THE

The ESSENTIAL GUIDE to for CHILDREN 2019 WELCOME TO THE : THE ESSENTIAL GUIDE TO PUBLISHING FOR CHILDREN.

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

FOLLOW US ON @SCBWI LIKE US ON FACEBOOK WWW.SCBWI.ORG

2019, SCBWI THE BOOK: ESSENTIAL GUIDE TO PUBLISHING FOR CHILDREN. © 2019 SOCIETY OF CHILDREN’S BOOK WRITERS & ILLUSTRATORS. Published by Society of Children’s Book Writers and Illustrators, 6363 Wilshire Blvd. Suite 425, , 90048. Printed and bound in the of America. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechancial means including information storage and retrieval systems without written permission from the publisher. This publication is intended for the personal use of SCBWI members only. It may not be used, sold or lent for any purpose, commercial or otherwise. CONTENTS

PREPARING & SUBMITTING Book Producers Directory...... 177 YOUR WORK Book Reviewers Directory...... 181 International School Directory...... 195 Benefits of SCBWI Membership...... 5 Writing & Illustration Courses Directory...... 197 From Keyboard to Printed Page...... 9 From Idea to Execution...... 205 The Query Letter...... 13 Writing & Illustrating for Children & Teens ...... 227 The Synopsis...... 15 Grants, Fellowships, Residencies, & Retreats ...... 233 SCBWI Illustrators Guide...... 17 Residencies & Retreats for Writers & Artists ...... 237 Jumpstart Your Creative Career...... 23 Prize-Winning Portfolio...... 25 Creating Dummies...... 27 PUBLICIZING YOUR Demystifying Digital Dummies...... 29 PUBLISHED WORK You’re Hired to Illustrate Your First Children’s Book Release Checklist...... 241 Book: What Comes Next?...... 31 100 Ways to Promote Your Children’s Book ...... 243 From the Editor’s Desk: Editorial Facts...... 33 Grassroots Book Publicity...... 245 Starting a Critique Group...... 37 Keeping Your Book Alive...... 247 The Give & Take of Critique...... 39 Resources for Published & Mentoring Matters...... 43 Illustrators ...... 251 What You Need to Know Before You Self-Publish.45 Principles for Using Social Media Effectively ...... 255 Self-Publishing: Best Practices...... 47 7 Steps to Blogging Success...... 259 Hiring an Illustrator for Your Self-Published International Bloggers: What They Can Do For Book...... 51 Your Book...... 263 What the Heck is an Informational Book? ...... 53 RIP for the Press Release? Not So Fast!...... 265 Nonfiction for Children: Growing and Changing... 55 Fifty-Two Kidlit Blogs to Visit Before You Die .... 267 All About Book Trailers...... 271 SCBWI MARKET SURVEYS Crafting Your Book Marketing Plan...... 275 PAL Speaking Opportunities...... 277 2019 SCBWI Market Survey of Publishers of for Young Readers...... 59 International Market Survey...... 93 SCBWI SCHOOL VISITS Edited By...... 95 Doing School Visits in the United States...... 281 Small Press Market Survey...... 107 Guide to International School Visits...... 285 Magazine Market Guide...... 117 Sample Lecture Contract...... 287 Religious Press Market Survey...... 131 Public Speaking Primer...... 289 Educational Press Market Survey...... 135 SCBWI LEGAL QUESTIONS SCBWI DIRECTORIES & Copyright for Writers and Illustrators...... 293 RESOURCES SCBWI Sample Children’s Book Contract...... 297 Archiving Your Work: What You Should Know ..... 313 Agents Directory...... 145 Agented By...... 161 Finding an Agent: Best Practices...... 167 MY WORK Freelance Editors Directory...... 169 My Projects...... 316 A-Z Guide to Publishing in the Digital World ...... 175 Submission Record...... 320

BENEFITS OF SCBWI MEMBERSHIP

by Lee Wind

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

CRAFT Keynotes That Rock Your World! Feedback & Accountability! »» It happens at every international conference. That moment »» Your local can help you find writer and/or illustrator peers so (sometimes more than one!) that resonates so powerfully, it inspires you can join (or form) a critique group. you for the journey ahead. Voice, , , , Book Dummies, and More! »» Local and international events offer sessions on the nuts and bolts of OPPORTUNITY writing and illustrating for children and teens. Speakers Bureau! Learn From Experts! »» We help you find out what you need to know to do school visits and »» DVD Master Classes, exclusive podcast interviews, and conference help schools find you. intensives take you further towards mastering your craft. Get Discovered! »» With over twenty different categories of annual Awards and Grants, BUSINESS plus critiques, contests, and illustrator showcases at local and Sell Your Books! international events, membership is loaded with merit-based chances »» Our online bookstore links readers to where you want them to buy for your work to be noticed. your books. Be Mentored! Agents, Editors & Art Directors! »» Mentoring programs and professional critiques are all about helping »» Meet and get your work in front of industry decision makers and you get your writing and/or illustrating, and your career, to the next gatekeepers at local and international events. level. BookStop! »» Celebrate your book being published across all social media with an COMMUNITY SCBWI BookStop page. Your Tribe! »» With over eighty regions around the world—wherever you go, SCBWI INSPIRATION is there, too. & Illustrator Stars! Your Tribe Online! »» Newbery, Caldecott, and National Book Award Winners, New York »» Newly merged with Verla Kay’s famous Blueboards, our discussion Times best sellers, lifetime achievement honorees . . . Faculty at our boards can keep you connected and talking about kid lit around the conferences are astonishingly accomplished. clock and around the world! Profiles, Ideas, Craft Book Reviews, Art Tips & More! Volunteer Opportunities! »» All SCBWI Bulletin and Insight articles and features are searchable »» With over 25,000 members, SCBWI runs on volunteer power. Pitching online and at your fingertips. in is a great way to give back, make friends, and feel like you belong to our tribe. Because you do.

SCBWI PREPARING & SUBMITTING YOUR WORK

2019 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 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 , 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 149, 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.” 10 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org where yourspecificstory falls. defines yourbook.Research prior tosubmitting will help youknow characters grab them, they willhelp youdecide whatgenre best being offered bypublishers. visiting abookstore (not alibrary) toseewhatbooksare currently trends for the genres listedbelow. We recommend thatyoubeginby page below. » » » » » » NUMBER OFMANUSCRIPTPAGES FORMATTING YOUR MANUSCRIPT | FROM KEYBOARD TO PRINTED PAGE TOPRINTED | FROM KEYBOARD » » » » » » Agents and editorsseekgood writing. Ifyour voice, plotand While there are no specific requirements, here are current market The format of the firstpage might looksomething like the agent specifically requests youdo so. Do not submitelectronically (i.e., email) unlessthe editoror use a1-inch or1.25-inch margin oneachside of the page. document are acceptable. Ifyouare setting margins manually, The default margin settings thatappearinanew Microsoft Word Pages should benumbered consecutively. Double spaceallmanuscripts. Use 12-point Arial orTimes New Roman. black ink. All manuscripts must betypedon8½”x11”whitepaperin Here are suggested guidelines from the publishing industry:

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

FROM KEYBOARD TO PRINTED PAGE | 11 policies for the specific publication you are interested in prior to PREPARING & SUBMITTING 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 MARKET SURVEYS in mind when submitting seasonal material. »» Some magazines pay upon publication. They may hold your submission for a considerable length of time before either or returning it. »» Most children’s magazines do not pay large amounts for their material, but can provide the novice writer with valuable experience. DIRECTORIES & RESOURCES PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS

THE QUERY LETTER

by Carla Killough McClafferty

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

Part of the confusion about what a query letter should say comes synopsis, and sample chapters. from the fact that there are different genres. An effective query letter So what makes an effective query letter? Although each letter will that represents a nonfiction magazine article will be very different from be different, each one should contain four basic parts: hook, summary, one for a YA . Then within each genre, each manuscript is unique, biographical information, and a closing. which means that every query letter must be one-of-a-kind. The most important thing to understand, regardless of whether Hook the manuscript is fiction or nonfiction, is that a query letter has one A writer wants to hook his/her readers with the first sentence of a purpose and one purpose only: to cause the editor or agent to want to manuscript. Likewise, the first line of a query letter should hook the read your manuscript or book proposal. That’s it. Period. The writer’s job reader. Think of this section as a sound bite, not the entire newscast. is to craft a letter that will create that desire. Find an original, creative way to begin the letter using something Think of a query letter as a sales tool that can market a product. relating to the manuscript that makes the reader want to find out A writer’s product is a group of words that tell a story. The query more. The only exception to beginning your query with a hook would letter is an advertisement that should make the reader want to know be if the writer has personally met the editor or agent. In that case, more about the product. In some ways, that might sound harsh. It it could begin with something like, “I enjoyed meeting you recently may even contradict the “touchy, feely, love of books” reason most at the Arkansas SCBWI conference and appreciate your willingness to people become writers. Yet writers must understand that they work in consider submissions from attendees.” Editors are usually nice people a creative business. The process of writing is creative, but publishing who would like for writers they have met personally to succeed, so they is a business. In order for a writer to get the words they have lovingly will consider such a query carefully. If a query begins with a meeting crafted into the hands of children to enjoy, they need to market their reminder, it should be brief, then go immediately to the hook. product. Often that marketing plan includes a query letter. A query letter should fit on one single page—never longer. It Summary should be clear and concise so that a busy editor gets the meaning of In this section, summarize what your manuscript is about in three the letter in one quick read. A query letter is a business letter. In it, or four sentences. For novels, this does not mean the plot points of the writer is not looking for a friend; he/she is looking for an editor your novel. It means an overview that includes the setting, characters, or agent. Since the goal is to create a professional relationship, the , and how the novel is different from other similar novels. For of the letter should not be overly chummy or personal. When nonfiction, it means an overview of how the material will be handled, an editor or agent reads a query, their impression should be that the the availability of photos, access to experts, and facts or statistics that author is a professional writer, not an amateur who is dabbling with a indicate how many potential readers may be interested in such a book. hobby. Part of being a professional is following the guidelines found in As in every section of the query letter, the summary details must be market guides such as Children’s Writer’s and Illustrator’s Market. Each explained in an interesting, exciting way. publisher is specific about what he/she wants to see in a submissions package, so writers should send the requested items. For both fiction Biographical Information and nonfiction, what each company requests varies widely. Some book In the hook and summary sections of a query letter, the writer’s publishers ask for a query only, while others request a query, outline, goal is to convince the editor or agent to read the offered manuscript. 14 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org one believes inamanuscript more thanitsauthor. can make it.Any writercanwriteaneffectivequeryletter. Afterall,no draft, then revise, revise, and revise again—until itisasgood asyou writer worksonthe queryjustasthey did the manuscript: Writearough describe their workinaone-page letter. It is accomplished when a manuscript; then, when itisfinished, wonder how they couldpossibly express asense of anticipation. feeling. Anonfiction bookaboutan exciting new discoveryshould be humorous. Ifitisamystery, the lettershould conveyamysterious If the manuscript youare marketing ishumorous, the queryshould they already know why youare writing tothem. start chopping. Although apoliteclosing isnice ifyouhavethe space, letter runs toolong and needs tobecutdown, the closing iswhere to complete bookproposal for Successful QueryLetters?”However, ifthe as “Ilookforward tohearing from you”or“Would youlike toseethe Closing it.” you,” or“Iread thistomy son’ssecond grade classand they justloved editors havealready rejected thismanuscript, butIthinkitisright for submission toaneditor, soIreally hope youlike it,”or“Sixdifferent they are justbeginning. Never make comments like “Thisismy first SCBWI.” attention tothe fact. Instead say, “Iamanactivemember of the If awriterdoes not haveany publishing credits, they should not call “I haveanarticle forthcoming inthe May issueof Cricket magazine.” or bookhasnot yetbeenpublished, they couldsaysomething like, best-known ones first.Ifthe writerhassigned acontract butthe article would highlight her previous workatthe dig. she wouldnot mention thatshe wasaphysical therapist. Instead, she marketing anonfiction book manuscript aboutanarchaeological dig, athletes recover from their injuries. However, ifthatsame writerwas been aphysical therapist for twenty yearsand hadhelped many young to overcome aninjury, then she wouldhighlight the fact thatshe had written aboutanice skater who undergoes months of rehabilitation an archaeological dig. Ifthatwriterwasmarketing anovel she had therapist and she spends twoweekseverysummer volunteering at an expert onthe topic. Forexample, let’ssayawriterisphysical the writermust highlight the areas of his/her lifethatmake him/her successfully writethe manuscript described. Inthisbrief section, editor oragent thatthe writerof the queryisthe onlyone who could In the biographical information section, the goal istoconvince the | THE QUERY LETTER QUERY | THE Some writersspend months, evenyears, writing and revising their Finally, the querylettershould match the tone of the manuscript. Bring the letterquickly toaclose. It couldbesomething assimple Writers should alwayspresent themselves asprofessionals, evenwhen The biographical section isalsowhere publishing credits are listed— sending aqueryletter. 10. Don’t beoverly familiar withthe editor oragent you are ever written.” 9. Don’t say or“This “I’m anew is the writer” first bookI have 8. Don’t talk about sequels you have planned. submitting aproject. 7. Don’t follow uplessthan three to four weeks after Know editors’ lists and what they acquire before you submit. 6. Don’t send apicture bookmanuscript to ateen novel editor. relevant and normal, but stillsuccessful. are impossible-to-replicate successes. Find something more successful, like the Harry Potter orTwilight series. Those 5. Don’t compare your work to something unprecedentedly everything else that’s being published. if it’s goodand intriguing and compelling and stands out from friend loves your work. That doesn’t matters matter—what is 4. Don’t mention that your niece, student,child,grandchild, or ask the editor oragent to provide feedback onyour query. unreserved enthusiasm for your project. Similarly, please don’t Your energies would bebetter spent onaneditor oragent with contact him/her asking that he/she reconsider your query. 3. Ifaneditor oragent passes onseeing your work, donot 2. Don’t include marketing plans. 1. Don’t openwithaquestion. Don’ts represents so you know their taste. 10. Try to read something aneditor has edited orthat anagent agent. 9. Have astrong opening, something to hook the editor or spelling oftheir name—and gender!—correct! 8. Always include apersonalized salutation. Dogetthe workshop. 7. Let the reader know ifyou’ve met ataconference or etc. are interested in(see ifyou can find interviews they’ve given), (subject matter, age level, genre, etc.) they publish, what they 6. Research who you’re submitting to—what kinds ofbooks and genre. 5. Know how to categorize your bookinthe correct age group 4. Close withashort bioand include any publication credits. for examples.) of itas advertising copy, not aplotsummary. (Look atflap 3. Include aone- ortwo-sentence teaser for your story. Think but remember that you and the reader are not personal friends. 2. Befriendly, but professional. No need to besuper serious, agents willskip it. 1. Keep itsimple!Ifit’s more than aparagraph, most editors/ Dos query letter. and following are the top dosand don’ts when writing your you write one. We spoke withmany publishing professionals, personality, there are some triedand truedosand don’ts when While every queryletter is different and should reflect your INDUSTRY INSIDERS TIPS FROM THE SYNOPSIS

by Deborah Fletcher Blum

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

Attempt to fit the essentials of your story into a neat package— Highlight the main character’s personality with one or two vivid between one to three pages—though lengths vary depending on the adjectives. This may seem like type-casting, but it a useful tool that . Synopses (plural based on the Latin root) are often requested allows the reader visualize the character quickly. by agents and editors. Writers may or may not be given a word count or For example: Shy but adventurous Katy longs to discover what is page length guide. Either way, a writer does best to ponder the highs hidden in the old chest in the attic that belonged to her grandmother. and lows of his or her story, the main character’s arc, the tone and But first she must gather up the courage to ask her stern grandfather setting before beginning. Then take a deep breath and begin, knowing for the key. that there will be a chance to edit and revise. Step 5: Construct the Body of Your Synopsis A GUIDE TO WRITING SYNOPSES: Use paragraphs to write out the main events of each chapter. Or pick out the high and low points and chart the story’s progression from Step 1: Always Use the Third Person beginning to end. Major events focus on the rising and the main Regardless of the tense in which the story is written or the voice of character’s conflict or goals, and how they are achieved or not achieved. the narrator, a synopsis should always be written in the third person Keep paragraphs tight. Only details critical for the reader’s present tense. understanding should be included. Each paragraph must include: an ACTION, REACTION and DECISION by a main character. Include thoughts, Step 2: Write a One-Sentence Before Starting beliefs, mistaken beliefs and assumptions, if they are critical to the Write a one sentence arc for the main character before starting, and outcome of the story. keep this sentence available for later use, and as a reference guide to For example: Sam takes Jeremy’s lunch box at recess. Jeremy runs keep you on track. after him, falls down and skins his knee. Jeremy decides he will take a paper bag lunch from now on and throw it away. Step 3: Hook the Reader Start your synopsis with a gripping, one-sentence summary that Step 6: Put Character Names in ALL CAPS captivates and mirrors the tone of the story. A mystery may use a Which secondary characters are involved in the major scenes included mysterious question. A synopsis for a middle grade novel or a picture in the synopsis? Each new character’s name should be written in all book might require vocabulary more elevated than that used in the capitals the first time it appears, exactly as it appears in the story. story, but the language should not be too overblown. A tone that Characters mentioned unnecessarily will only take up valuable space. evokes the story itself is best. The hook provokes thought and forces the reader to ask: What happens next? It can be the same few sentences Step 7: the Ending used in a query letter. In fact, the beginning of your synopsis might Tell the story to the end. Even if the story is a mystery, do not be sound very much like the plot-summary paragraph of a query letter. mysterious with the ending. State it clearly and briefly. Devote one to two paragraphs to the (CRISIS) and RESOLUTION (ENDING). Step 4: Introduce the Main Character Describe the main character’s final struggle and its outcome. Why does Describe the main character’s MOTIVATION, CONFLICT and GOALS. this matter? This is the time to state what the main character learns. 16 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | THE SYNOPSIS | THE writing. It canbetoanaudience ortoyourself. have done agood job. Reading aloud isthe bestwaytohear your Does the synopsis sound like the storyonlyshorter? Ifyes, then you Step 11:ReaditAloud character’s journey through the story. thought lostshould beregained. The synopsis should reflect the main the world, overcomes afearorrepairs abroken relationship. Something should bemeaningful. Maybe he orshe learns anew wayof looking at Your main character need not change dramatically, butthe change Step 10:Checkfor theMainCharacter’s Arc character are themselves partof the plot. or twomight appearinasynopsis, thiswouldbeifthe words said bya dialogue tobreak upthe sentences. Though itispossiblethataquote of the storyspeakfor itselfnow, withno flowery details orquirky , 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 Each sentence must flowand conveythe power, excitement, and humor Step 8:Revise andPolish make ituptothe person. She learns thatifyoumake amistake, sometimes youget achance to back the money she stolefrom himand ends upwithanew bestfriend. Don’t keep editorsoragents guessing. Good luck—and enjoy! For Example: Inthe end, Jess makes peacewithher brother, pays SCBWI ILLUSTRATORS GUIDE

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

ven with the big changes in the publishing world going on today, it is still true that some of the best art to be seen is in children’s books! It is also a E constantly changing challenge. The market by 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 tal- ent, 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 , leave or send original artwork for viewing. If you cannot get in folktale (don’t be trite), or original story, or reillustrate another the door (and it’s harder and harder), have a copy portfolio with book just for show. Use written text as part of your design and reproductions only that you can leave behind and pick up later. layout. Include one or two finished color pieces of art. Work Better yet, have printed sheets of samples you can leave for them should be highly original, unique, and provocative, but at the to keep with contact information, website, and blog links. same time kid-friendly and accessible. Think about reproduction, Most picture books and educational assignments contain too; be careful of grays, browns, and muddied colors. The dummy representations of children and/or animals, so you should should also show your ability to draw the same characters show both if you do both well. Show character development by consistently and believably, in a variety of settings, positions, having the same characters in different narrative settings, doing and attitudes. They will want the illustrations to relate to the different activities, and showing different expressions and moods. manuscript text but give the reader more than just what the Remember to avoid presentation poses generally for trade work. words would convey alone. This dummy book will let the editor 18 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org experience and willshow them thatyouare serious about majority of publishers are based, do so!It’s agreat learning you tostop! have precious littletime. Dokeep sending samplesuntil they tell back unlessthey haveanassignment orwant toseemore. Buyers checked-off response possibilities, butyouprobably won’thear You might trysending asmall, self-stampedpostcard witheasily returned, include anSASE, butavoid thisasthey do not like it. will not make the desired impression. Ifyouwant yoursamples their needs. Again, yourartdoes the talking for youand willor about yourselfifyoureally thinkitmight behelpful infilling credits. You might givesome brief background information several sheets. Arésumé isonlyhelpful ifyouhavepublishing contact information and website .which youshould have. pages for filing reasons. Mark eachpiece withyourname and ORIGINAL ARTWORKEVER. Do not send bigger than81/2x11 checking first.You do notwant toannoy them. DONOT SEND buyers like toreceive samplesonline, sodon’t do thiswithout with multiple images, orseveral printed glossysheets. Not all introduce yourself.Thiscanbeasingle page ordeluxe postcard at times. Send asamplepacket for them tokeep inorder to or artdirectors are stillcurrent. Turnover ishigh inthe industry check directly withthe houses toconfirmthatthe editorsand/ publishers thatmight beagood match withyourstyleand story, out the publishers’ websites. these tomake sure yourworkisseenand not discarded. Check instructions for submission policies, and it’simportant tofollow searching online. Most publishers willhavetheir ownguidelines/ lists provided bythe SCBWIand updated eachyear, and by emails, etc., canbefound inreference booksatyourlibrary, Send for publishers’ catalogs. Current listsof names, addresses, How havethey made their characters interesting and believable? illustrations show the story?Notice the pacing of the page turns. makes them successful. Whatmediums are used?How do the the booksyouparticularly like inorder tounderstand what different publishers and their pastand current booklists. Study libraries, bookstores, and Googletoget familiar withthe many How doIshow my work toapublisher? hello! several times ayearwithmailers oremailed JPEGs/PDFsand a connection. Leavethem withthe WOWfactor, and then follow up you, butultimately itisyourartthatwillmake orbreak the the art,willtellthem alotabouthow itmight betoworkwith they willremember . ornot. Meeting you,the personbehind portfolios these days. Alwayskeep inmind thatitisthe artthat send anSASE along aswell,butIdiscourage youfrom sending pages). Ifyouhavesent yourportfolio and want itreturned, behinds, promotional sheets, postcards, orsourcebook reprint with ahouse’s designer and/or artdirector onaproject. picture books. Thatwillreassure them aboutyourabilitytowork formats, number of pages, text placement possibilities, etc., of know thatyouare atleastsomewhat familiar withthe size, | SCBWI ILLUSTRATORS GUIDE ILLUSTRATORS | SCBWI If youare abletomake atriptoNew York City, where the Include ashort coverletterinthispacket ifyouare combining After yourresearch iscompleteand youhavealistof You must beseentohired. Doyourhomework! Goto Lastly, youmay include ashort résuméand keepers (leave- ‘folded and gathered’ process. and folded into acompletebook.The termF&Gcomes from the multiple bookpages onitisputthrough the press, then cut way toproduce aprinted picture book.A single sheet with » » » » should include: reject yourproposal basedonlyonthatfact. Your submission authors/artists ontheir lististoosimilartoyours, they might interested. Beaware, though, thatifthe writing orartof current editor atahouse youhaveresearched and youfeelmight be pictures for abookproject, submitthem toachildren’s book canvas. Ifyou usehard, nonflexible board, films, pastels, or artwork isusually done onflexible paperillustration board for paper, photography, and increasingly digital, of course. Reflective (graphite), ink,watercolor, acrylics, oils, gouache, pastel,cut art director. The most common mediums usedtoday: pencil medium, orit’sreproduction, besure todiscussthiswiththe the typeof bookyouare doing. Ifyouare not sure aboutthe books. Choose any thatare comfortable for youand thatsuit that canbereproduced onaprinted page issuitablefor picture about traditional, printed books. Any medium ortechnique Should Ipresent abookideaifIhave one?(author/illustrators) program tohelp visitorsnew toNYC .take advantage of it! floor. HINT: The SCBWIMetro New York chapterhasacitybuddy Security istight, and sometimes youhavetowaitonthe ground your meetings are onand where the reception area islocated. Uber are the easiest waytotravel, butexpensive. Ask whatfloor whenever possible. Getagood busand subwaymap—taxies or city. Group visitsnear eachother orwithinthe same building plenty of time betweenappointments for travel around the artists, buttake advantage of their drop-off days. Try toallow come upthroughout the day. Some houses willnot seeindividual directors are extremely busy, and emergency meetings and crises times afewdays toaweekbefore the visit.Editorsand art three tofour weeksinadvance, and then confirmthe day and get firsthand feedbackand suggestions. Callorwriteatleast Winter Conference eachFebruary! Thisisagood waytoactually illustrating for thismarket. Perhaps combine itwiththe SCBWI What techniquesare usedfor illustrating children’s books? » » » » *Note: Why these numbers of pages? It isthe most economical information. See paragraphs onebooksand appsfor more presentation a wrap jacket), and sometimes endpapers. and asingle final page, atitlepage, acredit page, acover(possibly page. A32-page bookusually includes fourteen double-page spreads 48)*. Startthe numbering of the main story usually onthe left-hand appropriate number of pages for the dummy, usually 32(or24,40, the pages, and yourknowledge of bookmaking ingeneral. Use the gives the buyeranidea of yourcharacters inaction, the flow of a dummy: amock-up of the bookinblack-and-white sketches. This one ortwo samplesof finishedart:good colorcopies, notoriginals pasted indummy typed manuscript:double-spaced and presented separately from text By allmeans, ifyouhaveanoriginal storywithtext and Of course, today we havetodefine book!Butlet’stalkhere SCBWI ILLUSTRATORS GUIDE | 19 other high-maintenance media or backings, be sure to share this this market, and you can research them further online, too. Do PREPARING & SUBMITTING 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 MARKET SURVEYS 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 DIRECTORIES & RESOURCES 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? PUBLICIZING YOUR PUBLISHED WORK professionalism that is assumed when an artist is represented. The standard book royalty is 10 percent of the 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. SCHOOL VISITS 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 Artist Pricing and Ethical Guide take you on at the present time. Be sure to ask a lot of questions, Handbook, which holds a wealth of helpful industry information. know their expectations, and know how that meshes with yours. These are ideal figure ranges from their fourteenth edition from LEGAL QUESTIONS Talk to a couple of their other artists and clients perhaps (with a random sampling, and the publishers may offer lower or higher permission), study their contract obligations carefully, and be 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) 20 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org What shouldIknow whensigningacontract? » » » from the SCBWIorthe Graphic ArtistsGuild. language. Ifyouare uncomfortable, do find acontracts lawyer and youneed toread and understand allof this. Most istypical is typical). There willbelegaltalkaboutindemnity and such, dates, and payment schedules (1/3atsigning, sketch, and finish and the typeand number of the pieces of art,sketch dates, finish and the artistsand writers. It should clearlyexplain the project, to spelloutexpectations and legallyprotect boththe publishers intimidated abouteducating yourself.The purposeof contracts is either! You may not beable tochange anything, butdon’t be terminology. Many editorsdon’t understand allof their contracts, contracts carefully and askifyoudo not understand the | SCBWI ILLUSTRATORS GUIDE ILLUSTRATORS | SCBWI » » » There are several articles, blogs, and booksabout contracts, they most often onlyoffer WFH. rights they need for the educational market. Now withsolittlework, more fair school rights only(SRO)contracts, where they buyonlythe had traveled along way into convincing the publishers tousethe they transfer tothe digital age needs of schools. Agents and artists of income. The market hasbeenterriblyslowthese pastfewyearsas for experience, honing skills, and sometimes amore consistent source best!) for one flatfee. These educational assignments are wonderful often the ownership of the original artwork(thus digitally sent artis hire (WFH).Thismeans thatyousign awayallyourcopyrights, and are abitdifferent, as they are normally flatfeesand often work for the norm these days (Illustrator, Photoshop, etc.). These contracts very specific. Electronically produced and transmitted finishes are will passonstylesthey approve. Schedules are tight, and needs are these studios, butsend samplesheets to the publishers and they production studios. It isveryhard for independent artiststofind actual artassigning is outsourced bythe publishers todesign and illustrators find thisistheir bread-and-butter work. Much of the etc. Different programs are updated incyclical yearpatterns. Many programs include reading, social studies, math, science, music, art, books and supplemental projects for classrooms and library use. The Educational Contracts andMarket: Educational publishers produce percent off). the contract, and areduced contributors’ ordering cost(normally 50 Be sure toaskfor tentofifteenfree copies of allprinted editions in book. The copyright isusually placedinyourname for trade books. It belongs toyouand ithasvalueseparate from the printing of the sure the contract guarantees the safereturn of youroriginal artwork. rights). Take note of the royalty statement and payment clauses. Be received from such sales (typically 25percent ormore onmost sub on this. Simplymake sure youreceive afair share of any income future rights, such asfor digital books, butmost publishers frown Perhaps youmay wishtolimitthe time frame of the unknown and that willfinancially benefit you and them, solet them do their job. cannot sellyourself.The publisher issetuptosellthese rights Royalty Agreements: Donot asktoretain subsidiary rights you educational printed samples.) mass market and educational. (Though itisrare these days toget catalog.) Ask for printed copies of the finished project . usually its use. (Exception: when artisbeing usedinapublisher’s adsor If the publisher wishes tousethe artworkagain,he should payfor Flat Fees: You should beselling one-time reproduction rights only. Do NEGOTIATE! It isprofessional and expected. Readthe a printed bookdummy isfine. these ideas atthistime. APDFdummy bookasyoumight do with improving monthly. There isreally no presentation guideline for themselves, asthey need toadvance further, and they are in development. Abig limiting factor is actually the devices books aswell,butthe future willtellthattale. The field is only asebooks. Most likely these willoften beoffered asprinted done, publishers willbelooking for new stories thatmay appear might beadded, butno new artisneeded. Once backlists are reformatting backlistsand classic books. Some enhancements devices) are not original atthispoint. Publishers are mostly sure youallowfor extra model and shooting costsaswell. invasion-of-privacy lawsuitsand libelsuits. You may want tobe included inyourphotography. Thiswillprotect youagainst would betousesigned model releases for any minor oradult pertains tophoto-illustrating aswell.The onlyadditional hint groups, study the worksof pastand current illustrators. Note schools and privateconsultations withlocalartistsand critique story inthe forefront of yourimagination. but youmust stillkeep the childand hisinteractivity withthe picture bookdummy. You are not limitedtoacertainpage count, an idea, workupalayered thumbnail visual dummy, justlike a strive toexpand and deepen the storyexperiences. To present advantage ingetting into thisarea, asit’sveryvisual. You will about the storybefore allthe bells and whistles. Artistshavean like the bestbooks:they engage and appeal tokids! It’s stillall characters pacing, and anarc” (saysDryden). The bestappsare with asolid storyline, justlike any book,thatincludes “a plot, tablet era now.” in aForbesarticle mentioned recently, “We are atthe dawn of the point . and the future willpresent possibilities. As Alex Knapp could change overnight. Again, the devices are limiting atthis are fewpaying opportunities inthisfield atthistime, butthat this industry. Artistsshould continue towatchand read. There exciting and expensive experimentation and rights battlesin publisher, and averydifferent one the next. It’s atime of convoluted, complex answers. It’s one answer one day, one require agreat deal of complex production and design.” Nor are they .They are something elseentirely, that publishing consultant withdrydenbks) says, “Apps are not books. What are ebooks, andhow canIgetintoillustrating them? What aboutphoto-illustrators? Graphic ArtistPricingandEthicalGuideHandbook( keep upwithwhatisthe market norm. One good resource isThe particularly digital rights thatseemtochange sooften! Try to How canIlearnmore aboutillustrating children’s books? industry? What are apps, andhow canIgetintothisexciting new Most ebooks(digitally enhanced booksread onelectronic All of the preceding information, including pricing, generally Besides the traditional methods of training, such aslocalart If youwant totryenter thisarea, youstillneed tostart We are allasking good questions towhich there are many The moving target! As Emma D.Dryden (children’s editorial and www.gag.org). SCBWI ILLUSTRATORS GUIDE | 21 their use of color, form, space, and other visual elements. How PREPARING & SUBMITTING do they solve the problems of technique, character development, and story pacing? There are many older books about writing and BOOKS FOR ILLUSTRATORS illustrating for the children’s publishing market, and new ones are coming out all the time. There are many blogs by reps, writers, illustrators, and SCBWI regional advisors with a multitude of • 20th Century Children’s Book Treasury (reissue editions), by interviews, hints, and how-to articles. The industry and trends Janet Schulman, Knopf, 1998. are constantly changing, but much of the information about • A Basic Guide to Writing, Selling, and Promoting Children’s illustrating remains age-old truths. Good art is good art. No Books, by Betsy B. Lee, Learning Abilities Books, 2000. way around that. Enjoy the partial list following of some of the • ABC’s of Writing for Children, by Elizabeth Koehler-Pentacoff, wealth of information out there! And enjoy the journey. Quill Diver Books, 2002. • Art and Design in Children’s Picture Books: An Analysis of MARKET SURVEYS 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 DIRECTORIES & RESOURCES Bossert, RotoVision, 1998. • Children’s Books and Their Creators: An Invitation to the Feast of 20th Century Children’s Literature, edited by Anita Silvey, Houghton Mifflin, 1995. • Children’s Writers & Illustrators Market, by Pope, Writers Digest Books, annual publication. • Complete Idiot’s Guide to Publishing Children’s Books (3rd edition), by Harold D. Underdown, , 2008. • Enchanted World: The Magic of Pictures, by Bryan Holme, Thames and Hudson Ltd., 1979. • Exploring Color (revised edition), by Nita Leland, North Lights,

1998. PUBLICIZING YOUR PUBLISHED WORK • Graphic Artists Guild Handbook: Pricing and Ethical Guide, by Graphic Artists Guild, 2007 edition. • How to Write & Illustrate Children’s Books and Get them Published, edited by Treld Pelkey Bicknell and Felicity Trotman, Writers Digest Books, 2000. • How to Write, Illustrate, and Design Children’s Books, Frieda Gates, Library Research Associates, 1986. • Illustrating Children’s Books: A Guide to Drawing, Printing and Publishing, by Nancy S. Hands, Prentice Hall, 1986. • Illustrating Children’s Books: Creating Pictures for Publication, by Martin Salisbury, Barrons, 2004. • Illustrating Children’s Picture Books, by Steven Withrow and Lesley B. Withrow, Writers Digest Books, 2009. • Illustrator’s Notebook, edited by Lee Kingman, Horn Book, 1978. SCHOOL VISITS • It’s a Bunny-Eat-Bunny World: A Writer’s Guide to Surviving and Thriving, by Olga Litowinski, Walker & Co., 2001. • Minders of Make-Believe, edited by Leonard Marcus, Houghton Mifflin Harcourt, 2008. • Picture This, by Molly Bang, Seastar Books, 2000. • Storybook Art: Hands-On Art for Children in the Styles of 100 Great Picture Book Illustrators, by MaryAnn Kohl, Bright LEGAL QUESTIONS Publishers, 2003. • Writing Picture Books, by Ann Whitford Paul, Writers Digest, 2009. • Writing with Pictures: How to Write and Illustrate Children’s Books (reprint edition), by Uri Shuevitz, Watson-Guptill, 1997. 22 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI ILLUSTRATORS GUIDE ILLUSTRATORS | SCBWI www.textbook.com Educational publisher list www.ala.org American Library Association www.bookpage.com Book reviews www.bookweb.org/aba American Booksellers Association www.bookwire.com Book industry info and links www.catugeau.com Artist agent’s atArticlesand site—look Blog www.underdown.org The PurpleCrayon—editor Harold Underdown lcweb.loc.gov/copyright US Copyright Office www.cbcbooks.org Children’s BookCouncil www.lights.com/publisher Listing ofpublishers’ catalogs www.hbook.com The Horn Bookmagazine www.publishersweekly.com Publishers Weekly online magazine www.gag.org Graphic Artists Guild www.scbwi.org Society ofChildren’s Books Writers and Illustrators WEBSITES kathytemean.wordpress.com Daily industry info and interviews characterdesign.blogspot.com lynnechapman.blogspot.com penandoink.com kidlitartists.com dulemba.blogspot.com chrisoatley.com blaine.org/sevenimpossiblethings designofthepicturebook.com/blog www.simplymessingabout.com catugeau.wordpress.com Agent’s tips BLOGS JUMPSTART YOUR CREATIVE CAREER

by Katie Wools

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

1) Admit it. five different scenes of the same fairy tale, three scenes of a Mother The first step is to tell everyone you know that you’re an artist. This Goose rhyme, four scenes of what your pet does when everyone leaves, is one of the hardest steps of all. Saying your dream out loud is scary. a story your child tells you. In a perfect world, you will show you can What if people laugh or don’t think you’re good enough? An accountant draw children, adults, senior citizens, and animals, and that you can doesn’t worry if her friends think she is good at numbers. She does it draw the same character in different poses. And if you can do different because she likes working with numbers. You do art because you like nationalities, even better! doing it. If you want to do art, do it!!! Once YOU really start to think of yourself as an artist, you will be amazed how much quicker things begin 4) Choose. to happen. Choose twelve sketches you like the most and execute them in black and white. This will help you understand the values in the composition 2) Community. and make your color illustration stronger. Plus, bonus if you have black Surround yourself with other artists. It’s incredibly hard to do art in and white pieces for your portfolio! You might not have time to do this a vacuum. I cannot tell you how many horror stories I’ve heard from for all your pieces, but consider doing a handful. people who asked their mother/huband/wife/friend to critique their art. 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 to the next one. more as an artist than a night of talking art with a friend. You can Be daring! If you feel you have perfected your talent at drawing a do this by attending SCBWI events. (Please, please, please come to mouse, but someone needs a moose eating mousse instead, then by the events. We want as many people there as possible!!!) Join online golly, draw that moose! groups on Facebook or Twitter. You need community! Even if your first step is contacting me, as illustrator coordinator I am happy to answer 6) Displaying your portfolio. questions. I am easy to talk to, I promise! Okay, now you have your portfolio! When I say portfolio I am referring to the collection of your work that represents your style, not 3) Subject. necessarily an actual book. It’s important to get that portfolio online Two or three drawings are not enough of a foundation to show so people see it. The best way is to build a website. A page will your work quite yet. You need more. And your drawings can’t just be also work, and it’s a quick tool to use. Be careful not to fall into the a still life, a portrait smiling directly at the viewer, or an . trap of constantly telling yourself your portfolio will ready after the They should show some kind of narrative/story. As an illustrator you next piece. It’s easy to tell yourself your portfolio isn’t ready to avoid are clarifying what is happening in a story. A smiling portrait of your taking the somewhat scary next step. child/grandchild—no matter how nicely drawn—does not necessarily tell a story. If your drawings are just a well-drawn vase of flowers, you 7) Announce. will need to show you can tell a story. Sketch. Sketch. Sketch. Draw Choose your favorite piece and make a postcard to send out. 24 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | JUMPSTART YOUR CREATIVE CAREER YOUR CREATIVE | JUMPSTART at www.katiewools.com is theformer IllustratorCoordinatorof Missouri.Learnmore about Katie She isalsoacreativedirectoratWashington UniversityinSt.Louis. Katie toward the goal itwillhappen. and Iwillcheer youon!You cando this. Ipromise ifyoukeep working to beyourowncheerleader. Ifyouneed aboost,send me anemail Remember everything happens outside of yourcomfort zone. Continue yourself the same permission to,for lackof abetterterm,fail inart. just kept sending outresumes until Igot anew job. You need togive for ajob, move into my parents basement, and eatRamen noodles. I rejected from companies, Ididn’t take itasasign Ishould quitlooking getting. Eventually, Ilanded agreat job. When Ididn’t hear backorwas fraction of them. Ihadsome interviews for jobsthatIended upnot experience. Isent outmany, many resumes. Ionlyheard backfrom a Not long ago, Iwaslooking for ajob. Ihadthe normal jobhunting This isnormal and okay. It’s not asign youshouldn’t beanartist. as many times asittakes! blogspot.com/2012/11/sending-art-promotional-postcards-to.html promo cards. She saysitbetterthanIevercould. www.kristivaliant. Kristi Valiant hasagreat explanation of how tomake and distribute Katie Wools isanaward-winningillustratorlivinginSt.Louis, Missouri. Good luck!!! Yes, lifeisfullof distractions. Stayfocused. Persevere. 10) Look,abird! This isabusiness where youwillmost likely receive rejections. 9) Relax. Continue tomake artand update yourportfolio. RepeatSteps3to7 8) RinseandRepeat. 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 book. Which will encounter the portfolio itself. The outer case should reflect the is just what I want people to think when they hold it: “This book is same professionalism and style you present on the inside. something of quality.” It need not be fancy and frilly or sparkly and glittery. The same manufacturer of this portfolio also makes available When I design my pieces I am always searching for the simple custom covers—so you have the option of creating your own unique yet elegant solution to my compositional challenges, and I want my design. But whatever you choose—be it sleek and black or wonderfully portfolio to reinforce that. whimsical—make sure it suits your work. So, here’s what looks like . . . 2. Introduce Yourself. Like a good strong handshake—a strong title card or introductory piece lets those opening your portfolio discern quite a bit about you. My advice? You don’t want to start off with a limp-fish handshake (i.e., a weak piece). I prefer to add a title piece as the first page of my printed portfolio, rather than clutter up the rest of the pieces with my contact information. If you can swing it, I think it’s a good idea to have your “title” piece tie in with the rest of your promotional pieces. For instance, feature the same piece on your business card. That way, when someone who has met you (and has your card) opens your portfolio, they will immediately make the connection between the two. Here’s one from 2010 as seen in my portfolio . . . 26 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org showcase the working sketch of apiece opposite the finished piece. subject withconsistency and grace. (pardon the upcoming pun), ishogwash.Not everyartistdraws every animals that EVERYportfolio should contain. Butinmy opinion this, people. Ofadults and babies. I’veevenbeengivenalistof barnyard illustration portfolio should haveaperfectbalance of animals and amazing? You know which waytogo . animals. PRETTY WELL. portfolio? they usethe extraordinary talent of the townspeople to savethe day! infamous ElGuapo tosavetheir homes. Buthow? the terrorized villagers of Santo Poco) are forced to stand up tothe 3. BestFoot Forward. | PUTTING TOGETHER A PRIZE-WINNING PORTFOLIO APRIZE-WINNING TOGETHER PUTTING | Your portfolio should show what YOU do best. Humility aside—one of my strong points ismy line work.So,Ilike to I’ve heard lotsof peoplesaythateverychildren’s Is yourblackand whiteworkso-so,butyourcolorpieces are Are yourillustrations of insects adorable? Gowithbugs. Are animals yourthing, butpeoplenot somuch? Then putin That thing .iswhatyouneed to putinyourportfolio. Ask yourselfwhatisitthatyouREALLY DOWELL!Not justOK,not So, whatdoes thishavetodo withputting together aprizewinning The Amigos ask,“Whatisitthistown reallydoes well?” And then One of my favorite movies isTheThreeAmigos.Init,the Amigos (and pages in between)yourportfolio showcases the bestof you! must do thisagainsoon!”parting handshake. handshake, agood end page isyour:“It’s beenlovelytomeet you,we end pages . to twelveorthirteenpieces plusmy titleand end page. And speaking of believe thatlessismore when itcomes toaprinted portfolio. Ilimitit that mediocre piece becauseIhaveanextra page tofillup.Itruly filler? pages. Don’t youhatethe feeling of turning toablankpage that’sjust attribute thatsoldme onitwas my abilitytocontrol the number of with similarlines of action, orlighting, orcolor. between one project and another? Consider creating asense of flow Group pieces from the same project together. Pages thattransition layout asmuch asitdoes tothe individual pieces themselves. and timing. Your design sensibilities. And thisapplies toyourportfolio tell astoryvisually. How youutilizepage turns. Your sense of pacing and editorslookatyourportfolio—they are thinking abouthow you the order inwhich youshow them. Remember thatwhen artdirectors 5. LessisMore. 4. GowiththeFlow. Bottom line—make sure thatfrom starttofinish(and all the Just asthe titlepage servesasyournice, firm,introductory By controlling the number of pages, Ialsoeliminate the urge toadd Aside from the lovely feelof my screw-post portfolio case, the other Think aboutmaking the transitions betweenpieces flow naturally. Just aboutasimportant asthe quality of the pieces youshow, is CREATING PICTURE BOOK DUMMIES by Elizabeth O. Dulemba

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

Dianne Hess, executive editor of Scholastic Press said, “A book to the same proportions). They can be as simple as twenty pieces of dummy shows that you have a sense of how your picture book will be regular paper or card stock stapled together at one end, or ten pieces paced. This can be achieved through a thirty-two-page sketch dummy.” of paper folded over and stapled in the middle. This will give you a Some artists choose to make book dummies that are works of art full, standard-length, thirty-two-page picture book made up of forty unto themselves. They can be wonderful portfolio pieces, treasures to facing sides from cover to cover, including the endpapers, title page, their creators and admirers. Although, from a submissions standpoint, copyright page, and dedication page. To see how many pages need to Dianne feels that, “a full-color dummy with finished art is fun to look be accounted for and where they go, you can download my thumbnails at, but totally unnecessary. And it’s a waste of your time, since even template at www.dulemba.com/FreeTools/storyboard, or look at a picture if the book does get sold, you will most likely still need to make some book you like and count it out. extensive changes—and you need to be flexible.” Follow the same rule as your portfolio—never­ include original As Meredith Mundy, executive editor of Sterling Children’s Books artwork in a dummy. Instead, scan your work into your computer and said, “Even if an author/illustrator says in the cover letter that he/she print it to each side of a page on your home printer. Staple it together is fully willing to revise/reshape a project, when it looks done, it feels and, voilá! done. I’d much prefer to see a project in rough form and feel that the While you can find directions for hand-made books with sewn art director and editor will have a chance to work with the creator to bindings and such online, Dianne says, “Fancy bindings are completely shape a project to completion.” unnecessary. Staples are fine. Just make sure your pages are numbered.” My personal formula has been to pencil out the entire story and I do suggest getting one of those over-sized staplers that can reach take two or three of the pieces to final. The wiggle room has been all the way to the middle. I love mine. If you’re worried about sharp how finished those pencils are. I’ve recently loosened up, sometimes ends, put some masking or fabric tape over the spine. including enlargements of my thumbnail sketches to get the general If you do want to get fancy, you can lay your story out in printer ideas across. spreads in InDesign, ready to fold into a proper book. Or a little bit of Both Dianne and Meredith believe it’s important to share at least skill in Photoshop can go a long way if you’d like to format your pages two finished pieces in a proposal to show what your final art will look there. You can have your local copy shop put it together or send your like. Meredith said, “Even finished art unrelated to the proposed project dummy off to Lulu.com for a seriously slick finish. But it’s really not is fine. What I’m really looking for is the finished style, since sketches necessary. don’t convey that well enough.” As Meredith said, “No need to provide anything super fancy—the Dianne said, “I have seen sketch dummies with very loose, simpler, the better.” rudimentary drawings that are just fine. But whether you are a new So, do dummies work? Do dummies sell books? artist—or a veteran artist—it’s good to create a full sketch dummy. You When I asked Dianne if she’d ever acquired a book because of a don’t need refined sketches—just something loose. But enough to dummy, she said, “I can’t say how often—but­ I have bought many a show placement, have some feeling of character development and page book based on a dummy.” design, and logical movement of the story.” Meredith has too. She said, “Twice that I can think of . . . Dummies don’t have to be hard to make. They don’t even have to be and one of those times, we didn’t even end up using the author as the true to the book’s final intended size (although you can trim them down illustrator! BUT the dummy showed very clearly the author’s vision for 28 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org are many different waystoget the point of yourstoryacross. long asyouhavethe page count right for astandard picture book,there if the storyisworking ingeneral. verbiage spots, ifthe text fitsthe standard thirty-two-,and images/scenes are changing up,ifthere are any text dumps vs. spare benefit from laying outtheir text inapage-turning format to seeifthe simple manuscript. It really did need visuals toclarifythe concept.” the book,and without it,Iwouldnot havelooked twice atthe very | CREATING PICTURE BOOK DUMMIES BOOK PICTURE | CREATING Bottom line, don’t letcreating apicture bookdummy scare you.As Creating bookdummies isn’tjustfor illustrators. Allcreators can Take note authors!

