The SCBWI Tokyo Newsletter Winter 2011

Carp Tales is the bi-annual newsletter of the Tokyo chapter of the Society of Children’s Book Writers and Illustrators (SCBWI). The newsletter includes SCBWI Tokyo chapter and member news, upcoming events, a bulletin board of announcements related to writing and illustrating for children in Japan, reports of past events, information on industry trends, interviews with authors and illustrators, and other articles related to children’s literature. To submit inquiries or learn how to contribute to Carp Tales, contact [email protected]. The submission deadline is May 1 for the spring issue and November 1 for the fall issue. All articles and illustrations in Carp Tales are © SCBWI Tokyo and the contributing writers and illustrators. For more information about SCBWI Tokyo, see www.scbwi.jp. The Carp Tales logo is © Naomi Kojima. From the Editors Contents The Year of the Rabbit has begun, bringing with it the SCBWI Winter From the Editors ...... 1 Conference in New York and the opening SCBWI Tokyo event, Frané SCBWI Tokyo Event Wrap-Ups ...... 2 Lessac’s presentation on “Writing Global Picture Books.”

An Interview with Naomi Kojima, The Year of the Tiger was full of spirit, and the second half kept Translator of Dear Genius: everyone busy: midsummer brought Jed Henry’s workshop on using The Letters of Ursula Nordstrom ...... 4 Adobe Photoshop; autumn brought a creative exchange, presentations at the Japan Writers Conference, and a visit from children’s literature Heart of a Samurai Named scholar Leonard Marcus. (Dear Genius: The Letters of Ursula Newbery Honor Book ...... 8 Nordstrom, edited by Marcus, was recently translated into Japanese by SCBWI Tokyo Japan Liaison Naomi Kojima. See page 4!) In An Interview with Sports December, the second SCBWI Tokyo Illustrators Exhibition took place Novelist Trevor Kew ...... 9 at Galerie Malle in Ebisu, Tokyo, thanks to generous support from Review of Writing Picture Books: gallery owner Shizuko Kikawa and an illustrators’ grant from SCBWI. A Hands-On Guide from Story The year concluded with another creative exchange and a traditional Creation to Publication ...... 11 bonenkai (year-end party), at which members shared their goals for the coming new year. SCBWI Tokyo Member News ...... 12 We wish everyone a year full of good books—whether you write, Bulletin Board ...... 12 illustrate, translate or devour them!

About SCBWI Tokyo ...... 13 Holly Thompson, Carp Tales Editor, SCBWI Tokyo Regional Advisor Avery Udagawa, Carp Tales Assistant Editor Annie Donwerth Chikamatsu, Carp Tales Assistant Editor

Carp Tales Winter 2011 1 SCBWI Tokyo Event Wrap-Ups by the Editors

Hey, Your Pixels are Showing! pieces with Photoshop techniques. A Photoshop Workshop and Using one of his illustrations of a Creative Exchange with samurai, Henry demonstrated how to paint in Photoshop. He has mastered Illustrator Jed Henry techniques that produce the effect July 11, 2010 of brushstrokes and showed how to choose brush size, how to layer and deepen colors, how to produce texture, and how to store the layers or stages of an image. He also talked about how to maintain the integrity of the image for the printing process.

Participants appreciated the opportunity to learn more about Photoshop techniques in a relaxed atmosphere SCBWI members Colleen Sakurai, Suzanne that encouraged asking questions and Kamata, Holly Thompson and Margi Preus at the Japan Writers Conference learning from one another. After his Jed Henry ready to present workshop, Henry joined in a creative Japan Writers Conference exchange and gave feedback on a Despite a July downpour in Tokyo, member’s story and illustrations. October 10–11, 2010 there was a good turnout for illustrator SCBWI members both presented and Jed Henry’s workshop on using Adobe To see sketches Jed Henry made by participated in the fourth annual Japan Photoshop. Attendees even lugged their hand while in Japan, visit his July 2010 Writers Conference, held this year laptops to the hands-on event. Some blog post “Sketches from Japan”: at Nihon University College of Art in ™‡”‡’”‘ϐ‹ ‹‡–ƒ–Š‘–‘•Š‘’ǡ™Š‹Ž‡ http://jedart.blogspot.com Ekoda, Tokyo. The conference focus others were complete newbies. was broad, and the two-day program ‡”›„”‹‡ϐŽ›‰ƒ˜‡Š‹•„ƒ ‰”‘—†‹ Creative Exchange and included concurrent sessions on writing art starting with his undergraduate Planning Meeting for all reading levels, genres and studies in computer animation at September 10, 2010 purposes. Presentations of particular Brigham Young University, which interest to children’s book writers led to an interest in illustration. He A brief planning meeting was held included Suzanne Kamata’s “Marketing took classes in the craft of writing before the September Friday evening for Beginners”; John Paul Catton’s and illustrating children’s books, creative exchange. The exchange, “Rush Hour of the Gods” about using studying color and composition and held in English and Japanese, drew ƒ’ƒ‡•‡›–Š‘Ž‘‰›‹ϐ‹ –‹‘Ǣ ‘ŽŽ› learning how to paint in oils, but he has a crowd of picture book writers Thompson’s “Of Power and Emotions: ended up working almost exclusively and illustrators, as well as writers Writing Fiction for Young Adults”; Margi in digital media. He has illustrated of middle grade and YA fiction. Preus’s “Telling the True Story”; David books for Penguin, Simon & Schuster, Participants divided into two groups, Chester’s “How to Write a Screenplay HarperCollins, and many educational and the picture book discussion You Can Sell”; and Arthur Binard’s publishers. He mentioned digital developed in Japanese while “Home Improvements, or Being Better illustrators he admires, such as James discussions on longer works of fiction To Be As Good—Translating Picture Jean, Jon Foster and Craig Mullins. developed in English. Many different Books and Poems.” SCBWI Tokyo types of picture book projects were has played an active role in the Japan Henry scans illustrations he has done presented in all stages of completion, Writers Conference for the past two by hand into the computer, but he from sketch to polished dummy. The years, holding our October events at the also draws on the computer using an fiction writing exchange focused on conference. We look forward to hearing –—‘•’‡–ƒ„Ž‡–Ǥ ‡–Š‡ϐ‹‹•Š‡• openings of novels. more about the plans for the 2011 JWC.

