those times, we didn’t even end up using the author as the Dummies don’t have to be hard to make. They don’t even have to be illustrator! BUT the dummy showed very clearly the author’s vision for true to the book’s final intended size (although you can trim them down the book, and without it, I would not have looked twice at the very to the same proportions). They can be as simple as twenty pieces of simple manuscript. It really did need visuals to clarify the concept.” 26 | CREATING PICTURE BOOK DUMMIES

Take note authors! Creating book dummies isn’t just for illustrators. All creators can benefit from laying out their text in a page-turning format to see if the images/scenes are changing up, if there are any text dumps vs. spare verbiage spots, if the text fits the standard thirty-two-page layout, and if the story is working in general. Bottom line, don’t let creating a picture book dummy scare you. As long as you have the page count right for a standard picture book, there are many different ways to get the point of your story across. ELIZABETH DULEMBA www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 DEMYSTIFYING DIGITAL DUMMIES

by Bonnie Adamson

reating the files essential tools for producing a digital dummy are: 1) a way to scan sketches and final art (if you work traditionally), to create digital C files; 2) a way to add text to image files; and 3) a way to combine the resulting files into a multi-page pdf.

When scanning or having your images scanned, specify a file format pixel dimension only (you must work out the math for yourself), and files other than JPEG, which compresses the information in the scan and cannot be saved directly as PDFs—you can either print to a PDF driver re-compresses with every editing session, resulting in a progressive loss (when I experimented, this option added an arbitrary white border to my of quality. Bitmap or tiff formats are safer choices. A suggestion: scan image), or use a PDF converter tool. It is also possible to find low-cost and process at print resolution (300 pixels per inch) if possible. It’s a or free open source alternatives to Photoshop (GIMP is one)—and there’s good idea to think of this as a print project from the start so that you Scribus as an alternative to InDesign. As with all the software mentioned retain as much information as possible in your native files—including in this article, research carefully before investing! converting color images to CMYK. That way you can use your digital Don’t be seduced by fancy page-turn technology for your dummy. It’s dummy to produce a more polished print dummy if asked. very cool but unnecessary—and may even get in the way of the primary The easiest way to combine images and text into a multi-page PDF is objective, which is to showcase your work. If this is a piece you want to with layout software such as Adobe InDesign. Set up your document to put on your tablet to show off your mad skills to colleagues, however, the dimensions of the finished page size, import scanned images, create there are free options (google “page-turn software”). Be sure to keep text, and save. Once saved, you can export the document as a PDF. Be that PDF spread dummy in reserve for submissions. sure to check “Spreads” in the Export dialog window under Pages so that each panel of the PDF is a spread rather than a single page. SIZING THE FILES The next easiest method is to set up a spread-sized template in As a rule of thumb, try to get the size below 5 MB, in case you need Photoshop or CorelDraw and proceed as above, dropping in art and to email as an attachment. There are ways to play with PDF compression: adding text. The difference is that each saved spread will be a separate start with “Smallest File Size” as the PDF Preset option in InDesign. (If file. Name each PDF file to reflect the order in which you want the you’ve already exported, you must open the original InDesign file and files seen: Dummy 1 for the cover image, Dummy 2 for the title page export again.) Experiment with different settings (renaming your file spread, etc. (There are excellent resources online that explore the many each time) to determine a workable balance between size and quality. permutations of the standard 32-page picture book format. For dummy If you’re using Photoshop to create spreads, choose “Low” or “Medium” purposes, I generally disregard endpapers: page one is the title page, Quality as your PDF option. You can also try the “Reduced-size PDF” page two is designated for copyright information, and the story spans option under “Save As Other” in Adobe Acrobat Pro’s drop-down “File” pages 3-32.) Once you have your spread files saved, you can use a PDF menu. converter such as Adobe Acrobat Pro or one of its less costly clones (google “PDF converter software”) to combine the individual PDFs into Some tips: one multi-page file. » Always check “Optimize for fast web view,” which controls how your For those of you who do not own one of the pricier image-editing file will load. programs, any simple utility—like Paint (part of the basic MS package » Choosing the highest available version of Acrobat in the for PC), or Paintbrush for Mac (not included with the basic operating “Compatibility” menu can have a dramatic effect on file size—just be system but available as a free add-on)—will allow you to size your sure the person viewing has upgraded to the latest version of Adobe images and add text. But they’re a bit clunky for the purpose of creating Reader. dummies. My Paint program will allow me to resize by percentage or by » Standard screen resolution is 72 ppi. You can down-sample your 28 | DEMYSTIFYING DIGITAL DUMMIES

images to this resolution without worry for on-screen viewing. » If you’ve created your dummy at full print size—say, 11” x 9” page size—try scaling down proportionately: resize pages to 8.25” x 6.75” (75%) or 5.5” x 4.5” (50%). » If you’re including finished color art samples, consider storing and sending them as separate files to keep your dummy in grayscale.

STORING THE FILES A WordPress website will allow you to upload a PDF to your media library. Once uploaded, the file will have its own url which you can use to link internally to a password-protected page on your site or externally, in an email. If you own a Blogger or Tumblr site, you must store your file on a server or a free publishing site such as Scribd or Issuu (be sure your settings are set to “private”). Resist the temptation to embed the dummy with a third-party reader, however. Most of these utilities employ Flash, which is no longer supported for iPhone, iPad or Android. If you’re concerned only with viewing the dummy on your own device, you can store your files on your laptop or desktop and sync to your tablet or phone.

DELIVERING THE FILES The safest option when querying is to provide a link. Submission requirements vary, so research your intended targets, and when in doubt, ask. Although email hosts are continually upgrading their storage limits, never attach a PDF dummy file to an email without permission. www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 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 In this case the freedom—and responsibility—is for the illustrator to when an illustrator is hired to create the art for a picture book, it can be choose which scenes get the most emphasis in the arc of the story. a bit of a surprise what comes next. As a first-time illustrator, it might be best to ask for the manuscript Almost without exception, when I work with an illustrator on their to be paginated for you. It may come that way first, but if not, feel free first picture book, there’s a learning curve for the artist on the process to ask for the page breaks to be inserted by the author and editor. That and nitty-gritty of how a book comes together. Often, getting up-to- could help avoid much confusion. speed on those details slows the whole process, can cause confusion, waste time and effort, and be stressful for the illustrator trying to AUTHOR’S ART NOTES navigate the whole thing. So, here, I’d like to demystify some of the Many picture book authors, with the best intentions, will add process so you can be better prepared for the happy day you are hired to illustration notes throughout their manuscripts. Often it’s for the editor illustrate your first book. to better understand the story, which can help with the editing process. By no means do I cover all the things that could come up, but this list But many times these art notes are left in the manuscript that is given can certainly give you a head start when you get that call. to the art director to then send to the illustrator. Unless an art note is essential for the artist to understand (for THE MANUSCRIPT example: a major aspect of the story that’s not mentioned in the text), I Most first-time illustrators are creating the art for a manuscript always take out the art notes when giving an illustrator the manuscript. written by someone else. While it certainly does happen that a first- A picture book is a shared and equal creation of both the author and time illustrator is also the author of their first book, it’s quite rare. illustrator (and, by extension, the editor and art director). We hire the Illustrating a book that’s written by another is a fantastic way to get best illustrators for their unique and singular vision, for how they would into the children’s book world (and the usual way). Even more than that, interpret a story. I feel that, by art directing an illustrator right away, it’s many top illustrators only create art for books they haven’t written. Not like putting handcuffs on that artist—I want to see what you will bring all illustrators are writers—that’s a very individual thing based on one’s to the illustrations, not how you would draw my ideas, or the author’s. interest, skills, and talents. However, anything is possible! For various reasons, many art directors and editors will leave the So, let’s say you are hired to illustrate a manuscript by someone else author’s art notes in a manuscript that may come to you. You should (that the publisher has acquired.) There are certain things you should absolutely feel free to talk with your art director and ask for them to be consider. Of course, your art director (or, in some cases, editor) will taken out or, at the very least, discuss that you would like the freedom be there to help you, but it pays to be informed so you can know your to draw what you envision without those restraints. options. The Big Exception: nonfiction. With nonfiction, the author has probably spent years researching the topic and, since the art must factually reflect PAGINATION the topic, art notes are often needed. In fact, the author’s notes will Some art directors will give the illustrator a manuscript that has all be a treasure trove of resources for you and you may want even more the page breaks inserted throughout, so it’s clear what text falls on information from the author as you do your sketches. which page. But often the text is presented as one flowing story, so it’s left to the artist to decide the pacing of the text in relation to the art. 30 | YOU’RE HIRED TO ILLUSTRATE YOUR FIRST CHILDRENS BOOK: WHAT COMES NEXT?

CHARACTER DESIGN However, there are still parameters to consider. Sometimes, and understandably, a first-time illustrator will be so Most art is scanned on a flatbed scanner, which is good news, since eager to jump into the story sketches that they will submit the whole the art board can be rigid. (If you’ve heard of a drum scanner, which book sketches before refining the main character design. While that is no longer used to my knowledge, you’ll understand why this is a can be fine, it could create even more work for the illustrator (and take marvelous thing.) But the size of the scanner needs to be considered. valuable time) to re-sketch each page if the character designs change. Be sure to ask your art director if there is a size limit to the art you Most all picture books are character based, and experimenting should produce. with the character visually will not only inform how you illustrate the In four-color press printing (cyan, magenta, yellow, and black), world you are creating for them, but is also a lot of fun. I always ask certain colors simply won’t reproduce. Above all, neon colors won’t print illustrators to go wild—try out all sorts of designs. Who is this person like they look in original art, so when you create your first color piece, or animal (or object . . .)? What do they show about their character on perhaps send it to your art director before you jump into the rest of the the outside and how can the design hint at who they are on the inside? art to be sure your color palette will reproduce the way you want it to. Do they share the same design qualities as their environment or are they different from their surroundings? Etc. DIGITAL MEDIA Once you and the art director are satisfied that you’ve created THE Since the way color looks on your computer screen will inevitably character the story calls for, then you can jump into the full book. look different from how it looks on an art director’s screen—and it will definitely look different on the printing press—choosing your color TYPE DUMMY palette can be tricky. The best way to avoid surprises is, as soon as The type design of a book, which is the designer at the publishing you’ve done your first few color pieces, send the files to the publisher house’s responsibility and expertise, certainly isn’t decided upon at for test proofs. They will make printed proofs of your art files that look the start of the illustration process. But, as the artist, it’s essential to as they will when printed. Then you can see how the colors will actually know how much room to leave for the text on each page. So, if it’s not look and adjust your digital palettes accordingly to create the rest of provided for you at the start, be sure to ask for a type dummy: this is a the art. very rough layout of the book, set at the actual size and dimensions of Also—and this is important—the final art files need to be delivered the pages, with the type placed on each page at the size it will be in in CMYK, not RGB. All books are printed using CMYK. So, as you create the final book. By no means will the fonts be final or the text finessed the art, I recommend doing it in CMYK from the start. If you spend your (it’s usually from an un-copyedited version of the manuscript), but it time creating your lovely art with RGB colors, you may then have to will help you to know how much room is needed to accommodate the spend rushed and needless hours reworking the art once you convert text. the files into CMYK. Of course, just like the art, the type design will evolve over the Also, discuss the file specifications before you start. Art files usually course of the book creation. In fact, when I design a book, I wait until need to be 300 dpi at 100% of print size, but confirming this first is the final art is done to decide upon the fonts and final design of the essential. text—like in jazz, I “riff” off of the art style, color palettes, emotions, etc. The book designer’s expertise is in incorporating the type into the ABOVE ALL: art in an organic way, all the while knowing the parameters and “rules” NEVER BE SHY ABOUT ASKING QUESTIONS. Honesty is the best of design. practice—once you are hired to illustrate a book, you’re in! So don’t be But if you have the basic idea of how to use the sized text blocks in afraid to ask every possible question you can think of, or even to say your initial compositions, you’ll be ahead of the game. you don’t understand the process yet. Believe me, open communication is always appreciated and can save everyone time and stress. DELIVERY OF FINAL ART Your first book should be a joy, and the more tools you have at the No matter how you create art, what media you use, and however beginning, and the better relationship you have with your art director, you will deliver the final illustrations, knowing certain things up front the better the book will be! www.scbwi.org will save you much potential hassle and headache. In more instances | than I’d like to admit, both the illustrator on a project and I have both assumed we were understanding how the art would be created. But, when the final art was delivered, we both were in for a shock. Art is scanned and printed in specific ways, and crafting your physical artwork and/or setting up your digital files in the right ways from the beginning is essential.

TRADITIONAL MEDIA (NON-DIGITAL) Because of where we are with technology now, illustrators have a wonderful freedom to create picture book art using whichever media is right for the artist and best suited for the story. From paint to cut paper to collage to pastel to a combination, as well as so many other media, scanning or photographing art for the printed page has jumped leaps PUBLICATIONS GUIDE: THE BOOK and bounds from where it was years ago. We can now reproduce all

2021 kinds of media beautifully. 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? Another valuable resource is the Children’s Book Council (CBC), a It may be difficult to think about your manuscript from the other side nonprofit organization of the children’s book industry. The CBC maintains of the desk, but do so for a moment and the process may seem a little a list of publishers who are committed to publishing books for young less overwhelming. Editors need to discover new talent, and indeed, it’s people. See their website, www.cbcbooks.org, for more information. what makes their job exciting. With this in mind, you have a real shot at Literary Market Place (LMP) is another source for a list of publishers; finding a home for your manuscript. It does, however, take some serious it also lists literary agents. It is available at any reference desk at public work. Unfortunately, many people believe that writing is easy. These libraries across the country and is updated annually. same people do not realize that their text goes off into the world alone Although the CBC and LMP are important sources for you to use, your and must withstand the tests of a variety of readers and tastes as well real work is more complex. You need to determine whether there is a as changing trends. In light of these demands, it is encouraging that so publisher who is currently publishing titles in the vein of your work. This many manuscripts do find their niche. seems obvious—send a picture book to any children’s publisher, because The match between the kind of project you’ve written and the house/ they all publish picture books, right? Not really. A better approach is to editor to whom you send it is important. You may receive a response try to figure out exactly what you’ve got. If you have a holiday story, that says your project is “not right for our list.” For some editors, that try to figure out who might have a subcategory of holiday titles. If you may simply be a kind way of saying no. For others, it is true—your don’t see any general trend, then you need to visit a bookstore and really specific project does not work for them because they do not edit picture look at what is similar to your work and check who the publisher is. Be books, or nonfiction, or whatever genre you have submitted. No matter certain to find the exact imprint and not just the overall corporate name. how good your manuscript is, you won’t get on that list. One thing Many large publishers are umbrellas for smaller imprints. Each imprint many authors should know, however, is that if there is some element in has its own staff and its own mission. You can see this for yourself by a project that strikes the editor as inventive or well written, they may visiting various publishers’ websites. These sites will list each imprint, take the time to write an encouraging note even if the work is declined. with examples of exactly the type of books each one publishes. It may You may have written a work that will, in fact, appeal to only a limited seem to you at first glance that all the imprints are essentially the same, readership; it may not be appropriate for wide distribution. This should but they are not. Within the large houses especially, the identity each not deter you, but should help you put in perspective the enormous task imprint has is important. ahead. Now let’s assume you are willing and ready to seek the widest This distinction, however, leads to another rule: Decide which imprint/ recognition possible and form a relationship with a publisher. editor you are writing to, and do not send your submission to someone Begin to think about where to send your work and develop a plan else in that group at the same time. Once you have your list of publishers of action. Some questions to answer: What are you selling? Fiction or and specific imprints, find out whether unsolicited manuscripts are being nonfiction? A picture book? A middle grade or young adult novel? There accepted. Post-9/11, many houses determined that for security reasons are some general rules for picture book submissions. Do not send a text they would return manuscripts addressed simply to “The Editors,” without that is equivalent to a greeting card, or send one that is so long it a specific name attached. This may make you feel as if it’s even harder to cannot possibly fit the standard thirty-two-page picture book format. Do find a home for your work, but understand that from the publisher’s side, your research. Never assume your book is for all ages. An editor as well security measures are not unreasonable. Your research should include as a bookseller or librarian needs to place the book in some category. finding the names of editors to whom you should submit your work. This Who is really the best reader for your work? Of course, a book can cross security policy applies to many literary agencies as well. It is up to you over and appeal to other groups, but you should understand that it to find out each recipient’s requirements. needs to start in some specific category. Once you know what kind of book you have written, it will be easier to focus. How do you discover which agents and editors will accept The SCBWI’s “Publishers of Books for Young Readers” list (page 61) unsolicited submissions? is updated annually and is a good place to begin your research. In No need to hire Sherlock Holmes. The SCBWI has conferences across addition, the SCBWI’s “Edited By” list (page 97) will help you research the country (and throughout the world). Find out about editors who are specific editors’ tastes and the types of manuscripts for which they look. speaking, even if you do not attend their sessions. Another way to keep 32 | FROM THE EDITOR’S DESK

up with editors and who might be working where is to read Publishers Do I really need a cover letter when I submit my manuscript? Weekly (PW), which should also be available at your library and is even What difference does it make if I’ve included an SASE? sold in some of the larger bookstores and is available online. Twice a An editor gets many submissions. Your cover letter is a way for you year, in February and July, PW has ads, interviews, reviews, and general to pitch the project so that the editor gets a taste of what to expect. coverage of trends and issues in children’s books. Some people feel that Don’t concentrate on selling yourself as much as succinctly letting the submitting a manuscript is anxiety-provoking. Nonetheless, you need editor know about what they will be reading. Short and to the point is to put time and energy into the process so that your manuscript finds best; not more than one page should do. If you have published books, a home. you should mention that and list the titles.

Should I register my work with the US Copyright Office before I Isn’t it true that a word-processed manuscript set in type to send it to a publisher? look like a book will catch an editor’s eye and make them more The copyright law states that work is copyrighted as soon as it exists likely to buy it? in tangible form, so there is no need to register it before mailing it out. No. This is unnecessary and can be off-putting. Send a double-spaced Once the work is published, the publisher will file the necessary forms text with one-inch margins all around. Anything else is a waste of with the Copyright Office at Library of Congress to register your work. effort.

The news in Publisher’s Corner is informative, but it can also be Will I have better luck with an agent? How do I go about finding dismaying. How can any manuscript, no matter how good, hope one? to make it out of such a huge slush pile? It is not necessary to have an agent if you do your research and If a house has an open-door policy, then submitting your work is submit to a house that has an open policy, or if you learn of an editor worth it. Try to send the project to a specific editor by name. Also, and write directly to that person. However, an agent is the person contests are a good bet because the house running the contest wants whose business it is to have contacts in the publishing industry. What to find a winner. That is why they bother to run the contest. an agent might do is match your work with an appropriate editor more quickly. However, it is difficult to make agent connections, and the A friend and I wish to collaborate on a picture book. One of process takes time. us is a writer, the other an illustrator. We both know it is not The “Agents Directory” on page 143 of this guide is a listing of advisable to send a manuscript with proposed artwork unless agents and artists’ representatives. Once you’ve selected a few agents to you are the author and illustrator. Yet we do see books done write to, send one of them a query letter (with an SASE) outlining your by teams. Both of us are published, but neither of us is well writing history and a sample of your work. Do not submit your work known. How best to propose such a book? simultaneously to several agents, even though you may need to query Realistically, it is best for the author to send in a text, and if this is several before you find one willing to take you on and with whom you accepted, the author can suggest the possibility of using the artist they will feel comfortable working. Most agents will not charge you a reading knows. However, do not expect that this will be an accepted match. If fee or ask you to sign a contract with them or charge you for incidental you do send the project along as a team, you have a smaller chance of expenses such as telephone calls and messengers; some agents, acceptance—although it is possible. however, have instituted such practices. After you’ve published a number of books, you may find an agent What is the best procedure regarding picture book manuscripts? a great help in negotiating better terms and relieving you of concern Should I send the manuscript only, or make up a layout by about various business details. In short, there are arguments for and preplanning the actual pages as they will appear in the book, against new writers having an agent, and the final decision rests with leaving blanks where the art will go? you. Most editors can imagine the possible visuals for a picture book text, so it is unnecessary to lay out the book. A double-spaced manuscript Several publishers have turned down my book. Should I pay to www.scbwi.org is preferable. Remember, part of an editor’s job is to work with the art have it published? | director to create a vision for the final book. Type the manuscript and This is a decision only you can make. Self-publishing has its place: as leave extra space where page breaks fall. The editor who acquires your a gift for the family, to make a controversial political statement, or to book will be able to envision as they read the text. 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 I’ve sold a story to a magazine. Is it all right to try to get it libraries and schools won’t even consider purchasing a self-published published in book form as well? book for children. Today, technological advances do make it possible to Usually yes, but this always depends on the rights the magazine self-publish. The issues after creating the actual printed volume arise in has purchased. If the magazine has bought nonexclusive serial rights terms of distribution and publicity. It is a big job to do alone; however, and agrees to return the rights to you after publication, then the story the choice is yours. Sometimes it is satisfying enough to print your is yours to do with as you wish once the rights have reverted to you. book and share it with those you most care about. However, some magazines buy exclusive rights in perpetuity. Check your agreement with the magazine before going on to submit the work to a book publisher. PUBLICATIONS GUIDE: THE BOOK 2021 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 but we may be able to match you with one or more possibilities. Before you start looking outward, carefully reflect on the kind of » SCBWI activities. Hang out where others with similar interests will critique group you’d like to belong to by asking yourself the following be: Check out the SCBWI website and the Bulletin for a comprehensive questions: list of conferences and happenings geared exclusively for writers and illustrators of children’s books. » Do you prefer to mingle exclusively with others in your genre or » Writing classes and events. Also be on the lookout for various field, or are you open to mixing (e.g., picture book writers only; all classes that are offered in your community via libraries, universities, children’s writers, novelists and picture book writers alike; writers community colleges, and other professional organizations. Critique only; or writers and illustrators)? groups regularly launch from these kinds of activities. » How prolific/productive are you, and how often do you need feedback » Blogs and social networking sites. Facebook, Twitter, and other from your peers? social networking platforms have opened up a whole new world to » How do you handle comments from colleagues? Are you able to listen the children’s book community, and critique groups have sprung up to criticism without getting defensive? Is it easy for you to tune out as a result of how easy it is to connect and share work electronically. comments you disagree with and stick with your intuition? Are you Children’s writer and podcaster Tony Dirksen recently advertised his willing to give others’ suggestions a try, even if at first you disagree? cyber-critique group’s search for another writer by making a comment » Do you feel more comfortable with others at your same level, or on other writers’ blogs and on Meetup.com. It paid off, too! Tony are you more inspired when you work with people across levels of connected with two great writers and is thrilled about his new experience? group. Using online tools to find a critique group allows all parties to be completely honest about what they’re looking for—in terms of How you answer these questions will give you an idea of the kind commitment level, experience, feedback needs, and relationship style. of group you’ll want to find—one that will be most successful for you. While it’s not always a breeze finding the perfect group, being clear with RULES OF ENGAGEMENT what you’re looking for will help you stay focused in your search. If you’re starting a brand-new critique group, or as you fold into an existing group, you’ll have some decisions to make together. Talking FINDING YOUR GROUP through each person’s expectations, goals, and styles at the onset will The process of finding or starting a critique group can often be just help ensure you’re all on the same page. Here are some things you’ll want like finding one’s soul mate—and often equally daunting. But before to discuss: you start crafting that personal ad to post on Craigslist, there are other routes to consider first: » How regularly do you want to meet? Weekly, biweekly, monthly, or as needed? » Established groups. The SCBWI is a matchmaker of sorts. Contact your » Where? In person at a home, library, or café, or online? chapter’s regional advisor or check your regional page at scbwi.org to » Will you include refreshments and food, or are you there strictly for inquire about critique group opportunities in your area. The SCBWI critique? can’t force a critique group to accept you as a new member, of course, » How will you share costs for guest speakers, snacks, or celebrations? 34 | STARTING A CRITIQUE GROUP

» If you’re critiquing one another’s novels, are you comfortable reading an entire manuscript, or would you prefer to bring individual scenes WHY I LOVE MY for critique? » How do you prefer to review one another’s work—in advance by CRITIQUE GROUP email, or on the spot while read aloud at your meeting? » Will the writer read their own work aloud or have someone else do the honors? » Will the writer provide photocopies for each group member? » How will you comment on one another’s work—taking turns or We call ourselves the Scribbling Siblings, despite letting the feedback flow freely as inspired? having been born on different continents and into » What will be the group’s size and how will you bring in new members different generations. (or will you not)? We have two important things in common. The first is SEARCHING SUGGESTIONS a drive to become the best writers we can. The second is Regardless of how you go about finding your critique group, there are we all hate black licorice. Which I suppose seems a little a few important things to remember about the process. irrelevant, but it’s a good jumping-off place for critique. “I like this treatise on lawn care more than I like black » Be proactive and dedicated in your search. Finding the right critique licorice.” group can take a long time, so don’t expect it to come together “Hmm, this description misses the mark. It puts me in overnight—or even after a meeting or two. mind of black licorice.” » Remember successful critique groups come in many shapes and forms. I joke, but from the beginning, we agreed to be kind but In-person meetings work really well for some, while online groups are great for others—especially when spread across geographies. very, very candid during critique. That was a decade ago, » Even in the best of critique groups, dynamics can change and and in the years since, we’ve built up an incredible trust. members may end up going their separate ways. Remember that there I love it that: are just as many critique groups as there are fish in the sea. Keep at it! » the Scribbling Siblings take time to thoroughly read what I’ve written. We send our pieces out a week in KEEPING IT REAL advance. This allows us freedom to dig deep. Once you find the right critique group, cherish it. First and foremost, » critiques are confined to the writing. Knowing it’s about respect the work and privacy of your peers. When critiquing, sandwich constructive feedback with praise. When being critiqued, listen and take the writing and not about the writer allows each of us to notes without being defensive. be less defensive. For more information about nurturing a successful critique group, be » the drive to improve far outpaces the desire to simply sure to read Linda Sue Park’s “Give and Take of Critique” on page 35. hear our work praised. I truly count on the group to help Ursula K. Le Guin’s Steering the Craft is another excellent resource, with me identify weaknesses in what I’ve written. This is the an appendix devoted to successful peer groups. only way I can work to overcome them. Finally, be sure to keep us posted! Let the SCBWI know about » we adhere strictly to the Rule of Twenty Minutes. publication successes by sending a note to [email protected], as well Usually, about ten will be spent in reading aloud and as to your chapter’s regional advisor or newsletter editor. Good news is for sharing! ten will be spent in discussion. If someone wants more discussion time, they’ll skip the reading aloud, or vice www.scbwi.org versa. When the alarm goes off, it’s the next person’s | turn. End of story.

Of course, great friendship has cropped up, as it will when five people have been meeting weekly for ten years. All non–critique specific conversations (and this includes anti–black licorice tirades) take place after the last alarm goes off, and not until then. PUBLICATIONS GUIDE: THE BOOK 2021 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 disheartening 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 piece eventually gets submitted and is read by an editor, the writer won’t is different, the following give a general blueprint for what a critiquer be there to say things like, “Well, what I meant there is . . .” or “That’s should be looking for: supposed to refer back to . . .” The writer should listen, take notes, and listen some more. Later, when all the commenters are finished, there can Plot be discussion including the writer. But not at first. » Page turnability: Is the story interesting? Does it make you want to Some groups or partners exchange work in advance. Others read on the read on? Do you ever feel impatient and wish things would get going? spot. Both systems have their advantages, but for in-depth critiquing, » Problem: Does the main character have a clearly delineated problem reading the piece in advance and spending time on it before the meeting confronting him/her? Does each scene develop either impediments to is invaluable. a solution or progress toward a solution? » Logic: Do the scenes connect in a logical manner? Is there something GIVING happening in the middle or at the end of the piece that simply doesn’t The method I like best is often referred to as “the sandwich.” A make sense given the setup? commenter begins by saying something they likes about the piece, then » Ending: “Unexpected inevitability”—has the writer laid the goes on to point out weaknesses, and finishes up with another positive groundwork for the ending, even if it’s a twist or surprise? comment—sandwiching the negative between two positives. When a writer hears something good first, they are more likely to be open- Character minded about the criticisms. And finishing with a positive point keeps » Believability: Do the characters seem real? Do they talk and act like the critique friendly. people you might know—even if they’re hedgehogs? Do they have Just as the writer should abide by the rule of not speaking during the flaws, or are they too perfect? Do they have characteristics, quirks, critique, the commenters should abide by the sandwich rule. Everyone idiosyncrasies that increase their individuality, or are they generic? should offer both positive and critical comments on the piece. I can’t » Empathy: Do you care about the characters? Do you feel anxious for count the number of times a writer has said to me, “My critique group them as they face their problem? Do you feel like cheering wildly or at always praises my work. That makes me feel good, but I end up not least smiling if/when they finally solve it? knowing how it can be improved.” Once in a blue moon, maybe someone » Growth: Has the character grown or changed in some way by the end does offer a perfect or near-perfect piece for critique. But 99.99 percent of the story? of the time, a good critiquer will be able to offer helpful comments for improvement. 36 | THE GIVE & TAKE OF CRITIQUE

Writing wrong. I would write the scene her way just to show her how it couldn’t An article of this length cannot, of course, cover all the writing possibly work. I’m sure you can guess what happened. The scene ended points that a good critiquer should be on the alert for. But they can up being similar to what she had suggested, although not exactly be put into a single concept: invisibility. Is the writing “invisible”? the same—because in trying to work out her suggestion, I stumbled In other words, is the story so compelling and well written that onto something even better. This never would have happened had I the technique simply disappears? Or are you stopping as you read dismissed her suggestion outright. and thinking things like, That sentence is awkward, or, That’s three In another instance, my partner gave me a middle grade of about paragraphs in a row of solid description—it’s getting boring? Critiquers 25,000 words to read. I read it and loved it—but I told her that it was should note wherever the writing pulled them out of the story. not complete. Where she had ended the book was not the end of the It may seem ironic, but the goal is to help the writer achieve story. I can well imagine her dismay in this case—here she thought she invisibility in their technique so that what shines is not individual had finally finished, and now I was telling her no? She thought about it words or phrases, but the story itself. for a while, then wrote a little more just to see where it would take her. One more point: In my opinion, critique groups are not the place for She ended up with 37,000 words—and a beautiful story that feels truly heavy line editing. If a piece is riddled with grammatical errors, it is complete. Now she finds it hard to believe she ever thought it finished tedious and difficult to point out these errors in a group setting. Such initially. work is best done one-on-one, with an editing partner. The best a group I won’t deny that it’s a real balancing act, trying to decide which can do in such cases is to point out to the writer that they has this suggestions to heed and which to ignore, but believe me, it gets easier weakness. as you learn to trust your partners and gain confidence in your writing.

TAKING READY TO SUBMIT? The importance of listening when receiving a critique cannot be A critique group or partner should help you answer this question: Is overstated. Coupled with this is the difficult task of not taking a a piece ready to submit? Here is my rule of thumb: A piece is ready to critique personally. When a trusted commenter says, “This scene submit when it’s one of the best things I’ve ever read. It’s so good, I doesn’t work for me,” or, “I really don’t think you need this paragraph can’t wait for my partner to send it out. I want to tell everyone about here” (and be forewarned! It will almost always be your very favorite this wonderful story I’ve read! paragraph!!), they are not saying, “You are a bad writer.” Good critiques How often do you feel that way? The truth is, not very often. And focus on the writing, not the writer. that’s the way it should be. Editors say things like, “Read a thousand Let’s assume that the commenters have finished their “sandwiches” books in your genre. Compare your story to theirs. If it’s as good as the and the writer is now allowed to join in the discussion. Where possible, very best of what you’ve read, it’s ready to submit.” (Can you imagine the writer should pose their responses as questions. Example: “Ann, how much smaller slush piles would be if we all felt this way about our you said this scene on page four is unclear to you. Would you say that’s work and our partners’ work? Editors might even have time to write due to characterization or scene-setting?” The writer should avoid real rejection letters instead of sending forms!) Not “This is such a making statements: “The scene on page four is a continuation of what sweet story. My kid’s class loved it when I read it to them.” Not “I can’t happened on page two, but I had to stop there to explain Grandma’s believe that book got published. Mine is much better.” will.” As a writer who presumably wants comments on your work, your No—the response of your crit partners and yourself should be, “This job now is to receive responses and information—not to give them. is one of the best things I’ve ever read.” Yes, it sounds like a tall order. Once the writer is back home with a stack of scribbled-on But whether you’re a new writer trying to break in or a published author manuscripts and perhaps a pad of notes, the real work begins. People trying your hand at a different genre, that’s the standard you must differ greatly on how they work with critique comments, but here is the achieve. And a critique group or partner you trust can help get you method I like best. there. First, I sort the comments. I suppose this could be done in your head, but I actually make a list. Three columns at the top of a page: www.scbwi.org Yes / Maybe / No No No! I put brief notes under each heading based | on the comments I received. Then I start revising. I start with the Yes column—the comments I love. You know what I mean—when someone says something and you think, “Eureka! That’s perfect! Why didn’t I think of that? Thankyouthankyouthankyou!” I make those changes first. Then I stop and think. A lot. This phase takes the longest. I think about the other two columns—especially about the items under No No No! If enough time goes by, my wounded feelings about those negative comments subside and I’m able to be much more objective about them—rather than dismissing them emotionally. Here are a couple of examples of how helpful this can be—one from each side of the fence. In one of my middle grade novels, a character dies at the end. My critique partner thought the way he died didn’t work at all. She told me so and made an alternative suggestion. I was utterly PUBLICATIONS GUIDE: THE BOOK dismayed. This was my ending—the climax of the book! How could she

2021 say such a thing!? I let a few days go by and I decided to prove her TYPES OF PUBLISHERS | 37

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, 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 sell publishers offer a flat fee only. Smaller publishers might internationally, as well. Reviews can be found in educators’ offer a royalty without advance. Whether the terms are an periodicals. advance against royalties or a flat fee, the author owns the copyright and their name is on the book. Other terms of SUBSIDY PUBLISHERS a traditional publishing contract may vary. Trade books Subsidy publishers or co-op publishers (often known are marketed by publishers’ sales representatives and as vanity publishers) will offer to publish a book if the 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 publishers, though sometimes the copyright may be in asked to pay for promotional expenses. Subsidy publishers the publisher’s name or a joint copyright. Mass market will usually offer to send out sample copies to the media books 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 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 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 HOW TO FIND A MENTORSHIP PROGRAM

by Ann Finkelstein (SCBWI-Michiganby Mentorship Rebecca FoxCoordinator) | Edited byand Sara Carrie Rutenberg Pearson (SCBWI-Michigan Co-Regional Advisor)

n the words of Ralph Waldo Emerson, “Our chief want in life is somebody who will make us do what we can.” Every writer and illustrator dreams of produc- I ing their best possible work. One way to achieve this goal is through a men- torship. Mentors can provide that extra bit of knowledge, experience, and confi- dence that can help creative people maximize their potential. As of March 2020, eighteen SCBWI chapters offer mentorships.

This article offers some factors to consider when searching for the best mentorship program for your needs. Note: Mentorship programs are listed by SCBWI region name. Florida and Eastern Canada have a collaborative mentorship.

Availability, Eligibility, and Cost One of the most important factors in deciding which mentorship to apply for is the region where you live. The regions currently operating mentorship programs are listed in Table 1. Of these, only Florida & Eastern Canada, Iowa, Nevada, Southern Breeze, Texas-Austin, Texas- Houston and Western Washington are open to SCBWI members who live outside the region. SCBWI-Indiana makes some exceptions to this rule, and the SCBWI-Wisconsin mentorship is open to members who have attended an SCBWI-Wisconsin conference. Your membership level and publication record will also impact your eligibility as some mentorships are open only to unpublished and non- traditionally published writers and illustrators. The cost to apply for a mentorship program varies from free (Kansas, Illinois, Iowa, Minnesota, Rocky Mountain, Texas-Austin, Western Washington and Wisconsin) to $1350 (Nevada) which includes the price of a conference registration. In Midsouth, Nevada, Rocky Mountain, Southern Breeze, Western Washington, and Europolitan regions, the winners pay a fee to cover the mentors’ honorariums. In some cases, the cost of the mentorship varies with age category because longer works require more time and effort from the mentor.

(Article is continued on page 40) 40 | MENTORING MATTERS

Table 1: Availability, Eligibility Requirements and Cost of SCBWI Mentorships

SCBWI Region Eligibility Cost (as of 2019) California-San Diego unpublished $170-$200 California-San Francisco south enter critique consultation critique fee PB: $250 + $50 admin fee

Florida & Eastern Canada availability of mentors Novel: $4/page + $50 admin fee Kansas/Missouri writing SCBWI member free Kansas/Missouri

illustration SCBWI member free Illinois writing non-PAL for writing free Illinois illustration SCBWI member free SCBWI member

Indiana non-PAL and PAL $25 Must attend conference at which Iowa mentorship is awarded free Michigan non-PAL and PAL $20 $15 registration

Midsouth unpublished winner pays $325 Minnesota SCBWI member free $40 registration

Nevada SCBWI member winners pay $1350 includes conference SCBWI member free

Rocky Mountain unpublished in age category winners pay $530 $50 registration (applicants who are not accepted receive a critique), total price varies Southern Breeze not published in age category with genre ($275 to $550) free but moderated through paid critiques at our Texas-Austin writing none conference Texas-Austin illustrating none $5 must enter portfolio showcase Must attend conference & sign-up for an in-person critique & request Texas-Houston inclusion $40 (critique fee)

www.scbwi.org free | winners pay $700 (covers the cost of inclusivity Western Washington SCBWI member scholarships) Wisconsin non-PAL in age category free €30 application fee.

Europolitan SCBWI member writing in English winners pay €500 PUBLICATIONS GUIDE: THE BOOK 2021 MENTORING MATTERS | 41

Age Category mentorships are widely, although not universally, available. Other If you write fiction picture book texts, middle grade or young adult categories, such as magazine articles, grant writing, inclusivity, novels, you’re in luck. Every SCBWI mentorship program offers these age author/illustration and chapter books are available in some regions categories, at least on a rotating basis. Most, but not all, regions that and may depend on the interests of the current mentors. See offer mentorships also have opportunities for illustrators. Kansas/Missouri, Table 2. Illinois, and Texas-Austin offer separate illustration mentorships. Nonfiction

Table 2: Age Categories of SCBWI Mentorships

SCBWI Region PB CB MG/YA NF Illustration other California-San Diego yes yes yes California-San Francisco south yes yes yes Florida & Eastern Canada yes yes yes no Kansas/Missouri - yes yes yes yes yes Illinois yes yes yes Indiana yes yes yes yes yes Iowa yes yes yes yes yes Michigan yes yes yes yes yes

Midsouth yes yes yes no Minnesota yes yes yes yes Nevada yes yes yes yes no as of 2019 Rocky Mountain yes yes yes no yes magazine, grant Southern Breeze yes yes yes yes no writing Texas-Austin yes yes yes yes yes Texas-Houston yes no yes no no inclusivity, author- Western Washington yes yes yes illustrators Wisconsin yes yes yes depends depends on Europolitan yes on mentor yes mentor yes author-illustrators

Acceptance, Frequency and Number of Winners per Year mentorships per cycle. California-San Francisco South, Midsouth, Acceptance for almost all mentorships (except Florida & Eastern Canada Wisconsin, Europolitan and Indiana award four to six mentorships regions) is based on a writing or illustration sample. Several regions per cycle. California-San Diego, Nevada, Rocky Mountain, Southern provide all applicants with constructive comments on the submission Breeze, and Western Washington offer over ten mentorships per materials. cycle. Most regions offer mentorship competitions once per year. In Nevada, We hope this information about mentorship programs allows you Indiana, and Europolitan regions, mentorships are offered every other year. to find the best mentorship program for you. We agree with Oprah The Illinois mentorships are offered every eighteen months. The Florida & Winfrey who said, “A mentor is someone who allows you to see the Eastern Canada mentorship is ongoing. hope inside yourself.” The number of winners varies greatly. Most regions award one or two

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 cake with in- C gredients 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 mismatched assortment of ingredi- ents your your spouse (who has never cooked a meal in their life) picked up at a small, local market.

I love this analogy because it perfectly explains the challenges of nonfiction. Besides factual books based on documented research, the crafting a true story based on documentable facts. Nonfiction writers nonfiction section included drama, poetry, and folktales. work long and hard to gather information, but sometimes the tantalizing Eventually, librarians realized that they needed a term to describe just tidbits we’re hoping to find simply don’t exist. When that happens, the factual, research-based books in the nonfiction section, and around it can be tempting to invent dialogue or imagine scenes or rearrange 1970, they began calling these titles informational books. That’s why chronology to improve a story arc. So tempting that we’d love a term the Robert F. Sibert Informational Book Medal, which is sponsored by that justifies doing so. That’s why it’s no surprise that some writers are the American Library Association, defines informational books as “those currently misusing the term informational book, thinking it’s a kind of written and illustrated to present, organize, and interpret documentable, nonfiction that’s based on true information but takes occasional liberties factual material.” with the verifiable facts. But that is NOT a legitimate use of the term. If your goal is to write DEFINITION 2: LITERACY EDUCATORS nonfiction, you can’t tinker with the facts to strengthen a story. If you But that’s not the end of the story. Unaware of what was happening in make up anything, anything at all, you’re writing fiction. Period. the library world, in the 1980s, literacy educators began using the term informational texts to describe a narrow subset of nonfiction writing that DEFINITION 1: LIBRARIANS presents information about science, history, and other content areas. So what is an informational book? To answer this question, we need According to this usage, informational books do not include to jump into a time machine, strap on our seatbelts, and head back to biographies, how-to descriptions (instructions), or any kind of narrative 1876. That’s when Melvil Dewey invented an ingenious book cataloging writing. This definition, which is roughly equivalent to expository system that was quickly adopted by libraries around the world. nonfiction, became widespread in 2000, following the publication of a But the Dewey Decimal System wasn’t perfect. By the early 1900s, landmark academic article by Nell Duke. a growing number of library patrons were complaining that it was For a while, librarians and educators used their separate definitions difficult to find a good novel. That’s because fiction (novels and short with few problems. But when Congress passed the No Child Left Behind stories) was interspersed among all the other categories of literature Act of 2001, schools changed their funding priorities, and school library (essays, letters, speeches, satire, etc.) in the 800s. In addition, all the budgets started to shrink. To save their jobs, school librarians began books were organized by original language of publication, so novels by taking on new roles, including teaching responsibilities. Not surprisingly, American writers were nowhere near novels by German writers or French this led to disagreements about the proper use of the term informational writers. books. How did librarians solve this problem? Sometime between 1905 and 1910, they started pulling novels and short story collections out of DEFINITION 3: COMMON CORE STATE STANDARDS the 800s and creating a separate fiction section with books arranged The confusion intensified in 2010 when the Common Core State alphabetically by the author’s last name. Soon, librarians began calling Standards defined informational text in a much broader way, including all everything left behind (still arranged according to Dewey’s system) narrative and expository nonfiction books (the librarian definition) plus 44 | WHAT THE HECK IS AN INFORMATIONAL BOOK?

reference books, instructions, forms, maps, persuasive essays, etc. As a result, we now have three contradictory definitions floating around. And yet, despite the contradictions and the confusion they cause, all three definitions have one thing in common. None of them condones the use of made-up material with the goal of strengthening a story. NONE.

WHAT THE HECK IS INFORMATIONAL FICTION? Recently, some librarians and educators have begun using the term informational fiction to describe books that are largely true and accurate but not completely supported by documented research. These books include historical fiction, like the Dear America series and picture book biographies with some made-up dialogue or imagined scenes or events presented out of chronological order to improve storytelling. They also include STEM-themed books that present concepts accurately, but contain made-up characters, fantastical art, or other embellishments. Examples include The Magic School Bus series and some animal lifecycle stories. This helpful new term acknowledges that, in some cases, taking creative liberties with true, documentable facts can be an effective way to share ideas and information with young readers. But it also emphasizes the critical importance of distinguishing between what’s real, what’s true, what’s verifiable, and what’s not. Again and again, we see examples of Americans trusting political rhetoric without question. They don’t check facts. They don’t ask themselves if a particular news outlet has an agenda. They don’t demand to know the source of statistics. If we want that to change, we need to teach children to identify truthiness. And one of the best ways to do that is to be transparent about the literature we create for them. Is it fact or is it fiction?

Melissa Stewart is the award-winning author of more than 180 science books for children and a member of the SCBWI Board of Advisors. www.melissa-stewart.com www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 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 rath- er than enriching the content and meaning. But nonfiction has changed tremen- dously in recent years, evolving in three distinct directions.

ADDING NARRATIVE SCENES By the mid-2000s, National Geographic, Time for Kids, the Discovery In the mid-1990s, children’s authors began crafting narrative Channel, and others were also publishing what is now known as nonfiction—prose that tells a true story or conveys an experience. Early “browseable books,” “data books,” and “factoid books.” Popular examples standouts included The Great Fire by Jim Murphy (Scholastic, 1995); An include the National Geographic Kids Everything series, the Time for Kids Extraordinary Life: The Story of a Monarch Butterfly by Laurence Pringle, Big Book of Why series, and For Boys Only: The Biggest, Baddest Book Ever illus. Bob Marstall (Orchard/Scholastic, 1997); and The Snake Scientist by by Marc Aronson and H.P. Newquist (Feiwel & Friends/Macmillan, 2007). Sy Montgomery, photos Nic Bishop (Houghton Mifflin Harcourt, 1999). Inspired by the maker movement, these publishers, as well as others, This style of writing gradually gained momentum during the 2000s. have recently begun offering what booksellers call “active nonfiction”— Today, it’s both incredibly popular and highly esteemed. browseable books that teach skills readers can use to engage in an Narrative nonfiction appeals to fiction lovers because it includes activity. Examples include Sewing School: 21 Sewing Projects Kids Will narrative scenes that give readers a bird’s eye view of the world and the Love to Make by Andria Lisle (Storey, 2010), Minecraft: Construction people being described. These scenes are linked by expository bridges Handbook by Matthew Needler (Scholastic, 2014), and Brain Games: that provide necessary background while speeding through parts of The Mind-Blowing Science of Your Amazing Brain by Jennifer Swanson the true story that don’t require close inspection. The art of crafting (National Geographic Kids, 2015). narrative nonfiction lies in pacing, which means choosing just the right scenes to flesh out. THE RISE OF EXPOSITORY LITERATURE The ratio of narrative to expository text ranges widely in narrative When Congress passed the No Child Left Behind Act in of 2001, nonfiction. Most picture book biographies are brimming with narrative school funding priorities changed. School library budgets were slashed, scenes. Books about historical events often include a bit more and many school librarians lost their jobs. Around the same time, the exposition. Science-themed books like Neighborhood Sharks: Hunting with proliferation of websites made straightforward, kid-friendly information the Great Whites of California’s Farallon Islands by Katherine Roy (Roaring widely available without cost, which meant general survey books about Brook/Macmillan, 2014); When Lunch Fights Back: Wickedly Clever Animal volcanoes or whales or the Boston Tea Party were no longer mandatory Defenses by Rebecca L. Johnson (Millbrook Press/Lerner, 2014); and purchases for libraries. Giant Squid by Candace Fleming, illus. Eric Rohmann (Roaring Brook/ As nonfiction book sales to schools and libraries slumped, authors and Macmillan, 2016) devote roughly equal numbers of pages to narrative illustrators had to raise their game. The result has been a new breed of and expository text. finely-crafted expository literature that delights as well as informs. Besides being meticulously researched and fully faithful to the facts, BOOKS FOR BROWSING expository literature features captivating art, dynamic design, and rich, Thanks to Dorling Kindersley’s innovative Eyewitness Books series, engaging language. It also includes a creative mix of the following text the 1990s also brought remarkable changes to traditional expository characteristics: strong voice, carefully chosen point of view, innovative nonfiction. These beautifully designed, lavishly illustrated books with text structure, and purposeful text format. Examples include An Egg short text blocks and extended captions revolutionized children’s Is Quiet by Dianna Hutts Aston, illus. Sylvia Long (Chronicle, 2006); nonfiction by giving fact-loving kids a fresh, engaging way to access Lightship by Brian Floca (Atheneum/Simon & Schuster, 2007); Neo Leo: information. The Ageless Ideas of Leonardo da Vinci by Gene Barretta (Holt, 2009); 46 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 PinkAnimalsbyJess Keating, illusDavid Sarah C.Campbell(BoydsMillsPress, 2014);and Pinkisfor Blobfish: (Bloomsbury, 2014);MysteriousPatterns: FindingFractalsinNatureby Harcourt, 2011);Bugged:HowInsectsChangedHistorybySarah Albee Swirl bySwirl:SpiralsinNatureJoyce Sidman (Houghton Mifflin | NONFICTION FOR CHILDREN FOR | NONFICTION

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 specificallyatthe school and Publishers like Capstone, ABDO, and Rosencontinue toproduce books Today, awide range of children’s bookpublishers are actively TIPS FORSUBMITTINGNONFICTION SCBWISCBWI PREPARINGPUBLISHED & SUBMITTINGAND LISTED YOUR(PAL MEMBERS) WORK

2020 2021 publications PUBLICATIONS guide: GUIDE: the book THE BOOK | www.scbwi.org | www.scbwi.org by Bruce Hale ARE YOU MAKING THE MOST OF YOUR VIRTUAL VISITS?

by Bruce Hale PUBLISHED & LISTED

t’s the night before your first virtual author visit. You’ve watched the how-to videos, adapted your slide show, and even rehearsed your pre- I sentation with a friend. But still, you worry. Will the technology coop- erate? Will students engage, or tune out and play with their pets? And how do you work that “spotlight” feature, anyway?

Like it or not, we’ve all been thrust into the world of virtual author A sound choice. These days, you can get fairly decent sound from visits. But that’s not necessarily a negative. Virtual visits are a terrific your laptop or desktop computer’s built-in mike. But if you really want way to get your name out there, sell some books, and connect with your to impress, spring for a good quality podcast microphone. The best ones readers—all without removing your house slippers. (like the Blue Yeti) plug into your computer’s USB port and offer several And since we’re all stuck with them (the visits, not the slippers) for different sound quality options. the near future, why not lean into the change? Camera ready. Again, you could just use your computer’s built-in Feeling game? Read on for some technical and presentational tips to camera, as most of these are adequate. But if you have enough USB ports help take some of the stress out of “going virtual.” available, you might want to spring for an external Webcam like the Logitech Brio. Yes, it’s an added expense. But if crisp, clear image quality TECH TIPS matters to you, it may be worth it. Pick your platform. In our pandemic era, Zoom has, well, zoomed to Also, if you’re an artist and plan to demonstrate drawing, check out a the top of the heap, but it’s not the only platform for your virtual visit. document camera like the InSwan INS-1. In Zoom, you can switch back For years, Skype was our old standby, and it can still work if your and forth between your main camera and the doc cam through the Share audience is all in one location. But when half your audience is at home Screen function. and half is in the classroom, Skype won’t serve. Look behind you. A sharp, professional-looking background is GoogleMeet is popular with schools that have embraced Google’s suite something many of us neglect. So before you start, look behind you. of applications. Unlike Skype, this platform makes it easy to reach a Make sure the camera doesn’t reveal a pile of your dirty laundry, a half- decentralized audience, and its features are similar to those available on eaten pizza, your dog licking itself, or other embarrassing sights. Zoom. Bookcases and creative (but neat) home offices are popular But of course, when you say “virtual visit” these days, most schools background choices that make you look professional. You can also opt for think Zoom. For this reason, and because it’s the platform I’m most a green-screen background, but know that it may create color spills and familiar with, many of these tech tips be Zoom-centric. other odd video effects from time to time. Light the lights. When planning your virtual visit, think of it as Make a tech checklist. Before my first Zoom visit, I was so nervous your very own TV show. Like any TV show, your presentation will require about the technical aspects, I created a step-by-step checklist to make certain basics—first among them, proper lighting. (And your room’s sure all went smoothly. (And I still left something out.) Whichever overhead fluorescents won’t cut it.) platform you prefer, don’t rely on your memory to get things right. Craft Ideally, have at least two strong lights focused on you to eliminate your checklist so you can free up your brain for the important part: being shadows. But rather than placing a light source directly in front, set a school visit rock star. the lights at forty-five degree angles. This will not only yield more even As an example, here are several of the items that found their way onto coverage, but will also help eliminate any glare off your eyeglasses my Zoom checklist: (assuming you wear them). It’s worth shopping around, but you can find basic lighting kits like » Create a special meeting ID (not my default one) for the Zoom visit, to the LimoStudio LMS103 online for under $60. (Disclaimer: I’m no tech eliminate Zoom bombing. expert; I only mention products I’ve used and liked. Mileage may vary.) » If school hosts, schedule a test beforehand, and discuss muting, 50 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org difference betweenkids tuning inortuning out. coming upwithaname for yournext book’sprotagonist canmake the the classroom. Actions like directed drawing, writing toaprompt, or up yourtalkwithbrief activities thatkids cando either athome orin rather thanyielding todistractions. Simple actions like thiscankeep students awake and watching you, at anin-personvisit,invitethem togiveyouathumbs-up instead. fingers for answers a, b, or c. choice questions and invitestudents tohold upone, two,orthree everyone and havethem shout their answer allatonce. Ask multiple their answers into the Chatfunction. Orifyoufeeldaring, unmute you prefer remote learning orregular school?”) and havestudents type questions toyourattention. your visitcoordinator tomonitor the chatand callappropriate to read allthe questions and respond inthe moment, consider inviting type their questions into the Chatfunction. Ifit’sabitoverwhelming the lastquestion. control the closing message of yourtalk,rather thanpetering outafter talk, keeping things livelier for the audience. And second, itletsyou throughout yourtalk.Thisservesadual purpose. First,itbreaks upyour last, butifyoucan,consider doing 2-3question sessions sprinkled dividends withaudience engagement. free images from asitelike istock.comorshutterstock.com canyield text, soanimating yourslide text and investing inprofessional, royalty- strong images. Visual information isprocessed 60,000times faster than to putyouraudience tosleep.Instead, usesimpleanimations and demonstration —every5-10minutes. new —astoryreading, aquestion break, amusical interlude, adrawing if youwant students tostick withyou.Aimfor introducing something engaged. As host of yourownvirtual TVshow, youneed todo likewise vary the shot angles, add music, and mixthings uptokeep viewers ways tokeep youraudience involvedand paying attention. something? Gone. Butfearnot. Virtual author visitsstilloffer plenty of The call-and-response? Gone. The inviting-kids-up-to-demonstrate- the tricks honed overyearsof in-personvisitstokeep kids engaged. presentation doesn’t engage youraudience. equation. Allthe fancy technology inthe worldwon’tsaveyouifyour » » » » | ARE YOU MAKING THE MOST OF YOUR VIRTUAL VISITS? MOST OF YOUR VIRTUAL THE YOU| MAKING ARE

And tuning inisthe name of the game when you’re going virtual! And ifyoureally want toupyourIQ (interactivity quotient), break Similarly, wherever you’d normally askstudents toraise their hands Invite participation.Ask youraudience asimplequestion (like “Do Probably the simplestwaytoconduct yourQ&Aistohavestudents Break upyour Q&A.Most presentations tend tosavethe Q&Afor Boost your slide-appeal.Skipthe text-heavy slides unlessyouwant Variety isthespice. Seenamovie lately?Filmmakers constantly It’s asadtruthof ourpandemic era thatweauthors can’trely onall PRESENTATION TIPS Of course, the checklist goes onand on.Buttechisonlyhalfof the Mute other participants. Open allprograms needed for presentation before opening Zoom. creates feedback). When showing slides onalaptop,remember not toshare audio (it Use ahardwired connection, rather thanWi-Fi,for reliable signal. handling Q&A,bookorders, etc. aerwww.brucehale.com latin jazzwithhisSantaBarbara-basedgroup,MezcalMartini. a memberof theNationalSpeakers Association. internationally topresentatconferences, schools, andlibraries. Heisalso BEAUTY appearedonOprah’s RecommendedReadsfor Kidslist. MY TWEETwontheLittleDAward for humorwriting,andSNORING Mysteries, TheMonstertownMysteries, andClarkTheShark. over 60books for youngreaders, includingthepopularChetGecko When notworking,Bruceenjoyshikingwithhisdog,Riley, andsinging Bruce isin-demandasaspeaker, travelingnationallyand His book,THEMALTED FALCON, wasanEdgarAward finalist.MURDER Raised bywolvesjustoutsideL.A.,Brucehaswrittenandillustrated by Roxyanne Young DOING A VIDEO PRESENTATION FROM HOME? HERE’S HOW TO OPTIMIZE YOUR SET TO GET THE BEST RESULTS PUBLISHED & LISTED by Roxyanne Young

ccording to the latest issue of Publisher’s Weekly, “bookstores are in the fight of their lives,” with print sales down 9.2% last week. But we can see a glimmer of hope in the A kids’ market, with a 66% gain in the juvenile nonfiction category for the week ending March 21st. The bestsellers in the children’s market were holiday, festival, and religion books. Of course, Passover and Easter are coming up soon, so this can explain the sales uptick, but we must have confidence that if our community keeps promoting our books, not only will we stay afloat, but we will boost the spirits of our writing, illustrating, and reading community.

Although the coronavirus crisis has gripped the planet, many of covers and glass picture frames. You’ll be able to see if anything is too us are still hard at work promoting our books and staying connected shiny when you do your test session (covered below) before you go with our readers. Authors like Nikki Grimes and Bruce Hale are doing live. online readings. Author-illustrator Mo Willems is giving daily doodle Also, remember to avoid moving objects behind you, such as ceiling instruction from his home studio. And from her home office, author fans. Anne Marie Pace presented a live Facebook promotional video for the Virginia Children’s Book Festival. Authors who also teach, such as Cindy Jenson-Elliott and Rob Sanders, are giving remote class sessions from their homes. Not everyone has a full production studio in their homes, so video quality varies widely, but, there are some simple steps you can take to make your video look more professional:

1. DECLUTTER YOUR BACKGROUND Although you hope that your audience will focus on you during your presentation, their eyes will eventually wander to what is in back of you: leaning books on your shelves, knick-knacks tucked in between those books, and piles of papers waiting to be filed. So before you hit record, take some time to tidy up and remove items that might be distracting. If you’re hanging a plain sheet or printed fabric behind you as a backdrop, iron or steam it first, and make sure you hang it straight. My favorite fabric backdrop is made from upholstery velvet. It’s heavy and doesn’t wrinkle, and if you get a dark color like black or plum, it is Anne Marie Pace promotes the Virginia Children’s Book Festival from usually matte so you won’t have to deal with shiny hotspots. her very tidy home office. How much of your background is seen will vary depending on the viewer’s device and which platform you’re using to record your video. If you have particular items that inform the viewer of your expertise, 2. PAY ATTENTION TO YOUR LIGHTING make sure they’re visible in the background over your shoulders while Natural light is awesome. Author-illustrator Katie Davis shared a you’re speaking. Place your latest, or favorite, book face out on a poem live on Facebook from her home office while sitting in front of shelf or table that’s visible behind you. Do you have plushies of your a window with indirect light. If you live in the northern hemisphere, characters? You can make these visible as well, especially if they are try to sit facing a large north-facing window or glass door. (Do the relevant to your talk or reading. Be careful about glare on glossy book opposite if you are in the southern hemisphere.) Barring stormy dark 52 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org shower curtain. face. Alarge sheet of parchment paperwillalsowork,oratranslucent paper infront of ittocreate asoftbox to soften the shadows onyour balanced lampof some kind, expose the bulband hang awhitesheet of depending onthe brightness and distance from you. using boxes orother furniture. One light willwork.Two willbebetter, lamp, great. Ifyou’re using atablelamp,raise itupto45degrees clear definition. Rembrandt’s portrait light and giving the eyes, nose, cheeks, and lips degrees upand 45degrees tothe side, butessentially you’re mimicking will nitpick thisbecausethere are technical distinctions beyond 45 gives shapeand contour withshadows. My portrait photographer friends degrees. Thisisanideal light placement for any human face becauseit and placeitslightly aboveyourhead and toeither side atabout45 window, sliding glassdoor, oraskylight, useadaylight-balanced light skylights and large windows willgiveyou:gorgeous light. series onYouTube, courtesyof The Kennedy Center, toseewhat will causeyoutosquint and castharshshadows. front of windows withthe sunshining directly in.Any too-bright light skies, north-facing windows havegreat indirect light. Avoid sitting in | DOING A VIDEO PRESENTATION FROM HOME? PRESENTATION AVIDEO DOING | Build asoftbox tosoften shadows. Ifyou’re setting upadaylight- You canuseahousehold lampfor this. Ifyouhaveatallreading Daylight-balanced alsoworks. Ifyoudon’t haveabig north-facing Skylights alsogivegreat light. Check outMo Willems’ Lunch Doodles would workfor alive presentation. but it’s closeandcombinedwiththelightfrommonitor, thissetup This isthesetupfor thefinalimage. Mylampisn’t quite45degreesup, beautiful naturallightwindow. to writepoetrywhileshelteringathome, asshe’s doinginfrontof a Author-Illustrator Katie Davisurgesheryoungfans andfellowcreatives Without good filllighting, you’llend uplooking more like asilhouette. unless you’vealsogot really good filllighting the front of the subject. from windows ordoors. Most cameras can’tadjustfor backlighting Manage your lightsources. Turn off any bright lights behind you effect and soften the shadows. Now it’s bright enough to capture live motion. hung apieceof whiteprinterpaperovertheexposed bulbtocreateasoftbox from themonitorandwithadesklamp addedontheoppositeside. I’ve And hereisthesamesubjectandbackground with thewhitelightcoming image. of myhair. Thisiscalledahairlightanditgivessome depthtothe the backlightwindow, butIleftthewindowopentohighlightback motion ifIwerespeakinglive. Ialsoshiftedthecameraawayfrom big whiteGooglewindow. It’s nice, butstillalittletoodimtocapture I haveasecondarymonitoronmydeskandthisisthelightfrom lighting, theimagecomesoutgrainy. quality isn’tthegreatestonalaptopcameratobeginwith,butinthis I tookaquickshotbacklitagainstthewindowinmyoffice. Theimage DOING A VIDEO PRESENTATION FROM HOME? | 53

Bounce light onto your face. If you’ve got deep-set eyes or bangs that shadow your eyes, you may need to use a reflector under your face to light them. Place this slightly in front of your chest and at an angle so that it catches the light and bounces it into the deeper shadows of your eyes, about where you’d hold a book to read it. A piece of white poster board works for this, as does one of those silver cake trays you get from the party store. I once used the white side of a quilt when I needed to bounce light in an impromptu photo session when I didn’t have my full gear with me. Anything bright white or silver will work. Skin tone and shiny noses. Why is daylight-balanced light important? Because anything else will skew your skin tone toward yellow or blue, depending on the temperature of the bulb, no matter what your skin tone is. Daylight-balanced, though, makes your skin color and eye color look more natural. “Specular” is a fancy pro photographer word for “shiny.” A shiny nose or forehead is not the worst thing you can have, but there are Bruce Hale is an experienced public speaker and storyteller in front of large ways to avoid this by using a softbox (see above) or with translucent audiences, but he’s adapting his skills to the intimate setting of his home face powder. office to stay in touch with his young fans during the Coronavirus crisis. Note Even if you never wear makeup, I recommend you dust a little especially the eye-height level of the camera, and if you watch the video, powder on your nose, cheeks, and forehead to avoid specular you’ll notice that Bruce never actually reads from the book. He’s got the text highlights. If you don’t have translucent face powder, corn starch will memorized and he only uses the book to show the illustrations by Scott Breen. also work. Just use a large makeup brush to put it on, or barring that, a soft facial tissue or cotton ball. 5. DO A DRESS REHEARSAL Some people have dark circles under their eyes, or very reddish, That old joke really fits here: A tourist asks ,“How do you get to ruddy complexions. (Thank you, my Scottish ancestors.) I’ve found Carnegie Hall?” And you say, “Practice, practice, practice.” This is the redness control products at department store makeup counters and I’ve most important advice of all: Do a practice video before you go live purchased them online. They’re pale green creams you put on under or publish to YouTube, Twitter, Instagram, Vimeo, or Facebook. Once your foundation. I recommend it to even out redness and dark circles. it’s out there, it’s really hard to retrieve it to fix things. Have your Use it under your foundation or tinted face powder. It really does work shareables, like your poetry examples or the book you want to read, at wonders. hand and ready to go. Focus on the Lens. When you’re not used to being on camera, 3. YOUR CAMERA PLACEMENT IS IMPORTANT seeing yourself in a selfie video can be distracting, so while you’re Pay attention to camera placement. No one wants to look up your recording yourself with your phone or iPad, you may be looking at nose. If you’re using your laptop camera, set your laptop on something yourself on the screen and not looking into the camera lens, which is about the height of a shoebox (a ream or two of printer paper fit this over to the side or top of your device, depending on whether you’re bill, or stacked books) so that the camera is at a natural eye height for recording in portrait or landscape mode, and this will depend on the you. format to which you’re publishing. If your eyeglasses reflect your laptop screen, it will be difficult to Instagram prefers vertical, or portrait, format, while Facebook, clearly see your eyes. Plus, seeing a reflection of the other windows YouTube, LinkedIn, and Vimeo want horizontal, or landscape format. you have open is not only disconcerting, but could be a privacy issue Whichever format you’re using, though, look into the lens, friends. as well. If you’re making a public video, protect yourself from randos Otherwise, to your viewer, it’s like having a conversation with someone making screen captures of whatever personal data is reflected in your who’s not paying attention to them. glasses. (Okay, maybe I’ve seen too many crime dramas with super tech Cover your device screen with a sheet of black art paper or fabric geniuses doing devious things in dark basements, but still, be careful.) if you have to (so you don’t get a light square reflection in your eyes or glasses from white paper) and draw an arrow in light pencil on 4. DO A TECH REHEARSAL it pointing to the lens to remind yourself to look at the lens. Did I Do a live test with a friend to work out any technical issues. Make mention looking at the lens? sure you know how to adjust your microphone and how to start Polish Your Look. Do your hair, makeup, put on your on-camera and stop recording. If you’re going live with an outside group or outfit, and take a hard, critical look. Avoid busy patterns and white organization, make sure your system syncs with theirs. This may mean tops - you want the focus to be on your face, not on what you’re doing a test run with that group, whether it be via Skype, Hangouts, or wearing. You want your face to be the brightest thing in the image. Zoom. Know how to use the mute button, just in case. Solid colors are better and I’ve never met anyone who didn’t look good Turn OFF Notifications on Your Laptop and Phone. Speaking of in dark jewel tones. Your viewer will appreciate the effort, and they muting, turn off notifications on your laptop and set your phone to don’t have to know all the hard work you put into looking camera- airplane mode before you record or go live. Your friends and family will ready! be excited to see you live, but you don’t want their “pings” to interrupt your presentation! 54 | DOING A VIDEO PRESENTATION FROM HOME?

RESOURCES TO CHECK OUT FOR YOURSELF

Storytime with Bruce Hale on Youtube https://www.youtube.com/watch?v=-4mvKSNM8bY

Find Anne Marie Pace’s video linked from her Facebook page. by Miranda Paul https://www.facebook.com/AnneMariePace

Nikki’s outfit and makeup are on point and if you go watch her video, you’ll And Katie Davis is on Facebook, too. see she’s got her shareables ready -- look at those examples for the style of https://www.facebook.com/katie.davis poetry she’s teaching. Nice. Her lighting works, too. Next step, better camera placement. Nikki Grimes’ poetry video is linked from her Facebook page, too, and on her YouTube channel - yes, she’s Practice What You Want to Say. Have your notes handy but try not teaching poetry on YouTube! to read from them - looking down to read from paper on your desk https://www.youtube.com/channel/ breaks the connection between you and the viewer. If you’re reading a picture book, look from the book to the viewer, just like you would if UCmTRyfduuOQzFsaxbXj0Nzw you were reading to a group in person. The key element in any presentation, whether online or in person, is Mo Willems’ Lunch Doodles is on YouTube as well, to be engaging and confident in your material. The new video platforms through The Kennedy Center channel. have opened up enormous opportunities to connect with fellow https://www.youtube.com/watch?v=4YNxKtjJr9k creatives, business colleagues, readers, and fans. I hope you can make the most of this opportunity, and I hope you find your light. Good luck with your presentation!

SCBWI member Roxyanne Young is a photographer and author currently living in Palm Coast, Florida. You can learn more about Roxyanne here: www.roxyanneyoung.com. All screen captures are used with permission of the featured author. www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 HOW TO WRITE A PROPOSAL TO SPEAK AT CONFERENCES AND BOOK FESTIVALS STRATEGIES FOR AUTHOR-SPEAKER PROMOTION AND PLATFORM-BUILDING PUBLISHED & LISTED by Miranda Paul

ongratulations! You’ve sold a book! While it may feel like the work is done, the huge job of discoverability is still to come. With more than 5,000 children’s books published each C year, spreading the word about your book can feel like a hustle–even with publisher sup- port. Most people who create books would like to see them reach as many readers as possible, which means crawling out of their home cave and putting themselves in front of audiences. To get started, this often involves submitting proposals to speak at conferences or festivals.

PRE-PROPOSAL REFLECTIONS roadkill decomposition happens. Throw your efforts into pitching the Before you start sending off proposals to speak, assess the kinds book that has the most interesting, surprising, or remarkable angle—or of events you’re willing and able to do. Virtual? In-person? Are you the one(s) that fit the event’s criteria and will be the most attention- comfortable in front of large crowds, or would you prefer small groups? grabbing. What will you talk about? Too Shy to Say Hi author Shannon Anderson picked a focus topic for her speaking engagements. “I create books on PROPOSAL-WRITING AND PLATFORM-BUILDING TIPS FOR many social and emotional topics and am a teacher, it’s good for me AUTHORS to speak in these areas.” Her advice for newer authors and illustrators Network early. All too often, writers scramble in the weeks before is “to find an area where you have experience that is related to your or after book launch to team up with others. Most conferences creative work.” She also encourages creators to evaluate what kind of and festivals, however, line up speakers 6-12 months in advance. time or financial investment they are able and willing to make in order Furthermore, some conference organizers are wary when proposals seem to share their knowledge. Keep in mind that some conferences and stacked with promotion-hungry writers. In the year(s) before your book festivals require speakers to register and pay for their own ticket. Other releases, find ways to network with booksellers, librarians, educators, promotional events, such as bookstore signings, typically involve unpaid or influencers who would be interested in presenting with you about a appearances. shared interest or timely topic (not just book promotion). We may dream of standing ovations and round-the-corner signing Do Your Homework. Scour websites that compile lists of yearly book lines, but it’s important to perform a reality check. While publishing festivals—such as AALBC.com, Publishers Weekly, Book Riot, SCBWI, a book is a tremendous accomplishment, the act itself is usually not and more. When it’s time to apply, know that sites might ask for a short enough to land headliner invitations. Personal experiences, research, presentation pitch; longer summary; presenter names, bios, and contact knowledge, or ability to captivate a crowd may matter just as much information; book information (ISBN, release date, publisher, etc.); and (or more) than the fact that you’ve written a book. When setting relevant tie-ins to a theme or subject. Strictly follow each organization’s expectations, talk to other authors to gauge what certain conferences or guidelines for submitting a proposal. festivals are like. Authors Alexis O’Neill, Kim Norman, and Kate Messner When applying to speak at an NCTE conference, author Suma offer books, online articles, and social media groups where writers can Subramaniam (The Hero Next Door, Penguin Random House 2018) ask questions and share their author visit experiences. carefully researched the previous year’s presentation and involved In addition to self-reflection, evaluate your book. Some books are all panelists in the proposal process. “Everyone read [the proposal] excellent toddler story time read-alouds, while others provide impactful and provided feedback,” she said. “We revised it a few times before content for academic conference goers. Not every book stands out in submitting, and this helped us immensely in getting the proposal every crowd, but the story behind the story (e.g. your research process or accepted.” Subramaniam and others also encourage presenters to submit your personal expertise) can hold significant weight in terms of what you well before the deadline. have to offer an audience. Something Rotten author Heather Montgomery, Show value. A proposal should demonstrate what you will give the for example, can show young scientists her “backyard boneyard” where audience. Entertainment? Inspiration? Tools they can use? “You have to 56 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org to quantify. And although the uptick invirtual visits may seemless Connecting withyoung readers canbeanexperience that’simpossible outcomes thatresult from putting yourselfoutthere againand again. authors agree thatthere are long-term benefits, connections, and difficult toimmediately evaluate interms of their success, but most recognizes the valueof yourdonated services. sending aninvoice with the charges minus discount, sothe organizer purchased, promotional nature). When youpresent for free, consider be willing topresent gratis (i.e. sizeof audience, number of books events youwilldo eachyear, orthe criteria around which youwould agent. Either way, setparameters around when and how many free uncomfortable negotiating for yourself,consider working withabooking distributed, orreleased publicly without proper compensation. Ifyou’re They alsocheck contracts toensure their content won’tberecorded, reimbursements for presentations thatrequire significant time oreffort. That’s why most seasoned creators askfor anhonorarium and travel into author appearances—it’s practically anentire jobof itself. New England blog. debut yearexperiences and tipsfor other authors through the SCBWI virtual storytime and read aloud events. She then shared some of her said. Bolling offered schools and organizations more thanadozen to sharing my book,and the pandemic wasn’tgoing tostop me,” she launched her firstbookLet’s Dance!inspring 2020.“Iwascommitted audiences. Debutauthor Valerie Bolling learned thisquickly when she showed writersthatthey’d need toadapt ifthey wanted toreach best, it’stoexpect the unexpected. The COVID-19 pandemic quickly proposal isaccepted. badge ortravel costs, orprovide books/swagatthe event ifyour events youwillbespeaking at.Ask ifthey willsponsor aconference or publicity for yourbook.Letpublisher know inadvance about reviews and photos orvideo clipsfrom pastvisits. easy wayfor them tocontact you.Onyourwebsite, showcase excellent you’re availabletospeakattheir school orfestival,and provide an Speaker Profile isupto date and linked. Onyoursite, letvisitorsknow opportunities tosend peoplethere—such asmaking sure yourSCBWI instead of starting from scratch eachtime. worked before tocreate anew proposal tofitthe new opportunity reach whenever you’re inaparticular cityorlocation. perspectives onatimely and important topic. other presenters orpanelists who, together, present abroad range of perspectives onatimely and important topic. presenters orpanelists who, together, present abroad range of testimonials ifasked. shows timeliness, relevance, and high-interest. Provide references or fit for the event. Don’t forget togiveyourevent acleartitlethat presenting, whatattendees willtake awayfrom it,and thatit’sagood an organization orfestivalcoordinator seethe valueinwhatyou’re added. “Share relevant information aboutwhatyouhavetooffer.” Let assume the organizers don’t know yourextent of experience,” Anderson | WRITING A PROPOSAL FOR CONFERENCES AND BOOK FESTIVALS BOOK AND FOR CONFERENCES APROPOSAL | WRITING Overall, participation infestivalsand speaking engagements canbe There’s no doubt thatalotof time, energy, and money goes Be flexible. Ifthere’s anything thatseasoned author-speakers know Coordinate withyour publisher. Learnwho isincharge of marketing Let audiencescometoyou. Investinyourwebsite, and utilize Repurpose. Saveyourpitches and proposals inafile. Modify what’s Double-dip. Once youbookanevent, bookanother! Maximize your Cast aWideNet.Especially ifyou’re not the expert, pairupwith Fill Gaps. Especially ifyou’re not the expert, pairupwithother Visit heronlineatwww.mirandapaul.com. visits dozensof schoolsandlibrarieseachyearinpersonvirtually. Association, BookExpoAmerica,andbothannualSCBWIconferences. She the SharjahBookFestival,SiliconValley Reads, AmericanLibrary at morethanfiftyconventionsandfestivalsaroundtheworld,including I AmFarmer, SpeakUp,andLittleLibraries, BigHeroes. Shehasspoken more thanfifteenpicturebooks includingOnePlasticBag, Water is Water, and haveboth. audiences, maybe weare now evenbetterpositioned tostrike abalance between staying inthe comfort of ahome caveorpromoting tobig real-time orasynchronously.” Whileitusedtobeamatter of choosing not beabletotravel toaconference, and are often availableeither events “can beavailabletoawider audience, toindividuals who might splashy thanin-persongatherings, Montgomery reflects thatvirtual Miranda Paul isaformer educatorandtheaward-winningauthorof of by Elizabeth Law BRINGING YOUR BACKLIST FORWARD WHAT YOU CAN DO TO KEEP YOUR BACKLIST ALIVE

by Elizabeth Law PUBLISHED & LISTED

n 2017, I was hired by Holiday House to develop new formats for, and get attention for, the great books on their 80-year backlist. From what I have I learned in this role, I have developed a bit of an expertise (and a workshop!) about what writers and artists can do with their own backlist titles. While some of the information here appeared in a piece I wrote for an SCBWI newsletter, I’m glad to have more room here to go into specifics and to give additional tips.

In this article, I mostly talk about books for which the rights have The publisher may well also have an ebook file for you. These will reverted back to you. But, please note, everything I say about your come in very handy when you revert your rights. If you can’t get Amazon listings, your website, and making sure readers know about all either of these, don’t despair, ebook files can be made by scanning and your books applies just as much to books still in print with their first converting print editions of books, and you’ll see plenty of companies publisher as it does to books you are republishing yourself. online who will do this for you. Second, if a publisher puts a book out of print revert the rights So let’s get to it. You probably have some terrific books that have immediately. gone out of print, and unfortunately, it is pretty hard for most of these However, there’s a caveat. Do this only if you are going to make the books to be reissued by a traditional publisher and gain any traction. books you revert available as ebooks (and print-on-demand, if you’d There are a few reasons for this. When a book is released it gets like), and promote them on your own website. Or if you are going to reviewed, and that’s when it gets publicized and gets its biggest chance make an audiobook (see below). If you have no plans but just a fond for attention. But what about wonderful titles (including some of my wish that your books were still selling, it’s better to leave the rights with favorites that I’ve worked on in a long career) that were highly thought the publisher. Foreign agents, textbook publishers and others will still of and sold well when they came out, and that librarians and teachers see the book that way and some deals can drop in your lap. still remember? Times and fashions change, and it can be very tough Now. Rights have reverted to you because you wrote your publisher sledding for a publisher to put even these back in print and sell enough for them, and you have a PDF of your book. Again, Amazon, or other copies to earn their costs back. But here’s a tip: the best chance you services, will make an ebook file of it for you. Make sure all your other have of getting a publisher to bring back an old book is when you have a books are listed in the back of your ebook! Maybe even include a teaser new title coming out. We all know that kids want more of what they just chapter in the back from one you want to promote. You should be read and liked, so if they like your new book, they may well want to read able to link to these other titles from your ebook, but if having a live your others. Do you have an older book in the same genre as your new link to other books feels technologically daunting, just create a page one? Let your publisher know. At Holiday House we recently brought back listing your books. The most important thing a reader can learn when Lucy Jane Bledsoe’s Tracks in the Snow, a survival adventure, 20 years they finish your book is what other titles of yours they can buy. When I after it was first published when her new adventure story, Running Wild, worked at Simon & Schuster, we had a saying, “Every book sells another was released. book.” But mostly, you need to take making your backlist titles available into Next, an important truth. I don’t know how you may feel about this, your own hands. but all roads lead to Amazon. At least 95% of ebook sales are through First, if you can, always get PDFs of your book from your publisher. their platform, Kindle, and they dominate the audiobook market, These days your publisher should have them—and they may well have too, through Audible. They even have the biggest audiobook creation them for your books published in the last 15 years or so. Get the PDF as company, ACX. If you’re going to create and sell your own ebook, you soon as your book comes out; you don’t have to wait till the book goes can make an ebook available that works on Kobo and Nook, but be sure OP. Ask now and you’ll always have it when you need it. a Kindle compatible ebook is also offered. Again, type “ebook creation” 58 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » titles and subtitlesfor books currently onthe ebookbestsellerlist: a subtitlewhen you’re making anew ebookavailable. Here are some published yourbooktraditionally withamajor publisher, it’sfine toadd are brilliant atsubtitles thathelp their booksget found. Evenifyou’ve searches. Self-published authors, and romance authors inparticular, that describes the book,and thatwillhelp your book befound inonline copy belowthe headline weget into some more specifics. and itmakes itsound like fun.And then, of course, inthe body of the more useful!It tellsyouit’sanadventure story, the age of the heroine, adventure-- butshe can’t imagine allthe surprisesinstore.” That’salot old girlbikes across the country tomeet her idol. She’s ready for an does ithelp ashopper? The headline now reads “A determined 12-year- That wouldget me, aneditor, interested inreading the book,buthow as Irecall, wassomething like “A brilliantly inventive, original debut.” The Adventures of aGirlCalledBicycle.Ouroriginal Amazon headline, had afirst novel wewere really excited aboutbyChristina Uss called it’s often aparent orteacher who weare writing for. Forexample, we trained todescribe ourbookstolibrarians and booksellers, butnow taglines, becauseweknow they are important! And weeditorswere brainstorm withyou.We often do thisatpublishers, brainstorm our about writing yourheadline, youcanaskyourfriends topitchinand Could itappearonafilmposter, for instance? Ifyou’re not confident title. Is itselling and grabby, does itmake youwant toread the book? is the partthatappearsinthe Amazon listing inboldtypeunder the attention tothe tagline, alsocalledthe headline, for yourbook.This into Amazon. Yes, peoplereally do search thatway. Sopayalotof grade boyfunny book,”or“more bookslike The Hunger Games” listing are whatAmazon’s algorithm searches when peopletype“4th level. usually aboutyourintended audience, especially their age and grade “World War II,”etc. The most important keywords, we’vefound, are like “booksfor 3rd graders,” “funny books,” “chemistry,” “Medieval,” bottom of the page. Enter ones thatbookbuyersmay belooking for, artist. permission, and itmay becheaper and more effectivethanhiring an in store oronalibrary shelf. It’s fine tousestockphotos ifyou get good small. People willseeyourbookontheir phone oriPad, not books want toread more? available books. Have Imentioned thatpeoplewho like one of your your name onAmazon, inother words, make sure they canseeallyour are alllistedonyourAmazon author page. When someone clicks on for allyourstill-in-print titles?Make sure they and yournew ebooks the Kindle edition first—orright afterthe out-of-print paperback.And Amazon lovestopromote their ownproducts, sothey willprobably list on there, which are probably oldpaperbacksbeing soldbybooksellers. link yournew ebook’sISBN tothe other editions of yourbookthatare for you. into Googleand you’llseeplenty of companies who willmake these files | BRINGING YOUR BACKLIST FORWARD BACKLIST YOUR BRINGING |

By aThread: A GrumpyBossRomantic Comedy Legacy of Lies: ALegalThriller The Hunter: AnEnemies-to-Lovers Romance The GirlWho Lived:AThrilling Suspense Novel And here’s another tipthatreallyworks:giveyourbookasubtitle Now. Your book’smetadata. The first25words of yourbook’sAmazon In yourbook’sAmazon listing, payattention to“key words” atthe As youget ready torelease yourebook,giveitacoverthatlooks Also important. OnAmazon, asyouare listing yourebookfor sale, elawreads.com. Follow heronTwitter andInstagram@Elawreadsonherwebsite Books, andalsoworks withwritersasafreelancedevelopmenteditor. And good luck! the backof allyourebooks. Use yourAmazon listings wiselyand well. small size!)and click through toorder them. Listyourother booksin a websitewhere peoplecanseecoversof yourbooks(thatlookgood in similar toeachother, creating anauthor mini-brand, evenbetter. can make the titlesyou’vereverted and brought outasebookslook and audiobooks should beeasytospotand orderable through it.Ifyou media should leadpeopletoyourwebsite, and allyourbooks, ebooks, for yourbooks—allbooks, including yourbacklist.Allsocial audio rights toyou. narrate the ebookyourself.Ask yourpublisher ifthey willrevert justthe won’t revert the rights. Butyou’dlovetotryanaudiobook, maybe even selling afewhundred copies ayearinallformats sothe publisher ACX, butthere are plenty. And…maybe youhaveabookthatisstill one. Again, the most user-friendly interface Iknow for thisisAmazon’s and youcanevenlistentosamplesof professional readers and choose an audiobook of yourtitle?Plenty of companies willhelp youwiththat, ultimately eclipsethatof ebooks. Are youinterested intrying tomake CEO of Penguin Random House, Markus Dohle, believes their saleswill Amazon yourbookislikely tocome up. graders” becausethen ifsomeone types“3rd grader science” into novel for middle school” or“Basedonscience curriculum for third Elizabeth LawisBacklistandSpecialProjectsEditoratHolidayHouse To review: revert everything, make itavailableasanebookand have Finally, youknow this, butyourwebsiteneeds tobeground zero And one area Ihaven’tyetcovered: Audiobook salesare growing, and Get the idea? It canbeverysmart tosubtitleyourebook“A funny SCBWI PREPARINGSELF & SUBMITTINGPUBLISHING YOUR WORK

2020 2021 publications PUBLICATIONS guide: GUIDE: the book THE BOOK | www.scbwi.org | www.scbwi.org

WHAT YOU NEED TO KNOW BEFORE YOU SELF-PUBLISH

by Michael Hale SELF PUBLISHING

hat are your best options when it comes to independent publishing? WThe only one who can answer that question is you. Independent publishing is a constantly shifting landscape. New publishing alternatives are appearing every day and existing models are constantly adapting their services to stay relevant in this new and expanding marketplace.

Authors who stand on the threshold of this frontier have more » What type of team do I need to assemble to help me produce this options available to them now than ever before. Before you rush to do book? it all on you own, you have to ask yourself, “Why am I standing here » Where will I find these professionals or acquire these services? instead of knocking on a traditional publisher’s door?” You also have to » Am I going to e-publish, print on demand, or print on a press? determine if you are truly prepared to independently publish and take » How will my chosen publishing option limit my potential sales? on all of the responsibilities that go with it. » What is my budget? We’ve all heard the stories of e-published books selling millions » What will it cost to produce each book? of downloads, or the self-published picture book discovered by an » What will I charge per book? editor who then turns around and traditionally publishes it. Yes, it can » How and where am I going to sell my finished book? happen—but it is the rare exception, and not the rule. » How many books will I need to sell to break even? If you are contemplating independently publishing a picture book, » How many books will I need to sell to make a profit? middle grade, or YA novel, you need to have a full understanding of » Can I afford to take the risk? what is in front of you before you jump in. An independently published author has to do everything that a traditionally published author would Write down the answers to the questions that you already know. do . . . and much, much more. If you do not have the answer, this is where you begin your internet Prepare to sit down with a pencil, paper, access to the internet, and research. Use all of your unanswered questions as a guide to find the a calculator. The most important part of your independent publishing best people and/or services to produce a book that lines up with your journey begins with a lot of soul searching and internet research. stated goals. Start by writing down your goals. List all of the reasons why you When you find what you feel are the best services and methods to want to independently publish. Be honest and open with yourself. bring your book to life, do the math. Compare potential producers If your top goals are to sell millions of copies or to get traditional and calculate what your per unit cost will be. Once you have a cost publishers to pick up your book, you are better off forgetting per book, you can determine the retail price. Try to set a price that independent publishing and instead go through traditional channels. is comparable to retail books in your genre. Give yourself room to Writing down your goals will help you define your process. How you discount the price for schools or groups. proceed should be determined by what you are trying to accomplish. To determine a wholesale price for retailers, deduct 35% from the For example, if you goal is to create an heirloom story that you can retail price. Are you still able to make a profit based on your cost per share with your immediate friends and family, then you are not going to unit? If 35% seems steep, just know that it is the standard, not the print 5,000 copies. norm. Depending on the retailer, the percentage can vary from 10 to Next, put on your publisher’s hat. Ask yourself the same type of 55% off your retail price. The math is critical: you don’t want to lose questions any traditional publisher would ask before agreeing to publish money when you sell a book. a book: Remember, the physical form in which you produce your book could affect how and where it will be sold. For example, with picture books, » Is this a story that I can sell? POD (print on demand) can help you produce paperback versions of » How can I produce the best possible product? your book at a reasonable cost per unit. However, many independent 62 | WHAT YOU NEED TO KNOW BEFORE YOU SELF-PUBLISH

booksellers are hesitant to sell a picture book without a hard cover. Michael Hale has over thirty years of experience as a designer, writer, The reason for this is that they have no spine. This means that they and Illustrator. He is currently serving as the Illustrator Coordinator for have to be place on the shelves with the front cover facing out, which SCBWI’s Arizona Region. takes a lot of valuable shelf space. Putting hard covers on POD books is His independently published book, Bad Monkey Business, was awarded possible but gets very expensive, often bringing your cost per unit up a Spark Honor by SCBWI in 2018. He now shares his experiences in his so high that it leaves little to no profit margin when selling through a “Publishing Alternatives” workshop, a step-by-step guide to help authors retailer. pursue their goals in traditional, hybrid, or self-publishing. Next, you have to determine how entrepreneurial you are. Moving You can see more of his work by visiting www.michaelhale.me. forward requires that you start a business. Start by checking in with your state government about the rules and regulations for starting a small business, or talk to a CPA. You will want to set up an LLC or at least a separate business account before you start accumulating expenses or collecting revenue. If you are still ready to independently publish, this would be the point where you produce the book. When it’s finished, you will either be watching your ebook downloads; ordering your books on demand; or pulling your printed inventory from off-site storage or multiple boxes stacked in your garage, study, or guest bedroom. Most independent publishers believe that getting their books into print is the hard part. It’s not. The real work starts after you receive the finished books and have to get them into the hands of your readers. Keeping this in mind, you should have a full marketing and promotional plan in place before you publish your book. You can find templates for these online as well. Distribution is the indy publisher’s biggest hurdle. You can get your book on Amazon or on a wholesaler’s list like Ingram or Baker & Taylor, but without marketing efforts, it will most likely linger there without notice. Finding niche markets for your book is a good potential strategy. Does your story appeal to a specific group or organization with multiple members or resources that could equate to potential readers? If you think you may have a good connection, contact them and show them your story before you print. A potential partnership with a company or organization will often require collaboration on the final product. Best practices for independent publishers include becoming active with schools, local booksellers, and festivals. These are some of your best bets to move your inventory. If you are successful, you can branch out to regional markets. If you are not willing to get out there and personally sell your work and promote yourself as a writer, you might not see the results you expect. Your online presence is also going to be a requirement. Maintaining an author’s website and building your social media presence is key. www.scbwi.org There are many rewards to the extra work. Yes, selling lots of books | is always gratifying, but getting out there as an author can be a reward in itself. If you are a gregarious person, meeting your readers, teachers, librarians, and booksellers firsthand can make it all worthwhile. It will also help you to establish working relationships and networking opportunities for future work. The biggest reward for any independent publisher is knowing that you took your story from concept to finished product. You put it all together yourself and successfully shared your story with the world. Best of luck in your journey. And always remember: luck favors the prepared. PUBLICATIONS GUIDE: THE BOOK 2021 COPYRIGHTSELF-PUBLISHING: FACTS BESTFOR PRACTICESWRITERS

by Deborah Halverson & Randal Morrison SELF PUBLISHING

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 book can be a real competitor in the commercial marketplace? You’ll the pros and cons, determine your budget and goals, produce and publish likely spend more time and money on a book intended for retail sale to the book, and then (hopefully) sell it. We hope this article will help you the general public. For the remainder of this article, we will assume that make the right decision for you and, if you decide to pursue the DIY your goal is a finished product that is a worthy entrant in the commercial path, start you on your journey. market. The self-publishing realm is changing daily and growing in importance. Yourself. Are you a total DIYer, the general contractor type, or a There are three basic approaches: writer who just wants to write while others handle the bookmaking and 1. Hire an author services company to put all the pieces together for marketing? Can you meet the time and financial commitments required you for a fee (and sometimes a cut of the profits). for your hands-on level? Be realistic about your personality, skills, and 2. Act like a general contractor and seek out the experts for each comfort level. If you’re still game for self-publishing (sometimes called element and then publish your assembled book package through a POD independent publishing or micropublishing), move on to the next step: (print on demand/digital) printer, a traditional press printer, an ebook weighing your budget against your projected costs. To do that, make a publisher, or some combination of them. business plan. 3. Cut out the middlemen by DIYing most or all of the elements and taking them straight to a POD printer like Lightning Source or uploading MAKING YOUR BUSINESS PLAN the digital files to an ebook seller. Know the costs and be honest about your financial comfort level before you commit to self-publishing. Here are the major steps. MAKING YOUR DECISION Establish Your Budget. Determine how much money you’re willing Here are several crucial points to carefully ponder before making the to spend to make this book. If you never recover your costs—which final decision to self-publish, and if you decide to, which path to take. happens too often, even with traditionally published books—how will The Pros. You keep all (or most) of the profit from your book sales, that affect your overall financial situation? How will it affect your you are in control, and your book can be available much sooner than it important personal relationships? would be from a traditional publisher. If you’re one of the lucky few who Establish Your Format. Will your final product be an ebook, a printed attracts strong reader interest and high-profile sales, then the traditional book, or both? This decision will greatly affect your costs and choices. publishers may come looking for you. No more query-go-round. Calculate Costs. Next, work out the cost of making the book and The Cons. You pay all of the costs and assume the financial risk. reconcile that with your budget. The costs will include some or all of You are in control and thus must do all the research and make all the these items: decisions. Making and marketing a book takes time that you could spend writing your next book. Some recent high-profile examples of successful » Professional fees—editing, author services, attorney fees for reviewing self-published fiction have lessened the long-standing traditional your contracts stigma of self-published books (“not good enough to make it in the real » Book design costs (interior and cover)—illustrations, stock photos, publishing world . . .”), but skepticism still lingers, thanks to far too design services or software many authors publishing books that are, to put it bluntly, not very good. » Publication costs—digital file creation and uploading, ISBN/barcode Your Goal. Will you be satisfied with a book you can give or sell to procurement, printing/binding/transportation/warehousing, copyright family, friends, or some other personal network, or do you hope that registration 64 | SELF-PUBLISHING: BEST PRACTICES

» Marketing—printed promo items, mailing lists, postage, online some claim that the quality is still shy of a “real press-printed book.” presence (websites, blogs, social media), specialized software Professional book buyers can spot a POD product, and some still view or hardware for creation of promo items, marketing/publicity it as less desirable stock. However, the trend seems to be ever-better consultants quality for POD books and a gradual lessening of the prejudice against them. POD can be used for hardcovers, but most POD books are in trade Set Your Price. Finally, decide how much you’ll charge for your book paperback format; the great majority are sold online, not in stores. and work out how many books you’ll need to sell at that price (net of Lightning Source. Many author services companies offer to make all costs) to break even. Very important: Estimate the market for your POD books for you, but in reality they are simply submitting the order book and decide if it’s realistic for you to reach enough readers in that to the company that actually makes virtually all POD books in the marketplace to break even. Remember, in general, children’s books are United States: Lightning Source. LS is owned by Ingram, the largest more price-sensitive than books for adults. book wholesale distributor in the United States. LS deals only with publishers; it is not an author services company. Aaron Shepard’s book MAKING YOUR BOOK POD for Profit details how you can maximize profit by becoming a real The basic steps involved in making your book are these: publisher and dealing directly with LS. 1. Write, edit, revise, edit again, and finalize your manuscript. Press Printing. The main negative factor with traditional press 2. If you go for a printed book, choose its size and format the printing is cash flow risk. The printing company will demand full text. payment before delivering the books. You will have transportation and 3. Put together your cover image, back cover, front matter, and warehousing costs. You will be laying out significant cash that will be back matter. recovered only if your sales predictions come true. Even if that happens, 4. Prepare and upload your digital files to your publisher’s system. it will be many months before you collect revenue from your sales 5. Receive and review proofs of the book. in bookstores, since they take books on consignment and subject to 6. Publish and market the final product. return if not sold within a certain time. And, depending on the terms of your deal with the distributor or wholesaler, you may have to pay These are just the bare bones, however. Editing and finalizing your the cost of return transportation. To avoid the returns, publishers often manuscript, designing and formatting your text files, and putting authorize the bookstore to sell leftover stock as remainders, distressed together your cover require creative and technological skills. If you merchandise, or “cut-outs”—sales for which the publisher collects want to ensure a professional-level, quality book package, you must hire little or no revenue, and authors receive no royalties or credits against individual professionals who have the time and talent to work on your advances. project and stay within your budget, enlist an author services company, Fact-Based Decisions. Before making your POD vs press printing or learn to do most or all of the essential steps yourself. decision, you must do some serious research and calculations. What Printed Books. If you hope to sell books in bookstores, then you are the real costs and risks that apply to your specific project? Can you must have printed products. Traditional methods of printing on a press handle the cash flow and financial risk? all have significant start-up costs, both for the initial setup and for The Ebook Option. No doubt, the digital revolution has hit the each print run. This means that if a print run is low—say a thousand book biz hard. All publishers, big and small, are struggling to adjust or fewer copies—then the unit cost will be high. But as the size of the their business models to stay in tune with rapidly shifting trends. Will print run goes higher, the unit cost comes down because the start-up ebooks do to publishers and bookstores what MP3s and iTunes did to cost is spread over more units. the recorded music business and record stores? The famous examples POD: The Pros. Today self-pubbers have another option: POD—print of fiction self-publisher success all made the great majority of their on demand—a digital process with a relatively low start-up cost and sales with ebooks sold online. Yes, Amanda Hocking eventually made a a unit cost that can be lower than press printing in low runs and seven-figure deal with St. Martin’s Press (Macmillan), but she gained her competitive with press printing even in moderately higher runs. (Note: bargaining strength from the success of her ebooks. Some people use the term POD to refer to a business model where books Readers and Tablets. Although there were a few earlier players, www.scbwi.org are made only after they are ordered, even singly. Others use the term the ebook revolution exploded with Amazon’s 2007 introduction of | to refer to the digital printing technology.) POD can greatly reduce the the Kindle. That family of e-readers is now competing with B&N’s costs of transportation and warehousing, as well as the risk of returns, Nook, Kobo, PocketBook, the Sony Reader, and many others. All long the bane of the book business. Too many self-pubbers have ordered e-readers are in a battle for future market share with Apple’s iPad a print run in several thousands to get the unit cost down, only to end and other tablets; some mobile phones can display book text, and up with a garage full of books they could not sell. simple software downloads can turn a PC or Mac computer into an Switching Midstream. Today you can launch your project with books e-reader. Unfortunately, there are many software file formats for ebooks, printed by the POD method and then, if actual sales indicate that it complicating the problem for the author who simply wants to make makes sense to print in thousands, switch over to press printing. This their work available to people who read on screens. And then there does not require a change of ISBN; that number is assigned to the is the ambiguity about how many young readers are transitioning to edition, not to the printer. Some self-publishers use POD to produce ebooks even as the total number of ebook customers rises. Has enough a few dozen or hundred copies for the Advance Reading Copy phase of your target audience transitioned to ebooks? (typically three or four months before official publication date, when Simple Answers. There are a few relatively simple answers. One they are seeking reviews), and then switch to press printing. choice is to limit yourself to just the two biggest players, Amazon PUBLICATIONS GUIDE: THE BOOK POD: The Cons. Of course, there are some negative factors on the Kindle (Kindle Direct Publishing: kdp.amazon.com) and Barnes & Noble POD approach. While that method will quickly produce a quality book, Press (press.barnesandnoble.com). If you want to cover the whole 2021 SELF-PUBLISHING: BEST PRACTICES | 65 market, Smashwords offers one-stop-shopping; they can adapt your work, and who owns the copyright in the design. MS Word text to the file formats needed for compatibility with most Cover Illustration. Despite the old saw “You can’t judge a book by reading devices and set up distribution with major vendors (www. its cover,” most people get their first and most important impression smashwords.com). With ebooks, interior design means almost nothing, of a book from its cover. Indeed, an attractive cover that hints at the since the reader chooses the font and the size and most other aspects story’s essence and appeals to the core audience is often the first step 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, 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 Professional Editing. Is your text as strong as it can be? Does it a cover illustration that you like, you can probably find the artist by attract and hold readers’ attention? For fiction, are the plot, characters, a standard Web search. Some illustrators are represented by agents, and narrative voice fully developed? Are you sure there are no typos but many work entirely freelance. Remember that just as important as or bad grammar? Missing or double words? You can’t buy software to talent 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 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 169), the out in detail. Editorial Freelancers Association (www.the-efa.org), online searches Author Services Companies. There are now many “self- and writers’ forums, and by asking for recommendations from your publishing” companies, sometimes called author services companies writing community or from an agent. or publishers for hire. Among the well-known names are Aventine Before you sign a contract with a freelance editor, clarify the level of Press, BookLocker, CreateSpace (an Amazon company), Dog Ear editing you are buying (substantive editing, line editing, copyediting, Publishing, Infinity Publishing, Lulu, and Outskirts Press, but there proofreading), the availability and turnaround time, the fee structure are many others, with new entrants in the field almost daily. Such and payment expectations (some editors charge per word or page, companies typically offer an à la carte menu of services, with fixed others per hour or per project, some require partial or full prepayment), prices for each and discount pricing for bundles. The typical offerings and the editor’s credentials (books they’s edited and references). include editing, cover and interior design, printing and ebook Finally, make sure that the copyright in the editor’s comments on your setup, listing with online sellers, and marketing and promotion text belongs to you, the author. packages. With CreateSpace, your ebook can be on Amazon in just Book Design. At least for printed books, professional book design a few days, and they also do POD (as do most of their competitors). is crucial to a first-class product. Powerful as today’s word processors Mark Levine’s book The Fine Print of Self-Publishing explains what are, they are not page designers. Even if a casual reader can’t articulate these companies do, details the differences between them (naming exactly what’s bugging them, a poorly laid out page will give them names), and ranks them in five levels: outstanding, pretty good, just a nagging sense that something is off. When justifying margins, okay, publishers to avoid, and worst of the worst. The Independent word processors only adjust the space between words, resulting in Publishing Magazine site also reviews author service companies “rivers of white”—awkward spaces between words—running down (theindependentpublishingmagazine.com). Using an author services the page. In contrast, a true page design program fine-tunes the company will simplify the journey, but you will not be able to make spaces between letters (kerning) to produce text lines that are visually your own choices of editor, designer, illustrator, etc. If you want smooth, with a consistent balance between black ink and white space. that level of control and customization, then you will have to don Certainly industry professionals—book buyers and sellers, librarians, the general contractor hat, acting much like a traditional publisher reviewers—will notice if a book is not professionally designed. For a by seeking out and hiring the expertise that is most appropriate for good introduction to this topic, see Book Design and Production by Pete your project. Masterson or InDesign Type by Nigel French. WARNING: It has traditionally been considered unethical for a publisher Find book designers through writing community recommendations to make the author pay for the manufacturing costs and to also demand a and standard Web searches. Most have online portfolios that portion of the proceeds; under that model (usually called a vanity press), give you samples of their work. If their sites don’t already list the companies make most of the money from the fees they charge to clients and credentials, ask about those. As with other freelance authors, and thus they have little incentive to market the books. However, professionals, their standard asking fee is often negotiable and can the publishing realm is in the midst of a major transformation, and author vary with their current workload, your schedule, and how strongly service companies and e-publishers are blurring lines with their mix of they relate to your material. Avoid legal disputes with a written paid-for services and royalty requirements. Read contract language carefully agreement that spells out the basic fee, the increments in which it to make sure you understand it and know exactly how much of your hard- is payable, what happens if you decide against using the designer’s earned cash and profits each company requires. Be wary about enthusiastic 66 | SELF-PUBLISHING: BEST PRACTICES

sales pitches for marketing and promotion programs; the language of the take off.” Even Big Five publishers have to aggressively market their written contract will override the sales pitch and likely will require only books. Thanks to the Internet, there are more ways than ever to bring “best efforts.” your book to your readers’ attention. However, if you plan to use the One thing hasn’t changed: never sign away your rights to the content Internet to market books to children under thirteen, then you must be itself. You are hiring these companies for services only; the book itself aware of the Children’s Online Privacy Protection Act (COPPA), a federal is yours. Best practices include the following. law that restricts collecting the personal information of children under Background Check. Look up your prospective publisher on the Writer age thirteen. See www.ftc.gov/privacy/coppafaqs.shtm. Beware (www.sfwa.org/other-resources/for-authors/writer-beware/) and Other articles in this guide tell you about hiring consultants, self- Preditors & Editors (www.pred-ed.com) websites, do a general online marketing, and harnessing the power of social media. Our point here search, and ask around writers’ forums and your writing community. is this: if your goal is to sell your self-published book to the general Review the Contract. Look for an exact description of services you public in the retail market, you must develop and execute a marketing are buying, the payment terms that apply to each service, and an program that somehow makes the opinion leaders in your target explicit statement that you retain the copyright in all resulting works, audience aware of your book. including their editorial suggestions and the manner in which disputes will be resolved (cancellation, arbitration, mediation, or litigation; OTHER RESOURCES where?). Self-publishing is exciting, but don’t let passion trump due diligence. ISBNs, etc. Buy your own ISBNs and barcodes. An ISBN Research, research, and research some more before committing to a (International Standard Book Number) is the thirteen-digit number that company or path. Your money, reputation, and personal happiness are uniquely identifies each edition of each book and its publisher. Author all at stake. Look into the Independent Book Publishers Association service companies, POD producers, and e-publishers buy ISBNs in bulk (www.ibpa-online.org), a not-for-profit trade association representing and provide them to their customers—and thus those ISBNs identify independent book publishers. The IBPA offers many educational and them as the publisher, not you. ISBNs cannot be transferred or assigned cooperative marketing programs, including twice-yearly mailings to anyone else. To ensure that you are the sole owner of your book, of one-page flyers to schools and libraries. Find a list of the IBPA’s buy your own ISBNs singly or in bulk directly from R.R. Bowker (the local affiliates at www.ibpa-online.org/page/affiliates. Also, check official ISBN agency for the United States) or any of Bowker’s approved out Independent Publisher online magazine, which covers self- sellers, who are listed at www.isbn.org. Bowker also provides barcodes publishing alongside the publishing industry as a whole (www. readable by store scanners for printed books that have your ISBN. Some independentpublisher.com). author services companies offer a package in which they handle ISBNs, barcodes, and LCCNs (Library of Congress Catalog Numbers, used by Deborah Halverson is the award-winning author of Writing Young libraries for cataloging purposes; if you think your book will be stocked Adult Fiction For Dummies, the teen novels Honk If You Hate Me and in libraries, you can obtain an LCCN directly at www.loc.gov/publish/ Big Mouth, the picture book Letters to Santa, and three books in the cip/). Remix struggling readers series. She is also the founder of the popular Copyright. Register your copyright yourself, under your name. Some writers’ advice website DearEditor.com and a former editor with author service companies will register copyright for you, but be sure Harcourt Children’s Books. Deborah speaks extensively at workshops that it will be in your name. If your publisher wants to register it and conferences for writers, and edits adult fiction and nonfiction under their name, that’s a red flag that they’re grabbing at something while specializing in teen fiction and picture books. She lives in San that isn’t theirs. You can register the copyright on your own through Diego with her husband and triplet sons. Visit her online at www. the U.S. Copyright Office’s e-copyright feature at www.copyright.gov/ DeborahHalverson.com. registration/. Randal Morrison (Randy to friends) is a San Diego–based attorney DOING MOST OR ALL OF IT YOURSELF who practices primarily in First Amendment, copyright, and trademark. If you’re going the DIY route, software is available to help you He is also the author of the MG fiction book Seven Moon Circus: The www.scbwi.org prepare your files. Word and WordPerfect programs have limited Adventures of a Wild Boy in a Space Traveling Circus, which was | formatting features; the quality you’ll end up with, at least for printed independently published in early 2013, using the general contractor books, is noticeably less impressive than professionally designed pages. model described in this article. He is a frequent speaker at national, Adobe’s InDesign program is the industry standard page layout design state, and local conventions and meetings of attorneys, land use program. It can be bought on its own or as part of a Creative Suite that planners, authors, and independent publishers. In a prior life he was a includes Acrobat, Photoshop, Illustrator, and many other design-related radio broadcaster. programs. If you choose this route, be prepared for substantial software costs and some major learning time. The Serif software company also markets design programs, including the page designer called Page Plus; their prices are much lower than Adobe, but the Serif products are not so widely known.

MAKING READERS AWARE OF YOUR BOOK You can knock yourself out writing and producing a quality book, but PUBLICATIONS GUIDE: THE BOOK if potential readers don’t know about it, you won’t sell many copies. It’s not realistic to say, “It’s on Amazon; readers will find it and it will 2021 HIRING AN ILLUSTRATOR FOR YOUR SELF-PUBLISHED BOOK

by Elizabeth O. Dulemba SELF PUBLISHING

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-pub- lishers need to hire an illustrator for the picture half of the equation.

Illustrators often receive email requests from self-publishers. Yet, so publishing, companies spend millions of dollars using their already many of those writers are new to the publishing industry, they don’t established media platforms to get their books noticed. Unless a writer is know what to ask for or what to expect when hiring an illustrator. I’ll already out there in some large marketing capacity for their core career, clarify the main concepts. their self-published projects have an even harder time reaching the The first thing is to know the difference between self and traditional marketplace’s radar. publishing—in traditional publishing, the publisher pays you. In As a result, whatever you pay that illustrator before publication is self-publishing, you pay the publisher. This means that you, as a self- most likely all they’ll ever see from your project. You can negotiate publisher, will need to pay an illustrator for their work. royalties, but in self-publishing, royalties should be thought of as an How much? That depends. Even in traditional publishing amounts vary unexpected bonus, not fair compensation for the job. wildly. But here’s how to think about it. Illustrating a picture book takes “Good exposure” is another term illustrators hear too much of—the time—anywhere from two months to a year. How much do you make in joke being that you can die from exposure. Hiring an illustrator is a that same amount of time? Your project will be the compensation for business arrangement like hiring a painter or a stock broker (who would that illustrator’s life (mortgage/rent, food, car, insurance, etc.). You never work for free or for good exposure). It’s a professional relationship should expect to pay a fair wage and for the number to be at least four like any other and requires a contract. or five digits. In the contract will be listed several key points. The first point will Don’t have the money? Oftentimes, self-publishers ‘invite’ illustrators be the amount to be paid and when those payments will be made. (1/2 to reap the rewards of royalties once the book comes out. But if there’s up front, 1/2 upon acceptance of final art, or 1/3 up front, 1/3 on no money to pay the illustrator, there’s probably no money to advertise, acceptance of sketches, 1/3 upon acceptance of final art are standard which means the project stands little chance of success. The result is the arrangements.) illustrator could end up working for free. And nobody can eat on that. Another key point is the matter of copyright—who will own the final But your book is a guaranteed seller . . . artwork. Typically the copyright stays with the illustrator (copyright The sad news is there’s no such thing. Add to that, most booksellers applied and paid for by the publisher). However, you can purchase the have limited policies when dealing with or representing self-published copyright to the artwork from the illustrator to be able to do whatever books. Their reasons are good: you like with it—this is called work for hire. Expect to pay more for this. Although honestly, you don’t need to hold the copyright. It’s one 1. Most small publishing houses don’t accept returns; the bookstore of those misconceptions of hiring an artist—that you have to own the could get stuck with books they can’t sell. artwork to use it. The contract should spell out exactly how the usage 2. While there are exceptions, most self-published books have an breaks down, both for you and for the illustrator (use of the artwork for amateur look to them. the illustrator’s self-promotion should be expected and allowed). 3. It can be more hassle to deal with people who don’t know the To be fair to the illustrator, there should be a limit to the number industry than it’s worth. of revisions permitted at each stage of creation. (No more than three revisions per sketch is reasonable.) Few revisions should be made after So if traditional bookstores won’t carry them, self-published books are the completion of the art. (If communication has been good, the client rarely noticed unless accompanied by serious advertising. In traditional should have a good understanding of what they will receive.) 68 | HIRING AN ILLUSTRATOR FOR YOUR SELF-PUBLISHED BOOK

This avoids the illustrator being hired as ‘hands’ for a person who can see the images in their head but can’t draw themselves, which is an untenable and unrealistic scenario and can lead to countless revisions QUESTIONS YOU SHOULD sucking up any benefit of compensation by requiring too much time. “I’ll know it when I see it” is never a fair way to work unless you are BE ABLE TO ANSWER willing to pay extra for revisions above and beyond the limit. (Again, this should be in the contract.) Ideally, you are hiring an illustrator to BEFORE APPROACHING bring their unique vision to the project. That said, sometimes, things don’t work. It’s rare, but does tend to AN ILLUSTRATOR happen more often with inexperienced creators. (You could hate the illustration direction or the illustrator could lose enthusiasm/patience 1. Name of book: for the project.) Its why there should also be a kill fee in the contract. If for whatever reason you or the illustrator needs to leave the project, 2. Subject of book: (don’t worry about anybody an amount should be agreed upon as to how much the illustrator will stealing your idea - ideas are like noses, everybody keep for already completed work. The 1/2 or 1/3 down payment is has one, and they can’t be copyrighted) standard depending on how deep into the project you get. This is a circumstance you hope never will occur and certainly, nobody goes into 3. Genre of book: board book, picture book, a project thinking this way, but sometimes it can’t be avoided. nonfiction, chapter book, middle grade novel, Also, understand that because so few self-published works reach young adult novel. (If you don’t know what these popular success, they typically cannot further an artist’s career. They are, spend some time in your local library or might make for some nice portfolio pieces or be good practice for a bookstore.) younger illustrator, but the value for the illustrator on self-published projects, if they are willing to take them on, lies in the cash flow, not 4. Illustrations needed for: entire book, vignettes, buying into the concept. cover And finally, it is only polite (and traditionally expected) to give the illustrator at least five to twenty copies of the final product free and 5. Illustration budget: be realistic clear for them to either use for advertising or to keep for whatever reason. 6. Illustration terms: advance with royalty or work for The bottom line is, approach hiring your illustrator like you would hire any professional. Do your industry research, make sure you understand the terms I’ve used above, and walk in with a budget. Never say, “I 7. Copyright of artwork will go to ____ don’t know, how much would you charge?” Most illustrators have worked with clients from all sorts of backgrounds and recognize the 8. Time for project completion: ____ months signs (red flags) of those who have not done their homework and may be too difficult to work with to be worth their time (usually because 9. Limit of revisions contractually permitted per of inexperience or unrealistic expectations). Don’t let that be you! If illustration per stage: (no more than three at you come prepared, you are much more likely to land the illustrator you sketch stage and one at color stage is acceptable) really want and achieve a successful product. Bottom line, self-publishing is a growing industry. When approached 10. Payment arrangement: professionally, it can be a wonderful experience for all involved. 11. Use of artwork:

www.scbwi.org 12. Number of copies to illustrator: | PUBLICATIONS GUIDE: THE BOOK 2021 HOW GOOD DESIGN CAN ELEVATE YOUR BOOK’S ALLURE

by Claudine Mansour SELF PUBLISHING

elf-publishing is an invaluable option available to anyone who wants to realize their dream in print. Your book’s content can be brilliant, but will its appearance S and visual message compete with its big-house competitors? A properly and pro- fessionally designed book cover and book interior are crucial in a market filled with design-savvy customers.

We’ve all seen them: self-published books that “look” self-published. As a cover’s responsibility seems obvious, interior book design is the Maybe your cousin’s neighbor’s grandson is taking a design class and silent hero that makes legibility beautiful and comfortable enough to assures you he can design the book cover and book interior for your have the reader keep reading and enjoy the ride. That casual book flip upcoming book, the one you’ve been dreaming about publishing that has should quickly show chapter titles, subtitles, sidebars, art, captions, taken you months, even years, to complete. You have your doubts but recipes, diagrams, graphs, bulleted copy, numbered lists, section dividers, he’s giving you a heck of a deal . . . too good to be true. What you end pull quotes, and so on are easy and enjoyable to navigate and read. You up with is a forgetful and pedestrian cover design and an uninspired and may not be able to put your finger on why an interior is well designed, cluttered interior design that looks like it was spit out in Word. How on but you’ll surely notice if it’s not, sensing that something is either off earth will your book packaging be noticed in a sea of expertly designed or flat-out wrong, dissuading the customer to purchase something that books? Sadly, it won’t. That’s why it’s immensely important to have your looks unfinished. book designed by a professional graphic designer. Your manuscript will When your cover and interior are unoriginal and unorganized, you thank you for it. often lose your credibility as an author. When it’s down to a choice between two books where one is properly produced and the other isn’t, WHAT IS GRAPHIC DESIGN? which would you spend your money on? Very simply, graphic design is a form of visual communication incorporating imagery and words. My alma mater, Parsons School of HIRING A GRAPHIC DESIGNER Design, calls it communication design as it’s conveying and displaying Once you’ve decided to use a professional designer, I highly suggest information, whether it be the face of a company, a story in a magazine, going to a bookstore and looking at the covers in your particular the packaging of a product, or the presentation of a book, among many category, as well as the rest of the store and take note of the cover other things. With the skillful combination of visuals in the form of designers that appeal to you (credits are usually on the bottom back photography, illustration, or art, along with (or alternatively) words flap). Flip through the books to find interiors you like, too (credits for and typography (the art of using and presenting text), a tone is set for those are on the bottom of the copyright page). Ideally, one designer clearly, attractively, and usually quickly communicating that message to would design both cover and interior as your book benefits from looking an audience. In terms of book publishing, we’re generally referring to a like one cohesive package. Referrals are always great but what appeals to book’s cover design and interior design. friends’ tastes may not appeal to yours. Do take a look at designers’ websites and samples to see if their THE IMPORTANCE OF GRAPHIC DESIGN TO YOUR BOOK quality and style appeal to you. This supersedes the possible need to see Book cover design is hugely important because there’s an endless an example of your specific genre in their repertoire. Just like a good supply of books out there and they’re all competing for your attention. author can write more than one particular type of work, a good designer A cover is basically a mini poster and the face of your book that needs will be able to design a variety of themes. If you’re still unsure, feel free to be noticed and to intrigue enough to be picked up. Once that’s done, to reach out and ask if you can see samples of a more specific category. its job is partially over and then the subtitle, flap copy, back ad copy, Costs will vary widely so do be sure to compare the caliber of work or a casual flip through the book take over in hopes that the rest of its between your contenders, as that will differ just as much. In design, content is interesting and important enough to spend money on. too, you get what you pay for. Consider their past clients, including 70 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org information. marketing material.Pleasevisitwww.claudinemansour.com for more publishing, includingbookinteriors, authorbranding,websites, and In additiontobookcovers, herdesignfocus isonanythingrelatedto authors, politicalfigures, worldreligiousleaders, andfirst-timeauthors. over twenty-fiveyears, includingsixNobelPrizewinners, bestselling and distinguish yourselfascredible, professional, and valuable. jumping in,the greater yourchances are tostand outagainst the crowd obtained allnecessary permissions for usage. or interior, pleasebeclear abouttheir intended useand besure you’ve insight totheir tasteisoften helpful. and excited abouttheir packaging isalwaysparamount sohaving an not, justtoseeifthey haveacertainstyle. Making the author happy covers they like, whether they thinkit’sappropriate for their bookor aversions, orplainaesthetics. Ialwaysask my clients for quick shots of to bothand add time and extra costtoyourproject. always wanted aparticular image onthe coverwillonlybefrustrating but waiting until halfwaythrough the design process toreveal thatyou we’re here for. Starting withablankslateisinspiring for adesigner, idea and yourmind isavisual blank,no need toworry.that’swhat a color(colorisverypowerful),do share. Ifyouhaveabsolutelyno if there’s something youabsolutelyhate, astyle, certaintypography, you can’tlivewithout, do talktoyourdesigner aboutit.Conversely, you came upwiththatyouthinkwouldbeperfect,orafavorite color that hasbeenonyourmind whileyouwrote the manuscript, anidea including allcopyand possibleimagery orideas. Whether it’sanimage and everything youmay haveinmind for yourbook’svisual message, Make sure youtellyourdesigner earlyoninthe process anything COMMUNICATION discuss yourbook,costs, timeline, etc. publishing houses and authors. Don’tbeshy togivethem acallto | HOW GOOD DESIGN CAN ELEVATE YOUR BOOK’S ALLURE ELEVATE YOUR BOOK’S | HOW DESIGN CAN GOOD Claudine Mansourhasdesignedmorethan1,200bookcoversin It’s atoughmarket out there and the betterprepared youare before If you’re working withillustrations orother specificartonyourcover Design samplesare extremely helpful toshow possibleinspiration, Communication isextremely important toacommunication designer! MARKET SURVEYS 71

Covers are usually designed first first designed usually are Covers Cover. Book Approved . Any and all ideas should be relayed at the at the be relayed should ideas all and . Any 11. Ideas 1. and here important obviously is manuscript 2. The initial stages. Don’t have any ideas? Don’t worry, we do. do. we worry, Don’t ideas? any have Don’t stages. initial BOOK INTERIOR addition with the list above the from needed is Everything of: cover the follow interiors so purposes) marketing (for as in harmony work should covers and look. Interiors package. cohesive same, of the part they’re should Manuscripts attention. additional some requires identified. clearly elements all have and be in Word but, obvious usually are names and numbers Chapter of levels different two say, on having, planning if you’re are which differentiate B), A and them (let’s call subtitles begin- the Mark B subjeads. are which and A subheads don’t they so clearly of side bars endings and nings get You text. main the into get incorporated accidentally that so a storyboard supply books, picture For idea. the a have don’t If you out. laid clearly are text and images on it together. work we’ll storyboard, HOW GOOD CANDESIGN HOW BOOK’S YOUR ELEVATE ALLURE| - BEFORE STARTING YOUR PROJECT YOUR STARTING BEFORE INFORMATION TO GIVE YOUR GRAPHIC DESIGNER DESIGNER GRAPHIC GIVE YOUR TO INFORMATION . What text will be on the cover? This means means This cover? the will be on text What . Copy Cover - a chap if only even read, we can . What 10. Manuscript . What’s section of the bookstore or Ama bookstore of the section . What’s 5. Category overall the . What’s with Examples Tone 9. Desired . Who’s your primary consumer? consumer? primary your . Who’s 4. Audience book your sell you can . How Paragraph 8. Descriptive - hard a paperback, prefer you . Would 3. Edition/Format you sentence one the 7.. What’s Statement Positioning . Not sure what size you’d like? Take a look a look Take like? you’d size what sure . Not 2. Book Size with the usually books, other . What 6. Competitors 1. ter is available, to get a feel for the writing? For novels, novels, For writing? the for get a feel to available, is ter best. is manuscript entire the mood you’d like your cover to convey? What message message What convey? to cover your like you’d mood communicate? it to like you would in one paragraph? (Bonus: numbers 7 and 8, or variations 8, or variations 7 and (Bonus: numbers paragraph? in one copy.) ad back of your part as be used could thereof, cover, some of each, or paper-over-board (full printed (full printed or paper-over-board of each, some cover, minus the boards hardcover the around wrapped cover dust jacket)? book? your best explain to use can at your bookshelf or walk through a store and phydically phydically and a store through or walk bookshelf at your decide and category, in your preferably pick up books, your for Accommodate you. right to feels one which go with a let- don’t meaning properly, length manuscript Staying poems. of 20 short a collection book for sized ter printing your will keep sizes standard within a printer’s reasonable. more cost de- customer might your category, and audience same own? already or perhaps purchase to bate BOOK COVER cover front on the be featured to that’s text all and any author’s and title the least, very at the contains, and line, reading a subtitle, include possibly could and name, etc. line, selling/marketing attribute, author’s quote, one. than be more It could in? book be sold your will zon

USING KICKSTARTER TO FUND YOUR SELF-PUBLISHED BOOK

by Laurie Miller SELF PUBLISHING

uthors who publish independently often discover that their two biggest chal- lenges are raising the funds to cover the costs of publication and finding ways A to reach their target audience. While traditional publishing houses have finan- cial and human capital to put behind the production and marketing of their products, self-publishing authors have to go it alone. For some, this lack of resources is an un- surmountable obstacle, and their books remain unpublished, never making it into the hands of the children and young adults who would benefit from their stories.

One way for authors to address both the funding issue and the take. outreach issue is to use a crowdfunding platform. Crowdfunding gives Kickstarter allows authors to raise funds for their book prior to paying book creators the opportunity to raise the capital they need while the costs while at the same time benefiting from a barometer of audience simultaneously getting the word out about their book. anticipation. In addition, successful crowdfunding campaigns can be One of the best-known crowdfunding sources is Kickstarter, a Public great advertising vehicles. They generate excitement from fans and Benefit Corporation whose mission is to bring creative projects to life. intended readers well before the book is launched. Kickstarter has an entire division devoted to publishing. Children’s “Kickstarter allows writers to go directly to readers and let them books, YA novels, nonfiction books, and graphic novels make up a high choose which books get made, which has resulted in books being percentage of their campaigns. published that speak to experiences (and topics) that often aren’t In its eleven years of existence, over $32.6 million has been pledged represented in mainstream publishing,” Atwell explains. It is specifically to children’s book projects on Kickstarter. 3,352 books have been good for projects that are too niche or specific for traditional publishers. successfully funded since the company’s launch in 2009. And more than 471,000 people have backed at least one children’s book project on GETTING THE MOST OUT OF KICKSTARTER Kickstarter. Creating a successful crowdfunding campaign takes thought and This is very good news for self-publishing authors as the cost of planning. According to Atwell, a solid Kickstarter campaign has three self-publishing a book that rivals the quality of a traditionally published main elements. The first is a solid and high-quality project idea – this book can be substantial. According to Reedsy.com, a website that lists can be a unique story premise, a story for a niche audience, or a topic freelance editors, designers, art directors, and marketing specialists for that is underserved in the traditional market. Kickstarter gives each self-publishing authors, the average author initially spends between book creator a platform to tell the story behind their story – their $4,000-$5,000 to create their book. This initial output does not include inspiration for the project, the need they hope to fill with their book, the costs of marketing, publicity, printing, and shipping. When factoring and the audience they hope to reach. Having a clear vision of your book’s in these costs, a single title can cost well over $11,000 to publish. audience and its raison d’etre is an important part of any campaign’s According to Margot Atwell, Kickstarter’s Head of Publishing, “The success. origination costs for a book (author advances, editing, cover design, The second element of a successful campaign is aesthetics. If you typesetting, and more) are substantial. In the traditional publishing are seeking to fund a picture book, then you must have high-quality model, the publisher foots the bill for the creation of the book months or illustration samples or sketches to show your potential backers. This even years before the book is officially published but isn’t paid for books is true for novelists as well. Show your proposed cover art or have a until a few months after they are shipped to stores. The publisher also substantial book-trailer that shows you create quality. Backers want to has to make a decision about how many copies to print well in advance fund a high-end product. of knowing whether or not there is strong reader interest in the book.” The third element is a strong plan to promote your project to your It’s a risk. But a risk most traditional publishing houses are equipped to community – be it your personal community of family and friends or 74 | USING KICKSTARTER TO FUND YOUR SELF-PUBLISHED BOOK

the community of your intended audience. Many successful Kickstarter Kate’s second self-published novella, Bluecrowne was also funded campaigns offer rewards to backers who fund at certain levels. Rewards through Kickstarter and was released in 2014 before her third and can include signed copies of the book, original artwork, or Zoom calls fourth traditionally published books – Greenglass House (Clarion, 2014) or live visits with the author. Once your campaign is up and running, and The Left-Handed Fate (Holt, 2015) – were released. These two books Kickstarter has a strong recommendation engine that will help to drive were not part of her original fantasy series, but they were related to the backers of similar projects to your campaign. world and the self-published Bluecrowne tied both worlds together. Part of marketing to your community (aka potential backers and Kate’s publisher, Clarion, eventually picked up Bluecrowne and readers) is to showcase a well-thought-out plan for how the money is reissued an expanded version. As a result of the Bluecrowne sale, Kate going to be used. Set reasonable financial goals for your project and was able to write and sell a third book in the trilogy, The Raconteur’s describe them clearly and succinctly. If you need help, Kickstarter has Commonplace Book. resources available for first time authors to help them set financial Whatever your project, if you are considering going the self- goals and to create effective campaigns. publishing route, check out Kickstarter as a way to raise funds and connect with potential readers. Their support for authors makes them a WHAT TYPES OF PROJECTS LEND THEMSELVES TO CROWDFUNDING? worthwhile option for enterprising book creators. Looking through the list of childrens’ book campaigns on Kickstarter, you’ll find a wide range of projects from traditional picture books to niche non-fiction projects. You’ll also find projects that have raised tens of thousands of dollars and have enabled authors to create multiple print runs, extensive marketing campaigns, and even create sequels to books in a series. The most successful kids book campaign in Kickstarter ADDITIONAL RESOURCES history was Goodnight Stories for Rebel Girls 2, an anthology of bedtime stories about successful women. The campaign raised over $850,000 and allowed its creators to produce the book in over thirty languages Resources for authors, illustrators, and publishers who and develop a professional podcast to go along with it. The right idea presented at the right time, can not only bring in are considering a Kickstarter campaign: funding, it can launch careers. In 2014, Linda Liukas, an author/ www.kickstarter.com/creators/publishing illustrator from Helsinki, Finland, posted a Kickstarter campaign for Hello, Ruby, a picture book designed to teach girls ages 4-7 the basic Information on the costs of self-publishing a book from principles of coding. She initially set out to raise $10,000 but raised Reedsy.com: almost four times that amount in the first hour! Linda eventually https://blog.reedsy.com/cost-to-self-publish-a-book attracted over 9,000 backers and raised over $380,000. Hello, Ruby is now a thriving franchise with a series of books in twenty languages, Margot Atwell’s article detailing her own self- online activities, and a coding curriculum. A campaign doesn’t have to be quite so ambitious to be successful. publishing costs: Smaller niche books, such as Kathy Strahs’ The Lemonade Stand https://medium.com/kickstarter/the-cost-to-create-a- Cookbook, which focuses on recipes and entrepreneurship, raised over book-derby-life-85a174d84fd5 $11,000 and found almost 200 backers. Traditional books can find an audience too. Jerry Zhang’s Pepper Zhang, Artist Extraordinaire raised over $30,000; and the campaign for The Dragon Knight, the latest in author James A. Owen’s YA fantasy series, brought in over $24,000.