ELIZABETH DULEMBA DEMYSTIFYING DIGITAL DUMMIES

by Bonnie Adamson

reating the files Essential tools for producing a digital dummy are: C 1) a way to scan sketches and final art (if you work traditionally), to create digital 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 by pixel dimension only (you must work out the math for yourself), other than jpeg, which compresses the information in the scan and and files cannot be saved directly as pdfs—you can either print to a re-compresses with every editing session, resulting in a progressive loss pdf driver (when I experimented, this option added an arbitrary white of quality. Bitmap or tiff formats are safer choices. A suggestion: scan border to my image), or use a pdf converter tool. It is also possible to and process at print resolution (300 pixels per inch) if possible. It’s a find low-cost or free open source alternatives to Photoshop (GIMP is good idea to think of this as a print project from the start so that you one)—and there’s Scribus as an alternative to InDesign. As with all the retain as much information as possible in your native files—including software mentioned 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 Photoshop or CorelDraw and proceed as above, dropping in art and need to email as an attachment. There are ways to with pdf adding text. The difference is that each saved spread will be a separate compression: start with “Smallest File Size” as the pdf Preset option file. Name each pdf file to reflect the order in which you want the in InDesign. (If you’ve already exported, you must open the original files seen: Dummy 1 for the cover image, Dummy 2 for the title page InDesign file and export again.) Experiment with different settings spread, etc. (There are excellent resources online that explore the many (renaming your file each time) to determine a workable balance permutations of the standard 32-page picture book format. For dummy between size and quality. If you’re using Photoshop to create spreads, purposes, I generally disregard endpapers: page one is the title page, choose “Low” or “Medium” Quality as your pdf option. You can also try page two is designated for copyright information, and the story spans the “Reduced-size pdf” option under “Save As Other” in Adobe Acrobat pages 3-32.) Once you have your spread files saved, you can use a pdf Pro’s drop-down “File” 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 »» Standard screen resolution is 72 ppi. You can down-sample your 30 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DEMYSTIFYING DIGITAL DUMMIES permission. storage limits, never attachapdfdummy filetoanemail without doubt, ask.Although email hosts are continually upgrading their requirements vary, soresearch yourintended targets, and when in your tabletorphone. device, youcanstore yourfilesonlaptopor desktop and sync to Android. utilities employFlash,which isno longer supportedfor iPhone, iPad or to embedthe dummy withathird-party reader, however. Most of these Issuu (besure yoursettings are setto“private”).Resistthe temptation store yourfileonaserverorfree publishing sitesuch asScribdor externally, inanemail. IfyouownaBlogger orTumblr site, youmust use tolinkinternally toapassword-protected page onyoursiteor library. Once uploaded, the filewillhaveitsownurlwhich youcan » » Delivering thefiles Storing thefiles » » The safestoption when querying istoprovide alink.Submission If you’re concerned onlywithviewing the dummy onyourown A WordPress websitewillallowyoutouploadapdfyourmedia sending them asseparate filesto keep your dummy ingrayscale. If you’re including finished colorartsamples, consider storing and (75%) or5.5”x4.5”(50%). size—try scaling down proportionately: resize pages to8.25”x6.75” If you’vecreated yourdummy atfullprint size—say, 11”x9”page images tothisresolution without worryfor on-screen viewing. YOU’RE HIRED TO ILLUSTRATE YOURCOPYRIGHT FIRST CHILDRENS FACTS BOOK WHATFOR COMESWRITERS NEXT?

by Laurent Linn

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

So much energy and work is put into preparing one’s craft. But often left to the artist to decide the pacing of the text in relation to the art. when an illustrator is hired to create the art for a picture book, it can In this case the freedom—and responsibility—is for the illustrator to be a bit of a surprise what comes next. choose which scenes get the most emphasis in the arc of the story. Almost without exception, when I work with an illustrator on her As a first-time illustrator, it might be best to ask for the manuscript or his first picture book, there’s a learning curve for the artist on the to be paginated for you. It may come that way first, but if not, feel free process and nitty-gritty of how a book comes together. Often, getting to ask for the page breaks to be inserted by the author and editor. That up-to-speed on those details slows the whole process, can cause could help avoid much confusion. confusion, waste time and effort, and be stressful for the illustrator trying to navigate the whole thing. So, here, I’d like to demystify some AUTHOR’S ART NOTES: of the process so you can be better prepared for the happy day you are Many picture book authors, with the best intentions, will add hired to illustrate your first book. illustration notes throughout their manuscripts. Often it’s for the editor By no means do I cover all the things that could come up, but this to better understand the story, which can help with the editing process. list can certainly give you a head start when you get that call. But many times these art notes are left in the manuscript that is given to the art director to then send to the illustrator. THE MANUSCRIPT Unless an art note is essential for the artist to understand (for Most first-time illustrators are creating the art for a manuscript example: a major aspect of the story that’s not mentioned in the written by someone else. While it certainly does happen that a first- text), I always take out the art notes when giving an illustrator the time illustrator is also the author of her or his first book, it’s quite manuscript. A picture book is a shared and equal creation of both the rare. Illustrating a book that’s written by another is a fantastic way author and illustrator (and, by extension, the editor and art director). to get into the children’s book world (and the usual way). Even more We hire the best illustrators for their unique and singular vision, than that, many top illustrators only create art for books they haven’t for how they would interpret a story. I feel that, by art directing an written. Not all illustrators are writers—that’s a very individual thing illustrator right away, it’s like putting handcuffs on that artist—I want based on one’s interest, skills, and talents. However, anything is to see what you will bring to the illustrations, not how you would draw possible! my ideas, or the author’s. So, let’s say you are hired to illustrate a manuscript by someone else For various reasons, many art directors and editors will leave the (that the publisher has acquired.) There are certain things you should author’s art notes in a manuscript that may come to you. You should consider. Of course, your art director (or, in some cases, editor) will absolutely feel free to talk with your art director and ask for them to be be there to help you, but it pays to be informed so you can know your taken out or, at the very least, discuss that you would like the freedom options. to draw what you envision without those restraints. The Big Exception: nonfiction. With nonfiction, the author has PAGINATION: probably spent years researching the topic and, since the art must Some art directors will give the illustrator a manuscript that has all factually reflect the topic, art notes are often needed. In fact, the the page breaks inserted throughout, so it’s clear what text falls on author’s notes will be a treasure trove of resources for you and you may which page. But often the text is presented as one flowing story, so it’s want even more information from the author as you do your sketches. 32 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org kinds of media beautifully. and bounds from where itwas yearsago. We can now reproduce all scanning or photographing art for the printed page hasjumpedleaps to collage topastelacombination, aswellsomany other media, right for the artist and bestsuitedfor the story. From paint tocutpaper wonderful freedom tocreate picture bookartusing whichever media is is essential. and/or setting upyourdigital filesinthe right waysfrom the beginning scanned and printed inspecificways, and crafting yourphysical artwork when the final art was delivered, weboth were in for ashock. Artis assumed wewere understanding how the artwouldbecreated. But, than I’dlike toadmit, boththe illustrator onaproject and Ihaveboth will saveyoumuch potential hassleand headache. Inmore instances you willdeliver the final illustrations, knowing certainthings upfront your initial compositions, you’llbeahead of the game. of design. art inanorganic way, all the whileknowing the parameters and “rules” etc. The bookdesigner’s expertise isinincorporating the typeinto the text—like injazz,I“riff”off of the artstyle, colorpalettes, emotions, the final artis done to decide uponthe fonts and final design of the course of the bookcreation. Infact, when Idesign abook,Iwaituntil text. will help youtoknow how much room isneeded toaccommodate the (it’s usually from anun-copyeditedversion of the manuscript), but it the final book.By no means willthe fonts befinal or the text finessed the pages, withthe typeplacedoneachpage atthe sizeitwillbein very rough layoutof the book,setatthe actual sizeand dimensions of provided for youatthe start,besure to askfor atypedummy: thisisa know how much room toleavefor the text oneachpage. So,ifit’snot the startof the illustration process. But,asthe artist,it’sessential to house’s responsibility and expertise, certainlyisn’tdecided uponat character the storycallsfor, then youcanjumpinto the fullbook. they different from their surroundings? Etc. Do they share the same design qualities astheir environment orare the outside and how canthe design hint atwho they are onthe inside? or animal (orobject..)?Whatdo they show abouttheir character on illustrators togo wild—tryoutallsortsof designs. Who isthisperson world youare creating for them, butisalsoalotof fun.Ialwaysask with the character visually willnot onlyinform how youillustrate the change. take valuable time) tore-sketch eachpage ifthe character designs that canbefine, itcouldcreate even more work for the illustrator (and whole booksketches before refining the main character design. While eager tojumpinto the storysketches thatshe orhe willsubmitthe | YOU’RE HIRED TO ILLUSTRATE YOUR FIRST CHILDRENS BOOK: WHAT COMES NEXT? COMES WHAT BOOK: CHILDRENS YOUR FIRST TOILLUSTRATE HIRED | YOU’RE Because of where weare withtechnology now, illustrators havea TRADITIONAL MEDIA(NON-DIGITAL): No matter how youcreate art,whatmedia youuse, and however DELIVERY OFFINALART But ifyouhavethe basic idea of how tousethe sizedtext blocksin Of course, justlike the art,the typedesign willevolveoverthe The typedesign of abook,which isthe designer atthe publishing TYPE DUMMY Once youand the artdirector are satisfiedthatyou’vecreated THE Most allpicture booksare character based, and experimenting Sometimes, and understandably, afirst-time illustrator willbeso CHARACTER DESIGN the betterthe bookwillbe! beginning, and the betterrelationship you havewithyourartdirector, is alwaysappreciated and cansaveeveryone time and stress. you don’t understand the process yet.Believe me, opencommunication afraid toaskeverypossiblequestion youcanthinkof, oreventosay practice—once youare hired toillustrate abook,you’re in!Sodon’t be essential. need tobe300dpiat100%of print size, butconfirming thisfirstis the filesinto CMYK. spend rushed and needless hours reworking the artonce youconvert time creating yourlovelyartwithRGBcolors, youmay then haveto the art,Irecommend doing itinCMYKfrom the start.Ifyouspend your in CMYK,notRGB. Allbooksare printed using CMYK.So,asyoucreate the art. look and adjustyourdigital palettesaccordingly tocreate the rest of as they willwhen printed. Then youcanseehow the colorswillactually for testproofs. They willmake printed proofs of your artfilesthatlook you’ve done yourfirstfewcolorpieces, send the filesto the publisher palette canbetricky. The bestwaytoavoid surprisesis, assoon definitely lookdifferent onthe printing press—choosing yourcolor look different from how itlooksonanartdirector’s screen—and itwill art tobesure yourcolorpalettewillreproduce the wayyouwant itto. perhaps send ittoyourartdirector before youjumpinto the rest of the like they lookinoriginal art,sowhen youcreate yourfirstcolorpiece, certain colorssimplywon’treproduce. Aboveall,neon colorswon’tprint should produce. Be sure toaskyourartdirector ifthere isasizelimittothe artyou marvelous thing.) Butthe sizeof the scanner needs tobeconsidered. is no longer usedtomy knowledge, you’llunderstand why thisisa the artboard canberigid. (Ifyou’veheard of adrum scanner, which Your firstbookshould beajoy, and the more toolsyouhaveatthe NEVER BESHYABOUTASKINGQUESTIONS. Honesty isthe best ABOVE ALL: Also, discussthe filespecifications before youstart.Artfilesusually Also—and thisisimportant—the final artfiles needtobe delivered Since the waycolorlooksonyourcomputerscreen willinevitably DIGITAL MEDIA: In four-color press printing (cyan,magenta, yellow, and black), Most artisscanned onaflatbedscanner, which is good , since However, there are stillparameters toconsider. FROM THE EDITOR’S DESK: EDITORIAL FACTS QUESTIONS MOST FREQUENTLY ASKED BY CHILDREN’S BOOK WRITERS

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

Where should I send my writing? addition, the SCBWI’s “Edited By” list (page 97) will help you research It may be difficult to think about your manuscript from the other side specific editors’ tastes and the types of manuscripts for which they of the desk, but do so for a moment and the process may seem a little look. less overwhelming. Editors need to discover new talent, and indeed, Another valuable resource is the Children’s Book Council (CBC), it’s what makes their job exciting. With this in mind, you have a real a nonprofit organization of the children’s book industry. The CBC shot at finding a home for your manuscript. It does, however, take some maintains a list of publishers who are committed to publishing books serious work. Unfortunately, many people believe that writing is easy. for young people. See their website, www.cbcbooks.org, for more These same people do not realize that their text goes off into the world information. alone and must withstand the tests of a variety of readers and tastes as Literary Market Place (LMP) is another source for a list of publishers; well as changing trends. In light of these demands, it is encouraging it also lists literary agents. It is available at any reference desk at that so many manuscripts do find their niche. public libraries across the country and is updated annually. The match between the kind of project you’ve written and the house/ Although the CBC and LMP are important sources for you to use, your editor to whom you send it is important. You may receive a response real work is more complex. You need to determine whether there is a that says your project is “not right for our list.” For some editors, that publisher who is currently publishing titles in the vein of your work. may simply be a kind way of saying no. For others, it is true—your This seems obvious—send a picture book to any children’s publisher, specific project does not work for them because they do not edit picture because they all publish picture books, right? Not really. A better books, or nonfiction, or whatever genre you have submitted. No matter approach is to try to figure out exactly what you’ve got. If you have a how good your manuscript is, you won’t get on that list. One thing holiday story, try to figure out who might have a subcategory of holiday many authors should know, however, is that if there is some element titles. If you don’t see any general trend, then you need to visit a in a project that strikes the editor as inventive or well written, he or bookstore and really look at what is similar to your work and check who she may take the time to write an encouraging note even if the work is the publisher is. Be certain to find the exact imprint and not just the declined. You may have written a work that will, in fact, appeal to only overall corporate name. Many large publishers are umbrellas for smaller a limited readership; it may not be appropriate for wide distribution. imprints. Each imprint has its own staff and its own mission. You can This should not deter you, but should help you put in perspective the see this for yourself by visiting various publishers’ websites. These sites enormous task ahead. Now let’s assume you are willing and ready to will list each imprint, with examples of exactly the type of books each seek the widest recognition possible and form a relationship with a one publishes. It may seem to you at first glance that all the imprints publisher. are essentially the same, but they are not. Within the large houses Begin to think about where to send your work and develop a plan especially, the identity each imprint has is important. of action. Some questions to answer: What are you selling? Fiction or This distinction, however, leads to another rule: Decide which nonfiction? A picture book? A middle grade or young adult novel? There imprint/editor you are writing to, and do not send your submission are some general rules for picture book submissions. Do not send a text to someone else in that group at the same time. Once you have your that is equivalent to a greeting card, or send one that is so long it list of publishers and specific imprints, find out whether unsolicited cannot possibly fit the standard thirty-two-page picture book format. manuscripts are being accepted. Post-9/11, many houses determined Do your research. Never assume your book is for all ages. An editor that for security reasons they would return manuscripts addressed as well as a bookseller or librarian needs to place the book in some simply to “The Editors,” without a specific name attached. This may category. Who is really the best reader for your work? Of course, a book make you feel as if it’s even harder to find a home for your work, but can cross over and appeal to other groups, but you should understand understand that from the publisher’s side, security measures are not that it needs to start in some specific category. Once you know what unreasonable. Your research should include finding the names of editors kind of book you have written, it will be easier to focus. to whom you should submit your work. This security policy applies The SCBWI’s “Publishers of Books for Young Readers” list (page 61) to many literary agencies as well. It is up to you to find out each is updated annually and is a good place to begin your research. In recipient’s requirements. 34 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org book willbeabletoenvision ashe orshe reads the text. leave extra spacewhere page breaks fall. The editorwho acquires your director tocreate avision for the final book. Type the manuscript and is preferable. Remember, partof aneditor’sjobistoworkwiththe art so itisunnecessary tolayout the book.Adouble-spaced manuscript chance of acceptance—although itispossible. match. Ifyoudo send the project along asateam,youhavesmaller he orshe knows. However, do not expect thatthiswillbeanaccepted is accepted, the author cansuggest the possibilityof using the artist to find awinner. Thatiswhy they bother torunthe contest. contests are agood betbecausethe house running the contest wants worth it.Try tosend the project toaspecificeditorby name. Also, with the Copyright OfficeatLibrary of Congress to register yourwork. Once the workispublished, the publisher willfilethe necessary forms in tangible form, sothere isno need toregister itbefore mailing itout. home. a to puttime and energy into the process sothatyourmanuscript finds work out.Nonetheless, like any teenager applying tocollege, youneed could beaperfectmatch for yourmanuscript, butnot allof them will And insome waysthe twoare alike! There are plenty of placesthat submitting amanuscript isasanxiety-provoking asapplying tocollege. coverage of trends and issuesinchildren’s books. Some peoplefeelthat year, inFebruary and July, PWhasads, interviews, reviews, and general sold insome of the larger bookstores and isavailableonline. Twice a Weekly (PW),which should alsobeavailableatyourlibrary and iseven up witheditorsand who might beworking where istoread Publishers speaking, evenifyoudo not attend their sessions. Another waytokeep the country (and throughout the world).Find outabouteditorswho are published inbook form aswell? I’ve soldastorytomagazine. Isitallright totrygetit leaving blanks where theartwillgo? preplanning theactualpagesasthey willappearinthebook, Should Isendthemanuscriptonly, ormake upalayout by What isthebestprocedure regarding picture bookmanuscripts? known. How besttopropose suchabook? by teams. Bothof usare published,but neitherof usiswell you are theauthorandillustrator. Yet we doseebooks done advisable tosendamanuscriptwithproposed artwork unless us isawriter, theotheranillustrator. We bothknow itisnot A friendandIwishtocollaborate onapicture book.Oneof to make itoutof suchahugeslushpile? dismaying. How can any manuscript,nomatterhow good,hope The news inPublisher’s Cornerisinformative, but itcanalsobe send ittoapublisher? Should Iregister my work withtheUSCopyright Officebefore I unsolicited submissions? How doyou discover whichagentsandeditors willaccept | FROM THE EDITOR’S DESK EDITOR’S | FROM THE Usually yes, butthisalwaysdepends onthe rights the magazine Most editorscanimagine the possiblevisuals for apicture booktext, Realistically, itisbestfor the author tosend inatext, and ifthis If ahouse hasanopen-door policy, then submitting yourworkis The copyright lawstates thatworkiscopyrighted assoonitexists No need tohire Sherlock Holmes. The SCBWIhasconferences across effort. text withone-inch margins allaround. Anything elseisawasteof books, youshould mention thatand listthe titles. point isbest;not more thanone page should do. Ifyouhavepublished editor know aboutwhathe orshe willbereading. Short and tothe Don’t concentrate onselling yourselfasmuch assuccinctly letting the to pitchthe project sothatthe editorgets atasteof whattoexpect. more happily, bought. Save the second one tooffer afterthe first one hasbeen declined—or, not send more than one manuscript toapublisher atthe same time. manuscript toone publisher atatime. It isstrongly advised thatwriters manuscript from consideration. is withthe editor, writeagain,stating thatyouare withdrawing the again. like more time withit,grant her another month or twobefore youwrite If the editorsaysthe manuscript ishaving asecond reading, orshe’d postcard; the editorcanjotanote onitand return ittoyouquickly.) or emails are much better. (It’s agood idea toenclose aself-addressed telephone inquiries aboutthe statusof awriter’smanuscript; letters track of allthe unsolicited material thatcomes inand cannot answer from the workontheir desks. Editorsalsodo not personally keep Editors find telephone callsannoying and intrusive, taking them away note (do not telephone orfax) asking whether she’s made adecision. doing so. recommended bythe SCBWI: than one personatanimprint. Editorsfind thisannoying. submitting toonlyone editoratanimprint. Donot submittomore multiple submission. You should alsocheck tobecertainthatyouare work to;however, youshould sayinyourcoverletterthatitisa likely tobuy it? look like abookwillcatchaneditor’s eye andmake himmore Isn’t ittruethataword-processed manuscriptsetintypeto What difference doesitmake ifI’ve includedanSASE? Do Ireally needacover letterwhenIsubmitmy manuscript? book publisher. agreement withthe magazine before going ontosubmitthe worktoa However, some magazines buyexclusive rights inperpetuity. Check your is yourstodo withasyouwishonce the rights havereverted toyou. and agrees toreturn the rights toyouafterpublication, then the story has purchased. Ifthe magazine hasbought nonexclusive serial rights published! work sittingaround inaneditor’s office for a year. I want toget to five different publishers atonce. Ican’tafford tohave my came withaform rejection letter. ThistimeI’msendingitout I sentmy manuscript off andwaited ayear for ananswer. It No. Thisisunnecessary and canbeoff-putting. Send adouble-spaced An editorgets many submissions. Your coverletter isawayfor you Most editors, agents, and the SCBWIbelieve it’sbesttosend one If youhear nothing at allduring the three months yourmanuscript If youhaven’theard withintwomonths, writethe editorafriendly Send acopyof yourmanuscript and sayinyourletterthatyouare The following procedure isfair toyouand the editorand You haveeveryright tosubmitanyone you’dlike tosend your FROM THE EDITOR’S DESK | 35

Will I have better luck with an agent? How do I go about finding PREPARING & SUBMITTING one? It is not necessary to have an agent if you do your research and submit to a house that has an open policy, or if you learn of an editor and write directly to that person. However, an agent is the person whose business it is to have contacts in the publishing industry. What an agent might do is match your work with an appropriate editor more quickly. However, it is difficult to make agent connections, and the process takes time. The “Agents Directory” on page 149 of this guide is a listing of agents and artists’ representatives. Once you’ve selected a few agents to MARKET SURVEYS write to, send one of them a query letter (with an SASE) outlining your writing history and a sample of your work. Do not submit your work simultaneously to several agents, even though you may need to query several before you find one willing to take you on and with whom you will feel comfortable working. Most agents will not charge you a reading fee or ask you to sign a contract with them or charge you for incidental expenses such as telephone calls and messengers; some agents, however, have instituted such practices. DIRECTORIES & RESOURCES After you’ve published a number of books, you may find an agent a great help in negotiating better terms and relieving you of concern about various business details. In short, there are arguments for and against new writers having an agent, and the final decision rests with you.

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

STARTING A CRITIQUE GROUP

by Sara W. Easterly & Jolie Stekly

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

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

»» Established groups. The SCBWI is a matchmaker of sorts. Contact »» How regularly do you want to meet? Weekly, biweekly, monthly, or as your chapter’s regional advisor or check your regional page at scbwi. needed? org to inquire about critique group opportunities in your area. The »» Where? In person at a home, library, or café, or online? SCBWI can’t force a critique group to accept you as a new member, 38 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » a fewimportant things toremember aboutthe process. for sharing! as toyourchapter’sregional advisorornewsletter editor. Goodnews is publication successes bysending anote [email protected], aswell an appendix devoted tosuccessful peergroups. Ursula K.LeGuin’sSteeringtheCraftisanother excellent resource, with sure toread Linda SuePark’s “Giveand Take of Critique”onpage 39. notes without being defensive. constructive feedbackwithpraise. When being critiqued, listenand take respect the workand privacy of yourpeers. When critiquing, sandwich » » » » » » » » SEARCHING SUGGESTIONS KEEPING ITREAL | STARTING A CRITIQUE GROUP ACRITIQUE | STARTING » » » » » » » » » » » it! are justasmany critiquegroups asthere are fishinthe sea. Keep at members may end up going their separate ways. Remember thatthere Even inthe bestof critiquegroups, dynamics canchange and great for others—especially when spread across geographies. In-person meetings workreally wellfor some, whileonline groups are Remember successful critiquegroups come inmany shapesand forms. overnight—or evenafterameeting ortwo. group cantake along time, sodon’t expect ittocome together Be proactive and dedicated inyoursearch. Finding the right critique Regardless of how yougo aboutfinding yourcritiquegroup, there are Finally, besure tokeep usposted!Letthe SCBWIknow about For more information aboutnurturing asuccessful critiquegroup, be Once youfind the right critiquegroup, cherish it.Firstand foremost, (or willyounot)? What willbethe group’s sizeand how willyoubring innew members letting the feedbackflowfreely asinspired? How willyoucomment onone another’s work—taking turns or Will the writerprovide photocopies for eachgroup member? do the honors? Will the writerread hisorher ownworkaloud orhavesomeone else email, oronthe spotwhileread aloud atyourmeeting? How do youprefer toreview one another’s work—inadvance by for critique? an entire manuscript, orwouldyouprefer tobring individual scenes If you’re critiquing one another’s novels, are youcomfortable reading How willyoushare costsfor guestspeakers, snacks, orcelebrations? critique? Will youinclude refreshments and food, orare youthere strictly for goes off, and not untilthen. anti–black licorice tirades) take place after the last alarm All non–critique specific conversations (and this includes when five people have been meeting weekly for ten years. » » » » and inthe years since, we’ve built up anincredible trust. very, very candid during critique. That was adecade ago, mind ofblack licorice.” licorice.” irrelevant, but it’s agoodjumping-off place for critique. we all hate black licorice. WhichIsuppose seems alittle a drive to become the bestwriters we can. The second is different generations. having beenbornondifferent continents and into » » » » Of course, great friendship has cropped up, as itwill I love itthat: I joke, but from the beginning, we agreed to bekind but “Hmm, this description misses the mark. Itputs me in “I like this treatise onlawn care more than Ilike black We have two important things incommon. The first is We call ourselves the Scribbling Siblings, despite turn. End ofstory. versa. When the alarm goesoff, it’s the next person’s discussion time, they’ll skip the reading aloud, orvice ten willbespent indiscussion. Ifsomeone wants more Usually, about ten willbespent inreading aloud and we adhere strictly to the RuleofTwenty Minutes. only way Ican work to overcome them. me identifyweaknesses inwhat I’ve written. This is the hear our work praised. Itruly count onthe group to help the drive to improve faroutpaces the desire to simply be lessdefensive. the writing and not about the writer allows each ofusto critiques are confined to the writing. Knowing it’s about advance. This allows usfreedom to digdeep. what I’ve written. We send our pieces out aweek in the Scribbling Siblings take time to thoroughly read CRITIQUE GROUP WHY ILOVE MY THE GIVE & TAKE OF CRITIQUE

by Linda Sue Park

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

THE PLAY Conversely, people sometimes feel that a commenter has torn apart Whether your work is being critiqued by a group or one other reader their work and has absolutely nothing good to say about it. These (online or in real life), the first rule of thumb should be this: The writer critiques are depressing at best and downright hurtful at worst. The does not speak during the comments phase of the critique session. Not sandwich method helps avoid either pitfall. once. Not a single word. Exactly what are you looking for when you are reading someone else’s Why not? Because the work must stand or fall on its own. When the work? It varies, of course, depending on the genre. Although every piece eventually gets submitted and is read by an editor, the writer piece is different, the following give a general blueprint for what a won’t be there to say things like, “Well, what I meant there is . . .” critiquer should be looking for: or “That’s supposed to refer back to . . .” The writer should listen, take notes, and listen some more. Later, when all the commenters are Plot finished, there can be discussion including the writer. But not at first. »» Page turnability: Is the story interesting? Does it make you want Some groups or partners exchange work in advance. Others read to read on? Do you ever feel impatient and wish things would get on the spot. Both systems have their advantages, but for in-depth going? critiquing, reading the piece in advance and spending time on it before »» Problem: Does the main character have a clearly delineated problem the meeting is invaluable. confronting him/her? Does each scene develop either impediments to a solution or progress toward a solution? GIVING »» Logic: Do the scenes connect in a logical manner? Is there something The method I like best is often referred to as “the sandwich.” A happening in the middle or at the end of the piece that simply commenter begins by saying something he/she likes about the piece, doesn’t make sense given the setup? then goes on to point out weaknesses, and finishes up with another »» Ending: “Unexpected inevitability”—has the writer laid the positive comment—sandwiching the negative between two positives. groundwork for the ending, even if it’s a twist or surprise? When a writer hears something good first, he/she is more likely to be open-minded about the criticisms. And finishing with a positive point Character keeps the critique friendly. »» Believability: Do the characters seem real? Do they talk and like Just as the writer should abide by the rule of not speaking during people you might know—even if they’re hedgehogs? Do they have the critique, the commenters should abide by the sandwich rule. flaws, or are they too perfect? Do they have characteristics, quirks, Everyone should offer both positive and critical comments on the piece. idiosyncrasies that increase their individuality, or are they generic? I can’t count the number of times a writer has said to me, “My critique »» Empathy: Do you care about the characters? Do you feel anxious for group always praises my work. That makes me feel good, but I end up them as they face their problem? Do you feel like cheering wildly or not knowing how it can be improved.” Once in a blue moon, maybe at least smiling if/when they finally solve it? someone does offer a perfect or near-perfect piece for critique. But »» Growth: Has the character grown or changed in some way by the end 99.99 percent of the time, a good critiquer will be able to offer helpful of the story? comments for improvement. 40 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org say such athing!? Iletafewdays go byand Idecided toprove her dismayed. Thiswasmy ending—the climax of the book!How couldshe at all.She toldme soand made analternative suggestion. Iwas utterly dies atthe end. My critiquepartner thought the wayhe died didn’t work each side of the fence. Inone of my middle grade novels, acharacter them—rather thandismissing them emotionally. comments subside and I’mabletobemuch more objectiveabout No! Ifenough time goes by, my wounded feelings aboutthose negative about the other twocolumns—especially aboutthe items under No think of that?Thankyouthankyouthankyou!”Imake those changes first. says something and you think,“Eureka! That’sperfect!Why didn’t I column—the comments Ilove. You know whatImean—when someone on the comments Ireceived. Then Istart revising. Istartwiththe Yes Yes head, butIactually make alist.Three columns atthe topof apage: method Ilike best. differ greatly onhow they workwithcritiquecomments, buthere isthe manuscripts and perhapsapadof notes, the real workbegins. People job now istoreceive responses and information—not togivethem. will.” As awriterwho presumably wants comments onyourwork, happened onpage two,butIhadtostopthere to explain Grandma’s making statements: “The scene onpage four isacontinuation of what due tocharacterization orscene-setting?” The writershould avoid you said thisscene onpage four isunclear toyou.Would yousaythat’s the writershould posehis/her responses asquestions. Example: “Ann, and the writerisnow allowedtojoininthe discussion. Where possible, critiques focus onthe writing, not the writer. paragraph!!), he/she isnotsaying, “You are abadwriter.” Good here” (and beforewarned! It willalmost alwaysbeyourveryfavorite doesn’t workfor me,” or, “Ireally don’t thinkyouneed thisparagraph critique personally. When atrustedcommenter says, “Thisscene overstated. Coupledwiththisisthe difficulttask of not taking a weakness. can do insuch casesistopoint outtothe writerthathe/she hasthis work isbestdone one-on-one, withanediting partner. The bestagroup tedious and difficulttopoint outthese errors inagroup setting. Such heavy line editing. Ifapiece isriddled withgrammatical errors, itis words orphrases, butthe storyitself. invisibility inhis/her techniquesothatwhatshines isnot individual should note wherever the writing pulledthem outof the story. paragraphs inarowof soliddescription—it’s gettingboring?Critiquers and thinking things like, Thatsentenceisawkward,or, That’s three the techniquesimplydisappears?Orare youstopping asyouread In other words, isthe storysocompelling and wellwrittenthat be putinto asingle concept: invisibility. Is the writing “invisible”? points thatagood critiquershould beonthe alertfor. Butthey can TAKING Writing | THE GIVE & TAKE OF CRITIQUE &TAKE GIVE | THE Here are acoupleof examples of how helpful thiscanbe—one from Then Istopand think.Alot.Thisphasetakes the longest. Ithink First, Isortthe comments. Isupposethiscouldbe done inyour Once the writerisbackhome withastackof scribbled-on Let’s assume thatthe commenters havefinished their “sandwiches” The importance of listening when receiving acritiquecannot be One more point: Inmy opinion, critiquegroups are not the placefor It may seemironic, butthe goal istohelp the writerachieve An article of thislength cannot, of course, coverallthe writing /MaybeNoNo!Iputbrief notes under eachheading based

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

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

by Carrie A. Pearson

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

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

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

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

Region Contact/Coordinator For Information CA North/Central Patricia Newman or Catherine Meyer www.scbwi.org/Regional-Chapters.aspx?R=5&sec=Events Iowa Connie Heckert [email protected] Michigan Catherine Bieberich kidsbooklink.org/id69.html Minnesota Quinette Cook www.minnesotascbwi.org/Events_Mentorships.html Missouri Joyce Ragland www.moscbwi.org/Mentorship_Program.html Jenny MacKay www.nevadascbwi.org/Mentor.html Northern Ohio Victoria Selvaggio [email protected] Oklahoma Anna Myers [email protected] San Diego Janice Yuwiler www.sandiego-scbwi.org/mentorship.htm Southern Breeze Elizabeth O. Dulemba (Illustrator Coordinator [email protected] for illustration mentorship) Wisconsin Julie Shaull www.scbwi.org/Regional-Chapters.aspx?R=51&sec=News [email protected] 44 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | MENTORING MATTERS | MENTORING www.scbwi.org this way. volunteering tohelp yourregion—and ourSCBWIcommunity—grow in coordinator tofind out how tobeselected. program onyourhome region’s websiteand/or contact yourmentorship members. Many mentors volunteer and some must apply. Check outthe mentorship programs require mentors tobePAL authors andSCBWI improve. they become more organized, and their editing and critiquing skills mentors feeltheir owncreative endeavors benefit from the program, regions offer free mentorships. is builtinto the price of attending aconference. Alimitednumber of is included inthe program. Insome regions, the costof the mentorship participate. The costmay range from $25-$1,350depending uponwhat so you’llknow ifthatmentor and program isagood fit for you. goals. Regardless, afocus willbeclearlydefined in marketing materials year depending uponwho isavailabletomentor and/or annual regional expertise inthatarea withmentees. The focus may change from yearto nonfiction, YA, illustration, etc.—and match mentors having particular How doIbecome amentor? How doesamentorbenefit? Do Ihave topayfor amentor? Will thementorfocus onmy interests? Results from the firstannual Mentorship Surveyare provided at Whether youare amentor ormentee, mentoring moves usall. Many regions want tostartaprogram and need support.Consider Each region finds their mentors abitdifferently. Overhalf of SCBWI The good news ismentorship isnot allaboutthe mentee! Many A littleoverhalfof SCBWImentorship programs do charge afeeto Most regions choose afocus—picture books, middle grade, WHAT YOU NEED TO KNOW BEFORE YOU SELF-PUBLISH

by Michael Hale

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 »» Is this a story that I can sell? publishing alternatives are appearing every day and existing models »» How can I produce the best possible product? are constantly adapting their services to stay relevant in this new and »» What type of team do I need to assemble to help me produce this expanding marketplace. book? Authors who stand on the threshold of this frontier have more »» Where will I find these professionals or acquire these services? options available to them now than ever before. Before you rush to do »» Am I going to e-publish, print on demand, or print on a press? it all on you own, you have to ask yourself, “Why am I standing here »» How will my chosen publishing option limit my potential sales? instead of knocking on a traditional publisher’s door?” You also have »» What is my budget? to determine if you are truly prepared to independently publish and »» What will it cost to produce each book? take on all of the responsibilities that go with it. »» What will I charge per book? We’ve all heard the stories of e-published books selling millions »» How and where am I going to sell my finished book? of downloads, or the self-published picture book discovered by an »» How many books will I need to sell to break even? editor who then turns around and traditionally publishes it. Yes, it can »» How many books will I need to sell to make a profit? happen—but it is the rare exception, and not the rule. »» Can I afford to take the risk? If you are contemplating independently publishing a picture book, middle grade, or YA novel, you need to have a full understanding of Write down the answers to the questions that you already know. what is in front of you before you jump in. An independently published If you do not have the answer, this is where you begin your internet author has to do everything that a traditionally published author research. Use all of your unanswered questions as a guide to find the would do . . . and much, much more. best people and/or services to produce a book that lines up with your Prepare to sit down with a pencil, paper, access to the internet, and stated goals. a calculator. The most important part of your independent publishing When you find what you feel are the best services and methods to journey begins with a lot of soul searching and internet research. bring your book to life, do the math. Compare potential producers Start by writing down your goals. List all of the reasons why you and calculate what your per unit cost will be. Once you have a cost want to independently publish. Be honest and open with yourself. per book, you can determine the retail price. Try to set a price that If your top goals are to sell millions of copies or to get traditional is comparable to retail books in your genre. Give yourself room to publishers to pick up your book, you are better off forgetting discount the price for schools or groups. independent publishing and instead go through traditional channels. To determine a wholesale price for retailers, deduct 35% from the Writing down your goals will help you define your process. How you retail price. Are you still able to make a profit based on your cost per proceed should be determined by what you are trying to accomplish. unit? If 35% seems steep, just know that it is the standard, not the For example, if you goal is to create an heirloom story that you can norm. Depending on the retailer, the percentage can vary from 10 to share with your immediate friends and family, then you are not going 55% off your retail price. The math is critical: you don’t want to lose to print 5,000 copies. money when you sell a book. Next, put on your publisher’s hat. Ask yourself the same type of Remember, the physical form in which you produce your book could questions any traditional publisher would ask before agreeing to affect how and where it will be sold. For example, with picture books, publish a book: POD (print on demand) can help you produce versions of your book at a reasonable cost per unit. However, many independent booksellers are hesitant to sell a picture book without a hard cover. 46 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | ANSWERS AND QUESTIONS CONTRACT a SparkHonorby SCBWI in2018.Henowshareshis experiences inhis SCBWI’s ArizonaRegion. and Illustrator. HeiscurrentlyservingastheIllustratorCoordinatorfor prepared. yourself and successfully shared yourstorywiththe world. took yourstoryfrom concept tofinished product. You putitalltogether opportunities for future work. will alsohelp youtoestablish working relationships and networking librarians, and booksellersfirsthand can make itallworthwhile. It in itself.Ifyouare agregarious person,meeting yourreaders, teachers, is alwaysgratifying, butgetting outthere asanauthor canbeareward an author’s websiteand building yoursocial media presence iskey. not seethe results youexpect. personally sellyourworkand promote yourselfasawriter, youmight out toregional markets. Ifyouare not willing toget outthere and best betstomove yourinventory. Ifyouare successful, youcanbranch with schools, localbooksellers, and festivals. These are some of your organization willoften require collaboration onthe final product. your storybefore youprint. Apotential partnership withacompany or think youmay haveagood connection, contact them and show them members orresources thatcouldequate topotential readers? Ifyou Does yourstoryappealtoaspecificgroup ororganization with multiple notice. but without marketing efforts, itwillmost likely linger there without book onAmazon oronawholesaler’s listlike Ingram orBaker &Taylor, these online aswell. plan inplacebefore youpublishyourbook.You canfind templates for Keeping thisinmind, youshould haveafullmarketing and promotional finished booksand haveto get them into the hands of your readers. print isthe hard part.It’s not. The real workstartsafteryoureceive the stacked inyourgarage, study, orguestbedroom. pulling yourprinted inventory from off-site storage ormultiple boxes be watching yourebookdownloads; ordering yourbooksondemand; or point where youproduce the book.When it’sfinished, youwilleither expenses orcollecting revenue. at leastaseparate business account before youstartaccumulating a small business, ortalktoaCPA. You willwant tosetupanLLCor your stategovernment aboutthe rulesand regulations for starting forward requires thatyoustartabusiness. Startbychecking inwith retailer. so high thatitleaveslittletono profit margin when selling through a possible butgets veryexpensive, often bringing yourcostperunitup takes alotof valuable shelf space. Putting hard coversonPODbooksis have tobeplaceonthe shelves withthe front coverfacing out,which The reason for thisisthatthey haveno spine. Thismeans thatthey His independently publishedbook,BadMonkey Business, wasawarded Michael Halehasoverthirtyyearsof experience asadesigner, writer, Best of luck inyourjourney. And alwaysremember: luck favors the The biggest reward for any independent publisher is knowing that you There are many rewards tothe extra work.Yes, selling lotsof books Your online presence isalsogoing tobearequirement. Maintaining Best practices for independent publishers include becoming active Finding niche markets for yourbookisagood potential strategy. Distribution isthe indy publisher’s biggest hurdle. You canget your Most independent publishers believe thatgetting their booksinto If youare stillready toindependently publish,thiswouldbethe Next, youhavetodetermine how entrepreneurial youare. Moving pursue theirgoalsintraditional,hybrid,orself-publishing. “Publishing Alternatives”workshop, astep-by-stepguidetohelpauthors You canseemoreof hisworkbyvisitingwww.michaelhale.me COPYRIGHTSELF-PUBLISHING: FACTS BESTFOR PRACTICESWRITERS

by Deborah Halverson and Randal Morrison

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

Maybe. This article walks you through the process so you can weigh Your Goal. Will you be satisfied with a book you can give or sell to the pros and cons, determine your budget and goals, produce and family, friends, or some other personal network, or do you hope that publish the book, and then (hopefully) sell it. We hope this article will your book can be a real competitor in the commercial marketplace? help you make the right decision for you and, if you decide to pursue You’ll likely spend more time and money on a book intended for retail the DIY path, start you on your journey. sale to the general public. For the remainder of this article, we will The self-publishing realm is changing daily and growing in assume that your goal is a finished product that is a worthy entrant in importance. There are three basic approaches: the commercial market. 1. Hire an author services company to put all the pieces together for Yourself. Are you a total DIYer, the general contractor type, or a you for a fee (and sometimes a cut of the profits). writer who just wants to write while others handle the bookmaking and 2. Act like a general contractor and seek out the experts for each marketing? Can you meet the time and financial commitments required element and then publish your assembled book package through a POD for your hands-on level? Be realistic about your personality, skills, and (print on demand/digital) printer, a traditional press printer, an comfort level. If you’re still game for self-publishing (sometimes called publisher, or some combination of them. independent publishing or micropublishing), move on to the next step: 3. Cut out the middlemen by DIYing most or all of the elements and weighing your budget against your projected costs. To do that, make a taking them straight to a POD printer like Lightning Source or uploading business plan. the digital files to an ebook seller. MAKING YOUR BUSINESS PLAN MAKING YOUR DECISION Know the costs and be honest about your financial comfort level Here are several crucial points to carefully ponder before making the before you commit to self-publishing. Here are the major steps. final decision to self-publish, and if you decide to, which path to take. Establish Your Budget. Determine how much money you’re willing The Pros. You keep all (or most) of the profit from your book sales, to spend to make this book. If you never recover your costs—which you are in control, and your book can be available much sooner than it happens too often, even with traditionally published books—how will would be from a traditional publisher. If you’re one of the lucky few who that affect your overall financial situation? How will it affect your attracts strong reader interest and high-profile sales, then the traditional important personal relationships? publishers may come looking for you. No more query-go-round. Establish Your Format. Will your final product be an ebook, a printed The Cons. You pay all of the costs and assume the financial risk. book, or both? This decision will greatly affect your costs and choices. You are in control and thus must do all the research and make all the Calculate Costs. Next, work out the cost of making the book and decisions. Making and marketing a book takes time that you could reconcile that with your budget. The costs will include some or all of spend writing your next book. Some recent high-profile examples these items: of successful self-published fiction have lessened the long-standing traditional stigma of self-published books (“not good enough to make »» Professional fees—editing, author services, attorney fees for it in the real publishing world . . .”), but skepticism still lingers, thanks reviewing your contracts to far too many authors publishing books that are, to put it bluntly, not »» costs (interior and cover)—illustrations, stock photos, very good. design services or software 48 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org (typically three orfour months before official publication date, when a fewdozen orhundred copies for the Advance Reading Copyphase edition, not tothe printer. Some self-publishers usePODtoproduce does not require achange of ISBN; thatnumber isassigned tothe makes sense toprint inthousands, switch overtopress printing. This printed bythe PODmethod and then, ifactual salesindicate thatit up withagarage fullof booksthey couldnot sell. a print runinseveral thousands toget the unitcostdown, onlytoend long the bane of the bookbusiness. Too many self-pubbershaveordered costs of transportation and warehousing, aswellthe risk of returns, to refer tothe digital printing technology.) PODcangreatly reduce the are made onlyafterthey are ordered, evensingly. Others usethe term Some peopleusethe termPODtorefer toabusiness model where books competitive withpress printing eveninmoderately higher runs. (Note: a unitcostthatcanbelowerthanpress printing inlowruns and on demand—a digital process witharelatively lowstart-upcostand cost isspread overmore units. print rungoes higher, the unitcostcomes down becausethe start-up or fewercopies—then the unitcostwillbehigh. Butasthe sizeof the each print run.Thismeans thatifaprint runislow—sayathousand all havesignificant start-upcosts, both for the initial setupand for must haveprinted products. Traditional methods of printing onapress or learntodo most orallof the essential stepsyourself. project and staywithinyourbudget, enlistanauthor services company, individual professionals who havethe time and talent toworkonyour want toensure aprofessional-level, quality bookpackage, youmust hire together yourcoverrequire creative and technological skills. Ifyou manuscript, designing and formatting yourtext files, and putting more price-sensitive thanbooksfor adults. marketplace tobreak even.Remember, ingeneral, children’s booksare book and decide ifit’srealistic for youtoreach enough readers inthat all costs)tobreak even.Very important: Estimate the market for your and workouthow many booksyou’llneed tosellatthatprice (net of » » MAKING YOUR BOOK | SELF-PUBLISHING: BEST PRACTICES BEST | SELF-PUBLISHING: » » Switching Midstream. Today youcanlaunch yourproject withbooks POD: ThePros. Today self-pubbershaveanother option: POD—print Printed Books. Ifyouhope tosellbooksinbookstores, then you These are justthe bare bones, however. Editing and finalizing your 6. 5. 4. 3. 2. 1. The basic stepsinvolvedinmaking yourbookare these: Set Your Price. Finally, decide how much you’llcharge for yourbook consultants or hardware for creation of promo items, marketing/publicity presence (websites, blogs, social media), specialized software Marketing—printed promo items, mailing lists, postage, online copyright registration barcode procurement, printing/binding/transportation/warehousing, Publication costs—digital filecreation and uploading, ISBN/ Publish and market the final product. Receive and review proofs of the book. Prepare and uploadyourdigital filestoyourpublisher’s system. back matter. Put together yourcoverimage, backcover, front matter, and text. If yougo for aprinted book,choose itssizeand format the Write, edit,revise, editagain,and finalize your manuscript. ebooks evenasthe totalnumber of ebook customers rises. Has enough is the ambiguity abouthow many young readers are transitioning to their workavailabletopeoplewho read onscreens. And then there complicating the problem for the author who simplywants tomake e-reader. Unfortunately, there are many software file formats for ebooks, simple software downloads canturnaPCorMac computerinto an and other tablets;some mobile phones candisplaybooktext, and e-readers are inabattle for future market share withApple’siPad Nook, Kobo, PocketBook, the Sony Reader, and many others. All the Kindle. Thatfamily of e-readers isnow competing withB&N’s the ebookrevolution exploded withAmazon’s 2007introduction of bargaining strength from the success of her ebooks. seven-figure deal withSt. Martin’s Press (Macmillan), butshe gained her sales withebookssoldonline. Yes, Amanda Hocking eventually made a of fiction self-publisher success all made the great majority of their the recorded music business and record stores? The famous examples ebooks do topublishers and bookstores whatMP3s and iTunes did to their business models tostayintune withrapidly shifting trends. Will book bizhard. Allpublishers, big and small, are struggling toadjust handle the cashflowand financial risk? are the real costsand risksthatapplytoyourspecific project? Canyou decision, youmust do some serious research and calculations. What advances. little orno revenue, and authors receive no royalties orcredits against merchandise, or“cut-outs”—sales for which the publisher collects authorize the bookstore tosellleftoverstockasremainders, distressed the costof return transportation. To avoid the returns, publishers often of yourdeal withthe distributororwholesaler, youmay havetopay return ifnot soldwithinacertaintime. And, depending onthe terms in bookstores, since they take booksonconsignment and subjectto it willbemany months before youcollectrevenue from yoursales recovered onlyifyoursalespredictions come true. Evenif that happens, warehousing costs. You willbelaying outsignificant cashthatwillbe payment before delivering the books. You willhavetransportation and printing iscashflowrisk.The printing company will demand full pod_publishers. focused onPODpublishing withLS:finance.groups.yahoo.com/group/ publisher and dealing directly withLS.There isanactiveYahoo group POD for Profitdetails how youcanmaximize profit bybecoming a real publishers; itisnot anauthor services company. Aaron Shepard’s book book wholesale distributorinthe United States. LSdeals onlywith United States:Lightning Source. LSisowned byIngram, the largest to the company thatactually makes virtually allPODbooksinthe POD booksfor you,butinreality they are simplysubmitting the order paperback format; the great majority are soldonline, not instores. them. PODcanbeusedfor , butmost PODbooksare intrade quality for PODbooksand agradual lessening of the prejudice against it aslessdesirable stock.However, the trend seems tobeever-better Professional bookbuyerscanspotaPODproduct, and some stillview some claimthatthe quality isstillshy of a“real press-printed book.” POD approach. Whilethatmethod willquickly produce aquality book, they are seeking reviews), and then switchtopress printing. Readers andTablets. Although there were afewearlier players, The EbookOption.No doubt, the digital revolution hashitthe Fact-Based Decisions. Before making yourPODvspress printing Press Printing.The main negative factor withtraditional press Lightning Source. Many author services companies offer tomake POD: TheCons. Ofcourse, there are some negative factors onthe SELF-PUBLISHING: BEST PRACTICES | 49 of your target audience transitioned to ebooks? their standard asking fee is often negotiable and can vary with their PREPARING & SUBMITTING Simple Answers. There are a few relatively simple answers. One current workload, your schedule, and how strongly they relate to choice is to limit yourself to just the two biggest players, your material. Avoid legal disputes with a written agreement that Kindle (: kdp.amazon.com) and B&N’s Nook spells out the basic fee, the increments in which it is payable, what (PubIt! by Barnes & Noble: pubit.barnesandnoble.com). If you want to happens if you decide against using the designer’s work, and who cover the whole market, Smashwords offers one-stop-shopping; they can owns the copyright in the design. adapt your MS Word text to the file formats needed for compatibility Cover Illustration. Despite the old saw “You can’t judge a book by with most reading devices and set up distribution with major vendors its cover,” most people get their first and most important impression (www.smashwords.com). With ebooks, interior design means almost of a book from its cover. Indeed, an attractive cover that hints at the nothing, since the reader chooses the font and the size and most other story’s essence and appeals to the core audience is often the first step aspects of appearance of the text. in building awareness, which hopefully will lead to interest, and then MARKET SURVEYS 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 a Professional Editing. Is your text as strong as it can be? Does it cover illustration that you like, you can probably find the artist by a attract and hold readers’ attention? For fiction, are the plot, characters, standard Web search. Some illustrators are represented by agents, but and narrative voice fully developed? Are you sure there are no typos many work entirely freelance. Remember that just as important as talent DIRECTORIES & RESOURCES or bad grammar? Missing or double words? You can’t buy software to and style are availability, budget, and reliability. evaluate and guide you in revising a manuscript. No matter what else To protect both you and the illustrator, the details of the art 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 173), the out in detail. Editorial Freelancers Association (www.the-efa.org), online searches Author Services Companies. There are now many “self-publishing” and writers’ forums, and by asking for recommendations from your companies, sometimes called author services companies or PUBLICIZING YOUR PUBLISHED WORK writing community or from an agent. publishers for hire. Among the well-known names are Aventine Press, Before you sign a contract with a freelance editor, clarify the level of BookLocker, CreateSpace (an Amazon company), Dog Ear Publishing, editing you are buying (substantive editing, line editing, copyediting, Infinity Publishing, Lulu, and Outskirts Press, but there are many ), the availability and turnaround time, the fee structure others, with new entrants in the field almost daily. Such companies and payment expectations (some editors charge per word or page, typically offer an à la carte menu of services, with fixed prices for others per hour or per project, some require partial or full prepayment), each and discount pricing for bundles. The typical offerings include and the editor’s credentials (books he/she’s edited and references). editing, cover and interior design, printing and ebook setup, listing Finally, make sure that the copyright in the editor’s comments on your with online sellers, and marketing and promotion packages. With text belongs to you, the author. CreateSpace, your ebook can be on Amazon in just a few days, and Book Design. At least for printed books, professional book design they also do POD (as do most of their competitors). Mark Levine’s is crucial to a first-class product. Powerful as today’s word processors book The Fine Print of Self-Publishing explains what these companies are, they are not page designers. Even if a casual reader can’t articulate do, details the differences between them (naming names), and ranks exactly what’s bugging them, a poorly laid out page will give them them in five levels: outstanding, pretty good, just okay, publishers to