The SCBWI Tokyo website is getting a facelift! Visit in upcoming weeks and look for updated Gallery, Books, and Speaker Directory sections as well as a new Translator Directory. www.scbwi.jp

Carp Tales Winter 2011 2 Advice from a Legendary Editor: “eat humble pie” a week after rejecting Illustrators from the Illustrators How Ursula Nordstrom Made Harold and the Purple Crayon—by Exhibition joined the Creative Exchange Children’s Books That Last writing to author Crockett Johnson and participants for a celebratory meal, telling him that she had reconsidered. ”‡ϐŽ‡ –‹‘•‘‘—”„—•››‡ƒ”ǡ˜ƒ”‹‘—• with Children’s Literature Scholar congratulations, and quite a few kanpais. Leonard Marcus Nordstrom is known for acquiring titles that were considered bold for her November 28, 2010 2010 SCBWI Tokyo times. Marcus gave many examples Illustrators Exhibition SCBWI Tokyo was fortunate to host of the innovative books that she Leonard Marcus, a distinguished edited and the stories surrounding December 7–12, 2010 children’s literature scholar who teaches, –Š‡‹”’—„Ž‹ ƒ–‹‘Ǥ ‡ϐ‹ŽŽ‡†‹–Š‡ writes books and contributes articles picture her letters have left and and critiques to publications including presented a fascinating look at the the New York Times and the Horn Book, world of children’s publishing and the and serves on selection committees for impression she made on it. Attendees awards such as the Ragazzi Prize and the enjoyed the time with Marcus and National Book Award. agreed afterward that he should come again to present on other aspects of Books by Marcus dominate the lists of children’s literature. required reading for anyone involved in children’s literature. Among them, Creative Exchange and Bonenkai Dear Genius: The Letters of Ursula Illustrators and visitors at the opening of Nordstrom chronicles the growth December 11, 2010 the SCBWI Tokyo Illustrators Exhibition and changes in children’s publishing Picture book writers, author/ Galerie Malle in Ebisu, Tokyo, hosted through collected and edited letters of illustrators, and middle-grade and YA the 2010 SCBWI Tokyo Illustrators ƒŠ‹‰ŠŽ›‹ϐŽ—‡–‹ƒŽ‡†‹–‘”Ǥ ϐ‹ –‹‘™”‹–‡”•‰ƒ–Š‡”‡†ˆ‘”–Š‡ϐ‹ƒŽ Exhibition from December 7 to creative exchange of the year. Creators December 12. The nine SCBWI member In a slide presentation, Marcus of longer works focused on effective illustrators who showed their works presented clues about Nordstrom beginnings, sharing a wonderful range were Naomi Kojima, Kiyo Tanaka, starting with the dramatic cover art ‘ˆϐ‹”•– Šƒ’–‡”•ˆ”‘‰‡”‡•‹ Ž—†‹‰ Sonya de Boer, Izumi Tanaka, Midori of the American edition of Dear Genius, ”‡ƒŽ‹•–‹ ϐ‹ –‹‘ǡˆƒ–ƒ•›ǡƒ†™‘”‹ Mori, Daniel Schallau, Patrick Gannon, illustrated by Maurice Sendak. He verse. Picture books presented ranged Michael Kloran and Yoko Yoshizawa. ’‘‹–‡†‘—––Šƒ––Š‡ ‘˜‡””‡ϐŽ‡ –•Š‡” in genre from fantasy to Japan-set Each illustrator exhibited two to six ϐŽƒ”‡ˆ‘”–Š‡–Š‡ƒ–”‹ ƒŽǡŠ‡”‡‡‡›‡ǡƒ† realism. Though participants’ styles pieces of artwork created for children’s her relationship with Sendak and other and approaches were extremely varied, books. Works were unique in style, authors and illustrators. Despite her everyone dove enthusiastically into theme and medium. Art submissions sense of humor, Marcus said she was not the group critiques and offered helpful, were judged by gallery owner Shizuko ƒŽ™ƒ›••—•Š‹‡ƒ†ϐŽ‘™‡”•–‘™‘” astute and supportive feedback. Kikawa and children’s book author/ with; she was a formidable advocate Participants look forward to further illustrator John Shelley. for children, for the people with whom development of all of the works shared. she worked, and for the projects she Held just before the holiday season, wanted to publish. She understood The year-end bonenkai party was the exhibition attracted many visitors children and artists as outsiders and held in Shibuya at LOHB restaurant, including editors from publishers chose projects that gave them a voice. overlooking the amassing Saturday of children’s books. Many of the Marcus recounted her willingness to evening crowds around Hachiko. illustrators were present at the gallery throughout the exhibition, which provided opportunities to receive comments on the illustrations, exchange information with illustrators and editors, and inspire one another.

SCBWI Tokyo is especially grateful to Shizuko Kikawa, owner of Galerie Malle, who enthusiastically supported the show. Special thanks are due also to Yoko Yoshizawa, SCBWI Tokyo Illustrator Coordinator, for her tireless work in ‘”‰ƒ‹œ‹‰–Š‡•Š‘™ˆ”‘•–ƒ”––‘ϐ‹‹•ŠǤ Leonard Marcus and Dear Genius translator Naomi Kojima (holding U.S. and Japanese The exhibition was made possible in part editions of the book) with SCBWI Tokyo members by an illustrators’ grant from SCBWI.