KICKSTARTER FOR HYBRID AUTHORS www.scbwi.org Authors who are traditionally published can also use Kickstarter | to fund promotional materials or the publication of supplemental materials, sequels or novellas based on their traditionally published work. Author Kate Milford did this in 2012 when she self-published, The Kairos Mechanism, a companion novella to her second book, The Broken Lands (Clarion, 2012). The Broken Lands was itself a prequel to her first book, The Boneshaker (Clarion, 2010). All three titles are set in the same world. Kate used Kickstarter to raise almost $8,000 to produce The Kairos Mechanism in three different editions:

» a paperback » a digital book published through Google Play » a special digital edition illustrated by ten teen readers and available PUBLICATIONS GUIDE: THE BOOK through her website, clockworkfoundry.com. 2021 THE TEN STEPS OF SELF-PUBLISHING A GUIDE FOR BEGINNERS

by Laurie Miller SELF PUBLISHING

f you are considering going the self-publishing route you are, in effect, taking on the role of publisher. Before you dive in and commit your time and financial I resources to publishing your book yourself, educate yourself on what’s involved in essentially starting your own publishing company to produce and distribute your book. Below is a brief description of the ten main steps of publication.

STEP ONE: WRITING STEP FOUR: PROOFREADING This step should go without saying, but the first step is to take the The final editing phase in any professionally produced manuscript time to write a high-quality book on par with traditionally published is the proofreading phase. Originally, proofreading meant reading the books in your genre. It is a waste of your time and resources to publish physical ‘proof’ pages to make sure everything is ready to print. This is a manuscript that is hastily written, lacks proper story-structure, and your last chance to make sure nothing has slipped through the cracks hasn’t been vetted by a critique group and revised at least several times. and to catch any additional errors that may have been inserted in a previous round of edits. STEP TWO: CONTENT EDITING Once your manuscript has been revised to the best of your ability, the STEP FIVE: COVER DESIGN AND ILLUSTRATIONS next step is to find an editor who can review your manuscript for voice, Your book’s cover is probably your most important marketing asset plot, story structure, and character development. If you are writing a as it is the first impression people will have of your book. You’ll need a nonfiction book, a content editor can review your work for accuracy and professional-quality cover that represents your story. Before deciding on pacing. the cover for your book, do some research on what’s working well in your Traditionally published authors all work with professional editors to genre. Many YA covers typically use photographs, while middle grade and rework and revise their manuscript and a self-publishing author should picture books traditionally use illustrations. do the same. Hiring an editor with expertise in your genre is highly Whether you choose to get a cover image from a design service, recommended. A professional eye can identify story issues, plot holes, create your own, or hire an illustrator or graphic designer, you should and weak character development that your friends, family, and peers may familiarize yourself with issues surrounding copyrights and licensing. not be able to articulate. If you go through a design service, be sure you know before paying or SCBWI members can find the names and contact information on vetted signing anything who owns the rights and how the cover can be used content editors in The Essential Guide to Publishing for Children which is by both parties. If you hire an illustrator to create your cover and/ free to all members and available to download from the SCBWI website. or illustrations for your book, you’ll need to work out the same issues before entering into a formal agreement. STEP THREE: COPY EDITING/LINE EDITING One thing to keep in mind when designing your cover is that Now that you have a polished manuscript, the next step is to bring most potential readers of your book will first encounter your cover in in a different type of editor to help you dot the i’s and cross the t’s. A thumbnail form on a website such as Amazon, Apple, Barnes and Noble, copy editor will go through your manuscript and identify inconsistencies, etc. Make sure your cover looks good when reduced! grammatical errors, awkward sentences, and will also point out any words or phrases that are overused. Everyone should have someone else STEP SIX: BOOK DESIGN AND LAYOUT copyedit their work as it is almost impossible to catch your own writing Once your manuscript, cover, and illustrations are good to go, the ticks! next step is to put all the pieces of the book together so that it can be printed or made ready to download. This means you’ll need to make choices such as font, font size, spacing, etc. You’ll also need to lay out the text, pictures, graphics, etc. If you’ve written a novel with no 76 | TEN STEPS OF SELF-PUBLISHING FOR BEGINNERS

illustrations or graphics, you can design your book in a program like Ingram and iBooks. Each has pros and cons, depending on your needs. Scrivener or Microsoft Word. If you’ve written a book with graphics or Many self-publishing experts suggest you use multiple distribution illustrations, a program like Adobe’s InDesign will allow you to layout platforms to help your book reach the most readers. A helpful resource your text and pictures. Many companies will do the design and layout to assist you in figuring out which platform might work for you is process for you for a fee. But make sure you do your research to find The Alliance of Independent Author’s self-publishing guide, entitled one that is reputable and does quality work. * Choosing the Best Self-Publishing Companies and Services.

STEP SEVEN: PRINTING STEP NINE: MARKETING AND PROMOTION Publishing an ebook is an economical (and green) way to produce If you’re not going to actively get the word out about your book, your book. Many children’s book authors, however, will choose to then it hardly pays to invest resources into publishing it in the first produce a print book. If you do choose the print route, you have two place. Marketing is a crucial step for self-published authors. An author options: offset printing or print-on-demand (POD). website and a well-established social media presence are the very Print-on-demand technology allows for books to be printed one at minimum any author should have. Facebook ads, promotions, reviews, a time. This is by far the most popular way to produce print copies of and blog tours should all be used in the context of a well-thought out your book because it reduces financial risk and eliminates the need for a marketing plan aimed at increasing three key areas: discoverability, place to warehouse your books. which is aimed at attracting new readers; availability, which means your book is easy for readers to get their hands on; and increasing sales. Pros of print-on-demand » Little or no upfront cost, aside from producing printer-ready files. STEP TEN: RIGHTS LICENSING » Your book can be available for sale as a print edition in all the usual It’s easy for new authors to upload their book to a print-on-demand online retail outlets (Amazon, Barnes and Noble.com, etc.), as well platform and think they are done with the publishing process. But each as distributed through Ingram, the largest US book wholesaler. book you write and upload represents a unique set of rights that are » Most people cannot tell the difference between a POD book and an yours to sell and profit from. These rights include film, TV, audio book, offset printed book—at least for black-and-white books. foreign rights, etc. When authors sell their books to traditional publishers what they are Cons of print-on-demand actually doing is licensing the right to publish their work in exchange for » The unit cost is much higher, which may mean you’ll need to charge a book advance and royalties. In most cases the primary right licensed is more for each copy of your book. the right to publish the book in a specific medium (i.e. print) and region » You may have very few print copies on hand—or it will be expensive (North America). All other rights are known as subsidiary rights or ‘sub to keep ordering print copies to have around. rights.’ » Most books printed by US traditional publishers are produced through Until you sell these rights to someone else, all sub rights belong offset printing. To use offset printing, you usually need to commit to to you, the author. Some self-publishing services aim to retain rights 1,000 copies minimum. for a certain period of time in exchange for marketing or promotional services. If you choose to go down the path of assisted self-publishing, Pros of offset printing please be aware of the rights implications in any contract you sign. » Lower unit cost, which means you can charge less for each copy. There are two major resources available to self-published authors » Higher quality production values, especially for full-color books. who wish to take advantage of their subsidiary rights. » You’ll have plenty of print copies around. 1. PubMatch Cons of offset printing PubMatch is a partnership between Publishers Weekly and the » Considerable upfront investment; $2,000 is the likely minimum, Combined Book Exhibit Family of companies. PubMatch provides a which includes the printing and shipping costs. ‘rights marketplace’ for authors to sell their subsidiary rights in the www.scbwi.org » Increased risk—what if the books don’t sell or you want to put out a global marketplace. | new edition before the old one is sold out? 2. IPR License » You’ll have plenty of print copies around—which means you’ll need IPR License is a London-based international platform that to find a place to warehouse your books and fulfill your orders gives authors the ability to list and license their subsidiary rights. unless you hire a third party to handle it for you, which then incurs additional costs. Whether you decide to tackle all ten steps by yourself or hire professionals to help with some or all of the above processes, it helps STEP EIGHT: DISTRIBUTION to be aware of what’s involved before you begin. Distribution refers to the process of getting your book into the hands of readers. How you choose to distribute your book will depend on * SCBWI advises that you thoroughly vet any potential self- your publishing goals. Are you looking for accessibility, discoverability, publishing vendor before sending payment or signing any type of user-friendliness, and global markets, or are you more interested in contract. A good resource is the Alliance of Independent Author’s committing to a smaller distribution, say on a single platform such as Watchdog Desk which researches and rates hundreds of freelance Amazon, just to get sales rolling? professionals and self-publishing service providers. PUBLICATIONS GUIDE: THE BOOK There are lots of ways to get your books to customers—from selling them on your own website to well-known platforms such as Amazon, 2021 MARKET SURVEYS 77 75K Novel 75K $1,800 $1,275 $750 $300-$700 N/A $500-$1,000 $4,625-$5,525 50K Novel $1,200 $850 $500 $300-$700 N/A $500-$1,000 $3,350-$4,250 TENSTEPS SELF-PUBLISHING OF BEGINNERS FOR | 35K Novel $840 $595 $350 $300-$700 N/A $500-$1,000 $2,585-$3,485 for self-publishing a trade quality book quality a trade self-publishing for COSTS AVERAGE Picture Books Picture $300 $25 $20 $300-$700 $3,000-$12,000 $500 $4,145-$12,145 (INFO TAKEN REEDSY.COM, FROM JUNE 2020) WHAT DOES IT COST TO SELF-PUBLISH TO IT DOES COST WHAT A BOOK? Professional Professional Plot, for Editing Character Voice, etc. Development, Copy Professional Editing Professional Proofreading Design Cover Book Picture Illustrations Design Book Interior Formatting and TOTAL

BEWARE AUTHOR SOLUTIONS SELF-PUBLISHING SCAMS

by Laurie Miller SELF PUBLISHING

he benefits of independent publishing are numerous: self-publishing gives au- thors complete creative control of their work, allows them to receive up to 70% T of their royalties, and encourages new literary forms (multimedia books, cell phone novels, etc.). As the demand for independent publishing services has grown, so have the number of independent and vanity publishers. Unfortunately, many of these companies are not what they seem to be – they’re out to lure and scam unsuspecting new writers, preying on authors’ dreams of publication.

This article serves as a warning about one of the most egregious Unfortunately, the lawsuits and bad word of mouth have done little to scammers: Author Solutions. If you haven’t heard of Author Solutions, deter Author Solutions. The company continues to make a steady profit. you may have heard of one of its imprints: AuthorHouse, Palibrio, It does so by engaging in aggressive marketing activities which continue iUniverse, or Xlibris. Or perhaps you’re familiar with one of its to lure unsuspecting new customers into their web (a necessity, since international imprints: Partridge India, Partridge Singapore, Partridge they have so few repeat customers). Africa, and MeGustaEscribir. Author Solutions also runs several self- David Gaughran, an author and blogger who has helped thousands publishing imprints owned by traditional publishing houses, which give of authors self-publish, has blogged extensively on Author Solutions it an air of legitimacy. Those imprints include: Archway (owned by Simon and has brought to light many of their unscrupulous marketing tactics. and Schuster), Balboa Press (a division of Hay House), and Westbow According to Gaughran, these practices include: Press (a division of Thomas Nelson & Zondervan). The website Writer Beware and the Independent Publishing Watchdog » Paying bloggers, websites, and companies a bounty based on how Desk of the Alliance of Independent Authors have both written many writers they can deliver. extensively on Author Solutions’ deceptive tactics. Unlike traditional » Setting up a string of misleading websites which purport to publishers, Author Solutions makes money from its authors, not for them. offer independent self-publishing advice, but which actually only It does so by selling books back to its authors and by selling authors recommend Author Solutions companies. expensive publishing, editing, and marketing services. Although this is » Advertising extensively, particularly with Google AdWords ads, which is the business model of many vanity presses, Author Solutions takes the used to drive inexperienced writers towards their deceptive websites, author-fleecing enterprise to a whole new level. The company has had as well as SEO to push down critical voices. two class action lawsuits filed against it (both were settled out of court). » Setting up fake social media profiles of people claiming to be Among the numerous complaints: independent publishing consultants, but these people only recommend Author Solutions companies. 1 » non-payment of royalties » breach of contract Author Solutions has been so successful at fleecing new authors that » predatory and harassing sales calls new and insidious versions of them seem to be popping up everywhere » excessive markups on editorial and advertising services imitating their business model. Victoria Strauss, a blogger for the » failure to deliver marketing services as promised website Writer Beware, warns writers to be wary of any publishing » telling customers their add-ons will cost hundreds of dollars and then company with the following business practices: charging their credit cards thousands of dollars » ignoring customer complaints » Solicitation. Legitimate companies will wait for you to approach them » shaming and banning customers who go public with their stories and not solicit your business with spam email. Beware out-of-the-blue phone calls and emails. Scammers often claim your book has been recommended to them, or ‘discovered’ by one of their book scouts. 80 | BEWARE AUTHOR SOLUTIONS SELF-PUBLISHING SCAMS

manuscripts have been “selected for publication,” when in reality they have only been “selected” as a mark for high-priced publishing packages that offer very little value for the money. FOR MORE INFORMATION, » Offers to re-publish authors’ already self-published books. A PLEASE VISIT THE big focus for scammers is poaching authors who are already self- published. They claim they can do a better job, or provide greater FOLLOWING SITES credibility, or get authors in front of traditional publishers. » Extensive Marketing Packages. These usually include press releases, paid book review packages, book fair exhibits, Ingram catalog Alliance of Independent Authors listings, and Hollywood book-to-screen packages. These are basically www.allianceindependentauthors.org junk marketing services of dubious value and effectiveness that are cheap to provide but can be sold at a huge profit.

Marketing packages are an extremely lucrative aspect of author- Writer Beware fleecing scams, not just because of the enormous markup, but because www.sfwa.org/other-resources/for-authors/writer- while scammers can only sell a publishing package once, they can sell beware/ marketing multiple times. So, where does a new author who’d like to publish independently go for sound advice? One excellent resource is the Alliance of Independent Writer Beware - The Blog Authors (ALLi), a non-profit professional association for those who https://accrispin.blogspot.com/ self-publish. Anyone looking to sign with an independent or hybrid publisher or searching for professional assistance from any sort of self- publishing service should check out ALLi’s Watchdog Desk. The Watchdog Desk closely monitors the self-publishing services industry, issues a ratings guide, and warns authors about substandard companies. Before signing with any independent or hybrid publisher, check the publisher’s rating on ALLi’s database of the best and worst self-publishing services. The database identifies companies who overcharge, over-promise, under-deliver, or in any way exploit authors. ALLi has a strict code of ethics. Authors can be assured that the companies and service providers who receive their seal of approval have been highly vetted.

Laurie Miller is event coordinator and writer-at-large at SCBWI headquarters in Lost Angeles. She is also the moderator of the self- publishing affinity group which will be launching soon on the SCBWI website.

1 Gaughran, David; The Case Against Author Solutions, Part 1: The Numbers; June 6, 2013, https://davidgaughran.com/2014/06/03/the- case-against-author-solutions-part-1-the-numbers/ www.scbwi.org 2 Strauss, Victoria; Army of Clones: Author Solutions Spawns a Legion | of Copycats; Writer Beware; January 25, 2018; https://accrispin. blogspot.com/2018/01/army-of-clones-author-solutions-spawns.html PUBLICATIONS GUIDE: THE BOOK 2021 SCBWI EN ESPAÑOL

2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

COPYRIGHTINTRODUCCIÓN FACTS OL FOR WRITERS Ñ EN ESPA

En este momento de la historia de nuestra familia humana, muchxs luchamos por encontrar la mejor manera de utilizar el lenguaje de la manera más inclusiva y sensible posible. Parte del esfuerzo de SCBWI hacia la inclusión es el hecho de que estos artículos han sido traducidos al español. A la vez, reconocemos que el español, como un idioma con muchas inflexiones, aplica géneros binarios a todos los sustantivos, los adjetivos, los artículos y algunos pronombres y, además, ha utilizado tradicionalmente el masculino (singular o plural) como el predeterminado para neutral, borrando así las experiencias y la existencia de las mujeres y de lxs individuxs transgénero y no binarixs. Asimismo, entendemos que el lenguaje mismo está en constante evolución, como nuestra conciencia y comprensión de estos temas. Las poblaciones hispanohablantes mundiales utilizan muchas estrategias diferentes, incluida la sustitución de flexiones masculinas y femeninas de género con -x, -e o @. En lugar de exigir que solo se use una de estas muchas tradiciones en evolución (y por lo tanto excluir las otras), encontrarás múltiples formas en que se cuestiona o desmantela el enfoque tradicional y cisheteronormativo del idioma español al género. Escuchamos los diálogos en evolución en todo el mundo hispanohablante sobre la mejor manera de abordar estos problemas, y pedimos a lxs miembrxs y otras personas que se pongan en contacto con nosotrxs sobre este tema. También esperamos que, al tomar la iniciativa, incluso sabiendo que no puede ser perfecta, ayudemos a mover la discusión cultural general hacia una mayor conciencia, sensibilidad, e inclusión. SCBWI te invita a considerar estos enfoques en tu propio trabajo.

At this moment in the history of our human family, many of us struggle with how to best use language to be as inclusive and sensitive as possible. Part of SCBWI’s inclusion efforts is the fact that these articles have been translated into Spanish. At the same time, we recognize that Spanish, as a highly-inflected language, applies binary genders to all nouns, adjectives, articles and some pronouns, and has moreover traditionally used the masculine (singular or plural) as the default for neutral, thereby erasing the experiences and existence of women, transgender and non-binary individuals. We likewise understand that language itself is constantly evolving, along with our awareness and understanding of these issues. There are many different strategies within the Spanish-speaking populations around the world, including replacing gendered male and female inflections with -x, -e or @. Rather than mandate that only one of these many, evolving traditions be used (and thereby excluding the others), you will find multiple ways that the Spanish language’s traditional, cisheteronormative approach to gender is questioned or dismantled. We are listening to the evolving dialogues across the Spanish-speaking world as to how these issues can be best addressed, and welcome members and others to get in touch about this issue. We also hope that, by taking a stand, even knowing it cannot be perfect, we are helping to move the overall cultural discussion toward greater awareness, sensitivity, and inclusion. SCBWI invites you to consider these approaches in your own work.

DEL TECLADO A LA PÁGINA IMPRESA OL

DE THE BOOK 2021 Ñ EN ESPA editado por Kim Turrisi, traducido por Judy Goldman

Has escrito un cuento o un artículo para lectorxs jóvenes? Si está mandando material a agentes o si ha decidido enviarlo a editorxs ¿por tu cuenta, aquí hay algunos elementos básicos para formatear tu manuscrito y el proceso de mandarlo a una editorial.

LA CARTA DE PRESENTACIÓN O QUERY LETTER Aquí hay unas sugerencias básicas: Se recomienda mandar una carta de presentación antes de mandar un manuscrito completo. Esta carta es una presentación sobre ti y tu » Tu manuscrito debe ir dirigido a lx editorx que pidió leerlo después historia para lxs editorxs. Si tu manuscrito es de tu interés, lx editorx de recibir tu carta de presentación. Incluye un SASE (self-addressed pedirá leerlo. Lee The Query Letter en la página 13 de The Book. stamped envelope): un sobre del tamaño adecuado para contener tu manuscrito con tu dirección y suficientes estampillas o sellos pegados AGENTES para que te puedan regresar tu material y/o una respuesta. Aunque Aunque no es necesario estar en una agencia para enviar un » Incluye una carta breve (cover letter) con la información necesaria manuscrito a una editorial, muchxs editorxs solo aceptan manuscritos si relacionada con tu manuscrito (por ejemplo, si es informativo o de proceden de una. Cuando envíes material a una agencia, toma en cuenta divulgación, describa qué cualidades tiene para escribir sobre el tema; lo siguiente: si es ficción, incluye créditos anteriores de publicación, si es que los tiene). Si estás mandando tu manuscrito porque te lo pidió unx » No todx profesional en una agencia maneja material infantil y juvenil. editorx, no se te olvide mencionarlo en tu carta. Consulta el directorio de agentes (en inglés) en la página 143 de The » Guarda copias de toda tu correspondencia. Book o en línea en la sección Publications en la página de la SCBWI. » A menos de que seas unx artista profesional, no incluye ilustraciones [WE WILL START WORKING ON ONE FOR SPANISH LANGUAGE] con tu libro o álbum ilustrado. La persona encargada de la dirección » La mayoría de agentes proporcionan sus directrices y procedimientos de arte escogerá a lx artista más acertadx para tu obra. en sus páginas web. Es imperioso que investigues estas pautas antes » No indiques dónde te gustaría que se coloquen las ilustraciones en tu de mandar un manuscrito. álbum ilustrado ni cómo deben ser. Este es el trabajo de lx directorx » La SCBWI recomienda no tener trato con agentes que cobren por leer de arte y de lx artista. manuscritos (reading fee) o por cualquiera de sus servicios. » Aunque no todxs lxs editorxs lo harán, puede incluir un sobre con tu dirección y suficientes estampillas o sellos para que confirmen que les EL ENVÍO DEL MANUSCRITO llegó el manuscrito. La mayoría de las editoriales fidedignas proporcionan directrices en sus páginas web. Una búsqueda en Google será suficiente para encontrar La decisión sobre tu manuscrito puede tardar hasta seis meses o más. cualquier editorial a la que quieras contactar. Lea todo con cuidado, en Algunxs editorxs tardan más que otrxs en responder. Si no has tenido especial sus pautas, antes de mandar tu manuscrito. noticias en tres meses, manda una carta cortés o un correo electrónico Para ayudarte a determinar qué editorx podría tener interés en tu para preguntar sobre el estatus de tu manuscrito. manuscrito, la SCBWI ofrece Edited By, una lista, editorial por editorial, Mandar un mismo cuento a varixs editorxs al mismo tiempo (que se de lo que han publicado recientemente. Una investigación cuidadosa de conoce como multiple submissions) a veces no es de su gusto, pero si los catálogos de las editoriales (que lxs editorxs pueden proporcionarte), decides hacerlo, debes notificarles de esto desde el principio. Basta con listas de marketing publicadas en revistas periódicas especializadas para incluir una frase en tu carta para avisar de que mandó la historia a otras autorxs y, lo más importante, la lectura y análisis de los libros te darán casas editoriales. la pauta de qué casas editoriales estarán más abiertas a tu manuscrito. 86 | DEL TECLADO A LA PÁGINA IMPRESA

EL FORMATO DEL MANUSCRITO GÉNERO # DE EDAD MUESTRA DE Aquí tiene algunas sugerencias de la industria editorial: PÁGINAS EN TÍPICA TÍTULOS COMPUTADORA » Todos los manuscritos deben ir en papel blanco tamaño carta e LIBROS DE ½–1 MENOS SERIE National impresos con tinta negra. CARTONÉ DE 3 Geographic Little » Usa Arial o Times New Roman de 12 puntos. Kids Look & Learn » Usa doble interlineado. » Numera las páginas consecutivamente. ÁLBUM 2–3 3–8 Goodnight Moon, » Usa los márgenes default o estándar, pero, si los fija a mano, ILUSTRADO Heart and Soul, asegúrate de que sean de 1 a 1.25 pulgadas de cada lado de la The Polar Express, página. Fancy Nancy » No mandes el manuscrito de manera electrónica a menos de que LECTORX 10–20 5–8 Madeline’s Tea lx editorx o la agencia te lo pida así. INDEPENDIENTE Party, Marley: The Dog Who Ate My El formato de la primera página podría verse así: Homework, Nate the Great LIBROS CON 40–60 7–9 SERIE Captain Tu nombre CAPÍTULOS Underpants, SERIE Tu dirección Clementine, SERIE Ciudad, Estado, código postal Magic Tree House Tu teléfono PRIMARIA 100–250 8–12 SERIE Hank zipzer, Tu correo electrónico ALTA (MIDDLE SERIE Diary of a GRADE) Wimpy Kid, Merci Suarez Changes Gears NOVELAS PARA 200–350 12 Y The Hate You Give, TÍTULO (en mayúsculas y a media página) ADOLESCENTES ARRIBA The Poet X, Shout Por tu nombre (YA) DIVULGACIÓN O LA LIBROS ESCRITOS NO FICCIÓN EXTENSIÓN POR Russell Tu historia empieza aquí VARÍA SEGÚN Freedman, Pamela LA EDAD Turner LECTORA POESÍA PARA 15–40 Animal Snackers LECTORXS POR Betsy Lewin INFANTILES* POESÍA PARA 50–150 Libros Por S LECTORXS hel Silverstein MAYORES* 1 *En forma de manuscrito, un poema por página. www.scbwi.org | NÚMERO DE PÁGINAS DEL MANUSCRITO RESPONDIENDO A LOS COMENTARIOS EDITORIALES Aunque no hay un requerimiento específico, estas son las Si recibes una respuesta o comentario personal de unx editorx tendencias actuales para algunos géneros. Recomendamos que con sugerencias de revisión, pero sin un contrato formal, respóndele empiece por visitar una librería (no una biblioteca) para ver qué dando las gracias por su tiempo e interés en tu trabajo. Considera las libros se han publicado recientemente y qué editorial los publicó. sugerencias con cuidado. Si decides que tu manuscrito mejorará con Lxs agentes y editorxs buscan buena redacción. Si tu voz, sus recomendaciones y las integras en el texto, tienes la obligación trama y personajes les atrapan, te ayudarán a ver qué género profesional de mandárselo de nuevo a esa persona. define mejor tu libro. Investigar de antemano te permitirá colocar Ningunx editorx dedica tiempo a escribir una detallada carta bien tu cuento. editorial sin esperar ver el manuscrito de regreso. Menciona, en la carta acompañando tu manuscrito revisado, que has incorporado esas sugerencias. REVISTAS La mayoría de las revistas para lectorxs jóvenes publican sus PUBLICATIONS GUIDE: THE BOOK directrices en sus páginas web. Muchas incluyen las fechas límite y calendarios para que puedas mandar material apropiado para el tema 2021 DEL TECLADO A LA PÁGINA IMPRESA | 87 de un número específico. Asegúrate de investigar los requerimientos de cada revista a la que quiere enviar material antes de mandarlo. Aquí hay algunas sugerencias generales:

» Incluya, en la primera página, el número de palabras de tu artículo o cuento. » Lxs editorxs de revistas no suelen confirmar la recepción de manuscritos. » Es apropiado preguntar por el estatus de un manuscrito después de dos meses. » Algunas revistas, en especial las revistas religiosas, aceptarán envíos múltiples. » Las revistas planifican los números con muchos meses de antelación y es importante tener esto en mente cuando el tema del manuscrito es para cierta época del año. » Algunas revistas pagan una vez que se publica el manuscrito. Podrían quedarse con tu trabajo por un tiempo considerable antes de publicarlo o regresarlo. » La mayoría de las revistas para niñxs y jóvenes no pagan grandes cantidades pero pueden darle experiencia importante a lx escritorx novel.

LA CARTA DE OL

PRESENTACIÓN Ñ EN ESPA escrito por Carla Killough McClafferty, traducido por Lawrence Schimel

veces, a lxs autorxs capaces de escribir un libro, un relato o un artículo les ganan la ansiedad y pavor al tener que escribir una carta de present- A ación. Si le resulta familiar esta situación, espero que se haya liberado de sus inquietudes para cuando llegue al final de este artículo.

Parte de la confusión sobre qué debe contener una carta de lo que quieren ver en un paquete de presentación, así que lxs escritorxs presentación surge del hecho de que hay modelos distintos. Una carta deben mandar lo solicitado y nada más. Los requisitos de cada empresa eficaz para un artículo de no-ficción ofrecido a una revista sería muy varían mucho, tanto para narrativa como no-ficción. Algunas editoriales distinto de una carta a una casa editorial para una novela juvenil. de libros requieren solo la propuesta, mientras que otras quieren la carta, Además, como cada proyecto es singular incluso dentro del mismo una sinopsis y unos capítulos de muestra. género, cada carta de presentación debe ser también única. Así pues, ¿qué hace que una carta de presentación sea eficaz? Aunque Con independencia del género de su proyecto, lo más importante es cada carta será distinta, debe contener cuatro partes básicas: enganche, que entienda que una carta de presentación tiene un solo propósito: resumen, información biográfica y cierre. provocar que lx editorx o agente literarix desee leer su manuscrito o propuesta literaria. Eso es todo. Punto final. La tarea de lxs escritorxs es ENGANCHE confeccionar una carta que incite ese deseo. Todx escritorx desea enganchar a su público con la primera frase Piense en una carta de presentación como una herramienta comercial del manuscrito. De la misma manera, la primera frase de la carta de para vender un producto. El producto de lxs escritorxs es un conjunto presentación debe enganchar también a quien la lea. Imagine esta de palabras que cuenta una historia. La carta de presentación es un sección como un “titular”, no el noticiero entero. anuncio que debe de tener el efecto de provocar que quien la lea desee Debe encontrar una manera original y creativa para comenzar la saber más sobre el producto. Puede que esto suene muy duro, e incluso carta, utilizando algo que pertenezca al proyecto y que haga que quien podría contradecir las razones sentimentales del “amor por los libros” la lea desee saber más. La única excepción a comenzar su propuesta por las que muchxs se hacen escritorxs. Sin embargo, lxs escritorxs con un enganche sería si conoce en persona a lxs editorxs o agentes deben entender que trabajan en un negocio creativo. El proceso de literarixs. En ese caso, podría comenzar con algo como: “Me gustó mucho escribir es creativo, pero el mundo editorial es un negocio. Para hacer conocerle hace poco en el congreso de SCBWI Arkansas y agradezco su que las palabras que ha labrado con tanto cariño lleguen a las manos de disponibilidad para considerar proyectos de lxs asistentes”. Lxs editorxs lxs niñxs para su disfrute, tiene que saber cómo vender su producto. A en general son personas amables a las que les gustaría que lxs escritorxs menudo, el plan de marketing incluye una carta de presentación. que han conocido tengan éxito, así que considerarán una propuesta así Una carta de presentación debe caber en un solo folio, nunca más. con esmero. Si comienza una propuesta recordando cómo se conocieron, Debe ser clara y concisa para que unx editorx ocupadx capte el sentido debe ser breve y seguir cuanto antes con el enganche. de la carta de un vistazo. Una carta de presentación es una carta de negocio. En ella, lxs escritorxs no buscan amistad, buscan a unx editorx SINOPSIS o agente literarix. Como el objetivo es forjar una relación profesional, Para esta sección, resuma su manuscrito en tres o cuatro frases. Si se el tono de la carta no debe ser demasiado coloquial ni personal. Cuando trata de una novela, no implica detallar los puntos del argumento. Hay lxs editorxs o agentes lean una propuesta, su impresión debe de ser que ofrecer un panorama general de la ambientación, los personajes, que su autorx escribe como profesional, no alguien que escribe como el conflicto y lo que distingue a esta novela de otras parecidas. Si su pasatiempo. Parte de comportarse de manera profesional es seguir las texto es no-ficción, debe explicar cómo se tratará la materia, si hay pautas que se encuentran en guías como Children’s Writer’s e Illustrator’s fotos disponibles, acceso a expertxs y datos o estadísticas que indiquen Market. Cada editorial tiene sus propias preferencias específicas sobre cuántxs lectorxs potenciales existen para un libro así. Como en todas 90 | LA CARTA DE PRESENTACIÓN

las secciones, debe contar estos detalles de manera interesante y emocionante. CONSEJOS DE

INFORMACIÓN BIOGRÁFICA PROFESIONALES En las secciones de enganche y sinopsis, el objetivo es convencer a lxs editorxs o agentes de que lean el manuscrito ofrecido. El objetivo Aunque cada carta de presentación es distinta y debe reflejar su de esta sección es convencerles de que la única persona que podría propia personalidad, hay algunas recomendaciones comprobadas de qué hacer y qué no. Hablamos con multitud de profesionales del escribir el proyecto descrito es quien ha escrito la carta. Aquí, lxs mundo editorial, y lo que siguen son las diez recomendaciones sobre escritorxs deben señalar los detalles de sus propias vidas que les hacen qué hacer y qué evitar al escribir su carta. expertxs en la materia. Por ejemplo, imaginemos que una escritora es una fisioterapeuta que pasa dos semanas cada año como voluntaria en Debe... una excavación arqueológica. Si estaba intentando vender una novela 1.¡Simplificar! Si es más largo que un párrafo, la mayoría de editorxs y que había escrito sobre un patinador sobre hielo que pasa meses de agentes se lo saltará. rehabilitación para superar una herida, señalaría que lleva veinte 2. Ser amable, pero profesional. No hace falta demasiada seriedad, pero años trabajando como fisioterapeuta y que ha ayudado a multitud de recuerde que no tiene una amistad personal con quien recibirá la carta. atletas jóvenes a recuperarse de sus lesiones. Sin embargo, si la misma 3. Incluir un señuelo de una o dos frases para su historia. Piense en escritora estaba intentando vender un libro de no-ficción sobre una esto no como un resumen del argumento, sino un texto publicitario excavación arqueológica, no mencionaría que es fisioterapeuta, sino que (lea ejemplos de texto de solapa como modelos). haría hincapié en sus experiencias como voluntaria. 4. Cerrar con una biografía breve e incluir cualquier crédito de obras La sección biográfica es también donde se detallan los créditos de ya publicadas. publicación, comenzando con los mejores conocidos. Si ha firmado un 5. Averiguar cómo clasificar su libro en el género y rango de edad contrato de publicación, pero el artículo o libro aún no se ha publicado, adecuado. 6. Investigar a quién está presentado su proyecto: qué libros edita se puede decir algo como: “Tengo un artículo de próxima aparición en (materia, edades, géneros, etc.), lo que le interesa (intente leer el número de mayo de la revista Cricket”. Si aún no ha publicado nada, entrevistas que le hayan hecho, por ejemplo), etc. no debe llamar la atención sobre este hecho. En su lugar, diga: “Soy 7. Hacer saber a su destinatarix si se han conocido en persona en un miembrx activx de SCBWI.” congreso o taller. 8. Incluir siempre un saludo personalizado, y ¡verificar cómo se CIERRE deletrea el nombre! También verifique sus pronombres o género Concluya la carta en seguida. Puede hacerlo con algo tan sencillo gramatical. como “Espero sus noticias” o “¿Le gustaría ver la propuesta completa 9. Comenzar fuerte para enganchar a lx editorx o agente. para Cartas de propuesta exitosas?”. Si la carta es demasiado larga y hay 10. Intentar leer algo que haya publicado lx editorx o haya que recortarla, hágalo en el cierre. Aunque un cierre educado está bien representado lx agente para conocer mejor su gusto. si tiene espacio, ya saben por qué les está escribiendo. A fin de cuentas, la carta de presentación debe sintonizar con el tono del manuscrito. Si su proyecto es de humor, la carta también debe tener Sin Embargo... un toque juguetón. Si es para una policíaca, la carta debería evocar una 1. No abra con una pregunta. sensación de misterio. Un libro de no-ficción sobre un descubrimiento 2. No incluya planes de marketing para el libro publicado. 3. Si unxs editorxs o agentes declinan su obra, no les escriba de nuevo novedoso debe expresar una sensación de anticipación. para pedirles que lo reconsideren. Es mejor invertir sus esfuerzos en Algunxs escritorxs pasan meses, incluso años, escribiendo y otrx editorx o agente que se entusiasme por su proyecto. Tampoco pida revisando sus manuscritos; luego, cuando han terminado, se preguntan a lxs editorxs o agentes que ofrezcan comentarios sobre su propuesta. cómo describir su labor en una carta de una sola página. La carta de 4. No mencione que a su sobrina, alumnx, hijo, nietx o amiga le encanta presentación sigue el mismo proceso que el manuscrito: se escribe un su manuscrito. No importa, lo que importa es si la obra está bien www.scbwi.org borrador y luego se revisa y revisa y revisa… hasta que sea lo mejor que

| escrita, es intrigante y convincente y se destaca de todo lo demás que pueda escribir. A fin de cuentas, nadie cree en los manuscritos tanto se publica. como sus autorxs. 5. No compare su obra a algo con un éxito sin precedente, como las sagas de Harry Potter o Crepúsculo. Son fenómenos imposibles de replicar. Busque algo más relevante y normal, pero que siga siendo un éxito. 6. No envíe un proyecto de álbum ilustrado a unx editorx de novela juvenil. Entienda lo que edita y compra cada editorx antes de presentar algo. 7. Después de presentar un proyecto, espere tres o cuatro semanas antes de escribir de nuevo pidiendo noticias o una respuesta. 8. No hable de secuelas que tenga planeadas. 9. No diga “Soy escritorx novatx” o “Es el primer libro que he escrito”. 10. No sea demasiado familiar en su trato con lxs destinatarixs de la

PUBLICATIONS GUIDE: THE BOOK carta 2021 GUÍA PARA ILUSTRADORXS OL

DE SCBWI Ñ EN ESPA escrito y actualizado por Christina A. Tugeau, LLC, 2001, 2005, 2012; traducido por Lawrence Schimel

pesar de los grandes cambios que tienen lugar hoy en día en el mundo editorial, sigue siendo verdad que ¡parte del mejor arte que existe está en A los libros infantiles! También supone un desafío en constante evolución. El mercado es competitivo y cíclico por naturaleza, no hay cabida para la medi- ocridad. Lo que era aceptable hace apenas unos años ya no es suficiente y cada artista debe aprender, crecer y cambiar de manera constante. ¡No siga modas, créelas! Sea lx mejor artista y lx mejor promotorx de su talento, y disfrute de su pasión por el oficio. ¡Haga que vean su obra!

¿Qué debo incluir en mi portfolio? distintos escenarios narrativos, haciendo actividades variadas y ¡Deje que el arte hable por sí mismo! Serán su estilo, sus con distintas expresiones y estados de ánimo. Recuerde que en personajes, su paleta de colores, su pensamiento conceptual y general debe evitar poses de presentación de los personajes para su sentido de composición los que atraerán la atención de la trabajos comerciales. La acción de un álbum ilustrado ocurre clientela de su arte. El propósito de un portfolio, sea en forma dentro de su propio mundo y los personajes suelen ignorar que son de libro, online o por correo postal, es llevar lo mejor de usted observados; sus imágenes deben reflejarlo. A veces, los encargos a las manos de las personas que puedan desear contratarle. Estas educativos o para tarjetas de felicitación utilizan poses de muestras tienen que hablar bien de usted. Es más profesional presentación. que su portfolio sea sencillo, cuidado, ordenado y de un tamaño Si tiene interés en ilustrar portadas para novelas juveniles manejable (8.5” x 11”, o quizás un iPad). Se trata de presentar un (Middle Grade y YA), también debe incluir imágenes de estilo y actitud competentes y constantes, no de presentar algo preadolescentes y adolescentes en entornos apropiados, confuso. quizás maquetados con títulos como propuestas para portadas Sea memorable. Incluya entre diez y quince piezas de arte imaginadas. Para Chapter Books, debería incluir viñetas de acción fuertes que demuestren el abanico y coherencia de su talento. No en blanco y negro mostrando línea y tono. Un toque de humor dude: incluya muestras a todo color y quizás alguna en blanco siempre viene bien. y negro (línea y/o tono). Incluya solo los estilos y medios con La inclusión de una maqueta de libro junto con su portfolio los que se sienta a gusto y que domine a la hora de trabajar con ayudará a lxs editorxs y directorxs de arte a entender su manera ellos (¡el tiempo es dinero!). Parece obvio, pero muestre solo de pensar en un libro, en especial si aún no se ha publicado. La su mejor obra, pues su clientela decidirá no contratarle si ve maqueta podría asegurarles que tiene conocimiento del diseño cualquier debilidad. Puede mostrar arte original durante una visita global de un álbum ilustrado. Si ha publicado un libro, debe en persona a una editorial, pero nunca deje o mande arte original incluir páginas de él (quizás la portada con texto) y puede incluir solo para contemplar. Si no puede hablar con alguien en persona detalles sobre sus ventas, dado que hoy en día el balance final es (cada vez es más y más difícil), tenga a mano un portfolio extra más importante que nunca. de reproducciones que pueda dejar y recoger en otro momento. Para la maqueta, puede ilustrar uno de sus cuentos de hadas Mejor aún, tenga páginas impresas de muestras para dejar, con su o leyendas favoritos (sin ser trillado) o una historia original, o información de contacto y la URL de su página web o blog. quizás reilustrar otra historia solo como muestra. Utilice texto La mayoría de los encargos para álbum ilustrado o proyectos como parte de su diseño y composición. Incluya una o dos piezas educativos contienen representaciones de niñxs o animales, así de arte terminadas a color. La obra debe ser original, única y que debería mostrar ambas cosas si domina las dos. Muestre provocativa, pero a la vez accesible y apropiada para públicos desarrollo de personajes al incluir a estos mismos personajes en jóvenes. Piense también en la reproducción; tenga cuidado con 92 | GUÍA DE ILUSTRADORXS

los colores grises y marrones o los colores turbios. La maqueta su arte habla por sí mismo y dará (o no) la impresión deseada. debe mostrar su habilidad para dibujar el mismo personaje de Si desea que devuelvan sus muestras incluya un sobre con manera consistente y creíble y en una gama de entornos, posturas suficientes estampillas, pero es mejor evitar hacerlo porque no y actitudes. Querrán que las ilustraciones tengan que ver con suele gustar. Puede intentar mandar una postal pequeña con el texto, pero dé más al público lector de lo que las palabras estampillas e impresa con posibles respuestas que solo tengan podrían expresar por sí solas. Esta maqueta les indicará a lxs que marcar con una X, pero lo más probable es que no haya editorxs que conoce el tamaño, formato, cantidad de páginas, respuesta salvo si tienen un encargo o desean ver más. Quienes posibilidades para ubicar los textos, etcétera, de los álbumes encargan tienen poco tiempo, ¡pero usted debe seguir mandando ilustrados. Les informará de sus capacidades de trabajar con muestras hasta que le digan que pare! profesionales de diseño o de dirección de arte de la editorial en Si puede viajar a Nueva York, donde se encuentran la mayoría un proyecto. de las editoriales, ¡hágalo! Es una experiencia excelente de Por último, puede incluir un CV breve y objetos para dejar aprendizaje y mostrará que se toma en serio ilustrar para este (hojas o postales promocionales, páginas de guías de recursos, mercado. ¡Igual puede combinarlo con el congreso de invierno etc.). Si ha mandado su portfolio por correo y desea que se de SCBWI, que se celebra en febrero de cada año! Es una buena lo devuelvan, debe mandar también un sobre con suficientes manera de recibir reacciones y sugerencias de primera mano. estampillas, aunque no recomiendo enviar portfolios por correo Llame o escriba con por lo menos tres o cuatro semanas de postal hoy en día. Tenga en cuenta siempre que es el arte lo antelación, y luego confirme la fecha y hora de la cita unos que recordarán… o no. Conocer a quien está detrás del arte les días (no más de una semana) antes de la visita. Lxs editorxs informará sobre cómo podría ser trabajar con usted, pero al final y directorxs de arte son gente muy ocupada, y pueden surgir del día será su arte el que forje o rompa la conexión. Primero, reuniones de emergencia u otras crisis a lo largo del día. Algunas déjeles con el factor “WOW” y después mande una nueva imagen editoriales no ven a artistas de manera individual, pero ofrecen por correo o un JPEG/PDF por email, junto con un saludo, varias días en que pueden dejar y luego recoger sus portfolios. Calcule veces durante el año. el tiempo suficiente entre citas para viajar por la ciudad, y agrupe las visitas por geografía o incluso dentro del mismo ¿Cómo puedo mostrar mi obra a una editorial? edificio cuando sea posible. Busque un buen plano del metro y Para que le contraten, tienen que verle. ¡Investigue! Visite de los autobuses; los taxis o ubers son la manera más fácil de bibliotecas y librerías y utilice Google para familiarizarse con las viajar, pero son más caros. Pregunte en qué planta tendrá lugar editoriales, sus novedades y títulos recientes. Estudie los libros la reunión y dónde se ubica la zona de recepción. A menudo hay que le gustan en especial para entender por qué tienen éxito. controles de seguridad y tendrá que esperar en la planta baja. ¿Qué medios utilizan? ¿Cómo narran las ilustraciones la historia? UN CONSEJO: la sección del área metropolitana de Nueva York Preste atención al ritmo de los cambios de página. ¿Cómo han de SCBWI tiene un programa de acompañantes para ayudar a hecho que los personajes sean interesantes y creíbles? Pida los visitantes que no conocen NYC… ¡aprovéchelo! catálogos de las editoriales: puede encontrar listas actualizadas de nombres, direcciones, emails, etc. en los libros de referencia ¿Debo presentar una idea para un libro si tengo alguna? de su biblioteca, las listas proporcionadas por SCBWI que se (autorx-ilustradorx) actualizan cada año y realizando búsquedas online. La mayoría de Por supuesto, si tiene una historia original con texto e las editoriales tienen sus propias instrucciones con reglas para ilustraciones para un proyecto infantil, preséntelos a las presentar su trabajo, y es importante seguirlas para asegurar que editoriales que ha investigado a las que piensa que podría su obra sea considerada en lugar de descartada sin miramientos. interesarles. Tenga en cuenta, sin embargo, que si el texto o Confirme los detalles en la página web de cada editorial. arte de lxs autorxs e ilustradorxs que ya publican es demasiado Una vez hecha la investigación y confeccionada una lista de parecido al suyo, pueden rechazar su propuesta solo por eso. Su editoriales que puedan encajar con su estilo e historia, asegúrese propuesta debe incluir: www.scbwi.org de que los nombres del personal de edición o dirección de arte | están actualizados, ya que el mundo editorial cambia bastante. » manuscrito mecanografiado: con interlineado doble y ofrecido como Mándeles un paquete de muestra que puedan quedarse como texto corrido, aparte del texto que aparece en la maqueta. presentación: puede ser una página individual, postales grandes » una o dos muestras de arte final: copias buenas a color, no los con múltiples imágenes o varias hojas impresas a color. Hay originales. gente a la que no le gusta recibir muestras online, así que no lo » una maqueta del libro con bocetos en blanco y negro. Esto les da haga sin verificar antes si aceptan ese material. Lo último que a lxs editorxs una idea de sus personajes en acción, el ritmo de querrá hacer es molestar. NUNCA MANDE ARTE ORIGINAL. Nunca las páginas y su conocimiento en general sobre cómo se hacen los mande muestras más grandes que una hoja de 8 1/2” x 11 para libros. Utilice una cantidad correcta de páginas para la maqueta, por facilitar que archiven su muestra. Asegúrese de que todo incluya lo general 32 (o 24, 40, 48).* La numeración de la historia suele su nombre e información de contacto y su página web… que ya comenzar en página izquierda. Un álbum ilustrado de 32 páginas debería tener. suele incluir 14 dobles y una página suelta al final, con una página Incluya una carta de presentación breve en este paquete de título, una página de créditos, una cubierta (también podría si tiene más de una hoja. Un CV solo ayuda si ya tiene incluir un diseño que abarque la portada y contraportada) y a veces PUBLICATIONS GUIDE: THE BOOK publicaciones, pero puede dar algo de información breve sobre guardas. usted mismx si de verdad piensa que puede ayudarles. De nuevo, » Véanse los párrafos sobre libros electrónicos y aplicaciones para más 2021 GUÍA DE ILUSTRADORXS | 93

información sobre presentación. Es poco común recibir una oferta de representación en las etapas tempranas de su carrera. Cada artista debe hacer su tarea *Nota: ¿Por qué esta cantidad de páginas? Son la manera de investigación para aprender sobre los mercados en los que más económica de producir un álbum ilustrado. Una hoja única desea trabajar, y este proceso de aprendizaje le ayudará a tener que contiene varias páginas del libro se pasa por la máquina de expectativas más realistas del mercado. Cada artista tiene que impresión, luego se corta y se dobla como el libro terminado. El esforzarse por desarrollar su estilo para saber qué hace mejor. término F&G viene de las siglas en inglés de este proceso: folded Lxs buenxs agentes continuarán cultivando e incentivando el & gathered (‘doblado y recogido’). desarrollo personal artístico de su clientela y expandiendo sus posibles mercados mientras perdure la relación. Sin embargo, no ¿Qué técnicas se utilizan para ilustrar libros infantiles? todas las agencias hacen esto. Claro, ¡hoy en día tenemos que definir primero qué es un Encontrar unx agente con quien encaje puede ocupar tanto libro! Hablamos de libros tradicionales impresos; cualquier tiempo como conseguir que publiquen su obra por su cuenta. medio o técnica que se pueda reproducir en una página impresa Hay agentes que solo representan a artistas en el campo infantil, es adecuada para un álbum ilustrado. Elija una que le resulte o infantil y también en publicidad y editorial, o se limitan a cómoda para trabajar y que encaje con el tipo de libro. Si no publicidad. También hay agentes que realizan representación le convencen el medio o su reproducción, háblelo antes con el literaria y artística al mismo tiempo. Algunas agencias son personal de dirección de arte. Los medios más comunes utilizados grandes, con muchxs agentes, mientras que hay agentes que son hoy son lápiz (grafito), tinta, acuarela, acrílico, óleo, gouache, personas individuales con muchos contactos personales. Incluso pasteles, papeles recortados, fotografía y, con frecuencia cuando encuentre la posibilidad perfecta de un matrimonio creciente, el dibujo digital, por supuesto. Las obras plásticas profesional, puede que esx representante en concreto no tenga suelen realizarse usando cartón flexible a modo de lienzo. Si espacio en su lista de clientxs para representarle en el momento. utiliza una tabla dura e inflexible, películas, pasteles u otros Hay que hacerles muchas preguntas, conocer sus expectativas medios o soportes de mantenimiento complejo, avise a dirección y saber cómo estas encajan con las suyas. Considere hablar con de arte y háblenlo antes de comenzar. otrxs artistas o clientxs (con permiso), estudie su contrato con Hoy en día, con las sofisticadas máquinas de separación de cuidado y tenga paciencia una vez comience la relación: ¡lleva colores, las editoriales imprimen libros a pleno color todo el tiempo dar a conocer su obra! Mantenga las comunicaciones tiempo y sus artistas tienen más libertad que nunca para trabajar interactivas muy abiertas y siempre honestas. Se espera un en cualquier medio que elijan. El equipo técnico puede requerir comportamiento ético y profesional por ambas partes, además una superficie flexible, pero hay soluciones para la reproducción, de por quienes recurren a agentes para encontrar artistas. SCBWI aunque pueden añadir costes al proceso. Si tiene cualquier duda, tiene un buen listado de agentes en este mercado, y usted puede infórmese antes de comenzar el arte final. hacer más investigación sobre cada agente en internet. Antes de mandarles muestras, mire sus páginas web para conocer bien a ¿Qué es la preseparación de color? cada agente y sus gustos. Lxs artistas rara vez necesitan considerar preseparar los colores; se hace de manera asequible por máquinas electrónicas ¿Qué debo hacer si me piden ilustrar un manuscrito fuera de o por programas de capas que utilizan lxs artistas en sus contrato con una editorial? ordenadores personales. Un proyecto en dos colores o uno Contestar: –Gracias, es un halago, pero no. educativo puede requerir separación, pero sus clientxs le darán No debe trabajar para autorxs de primera mano, salvo si instrucciones si desean este tipo de trabajo. Si tiene interés en entiende que dichx escritorx no tiene ninguna autoridad para los laboriosos métodos de la vieja escuela, ¡puede hacer una contratarle para ilustrar para una editorial. Las editoriales búsqueda en Google! eligen a quienes ilustren sus libros: tienen la experiencia y el conocimiento para casar lxs ilustradorxs correctxs con los ¿Necesito tener unx agente que me represente? manuscritos adecuados y exigen tener mano libre para hacerlo. Nunca es necesario tener agente artísticx para representarle… Muchxs escritorxs principiantes piensan que presentar arte con ¡pero puede ser muy útil! Hay varias razones para desear su manuscrito de álbum ilustrado mejorará sus posibilidades de trabajar con agentes. Si no vive cerca de las casas editoriales publicación cuando en la realidad se da el caso opuesto. Los más grandes de Nueva York y Boston, su agente puede hacer las libros son impulsados por el texto, y eso significa que primero visitas en su lugar. Muchas editoriales ya no aceptan ni obra se compra un manuscrito por su propio mérito y después se plástica ni manuscritos de escritorxs ni artistas, pero siempre elige artista para el proyecto… incluso para álbumes ilustrados. están dispuestas a recibirlos de agentes. Las agencias tienen La autopublicación ha crecido hasta tal punto que ahora relaciones laborales existentes con profesionales de edición es una opción viable para lxs autorxs. Como artista, podría y de dirección creativa y pueden alentarles a probar con sus interesarle participar si los pagos y derechos contratados son artistas. A veces, las editoriales pueden enviar un manuscrito apropiados y competitivos. Su tiempo y talento tienen valor. a agentes a quienes respeten (agentes literarixs o de artista) Pocas de las personas que autopublican pueden permitirse pagar para que propongan artistas cuya obra encaje con la historia. el precio del arte para un álbum ilustrado de 32 páginas por su Se presupone cierta profesionalidad cuando lxs artistas tienen cuenta, pero si pueden hacerlo y llegan a un acuerdo justo en representantes. Para lxs artistas que no son buenxs empresarixs, los términos, puede ser un buen proyecto de práctica. Tenga en el valor de unx agente puede ser incalculable. cuenta que hay menos protección legal para artistas en estos 94 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » de contratos através de SCBWIoelGraphic ArtistsGuild. lenguaje estándar. Sino sesiente agusto,busqueunxabogadx y necesita leeryentender todo eso.Lamayoría forma partedel Habrá lenguaje legalsobre indemnidad yasuntos relacionados, la entrega de losborradores y1/3alaentrega del artefinal). de unplande pagos (lotípico espagar1/3alfirmar, 1/3a fechas de entrega para losborradores yelartefinal, además de manera clara elproyecto, eltipoynúmero de piezas de arte, a laeditorial como asusautorxseilustradorxs. Debeexplicar expectativas yproteger, desde unpunto de vistajurídico, tanto vergüenza de educarse. Elpropósito de uncontrato esdetallar las contratos! Puede que no pueda cambiar algo, pero no debe sentir la terminología. ¡Muchxs editores tampocoentienden todo en sus espera. Leaconcuidado loscontratos y pregunte sino entiende » » » » altas de lasquerecomienda elGremio. cuenta quelaseditoriales pueden ofrecer tarifas másbajaso van algunos rangos de precios de su14.ªedición; tenga en contiene información muy valiosa yútilsobre laindustria. Aquí Artists GuildHandbook:PricingandEthicalGuidelines,que comerciales. Puede obtenerlas de supublicación, TheGraphic las normas del mercado ylosmedios para libros ilustrados recomienda ciertas tarifas para ilustraciones basadas en Estas ofertas pueden sernegociables. libro esdistinta, consuspropios costesypotenciales de ventas. oferta esalazar. Elrango ocurre porque laproyección de cada con elnúmero de libros quepiensan quepueden vender. Ninguna proyecciones hechas porlaeditorial, contrastando loscostes pequeño alilustrador ounpago único pactado. proyectos para libros encartoné,sepagaounporcentaje de libros juvenilespara públicos másmayores ypara algunos dividirlo de otra manera porsureputación yrenombre. Enelcaso una de laspartesestansuperior alaotra queseríamásjusto es dividirlo apartesiguales, 50/50,salvosilaexperiencia de venta alpúblico, compartido entre escritorxyartista.Lonormal ¿Qué debosaberalfirmaruncontrato? infantil? ¿Qué pagosoregalías puedoesperar porilustrar unlibro alardear. ventas, pero como artistatendrá unlibro publicado del que que loslibros no lleguenbien alaslibrerías nitenga grandes casos. Además, ladistribución essiempre unreto, asíquepuede | GU |

uso. Silaeditorial desea volverautilizar laobra, debe pagarporsu Pago único: ustedvende losderechos de reproducción para unsolo ¡Debe NEGOCIAR!Esuncomportamiento profesional yse regalías) Álbum ilustrado (texto yarte):$10,000-60,000(anticipo contra regalías) Álbum ilustrado (soloelarte):$3,000-15,000(anticipo contra o anticipo contra regalías) Portada +arteinterior (blanco ynegro): $2,500-$4,000(pago único Portada (sola):$PU-$3000(pago único) El Graphic ArtistsGuild(‘Gremio de ArtistasGráficos’) Todos lospagos aautorxsyartistassecalculande las La regalía estándar para unlibro esdel 10%del precio de Í A DE ILUSTRADORXS El único consejo adicional sería utilizaruna cesiónfirmada de en general ailustraciones quetambiénincluyen lafotografía. Handbook ( recurso muy bueno esTheGraphicArtistPricingandEthical Guide menudo! Intente estaraldíaconlasnormas del mercado. Un especial de derechos digitales, queparecen cambiar tana » » ¿Y lafotografía?

Toda lainformación anterior, incluidas lastarifas, pertenece Hay varios artículos, blogsylibros sobre contratos, ¡en tan pocotrabajo, lamayoría soloofrecen WFH. necesitaban para elmercado educativo; sinembargo, como ahora hay para escuelas),queconsisten enlacompra de solo losderechos que utilicen contratos másequitativosde derechos SRO(derechos solo artistas hanavanzado mucho para convencer alaseditoriales de que adaptan alasnecesidades digitales de lasescuelas. Lasagencias y mercado hasido bastante lento estosúltimos añosmientras se y mejorar habilidades, yuna fuente de ingresos másestable. El pago. Estosencargos educativos sondivinos para cultivarexperiencia original (otra razón porlaqueelartedigital esmejor) porunúnico el copyright de laobra yhastaincluso losderechos sobre laobra Work ForHire(WFH),quesignifica que menudo renuncia a y atodo contratos sonunpocodistintos: suelesertrabajo porunpago único digitales (mediante programas como Illustrator yPhotoshop). Estos en díaesaportarlaobra producida, terminada yenviada pormedios suelen sercortas, ylasnecesidades muy específicas. Lo normal hoy les gustealxseditorxs, pasaránsucontacto. Lasfechasde entrega localizar dichos estudios, pero simanda muestras enunestiloque producción ydiseño.Esmuy difícilpara lxsartistasindependientes la mayoría del arteseexternaliza porlaeditorial aestudios de encuentran susustento cotidiano conestetipode trabajo, aunque se actualizan enpatrones cíclicos anuales. Muchxs ilustradorxs sociales, matemáticas, ciencias, música, arte, etc., yestosprogramas el aulaylasbibliotecas. Susprogramas incluyen lectura, estudios educativas producen libros yproyectos suplementarios para usoen Contratos ymercado para libros educativos: laseditoriales adicionales (sueleserun50%de descuento). impresas, yundescuento de colaboradorx para pedirejemplares Pida entre diez yquince ejemplares gratuitos de todas lasediciones libro. Elcopyright suelequedar asunombre para libros tradicionales. pertenecen austedytienen unvalorapartede laimpresión del garantiza ladevolución intacta de susobras originales, quele sobre liquidaciones ypago de regalías. Asegúrese de queelcontrato más enlamayoría de sublicencias). Tome nota de lascláusulas ingresos de cualquier venta de derechos (lonormal esun25%o Lo importante esasegurar querecibe unporcentaje justode los aunque no serábien recibido porlamayoría de laseditoriales. de losderechos desconocidos oporvenir, como para libros digitales, que deje quehagansutrabajo. Puede quedesee limitareltiempo derechos, loquebeneficiará tanto alaeditorial como austed, así puedan vender. Laeditorial estápreparada para vender dichos Acuerdo deregalías: no guarda derechos subsidiarios queno se encargos educativos). común hoy endíarecibir ejemplares justificativosimpresos para final… el mercado sueleser masivo yeducativo (aunqueespoco el catálogo de laeditorial). Pida ejemplares impresos del producto uso (una excepción: cuando elarteesutilizado enpublicidad oen www.graphicartistsguild.org ). GUÍA DE ILUSTRADORXS | 95 derechos de imagen para cualquier persona, adulta o menor de locales y grupos de crítica, estudie la obra de ilustradorxs edad, incluida en sus fotos. Eso le protegerá contra pleitos de antiguxs y actuales. Observe su uso del color, de la forma, del difamación o invasión de la privacidad. Puede ser útil calcular espacio y de otros elementos visuales. ¿Cómo resuelven los también los costes extras para modelos y sesiones fotográficas. problemas de técnica, desarrollo de personajes y ritmo de la historia? Hay muchos libros antiguos sobre cómo escribir e ¿Qué son los libros electrónicos y cómo puedo comenzar a ilustrar para el mercado de libros infantiles, y se publican libros ilustrarlos? nuevos sobre el tema cada día. Hay muchos blogs escritos por La mayoría de los libros electrónicos (libros enriquecidos por agentes, escritorxs, ilustradorxs y consejerxs regionales de SCBWI medios digitales, leídos en dispositivos electrónicos y también con un gran abanico de entrevistas, consejos y artículos. La conocidos como “ebooks”) ya no son originales. Las editoriales, industria y la moda están en evolución constante, pero mucha por lo general, maquetan de nuevo sus catálogos de fondo y los de la información sobre la ilustración sigue siendo relevante. El libros clásicos para convertirlos al formato electrónico. Puede buen arte es buen arte, eso es evidente. Disfrute, a continuación, que añadan algún enriquecimiento, pero no necesitan arte nuevo. de esta lista parcial de la riqueza de información que hay Una vez acaban con los fondos editoriales, las editoriales buscan disponible…y disfrute del viaje. historias nuevas que puedan ser publicadas solo como libros electrónicos. Lo más probable es que también sean ofrecidos como libros impresos, pero el futuro es un misterio; este campo está en desarrollo. Un gran factor de limitación son los dispositivos en sí, porque siempre están mejorando y avanzando. La verdad es que ahora mismo no hay consejos de presentación para esas ideas. Una maqueta en PDF del libro como haría con la maqueta para un libro impreso es suficiente.

¿Qué son las aplicaciones y cómo puedo entrar en esta industria nueva y exhilarante? ¡El blanco móvil! Como dice Emma D. Dryden (editora infantil y consultora del mundo editorial a través de drydenbks): –Las aplicaciones no son libros. Tampoco son libros electrónicos… Son algo completamente distinto que requiere gran cantidad de producción y diseño complejo. Todxs estamos haciendo preguntas para las que hay muchas respuestas enrevesadas y complicadas. Una misma editorial puede dar una respuesta un día y otra muy distinta después. Es un momento de experimentación caro y estimulante en la industria, e implica batallas sobre derechos. Lxs artistas deben observar y leer. Hay pocas oportunidades remuneradas en este campo ahora mismo, pero eso puede cambiar de un momento a otro. Una vez más, los dispositivos marcan las limitaciones ahora mismo… y el futuro ofrecerá posibilidades. Como dijo Alex Knapp hace poco en un artículo de Forbes: “Tan solo estamos en el alba de la época tablet”. Si desea entrar en esta arena, aún necesita comenzar con una trama sólida, igual que para cualquier libro, que incluya “un argumento, personajes, ritmo y un arco narrativo” (dice Dryden). Las mejores aplicaciones son como los mejores libros: ¡captan y entretienen a lxs niñxs! Antes de todos los efectos especiales, hay que tener la historia. Como artista, tendrá la ventaja a la hora de entrar en este campo por ser uno tan visual. Intente expandirse y ahondar en las experiencias de la historia. Para presentar una idea, desarrolle una maqueta con capas en vista de miniatura, igual que la maqueta para un álbum. No hay limitación de páginas, pero tiene que mantener la atención del lector y su interactividad con la historia como prioridad.

¿Cómo puedo aprender más sobre la ilustración de libros para niñxs? Además de los métodos tradicionales de aprendizaje, como asistir a escuelas de arte local y consultas privadas con artistas 96 | GUÍA DE ILUSTRADORXS

BOOKS FOR ILLUSTRATORS LIBROS PARA ILUSTRADORXS

20th Century Children’s Book Treasury (reissue editions), by Janet Schulman, Knopf, 1998.

A Basic Guide to Writing, Selling, and Promoting Children’s Books, by Betsy B. Lee, Learning Abilities Books, 2000.

ABC’s of Writing for Children, by Elizabeth Koehler-Pentacoff, Quill Diver Books, 2002.

Art and Design in Children’s Picture Books: An Analysis of Caldecott Award–Winning Books, by Lyn Ellen Lacy, American Library Association, 1986.

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 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.

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, by 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. www.scbwi.org | Illustrator’s Notebook, edited by Lee Kingman, Horn Book, 1978.

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 Publishers, 2003.

Writing Picture Books, by Ann Whitford Paul, Writers Digest, 2009.

PUBLICATIONS GUIDE: THE BOOK Writing with Pictures: How to Write and Illustrate Children’s Books (reprint edition), by Uri Shuevitz, Watson-Guptill, 1997. 2021 GUÍA DE ILUSTRADORXS | 97

SITIOS WEB BLOGS

Society of Children’s Books Writers and Illustrators Agent’s tips www.scbwi.org catugeau.wordpress.com

Graphic Artists Guild www.simplymessingabout.com www.graphicartistsguild.org designofthepicturebook.com/blog Publishers Weekly online magazine www.publishersweekly.com blaine.org/sevenimpossiblethings

The Horn Book magazine chrisoatley.com www.hbook.com dulemba.blogspot.com Children’s Book Council www.cbcbooks.org kidlitartists.com

US Copyright Office penandoink.com www.copyright.gov lynnechapman.blogspot.com The Purple Crayon—editor Harold Underdown www.underdown.org characterdesign.blogspot.com

Artist agent’s site—look at Articles and Blog Daily industry info and interviews www.catugeau.com kathytemean.wordpress.com

Book industry info and links www.bookwire.com

American Booksellers Association www.bookweb.org

Book reviews www.bookpage.com

American Library Association www.ala.org

Educational publisher list www.textbook.com

LA ORGANIZACIÓN DE UN PORTFOLIO OL GANADOR Ñ EN ESPA por Molly Idle, traducido por Malena Fuentes Alzu

n la actualidad existe una gran variedad de maneras de presentar ilustra- ciones: sitios web en internet, Pinterest, Flickr, Facebook… La lista es E larga. Pero a la hora de verse cara a cara con profesionales de la edición y la dirección de arte, sigue siendo importante saber cómo organizar un portfolio de obras en papel.

Durante mi primera conferencia de SCBWI en Los Ángeles, hace 12 años, tuve la suerte de asistir a un taller de Dilys Evans, agente y fundadora de “La muestra de arte original” (The Original Art Show), y autora de Mostrar​ y contar: Explorando el arte en la ilustración de libros para niñxs* (​​Show and Tell: Exploring the Fine Art of Children’s Book Illustration). Dilys comentó que, cuando estaba considerando representar a alguien, siempre llevaba a la reunión con su equipo la mejor ilustración y la más floja del portfolio. Primero mostraba la mejor obra, que solía gustar mucho. Después enseñaba la obra más floja... Al oír esto, hubo un encogimiento general. Yo sabía que todas las personas asistentes al taller estábamos pensando lo mismo: “¿Qué dirían si mostrara mi peor ilustración?” En ese momento decidí eliminar de mi portfolio cualquier cosa que pudiera provocar ese encogimiento. Así que, tanto si tu objetivo es “ganar” como tan solo que vean tu trabajo, es fundamental montar un portfolio que resulte a la vez profesional y personal. A continuación, se ofrecen algunos consejos útiles para crear un portfolio que le llene de orgullo.

1. La presentación cuenta. Podría considerarse mi “vestido negro” en cuanto a portfolios. Lo primero que alguien ve de tu portfolio es el mismo portfolio. El Fabricado con tableros forrados de tela negra, parece un libro de tapa exterior debe reflejar la misma profesionalidad y estilo que figura en el dura precioso. Y eso es justo lo que quiero que la gente piense cuando lo interior. tiene en sus manos: “Este libro tiene una calidad excelente”. No tiene por qué ser lujoso, exagerado, decorado o brillante. La empresa fabricante de este portfolio también ofrece cubiertas Cuando diseño mis obras siempre busco una solución compositiva personalizadas, así que puedes crear tu propio diseño. Eso sí, cualquier simple y elegante a la vez y quiero que mi portfolio sea un reflejo de cosa que elijas, ya sea elegante y negra o llamativa y fantasiosa, ha de ello. reflejar tu obra. Por tanto, esta es la imagen de mi portfolio. 2. Preséntate. Al igual que un buen apretón de manos, una tarjeta de título potente o una ilustración de introducción ofrece información sobre ti a quien abra el portfolio. ¿Mi consejo? No empieces con un apretón de manos flácido (es decir, una pieza floja). En la primera página de mi portfolio en papel, yo prefiero poner una obra de “título” en lugar de colocar un montón de imágenes dispersas con mi información de contacto. Si es posible, creo que es una buena idea que tu obra de “título” esté relacionada con el resto de los productos de promoción. Por ejemplo, usa esa misma obra en tu tarjeta de presentación. De esa manera, si alguien que te conoce (y tiene tu tarjeta) abre tu portfolio, podrá asociarlo contigo de inmediato. 100 | LA ORGANIZACIÓN DE UN PORTFOLIO GANADOR

Aquí tienen un portfolio mío del 2010. Tu portfolio debe mostrar lo que TÚ haces mejor.

4. Déjate llevar por el ritmo. El orden en que muestras tus obras es tan importante como la calidad de las obras mostradas. Recuerda que cuando profesionales de la edición o la dirección de arte revisen tu portfolio, estarán pensando en cómo puede contar una historia de manera visual: tu utilización del paso de página, tu sentido del ritmo y del paso del tiempo, tu visión compositiva… Y esto se aplica tanto a la maquetación del portfolio como a cada ilustración individual. Medita cómo lograr que cada ilustración pase de una forma natural a la siguiente. Agrupa piezas que pertenecen a un mismo proyecto. ¿Hay páginas que hacen de transición entre un proyecto y otro? Piensa en crear una sensación de fluidez basada en las similitudes de líneas de acción, iluminación o color...

3. Muestra lo que mejor te le da. 5. Menos es más. Una de mis películas favoritas es Los​ tres amigos​. En ella, los amigos Aparte de la agradable sensación del encuadernado con tornillos, ​ (junto con las personas que habitan en Santo Poco) se enfrentan al otro aspecto que me gusta mucho de mi portfolio es cómo controlo el malvado El Guapo para salvar sus hogares. Pero ¿cómo lo hacen? número de páginas. ¿A que odia el efecto de relleno que supone una Los amigos se preguntan: “¿Qué es lo que de verdad hace bien esta página en blanco? ciudad?”. Y de esa manera, ¡usan el talento de la gente del pueblo para Al controlar el número de páginas, evito además la necesidad de triunfar! añadir una obra mediocre a esa página extra que hay que rellenar. De Pero ¿qué tiene que ver esta historia con el montaje de un portfolio verdad, cuando se trata de un portfolio en papel, creo que menos es ganador? más. Yo me limito a doce o trece ilustraciones, más el título y la página ¡Pregúntate qué es lo que HACE BIEN DE VERDAD! No solo más o final. Y hablando de páginas finales... menos bien sino MUY BIEN. Justo eso es lo que debe poner en el portfolio. ¿Los animales son lo tuyo, pero las personas no tanto? Entonces, pon animales. ¿Tus ilustraciones de insectos son preciosas? Dales a los insectos. ¿Tu trabajo en blanco y negro es regular, pero tu obra en color es magnífica? Ya sabes qué elegir... Hay quien dice que en todos los portfolios debe haber un equilibrio perfecto de ilustraciones de animales y de personas; de gente adulta y de bebés. Incluso me han dado una lista de animales de corral que TODO portfolio debe tener. En mi opinión, eso es una tontería. Cada artista ilustra unos temas con mayor consistencia y belleza que otros. Modestia aparte, uno de mis puntos fuertes es el dibujo a línea. Por eso me gusta enseñar el boceto de una ilustración junto a la obra terminada. Del mismo modo que la página de título sirve como un agradable y firme apretón de manos de presentación, una buena página final es www.scbwi.org un apretón de manos de despedida: “¡Ha sido un placer conocerte, | esperemos volver a encontrarnos pronto!”.

En resumen, procura que de principio a fin (y en todas las páginas intermedias) ¡tu portfolio muestre lo mejor de ti! PUBLICATIONS GUIDE: THE BOOK 2021 DEL ESCRITORIO DE LA EDITORA OL

LAS PREGUNTAS MÁS COMUNES DE ESCRITORES DE LIBROS PARA NIÑOS Ñ EN ESPA escrito por Beverly Horowitz , vicepresidenta y editora de Delacorte Press, Random House traducido por Lawrence Schimel

¿A dónde debo mandar mis escritos? investigación. Además, el listado “Editado por” de SCBWI (pág. 97) le Puede ser difícil pensar sobre su manuscrito desde el otro lado del ayudará a investigar los gustos de editorxs específicxs y los tipos de proceso, pero hágalo durante un momento y puede que todo el proceso manuscritos que buscan. parezca menos abrumador. Lxs editorxs necesitan descubrir talentos Otro recurso valioso es el Children’s Book Council (CBC), una ONG del nuevos, y, de hecho, eso es lo que hace interesante su trabajo. Al gremio de los libros infantiles. El CBC ofrece en su página web un listado recordar esto, tiene una oportunidad real de encontrar un hogar para de editoriales comprometidas con la publicación de libros para jóvenes sus escritos. Sin embargo, requiere un trabajo de verdad. Por desgracia, lectorxs: www.cbcbooks.org. muchas personas creen que escribir es fácil. Esas mismas personas no se Literary Market Place (LMP) es otra fuente para un listado de dan cuenta de que sus textos salen al mundo solos y tienen que superar editoriales; también tiene información sobre agentes literarixs. Se puede las pruebas de varixs lectorxs y sus gustos, además de las tendencias encontrar en el mostrador de consulta de bibliotecas públicas por todo cambiantes. En vista de estas demandas, es alentador que tantos EE. UU. y se actualiza cada año. manuscritos encuentren su nicho. Aunque el CBC y el LMP son importantes fuentes de consulta, en La afinidad entre el tipo de proyecto que ha escrito y la casa editorial realidad el trabajo es más complejo. Tendrá que establecer si alguna o editorx a quién lo manda es importante. Podría recibir una respuesta editorial publica títulos en la línea de su proyecto en el presente. Parece que diga que su proyecto “no es adecuado para nuestro catálogo”. Para obvio mandar un álbum ilustrado a cualquier editorial infantil, porque algunxs editorxs es una manera amable de rechazar el proyecto, pero todas editan álbumes ilustrados, ¿no? Pues no es así. La mejor táctica a veces es la verdad: su proyecto específico no encaja con la editorial es intentar averiguar exactamente lo que tiene usted entre manos. Si porque no publican álbumes ilustrados, o no-ficción, o cualquier tiene una historia sobre una festividad, intente averiguar qué casas género que haya presentado. Da igual que su manuscrito sea bueno, editoriales tienen una subcategoría de libros sobre festividades. Si no ve no lo publicarán. Sin embargo, debe saber que si hay algún elemento ninguna tendencia general, tendrá que visitar una librería e investigar en un proyecto que les parezca innovador o bien escrito, lxs editorxs qué títulos se parecen al suyo y mirar quiénes los publican. Es necesario pueden tomarse el tiempo y la molestia de escribir una nota personal, identificar el sello exacto y no solo el nombre corporativo, ya que muchas aunque rechacen el proyecto en sí. Esto no debe disuadirle, pero sí debe editoriales grandes abarcan sellos más pequeños y cada sello tiene poner en perspectiva el monumental trabajo al que se enfrenta. Vamos su propio equipo y su propia misión. Puede averiguarlo por su cuenta a imaginar que usted tiene la voluntad y la dedicación para buscar visitando las páginas web de distintas editoriales. Esas páginas detallan el mayor reconocimiento posible y forjar una relación con una casa cada sello, con ejemplos del tipo preciso de libro que edita cada uno. editorial. Podría parecer a primera vista que todos los sellos son lo mismo en Comience a plantearse dónde mandar su manuscrito y a desarrollar esencia, pero no es así y, sobre todo dentro de los grupos editoriales más un plan de acción. Algunas preguntas que debe contestar: ¿Qué está grandes, la identidad de cada sello es importante. vendiendo? ¿Es narrativa o no-ficción? ¿Un álbum ilustrado? ¿Una novela juvenil? Hay algunas reglas generales para presentar álbumes ilustrados, ¿Cómo descubrir qué agentes o editorxs aceptarán propuestas no como no mandar un texto que parezca una tarjeta de felicitación, ni solicitadas? uno tan largo que sea imposible que quepa en el formato estándar de No hace falta contratar a Sherlock Holmes: SCBWI ofrece congresos por álbum ilustrado de 32 páginas. Hay que investigar y nunca presumir que todo el país (y por todo el mundo). Verifique qué editorxs son ponentes, su libro vale para cualquier edad. Las editoriales, igual que las librerías incluso si no asiste a esas sesiones. Otra manera de estar al tanto de lxs y las bibliotecas, necesitan colocar su libro en alguna categoría. ¿Quién editores y de quién está trabajando dónde es leer Publishers Weekly (PW), es el público ideal para su libro? Por supuesto, un libro puede cruzar que debería estar disponible en su biblioteca y se vende en algunas las fronteras y ser de interés para otros grupos, pero debe entender que librerías, además de estar disponible online. Dos veces al año, en febrero tiene que comenzar en una categoría específica. Una vez que conoce el y en julio, PW ofrece anuncios, entrevistas, reseñas y artículos sobre las tipo de libro que ha escrito, será más fácil enfocarlo. tendencias y temas candentes en el mundo de los libros para niños. Sin El listado “Editoriales de Libros para Jóvenes Lectorxs” de SCBWI embargo, hay que invertir tiempo y esfuerzo en el proceso para que su (pág. 61) se actualiza cada año y es un buen lugar donde comenzar su manuscrito encuentre un hogar. 102 | DEL ESCRITORIO DE LA EDITORA

¿Debo registrar mi obra en la Oficina de Copyright de EE. UU. en informar con brevedad a lxs editorxs sobre lo que van a leer en el antes de enviarla a una editorial? proyecto. Lo mejor es escribir una carta corta y precisa, de no más de La LPI estipula que el copyright de una obra existe en el momento un folio. Si ha publicado libros anteriores, debe mencionarlo y detallar en que tenga forma tangible, así que no hay que registrarla antes los títulos. de mandarla. Una vez que se publica, la editorial presentará todo el papeleo en la Oficina de Copyright de la Biblioteca del Congreso para ¿Es verdad que un manuscrito maquetado para parecer un libro registrar su obra. publicado llama más la atención a las editoriales y aumenta las probabilidades de que lo compren? Las noticias de Publisher’s Corner son ilustrativas, pero también No. Es innecesario e incluso puede hacer que pierdan el interés. pueden ser desalentadoras. ¿Cómo puede cualquier manuscrito, Mande el texto con interlineado doble y márgenes de una pulgada en por bueno que sea, esperar destacarse cuando hay un montón de todos los lados. Cualquier otra cosa es una pérdida de esfuerzo. morralla tan grande? Si una editorial tiene una política de puertas abiertas, presentar ¿Tendré mejor suerte buscando agentes literarixs? ¿Cómo su obra merece la pena. Intente mandar el proyecto a unx editorx encuentro representación? específicx. Los concursos son también una buena opción porque la No es necesario tener agente si realiza una buena investigación editorial detrás de ellos busca que alguien gane, por eso se molestan en y presenta su obra a una casa editorial con una política de puertas convocar el concurso. abiertas, o si descubre a unx editorx y le escribe directamente. No obstante, unx agente es alguien cuyo oficio es tener contactos en Unx amigx y yo queremos colaborar en un álbum ilustrado. el mundo editorial, con lo que tener representación podría ayudar a Unx es escritorx, otrx es ilustradorx. Ambxs sabemos que se enlazar su obra con unx editorx de manera más rápida. Sin embargo, es desaconseja enviar el texto con una propuesta de arte si lx difícil entablar conexiones con agentes y el proceso toma su tiempo. autorx y lx ilustradorx no son la misma persona, pero vemos El “Directorio de Agentes”, en la página 143 de esta guía, es un libros que se confeccionan por equipos. Lxs dos tenemos listado de agentes literarixs y representantes de artistas. Una vez publicaciones, pero no somos muy reconocidxs. ¿Cuál es nuestra seleccione a quienes escribir, mándeles una carta de presentación (con mejor opción para proponer un proyecto así? SASE) describiendo su historia como escritorx y una muestra de su obra. Siendo realista, lo mejor es que lx autorx presente el texto y, si lo No debe mandar su obra a varixs agentes a la vez, aunque puede ser aceptan, puede proponer la posibilidad de utilizar a unx artista en que tenga que escribir a varixs hasta encontrar a alguien dispuestx a particular. Pero no deben esperar que la editorial acceda sin más. Si representarle y con quien se sienta a gusto trabajando. La mayoría de presentan el proyecto como equipo habrá menos posibilidades de que lo agentes literarixs no le cobrarán por leer su trabajo, y tampoco pedirán publiquen, aunque no es imposible. que firme un contrato con ellxs ni le cobrarán por gastos incidentales como llamadas telefónicas o mensajeros; sin embargo, hay agentes que ¿Cuál es la mejor manera de presentar un álbum ilustrado? sí han instaurado dichas prácticas. ¿Mando solo el texto, o hago una maqueta de como serían las Después de haber publicado unos libros, unx agente literarix puede páginas como libro, dejando huecos para el arte? ser una gran ayuda para negociar mejores condiciones y aliviarle de La mayoría de lxs editorxs pueden imaginar los visuales posibles tener que preocuparse por muchos detalles del negocio. En resumen, para un texto de álbum de ilustrado, así que no es necesario hacer una hay argumentos a favor y en contra de que lxs escritorxs noveles tengan maqueta. Es preferible solo el texto con interlineado de doble espacio, unx agente, y la decisión final es suya. ya que parte del trabajo de lxs editorxs es colaborar con dirección de arte para crear una visión para el libro final. Tipee el texto y deje Varias editoriales han rechazado mi libro. ¿Debo pagar para que espacio en blanco donde caigan los cambios de página. Lxs editorxs que se publique? compren su libro podrán verlo mientras leen el texto. Es una decisión que solo usted puede tomar. Autopublicar tiene su valor: como un regalo para la familia, para hacer una declaración www.scbwi.org He vendido un cuento a una revista. ¿Puedo intentar publicarlo política controvertida o para avanzar un punto de vista fuera de | también como un libro? lo común. Pero como método para vender su libro, se queda corto Por lo general sí, pero siempre depende de los derechos que comparado con lo que puede hacer una editorial comercial. La mayoría haya comprado la revista. Si ha comprado derechos periódicos sin de las bibliotecas y escuelas ni considerarán comprar un libro para niños exclusividad y acuerda devolverle los derechos después de publicación, autopublicado. Hoy en día, los avances tecnológicos hacen que sea entonces el cuento es de usted y puede hacer con él lo que quiera una posible autoeditar, pero las dificultades que surgen después de crear vez revertidos los derechos. Sin embargo, algunas revistas compran el libro físico yacen en la distribución y la promoción. Es un trabajo todos los derechos en perpetuidad. Debe verificar su contrato con la muy duro hacer todo esto por su cuenta, pero la elección es suya. A revista antes de presentar la obra a una editorial. veces, es suficiente imprimir su libro y compartirlo con quienes más le importan. ¿De verdad necesito escribir una carta cuando presento mi manuscrito? ¿Qué importa si ya he incluido un sobre con mi propia dirección postal y con franqueo postal pagado (“SASE”)? Todxs lxs editorxs reciben muchas propuestas. Su carta es una PUBLICATIONS GUIDE: THE BOOK manera de proponer el proyecto para que las editoriales sepan qué

2021 esperar de él. No se trata de enfocarse en venderse a usted mismx, sino SCBWI MARKET SURVEYS

2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

compiled and edited by Deborah Halverson

ABDO PUBLISHING Library imprint, using primary sources and Abdo Magic Wagon www.abdobooks.com critical thinking prompts for readers in grades (A Division of Abdo Publishing) 800-800-1312 2–5. DESCRIPTION: Publishing PreK–8 titles blending PRESIDENT: Jill Hansen ESSENTIAL LIBRARY research and reference imagination and information with original imprint publishes 100+ page, well-researched illustrations and story lines. PUBLISHER: Jim Abdo historic, scientific, and current event titles, CALICO chapter book imprint publishes original EDITOR-IN-CHIEF & EVP EPIC PRESS: Paul Abdo grades 6–12. fiction with larger type for transitional readers, EDITORIAL DIRECTOR: Tamara Britton SANDCASTLE beginning nonfiction imprint grades 3–8. SENIOR ART DIRECTOR: Candice Keimig publishes titles for beginning readers, grades CALICO KID early chapter book imprint publishes DESCRIPTION: A publisher of nonfiction titles PreK–3. introductory fiction with full-color illustrations, for the school and library market. Its PreK–12 SPORTSZONE imprint publishes sports titles for a grades PreK–3. educational nonfiction titles support a wide range of readers, grades 2–12. CLAW publishes chapter book stories featuring range of state curriculum standards as well as SUPER SANDCASTLE oversized early nonfiction diverse characters and with full-color personal interest reading. Includes the divisions imprint publishes larger trim size titles with illustrations for middle graders, grades 4–9. and imprints below, as well as the Abdo full-spread designs for beginning readers, grades Launching fall 2020. Spotlight division, which consists of several K–4. GRAPHIC PLANET graphic novels imprint publishes imprints publishing popular licensed character QUERY LETTERS: Accepting for fiction only. original fiction and nonfiction graphic novels, MULTIPLE SUBMISSIONS: Accepting. grades 2–10. titles for young readers. UNSOLICITED MANUSCRIPTS: Accepting for fiction LOOKING GLASS LIBRARY picture book imprint A&D XTREME middle grade nonfiction imprint only. Looking for great concepts for 4-title publishes original fiction and nonfiction picture publishes high-interest content with bold, full- fiction series. Email submissions to fiction@ books, grades PreK–4. spread photos for reluctant readers. abdobooks.com. MAGIC READERS leveled readers imprint ABDO & DAUGHTERS middle grade nonfiction ARTWORK INTEREST: Accepting. Email illustration publishes leveled reading with photo-realistic imprint publishes high-interest and highly samples to [email protected]. illustrations, grades K–3. informative titles for research and independent SHORT TALES adapted stories nonfiction imprint reading, grades 5–9. Abdo Kids publishes adapted myths, classics, fairy tales, ABDO REFERENCE nonfiction imprint features (A Division of Abdo Publishing) and fables, grades 1–6. reference collections designed for readers in www.abdokids.com SPELLBOUND imprint publishes high-interest, grades 2–5. DESCRIPTION: Abdo Kids is a print and digital low-level (hi-lo) titles written at a second-grade division for readers in grades PreK–2, with reading level yet aimed at middle grade interest BIG BUDDY BOOKS oversized elementary many nonfiction series designed with simple level. nonfiction imprint publishes larger trim size text and photos. Abdo Publishing is a publisher QUERY LETTERS: Not accepting. titles with popular nonfiction content, grades of nonfiction titles for the school and library MULTIPLE SUBMISSIONS: Not accepting. 2–5. market. UNSOLICITED MANUSCRIPTS: Not accepting. BUDDY BOOKS elementary nonfiction imprint ABDO KIDS JUNIOR primary nonfiction PreK–2 ARTWORK INTEREST: Not accepting. publishes introductory level titles to high- imprint with clean design, clear photos, and interest nonfiction content, grades 2–5. simple sentences for the youngest readers. Abdo Zoom! CHECKBOARD LIBRARY curriculum-based ABDO KIDS JUMBO oversized primary nonfiction (A Division of Abdo Publishing) nonfiction imprint publishes in-depth content PreK–2 imprint with huge, full-color images and www.abdozoom.com with a cross-curricular approach, grades 3–6. a large trim for beginning readers. DESCRIPTION: A nonfiction division with three CORE LIBRARY common core nonfiction imprint QUERY LETTERS: Not accepting. imprints publishing for young readers. publishes titles aligned with Common Core MULTIPLE SUBMISSIONS: Not accepting. BOLT! nonfiction imprint publishes hi-lo books UNSOLICITED MANUSCRIPTS: Not accepting. State Standards that promote in-depth learning, written at a second-grade reading level and of ARTWORK INTEREST: Not accepting. interest to readers from grades 2–8. grades 3–6. DASH! nonfiction imprint publishes K–4 leveled KIDS CORE imprint works alongside the Core nonfiction readers aimed at building reading 106 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

skills and vocabulary as readers progress Abrams Books for Young Readers Amulet Books through three reading levels. (An Imprint of Abrams Books) (An Imprint of Abrams Books) FLY! nonfiction imprint publishes high-interest, www.abramsbooks.com/imprints/abramsbyr/ www.abramsbooks.com/imprints/amuletbooks/ low-level nonfiction for readers grades 2–8 ASSOCIATE PUBLISHER, ABYR & ABRAMS COMICARTS: EXECUTIVE EDITOR, AMULET/ABYR: Anne Heltzel using simple text and engaging pictures. Jody Mosley SENIOR EDITOR, AMULET/ABYR: Erica Finkel LAUNCH! PreK–2 nonfiction imprint features EDITOR-AT-LARGE: Howard W. Reeves EDITOR: Courtney Code books with photos, fun facts, and quick stats to EDITORIAL DIRECTOR, FICTION: Maggie Lehrman ASSISTANT EDITOR, ABYR/AMULET: Emily Daluga immerse young readers in beginning research. EDITORIAL DIRECTOR, PICTURE BOOKS: Emma ART DIRECTOR, CHILDREN’S BOOKS & COMICARTS: QUERY LETTERS: Not accepting. Ledbetter Pam Notarantonio MULTIPLE SUBMISSIONS: Not accepting. EXECUTIVE EDITOR, AMULET, ABYR: Anne Heltzel DESCRIPTION: Publishes novels, graphic novels, UNSOLICITED MANUSCRIPTS: Not accepting. SENIOR EDITOR, ENTERTAINMENT AND LICENSED and nonfiction for young adults and middle ARTWORK INTEREST: Not accepting. PUBLISHING: Russell Busse grade readers. Includes the Amulet Paperbacks SENIOR EDITOR, ABYR/AMULET: Erica Finkel imprint, a list of reprints and original EPIC Press ASSISTANT EDITOR, ABYR/AMULET: Emily Daluga paperbacks. (A Division of Abdo Publishing) EDITORIAL ASSISTANT: Jessica Gotz QUERY LETTERS: Not accepting. https://abdopublishing.com/our-products/epic- DESCRIPTION: Publishes picture book fiction and MULTIPLE SUBMISSIONS: Not accepting. press illustrated nonfiction for preschool through UNSOLICITED MANUSCRIPTS: Not accepting. EDITOR-IN-CHIEF & EVP EPIC PRESS: Paul Abdo middle grade readers. ARTWORK INTEREST: No. MANAGING EDITOR: Kenneth Abdo QUERY LETTERS: Not accepting. DESCRIPTION: YA hi-lo fiction imprint with series MULTIPLE SUBMISSIONS: Not accepting. Cameron Kids for young adult readers. For avid and hi-lo UNSOLICITED MANUSCRIPTS: Not accepting. (An Imprint of Cameron + Company, a Division readers alike, EPIC books—called Young Adult ARTWORK INTEREST: No. of Abrams) chapter books—are bold, edgy, emotional, and 149 Kentucky Street, Suite 7 mature. Divided into three imprints. Abrams ComicArts Petaluma, CA 94952 EPIC ESCAPE hi-lo nonfiction imprint publishes (An Imprint of Abrams Books) 707-769-1617; Fax: 415-223-8520 for reluctant readers, grades 6+. www.abramsbooks.com/imprints/ www.cameronbooks.com EPIC EDGE hi-lo nonfiction imprint publishes for abramscomicarts/ PUBLISHER: Chris Gruener reluctant readers, grades 8+. EDITORIAL DIRECTOR, ABRAMS COMICARTS: Charles CHILDREN’S PUBLISHER: Nina Gruener EPIC EXTREME hi-lo nonfiction imprint publishes Kochman CHILDREN’S EDITOR, CAMERON: Amy Novesky for reluctant readers, grades 10+. DIRECTOR, MEGASCOPE: John Jennings EDITORIAL ASSISTANT: Mason Harper QUERY LETTERS: Accepting for fiction only. SENIOR EDITOR, ABRAMS COMICARTS: Samantha CREATIVE DIRECTOR: Iain Morris MULTIPLE SUBMISSIONS: Accepting. Weiner CHILDREN’S ART DIRECTOR: Melissa Nelson UNSOLICITED MANUSCRIPTS: Accepting for EDITOR, ABRAMS COMICARTS, MEGASCOPE: Charlotte Greenberg fiction only. Looking for great concepts for Greenbaum DESCRIPTION: Publishing primarily picture books. 4-title fiction series. ART DIRECTOR, CHILDREN’S BOOKS & COMICARTS: QUERY LETTERS: Not accepting. ARTWORK INTEREST: Accepting. Email samples to Pam Notarantonio MULTIPLE SUBMISSIONS: No. MEGASCOPE imprint publishes graphic novels UNSOLICITED MANUSCRIPTS: Not accepting. [email protected]. created by artists of color. Curated by author/ Agented submissions only. artist John Jennings. Genres include speculative ARTWORK INTEREST: Agented submissions only. ABRAMS BOOKS fiction, science fiction, fantasy, horror, and 195 Broadway, 9th Floor creative nonfiction. New York, NY 10007 Magic Cat Publishing SURELY BOOKS imprint publishes graphic novels. (An Imprint of Abrams Books) 212-206-7715 Curated by author Mariko Tamaki and editor www.abramsbooks.com/imprints/magic-cat/ www.abramsbooks.com Charlotte Greenbaum, the imprint will publish CO-PUBLISHER: Rachel Williams SVP, PUBLISHER: Andrew Smith fiction and nonfiction by LGBTQIA creators and CO-PUBLISHER: Jenny Broom

www.scbwi.org highlighting the activism, achievements, and DESCRIPTION: Publishing illustrated nonfiction

| Abrams Appleseed struggles of the LGBTQIA community in books and gift books that encourage children to dream (An Imprint of Abrams Books) that combine strong narratives with stunning big and that celebrate the art of storytelling in www.abramsbooks.com/imprints/ illustrations. Genres to include memoir, comedy, innovative formats. Launched fall 2020. abramsappleseed/ fantasy, horror, history, and educational titles QUERY LETTERS: Not accepting. EDITORIAL DIRECTOR, PRESCHOOL: Meredith Mundy that focus on activism and social justice. MULTIPLE SUBMISSIONS: No. DESCRIPTION: Board books, novelty books, and Launching spring 2021. UNSOLICITED MANUSCRIPTS: Not accepting. young picture books for babies, toddlers, and DESCRIPTION: Publishes groundbreaking graphic Agented submissions only. preschoolers, ages birth to 5 years. Publishes novels and illustrated books about the creators ARTWORK INTEREST: Agented submissions only. a mix of original books, imports, and branded and the history of comics art, animation, and series. cartoons. QUERY LETTERS: Not accepting. AMAZON CHILDREN’S PUBLISHING QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. (A Division of Amazon Publishing) MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. https://amazonpublishing.amazon.com UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK INTEREST: No. VP, PUBLISHING: Jeff Belle ARTWORK INTEREST: No. PUBLISHER, US: Mikyla Bruder PUBLICATIONS GUIDE: THE BOOK ASSOCIATE PUBLISHER, US: Hai-Yen Mura AMAZON CROSSING KIDS imprint publishes 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 107 previously published children’s books in ANDREWS MCMEEL Launching children’s list 2021. translation. (An Imprint of Andrews McMeel Universal) QUERY LETTERS: Accepting. 1130 Walnut Street MULTIPLE SUBMISSIONS: Accepting. Skyscape Kansas City, MO 64106 UNSOLICITED MANUSCRIPTS: Accepting. (An Imprint of Amazon Children’s Publishing) 816-581-7500 Submissions guidelines at www. https://amazonpublishing.amazon.com/ www.publishing.andrewsmcmeel.com arcadiapublishing.com/ContactUs/ skyscape.html PRESIDENT & PUBLISHER: Kirsty Melville MakeMeAnAuthor. EDITORIAL DIRECTOR, LITTLE A, TOPPLE BOOKS, EXECUTIVE EDITOR: Patty Rice ARTWORK INTEREST: Not accepting. SKYSCAPE: Carmen Johnson DESCRIPTION: Publishing timely and topical AMP! imprint publishes graphic novels and BALA KIDS literary young adult fiction for readers of all comics for middle grade readers. DESCRIPTION: An independent publisher (An Imprint of Shambhala Publishing)

ages. MARKET SURVEYS 4720 Walnut St., #106 QUERY LETTERS: Not accepting. publishing humorous and inspiring books for Boulder, CO 80301 MULTIPLE SUBMISSIONS: Not accepting. children and middle graders. www.shambhala.com/about-bala-kids/ UNSOLICITED MANUSCRIPTS: Not accepting. QUERY LETTERS: Accepting. EVP, PUBLISHER: Ivan Bercholz ARTWORK INTEREST: Not accepting. MULTIPLE SUBMISSIONS: Accepting. EDITORIAL DIRECTOR: Juree Sondker UNSOLICITED MANUSCRIPTS: Accepting. See DESCRIPTION: Publishing books on meditation, Two Lions guidelines at https://publishing.andrewsmcmeel. mindfulness, yoga, and Buddhism and hope for (An Imprint of Amazon Children’s Publishing) com/submissions/. young readers; distributed by Random House. https://amazonpublishing.amazon.com/two- ARTWORK INTEREST: Accepting. QUERY LETTERS: Accepting. lions.html MULTIPLE SUBMISSIONS: Accepting. EDITORIAL DIRECTOR, AMAZON CROSSING KIDS/TWO UNSOLICITED MANUSCRIPTS: Accepting. LIONS: Kelsey Skea ARBORDALE PUBLISHING 612 Johnnie Dodds, Suite A2 Submissions guidelines at https://www. EDITOR, AMAZON CROSSING KIDS, TWO LIONS: shambhala.com/submissions. Marilyn Brigham Mt. Pleasant, SC 29464 ARTWORK INTEREST: Accepting. Submissions 843-971-6722 or 877-243-3457; DESCRIPTION: Publishes picture books, chapter guidelines at https://www.shambhala.com/ Fax: 843-216-3804 books, and middle grade fiction for kids up to submissions. age 12. www.arbordalepublishing.com QUERY LETTERS: Not accepting. PUBLISHER: Lee German BAREFOOT BOOKS MULTIPLE SUBMISSIONS: Not accepting. CO-OWNER, EDITOR: Donna German 2067 Massachusetts Avenue, 5th Floor UNSOLICITED MANUSCRIPTS: Not accepting. DESCRIPTION: Publishing picture books that Cambridge, MA 02140 ARTWORK INTEREST: Not accepting. blend math, science, and geography, and dual 617-576-0660; Fax: 617-576-0049 language (English/Spanish), interactive ebooks www.barefootbooks.com AMICUS INK for young readers. CO-FOUNDER & CHIEF EXECUTIVE OFFICER: Nancy (An Imprint of Amicus) QUERY LETTERS: Accepting via email only. Traversy PO Box 1329 SENIOR EDITOR: Lisa Rosinsky MULTIPLE SUBMISSIONS: Not accepting. Mankato, MN 56002 SENIOR EDITOR: Kate DePalma UNSOLICITED MANUSCRIPTS: Accepting. Send 507-388-9357; Fax: 507-388-2746 DESCRIPTION: An independent publisher with to Acquisitions Editor via submissions@ www.amicuspublishing.com offices in Cambirdge, Massachusetts, and arbordalepublishing.com. Primarily looking for ASSOCIATE PUBLISHER: Rebecca Glaser Oxford, UK. Specializes in children’s books, fiction manuscripts with nonfiction facts woven DESCRIPTION: Publishing board books, picture CDs, games, puppets, puzzles and gifts that into the story. Not accepting previously self- books, and paperbacks that encourage young celebrate enduring values and inspire creativity. published books. QUERY LETTERS: Accepting. children to explore facts, examine ideas, ARTWORK INTEREST: Accepting with email MULTIPLE SUBMISSIONS: Not accepting. and imagine new ways of understanding the only. Looking for realistic-style (not cartoon) UNSOLICITED MANUSCRIPTS: Accepting. See world. Amicus imprints also include Amicus illustrations for children; color only, no black guidelines at https://www.barefootbooks.com/ Readers, Spot, Amicus Illustrated, Amicus High and white. Submit to “Acquisitions Editor” at authors/artists. Interest, and Amicus Digital, none of which are [email protected]. ARTWORK INTEREST: Yes. Electronic submissions accepting unsolicited manuscripts. Only Amicus only. https://www.barefootbooks.com/authors/ Ink accepts submissions. Distribution via The artists. ARCADIA CHILDREN’S BOOKS Creative Company. (An Imprint of Arcadia Publishing) QUERY LETTERS: Accepting. BEYOND WORDS PUBLISHING 420 Wando Park Blvd. MULTIPLE SUBMISSIONS: Accepting. 503-531-8700 Mt. Pleasant, SC 29464 UNSOLICITED MANUSCRIPTS: Accepting for www.beyondword.com 843-853-2070 Amicus Ink imprint only. Send to submissions@ PRESIDENT & PUBLISHER: Richard Cohn arcadiapublishing.com amicuspublishing.us, typical response time 3 to ACQUISITIONS EDITOR & CREATIVE DIRECTOR: PUBLISHING DIRECTOR: Nancy Ellwood 6 months. Michele Ashtiani Cohn EDITOR: Katelyn Jenkins ARTWORK INTEREST: Accepting. Send portfolios DESCRIPTION: Small press partnered with DESCRIPTION: Publishing nonfiction in a for consideration to [email protected]. imprints Atria Books, Aladdin, and Simon Pulse wide range of formats, for a wide range of Will respond only if interested. at Simon & Schuster, publishing nonfiction readers. Specializes in topics related to local for adults, children, and teens that fosters and regional history, interest, and culture. 108 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

and inspire wellness and healthy living as Bloomsbury Spark nonfiction for young readers. The picture books, well as kids’ power to change and expand and (An Imprint of Bloomsbury Publishing) chapter books, novels, and nonfiction focus on raise awareness through innovative ideas and bloomsbury.com/us/bloomsbury-spark/ excellent storytelling, imaginative illustration, practices. Also publishes contemporary new DESCRIPTION: A global, digital-first imprint and strong characters for all ages. CALKINS CREEK imprint publishes nonfiction science titles that explore and/or question publishing fiction ebooks for teens, crossover and historical fiction based on U.S. history traditional wisdom and spiritual practices. adult readers, and new adult readers, in all categories including romance, mystery, thriller, and includes picture books, chapter books, and QUERY LETTERS: Accepting. Not accepting picture paranormal, dystopian, historical, contemporary, novels/long nonfiction. book submissions. See guidelines at https:// fantasy. Contracting for digital rights, with a KANE PRESS publishes entertaining fiction and beyondword.com/pages/manuscript-submissions. first option for print editions. nonfiction titles for young readers with an MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Not accepting. educational, curriculum-based underpinning, UNSOLICITED MANUSCRIPTS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. with a focus on STEAM and literacy. ARTWORK INTEREST: No. UNSOLICITED MANUSCRIPTS: Not accepting. WORDSONG imprint publishes poetry collections ARTWORK INTEREST: Advance against royalty or and anthologies. BLACK SHEEP flat fee. DESCRIPTION: Publishes socially conscious, (An Imprint of Akashic Books) educational fiction and informative, lively 232 Third Street, Suite A115 BLUE DOT KIDS PRESS nonfiction. List consists of picture books, chapter books, illustrated nonfiction, and Brooklyn, NY 11215 San Francisco, CA middle grade and select teen fiction. In 718-643-9193; Fax: 718-643-9195 www.bluedotkidspress.com 2019, Kane Press merged with Boyds Mills; www.akashicbooks.com PUBLISHER: Heidi Hill reorganization of imprints, websites, etc. is PUBLISHER & EDITOR-IN-CHIEF: Johnny Temple DESCRIPTION: Small press publishing picture ongoing. EDITORIAL DIRECTOR: Ibrahim Ahmad books and graphic novels , as well as art-and- QUERY LETTERS: Not accepting. ASSOCIATE EDITOR: Aaron Petrovich craft and activity books for children ages zero MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Publishes young adult and middle to eight, featuring fiction and nonfiction that UNSOLICITED MANUSCRIPTS: Temporarily closed grade fiction for general teen readership as well reflects nature and environmental appreciation to submissions. For updates, see guidelines as reluctant readers, 3 to 5 books per year. and stewardship, global citizenship and at https://boydsmillsandkane.com/about-us/ QUERY LETTERS: Not accepting. empathetic leadership. Launched spring 2020. submissions/. MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Only accepting full-manuscript ARTWORK INTEREST: Accepting samples via email. Do not send original art. UNSOLICITED MANUSCRIPTS: Not accepting. submissions. ARTWORK INTEREST: Not accepting. MULTIPLE SUBMISSIONS: Accepting. mineditionUS UNSOLICITED MANUSCRIPTS: Accepting. Email www.minedition/us.com BLOOMSBURY PUBLISHING PLC manuscript to [email protected] FOUNDER, MINEDITION: Michael Neugebauer 1385 Broadway, 5th Floor per website guidelines. Allow three months for EDITORIAL DIRECTOR, MINEDITIONUS: Maria Russo New York, NY 10018 review; will only get response if interested. DESCRIPTION: A global publisher of picture 212-419-5300 ARTWORK INTEREST: Yes. Interested in human books and board books that are emotionally www.bloomsbury.com characters that showcase the diversity of our resonant and artistically sophisticated, and that VP, US PUBLISHING DIRECTOR, CONSUMER world; for animal illustrations, no cartoons or build bridges between nations and cultures. PUBLISHING: Cindy Loh anthropomorphic art. Email digital samples and Distributed in Canada and the US by Penguin Random House. Bloomsbury Children’s Books url to website gallery. QUERY LETTERS: Not accepting. (A Division of Bloomsbury Publishing PLC) MULTIPLE SUBMISSIONS: Not accepting. www.bloomsbury.com/us/childrens/ BOYDS MILLS & KANE UNSOLICITED MANUSCRIPTS: Not accepting. EDITORIAL DIRECTOR, FICTION: Liese Mayer (A Division of Astra Publishing House, Owned by ARTWORK INTEREST: Not accepting. EDITORIAL DIRECTOR: Mary Kate Castellani Thinkingdom Media Group) www.scbwi.org EXECUTIVE EDITOR: Sarah Shumway PUBLISHER & COO, ASTRA PUBLISHING HOUSE: Ben | EXECUTIVE EDITOR, SARAH J. MAAS PROGRAM: Noa Schrank CANDLEWICK PRESS Wheeler PRESIDENT, BOYDS MILLS & KANE, ASTRA (A Division of The Walker Book Group, owned by SENIOR EDITOR, NONFICTION: Susan Dobinick PUBLISHING HOUSE: Leying Jiang Trustbridge Global Media) EDITOR: Allison Moore 99 Dover Street ASSOCIATE EDITOR: Claire Stetzer Boyds Mills & Kane Somerville, MA 02144 www.boydsmillspress.com ASSISTANT EDITOR: Kate Sederstrom 617-661-3330; Fax: 617-661-0565 PUBLISHER: Juliana Lauletta ART DIRECTOR: Donna Mark www.candlewick.com DESCRIPTION: Publishes trade picture books, FOUNDER, KANE: Joanna Kane PRESIDENT, & PUBLISHER, CANDLEWICK PRESS, AND easy readers, middle grade and teen novels, SENIOR EDITOR, BOYDS MILLS PRESS: Joy Bean MANAGING DIRECTOR, WALKER BOOKS: Karen Lotz fiction, and fantasy. Publishes 100 to 125 books SENIOR EDITOR, BOYDS MILLS PRESS/WORDSONG: EXECUTIVE VP, EXECUTIVE EDITORIAL DIRECTOR, & annually. Rebecca Davis QUERY LETTERS: Not accepting. SENIOR EDITOR, CALKINS CREEK: Carolyn Yoder ASSOCIATE PUBLISHER: Elizabeth Bicknell MULTIPLE SUBMISSIONS: Not accepting. SENIOR EDITOR-AT-LARGE: Leonard Marcus EXECUTIVE EDITORIAL DIRECTOR, WALKER BOOKS US: UNSOLICITED MANUSCRIPTS: Not accepting. ASSISTANT EDITOR: Suzy Krogulski Susan Van Metre

PUBLICATIONS GUIDE: THE BOOK ARTWORK INTEREST: Not accepting. ART DIRECTOR: Tim Gillner ASSOCIATE PUBLISHER & CREATIVE DIRECTOR: Chris ART DIRECTOR: Barbara Grzeslo Paul

2021 BOYDS MILLS PRESS imprint publishes fiction and 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 109

EDITORIAL DIRECTOR, DIRECTOR OF EDITORIAL ARTWORK INTEREST: Accepting. Send reluctant readers into reading enthusiasts OPERATIONS: Mary Lee Donovan correspondence, art samples, and dummies through an exciting array of topics and genres. SENIOR EXECUTIVE EDITOR: Sarah Ketchersid to “Attn: Art Resource Coordinator.” Do not SWITCH PRESS is a young adult imprint EXECUTIVE EDITOR, BIG PICTURE PRESS, send originals; materials will not be returned. publishing contemporary nonfiction such CANDLEWICK STUDIO: Katie Cunningham See artwork submission guidelines at https:// as cookbooks, craft and how-to titles, and EXECUTIVE EDITOR: Kate Fletcher www.candlewick.com/about_cont.asp#Anchor- narrative nonfiction, as well as historical EXECUTIVE EDITOR: Andrea Tompa Artwork-47857 fiction, fantasy, graphic novels, and poetry. EXECUTIVE EDITOR: Hilary Van Dusen Titles released both in hardcover and digital EXECUTIVE EDITOR: Kaylan Adair CAPSTONE YOUNG READERS formats. EDITOR: Melanie Cordova 1710 Roe Crest Drive QUERY LETTERS: Not accepting. EDITOR: Allison Cole North Mankato, MN 56003 MULTIPLE SUBMISSIONS: Not accepting. MARKET SURVEYS EDITOR: Carter Hasegawa 800-747-4992; Fax: 888-262-0705 UNSOLICITED MANUSCRIPTS: Not accepting. Most EDITOR: Miriam Newman www.capstonepub.com titles are developed in-house and written and EDITOR: Joan Powers SENIOR ACQUISITION MANAGER, MANAGING EDITOR: illustrated by freelance writers and artists. EXECUTIVE ART DIRECTOR: Nancy Brennan Michelle Bisson For full details on work-for-hire opportunities, EXECUTIVE ART DIRECTOR: Ann Stott ACQUIRING MANAGING EDITOR: Christianne Jones please visit http://www.capstonepub.com/ DESCRIPTION: U.S. publisher of London-based SENIOR EDITOR: Alison Deering library/service/submissions/. No phone calls; Walker Books. Strength is picture books and SENIOR EDITOR: Kristen Mohn will respond only if they have further interest. middle grade and teen fiction. Emphasis EDITOR: Chris Harbo ARTWORK INTEREST: Illustrator inquiries can be on literary quality and superior design. CREATIVE CONCEPT DIRECTOR, FICTION: Michael sent to email address listed at http://www. Approximately 200 titles annually, both Dahl capstonepub.com/library/service/submissions/. hardcover and paperback. DESCRIPTION: Publishing program of the BIG PICTURE PRESS imprint publishes highly Capstone imprints includes nonfiction, fiction, CHARLESBRIDGE PUBLISHING illustrated books. picture books, interactive books, audio books, 9 Galen Street CANDLEWICK ENTERTAINMENT imprint publishes and literacy programs. Capstone Young Readers Watertown, MA 02472 Candlewick’s media-related children’s is a trade division, publishing several imprints 800-225-3214 or 617-926-0329; publishing, including TV and movie tie-ins. into the trade market; it includes board books, Fax: 800-926-5775 CANDLEWICK STUDIO imprint publishes design- picture books, chapter books, middle grade www.charlesbridgeteen.com driven books with high production values, series fiction, and graphic novels. Nearly all EXECUTIVE VP & PUBLISHER: Mary Ann Sabia appealing to both children and adults, as well books are written on a work-for-hire basis and ASSOCIATE PUBLISHER & EDITORIAL DIRECTOR: as book collectors. are part of a larger series; publisher is always Yolanda Scott CANDLEWICK PRESS imprint publishes picture looking for new authors and illustrators to EXECUTIVE EDITOR-AT-LARGE, CHARLESBRIDGE TEEN: books and middle grade and teen fiction help craft high-appeal titles. Copyright and all Monica Perez MIT KIDS PRESS imprint publishes nonfiction reproduction rights are held by the company SENIOR EDITOR: Alyssa Mito Pusey books on science and technology under unless otherwise expressly stated. EDITOR: Julie Bliven the editorial direction of MIT Press and the COMPASS POINT BOOKS imprint publishes smart ASSOCIATE EDITOR: Karen Boss creative, marketing, and sales direction of nonfiction for middle school readers. The ART DIRECTOR: Kristen Nobles Candlewick. Proposals will be taken up and imprint weaves comprehensive narrative with DESCRIPTION: A smaller, independent, family- also generated by an MIT Press advisory board intriguing facts and real-world examples to run publisher of approximately 50 illustrated consisting of faculty from the university and make history, science, and biographies come picture books, board books, and transitional employees at the press. alive for readers in grades 5-12. books (early readers to middle grade chapter MITEEN PRESS imprint publishes nonfiction books HEINEMANN-RAINTREE imprint publishes books) a year. Nonfiction makes up 60% of on science and technology under the editorial curriculum-driven nonfiction that encourages the list; virtually any subject of interest to an direction of MIT Press and the creative, inquiry and satisfies curiosity for students elementary-school child will be considered. marketing, and sales direction of Candlewick. grades K-8. Comprehensive text and captivating Especially seeking innovative nonfiction. Proposals will be taken up and also generated images combine to create a reading experience CHARLESBRIDGE TEEN imprint publishes Young by an MIT Press advisory board consisting of rich in content and diverse points of view. Adult fiction, with an interest in publishing faculty from the university and employees at Among its most recognized brands include new voices. Publishing three to five new titles the press. Acorn, Heinemann First Library, and Raintree a year. NOSY CROW imprint publishes child-focused Perspectives. QUERY LETTERS: Not accepting. Send full and parent friendly children’s books including PICTURE WINDOW BOOKS imprint publishes manuscript (see below). beautifully illustrated picture books and illustrated fiction and nonfiction easy readers, MULTIPLE SUBMISSIONS: Accepting. interactive board books picture books, and chapter books for grades UNSOLICITED MANUSCRIPTS: Accepting. For full TEMPLAR BOOKS imprint publishes picture books, pre K-4. submission instructions, visit https://www. novelty titles, and interactive baby books. STONE ARCH BOOKS imprint focuses on inspiring charlesbridgeteen.com/pages/submissions. QUERY LETTERS: Not accepting. independent reading with compelling ARTWORK INTEREST: Accepting. For full MULTIPLE SUBMISSIONS: Not accepting. contemporary and appropriate fiction for submission instructions, visit https://www. UNSOLICITED MANUSCRIPTS: Not accepting. readers in grades K-9. The imprint transforms charlesbridgeteen.com/pages/submissions. 110 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

CHARMZ ARTWORK INTEREST: Temporarily not accepting UNSOLICITED MANUSCRIPTS: Accepting. Submit (An Imprint of Papercutz) during pandemic. See www.chroniclebooks.com/ via online query form at https://curiosityquills. 160 Broadway, Suite 700E submissions for updates. com/submission-guidelines/. New York, NY 10038 ARTWORK INTEREST: Not accepting. 646-559-4681; Fax: 212-643-1545 CLEAR FORK PUBLISHING www.papercutz.com PO Box 870 DAVID FICKLING BOOKS www.papercutz.com/kids-comics-graphic-novels/ Stamford, TX 79553 31 Beaumont Street charmz 325-773-5550 Oxford, OX1 2NP, United Kingdom CEO & PUBLISHER: Terry Nantier www.clearforkpublishing.com www.davidficklingbooks.com EDITOR-IN-CHIEF: Jim Salicrup PUBLISHER: Callie Metler-Smith PUBLISHER: David Fickling DESCRIPTION: A full-color graphic novel imprint EDITOR & ART DIRECTOR, PICTURE BOOKS: Mira EDITOR: Rosie Fickling from children’s graphic novel publisher Reisberg EDITOR: Anthony Hinton Papercutz, featuring “relationship-driven EDITOR, YOUNG ADULT: Austin Ruh EDITORIAL ASSISTANT: Meggie Dennis stories” tailored toward pre-teen and early teen DESCRIPTION: Publishing board books, picture DESCRIPTION: UK-based David Fickling Books is girls. Publishes between 50 and 60 graphic books, chapter books, and young adult novels an independent publisher of fiction and picture novels a year, including original graphic novels. that promote creativity, diversity, and books books for ages 0 to 18; approximately 12 to 20 QUERY LETTERS: Accepting. that expand readers’ minds. books a year. MULTIPLE SUBMISSIONS: Accepting. CFP imprint publishes YA fiction and non-fiction QUERY LETTERS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. Send SPORK imprint publishes children’s books from MULTIPLE SUBMISSIONS: Not accepting. query and synopsis via email to Salicrup@ picture books to middle grade readers. UNSOLICITED MANUSCRIPTS: Accepting through papercutz.com, per guidelines at http:// &MG imprint publishers middle grade books for the periodic Master of the Inkpot competitions, papercutz.com/contact-papercutz. readers ages 9-14. which dates and guidelines are posted at www. ARTWORK INTEREST: Accepting. Contact QUERY LETTERS: Accepting. davidficklingbooks.com/submit. [email protected]. MULTIPLE SUBMISSIONS: Accepting. ARTWORK INTEREST: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. See CHRONICLE BOOKS submission guidelines at https://www. DC BOOKS FOR YOUNG READERS 680 Second Street clearforkpublishing.com/submission-116692. www.dcentertainment.com San Francisco, CA 94107 html. CO-PUBLISHER, EXECUTIVE VP: Dan Didio 415-537-4200 ARTWORK INTEREST: Not accepting. CO-PUBLISHER, CHIEF CREATIVE OFFICER: Jim Lee www.chroniclebooks.com VP, EXECUTIVE EDITOR: Michele Wells EXECUTIVE PUBLISHING DIRECTOR, CHILDREN’S: CRESTON BOOKS DESCRIPTION: Publishing graphic novels Ginee Seo PO Box 9369 featuring original stories about DC’s iconic EDITOR-AT-LARGE: Victoria Rock Berkeley, CA 94709 lineup of superheroes, by established young- SENIOR EDITOR: Naomi Kirsten www.crestonbooks.co adult and middle grade fiction authors. The SENIOR EDITOR: Melissa Manlove PUBLISHER & EDITOR: Marissa Moss new DC Kids, DC, and DC Black Label imprints, EDITOR: Ariel Richardson DESCRIPTION: An author/illustrator-driven small launching January 2020, replace the recently EDITOR: Taylor Norman publisher of picture books. Distributed by Lerner launched Zoom and Ink imprints. ASSISTANT EDITOR: Daria Harper Publishing. DC KIDS imprint publishes graphic novels for EDITORIAL ASSISTANT: Feather Flores QUERY LETTERS: Accepting. middle grade readers, ages 8-12. Launched DESCRIPTION: Publishes approximately 90 MULTIPLE SUBMISSIONS: Accepting. January 2020. titles annually. Focuses on highly visual books UNSOLICITED MANUSCRIPTS: Accepting. See DC imprint publishes graphic novels for ages 13 with words that inspire the art; one must guidelines at https://www.crestonbooks.co/ plus, which primarily include the DC Universe of www.scbwi.org submissions. characters. Launched January 2020. | complement the other. Age range is from toddler and early chapter books to teen fiction. ARTWORK INTEREST: Not accepting. DC BLACK LABEL imprint publishes graphic Interest in nonfiction, picture books, beginning novels for readers 17 and older. Launched readers, middle grade fiction, and novelty CURIOSITY QUILLS PRESS January 2020. formats. Looking for writing and illustration curiosityquills.com QUERY LETTERS: Not accepting. with unusual and distinctive flavor. Titles MANAGING PARTNER & EDITOR: Lisa Gus MULTIPLE SUBMISSIONS: Not accepting. range from classically illustrated fairy tales to VP, OPERATIONS & ACQUISITIONS MANAGER: Andrew UNSOLICITED MANUSCRIPTS: Not accepting. contemporary concept books. Buckley Agented projects only. QUERY LETTERS: Temporarily not accepting during EDITOR, NEW ADULT: Alison Heller ARTWORK INTEREST: N/A pandemic. EDITOR, YA: Vicki Keire MULTIPLE SUBMISSIONS: Temporarily not EDITOR, YA, MG: Kathleen Kubasiak DISNEY BOOK GROUP accepting during pandemic. DESCRIPTION: Publishing hard-hitting dark sci-fi, (A Division of Disney Publishing Worldwide) Disney Publishing/Hyperion Books for Children UNSOLICITED MANUSCRIPTS: Temporarily speculative fiction, and paranormal works aimed 125 West End Avenue not accepting during pandemic. See www. at adults, young adults, and new adults. PUBLICATIONS GUIDE: THE BOOK New York, NY 10023 chroniclebooks.com/submissions for updates. QUERY LETTERS: Not accepting. books.disney.com MULTIPLE SUBMISSIONS: Accepting. 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 111

Disney Press DESCRIPTION: Focusing on young adult and ELEPHANT ROCK BOOKS (A Division of Disney Book Group) crossover fiction and nonfiction aimed at (An Imprint of Elephant Rocks Productions) readers ages 14 to 34. Publishing original book VP, DISNEY PUBLISHING WORLDWIDE, & EDITORIAL PO Box 119 properties as well as material that can span DIRECTOR, DISNEY EDITIONS: Wendy Lefkon Ashford, CT 06278 formats—from books to television—and tie in EDITORIAL DIRECTOR: Jennifer Levesque www.elephantrockbooks.com SENIOR EDITOR: Lauren Burniac with existing TV programming. PUBLISHER: Jotham Burrello SENIOR EDITOR: Jocelyn Davies QUERY LETTERS: Not accepting. EDITOR-AT-LARGE, ERB YA: Amanda Hurley EDITOR: Hali Baumstein MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL ASSISTANT: Christopher Morris EDITOR: Brittany Rubiano UNSOLICITED MANUSCRIPTS: Not accepting. ASSISTANT EDITOR: Megan Logan ARTWORK INTEREST: Yes, through art director. DESCRIPTION: Publishes a few titles each year. DESCRIPTION: Publishes approximately 35 Its young adult imprint, ERB YA, holds the DK PUBLISHING annual Helen Sheehan YA Book Prize contest.

hardcover and 55 paperback books a year MARKET SURVEYS based on Disney characters from live-action (A Division of Penguin Random House Group) QUERY LETTERS: Not accepting. and animated films, TV, and other areas of the 1745 Broadway MULTIPLE SUBMISSIONS: Not accepting. company. All assignments are work-for-hire. New York, NY 10019 UNSOLICITED MANUSCRIPTS: Accepting only via QUERY LETTERS: Not accepting. 212-782-9000 submissions to the Helen Sheehan YA Book MULTIPLE SUBMISSIONS: Not accepting. www.dk.com/us/ Prize contest, winner awarded every other year. UNSOLICITED MANUSCRIPTS: Not accepting. SENIOR EDITOR: Shannon Beatty See https://elephantrockbooks.com/contact/ for ARTWORK INTEREST: Not accepting. DESCRIPTION: Family reference books, nonfiction contest submission period. Disney-Hyperion and educational books for young children. ARTWORK INTEREST: N/A Known for heavily illustrated nonfiction for (An Imprint of Disney Book Group) VP, PUBLISHER, HYPERION, MELISSA DE LA CRUZ teens ages 13-17. ENSLOW PUBLISHERS STUDIO: Emily Thomas Meehan QUERY LETTERS: Not accepting. Please, no phone (A Division of Rosen Publishing) EDITOR-AT-LARGE, DISNEY-HYPERION/RICK RIORDAN calls. 101 West 23rd Street, Suite #240 PRESENTS: Stephanie Owens Lurie MULTIPLE SUBMISSIONS: Not accepting. New York, NY 10011 EXECUTIVE EDITOR: Tracey Keevan UNSOLICITED MANUSCRIPTS: Not accepting. 800-398-2504; Fax: 877-980-4454 SENIOR EDITOR, DISNEY-HYPERION, FREEFORM: ARTWORK INTEREST: Unsolicited samples not kept www.enslow.com Kieran Viola on file. www.west44books.com EDITOR: Rachel Stark PRESIDENT: Mark Enslow ASSISTANT EDITOR: Heather Crowley DUET BOOKS VP & PUBLISHER: Brian Enslow CREATIVE DIRECTOR: Joann Hill (An Imprint of Interlude Press) DESCRIPTION: Program of children’s and teen DESCRIPTION: Picture books and middle grade www.duetbooks.com and teen fiction published in both the Disney- nonfiction and fiction offering approximately Hyperion Books and Jump at the Sun imprints. EXECUTIVE EDITOR: Annie Harper 225 titles a year primarily targeting the Disney-Hyperion Books publishes approximately ART DIRECTOR: C. B. Messer education market. Interested in authors with 70 hardcover and 50 paperback books a DESCRIPTION: Interlude Press is a boutique specialized knowledge in high-interest topics year that are either linked to ABC television publisher of LGBTQ romantic fiction. Interlude’s for reluctant readers and in elementary and properties or that it believes can be extended young adult fiction imprint Duet represents teen fiction. to television or other corners of Walt Disney. All LGBTQ characters, publishing fiction appropriate WEST 44 BOOKS is a hi/lo imprint for middle assignments are work-for-hire. for teenage readers featuring new voices and grade and young adult readers from a variety JUMP AT THE SUN imprint publishes titles that fresh, diverse perspectives on LGBTQ characters of backgrounds. Features authentic new and celebrate African American culture. and offering universal appeal. The list includes diverse voices and gripping narratives for MELISSA DE LA CRUZ STUDIO imprint publishes works developed exclusively for Duet as well as struggling readers. picture books through adult novels, with a popular fan fiction that has been re-envisioned primary focus on middle grade and young adult, QUERY LETTERS: Preferred. reflecting a wide range of interests and styles with editors into wholly original books with MULTIPLE SUBMISSIONS: Accepting. Please within the pop culture spectrum. original characters and settings. Looking for indicate on query/cover letter. RICK RIORDAN PRESENTS imprint publishes contemporary, fantasy, and science fiction UNSOLICITED MANUSCRIPTS: Accepting. Submission mythology-based books for middle graders. young adult novels. guidelines at http://www.west44books.com/inc/ QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. submissions.php and customerservice@enslow. MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. com. UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. Send ARTWORK INTEREST: Not accepting. ARTWORK INTEREST: Yes, accepting only synopsis, author bio, and manuscript to postcards or emails with illustration samples via [email protected]. Please allow ENTANGLED PUBLISHING Art Director. 3 months for reply. See interludepress.com/ www.entangledpublishing.com Freeform open-submissions for guidelines. CHIEF EXECUTIVE OFFICER & PUBLISHER: Liz ARTWORK INTEREST: No. (An Imprint of Disney Publishing Worldwide) Pelletier DISNEY PUBLISHING WORLDWIDE EDITOR-IN-CHIEF, EXECUTIVE EDITORIAL DIRECTOR, ENTANGLED TEEN, ASSOCIATE PUBLISHER: Emily Meehan AMARA PRINT: Stacy C. Abrams SENIOR EDITOR, DISNEY-HYPERION, FREEFORM: MANAGING EDITOR: Candace Havens Kieran Viola SENIOR EDITOR, PACKAGING DIRECTOR FOR TEEN: 112 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

Heather Howland MULTIPLE SUBMISSIONS: Accepting. DESCRIPTION: Publishing picture books and craft SENIOR EDITOR: Erin Molta UNSOLICITED MANUSCRIPTS: Accepting. See and activity books for young readers, with a EDITOR: Amy Acosta guidelines at http://www.infobasepublishing. special emphasis on birth to age ten. ACQUISITIONS MANAGER & EDITOR: Jen Bouvier com/ContactUS.aspx?Page=AuthorSubmission. QUERY LETTERS: Accepting. EDITOR & ACQUISITIONS MANAGER: Lydia Sharp ARTWORK INTEREST: Commissioning very limited MULTIPLE SUBMISSIONS: Accepting. DESCRIPTION: Independent publisher of romantic number of pieces of line art only. UNSOLICITED MANUSCRIPTS: Accepting. See fiction in the adult, young adult, and new guidelines at https://foxchapelpublishing.com/ adult markets. Publishes both electronic and Chelsea House about-us/author-inquiries/. (An Imprint of Facts on File) print, with some imprints primarily publishing ARTWORK INTEREST: Accepting. EDITORIAL DIRECTOR: Laurie Likoff digital-first. DESCRIPTION: Publishes curriculum-based EMBRACE imprint publishes New Adult fiction in HARPERCOLLINS CHILDREN’S BOOKS nonfiction books for middle school and high all subgenres with stories featuring romance, school students. Publishes about 60–100 young 195 Broadway strong heroines, contemporary issues, intrigue, adult titles a year; all books are part of a New York, NY 10007 fantasy, edge-of-your-seat thrills, paranormal series. Series span historical and contemporary 212-207-7000 adventure, and everything in between. biographies, social studies, geography, science, www.harpercollins.com/childrens ENTANGLED TEEN imprint publishes high-concept health, high-interest titles, and more. Most PRESIDENT & PUBLISHER: Suzanne Murphy young adult fiction in all subgenres including are developed in-house, but suggestions are PRESIDENT & PUBLISHER, AMISTAD & RAYO: Judith contemporary, suspense, sci-fi, historical, welcome. Chelsea Clubhouse, its elementary Curr paranormal, and fantasy, with at least a imprint, presents easy-to-read, full-color books VP, ASSOCIATE PUBLISHER: Jean McGinley for young readers in grades 2 through 5. romantic subplot. VP, PUBLISHING DIRECTOR: Rich Thomas QUERY LETTERS: Accepting, with résumé and list TEEN CRAVE imprint publishes contemporary teen VP, EDITORIAL DIRECTOR – PICTURE BOOKS AND of publications. romance with a paranormal twist, following the PROGRAMS PUBLISHING: Nancy Inteli MULTIPLE SUBMISSIONS: Accepting. traditional category romance format. Features VP, EDITORIAL DIRECTOR: Tara Weikum UNSOLICITED MANUSCRIPTS: Accepting. See first-love stories set during the characters’ teen VP, EDITORIAL DIRECTOR, AMISTAD: Tracy Sherrod guidelines at http://www.infobasepublishing. years—with an out-of-this-world, trope-driven VP, EDITORIAL DIRECTOR, HARPERCOLLINS com/ContactUS.aspx?Page=AuthorSubmission. CHILDREN’S BOOKS, HARPERTEEN, QUILL TREE: bend. ARTWORK INTEREST: Commissioning very limited TEEN CRUSH imprint publishes contemporary teen number of pieces of line art only. Rosemary Brosnan romances that follow the traditional category VP, PUBLISHING DIRECTOR – MIDDLE GRADE, TEEN, romance format. FLYAWAY BOOKS AND IP PUBLISHING: Erica Sussman QUERY LETTERS: Accepting. 100 Witherspoon Street SENIOR EXECUTIVE EDITOR, HARPERTEEN, QUILL: MULTIPLE SUBMISSIONS: Accepting. Louisville, KY 40202 Alexandra Cooper UNSOLICITED MANUSCRIPTS: Accepting. See www.flyawaybooks.com SENIOR EXECUTIVE EDITOR: Antonia Markiet https://entangledpublishing.com/submission- ASSOCIATE PUBLISHER: David Dobson EXECUTIVE EDITOR, HARPERTEEN, QUILL: Karen information/ for additional submission DESCRIPTION: A new voice in children’s book Chaplin guidelines. publishing, with eight picture books per year EXECUTIVE EDITOR: Alyson Day ARTWORK INTEREST: N/A on themes of diversity, inclusivity, compassion, EXECUTIVE EDITOR, HARPERCOLLINS, QUILL: Andrew care for the environment, social/emotional Eliopulos FACTS ON FILE growth for children and families, and social EXECUTIVE EDITOR: David Linker (A Division of Infobase Publishing) justice/contemporary issues, including several EXECUTIVE EDITOR: Tamar Mays 132 West 31st Street, 16th Floor books annually for a progressive religious EXECUTIVE EDITOR, HARPERTEEN: Kristen Pettit New York, NY 10001 market. See website for more about publishing SENIOR EDITOR, HARPERTEEN: Stephanie Stein 800-322-8755; Fax: 800-678-3633 focus and author/illustrator submission EDITOR, HARPERTEEN: Alice Jerman www.scbwi.org www.factsonfile.com EDITOR: Luana Horry

| guidelines. EDITORIAL DIRECTOR: Laurie Likoff QUERY LETTERS: Not accepting. EDITOR: Megan Ilnitzki EXECUTIVE EDITOR (LANGUAGE AND LITERATURE): MULTIPLE SUBMISSIONS: Accepting. EDITOR, HARPERTEEN: Elizabeth Lynch Jeff Soloway UNSOLICITED MANUSCRIPTS: Accepting. Accepting EDITOR: Alyssa Miele EXECUTIVE EDITOR (WORLD HISTORY/GLOBAL full manuscripts for picture books only at EDITOR, HARPERTEEN: Catherine Wallace STUDIES, RELIGION): Claudia Schaab [email protected], per guidelines EDITOR: Clarissa Wong ART DIRECTOR: Erika Arroyo at https://www.flyawaybooks.com/submissions. ASSOCIATE EDITOR: Carolina Ortiz DESCRIPTION: Publishes for the school/library ARTWORK INTEREST: Accepting at submissions@ ASSISTANT EDITOR: Louisa Currigan market and the general nonfiction trade market. flyawaybooks.com. ASSISTANT EDITOR, HARPERTEEN: Stephanie Interested in single-volume reference works for Guerdan grades 6–12 and multivolume series for grades HAPPY FOX ASSISTANT EDITOR: Sarah Homer 4–9, with focus on history, multicultural topics, (An Imprint of Fox Chapel Publishing) ASSISTANT EDITOR: Caitlin Johnson and science. No fiction, activity books, or books 1970 Broad Street ASSISTANT EDITOR: Bria Ragin ASSISTANT EDITOR: Clare Vaughn for young children. No phone calls. East Petersburg, PA 17520 PUBLICATIONS GUIDE: THE BOOK EXECUTIVE ART DIRECTOR: Alison Donalty QUERY LETTERS: Accepting, with résumé and list 844-307-3677 DESCRIPTION: The HarperCollins Children’s Book of publications. www.foxchapelpublishing.com 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 113

Division publishes hardcover trade titles and year. Blink fiction is for all readers, regardless Query via the Contact page form at www. novelty product. Number of titles: roughly 500 of faith. Looking for hopeful books that touch cynthialeitichsmith.com. a year. on real issues while striving for a positive ARTWORK INTEREST: Yes, samples through regular AMISTAD imprint publishes picture books and balance and approach and which represent mail fine, but no original art. young adult novels by people of African descent morals and ethical standards. The list is on subjects and themes that have significant primarily fiction and spans genres, including Katherine Tegen Books influence on the intellectual, cultural, and (but not limited to) contemporary, fantasy, (An Imprint of HarperCollins) historical perspectives of a world audience. romance, suspense, dystopian/commercial VP & PUBLISHER: Katherine Tegen HARPERCHAPTERS is a line for readers ages futuristic novels, and historical fiction. EDITORIAL DIRECTOR: Claudia Gabel 5-8, designed for newly independent readers Does include select nonfiction titles such as EXECUTIVE EDITOR: Maria Babo who have graduated from early readers but autobiographies. EXECUTIVE EDITOR: Jill Davis aren’t quite ready to tackle standard chapter QUERY LETTERS: Not accepting. EXECUTIVE EDITOR: Ben Rosenthal MARKET SURVEYS books. Features short blocks of text, copious MULTIPLE SUBMISSIONS: Not accepting. EDITOR: Mabel Hsu illustrations, and interactive elements aimed at UNSOLICITED MANUSCRIPTS: Not accepting. ASSISTANT EDITOR: Sara Schonfeld boosting kids’ reading confidence and sense of ARTWORK INTEREST: Not accepting. DESCRIPTION: Publishes picture books and accomplishment. All materials are vetted and middle grade and teen fiction. leveled by an educational expert. Greenwillow Books QUERY LETTERS: Not accepting. HARPERFESTIVAL imprint publishes classic/ (An Imprint of HarperCollins) MULTIPLE SUBMISSIONS: Not accepting. novelty/merchandise. www.greenwillowbooks.com UNSOLICITED MANUSCRIPTS: Not accepting. HARPERTEEN imprint publishes teen fiction ARTWORK INTEREST: Yes, samples through regular VP & PUBLISHER: Virginia Duncan in hardcover and both original and reprint mail fine, but no original art. EXECUTIVE EDITOR: Martha Mihalick paperback. www.harperteen.com EDITORIAL ASSISTANT: Arianna Robinson HARPERTEEN IMPULSE imprint publishes digital- ART DIRECTOR: Paul Zakris Quill Tree only short fiction (short stories and novellas) DESCRIPTION: List includes mostly fiction and (An Imprint of HarperCollins) for the young adult genre. picture books (no nonfiction over the second- VP & EDITORIAL DIRECTOR, HARPERCOLLINS HARPERTROPHY is a HarperCollins paperback grade level). CHILDREN’S BOOKS, HARPERTEEN, QUILL TREE: imprint. QUERY LETTERS: Not accepting. Rosemary Brosnan RAYO imprint publishes culturally inspired MULTIPLE SUBMISSIONS: Not accepting. SENIOR EXECUTIVE EDITOR, HARPERTEEN, QUILL: Spanish, English, and bilingual books for UNSOLICITED MANUSCRIPTS: Not accepting. Alexandra Cooper children. ARTWORK INTEREST: Send art samples (postcards EXECUTIVE EDITOR, HARPERTEEN, QUILL: Karen TOKYOPOP imprint publishes manga titles for only) in duplicate to Paul Zakris and Virginia Chaplin young readers. Duncan. EXECUTIVE EDITOR, HARPERCOLLINS, QUILL: QUERY LETTERS: Not accepting. Andrew Eliopulos MULTIPLE SUBMISSIONS: Not accepting. HarperAlley ASSOCIATE EDITOR: Courtney Stevenson UNSOLICITED MANUSCRIPTS: Not accepting. (An Imprint of HarperCollins) ASSISTANT EDITOR: Bria Ragin ARTWORK INTEREST: Yes, samples through regular EDITORIAL ASSISTANT: Allison Weintraub EDITORIAL DIRECTOR: Andrew Arnold mail fine, but no original art. DESCRIPTION: Publishing picture books, middle DESCRIPTION: Publishing graphic novels for the youngest readers to teens and adults. Looking grade, and young adult fiction by authors with Balzer + Bray to publish about 30 books per year. Launching a strong point of view, as well as those who are (An Imprint of HarperCollins) fall 2020. often underrepresented. Launching fall 2020. VP & CO-PUBLISHER: Alessandra Balzer QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. VP & CO-PUBLISHER: Donna Bray MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. EXECUTIVE EDITOR: Kristin Daly Rens UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. EXECUTIVE EDITOR, BALZER + BRAY, WALDEN POND ARTWORK INTEREST: Yes, samples through regular ARTWORK INTEREST: Yes, samples through regular PRESS: Jordan Brown mail fine, but no original art. mail fine, but no original art. ASSOCIATE EDITOR: Tiara Kittrell ASSISTANT EDITOR: Caitlin Johnson Heartdrum Walden Pond Press DESCRIPTION: Publishes picture books, middle (An Imprint of HarperCollins) (An Imprint of HarperCollins) grade fiction, and teen fiction. SVP, EDITORIAL DIRECTOR, WALDEN MEDIA/WALDEN AUTHOR CURATOR: Cynthia Leitich Smith QUERY LETTERS: Not accepting. POND PRESS: Deborah Kovacs VP, EDITORIAL DIRECTOR, HARPERCOLLINS MULTIPLE SUBMISSIONS: Not accepting. EXECUTIVE EDITOR, BALZER + BRAY, WALDEN POND CHILDREN’S BOOKS, HARPERTEEN, QUILL TREE: UNSOLICITED MANUSCRIPTS: Not accepting. Rosemary Brosnan PRESS: Jordan Brown ARTWORK INTEREST: Yes, samples through regular DESCRIPTION: Publishes books for children in DESCRIPTION: Publishing picture books, graphic mail fine, but no original art. novels, middle grade and young adult fiction collaboration with Walden Media. by Native creators that introduce young Native QUERY LETTERS: Not accepting. Blink protagonists and showcase the present and MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Zondervan, a Division of future of Indian Country. Featuring intertribal UNSOLICITED MANUSCRIPTS: Not accepting. HarperCollins Christian Publishing) voices and visions. Launching winter 2021. ARTWORK INTEREST: Not accepting. www.BlinkYABooks.com QUERY LETTERS: Not accepting. SENIOR EDITOR: Jacque Alberta MULTIPLE SUBMISSIONS: Not accepting. AQUISITIONS EDITOR: Sara Bierling UNSOLICITED MANUSCRIPTS: Native writers may DESCRIPTION: Publishing 5 to 6 young adult submit to Cynthia Leitich Smith’s website. fiction titles for the general trade market per 114 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

HOLIDAY HOUSE BOOKS FOR YOUNG SENIOR EXECUTIVE EDITOR: Kate O’Sullivan or tear sheets; do not send original artwork PEOPLE SENIOR EDITOR, CHILDREN’S FRANCHISE: Alessandra or slides. Samples will not be returned. Will Preziosi contact you only if they have a potential 50 Broad Street SENIOR EDITOR, VERSIFY: Weslie Turner illustration assignment. Send to “HMH Books for New York, NY 10004 SENIOR EDITOR, CHILDREN’S FRANCHISE: Bethany Young Readers, Design Department/Art Samples” 212-688-0085 Vinhateiro or to individual editors. For more info, see www.holidayhouse.com EDITOR: Harriet Low submissions page https://www.hmhbooks.com/ VP & EDITOR-IN-CHIEF: Mary Cash ASSOCIATE EDITOR: Lily Kessinger manuscript-submission. VP & PUBLISHER, NEAL PORTER BOOKS: Neal Porter EDITOR, CHILDREN’S FRANCHISE: Chris Krones PUBLISHER, MARGARET FERGUSON BOOKS: Margaret Versify Ferguson Houghton Mifflin Harcourt Books for (An Imprint of Houghton Mifflin Harcourt Books EXECUTIVE EDITOR: Grace Maccarone Young Readers / New York Office for Young Readers) EDITOR: Elizabeth Law 3 Park Avenue South, 19th Floor IMPRINT CURATOR: Kwame Alexander EDITOR: Sally Morgridge New York, NY 10016 DESCRIPTION: Publishing a list of picture books, ASSOCIATE EDITOR: Mora Couch 212-420-5800 novels, nonfiction, and graphic novels to be curated by poet, educator and Newbery Medal- EDITORIAL ASSISTANT: Eryn Levine PRESIDENT, TRADE PUBLISHING GROUP: Ellen winning author Kwame Alexander. DIRECTOR OF ART & DESIGN: Claire Counihan Archer SENIOR VP & PUBLISHER, HMH: Catherine Onder QUERY LETTERS: Not accepting. MARGARET FERGUSON BOOKS imprint publishes EDITORIAL DIRECTOR, ETCH, HMH: Emilia Rhodes MULTIPLE SUBMISSIONS: Not accepting. about 15 new hardcovers each year across all SENIOR EXECUTIVE EDITOR, HMH, VERSIFY: Margaret UNSOLICITED MANUSCRIPTS: Not accepting, ranges and formats, with a main interest in Raymo but will reopen to unsolicited manuscript fiction and picture books. SENIOR EDITOR: Amy Cloud in the future. For updates, see submissions DESCRIPTION: Independent publisher with list of ASSOCIATE EDITOR: Nicole Sclama page https://www.hmhbooks.com/manuscript- 60 titles a year. Acquiring picture books, middle EDITORIAL ASSOCIATE: Gabriella Abbate submission. grade and teen fiction, and nonfiction. No toy EDITORIAL ASSOCIATE: Elizabeth Agyemang ARTWORK INTEREST: Not accepting, but will or novelty books. ART EDITOR: Sharismar Rodriguez reopen to art sample submission in the future. QUERY LETTERS: Not accepting. Send entire DESCRIPTION: Hardcover picture books, chapter For updates, see submissions page https://www. hmhbooks.com/manuscript-submission. manuscript, whether submitting a picture book books, middle grade and teen fiction, and or a novel. nonfiction. QUERY LETTERS: Not accepting. INKYARD PRESS MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Harlequin Trade Publishing UNSOLICITED MANUSCRIPTS: Accepting. Address to UNSOLICITED SUBMISSIONS: Not accepting. Group) “Editorial Department.” Responding (within four ARTWORK INTEREST: Not accepting art samples. 195 Broadway, 24th Floor months) only if interested so do not include New York, NY 10007 SASE. Don’t accept certified or registered mail; Clarion Books 212-207-7000 no email submissions. See guidelines at https:// (An Imprint of Houghton Mifflin Harcourt Books www.inkyardpress.com holidayhouse.com/faqs/. for Young Readers) VP EDITORIAL, HARLEQUIN TRADE, INKYARD PRESS: ARTWORK INTEREST: Accepting. Send copies only, VP, ASSOCIATE PUBLISHER, SENIOR EXECUTIVE Margaret Marbury no original artwork. No submissions will be EDITOR: Anne Hoppe EXECUTIVE EDITOR, EDITORIAL DIRECTOR, INKYARD returned. Send samples to Art Director. SENIOR EDITOR: Jennifer Greene PRESS: Natashya Wilson SENIOR EDITOR: Lynne Polvino HOUGHTON MIFFLIN HARCOURT DESCRIPTION: List includes hardcover picture PUBLISHING DIRECTOR, YA, INKYARD PRESS: Bess BOOKS FOR YOUNG READERS books, chapter books, middle grade and teen Braswell EDITOR, INKYARD PRESS: Rebecca Kuss www.hmhco.com fiction, and nonfiction. QUERY LETTERS: Not accepting. ASSISTANT EDITOR, INKYARD PRESS: Connolly DESCRIPTION: High-quality, award-winning books www.scbwi.org MULTIPLE SUBMISSIONS: Not accepting. Bottum

| for children and young adults in a variety of UNSOLICITED MANUSCRIPTS: Not accepting. DESCRIPTION: Formerly known as Harlequin Teen, print and ebook formats, including picture ARTWORK INTEREST: Not accepting samples. Inkyard Press is dedicated to building authors books, fiction, and nonfiction. Note: The New and publishing unique, memorable young York and Boston HMH editors operate as a Etch adult fiction featuring unforgettable romance, single team; Clarion Books remains a separate (An Imprint of Houghton Mifflin Harcourt Books extraordinary characters, and extraordinary imprint of HMH in New York. for Young Readers) stories set in contemporary, paranormal, www.hmhbooks.com/imprints/etch fantasy, science-fiction, and historical worlds. Houghton Mifflin Harcourt Books for DESCRIPTION: The imprint for all HMH’s graphic Young Readers / Boston Office novels, for young readers of all ages, acquired Looking for commercial, high-concept stories 125 High Street, Floor 5 by editors from Clarion, Versify, and HMH Books that capture the teen experience and will Boston, MA 02110-2112 for Young Readers. Publishing approximately 15 speak to readers with power and authenticity. 617-351-5000 titles per year. Launching September 2020. All subgenres are welcome. Books are 50,000– VP, ASSOCIATE PUBLISHER: Mary Wilcox QUERY LETTERS: Not accepting. 100,000 words in length and preferably include SENIOR EXECUTIVE EDITOR, HMH, VERSIFY: Margaret MULTIPLE SUBMISSIONS: Not accepting. a compelling romantic element.