a nagging sense that something is off. When justifying margins, avoid, and worst of the worst. The Independent Publishing Magazine SCHOOL VISITS word processors only adjust the space between words, resulting in site also reviews author service companies (mickrooney.blogspot. “rivers of white”—awkward spaces between words—running down com). Using an author services company will simplify the journey, but the page. In contrast, a true page design program fine-tunes the you will not be able to make your own choices of editor, designer, spaces between letters (kerning) to produce text lines that are visually illustrator, etc. If you want that level of control and customization, smooth, with a consistent balance between black ink and white space. then you will have to don the general contractor hat, acting much Certainly industry professionals—book buyers and sellers, librarians, like a traditional publisher by seeking out and hiring the expertise LEGAL QUESTIONS reviewers—will notice if a book is not professionally designed. For a that is most appropriate for your project. good introduction to this topic, see Book Design and Production by Pete WARNING: It has traditionally been considered unethical for a publisher Masterson or InDesign Type by Nigel French. to make the author pay for the manufacturing costs and to also demand a Find book designers through writing community recommendations portion of the proceeds; under that model (usually called a ), and standard Web searches. Most have online portfolios that give the companies make most of the money from the fees they charge to you samples of their work. If their sites don’t already list clients and authors, and thus they have little incentive to market the books. However, credentials, ask about those. As with other freelance professionals, the publishing realm is in the midst of a major transformation, and author 50 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org so widely known. their prices are much lowerthanAdobe, butthe Serif products are not markets design programs, including the page designer calledPage Plus; costs and some major learning time. The Serifsoftware company also programs. Ifyou choose thisroute, beprepared for substantial software includes Acrobat, Photoshop, Illustrator, and many other design-related program. It canbebought onitsownoraspartof aCreative Suitethat Adobe’s InDesign program isthe industry standard page layoutdesign books, isnoticeably less impressive thanprofessionally designed pages. formatting features; the quality you’llend upwith,atleastfor printed prepare yourfiles. Word and WordPerfect programs havelimited DOING MOSTORALLOFITYOURSELF .html. U.S. Copyright Office’se-copyright feature atwww.copyright.gov/eco/ isn’t theirs. You canregister the copyright onyourownthrough the their name, that’sared flagthatthey’re grabbing atsomething that that itwillbeinyourname. Ifyourpublisher wants toregister itunder author service companies willregister copyright for you,butbesure at www.loc.gov/publish/cip/). your bookwillbestocked inlibraries, youcanobtainanLCCNdirectly Catalog Numbers, usedbylibraries for cataloging purposes;ifyouthink in which they handle ISBNs, barcodes, and LCCNs( that haveyourISBN. Some author services companies offer apackage also provides barcodes readable bystore scanners for printed books who are listedatwww.isbn.org/standards/home/Pubresellers.asp . Bowker ISBN agency for the United States)orany of Bowker’s approved sellers, your ownISBNs singly orinbulkdirectly from R.R. Bowker (the official to anyone else. To ensure thatyouare the soleowner of yourbook,buy them asthe publisher, not you.ISBNs cannot betransferred orassigned and provide them totheir customers—and thus those ISBNs identify service companies, PODproducers, and e-publishers buyISBNs inbulk uniquely identifies eachedition of eachbookand itspublisher. Author (International Standard BookNumber) isthe thirteen-digit number that where?). will beresolved (cancellation, arbitration, mediation, orlitigation; including their editorial suggestions and the manner inwhich disputes explicit statement thatyouretain the copyright inallresulting works, are buying, the payment terms thatapplytoeachservice, and an around writers’forums and yourwriting community. Editors (www.pred-ed.com) websites, do ageneral online search, and ask Beware (www.sfwa.org/for-authors/writer-beware/) and Preditors & is yours.Bestpractices include the following. itself. You are hiring these companies for services only;the bookitself “best efforts.” written contract willoverride the salespitchand likely willrequire only sales pitches for marketing and promotion programs; the language of the earned cashand profits eachcompany requires. Bewaryaboutenthusiastic to make sure youunderstand itand know exactly how much of yourhard- paid-for services and royalty requirements. Readcontract language carefully service companies and e-publishers are blurring lines withtheir mixof | SELF-PUBLISHING: BEST PRACTICES BEST | SELF-PUBLISHING: If you’re going the DIYroute, software isavailabletohelp you Copyright. Registeryourcopyright yourself,under yourname. Some ISBNs, etc. BuyyourownISBNs and barcodes. AnISBN Review theContract. Lookfor anexact description of services you Background Check.Lookupyourprospective publisher onthe Writer One thing hasn’tchanged: neversign awayyourrights tothe content industry asawhole ( www.independentpublisher.com). online magazine, which coversself-publishing alongside the publishing affiliates atbit.ly/7bnuxH.Also,check outIndependent Publisher one-page flyerstoschools and libraries. Find alist of the IBPA’s local cooperative marketing programs, including twice-yearly mailings of independent bookpublishers. The IBPA offers many educational and (www.ibpa-online.com), anot-for-profit trade association representing all atstake. Lookinto the Independent BookPublishers Association company orpath.Your money, reputation, and personal happiness are Research, research, and research some more before committing toa audience aware of yourbook. program thatsomehow makes the opinion leaders inyourtarget public inthe retail market, youmust develop and execute amarketing is this:ifyourgoal istosellyourself-published booktothe general marketing, and harnessing the powerof social media. Ourpoint here age thirteen.Seewww.ftc.gov/privacy/coppafaqs.shtm. law thatrestricts collecting the personal information of children under aware of the Children’s Online PrivacyProtection Act (COPPA), afederal Internet tomarket bookstochildren under thirteen,then youmust be your booktoreaders’ attention. However, ifyouplantousethe books. Thankstothe Internet, there are more waysthanevertobring take off.” EvenBig Fivepublishers havetoaggressively market their It’s not realistic tosay, “It’s onAmazon; readers willfind itand itwill if potential readers don’t know aboutit,youwon’tsellmany copies. OTHER RESOURCES MAKING READERSAWARE OFYOUR BOOK prior lifehewasaradiobroadcaster. attorneys, landuseplanners, authors, andindependentpublishers. Ina speaker atnational,state, andlocalconventionsmeetingsof the generalcontractormodeldescribedinthisarticle. He is afrequent (www.7MC.com), whichwasindependentlypublishedinearly2013,using Moon Circus: The Adventures of aWildBoyinSpaceTraveling Circus copyright101.us). Heisalsotheauthorof theMGfictionbookSeven practices primarilyinFirstAmendment,copyright,andtrademark(www. Randal Morrison(Randytofriends)isaSanDiego–basedattorneywho DeborahHalverson.com. Diego withherhusbandandtripletsons. Visitheronlineatwww. while specializinginteenfictionandpicturebooks. Shelives inSan and conferencesfor writers, andeditsadultfictionnonfiction Harcourt Children’s Books. Deborahspeaks extensively atworkshops writers’ advicewebsiteDearEditor.com andaformer editorwith Remix strugglingreadersseries. Sheisalsothefounder of thepopular Big Mouth, thepicturebookLetterstoSanta , andthreebooks inthe Adult Fiction ForDummies, theteennovelsHonk IfYou Hate Me and Deborah Halversonistheaward-winningauthorof Writing Young Self-publishing isexciting, butdon’t letpassion trumpdue diligence. Other articles inthisguide tellyouabouthiring consultants, self- You canknock yourselfoutwriting and producing aquality book,but HIRING AN ILLUSTRATOR FOR YOUR SELF-PUBLISHED BOOK

by Elizabeth O. Dulemba

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

Illustrators often receive email requests from self-publishers. Yet, so already established media platforms to get their books noticed. Unless many of those writers are new to the publishing industry, they don’t a writer is already out there in some large marketing capacity for their know what to ask for or what to expect when hiring an illustrator. I’ll core career, their self-published projects have an even harder time clarify the main concepts. reaching the marketplace’s radar. The first thing is to know the difference between self and traditional As a result, whatever you pay that illustrator before publication is publishing—in traditional publishing, the publisher pays you. In most likely all they’ll ever see from your project. You can negotiate self-publishing, you pay the publisher. This means that you, as a self- royalties, but in self-publishing, royalties should be thought of as an publisher, will need to pay an illustrator for their work. unexpected bonus, not fair compensation for the job. How much? That depends. Even in traditional publishing amounts “Good exposure” is another term illustrators hear too much of—the vary wildly. But here’s how to think about it. Illustrating a picture joke being that you can die from exposure. Hiring an illustrator is book takes time—anywhere from two months to a year. How much a business arrangement like hiring a painter or a stock broker (who do you make in that same amount of time? Your project will be the would never work for free or for good exposure). It’s a professional compensation for that illustrator’s life (mortgage/rent, food, car, relationship like any other and requires a contract. insurance, etc.). You should expect to pay a fair wage and for the In the contract will be listed several key points. The first point will number to be at least four or five digits. be the amount to be paid and when those payments will be made. (1/2 Don’t have the money? Oftentimes, self-publishers ‘invite’ up front, 1/2 upon acceptance of final art, or 1/3 up front, 1/3 on illustrators to reap the rewards of royalties once the book comes out. acceptance of sketches, 1/3 upon acceptance of final art are standard But if there’s no money to pay the illustrator, there’s probably no money arrangements.) to advertise, which means the project stands little chance of success. Another key point is the matter of copyright—who will own the final The result is the illustrator could end up working for free. And nobody artwork. Typically the copyright stays with the illustrator (copyright can eat on that. applied and paid for by the publisher). However, you can purchase the But your book is a guaranteed seller . . . copyright to the artwork from the illustrator to be able to do whatever The sad news is there’s no such thing. Add to that, most booksellers you like with it—this is called work-for-hire. Expect to pay more for have limited policies when dealing with or representing self-published this. Although honestly, you don’t need to hold the copyright. It’s one books. Their reasons are good: of those misconceptions of hiring an artist—that you have to own the 1. Most small publishing houses don’t accept returns; the artwork to use it. The contract should spell out exactly how the usage bookstore could get stuck with books they can’t sell. breaks down, both for you and for the illustrator (use of the artwork for 2. While there are exceptions, most self-published books have an the illustrator’s self-promotion should be expected and allowed). amateur look to them. To be fair to the illustrator, there should be a limit to the number 3. It can be more hassle to deal with people who don’t know the of revisions permitted at each stage of creation. (No more than three industry than it’s worth. revisions per sketch is reasonable.) Few revisions should be made after So if traditional bookstores won’t carry them, self-published books the completion of the art. (If communication has been good, the client are rarely noticed unless accompanied by serious advertising. In should have a good understanding of what they will receive.) traditional publishing, companies spend millions of dollars using their 52 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org professionally, itcanbeawonderful experience for allinvolved. really want and achieve asuccessful product. you come prepared, youare much more likely toland the illustrator you of inexperience orunrealistic expectations). Don’tletthatbeyou!If be toodifficulttoworkwithworththeir time (usually because signs (red flags) of those who have not done their homework and may worked withclients from allsortsof backgrounds and recognize the don’t know, how much wouldyoucharge?” Most illustrators have the terms I’veusedabove, and walkinwithabudget. Never say, “I any professional. Doyourindustry research, make sure youunderstand reason. clear for them toeither usefor advertising ortokeep for whatever illustrator atleastfivetotwenty copies of the final product free and buying into the concept. projects, iftheyarewillingtotake themon,lies inthe cashflow, not younger illustrator, butthe valuefor the illustrator onself-published might make for some nice portfolio pieces orbegood practice for a popular success, they typically cannot further anartist’scareer. They a project thinking thisway, butsometimes itcan’tbeavoided. circumstance youhope never willoccurand certainly, nobody goes into standard depending onhow deep into the project youget. Thisisa keep for already completedwork.The 1/2or1/3down payment is an amount should beagreed uponastohow much the illustrator will If for whateverreason youorthe illustrator needs toleavethe project, for the project.) Its why there should alsobeakillfeeinthe contract. illustration direction orthe illustrator couldloseenthusiasm/patience happen more often withinexperienced creators. (You couldhatethe bring their uniquevision tothe project. this should beinthe contract.) Ideally, youare hiring anillustrator to willing topayextra for revisions aboveand beyond the limit.(Again, “I’ll know itwhen Iseeit”isnever afair waytoworkunlessyouare sucking upany benefit of compensation by requiring too much time. untenable and unrealistic scenario and canleadtocountless revisions can seethe images intheir head butcan’tdraw themselves, which isan | HIRING AN ILLUSTRATOR FOR YOUR SELF-PUBLISHED BOOK FOR YOUR SELF-PUBLISHED ILLUSTRATOR AN | HIRING Bottom line, self-publishing isagrowing industry. When approached The bottomline is, approach hiring yourillustrator like youwould And finally, itisonlypolite(and traditionally expected) togivethe Also, understand thatbecausesofewself-published worksreach That said, sometimes, things don’t work.It’s rare, butdoes tend to This avoids the illustrator being hired as‘hands’ for apersonwho

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

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

By Melissa Stewart

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

I love this analogy because it perfectly explains the challenges alphabetically by the author’s last name. Soon, librarians began calling of crafting a true story based on documentable facts. Nonfiction everything left behind (still arranged according to Dewey’s system) writers work long and hard to gather information, but sometimes the nonfiction. Besides factual books based on documented research, the tantalizing tidbits we’re hoping to find simply don’t exist. When that nonfiction section included drama, poetry, and folktales. happens, it can be tempting to invent dialogue or imagine scenes or Eventually, librarians realized that they needed a term to describe rearrange chronology to improve a . So tempting that we’d just the factual, research-based books in the nonfiction section, and love a term that justifies doing so. That’s why it’s no surprise that some around 1970, they began calling these titles informational books. That’s writers are currently misusing the term informational book, thinking why the Robert F. Sibert Informational Book Medal, which is sponsored it’s a kind of nonfiction that’s based on true information but takes by the American Library Association, defines informational books as occasional liberties with the verifiable facts. “those written and illustrated to present, organize, and interpret But that is NOT a legitimate use of the term. If your goal is to write documentable, factual material.” nonfiction, you can’t tinker with the facts to strengthen a story. If you make up anything, anything at all, you’re writing fiction. Period. Definition 2: Literacy Educators But that’s not the end of the story. Unaware of what was happening Definition 1: Librarians in the library world, in the 1980s, literacy educators began using the So what is an informational book? To answer this question, we need term informational texts to describe a narrow subset of nonfiction to jump into a time machine, strap on our seatbelts, and head back to writing that presents information about science, history, and other 1876. That’s when Melvil Dewey invented an ingenious book cataloging content areas. system that was quickly adopted by libraries around the world. According to this usage, informational books do not include But the Dewey Decimal System wasn’t perfect. By the early 1900s, biographies, how-to descriptions (instructions), or any kind of narrative a growing number of library patrons were complaining that it was writing. This definition, which is roughly equivalent to expository difficult to find a good novel. That’s because fiction (novels and short nonfiction, became widespread in 2000, following the publication of a stories) was interspersed among all the other categories of literature landmark academic article by Nell Duke. (essays, letters, speeches, , etc.) in the 800s. In addition, all the For a while, librarians and educators used their separate definitions books were organized by original language of publication, so novels by with few problems. But when Congress passed the No Child Left Behind American writers were nowhere near novels by German writers or French Act of 2001, schools changed their funding priorities, and school writers. library budgets started to shrink. To save their jobs, school librarians How did librarians solve this problem? Sometime between 1905 and began taking on new roles, including teaching responsibilities. Not 1910, they started pulling novels and short story collections out of surprisingly, this led to disagreements about the proper use of the term the 800s and creating a separate fiction section with books arranged informational books. 54 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | WHAT THE HECK IS AN INFORMATIONAL BOOK? INFORMATIONAL AN IS HECK | THE WHAT www.melissa-stewart.com science books for childrenandamemberof theSCBWIBoardof Advisors. Is itfact orisitfiction? to do thatistobetransparent aboutthe literature wecreate for them. need toteachchildren toidentify truthiness. And one of the bestways demand toknow the source of statistics. Ifwewant thattochange, we themselves ifaparticular news outlethasanagenda. They don’t without question. They don’t check facts. They don’t ask real, what’strue, what’sverifiable, and what’s not. emphasizes the critical importance of distinguishing betweenwhat’s way toshare ideas and information withyoung readers. Butitalso creative liberties withtrue, documentable facts canbeaneffective animal lifecyclestories. embellishments. Examples include The Magic School Busseries and some accurately, butcontain made-up characters, fantastical art,orother . scenes orevents presented outof chronological order toimprove and picture bookbiographies withsome made-up dialogue orimagined but not completelysupportedbydocumented research. informational fictiontodescribe booksthatare largely trueand accurate NONE. the useof made-up material withthe goal of strengthening astory. three definitions haveone thing incommon. None of them condones around. etc. As aresult, wenow havethree contradictory definitions floating plus reference books, instructions, forms, maps, persuasive essays, all narrative and expository nonfiction books(the librarian definition) Standards defined informational text inamuch broader way, including Melissa Stewartistheaward-winningauthorof morethan180 Again and again,weseeexamples of Americans trusting political This helpful new termacknowledges that,insome cases, taking They alsoinclude STEM-themed booksthat present concepts These booksinclude , like the DearAmerica series Recently, some librarians and educators havebegunusing the term What theHeckisInformational Fiction? And yet,despite the contradictions and the confusion they cause, all The confusion intensified in2010when the Common Core State Definition 3:CommonCore StateStandards NONFICTION FOR CHILDREN: GROWING AND CHANGING

By Melissa Stewart

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

Adding Narrative Scenes nonfiction by giving fact-loving kids a fresh, engaging way to access In the mid-1990s, children’s authors began crafting narrative information. nonfiction—prose that tells a true story or conveys an experience. Early By the mid-2000s, National Geographic, Time for Kids, the Discovery standouts included The Great Fire by Jim Murphy (Scholastic, 1995); An Channel, and others were also publishing what is now known as Extraordinary Life: The Story of a Monarch Butterfly by Laurence Pringle, “browseable books,” “data books,” and “factoid books.” Popular illus. Bob Marstall (Orchard/Scholastic, 1997); and The Snake Scientist examples include the National Geographic Kids Everything series, the by Sy Montgomery, photos Nic Bishop (Houghton Mifflin Harcourt, Time for Kids Big Book of Why series, and For Boys Only: The Biggest, 1999). This style of writing gradually gained momentum during the Baddest Book Ever by Marc Aronson and H.P. Newquist (Feiwel & 2000s. Today, it’s both incredibly popular and highly esteemed. Friends/Macmillan, 2007). Narrative nonfiction appeals to fiction lovers because it includes Inspired by the maker movement, these publishers, as well as others, narrative scenes that give readers a bird’s eye view of the world and the have recently begun offering what booksellers call “active nonfiction”— people being described. These scenes are linked by expository bridges browseable books that teach skills readers can use to engage in an that provide necessary background while speeding through parts of activity. Examples include Sewing School: 21 Sewing Projects Kids Will the true story that don’t require close inspection. The art of crafting Love to Make by Andria Lisle (Storey, 2010), Minecraft: Construction narrative nonfiction lies in pacing, which means choosing just the right Handbook by Matthew Needler (Scholastic, 2014), and Brain Games: scenes to flesh out. The Mind-Blowing Science of Your Amazing Brain by Jennifer Swanson The ratio of narrative to expository text ranges widely in narrative (National Geographic Kids, 2015). nonfiction. Most picture book biographies are brimming with narrative scenes. Books about historical events often include a bit more The Rise of Expository Literature exposition. Science-themed books like Neighborhood Sharks: Hunting When Congress passed the No Child Left Behind Act in of 2001, with the Great Whites of California’s Farallon Islands by Katherine Roy school funding priorities changed. School library budgets were slashed, (Roaring Brook/Macmillan, 2014); When Lunch Fights Back: Wickedly and many school librarians lost their jobs. Around the same time, the Clever Animal Defenses by Rebecca L. Johnson (Millbrook Press/Lerner, proliferation of websites made straightforward, kid-friendly information 2014); and Giant Squid by Candace Fleming, illus. Eric Rohmann widely available without cost, which meant general survey books about (Roaring Brook/Macmillan, 2016) devote roughly equal numbers of volcanoes or whales or the Boston Tea Party were no longer mandatory pages to narrative and expository text. purchases for libraries. As nonfiction book sales to schools and libraries slumped, authors Books For Browsing and illustrators had to raise their game. The result has been a new Thanks to Dorling Kindersley’s innovative Eyewitness Books series, breed of finely-crafted expository literature that delights as well as the 1990s also brought remarkable changes to traditional expository informs. nonfiction. These beautifully designed, lavishly illustrated books with Besides being meticulously researched and fully faithful to the facts, short text blocks and extended captions revolutionized children’s expository literature features captivating art, dynamic design, and rich, 56 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | NONFICTION FOR CHILDREN FOR | NONFICTION www.melissa-stewart.com science books for childrenandamemberof theSCBWIBoardof Advisors. » » » » specific editorswho may beinterested inyour manuscript. nonfiction you’re writing sothatyoucan identify publishers and even any time soon.Before submitting, it’simportant toknow which kind of acquiring nonfiction, and there’s no reason tothinkthatwillchange Degrand (Knopf/, 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 The Ageless Ideasof LeonardodaVincibyGene Barretta (Holt, 2009); Lightship byBrian Floca(Atheneum/Simon &Schuster, 2007);NeoLeo: Is QuietbyDianna Hutts Aston, illus. Sylvia Long (Chronicle, 2006); text structure, and purposefultext format. Examples include AnEgg characteristics: strong voice, carefully chosen point of view, innovative engaging language. It alsoincludes acreative mixof the following text » » » » Melissa Stewartistheaward-winningauthorof morethan180 guide yoursubmissions process. York houses allthe time. Again, read widely and usesimilartitlesto of these booksare being acquired byspecialized imprints atbig New expository literature, butthat’sbeginning tochange. More and more Until recently, smaller publishers were often the bestfit for what it’sstocking. about thisgrowing bookcategory, visitalocalbookstore and see open tomanuscripts and proposals from new writers. To learnmore companies, it’salsoproduced bysmall niche publishers who are often While some activenonfiction isalsopublished bylarge media browseable books, which are often assigned toexperienced writers. Entertainment are justafewof the companies currently interested in Dorling Kindersley, National Geographic Kids, and Ripley manuscript. can help youidentify editorsand imprints thatmight acquire your narrative nonfiction. Reading awide range of books similartoyours looking for engaging picture bookbiographies and other kinds of Chronicle, aswellmany imprints of large New York houses, are Editors atsmall publishers like Charlesbridge, Peachtree, and published writerswho submitaresume and writing sample. library market, these booksare usually assigned topublished and pre- with traditional expository text. Aimed specifically atthe school and Publishers like Capstone, ABDO, and Rosencontinue toproduce books Today, awide range of children’s bookpublishers are actively Tips for SubmittingNonfiction SCBWI MARKET SURVEYS

2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

compiled & edited by Deborah Halverson

ABDO PUBLISHING SANDCASTLE beginning nonfiction imprint Abdo Magic Wagon www.abdopublishing.com publishes titles for beginning readers, grades (A Division of Abdo Publishing) 800-800-1312 PreK–3. DESCRIPTION: Publishing PreK–8 titles blending PRESIDENT: Jill Hansen SPORTSZONE imprint publishes sports titles for a imagination and information with original PUBLISHER: Jim Abdo range of readers, grades 2–12. illustrations and story lines. EDITOR-IN-CHIEF & EVP PRESS: Paul Abdo SUPER SANDCASTLE oversized early nonfiction CALICO chapter book imprint publishes original EDITORIAL DIRECTOR: Tam Britton imprint publishes larger trim size titles with fiction with larger type for transitional readers, SENIOR ART DIRECTOR: Candice Keimig full-spread designs for beginning readers, grades grades 3–8. DESCRIPTION: A publisher of nonfiction titles K–4. CALICO KID early chapter book imprint publishes for the school and library market. Its PreK–12 QUERY LETTERS: Accepting for fiction only. introductory fiction with full-color illustrations, educational nonfiction titles support a wide MULTIPLE SUBMISSIONS: Accepting. grades PreK–3. range of state curriculum standards as well as UNSOLICITED MANUSCRIPTS: Accepting for GRAPHIC PLANET graphic novels imprint publishes personal interest reading. Includes the divisions fiction only. Looking for great concepts for original fiction and nonfiction graphic novels, and imprints below, as well as the Abdo 4-title fiction series. Email submissions to grades 2–10. Spotlight division, which consists of several [email protected]. LOOKING GLASS LIBRARY picture book imprint imprints publishing popular licensed character PAYMENT: Flat fee. publishes original fiction and nonfiction picture titles for young readers. ARTWORK INTEREST: Accepting. Email illustration books, grades PreK–4. A&D XTREME middle grade nonfiction imprint samples to [email protected]. MAGIC READERS leveled readers imprint publishes high-interest content with bold, full- ARTWORK PAYMENT: Flat fee. publishes leveled reading with photo-realistic spread photos for reluctant readers. illustrations, grades K–3. ABDO & DAUGHTERS middle grade nonfiction Abdo Kids SHORT TALES adapted stories nonfiction imprint imprint publishes high-interest and highly (A Division of Abdo Publishing) publishes adapted , classics, fairy tales, informative titles for research and independent www.abdokids.com and , grades 1–6. reading, grades 5–9. DESCRIPTION: Abdo Kids is a print and digital SPELLBOUND imprint publishes high-interest, BIG BUDDY BOOKS oversized elementary division for readers in grades PreK–2, with low-level (hi-lo) titles written at a second-grade nonfiction imprint publishes larger trim size many nonfiction series designed with simple reading level yet aimed at middle grade interest titles with popular nonfiction content, grades text and photos. Abdo Publishing is a publisher level. 2–5. of nonfiction titles for the school and library QUERY LETTERS: Not accepting. BUDDY BOOKS elementary nonfiction imprint market. MULTIPLE SUBMISSIONS: Not accepting. publishes introductory level titles to high- ABDO KIDS JUNIOR primary nonfiction PreK–2 UNSOLICITED MANUSCRIPTS: Not accepting. interest nonfiction content, grades 2–5. imprint with clean design, clear photos, and ARTWORK INTEREST: Not accepting. CHECKBOARD LIBRARY curriculum-based simple sentences for the youngest readers. ARTWORK PAYMENT: Flat fee. nonfiction imprint publishes in-depth content ABDO KIDS JUMBO oversized primary nonfiction with a cross-curricular approach, grades 3–6. PreK–2 imprint with huge, full-color images and Abdo Zoom! CORE LIBRARY Common Core nonfiction imprint a large trim for beginning readers. (A Division of Abdo Publishing) publishes titles aligned with Common Core QUERY LETTERS: Not accepting. www.abdozoom.com State Standards that promote in-depth learning, MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: A nonfiction division with four grades 3–6. UNSOLICITED MANUSCRIPTS: Not accepting. imprints publishing for young readers. ESSENTIAL LIBRARY research and reference ARTWORK INTEREST: Not accepting. BOLT! nonfiction imprint publishes hi-lo books imprint publishes 100+ page, well-researched ARTWORK PAYMENT: Flat fee. written at a second-grade reading level and of historic, scientific, and current event titles, interested to readers from grades 2–8. grades 6–12. DASH! nonfiction imprint publishes K–4 leveled 60 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.abramsbooks.com 212-206-7715 New York, NY10007 using simpletext and engaging pictures. low-level nonfiction for readers grades 2–8 preschoolers, ages birthto5years. Publishes young picture booksfor babies, toddlers, and [email protected]. mature. Divided into three imprints. chapter books—are bold, edgy, emotional, and readers alike, EPIC books—calledYoung Adult for young adult readers. Foravid and hi-lo reluctant readers, grades 10+. line. immerse young readers inbeginning research. books withphotos, funfacts, and quick statsto DESCRIPTION: EXECUTIVE EDITOR: abramsappleseed/ www.abramsbooks.com/imprints/ (An Imprint of Abrams Books) Abrams Appleseed SVP, PUBLISHER, CHILDREN’SBOOKS: 195 Broadway, 9 ABRAMS BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: EPIC EXTREME EPIC EDGE EPIC ESCAPE DESCRIPTION: MANAGING EDITOR: EDITOR-IN-CHIEF &EVPEPICPRESS: press https://abdopublishing.com/our-products/epic- (A Division of Abdo Publishing) EPIC Press ARTWORK PAYMENT: ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: LAUNCH! FLY! through three reading levels. skills and vocabularyasreaders progress nonfiction readers aimed atbuilding reading reluctant readers, grades 8+. reluctant readers, grades 6+. 4-title fiction series. fiction only. Looking for great concepts for | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 nonfiction imprint publishes high-interest, PreK–2 nonfiction imprint features Flat fee. hi-lo fiction imprint publishes for hi-lo fiction imprint publishes for Board books, novelty books, and YA hi-lofiction imprint withseries hi-lo fiction imprint publishes for Accepting for fiction only. Not accepting. th Meredith Mundy Floor Kenneth Abdo Flat fee. Flat fee. Accepting. Email samplesto Not accepting. Accepting. Not accepting. Not accepting. Accepting for Paul Abdo Andrew Smith series. a mixof original books, imports, and branded stories byand aboutpeopleof color, including of graphic novels and comic booksfeaturing and cartoons. Includes the Megascope line and the historyof comics art,animation, novels and illustrated booksaboutthe creators responsible ifsubmitted. or other original material accepted;not middle grade readers. illustrated nonfiction for preschool through responsible ifsubmitted. or other original material accepted;not Greenbaum against royalty orflatfee. QUERY LETTERS: DESCRIPTION: ABRAMS COMICARTS: EDITORIAL ASSISTANT, ABRAMSCHILDREN’S BOOKS, EDITOR, ABRAMSCOMICARTS,MEGASCOPE: EDITORIAL DIRECTOR, ABRAMS COMICARTS: Jody Mosley ASSOCIATE PUBLISHER,ABYR &ABRAMSCOMICARTS: abramscomicarts/ www.abramsbooks.com/imprints/ (An Imprint of Abrams Books) Abrams ComicArts ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ABRAMS COMICARTS: EDITORIAL ASSISTANT, ABRAMSCHILDREN’SBOOKS, EDITOR, ABRAMS/AMULET: PUBLISHING: SENIOR EDITOR, ENTERTAINMENT ANDLICENSED EDITORIAL DIRECTOR, PICTUREBOOKS: EXECUTIVE EDITOR: EDITOR-AT-LARGE: Jody Mosley ASSOCIATE PUBLISHER,ABYR &ABRAMSCOMICARTS: www.abramsbooks.com/imprints/abramsbyr/ (An Imprint of Abrams Books) Abrams Books for Young Readers ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: N/A UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: Ledbetter Kochman advance against royalty orflatfee. flat fee, depending onthe project. Depends onproject. Either advance Russell Busse Publishes groundbreaking graphic Publishes picture bookfiction and Not accepting. Not accepting. Howard W. Reeves Maggie Lehrman Advance against royalty or Depends onproject. Either Yes. No original artwork Yes. No original artwork Jessica Gotz Jessica Gotz Not accepting. Not accepting. Erica Finkel Not accepting. Not accepting. Emma Charlotte Charles Heltzel responsible ifsubmitted. or other original material accepted;not middle grade and teenfiction. including picture books, chapterbooks, and . imprint, alistof reprints and original grade readers. Includes the Amulet Paperbacks and nonfiction for young adults and middle against royalty orflatfee. ART DIRECTOR, CHILDREN’SBOOKS&COMICARTS: ASSISTANT EDITOR: ASSOCIATE EDITOR: SENIOR EDITOR, ABRAMS/AMULET: EXECUTIVE EDITOR, AMULET&COMICARTS: www.abramsbooks.com/imprints/amuletbooks/ (An Imprint of Abrams Books) Amulet Books ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: centered around social justice issues. realism, aswellcreative nonfiction , , horror, and magical UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: ASSOCIATE EDITOR: EXECUTIVE EDITOR: PUBLISHING DIRECTOR: EDITORIAL MANAGER: www.albertwhitman.com 0039 800-255-7675 or847-232-2800;Fax847-581- Park Ridge, IL60068 250 SouthNorthwestHighway, Suite320 ALBERT WHITMAN&CO. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: Pam Notarantonio advance against royalty orflatfee. flat fee, depending onthe project. “ATTN: Abrams ComicArts Editorial.” submissions, withSASE, via US Post, marked albertwhitman.com. Seehttp://www. submissions via email tosubmissions@ Jon Westmark Depends onproject. Either advance Advance against royalty. List of 40hardcover titlesayear, Publishes novels, graphic novels, Accepting. Accepting via email only. Not accepting. EmilyDaluga Courtney Code Christina Pulles Andrea Hall Advance against royalty or Depends onproject. Either Yes. Yes. No original artwork Wendy McClure Sue Tarsky Not accepting. Accepting. Accepting. Not accepting. Accepting. Mail Yes, accepting Erica Finkel Anne

2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 61 albertwhitman.com/submission-guidelines- AMAZON CROSSING: Gabriella Page-For books, and paperbacks that encourage young PREPARING & SUBMITTING for-unrepresented-authors/ for instructions. EDITOR, AMAZON CROSSING KIDS, TWO LIONS: children to explore facts, examine ideas, Response within six months, but only if they Marilyn Brigham and imagine new ways of understanding the have further interest. DESCRIPTION: Publishing children’s books in world. Amicus imprints also include Amicus PAYMENT: Advance against royalty. translation. Readers, Spot, Amicus Illustrated, Amicus High ARTWORK INTEREST: Yes, but do not send QUERY LETTERS: Accepting. Interest, and Amicus Digital, none of which are originals. Art samples should show pictures of MULTIPLE SUBMISSIONS: Not accepting. accepting unsolicited manuscripts. Only Amicus children. UNSOLICITED MANUSCRIPTS: Accepting. See Ink accepts submissions. Distribution via The ARTWORK PAYMENT: Advance against royalty or guidelines and submission form at https:// Creative Company and Chronicle Books. flat fee. translation.amazon.com/submissions. QUERY LETTERS: Accepting. PAYMENT: Advance and royalties. MULTIPLE SUBMISSIONS: Accepting. MARKET SURVEYS AMAZON CHILDREN’S PUBLISHING ARTWORK INTEREST: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting for Amicus (A Division of ) ARTWORK PAYMENT: N/A Ink imprint. See full instructions at https:// 276 Fifth Avenue, Suite 1007 www.amicuspublishing.us/news/careers-new. New York, NY 10001 Skyscape Send to [email protected], https://amazonpublishing.amazon.com (An Imprint of Amazon Children’s Publishing) typical response time 3 to 6 months. VP, PUBLISHING: Jeff Belle https://amazonpublishing.amazon.com/skyscape. PAYMENT: Advance against royalty or flat fee, PUBLISHER, US: Mikyla Bruder html depending on project.

ASSOCIATE PUBLISHER, US: Hai-Yen Mura EDITORIAL DIRECTOR, LITTLE A, TOPPLE BOOKS: ARTWORK INTEREST: Accepting. Send portfolios DIRECTORIES & RESOURCES Carmen Johnson for consideration to [email protected]. Alloy Entertainment EXECUTIVE EDITOR, SKYSCAPE, 47 NORTH: Jason Will respond only if interested. (A Joint Imprint of Amazon Children’s Kirk ARTWORK PAYMENT: Flat fee or advance against Publishing and Alloy Entertainment) DESCRIPTION: Publishing timely and topical royalty, depending on project. 1325 Avenue of the Americas, 29th Floor literary for readers of all New York, NY 10019 ages. ANDREWS MCMEEL www.alloyentertainment.com QUERY LETTERS: Not accepting. (An Imprint of Andrews McMeel Universal) EDITOR: Viana Siniscalchi MULTIPLE SUBMISSIONS: Not accepting. 1130 Walnut Street EDITOR: Hayley Wagreich UNSOLICITED MANUSCRIPTS: Not accepting. Kansas City, MO 64106 DESCRIPTION: A digital-first imprint focusing on PAYMENT: Advance against royalty 816-581-7500 young adult, new adult, and commercial fiction, ARTWORK INTEREST: Not accepting. www.publishing.andrewsmcmeel.com which are Alloy’s specialty areas in its book ARTWORK PAYMENT: N/A PRESIDENT & PUBLISHER: Kirsty Melville PUBLICIZING YOUR PUBLISHED WORK packaging business. Alloy’s offerings include EXECUTIVE EDITOR: Patti Rice Gossip Girl, Pretty Little Liars, and the Vampire Two Lions DESCRIPTION: An independent publisher Diaries. (An Imprint of Amazon Children’s Publishing) publishing humorous and inspiring books for QUERY LETTERS: Accepting. https://amazonpublishing.amazon.com/two- children and middle graders. MULTIPLE SUBMISSIONS: Not accepting. lions.html QUERY LETTERS: Accepting. UNSOLICITED MANUSCRIPTS: Accepting through EDITORIAL DIRECTOR, AMAZON CROSSING KIDS/TWO MULTIPLE SUBMISSIONS: Accepting. The Collaborative at Alloy Entertainment, an LIONS: Kelsey Skea UNSOLICITED MANUSCRIPTS: Accepting. See editorial-intensive program for authors in search EDITOR, AMAZON CROSSING KIDS, TWO LIONS: guidelines at http://publishing.andrewsmcmeel. of representation or for agents who would like Marilyn Brigham com/our-company/submissions. to partner with Alloy on shaping a particular DESCRIPTION: Publishes picture books, chapter PAYMENT: Advance against royalty or flat fee, client manuscript before submitting. Acquired books, and middle grade fiction for kids up to depending on project. projects will be shaped by The Collaborative age 12. ARTWORK INTEREST: Accepting. and the author together before determining QUERY LETTERS: Not accepting. ARTWORK PAYMENT: Flat fee or advance against

the next steps for publication. Submissions MULTIPLE SUBMISSIONS: Not accepting. royalty, depending on project. SCHOOL VISITS should be emailed to thecollaborative@ UNSOLICITED MANUSCRIPTS: Not accepting. alloyentertainment.com. PAYMENT: Advance against royalty ARBORDALE PUBLISHING PAYMENT: Advance and royalties. ARTWORK INTEREST: Not accepting. 612 Johnnie Dodds, Suite A2 ARTWORK INTEREST: Not accepting. ARTWORK PAYMENT: N/A Mt. Pleasant, SC 29464 ARTWORK PAYMENT: N/A 843-971-6722 or 877-243-3457; Fax 843-216- AMICUS INK 3804 LEGAL QUESTIONS Amazon Crossing Kids (An Imprint of Amicus) www.arbordalepublishing.com (An Imprint of Amazon Children’s Publishing) PO Box 1329 PUBLISHER: Lee German https://amazonpublishing.amazon.com/amazon- Mankato, MN 56002 CO-OWNER, EDITOR: Donna German crossing-kids.html (507) 388-9357; Fax (507) 388-2746 ASSOCIATE EDITOR: Katie Hall EDITORIAL DIRECTOR, AMAZON CROSSING KIDS, TWO www.amicuspublishing.com DESCRIPTION: Publishing picture books that LIONS: Kelsey Skea ASSOCIATE PUBLISHER: Rebecca Glaser blend math, science, geography, and dual EDITORIAL DIRECTOR, AMAZON CROSSING KIDS, DESCRIPTION: Publishing board books, picture language (English/Spanish), interactive ebooks 62 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 617-576-0660; Fax 617-576-0049 Cambridge, MA02140 output toup12booksinsubsequent years. Launched Spring 2019,withplans toincrease young readers; distributedbyRandom House. mindfulness, yoga,Buddhism, and hope for Submission.” shambhala.com withthe subjectline “BalaKids bala-kids/. Email submissions tobalakids@ guidelines atwww.shambhala.com/about- [email protected]. and white. Submitto“Acquisitions Editor”at illustrations for children; coloronly, no black only. Looking for realistic-style (not cartoon) depending onproject. 2067 MassachusettsAvenue, 5 BAREFOOT BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL DIRECTOR: ASSOCIATE PUBLISHER: OWNER, EVP, PUBLISHER: www.shambhala.com/about-bala-kids/ www.shambhala.com Boulder, CO80301 4720 Walnut St.,#106 (An Imprint of ShambhalaPublishing) BALA KIDS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: Publishing.) for young readers. (Formerly SylvanDell royalty, depending onproject. flat fee, depending onproject. books. website. Not accepting previously self-published the submission guidelines listedonthe house words orlessand meet allthe criteria listedin woven into the story. Manuscripts must be1000 for fiction manuscripts with nonfiction facts arbordalepublishing.com. Primarily looking to Acquisitions Editorvia submissions@ months. “Bala Kids Submission.” Response time istwo [email protected] withthe subjectline com/about-bala-kids/. Email submissions to Submission guidelines at www.shambhala. | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Advance against royalty orflatfee, Advance against royalty. Publishing booksonmeditation, Accepting. Accepting via email only. Accepting. Submissions Advance against royalty or Flat feeoradvance against Accepting withemail Juree Sondker Rachel Neumann Accepting. Not accepting. Ivan Bercholz Accepting. Accepting. Send th Floor (fiction and nonfiction), both text and artwork. Series. Ongoing interest inchildren’s books enduring valuesand inspire creativity. puppets, puzzlesand giftsthatcelebrate UK. Specializes inchildren’s books, CDs, games, offices inCambridge, Massachusetts and Oxford, Editor.” nonreturnable samplesto“ATTN: Acquisitions material to “Art Director.” DESCRIPTION: CO-FOUNDER &CHIEFEXECUTIVEOFFICE: www.barefootbooks.com MANAGING EDITOR: PRESIDENT &PUBLISHER: www.beyondword.com 503-531-8700; Fax503-531-8773 Hillsboro, OR97124 20827 NWCornellRoad,Suite500 BEYOND WORDS PUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SENIOR ARTDIRECTOR: ACQUISITIONS EDITOR: www.bes-publishing.com 631-434-3311 Hauppauge, NY11788 250 WirelessBoulevard B.E.S. PUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SENIOR EDITOR: SENIOR EDITOR: Traversy letters only, no manuscripts orartwork.) email [email protected]. (Email query wellness and healthy living aswellkids’ children, and teens thatfosters and inspires & Schuster, publishing nonfiction for adults, Atria Books, Aladdin, and Simon PulseatSimon flat fee, depending. picture books. approximately 4-6weeks;pleasedo not call. com/info.html for instructions. Response time is an emailed queryletter. Seebes-publishing. regular US Post, preferably afterfirstsending manuscript submissions (sample pages only)via Usually advance against royalty. Advance against royalty. Anindependent publisher with Small press partnered withimprints Formerly Barron’s Educational Kate DePalma Lisa Rosinsky Accepting. Send querylettersvia Not accepting. Yes, via US Post only. Send Yes, byregular mail. Address Lindsay Brown Advance against royalty or Advance against royalty for Wayne Barr Bill Kuchler Accepting. Not accepting. Richard Cohn Not accepting. Accepting. Send Nancy graphics. level. Hi-interest, lo-reading level,fullinfo- readers atgrade 4-6interest level,2.8-3.3ATOS as reluctant readers, 3to5booksperyear. grade fiction for general teen readership aswell BOLT DESCRIPTION: ASSOCIATE PUBLISHER: ASSOCIATE PUBLISHER: www.blackrabbitbooks.com 507-388-1609; Fax507-388-2746 Mankato, MN56002 PO Box 3263 BLACK RABBITBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: spiritual practices. explore and/or question traditional wisdom and publishes contemporary new science titlesthat through innovative ideas and practices. Also power tochange, expand, and raise awareness ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSOCIATE EDITOR: EDITORIAL DIRECTOR: PUBLISHER &EDITOR-IN-CHIEF: www.akashicbooks.com 718-643-9193; Fax718-643-9195 Brooklyn, NY11215 232 ThirdStreet,SuiteA115 (An Imprint of Akashic Books) BLACK SHEEP ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: HI JINX picture booksubmissions. proposals from agents only. Not accepting [email protected]. work-for-hire basis;work-for-hire contact at are developed in-house and are assigned ona humorous. level, 2.8-3.3ATOS level.Bold, high-energy, struggling readers atgrade 4-6interest imprint publishes hi-lobooksfor struggling imprint publishes hi-lobooksfor Advance against royalty. Advance against royalty orflatfee. Advance against royalty orflatfee. Publisher of booksfor grades K-12. Publishes young adult and middle Accepting manuscripts and Not accepting. Not accepting. Aaron Petrovich N/A N/A N/A No. Not accepting. Not accepting. Ibrahim Ahmad Jonathan Strickland Jennifer Besel Not accepting. Not accepting. Not accepting. Not accepting. Not accepting. Not accepting. Titles Johnny Temple 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 63

easy readers, middle grade and teen novels, ongoing. Distributed by Lerner Publishing BLINK PREPARING & SUBMITTING (An Imprint of ) fiction, and fantasy. Publishes 100 to 125 books Group. 3900 Sparks Drive annually. QUERY LETTERS: Not accepting. Grand Rapids, MI 49546 QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. 800-226-1122 MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Actively seeking www.BlinkYABooks.com UNSOLICITED MANUSCRIPTS: Not accepting. submissions for the StarBerry Books imprint. SVP & GROUP PUBLISHER, HARPERCOLLINS, BLINK: PAYMENT: Advance against royalty. Also seeking series ideas for Kane Press. See Annette Bourland ARTWORK INTEREST: Not accepting. guidelines at http://www.kanepress.com/about- SENIOR EDITOR: Jacque Alberta ARTWORK PAYMENT: Advance against royalty or us/. AQUISITIONS EDITOR: Sara Bierling flat fee, depending on project. ARTWORK INTEREST: Accepting samples via email EDITOR: Hannah VanVels or printed samples via US Post. Do not send MARKET SURVEYS DESCRIPTION: Zondervan is a division of Bloomsbury Spark original art. HarperCollins Christian Publishing. The Blink (An Imprint of Bloomsbury Publishing) ARTWORK PAYMENT: Advance against royalty or imprint publishes 5 to 6 young adult fiction bloomsbury.com/us/bloomsbury-spark/ flat fee. titles for the general trade market per year. DESCRIPTION: A global, digital-first imprint Blink fiction is for all readers, regardless of publishing fiction ebooks for teens, CAMERON + KIDS faith. Looking for hopeful books that touch on adult readers, and new adult readers in all (An Imprint of Cameron + Company) real issues while striving for a positive balance categories, including romance, mystery, , 149 Kentucky Street, Suite 7 and approach and which represent and paranormal, dystopian, historical, contemporary, Petaluma, CA 94952 DIRECTORIES & RESOURCES ethical standards. The list is primarily fiction fantasy. Contracting for digital rights, with a 707-769-1617; Fax 415-223-8520 and spans genres, including (but not limited first option for print editions. www.cameronbooks.com to) contemporary, fantasy, romance, , QUERY LETTERS: Not accepting. PUBLISHER: Chris Gruener dystopian/commercial futuristic novels, and MULTIPLE SUBMISSIONS: Not accepting. CHILDREN’S PUBLISHER: Nina Gruener historical fiction. Does include select nonfiction UNSOLICITED MANUSCRIPTS: Not accepting. CHILDREN’S EDITOR, CAMERON: Amy Novesky titles such as autobiographies. PAYMENT: Offering standard ebook royalty rates. EDITORIAL ASSISTANT: Mason QUERY LETTERS: Not accepting. ARTWORK INTEREST: Not accepting. CREATIVE DIRECTOR: Iain Morris MULTIPLE SUBMISSIONS: Not accepting. ARTWORK PAYMENT: N/A CHILDREN’S ART DIRECTOR: Melissa Nelson UNSOLICITED MANUSCRIPTS: Not accepting. Greenberg PAYMENT: Advance against royalties. BOYDS MILLS & KANE DESCRIPTION: Publishing primarily picture books. ARTWORK INTEREST: Not accepting. www.kanepress.com QUERY LETTERS: Accepting. ARTWORK PAYMENT: Advance against royalties or www.boydsmillspress.com MULTIPLE SUBMISSIONS: Accepting. PUBLICIZING YOUR PUBLISHED WORK flat fee. PRESIDENT: Leying Jiang UNSOLICITED MANUSCRIPTS: Accepting. Via FOUNDER, KANE PRESS: Joanna Kane email only. Visit http://cameronbooks.com/ BLOOMSBURY PUBLISHING PLC PUBLISHER: Juliana Lauletta submissioninfo/ for instructions. 1385 Broadway, 5th Floor SENIOR EDITOR, KANE PRESS: Joy Bean PAYMENT: Advance against royalty. New York, NY 10018 EDITOR, KANE PRESS: Jes Negrón ARTWORK INTEREST: Accepting. 212-419-5300 SENIOR EDITOR, BOYDS MILLS PRESS/WORDSONG: ARTWORK PAYMENT: Advance against royalty or www.bloomsbury.com Rebecca Davis flat flee. VP, PUBLISHER, BLOOMSBURY CHILDREN’S BOOKS: SENIOR EDITOR, CALKINS CREEK: Carolyn Yoder Cindy Loh ASSISTANT EDITOR: Susan Krogulski CANDLEWICK PRESS ART DIRECTOR: Tim Gillner (A Division of The Walker Book Group) Bloomsbury Children’s Books ART DIRECTOR: Barbara Grzeslo 99 Dover Street (A Division of Bloomsbury Publishing PLC) CALKINS CREEK historical fiction/nonfiction Somerville, MA 02144 www.bloomsbury.com/us/childrens/ imprint publishes picture books, chapter books, 617-661-3330; Fax 617-661-0565

VP, PUBLISHER, BLOOMSBURY CHILDREN’S BOOKS: and novels. www.candlewick.com SCHOOL VISITS Cindy Loh WORDSONG imprint publishes poetry collections PRESIDENT, & PUBLISHER, MANAGING DIRECTOR EDITORIAL DIRECTOR, FICTION: Liese Mayer and anthologies. WALKER BOOKS: Karen Lotz EDITORIAL DIRECTOR: Annette Pollert-Morgan STARBERRY BOOKS imprint publishes diverse, EXECUTIVE V-P, EXECUTIVE EDITORIAL DIRECTOR, & EXECUTIVE EDITOR: Mary Kate Castellani imaginative, series-based picture books with an ASSOCIATE PUBLISHER: Elizabeth Bicknell EXECUTIVE EDITOR: Sarah Shumway educational underpinning and bright, colorful EXECUTIVE EDITORIAL DIRECTOR, WALKER BOOKS US: illustrations. Susan Van Metre

SENIOR EDITOR, BRAND MANAGER YA FANTASY: LEGAL QUESTIONS Kamilla Benko DESCRIPTION: Publishes socially conscious, ASSOCIATE PUBLISHER & CREATIVE DIRECTOR: Chris SENIOR EDITOR, NONFICTION: Susan Dobinick educational fiction and informative, lively Paul EDITOR: Allison Moore nonfiction. List consists of picture books, EDITORIAL DIRECTOR, DIRECTOR OF EDITORIAL ASSOCIATE EDITOR: Hali Baumstein chapter books, illustrated nonfiction, and OPERATIONS: Mary Lee Donovan ASSISTANT EDITOR: Claire Stetzer middle grade and select teen fiction. In SENIOR EXECUTIVE EDITOR: Sarah Ketchersid ART DIRECTOR: Donna Mark 2019, Kane Press merged with Boyds Mills; EXECUTIVE EDITOR, BIG PICTURE PRESS, DESCRIPTION: Publishes trade picture books, reorganization of imprints, websites, etc. is CANDLEWICK STUDIO: Katie Cunningham 64 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019

EXECUTIVE EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: SENIOR EDITOR: EDITOR: EDITOR: EDITOR: EDITOR:

EXECUTIVE ART DIRECTOR: DESCRIPTION: Walker Books. Strength is picture books and middle grade and teen fiction. Emphasis on literary quality and superior design. Approximately 200 titles annually, both hardcover and paperback. BIG PICTURE PRESS illustrated books. CANDLEWICK ENTERTAINMENT Candlewick’s media-related children’s publishing, including TV and movie tie-ins.