Carp Tales Winter 2011 3 An Interview with Naomi Kojima, Translator of Dear Genius: The Letters of Ursula Nordstrom by Annie Donwerth Chikamatsu

She later enrolled in Rhodes College, monthly meetings and learned about a liberal arts college in Memphis, publishing and how to make picture Tennessee. She majored in art, studying books from Jane. sculpture and photography, and in her senior year, she made a picture I worked on Mr. and Mrs. Thief, and book entitled Mr. and Mrs. Thief. when I had done all I could do, I made The joy of making the picture book ƒ’’‘‹–‡–•™‹–Šϐ‹˜‡’—„Ž‹•Š‡”•‹ reminded her of her childhood dream New York City. The editor at the second of creating children’s books, though publisher, T. Y. Crowell (an imprint of she did not know where or how to Harper & Row, now HarperCollins) pursue this dream. She later went on showed strong interest in Mr. and Mrs. to write and illustrate eight books in Thief and another picture book dummy, Japanese, some of which have appeared The Flying Grandmother. Three weeks in other languages. In addition, she later she called and gave me a contract has translated two English-language for both books. Once my books were Naomi Kojima’s Japanese translation picture books into Japanese. Dear Genius ’—„Ž‹•Š‡†‹–Š‡ǤǤǡ‹–™ƒ•‘–†‹ˆϐ‹ —Ž– of Dear Genius: The Letters of Ursula ƒ”‡†Š‡”ϐ‹”•–‡š’‡”‹‡ ‡–”ƒ•Žƒ–‹‰ –‘ϐ‹†ƒ’—„Ž‹•Š‡”ˆ‘”Mr. and Mrs. Thief Nordstrom, edited by Leonard Marcus, a work for adults into Japanese. and The Flying Grandmother in Japan. was released in December 2010 The two books were published the by Kaisei-sha. The Japanese title is Please tell us about your background following year in Japan, as translated Densetsu no henshusha Nordstrom and your path to publishing for English books from the U.S. no tegami: America jidosho no butai children, and what led to your interest in translating Dear Genius. How did you discover Dear Genius? ura (Letters of Legendary Editor Did you approach Japanese editors Nordstrom: Behind the Scenes of When I returned to Japan after college with the idea of translating the American Children’s Publishing). graduation, I had a chance to show Mr. book, or were you contacted? As the SCBWI Tokyo Japan Liaison and Mrs. Thief to a Japanese publisher. The publisher read my book and said he I read a book review of Dear Genius in and a former Regional Advisor, Kojima the Horn Book and was immediately has been instrumental in the Tokyo liked it, but added that I was too young and that he only published well-known interested. I ordered a copy through chapter’s growth and activity. Among Amazon Japan, read it, and enjoyed it so her many contributions has been her writers and illustrators—the end of my dream, I thought. After this encounter, I — ŠǤ• ƒ”’‡”Šƒ†’—„Ž‹•Š‡†›ϐ‹”•– adept Japanese-English interpretation two books, I was interested to know for visiting presenters. put Mr. and Mrs. Thief in my desk drawer and took a job as an art teacher at what went on at the Harper’s children’s Kojima has spent long periods of time Nishimachi International School. book department. I also wanted to ‹–Š‡‹–‡†–ƒ–‡•ǡϐ‹”•–ƒ––‡†‹‰ know what went on inside an editor’s preschool and elementary school until Four years later, I moved to the mind, especially Ursula Nordstrom’s. the third grade in Riverdale, New U.S. with my husband. We lived in I was excited when I found letters to York. Her father had been transferred South Amherst, Massachusetts. I Barbara Dicks, who was one of Ursula there, and she and her mother boarded met the author and poet Jane Yolen Nordstrom’s staff. I had actually met a plane to join him when she was and joined SCBWI (back then it was her during one of my visits to Harper, three. “I remember the plane ride well, called SCBW). Jane was the leader and later corresponded with her because I forgot two picture books in of the New England chapter, and she several times about foreign rights. the seat pocket,” Kojima says. inspired, educated, encouraged, and Ursula Nordstrom (UN) had long been enlightened us about children’s books. retired by the time I published, so I Kojima loved books, and when she The people in our group were young never met her. returned to Japan she took refuge in the and old, published and unpublished. school library. She loved both the kind At SCBWI and in the U.S., it seemed UN’s letters gave me insight into an librarian and the library itself and visited no one was too young or too old editor’s life: the joy, the courage, them every day. She sought comfort in or not famous enough to dream of the hard work and dedication, the books and always knew she wanted to becoming a writer or illustrator disappointments, the shrewdness, and become a children’s writer and illustrator. of children’s books. I attended the the vision. In a long letter to Russell