PUBLICATIONS GUIDE: THE BOOK Raymo UNSOLICITED MANUSCRIPTS: Not accepting. QUERY LETTERS: Not accepting. ARTWORK INTEREST: Accepting. Send color copies EXECUTIVE EDITOR: Ann Rider MULTIPLE SUBMISSIONS: Not accepting. 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 115

UNSOLICITED MANUSCRIPTS: Accepting only UNSOLICITED MANUSCRIPTS: Accepting. the U.S. market. agented submissions at this time. ARTWORK INTEREST: Accepting. QUERY LETTERS: Not accepting. ARTWORK INTEREST: Not accepting. MULTIPLE SUBMISSIONS: Kids Can Press does not KANE MILLER PRESS accept submissions from authors outside of INSIGHT KIDS (A Division of EDC Publishing) Canada. UNSOLICITED MANUSCRIPTS: Not accepting (An Imprint of Insight Editions) 4901 Morena Blvd, Ste 213 unsolicited submissions from authors outside of PO Box 3088 San Diego, CA 92117 Canada, but does accept agented submissions 858-456-0540 San Rafael, CA 94912 from authors outside of Canada. 415-526-1370 www.kanemiller.com ARTWORK INTEREST: Yes. Direct inquiries to www.insighteditions.com PUBLISHER, EDITOR: Kira Lynn [email protected] or send via regular post PUBLISHER AND CEO: Raoul Goff DESCRIPTION: Publishing picture books, chapter c/o “Art Director.” MARKET SURVEYS ASSOCIATE PUBLISHER, INSIGHT EDITIONS, KIDS: books, and middle grade fiction. Interested in Sara Miller great stories in all genres (mystery, fantasy, LEE & LOW BOOKS ART DIRECTOR, CHILDREN’S BOOKS: Stuart Smith adventure, historical, etc.), especially those 95 Madison Avenue, #1205 DESCRIPTION: Insight Editions is an independent with particularly American subjects. New York, NY 10016 publisher of innovative art and pop culture QUERY LETTERS: Accepting. 212-779-4400 books. Imprint Insight Kids publishes licensed MULTIPLE SUBMISSIONS: Accepting www.leeandlow.com as well as original books for children. UNSOLICITED MANUSCRIPTS: Accepting. See PRESIDENT & OWNER: Craig Low QUERY LETTERS: Accepting. submission guidelines at www.friends.kanemiller. PUBLISHER & CO-OWNER: Jason Low MULTIPLE SUBMISSIONS: Accepting. com/submissions.html. EDITORIAL DIRECTOR: Cheryl Klein UNSOLICITED MANUSCRIPTS: Accepting. See ARTWORK INTEREST: Accepting. Illustrators EDITOR-AT-LARGE: Louise May submission guidelines at www.insighteditions. may send postcards (preferred) or other SENIOR EDITOR: Jessica Echeverria com/contact/. non-returnable illustration samples via USPS, ASSISTANT EDITOR: Kandace Coston ARTWORK INTEREST: Accepting. Submit samples or links to external websites via email to PUBLISHER, TU BOOKS: Stacy Whitman only (no original artwork) via U.S. Post to “Art [email protected]. Please do not DESCRIPTION: Independent publisher specializing Director.” send original artwork, or samples on CD. in multicultural and diversity themes, including non-traditional family structures and gender INNOVATION PRESS KIDS CAN PRESS identity, or that feature a person with a www.theinnovationpress.com (A Division of Corus Entertainment, Inc.) disability integrated into the story but not as PUBLISHER: Asia Citro 25 Dockside Drive the main storyline. List includes fiction and DESCRIPTION: Small press publishing fiction and Toronto, Ontario, Canada M5A OB5 nonfiction with a strong storyline. nonfiction, board books, picture books, chapter 416-479-7000; Fax: 416-960-5437 BEBOP BOOKS imprint publishes child-centered books, middle grade books, and graphic novels. www.kidscanpress.com stories with both text and pictures that support QUERY LETTERS: Accepting. PRESIDENT & PUBLISHER: Lisa Lyons Johnston literacy learning content for beginning readers MULTIPLE SUBMISSIONS: Accepting. ASSOCIATE PUBLISHER, CREATIVE: Naseem Hrab in guided reading and intervention settings. UNSOLICITED MANUSCRIPTS: Accepting. Submit EDITORIAL DIRECTOR: Yvette Ghione CHILDREN’S BOOK PRESS imprint publishes to [email protected] per SENIOR EDITOR: Yasemin Uçar bilingual and multicultural books. guidelines at http://www.theinnovationpress. EDITOR: Kathleen Keenan DIVE INTO READING imprint publishes early com/submissions/. Will reply only if interested; EDITOR: Katie Scott chapter books, leveled for the young reader. response time approximately four weeks. EDITORIAL ASSISTANT: Anna Bendiy Includes back matter to enhance comprehension ARTWORK INTEREST: Accepting via submissions@ DESCRIPTION: Publishing fiction and nonfiction and reader engagement. theinnovationpress.com. picture books for young readers, and chapter LEE & LOW BOOKS imprint primarily publishes books for children ages 7 to 10. Kids Can illustrated books for ages 5–11; fiction JY Press is the largest Canadian-owned children’s (maximum 1,500 words) and nonfiction (An Imprint of Yen Press LLC, Division of publisher in the world. (maximum 3,000 words). They do not publish Hachette Book Group) QUERIES: Not accepting. folklore or animal stories. Also chapter books 150 W 30th Street, 19th Floor MULTIPLE SUBMISSIONS: Not accepting. and middle grade works for ages 8–12. Of New York, NY 10001 UNSOLICITED MANUSCRIPTS: Not accepting. particular interest are realistic fiction and www.yenpress.com ARTWORK INTEREST: No. nonfiction; folktales and animal stories not PUBLISHER & MANAGING DIRECTOR: Kurt Hassler being considered. DEPUTY PUBLISHER & EDITOR IN CHIEF: JuYoun Lee KCP Loft SHEN’S BOOKS imprint emphasizes cultural DESCRIPTION: JY is an imprint of Yen Press, a (An Imprint of Kids Can Press) diversity and tolerance, introducing young joint venture between Hachette and Japanese www.kcploft.com readers to the cultures of Asia. publisher Kadokawa. Publishing middle grade EDITORIAL DIRECTOR-AT-LARGE, KCP LOFT: Kate TU BOOKS imprint publishes only middle grade Egan graphic novels, approximately twelve a year. and teen science fiction, fantasy, and mystery. DESCRIPTION: Publishing young adult fiction QUERY LETTERS: Accepting. Editorial inquiries A special effort is made to work with writers and nonfiction. Kids Can Press is a Canadian should go to [email protected]. and artists of color, and submissions from Publisher, KCP Loft publishes U.S. authors in MULTIPLE SUBMISSIONS: Accepting. authors and artists at all levels of experience 116 | 202 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

are encouraged. FIRST AVENUE EDITIONS is Lerner Publishing Zest Books QUERY LETTERS: Not accepting. Group’s paperback imprint; no original titles. (A Division of Lerner Publishing Group) MULTIPLE SUBMISSIONS: Not accepting. GRAPHIC UNIVERSE publishes fiction and https://lernerbooks.com/Pages/Zest-Books UNSOLICITED MANUSCRIPTS: Not accepting. nonfiction graphic novels in all genres and for PUBLISHER & CREATIVE DIRECTOR, LARGE, ZEST Agented submissions only. Note that Tu Books all ages from beginning readers through young BOOKS: Hallie Warshaw holds an annual contest for fiction called the adults. EDITORIAL DIRECTOR, YA NONFICTION, ZEST, TWENTY-FIRST CENTURY: Shaina Olmanson New Vision Award. For art contest updates: LERNER PUBLICATIONS imprint publishes photo- DESCRIPTION: Publishing young adult nonfiction https://www.leeandlow.com/writers-illustrators. illustrated, educational and high interest about entertainment, history, science, health, ARTWORK INTEREST: Yes, artists should send nonfiction series for grades K–5. fashion, and lifestyle advice. nonreturnable color samples, attention MILLBROOK PRESS publishes nonfiction QUERY LETTERS: Not accepting. “Submissions Editor.” See submission guidelines for preschool through grade 6, including MULTIPLE SUBMISSIONS: Not accepting. at https://www.leeandlow.com/writers- curriculum-oriented picture books, social studies UNSOLICITED MANUSCRIPTS: Not accepting. illustrators. Especially interested in samples topics, and Kathy Ross craft books among its ARTWORK INTEREST: Accepting samples via email many subject areas. featuring children/people of color and that or printed samples via U.S. Post. Do not send TWENTY-FIRST CENTURY imprint publishes show an ability to illustrate the same character original art. consistently over many scenes. Will keep curriculum-related series at both the middle artwork of interest on file. grade and high-school level as well as single LEVINE QUERIDO titles. www.levinequerido.com QUERY LETTERS: Not accepting. No phone calls. LERNER PUBLISHING GROUP PUBLISHER: Arthur Levine 1251 Washington Avenue North MULTIPLE SUBMISSIONS: Not accepting. SENIOR EDITOR: Nick Thomas Minneapolis, MN 55401 UNSOLICITED MANUSCRIPTS: Not accepting ASSISTANT EDITOR: Meghan Maria McCullough 800-328-4929 unsolicited manuscripts except for Jewish- ARTHUR A. LEVINE list publishes books with themed children’s books for Kar-Ben Publishing www.lernerbooks.com a focus on building a platform for previously imprint (see below) and periodic open calls www.kanepress.com underrepresented voices. EXECUTIVE VP & EDITOR-IN-CHIEF: Andy Cummings for unsolicited submissions announced on the EM QUERIDO list is a partnership with Dutch blog carolrhoda.blogspot.com. All other imprints EDITORIAL DIRECTOR, MILLBROOK PRESS, publisher Querido to bring stories by authors periodically post calls for open submissions CAROLRHODA: Carol Hinz around the world to U.S. readers. EDITORIAL DIRECTOR, YA NONFICTION, TWENTY- on the company website Press Room (www. DESCRIPTION: Publishing picture books, poetry, lernerbooks.com/headlines/tag/press) and in FIRST CENTURY BOOKS, ZEST: Shaina Olmanson novels, nonfiction, and graphic novels. List national newsletters such as the SCBWI Bulletin. EDITORIAL DIRECTOR, CAROLRHODA: Amy Fitzgerald will center on diversity, with creators including ARTWORK INTEREST: Will consider. (Most books EDITORIAL DIRECTOR, GRAPHIC UNIVERSE: Greg people of color, Indigenous people, and LGBTQ illustrated with photos.) Accepting resumes Hunter individuals, and will focus on high-quality and portfolio samples from illustrators and DESCRIPTION: Publishes primarily nonfiction bookmaking. Tentative launch planned for 2020. for juvenile readers of all grade levels. List photographers. No original art. Send jpgs or QUERY LETTERS: Accepting. See guidelines at pdfs on disk, color or black-and-white copies, includes titles encompassing nature, geography, https://www.levinequerido.com/submissions. natural and physical science, current events, or tear sheets. Will reply if interested. Send to MULTIPLE SUBMISSIONS: No. ancient and modern history, world art, special attention of “Creative Director.” UNSOLICITED MANUSCRIPTS: Accepting. interest, sports, world cultures, and numerous ARTWORK INTEREST: Yes. Email three sample biography series. Kar-Ben Publishing illustrations and/or links to online portfolios. CAROLRHODA BOOKS imprint publishes fiction (A Division of Lerner Publishing Group) Kar-Ben Publishing primarily, including picture books, chapter LITTLE BEE BOOKS books, middle grade and young adult novels. 241 First Ave www.scbwi.org Minneapolis, MN 55401 844-321-0237 Nonfiction includes unique photo essays. No | 800-452-7236 www.littlebeebooks.com alphabet books, puzzle books, songbooks, www.karben.com PRESIDENT & CEO: Shimul Tolia textbooks, workbooks, religious subject matter, PUBLISHER, KAR-BEN PUBLISHING: Joni Sussman SENIOR EDITOR, LITTLE BEE, YELLOW JACKET: Brett or plays. DESCRIPTION: Publishes up to 20 new titles of Duquette CAROLRHODA LAB is an imprint of Carolrhoda Jewish content annually. Preschool and young SENIOR EDITOR, BUZZPOP: Rachel Gluckstern Books. It is dedicated to distinctive, children’s works through middle grade fiction ASSOCIATE EDITOR, LITTLE BEE, YELLOW JACKET: provocative, boundary-pushing fiction for teens and nonfiction. Charlie Ilgunas and their sympathizers. Carolrhoda Lab examines QUERY LETTERS: Not accepting. EDITORIAL ASSISTANT: Courtney Fahy the young adult condition one novel at a time, MULTIPLE SUBMISSIONS: Not accepting. ART DIRECTOR: Rob Wall affording YA authors and readers an opportunity UNSOLICITED MANUSCRIPTS: Accepting. See www. BUZZPOP imprint publishes storybooks, board to explore and experiment with thoughts, ideas, karben.com/submissions for details submission guidelines. books, and leveled readers featuring pop and paradigms in the human condition. ARTWORK INTEREST: Accepting. Email link to culture, brand, and media tie-ins. Includes DARBY CREEK imprint publishes series fiction for online portfolio. a line of Disney character bilingual books in emerging, striving, and reluctant readers ages

PUBLICATIONS GUIDE: THE BOOK English-Spanish, English-Mandarin, and English- 7–18 (grades 2–12). Includes chapter books, French editions. www.buzzpopbooks.com intermediate fiction, and YA fiction. 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 117

YELLOW JACKET imprint publishes middle grade Milton ARTWORK INTEREST: Accepting. Copies and fiction across genres, including series, for ages ASSISTANT EDITOR: Hallie Tibbetts printed material (but no original art) are 8–14. www.yellowjacketreads.com ASSISTANT EDITOR: Regan Winter welcome through regular mail. DESCRIPTION: Independent publisher publishing ASSISTANT EDITOR: Caitlyn Averett early learning concept books, board books, EDITORIAL ASSISTANT: Ruqayyah Daud LONELY PLANET KIDS novelty books, activity books, picture books, EXECUTIVE ART DIRECTOR: Sasha Illingworth (An Imprint of Lonely Planet) nonfiction titles, and licensed products for EXECUTIVE ART DIRECTOR: Tracy Shaw https://www.lonelyplanet.com/kids/ SENIOR ART DIRECTOR: Saho Fujii readers 0-12 years old. Distributed by Simon & PUBLISHER: Hanna Otero DESCRIPTION: List of about 150 original titles Schuster. DESCRIPTION: Publishing board books, picture a year. Wide range of interests, specifically QUERY LETTERS: Not accepting. books, and novelty books that combine young adult and middle grade fiction as well MULTIPLE SUBMISSIONS: Not accepting. facts, humor, and imagery to ignite children’s

as picture books and novelty books. Open to MARKET SURVEYS UNSOLICITED MANUSCRIPTS: Not accepting. quality nonfiction projects, and to fiction and curiosity and encourage them to discover more ARTWORK INTEREST: Yes. Send postcards “Attn: nonfiction graphic novels for a range of ages, about our planet. Design Department.” from early readers to young adults. QUERY LETTERS: Not accepting. JIMMY PATTERSON BOOKS imprint publishes MULTIPLE SUBMISSIONS: Not accepting. LITTLE, BROWN BOOKS FOR YOUNG middle grade and young adult titles by author UNSOLICITED MANUSCRIPTS: Not accepting. READERS James Patterson. ARTWORK INTEREST: Not accepting. (A Division of Hachette Book Group) LBKIDS imprint produces novelty and brand/ PAYMENT: Advance against royalty or flat fee. 1290 Avenue of the Americas licensed tie-ins. NOVL imprint produces e-only novella and short- New York, NY 10104 MACMILLAN CHILDREN’S story-length titles tied to existing properties 212-364-1100 PUBLISHING GROUP whose release is often timed to coincide with www.lbyr.com that of new full-length work. 120 Broadway EXECUTIVE VP HACHETTE BOOK GROUP & PUBLISHER, POPPY imprint produces paperback original New York, NY 10271 LBYR: Megan Tingley series for teen girls. 646-307-5151 VP, PUBLISHER, JAMES PATTERSON PUBLISHING QUERY LETTERS: Not accepting. 212-741-6900 (Farrar, Straus & Giroux BFYR) DIRECTOR: Ned Rust MULTIPLE SUBMISSIONS: Not accepting. http://us.macmillan.com/mackids/ VP & ASSOCIATE PUBLISHER, LITTLE, BROWN BFYR: UNSOLICITED MANUSCRIPTS: Not accepting. PRESIDENT & PUBLISHER, MACMILLAN CHILDREN’S Jackie Engel ARTWORK INTEREST: Not accepting. PUBLISHING GROUP: Jonathan Yaged SENIOR VP & PUBLISHER, FEIWEL & FRIENDS, HENRY EDITOR-IN-CHIEF, BRAND, LICENSED, AND IP HOLT BOOKS, SWOON READS, SQUARE FISH: Jean PUBLISHING: Kara Sargent Christy Ottaviano Books (An Imprint of Little, Brown Books for Young Feiwel PUBLISHING DIRECTOR, BRAND, LICENSED, AND TIE- Readers) SENIOR VP, DEPUTY PUBLISHER: Allison Verost IN PUBLISHING: Samantha Schutz VP & PUBLISHER: Christy Ottaviano VP, ASSOCIATE PUBLISHER: Angus Killick VP, EDITOR-IN-CHIEF, LITTLE, BROWN BFYR: Alvina EDITOR: Jessica Anderson PUBLISHER, FORMERLY ACQUIRING FOR IMPRINT: Ling DESCRIPTION: Publishes approximately 30 books Erin Stein VP, EDITORIAL DIRECTOR, LITTLE, BROWN BFYR: per year ranging from literary and commercial EXECUTIVE EDITOR, FORMERLY ACQUIRING FOR Andrea Spooner fiction and nonfiction for preschool through IMPRINT: John Morgan VP, EDITORIAL DIRECTOR, LITTLE, BROWN/POPPY & teen readers. Of particular interest: picture ASSISTANT EDITOR, FORMERLY ACQUIRING FOR NONFICTION: Farrin Jacobs books–humor, curriculum-focused, nature, IMPRINT: Camille Kellogg EDITORIAL DIRECTOR, NONFICTION, LITTLE, BROWN history, exploring childhood milestones BFYR: Lisa Yoskowitz and feelings; middle grade and young adult Farrar, Straus & Giroux Books for EDITORIAL DIRECTOR, GRAPHIC PUBLISHING: fiction–adventure, mystery, urban fantasy, Young Readers Andrea Colvin coming of age, historical, commercial and (A Division of Macmillan Children’s Publishing edgy YA fiction. The line’s broad scope features EDITORIAL DIRECTOR, JIMMY PATTERSON BOOKS: Group) author-illustrators and encompasses literary Laura Schreiber www.fsgbooks.com and commercial picture books and fiction for EXECUTIVE EDITOR: Mary-Kate Gaudet us.macmillan.com/publishers/farrar-straus- all ages with a focus on the middle grade giroux#FYR EDITOR-AT-LARGE: Susan Rich market. Books that encourage imagination SENIOR EDITOR, POPPY/LITTLE, BROWN: Deirdre and free-thinking, foster a sense of family and PRESIDENT & PUBLISHER, ROARING BROOK, FSG Jones community, target the feelings of children, and BOOKS FOR YOUNG READERS, FIRST SECOND: SENIOR EDITOR: Liz Kossnar speak directly to young people’s interests as Jennifer Besser SENIOR EDITOR, POPPY/LITTLE, BROWN: Rachel they explore various milestones–contemporary VP & EDITORIAL DIRECTOR: Joy Peskin Poloski classics that both challenge and entertain EXECUTIVE EDITOR: Wesley Adams EDITOR, JIMMY PATTERSON BOOKS: T.S. Ferguson inquisitive readers. This imprint moved to LBYR EXECUTIVE EDITOR: Janine O’Malley from Macmillan November 2020. The imprint’s EDITOR: Nikki Garcia SENIOR EDITOR, FSG/ROARING BROOK PRESS: Grace first list at LBYR will debut in 2022. EDITOR: Samantha Gentry Kendall QUERY LETTERS: Not accepting. ASSOCIATE EDITOR: Nicky Guerreiro ASSOCIATE EDITOR: Trisha de Guzman MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE EDITOR: Alexandra Hightower EDITOR, ROARING BROOK PRESS: Mekisha Telfer UNSOLICITED MANUSCRIPTS: Not accepting. Agent ASSISTANT EDITOR: Esther Cajahuaringa ASSOCIATE EDITOR: Melissa Warten submissions only. ASSISTANT EDITOR, POPPY/LITTLE, BROWN: Hannah ASSISTANT EDITOR, ROARING BROOK PRESS, FSG: 118 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

Luisa Beguiristain exclusive to Swoon Reads while posted on the VP & SENIOR CREATIVE DIR, FSG, ROARING BROOK ASSISTANT EDITOR: Elizabeth Lee site. The manuscripts given the highest ratings PRESS, HENRY HOLT CHILDREN’S, FEIWEL & FRIENDS, VP & SENIOR CREATIVE DIR, FSG, ROARING BROOK by the most readers will be considered for SWOON READS, SQUARE FISH: Elizabeth Clark PRESS, HENRY HOLT CHILDREN’S, FEIWEL & FRIENDS, publication by the Swoon Reads Staff. DESCRIPTION: General list of 60–70 titles per ARTWORK INTEREST: Only accepting art samples year for all age groups. Publishes picture books, SWOON READS, SQUARE FISH: Elizabeth Clark to keep in mind for a potential cover. Please chapter books, and novels for preschoolers ART DIRECTOR, FSG, ROARING BROOK PRESS: Jen send via regular mail to “Feiwel and Friends, c/o through young adult. Keenan Art Department”; do not send original art. GODWIN BOOKS publishes fiction and nonfiction PRIDDY BOOKS imprint publishes photographic across all age ranges. books for children. :01 First Second QUERY LETTERS: Not accepting. DESCRIPTION: Publishes books for toddlers (An Imprint of Macmillan Children’s Publishing MULTIPLE SUBMISSIONS: Not accepting. through young adults in hardcover and Group’s Roaring Brook Press) UNSOLICITED MANUSCRIPTS: Not accepting. paperback. Includes the Francis Foster Books firstsecondbooks.com ARTWORK INTEREST: Not accepting. imprint. PRESIDENT & PUBLISHER, ROARING BROOK, FSG QUERY LETTERS: Not accepting. BOOKS FOR YOUNG READERS, FIRST SECOND: Odd Dot MULTIPLE SUBMISSIONS: Not accepting. Jennifer Besser (An Imprint of Macmillan Children’s Publishing ARTWORK INTEREST: Not accepting. EDITORIAL & CREATIVE DIRECTOR: Mark Siegel Group) EDITORIAL DIRECTOR: Calista Brill us.macmillan.com/publishers/odd-dot Feiwel and Friends/Swoon Reads EDITOR: Robyn Chapman PUBLISHER: Daniel Nayeri EDITORIAL DIRECTOR: Nathalie Le Du (An Imprint of Macmillan Children’s Publishing ASSISTANT EDITOR, FIRST SECOND: Kiara Valdez SENIOR EDITOR: Justin Krasner Group) ART DIRECTOR, FIRST SECOND: Kirk Benshoff EDITORIAL ASSISTANT: Kate Avino us.macmillan.com/publishers/feiwel-and-friends DESCRIPTION: Graphic novels for all ages. CREATIVE DIRECTOR: Christina Quintero www.swoonreads.com Approximately 15 titles per year. QUERY LETTERS: Not accepting. DESCRIPTION: Publishing interactive nonfiction SENIOR VP & PUBLISHER, FEIWEL & FRIENDS, HENRY MULTIPLE SUBMISSIONS: Not accepting. children’s books intended to appeal to both HOLT BOOKS, SWOON READS, SQUARE FISH: Jean academically inclined children and those who Feiwel UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK INTEREST: Accepting. Copies and struggle with traditional learning. DIRECTOR, SWOON READS: Lauren Scobell printed material (but no original art) are ASSOCIATE PUBLISHER: Liz Szabla welcome through regular mail. SENIOR EDITOR, SWOON READS AND FEIWEL & Roaring Brook Press FRIENDS: Kat Brzozowski (An Imprint of Macmillan Children’s Publishing SENIOR EDITOR, SWOON READS AND FEIWEL & Flatiron Books Group) FRIENDS: Anna Roberto (An Imprint of Macmillan Publishing Group) us.macmillan.com/publishers/roaring-brook-press SENIOR EDITOR, SWOON READS AND FEIWEL & us.macmillan.com/publishers/flatiron-books PRESIDENT & PUBLISHER, ROARING BROOK, FSG FRIENDS: Holly West SVP, PUBLISHER: Megan Lynch BOOKS FOR YOUNG READERS, FIRST SECOND: ASSOCIATE EDITOR, FEIWEL & FRIENDS: Erin Siu VP & ASSOCIATE PUBLISHER: Liz Keenan Jennifer Besser EDITOR, IMPRINT, FEIWEL & FRIENDS: Foyinsi EDITORIAL DIRECTOR, YOUNG ADULT: Sarah Barley EXECUTIVE EDITOR: Connie Hsu Adegbonmire DESCRIPTION: Flatiron Books is a division of EDITOR: Emily Feinberg ASSOCIATE EDITOR, SWOON READS, FEIWEL & Macmillan publishing 8-10 novels per year. EDITOR: Kate Meltzer FRIENDS: Emily Settle Committed to publishing intelligent fiction and ASSISTANT EDITOR, ROARING BROOKS PRESS: Megan ASSISTANT EDITOR, SWOON READS, FEIWEL & nonfiction with commercial appeal by authors Abbate FRIENDS: Rachel Diebel with distinctive voices, including books for EDITORIAL ASSISTANT, ROARING BROOK PRESS, FSG: VP & SENIOR CREATIVE DIR, FSG, ROARING BROOK young adults. Luisa Beguiristain PRESS, HENRY HOLT CHILDREN’S, FEIWEL & FRIENDS, QUERY LETTERS: Not accepting. VP & SENIOR CREATIVE DIR, FSG, ROARING BROOK SWOON READS, SQUARE FISH: Elizabeth Clark MULTIPLE SUBMISSIONS: Not accepting. PRESS, HENRY HOLT CHILDREN’S, FEIWEL & FRIENDS, SWOON READS imprint is a crowdsourced teen UNSOLICITED MANUSCRIPTS: Not accepting. SWOON READS, SQUARE FISH: Elizabeth Clark

www.scbwi.org all-genre imprint working with both writers and ARTWORK INTEREST: Not accepting. ART DIRECTOR, FSG, ROARING BROOK PRESS: Jen | readers to discover (and then publish) “swoon- Keenan worthy” teen romance novels (with protagonists Henry Holt Books for Young Readers DESCRIPTION: Trade picture books, fiction, and ages 14–19) and New Adult novels (with (An Imprint of Macmillan Children’s Publishing nonfiction for preschool through young adult. protagonists ages 19–23). Group) Approximately 60 titles per year. Includes the DESCRIPTION: Publishes list of picture books, us.macmillan.com/publishers/henry-holt :01 First Second imprint (listed separately fiction, and nonfiction with broad commercial PRESIDENT & PUBLISHER: Amy Einhorn above), and the paperback imprint Square Fish. appeal for readers from preschool through SENIOR VP & PUBLISHER, FEIWEL & FRIENDS, HENRY QUERY LETTERS: Not accepting. young adult. HOLT BOOKS, SWOON READS, SQUARE FISH: Jean MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Not accepting. Feiwel UNSOLICITED MANUSCRIPTS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. PUBLISHER, GODWIN BOOKS: Laura Godwin ARTWORK INTEREST: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting only for EDITORIAL DIRECTOR: Christian Trimmer Swoon Reads, for which interested writers SENIOR EDITOR, HHBYR: Kate Farrell Tor Books submit online via www.swoonreads.com, at EDITOR: Brian Geffen (An Imprint of Macmillan Children’s Publishing which viewers can read the material and SENIOR EDITOR: Tiffany Liao Group)

PUBLICATIONS GUIDE: THE BOOK report on it to the publisher. Must be original, EDITOR, HOLT, GODWIN BOOKS: Julia Sooy Tom Doherty Associates, LLC complete novels that have never been under ASSOCIATE EDITOR: Rachel Murray 175 Fifth Avenue, New York, NY 10010

2021 contract with a publisher; submissions are ASSISTANT EDITOR: Mark Podesta us.macmillan.com/TorForge 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 119

Tor.com Focuses on bold, diverse, and commercial PUBLISHER & CEO: Herwig Bitsche FOUNDER, CHAIRMAN, TOR/FORGE: Tom Doherty voices in fiction and nonfiction who speak to ASSOCIATE PUBLISHER: Andrew Rushton PRESIDENT & PUBLISHER, TOR/FORGE: Fritz Foy readers looking for stories in and beyond the EDITOR, PICTURE BOOKS: Beth Terrill VP & PUBLISHER, TOR TEEN: Dev Pillai YA category. DESCRIPTION: The list includes picture books VP & PUBLISHER, FORGE: Linda Quinton QUERY LETTERS: Not accepting. (primarily fiction), early chapter books, and VP & PUBLISHER, TOR BOOKS, & CREATIVE DIRECTOR MULTIPLE SUBMISSIONS: Not accepting. some board books. Publishes over 30 titles TOR.COM: Irene Gallo UNSOLICITED MANUSCRIPTS: Accepting. annually. Distributed by Simon & Schuster. VP, EDITOR-IN-CHIEF, TOR: Patrick Nielsen ARTWORK INTEREST: Accepting. QUERY LETTERS: Not accepting. Prefer full SENIOR EDITOR, TOR TEEN, TOR STARSCAPE: Ali manuscript submission. Fisher MUDDY BOOTS MULTIPLE SUBMISSIONS: Yes. SENIOR EDITOR, TOR/FORGE: Miriam Weinberg (An Imprint of Globe Pequot, a Division of DESCRIPTION: Includes the children’s books UNSOLICITED MANUSCRIPTS: Accepting full Rowman & Littlefield) MARKET SURVEYS imprints Tor Teen and Tor Starscape. manuscripts for picture books via electronic 246 Goose Lane TOR SKYSCAPE publishes award-winning science submission. Submission guidelines: https:// Guilford, CT 06437 fiction and fantasy for middle grade readers northsouth.com/submissions. muddybootsbooks.com ages 10 and up (grades 5 and up), published ARTWORK INTEREST: Yes, through editors. Send EDITORIAL DIRECTOR & EXECUTIVE EDITOR: Rick in hardcover and paperback. All titles are postcard samples and email submissions. age- and theme-appropriate. Some editions Rinehart include reader’s guides and other supplemental DESCRIPTION: Publishing books that help kids NORTH STAR EDITIONS materials. ages 12 and under engage with the outdoors. 2297 Waters Drive TOR TEEN publishes critically acclaimed science QUERY LETTERS: Accepting. See guidelines at Mendota Heights, MN 55120 fiction and fantasy for young adult readers http:/muddybootsbooks.com/submission. 888-417-0195; Fax: 952-582-1000 ages 13 and up (grades 8 and up), published MULTIPLE SUBMISSIONS: Accepting. www.northstareditions.com in hardcover and paperback. All titles are UNSOLICITED MANUSCRIPTS: Not accepting. age- and theme-appropriate. Some editions ARTWORK INTEREST: Not accepting. include reader’s guides and other supplemental Flux materials. (An Imprint of North Star Editions) QUERY LETTERS: Not accepting. NATIONAL GEOGRAPHIC KIDS www.fluxnow.com MULTIPLE SUBMISSIONS: Not accepting. http://www.nationalgeographic.com/books/ EDITORIAL DIRECTOR, FLUX, JOLLY FISH: Mari UNSOLICITED MANUSCRIPTS: Accepting. Send about-us/our-program/ Kesselring cover letter, synopsis, 3 sample chapters, SVP, PUBLISHER, & EDITORIAL DIRECTOR: Lisa EDITOR, JOLLY FISH, FLUX: Kelsy Thompson and SASE for reply only (materials will not be Thomas EDITOR: Ashley Wyrick DESCRIPTION: Young adult fiction imprint returned). No email submissions. Response VP & EDITORIAL DIRECTOR: Rebecca Baines specializing in edgy, realistic books, with time 4–6 months. See website for details EXECUTIVE EDITOR, PRESCHOOL, KIDS AND FAMILY: everything from literary to comedic reads. us.macmillan.com/torforge/about/faq/. Marfé Ferguson Delano ARTWORK INTEREST: Yes, for cover art QUERY LETTERS: Accepting. SENIOR EDITOR, CHILDREN’S BOOKS: Shelby Alinsky consideration. Tearsheets/copies only; no MULTIPLE SUBMISSIONS: Accepting. EDITOR, CHILDREN’S BOOKS: Ariane Szu-Tu original art. See website for portfolio review in UNSOLICITED MANUSCRIPTS: Accepting YA ASSOCIATE EDITOR: Kathryn Williams formation. submissions, per guidelines at www.fluxnow. ASSISTANT EDITOR: Michaela Weglinski com/submissions. Looking for well-crafted YA Wednesday Books NATIONAL GEOGRAPHIC KIDS imprint’s list fiction with a strong voice, engaging plot, and unique characters. Interested in mystery/ (An Imprint of Macmillan Children’s Publishing consists of about 100 trade and direct mail thrillers/suspense; realistic fiction/voice-drive Group) narrative nonfiction and reference titles a year, contemporary; alternate realities/magical PRESIDENT & PUBLISHER, ST. MARTIN’S PRESS, appealing to gift-givers, librarians, and kids. realism/flashbacks/time travel; high fantasy; or WEDNESDAY BOOKS: Jennifer Enderlin Subjects of interest include history, biography, unique literary approaches. VP, EDITORIAL DIRECTOR OF ACQUISITION science, nature, geography, adventure, ARTWORK INTEREST: Accepting. OUTREACH, ST. MARTIN’S PRESS: Monique exploration, and the multicultural society for Patterson ages 3–16. EDITORIAL DIRECTOR: Sara Goodman Focus Readers UNDER THE STARS imprint publishes original EXECUTIVE EDITOR, ST. MARTIN’S PRESS & ASSOCIATE (An Imprint of Lift Bridge Editions) fiction for middle grade readers. PUBLISHER, WEDNESDAY BOOKS: Eileen Rothschild www.focusreaders.com QUERY LETTERS: Not accepting. SENIOR EDITOR, ST. MARTIN’S PRESS, WEDNESDAY DESCRIPTION: Middle grade nonfiction imprint MULTIPLE SUBMISSIONS: Not accepting. BOOKS: Vicki Lame distributed by North Star Editions focusing ASSOCIATE EDITOR, ST. MARTIN’S PRESS: Sylvan UNSOLICITED MANUSCRIPTS: Not accepting. on titles for students in grades 3–7 with an Creekmore ARTWORK INTEREST: Not accepting. emphasis on accessible text and visuals aimed ASSOCIATE EDITOR, ST. MARTIN’S PRESS, WEDNESDAY to engage younger readers. QUERY LETTERS: Not accepting. BOOKS: Jennie Conway NORTHSOUTH BOOKS MULTIPLE SUBMISSIONS: Not accepting. ASSISTANT EDITOR, ST. MARTIN’S PRESS: Sarah Grill (An Imprint of Oetinger Publishing Group) UNSOLICITED MANUSCRIPTS: Not accepting. All EDITORIAL ASSISTANT, ST. MARTIN’S PRESS: Alex 600 Third Avenue, 2nd Floor work is work-for-hire. Interested authors should Brown New York, NY 10016 send a resume and publication list to jobs@ DESCRIPTION: A crossover imprint of MacMillan’s 917-210-5868 St. Martin’s Press division, publishing YA and redlineeditorial.com. www.northsouth.com adult titles focused on coming-of-age themes. ARTWORK INTEREST: Not accepting. 120 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

middle grade books for ages 8 to 12. MULTIPLE SUBMISSIONS: Accepting. Jolly Fish Press CUBHOUSE publishes original graphic novels and UNSOLICITED MANUSCRIPTS: Accepting, per (An Imprint of North Star Editions) picture books for children 12 and under. guidelines at www.pagestreetpublishing.com/ jollyfishpress.com ROAR publishes young adult comic books. submission-guidelines. EDITORIAL DIRECTOR, FLUX, JOLLY FISH: Mari DESCRIPTION: Publishing graphic novels and ARTWORK INTEREST: No. Kesselring picture books EDITOR: Carlisa Cramer QUERY LETTERS: Accepts periodically. PEACHTREE PUBLISHING COMPANY EDITOR, JOLLY FISH, FLUX: Kelsy Thompson MULTIPLE SUBMISSIONS: Okay. INC. DESCRIPTION: Publishing middle grade and young (A Division of Trustbridge Global Media) adult fiction in the national and international UNSOLICITED MANUSCRIPTS: Accepting only market. Particular interest in stories that are during submission periods; see https://www. 1700 Chattahoochee Avenue emotional in unpredictable ways; science fiction lionforge.com/submissions/ for submission Atlanta, GA 30318 and fantasy with an epic and visual scope; period updates. 404-876-8761 thrillers with strong, carefully crafted characters ARTWORK INTEREST: No. www.peachtree-online.com and a unique voice; and unconventional love www.peachtreepub.blogspot.com stories. Oni Press PRESIDENT & PUBLISHER: Margaret Quinlin QUERY LETTERS: Accepting. (An Imprint of Polarity) VP, ASSOCIATE PUBLISHER: Kathy Landwehr MULTIPLE SUBMISSIONS: Accepting. www.onipress.com SENIOR EDITOR: Vicky Holifield UNSOLICITED MANUSCRIPTS: Accepting. Email PUBLISHER, ONI: James Lucas Jones SENIOR EDITOR: Jonah Heller submission only, per submission guidelines at EDITOR-IN-CHIEF: Sarah Gaydos ACQUISITIONS EDITOR: Ashley Hearn http://jollyfishpress.com/submissions/. DESCRIPTION: Publishing comic books and EDITOR-AT-LARGE: Catherine S. Frank ARTWORK INTEREST: Accepting. graphic novels. DESCRIPTION: An independently owned trade QUERY LETTERS: Accepts periodically. publisher, publishing 30 titles annually of NORTON YOUNG READERS MULTIPLE SUBMISSIONS: Okay. children’s fiction and nonfiction, including (An Imprint of W. W. Norton & Company) UNSOLICITED MANUSCRIPTS: Accepting only picture books, chapter books, and middle grade 500 Fifth Avenue during submission periods; see https://onipress. and young adult novels. New York, NY 10110 com/pages/faq-section for submission period QUERY LETTERS: Not accepting 212-354-5500; Fax: 212-869-0956 updates. MULTIPLE SUBMISSIONS: Not accepting. books.wwnorton.com ARTWORK INTEREST: No. UNSOLICITED MANUSCRIPTS: Not accepting. PUBLISHING DIRECTOR: Simon Boughton ARTWORK INTEREST: Not accepting. EDITORIAL ASSISTANT: Kristin Allard OWL HOLLOW PRESS DESCRIPTION: Publishing a broad range of picture www.owlhollowpress.com PELICAN PUBLISHING COMPANY books through Young Adult, both fiction and EDITORIAL DIRECTOR: Emma Nelson (A Division of Arcadia Publishing) nonfiction. ACQUISITION EDITOR: Hannah Smith 990 N. Corporate Drive, Suite 100 QUERY LETTERS: Not accepting. DESCRIPTION: An independent publisher of New Orleans, LA 70123 MULTIPLE SUBMISSIONS: N/A genre fiction, contemporary, and nonfiction 504-684-8976 UNSOLICITED MANUSCRIPTS: Not accepting. books for middle graders and teens. Not seeking www.pelicanpub.com ARTWORK INTEREST: Accepting. picture books. PUBLISHER: Scott Campbell QUERY LETTERS: Accepting. EDITOR-IN-CHIEF: Nina Kooij POLARITY MULTIPLE SUBMISSIONS: Accepting. ASSISTANT EDITOR: Devinn Adams (A Division of Polarity) UNSOLICITED MANUSCRIPTS: Accepting. See DESCRIPTION: Publishing approximately 50–60 FOUNDER & CEO, POLARITY: David Steward III submission window and guidelines at https:// titles a year. General list with a strong local PRESIDENT, POLARITY: Edward Hamati owlhollowpress.com/submissions/. emphasis; always looking for good material if www.scbwi.org DESCRIPTION: Publishing a wide range of content ARTWORK INTEREST: Accepting. focus is correct. Nonfiction or fiction. Age levels | designed for diverse audiences, including 5–8. graphic novels for young readers. Lion Forge PAGE STREET PUBLISHING CO. QUERY LETTERS: Accepting, with full manuscript. and Oni Press were moved under the umbrella 27 Congress Street, Suite 105 MULTIPLE SUBMISSIONS: Not accepting. of the same parent company, Polarity, in 2019. Salem, MA 01970 UNSOLICITED MANUSCRIPTS: Accepting, via email Merge is on-going; submission and imprint 978-594-8758 only. See website for submission guidelines. organization still to be announced definitely. www.pagestreetpublishing.com Exclusive submission for up to one month. Distributed by Simon & Schuster. PUBLISHER: William Keister Middle grade and YA submissions: exclusive CHILDREN’S EDITOR: Courtney Burke submission for up to one month. Picture book Lion Forge SENIOR CHILDREN’S EDITOR: Lauren Knowles submissions: exclusive submission for up to (An Imprint of Polarity) ASSOCIATE EDITOR: Tamara Grasty three months. www.lionforge.com DESCRIPTION: Publishing illustration-focused ARTWORK INTEREST: Yes. Sample submissions LION FORGE CO-FOUNDER & CHIEF CREATIVE picture books for the Page Street Kids welcome via email or US Post. OFFICER: Carl Reed imprint and Young Adult fiction in all genres. PUBLICATIONS GUIDE: THE BOOK SENIOR EDITOR, LION FORGE: Shawna Gore Distributed by Macmillan. CARACAL publishes a diverse, inclusive line of QUERY LETTERS: Accepting. 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 121

PENGUIN YOUNG READERS GROUP DESCRIPTION: Boutique teen and middle ASSOCIATE EDITOR: Karl Jones 1745 Broadway grade fiction imprint with a focus on titles ASSOCIATE EDITOR, PENGUIN WORKSHOP: Nathaniel of exceptional literary quality and strong New York, NY 10019 Tabachnik commercial appeal. Publishes approximately 15 212-782-9000 ASSISTANT EDITOR, RISE X PENGUIN WORKSHOP: titles a year; eager to see new writers, breakout www.penguinrandomhouse.com Gabriella DeGennaro talent. Looking for material that is entertaining ASSISTANT EDITOR, PENGUIN WORKSHOP: Anu www.penguin.com/children/ and audience oriented; contemporary stories Ohioma Penguin Young Readers Group submission with strong, original voices. No picture books or guidelines page: http://www.penguin.com/ nonfiction, please. ASSISTANT EDITOR, PENGUIN WORKSHOP: Rachel aboutus/faq/#manuscripts QUERY LETTERS: Not accepting. Sonis PRESIDENT, PENGUIN YOUNG READERS GROUP U.S.: MULTIPLE SUBMISSIONS: Not accepting. ART DIRECTOR, RISE X PENGUIN WORKSHOP: Maria Jennifer Loja UNSOLICITED MANUSCRIPTS: Not accepting. Elias EVP, ASSOCIATE PUBLISHER, PHILOMEL: Jocelyn MARKET SURVEYS ARTWORK INTEREST: Not accepting. PENGUIN WORKSHOP imprint publishes books in Schmidt a variety of categories, formats, and styles for VP, EXECUTIVE MANAGING EDITOR, PENGUIN YOUNG G.P. Putnam’s Sons Books for Young readers ages 0–12, including the series-oriented READERS, & ASSOCIATE PUBLISHER, VIKING: Gerard Readers Ladybird line of books for young children. Mancini (A Division of Penguin Young Readers Group) VP & EXECUTIVE ART DIRECTOR: Cecilia Yung RISE X PENGUIN WORKSHOP is a line of board www.penguin.com/publishers/ ART DIRECTOR: Marikka Tamura books and early picture books for children up to gpputnamssonsbooksforyoungread/ DESCRIPTION: Random House and Penguin the age of 5. http://www.penguin.com/publishers/ Publishing merged in 2013 to form Penguin DESCRIPTION: Strong trade, mass market, and nancypaulsenbooks/ Random House; at present, the children’s school market list for audience from preschool PRESIDENT & PUBLISHER, PUTNAM’S, RAZORBILL: books divisions of the two respective merged Jennifer Klonsky through sixth grade. Publishes approximately companies function separately. Penguin PRESIDENT & PUBLISHER, NANCY PAULSEN BOOKS: 135 titles per year and deals largely in original Young Readers Group imprints also include Nancy Paulsen paperback series, leveled readers, brands, the licensed book imprint Cartoon Network ASSOCIATE EDITORIAL DIRECTOR: Susan Kochan and licenses. Interest in series, licensing and Books and the Frederick Warne imprint, which EXECUTIVE EDITOR: Stacey Barney novelty ideas, some nonfiction up to age 12. develops classic book-based characters, not EXECUTIVE EDITOR: Arianne Lewin The PSS!/Price Stern Sloan imprint publishes original books. EXECUTIVE EDITOR: Margo Lipschultz predominantly novelty and paperback titles, not SENIOR EDITOR: Stephanie Pitts Dial Books for Young Readers original books. ASSISTANT EDITOR: Elise LeMassena (A Division of Penguin Young Readers Group) QUERY LETTERS: Not accepting. ASSISTANT EDITOR: Caitlin Tutterow www.penguin.com/publishers/ MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Focusing on fiction at the dialbooksforyoungreaders/ UNSOLICITED MANUSCRIPTS: Accepting all formats preschool level and ages 8–12 as well as YA. PRESIDENT & PUBLISHER: Lauri Hornik Some young nonfiction material. Includes the except for picture books. Summary and the first ASSOCIATE PUBLISHER & EDITORIAL DIRECTOR: Nancy Paulsen Books imprint. chapter or two for longer works. Must include Nancy Mercado QUERY LETTERS: Not accepting. SASE. EXECUTIVE EDITOR: Kate Harrison MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Yes, send to Art Director. EXECUTIVE EDITOR: Jessica Garrison UNSOLICITED MANUSCRIPTS: Not accepting. EDITOR: Dana Chidiac ARTWORK INTEREST: Yes, send to Art Director. Kathy Dawson Books EDITOR: Ellen Cormier (An Imprint of Penguin Young Readers Group) VP & EXECUTIVE ART DIRECTOR: Lily Malcom Grosset & Dunlap/PSS!/Penguin www.penguin.com/publishers/ DESCRIPTION: List of 75 hardcover books kathydawsonbooks/ annually. Interested in picture books for Workshop VP & PUBLISHER: Kathy Dawson preschool and ages 4–8 as well as fiction (A Division of Penguin Young Readers Group) DESCRIPTION: A boutique hardcover imprint (middle grade and YA). www.penguin.com/publishers/grossetdunlap/ publishing emotionally driven middle grade and QUERY LETTERS: Not accepting. www.penguin.com/publishers/penguinworkshop/ young adult fiction across a variety of genres. MULTIPLE SUBMISSIONS: Not accepting. PRESIDENT & PUBLISHER, GROSSET & DUNLAP/ QUERY LETTERS: Accepts queries via regular UNSOLICITED MANUSCRIPTS: Not accepting. PSS!, PENGUIN YOUNG READERS, WARNE & EARLY U.S. Post only, no email submissions and no ARTWORK INTEREST: Yes, direct to Art Director. READERS, PENGUIN WORKSHOP, & CARTOON full manuscripts, please. Please do not include Send nonreturnable samples through regular NETWORK BOOKS: Francesco Sedita postcards or SASE, as will respond only if mail. No originals. Present as wide a variety of VP & ASSOCIATE PUBLISHER, GROSSET & DUNLAP/ interested, with response time being four styles as possible. Show examples of children PSS!, WARNE: Daniel Moreton months. and animals. Include SASP (postcard) if you VP & EDITOR-AT-LARGE: Jane O’Connor MULTIPLE SUBMISSIONS: Not accepting. want a response. PUBLISHING DIRECTOR, PRESCHOOL PUBLISHING, UNSOLICITED MANUSCRIPTS: Not accepting. RISE X PENGUIN WORKSHOP: Cecily Kaiser ARTWORK INTEREST: Not accepting. Dutton Children’s Books DIRECTOR, NONFICTION PUBLISHING, PENGUIN (A Division of Penguin Young Readers Group) WORKSHOP: Paula Manzanero www.penguin.com/publishers/ Kokila (An Imprint of Penguin Young Readers Group) duttonchildrensbooks/ EDITORIAL DIRECTOR, PENGUIN WORKSHOP: Rob www.penguin.com/publishers/kokila/ PRESIDENT & PUBLISHER: Julie Strauss-Gabel Valois VP & PUBLISHER: Namrata Tripathi EXECUTIVE EDITOR: Andrew Karre SENIOR EDITOR, PENGUIN WORKSHOP: Renee Kelly EXECUTIVE EDITOR: Zareen Jaffrey ASSOCIATE PUBLISHING MANAGER: Melissa Faulner EDITOR, POP CULTURE & TRENDS: Nicholas Magliato SENIOR EDITOR: Joanna Cárdenas 122 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

ASSISTANT EDITOR: Sydnee Monday per year for teens and adults (www.firebirdbooks. PERSNICKETY PRESS ART DIRECTOR: Jasmin Rubero com). (An Imprint of Cornell Lab Publishing Group) DESCRIPTION: An imprint focusing on fiction QUERY LETTERS: Not accepting. https://persnickety-press.com and nonfiction books that spotlight themes of MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Publishing books for children and representation and inclusion. Publishing 15–20 UNSOLICITED MANUSCRIPTS: Not accepting. young adults, both fiction and nonfiction from titles annually, ranging from picture books to ARTWORK INTEREST: Accepting. Send to Art picture books through teen titles. Persnickety middle grade to young adult, as well as graphic Director. Do not send originals. novels. Press books explore topics in unique and QUERY LETTERS: Accepting. Razorbill humorous ways, focusing on nonfiction and MULTIPLE SUBMISSIONS: Accepting. (A Division of Penguin Young Readers Group) fiction titles that aim to contribute to the well- UNSOLICITED MANUSCRIPTS: Accepting September www.penguin.com/publishers/razorbill/ being, growth, and empowerment of children. 1 through December 1. Email with query letter VP, PUBLISHER, PUTNAM’S, RAZORBILL: Jennifer QUERY LETTERS: Not accepting. in the body of the message and work as an Klonsky MULTIPLE SUBMISSIONS: Accepting. attachment no larger than 20 MB at kokila@ VP, PUBLISHER: Casey McIntyre UNSOLICITED MANUSCRIPTS: Normally accepting penguinrandomhouse.com. We’ll respond before EXECUTIVE EDITOR: Ruta Rimas submissions via website portal at https:// August 30th of the following year. No physical SENIOR EDITOR: Chris Hernandez persnickety-press.com/submissions/, but submissions. Priority will be with stories for and SENIOR EDITOR: Julie Rosenberg submissions are temporarily suspended during from marginalized communities. See submission VP & EXECUTIVE ART DIRECTOR: Deborah Kaplan the pandemic. guidelines at www.penguin.com/publishers/ DESCRIPTION: Original contemporary fiction titles ARTWORK INTEREST: Accepting. Art upload kokila/. for middle grade and teen readers (ages 11–18). ARTWORK INTEREST: Not accepting. QUERY LETTERS: Not accepting. instructions at https://persnickety-press.com/ MULTIPLE SUBMISSIONS: Not accepting. submissions/. Philomel Books UNSOLICITED MANUSCRIPTS: Not accepting. (A Division of Penguin Young Readers Group) ARTWORK INTEREST: Not accepting samples. PETER PAUPER PRESS www.penguin.com/publishers/philomel/ 202 Mamaroneck Ave., 4th floor PRESIDENT & PUBLISHER, VIKING, PHILOMEL: Ken Viking Children’s Books White Plains, New York 10601-5376 Wright (A Division of Penguin Young Readers Group) 914-681-0144; Fax: 914-681-0389 ASSOCIATE PUBLISHER: Jill Santopolo www.penguin.com/publishers/ www.peterpauper.com SENIOR EDITOR: Liza Kaplan vikingchildrensbooks/ EXECUTIVE EDITOR: Mara Conlon EDITOR: Kelsey Murphy VP, EXECUTIVE MANAGING EDITOR, ASSOCIATE DESCRIPTION: Publishes approximately one ASSOCIATE EDITOR: Talia Benamy PUBLISHER: Gerard Mancini hundred books and ancillary products annually, ASSOCIATE EDITOR: Cheryl Eissing PRESIDENT & PUBLISHER, VIKING, PHILOMEL: Ken including gift books, humor books, compact ASSOCIATE EDITOR: Tricia Lin Wright ART DIRECTOR: Ellice Lee VP, PUBLISHER, FLAMINGO BOOKS: Margaret references, travel guides, journals, and DESCRIPTION: List with strong interest in story, Anastas stationery. The house has also established must have voice. Picture books often deal with EDITORIAL DIRECTOR, VIKING CHILDREN’S BOOKS: a presence in the children’s market with its the human experience and spirit. Interest in Tamar Brazis various lines of activity books. Its trade picture regional and ethnic pieces that are authentic EDITORIAL DIRECTOR, PICTURE BOOKS: Tracy Gates book line publishes two to four hardcover and have child appeal. Action/adventure and EXECUTIVE DIRECTOR: Jenny Bak picture books annually. sports books; literary fiction; fantasy with SENIOR EDITOR: Dana Leydig QUERY LETTERS: Accepting via U.S. Post mailed warm, human component and unique world ASSOCIATE EDITOR: Maggie Rosenthal to the attention of “Editorial Submissions.” Will building; mystery; and historical fiction. No ASSISTANT EDITOR: Aneeka Kalia respond within three months only if they feel concept books. VP & EXECUTIVE ART DIRECTOR: Denise Cronin the project is a match for the list. QUERY LETTERS: Not accepting. ART DIRECTOR: Ellice Lee MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Accepting. FLAMINGO BOOKS imprint publishes commercial UNSOLICITED MANUSCRIPTS: Accepting.

www.scbwi.org UNSOLICITED MANUSCRIPTS: Not accepting. picture books and picture book franchises.

| ARTWORK INTEREST: Accepting. Send to Art ARTWORK INTEREST: Accepting. Submit via Launching spring 2021. Director. hardcopy to the attention of “Art Submissions.” DESCRIPTION: List of high quality trade hardcover Nonreturnable pieces only. Puffin Books books for children of all ages through young (A Division of Penguin Young Readers Group) adult, including picture books, fiction, PHAIDON CHILDREN’S BOOKS nonfiction, and novelty books. Output averages www.penguin.com/publishers/puffin/ (An Imprint of Phaidon Press) 60 titles annually. PRESIDENT & PUBLISHER: Eileen Bishop Kreit 65 Bleecker Street, 8th Floor VP, EXECUTIVE ART DIRECTOR: Deborah Kaplan QUERY LETTERS: Not accepting. New York, NY 10012 DESCRIPTION: Paperback list that ranges from MULTIPLE SUBMISSIONS: Not accepting. 212-652-5400; Fax: 212-652-5410 preschool to teen, with both fiction and UNSOLICITED MANUSCRIPTS: Not accepting. www.phaidon.com/about-phaidon/ nonfiction. Picture books, middle grade, ARTWORK INTEREST: Accepting. Send to Art www.phaidon.com/store/childrens-books/ and young adult books. Includes paperback Director. No originals, please. originals, such as middle grade and teen fiction SENIOR EDITOR, CHILDREN’S BOOKS: Maya Gartner and nonfiction. Always interested in new ART DIRECTOR, CHILDREN’S BOOKS: Meagan writers. Includes the paperback reprint imprint Bennett PUBLICATIONS GUIDE: THE BOOK Speak, and the science fiction/fantasy crossover DESCRIPTION: Publishing board books, novelty imprint Firebird, which publishes 12–18 books

2021 books, and picture books for ages 0–8. 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 123

QUERY LETTERS: Accepting book proposals, via http://www.quartoknows.com/MoonDance-Press FRANCIS LINCOLN CHILDREN’S imprint, also email only at [email protected]. VP & GROUP PUBLISHER: Anne Landa located in London, publishes picture books and For book proposal submission guidelines, see DESCRIPTION: Publishing approximately 20 titles gift titles that celebrate cultural diversity, as http://www.phaidon.com/about-phaidon/ annually. Publishing original, edutainment- well as narrative nonfiction. DESCRIPTION: Specializes in curriculum-focused submitting-a-book-proposal/. quality nonfiction picture books focusing on science, nature, and discovery. illustrated nonfiction for ages 2–10 with MULTIPLE SUBMISSIONS: No. QUERY LETTERS: Not accepting. an emphasis on art, geography, and natural UNSOLICITED MANUSCRIPTS: Accepting. MULTIPLE SUBMISSIONS: Not accepting. history. Based in the U.K., Wide Eyed Editions PAYMENT: N/A UNSOLICITED MANUSCRIPTS: Accepting. Please releases are edited in the U.S. for North ARTWORK INTEREST: Not accepting. submit proposal, signed Submission Agreement, American audiences. Many of the Wide Eyed ARTWORK PAYMENT: N/A and other materials listed on submission Editions authors and illustrators are American. guidelines posted at https://www.quarto.com/ QUERY LETTERS: Accepting. MARKET SURVEYS PIXEL+INK submission-guidelines. MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Trustbridge Global Media) ARTWORK INTEREST: Yes. Please submit UNSOLICITED MANUSCRIPTS: Accepting. Please www.pixelandinkbooks.com qualifications, signed Submission Agreement, submit proposal, signed Submission Agreement, EDITOR-IN-CHIEF: Bethany Buck and other materials listed on submission and other materials listed on submission guidelines posted at https://www.quarto.com/ guidelines posted at https://www.quarto.com/ EDITOR: Alison Weiss submission-guidelines. submission-guidelines. DESCRIPTION: Publishing books with the ARTWORK INTEREST: Yes. Please submit potential to translate into various platforms. Walter Foster Jr. qualifications, signed Submission Agreement, List focuses on fiction series for children ages (An Imprint of Quarto USA) and other materials listed on submission 3-13 and includes a mix of picture books, 26391 Crown Valley Parkway, Suite 220 guidelines posted at https://www.quarto.com/ chapter books, middle grade novels, and Mission Viejo, CA 92691 submission-guidelines. graphic novels. Parent company Trustbridge is 949-380-7510; Fax: 949-380-7575 also the parent company of Holiday House and http://www.quartoknows.com/Walter-Foster-Jr words & pictures Peachtree. VP, GROUP PUBLISHER: Anne Landa (An Imprint of Quarto USA) QUERY LETTERS: Accepting. EDITORIAL DIRECTOR: Pauline Molinari The Old Brewery MULTIPLE SUBMISSIONS: Accepting. DESCRIPTION: Part of Walter Foster Publishing, 6 Blundell Street UNSOLICITED MANUSCRIPTS: Accepting. Electronic publisher of instructional art books and kits London N7 9BH UK submission only. Send full manuscripts to for adults and children. Walter Foster Jr. publishes books and kits for children of all www.quartoknows.com/words-pictures [email protected]. Responding only if ages, encouraging learning and exploring and GROUP PUBLISHER: Maxime Boucknooghe interested. covering a wide range of subjects, including DESCRIPTION: Publishing illustrated children’s ARTWORK INTEREST: Yes. Electronic submission art, transportation, history, craft, gardening, titles that celebrate imagination and creativity, only, to [email protected]. Responding and more. with a focus on escaping this world and only if interested. QUERY LETTERS: Not accepting. learning something that you don’t normally MULTIPLE SUBMISSIONS: Not accepting. see—and then coming back to the world and POLIS BOOKS UNSOLICITED MANUSCRIPTS: Accepting. Please enriching it. This formerly England-only imprint New York, NY submit proposal, signed Submission Agreement, expanded to the U.S. in 2017. www.polisbooks.com and other materials listed on submission QUERY LETTERS: Accepting. FOUNDER & PUBLISHER: Jason Pinter guidelines posted at https://www.quarto.com/ MULTIPLE SUBMISSIONS: Not accepting. submission-guidelines. UNSOLICITED MANUSCRIPTS: Accepting. Please DESCRIPTION: A digital-first independent ARTWORK INTEREST: Yes. Please submit submit proposal, signed Submission Agreement, publishing company publishing 30 to 40 titles qualifications, signed Submission Agreement, and other materials listed on submission annually, including young adult fiction. and other materials listed on submission guidelines posted at https://www.quarto.com/ QUERY LETTERS: Accepting. guidelines posted at https://www.quarto.com/ submission-guidelines. MULTIPLE SUBMISSIONS: Accepting. submission-guidelines. ARTWORK INTEREST: Yes. Please submit UNSOLICITED MANUSCRIPTS: Accepting. Please qualifications, signed Submission Agreement, send a query letter and three sample chapters Wide Eyed Editions and other materials listed on submission attached to an email to submissions@ (An Imprint of Quarto USA) guidelines posted at https://www.quarto.com/ polisbooks.com. Will respond only if interested. The Old Brewery submission-guidelines. ARTWORK INTEREST: Not accepting. 6 Blundell Street London N7 9BH QUIRK BOOKS QUARTO USA UK 215 Church Street (A Division of Quarto Group) wideeyededitions.com Philadelphia, PA 19106 www.quartoknows.com https://www.quartoknows.com/Wide-Eyed- 215-627-3581; Fax: 215-627-5220 Editions www.quirkbooks.com https://www.quartoknows.com/Frances-Lincoln- MoonDance Press PRESIDENT & PUBLISHER: Brett Cohen Childrens-Books (An Imprint of Quarto USA) SENIOR EDITOR: Alex Arnold PUBLISHER, CHILDREN’S BOOKS, WIDE EYED, 26391 Crown Valley Parlway, Suite 220 EDITORIAL ASSISTANT: Jessica Yang FRANCIS LINCOLN: Katie Cotton Mission Viejo, CA 92691 DESCRIPTION: Publishing innovative books for 949-380-7510; Fax: 949-380-7575 ASSOCIATE PUBLISHER, WIDE EYED, FRANCIS LINCOLN: Georgia Amson-Bradshaw middle graders and young adults within their 124 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READER1

program of approximately 25 books per year; ASSOCIATE EDITOR, KNOPF: Marisa DiNovis educational and general interest categories. distributed by Penguin Random House. ASSISTANT EDITOR, CROWN: Elizabeth Stranahan QUERY LETTERS: Not accepting. QUERY LETTERS: Accepting. EDITORIAL ASSISTANT: Arely Guzmán MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Accepting. EDITORIAL ASSISTANT: Gianna Lakenauth UNSOLICITED MANUSCRIPTS: Not accepting. EDITORIAL ASSISTANT: Claire Nist ARTWORK INTEREST: Not accepting for picture UNSOLICITED MANUSCRIPTS: Accepting. Email DESCRIPTION: The CBYR imprint has a list of books; only for book covers or line interiors. submissions only. Please submit to editor distinguished middle grade fiction and narrative specified at www.quirkbooks.com/page/ nonfiction for ages 8–12, although it publishes Joy Revolution submissions. the occasional YA. Publishes 10–15 new (An Imprint of Random House Children’s Books) ARTWORK INTEREST: Accepting. Send digital hardcovers each year. Interested in books with SVP & PUBLISHER, DELACORTE PRESS: Beverly samples to [email protected]. strong kid appeal that integrate nonfiction into Horowitz fiction and might have a curriculum hook. DESCRIPTION: Publishing YA romance by and RANDOM HOUSE CHILDREN’S BOOKS MAKE ME A WORLD imprint, curated by about people of color, curated by authors Nicola (A Division of Random House, Inc.) Christopher Myers, publishes literature for Yoon and David Yoon. Launching 2022. 1745 Broadway young people that reflects the diversity of a QUERY LETTERS: Not accepting. New York, NY 10019 broadening world. MULTIPLE SUBMISSIONS: Not accepting. TRICYCLE PRESS imprint published award-winning 212-782-9000 UNSOLICITED MANUSCRIPTS: Not accepting. board books, picture books, and novels for www.rhcbooks.com ARTWORK INTEREST: Not accepting. young people. www.randomhouse.com/teens QUERY LETTERS: Not accepting. Labyrinth Road www.penguinrandomhouse.com/imprints MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Random House Children’s Books) www.penguinrandomhouse.com UNSOLICITED MANUSCRIPTS: Not accepting. VP, EDITOR-IN-CHIEF, LABYRINTH ROAD: Liesa www.penguinrandomhouse.com/ ARTWORK INTEREST: Yes, for picture books, Abrams faqs/#manuscripts-how-do-i-submit-my- middle grade and teen fiction and nonfiction. DESCRIPTION: Publishing middle grade and young manuscript-or-abstract-to-penguin-random-house- Send sample postcards; email submissions will adult fiction with a focus on contemporary for-publication-2 not be reviewed. fantasy and realistic literary novels with high- DESCRIPTION: Random House and Penguin concept hooks. Launching 2022. Publishing merged in 2013 to form Penguin Anne Schwartz Books QUERY LETTERS: Not accepting. Random House; at present, the children’s (An Imprint of Random House Children’s Books) MULTIPLE SUBMISSIONS: Not accepting. books divisions of the two respective merged VP & PUBLISHER, KNOPF, ANNE SCHWARTZ BOOKS: UNSOLICITED MANUSCRIPTS: Not accepting. Melanie Nolan companies function separately. Random House ARTWORK INTEREST: Not accepting. VP & PUBLISHER: Anne Schwartz Children’s Books includes the paperback/reprint/ VP, EXECUTIVE EDITORIAL DIRECTOR, ANNE Random House/Golden Books Young classics imprints Bantam Books, Dragonfly, SCHWARTZ BOOKS, RANDOM HOUSE STUDIO: Maria Readers Group Delacorte Press Trade Paperbacks, Yearling Modugno (A Division of Random House Children’s Books) Books, Laurel Leaf, Golden Books, Ember, SENIOR EDITOR, ANN SCHWARTZ/RANDOM HOUSE PRESIDENT & PUBLISHER, RANDOM HOUSE’S Bluefire, Knopf Trade Paperbacks, the Disney STUDIO: Ann Kelley BEGINNER BOOKS, DR. SEUSS: Cathy Goldsmith properties imprint Disney Books for Young DESCRIPTION: Publishing picture books. EVP, DEPUTY PUBLISHER, RANDOM HOUSE Readers, and Schwartz & Wade Books, which will Launching summer 2021. CHILDREN’S BOOKS: Judith Haut publish its last list spring 2021. QUERY LETTERS: Not accepting. SVP, PUBLISHER, RANDOM HOUSE/GOLDEN BOOKS, PRESIDENT & PUBLISHER, RANDOM HOUSE MULTIPLE SUBMISSIONS: Not accepting. DOUBLEDAY, & CROWN BOOKS FOR YOUNG READERS CHILDREN’S BOOKS U.S.: Barbara Marcus UNSOLICITED MANUSCRIPTS: Not accepting. GROUP: Mallory Loehr ARTWORK INTEREST: Not accepting art samples. VP, EDITOR-IN-CHIEF, EXECUTIVE DIRECTOR LICENSED Alfred A. Knopf PUBLISHING/GOLDEN BOOKS: Chris Angelilli Crown Books for Young Readers Delacorte Press Books for Young VP, PUBLISHING DIRECTOR, RANDOM HOUSE/GOLDEN www.scbwi.org (An Imprint of Random House Children’s Books) Readers BOOKS GROUP: Michelle H. Nagler | EVP & PUBLISHER, RANDOM HOUSE/GOLDEN BOOKS, (An Imprint of Random House Children’s Books) VP, PUBLISHING DIRECTOR FOR CLASSIC BRANDS DOUBLEDAY, & CROWN BOOKS FOR YOUNG READERS SVP & PUBLISHER, DELACORTE PRESS: Beverly AND PRESCHOOL: Sonali Fry Horowitz GROUP: Mallory Loehr EDITOR-IN-CHIEF, DOUBLEDAY BYR: Frances Gilbert SENIOR EXECUTIVE EDITOR, DELACORTE, VP & CO-PUBLISHER, CROWN: Phoebe Yeh EDITORIAL DIRECTOR OF LICENSED PUBLISHING, UNDERLINED: Wendy Loggia VP & CO-PUBLISHER, CROWN: Emily Easton RANDOM HOUSE/GOLDEN BOOKS GROUP: Dennis SENIOR EXECUTIVE EDITOR: Krista Marino VP & PUBLISHER, KNOPF, ANNE SCHWARTZ BOOKS: Shealy Melanie Nolan EDITOR: Kelsey Horton EDITORIAL DIRECTOR, PICTURE BOOKS & BEGINNING EDITORIAL DIRECTOR, KNOPF: Erin Clarke ASSOCIATE EDITOR: Monica Jean READERS, RANDOM HOUSE: Heidi Kilgras EDITORIAL DIRECTOR, KNOPF, PICTURE BOOKS: ASSOCIATE EDITOR: Hannah Allaman Rotem Moscovich EDITORIAL ASSISTANT: Lydia Gregovic EDITORIAL DIRECTOR: Caroline Abbey SENIOR EXECUTIVE EDITOR, KNOPF: Nancy Siscoe UNDERLINED imprint publishes trade paperback EDITOR-AT-LARGE, EXECUTIVE EDITOR: Shana Corey EXECUTIVE EDITOR, RANDOM, MAKE ME A WORLD: original romances, thrillers, and mysteries EDITORIAL DIRECTOR, LITTLE GOLDEN BOOKS, Michelle Frey monthly on RHCB’s online community focused SESAME STREET: Andrea Posner-Sanchez SENIOR EDITOR, KNOPF: Katherine Harrison on young adult books and creative writing. SENIOR EXECUTIVE EDITOR: Sara Sargent

PUBLICATIONS GUIDE: THE BOOK DESCRIPTION: List of literary and commercial EDITOR, KNOPF: Kelly Delaney EXECUTIVE EDITOR, RANDOM HOUSE/BEGINNER fiction for the middle grade and YA categories, ASSOCIATE EDITOR, KNOPF: Karen Greenberg BOOKS: Alice Jonaitis

2021 as well as nonfiction that crosses both 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 125

EXECUTIVE EDITOR: Mary Man-Kong Rodale Kids for ages 6 to 9, with a dose of fun. SENIOR EDITOR: Diane Landolf (A Division of Random House Children’s Books) DESCRIPTION: Dedicated to publishing in stories EDITOR: Frank Berrios EVP & PUBLISHER, RANDOM HOUSE/GOLDEN BOOKS, that provide models for strong character and ASSOCIATE EDITOR: Lauren Clauss DOUBLEDAY, & CROWN BOOKS FOR YOUNG READERS good behavior. Distributed by Lerner Books. ASSOCIATE EDITOR: Maria Correa GROUP: Mallory Loehr QUERY LETTERS: Accepting. ASSOCIATE EDITOR: Sasha Henriques SVP, ASSOCIATE PUBLISHER, EDITOR-IN-CHIEF: MULTIPLE SUBMISSIONS: Accepting. Diana Baroni ASSOCIATE EDITOR: Jenna Lettice UNSOLICITED MANUSCRIPTS: Accepting with EDITOR: Daniella Valladares ASSOCIATE EDITOR: Rachel Chlebowski inquiring and summary statement first. DESCRIPTION: Publishing a variety of fiction ASSOCIATE EDITOR: Tricia Lin ARTWORK INTEREST: Accepting. and nonfiction titles for infants, children, and ASSISTANT EDITOR: Polo Orozco teens, with a focus on picture books, chapter EDITORIAL ASSISTANT: Jasmine Hodge REGNERY PUBLISHING

books, early-reader titles, graphic novels, MARKET SURVEYS EDITORIAL ASSISTANT: Charlotte Roos and gift books and an emphasis on Rodale’s (A Division of Salem Media Group) EDITORIAL ASSISTANT: Anne-Marie Varga specialty: fitness, self-help, and health. 300 New Jersey Ave NW, Suite 500 EXECUTIVE SENIOR ART DIRECTOR: Roberta Ludlow QUERY LETTERS: Accepting from agents only. Washington DC 20001-2253 SENIOR ART DIRECTOR, MIDDLE GRADE: April Ward MULTIPLE SUBMISSIONS: Not accepting. 202-216-0600; Fax: 202-393-1781 ART DIRECTOR: Rachael Cole UNSOLICITED MANUSCRIPTS: Not accepting. www.regnery.com DESCRIPTION: This list includes color and activity ARTWORK INTEREST: Accepting samples from VP & EXECUTIVE EDITOR: Harry Crocker III books, board and novelty books, fiction and agents only. PUBLISHER: Alex Novak nonfiction for beginning readers, hardcover and DESCRIPTION: Publisher of conservative books. paperback fiction for ages 0–18. Wendy Lamb Books Imprints for young readers include Little Patriot QUERY LETTERS: Not accepting. (An Imprint of Random House Children’s Books) Press, a list of civic-minded educational titles MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE EDITOR: Dana Carey by an in-house team for readers 5-8 years old UNSOLICITED MANUSCRIPTS: Not accepting. DESCRIPTION: List of literary middle grade and ARTWORK INTEREST: Contact art director. young adult fiction and nonfiction for readers (not accepting submissions). 8–12 and 12–18. Not publishing picture books Random House Graphic at this time. Regnery Kids (An Imprint of Random House Children’s Books) QUERY LETTERS: Not accepting. (An Imprint of Regnery Publishing) rhkidsgraphic.com MULTIPLE SUBMISSIONS: Not accepting. www.regnery.com/imprint/regnery-kids/ PUBLISHING DIRECTOR: Gina Gagliano UNSOLICITED MANUSCRIPTS: Not accepting. DESCRIPTION: Children’s imprint featuring SENIOR EDITOR: Whitney Leopard ARTWORK INTEREST: Accepting. Send postcard patriotic, non-partisan, entertaining, funny DESCRIPTION: A kids and teen graphic samples; no email submissions will be reviewed. picture books. novel imprint, publishing both literary and REGNERY ADVENTURE publishes books for middle commercial works. Launched spring 2020. RED CHAIR PRESS grade readers. QUERY LETTERS: Accepting. PO Box 333 QUERY LETTERS: Accepting manuscripts and MULTIPLE SUBMISSIONS: Accepting. proposals from agents only, via submissions@ South Egremont, MA 01258-0333 UNSOLICITED MANUSCRIPTS: Accepting. regnery.com, per guidelines at https://www. www.redchairpress.com Submissions should be sent to THE EDITORS, regnery.com/for-agents/. EDITOR: Keith Garton Random House Graphic, 1745 Broadway, New MULTIPLE SUBMISSIONS: Not accepting. FUNNY BONE BOOKS imprint publishes for ages York, NY 10019. UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK INTEREST: Not accepting art samples. 6 to 9. Illustrated fiction with humor for early ARTWORK INTEREST: Accepting samples from readers transitioning from controlled-level agents only, via [email protected], Random House Studio readers to longer stories. per guidelines at https://www.regnery.com/ (An Imprint of Random House Children’s Books) LOOK! BOOKS imprint publishes early nonfiction for-agents/. EVP & PUBLISHER, RANDOM HOUSE/GOLDEN BOOKS, for grade K-2, for early and transitioning DOUBLEDAY, & CROWN BOOKS FOR YOUNG READERS readers. An early introduction to nonfiction, REYCRAFT BOOKS GROUP: Mallory Loehr these books include nonfiction text elements 55 Fifth Avenue VP & PUBLISHER: Lee Wade such as powerful photographs with captions, New York, NY 10003 VP, EXECUTIVE EDITORIAL DIRECTOR, ANNE age-appropriate facts, glossary, and index. www.reycraftbooks.com SCHWARTZ BOOKS, RANDOM HOUSE STUDIO: Maria ONE ELM BOOKS imprint publishes for young PUBLISHER & FOUNDER: Sera Reycraft Modugno readers 8 to 14, brings intermediate and middle EDITORIAL DIRECTOR: Wiley Blevins SENIOR EDITOR, ANN SCHWARTZ/RANDOM HOUSE grade fiction to trade and library markets. EXECUTIVE EDITOR: Sunita Apte STUDIO: Ann Kelley EXECUTIVE EDITOR: Eileen Robinson DESCRIPTION: A production company responsible RED CHAIR PRESS imprint publishes for young for adapting books published by Penguin readers 7 to 10, featuring illustrated fiction, DESCRIPTION: Publishing picture books, early Random House to film and TV. Launching 2021. picture books, and curriculum-aligned transitional chapter books, chapter books, and QUERY LETTERS: Not accepting. nonfiction. middle grade fiction. For ages 5-12. Focusing on MULTIPLE SUBMISSIONS: Not accepting. ROCKING CHAIR KIDS imprint publishes for authors and illustrators from underrepresented UNSOLICITED MANUSCRIPTS: Not accepting. ages 3 to 6. Picture books for lap-reading and communities. ARTWORK INTEREST: Not accepting art samples. read aloud. Each book is designed to encourage QUERY LETTERS: Yes. Please submit a query letter interaction and response from the child. with full manuscript. START SMART imprint publishes early nonfiction MULTIPLE SUBMISSIONS: Accepting. 126 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

UNSOLICITED MANUSCRIPTS: Accepting. activities and other features to help develop DIRECTOR, LITTLE BIGFOOT: Jenny Abrami ARTWORK INTEREST: Accepting illustration critical thinking skills. EXECUTIVE EDITOR, LITTLE BIGFOOT: Christy Cox submissions. Please submit cover letter and WINDMILL BOOKS imprint publishes fiction and MANAGING EDITOR, SASQUATCH BOOKS, & EDITOR, three sample illustrations and/or links to online nonfiction, from basic-concept board books to SPRUCE BOOKS: Jill Saginario portfolios. novels for young readers. ASSOCIATE EDITOR: Daniel Germain QUERY LETTERS: Accepting. Send via regular mail LITTLE BIGFOOT imprint publishes stories that RIPPLE GROVE PRESS only, addressed to “Submissions” and including take place in the Pacific Northwest, as well as PO Box 910 outline with sample chapter as well as SASE books that originate from writers of this region Shelburne, VT 05482 to guarantee a reply. Writers and illustrators but that will appeal to children anywhere. www.ripplegrovepress.com can contact the Customer Service team for SPRUCE BOOKS imprint publishes visual PUBLISHER & CREATIVE DIRECTOR: Rob Broder information about contributing to Rosen nonfiction titles for tweens, teens, and young DESCRIPTION: Independent children’s book Publishing Group via an online contact form on adults that encourage digital natives to make publishing company, publishing picture books the website. No telephone calls, please. changes in their lives and communities. for children ages 2-8. MULTIPLE SUBMISSIONS: Accepting. DESCRIPTION: Seattle-based Sasquatch Books is QUERY LETTERS: Accepting. UNSOLICITED MANUSCRIPTS: Accepting, but send a Northwest regional publisher specializing in MULTIPLE SUBMISSIONS: Accepting. queries only, not manuscripts. nonfiction, owned by–but not a division of– UNSOLICITED MANUSCRIPTS: Accepting for picture ARTWORK INTEREST: Yes, photos only. Penguin Random House. books only. Send per submission guidelines at QUERY LETTERS: Accepting. www.ripplegrovepress.com/submissions during RUNNING PRESS KIDS MULTIPLE SUBMISSIONS: Accepting. submission period July 1 to September 30. (A Member of the Perseus Books Group, a UNSOLICITED MANUSCRIPTS: Accepting. Send ARTWORK INTEREST: Accepting. Please do not Division of Hachette Book Group) query letter, proposal, or a complete manuscript send original art. Samples only. Philadelphia Office: 2300 Chestnut Street, Suite via U.S. Post to “The Editors,” per submission 200, Philadelphia, PA 19103; 215-567-5080 guidelines at https://sasquatchbooks.com/ THE ROSEN PUBLISHING GROUP New York Office: 1290 Avenue of the Americas, submissions/. Include SASE if you’d like 29 East 21st Street New York, NY 10104; 212-364-1100 materials returned. Please do not send original New York, NY 10010 www.runningpress.com/rpkids materials of any sort; email inquiries not 800-237-9932 VP, PUBLISHER: Kristin Kiser accepted. Responding only if interested; please www.rosenpublishing.com EDITORIAL DIRECTOR: Julie Matysik allow up to three months for reply. PRESIDENT & PUBLISHER: Roger Rosen SENIOR EDITOR, BLACK DOG & LEVENTHAL: Lisa ARTWORK INTEREST: No. VP: Gina Strazzabosco Tenaglia SENIOR DIRECTOR OF PHOTO OPERATIONS: Cindy EDITOR: Allison Cohen SCHOLASTIC TRADE Reiman EDITOR: Jess Riordan 557 Broadway DESCRIPTION: Educational publisher for preschool ASSISTANT EDITOR: Britny Brooks New York, NY 10012 through high school, with high-interest, CREATIVE DIRECTOR: Frances Soo Ping Chow 212-343-6100 curriculum-correlated materials. Multivolume, DESCRIPTION: Publishes about 30–40 titles www.scholastic.com library-bound series nonfiction books geared to annually. Focus is on novelty, picture book, and EVP, PRESIDENT, TRADE PUBLISHING: Ellie Berger a young adult (grades 7–12) audience. Subject YA titles with a select amount of middle grade VP, PUBLISHER, SCHOLASTIC INC.: Tracy Mack areas include multiculturalism, self-help, and books. Target audience ranges from newborn VP, PUBLISHER, SCHOLASTIC TRADE: Lori Benton career guidance. Also publishes library-bound to teen. Looking for unique formats, creative DESCRIPTION: Total of 450 titles a year for all one-volume reference works. In 2014, Rosen concepts, distinctive writing and illustration, imprints. Scholastic also publishes the UK Publishing acquired Enslow Publishers; Enslow visual stories, and strong, accessible voices. imprint Chicken House (www.chickenhousebooks. com) books in the U.S. and Canada. remains a standalone company. BLACK DOG & LEVENTHAL PUBLISHERS imprint www.scbwi.org BRITANNICA EDUCATIONAL PUBLISHING publishes publishes twenty to thirty nonfiction titles | The Blue Sky Press reference books that help students develop for readers of all ages annually. https://www. (An Imprint of Scholastic Trade) a deeper understanding of core subjects and hachettebookgroup.com/imprint/black-dog- DESCRIPTION: Publishes around 60 hardcover current events. leventhal/ titles per year that cross over into bookstore, POWERKIDS PRESS imprint publishes children’s QUERY LETTERS: Not accepting. library, and school markets. nonfiction (grades K–8) addressing topics MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Not accepting. such as curriculum-related subjects, character UNSOLICITED MANUSCRIPTS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. building, multicultural issues, biographies, ARTWORK INTEREST: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. science, nature, guidance, and conflict ARTWORK INTEREST: Yes, through editors and art resolution. SASQUATCH BOOKS directors. ROSEN CENTRAL imprint publishes middle grade (Owned by Penguin Random House) (grades 5–9) nonfiction in series on topics 1904 Third Avenue, Suite 710 Cartwheel Books including science, history, self-help, health, and Seattle, WA 98101 (An Imprint of Scholastic Trade) VP, ASSOCIATE PUBLISHER, CARTWHEEL BOOKS, career guidance. 206-467-4300; Fax: 206-467-4301 PUBLICATIONS GUIDE: THE BOOK ORCHARD BOOKS, ACORN, AND BRANCHES: Liza ROSEN YOUNG ADULT imprint publishes high- www.sasquatchbooks.com Baker interest books for teens grades 7–12, often with ASSOCIATE PUBLISHER & EXECUTIVE SALES 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 127

SENIOR EDITOR, CARTWHEEL BOOKS, ORCHARD Orchard Books PUBLISHER & MANAGING DIRECTOR, THE CHICKEN BOOKS: Celia Lee (An Imprint of Scholastic Trade) HOUSE: Barry Cunningham EXECUTIVE EDITOR, BRANCHES, ACORN: Katie VP, ASSOCIATE PUBLISHER, CARTWHEEL BOOKS, ASSOCIATE PUBLISHER, GRAPHIX, PILKEY Carella ORCHARD BOOKS, ACORN, AND BRANCHES: Liza PUBLISHING, SCHOLASTIC INC.: Anamika EDITOR: Kait Feldmann Baker Bhatnagar ASSOCIATE EDITOR, CARTWHEEL, ORCHARD: Rachel SENIOR EDITOR, CARTWHEEL BOOKS, ORCHARD ASSOCIATE PUBLISHER: Abigail McAden Matson BOOKS: Celia Lee VP, EXECUTIVE EDITOR: Andrea Davis Pinkney CREATIVE DIRECTOR, CARTWHEEL BOOKS, ORCHARD ASSOCIATE EDITOR, CARTWHEEL, ORCHARD: Rachel EXECUTIVE EDITORIAL DIRECTOR, SCHOLASTIC BOOKS, READERS, BRANCHES, & LITTLE SHEPHERD: Matson LICENSED PUBLISHING: Beth Dunfey Patti Ann Harris EDITORIAL ASSISTANT, SCHOLASTIC PRESS, ORCHARD EDITORIAL DIRECTOR, CHICKEN HOUSE: Rachel DESCRIPTION: Publishes roughly 80 books a BOOKS: Jess Harold year for children from the ages of 0 to 6. List CREATIVE DIRECTOR, CARTWHEEL BOOKS, ORCHARD Leyshon MARKET SURVEYS includes concept, novelty, young nonfiction, BOOKS, READERS, BRANCHES, & LITTLE SHEPHERD: EDITORIAL DIRECTOR, SCHOLASTIC PRESS: Lisa seasonal/curricular picture books, and board Patti Ann Harris Sandell books as well as the Scholastic Reader line for DESCRIPTION: List of 15 plus titles per year. EDITORIAL DIRECTOR, TRADE PAPERBACKS: Aimee beginning readers. Scholastic’s Branches is an Primarily picture books and early chapter books, Friedman early chapter book line (consisting of over 21 ages 0–10. EXECUTIVE EDITOR, HARRY POTTER, WIZARDING series). Scholastic’s Acorn beginning reader line QUERY LETTERS: Not accepting. WORLD AND SPECIAL PROJECTS: Emily Clement is for readers ages 4-7. MULTIPLE SUBMISSIONS: Not accepting. EXECUTIVE EDITOR: Dianne Hess QUERY LETTERS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. EXECUTIVE EDITOR: Katie Carella MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Send samples to the EXECUTIVE EDITOR: Amanda Maciel UNSOLICITED MANUSCRIPTS: Not accepting. attention of “Art Director.” ARTWORK INTEREST: Yes, through Art Director. EXECUTIVE EDITOR & MANAGER, AFK AND GRAPHIX Push MEDIA: Michael Petranek Graphix (An Imprint of Scholastic Trade) EXECUTIVE EDITOR, LICENSING/NONFICTION/ (An Imprint of Scholastic Trade) VP, PUBLISHER, & EDITORIAL DIRECTOR FOR READERS: Jenne Abramowitz www.scholastic.com/graphix/ FICTION, MULTIMEDIA PUBLISHING, & PUSH: David SENIOR EDITOR: Eliza Berkowitz VP, CREATIVE DIRECTOR, & PUBLISHER, GRAPHIX: Levithan SENIOR EDITOR: Anna Bloom David Saylor DESCRIPTION: Publishes teen fiction paperback SENIOR EDITOR: Jody Corbett ASSOCIATE PUBLISHER, GRAPHIX, PILKEY originals and series. SENIOR EDITOR: Mallory Kass PUBLISHING, SCHOLASTIC INC.: Anamika UNSOLICITED SUBMISSIONS: Not accepting. SENIOR EDITOR: Kesia Lupo Bhatnagar SENIOR EDITOR: Matt Ringler EDITORIAL DIRECTOR, GRAPHIX: Cassandra Pelham Scholastic Focus SENIOR EDITOR: Emily Seife Fulton (An Imprint of Scholastic Trade) SENIOR EDITOR, LICENSED PUBLISHING: Katie EDITOR, PILKEY PUBLISHING & GRAPHIX: Megan EDITORIAL DIRECTOR, SCHOLASTIC PRESS, Woehr Peace SCHOLASTIC FOCUS: Lisa Sandell SENIOR EDITOR: Zack Clark CREATIVE DIRECTOR: Philip Falco DESCRIPTION: Publishing timely middle grade ART DIRECTOR, ASSOCIATE CREATIVE DIRECTOR: and young adult narrative nonfiction that EDITOR: Orlando Dos Reis Marijka Kostiw encourage readers to draw connections between EDITOR, NONFICTION PICTURE BOOKS: Katie Heit DESCRIPTION: Imprint publishing original graphic historical events and contemporary issues. The EDITOR, CHICKEN HOUSE: Sam Palazzi novels for children. imprint’s publishing philosophy underscores EDITOR: Erinn Pascal GRAPHIX MEDIA imprint publishes graphic novels the relevance of values that have long guided EDITOR, LICENSED PUBLISHING: Samantha Swank featuring Marvel superheroes in partnership humanity; the profound effects of invention, EDITOR, LICENSING, MEDIA, AND BRANDS: with Marvel Entertainment. inspiration, and revolution; and the importance Lori Wieczorek QUERY LETTERS: Not accepting. of introducing a diversity of perspectives and ASSOCIATE EDITOR: Olivia Valcarce MULTIPLE SUBMISSIONS: Not accepting. identities. ASSISTANT EDITOR, SCHOLASTIC: Maya Marlette UNSOLICITED MANUSCRIPTS: Not accepting. QUERY LETTERS: Not accepting. ASSISTANT EDITOR: Ben Gartenberg ARTWORK INTEREST: Accepting samples. MULTIPLE SUBMISSIONS: Not accepting. ASSISTANT EDITOR: Jeffrey West UNSOLICITED MANUSCRIPTS: Not accepting. Klutz ARTWORK INTEREST: Yes, through Art Director. ASSISTANT EDITOR: Shelly Romero (An Imprint of Scholastic Trade) EDITORIAL ASSISTANT, SCHOLASTIC PRESS, ORCHARD PRESIDENT: Stacy Lellos Scholastic Press BOOKS: Jess Harold EDITORIAL DIRECTOR: Caitlin Harpin (An Imprint of Scholastic Trade) CREATIVE DIRECTOR, HARDCOVER NOVELS: Elizabeth DESCRIPTION: Klutz is a “books plus” imprint VP, PUBLISHER, & EDITORIAL DIRECTOR FOR Parisi that publishes hands-on formats, including FICTION, MULTIMEDIA PUBLISHING, & PUSH: David DESCRIPTION: Interest in strong picture books, activity books, guides, and an educational Levithan appealing middle grade novels for ages 8–12, product line. Most of their projects are VP, CREATIVE DIRECTOR, & PUBLISHER, GRAPHIX: and quality chapter books for ages 7–9. Also generated in-house and they are closed to David Saylor submission. seeking interesting and well written YA fiction. VP & PUBLISHER, GLOBAL LICENSING, MEDIA & QUERY LETTERS: Not accepting. CHICKEN HOUSE is a small children’s book BRANDS: Debra Dorfman MULTIPLE SUBMISSIONS: Not accepting. publishing company and part of Scholastic UNSOLICITED MANUSCRIPTS: Not accepting. VP & PUBLISHER-AT-LARGE, PILKEY PUBLISHING: Press. ARTWORK INTEREST: No. Ken Geist WISH imprint publishes contemporary stories for 128 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

teen and tween readers; includes the paperback- UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK INTEREST: Yes, if requested. only imprint Point Paperback. ARTWORK INTEREST: For picture books, beginning QUERY LETTERS: Not accepting. readers, chapter books, jacket/covers. Denene Millner Books MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Simon & Schuster) UNSOLICITED MANUSCRIPTS: Not accepting. Atheneum Books for Young Readers www.simonandschusterpublishing.com/ (An Imprint of Simon & Schuster) denenemillnerbooks/ ARTWORK INTEREST: Yes, through editors and art www.simonandschusterpublishing.com/atheneum PUBLISHER: Denene Millner directors. EDITORIAL DIRECTOR: Reka Simonsen DESCRIPTION: Publishing picture books for VP & EDITORIAL DIRECTOR, CAITLYN DLOUHY BOOKS: children and fiction and nonfiction for young SIMON & SCHUSTER Caitlyn Dlouhy readers, created by African American writers and (Simon & Schuster Children’s Publishing EDITOR, S&S BFYR, ATHENEUM, MARGARET K. illustrators. Illustrates the diversity of African Division) MCELDERRY: Alexa Pastor American life by sharing the experience of 1230 Avenue of the Americas EDITOR, MARGARET K. MCELDERRY: Kate being a child from the perspectives of African New York, NY 10020 Prosswimmer American children. 212-698-7000 ASSOCIATE EDITOR, CAITLYN DLOUHY BOOKS, QUERY LETTERS: Accepting. www.simonandschuster.com ATHENEUM: Alex Borbolla MULTIPLE SUBMISSIONS: N/A PRESIDENT & PUBLISHER, CHILDREN’S PUBLISHING: ASSISTANT EDITOR, ATHENEUM, MCELDERRY BOOKS, UNSOLICITED MANUSCRIPTS: Accepting, but do Jon Anderson S&S CHILDREN’S: Alyza Liu not send hard-copy submissions unless you have DESCRIPTION: The Simon & Schuster Children’s ASSOCIATE EDITOR: Julia McCarthy first made an email inquiry. Publishing Division is organized under two ASSOCIATE EDITOR, ATHENEUM: Alex Borbolla ARTWORK INTEREST: Accepting. publishing entities: a trade publishing group EXECUTIVE ART DIRECTOR: Ann Bobco focusing on picture books, middle grade, and EXECUTIVE ART DIRECTOR, ATHENEUM, MARGARET Little Simon YA; and a branded publishing team focusing K. MCELDERRY BOOKS, BEACH LANE BOOKS: Sonia (An Imprint of Simon & Schuster) on preschool titles, beginning readers, chapter Chaghatzbanian www.simonandschusterpublishing.com/little- books, graphic novels, licensing and middle DESCRIPTION: Publishes approximately 60 simon/ grade brands, and IP. hardcover and 20 paperback titles a year. VP & EDITORIAL DIRECTOR: Jeff Salane VP & PUBLISHER FOR LICENSED, NOVELTY, & Looking in most categories, especially for SENIOR EDITOR: Hannah Lambert BRANDED PUBLISHING, LITTLE SIMON, SIMON picture books, contemporary middle grade ASSISTANT EDITOR: Cindy Kim SPOTLIGHT, ALADDIN: Valerie Garfield fiction, “cutting edge” teen fiction, and DESCRIPTION: Generally mass-market end of SVP & PUBLISHER, S&S BOOKS FOR YOUNG READERS, interesting nonfiction. Simon & Schuster’s children’s list: novelty and ATHENEUM BOOKS FOR YOUNG READERS, MARGARET MOONBOT BOOKS publishes approximately three merchandise only, including board books, pop- K. MCELDERRY BOOKS, CAITLYN DLOUHY BOOKS, books annually (picture books and middle grade up books, lift-the-flaps, glitter books, sticker SALAAM READS, DENENE MILLNER BOOKS, SIMON books), all illustrated by William Joyce and books, pull-tab books, gate-fold books, touch ‘n’ PULSE: Justin Chanda other artists at Joyce’s Moonbot Studios. feel, etc. About 50 titles a year. VP & DEPUTY PUBLISHER: Anne Zafian CAITLYN DLOUHY BOOKS imprint publishes picture QUERY LETTERS: Not accepting. books, middle grade, and young adult fiction. MULTIPLE SUBMISSIONS: Not accepting. Aladdin QUERY LETTERS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. (An Imprint of Simon & Schuster) MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Send copies only. www.simonandschusterpublishing.com/aladdin/ UNSOLICITED MANUSCRIPTS: Not accepting. EDITORIAL DIRECTOR: Kristin Gilson ARTWORK INTEREST: Submit samples through mail Margaret K. McElderry Books EXECUTIVE EDITOR: Karen Nagel to “Art Director.” (An Imprint of Simon & Schuster) SENIOR EDITOR, ALADDIN, MAX: Alyson Heller www.simonandschusterpublishing.com/margaret- ASSOCIATE EDITOR, SIMON PULSE, ALADDIN: Jessica Beach Lane Books k-mcelderry-books/ Smith (An Imprint of Simon & Schuster) VP & EDITORIAL DIRECTOR: Karen Wojtyla ASSISTANT EDITOR: Anna Parsons www.simonandschusterpublishing.com/beach- ASSOCIATE EDITOR, S&S BFYR, ATHENEUM, EDITORIAL ASSISTANT, ALADDIN, SIMON PULSE: www.scbwi.org lane/ MARGARET K. MCELDERRY: Alexa Pastor Kristie Choi | VP & PUBLISHER: Allyn Johnston (La Jolla office) EDITOR: Sarah McCabe EXECUTIVE ART DIRECTOR: Karin Paprocki VP & DEPUTY PUBLISHER: Anne Zafian (New York ASSOCIATE EDITOR: Nicole Fiorica DESCRIPTION: Publishes hardcover and paperback office, 1230 Avenue of the Americas, New York, ASSISTANT EDITOR, ATHENEUM, MCELDERRY BOOKS, originals for ages from preschool through tween, NY 10020) S&S CHILDREN’S: Alyza Liu including picture books, beginning readers, EXECUTIVE EDITOR: Andrea Welch (La Jolla office) EXECUTIVE ART DIRECTOR: Ann Bobco chapter books, middle grade and tween series ASSOCIATE EDITOR, BEACH LANE BOOKS, PAULA EXECUTIVE ART DIRECTOR, ATHENEUM, MARGARET as well as single-title fiction, with emphasis on WISEMAN BOOKS: Sarah Jane Abbott K. MCELDERRY BOOKS, BEACH LANE BOOKS: Sonia quality and recreational reading in all genres. Of EXECUTIVE ART DIRECTOR, ATHENEUM, MARGARET Chaghatzbanian particular interest are school stories, action- K. MCELDERRY BOOKS, BEACH LANE BOOKS: Sonia DESCRIPTION: Publishes primarily fiction but adventure, humor, and coming-of-age stories. Chaghatzbanian some nonfiction, from picture books to teen MAX, a paperback line publishing a range of DESCRIPTION: West-coast-based imprint offering fiction. Has a special interest in preschool fiction genres for middle grade boys, and MIX, a 18–20 hardcover and paperback titles a year, picture books and teen material. Looking for paperback line publishing contemporary stories mostly picture books for the very young, but humor and top-quality fiction, and encouraging for middle grade girls who have outgrown early also select middle grade and teen fiction. new authors and illustrators. chapter books but aren’t yet ready for YA. QUERY LETTERS: Not accepting.

PUBLICATIONS GUIDE: THE BOOK QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting.

2021 UNSOLICITED MANUSCRIPTS: Not accepting. 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 129

ARTWORK INTEREST: Accepting. MARGARET K. MCELDERRY: Alexa Pastor and original paperback series, publishing ASSOCIATE EDITOR: Catherine Laudone across a wide array of formats and age ranges. Paula Wiseman Books ASSOCIATE EDITOR: Amanda Ramirez Approximately 100 titles a year. (An Imprint of Simon & Schuster) ASSISTANT EDITOR, ATHENEUM, MCELDERRY BOOKS, QUERY LETTERS: Not accepting. www.simonandschusterpublishing.com/paula- S&S CHILDREN’S: Alyza Liu MULTIPLE SUBMISSIONS: Not accepting. wiseman-books/ ASSISTANT EDITOR: Dianese Santos UNSOLICITED MANUSCRIPTS: Not accepting, as VP & PUBLISHER: Paula Wiseman EDITORIAL ASSISTANT: Kristie Patterson projects are developed in-house. SENIOR EDITOR: Sylvie Frank EXECUTIVE ART DIRECTOR: Lucy Cummins ARTWORK INTEREST: Samples of existing licensed ART DIRECTOR: Chloe Foglia ASSOCIATE EDITOR, BEACH LANE BOOKS, PAULA characters only. Do not send originals. WISEMAN BOOKS: Sarah Jane Abbott ART DIRECTOR: Laurent Linn ART DIRECTOR: Krista Vossen EXECUTIVE ART DIRECTOR: Lucy Cummins SKY PONY PRESS DESCRIPTION: Publishes picture books, novelty DESCRIPTION: The flagship imprint of Simon (An Imprint of Skyhorse Publishing) MARKET SURVEYS books, and novels focusing on stories and art & Schuster Children’s Division. Publishes th that are wholly childlike, centered in emotion, approximately 95 titles a year on 3 seasonal 307 West 36 Street, 11th Floor innovative, and timeless for children of all ages. lists. Full range of picture books, first chapter New York, NY 10018 20–30 books a year. books, middle grade and teen fiction, and some 212-643-6816; Fax: 212-643-6819 QUERY LETTERS: Actively seeking submissions nonfiction that will fit into both institutional www.skyponypress.com from new and published authors and artists and bookstore markets. Age range is from infant PRESIDENT & PUBLISHER: Tony Lyons through agents and from SCBWI conferences. through high school. GROUP EDITORIAL DIRECTOR, SKYHORSE: Mark MULTIPLE SUBMISSIONS: Accepting. QUERY LETTERS: Not accepting. Gompertz MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Actively seeking EXECUTIVE EDITOR, SKYHORSE: Sarah Janssen submissions from new and published authors UNSOLICITED MANUSCRIPTS: Not accepting. SENIOR EDITOR, SKYHORSE: Nicole Frail and artists through agents and from SCBWI ARTWORK INTEREST: Yes, via regular mail. Do not ASSISTANT EDITOR, SKYHORSE: Oren Eades conferences. send originals. DESCRIPTION: Publishing children’s books across PAYMENT: Advance against royalty. a broad range of subject matter to celebrate ARTWORK INTEREST: Yes, through agents only. Simon Pulse ARTWORK PAYMENT: Advance against royalty for (An Imprint of Simon & Schuster) diverse interests. The list includes picture picture books only; otherwise flat fee for jacket www.simonandschusterpublishing.com/ books, educational books, novelty books, art. simonpulse/ and middle grade and young adult fiction. ASSOCIATE EDITOR, SIMON PULSE, ALADDIN: Jessica Publishing approximately 50 books annually. Salaam Reads Smith QUERY LETTERS: Accepting. (An Imprint of Simon & Schuster) EDITORIAL ASSISTANT, ALADDIN, SIMON PULSE: MULTIPLE SUBMISSIONS: Accepting. www.salaamreads.com Kristie Choi UNSOLICITED MANUSCRIPTS: Accepting. EXECUTIVE ART DIRECTOR: Karin Paprocki www.simonandschusterpublishing.com/salaam- Send via email to skyponysubmissions@ ART DIRECTOR: Sarah Creech reads/ skyhorsepublishing.com. Attach all material EDITORIAL DIRECTOR: Kendra Levin SIMON TRUE imprint publishes YA nonfiction as Word documents, or as a jpeg for art EDITOR, S&S BFYR, SALAAM READS: Deeba chronicling actual crime stories involving real submissions. Zargarpur teens who have faced the consequences of their ARTWORK INTEREST: Send samples via email to ASSISTANT EDITOR: Dainese Santos illegal actions. DESCRIPTION: Publishing books centered on DESCRIPTION: Publishes original fiction in [email protected]. Muslim children and families, including fiction hardcover and paperback and also some reprints Attach art samples as a jpeg. of all genres and nonfiction, picture books and for ages 12 and up. Original publishing includes middle grade and young adult titles. Aims to series and single-title contemporary commercial SLEEPING BEAR PRESS publish a minimum of nine titles per year for fiction. (An Imprint of Cherry Lake Publishing) all ages. QUERY LETTERS: Not accepting. 2395 S Huron Parkway, Suite 200 MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Accepting. Ann Arbor, MI 48104 MULTIPLE SUBMISSIONS: Accepting. Send to UNSOLICITED MANUSCRIPTS: Not accepting. 800-487-2323 [email protected]. PAYMENT: Advance against royalty or flat fee. www.sleepingbearpress.com UNSOLICITED MANUSCRIPTS: Accepting. ARTWORK INTEREST: Limited. PUBLISHER: Heather Hughes ARTWORK INTEREST: Yes. Send samples to ARTWORK PAYMENT: Flat fee. [email protected]. SENIOR EDITOR: Barbara McNally Simon Spotlight EDITOR: Sarah Rockett Simon & Schuster Books for Young (An Imprint of Simon & Schuster) EDITORIAL ASSISTANT: Lois Hume Readers www.simonandschusterpublishing.com/simon- DESCRIPTION: Publishes 25–30 titles per year. www.simonandschusterpublishing.com/bfyr/ spotlight/ Looking for stories that entertain and educate, VP & EXECUTIVE EDITOR: Justin Schwartz VP & EDITORIAL DIRECTOR: Siobhan Ciminera with 50% fiction and 50% nonfiction. Their list EDITORIAL DIRECTOR: Kendra Levin EXECUTIVE EDITOR: Lisa Rao is primarily picture books but includes middle SENIOR EDITOR: Nicole Ellul SENIOR EDITOR: Beth Barton grade and teen fiction. SENIOR EDITOR: Jennifer Ung EDITOR: Lisa Lauria QUERY LETTERS: Accepting via email per ASSISTANT EDITOR: Sally Hosokawa SENIOR EDITOR: Krista Vitola guidelines at https://sleepingbearpress.com/ EDITORIAL ASSISTANT: Nicole Fox EDITOR, BRAND MANAGER, NOVELTY & LICENSED submissions. PUBLISHING: Tishana Williams DESCRIPTION: Licensed properties (e.g. Dora the MULTIPLE SUBMISSIONS: Okay. ASSOCIATE EDITOR, S&S BFYR, ATHENEUM, Explorer and SpongeBob SquarePants), brands, 130 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

UNSOLICITED MANUSCRIPTS: Accepting. SOURCEBOOKS FIRE imprint publishes young adult nonfiction list, including crafts, games, history, ARTWORK INTEREST: Not accepting. fiction and nonfiction. puzzles, humor. Has a small focus on history and SOURCEBOOKS JABBERWOCKY imprint publishes biographies. SOHO TEEN picture books and chapter books. STERLING TEEN imprint publishes young adult fiction (An Imprint of Soho Press) SOURCEBOOKS WONDERLAND imprint publishes across a spectrum of genres, as well as nonfiction. 212-260-1900 licensed, customized, and regional titles. Launching spring 2021. www.sohopress.com/soho-teen/ SOURCEBOOKS YOUNG READERS: imprint publishes QUERY LETTERS: Accepting, but full manuscript PUBLISHER: Bronwen Hruska middle grade fiction and nonfiction. needed for picture books. Submit via U.S. SENIOR VP & ASSOCIATE PUBLISHER: Juliet Grames QUERY LETTERS: Not accepting. Post only. See guidelines at https://www. EDITOR: Amara Hoshijo MULTIPLE SUBMISSIONS: Not accepting. sterlingpublishing.com/contact-us/. ART DIRECTOR, SOHO TEEN: Janine Agro UNSOLICITED MANUSCRIPTS: Accepting agented MULTIPLE SUBMISSIONS: Accepting. DESCRIPTION: Publishing YA mysteries and thrillers, submissions only, except for Sourcebooks UNSOLICITED MANUSCRIPTS: Accepting. including paranormal, dystopian, humorous, and eXplore, which accepts submissions from expert ARTWORK INTEREST: Accepting. Send nonreturnable realistic. professionals in their field. See submission art samples. QUERY LETTERS: Not accepting. guidelines at https://www.sourcebooks.com/ MULTIPLE SUBMISSIONS: Not accepting. submission-guidelines.html STREET NOISE BOOKS UNSOLICITED MANUSCRIPTS: Accepting agented ARTWORK INTEREST: Not accepting. 702 Monroe Street projects only, and during submissions windows Brooklyn, NY 11221 as noted at https://sohopress.com/resources/ STAR BRIGHT BOOKS www.streetnoisebooks.com submissions/. 13 Landsdowne Street FOUNDER & PUBLISHER: Liz Francis ARTWORK INTEREST: Not accepting. Cambridge, MA 02139 DESCRIPTION: A new independent publishing house 617-354-1300; Fax: 617-354-1399 specializing in graphic memoir and illustrated SOURCEBOOKS KIDS www.starbrightbooks.com nonfiction for young adults, focusing on books PO Box 4410 PUBLISHER: Deborah Shine that reflect a radical, feminist, queer, and inclusive Naperville, IL 60567-4410 EDITOR: Jiyoung Ahn social vision. Publishing six to eight books 630-961-3900; Fax: 630-961-2168 EDITOR: R. Skyler Lambert annually. Luanched spring 2020. www.sourcebooks.com ART DIRECTOR: Catherine Hnatov QUERY LETTERS: Accepting. PUBLISHER & CEO: Dominique Raccah DESCRIPTION: Board books and picture books for MULTIPLE SUBMISSIONS: Accepting. SVP & EDITORIAL DIRECTOR: Todd Stocke babies and toddlers, picture books (fiction and UNSOLICITED MANUSCRIPTS: Accepting. Send via EDITORIAL DIRECTOR, SOURCEBOOKS FIRE, nonfiction) for preschool through middle grade email or U.S. Post. See submissions guidelines at SOURCEBOOKS KIDS: Steve Geck readers. Chapter books for early and intermediate https://www.streetnoisebooks.com/#connectwithus. EDITORIAL DIRECTOR, SOURCEBOOKS EXPLORE: Kelly readers. Areas of interest include biographies, ARTWORK INTEREST: Yes. Do not send original art. Barrales-Saylor picture books, chapter books, and stories with SENIOR EDITORIAL DIRECTOR, SOURCEBOOKS FIRE: math themes. TORCH GRAPHIC PRESS Annie Berger QUERY LETTERS: Accepting. Mail query letters via (An Imprint of Cherry Lake Publishing) SENIOR EDITOR, SOURCEBOOKS FIRE, SOURCEBOOKS U.S. Post. Mark “ATTN: Submissions.” 2395 S Huron Parkway, Suite 200 KIDS, SOURCEBOOKS JABBERWOCKY: Eliza Swift UNSOLICITED MANUSCRIPTS: Accepting. Ann Arbor, MI 48104 ASSISTANT EDITOR, SOURCEBOOKS EXPLORE: Emma ARTWORK INTEREST: Yes. No original artwork or DESCRIPTION: Publishing graphic novels for young Hintzen other original material accepted; not responsible readers. ASSISTANT EDITOR, SOURCEBOOKS EXPLORE: Julie if submitted. QUERY LETTERS: Accepting via email per guidelines Larson at https://cherrylakepublishing.com/submissions. EDITOR, JABBERWOCKY, SOURCEBOOKS FIRE, STERLING CHILDREN’S BOOKS MULTIPLE SUBMISSIONS: Okay. www.scbwi.org SOURCEBOOKS KIDS: Molly Cusick (A Division of Sterling Publishing Co., Inc.) UNSOLICITED MANUSCRIPTS: Accepting. | CREATIVE DIRECTOR, ADULT & YA: Kelly Lawler 212-532-7160; Fax: 212-213-2495 ARTWORK INTEREST: Not accepting. CREATIVE DIRECTOR: Jordan Kost www.sterlingpublishing.com/childrens-books.html DESCRIPTION: Publishes children’s picture books, EDITORIAL DIRECTOR: Brian Monahan TRIANGLE SQUARE EDITIONS chapter books, middle grade fiction and nonfiction, EXECUTIVE EDITOR: Suzy Capozzi (An Imprint of Seven Stories Press) and young adult fiction and nonfiction that make EXECUTIVE EDITOR: Eve Adler 140 Watts Street a difference and foster kindness—to self, others, EDITOR: Ardi Alspach New York, NY 10013 and our Earth. DESCRIPTION: Owned by Barnes & Noble, Sterling’s 212-226-8760; Fax: 212-226-1411 DAWN PUBLICATIONS imprint which publishes children’s list includes picture books and https://www.sevenstories.com/imprints/triangle- nonfiction books about nature and the nonfiction for every age, from babies through square environment as part of the eXplore imprint. young adults. They do not publish fictional chapter PUBLISHER & PRESIDENT: Dan Simon LITTLE PICKLE PRESS publishes inspiring stories and books or novels. Their nonfiction list primarily DESCRIPTION: Publishing a small list of picture compelling products for middle graders and young focuses on activity-based subjects, such as: crafts, books and books for middle grade readers and adults as part of the eXplore Imprint. activities, puzzles (math/word/picture/logic), young adults. List includes fiction, nonfiction, PUBLICATIONS GUIDE: THE BOOK SOURCEBOOKS EXPLORE imprint publishes nonfiction and science experiments. They also have a small and memoir, and emphasizes personal stories of for young readers. focus on history and biographies. Also a general courage and commitment. 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 131

QUERY LETTERS: Not accepting. WHAT ON EARTH BOOKS / WORKMAN PUBLISHING COMPANY MULTIPLE SUBMISSIONS: Not accepting. BRITANNICA BOOKS 225 Varick Street UNSOLICITED MANUSCRIPTS: Not accepting. (A Partnership of What on Earth Publishing LLC New York, NY 10014-4381 ARTWORK INTEREST: Not accepting. and Britannica Inc.) 212-254-5900; Fax: 212-254-8098 30 Ridge Road, Unit B www.workman.com/kids UNNAMED PRESS Greenbelt, MD 20770 PUBLISHER & EDITORIAL DIRECTOR: Susan Bolotin Los Angeles, CA www.whatonearthbooks.com CHILDREN’S PUBLISHING DIRECTOR: Traci Todd www.unnamedpress.com PUBLISHER & EDITOR-IN-CHIEF: Nancy Feresten EDITOR-AT-LARGE: Raquel Jaramillo FOUNDER & PUBLISHER: C.P. Heiser EXECUTIVE EDITOR, BRITANNICA BOOKS: Natalie SENIOR EDITOR: Pamela Bobowicz EXECUTIVE EDITOR: Olivia Taylor Smith Bellos EXECUTIVE EDITOR: Mary Ellen O’Neill ART DIRECTOR: Jaya Nicely BRITANNICA BOOKS publishes nonfiction “fun- SENIOR EDITOR OF GRAPHIC NOVELS AND MARKET SURVEYS DESCRIPTION: Independent publisher, publishing fiction” for ages 3-14. Launching fall 2020. SEQUENTIAL ARTS: Chris Duffy a range of literature, from sci-fi to nonfiction, WHAT ON EARTH BOOKS publishes nonfiction SENIOR EDITOR: Rachael Mt. Pleasant from around the world, including young adult developed both independently and with ASSOCIATE EDITOR: Olivia Swomley fiction and nonfiction. Distributed by Publishers partners such as the Smithsonian, the American ASSISTANT EDITOR: Gracie Elliot Group West. Museum of Natural History, the Natural History DESCRIPTION: Publishing exclusively nonfiction QUERY LETTERS: Accepting. Museum in London, the Shakespeare Birthplace books for children and adults, as well as MULTIPLE SUBMISSIONS: Accepting. Trust, the Science Museum and the National calendars. Does not publish novels, short UNSOLICITED MANUSCRIPTS: Accepting. Submit Trust. stories, or poetry. via [email protected]. DESCRIPTION: The imprints of UK- and US-based QUERY LETTERS: Accepting ARTWORK INTEREST: No. What on Earth Publishing publish nonfiction MULTIPLE SUBMISSIONS: Accepting. and reference books that use compelling true UNSOLICITED MANUSCRIPTS: Accepting VESUVIAN BOOKS stories, surprising information, and illuminating ARTWORK INTEREST: Accepting. Prefer (A Division of Vesuvian Media Group, Inc.) illustration and design to engage children’s electronic submissions, which may be sent to Nashville, TN natural curiosity and awaken their passion [email protected] in the form of a PDF. You may also send hard-copy submissions www.vesuvianbooks.com for learning. The Britannica Books imprint is to “Children’s Department, Workman Publishing EDITORIAL DIRECTOR: Jim Thomas published in partnership with Britannica Inc. Company, 225 Varick Street, New York, NY DESCRIPTION: The publishing division of VMG, QUERY LETTERS: Accepting. Include outline, 10014-4381.” Include SASE. Your name, a books-to-film multimedia corporation. sample text, where your book would fit in the address, telephone number, and e-mail address Publishing middle grade and young adult as marketplace (including comp titles), and how must be on the back of each piece of art. well as adult fiction. you would help with marketing. For shorter QUERY LETTERS: Not accepting. works, please include full manuscript. Send to Algonquin Young Readers MULTIPLE SUBMISSIONS: Accepting. [email protected]. (An Imprint of Algonquin Books, a Division of UNSOLICITED MANUSCRIPTS: Accepting agented MULTIPLE SUBMISSIONS: Accepting. Workman Publishing Company) manuscripts only, via email to acquisitions@ UNSOLICITED MANUSCRIPTS: Accepting. Please PO Box 2225 vesuvianmedia.com. send to [email protected]. 919-967-0108; Fax: 919-933-0272 www.algonquinyoungreaders.com ARTWORK INTEREST: Yes. Agents can submit ARTWORK INTEREST: Yes. to [email protected]. https://www.workman.com/imprints/algonquin- young-readers WOLF WISE BOOKS PUBLISHER: Elise Howard WATTPAD BOOKS (An Imprint of Wolfpack Publishing) ASSOCIATE EDITOR: Sarah Alpert Toronto, Canada 6032 Wheat Penny Ave. EDITOR: Krestyna Lypen https://books.wattpad.com Las Vegas, NV 89122 DESCRIPTION: Publishing books for readers from DEPUTY GENERAL MANAGER, WATTPAD STUDIOS AND 702-689-3912 ages seven to seventeen, from short illustrated PUBLISHING: Ashleigh Gardner www.wolfpackpublishing.com novels for the youngest independent readers PUBLISHING DIRECTOR, WATTPAD STUDIOS: Deanna PRESIDENT: Mike Bray to timely and topical crossover young adult McFadden ASSOCIATE PUBLISHER: Rachel Del Grosso fiction. Unforgettable characters, absorbing DESCRIPTION: Presently focused on publishing ASSOCIATE EDITOR: Lauren Bridges stories, and superior writing tie this imprint together. young adult fiction, though may expand to DESCRIPTION: Publishing teen/young adult QUERY LETTERS: Not accepting. other categories. Interested in traditional fiction in all genres (sci-fi/fantasy excluded), MULTIPLE SUBMISSIONS: Not accepting. genres as well as genre-bending projects. U.S. particularly those in a series, from all regions of UNSOLICITED MANUSCRIPTS: Not accepting. distribution by Macmillan. the world. Launching early 2021. ARTWORK INTEREST: Not accepting. QUERY LETTERS: Not accepting. QUERY LETTERS: Accepting. MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Accepting. UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. Choosing stories from the Wattpad website Send submission guidelines at https:// using audience feedback and editor judgement. wolfpackpublishing.com/submissions. ARTWORK INTEREST: Not accepting. ARTWORK INTEREST: Not accepting.