CANDLEWICK STUDIO driven books with high production values, appealing to both children and adults, as well as book collectors. CANDLEWICK PRESS books and middle grade and teen fiction NOSY CROW and parent-friendly children’s books including beautifully illustrated picture books and interactive board books TEMPLAR BOOKS novelty titles, and interactive baby books. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: PAYMENT: ARTWORK INTEREST: correspondence, art samples, and dummies to “Attn: Art Resource Coordinator.” Do not send originals; materials will not be returned. ARTWORK PAYMENT:

CAPSTONE YOUNG READERS 1710 Crest Drive North Mankato, MN 56003 800-747-4992; Fax 888-262-0705 www.capstonepub.com PUBLISHER: EDITORIAL DIRECTOR, NONFICTION: MANAGING EDITOR: SENIOR EDITOR: SENIOR EDITOR: EDITOR: EDITOR, SWITCH PRESS: CREATIVE CONCEPT DIRECTOR, FICTION: Dahl DESCRIPTION: Capstone imprints includes nonfiction, fiction,

Allison Cole Carter Hasegawa Miriam Newman Joan Powers

Donald Lemke

Varies.

imprint publishes child-focused

Patricia Stockland

US publisher of -based

Publishing program of the

Kaylan Adair

Alison Deering Kristen Mohn

Not accepting.

imprint publishes picture books,

Hilary Van Dusen

Kate Fletcher Andrea Tompa

imprint publishes highly

Varies.

Accepting. Send

Christianne Jones

imprint publishes picture

imprint publishes design-

Eliza Leahy

Not accepting.

Ann Stott

Not accepting.

imprint publishes

Nick Healy

Michael

picture books, interactive books, audio books, and literacy programs. Capstone Young Readers is a trade division, publishing several imprints into the trade market; it includes board books, picture books, chapter books, middle grade series fiction, and graphic novels. Nearly all books are written on a work-for-hire basis and are part of a larger series; publisher is always looking for new authors and illustrators to help craft high-appeal titles. Copyright and all reproduction rights are held by the company unless otherwise expressly stated.

COMPASS POINT BOOKS nonfiction for middle school readers. The imprint weaves comprehensive narrative with intriguing facts and real-world examples to make history, science, and biographies come alive for readers in grades 5-12.

HEINEMANN-RAINTREE curriculum-driven nonfiction that encourages inquiry and satisfies curiosity for students grades K-8. Comprehensive text and captivating images combine to create a reading experience rich in content and diverse points of view. Among its most recognized brands include Acorn, First Library, and Raintree Perspectives. PICTURE WINDOW BOOKS illustrated fiction and nonfiction easy readers, picture books, and chapter books for grades pre K-4.

STONE ARCH BOOKS independent reading with compelling contemporary and appropriate fiction for readers in grades K-9. The imprint transforms reluctant readers into reading enthusiasts through an exciting array of topics and genres. SWITCH PRESS publishing contemporary nonfiction such as cookbooks, craft and how-to titles, and narrative nonfiction, as well as historical fiction, fantasy, graphic novels, and poetry. Titles released both in hardcover and digital formats. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: titles are developed in-house and written and illustrated by freelance writers and artists. For full details on work-for-hire opportunities, please visit http://www.capstonepub.com/ library/service/submissions/. No phone calls; will respond only if they have further interest. PAYMENT: ARTWORK INTEREST: sent to email address listed at http://www. capstonepub.com/library/service/submissions/. ARTWORK PAYMENT:

Flat fee, work-for-hire.

is a young adult imprint

Not accepting.

Illustrator inquiries can be

imprint focuses on inspiring

Flat fee.

imprint publishes

imprint publishes smart

Not accepting.

imprint publishes

Not accepting. Most

CBAY BOOKS PO Box 670296 Dallas, TX 75367 www.cbaybooks.com PUBLISHER & EDITOR: DESCRIPTION: is an independent publisher of fantasy and science fiction for middle graders and teens. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: during specified submission periods. See guidelines and submission dates at https:// www.cbaybooks.blog/submission-guidelines/. PAYMENT: depending on project. ARTWORK INTEREST: ARTWORK PAYMENT: royalty, depending on project.

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

Monica Perez

Julie Bliven

Advance against royalty or flat fee,

Advance against royalty (usually) or

Children’s Brains Are Yummy Books

A smaller, independent, family-

Susan Sherman

Alyssa Mito Pusey

Not accepting.

Not accepting. Send full

Karen Boss

Accepting. For full

Flat fee or advance against

Accepting.

Madeline Smoot

imprint publishes young

Accepting.

Not accepting.

Accepting. For full

Accepting only 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 65

ARTWORK PAYMENT: Advance against royalty UNSOLICITED MANUSCRIPTS: Accepting via regular CRESTON BOOKS PREPARING & SUBMITTING (usually) or flat fee. US Post. Responding only if interested; rejected PO Box 9369 submissions are recycled so don’t include Berkeley, CA 94709 CHARMZ SASE. Response time of 6 months. See www. www.crestonbooks.co (An Imprint of Papercutz) chroniclebooks.com/submissions for complete PUBLISHER & EDITOR: Marissa Moss 160 Broadway, Suite 700E submission guidelines. DESCRIPTION: An author/illustrator-driven small New York, NY 10038 PAYMENT: Varies. publisher of picture books. Distributed by Lerner 646-559-4681; Fax 212-643-1545 ARTWORK INTEREST: Accepting. Do not send Publishing. www.papercutz.com original artwork; materials will not be returned. QUERY LETTERS: Accepting. www.papercutz.com/kids-comics-graphic-novels/ See www.chroniclebooks.com/submissions for MULTIPLE SUBMISSIONS: Accepting. charmz complete submission guidelines. UNSOLICITED MANUSCRIPTS: Accepting. For MARKET SURVEYS CEO & PUBLISHER: Terry Nantier ARTWORK PAYMENT: Varies. novels, include outline and 3 sample chapters. EDITOR-IN-CHIEF: Jim Salicrup For picture books, send entire manuscript. Email DESCRIPTION: A full-color imprint CLEAR FORK PUBLISHING to [email protected]. from children’s graphic novel publisher 102 S. Swenson St. PAYMENT: Advance against royalty or flat fee. Papercutz featuring “relationship-driven stories” Stamford, TX 79553 ARTWORK INTEREST: Not accepting. tailored toward preteen and early teen girls. 325-773-5550 ARTWORK PAYMENT: N/A Publishes between 50 and 60 graphic novels a www.clearforkpublishing.com year, including original graphic novels. PUBLISHER: Callie Metler-Smith CURIOSITY QUILLS PRESS DIRECTORIES & RESOURCES QUERY LETTERS: Accepting. EDITOR & ART DIRECTOR, PICTURE BOOKS: Mira curiosityquills.com MULTIPLE SUBMISSIONS: Accepting. Reisberg MANAGING PARTNER & EDITOR: Alisa Gus UNSOLICITED MANUSCRIPTS: Accepting. Send EDITOR, YOUNG ADULT: Austin Ruh VP, OPERATIONS & ACQUISITIONS MANAGER: Andrew query and synopsis via email to Salicrup@ DESCRIPTION: Publishing board books, picture Buckley papercutz.com. books, chapter books, and young adult novels ACQUISITIONS EDITOR: Allison Heller PAYMENT: Advance against royalties. that promote creativity, diversity, and books ACQUISITIONS EDITOR: Vicki Keire ARTWORK INTEREST: Accepting. Contact that expand readers’ minds. ACQUISITIONS EDITOR: Kathleen Kubasiak [email protected]. SPORK imprint publishes children’s books from DESCRIPTION: Publishing hard-hitting dark sci-fi, ARTWORK PAYMENT: Advance against royalties or picture books to middle grade readers. , and paranormal works aimed flat fee. CFP imprint publishes YA fiction and nonfiction at adults, young adults, and new adults. QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. CHRONICLE BOOKS MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Accepting. PUBLICIZING YOUR PUBLISHED WORK 680 Second Street UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting. Submit , CA 94107 PAYMENT: Advance against royalty or flat fee, via online query form at https://curiosityquills. 415-537-4200; Fax 415-537-4460 depending on project. com/submission-guidelines/. www.chroniclebooks.com ARTWORK INTEREST: Not accepting. PAYMENT: Advance against royalty or flat fee. EXECUTIVE PUBLISHING DIRECTOR, CHILDREN’S: ARTWORK PAYMENT: Flat fee or advance against ARTWORK INTEREST: Not accepting. Ginee Seo royalty, depending on project. ARTWORK PAYMENT: N/A EDITOR-AT-LARGE: Victoria Rock SENIOR EDITOR: Naomi Kirsten CREATIVE EDITIONS BOOKS SENIOR EDITOR: Melissa Manlove (An Imprint of The Creative Company) 31 Beaumont Street EDITOR: Ariel Richardson PO Box 227 Oxford, OX1 2NP, United Kingdom EDITOR: Taylor Norman Mankato, MN 56002 +44 (O) 1865 339000 ASSITANT EDITOR: Daria Harper (800) 445-6209; Fax (507) 388-2746 www.davidficklingbooks.com EDITORIAL ASSISTANT: Feather Flores www.thecreativecompany.us PUBLISHER: David Fickling

DESCRIPTION: Publishes approximately 90 PUBLISHER: Tom Peterson EDITOR: Rosie Fickling SCHOOL VISITS titles annually. Focuses on highly visual books DESCRIPTION: Publishing picture books, EDITOR, PICTURE BOOKS: Alice Corrie with words that inspire the art; one must distributed by Chronicle Books. Their paperback EDITOR: Anthony Hinton complement the other. Age range is from toddler reprint line is Creative Paperbacks. DESCRIPTION: UK-based David Fickling Books is and early chapter books to teen fiction. Interest QUERY LETTERS: Not accepting. an independent publisher of fiction and picture in nonfiction, picture books, beginning readers, MULTIPLE SUBMISSIONS: Not accepting. books for ages 0 to 18; approximately 12 to 20 middle grade fiction, and novelty formats. UNSOLICITED MANUSCRIPTS: Not accepting.

books a year. LEGAL QUESTIONS Looking for writing and illustration with Agented projects only. QUERY LETTERS: Not accepting. unusual and distinctive flavor. Titles range from PAYMENT: Advance against royalty or flat fee. MULTIPLE SUBMISSIONS: Not accepting. classically illustrated fairy tales to contemporary ARTWORK INTEREST: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting through concept books. ARTWORK PAYMENT: N/A the periodic Master of the Inkpot competitions, QUERY LETTERS: Accepting. for which dates and guidelines are posted at MULTIPLE SUBMISSIONS: Accepting, but indicate www.davidficklingbooks.com/submit. on query/cover letter. PAYMENT: Advance against royalty. 66 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 middle graders. young adult readers. grade fiction authors. heroes, byestablished young adult and middle original stories aboutDC’siconic lineup of super company. Allassignments are work-for-hire. and animated films, TV, and other areas of the based onDisney characters from live-action hardcover and 55paperbackbooksayear books.disney.com New York, NY10011-5690 114 FifthAvenue Disney Publishing/HyperionBooks for Children (A Division of Disney Publishing Worldwide) DISNEY BOOKGROUP ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DC ZOOM DC INK DESCRIPTION: VP &EXECUTIVEEDITOR: CO-PUBLISHER: EXECUTIVE VP, CO-PUBLISHER: www.dcentertainment.com DC ENTERTAINMENT ARTWORK PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSISTANT EDITOR: EDITOR: EDITOR: SENIOR EDITOR: Lauren Burniac SENIOR EDITOR, DISNEYPUBLSHINGWORLDWIDE: Jennifer Heddle EXECUTIVE EDITOR, DISNEY/LUCASFILM PUBLISHING: EDITORIAL DIRECTOR: DIRECTOR, DISNEYEDITIONS: VP, DISNEYPUBLISHINGWORLDWIDE, &EDITORIAL (A Division of Disney BookGroup) Disney Press flat fee, depending onproject. imprint publishes graphic novels for Brittany Rubiano Eric Geron imprint publishes graphic novels for Flat fee;work-for-hire. N/A Publishing graphic novels featuring Publishes approximately 35 Jim Lee Jocelyn Davies Not accepting. Not accepting. Megan Logan Flat fee;work-for-hire. N/A Advance against royalty and Not accepting. Not accepting. N/A Jennifer Levesque Michele Wells Not accepting. Not accepting. Not accepting. Accepting. Wendy Lefkon Dan Didio mythology-based booksfor middle graders. assignments are work-for-hire. to television orother corners of Walt Disney. All properties orthatitbelieves canbeextended year thatare either linked toABCtelevision 70 hardcover and 50paperbackbooksa Disney-Hyperion Bookspublishes approximately Hyperion Booksand Jumpatthe Sunimprints. and teenfiction published inboththe Disney- with existing TVprogramming. formats—from bookstotelevision—and tie in properties as wellasmaterial thatcanspan readers ages 14to34.Publishing original book crossover fiction and nonfiction aimed at VP, PUBLISHER,HYPERION: (An Imprint of Disney BookGroup) Disney-Hyperion DESCRIPTION: Kieran Viola SENIOR EDITOR, DISNEY-HYPERION, FREEFORM: ASSOCIATE PUBLISHER: DISNEY PUBLISHINGWORLDWIDE EDITOR-IN-CHIEF, (An Imprint of Disney Publishing Worldwide) Freeform ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: JUMP AT THESUN DESCRIPTION: CREATIVE DIRECTOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSISTANT EDITOR: SENIOR EDITOR: Kieran Viola SENIOR EDITOR, DISNEY-HYPERION, FREEFORM: EXECUTIVE EDITOR: EXECUTIVE EDITOR: PRESENTS: EDITOR-AT-LARGE, DISNEY-HYPERION/RICK RIORDAN 345 HudsonStreet (A Division of Penguin Random House Group) DK PUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: celebrate African American culture. flat fee, depending onproject. flat fee, depending onproject. Advance against royalty. Advance against royalty. Stephanie Owens Lurie Picture booksand middle grade Focusing onyoung adult and Laura Schreiber Not accepting. Not accepting. imprint publishes titlesthat Esther Cajahuaringa Hannah Allaman Heather Crowley Rotem Moscovich Tracey Keevan Advance against royalty or Advance against royalty or Yes, through artdirector. Yes, through artdirector. Joann Hill Emily Meehan imprint publishes Not accepting. Not accepting. Emily Thomas Meehan Not accepting. Not accepting. on file. teens ages 13−17. Known for heavily illustrated nonfiction for and educational booksfor young children. annual Helen Sheehan YA BookPrizecontest. Its young adult imprint, ERBYA, holds the young adult novels. contemporary, fantasy, and science fiction original characters and settings. Looking for with editorsinto wholly original bookswith popular fan fiction thathasbeen re-envisioned works developed exclusively for Duetaswell and offering universalappeal.The listincludes fresh, diverseperspectivesonLGBTQ characters for teenage readers featuring new voices and LGBTQ characters, publishing fiction appropriate young adult fiction imprint Duet represents publisher of LGBTQ romantic fiction. Interlude’s hire, depending onproject. www.duetbooks.com (An Imprint of Interlude Press) DUET BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: REFERENCE: SENIOR EDITOR, CHILDREN’SNONFICTION SENIOR EDITOR: www..com/us/ 646-674-4000 New York, NY10014 DESCRIPTION: EDITORIAL ASSISTANT: EDITOR-AT-LARGE: PUBLISHER: www.elephantrockbooks.com Ashford, CT 06278 PO Box 119 (An Imprint of Elephant RocksProductions) ELEPHANT ROCKBOOKS ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: EXECUTIVE EDITOR: calls. submissions for guidelines. months for reply. Seeinterludepress.com/open- [email protected]. Pleaseallow3 synopsis, author bio, and manuscript to Advance against royalty orwork-for- Allie Singer Jotham Burrello Family reference books, nonfiction, Publishes a fewtitleseachyear. Interlude Press isaboutique C. B. Messer Shannon Beatty Not accepting. Please, no phone Not accepting. Amanda Hurley Annie Harper Work-for-hire; flatfee. Unsolicited samplesnot kept No. Christopher Morris Not accepting. Not accepting. Not accepting. Accepting. Send 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 67

QUERY LETTERS: Not accepting. EXECUTIVE EDITOR (LANGUAGE AND LITERATURE): ENTANGLED PUBLISHING PREPARING & SUBMITTING MULTIPLE SUBMISSIONS: Not accepting. www.entangledpublishing.com Jeff Soloway UNSOLICITED MANUSCRIPTS: Accepting only via CHIEF EXECUTIVE OFFICER & PUBLISHER: Liz EXECUTIVE EDITOR (WORLD HISTORY/GLOBAL submissions to the Helen Sheehan YA Book Pelletier STUDIES, RELIGION): Claudia Schaab Prize contest, winner awarded every other year. EXECUTIVE EDITORIAL DIRECTOR, ENTANGLED TEEN, ART DIRECTOR: Erika Arroyo Next submission period opens May 2019 for AMARA, TEEN CRUSH/CRAVE: Stacy Cantor Abrams DESCRIPTION: Publishes for the school/library 2020 award: https://elephantrockbooks.com/ EXECUTIVE EDITOR AND EDITORIAL DIRECTOR, market and the general nonfiction trade market. contact/ and https://elephantrockbooks.com/ EMBRACE, AMARA: Candace Havens Interested in single-volume reference works for ya-contest/. SENIOR EDITOR, CREATIVE DIRECTOR ENTANGLED grades 6–12 and multivolume series for grades PAYMENT: N/A TEEN, EDITORIAL DIRECTOR OF LOVESTRUCK: 4–9 with a focus on history, multicultural ARTWORK INTEREST: N/A Heather Howland topics, and science. No fiction, activity books, MARKET SURVEYS ARTWORK PAYMENT: N/A SENIOR EDITOR, ENTANGLED TEEN: Kate Brauning or books for young children. No phone calls. SENIOR EDITOR: Robin Haseltine QUERY LETTERS: Accepting, with résumé and list ENSLOW PUBLISHERS SENIOR EDITOR: Erin Molta of publications. (A Division of Rosen Publishing) EDITOR: Wendy Chen MULTIPLE SUBMISSIONS: Accepting. rd 101 West 23 Street, Suite #240 EDITOR: Lydia Sharp UNSOLICITED MANUSCRIPTS: Send query letter New York, NY 10011 DESCRIPTION: Independent publisher of romantic with résumé and list of publications; do not 800-398-2504; Fax 877-980-4454 fiction in the adult, young adult, and new send manuscript unless requested. Send via www.enslow.com adult markets. Publishes both electronic and regular mail addressed to “Editorial Director,” or DIRECTORIES & RESOURCES www.scarletvoyage.com print, with some imprints primarily publishing email to [email protected]. www.speedingstar.com digital-first. PAYMENT: Some advance against royalty; some www.west44books.com EMBRACE imprint publishes New Adult fiction in work-for-hire. PRESIDENT: Mark Enslow all subgenres with stories featuring romance, ARTWORK INTEREST: Commissioning very limited VP & PUBLISHER: Brian Enslow strong heroines, contemporary issues, intrigue, number of pieces of line art only. DESCRIPTION: Program of children’s and teen fantasy, edge-of-your-seat thrills, paranormal ARTWORK PAYMENT: Varies with experience and nonfiction and fiction offering approximately adventure, and everything in between. level of difficulty. 225 titles a year, primarily targeting the ENTANGLED TEEN imprint publishes high-concept education market. Interested in authors with young adult fiction in all subgenres, including Chelsea House specialized knowledge in high-interest topics contemporary, suspense, sci-fi, historical, (An Imprint of Facts on File) for reluctant readers and in elementary and teen paranormal, and fantasy, with at least a EDITORIAL DIRECTOR: Laurie Likoff fiction. romantic . DESCRIPTION: Publishes curriculum-based PUBLICIZING YOUR PUBLISHED WORK ENSLOW ELEMENTARY imprint publishes TEEN CRAVE imprint publishes contemporary teen nonfiction books for middle school and high elementary nonfiction. romance with a paranormal twist, following the school students. Publishes about 60–100 young SCARLET VOYAGE imprint publishes young traditional category romance format. Features adult titles a year; all books are part of a adult fiction for grades 6 and up and features first-love stories set during the characters’ teen series. Series span historical and contemporary contemporary, dystopian, fantasy, mystery, years—with an out-of-this-world, -driven biographies, social studies, geography, science, paranormal romance, science fiction, and bend. health, high-interest titles, and more. Most thrillers, many of which are foreign imports in TEEN CRUSH imprint publishes contemporary teen are developed in-house, but suggestions are translation. romances that follow the traditional category welcome. Chelsea Clubhouse, its elementary SPEEDING STAR imprint publishes middle grade romance format. imprint, presents easy-to-read, full-color books fiction featuring topics that appeal to boys and QUERY LETTERS: Accepting. for young readers in grades 2 through 5. like-minded readers from third grade through MULTIPLE SUBMISSIONS: Accepting. QUERY LETTERS: Accepting, with résumé and list high school. UNSOLICITED MANUSCRIPTS: Accepting. See of publications. WEST 44 BOOKS is a hi/lo imprint for middle https://entangledpublishing.com/submission- MULTIPLE SUBMISSIONS: Accepting. grade and young adult readers from a variety information/ and https://entangledpublishing. UNSOLICITED MANUSCRIPTS: Send query letter SCHOOL VISITS of backgrounds. Features authentic new and submittable.com/submit/ for additional with résumé and list of publications; do not diverse voices and gripping narratives for submission guidelines. send manuscript unless requested. Send via struggling readers. PAYMENT: Advance against royalty. regular mail addressed to “Editorial Director,” or QUERY LETTERS: Preferred. All requests for ARTWORK INTEREST: N/A email to [email protected]. guidelines and all submissions should be made ARTWORK PAYMENT: N/A PAYMENT: Some advance against royalty; some through [email protected]. work-for-hire. LEGAL QUESTIONS MULTIPLE SUBMISSIONS: Accepting. Please FACTS ON FILE ARTWORK INTEREST: Commissioning very limited indicate on query/cover letter. (A Division of Infobase Publishing) number of pieces of line art only. UNSOLICITED MANUSCRIPTS: Accepting. 132 West 31st Street, 16th Floor ARTWORK PAYMENT: Varies with experience and PAYMENT: Advance against royalty and purchase New York, NY 10001 level of difficulty. outright. 800-322-8755; Fax 800-678-3633 ARTWORK INTEREST: Not accepting. www.factsonfile.com ARTWORK PAYMENT: Usually flat fee. EDITORIAL DIRECTOR: Laurie Likoff 68 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 guidelines. focus and author/illustrator submission market. Seewebsitefor more aboutpublishing books annually for aprogressive religious justice/contemporary issues, including several growth for children and families, and social care for the environment, social/emotional on themes of diversity, inclusivity, compassion, publishing, witheight picture booksperyear readers inparticular. 7+, many of interest toboysand reluctant fantasy, and whimsical booksfor readers ages a small paperback/digital line of adventure, digital formats. Alsoincludes Tantrum Books, fiction, fantasy, and romance inpaperbackand flyawaybooks.com. MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: ASSOCIATE PUBLISHER: www.flyawaybooks.com Louisville, KY40202 100 WitherspoonStreet FLYAWAY BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: www.georgiamcbride.com/tantrumbooks www.month9books.com (An Imprint of Georgia McBride Media Group) Month9Books EDITORIAL CONTACT FORALLIMPRINTS: EDITORIAL ASSISTANT: EDITOR: EDITOR, MONTH9BOOKS: EDITOR, TANTRUM BOOKS: EDITOR, MONTH9BOOKS: PUBLISHER, EXECUTIVEEDITOR: www.georgiamcbride.com 919-645-5786 Raleigh, NC27609 4208 SixRocks Road,Suite1000 GEORGIA MCBRIDEMEDIAGROUP PAYMENT: ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: McBride [email protected]. full manuscripts for picture booksonlyat Cameron Yaeger Advance withroyalty. Advance against royalty orflatfee. A new voice inchildren’s book Publishing YA-only speculative Allison Taylor Not accepting Not accepting. N/A Accepting atsubmissions@ Not accepting. Emily Midkiff David Dobson Accepting. Not accepting. Katie Minerva Pauline Harris Tara Creel Not accepting. Accepting. Accepting Georgia McBride Georgia which contain mature scenes. titles suitablefor readers ages 17–25,some of scenes, and new adult romance and fantasy ages 13–17,without any adult ormature adult contemporary romance suitablefor readers contemporary imprint thatpublishes young special emphasisonbirthtoage ten. and activitybooksfor young readers, witha www..com/childrens 212-207-7000; Fax212-702-2583 New York, NY10007 195 Broadway HARPERCOLLINS CHILDREN’SBOOKS PAYMENT: PRESIDENT &PUBLISHER,AMISTAD &RAYO: PRESIDENT &PUBLISHER: www.myswoonromance.com (An Imprint of Georgia McBride Media Group) Swoon Romance ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: VP, CONTENT: PRESIDENT: https://foxchapelpublishing.com/HappyFox/ 844-307-3677; Fax888-369-2885 East Petersburg, PA 17520 1970 BroadStreet (An Imprint of Fox ChapelPublishing) HAPPY FOX ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SENIOR EXECUTIVEEDITOR: CHILDREN’S BOOKS, HARPERTEEN: VP, PUBLISHINGDIRECTOR, HARPERCOLLINS EDITORIAL DIRECTOR: CHILDREN’S BOOKS,HARPERTEEN: VP, EDITORIAL DIRECTOR, HARPERCOLLINS EDITORIAL DIRECTOR, AMISTAD: VP, EDITORIAL DIRECTOR: VP, EDITORIAL DIRECTOR, EARLY CHILDHOOD: VP, PUBLISHING DIRECTOR: VP, ASSOCIATE PUBLISHER: Brosnan Inteli com/submissions. See policy details atwww.myswoonromance. annual January 1–March 31submission period. Curr Advance against royalty orflatfee. Advance withroyalty. Alan Giagnocavo Christopher Reggio A digital-first, mostly Publishing picture booksand craft Accepting. Accepting. N/A Accepting. Not accepting. Margaret Anastas Accepting. Accepting. Tara Weikum Suzanne Murphy Jean McGinley Antonia Markiet Rich Thomas Accepting during Accepting. Tracy Sherrod Erica Sussman Rosemary Judith Nancy young readers. paperback. www.harperteen.com in hardcover and bothoriginal and reprint historical perspectivesof aworldaudience. influence onthe intellectual, cultural, and on subjectsand themes thathavesignificant young adult novels bypeopleof African descent children. Spanish, English, and bilingual booksfor a year. novelty products. Number of titles:roughly 500 Division publishes hardcover trade titlesand mail fine, but no original art. for the young adult genre. only short fiction (short stories and ) DESCRIPTION: EXECUTIVE ARTDIRECTOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSOCIATE EDITOR, HARPERTEEN: ASSOCIATE EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR, HARPERTEEN: EDITOR: EDITOR, HARPERTEEN: EDITOR: SENIOR EDITOR: SENIOR EXECUTIVEEDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR, HARPERTEEN: EXECUTIVE EDITOR: VP &CO-PUBLISHER: (An Imprint of HarperCollins) Balzer +Bray ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: TOKYOPOP RAYO HARPERTROPHY HARPERTEEN IMPULSE HARPERTEEN HARPERFESTIVAL AMISTAD ASSISTANT EDITOR: EXECUTIVE EDITOR: novelty/merchandise. EXECUTIVE EDITOR, HARPERTEEN: royalty, except flatfee for jacket art. imprint. imprint publishes culturally inspired Clarissa Wong Alyssa Miele imprint publishes picture booksand Advance against royalty. imprint publishes manga titlesfor imprint publishes teenfiction The HarperCollins Children’s Book Not accepting. is aHarperCollins paperback Alyson Day imprint publishes classic/ Tamar Mays Courtney Stevenson Bria Ragin Carolina Ortiz Sarah Homer Stepanie Guerdan David Linker Andrew Eliopulos Edward Benitez Elizabeth Lynch Megan Ilnitzki Luana Horry Usually advance against Yes, samplesthrough regular Alessandra Balzer Alice Jerman Stephanie Stein imprint publishes digital- Not accepting. Alison Donalty Alexandra Cooper Not accepting.

Catherine Wallace Karen Chaplin Kristen Pettit

2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 69

VP & CO-PUBLISHER: Donna Bray POND PRESS: Deborah Kovacs York and Boston HMH editors operate as a PREPARING & SUBMITTING EXECUTIVE EDITOR: Kristin Rens EXECUTIVE EDITOR, BALZER + BRAY, WALDEN POND single team; Clarion Books remains a separate EXECUTIVE EDITOR, BALZER + BRAY, WALDEN POND PRESS: Jordan Brown imprint of HMH in New York. PRESS: Jordan Brown DESCRIPTION: Publishes books for children in ASSISTANT EDITOR: Tiara Kittrell collaboration with Walden Media. Houghton Mifflin Harcourt Books for DESCRIPTION: Publishes picture books, middle QUERY LETTERS: Not accepting. Young Readers / Boston Office grade fiction, and teen fiction. MULTIPLE SUBMISSIONS: Not accepting. 125 High Street, Floor 5 QUERY LETTERS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. Boston, MA 02110-2112 MULTIPLE SUBMISSIONS: Not accepting. PAYMENT: N/A 617-351-5000 UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK INTEREST: Not accepting. VP, ASSOCIATE PUBLISHER: Mary Hogan Wilcox PAYMENT: Advance against royalty. ARTWORK PAYMENT: N/A SENIOR EXECUTIVE EDITOR, HMH, VERSIFY: Margaret MARKET SURVEYS ARTWORK INTEREST: Yes, samples through regular Raymo mail fine, but no original art. HOLIDAY HOUSE BOOKS FOR YOUNG EXECUTIVE EDITOR: Ann ARTWORK PAYMENT: Usually advance against PEOPLE SENIOR EXECUTIVE EDITOR: Kate O’Sullivan royalty for picture books; usually flat fee for 50 Broad Street SENIOR EDITOR, CHILDREN’S FRANCHISE: Alessandra novel jacket art and interior illustrations. New York, NY 10004 Preziosi 212-688-0085; Fax 212-688-0395 SENIOR EDITOR, CHILDREN’S FRANCHISE: Bethany Greenwillow Books www.holidayhouse.com Vinhateiro

(An Imprint of HarperCollins) VP & EDITOR-IN-CHIEF: Mary Cash CONSULTING EDITOR: Cynthia Platt DIRECTORIES & RESOURCES www.greenwillowblog.com VP & PUBLISHER, NEAL PORTER BOOKS: Neal Porter CONSULTING EDITOR: Erica Zappy Wainer VP & PUBLISHER: Virginia Duncan PUBLISHER, MARGARET FERGUSON BOOKS: ASSOCIATE EDITOR: Lily Kessinger EXECUTIVE EDITOR: Martha Mihalick Margaret Ferguson ASSOCIATE EDITOR: Nicole Sclama ART DIRECTOR: Paul Zakris EXECUTIVE EDITOR: Grace Maccarone EDITORIAL ASSOCIATE: Harriet Low DESCRIPTION: List includes mostly fiction and EDITOR: Elizabeth Law EDITORIAL ASSOCIATE: Allison Vroegop picture books (no nonfiction over the second- EDITOR: Sally Morgridge ASSOCIATE EDITOR, CHILDREN’S FRANCHISE: Chris grade level). ASSOCIATE EDITOR: Mora Couch Krones QUERY LETTERS: Not accepting. ASSOCIATE EDITOR: Kelly Loughman MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL ASSISTANT: Della Farrell Houghton Mifflin Harcourt Books for UNSOLICITED MANUSCRIPTS: Not accepting. EDITORIAL ASSISTANT: Eryn Levine Young Readers / New York Office PAYMENT: Advance against royalty. EDITORIAL ASSISTANT: Talia Levitt 3 Park Avenue South, 19th Floor

ARTWORK INTEREST: Send art samples (postcards DIRECTOR OF ART & DESIGN: Claire Counihan New York, NY 10016 PUBLICIZING YOUR PUBLISHED WORK only) in duplicate to Paul Zakris and Virginia DESCRIPTION: Independent publisher with list of 212-420-5800 Duncan. 60 titles a year. Acquiring picture books, middle PRESIDENT, TRADE PUBLISHING GROUP: Ellen ARTWORK PAYMENT: Advance against royalty or grade and teen fiction, and nonfiction. No toy Archer flat fee. or novelty books. SENIOR VP & PUBLISHER: Catherine Onder QUERY LETTERS: Not accepting. Send entire EDITORIAL DIRECTOR: Emilia Rhodes Katherine Tegen Books manuscript, whether submitting a picture book SENIOR EDITOR: Amy Cloud (An Imprint of HarperCollins) or a novel. ASSOCIATE EDITOR: Nicole Sclama VP & PUBLISHER: Katherine Tegen MULTIPLE SUBMISSIONS: Not accepting. ART EDITOR: Sharismar Rodriguez EDITORIAL DIRECTOR: Claudia Gabel UNSOLICITED MANUSCRIPTS: Accepting. Address to DESCRIPTION: Hardcover picture books, chapter EXECUTIVE EDITOR: Jill Davis “Editorial Department.” Responding (within four books, middle grade and teen fiction, and EXECUTIVE EDITOR: Ben Rosenthal months) only if interested so do not include nonfiction. SENIOR EDITOR: Maria Barbo SASE. Don’t accept certified or registered mail; QUERY LETTERS: Not accepting. ASSOCIATE EDITOR: Mabel Hsu no email submissions. MULTIPLE SUBMISSIONS: Not accepting.

DESCRIPTION: Publishes picture books and middle PAYMENT: Advance against royalty. UNSOLICITED SUBMISSIONS: Not accepting. SCHOOL VISITS grade and teen fiction. ARTWORK INTEREST: Accepting. Send copies only, PAYMENT: Advance against royalty. QUERY LETTERS: Not accepting. no original artwork. No submissions will be ARTWORK INTEREST: Accepting. Send color MULTIPLE SUBMISSIONS: Not accepting. returned. Send samples to Claire Counihan. copies or tear sheets; do not send original UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK PAYMENT: Usually advance against artwork or slides. Samples will not be returned. PAYMENT: Advance against royalty. royalty, unless for jacket. Will contact you only if they have a potential ARTWORK INTEREST: Yes, samples through regular illustration assignment. Send to “HMH Books LEGAL QUESTIONS mail fine, but no original art. HOUGHTON MIFFLIN HARCOURT for Young Readers, Design Department/Art ARTWORK PAYMENT: Usually advance against BOOKS FOR YOUNG READERS Samples” or to individual editors at the Boston royalty, except flat fee for jacket art. www.hmhco.com/trade-publishing or New York office. OK to submit art samples to DESCRIPTION: High-quality, award-winning books both locations. For more info, see submissions Walden Pond Press for children and young adults in a variety of page http://www.hmhco.com/popular-reading/ (An Imprint of HarperCollins) print and e-book formats, including picture authors/manuscript-submissions. SVP, EDITORIAL DIRECTOR, WALDEN MEDIA/WALDEN books, fiction, and nonfiction. Note: The New ARTWORK PAYMENT: Advance against royalty or 70 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Books. both HMHBooksfor Young Readers and Clarion individual editors. OKtosubmitartsamples Books, Design Department/Art Samples”orto illustration assignment. Send to“Clarion contact youonlyifthey haveapotential or slides. Sampleswillnot bereturned. Will or tearsheets; do not send original artwork Spring 2019. winning author Kwame Alexander. Launching curated bypoet,educator and - novels, nonfiction, and graphic novels tobe fiction, and nonfiction. books, chapterbooks, middle grade and teen 212-420-5800 New York, NY10016 QUERY LETTERS: DESCRIPTION: SENIOR EDITOR: SENIOR EDITOR: EDITOR-AT-LARGE: EDITOR: VP, ASSOCIATE PUBLISHER,SENIOREXECUTIVE SENIOR VP&PUBLISHER: 3 Park Avenue South,19 for Young Readers) (An Imprint of Houghton Mifflin Harcourt Books Clarion Books flat fee. ARTWORK PAYMENT: ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SENIOR EXECUTIVEEDITOR, HMH,VERSIFY: EDITOR: for Young Readers) (An Imprint of Houghton Mifflin Harcourt Books Versify ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: only ifinterested. versifybooks.tumblr.com/contact. Willrespond 12-point font, perinstructions at https:// spaced, formatted inTimes New Roman, at attachment of completedmanuscript, double- to [email protected]. Include flat fee. flat fee. tumblr.com/contact. info, seesubmissions page https://versifybooks. Raymo Erika Turner Anne Hoppe Advance against royalty. Publishing alistof picture books, List includes hardcover picture Lynne Polvino Jennifer Greene Accepting. Submit via email Not accepting. Dinah Stevenson Advance against royalty or Advance against royalty or Accepting. Send colorcopies Accepting. Accepting. Not accepting. Catherine Onder th Floor Not accepting. Accepting. Formore Margaret www.inkyardpress.com 212-207-7000 New York, NY10007 a compelling romantic element. 100,000 words inlength and preferably include All subgenres are welcome. Booksare 50,000– speak toreaders withpowerand authenticity. that capture the teenexperience and will Looking for commercial, high-concept stories fantasy, science-fiction, and historical worlds. stories setincontemporary, paranormal, extraordinary characters, and extraordinary adult fiction featuring unforgettable romance, and publishing unique, memorable young Inkyard Press isdedicated tobuilding authors as welloriginal booksfor children. books. Imprint Insight Kids publishes licensed publisher of innovative artand popculture Margaret Marbury 195 Broadway, 24 (An Imprint of , Ltd.) INKYARD PRESS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SEVENTEEN FICTION PRESS: ASSOCIATE EDITOR, HARLEQUINTEEN,INKYARD PUBLISHING DIRECTOR, YA, INKYARD PRESS: FICTION: EDITORIAL DIRECTOR, INKYARD PRESS,SEVENTEEN VP, EDITORIAL, HARLEQUIN,INKYARD PRESS: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER ANDCEO: www.insighteditions.com 415-526-1370 San Rafael, CA94912 PO Box 3088 (An Imprint of Insight Editions) INSIGHT KIDS flat fee. submittable.com/submit. submission guidelines at https://harlequin. agented submissions at thistime. See of Inkyard and Seventeenmagazine. joys of being ateenager today. Ajoint venture situations thathighlight the challenges and female characters and exploring topics and young adult fiction focusing onempowered Braswell Lauren Smulski Natashya Wilson Advance against royalty/flat fee. Formerly known asHarlequin Teen, Insight Editions isanindependent Not accepting. Accepting. th imprint publishes realistic Advance against royalty or Floor Not accepting. Raoul Goff Not accepting. Accepting. Accepting. Accepting only Bess

with particularly American subjects. adventure, historical, etc.), especially those great stories inallgenres (mystery, fantasy, books, and middle grade fiction. Interested in graphic novels, approximately twelveayear. publisher Kadokawa. Publishing middle grade joint venture betweenHachette and Japanese theinnovationpress.com. books, middle grade books, and graphic novels. nonfiction, board books, picture books, chapter DESCRIPTION: PUBLISHER, EDITOR: www.kanemiller.com 858-456-0540 San Diego,CA92117 4901 MorenaBlvd,Ste213 (A Division of EDCPublishing) KANE MILLERPRESS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER: www.theinnovationpress.com INNOVATION PRESS PAYMENT: ARTWORK INTEREST: PAYMENT: DEPUTY PUBLISHER&EDITOR-IN-CHIEF: PUBLISHER &MANAGING DIRECTOR: www.yenpress.com New York, NY10104 1290 Avenue of theAmericas BookGroup) (An Imprint of Yen Press LLC,ADivision of JY Director.” only (no original artwork)via US Post to“Art should go to [email protected]. picture books); otherwise flatfee. flat fee response time approximately four weeks. com/submissions/. Willreply onlyifinterested; guidelines athttp://www.theinnovationpress. to [email protected] per Advance against royalty. Advance withroyalty orflatfee. Advance against royalty orflatfee. Advance against royalty orflatfee. Asia Citro Publishing picture books, chapter JY isanimprint of Yen Press, a Small press publishing fiction and Accepting. Editorial inquiries Accepting. Advance against royalty or Accepting. Advance against royalty (for Accepting via submissions@ Accepting. Kira Lynn Accepting. Accepting. Accepting. Accepting. Submit

Submit samples Kurt Hassler JuYoun Lee 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 71

QUERY LETTERS: Accepting. US market. TU BOOKS imprint publishes only middle grade PREPARING & SUBMITTING MULTIPLE SUBMISSIONS: Accepting QUERY LETTERS: Not accepting. and teen science fiction, fantasy, and mystery. UNSOLICITED MANUSCRIPTS: Accepting. See MULTIPLE SUBMISSIONS: Kids Can Press does not A special effort is made to work with writers submission guidelines at www.friends. accept submissions from authors outside of and artists of color, and submissions from kanemiller.com/submissions.html. . authors and artists at all levels of experience PAYMENT: Advance against royalty or flat fee. UNSOLICITED MANUSCRIPTS: Not accepting are encouraged. ARTWORK INTEREST: Accepting. Illustrators may unsolicited submissions from authors outside of QUERY LETTERS: Not accepting. send postcards (preferred) or other non- Canada, but does accept agented submissions MULTIPLE SUBMISSIONS: Not accepting. returnable illustration samples via USPS, or links from authors outside of Canada. UNSOLICITED MANUSCRIPTS: Not accepting. to external websites via email to submissions@ PAYMENT: Advance against royalty or flat fee. Solicited submissions only. Note that Tu Books kanemiller.com. Please do not send original ARTWORK INTEREST: Yes. Direct inquiries to holds an annual contest for fiction called the MARKET SURVEYS artwork or samples on CD. See full guidelines at [email protected] or send via regular post New Vision Award. www.friends.kanemiller.com/submissions.html. c/o “Art Director.” PAYMENT: Advance against royalty. ARTWORK PAYMENT: Advance against royalty or ARTWORK PAYMENT: Advance against royalty or ARTWORK INTEREST: Yes, artists should send flat fee. flat fee. nonreturnable color samples, attention “Submissions Editor.” See submission guidelines KIDS CAN PRESS LEE & LOW BOOKS at https://www.leeandlow.com/wirters- (Division of Corus Entertainment, Inc.) 95 Madison Avenue #1205 illustrators/writing-guidelines. Especially

25 Dockside Drive New York, NY 10016 interested in samples featuring children/people DIRECTORIES & RESOURCES , , Canada M5A OB5 212-779-4400; Fax 212-683-1894 of color and that show an ability to illustrate 416-479-7000; Fax 416-960-5437 www.leeandlow.com the same character consistently over many www.kidscanpress.com PRESIDENT: Craig Low scenes. Will keep artwork of interest on file. PRESIDENT & PUBLISHER: Lisa Lyons Johnston PUBLISHER: Jason Low ARTWORK PAYMENT: Advance against royalty. ASSOCIATE PUBLISHER, CREATIVE: Naseem Hrab EDITORIAL DIRECTOR: Cheryl Klein EDITORIAL DIRECTOR: Yvette Ghione EDITOR-AT-LARGE: Louise May LERNER PUBLISHING GROUP SENIOR EDITOR: Yasemin Uçar SENIOR EDITOR: Jessica Echeverria 1251 Washington Avenue North EDITOR: Kathleen Keen ASSISTANT EDITOR: Kandace Coston Minneapolis, MN 55401 EDITOR: Stacey Roderick PUBLISHER, TU BOOKS: Stacy Whitman (receives 800-328-4929; Fax 800-332-1132 EDITOR: Katie Scott illustration samples for Tu Books imprint) www.lernerbooks.com EDITOR: Jennifer Stokes DESCRIPTION: Independent publisher specializing www.kanepress.com

EDITORIAL ASSISTANT: Anna Bendiy in multicultural and diversity themes, including EXECUTIVE VP & EDITOR-IN-CHIEF: Andy Cummings PUBLICIZING YOUR PUBLISHED WORK DESCRIPTION: Publishing fiction and nonfiction non-traditional family structures and gender EDITORIAL DIRECTOR, MILLBROOK PRESS, picture books for young readers, and chapter identity, or that feature a person with a CAROLRHODA: Carol Hinz books for children ages 7 to 10. Kids Can disability integrated into the story but not as EDITORIAL DIRECTOR, TWENTY-FIRST CENTURY Press is the largest Canadian-owned children’s the main storyline. List includes fiction and BOOKS: Shaina Olmanson publisher in the world. nonfiction with a strong storyline. ASSOCIATE EDITORIAL DIRECTOR, CAROLRHODA: Amy MULTIPLE SUBMISSIONS: Kids Can Press does not BEBOP BOOKS imprint publishes child-centered Fitzgerald accept submissions from authors outside of stories with both text and pictures that support EDITORIAL DIRECTOR, GRAPHIC UNIVERSE: Greg Canada. literacy learning content for beginning readers Hunter UNSOLICITED MANUSCRIPTS: Not accepting in guided reading and intervention settings. DESCRIPTION: Publishes primarily nonfiction for unsolicited submissions from authors outside of CHILDREN’S BOOK PRESS imprint publishes juvenile readers of all grade levels. List includes Canada, but does accept agented submissions bilingual and multicultural books. titles encompassing nature, geography, natural from authors outside of Canada. DIVE INTO READING imprint publishes early and physical science, current events, ancient PAYMENT: Advance against royalty or flat fee. chapter books, leveled for the young reader. and modern history, world art, special interest,