Carp Tales Winter 2011 4 Hoban, when he was trying to write Danny and the Dinosaur, UN gave Ursula Nordstrom’s letters gave me insight into an editor’s detailed step-by-step guidance on how life: the joy, the courage, the hard work and dedication, the to develop story and illustrations. For anyone interested in making picture disappointments, the shrewdness, and the vision. books, this letter is a valuable source of advice. Her relationship with could be the translator. Within a few In the early stages, we had to discuss various writers and illustrators was weeks Beppu-san read the book and many issues, such as which high- also interesting. She knew exactly said she was willing to publish it. She frequency words should be in hiragana, what to say and when to say words said Dear Genius was the kind of book kanji, and katakana. For example, should of encouragement to her writers and that needed to be translated. She page be ページ in katakana, or 頁 in kanji? illustrators. I wish all editors were added, however, that the book came Should numbers be in kanji, or in western good communicators like her. with a challenge, as the market for Dear numbers? There were many words that Genius in Japan would not be as large we needed to consider. In Japanese, a After I read Dear Genius, I was excited. as in the U.S. She knew the American foreign name can be pronounced and I translated a few letters to share with edition had sold well and was on the transcribed in several different ways. a group of Japanese children’s book list of “must-read” books, but she added For example, Mary can be メアリー or メア writers, translators and editors. They that the situation would be different in リ, and Ungerer, the French illustrator’s were delighted, and said they wanted Japan. She explained that only people name, can be アンゲラー or ウンゲラー. to read more, and asked if the book was interested in children’s books would We decided to use the most familiar going to be translated. I thought it was buy the book. And because more than transcriptions for names that appeared a shame that such a good book would half of the writers and illustrators in UN’s letters, but in the footnotes, the not reach Japanese readers. mentioned in the book are not names of the authors and illustrators are translated in Japan, the market would also given as they have been translated in As a child, I often read English books be smaller. And with translation, the Japanese editions by various publishers. that were not yet translated into book would become much longer, which Japanese, and felt frustrated that I meant it would be an expensive book, We also had to discuss whether the could not share my delight with my and this would narrow the number of book would look better and be easier friends. I was determined to translate people who would buy it. to read if printed the Japanese way, all the Narnia books when I grew up, with the writing in columns read from so my friends and other children could I was deeply touched by Beppu-san’s top to bottom and the book opening experience the same excitement. When ™‘”†•ǡDz—––Š‹•‹•ƒ•‹‰‹ϐ‹ ƒ–ǡ at the right; or if it should be printed I was in high school, a famous writer of landmark type of book that should the western way, with the writing in classic Japanese literature translated be published. Once published, it will rows read from left to right and the the Chronicles of Narnia. My aspiration go into libraries, and will be read for book opening at the left. We decided to become the translator vanished, many generations. People interested in in the end that the book should open „—– ™ƒ•‰Žƒ†–Š‡„‘‘•™‡”‡ϐ‹ƒŽŽ› children’s books will be glad that this at left and read from left to right. translated and published. book was translated, because it offers We also discussed what information a wonderful source of knowledge and would need to be explained for My thought of translating Dear Genius information. From time to time, when Japanese readers. The footnotes in the began to grow. This was a bold idea, we see a book that we believe is going English edition are very thorough and because I am a writer and illustrator to be an asset to the future, we publish complete. But for Japanese readers, we of picture books, and I have little it. Dear Genius is one of those books.” felt we needed additional explanation experience translating long books. We were both excited about Dear of, for example, holidays such as I had translated the Tom and Pippo Genius, and I set to work in high spirits. Thanksgiving and Halloween; religious books by Helen Oxenbury and a picture observances such as Hanukkah and bar book by Felicia Bond, but never a four Was your translation checked as you mitzvah; places like Coney Island; and hundred-page book. But I wanted to went along? Could you give us an ‹–‡•‘ˆŠ‹•–‘”‹ ƒŽ•‹‰‹ϐ‹ ƒ ‡•— Šƒ• translate Dear Genius. I felt that there idea of the process? Were you given the Mason–Dixon line. was so much to learn from UN’s letters, ƒ• Š‡†—Ž‡‘ˆ†‡ƒ†Ž‹‡•–‘ˆ—Žϐ‹ŽŽǫ and I also felt a strong tie to the book I put those explanations into •‹ ‡ ƒ”’‡”™ƒ•™Š‡”‡›ϐ‹”•––™‘ This was the process: I would translate “translation footnotes,” but whenever books were published. ƒ„‘—–ϐ‹ˆ–›’ƒ‰‡•ƒ†‡ƒ‹Ž–Š‡–‘‡’’—Ǧ  ‘—Ž†ϐ‹†ƒ™ƒ›–‘„Ž‡†–Š‡ san. We would then meet and go over the explanation into the main text, I did I spoke to my editor, Akiko Beppu at –”ƒ•Žƒ–‹‘Ǥˆ–‡” ϐ‹‹•Š‡†–”ƒ•Žƒ–‹‰ƒŽŽ so. I learned this useful method at a Kaisei-sha, and asked if Kaisei-sha of the letters, I went back and revised two presentation given by Cathy Hirano would be interested in a publishing more times, and then I revised one more during SCBWI Translators’ Day in June Dear Genius in Japanese. I asked if I –‹‡ƒˆ–‡”–Š‡ϐ‹”•–‰ƒŽŽ‡›Ǥ 2010. She showed us that when the

Carp Tales Winter 2011 5 explanations are incorporated into happen. UN’s humor and her comments The translation needed to be easy to the text, readers could keep reading seemed less strained and I felt she was —†‡”•–ƒ†ƒ†–‘ϐŽ‘™ƒ–—”ƒŽŽ›Ǥ Š‘’‡ without having to look at the footnotes. ‘”‡Š‡”•‡ŽˆǤŠ‡Ž‡––‡”•‹–Š‡ϐ‹”•– I was able to keep the spontaneity and one hundred pages were written at a speed with which Nordstrom typed her In addition to translating UN’s letters, time when she was still young in her letters. Translating is not a spontaneous I also checked all the books mentioned career, and some of her writers and process; it is slow and words are carefully in Dear Genius–‘ϐ‹†‘—–™Š‡–Š‡”–Š‡› artists were older than her, or were put together, which is rather the opposite had been translated into Japanese, more advanced in their career than of how UN wrote most of her letters. and I added this information to the she. She may have been struggling, In the process of trying to perfect the footnotes. This turned out to be a time too. Perhaps that was why I felt I was translation, I had to be careful not to lose consuming project in itself. I listed ’Ž‘™‹‰–Š”‘—‰Šƒϐ‹‡Ž†ˆ—ŽŽ‘ˆ”‘ •Ǩ speed and spontaneity. the Japanese title, date published, the ƒ‡‘ˆ–Š‡ϐ‹”•–’—„Ž‹•Š‡”ȋ•‘‡„‘‘• One sentence can be translated many Nordstrom‘s jokes and her New changed publishers), and the name of the different ways. So many choices can be Yorker sense of humor were often also translator. I was grateful for the Internet! †‹ˆϐ‹ —Ž–ǤŠ‡  Šƒ‰‡†‘‡™‘”†ǡ–Šƒ– †‹ˆϐ‹ —Ž––‘–”ƒ•Žƒ–‡Ǥ ‡”Œ‘‡•ƒ”‡ change seemed to trigger more changes. clever, hilarious and charming, but Š‡–Š‡–”ƒ•Žƒ–‹‘™ƒ•†‘‡ǡ‹–™ƒ•ϐ‹˜‡ Š‡ ™ƒ•”‡˜‹•‹‰ǡ‹–™ƒ•†‹ˆϐ‹ —Ž– they seemed to lose their funniness hundred pages in length, including the –‘–‡ŽŽ™Š‡ ™ƒ•ϐ‹‹•Š‡†ǤŠ‡ ƒ and impact when translated. Beppu- index. Three people, including Beppu-san, drawing, I know when my drawing san would often shake her head and combed through the book and copyedited ‹•ϐ‹‹•Š‡†ǣ ‘™™Š‡ ƒƒ††‹‰ say, “These Woody Allen-type jokes are the text, footnotes, translation footnotes too much, or not doing enough. But not funny at all. Most Japanese readers and index. They made sure every detail that was not the case with translation. will not think this is a joke.” We ended and piece of information was accurate and ‘‡–‹‡• Ž‘•– ‘ϐ‹†‡ ‡Ǥ—––Š‡ up adding annotations to several of consistent. Beppu-san explained that many rewarding thing about translation, and UN’s un-translatable jokes, saying, people will read Dear Genius for enjoyment, probably about any craft, is that the “This is Nordstrom’s joke,” or, ”This is but many people will also read it as a more you do it, the better you become. Nordstrom’s unique sense of humor.”