132 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

YEEHOO PRESS (A Division of Shanghai Yihe Industrial Co., Ltd., partnered with Phoenix Publishing & Media Group) 721 W Whittier Blvd #O La Habra, CA 90631 www.yeehoopress.com PUBLISHER: C.J. Zhang ASSOCIATE PUBLISHER: Helen Wu EDITOR-IN-CHIEF: Luyang Xue EDITOR: Zhiquiao Wang EDITOR: Peng Shen EDITOR: Sheng Xu ART DIRECTOR: Molly Shen DESCRIPTION: Independent publisher of original fiction and nonfiction picture books for children ages 0 to 8, published in English and Simplified Chinese editions, sold internationally. QUERY LETTERS: Accepting via email only. MULTIPLE SUBMISSIONS: Accepting. UNSOLICITED MANUSCRIPTS: Yes, accepting submissions via email. See https://yeehoopress. com/submissions/ for submission guidelines. ARTWORK INTEREST: Yes. Send via email with url for online portfolio. www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 133

BLOOMSBURY PUBLISHING PLC HARPERCOLLINS Publisher Bloomsbury Children’s Books Balzer + Bray Bloomsbury Spark Blink Imprints Greenwillow Books CANDLEWICK PRESS HarperAlley When submitting manuscripts or artwork Big Picture Press HarperCollins Children’s Books/Amistad/ samples to imprints that are owned by one Candlewick Entertainment HarperChapters/HarperFestival/ company, you must submit to one imprint Candlewick Press/MIT Kids Press/MITeens HarperTeen/HarperTeen Impulse/ and then resubmit to another imprint of Press HarperTrophy/ the same company. Please note: Due to Candlewick Studio Rayo/TOKYOPOP Nosy Crow Heartdrum space constraints, the abbreviation “BFYR” MARKET SURVEYS is sometimes substituted for the words Templar Katherine Tegen Books “Books for Young Readers.” Walker Books Quill Tree Walden Pond Press ABDO KIDS CAPSTONE YOUNG READERS A&D Xtreme Compass Point Books HOLIDAY HOUSE Abdo & Daughters Capstone Press Holiday House Abdo Kids: Abdo Junior, Abdo Jumbo Capstone Young Readers Margaret Ferguson Books Abdo Magic Wagon: Calico, Calico Heinemann-Raintree Neal Porter Books Kid, Claw, Graphic Planet, Looking Picture Window Books Glass Library, Magic Readers, Short Tales, Stone Arch Books HOUGHTON MIFFLIN HARCOURT Spellbound Switch Press BOOKS FOR YOUNG READERS Abdo Reference Clarion Books Abdo Spotlight CHARLESBRIDGE Etch Abdo Zoom!: Bold!, Dash!, Fly!, Launch! Charlesbridge Houghton Mifflin Harcourt Books for Buddy Books/Big Buddy Books Charlesbridge Teen Young Readers Checkerboard Library Versify Core Library/Kids Core CLEAR FORK PUBLISHING EPIC Press: EPIC Escape, EPIC Edge, EPIC CFP KIDS CAN PRESS Extreme Spork KCP Loft Essential Library &MG Kids Can Press Sandcastle/Super Sandcastle SportsZone DC BOOKS FOR YOUNG READERS LEE & LOW BOOKS DC Kids Bebop Books ABRAMS BOOKS FOR YOUNG DC Children’s Book Press READERS DC Black Label Dive Into Reading Abrams Appleseed Lee & Low Books Abrams Books for Young Readers DISNEY BOOK GROUP Shen’s Books Abrams ComicArts/Megascope/Surely Disney Press Tu Books Books Disney-Hyperion/Jump at the Sun/Melissa Amulet Books/Amulet Paperbacks de la Cruz Studio/Rick Riordan Presents LERNER PUBLISHING GROUP Cameron Kids Freeform Carolrhoda Books Magic Cat Publishing Carolrhoda Lab ENSLOW PUBLISHERS Darby Creek AMAZON CHILDREN’S PUBLISHING Enslow First Avenue Editions Amazon Crossing Kids West 44 Books Graphic Universe Skyscape Kar-Ben Publishing Two Lions ENTANGLED PUBLISHING Lerner Publications Embrace Millbrook Press ANDREWS MCMEEL Entangled Teen Twenty-First Century Books Andrews McMeel Teen Crave Zest Books AMP! Teen Crush LITTLE BEE BOOKS BOYDS MILLS & KANE FACTS ON FILE BuzzPop Boyds Mills & Kane: Boyds Mills Press/ Chelsea House little bee Kane Press/Calkins Creak/WordSong Facts on File Yellow Jacket mineditionUS 134 | 2021 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

LITTLE, BROWN BOOKS FOR YOUNG RANDOM HOUSE CHILDREN’S BOOKS SIMON & SCHUSTER CHILDREN’S READERS Alfred A. Knopf/Crown Books for Young PUBLISHING DIVISION Christy Ottaviano Books Readers/Make Me a World/Tricycle Press Aladdin/MAX/MIX Jimmy Patterson Books Delacorte Press BFYR/ Underlined Atheneum Books for Young Readers/Caitlyn Little, Brown Books for Young Readers/ Joy Revolution Dlouhy Books/Moonbot Books LBKids/Novl/Poppy Labyrinch Road Beach Lane Books Random House/Golden Books Young Denene Millner Books MACMILLAN CHILDREN’S Readers Group Little Simon PUBLISHING GROUP Random House Graphic Margaret K. McElderry Books Farrar, Straus & Giroux BFYR/Francis Foster Random House Studio Paula Wiseman Books Books/Priddy Books Rodale Kids Salaam Reads Feiwel and Friends/Swoon Reads Wendy Lamb Books Simon & Schuster Books for Young Readers :01 First Second Paperback, reprints, classic imprints: Simon Pulse/Simon True Flatiron Books Bantam Books, Bluefire, Dragonfly, Ember, Simon Spotlight Henry Holt Books for Young Readers/ Knopf Trade Paperbacks, Delacorte Press Godwin Books Trade SOURCEBOOKS KIDS Odd Dot Paperbacks, Laurel Leaf, Yearling Books, Sourcebooks eXplore/Dawn Publications/ Roaring Brook Press/Square Fish Licensed book imprint: Disney Books for Little Pickle Press Tor Books/Tor Teen/Tor Starscape Young Readers Sourcebooks Fire Wednesday Books Sourcebooks Jabberwocky RED CHAIR PRESS Sourcebooks Wonderland NATIONAL GEOGRAPHIC KIDS Funny Bone Books Sourcebooks Young Readers National Geographic Kids Look! Books Under the Stars One Elm Books for Young Readers STERLING CHILDREN’S BOOKS Red Chair Press Sterling Children’s Books NORTH STAR EDITIONS Rocking Chair Kids Sterling Teen Flux Start Smart Focus Readers WHAT ON EARTH BOOKS / Jolly Fish Press REGNERY PUBLISHING BRITANNICA BOOKS Little Patriot Press Britannica Books POLARITY Regnery Kids/Regnery Adventure What on Earth Books Lion Forge/Caracal/CubHouse/Roar Oni Press ROSEN PUBLISHING GROUP WORKMAN PUBLISHING COMPANY Britannica Educational Publishing Algonquin Young Readers PENGUIN YOUNG READERS GROUP PowerKids Press Workman Publishing Company Dial Books for Young Readers Rosen Central Dutton Children’s Books Rosen Young Adult G.P. Putnam’s Sons/Nancy Paulsen Books Windmill Books Grosset & Dunlap/PSS!/Price Stern Sloan/ Penguin Workshop/ Rise x Penguin RUNNING PRESS KIDS Workshop/Penguin Workshop’s Ladybird Black Dog & Leventhal Publishers Kathy Dawson Books Running Press Kids www.scbwi.org

| Kokila Philomel Books SASQUATCH BOOKS Puffin Books/Firebird Little Bigfoot Razorbill Spruce Books Viking Children’s Books/Flamingo Books Licensed book imprints: Cartoon Network SCHOLASTIC TRADE Books, Frederick Warne The Blue Sky Press Cartwheel Books/Acorn/Branches QUARTO USA Graphix Moondance Press Graphix Media Walter Foster Jr. Klutz Wide Eyed Editions/Francis Lincoln Orchard Books Children’s Books Push words & pictures Scholastic Focus PUBLICATIONS GUIDE: THE BOOK Scholastic Press/Chicken House/Point

2021 Paperback/Wish 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 interna- tional 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 “Publica- tions.” 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 and large multinational publishers. These houses may publish many hundreds those who are residents of their countries, and some of the publishers of books each year while other publishers are much newer independent 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 restrictive costs are trade publishers but some only publish educational titles. Some will 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 to a native tongue and not in English) will be the most appropriate source 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 EDITED BY A HOUSE-BY-HOUSE LISTING OF EDITORIAL CREDITS

compiled by Deborah Halverson

ach year, the SCBWI surveys publishers and editors for lists of up to seven 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 picture books, the book’s author is listed first, followed by its listed as indicative of their preferences, tastes, and sensibilities. illustrator. This list is designed to act as a companion piece to the Understanding these editors’ tastes can help you better target SCBWI Market Survey: Publishers of Books for Young Readers. Please your submissions—not by duplicating the books on their list, but review the market survey for specific submission information, as not by learning what types of stories and voices interest them. This all houses are accepting submissions at this time. publication is alphabetized by publishing house. In the case of

ABRAMS BOOKS illustrated by Loren Long Roadkill, Heather L. Montgomery » Stop That Yawn!, Caron Levis, illustrated » We Are Not Yet Equal: Understanding Our Courtney Code, Associate Editor by LeUyen Pham Racial Divide, Carol Anderson & Tonya » Chicks Rule, Sudipta Bardhan-Quallen, » Pocket Full of Colors, Amy Guglielmo & Bolden illustrated by Renée Kurilla Jacqueline Tourville, illustrated by Brigette » This Promise of Change: One Girl’s Story in » The Neighbors, Einat Tsarfati Barrager the Fight for School Equality, Jo Ann Allen » The Sloth Who Slowed Us Down, Margaret » Super Manny Stands Up!, Kelly DiPucchio, Boyce & Debbie Levy Wild, illustrated by Vivienne To illustrated by Stephanie Graegin » Zap Clap Boom, Laura Purdie Salas » The Wompananny Witches Make One Mean » Full list: www.pinterest.com/emmaled/ » Stolen Science, Ella Schwartz Pizza, Jennie Palmer books-i-edited/ » 1919: The Year That Changed America, » Special interest: narrative-driven fiction Martin Sandler picture books Maggie Lehrman, Executive Editor » The Good Demon, Jimmy Cajoleas (YA) Allison Moore, Editor Erica Finkel, Editor » The Accidental Bad Girl, Maxine Kaplan » Extraordinary Birds, Sandy Stark-McGinnis » Sidetracked, Diana Asher (YA) » The Storm Keeper’s Island, Catherine Doyle » The Last Thing You Said, Sara Biren » Munmun, Jesse Andrews (YA) » Ghost Boys, Jewell Parker Rhodes » Camp Rolling Hills, Stacy Davidowitz » Riverland, Fran Wilde (MG) » President of the Whole Sixth Grade, Sherri » Alfie, Thyra Heder » Ronan Boyle and the Bridge of Riddles, Winston » Miranda and Maude, Emma Wunsch Thomas Lennon (MG) » ​Butterfly Wishes series, Jennifer Castle » Lumberjanes, Mariko Tamaki » Apocalypse Taco, Nathan Hale (MG GN) » Dad By My Side, author-illustrator Soosh » Big Foot and Little Foot series, Ellen » The Goodbye Book, Todd Parr Potter BLOOMSBURY CHILDREN’S BOOKS Sarah Shumway, Executive Editor Emma Ledbetter, Editorial Director, Picture Susan Dobinick, Editor, Nonfiction » Play This Book, Jessica Young, illustrated Books » You Are Mighty: A Guide to Changing the by Daniel Wiseman » Good Boy, author-illustrator Sergio Ruzzier World, Caroline Paul » Pet This Book, Jessica Young, illustrated » If I Was the Sunshine, Julie Fogliano, » Something Rotten: A Fresh Look at by Daniel Wiseman 138 | EDITED BY

» Crafty Llama, Mike Kerr, illustrated by » Dad’s Camera, Ross Watkins, illustrated by » A House in the Sky, Steve Jenkins, Renata Liwska Liz Anelli illustrated by Robbin Gourley » The Lola Dutch books, Kenneth & Sarah » The Iliad, Gareth Hinds (GN) » Anya’s Secret Society, Yevgenia Nayberg Jane Wright » Doctor Esperanto and the Language of » Friend or Fiction, Abby Cooper » The Unicorn Quest series, Kamilla Benko Hope, Mara Rockliff, illustrated by Zosia » The Ellie May series, Hillary Homzie, » The Ellie Engineer books, Jackson Pearce Dzierzaskwa (Biography) illustrated by Jeffrey Ebbeler » Piecing Me Together, Renée Watson » A New Home, author-illustrator Tania de » Watch Us Rise, Renée Watson & Ellen Regil Karen Boss, Associate Editor Hagan » Under the Milky Way, Frané Lessac (NF PB) » We Are Grateful: Otsaliheliga, Traci Sorell, » Stars at Oktober Bend, Glenda Millard (YA) illustrated by Frané Lessac BOYDS MILLS PRESS » Flying Deep: Climb Inside Deep-Sea Andrea Tompa, Senior Editor Submersible Alvin, Michelle Cusolito, Rebecca Davis, Senior Editor » Fergus and Zeke, Kate Messner illustrated by Nicole Wong » Garbage Island, Fred Koehler » Hazel & Twig: The Birthday Fortune, » The Boo-Boos That Changed the World: A » Bone’s Gift, Angie Smibert Brenna Burns Yu True Story About an Accidental Invention » Garvey’s Choice, Nikki Grimes » The Little Snowplow, Lora Koehler (Really!), Barry Wittenstein, illustrated by » The Slowest Book Ever, April Pulley Sayre » Louisiana’s Way Home, Kate Dicamillo Chris Hsu » Flashlight Night, Matt Forrest Esenwine » My Year in the Middle, Lila Quintero » First Laugh—Welcome, Baby!, Rose Ann » Good Night, Oliver Wizard, Rebecca Kai Weaver Tahe & Nancy Bo Flood, illustrated by Dotlich » A Wish in the Dark, Christina Soontornvat Jonathan Nelson » A Bunch of Punctuation, selected by Lee » X: A Novel, Ilyasah Shabazz with Kekla » Captain’s Log: Snowbound, Erin Dionne, Bennett Hopkins Magoon illustrated by Jeffrey Ebbeler » Belle’s Journey: An Osprey Takes Flight, CANDLEWICK PRESS CAPSTONE YOUNG READERS Rob Bierregaard, illustrated by Kate Garchinsky Elizabeth Bicknell, EVP, Executive Editorial Alison Deering, Senior Editor » Like Vanessa, Tami Charles Director, & Associate Publisher » Pink Hair and Other Terrible Ideas, Andrea » The Patchwork Bike, Maxine Beneba Clarke, Pyros (MG) CHRONICLE BOOKS illustrated by Van T. Rudd » Seaside Sanctuary series, Emma Carlson » Du Iz Tak?, Carson Ellis Berne Daria Harper, Assistant Editor » Triangle, Square, Circle series, Mac Barnett, » Girls Survive series, Nikki Smith, Salima » A Friend for Henry, Jenn Bailey, illustrated illustrated by Jon Klassen Alikhan, & Mayumi Shimose Poe by Mika Song » Imagine, Juan Felipe Herrera, illustrated » Earth to Dad, Krista Van Dolzer (MG) » Baby See, Baby Do: Lift & Look in the by Lauren Castillo » Zinnia and the Bees, Danielle Davis, Mirror!, Robie Rogge » The Stuff of Stars, Marion Dane Bauer, illustrated by Laura K. Horton (MG) » Hello Honeybees, Hanna Rogge, illustrated illustrated by Ekua Holmes » Finley Flowers series, Jessica Youn, by Emiy Dove » House of Dreams, Liz Rosenberg, illustrated by Jessica Secheret » The Advent Activity Book illustrated by Julie Morstad » Ellie Ultra series, Gina Bellisario, » The Assassination of Brangwain Spurge, illustrated by Jessika von Innerebner Naomi Kirsten, Senior Editor M.T. Anderson & Eugene Yelchin » I Hate My Cats (A Love Story), Davide Cali Kristen Mohn, Senior Editor & Anna Pirolli Mary Lee Donovan, Editorial Director » A Different Pond, Bao Phi » Find Me: A Hide-and-Seek Book, Anders www.scbwi.org » Juana and Lucas: Big Problemas, Juana » Meet Yasmin!, Saadia Faruqi Arhoj | Medina » Karl’s New Beak, Lela Nargi » I Didn’t Do My Homework Because… » Alma and How She Got Her Name, Juana » Scream Site, Justina Ireland series, Davide Cali & Benjamin Chaud Martinez-Neal » The Journey of York, Hasan Davis » The Star Wars Cookbook: BB-Ate, Lara Starr » In-Between Things, Priscilla Tey » Hedy’s Journey, Michelle Bisson & Matthew Carden » Winter Lullaby, Diane White, illustrator » Code Play series, Caroline Karanja » Richard McGuire’s Wild Cards, Richard TBD McGuire » Woolf, Helen Yoon CHARLESBRIDGE PUBLISHING » Aquarium, Cynthia Alonso » Poultrygeist, Eric Geron, illustrator TBD » There’s a Dodo on the Wedding Cake, Wade Julie Bliven, Editor Melissa Manlove, Senior Editor Bradford, illustrated by Kevin Hawkes » I’m New Here, author-illustrator Anne » Might, Mighty Construction Site, Sherri Sibley O’Brien Duskey Rinker & Tom Lichtenheld Carter Hasegawa, Editor » Someone New, author-illustrator Anne » Josephine: The Dazzling Life of Josephine » Freedom Soup, Tami Charles, illustrated by Sibley O’Brien Baker, Patricia Hruby Powell, illustrated by PUBLICATIONS GUIDE: THE BOOK Jacqueline Alcántara » Grandma’s Tiny House, JaNay Brown-Wood, Christian Robinson » Dogchild, Kevin Brooks (YA) illustrated by Priscilla Burris » Balderdash, John Newbery and the 2021 EDITED BY | 139

Boisterous Birth of Children’s Books, DISNEY BOOK GROUP Andrew Eliopulos, Executive Editor Michelle Markel, illustrated by Nancy » Nimona, Noelle Stevenson Carpenter DISNEY-HYPERION » They Both Die At the End, Adam Silvera » Interstellar Cinderella, Deborah » What If It’s Us, Adam Silvera & Becky Underwood, illustrated by Meg Hunt Tracey Keevan, Executive Editor Albertalli (coedited) » Over and Under the Pond, Kate Messner, » The Pigeon Has to Go to School!, author- » Estranged, Ethan M. Aldridge illustrated by Christopher Silas Neal illustrator Mo Willems » Asylum, Madeleine Roux » Charlie & Mouse, Laurel Snyder, illustrated » Harold & Hog Pretend for Real!: An » New Kid, Jerry Craft by Emily Hughes Elephant & Piggie Like Reading book, Dan » All of This Is True, Lygia Day Peñaflor » The Brilliant Deep, Kate Messner, Santat (ER) illustrated by Matthew Forsythe » Kondu & Kuzumi Visit Giant Island, David Megan Ilnitzki, Associate Editor MARKET SURVEYS » Things to Do, Elaine Magliaro, illustrated Goodner, illustrated by Andrea Tsurumi » Titan and the Wild Boards, Susan Hood & by Catia Chien (Chapter Book) Pathana Sornhiran » Give Me Back My Book, Travis Foster, » The Gumazing Gum Girl series, Rhode » Untitled upper-MG fantasy illustrated by Ethan Long Montijo (Chapter Book) » Untitled humorous picture book » Captain Superlative, J.S. Puller (MG) » The School for Good and Evil series Taylor Norman, Editor » A Circle of Elephants, Eric Dinerstein (MG) (contributing editor) » Her Right Foot, Dave Eggers » All the Missing Pieces, Melanie Conklin » Eric Carle books (contributing editor) » Hundred Percent, Karen Romano Young (MG) » Everything You Need for a Treehouse, » Special interest: PB, MG Alice Jerman, Editor Carter Higgins, illustrated by Emily Hughes » War Storm, Victoria Aveyard » Nothing Rhymes with Orange, author- Stephanie Owens Lurie, Editor-at-Large » The Light Between Worlds, Laura E. illustrator Adam Rex » Aru Shah and the End of Time, Roshani Weymouth » Forever or a Day, Sarah Jacoby Chokshi » Beyond a Darkened Shore, Jessica Leake » Low Riders in Space, Cathy Camper, » The Storm Runner, Jennifer Cervantes » Wait for Me, Caroline Leech illustrated by Raúl Gonzalez » Dragon Pearl, Yoon Ha Lee » Ghost Wood Song, Erica Waters » Knockout, K. A. Holt » Sal and Gabi Break the Universe, Carlos Hernandez David Linker, Executive Editor Ariel Richardson, Editor » Underwear!, Jenn Harney » Thisby Thestoop and the Black Mountain, » Bunny Slopes, Claudia Rueda » Sleepy, the Good-Night Buddy, Drew Zac Gorman (MG) » This Is How We Do It, Matt Lamothe Daywalt, illustrated by Scott Campbell » Watch Hollow, Greg Funaro (MG) » The Dreamer, Il Sung Na » Unicorn Is Maybe Not So Great After All, » Marty Pants, Mark Parisi (MG) » Crescent Moons and Pointed Minarets, Bob Shea » Odd Gods, David Slavic & Daniel Weitzman Hena Khan, illustrated by Mehrdokht (MG) Amini HARPERCOLLINS CHILDREN’S BOOKS » Society of Substitutes, Alan Katz (Chapter » A River, Marc Martin Book) » Masha and Her Sisters, Suzy Ultman Rosemary Brosnan, VP & Editorial Director » Down in the Dumps, Wes Hargis (Chapter » The Towering Tree Puzzle, Teagan White » The Poet X, Elizabeth Acevedo Book) » Cinnamon, Neil Gaiman & Divya Srinivasan » Pine & Boof, author-illustrator Ross Victoria Rock, Editor-at-Large » Dress Codes for Small Towns, Courtney Burach » I Wrote You a Note, Lizi Boyd Stevens » Big Bunny, Rowboat Watkins » Challenger Deep, Neal Shusterman Elizabeth Lynch, Associate Editor » Lines, Suzy Lee » Clayton Byrd Goes Underground, Rita » You Don’t Know Me But I Know You, » This Is Not a Picture Book, Sergio Ruzzier Williams-Garcia Rebecca Barrow (YA) » Barkus, Patricia MacLachlan, illustrated by » Ogre Enchanted, Gail Carson Levine » This Is What It Feels Like, Rebecca Barrow Marc Boutavani » And the Ocean Was Our Sky, Patrick Ness (YA) » A Dress for the Wicked, Autumn Krause Ginee Seo, Executive Publishing Director Alyson Day, Senior Editor (YA) » Tell Me a Tattoo Story, Alison McGhee, » A Friend for Bently, author-illustrator » Maggie & Abby and the Neverending illustrated by Eliza Wheeler Paige Keiser Pillow Fort, Will Taylor (MG) » They All Saw a Cat, Brendan Wenzel » Goblin Moon, author-illustrator Jacqueline » Undercover Princess, Connie Glynn (MG) » Hello Hello, Brendan Wenzel Rogers » The Spinner of Dreams, K.A. Reynolds (MG) » The Ethan I Was Before, Ali Standish (MG) » Saving Winslow, Sharon Creech (MG) Courtney Stevenson, Assistant Editor » Tangled in Time, Kathryn Lasky (MG) » That’s What Friends Do, Cathleen Barnhart » Kiss Collector, Wendy Higgins (YA) (MG) » Where I Live, Brenda Rufener (YA) 140 | EDITED BY

Erica Sussman, VP & Publishing Director » The Collectors, Jacqueline West Books) » Right as Rain, Lindsey Stoddard » The Doldrums, Nicholas Gannon » Special interest: original board books, » Mostly the Honest Truth, Jody J. Little » For a Muse of Fire, Heidi Heilig picture books w/innovative format, witchy » My Plain Jane, Cynthia Hand, Brodi Ashton » We’ll Fly Away, Bryan Bliss YA with inclusivity and/or LGBTQA+ & Jodi Meadows » Voyage of the Dogs, Greg van Eekhout KATHERINE TEGEN BOOKS Kate O’Sullivan, Senior Executive Editor » Serpent & Dove, Shelby Mahurin » How to Be a Good Creature, Sy Ben Rosenthal, Executive Editor Montgomery Catherine Wallace, Associate Editor » Timeless: Diego and the Rangers of the » Bull, David Elliott » Fame, Fate, and the First Kiss, Kasie West Vastlantic, Armand Baltazar » The Quiet Book, Deborah Underwood & » The Last Hour, Diana Urban » Case Closed: Mystery in the Mansion, Renata Liwska » The Exact Opposite of Okay, Laura Steven Lauren Magaziner » Drowned City, Don Brown » The Girl You Thought I Was, Rebecca » Ultraball: Lunar Blitz, Jeff Chen » Here and Now, Julia Denos & E.B. Goodale Phillips » Let Me Hear a Rhyme, Tiffany D. Jackson » Grave Mercy, R.L. Lafevers » Still to be titled World War II novel, » Heroine, Mindy McGinnis » Stick and Stone, Beth Ferry & Tom Jordyn Taylor » Opposite of Always, Justin A. Reynolds Lichtenheld » Heretics Anonymous, Katie Henry Clarissa Wong, Editor Margaret Raymo, Senior Executive Editor » Where Are You From?, Yamile Saied Méndez HOLIDAY HOUSE BOOKS FOR YOUNG » The Undefeated, Kwame Alexander, » Eyes That Kiss in the Corners, Joanna Ho PEOPLE illustrated by Kadir Nelson Bradshaw » Vamos! Let’s Go to the Market, author- » Peppermint Post, Bruce Hale Grace Maccarone, Executive Editor illustrator Raul the Third » Wheels on the Go!, Lindsay Ward » Noodlehead Nightmares, Tedd Arnold, » Emmy in the Key of Code, Aimee Lucido » America ABC, illustrated by Irene Chan Martha Hamilton, & Mitch Weiss (MG) » Untitled Graphic Novel, Cullen Bunn » My Awesome Summer By P. Mantis, author- » The Last Last-Day-Of-Summer, Lamar Giles illustrator Paul Meise (MG) BALZER + BRAY » Hide!, Steve Henry » Every Moment After, Joseph Moldover (YA) » Looking for Bongo, Eric Velasquez » White Rose, Kip Wilson (YA in Verse) Jordan Brown, Executive Editor » A Mammal Is an Animal, Lizzy Rockwell » Brown Girl Gone Dead, Mintie Das (YA) » Dread Nation, Justina Ireland » No Kimchi for Me!, Aram Kim » Orphan Island, Laurel Snyder » When the Cousins Came, Katie Yamasaki Ann Rider, Executive Editor » The Lost Girl, Anne Ursu » The Thank You Book, author-illustrator Mo » Granted, John David Anderson Sally Morgridge, Editor Willems » Bone Gap, Laura Ruby » Ra the Mighty: Cat Detective, Amy Butler » Zola’s Elephant, Randall de Sève, » A Boy Called Bat, Elana K. Arnold Greenfield illustrated by Pamela Zagarenski » Like Water, Rebecca Podos » The Apple Tart of Hope, Sarah Moore » The House in the Night, Susan Marie Fitzgerald Swanson, illustrated by Beth Krommes Kristin Rens, Executive Editor » Desert Dark, Sonja Stone » Girls Think of Everything: Stories of » Free as a Bird: The Story of Malala, » Kingdom of Ash and Briars, Hannah West Ingenius Inventions by Women, Catherine author-illustrator Lina Maslo » Eliza Bing Is (NOT) a Star, Carmella Van Thimmesh, illustrated by Melissa Sweet » Little Penguin Stays Awake, author- Vleet » The Van Gogh Deception, Deron Hicks illustrator Tadgh Bentley » Clayton Stone, At Your Service, Ena Jones (MG) www.scbwi.org » Naomis Too, Olugbemisola Rhuday- » Realm of Ruins, Hannah West » The Lemonade War series, Jacqueline | Perkovich & Audrey Vernick (MG) Davies (MG) » Ember and the Ice Dragons, Heather HOUGHTON MIFFLIN HARCOURT » Ice Dogs, Terry Lynn Johnson (YA) Fawcett (MG) BFYR » The Vanderbeekers of 141st Street, Karina » The Bird and the Blade, Megan Bannen Van Glaser (MG) (YA) Chris Krones, Associate Editor » The Girl Who Drew Butterflies: How Maria » Nocturna, Maya Motayne (YA) » Mystery Club: Wild Werewolves, Mummy Merlan’s Art Changed Science, Joyce » A Thousand Sisters, Elizabeth Wein (YA) Mischief, Davide Cali & Yannick Robert Sidman (GN) » Snowflake Bentley, Jacqueline Briggs GREENWILLOW BOOKS » Pick Your Own Adventure, Princess! (PB) Martin, illustrated by Mary Azarian » Let the Children March, Monica Clark- » Sleep Like a Tiger, Mary Logue, illustrated Martha Mihalick, Executive Editor Robinson, illustrated by Frank Morrison by Pamela Zagarenski » A Hundred Billion Trillion Stars, Seth » Beyoncé: Shine Your Light, Sarah Warren, » Some Writer: The Story of E. B. White, Fishman & Isabel Greenberg illustrated by Geneva Bowers Melissa Sweet (MG) PUBLICATIONS GUIDE: THE BOOK » This Is It, Daria Peoples-Riley » Survivor Diaries, Terry Lynn Johnson » Dark Emperor & Other Poems of the Night, » Knights vs. Dinosaurs, Matt Phelan » I Love Space and I Love Science (Board Joyce Sidman, illustrated by Rick Allen 2021 EDITED BY | 141

» Balloons Over Broadway: The Story of the Ruurs, illustrated by Ashley Barron​ LERNER PUBLISHING GROUP Puppeteer of Macy’s Parade, Melissa Sweet » Ocean Animals from Head to Tail ​(Head to » Special interest: innovative visual Tail series) Stacey Roderick, illustrated by KANE PRESS nonfiction, especially memoirs & bios; Kwanchai Moriya MG fiction, especially animal stories, » Nature All Around: Trees ​(Nature All Joy Bean, Senior Editor wilderness survival/action stories, Around series), Pamela Hickman, » It’s a Girl Thing, Pri Ferrari historical fiction, and contemporary illustrated by Carolyn Gavin » Nests, Pepe Marquez, illustrated by Natalia realism; child-centered picture books, » Hawks Kettle, Puffins Wheel, and Other Colombo especially bio. Poems of Birds in Flight, Susan Vande » Trucks Zooming, Pamela Jane, illustrated Griek, illustrated by Mark Hoffmann by Barry Gott Nicole Sclama, Associate Editor » It’s a Round, Round World!, Ellie Peterson MARKET SURVEYS » Song of the Abyss, Makiia Lucier Jennifer Stokes, Editor » Blue Cat, Charlie Eve Ryan » Once a King, Erin Summerill » Nick the Sidekick, Dave Whamond » Special interest: character-driven stories, » Not Even Bones, Rebecca Schaeffer » The True Tale of a Giantess: The Story of humorous books, nature/sustainability/ » Ink in the Blood, Kim Smejkal Anna Swan, Anne Renaud & Marie Lafrance environmental stories, lively nonfiction of » The Mystwick School of Musicraft, Jessica » The Reptile Club, Maureen Fergus & Elina all types, and stories featuring cats. Khoury Ellis » Splinters of Scarlet, Emily Bain Murphy » Rosie’s Glasses, Dave Whamond Jes Negrón, Editor » Empress of All Seasons, Emiko Jean » My Forest is Green, Darren Lebeuf & » Brown Sugar Babe, Charlotte Watson » Special interest: upper-MG and YA fiction Ashley Barron Sherman, illustrated by Akem » My Teacher’s Not Here, Lana Button & » Let’s Dance!, Valerie Bolling, illustrated by Erika Turner, Editor, HMH, Versify Christine Battuz Maine Diaz » Anya and the Dragon, Sofiya Pasternack » Under Pressure: the Science of Stress, » Astronaut Training, Aneta Cruz, illustrated (MG) Tanya Lloyd Kyi & Marie-Ève Tremblay by Olivia Aserr » Ghost Roast, Shawnee’ & Shawnelle Gibbs » The Book of Laughs, Meaghan Mcisaac, (YA GN) Yasemin Uçar, Senior Editor illustrated by James Rey Sanchez » Your Mama, NoNieqa Ramos (PB) » The Most Magnificent Thing, author- » Special interest: humor, with an element » How to Wear a Sari, Darshana Khiani (PB) illustrator Ashley Spires of the absurd, magic, space, robots, and » The Hole Story, Vivian Mcinerny, » The Branch, Mireille Messier, illustrated by mystery; serious, with characters and illustrated by Ken Lamug Pierre Pratt narratives that help children explore » Kicks, Van G. Garrett (PB) » Ojiichan’s Gift, Chieri Uegaki, illustrated concepts too often discussed in whispers; » Wutaryoo, Nilah Magruder (PB) by Genevieve Simms stories featuring characters, authors, and » A Horse Named Steve, Kelly Collier illustrators from diverse backgrounds and INKYARD PRESS » Sleep, Sheep!, Kerry Lyn Sparrow, perspectives. illustrated by Guillaume Perreault T.S. Ferguson, Editor » Ebb & Flow, Heather Smith LITTLE BEE BOOKS » Pulp, Robin Talley » Beastly Puzzles: A Brain-Boggling Animal » Nightingale, Amy Lukavics Guessing Game, Rachel Poliquin & Byron Sonali Fry, Publisher » All Out, edited by Saundra Mitchell Eggenschwiler » Stu Truly, Dan Richardson (MG) » Toil & Trouble, edited by Jessica » The Prophet Calls, Melanie Sumrow (MG) Spotswood & Tess Sharpe LEE & LOW BOOKS » The Colors of the Rain, R.L. Toalson (MG) » Brief Chronicle of Another Stupid » The Year I Didn’t Eat, Samuel Pollen (MG) Heartbreak, Adi Alsaid Louise May, Editor-at-Large » The Gemini Mysteries: The North Star, Kat » Belly Up, Eva Darrows » Every Month Is a New Year, Marilyn Singer, Shepherd (MG) » The Sidekicks, Will Kostakis illustrated by Susan L. Roth » The Roots of Rap, Carole Boston » Bookjoy, Wordjoy, Pat Mora, illustrated by Weatherford, illustrated by Frank Morrison KIDS CAN PRESS Raul Colón » Jack (Not Jackie), Erica Silverman, » Sparkle Boy, Leslea Newman, illustrated by illustrated by Holly Hatam Katie Scott, Editor Maria Mola » Canada Year by Year, Elizabeth » Our Celebración!, Susan Middleton Elya, Charlie Ilgunas, Assistant Editor MacLeod, illustrated by Sydney Smith illustrated by Ana Aranda » Crumbled!, Lisa Harkrader (MG) » Engineered! Engineering Design at Work, » Olinguito, from A to Z!, Lulu Delacre » Midsummer’s Mayhem, Rajani Larocca (MG) Shannon Hunt, illustrated by James » Malala Yousafzai: Warrior with Words, » The Serendipity of Flightless Things, Gulliver Hancock Karen Leggett Abouraya, illustrated by Fiadhnait Moser (MG) » Monster Science: Could Monsters Survive Susan L. Roth » Grandpa Grumps, Katrina Moore, illustrated (and Thrive!) in the Real World?, Helaine » Shirley Opens a Door, Katheryn Russell- by Xindi Yan Becker, illustrated by Phil McAndrew Brown, illustrated by Eric Velasquez » M Is for Melanin, author-illustrator Tiffany » Birthdays Around the World​, Margriet Rose 142 | EDITED BY

» The Eternal Soldier: How a Dog Became » Crash, Splash Or Moo!, Bob Shea FLATIRON BOOKS a Civil War Hero, Allison Crotzer Kimmel, » What If…, Samantha Berger & Mike Curato illustrated by Rotem Teplow » I’m Just No Good At Rhyming (And Sarah Barley, Editorial Director, YA » Except When They Don’t, Laura Gehl, Other Nonsense for Mischievous Kids and » The Hazel Wood, Melissa Albert illustrated by Joshua Heinsz Immature Grown-Ups), Chris Harris » Caraval series, Stephanie Garber » The Thing About Jellyfish, Ali Benjamin » If I Was Your Girl and Birthday, Meredith LITTLE, BROWN BFYR » The Next Great Paulie Fink, Ali Benjamin Russo » Girls Made of Snow and Glass, Melissa Deirdre Jones, Senior Editor JIMMY PATTERSON BOOKS Bashardoust » Claymates, Dev Petty, illustrated by Lauren » American Girls, Alison Umminger Eldridge Sasha Henriques, Assistant Editor » When You Are Brave, Pat Zietlow Miller, » No More Monsters Under Your Bed!, Jordan HENRY HOLT BFYR illustrated by Eliza Wheeler Chouteau » Otis and Will Discover the Deep: The » There Was An Old Woman Who Lived in a Brian Geffen, Editor Record-Setting Dive of the Bathysphere, Book, Jomike Tejido » The Bone Garden, Heather Kassner (MG) Barb Rosenstock, illustrated by Katherine » Special interest: YA » Pie in the Sky, Remy Lai (MG) Roy » Thieves of Weirdwood, William Shivering » The Star Thief, Lindsey Becker (MG) Aubrey Poole, Editor (MG) » The End of the Wild, Nicole Helget (MG) » Pottymouth and Stoopid, James Patterson » Ranger’s Apprentice: the Battle of » The Frostblood Saga: Frostblood, Elly Blake » Max Einstein: The Genius Experiment, Hackham Heath, John Flanagan (MG) (YA) James Patterson » Forest of a Thousand Lanterns, Julie C. » Amelia Westlake Was Never Here, Erin » The Unflushables, Ron Bates Dao (YA) Gough (YA) » Gunslinger Girl, Lyndsay Ely » There Will Come a Darkness, Katy Rose » Once & Future, Cori McCarthy & Amy Rose Pool (YA) Nikki Garcia, Associate Editor Capetta » A Breath Too Late, Rocky Callen (YA) » The Lola Levine series, Monica Brown » 96 Words for Love, Rachel Roy & Ava Dash » The Fresh New Face of Griselda, Jennifer » Labyrinth Lost, Zoraida Cordova Tiffany Liao, Editor Torres » Special interest: YA » Beasts Made of Night, Tochi Onyebuchi » Pavi Sharma’s Guide to Going Home, » Children of Blood and Bone, Tomi Adeyemi Bridget Farr MACMILLAN CHILDREN’S » Peasprout Chen, Future Legend of Skate » Someone Like Me: How One Undocumented PUBLISHING GROUP and Sword, Henry Lien Girl Fought for Her American Dream, » The Story Collector, Kristin O’Donnell Tubb Julissa Arce FEIWEL & FRIENDS/SWOON READS » The Merciful Crow, Margaret Owen » I Miss My Grandpa, Jin Xiaojing » The Kingdom, Jessica Rothenberg » How She Died, How I Lived, Mary Crockett Jean Feiwel, Senior VP & Publisher » Silver Batal and the Water Dragon Races, » A Match Made in Mehendi, Nandini Bajpai » Juno Valentine and the Magical Shoes, Eva K.D. Halbrook Chen, illustrated by Derek Desierto Farrin Jacobs, Editorial Director » A Is for Awesome, Eva Chen, illustrated by Christian Trimmer, Editorial Director » Little Dreamers, Vashti Harrison Derek Desierto » Llama Destroys The World, Jonathan » We Are Displaced, Malala Yousafzai » Unpresidented: A Biography of Donald Stutzman, illustrated by Heather Fox » Dear Evan Hansen: The Novel Trump, Martha Brockenbrough » Game, Set, Sisters: The Story of Venus and » The Children of Willesden Lane, Young » The Magical Unicorn Society Official Serena Williams, Jamie McGhee, illustrated www.scbwi.org Readers Edition Handbook, Selwyn E. Phipps, illustrated by

| by Ebony Glenn Helen Dardik, Zanna & Harry Goldhawk » The Remarkable Journey of Coyote Sunrise, Alvina Ling, VP & Editor-in-Chief Emily Settle, Assistant Editor Dan Gemeinhart (MG) » A Big Mooncake for Little Star, Grace Lin » Ten Thousand Rivers, June Hur » Scary Stories for Young Foxes, Christian » Sheep 101, Richard Morris, illustrated by » Carols and Chaos, Cindy Anstey McKay Heidicker (MG) Leuyen Pham » The Soul Keepers, Devon Taylor » Whose Right Is It Anyway? The Second » Nevermoor, Jessica Townsend (MG) » The Supervillain and Me, Danielle Banas Amendment and the Fight Over Guns, Hana » Ghost Boys, Jewell Parker Rhodes (MG) Bajramovic (MG) » The Wild Robot, Peter Brown (MG) :01 FIRST SECOND » What We Buried, Kate A. Boorman (YA) » The Astonishing Color of After, Emily X.R. Pan (YA) Kiara Valdez, Assistant Editor ODD DOT » The Cruel Prince, Holly Black (YA) » Snapdragon, Kat Leyh » Check, Please!: #Hockey, Ngozi Ukazu Justin Krasner, Associate Editor Andrea Spooner, VP & Editorial Director » Naima, K.L. Ricks » One More Wheel: A Things-That-Go PUBLICATIONS GUIDE: THE BOOK » Thank You, Omu!, Oge Mora » Cucumber Quest series, Gigi D.G. Counting (Concept Book) » Pearl, Molly Idle » Untitled Graphic Memoir, Shauna J. Grant » The Joke Machine: Create Your Own Jokes 2021 EDITED BY | 143

and Become Instantly Funny Vicki Lame, Editor William Still, Father of the Underground » Tiny World craft series » Wicked Saints, Emily A. Duncan Railroad, author-illustrator Don Tate » Make Your Own Beauty Masks » You’d Be Mine, Erin Hahn » Create Your Own Secret Language » Where Dreams Descend, Janella Angeles PENGUIN YOUNG READERS GROUP » Turn the Key (Board Book) » In Sight of Stars, Gae Polisner » The Inevitable Collision of Birdie & Bash, DIAL BOOKS FOR YOUNG READERS Daniel Nayeri, Publisher Candace Ganger » Code This Game, Meg Ray » Hush, Dylan Farrow Dana Chidiac, Editor » Crinkle Crinkle Little Star, Justin Krasner » Red, White & Royal Blue, Casey McQuiston » Hands Up, Breanna J. McDaniel, illustrated » Spy on History, Enigma Alberti » Special interest: YA like Casey McQuiston’s by Shane W. Evans » Stories of the Saints, Carey Wallace Red, White, & Royal Blue » Papa Put a Man on the Moon, Kristy MARKET SURVEYS » Paint, Sticker, Phil Conigliaro Dempsey, illustrated by Sarah Green » Doodle Adventures, Mike Lowery Jennie Conway, Assistant Editor » The Not-So-Boring Letters of Private » Who Wins, Clay Swartz » A Golden Fury, Samantha Cohoe Nobody, Matthew Landis (MG) » Getting Hot with the Scot, Melonie » The Length of a String, Elissa Brent ROARING BROOK PRESS Johnson Weissman (MG) » Smitten, the Brit, Melonie Johnson » Darius the Great Is Not Okay, Adib Katherine Jacobs, Senior Editor » Once Upon a Bad Boy, Melonie Johnson Khorram (YA) » So Tall Within, Gary D. Schmidt, illustrated » The Orchid Throne, Jeffe Kennedy by Daniel Minter » This Earl of Mine, Kate Bateman Ellen Cormier, Editor » Spring After Spring, Stephanie Roth Sisson » The Passing Playbook, Isaac Fitzsimons » The Eleventh Trade, Alyssa Hollingsworth Lauren Jablonski, Assistant Editor » I Am a Wolf, Kelly Leigh Miller » Raffie on the Run, Jacqueline Resnick » Vagina Problems, Lara Parker » The Little Green Girl, Lisa Anchin » SEKRET, Lindsay Smith » This Is Not a Love Scene, S. C. Megale » Téo’s Tutu, Maryann Jacob Macias » Moxie, Jennifer Mathieu » The Subway Girls, Susie Schnall » Strangers Assume My Girlfriend Is My » The Wardrobe Mistress, Meghan Masterson GROSSET & DUNLAP/PSS!/PENGUIN Nurse, Shane Burcaw » Christmas in Vermont, Anita Hughes WORKSHOP » Christmas in Paris, Anita Hughes TOR BOOKS » California Summer, Anita Hughes Eve Adler, Senior Editor » Hello, World: Paris, Ashley Evanson Bess Cozby, Editor NORTH STAR EDITIONS » Night-Night, Forest Friends, Annie Bach » Dive Smack, Demetra Brodksy » Girls Who Code: The Friendship Code, » Prettyboy Must Die, Kimberly Reid FLUX Stacia Deutsch » Phoebe G. Green: Lunch Will Never Be the Melissa Frain, Senior Editor Mari Kesselring, Managing Editor Same, Veera Hiranandani » The Darkest Star, Jennifer L. Armentrout » The Girl and the Grove, Eric Smith » My Best Friend is a Unicorn, Rachael » Anna Dressed in Blood, Kendare Blake » My Whole Truth, Mischa Thrace McLean (Board Book with Flaps) » Roar, Cora Carmack » Unwritten, Tara Gilboy » Mother Goose to the Rescue, Nate Evans & » The Good Luck Girls, Charlotte Davis » Tinfoil Crowns, Erin Jones Stephanie Gwyn Brown (PB) » Sisters of Shadow and Light, Sara B. » Code Crackers Club series, Dori Hillestad Larson PEACHTREE PUBLISHING COMPANY Butler (Chapter Book) » The Deceivers, Kristen Simmons INC. » Spectacle, Jodie Lynn Zdrok Renee Hooker, Editor Diana M. Pho, Editor Kathy Landwehr, VP & Associate Publisher » Raise Your Hand, Alice Paul Tapper » The Steeplejack series (books 1 & 3), A. J. » Fault Lines in the Constitution: The » Arnold and Louise series (Chapter Book) Hartley (YA) Framers, Their Fights, and the Flaws that » Jada Jones series (Chapter Book) » Weave a Circle Round, Kari Maaren (YA) Affect Us Today, Cynthia Levinson & » Princess Pulverizer series (Chapter Book) » Everlasting Nora, Marie Miranda Cruz Sanford Levinson » Flubby is Not a Good Pet!, J. E. Morris » Special interest: MG, YA » Countdown: 2979 Days to the Moon, » I Will Race You Through This Book, Suzanne Slade, illustrated by Thomas Jonathan Fenske WEDNESDAY BOOKS Gonzalez » Clyde, Keith Marantz & Larissa Marantz » Madeline Finn and the Shelter Dog, Sara Goodman, Editorial Director author-illustrator Lisa Papp VIKING » Sadie, Courtney Summers » Going Down Home with Daddy, Kelly » I Hate Everyone But You, Allison Raskin & Starling Lyons, illustrated by Daniel Minter Tracy Gates, Editorial Director Gabby Dunn » Lana Lynn Howls at the Moon, Rebecca » Run Wild, David Covell » Foul Is Fair, Hannah Capin Van Slyke, illustrated by Anca Sandu » Little Owl’s Snow, Divya Srinivasan » The Mall, Megan McCafferty » William’s Freedom Records: The Story of » Diana’s White House Garden, Elisa 144 | EDITED BY

Carbone, illustrated by Jen Hill » The Sun Is Also a Star, Nicola Yoon Unusual Alphabet, Sara O’Leary, illustrated » Lily’s Cat Mask, Julie Fortenberry by Jacob Grant » Poison in the Colony: James Town 1622, Krista Marino, Executive Editor » Don’t Blink!, Amy Krouse Rosenthal, Elisa Carbone » One of Us Is Lying, Karen M. McManus (YA) illustrated by David Roberts » Warren & Dragon 100 Friends, Ariel » Girl in Pieces, Kathleen Glasgow (YA) » Elmore, author-illustrator Holly Hobbie Bernstein, illustrated by Mike Malbrough » Stronger, Faster, and More Beautiful, » There Was an Old Dragon Who Swallowed » EllRay Jakes is Not a Chicken, Sally Warner, Arwen Elys Dayton (YA) a Knight, Penny Parker Klostermann, illustrated by Shearry Malone » Ash Princess, Laura Sebastian (YA) illustrated by Ben Mantle » Samantha Spinner and the Super-Secret RANDOM HOUSE CHILDREN’S BOOKS Plans, illustrated by Russell Ginns (MG) RANDOM HOUSE GRAPHIC » Wilder Girls, Rory Power (YA) ALFRED A. KNOPF CROWN BFYR » Blood Heir, Amélie Wen Zhao (YA) Whitney Leopard, Senior Editor » Pandora’s Legacy, Kara Leopard, Kelly & Kelly Delaney, Associate Editor RANDOM HOUSE/GOLDEN BFYR GROUP Nichole Matthews » Americanized, Sara Saedi (YA) » Hex Vet: Witches in Training, Sam Davies » 10 Things I Can See from Here, Carrie Mac Shana Corey, Editor-at-Large, Executive » The Great Wiz and the Ruckus, Joey (YA) Editor McCormick » Lucy and Linh, Alice Pung (YA) » Maizy Chen’s Diabolical Plot to Rule the » Hotel Dare, Terry Blas & Claudia Aguirre » Lucy and the Rocket Dog, Will Buckingham World, Lisa Yee » Lumberjanes series (MG) » Katie the Catsitter, Colleen AF Venable & » Grandma’s Purse, author-illustrator Vanessa Stephanie Yue (MG GN) SCHWARTZ & WADE BOOKS Brantley-Newton » Pacey Packer, Unicorn Tracker, JC Phillipps » The Sandcastle That Lola Built, Megan (Young MG GN) Ann Kelley, Senior Editor Maynor, illustrated by Kate Berube » The Friendship War, Andrew Clements » The Miracle & Tragedy of the Dionne » Me and the Sky, Beverley Bass, illustrated » Operation Frog Effect, Sarah Scheerger Quintuplets, Sarah Miller by Joanie Stone » Mr. Lemoncello’s All-Star Breakout Game, » Blood & Thunder: the Story of Louisa May Chris Grabenstein Alcott Before Little Women, Deborah Noyes Michelle Frey, Executive Editor » The Fourteenth Goldfish, Jennifer L. Holm » What Not to Do If You Turn Invisible, Ross » The Penderwicks, Jeanne Birdsall (MG) » Special interest: MG graphic novels, and Welford (MG) » Eragon, Christopher Paolini (YA) MG #OwnVoices, contemporary, realistic » Sweety, author-illustrator Andrea Zuill » I Am Not Your Perfect Mexican Daughter, » A Hippy-Hoppy Toad, Peggy Archer, Erika L. Sánchez (YA) Frances Gilbert, Editor-In-Chief illustrated by Anne Wilsdorf » Uprooted, Naomi Novik (YA) » Wordy Birdy, Tammi Sauer, illustrated by » Harold Loves His Woolly Hat, author- » This Is Our Constitution, Khizr Khan (MG) Dave Mottram illustrator Vern Kousky » Through the Window, Barb Rosenstock, » Bad Dog, author-illustrator Mike Boldt » Dust Bunny Wants a Friend, author- illustrated by Mary GrandPre » I Don’t Want to Be a Frog, Dev Petty, illustrator Amy Hevron » Chasing Augustus, Kimberly Newton Fusco illustrated by Mike Boldt (MG) » Jasper & Ollie, author-illustrator Alex WENDY LAMB BOOKS Willan DELACORTE PRESS BFYR » Bunny’s Book Club, Annie Silvestro, Dana Carey, Assistant Editor illustrated by Tatjana Mai-Wyss » The Water Bears, Kim Baker (MG) Kelsey Horton, Associate Editor » Littles: and How They Grow, Kelly » The Girl and the Lake, Michele Weber www.scbwi.org » It Wasn’t Me, Dana Alison Levy DiPucchio, illustrated by AG Ford Hurwitz (MG) | » Love and Other Train Wrecks, Leah Konen » In the Quiet, Noisy Woods, Michael J. » Ghost and Bone, Andrew Prentice Rosen, illustrated by Annie Won RUNNING PRESS KIDS » The Root of Magic, Kathleen Benner Duble Diane Landolf, Senior Editor » Fairy Mom and Me, Sophie Kinsella » Dragons in a Bag, Zetta Elliott Julie Matysik, Editorial Director » Gravemaidens, Kelly Coon » Spell and Spindle, Michelle Schusterman » Just Breathe: Meditation, Mindfulness, » In Your Shoes, Donna Gephart » 100 Dresses series, Susan Maupin Schmid Movement, and More, Mallika Chopra, » Love Double Dutch!, Doreen Spicer- illustrated by Brenna Vaughn (MG) Wendy Loggia, Senior Executive Editor Dannelly » The 12 Days of Christmas, Jill Howarth » Better You Than Me, Jessica Brody » Me vs. the Multiverse series, S. G. Wilson (Board Book) » The Window, Amelia Brunskill » The Reckless Club, Beth Vrabel (MG) » Storm Blown, Nick Courage Maria Modugno, VP & Editorial Director, » Love, Stacy McAnulty, illustrated by » House of Salt and Sorrows, Erin A. Craig Picture Books Joanne Lew-Vriethoff » Scars Like Wings, Erin Stewart » Giraffe Problems, Jory John, illustrated by » When Unicorns Poop, Lexie Castle, PUBLICATIONS GUIDE: THE BOOK » The Dark Descent of Elizabeth Lane Smith illustrated by Christian Cornia Frankenstein, Kiersten White » Owls Are Good at Keeping Secrets: An » Mo’s Bows: A Young Person’s Guide to 2021 EDITED BY | 145

Start-Up Success, Moziah Bridges (MG) SCHOLASTIC PRESS Stay Buried, Shaun David Hutchinson » The Hips on the Drag Queen Go Swish, » Girls with Sharp Sticks, Suzanne Young Swish, Swish, Lil’ Miss Hot Mess, Jenne Abramowitz, Executive Editor illustrator TBD » A Drop of Hope, Keith Calabrese Tricia Lin, Assistant Editor » The Harlem Charade, Natasha Tarpley » The Blackthorn Key series, Kevin Sands SCHOLASTIC TRADE » The Bad Guys series, Aaron Blabey » The Simple Art of Flying, Cory Leonardo » The Ranger in Time series, Kate Messner » The Memory Keeper, Jennifer Camiccia CARTWHEEL BOOKS » Nikki Tesla and the Ferret-Proof Death Ray, » The Okay Witch, Emma Steinkellner Jess Keating » Man of the House, Jenn Bishop Katie Carella, Executive Editor » Strays Like Us, Cecilia Galante » Seekers of the Wild Realm, Alexandra Ott » A Crabby Book: Hello, Crabby!, Jonathan » Smart Cookie, Elly Swartz MARKET SURVEYS Fenske Karen Nagel, Executive Editor » Unicorn and Yeti: Sparkly New Friends, Matt Ringler, Senior Editor » Limitless: 24 Remarkable American Women Heather Ayris Burnell & Hazel Quintanilla » Caster, Elsie Chapman Of Vision, Grit, and Guts, author-illustrator » Hello, Hedgehog!: Do You Like My Bike?, » Child of the Dream, Sharon Robinson Leah Tinari Norm Feuti » That’s Not What I Heard, Stephanie Kate » This Is Christmas, author-illustrator Tom » Mister Shivers: Beneath the Bed and Strohm Booth Other Scary Stories, Max Brallier & Letizia » Two Dogs in a Trench Coat Go to School, » Superbuns, author-illustrator Diane Rubegni Julie Falatko Kredensor » The Binder of Doom 1: Brute-Cake, Troy » Goosebumps, R.L. Stine » Rosie and Rasmus, author-illustrator Cummings » The Puppy Place, Ellen Miles Serena Geddes » Owl Diaries 1: Eva’s Treetop Festival » Black Lagoon Adventures series, Mike » Junior Monster Scouts, Joe Mcgee » Dragon Masters 1: Rise of the Earth Thaler, illustrated by Jared Lee (Chapter (Chapter Book) Dragon Book) » Our Principal Is a Frog, Stephanie » Special interest: series books in the Calmenson (Chapter Book) beginning reader & early chapter book Amanda Shih, Associate Editor, Nonfiction » Enginerds, Jarrett Lerner (MG) categories » Her Own Two Feet, Meredith Davis & Rebeka Uwitonze (MG) ATHENEUM BFYR GRAPHIX » True Hauntings, Dinah Dunn Williams (MG) » Fearless Felines, Kimberlie Hamilton Alexa Pastor, Associate Editor Cassandra Pelham Fulton, Executive Editor » Into the Clouds, Tod Olson (MG) » The Unforgettable Guinevere St. Clair, Amy » Guts, Raina Telgemeier » The Space Chase, Rebecca Rissman (MG) Makechnie (MG) » Amulet, Kazu Kibuishi » Special interest: MG and YA memoir, » Five Feet Apart, Rachael Lippincott, with » Mr. Wolf’s Class, Aron Nels Steinke particularly contemporary memoirs or Mikki Daughtry & Tobias Iaconis (YA) » Timid, Jonathan Todd historical memoirs from more recent » Herstory, Katherine Halligan, illustrated by » NewsPrints, Ru Xu historical eras (i.e. 1940s and later). Sarah Walsh » Glitch, Sarah Graley » This Is My Room, Jennifer Richard » Coral, Jade Feng Lee Olivia Valcarce, Assistant Editor Jacobson, illustrated by Alexandria » Amber & Dusk, Lyra Selene (coedited) Neonakis SCHOLASTIC FOCUS » Blizzard Besties, Yamile Saied Méndez » To Be (Mis)Read, Marisa Kanter (YA) » The She Dared series (Bethany » The Only Woman in the Photo, Kathleen Lisa Sandell, Editorial Director Hamilton and Malala Yousafzai), Jenni L. Krull, illustrated by Alexandra Bye » Unpunished Murder: Massacre at Colfax Walsh » Together We March, Leah Henderson and the Quest for Justice, Lawrence » Pugs in a Blanket, JJ Howard (coedited) Goldstone BEACH LANE BOOKS » D-DAY: The World War II Invasion that SIMON & SCHUSTER Changed History, Deborah Hopkinson Allyn Johnston, VP & Publisher » Captured: An American Prisoner of War in ALADDIN » Pluto Gets the Call, Adam Rex, illustrated North Vietnam, Alvin Townley by Laurie Keller » The Greatest Treasure Hunt in History: The Liesa Abrams, VP & Editorial Director » The Secret Project, Jonah Winter, Story of the Monuments Men, Robert M. » The Nowhere Girls, Amy Reed illustrated by Jeanette Winter Edsel » A Heart in a Body in the World, Deb » The Farmer and the Clown, Marla Frazee » Resistance, Jennifer A. Nielsen Caletti » Rosetown, Cynthia Rylant » The Forgetting, Sharon Cameron » The Best Lies, Sarah Lyu » All the World, Liz Garton Scanlon, » Amber & Dusk, Lyra Selene » Keeper of the Lost Cities series, Shannon illustrated by Marla Frazee Messenger » Roly Poly, Mem Fox, illustrated by Jane » Revenge of Magic series, James Riley Dyer » The Past and Other Things That Should » The Shape of the World, K. L. Going, 146 | EDITED BY

illustrated by Lauren Stringer » What the Dog Knows Young Reader’s Kevin Tsang, illustrated by Nathan Reed Adaptation, Cat Warren LITTLE SIMON WALKER BOOKS SIMON PULSE Hannah Lambert, Senior Editor Susan Van Metre, Executive Editorial » Arf! Buzz! Cluck!, Eric Seltzer Nicole Ellul, Editor Director » Go to Sheep, Jennifer Sattler » Love & Gelato, Jenna Evans Welch » El Deafo, Cece Bell (GN) » When Your Lion Needs a Bath, Susanna » Love & Luck, Jenna Evans Welch » Rosie Revere, Engineer, Andrea Beaty, Leonard Hill » The Wicked Deep, Shea Ernshaw illustrated by David Roberts » Standroid & Dandroid, Michael Slack » Winterwood, Shea Ernshaw » The Strange Case of Origami Yoda, Tom » Dia De Los Muertos, Hannah Eliot » Sky Without Stars, Jessica Brody & Joanne Angleberger (MG) » Everybody Needs a Buddy, Ellen Jackson Rendell » They Say Blue, author-illustrator Jillian » Go, Grandpa, Go, Lynn Plourde (PB) » The Lady Rogue, Jenn Bennett Tamaki » Queen of the Sea, Dylan Meconis (Hybrid PAULA WISEMAN BOOKS Sarah McCabe, Associate Editor Novel) » The Last Magician, Lisa Maxwell (YA) » The Terrible Two, Mac Barnett & Jory John Sylvie Frank, Senior Editor » This Mortal Coil, Emily Suvada (YA) (MG) » I Have a Balloon, Ariel Bernstein, » Crown of Feathers, Nicki Pau Preto (YA) » Swag Boy, Lauren Myracle (YA) illustrated by Scott Magoon » Last Star Burning, Caitlin Sangster (YA) » Game Changers: The Story of Venus and » Sanctuary, Caryn Lix (YA) Serena Williams, Lesa Cline-Ransome, » A Dash of Dragon, Heidi Lang & Kati illustrated by James E. Ransome Bartkowski (MG) » Kitten and the Night Watchman, John » The Unmapped Chronicles, Abi Elphinstone Sullivan, illustrated by Taeeun Yoo (MG) » Strictly No Elephants, Lisa Mantchev, illustrated by Taeeun Yoo SLEEPING BEAR PRESS » Small Walt, Elizabeth Verdick, illustrated by Marc Rosenthal Barbara McNally, Senior Editor » Hey, Wall, Susan Verde, illustrated by John » Nien, the Chinese New Year Dragon, Parra Virginia Loh-Hagan, illustrated by Timothy » Footer Davis Probably Is Crazy, Susan Banks Vaught » Badger’s Perfect Garden, Marsha Diane Arnold, illustrated by Ramona Kaulitzki SIMON & SCHUSTER BFYR » A Fist for Joe Louis and Me, Trinka Hakes Noble, illustrated by Nicole Tadgell Catherine Laudone, Associate Editor » Someplace to Call Home, Sandra Dallas » Your Destination Is on the Left, Lauren » Boats Will Float, Andria Rosenbaum Spieller » Letters from the Tooth Fairy, Brooke » Learning to Breathe, Janice Lynn Mather Hecker » Shatter the Sky, Rebecca Kim Wells » Say No to the Bro, Kat Helgeson Sarah Rockett, Editor » Finding Felicity, Stacey Kade » A Vote is a Voice (NF PB) www.scbwi.org » Tiny Feet Between the Mountains, Hanna » It Takes a Village, Hillary Rodham Clinton | Cha » Little Dandelion Seeds the World (Narrative » She’s the Worst, Lauren Spieller NF PB) » Travel Guide for Monsters (PB) Krista Vitola, Senior Editor » Snow Globe Wishes (PB) » The Hotel Between, Sean Goodman (MG) » If This Were a Story, Beth Turley (MG) STERLING » Lifeboat 12, Susan Hood (MG) » Meena Meets Her Match, Karla Manternach, Rachael Stein, Editor illustrated by Rayner Alencar (MG) » Invent-A-Pet By Vicky Fang, illustrated by » Franny K. Stein, Mad Scientist: Bad Hair Tidawan Thaipinnarong Day, Jim Benton (Chapter Book) » What Do You Celebrate?, Whitney Stewart, » The Griffins of Castle Cary, Heather illustrated by Christiane Engel Shumaker (MG) » A Girl Called Genghis Khan, Michelle Lord, PUBLICATIONS GUIDE: THE BOOK » Just South of Home, Karen Strong (MG) illustrated by Shehzil Malik » The Paris Project, Donna Gephart » Sam Wu Is Not Afraid of the Dark, Katie & 2021 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, catering 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 off- beat 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 catalogue and for author’s/illustrator’s guidelines. Always enclose a self- of books published by small presses. Learn who the audience is for addressed stamped envelope (SASE) with your catalogue request. each publisher to whom you intend to send your work. Many publishers Over seventy small to medium size independent publishers were now have websites and we have included this information when it sent questionnaires to determine if they were receptive to unsolicited was provided. However, it doesn’t hurt to surf the web for a particular submissions from SCBWI members. We included publishers who are publisher, since this is becoming a popular way for publishers to actively seeking new authors and illustrators as well as those who are advertise their books. Although we have included email addresses of currently closed to submissions with the hope that they will eventually those who supplied them, check with a publisher before you submit your reopen. We tried to get as much specific information as possible about work through electronic mail. the kinds of books each small press publishes. Many publishers included Do your homework: in your cover letter, let the publisher know that specific titles you might want to read before submitting your work. you have studied its list. Give solid reasons why you think your proposal Enclose an SASE with all hard-copy correspondence to these publishers. or manuscript will fit its needs. In order to find out what a publisher’s needs are, check out the submission guidelines at its website. Send for a

ABSEY AND CO. WILL REPLY IN: 8 weeks BOOKS PUBLISHED YEARLY: 200 23011 Northcrest Drive OTHER INFORMATION: We do not accept email METHOD OF SUBMISSION: Email submissions to Spring, TX 77389 submissions. [email protected] www.absey.biz/index.php SUBMISSION GUIDELINES: www.accordliterary. CONTACT PERSON: Edward E. Wilson ACCORD LITERARY com/#submissions GENRE(S): Educational and fiction (An Imprint of McMeel Publishing) MULTIPLE SUBMISSIONS: No BOOKS PUBLISHED YEARLY: 10 Andrews McMeel Publishing, LLC METHOD OF SUBMISSION: Writers: Snail mail 1130 Walnut Street ALL ABOUT KIDS PUBLISHING with SASE for reply. Kansas City, MO 64106 PO Box 159 SUBMISSION GUIDELINES: www.absey.biz/ www.accordliterary.com/ Gilroy, CA 95021 submission.php CONTACT PERSON: Submissions Editor www.aakp.com MULTIPLE SUBMISSIONS: No GENRE(S): Fiction, no YA [email protected] 148 | SMALL PRESS MARKET SURVEY

CONTACT PERSON: Linda Guevara, Editor books, nonfiction. North Carolina Alphabet Book GENRE(S): Picture books, chapter books, BOOKS PUBLISHED YEARLY: 6-12 nonfiction, fiction. METHOD OF SUBMISSION: Mail or email. BLUE APPLE BOOKS BOOKS PUBLISHED YEARLY: 6 Writers: A cover letter with manuscript. SASE. 515 Valley Street, Suite 180 METHOD OF SUBMISSION: Have withdrawn Illustrators: No originals. Maplewood, NJ 07040 its call for submissions until further notice. SUBMISSION GUIDELINES: www. www.blueapplebooks.com Writers: Cover letter, full manuscript with word beachhousepublishing.com/about-beachhouse/ [email protected] count in upper right corner. Chapter Books: Full MULTIPLE SUBMISSIONS: Yes CONTACT PERSON: Publisher manuscript. Illustrators: Color copies with a WILL REPLY IN: 2-6 months GENRE(S): Picture books that address important cover letter. No query letters. themes of early childhood (separation, loss, MULTIPLE SUBMISSIONS: Yes BENDON PUBLISHING reunion, emotional bond between parents and SUBMISSION GUIDELINES: www.aakp.com/ 1840 Baney Road kids, development of empathy). guidelines.php Ashland, OH 44805 BOOKS PUBLISHED YEARLY: 50 WILL REPLY IN: 90 days 419-207-3600 METHOD OF SUBMISSION: No longer accepting METHOD OF PAYMENT: Advance; royalty www.bendonpub.com/ unsolicited manuscripts. TITLES TO STUDY: Walking with Maga by CONTACT PERSON: Publisher MULTIPLE SUBMISSIONS: N/A Maureen Boyd Biro; Shadowbox Hunt: A Search GENRE(S): Color and activity books, storybooks, WILL REPLY IN: 2-8 months and Find Odyssey by Laura L. Seely; A, My Name board books, educational, and classics. METHOD OF PAYMENT: Varies is Andrew by Mary Burke Peterson METHOD OF SUBMISSION: Not accepting TITLES TO STUDY: Christmas Delicious; Lines that submissions at this time. Wiggle AUGUST HOUSE BOOKS 3500 Piedmont Road NE, Suite 310 BESS PRESS BLUE STOCKING PRESS Atlanta, GA 30305 3565 Harding Avenue PO Box 1014 www.augusthouse.com/ Honolulu, HI 96816 Placerville, CA 95667 CONTACT PERSON: Submissions Editor www.besspress.com www.bluestockingpress.com/index.html GENRE(S): Stories pertaining to folklore, GENRE(S): Hawaii and the Pacific – trade, CONTACT PERSON: Submissions Editor folktales, and the art and application of children’s, textbooks, educational, cookbooks, GENRE(S): Stories for young adults that focus storytelling. literature on business, economics, and finance. METHOD OF SUBMISSION: Mail proposal or METHOD OF SUBMISSION: Writers: Please METHOD OF SUBMISSION: Does not take manuscript. No email or phone calls. Illustrators submit a hard copy and SASE. For longer books, unsolicited submissions at this time. send portfolio samples to Art Director. send an outline and sample chapter. It is not TITLES TO STUDY: Common Sense Business for MULTIPLE SUBMISSIONS: Yes necessary to send illustrations, but if you do, Kids WILL REPLY IN: 5 months we prefer photocopies. No email inquiries will TITLES TO STUDY: Surf War; The Uglified Ducky be accepted. BLUE MARLIN PUBLICATIONS MULTIPLE SUBMISSIONS: Yes 823 Aberdeen Road BAREFOOT BOOKS WILL REPLY IN: 4-6 weeks West Bay Shore, NY 11706 2067 Massachusetts Avenue OTHER INFORMATION: We only publish trade 631-666-0353; Fax: 631-666-0353 Cambridge, MA 02140 books about Hawaii and educational materials www.bluemarlinpubs.com www.barefootbooks.com about Hawaii and the Pacific. If you would [email protected] CONTACT PERSON: Writers: Tessa Strickland like a full description of our manuscript CONTACT PERSON: Francine Poppo Rich GENRE(S): Children’s books guidelines, please contact us with your mailing GENRE(S): Picture books; middle grade novels BOOKS PUBLISHED YEARLY: 30-35 information. (historical fiction only, please). www.scbwi.org METHOD OF SUBMISSION: Writers: Full MS. BOOKS PUBLISHED YEARLY: 2 | Illustrators: Query letter with 1 or 2 samples. BLAIR/CAROLINA WRESS PRESS METHOD OF SUBMISSION: United States Post MULTIPLE SUBMISSIONS: Yes 905 W. Main Street, Suite 19 D-1 Office WILL REPLY IN: 6-8 months Durham, NC 27701 SUBMISSION GUIDELINES: www.bluemarlinpubs. OTHER INFORMATION: No email submissions www.blairpub.com com/Page06%20For%20Authors.html or queries. [email protected] MULTIPLE SUBMISSIONS: Yes, send your TITLES TO STUDY: The Boy Who Grew Flowers; Off CONTACT PERSON: Lynn York, Publisher manuscripts to as many publishers as you like, We Go to Mexico; The Animal Boogie GENRE(S): Children’s literature that deals with but only one to ME at a time, please! disease, difference, gender issues, bullying, WILL REPLY IN: 3 months BEACHHOUSE PUBLISHING especially by writers historically neglected by METHOD OF PAYMENT: Advance and royalties PO Box 5464 mainstream publishing. TITLES TO STUDY: In the Shadow of the Kaneohe, HI 96744 BOOKS PUBLISHED YEARLY: 3 Mammoth; Hanni and Beth: Safe & Sound; Miles www.beachhousepublishing.com METHOD OF SUBMISSION: Not accepting of Smiles: The Story of Roxey, the Long Island [email protected] unsolicited manuscripts at this time. Writers can Rail Road Dog; The Teacher Who Would Not Retire PUBLICATIONS GUIDE: THE BOOK CONTACT PERSON: Jane Gillespie, Publisher submit to two contests. See website for details. GENRE(S): Board books, bath books, picture TITLES TO STUDY: Peace Comes to Ajani; The 2021 SMALL PRESS MARKET SURVEY | 149

BOULDEN PUBLISHING GENRE(S): Informative but fun nonfiction for nonfiction) featuring children/people of color, PO Box 1186 older children for readers ages 5-12. Of special interest Weaverville, CA 96093 METHOD OF SUBMISSION: Nonfiction: Send are realistic fiction, historical fiction, and 530-623-5399; Fax: 530-623-5525 synopsis or full manuscripts only. Send via nonfiction with a distinct voice or unique www.bouldenpublishing.com email or post. approach. [email protected] SUBMISSION GUIDELINES: No fiction BOOKS PUBLISHED YEARLY: Approximately 4 CONTACT PERSON: Richard Morris, Editor MULTIPLE SUBMISSIONS: Yes METHOD OF SUBMISSION: Via snail mail SECONDARY CONTACT PERSON: Mark Tangard, WILL REPLY IN: 6+ months ONLY (see website for complete submission Associate Editor TITLES TO STUDY: The Boys Summer Book; guidelines). GENRE(S): Story and activity books, CD-ROMs, Meerkat Mischief SUBMISSION GUIDELINES: www.leeandlow.com/ videos, and DVDs, lesson plans, games, etc. for writers-illustrators/writing-guidelines MARKET SURVEYS children, counselors, teachers, and professionals CEDAR FORT PUBLISHING MULTIPLE SUBMISSIONS: Yes on a wide range of subject matter: bullying, 2373 W. 700 S. WILL REPLY IN: 6 months, ONLY if interested in teasing, bereavement, parental substance Springville, UT 84663 acquiring your work. abuse, sexual abuse, academic improvement, www.cedarfort.com/ METHOD OF PAYMENT: Advance on royalties character education, drug awareness, parental CONTACT PERSON: Submissions Editor TITLES TO STUDY: ¡Olinguito, de la A a la Z!/ incarceration, divorce and remarriage, family GENRE(S): Stories in the subjects of prayer, The Olinguito, from A to Z!; Marisol McDonald Doesn’t issues and more. Primary focus is materials for Book of Mormon, general fiction and nonfiction, Match; Rainbow Weaver; Finding the Music children and those working with children in historical fiction, and behavioral issues. OTHER INFORMATION: Publishes work from grades PreK-6, however, we selectively publish BOOKS PUBLISHED YEARLY: 100 established and emerging authors and artists outside of that grade range. METHOD OF SUBMISSION: Accepting from the communities represented in their QUERY LETTERS: Accepting unsolicited manuscripts. Please see submission work. MULTIPLE SUBMISSIONS: Yes guidelines and use the submission form at www. UNSOLICITED MANUSCRIPTS: Yes, send to cedarfort.submittable.com/submit. CHILDSWORK CHILDSPLAY publisher’s attention. MULTIPLE SUBMISSIONS: Yes 303 Crossways Park Drive PAYMENT: Depends on project. Either work for TITLES TO STUDY: Garden of Lost Souls; The Woodbury, NY 11797 hire or royalty. Rifts of Rime www.childswork.com ARTWORK INTEREST: Yes, send to publisher’s [email protected] attention. CIDER MILL PRESS CONTACT PERSON: Diane Baur ARTWORK PAYMENT: Depends on project. Either PO Box 454 GENRE(S): Nonfiction, therapeutic workbooks, work for hire or royalty. 12 Spring Street activity books. Kennebunkport, ME 04046 BOOKS PUBLISHED YEARLY: 6-10 BUREAU FOR AT-RISK YOUTH www.cidermillpress.com/ METHOD OF SUBMISSION: Only accept digital 303 Crossways Park Drive [email protected] submissions. Woodbury, NY 11797 CONTACT PERSON: John Whalen, Submissions MULTIPLE SUBMISSIONS: Yes www.at-risk.com Editor WILL REPLY IN: 6 weeks [email protected] GENRE(S): Interactive, creativity books, and METHOD OF PAYMENT: Determined by project CONTACT PERSON: Diane Baur entertaining gift books. GENRE(S): Nonfiction only METHOD OF SUBMISSION: Email as PDF CLEAR LIGHT BOOKS BOOKS PUBLISHED YEARLY: 6-10 preferred. Writers submit cover letter. 823 Don Diego METHOD OF SUBMISSION: Writers: Will only Illustrators submit samples. See website for Santa Fe, NM 87505 accept digital submissions. Printed manuscripts further guidelines. Can mail submissions with www.clearlightbooks.com sent to us will not be reviewed or returned. SASE. [email protected] SUBMISSION GUIDELINES: Please send your SUBMISSION GUIDELINES: www.cidermillpress. CONTACT PERSON: Submissions Editor digital files to submissions@guidance-group. com/submissions.html GENRE(S): American Indian culture, religion, com. For all submissions, please include a short MULTIPLE SUBMISSIONS: Yes and history; Southwestern Americana; and bio including your qualifications as an expert WILL REPLY IN: 4 weeks Eastern philosophy and religion. on the subject of your submissions. METHOD OF SUBMISSION: Cover letter, brief MULTIPLE SUBMISSIONS: Yes CHILDREN’S BOOK PRESS summary, and full manuscript. Also include WILL REPLY IN: Project-by-project basis (An Imprint of Lee & Low Books Inc.) samples of artwork. Illustrators submit samples. 95 Madison Avenue, Suite #1205 SUBMISSION GUIDELINES: www.clearlightbooks. BUSTER BOOKS New York, NY 10016 com (An Imprint of Michael O’Mara Books) www.leeandlow.com/imprints/children-s-book- MULTIPLE SUBMISSIONS: Yes 9 Lion Yard Tremadoc Road press WILL REPLY IN: 4+ weeks London SW4 7NQ England [email protected] TITLES TO STUDY: Native American Twelve Days www.busterbooks.co.uk CONTACT PERSON: Submissions Editor of Christmas [email protected] GENRE(S): Currently publishing picture books CONTACT PERSON: Submissions Editor only (fiction, historical fiction, poetry, literary 150 | SMALL PRESS MARKET SURVEY

DAVID R. GODINE PUBLISHING METHOD OF SUBMISSION: Email full METHOD OF PAYMENT: Advance and royalties Fifteen Court Square, Suite 320 manuscripts with query letters that include TITLES TO STUDY: I Need My Monster; Hammer Boston, MA 02108 synopsis and bio. and Nails www.godine.com/ SUBMISSION GUIDELINES: www.eakinpress. [email protected] com/author-inquiry.html FOUR CORNERS PUBLISHING CONTACT PERSON: Submissions Editor MULTIPLE SUBMISSIONS: Yes 45 West 10th Street, Suite 4J GENRE(S): Children’s fiction and nonfiction WILL REPLY IN: 3+ months New York, NY 10011 BOOKS PUBLISHED YEARLY: 20-30 TITLES TO STUDY: The Rachel Resistance; The www.fourcornersbooks.co.uk/ METHOD OF SUBMISSION: Does not accept Feester Filibuster by Molly Levite Griffis CONTACT PERSON: Publisher unsolicited material. Will accept submissions GENRE(S): Travel and fiction from an agent. FABER & FABER BOOKS PUBLISHED YEARLY: 2 TITLES TO STUDY: The Lonely Phone Booth; The Bloomsbury House METHOD OF SUBMISSION: Writers: Sample Farmer’s Alphabet 74-77 Great Russell Street chapter from published novel for this age group. London WC1B 3DA Illustrators: None needed now. DAWN PUBLICATIONS UK MULTIPLE SUBMISSIONS: Yes 12402 Bitney Springs Road www.faber.co.uk METHOD OF PAYMENT: Flat fee Nevada City, CA 95959 [email protected] TITLES TO STUDY: Blues Across the Bay by www.dawnpub.com/ CONTACT PERSON: Design Dept. Whitney Stewart; Speechless in New York by [email protected] GENRE(S): Fiction, YA, middle grade, and Ellen Dreyer; Jammin’ on the Avenue by Whitney CONTACT PERSON: Writers: Glenn Hovemann; picture books. Stewart Illustrators: Muffy Weaver. METHOD OF SUBMISSION: ONLY ACCEPTING OTHER INFORMATION: Looking for books set GENRE(S): “Nature Awareness”: mainly ILLUSTRATION SAMPLES. Send samples via post in Canada or intriguing U.S. cities and regions. picture books that are intended to encourage or email with cover letter. “We work very closely with writers to produce a an appreciation for nature and a respectful WILL REPLY IN: Up to a year if interested fine book—to our specifications.” participation in it. METHOD OF SUBMISSION: Writers: Email FARCOUNTRY PRESS FULCRUM PUBLISHING cover letter and submission. See guidelines for PO Box 5630 4690 Table Mountain Drive, Suite 100 more details. SASE if sending in a hard copy. Helena, MT 59604 Golden, CO 80403 Illustrators: Cover letter and samples, preferred www.farcountrypress.com www.fulcrum-books.com/ hard copies for samples. [email protected] [email protected] SUBMISSION GUIDELINES: www.dawnpub.com/ CONTACT PERSON: Submissions Editor CONTACT PERSON: Publisher submission-guidelines GENRE(S): Nature and history for children; GENRE(S): Nonfiction MULTIPLE SUBMISSIONS: Yes educational BOOKS PUBLISHED YEARLY: 10-20 METHOD OF SUBMISSION: SASE. Book proposal METHOD OF SUBMISSION: Writers: Query letter, DRAMATIC PUBLISHING and sample chapters. proposal with writing sample. (Formerly Anchorage Press Plays) SUBMISSION GUIDELINES: www.farcountrypress. Illustrators: Sample color or B&W illustrations. 311 Washington Street com/contact/submitproposal.php Email submissions only. Woodstock, IL 60098 WILL REPLY IN: As soon as possible SUBMISSION GUIDELINES: www.fulcrum-books. www.dramaticpublishing.com/ TITLES TO STUDY: Who Pooped in Central Park?; com/client/client_pages/submissions.cfm [email protected] A Cow’s Boy MULTIPLE SUBMISSIONS: Yes CONTACT PERSON: Publisher WILL REPLY IN: 4-6 weeks GENRE(S): Theatrical plays for K-12 and family FLASHLIGHT PRESS METHOD OF PAYMENT: Advance and royalties www.scbwi.org audience. Books on theatrical design, directing, 527 Empire Boulevard | and child drama education. Brooklyn, NY 11225 GIFTED EDUCATION PRESS BOOKS PUBLISHED YEARLY: 6-8 718-288-8300 10201 Yuma Court METHOD OF SUBMISSION: See website www.flashlightpress.com Manassas, VA 20109 MULTIPLE SUBMISSIONS: Yes [email protected] www.giftededpress.com METHOD OF PAYMENT: Royalties on sales CONTACT PERSON: Shari Dash Greenspan [email protected] GENRE(S): Picture books CONTACT PERSON: M. Fisher EAKIN PRESS BOOK PUBLISHED YEARLY: 2-4 GENRE(S): Nonfiction environmental sciences or PO Box 21235 METHOD OF SUBMISSION: Only email queries environmental studies books for gifted children. Waco, TX 76702 according to online submission guidelines. BOOKS PUBLISHED YEARLY: 20 www.eakinpress.com SUBMISSION GUIDELINES: See online METHOD OF SUBMISSION: Writers: Query first [email protected] submission guidelines for details: www. via email. CONTACT PERSON: Kris Gholson, Publisher flashlightpress.com/submission-guidelines/. MULTIPLE SUBMISSIONS: No GENRE(S): Fiction and nonfiction that cover the MULTIPLE SUBMISSIONS: Yes WILL REPLY IN: 4-6 weeks PUBLICATIONS GUIDE: THE BOOK history and culture of the Southwest, especially WILL REPLY IN: 1-2 weeks from receipt of email METHOD OF PAYMENT: Royalty based on sales Texas and Oklahoma. query. 2021 SMALL PRESS MARKET SURVEY | 151

GINGERBREAD BOOKS HENDRICK-LONG PUBLISHING LAWELLS PUBLISHING 602 Montauk Highway 10635 Tower Oaks, Suite D PO Box 1338 Westhampton Beach, New York 11978 Houston, Texas 77070 Royal Oak, MI 48068 www.gingerbreadbooks.com www.hendricklongpublishing.com users.tm.net/sherwells/ [email protected] [email protected] [email protected] CONTACT PERSON: Illustrators: Maria Nicotra CONTACT PERSON: Michael or Vilma Long CONTACT PERSON: Sherry A. Wells GENRE(S): Children’s historical fiction and GENRE(S): Texana GENRE(S): Middle grade creative nonfiction; fiction picture books. BOOKS PUBLISHED YEARLY: 2-5 YA biography. METHOD OF SUBMISSION: Not accepting METHOD OF SUBMISSION: Writers: Submit BOOKS PUBLISHED YEARLY: 5 unsolicited material at this time. manuscript with SASE. No email, please. METHOD OF SUBMISSION: Writers: Check Illustrators: Send samples in PDF form or by Illustrators: SASE; hard copy only. website for submission guidelines. Illustrators: MARKET SURVEYS post to Art Director. MULTIPLE SUBMISSIONS: No N/A. WILL REPLY IN: As soon as possible. WILL REPLY IN: 2 weeks MULTIPLE SUBMISSIONS: No TITLES TO STUDY: Frances Woke Up Early by METHOD OF PAYMENT: Advance against WILL REPLY IN: 3 weeks Maureen Hyde royalties METHOD OF PAYMENT: Royalties, work for hire TITLES TO STUDY: Father Ford; The Mullers from H.J. KRAMER THE INNOVATION PRESS Missouri New World Library 50 Washington Street 14 Pamaron Way Norwalk, CT 06854 LITTLE PICKLE PRESS Novato, CA 94949 www.theinnovationpress.com/ (An Imprint of Sourcebooks Jabberwocky) www.newworldlibrary.com [email protected] Sourcebooks LLC [email protected] CONTACT PERSON: Writers: Editor; Illustrators: PO Box 4410 CONTACT PERSON: Submissions Editor Art Director. Naperville, IL 60567 GENRE(S): Spirituality, self-improvement, the GENRE(S): Educational 630-961-3900 environment, sustainability. BOOKS PUBLISHED YEARLY: 10 www.sourcebooks.com/ BOOKS PUBLISHED YEARLY: 2-4 METHOD OF SUBMISSION: Writers: Picture book CONTACT PERSON: Submissions Editor METHOD OF SUBMISSION: Writers: Email query manuscript with SASE. Illustrators: Sample GENRE(S): Children’s fiction and nonfiction for or cover letter with proposal materials as file color/b&w with SASE. ages 0-8. attachments. No longer accepting unsolicited SUBMISSION GUIDELINES: www. BOOKS PUBLISHED YEARLY: 5+ children’s book manuscripts. theinnovationpress.com/submissions METHOD OF SUBMISSION: www.sourcebooks. SUBMISSION GUIDELINES: www. TITLES TO STUDY: Bubbleology; Bugs in the com/submission-guidelines.html newworldlibrary.com/Submissions/tabid/70/ Garden MULTIPLE SUBMISSIONS: Yes Default.aspx WILL REPLY IN: 3 months from the time we MULTIPLE SUBMISSIONS: Yes ISLANDPORT PRESS receive a complete query package from Creative WILL REPLY IN: 10 weeks PO Box 10 Byline. METHOD OF PAYMENT: Royalties based on Yarmouth, Maine 04096 METHOD OF PAYMENT: Upfront compensation publisher’s net receipts. www.islandportpress.com plus royalties. TITLES TO STUDY: Where Does God Live? by [email protected] TITLES TO STUDY: What Does It Mean to Be Holly Bea; Smudge Bunny by Dr. Bernie Siegel; CONTACT PERSON: Melissa Kim, Editor Global? (October 2009); What Does It Mean to Secret of the Peaceful Warrior by Dan Millman GENRE(S): Picture books, story books, middle Be Green? (March 2010); What Does It Mean To grade chapter books, and young adult titles; Be Present? (July 2010) HARA PUBLISHING GROUP books with New England sensibilities. Book Publishers Network METHOD OF SUBMISSION: Prefer email MAGINATION PRESS / APA PO Box 2256 submissions. Full manuscript with cover letter 750 First Street NE Bothell, WA 98041 and bio. Illustrators: cover letter, bio, and Washington, DC 20002 425-483-3040; Fax: 425-483-3098 samples. www.apa.org/pubs/magination/ www.bookpublishersnetwork.com SUBMISSION GUIDELINES: www.islandportpress. [email protected] [email protected] com/submission-guidelines. Prefer to work with CONTACT PERSON: Acquisitions CONTACT PERSON: Sheryn Hara authors and illustrators who are connected to GENRE(S): Nonfiction and fiction GENRE(S): Self-help, children’s books, business New England or the Northeast United States. BOOKS PUBLISHED YEARLY: 8-10 books, memoir, cookbooks. MULTIPLE SUBMISSIONS: Yes METHOD OF SUBMISSION: Writers: Complete BOOKS PUBLISHED YEARLY: 30-35 WILL REPLY IN: 3-6 months manuscript. No electronic submissions. METHOD OF SUBMISSION: Electronic is best but TITLES TO STUDY: The Iciest, Diciest, Scariest Illustrators: Sample color or b&w illustrations mail is fine also. info@bookpublishersnetwork. Sled Ride Ever!; Mystery on Pine Lake with website info. www.apa.org/pubs/ com. magination/guideline.aspx MULTIPLE SUBMISSIONS: Yes MULTIPLE SUBMISSIONS: Yes WILL REPLY IN: 2-4 weeks WILL REPLY IN: 3-6 months METHOD OF PAYMENT: Authors: 5-15% 152 | SMALL PRESS MARKET SURVEY

royalty on net revenues; usually no advance. METHOD OF PAYMENT: Royalties to authors cover letter. Illustrators: Usual fee, no royalty. and illustrators. Flat fee for single illustrations TITLES TO STUDY: Kid Dynamite: The Gerry TITLES TO STUDY: Magic Box; The Year My (covers). James Story Mother Was Bald; Why Are You So Sad?; Big Ernie’s New Home; Feeling Better; Ginny Mom’s NAMELOS PIGGY TOES PRESS and Mom’s House; Dad’s House; Don’t Squeal www.namelos.com (An Imprint of Bendon Publishing) Unless It’s a Big Deal; What To Do When You [email protected] 1840 Baney Road Worry Too Much GENRE(S): High quality literary fiction, Ashland, OH 44805 OTHER INFORMATION: Catalogue: Enclose nonfiction, and poetry for middle grade and 419-207-3600 9” x 12” SASE. Enclose SASE with sufficient young adult readers. Books are published www.piggytoespress.com/ postage with all submissions if you want simultaneously in hardcover, paperback, and CONTACT PERSON: Author: Senior Editor materials returned. Include credentials, intended ebook formats. Illustrator: Gina Rhodes-Haynes (Tennessee). audience/market; description of book (how does BOOKS PUBLISHED YEARLY: 6-8 GENRE(S): Memory albums, board books, it benefit readers, and how does it differ from METHOD OF SUBMISSION: Send to touchable counting, unique formats, giggle other books). [email protected]. and grow, pop up, magic ribbon books, holiday, SUBMISSION GUIDELINES: Does not accept touch-and-feel, collectible books for ages 0-6. MAVAL PUBLISHING unsolicited manuscripts; will critique your METHOD OF SUBMISSION: Regular mail. Author: 3900 East 6th Avenue manuscript. Senior Editor, Stacks 2nd Floor, 110 W. 5th Denver, CO 80206 MULTIPLE SUBMISSIONS: Yes Street, New York, NY 10019-2200. Illustrator: www.mavalpublishing.com PAYMENT: Royalty Gina Rhodes Haynes, 113 Seaboard Lane, Suite [email protected] 250, Franklin, TN 37067. CONTACT PERSON: George Luder ONSTAGE PUBLISHING SUBMISSION GUIDELINES: Authors: Cover letter GENRE(S): Picture books 190 Lime Quarry Road, Suite 106 with name, address, email address, phone and BOOKS PUBLISHED YEARLY: 5-10 Madison, AL 35758 fax, and full ms. (100-250 word count). Include MULTIPLE SUBMISSIONS: Yes, please www.onstagepublishing.com description and info about your professional contact publisher for more information about [email protected] background + SASE. submissions. GENRE(S): Chapter books, middle grade novels, Illustrators: Send a range of full-color WILL REPLY IN: 6 months and young adult novels. We do not publish print samples or high-quality color copies METHOD OF PAYMENT: 5% Royalties picture books. We do not publish short stories with resume’, cover letter (name, address, or poetry. email address, phone and fax, professional MITCHELL LANE PUBLISHERS METHOD OF SUBMISSION: Email query and/ background); art will not be returned so send PO Box 196 or synopsis and first three chapters in the body only disposable duplicate copies. Hockessin, DE 19707 of an email. NO ATTACHMENTS will be accepted. WILL REPLY IN: Within 6 months www.mitchelllane.com Send to [email protected]. OTHER INFORMATION: No picture books, query CONTACT: Submissions Editor Illustrators may send their websites to the art letters or handwritten submissions, and no phone GENRE(S): Nonfiction for all age ranges director. They may put illustrations in the body calls. METHOD OF SUBMISSION: Work for hire basis. of the email. NO ATTACHMENTS. Send in resume with cover letter and sample SUBMISSION GUIDELINES: www. PINATA PRESS work. onstagepublishing.com/submissions/ (An Imprint of Arte Publico Press) SUBMISSION GUIDELINES: Will not accept WILL REPLY IN: As soon as possible University of Houston unsolicited material. TITLES TO STUDY: Huntsville, 1892: Clara; 4902 Gulf Fwy, Bldg 19, Rm 100 TITLES TO STUDY: A Kid’s Guide to Genealogy; Mission Shanghai Houston, TX 77204-2004 www.scbwi.org The Minotaur [email protected] | OOLICHAN BOOKS CONTACT PERSON: Submissions Editor MOUNTAIN PRESS PO Box 2278 GENRE(S): Seeks realistic and authentic PO Box 2399 Fernie, B.C. Canada V0B 1M0 portrayal of the themes, languages, characters, Missoula, MT 59806 www.oolichan.com and customs of Hispanic culture in the United www.mountain-press.com [email protected] States. [email protected] CONTACT PERSON: Submissions Editor METHOD OF SUBMISSION: Submit manuscript CONTACT PERSON: Writers: Acquisitions GENRE(S): Chapter books and YA fiction by through submission form: www.artepublicopress. GENRE(S): History: YA biography and Canadian writers. com/submissions/. nonfiction. Science & Natural History: illustrated BOOKS PUBLISHED YEARLY: 10 MULTIPLE SUBMISSIONS: Yes for elementary, K-5. METHOD OF SUBMISSION: SASE and cover letter WILL REPLY IN: 4 months BOOKS PUBLISHED YEARLY: 15 with full manuscript. ONLY ACCEPTS CANADIAN TITLES TO STUDY: Pepita Talks Twice; The Desert SUBMISSIONS GUIDELINES: www.mountain- WRITERS. No email. is My Mother press.com/pages/author-submissions SUBMISSION GUIDELINES: www.oolichan.com/ PUBLICATIONS GUIDE: THE BOOK MULTIPLE SUBMISSIONS: Yes, with notice in node/20 cover letter. MULTIPLE SUBMISSIONS: Yes. Please specify in 2021 SMALL PRESS MARKET SURVEY | 153

PROVIDENCE PUBLISHING SLEEPING BEAR PRESS VENDERA PUBLISHING 13607 Belinda Court 315 Eisenhower Parkway, Suite 200 PO Box 116 Houston, Texas 77069 Ann Arbor, MI 48108 Franklin Furnace, Ohio 45629 www.providencepublishing.com www.sleepingbearpress.com www.venderapublishing.com CONTACT PERSON: Vuthy Kuon CONTACT PERSON: Acquiring Editor www.venderapublishing.com/711-press GENRE(S): Children’s books GENRE(S): Picture books CONTACT PERSON: Jaime Vendera, admin@ BOOKS PUBLISHED YEARLY: 3-6 BOOKS PUBLISHED YEARLY: 25-28 venderapublishing.com METHOD OF SUBMISSION: Please send a query METHOD OF SUBMISSION: Not accepting GENRE(S): For Vendera: Nonfiction letter via the contact page on the website. submissions at this time. Check website instructional, including self help and vocal Illustrators: Please submit samples to help@ periodically. instruction; children’s fiction. providencepublishing.com. MULTIPLE SUBMISSIONS: Yes For 7-11 Press: Horror, fantasy, children’s MARKET SURVEYS MULTIPLE SUBMISSIONS: Yes WILL REPLY IN: 9-12 months fantasy, sci-fi, space opera, crime drama, spy, WILL REPLY IN: 2-6 weeks METHOD OF PAYMENT: Royalties action & adventure. METHOD OF PAYMENT: Negotiable TITLES TO STUDY: The Legend of Mackinac BOOKS PUBLISHED YEARLY: 6-12 Island; Z is for Zamboni: A Hockey Alphabet; METHOD OF SUBMISSION: Electronic RONSDALE PRESS Mercedes and the Chocolate Pilot; The Scarlett submission of first 2-3 chapters through secure 3350 West 21st Avenue Stocking Spy upload server. No submissions. Vancouver, B.C., Canada V6S 1G7 SUBMISSION GUIDELINES: All titles accepted www.ronsdalepress.com SPORTS PUBLISHING except for erotica. / No submissions to 7-11 [email protected] Skyhorse Publishing, Inc. Press. CONTACT PERSON: Veronica Hatch 307 West 36th Street, 11th Floor MULTIPLE SUBMISSIONS: Yes / NA GENRE(S): Middle grade and YA novels, for ages New York, NY 10018 WILL REPLY IN: Email / NA 8-15. Interest in historical fiction. www.sportspubbooks.com METHOD OF SUBMISSION: Cover letter CONTACT PERSON: Submissions YORKSHIRE PUBLISHING and sample chapters. SASE if you want the GENRE(S): Sports nonfiction PO Box 472246 manuscript returned. BOOKS PUBLISHED YEARLY: 80 Tulsa, Oklahoma 74147 SUBMISSION GUIDELINES: ONLY CANADIAN METHOD OF SUBMISSION: Writers: Proposal www.yorkshirepublishing.com AUTHORS/ARTISTS: www.ronsdalepress.com/ or manuscript with cover letter. Email [email protected] submissions/. [email protected]. CONTACT PERSON: Submissions Editor MULTIPLE SUBMISSIONS: Yes MULTIPLE SUBMISSIONS: Yes GENRE(S): Children’s fiction and nonfiction TITLES TO STUDY: Eco Warrior; Hannah and the WILL REPLY IN: 8 weeks METHOD OF SUBMISSION: Fill out form on Spindle Whorl METHOD OF PAYMENT: Bi-annual royalty website and send in manuscript via email. SUBMISSION GUIDELINES: www. SCOBRE PRESS CORPORATION TANGLEWOOD PRESS yorkshirepublishing.com/submission/ 2255 Calle Clara PO Box 3009 MULTIPLE SUBMISSIONS: Yes La Jolla, CA 92037 Terre Haute, IN 47803 TITLES TO STUDY: The Tortoise and the Hair www.scobre.com 812-877-9488 Piece [email protected] www.tanglewoodbooks.com CONTACT PERSON: Scott Blumenthal [email protected] ZIPPER PRESS GENRE(S): Children’s and YA CONTACT PERSON: Kairi Hamlin, Acquisitions PO Box 164 BOOKS PUBLISHED YEARLY: 6-9 Editor Englewood, OH 45322-0164 METHOD OF SUBMISSION: Writers: Email, mail. GENRE(S): Picture books, middle grade, YA www.zipperpress.com Illustrators: Portfolio, website links. BOOKS PUBLISHED YEARLY: 5-10 [email protected] WILL REPLY IN: 7-10 days METHOD OF SUBMISSION: Email query or CONTACT PERSON: Submissions Editor METHOD OF PAYMENT: Almost double industry cover letter with sample chapters to khamlin@ GENRE(S): Picture books and easy reader standard, re: royalty percentages. tanglewoodbooks.com. See website for further fiction TITLES TO STUDY: Hoop City; The Road to the guidelines. METHOD OF SUBMISSION: Currently not Majors; The Highest Stand; Long Shot; The Long MULTIPLE SUBMISSIONS: Yes accepting submissions, but check website Way Around; The Kid from Courage WILL REPLY IN: 3-6 months periodically. OTHER INFORMATION: “We are publishers of METHOD OF PAYMENT: Royalties TITLES TO STUDY: The Little Wooden Table; It’s young peoples books designed to increase TITLES TO STUDY: Those written by Audrey Raining Whisper literacy by reaching young people through Penn, Katie McKy or illustrated by Barbara sports. Scobre Press is currently adding an 18 Gibson, Christa Unzner. book career series to their line.”

MAGAZINE MARKET GUIDE

his market guide should not be used as a substitute for a particular magazine’s guide- lines. 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 a nonfiction piece, be sure to include all documentation the magazine publication’s requirements, policies, and procedures. An effort has requires. Understand the terms before you submit your work; the time been made to include more information for illustrators and artists. In spent researching the magazine and its guidelines could mean the some instances, publishers may not have provided all the information difference between a sale and rejection. requested, and guidelines change, so always send for guidelines. THINK LIKE AN EDITOR KNOW THE MAGAZINE MARKET Editors want a professional-looking manuscript (see “From Keyboard to Study this guide to get an idea of which magazines interest you Printed Page”). In the top left-hand corner of the first page you should and may be interested in your work. Then get your hands on those include your name, address, zip, and phone number. In the top right- magazines! If your library or newsstand does not carry a magazine, write hand corner, include the word count. a letter to the editor requesting guidelines and a sample copy (there is Some editors prefer queries (make sure to check), especially for usually a fee). You can often find details for doing this along with back nonfiction articles. When submitting queries, include writing samples issues and theme lists on a magazine’s website. or clips of your published work. Describe your idea and qualifications, listing your publishing credits, if any. Before you query make sure STUDY THE MAGAZINE you will be able to gather enough information to write the article. Look at the quality, format, style, and trends of the magazine. Note Illustrators should query with color copies (no larger than 8” x 10”) of how much is devoted to fiction, nonfiction, short stories, artwork, etc. at least five different pieces of art, all labeled with your name, address, Notice the titles, types of stories, articles, word length, and vocabulary. phone number, and type of media. Send with a cover letter or résumé, Compare and critique your work against the published work. Would your tear sheets if any, and an SASE. Send only what each editor asks for work fit in with this magazine? Remember that the stories and articles in the guidelines and state that the editor may keep the work for their you read are the type of work the magazine is seeking. It’s best to study file. Never send original art work. Editors may keep your work on file to current issues as formats and what is included in the magazine change. contact you for future assignments.

STUDY THE GUIDELINES KNOW YOUR RIGHTS When they are available, look up online guidelines for more current When a magazine purchases your work, its buys certain rights. Be information. Take notice of the description of the magazine, the age sure you understand what rights you are selling before you agree to the level, and what the magazine accepts. What will they pay you? What purchase. rights do they buy? How long will it take to get a response? Take note of the editor’s comments. All editors want contributors to submit work » First North American Serial Rights means the publisher purchases the that fits the magazine’s format and requirements. This can only be permission to publish the work for the first time in North America done by following the magazine’s guidelines closely. If you are writing only. All other rights belong to you, the creator of the work. 156 | MAGAZINE MARKET GUIDE

» First Serial Rights permits the publisher to publish your work for the first time in its magazine, journal, or periodical. All other rights belong to you, the creator of the work. GLOSSARY OF TERMS » One-time rights differ from First North American Serial Rights in that the purchasers have no guarantee that they will be the first to publish the work. One-time rights most often apply to photos, Assignment illustrations, and artwork, but occasionally will apply to writing, This is an agreement between the publisher and writer, or illustra- especially in the religious Sunday School take-home papers. tor, in which the writer or illustrator agrees to do a specified job. The » All Rights means the editor purchases all the rights to your work. agreement may include a description of the assignment, the fee agreed Sometimes the editor is flexible, and may allow the rights to revert upon, when it will be paid, if there will be any payment in advance, a back to you. Selling all rights means you allow the publication to use completion date, and if there is a kill fee. your work as many times as it wants to, at any time, in any place, without further payment to you. You will always be given credit for Byline writing the piece but you cannot resell it elsewhere. Author’s or illustrator’s name as it appears in published work.

MAILING YOUR MANUSCRIPT Clips Always send a copy of your manuscript while keeping the original Samples of published work, usually from magazines or newspapers. for your files. Mail the copy flat in a large manila envelope and include an SASE with sufficient postage. You may also want to include a self- It can also mean reviews of your work or publicity about you and/or addressed, stamped postcard with the following information on the your work (receiving an award for your work, for example). back: [Name of magazine] is in receipt of [manuscript title] on [date]. Never email your manuscript unless the guidelines say it is allowed or Contributor’s Copy you are asked by an editor to do so. As the contributor of work to a magazine, you may receive one or more free copies of the magazine in which your work appears. MAILING ILLUSTRATIONS Never send original artwork until instructed by the editor. When Copyright querying, send color copies of artwork protected by cardboard or cover The copyright law, effective January 1, 1978, protects your work as stock that won’t bend easily, in a large manila envelope. Be sure to soon as it has been created in tangible form, even if not yet published. mark the envelope: ILLUSTRATIONS—DO NOT BEND. Always include an It recognizes you as the creator and owner of the work and grants you SASE. When the editor requests the original artwork, protect it the same all rights, benefits and privileges the ownership entails. Usually a pub- way but make sure to send the package by certified mail, UPS, or FedEx. lication formally copyrights your work for you, but if the publication This way you will be able to trace the package if it gets lost in the mail. is not copyrighted, you must do so. The year stated in the copyright notice of a publication is the year of publication, not creation. MAILING PHOTOGRAPHS Most editors request 5” x 7” black-and-white glossy prints, although some prefer an 8” x 10”. Include your name, address, phone number, Cover Letter identity and source of each photo, either on a separate piece of paper A brief letter accompanying a query or a complete manuscript (with numbered photos) or typed on a label and attached to the back telling the editor pertinent information, or it may outline your exper- of each photo. Do not mount photos on board or paper. Include model tise, your background, special knowledge, or remind the editor they releases. Mail photos in photo envelopes or place between cardboard of requested your manuscript or illustration. equal size. Mark envelope: PHOTOS—DO NOT BEND. Include an SASE. Features/Articles www.scbwi.org IN GENERAL | Features and articles generally fall into categories: special columns, Keep copies of everything you send (what you send, which magazine, special topics or themes, special departments of the magazines. which editor, date). If your manuscript is returned, make a note of that and try another suitable magazine. If you have not heard from Fee the editor in the time stated in its guidelines, write a courteous letter If a fee is indicated for a sample copy of the magazine and/or guide- along with an SASE asking the status of the work. Remember, getting lines, include check or money order, made payable to the magazine, your work published is not easy and takes persistence. Don’t give up if unless otherwise stated. DO NOT send cash or loose stamps. you are rejected: it happens to the best of us!

Fillers Usually a short item used by an editor to “fill” remaining space in a column or a special space in the magazine, such as jokes, anecdotes, poetry, puzzles, recipes, quips, etc. PUBLICATIONS GUIDE: THE BOOK 2021 MAGAZINE MARKET GUIDE | 157

GLOSSARY OF TERMS (CONT’D)

Illustrations The emphasis of the essay or article is on the photo rather than the text, Can refer to any kind of artwork or graphic designs, engravings or or is on both. Sometimes photo essays or features tell their own story with photography. They are usually paid for separately from manuscripts few words. unless it is specified as a package sale. A package sale includes the sale of the manuscript and illustrations, which can be done by one person or in Public Domain partnership with another. Material whose copyright has run out or lapsed is in the public domain. MARKET SURVEYS Since copyright law has changed several times in recent years, determin- International Reply Coupon ing if a particular work is public domain or not may require considerable This coupon, also known as an IRC, is purchased at the post office to research. be used instead of stamps for the SASE when sending a manuscript to a foreign country. The editor exchanges the IRC for that country’s corre- Query sponding stamps to return your manuscript. The number of IRCs required A letter addressed to an editor that tells about a written item or illustra- depends upon the weight of the manuscript. Never send a personal check tion you wish to submit to the magazine. It includes your proposed idea, instead of IRCs. a sample of your work, bibliography for nonfiction, your expertise and background, and why you believe your work can make a difference to the Kill Fee readers. The writer or illustrator receives a portion of the agreed-upon fee for a work which was subsequently canceled. Kill fee terms should be agreed Reprints upon when the assignment is accepted; otherwise, the writer or illustrator Occasionally magazines will purchase reprints of previously published will not be entitled to one. Kill fees are not common and are only offered to pieces. When sending reprints, make sure you have fulfilled the obliga- writers or illustrators working on assignment, not on speculation. After re- tions of the first magazine in which it was published. Your contract will ceiving the kill fee, the writer or illustrator may submit the work elsewhere. explain when you are free to resell your writing. Even if you were paid on acceptance for the first publication of your writing, it does not guarantee Legal-size Envelope that the work will be published at any specific date unless so specified in the Also known as the #10 or business-size envelope, used in sending busi- purchase. It may mean that the work can be held for months or years before ness correspondence, and is often the size required for an SASE. publication. This means that you, the creator, cannot resell the work until it is published. Model Release This form is signed by the person in the photograph (or by their legal Response Time guardian if a minor). It authorizes the photographer to use the photograph The length of time the editor takes to report back to you about the work for business as well as editorial purposes. If the subject of the photograph you submitted, a query, or to a request for information. If the editor hasn’t is an animal, object, building, or place, then a model release must be signed responded in the promised time, a courteous follow-up letter is in order. Do by the owner. not call or fax the editor.