ARTWORK INTEREST: Yes. Direct inquiries to Includes back matter to enhance comprehension sports, world cultures, and numerous biography SCHOOL VISITS [email protected] or send via regular post and reader engagement. series. c/o “Art Director.” LEE & LOW BOOKS imprint primarily publishes CAROLRHODA BOOKS imprint publishes fiction ARTWORK PAYMENT: Advance against royalty or illustrated books for ages 5–11; fiction primarily, including picture books, chapter flat fee. (maximum 1,500 words) and nonfiction books, middle grade and young adult novels. (maximum 3,000 words). They do not publish Nonfiction includes unique photo essays. No KCP Loft or animal stories. Also chapter books alphabet books, puzzle books, songbooks, LEGAL QUESTIONS (An imprint of Kids Can Press) and middle grade works for ages 8–12. Of textbooks, workbooks, religious subject matter, www.kcploft.com particular interest are realistic fiction and or plays. EDITORIAL DIRECTOR-AT-LARGE, KCP LOFT: Kate nonfiction; folktales and animal stories not CAROLRHODA LAB is an imprint of Carolrhoda Egan being considered. Books. It is dedicated to distinctive, DESCRIPTION: Publishing young adult fiction SHEN’S BOOKS imprint emphasizes cultural provocative, boundary-pushing fiction for teens and nonfiction. Kids Can Press is a Canadian diversity and tolerance, introducing young and their sympathizers. Carolrhoda Lab examines publisher; KCP Loft publishes US authors in the readers to the cultures of Asia. the young adult condition one novel at a time, 72 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org titles. grade and high school levels, aswellsingle curriculum-related series atboththe middle many subjectareas. topics, and Kathy Rosscraft booksamong its curriculum-oriented picture books, social studies for preschool through grade 6,including and nonfiction. children’s worksthrough middle grade fiction Jewish content annually. Preschool and young attention of “Creative Director.” or tearsheets. Willreply ifinterested. Send to pdfs ondisk,colororblack-and-white copies, photographers. No original art.Send jpgsor and portfolio samplesfrom illustrators and illustrated withphotos.) Accepting resumes nonfiction series for grades K–5. illustrated, educational and high interest DESCRIPTION: PUBLISHER, KAR-BENPUBLISHING: www.karben.com 800-452-7236 Minneapolis, MN55401 241 FirstAve Kar-Ben Publishing (A division of Lerner Publishing Group) KAR-BEN PUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: TWENTY-FIRST CENTURY MILLBROOK PRESS LERNER PUBLICATIONS GRAPHIC UNIVERSE FIRST AVENUE EDITIONS DARBY CREEK and paradigms inthe human condition. to explore and experiment withthoughts, ideas, affording YA authors and readers anopportunity adults. all ages from beginning readers through young nonfiction graphic novels inall genres and for Group’s paperbackimprint; no original titles. newsletters such asthe SCBWIInsight. website www.lernerbooks.com and innational seek targeted solicitations onthe company carolrhoda.blogspot.com. Allother imprints unsolicited submissions announced onthe blog imprint (seebelow)and periodic opencallsfor themed children’s books for Kar-Ben Publishing unsolicited manuscripts except for Jewish- intermediate fiction, and YA fiction. 7–18 (grades 2–12).Includes chapterbooks, emerging, striving, and reluctant readers ages | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Flat fee/advance against royalty. imprint publishes series fiction for Publishes up to20new titlesof Not accepting. No phone calls. publishes nonfiction publishes fiction and Flat fee. Will consider. (Most books imprint publishes photo- imprint publishes is Lerner Publishing Not accepting. Not accepting Joni Sussman expansion of the listisplanned future seasons. new titlesbeginning inFall2019,and further 2018. As partof Lerner, Zest willlaunch five the Lerner Publishing Group family inNovember fashion, and lifestyleadvice. Zest Booksjoined about entertainment, history, science, health, original art. or printed samplesvia US Post. Donot send planned for 2020. on high-quality bookmaking. Tentative launch people, and LGBTQ individuals, and willfocus creators including peopleof color, Indigenous original art. or printed samplesvia US Post. Donot send around the worldtoUS readers. publisher Querido tobring stories byauthors UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EM QUERIDO ARTHUR A.LEVINE ASSISTANT EDITOR: SENIOR EDITOR: PUBLISHER: www.levinequerido.com (An Imprint of Querido) LEVINE QUERIDO ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER, LARGE,ZEST: https://lernerbooks.com/Pages/Zest-Books (A Division of Lerner Publishing Group) Zest Books ARTWORK PAYMENT: ARTWORK INTEREST: submissions. closed, butLevine Querido plans toopen flat fee. flat fee. flat fee. submissions for details submission guidelines. themed children’s books. Seewww.karben.com/ underrepresented voices. a focus onbuilding aplatform for previously Advance against royalty/flat fee. TBA. listisapartnership withDutch Arthur Levine Publishing young adult nonfiction List willcenter ondiversity, with Not accepting. Nick Thomas Not accepting. TBA. Submissions are currently listpublishes bookswith Meghan Maria McCullough Advance against royalty or Advance against royalty or Advance against royalty or Accepting samplesvia email TBA. Accepting samplesvia email Not accepting. Not accepting. TBA. Hallie Warshaw Accepting Jewish- TBA. Not accepting. Webster English-French editions. www.buzzpopbooks.com are inEnglish-Spanish, English-Mandarin, and board books, and leveledreaders. The titles Disney characters thatincludes storybooks, Duquette by Simon &Schuster. Publishes about150titlesannually. Distributed some tobepublished through littlebeebooks. up toage 14inarange of genres and formats, gender and sexual identities for young readers year showing positiverepresentation of diverse with GLAADtopublishatleastfour titleseach for readers 0-12yearsold. Works inpartnership books, nonfiction titles, and licensed products books, novelty books, activitybooks, picture publishes earlylearning concept books, board now independently owned. LittleBeeBooks imprint of U.K.-basedBonnier Publishing, Design Department.” fiction across genres. www.yellowjacketreads.com DESCRIPTION: YELLOW JACKET BUZZPOP ART DIRECTOR: EDITORIAL ASSISTANT: ASSOCIATE EDITOR, LITTLEBEE,YELLOW JACKET: SENIOR EDITOR, SIZZLEPRESS,BUZZPOP: EDITOR, BUZZPOP: SENIOR EDITOR, LITTLEBEE,YELLOW JACKET: PRESIDENT &CEO: www.littlebeebooks.com 844-321-0237 New York, NY10010 251 Park Avenue South,Floor12 LITTLE BEEBOOKS DESCRIPTION: EDITOR: ASSOCIATE PUBLISHER: CEO &PUBLISHER: PRESIDENT: home/ http://www.sasquatchbooks.com/little-bigfoot- www.sasquatchbooks.com 206-467-4300; Fax206-467-4301 , WA 98101 1904 ThirdAvenue, Suite710 (An Imprint of ) LITTLE BIGFOOT ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: flat fee. Charlie Ilgunas Christy Cox imprint isabilingual line featuring Advance against royalty orflatfee. Sarah Hanson Formerly aUS children’s Seattle-based Sasquatch Booksis RobWall imprint publishes middle grade Not accepting. Shimul Tolia Rachel Gluckstern Gary Luke Yes. Send postcards “Attn: Advance against royalty or Courtney Fahy Jenny Abrami Not accepting. Not accepting. Rebecca Brett

2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 73 a Northwest regional publisher specializing in SENIOR ART DIRECTOR: Saho Fujii planet. PREPARING & SUBMITTING nonfiction, owned by—but not a division of— DESCRIPTION: List of about 150 original titles a QUERY LETTERS: Not accepting. Penguin Random House. Little Bigfoot features year. Wide range of interests, specifically young MULTIPLE SUBMISSIONS: Not accepting. stories that take place in the Pacific Northwest, adult and middle grade fiction as well as picture UNSOLICITED MANUSCRIPTS: Not accepting. as well as books that originate from writers books and novelty books. Open to quality ARTWORK INTEREST: Not accepting. of this region but that will appeal to children nonfiction projects also. PAYMENT: Advance against royalty or flat fee. anywhere. LBKIDS imprint produces novelty and brand/ QUERY LETTERS: Accepting. licensed tie-ins. MACMILLAN CHILDREN’S MULTIPLE SUBMISSIONS: Accepting. NOVL imprint produces e-only and short- PUBLISHING GROUP UNSOLICITED MANUSCRIPTS: Accepting. Send story-length titles tied to existing properties 120 Broadway query letter, proposal, or a complete manuscript whose release is often timed to coincide with New York, NY 10271 MARKET SURVEYS via US Post to “The Editors.” Include SASE if that of new full-length work. 646-307-5151 you’d like materials returned. Please do not send POPPY imprint produces paperback original http://us.macmillan.com/mackids/ original materials of any sort; email inquiries series for teen girls. PRESIDENT & PUBLISHER, MACMILLAN CHILDREN’S not accepted. Responding only if interested; QUERY LETTERS: Not accepting. PUBLISHING GROUP: Jonathan Yaged please allow up to three months for reply. MULTIPLE SUBMISSIONS: Not accepting. SENIOR VP & PUBLISHER, FEIWEL & FRIENDS, HENRY ARTWORK INTEREST: No. UNSOLICITED MANUSCRIPTS: Not accepting. HOLT BOOKS, SWOON READS, SQUARE FISH: Jean PAYMENT: Advance against royalty. Feiwel

LITTLE, BROWN BOOKS FOR YOUNG ARTWORK INTEREST: Not accepting. VP, ASSOCIATE PUBLISHER: Angus Killick DIRECTORIES & RESOURCES READERS ARTWORK PAYMENT: Advance against royalty (for EDITORIAL ASSISTANT: Kate Avino (A Division of ) picture books); otherwise flat fee. 1290 Avenue of the Americas Christy Ottaviano Books New York, NY 10104 JIMMY Patterson Books (An Imprint of Macmillan Children’s Publishing 212-364-1100 (An imprint of Little, Brown) Group’s Henry Holt Books for Young Readers) www.lbyr.com VP, PUBLISHER, PUBLISHING PUBLISHER: Christy Ottaviano EXECUTIVE VP HACHETTE BOOK GROUP & PUBLISHER, DIRECTOR: Ned Rust SENIOR EDITOR, CHRISTY OTTAVIANO BOOKS, HHBYR: LBYR: Megan Tingley EDITORIAL DIRECTOR, JIMMY PATTERSON BOOKS: Kate Farrell VP & ASSOCIATE PUBLISHER, LITTLE, BROWN BFYR: Jenny Bak ASSOCIATE EDITOR: Jessica Anderson Jackie Engel EDITOR, JIMMY PATTERSON BOOKS: T.S. Ferguson DESCRIPTION: Publishes approximately 20 books EDITOR-IN-CHIEF, BRAND, LICENSED, AND VP EDITOR, JIMMY PATTERSON BOOKS: Aubrey Poole per year ranging from preschool picture books

PUBLISHING: Kara Sargent DESCRIPTION: Publishes 8 to 12 middle grade and to middle grade and young adult fiction, as PUBLICIZING YOUR PUBLISHED WORK PUBLISHING DIRECTOR, BRAND, LICENSED, AND TIE- young adult titles annually, with 4 to 6 of those well as some nonfiction. Of particular interest: IN PUBLISHING: Abigail McAden titles being author James Patterson’s books and picture books—humor, curriculum-focused, PUBLISHING DIRECTOR, BRAND, LICENSED, AND TIE- the others being acquisitions overseen by James nature, history, exploring childhood milestones IN PUBLISHING: Samantha Schutz Patterson. and feelings; middle grade and young adult VP, EDITOR-IN-CHIEF, LITTLE, BROWN BFYR: Alvina QUERY LETTERS: Not accepting. fiction—adventure, mystery, , Ling MULTIPLE SUBMISSIONS: Not accepting. coming of age, historical, commercial and VP, EDITORIAL DIRECTOR, LITTLE, BROWN BFYR: UNSOLICITED MANUSCRIPTS: Not accepting edgy YA fiction. The line’s broad scope features Andrea Spooner Jewish-themed children’s books for (see website author-illustrators and encompasses literary and VP, EDITORIAL DIRECTOR, POPPY & NONFICTION: for details). Send to [email protected]; no commercial picture books and fiction for all ages Farrin Jacobs phone calls. with a focus on the middle grade market. Books EDITORIAL DIRECTOR, NONFICTION, LITTLE, BROWN PAYMENT: Advance against royalty. that encourage imagination and free thinking, BFYR: Lisa Yoskowitz ARTWORK INTEREST: Not accepting. foster a sense of family and community, target EXECUTIVE EDITOR: Mary-Kate Gaudet ARTWORK PAYMENT: Advance against royalty or the feelings of children, and speak directly to

EDITOR-AT-LARGE: Susan Rich flat fee. young people’s interests as they explore various SCHOOL VISITS SENIOR EDITOR, POPPY & LITTLE, BROWN: Deirdre milestones—contemporary classics that both Jones LONELY PLANET KIDS challenge and entertain inquisitive readers. SENIOR EDITOR, POPPY: Pam Gruber (An Imprint of Lonely Planet) QUERY LETTERS: Not accepting. SENIOR EDITOR, LICENSING: Rachel Poloski 315 W 36th Street, 10th Floor MULTIPLE SUBMISSIONS: Not accepting. EDITOR: Nikki Garcia New York, NY 10018 UNSOLICITED MANUSCRIPTS: Not accepting. Agent ASSOCIATE EDITOR, CROWN: Samantha Gentry https://www.lonelyplanet.com/kids/ submissions only. LEGAL QUESTIONS ASSOCIATE EDITOR: Nicky Guerreiro PUBLISHER: Hanna Otero PAYMENT: Advance against royalty. ASSISTANT EDITOR: Hannah Milton EDITOR: Rhoda Belleza ARTWORK INTEREST: Accepting. Copies and ASSISTANT EDITOR: Anna Prendella ART DIRECTOR: Ryan Thomann printed material (but no original art) are EDITORIAL ASSISTANT: Ruqayyah Daud DESCRIPTION: Publishing board books, picture welcome through regular mail. EDITORIAL ASSISTANT: Hallie Tibbetts books, and novelty books that combine facts, ARTWORK PAYMENT: Advance against royalty or VP, CREATIVE DIRECTOR: Dave Caplan humor, and to ignite children’s curiosity flat fee, depending on project. EXECUTIVE ART DIRECTOR: Sasha Illingworth and encourage them to discover more about our 74 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org New York, NY10014 books for children. fiction and picture books. ranges and formats, withamain interest in about 15new hardcovers eachyearacross all imprint. paperback. Includes the Francis FosterBooks through young adults inhardcover and Telfer ASSOCIATE EDITOR: FRIENDS: SENIOR EDITOR, SWOON READSANDFEIWEL& ASSOCIATE PUBLISHER: DIRECTOR, SWOON READS: HOLT BOOKS,SWOON READS,SQUARE FISH: SENIOR VP&PUBLISHER,FEIWELFRIENDS, HENRY www.swoonreads.com us.macmillan.com/publishers/feiwel-and-friends Group) (An Imprint of Macmillan Children’s Publishing Feiwel andFriends/Swoon Reads ARTWORK PAYMENT: ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PRIDDY BOOKS MARGARET FERGUSONBOOKS ART DIRECTOR: ART DIRECTOR, FSG,ROARING BROOKPRESS: Elizabeth Clark CREATIVE DIRECTOR, FSG,ROARING BROOKPRESS: EDITORIAL ASSISTANT: Luisa Beguiristain EDITORIAL ASSISTANT, ROARING BROOKPRESS,FSG: ASSISTANT EDITOR: ASSOCIATE EDITOR, ROARING BROOKPRESS: ASSISTANT EDITOR: SENIOR EDITOR, ROARING BROOKPRESS: EXECUTIVE EDITOR: EXECUTIVE EDITOR: VP &EDITORIAL DIRECTOR: Jennifer Besser BOOKS FORYOUNG READERS,FIRSTSECOND: PRESIDENT &PUBLISHER,ROARING BROOK,FSG 175 Varick Street,9 giroux#FYR us.macmillan.com/publishers/farrar-straus- Group) (A Division of Macmillan Children’s Publishing Young Readers Farrar, Straus &Giroux Books for Keenan Kendall flat fee, depending onproject. Feiwel | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Kat Brzozowski Publishes booksfor toddlers imprint publishes photographic Kirk Benshoff Not accepting. Melissa Warten Megan Abbate Janine O’Malley Wesley Adams Trisha de Guzman Not accepting. Advance against royalty or th Floor Elizabeth Lee Liz Szabla Not accepting. Lauren Scobell Joy Peskin Not accepting. imprint publishes

Grace Jean Mekisha Jen ages 19–23). ages 14–19)and New Adult novels (with worthy” teenromance novels (withprotagonists readers todiscover(and then publish)“swoon- all-genre imprint working withbothwritersand young adult. appeal for readers from preschool through fiction, and nonfiction with broad commercial welcome through regular mail. printed material (butno original art)are Approximately 15titlesperyear. Art Department”; do not send original art. send via regular mail to “Feiwel and Friends, c/o to keep inmind for apotential cover. Please FRIENDS: SENIOR EDITOR, SWOON READSANDFEIWEL& FRIENDS: SENIOR EDITOR, SWOON READSANDFEIWEL& ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: ASSISTANT EDITOR: SENIOR EDITOR: EDITORIAL DIRECTOR: EDITORIAL &CREATIVE DIRECTOR: FIRST SECOND: PRESIDENT &PUBLISHER,ROARING BROOK,FSG, firstsecondbooks.com Group’s Roaring Brook Press) (An Imprint of Macmillan Children’s Publishing :01 First Second ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SWOON READS FRIENDS: ASSOCIATE EDITOR, SWOON READSANDFEIWEL& ASSISTANT EDITOR: flat fee, depending onproject. publication bythe SwoonReadsStaff. by the most readers will beconsidered for site. The manuscripts giventhe highest ratings exclusive toSwoonReadswhilepostedonthe contract withapublisher; submissions are complete novels thathavenever beenunder report onittothe publisher. Must beoriginal, at which viewers canread the material and submit online via www.swoonreads.com, Swoon Reads, for which interested writers EmilySettle Holly West Anna Roberto Advance against royalty. Advance against royalty. Publishes listof picture books, Graphic novels for allages. Andrew Arnold imprint isacrowdsourced teen Jennifer Besser Robyn Chapman Not accepting. Not accepting. Anna Poon Kiara Valdez Onlyaccepting artsamples Advance against royalty or Accepting. Copies and Calista Brill Not accepting. Not accepting. Not accepting. Accepting onlyfor across allage ranges. Jennifer Faustino young adults. with distinctive voices, including booksfor nonfiction withcommercial appealbyauthors Committed topublishing intelligent fiction and Macmillan publishing 8-10novels peryear. through young adult. chapter books, and novels for preschoolers year for allage groups. Publishes picture books, ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHING MANAGER, SENIORASSOCIATE EDITOR: EDITORIAL DIRECTOR, YOUNG ADULT: VP &ASSOCIATE PUBLISHER: EXECUTIVE VP&PUBLISHER: us.macmillan.com/publishers/flatiron-books (An Imprint of Macmillan Publishing Group) Flatiron Books ARTWORK PAYMENT: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: GODWIN BOOKS DESCRIPTION: CREATIVE DIRECTOR: ASSISTANT EDITOR: ASSISTANT EDITOR: EDITOR, HOLT, GODWINBOOKS: EDITOR: EDITOR: Kate Farrell SENIOR EDITOR, CHRISTYOTTAVIANO BOOKS,HHBYR: EDITORIAL DIRECTOR: PUBLISHER, GODWINBOOKS: HOLT BOOKS,SWOON READS,SQUARE FISH: SENIOR VP&PUBLISHER,FEIWELFRIENDS,HENRY PRESIDENT &PUBLISHER: us.macmillan.com/publishers/henry-holt Group) (An Imprint of Macmillan Children’s Publishing Henry HoltBooks for Young Readers flat fee, depending onproject. flat fee, depending onproject. for jackets). complete picture bookart)orflatfee(primarily Feiwel Tiffany Liao Brian Geffen Advance and royalty. Advance against royalty. Flatiron Booksisadivision of General list of 60–70titlesper publishes fiction and nonfiction Not accepting. Not accepting. Mark Podesta Rachel Murray Advance against royalty or Advance against royalty or Advance and royalty (for Not accepting. Not accepting. Patrick Collins Christian Trimmer Not accepting. Not accepting. BenSchrank Amy Einhorn Not accepting. Not accepting. LizKeenan Laura Godwin Julia Sooy Sarah Barley Jean

2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 75

Approximately 60 titles per year. Includes the ages 10 and up (grades 5 and up), published Imprint PREPARING & SUBMITTING (An Imprint of Macmillan Children’s Publishing :01 First Second imprint (listed separately in hardcover and paperback. All titles are Group) above), and the paperback imprint Square Fish. age- and theme-appropriate. Some editions us.macmillan.com/publishers/imprint QUERY LETTERS: Not accepting. include reader’s guides and other supplemental PUBLISHER: Erin Stein MULTIPLE SUBMISSIONS: Not accepting. materials. EXECUTIVE EDITOR: John Morgan UNSOLICITED MANUSCRIPTS: Not accepting. TOR TEEN publishes critically acclaimed science ASSOCIATE EDITOR: Nicole Otto PAYMENT: Advance against royalty. fiction and fantasy for young adult readers ASSOCIATE EDITOR: Weslie Turner ARTWORK INTEREST: Not accepting. ages 13 and up (grades 8 and up), published DESCRIPTION: Publishing a roughly equal ARTWORK PAYMENT: Advance against royalty or in hardcover and paperback. All titles are combination of picture books, middle grade, flat fee, depending on project. age- and theme-appropriate. Some editions and young adult, with the focus on branded include reader’s guides and other supplemental MARKET SURVEYS publishing; new content creation; and original, materials. commercial fiction. (An Imprint of Macmillan Children’s Publishing QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. Group) MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. www.thomasdunnebooks.com UNSOLICITED MANUSCRIPTS: Accepting. Send UNSOLICITED MANUSCRIPTS: Not accepting. Agent http://us.macmillan.com/thomasdunne/about cover letter, synopsis, 3 sample chapters, submissions only. VP, PUBLISHER: Tom Dunne and SASE for reply only (materials will not be PAYMENT: Advance against royalty. VP, EDITOR-IN-CHIEF, ASSOCIATE PUBLISHER: Pete returned). No email submissions. Response

ARTWORK INTEREST: Accepting. Copies and Wolverton time 4–6 months. See website for details DIRECTORIES & RESOURCES printed material (but no original art) are DESCRIPTION: An imprint of MacMillan’s St. us.macmillan.com/torforge/about/faq/. welcome through regular mail. Martin’s Press division, publishing a wide range PAYMENT: Advance against royalty. ARTWORK PAYMENT: Advance against royalty or of fiction and nonfiction including young adult ARTWORK INTEREST: Yes, for cover art flat fee, depending on project. fiction. consideration. Tearsheets/copies only; no QUERY LETTERS: Not accepting. original art. See website for portfolio review in Odd Dot MULTIPLE SUBMISSIONS: Not accepting. formation. (An Imprint of Macmillan Children’s Publishing UNSOLICITED MANUSCRIPTS: Accepting. ARTWORK PAYMENT: Advance against royalty or Group) PAYMENT: Advance against royalty. flat fee, depending on project. us.macmillan.com/publishers/odd-dot ARTWORK INTEREST: Accepting. PUBLISHER: Daniel Nayeri ARTWORK PAYMENT: Advance against royalty or Wednesday Books EDITORIAL DIRECTOR: Nathalie Le Du flat rate. (An Imprint of Macmillan Children’s Publishing ASSOCIATE EDITOR: Justin Krasner Group) PUBLICIZING YOUR PUBLISHED WORK CREATIVE DIRECTOR: Colleen AF Venable EVP & PUBLISHER, ST. MARTIN’S PRESS, WEDNESDAY DESCRIPTION: Publishing interactive nonfiction (An Imprint of Macmillan Children’s Publishing BOOKS: Jennifer Enderlin children’s books intended to appeal to both Group) EDITORIAL DIRECTOR: Sara Goodman academically inclined children and those who Associates, LLC EDITORIAL DIRECTOR, ST. MARTIN’S PAPERBACKS AT struggle with traditional learning. Launched 175 Fifth Avenue ST. MARTIN’S PRESS: Monique Patterson Spring 2019. New York, NY 10010 EXECUTIVE EDITOR, ST. MARTIN’S PRESS, WEDNESDAY us.macmillan.com/TorForge BOOKS: Eileen Rothschild Roaring Brook Press Tor.com ASSOCIATE EDITOR, ST. MARTIN’S PRESS: Sylvan (An Imprint of Macmillan Children’s Publishing FOUNDER, CHAIRMAN, TOR/FORGE: Tom Doherty Creekmore Group) PRESIDENT & PUBLISHER, TOR/FORGE: Fritz Foy ASSOCIATE EDITOR, ST. MARTIN’S PRESS, WEDNESDAY us.macmillan.com/publishers/roaring-brook-press VP & PUBLISHER, FORGE: Linda Quinton BOOKS: Lauren Jablonski PRESIDENT & PUBLISHER, ROARING BROOK, FSG, PUBLISHER, TOR BOOKS, & CREATIVE DIRECTOR TOR. EDITOR: Vicki Lame FIRST SECOND: Jennifer Besser COM: Irene Gallo ASSISTANT EDITOR, ST. MARTIN’S PRESS, WEDNESDAY

EXECUTIVE EDITOR: Connie Hsu VP, EDITOR-IN-CHIEF, TOR: Patrick Nielsen BOOKS: Jennie Conway SCHOOL VISITS SENIOR EDITOR: Katherine Jacobs EXECUTIVE EDITOR, TOR TEEN: Diana Gill ASSISTANT EDITOR, ST. MARTIN’S PRESS, WEDNESDAY ASSOCIATE EDITOR, SQUARE FISH: Val Otarod SENIOR EDITOR, TOR TEEN, TOR STARSCAPE, TOR: BOOKS: Tiffany Shelton EDITOR: Emily Feinberg Melissa Frain DESCRIPTION: A crossover imprint of MacMillan’s EDITOR: Kate Meltzer SENIOR EDITOR, TOR TEEN, TOR STARSCAPE: Susan St. Martin’s Press division, publishing YA and ASSISTANT EDITOR: Megan Abbate Chang adult titles focused on coming-of-age themes. SENIOR EDITOR, TOR: Miriam Weinberg Focuses on bold, diverse, and commercial

EDITORIAL ASSISTANT, ROARING BROOK PRESS, FSG: LEGAL QUESTIONS Luisa Beguiristain EDITOR, TOR TEEN: Bess Cozby voices in fiction and nonfiction who speak to CREATIVE DIRECTOR, FSG, ROARING BROOK PRESS: EDITOR, TOR TEEN, TOR STARSCAPE: Ali Fisher readers looking for stories in and beyond the YA Elizabeth Clark EDITOR, TOR, TOR TEEN: Diana M. Pho category. ART DIRECTOR, FSG, ROARING BROOK PRESS: Jen DESCRIPTION: Includes the children’s books QUERY LETTERS: Not accepting. Keenan imprints Tor Teen and Tor Starscape. MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Trade picture books, fiction, and TOR SKYSCAPE publishes award-winning science UNSOLICITED MANUSCRIPTS: Accepting. nonfiction for preschool through young adult. fiction and fantasy for middle grade readers PAYMENT: Advance against royalty. 76 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Emmett multicultural societies for ages 3–16. nature, geography, adventure, exploration, and interest include history, biography, science, to gift-givers, librarians, and kids. Subjectsof nonfiction and reference titlesayear, appealing of about100trade and direct mail narrative ages 12and under engage withthe outdoors. fiction for middle grade readers. Rinehart depending onproject. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: UNDER THESTARS NATIONAL GEOGRAPHICKIDS ASSISTANT EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR: SENIOR EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR, PRESCHOOL: Sally Abbey DIRECTOR, EDITORIAL OPERATIONS, KIDSBOOKS: VP &EDITORIAL DIRECTOR: SENIOR VP, CONTENT, KIDS&FAMILY: about-us/our-program/ http://www.nationalgeographic.com/books/ Washington, DC20036 1145 17thSt.NW NATIONAL GEOGRAPHICKIDS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL DIRECTOR &EXECUTIVEEDITOR: muddybootsbooks.com 203-458-4500 Guilford, CT06437 246 GooseLane Rowman &Littlefield) (An Imprint of GlobePequot, aDivision of MUDDY BOOTS ARTWORK PAYMENT: ARTWORK INTEREST: Delano https://rowman.com/Page/RLAuthRes. flat rate. | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Ariane Szu-Tu Advance against royalty orfee, Royalties orflatfee. Publishing booksthathelp kids Priyanka Lamichhane Shelby Alinsky Not accepting. Accepting. Seeguidelines at imprint publishes original Kathryn Williams Paige Towler Michaela Weglinski Kate Hale Royalties orflatfee. Advance against royalty or Advance against royalty or Not accepting. Accepting. N/A Accepting. Not accepting. RebeccaBaines Not accepting. Not accepting. imprint’s listconsists Marfé Ferguson Jennifer Rick annually. DistributedbySimon &Schuster. some board books. Publishes over30titles (primarily fiction), earlychapterbooks, and everything from literary tocomedic reads. specializing in edgy, realistic books, with postcard samplesand email submissions. MANAGING EDITOR: www.fluxnow.com (An Imprint of North StarEditions) Flux www.northstareditions.com 888-417-0195; Fax952-582-1000 Mendota Heights, MN55120 2297 Waters Drive NORTH STAR EDITIONS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR, PICTUREBOOKS: MANAGING DIRECTOR: ASSOCIATE PUBLISHER: PUBLISHER: 600 ThirdAvenue, 2 (An Imprint of Oetinger Publishing Group) NORTHSOUTH BOOKS fee, depending onproject. approaches. time travel; high fantasy; oruniqueliterary alternate realities/magical realism/flashbacks/ realistic fiction/voice-drive contemporary; Interested inmystery/thrillers/suspense; voice, engaging plot,and uniquecharacters. Looking for well-crafted YA fiction withastrong details see www.fluxnow.com/submissions. to [email protected]. For Submit queryletterand first3chapters UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: EDITOR: DESCRIPTION: www.northsouth.com 917-210-5868 New York, NY10016 manuscript submission. EDITOR: flat fee contact/ instructions locatedathttps://northsouth.com/ submission. Pleaserefer tothe “How toSubmit” manuscripts for picture booksvia electronic Ashley Wyrick Kelsey Thompson Advance withroyalty orflatfee. Herwig Bitsche The listincludes picture books Young adult fiction imprint Not accepting. Prefer full Accepting. Advance against royalty or Mari Kesselring Yes, through editors. Send nd Heather Lennon Floor Andrew Rushton Yes. Accepting. Beth Terrill Accepting full Accepting.

to engage younger readers. emphasis onaccessibletext and visuals aimed on titlesfor students ingrades 3–7withan distributed byNorth StarEditions focusing books through Young Adult, bothfiction and stories. and auniquevoice; and unconventional love thrillers withstrong, carefully crafted characters and fantasy withanepic and visual scope; emotional inunpredictable ways;science fiction market. Particular interest instories thatare adult fiction inthe national and international Jolly FishPress ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: www.focusreaders.com (An Imprint of LiftBridge Editions) FOCUS READERS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: DESCRIPTION: EDITORIAL ASSISTANT: PUBLISHING DIRECTOR: books.wwnorton.com 212-354-5500; Fax212-869-0956 New York, NY10110 500 FifthAvenue (An Imprint of W. W. Norton &Company) NORTON YOUNG READERS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: EDITOR: EDITORIAL DIRECTOR: jollyfishpress.com (An Imprint of North StarEditions) flat fee. flat fee. redlineeditorial.com. send aresume and publication listto jobs@ work iswork-for-hire. Interested authors should your email. com; include yoursubmission inthe body of synopsis, and querytosubmit@jollyfishpress. submission only. Send firstthree chapters, Carlisa Cramer Kelsey Thompson Per project, work-for-hire. Advance against royalty orflatfee. Advance against royalty orflatfee. Middle grade nonfiction imprint Publishing abroad range of picture Publishing middle grade and young Not accepting. Accepting. Advance against royalty or Advance against royalty or Not accepting. Accepting. Accepting. Mari Kesselring Kristin Allard Simon Boughton Not accepting. Accepting. Not accepting. All Accepting. Email 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 77 nonfiction. Tentatively launching Fall 2019. fiction, contemporary, and non-fiction books for picture books. PREPARING & SUBMITTING QUERY LETTERS: Not accepting. middle graders and teens. Not seeking picture MULTIPLE SUBMISSIONS: Accepting. MULTIPLE SUBMISSIONS: N/A books. UNSOLICITED MANUSCRIPTS: Accepting full UNSOLICITED MANUSCRIPTS: Not accepting. QUERY LETTERS: Accepting. manuscripts for picture books, and accepting Submissions from agents only. MULTIPLE SUBMISSIONS: Accepting. either full manuscripts or 3 sample chapters for PAYMENT: Advance against royalty. UNSOLICITED MANUSCRIPTS: Accepting. See full-length fiction. Send to “Acquisitions Editor.” ARTWORK INTEREST: Accepting. guidelines at https://owlhollowpress.com/ No email or fax submissions. Author bio helpful, ARTWORK PAYMENT: Advance against royalty or submissions/. enclose SASE if return requested, and allow 6 to flat fee. PAYMENT: Advance against royalty or flat fee, 9 months for response. depending on project. PAYMENT: Advance against royalty. POLARITY ARTWORK INTEREST: Accepting. ARTWORK INTEREST: Yes, send nonreturnable MARKET SURVEYS Portland, OR 97214 ARTWORK PAYMENT: Flat fee or advance against samples and résumé to Art Director (if artwork Lionforge.com royalty, depending on project. only). Onipress.com ARTWORK PAYMENT: Advance against royalty or POLARITY CEO: David Steward III PAGE STREET PUBLISHING CO. flat fee, depending on project. PRESIDENT & PUBLISHER: James Lucas Jones 27 Congress Street, Suite 103 EXECUTIVE VP OF CREATIVE DEVELOPMENT: Charlie Salem, MA 01970 PELICAN PUBLISHING COMPANY Chu 978-594-8758 (A Division of Arcadia Publishing)

EDITOR-IN-CHIEF: Sarah Gaydos www.pagestreetpublishing.com 1000 Burmaster Street DIRECTORIES & RESOURCES EXECUTIVE EDITOR: Ari Yarwood PUBLISHER: William Keister Gretna, LA 70053-2246 SENIOR EDITOR: Shawna Gore PUBLISHER, PAGE STREET KIDS: Kristen Nobles 504-368-1175; Toll free 800-843-1724 or SENIOR EDITOR: Robin Herrera ASSOCIATE CHILDREN’S EDITOR: Courtney Burke 888-5-PELICAN; Fax 504-368-1195 LION FORGE publishes graphic novels and picture ASSOCIATE YA EDITOR: Ashley Hearn www.pelicanpub.com books. ASSOCIATE CHILDREN’S EDITOR: Allison Hunter Hill PRESIDENT & PUBLISHER: Kathleen Calhoun LION FORGE/ROAR publishes young adult comic ASSOCIATE CHILDREN’S EDITOR: Lauren Knowles Nettleton books. DESCRIPTION: Publishing illustration-focused EDITOR-IN-CHIEF: Nina Kooij LION FORGE/CARACAL publishes a diverse, picture books for the Page Street Kids imprint ART DIRECTOR: Kevin Johnson inclusive line of middle grade books for ages 8 and Young Adult fiction in all genres. Launching DESCRIPTION: Family-owned, medium-sized to 12. Fall 2018. Distributed by Macmillan. publisher, publishing approximately 50–60 titles LION FORGE/CUBHOUSE publishes original graphic QUERY LETTERS: Accepting. a year. General list with a strong local emphasis; novels and picture books for children 12 and MULTIPLE SUBMISSIONS: Accepting. always looking for good material if focus is PUBLICIZING YOUR PUBLISHED WORK under. UNSOLICITED MANUSCRIPTS: Accepting. See full correct. Nonfiction or fiction. Age levels 5–8. ONI PRESS publishes comic books and graphic guidelines at www.pagestreetpublishing.com/ QUERY LETTERS: Accepting, with full manuscript. novels. submission-guidelines. MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Company formed in 2019 by the PAYMENT: Advance against royalty or flat fee. UNSOLICITED MANUSCRIPTS: Accepting; require merging of Oni Press and Lion Forge. Publishing ARTWORK INTEREST: Yes. exclusive submission for 12 weeks. Picture a wide range of content designed for diverse ARTWORK PAYMENT: Advance against royalty or books: submit query letter with full manuscript . Merger is ongoing; submission and flat fee. and SASE via regular mail; cannot exceed imprint organization still to be announced. 1,100 words. Novels: submit query letter with Distributed by Simon & Schuster. PEACHTREE PUBLISHING COMPANY synopsis, 1 or 2 sample chapters, and SASE. No QUERY LETTERS: Oni Press is not accepting; Lion INC. emailed or faxed submissions accepted. SASE Forge is currently accepting. 1700 Chattahoochee Avenue required for reply or return of materials. See MULTIPLE SUBMISSIONS: Oni Press is not Atlanta, GA 30318 website for full query letter, submission, and accepting; Lion Forge is currently accepting. 404-876-8761; Toll Free 800-241-0113; Fax 404- specific manuscript guidelines.

UNSOLICITED MANUSCRIPTS: Oni Press is not 875-2578; Fax Toll Free 800-875-8909 PAYMENT: Advance against royalty. SCHOOL VISITS accepting. Lion Forge is currently accepting, www.peachtree-online.com ARTWORK INTEREST: Often choose from samples see guidelines at https://www.lionforge.com/ www.peachtreepub.blogspot.com in our files. Sample submissions welcome and submissions/ PRESIDENT & PUBLISHER: Margaret Quinlin should be directed to “Art Director.” Do not PAYMENT: Advance against royalty or flat fee. VP, ASSOCIATE PUBLISHER: Kathy Landwehr send originals. No emailed or faxed submissions ARTWORK INTEREST: No. SENIOR EDITOR: Vicky Holifield accepted. ARTWORK PAYMENT: Advance against royalty or DESCRIPTION: An independently owned trade ARTWORK PAYMENT: By purchase or royalty as per LEGAL QUESTIONS flat fee. publisher, publishing 30 titles annually of agreement; depends on type of material and the children’s fiction and nonfiction, including format. OWL HOLLOW PRESS picture books, chapter books, and middle grade www.owlhollowpress.com and young adult novels. PENGUIN YOUNG READERS GROUP EDITORIAL DIRECTOR: Emma Nelson QUERY LETTERS: Not accepting. Send synopsis, 345 Hudson Street ACQUISITION EDITOR: Hannah Smith outline, and first three chapters of middle grade New York, NY 10014 DESCRIPTION: An independent publisher of genre and YA manuscripts; prefer full manuscript for 212-366-2000 78 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Mancini book-based characters, not original books. Frederick Warne imprint, which develops classic book imprint CartoonNetwork Booksand the Readers Group imprints alsoinclude the licensed companies function separately. Penguin Young books divisions of the tworespective merged Random House; atpresent, the children’s Publishing merged in2013toform Penguin (middle grade and YA). preschool and ages 4–8 aswellfiction annually. Interested inpicture booksfor want aresponse. and animals. Include SASP (postcard) ifyou styles aspossible. Show examples of children mail. No originals. Present aswide avariety of Send nonreturnable samplesthrough regular VP &EXECUTIVEARTDIRECTOR: EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: Nancy Mercado ASSOCIATE PUBLISHER&EDITORIAL DIRECTOR: PRESIDENT &PUBLISHER: dialbooksforyoungreaders/ www.penguin.com/publishers/ (A Division of Penguin Young Readers Group) Dial Books for Young Readers DESCRIPTION: ART DIRECTOR: VP &EXECUTIVEARTDIRECTOR: READERS, &ASSOCIATE PUBLISHER,VIKING: VP, EXECUTIVEMANAGING EDITOR, PENGUINYOUNG READERS: VP, EXECUTIVEMANAGING EDITOR, PENGUINYOUNG SVP, ASSOCIATE PUBLISHER: Jennifer Loja PRESIDENT, PENGUINYOUNG READERSGROUPUS: SUBMISSION GUIDELINEPAGE: www.penguin.com/children/ www.penguinrandomhouse.com PRESIDENT &PUBLISHER: duttonchildrensbooks/ www.penguin.com/publishers/ (A Division of Penguin Young Readers Group) Dutton Children’s Books ARTWORK PAYMENT: ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: picture books. penguin.com/aboutus/faq/#manuscripts | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Ellen Cormier Dana Chidiac David Briggs Random House and Penguin List of 75hardcover books Marikka Tamura Lucia Monfried Not accepting. Jessica Garrison Kate Harrison Advance against royalty for Yes, direct toArtDirector.

Not accepting. Julie Strauss-Gabel Lauri Hornik Jocelyn Schmidt Not accepting. http://www. LilyMalcom Cecilia Yung Gerard nonfiction, please. with strong, original voices. No picture booksor and audience oriented; contemporary stories talent. Looking for material thatisentertaining titles ayear;eager toseenew writers, breakout commercial appeal.Publishes approximately 15 of exceptional literary quality and strong grade fiction imprint witha focus ontitles preschool leveland ages 8 PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: ASSOCIATE EDITORIAL DIRECTOR: Nancy Paulsen PRESIDENT &PUBLISHER,NANCYPAULSEN BOOKS: Jennifer Klonsky PRESIDENT &PUBLISHER,PUTNAM’S,RAZORBILL: nancypaulsenbooks/ http://www.penguin.com/publishers/ gpputnamssonsbooksforyoungread/ www.penguin.com/publishers/ (A Division of Penguin Young Readers Group) Readers G.P. Putnam’s SonsBooks for Young ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSOCIATE PUBLISHINGMANAGER: EXECUTIVE EDITOR: VP &EDITOR-AT-LARGE: PSS!, WARNE: VP &ASSOCIATE PUBLISHER,GROSSET&DUNLAP/ NETWORK BOOKS: READERS, PENGUINWORKSHOP, &CARTOON PSS!, PENGUINYOUNG READERS,WARNE &EARLY PRESIDENT &PUBLISHER,GROSSETDUNLAP/ www.penguin.com/publishers/penguinworkshop/ www.penguin.com/publishers/grossetdunlap/ (A Division of Penguin Young Readers Group) Workshop Grosset &Dunlap/PSS!/Penguin ARTWORK PAYMENT: ARTWORK INTEREST: Nancy Paulsen Booksimprint. Some young nonfiction material. Includes the flat fee, depending onproject. Stephanie Pitts Advance against royalty. Advance against royalty. Daniel Moreton Boutique teenand middle Focusing onfiction atthe Not accepting. Not accepting. Francesco Sedita Andrew Karre Andrew Margo Lipschultz Arianne Lewin Stacey Barney Advance against royalty. Advance against royalty or Not accepting. Yes, send to ArtDirector. Jane O’Connor Not accepting. Not accepting. – Not accepting. Not accepting. 12 aswellYA. Susan Kochan Melissa Faulner original books. predominantly novelty and paperbacktitles, not The PSS!/Price SternSloanimprint publishes novelty ideas, some nonfiction uptoage 12. and licenses. Interest inseries, licensing and paperback series, leveledreaders, brands, 135 titlesperyearand deals largely inoriginal through sixthgrade. Publishes approximately school market listfor audience from preschool young adult fiction across avariety of genres. publishing emotionally driven middle grade and DESCRIPTION: PENGUIN WORKSHOP ASSOCIATE EDITOR: ASSISTANT EDITOR, PENGUINWORKSHOP: ASSISTANT EDITOR, PENGUINWORKSHOP: ASSOCIATE EDITOR: EDITOR, PENGUINWORKSHOP: EXECUTIVE EDITOR: WORKSHOP: ASSOCIATE EDITORIAL DIRECTOR, PENGUIN Cecily Kaiser EDITORIAL DIRECTOR, PRESCHOOLPUBLISHING: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: VP &PUBLISHER: www.penguin.com/publishers/kathydawsonbooks/ (An Imprint of Penguin Young Readers Group) Kathy Dawson Books ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: months. months. interested, withresponse time being four postcards orSASE, aswillrespond onlyif manuscripts, please. Pleasedo not include Post only, no e-mail submissions and no full Schonfeld Ohioma publishing approximately 30titlesannually. of reader, from ages 0–12.Willworkupto accessible titlesand brands for everytype royalty. SASE. chapter ortwofor longer works. Must include except for picture books. Summary and the first Advance against royalty. Flat feeoradvance against royalty. RobValois Strong trade, mass market, and A boutiquehardcover imprint Accepts queries via regular US Not accepting. Kathy Dawson Paula Manzanero Nathaniel Tabachnik Karl Jones Flatfeeoradvance against N/A Not accepting. Yes, send toArtDirector. imprint publishing Not accepting. Not accepting. Not accepting. Accepting allformats Renee Hooker Sara Anu 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 79

EDITOR: Dana Leydig Kokila PREPARING & SUBMITTING (An Imprint of Penguin Young Readers Group) (A Division of Penguin Young Readers Group) EDITOR: Sheila Keenan www.penguin.com/publishers/kokila/ www.penguin.com/publishers/puffin/ ASSOCIATE EDITOR: Maggie Rosenthal VP & PUBLISHER: Namrata Tripathi PRESIDENT & PUBLISHER: Eileen Bishop Kreit ASSISTANT EDITOR: Diego Nunez EDITOR: Joanna Cárdenas VP, EXECUTIVE ART DIRECTOR: Deborah Kaplan VP & EXECUTIVE ART DIRECTOR: Denise Cronin EDITORIAL ASSISTANT: Syndee Monday DESCRIPTION: Paperback list that ranges from ART DIRECTOR: Ellice Lee ART DIRECTOR: Jasmin Rubero preschool to teen, with both fiction and DESCRIPTION: List of high-quality trade DESCRIPTION: An imprint focusing on fiction nonfiction. Picture books, middle grade, hardcover books for children of all ages through and nonfiction books that spotlight themes of and young adult books. Includes paperback young adult, including picture books, fiction, representation and inclusion. Publishing 15–20 originals, such as middle grade and teen fiction nonfiction, and novelty books. Output averages titles annually, ranging from picture books to and nonfiction. Always interested in new 60 titles annually. MARKET SURVEYS middle grade to young adult, as well as graphic writers. Includes the paperback reprint imprint QUERY LETTERS: Not accepting. novels. Launched summer 2019. Speak, and the science fiction/fantasy crossover MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Accepting. imprint Firebird, which publishes 12–18 UNSOLICITED MANUSCRIPTS: Not accepting. MULTIPLE SUBMISSIONS: Accepting. books per year for teens and adults (www. PAYMENT: Advance against royalty. UNSOLICITED MANUSCRIPTS: Accepting September firebirdbooks.com). ARTWORK INTEREST: Accepting. Send to Art 1 through December 1. Email with query letter QUERY LETTERS: Not accepting. Director. No originals, please. in the body of the message and work as an MULTIPLE SUBMISSIONS: Not accepting. ARTWORK PAYMENT: Advance against royalty or attachment no larger than 20 MB at kokila@ UNSOLICITED MANUSCRIPTS: Not accepting. flat fee. DIRECTORIES & RESOURCES penguinrandomhouse.com. We’ll respond before PAYMENT: Advance against royalty. August 30 of the following year. No physical ARTWORK INTEREST: Accepting. Send to Art PERSNICKETY PRESS submissions. Priority will be with stories for and Director. Do not send originals. (An Imprint of Cornell Lab Publishing Group) from marginalized communities. ARTWORK PAYMENT: Flat fee. https://cornelllabpgstore.com/persnickety-press/ PAYMENT: Advance against royalty. CEO/PUBLISHER: Brian Scott Sockin ARTWORK INTEREST: Not accepting. Razorbill DESCRIPTION: Publishing books for children and ARTWORK PAYMENT: N/A. (A Division of Penguin Young Readers Group) young adults, both fiction and nonfiction, from www.penguin.com/publishers/razorbill/ picture books through teen titles. Persnickety VP, PUBLISHER, PUTNAM’S, RAZORBILL: Jennifer is a little edgy, pushing boundaries to explore (A Division of Penguin Young Readers Group) Klonsky topics in unique and humorous ways. Its focus www.penguin.com/publishers/philomel/ VP, PUBLISHER: Casey McIntyre is on nonfiction and fiction titles that aim PRESIDENT & PUBLISHER, VIKING, PHILOMEL: Ken EXECUTIVE EDITOR: Ruta Rimas to contribute to the well-being, growth, and PUBLICIZING YOUR PUBLISHED WORK Wright SENIOR EDITOR: Chris Hernandez empowerment of children. ASSOCIATE PUBLISHER: Jill Santopolo EDITOR: Julie Moody Rosenberg QUERY LETTERS: Not accepting. SENIOR EDITOR: Liza Kaplan ASSOCIATE EDITOR: Jessica Harriton MULTIPLE SUBMISSIONS: Accepting. EDITOR: Kelsey Murphy ASSISTANT EDITOR: Alex Sanchez UNSOLICITED MANUSCRIPTS: Accepting via website ASSOCIATE EDITOR: Talia Benamy VP & EXECUTIVE ART DIRECTOR: Deborah Kaplan submission portal at https://cornelllabpgstore. ASSISTANT EDITOR: Cheryl Eissing DESCRIPTION: Original contemporary fiction titles com/submissions/ ART DIRECTOR: Semadar Megged for middle grade and teen readers (ages 11–18). ARTWORK INTEREST: Not accepting. DESCRIPTION: List with strong interest in story, QUERY LETTERS: Not accepting. PAYMENT: Advance against royalty or flat fee. must have voice. Picture books often deal with MULTIPLE SUBMISSIONS: Not accepting. the human experience and spirit. Interest in UNSOLICITED MANUSCRIPTS: Not accepting. PETER PAUPER PRESS regional and ethnic pieces that are authentic PAYMENT: Advance against royalty. 202 Mamaroneck Ave., Suite 400 and have child appeal. Action/adventure and ARTWORK INTEREST: Not accepting samples. White Plains, New York 10601-5376 sports books; literary fiction; fantasy with ARTWORK PAYMENT: N/A 914-681-0144; Fax 914-681-0389 warm, human component and unique world www.peterpauper.com SCHOOL VISITS building; mystery; and historical fiction. No Viking Children’s Books EXECUTIVE EDITOR: Mara Conlon concept books. (A Division of Penguin Young Readers Group) DESCRIPTION: Publishes approximately one QUERY LETTERS: Not accepting. www.penguin.com/publishers/ hundred books and ancillary products annually, MULTIPLE SUBMISSIONS: Not accepting. vikingchildrensbooks/ including gift books, humor books, compact UNSOLICITED MANUSCRIPTS: Not accepting. VP, EXECUTIVE MANAGING EDITOR, ASSOCIATE references, travel guides, journals, and stationery. The house has also established