Did you consult with Leonard With Dear Genius, the translation needed to be Marcus about the project or about faithful to the original text and also keep Ursula •’‡ ‹ϐ‹ †‡–ƒ‹Ž•ǫ Nordstrom’s energy and spirit alive. The translation Yes, I did consult Leonard about •’‡ ‹ϐ‹ †‡–ƒ‹Ž•Ǥ‡‘ƒ”†™ƒ•ƒŽ™ƒ›• ‡‡†‡†–‘„‡‡ƒ•›–‘—†‡”•–ƒ†ƒ†–‘ƪ‘™ƒ–—”ƒŽŽ›Ǥ  very kind and helpful, and his Š‘’‡ ™ƒ•ƒ„Ž‡–‘‡‡’–Š‡•’‘–ƒ‡‹–›ƒ†•’‡‡†™‹–Š explanations and interpretations were invaluable. For example, in her letter which Nordstrom typed her letters. to Maurice Sendak, UN mentioned that she was knitting him galoshes for his birthday gift, which made no sense reference book, and that was why the With each revision, I felt I was able to to me, because galoshes are made information in the book had to be precise. understand UN’s thoughts and emotions of rubber, and you cannot knit one. I better. As I read her letters over and Besides having to footnote copious wondered if this was one of her jokes. over, I began to understand UN’s voice —Ž–—”ƒŽƒ•’‡ –•ǡ†‹†›‘—ϐ‹†‘–Š‡” and her vocabulary. †‹ˆϐ‹ —Ž–‹‡•‹†‘‹‰–Š‡–”ƒ•Žƒ–‹‘ǫ This was Leonard’s answer: “Yes, it is a joke. She is intentionally playing with the Another good thing about translation Dear Genius is a long book, and it was stereotypical image of a mother knitting is that you can concentrate on the †‹ˆϐ‹ —Ž––‘•‡‡–Š‡™Š‘Ž‡–”ƒ•Žƒ–‹‘‹ her child a sweater or scarf or other translation, without worrying about the ’‡”•’‡ –‹˜‡Ǥ –™ƒ•†‡ϐ‹‹–‡Ž›‘–Ž‹‡ protective article of clothing. She was not book itself, because you know the book is a thirty-two-page picture book where a mother herself, so she was pretending good. When I am working on my picture you can constantly check the rhythm not to realize that galoshes were not books, I sometimes wonder whether my and the pacing. something that one would or could knit. book is interesting and worry whether Sendak was well aware that she was it is good at all. But with translation, you Š‡ϐ‹”•–‘‡Š—†”‡†’ƒ‰‡•™‡”‡–Š‡ not a mother, so the meaning of the joke already know the book is wonderful and ‘•–†‹ˆϐ‹ —Ž–ǡƒ† ƒŽ™ƒ›••–”—‰‰Ž‡† would have been obvious to him. At the complete. That gives you the luxury to –Š‡”‡‘‡ƒ Š”‡˜‹•‹‘ǤŠ‡ϐ‹”•–ƒ† same time, UN sometimes acted like his concentrate wholeheartedly on the text. second time through, I thought this mother and he sometimes thought of With Dear Genius, the translation needed was because of my inexperience with her that way so for all these reasons, he to be faithful to the original text and –”ƒ•Žƒ–‹‘Ǥ—–ƒˆ–‡”–Š‡ϐ‹”•–‘‡ would have found this joke hilarious.” hundred pages, a change seemed to also keep UN’s energy and spirit alive.

Carp Tales Winter 2011 6 Here is another explanation from The number of UN’s letters and according to what was happening in Leonard, from when I asked him about the amount of work involved was Nordstrom’s career. Leonard said this Nordstrom calling an IBM computer enormous. How long did it take to would be all right, and he generously “Irving Needleman”: translate the book? Did you work on wrote a brief summary for each it exclusively or were you working section. Still another suggestion from “UN is making yet another joke. People on other projects as well? Beppu-san was to number UN’s letters at that time saw computers, which •‘–Šƒ––Š‡›™‘—Ž†„‡‡ƒ•›–‘ϐ‹†Ǥ were so new then, as the enemy of old- ––‘‘‡•‹š›‡ƒ”•–‘ϐ‹‹•Š–Š‡ There are 263 letters. In the English fashioned human communication—an translation. This was much longer than book, the letters are not numbered. example of the dehumanization of the I had planned. I also worked on other work place. UN jokingly gave a name to projects, but my major project was Maurice Sendak illustrated the cover the new Harper computer that conjured Dear Genius. for the American edition. When we up the image of an old-fashioned Jewish discussed what kind of cover would accountant. I picture a grandfatherly Is the format and appearance of the work best for the Japanese edition, gentleman with a wrinkled brow and a Japanese edition largely the same as Beppu-san thought that the original kindly expression, a rumpled suit, and the American edition? cover worked well for the U.S. market a great talent for math.” Leonard gave but would not work the same way for The text of the Japanese edition is me many more explanations like these, the Japanese audience. We also knew faithful to the original text. There are and I included them in the footnotes. that Sendak’s illustration would be some changes in the Japanese book. copyrighted. We were fortunate to Nordstrom used to type each letter Was the entire American edition meet book designer Shidehara Yamada. until it was a solid page of words. She translated, or were some letters He designed the whole book, and for hated to waste paper, and so she seldom or other portions omitted? If there the cover, he used an image of an old made paragraph changes. For the were omissions, were they due to typewriter, which is very symbolic Japanese edition, Beppu-san suggested translation issues or length concerns? of Nordstrom. If Nordstrom saw the that we incorporate paragraph breaks. cover, I am sure she would be pleased. The entire American edition was She explained that a solid page of translated. But in the beginning, we Japanese would look like a solid block of Do you have plans to translate were going to include only the writers characters, which would be an instant more of Leonard Marcus’s books for and illustrators familiar to Japanese turn-off to the readers. Paragraph Japanese readers? readers—for example, Margaret Wise breaks would make the book visually Brown, Garth Williams, Shel Silverstein, inviting and easier to read. If there were two of me, one would E. B. White, Russell Hoban, Crockett translate more books by Leonard, such Johnson, Maurice Sendak, and Meindart Beppu-san also suggested that we as Margaret Wise Brown: Awakened DeJong. We were concerned that the divide the book into three sections, by the Moon, and Golden Legacy: How book was going to be too long, and that the Japanese readers would not be interested in unfamiliar authors and U.S. and Japanese Versions of Dear Genius illustrators. However, Beppu-san asked ‡–‘–”ƒ•Žƒ–‡ƒŽŽ‘ˆ–Š‡Ž‡––‡”•ϐ‹”•–ǡ and afterwards we were going to decide which letters to take out. But as I began to translate, it soon became clear that if we pulled out some letters, or omitted certain writers or illustrators, we would be destroying a well-constructed book. Leonard Marcus had chosen and edited the letters in such a way that the letters as a whole showed Nordstrom’s innovative vision and her editorial ideas. If we did not present the whole book to the readers, we would be depriving them of the real intent of the book. The readers would not fully understand how UN’s brave decisions Dear Genius: The Letters Densetsu no henshusha played a vital role in bringing change to of Ursula Nordstrom Nordstrom no tegami: America’s children’s books. I was very (HarperCollins) America jidosho no butai ura (Kaisei-sha) grateful that Beppu-san and Kaisei-sha were willing to publish the entire book.