MS SASE Manuscript. Plural: mss. A self-addressed, stamped envelope for the return of your material. For foreign publishers, you may be required to use foreign postage as US post- Payment on Acceptance age will not be valid. Check with your post office for information. The editor, purchaser of a written piece or illustration, agrees on behalf of the publisher to send a check for the work upon acceptance or agreement Tearsheets of purchasing the work. Payment on acceptance could be as long as several Originally this term referred to pages torn out of a magazine or newspa- months, depending on the magazine’s pay schedule. per containing your printed work, a review of your work, a reference to your work, or all of the above. Today photocopies of these are often used instead Payment on Publication of originals. The editor, purchaser of a written piece or illustration, agrees to send a check for the work upon publication of the work. This could be several Unsolicited Manuscript months to several years, depending upon its editorial calendar. A manuscript sent without prior authorization. Magazines that do not take unsolicited manuscripts require that you query first and wait for a Photo Essays/Photo Features response. 158 | MAGAZINE MARKET GUIDE

action rhymes and finger plays. CHIRP SECULAR Art: By assignment only (see submission Owl Magazine Group guidelines for details about submitting portfolio 49 Front Street E., 2nd Floor MAGAZINES samples). Toronto, M5E 1B3, CANADA TERMS: Stories and articles: up to 25¢ per word. www.owlkids.com/magazines/chirp/ ASK Poems: up to $3.00 per line, $25.00 minimum. Email: [email protected] 70 East Lake Street, Suite 800 Payment after publication. Rights vary. GUIDELINES: Not accepting unsolicited Chicago, IL 60601 COMMENTS: No advance list of themes. Do not manuscripts as of 8/2009. https://shop.cricketmedia.com/ASK-Magazine- query. Include exact word count. Prefers online DESCRIPTION: A see-and-do magazine for pre- for-Kids.html submissions. Please allow three to six months schoolers, printed monthly during school year. CONTACT: Liz Huyck, Editor response time. AGE GROUP: 2-6 GUIDELINES: Writers: www.cricketmag. ACCEPTS: Solicited submissions only submittable.com/submit/20689/ask-magazine- BOYS LIFE TERMS: Buys all rights, $100-$250 for longer for-ages-7-10-science-nonfiction. 1325 W. Walnut Hill Lane stories, and $10-$50 for shorter stories or Illustrators: www.cricketmedia.com/art- Irving, TX 75038 poems. submissions. www.boyslife.org COMMENTS: Aimed at non-readers, basic text is DESCRIPTION: Themed nonfiction magazine CONTACT: Johnny D. Boggs, Fiction Editor; important with suggestions of visual reference. exploring science, technology, nature, history of Aaron Derr, Nonfiction Senior Writer Submissions from outside Canada must be science, and art (nine issues per year). GUIDELINES: www.boyslife.org/home/383/ accompanied by a money order or IPC for $2. AGE GROUP: 7-10 resources-for-contributors Allow twelve weeks to review ms. ACCEPTS: Query pitches for theme-specific DESCRIPTION: General-interest monthly articles, photo essays, and stories, 400-1600 magazine published by Boy Scouts of America CLICK words. The ideal Ask article should tell a since 1911. 70 East Lake Street, Suite 800 well-researched, engaging story about some AGE GROUP: 8-18 Chicago, IL 60601 interesting discovery, event, or idea in science, ACCEPTS: Nonfiction (500-1,500 words; query https://shop.cricketmedia.com/Click-Magazine- technology, or the arts. Prefer an informal, Articles Editor), columns/how-to features (300- for-Kids.html#modal-close engaging style with plenty of humor. Start with 750 words; query Associate Editor), short stories Email: [email protected] a question, not a fact. (1000-1500 words; query Fiction Editor or send CONTACT: Amy Tao, Editor TERMS: Rates vary. Payment after publication. completed ms). GUIDELINES: Writers: www.cricketmedia.com/ Rights vary. TERMS: Major nonfiction articles: $400-$1,500; click-submission-guidelines/. COMMENTS: Send query pitch, sample first columns: $150-$400; how-to articles: $250- Illustrators: www.cricketmedia.com/art- paragraph, and comprehensive bibliography/ $300; short stories: $750 and up. First rights submissions. list of resources. Please visit www.cricketmag. for all original, unpublished material, pays on DESCRIPTION: Themed nonfiction magazine that submittable.com/submit for themes and editorial acceptance. explores science, art, and nature (nine issues calendar before submitting. COMMENTS: “Write for a boy you know who per year). is twelve. Our readers demand crisp, punchy AGE GROUP: 3-7 BABYBUG writing, in relatively short, straightforward ACCEPTS: Click presents nonfiction concepts to 70 East Lake Street, Suite 800 sentences.” Editors follow the New York young children through a variety of formats: Chicago, IL 60601 Times Manual of Style and Usage. All articles articles, photo essays, & stories. Articles & https://shop.cricketmedia.com/Babybug- are commissioned; unsolicited nonfiction photo essays (200-400 words) should explain Magazine-for-Babies.html manuscripts will be returned. Query by mail, not the how & why of something in a friendly, Email: [email protected] by phone. engaging, humorous way. Prefer informal, www.scbwi.org conversational style; best articles tackle one | CONTACT: Submissions Editor GUIDELINES: Writers: www.cricketmedia.com/ CHESS LIFE FOR KIDS idea or concept in-depth rather than several babybug-submission-guidelines. U.S. Chess Federation ideas superficially. Stories (600-1,000 words) Illustrators: www.cricketmedia.com/art- PO Box 3967 should contain and explain nonfiction concepts submissions. Crossville, TN 38577 within them; successful stories often show DESCRIPTION: A look-and-listen magazine for www.uschess.org children engaged in finding out about their babies and toddlers (nine issues per year). Email: [email protected] universe with the help of supportive, but not AGE GROUP: 6 months–3 years AGE GROUP: 12 and under all-knowing, adults. ACCEPTS: Writing: We seek literary manuscripts ACCEPTS: Chess games and instruction, chess TERMS: Rates vary. Payment after publication. that adults and very young children will want news, puzzles, photos, humor, tips, cartoons. Rights vary. to read together again and again. We are Unsolicited manuscripts on speculation are COMMENTS: Click themes introduce children to especially interested in rhythmic and rhyming welcomed, but queries with clips are preferred. ideas and concepts within the natural, physical, poetry (poems may explore a baby’s day, or TERMS: Payment is generally $75 per page (800- or social sciences; the arts; technology; math; they may be more whimsical); very short, clear 1,000 words). All rights unless negotiated. and history. The goal is to allow young children PUBLICATIONS GUIDE: THE BOOK fiction and nonfiction (six sentence maximum); COMMENTS: Submissions should be made on access to the world of ideas and knowledge in disk or emailed. Guidelines available. an age-appropriate yet challenging way. Articles

2021 “first concepts” (playful takes on simple ideas); MAGAZINE MARKET GUIDE | 159 and stories are commissioned. Please see theme $100. Buys first rights and will consider second cricket-submission-guidelines/. list and writers guidelines at www.cricketmag. rights. Illustrators: www.cricketmedia.com/art- submittable.com/submit. Authors must provide COMMENTS: Query first (via email or mail), submissions. bibliography, listing all resource materials and include a summary, specifics about who you DESCRIPTION: Monthly literary magazine (nine notes as the sources of facts and information will interview or stories you will tell, two or issues per year). given. three samples of writing and SASE. Tone of AGE GROUP: 9-14 the articles is light-hearted and fun; when ACCEPTS: Fiction (1,200-1,800 words): realistic, COBBLESTONE you query “begin with the lead you expect contemporary, historic, humor, mysteries, Cobblestone Publishing to put on the article; make it catchy—grab fantasy, science fiction, folk/fairy tales, 30 Grove Street, Suite C our attention!” Allow four to six weeks for legend, myth. Nonfiction (1,200-1,800 words): Peterborough, NH 03458 response. biography, history, science, technology, natural MARKET SURVEYS www.cobblestonepub.com history, social science, geography, foreign Email: [email protected] COUSTEAU KIDS culture, travel, adventure, sports. Poetry (max. CONTACT: Meg Chorlian, Editor The Cousteau Society 35 lines): serious, humorous, nonsense rhymes. DESCRIPTION: Theme-based history magazine PO Box 112 Puzzles, mazes, crafts, recipes, plays, music. Art for young people. 61 E. 8th Street is commissioned separately from text. Accepts AGE GROUP: 8-14 New York, NY 10003 illustrations in various media: pencil, ink, ACCEPTS: Related to theme: Feature articles www.cousteau.org/kids/ watercolor, acrylic, oil, pastels, scratchboard, (700-800 words; in-depth nonfiction, plays, first- Email: [email protected] woodcut. person accounts, biographies); supplemental CONTACT: Melissa Norkin, Editor TERMS: Stories and articles: up to 25¢ per nonfiction (300-600 words); fiction (up to 800 DESCRIPTION: Bimonthly educational word. Poems: up to $3.00 per line, $25.00 words; authentic historical/biographical fiction, publication. Formerly Dolphin Log. minimum. Activities and recipes: $75.00 flat adventure, legends); activities (up to 700 words; AGE GROUP: 7-12 rate. Payment after publication. Rights vary. crafts, recipes, etc. Sketches should accompany ACCEPTS: No fiction! No talking animals! No COMMENTS: Cricket would like to reach as many these queries); poetry (up to 100 lines); puzzles first-person accounts or articles by children! children’s illustrators and authors as possible and games (crosswords, mazes and picture Wants nonfiction articles (features 500-700 for original contributions, but our standards are puzzles relating to theme—no word finds). words; shorter pieces to 250 words) about very high, and we will accept only top-quality TERMS: Feature articles, supplemental science, nature, marine biology, ecology, material. Art should be realistic and humorous, nonfiction and fiction pay 20-25¢ per word; environment. Also interested in “games based but not caricatures or “cartoony.” For art, send others are paid on an individual basis. We buy on scientific fact, original home science tear sheets or photocopies, each clearly labeled all rights. experiments, and art projects that are related with name, address, and phone number. No COMMENTS: A query including cover letter, to an ocean theme.” Query first! Unsolicited advance list of themes. Do not query. Include outline, bibliography, writing sample, and SASE mss will be returned unread. Illustrations must exact word count. Prefers online submissions. must accompany each individual idea; may send be realistic. Will review artwork for assignment Please allow three to six months response time. multiple queries. Go-aheads requesting material if queried. proposed is usually sent five months prior to TERMS: Pays $100-$300 for features and $15- DRAMATICS publication date. Response time may be several $100 for shorter pieces on publication and buys Educational Theatre Association months. We only notify people if a query is one-time rights. Query for photo submissions 2343 Auburn Avenue accepted; we no longer return unused queries. and rates. Only duplicate slides accepted. Cincinnati, OH 45219-2815 Theme list and index of past issues is available COMMENTS: It “is not a good market for the www.schooltheatre.org/resources/dramatics online. beginning writer. Read at least three recent Email: [email protected] issues; 95% of submissions are rejected because CONTACT: Don Corathers, Editor COLLEGE BOUND the content or style is inappropriate for our GUIDELINES: https://dramatics.org/write-for- 1200 South Avenue, Suite 202 publication.” Cousteau Kids is photo-oriented, us/ Staten Island, NY 10314 but also needs illustrators, especially with DESCRIPTION: Educational theater magazine www.collegebound.net biology background. Needs range from simple published September through May. Email: [email protected] line drawings to scientific illustrations. Send AGE GROUP: High school CONTACT: Gina LaGuardia, Editor $2.50 for sample issue and 9”x12” SASE with ACCEPTS: Articles (800-4,000 words), DESCRIPTION: Bimonthly college prep magazine three first-class stamps. interviews, surveys, photo spread with copy, AGE GROUP: High school book reviews, humor pieces. Plays (one-act and ACCEPTS: Feature articles (800-1,100 words; CRICKET full-length, unpublished; performable in high real-life student experiences, college life tips) 70 East Lake Street, Suite 800 schools; no children’s theater pieces, teen angst and specific departments (150-1,000 words: Chicago, IL 60601 dramas or overtly didactic “message” plays). campus survival tips, admissions advice, money www.cricketmagkids.com Finished ms should conform to Chicago Manual tips, college experiences, opinion on college www.cricketmedia.com/ of Style. Submit any photos and/or illustrations controversies). Should be original, thought- Email: [email protected] with article. High-res JPEGs preferred; color provoking ideas. CONTACT: Submissions Editor transparencies, 35mm+, color or b&w prints TERMS: Features: $70-$100; departments: $15- GUIDELINES: Writers: www.cricketmedia.com/ (5x7 or larger), line art is also acceptable. 160 | MAGAZINE MARKET GUIDE

TERMS: Pays $25-400 on acceptance for first GUIDELINES: Writers: www.cricketmedia.com/ GIRLS’ LIFE publication rights. Buys one-time, non-exclusive faces-submission-guidelines/. 4529 Harford Road publication rights to plays; playwright retains Illustrators: www.cricketmedia.com/art- Baltimore, MD 21214 all other rights. Responds in six weeks. submissions. www.girlslife.com COMMENTS: Prefers finished manuscript but DESCRIPTION: Theme-based magazine published Email: [email protected] will respond to queries. No phone or email September through May. CONTACT: Katie Abbondanza, Associate Editor; queries. Sample copy for $2.50. “What makes us AGE GROUP: 8-14 Chun Kim, Creative Director: [email protected] cranky: writers too lazy or careless to do basic ACCEPTS: Related to theme: Feature articles (photography and illustration pitches); Sydney reporting and research; writers who represent (800 words, in-depth nonfiction and personal Adamson, Assistant Editor: sydney@girlslife. themselves as experts when they’re not; would- accounts), supplemental nonfiction (300-600 com (entertainment); Amanda Tarlton, Assistant be playwrights who do not understand the basic words), fiction (800 words), activities (700 Editor: [email protected] (health, wellness, conventions of playscript format or even the words), poetry (to 100 lines, serious and light beauty, lifestyle, inspirational stories) basic conventions of the stage.” verse), puzzles and games (no word finds). GUIDELINES: www.girlslife.com/Writers- Illustrations done on assignment; roughs only; Guidelines DYNAMATH send samples of work, interested in photos Email or mail queries with detailed story ideas. Scholastic Inc. relating to theme. Query must include brief No poetry. Stories should include title, blurb, 555 Broadway, Room 367 cover letter stating subject and word length, and byline, author’s full contact info (email, New York, NY 10012-3999 detailed one-page outline of information to be address, phone number). AP format, double- dynamath.scholastic.com/ presented, extensive bibliography of materials spaced, 12-point font, Verdana font. Must have CONTACT: Matt Friedman to be used, SASE, two to three line biographical complete list of only primary sources. DESCRIPTION: Themed monthly classroom sketch and writing samples. TERMS: “Unless submission is stated to be magazine (September - May). TERMS: Pays on publication 20-25¢ per word a possible work for hire, submission will be AGE GROUP: Grades 3-6 for feature articles, supplemental nonfiction, considered property of Girls’ Life magazine.” ACCEPTS: Articles that show real-life fiction. Buys all rights to text and illustrations. “A memorandum of agreement is to be executed applications of math skills (up to 600 words), Photos are usually one-time rights. Photographs by both parties before payment is made.” including an activity that uses the type of and illustrations: $25-$100. COMMENTS: Email queries responded to within math explained in the story; could include COMMENTS: “Lively, original approaches to the ninety days. stories on sports, careers, famous personalities, subject are the primary concerns of the editors consumer awareness, popular TV shows, and/ in choosing material.” Send for guidelines and HIGHLIGHTS FOR CHILDREN or movies. Interdisciplinary articles (up to 600 theme list. 803 Church Street words), including activity that uses math that Honesdale, PA 18431 is relevant to story; could include graph reading FUN FOR KIDZ www.highlights.com/ activities, issues in the news; best when they PO Box 227 Email: [email protected] have a kid-oriented slant. Bluffton, OH 45817 CONTACT: Manuscript Coordinator TERMS: Pays $250+. www.funforkidzmagazines.com/writers GUIDELINES: www.highlights.submittable.com/ COMMENTS: Query first through mail. “The tone Email: [email protected] submit of DynaMath is casual. We aim to show kids that CONTACT: Marilyn Edwards DESCRIPTION: General interest, ad-free monthly math can be fun and relevant to their lives. GUIDELINES: www.funforkidzmagazines.com/ AGE GROUP: 6-12 All the while, we remain true to the middle ffk_guidelines ACCEPTS: Crafts: should have concise, numbered and upper elementary math curricula: place DESCRIPTION: A theme based, no-ad magazine directions, up to five steps. Should appeal to value; whole number addition, subtraction, for boys and girls published on alternate months boys and girls. multiplication, division; whole number as Boys’ Quest and Hopscotch. Puzzles: “should not require a reader to write www.scbwi.org conceptualization, addition and subtraction of AGE GROUP: 6-13 in the magazine.” Current needs include math | fractions and decimals; chart and graph reading; ACCEPTS: Activities or stories based on theme. puzzles, code activities, and visual puzzles. measurement; geometry; problem-solving skills TERMS: Min. 5¢ per word for fiction and Cartoons: can be single-panel or multiple-panel, like using a logic line or classifying attributes; nonfiction. Additional payment if piece is black-and-white or full-color, with or without critical thinking; and other skills of similar accompanied by photo/art. Max. $10 per poem a caption, and with either human or animal difficulty levels.” or puzzle. Complimentary copy given. First characters. American serial rights. Pays upon publication. Nonfiction: can include science, arts, sports, FACES Reserves the right to publish all materials how-to’s, world cultures, history, What a Pro Cobblestone Publishing from magazine on the website as a sample of Knows articles, and Gallant Kids articles. 30 Grove Street, Suite C the magazine, which will be displayed for a Fiction: should have an engaging plot, strong Peterborough, NH 03458 limited time. Contributors paid whenever work characterization, a specific setting, and lively shop.cricketmedia.com/faces-magazine-for-kids?_ is published. language. ga=2.144127734.2118963578.1608315181- COMMENTS: For a sample copy and theme list, Verse: purchased sparingly at the moment. 954347209.1608315181 send $6 if from within the U.S. or $7.50 if from However, if you’d like to submit poetry, it PUBLICATIONS GUIDE: THE BOOK Email: [email protected] overseas. should be appealing to kids and no longer than CONTACT: Elizabeth Crooker Carpentiere about sixteen lines. 2021 MAGAZINE MARKET GUIDE | 161

TERMS: Buys all rights, pays on acceptance: Seasonal material should be sent at least J-14 MAGAZINE $150+ for fiction/nonfiction, $25+ for crafts, eight months in advance. Submit an SASE for American Media Inc. $25+ for finger plays/action rhymes, $25+ for a response. Author’s name, address, phone 4 New York Plaza verse, $40+ for puzzles, cartoons: $40 for b&w, number, email, date of submission, and word New York, NY 10004 $50+ for color. Responds in four to six weeks, count should be on first page of ms. Work is on www.j-14.com/ longer if holding for consideration. speculation only. Queries not accepted. Does Email: [email protected] COMMENTS: Accepts mss year round, including not accept artwork or purchase single photos; DESCRIPTION: J-14 is a teen magazine that seasonal material. Prefers mss to queries. will purchase short photo features (8-10 captures the energy, attitudes, and interests of Highlights is a secular magazine “dedicated to photos). young women. helping kids grow in basic skills and knowledge, Mini stories: 70-125 words AGE GROUP: 14-19 creativeness, ability to think and reason, Poems: 4-12 lines ACCEPTS: Features include input of real MARKET SURVEYS sensitivity to others, high ideals, and worthy Crafts: 250 words or less that young children teenagers wherever possible, either in an ways of living.” can make with a bit of adult help. as-told-to format or through direct quotation. TERMS: Buys all rights for manuscripts, one- “Real life” stories will deal with school, friends, HIGHLIGHTS HIGH FIVE time rights for photos. romance, and a broad selection of relevant 807 Church Street Fiction: $30 and up current issues. Other articles cover beauty, Honesdale, PA 18431 Poetry: $25 and up college and careers, entertainment, health and www.highlights.com/store/products/high-five- Crafts: $40 and up fitness, self-improvement, etc. magazine COMMENTS: Send for author guidelines first. COMMENTS: Query with clips preferred. Study Email: [email protected] Sample copies $2.95. Send entire manuscript magazine (on newsstands nationwide). CONTACT: Kathleen Hayes, Editor by mail. GUIDELINES: www.highlights.submittable.com/ LADYBUG submit I KNOW 70 East Lake Street, Suite 800 DESCRIPTION: The magazine is designed to Redan Publishing Ltd. Chicago, IL 60601 be shared by child and parent (or other skilled Suites 3-4 Canon Court East, Abbey Lawn, shop.cricketmedia.com/LADYBUG-Magazine-for- reader), but we are also keeping the text short Shrewsbury, SY2 5DE Kids.html and the readability low so that good first and United Kingdom Email: [email protected] second grade readers can read it independently. www.iknowmagazine.co.uk/ CONTACT: Submissions Editor AGE GROUP: Ages 2-6 and their parents Email: [email protected] GUIDELINES: Writers: www.cricketmedia.com/ ACCEPTS: Stories are 150 words or less. Poems CONTACT: Shannon Hunt, Adrienne Mason ladybug-submission-guidelines/. typically one to three stanzas. We are buying DESCRIPTION: A magazine of science, Illustrators: www.cricketmedia.com/art- stories from freelance writers with a proven technology, math, and engineering for young submissions. track record who can successfully write for children. The science magazine for curious kids. DESCRIPTION: An imaginative magazine with young children. Most of the nonfiction features AGE GROUP: 6-9 art and literature for young children (nine are either written in-house, or commissioned, ACCEPTS: Writers wanting to be considered issues per year). although we have and will publish some for assignments may send resumes and clips AGE GROUP: 3-6 nonfiction articles by freelance writers. of published nonfiction; freelance poetry and ACCEPTS: Fiction (up to 800 words, TERMS: Watch website guidelines for updated fiction that relates to our themes (500 words shorter manuscripts welcome): imaginative information. maximum). contemporary stories, original re-tellings of COMMENTS: “I want to stress that we are not TERMS: One-time print rights fairy and folk tales, multicultural stories. currently seeking manuscripts from folks unless COMMENTS: Please see our website for Poetry (up to 20 lines): can be humorous or they have published a number of things for this submission guidelines. serious, usually rhythmic/rhyming. Also looking age group.” for gentle nonfiction, action rhymes and finger JACK AND JILL plays, crafts, and activities. HUMPTY DUMPTY’S MAGAZINE PO Box 567 Art: By assignment only (see submission PO Box 567 Indianapolis, IN 46206 guidelines for details about submitting portfolio Indianapolis, IN 46206 www.uskidsmags.com/magazines/jack-and-jill/ samples). www.uskidsmags.com/magazines/humpty- CONTACTS: Jennifer Burnham, Senior Editor TERMS: Stories and articles: up to 25¢ per dumpty/ GUIDELINES: www.uskidsmags.com/writers- word. Poems: up to $3.00 per line, $25.00 CONTACTS: Nancy S. Axelrad, Editor; Rob guidelines/ minimum. Activities and recipes: $75.00 flat Falcon, Art Director DESCRIPTION: Designed to spark curiosity in a rate. Payment after publication. Rights vary. GUIDELINES: www.uskidsmags.com/writers- variety of topics through articles, games, and COMMENTS: When reviewing submissions, the guidelines/ activities. editors look for clear and beautiful language, DESCRIPTION: Healthy living/educational AGE GROUP: 6-12 a sense of joy and wonder, and a genuinely magazine published eight times a year. childlike point of view. No advance list of AGE GROUP: 4-6 themes. Do not query. Include exact word ACCEPTS: “Health topics should be incorporated count. Prefers online submissions. Please allow into the story or article, not be the focus of it.” three to six months response time. 162 | MAGAZINE MARKET GUIDE

MUSE NEW MOON GIRLS PLAYS 70 East Lake Street, Suite 800 2 W. First Street, #101 PO Box 600160 Chicago, IL 60601 Duluth, MN 55802 Newton, MA 02460 shop.cricketmedia.com/muse-magazine-for-kids?_ www.newmoongirls.com www.playsmagazine.com/ ga=2.118946762.2118963578.1608315181- Email: [email protected] Email: [email protected] 954347209.1608315181 GUIDELINES: www.newmoongirls.com/girls-get- CONTACT: Elizabeth Preston, Editor Email: [email protected] published/ DESCRIPTION: The drama magazine for young CONTACT: Submissions Editor DESCRIPTION: Portrays women and girls as people. Publishes approximately 75 wholesome, GUIDELINES: Writers: www.cricketmedia.com/ powerful, active, and in charge of their lives. one-act plays each year (in seven issues). muse-submission-guidelines. AGE GROUP: 8-12 AGE GROUP: Lower and middle grades to junior Illustrators: www.cricketmedia.com/art- ACCEPTS: Global Village (600 words): first- and senior high. submissions. person account of a girl who is a native of/lives ACCEPTS: One-act plays including comedies, DESCRIPTION: Muse, “The Magazine of Life, the outside the US. Adults can translate and add farces, dramas, mysteries, and melodramas, as Universe, and Pie Throwing,” is a nonfiction accompanying material about the country and well as plays for holidays and special occasions. magazine for kids and teens. The editors seek its historic women. Lower grades, six to ten typed pages; middle engaging, challenging stories about unexpected Herstory (600 words): profile of girls, women, grades, twelve to fifteen typed pages; junior subjects related to science and culture. Humor or girl-related events in history; best chance of and senior high, fifteen to twenty typed pages. and irreverence are encouraged (nine issues per acceptance if it fits an editorial theme. TERMS: Pays on acceptance. Rates vary year). Women’s Work (600 words): profiles a woman in according to length and age level. Buys all AGE GROUP: 9-14 her chosen career; best chance of acceptance if rights. ACCEPTS: Featured articles (1,200-2,000 words, it fits an editorial theme. COMMENTS: We use only secular plays for including sidebars), profiles and interviews, Fiction (900-1,600 words): short stories where Christmas and other religious holidays. Above particularly of underrepresented STEM main character(s) are girls ages 8+ that shows all, plays must be entertaining and relevant professionals (500-800 words), activities and power of girls at this age. Not interested in to young people. We do not publish musicals. experiments (500-800 words), photo essays “perfect” girls; best chance of acceptance if it Do not send photos or tapes of productions. (100-300 words), sci-fi or science-focused fits editorial theme. Send for guidelines. We do not accept email fiction (1,000-1,600 words), and infographics. For the Curious: (300-600 words): science, tech, submissions. TERMS: Rates vary. Payment after publication. engineering, and math activities that relate to Rights vary. girls’ daily lives and/or imagined futures. SCIENCE WORLD TERMS: Varies Scholastic, Inc. NATIONAL WILDLIFE FEDERATION COMMENTS: Writers and illustrators are 555 Broadway PUBLICATIONS encouraged to read New Moon Girl prior to New York, NY 10012-3999 National Wildlife Federation submitting. Guidelines posted on website. Only https://scienceworld.scholastic.com/ PO Box 1583 electronic submissions are accepted. Email: [email protected] Merrifield, VA 22116-1583 CONTACT: Mark Bregman, Editor www.nwf.org/Magazines OWL DESCRIPTION: Award-winning magazine GUIDELINES: Please send a letter requesting Owl Communications designed to complement classroom teaching of guidelines for photo or article submission in 370 King Street E., Suite 300 life, earth, physical and environmental sciences, care of the chosen magazine to PO box listed Toronto, Ontario M5V 1J8, CANADA and health. above. www.owlkids.com/magazines/owl/ AGE GROUP: 12-18 DESCRIPTION: The National Wildlife Federation Email: [email protected] ACCEPTS: Science news; articles emphasizing brings nature to life in the pages of our GUIDELINES: No longer accepting unsolicited current science (200 words); features that www.scbwi.org publications, inspiring people of all ages and submissions. give in-depth treatment to one or more major | reading levels to develop a deeper relationship DESCRIPTION: No longer accepting unsolicited scientific topics (750 words). with our natural world. manuscripts or queries. A discovery magazine TERMS: Rates range from $100-$125 for news Ranger Rick Cub is printed in a smaller size for kids featuring amazing facts, fascinating items and $200-$650 for features. meant to encourage “lap time” reading. articles on science, technology, and the natural COMMENTS: Send well-researched story Ranger Rick Jr. features dazzling wildlife photos world, plus challenging puzzles and experiments proposals, including suggested sources, and two and easy-to-follow text introducing children to kids can try on their own. to three clips as samples of your work. SASE. the amazing world of animals. AGE GROUP: 9+ Ranger Rick brings the natural world to kids TERMS: Varies. Purchases extensive rights. SEVENTEEN through animal stories, photos, puzzles, and COMMENTS: Study magazine available at 1440 Broadway, 13th Floor games. newsstands and libraries. Send money order (no New York, NY 10018 AGE GROUP: Ranger Rick Cub: 0-4; Ranger Rick stamps, includes GST) for reply to manuscripts. www.seventeen.com Jr.: 4-7; Ranger Rick: 7-12. Email: [email protected] GUIDELINES: www.seventeen.com/about/ PUBLICATIONS GUIDE: THE BOOK a12135/about-us/ DESCRIPTION: Beauty/fashion magazine 2021 MAGAZINE MARKET GUIDE | 163 covering entertainment, guys, health, and teen interviews with authors, activities related to is on speculation only. Queries are not accepted issues. books and reading, word games, news about except for nonfiction pieces submitted to Jack AGE GROUP: 13-21 books, and other book-related features. Main and Jill magazine. ACCEPTS: Solicited submissions only pieces are rarely more than 2,000 words. TERMS: Pays on acceptance for first-time rights. TERMS: Purchases all rights. Payment varies. YOUNG RIDER Payment varies. COMMENTS: Very few unsolicited manuscripts PO Box 8237 COMMENTS: Read magazine and send for accepted, especially from unpublished writers. Lexington, KY 40533 guidelines before submitting. Send one-page Best chance for freelancers is brief article about www.youngrider.com pitch for ideas via mail to appropriate editor at children doing something interesting related Email: [email protected] [email protected]. to books, reading, or writing; a how-to article CONTACT: Lesley Ward, Editor describing a fun activity related to books; or an GUIDELINES: www.youngrider.com/contact-us. MARKET SURVEYS SPIDER original word game. Query with list of published html 70 East Lake Street, Suite 800 work. DESCRIPTION: Small equestrian magazine for Chicago, IL 60601 young riders. shop.cricketmedia.com/ THE TEEN MAGAZINE AGE GROUP: 8-14 spider-magazine-for-kids?_ 300 Ocean Park Boulevard ACCEPTS: Fiction: 800-1000 word stories ga=2.152494074.2118963578.1608315181- Santa Monica, CA 90407 involving teens and horses. Likes humor. 954347209.1608315181 www.theteenmagazine.com/ Nonfiction: 800-1000 word horse interest with Email: [email protected] CONTACT: Jane Ford, Editor-in-Chief good photos or slides. CONTACT: Submissions Editor DESCRIPTION: Monthly general interest TERMS: First North American serial rights. $150 GUIDELINES: Writers: www.cricketmedia.com/ magazine for junior high girls. for fiction, $200 nonfiction. spider-submission-guidelines. AGE GROUP: 10-15 COMMENTS: Study a copy of the magazine Illustrators: www.cricketmedia.com/art- ACCEPTS: Fiction, 2,500-4,000 words. Should before querying. submissions. have teenage girl as central character. DESCRIPTION: Spider is full-color, 8”x10”, 34 Romance. No fantasy, science fiction, etc. pages with a 4-page activity pullout. Features Nonfiction, send query, résumé, and recent Religious the world’s best children’s authors. clips. AGE GROUP: 6-9 TERMS: Payment for fiction: $500-$1000. Buys MAGAZINES ACCEPTS: Fiction (300-1,000 words): realistic, all rights. Nonfiction: varies. easy-to-read, fantasy, folk and fairy tales, COMMENTS: Looking for realistic, upbeat stories CADET QUEST (FORMERLY CRUSADER) science fiction, fables and myths. Nonfiction concerned with contemporary teen interests PO Box 7259 (300-1,000 words): nature, animals, science, and problems handled sensitively. At present Grand Rapids, MI 49510 technology, environment, foreign culture, buying fiction and nonfiction on a limited basis www.calvinistcadets.org/quest-magazine/ history. Poetry (not longer than 20 lines): only. Email: [email protected] serious, humorous, nonsense rhymes. Other: CONTACT: Editor crafts, recipes, puzzles, games, brainteasers, U*S*KIDS GUIDELINES: calvinistcadets.org/wp-content/ math, and word activities. Art samples and PO Box 567 uploads/Quest-Guidelines.pdf photos considered. Indianapolis, IN 46206 DESCRIPTION: Christian-oriented magazine for TERMS: Stories and articles: up to 25¢ per www.uskidsmags.com/ boys. word. Poems: up to $3.00 per line, $25.00 Email: [email protected] AGE GROUP: 9-14 minimum. Activities and recipes: $75.00 flat GUIDELINES: www.uskidsmags.com/writers- ACCEPTS: Fiction (1,000-1,300 words) that rate. Payment after publication. Rights vary. guidelines/ appeals to boys’ sense of adventure/sense of COMMENTS: No advance list of themes. Do not DESCRIPTION: A weekly reader magazine. humor to show them how God is working in query. Include exact word count. Prefers online Emphasis is on health, fitness, and an active their lives and in the world around them (no submissions. Please allow three to six months lifestyle for kids. science fiction or romance); nonfiction (up to response time. AGE GROUP: 5-10. 1,500 words); project/hobby articles; camping ACCEPTS: Fiction, nonfiction, poetry, recipes, and nature articles; cartoons, puzzles. All STORYWORKS and photo features. Christian-themed. Scholastic, Inc. TERMS: Purchases all rights. One-time book TERMS: Pays 5¢ per word on acceptance; pays 555 Broadway rights may be returned. $5+ for single gag cartoons, $15+ for full-page New York, NY 10012-3999 COMMENTS: Submit specifically to one of our panels; pays $5 for each photo used with storyworks.scholastic.com two magazines–Humpty Dumpty or Jack and article. Buys all rights. Email: [email protected] Jill–not U.S. Kids. Does not accept artwork. COMMENTS: Editorial theme list and/or author DESCRIPTION: A magazine designed to get Does not accept single photos, only photo guidelines available at our website or by kids excited about books, reading, authors, features (eight to ten photos). Must be high- sending request with #10 SASE. If emailing illustrators, and the world of literature. quality, high-resolution photos. Purchases one- manuscripts, copy your material into the body AGE GROUP: 8-12 time rights but reserves rights to use photos on of the email, we will NOT open attachments. ACCEPTS: Fiction, nonfiction, poetry, plays, website. Mail or email entire manuscript. Work Write to our audience and to the issue’s 164 | MAGAZINE MARKET GUIDE

theme. Keep stories or articles exciting and CONTACT: Christopher Lutes, Editor AGE GROUP: 1-5 entertaining. Include humor. The best time GUIDELINES: www.christianitytoday.com/ct/ ACCEPTS: One or two page manuscripts to send your submissions to Cadet Quest is help/about-us/writers-guidelines.html appropriate for age level. True stories that between January and April. Remember our DESCRIPTION: Christian Monthly portray God’s love, coping with peer pressure, purpose of showing God’s work in boys’ lives! AGE GROUP: 13-17 and getting along with siblings. Need more ACCEPTS: First-person stories (1,200-2,000 stories that feature Dad as the adult instead of THE FRIEND words), fiction (up to 2000 words), humor (250- Mom. Humor helps. The Church of Jesus Christ of Latter-Day Saints 1000 words, can incorporate satire, parody, TERMS: Payment is $25-$50 on acceptance. www.churchofjesuschrist.org/friend?lang=eng hyperbole), poetry, and information for the One-time rights. Responds within four months. Email: [email protected] college bound (all must be tied to teenager’s COMMENTS: Extensive guidelines available CONTACT: Marilyn Edwards life experience). No essays or how-to articles. on website. Prefers complete manuscript. Not GUIDELINES: www.churchofjesuschrist.org/bc/ TERMS: One time rights. Pays 15-20¢ per word buying poetry, games, puzzles, or artwork at content/shared/content/english/pdf/magazines/ on acceptance. this time. Prefers electronic submissions. friend/FriendWritersGuide_feb11.pdf COMMENTS: No unsolicited manuscripts. ACCEPTS: Stories no longer than 600 words; for Query first. Simultaneous submissions must be POCKETS younger readers: 400-500 words; for preschool indicated on the first page. Expect a response PO Box 340004 children: 250 words. in three to six weeks. “Manuscripts are rejected Nashville, TN 37203 TERMS: The Friend currently pays by commission if they: become moralistic or preachy; offer https://pockets.upperroom.org/ only. You are also welcome to donate your simplistic solutions; take an adult tone; Email: [email protected] material. In such instances, no query is use religious clichés and overuse or misuse CONTACT: Lynn W. Gilliam, Editor necessary. Any material received without a religious language; lack respect and empathy for GUIDELINES: https://pockets.upperroom.org/ query first will be considered a donation. teenagers.” write-for-us/ COMMENTS: If you have a story idea, please DESCRIPTION: Christian magazine send a query to [email protected]. NATURE FRIEND AGE GROUP: 6-11 4253 Woodcock Lane ACCEPTS: Fiction with real-life settings GUIDE Dayton, VA 22821 (600-1,400 words); poems (up to 24 lines); 55 West Oak Ridge Drive www.naturefriendmagazine.com/ nonfiction related to theme (400-1,000 Hagerstown, MD 21740 Email: [email protected] words); crafts, puzzles, and jokes that are age www.guidemagazine.org CONTACT: Kevin Shank, Editor appropriate and related to theme. Email: [email protected] GUIDELINES: www.naturefriendmagazine.com/ TERMS: Pays on acceptance. Purchases CONTACT: Randy Fishell, Editor index.pl?linkid=12;class=gen newspaper, periodical, and electronic rights; GUIDELINES: www.guidemagazine.org/writers- DESCRIPTION: A nature magazine that presents accepts one-time previously published material. guidelines facts of creation in ways that are factual, Stories and articles 14¢ per word; poetry, DESCRIPTION: Weekly Christian journal interesting, and enlightening. activities, and games $25+. AGE GROUP: 10-14 AGE GROUP: 5-18 COMMENTS: The primary purpose is to help ACCEPTS: Nonfiction articles (800-1,200 words) ACCEPTS: Stories, puzzles, science activities children grow in their relationship to God. View on inspiration, adventure, personal growth, centered on a nature theme. website for extensive guidelines and theme list. Christian humor, biography, nature. TERMS: Pays 5¢ per edited word on publication. TERMS: Buys First North American Serial Rights Buys one-time rights. Also pays for artwork and PRIMARY TREASURE or reprint rights and pays 7-10¢ per word on photos. PO Box 5353 acceptance. Payment is $25-40 for first serial COMMENTS: Needs more science/nature related Nampa, ID 83653 rights. projects, how-to, etc. Guidelines available, $5 www.primarytreasure.com/ www.scbwi.org COMMENTS: “Our mission is to show readers, with SASE (9X12 SASE with $2.00 postage). Email: [email protected] | through stories that illustrate Bible truth, $5 for sample copy. Magazine is unique, so CONTACT: Aileen Andres Sox, Editor how to walk with God now and forever.” Some studying it is recommended before submitting. GUIDELINES: www.primarytreasure.com/for- topics of interest include: choices, self-esteem, writers/ friendship, changes, school, peer pressure, OUR LITTLE FRIEND DESCRIPTION: A spiritually-oriented magazine adventure, and nature. See website for detailed PO Box 5353 written for children who attend Sabbath School guidelines. Our preferred version is the New Nampa, ID 83653 at a Seventh-Day Adventist church. King James Version. Please indicate the version www.ourlittlefriend.com/index.php?page=parents AGE GROUP: 7-9 for any Bible quotes that are not from the NKJV. Email: [email protected] ACCEPTS: Prefers stories four pages or shorter. Be CONTACT: Aileen Andres Sox, Editor positive rather than negative. Speak to today’s IGNITE YOUR FAITH (FORMERLY CAMPUS GUIDELINES: www.primarytreasure.com/for- child. Humor helps. Stories must be true. No talking LIFE) writers/ animals or other fantasy stories. 465 Gunderson Drive DESCRIPTION: A spiritually-oriented magazine TERMS: Payment is $25-$50 on acceptance. Carol Stream, IL 60188 written for children, distributed weekly at One-time rights. Responds within four months. PUBLICATIONS GUIDE: THE BOOK www.christianitytoday.com/iyf/ Sabbath School at the Seventh-Day Adventist COMMENTS: Extensive guidelines available Email: [email protected] Church. on website. Prefers complete manuscript. Not 2021 MAGAZINE MARKET GUIDE | 165 buying poetry, games, puzzles, or artwork at SPARKLE this time. Prefers electronic submissions. Gems Girl’s Clubs PO Box 7259 SHARING THE VICTORY Grand Rapids, MI 49510 Fellowship of Christian Athletes www.gemsgc.org/magazines/sparkle/ 8701 Leeds Road Email: [email protected] Kansas City, MO 64129 GUIDELINES: www.gemsgc.org/writers- www.fca.org/fca-magazine guideline-sparkle-magazine/ Email: [email protected] DESCRIPTION: Christian magazine for girls CONTACT: Jill Ewert, Editor AGE GROUP: 6-9 GUIDELINES: www.fca.org/quick-links/submit- ACCEPTS: Stories, articles, quizzes, poems, MARKET SURVEYS a-story games, puzzles, and crafts that are fresh, DESCRIPTION: A Christian magazine for presents the Christian life realistically, and athletes and coaches. causes young readers to see how God’s word— AGE GROUP: Junior high through college His Truth—applies to their daily lives. Fiction: ACCEPTS: Nonfiction profiles/stories on Adventure, ethnic, fantasy, humorous, mystery, Christian coaches, athletes, or supporters; religious, slice-of-life vignettes. (100-400 amateurs and professionals; current. No fiction, words). Nonfiction: How-to (crafts/recipes), crafts, puzzles, or jokes. Average 700-1,200 humor, inspirational, personal experience, photo words. feature, religious, travel. (100-400 words). TERMS: First-time rights and second Prefers manuscripts over queries. (reprint) rights. $150-$400 for manuscripts. TERMS: Buys first rights. Payment on Photographers paid by the photo. publication. Fiction and nonfiction pays $20 per COMMENTS: See website for guidelines. article. Poetry from $5-15. Puzzles and games from $5-10. SHINE BRIGHTLY COMMENTS: Sparkle’s mission is to prepare GEMS Girl’s Clubs young girls to live out their faith and become PO Box 7259 world changers—to help girls make a difference Grand Rapids, MI 49510 in the world. Authors should see their writing www.gemsgc.org/magazines/shine-brightly/ style as exciting and appealing to girls ages Email: [email protected] 6-9. Subjects should be current and important GUIDELINES: www.gemsgc.org/shine-brightly- to Sparkle readers. Use the GEMS Girls’ Clubs writers-guideline/ annual theme as a guide. We like to receive DESCRIPTION: Christian magazine for girls. material with a multicultural slant. AGE GROUP: 10-14 ACCEPTS: “Stories, articles, quizzes, poems, games, puzzles, crafts, and cartoons that are fresh, that present the Christian life realistically, and that cause young readers to see how Christian beliefs apply to their daily lives.” Fiction: adventure, mystery, animals, relationships, and a little romance (400-900 words). Nonfiction: wide range of articles dealing with interests of teens (100-400 words). Prefers manuscripts over queries. TERMS: Buys first rights. Payment on publication. Fiction and nonfiction pays 3-5¢ per word up to $35. Poetry from $5-15. Puzzles and games from $5-10. COMMENTS: Goal is to help girls discover how God is at work in their lives. View guidelines and theme list on website.

RELIGIOUS PRESS MARKET SURVEY

compiled by Nancy Dearborn and Etta Wilson © 2001

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 religiously based solutions, etc.

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

BEAMING BOOKS AVE MARIA PRESS [email protected]. (An Imprint of 1517 Media) PO Box 428 METHOD OF PAYMENT: 10% on net receipts with PO Box 1209 Notre Dame, IN 46556 negotiable sliding scales. Minneapolis, MN 55440-1209 www.avemariapress.com www.beamingbooks.com FAITH AFFILIATION: Catholic B&H KIDS FAITH AFFILIATION: Evangelical Lutheran RESTRICTIONS OR TABOOS: Content must be (An Imprint of B&H Publishing Group) RESTRICTIONS OR TABOOS: Only accepts within the general framework of Catholic moral One LifeWay Plaza books that provide academic and professional teachings, confessional doctrine, and spiritual Nashville, TN 37234 resources that inform and reform Christian faith. tradition. www.bhpublishinggroup.com/category/kids/ TYPES OF BOOKS: Board books, picture books, BOOKS PER YEAR: 1-2 CONTACT PERSON: Dan Lynch, Director; Michelle activity books, early readers, chapter books, TYPES OF BOOKS: Devotionals and biographies Prater Burke, Editor. and nonfiction for ages 0-12 that represent for teens; activity books for pre-teens. FAITH AFFILIATION: Christian progressive Christian themes and values. METHOD OF SUBMISSION: Send a single TYPES OF BOOKS: Publishes Bible-based books METHOD OF SUBMISSION: Through Submittable document that includes a title, a one-paragraph for kids, primarily for the 4–8 and 8–12 age or via agents; no hard copies: www. synopsis, a short biography, an annotated table groups, but will also publish some titles for beamingbooks.submittable.com/submit of contents, and one to two sample chapters to tweens and teens, with twenty titles per year 168 | RELIGIOUS PRESS MARKET SURVEY

planned. Books include the message of the BIG IDEA and religious approaches to philosophy, history, Gospel. 230 Franklin, Bldg. 2A art, literature, ethics, and contemporary social METHOD OF SUBMISSION: Currently not Franklin, TN 37064 and cultural issues. accepting query letters, unsolicited manuscripts, www.veggietales.com METHOD OF SUBMISSION: Send query letter or multiple submissions. Submissions accepted FAITH AFFILIATION: None or entire manuscript by MAIL ONLY. No through agents and writers conferences RESTRICTIONS OR TABOOS: All submissions email submissions. Please review submission attended by B&H Kids staff. must be nondenominational and biblically guidelines at www.eerdmans.com/Pages/ based. All submissions must be of a fun and YoungReaders/EBYR-Guidelines.aspx and allow BARBOUR BOOKS witty nature. three months to respond. Multiple submissions PO Box 719 BOOKS PER YEAR: 20-30 are accepted. 1810 Barbour Drive TYPES OF BOOKS: Board books, picture books, TITLES TO STUDY: A Girl Called Problem by Uhrichsville, OH 44683 early readers, middle grade fiction, story Katie Quirk; The Chickens Build a Wall by Jean- www.barbourbooks.com collections, nonfiction for young readers and Francois Dumont FAITH AFFILIATION: Conservative evangelical middle graders, activity books and workbooks, Christian riddle and puzzle books. FOCUS ON THE FAMILY RESTRICTIONS OR TABOOS: Avoid content METHOD OF SUBMISSION: Writers: Chapter www.focusonthefamily.com relating to baptism, gifts of the Spirit, end books, devotionals and series books - query FAITH AFFILIATION: Christian times, Lord’s Supper, women’s ordination, and letter only. Board books, picture books, TYPES OF BOOKS: Clubhouse Magazine (ages Christian perfection. early readers, activity workbooks, and puzzle 8-12) and Clubhouse Jr. (ages 3-7). Accepts BOOKS PER YEAR: 6+ books - query letter and entire manuscript. fiction and nonfiction. Please see submission TYPES OF BOOKS: We will consider any type Email query letters on website. Response time guidelines. except poetry. to query letters: three months. We prefer no METHOD OF SUBMISSION: www. METHOD OF SUBMISSION: Writers: No longer simultaneous submissions. clubhousemagazine.com/submission-guidelines. accepts unsolicited fiction submissions unless Illustrators: We are not seeking any freelance aspx they are submitted through professional literary illustrators at this time. METHOD OF PAYMENT: Generally 15-25¢ per agencies. Nonfiction submissions accepted. METHOD OF PAYMENT: Flat fee on all projects. word. $200 and up for feature-length fiction Please see submission guidelines for nonfiction ADDITIONAL COMMENTS: Big Idea is looking stories. $150 and up for nonfiction stories. on website. for manuscripts that are fun, whimsical, and Illustrators: Submit five to ten samples of witty. We are looking for writers capable of GROUP PUBLISHING, INC. published illustrations or complete portfolio to writing VeggieTales books on assignment, and 1515 Cascade Avenue the above address. we are also looking for potentially new products Loveland, CO 80538 METHOD OF PAYMENT: Varies per project. that only fit with the Big Idea style. Please www.group.com/ do not submit a manuscript unless it is highly CONTACT PERSON: [email protected] BEHRMAN HOUSE polished and ready for publishing. Challenge FAITH AFFILIATION: Christian 241 Milburn Avenue yourself to evaluate honestly if the material is RESTRICTIONS OR TABOOS: All of our material Milburn, NJ 07041 sharp, innovative, witty, and something that is leader/teacher oriented. www.behrmanhouse.com would fit as a Big Idea property. BOOKS PER YEAR: 65-70 FAITH AFFILIATION: Jewish TYPES OF BOOKS: Leadership-based material CONTACT PERSON: customersupport@ CONCORDIA PUBLISHING HOUSE METHOD OF SUBMISSION: Submit a query behrmanhouse.com 3558 South Jefferson Avenue that includes a cover letter about your idea RESTRICTIONS OR TABOOS: Topics of a Jewish Grand Rapids, MI 63118 and background, an outline of your idea, an nature only. www.cph.org explanation of how your resources can be used, www.scbwi.org BOOKS PER YEAR: 5-10 FAITH AFFILIATION: Lutheran and a sample of your resource to the address | TYPES OF BOOKS: Nonfiction for all age levels RESTRICTIONS OR TABOOS: Subjects faithful to listed above. and activity/workbooks. the Scriptures and the Lutheran Confessions. METHOD OF PAYMENT: Flat fee or royalty, METHOD OF SUBMISSION: Writers: Prefer TYPES OF BOOKS: Nonfiction and fiction for all depending on project. email submissions. Email cover letter and ages. manuscript. Review submission guidelines at METHOD OF SUBMISSION: Email query to HACHAI PUBLISHING www.behrmanhouse.com/submission-guidelines. [email protected] 527 Empire Boulevard Please do not send simultaneous submissions. Brooklyn, NY 11225 Expect reply in three months. EERDMAN’S BOOKS FOR YOUNG READERS www.hachai.com Illustrators: Submit five to ten samples of 4055 Park East Court SE CONTACT PERSON: [email protected] published illustrations or online to Art Director Grand Rapids, MI 49546 FAITH AFFILIATION: Jewish at above address. www.eerdmans.com RESTRICTIONS OR TABOOS: No fantasy, animal METHOD OF PAYMENT: Average royalty of 5%. [email protected] stories, romance, violence, preachy sermonizing, CONTACT PERSON: Jon Potts, Editor-in-Chief or references to other religions. PUBLICATIONS GUIDE: THE BOOK FAITH AFFILIATION: Christian BOOKS PER YEAR: 6 TYPES OF BOOKS: Biblical studies, theology, TYPES OF BOOKS: Board books, picture books, 2021 RELIGIOUS PRESS MARKET SURVEY | 169 and easy readers on Jewish topics for the very manuscripts that portray a positive Islamic slices or online illustrations sent to editorial@ young; and, historical fiction that highlights perspective. karben.com. devotion and relevance of the Torah for ages BOOKS PER YEAR: Approximately 10 METHOD OF PAYMENT: Royalty. 2-4, 3-6, and 7-10. TYPES OF BOOKS: Board books, young adult METHOD OF SUBMISSION: Writers: Submit fiction, story collections, poetry, puzzle books, KREGEL KIDZONE cover letter and complete manuscript to activity/workbooks, middle grade fiction. Kregel Publications [email protected] or mail with SASE. METHOD OF SUBMISSION: Submit a cover 2450 Oak Industrial Drive NE Simultaneous submissions acceptable if letter, CV/resume, one-page proposal, and Grand Rapids, MI 49501 informed. Expect reply in six weeks. picture book manuscript or sample chapters www.kregel.com Illustrators: Submit color photocopies and through the Kube Publishing Submittable page. FAITH AFFILIATION: Nondenominational tear sheets or online portfolios of work with Only submissions made through Submittable Evangelical Christian. Our authors must be in MARKET SURVEYS inclusion of human character to the above will be accepted: www.kubepublishing. agreement with our mission statement, which is address. Include SASE for response. submittable.com/submit/42879/children-and-ya- available at our website. METHOD OF PAYMENT: Flat fee to both author proposals RESTRICTIONS OR TABOOS: Kregel Kidzone is and artist. METHOD OF PAYMENT: Advance flat fee: 200- committed to publishing books and collateral 500 Sterling Pounds. materials that target both the spiritual HERALD PRESS and educational development of children PO Box 866 JOURNEY FORTH by engaging their God-given creativity, Harrisonburg, VA 22802 1700 Wade Hampton Boulevard imagination, and interest in the world around www.heraldpress.com Greenville, SC 29614 them. All of our children’s products must be FAITH AFFILIATION: Mennonite Church (US and www.bjupress.com/books/journeyforth biblically based and emphasize solid Christian Canada) FAITH AFFILIATION: Christian principles and values. We do not publish RESTRICTIONS OR TABOOS: No positive views RESTRICTIONS OR TABOOS: Only accepts curriculum or privately subsidized editions for of violence, aggression, or weapons. We Christian-based subjects. Avoid high fantasy individuals. also generally avoid holding up the military, and didactic or crass language. BOOKS PER YEAR: 20 celebrities in pop culture or sports, politicians, TYPES OF BOOKS: Christian fiction books, TYPES OF BOOKS: Novelties of all sorts, picture judges, and police as role models. Christian biographies, read-aloud books, and books, Bible stories, easy readers, middle grade BOOKS PER YEAR: 2-3 teen Bible studies. and YA fiction, activity and puzzle books, TYPES OF BOOKS: Picture books, middle grade METHOD OF SUBMISSION: Writers: See nonfiction for all levels, and devotionals. fiction, and young adult fiction. manuscript guidelines at www.bjupress.com/ METHOD OF SUBMISSION: Writers: Kregel METHOD OF SUBMISSION: Writers: See our books/freelance.php. Will respond in twelve Publications does not accept unsolicited complete guidelines at our website above. weeks. Illustrators: Email qualifications to material for review. We do, however, review Email or mail submissions to Dorothy Hartman Nancy Lohr at [email protected] or send with SASE summaries from The Writers’ Edge and Christian at [email protected] or the above to the above address. Manuscript Submissions regularly. These address. Include an SASE and expect a reply manuscript-screening services provide an in about two months. If your proposal has KAR-BEN PUBLISHING opportunity for you to share your proposal with potential for Herald Press, we will request a Lerner Publishing Group over forty Christian publishers simultaneously finished manuscript. Simultaneous submissions 241 First Avenue North for a moderate fee. We also accept query letters are accepted. Minneapolis, MN 55401 from professional literary agents. Illustrators: Please send samples for our files www.karben.com METHOD OF PAYMENT: Royalties are determined to Merrill Miller at the above address and SASE FAITH AFFILIATION: Jewish on a project-by-project basis. if you want a reply or via email at merrillm@ RESTRICTIONS OR TABOOS: Our publications are mennomedia.org. Samples may include tear geared toward the Reform/Conservative/Modern MASTER BOOKS/NEW LEAF PRESS sheets, photocopies (both b&w and color), Orthodox strains of Judaism. PO Box 726 slides, photographs, and original art. All must BOOKS PER YEAR: 15-20 Green Forest, AR 72638 fit in an 8.5 x 11” file folder. Include a cover TYPES OF BOOKS: Board books, picture books, www.masterbooks.net letter and short resume. easy readers, nonfiction for young readers, FAITH AFFILIATION: Protestant METHOD OF PAYMENT: Usually up to 10% of activity and workbooks, holiday books, RESTRICTIONS OR TABOOS: List is strong in the net sales and the possibility for escalation folktales, contemporary stories and picture biblical doctrine, Christian ideas/principles; above 15,000 copies. books, reflecting the rich diversity of today’s children’s books aim to establish creation, not Jewish community, preschool through middle evolution, in children’s minds. No children’s THE ISLAMIC FOUNDATION school. fiction or YA fiction. Ratby Lane, Markfield METHOD OF SUBMISSION: Writers: We BOOK PER YEAR: 30-35 Leicestershire, LE67 9SY respond to both query letters and complete TYPES OF BOOKS: Board books, picture books, United Kingdom manuscripts. Submit to [email protected]. easy readers, educational nonfiction for all age www.islamic-foundation.com Expect response in twelve weeks. Simultaneous ranges, activity books, riddle and puzzle books. FAITH AFFILIATION: Islam submissions are accepted, but we want to know. No fiction. RESTRICTIONS OR TABOOS: We only accept Illustrators: We request either three to four METHOD OF SUBMISSION: Download author’s 170 | RELIGIOUS PRESS MARKET SURVEY

proposal document on the website and submit books about prayer, seasonal books. WARNER PRESS to [email protected]. METHOD OF SUBMISSION: Manuscript PO Box 2499 METHOD OF PAYMENT: 10% of net sales, no guidelines on website. Submissions accepted Anderson, IN 46018 advance. only through christianbookproposals.com/. www.warnerpress.com FAITH AFFILIATION: Church of God TOMMY NELSON TA-HA PUBLISHERS RESTRICTIONS OR TABOOS: Must be Christian 402 BNA Drive Unit 4, The Windsor Centre themed. Building 100, Suite 600 Windsor Grove, West Norwood BOOKS PER YEAR: 4-6 new titles and 15 Nashville, TN 37217 London, SE27 9NT, UK coloring and activity books. www.tommynelson.com www.tahapublishers.com TYPES OF BOOKS: Bible studies coloring and FAITH AFFILIATION: Christian FAITH AFFILIATION: Islamic activity books written in an easy-to-read style. RESTRICTIONS OR TABOOS: Writers need to TABOOS OR RESTRICTIONS: No poetry. Only Most books focus on a Bible story or biblical have thoroughly researched the Christian subjects relating to the teachings of Islam in a theme such as love, forgiveness, etc. Ages booksellers market, assessing current trends, positive manner. range from pre-school (2-5 years old) to upper competitors’ books, and market needs before TYPES OF BOOKS: Traditional and modern elementary (8-10). submitting any manuscript. Islamic stories for children and young adults. METHOD OF SUBMISSION: Email your BOOKS PER YEAR: 50-75 new titles METHOD OF SUBMISSION: Email query letter manuscript to [email protected]. TYPES OF BOOKS: All types for children ages with synopsis and target market to editor@ METHOD OF PAYMENT: Payment varies, 0-14. tahapublishers.com, or mail to above address. depending on the project. METHOD OF SUBMISSION: Writers: Not Will reply in six weeks if interested. accepting unsolicited manuscripts at this time. METHOD OF PAYMENT: Varies with contract. WATERBROOK + MULTNOMAH No simultaneous submissions. 10807 New Allegiance Drive, Suite 500 Illustrators: Send slides Attn: Art Director. TAU PUBLISHING Colorado Springs, CO 80921 METHOD OF PAYMENT: Varies from project to 4727 North 12th Street www.waterbrookmultnomah.com project. Phoenix, AZ 85014 FAITH AFFILIATION: Evangelical Christian taupublishing.com/ RESTRICTIONS OR TABOOS: Christian based ROSE PUBLISHING FAITH AFFILIATION: Franciscan subjects only. PO Box 3473 RESTRICTIONS OR TABOOS: Franciscan themed BOOKS PER YEAR: 10-15 new titles Peabody, MA 01961 subjects. TYPES OF BOOKS: Picture books and middle www.hendricksonrose.com TYPES OF BOOKS: Inspirational Franciscan grade fiction, concept books, and historical FAITH AFFILIATION: Evangelical Christian themed children’s books, and Franciscan works fiction. RESTRICTIONS OR TABOOS: Manuscripts need currently out of print. METHOD OF SUBMISSION: Not accepting to meet the general standards of the Christian METHOD OF SUBMISSION: Submit book unsolicited manuscripts at this time. Only bookstore market. proposal and query letter online or to the above material submitted from a literary agent. BOOKS PER YEAR: 10-20 address with an SASE. Contact publisher for METHOD OF PAYMENT: Royalty and flat fee. TYPES OF BOOKS: Classroom resource books more information. that use crafts, games, puzzles, and other METHOD OF PAYMENT: Royalties given out WISDOM PUBLICATIONS activities to creatively teach the Bible to kids quarterly. 199 Elm Street ages 2-12. Somerville MA 02144 METHOD OF SUBMISSION: Writers: Send SASE TYNDALE HOUSE PUBLISHERS www.wisdomexperience.org with cover letter, table of contents, and two to 351 Executive Drive FAITH AFFILIATION: Buddhism five chapters. Label “Manuscript Submissions”. Carol Stream, IL 60188 RESTRICTIONS OR TABOOS: Only topics directly www.scbwi.org Illustrators: Send samples to Illustration www.tyndale.com related to Buddhism and written by people with | Submissions. See guidelines for Rainbow at FAITH AFFILIATION: Christian relevant professional, academic, or Dharma- website. Will respond in two to eight weeks if RESTRICTIONS OR TABOOS: Christian based teaching credentials. interested. stories only. BOOKS PER YEAR: 20 new titles TYPES OF BOOKS: Christian fiction, nonfiction, TYPES OF BOOKS: Inspirational stories related STANDARD PUBLISHING and children’s books. to Buddhism for children and young adults. 8805 Governor’s Hill Drive, Suite 400 METHOD OF SUBMISSION: Tyndale reviews only METHOD OF SUBMISSION: Download and Cincinnati, OH 45249 manuscripts submitted by professional literary complete the Submission Questionnaire found www.standardpub.com agents, Tyndale authors, authors known to us on the contact page of the website and FAITH AFFILIATION: Evangelical Christian from other publishers, or other people in the email it to the email address listed on the RESTRICTIONS OR TABOOS: No fiction or poetry. publishing industry. See website guidelines. Questionnaire. Classroom and ministry materials. BOOKS PER YEAR: 15-20 TYPES OF BOOKS: Children and teen classroom PUBLICATIONS GUIDE: THE BOOK resources, books that reinforce teaching such as Bible storybooks, board books, devotionals, 2021 RELIGIOUS PRESS MARKET SURVEY | 171

ZONDERKIDZ 5300 Patterson Avenue SE Grand Rapids, MI 49530 www.zonderkidz.com FAITH AFFILIATION: Christian RESTRICTIONS OR TABOOS: All our publications must be biblically based and developmentally appropriate for children. BOOKS PER YEAR: 75-90 new titles TYPES OF BOOKS: Novelties, board books, picture books, middle grade fiction, Bible MARKET SURVEYS stories, and prayer books. METHOD OF SUBMISSION: Not accepting unsolicited manuscripts at this time. METHOD OF PAYMENT: Royalty and flat fee.

EDUCATIONAL PRESS MARKET SURVEY

compiled by Melissa Stewart © 2021

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 teach- ing experience is a real advantage. A strong background in science, math, or his- tory 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 you have identified a few publishers with offerings that seem to match short periods of time. Be sure that kind of work is appropriate for your your experience and interests, submit a brief letter of introduction, a schedule and lifestyle. Educational publishers typically offer work for resume, and relevant clips (writing samples from previous projects) or hire contracts with a flat fee as payment. non-returnable illustration samples. Only send proposals, manuscripts,

ABC-CLIO ABDO GROUP nonfiction books that contain high-quality 147 Castilian Drive PO Box 398166 text features, including a table of contents, Santa Barbara, CA 93117 Minneapolis, MN 55439 a glossary, and an index, timelines, maps, 1-800-368-6868 952-831-2120 diagrams, sidebars, full-color photos and www.abc-clio.com www.abdobooks.com/ captions. CONTACT: [email protected] DESCRIPTION: Publishes educational resources DESCRIPTION: High-quality, authoritative, and select fiction for grades K-12. See imprints Magic Wagon Books reference scholarship and innovative coverage for more details. (An Imprint of Abdo) of history, humanities, and general interest SUBMISSION GUIDELINES: Only accepting DESCRIPTION: Picture book, beginning reader, topics across the secondary and higher proposals for fiction series (at least four books) or chapter book manuscripts that can become a education curriculum. Libraries Unlimited is the at this time. series of four to six titles. Blends imagination librarian reference book imprint. Writers: Submit a summary of the series and with information. SUBMISSION GUIDELINES: Send a proposal each individual book, along with one to two that includes a keynote and outline as well sample chapters from the first book, to fiction@ POP! as a description of length, user purpose, abdobooks.com. (An Imprint of Abdo) competition, and bibliographic information to Illustrators: Email sample illustrations as an DESCRIPTION: Web-enhanced nonfiction that the editor in your field. See the website for attachment to [email protected]; keep uses QR codes to expand each book into an appropriate emails based on subject: the file size total under 10 MB per email. interactive online experience for grades K-3. www.abc-clio.com/ABC-CLIOGreenwood/Authors/ BecomeanAuthor.aspx Abdo Publishing Company Abdo Zoom (An Imprint of Abdo) (An Imprint of Abdo) CONTACT: Paul Abdo, Editor-In-Chief DESCRIPTION: Leveled and hi-lo nonfiction for DESCRIPTION: Publishes PreK–12 educational grades PreK-8. 174 | EDUCATIONAL PRESS MARKET SURVEY

Spotlight BENCHMARK EDUCATION school and library market, grades PreK-4. (An Imprint of Abdo) 145 Hugenot Street SUBMISSION GUIDELINES: Currently not DESCRIPTION: Popular fiction and graphic New Rochelle, NY 10801 accepting unsolicited submissions, but is novels for grades PreK-12. 855-245-9751 looking for authors/illustrators on a work for www.benchmarkeducation.com hire basis. EPIC Press DESCRIPTION: Publishes curriculum-aligned Authors: Submit cover letter, previous writing (An Imprint of Abdo) nonfiction series for the school and library credits, writing sample, and topics of interest to DESCRIPTION: Hi-lo YA fiction that releases market, elementary through high school. Not [email protected]. six relatable titles simultaneously for easy, accepting unsolicited submissions at this time. Illustrators: Email a link to your website, one to engageable reading. Check website periodically. two illustrations that best showcase your work, and subjects/styles you are experienced with Abdo Digital CAPSTONE PRESS to [email protected]. See full (An Imprint of Abdo) www.capstonepress.com submission guidelines at www.capstonepub.com/ DESCRIPTION: Ebooks and other online content DESCRIPTION: Publishes curriculum-aligned and contact/submission-guidelines. designed to provide an enhanced, engaged high interest nonfiction and fiction series for reading experience. the school and library market, PreK-9. Actively Stone Arch Books seeking writers with solid research and writing (An Imprint of Capstone) AV2 skills to deliver assigned easy-to-read and hi-lo www.capstonepub.com 350 5th Avenue, 59th Fl nonfiction titles. DESCRIPTION: Publishes funny, scary, New York, NY 10118-0069 SUBMISSION GUIDELINES: Currently not mysterious, and adventurous novels and non- 1-866-649-3445 accepting unsolicited submissions, but is violent graphic novels intended for reluctant www.av2books.com looking for authors/illustrators on a work for readers, grades 2-8. Most titles have strong ties CONTACT: Heather Hudak, Senior Managing hire basis. to the curriculum. Editor; Terry Paulhus, Art Director Writers: Submit cover letter, previous writing SUBMISSION GUIDELINES: Currently not DESCRIPTION: Publishes media-enhanced books credits, writing sample, and topics of interest to accepting unsolicited submissions, but is in science, social studies, language arts, visual [email protected]. looking for authors/illustrators on a work for arts, and sports for grades K-2. Illustrators: Email a link to your website, one to hire basis. two illustrations that best showcase your work, Writers: Submit cover letter, previous writing BARRONS EDUCATIONAL SERIES and subjects/styles you are experienced with credits, writing sample, and topics of interest to 250 Wireless Boulevard to [email protected]. See full [email protected]. Hauppauge, NY 11788 submission guidelines at www.capstonepub.com/ Illustrators: Email a link to your website, one to 1-800-645-3476 contact/submission-guidelines. two illustrations that best showcase your work, www.barronseduc.com and subjects/styles you are experienced with [email protected] Compass Point Books to [email protected]. See full DESCRIPTION: Publishes a wide range of (An Imprint of Capstone) submission guidelines at www.capstonepub.com/ children’s books, activity kits, study guides, and www.capstonepub.com contact/submission-guidelines. standardized test preparation materials both DESCRIPTION: Publishes curriculum-aligned fiction and nonfiction. and high-interest nonfiction for the school and CARSON-DELLOSA PUBLISHING SUBMISSION GUIDELINES: NO EMAIL library market, grades 5 and up. 7027 Albert Pick Road submissions. Send fiction manuscript with cover SUBMISSION GUIDELINES: Currently not Greensboro, NC 27409 letter and SASE; nonfiction only proposal and accepting unsolicited submissions, but is 336-632-0084 cover letter to Acquisitions Manager. Will reply looking for authors/illustrators on a work for www.carsondellosa.com www.scbwi.org hire basis. DESCRIPTION: Publishes PreK-8 educational | in eight months. Royalties vary. Writers: Submit cover letter, previous writing materials in all content areas. BEARPORT PUBLISHING credits, writing sample, and topics of interest to SUBMISSION GUIDELINES: Not accepting 5357 Penn Avenue South [email protected]. unsolicited manuscript submissions at this time. Minneapolis, MN 55419 Illustrators: Email a link to your website, one to 877-337-8577 two illustrations that best showcase your work, CHELSEA HOUSE www.bearportpublishing.com and subjects/styles you are experienced with (An Imprint of Infobase Publishing) DESCRIPTION: High-interest narrative to [email protected]. See full 132 West 31st Street, 16th Floor nonfiction for grades K-6. We do not publish submission guidelines at www.capstonepub.com/ New York, NY 10001 individual titles, but books that are part of a contact/submission-guidelines. www.infobasepublishing.com larger series. [email protected] SUBMISSION GUIDELINES: Email proposal to Picture Window Books DESCRIPTION: Curriculum-based nonfiction [email protected] along with your (An Imprint of Capstone) for middle and high school students covering resume and writing samples (ideally nonfiction www.capstonepub.com biographies both historical and contemporary, PUBLICATIONS GUIDE: THE BOOK for grades K-6), or you can mail them to the DESCRIPTION: Publishes informational picture social studies, science, geography, health, and books, easy readers, and chapter books for the more. Focuses on colorful, engaging books

2021 above address. EDUCATIONAL PRESS MARKET SURVEY | 175 and ebooks that can be used as supplemental CORWIN PRESS DAVIS PUBLICATIONS material in the classroom. 2455 Teller Road 50 Portland Street SUBMISSION GUIDELINES: Send query, resume, Thousand Oaks, CA 91320 Worcester, MA 01608 writing samples, and proposal to Editorial 800-233-9936 800-533-2847 Director at [email protected]. Flat fee www.corwinpress.com/home.nav www.davisart.com paid. No fiction. CONTACT: Ariel Curry, Acquisitions Editor: ariel. CONTACT: Valerie Sullivan, Publisher: [email protected] [email protected] CHICAGO REVIEW PRESS DESCRIPTION: Publishes a variety of DESCRIPTION: Art textbooks, resource guides, 814 N. Franklin Street supplementary classroom materials, including student activity books, posters, videos, and Chicago, IL 60610 activity books, lesson plans, reproducibles, books for K-12. 312-337-0747 and skill-building resources for grades K-12. SUBMISSION GUIDELINES: Writers submit MARKET SURVEYS www.chicagoreviewpress.com Deadlines vary. Payment varies. a proposal, cover letter, outline, and sample CONTACT: Cynthia Sherry, Publisher: csherry@ SUBMISSION GUIDELINES: View Corwin Press’s chapter with SASE. Royalties. See author chicagoreviewpress.com detailed author guidelines at www.resources. guidelines for more details: www.davisart.com/ DESCRIPTION: Publishes children’s and corwin.com/author-guide. Send submissions to about-us/write-for-davis. YA nonfiction and activity books, ages 9 your editorial team, listed on the website. and up. See author guidelines at www. DAWN PUBLICATIONS chicagoreviewpress.com/information-for-authors- CREATIVE TEACHING PRESS (An Imprint of Sourcebooks) -amp--agents-pages-100.php. No need for art. 6262 Katella Avenue 12402 Bitney Springs Road Authors provide photos. Deadlines nine months Cypress, CA 90630 Nevada City, CA 95959 to one year. Royalty with small advance. Send 1-800-287-8879 530-274-7775 a resume, proposal, and sample chapters to an www.creativeteaching.com www.dawnpub.com acquisition editor listed in the guidelines. DESCRIPTION: Publishes teacher resource CONTACT: Tera Kelley, Editorial Director; Muffy books, emergent readers, and other Weaver, Art Director. CONTINENTAL PRESS supplemental learning products in the areas of DESCRIPTION: Nature awareness books for 520 East Bainbridge Street phonics, reading, writing, math, science, and children. No stories about pets, animal rescue, Elizabethtown, PA 17022 social studies. Materials serve grades PreK-8. or fantasy. 1-800-233-0759 SUBMISSION GUIDELINES: Seeking ideas for SUBMISSION GUIDELINES: Writers, please www.continentalpress.com resource books and emergent readers that have see submission guidelines: www.sourcebooks. DESCRIPTION: Publishes fiction and nonfiction been used and tested in the classroom; does com/submission-guidelines.html. Email leveled readers and other materials that support not generally publish trade children’s books. To submissions to [email protected] or literacy for grades K-12. Writers should be submit an idea, mail a cover letter, summary of mail submission with an SASE to Tera Kelley. familiar with Reading Recovery, guided reading, the idea and submission form with an SASE to: Illustrators send samples and cover letter to and other reading intervention programs. Also Creative Teaching Press Muffy Weaver with SASE. interested in specialized math, reading, and Attn: Idea Submissions test preparation materials for grades K-12. 6262 Katella Avenue DRAMATIC PUBLISHING SUBMISSION GUIDELINES: Writers: Not Cypress, CA 90630-5204 311 Washington Street accepting submissions at this time. For full guidelines, visit www.creativeteaching. Woodstock, IL 60098 Illustrators: Send sample artwork to the Art com/pages/submit-an-idea. 1-800-448-7469 Director at the above address. Samples should www.dramaticpublishing.com be no larger than 8.5X11”; DO NOT send email THE CRITICAL THINKING CO. DESCRIPTION: Plays for children, K-12. submissions, originals, or discs/flash drives. 1991 Sherman Avenue, Suite 200 SUBMISSION GUIDELINES: Will accept North Bend, OR 97459 unsolicited submissions ONLY if we already Seedling Press www.criticalthinking.com publish one or more works by the author, (An Imprint of Continental Press) CONTACT: Michael Baker, President the author is already published by a major DESCRIPTION: Publishes fiction and nonfiction DESCRIPTION: Publishes curriculum programs licensing house, the author is represented by leveled readers and other materials that support that align with state standards, study guides, a credentialed theater or literary agent, or the literacy for grades K-2. Writers should be activity books, games, puzzles, and test author has two fully staged productions in the familiar with Reading Recovery, guided reading, preparation materials for reading, writing, last five years. No longer accepting adaptations and other reading intervention programs. Also math, science, and social studies. All products of A Christmas Carol, folktales, fairytales, or interested in specialized math, reading, and emphasize critical thinking skills. Shakespeare. Complete the submission form test preparation materials for grades K-12. SUBMISSION GUIDELINES: Send cover letter and email all materials. More specific guidelines SUBMISSION GUIDELINES: Not accepting and full manuscript to Michael Baker at the on Submissions page: www.dramaticpublishing. submissions at this time. above address with a SASE. com/submissions. 176 | EDUCATIONAL PRESS MARKET SURVEY

ENSLOW PUBLISHERS analysis, detailed outline, sample chapters or GREAT SOURCE EDUCATION GROUP 101 West 23rd Street, Suite #240 entire manuscript, and personal promotional (An Imprint of Houghton Mifflin Harcourt) New York, NY 10011 plan to above address or via Submittable. www.hmhco.com/classroom-solutions 800-398-2504 Email submissions will not be read. See full DESCRIPTION: Materials and books that support www.enslow.com submission guidelines on website at www. reading, writing, mathematics, science, and CONTACT: Dorothy Goeller, Editor-In-Chief freespirit.com/Submission-Guidelines. social studies for K-12. Send query email to DESCRIPTION: Publishes curriculum-aligned [email protected] nonfiction series for the school and library FROG STREET PRESS markets, grades K-12. 530 S. Nolen Drive GRYPHON HOUSE SUBMISSION GUIDELINES: Send resume and Southlake, TX 76092 PO Box 10 writing samples, series proposals, unsolicted 800-884-3764 6848 Leon’s Way manuscripts, and non-returnable art samples www.frogstreet.com Lewisville, NC 27023 to Dorothy Goeller. Actively seeking nonfiction CONTACT: Sharon Burnett, Co-Founder 1-800-638-0928 ideas for early elementary readers (grades 1 and DESCRIPTION: Publishes teacher resource www.gryphonhouse.com 2) and math and character building presented in books, reproducibles, flip charts, and activity DESCRIPTION: Publishes teacher resources, a story format. guides to promote literacy in early elementary including activity books and lesson plans, students. Deadlines vary. WFH. Always looking grades PreK-3. Send query letter, proposal, EVAN-MOOR CORPORATION for great product ideas and art samples. Email and twenty page sample to Acquisitions at the 18 Lower Ragsdale Drive submissions and query to customerservice@ above address. Monterey, CA 93940 frogstreet.com. 800-777-4362 HIGH NOON BOOKS www.evan-moor.com GIBBS SMITH PUBLICATIONS Academic Therapy Publications DESCRIPTION: Publishes a variety of PreK-8 PO Box 667 20 Leveroni Court educational materials in language arts, math, Layton, Utah 84041 Novato, CA 94949 reading, science, social studies, arts & crafts, 801-544-9800 1-800-422-7249 ELL, and writing that support and enrich the www.gibbs-smith.com www.highnoonbooks.com/ core curriculum. WFH. Actively seeking writers DESCRIPTION: Activity books for children DESCRIPTION: Publishes hi-lo books and with experience creating K-5 language arts along with interior design, architecture, and reading programs for struggling readers, grades products. Send resume and writing samples to cookbooks. We also accept submissions that 1-9. Deadlines vary. Royalty and WFH. To submit the above address. focus on a broad array of topics including an idea, mail a proposal and cover letter to popular culture, gardening, arts and crafts, above address, attention: Material Review FREE SPIRIT PUBLISHING humor, and gift books. Department. 6325 Sandburg Road, Suite 100 SUBMISSION GUIDELINES: www.gibbs-smith. Minneapolis, MN 55427 com/submissions. Please email submissions to INCENTIVE PUBLICATIONS 612-338-2068 [email protected]. Include sample 2400 Crestmoor Road, Suite 211 www.freespirit.com chapters and proposal if needed. Will respond in Nashville, TN 37215 DESCRIPTION: Publishes a variety of learning three months only if interested. 800-967-5325 tools that support the social health and www.incentivepublications.com emotional development of children. Products GOOD YEAR BOOKS CONTACT: Jill S. Norris, Publisher include books, classroom supplemental 10200 Jefferson Boulevard DESCRIPTION: Publishes supplemental materials, and teacher guides. Looking for Culver City, CA 90232 educational resources for middle school students nonfiction materials written by educators, 800-421-4246 (grades 5-8) and teaching strategy books for www.scbwi.org counselors, or professionals working with www.goodyearbooks.com grades K-12. Deadlines vary. WFH. | children/teens with emphasis on positive self- [email protected] SUBMISSION GUIDELINES: Submit illustrations esteem and self-awareness, stress management, DESCRIPTION: Publishes a range of or your manuscript to incentive@worldbook. school success, peacemaking and violence supplemental educational and classroom com for consideration. Email submissions only; prevention, social action, creativity, disabilities, materials, grades K-8. Deadlines vary. Royalty no hard copies. and learning differences. Deadlines vary. and WFH. Currently seeking quality materials SUBMISSION GUIDELINES: Currently seeking for language arts, writing, reading, and INFOBASE PUBLISHING nonfiction proposals ONLY in the following phonics. Also interested in materials for social 132 West 31st Street, 16th Floor subjects: teaching strategies, early childhood, studies, mathematics, science, arts and drama, New York, NY 10001 gifted/special education, bullying prevention, multicultural/ESL, as well as professional 212-967-8800 character education, educational games, and resources for teachers or home-schooling www.infobasepublishing.com counseling. NOT accepting: general fiction, parents. Email submissions to submissions@ DESCRIPTION: American history books, animal/fantasy stories, poetry, religious goodyearbooks.com. particularly multi-cultural studies, women’s content, single biographies/autobiographies/ history, world history, and global issues. PUBLICATIONS GUIDE: THE BOOK memoirs, adult self-help. Submit a proposal We have strong curriculum-based titles in including a cover letter, resume, market science, ecology, and cultural studies, and offer 2021 EDUCATIONAL PRESS MARKET SURVEY | 177 biographical dictionaries and encyclopedias MITCHELL LANE PUBLISHERS OTTN PUBLISHING across a wide range of disciplines. 2001 SW 31st Avenue 16 Risler Street SUBMISSION GUIDELINES: Send query, resume, Hallandale, FL 33009 Stockton, NJ 08559 writing samples, and proposal to Editorial 800-223-3251 1-866-356-6886 Director at [email protected] or to the www.mitchelllane.com www.ottnpublishing.com/index.htm above address. Flat fee paid. No fiction. Further DESCRIPTION: Publishes nonfiction, DESCRIPTION: Develops curriculum-aligned guidelines at www.infobasepublishing.com/ supplemental books, resource books, easy-to- nonfiction series in the area of history and ContactUs.aspx?Page=AuthorSubmission. reads, reluctant readers in all subject areas, social studies. Books are created for the school grades 4-8. Deadlines vary. WFH. Send a and library markets and serve students in grades KAEDEN PUBLISHING comprehensive resume and list of previously 4-12. Deadlines vary. WFH. Most books are PO Box 16190 published work along with a cover letter photo illustrated, so little need for art. MARKET SURVEYS Rocky River, OH 44116 expressing your interest, and an unedited SUBMISSION GUIDELINES: Send proposals or 1-800-890-7323 writing sample that does not need to be resumes and samples of previously published www.kaeden.com returned to the address above. Most books are work by mail to Acquisitions Editor. No phone DESCRIPTION: Publishes early literacy books photo illustrated, so little need for art. calls or email. and beginning chapter books that support young readers. Submissions needed in NOMAD PRESS PELICAN PUBLISHING COMPANY beginning chapter books, unique nonfiction 2456 Christian Street Pelican Publishing manuscripts, and manuscripts with strong White River Junction, VT 05001 400 Poydras Street, Suite 900 characters that have potential to become a 802-649-1995 New Orleans, LA 70130 series. Mail cover letter and manuscript to the www.nomadpress.net 504-684-8976 Editorial Department at the above address. CONTACT: Alex Kahan, Co-Founder and President www.pelicanpub.com Illustrators send samples and cover letter to the DESCRIPTION: Publishes a range of how-to and DESCRIPTION: Easy readers, biographies, above address. curriculum-aligned nonfiction books for grades ethnic/regional fiction, and picture books with K-8. Deadlines vary. Primarily WFH. Writers a lesson or historical connection for grades KENDALL HUNT PUBLISHING should send a detailed resume, including K-3. Send a query letter and manuscript to 4050 Westmark Drive relevant experience and previous publication [email protected]. Send in SASE if PO Box 1840 credits to [email protected]. Does not mailing in a submission. Dubuque, IA 52004 accept full manuscripts; query first. Email 1-800-228-0810 preferred. PERFECTION LEARNING CORPORATION www.kendallhunt.com 1000 North Second Avenue DESCRIPTION: Publishes student and teacher OLIVER PRESS Logan, IA 51546 materials in science, math, language arts, Charlotte Square 800-831-4190 health, and physical education as well as 5707 West 36th Street www.perfectionlearning.com custom curriculum programs and resources. Minneapolis, MN 55416-2510 DESCRIPTION: Publishes content-area readers, Deadlines vary. Royalty or WFH. All books are 952-926-8981 leveled readers, hi-lo readers, language arts written by experts in the field. Illustrators may www.oliverpress.com workbooks and resource books, and assessment send art samples and a resume to the above DESCRIPTION: Publishes nonfiction and guides for grades K-12. Deadlines vary. Royalty address. classroom supplements in social studies, or WFH. Send cover letter, outline, and SUBMISSION GUIDELINES: Writers may pitch biographies, and sciences for young adult sample chapters or a complete manuscript to an idea by filling out the form at https:// readers. Send query letter to orders@ Acquisitions at above address. he.kendallhunt.com/publishing-idea. oliverpress.com. See website for more details about the types of books published. PERSONHOOD PRESS LERNER PUBLISHING GROUP PO Box 370 1251 Washington Avenue N ON THE MARK Fawnskin, CA 92333 Minneapolis, MN 55401 15 Dairy Avenue 909-866-2912 612-332-3344 Napanee, ON K7R 1H4 www.personhoodpress.com www.lernerbooks.com Canada DESCRIPTION: Publishes educational DESCRIPTION: Publishes informative picture 800-463-6367 supplements, easy reader books, and subjects books, illustrated nonfiction titles, and www.onthemarkpress.com/ that generate a culture of personal and inspiring photo-driven titles for the school and CONTACT: Lisa Solski, President social responsibility in the world for grades library markets, grades PreK-12. Deadlines vary. DESCRIPTION: Publishes curriculum-aligned K-6. Writers, see specific guidelines at www. Not accepting unsolicited manuscripts at this reproducible activities and workbooks. personhoodpress.com/pdf/5_Submission%20_ time; visit www.lernerbooks.com/about#anchorsg Deadlines vary. WFH. Writers send in a sample Guidelines.pdf. Also submit a manuscript for open submission announcements. of lesson plans, a sample of writing you’ve done submission form on the website. See website for children, and a resume to the address above for ideas on the types of books that are or email them to: [email protected]. published. 178 | EDUCATIONAL PRESS MARKET SURVEY

PHOENIX LEARNING RESOURCES education. See specific submission guidelines vary. WFH. Send non-returnable artwork to Art 812 Court Street here: www.Prufrock.com/author_info.aspx. Director. Honesdale, PA 18431 Email submissions to editor with cover letter, 800-228-9345 proposal, and other required material. Scholastic Teaching Resources www.phoenixlearningresources.com (An Imprint of Scholastic) DESCRIPTION: Publishes textbooks, classroom RICHARD C. OWEN PUBLISHERS 555 Broadway, 5th Floor supplemental books, and workbooks promoting PO Box 585 New York, NY 10012 language arts and math literacy for grades K-12. Katonah, NY 10536 1-800-724-6527 Send query letter and ideas to rich@phoenixlr. 800-262-0787 www.scholastic.com com. www.rcowen.com DESCRIPTION: Publishes classroom CONTACT: Phyllis Greenspan, Director: supplemental books, teacher’s guides, big PIANO PRESS [email protected] books, resource books, reproducibles, student PO Box 85 DESCRIPTION: Publishes guided reader programs activity books, games, and plays in all curricular Del Mar, CA 92014 and other classroom materials that promote areas. Targets grades PreK-8. Deadlines vary. 619-884-1401 literacy for grades PreK-8 and professional books WFH. Currently seeking proposals for teacher/ www.pianopress.com for teachers and administrators. Deadlines vary. classroom-tested professional books to be used DESCRIPTION: Publishes fun and interesting WFH. Send query letter to Phyllis Greenspan. in mainstream PreK-8 classrooms across all materials for music teachers and students curriculum areas. Writers should send query, including activity books, song books, and SADDLEBACK EDUCATIONAL PUBLISHING proposal, and sample chapter or complete music supplements. EMAIL ONLY. Send query 151 Kalmus Drive, J-1 manuscript. Illustrators should send non- letter and please include a brief bio and/or web Costa Mesa, CA 92626 returnable art samples. See detailed submission link(s) with your inquiry. Please DO NOT send 714-640-5200 guidelines at scholastic.com/custsupport/submit. MP3s, manuscript .docs, or picture JPGs unless www.sdlback.com/ htm. requested to do so by the acquisitions editor. CONTACT: Arianne McHugh, President Send submissions to pianopress@pianopress. DESCRIPTION: Publishes curriculum materials SLEEPING BEAR PRESS com. Currently not accepting unsolicited hard for grades 4-12, including paperback books, 2395 S. Huron Parkway, Suite 200 copy manuscripts. reproducible, read-alongs, videos, textbooks, Ann Arbor, MI 48104 workbooks, and educational software. Deadlines 1-800-487-2323 PIONEER DRAMA SERVICE about four months, but can flexible. WFH. www.sleepingbearpress.com PO Box 4267 Always looking for writing samples and resumes CONTACT: Heather Hughes, Publisher; Felicia Englewood, CO 80155 from authors with experience writing hi-lo texts. Macheske, Art Director. 800-333-1262 Currently looking for cover samples from artists. DESCRIPTION: Publishes picture books, www.pioneerdrama.com Send query and manuscript to address above or illustrated nonfiction titles, and teacher’s guides DESCRIPTION: Publishes a variety of theatre email [email protected]. for the school and library markets, grades K-5. subjects from play anthologies to theatrecraft. SUBMISSION GUIDELINES: Email submissions We publish books on monologs, duologs, SCHOLASTIC LIBRARY PUBLISHING to [email protected]. See short one-act plays, scenes for students, PO Box 3765 full guidelines at https://sleepingbearpress.com/ acting textbooks, how-to speech and theatre Jefferson City, MO 65102 submissions. textbooks, improvisation, and theatre games. 800-621-1115 SUBMISSION GUIDELINES: Send query letter, scholasticlibrary.digital.scholastic.com STEMMER HOUSE PUBLISHERS 100-word synopsis, cast list, CD/score (for 34 Production Avenue musicals), set designs, proof of production, Children’s Press Keene, NH 03431 www.scbwi.org age of intended audience, and SASE to above (An Imprint of Scholastic) 603-357-0236 | address. To see full guidelines, visit www. CONTACT: Jannelle Cherrington, Editorial www.stemmer.com/ pioneerdrama.com/Playwrights/Submit.asp. Director (at NY office: 557 Broadway, New York, DESCRIPTION: Educational nature books for NY 10012) grades 1-8. No fiction needed. Contact the PRUFROCK PRESS DESCRIPTION: Publishes curriculum-aligned editor at [email protected] with a query PO Box 8813 nonfiction series and fiction for the Rookie letter and manuscript. Email preferred. Will Waco, TX 76714 Readers series (leveled readers). All books for contact within three months if interested. 800-998-2208 the school and library markets, grades K-6. Royalty based. Illustrators send query letter and www.prufrock.com Deadlines vary. WFH. Send non-returnable samples. DESCRIPTION: Publishes supplementary artwork to Art Director. classroom materials (e.g., activity books), TEACHER’S CREATED RESOURCES professional development books, talent Franklin Watts 12621 Western Avenue development resources for children, resources (An Imprint of Scholastic) Garden Grove, CA 92841 for children with disabilities and learning DESCRIPTION: Publishes curriculum-aligned 800-662-4321 PUBLICATIONS GUIDE: THE BOOK differences, primary and supplementary college nonfiction series and single titles for the school www.teachercreated.com/ textbooks, and trade books. Focus is on gifted and library markets, grades 6-12. Deadlines CONTACT: [email protected] 2021 EDUCATIONAL PRESS MARKET SURVEY | 179

DESCRIPTION: Publishes quality and affordable teaching materials and lessons for teachers by teachers. SUBMISSION GUIDELINES: Submit ten to twelvev sample pages and a one-page summary to the above address. Include an SASE if you want your materials returned. Only hard copies will be accepted; no email submissions. Will respond in six months. Further guidelines at www.teachercreated.com/contact/submissions. php. MARKET SURVEYS

TILBURY HOUSE PUBLISHERS 12 Starr Street Thomaston, ME 04861 800-582-1899 www.tilburyhouse.com DESCRIPTION: Publishes primarily nonfiction picture books for ages 5-10 with issues of cultural diversity (global), nature, or the environment with a national market and could have teacher supplements to go along with the book. SUBMISSION GUIDELINES: Send query letter and complete manuscript with SASE to the above address. Email tilbury@tilburyhouse. com or use online submission form. Will take a minimum of one month to respond.

SCBWI DIRECTORIES & RESOURCES

2021 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 them. You facilitate your search for representation. As with every other aspect 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 themselves 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 they negotiate for interests on many different levels. The agent should be knowledgeable you (a period which, in the case of books that stay in print a long time, about current trends, practices, and conditions in the industry. The 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. 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? 184 | AGENTS DIRECTORY

» Does the agent require you to sign a representation agreement, can change frequently. The agent can be a helpful problem-solver, binding you together for a specified period of time, or are you free to and, in particular, can act as a buffer between you and your editor(s), break with that agent at any time? taking care of business while you focus on your work. The agent’s time » Is the agency willing to let you do your own marketing, if you so and effort frees your brain for creative endeavors. Therefore, finding an desire? agent who meets all or some of these needs may take time, but it can be well worth it. If an agent does express interest in your work and you are able to arrange an interview, either over the phone or in person, this will give ALTERNATIVES TO GETTING AN AGENT you a better chance to evaluate an agent’s expertise. For instance: Has If talking about money doesn’t bother you, and you feel that an the agent been successful with the type of work you do? Are the agent’s agent might be just one more barrier between you and your readers, personality and work methods compatible with yours? Is the agent then you may decide that representing yourself is your best bet. Many aggressive or passive about marketing? Are they as up-to-date on the writers will agree that anyone smart enough to write and sell a book is industry as you desire? How do they keep the writer informed about smart enough to negotiate their own contract. Certainly most writers submissions? started out this way; it is difficult to get taken on by an agent until you have sold your first few books yourself. DO YOU NEED AN AGENT? The main advantage to not having an agent is simple: you get to This is an important question you will want to consider before keep all of your money, instead of paying 15% (the average commission you begin contacting agents. Many successful children’s writers and on domestic sales over the life of the book) to an agent. An agent, illustrators do not have agents, preferring to control all aspects of their especially one with whom you’re not happy, can also get in the way careers. And most editors will tell you that children’s books, unlike between you and an editor, especially one with whom you have great adult books, is one area where manuscripts are read whether agented or rapport or a relationship of long standing. Some writers with agents not. In other words, with the majority of publishers, it is not necessary spend much time complaining about them—time that could be more to have an agent to get published. For an unpublished writer, in fact, creatively spent elsewhere. The wrong agent for you can be worse than it can be just as difficult to find an agent as to sell your first book, having no agent. and the energy might be better spent in perfecting one’s craft and Finally, one compromise between signing on with an agent and doing researching the market on your own. without is to hire a literary lawyer—not just any lawyer, but one familiar The advantages to having an agent are complex. Ideally, you will with the publishing industry, who regularly represents authors in contract be in a relationship of mutual confidence and trust, with someone negotiations with publishers. Instead of charging a commission, such who can perform many services in helping you build your career. The lawyers bill their clients by the hour. Paying your bill ends the expense. If author-agent relationship depends on your needs, the nature of your you do your own marketing and merely want an attorney’s help with the work, and the agent’s policies and practices. If you wish, you can keep contract, you will want to research this option further. The Authors Guild your relationship on a dollars-and-cents level, and rely on the agent recommends literary lawyers and similar information is available in the only when financial negotiations are taking place. Or you may need Literary Market Place. editorial guidance in addition to business support, and you will look to Whatever you decide—to seek representation by an agent, the advice your agent as a consultant in developing your work. Some writers need of a literary lawyer, or to market and negotiate on your own behalf— emotional support on top of all that, looking to the agent as a steady remember to be professional in your approach and always include an source of encouragement in an often difficult business, where editors SASE with any correspondence.

ADAMS LITERARY ALISON J. PICARD LITERARY YA fiction. 7845 Colony Road PO Box 2000 Charlotte, NC 28226 Cotuit, MA 02635 ALP ARTS COMPANY

www.scbwi.org www.adamsliterary.com [email protected] PO Box 669

| [email protected] Established: 1985 Vail, CO 81658 Established: 2004 Contact Name: Alison Picard 970-949-1856 Contact Name: Tracey Adams Agent For: YA, PB, fiction, nonfiction www.alparts.com Secondary Contact: Josh Adams Preferred Clients: Published/unpublished [email protected] Agent For: Fiction, middle grade, picture books, Commission: 15% text domestic, 20% foreign Established: 1994 artists Reading Fees: None Contact Name: Sandy Ferguson Fuller, Literary Preferred Clients: Published/unpublished Other Fees: None and Rights Agent Commission: 15% domestic, 20% foreign Rep Agreement: Yes, one-year contract Agent For: Authors and illustrators; picture Reading Fees: None Multiple Submissions: Yes, query letters books - fiction, nonfiction, graphic Other Fees: Postage, photocopying expenses Submission Procedure: Query letters with Preferred Clients: Published/unpublished deducted from monies received synopsis publishing history, or if any publishers Commission: 10–15% text domestic, 20% art Rep Agreement: Yes have seen manuscript. No phone or fax queries. domestic Multiple Submissions: No Other Comments: Willing to send current client Reading Fees: Only if discussed in advanced for

PUBLICATIONS GUIDE: THE BOOK Submission Procedure: Not accepting list upon request; works with book packagers; critique. unsolicited queries or manuscripts. See website offers editorial guidance. Accepting very few Other Fees: Yes, for unpublished authors

2021 for updated submission information. picture books. Primary focus is middle grade/ Rep Agreement: Yes AGENTS DIRECTORY | 185

Multiple Submissions: Yes ASHLEY GRAYSON LITERARY AGENCY Rep Agreement: Yes Submission Procedure: Email query; or USPS 1342 18th Street Multiple Submissions: Yes query with SASE San Pedro, CA 90732 Submission Procedure: Query by email Other Comments: Works with all publishers, Fax: 310-548-4672 only. See submission guidelines at www. all types of contracts. Specializing in picture [email protected] thebentagency.com/submission-guidelines. books. Honest, candid relationships with Established: 1976 authors and illustrators. References available. Contact Name: Ashley Grayson BETSY AMSTER LITERARY ENTERPRISES Secondary Contact: Carolyn Grayson 607 Foothill Blvd., #1061 ANDERSON LITERARY MGMT Agent For: PB, fiction La Canada Flintridge, CA 91012 12 W. 19th Street, Second Floor Preferred Clients: Published/unpublished 626-529-5667 New York, NY 10011 Commission: 15% text domestic, 20% foreign www.amsterlit.com 212-645-6045; Fax: 212-741-1936 Reading Fees: None For children’s and teens projects, see: www. www.andersonliterary.com Other Fees: None cummingskidlit.com [email protected] Rep Agreement: Written contract with one-year Established: 1992 Established: 1999 mutual option for termination Contact Name: Mary Cummings Contact Name: Kathleen Anderson Multiple Submissions: Yes Agent For: Picture books, chapter books, Agent For: YA fiction and nonfiction Submission Procedure: Letter of inquiry with middle grade and YA fiction, narrative Preferred Clients: Writers author background and project description. If nonfiction and poetry. Represents authors and

Commission: 15% domestic, 20% foreign picture book, submit entire manuscript with author-illustrators. DIRECTORIES & RESOURCES Reading Fees: None query. Preferred Clients: Published/unpublished Other Fees: None Other Comments: Willing to let clients do own Commission: 15% domestic Rep Agreement: Yes marketing, but require complete and current Reading Fees: None Multiple Submissions: Accepted updating from client and consultation with all Other Fees: None Submission Procedure: Query first by mail with cases; offer editorial guidance; member of AAR. Rep Agreement: Yes SASE. Include bio, synopsis, and first fifty pages Multiple Submissions: Yes of completed novel. BARBARA S. KOUTS Submission Procedure: See guidelines and PO Box 560 wishlist on www.cummingskidlit.com. For client ANDREA BROWN LITERARY AGENCY Bellport, NY 11713 profiles see www.amsterlit.com. 1076 Eagle Drive 631-286-1278; Fax: 631-286-1538 Other Comments: No phone or mail inquires, Salinas, CA 93905 [email protected] please. Email only. Actively seeking clients, www.andreabrownlit.com Established: 1980 particularly for middle grade and picture book. [email protected] Contact Name: Barbara Kouts Established: 1981 Agent For: YA, PB, fiction, nonfiction BLANCHE C. GREGORY Contact Name: Andrea Brown Preferred Clients: Published/unpublished 2 Tudor City Place Secondary Contact: Laura Rennert, Caryn Commission: 10% text domestic, 20% foreign New York, NY 10017 Wiseman, Jen Rofe, Jennifer Laughran, Jamie Reading Fees: None 212-697-0828; Fax: 212-697-0828 Weiss Chilton, Jennifer Mattson, Kelly Sonnack, Rep Agreement: None www.bcgliteraryagency.com Lara Perkins Multiple Submissions: Yes, if stated [email protected] Preferred Clients: Published/unpublished Submission Procedure: Letter of inquiry first Established: 1936 Commission: 15% domestic, 20% foreign/film including a description of previously published Contact Name: Lynda C. Gregory Reading Fees: No work, current projects, and samples of Agent For: Fiction, nonfiction Submission Procedure: Query first via email published and in-progress books. Commission: 15%; 20% if working with a only. Choose one agent and email that one. If subagent interested, we will contact writer. Send entire THE BENT AGENCY Rep Agreement: No picture book texts via email, and writers may 204 Park Place, Number Two Multiple Submissions: Not accepted send one page of text with query letters for Brooklyn, NY 11238 Submission Procedure: Query first with SASE fiction. www.thebentagency.com Other Comments: No unsolicited manuscripts Other Comments: Agency has offices in [email protected] California, New York, and Chicago. We accept Established: 2009 BRADFORD LITERARY AGENCY published and unpublished writers and love Contact Name: Jenny Bent, Gemma Cooper, 5694 Mission Center Road, #347 starting off new authors. Some authors we Heather Flaherty, Louise Fury, Laurel Symonds, San Diego, CA 92108 represent include Maggie Stiefvater, Jay John Silbersack, Zoe Plant, Claire Draper, Nicola www.bradfordlit.com Asher, Tom Angleberger, Catherine Ryan Hyde, Barr, Sarah Manning, Molly Ker Hawn [email protected] Neal Shusterman, Ellen Hopkins, Ying Chang Agent For: Fiction, nonfiction, illustrators, Established: 2001 Compestine, Daniel Pinkwater, Mitali Perkins, in all genres from babies to teenagers. See Contact Name: Natalie Lakosil, Kari Sutherland, Nate Evans, Kate Messner, Kimberly Derting, submission guidelines for specific details. Jennifer Chen Tran, Laura Bradford Rebecca Janni, James Burks, and Salina Yoon. Commission: 15% Preferred Clients: Tiffany D. Jackson, Roseanne Reading Fees: No Greenfield Thong, Jenn Bennett, Rachel Lynn 186 | AGENTS DIRECTORY

Solomon, Katie Henry, Saadia Faruqi, Kelly Coon Submission Procedure: Please email three or CORNELL & COMPANY, LLC Commission: 15% four JPEGs of samples, live link to website, 44 Jog Hill Road Other Fees: None with introduction— send your best pieces in Trumbull, CT 06611 Rep Agreement: Yes one style showing animals/children in narrative 203-454-4210 Submission Procedure: Submit query, synopsis, situations; black-and-white and full-color; list www.cornellandco.com and first chapter. View agent contacts at www. of awards and/or books published. If you’re [email protected] bradfordlit.com/submission-guidelines/. sending a dummy, please send a synopsis/pitch Established: 1989 of your story and JPEGs of any finished pieces Contact Name: Merial Cornell THE BRIGHT AGENCY of artwork from the dummy. Agent For: Illustrators ONLY 50 West Street Other Comments: We try to offer guidance on Preferred Clients: Published/unpublished. New York, NY 10006 art and manuscripts. We are members of SCBWI. Highly selective. 646-604-0994 Although we are currently operating at full Commission: 25% art www.thebrightagency.com capacity, we are always open to submissions Other Fees: Agent pays 25% of agreed upon [email protected] and happy to look. Please read articles posted promotion expenses, artist pays 75%. Established: 2003 on our website and blog - and follow us on Rep Agreement: Yes Contact Name: Vicki Willden-Lebrecht social media! Submission Procedure: Letter of inquiry Agent For: Illustrators, artists, designers accompanied with previously published work. Preferred Clients: Illustrators, author- THE CHUDNEY AGENCY Please send illustration samples we can keep illustrators 72 North State Road on file or enclose a SASE for return. Do not Reading Fees: None Briarcliff Manor, NY 10510 send originals or slides. Four to six weeks for Rep Agreement: Yes www.thechudneyagency.com response. Will accept email submissions. Submission Procedure: We are a busy agency [email protected] and therefore receive hundreds of submissions Established: 2002 CURTIS BROWN, LTD each week. We love receiving artwork and will Contact Name: Steven Chudney 228 E 45th Street be happy to look at your samples but it is Agent For: PB, fiction, novels. See website for New York, NY 10017 crucial that you follow our guidelines. If you more detail. 212-473-5400; Fax: 212-598-0917 are a talented artist looking for representation, Preferred Clients: Writers and illustrators www.curtisbrown.com please send links to online portfolio, Instagram Commission: 15% domestic; 20% foreign Established: 1914 and four to five low res JPEG samples attached Reading Fees: None Contact Name: Ginger Knowlton (Executive VP) to [email protected]. We do Other Fees: International postage Secondary Contact: Ginger Clark, Elizabeth not accept any other file formats or zipped file Rep Agreement: Yes Harding (VP), Laura Blake Peterson, Sarah attachments. Multiple Submissions: Okay, as long as Gerton Other Comments: Bright acts as a resource informed Agent For: YA, MG, PB, fiction, nonfiction, for illustrators and author-illustrators that Submission Procedure: Initial queries only; no illustration specialize in children’s publishing who want unsolicited submissions; see website for details. Preferred Clients: Published/unpublished to be represented and managed by an agency Commission: 15% text/art domestic; 20% that understands them and their work. We work CONTEXT LITERARY AGENCY, LLC foreign sales hard to ensure that our artists find the very 121R Cedarhurst Ave, Suite B Reading Fees: None best opportunities and commissions, as well as Cedarhurst, NY 11516 Other Fees: None taking care of all their promotional and business www.contextlit.com Rep Agreement: Yes relationships—leaving them to do what they [email protected] Multiple Submissions: Not preferred, but if you do best. Established: 2020 do it, please advise us. www.scbwi.org Contact Name: Tamar Rydzinski Submission Procedure: Letter of inquiry first, | THE CAT AGENCY INC. Agent For: Authors with SASE. For picture books, send one sample 29 Newman Place Preferred Clients: YA and middle grade. No picture book with letter & SASE. Please see the Fairfield, CT 06825 picture books at this time. Agents page of our website for specifics. 917-434-3141 Commission: 15% on domestic deals, including www.catagencyinc.com audio. 20% on translation deals. DEBORAH WOLFE, LTD. [email protected] Reading Fees: None 731 North 24th Street Established: 1994 Other Fees: None Philadelphia, PA 19130 Contact Name: Christy Ewers Rep Agreement: Yes www.illustrationOnLine.com Agent For: Illustrators and author-illustrators Multiple Submissions: Yes [email protected] only Submission Procedure: Send letter and five Established: 1978 Preferred Clients: Prefer published to ten pages in the body of an email. No Contact Name: Deborah Wolfe Commission: 25% for illustration only, 15% for attachments. If you are writing a graphic novel, Agent For: Illustrators and animators only author-illustrated projects you may include a link to your work. Preferred Clients: Published/unpublished PUBLICATIONS GUIDE: THE BOOK Other Fees: None Commission: 25% Rep Agreement: Yes Reading Fees: None 2021 AGENTS DIRECTORY | 187

Other Fees: None Preferred Clients: Seeking clients by referral used. Rep Agreement: Yes only Other Fees: None Submission Procedure: Submit inquiry via Commission: 15% text/art domestic, 25% Rep Agreement: Yes email. foreign, 20% film Multiple Submissions: Okay Reading Fees: None Submission Procedure: E-queries only with DUNHAM LITERARY, INC. Other Fees: Outside photocopying of text/ the first five pages pasted in below the pitch. 110 William Street, Suite 2202 art, overseas and overnight mail (deducted See website for individual agent bios and New York, NY 10010 as monies are received, not as expenses are contact information for each agent. Only www.dunhamlit.com incurred). one agent represents PB, please confirm sub Established: 2000 Rep Agreement: Letter of agreement with sixty guidelines via the website prior to querying. Contact Name: Jennie Dunham day written cancellation clause Secondary Contact: Leslie Zampetti Multiple Submissions: No ERIN MURPHY LITERARY AGENCY Agent For: Writers and illustrators Submission Procedure: Query with SASE. For 824 Roosevelt Trail, #290 Preferred Clients: Usually published chapter books/novels, submit the first three Windham, ME 04062 Commission: 15% text/art domestic, 20% sample chapters, table of contents (two pages 928-525-2056 foreign sales or fewer), synopsis (one page), and publishing www.emliterary.com Reading Fees: None credits. For picture books, submit entire Established: 1999 Other Fees: Reimbursement for fees according manuscript and/or dummy. Contact Name: Erin Murphy to AAR Other Comments: East/West Literary Agency, Secondary Contact: Ammi-Joan Paquette Rep Agreement: Exclusive Inc. is, purposely, a boutique agency, to Agent For: PB, middle grade, YA; no Multiple Submissions: Yes facilitate hands-on, personalized service and illustration-only clients, though author- Submission Procedure: Letter of inquiry first attention to our authors and their books. E/W illustrators are of with SASE. No slides or original art; color copies represents a wide range of #1 NYT, #1 PW, interest; no institutional okay with SASE—if requested from query letter. IndieBound, USA Today, WSJ, and Amazon best- Preferred Clients: Published/unpublished Does not accept fax queries. selling and best-illustrated books. Commission: 15% (20–25% when co-agent is Other Comments: Member of AAR, SCBWI used for foreign, dramatic, etc.) EDEN STREET LLC Reading Fees: None DYSTEL & GODERICH LITERARY MGMT PO Box 30 Other Fees: Photocopying (rarely), overseas One Union Square West, Suite 904 Billings, NY 12510 shipping New York, NY 10003 Fax: 845-223-7108 Rep Agreement: Yes 212-627-9100; Fax: 212-627-9313 www.edenstreetlit.com Multiple Submissions: Yes www.dystel.com [email protected] Submission Procedure: When meeting [email protected]; [email protected]; Established: 2009 requirements (see below), the contact form at [email protected] Contact Name: Liza Pulitzer Voges the website. Established: 1994 Agent For: Alyssa Satin Capucilli, Lois Ehlert, Other Comments: Considering new clients only Contact Name: Michael Bourret Dan Gutman, Joan Holub, Suzanne Williams, by referral; also open to queries from writers Secondary Contact: Jim McCarthy, Stacey Glick Gloria Whelan, Sucie Stevenson met at conferences or solicited in Twitter pitch Agent For: Fiction, nonfiction Commission: 15% domestic, 20% foreign events. Preferred Clients: Published/unpublished Other Fees: None Commission: 15% Rep Agreement: Yes ETHAN ELLENBERG LITERARY AGENCY Reading Fees: None Multiple Submissions: Yes 155 Suffolk Street, #2R Rep Agreement: Yes Submission Procedure: Query letter with New York, NY 10002 Multiple Submissions: Yes synopsis and picture book manuscript; query 212-431-4554 Submission Procedure: Query letter with letter and synopsis for middle grade and young www.ethanellenberg.com outline and first fifty pages. adult novels. [email protected] Other Comments: Handle film, TV and foreign Established: 1984 rights. EMERALD CITY LITERARY AGENCY Contact Name: Ethan Ellenberg, Evan Gregory, 718 Griffin Avenue, #195 Bibi Lewis EAST/WEST AGENCY Enumclaw, WA 98022 Agent For: Picture books, middle grade, YA, and 1158 26th Street, Suite 462 www.EmeraldCityLiterary.com all children’s fiction, activity books, novelties. Santa Monica, CA 90403 [email protected] Selected nonfiction and selected illustration. www.eastwestliteraryagency.com Established: 2015 Preferred Clients: Published/unpublished [email protected] Contact Name: Mandy Hubbard Commission: 15% text/art domestic, 20% Established: 2000 Preferred Clients: ECLA represents PB through foreign Contact Name: Deborah Warren YA. We work with debut and established Reading Fees: None Agent For: Authors (of board books up to authors. Other Fees: None young adult, fiction and nonfiction), author- Commission: 15% domestic, 20% dramatic/ Rep Agreement: Yes illustrators, and illustrators foreign, 25% foreign when a local co-agent is Multiple Submissions: Yes 188 | AGENTS DIRECTORY

Submission Procedure: Picture Books: one to project synopsis, and SASE we represent. three complete manuscripts. Middle Grade/YA: Other Comments: Prefers contact through Commission: 15% domestic, 25% foreign and Synopsis with first three chapters. Author- regular mail only—no email queries. film (Taryn Fagerness Agency handles foreign illustrators: one to three dummies or and translation rights. Works with co-agents for manuscripts accompanied by artwork. All FLETCHER & COMPANY film/tv) submissions must be accompanied by SASE. Do 78 Fifth Avenue, 3rd Floor Rep Agreement: Written agreement not send original artwork. New York, NY 10011 Multiple Submissions: Yes Other Comments: Member of AAR; client www.fletcherandco.com Submission Procedure: Please visit our website list available upon request; works with book [email protected] www.fullcircleliterary.com for up to date packagers; provides editorial guidance. We Contact Name: Lisa Grubka submissions information and wish lists. are actively seeking Published/Unpublished Title: Literary Agent children’s and young adult clients. We represent Preferred Clients: Young Adult GALLT & ZACKER LITERARY AGENCY the 2002 Caldecott winner, Eric Rohmann, Commission: Standard 273 Charlton Avenue among our other fine writers and illustrators. Other Fees: None South Orange, NJ 07079 Please check website for a wealth of information Rep Agreement: Yes Phone and Fax: 973-761-6358 on agency and publishing in general. We are Multiple Submissions: Yes www.galltzacker.com proud of the articles we’ve written that have Submission Procedure: Please send a query Established: 2000 appeared in a number of writer’s magazines and to [email protected]. Please do not Contact Name: Nancy Gallt, Mariette Zacker, are now available on our site. We look forward include email attachments with initial query. Beth Phelan, Linda Camacho, Erin Casey to your submission. Please do not query more than one agent at Agent For: Picture books, middle grade, young a time. You may refer to our website’s Staff adult, graphic novels FINEPRINT LITERARY MANAGEMENT section to review each agent’s interests and Preferred Clients: Authors, author-illustrators, 207 West 106th Street, Suite 1D specialties. and illustrators New York, NY 10025 Commission: 15% domestic, 20% international 212-279-1282 FOUNDRY LITERARY + MEDIA Rep Agreement: Yes www.fineprintlit.com 33 West 17th Street, PH Multiple Submissions: Yes Established: 2007 New York, NY 10011 Submission Procedure: Submissions guidelines Contact Name: Peter Rubie, Lauren Bieker 212-929-5471 and online submissions form found on our Preferred Clients: Published/unpublished www.foundrymedia.com website. Commission: 15% domestic, 20% foreign and Established: 2007 dramatic Contact Name: See website for agent listing GREENHOUSE LITERARY AGENCY Rep Agreement: Yes and emails for all. 4035 Ridge Top Road, Suite 550 Submission Procedure: Please follow the Agent For: Fiction, esp. YA and middle grade Fairfax, VA 22030 submission guidelines on www.fineprintlit.com. Commission: 15% domestic, 20% foreign www.greenhouseliterary.com Other Comments: Primary focus is MG/YA, some Other Fees: None [email protected] picture books by previously published artists or Rep Agreement: Standard Established: 2008 authors. Multiple Submissions: Yes Contact Name: Sarah Davies Submission Procedure: Query by email or mail Title: Founder, VP and agent FLANNERY LITERARY Other Comments: Member of AAR Secondary Contact: Polly Nolan 1140 Wickfield Court Agent For: Children’s and YA fiction (excluding Naperville, IL 60567 FULL CIRCLE LITERARY debut picture books, which we’re not currently 630-428-2682 3268 Governor Drive, #323 seeking) and nonfiction www.scbwi.org flanneryliterary.com/home San Diego, CA 92122 Preferred Clients: Middle grade, tween, and YA | [email protected] www.fullcircleliterary.com Commission: 15% on sales to North America Established: 1992 Established: 2005 and UK/Commonwealth; 20% on film/TV; 25% Contact Name: Jennifer Flannery Contact Name: Stefanie Sanchez Von Borstel translation Agent For: PB, fiction, nonfiction for middle Secondary Contact: Adriana Domínguez, Taylor Rep Agreement: Yes grade and YA Martindale Kean, Lilly Ghahremani Multiple Submissions: Yes Preferred Clients: Published/unpublished Agent For: Children’s books toddler to teen, Submission Procedure: We prefer writers to Commission: 15% text domestic, foreign & film author-illustrators, middle grade fiction, young visit www.greenhouseliterary.com for up to split with co-agents adult fiction, nonfiction with a distinct voice; date submission guidelines, which can then Reading Fees: None also represents select adult crossover fiction and be viewed alongside a full list of authors we Other Fees: None nonfiction. represent and guidance on the kinds of work Rep Agreement: Contracts on a book-by-book Preferred Clients: We work with both veteran that most interests us. basis for the life of the book and its subrights. and debut writers and artists, and our team has Other Comments: Greenhouse is a transatlantic Multiple Submissions: Letters and manuscripts a knack for finding and developing new and agency and highly international in outlook. Our PUBLICATIONS GUIDE: THE BOOK okay, but please let us know. diverse talent. Please visit our website for agent sister company, Rights People, represents our Submission Procedure: Letter of inquiry, wish lists and to see the amazing list of clients foreign rights around the world. We are also very 2021 AGENTS DIRECTORY | 189 editorial and are prepared to go through edits HOWARD MORHAIM LITERARY AGENCY Commission: 15% text domestic, 20% foreign with writers if we feel there is real potential in 30 Pierrepont Street and film both author and manuscript. Brooklyn, NY 11201 Reading Fees: None www.morhaimliterary.com Other Fees: None HEN&INK LITERARY STUDIO [email protected] Rep Agreement: Yes La Désirée – Tavernoure Established: 1979 Multiple Submissions: No 04870 St Michel l’Observatoire, France Contact Name: Howard Morhaim, President Submission Procedure: Visit www.jvnla.com/ www.henandink.com Secondary Contact: Kate McKean, Vice submissions.php to submit your query through Established: 2010 President; [email protected] our website. Contact Name: Erzsi Deak Agent For: Howard: Cathrynne Valente, Amber Other Comments: Member of AAR Title: Agent/Founder Benson, Nancy Holder, Debbie Viguie, Tim Agent For: Illustrators and authors - PB, Lebbon, Christopher Golden, Tom Sniegoski KIRCHOFF/WOHLBERG graphic novels, middle grade & teen fiction & Kate: Madeleine Roux, Delilah S. Dawson, 897 Boston Post Road nonfiction. Caela Carter, Mary G. Thompson, Carey Wallace, Madison, CT 06443 Preferred Clients: Published/unpublished; Jessica Verdi, Lucas Klauss, Eric Devine, 203-245-7308; Fax: 203-245-3218 illustrators who can write Shalanda Stanley, Anna Pellicioli www.kirchoffwohlberg.com Commission: 15% (domestic, originating Preferred Clients: Young adult and middle [email protected] market) grade: contemporary, fantasy, horror, science Established: 1930 Other Fees: None fiction, thriller Contact Name: Ronald Zollshan Rep Agreement: Yes Commission: 15% domestic Agent For: Baby through YA, fiction, nonfiction Multiple Submissions: Yes (please advise if Other Fees: None (trade only) submitting exclusively) Rep Agreement: Yes Reading Fees: None Submission Procedure: Accepts email Multiple Submissions: Yes Other Fees: None submissions only. Submissions accepted only Submission Procedure: Howard: by referral Submission Procedure: Query first with from writers/illustrators met at conferences; only. outline, sample chapter, and SASE by professional recommendation; during “Open Kate: query and first three chapters by email Other Comments: Handle film & TV rights Coop” days. Please see website for favorite only. books through time and full submission details THE KNIGHT AGENCY – and watch Hen&ink Literary Facebook page, ICM PARTNERS 570 East Avenue Twitter, Henandinkblots blog, and website 65 E 55th Street Madison, GA 30328 for “Open Coop” announcements. Submits New York, NY 10022 www.knightagency.net worldwide with a concentration in US and UK www.icmpartners.com [email protected] for first rights. [email protected] Established: 1996 [email protected] Contact Name: Elaine Spencer HERMAN AGENCY Established: 1975 Agent For: Young adult/middle grade 350 Central Park West, Apt. 4i Contact Name: Tina Dubois, Alexandra Preferred Clients: Published/unpublished New York, NY 10025 Machinist Commission: 15% on domestic deals; www.HermanAgencyInc.com Agent For: Fiction/nonfiction, specifically: 20%–25% foreign rights; 20% film [email protected] chapter books, middle grade, young adult, Reading Fees: None Established: 1999 picture books for existing clients only Rep Agreement: Yes Contact Name: Ronnie Ann Herman Commission: 15% domestic, 20% foreign Submission Procedure: We are a green agency Title: Owner Rep Agreement: Yes and, therefore, only accept emailed queries. We Agent For: Illustrators and authors Multiple Submissions: Yes, so long as it’s an request that queries be kept to approximately Commission: 25% art, 15% text or text/art exclusive submission within ICM. one-page in length and that all text be Rep Agreement: Yes Submission Procedure: Query with first five contained in the body of an email (we do not Multiple Submissions: Yes pages. open attachments). All queries will be reviewed Submission Procedure: Not accepting new on an individual basis by our submissions clients unless published extensively and JEAN V. NAGGAR LITERARY AGENCY, INC. coordinator and relevant agents. If we feel successfully in the trade market. If you fit into 216 East 75th Street, Suite 1E that your project matches the Knight Agency’s this category, please contact by email. New York, NY 10021 needs, we will then request additional materials Other Comments: See website to see the kind 212-794-1082 from the author. In such cases, authors will of work we represent. We work with illustrators www.jvnla.com be asked to submit a partial manuscript. The and author-illustrators for picture books. Email [email protected] response time for queries is two to three weeks queries only. Established: 1978 from the time of receipt. Review of requested Contact Name: Jennifer Weltz material currently takes six to eight weeks from Secondary Contact: Alice Tasman, Ariana the time of receipt. Philips, Alicia Brooks Agent For: YA, MG, PB, fiction, nonfiction 190 | AGENTS DIRECTORY

KT LITERARY, LLC agent directly via email. Please do not send Agent For: Authors and author-illustrators of 9249 S. Broadway, #200-543 original artwork, photos or other items that children’s books—board books to young adult, Highlands Ranch, CO 80129 need to be returned. and authors of adult books. 720-344-4728 Preferred Clients: Published/unpublished www.ktliterary.com LINDGREN & SMITH Commission: 15% text/art domestic, 20%–25% [email protected], [email protected] 888c 8th Avenue foreign, 20% film Established: 2008 New York, NY 10019 Reading Fees: None Contact Name: Kate Schafer Testerman, 212-397-7333 Other Fees: None Sara Megibow, Hannah Fergesen, Renee Nyen, www.lindgrensmith.com Rep Agreement: Letter of agreement and Hilary Harwell Email: [email protected] Multiple Submissions: Yes Agent For: Authors Established: 1986 Submission Procedure: Email only. Query with Preferred Clients: YA and middle grade; some Contact Name: Patricia Lindgren first five pages. No attachments. Turnaround adult fiction; we do not represent picture books Secondary Contact: Piper Smith time to queries: one week. at this time. Agent For: Illustrators, author-illustrators only Commission: 15% on domestic deals; 20% on Preferred Clients: Established illustrators LIZA ROYCE AGENCY LLC foreign and dramatic rights Commission: 15-25% Mailing Address: 1049 Park Avenue Reading Fees: None Reading Fees: We only read author-illustrator New York, NY 10028 Other Fees: None material. No fee. Main Meeting Offices: 6 East 81st Street Rep Agreement: Yes Other Fees: None New York, NY 10028 Multiple Submissions: Yes Rep Agreement: Yes 212-722-1950; Fax: 212-628-2705 Submission Procedure: Send email query as Multiple Submissions: Yes www.lizaroyce.com per guidelines on www.ktliterary.com to your Submission Procedure: Please send one or two [email protected] (me); [email protected] chosen agent with the first three pages of the JPGs and a link to blog or website. Will only (partner); [email protected] (general manuscript included in the body of the email. respond if we are interested. mailbox) No attachments. Established: 2009—changed to official LLC Feb LINN PRENTIS LITERARY 2010 LAURA DAIL LITERARY 155 East 116th Street, #2F Contact Name: Liza Fleissig 350 Seventh Avenue, Suite 2003 New York, NY 10029 Title: Founding Member New York, NY 10001 212-876-8557; Fax: 212-876-5565 Secondary Contact: Ginger Harris-Dontzin Fax: 212-947-0460 www.prentisliterary.com/ Agent For: All children’s works, from novelty to www.ldlainc.com [email protected] PB, to MG to YA. We also represent adult books [email protected] Contact Name: Linn Prentis in many genres. We lean towards suspense/ Established: 1996 Agent For: Fiction, special interest in SF and thriller, commercial woman’s fiction and comedy, Contact Name: Tamar Rydzinski fantasy, screwball fiction, YA, and family sagas. but are open to anything that speaks to us, in Preferred Clients: No picture books No little kids books. the past to include historical fiction, true crime Commission: 10% Commission: 15%; 20% on dramatic & foreign and memoirs. Rep Agreement: Yes sales Preferred Clients: We represent both Multiple Submissions: Yes Reading Fees: None established authors to writers in the early Submission Procedure: Query letter, preferably Other Fees: Unusual printing and/or shipping stages of their development. Examples are NY via email. Synopsis and up to ten pages charges Post Critic and Columnist Linda Stasi, Journalist optional. Rep Agreement: At the time of the first sale Paula Woodward, Photographer and Professor Submission Procedure: No phone, fax, or email Art Perry, YA Writer Amalie Howard, PB Writer www.scbwi.org queries. Query by mail with SASE. Include cover Tori Corn, MG Writer Darlene Beck-Jacobson,

| LEVINE GREENBERG ROSTAN LITERARY 307 Seventh Avenue, Suite 2407 letter (credits, bio, word count, title, genre, Netherlands Author Arjen Terpstra, MG Series New York, NY 10001 target audience), two-page synopsis, first ten Author Michael Gibney, Novelty Author Margaret 212-337-0934; Fax: 212-337-0948 pages. Hyde, US Marine James duPont, Diane Crafford www.lgrliterary.com Other Comments: Submissions should be in conjunction with Author Marc Olden’s Estate, Established: 1989 double spaced, unbound, one side of page, among others. Contact Name: Kerry Sparks boxed with cover. Commission: 15% domestic, 20% ancillary, 25% Agent For: YA and middle grade fiction, foreign nonfiction, picture books LIZA DAWSON ASSOCIATES Other Fees: None—no expenses, etc., other Reading Fees: None 350 Seventh Avenue, Suite 2003 than straight commission Submission Procedure: Due to the volume New York, NY 10001 Rep Agreement: Yes, written of submissions we receive, we are unable to 212-465-9077 Multiple Submissions: No (there are respond to queries sent by mail. We take www.lizadawsonassociates.com exceptions) electronic submissions, which you can send [email protected] Submission Procedure: All queries should be PUBLICATIONS GUIDE: THE BOOK by going to the “How to Submit” page and Established: 1997 sent to [email protected]. It should completing the form there or by sending to an Contact Name: Liza Dawson include a brief synopsis of the work, along with 2021 AGENTS DIRECTORY | 191 some information about the writer. Comparison LOIS DE LA HABA AGENCY Submission Procedure: All queries should to current published books is helpful but not 1133 Broadway, Suite 810 be sent via email to Gillian MacKenzie at necessary. We prefer submissions to be sent New York, NY 10010 [email protected]. Not accepting unsolicited in Word, but PDFs have been accepted. Lastly, 212-929-4838; Fax: 212-924-3885 picture book texts at this time, unless author- referrals are our main source of business, so if a [email protected] illustrated. writer is reaching out at someone’s suggestion, Contact Name: Lois de la Haba they should let us know. Agent For: YA fiction, nonfiction MARIE BROWN ASSOCIATES Reading Fees: None 412 West 154th Street LIZ SANDERS AGENCY Submission Procedure: Query first with outline New York, NY 10032 2415 E Hangman Creek Lane and sample chapters. 212-939-9725; Fax: 212-939-9728 Spokane, WA 99224 [email protected] 509-993-6400 MARIA CARVAINIS AGENCY Established: 1984 www.lizsanders.com Rockefeller Center Contact Name: Marie Dutton Brown [email protected] 1270 Avenue of the Americas, Suite 2320 Agent For: YA fiction, nonfiction, PB Established: 1985 New York, NY 10020 Preferred Clients: Multicultural Contact Name: Liz Sanders 212-245-6365; Fax: 212-245-7196 Commission: 15% Agent For: Illustration only, PB, YA nonfiction/ www.mariacarvainisagency.com/ Reading Fees: None fiction. Trade, educational & mass market, [email protected] Other Fees: Yes general children’s market. Established: 1977 Rep Agreement: Yes Preferred Clients: Published/unpublished Contact Name: Maria Carvainis Multiple Submissions: Prefer exclusive Commission: 30% Agent For: YA, fiction, nonfiction Submission Procedure: Query first. Submit Rep Agreement: Written agreement Preferred Clients: Published/unpublished outline and sample chapters or full manuscript Submission Procedure: Via email (include link/ Commission: 15% text domestic & 20% foreign on request. Send SASE, 12-point, double- website address) or five to ten non-returnable Reading Fees: None spaced, one sided only, typed, white paper & color samples via mail. Response only upon Other Fees: None unbound. interest. Rep Agreement: Agreement is two-year book- by-book basis MB ARTISTS LK LITERARY AGENCY Multiple Submissions: Yes 775 Sixth Avenue, #6 616 W. Fulton St., Suite 409 Submission Procedure: Letter of inquiry New York, NY 10001 Chicago, IL 60661 with SASE. Include a one to two paragraph 212-689-7830; Fax: 212-689-7829 www.lkliterary.com description of the project, including where www.mbartists.com [email protected] it fits into the market place, and writing [email protected] [email protected] credentials if applicable. Also, identify what Established: 1986 Established: 2018 material is available: complete manuscript, Contact Name: Mela Bolinao Contact Name: Lori Kilkelly sample chapter, or synopsis. Agent For: Illustrators for the juvenile market Agent For: Sherri Duskey Rinker, Stacy Other Comments: Encourages clients to (trade books, textbook, advertising, editorial, McAnulty, Vesper Stamper, Veronica Jamison, generate marketing plans; AAR member, serving toys, stationery, etc.) Tracy Subisak, E.B. Goddale, Julia Denos as Board member, Treasurer, Committee Chair, Preferred Clients: Published/unpublished Preferred Clients: PB, MG, YA, and GN authors/ etc. Does offer editorial guidance if necessary. Commission: 25% art illustrators Prior to establishing the agency in 1977, Ms. Other Fees: None Commission: 15% Carvainis worked for ten plus years in the Rep Agreement: Exclusive representation for Reading Fees: No publishing industry as an editor and then senior the juvenile market required. Other Fees: The only “fees” charged are when editor at Macmillan Publishing, Basic Books, Submission Procedure: Letter of inquiry with we represent an author’s work and sell the Avon Books, and Crown Publishers. art samples via regular or electronic mail. work. We then receive a commission on any Artists should submit the type of work they are income for that project. MACKENZIE WOLF most interested in doing, and within that, as Multiple Submissions: We accept multiple (Formerly Gillian Mackenzie Agency) broad a range as they can. Show at least twelve submissions but ask that if we’ve requested a 212-460-5910 to fifteen images with a signature/consistent ‘full’ the author alert us if they receive an offer www.mwlit.com style. Presentation is not important. of representation and give us a window of time [email protected] Other Comments: MB Artists represents to complete our review. Established: 2005, merged with Wolf Literary illustrators whose work is primarily intended Submission Procedure: Guidelines can be in 2018 for the juvenile market in books, editorial found at www.lkliterary.com/submissions. Contact Name: Gillian MacKenzie publications, licensed merchandise, advertising, Please note we do not accept any mailed Agent For: Fiction, nonfiction toys, game boards or other applications. submissions. Reading Fees: None Previously known as HK Portfolio. Other Fees: None Rep Agreement: Yes Multiple Submissions: Yes 192 | AGENTS DIRECTORY

MCINTOSH & OTIS samples. Established: 2007 -- New Leaf Literary & Media, 207 East 37th Street, #BG Other Comments: Graphic Artist Guild member. Inc., is the former team of Nancy Coffey Literary New York, NY 10016 ”I work with illustrators and author-illustrators & Media Representation. Joanna took over the 212-687-7400; Fax: 212-687-6894 only—no manuscripts without art. Show me business and changed the name in 2012. mcintoshandotis.com/ what you love to paint, not just what you have Contact Name: Joanna Volpe, President and [email protected] been hired to do.” Agent; Susan Townsend; Mackenzie Brady Established: 1927 Secondary Contact: Danielle Barthel, Assistant Contact Name: Christa Heschke THE NEIS GROUP Agent For: Divergent trilogy (Katherine Tegen Agent For: YA, PB, fiction, nonfiction, 14600 Sawyer Ranch Road Books/HarperCollins), The DUFF (Designated illustration Dripping Springs, TX 78620 Ugly Fat Friend) (Poppy/Little Brown), Shadow Preferred Clients: Published/unpublished 616-450-1533 and Bone/The Grisha trilogy (Henry Holt/ Commission: 15% text/art domestic; 20% www.neisgroup.com Macmillan Children’s), Sway (Disney-Hyperion), foreign www.childrensillustrators.com/neisgroup The Seven Tales of Trinket (FSG/Macmillan Reading Fees: None [email protected] Children’s), See a Heart, Share a Heart (Dial/ Rep Agreement: None Established: 1983 Penguin Young Readers), Ever Afters: Of Giants Multiple Submissions: No Contact Name: Judy Neis and Ice (Simon & Schuster Books for Young Submission Procedure: Letter of inquiry Agent For: Illustrators. See website. Readers), Puzzled by Pink (Viking/Penguin accompanied by a manuscript/art samples and Preferred Clients: Published/unpublished Young Readers), etc. a SASE. Letter to include the target audience, Commission: 25% Preferred Clients: Published/unpublished genre, short synopsis of the manuscript, Submission Procedure: Mail them in, or very Commission: 15% domestic, up to 20% film (if publication history, and background of the small files in email form. we work with co-agents), up to 25% foreign (if author. we work with co-agents) Other Comments: Offers editorial guidance. NELSON LITERARY AGENCY, LLC Other Fees: None Member of AAR. 1732 Wazee Street, Suite 207 Rep Agreement: Yes Denver, CO 80202 Multiple Submissions: We don’t accept M. COURTNEY BRIGGS www.nelsonagency.com multiple submissions in-house as we share all of 100 North Broadway Avenue, 28th Floor [email protected] our submissions with one another. Oklahoma City, OK 73102 Established: 2002 Submission Procedure: Query and five double- [email protected] Contact Name: Kristin Nelson spaced pages in the body of the email (for full [email protected] Title: President and Founding Literary Agent set of guidelines, go here: www.newleafliterary. Established: 1994 Literary Agents: Danielle Burby, Joanna com/submissions/) Contact Name: Courtney Briggs MacKenzie, Quressa Robinson Agent For: PB, fiction, nonfiction, illustration Preferred Clients: All four agents are actively OLSWANGER LITERARY LLC Preferred Clients: Published acquiring young adult. Danielle, Kristin, and Olswanger Literary, LLC Commission: 15% domestic, 25% foreign Quressa are acquiring middle grade. Danielle and 16-60 Chandler Drive Reading Fees: None Kristin are acquiring select passion projects in Fair Lawn, NJ 07410-2715 Other Fees: None picture books. 201-791-4699 Rep Agreement: Contract, terminable at will Commission: 15% www.olswanger.com Multiple Submissions: No Multiple Submissions: We encourage multiple [email protected] Submission Procedure: Query with SASE submissions—we never ask for an exclusive. Established: 2014 Submission Procedure: Writers with a complete Contact Name: Anna Olswanger MELISSA TURK & THE ARTIST NETWORK manuscript are invited to submit a query letter Agent For: Author-illustrators of board books, www.scbwi.org 9 Babbling Brook Lane and first ten pages or the full text of a picture picture books, and graphic novels | Suffern, NY 10901 book to the agent of their choice through Preferred Clients: Published/unpublished www.melissaturk.com QueryManager. Please choose only one agent Commission: 15% text/art domestic, 20% [email protected] at Nelson Literary Agency to query. Learn more foreign (25% foreign if subagent is involved), Established: 1984 about what each agent is looking to acquire 20% film Contact Name: Melissa Turk at nelsonagency.com, where you’ll also find the Reading Fees: None Agent For: Illustration only (children’s and links to each agent’s QueryManager submission Rep Agreement: Informal letter of agreement natural science) form. Multiple Submissions: Yes Preferred Clients: Published Submission Procedure: Email only. Turnaround Commission: 25% art domestic NEW LEAF LITERARY & MEDIA, INC. time to queries: one week. Reading Fees: None 110 West 40th Street, Suite 410 Other Fees: None New York, NY 10018 PAINTED WORDS Rep Agreement: Varies 646-861-4654 310 W. 97th Street, #24 Multiple Submissions: Yes www.newleafliterary.com New York, NY 10025 PUBLICATIONS GUIDE: THE BOOK Submission Procedure: Email, including [email protected] or www.painted-words.com website link or attachment of illustration [email protected] [email protected] 2021 AGENTS DIRECTORY | 193

Contact Name: Lori Nowicki Multiple Submissions: Yes ROOT LITERARY Secondary Contact: Claire Easton, Shadra Submission Procedure: Prospect Agency 617 S Olive, Suite 300 Strickland requests that all work be submitted through the Los Angeles, CA 90014 Agents For: Illustrators and author-illustrators “Submissions” section of our website. www.rootliterary.com Preferred Clients: Illustrators who are Other Comments: Prospect Agency is currently [email protected] interested in writing looking for published and unpublished young Established: 2017 Reading Fees: None adult, middle grade and picture book authors Contact Name: Holly Root Other Fees: None and illustrators. We are looking for authentic Title: President Rep Agreement: Yes writing that will strike a note with children of Second Contact: Taylor Haggerty Submission Procedure: Please send a link to all ages. Commission: 15% your website or your manuscript/book dummy Rep Agreement: Yes (must be under 5 MB) to submissions@painted- RED FOX LITERARY Multiple Submissions: We regularly pass words.com. We review all inquiries, however 129 Morro Avenue submissions back and forth, so a no from one only reply to those we have interest in. Shell Beach, CA 93449 of us is a no from all of us. If you’re querying Other Comments: We are currently working in 805-459-3327 one agent in specific, please include their name all disciplines of illustration and developing www.redfoxliterary.com in the subject line of your email. You’re also artists as writers. Illustrators who are interested [email protected] welcome to query the agency in general, and in writing should be open to critique and Established: 2011 we’ll direct your material internally. revisions. Contact Name: Karen Grencik; Abigail Samoun Submission Procedure: Please send a query Agent For: YA, middle grade, PB, illustrators letter and the first ten pages of your manuscript PIPPIN PROPERTIES INC. Commission: 15%–25% in the body of an email to submissions@ 155 East 38th Street, Suite 2H Reading Fees: None rootliterary.com. Full submission guidelines at: New York, NY 10016 Other Fees: None www.rootliterary.com/submissions/. Fax: 212-338-9579 Rep Agreement: Yes www.pippinproperties.com Multiple Submissions: Yes, but see guidelines SALZMAN INTERNATIONAL [email protected] Submission Procedure: Karen: Only accepting 1751 Charles Avenue Established: 1998 submissions from attendees at conferences Arcata, CA 95521 Contact Name: Elena Giovinazzo where she presents and through industry 707-822-5500; Fax: 707-825-6600 Secondary Contact: Sara Crowe referrals. www.SalzmanArt.com Agent For: Picture books, middle grade, young Abigail: Only accepting submissions from [email protected] adult, graphic novels, and adult books on attendees at conferences where she presents Established: 1982 occasion and through industry referrals. See submission Contact Name: Richard Salzman Preferred Clients: Authors and illustrators guidelines on website for further details: Agent For: Illustration only Commission: 15% redfoxliterary.com/submissions.html. Preferred Clients: Published/unpublished; Other Fees: No requirement is high-quality artwork. Rep Agreement: Agency agreement RODEEN LITERARY MANAGEMENT Commission: 25–30% art domestic Multiple Submissions: Yes, but we greatly 3501 N. Southport, #497 Reading Fees: None prefer one-month exclusive Chicago, IL 60657 Other Fees: Artists pay share of advertising Submission Procedure: Please follow www.rodeenliterary.com expenses. submission guidelines on our website— www.facebook.com/rodeenliterary Rep Agreement: Contracts with thirty-day www.pippinproperties.com/submissions. www.twitter.com/rodeenliterary cancellation clause. Established: 2008 Multiple Submissions: Yes PROSPECT AGENCY Contact Name: Paul Rodeen Submission Procedure: Send illustration 551 Valley Road, PMB 337 Agent For: Picture book authors and author- samples to keep on file. SASE requested only if Upper Montclair, NJ 07043 illustrators, chapter books, middle grade, young samples (images/portfolio) need to be returned. 718-788-3217 adult. No educational. Email link to your website. www.prospectagency.com Preferred Clients: Published/unpublished Other Comments: Willing to work with artists [email protected] Commission: 15%; 20% co-agents who wish to do their own marketing for $100/ Established: 2005 Reading Fees: No hour or straight commission of 25%; will send a Contact Name: Emily Sylvan Kim Rep Agreement: Yes client list; works with book packagers. Secondary Contact: Rachel Orr, Ann Rose, Multiple Submissions: Yes, please state Emma Sector, Tina Shen, Charlotte Wenger Submission Procedure: Electronic submissions SANFORD J. GREENBURGER & ASSOCIATES Agent For: YA, middle grade, PB, illustrators only; no mail. Please see website for updated 55 Fifth Avenue Preferred Clients: Published/unpublished submission information. New York, NY 10003 Commission: 15% 212-206-5600; Fax: 212-463-8718 Reading Fees: None www.greenburger.com Other Fees: None Established: 1932 Rep Agreement: Yes Contact Name: Wendi Gu 194 | AGENTS DIRECTORY

Agent For: Illustrators and authors—PB, certainly ardent author advocates—as much as Agent For: Illustrators and writers graphic novels, middle grade & teen fiction. manuscript sellers. We craft individual strategies Preferred Clients: Published/unpublished Some adult fiction and narrative nonfiction. for each client, for each project. Our reach Reading Fees: Depends on need Reading Fees: None inside the major trade publishers enables us Other Fees: $200 for one hour consultation Multiple Submissions: Yes to secure in-house support for the talent we with industry art director Submission Procedure: Greatly prefers email manage. We negotiate contracts meticulously. Rep Agreement: Standard submissions. If you plan to query via email: Multiple Submissions: Yes Please submit a query letter in the body of the SEAN MCCARTHY LITERARY AGENCY Submission Procedure: Online email, and the following as Word attachments: www.mccarthylit.com the entire manuscript (for picture books); or [email protected] SHELDON FOGELMAN AGENCY the first three chapters of the manuscript and www.mccarthylit.com/submissions.html 420 East 72nd Street a synopsis of the work (for fiction). If you [email protected] New York, NY 10021 plan to send a hard copy query: Please submit Established: 2013 212-532-7520; Fax: 212-685-8939 a query letter, and the entire manuscript (for Contact Name: Sean McCarthy www.sheldonfogelmanagency.com picture books); or the first three chapters of Agent For: YA, middle grade, picture books [email protected] the manuscript and a synopsis of the work (for Preferred Clients: Writers and illustrators Established: 1965 fiction), as well as a stamped self-addressed Submission Procedure: Novelists submit first Contact Name: Sheldon Fogelman envelope for reply. three chapters (about 25 pages) and a one-page Secondary Contact: Amy Stern, Janine Le For illustrators: Original artwork is not synopsis in the body of an email or as a Word or Agent For: Fiction and nonfiction PB, MG, YA, accepted. Send electronic files or a link or send PDF attachment. Picture books: Submit entire GN, illustration color copies in the mail. Enclose a stamped, manuscript; not currently accepting picture Preferred Clients: Published/unpublished self-addressed mailer if you wish to have your book manuscripts over 1,000 words. Commission: 15% domestic; 25% foreign materials returned to you. We generally reply to Illustrators: Submit up to three JPGs or PDFs Reading Fees: None queries within six to eight weeks. If you have of your work and your website. Include a brief Other Fees: Messengers, photocopying, not heard from us within eight weeks, then we description of your book, your bio, and any overnight/overseas mail—deducted from monies are passing on the opportunity to represent literary or relevant professional credits in your received, not as incurred. your work. query letter. Rep Agreement: Contract, either party may terminate at any time. SCOTT TREIMEL NY SERENDIPITY LIT Multiple Submissions: Yes, but must indicate 434 Lafayette Street 1633 Broadway, 30th Fl Submission Procedure: Letter of inquiry with New York, NY 10003 New York, NY 10019 previous publishing credits, where author Fax: 212-505-0664 718-230-7689; Fax: 718-230-7829 learned of the agency, and a brief description of www.scotttreimelny.com www.serendipitylit.com the project. [email protected] [email protected], Established: 1994 [email protected] STERLING LORD LITERISTIC Contact Name: Scott Treimel Established: 2000 65 Bleecker Street, 12th Floor Title: Agent Contact Name: Regina Brooks New York, NY 10012 Agent For: Illustrators and all text categories Title: President 212-780-6050; Fax: 212-780-6095 PB (for author-illustrators only) through YA Secondary Contact: Folade Bell, Dawn Hardy, www.sll.com Preferred Clients: Very highly talented; Karen Thomas [email protected] professional; durable; dedicated; ambitious; Agent For: Fiction and nonfiction, picture Established: 1979 commercial books, MG, YA Contact Name: George M. Nicholson www.scbwi.org Commission: 15–20% text domestic, 20–25% Preferred Clients: Published/unpublished Agent For: Fiction (preschool to YA), especially | foreign Commission: 15% domestic, 20% foreign literary fiction Reading Fees: None Reading Fees: None Preferred Clients: Published/unpublished Other Fees: None Other Fees: None Commission: 15% domestic, 20% foreign Rep Agreement: Agency clause inserted in Rep Agreement: Yes Reading Fees: None license agreements Multiple Submissions: Yes Other Fees: None Multiple Submissions: Yes Submission Procedure: See website for detailed Rep Agreement: Written contract—can be Submission Procedure: Only through STNY submission guidelines. mutually cancelled on sixty days’ notice. website Multiple Submissions: On occasion, depending Other Comments: Member of AAR, SCBWI, SHANNON ASSOCIATES on property. Author’s Guild. Sub-agencies throughout Europe 333 West 57th Street, Suite 810 Submission Procedure: Query letter with and Asia and South America. Dedicated film New York, NY 10019 detailed proposals. and television subagent. We offer editorial www.shannonassociates.com Other Comments: Willing to let clients do guidance (sometimes extensive). We are looking [email protected] own marketing in specialized circumstances; PUBLICATIONS GUIDE: THE BOOK for authors able to sustain long-term careers. Established: 1994 works with book packagers; offers full editorial We see ourselves as career managers—and Contact Name: Tammy Shannon guidance. Only represents writer/ illustrators 2021 AGENTS DIRECTORY | 195 who originate book products, not illustrators and foreign rights submissions. may submit a query and twenty pages of their “for hire.” Rep Agreement: Letter manuscripts to submission email addresses on Multiple Submissions: Letter of inquiry only our website. Please put your query in the body STIMOLA LITERARY STUDIO, INC Submission Procedure: Accepts email queries of the email, and attach your pages as a Word 308 Livingston Court only; no hard copy queries. document. If your submission is received by our Edgewater, NJ. 07020 Other Comments: Willing to let clients system, an automated response will be emailed 201-945-9353; Fax: 201-490-5920 participate in marketing; works with book to you. For artists, please send a query with a www.stimolaliterarystudio.com purchasers; offers editorial guidance; member link to your portfolio online. We’re looking for Established: 1997 of AAR. authors/illustrators who will be good business President: Rosemary Stimola, Member of AAR partners, so please be professional. While we do Representing writers and illustrators of picture TUGEAU 2 our best to respond in a timely manner, we do books, graphic novels, middle grade and young 2231 Grandview Avenue read each submission personally so we thank adult novels, in all genres, fiction and non- Cleveland Heights, OH 44106 you for your patience in advance. Feel free to fiction 216-707-0854 contact us after the time listed on our website Commission: 15% text/art domestic; 20% www.tugeau2.com has expired. Thank you! foreign; 20% film [email protected] Foreign Rights Director: Allison Hellegers Established: 2002 WAXMAN LITERARY AGENCY Reading Fees: None Contact Name: Nicole Tugeau 443 Park Avenue S., Suite 1004 Rep Agreement: Yes Agent For: Illustrators/artists and author- New York, NY 10016 Multiple Submissions: Yes illustrators www.waxmanliteraryagency.com/ Submission Procedure: Please see Agent Pages Preferred Clients: Published/unpublished Established: 2018 (expanded from The Waxman for Submission Guidelines on Website. Letter of Commission: Generally 25% Agency, established 1997) Inquiry to include the target audience, genre, Rep Agreement: Varies, though typically one Contact Name: Ashley Lopez, ashley@ short synopsis of the manuscript, publication year to start. waxmanagency.com history, and background of the Submission Procedure: Send a brief email with Preferred Clients: YA novelists author. four to five color samples of your work and/or Commission: 15% domestic Other Comments: Offers editorial guidance. link to your website to start. Will request full Other Fees: None Agents: Erica Rand Silverman, Allison Hellegers, portfolio via regular mail if interested in seeing Rep Agreement: Yes Allison Remcheck, Peter Ryan, Adriana Stimola more. Multiple Submissions: Yes Other Comments: We’re always looking for Submission Procedure: Query & first ten pages TRANSATLANTIC LITERARY AGENCY new talent. Please, share your work with us! in the body of the email; auto responder to 2 Bloor Street East, Suite 3500 To our represented artists, we offer a dynamic confirm successful receipt. Toronto, ON Canada relationship with project opportunities in all 416-488-9214; Fax: 416-929-3174 areas of children’s publishing. WERNICK & PRATT AGENCY, LLC www.transatlanticagency.com/ 1207 North Avenue [email protected] UPSTART CROW LITERARY, LLC Beacon, NY 12508 Established: 1993 PO Box 25404 www.wernickpratt.com Contact Name: Refer to website Brooklyn, NY 11202 [email protected] Secondary Contact: Refer to website www.upstartcrowliterary.com Established: 2011 Reading Fees: None Established: 2009 Contact Name: Marcia Wernick, Linda Pratt, or Submission Procedure: Initial letter of inquiry Contact Name: Alexandra Penfold, Susan Hawk, Emily Mitchell essential. Refer to guidelines on website. Danielle Chiotti, Kayla Cichello Agent For: Authors and illustrators. Picture Agent For: YA, middle grade fiction book, middle grade, and YA. All genres. TRIDENT MEDIA GROUP Preferred Clients: Authors of YA/middle grade Preferred Clients: Published/unpublished 355 Lexington Avenue, Floor 12 Commission: Fiction: 15% domestic, 20% Commission: 15% domestic, 25% foreign New York, NY 10017 foreign & subsidiary Reading Fees: None 212-333-1531; Fax: 212-262-4849 Reading Fees: None Other Fees: Postage, photocopying expenses, www.tridentmediagroup.com Other Fees: None deducted from monies received [email protected] Rep Agreement: We have a formal contract Rep Agreement: Yes [email protected] that we send potential clients for review after Multiple Submissions: Yes, but we prefer one- Established: 2000 we offer them representation. month exclusive. Contact Name: Alyssa Eisner Henkin, Alexander Multiple Submissions: We do accept them and Submission Procedure: Email query to one Slater ask only that prospective authors let us know agent only, with attachments. Please see Agent For: Fiction, nonfiction; children’s and YA they are multiply submitting. submission guidelines at www.wernickpratt.com/ Preferred Clients: Published or debut authors Submission Procedure: We run a completely submissions-policy. Commission: 15% domestic, 20% foreign paper-free office environment (or try to, Other Comments: AAR and SCBWI member Reading Fees: None anyway), and do not accept submissions via Other Fees: Books ordered for subsidiary rights hard copy and the US post. Interested writers 196 | AGENTS DIRECTORY

WILKINSON STUDIOS, INC. Submission Procedure: Write a concise, 901 West Jackson Boulevard, Suite 201 compelling letter of inquiry either via email Chicago, IL 60607 or hard copy with SASE. Please include your 630-549-0504; Fax: 630-945-3241 credentials, an explanation of what makes your www.wilkinsonstudios.com book unique and special, and a synopsis. Only [email protected] query one agent at a time. Established: 1998 Other Comments: Offices in New York, San Contact Name: Christine Wilkinson Diego, and London. Clients include many award- Secondary Contact: Lisa O’Hara winning and bestselling authors and illustrators, Agent For: Illustrators for all industries such as Dav Pilkey, Stephenie Meyer, Christopher Preferred Clients: Published/unpublished Paolini, Neil Gaiman, Barbara Park, John Green, Commission: 30% Ingrid Law, Jon Scieszka, Lane Smith. Rep Agreement: Yes Submission Procedure: Instructions on our website under “Contact Us.”