PAYMENT: Advance against royalty. PUBLISHER: Gerard Mancini LEGAL QUESTIONS ARTWORK INTEREST: Accepting. Send to Art PRESIDENT & PUBLISHER, VIKING, PHILOMEL: Ken a presence in the children’s market with its Director. Wright various lines of activity books. Its trade picture ARTWORK PAYMENT: Advance against royalty; flat EDITORIAL DIRECTOR: Tracy Gates book line publishes two to four hardcover fee for novel jackets. EDITORIAL DIRECTOR, PICTURE BOOKS: Tamar Brazis picture books annually. EDITOR-AT-LARGE: Regina Hayes QUERY LETTERS: Accepting via US Post mailed to EDITORIAL DIRECTOR, MIDDLE GRADE, YOUNG the attention of “Editorial Submissions.” Will ADULT: Kendra Levin respond within three months only if they feel 80 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 www.phaidon.com/store/childrens-books/ www.phaidon.com/about-phaidon/ 212-652-5400, Fax212-652-5410 New York, NY10012 parent company of Holiday House and Peachtree. novels. Parent company Trustbridge isalsothe books, chapterbooks, middle grade, and graphic 3 to13,featuring acombination of picture list willfocus onfiction series for children ages and internationally. The summer 2020debut potential totranslate into various platforms books, and picture books for ages 0–8. only ifinterested. only, [email protected]. Responding Nonreturnable pieces only. hardcopy tothe attention of “Art Submissions.” ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR-IN-CHIEF: www.pixelandinkbooks.com (An Imprint of Trustbridge GlobalMedia) PIXEL+INK ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR, CHILDREN’SBOOKS: SENIOR EDITOR: 65 Bleecker Street,8 (An Imprint of Phaidon Press) PHAIDON CHILDREN’SBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: the project isamatch for the list. submitting-a-book-proposal/. http://www.phaidon.com/about-phaidon/ For bookproposal submission guidelines, see email [email protected]. Bennett flat fee. flat fee. interested. [email protected]. Responding onlyif submission only. Send fullmanuscripts to TBA N/A Advance against royalty. Publishing bookswiththe Publishing board books, novelty Maya Gartner Accepting bookproposals via Accepting. Bethany Buck N/A Advance against royalty or Advance against royalty or Yes. Electronic submission Not accepting. Accepting. Submitvia th Floor Accepting. No. Accepting. Accepting. Accepting. Accepting. Electronic Meagan annually, including young adult fiction. publishing company publishing 30to40titles with crossover into the adult market. funny, and haveanoffbeat oredgy sensibility, books thatare visually striking, imaginative, publisher powerHouse Books, publishing picture originals. PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: EXECUTIVE PUBLISHER: powkidsbooks.com 212-604-9074 Brooklyn, NY11201 32 Adams Street (An Imprint of powerHouse Books) POW! BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: FOUNDER &PUBLISHER: www.polisbooks.com New York, NY POLIS BOOKS VP &GROUPPUBLISHER: http://www.quartoknows.com/MoonDance-Press 949-380-7510; Fax949-380-7575 Mission Viejo,CA92691 26391 CrownValley Parlway, Suite220 (An Imprint of Quarto USA) MoonDance Press www.quartoknows.com (A division of Quarto Group) QUARTO USA ARTWORK PAYMENT: ARTWORK INTEREST: flat fee. flat fee. polisbooks.com. Willrespond onlyifinterested. attached toanemail tosubmissions@ send aqueryletterand three samplechapters submissions/. guidelines athttp://powkidsbooks.com/ contact youifinterested. Seefullsubmission rejected. Pleasedo not call; publisher will Submissions containing attachments willbe above, oremail [email protected]. “POW! Submissions” atthe mailing address Jordan Nielsen Advance against royalty. Advance against royalty orflatfee. A digital-first independent An imprint of independent Accepting. Accepting. Advance against royalty or Advance against royalty or Not accepting. Yes, butdo not send Craig Cohen Jason Pinter Accepting. Accepting. Anne Landa Accepting. Please Accepting. Send to

DESCRIPTION: com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission qualifications, signed Submission Agreement, science, nature, and discovery. quality nonfiction picture books focusing on annually. Publishing original, edutainment- com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission qualifications, signed Submission Agreement, publish 12to16titlesannually. titles for pre-K tofifth-grade readers. Will depending onthe project. depending onthe project. http://www.quartoknows.com/Seagrass-Press 949-380-7510; Fax949-380-7575 Mission Viejo,CA92691 26391 CrownValley Parlway, Suite220 (An Imprint of Quarto USA) Seagrass Press ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL DIRECTOR: VP &GROUPPUBLISHER: http://www.quartoknows.com/Walter-Foster-Jr 949-380-7510; Fax949-380-7575 Mission Viejo,CA92691 26391 CrownValley Parkway, Suite220 (An Imprint of Quarto USA) Walter Foster Jr. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER, EDITORIAL DIRECTOR: VP &GROUPPUBLISHER: flat fee, depending onthe project. flat fee, depending onthe project. com/Corporate/Submission-Guidelines/. guidelines postedathttps://www.quartoknows. and other materials listedonsubmission submit proposal, signed Submission Agreement, com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listed onsubmission submit proposal, signed Submission Agreement, Advance against royalty orflatfee, Advance against royalty orflatfee, Publishing approximately 20titles Part of Walter FosterPublishing, Publishing environmentally focused Not accepting. Not accepting. Advance against royalty or Advance against royalty or Yes. Pleasesubmit Yes. Pleasesubmit Pauline Molinari Not accepting. Not accepting. Anne Landa Anne Landa Accepting. Please Accepting. Please Josalyn Moran

2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 81 publisher of instructional art books and kits words & pictures RANDOM HOUSE CHILDREN’S BOOKS PREPARING & SUBMITTING for adults and children. Walter Foster Jr. (An Imprint of Quarto USA) (A Division of Random House, Inc.) publishes books and kits for children of all The Old Brewery 1745 Broadway ages, encouraging learning and exploring. 6 Blundell Street New York, NY 10019 Covers a wide range of subjects, including art, London N7 9BH 212-782-9000 transportation, history, craft, gardening, and UK www.rhcbooks.com more. +44 (0) 20 7800 8043; Fax www.randomhouse.com/teens QUERY LETTERS: Not accepting. +44 (0) 20 7700 8066 www.penguinrandomhouse.com/imprints MULTIPLE SUBMISSIONS: Not accepting. www.quartoknows.com/words-pictures www.penguinrandomhouse.com UNSOLICITED MANUSCRIPTS: Accepting. Please GROUP PUBLISHER: Zeta Jones www.penguinrandomhouse.com/ submit proposal, signed Submission Agreement, PUBLISHER: Maxime Boucknooghe faqs/#manuscripts-how-do-i-submit-my- MARKET SURVEYS and other materials listed on submission DESCRIPTION: Publishing illustrated children’s manuscript-or-abstract-to-penguin-random-house- guidelines posted at http://www.quartoknows. titles that celebrate imagination and creativity, for-publication-2 com/Corporate/Submission-Guidelines/. with a focus on escaping this world and learning DESCRIPTION: Random House and Penguin PAYMENT: Advance against royalty or flat fee, something that you don’t normally see—and Publishing merged in 2013 to form Penguin depending on the project. then coming back to the world and enriching it. Random House; at present, the children’s ARTWORK INTEREST: Yes. Please submit This formerly -only imprint expanded to books divisions of the two respective merged qualifications, signed Submission Agreement, the US in 2017. companies function separately. Random House and other materials listed on submission QUERY LETTERS: Accepting. Children’s Books includes the paperback/reprint/ DIRECTORIES & RESOURCES guidelines posted at http://www.quartoknows. MULTIPLE SUBMISSIONS: Not accepting. classics imprints , Dragonfly, com/Corporate/Submission-Guidelines/. UNSOLICITED MANUSCRIPTS: Accepting. Please Delacorte Press Trade Paperbacks, Yearling ARTWORK PAYMENT: Advance against royalty or submit proposal, signed Submission Agreement, Books, Laurel Leaf, Golden Books, Ember, flat fee, depending on the project. and other materials listed on submission Bluefire, and Knopf Trade Paperbacks, and the guidelines posted at http://www.quartoknows. Disney properties imprint Disney Books for Young Wide Eyed Editions com/Corporate/Submission-Guidelines/. Readers. (An Imprint of Quarto USA) PAYMENT: N/A PRESIDENT & PUBLISHER, RANDOM HOUSE th th 142 West 36 Street, 4 Floor ARTWORK INTEREST: Yes. Please submit CHILDREN’S BOOKS US: Barbara Marcus New York, NY 10018 qualifications, signed Submission Agreement, 212-779-1809; Fax 212-779-6058 and other materials listed on submission Alfred A. Knopf wideeyededitions.com guidelines posted at http://www.quartoknows. Crown Books for Young Readers https://www.quartoknows.com/Wide-Eyed-Editions com/Corporate/Submission-Guidelines/. (An Imprint of Random House Children’s Books) PUBLICIZING YOUR PUBLISHED WORK PUBLISHER: Rachel Williams ARTWORK PAYMENT: N/A SVP & PUBLISHER, RANDOM HOUSE/GOLDEN BOOKS, EDITORIAL DIRECTOR, WIDE EYED, FRANCIS LINCOLN: , & CROWN BOOKS FOR YOUNG READERS Jenny Broom QUIRK BOOKS GROUP: Mallory Loehr DESCRIPTION: Specializes in curriculum-focused 215 Church Street VP & CO-PUBLISHER, CROWN: Phoebe Yeh illustrated nonfiction for ages 2–10 with , PA 19106 VP & CO-PUBLISHER, CROWN: Emily Easton an emphasis on art, geography, and natural 215-627-3581; Fax 215-627-5220 VP & PUBLISHER, KNOPF: Melanie Nolan history. Based in the U.K., Wide Eyed Editions www.quirkbooks.com EDITORIAL DIRECTOR, KNOPF: Erin Clarke releases are edited in the US for North American PRESIDENT & PUBLISHER: Brett Cohen SENIOR EXECUTIVE EDITOR, KNOPF: Nancy Siscoe audiences. Many of the Wide Eyed Editions EDITORIAL DIRECTOR: Jhanteigh Kupihea EXECUTIVE EDITOR: Michelle Frey authors and illustrators are American. SENIOR EDITOR: Alex Arnold SENIOR EDITOR, KNOPF: Katherine Harrison QUERY LETTERS: Accepting. SENIOR EDITOR: Rick Chillot EDITOR, KNOPF: Kelly Delaney MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL ASSISTANT: Rebecca Gyllenhaal EDITOR, KNOPF: Julia Maguire UNSOLICITED MANUSCRIPTS: Accepting. Please DESCRIPTION: Publishing innovative books for ASSOCIATE EDITOR, KNOPF: Karen Greenberg

submit proposal, signed Submission Agreement, middle graders and young adults within their ASSOCIATE EDITOR: Marisa DiNovis SCHOOL VISITS and other materials listed on submission program of approximately 25 books per year; ASSISTANT EDITOR, CROWN: Elizabeth Stranahan guidelines posted at http://www.quartoknows. distributed by Penguin Random House. EDITORIAL ASSISTANT: Arely Guzmán com/Corporate/Submission-Guidelines/. MULTIPLE SUBMISSIONS: Accepting. EDITORIAL ASSISTANT: Claire Nist PAYMENT: N/A UNSOLICITED MANUSCRIPTS: Accepting. Email DESCRIPTION: The CBYR imprint has a list ARTWORK INTEREST: Yes. Please submit submissions preferred, but US Post accepted. of distinguished middle grade fiction and qualifications, signed Submission Agreement,

Please submit to editor specified at www. narrative nonfiction for ages 8–12, although it LEGAL QUESTIONS and other materials listed on submission quirkbooks.com/page/submissions. publishes the occasional YA. Publishes 10–15 guidelines posted at http://www.quartoknows. PAYMENT: Advance against royalty. new hardcovers each year. Interested in books com/Corporate/Submission-Guidelines/. ARTWORK INTEREST: Not accepting. with strong kid appeal that integrate nonfiction ARTWORK PAYMENT: N/A ARTWORK PAYMENT: N/A into fiction and might have a curriculum hook. Includes Tricycle Press, which publishes award- winning board books, picture books, and novels for young people. 82 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Angelilli educational and general interest categories. as wellnonfiction thatcrosses both fiction for the middle grade and YA categories, not bereviewed. Send samplepostcards; email submissions will middle grade and teenfiction and nonfiction. books; onlyfor bookcoversorline interiors. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSISTANT EDITOR: EDITOR: SENIOR EXECUTIVEEDITOR: SENIOR EXECUTIVEEDITOR: SVP &PUBLISHER,DELACORTE PRESS: (An Imprint of Random House Children’s Books) Readers Delacorte Press Books for Young ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: MAKE MEAWORLD HOUSE CHILDREN’SBOOKS,PICTUREBOOKS: VP, EXECUTIVEEDITORIAL DIRECTOR, RANDOM GOLDEN BOOKSGROUP: VP, PUBLISHINGDIRECTOR, RANDOMHOUSE/ LICENSED PUBLISHING/GOLDENBOOKS: VP, EDITOR-IN-CHIEF, EXECUTIVEDIRECTOR, CHILDREN’S BOOKS: SVP, ASSOCIATE PUBLISHER,RANDOMHOUSE ,DR.SEUSS: PRESIDENT &PUBLISHER,RANDOMHOUSE’S (A Division of Random House Children’s Books) Readers Group Random House/GoldenBooks Young GROUP: DOUBLEDAY, &CROWN BOOKSFORYOUNG READERS SVP, PUBLISHER, RANDOMHOUSE/GOLDENBOOKS, Modugno Horowitz broadening world. young peoplethatreflects the diversity of a Christopher Myers, publishes literature for flat fee, depending onproject. flat fee, depending onproject. EDITOR-IN-CHIEF, DOUBLEDAY: Mallory Loehr Kelsey Horton Advance against royalty.

Advance against royalty. List of literary and commercial Not accepting. Not accepting. imprint, curated by Monica Jean Audrey Ingerson Alexandra Hightower Advance against royalty and Yes, for picture books, Judith Haut Advance against royalty and Not accepting for picture Michelle H.Nagler Not accepting. Not accepting. Wendy Loggia Krista Marino Not accepting. Not accepting. Cathy Goldsmith Frances Gilbert Beverly Chris Maria

commercial works. Launching Fall2019. novel imprint, publishing bothliterary and and paperbackfiction for ages 0–18. and nonfiction for beginning readers, hardcover activity books, board and novelty books, fiction RANDOM HOUSE/GOLDENBOOKSGROUP: EDITORIAL DIRECTOR OFLICENSEDPUBLISHING, ARTWORK PAYMENT: ARTWORK INTEREST: QUERY LETTERS: DESCRIPTION: SENIOR EDITOR: PUBLISHING DIRECTOR: (An Imprint of Random House Children’s Books) Random HouseGraphic ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: ART DIRECTOR, MIDDLEGRADE: SENIOR ARTDIRECTOR: BOOKS: EXECUTIVE EDITOR, RANDOMHOUSE/BEGINNER SENIOR EXECUTIVEEDITOR: SESAME STREET: EDITORIAL DIRECTOR, LITTLEGOLDENBOOKS, EDITOR-AT-LARGE, EXECUTIVEEDITOR: EDITORIAL DIRECTOR: READERS, RANDOMHOUSE: EDITORIAL DIRECTOR, PICTUREBOOKS&BEGINNING PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: DESCRIPTION: PUBLISHING ASSISTANT: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR: EDITOR: EDITOR: SENIOR EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: flat fee, depending onproject. York, NY10019. Random House Graphic, 1745Broadway, New Submissions should besent toTHEEDITORS, Shealy Alice Jonaitis Meika Hashimoto Kristen Depken Frank Berrios Advance against royalty. Advance against royalty. A kids and teens graphic This listincludes colorand Accepting. Andrea Posner-Sanchez Diane Landolf Chelsea Eberly Whitney Leopard Not accepting. Rachel Chlebowski Mary Man-Kong Jenna Lettice Sasha Henriques Lauren Clauss N/A Advance against royalty or Not accepting artsamples. Contact artdirector. Caroline Abbey Jasmine Hodge Leopoldo Orozco Charlotte Roos Roberta Ludlow Gina Gagliano Accepting. Molly LoRe Not accepting. Heidi Kilgras Sara Sargent Not accepting. Accepting. April Ward Shana Corey Dennis

agents only. 30–45 titlesperyear. Launched Fall2017;willeventually publish specialty: fitness, self-help, and health. and giftbooksand anemphasisonRodale’s books, early-reader titles, graphic novels, teens, withafocus onpicture books, chapter and nonfiction titles for infants, children, and Wade orArtDirector RachaelCole. nonfiction, and graphic novels. grade and young adult fiction, non-traditional a year, mostly picture books, aswellmiddle Gonzalez ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: EDITOR: VP, DIRECTOR, PUBLISHINGSTRATEGY: Diana Baroni SVP, ASSOCIATE PUBLISHER,EDITOR-IN-CHIEF: GROUP: DOUBLEDAY, &CROWN BOOKSFORYOUNG READERS SVP &PUBLISHER,RANDOMHOUSE/GOLDENBOOKS, (A Division of Random House Children’s Books) Rodale Kids ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: EDITORIAL ASSISTANT: SENIOR EDITOR: VP &PUBLISHER: VP &PUBLISHER: (An Imprint of Random House Children’s Books) Schwartz &Wade Books ARTWORK PAYMENT: DESCRIPTION: flat fee, depending onproject. flat fee, depending onproject. submission preferences. to-penguin-random-house-for-publication-2 for how-do-i-submit-my-manuscript-or-abstract- penguinrandomhouse.com/faqs/#manuscripts- New York, New York 10019.Seehttps://www. Submissions Editor, 1745Broadway, 10-4, may besent to:Schwartz&Wade Books, proposals for longer books. Allsubmissions unsolicited picture bookmanuscripts and Daniella Valladares Mallory Loehr Advance against royalty. Advance against royalty. Publishing avariety of fiction Publishes about15to20books Rachael Cole AnnKelley Not accepting. Accepting from agents only. Anne Schwartz Lee Wade Advance against royalty and Advance against royalty and Accepting samplesfrom Contact VP &Publisher Lee Anne-Marie Varga Not accepting. Not accepting.

Not accepting. Accepting Gail 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 83

Wendy Lamb Books younger imprints. Red Chair and One Elm pay 800-237-9932; Fax 888-436-4643 PREPARING & SUBMITTING (An Imprint of Random House Children’s Books) advances against royalties. www.rosenpublishing.com VP & PUBLISHING DIRECTOR: Wendy Lamb PRESIDENT & PUBLISHER: Roger Rosen ASSOCIATE EDITOR: Dana Carey REGNERY PUBLISHING VP: Gina Strazzabosco DESCRIPTION: List of literary middle grade and (A Division of Salem Media Group) DIRECTOR OF CONTENT DEVELOPMENT, ROSEN YA: young adult fiction and nonfiction for readers 300 New Jersey Ave NW, Suite 500 Jacob Steinberg 8–12 and 12–18. Not publishing picture books Washington, DC 20001-2253 PHOTO DIRECTOR: Cindy Reiman at this time. 202-216-0600; Fax 202-393-1781 DESCRIPTION: Educational publisher for preschool QUERY LETTERS: Not accepting. www.regnery.com through high school, with high-interest, MULTIPLE SUBMISSIONS: Not accepting. PRESIDENT & PUBLISHER: Marji Ross curriculum-correlated materials. Multivolume, UNSOLICITED MANUSCRIPTS: Not accepting. VP & EXECUTIVE EDITOR: Harry W. Crocker library-bound series nonfiction books geared to MARKET SURVEYS PAYMENT: Advance against royalty. PUBLISHER: Alex Novak a young adult (grades 7–12) audience. Subject ARTWORK INTEREST: Accepting. Send postcard DESCRIPTION: Publisher of conservative books. areas include multiculturalism, self-help, and samples; no email submissions will be reviewed. Imprints for young readers include Regnery career guidance. Also publishes library-bound ARTWORK PAYMENT: Advance against royalty and Kids and Regnery Adventure (details below), one-volume reference works. In 2014, Rosen flat fee, depending on project. as well as Little Patriot Press (a list of civic- Publishing acquired Enslow Publishers; Enslow minded educational titles by an in-house remains a standalone company. RED CHAIR PRESS team for readers 5–8 years old; not accepting POWERKIDS PRESS imprint publishes children’s PO Box 333 submissions). nonfiction (grades K–8) addressing topics DIRECTORIES & RESOURCES South Egremont, MA 01258-0333 such as curriculum-related subjects, character 800-328-4929; Fax 800-332-1132 Regnery Kids building, multicultural issues, biographies, www.redchairpress.com (An Imprint of Regnery Publishing) science, nature, guidance, and conflict EDITOR: Keith Garton www.regnery.com/imprint/regnery-kids/ resolution. FUNNY BONE BOOKS imprint publishes for ages DESCRIPTION: Children’s imprint featuring ROSEN CENTRAL imprint publishes middle grade 6 to 9. Illustrated fiction with humor for early patriotic, non-partisan, entertaining, funny (grades 5–9) nonfiction in series on topics readers transitioning from controlled-level picture books. including science, history, self-help, health, and readers to longer stories. QUERY LETTERS: Accepting manuscripts and career guidance. LOOK! BOOKS imprint publishes early nonfiction proposals from agents only, via submissions@ ROSEN YOUNG ADULT imprint publishes high- for grades K-12, for early and transitioning regnery.com. interest books for teens grades 7–12, often with readers. An early introduction to nonfiction, MULTIPLE SUBMISSIONS: Not accepting. activities and other features to help develop these books include nonfiction text elements UNSOLICITED MANUSCRIPTS: Not accepting. critical thinking skills. PUBLICIZING YOUR PUBLISHED WORK such as powerful photographs with captions, PAYMENT: Advance against royalty. BRITANNICA EDUCATIONAL PUBLISHING publishes age-appropriate facts, glossary, and index. ARTWORK INTEREST: Accepting samples from reference books that help students develop ONE ELM BOOKS imprint publishes for young agents only, via [email protected]. a deeper understanding of core subjects and readers 9 to 13, brings intermediate and middle ARTWORK PAYMENT: Advance against royalty and current events. grade fiction to trade and library markets. flat fee, depending on project. WINDMILL BOOKS imprint publishes fiction and RED CHAIR PRESS imprint publishes for young nonfiction, from basic-concept board books to readers 7 to 10, featuring illustrated fiction, RIPPLE GROVE PRESS novels for young readers. picture books, and curriculum-aligned PO Box 910 QUERY LETTERS: Accepting. Send via regular mail nonfiction. Shelburne, VT 05482 only, addressed to “Submissions” and including ROCKING CHAIR KIDS imprint publishes for www.ripplegrovepress.com outline with sample chapter as well as SASE ages 3 to 6. Picture books for lap-reading and PRESIDENT & FOUNDER: Rob Broder to guarantee a reply. Writers and illustrators read aloud. Each book is designed to encourage DESCRIPTION: Independent children’s book can contact the Customer Service team for interaction and response from the child. publishing company, publishing picture books information about contributing to Rosen

START SMART imprint publishes early nonfiction for children ages 2-8. Publishing Group via an online contact form on SCHOOL VISITS for ages 6 to 9, with a dose of fun. QUERY LETTERS: Accepting. the website. No telephone calls, please. DESCRIPTION: Dedicated to publishing in stories MULTIPLE SUBMISSIONS: Accepting. MULTIPLE SUBMISSIONS: Accepting. that provide models for strong character and UNSOLICITED MANUSCRIPTS: Accepting for picture UNSOLICITED MANUSCRIPTS: Accepting, but send good behavior. Distributed by Lerner Books. books only. Send “Attn: Submissions.” queries only, not manuscripts. QUERY LETTERS: Accepting. PAYMENT: Advance against royalty or flat fee, PAYMENT: Flat fee. depending on project. ARTWORK INTEREST: Yes, photos only.

MULTIPLE SUBMISSIONS: Accepting. LEGAL QUESTIONS UNSOLICITED MANUSCRIPTS: Accepting with ARTWORK INTEREST: Not accepting. ARTWORK PAYMENT: Flat fee. inquiring and summary statement first. ARTWORK PAYMENT: Flat fee or advance against PAYMENT: Varies: Work-for-hire for younger royalty, depending on project. RUNNING PRESS KIDS imprints. Red Chair and One Elm pay advances (A Member of the Perseus Books Group, a against royalties. THE ROSEN PUBLISHING GROUP Division of Hachette Book Group) ARTWORK INTEREST: Accepting. 29 East 21st Street, #2 Philadelphia Office: ARTWORK PAYMENT: Varies: Work-for-hire for New York, NY 10010 2300 Chestnut Street, Suite 200 84 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org leventhal/ hachettebookgroup.com/imprint/black-dog- for readers of allages annually. https://www. publishes twenty tothirtynonfiction titles directors. school markets. per yearthatcross overinto bookstore, library, and imprint, and isclosedtonew submissions. Arthur A.Levine Booksisno longer anactive in the US and Canada. Note: As of March 29,2019, Chicken House (www.chickenhousebooks.com ) books imprints. Scholastic alsopublishes the UKimprint accessible voices. writing and illustration; visual stories; and strong, for uniqueformats; creative concepts; distinctive audience ranges from newborn toteen.Looking with aselectamount of middle grade books. Target Focus isonnovelty, picture books, and YA titles depending onproject. | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: VP &EDITORIAL DIRECTOR: (An Imprint of Scholastic Trade) The BlueSkyPress DESCRIPTION: VP, PUBLISHER,SCHOLASTICTRADE: VP, PUBLISHER,SCHOLASTICINC.: EVP, PRESIDENT, TRADEPUBLISHING: www.scholastic.com 212-343-6100 New York, NY10012 557 Broadway SCHOLASTIC TRADE ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: BLACK DOG&LEVANTHAL PUBLISHERS DESCRIPTION: CREATIVE DIRECTOR: EDITOR: EDITORIAL DIRECTOR: VP, PUBLISHER: SVP, PUBLISHER,PERSEUSBOOKS: www.runningpress.com/rpkids New York, NY10104,212-364-1100 1290 Avenue of theAmericas New York Office: Philadelphia, PA 19103,215-567-5080 royalty, depending onproject. Allison Cohen Advance against royalty. Advance against royalty orflatfee, Publishes around 60hardcover titles Total of 450titlesayearfor all Publishes about30–40titlesannually. Kristin Kiser Not accepting. Not accepting. Not accepting. Flat feeoradvance against Yes, through editorsand art Frances SooPing Chow Julie Matysik Not accepting. Not accepting. Bonnie Verburg Not accepting. Not accepting. Tracy Mack Susan Weinberg Lori Benton Ellie Berger imprint Matson beginning reader line launched May 2019. (consisting of over 21series). Scholastic’s Acorn Scholastic’s Branches isanearlychapterbookline as the Scholastic Reader line for beginning readers. curricular picture books, and board books, aswell concept, novelty, young nonfiction, seasonal/ for children from the ages of 0to6.Listincludes novels for children. SENIOR VP, GENERALMANAGER: (An Imprint of Scholastic Trade) Klutz ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR, ASSOCIATE CREATIVE DIRECTOR: CREATIVE DIRECTOR: EDITOR: EXECUTIVE EDITOR, GRAPHIX: SCHOLASTIC INC.: ASSOCIATE PUBLISHER,GRAPHIX,PILKEYPUBLISHING, GRAPHIX: VP, CREATIVE DIRECTOR, &EDITORIAL DIRECTOR, www.scholastic.com/graphix/ (An Imprint of Scholastic Trade) Graphix ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: BOOKS, READERS,BRANCHES,&LITTLESHEPHERD: CREATIVE DIRECTOR, CARTWHEELBOOKS,ORCHARD ASSISTANT EDITOR, CARTWHEEL,ORCHARD: EDITOR, CARTWHEEL,ORCHARD: ASSISTANT EDITOR: EDITOR EXECUTIVE EDITOR, BRANCHES,ACORN: Celia Lee SENIOR EDITOR, CARTWHEELBOOKS,ORCHARDBOOKS: ORCHARD BOOKS,ACORN, ANDBRANCHES: VP, ASSOCIATE PUBLISHER,CARTWHEELBOOKS, (An Imprint of Scholastic Trade) Cartwheel Books ARTWORK PAYMENT: picture book;flatfeeifjacket only. fee. Kostiw Ann Harris : Kait Feldmann Megan Peace Advance against royalty. Advance against royalty orflatfee. David Saylor Publishes roughly 80booksayear Imprint publishing original graphic Not accepting. Not accepting. Anamika Bhatnagar Rachel Mason Advance against royalty orflat Accepting samples. Advance against royalty. Advance against royalty if Yes, through ArtDirector. Philip Falco Not accepting. Not accepting. Not accepting. Not accepting. Cassandra Pelham Fulton Anna Membrino Stacy Lellos Katie Carella Liza Baker Rachel Marijka Patti Matson attention of “Art Director.” they are closedtosubmission. Most of their projects are generated in-house and books, guides, and aneducational product line. publishes hands-on formats, including activity “Art Director.” originals and series. picture booksand earlychapterbooks, ages 0–10. DESCRIPTION: EDITORIAL DIRECTOR: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: PUBLISHER: (An Imprint of Scholastic Trade) Michael diCapuaBooks ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: UNSOLICITED SUBMISSIONS: DESCRIPTION: MULTIMEDIA PUBLISHING,&PUSH: VP, PUBLISHER,&EDITORIAL DIRECTOR FORFICTION, www.thisispush.com (An Imprint of Scholastic Trade) Push ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: BOOKS, READERS,BRANCHES,&LITTLESHEPHERD: CREATIVE DIRECTOR, CARTWHEELBOOKS,ORCHARD ASSISTANT EDITOR, CARTWHEEL,ORCHARD: EDITOR, CARTWHEEL,ORCHARD: Celia Lee SENIOR EDITOR, CARTWHEELBOOKS,ORCHARDBOOKS: ORCHARD BOOKS,ACORN, AND BRANCHES: VP, ASSOCIATE PUBLISHER,CARTWHEELBOOKS, (An Imprint of Scholastic Trade) Orchard Books fee. picture book; flatfeeifjacket only. Ann Harris Advance against royalty orflatfee. N/A Advance against royalty. Michael diCapua Klutz isa“booksplus”imprint that Publishes teen fiction paperback List of 15plustitlesperyear. Primarily Not accepting. Not accepting. Not accepting. Advance against royalty orflat N/A Advance against royalty if Accepting. Send samplesto N/A Send samplestothe attention Caitlin Harpin Not accepting. Not accepting. Not accepting. Not accepting. Not accepting. Not accepting. Not accepting. Anna Membrino David Levithan Liza Baker Rachel Patti 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 85

SENIOR EDITOR: Matt Ringler PAYMENT: Various terms, mostly work-for-hire. Scholastic Focus PREPARING & SUBMITTING (An Imprint of Scholastic Trade) SENIOR EDITOR: Emily Seife ARTWORK INTEREST: Yes, send nonreturnable art EDITORIAL DIRECTOR, SCHOLASTIC PRESS, SENIOR EDITOR, LICENSED PUBLISHING: Katie samples to “Art Director.” SCHOLASTIC FOCUS: Lisa Sandell Bignell Woehr ARTWORK PAYMENT: Flat fee. DESCRIPTION: Publishing timely middle grade and EDITOR, TRADE PAPERBACKS: Zack Clark young adult narrative nonfiction that encourage EDITOR: Orlando Dos Reis Franklin Watts readers to draw connections between historical EDITOR, CHICKEN HOUSE: Kesia Lupo DESCRIPTION: School and library list with events and contemporary issues. The imprint’s EDITOR: Erinn Pascal concentration on curriculum-related nonfiction publishing philosophy underscores the relevance EDITOR: Marisa Polansky individual and series titles, directed to middle of values that have long guided humanity; the EDITOR, LICENSED PUBLISHING: Samantha Swank school and high school readers. Main subject profound effects of invention, inspiration, and ASSOCIATE EDITOR: Savannah Kuper areas are cutting-edge social issues, natural and MARKET SURVEYS revolution; and the importance of introducing a ASSOCIATE EDITOR, NONFICTION: Amanda Shih physical science, history. diversity of perspectives and identities. ASSISTANT EDITOR: Michael Coulter QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. ASSISTANT EDITOR: Maya Marlette MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. ASSISTANT EDITOR: Ben Gartenberg UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. ASSISTANT EDITOR: Olivia Valcarce PAYMENT: Various terms; mostly work-for-hire. PAYMENT: Advance against royalty or flat fee. ASSISTANT EDITOR: Jeffrey West ARTWORK INTEREST: Accepting. Send ARTWORK INTEREST: Yes, through Art Director. CREATIVE DIRECTOR, HARDCOVER NOVELS: Elizabeth nonreturnable art samples to Art Director.

ARTWORK PAYMENT: Advance against royalty or Parisi ARTWORK PAYMENT: Flat fee. DIRECTORIES & RESOURCES flat fee. DESCRIPTION: Interest in strong picture books, appealing middle grade novels for ages 8–12, SIMON & SCHUSTER Scholastic Press and quality chapter books for ages 7–9. Also (Simon & Schuster Children’s Publishing (An Imprint of Scholastic Trade) seeking interesting and well-written YA fiction. Division) VP, PUBLISHER, & EDITORIAL DIRECTOR FOR FICTION, Chicken House is a small children’s book 1230 Avenue of the Americas MULTIMEDIA PUBLISHING, & PUSH: David Levithan publishing company and part of Scholastic New York, NY 10020 VP, ASSOCIATE PUBLISHER, & CREATIVE DIRECTOR Press. Scholastic Branches imprint publishes 212-698-7000 TRADE HARDCOVER PICTURE BOOKS: David Saylor early chapter books designed for newly www.simonandschuster.com VP & PUBLISHER, GLOBAL LICENSING, MEDIA & independent readers who are ready to make the PRESIDENT & PUBLISHER, CHILDREN’S PUBLISHING: BRANDS: Debra Dorfman exciting leap from leveled readers, but not quite Jon Anderson VP & PUBLISHER, SCHOLASTIC PRESS PICTURE prepared for a traditional chapter book. BOOKS: Ken Geist QUERY LETTERS: Not accepting. Aladdin PUBLICIZING YOUR PUBLISHED WORK PUBLISHER & MANAGING DIRECTOR, THE CHICKEN MULTIPLE SUBMISSIONS: Not accepting. (An Imprint of Simon & Schuster) HOUSE: Barry Cunningham UNSOLICITED MANUSCRIPTS: Not accepting. www.simonandschusterpublishing.com/aladdin/ ASSOCIATE PUBLISHER, GRAPHIX, PILKEY PAYMENT: Advance against royalty. VP & PUBLISHER, SIMON PULSE, ALADDIN: Mara PUBLISHING, SCHOLASTIC INC.: Anamika ARTWORK INTEREST: Yes, through editors and art Anastas Bhatnagar directors. VP & EDITORIAL DIRECTOR, SIMON PULSE & VP, EXECUTIVE EDITOR: Andrea Davis Pinkney ARTWORK PAYMENT: Advance against royalty. ASSOCIATE EDITORIAL DIRECTOR, ALADDIN: Liesa EXECUTIVE EDITORIAL DIRECTOR, SCHOLASTIC Abrams LICENSED PUBLISHING: Beth Dunfey SCHOLASTIC EDITORIAL DIRECTOR: Fiona Simpson EDITORIAL DIRECTOR, CHICKEN HOUSE: Rachel (Scholastic Library Publishing) EXECUTIVE EDITOR: Karen Nagel Leyshon PO Box 3765 SENIOR EDITOR, ALADDIN, MAX: Alyson Heller EDITORIAL DIRECTOR, SCHOLASTIC PRESS: Lisa Jefferson City, MO 65102-3765 ASSISTANT EDITOR, ALADDIN, SIMON PULSE: Tricia Sandell 800-621-1115 Lin EDITORIAL DIRECTOR, TRADE PAPERBACKS: Aimee http://scholasticlibrary.digital.scholastic.com/ EDITORIAL ASSISTANT: Anna Parsons

Friedman about-us/ EXECUTIVE ART DIRECTOR: Karin Paprocki SCHOOL VISITS EXECUTIVE EDITOR, HARRY POTTER, WIZARDING DESCRIPTION: Publishes hardcover and paperback WORLD AND SPECIAL PROJECTS: Emily Clement Children’s Press originals for ages from preschool through tween, EXECUTIVE EDITOR: Dianne Hess DESCRIPTION: School and library list with including picture books, beginning readers, EXECUTIVE EDITOR: Katie Carella concentration on curriculum-related nonfiction chapter books, middle grade and tween series EXECUTIVE EDITOR: Amanda Maciel series at elementary and middle school level. as well as single-title fiction, with emphasis on Main subject areas are history, social issues, quality and recreational reading in all genres. Of

EXECUTIVE EDITOR & LEGO PUBLISHING MANAGER: LEGAL QUESTIONS Michael Petranek natural and physical science, and biography. The particular interest are school stories, action- EXECUTIVE EDITOR, LICENSING/NONFICTION/ only picture books published by Children’s Press adventure, humor, and coming-of-age stories. READERS: Jenne Abramowitz are in the Rookie Readers series. No YA fiction MAX, a paperback line publishing a range of SENIOR EDITOR: Anna Bloom of any kind. fiction genres for middle grade boys, and MIX, a SENIOR EDITOR: Jody Corbett QUERY LETTERS: Not accepting. paperback line publishing contemporary stories SENIOR EDITOR: Chloe Fraboni MULTIPLE SUBMISSIONS: Not accepting. for middle grade girls who have outgrown early SENIOR EDITOR: Mallory Kass UNSOLICITED MANUSCRIPTS: Not accepting. chapter books but aren’t yet ready for YA. 86 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 Chaghatzbanian Prosswimmer interesting nonfiction. fiction, “cutting edge” teenfiction, and picture books, contemporary middle grade Looking inmost categories, especially for hardcover and 20paperbacktitlesayear. to “Art Director.” readers, chapterbooks, jacket/covers. work-for-hire series projects. VP &DEPUTYPUBLISHER: VP &PUBLISHER: lane/ www.simonandschusterpublishing.com/beach- La Jolla,CA92037 5666 LaJollaBoulevard#154 (An Imprint of Simon &Schuster) Beach LaneBooks ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: MOONBOT BOOKS DESCRIPTION: K. MCELDERRYBOOKS,BEACH LANEBOOKS: EXECUTIVE ARTDIRECTOR, ATHENEUM, MARGARET EXECUTIVE ARTDIRECTOR: ASSISTANT EDITOR: S&S CHILDREN’S: ASSISTANT EDITOR, ATHENEUM, MCELDERRYBOOKS, ATHENEUM: ASSISTANT EDITOR, CAITLYN DLOUHYBOOKS, EDITOR, MARGARET K.MCELDERRY: MCELDERRY: EDITOR, S&SBFYR,ATHENEUM, MARGARET K. EXECUTIVE EDITOR: Richard Jackson EDITORIAL DIRECTOR, RICHARDJACKSON BOOKS: VP &DEPUTYPUBLISHER: VP &PUBLISHER: www.simonandschusterpublishing.com/atheneum (An Imprint of Simon &Schuster) for Young Readers ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: other artistsatJoyce’s Moonbot Studios. books), allillustrated byWilliam Joyce and books annually (picture books and middle grade royalty, depending onproject. flat fee, depending onthe project. Advance against royalty. Advance against royalty and some Alex Borbolla Alexa Pastor Publishes approximately 60 Not accepting. Not accepting. publishes approximately three Alyza Liu Allyn Johnston (LaJolla office) Justin Chanda Julia McCarthy Reka Simonsen Flat feeoradvance against Advance against royalty or Submit samplesthrough mail For picture books, beginning Not accepting. Not accepting. Anne Zafian Anne Zafian (New York Ann Bobco Not accepting. Not accepting. Kate Sonia Chaghatzbanian NY 10020) office, 1230 Avenue of the Americas, New York, also selectmiddle grade and teenfiction. mostly picture booksfor the veryyoung, but 18–20 hardcover and paperbacktitlesayear, American children. being achildfrom the perspectivesof African American life bysharing the experience of illustrators. Illustrates the diversityof African readers, created byAfrican American writersand children and fiction and nonfiction foryoung to “Art Director.” grade, and young adult fiction. QUERY LETTERS: DESCRIPTION: EDITOR: (An Imprint of Simon &Schuster) Denene MillnerBooks ARTWORK PAYMENT: ARTWORK INTEREST: QUERY LETTERS: DESCRIPTION: ATHENEUM: ASSISTANT EDITOR, CAITLYN DLOUHYBOOKS, VP &EDITORIAL DIRECTOR: atheneum/ www.simonandschusterpublishing.com/ Schuster) (An Imprint of Atheneum Books/Simon & Caitlyn Dlouhy Books ARTWORK PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: K. MCELDERRYBOOKS,BEACH LANEBOOKS: EXECUTIVE ARTDIRECTOR, ATHENEUM, MARGARET WISEMAN BOOKS: ASSOCIATE EDITOR, BEACH LANEBOOKS,PAULA EXECUTIVE EDITOR: flat fee. flat fee, depending onthe project. picture books. first made anemail inquiry. not send hard copysubmissions unlessyouhave Denene Millner Advance against royalty. Advance against royalty. Advance against royalty. Alex Borbolla West-coast-based imprint offering Publishing picture booksfor Publishing picture books, middle Not accepting. Accepting. Not accepting. Sarah Jane Abbott Andrea Welch (LaJolla office) Advance against royalty for Advance against royalty or Advance against royalty or Yes, ifrequested. Accepting. Submit samplesthrough mail N/A Not accepting. Not accepting. CaitlynDlouhy Not accepting. Accepting, butdo Not accepting. Sonia Chaghatzbanian feel, etc. About50titlesayear. books, pull-tabbooks, gate-fold books, touch ‘n’ up books, lift-the-flaps, glitterbooks, sticker merchandise only, including board books, pop- Simon &Schuster’s children’s list:novelty and new authors and illustrators. humor and top-quality fiction, and encouraging picture books and teenmaterial. Looking for fiction. Has aspecial interest inpreschool some nonfiction, from picture books toteen ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EXECUTIVE ARTDIRECTOR: ASSISTANT EDITOR: SENIOR EDITOR: EDITORIAL DIRECTOR: PUBLISHING: VP &PUBLISHERFORNOVELTY &LICENSED simon/ www.simonandschusterpublishing.com/little- (An Imprint of Simon &Schuster) Little Simon www.simonandschusterpublishing.com/paula- (An Imprint of Simon &Schuster) Paula Wiseman Books ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: K. MCELDERRYBOOKS,BEACH LANEBOOKS: EXECUTIVE ARTDIRECTOR, ATHENEUM, MARGARET EXECUTIVE ARTDIRECTOR: S&S CHILDREN’S: ASSISTANT EDITOR, ATHENEUM, MCELDERRYBOOKS, ASSISTANT EDITOR: MARGARET K.MCELDERRY: ASSOCIATE EDITOR, S&SBFYR,ATHENEUM, VP &EDITORIAL DIRECTOR: VP &DEPUTYPUBLISHER: VP &PUBLISHER: k-mcelderry-books/ www.simonandschusterpublishing.com/margaret- (An Imprint of Simon &Schuster) Margaret K.McElderryBooks flat fee. art. picture booksonly;otherwise flatfee for jacket Flatfeeoradvance against royalty. Advance against royalty and advance. Valerie Garfield Generally mass-market end of Publishes primarily fiction but Not accepting. Hannah Lambert Not accepting. Alyza Liu Justin Chanda Nicole Fiorica Cindy Kim Advance against royalty or Advance against royalty for Send copies only. Accepting. Jeff Salane Not accepting. Not accepting. AnnBobco Anne Zafian Chani Yammer Alexa Pastor Karen Wojtyla Not accepting. Not accepting. Sonia 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 87

VP & EDITORIAL DIRECTOR: David Gale QUERY LETTERS: Not accepting. wiseman-books/ PREPARING & SUBMITTING VP & PUBLISHER: Paula Wiseman SENIOR EDITOR: Krista Vitola MULTIPLE SUBMISSIONS: Not accepting. VP & DEPUTY PUBLISHER: Anne Zafian EDITOR: Liz Kossnar UNSOLICITED MANUSCRIPTS: Not accepting. SENIOR EDITOR: Sylvie Frank ASSOCIATE EDITOR, S&S BFYR, ATHENEUM, PAYMENT: Advance against royalty or flat fee. ASSOCIATE EDITOR, BEACH LANE BOOKS, PAULA MARGARET K. MCELDERRY, SALAAM READS: Alexa ARTWORK INTEREST: Limited. WISEMAN BOOKS: Sarah Jane Abbott Pastor ARTWORK PAYMENT: Flat fee. EXECUTIVE ART DIRECTOR: Lucy Cummins ASSOCIATE EDITOR: Catherine Laudone DESCRIPTION: Publishes picture books, novelty ASSISTANT EDITOR: Jessi Smith Simon Spotlight books, and novels focusing on stories and art ASSISTANT EDITOR, ATHENEUM, MCELDERRY BOOKS, (An Imprint of Simon & Schuster) that are wholly childlike, centered in emotion, S&S CHILDREN’S: Alyza Liu www.simonandschusterpublishing.com/simon- innovative, and timeless for children of all ASSISTANT EDITOR: Amanda Ramirez spotlight/ MARKET SURVEYS ages. 20–30 books a year. EDITORIAL ASSISTANT: Dainese Santos VP & PUBLISHER OF NOVELTY & LICENSED QUERY LETTERS: Actively seeking submissions EDITORIAL ASSISTANT: Andre Wheeler PUBLISHING: Valerie Garfield from new and published authors and artists EXECUTIVE ART DIRECTOR: Lucy Cummins EDITORIAL DIRECTOR: Siobhan Ciminera through agents and from SCBWI conferences. ART DIRECTOR: Chloe Foglia EDITOR: Beth Barton MULTIPLE SUBMISSIONS: Accepting. ART DIRECTOR: Laurent Linn EDITOR: Lisa Lauria UNSOLICITED MANUSCRIPTS: Actively seeking ART DIRECTOR: Krista Vossen ASSISTANT EDITOR: Sally Hosokawa submissions from new and published authors DESCRIPTION: The flagship imprint of Simon EDITORIAL ASSISTANT: Nicole Fox and artists through agents and from SCBWI & Schuster Children’s Division. Publishes EXECUTIVE ART DIRECTOR: Chani Yammer DIRECTORIES & RESOURCES conferences. approximately 95 titles a year on 3 seasonal DESCRIPTION: Licensed properties (e.g. Dora the PAYMENT: Advance against royalty. lists. Full range of picture books, first chapter Explorer and SpongeBob SquarePants), brands, ARTWORK INTEREST: Yes, through agents only. books, middle grade and teen fiction, and and original paperback series, publishing ARTWORK PAYMENT: Advance against royalty some nonfiction that will fit into both across a wide array of formats and age ranges. for picture books only; otherwise flat fee for institutional and bookstore markets. Age range Approximately 100 titles a year. jacket art. is from infant through high school. QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. Salaam Reads MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting, as (An Imprint of Simon & Schuster) UNSOLICITED MANUSCRIPTS: Not accepting. projects are developed in-house. www.salaamreads.com PAYMENT: Advance against royalty. PAYMENT: Flat fee. www.simonandschusterpublishing.com/salaam- ARTWORK INTEREST: Yes, via regular mail. Do ARTWORK INTEREST: Samples of existing licensed reads/ not send originals. characters only. Do not send originals. PUBLICIZING YOUR PUBLISHED WORK VP & PUBLISHER: Justin Chanda ARTWORK PAYMENT: Advance against royalty ARTWORK PAYMENT: Flat fee. EXECUTIVE EDITOR: Zareen Jaffery for picture books; flat fee for jackets and b&w ASSOCIATE EDITOR, S&S BFYR, ATHENEUM, interiors. SKY PONY PRESS MARGARET K. MCELDERRY, SALAAM READS: Alexa (An Imprint of Skyhorse Publishing) Pastor Simon Pulse 307 West 36th Street, 11th Floor DESCRIPTION: Publishing books centered on (An Imprint of Simon & Schuster) New York, NY 10018 Muslim children and families, including fiction www.simonandschusterpublishing.com/ 212-643-6816; Fax 212-643-6819 of all genres and nonfiction, picture books, simonpulse/ www.skyponypress.com middle grade, and young adult titles. Aims to VP & PUBLISHER, SIMON PULSE, ALADDIN: Mara PRESIDENT & PUBLISHER: Tony Lyons publish a minimum of nine titles per year for Anastas GROUP EDITORIAL DIRECTOR, SKYHORSE: Mark all ages. VP & EDITORIAL DIRECTOR, PULSE & ASSOCIATE Gompertz QUERY LETTERS: Accepting. EDITORIAL DIRECTOR, ALADDIN: Liesa Abrams SENIOR EDITOR, SKYHORSE: Nicole Frail MULTIPLE SUBMISSIONS: Accepting. Send to SENIOR EDITOR, SIMON PULSE: Jennifer Ung DESCRIPTION: Publishing children’s books across