Carp Tales Winter 2011 7 Golden Books Won Children’s Hearts, came to Tokyo with Eric Carle in 2004. time of the launch. He had been Changed Publishing Forever, and I had also seen him a couple of times invited by the International Library Became an American Icon Along the when I was in New York, including once of Children’s Literature as guest Way, and Minders of Make-Believe: at the SCBWI New York conference. speaker for their Tenth Anniversary Idealists, Entrepreneurs, and the Shaping Symposium. He also gave a program of American Children’s Literature. To launch Dear Genius in Japan, two for SCBWI Tokyo on November 28. Unfortunately, there is only one of me, events were planned prior to the and I want to return to making picture book’s official publication date. I To continue publicizing the book, I will books. But I know it won’t be long gave a presentation in Japanese at be speaking at Junkudo Ikebukuro before someone will translate more of Kyobunkan Narnia bookstore in bookstore on January 29, and in Leonard’s books into Japanese. Tokyo on November 14, 2010, and February, I will be speaking to a group of children’s book editors.

Thank you, Naomi, for your time in  ––‘‘‡•‹š›‡ƒ”•–‘Ƥ‹•Š–Š‡–”ƒ•Žƒ–‹‘ǤŠ‹•™ƒ• answering these questions. You’ve — ŠŽ‘‰‡”–Šƒ Šƒ†’Žƒ‡†Ǥ ƒŽ•‘™‘”‡†‘‘–Š‡” given us some fascinating behind- the-scenes details. projects, but my major project was Dear Genius. ‘‰”ƒ–—Žƒ–‹‘•‘ϐ‹‹•Š‹‰–Š‹• monumental project!

You’re welcome, and thank you! Tell us about the events put in place Leonard Marcus gave a presentation to launch the Japanese book. Leonard at the same bookstore on November Annie Donwerth Chikamatsu has had Marcus participated—had you met 29. The release date was December work published in publications including him before, or heard him speak? 1, but books were available for sale Hunger Mountain and Highlights on the days of these two events. It magazine. A poem will be included in a Yes, I had met Leonard several times. was very fortunate and exciting forthcoming anthology from Blooming Š‡ϐ‹”•––‹‡ ‡–Š‹™ƒ•™Š‡Š‡ that Leonard was in Tokyo at the Tree Press, February 2011.

Heart of a Samurai Named Newbery Honor Book by Avery Udagawa

Heart of a Samurai, a historical arrest due to isolationist policies novel by Margi Preus, has been but later served as an advisor to named a 2011 Newbery Honor the Tokugawa shogunate. book by the Association for Library Service to Children, a division of Preus contributed an article to the American Library Association. Carp Tales about the beginnings of Heart of a Samurai and her Heart of a Samurai retells the story picture book The Peace Bell, of Manjiro (also known as John about an American-Japanese ƒŒ‹”‘Ȍǡ„‡Ž‹‡˜‡†–‘„‡–Š‡ϐ‹”•– friendship bell. See “A Tale of Japanese person to visit America. Two Stories and Four Cities” in Shipwrecked off the coast of the Fall/Winter 2009 issue (PDF Shikoku in 1841 at age 14, Manjiro available for download at www. was rescued by an American scbwi.jp/newsletter.htm). whaling crew and lived and Avery Udagawa is the translator studied for a time in New England. of J-Boys: Kazuo’s World, Tokyo, He later worked on a U.S. whaling 1965 by Shogo Oketani, forthcoming ship, traveled to California, and from Stone Bridge Press. See Heart of a Samurai returned to Japan, where he faced ƒ˜‡”›ϐ‹• Š‡”—†ƒ‰ƒ™ƒǤ ‘. (Amulet Books)

Carp Tales Winter 2011 8 An Interview with Sports Novelist Trevor Kew by Holly Thompson