WME (WILLIAM MORRIS ENDEAVOR) 11 Madison Avenue New York, NY 10010 www.wmeagency.com Established: 1898 Contact Names: Janine Kamouh, Dorian Karchmar, Margaret Riley King, Erin Malone, Sabrina Taitz Agent For: Fiction/nonfiction, specifically chapter books, middle grade, and young adult; picture books for existing clients only. Commission: 15% Rep Agreement: Yes Multiple Submissions: Yes, so long as it’s an exclusive submission within WME. Submission Procedure: Agent dependent.

WRITERS HOUSE New York Office: 21 West 26th Street New York, NY 10010 San Diego/Steven Malk: 7660 Fay Avenue, #338H La Jolla, CA 92037 212-685-2400; Fax: 212-685-1781 www.writershouse.com www.writershouseart.com Established: 1973 www.scbwi.org Contact Name: Amy Berkower, Susan Cohen, | Merrilee Heifetz, Daniel Lazar, Simon Lipskar, Steven Malk, Robin Rue, Jodi Reamer, Rebecca Sherman, Lindsay Auld, Andrea Morrsion, Stephen Barr Agent For: Picture books, middle grade and young adult fiction and nonfiction, illustration Preferred Clients: Published/unpublished Commission: 15% text domestic, 20% foreign Reading Fees: None Other Fees: Messengers, photocopying, overnight/overseas mail - deducted from monies received, not as incurred. Rep Agreement: Yes PUBLICATIONS GUIDE: THE BOOK Multiple Submissions: Yes, but please specify in query 2021 COPYRIGHT FACTS FORAGENTED WRITERS BY

ADAMS LITERARY HOURS (Henry Holt) ANDERSON LITERARY MGMT Michael Tougias, A STORM TOO SOON; TEN TRACEY ADAMS HOURS BEFORE DAWN (Henry Holt) KATHLEEN ANDERSON Picture Book Sara Hunt, THREE CHEERS FOR GIRLS (Lerner/ Young Adult Margery Cuyler, 100TH DAY WORRIES Millbrook) Barry Lyga, THANOS: TITAN CONSUMED; BANG; Cynthia Lord, HOT ROD HAMSTER Middle Grade I HUNT KILLERS; GAME; BLOOD OF MY BLOOD; Fred Koehler, HOW TO CHEER UP DAD Jennifer Gennari, MY MIXED-UP WILD BERRY HERO TYPE; BOY TOY; GOTH GIRL RISING; THE Vaunda Micheaux Nelson (Coretta Scott King SUMMER (Houghton Mifflin) ASTONISHING ADVENTURES OF FANBOY AND Award winner), BAD NEWS FOR OUTLAWS Young Adult GOTH GIRL Middle Grade Carol Tanzman, DANCERGIRL; CIRCLE OF SILENCE Victoria McKernan, SHACKLETON’S STOWAWAY; Cynthia Lord (Newbery Honor winner), RULES (Harlequin Teen) THE DEVIL’S PAINTBOX; SON OF FORTUNE Margaret Peterson Haddix, The Missing series Stephanie Guerra, TORN (Marshall Cavendish) Middle Grade Jacqueline Davies, The Lemonade War series Emma Donoghue, THE LOTTERYS PLUS ONE; THE Young Adult ALP ARTS COMPANY LOTTERYS MORE OR LESS Anne Blankman, PRISONER OF NIGHT AND FOG Barry Lyga, THE SECRET SEA; ARCHVILLAIN; MAD Ryan Graudin, THE WALLED CITY SANDY FULLER MASK; YESTERDAY AGAIN; WOLVERINE; The Flash Kristin Clark, FREAKBOY Picture Book Fiction series Terry Farish, THE GOOD BRAIDER Deborah Bruss, Lou Fancher, & Steve Johnson, Graphic Novel Amie Kaufman & Meagan Spooner, THESE GOOD MORNING SNOWPLOW! Barry Lyga & Colleen Doran, MANGAMAN BROKEN STARS Carmela Lavigna Coyle, Do Princesses Wear Photo-Essay Book Nonfiction Hiking Boots series Dina Nayeri, THE WAITING PLACE JOSH ADAMS Dylan Pritchett, THE FIRST MUSIC; YELLOW- Picture Book SPECKLED BLACKBIRD ANDREA BROWN LITERARY AGENCY Alan Katz, TAKE ME OUT OF THE BATHTUB Barbara Toboni, THE BUNNY POETS Middle Grade Kim Constantinesco & Jessica Linn Evans, SOLAR CARYN WISEMAN Henry H. Neff, The Tapestry series THE POLAR Picture Book Kat Falls, Dark Life series Michael Engler & Joelle Tourlonias, Tom Angleberger, CRANKEE DOODLE (Clarion) Jeffrey Salane, Justice series ELEPHANTASTIC; A TIGER LIKE ME Cece Bell, SOCK MONKEY (Candlewick); RABBIT Young Adult Mira Lobe & Angelika Kaufmann, HOPPELPOP! & ROBOT (Theodore Geisel Honor Award winner, Megan Crewe, THE WAY WE FALL John Denver, SUNSHINE ON MY SHOULDERS; Candlewick); EL DEAFO (Abrams) Emily Kate Johnston, THE STORY OF OWEN TAKE ME HOME COUNTRY ROADS; GRANDMA’S Jennifer Berne, MANFISH (Chronicle); ON A Amie Kaufman & Meagan Spooner, THESE FEATHER BED BEAM OF LIGHT (Chronicle); CALVIN CAN’T FLY; BROKEN STARS Picture Book Nonfiction CALVIN, LOOK OUT! (Sterling) Sara B. Larson, Defy trilogy Anthony D. Fredericks, UNDER ONE ROCK; TALL Middle Grade Veronica Rossi, Under the Never Sky trilogy TALL TREE Tom Angleberger, Origami Yoda series (Abrams/ Megan Shepherd, The Madman’s Daughter trilogy Louise Schroeder, Carol Malnor, & S. Fuller, The Amulet); Qwikpick Papers series (Abrams/ Blues Go Birding series Amulet) ALISON J. PICARD LITERARY J.P. McDaniel & Jon Van Zyle, MARDY MURIE DID Young Adult Tamara Ireland Stone, TIME BETWEEN US; TIME ALISON J. PICARD AFTER TIME (Disney-Hyperion) Middle Grade Nonfiction Tara Sullivan, GOLDEN BOY (Putnam) Michael Tougias & Casey Sherman, THE FINEST 198 | AGENTED BY

LAURA RENNERT Middle Grade Francesca Zappia, MADE YOU UP; ELIZA AND HER Picture Book Matthew Ward, THE FANTASTIC FAMILY WHIPPLE MONSTERS; NOW ENTERING ADDAMSVILLE Tammi Sauer, NUGGET AND FANG Dianna Dorisi Winget, A MILLION WAYS HOME Katherine Locke, THE GIRL WITH THE RED Nina Laden, ONCE UPON A MEMORY Young Adult BALLOON Middle Grade Tracy Barrett, THE STEPSISTER’S TALE Fred Aceves, THE CLOSEST I’VE COME; THE NEW Shannon Messenger, Keeper of the Lost Cities Emily Martin, THIS SIDE OF INFINITY DAVID ESPINOZA series Ava Jae, Beyond The Red trilogy Matthew Ward, THE FANTASTIC FAMILY WHIPPLE THE BENT AGENCY Young Adult BETSY AMSTER LITERARY Maggie Stiefvater, THE RAVEN CYCLE JENNY BENT ENTERPRISES Ellen Hopkins, Crank trilogy Young Adult Jay Asher, THIRTEEN REASONS WHY Stephanie Garber, Caraval series MARY CUMMINGS Hilary Smith, WILD AWAKE AG Howard, Splintered trilogy Ariel Bernstein, WHERE IS MY BALLOON?; WE Sarah Cross, KILL ME SOFTLY Lynn Weingarten, SUICIDE NOTES FROM LOVE FISHING; WARREN AND DRAGON: 100 Kimberly Derting, THE TAKING BEAUTIFUL GIRLS FRIENDS; WARREN AND DRAGON: WEEKEND WITH Goldy Moldavsky, KILL THE BOY BAND CHEWY KELLY SONNACK Middle Grade J. Theron Elkins, MERRY CHRISTMAS, SLEEP Picture Book RM Romero, THE DOLLMAKER OF KRAKOW TIGHT; A CHRISTMAS BOOK FOR SANTA Bridget Heos & Joy Ang, MUSTACHE BABY Elizabeth Verdick, BIKE AND TRIKE Middle Grade MOLLY KER HAWN Lois Bar, WHEN NUMBERS MET LETTERS Gordon McAlpine, The Misadventures of Edgar Picture Book Ariel Horn, DO NOT GO IN THERE! and Allan Poe series Rebecca Donnelly, CATS ARE A LIQUID Nick Dyer, LITTLE THINGS James Burks, Bird and Squirrel series Casey Lyall, INKY’S GREAT ESCAPE Melissa Martin, THOSE ARE NOT MY UNDERPANTS Young Adult Middle Grade Dawn Young, COUNTING ELEPHANTS; THE NIGHT Courtney Stevens, FAKING NORMAL Stephanie Burgis, THE DRAGON WITH A BAAFORE CHRISTMAS Sharon Cameron, THE DARK UNWINDING CHOCOLATE HEART Rachel Tawil Kenyon, YOU KNOW HOW TO LOVE Hilary McKay, THE SKYLARKS’ WAR JENNIFER ROFÉ Young Adult BRADFORD LITERARY AGENCY Picture Book Matt Killeen, ORPHAN MONSTER SPY Mike Boldt, 123 VERSUS ABC Bonnie-Sue Hitchcock, THE SMELL OF OTHER LAURA BRADFORD Bob Boyle, ROSIE & REX PEOPLE’S HOUSES Middle Grade Samantha Vamos, THE CAZUELA THAT THE FARM- Gita Trelease, ENCHANTÉE Alex Aster, EMBLEM ISLAND: CURSE OF THE MAIDEN STIRRED GEMMA COOPER NIGHT WITCH Illustrators Young Adult Kristin Bailey, INTO THE NIGHTFELL WOOD Eliza Wheeler Harriet Reuter Hapgood, HOW TO BE LUMINOUS Soraya Nicholas, Starlight Stables series Renée Kurilla Beth Garrod, SUPER AWKWARD Young Adult Mary Peterson Middle Grade Rachel Lynn Solomon, OUR YEAR OF MAYBE Middle Grade Jessica Townsend, NEVERMOOR Lydia Sharp, WHENEVER I’M WITH YOU Crystal Allen, HOW LAMAR’S BAD PRANK WON A Claire Fayers, THE BOOK OF UNWYSE MAGIC Jenn Bennett, SERIOUS MOONLIGHT BUBBA-SIZED TROPHY PG Bell, THE TRAIN TO IMPOSSIBLE PLACES Kathryn Fitzmaurice, THE YEAR THE SWALLOWS Robin Stevens, MURDER MOST UNLADYLIKE NATALIE LAKOSIL CAME EARLY Chapter Book Picture Book www.scbwi.org Toni Gallagher, TWIST MY CHARM: THE Sibeal Pounder, BAD MERMAIDS Roseanne Thong, TWAS NOCHE BUENA (Viking) | POPULARITY SPELL Mo O’Hara, MY BIG FAT ZOMBIE GOLDFISH Andria Rosenbaum, TRAINS DON’T SLEEP (HMH) Middle Grade Nonfiction Katrina Charman, THE LAST FIREHAWK Monica Clark-Robinson, LET THE CHILDREN Graeme Stone, WHAT COULD POSSIBLY GO Picture Book MARCH (HMH) WRONG? Sam Hay, STAR IN A JAR Chapter Book Young Adult Jonathan Roth, BEEP AND BOB (Aladdin) Meg Medina, YAQUI DELGADO WANTS TO KICK LOUISE FURY Mike Allegra, KIMMIE TUTTLE (ABDO) YOUR ASS Picture Book Middle Grade Joy Preble, FINDING PARIS Katherine Locke, BEDTIME FOR SUPERVILLAINS Rachele Alpine, YOU THROW LIKE A GIRL Middle Grade (Aladdin) LARA PERKINS Caroline Dubois, THE PLACES WE SLEEP Lindsey Becker, THE STAR THIEF (Little Brown) Picture Book Middle Grade Nonfiction Young Adult Denise Vega, IF YOUR MONSTER WON’T GO TO Gabrielle Balkan, MEGAFAUNA: THE GIGANTIC Tiffany D. Jackson, MONDAY’S NOT COMING (KT BED BEASTS THAT ONCE WALKED AMONG US Books/HarperCollins) PUBLICATIONS GUIDE: THE BOOK Ross Burach, THERE’S A GIRAFFE IN MY SOUP Young Adult Sarah Raughley, FATE OF FLAMES (Simon Pulse) Anne Sibley O’Brien, I’M NEW HERE Dante Medema, THE TRUTH PROJECT 2021 AGENTED BY | 199

KARI SUTHERLAND Liz Braswell, STUFFED Leslie Connor, THE THINGS YOU KISS GOODBYE Middle Grade Young Adult Anna Shinoda, LEARNING NOT TO DROWN Saadia Faruqi, MEET YASMIN (Capstone); A Patricia Wrede, The Enchanted Forest Chronicles PLACE AT THE TABLE (Clarion) Elizabeth Wein, CODE NAME VERITY DYSTEL & GODERICH LITERARY Young Adult Gretchen McNeil, MURDER TRENDING MANAGEMENT Kelly Coon, GRAVEMAIDENS (Penguin Random Ursula K. Le Guin, A WIZARD OF EARTHSEA House) Monica Hesse, GIRL IN THE BLUE COAT MICHAEL BOURRET Lyra Selene, AMBER AND DUSK Young Adult THE CHUDNEY AGENCY Jodie Zdrok, SPECTACLE Gayle Forman, IF I STAY; I WAS HERE Lisa McMann, THE UNWANTED; Wake series STEVEN CHUDNEY ELIZABETH HARDING Sara Zarr, STORY OF A GIRL; THE LUCY Picture Book Picture Book VARIATIONS Jacob Grant, CAT KNIT; BEAR OUT THERE Rebecca Kai Dotlich, WHAT IF…THEN WE Andrew Smith, WINGER; GRASSHOPPER JUNGLE Stacey Previn, ABERDEEN Lee Bennett Hopkins, SCHOOL PEOPLE A.S. King, EVERYBODY SEES THE ANTS; GLORY Sarah Brannen, BEAR NEEDS HELP Sally Lloyd-Jones, GOLDFISH ON HOLIDAY O’BRIEN’S HISTORY OF THE FUTURE Julie Fortenberry, DANCING PEARL Pat Mora, BOOKJOY WORDJOY Joowon Oh, OUR FAVORITE DAY Leslea Newman, GITTEL’S JOURNEY EAST WEST LITERARY Middle Grade Middle Grade Lisa Harrader, ADVENTURES OF BEAN BOY; COOL Cindy Baldwin, WHERE THE WATERMELONS GROW DEBORAH WARREN BEANS Gennifer Choldenko, ONE-THIRD NERD Picture Book Deron Hick, THE VAN GOGH DECEPTION Kimberly Newton Fusco, CHASING AUGUSTUS Jim Averbeck, IN A BLUE ROOM Lisa Bigelow, HAZEL’S THEORY OF EVOLUTION Nikki Grimes, ONE LAST WORD James & Kimberly Dean, Pete the Cat series Emily Butler, FREYA & ZOOSE Gordon Korman, RESTART Anna Dewdney, Llama Llama series Tamara Bundy, PIXIE PUSHES ON Suzanne LaFleur, LOVE, AUBREY Mike Lowery, The Gingerbread Man series Young Adult Young Adult Gianna Marino, TOO TALL HOUSES Sara Biren, COLD DAY IN THE SUN Jennifer Lynn Barnes, THE LOVELY AND THE Antoinette Portis, FROODLE Carly Anne West, THE MURMURINGS; THE LOST Middle Grade BARGAINING Jane Yolen, MAPPING THE BONES Kwame Alexander, THE CROSSOVER Karen Hattrup, OUR YEAR IN LOVE & PARTIES Platte Clark, Bad Unicorn trilogy Patrick Flores Scott, AMERICAN ROAD TRIP GINGER KNOWLTON Young Adult Sharon Roat, HOW TO DISAPPEAR Picture Book Alethea Kontis, Enchanted series Carmen Rodrigues, THE UNIVERSAL LAWS OF Helen Frost & Rick Lieder, HELLO, I’M HERE Holly Schindler, FERAL MARCO Uma Krishnaswami, THREADS OF PEACE Kerry Madden, ERNESTINE’S MILKY WAY EMERALD CITY LITERARY AGENCY CONTEXT LITERARY AGENCY, LLC Debbie Ridpath Ohi, I’M WORRIED Jonah Winter, THURGOOD Brigid Kemmerer, A CURSE SO DARK AND LONELY Middle Grade Middle Grade Mari Mancusi, CAMELOT CODE Bryan Denson, FBI FILES Kimberly Brubaker Bradley, THE WAR THAT Young Adult SAVED MY LIFE ERIN MURPHY LITERARY AGENCY Sorboni Banerjee, HIDE WITH ME Kekla Magoon, THE SEASON OF STYX MALONE Amy A. Bartol, Kricket series; Secondborn series Wendy Mass, BOB ERIN MURPHY Robin Constantine, THE PROMISE OF AMAZING; Linda Sue Park, A LONG WALK TO WATER Picture Book THE SECRETS OF ATTRACTION; THE SEASON OF Barbara Roberts, NIKKI ON THE LINE Chris Barton, SHARK VS. TRAIN YOU & ME Young Adult Brian Lies, THE ROUGH PATCH Julie C. Dao, FOREST OF A THOUSAND Kekla Magoon, LIGHT IT UP Deborah Underwood, BEARNARD’S BOOK LANTERNS; KINGDOM OF THE BLAZING PHOENIX; Todd Mitchell, THE NAMING GIRL Andrea Wang, MAGIC RAMEN SONG OF THE CRIMSON FLOWER Wendelin Van Draanen, WILD BIRD Middle Grade Danielle L. Jensen, The Malediction series; Dark Janet Fox, THE CHARMED CHILDREN OF Shores series DUNHAM LITERARY ROOKSKILL CASTLE Sarah J. Maas, Throne of Glass series; A Court of Lynda Mullaly Hunt, FISH IN A TREE Thorns and Roses series JENNIE DUNHAM Cynthia & Sanford Levinson, FAULT LINES IN Picture Book THE CONSTITUTION CURTIS BROWN, LTD. Robert Sabuda, BELIEVE Young Adult Barbara McClintock, VROOM e.E. Charlton-Trujillo, FAT ANGIE: REBEL GIRL GINGER CLARK Nick Bruel, BAD KITTY REVOLUTION Middle Grade Middle Grade Robin LaFevers, COURTING DARKNESS Karina Yan Glaser, THE VANDERBEEKERS OF Jody Feldman, The Gollywhopper Games series Dashka Slater, THE 57 BUS 141ST STREET Young Adult 200 | AGENTED BY

AMMI-JOAN PAQUETTE FINEPRINT LITERARY MGMT (Knopf) Picture Book Lila Quintero Weaver, MY YEAR IN THE MIDDLE Pat Zietlow Miller, BE KIND Picture Book (Candlewick) Sarvinder Naberhaus, BLUE SKY WHITE STARS Jill Starishevsky, MY BODY BELONGS TO ME Sylvia Acevedo, PATH TO THE STARS (HMH) Middle Grade Avril Tyrell & Frances Tyrell, Illustrated Fairy Young Adult Jennifer A. Nielsen, THE FALSE PRINCE Gazette series Michaela & Elaine DePrince, TAKING FLIGHT: Jennifer Bertman, BOOK SCAVENGER Mark Weston, SPEED OF LIGHT FROM WAR ORPHAN TO STAR BALLERINA (Knopf) K. A. Holt, HOUSE ARREST Robin Riding, MERMAID’S FAR BELOW Young Adult Bill & Claire Wurtzel, FUNNY FOOD FACES (wkg LILLY GHAHREMANI Elizabeth Acevedo, THE POET X title); A BOOK OF FEELINGS Picture Book Ibi Zoboi, AMERICAN STREET Middle Grade & Young Adult Naaz H. Khan, ROOM FOR EVERYONE (Caitlyn Jeanne Ryan, NERVE Kody Keplinger, THE DUFF Dloughy/S&S) Mark Crilley, THE DRAWING LESSON Becky Albertalli, SIMON VS THE HOMO SAPIENS AGENDA; THE UPSIDE OF UNREQUITED TAYLOR MARTINDALE KEAN TRICIA LAWRENCE Adam Silvera, MORE HAPPY THAN NOT Picture Book Board Book P.W. Catanese, DONNY’S INFERNO; THE THIEF Aisha Saeed, BILAL COOKS DAAL (Salaam Terry Pierce, MAMA LOVES YOU SO AND BEANSTALK Reads/S&S) Picture Book Josin McQuein, ARCLIGHT Sally J. Pla, BENJI, THE BAD DAY, AND ME (Lee Jason Gallaher, WHOBERT WHOVER, OWL Hannah Moskowitz, ZOMBIE TAG & Low) DETECTIVE Victoria Schwab, THE NEAR WITCH Anoosha Syed (illus), LOOK!: BABIES HEAD TO Penny Parker Klostermann, THERE WAS AN OLD Patrick Carman, FLOORS; ATHERTON; LAND OF TOE (Abrams Appleseed) DRAGON WHO SWALLOWED A KNIGHT ELYON; SKELETON CREEK Middle Grade Alice Faye Duncan, MEMPHIS, MARTIN, AND THE Dan Krokos, FALSE MEMORY Aisha Saeed, AMAL UNBOUND (Nancy Paulsen MOUNTAINTOP; A SONG FOR GWENDOLYN BROOKS Lisa Desrochers, PERSONAL DEMONS Books/Penguin) Melissa Stewart, SEASHELLS: MORE THAN A Julie Cross, TEMPEST Sally J. Pla, THE SOMEDAY BIRDS; STANLEY WILL HOME Courtney Summers, CRACKED UP TO BE PROBABLY BE FINE (HarperCollins) Middle Grade Leigh Bardugo, THE GRISHA Young Adult Debbi Michiko Florence, Jasmine Toguchi series Elizabeth Borton de Trevino, I, JUAN DE PAREJA Emery Lord, OPEN ROAD SUMMER; THE START Ann Braden, THE BENEFITS OF BEING AN OF ME & YOU; WHEN WE COLLIDED; THE NAMES OCTOPUS FULL CIRCLE LITERARY THEY GAVE US (Bloomsbury) Heather Bouwman, CRACK IN THE SEA Aisha Saeed, WRITTEN IN THE STARS (Penguin); ADRIANA DOMÍNGUEZ FAR FROM AGRABAH (Disney Publishing) ETHAN ELLENBERG LITERARY AGENCY Picture Book Anna-Marie McLemore, WILD BEAUTY; BLANCA & Shauna LaVoy Reynolds, POETREE (Penguin) ROJA (Feiwel & Friends) ETHAN ELLENBERG Tania de Regil, A NEW HOME (Candlewick) Diana Rodriguez Wallach, PROOF OF LIES, The Picture Book F. Isabel Campoy, Theresa Howell, & Rafael Anastasia Phoenix series (Entangled Teen) Eric Rohmann (Caldecott Winner), HONEYBEES López, MAYBE SOMETHING BEAUTIFUL (HMH) Candy Fleming, BULLDOZERS BIG DAY Emma Otheguy, A SLED FOR GABO (S&S); STEFANIE SANCHEZ VON BORSTEL Marthe Jocelyn, ONE YELLOW RIBBON; ONE MARTÍ’S SONG FOR FREEDOM (Lee & Low) Picture Book PATCH OF BLUE John Parra, ONE IS A PIÑATA (Chronicle); LITTLE Juana Martinez-Neal, ALMA AND HOW SHE GOT Selene Castrovilla, SEEKING FREEDOM LIBRARIES, BIG HEROES (HMH) HER NAME (Caldecott Honor, Candlewick); FRY Middle Grade Katheryn Russell-Brown, LITTLE MELBA AND HER BREAD (Roaring Brook Press) www.scbwi.org Candy Fleming, ELEANOR ROOSEVELT’S IN MY Monica Brown & John Parra (illus), FRIDA | BIG TROMBONE (Lee and Low); A VOICE NAMED GARAGE; BEN FRANKLIN’S IN MY BATHROOM ARETHA (Bloomsbury) KAHLO AND HER ANIMALITOS (NYT Best Young Adult Ana Aranda (illus), THE CHUPACABRA ATE THE Illustrated, NorthSouth); WAITING FOR THE Candy Fleming, FATAL THRONES: THE WIVES OF CANDELABRA (Nancy Paulsen/Penguin) BIBLIOBURRO (Random House) HENRY VIII TELL ALL Jackie Alcantara (illus), THE FIELD Susie Ghahremani, LITTLE MUIR’S SONG Robin Bridges, DREAMING OF ANTIGONE (NorthSouth); FREEDOM SOUP (Candlewick) (Yosemite); STACK THE CATS; BALANCE THE EVAN GREGORY Carme Lemniscates, SEEDS; BIRDS (Candlewick); BIRDS (Abrams) Young Adult I AM A WARRIOR GODDESS (Sounds True) Rafael López (illus), THE DAY YOU BEGIN Patty Blount, SEND; TMI; SOME BOYS; SOMEONE Middle Grade (Penguin); DRUM DREAM GIRL (HMH); DANCING I USED TO KNOW Senator Janet Howell & Theresa Howell, HANDS (S&S) LEADING THE WAY: WOMEN IN POWER Toni Buzzeo, WHEN SUE FOUND SUE (Abrams) BIBI LEWIS (Candlewick) Jennifer Ward, MAMA BUILT A LITTLE NEST; HOW Picture Book Angela Cervantes, LETY OUT LOUD; GABY; LOST TO FIND A BIRD (Beach Lane/S&S) Selene Castrovilla, SEEKING FREEDOM AND FOUND; ME, FRIDA, AND THE SECRET OF THE Middle Grade PUBLICATIONS GUIDE: THE BOOK Carolyn Leiloglou, LIBRARY’S MOST WANTED PEACOCK RING (Scholastic) Celia Pérez, THE FIRST RULE OF PUNK (Pura Belpré Honor, Penguin); STRANGE BIRDS

2021 Emma Otheguy, SILVER MEADOWS SUMMER AGENTED BY | 201

(Kokila/Penguin) MARIETTA ZACKER Jago (illus), THE JESUS STORYBOOK BIBLE Diana López, COCO: A STORY ABOUT MUSIC, Picture Book Carolyn Magerl, MAYA AND CAT SHOES, AND FAMILY (Disney Books); LUCKY CG Esperanza, BOOGIE BOOGIE Y’ALL LUNA (Scholastic) Jennifer Thermes, MANHATTAN: MAPPING THE HOWARD MORHAIM LITERARY Monica Brown, Lola Levine series (Little, STORY OF AN ISLAND AGENCY Brown); Sarai and The Meaning of Awesome Selina Alko, JONI: THE LYRICAL LIFE OF JONI series (Scholastic) MITCHELL KATE MCKEAN Adrianna Cuevas, NESTOR’S GUIDE TO Graphic Novel Middle Grade UNPACKING (Macmillan) Ben Clanton, NARWHAL AND JELLY Carey Wallace, THE GHOST IN THE GLASS HOUSE Lisa Congdon, THE ILLUSTRATED ENCYCLOPEDIA Alina Chau, MARSHMALLOW AND JORDAN Young Adult OF THE ELEMENTS (Chronicle) Gonzalo Alvarez, POLLOMAN Eric Devine, TAP OUT; DARE ME; PRESS PLAY Middle Grade Delilah S. Dawson, SERVANTS OF THE STORM GALLT & ZACKER LITERARY AGENCY Aida Salazar, LAND OF THE CRANES Madeleine Roux, ASYLUM; SANCTUM Gillian McDunn, THE QUEEN BEE AND ME Calea Carter, MY BEST FRIEND, MAYBE LINDA CAMACHO Young Adult Jess Verdi, MY LIFE AFTER NOW Picture Book David Kreizman, THE YEAR THEY FELL Jamie LB Deenihan, WHEN GRANDMA GIVES YOU Dana Alison Levy, ABOVE ALL ELSE ICM A LEMON TREE Randi Pink, GIRLS LIKE US Yamile Saied Mendez, WHERE ARE YOU FROM? Kelly Quindlen, LATE TO THE PARTY ALEXANDRA MACHINIST Brenna Burns Yu, THE LOST EGG Middle Grade Middle Grade GREENHOUSE LITERARY AGENCY J.A. White, NIGHTBOOKS Mary E. Lambert, FAMILY GAME NIGHT AND M. A. Larson, PENNYROYAL ACADEMY OTHER CATASTROPHES SARAH DAVIES Young Adult Yamile Saied Mendez, ON THESE MAGIC SHORES Middle Grade Sabaa Tahir, AN EMBER IN THE ASHES Young Adult George Brewington, THE MONSTER CATCHERS Tomi Adeyemi, CHILDREN OF BLOOD AND BONE Ann Davila Cardinal, FIVE MIDNIGHTS Caroline Carlson, THE DOOR AT THE END OF THE Katy Pool, THERE WILL COME A DARKNESS Yamile Saied Mendez, FURIA WORLD Maya Motayne, NOCTURNA Graphic Novel Winifred Conkling, VOTES FOR WOMEN Audrey Coulthurst, OF FIRE AND STARS Wendy Xu (illus), MOONCAKES Bill Doyle, Escape This Book series Jaye Robin Brown, THE MEANING OF BIRDS Wendy Xu, TIDESONG Lindsay Eagar, THE BIGFOOT FILES Marie Rutkoski Kat Fajardo, MISS QUINCES Tae Keller, THE SCIENCE OF BREAKABLE THINGS Madeline McGrane, THE ACCURSED VAMPIRE Joshua Khan, Shadow Magic trilogy TINA DUBOIS Stephanie Rodriguez, DOODLES FROM THE Mae Respicio, THE HOUSE THAT LOU BUILT Middle Grade BOOGIE DOWN Ali Standish, AUGUST ISLE Laurel Snyder, ORPHAN ISLAND Kat Yeh, THE WAY TO BEA Anne Ursu, THE LOST GIRL NANCY GALLT Young Adult Henry Lien, Peasprout Chen Series Picture Book Donna Cooner, SCREENSHOT Young Adult Bagram Ibatoulline (illus), SEA GLASS SUMMER Elle Cosimano, THE SUFFERING TREE Laura Ruby, BONE GAP Amy Schwartz, BUSY BABIES Ashley Elston, THE LYING WOODS Brandy Colbert, LITTLE & LION Sophie Blackall, HELLO LIGHTHOUSE Dawn Kurtagich, TEETH IN THE MIST Morgan Parker, WHO PUT THIS SONG ON? Middle Grade Natalie Lund, WE SPEAK IN STORMS Betty Birney, EXPLORING ACCORDING TO OG THE Cori McCarthy & Amy Rose Capetta, ONCE AND JEAN V. NAGGAR LITERARY AGENCY FROG FUTURE (JVNLA) Rick Riordan, TRIALS OF APOLLO: TYRANT’S Joanna Meyer, ECHO NORTH TOMB Megan Miranda, COME FIND ME JENNIFER WELTZ Jim Murphy, THIRST Brenne Yovanoff, PLACES NO ONE KNOWS Picture Book Iza Trapani, VOLE AND TROLL BETH PHELAN THE HERMAN AGENCY Middle Grade Middle Grade Jennifer Swender, SOLVING FOR M Kacen Callender, HURRICANE CHILD; KING AND Young Reader Young Adult THE DRAGONFLIES Troy Cummings, The Notebook Of Doom series Eric Lindstrom, NOT IF I SEE YOU FIRST K. E. Ormsbee, THE HOUSE IN POPLAR WOOD; Michael Rex, Fangbone, Third-Grade Barbarian MIDNIGHT ON STRANGE STREET series ALICE TASMAN Young Adult Deborah Zemke, Bea Garcia series Picture Book Kat Cho, WICKED FOX Picture Book Richard T. Morris, TWO BROTHERS, ONE TAIL; Randy Ribay, PATRON SAINTS OF NOTHING Richard Torrey, ALLY-SAURUS & THE FIRST DAY BEAR CAME ALONG; FEAR THE BUNNY; SHEEP justin a. reynolds, OPPOSITE OF ALWAYS OF SCHOOL; MY DOG BOB 101; THIS IS A MOOSE Ashley Woodfolk, WHEN YOU WERE EVERYTHING Logan S. Kline, FINDING FIRE Middle Grade 202 | AGENTED BY

Ellen Potter, Big Foot and Little Foot series; Rebekah Crane, POSTCARDS FOR A SONGBIRD; NELSON LITERARY AGENCY, LLC Piper Green and the Fairy Tree series; SLOB; THE UPSIDE OF FALLING DOWN; THE INFINITE OLIVIA KIDNEY PIECES OF US; THE ODDS OF LOVING GROVER KRISTIN NELSON Young Adult CLEVELAND Picture Book Gillian French, THE MISSING SEASON; THE LIES Primo Gallanosa, WHO MADE THIS MESS? THEY TELL; GRIT HILARY HARWELL Middle Grade Claire Needell, THE FIRST TRUE THING; THE Middle Grade Ally Carter, The Winterborne Home series WORD FOR YES Henry Clark, SEVEN MINUTES OF MAGIC Scott Reintgen, The Talespinners series Young Adult Marcia Wells, The Eddie Red series KT LITERARY, LLC. Jennifer Gruenke, OF SILVER AND SHADOW Young Adult Jen Marie Hawkins, THE LANGUAGE OF CHERRIES Ally Carter, The Gallagher Girls series; The Heist KATE TESTERMAN Society series Middle Grade LAURA DAIL AGENCY Stacey Lee, UNDER A PAINTED SKY and THE Matthew Cody, The Secrets of the Pied Piper DOWNSTAIRS GIRL series; The Supers of Noble Green series; WILL Picture Book Marie Lu, The Legend series; The Young Elites IN SCARLET; THE DEAD GENTLEMAN Vern Kousky, HAROLD LOVES HIS WOOLLY HAT series; The Warcross duology; The Skyhunter Ellen Booraem, TEXTING THE UNDERWORLD M.L. Webb, THE GAYBC’S series Kim Harrington, REVENGE OF THE RED CLUB Middle Grade Sherry Thomas, The Burning Sky series; THE Rebecca Petruck, BOY BITES BUG; STEERING Josh Levy, SEVENTH GRADE VERSUS THE GALAXY MAGNOLIA SWORD TOWARD NORMAL Sarah Mlynowski, Whatever After series Scott Reintgen, The Nyxia Triad series; The Emily Ecton, THE AMBROSE DECEPTION Young Adult Ashlords series Young Adult Kiera Cass, The Selection series Swati Teerdhala, The Tiger at Midnight series Stephanie Perkins, THERE’S SOMEONE INSIDE E.M. Castellan, IN THE SHADOW OF THE SUN YOUR HOUSE; ANNA AND THE FRENCH KISS; Mara Fitzgerald, WALLS IN THE RUBY SKY DANIELLE BURBY LOLA AND THE BOY NEXT DOOR; ISLA AND THE Jennifer Yu, IMAGINE US HAPPY Picture Book HAPPILY EVER AFTER Maryann Jacob Macias, TÉOS’S TUTU Trish Doller, START HERE; IN A PERFECT WORLD; LEVINE GREENBERG ROSTAN Middle Grade WHERE THE STARS STILL SHINE; SOMETHING LITERARY Reese Eschmann, ETTA INVINCIBLE LIKE NORMAL Celesta Rimington, THE ELEPHANT’S GIRL Maureen Johnson, The Truly Devious series; KERRY SPARKS Jeff Seymour, The Nadya Skylung series The Shades of London series; 13 LITTLE BLUE Picture Book Young Adult ENVELOPES Mark Pett, THE GIRL WHO NEVER MADE MISTAKES Jillian Boehme, STORMRISE; THE STOLEN Amy Spalding, THE SUMMER OF JORDI PEREZ; Jennifer Gray Olson, NINJA BUNNY KINGDOM THE NEW GUY (AND OTHER SENIOR YEAR Jennifer Vogel Bass, EDIBLE NUMBERS Florence Gonsalves, LOVE AND OTHER DISTRACTIONS); KISSING TED CALLAHAN (AND Middle Grade CARNIVOROUS PLANTS; DEAR UNIVERSE OTHER GUYS) Jennifer Ann Mann, The Sunny Sweet series Rosaria Munda, FIREBORNE Elizabeth Briggs, The Future Shock trilogy Jenny Lundquist, SEEING CINDERELLA Jennifer Nissley, THE MYTHIC KODA ROSA Young Adult Lynette Noni, THE PRISON HEALER SARA MEGIBOW Jennifer Niven, ALL THE BRIGHT PLACES Laura Brooke Robson, GIRLS AT THE EDGE OF Middle Grade Jennifer Mathieu, MOXIE THE WORLD Jaleigh Johnson, THE DOOR TO THE LOST; THE Carrie Arcos, OUT OF REACH MARK OF THE DRAGONFLY Jenny Torres Sanchez, THE FALL OF INNOCENCE JOANNA MACKENZIE www.scbwi.org Wen Baragrey, WHAT GOES UP | Middle Grade Rebecca Roanhorse, RACE TO THE SUN MACKENZIE WOLF Jonathan Messinger, The Finn Caspian series Young Adult (Formerly Gillian Mackenzie Agency) Young Adult Margaret Rogerson, SORCERY OF THORNS; AN Kristen Simmons, PACIFICA; the Vale Hall ENCHANTMENT OF RAVENS GILLIAN MACKENZIE Academy series HANNAH FERGESEN Picture Book Stacy Stokes, THE MEMORY HOUSE Middle Grade Bob Staake, BLUEBIRD Samantha San Miquel, SPINELESS Juana Medina, ABC SALAD QURESSA ROBINSON Deva Fagan, RIVAL MAGIC Peter Stein & Bob Staake, Cars Galore series Young Adult Young Adult Middle Grade Roseanne A. Brown, A SONG OF WRAITHS AND Jennifer Honeybourn, JUST MY LUCK; WHEN LIFE Juana Medina, Juana And Lucas series RUIN GIVES YOU DEMONS Paul Noth, How To Sell Your Family To The Aliens Brittney Morris, SLAY series RENEE NYEN Maria Scrivan, NAT ENOUGH PUBLICATIONS GUIDE: THE BOOK Young Adult Cat Warren, WHAT THE DOG KNOWS Jessie Hilb, THE CALCULUS OF CHANGE 2021 AGENTED BY | 203

NEW LEAF LITERARY AND MEDIA Elise Gravel, OLGA AND THE SMELLY THING FROM Bobbi Miller, BIG RIVER’S DAUGHTER NOWHERE (Charlesbridge) JOANNA VOLPE Constance Lombardo, MR. PUFFBALL, STUNT-CAT Picture Book TO THE STARS ABIGAIL SAMOUN Elizabeth Rose Stanton, HENNY Picture Book Lori Nichols, MAPLE PIPPIN PROPERTIES Sarah Watts, HOW HIPPO SAYS HELLO (Sterling) Middle Grade Hannah Harrison, EXTRAORDINARY JANE (Dial) Shelley Moore Thomas, THE SEVEN TALES OF HOLLY MCGEE Middle Grade TRINKET Picture Book Kevin Serwacki & Chris Pallace, JOEY Amber McRee Turner, CIRCA NOW Anna Kang, YOU ARE (NOT) SMALL AND JOHNNY THE NINJAS (Balzer + Bray/ Shelby Bach, The Ever Afters series Kate McMullan & Jim McMullan, I STINK! HarperCollins) Kirk Scroggs, SNOOP TROOP Doreen Cronin, CLICK CLACK MOO: COWS THAT Young Adult TYPE ROOT LITERARY Veronica Roth, DIVERGENT Doreen Cronin & Harry Bliss, DIARY OF A WORM Leigh Bardugo, SHADOW AND BONE Jon Agee, LITTLE SANTA HOLLY ROOT Kody Keplinger, THE DUFF Alison McGhee & Peter Reynolds, SOMEDAY Middle Grade T. Michael Martin, THE END GAMES Middle Grade Nancy J. Cavanaugh, THIS JOURNAL BELONGS Kathi Appelt, THE TRUE BLUE SCOUTS OF SUGAR TO RATCHET; ALWAYS, ABIGAIL OLSWANGER LITERARY LLC MAN SWAMP Victoria Schwab, The Archived series; Everyday Kate DiCamillo, FLORA & ULYSSES Angel series ANNA OLSWANGER Young Adult Young Adult Picture Book Jandy Nelson, I’LL GIVE YOU THE SUN Rae Carson, The Girl of Fire and Thorns trilogy Carly Allen-Fletcher, ANIMAL ANTIPODES; Jason Reynolds, WHEN I WAS THE GREATEST CJ Redwine, Defiance trilogy BEASTLY BIOMES; GOODNIGHT SEAHORSE Other Clients Rachel Hawkins, Hex Hall series; Rebel Belle Michael Hall, MY HEART IS LIKE A ZOO; PERFECT Taeeun Yoo series SQUARE Isabel Roxas Christina Lauren, SUBLIME Aiko Ikegami, FRIENDS; HELLO; SEED MAN David Small Miri Leshem-Pelly, SCRIBBLE AND AUTHOR Sujean Rim SEAN MCCARTHY LITERARY AGENCY Rich Lo, FATHER’S CHINESE OPERA; CHINESE Renata Liwska NEW YEAR COLORS Garret Freymann-Weyr SEAN MCCARTHY Michelle Markel, BRAVE GIRL Katherine Applegate Picture Book Yevgenia Nayberg, ANYA’S SECRET SOCIETY; THE Mark Fearing, GIANT PANTS ADVENTURE OF THE RUSSIAN TYPEWRITER PROSPECT AGENCY Zachariah OHora, NIBLET & RALPH Patricia Hruby Powell, JOSEPHINE: THE Hyewon Yum, SATURDAY IS SWIMMING DAY DAZZLING LIFE OF JOSEPHINE BAKER; RACHEL ORR Graphic Novel STRUTTIN’ WITH SOME BARBECUE; LIFT AS YOU Picture Book Heather Ayris Burnell, UNICORN AND YETI CLIMB Sudipta Bardhan-Quallen, CHICKS RULE Bob McMahon, COOKIE & BROCCOLI Alan Rabinowitz, A BOY AND A JAGUAR Cori Doerrfeld, GOODBYE, FRIEND! HELLO, Claire Lordon, ONE IN A MILLION Middle Grade FRIEND! Kathleen Burkinshaw, THE LAST CHERRY Mike Ciccotello, TWINS TRIDENT MEDIA GROUP BLOSSOM Chapter Book Dana Sullivan, DEAD MAX COMIX Leeza Hernandez (illus), MIA MAYHEM ALYSSA EISNER HENKIN Vince Vawter, PAPERBOY; COPYBOY Middle Grade Picture Book Samantha M. Clark, THE BOY, THE BOAT AND Jen Bryant, A SPLASH OF RED PAINTED WORDS THE BEAST Middle Grade Emma Wunsch, MIRANDA AND MAUDE R.J. Palacio, WONDER LORI NOWICKI Young Adult Lisa Greenwald, MY LIFE IN PINK & GREEN Picture Book Kit Alloway, DREAMFIRE Jennifer Roy, YELLOW STAR E.G. Keller, A DAY IN THE LIFE OF MARLON Young Adult BUNDO RED FOX LITERARY Julie Berry, ALL THE TRUTH THAT’S IN ME Frank Morrison, LET THE CHILDREN MARCH Vanessa Brantley Newton, GRANDMA’S PURSE KAREN GRENCIK ALEXANDER SLATER Shadra Strickland, BIRD Picture Book Middle Grade Elizabeth Zunon, ONE PLASTIC BAG Miranda Paul, ONE PLASTIC BAG: ISATOU CEESAY Janae Marks, FROM THE DESK OF ZOE Gene Barretta, NOW & BEN AND THE RECYCLING WOMEN OF THE GAMBIA WASHINGTON Michael Slack, ELECOPTER (Millbrook) Jodi Kendall, THE UNLIKELY STORY OF A PIG IN Middle Grade Middle Grade THE CITY K.G. Campbell, A SMALL ZOMBIE PROBLEM Michelle Houts, WINTERFROST (Candlewick) Kelly Yang, FRONT DESK 204 | AGENTED BY

Young Adult Jarrett J. Krosoczka, The Lunch Lady series ANDREA MORRISON Anuradha Rajurkar, AMERICAN BETIYA Grace Lin, WHERE THE MOUNTAIN MEETS THE Picture Book Ali Novak, MY LIFE WITH THE WALTER BOYS MOON; STARRY RIVER OF THE SKY; Ling Diana Sudyka (illus), SOMETIMES RAIN; WHEN & Ting series SUE FOUND SUE; WHAT MISS MITCHELL SAW WRITERS HOUSE Nonfiction Aimee Sicuro (illus), I FEEL TEAL; DANCING Andrea Davis Pinkney & Brian Pinkney, HAND IN THROUGH FIELDS OF COLOR JODI REAMER HAND Katrina Moore, ONE HUG; GRANDPA GRUMPS Picture Book Francesca Sanna, THE JOURNEY; ME AND MY Michelle Knudsen, LIBRARY LION AMY BERKOWER FEAR Brad Meltzer, Ordinary People Change the World Middle Grade Ana Ramírez González (illus), MAYBE TOMORROW series Holly Goldberg Sloan, COUNTING BY SEVENS Zara González Hoang (illus), THREAD OF LOVE; A Dan Santat, BEEKLE; RICKY RICOTTA Andrew Clements, FRINDLE; LUNCH MONEY NEW KIND OF WILD Middle Grade James Howe, BUNNICULA Young Adult Michelle Knudson, DRAGON OF TRELIAN Sharon Creech, LOVE THAT DOG; WALK TWO Liz Lawson, THE LUCKY ONES Lisa Yee, MILLICENT MIN; Bobby vs. Girls MOONS Laurel Flores Fantauzzo Accidentally series Young Adult Laekan Zea Kemp Young Adult Laurie Halse Anderson, SHOUT John Green, THE FAULT IN OUR STARS SUSAN COHEN Stephenie Meyer, The Twilight Saga DANIEL LAZAR Picture Book Ransom Riggs, MISS PEREGRINES HOME FOR Middle Grade Jeanette Winter, NASREEN’S SECRET SCHOOL; PECULIAR CHILDREN; HOLLOW CITY Rachel Renee Russell, DORK DIARIES SISTERS Kami Garcia, BEAUTIFUL CREATURES; Max Brallier, THE LAST KIDS ON EARTH Kathy Krull, ONE FUN DAY WITH LEWIS CARROLL; UNBREAKABLE Terri Libenson, INVISIBLE EMMIE STARSTRUCK Tahereh Mafi, Shatter Me series Ingrid Law, SAVVY Susan Meyers, EVERYWHERE BABIES Carolyn Mackler, THE EARTH, MY BUTT AND Young Adult Tony Johnston, YONDER; LOVING HANDS OTHER BIG ROUND THINGS David Arnold, MOSQUITOLAND Emily McCully, SHE DID IT!; MIRETTE ON THE Michelle Knudsen, EVIL LIBRARIAN Rachel Hartman, SERAPHINA HIGH WIRE Lisa Yee, THE KIDNEY HYPOTHETICAL Stacy Innerst (illus), LEVI STRAUSS HAS A STEPHEN BARR BRIGHT IDEA STEVEN MALK Picture Book Erin McGuire (illus), ALABAMA SPITFIRE Picture Book David Macaulay, CROSSING ON TIME Middle Grade Jon Klassen, I WANT MY HAT BACK Bethany Barton, I’M TRYING TO LOVE SPIDERS; Lisa Fiedler, MOUSEHEART; AGES OF OZ Marla Frazee, THE FARMER AND THE CLOWN I’M TRYING TO LOVE MATH Lynn Plourde, MAXI’S SECRETS Mac Barnett & Jon Klassen, EXTRA YARN Thyra Heder, FRAIDYZOO; HOW DO YOU DANCE Sharelle Byars Moranville, 27 MAGIC WORDS Jon Scieszka & Lane Smith, THE TRUE STORY OF Katherine Roy, NEIGHBORHOOD SHARKS; HOW TO Lois Metzger, TRICK OF THE LIGHT THE THREE LITTLE PIGS BE AN ELEPHANT Madelyn Rosenberg, THIS IS JUST A TEST; Sara Pennypacker & Marla Frazee, CLEMENTINE Emily Hughes, WILD; THE LITTLE GARDENER NANNY X Kadir Nelson, HEART AND SOUL Andrea Tsurumi, ACCIDENT!; CRAB CAKE Susan Patron, THE HIGHER POWER OF LUCKY Middle Grade Deborah Freedman, SHY; THIS HOUSE, ONCE Lenore Look, Alvin Ho series; Ruby Lu series Adam Rex, THE TRUE MEANING OF SMEKDAY Christopher Silas Neal, ANIMAL SHAPES; I WON’T Susan Ross, SEARCHING FOR LOTTIE Young Adult EAT THAT Nonfiction Jennifer Donnelly, A NORTHERN LIGHT Anna Walker, FLORETTE; LOTTIE & WALTER Steve Sheinkin, BOMB www.scbwi.org Ruta Sepetys, BETWEEN SHADES OF GRAY Jennifer Hansen Rolli, JUST ONE MORE; JUST Karen Blumenthal, HILLARY RODHAM CLINTON; | Matt de la Peña, MEXICAN WHITE BOY FOR ME TOMMY: THE GUN THAT CHANGED AMERICA Middle Grade Sally Walker, WINNIE: THE TRUE STORY OF THE REBECCA SHERMAN Shelley Johannes, BEATRICE ZINKER, UPSIDE BEAR THAT INSPIRED WINNIE-THE-POOH Picture Book DOWN THINKER Roxane Orgill, JAZZ DAY Jared Chapman, PIRATE, VIKING, & SCIENTIST Paul Gilligan, KING OF THE MOLE PEOPLE Kathleen Krull, Lives Of… series Matt Phelan, STORM IN THE BARN; AROUND THE Eli Brown, ODDITY Carla McClafferty, BURIED LIVES WORLD; BLUFFTON Young Adult Elaine Scott, WHEN IS A PLANET NOT A PLANET? Dan Yaccarino, DOUG UNPLUGGED Maggie Thrash, HONOR GIRL; STRANGE LIES Don Mitchell, THE LADY IS A SPY Daniel Salmieri, DRAGONS LOVE TACOS John Corey Whaley, WHERE THINGS COME BACK; Young Adult Melissa Sweet, FIREFLY JULY NOGGIN Susan Beth Pfeffer, Life As We Knew It trilogy Selina Alko & Sean Qualls, THE CASE FOR F.C. Yee, THE EPIC CRUSH OF GENIE LO; AVATAR: LOVING THE RISE OF KYOSHI Scott Magoon, THE BOY WHO CRIED BIGFOOT; Lisabeth Posthuma, BABY & SOLO PUBLICATIONS GUIDE: THE BOOK BREATHE Grant Farley, BONES OF A SAINT Middle Grade 2021

FINDING AN AGENT BEST PRACTICES

by Jenny Bent

hen I was asked to write this article about best practices for literary agents, I sat down to do a little research: I was curious to see what information to help Wwriters protect themselves was already available online. What I found was a bit shocking, even though I’ve been in the business of agenting for over twenty years. Simply put, there are a lot more people out there looking to prey on writers than I had realized, and this has been going on for years and years, long before some of the more recent issues with agents have come to light.

By doing just a little digging, I found far too many stories about be prepared to walk away. A bad or unscrupulous agent is truly worse unscrupulous so-called agents who took advantage of authors’ desire to than no agent at all. follow their dreams. The best resource, if you’d like to read some of these Finally, The Authors Guild is the nation’s oldest organization for for yourself, is on the Science Fiction and Fantasy Writers of America writers, providing legal and other advice. I would recommend them as a website. On their “Case Studies” page, they go through, in great detail, resource if you’re not sure you’re being treated fairly or professionally. some of the ways that these people have figured out how to scam writers Here are what I think are agency best practices, in no particular order. out of their money and time. The SFWA website also has an entire section called “Writer Beware” OFFERING REPRESENTATION that is full of information that will help all writers, and I’d encourage The agent should give you adequate time to make a decision (ideally you to check it out. I’ll also include some more resources to help authors at least a week), offer up other clients as references if you ask for them, throughout this article. and let you see their agency agreement to vet if you request it. So how do you avoid being duped by one of these fake agents? Start Make sure the agent is making deals with reputable publishers. In by educating yourself about the ways that ethical agents (and I do know the US, you can look this up on Publishers Marketplace via the deal from experience that there are a great many ethical agents out there) announcements page. Additionally, membership in the Association of conduct business. I’ll attempt to outline these best practices for agents Author’s Representatives requires that the agent has made a minimum here. I would caution that every agent is different and these are not number of deals for clients. Check the agent out on sites like Writer necessarily hard and fast rules. However, if there is one element of being Beware, QueryTracker.net, and AgentQuery.com to make sure no flags a good agent that I think is essential, it’s this: communication. Not have been raised about them previously. A caution about Twitter: it’s a every agent will do exactly what I’m describing here, and in most cases, great resource, but Twitter popularity does not necessarily equate with that is absolutely fine with one caveat:the agent must be willing to competence in agenting, and a great many reputable agents are not on communicate with you about the way they are handling your career. Twitter at all. Let me say that again. Your agent must be willing to communicate with you about what they are doing behind the scenes to help you have COMMUNICATION the most successful career possible. Secrecy and dissembling are not Your agent should be reachable during business hours. If you request okay, ever. Your agent should be reachable by phone and by email during a phone call, your agent should be willing to speak with you within a business hours. They should be able to answer any questions that you few days of that request (illness or vacation time are valid reasons why have and provide you with explanations for everything they are doing your agent might not be available). While agents have chaotic inboxes for you. None of what an agent does for you should be mysterious—it and are often over-extended, they should still reply to your emails in should be straightforward and easy to understand. If you ever feel a reasonably timely way. This will differ by agent, but if you’re not uncomfortable about anything your agent is doing, ask them about it. comfortable with your agent’s response time, they should be willing to And if you don’t like the answer, or can’t get one, listen to your gut and discuss this with you and/or adjust if this is reasonable and feasible. 208 | FINDING AN AGENT: BEST PRACTICES

AGENCY AGREEMENTS Standard commission splits range from 15% for exploiting book Your agent should provide you with an agency agreement that is easy publication rights to as much as 25% for foreign rights. If an agent to understand. They should be comfortable with your hiring a lawyer charges more than that (and some reputable agents do), they should to vet this agreement (please do not ask your tax attorney, however; provide you with a reasonable explanation for why they are deviating the law is a specialized field and only a publishing attorney who is from the industry standard. familiar with industry norms should do this for you), and be willing to answer the questions you have about it. Your agent should be flexible PUBLISHING CONTRACTS about making reasonable changes to the agreement or provide a good Once you have struck a deal, the publisher will send your agent explanation for why they can’t make the changes. Remember that an a contract for you to sign. Your agent or your agent’s contracts agency agreement is a legally binding document, and you should never department should vet the contract thoroughly and in most cases will sign anything you don’t understand completely. need to ask the publisher to make at least a few changes. You as the Also keep in mind that the agency agreement is usually there to author should be a part of this process and should review the contract protect the agent, not the author. Don’t be shy about asking to include as well, and the agent should be comfortable if you’d like to have a information that will help you, such as requiring the agent to provide publishing attorney review your contract prior to signing it. However, you with a submission list or agreeing to pay you within a reasonable it’s better to do this before your agent starts to negotiate so they can time limit (thirty days is standard). incorporate any changes into their first round of comments for the publisher. SUBMISSIONS If you have questions about your contract, your agent should be Your agent should provide you with a list of editors to whom they willing and able to answer them. have submitted your manuscript. This should ideally come before or at If you ask to see any relevant correspondence about the contract the time of the submission, but if not, upon your request. negotiation, it should be provided to you. Your agent should be willing to talk through this list with you if you have questions, and add any editors or publishers who you’d like to PAYMENTS include (or alternatively explain why they wouldn’t be a good fit for the Payments to clients should be made no later than thirty days of project). receipt from the publisher. Your agent should submit to reputable publishers only. If your agent Payments should come with statements that detail any deductions decides to give one editor an exclusive, this should be explained to you for bank fees or expenses, as well as an exchange rate for foreign and have your approval before the agent proceeds with this plan. payments. Your agent should be willing to split payments upon your request, CORRESPONDENCE which means that your portion goes directly to you and their portion The agent should be willing to provide you with all pass letters from goes directly to them. Exceptions to this are situations where the editors as well as all written offers from publishers (most, although not publisher will not do this, which is often true when you are dealing all, offers do come in writing). Again, ideally this should be happening with overseas publishers but also certain domestic ones. in real time, but if not, immediately upon your request. ROYALTY STATEMENTS DEALS Your agent should understand your royalty statement and be able to All offers should be communicated to you as soon as possible and explain any questions you have. You should be sent all copies of your explained clearly so that you understand all the terms of the offer. Your royalty statements, even when no money is due. agent should never accept any offer without your verbal or written approval first. SUBSIDIARY RIGHTS When your agent is making a deal on your behalf, the deal points Your agent should be transparent about the means by which they should be explained to you to your satisfaction. You should be provided exploit your subsidiary rights. Do they go direct, use a subagent, www.scbwi.org use an outside agency, or do they generally grant all these rights to | with a deal memo either at the time of the deal or upon your request. At a minimum, the deal memo should outline such terms as advance, the publisher (note: all of these can be valid options). If you have payout, delivery dates, rights included, and royalties. An exception to questions, your agent should help you understand their methodology this would be when you are re-upping with the same publisher, in which adequately, which includes the ways that this can affect your case the deal points are often described simply as “on the same terms” commission splits. as your previous agreement. Jenny was born in New York City but grew up in Harrisonburg, Virginia FEES in a house full of books where she spent many lazy afternoons reading It probably goes without saying that your agent should not be in a sunny window seat. She went on to England to get a BA/MA with charging you reading fees or editorial fees. Sometimes your agent may first class honors from Cambridge University, and then worked at several suggest that you hire a freelance editor; the agent should not have boutique agencies before joining Trident Media Group in 2003. In 2009 any arrangement with this editor that would mean that they benefit she left to found The Bent Agency. In the course of her career, she has financially from such an arrangement (such as referral fees). Some represented a great many New York Times best-selling authors, a list agents also charge reasonable expenses (for bank charges, mailing, which currently includes Stephanie Garber, AG Howard, Governor John PUBLICATIONS GUIDE: THE BOOK photocopying, etc.); if so, they should provide you with, or be willing Kasich, Lori Nelson Spielman, Goldy Moldavsky, Yangsze Choo, Lynn Weingarten, Lynsay Sands, Lori Wilde, and Julia London.

2021 to provide you with, a written itemization of such fees. SAYING YES TO THE REP: DUE DILIGENCE WHEN RECEIVING AN OFFER OF REPRESENTATION

by Kayla Cichello

t’s easy to assume that saying yes to an offer of representation is a no-brainer. Months or years of work have finally amounted to an offer or multiple offers of representation, but doing your due dili- I gence when receiving such an offer is essential in finding the right match with an agent or artist’s rep. No matter the length of time you are ultimately with the agent, this is the person that is going to help guide your career. It’s okay to have questions, and you should have questions. Saying yes to repre- sentation is a lot like getting married before dating, a phrase Senior Agent Jennifer Rofé at the Andrea Brown Literary Agency likes to reference from her mentor, Andrea Brown. It’s important to know as much as you can before saying yes. But what exactly does this entail?

EXPECTATIONS conversations if you are being truthful to yourself and your wants/needs. Just like any relationship, it’s critical to get a taste of what the It may very well be that during the course of a phone call, you decide expectations are on both sides. The agent may ask the writer or that maybe this isn’t the agent for you, and that is perfectly acceptable. illustrator about their appetite for revision, what their day-to-day Or you may hang up and think of twenty more questions you should have schedule is like, do they have multiple story ideas, or what is their asked. Take a day or two, organize your thoughts and send a follow up experience in the children’s publishing industry? And as someone on the email thanking the agent for their time, and ask those questions. Ask if receiving end of those questions, it can be beneficial to pose similar there is a client that you can reach out to; think of it as a reference for questions to the agent. Is this agent an editorial agent who will delve the agent. You should be able to get a good sense of how an agent works deep into a story and provide editorial feedback for multiple rounds or after speaking with or emailing with a current client. are they more of the strictly negotiation type who relies on the client and editor relationship to work out the majority of revision? Is there an THE NITTY GRITTY: CONTRACTS, COMMISSIONS, AND expected timeframe to turn something around if revisions are requested? COMMUNICATION What about a timeframe for notes/feedback? And, if the agent has an Although it may not be as fun as listening to an agent gush over your assistant, how often would you be working with the assistant? If you are work, you should understand exactly what you are signing up for. speaking with an agent who has well-known, best-selling clients, how Contracts: How does an agency contract work? Are you locked in for much time are you actually going to get with that agent if needed? a certain period of time? If you decide it’s best to end the relationship, And, as the potential client, it’s worth asking yourself if you have how does that work? Ask for a sample or copy of the agency contract the fortitude for potential multiple rounds of feedback/revision? Or how to review, and if you don’t understand something in that contract, ask. much face time you are okay with receiving or not receiving. Something And what about publishing contracts? Does the agency have a contracts to note, though, is that an agent should be communicating with you person or department? Who is reviewing your contract prior to you seeing about your business and within a reasonable response time. Agents it? should be mostly reachable during business hours, and you may certainly What about offers you receive directly that are work for hire? For ask what a potential agent’s typical response time is (with the knowledge example, writing or illustrating for a textbook, magazine, web series or that life happens and response times may vary). other non-traditional children’s publishing offers. Would the agent want It’s also important to be honest. If you don’t think you are someone to handle communication with these types of offers? What types of deals who can put in multiple rounds of revision, then that is important for does the agent need to be involved in? the agent to know. If you are someone who wants the reassurance that Commission: What is the agency commission? (A 15% commission every email has been seen within a few hours or are anticipating a New is the standard for literary agents selling book rights; some artist reps’ York Times bestseller with your first book, it’s better to be transparent commission can be up to 25%. Sub rights commission can vary and be about those expectations upfront. And if you don’t know what your up to 25%.) How long does it take to get paid if you do sell something? expectations are, that is fine too. There are no wrong answers in these What would the agent/client relationship be for tax purposes (employer, 210 | SAYING YES TO THE REP

contractor/sub-contractor)? Communication: What are the agent’s procedures for communication while on submission and while negotiating a deal? Will you get a copy QUESTIONS FOR ARTISTS of the submission list? Do they share editor passes with you? (Yes should be the answer to both of those questions.) And what about editor response times? When does an agent check in with an editor? » If you are an illustrator, are you expected to write your own stories Each agent/agency may have different protocol for checking in with too? What if you want to focus solely on illustration projects? editors (and, again, life happens with editors too). » What feedback does the agent have about your portfolio or website?

» What would be the first steps once you’ve agreed to work together? RED FLAGS The majority of agents are wonderful and trustworthy and will » How does the agency handle artist promotion? always work with the client’s best interest in mind. For those very few » How much promotion is solely the artist’s responsibility? What does exceptions, you may want to note if some of the following arise in a the agent expect in terms of self-promotion? conversation: Agents only get paid when you get paid. If an agent is asking you for money upfront for anything, that is a major red flag. If an agent is promising that your work will receive a movie deal or will sell a million copies, be cautious. These are nice words to hear, but ultimately, these kinds of accolades are few and far between. If an agent wants you to make a decision by the end of a phone call or by the end of the day, be weary. You should receive adequate time to make your decision. This is not a direct red flag but something to consider: How does this agent conduct themselves on social media? Is that important to you? OFFER QUESTION

And remember, agents are people too! They are excited to be offering CHECKLIST you representation. Communication between you and the offering agent » What does the agency contract entail? Is there a copy to doesn’t have to be all business, but you’ve worked hard to get to this point, so don’t be afraid to ask several questions. Take a few days to review? think it over; you don’t have to say yes to representation at the end of » What is the agency commission? one phone call or email, but you certainly can if you feel confident in » How does communication work? (submissions, deals, agent your choice and that all your questions have been answered. availability)

Kayla Cichello is a literary agent at Upstart Crow Literary. She » How does payment work? previously worked as the National Conference Coordinator for SCBWI » Who is reviewing publishing contracts? headquarters and recently logged several years as assistant to Senior » What are the next steps if we agree to work together? Agent Jennifer Rofé at the Andrea Brown Literary Agency. For more » For editorial agents, what does the revision process entail? information about vetted agents and resources, visit SCBWI’s publication, THE BOOK, on www.scbwi.org. (Timeframe, rounds) » Are there expectations for productivity? » Is there a current client I could connect with? www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 FREELANCE EDITORS DIRECTORY

MARSHA DIANE ARNOLD offering thoughts on marketability, today’s including picture books and novels from various 21300 Walker Farm Court marketplace, other resources, comparable publishing houses such as Simon & Schuster, Alva, FL 33920 picture books, and discussion of page turns Dutton, Holt, and HarperCollins. She is an 707-292-1171 and “dummies.” She thinks a lot about each instructor for the Institute of Children’s Literature marshadianearnold.com/ client’s work and the client’s ongoing writer’s and has been a freelance manuscript doctor and [email protected] journey, always being aware of the client’s goals writing coach for over five years. Her clients Marsha Diane Arnold is an award-winning and their story. If you’d like Marsha to consult include published authors and beginners alike. picture book author with over one million on your manuscript, you may contact her at Fees are $100 for a picture book and $200 for books sold. The media has called her “a [email protected]. initial feedback on a novel, including plot, born storyteller.” Her 21 books include Lost. character development, voice, theme, and genre Found., illustrated by Caldecott Medalist CAROL BARKIN issues. For more details about her services and Matthew Cordell, the bilingual Galápagos Girl/ 47 Villard Avenue fees, visit her website. She is a frequent speaker at Galapagueña, Badger’s Perfect Garden, Heart Hastings-on-Hudson, NY 10706 writing conferences with an expertise in plot and of a Tiger, and The Pumpkin Runner. A few of 914-478-0612 story structure. If you would like a free copy of her the many honors her books have garnered are [email protected] article on classic story structure for the Children’s Ridgway Award for Best First Book, Smithsonian Carol Barkin has been a senior editor at various Writers and Illustrators Market, just send an email Notable, Dolly Parton Imagination Library, publishing houses, including Lothrop, Lee & to the above address. Campoy-Ada honor book, and Bank Street Best Shepard, Prentice-Hall Children’s Books, and Books of the Year. Simon & Schuster Books for Young Readers. CHAD BECKERMAN Known for her character-driven stories, Marsha She has written numerous books with Elizabeth 206 Carroll Street has a course on Writing Character James, both fiction and nonfiction, and she Brooklyn, NY 11231 Driven Picture Books at the Children’s has been a freelance editor and book doctor for www.chadwbeckerman.com Book Academy. She has done manuscript more than fifteen years. Ms. Barkin offers a full Chad W. Beckerman brings his experience as consultations through the Institute of Children’s range of editorial and book-doctoring services creative director and picture book and graphic Literature, freelanced for over twenty years, from diagnosis to prescription and treatment, novel designer to his independent studio, He is and been an instructor at the week-long Oregon from concise evaluation to detailed critique to offering portfolio reviews and one-on-one in-depth Coast Children’s Book Writers Workshop. David developmental and line editing. She has extensive picture book dummy development, coaching Greenberg, author and founder of the Workshop experience in critiquing and editing all genres of illustrators and author-illustrators from preliminary writes: “Marsha’s work has set the standard for children’s and young adult books, with a particular rough sketches to a fully developed dummy with excellence. She offers the most constructive interest in nonfiction for all age groups. Fees vary, art samples. feedback and encouragement I’ve seen from depending on length of manuscript and the kind Need feedback, support and some helpful any instructor ever. All her interactions are of work needed. For more information, contact Ms. suggestions on how to make your work better? supremely kind and affirmative. I greatly respect Barkin; for email, use “SCBWI editing query“ in Then you are in the right place! I am offering her not only as an author, but as an editor and the subject line. portfolio and picture book consultations this year. teacher. I highly recommend her.” During the review we will talk about how you can Marsha asks a flat fee of $200 for picture book BONNY BECKER get to your next creative level. What makes you manuscripts of 1,000 words or less. She usually PO Box 15268 happy about your work? What is easy or effortless spends four hours or more on each client’s work. Seattle, WA 98115 about your work? What are you experimenting This includes line editing, editorial suggestions 360-597-3432 on? What are you struggling at? These are a few on plot, character, pacing, and arc, ideas for www.bonnybecker.com questions I want you to consider and we will revision, and a “Zoom” video chat of an hour or [email protected] discuss them. In addition, he will answer any more. She enjoys working with aspiring writers, Bonny Becker is the author of nine books other questions about your work or publishing you 212 | FREELANCE EDITORS DIRECTORY

may have and post your work to his Instagram & Company, PSS!/ Penguin). She was the VP Contact her by email, with “SCBWI MS DR” in the stories so his publishing contacts can see your and Publisher of Americhip Books, and has been subject line. work. editorial/ publishing director for Golden Books, In addition, he is offering his services to design PSS!/ Penguin RandomHouse, Intervisual Books, ELLEN DREYER your picture book. Gateway Learning Corp (Hooked on Phonics), and 392 Elmwood Avenue Chad is the designer and art director behind such others. She charges by the hour for her editorial Maplewood, New Jersey 07040 successful children series as Diary of a Wimpy Kid, services, depending on the length and state of 973-868-4396 The Questioneers ( Iggy, Rosie and Ada), Origami the manuscript, negotiable on a sliding scale; www.ellendreyer.com Yoda, NERDS, Nathan Hale’s Hazardous Tales, Jon SCBWI members get a substantial discount. [email protected] Scieszka’s Frank Einstein, The Terrible Two, Peter Extensive experience with self-publishing as well Ellen Dreyer is the author of the young adult novel Reynold’s I AM books, Bill Nye’s Jack and Geniuses as traditional submissions. Free query letter edit. The Glow Stone, a Bank Street College Best Book and Bryan Collier’s Caldecott Honor Trombone Client references at: www.publishersmarketplace. of the Year, as well as picture books and chapter Shorty. com/members/lbuccieri. books for the trade and educational markets. With During his time at Abrams he worked closely with twenty years’ experience as a staff editor with award-winning and best-selling illustrators and NORA COHEN Dial Books, Morrow Junior Books, and Dorling authors (Caldecott Honor, Newbery Honors, The www.childrensbookediting.com Kindersley, she has worked with some of the New York Times Best Sellers List, The New York [email protected] finest authors and illustrators in the business, and Times Best Illustrated Children’s Books, The New Nora Cohen was a senior editor and is currently an editorial consultant and writing York Book Show, and Society of Illustrators), managing editor at G.P. Putnam’s Sons. She teacher. She has been a writer-in-residence including Art Spiegelman, John Hendrix, Jillian now runs a children’s book editing service, at numerous schools in the United States and Tamaki, Isabelle Arsenault, Bryan Collier, Brian ChildrensBookEditing.com, to edit, polish, and Canada, including the University of Michigan. She Selznick, Dave McKean, David Roberts, Jules evaluate manuscripts of both first-time and holds a master’s degree in English literature from Fieffer, Joe Sutphin, Henry Cole, Amy June Bates, experienced writers prior to their submission to the University of London. Ellen offers a range Jarrett Krosoczka, David Roberts, Dan Santat, publishers and literary agents. She also provides of services for writers, including manuscript and Sophie Blackall, Mathew Cordell, Cory Godbey, a packet of informational sheets about the proposal evaluation, substantive editing, line Nikki McClure, Ross MacDonald, Charle Santoso, publishing and submission process. At Putnam, editing, creative coaching, and ghostwriting. She Victo Ngai, Yuko Shimizu, Sterling Hundley, Adam Ms. Cohen worked with such award-winning specializes in helping both new and experienced Rex, and Jeff Kinney, in addition to nurturing authors and illustrators as Tomie dePaola, Eric Hill, authors in all genres reach their full potential. Her debut talents including Jared Chapman and John Catherine Stock, Rachel Isadora, Jan Brett, Margot rate for editing and coaching is approximately $60 Hendrix. Tomes, Diane Stanley, Lorinda Bryan Cauley, and per hour; fees for writing services are negotiable. To understand his method of reviews and Rafe Martin. Her editing and evaluating rates coaching, visit www.chadwbeckerman.com/ are per manuscript page and vary for picture DRYDENBKS: EMMA D. DRYDEN illustrationinfoandreviews. books, easy-to-read books, chapter books, and www.drydenbks.com Email Chad at [email protected] for review young adult novels. She also consults with [email protected] rates and times or to hire him to design your publishers as a freelance editor. Please see her emmaddryden.blogspot.com/ picture book. ChildrensBookEditing.com website for specifics www.twitter.com/drydenbks on rates and services, and contact her with any www.facebook.com/drydenbks?ref=ts LISA ROJANY BUCCIERI questions. www.pinterest.com/drydenbks/ Editorial Services of Los Angeles Emma D Dryden is the founder of the children’s 1543 Sycamore Canyon Drive NANCY RAINES DAY book editorial and publishing consulting firm, Westlake Village, CA 91361 217 Villager Drive drydenbks LLC, through which she provides Phone & Fax: 818-707-1042 St. Simons Island, GA 31522 editorial and consultancy support to authors, www.scbwi.org www.editorialservicesofLA.com 912-634-9610 illustrators, agents, foreign and domestic | www.publishersmarketplace.com/members/lbuccieri [email protected] publishers, and ebook and app publishers. Her [email protected] Nancy Raines Day is the author of more than a long children’s publishing career began at Viking Lisa Rojany Buccieri is a publishing executive with dozen picture books, many in rhyme, including and Random House, followed by a position with twenty years of experience in the industry. Lisa Pirate Jack Gets Dressed and What in the World? Margaret K. McElderry Books. After McElderry has also written over a hundred children’s books Numbers in Nature (Beach Lane). Her first title, retired, Emma became VP, Editorial Director and has been translated into many languages. The Lion’s Whiskers (Scholastic), was a New of McElderry Books, and then VP, Publisher of She was lead author on Writing Children’s Books York Times Notable Book. Nancy has helped her Atheneum Books for Young Readers and Margaret for Dummies 2nd Ed (Wiley, 2013) and cowrote students from the Institute of Children’s Literature K. McElderry Books, imprints of Simon & Schuster the New York Times best seller Fund Your Future and fellow children’s authors polish manuscripts Children’s Publishing. (Berkley, 2002) with Julie Stav. Her books have that have since been published. She has also Throughout her career, Emma has edited hundreds received various accolades, such as reaching worked as a magazine editor. Specializing in of award-winning and highly lauded books for #1 on the Publishers Weekly Bestseller List two picture books, she offers suggestions for revision children, ranging from board books and picture years in a row (Make Your Own Valentines, PSS!/ as well as copyediting for submission or self- books to poetry, novelties, nonfiction, MG, and YA PUBLICATIONS GUIDE: THE BOOK Penguin) and winning the American Bookseller’s publishing and help with query or cover letters. fiction and fantasy. As publisher, she oversaw the Pick of the List (Giant Animal Fold-Outs: Kangaroo Rates are $100 for a manuscript up to 1000 words. annual publication of over one hundred hardcover 2021 FREELANCE EDITORS DIRECTORY | 213 and paperback titles. Authors and illustrators Award, the Charlotte Zolotow Award, the New York book deals. By conducting word-by-word line whom Emma has edited include Ellen Hopkins, Times Best Illustrated Award, the Jane Addams editing or more general substantive editing, Karma Wilson, Susan Cooper, Alan Katz, Raul Children’s Book Award, and the Los Angeles Times Deborah helps authors hone their storytelling Colon, Lee Bennett Hopkins, David Diaz, and Paul Book Prize. voices, synchronize age-appropriate language Zelinsky. Through Catherine Frank Editorial Services, and subjects, and develop stories that appeal A highly sought-after speaker about craft and Catherine works on a wide variety of projects with simultaneously to young readers and to adults the digital landscape, Emma is on the permanent independent authors, agents, app developers, such as parents, teachers, and librarians. She lives faculty of “Your Best Book,” an annual week- small presses, and the largest trade houses. She in San Diego, California, with her husband and long writer’s retreat for MG and YA authors; the edits picture book texts, chapter books, nonfiction triplet sons. For more about Deborah, check out leader of the Editorial Quality Panel for picture for older readers, and middle grade and YA novels. her website. ebook platform uTales; and on the SCBWI Board Please visit editedbycatherine.com for additional of Advisors. Her blog, “Our Stories, Ourselves” information and to learn more about Catherine’s EMMA WALTON HAMILTON explores intertwined themes of life and writing, approach to editing. PO Box 839 and she shares information through and Sag Harbor, NY 11963 encourages connection in the social network. To F1RST PAGES: EILEEN ROBINSON www.childrensbookeditor.com learn more about the services drydenbks offers to 2 Klarides Village Drive, 183 [email protected] authors and illustrators, reviews and references, Seymour, CT 06483 Emma Walton Hamilton is a best-selling children’s submission guidelines and general pricing 203-709-0490 book author, editor, and educator. She has co- information, and complete contact information, f1rstpages.com/ authored over thirty children’s books with her please visit www.drydenbks.com. [email protected] mother, Julie Andrews, seven of which have been With over ten years in children’s publishing, on the New York Times best-seller list, including ANGELELLA EDITORIAL Eileen Robinson has worked with both published The Very Fairy Princess series (#1 NY Times www.angelellaeditorial.com and unpublished authors and has helped many Bestseller), Julie Andrews’ Collection Of Poems, [email protected] new writers get their first start. She has published Songs And Lullabies; Julie Andrews’ Treasury: Angelella Editorial--founded by Kate Angelella, over 150 books a year—a mix of nonfiction and Poems and Songs to Celebrate the Seasons; the a former Simon & Schuster editor--is a family of fiction—for Scholastic as an executive editor and Dumpy The Dump Truck series; Simeon’s Gift; editors with proven professional experience who for Harcourt as an editorial manager. Her books The Great American Mousical and THANKS TO want to bring out the best in writers and authors. have gone into Scholastic book clubs and book YOU – Wisdom From Mother And Child (#1 New Whether you are a new or seasoned, published fairs as well as trade and educational/library York Times Bestseller). Emma’s own book, Raising author, Angelella Editorial can help you level up. markets. She has also worked with Scholastic, Bookworms: Getting Kids Reading for Pleasure Our editors specialize in kidlit, from picture books National Geographic, Santillana USA, Marshall and Empowerment, premiered as a #1 best-seller to YA novels, in every genre. Our clients have Cavendish, Weekly Reader, Innovative Kids, and on Amazon in the literacy category and won a gone on to: sign with the agents of their dreams, others as an editorial consultant and writer. F1rst Parent’s Choice Gold Medal, silver medals from the sell books at auction, sign with managers at big Pages is unique in that it critiques the first pages Living Now and IPPY Book Awards, and Honorable Hollywood talent agencies, and author bestselling and first chapters for picture books and MG and Mention from ForeWord Magazine’s Best Book of and award-winning books. Contact us via our YA novels, as well as complete manuscripts. Please the Year. Emma teaches children’s lit for Stony website or email us for more information. We look see website for more details and fees. You can Brook Southampton’s MFA in Creative Writing forward to working with you! contact Eileen with any additional questions at and Literature Program, and serves as Director the above email address. (Note: the letter i in the of their Children’s Literature Fellows program CATHERINE FRANK EDITORIAL SERVICES word first is replaced with the number 1.) and the Southampton Children’s Literature www.editedbycatherine.com Conference. She serves as Editorial Director for [email protected] DEBORAH HALVERSON The Julie Andrews Collection publishing program, Catherine Frank is the founder of Catherine Frank www.deborahhalverson.com formerly with HarperCollins and now with Little, Editorial Services, LLC, which is an editorial www.deareditor.com Brown Books for Young Readers, and is also an consultancy specializing in children’s literature [email protected] award-winning freelance children’s book editor, and publishing. She began her career as an Deborah Halverson is the award-winning author of providing editorial evaluations, line editing, and editorial assistant at Viking Children’s Books and Writing Young Adult Fiction for Dummies and the mentoring services. Among the many books she eventually rose through the ranks to become teen novels Honk If You Hate Me and Big Mouth. has edited are the Moonbeam Children’s Book Executive Editor there. After eleven years of Armed with a masters in American literature, Award Gold Medalist picture books Sunny Bunnies working in Manhattan, she returned home to New Deborah edited picture books and teen novels (Marjorie Blumberg) and A Shovelful of Sunshine Orleans with her family and created Catherine for Harcourt Children’s Books for ten years before (Stacie Vaughn Hutton) and the Mom’s Choice Frank Editorial Services in 2011. leaving to write full-time. She is also the founder Gold medalist middle grade novel, Celtic Run (Sean Catherine is the editor of award-winning fiction of the popular writers’ advice website DearEditor. Vogel.) For more information, visit her website. and nonfiction children’s books ranging in format com, a frequent speaker at writers conferences, from picture books to novels in verse to narrative and a writing teacher for groups and institutions nonfiction. Books acquired and edited by her including UCSD’s Extension Program. Deborah have received awards and honors including: The freelance edits fiction and nonfiction for both Boston Globe Horn Book Award, the Golden Kite published authors and writers seeking their first 214 | FREELANCE EDITORS DIRECTORY

ESTHER HERSHENHORN EILEEN HEYES editor at Holiday House, where she spent six 222 E. Pearson Street, #1108 7012 Tanbark Way years acquiring and editing award-winning Chicago, IL 60611 Raleigh, NC 27615 picture books, early readers, and middle grade 312-255-1619 919-848-3858 and young adult novels. She knows what it www.estherhershenhorn.com www.eileenheyes.com takes to work with an author to transform a [email protected] [email protected] well-conceived draft into a published book. Writing Coach Esther Hershenhorn has worked A longtime member of the SCBWI, Eileen Heyes is While at Holiday House, she edited both one-on-one with children’s book writers since the author of three young adult nonfiction books fiction and nonfiction. Authors she has edited 2000, helping them discover, craft and market and two middle grade mysteries, one of which include Eric A. Kimmel, David Adler, Caroline their stories. Esther works with writers of all was a finalist for a 2003 Edgar Award. Eileen has Jayne Church, Eve Bunting, Sue Macy, Bobbi formats and genres, no matter where they are worked as a newspaper editor from 1979 to the Miller, Lee Bennett Hopkins, Saci Lloyd, and in the writing or publishing process, utilizing present. She has been a freelance copy editor Jane Cabrera. Her titles have earned the Bank her writing, teaching and Children’s Book World and content editor of books for Millbrook Press, Street Best Book of the Year award, the Sydney knowledge and experience. Esther’s titles include Carolina Moon, and Crescent House. She reviewed Taylor Honor, the ALA Notable Children’s Book the picture book and Sydney Taylor Book Award children’s books from 1995 to 2002 for The News selection, the IRA/CBC Children’s Choice award, winner Chicken Soup by Heart, the middle grade & Observer (Raleigh, NC) and served as a judge various Booklist Top 10 selections, and many novel The Confessions and Secrets of Howard for the 2006 Juvenile Edgar Award. She conducts state awards. She also acquired and edited J. Fingerhut, and Teacher’s Choice winner S is writing workshops and residencies for children Holiday House’s first paranormal romance and Story: A Writer’s Alphabet. A former classroom and adults. Macro and micro services offered: first steampunk novels, and she particularly teacher, Esther has taught Writing for Children comprehensive manuscript analysis and critique, enjoys editing historical fiction, fantasy, workshops in the University of Chicago’s Writer’s copyediting in preparation for submission, and contemporary fiction, and nonfiction. Pam has Studio since 2002 and at Chicago’s Newberry final polishing for self-publication. Rates are $50/ spoken at various SCBWI and regional writing Library since 2001. She also proudly serves as hour, with $100 minimum. Clients may send a conferences around the country. She holds a the Regional Advisor Emeritus of the Illinois manuscript and get a free estimate of the total BA in English from Cornell University and a SCBWI Chapter and recently concluded her two hours required (please contact by email first). professional certificate in editing from New York elected terms of service on SCBWI’s Board of Clients can set a limit on what they wish to spend. University. She is also proficient in Spanish and Advisors. Esther’s manuscript evaluations and See website for more details. References available has expertise as a professional ballet dancer. editing suggestions reflect her teaching talents upon request. She is now raising a young reader of her own. as well as her personal investment in each Pam enjoys sharing an author’s excitement over writer and his story. Her thoughtfully-worded JACQUELINE HORSFALL producing their best writing and the fulfilment comments focus on the story and telling’s 2683B Spencer Hill Road of seeing that work published. Editing services audience and format suitability, the elements of Corning, NY 14830 include manuscript and proposal evaluation, narrative (especially character, plot, voice and [email protected] developmental editing (broad, big-picture scene creation), marketability and comparable (Please email for initial contact, describing editing), line editing, and copyediting. Her rate literature. Extensive comprehensive notes project and intended audience) for manuscript editing is $50/hour, first hour precede and follow two-hour meet-ups via www.amazon.com/author/jacquelinehorsfallbooks free (new clients only; excludes picture books). phone, Skype or in person (if in the Chicago Jacqueline Horsfall is a writing instructor for Please contact Pam at [email protected] area), ensuring the writer is able to move the Institute of Children’s Literature and the to discuss your developing piece! forward on his plotline informed, supported and author of over twenty books and hundreds of smarter. In a successful picture book, the writer magazine pieces for both children and adults. G-REVISIONS: DAVID E. GOLDSCHMIDT, PHD offers concrete details from which the reader She has been freelance editing for over fifteen 475 Weaver Road draws life’s universal truths. Esther works hard years, specializing in middle grade novels and Delanson, NY 12053 www.scbwi.org so her comments do the same, so that from her early readers, rhyming picture books, memoirs, 518-225-2133 | specific remarks about a specific manuscript, the and general nonfiction, especially for writers [email protected] writer learns the tenets of writing for children who plan to self-publish. Jackie also gives Having edited dozens of manuscripts ranging in today’s marketplace. Esther especially enjoys honest yet gentle appraisals of manuscripts that from picture books to young adult, David excels coaching new writers, helping them ready their have been repeatedly rejected by publishers. at making good writing great. With an extensive manuscripts for traditional or independent An initial $200 retainer covers four hours of technical background, David brings a keen publishing while grounding them in today’s appraisal/evaluation/critique. In-depth editing analytical eye to both the low-level mechanics Children’s Book World. Line-editing is also at $50/hour on a pay-as-you-go plan. Client of writing (e.g. grammar, spelling, sentence/ available. Esther takes enormous pride in her may terminate at any point. Edited book paragraph arrangement) and the high-level why- clients’ writing strides and publishing successes. samples available upon request. would-someone-want-to-read-this structure of Visit www.estherhershenhorn.com/coach to read writing (e.g. voice, style, story, characterization, writers’ testimonials. Email [email protected] PAM GLAUBER consistency). More information, including rates for a description of fees. 203-556-3751 and writing samples, are available on David’s [email protected] website. Discounts offered to fellow SCBWI PUBLICATIONS GUIDE: THE BOOK Pam Glauber is a freelance editor, copyeditor, members. Further, David is happy to critique the and proofreader. She was most recently an first chapter or first few pages of a manuscript 2021 FREELANCE EDITORS DIRECTORY | 215 for free, to ensure a good writer-editor match. children’s book market. As a writer and teacher as and more. She has also been an elementary In a hurry? Contact David via email with project well as an editor, she can tell you what direction school librarian and currently works part-time details. Rush jobs are not a problem. to take with your manuscript, why it makes sense, as a senior editor for www.littlefox.com, a and how it will help your future writing. A critique website that creates leveled animated stories MARYA JANSEN-GRUBER includes a light line edit, margin comments, and and apps for children. 1380 N. Mountain Avenue a detailed evaluative letter, while a line edit is As a freelancer, Susan has worked with Ashland, OR 97520 a thorough preparation of the manuscript for hundreds of writers as well as publishers such 541-552-0753 publication. She has a special interest in writing as HarperCollins, Simon & Schuster, Readers www.childrensbookws.com and editing for historical organizations and Digest, Running Press, Random House, and [email protected] has worked with groups including the Colonial Lerner Publishing. She is the author of more Marya Jansen-Gruber has been reviewing Williamsburg Foundation (Huzzah for Liberty! by than forty books for children; these range from children’s books for several years for a number Cindy Trumbore, 2017) and the Jefferson National picture books to stories based on licensed of children’s book review websites. These Parks Association. Her fee for manuscript critiques properties to nonfiction and two young adult include Children’s Literature, kidsreads.com, and and line editing is $75/hour. novels for reluctant readers. Midwest Book Review. In the fall of 2003, she She enjoys coaching writers and believes her began editing and publishing her own online MICHELLE KNUDSEN strength as an editor lies in helping them monthly children’s book review journal (www. www.michelleknudsen.com to locate the stories they want to tell. Her lookingglassreview.com). In addition to reviews of [email protected] services include line editing, developmental children’s books of all genres, the journal includes Michelle Knudsen has worked in the children’s editing, ebook consultation, writing, rewriting, features on many topics, author profiles, and publishing industry for more than fifteen years. proofreading, and manuscript critiques. more. Soon after launching her journal, Marya She is the author of forty books for young readers, Susan’s rates are $50 per hour. For many began to offer writers manuscript editing and including the award-winning and New York Times projects, a flat fee may be arranged in advance. evaluation services. In the last few years, Marya best-selling picture book Library Lion, and has Please visit her website for more details, has written dozens of ebooks for children, and has written everything from board books and activity including references, or contact her by email. edited a picture book for a European publisher. books to beginning readers and novels. Formerly Ms. Jansen-Gruber has a degree from Oxford a full-time editor at Random House Children’s TARA MCGURK LEWIS University and has had many years of writing Publishing, she was the editor of Barbara Park’s www.taralewisbooks.com experience. Ms. Jansen-Gruber critiques both best-selling Junie B. Jones series and continues [email protected] fiction and nonfiction manuscripts. She also offers to work with individual and corporate clients Tara Lewis is a former children’s publishing editing services, mentoring, and classes. For more on various children’s and educational projects. executive who has been in the business for information, please visit her website or contact She has also taught children’s book writing more than twenty years. She uses her marketing her by email. at Gotham Writers’ Workshop in NYC. Michelle sensibility to help authors develop and perfect offers a full range of editing services for all their reader’s story experience. During her time CINDY KANE genres and age levels, although her specialties at Scholastic Inc., Disney Publishing Worldwide, www.cindykane.net are picture books, beginning readers, and and Hyperion Books for Children, she was [email protected] fantasy novels. Please see her website for her fortunate to work with award-winning authors Cindy Kane is the former executive editor and current rates and availability, or email her and editors and honed her craft at developing editorial director of Dial Books for Young Readers, directly at the address listed above. successful launches for well-known properties, where books she edited include A Long Way From series, and licenses. She offers a full-range of Chicago, a 1999 Newbery Honor winner, and SUSAN KORMAN editing services for all children’s formats but A Year Down Yonder, the 2001 Newbery Medal 101 Shelley Lane specializes in middle grade, chapter books, winner, both by Richard Peck. Previously she was Yardley, PA 19067 and YA. She also provides publishing process editor-in-chief of Four Winds Press/Macmillan, 215-295-7503 consultation and guidance for new authors. where many of the books she edited are still www.susankorman.net Find out more about her services, experience, in print 25 years later. She has been teaching www.linkedin.com/pub/susan- and free consultations at www.taralewisbooks. writing for children since 2005 and is also the korman/18/9b2/793 com/. author of four picture books and two chapter [email protected] books written under her married name, Cindy Susan Korman has been working in book SEMADAR MEGGED Trumbore. They include The Mangrove Tree, winner publishing for nearly twenty-five years. She 5 East Third Street, #2 of the 2012 Jane Addams Award, and Parrots began her career at New American Library New York, NY 10003 Over Puerto Rico, winner of the 2014 Sibert (NAL) as an editorial assistant to the Executive www.semadarmegged.com Informational Book Medal from the Association Managing Editor and rose through the ranks [email protected] for Library Service to Children. Her latest book, at Simon & Schuster and Bantam Doubleday Semadar Megged brings over twenty years of Butterfly for a King (Spring 2021), is a Junior Dell (Random House). As a senior editor, she experience as an art director and picture book Library Guild selection. Specializing in critiques acquired and edited middle grade fiction, young designer to her independent studio, offering and line edits of picture books and chapter books, adult fiction, nonfiction, and oversaw many one-on-one in-depth picture book dummy Cindy enjoys working with authors and author- popular series such as Encyclopedia Brown, development, coaching illustrators and author- illustrators to shape their books for the current Choose Your Own Adventure, The Saddle Club, illustrators from preliminary rough sketches to a 216 | FREELANCE EDITORS DIRECTORY

fully developed dummy with final art samples. JULIE SCHEINA EDITORIAL SERVICES She has received the Golden Kite Editor Award, Over the years at various imprints of Penguin www.juliescheina.com was a mentor at the Northern New England SCBWI Random House, Semadar has worked closely [email protected] Writers’ Retreat, and has spoken at numerous with award-winning and best-selling illustrators Julie Scheina is a former senior editor at children’s literature conferences. and authors (Caldecott Medal, The New York Little, Brown Books for Young Readers with Visit tinytalesediting.com to learn more. Times Best Sellers List, The New York Times over a decade of experience editing acclaimed Best Illustrated Children’s Books, The New York and bestselling books for children and young HAROLD UNDERDOWN Book Show, and Society of illustrators) including adults. She loves collaborating with authors and 917-656-7683 Ed Young, David Small, Eric Carle, Loren Long, illustrators, helping to identify a work’s strengths www.underdown.org/pced.htm Ted Lewin and Patricia Polacco, in addition to and weaknesses, and ensuring that an author or [email protected] nurturing debut talents including Renata Liwska’s illustrator’s vision is shining through from start to Harold has worked for almost twenty years in first picture book and Ale Barba in her first finish. She has edited more than 150 titles across children’s publishing, both as an editor with houses US picture book. In addition, she has been a a variety of genres, from picture books and poetry such as Macmillan, Orchard, and Charlesbridge and freelance jacket designer for New Directions and collections to middle grade and young adult as a freelance editorial consultant. He runs The other publishers since the early 90s. novels, and she brings this depth of experience Purple Crayon (www.underdown.org), a website with To understand her method of coaching picture and industry knowledge to every project. information about children’s publishing for authors, book dummies visit http://www.semadarmegged. Books that Julie has edited have spent more illustrators, and others. And he is the author of The com/children-picture-book-development, where than 125 combined weeks on the New York Times Complete Idiot’s Guide to Publishing Children’s Books. you’ll find detailed explanations in words and bestseller list and include a Lambda Literary He performs a range of editorial services, from pictures of what to expect from the process. Award finalist, a William C. Morris Young Adult critiques to developmental editing and beyond. Full Find rates on http://www.semadarmegged. Debut Award finalist, an Andre Norton Award for details of services, rates, and availability (he may com/services/ and testimonials plus contact Young Adult Science Fiction and Fantasy nominee, be busy with long-term projects) can be found at information on http://www.semadarmegged.com/ and a New York Times Best Illustrated Children’s the page listed above. He asks that you review the about-and-contact. Book. information on his site before contacting him by Whether you are an author, illustrator, agent, email with a description of your project. ANNA ORCHARD packager, or publisher, Julie is available for a www.anagrameditorial.com range of editorial services for children’s and WENDY WAX [email protected] young adult projects, including critiques; PO Box 218 After working in publishing, at bookstores, and with detailed editorial feedback; developmental and Remsenburg, NY 11960 authors around the country, Anna founded Anagram line editing; query, synopsis, proposal, and copy www.wendywax.com Editorial, an editorial and research service for a review; as well as consultation and coaching. She [email protected] variety of manuscript and content-strategy needs. At also has experience as a speaker and presenter for Wendy Wax wears many hats in children’s Scholastic, Anna acquired and edited middle grade, conferences, panels, and workshops. To learn more publishing as editor, author, illustrator, and young adult, nonfiction, and fiction novels. She has about the editorial services Julie offers, see books consultant. She was a senior editor at Parachute consulted for authors such as Patricia McCormick and she’s edited, read testimonials, and request a free Publishing, an executive editor at Byron Preiss Paul Griffin, spoken on panels for aspiring writers project estimate, please visit www.juliescheina. Visual Publications, and a freelance editor at at The New School and Stony Brook, and currently com. Standard editorial fees start at $95 per hour; Simon & Schuster Books for Young Readers. serves as US Event Planner and Brand Consultant flat fees are available in some cases. Wendy has written numerous children’s books, for the Roald Dahl​ Estate. Collaborating with including City Witch, Country Switch (Marshall Penguin, the Estate, and creative businesses across TINY TALES EDITING: AMY BETZ Cavendish), Even Princesses Go to the Potty, the country, Anna produces high-quality, brand- www.tinytalesediting.com Even Firefighters Go to the Potty (Little Simon), orientated events with an eye toward long-term amybetz@comcast.net Bus to Booville (Grosset & Dunlap), A Very Mice www.scbwi.org strategy for the late author’s estate. [email protected] Christmas (HarperFestival), and Renoir and the | Editing services include proposal evaluation, As a professional children’s book editor for over Boy with the Long Hair (Barrons). With a BFA developmental and line editing, and extensive twenty years, Amy Betz’s passion is collaborating in graphic design and experience as a collage editorial notes. Research services include exploring with authors. Whether you are looking for editorial artist (having illustrated three of her books), topics for fiction and nonfiction projects as well feedback on a completed manuscript or need help Wendy brings unique, visual thinking to picture as agencies and houses best suited for your with further development of an idea, Amy will book consultations. Wendy offers a full range submission. There’s little Anna enjoys more than provide an honest and constructive assessment, of editorial services, including manuscript working with imaginative and passionate writers including line editing and a detailed editorial letter. consultations (picture books, middle grade fiction, to figure out tricky plot points and character From picture books to young adult novels, fiction nonfiction), editing, rewriting, critiquing, project development. Whether crafting marketing and brand and nonfiction, she can help you craft a book that development, proposal writing, and proofreading. strategies, or sculpting a manuscript into a tight will engage your readers. An initial $200 fee covers four hours of piece of literature, Anna enables creativity, pushes In her role as Senior Editor at Scholastic and Disney, evaluation, critique, editorial suggestions, and for the highest quality, and brings your idea to life. Amy Betz worked with award-winning and best- creative examples and ideas for revisions. $50 for She holds certificates in editing from New York selling authors and illustrators such as Joanna Cole, additional hours. Find out more: www.wendywax. PUBLICATIONS GUIDE: THE BOOK University and a BA with highest honors in English Edwidge Danticat, Bruce Degen, Walter Dean Myers, com. Literature from Lehigh University. Mary Pope Osborne, and Cynthia Rylant. 2021 FREELANCE EDITORS DIRECTORY | 217

REBECCA WESTON STEPHANIE JACOB GORDON/WRITERS INK www.rebeccawestonliterary.com 29915 Rainbow Crest Drive [email protected] Agoura Hills, CA 91301 Rebecca Weston is a former Random House Children’s 818-851-9629 Book editor of award-winning middle-grade and www.writersinkville.com young adult novels and has over a decade of [email protected] experience in the children’s book industry. She now Judith Ross Enderle and Stephanie Jacob Gordon is owner and editor at Rebecca Weston Literary, AKA Jeffie Ross Gordon are partners in WRITERS LLC, an independent editing company, where she INK and co-authors of over 35 published books edits middle-grade, young adult, and adult fiction from picture books to YA. Titles include: Smile, and memoir. Rebecca provides expert edits and Principessa! (Simon and Schuster/McElderry), Two industry insight. She offers a wide range of editorial Badd Babies (Boyds Mills Press), Will Third Grade Ever assistance, from a gentle push in one direction or End? (Scholastic). Their books were on state reading another, to intense developmental editing focusing lists and were Children’s Choice and Parents’ Choice on plotting, characters, and tone, to intricate line books. As part of their publishing experience, they edits, query letter edits, and consulting. Writers served as freelance editors for Boyds Mills Press and are welcome at any stage in their careers, from edited “Totally Fox Kids,” a children’s magazine. unagented, unpublished writers just starting out, Both Stephanie and Judy are Emeritus members of to published, seasoned veterans seeking a fresh set the SCBWI Board of Advisors. WRITERS INK CRITIQUE of eyes. Rebecca helps to bring every manuscript SERVICE includes a written critique with manuscript to its full potential so that writers can feel notations, and suggestions for marketing (when confident as they begin the agent-query process appropriate). Fees: Up to five pages $75. More than or hand in that next draft. Find out more at www. five pages add $8 per page. WI accepts checks or rebeccawestonliterary.com, and contact Rebecca can invoice through PayPal. Please email for other directly at [email protected]. details before submitting work. Writers Ink Motto: We cannot guarantee a sale; we strive with you to JIM WHITING guarantee a stronger manuscript. We look forward to 13881 John Street NE helping you! Bainbridge Island, WA 98110 206-295-0337 DEBRA MOSTOW ZAKARIN www.jimwhiting.com Zoit Media, Inc. [email protected] 17151 Palisades Circle Jim Whiting has an especially versatile background Los Angeles, CA 90272 in publishing. He has written more than 160 310-804-5545 children’s nonfiction books and edited well over www.ZoitMedia.com 200 titles. He has worked with picture book, [email protected] chapter book, middle grade and YA authors. He Debra Mostow Zakarin has been a children’s emphasizes maintaining the authorial voice while publishing executive for 25 years. gently suggesting improvements. He’s also a She was an editor at Scholastic, the director of fanatical fact-checker and painstaking proofreader. domestic and international publishing at Universal Before turning to children’s literature, Jim served Studios, and the publisher at Intervisual Books/ as editor/publisher for award-winning Northwest Piggy Toes Press. She has developed and edited Runner magazine for seventeen years. Other credits hundreds of titles and has written well over 75 include the first piece of original fiction in Runner’s books that have been published by Scholastic, Little, World, scores of freelance credits ranging from Brown Books for Young Readers, Penguin Putnam antiques to zoology, a stint as sports editor of the Books for Young Readers, Grosset & Dunlap, Golden Bainbridge Island Review, e-commerce writing, Books Publishing Company, Simon & Schuster, editing and quality control, advising an All-American Random House, and many other publishing houses. high school newspaper, light verse in the Saturday Debra charges by the hour for her various editorial Evening Post and other magazines, and acting as services, and offers SCBWI members a significant official photographer for the Antarctica Marathon. discount as well as a one-hour phone or Skype Please contact Jim for information regarding rates consultation. She provides one-on-one attention and turnaround time. that is insightful, honest, and encouraging, while always keeping the writer’s voice and goals intact. See website for more details.

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 that you don’t EVER work with a publisher that is charging you for ANY service, be it ed- iting, marketing, or buying books prior to print. Others are harder to read, hid- den 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 Best Seller’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.

Absolute Write – This is the “water cooler” of the writer’s world. TO PUBLISH OR NOT TO PUBLISH Everything you need to know is discussed here. http://absolutewrite.com/ When making the decision to become your own publisher, you must forums/activity.php understand one hard fact: you are opening a business. I know, catch your Writer Beware – Another must is Writer Beware, a place to discover breath . . . breathe in, breathe out. Whether you like it or not, you are literary scams, schemes, and pitfalls. This site is sponsored by the now an entrepreneur of a fabulous new company that sells a product. Science Fiction & Writers of America. http://accrispin.blogspot.com/ This product is your book. If you have an entrepreneurial spirit, you will find a most rewarding and challenging experience awaits you. If not, you LET’S LOOK AT THE MATH may waste a lot of time and money for disappointment. The truth is that On average, a paperback book selling for $9.95 on Amazon will net you must hustle and sell your book, regardless of your status with a big the author $1.75 in royalties. An ebook can earn nearly twice as much house, small press, or self-published venue. Most businesses fail within (and cost zero dollars to publish). So let’s say you earn $3.00 per book. the first year, so you have to know that you must work your business for The average indie author can expect to sell 50 copies of their book over a solid year before you should expect to see a profit. You must be willing the lifetime of the title. At two bucks a pop, you’re looking at expecting to: to make a whopping $150.00 on your book. An author working their business every day can expect to sell nearly 600 a year, which is still just » Put in forty to sixty hours a week working toward building a client $1800.00 . . . per year. base Yes, you can increase your sales price to increase your profit, but if » Study the industry the competition, whose name the consumer already knows, is selling » Generate leads a similar book for under $10, then you’d better be close in price to » Service your customers (fans) compete. Keep in mind: » Invest to grow Your book production must be equal to the Big 5 publishers to include professional editing, cover, and interior formatting. You must purchase sales tools such as business cards, postcards, You must invest in your book just like a publisher because you ARE the posters, marketing freebies, and books in advance to giveaway. Books publisher. on hand will always sell faster than books that must be ordered. Bottom 220 | A-Z GUIDE TO PUBLISHING IN THE DIGITAL WORLD

line, you will become the publisher, distributor, sales force, and 50% or more) from these followers versus Facebook fans or Twitter marketing/publicity team, in addition to the creative writer and editing followers. pro you are already. You must also—depending on your budget— Spend as little as possible. Weigh your options and set a budget. Be become a formatter, cover designer, and booking agent. It’s tireless, left sure to put money back into your business, which should have its own brain work that makes creative thinking more difficult; however, when bank account and tax ID, as a legal entity. publicity works and doors open, the feeling of knowing that you and Find social issues in your book that you can use to establish you alone made it happen pushes you through to the next milestone. your brand. If everyone is selling a book these days, what sets you But you have to continually work your business. The work you do apart from the pack? Find that niche that makes you special in the today will pay off in three months, so if you stop now, you won’t have marketplace and become an expert in that area. an income next quarter. Remember, most businesses fail in their first Consider additional products in your line such as audiobooks, year and take twice as long to make a profit. translations, television, film, stage, book clubs, foreign publishers, and novellas that expand your characters or your story world for your fans. READY, SET, GO! Be assertive and think outside the box. Here’s a breakdown of the publishing process and what you can Don’t forget, it will take hard work and perseverance to find success. expect to pay to self-publish your novel: There is no magic formula. Nor is there a one-size-fits-all approach to independent publishing that will make you an overnight best-selling » Editing: $550-$1500 depending on quality of draft author, no matter what some blogs may promise. You need to be smart » Formatting: $200-$300 and investigate everything for yourself. Be vigilant. Study the market » ISBN: Free-$25 and the industry to educate yourself and avoid the many scam artists » Barcode: $25 who prey off author’s dreams of being published. Finally, remember that » Copyright: $35 the ones who make it never gave up. Now get out there and make it » Cover: $25-? depending on where you get the image or if it’s created happen! by an artist (average $350) » Marketing material: Ongoing fees for bookmarks, stickers, business Jaimie Engle is an award-winning children’s book author from Florida. cards, website, sell sheets (a must have!), book talker, book trailer, As a child, she was sucked into a storybook and has been writing ever swag for giveaways, postcards, etc. ($50-$100 a month average) since. Her passion is speaking to kids about writing and social issues, » Promotional tools: Ongoing and monthly fees for newsletter because words have power. Jaimie teaches writing and marketing classes management, social media funneling, subscriptions, continued at conferences, colleges, and elementary schools throughout the country, education and offers free writing tips for aspiring authors at https://thewriteengle. » Books: $2.50-$6.00 for print-on-demand, based off page count and com/. She is represented by Saritza Hernandez of the Corvisiero Literary much higher if in color Agency. Learn more at www.jaimieengle.com. » Reviews: Varies, but shouldn’t be more than the price of a book and Twitter @jaimie_engle | Instagram @jaimieengleauthor less than $10 » Book launch: From $50-$500, depending » Awards & Contests: Varies and should be researched for reputation before submitting

You will also need to apply for a state sales and use tax ID to collect sales tax on all books sales, which you will need to pay quarterly or be fined hefty fees. And if you are planning on doing author visits, you will need to get fingerprinted through the state ($100) and apply for insurance ($600 per year). www.scbwi.org | WHAT NOW? Congratulations! You’ve opened a business and have your first product: your book. It’s time to share it with the world. The most important thing you can do is to create your brand. This is a complex and organic process that is best described as your unique contribution to the literary community. Once you figure that out, you can begin to market your book effectively to the right audience with the desired results every time. I could write an entire book on marketing, so I’ll just highlight a few ideas: People love swag, so have stickers, candy, book-themed jewelry, stuffed animals, coloring pages, and other items related to your book available to sell or give away. Collect names at every event you attend. They will become the base PUBLICATIONS GUIDE: THE BOOK for your mailing list. You can expect a higher conversion rate (up to 2021 COPYRIGHTBOOK PRODUCERS FACTS FORDIRECTORY WRITERS

ook producers, also known as book packagers, provide all the services nec- essary 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 sub- ject 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 at www.abpaonline.org. house that can take the project from concept to finished product.