[email protected]. EDITOR: Nicole Ellul a broad range of subject matter to celebrate SCHOOL VISITS UNSOLICITED MANUSCRIPTS: Accepting. ASSOCIATE EDITOR: Sarah McCabe diverse interests. The list includes picture PAYMENT: Advance against royalty. ASSISTANT EDITOR, SIMON PULSE: Jessica Smith books, educational books, novelty books, ARTWORK INTEREST: Yes. Send samples to EXECUTIVE ART DIRECTOR: Karin Paprocki and middle grade and young adult fiction. [email protected]. ART DIRECTOR: Sarah Creech Publishing approximately 50 books annually. ARTWORK PAYMENT: Flat fee or advance against SIMON TRUE imprint publishes YA nonfiction QUERY LETTERS: Accepting. royalty, depending on project. chronicling actual crime stories involving real MULTIPLE SUBMISSIONS: Accepting. LEGAL QUESTIONS teens who have faced the consequences of UNSOLICITED MANUSCRIPTS: Accepting. Simon & Schuster Books for Young their illegal actions. Send via email to skyponysubmissions@ Readers DESCRIPTION: Publishes original fiction in skyhorsepublishing.com. Attach all material (An Imprint of Simon & Schuster) hardcover and paperback and also some as Word documents, or as a jpeg for art www.simonandschusterpublishing.com/bfyr/ reprints for ages 12 and up. Original submissions. VP & PUBLISHER: Justin Chanda publishing includes series and single-title PAYMENT: Advance against royalty. VP & DEPUTY PUBLISHER: Anne Zafian contemporary commercial fiction. ARTWORK INTEREST: Send samples via email to 88 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 humorous, and realistic. thrillers, including paranormal, dystopian, grade and teenfiction. is primarily picture booksbutincludes middle with 50%fiction and 50% nonfiction. Their list Looking for stories thatentertain and educate, EDITORIAL DIRECTOR, SOURCEBOOKSYOUNG SVP &EDITORIAL DIRECTOR: www.sourcebooks.com 212-414-1701 New York, NY10016 232 MadisonAvenue SOURCEBOOKS KIDS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR, SOHOTEEN: EDITOR: VP &EDITORIAL DIRECTOR, SOHOTEEN: SENIOR VP&ASSOCIATE PUBLISHER: PUBLISHER: www.sohopress.com/soho-teen/ 212-260-1900; Fax212-260-1902 New York, NY10003 853 Broadway (An Imprint of Soho Press) SOHO TEEN ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL ASSISTANT: EDITOR: SENIOR EDITOR: PUBLISHER: www.sleepingbearpress.com 800-487-2323; Fax734-794-0004 Ann Arbor, MI48104 2395 SHuronParkway, Suite200 (An Imprint of Cherry Lake Publishing) SLEEPING BEARPRESS ARTWORK PAYMENT: Attach artsamplesasajpeg. [email protected]. Ehrenhaft submissions/. as noted athttps://sohopress.com/resources/ projects only, and during submission windows Sarah Rockett Amara Hoshijo N/A Advance against royalty. Bronwen Hruska Heather Hughes Publishing YA mysteries and Publishes 25–30titlesperyear. Barbara McNally Not accepting. Not accepting. Varies. Varies. N/A Not accepting. Not accepting. Lois Hume Not accepting. Not accepting. Janine Agro Todd Stocke Accepting agented Not accepting. Juliet Grames Daniel licensed, customized, and regional titles. Imprint. and young adults aspartof the and compelling products for middle graders intermediate readers. Areas of interest include grade readers. Chapter booksfor earlyand and nonfiction) for preschool through middle for babies and toddlers, picture books(fiction kindness—to self,others, and ourEarth. nonfiction that makes adifference and fosters and nonfiction, and young adult fiction and books, chapterbooks, middle grade fiction ART DIRECTOR: EDITOR: DESCRIPTION: EDITOR: PUBLISHER: www.starbrightbooks.com 617-354-1300; Fax617-354-1399 Cambridge, MA02139 13 LandsdowneStreet STAR BRIGHTBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: middle grade fiction and nonfiction. SOURCEBOOKS YOUNG READERS SOURCEBOOKS SOURCEBOOKS JABBERWOCKY SOURCEBOOKS FIRE nonfiction for young readers. SOURCEBOOKS EXPLORE LITTLE PICKLEPRESS DESCRIPTION: ART DIRECTOR: CREATIVE DIRECTOR: CREATIVE DIRECTOR, ADULT &YA: READERS, SOURCEBOOKSFIRE: EDITOR, JABBERWOCKY, SOURCEBOOKSYOUNG EDITOR, SOURCEBOOKSFIRE: ASSISTANT EDITOR: Eliza Swift SENIOR EDITOR, JABBERWOCKY, SOURCEBOOKSFIRE: SOURCEBOOKS FIRE: SENIOR EDITORIAL DIRECTOR, JABBERWOCKY, EDITORIAL DIRECTOR, SOURCEBOOKSEXPLORE: READERS: picture booksand chapterbooks. fiction and nonfiction. Barrales-Saylor sourcebooks-explore-submissions.html. guidelines athttps://www.sourcebooks.com/ professionals intheir field. Seesubmission Sourcebooks eXplore, and onlyfrom expert R. SkylerLambert Jiyoung Ahn Steve Geck Advance against royalty. Deborah Shine Publishes children’s picture Board books and picture books Maryn Areguin Catherine Hnatov Not accepting. imprint publishes young adult Taylor Maccoux Not accepting. N/A Annie Berger Jordan Kost publishes inspiring stories imprint publishes Not accepting. Only accepting for Ellen Larson imprint publishes imprint publishes Molly Cusick imprint publishes Kelly Lawler

Kelly

SENIOR EDITOR: on booksthatreflect a radical, feminist,queer, illustrated nonfiction for young adults, focusing house specializing ingraphic memoir and biographies. puzzles, humor. Has asmall focus onhistoryand nonfiction list,including crafts, games, history, on historyand biographies. Alsoageneral experiments. They alsohaveasmall focus puzzles (math/word/picture/logic), and science based subjects, such as:crafts, activities, nonfiction listprimarily focuses onactivity- fictional chapterbooksor novels. Their through young adults. They do not publish and nonfiction for every age, from babies Sterling’s children’s listincludes picture books responsible ifsubmitted. or other original material accepted;not nonreturnable artsamples. www.sterlingpublishing.com/childrens-books.html www.sterlingpublishing.com 212-532-7160; Fax212-213-2495 New York, NY10036 depending onproject. DESCRIPTION: FOUNDER &PUBLISHER: www.streetnoisebooks.com Brooklyn, NY11201 195 PlymouthStreet STREET NOISEBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSISTANT EDITOR: EXECUTIVE EDITOR: EDITORIAL DIRECTOR: 1166 Avenue of theAmericas, 17 (A Division of Sterling Publishing Co.,Inc.) STERLING CHILDREN’SBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: QUERY LETTERS: stories withmath themes. biographies, picture books, chapterbooks, and EDITOR: SENIOR EDITOR: US Post. Mark “ATTN: Submissions.” only. needed for picture books. Submitvia US Post flat fee, depending onproject. Rachael Stein Advance against royalty. Advance against royalty orflatfee, A new independent publishing Owned byBarnes &Noble, Eve Adler Eliza Berkowitz Accepting. Mail querylettersvia Accepting, butfullmanuscript Ardi Alspach Suzy Capozzi Depends onproject. Advance against royalty or Yes. No original artwork Accepting. Send Brian Monahan LizFrancis Accepting. Accepting. Accepting.

th Floor 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 89 and inclusive social vision. Publishing six to QUERY LETTERS: Accepting. [email protected] in the form of a PREPARING & SUBMITTING eight books annually. Scheduled to publish its MULTIPLE SUBMISSIONS: Accepting. PDF. You may also send hard copy submissions first list in January 2020. UNSOLICITED MANUSCRIPTS: Accepting. Submit via to “Children’s Department, Workman Publishing QUERY LETTERS: Accepting. [email protected]. Company, 225 Varick Street, New York, NY MULTIPLE SUBMISSIONS: Accepting. PAYMENT: Advance against royalty. 10014-4381.” Include SASE. Your name, address, UNSOLICITED MANUSCRIPTS: Accepting. See via ARTWORK INTEREST: N/A telephone number, and e-mail address must be email or US Post. See website for submissions ARTWORK PAYMENT: N/A on the back of each piece of art. guidelines. ARTWORK PAYMENT: Advance against royalties or PAYMENT: Advance against royalty. WATTPAD BOOKS flat fee ARTWORK INTEREST: Yes, artists should send Toronto, Canada nonreturnable color samples, attention https://books.wattpad.com ALGONQUIN YOUNG READERS MARKET SURVEYS “Submissions Editor.” See submission guidelines DEPUTY GENERAL MANAGER, WATTPAD STUDIOS AND (An Imprint of Algonquin Books, a Division of at https://www.leeandlow.com/wirters- PUBLISHING: Ashleigh Gardner Workman Publishing Company) illustrators/writing-guidelines. Especially PUBLISHING DIRECTOR, WATTPAD STUDIOS: Deanna 225 Varick Street, 9th Floor interested in samples featuring children/people McFadden New York, NY 10014 of color and that show an ability to illustrate DESCRIPTION: Presently focused on publishing www.algonquinyoungreaders.com the same character consistently over many young adult fiction, though may expand to https://www.workman.com/imprints/algonquin- scenes. Will keep artwork of interest on file. other categories. Interested in traditional young-readers

ARTWORK PAYMENT: Advance against royalty. genres as well as genre-bending projects. PUBLISHER & EDITOR: Elise Howard DIRECTORIES & RESOURCES Launched summer 2019. US distribution by ASSOCIATE EDITOR: Sarah Alpert TRIANGLE SQUARE EDITIONS Macmillan. EDITOR: Krestyna Lypen (An Imprint of Seven Stories Press) QUERY LETTERS: Not accepting. DESCRIPTION: Publishing books for readers from 140 Watts Street MULTIPLE SUBMISSIONS: Not accepting. ages seven to seventeen, from short illustrated New York, NY 10013 UNSOLICITED MANUSCRIPTS: Not accepting. novels for the youngest independent readers to 212-226-1411 Choosing stories from the Wattpad website timely and topical crossover young adult fiction. https://www.sevenstories.com/imprints/triangle- using audience feedback and editor judgement. Unforgettable characters, absorbing stories, and square PAYMENT: N/A superior writing tie this imprint together. PUBLISHER & PRESIDENT: Dan Simon ARTWORK INTEREST: Not accepting. QUERY LETTERS: Not accepting. DESCRIPTION: Publishing a small list of picture ARTWORK PAYMENT: N/A MULTIPLE SUBMISSIONS: Not accepting. books and books for middle grade readers and UNSOLICITED MANUSCRIPTS: Not accepting. young adults. List includes fiction, nonfiction, WORKMAN PUBLISHING COMPANY PAYMENT: Advance against royalties. PUBLICIZING YOUR PUBLISHED WORK and memoir, and emphasizes personal stories of 225 Varick Street ARTWORK INTEREST: Not accepting. courage and commitment. New York, NY 10014-4381 ARTWORK PAYMENT: N/A QUERY LETTERS: Not accepting. 212-254-5900; Fax 212-254-8098 MULTIPLE SUBMISSIONS: Not accepting. www.workman.com UNSOLICITED MANUSCRIPTS: Accepting, with a www.workman.com/kids cover letter and up to two sample chapters. PUBLISHER & EDITORIAL DIRECTOR, WORKMAN Not accepting unsolicited full manuscripts or PUBLISHING: Susan Bolotin any email submissions. Send via regular mail to CHILDREN’S PUBLISHING DIRECTOR: Traci Todd “Acquisitions” and include SASE. EDITOR-AT-LARGE: Raquel Jaramillo PAYMENT: Advance against royalties. SENIOR EDITOR: Pamela Bobowicz ARTWORK INTEREST: Accepting. Send EXECUTIVE EDITOR: Mary Ellen O’Neill nonreturnable art samples. SENIOR EDITOR OF GRAPHIC NOVELS AND ARTWORK PAYMENT: Advance against royalties or SEQUENTIAL ARTS: Chris Duffy

flat fee. EDITOR: Evan Griffith SCHOOL VISITS EDITOR: Rachael Mt. Pleasant UNNAMED PRESS ASSOCIATE EDITOR: Olivia Swomley Los Angeles, CA 90041 EDITORIAL ASSISTANT: Gracie Elliot www.unnamedpress.com DESCRIPTION: Publishing exclusively nonfiction FOUNDER & PUBLISHER: C.P. Heiser books for children and adults, as well as EXECUTIVE EDITOR: Olivia Taylor Smith calendars. Does not publish novels, short LEGAL QUESTIONS EDITOR: Jesse Coleman stories, or poetry. ART DIRECTOR: Jaya Nicely QUERY LETTERS: Not accepting DESCRIPTION: Independent publisher publishing MULTIPLE SUBMISSIONS: Not accepting. a range of literature, from sci-fi to nonfiction, UNSOLICITED MANUSCRIPTS: Not accepting from around the world, including young adult PAYMENT: Advance against royalties. fiction and nonfiction. Distributed by Publishers ARTWORK INTEREST: Accepting. Prefer Group West. electronic submissions, which may be sent to 90 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY MARKET SCBWI | 2019 SportsZone Sandcastle/Super Sandcastle Essential Library Extreme EPIC Press: EPIC Escape, EPIC Edge, EPIC Core Library Checkerboard Library Buddy Books/Big Buddy Books Abdo Zoom!: Bold!,Dash!,Launch: Abdo Spotlight Short Tales, Spellbound Planet, Looking GlassLibrary, Magic Readers, Abdo Magic Wagon: Calico, Calico Kid, Graphic Abdo Kids: Abdo Junior, Abdo Jumbo Abdo &Daughters A&DXtreme ABDO KIDS “Books for Young Readers.” is sometimessubstitutedfor thewords space constraints, theabbreviation“BFYR” the same company. Pleasenote:Dueto and then resubmit toanother imprint of company, youmust submittoone imprint samples toimprints thatare owned byone When submitting manuscripts orartwork Imprints Publisher WordSong Highlights Press Calkins Creak BoydsMillsPress BOYDS MILLSPRESS Bloomsbury Spark Bloomsbury Children’s Books BLOOMSBURY PUBLISHINGPLC Hi-Jinx Bolt BLACK RABBITBOOKS Two Lions Skyscape AlloyEntertainment AMAZON CHILDREN’SPUBLISHING Megascope Amulet Books/Amulet Paperbacks Abrams ComicArts Abrams Booksfor Young Readers Abrams Appleseed ABRAMS BOOKSFORYOUNG READERS Walker Books Templar Nosy Crow Candlewick Studio Candlewick Press Candlewick Entertainment Big Picture Press CANDLEWICK PRESS Teen Crush Teen Crave Entangled Teen Embrace ENTANGLED PUBLISHING West 44Books Speeding Star ScarletVoyage Enslow Elementary Enslow ENSLOW PUBLISHERS Rick Riordan Presents Jumpatthe Sun Freeform Disney-Hyperion Disney Press DISNEY BOOKGROUP DCZoom DCInk DC ENTERTAINMENT Charlesbridge Teen Charlesbridge CHARLESBRIDGE SwitchPress Stone Arch Books Picture Window Books Heinemann-Raintree Capstone Young Readers Capstone Press CompassPoint Books CAPSTONE YOUNG READERS Greenwillow Books Balzer+Bray Amistad HARPERCOLLINS SwoonRomance Month9Books/Tantrum Books GEORGIA MCBRIDEMEDIAGROUP FactsonFile Chelsea House FACTS ONFILE INKYARD PRESS Versify Readers Houghton Mifflin Harcourt Books for Young Clarion Books BOOKS FORYOUNG READERS HOUGHTON MIFFLINHARCOURT Neal Porter Books Margaret Ferguson Books Holiday House HOLIDAY HOUSE Walden Pond Press TOKYOPOP Rayo Katherine Tegen Books HarperTrophy HarperTeen Impulse HarperTeen HarperFestival HarperCollins Children’s Books Twenty-First Century Books Millbrook Press Lerner Publications Kar-Ben Publishing Kane Press Graphic Universe FirstAvenue Editions DarbyCreek Carolrhoda Lab Carolrhoda Books LERNER PUBLISHINGGROUP Tu Books Shen’s Books Lee&LowBooks DiveInto Reading Children’s BookPress BebopBooks LEE &LOW BOOKS Surge Shine Seek LEAP BOOKS Kids CanPress KCP Loft KIDS CANPRESS Interlude Press Duet INTERLUDE PRESS Seventeen Fiction Inkyard Press 2019 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 91

LION FORGE QUARTO USA SIMON & SCHUSTER CHILDREN’S PREPARING & SUBMITTING CubHouse Moondance Press PUBLISHING DIVISION Roar Seagrass Press Aladdin Walter Foster Jr. Atheneum Books for Young Readers LITTLE BEE BOOKS Wide Eyed Editions Beach Lane Books BuzzPop words & pictures Caitlyn Dlouhy Books little bee Little Simon little bee chapter books RANDOM HOUSE CHILDREN’S BOOKS Margaret K. McElderry Books Yellow Jacket Alfred A. Knopf/Crown Books for Young MAX Readers/Tricycle Press MIX LITTLE, BROWN BOOKS FOR YOUNG Bantam Books Moonbot Books MARKET SURVEYS READERS Bluefire Paula Wiseman Books JIMMY Patterson Books Delacorte Press BFYR/Delacorte Press Trade Press LBKids Paperbacks Salaam Reads Little, Brown Books for Young Readers Disney Books for Young Readers Simon & Schuster Books for Young Readers Novl Dragonfly Simon Pulse Poppy Ember Simon Spotlight Knopf Trade Paperbacks Simon True

MACMILLAN CHILDREN’S Laural Leaf DIRECTORIES & RESOURCES PUBLISHING GROUP Make Me a World SOURCEBOOKS CHILDREN’S BOOKS Christy Ottaviano Books Random House/Golden Books Young Readers March 4th/Little Pickle Press/Big Dill Stories/ Farrar, Straus & Giroux BFYR/Francis Foster Group Relish Stories Books/Priddy Books Random House Graphic Sourcebooks Fire Feiwel and Friends/Swoon Reads Schwartz & Wade Books Sourcebooks Jabberwocky :01 First Second Yearling Books Flatiron Books Wendy Lamb Books STERLING CHILDREN’S BOOKS Henry Holt Books for Young Readers Splinter Imprint REGNERY PUBLISHING Sterling Children’s Books Odd Dot Little Patriot Books Roaring Brook Press/Square Fish Regnery Kids/Regnery Adventure WORKMAN PUBLISHING COMPANY Thomas Dunn Books Algonquin Young Readers PUBLICIZING YOUR PUBLISHED WORK Tor Books/Tor Teen/Tor Starscape ROSEN PUBLISHING GROUP Workman Publishing Company Britannica Educational Publishing NATIONAL GEOGRAPHIC KIDS PowerKids Press National Geographic Kids Rosen Central Under the Stars Rosen Young Adult Windmill Books NORTH STAR EDITIONS Flux SCHOLASTIC TRADE Focus Readers Acorn Jolly Fish Press Arthur A. Levine Books The Blue Sky Press PENGUIN YOUNG READERS GROUP Branches Cartoon Network Books Cartwheel Books

Dial Books for Young Readers Chicken House SCHOOL VISITS Dutton Children’s Books Graphix Frederick Warne Klutz G.P. Putnam’s Sons Michael di Capua Books Grosset & Dunlap/PSS!/ Orchard Books Kathy Dawson Books Push

Kokila Scholastic Focus LEGAL QUESTIONS Penguin Workshop Scholastic Press Philomel Books Puffin Books/Firebird SCHOLASTIC LIBRARY PUBLISHING Razorbill Children’s Press Viking Children’s Books Franklin Watts

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

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

compiled by Deborah Halverson

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

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

ABRAMS BOOKS illustrated by Loren Long (PB) »» Insignificant Events in the Life of a »» Stop That Yawn!, Caron Levis, illustrated Cactus, Dusti Bowling (MG) Courtney Code, Associate Editor by LeUyen Pham (PB) »» Business Pig, Andrea Zuill (PB) »» Chicks Rule, Sudipta Bardhan-Quallen, »» Pocket Full of Colors, Amy Guglielmo and »» Sam Wu is not Afraid of Ghosts, Katie and illustrated by Renée Kurilla (PB) Jacqueline Tourville, illustrated by Brigette Kevin Tsang (MG) »» The , Einat Tsarfati (PB) Barrager (PB) »» How to Feed Your Parents, Ryan Miller, »» The Sloth Who Slowed Us Down, Margaret »» Super Manny Stands Up!, Kelly DiPucchio, illustrated by Hatem Aly (PB) Wild, illustrated by Vivienne To (PB) illustrated by Stephanie Graegin (PB) »» The Wompananny Witches Make One Mean »» Full list: https://www.pinterest.com/ BLOOMSBURY CHILDREN’S BOOKS Pizza, Jennie Palmer (PB) emmaled/books-i-edited/ »» Special interest: narrative-driven fiction Susan Dobinick, Editor, Nonfiction picture books Maggie Lehrman, Executive Editor »» You are Mighty: A Guide to Changing the »» The Good Demon, Jimmy Cajoleas (YA) World, Caroline Paul (MG NF) Erica Finkel, Editor »» The Accidental Bad Girl, Maxine Kaplan »» Something Rotten: A Fresh Look at »» Sidetracked, Diana Asher (MG) (YA) Roadkill, Heather L. Montgomery (MG NF) »» The Last Thing You Said, Sara Biren (YA) »» Munmun, Jesse Andrews (YA) »» We are not yet Equal: Understanding our »» Camp Rolling Hills, Stacy Davidowitz (MG) »» Riverland, Fran Wilde (MG) Racial Divide, Carol Anderson and Tonya »» Alfie, Thyra Heder (PB) »» Ronan Boyle and the Bridge of Riddles, Bolden (YA NF) »» Miranda and Maude, Emma Wunsch (MG) Thomas Lennon (MG) »» This Promise of Change: One Girl’s Story in »» , Mariko Tamaki (MG GN) »» Apocalypse Taco, Nathan Hale (MG GN) the Fight for School Equality, Jo Ann Allen »» Big Foot and Little Foot series, Ellen Boyce and Debbie Levy (MG NF) Potter (MG) ALBERT WHITMAN & CO. »» Zap Clap Boom, Laura Purdie Salas (PB NF) »» Stolen Science, Ella Schwartz (NF) Emma Ledbetter, Editorial Director, Picture Christina Pulles, Executive Editor »» 1919: The Year that Changed America, Books »» Howard Wallace, P.I., Casey Lyall (MG) Martin Sandler (MG NF) »» Good Boy, Sergio Ruzzier (PB) »» A Song for Gwendolyn Brooks, Alice Faye »» If I was the Sunshine, Julie Fogliano, Duncan (MG) 96 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » » » » Sarah Shumway Liu,Executive Editor » » » » » » » Allison Moore, Editor » » » » » » Joy Bean,SeniorEditor KANE PRESS » » » » » » » Rebecca Davis, SeniorEditor BOYDS MILLS BOYDS MILLS PRESS | EDITED BY | EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » Hagan (YA) Watch Us Rise, RenéeWatson and Ellen Piecing Me Together, RenéeWatson (MG) Ellie, Engineer series, Jackson Pearce (MG) Benko (MG) The Unicorn Questseries, Kamilla Wright (PB) Lola Dutchseries, Kenneth and Sarah Jane Renata Liwska (PB) Crafty Llama, Mike Kerr, illustrated by by Daniel Wiseman (PB) Pet thisBook,Jessica Young, illustrated by Daniel Wiseman (PB) Play thisBook,Jessica Young, illustrated The GoodbyeBook,Todd Parr (PB) Dad byMy Side, Soosh(PB) (MG) Butterfly Wishes series, Jennifer Castle Winston (MG) President of the Whole SixthGrade, Sherri Ghost Boys, Jewell Parker Rhodes (MG) (MG) The StormKeeper’s Island, Catherine Doyle (MG) Extraordinary Birds, Sandy Stark-McGinnis Special interest: character-driven stories; Blue Cat,Charlie EveRyan(PB) (PB) It’s aRound, Round World!, Ellie Peterson by BarryGott(PB) Trucks Zooming, Pamela Jane, illustrated Colombo (PBNF) Nests, Pepe Marquez, illustrated byNatalia It’s aGirlThing, PriFerrari (PB) Bennett Hopkins (PB) A Bunch of Punctuation, selectedbyLee Dotlich, illustrated byJosee Masse (PB) Good Night, OliverWizard, RebeccaKai illustrated byFred Koehler (PB) Flashlight Night, Matt Forrest Esenwine, (MG NF) The SlowestBookEver, AprilPulleySayre Garvey’s Choice, NikkiGrimes (MG) Bone’s Gift,Angie Smibert (MG) Garbage Island, Fred Koehler (MG) » » » » » Jes Negrón,Editor » » Carter Hasegawa, Editor » » » » » » » Mary LeeDonovan, EditorialDirector » » » » » » » Editorial Director, &Associate Publisher Elizabeth Bicknell,Executive VP, Executive CANDLEWICK PRESS » » » » » » » » » » » » » » » » » » » » » perspectives. illustrators from diversebackgrounds and stories featuring characters, authors, and concepts toooften discussedinwhispers; narratives thathelp children explore mystery; serious—with characters and of the absurd, magic, space, robots, and Special interest: humor—with anelement illustrated byJames ReySanchez (PB) The Bookof Laughs, Meaghan McIsaac, by Olivia Aserr (PB) Training, Aneta Cruz,illustrated Maine Diaz (PB) Let’s Dance!, Valerie Bolling, illustrated by Sherman, illustrated byAkem (YA) Brown SugarBabe, CharlotteWatson all types;and stories featuring cats. environmental stories; livelynonfiction of humorous books;nature, sustainability, & Dogchild, Kevin Brooks (YA) Jacqueline Alcántara (PB) Freedom Soup,Tami Charles, illustrated by Bradford, illustrated byKevin Hawkes (PB) There’s aDodo onthe Wedding Cake, Wade (PB) Poultrygeist, Eric Geron, illustrator TBD Woolf, Helen Yoon (PB) by Ramona Kaulitzki (PB) Winter Lullaby, Dianne White, illustrated In-Between Things, PriscillaTey (PB) Martinez-Neal (PB) Alma and How She GotHer Name, Juana Medina (MG) Juana and Lucas: Big Problemas, Juana M.T. Anderson and Eugene Yelchin (MG) The Assassination of Brangwain Spurge, illustrated byJulie Morstad (PBNF) House of Dreams, LizRosenberg, illustrated byEkua Holmes (PB) The Stuffof Stars, Marion Dane Bauer, by Lauren Castillo(PB) Imagine, Juan FelipeHerrera, illustrated Jon Klassen(PB) Shape Trilogy, Mac Barnett, illustrated by Du IzTak?, CarsonEllis(PB) illustrated byVan T. Rudd (PB) The Patchwork Bike, Maxine Beneba Clarke, » » » » » » » Andrea Tompa, SeniorEditor » » » » » » » » » » » » » Kristen McCurryMohn,SeniorEditor » » » » » » » » » Julie Bliven, Editor CHARLESBRIDGE PUBLISHING » Alison Deering,SeniorEditor CAPSTONE YOUNG READERS » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Magoon (YA) X: ANovel, IlyasahShabazzwithKekla (MG) A Wishinthe Dark,Christina Soontornvat Weaver (MG) My Year inthe Middle, LilaQuintero Louisiana’s Way Home, Kate DiCamillo(MG) illustrated byJake Parker (PB) The LittleSnowplow, Lora Koehler, Brenna Burns Yu (PB) Hazel &Twig: The Birthday Fortune, Fergus and Zeke, Kate Messner (IR) Stars atOktoberBend, Glenda Millard (YA) Under the MilkyWay, Frané Lessac(PBNF) A New Home, Tania de Regil(PB) Dzierzaskwa (PBNF) Hope, Mara Rockliff,illustrated byZosia Doctor Esperanto and the Language of The Iliad, Gareth Hinds (MGGN) Liz Anelli (PB) Dad’s Camera, RossWatkins, illustrated by Code Playseries, Caroline Karanja (PBNF) Hedy’s Journey, Michelle Bisson(PBNF) The Journey of York, Hasan Davis(PBNF) Scream Site, Justina Ireland (YA) Karl’s New Beak,LelaNargi (PBNF) Hatem Aly(IR) Meet Yasmin!, Saadia Faruqi,illustrated by Thi Bui(PB) A Different Pond, BaoPhi,illustrated by illustrated Jessika vonInnerebner (MG) Ellie Ultra series, Gina Bellisario, illustrated Jessica Secheret (MG) Finley Flowersseries, Jessica Young, illustrated Laura K.Horton (MG) Zinnia and the Bees, Danielle Davis, Earth toDad, KristaVan Dolzer(MG) Grandma’s Tiny House, JaNay Brown-Wood, Salima Alikhan,Mayumi Shimose Poe (MG) Girls Surviveseries, NikkiShannon Smith, Someone New, Anne SibleyO’Brien (PB) Berne (MG) Seaside Sanctuary series, Emma Carlson I’m New Here, Anne SibleyO’Brien (PB) Pyros (MG) Pink Hair and Other Terrible Ideas, Andrea EDITED BY | 97

illustrated by Priscilla Burris (PB) »» Josephine: The Dazzling Life of Josephine Ginee Seo, Executive Publishing Director PREPARING & SUBMITTING »» A House in the Sky, Steve Jenkins, Baker, Patricia Hruby Powell, illustrated by »» Tell Me a Tattoo Story, Alison McGhee, illustrated by Robbin Gourley (PB) Christian Robinson (PB NF) illustrated by Eliza Wheeler (PB) »» Anya’s Secret Society, Yevgenia Nayberg »» Balderdash: John Newbery and the »» They All Saw a Cat, Brendan Wenzel (PB) (PB) Boisterous Birth of Children’s Books, »» Hello Hello, Brendan Wenzel (PB) »» Friend or Fiction, Abby Cooper (MG) Michelle Markel, illustrated by Nancy »» Ellie May series, Hillary Homzie, illustrated Carpenter (PB NF) DISNEY BOOK GROUP by Jeffrey Ebbeler (MG) »» Interstellar Cinderella, Deborah Underwood, illustrated by Meg Hunt (PB) DISNEY-HYPERION Karen Boss, Associate Editor »» Over and Under the Pond, Kate Messner, »» We Are Grateful: Otsaliheliga, Traci Sorell, illustrated by Christopher Silas Neal (PB Tracey Keevan, Executive Editor MARKET SURVEYS illustrated by Frané Lessac (PB) NF) »» The Pigeon Has to Go to School!, Mo »» Flying Deep: Climb Inside Deep-Sea »» Charlie & Mouse, Laurel Snyder, illustrated Willems (PB) Submersible Alvin, Michelle Cusolito, by Emily Hughes (PB) »» Harold & Hog Pretend for Real!: An illustrated by Nicole Wong (PB NF) »» The Brilliant Deep, Kate Messner, Elephant & Piggie Like Reading! book, Dan »» The Boo-Boos that Changed the World: A illustrated by Matthew Forsythe (PB NF) Santat (IR) True Story About an Accidental Invention »» Things to Do, Elaine Magliaro, illustrated »» Kondo and Kezumi Visit Giant Island, David (Really!), Barry Wittenstein, illustrated by by Catia Chien (PB) Goodner, illustrated by Andrea Tsurumi

Chris Hsu (PB NF) »» Give Me Back My Book, Travis Foster, (IR) DIRECTORIES & RESOURCES »» First Laugh—Welcome, Baby!, Rose Ann illustrated by Ethan Long (PB) »» The Gumazing Gum Girl series, Rhode Tahe and Nancy Bo Flood, illustrated by Montijo (IR) Jonathan Nelson (PB) Taylor Norman, Editor »» Captain Superlative, J.S. Puller (MG) »» Captain’s Log: Snowbound, Erin Dionne, »» Her Right Foot, Dave Eggers, illustrated by »» A Circle of Elephants, Eric Dinerstein (MG) illustrated by Jeffrey Ebbeler (PB) Shawn Harris (PB NF) »» All the Missing Pieces, Melanie Conklin »» Belle’s Journey: An Osprey Takes Flight, »» Hundred Percent, Karen Romano Young (MG) Rob Bierregaard, illustrated by Kate (MG) »» Special interest: picture books, middle Garchinsky (MG NF) »» Everything You Need for a Treehouse, grade »» Like Vanessa, Tami Charles (MG) Carter Higgins, illustrated by Emily Hughes (PB) Stephanie Owens Lurie, Editor-at-Large CHRONICLE BOOKS »» Nothing Rhymes with Orange, Adam Rex »» Aru Shah and the End of Time, Roshani

(PB) Chokshi (MG) PUBLICIZING YOUR PUBLISHED WORK Daria Harper, Assistant Editor »» Forever or a Day, Sarah Jacoby (PB) »» , Jennifer Cervantes (MG) »» A Friend for Henry, Jenn Bailey, illustrated »» Lowriders in Space, Cathy Camper, »» , Yoon Ha Lee (MG) by Mika Song (PB) illustrated by Raúl Gonzalez (MG GN) »» Sal and Gabi Break the Universe, Carlos »» Baby See, Baby Do: Lift & Look in the »» Knockout, K.A. Holt (MG) Hernandez (MG) Mirror!, Robie Rogge (PB) »» Underwear!, Jenn Harney (PB) »» Hello Honeybees, Hanna Rogge, illustrated Ariel Richardson, Editor »» Sleepy, the Good-Night Buddy, Drew by Emily Dove (PB) »» Bunny Slopes, Claudia Rueda (PB) Daywalt, illustrated by Scott Campbell »» The Advent Activity Book (PB) »» This Is How We Do It, Matt Lamothe (PB) (PB) »» The Dreamer, Il Sung Na (PB) »» Unicorn is Maybe Not so Great After All, Naomi Kirsten, Senior Editor »» Crescent Moons and Pointed Minarets, Bob Shea (PB) »» I Hate My Cats (A Love Story), Davide Cali, Hena Khan, illustrated by Mehrdokht Amini illustrated by Anna Pirolli (PB) (PB) HARPERCOLLINS CHILDREN’S BOOKS »» Find Me: A Hide-and-Seek Book, Anders »» A River, Marc Martin (PB)

Arhoj (PB) »» Masha and Her Sisters, Suzy Ultman (PB) Rosemary Brosnan, VP & Editorial Director SCHOOL VISITS »» I Didn’t Do My Homework Because… »» The Towering Tree Puzzle, Teagan White »» The Poet X, Elizabeth Acevedo (YA) series, Davide Cali, illustrated by Benjamin (GAME) »» Cinnamon, and Divya Chaud (IR) Srinivasan (PB) »» The Star Wars Cookbook: BB-Ate, Lara Starr Victoria Rock, Editor-at-Large »» Dress Codes for Small Towns, Courtney and Matthew Carden (NF) »» I Wrote You a Note, Lizi Boyd (PB) Stevens (YA) »» Richard McGuire’s , Richard »» Big Bunny, Rowboat Watkins (PB) »» Challenger Deep, Neal Shusterman (YA) LEGAL QUESTIONS McGuire (PB) »» Lines, Suzy Lee (PB) »» Clayton Byrd Goes Underground, Rita »» Aquarium, Cynthia Alonso (PB) »» This is Not a Picture Book, Sergio Ruzzier Williams-Garcia (MG) (PB) »» Ogre Enchanted, Gail Carson Levine (MG) Melissa Manlove, Senior Editor »» Barkus, Patricia MacLachlan, illustrated by »» And the Ocean was Our Sky, Patrick Ness »» Mighty, Mighty Construction Site, Marc Boutavant (PB) (YA) Sherri Duskey Rinker, illustrated by Tom Lichtenheld (PB) 98 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » Elizabeth Lynch, Associate Editor » » » » » » » David Linker, Executive Editor » » » » » Alice Jerman,Editor » » » » Megan Ilnitzki,Associate Editor » » » » » » » Andrew Eliopulos, Executive Editor » » » » » » » Alyson Day, SeniorEditor | EDITED BY | EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Will Taylor (MG) Maggie & Abby’sNeverending PillowFort, (YA) A Dress for the Wicked, Autumn Krause (YA) This isWhatitFeelsLike, RebeccaBarrow Rebecca Barrow (YA) You Don’t Know Me ButIKnow You, Pine &Boof, RossBurach (PB) Down inthe Dumps, Wes Hargis (MG) Society of Substitutes, AlanKatz (MG) Weitzman (MG) Odd Gods, David Slavin and Daniel Marty Pants series, Mark Parisi (MG) Watch Hollow, Gregory Funaro (MG) Zac Gorman (MG) Thisby Thestoop and the BlackMountain, Ghost Wood Song, Erica Waters (YA) Wait for Me, Caroline Leech (YA) (YA) Beyond aDarkened Shore, Jessica Leake Weymouth (YA) The Light BetweenWorlds, Laura E. War Storm,Victoria Aveyard (YA) fantasy and humorous picture books Special interests: upper middle grade Eric Carlebooks(PB) The School for Goodand Evilseries (MG) Phumiruk (PBNF) Pathana Sornhiran, illustrated byDow Titan and the WildBoars, SusanHood and All of ThisisTrue, Lygia DayPeñaflor (YA) New Kid, Jerry Craft (MGGN) Asylum, Madeleine Roux(YA) Estranged, EthanM.Aldridge (MGGN) Albertalli (YA) What ifit’sUs, Adam Silvera and Becky (YA) They BothDie atthe End, Adam Silvera Nimona, (YA GN) Where ILive, Brenda Rufener (YA) Kiss Collector, Wendy Higgins (YA) Tangled inTime, Kathryn Lasky(MG) Saving Winslow, Sharon Creech (MG) The EthanIwasBefore, AliStandish (MG) Goblin Moon, Jacqueline Rogers (PB) A Friend for Bently, Paige Keiser (PB) » » » » » » Clarissa Wong, Editor » » » » » Catherine Wallace, Associate Editor » » » » » Erica Sussman,VP&PublishingDirector » Courtney Stevenson, Assistant Editor » » » » » » Kristin DalyRens » » » » » » » Jordan Brown, Executive Editor BALZER +BRAY » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » The Ghoul Next Door, CullenBunn(MGGN) illustrated byIrene Chan(PB) America ABC,Samuel Troy Wilson, I Go!,Lindsay Ward (PB) Peppermint Post, Bruce Hale (MG) Bradshaw (PB) Eyes ThatKissinthe Corners, Joanna Ho Méndez, illustrated byJaime Kim(PB) Where Are You From?, Yamile Saied The Paper Girlof Paris, Jordyn Taylor (YA) Phillips (YA) The GirlYou Thought IWas, Rebecca (YA) The Exact Oppositeof Okay, Laura Steven The LastHour, Diana Urban(YA) (YA) Fame, Fate, and the FirstKiss, Kasie West Serpent &Dove, Shelby Mahurin (YA) (MG) Voyage of the Dogs, Greg vanEekhout Ashton, and Jodi Meadows (YA) My PlainJane, Cynthia Hand, Brodi (MG) Mostly the Honest Truth, Jody J.Little Right asRain,Lindsey Stoddard (MG) (MG) That’s WhatFriends Do,CathleenBarnhart The Spinner of Dreams, K.A.Reynolds (MG) Undercover Princess, Connie Glynn(MG) Fawcett (MG) Ember and the Ice Dragons, Heather Perkovich and Audrey Vernick (MG) Naomis Too, OlugbemisolaRhuday- (PB) Little Penguin StaysAwake, Tadgh Bentley Maslo (PBNF) Free asaBird: The Story of Malala, Lina Like Water, RebeccaPodos (YA) A BoyCalledBat,Elana K.Arnold (MG) Bone Gap,Laura Ruby(YA) Granted, John David Anderson (MG) The LostGirl,Anne Ursu(MG) Orphan Island, Laurel Snyder (MG) Dread Nation, Justina Ireland (YA) , Executive Editor » » » » » » » » » » » » Sally Morgridge, Editor » » » » » » » » » » » » » » Ben Rosenthal,Executive Editor KATHERINE TEGENBOOKS » Martha Mihalick,Executive Editor GREENWILLOW BOOKS » » Grace Maccarone, Executive Editor PEOPLE HOLIDAY HOUSEBOOKSFORYOUNG » » » » » » » » » » » » » » » » » » » » » » » » » » » » » A Thousand Sisters, ElizabethWein (YA NF) Nocturna, Maya Motayne (YA) (YA) The Bird and the Blade, Megan Bannen Eliza Bing is (NOT) aStar, Carmella Van (MG) Kingdom of Ash and Briars, Hannah West Desert Dark,SonjaStone (YA) Heretics Anonymous, Katie Henry (YA) We’ll FlyAway, BryanBliss(YA) Fitzgerald (MG) The AppleTart of Hope, Sarah Moore (YA) Opposite of Always, JustinA.Reynolds For aMuse of Fire, Heidi Heilig (YA) Greenfield, illustrated bySarah Horne (MG) Ra the Mighty: CatDetective, A.B. (PB) When the Cousins Came, Katie Yamasaki Heroine, Mindy McGinnis (YA) The Doldrums, Nicholas Gannon (MG) No Kimchi for Me!, Aram Kim(PB) (YA) Let Me Hear aRhyme, Tiffany D.Jackson The Collectors, Jacqueline West (MG) (PB NF) A Mammal isanAnimal, LizzyRockwell Ultraball: Lunar Blitz,Jeff Chen (MG) Knights vs. Dinosaurs, Matt Phelan (PB) Looking for Bongo, Eric Velasquez (PB) Lauren Magaziner (MG) Case Closed:Mystery inthe Mansion, This Is It, Daria Peoples-Riley (PB) Hide!, SteveHenry (PB) Vastlantic, Armand Baltazar(MG) Timeless: Diego and the Rangers of the (PB) Fishman, illustrated byIsabel Greenberg A Hundred Billion Trillion Stars, Seth Meisel (PB) My Awesome Summer, byP. Mantis, Paul Martha Hamilton, and MitchWeiss (IR) Noodlehead Nightmares, Tedd Arnold, EDITED BY | 99

Vleet (MG) »» Girls Think of Everything: Stories of »» Wutaryoo, Nilah Magruder (PB) PREPARING & SUBMITTING »» Clayton Stone, at Your Service, Ena Jones Ingenious Inventions by Women, Catherine (MG) Thimmesh, illustrated by Melissa Sweet INKYARD PRESS »» Realm of Ruins, Hannah West (MG) (MG NF) »» The Van Gogh Deception, Deron R. Hicks Natashya Wilson, Editorial Director HOUGHTON MIFFLIN HARCOURT BFYR (MG) »» Wolf in the Snow, Matthew Cordell (PB) »» The Lemonade War series, Jacqueline »» The Sound of Stars, Alechia Dow (YA) Chris Krones, Associate Editor Davies (MG) »» Harbinger series, books 2 & 3, Jennifer L. »» Mystery Club: Wild Werewolves; Mummy »» Ice Dogs, Terry Lynn Johnson (YA) Armentrout (YA) Mischief, David Cali and Yannick Robert »» The Vanderbeekers of 141st Street, Karina »» Dear Haiti, Love Alaine, Maika Moulite and (IR GN) Yan Glaser (MG) Maritza Moulite (YA) MARKET SURVEYS »» Choose Your Own Adventure: Princess! (PB) »» The Girl Who Drew Butterflies: How Maria »» Shadow of the , book 3, Julie »» Let the Children March, Monica Clark- Merian’s Art Changed Science, Joyce Kagawa (YA) Robinson, illustrated by Frank Morrison Sidman (PB NF) »» Special interest: upper-YA (high school (PB NF) »» Snowflake Bentley, Jacqueline Briggs age and crossover YA reader potential); »» Beyoncé: Shine Your Light, Sarah Warren, Martin, illustrated by Mary Azarian (PB NF) complex, sophisticated stories across illustrated by Geneva Bowers (PB NF) »» Sleep Like a Tiger, Mary Logue, illustrated genres and genre blends. Not acquiring »» Survivor Diaries series, Terry Lynn Johnson by Pamela Zagarenski (PB) MG.