across cultures, genders and age one reason why I always make sure ‰”‘—’•Ǥ†•‘–Š”‘—‰Š„‘–Šϐ‹ –‹‘ƒ† that my students do plenty of creative journalistic writing, I’ve tried to attach writing. other themes and ideas to stories about soccer. Soccer is probably one of the The characters in the novels come closest things we have to a universal from various cultural backgrounds. language. It’s everywhere. Can you discuss experiences that have led to this multicultural What led you to writing stories of approach in your characterizations? teenage girls’ soccer as opposed to boys’? In Canada, where I’m from, there has been a bit of a multicultural craze To be honest, it was initially because in literature, including children’s I thought it would give me a better literature. This has led to some Šƒ ‡–‘‰‡–›ϐ‹”•–‘˜‡Ž’—„Ž‹•Š‡†Ǥ fantastic literature, but also to some After all, soccer is the most popular substandard literature. I don’t believe Trevor Kew is the author of Trading sport for girls in North America, but in including multicultural characters Goals and Sidelined, two young adult there is not a large amount of children’s merely as a token gesture—it has to novels in the Sports Stories series literature for girls about the sport. be authentic and purposeful. In the published by James Lorimer & As I wrote, however, I began to think case of my novels, which are set in Company Ltd., Toronto. A native of about the role that something like Vancouver, an extremely cosmopolitan British Columbia and a graduate of the soccer tends to play in young girls’ city, it would be unrealistic if the University of British Columbia, Kew has lives. Soccer counters so many of the characters weren’t from a variety of taught literature in Canada, the U.K. destructive images and pressures that different backgrounds. Also, since in and Japan. He currently teaches English young girls face, and I hope my novels Trading Goals Vicky faces something literature at Yokohama International ”‡ϐŽ‡ ––Šƒ–’‘•‹–‹˜‡ƒ•’‡ –‘ˆ–Š‡•’‘”–Ǥ of an identity crisis due to unresolved School. In addition to writing young issues in her past, giving her a ƒ†—Ž–ϐ‹ –‹‘ǡ‡™™”‹–‡•ˆ‘”–Š‡ Have you run into particular mixed ethnic background seemed to Vancouver-based soccer magazine Free challenges in portraying the many contribute to the atmosphere of Kick and the American online magazine different girl characters that appear instability and uncertainty. In Sidelined, 90:00. Visit Kew’s blog at trevorkew. in the novels? multiculturalism is present but very wordpress.com. much more in the background. Fashion was a challenge. My sister You are an experienced soccer proofread the first book and said, You include actual World Cup data player (goalkeeper) and Vicky, the “Yeah, they’d never wear that” a in your work, and you traveled to main character in Trading Goals and few times. She and other female South Africa for the 2010 World Sidelined, is also a soccer goalkeeper. readers were immensely helpful Cup. Can you tell us a bit about Can you tell us a bit about the path with dialogue and social interaction incorporating international soccer from playing soccer to writing about within the novel as well—they events into the novels? And will the soccer, or have you always been pointed out the sections where Vicky 2010 World Cup will be featured in doing both? was starting to sound or act like a one of your future novels? boy. There was also a kissing scene Š‡ •–ƒ”–‡†–ƒ‹‰›ϐ‹ –‹‘ in Sidelined that I was quite anxious I included real data from the Women’s writing seriously, late in university, I about writing, but in the end, it went World Cup in Trading Goals, both to initially dismissed soccer as subject quite well (I really hope that the enhance realism in the novel and to matter. To me, it was something more boys’ soccer team I coach doesn’t read emphasize the fact that girls too can •—‹–‡†–‘–Š‡’Žƒ›‹‰ϐ‹‡Ž†‘”–‘•’‘”–• it, though, as I’ll never hear the end aspire to play at the highest level. I journalism (another interest of mine) of it!). Some writers shy away from did have the incredible experience than to the deep, brooding, symbolic protagonists of different genders or of attending the 2010 World Cup and works of artistic genius that most cultures but I don’t, because I think wrote several magazine articles about university writers initially set out to that one of the greatest strengths of my time there. Hopefully in the future create. But the more I thought about my creative writing is that it enables the I’ll be able to work some of those own lifelong love affair with the sport, writer and the reader to understand South Africa soccer experiences into a the more I realized that soccer was an and empathize with others, which is future novel. incredible medium for communication

Carp Tales Winter 2011 9 Game action is an important feature of these novels. Do you use any particular outlining or planning strategies for writing these sections?

I plan other sections of my novels quite extensively but actually spend very little time planning game action scenes. I tend to just write “game” or “practice” and then zip through it quickly. I’m not quite sure why I ϐ‹†ƒ –‹‘• ‡‡••‘— Š‡ƒ•‹‡”–‘ write—probably it has something to do with playing, watching and coaching far too much soccer in my lifetime. Being a goalkeeper, I also Šƒ˜‡‘’”‘„Ž‡ϐ‹†‹‰ ”‡ƒ–‹˜‡™ƒ›• for Vicky to get scored on—I think I’ve let in just about every kind of goal which is unfortunately something ‹ϐ‹Ž–”ƒ–‡†„›–Š‡”‡•–‘ˆ›Ž‹ˆ‡Ǥ possible at some time or another. I do that every soccer player has to deal edit action scenes quite extensively, with at some point! Are more sports novels for teens in however, in order to cut out excess the works? Any hints you can share words and sentences in order to keep What do you hope readers will take of stories to come? the action streamlined, properly away from your novels? sequenced and realistic. I’ve completed a third novel, this time ˆ ‘—”•‡ǡϐ‹”•–ƒ†ˆ‘”‡‘•–ǡ Š‘’‡ about boys’ soccer (and ice hockey), also Your new novel Sidelined is a sequel they enjoy Vicky’s story. Beyond that, to be published by Lorimer & Company, to Trading Goals. Is it mainly a because the novels include soccer as a due out in Fall 2011. I hope to continue continuation of Vicky’s story or does big part of Vicky’s life, I hope that the writing for teens about sports as much it branch out in a different direction? books encourage readers to see soccer as possible, and also to get into more (and other sports) as valuable. So many schools to talk to readers about soccer, Sidelined differs from its predecessor people, especially girls, seem to give writing and related issues. Of course, in many ways, including its greater up sports in their late teens. What they I’ll bring my soccer boots too, just in focus on the dynamics between don’t always realize is that they are case anyone wants a game. Vicky and her friends. One of the often giving up something completely new novel’s most important ideas is unique, something that is completely Holly Thompson (www.hatbooks.com) dealing with disappointment, both unlike most other things that we do in is the author of the YA novel Orchards, on and off the soccer field. One of our adult lives. Even now, the soccer the picture book The Wakame these disappointments is an injury, pitch is the one place I go that can’t be Gatherers and the novel Ash.