BECKER&MAYER AGE-GROUP: Grades K-12 PREFERRED METHOD OF CONTACT: Email or 11120 NE 33rd Place, Suite 101 FICTION/NONFICTION: Mostly nonfiction mail. Bellevue, WA 98004 ASSIGN PROJECTS TO FREELANCERS: Yes QUERY LETTER: Work history 425-827-7120; Fax 425-828-9659 SERIES BOOKS/SINGLE TITLES: Both PAYMENT: Flat fee www.quartoknows.com/BeckerMayer PREFERRED METHOD OF CONTACT: Email PROJECT SUBMISSIONS: No QUERY LETTER: Writing samples and art through DELIUS BOOK PACKAGERS SPECIALTIES: Nonfiction email or website. Peter Delius Verlag GmbH & Co KG AGE-GROUP: Ages 7-12 PAYMENT: Usually flat fee Leibnizstrasse 33 FICTION/NONFICTION: Nonfiction only D- 10625 Berlin ASSIGN PROJECTS TO FREELANCERS: Yes DAVID WEST CHILDREN’S BOOKS Germany SERIES BOOKS/SINGLE TITLES: Both 6 Princeton Court, 55 Felsham Road +49-30-31 51 77 0; Fax +49-30-31 51 77 23 PREFERRED METHOD OF CONTACT: Email London, SW15 1AZ, United Kingdom legacy.delius-books.de/ QUERY LETTER: Examples of nonfiction writing, +44 (0)20 8780 3836; Fax: +44 (0)20 8780 [email protected] published work, and art portfolio. 9313 PROJECT SUBMISSIONS: No PAYMENT: Flat fee www.davidwestchildrensbooks.com SPECIALTIES: Fiction and nonfiction [email protected] FICTION/ NONFICTION: Both CHARLES DAVEY LLC CONTACT: Lynn Lockett 914-231-5120 PROJECT SUBMISSIONS: Yes (authors and EDITORIAL DIRECTIONS, INC. www.charlesdaveybooks.com/ illustrators) 1000 W. Washington Boulevard, Suite 203 [email protected] SPECIALTIES: Illustrated reference books Chicago, IL 60607 CONTACT: Charles Davey AGE-GROUP: Ages 8-13 312-829-5456; Fax 312-275-7141 PROJECT SUBMISSIONS: Not generally FICTION/NONFICTION: Nonfiction only www.editorialdirections.com/ SPECIALTIES: Mostly educational, some trade; ASSIGN PROJECTS TO FREELANCERS: Yes [email protected] illustrated books in art and sciences. SERIES BOOKS/SINGLE TITLES: Both PROJECT SUBMISSIONS: No 222 | BOOK PRODUCERS DIRECTORY

SPECIALTIES: Nonfiction for schools and MIGHTY MEDIA PRESS in the published work. libraries 1201 Currie Avenue AGE-GROUP: Grades K-12 Minneapolis, MN 55403 ORPHEUS BOOKS LTD FICTION/NONFICTION: Mostly nonfiction 612-455-0252 6 Church Green ASSIGN PROJECTS TO FREELANCERS: Yes www.mightymediapress.com/ Witney, Oxfordshire OX28 4AW, England SERIES BOOKS/SINGLE TITLES: Both [email protected] (+44) 01993 774949; Fax (+44) 01993 700330 PREFERRED METHOD OF CONTACT: Email CONTACT: Lauren Kukla www.orpheusbooks.com/ QUERY LETTER: A brief description of services PROJECT SUBMISSIONS: No [email protected] offered, a resume, and samples of work (art or SPECIALTIES: Nonfiction CONTACT: Nicholas Harris, nicholas@ original, unedited manuscripts). AGE-GROUP: Grades K-6 orpheusbooks.com PAYMENT: Flat fee FICTION/NONFICTION: Mostly nonfiction, but PROJECT SUBMISSIONS: Only from illustrators. some fiction. Detailed, realistic nonfiction subjects only, JUMP START PRESS ASSIGN PROJECTS TO FREELANCERS: Yes especially figures. 802 Cedar Avenue SERIES BOOKS/SINGLE TITLES: Both SPECIALTIES: All subjects Point Pleasant Beach, NJ 08742 PREFERRED METHOD OF CONTACT: Email AGE-GROUP: Ages 3-12 732-892-4994; Fax 732-892-2212 QUERY LETTER: Info about the person’s work FICTION/NONFICTION: Nonfiction only www.jumpstartpress.com/ PAYMENT: Flat fee ASSIGN PROJECTS TO FREELANCERS: Only to [email protected] illustrators. CONTACT: Mary Pearce MADISON PRESS BOOKS SERIES BOOKS/SINGLE TITLES: Both PROJECT SUBMISSIONS: No 1000 Yonge Street, Suite 200 PREFERRED METHOD OF CONTACT: Email SPECIALTIES: Instructional materials for Toronto, Ontario, Canada M4W 2K2 QUERY LETTER: Art portfolio educational publishing clients like teacher’s 416-923-5027; Fax 416-923-9708 PAYMENT: Flat Fee guides, workbooks, student materials, etc. www.madisonpressbooks.com/ AGE-GROUP: Grades K-6 (teachers and students) [email protected] PARACHUTE PUBLISHING, LLC FICTION/NONFICTION: Nonfiction only CONTACT: Oliver Salzmann 157 Columbus Avenue, #518 ASSIGN PROJECTS TO FREELANCERS: Yes PROJECT SUBMISSIONS: No New York, NY 10023 SERIES BOOKS/SINGLE TITLES: Project-based SPECIALTIES: Nonfiction, reference 212-691-1421; Fax 212- 647-9650 PREFERRED METHOD OF CONTACT: Email AGE-GROUP: Ages 6-13 www.parachutepublishing.com/ QUERY LETTER: Evidence of a proven track FICTION/NONFICTION: Nonfiction only PROJECT SUBMISSIONS: Query letters only record writing for educational publishers. SPECIALTIES: Fiction PAYMENT: Flat fee NICOLA BAXTER AGE-GROUP: Middle grade, tween, teen 16 Cathedral Street FICTION/NONFICTION: Both LION HUDSON PLC Norwich ASSIGN PROJECTS TO FREELANCERS: Yes Wilkinson House, Jordan Hill Business Park NR1 1LX SERIES BOOKS/SINGLE TITLES: Both Banbury Road +441603 766585 PREFERRED METHOD OF CONTACT: Query letter OXFORD www.nicolabaxter.co.uk/ by post. OX2 8DR [email protected] QUERY LETTER: Information about author’s +44 (0)1865 302750; Fax +44 (0) 1865 302757 CONTACT: Nicola Baxter previous works, details about project (if www.lionhudson.com/ PROJECT SUBMISSIONS: We produce books proposing one), one chapter as attachment. PROJECT SUBMISSIONS: Yes, with synopsis and from concept. Occasionally, if a good project is PAYMENT: Royalties or flat fee (depending on two sample chapters. sent in, we will show it to publishers we deal project). SPECIALTIES: Christian religious titles with. However, it is rare in the mass market for www.scbwi.org AGE-GROUP: All a project to “fit” with the publisher’s existing SPICE BOX | FICTION/NONFICTION: Fiction and nonfiction plans. 12171 Horseshoe Way, Richmond, BC for children. Nonfiction only for adults. SPECIALTIES: All mass-market children’s books V7A 4V4, Canada ASSIGN PROJECTS TO FREELANCERS: Yes from board books, through fiction and novelty 604-272-2620 SERIES BOOKS/SINGLE TITLES: Single titles, to nonfiction. www.spiceboxbooks.com/ PREFERRED METHOD OF CONTACT: Email or AGE-GROUP: Ages 0-14 PROJECT SUBMISSIONS: No regular mail. FICTION/NONFICTION: Fiction: Ages 0-8; SPECIALTIES: Activity, coloring, and novelty QUERY LETTER: Indicate familiarity with our Nonfiction: Ages 0-14. AGE-GROUP: All ages stance and imprints and precise details about ASSIGN PROJECTS TO FREELANCERS: Yes FICTION/NONFICTION: Nonfiction only what is offered. Include synopsis and two SERIES BOOKS/SINGLE TITLES: Both chapters together with a SASE. PREFERRED METHOD OF CONTACT: Email or mail TANGO BOOKS PAYMENT: Royalties or flat fee (by negotiation). QUERY LETTER: Details of previous work PO Box 32595 published, a note of special areas of interest, a London W4 5YD, United Kingdom sense of the marketplace. Samples: highlights +44 208996 9970; Fax +44 208996 9977 PUBLICATIONS GUIDE: THE BOOK only. 2-to-tango.com/ PAYMENT: Flat fee. Work will be acknowledged [email protected] 2021 BOOK PRODUCERS DIRECTORY | 223

CONTACT: Sheri Safran PROJECT SUBMISSIONS: Yes. Books must lend themselves to novelty elements (touch-and- feel, popups, flaps, etc.) and lots of artwork. Text no more than 700 words. No poetry. We publish under Tango Books in the UK and produce international co-editions. SPECIALTIES: Multicultural; historical subjects; concept books; fun and humorous fiction AGE-GROUP: Ages 0-8 FICTION/NONFICTION: Nonfiction only ASSIGN PROJECTS TO FREELANCERS: Yes SERIES BOOKS/SINGLE TITLES: Both PREFERRED METHOD OF CONTACT: Email preferred. QUERY LETTER: Synopsis or entire text. PAYMENT: Flat fee

VICTORY PRODUCTIONS, INC. 55 Linden Street Worcester, MA 01609 508-755-0051; Fax 888-580-6645 www.victoryprd.com [email protected] CONTACT: Victoria Porras PROJECT SUBMISSIONS: No SPECIALTIES: Victory develops, writes, designs, and composes leveled readers for both struggling and ESL readers for many educational publishers. Additionally, we develop K–12 basal and supplementary materials across the curriculum. AGE-GROUP: PreK-College FICTION/NONFICTION: Materials for classrooms that teach both fiction and nonfiction. ASSIGN PROJECTS TO FREELANCERS: Yes SERIES BOOKS/SINGLE TITLES: Both PREFERRED METHOD OF CONTACT: Email QUERY LETTER: Resume PAYMENT: Flat fee

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 use it 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 SELF-PUBLISHED MATERIAL: Yes themselves to appreciate literature. This The Jan Adkins Studio REVIEWS EBOOKS: Yes audience deserves the very best writing. I reject 1715 NW 42nd Avenue REVIEWS MATERIAL THE SEASON IT IS the notion that our culture is post-literate and Gainesville, FL 32605 RELEASED: Yes the fiction that we are a nation of boobs. As janadkins.wordpress.com/ 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 for creativity, but “new” and “unusual” aren’t TESS ALFONSIN (THE READING COUNTESS) these and other magazines since the mid- sufficient criteria. The real test is whether a Katy, TX seventies. 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. 226 | BOOK REVIEWERS DIRECTORY

REVIEWS SELF-PUBLISHED MATERIAL: No TYPES OF BOOKS: Fiction, nonfiction, picture TYPES OF BOOKS: Picture books, easy readers, REVIEWS EBOOKS: Yes books, middle grade, young adult; all mass- middle grade and young adult novels, and REVIEWS APPS: No market titles from traditional print publishers. nonfiction REVIEWS MATERIAL THE SEASON IT IS REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS SELF-PUBLISHED MATERIAL: No RELEASED: Yes REVIEWS EBOOKS: No REVIEWS EBOOKS: No ADDITIONAL INFORMATION: As a lifelong REVIEWS APPS: No REVIEWS MATERIAL THE SEASON IT IS reader, my goal is to forge more lifelong REVIEWS MATERIAL THE SEASON IT IS RELEASED: Yes readers, both at home and at school. The RELEASED: Within the first quarter of release ADDITIONAL INFORMATION: If a book is not mother of three boys, I’m proud to call them my ADDITIONAL INFORMATION: Please only send assigned, I’ll only review it if I love it. bookworms. Because I know how boy readers published review copies of mass-market titles tick (I’ve seen the transformation from avid from traditional houses with national retail ALISON BREIDENSTEIN listener to graphic novel gobbler to voracious distribution. No self-published, subsidized San Diego, CA reader of any text in my home), I’m confident press, print-to-order, regional, narrow-niche, [email protected] in directing my students on their own paths of ebooks, or titles from nontraditional publishers. REVIEWS FOR: literarylunchbox.blogspot.com reading identity. I’ve taught first, third, fourth, I’m sure there are indie gems out there, TYPES OF BOOKS: Picture book, middle grade, and fifth grades. The 2011–2012 school year but without acquiring editors to prescreen young adult. I am a middle grade writer, so I found me teaching (gulp) seventh grade English manuscripts, it takes more time than I have to tend to favor middle grade books, but I also like language arts. And yes, I actually wanted to separate the wheat from the chaff. No need for young adult dystopia and wonderfully written/ teach this particular age group. You see, it’s my query or SASE. illustrated picture books with a story. hope to still spread my love and enthusiasm for REVIEWS SELF-PUBLISHED MATERIAL: Yes the written word, but with a little more sarcasm NICHOLE ARMSTRONG REVIEWS EBOOKS: Yes and a dash of patience. Discovering who you 1404 Hampton Lane REVIEWS APPS: Yes really are in a body that is constantly in flux is Warminster, PA 18974 REVIEWS MATERIAL THE SEASON IT IS challenging, after all. [email protected] RELEASED: Yes REVIEWS FOR: www.justchildrensbooks.com ADDITIONAL INFORMATION: My blog is ANAMARIA ANDERSON DURATION: Two years limited to favorable reviews. I want my readers, 856 N. Larrimore Street TYPES OF BOOKS: Fiction, nonfiction, picture students, and parents to use my blog as a Arlington, VA 22205 books, early readers resource for well-written literature, so I do not [email protected] REVIEWS SELF-PUBLISHED MATERIAL: No post reviews of books I did not like. I have a REVIEWS FOR: https://anamariaanderson.com/ REVIEWS EBOOKS: No degree in English/American literature. I am a DURATION: Seven years REVIEWS APPS: Yes teacher, wife, and mother. I am also a writer, TYPES OF BOOKS: Books for all age groups; art REVIEWS MATERIAL THE SEASON IT IS and I know the work that goes into writing and museums in children’s books (both fiction RELEASED: Yes great stories. I read constantly, and I keep an and nonfiction); fantasy, especially middle LEAD TIME FOR PUBLICATION: Two to eight open mind while reading books and writing grade; multicultural and international books. weeks reviews. REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: No ALEX BAUGH PATTY CAMPBELL REVIEWS APPS: No [email protected] 1842 Santa Margarita Drive REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: thechildrenswar.blogspot.com Fallbrook, California 92028 RELEASED: Yes DURATION: Two years REVIEWS FOR: Horn Book Magazine and LEAD TIME FOR PUBLICATION: Two weeks TYPES OF BOOKS: Fiction, nonfiction, picture Amazon.com ADDITIONAL INFORMATION: I am a museum books, early readers, middle grade, young adult. TYPES OF BOOKS: Young adult fiction www.scbwi.org educator at the National Gallery of Art; a My blog focuses on books written about World REVIEWS SELF-PUBLISHED MATERIAL: No | member of the SCBWI, ALA and ALSC, and War II and children. As long as the book is REVIEWS EBOOKS: No Capitol Choices; and an active blogger and book connected to WWII in some way, I will review REVIEWS MATERIAL THE SEASON IT IS reviewer. I’m guided in the preparation of my it, and that would naturally include all genres. RELEASED: Yes reviews by From Cover to Cover: Evaluating and REVIEWS SELF-PUBLISHED MATERIAL: Yes ADDITIONAL INFORMATION: I have been a Reviewing Children’s Books (revised edition) by REVIEWS EBOOKS: Yes critic, reviewer, and columnist in the field of Kathleen T. Horning (Collins, 2010). REVIEWS APPS: Yes young adult literature for thirty-seven years. I REVIEWS MATERIAL THE SEASON IT IS am the author of five books on the subject (see VICKI ARKOFF RELEASED: Sometimes Presenting Robert Cormier) and have written for 3740 Benedict Canyon Lane most of the major review journals, including Sherman Oaks, CA 91423 ELLEN R. BRAAF the New York Times Book Review. Currently I [email protected] PO Box 3215 write The Sand in the Oyster, a column for Horn REVIEWS FOR: Midwest Book Review, Kirkus Reston, VA 20205 Book Magazine, which focuses on controversial Reviews, HolidayGoddess.Guide.com, Susie REVIEWS FOR: Children’s Literature (reviews issues in young adult books and publishing. I PUBLICATIONS GUIDE: THE BOOK Magazine, MAD Magazine appear in database); BarnesandNoble.com also review teen books for Amazon.com online DURATION: Thirteen years DURATION: Since February 1999 bookstore. I prefer realistic young adult fiction, 2021 BOOK REVIEWERS DIRECTORY | 227 the edgier the better; I deplore horror but TRACEY COX nonfiction. Occasionally I review beginning occasionally consider fantasy. PO Box 573 readers and middle grade, depending on Ocilla, GA 31774 content. Subject matter of posts varies along JACKIE CASTLE [email protected] with the interests of my children. 701 Queens Way REVIEWS FOR: Tifton Gazette and Ocilla Star REVIEWS SELF-PUBLISHED MATERIAL: No Bedford, TX 76021 (both are monthly) REVIEWS EBOOKS: Yes [email protected] TYPES OF BOOKS: Picture books (my first REVIEWS APPS: Yes REVIEWS FOR: www.jackiecastle.com/blog choice), middle grade, and young adult, fiction REVIEWS MATERIAL THE SEASON IT IS DURATION: One year and poetry RELEASED: Random schedule. I review both TYPES OF BOOKS: Fiction, picture books, early REVIEWS SELF-PUBLISHED MATERIAL: Yes newly released as well as backlist/out of print. reader, middle grade, young adult REVIEWS EBOOKS: Not at this time ADDITIONAL INFORMATION: Particularly REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS MATERIAL THE SEASON IT IS interested in reviewing works of Wisconsin/ REVIEWS EBOOKS: No RELEASED: Yes Midwest authors and illustrators and/or Midwest REVIEWS APPS: No ADDITIONAL INFORMATION: I will only publish and rural subject matter. Please send email ADDITIONAL INFORMATION: I cannot good reviews. Sender of the book needs to query prior to sending review items. guarantee a feature on my blog. I do not understand that if the book doesn’t grab me generally review, but rather introduce a book (text/pictures), I have the option of not doing SHIRLEY DUKE and offer activity ideas to go along with it. a review. I would rather not say anything about 37 Pine Cone Drive Young adult books I will feature if I like them, a book than write a bad review. Jemez Springs, NM 87025 but seldom offer activity ideas with this age [email protected] level. NAOMI DANIS REVIEWS FOR: SimplyScience (www. Lilith Magazine simplyscience.com) KIM CHILDRESS, BOOK EDITOR 119 W 57th Street, #1210 DURATION: Three years 4287 Aztec Way New York, NY 10019 TYPES OF BOOKS: Nonfiction. I review Okemos, MI 48864 REVIEWS FOR: Lilith Magazine (11,000 copies nonfiction that relates to any of the STEM REVIEWS FOR: Girls’ Life Magazine (circulation reaching about 25,000 readers) (science, technology, engineering, and math) two million) DURATION: Since 1976 subjects. I mostly am interested in grades DURATION: Since 1994 TYPES OF BOOKS: Books for young readers that PreK–8, although on occasion I’ll review a book TYPES OF BOOKS: I work with themes, but I am are of special interest to Jewish feminists. for grades 9–12. open to any and all books—fiction, nonfiction, REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS SELF-PUBLISHED MATERIAL: No poetry, adventure, etc., for ages 10 and up. I REVIEWS EBOOKS: No REVIEWS EBOOKS: No look for good books for/about girls or books REVIEWS MATERIAL THE SEASON IT IS REVIEWS APPS: No that contain strong heroines, but I will also RELEASED: Not necessarily REVIEWS MATERIAL THE SEASON IT IS include any book that I think is good regardless ADDITIONAL INFORMATION: We have always RELEASED: Yes of male or female characters. reviewed some books for young readers in our ADDITIONAL INFORMATION: I suggest an REVIEWS SELF-PUBLISHED MATERIAL: Yes quarterly Jewish feminist magazine (we also activity to accompany the book that extends REVIEWS EBOOKS: No review adult books). Since 1996, in our fall the information. I blog only once a week, but REVIEWS MATERIAL THE SEASON IT IS issue we have had a special feature on books I participate in blog roundups—Nonfiction RELEASED: Yes for young readers. We usually do a feature Monday and STEM Friday—so the book gets ADDITIONAL INFORMATION: If your book is related to children’s books, such as this year’s additional exposure. selected for review, two additional copies will roundup of readers remembering reading The be needed for copyediting and artwork. I rarely Diary of Anne Frank, or last year’s children’s SUE BRADFORD EDWARDS review picture books. book author roundup on “How Books Share the 1725 St. Anthony Lane World’s Bad News with Kids”; not necessarily Florissant, MO 63033 SUE CORBETT your standard reviews. For a subscription or [email protected] 202 Hilton Terrace sample copy of Lilith, call 212-757-0818, or REVIEWS FOR: Bookshelf: What We’re Reading Newport News, VA 23601 email [email protected]. (suebe2.wordpress.com) REVIEWS FOR: People magazine, Publishers DURATION: Fifteen years Weekly, Miami Herald JANELLE DAVIS TYPES OF BOOKS: All books, though I am not DURATION: Sixteen years [email protected] your best choice for toddler picture books, TYPES OF BOOKS: Fiction, nonfiction, picture REVIEWS FOR: Brimful Curiosities, www. board books, or women’s fiction. I love books, middle grade, young adult brimfulcuriosities.com (Feedburner = 1,237 mysteries, science fiction, fantasy, historic REVIEWS SELF-PUBLISHED MATERIAL: No readers; average unique monthly visitors = fiction, and nonfiction. I especially enjoy REVIEWS EBOOKS: No 8,000) receiving titles that feature Missouri or are REVIEWS APPS: No DURATION: Four years written by Missouri authors. The goal of my REVIEWS MATERIAL THE SEASON IT IS TYPES OF BOOKS: Fiction, nonfiction, picture blog is to help parents and young readers find a RELEASED: Yes books, early readers, middle grade; I primarily variety of excellent books. LEAD TIME FOR PUBLICATION: One month review picture books, both fiction and REVIEWS SELF-PUBLISHED MATERIAL: No 228 | BOOK REVIEWERS DIRECTORY

REVIEWS EBOOKS: Yes related, humor, all holidays, interfaith families, copies. I can also read Kindle books on my REVIEWS APPS: No or really good literature. However, I review at smartphone, if other formats are not available. REVIEWS MATERIAL THE SEASON IT IS most twelve books for each paper—although RELEASED: Flexible the Reporter focuses more on religious material MICHELLE FRANZ while the Ithaca Journal appeals to a more Springfield, VA 22153 SONDRA EKLUND general audience. All books that are reviewed [email protected] 5914 Baron Kent Lane will be ordered for various Hanukkah book fairs REVIEWS FOR: My reviews appear on my blog, Centreville, VA 20120 in the area. Many books that are not reviewed, Galleysmith (www.galleysmith.com). [email protected] but which I believe will sell in the area, will be DURATION: Three years REVIEWS FOR: My own website, Sonderbooks. ordered for my congregation’s book fair as well. TYPES OF BOOKS: Young adult contemporary, com (approximately 10,000 hits per month) REVIEWS SELF-PUBLISHED MATERIAL: No dystopian, paranormal, fantasy (though not DURATION: I’ve been writing the ezine for two REVIEWS MATERIAL THE SEASON IT IS high fantasy, a bit more mainstream), historical years, posting the website for one. RELEASED: Not necessarily fiction TYPES OF BOOKS: All types of books, for all ADDITIONAL INFORMATION: I’m very selective, REVIEWS SELF-PUBLISHED MATERIAL: No ages. When possible, I review everything I read but readers trust my judgment and look forward REVIEWS EBOOKS: Yes that I enjoy. For picture books, I only review to my picks for the season. Books to be REVIEWS APPS: Yes those I consider to be truly outstanding. I considered for review must be received at least REVIEWS MATERIAL THE SEASON IT IS have a particular fondness for middle grade and one month before Hanukkah. RELEASED: Year-round reviewing young adult fantasy. I do not review books I LEAD TIME FOR PUBLICATION: Two to three don’t like. KATIE FITZGERALD months REVIEWS SELF-PUBLISHED MATERIAL: No 714 Elmcroft Boulevard REVIEWS EBOOKS: No Rockville, Maryland 20850 LUCY FUCHS REVIEWS MATERIAL THE SEASON IT IS [email protected] 178 Morris Road RELEASED: If possible REVIEWS FOR: Story Time Secrets Ambler, PA 19002 (storytimesecrets.blogspot.com). This blog has [email protected] KAREN ESTRADA over 600 subscribers and averages 3500- REVIEWS FOR: The Small Press Review 6429 Belleview Drive 4000 pageviews per week. Reviews include a (circulation 3,000) Columbia, MD 21046 brief plot summary, critique and suggestions DURATION: Five years [email protected] for who might enjoy the book, as well as TYPES OF BOOKS: Picture books, beginning REVIEWS FOR: goodreadswithronna.wordpress. recommendations about purchasing the book for readers, middle grade fiction, nonfiction, com library collections. seasonal DURATION: Two months DURATION: Since January 2011 REVIEWS SELF-PUBLISHED MATERIAL: Yes TYPES OF BOOKS: Fiction, nonfiction, picture TYPES OF BOOKS: Realistic fiction in the REVIEWS EBOOKS: Yes books, early readers; educational books, books following categories: early readers, beginning REVIEWS MATERIAL THE SEASON IT IS on nature, how things work, life lessons; any chapter books, middle grade, young adult. No RELEASED: Yes nonfiction or fiction dealing with culture/travel/ fantasy, tearjerkers, scary stories, speculative/ ADDITIONAL INFORMATION: I review three or international issues. Current preference for early science fiction, or nonfiction. Particular four books, four times a year. readers. favorites: humor, tween romance and friendship, REVIEWS SELF-PUBLISHED MATERIAL: No school stories, mysteries, books about surviving DEBBIE GLADE REVIEWS EBOOKS: No middle school/high school, sports stories, [email protected] REVIEWS APPS: No novels in verse, and YA romance without sexual REVIEWS FOR: Good Reads with Ronna LEAD TIME FOR PUBLICATION: One to two content. (goodreadswithronna.wordpress.com)—feeds www.scbwi.org weeks REVIEWS SELF-PUBLISHED MATERIAL: Yes through various parenthood websites, such as | REVIEWS EBOOKS: Yes LA Parent Magazine); I am also an Amazon Top BRYNA J. FIRESIDE REVIEWS APPS: No Reviewer. 102 The Commons REVIEWS MATERIAL THE SEASON IT IS DURATION: Four years Ithaca, NY 14850 RELEASED: Yes TYPES OF BOOKS: Fiction, nonfiction, picture [email protected] LEAD TIME FOR PUBLICATION: About one books, middle grade; I review picture books REVIEWS FOR: The Reporter (a weekly Jewish month of all types. I especially enjoy books related newspaper serving Broome, Tioga, and Tompkins ADDITIONAL INFORMATION: I consider self- to science, nature, art, or gardening, or books County in central NY) and the Ithaca Journal (a published books on a case-by-case basis. Most with extraordinary illustrations. I also enjoy daily Gannett paper serving Tompkins County in self-published books I have reviewed have been biographies for middle readers. I only publish NY state; column is done once yearly during the YA romance novels. I don’t review self-published reviews of books I like and do not review books holiday season for Hanukkah only) picture books. I schedule my reviews about a I would not highly recommend. DURATION: Eight years month in advance, and I do my best to ensure REVIEWS SELF-PUBLISHED MATERIAL: No TYPES OF BOOKS: All age levels, both fiction that reviews are published on or near the books’ REVIEWS EBOOKS: No PUBLICATIONS GUIDE: THE BOOK and nonfiction. Must have Jewish content, can publication dates. I have a Nook, so EPUB and REVIEWS APPS: No deal with historical or current topics, family PDF are the best formats for digital review REVIEWS MATERIAL THE SEASON IT IS 2021 BOOK REVIEWERS DIRECTORY | 229

RELEASED: Yes especially geography/history related topics HILLARY HOMZIE ADDITIONAL INFORMATION: I will review REVIEWS SELF-PUBLISHED MATERIAL: Yes 429 Montecito Boulevard galleys and prefer to review books before REVIEWS EBOOKS: Yes Napa, CA 94558 publication date. I do not review books that REVIEWS APPS: No [email protected] were published more than a year ago. I post my REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: The Philadelphia Inquirer (daily reviews on Amazon. RELEASED: Yes, as much as possible newspaper) LEAD TIME FOR PUBLICATION: Usually at least DURATION: Irregularly for four years PAUL GOLDSCHMIDT a month, unless specifically scheduled TYPES OF BOOKS: I review all types of books, 5625 Highland Way ADDITIONAL INFORMATION: I work as a fiction and nonfiction, for middle grade and Middleton, WI 53562 school librarian, so I’m always looking for young adults. [email protected] great new books to share with my students and REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS FOR: Not Acting My Age to put in my school library. I read a little bit REVIEWS EBOOKS: No (not yet) DURATION: Seven years of everything in children’s literature (except REVIEWS MATERIAL THE SEASON IT IS TYPES OF BOOKS: Fiction, middle grade, young horror). I’m more selective about young adult RELEASED: Yes adult; my key focus is contemporary coming- because I prefer books that have little, if any, of-age books. Books dealing with interpersonal bad language and only mild sexual situations. KELLY JENSEN relationships are also of interest. I review some 1117 Spruce Street fantasy works dealing with these subjects in MARY LEE HAHN Delavan, WI 53115 a realistic fashion. On occasion, I will review 523 E. Lincoln Avenue [email protected] historical novels. I tend to do more young Columbus, OH 43214 REVIEWS FOR: STACKED books (stackedbooks. adult than middle grade books, but the subject [email protected] org) (between 15,000 and 25,000 pageviews a matter is more important than the target REVIEWS FOR: A Year of Reading (readingyear. month); I cross-post to Goodreads. demographic. blogspot.com) with Franki Sibberson DURATION: Three years REVIEWS SELF-PUBLISHED MATERIAL: No DURATION: Six years TYPES OF BOOKS: Fiction, middle grade, young REVIEWS EBOOKS: No TYPES OF BOOKS: Fiction, nonfiction, picture adult; I prefer contemporary (and I love edgy REVIEWS APPS: No books, middle grade. I teach fifth grade; Franki stuff), but I will read books that are historical REVIEWS MATERIAL THE SEASON IT IS teaches fourth grade. We review books we’d fiction, mystery, sci-fi, horror, or are of the RELEASED: Yes, if possible use in our classrooms or recommend to other “magical realism” subgenre. My co-bloggers teachers for use in their classrooms. Our blog review middle grade and young adult, with DAVE GOODALE is an education blog more than just a straight interest in fantasy and romance. We are not 65 Sutton Place book blog. The context for our book reviews is interested in paranormal or Christian/spiritual Bloomfield, CT 06002 almost always classroom use. We review poetry fiction. [email protected] along with the others. We don’t guarantee a REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS FOR: Voice of Youth Advocates review for every book that’s sent to us. REVIEWS EBOOKS: Yes DURATION: Approximately one year REVIEWS SELF-PUBLISHED MATERIAL: Rarely REVIEWS APPS: No TYPES OF BOOKS: Young adult and middle grade REVIEWS EBOOKS: Rarely REVIEWS MATERIAL THE SEASON IT IS fiction and nonfiction REVIEWS APPS: Rarely RELEASED: No REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS MATERIAL THE SEASON IT IS LEAD TIME FOR PUBLICATION: Two to three REVIEWS EBOOKS: No RELEASED: Yes months, please. I do not make promises on REVIEWS MATERIAL THE SEASON IT IS LEAD TIME FOR PUBLICATION: One month reviews, though, but I try my best. RELEASED: Yes, if possible ADDITIONAL INFORMATION: You’re welcome ADDITIONAL INFORMATION: For libraries with ESTHER HERSHENHORN to reach us all via our group email address, teen collections (school and public). Reviews 222 E. Pearson Street, #1108 [email protected]. We have a full every other month. Chicago, IL 60611 review policy available here (where we have [email protected] information on favorite authors, books, and HEIDI GRANGE REVIEWS FOR: www.teachingauthors.com genres): http://stackedbooks.org/review-policy. 223 Penny Lane DURATION: Three years Logan, Utah 84341 TYPES OF BOOKS: I review only those books AMI JONES [email protected] that pertain to the writing process, writers, PO Box 204 REVIEWS FOR: My blog (geolibrarian.blogspot. writing for children, or teaching writing. High Rolls Mt Park, NM 88325 com), Goodreads, and Amazon REVIEWS SELF-PUBLISHED MATERIAL: No [email protected] DURATION: One year, five months REVIEWS EBOOKS: No REVIEWS FOR: amomssparetime.blogspot.com TYPES OF BOOKS: Fiction, nonfiction, picture REVIEWS APPS: No (over 10,000 visitors, a little over a year old); I books, early readers, middle grade, young adult; REVIEWS MATERIAL THE SEASON IT IS previously reviewed on Three Turtles and Their fantasy, contemporary, humor, romance without RELEASED: Yes Pet Librarian, but merged the two blogs. sexual content, mystery, books featuring other LEAD TIME FOR PUBLICATION: Two to three DURATION: Three years places and/or cultures, historical fiction, months TYPES OF BOOKS: Fiction, nonfiction, picture graphic novels; nonfiction on any topic, but books, early readers, middle grade, young adult; 230 | BOOK REVIEWERS DIRECTORY

infant through young adult, some adult if it is they can contact me. This is a huge, growing around the time of school graduations. This is related to parenting, crafts, or gardening; not field of education with many opportunities for a weekly newspaper serving the communities interested in poetry or graphic novels literature connections. of the northeastern coast of Maine. Special REVIEWS SELF-PUBLISHED MATERIAL: No attention to books about Maine or by local REVIEWS EBOOKS: No DIANE R. CHEN KELLY authors. In all cases, authors should always REVIEWS APPS: No 2655 Holloway Road query first and should not send books unless REVIEWS MATERIAL THE SEASON IT IS Lebanon, TN 37090-8812 requested. RELEASED: Yes [email protected] LEAD TIME FOR PUBLICATION: Thirty days if REVIEWS FOR: www.PracticallyParadise.org ANGELA LEEPER you want the review at a certain time DURATION: Seven years Educational Consultant ADDITIONAL INFORMATION: My reviews may TYPES OF BOOKS: Fiction, nonfiction, picture 817 S. White Street not always be positive, although I try to books, early readers, middle grade, young Wake Forest, NC 27587 balance the good and the bad in a book. I adult; I particularly review a large number [email protected] write for parents, teens, and other librarians, of nonfiction series titles and describe how REVIEWS FOR: Kirkus Reviews, MultiCultural so it is important for me to give them enough these can be used or impact elementary and Review, BookPage, Our State (North Carolina), information to decide whether they want to middle grade students. I review all types of Bookmarks, The Bark, Foreword Reviews order/purchase the book for themselves or their books including board books, picture books, DURATION: Since 1997 library. biographies, STEM (science, technology, TYPES OF BOOKS: Children’s and young adult engineering, and math) related titles, young fiction, nonfiction, and poetry; North Carolina CATHRYN BERGER KAYE adult literature, and adult fiction. and Southern books; dog books 13108 Warren Avenue REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS SELF-PUBLISHED MATERIAL: Yes Los Angeles, CA 90066 REVIEWS EBOOKS: Yes REVIEWS EBOOKS: No [email protected] REVIEWS APPS: Yes REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: Use in my book, The Complete REVIEWS MATERIAL THE SEASON IT IS RELEASED: Yes Guide to Service Learning (future editions), RELEASED: All year and CD-ROM (both published by Free Spirit ADDITIONAL INFORMATION: I review Android MARGO LEMIEUX Publishing, 2003). This publication includes an apps as I do not have an iPhone. If I were to 22 Highland Avenue annotated bibliography of over 300 children’s receive an iPhone, I would review iPhone apps Mansfield, MA 02048 and young adult titles that connect with any that relate to elementary and middle school [email protected] theme of social action (listed below). I also education. REVIEWS FOR: Sun Chronicle (circulation use books in workshops around the country 25,000) with educators to teach them how to use JOANNA KRAUS DURATION: Since 1997 literature to inspire social action; magazine 3117 Terra Granada Drive, #4 TYPES OF BOOKS: All types of children’s books articles; parenting newsletters; to identify Walnut Creek, CA 94595 REVIEWS SELF-PUBLISHED MATERIAL: No books for recommendation for schools of REVIEWS FOR: San Francisco’s East Bay Area ADDITIONAL INFORMATION: The Attleboro, teacher education, libraries, and bookstores that Sunday Times (circulation 350,000); Auntie Jo’s MA, Sun Chronicle is a daily paper that serves I work with, and for sale at service learning Bookshelf for the Rossmoor News (circulation ten communities in central southeastern conferences. 10,000); Downeast Coastal Press (circulation Massachusetts and has a strong commitment DURATION: Twenty plus years 10,000) to family and educational news. In my monthly TYPES OF BOOKS: Fiction, nonfiction, picture DURATION: Since 1995 column, I review all types of children’s book, books, early readers, middle grade, young TYPES OF BOOKS: Primarily middle grade and including poetry, fiction, and nonfiction; I adult; all books that relate to any of these young adult fiction; biographies and memoirs; review very little young adult. I am an author/ www.scbwi.org themes: AIDS education and awareness, some picture books illustrator. No self-published or religious books. | animals in danger, elders, emergency readiness, REVIEWS SELF-PUBLISHED MATERIAL: No Column is theme-based. I try to review as much environment, gardening, healthy lives, healthy REVIEWS EBOOKS: No as I can. choices, hunger and homelessness, immigrants, REVIEWS MATERIAL THE SEASON IT IS safe and strong communities (bullying, local RELEASED: Try to, but not always KAREN LEMMONS violence, hate crimes), social change, social ADDITIONAL INFORMATION: For the Sunday 19467 Snowden justice, learning differences and disabilities, Times, I write quarterly reviews that are theme- Detroit, MI 48235-1263 and literacy. Bilingual books on these themes focused columns, and I annually try to do a [email protected] also welcome. column on new books by California authors. REVIEWS FOR: Contributor to the upcoming REVIEWS SELF-PUBLISHED MATERIAL: No For the Rossmoor News, I write a holiday gift book, ALSC Popular Picks for Kids. My blog is The REVIEWS EBOOKS: No column that comes out in November. This Eclectic Kitabu Project. REVIEWS APPS: No is in a northern California adult community DURATION: Two to three years REVIEWS MATERIAL THE SEASON IT IS publication. For the Downeast Coastal Press, TYPES OF BOOKS: Fiction, nonfiction, picture RELEASED: Yes I write a biannual column that comes out in books, early readers, middle grade, young adult; PUBLICATIONS GUIDE: THE BOOK ADDITIONAL INFORMATION: If anyone has any December and June. The winter column is for my particular focus is African, African American, questions about my work or service learning, a holiday gift issue; the spring column runs or Caribbean fiction and nonfiction. In addition 2021 BOOK REVIEWERS DIRECTORY | 231 to reviewing books, I will sometimes include books I get to local school libraries. I review PARVATI MARKUS lesson plans and/or other related resources that content as well as style. 911B Don Gaspar feature/use the reviewed books. Santa Fe, NM 87505 REVIEWS SELF-PUBLISHED MATERIAL: Yes JONE MACCULLOCH [email protected] REVIEWS EBOOKS: No 4397 SE Glen Echo REVIEWS FOR: Transitions Radio Magazine REVIEWS APPS: No Milwaikie, OR 97267 (three‑hour Sunday morning radio show REVIEWS MATERIAL THE SEASON IT IS [email protected] in Albuquerque/Santa Fe area, now in its RELEASED: No REVIEWS FOR: maclibrary.wordpress.com twentieth year) ADDITIONAL INFORMATION: At the present DURATION: Six years DURATION: One year time, I do not review ebooks and apps. TYPES OF BOOKS: Nonfiction, middle grade; TYPES OF BOOKS: Picture books, beginning, However, I do plan to review books in these poetry and novels in verse and young readers formats in the future. REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: Yes REVIEWS EBOOKS: No SHARON LEVIN REVIEWS APPS: No REVIEWS MATERIAL THE SEASON IT IS 475 Quartz Street RELEASED: Not necessarily Redwood City, CA 94062 RONNA MANDEL ADDITIONAL INFORMATION: Reviews seasonal [email protected] 4813 Indianola Way material usually before Christmas and summer REVIEWS FOR: I review regularly for the La Canada, CA 91011 vacation. Unshelved website. Much of my reviewing [email protected] happens in the form of book talks. I am a REVIEWS FOR: www.goodreadswithronna.com KAY MARNER regular at the Raising a Reader Conference in (on Twitter @goodreadsronna, on Facebook at 5304 Cervantes Drive Redwood City and at Nevada Reading Week www.facebook.com/goodreadswithronna); find Ames, IA 50014 every year in Reno. I also give book talks for our children’s book reviews in print, online, and [email protected] students (fourth grade through high school), on the blog at laparent.com, bayareaparent. REVIEWS FOR: ADDitude magazine (www. parents, teachers, librarians, etc. I have a San com, bostonparents.com, coloradoparent.com, additudemag.com/category/blog/) Francisco Bay Area children’s literature list and featured weekly in Parenthood.com’s DURATION: Nine years (although there are people on it as far away as Practical Parenting newsletter. TYPES OF BOOKS: Fiction, nonfiction, picture London) with 1,300+ people on it, and I will DURATION: Four years books, middle grade, young adult; books share books with them. If a book inspires a TYPES OF BOOKS: Fiction, nonfiction, picture that somehow relate to ADD/ADHD, LD, or column, I send it to my list and to the Child Lit books, early readers, middle grade, young adult; conditions that commonly co-occur with ADHD; Listserv out of Rutgers. we review all genres for children through teens friendship, social skills, organization, learning DURATION: Sixteen years (college-aged) as well as family cookbooks and strategies, coping strategies, tolerance, TYPES OF BOOKS: All books; I will look at adult nonfiction and fiction occasionally if it emotional regulation pretty much anything. I’m always looking for pertains to families and parenting, fatherhood, REVIEWS SELF-PUBLISHED MATERIAL: Yes books that will make readers’ eyes light up. motherhood, divorce, special circumstances, REVIEWS EBOOKS: Yes REVIEWS SELF-PUBLISHED MATERIAL: Yes etc. We also want to review more titles for REVIEWS APPS: Yes REVIEWS EBOOKS: No children with disabilities and/or learning REVIEWS MATERIAL THE SEASON IT IS REVIEWS APPS: No differences. RELEASED: Within about one year of release REVIEWS MATERIAL THE SEASON IT IS REVIEWS SELF-PUBLISHED MATERIAL: No RELEASED: Not always REVIEWS EBOOKS: No JOAN WATSON MARTIN REVIEWS APPS: Yes 2407 Kilgore Road HARRY LEVINE REVIEWS MATERIAL THE SEASON IT IS Baytown, TX 77520 Center on Aging RELEASED: Yes [email protected] 800 S. Limestone Street LEAD TIME FOR PUBLICATION: Two months https://josbook.wordpress.com/ University of Kentucky ADDITIONAL INFORMATION: I really like to REVIEWS FOR: The Baytown Sun, local daily Lexington, KY 40536-0230 see books from local LA authors and help paper; Galveston County Daily News; The REVIEWS FOR: Reviewed for Appraisal (children’s promote them. I also publicize events such Houston Banner; Review of Texas Books, Lamar science books for librarians) from 1991 until as book readings and launches. My Facebook University quarterly librarians; newsletter; it closed in 2002. Now not affiliated with a page is where I share lots of book news. I have Sterling Municipal Library, Baytown’s public specific publication, but willing to review. a strong relationship with many publishing library, asked me to write 200-300 word reviews TYPES OF BOOKS: Science, nature, technology, houses, so I can do special promotions such as of both new and award-winning children’s and medicine for K–12, although prefer middle giveaways. On Twitter I make it a priority to books for parents, grandparents, and teachers. school through high school. do social media coverage when I blog about a The reviews are published weekly in the REVIEWS SELF-PUBLISHED MATERIAL: No book. I love to do author interviews, too. Lifestyle section of the Baytown Sun. REVIEWS EBOOKS: No DURATION: Twelve years REVIEWS MATERIAL THE SEASON IT IS TYPES OF BOOKS: All books; mostly picture RELEASED: Within a year of publication books or short middle grade and YA; ADDITIONAL INFORMATION: I donate the contemporary, historical, humor; no fantasy, 232 | BOOK REVIEWERS DIRECTORY

very few nonfiction; I review the books that fit readingkidsbooks.blogspot.ca; readingkidsbooks- I have an extensive background in early into what I am writing. teenreads.blogspot.ca childhood education, and so will include REVIEWS SELF-PUBLISHED MATERIAL: Yes DURATION: Five and a half years recommendations for classrooms and parents REVIEWS EBOOKS: No TYPES OF BOOKS: Fiction, picture books, middle if appropriate to the book. REVIEWS APPS: No grade, young adult; picture books any subject; REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS MATERIAL THE SEASON IT IS prefer YA to middle grade; not a lot of sci-fi, but REVIEWS EBOOKS: Yes RELEASED: Yes, as soon as possible after I occasionally REVIEWS APPS: No receive the book REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS MATERIAL THE SEASON IT IS LEAD TIME FOR PUBLICATION: Varies with REVIEWS EBOOKS: No RELEASED: Yes newspaper space REVIEWS APPS: No LEAD TIME FOR PUBLICATION: Two to four ADDITIONAL INFORMATION: I write a review REVIEWS MATERIAL THE SEASON IT IS weeks depending on the length of the book of the book, not a critique. I am especially RELEASED: Not usually ADDITIONAL INFORMATION: I charge a small interested in encouraging writers and making ADDITIONAL INFORMATION: All review books reader’s fee, plus I keep the copy of any schools and libraries aware that new writers are donated to local literacy or other local charities. books sent to me, which I later donate to a out there and deserve their consideration. Adult I rarely review books that I cannot give a children’s ward or a school. readers have been very complimentary, saying positive review. that my reviews make them want to read the CATHERINE NICHOLS books. After the review is published, I send a ELLEN BIRKETT MORRIS 149 4th Avenue published copy, along with permission to use it 2165 Eastview Avenue Phoenixville, PA 19460 in any promotional material, to the author or Louisville, KY 40205 [email protected] publisher. I love receiving beautiful books to [email protected] REVIEWS FOR: The Cath in the Hat blog be reviewed, but usually am six to eight books REVIEWS FOR: Horizons Magazine, national (thecathinthehat.blogspot.com) behind. Writing a review teaches me how to publication for Presbyterian women, two to DURATION: Eighteen months assess my own writing, and I gain a contact three times a year; Babyzone.com, frequent TYPES OF BOOKS: Fiction, nonfiction, picture with the publisher. When the books stack up, contributor; Borderlines, the SCBWI Midsouth books, early readers; the focus of my blog is I share them with school libraries and public newsletter, once a year easy readers and beginning chapter books. I libraries and offer them as door prizes at SCBWI DURATION: I have been reviewing books for also review picture books for ages 4–8. conferences. Please send an SASE so I can send the last three years. REVIEWS SELF-PUBLISHED MATERIAL: No a copy of the review. Please email me and ask if TYPES OF BOOKS: Children’s books for all REVIEWS EBOOKS: Yes I can review your book. I will respond quickly. ages, mainstream and literary fiction, books REVIEWS APPS: No on writing REVIEWS MATERIAL THE SEASON IT IS TRACY GAMES MCCAFFERTY REVIEWS SELF-PUBLISHED MATERIAL: No RELEASED: Yes Keylwerthgasse 10 REVIEWS EBOOKS: Yes 1190 Vienna, Austria REVIEWS MATERIAL THE SEASON IT IS WENDIE OLD [email protected] RELEASED: Yes, and previously released [email protected] REVIEWS FOR: No longer reviewing for a material also REVIEWS FOR: blog.wendieold.com publication or site, but am willing to review and ADDITIONAL INFORMATION: I focus on DURATION: Four years online, forty years in a refer books for the international school libraries concise, user‑friendly reviews that offer library markets in Europe. 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 REVIEWS MATERIAL THE SEASON IT IS 6561 NDCBU longer; no fiction www.scbwi.org RELEASED: Yes Taos, NM 87571 REVIEWS SELF-PUBLISHED MATERIAL: No | ADDITIONAL INFORMATION: As Vienna [email protected] REVIEWS EBOOKS: No American International School’s library aide, I REVIEWS FOR: Amazon.com; Barnes&Noble. REVIEWS APPS: No am always interested in what’s coming out in com; my blog (judithnasse.blogspot.com); I REVIEWS MATERIAL THE SEASON IT IS the United States for use in English-speaking announce the review on my Facebook page RELEASED: Yes libraries/collections throughout Europe. All book and any other publications that will accept ADDITIONAL INFORMATION: I am a retired shipments should be labeled as such and marked the review librarian and a working writer with over thirty with a value. Any unvalued package or package DURATION: Since 1994 published books. over $40 is held in customs and results in fees TYPES OF BOOKS: Fiction, nonfiction, picture to me, so please follow these rules. books, early readers, middle grade, young LISA L. OWENS adult; I am open to all genres. The books I 18730 SE 45th Place SHERYL MCFARLANE write are historical fiction, sustainability, Issaquah, WA 98027 2540 Trent Street biographies, and art. However, I read all www.llowens.com Victoria, BC—British Columbia V8R 4Z3 genres including mysteries and science [email protected] PUBLICATIONS GUIDE: THE BOOK [email protected] fiction. At this point I don’t review apps, REVIEWS FOR: Freelance reviews have been REVIEWS FOR: sherylbooks.com; but will when I can get the technology. featured in a variety of publications, including: 2021 BOOK REVIEWERS DIRECTORY | 233

Prevention Update, a quarterly journal sent to REVIEWS SELF-PUBLISHED MATERIAL: theme I have planned. schools nationwide by Committee for Children; Occasionally ADDITIONAL INFORMATION: I write themed Middle Level Learning, a supplement to the REVIEWS EBOOKS: No book reviews featuring three to five books per National Council for the Social Studies journal REVIEWS MATERIAL THE SEASON IT IS column. (three and seven issues/year, respectively); The RELEASED: Yes Writer, a monthly magazine for working writers; ADDITIONAL INFORMATION: My book reviews LYNNE MARIE PISANO TDMonthly, ToyDirectory.com’s monthly trade are accompanied by reviews written by local 26 Pine Drive magazine for the toy, hobby, game, and gift youth. I’ve been coordinating this program Nesconset, NY 11767-2707 industry; LLOwens.com, the writer’s personal since 1989. [email protected] author site featuring her books for children and REVIEWS FOR: Kliatt Journal of Young Adult young adults, with regular trade book reviews PAMELA C. PATTERSON Literature (bimonthly, middle grade/young adult and literature-based activity ideas; assorted Associate Editor, January Magazine only; staff reviewer, assigned reviews only); educational publishing industry newsletters 512 East Chicago Boulevard Crescent Blues website (www.crescentblues. (in-house publications) and writers’ association Tecumseh, MI 49286 com) (weekly, middle grade/young adult only; newsletters (for members only). [email protected] staff reviewer); Midwest Book Review (monthly; DURATION: Ten plus years REVIEWS FOR: January Magazine, a freelance) TYPES OF BOOKS: Picture books, middle grade, well‑respected website that does book reviews DURATION: I have been reviewing books for and young adult fiction and nonfiction, classic and author interviews several years and have been published in literature DURATION: Since 1998 many forums, including Publisher’s Weekly, DIRECTORIES & RESOURCES REVIEWS SELF-PUBLISHED MATERIAL: No TYPES OF BOOKS: All genres, including picture Writer’s Journal, Midwest Book Review, Christian REVIEWS EBOOKS: No books, beginning readers, middle grade, and Parenting, January Magazine, Long Island REVIEWS MATERIAL THE SEASON IT IS young adult; fiction, nonfiction, and poetry Parents, and many more. RELEASED: Yes; also some older material REVIEWS SELF-PUBLISHED MATERIAL: Yes TYPES OF BOOKS: Picture books, middle ADDITIONAL INFORMATION: Reviewer writes REVIEWS EBOOKS: No grade, young adult, poetry, fiction, nonfiction, and edits children’s books and K–12 classroom REVIEWS MATERIAL THE SEASON IT IS seasonal materials; she reviews only books that she RELEASED: Yes REVIEWS SELF-PUBLISHED MATERIAL: No endorses. REVIEWS EBOOKS: No PHYLLIS J. PERRY J. L. PARKER 3190 Endicott Drive JESSICA POWERS 3877 Westwood Drive Boulder, CO 80305 [email protected] Carson City, NV 89703 [email protected] REVIEWS FOR: New Pages, The Portal of [email protected] REVIEWS FOR: Above & Beyond and Think & Independents, approximately four books a REVIEWS FOR: Children’s Museum of Northern Discover month; I am beginning a monthly column as Nevada Newsletter in a monthly column DURATION: Two years well. The online magazine (www.newpages.com) (circulation 5,000) TYPES OF BOOKS: Children’s books. I review reaches over 20,000 people a day. TYPES OF BOOKS: Picture books, beginning books for gifted students in grades 1–8. Fiction DURATION: Over two years readers, middle grade, fiction and nonfiction; and nonfiction, poetry, activity, crafts, and TYPES OF BOOKS: I’ll review any and all seasonal material okay, if received three months seasonal. books as long as they were published by an in advance of holiday REVIEWS SELF-PUBLISHED MATERIAL: Yes independent (small) press. REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: No REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS REVIEWS EBOOKS: No ADDITIONAL INFORMATION: The Reading Room RELEASED: I review new books or books with REVIEWS MATERIAL THE SEASON IT IS of the Children’s Museum of Northern Nevada recent copyright dates. RELEASED: Yes, fairly current books within the appeals to children and their families ages year of publication toddler through junior high. We seek to review ANNE PISACANO quality books that will appeal to diversified 3020 N. Snow Cap Way JOAN REGEN-RAMIREZ cultural and socioeconomic backgrounds. Flagstaff, AZ 86001 232 Hampton Green REVIEWS FOR: Arizona Daily Sun, monthly Staten Island, NY 10312 JEAN L. S. PATRICK column, Sunday (circulation 16,000) [email protected] Book Columnist, c/o The Daily Republic DURATION: Since 2001 REVIEWS SELF-PUBLISHED MATERIAL: Yes PO Box 1288 TYPES OF BOOKS: Picture books, middle grade, REVIEWS EBOOKS: Yes 120 S. Lawler fiction, nonfiction, and young adult REVIEWS MATERIAL THE SEASON IT IS Mitchell, SD 57301 REVIEWS SELF-PUBLISHED MATERIAL: No RELEASED: Yes [email protected] REVIEWS EBOOKS: No ADDITIONAL INFORMATION: My background REVIEWS FOR: The Daily Republic, weekly REVIEWS MATERIAL THE SEASON IT IS includes both corporate communications column (circulation 20,000) RELEASED: I usually review books in the year of writing and published photography, as well as DURATION: Since 1989 publication. I make exceptions if I find a book international early childhood education training TYPES OF BOOKS: All types particularly moving or I’m lacking books for a programs and teacher training. I also have a 234 | BOOK REVIEWERS DIRECTORY

working knowledge of both French and Spanish books REVIEWS EBOOKS: No and an MS degree in specialized journalism. I ADDITIONAL INFORMATION: Only review REVIEWS MATERIAL THE SEASON IT IS have a published children’s story in Hodgepodge books that are worthy of mention because RELEASED: Book reviews are slotted to fit with magazine. Award-winning teen essay online at they personally appeal to me or deserving an the newsletter theme CocoaJava.com. endorsement for purchase by parents, teachers, ADDITIONAL INFORMATION: Our readers are ex- and school libraries; would like a network for pats who are interested in helping their children SUE REICHARD continuing to hone the craft of book reviewing maintain or develop a connection to the English RD 3 Box 264 for me and young reviewers. I am on the boards language. Two to four books are reviewed each Columbia Crossroads, PA 16914 of the Philippine Board on Books for Young issue. REVIEWS FOR: Sunday Review, Towanda, People and the Sa Aklat Sisikat [Books Are PA (circulation 15,000), quarterly reviews; Cool!] Foundation. The latter trains grade 4 TARIE SABIDO Children’s Literature Database, monthly reviews public school teachers on promoting the love 21 F. Manalo Street DURATION: Seven years of reading and envisions a nation of readers. I Brgy. Pinagkaisahan TYPES OF BOOKS: All types of books for children am a published author of books for children and Cubao, Quezon City 1111 and young adults, but particularly nonfiction adults and have been teaching at International Philippines REVIEWS SELF-PUBLISHED MATERIAL: No School Manila for all of my professional life [email protected] REVIEWS EBOOKS: No where I headed the Children’s Media Center. REVIEWS FOR: Into the Wardrobe, an REVIEWS MATERIAL THE SEASON IT IS international blog on literature for the young RELEASED: Yes SHEILA RUTH and young at heart; Asia in the Heart, World ADDITIONAL INFORMATION: I try to put a [email protected] on the Mind, a blog on Asian children’s and YA positive spin on all books. REVIEWS FOR: Wands and Worlds (blog1. books wandsandworlds.com) DURATION: Eight years LISA ROJANY DURATION: Eight years TYPES OF BOOKS: Fiction, nonfiction, picture www.nyjournalofbooks.com TYPES OF BOOKS: Fiction, middle grade, young books, early readers, middle grade, young adult Premier respected book review site with adult; fantasy, science fiction, and speculative REVIEWS SELF-PUBLISHED MATERIAL: Yes award-winning reviewers who are experts in fiction REVIEWS EBOOKS: Yes their fields and often published themselves. REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS APPS: Yes In business since 2009. No fee for review. REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS Reviews all types of children’s and adult books REVIEWS APPS: No RELEASED: I have no specific schedule for from large and small presses. No self-published REVIEWS MATERIAL THE SEASON IT IS reviewing books. books. Review posts on book’s release date RELEASED: Some books so we ask that books are sent to us at least LEAD TIME FOR PUBLICATION: One to two MARY ANN SCHEUER three weeks in advance if possible. Publisher months 3132 Lewiston Avenue and Editor in Chief is SCBWI member. Contact: ADDITIONAL INFORMATION: Please query by Berkeley, CA 94705 [email protected]. email to [email protected], and if [email protected] I’m interested, I’ll send you the address to send REVIEWS FOR: Parents’ Press, a monthly NENI STA. ROMANA-CRUZ the book. Please be aware that I receive many newspaper distributed throughout the San #146 Don Rufino Avenue more submissions than I can read, so if I don’t Francisco Bay Area (monthly Bookshelf column); Tahanan Village, Parañaque 1700 respond to your query, it’s not personal. I don’t my blog, Great Kid Books (greatkidbooks. Metro Manila, Philippines promise a review, and I rarely review books that blogspot.com) [email protected] or [email protected] I don’t like. I do try to analyze each book I DURATION: Three years REVIEWS FOR: Philippine Daily Inquirer, the review critically and discuss the strengths and TYPES OF BOOKS: Fiction, nonfiction, picture www.scbwi.org largest circulating national daily (approx. weaknesses, as well as suggested audience for books, early readers, middle grade; my target | 350,000; infrequently since June 2006); the book. More information can be found in my age group is ages 2–14; I do not review YA. Newsbreak Magazine, a biweekly publication review policy at: blog1.wandsandworlds.com/p/ REVIEWS SELF-PUBLISHED MATERIAL: No read by booklovers, academicians, scholars, and blog-review-policy.html. REVIEWS EBOOKS: No opinion makers (circulation approx. 10,000); REVIEWS APPS: Yes Manila Bulletin, a national daily broadsheet, CHRISTINE GERBER RUTT REVIEWS MATERIAL THE SEASON IT IS second in national circulation (infrequently Rheinländerstrasse 16 RELEASED: Yes until June 2006) 4056 Basel, Switzerland LEAD TIME FOR PUBLICATION: One month TYPES OF BOOKS: Locally published children’s [email protected] books for all ages and juvenile literature from REVIEWS FOR: Basel Childbirth Trust MERIBETH C. SHANK other countries that may be of significance and (newsletter), monthly column (circulation 200) 10200 N. Miami Avenue relevance to the Filipino audience DURATION: Since September 2003 Miami Shores, FL 33150 REVIEWS SELF-PUBLISHED MATERIAL: No TYPES OF BOOKS: Picture books, beginning [email protected] REVIEWS EBOOKS: Yes readers, poetry, and seasonal material REVIEWS FOR: Miami Family Magazine PUBLICATIONS GUIDE: THE BOOK REVIEWS MATERIAL THE SEASON IT IS REVIEWS SELF-PUBLISHED MATERIAL: Yes, if (familymagazine.biz) (circulation 40,000) RELEASED: Yes, especially for locally published exceptional DURATION: Since October 2004 2021 BOOK REVIEWERS DIRECTORY | 235

TYPES OF BOOKS: Picture books, beginning newspaper, BlueEarBooks.com, online journals Shelf-employed readers, middle grade, young adult, fiction, DURATION: Since 1991 DURATION: Four years nonfiction, poetry, and seasonal material; I TYPES OF BOOKS: Fiction, nonfiction, picture TYPES OF BOOKS: Fiction, nonfiction, picture often have a theme when I write reviews. books, middle grade, young adult; I have a books, middle grade; baseball-themed books; REVIEWS SELF-PUBLISHED MATERIAL: No special interest in books set in Asia, books on graphic novels, no manga; picture books, REVIEWS EBOOKS: No Asian cultures, and mountain adventures; Asian especially nonfiction; audiobooks for children ADDITIONAL INFORMATION: My reviews appear folktales or original stories REVIEWS SELF-PUBLISHED MATERIAL: No monthly. REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: Yes REVIEWS EBOOKS: No REVIEWS APPS: No ART SPENCER REVIEWS MATERIAL THE SEASON IT IS REVIEWS MATERIAL THE SEASON IT IS 2632 26th Place SE RELEASED: Yes RELEASED: Any time Auburn, WA 98002 ADDITIONAL INFORMATION: When the right [email protected] book comes my way, I review it for a special PAMELA THOMPSON REVIEWS FOR: Auburn School District Destiny interest publication. 10701 Miller Barber Drive Library Manager (internal only), 440 students El Paso, TX 79935 DURATION: Eleven years JEANETTE STICKEL [email protected] TYPES OF BOOKS: Middle grade and YA; all 45331 S. Caspar Drive REVIEWS FOR: Young Adult Books—What genres - realistic fiction is a favorite. Mendocino, CA 95460 We’re Reading Now (booksbypamelathompson. REVIEWS SELF-PUBLISHED MATERIAL: Yes [email protected] blogspot.com); YA books for The El Paso Times REVIEWS EBOOKS: Yes REVIEWS FOR: SpeakWell, ReadWell blog DURATION: Over twenty years REVIEWS APPS: No (speakwellreadwell.blogspot.com) TYPES OF BOOKS: Fiction, middle grade, young REVIEWS MATERIAL THE SEASON IT IS DURATION: Six months adult; paranormal romance, realistic fiction, RELEASED: No TYPES OF BOOKS: Fiction, nonfiction, picture funny coming-of-age books; see my site for books, early readers, middle grade; any books more info LU ANN BROBST STAHELI that can be used with my students—which is REVIEWS SELF-PUBLISHED MATERIAL: No 804 East 1050 South just about anything REVIEWS EBOOKS: No Spanish Fork, UT 84660 REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS APPS: No [email protected] REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: Read All About It, Spanish REVIEWS APPS: No RELEASED: Yes, and before publication Fork Press, weekly column (circulation 4,000); REVIEWS MATERIAL THE SEASON IT IS LEAD TIME FOR PUBLICATION: About two Utah Children’s Writers Listserv, weekly RELEASED: Yes weeks column (circulation 400); The ALAN Review, ADDITIONAL INFORMATION: I don’t do any ADDITIONAL INFORMATION: Please check SIGNAL Journal, and NCTE Selects quarterly as negative reviews. In my blog, I show how my site; it was awarded Best High School submissions used particular books can be used with my students. Blog of the Year, 2012 from the Texas Library DURATION: Three years Association. TYPES OF BOOKS: Picture books, middle CHARLOTTE TAYLOR grade, and young adult novels; fiction, some 150 Benefit Street NANCY K. WALLACE nonfiction Providence, RI 2903 549 Dutch Ridge Road REVIEWS SELF-PUBLISHED MATERIAL: No [email protected] Ellwood City, PA 16117 REVIEWS EBOOKS: No REVIEWS FOR: My blog, Charlotte’s Library www.nancykwallace.com REVIEWS MATERIAL THE SEASON IT IS (charlotteslibrary.blogspot.com) [email protected] RELEASED: Whenever possible; also review DURATION: Five and a half years REVIEWS FOR: VOYA magazine (circulation older books that are still favorites or perhaps TYPES OF BOOKS: Fiction, early readers, middle of 7,000, but a readership of 30,000 library undiscovered by teachers, parents, or child grade, young adult; primarily fantasy and professionals and teachers). VOYA reviews are audience science fiction for kids and teens included solely at the discretion of the review ADDITIONAL INFORMATION: I also give several REVIEWS SELF-PUBLISHED MATERIAL: No editor. My recommendation for inclusion will book talk workshops each year to students, REVIEWS EBOOKS: No not guarantee a published review in VOYA. I can teachers, and librarians. I have used a hundred REVIEWS APPS: No provide a review for Amazon, Barnes & Noble, of my book reviews in the first edition of a REVIEWS MATERIAL THE SEASON IT IS or Goodreads for fellow SCBWI members if I feel study guide manuscript intended for teachers. I RELEASED: Yes that your book has merit. If I honestly cannot especially look for books that will work well in give a positive review for your book, I will let a secondary language arts classroom. LISA TAYLOR you know. In that case, I will not post a review [email protected] at all. WHITNEY STEWART REVIEWS FOR: School Library Journal; Shelf- DURATION: Sixteen years 6030 Hurst Street employed (www.shelf-employed.blogspot.com) TYPES OF BOOKS: Fiction, nonfiction, middle New Orleans, LA 70118 (5,000 visits per month—approximately 275 grade, young adult; I review middle grade [email protected] daily regular readers via RSS feed and email); and young adult science fiction and fantasy, REVIEWS FOR: Freelance for The Times-Picayune on Twitter @shelfemployed; on Facebook: contemporary fiction, poetry, and also reference 236 | BOOK REVIEWERS DIRECTORY

and professional books with an emphasis on the REVIEWS EBOOKS: No Middle Ages, Renaissance art and life, theater, REVIEWS APPS: Yes fairy tales, and mythology. LEAD TIME FOR PUBLICATION: Two months REVIEWS SELF-PUBLISHED MATERIAL: No ADDITIONAL INFORMATION: I review only REVIEWS EBOOKS: No books that I have enjoyed reading. My REVIEWS APPS: No background is in education and writing, so I REVIEWS MATERIAL THE SEASON IT IS look for books that would be well-placed in RELEASED: Yes classrooms (PreS-12th). LEAD TIME FOR PUBLICATION: Three months ADDITIONAL INFORMATION: Please be THE CHILDREN’S LITERATURE PROGRAM courteous and email me first to describe your Department of English and Comparative Literature project before submitting a book or manuscript. San Diego State University Unsolicited works will not necessarily be San Diego, CA 92182 reviewed or receive a response. I require a childlit.sdsu.edu physical copy of your book to review it. TYPES OF BOOKS: Children’s books on a variety of topics LISA A. WROBLE ADDITIONAL INFORMATION: Book reviews are 441 Quail Forest Boulevard, #301 posted on the website by topic and are written Naples, FL 34105 by academics associated with the program. In [email protected] order to have your book considered for review, REVIEWS FOR: “Read & Play” column for have your publisher submit it to the above Early On newsletter, Wayne RESA, (circulation address. A list of topics and other information is 100,000); Christian Library Journal (circulation available on the website. 1,000, to Christian, school, and public librarians)–editor provides assignments; plus reviews posted on Goodreads, Books Use in Classrooms board on Pinterest, and blogs. DURATION: Early On since 2012; Christian Library Journal since 1997. TYPES OF BOOKS: Picture books, any type and genre; classic and well-loved picture books suitable for ages 0–5, fiction and nonfiction for all ages. For Early On: board and novelty books, apps, picture books for ages 0-4. For Christian Library Journal, editor provides suggestions. All others: all ages, fiction, picture book through new adult; genres: fantasy, science fiction, mystery/suspense, paranormal, historical, literary; MG/YA nonfiction to build self-esteem, deal with growth/personal issues/self-help; parenting how-to and specific educational issues nonfiction. www.scbwi.org REVIEWS SELF-PUBLISHED MATERIAL: Yes | (send email first) REVIEWS EBOOKS: Yes REVIEWS MATERIAL THE SEASON RELEASED RELEASED: Not essential

RITA ZOBAYAN www.ritazthewriter.com [email protected] @ritazthewriter REVIEWS FOR: Good Reads with Ronna DURATION: Three years TYPES OF BOOKS: Fiction, nonfiction, picture books, early readers, chapter books, middle PUBLICATIONS GUIDE: THE BOOK grade, young adult REVIEWS SELF-PUBLISHED MATERIAL: No 2021 INTERNATIONALCOPYRIGHT FACTS SCHOOL FORDIRECTORY WRITERS

by Rebecca Foxby |Holly Edited Thompson by Sara Rutenberg

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

» Council of International Schools (International Schools Directory) www.cois.org » International Schools Service (Directory of International Schools)

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 2021 edition of this list has been updated with phone numbers information are listed in more complete detail. and/or websites for each listing. Further details, course descriptions, Finally, while we encouarge you to hone and sharpen your craft by costs, and registration deadlines are readily available online for most taking a class, this listing is not a recommendation or endorsement of of the classes listed below. Programs that have contacted us with any specific institution or course.

Pima Community College/Tucson www.english.arizona.edu US COURSES Tucson, AZ www.pima.edu/ ARKANSAS ARIZONA COURSE TITLE: Literature/Social Studies for WRITING COURSES OCCASIONAL WRITING COURSES Children COURSE DESCRIPTION: Survey of principles, University of Arkansas Arizona State University materials, and techniques for the selection Department of English Virginia G. Piper Center for Creative Writing and evaluation of children’s literature 333 Kimpel Mollie Connelly and social studies materials. Includes Fayetteville, AR 72701 PO Box 875002 incorporating an appreciation of other 479-575-4301 Tempe, AZ 85287 cultures, and planning and implementing fulbright.uark.edu/departments/english/ 480-727-0818 developmentally appropriate activities. piper.asu.edu CALIFORNIA Tucson Parks and Recreation WRITING COURSES Cochise Community College/Wilcox 509-573-3933 English Department www.ezeereg.com CSU/Northridge 800-966-7943, Ext. 4058 or Ext. 5490 Department of English www.cochise.edu/english Tucson Public Library CSUN, 18111 Nordhoff Street, Pima County Public Library Northridge, CA 91330 Glendale Community College www.library.pima.gov 818-677-3434 www.gccaz.edu/ www.csun.edu/humanities/english COURSE TITLE: Children’s Literature The University of Arizona COURSE DESCRIPTION: Review of folk and Department of English City College of San Francisco modern literature, including application of 1423 E. University Boulevard, Rm. 445 Department of English literary criteria to folk and modern literature Modern Languages Building www.ccsf.edu/academics/schools/english-world- PO Box 210067 languages-and-cultures-and-communication- Tucson, Arizona 85721 studies/english-department 520-621-1836 240 | WRITING & ILLUSTRATION COURSES DIRECTORY

Otis College of Art and Design American River College/Sacramento www.ccsf.edu/academics/schools/school-fine- 310-665-6800 916-484-8101 applied-communication-arts/art-department www.otis.edu/ www.arc.losrios.edu/academics/english-division- office Otis Art Institute Oxnard College COURSE TITLES: Children and Literature; 310-665-6800 Department of English Children and Literature: Storytelling; Children www.otis.edu/ 805-986-5800, ext. 1949 and Literature: Multicultural Literature www.oxnardcollege.edu/departments/academic/ UC Extension/San Diego english/index.shtml Arne Nixon Center for Children’s Art Department Literature extension.ucsd.edu/courses-and-programs/ San Diego State University Extension 559-278-8116 Childrens-Book-Writing-and-Illustration 619-594-5821 www.arnenixoncenter.org/ www.ces.sdsu.edu/ COLORADO California State U/Bakersfield REGULAR WRITING COURSES Santa Barbara City College English Department Department of English 661-654-2144 UC Continuing Edu/Boulder 805-965-0581, ext. 2340 www.csub.edu/english/ 303-492-5148 www.sbcc.edu/english ce.colorado.edu/ California State U/Chico [email protected] Santa Clara University English Department COURSE TITLE: The Children’s Book: Write It, 408-554-4142 530-898-5124 Illustrate It, Publish It! Department of English www.csuchico.edu/engl/ COURSE DESCRIPTION: Ever dreamed of writing www.scu.edu/english or illustrating a children’s book? Learn the California State U/Stanislaus entire process, from the cultivation of ideas Sierra College Department of English to the published work. We’ll cover manuscript Department of English 209-667-3361 development, picture book layouts, and secrets 916-660-8018 www.csustan.edu/English for successfully submitting manuscripts to large www.catalog.sierracollege.edu/departments/ publishers. We’ll also take a good look at how english/ Modesto Junior College straightforward and profitable it can be to self- COURSE TITLE: Introduction to Children’s Department of English publish. Bring your own art or writing (even if Literature www.mjc.edu/instruction/litlang/ it’s just on a napkin!). Don’t let shyness stop COURSE DESCRIPTION: Examination of [email protected] you from getting valuable advice - constructive classic and contemporary children’s litera­ture, advice - not destructive. Free five minute including criteria for selection, uses in child Moorpark Community College private consultations during breaks. This is development­ and education, and practices in English Department a FUN, super-creative hands-on class! All are presentation and analysis. Designed for parents, 805-378-1400 welcome to join us for lunch. prospective teachers, aides, child development www.moorparkcollege.edu/departments/ professionals, and students interested in the academic/english REGULAR ILLUSTRATING COURSES field of literature for children ages 1-13. Napa Valley College Rocky Mountain College of Art & Design Tamalpais Union School District Writing Center 303-753-6046 www.marinlearn.com www.napavalley.edu/academics/WritingCenter/ www.rmcad.edu/ www.scbwi.org

| Pages/default.aspx UC Extension/Los Angeles OCCASIONAL ILLUSTRATING COURSES Writing Program UC Continuing Education/Riverside 310-825-9415 English Department UC Continuing Edu/Boulder www.writers.uclaextension.edu/ 951-827-5301 303-492-5148 [email protected] english.ucr.edu/ ce.colorado.edu/ [email protected] OCCASIONAL WRITING COURSES Ventura Community College 805-652-5500 CONNECTICUT Allan Hancock College www.vcccd.edu/ REGULAR WRITING COURSES English Department 805-922-6966 REGULAR ILLUSTRATING COURSES Fairfield University www.hancockcollege.edu/departments/english/ (Nighttime Continuing Education Courses) index.php?locale=en City College of San Francisco 203-254-4110 PUBLICATIONS GUIDE: THE BOOK Art Deparment www.fairfield.edu/summer-and-continuing- studies/

2021 415-239-3157 WRITING & ILLUSTRATION COURSES DIRECTORY | 241 [email protected] OCCASIONAL WRITING COURSES Winnetka Community House 847-446-0537 REGULAR ILLUSTRATING COURSES College of DuPage www.mycommunityhouse.org/ 630-942-2800 University of Hartford Art School www.cod.edu/ OCCASIONAL ILLUSTRATING COURSES Illustration Department www.hartford.edu/academics/schools-colleges/ College of Lake County Art Institute of Chicago Continuing art/ 847-543-2000 Studies www.clcillinois.edu/ 312-629-6100 OCCASIONAL WRITING COURSES www.saic.edu/continuing-studies/ace Harper Community College [email protected] Southern Connecticut State University Department of English English Department 847-925-6284 Columbia College 203-392-6147 www.harpercollege.edu/libarts/eng/dept/ 573-875-8700 www.southernct.edu/english/ www.ccis.edu/ [email protected] Newberry Library 312-943-9090 Ragdale Foundation FLORIDA www.newberry.org/ 847-234-1063 REGULAR ILLUSTRATING COURSES www.ragdale.org/ Northern Illinois University [email protected] Palm Beach State College Department of English 561-868-3350 815-753-0611 IOWA www.palmbeachstate.edu/ www.engl.niu.edu/index.shtml REGULAR WRITING COURSES [email protected] GEORGIA University of Iowa Summer Writing REGULAR ILLUSTRATING COURSES Oakton Community College Festival Department of English The University of Iowa Savannah College of Art and Design 847-635-1953 C215 Seashore Hall 912-525-5000 www.oakton.edu/academics/academic_ Iowa City, IA 52242 Illustration Master of Arts and Master of Fine departments/english/ 319-335-4160 Arts Degrees [email protected] iowasummerwritingfestival.org/ www.scad.edu/academics/programs/illustration Off Campus Writers Workshop LOUISIANA HAWAII ocww.info/ REGULAR WRITING COURSES OCCASIONAL WRITING COURSES [email protected] University of New Orleans University of Hawaii/Hilo Ragdale Foundation The University of New Orleans English Department 847-234-1063 2000 Lakeshore Drive 808-974-7479 www.ragdale.org/ New Orleans, LA 70148 www.uhh.hawaii.edu/depts/english [email protected] 504-280-6000 www.uno.edu/academics/colaehd/la/english University of Hawaii/Manoa Saint Xavier University Department of English 773-298-3236 MAINE 808-956-3032 www.sxu.edu/catalog/current/undergraduate/ REGULAR WRITING COURSES www.english.hawaii.edu/ courses/engl/ [email protected] [email protected] University of Southern Maine (Stone Course Title: Children’s Literature Coast MFA Program) University of Chicago Publishing 207-780-4141 ILLINOIS Program usm.maine.edu/stonecoastmfa/ REGULAR ILLUSTRATING COURSES 773-702-2768 grahamschool.uchicago.edu/ OCCASIONAL WRITING COURSES Evanston Arts Center [email protected] 847-475-5300 University of Maine www.evanstonartcenter.org/ Waubonsee Community College 207-581-1110 630-466-7900 www.umaine.edu/ www.waubonsee.edu/

242 | WRITING & ILLUSTRATION COURSES DIRECTORY

MARYLAND available and supported. The two-year program www.loft.org REGULAR WRITING COURSES features ten-day residencies each winter (start of spring term) and summer (start of fall term) Mankato State University Writer’s Center/Bethesda when students and faculty members are on carts.mnsu.edu/academics/english/ 301-654-8664 campus; during the semesters in between, www.writer.org/ students work one-on-one from home via University of Minnesota Continuing mail and email with a faculty mentor. During Eduaction McDaniel College each ten-day residency, select craft classes— ccaps.umn.edu/ Graduate and Professional Studies including classes in writing for young adults 2 College Hill and writing for children—are available for audit OCCASIONAL WRITING COURSES Westminster, MD 21157 by members of the public. Visit www.pmc.edu/ 410-857-2501 academics/mfa/ for more information. University of Minnesota Extension www.mcdaniel.edu/academics/graduate- 612-624-1222 professional-studies/writing-children-young-adults University of Massachusetts/Amherst www.extension.umn.edu/ COURSE DESCRIPTION: The McDaniel College www.umass.edu/ [email protected] Writing for Children & Young Adults (WCYA) Certificate Program is designed for working REGULAR ILLUSTRATING COURSES MISSOURI professionals who want a straight path to REGULAR WRITING COURSES publishing in the field. The graduate online Art Institute of Boston courses are taught by experts in the field, 617-585-6600 St. Louis University including editors at major publishing houses www.lesley.edu/academics/college-of-art-design 314-977-2222 and published children and young adult authors. www.slu.edu Cambridge Center for Adult Education MASSACHUSETTS www.ccae.org/classes/visual-arts NEBRASKA REGULAR WRITING COURSES REGULAR WRITING COURSES Cape Cod Creative Arts Center Berkshire Community College 508-945-3583 Central Community College www.berkshirecc.edu/ www.capecodcreativearts.org/ 308-398-4222 www.cccneb.edu/english Boston Center for Adult Edu. Massachusetts College of Art [email protected] 617-267-4430 617-879-7000 www.bcae.org/ www.massart.edu/ OCCASIONAL WRITING COURSES

Cambridge Center for Adult Edu. Salem State College Southeast Community College 617-547-6789 Art Department 402-228-3468 www.ccae.org/ 978-542-6515 www.southeast.edu/academics/

Framingham State College OCCASIONAL WRITING /ILLUSTRATING OCCASIONAL ILLUSTRATING COURSES 508-626-4550 COURSES www.framingham.edu/academics/colleges/arts- Southeast Community College and-humanities/english/index Radcliffe Institute Seminars 402-228-3468 www.radcliffe.harvard.edu/academic-ventures/ www.southeast.edu/academics/ www.scbwi.org seminars-workshops/exploratory-seminars | Salem State College 978-542-6331 NEVADA www.salemstate.edu/academics/college-arts-and- MICHIGAN REGULAR WRITING COURSES sciences/english REGULAR WRITING COURSES Truckee Meadows Community College The Solstice Low-Residency MFA in Ann Arbor Public Schools Community 775-829-9010 Creative Writing Program Education www.tmcc.edu/english Pine Manor College 734-994-2300 400 Heath Street www.a2schools.org/reced University of Nevada Chestnut Hill, MA 02467 775-784-4700 617-731-7684; Fax 617-731-7631 www.unr.edu/liberal-arts www.pmc.edu/academics/mfa/ MINNESOTA The Solstice Low-Residency MFA in Creative REGULAR WRITING COURSES NEW HAMPSHIRE Writing Program enables students to focus on OCCASIONAL WRITING COURSES PUBLICATIONS GUIDE: THE BOOK fiction, poetry, creative nonfiction, and writing The Loft Literary Center 612-215-2575 University of New Hampshire Continuing 2021 for children & young adults. Cross-genre study is WRITING & ILLUSTRATION COURSES DIRECTORY | 243

Education year, Fellows complete one publishable YA or Marymount Manhattan College 603-862-2015 middle grade manuscript, or, for chapter and www.mmm.edu/ www.unh.edu/continuingeducation picture book writers, three to four separate [email protected] [email protected] manuscripts. Admission is highly selective. Children’s Lit Fellows receive Advanced OCCASIONAL ILLUSTRATING COURSES OCCASIONAL ILLUSTRATING COURSES Certificates in Creative Writing from Stony Brook Southampton’s MFA in Creative Writing The Graphic Artist Guild University of New Hampshire Continuing and Literature. www.graphicartistsguild.org/ Education 603-862-2015 SUNY/Purchase College Hofstra University www.unh.edu/continuingeducation 914-251-6000 516-463-5474 (Art Dept) [email protected] www.purchase.edu/academics/ NORTH CAROLINA NEW YORK The New School REGULAR WRITING COURSES Children’s Book Illustration and Writing Fayetteville State University Class runs fifteen weeks starting in January and Department of English and Foreign Languages Baruch College August. 1200 Murchison Road 646-312-5000 courses.newschool.edu/courses/NWRW3812/ G.L. Butler Building, Room 123 www.baruchcaps.com/ Fayetteville, NC 28301 DIRECTORIES & RESOURCES REGULAR ILLUSTRATING COURSES 910-672-1416 Brooklyn College www.uncfsu.edu/academics/colleges-schools-and- 718-951-5195 Cooper Union departments/college-of-humanities-and-social- academic.brooklyn.cuny.edu/english/ cooper.edu/art sciences/department-of-english-literature-teaching- pre-law-and-creative-and-professional-writing Cooper Union Parsons School of Design COURSE TITLE: Writing Children’s Literature 212-353-4195 212-229-5855 INSTRUCTOR: Carole Boston Weatherford www.cooper.edu/academics/center-for-writing www.newschool.edu/parsons/ COURSE DESCRIPTION: This course will provide students with an understanding of how to write Gotham Writer’s Workshop Quackenbush Studios for children in different literary genres and with 212-974-8377 www.rquackenbush.com/workshops.htm an opportunity to create written manuscripts www.writingclasses.com/ for children. The course will also consider issues School of Visual Arts and trends in the children’s publishing industry. Long Island University/Brookville 209 East 23 Street PREREQUISITES: English 110 and English 120. 1-800-548-7526 New York, NY 10010 www.liu.edu/ 212-592-2251 OHIO www.sva.edu/ OCCASIONAL ILLUSTRATING COURSES NYU School of Continuing Education 212-998-7200 SUNY/Purchase College Cleveland Institute of Art www.nyu.edu/academics/continuing-education. 914-251-6750 800-223-4700 html www.purchase.edu/academics/arts/ www.cia.edu/

Quackenbush Studios OCCASIONAL WRITING COURSES OKLAHOMA www.rquackenbush.com/workshops.htm REGULAR WRITING COURSES Barnard College Queens College 212-854-2116 Oklahoma State University 718-997-4600 english.barnard.edu/ 405-744-9474 www.qc.cuny.edu/Academics/Degrees/DAH/ english.okstate.edu/ English/Pages/default.aspx Hofstra University [email protected] Hempstead, NY 11549 Stony Brook University 516-463-6600 REGULAR ILLUSTRATING COURSES childrenslitfellows.com www.hofstra.edu/academics/colleges/hclas/engl/ COURSE DESCRIPTION: Twelve Fellows are engl_about.html Oklahoma State University selected each year to work independently in the 405-744-6016 Spring and Fall with acclaimed faculty mentors, Manhattanville College art.okstate.edu/ and, twice a year, come together as a cohort - 914-323-5239 [email protected] once in July during the Southampton Writers www.mville.edu/admissions/graduate- Conference and again in January for a special admissions/mfa-creative-writing Publishing and Editing Conference. During their 244 | WRITING & ILLUSTRATION COURSES DIRECTORY

OREGON OCCASIONAL WRITING COURSES UTAH OCCASIONAL WRITING COURSES REGULAR WRITING COURSES Delaware County College/Media Brigham Young University Lewis & Clark College 610-359-5050 801-422-4636 English Department www.dccc.edu/ www.byu.edu 503-768-7405 www.lclark.edu/college/departments/english Susquehanna U/Selinsgrove University of Utah, Continuing 570-374-0101 Education Oregon Coast Children’s Book Writers www.susqu.edu/ 801-581-6461 Workshop continue.utah.edu/ www.occbww.com/ RHODE ISLAND REGULAR ILLUSTRATING COURSES Utah Valley State College Portland Community College 801-863-1636 503-244-6111 Rhode Island School of Design, www.uvu.edu/ www.pcc.edu/ Continued Education 401-454-6200 Westminster College Portland State University ce.risd.edu/ 801-484-7651 503-725-4944 www.westminstercollege.edu/ www.pdx.edu/english/ TENNESSEE REGULAR WRITING COURSES VIRGINIA OCCASIONAL ILLUSTRATING COURSES REGULAR WRITING COURSES Rhodes College/Memphis Lewis & Clark College 901-843-3000 Hollins University Art Department English Department 540-362-6000 503-768-7390 www.rhodes.edu/academics/majors-minors/ www.hollins.edu/ college.lclark.edu/departments/art/ english John Tyler Community College Portland Community College TEXAS 804-796-4000 503-244-6111 REGULAR WRITING COURSES www.jtcc.edu/ www.pcc.edu/ Texas Christian University WASHINGTON Portland State University 817-257-7000 REGULAR WRITING COURSES Art Department www.tcu.edu/ 503-725-3515 Edmonds Community College www.pdx.edu/art-design/ University of Texas/Dallas Department of English 972-883-2111 www.edcc.edu/programs/humanities/engl/ PENNSYLVANIA www.utdallas.edu/ default.html REGULAR WRITING COURSES [email protected] OCCASIONAL WRITING COURSES Chatham College Green River Community College 412-365-1100 Amarillo College 253-833-9111 (Main Campus-Auburn) www.chatham.edu/ 806-371-5000 Department of English www.scbwi.org

| www.actx.edu/ www.greenriver.edu/students/academics/ Rabbit Hill Writer’s Studio divisions/ 717-626-8481 Our Lady of the Lake University rabbithillonline.tripod.com/contact.html 210-434-6711 Lake Washington Technical College www.ollusa.edu Department of English Rosemont College 425-738-8100, ext. 308 610-527-0200 Texas Woman’s University www.lwtech.edu/academics/general-education- www.rosemont.edu/ 940-898-2000 requirements/english/ www.twu.edu/ [email protected] REGULAR ILLUSTRATING COURSES University of Texas/Austin Pennsylvania College of Art + Design 512-475-7348 Renton Technical College 717-396-7833 www.utexas.edu/ 425-235-2352 www.pcad.edu/ www.rtc.edu PUBLICATIONS GUIDE: THE BOOK 2021 WRITING & ILLUSTRATION COURSES DIRECTORY | 245

University of Washington, Extension Box Hill College of TAFE 206-685-8936 +61-3-9286-9222 www.pce.uw.edu/courses/writing-childrens- www.bhtafe.edu.au/ literature-picture-books COURSE TITLE: Certificate in Writing for Holmesglen College of TAFE Children holmesglen.edu.au/Courses/ COURSE DESCRIPTION: Investigate the world of children’s fiction and nonfiction, including picture books, chapter books, and novels. Learn ONLINE to bring your own tales to life and captivate children’s imaginations. Discover how to ACCREDITED SCHOOLS ONLINE transform the idea of a story into an enthralling www.accreditedschoolsonline.org/art-schools/ narrative, page by page. Explore how to use your own inner resources to strengthen your ED2GO creative voice and prepare for the long, quiet www.ed2go.com/courses/writing/writing-and- phase of writing and rewriting on your own. editing/ilc/writing-for-children

OCCASIONAL WRITING COURSES WRITING FOR CHILDREN Online course taught by Carol Parenzan Smalley Kirkland Arts Center is good for credit at over 2400 colleges and 425-822-7161 universites around the world. A new section www.kirklandartscenter.org/ starts each month and runs for six weeks.

WISCONSIN OCCASIONAL WRITING COURSES

Mount Mary College Department of English 414-258-4810, ext. 395 www.mtmary.edu/majors-programs/index.html

University of Wisconsin www.uwsa.edu/ [email protected] INTERNATIONAL

AUSTRALIA REGULAR WRITING COURSES

Writers Victoria 03-9094-7855 writersvictoria.org.au/

Centre for Adult Education 03-9652-0611 www.cae.edu.au/ [email protected]

Australian Catholic University www.acu.edu.au/

Deakin Univ/Malvern 03-5227-1100 www.deakin.edu.au/communication-creative- arts/writing-and-literature ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS 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. 248 | ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS

Children’s Books and Their Creators: An Invitation to the Feast of “The best and most up-to-date source for information about the Twentieth Century Children’s Literature, by Anita Silvey (Houghton Mifflin whole children’s book industry.” Harcourt, 1995) “Belongs on every children’s book writer’s shelf. Readers meet the Picture This: Perception and Composition, by Molly Bang (Bulfinch best of the best, especially of the last fifty years of the twentieth Press, 1991; retitled as Picture This: How Pictures Work, Chronicle Books, century—authors, illustrators, editors, formats, genres, in more than 2000) eight hundred well-written entries.” “Provides fun, dynamic teaching throughout, from using simple forms we know well, such as triangles and horizontals, to the effect color can have The Forest for the Trees: An Editor’s Advice to Writers, by Betsy Lerner on those forms and shapes. A great book for helping us see through artists’ (Riverhead Trade, 2010) eyes what can make for extraordinary images and compositions.” “Useful, practical ways to understand and use various writing skills— “It makes us aware of intuitive principles of making pictures, many of and writing in general. I loved her clarity.” which we already maybe do but have never consciously thought about before.” Story: Substance, Structure, Style and the Principles of Screenwriting, by Robert McKee (ReganBooks, 1997) Show and Tell: Exploring the Fine Art of Children’s Book Illustration, by “What he has to say about the way that character should influence Dilys Evans (Chronicle Books, 2008) plot is useful even to those who aren’t writing screenplays.” “This anthology features twelve contemporary illustrators, focusing on their work while examining the deeper currents . . . An enlightening The Writer’s Journey: Mythic Structure for Writers, by Christopher look into the effective use of illustration.” Vogler (3rd edition, Michael Wiese Productions, 2007; audio version: “It’s like a master class in how to look at art, learn from the best, Using Myth to Power Your Story, Writer’s AudioShop, 2002) and think about your own storytelling in new ways.” “Young protagonists are all on a journey to change and grow and leave their old selves behind.” Bird by Bird, by Anne Lamott (as on previous page)

Writing Fiction: A Guide to Narrative Craft, by Janet Burroway, How to Draw Comics the Marvel Way, by Stan Lee and John Buscema Elizabeth Stuckey-French, and Ned Stuckey-French (8th edition, (Touchstone, 1984) Longman, 2010) “It gives most artists all the essential tools they need to study “Clear and comprehensive with an excellent discussion of characterization.” composition, design, and basic figure drawing.”

The Top Seven Recommended Books on Illustrating The Elements of Style, by William Strunk & E. B. White (4th edition, These are the books that were on more than one short list. Writing Longman, 1999) with Pictures won the overall race, with a total of ten recommendations! “There are at least five copies around my house and studio. I look at it not only as a bible for writing, but apply its wisdom to making art— Writing with Pictures: How to Write and Illustrate Children’s Books, by say what you need to say as simply as possible.” Uri Shulevitz (Watson-Guptill, 1997) “It’s great for stepping back and pondering the anatomy of a More Recommended Books on Writing picture book and why we do what we do. The printing techniques 100 Best Books for Children: A Parent’s Guide to Making the Right and technologies have evolved quite a lot since this was written and Choices for Your Young Reader, Toddler to Preteen, by Anita Silvey illustrated, but the main elements of visual storytelling he covers apply (Mariner, 2005) to all books of any decade.” “The books that every children’s author and illustrator should know,” “A must-have for anyone who is serious about developing their craft.” (including anecdotes about their creation). “An indispensable guide to picture book illustration. Shulevitz www.scbwi.org covers most aspects of the craft from concept to publication; including The Artist’s Way: A Spiritual Path to Higher Creativity, by Julia | character development, sequencing, rhythm, storyboard, book dummy, Cameron with Mark Bryan (G. P. Putnam’s Sons, 1992) spatial relationships, composition, technique, and style.” A twelve-week program to recover your creativity from a variety of “He looks at everything, the whole book cover to cover, layout, page blocks, replacing them with artistic confidence and productivity. From turns, emotional effect, etc.” morning pages to artist dates to the importance of “filling the well,” “Breaks down the process of telling stories with pictures into easy- this book is full of tools, exercises, and inspiration. to-understand steps and exercises. Invaluable. And from a master.” Alone with All That Could Happen: Rethinking Conventional Wisdom Children’s Writer’s & Illustrator’s Market Book (Writer’s Digest Books, About the Craft of Fiction Writing, by David Jauss (Writer’s Digest Books, annual) 2008) “A vitally important resource book, updated annually . . . Relevant “My all-time favorite craft book for so many reasons, just because articles inform, educate, advise, challenge, and inspire.” David Jauss is brilliant and writes in a way that explains, details, “A comprehensive marketing resource, which includes current listings amuses, and resonates.” of publishers, magazines, agents and art reps, and more. (Earlier CWIM PUBLICATIONS GUIDE: THE BOOK annuals should not be overlooked, as they are packed with timeless interviews with publishing pros.)” 2021 ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS | 249

The Anatomy of Story: 22 Steps to Becoming a Master Storyteller, by “This book is geared toward writing memoir, but I found it extremely John Truby (Faber & Faber, 2007) helpful for tapping into emotional and attentive states of thought . . . “It’s a great one for considering how your characters relate to one [It] contains a series of associative writing prompts that are another and how their desires, flaws, and actions all intersect.” particularly useful for capturing emotions and tactile detail.”

Anatomy of Nonfiction: Writing True Stories for Children, by Margery Poem Making: Ways to Begin Writing Poetry, by Myra Cohn Livingston Facklam and Peggy Thomas (Writer’s Institute Publications, 2011) (HarperCollins, 1991) Step-by-step instructions for developing nonfiction articles and “Written for children, but is a must for anyone wanting to write books, covering resources, ways to organize your research, markets, and poetry for young people. She covers sound, rhyme, rhythm, poetic nonfiction techniques used in history, biography, science and nature, techniques, and poetic forms clearly and simply.” how-to, and self-help. Random House Webster’s Word Menu, by Stephen Glazier (Ballantine Art and Fear: Observations on the Perils (and Rewards) of Artmaking, Books, 1997) by David Bayles and Ted Orland (Image Continuum Press, 2001) “A thesaurus/reverse dictionary/almanac with genius categories. “Bottom line: It’s okay to be afraid. That’s part of making art. You Writing a scene in a restaurant? Turn to eating verbs (savor, gorge, just have to be brave, too.” nosh . . .), and a few pages on you’ll see cutting techniques, and pretty soon you’re deciding if assault with a trivet, trussing needle, or Spork Biography: A User’s Guide, by Carl Rollyson (Ivan R Dee, 2008) best suits your story. This is my new favorite because you don’t have to Written in an encyclopedic fashion to “show that biography has know what you’re looking for to find it.” many . . . dimensions.” Real Revision, by Kate Messner (Stenhouse Publishers, 2011) By Cunning and Craft: Sound Advice and Practical Wisdom for Fiction Revision strategies from Kate and forty other children’s authors, with Writers, by Peter Selgin (Writer’s Digest Books, 2007) exercises and sections on character development, pacing, returning to “Selgin clearly presents the elements of narrative—character, plot, research, word choice, and cutting. point of view, voice, theme, and dialogue—as well as revision, offering easily understandable explanations and examples.” S Is for Story: A Writer’s Alphabet, by Esther Hershenhorn (Sleeping Bear Press, 2009) Characters and Viewpoint (Elements of Fiction Writing), by Orson An abecedarian (ABC) book on how to create good stories. Written Scott Card (Writer’s Digest Books, 2011) for kids, but with lots of inspiration, advice, and tools for adult writers “Some great visuals that really helped with distance (close-in/ as well. limited vs. distant) as well as pros/cons to POV choices.” Save the Cat: The Last Book on Screenwriting You’ll Ever Need and Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Save the Cat Strikes Back: More Trouble for Screenwriters to Get Into . . . Dynamic Characters and Effective Viewpoints (Write Great Fiction), by and Out Of, by Blake Snyder (Michael Wiese Productions, 2005, and Nancy Kress (Writer’s Digest Books, 2005) Save the Cat! Press, 2009) “Practical and useful for understanding omniscient POV issues.” “These are actually books about screenwriting . . . but the same things that play into a great film are also essential in great novels. Lots of Children’s Writer’s Word Book, by Alijandra Mogilner (Writer’s Digest practical, try-it-right-now activities for plotting, conflict, and pacing.” Books, 2006) “To check the grade level of every word.” Second Sight: An Editor’s Talks on Writing, Revising & Publishing Books for Children and Young Adults, by Cheryl B. Klein (Asterisk Books, 2011) From Where You Dream: The Process of Writing Fiction, by Robert Olen Self-professed “narrative nerd,” continuity editor on the last two Butler (Grove Press, 2006) Harry Potter books, and executive editor at Arthur A. Levine Books “What does your character want? I struggled with this question, (Scholastic), Cheryl Klein compiles her conference talks and blog posts. feeling that often characters themselves don’t know what they want. This Kickstarter-funded and self-published book culminates in essays Butler’s chapter on longing answers this question by showing writers on point, character, plot, voice and “25 Revision Techniques.” that characters can be motivated by ambiguous feelings or hungers they are only now discovering.” The Spying Heart: More Thoughts on Reading and Writing Books for Children, by Katherine Paterson (Puffin, 1990) Made to Stick: Why Some Ideas Survive and Others Die, by Chip Heath “Whenever I need to be reminded of the true, deep, and real reasons and Dan Heath (Random House, 2007) I write for children, I pull out this book and open it to any page.” “Mark Twain said, ‘A lie can get halfway around the world before the truth can even get its boots on.’ This book explores creating concepts, Steering the Craft: Exercises and Discussions on Story Writing for the ideas, and fiction that ‘sticks’ in a way that readers and the public will Lone Navigator or the Mutinous Crew, by Ursula K. Le Guin (The Eighth remember them forever.” Mountain Press, 1998) “Great chapter with examples for each POV based on the same Old Friend from Far Away: The Practice of Writing Memoir, by Natalie scene/characters but from different POVs.” Goldberg (Free Press, 2009) 250 | ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS

Take Joy: A Writer’s Guide to Loving the Craft, by Jane Yolen (Writer’s Writing the Natural Way, by Gabriele Rico (Tarcher, 2000) Digest Books, 2006) “Explores left-right brain science, and then gives step-by-step A guide to dealing with what writers struggle with: voice, beginnings directions and illustrations on its application for students, authors, and and endings, rejection, the technical aspects of writing, and coming up anyone else who writes. I use her techniques daily because they work with an idea. As Jane explains, “Save the blood and pain for real life, where like butterfly nets to catch fleeting thoughts.” tourniquets and ibuprofen can have some chance of helping. Do not be afraid to grab hold of the experience with both hands and take joy.” The Writer’s Guide to Crafting Stories for Children, by Nancy Lamb (Writer’s Digest Books, 2001) The Teachers & Writers Handbook of Poetic Forms, edited by Ron “Explains structure, plotting, characterization, and everything you Padgett (Teachers and Writers Collaborative, 2000) need to know about writing for children . . . with exercises at the end Defines and gives examples of poetic terms and forms. of each chapter.”

What’s Your Story? A Young Person’s Guide to Writing Fiction, by Marian The Nuts and Bolts Guide to Writing Picture Books, by Linda Ashman Dane Bauer (Sandpiper, 1992) (Linda Ashman, 2013) “Newbery Medalist Bauer wrote this book for middle-schoolers . . . “A practical, “nuts and bolts” handbook for new writers based on Fiction writers see instantly: who our character is, what he wants/ everything I’ve learned over the years.” needs, and why must drive our stories.” “Clearly written, well-organized, and loaded with practical information, the guide would make an excellent textbook for creative Writing & Critique Group Survival Guide: How to Give and Receive writing classes and for the do-it-yourselfer.” Feedback, Self-Edit, and Make Revisions, by Becky Levine (Writer’s Digest Books, 2009) More Recommended Books on Illustrating Tools to hone your editing skills and deepen your understanding Angel in the Parlor: Five Stories and Eight Essays and Telling Time: of how to revise your own work as well as someone else’s. With Angels, Ancestors, and Stories, by Nancy Willard (Bookthrift Co, 1983, worksheets, sample critiques, and examples. and Mariner Books, 1993) “Pure genius. Nancy shares rich insights into the creative process. Writing Changes Everything: The 627 Best Things Anyone Ever Said Both copies of her books are held together by a thread because I’ve About Writing, edited by Deborah Brodie (St. Martin’s Press, 1997) read them countless times. They sit on my nightstand where I can refer “Whenever you’re in a funk about your work, this book, full of wonderful to them whenever I need inspiration.” quotes about writing and the creative life, will surely have something that will lift your spirits and help you through difficult times.” Artist to Artist (Philomel Books, 2007) “An anthology of twenty-three major illustrators talking about Writing It Right! How Successful Children’s Authors Revise and Sell their work. Each contributor has included an unusual self-portrait, a Their Stories, by Sandy Asher (Writer’s Institute Publications, 2009) childhood photograph and early drawing, sketches, their work shown in Behind-the-scenes look at how twenty accomplished children’s stages, and a photo of their work space.” authors tackled actual revisions on their own stories. Includes the nine essential questions that editors use to evaluate manuscripts every day. Caldecott & Co.: Notes on Books & Pictures, by Maurice Sendak (Farrar, Straus and Giroux, 1988) The Writing Life, by Ellen Gilchrist (University Press of Mississippi, The legendary illustrator’s essays and musings on writing and 2005) illustrating for children, exploring both his critiques of other The National Book Award Winner’s essays on writing, teaching, and illustrators’ work and an autobiographical section on his own other writers who inspired her (from Shakespeare to Eudora Welty). “Her contributions to the art of the children’s book. wit, intelligence, and candor are wildly inspiring.” www.scbwi.org The Carrot Seed, by Ruth Krauss and Crockett Johnson (first published | Writing the Breakout Novel and Writing the Breakout Novel Workbook, in 1945; 60th Anniversary Edition by HarperCollins, 2004) by Donald Maass (Writer’s Digest Books, 2002, and Writer’s Digest “It is handy to keep this profound little picture book around for the Books, 2004) days when you feel like things aren’t going well and you need to bolster Details the elements that all breakout novels share—regardless of your confidence.” genre—and shows writing techniques to make your own books stand out. Covering time and place, subplots, characters, themes, narrative Children’s Book Illustration and Design, edited by Julie Cummins (PBC tension, and developing an inspiring premise. (The workbook is loaded Library of Applied Design, 1992) with great exercises.) “Insightful look into the lives and work of eighty-plus acclaimed children’s book illustrators. I love reading about other illustrators, how Writing Children’s Books for Dummies (2nd Ed.) (2013, Wiley) by Lisa they solve visual problems, and what sparks them.” Rojany Buccieri and Peter Economy. A primer for children’s book writers on how to write a children’s Children’s Picturebooks: The Art of Visual Storytelling, by Martin book from choosing the format and age range, to creating concepts and Salisbury and Morag Styles (Lawrence King Publishers, 2012) PUBLICATIONS GUIDE: THE BOOK character bibles, outlining and illustrating, the writing process itself, “An historic overview of picture books through the ages.” contracts and self-publishing. A classroom in a book. 2021 ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS | 251

Comics and Sequential Art: Principles and Practices from the Legendary Understanding Comics, by Scott McCloud (William Morrow Paperbacks, Cartoonist, by Will Eisner (W. W. Norton & Company, 2008) 1994) Based on Will’s course at New York’s School of Visual Arts, this book Looks at the history, meaning, and art of comics and cartooning. reveals the basic building blocks and principles of comics, including Writing Picture Books: A Hands-On Guide from Story Creation to imagery, the frame, and the application of time, space, and visual Publication, by Ann Whitford Paul (Writer’s Digest Books, 2009) forms. “It’s as important for an illustrator to understand the writing process for a picture book as it is for a writer to understand the value and Drawing Words and Writing Pictures: Making Comics: Manga, Graphic dynamics of picture in a picture book. This is an excellent resource. Novels, and Beyond: A Definitive Course from Concept to Comic in 15 Ann walks you through the picture book process with experience, Lessons, by Jessica Abel and Matt Madden (First Second, 2008) perception, and practical advice.” A course on comic creation centered on storytelling, with chapters on lettering, story structure, and panel layout, culminating in making a Recommended Biographies finished comic. A number of our experts spoke about biographies of other children’s book authors and illustrators as sources of inspiration. Here are the Framed Ink: Drawing and Composition for Visual Storytellers, by ones they mentioned: Marcos Mateu-Mestre (Design Studio Press, 2010) Using lessons learned from working in the comic and movie Beatrix Potter’s Art, by Anne Stevenson Hobbs (Frederick Warne, industries, Mateu-Mestre shares his step-by-step system for how to 1989) make the audience feel the story while they are reading the story. DIRECTORIES & RESOURCES Margaret Wise Brown: Awakened by the Moon, by Leonard S. Marcus How to Make Webcomics, by Scott Kurtz, Kris Straub, Dave Kellet, and (Harper Paperbacks, 1999) Brad Guigar (Image Comics, 2008) Advice on how to create compelling characters, develop a solid The Pooh Sketchbook: Drawings by Ernest H. Shepard for the Pooh comic strip, build a website, forge a community, and start earning Stories by A.A. Milne, edited by Brian Sibley (E. P. Dutton, 1982) money from your webcomic . . . without having to sell your soul. Self-Portrait: Trina Schart Hyman, by Trina Schart Hyman How to Write and Illustrate Children’s Books and Get Them Published, (HarperCollins, 1981) edited by Treld Pelkey and Felicity Trotman (Writer’s Digest Books, 2000) Tomie dePaola: His Art & His Stories, by Barbara Elleman (Putnam, “Lots of great general information about the industry and about 1999) submitting work to publishers.” If you have a favorite book on the craft of writing and/or illustrating Illustrating Children’s Books: Creating Pictures for Publication, by for children and teens that isn’t mentioned, please let me know at Martin Salisbury (Barron’s Educational Series, 2004) [email protected]. Include why it’s your favorite, and I’ll post From media and materials to composition and typography, this book them on SCBWI: The Blog (scbwi.blogspot.com). Thanks! “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.

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!”

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 GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS

by Melissa Stewart

GENERAL U.S. GRANTS & FELLOWSHIPS Fund Advancement Program www.arkansasarts.org/Programs/Sally-A-Williams- www.in.gov/arts/programs-and-services/funding/ Creative Capitol Artist-Fund/home www.creative-capital.org/ Kansas California Kansas Creative Arts Industries Commission McKnight Artist Fellowships for Writers of Silicon Valley Creates, SVArts Award Program www.kansascommerce.gov/program/kcaic/ Children’s Literature www.svcreates.org/grant-opportunities/svarts- https://loft.org/awards/mcknight guidelines/ Kentucky Kentucky Arts Council, Al Smith Individual Artist National Endowment for the Arts Literature San Francisco Arts Commission Fellowship Fellowships www.sfartscommission.org/grants www.artscouncil.ky.gov/KAC/Showcasing/ASF.htm www.arts.gov/grants/creative-writing-fellowships Colorado Louisiana STATE AND REGIONAL GRANTS & Colorado Creative Industries Louisiana Division of the Arts FELLOWSHIPS www.coloradocreativeindustries.org/opportunity- www.crt.state.la.us/cultural-development/arts/ type/grants/ index Most of the programs listed below are awarded by state arts councils and funded by state Connecticut Maine governments. Many local cultural councils also Connecticut Department of Economic & Maine Writers & Publishers Alliance, Dibner award grants to artists. Check with arts and Community Development, Arts & Culture Fellowship cultural organizations in your area to find out https://portal.ct.gov/DECD/Services/Arts-and- www.mainewriters.org/dibner- what is available. Creativity/Funding-Opportunities fellowships?rq=dibner%20fellowship

Alabama Delaware Maine Arts Commission Alabama Arts Delaware Division of the Arts, Individual Artist https://mainearts.maine.gov/ www.arts.state.al.us/ Fellowships https://arts.delaware.gov/grants-for-artists/ Maryland Alaska Maryland State Arts Council Alaska State Council on the Arts, Career Idaho www.msac.org/programs Opportunity Grants Idaho Commission on the Arts, QuickFund Grants http://arts.alaska.gov/ www.arts.idaho.gov/grants/ Mid-Atlantic Arts Foundation, Individual Artist Grants Arizona Idaho Commission on the Arts, Fellowships www.midatlanticarts.org/grants-programs/grants- Arizona Commission on the Arts, Artist Project www.arts.idaho.gov/grants/fellowships/ for-artists/ Grants www.azarts.gov/grants/#APG Illinois Massachusetts Illinois Arts Council, Individual Artist Support Massachusetts Cultural Council, Artist Arkansas www.arts.illinois.gov/Individual%20Artist%20 Fellowships Arkansas Arts Council, Individual Artist Support www.massculturalcouncil.org/programs/ Fellowships artistfellows.asp www.arkansasarts.org/Grants/home Indiana Arkansas Arts Council, Sally A. Williams Artist Indiana Arts Commission, Individual 254 | GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS

Michigan www.arts.nd.gov/grants/arts-organizations/ Vermont Kresge Foundation, Fellowships professional-development Vermont Arts Council, Artist Development Grant kresge.collegeforcreativestudies.edu www.vermontartscouncil.org/grants/artists/artist- Ohio development Minnesota Ohio Arts Council, Individual Artists Grants & Five Wings Art Council Services Vermont Arts Council, Creation Grant www.fwac.org www.oac.ohio.gov/grants www.vermontartscouncil.org/grants/artists/ creation Minnesota State Arts Board, Artist Initiative Oregon Grants Oregon Arts Commission, Individual Artist Virginia www.arts.state.mn.us/grants/artist-initiative.htm Fellowship Virginia Commission for the Arts www.oregonartscommission.org/grants/ www.arts.virginia.gov/grants.html Mississippi individual-artist-fellowship Mississippi Arts Commission Washington www.arts.ms.gov/grants/ Oregon Arts Commission, Career Opportunity Artist Trust Grants www.artisttrust.org/grants/ Missouri www.oregonartscommission.org/grants/career- ArtsKC opportunity Wisconsin www.artskc.org/grantmaking/ Wisconsin Arts Board Oregon Literary Fellowships www.artsboard.wisconsin.gov/pages/Community/ Montana www.literary-arts.org/oba-home/fellowships/ GrantPrograms.aspx Montana Arts Council www.art.mt.gov/grants_awards_comm_home Rhode Island Wyoming Rhode Island Foundation, MacColl Johnson Wyoming Arts Council, Creative Writing New Hampshire Fellowships Fellowships New Hampshire State Council on the Arts www.artistcommunities.org/maccolljohnson https://wyoarts.state.wy.us/wac-grant/creative- www.nh.gov/nharts/grants/index.htm writing-fellowships/ Rhode Island State Council on the Arts, Artist Nevada Fellowships INTERNATIONAL GRANTS & FELLOWSHIPS Nevada Arts Council, Artist Fellowships https://risca.online/grants/artist-fellowships/ www.nvartscouncil.org/programs/artist-services/ Canada Council for the Arts contemporary-artist-fellowship/ South Carolina www.canadacouncil.ca/funding/grants South Carolina Arts Commission, Artist Nevada Arts Council, Professional Development Development Grants Arts Council England Grant www.southcarolinaarts.com/artist-development/ www.artscouncil.org.uk/funding www.nvartscouncil.org/grants/grant-offerings/ grants/ SCBWI, Book Launch Award New York South Dakota www.scbwi.org/awards/book-launch-grant/ New York Foundation for the Arts, Artists’ South Dakota Arts Council, Artist Fellowship Fellowships Grant SCBWI, Don Freeman Grant www.nyfa.org/awards-grants/artist-fellowships/ www.artscouncil.sd.gov/grants/artistfellowship. www.scbwi.org/awards/grants/work-in-progress- aspx grants/don-freeman-illustrator-grants/ www.scbwi.org Lower Adirondack Regional Arts Council, | Individual Artist Grants South Dakota Arts Council, Project Grant SCBWI, Emerging Voices Award https://larac.org/opportunities/ www.artscouncil.sd.gov/grants/project.aspx www.scbwi.org/awards/grants/on-the-verge- emerging-voices-grant/ North Carolina Tennessee North Carolina Arts Council Tennessee Arts Commission, Individual Artist SCBWI, Karen Cushman Late Bloomer Award www.ncarts.org/resources/grants Fellowship www.scbwi.org/awards/grants/work-in-progress- https://tnartscommission.org/grants/individual/ grants/karen-and-philip-cushman-late-bloomer- North Dakota award/ North Dakota Council on the Arts, Individual Texas Artist Fellowship Houston Arts Alliance, Support for Artists and SCBWI, Work-in-Progress Grant www.nd.gov/arts/grants/general/individual- Creative Individuals www.scbwi.org/awards/grants/work-in-progress- artist-fellowship www.houstonartsalliance.com/opportunities/ grants/ grants/support-for-artists-and-creative-individuals PUBLICATIONS GUIDE: THE BOOK North Dakota Council on the Arts, Professional SCBWI, Jane Yolen Mid-list Author Grant Development www.scbwi.org/awards/grants/jane-yolen-mid- 2021 GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS | 255 list-author-grant/ Hedgebrook RETREATS Whidbey Island, Puget Sound, adjacent to SCBWI, Martha Weston Grant Seattle, Washington Many SCBWI regions offer retreats. Check www.scbwi.org/awards/martha-weston-grant/ www.hedgebrook.org/ with your Regional Advisor to find out what Women only. is available in your area. The programs listed U.S. RESIDENCIES below are highly regarded and are intended for Jentel Artist Residency Program children’s authors and illustrators from all over All of the programs listed below include Banner, WY North America. free workspace and housing, as well as the www.jentelarts.org/ opportunity to spend time interacting with Highlights Foundation Workshop Retreats other creative people. In most cases, food is Kimmel Harding Nelson Center for the Arts www.highlightsfoundation.org/ provided or participants receive a stipend to Nebraska City, NE cover the cost of food. A few programs cover www.khncenterforthearts.org/residency Kindling Words travel expenses. Most of the others offer need- https://kindlingwords.org/ based scholarships to cover the cost of travel. Marguerite and Lamar Fellowship for Writers Columbus, GA The Anderson Center at Tower View www.mccullerscenter.org/ Red Wing, MN www.andersoncenter.org/ MacDowell Colony Peterborough, NH Atlantic Center for the Arts www.macdowellcolony.org/ New Smyrna Beach, FL Very prestigious, very competitive. www.atlanticcenterforthearts.org/ Millay Colony for the Arts Blue Mountain Center Austerlitz, NY Blue Mountain Lake, NY www.millaycolony.org/programs/residencies- www.bluemountaincenter.org/ artists-millay-colony-arts/ Highly regarded, rustic, rural, beautiful. Norton Island Residency Program The Associates of the Boston Public Library Norton Island, ME Children’s Writer-in-Residence Program https://nortonisland.org/ www.associatesbpl.org/events-and-programs/ Extremely rustic, isolated. writer-in-residence-program/ Sitka Center for Art & Ecology Byrdcliffe Artist in Residence Program Otis, OR Woodstock, NY www.sitkacenter.org/residencies www.woodstockguild.org/artist-residencies/ Thurber House Djerassi Resident Artists Program Columbus, OH Woodside, CA www.thurberhouse.org/childrens-wir www.djerassi.org/ Reserves a slot especially for children’s writers.

Dorland Mountain Arts Colony Ucross Residency Program Temecula, CA Sheridan, WY www.dorlandartscolony.com/residency.html www.ucrossfoundation.org/residency-program/

Edward F. Albee Foundation Virginia Center for the Creative Arts Montauk, Long Island, NY Amherst, VA www.albeefoundation.org/ www.vcca.com/

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

RESIDENCIES AND RETREATS FOR WRITERS AND ARTISTS

by Donna Gephart

hile cleaning out thirty years of detritus from my home office, I uncovered an idea for a novel I started a few years earlier and really Wliked. If I had a month of uninterrupted writing time, I knew I could complete it. Where could I work on a project like that? I took to Facebook to ask friends about residencies and retreats. There were so many options suggested that I searched online and found even more interesting opportunities. This list of residencies and retreats is divided into three categories: those you pay to attend, those with no or low cost to attend, and those that pay you a stipend to attend.

RESIDENCIES AND RETREATS YOU PAY TO ATTEND: the imagination. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a » The Writing Barn in Austin, TX – Billed as the perfect place to day for up to eight weeks. retreat, create, and celebrate, there are various lodging options to www.macdowellcolony.org/ accommodate a quiet solo retreat or a group endeavor with fellow » Yaddo in Saratoga Springs, NY – Artists who qualify for Yaddo creative friends. Having taught a weekend writing workshop at The residencies are working at the professional level in their fields. An Writing Barn, I can attest to the peaceful atmosphere and wonderful abiding principle at Yaddo is that applications for residency are judged creative energy. (10% discount on rates offered to SCBWI members.) on the quality of the artist’s work and professional promise. www. www.thewritingbarn.com/writing-retreats/ yaddo.org » Peaceful Acres Horses in Pattersonville, NY – A quiet place to » Sitka Center for Art and Ecology in Otis, OR – Up to five residents at retreat among rescued horses and donkeys. Open from April to a time, usually from different disciplines and stages in their careers, October, they offer a variety of retreat options. live and work on campus anywhere from two weeks up to three and a www.peacefulacreshorses.com/r-r-retreats/ half months free of charge. » Highlights Foundation Unworkshop in Milanville, PA – offers www.sitkacenter.org/residencies flexible scheduling—from a day to a week or longer—as well as a » The Studios of Key West in Key West, FL – Month-long residencies chance to create in lovely surroundings. Meals are provided. for writers and artists in the supportive creative community of the www.highlightsfoundation.org/unworkshops/ Studios of Key West, near where Judy Blume, incidentally, owns a » Kindling Words (East and West) – For more than twenty years, bookstore. Kindling Words has been the leading professional retreat for the https://tskw.org/residency-about/ children’s book world. Published authors, illustrators, and editors hone » The Millay Colony for the Arts in Austerlitz, NY – Adjacent to the tools of their craft, engage in deep conversation with colleagues, the former home and gardens of poet Edna St. Vincent Millay, this and fill the creative well with fresh ideas. residency offers a private bedroom, studio space, and meals for six to https://kindlingwords.org/ seven visual artists, writers, and composers each month between April and November. RESIDENCIES AND RETREATS WITH NO OR LOW COST TO ATTEND: www.millaycolony.org/programs/residencies-artists-millay-colony-arts/ » Writing Between the Vines (in vineyards at various » The MacDowell Colony in Peterborough, NH – The MacDowell Colony locations worldwide) – Short-term solo retreats for writers of nurtures the arts by offering creative individuals of the highest talent fiction, nonfiction, screenwriting, and poetry. an inspiring environment in which to produce enduring works of www.writingbetweenthevines.org/ 258 |RESIDENCIES & RETREATS FOR WRITERS & ARTISTS

» The Edward Albee Foundation in Long Island, NY – The Edward F. between mid-January and the end of May, and three or four shorter Albee Foundation exists to serve writers and visual artists from all residencies of two to six weeks during the months between Labor Day walks of life by providing time and space in which to work without and mid-January. There is a $1,000 monthly stipend which is prorated disturbance. Using only talent and need as the criteria for selection, for shorter stays. the Foundation invites any and all artists to apply. (If you need a www.jamesmerrillhouse.org/about-the-residency laugh, the FAQ is intentionally hilarious to read through.) » Fine Arts Work Center in Provincetown, MA – for writers and visual www.albeefoundation.org/ artists in the crucial early stages of their careers, the Work Center » Wildacres Retreat in Little Switzerland, NC – With the use of three provides seven-month Fellowships to twenty Fellows each year in the cabins, the program will have about seventy one- and two-week form of living/work space and a modest monthly stipend. residencies available from April through October. The program allows https://web.fawc.org/program individuals the solitude and inspiration needed to begin or continue » The Association of the Boston Public Library in Boston, MA – This work on a project in their particular field. program provides an emerging children’s writer with the financial www.wildacres.org/workshops/residency.html support and office space needed to complete one literary work for » The Anderson Center in Red Wing, MN – They provide retreats children or young adults. During the nine-month residency that of two to four weeks long in order to enable artists, writers, and runs September through May, the fellowship recipient will receive a scholars to advance or complete their work-in-progress. private office space at the Boston Public Library in Copley Square and www.andersoncenter.org/residency.html a $20,000 stipend. (Prospective candidate may not have previously » Hedgebrook in Whidbey Island, WA – The retreat hosts writers from published a book.) all over the world for residencies of two to six weeks, at no cost to www.associatesbpl.org/events-and-programs/writer-in-residence- the writer. Six writers are in residence at a time, each housed in a program/ handcrafted cottage. They spend their days in solitude – writing, » The Thurber House Children’s Writer-in-Residence Program in reading, taking walks in the woods on the property or nearby Double Columbus, OH – Every year the Thurber House offers one talented, Bluff beach. In the evenings, they gather in the farmhouse kitchen emerging middle grade author a month-long residency, typically held to share a home-cooked gourmet meal, their work, their process, and in June, July, or August. The residency allows the author to focus on their stories. This retreat is for women only. their own project(s) and explore Columbus, the childhood home of www.hedgebrook.org/writers-in-residence James Thurber. The winning writer stays in the fully furnished, two- » The Edith Wharton Writers-in-Residence Program in Lenox, MA bedroom apartment on the third floor of Thurber House. During their www.edithwharton.org/visit/the-edith-wharton-writer-in-residence- residency, the Children’s Writer-in-Residence teaches writing-based program/ activities to middle grade children for eight to ten hours per week in » Willapa Bay AiR in Willapa Bay, WA – They offer month-long, a variety of community settings, including the Thurber House Summer self-directed residencies to emerging and established artists, writers, Writing Camp. (I was awarded this residency in 2012. In addition to scholars, singer/songwriters, and musical composers. The Residency space and time to write, there are wonderful opportunities to provide provides lodging, meals, and work space at no cost to six residents writing workshops to young people in the community in a variety of each month from March 1 through September 30. settings. And there may or may not be a resident ghost.) www.willapabayair.org/ www.thurberhouse.org/childrens-wir/

RESIDENCIES/RETREATS THAT PAY YOU TO ATTEND: You can find more residencies and retreats, including international programs, online. And you can always design your own solo or group » Headland Center for the Arts in Fort Barry in the Marin retreat by booking an inn, bed and breakfast, or hotel room in a Headlands, CA – Residencies of four to ten weeks include studio peaceful location that would be conducive to your creative process. space, chef-prepared meals, comfortable housing, and travel and living stipends. Donna Gephart’s newest middle grade novel, In Your Shoes, is set in www.scbwi.org www.headlands.org/program/air/ a bowling center and a funeral home because . . . of course it is! Her | » Provincetown Community Compact in Cape Cod, MA – Visual artists novels have won numerous awards, including the Sid Fleischman Humor can apply for one of three juried summer residencies that are each Award for As if Being 12-3/4 isn’t Bad Enough, My Mother is Running three weeks long. One of these has a $500 fellowship. Writers can for President, and the Southern Prize for Fiction in the Juvenile Category apply for two one-week residencies funded by the Compact for writers for Lily and Dunkin. Donna is a popular speaker at schools, book festivals of all genres. This is a non-juried process and writers will be selected and conferences. Visit www.donnagephart.com for writing tips and by lottery, allowing writers of all levels the same opportunity. resources. https://thecompact.org/dune-shacks.html » Kimmel Harding Nelson Center for the Arts in Nebraska City, NE The KHN Center accommodates up to five artists, writers, etc. at a time for stays that vary from two to eight weeks. Each resident is provided with comfortable accommodations, ample studio space, and a weekly $100 stipend for the duration of their stay. www.khncenterforthearts.org/ PUBLICATIONS GUIDE: THE BOOK » James Merrill House Writer-in-Residence Program in Stonington, CT – The program offers one four-and-a-half-month residency 2021 SCBWI PUBLICIZING YOUR PUBLISHED WORK

2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

BOOK RELEASE CHECKLIST

By Jennifer Gray Olson

he release of a new book can be overwhelming to say the least, especially if it’s your first book and you don’t quite know what to expect. This article T is designed to guide you through the marketing process and available re- sources to make the most of your book launch.

UTILIZE AVAILABLE RESOURCES » Publisher’s website: Will you have an authors page; a page The amount of publicity and marketing support provided by your promoting the book; and downloadable activities for librarians, publisher can be extremely varied from house to house—and even educators, readers, and parents? from book to book within the same publisher—for a variety of reasons. » Materials: Will you have activity sheets, stickers, bookmarks, Don’t be afraid to inquire if there is a marketing plan in place for your posters, postcards, and other swag for children? upcoming book and what that plan is. Many times there is quite a lot going on behind the scenes to prepare for the release of your book that • Will author visits be scheduled: you may not even aware of. If a specific publicist has been assigned to » Will your publisher help to book and coordinate bookstore events, your book, be sure to reach out to them and express your enthusiasm to school visits, library events, festivals, other appropriate promotional work together on the promotion. Some specific topics to inquire about events? could be: Your publisher may handle some or none of these items, while some • Will advanced copies/finished copies be sent to the publishers may handle all of it and much more—it really does run the following: spectrum. No matter what, at the end of the day you will always be your » Publishing trade magazines: These include, but are not limited to book’s biggest cheerleader. Once you have a better idea of what your Publishers Weekly, School Library Journal, Kirkus, The Horn Book, The publisher’s involvement in the promotion will be you can proceed with Bulletin of the Center for Children’s Books, Booklist, and the New York the preparations. Times Book Review. » Special category publications: Find publications and monthly 5-6 MONTHS BEFORE RELEASE: magazines that might review books in your genre. » Book launch event location: This may seem a bit far in advance, but » Electronic media: Appropriate talk shows, magazine shows, and if you feel very strongly about the location at which you want to host entertainment shows are eager to interview new and local authors. your launch event, then better safe than sorry. » Newspaper review editors » Book trailer: If you intend to create a book trailer, give yourself » Online media: Bloggers, applicable websites, and online platforms plenty of time for the process—especially if you want to produce for print publications reach a wide and diverse audience. something fairly involved. Also, if you are in contact with a publicist, » Awards: Will your book be sent to all state and national awards that ask them about any specifications or requirements by your publisher, are appropriate for your genre? i.e. running time, publisher logo, content, file size, etc. » Personal contacts: Professional contacts, fellow authors/ » Research potential signing locations: Compile a list of potential illustrators, and other professionals related to your genre can bookstores, libraries, festivals, and schools that might be a good fit help with the promotion of your book by offering blurbs and for you and your book. School visits and book festivals tend to require recommending it to their own audiences. more lead time to coordinate than bookstore and library events. Keep in mind that if you will be arranging school visits without the help of • Will you have the following promotional materials and the publisher, try finding a local bookstore that will be willing to work resources: with you to provide presale books to students and staff for the event. 262 | BOOK RELEASE CHECKLIST

Many times local bookstores already have relationships with schools promote them online as well. It was a win for everyone involved. 100 WAYS TO in the area and are happy to connect you with them. » General brainstorming: It’s never too early to start thinking up 1 MONTH BEFORE RELEASE: potential publicity and marketing ideas. For example: designing » Book launch event: Confirm final details of the event and venue. PROMOTE YOUR stickers, creating activity sheets, designing postcards, designing Create and post promotional material on all social platforms and and ordering cardboard cutouts, and developing giveaway and raffle remember to tag your publisher so that they can more easily repost. ideas. Start organizing, preparing, and planning all items that you would like to have at your book launch party. When possible, it’s fun to CHILDREN’S BOOKS 3 MONTHS BEFORE RELEASE: have activity sheets, giveaways, themed snacks, raffle items, etc. » Bookstore and library visits: Prior to the publication of your » Post: Share any reviews, comments, or upcoming events about the book, make an attempt to visit bookstores and libraries on your book on social media. Also, post links to stores preselling your book. list of potential signing event locations. Try connecting with the individuals responsible for booking such events and exchange contact 1 WEEK BEFORE RELEASE: information. Having a personal connection with the booksellers » Book trailer: Post your book trailer if you haven’t already. If and librarians helps get your book in the hands of readers. Always possible, reach out to people in kidlit to post and debut the trailer remember to try and support local independent bookstores by making as well. a purchase during your visit. It’s also helpful during these visits to » More promo: This is a good time to start an initial round of raffles bring some copies of your F&Gs or ARCs just in case the bookseller/ and/or giveaways. For example, posting on Twitter or other social librarian hasn’t already been provided one by the publisher. If the media that the first five people to share your book trailer will receive booksellers or librarians express interest in hosting you for an event a signed copy of the book when it is released. after the release of you book, make certain to follow up afterwards » Be prepared: Your book comes out in one week! Make sure that you with and email or phone call to schedule it. If you are working with have all event items prepared for the book launch party as well as a publicist, make sure to share any confirmed appearances with them any other signing events shortly following. so that they can coordinate it with any other existing events and can also ensure that there will be enough books in stock. Remember to WEEK OF BOOK RELEASE: call ahead to signing locations one week before the event to find out » Home stretch: Organize final details of upcoming events. Mail out if they have enough books in stock or if you should bring additional prizes from raffles and giveaways. Share any postings from people author copies. Also, if you intend to do anything in addition to who have already received your book. Repost upcoming event dates, reading and signing (PowerPoint, demo on easel, coloring pages, reviews, and links for purchasing the book. Also, encourage those snacks, activity sheets) make sure the location is equipped to handle who have already read the book to leave reviews on the appropriate it. websites. » Update your website: This would be a good time to update your » Breathe: You created a book that now exists in the world and that’s website to include general and promotional information about your not nothing. Relax and enjoy it for a moment. book. For example: links to where readers can preorder your book; a list of any confirmed upcoming events; a book trailer if you have one; POST BOOK RELEASE: an updated author bio; a list of blog dates if you are participating » Promo doesn’t end: Always remember to repost and share all the in a blog tour; and downloadable material such as activity sheets, positive feedback you’re receiving on the book. Share event dates on coloring pages, bookmarks, etc. social media, comment on the event after the fact, and always make » Utilize SCBWI: This organization is a huge resource both generally certain to promote your event hosts. for authors and illustrators and specifically when promoting a new » Pay it forward: This applies to every step of the publishing process, book. There are a variety of programs and databases to support you whether you’re pre-published or on your 180th book: support your in your launch. The membership benefits page offers an idea of just fellow authors and illustrators, show up to their events, write www.scbwi.org some of the services SCBWI provides: www.scbwi.org/membership- reviews, and repost their positive news. Do your best to always stay | benefits-new/. connected and active in the kidlit community. » Cross promotion: Prior to one of your upcoming signings reach out to local businesses, vendors, and organizations near the event The months preceding your book’s publication can be the most location and inquire if they would be interested in collaborating exciting and overwhelming period of the entire publishing experience. with you for the event. For example, if your book features a dog Try to slow down and enjoy the accomplishment of completing the as the main character, you might consider connecting with local process, especially connecting with your readers, which can be the most animal shelters, dog bakeries, pet stores, groomers, and any business rewarding element of it all. or organization related to dogs. Not only will this broaden the promotional reach for both you and them, but it will also help you Jennifer Gray Olson is a children’s book author and illustrator based connect with a new pool of readers with similar interests. For my in Southern California. Her love of creating entertaining characters and first book, Ninja Bunny, which included a martial arts element, I the worlds in which they live led her into illustrating. Her work is created reached out to dojos near my event locations to see if they wanted through a combination of ink and watercolor. She lives in Corona, CA with to give a demonstration during the event, or even just attend. In her husband, three children, and too many pets. Visit her at her website, PUBLICATIONS GUIDE: THE BOOK addition to attending and/or performing they would typically post jennifergrayolson.com. flyers promoting the event online and at their business and I would 2021 100 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS

by Susan Salzman Raab

1. Prepare a query letter that includes marketing ideas. 27. Submit your book for awards. 2. Research what authors of similar books have done. 28. Design a bookmark. 3. Get an agent. 29. Run a contest. 4. Ask your editor for tips on what’s been effective. 30. Design an e-card. 5. Get to know the in-house marketing team. 31. Prepare your elevator speech. 6. Keep in touch with the PR department. 32. Get comfortable with networking at events and online. 7. Find out what social networking is done from in-house. 33. Prepare a school program. 8. Ask what publicity will be done for your book. 34. Sit in on other authors’ programs. 9. Suggest marketing outlets and angles to the publisher. 35. Listen to author podcasts to hone your interview skills. 10. Keep your online profiles updated. 36. Attend workshops and webinars. 11. Get a good author photo. 37. Visit schools. 12. Have photos taken at appearances to post online. 38. Send out postcards and e-cards on new books. 13. Join a writer’s group, have marketing brainstorming 39. Prepare an e-blast list. sessions. 40. Have a contract for school visits. 14. Join the SCBWI and use online resources and attend 41. Conduct workshops. events. 42. Propose to speak at regional school and library 15. Participate in Listservs. conferences. 16. Read reviews of similar books. 43. Do bookstore appearances on your own or with a group of 17. Talk with kids about your ideas. colleagues. 18. Follow key bloggers. 44. Invite people to attend your store and library events. 19. Keep a to-do list of marketing plans. 45. Send event announcements to media. 20. Learn the acronyms—BEA, ALA, NCTE, CBC. 46. Leave bookstores with autographed copies to sell. 21. Google key media outlets. 47. Attend national conferences—BookExpo, ALA, IRA. 22. Read Publishers Weekly. 48. Attend and speak at book festivals. 23. Read American Libraries Direct. 49. Reach out to the home school market. 24. Read the New York Times and the NYT Book Review. 50. Build a contact database. 25. Read Booklist, School Library Journal, and Horn Book 51. Build a website. blogs. 52. Make your site an information destination showcasing 26. Research awards. your expertise. 264 | 100 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS

53. Create a book trailer. 92. Approach an audiobook company. 54. Do social networking. 93. Develop an app. 55. Set up a Facebook page. 94. Pursue licensing. 56. Use LinkedIn. 95. Make sure rights revert to you when books go out of 57. Join Twitter. print. 58. Write a teacher’s guide. 96. Be persistent and enthusiastic. 59. Apply for a grant. 97. Be patient—marketing takes time. 60. Draft a set of good pitches for media outreach. 98. Make time for yourself. 61. Plan a book tour. 99. Set manageable goals. 62. Schedule a blog tour. 100. Celebrate your success. 63. Stay engaged with your readers. 64. Hire a marketing agency or an assistant. 65. Get media training. 66. Take a speaking course. 67. Become a self-promoter. 68. Prepare a PowerPoint presentation. 69. Get copies of your TV appearances. 70. Post video clips on your website. 71. Issue topical press releases. 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. 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. www.scbwi.org | 82. Promote your backlist. 83. Don’t be shy about marketing. 84. Add feature sections to your website. 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.

PUBLICATIONS GUIDE: THE BOOK 90. Develop a five-year plan. 91. Explore foreign rights. 2021 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 of disappear, out of print within a couple of years. No matter how much authors, professors, librarians. Richie Parrington has started an excellent publicity and support your publisher offers, you are the best advocate listserv for middle school books for librarians, teachers, and authors. for your book, and there are actions you can take to prolong its life Also, Cynthia Leitich Smith (www.cynthialeitichsmith.com) maintains an in print. excellent blog about the world of children’s literature. There are many Perhaps you’re about to publish a first book and have no idea what to great children’s and YA book blogs. Clicking on one will lead you to many expect. Maybe you’re a seasoned pro looking for new ideas on promoting more. Children’s and young adult book bloggers are the ones who keep your books. Here are 25 surefire ways to keep your book selling. your books alive. Thank them. Send them your books to review, but only 1. Begin laying the groundwork for your book promotion six devote a little time each day to these blogs; you want to be protective months before your book is published. Write a press release and email of your writing time. it to newspapers and TV stations closer to the publication date along 9. Create your own book tour! Stay with friends and family. Rent with a review or two if you have them. Bookpromotion101 (www. the cheapest rental car and purchase airline tickets through inexpensive bookpromotion101.com) is a good workshop, as is Author Buzz (www. online travel sites. Visit bookstores before your book comes out—six authorbuzz.com), run by MJ Rose. months is a good rule of thumb. Set up email correspondence with the 2. Hire a publicist. If you can’t do that: barter. Find a friend or a store manager, or the person in charge of scheduling their author visits student and offer to edit their stories and novels for free (forever) in or promotions. Over the next few months, set up dates for the book exchange for helping you do publicity. This may sound extreme, but book signings/writing workshops. If you just have a handful of galleys, make publicity can be grueling work and it helps so much to have a friend with photocopies and get them out to select book reviewers. This especially a sense of humor who “gets it.” works well for regional newspapers. The bigger markets are so glutted, 3. Check out websites like Winding Oak at www.windingoak.com and but the smaller papers do a great job of author profiles and reviews if the Children’s Literature Network. They are incredibly knowledgeable at you let them know in time. helping authors set up events, creating fliers, and doing regular website 10. Email bookstores with your information (book, website, jacket updates. They charge, of course, but they do a great job. Little Willow is quotes) and follow up those emails with store-visits or phone calls. also great for website design. Explain how you are able to offer writing workshops for kids instead 4. Make postcards and/or bookmarks. Start with a printing of five of traditional readings. Hint: Be upbeat and professional even when thousand copies. You can leave stacks in bookstores, restaurants, and clerks can and will be indifferent. You will find the ones who get you, libraries. Hand them out on school visits. and as for the ones who don’t, move on with grace. Try to focus on the 5. Set up a website where kids can write to you and learn more independent bookstores because they are the ones who will hand-sell about the world of the book and what you do as an author. Peruse other your book. author sites to give you ideas. 11. Set up writing workshops for kids in schools, libraries, and 6. Update your website regularly. Offer creative writing ideas, story bookstores. Lead a guaranteed audience of kids in writing their own prompts, etc. stories and poems. Make sure art supplies are on hand so the kids can 7. Send out email blasts as often as you feel comfortable, but don’t illustrate their creations, and offer to publish any stories that they email overdo it; three or four times a year is a good rule of thumb, and only if you in a special section of your blog or website. The fee for attendance? there are real updates. Be wary of emailing in bulk too often. Have the bookstore require the purchase of one of your books to 266 | GRASSROOTS BOOK PUBLICITY

participate in the writing workshop. Talk to the parents and teachers this together, and the more we can reach out and support each other, who attend. Networking can lead to “artist-in-residencies” at schools the more we’ll get back. 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 feathers, 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 emailing 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. Use your phone’s GPS navigation device. It really helps out “About a $1.25 a can,” he said. “I can write about fishing?” there on the 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 kids who might not have a chance to meet with writers, such as children in underserved communities or young people in juvenile detention centers. Publish their stories on your blog if they www.scbwi.org

| want you to do so. 14. 826 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. They are opening more places in more cities. Check out their site: www.826national.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. 17. Go support other authors. Show up at their signings and PUBLICATIONS GUIDE: THE BOOK readings and buy their books. Host them in interviews on your website or blog, or simply mention their books in a short review. We’re all in 2021 KEEPING YOUR BOOK 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 fol- lows 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, they 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 your book. schoolers, and you are reasonably happy with your publisher and Never be shy about looking after its interests when the end result will editor, you will want to stay with them. Your editor will help you be higher sales, which will please the publisher; more readers reached, develop your writing and career, and your publisher may support your which will please you; and the satisfaction of knowing you didn’t let it growing backlist as well as your new titles. If you are writing in a die an untimely death. variety of genres, you will want to try to find two or more publishing houses. Do not overdo this. Flitting lightly from genre to genre and PRE-ACCEPTANCE publisher to publisher will not win you or your books the friends and » Should you go for hardcover or paperback? The kind of book you advocates you need in the publishing world. (See “Your editor leaves want to write may determine that. But if your writing could work in . . .” below.) In the early stages of your career, establish yourself in either market, keep the differences in mind. The hardcover market is the genre you do best. At some point you may want to branch out or more prestigious, but difficult to break into. Most hardcover books move on, and by then you will have a professional track record. will be reviewed in all or almost all of the major review publications. » Contract negotiations: During contract negotiations, maintain a They will sell in modest numbers but may stay in print longer than cordial and professional tone at all times. Especially early in your paperbacks. Paperback publishers often want writers for existing or career, you may not be able to get many changes made, and being proposed series, so your artistic freedom may be limited. Paperback overly demanding may damage your relationship with your editor. originals do have their own review sources, but their sales are According to Brad Bunnin, coauthor of The Writer’s Legal Companion, strongly affected by the publisher’s promotional efforts and early you need to understand four crucial points about negotiations. reactions in the marketplace. Paperback series, in particular, can be The first point is that they are negotiations. Some things are not lucrative, but do not stay in print long. negotiable, but you will be surprised at how many things can be » Timing: Plan to follow your first published book with a second and changed. Know what you want—what is really important to you— a third at regular intervals. At least one a year is a good schedule, and it’s more likely that you will get it. Don’t ask for things that if you can achieve it. Be sure to leave time for writing. You want to are not important. The second is don’t agree to anything, including build an audience for your books who will be waiting impatiently the advance, over the phone. When the publisher calls to offer you for your next one. (Think of Dick Francis and Sue Grafton. Think of a contract, ask to see the offer in writing first so you can think it Patricia Polacco and Eve Bunting!) Don’t let two or three years go by over. Contracts are complicated legal documents. You need time to between books. You will be quickly forgotten. Your readers will also understand what it is you are signing. The third point—don’t sign grow up and move on to other authors. it until you understand everything in it. This is not as impossible as » How many publishers should you publish with? If you are it sounds. The SCBWI publishes, and regularly updates, the “SCBWI committed to writing in one genre, such as picture books for pre- Sample Children’s Book Contract” for members to use (page 301). 268 2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org they most likely are verybusyand responsible for dozens of titles » » » » » staff during the pre-publication period. will workbestasyouinteract withyoureditorand other publishing MARKETING POST-ACCEPTANCE/PRE-PUBLICATION | KEEPING YOUR BOOK ALIVE YOUR BOOK | KEEPING

When working withapublisher’s marketing staff,keep inmind that to make the corrections yourself. about itisincorrect, tell yourpublisher; do not askthe bookstore before itspublication date. Ifitdoes not, orifany information image, atAmazon and other online bookstores amonth ormore in the next edition. Your bookshould alsoappear, with ajacket immediately tellyourpublisher ifnot, sothatitcanbeincluded edition. When BIPcomes out,check thatyourbookislistedand many booksellersand smaller libraries take onlythe general listed inthe general edition rather thanthe children’s because Given achoice of onlyone, 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 toseethatyourbookislistedinBIPand atonline 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:Find outwhich 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: Copyonthe jacket of yourbookisintended tohelp sell 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: Ifyouhavewrittenabookin 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:Hardcover As withcontract negotiations, apoliteand professional approach is not legallybinding. get itwritteninto the contract. Anything agreed tooverthe phone point incorporates allthe others—if any point isimportant toyou, contract saysand eventodo yournegotiating for you.The fourth last resort, consider paying apublishing lawyertoexplain whatthe contract withitasaguide, askyoureditorfor clarification. As a If youare stillinthe dark aftertaking atourthrough yourown BIP) andonlinebookstores: It’s the publisher’s » » YOUR BOOK’SLIFEAFTERPUBLICATION » monitoring. Try tocultivateone personasyourcontact. in addition toyours. They willappreciate help, butnot constant » »

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 hassoldoutthe current printing and there may or should beabletogiveyouareprint date. The “I”inOSImeans “OS” usually means “out of stocktemporarily.” The publisher ordering department atonce, orcheck itsstatuswithyoureditor. isn’t onany of them, orislistedasOSOSI,callyourpublisher’s independent booksellertocheck the wholesalers’ lists. Ifyourbook availability of yourbookbyperiodically asking yourlocal Is your bookavailable? You can keep track of the current summary of the terms. Once the paperbackroyalties haveexceeded sold toanother publisher. Ask for acopyof the contract oraclear nowadays, butyouoryouragent need tokeep tabsifrights are Paperback rights:Most publishers keep paperbackrights in-house your homework, and then do the footwork. It makes adifference. groups, geographic areas, telephone oronline conferencing, etc. Do through schools, libraries, bookstores, websites, special interest Ways toMarket Your Book,for ideas onhow topromote yourbook Author’s GuidetoChildren’s BookPromotionand John Kremer’s 1001 can do. Lookinyourlocallibrary for bookssuch asSusanRaab’sAn professional journals. The rest is up toyou,and there isalotyou tell the salesreps aboutit,and generally include itinalistad do their selling. Your publisher willputyourtitleinthe catalog, Marketing your book:Hardcover publishers rely onreviews to 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 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 asSchool Reaching reviewers: Publishers generally canberelied uponto have thought of your bookfor aparticular award. Publishers do send outbooksfor 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: Check listsof competitions and awards Booklist, and PublishersWeekly. Nothing youcando KEEPING YOUR BOOK ALIVE | 269

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 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 working closely with you on your book (thereby making it their 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 their 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-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 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 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.

RESOURCES FOR PUBLISHED COPYRIGHTAUTHORS FACTS & ILLUSTRATORSFOR WRITERS

by Melissa Stewart

WEB DESIGN, BOOK TRAILERS, & Fee: $75.00/hour; for large projects, may JOHN BALD MARKETING MATERIALS establish a project fee discussing a client’s 10 Columbia Avenue needs. Brunswick, Maine 04011 AIMEE E. SUEN Description: Web design, book trailers, 207-729-7531 www.accentaigu.com photography, marketing materials. www.johnbald.net [email protected] Testimonial: “Kirsten has knowledge of the [email protected] Fee: $50.00/hour; for large projects, may children’s book market, technological know- Fee: Establishes a project fee after discussing a establish a project fee after discussing a client’s how, realistic expectations, integrity, boundless client’s needs; typically $400 to $1000 needs creative energy, connections in the library and Description: Web design, photography. Description: Web design publishing field . . . and a desire to make my Testimonial: “I heartily recommend my web Testimonial: “Aimee Suen redesigned and book ‘sparkle’ for the right readers at the right designer, John Bald. John is quick to respond, updated my children’s author website. I asked time. Using her fount of knowledge and skills, flexible, creative, and highly professional. It’s for a tailored, sleek look and she met every Kirsten transformed my website, designed a a pleasure to work with him, and he does great request I made. The site works beautifully and book trailer for my upcoming picture book work.” —Charlotte Agell, www.charlotteagell. I am so pleased with the quality of work, her (that the publisher loved so much, they used com quick response, and fair pricing.” — Shirley on their website too), and helped me design Smith Duke, www.shirleysmithduke.com an outstanding classroom activity guide. I RAAB ASSOCIATES look forward to working with her on my two 914-241-2117 BILAN, INC. upcoming books.” — Kathleen T. Pelley, https:// www.raabassociates.com www.bilaninc.com kathleenpelley.com/ [email protected] Contact: Shelli Johannes-Wells, Contact: Susan Raab [email protected] JKS COMMUNICATIONS Fee: No hourly fee, charges for a suite of Fee: No hourly rate; establishes a project fee 615-212-8549 services over a period of time after discussing a client’s needs www.jkscommunications.com Description: Web design, book trailers. Description: Web design, logos, marketing [email protected] Testimonial: “Raab Associates gave shape and materials. Contacts: Julie Schoerke, julie@ style to my website, unifying a widely diverse Testimonial: “Shelli Johannes-Wells has been a jkscommunications.com; Marissa DeCuir, collection of titles. Identifying the common tremendous asset to the Southern Breeze region [email protected] thread that runs through my work and then (AL, GA, MS) of SCBWI. She beautifully redesigned Fee: No hourly rate; establishes a project fee planning a publicity campaign around it was our website, created an impressive logo and after discussing a client’s needs fun to watch--and it was great to be on the other attractive marketing materials. Her work Description: Websites, book trailers. receiving end of it, too! Many thanks to Susan has always been professional and timely.” — Jo Testimonial: “Julie and Marissa made producing and her team.” —Jennifer Armstrong Kittinger, Regional Advisor, SCBWI Southern a trailer seem so easy. I told them what I had Breeze in mind and they took it from there. Marissa WINDING OAK is a delight to work with and she’s incredibly www.windingoak.com/ CURIOUS CITY creative and gifted at what she does. She took [email protected] 8 Merrill Street, Unit A an idea and turned it into an adorable trailer Contact: Vicki Palmquist Portland, Maine 04101 that people gushed over! In fact, it was “Trailer Fee: $60/hour; for large projects, establishes a 207-420-1126 of the Day” on Shelf Awareness. I couldn’t have project fee after discussing a client’s needs www.curiouscity.net/ been more pleased.” —Sarah Sullivan, www. Description: Web design, marketing materials, Contact: Kirsten Cappy, youtube.com/watch?v=ZvprKsvfD5s videos, book trailers. [email protected] Testimonial: “Steve and Vicki Palmquist 272 | RESOURCES FOR PUBLISHED AUTHORS & ILLUSTRATORS

offer the perfect marriage of hi-tech savvy, knowledge of all phases of the book world JKS COMMUNICATIONS creativity, and a broad-based understanding (creating, publishing, selling, and reading), 615-212-8549 of the children’s book market and what makes and a passion for children’s literature, all of www.jkscommunications.com it tick. While translating the ideas of their which she can put at your service to develop a [email protected] clients, they consistently demonstrate a special promotion plan to supplement your publisher’s Contacts: Julie Schoerke, julie@ gift for enhancing those ideas while remaining efforts, plan and produce an event, get school jkscommunications; Marissa DeCuir, marissa@ true to the creative vision of the client. What visits, and/or develop curriculum guides, to help jkscommunications I appreciate about them most, though, is your books find the readers who are waiting for Fee: No hourly rate, establishes a project fee after their unstinting integrity. They do what they them.” —Anne Sibley O’Brien, author discussing a client’s needs. say they’re going to do. Follow-through is Description: Promotional campaigns, media everything to me, and it’s something I’ve DEBORAH SLOAN AND COMPANY appearances, live and virtual book tours, come to count on from Winding Oak.” — Nikki 505 Congress Street, #1608 websites, book trailers, and social media Grimes, www.nikkigrimes.com Boston, MA 02210 training. 978-884-4758 Testimonial: “Julie is an energetic ball of www.deborahsloanandcompany.com/ fire who ignites the best in every one lucky PUBLICITY, [email protected] enough to bask in her glow. She handles book Contact: Deborah Sloan promotion with such joy, grace, charm and PROMOTION, Fee: $125/hour; for large projects, establishes a aplomb. She is a professional in every aspect of project fee after discussing a client’s needs the business, a friendly workaholic wizard who & PRESENTA- Description: Networking among key industry turns challenges into celebrations. Simply put, contacts; national campaigns to retail, Julie is a publisher’s, bookseller’s, and author’s TIONS educational, specialty and consumer markets; best friend.” —Charles Ghigna, author online marketing; social media consultations; BILAN, INC. blog ad campaigns; tour booking and MAX COMMUNICATIONS www.bilaninc.com coordination; event design and coordination; 404-447-6242 Contact: Shelli Johannes-Wells, sjohannes@ coaching for media appearances; school visits www.maxbookpr.com bilaninc.com and special interest events; development, Contact: Mimi Schroeder, [email protected] Fee: No hourly rate; establishes a project fee design, and production of promotion materials, Fee: $100/hour; for large projects, establishes a after discussing a client’s needs KidsBuzz and TeacherBuzz programs. project fee after discussing a client’s needs Description: Author branding, social networking Testimonial: “Working with Deborah has been Description: Publicity plans; media lists; press consulting, designs websites and a wide range a delight and she really got my book ‘out there’. releases; press kits; trade and review mailings; of marketing materials. Twenty percent discount The ripple effect even reached my publisher. target mailings to niche markets; proposals to SCBWI members. Seeing how committed I was to giving SAVING to book festivals, conferences, trade shows; Testimonial: “I get a lot of comments about SKY a stellar launch raised the energy level in book signings; media tracking; book award how awesome my blog, website, and twitter their marketing department, getting everybody nominations. [background] look and it’s all thanks to Shelli. excited and working together for an even bigger Testimonial: “Mimi is savvy, experienced, She completely “got” how I needed an identity marketing buzz.” —Diane Stanley, author effective and a delight to work with—always that worked among the different kinds of books upbeat and encouraging, always on the ball, I write. Best of all, I feel proud and confident DONNA MCDINE always looking for the right combination of about how I am represented in the e-world 334 Washington Street activities to maximize public awareness and thanks to her beautiful work.” — Vicky Alvear Tappan, NY 10983 demand for my books.” — Grady Thrasher, Shecter, www.vickyalvearshecter.com 845-721-7802 author www.scbwi.org www.donnamcdine.com/dynamicmediareleases. | CURIOUS CITY html RAAB ASSOCIATES 8 Merrill Street, Unit A [email protected] 914-241-2117 Portland, Maine 04101 Fee: $30.00-$120.00, see website for details www.raabassociates.com 207-420-1126 Description: Press releases, writing and media [email protected] www.curiouscity.net/ placement Contact: Susan Raab Contact: Kirsten Cappy, [email protected] Testimonial: ”If you are too busy to write and Fee: No hourly fee, charges for a suite of Fee: $75.00/hour for large projects, may distribute a press release about your book, or services over a period of time establish a project fee after discussing a client’s simply aren’t sure how to go about it, I can Description: National media campaigns, author needs whole-heartedly recommend Donna McDine’s tours, blog tours, marketing consulting, website Description: Activities and lesson plans, book publicity service. She writes excellent press design and web consulting, library market trailers, giveaways, event kits, book launch releases. Best of all, she’s fast!” —Mayra outreach, media training, teacher’s guides. event planning, mailing lists, photography, web Calvani, author Testimonial: “I have worked with Susan Raab design. for well over fifteen years. And in that time, PUBLICATIONS GUIDE: THE BOOK Testimonial: “Kirsten Cappy is a genius with the number of my interviews, reviews, book a brilliant, quirky, creative mind, an extensive tours--and just plain book sales--has risen 2021 RESOURCES FOR PUBLISHED AUTHORS & ILLUSTRATORS | 273 dramatically. She has always been enthusiastic, WINDING OAK KATE PALACES NARITA supportive, knowledgeable, inventive, and www.windingoak.com/ www.katenarita.com/ certainly very attentive. I can’t see going on [email protected] Fee: $200-$250, depending on the length of toward the future without having her as part of Contact: Vicki Palmquist the guide. my team.” —Jane Yolen, author Fee: $60/hour; for large projects, establishes Testimonial: “I am so pleased that I partnered a project fee after discussing a client’s needs with Kate Narita to develop curriculum guides SCHOOLVISITEXPERTS.COM Description: Promotional planning, press based on my books. Her teaching experience www.schoolvisitexperts.com kits, social networking and advanced and insight helped develop curriculum guides [email protected] technology consultation, marketing materials, that peak interest and benefit students. I Contact: Alexis O’Neill press releases, teachers guides, presentation often hear from teachers who have used these Fee: No fee to access information on the development, video production, website materials, and they tell me that the curriculum website; consulting services will be added soon. design and maintenance, career planning. guides are creative, helpful, and fun.” —Rose Description: Advice on designing programs for Testimonial: “When I signed on to work Kent, author schools, libraries, bookstores, and conferences; with Vicki and Steve at Winding Oak, I assistance managing the business side of did not realize that I would be joining TEACHINGSEASONS.COM appearances. a kind of “dream team” for wandering www.teachingseasons.com Testimonial: “SchoolVisitExperts is my go-to authors and illustrators! They are supremely Contact: Grace Nall site for expertise about school visits. The knowledgeable about the field and fearless Fee: Please contact Grace for rates. writing style is clear and concise, and the in the face of the new 21st Century demands Description: Reviews, consults, and creates range of topics covered is all-inclusive, wide- on writers. This combination of knowledge Educator Guides aligned to the Common Core ranging, and unique, everything from the latest and courage is fortified by a willingness to Standards. Grace Nall is a National Board technology with regards to equipment and learn anything that a challenge requires. In Certified Teacher and has served as a California computer programs, to the psychology of school addition, they are cheerful, witty, and seem Department of Education Adoption Reviewer presentations, to business matters. I have to know everyone everywhere. They have a for Common Core Curriculum materials. She learned so much from this site! It is a comfort passion for connecting people, interests and has created Educator Guides for Children’s knowing that everything I need for an effective skills, so working with them immediately Book Author Bruce Hale, Salina Yoon, Carolina school visit is there waiting for me in one makes your own world larger. They are just Hatton, Randy Morrison, Cindy Schuricht, and place--to return to again and again.” —Joanne the best.” Lynda Pflueger’s biography series. Rocklin, author —Debra Frasier, author-illustrator TRACIE VAUGHN ZIMMER TARA LEWIS PUBLISHING SERVICES www.tracievaughn.com/HOME.html www.taralewisbooks.com CURRICULUM [email protected] [email protected] Fee: Please contact Tracie for rates. Contact: Tara Lewis, [email protected] & BOOK CLUB Testimonial: “I can recommend heartily Fee: Hourly rate for small projects; for larger Tracie Vaughn Zimmer for the creation of projects, establishes a project fee after GUIDES curriculum guides. She’s fast, insightful (she’s a discussing a client’s needs successful children’s book author herself), and Description: Marketing plan development, JENNIFER RICHARD JACOBSON professional.”—Sarah Lamstein, author press releases, author bios, competitive PO Box 246 analysis, book proposals, book market Woolwich, ME 04579 research, publishing process guidance www.jenniferjacobson.com Testimonial: “Tara is a treasure. She is one [email protected] of the finest freelancers I have had the Fee: Please contact Jennifer for rates. pleasure to work with.” - Melissa G. Wilson, Testimonial: ”Jennifer Jacobson wrote bestselling author and publisher the wonderful discussion guide for my “I can’t say enough about Tara’s efforts novel, Extraordinary (Dial/Penguin 2010). in providing me with the direction and The questions she developed showed her resources required to achieve success as an understanding of how the book could be author. She is highly professional, articulate, used by reading groups and in schools that and engaging. Our sessions were extremely went beyond anything I had imagined; she productive, and the results of the work she was prompt and professional; and her work performed on my behalf were nothing short required no editing whatsoever and was a of spectacular. I would highly recommend pleasure to read. My publisher was thrilled. Tara to anyone who is looking for guidance I’d recommend her work to anyone. ” and support on the anxious and mysterious —Nancy Werlin, author journey of marketing books.” - Paul Toffanello, author

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 through » Defining this is the first step to finding your authentic blogging voice! you need a plan. Here are seven steps to build that plan: STEP 2: CLAIM YOUR POWER STEP 1: BE AUTHENTIC Blogging is publishing 2.0. You don’t need “a” blog – you need your blog, one that’s unique, There are no gatekeepers (for good and bad – make sure you proofread content-rich and effective. In a word: Authentic. before hitting ‘publish!’) and it’s pretty much free. There is some “What is your unique voice?” hardware involved, though internet time and computers are available in This is something that editors and agents are talking about all the many libraries. time. They’re asking authors and illustrators, are you telling your story in Blogger, Wordpress, YouTube, Twitter, Facebook*, Squarespace, Tumblr, a way that only you – and no one else – could? Pinterest . . . the list of blogging platforms is constantly changing, and Imagine you want to do a picture book about The Boy Who Cried Wolf. as of this writing a quick search turned up more than twenty available You’re going to need to figure out what makes your take on the story options. There are people out there who will be interested in what you unique, right? Are you telling it from a different point of view? Is there have to say . . . But what are you going to say? an unexpected twist? What about your retelling makes it uniquely yours? Look at John Rocco’s “Wolf! Wolf!” [link here: http://roccoart.com/ Blogging is your opportunity to create content, filter content, and books.html] share content. It’s a retelling of that Boy Who Cried Wolf fable, but told from the wolf’s point of view, in China, and with a great twist at the end that Want to write your own poems? Share your illustration process? makes it the version that only John could have written and illustrated. Conduct an interview? That’s all content you create. “Wolf! Wolf!” has its own voice, and that makes it stand out and be Want to let your blog readers know about your favorite movies that successful. relate to your blog’s theme? Discuss how a book or TV show works or Now you need to ask yourself these questions about your blog: doesn’t work from your perspective? Want to rant about the latest Disney What is my blog voice? kid’s App? That’s all content you filter. (Think of filtering content as a What’s going to make my blog post on something 300, or 3,000, or mix of someone else’s content and your contribution to the conversation 30,000 other people are also blogging about stand out? (hint: the only about that.) thing you have that no one else has is you!) Seen a great clip on YouTube? Or an insightful article more people need to read? Or a fascinating blog post on craft? That’s all content you How is my blog uniquely authentic – a genuine expression of me? share. Create. Filter. Share. Blogging is powerful! Action Plan for Step 1: » Make a list of the three blog posts you’re most proud of (or the three Action Plan For Step 2: posts you’d most like to write.) Try to answer these questions: » What is the common element that makes them stand out? What makes » What content do you want to create? them uniquely you? » What content do you want to filter? 276 | 7 STEPS TO BLOGGING SUCCESS

» What content do you want to share? sense that it’s important. It will seem like you care about it, because you do care about it – it’s your passion! And you caring about what *A note on Facebook: technically, things you post on Facebook you’re posting will have your readers caring, too. become Facebook’s. Blogging at your own site (through Blogger or Knowing your passion you’ll be able to create, filter and share Wordpress or another platform) keeps your material yours, and you’re content with an eye to how it all fits together synergistically. not giving up right of usage. A lot of people are on Facebook, but Think of your passion as your blogging compass. It will help you get I’d recommend against making it your only platform. Better to blog where you want to go. somewhere else and post about it on Facebook. That gets you the traffic from your Facebook friends but you stay in charge of the content you’ve Action Plan for Step 4: created. » Use Google alerts and Twitter hashtag searches to find out not just who is talking about you, but who is talking about your subject, your STEP 3: SHOW RESPECT passion. Join in the conversation where it’s already happening, and How personal do you want to go? contribute meaningfully. Over time, you can become a leading voice Some people post photos of their kids. Others refer to their family on your theme. members by category, like “Teen” or “Husband.” Make some decisions for yourself. STEP 5: BE DILIGENT Remember that you shouldn’t blog anything you wouldn’t want Short Term/Long Term your mother, your kid’s kindergarten teacher, and any possible future Recognize that an audience builds over time. Don’t start a blog employer to see on the front page of the New York Times or the local without a six-month plan for sustaining your posting. Allow yourself to news! roll out content over time. Be careful of unrealistic expectations that Respect yourself and others will respect you, too. will deflate you if they’re not met. Focus on short term steps that will get you to long-term goals. How safe a space is your blog? Set yourself up for success Do you have a controversial topic? How much dissent do you want at A regular blogging schedule (like posting once a week, or once a your virtual dinner party? How are you going to control your blog? Will month) on a regular day is better (for readers, search engines and the you moderate every comment? Will you allow anonymous comments? longevity of your blog) than seven posts one week and nothing for It’s your blog and you are in charge. If a comment offends you, or three months after. seems off-topic, go ahead and delete it. Your blog is self-publishing, Explore the ‘scheduling’ function on many blog platforms to pre- and you’re the publisher. You decide what gets in and what doesn’t. publish (or publish in advance) your posts. That way you can create Similarly, you must monitor for spam. There’s a lot of it that will be posts in a clump, but have them go up on your blog on a regular coming your way, and nothing turns off readers quicker than threads schedule. full of spammy, inappropriate, unrelated comments. They’re going to think, ‘If the blog owner doesn’t care enough to keep this place nice, Note: There are no rules with blogging, and it’s all under your why would I come back?’ control. There are bloggers who don’t blog consistently, but once in a while have a brilliant idea, make it happen and get tons of traffic and Action Plan for Step 3: attention, and then they focus on other things until their next amazing » Be polite. When commenting anywhere online, don’t blatantly self- idea… A great example is how author/illustrator Jim Averbeck decided promote. Stay on-topic and contribute to their conversation. It’s to create a ‘red carpet’ for the Newbery and Caldecott awards. [link to good Karma, and over time, sharing great comments will have readers http://www.kidlitredcarpet.com/] Jim got dressed up and shot video of wondering ‘Just who is that insightful commenter?’ and they’ll start himself interviewing famous authors and illustrators standing clicking back to you. on a red bath mat before they went in for the ceremony! He www.scbwi.org did it for a number of years, and each time it got lots of well-deserved | STEP 4: LEAD WITH PASSION attention. Writers tend to work around similar themes in the content they create. Often this revolves around some personal passion for a cause or Consider Solo Blogging Versus Group Blogging value. With a solo blog, it’s all yours. Your voice, your passion, your You need to figure out, what are your passions? What is your content, your control and your promotional vehicle. What’s also all thematic message? yours is the responsibility for regularly creating, filtering and sharing To help you put it into words, see if you can answer this question: content, and you are on your own dealing with comments, changes, archiving, link updating, spam and other ‘blog business.’ You’re also on What is the point of you having a blog? your own in terms of getting people to come to your blog.

(Note that ‘selling books’ is not a helpful answer. Everyone wants to With a group blog, the responsibilities are vastly less, but you don’t sell more of their books. Dig deeper.) get the control or the same promotional/branding value. For a group Define this passion. Write it down. Say it out loud. Defining your blog, having a clear theme is critical! Also, consider how many more PUBLICATIONS GUIDE: THE BOOK passion will help you stay on theme. people will come to a blog when there are multiple people who are Sticking to your passion will imbue everything you post with the passionate about promoting it! 2021 7 STEPS TO BLOGGING SUCCESS | 277

Action Plan For Step 5: When the #WeNeedDiverseBooks movement took off (after I’d been Don’t overwhelm yourself. You don’t have to do it all right now. blogging at I’m Here. I’m Queer. What the Hell Do I Read? for seven years), » Narrow down your to-do list to the top three things you want to do I wanted to do something more on my blog to support it but I wasn’t sure with your blog. what. This exercise helped me discover the connection between “other » Pace yourself. Setting realistic goals – and meeting them – will feel authors and illustrators who include LGBTQ characters and themes,” “Ally great! for other diversity in Kid Lit” and the “#WeNeedDiverseBooks” circles. What could I offer other children’s content creators to help get more diverse STEP 6: DEFINE YOUR CIRCLES OF INFLUENCE books out there in the world? That’s how my “Agents Looking For Diversity” Most blogs have less than twenty unique visitors a day, because series [link to: http://www.leewind.org/search/label/Agents%20Looking%20 their circle of influence is limited to their friends and family. For%20Diversity] came about, and one or more of those interviews are What you need to do is find the people and groups out there who consistently in the top ten most popular posts for my blog. share your passions and affiliations. Who else is your audience? I didn’t do them because they’d be popular, I did them because I wanted Working moms? Queer teens? School counselors? Independent to contribute. But it’s a nice perk. booksellers? Sport camps? Pre-school teachers? Knitters? Girl Scout troop leaders? STEP 7: BLOG WITH JOY Whatever you’re writing about, whoever you are, your values/issues/ Lee & Low Books’ Marketing and Publicity Director Hannah Ehrlich said identities hold opportunity: You care passionately, and you’re not this in her post Marketing 101: The Best Social Media Platforms For Authors trying to sell them your books. You’re trying to engage them about [link: http://blog.leeandlow.com/2015/09/03/marketing-101-best-social- your passion, which maybe they share . . . media-platforms-for-authors/#more-11304] “One of the questions I get Note: While the children’s book community is super-supportive, most often from authors – both new and experienced – is, “Which social beware of the echo chamber. You want to speak to your fellow writers media platforms do I have to be on?” There are a lot of ways to answer and illustrators, sure, but you want your books and stories to go this question but I want to start by addressing the question itself, which beyond that audience as well. is often phrased in exactly this way. The answer is: you don’t have to be on any social media platforms you don’t want to be on. …the number Action Plan for Step 6: one thing you should ask yourself is whether a particular platform will be » Take a blank piece of paper, and draw an egg-sized circle in the enjoyable and sustainable to you.” middle of it. Write the name of your blog there. Around it, in circles It’s great advice. If you don’t enjoy blogging, you’re not going to be that touch the first, add in those additional audiences and groups. good at it. You won’t bring your passion. And it won’t offer you the results you want. I spent five minutes doing this for my personal blog, I’m Here. I’m Think about what makes you laugh. What changes your emotional Queer. What The Hell Do I Read? temperature. What makes you want to share? What have you shared with your friends and colleagues in the last month? This brainstorming exercise doesn’t have to be neat, it’s just for you. Where do you want to spend your online reading time? What conversations do you want to join? This helps you see where you can go to connect and hook into Not every blog needs to have an audience like “The Huffington Post” to your communities. What’s extra-cool is that it’s also the secret to be successful. Success can mean many different things, but ultimately, if generating content ideas. you’re not enjoying blogging, you’re not doing it right. The world doesn’t need another blog post about what you had for lunch, For each circle, ask yourself ‘What can I offer this group?’ no matter how popular food photos seem to be. (Unless the 278 | 7 STEPS TO BLOGGING SUCCESS

food is somehow expressive of your passion. Or you’re a celebrity. And even then . . . ) What would you care to read about on the blog of a stranger? It should be interesting, inspired, intriguing and passionate. It should be written in a way that makes you feel that the author cared, or why should you care? Make people care about what you write.

When you’re doing something you love, it shows. Show your passion, and show your joy.

Action Plan for Step 7: » Consider that if you’re truly blogging your passion, you won’t have to find your joy. It will have found you.

Work through the above steps and action plans, and you’ll have your roadmap to blogging success. See you online!

Lee Wind has been blogging since 2007, tallying up millions of pageviews for his award-winning personal blog, I’m Here. I’m Queer. What the Hell Do I Read? (www.leewind.org), and the two SCBWI blogs, SCBWI: The Blog (scbwi.blogspot.com) and The Official SCBWI Conference Blog (scbwiconference.blogspot.com). In 2015 he was recognized as SCBWI Member of the Year. By day he works as Director of Marketing and Programming for the Independent Book Publishers Association, and the rest of the time he can be found writing and blogging! www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 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 emails. A blog- ger 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 Some of my favorite international bloggers include: has 10,000+ followers, close to a million pageviews, reviews posted » Bee at https://chaiandchapters.com/ in India for the season’s hottest YA novels, and relationships with a long list » Jo at www.onceuponabookcase.co.uk in the UK of Brazilian publishers. Write her back! About four months after my novel Sing Me to Sleep (Penguin/ » Raila at www.booksoutofthebookshelves.blogspot.com in Brazil Razorbill, 2009) released, I received such a request. I didn’t delete » Regie at www.theundercoverbooklover.blogspot.com in the it. I had a few ARCs left. Why not take a chance? I sent one to Brazil Philippines and answered interview questions. After the initial review went » Amber at www.serenehours.blogspot.com in Vietnam up, I received more and more requests. Deciding it was worth the investment, I sent several more, and several bloggers created book » Aik at www.the-bookaholics.blogspot.com/ in Malaysia tours, sending my books from one blogger to another. I did interview after interview. They translated my answers—and usually posted them I always: in both English and Portuguese. 1. investigate the blog and make sure it’s legitimate. If the blogger Because I enjoyed existing relationships with international blogger doesn’t include a link to their blog, ask for it. reviewers, shipping ARCs to Brazil wasn’t out of the norm for me. Having lived abroad, I knew how hungry readers around the world are. 2. sincerely compliment the blogger’s English. They’re usually English is the universal language of business. Students everywhere nervous about it and always better at English than I am at any study English. They watch American television and movies. Reading foreign language. a foreign language is easier than speaking or writing it. Further 3. ask international bloggers to share my review books with other exposure in an up-and-coming market could yield a foreign rights bloggers—either casually with acquaintances or via a book tour they deal. organize. This can bloom into something quite amazing. Lucia at Itzel And even if that didn’t happen, I understood that more and Library put together a huge tour of Hispanic blogs featuring both my more books published in the United States are finding international YA books—and translated all the interview questions and my answers. readers. Services from Amazon to the Book Depository reach readers 4. happily grant requests for an interview. I’m very selective around the globe, especially with ebooks and devices like the Kindle. regarding the bloggers I mail books to. When I have to say no, I Websites like Goodreads have readers worldwide posting reviews. always offer to answer interview questions. The YA blogging craze doesn’t stop at your border. There are no boundaries in cyberspace. 5. double-check the address. International mailings cost between And maybe, if you bug your publisher enough with updates of $10 and $18, so you don’t want to make mistakes. Check the Book reviews and interviews, they’ll shoot an email to their agent in the Depository. Even with free or discounted review copies from your target country in question. I ended up being featured on about thirty publisher, it might be less expensive to use. YA review blogs in Brazil. Six months later, Penguin signed a contract 6. ask them to send a link when the post is up so I can blog, for Sing Me to Sleep to be published in Brazil. tweet, and FB it up. 280 | INTERNATIONAL BLOGGERS

7. refuse to send electronic copies. If you have access to safeguarded ebooks and permission from your publisher or can get your publisher to send them, this might be a viable, inexpensive RIP FOR THE PRESS RELEASE?? option, but it ups the risks of pirating. I have heard suspicions of black marketers posing as international bloggers, but have no evidence of this personally. Be careful, though. NOT SO FAST! I’m confident you’ll find the international blogging community as welcoming and enthusiastic as I did. Sit back, relax, and enjoy a book tour around the world—without ever leaving your bedroom.

Angela Morrison is the author of Sing Me to Sleep, USA Best Books 2011 YA Winner and a 2010 Goodreads Choice Award nominee for YA fiction, and Taken by Storm (Books 1–3). She holds an MFA from Vermont College of Fine Arts and a BA from BYU. Sing Me to Sleep’s Portuguese translation released in Brazil in 2011. Visit her online at www.angela-morrison.com. www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 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 friends thinking to be effective. 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 to optimize 1. What need was PitchEngine created to address, and how has it for search engines, etc. Social networks are great for cultivating and evolved over time? sharing with your audience, but they aren’t for storytelling. PitchEngine It was built as an alternative to the traditional press release and fills this role. Package up your content and share it on your site, social push distribution process. Instead of sending documents via email or networks, search, and more. 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 email 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 watch on 2. What do you think is most important in effective promotion YouTube via iPhone for a distraction when things are getting a little out of today? hand. 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 about 3. What tools do you recommend for authors and illustrators who the press release is the utility. Make your content accessible and sharable may not have a big budget, but are willing to put in the time to so that bloggers, journalists, and fans can evangelize for you. That’s promote their books? when the word will get out.

THIRTEEN KIDLIT PODCASTS TO INSPIRE YOUR WRITING

by Kayla Cichello

odcasts are a wonderful and inexpensive resource for both pre-published and published creators. Filled with interviews, tips and discussions, kidlit P podcasts can be an easy way to connect to the community and motivate oneself when the process of creating books for children can sometimes feel iso- lating or daunting. Most podcasts are free to download or stream on your phone, tablet or laptop, and the following curated list highlights an array of topics to spark creativity.

1. SCBWI Podcast Journal website: http://blogs.slj.com/theyarn/category/all- The SCBWI Podcast is a fantastic resource for members, episodes/ showcasing interviews with industry-leading authors, illustrators, editors and agents. These conversations include insights and 4. All the Wonders Podcast advice on craft from award-winning creators such as Christopher This podcast serves up weekly chats with authors and illustrators Paul Curtis, Kwame Alexander, Linda Sue Park, Erin Entrada Kelly, at every stage of their career, and encourages listeners to and Libba Bray, and provide exclusive content from editors, experience a story in a new way. Matthew Winner, children’s publishers and agents about industry trends, manuscript wish librarian, along with co-creator Blake Hamilton, have created lists and the business of writing and illustrating for children. Pre- more than just a podcast; All the Wonders website offers various published and published members alike with find inspiration with content produced by a collective of artists and writers with the each episode. Available here: www.scbwi.org/online-resources/ goal to, “expand the universe of the books we love by offering up podcasts/ podcasts, videos, songs, crafts, and much more, all centered on those great works of literature and the people who make them.” 2. Literaticast A note that this is an archive of episodes and All the Wonders The Literaticast is produced by Senior Agent Jennifer Laughran podcast ended in 2018. Available on Apple Podcasts and www. at the Andrea Brown Literary Agency. Chalk full of interviews allthewonders.com/podcasts/ with book creators, publishing professionals, booksellers and librarians, this podcast covers wide-ranging topics including book 5. First Draft with Sarah Enni marketing, agent and editor questions answered, what’s selling Ranked as one of the top podcasts for YA writers and fans by in bookstores and an exciting new feature entitled, “Behind Barnes and Nobel’s Teen Blog, First Draft aims to provide honest the Book,” which examines the making of an exceptional book. and substantial conversations with YA writers (and entertainment Listeners also have the option of donating to support the making writers) about the challenges of craft, what it means to life a of Literaticast through Patreon. Available on Apple Podcasts and creative life and the realities of publishing young adult books in www.jenniferlaughran.com/literaticast today’s market. A writer herself (Tell Me Everything, Scholastic 2020), Sarah has an archive of over two hundred interviews. 3. The Yarn Available on Apple Podcasts and www.firstdraftpod.com/ The brainchild of elementary school librarian and author, Travis Jonker, and elementary school teacher, Colby Sharp, The Yarn 6. PW’s KidsCast boasts over a hundred episodes and counting with in-depth Need a quick dose of inspiration? Publisher’s Weekly children’s interviews from the likes of Dave Eggers, Salina Yoon, Laurie editor Emma Kantor hosts this delightful podcast, speaking with Halse Anderson and Kate DiCamillo. Following the story-behind- an array of authors, illustrators and publishing professionals. the story, these interviews cover all genres of children’s books, With a new episode every other week, and running around twenty and are full of details about how a story goes from idea to minutes, each interview focuses on the creation and importance bookshelf. Available on Apple Podcasts and on the School Library of an upcoming book by the interviewee. Available on Apple 284 | THIRTEEN KIDLIT PODCASTS TO INSPIRE YOUR WRITING

Podcasts and www.publishersweekly.com/pw/podcasts/index. A useful resource for aspiring and established illustrators, 3 html?channel=5 Point Perspective gives listeners just that, three perspectives on an illustration topic. Hosts, art educators and seasoned 7. This Creative Life with Sara Zarr illustrators Will Terry, Lee White, and Jake Parker talk about National Book Award finalist and author of six young adult every aspect of illustration; the mechanics of it, how to make a novels, Sara Zarr’s collection of author and publishing living at it, and advice about the ever important self-promotion professional interviews from 2012-2015 is not to be of it. Part of the Society of Visual Storytelling website, 3 Point missed. This archive of around fifty episodes delves into the Perspective is a free feature of the society and is available on psychological and tangible aspects of living a creative life, Apple Podcasts and www.svslearn.com/3pointperspective. the creative process and the ever popular monetization of art. Guests include author Gayle Forman, agent Michael Burrett and 13. One More Page author/illustrator Gene Luen Yang. Available on Apple Podcasts One More Page is a podcast for creators, readers and lovers and www.sarazarr.com/this-creative-life/ of children’s literature. Hailing from Australia, the hosts, Liz Ledden, Kat Simpson and Nat Amoore, dish up book reviews, 8. Picturebooking publishing gossip and interviews with children’s book creators Yes, a podcast all about writing and creating picture books! and sellers. While a majority of the episodes focus on Australia’s Host Nick Patton shares his own journey into creativity (the kidlit community (and the occasional fart joke), there are good, the bad and the not so pretty) as well as interviews with episodes dedicated to international authors and illustrators such authors and illustrators producing some of the best picture as Kate DiCamillo. Available on Apple Podcasts and https://www. books today. Interviews include Sophie Blackall, Ben Clanton, onemorepagepodcast.com/. Marla Frazee and more. Picturebooking invites listeners to feel a sense of connection and motivation to picture book writing through each episode. Available on Apple Podcasts and www. picturebooking.libsyn.com/guest-list

9. Talking About Books for Kids This podcast champions diverse books for kids and teens and the creators behind them. Host Jaqueline Douge, pediatrician, mom, writer, blogger, and child advocate, speaks with not only authors and illustrators traditionally underrepresented in children’s literature, but also educators, independent booksellers and other advocates of diversity in publishing such as the team from We Need Diverse Books (WNDB). Available on Apple Podcasts and www.talkingaboutbooksforkids.com/

10. Kidlit These Days This recently established monthly podcast by Book Riot fuses the best of kidlit with current events, trends and topics affecting the world today. Elementary school librarian Matthew Winner appears again as co-host with middle grade author and contributing writer to Book Riot, Katrina Yan Glaser. Highlighting topics such as censorship, diversity, and www.scbwi.org neurodiversity in publishing, LGBTQ issues and climate change, | each episode offers thoughtful discussions with guest authors, illustrators and librarians. Available on Apple Podcasts.

11. Books Between Podcast Helping parents, teachers and readers connect to the best middle grade books, Books Between provides thoughtful conversations with prominent middle grade authors such as Varian Johnson and Kelly Yang. The podcast also explores anthologies, poetry, short stories and graphic novels (just to name a few topics) to help engage all types of readers, and provides ways to launch a reading community. Available on Apple Podcasts and www.booksbetween.com/ booksbetweenpodcast PUBLICATIONS GUIDE: THE BOOK

12. 3 Point Perspective 2021 A PODCASTING PRIMER

by Teri Daniels

odcasting is a cool way to connect, promote, and open doors on the Inter- net. And those who podcast are pretty darn impressive. But maybe you P wonder: Could I? Should I? How would I begin?

In kidlit, interviewing creatives on a remote basis is the most It should use searchable words, stay on point, identify an audience, and prevalent format. So, let’s explore building an interview podcast in four give listeners a reason to proceed. This one specifies its mission and doable steps. audience: “The Read-Aloud Revival podcast helps parents, homeschoolers, and teachers make meaningful and lasting connections with kids through 1. The IDEA: Begin with a solid concept. books.” 2. The PLAN: Design the style podcast. 3. The GEAR: Select hardware and software. What’s your aesthetic? 4. The HOST: Engage a host service. Design the look, feel, and tone of the show.

What’s your exciting idea? Select a graphic. You’ll need an image to represent the podcast. To Before you spend a cent, decide what you want to say and who needs educate your eye, scan podcast listings. Then design your own logo or to hear it. browse sites like 99 Designs, Fiverr, and Canva. Pick a simple but striking image with legible font. And remember, you submit the art big (1,400 by Know your goal. Will you take a stand, sell a service or support a 1,400 pixels), but it must look good small. growing brand? Will your show be info rich, entertaining or inspiring? Structure your show. Kidlit podcasts average forty minutes. Be it Why would target listeners choose you? sixteen or sixty, an episode should stick to the format. Here’s one way to Content is key. The gift of gab is not enough. A podcast needs go: The teaser—Intro Music and Message—Narrative—Ad Spot—Guest interesting, ongoing content. Rather than hammer the same old nail, interview—Extra something—Outro Message and Music. strive to say something new. Can you find a gap in kidlit podcasting or But every episode should have recorded intro and outro messages put a fresh slant on a popular topic? Have a special skill or access to and a written description. The intro message is a snippet to welcome exciting guests? How would your show differ from the rest? Sara Zarr listeners, reveal the main topic, and introduce the guest. The outro spotlights the psychology of creativity. Jaqueline Douge champions message thanks listeners, point to a webpage, and suggests they diverse books. And Jennifer Laughran gives listeners intimate visits with subscribe, review, and support the show. The written description gives publishing professionals that creatives might pay to see. succinct episode details. Craft a name. While your podcast title may gel later, aim to connect Access Sound Effects. Sound recordings set the emotional tone of the name to its content. It can be key-word driven, a play on related a podcast show. Is it serious, inspiring or playful? Record your own or words, or showcase a person, place or thing. But don’t choose a name search online music banks, like Podcast Music and Audio Jungle that that stifles future subject matter or mimics what already exists. Scan charge a onetime licensing fee for professional usage. Find freebies in other shows to get a feel for fetching titles. “The Children’s Book the YouTube Free Audio Library. Podcast” is key word driven. “The Yarn” and “Picturebooking,” are subject Plan the episodes. Generate some topics and a wish list of guests. related but playful. “The PEN Pod” springs from its organization, PEN Then reach out to potentials via email, social media or publicists. America. “This Creative Life with Sara Zarr” includes its focus and host. Consider scheduling software like Acuity Scheduling, PerfectPodcastGuest, And “3 Point Perspective: The Illustration Podcast” expands an artsy title and Calendly or simply use Google Calendar. Now loosely outline the with a key-word tagline. first episodes, then send talking points and instructions to your guests. Draft a description. A podcast description appears next in a listing. Content management tools, such as Google Docs, Basecamp and Trello, 286 | A PODCASTING PRIMER

can keep you organized too. (from $5) makes a host more accountable. Publish your podcast. Before you launch, complete a few episodes What gear would you get? to create momentum. Then upload them with show notes to the host. Here’s what you need to start a podcast: Your host service will generate the RSS feed—the link to your updating » A capable computer content—so future episodes will load automatically. Submit audio files » A reliable microphone to outlets through the host. Or upload your show just once to a mix of » A comfortable headset iOS and Android outlets. Apple is the largest podcast distributor and the » And software for recording and editing top content source for other shops. Post your notes. Best practice is to include show notes. Boast about Begin with a capable computer. A computer needs at least 2GB of your guest, summarize the episode, list sponsors, and link to your available RAM (random access memory) and10GB of storage (hard drive website. Post more on a website with links to products and services space)—fairly low thresh holds even for laptops. Remote guests should discussed. This renders your podcast content searchable, linkable and use a laptop connected to Wi-Fi with a strong signal or a desktop quotable. If you elect to post full transcriptions, software like Descript, hardwired to the Internet. GoTranscript, and Scribie can assist. Clear the air. What podcasters fear most is bad audio. Audit any recording space ahead of time. It should be quiet. Doors, carpeting, and What does it take? window coverings help. Walls without windows, like closets, are even Podcasting is hard work. But the pros say it’s a labor of love. better! Limit distractions by managing phone ringers, equipment, pets and children. For just a few bucks, attach a foam cover or pop filter to Scheduling. Nick Patton, host of “Picturebooking,” knows emailing your microphone to soften plosives sounds—popping Ps and Bs in a with guests and public relations people builds trust before a talk. He speaking voice. answers emails fast to avoid losing potential guests. He also shares his Buy a microphone. The mic should be easy to use, built to last, laid-back approach. “No pressure, just a fun talk about your work.” provide great sound, and have a USB plug to connect to your computer. Matthew Winner, host of “The Children’s Book Podcast” and co-host of These standing mics are modestly priced and widely recommended: “Kidlit These Days,” sends guests quick tips on the set-up. “I use Skype Audio-Technica ATR 2100, and Samson Q2U Podcasting Pack. You can (audio only) to record, so assuring a strong Wi-Fi signal, using a pair of also pair a mic with a scissor arm like the Rode PSA1 to eliminate headphones, and recording with video turned off will all lend to better hunching and free up desk space. And the Zoom H4N works for quality recordings.” And Winner schedules himself too. “Recording at podcasters who travel. the same time from week to week helps my brain prepare, anticipate, Use the right ear gear. Headphones reduce mic feedback when and be in best form for the interviews.” interviewing. Look for a comfortable, affordable USB headphone with Interviewing. Sara Zarr of This Creative Life, podcasting since 2012, noise reduction features, like Audio-Technica ATH models and the Sony always has interview questions prepared to get the ball rolling. But then MDR Series. Some headphones have a built-in microphone. See the she likes a conversation to unfold more organically. Sennheiser HD 4.50 Bluetooth Noise Cancelling Headphones and the “We let the conversation lead us where it wants to go,” said Winner, Logitech USB H390. Where possible, remote guests should avoid using “and when it feels like a natural place to wrap up, we do. With over a built-in computer speaker. USB earbuds with a mic in a cord (“inline 600 interviews recorded over 7 years, though, I’ve come to trust my mic”) would be better. And here’s a tip for both podcast guests and instincts in talking about a book or about a bookmaker’s craft.” Zoomers. A lapel mic, like the Lavalier Power DeWise Omnidirectional, Patton knows it can turn into a conversation pretty fast. So, he’ll is a “wise” way to upgrade audio on a tele-or video conference call toss out questions and remind himself, “The show isn’t about you… ($22 on Etsy). Just insert the pin into the audio jack of a computer and when they talk, you stay silent.” select on the platform. (iPhones require a lighting adapter.) Editing: Winner uses a MacBook with editing software GarageBand to Choose podcast software. Recording software helps you record and mix and produce the episodes. And he doesn’t stress over background edit your show, then format the files to export. Some podcasters use noise since recording at home during the COVID crisis. Winner feels it’s www.scbwi.org Skype (a one-time fee) with call-recording software: Ecamm for Skype “evidence of the way life has shifted.” | on Mac and Pamela Pro for Skype on Windows. But for better audio “Aside from the interview, editing and post-production is the most quality and control, check out Squadcast and Zencastr. These software labor intensive and important part,” said Zarr. Her goal is to make her platforms, with free and low-cost plans, were designed for remote guests sound good. She makes “lots of tiny edits to trim away whatever podcasting. detracts from the meaning of what they’re saying.” Understanding: “Scheduling and editing shows are harder than I Which host would you hire? thought,” said Patton. He knows guests cancel, Skype fails, and he A host service will store your podcast and enable distribution. might mess up a recording, even after 100 episodes. “But getting to talk to people who are passionate about this work is so worth it.” Engage a host service. Not to be confused with a show’s presenter, On average, Zarr invests eight to ten hours of work per episode, but a host service is the important link between a recorded podcast and its she also shared, “I wouldn’t do it if I didn’t love it.” distribution outlets. The host provides flexible storage space for audio “It’s a work of heart,” said Winner, “and, for that reason, it’s files. It generates an RRS (Really Simple Syndication) feed to push sustainable and feels more like relief and comfort and connection than episodes to outlets. It also offers production, promotion and tracking it ever feels like work.” PUBLICATIONS GUIDE: THE BOOK solutions. These hosts are pretty popular: Libsyn, Anchor, Buzzsprout, and Podbean. You can take a free plan, but a monthly subscription What comes next? 2021 A PODCASTING PRIMER | 287

Before joining the broadcast industry, follow tech-savvy bloggers and listen to kidlit podcasters.Here’s some podcast shows and apps to get you started.

Podcast Shows: » 3 Point Perspective with host Will Terry, Lee White, and Jake Parker » 88 Cups of Tea with host Yin Chang » Books Between Podcast with host Corrina Allen » The Children’s Book Podcast with host Matthew Winner » This Creative Life with Sara Zarr » First Draft with host Sarah Enni » Julie’s Library with hosts Julie Andrews and Emma Walton Hamilton » Kidlit These Days with hosts Matthew Winner and Karina Yan Glaser » Literaticast with host Jennifer Laughran » One More Page with hosts Liz Ledden, Kat Simpsons, and Nat Amoore » Picturebooking with host Nick Patton » PW KidsCast with host Emma Kantor » Read-Aloud Revival with host Sarah Mackenzie » SCBWI Podcast with host Theo Baker » Talking About Books for Kids with host Jaqueline Douge » Writing for Children with host Katie Davis » The Yarn with hosts Travis Jonker and Colby Sharp

Podcast Apps: » Android phones: “Google Podcasts” is built in. » iPhone products: “Apple Podcast” is built in. » Podcast apps to download: Sticher, Spotify, Castbox, Pocket Casts, Captivate, Overcast, and iHeart Radio.

Teri Daniels writes books for children, articles and poems for adults, and blog posts at KidLitCrossing.com.

FIFTY 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 kidlit blogs you’ll want to check out at least once—explore Bookshelves of Doom one a week for a year, perhaps—along with tips for using your surfing Book news, reviews, and fun tidbits time effectively. www.bookshelvesofdoom.org/ Prioritize what you want. Blogs exist for different reasons, and their readers reap different rewards. Are you after how-to tips? Moral support? A Chair, a Fireplace & a Tea Cozy Industry news? Lively debate? Shared deadlines? Friends? Almost anything Reviews and commentary from New Jersey librarian Lizzy Burns; currently you’re after can be found in a blog, at least part of the time. hosted by School Library Journal “Sometimes it’s just the experience of reading something beautiful,” www.lizburns.org/ 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 www.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 Bird; fun” blogs for spare time. currently hosted by School Library Journal Participate. The community that develops among readers who blogs.slj.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 www.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 read Reviews and interviews, mostly about illustrated books and comment. Then get to work. www.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 email or in a reader. Reviews and library perspectives, including a special interest in cover art Don’t be afraid to move on. Most blogs wax and wane with the 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, INDUSTRY VETS BLOGGING don’t despair. Just move on. There’s always another great blog (or Google Brooklyn Arden group or YouTube Channel or NewFangledThang) to discover. Manuscript analysis and revision tips by Cheryl Klein at Lee & Low Books 290 | FIFTY KIDLIT BLOGS TO VISIT BEFORE YOU DIE

www.cherylklein.com/blog guyslitwire.blogspot.com

Editorial Anonymous I.N.K. Apparently in hiatus, if not retirement, but has valuable archives Interesting Nonfiction for Kids; retired, but has valuable archives www.editorialanonymous.blogspot.com www.inkrethink.blogspot.com

Kidlit.com Kidlit Artists Movable Type agent Mary Kole Tips, news, and resources from the recipients of the SCBWI Illustration www.kidlit.com Portfolio Mentorship Program. www.kidlitartists.blogspot.com PW ShelfTalker Vermont children’s booksellers on the business Literary Rambles blogs.publishersweekly.com/blogs/shelftalker/ Zillions of agent interviews www.literaryrambles.com The Purple Crayon Blog Industry news and insights from Harold Underdown The Picture Book Junkies Blog www.underdown.org/blog.htm Illustrators and art; retired, but has valuable archives www.pbjunkies.blogspot.com Read Roger Rants and raves from Horn Book editor Roger Sutton Readergirlz www.hbook.com/?subpage=Features%20%26%20Opinion,Blogs,Read%20 Teen literacy, interviews, and hip interactions; retired, but has valuable Roger archives www.readergirlz.blogspot.com Writer’s Digest Guide to Literary Agents Interviews and tips by Chuck Sambuchino Teaching Authors www.writersdigest.com/editor-blogs/guide-to-literary-agents Teaching, writing, and teaching writing www.teachingauthors.com GANG EFFORTS SCBWI: The Blog Through the Tollbooth Need we say it? Interviews, conference scoop, and more A bunch of Vermont College of Fine Arts MFA graduates with great writing www.scbwi.blogspot.com tips; retired, but has valuable archives thru-the-booth.livejournal.com Writers Helping Writers (Formerly The Bookshelf Muse) Writing thoughts and tools, including The Emotion Thesaurus YA Highway www.writershelpingwriters.net/ Great links on Field Trip Fridays www.yahighway.com Blue Rose Girls Several illustrators, authors, and an editor YA Outside the Lines www.bluerosegirls.blogspot.com Teen angst and authors www.yaoutsidethelines.blogspot.com The Brown Bookshelf Celebrating Black and African American voices voices in kidlit INDIVIDUAL CREATORS WITH CONTENT TO SPARE www.scbwi.org www.thebrownbookshelf.com A Children’s Author’s Eye View of Writing and Life | Help for picture-book creators by Susanna Leonard Hill; retired, but has The Enchanted Inkpot valuable archives Fantasy folks www.susannahill.blogspot.com www.enchantedinkpot.blogspot.com Cynsations First Second Books: Doodles and Dailies Interviews and more from Cynthia Leitich Smith Cool graphic novel stuff www.cynthialeitichsmith.com/cynsations/ firstsecondbooks.typepad.com/mainblog I’m Here. I’m Queer. What the Hell Do I Read? From the Mixed-Up Files . . . of Middle Grade Authors GLBTQ books and views from Team Blogger Lee Wind The name pretty much says it! www.leewind.org www.fromthemixedupfiles.com The Happy Accident PUBLICATIONS GUIDE: THE BOOK Guys Lit Wire Social media tips from Greg Pincus Book news and reviews for teen boys; retired, but has valuable archives www.thehappyaccident.net 2021 FIFTY KIDLIT BLOGS TO VISIT BEFORE YOU DIE | 291

Inkygirl Writer Beware® Blogs Fun writer/illustrator comics from Debbi Ridpath Ohi Warnings, gotchas, and industry watchdogging www.inkygirl.com www.accrispin.blogspot.com

Jen Robinson’s Book Page Joni Sensel is a former co–regional advisor for SCBWI Western Possibly the longest kidlit blogroll you’ll find, in case this list isn’t Washington and the author of middle grade fantasies, including The enough Farwalker Trilogy (Bloomsbury). Don’t blame her if your favorite blog’s jkrbooks.typepad.com not on this list—just compile and post your own!

Middle Grade Ninja Reviews and seven-question interviews with agents and authors www.middlegradeninja.blogspot.com

No Water River 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) www.maggiestiefvater.com/

Writing for Kids (While Raising Them) Author Tara Lazar and PiBoIdMo www.taralazar.com/

NOT EXCLUSIVELY KIDLIT, BUT TOO GOOD TO MISS Buzz, Balls & Hype A best-selling author’s marketing tips and ideas; retired but has valuable archives

mjroseblog.typepad.com/buzz_balls_hype PUBLICIZING YOUR PUBLISHED WORK

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

Evil Editor Maybe even better for laughs than query tips www.evileditor.blogspot.com

The Intern Publishing insights from (now unveiled) Hilary Smith; retired but has valuable archives www.internspills.blogspot.com

Nathan Bransford, Author And former agent www.blog.nathanbransford.com

Pub Rants Tips from Nelson Literary agent Kristin Nelson www.nelsonagency.com/pub-rants/

Query Shark Agent Janet Reid gets tough on queries www.queryshark.blogspot.com And check out her archives as Miss Snark: www.misssnark.blogspot.com

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 Who is my audience? publishers, book trailers can be an expensive and complicated endeavor. If you are writing middle grade or picture books, much of the This publishing guide will help you decide if you need a trailer for your audience for your book trailer will be parents, teachers, and librarians. book and, if so, how to go about creating one. Consider what these people look for when they are picking out books for children. Author interviews can be a good choice for these genres. Do I need one? If you are writing young adult fiction, then your target audience is This is the first and most important question you must ask yourself your readers. Think about how to captivate teens and get them excited when considering a book trailer. Trailers must be thought about as one about your story. Book bloggers, librarians, and parents might also watch piece of a larger promotional picture. Authors and publishers have a your book trailer, but they are not your target audience. finite amount of resources when it comes to marketing, and there can be a lot to do: website design, printing bookmarks, swag, funding a book What are my resources? tour, etc. A book trailer might be a wonderful use of marketing resources, If you need to fund your own book promotion, think about what your creating buzz about your book. Or you might find another way to create resources are and build your marketing plan around them, rather than this buzz and a different use for your time and money. the other way around. In terms of a trailer, make a list of your resources The goal of a book trailer is the same as putting a best-selling author’s in each area. blurb on your front cover or a gripping synopsis on the jacket flap: to get people to pick up and read your book. Therefore, just like your » Money: A book trailer can cost anywhere from $50 to over $10,000. book, your trailer must have a hook. Something that will set it apart Think about what you want to spend for your total book promotion. from other trailers. Something that will get it shared and reshared with What portion of that can you spend on making a trailer? potential readers across the Internet. If you don’t have the resources » Skills: Do you write music? Know how to shoot or edit movies? Are or interest in creating a trailer that will captivate potential readers and you an artist who can animate? Be honest with yourself when thinking buyers, consider skipping it. There are many other compelling ways to about your abilities. Can you do these things in a way that will feel spend marketing money. professional? After all, having no book trailer is better than having a bad book trailer. » Friends, family, and community: What skills do your friends have? Do these skills lend themselves to book trailers? Are there film schools Who pays for a book trailer? nearby where students might be able to help with your endeavor? That depends. Most book trailers are paid for by the author, out of » Locations: Do you have any locations for filming at your disposal that their own pocket. Occasionally, publishing houses will both pay for and would fit your book? create trailers for their books. Make sure to have a conversation with your editor about this so that you are on the same page when it comes Once you’ve taken a look at your resources, think about how you to trailers. might be able to build a trailer around your strengths.

» Have a friend who composes music? Make the sound track do the work, letting the music carry the tension, drama, or romance of your story. 294 | ALL ABOUT BOOK TRAILERS

» Have a stunning location that works for your book? Spend your range from thirty seconds to two minutes. Think of communicating money getting great footage of the setting and let it tell your story. the idea of your book, not the story itself. It’s important not to get » If you’ve discovered resources that would fit a different promotion caught up in the details. better, consider taking that path. » Create a Shotlist/List of Scenes: A shotlist is an ordered list of shots to be filmed, including camera angles. While you probably don’t So! You want to make a book trailer? Then let’s get started! need to get this detailed, creating a list of scenes/images/visuals to 1. Dreaming Up a Concept accompany the script is helpful. Planning is free! Since creating trailers can be time- and money- » Watch Out! Don’t get obsessed with getting the story details exact. intensive, it’s important to maximize the planning stage. There are an The trailer is not your book, it’s merely a taste of it. Allow yourself to endless variety of book trailers you can create (live-action, animated, combine scenes and change times of day or what someone is wearing text and pictures, author interview etc.), and these planning techniques if it means creating a better trailer. can be helpful for all of them. Ask yourself these questions to get started. Also, some things can make creating a trailer exponentially more complicated: multiple locations/scenes/montages, using kids, and using » What is the tone of your trailer? animals. You don’t have to avoid these completely, just be aware of » What scenes/moments from your book do you want to convey? Think what you are getting into when planning your trailer. visually. Think about critical moments of your plot. Think about moments that tell a lot about your characters. 3. Approaching Other People » What is it about your book that you want to get across to your Now that you have a concept you can share, it’s time to get other readers? That it’s a thriller or a romance or funny? Introduce your people involved and excited! Remember, if you ask people to volunteer main character? Introduce the setting? their time and talents, then your trailer becomes a collaboration. Be » What is your book’s hook? Can it be the hook for your trailer, too? flexible, open, and attentive to other people’s ideas. There is a reason » How much time do you have to create the trailer? Keep in mind that you are coming to them for help! most trailers come out at least a month before their books. Also, talk to your editor: If you want your publisher to help your trailer get » Friends: Approach friends with your lookbook and see if they would exposure or put it up on Amazon, they may want it two months in be interested in helping. They might surprise you with ideas and advance of your release date. resources of their own! » What is the scope and ambition of your trailer? Create A, B, and C » Film and Theater Schools: Know a film student or actor? Students scenarios for your trailer: A—if you had all the time and money you can be a source of innovative ideas and talent. Remember to be open needed; B—if you had a more modest budget and time frame; and to collaboration. C—the bare minimum of what you want to create. This way you can » Production Companies: Using a production company will dream big, but still be flexible based on your resources. significantly increase the cost of a book trailer, but can also get professional results. If you go this route, be careful that the trailer 2. Making a Plan You Can Share doesn’t look too much like a commercial. Most people don’t have the skills to create a great trailer on their » Online: Happily, you can find people online todo voiceovers and own, and that’s okay! This second planning stage can give you a clear create visual effects and music. You can listen to and look at work idea of what you want to create and give you a way to get other people samples in order to choose someone who fits your vision. There interested in your project. It will also allow you to be sure that you and also are many online resources for pictures. With all of these, be anyone you’re working with are on the same page. very careful to get permission to use anything in your trailer. If you purchase pictures, be aware that prices can vary based on size and » Create a Lookbook: Collect images from movies, magazines, online, terms of use. (See Online Resources sidebar.) and real life that communicate the feel of your book. Think about www.scbwi.org specific moments, what your characters wear, what they look like, 4. Getting Your Trailer Out in the World | what their world looks like. These images can bring your concept to Now that you’ve made a book trailer, what do you do with it? life. These pictures are only for inspiration, not to be used in the actual trailer, so you don’t need to worry about copyrights at this » Releasing Your Trailer: First, talk to your editor. Book trailers can point. debut in many places, from traditional media sites like Entertainment » Music: Music is vital to your trailer, but is easy to overlook. Who Weekly or Seventeen to book websites and blogs. In rare cases, would Darth Vader be without “The Imperial March”? What would they can even be shown in movie theaters. Even if you paid for and Jaws be without that insistent, menacing sound track? Listen for created the book trailer yourself, your publisher might have good music that communicates the feel and tone of your story and start ideas and contacts to get your trailer shown in interesting places. On there. the other hand, you as the author can always approach book bloggers » Write a Rough Draft of Your Trailer: Remember, a trailer is a bit like or other websites and ask them to debut your trailer. Keep in mind a picture book. Let the visuals do at least half of the work. Don’t let that some websites will want exclusivity for the first few days the the script repeat information you will be seeing on the screen. Use trailer is released. short, direct phrases; type up scripts from movie trailers you like to » Where Else? YouTube and Vimeo are easy and expected places for PUBLICATIONS GUIDE: THE BOOK get a feel for the style. Read your scripts out loud to check for pacing people to find your book trailer. Once you’ve uploaded your trailer to and tone. Keep the whole trailer short: Ideally, your trailer should YouTube or Vimeo, you can add that link on your own website, your 2021 ALL ABOUT BOOK TRAILERS | 295

Goodreads page, and your email signature, share it on Facebook and Twitter, and give it to any bloggers who interview or feature you. You can also add the video to your own author page on Amazon, ONLINE RESOURCES 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/) » 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 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)

BOOK TRAILER EXAMPLES Book trailers are evolving quickly, so if you’re looking

for examples, make sure you look at recent ones. PUBLICIZING YOUR PUBLISHED WORK Watch. Connect. Read. (www.mrschureads.blogspot. com) A great blog about children’s literature and book trailers. Entertainment Weekly’s Shelf Life (www.ew.com/tag/ shelf-life-book-club/) A good source for catching new book trailers.

CINEMATIC BOOK TRAILERS Harbinger by Sara Wilson Etienne (https://youtu.be/ EPLHl1Urjnk) Struck by Jennifer Bosworth (https://youtu.be/ hkce1uCzlk8)

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

AUTHOR INTERVIEW BOOK TRAILERS Warp Speed by Lisa Yee (https://youtu.be/ qCgg3Zwdtxw) 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 end The first step is to consider the industry as it pertains to you and consumer—readers? your work. Ask yourself why you’ve chosen to come into the market now. Identify your opportunities. Now you’re ready to look at what can Are you pursuing a passion to publish a particular kind of work, or for a be done to move forward with your goals. Start by looking at the tools particular kind of reader? Did you recognize a need in the marketplace you have and the processes you can easily put in place. Do you have that you’re particularly qualified to fill? Are you entering an underserved a good contact database, media list, and email system (e.g. Constant or overcrowded part of the market in terms of type of consumer, genre, Contact, Mail Chimp) that you can use for regular outreach? Are you set or format? How are you entering the market—will you self-publish, start up with Facebook, Twitter, and LinkedIn accounts? What about Pinterest, your own publishing entity, or publish with a small or large publisher, Instagram, and Google+? Look at what others in your space have done and will you publish a print book or go directly to digital? Once you have to generate interest and excitement. Do they do giveaways and contests? the answers to those questions, it’s time to consider how that will affect Are they positioning themselves as experts or newsmakers, or trying to your timing, presentation, and strategy. become popular with their fan base (which is often the case with the Define your platform. This is a core issue and incorporates both why teen market)? Can you speak at conferences, do public events, or be you’ve chosen to publish now and what need you intend to fulfill. Start brought 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 298 | CRAFTING YOUR BOOK MARKETING PLAN

and quicker. This can include buying advertising or paid placement on newswires (PRWeb, PRNewswire, Marketwire), using social media aggregators (HootSuite, TweetDeck), and contracting with agencies for FOR YA AUTHORS publicity services, blog tours, or to generate content (to blog, tweet, or post) for you. Craft your message. You need an overarching idea and consistent As a YA writer, you have special marketing messaging to help the gatekeepers and consumers understand your considerations. Your readership is somewhere between brand. The more you can identify and convey what you represent in the ages nine and eighteen. You must be careful in how you marketplace, the better chance you’ll have of evolving a following for interact with them; you’re a grown-up, and your access to your work. This should carry over from one platform to the next—in unknown kids has limits. You certainly can’t be collecting your promotional copy, your publicity, your social media outreach, their email addresses or chatting with them on social and the speaking you do. It’s also important to have your publisher and anyone else who is involved with your marketing have a clear networking sites. Both the Federal Communications understanding of the larger concept you want to convey. Commission (FCC) and the Federal Trade Commission Define and execute your plan. Now that you’ve identified your (FTC) enforce laws protecting kids from adults who use objectives, know the kind of outreach you want to do, and have your the Internet for inappropriate or downright nefarious messaging in place, it’s time to prioritize and execute your campaign. purposes. The Children’s Online Privacy Protection For the best results, consider testing some of your ideas on a small Act (COPPA), for example, requires websites to obtain sampling of contacts. You may find that while the idea is good, the parental permission before collecting the personal timing isn’t advantageous; or that there’s less response to a given information of children under age thirteen. Instead of mechanism than you thought there might be. You can always start small and then expand marketing in a given area once you get a read targeting young readers as direct customers, you market on what’s most effective. Timing is important, so you should know primarily to parents, teachers, librarians, reviewers, and when early and finished copies of your book will be available—this booksellers—collectively referred to as gatekeepers. is true with both print and digital—and when it should be sampled Every YA book must pass through at least one of these to different segments of the market. In pitching for events, you want folks before landing in a kid’s hands. In a nod to your to give potential hosts as much lead time as possible to fit you into teen audience, though, you can present your website and their schedules. With publicity outreach, your timing will vary by the the materials on it in a teen-friendly manner so that after type of outlet (long lead for print and broadcast, short for online and young readers get your books, they can go to your site, social). Know that follow-up will be a big part of the equation and that you should be prepared to do strategic advance outreach to contacts feel at home, and become fans. to ensure good results. Make sure that you’ve established a presence with a website and with social media and are prepared to update and engage on a regular schedule. This doesn’t mean that you have to do each one-by-one or with a calendar in hand. You can certainly set up to post simultaneously to multiple platforms and can preschedule your posts to be written at your convenience. Think in terms of multimedia, with book trailers, YouTube, podcasting, Pinterest, Instagram, and even games. People like when material is presented in visual and audio media and love interactivity. Evaluate your results. Each situation is different. What works for one book at a particular stage of your career will not be the same as www.scbwi.org what may work for another. Certainly conditions in the market will | change as well. What’s the economy like? Which parts of the market have a budget to spend? Is there competition that can help or hurt you? What genre or age bracket is trending? With the lead time required to write and produce a book, you can’t know these things in advance. So you need to be prepared to recognize these realities when the time comes and adjust your plans accordingly. Be confident that your efforts will make a difference. Marketing is a long-term process that needs to evolve. It takes dedication and persistence to succeed. There is no crystal ball to tell you exactly what will happen, but you can succeed if you’re prepared to work strategically and creatively. PUBLICATIONS GUIDE: THE BOOK 2021 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 lo- cal teachers, librarians, and reviewers. They can also introduce you to readers in different parts of the country. You might even want to schedule your next vaca- tion around attending one. Keep in mind, though, that they often have their au- thors 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 winners Sniffer Dogs: How Dogs (and Their Noses) Save the World and Beastly Brains: Exploring How Animasl Think, Talk, and Feel.

SCBWI SCHOOL VISITS

2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org in middle schools orhigh schools. Becauseof scheduling challenges, presentations. system withother authors toexchange observations and ideas related to and whatyouwoulddo with anaudience. Consider setting upabuddy involve audiences in meaningful 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, creates buzzthatmotivates others tohire youtodo school visits. and promote the ideas thatyourbookrepresents. Aquality presentation reading astoryaloud toagroup of children. audience members?” Inother words, school visitsare not justabout will Ido when Iget there thatwillmake adifference inthe livesof do Iget aschool tohire me?” Butthe most important question is“What concerns, and reinforce the value of school visits. promote youravailability, follow upwithclients, deal withcommon obtaining school visits, setfees, prepare contracts and agreements, and shapeyourpresentation, explore venues thatare gatewaysto Understanding How SchoolAssemblies Work Observe OtherPresenters PLANNING ANDSHAPINGYOUR PRESENTATION 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 In-person school visitsare more common inelementary schools than The firststepinplanning any presentation isobserving other Your bookispublished. The next stepistoplanyourpresentation The most common question authors askaboutschool visitsis“How As youprepare todo school visits, you’llneed toknow how toplan UNITED STATES 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 enormously. Projecting PowerPoint slides of smaller items youbring along helps and make sure that they canbeseenclearly atthe backof the room. photographs, your book,drafts and revisions, props, artifacts, costumes) you cancloseonaunifying high note withthe whole group. segment, consider placing itatthe end of yourmiddle segment sothat the audiences. Ifyouchoose toincorporate aformal question-and-answer The middle, then, canbeadjustedtosuittime limits, venues, orthe age of It helps ifyoumap outanattention-getting opening and a solid closing. apply totheir owncreative endeavors? a specificaspect of yourown writer’s journey and process thatthey can Write lettersrelated toacause? Draw aspecial itemorcharacter? Identify you want them tobeableapplyaspecificwriting skillinthe classroom? audience tobeabledo asaresult of having heard you?Forexample, do Content minutes for grades K–3and forty-five to sixtyminutes for grades 4–6. for the intermediate grade students. Typical assemblies are thirtytoforty kind of presentation for the primary grade students and adifferent one 3) and intermediate (grade 4through grade 6).Most authors create one are usually divided bygrade levels:primary (kindergarten through grade your visit,solarge assemblies are common. Elementary school assemblies smaller groups (content area classes),orasingle class. middle school and high school visitscanbevirtual (Skype),targeted to Choose visuals thatcomplement yourassemblystory (e.g., family Divide yourpresentation into three parts:Beginning, middle, and end. Decide whatyourbig-picture presentation goal is. Whatdo youwant the Most schools expect the greatest number of students tobenefit from

SCHOOL VISITS 304 | DOING SCHOOL VISITS IN THE UNITED STATES

Interaction » Service clubs (Rotary, Lions, Kiwanis, Zonta, Assistance League) Include ways to involve the audience in your presentation (e.g., calling on students to assist with equipment, props, acting out parts SETTING FEES of your book, being a model for a drawing). Interactions that involve You are a professional, not a professional volunteer. Professionals student volunteers are not only ego-boosting to the volunteers, but a charge a fee for their services. But how much should you charge for source of pride for the students in the volunteers’ classes. your school visits and other presentations? Here are some guidelines. Elementary schools with high populations of students who are » Research local markets: What are others in your region with similar second-language learners especially appreciate whole-group interaction experience (number of books, background) charging for in-person (e.g., employing rhythmic activities such as clapping, finger-snapping, school visits? Honoraria often fall within these three categories: arm motions, or reciting poems and singing songs). » $500–$1,000 » $1,000–$2,000 Presentation Tools » $2,000 and up Decide what kinds of equipment or props you will need for your » Most authors charge for expenses (travel, lodging, food) on top of presentation (e.g., PowerPoint slide sequence, LCD projector, flash drive, the fee; others charge a flat, inclusive fee. newsprint pad, microphone, audio speakers). Determine what you will » Research national markets: Your publisher is likely to have an author bring with you and what you need your host to provide. visit section on its website or employ an author visit coordinator. See what others with similar experience charge and position yourself Workshops accordingly. You may decide to offer workshops on an aspect of writing, » Bookstore visits are generally free as a courtesy to the booksellers. researching, or illustrating. Usually these run between forty-five » Author festivals and book festivals range from free to low fee, unless and sixty minutes. Some authors limit workshops to older students; you are a main-stage attraction. some offer different ones according to grade levels. Because a school » Professional conferences range from free to low fee or in-kind representative has to accompany you when you work with students, payment (i.e., admission to the conference), unless you deliver a you can use them to assist you with handing out materials and crowd keynote address. control. » Virtual school visits (by Skype, etc.) generally range from free to $500, depending on the length of the visit. Practice Some authors offer a menu of options with fees for: Don’t expect to be fabulous (or to charge a fee) right out of the » full-day bookings gate. Enlist the assistance of a local teacher or librarian and practice » half-day bookings your presentation with small groups in classrooms and libraries, working » each separate assembly or presentation your way up to larger ones. During these “rehearsals,” ask a teacher, » keynote addresses librarian, or SCBWI colleague to give you feedback on your program. » virtual school visits Based on feedback from others and from your own take on your Many offer discounts for: experience, modify your presentation until you come up with programs » multiple-day bookings in the same region that work best. » visits to two separate schools within close proximity in the same day

TYPES OF VENUES CONTRACTS & AGREEMENTS Here are some common venues for author and illustrator It is to everyone’s benefit to spell out in writing the terms and presentations, including venues that offer gateways to school visit conditions of your appearance (i.e., schedule, setup, compensation, hosts: book sales, cancellation policy). This can be done via email, through a letter of agreement, or as a formal contract. (SCBWI’s The Book includes Students (the primary audience for author and illustrator visits) a sample lecture contract that you can adopt or adapt.) The more you www.scbwi.org iron out in advance, the fewer surprises will greet you. | » Schools (public and private for assemblies, workshops, residencies) » Libraries (public and school for large group programs, workshops) PROMOTING YOUR AVAILABILITY Adults and children together (usually all ages) Most people who request an author visit are doing so based on » Libraries (public story times, summer reading programs, family the author’s or illustrator’s body of work, locality (travel fees are a events) consideration), and presentation fee. But in the end, word-of-mouth » Schools (family nights, young author fairs) recommendations from trusted sources trump everything. So how do » Bookstores (independent and chain for author programs, educator you let teachers, librarians, parents, and booksellers know that you are nights, and book signings) available to do school visits and other appearances? » Book festivals or literacy festivals (school, city, or regional) Create an author or illustrator website. Be visible on social media sites where your work can be seen by potential hosts. Adults (where contacts for school and library visits are often Be active in your own community and become known locally as made) a published author or illustrator. Introduce yourself to your SCBWI » Professional conferences (local, state, and national associations for regional advisor, booksellers, librarians, and community news reporters. PUBLICATIONS GUIDE: THE BOOK reading, library, and specific school subject areas; organizations for Participate in local literacy organizations. Distribute brochures, postcards, bookmarks, or business cards at

2021 writers and illustrators) DOING SCHOOL VISITS IN THE UNITED STATES | 305 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 microphone—or one with a long cord—so that you can move closer to which you belong, such as the SCBWI, the Authors Guild, the Children’s form a bond with the audience and address issues quickly. Book Council, and local literacy groups. Make sure that you are included Say hello to students at the door as they walk into the room. on your publisher’s author visit list as well. Demonstrate what your silent “quiet down” signal is. (e.g., two Offer to be a luncheon speaker for local service clubs (Rotary, hands in the air, a peace sign) as it becomes necessary. 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 kids. For example, “I’ll be calling on kids who are crisscross applesauce, educator nights, and library summer reading programs. Contact the hands raised, who show me with their face, and not with their words, event 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 kids on the left side of the room, then kids on the right side.” Clarity your state’s regional or state conferences for reading teachers, school helps. library/media specialists, or subject matter specialists. Professional If students (or teachers) are chatting, move closer and look at them. conferences provide excellent gateways to meeting potential hosts. If they don’t stop, you might cover your microphone and with great Send an email to local booksellers—including contact information, concern ask, “Is everything okay?” This usually ends their conversation. basic information about your book(s), ideas for a bookstore event, If the audience becomes excited during a lively part of your and availability—about three to six months in advance of a proposed presentation, wait for them to settle before you continue. program. The best way to head off crowd control issues in the first place is to Before the close of the school year, send a brochure to local PTA/ have a riveting presentation! PTO program chairpersons telling of your availability to do assemblies during the following school year. Selling Books Not all schools will want to sell your book. Often this is because FOLLOW UP the host doesn’t have experience or volunteer-power to do so. If you want to gather testimonials about your school visits, While schools can order books directly from publishers, independent provide your hosts with a simple evaluation form or link to an online booksellers will offer the best support, especially if you have books questionnaire to distribute to teachers after your visit. And if you published at more than one house. Pass the bookseller’s contact want to cement your reputation as a thoughtful presenter, follow up information to your host and have them work together. Alert the your visit with a handwritten thank-you note to the host. Building bookseller to the date of your visit. Create a book order form and send relationships is important! it to your host to use or adapt. Send along summaries of your books. If the host still doesn’t want to do a sale, bring order forms with you so COMMON CONCERNS AND SOLUTIONS that teachers can place orders after your event. Negotiating a Fee You may be asked in person or by email, “What do you charge?” THE VALUE OF SCHOOL VISITS Follow up by sending your price list via email. Another tactic is to ask Staying in front of audiences keeps your books alive and your the potential client, “What’s your budget?” and then be prepared to publishers happy. But becoming skillful at the craft and business of say “I can work with that,” negotiate a fee, or turn the offer down. doing school visits doesn’t happen overnight, so take the advice in this If you do have to turn down an event, refer the client to a colleague article in small doses. who might be within their range. When you show concern for a client’s It’s difficult to quantify the exact effect and reach resulting from needs, they are more likely to keep you in mind for a future event. authors and illustrators interacting with students in schools. Yet you will receive fan letters throughout your career testifying to the Equipment Failure life-changing impact you have had on young audiences. An author’s in- Expect the unexpected and be prepared! Can you do your presentation person meeting with students percolates for years—in a dawning of the without images? With props only? If not, consider carrying along backup type of books children choose, in the volume of books children read, equipment, including your own computer, a flash drive containing in the validation of children’s own creativity as writers and artists, your PowerPoint presentation, an extension cord, and, if possible, in the choosing of future careers. And this is why children’s authors your own LCD projector. If this is difficult to do, print your PowerPoint and illustrators are dedicated to meeting young readers face-to-face, show images on paper and display them on a document camera that sharing a love of books. projects images, commonly called an Elmo, which most schools have in classrooms today. (FYI: Matte paper projects better than glossy.) For more information on school visits and other presentations, go to the column The Truth About School Visits in issues of the SCBWI Controlling the Crowd Bulletin from 2006 to the present, as well as to the website Schools love it when you can handle a group on your own and www.SchoolVisitExperts.com. teachers don’t have to intervene. Here are some ways to keep the audience focused on your presentation. Set up the room so that everyone can see and hear you. If the group 306 | DOING SCHOOL VISITS IN THE UNITED STATES

HELPFUL LINKS

Advice on the Craft and Business of Doing School Visits www.SchoolVisitExperts.com

Book Fairs and Festivals in the United States www.read.gov/resources/statefairs.php

Common Core State Standards Initiative (Educational Curriculum) www.corestandards.org

ILA: International Literacy Association www.literacyworldwide.org/

ALA: American Library Association www.ala.org

NCTE: National Council of Teachers of English www2.ncte.org/

NCSS: National Council for the Social Studies www.socialstudies.org/

NCSTE: National Science Teachers Association www.nsta.org

NCTM: National Council of Teachers of Mathematics www.nctm.org

Example of a Publisher’s Author Visit Page http://teacher.scholastic.com/products/tradebooks/ inviteanauthor.htm www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 GUIDE TO INTERNATIONAL SCHOOL VISITS librarians. but other schools haveseparate elementary, middle, and high school 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 a storytelling performance? Doyourpresentations tie intoparticular or making illustrations? Is the presentation interactive? Willyouinclude presentations focus onthe process of writing astory, orcreating poems, be sure tospecifywhatyourvisitwillbring tothe students. Willyour to yourwebsiteand details aboutthe contents of yourschool programs, addition tosending the librarian orcontact personanemail withalink and fall. Most schools wishtobecontacted 3–9months inadvance. In regard totiming, but many schools schedule author visitsduring spring the schools inthe area youplantovisit.Some schools are flexible with other listings and viewing the schools’ websitesand calendars, contact 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 toinvitelesser-known authors. To determine authors. However, schools inmore remote areas and those withsmaller populated cities around the worldmay invitebig-name, award-winning international school visits. visits and time ofyear preferred. The following tips willhelp you plan successful and illustrator visits, as well as contact information and details ofthe number of tional Schools provides alist ofschools around the world that schedule author I Let the librarian orcontact person know wellinadvance ifyou After consulting the SCBWIDirectory of International Schools and 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 only localtransportation. Average daily feesfor four sessions perday for some cases, however, airfare isnot included atall.Some schools provide is sometimes paid for orshared byseveral schools inthe same region. In teachers may becovered bythe school. Economy class, roundtrip airfare usually provided bythe school, and dinner withthe librarian and some offer hotel accommodations, oraportion of these costs. Lunch is or workshops. Inaddition tothe daily fee, many, butnot all,schools award-winning authors who are known togiveoutstanding presentations your experience and yournotoriety. Schools paymore for well-published, vary from author toauthor, and whatyoucharge should beinline with schools canoffer for fees. Minimum daily feesfor four sessions perday from Parent Teacher Associations. There are huge differences inwhat 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, organizing librarian wellinadvance of yourvisit. the arrangement, itisextremely important todiscussclearlywiththe and purchase the pre-ordered booksprior tothe author visit.Whatever shipping bythe publisher. Many schools offer students abookorder form 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 inaroom orspecial Many international schools receive funding for author/illustrator visits GUIDELINES FORFEES If youwillvisitseveral schools inaregion, askif one librarian can If youhope tosellbooksorhavestudents read yourbooksbefore

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a well-published author seem to be about $500–$700 USD ($125–$175 USD per session). An award-winning Caldecott or Newbery author might charge $2,000 USD per day, but very few international schools can afford this. Note that payment is generally made in the local currency on the day of the visit.

CONTRACT Although it may be common in some cultures to prepare a formal contract for a school visit, not all cultures or schools follow this practice. However, after negotiations, an email letter of agreement that includes the overall content of the program, date of visit, schedule, book sale arrangements, your fee and any expenses to be covered such as transportation, food, and accommodation, as well as contact phone numbers, should certainly be exchanged to confirm arrangements.

GUIDELINES FOR YOUR SCHOOL PRESENTATION Most international schools are composed of teachers and children from many different countries, cultures and belief systems. Be prepared to speak to an international audience of children whose collective experiences and roots may span many cultures. Closely review your books and determine whether there are topics, words, or concepts with which the children might not be familiar. Be prepared to explain whatever content may be unique to your culture. Determine in advance if there might be any culturally sensitive material in your books. Be considerate and respectful of the various cultures represented in the school. Do not assume that all children will be familiar with North American culture. Ask in advance about the English abilities of the children you will address. If you will have many non-native speakers of English in the audience, plan to use clear, simple English.

EXTRAS If you are willing to critique sample writings or illustrations by students, let the librarians and teachers know this. Be sure to communicate how many stories or illustrations you are willing to read and comment on (perhaps a select number of pieces by older students who are interested in writing or a select number of illustrations by serious art students). This may be appreciated by teachers and librarians and a thrill for students. If there is an SCBWI chapter in the country you will visit, contact the Regional Advisor well in advance (3–9 months). SCBWI regional chapters may wish to invite you to give a presentation or conduct a workshop for www.scbwi.org local authors and illustrators. |

DOS AND DON’TS Don’t expect a librarian or the school to act as a personal guide to the country. A local tour is sometimes included as an extra, but should not be expected. Don’t expect the SCBWI Regional Advisor of the country you will visit to act as your personal travel agent. Do your own homework on the area you will visit.

Do familiarize yourself with the school via its website before your first contact and again before your visit. Do try to be flexible as you communicate your expectations with the school librarians. PUBLICATIONS GUIDE: THE BOOK Do be professional from initial contact to your final thank you note. Do have a positive and adventurous spirit! 2021 “Author” rather than “Author orIllustrator.” sponsoring institution. PLEASE NOTE: For clarity, insome cases we have used the word 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______, AND______whose address is______AGREEMENT, dated this______day of ______,20______, BETWEEN ______(Author/Illustrator), the sumof $______perday of speaking. Thissumshallbepayable tothe Author immediately uponcompletion of services. 3. PAYMENT. The Sponsor agrees topayasfullcompensation, inaddition toexpenses, for the Author’s services rendered under Paragraph One 2. WORK OFAUTHOR. The Sponsor agrees tofamiliarize the students withthe published workof the Author prior tothe Author’s appearance. ______(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.The Author hereby agrees totravel tothe Sponsor’s location onthe following date, ______and speakon NOW, THEREFORE,inconsideration of the foregoing and the mutual covenants setforth herein, the parties hereto agree asfollows: WHEREAS, the Author wishes tolecture withrespect to(her) workand perform other such services asthiscontract may callfor; opportunities for itsstudents tohavecontact withworking professional authors; and WHEREAS, the Sponsor isfamiliar withthe workof the Author and requests thatthe Author personally visitthe Sponsor toenhance the 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 CONTRACT contract by Sheri Cooper Sinykin

SCHOOL VISITS 310 | SAMPLE LECTURE CONTRACT

4. EXPENSES. In addition, the Sponsor agrees to be responsible for the following expenses:

» Roundtrip travel. (If by the Author’s own car, reimbursement in the amount of 29 cents per mile; if by air or train, the Sponsor shall provide the tickets; if by rental car or other modes of transportation, the Sponsor shall make arrangements with the Author for payment of these expenses). » Food and lodging. (Sponsor will provide the following meals: If meals are on a per diem basis, the Sponsor shall inform the Author in advance; otherwise the Sponsor agrees to accept and reimburse the Author for food and lodging receipts presented). » Other specifics. The reimbursement for food, lodging, and other expenses shall be made no later than one week following Author’s visit, unless otherwise agreed to in writing in advance.

5. INABILITY TO PERFORM. If the Author is unable to appear on the dates scheduled in Paragraph One due to illness the Sponsor shall have no obligation to make any payments under Paragraphs Three and Four, but shall attempt to reschedule the Author’s appearance at a mutually acceptable future date. If the Sponsor is prevented from having the Author appear by Acts of God, governmental order, or other cause beyond its control, the Sponsor shall be responsible only for the payment of such expenses under Paragraph Four as the Author shall actually have incurred. The Sponsor agrees in such cases to attempt to reschedule the Author’s appearance at a mutually acceptable future date.

6. CANCELLATION FEE. If Sponsor cancels appearance by Author for any other reason than an act of God, Sponsor agrees to pay Author the full fee agreed upon in Paragraph Three above, in addition to such expenses under Paragraph Four as the Author shall actually have incurred.

7. LATE PAYMENT. The Sponsor agrees that, in the event that it is late in making payments due the Author under Paragraphs Three and Four, it will pay as additional damages 15% in interest on the amounts owing to the Author, said interest to run from the dates stipulated in Paragraphs Three or Four, until such time as payment is made.

8. RECORDINGS. No recording shall be made by the Sponsor without written consent of the Author. In the event Author grants permission to record, Sponsor agrees that the Author shall retain all rights; including copyrights, in “relation to recordings of any kind made of the appearance or any works shown in the course thereof. The term “recording” as used herein shall include any recording made by electrical transcription, wire recording, film, videotape, or other similar or dissimilar method of recording, whether now known or here after developed. No use of any such recording shall be made by the sponsor without the written consent of the Author and, if stipulated therein, additional compensation for such use.

9. BOOK SALE AND AUTOGRAPHING. If Sponsor desires the availability of Author’s books for sale and autographing on the date outlined in Paragraph 1, Sponsor shall be responsible for ordering, collecting money for, distributing and returning unsold books. Author agrees to be available for autographing at the time and place specified above after ______(time of day). If Sponsor wishes to order books directly from the publisher, it must do so approximately eight weeks prior to the Author’s appearance to ensure their arrival in time for the appearance. Book ordering information for the following books is included (below/on separate page).

10. AUDIO-VISUAL AND PHYSICAL ARRANGEMENTS. (Specify everything that you will need, i.e. slide projector and screen, table and chair, etc.) Sponsor will check to make sure that all required equipment is in place and working property.

11. MODIFICATION. This contract contains the full understanding between the parties hereto and may only be modified in a written instrument signed by both parties. www.scbwi.org | 12. GOVERNING LAW. This contract shall be governed by the laws of the State of ______.

IN WITNESS WHEREOF, the parties hereto have signed this Agreement as of the date first set forth above.

AUTHOR/ILLUSTRATOR SIGNATURE______

SCHOOL REPRESENTATIVE SIGNATURE______PUBLICATIONS GUIDE: THE BOOK 2021 variety of visuals and stylesof delivery. Avoid common pitfalls, like “I stories. simplicity, unexpectedness, concreteness, credibility, emotions, and in Chipand DanHeath’s book MadetoStickashaving sixkey attributes: 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 email 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 (bit.ly/NHRhL1), author and consultant Stefania Lucchetti points out audience. good preparation and presentation skills, and alsounderstanding your will bereceived and isafraid of being embarrassed. Doing well requires or near the top.Why? Becausethe speaker isnot sure how hismessage In fact, according tosurveysof topfears, public speaking isranked at adults atconferences and public programs is another matter. Y 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 peersisdaunting. 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 PRIMER 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). Focusonmaking the experience memorable, repeat key points, outlined byOlivia Mitchell in“Speaking aboutPresenting” (bit.ly/ want totellyoueverything,” “grab bag,”“shopping list,”and others Preparation includes not justrehearsal, butmaterials toencourage

SCHOOL VISITS

SCBWI LEGAL QUESTIONS

2021 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

PLAGIARISM

by Sara E. Sargent | Senior Executive Editor, Random House Children’s Books

ith current high-profile articles about plagiarism, some members have expressed concern about submitting their work. We will be adding a Wcomprehensive feature article in THE BOOK later this year written by an attorney.

TIP ONE: ALEX SLATER, AGENT, TRIDENT MEDIA GROUP TIP TWO: SARA SARGENT, SENIOR EXECUTIVE EDITOR, RANDOM “Doing your research” is indeed the best advice for any new writer HOUSE BOOKS FOR YOUNG READERS embarking upon publication. Ask around and, if you can, join critique “Research, research, research. You can find a lot of information online groups with people you trust. If you’re starting your agent search, about experiences that other writers have had with a particular agent or research who’s on the agent’s client list; are they writers you’ve heard editor. Although you will never be able to get an agent or editor to sign of, or do they have published work? What deals have the agents done paperwork or an NDA before reading your work, you CAN protect yourself recently, and with what publishers? If they’re new agents, what firm are by finding out as much as you can about the reputation of agents editors they attached to, and what kind of support do they have? Trust your and making sure you only submit to those who have positive reviews instinct – look for names you recognize. If you want to be published, you from the writing community at large.” should be familiar with publishers and agents. Find the agent who sits in the space you see yourself in. In regards to the fear of plagiarism, it is extremely rare that someone you work and have a relationship with wants to openly plagiarize you. However, keep in mind however that you cannot copyright ideas or titles, and that while it’s unusual, sometimes you do run into people mining in the same part of the collective unconscious as you! If you think someone has objectively stolen from you, contact the appropriate party. But remember, sharing your art is the most thrilling, and terrifying, first step in your publication journey; it’s okay to be nervous! It’s an enviable anxiety that doesn’t go away.” COPYRIGHT FOR WRITERS AND ILLUSTRATORS

by Mark J. Davis, Esq. COPYRIGHT FOR WRITERS AND ILLUSTRATORS

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? Musical works, including any accompanying words; Copyright is a set of exclusive rights granted to authors, illustrators Dramatic works, including any accompanying music; and copyright owners for limited times. Under Section 106 of the Pantomimes and choreographic works; Copyright Act, copyright owners have these exclusive rights and the Pictorial, graphic and sculptural works; exclusive monopoly to authorize others to: Motion pictures and other audiovisual works; §106(1) Reproduce the work; Sound recordings; §106(2) Make derivatives based upon the work; Architectural works. §106(3) Distribute copies of the work to the public by sale; §106(4) Perform the work publicly; When does a copyright start? §106(5) Display the work publicly; For works created after 1/1/1978, copyright protection begins the §106(6) To publicly perform sound recordings by digital audio moment the original expression of an author or illustrator’s idea is transmission. created and fixed in a tangible form that it is perceptible either directly Copyright is just that: the right to make copies. This exclusive right is or with the aid of a machine or device. In other words, copyright starts given in §106(1). But what good is the exclusive right to make a copy if when the ink is dry on the paper, the artist has put down the brush or the author or owner can’t distribute and sell those copies? Those rights the computer file is saved. are granted in §106(3). Section 106(2) is the exclusive right to make There’s no need to file a registration or publish the work to have a derivatives based on the original work. For authors, this covers the right copyright, as long as it is in a form that is perceptible either directly or to translation of their works into foreign languages, audiobooks and with the aid of a device like a computer or CD player. The general rule adaptations for the stage and screen. For illustrators, derivative works is that the person who creates the work owns its copyright from the include posters, graphics, videos and even t-shirts using their original moment of creation. art. Public performance §106(4) and public display rights §106(5), should What doesn’t copyright protect? be considered as twins. You can perform a play or movie, but you can Ideas are not protected, only the tangible expression of those ideas. only display a painting or sculpture. The final right of public performance You may have a great idea for a book, but there’s no protection available by digital audio transmission §106(6), applies only to sound recordings for that alone; you have to write the book. Facts are not protected by broadcast on the Internet, digital cable TV or satellite radio. copyright either, because they’re not original. Titles and short phrases are not copyrightable. They too fail the originality requirement. What can be protected? Common things are not protected by copyright. You can’t get exclusive Copyright protection covers more than expected. Any original work rights on a name, short phrase, familiar symbol, list of ingredients or a of an author or artist’s expression, which has been fixed in a tangible color. For copyright purposes, originality requires that the author show form, is protected under the Copyright Act. Although the Act has a list of creativity and independent creation of the work. types of works it shields, it is not an exclusive list. Copyrightable works Intangibles are not protected by copyright because they are unfixed. include, but aren’t limited to the following: If the work hasn’t been fixed in a tangible form (written down, tape Literary works; recorded or burned to a CD-ROM), then it is not eligible for protection. 318 | COPYRIGHT FOR WRITERS AND ILLUSTRATORS

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 publication or 120 years after creation, whichever is shorter. The same for Assigned Names and Numbers (ICANN) or through your web formula (shorter of 95 or 120) applies to anonymous and pseudonymous hosting 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 Why should I register if protection is automatic? have obtained a patent on the time machine he invented and a Registration is a legal formality intended to make a public record of copyright on 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® register your claim to copyright: assures the public that the can contains Coke® not Pepsi® even Registrations are public records identifying the copyright claimant; though you can’t see inside. For information on patents and Registration is mandatory before an infringement suit can be filed in trademarks, visit the U.S. Patent and Trademark Office at https:// court; www.uspto.gov. For lawsuits, registration creates a presumption that the ownership • Trade Secrets are protected by being kept secret. For example, claim is valid; only Colonel Sanders knows the eleven herbs and spices. If registration is made within three (3) months after publication Copyrights, patents and trademarks are public records; trade or before an infringement, additional damages and attorney’s fees are secrets can never be revealed to the public. available; Registration is necessary to obtain certain compulsory royalties; and Copyright Notice Registration protects against the importation of infringing copies. Although optional, it is good practice to put the © symbol on your works with the year of creation and the copyright owner’s name. For International Copyright example: © 2021 Mark J. Davis. Place the symbol where it would “give The United States has reciprocal copyright relations with 171 reasonable notice of the claim of copyright.” countries throughout the world. Under these treaties, each nation honors the other’s citizens’ copyrights. There is no need to file a Joint Authorship duplicate registration in most foreign countries. Joint works are prepared by two or more persons with the intention that their contributions be merged into inseparable or interdependent When do I file the registration? parts of a unitary whole. Each portion must be independently A registration may be filed at any time within the life of the copyrightable; that is, each part must be an original fixed expression. copyright, but in order to guarantee the strongest protection, file the A writer and artist may agree to create a joint work, one supplying registration within three months of the first publication of the work. the text, the other the illustrations. The text is independently The effective date of registration is the date that the Copyright Office copyrightable, as is the art. first receives the application, payment and deposit copies in proper The author and illustrator are equal owners of the copyright in the form, no matter how long it takes to process the claim and issue a joint work from the moment of its creation. A Joint Author Agreement registration certificate. should be signed especially if the ownership is not evenly split. It will If registration is made within three months after the first publication also spell out the duties and interests of the heirs of the writer and of the work, the effective date of protection becomes retroactive to the artist. Please see the sample JOINT AUTHOR AGREEMENT. date of publication. A registration filed prior to an infringement of the work gives the copyright owner the option for asking for an injunction Works-for-Hire and additional infringement penalties. This is an exception to the general rule that the person who creates the work owns the copyright. If a work is made by an employee within How long does it take? the scope of their employment or if it was a specially commissioned The Copyright Office gets over 600,000 applications a year – give www.scbwi.org | contribution to a collective work, a part of a motion picture or them some time. Even if you’ve filled out the form correctly, sent your audiovisual work, a translation, a supplementary work, a compilation, deposit copies and proper fee, it might take nine months to receive an instructional text, an atlas, test or test answer material, it may be your registration certificate. Don’t let that stop you from showing your a work for hire. The employer or hiring party is considered to be the work to prospective agents or publishers. author and thus the copyright owner. A work for hire agreement must be signed by both parties before the creation of the commissioned work. How do I file my registration? Please see the sample WORK FOR HIRE AGREEMENT. Online registration through the electronic Copyright Office (eCO) is the preferred way to register. Advantages of online filing include lower How long does a copyright last? filing fees, faster processing, credit card payment and direct upload of That depends on how long you live. If the work was created after electronic files. Paper filing is also available. January 1, 1978, then the copyright lasts for the life of the author For applicable forms, please visit https://www.copyright.gov/forms/ plus 70 years. For joint works (two or more authors or illustrators Download detailed information on fees, registrations and general contributed), the copyright lasts for the life of the last surviving joint copyright questions from https://www.copyright.gov/circs/. PUBLICATIONS GUIDE: THE BOOK author plus 70 years. There is no renewal of copyright.

2021 For works-for-hire (creations of an employee or contractor), copyright COPYRIGHT FOR WRITERS AND ILLUSTRATORS | 319

Can’t I use the “poor man’s copyright” and just mail it to equivalent to purchasing the §106 rights to copy, distribute, sell and myself? make derivatives of that book. Obtaining copyright protection by mailing your work to yourself and not opening the envelope is an urban myth. Although it may have Creative Commons a postmark showing the date of mailing, that is not a substitute for Creative Commons is a licensing framework within copyright, not registration. It will still be necessary to file for registration in the a substitute for it. Instead of reserving all §106 rights, the copyright Copyright Office before a lawsuit. The postmarked envelope is not a owner releases the work with some rights granted. The purpose of CC is public record or proof in court. It’s a waste of time and money because to establish a standardized regime of permissions. This structure relies it has no legal benefits for infringement lawsuits. on a single set of definitions and rights that are applicable worldwide under each nation’s copyright laws. What is infringement? CC licenses contain combinations of these four concepts: Infringement is the unauthorized use of any of the six §106 rights Attribution of the work to the original author, granted exclusively to the copyright owner. In an infringement lawsuit, No Derivatives of the original are permitted, the owner must hold a valid copyright, prove that the infringer had Share Alike – Others may distribute derivatives based on the access to the original work, that the defendant violated the owner’s original, but only under a license identical to the author’s original CC §106 rights and that the infringing work is substantially similar to the license. original. Non Commercial Use – Others may copy, distribute, display and Penalties for infringement include the actual damages suffered by perform the work and its derivatives, but for non-commercial purposes the copyright owner plus the infringer’s profits. In certain acts of only. This prevents a third party from profiting from an author’s original willful infringement, they can go up to $150,000. work. A license cannot feature both the Share Alike and No Derivatives Public Domain options because Share Alike only applies to derivatives. Creative There is no such thing as perpetual copyright under U.S. law; all Commons licenses are regularly revised and updated. For the latest rights granted under §106 expire at the end of copyright. What the information please visit: https://creativecommonsusa.org/. copyright owner once controlled is now free for all to use. At the end of copyright protection, anyone may alter, translate, copy and sell the §107 Fair Use work. Perhaps the most important limitation on copyright under U.S. law is Works first published in the U.S. before January 1, 1923 are in that of Fair Use. Anyone can use a copyrighted work for the purposes of public domain. U.S. works from that date to 12/31/1977 are probably criticism, comment, news reporting, teaching, scholarship or research. still protected the 1909 Copyright Act. Cornell University has a chart However, it is not blanket permission for all purposes. Whether Fair Use explaining Public Domain in the US: http://copyright.cornell.edu/ shields a particular situation requires the analysis and application of resources/publicdomain.cfm. these four factors: Purpose and character of the use Transfer of a copyright Nature of the original work Copyrights are assets that can be bought, sold, inherited and given Amount taken from the original work away. It is a personal property right subject to state laws that govern Effect on the market for the original work divorce, community property, inheritance, contracts and transfer of personal property. Please see the sample ASSIGNMENT OF COPYRIGHT. More information Circulars, regulations, application forms and other materials are Copyright licensing and publication available from the Copyright Office website at www.copyright.gov. Writers and illustrators earn income through issuing licenses to their §106 rights (copying, distribution, derivatives, serialization, An attorney since 1978 specializing in music and entertainment law, Mark J. Davis is a nationally recognized expert on copyright; having been translation, etc.). Only the copyright owner has the authority to an arbitrator for the U.S. Copyright Office. He has taught copyright to over publish a work by offering copies for sale to the public. Section 106 a thousand students at Loyola University and Northeastern University; rights can be granted exclusively, non-exclusively, and for limited and has spoken to K-12 and college faculties about Fair Use, Creative times, territories, formats and purposes. The essence of a publishing Commons and TEACH Act guidelines for classroom and distance learning. His contract is the grant of rights held by the author and illustrator to a publications include Legal Issues in the Music Industry and The Teacher’s Guide to Copyright, now in its 3rd edition. For more information, please publisher. visit www.buzzgig.com and the SCBWI website.

Termination of licenses For copyrights assigned after 1/1/1978, the law grants an LEGAL QUESTIONS 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.

Sale of a copy is not a transfer of the copyright The sale of a physical item that is protected by copyright is not the same as the transfer of the copyright itself. Buying a book is not

SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

by Mary Flower | updated by Sara Rutenberg

ontracts! A dirty word to some, intimidating to most. Can you negoti- ate 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. The below agreement is not an idealized contract; rather, it contains provisions similar to standard boilerplate provisions in the contract

SAMPLE BOOK CONTRACT

THIS 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; 20–35 322 | 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 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: THE BOOK 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.] 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 323

(b) If the Author fails to deliver the manuscript by that date, the Publisher shall have the right to terminate this Agreement upon written 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 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 them under this Agreement out of the first payments due them 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.] (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 them 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 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 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 them. (c) If the Publisher fails to publish the Work within the agreed time period, the Author may, at their 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 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 324 | 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 them. (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; *(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: THE BOOK 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. 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 325

[The above stipulation is to keep the book in print. This will be discussed more in detail below.] 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; *(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 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 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 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% 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% 326 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

Anthology and other selection reprint, in whole or in part: in complete, condensed, adapted or abridged versions 50% Textbook edition, large print edition, picture book edition, photonovel 50% Premium, direct mail, coupon advertising 50% Display rights 50% Mechanical audiovisual rights 50% Mechanical audio recordings 50% *Interactive multimedia form 50% Publication in the English language outside of the United States 70% Publication in other languages 70% *Motion picture, television, radio, lyric and dramatic rights 70% *Commercial adaptations and tie-ins 50% On sales of digital version, 12.5% of amounts received [this is quickly changing] (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 [try to cap the returns to a very low percentage] a royalty of three percent (3%) of the retail amount received by the Publisher. [The following section will only appear in a contract if there is a separate contract with another party—such as an author or an illustrator.] 10. All sums of money due the Author shall be paid at the rate of [a percentage previously negotiated] of the royalties stipulated in the above paragraphs as printed, provided said sums are related to the use of both text and artwork. If said sums relate only to the use of text, no payments shall be due the Illustrator. If said receipts relate only to the use of artwork, no payments shall be due the Author. No Royalties 11. No royalty, fee, or other charge shall be payable to the Author for the following, applicable to all editions of the Work published or caused to be published pursuant to this Agreement: (a) Sales made at or below Manufacturing Cost, copies destroyed, copies furnished gratis to the Author, editorial review copies, or copies otherwise used to promote the sale of the Work; (b) Licensing publication of the Work without fee, in Braille (or similar tactile symbols), or by mechanical audio recordings or visual recordings; and publishing or permitting others to publish or broadcast or transmit by radio, television, or online selections from the Work, for publicity and promotion purposes only. Statements and Payments 12. (a) The Publisher shall render semiannual statements of account no later than May 1 for the period ending December 31 and November 1 for the period ending June 30, except that the first statement shall not be rendered until at least six (6) months after publication date. Such statements shall be submitted to the Author, together with payment for all amounts due for each period so long as any payments are due. All payments made by the Publisher to or for the account of the Author pursuant to this Agreement shall be chargeable against and recoverable by the Publisher from any and all moneys accruing to the Author under this Agreement with the Publisher [money that is recoverable from this agreement should be recoverable ONLY from this agreement and not from another contract with this publisher; it is highly recommended that this change be made to the contract], and all sums owing by the Author to the Publisher under this Agreement may be deducted from payments accruing to the Author under this Agreement with the Publisher. State, federal, and foreign taxes on the Author’s earnings, when required by law to be withheld and paid by the Publisher, shall be proper charges against the Author’s earnings hereunder [this is when there is a tax or other lien against the earnings of the author]. When the balance to the credit of the Author at the end of any statement period shall be less than fifty dollars ($50)[this amount varies from publisher to publisher—the standard range is $10 to $50], no statement shall be rendered [however, you can request, in writing, to have a statement rendered], and the amount due shall be carried forward. The Author or

www.scbwi.org their duly authorized representative shall have the right, upon written request, to examine the Publisher’s records that relate to the Work; such

| examination shall be at the cost of the Author unless errors of accounting amounting to five percent (5%) or more of the total sum paid to the Author during the period covered by such request shall be found to their disadvantage, in which case the cost shall be borne by the Publisher. Author’s Representations, Warranties, and Indemnities 13. The Author hereby represents and warrants to the Publisher, any seller or distributor of the Work, and to the Publisher’s successors, licensees, and assigns, and any officers, agents, and employees of the foregoing: (i) that he is the sole Author of the Work; (ii) that he is the sole and exclusive owner of all rights granted to the Publisher in this Agreement and has not assigned, pledged, or otherwise encumbered the same; (iii) that the Work is original, has not been published in book form, and is not in the public domain; (iv) that he has full power to enter into this Agreement and to make the grants herein contained; (v) that the Work does not, in whole or in part, infringe any copyright or violate any right of privacy or other personal or property right whatsoever. [This section is for your protection. Publishers take out insurance which covers most situations. The following specifies the way in which the situations will be dealt with.] In the event of the assertion of any claim, action, or proceeding inconsistent with any of the foregoing representations and warranties, (a) the Publisher shall have the right to defend the same through counsel of its own choosing, and (b) the Author shall fully cooperate in the

PUBLICATIONS GUIDE: THE BOOK Publisher’s defense and 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, expense 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 327

(including attorneys’ fees to the extent provided below), and settlement costs, resulting from any such claim, action or proceeding, provided that 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 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 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 their 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 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, their 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 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 their 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 their 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.]

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.

328 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

Illustrator’s Property 16. The original artwork is the property of the Illustrator and is to be returned to the Illustrator within six (6) months following publication of the Work. In the event the Author’s original artwork, while in the Publisher’s possession and control and due to the Publisher’s own negligence is lost or damaged so as to render such artwork unsaleable, it is agreed that the Publisher shall reimburse the Author for the value of the lost or damaged artwork, and that such artwork is valued at $500 per full-color spread, jacket, or full individual page and $100 per piece of spot art (black/white or color) or black/white full page. It is agreed that the Publisher shall not be responsible for normal wear and tear. [If you are an illustrator, you may have to ask to have this language inserted. Not all publishers include it automatically in illustrators’ agreements. If the Illustrator feels that these figures don’t represent the actual value of the artwork, the Illustrator must provide documentation that it is worth more.] Author’s Copies 17. The Author shall be entitled to receive on publication ten (10) free copies of the Work published by the Publisher, and shall have the right to purchase further copies for personal use and not for resale at a discount of forty percent (40%) from the Publisher’s suggested retail price. [40% is fairly standard throughout the industry. This discount is not a negotiable item. While permissions are not covered by this statement, it is possible and advisable to request a copy of any permission granted by the Publisher. It is also advisable to request that you receive a copy of any print edition in which your work appears. The reason for this being in the contract is so that you have a way to track use of your work or an excerpt and any payments for it.] Contracts with Others 18. The Publisher shall notify the Author of the terms of any contract or agreement entered into by the Publisher for any grant or license permitted under this Agreement where the Author’s share of the proceeds or royalty is or is likely to amount to five hundred dollars ($500) or more and, upon the Author’s request [you should add language requiring the Publisher to do this so that the burden is not on you to ask for it], shall furnish the Author with a copy of each such contract or agreement. Use of Author’s Name and Likeness 19. The Publisher, in its sole discretion, may use and authorize the use of the Author’s [approved] name, likeness, photograph, and biographical data in [make sure the Publisher is required to use only pictures, bios, etc., that you approve in advance] connection with advertising, publicizing, licensing, and promoting the Work, and any commercial adaptation thereof. No Competing Work 20. The Author agrees that during the term of this Agreement he will not, without the written permission of the Publisher, publish or authorize to be published any work substantially similar to the Work or which is reasonably likely to injure its sale of the merchandising or the other rights granted herein. [This is a very burdensome and difficult clause. If you cannot get it stricken, try to add language that more clearly defines “substantially similar.” While this language is fairly standard throughout the industry, it is really too broad for the author’s protection. We suggest that the Author consider revising the language in this section to include limitations—for instance, to limit it to “a work featuring the same character”—and to ensure that if the Publisher rejects a work containing that same character that the author is then free to sell that work elsewhere without penalty.]

TERMINATION Out of print Provisions [Note that these provisions are critical, especially with digital distribution. Suggested language for this will appear below. There is also a short article on this in the appendix.] 21. If the Work shall be out of print and if, after written request from the Author to put the Work back into print, the Publisher shall fail to place the Work in print, or license publication of a reprint edition by another publisher as permitted herein within a period of six (6) months [try to get this reduced to 2–3 months maximum] after the date of such notice (subject, however, to delay from causes beyond the control of the

www.scbwi.org Publisher), this Agreement shall thereupon terminate subject to the terms in paragraph 24. The Work shall not be deemed to be out of print so

| long as it is under contract for publication or on sale in any edition in the United States, whether under the imprint of the Publisher or a licensee. [This is a clause you want modified to reflect either a certain number must be sold—300 is reasonable—or you must have received a certain amount of revenue.] The existence of an individual print on demand edition or an electronic edition shall not constitute the Work being in print unless there are total sales of 300 copies or more per year. [Make sure you receive documentation of this. Some publishers are beginning to allow a revenue amount. It may be possible to negotiate to raise the number of copies.] Termination by Publisher 22. If the Publisher shall determine that there is not sufficient sale of the work to enable the Publisher to continue the Work’s publication and sale, the Publisher may give written notice of the termination of this Agreement to the Author, with such effect as provided in paragraph 24 below. [It is highly unlikely that the Publisher will, in fact, notify the Author that the book is going out of print. The Author should keep themselves aware of the sales of the book, recognizing that sales of fewer than 500 copies a year will not normally be enough to keep a book in print. With respect to digital publishing, again, make sure there is a certain revenue amount, which if achieved, does not allow the Publisher to terminate.] Bankruptcy and Liquidation

PUBLICATIONS GUIDE: THE BOOK 23. If the Publisher is adjudicated a bankrupt or makes a general assignment for the benefit of creditors or liquidates its business, this Agreement, to the extent permitted by law, shall terminate. [The trustee in bankruptcy makes all decisions regarding disposition of the work, 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 329 regardless of any language in the agreement.] 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 receipt of a request from the Publisher to notify the Publisher that they will make the revision themselves 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.] 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 their 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 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 them at any time 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 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 330 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

the business of the Publisher. [In the event that the Publisher merges with or is purchased by another company, this allows the Publisher to continue publishing titles it has accepted—provided that it continues publishing the genre of the book licensed hereunder. If that is not the case, you should have the option to terminate and get the rights back.] Any other assignment, whether voluntary or by operation of law, shall be null and void unless the assigning party has obtained the written approval of the other party. Entire Agreement 31. This Agreement constitutes the entire agreement between the parties and supersedes all prior agreements, understandings, and proposals (whether written or oral) in respect to the matters specified. No waiver or modification of any of these provisions shall be valid unless done in writing and signed by or on behalf of the party granting such waiver or modification. No waiver of any breach or default shall be deemed a waiver of any subsequent breach or default or in any way affect any of the other terms or conditions contained in this Agreement. [This means only points in writing are valid]. Severability 32. If any provision of this Agreement is judicially declared to be invalid, unenforceable, or void by a court, such decision shall not have the effect of invalidating or voiding the remainder of this Agreement, and the part or parts of this Agreement held to be invalid, unenforceable, or void shall be deemed to have been deleted from this Agreement, and the remainder of this Agreement shall have the same force and effect as if such part or parts had never been included. Interpretation, Venue, and Service of Process 33. This Agreement shall be interpreted and construed in accordance with the laws of the State of [state or country in which the publisher is located], applicable to contracts made and to be entirely performed therein. Any suit, action, claim, or proceeding arising out of or in any way relating to this Agreement or its breach may be brought only in a court of record in the State of [the state or country in which the publisher is located], and the parties hereby consent to jurisdiction of the said courts and to service of process upon them either personally or by certified or registered mail, postage prepaid, return receipt requested. Service of process made by certified or registered mail as herein provided shall be deemed complete three (3) days after the mailing thereof. Definition of “Author”; Joint Authors 34. The word “Author” shall include male, female, or a firm or corporation, and the plural. In the case of more than one author, their rights and duties shall be joint and several, and each author is hereby designated as agent for the other for purposes of service of process in any action or proceeding brought by the Publisher against either or both authors arising out of or in any way relating to this Agreement or its breach. In the event this Agreement is with more than one author and a dispute arises between the authors that threatens to involve the Publisher in litigation, the Publisher shall have the right to cancel this Agreement if such dispute is not settled or finally determined by court order within ninety (90) days, and, in that event, any advances paid to or for the account of the authors shall be repaid to the Publisher. Definition of terms 35. As used in this Agreement: (a) “Suggested retail price” will mean the price on the jacket or cover of the applicable edition of the Work or, in the absence of a cover price, the retail list price for the edition suggested by the Publisher in its catalogs, order forms, or promotional material; b) “Amount received” will mean amounts actually received by the Publisher, after allowances and return credits, and excluding postage and shipping costs or other similar charges, and sales, excise, or similar taxes, if any; and (c) “Manufacturing cost” will mean the per-unit cost of plant, paper, printing, and binding of the applicable edition, but any copy sold at a discount of eighty-five percent (85%) or more from the suggested retail price shall be deemed sold below manufacturing cost. Effect of Headings 36. Descriptive words and general statements used in the paragraph headings of this Agreement to summarize the contents of the paragraphs are not to be considered a legal part of this Agreement. www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 331

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:

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 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 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___.

______name name address address

______name name address address 332 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

WORK FOR HIRE AGREEMENT

Between ______(the Hiring Party) and ______(the Contractor)

This document confirms that a copyrightable work of intellectual property commissioned by Hiring Party is a “work–made-for–hire” as specified under §101 of the 1976 Copyright Act of the United States.

Description of the commissioned work for hire: ______

It is expressly understood by Contractor that their efforts are specially ordered and commissioned, that copyright in the commissioned work shall remain the property of Hiring Party, that all copyright forms will list Hiring Party as an author of a work–made-for–hire, and that Hiring Party has the sole and exclusive use of the commissioned work and any derivative works made therefrom.

It is further understood that all materials, data, property, and other items used in the creation of this commissioned work remain the property of Hiring Party, and that Hiring Party retains all rights in these materials, and that Contractor may use these materials only for the creation of the commissioned work.

Any unauthorized copying or other use of these materials or the commissioned work by anyone other than Contractor for this specific commission will be considered an infringement of Hiring Party’s copyright.

In the event that the commissioned work is not considered a work–made-for–hire, then it shall be deemed that Contractor has assigned to Hiring Party any and all existing copyrights therein throughout the United States and the world, and any and all 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.

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

______Hiring Party Contractor name name address address www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 333

ASSIGNMENT OF COPYRIGHT

KNOW BY THESE PRESENTS, the undersigned copyright owner:

Name: ______Address: ______Telephone: ______Tax ID #: ______d/o/b: ______

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 #: ______

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.

(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 334 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

MISCELLANEOUS NOTES

1. Red Flag Words There are words that, when found the publisher could receive the letter, state that they in an agreement that is not a work for hire document, are setting up the book for POD sales, and then have should be deleted, as they are to the author’s detriment. another six months to accomplish that goal without They are perpetuity, forever, and universe. any requirement of sales actually being made. Second, There are other words/phrases that often exist you should determine, with legal counsel if necessary, in an agreement that are troublesome, but that can which rights you actually licensed to the publisher. The be modified by placing conditions on them. Some interpretation of rights has increased in complexity contracts, when stating the rights that the publishing because of the advent of ebooks, POD, etc. Ideally, house has, and referring to technological changes and your contract should have specified that a book is only inventions (such as CD-ROM, DVD, etc.), include the considered in print when copies are available for sale phrase “now and hereinafter devised.” This is called a in the United States in an English language hardcover future technologies clause. This is acceptable only if or paperback edition issued by the publisher and listed (1) the author is assured, in the agreement, of royalties in its catalog. Most likely this is not the case, and in being paid on whatever is devised or on the derivative general publishers are now taking the position that if a works and (2) is consulted on and has approval of any book is available as POD, the requirement that the book new format. is still for sale has been met, and therefore you are not entitled to exercise your termination rights. 2. Reversion of Rights: When is a book out of print? There is quite a bit of controversy on that last A reversion of rights refers to the time at which the point. The issue centers on the question of a POD publisher no longer owns the rights to your book. When book really a “book” as historically understood and the rights revert to you, the author, you’re free to sell by the definition just presented. The SCBWI and them again or do whatever you want with your book. other authors’ groups are taking the position that a However, this is more complicated than it seems. Take a POD book is not a traditional book, but publishers look at this sample out-of print clause: are taking the position that because the material is “In the event the Work is at any time out of print, the capable of being printed, it falls within the definition of Author may give notice thereof to the Publisher and in a book and therefore is considered in print. Until this such event the Publisher shall declare within 60 days, definitional issue is resolved, you should, at the very in writing, whether it intends to keep the Work available least, attempt to negotiate a contract that specifies a for sale. The term “out of print” is defined as being minimum amount of sales are required in order for unavailable in any of the formats specified previously in the publisher to maintain the rights to the book. In this Agreement. If the Publisher declares its intention to addition to the above, make sure that you obtain written return the book to print, it shall act not later than six (6) acknowledgement from the publisher that your book is months from the date of such notice. If within 60 days out of print—otherwise you could run into trouble if you www.scbwi.org

| the Publisher does not declare in writing that it intends want to sell it to a third party or license ebooks. to keep the Work available for sale, then this Agreement There is one other way to obtain rights back to your shall terminate and all rights granted hereunder shall book, and that is the termination right granted under revert to the Author by way of a written reversion letter, section 203 of the Copyright Act. This is too complex to together with any existing property originally furnished discuss here, but this provision basically gives you the by the Author.” ability to get your rights back under certain conditions There are a number of problematic issues. First, you and if specific actions are taken. You can read the are required to give notice to the publisher stating provision at the following link: 1.usa.gov/Zq7NQ. that you want the rights to revert to you. The publisher As the industry precedents change, the SCBWI will then has sixty days to respond as to whether they are continue to keep its members informed as well as going to continue selling the book. This takes on new providing guidelines on how best to protect your rights. meaning when looked at in the context of the print PUBLICATIONS GUIDE: THE BOOK on demand (POD) controversy addressed below, as 3. Did Your Publisher Go Out Of Business 2021 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 335

In what manner did the publisher go out of business? The three primary possibilities are as follows: The publisher files for bankruptcy (voluntary bankruptcy). Once bankruptcy has been filed, the 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 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 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 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 of the contract. 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 any point sixties, there were horror stories floating around about original art from in their career, but earlier is better,” says NCLC curator Terri Goldich. well-known books disappearing into unknown hands only to turn up for “Archivists can give advice about home storage and organization prior sale on the open market without the knowledge of the illustrators who to donating materials, which can make the donation process smoother created it, about original art being lost forever, and even just thrown and help preserve materials before they leave home.” Arne Nixon away. These types of abuses were more common when illustration was Center librarian Jennifer Crow adds, “There are a number of reasons work for hire, being paid a flat fee instead of royalties.” why authors might donate papers early in their career. Proper storage But even now, material that’s not protected can be damaged or lost. and preservation should be done before damage might occur. Home “Emotionally, it makes me very content to know that my work is safe, storage space and conditions are often problematic for optimal upkeep well cared for in a protective environment, available to researchers and of materials.” “In fact,” says Ellen Ruffin, curator of the de Grummond especially schoolchildren, who are welcome to visit and see original art Children’s Literature Collection, “many of our donors find it a relief to and manuscripts and will be long after I’m gone and books are out of pack up boxes and send them to a place that will organize, preserve, and print,” says dePaola, whose work is at NCLC. protect their work.” For more about children’s archives, including collecting digital Key factors to consider when choosing where to place your work material, see https://bit.ly/2YTUMtH. are your comfort level with the facility’s ability to care for it, your 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.” As to benefits, Tomie dePaola says, “When I started out in the early

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