About the Newsletter Designer

Miki Bromhead (mikibrom.com) is an internet game (mahogarden.jp) a writer, graphic designer and avid aimed at teaching English to young video gamer. Born and raised in children. She is also in charge of most Pittsburgh, Pennsylvania, she moved of the graphic duties for the Duquesne to Los Angeles in 2002 to attend the Brewing Company (www.facebook. University of Southern California. com/duquesnebeer) in Pittsburgh, After graduating with a degree in Pennsylvania. Japanese language and a minor in animation, she worked for roughly a year as an Eikaiwa teacher before her company went bankrupt. She currently works full time for the company Moonshoot, which hosts © Dragica Ohashi

Carp Tales Winter 2011 10 Review of Writing Picture Books: A Hands-On Guide from Story Creation to Publication by Ann Whitford Paul

Reviewed by Naomi Kojima

Writing Picture Books: A Hands- Featured SCWBI Tokyo Member On Guide from Story Creation to Publication by Ann Whitford Paul Illustrators in this Issue (Writers Digest Books, 2009) offers a fresh way to gain outsider objectivity Midori Mori (www.midorimori.com) on a picture book project. “The key to was born and raised in Hyogo, Japan, improving your writing is to learn, as and graduated from the Academy of best as you can, how to be your own Art in San Francisco with a BFA in critic,” writes Paul. “You must develop illustration. After working for various ways to pull yourself back from your companies as a graphic artist, web story and become an outside reader.” designer and art teacher for children, she became a freelance illustrator. With instructions written in a warm Mori’s clients have included Shoeisha and natural conversational language, Co., Ltd., McGraw Hill, and Harcourt, step by step, Paul explains the Inc. In addition to illustrating techniques that will help you turn into picture books, she has also provided a dispassionate critic of your work illustrations for cell phone wallpaper, and give you the skills to make the greeting cards, web-magazines, necessary change to strengthen and packaging and edutainment sites. She enrich your writing. is now based in Japan. ISBN-10: 1-58297-556-6 The book is divided into sections Yoko Yoshizawa (http://yokobooks. –Šƒ–ˆ‘ —•‘†‡ϐ‹‹‰’‹ –—”‡„‘‘•Ǣ pictures, which I thought was so exblog.jp) is a writer, translator, making decisions in storytelling; perfect, was not in line with the story, illustrator and printmaker. Recent story structure; language; titles and ƒ†™ƒ•„Ž‘ ‹‰–Š‡ϐŽ‘™Ǥ ‘—”ƒ‰‡† publications include Oogui hyotan dummies; getting feedback; and and convinced by what I had learned (The Magic Pumpkin, 2005, 2007) marketing. At the end of each chapter, from Paul’s book, I decided to take the from Fukuinkan and Google English hands-on revision exercises will help picture out. Then it happened. The Writing (2009) from Kodansha you identify problems and improve story began to move forward. International. From April 2008 to your picture book manuscript. March 2009 she contributed “Animal Whether a beginner or an experienced Sayings from Around the World” to After I read Paul’s book, my mind writer or illustrator, this book will the insert booklet for the monthly echoed with her advice as I worked help you improve the skills you need picture book series Kodomo no on my picture book dummy. Keep to craft picture books. Keep it by your tomo from Fukuinkan. She has been focused. Keep it simple. What is the desk to read over and over, as one contributing a regular column, story question? Only leave in what reading will not be enough to absorb “Animal Idioms and Sayings,” to the moves the story forward. I had been all the helpful information. Asahi Weekly twice a month since struggling for months with this April 2009. particular picture book, but as I Naomi Kojima is author/illustrator of went back and forth, looking at the the picture book Utau Shijimi (Kaisei- Dragica Ohashi (www.bitmoda. dummy and the storyboard, I asked sha) and translator of the Japanese com) was born in 1967 in rocky myself the objective questions I edition of Dear Genius: The Letters of Dalmatia, Croatia. She is a digital Ž‡ƒ”‡†ˆ”‘ƒ—Žǯ•„‘‘Ǥ ‘”–Š‡ϐ‹”•– Ursula Nordstrom (Kaisei-sha). She is artist and illustrator based in Japan. time, I saw that one of my favorite the Japan Liaison of SCBWI Tokyo.

Carp Tales Winter 2011 11 SCBWI Tokyo Member News

Annie Donwerth Chikamatsu’s poem “Night Journeys” is included in Sweet Dreams, an anthology forthcoming from Blooming Tree Press in February 2011.

Suzanne Kamata’s short story “Lessons” will appear in the March/April issue of CICADA. Her story “The Beautiful One Has Come” is also forthcoming in the same magazine.

Trevor Kew has had his third novel contracted by James Lorimer & Company Ltd. in Toronto for publication in September 2011.

Naomi Kojima’s Japanese translation of Dear Genius: The Letters of Ursula Nordstrom (ed. Leonard Marcus) was published under the title Densetsu no henshusha Nordstrom no tegami: America jidosho no butai ura in December 2011. She spoke about the translation at Junkudo bookstore in Ikebukuro on January 29 from 7 to 8:30 p.m. Dragica Ohashi’s work was published in an electronic weekly comic in The Balkans, MaxiMinus (No. 20), January 13, 2011. Holly Thompson’s YA novel, Orchards, will be published in February 2011. Avery Udagawa has launched her professional website, ƒ˜‡”›Ƥ• Š‡”—†ƒ‰ƒ™ƒǤ ‘. Yoko Yoshizawa will exhibit prints in a show hosted by Fujisawa Odakyu department store from March 23 to 29, 2011. She will show her animal, ƪ‘™‡”ƒ†ƒ„•–”ƒ –’”‹–•‹–Š‡‰ƒŽŽ‡”›Ž‘ ƒ–‡†‘–Š‡͚–Šƪ‘‘”Ǥ

© Midori Mori Bulletin Board

Bologna Children’s Book Fair will be held March 28–31, 2011 in Bologna, Italy. ™™™Ǥ„‘Ž‘‰ƒ Š‹Ž†”‡•„‘‘ˆƒ‹”Ǥ ‘ The 18th Tokyo International Book Fair (TIBF 2011) will run July 7–10, 2011 at Tokyo Big Sight. ™™™Ǥ–‹„ˆǤŒ’ The 40th Annual SCBWI International Summer Conference will take place August 5–8 in Los Angeles. Registration is set to open in April of 2011. ™™™Ǥ• „™‹Ǥ‘”‰

© Yoko Yoshizawa For links to many bookstores, museums, galleries, libraries and other organizations related to children’s literature in Japan, please visit the SCBWI Tokyo website: www.scbwi.jp/links.htm

Carp Tales Winter 2011 12 About SCBWI Tokyo

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

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

Carp Tales Winter 2011 13