(MG) »» Some Writer: The Story of E.B. White, DIRECTORIES & RESOURCES »» I Love Space and I Love Science, Allison Melissa Sweet (MG NF) T.S. Ferguson, Editor Wortche, illustrated by Steve Mack (PB) »» Dark Emperor and Other Poems of the »» Pulp, Robin Talley (YA) »» Special interest: original board books, Night, Joyce Sidman, illustrated by Rick »» Nightingale, Amy Lukavics (YA) picture books with an innovative format, Allen (PB) »» All Out, edited by Saundra Mitchell (YA) witchy YA with inclusivity and/or LGBTQA+ »» Balloons Over Broadway: The True Story of »» Toil & Trouble, edited by Jessica the Puppeteer of Macy’s Parade, Melissa Spotswood and Tess Sharpe (YA) Kate O’Sullivan, Senior Executive Editor Sweet (PB NF) »» Brief Chronicle of Another Stupid »» How to Be a Good Creature, Sy »» Special interests: innovative visual Heartbreak, Adi Alsaid (MG) Montgomery (MG NF) nonfiction, especially memoirs and »» Belly Up, Eva Darrows (YA) »» Bull, David Elliott (YA) biographies; middle grade fiction, »» The Sidekicks, Will Kostakis (YA) »» The Quiet Book, Deborah Underwood, especially animal stories, wilderness

illustrated by Renata Liwska (PB) survival, and action stories; historical KIDS CAN PRESS PUBLICIZING YOUR PUBLISHED WORK »» Drowned City, Don Brown (MG NF) fiction and contemporary realism; and »» Here and Now, Julia Denos, illustrated by child-centered picture books, especially Katie Scott, Editor E.B. Goodale (PB) biographies »» Canada Year by Year, Elizabeth MacLeod, »» Grave Mercy, Robin Lafevers (YA) illustrated by Sydney Smith (PB NF) »» Stick and Stone, Beth Ferry, illustrated by Nicole Sclama, Associate Editor »» Engineered! Engineering Design at Work, Tom Lichtenheld (PB) »» Song of the Abyss, Makiia Lucier (YA) Shannon Hunt, illustrated by James »» Once a King, Erin Summerill (MG) Gulliver Hancock (MG NF) Margaret Raymo, Senior Executive Editor »» Not Even Bones, Rebecca Schaeffer (YA) »» Monster Science: Could Monsters Survive »» The Undefeated, Kwame Alexander, »» Ink in the Blood, Kim Smejkal (YA) (and Thrive!) in the Real World?, Helaine illustrated by Kadir Nelson (PB NF) »» The Mystwick School of Musicraft, Jessica Becker, illustrated by Phil McAndrew (MG »» ¡Vamos! Let’s Go to the Market, Raúl the Khoury (MG) NF) Third (PB) »» Splinters of Scarlet, Emily Bain Murphy »» Birthdays Around the World, Margriet »» Emmy in the Key of Code, Aimee Lucido (YA) Ruurs, illustrated by Ashley Barron (PB NF)

(MG) »» Empress of All Seasons, Emiko Jean (MG) »» Ocean Animals from Head to Tail?, Stacey SCHOOL VISITS »» The Last Last-Day-Of-Summer, Lamar Giles, »» Special interests: upper middle grade and Roderick, illustrated by Kwanchai Moriya illustrated by Dapo Adeola (MG) YA fiction (PB NF) »» Every Moment After, Joseph Moldover (YA) »» Nature All Around: Trees, Pamela Hickman, »» White Rose, Kip Wilson (YA) Erika Turner, Editor illustrated by Carolyn Gavin (PB NF) »» Brown Girl Gone Dead, Mintie Das (YA) »» Anya and the Dragon, Sofiya Pasternack »» Hawks Kettle, Puffins Wheel, and Other (MG) Poems of Birds in Flight, Susan Vande LEGAL QUESTIONS Ann Rider, Executive Editor »» Ghost Roast, Shawnee’ & Shawnelle Gibbs Griek, illustrated by Mark Hoffmann (PB »» The Thank You Book, Mo Willems (IR) (YA GN) NF) »» Zola’s Elephant, Randall de Sève, »» Your Mama, NoNieqa Ramos (PB) illustrated by Pamela Zagarenski (PB) »» How to Wear a Sari, Darshana Khiani (PB) Jennifer Stokes, Editor »» The House in the Night, Susan Marie »» The Hole Story, Vivian McInerny, illustrated »» Nick the Sidekick, Dave Whamond (IR GN) Swanson, illustrated by Beth Krommes by Ken Lamug (PB) »» The True Tale of a Giantess: The Story of (PB) »» Kicks, Van G. Garrett (PB) Anna Swan, Anne Renaud, illustrated by 100 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | EDITED BY | EDITED » » » » » » » Yasemin Uçar, SeniorEditor » » » » » LEE &LOW BOOKS » » » » » » Sonali Fry, Publisher LITTLE BEEBOOKS » » » » » » » Louise May, Editor-at-Large » » » » » » » » » » » » » » » » » » » » » » » » » by Byron Eggenschwiler (PBNF) Guessing Game, Rachel Poliquin, illustrated Beastly Puzzles:ABrain-Boggling Animal Ebb &Flow, Heather Smith(MG) illustrated byGuillaume Perreault (PB) Sleep, Sheep!, Kerry LynSparrow, A Horse Named Steve, Kelly Collier (PB) by Genevieve Simms (PB) Ojiichan’s Gift,Chieri Uegaki,illustrated Pierre Pratt (PB) The Branch, Mireille Messier, illustrated by (PB) The Most Magnificent Thing, Ashley Spires Tremblay (NF) Tanya LloydKyi, illustrated byMarie-Ève Under Pressure: The Science of Stress, illustrated byChristine Battuz(PB) My Teacher’s Not Here, Lana Button, illustrated byAshley Barron (PB) My Forest isGreen, Darren Lebeuf, Rosie’s Glasses, DaveWhamond (PB) illustrated byElina Ellis(PB) The ReptileClub, Maureen Fergus, Marie Lafrance (PBNF) Weatherford, illustrated byFrank Morrison The Rootsof Rap,Carole Boston Shepherd (MG) The GeminiMysteries: The North Star, Kat The Year IDidn’t Eat,Samuel Pollen (MG) The Colorsof the Rain,R.L.Toalson (MG) The Prophet Calls, Melanie Sumrow (MG) Stu Truly, DanRichards (MG) Brown, illustrated byEric Velasquez (PB) Shirley Opens aDoor, Katheryn Russell- Susan L.Roth(PBNF) Karen Leggett Abouraya, illustrated by Malala Yousafzai: Warrior withWords, NF) Olinguito from atoZ!,LuluDelacre (PB illustrated byAna Aranda (PBNF) Our Celebración!, SusanMiddleton Elya, Maria Mola (PB) Sparkle Boy, LesleaNewman, illustrated by Raul Colón(PBNF) Bookjoy, Wordjoy, Pat Mora, illustrated by illustrated bySusanL.Roth(PBNF) Around the World, , Every Month isaNew Year: Celebrations » » » » » » » Charlie Ilgunas, Assistant Editor » » » » » Farrin Jacobs, EditorialDirector » » » » » » » Nikki Garcia, Associate Editor » » » » » » » Deirdre Jones, SeniorEditor LITTLE, BROWN BFYR » » » » » » » » » » » » » » » » » » » » » » » » » » illustrated byJoshua Heinsz (PB) Except When They Don’t,Laura Gehl, illustrated byRotemTeplow (PBNF) a CivilWar Hero, AllisonCrotzer Kimmel, The Eternal Soldier: How aDogBecame M Is for Melanin, Tiffany Rose(PB) by Xindi Yan (PB) Grandpa Grumps, Katrina Moore, illustrated Fiadhnait Moser (MG) The Serendipity of Flightless Things, (MG) Midsummer’s Mayhem, RajaniLaRocca Crumbled!, LisaHarkrader (MG) illustrated byHolly Hatam (PB) Jack (Not Jackie), Erica Silverman, (PB NF) Readers Edition (MGNF) The Children of Willesden Lane: Young Dear EvanHansen: The Novel (YA) We are Displaced, Malala Yousafzai (YA NF) Little Dreamers, Vashti Harrison (PB) (YA) A Match Made inMehendi, Nandini Bajpai (YA) How She Died, How ILived, Mary Crockett I MissMy Grandpa, JinXiaojing (PB) Julissa Arce (MGNF) Girl Fought for Her American Dream, Someone Like Me: How One Undocumented Bridget Farr(MG) Pavi Sharma’s Guide toGoing Home, Torres (MG) The Fresh New Faceof Griselda, Jennifer Lola Levine series, Monica Brown (MG) Gough (YA) Amelia Westlake wasNever Here, Erin Frostblood, EllyBlake (YA) The End of the Wild, Nicole Helget (MG) The StarThief, Lindsey Becker (MG) Roy (PBNF) Barb Rosenstock, illustrated byKatherine Record-Setting Diveof the Bathysphere, Otis and WillDiscoverthe Deep:The illustrated byElizaWheeler (PB) When You are Brave, Pat Zietlow Miller, Eldridge (PB) Claymates, DevPetty, illustrated byLauren » » » » » » » » » Andrea Spooner, VP&EditorialDirector » » » » » » » » » » » » Aubrey Poole, Editor » » Alvina Ling,VP&Editor-in-Chief » » Trisha deGuzman, Associate Editor FARRAR, STRAUS ANDGIROUX PUBLISHING GROUP MACMILLAN CHILDREN’S » Sasha Henriques, Assistant Editor JIMMY PATTERSON BOOKS » » » » » » » » » » » » » » » » » » » » » » » » » » (MG) The Next Great Paulie Fink, AliBenjamin (MG) The Thing AboutJellyfish, AliBenjamin illustrated byLane Smith(MG) and Immature Grown-Ups, ChrisHarris, Other Nonsense for Mischievous Kids I’m JustNo GoodatRhyming: And Mike Curato (PB) What If…,Samantha Berger, illustrated by Crash, Splash,orMoo!, BobShea (PB) Special interest: YA Pearl, Molly Idle (PB) Labyrinth Lost,Zoraida Cordova (YA) Thank You, Omu!, Oge Mora (PB) The CruelPrince, Holly Black(YA) Dash (YA) 96 Words for Love, Rachel Royand Ava Pan (YA) The Astonishing Colorof After, EmilyX.R. Rose Capetta(YA) Once &Future, CoriMcCarthy and Amy The WildRobot,Peter Brown (MG) Gunslinger Girl,Lyndsay Ely(YA) Ghost Boys, Jewell Parker Rhodes (MG) The Unflushables, RonBates(MG) Nevermoor, Jessica Townsend (MG) illustrated byBeverlyJohnson (MG) James Patterson &ChrisGrabenstein, Max Einstein: The Genius Experiment, LeUyen Pham(PB) Sheep 101,Richard T. Morris, illustrated by illustrated byStephen Gilpin(MG) Pottymouth and Stoopid, James Patterson, Special interest: YA (PB) A Big Mooncake for LittleStar, Grace Lin Book, Jomike Tejido (PB) There Was anOldWoman Who Livedina Shred Girls:Lindsay’s Joyride, Molly Chouteau, illustrated byAnat EvenOr(PB) No More Monsters Under Your Bed!,Jordan EDITED BY | 101

Hurford, illustrated by Violet Lemay (MG) HENRY HOLT BFYR ODD DOT PREPARING & SUBMITTING »» Of Sea and Venom, Trinidad Escobar (YA GN) Brian Geffen, Editor Justin Krasner, Associate Editor »» Ruinsong, Julia Ember (YA) »» The Bone Garden, Heather Kassner (MG) »» One More Wheel: A Things-That-Go »» Pie in the Sky, Remy Lai (MG) Counting Book, Colleen AF Venable, FEIWEL & FRIENDS/SWOON READS »» Thieves of Weirdwood, William Shivering illustrated by Blythe Russo (PB) (MG) »» The Joke Machine: Create Your Own Jokes Liz Szabla, Associate Publisher »» Ranger’s Apprentice: The Battle of and Become Instantly Funny!, Theresa »» Wolf in the Snow, Matthew Cordell (PB) Hackham Heath, John Flanagan (MG) Julian LLC (MG NF) »» I Love You More Than, Taye Diggs, »» Forest of a Thousand Lanterns, Julie C. »» Tiny World craft series (NF) illustrated by Shane W. Evans (PB) Dao (YA) »» Make Your Own Beauty Masks (NF) MARKET SURVEYS »» Snakes on a Train, Kathryn Dennis (PB) »» There Will Come a Darkness, Katy Rose »» Create Your Own Secret Language (NF) »» Wishtree, Katherine Applegate (MG) Pool (YA) »» Turn the Key (PB) »» Bob, Wendy Mass and Rebecca Stead (MG) »» A Breath Too Late, Rocky Callen (YA) »» The Right Hook of Devin Velma, Jake Burt Daniel Nayeri, Publisher (MG) Tiffany Liao, Editor »» Code This Game, Meg Ray, illustrated by »» Renegades, Marissa Meyer (YA) »» Beasts Made of Night, Tochi Onyebuchi Keith Zoo (PB NF) (MG) »» Crinkle, Crinkle, Little Star, Justin

Jean Feiwel, Senior VP & Publisher »» Children of Blood and Bone, Tomi Adeyemi Krasner (PB) DIRECTORIES & RESOURCES »» Juno Valentine and the Magical Shoes, Eva (YA) »» Spy on History series, Enigma Alberti (MG Chen, illustrated by Derek Desierto (PB) »» Peasprout Chen, Future of Skate NF) »» A is for Awesome: 23 Iconic Women Who and Sword, Henry Lien (MG) »» Stories of the Saints: 77 Tales of Changed the World, Eva Chen, illustrated »» The Story Collector, Kristin O’Donnell Tubb Adventure, Grace, and Courage, Carey by Derek Desierto (PB NF) (MG) Wallace (MG) »» Unpresidented: A Biography of Donald »» The Merciful Crow, Margaret Owen (YA) »» Paint by Sticker, Phil Conigliaro (MG) Trump, Martha Brockenbrough (YA NF) »» The Kingdom, Jess Rothenberg (YA) »» Doodle Adventures series, Mike Lowery »» The Magical Unicorn Society Official »» Silver Batal and the Water Dragon Races, (MG) Handbook, Selwyn E. Phipps, illustrated K.D. Halbrook (MG) »» Who Wins, Clay Swartz (MG) by Helen Dardik, and Zanna Goldhawk, and Harry Goldhawk (MG) Christian Trimmer, Editorial Director ROARING BROOK PRESS

»» Llama Destroys the World, Jonathan PUBLICIZING YOUR PUBLISHED WORK Emily Settle, Assistant Editor Stutzman, illustrated by Heather Fox (PB) Katherine Jacobs, Senior Editor »» Ten Thousand Rivers, June Hur (YA) »» Game, Set, Sisters: The Venus and Serena »» So Tall Within, Gary D. Schmidt, illustrated »» Carols and Chaos, Cindy Anstey (YA) Williams Story, Jamie McGhee, illustrated by Daniel Minter (PB NF) »» The Soul Keepers, Devon Taylor (YA) by Ebony Glenn (PB NF) »» Spring After Spring, Stephanie Roth Sisson »» The Supervillain and Me, Danielle Banas »» The Remarkable Journey of Coyote Sunrise, (PB NF) (YA) Dan Gemeinhart (MG) »» The Eleventh Trade, Alyssa Hollingsworth »» Scary Stories for Young Foxes, Christian (MG) :01 FIRST SECOND McKay Heidicker (MG) »» Raffie on the Run, Jacqueline Resnick, »» Whose Right is it Anyway? The Second illustrated by Joe Sutphin (PB) Kiara Valdez, Assistant Editor Amendment and the Fight Over Guns, Hana »» Sekret, Lindsay Smith (YA) »» Snapdragon, Kat Leyh (YA GN) Bajramovic (MG NF) »» Moxie, Jennifer Mathieu (YA) »» Check, Please!, Ngozi Ukazu (YA GN) »» What We Buried, Kate A. Boorman (YA) »» Strangers Assume My Girlfriend is My »» Naima, K.L. Ricks (YA GN) Nurse, Shane Burcaw (YA NF)

»» Cucumber Quest series, Gigi D.G. (MG GN) IMPRINT SCHOOL VISITS »» Untitled Graphic Memoir, Shauna J. Grant TOR BOOKS (MG GN) John Morgan, Executive Editor »» What the Woods Keep, Katya de Becerra Bess Cozby, Editor FLATIRON BOOKS (YA) »» Dive Smack, Demetra Brodksy (YA) »» The Wild Lands, Paul Greci (YA) »» #Prettyboy Must Die, Kimberly Reid (YA) Sarah Barley, Editorial Director, YA »» The Library of Ever, Zeno Alexander (MG) LEGAL QUESTIONS »» The Hazel Wood, Melissa Albert (YA) »» When Pencil Met Eraser, Karen Kilpatrick Melissa Frain, Senior Editor »» Caraval series, Stephanie Garber (YA) and Luis O. Ramos, Jr., illustrated by »» The Darkest Star, Jennifer L. Armentrout »» If I was Your Girl, Meredith Russo (YA) Germán Blanco (PB) (YA) »» Birthday, Meredith Russo (YA) »» The Year They Fell, David Kreizman (YA) »» Anna Dressed in Blood, Kendare Blake (YA) »» Girls Made of Snow and Glass, Melissa »» Beyond the Black Door, A.M. Strickland »» Roar, Cora Carmack (YA) Bashardoust (YA) (YA) »» The Good Luck Girls, Charlotte Nicole Davis »» American Girls, Alison Umminger (YA) »» Book Science, Louie Zong (PB) (YA) 102 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » Diana M.Pho,Editor » » » » » » » » » » » Vicki Lame, Editor » » » » » » » Lauren Jablonski,Assistant Editor » » » » Sara Goodman,EditorialDirector » » » » » » Jennie Conway, AssistantEditor WEDNESDAY BOOKS | EDITED BY | EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Special interest: MG,YA Everlasting Nora, Marie Miranda Cruz (MG) Weave aCircle Round, Kari Maaren (YA) Guardian, A.J.Hartley (YA) Steeplejack, A.J.Hartley (YA) Spectacle, Jodie LynnZdrok (YA) The Deceivers, KristenSimmons (YA) Larson (YA) Sisters of Shadow and Light, Sara B. Red, White, &RoyalBlue Special interest: YA like CaseyMcQuiston’s McQuiston (YA) Red, White&RoyalBlue, Casey Hush, DylanFarrow (YA) Candace Ganger (YA) The Inevitable Collision of Birdie &Bash, In Sight of Stars, GaePolisner (YA) (YA) Where Dreams Descend, Janella Angeles You’d Be Mine, ErinHahn (YA) Wicked Saints, EmilyA.Duncan (YA) California Summer, AnitaHughes (YA) Christmas inParis, AnitaHughes (YA) Christmas inVermont, AnitaHughes (YA) (YA) The Wardrobe Mistress, Meghan Masterson The SubwayGirls, Susie Orman Schnall (YA) This isNot aLoveScene, S.C.Megale (YA) Vagina Problems, Lara Parker (YA NF) The Mall, Megan McCafferty (YA) Foul isFair, Hannah Capin(YA) Gaby Dunn(YA) I Hate Everyone ButYou, AllisonRaskin& Sadie, Courtney Summers (YA) This Earlof Mine, Kate Bateman (YA) The Orchid Throne, Jeffe Kennedy (YA) Johnson (YA) Once UponaBadBoy, Melonie Smitten bythe Brit,Melonie Johnson (YA) Johnson (YA) Getting Hot withthe Scot,Melonie A Golden Fury, Samantha Cohoe (YA) » » » » Ellen Cormier, Editor » » » » » Dana Chidiac, Editor DIAL BFYR PENGUIN YOUNG READERSGROUP » » » » » » Kathy Landwehr, VP&Associate Publisher PEACHTREE PUBLISHINGCOMPANY » » » » Mari Kesselring, ManagingEditor FLUX NORTH STAR EDITIONS » » » » » » » » » » » » » » » » » » » Téo’s Tutu, Maryann Jacob Macias (PB) The LittleGreen Girl,Lisa Anchin (PB) I AmaWolf, Kelly Leigh Miller(PB) (YA) The Passing Playbook,Isaac Fitzsimons (YA) Darius the Great isNot Okay, Adib Khorram Weissman (MG) The Length of aString, ElissaBrent Nobody, Matthew Landis (MG) The Not-So-Boring Lettersof Private Dempsey, illustrated bySarah Green (PB) Papa PutaMan on the Moon, Kristy illustrated byShane W. Evans (PB) Hands Up!,Breanna J.McDaniel, Railroad, DonTate (PBNF) William Still,Father of the Underground William’s Freedom Records: The Storyof Van Slyke, illustrated byAnca Sandu (PB) Lana LynnHowls atthe Moon, Rebecca (PB) Starling Lyons, illustrated byDaniel Minter Going DownHome withDaddy, Kelly Papp (PB) Madeline Finnand the Shelter Dog,Lisa Gonzalez (MGNF) Suzanne Slade, illustrated byThomas Countdown: 2979Daystothe Moon, Sanford Levinson (MGNF) Affect Us Today, Cynthia Levinson and Framers, Their Fights, and the Flawsthat Fault Lines inthe Constitution: The Tinfoil Crowns, ErinJones (YA) Unwritten, Tara Gilboy(MG) My Whole Truth, MischaThrace (YA) The Girland the Grove, Eric Smith(YA) » » » » » » » Tracy Gates, EditorialDirector VIKING » » » » » » » Renee Hooker, Editor » » » » » » » Eve Adler, SeniorEditor WORKSHOP GROSSET &DUNLAP/PSS!/PENGUIN » » Kelly Delaney, Associate Editor YOUNG READERS ALFRED A.KNOPF/CROWN BOOKSFOR RANDOM HOUSECHILDREN’SBOOKS » » » » » » » » » » » » » » » » » » » » » » » illustrated byJamie Harper (MG) EllRay Jakes isNot a Chicken, SallyWarner, (MG) Bernstein, illustrated byMike Malbrough Warren &Dragon: 100Friends, Ariel Elisa Carbone (MG) Poison inthe Colony: James Town 1622, Lily’s CatMask, Julie Fortenberry(PB) illustrated byJen Hill(PB) Diana’s WhiteHouse Garden, ElisaCarbone, Little Owl’sSnow, DivyaSrinivasan(PB) Run Wild, David Covell(PB) Marantz (PB) Clyde, Keith Marantz, illustrated byLarissa Jonathan E.Fenske (PB) I WillRaceYou Through ThisBook, Flubby isNot aGoodPet!, J.E.Morris (PB) (MG) Princess Pulverizerseries, Nancy E.Krulik (MG) Jada Jones series, Kelly Starling Lyons Arnold and Louiseseries, Erica S.Perl (MG) Raise Your Hand, Alice Paul Tapper (PB) Butler (MG) Code Crackers Clubseries, DoriHillestad and Stephanie GwynBrown (PB) Mother Goosetothe Rescue, Nate Evans McLean (PB) My BestFriend isaUnicorn, Rachael Joelle Dreidemy (MG) Same, Veera Hiranandani, illustrated by Phoebe G.Green: Lunch WillNever Bethe Stacia Deutsch(PB) Girls Who Code: The Friendship Code, (PB) Night-Night, Forest Friends, Annie Bach Hello, World: Paris, Ashley Evanson (PB) (YA) 10 Things I Can Seefrom Here, Carrie Mac Sara Saedi(YA) Americanized: RebelWithout aGreen Card, EDITED BY | 103

»» Lucy and Linh, Alice Pung (YA) »» Blood Heir, Amélie Wen Zhao (YA) a Knight, Penny Parker Klostermann, PREPARING & SUBMITTING »» Lucy and the Rocket Dog, Will Buckingham illustrated by Ben Mantle (PB) (MG) RANDOM HOUSE/GOLDEN BFYR GROUP »» Grandma’s Purse, Vanessa Brantley-Newton RANDOM HOUSE GRAPHIC (PB) Shana Corey, Editor-at-Large & Executive »» The Sandcastle That Lola Built, Megan Editor Whitney Leopard, Senior Editor Maynor, illustrated by Kate Berube (PB) »» Maizy Chen’s Diabolical Plot to Rule the »» Pandora’s Legacy, Kara Leopard, Kelly & »» Me and the Sky, Beverley Bass, illustrated World, Lisa Yee (MG) Nichole Matthews (MG GN) by Joanie Stone (PB) »» Katie the Catsitter, Colleen AF Venable and »» Hex Vet: Witches in Training, Sam Davies Stephanie Yue (MG GN) (MG GN) Michelle Frey, Executive Editor »» Pacey Packer: Unicorn Tracker, J.C. »» The Great Wiz and the Ruckus, Joey MARKET SURVEYS »» The Penderwicks, Jeanne Birdsall (MG) Phillipps (MG GN) McCormick (MG GN) »» Eragon, Christopher Paolini (YA) »» The Friendship War, Andrew Clements (MG) »» Hotel Dare, Terry Blas, illustrated by »» I Am Not Your Perfect Mexican Daughter, »» Operation Frog Effect, Sarah Scheerger Claudia Aguirre (MG GN) Erika L. Sánchez (YA) (MG) »» Lumberjanes series, Grace Ellis & Shannon »» Uprooted, Naomi Novik (YA) »» Mr. Lemoncello’s All-Star Breakout Game, Watters (MG GN) »» This is Our Constitution, Khizr Khan (MG Chris Grabenstein (MG) NF) »» The Fourteenth Goldfish, Jennifer L. Holm SCHWARTZ & WADE BOOKS

»» Through the Window, Barb Rosenstock, (MG) DIRECTORIES & RESOURCES illustrated by Mary GrandPré (PB NF) »» Special interest: MG graphic novels and MG Ann Kelley, Senior Editor »» Chasing Augustus, Kimberly Newton Fusco #OwnVoices, contemporary, realistic »» The Miracle & Tragedy of the Dionne (MG) Quintuplets, Sarah Miller (YA NF) Frances Gilbert, Editor-in-Chief »» Blood & Thunder: The Story of Louisa May DELACORTE PRESS BFYR »» Wordy Birdy, Tammi Sauer, illustrated by Alcott Before Little Women, Deborah Noyes Dave Mottram (PB) (YA NF) Kelsey Horton, Associate Editor »» Bad Dog, Mike Boldt (PB) »» What Not to Do if You Turn Invisible, Ross »» It Wasn’t Me, Dana Alison Levy (MG) »» I Don’t Want to Be a Frog, Dev Petty, Welford (MG) »» Love and Other Train Wrecks, Leah illustrated by Mike Boldt (PB) »» Sweety, Andrea Zuill (PB) Konen (YA) »» Jasper & Ollie, Alex Willan (PB) »» A Hippy-Hoppy Toad, Peggy Archer, »» Ghost and Bone, Andrew Prentice (MG) »» Bunny’s Book Club, Annie Silvestro, illustrated by Anne Wilsdorf (PB)

»» The Root of Magic, Kathleen Benner illustrated by Tatjana Mai-Wyss (PB) »» Harold Loves His Woolly Hat, Vern Kousky PUBLICIZING YOUR PUBLISHED WORK Duble (MG) »» Littles: And How They Grow, Kelly (PB) »» Fairy Mom and Me, Sophie Kinsella, DiPucchio, illustrated by AG Ford (PB) »» Dust Bunny Wants a Friend, Amy Hevron illustrated by Marta Kissi (MG) »» In the Quiet, Noisy Woods, Michael J. (PB) »» Gravemaidens, Kelly Coon (YA) Rosen, illustrated by Annie Won (PB) »» In Your Shoes, Donna Gephart (MG) WENDY LAMB BOOKS Diane Landolf, Senior Editor Wendy Loggia, Senior Executive Editor »» Dragons in a Bag, Zetta Elliott (MG) Dana Carey, Assistant Editor »» Better You Than Me, Jessica Brody (MG) »» Spell and Spindle, Michelle Schusterman »» The Water Bears, Kim Baker (MG) »» The Window, Amelia Brunskill (YA) (MG) »» The Girl and the Lake, Michele Weber »» Storm Blown, Nick Courage (MG) »» 100 Dresses series, Susan Maupin Schmid Hurwitz (MG) »» House of Salt and Sorrows, Erin A. (MG) Craig (YA) »» Love Double Dutch!, Doreen Spicer- RUNNING PRESS KIDS »» Scars Like Wings, Erin Stewart (YA) Dannelly (MG)

»» The Dark Descent of Elizabeth »» Me vs. the Multiverse series, S.G. Wilson Julie Matysik, Editorial Director SCHOOL VISITS Frankenstein, Kiersten White (YA) (MG) »» Just Breathe: Meditation, Mindfulness, »» The Sun is Also a Star, Nicola Yoon (YA) Movement, and More, Mallika Chopra, Maria Modugno, VP & Editorial Director, illustrated by Brenna Vaughn (MG NF) Krista Marino, Executive Editor Picture Books »» The 12 Days of Christmas, Jill Howarth »» One Of Us is Lying, Karen M. McManus (YA) »» Giraffe Problems, Jory John, illustrated by (PB) »» Girl in Pieces, Kathleen Glasgow (YA) (PB) »» The Reckless Club, Beth Vrabel (MG) LEGAL QUESTIONS »» Stronger, Faster, and More Beautiful, »» Owls Are Good At Keeping Secrets: An »» Love, Stacy McAnulty, illustrated by »» Arwen Elys Dayton (YA) Unusual Alphabet, Sara O’Leary, illustrated Joanne Lew-Vriethoff (PB) »» Ash Princess, Laura Sebastian (YA) by Jacob Grant (PB) »» When Unicorns Poop, Lexie Castle, »» Samantha Spinner and the Super-Secret »» Don’t Blink!, Amy Krouse Rosenthal, illustrated by Christian Cornia (PB) »» Plans, Russell Ginns, illustrated by Barbara illustrated by David Roberts (PB) »» Mo’s Bows: A Young Person’s Guide to Fišinger (MG) »» Elmore, Holly Hobbie (PB) Start-up Success, Moziah Bridges (MG) »» Wilder Girls, Rory Power (YA) »» There Was an Old Dragon Who Swallowed »» The Hips on the Drag Queen Go Swish, 104 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » » » Lisa Sandell,EditorialDirector SCHOLASTIC FOCUS » » » » » » » Cassandra Pelham Fulton,Executive Editor GRAPHIX » » » » » » » » Katie Carella, Executive Editor CARTWHEEL BOOKS SCHOLASTIC TRADE | EDITED BY | EDITED » » » » » » » » » » » » » » » » » » » » » » TBD (PB) Swish, LilMissHot Mess, illustrator (MG) Amber &Dusk,Lyra Selene—coedited The Forgetting, Sharon Cameron (YA) Resistance, Jennifer A.Nielsen (YA) Edsel (YA NF) Story of the Monuments Men, Robert M. The Greatest Treasure Hunt in History:The North Vietnam, AlvinTownley (MGGN) Captured: AnAmerican Prisoner of War in NF) Changed History, Deborah Hopkinson (MG D-Day: The World War IIInvasion that (YA NF) the Questfor Justice, Lawrence Goldstone Unpunished Murder: Massacre atColfax and Coral, Jade Feng Lee(MGGN) Glitch, Sarah Graley (MGGN) NewsPrints, RuXu(MG GN) Timid, Jonathan Todd (MGGN) Mr. Wolf’s Class, Aron Nels Steinke (MGGN) Amulet, Kazu Kibuishi(MGGN) Guts, Raina Telgemeier (MGGN) categories beginning reader &earlychapterbook Special interest: series booksinthe Tracey West (IR) Dragon Masters: Riseof the EarthDragon, Elliott (IR) Owl Diaries: Eva’sTreetop Festival,Rebecca Cummings (IR) The Binder of Doom:Brute-Cake, Troy (IR) Max Brallier, illustrated byLetizia Rubegni Beneath the Bedand Other ScaryStories, Norm Feuti(IR) Hello, Hedgehog! DoYou Like My Bike?, Quintanilla (IR) Heather Ayris Burnell, illustrated byHazel Unicorn and Yeti: SparklyNew Friends, Fenske (IR) A Crabby Book:Hello, Crabby!, Jonathan » » Liesa Abrams, VP&Editorial Director ALADDIN SIMON &SCHUSTER » » » » » Olivia Valcarce, Assistant Editor » » » » » » Amanda Shih,Associate Editor, Nonfiction » » » » » » » Matt Ringler, SeniorEditor » » » » » » » Jenne Abramowitz, Executive Editor SCHOLASTIC PRESS » » » » » » » » » » » » » » » » » » » » » » » » » » » (YA) A Heart ina Body inthe World, DebCaletti The Nowhere Girls, Amy Reed(YA) (MG) Pugs inaBlanket, J.J.Howard—coedited Walsh (MGNF) She Dared: Malala Yousafzai, Jenni L. Walsh (MGNF) She Dared: Bethany Hamilton, Jenni L. Blizzard Besties, Yamile Saied Méndez (MG) (MG) Amber &Dusk,Lyra Selene—coedited and later). memoirs from more recent eras (i.e. 1940s particularly contemporary orhistorical Special interest: MGand YA memoir, NF) The SpaceChase, RebeccaRissman (MG Into the Clouds, Tod Olson(MGNF) NF) Fearless Felines, Kimberlie Hamilton (MG NF) True Hauntings, Dinah DunnWilliams (MG Uwitonze (MGNF) Fight toWalk, Meredith Davis&Rebeka Her OwnTwo Feet:ARwandan Girl’sBrave Thaler, illustrated byJared Lee(MG) Black Lagoon Adventure series, Mike The PuppyPlaceseries, EllenMiles(MG) Goosebumps, R.L.Stine (MG) Julie Falatko (MG) Two DogsinaTrench CoatGotoSchool, Strohm (YA) That’s Not WhatIHeard, Stephanie Kate Child of the Dream, Sharon Robinson (YA) Caster, Elsie Chapman (YA) Smart Cookie, EllySwartz(MG) Strays Like Us, Cecilia Galante (MG) Jess Keating (MG) Nikki Tesla and the Ferret-Proof DeathRay, Ranger inTime series, Kate Messner (MG) Bad Guysseries, Aaron Blabey(MG) The Harlem Charade, Natasha Tarpley (MG) A Drop of Hope, Keith Calabrese (MG) » » » » Reka Simonsen,Executive Editor » » » » » » » Alexa Pastor, Associate Editor ATHENEUM BFYR » » » » » » » Karen Nagel,Executive Editor » » » » » » Tricia Lin,Assistant Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Roll WithIt, Jamie Sumner (MG) Parks, EvanTurk (PBNF) You Are Home: AnOde tothe National (PB NF) Weatherford, illustrated byFrank Morrison How Sweetthe Sound, Carole Boston I’m Ok,Patti Kim(MG) Together We March, LeahHenderson (PB) Krull, illustrated byAlexandra Bye(PBNF) The OnlyWoman inthe Photo, Kathleen To Be(Mis)read, Marisa Kanter (YA) Neonakis (PB) Jacobson, illustrated byAlexandria This isMYRoom!,Jennifer Richard Sarah Walsh (PB NF) Herstory, Katherine Halligan, illustrated by Mikki Daughtry and Tobias Iaconis(YA) Five FeetApart,RachaelLippincott, with Makechnie (MG) The Unforgettable Guinevere St.Clair, Amy EngiNerds, Jarrett Lerner (MG) Calmenson (MG) Our Principal isaFrog!, Stephanie Junior Monster Scouts, Joe McGee (MG) Rosie and Rasmus, Serena Geddes (PB) Superbuns!, Diane Kredensor (PB) This isChristmas, Tom Booth (PB) NF) of Vision, Grit,and Guts, LeahTinari (MG Limitless: 24Remarkable American Women (MG) Seekers of the WildRealm,Alexandra Ott Man of the House, Jenn Bishop (MG) The Okay Witch,Emma Steinkellner (MG) (MG) The Memory Keeper, Jennifer Camiccia (MG) The SimpleArtof Flying, CoryLeonardo (MG) The Blackthorn Key series, Kevin Sands (YA) Girls withSharpSticks, Suzanne Young Stay Buried, ShaunDavid (YA) The Past and Other Things ThatShould Revenge of Magic series, James Riley(MG) Messenger (MG) Keeper of the LostCities series, Shannon The BestLies, Sarah Lyu(YA) EDITED BY | 105

»» The Green Children of Woolpit, J. Serena Williams, Lesa Cline-Ransome, »» Crown of Feathers, Nicki Pau Preto (YA) PREPARING & SUBMITTING Anderson Coats (MG) illustrated by James E. Ransome (PB NF) »» Last Star Burning, Caitlin Sangster (YA) »» The Story that Cannot Be Told, J. Kasper »» Kitten and the Night Watchman, John »» Sanctuary, Caryn Lix (YA) Kramer (MG) Sullivan, illustrated by Taeeun Yoo (PB) »» A Dash of Dragon, Heidi Lang and Kati »» A Field Guide to Getting Lost, Joy »» Strictly No Elephants, Lisa Mantchev, Bartkowski (MG) McCullough (MG) illustrated by Taeeun Yoo (PB) »» The Unmapped Chronicles, Abi Elphinstone »» Small Walt, Elizabeth Verdick, illustrated (MG) BEACH LANE BOOKS by Marc Rosenthal (PB) »» Hey, Wall: A Story of Art and Community, SLEEPING BEAR PRESS Allyn Johnston, VP & Publisher Susan Verde, illustrated by John Parra »» Pluto Gets the Call, Adam Rex, illustrated (PB) Barbara McNally, Senior Editor MARKET SURVEYS by Laurie Keller (PB) »» Footer Davis Probably is Crazy, Susan »» Nien, the Chinese New Year Dragon, »» The Secret Project, Jonah Winter, Vaught (MG) Virginia Loh-Hagan, illustrated by Timothy illustrated by Jeanette Winter (PB NF) Banks (PB) »» The Farmer and the Clown, Marla Frazee SIMON & SCHUSTER BFYR »» Badger’s Perfect Garden, Marsha Diane (PB) Arnold, illustrated by Ramona Kaulitzki »» Rosetown, Cynthia Rylant (MG) Catherine Laudone, Associate Editor (PB) »» All the World, Liz Garton Scanlon, »» Your Destination is on the Left, Lauren »» A Fist for Joe Louis and Me, Trinka Hakes

illustrated by Marla Frazee (PB) Spieller (YA) Noble, illustrated by Nicole Tadgell (PB) DIRECTORIES & RESOURCES »» Roly Poly, Mem Fox, illustrated by Jane »» Learning to Breathe, Janice Lynn Mather »» Someplace to Call Home, Sandra Dallas Dyer (PB) (YA) (MG) »» The Shape of the World: A Portrait of »» Shatter the Sky, Rebecca Kim Wells (YA) »» Boats Will Float, Andria Rosenbaum (PB) Frank Lloyd Wright, K.L. Going, illustrated »» Say No to the Bro, Kat Helgeson (YA) »» Letters from My Tooth Fairy, Brooke Hecker by Lauren Stringer (PB NF) »» Finding Felicity, Stacey Kade (YA) (PB) »» Tiny Feet Between the Mountains, Hanna CAITLYN DLOUHY BOOKS Cha (YA) Sarah Rockett, Editor »» She’s the Worst, Lauren Spieller (YA) »» A Vote is a Voice, Elisa Boxer (PB NF) Alexandria Borbolla, Assistant Editor »» It Takes a Village, Hillary Rodham »» Booler, Margaret Finnegan (MG) Krista Vitola, Senior Editor Clinton (PB NF) »» The Remnant, Jennifer Moffett (YA) »» The Hotel Between, Sean Easley (MG) »» Little Dandelion Seeds the World (PB NF)

»» The Distance Between Me and the Cherry »» If This Were a Story, Beth Turley (MG) »» Travel Guide for Monsters (PB) PUBLICIZING YOUR PUBLISHED WORK Tree, Paola Peretti (MG) »» Lifeboat 12, Susan Hood (MG NF) »» Snow Globe Wishes, Erin Dealey (PB) »» The Place Between Breaths, An Na (YA) »» Meena Meets Her Match, Karla »» Long Way Down, (YA) Manternach, illustrated by Rayner Alencar STERLING »» What I Leave Behind, Alison McGhee (YA) (MG) »» Blended, Sharon M. Draper (MG) »» Franny K. Stein, Mad Scientist: Bad Hair Rachael Stein, Editor Day, Jim Benton (MG) »» Invent-a-Pet, Vicky Fang, illustrated by LITTLE SIMON »» The Griffins of Castle Cary, Heather Tidawan Thaipinnarong (PB) Shumaker (MG) »» What Do You Celebrate? Holidays and Hannah Lambert, Senior Editor »» Just South of Home, Karen Strong (MG) Festivals Around the World, Whitney »» Arf! Buzz! Cluck! A Rather Noisy Alphabet, »» The Paris Project, Donna Gephart (MG) Stewart, illustrated by Christiane Engel Eric Seltzer (PB) »» What the Dog Knows: Young Readers (PB NF) »» Go to Sheep, Jennifer Sattler (PB) Edition, Cat Warren (MG NF) »» A Girl Called Genghis Khan, Michelle »» When Your Lion Needs a Bath, Susanna Lord: The Story of Maria Toorpakai Wazir,

Leonard Hill (PB) SIMON PULSE Michelle Lord, illustrated by Shehzil Malik SCHOOL VISITS »» Standroid & Dandroid Make a Mess, (PB NF) Michael Slack (PB) Nicole Ellul, Editor »» Sam Wu is NOT Afraid of the Dark!, Katie »» Dia De Los Muertos, Hannah Eliot (PB) »» Love & Gelato, Jenna Evans Welch (YA) Tsang & Kevin Tsang, illustrated by »» Everybody Needs a Buddy, Ellen Jackson »» Love & Luck, Jenna Evans Welch (YA) Nathan Reed (MG) (PB) »» The Wicked Deep, Shea Ernshaw (YA) »» Go, Grandpa, Go, Lynn Plourde (PB) »» Winterwood, Shea Ernshaw (YA) WALKER BOOKS LEGAL QUESTIONS »» Sky Without Stars, Jessica Brody and PAULA WISEMAN BOOKS Joanne Rendell (YA) Susan Van Metre, Executive Editorial »» The Lady Rogue, Jenn Bennett (YA) Director Sylvie Frank, Senior Editor »» El Deafo, Cece Bell (MG GN) »» I Have a Balloon, Ariel Bernstein, Sarah McCabe, Associate Editor »» Rosie Revere, Engineer, Andrea Beaty, illustrated by Scott Magoon (PB) »» The Last Magician, Lisa Maxwell (YA) illustrated by David Roberts (PB) »» Game Changers: The Story of Venus and »» This Mortal Coil, Emily Suvada (YA) »» The Strange Case of Origami Yoda, Tom 106 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | EDITED BY | EDITED » » » » » » » » Swag Boy, Lauren Myracle (YA) by Jory John (MG) The Terrible Two, Mac Barnett, illustrated Queen of the Sea,DylanMeconis (MG) They SayBlue, (PB) Angleberger (MG) 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 . 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 needs are, check out the submission guidelines at its website. Send for a of books published by small presses. Learn who the audience is for catalogue and for author’s/illustrator’s guidelines. Always enclose a self- each publisher to whom you intend to send your work. Many publishers addressed, stamped envelope (SASE) with your catalogue request. now have websites and we have included this information when it Over 70 small to medium size independent publishers were sent was provided. However, it doesn’t hurt to surf the web for a particular questionnaires to determine if they were receptive to unsolicited publisher, since this is becoming a popular way for publishers to advertise submissions from SCBWI members. We included publishers who are actively their books. Although we have included email addresses of those who seeking new authors and illustrators as well as those who are currently supplied them, check with a publisher before you submit your work closed to submissions with the hope that they will eventually reopen. We through electronic mail. tried to get as much specific information as possible about the kinds of Do your homework: in your cover letter, let the publisher know that books each small press publishes. Many publishers included specific titles you have studied its list. Give solid reasons why you think your proposal you might want to read before submitting your work. Enclose an SASE or manuscript will fit its needs. In order to find out what a publisher’s with all hard-copy correspondence to these publishers.

ABSEY AND CO. MULTIPLE SUBMISSIONS: No GENRE(S): Fiction, no YA 23011 Northcrest Drive WILL REPLY IN: 8 weeks BOOKS PUBLISHED YEARLY: 200 Spring, TX 77389 OTHER INFORMATION: We do not accept email METHOD OF SUBMISSION: Send in cover letter www.absey.com submissions and proposal with sample chapters. CONTACT PERSON: Edward E. Wilson SUBMISSION GUIDELINES: No Email GENRE(S): Educational and Fiction ACCORD PUBLISHING submissions. Outline and sample chapters. BOOKS PUBLISHED YEARLY: 10 (An imprint of Mcmeel Publishing) Illustrators: Send in samples of portfolio. METHOD OF SUBMISSION: Writers: Snail mail Andrews McMeel Publishing, LLC MULTIPLE SUBMISSIONS: No with SASE for reply 1130 Walnut St. SUBMISSION GUIDELINES: absey.com/ Kansas City, MO 64106 ACTION PUBLISHING submission.php?PHPSESSID=323a40a6d2a4e5a3 www.andrewsmcmeel.com/index.html P.O. Box 391 237fbd6ffbe846ca CONTACT PERSON: Submissions Editor Glendale, California 91209 108 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Nonfiction, Fiction Acquisitions Editor submission_guidelines_for_writers.html php cover letter. No queryletters. manuscript. Illustrators: Colorcopies witha in upperright corner. ChapterBooks:Full Cover letter, fullmanuscript withword count for submissions until further notice. Writers: submissions. with SASE. We do not acceptemail orfax 311 Washington St. Dramatic Publishing ANCHORAGE PRESSPLAYS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: CONTACT PERSON: Worcester, MA01605 91 PrescottStreet AMBASSADOR BOOKS TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.aakp.com [email protected] Gilroy, CA95021 P.O. Box 159 ALL ABOUTKIDSPUBLISHING TITLES TO STUDY: MULTIPLE SUBMISSIONS: SUBMISSION GUIDELINES: email submissions. summary. Illustrators: send samples. SASE. No complete manuscripts. Nonfiction: send chapters and outline. Picture Books:send METHOD OFSUBMISSION:YA: send sample ages. and young adult fiction and nonfiction forall GENRE(S): Children’s picture books, juvenile CONTACT PERSON:Submissions Editor actionpublishing.com/index.html by Mary Burke Peterson Odyssey byLaura L.Seely;A,MyNameisAndrew Boyd Biro; Shadowbox Hunt:ASearchandFind Family of Reeseries | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Picture books, Chapterbooks, 90Days 4 months 4 Walking withMagabyMaureen The DinosaurDogseries; Ms. Kathryn Conlan, Linda Guevara, Editor Advance; Royalty Royalty Yes Yes Yes Have withdrawn itscall Writers: Queryletter actionpublishing.com/ aakp.com/guidelines. 6 6 and childdrama education. audience. Booksontheatrical design, directing, storytelling. folktales, and the artand application of Nancy Poes Festival (2010)byMarcy Heller, illustrated by CD); Paloma andtheDustDevilatBalloon Owlhoots (2011)bySid Hausman (includes a Guggenheim and DrSpencer Lucas; Emusand TITLES TO STUDY: Triassic Hall(2011)byJaenet Mexico, Colorado, , West Texas. illustrator must liveinthe Southwest:New books withaSouthwesterntheme. Author and OTHER INFORMATION: Currently looking for METHOD OFPAYMENT: Royalty WILL REPLY IN:3-4months submissions.html SUBMISSION GUIDELINES:azropress.com/ MULTIPLE SUBMISSIONS:Yes Illustrators: SamplecolororB&Willustrations METHOD OFSUBMISSION:Writers:MS BOOKS PUBLISHEDYEARLY: 1-2 GENRE(S): Children’s Books send portfolio samplestoArtDirector. manuscript. No Email or phone calls. Illustrators www.barefootbooks.com Cambridge, MA02140 2067 MassachusettsAve. BAREFOOT BOOKS [email protected] www.applays.com Woodstock, IL60098-3308 CONTACT PERSON: www.azropress.com [email protected] Santa Fe, NM87505 PMB 342,1704LlanoStreetB AZRO PRESS TITLES TO STUDY: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: www.augusthouse.com/ Atlanta, GA 30305 NE Suite310 3500 PiedmontRoad AUGUST HOUSEBOOKS METHOD OFPAYMENT: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: Stories pertaining tofolklore, Theatrical playsfor K-12 and family 5 Months 5 Submissions Editor Owner: GaeEisenhardt Surf War; TheUglifiedDucky Publisher Royalties onsales. Yes Yes Mail proposal or See website 6-8

literature children’s, textbooks, educational, cookbooks, books, nonfiction. html beachhousepublishing.com/submission_info. information. Illustrators: Queryletterwith1or2samples or queries. be accepted. we prefer photocopies. No email inquiries will necessary to send illustrations, butifyoudo, an outline and samplechapter. It isnot a hard copyand SASE. Forlonger bookssend Illustrators: No originals Writers: Acoverletterwithmanuscript. SASE. MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: www.bayoakpublishers.com [email protected] Dover, DE19904 34 WimbledonSt. BAY OAK PUBLISHING TITLES TO STUDY: OTHER INFORMATION: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: GENRE(S): www.besspress.com Honolulu, HI96816 3565 HardingAvenue BESS PRESS WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOK PUBLISHEDYEARLY: GENRE(S): ILLUSTRATOR CONTACT: WRITER CONTACT: EDITOR CONTACT: CONTACT PERSON: www.beachhousepublishing.com [email protected] Kaneohe, HI96744 P.O. Box 5464 BEACHHOUSE PUBLISHING We GotoMexico; TheAnimalBoogie Fiction and nonfiction. Children’s Books Hawaii and the Pacific–trade, Board books, bathbooks, picture 6-8months 2-6months Submissions Editor Writers:Tessa Strickland Jane Gillespie, Publisher The BoyWhoGrewFlowers;Off Jane Gillespie, Publisher Jane Gillespie, Publisher No email submissions Jane Gillespie, Publisher Yes Contact publisher for Writers:FullMS. Writers:Pleasesubmit Yes Yes Yes Mail oremail 6-12 www. 30-35 SMALL PRESS MARKET SURVEY | 109

WILL REPLY IN: 4-6 weeks TITLES TO STUDY: In the Shadow of the Mammoth; Woodbury, NY 11797 PREPARING & SUBMITTING OTHER INFORMATION: We only publish trade books Hanni and Beth: Safe & Sound; Miles of Smiles: [email protected] about Hawaii and educational materials about The Story of Roxey, the Long Island Rail Road www.at-risk.com Hawaii and the Pacific. If you would like a full Dog; The Teacher Who Would Not Retire CONTACT PERSON: Diane Baur description of our manuscript guidelines, please GENRE(S): Nonfiction only. contact us with your mailing information. BOULDEN PUBLISHING BOOKS PUBLISHED YEARLY: 6-10 30 Oregon Street WRITERS: Will only accept digital submissions. BLUE APPLE BOOKS P.O. Box 1186 Printed manuscripts sent to us will not be 515 Valley Street, Suite 180 Weaverville, CA 96093 reviewed or returned. Please send your digital Maplewood, NJ 07040 530-623-5399; Fax: 530-623-5525 files to [email protected]. www.blueapplebooks.com [email protected] For all submissions, please include a short bio MARKET SURVEYS [email protected] www.bouldenpublishing.com including your qualifications as an expert on the CONTACT PERSON: Publisher EDITOR: Richard Morris subject of your submissions. GENRE(S): Picture books that address important ASSOCIATE EDITOR: Mark Tangard MULTIPLE SUBMISSIONS: Yes themes of early childhood (separation, loss, GENRE(S): Story and activity books, CD-ROMs, WILL REPLY IN: Project-by-project basis reunion, emotional bond between parents and videos, and DVDs, lesson plans, games, etc. for kids, development of empathy). children, counselors, teachers and professionals BUSTER BOOKS BOOKS PUBLISHED YEARLY: 50 on a wide range of subject matter, bullying, (Imprint of Michael O’Mara Books)

METHOD OF SUBMISSION: No longer accepting teasing, bereavement, parental substance 9 Lion Yard Tremadoc Road DIRECTORIES & RESOURCES unsolicited manuscripts. abuse, sexual abuse, academic improvement, London SW4 7NQ England MULTIPLE SUBMISSIONS: N/A character education, drug awareness, parental [email protected] WILL REPLY IN: 2-8 months incarceration, divorce and remarriage, family www.busterbooks.co.uk METHOD OF PAYMENT: Varies issues and more. Primary focus is materials for CONTACT PERSON: Submissions Editor TITLES TO STUDY: Christmas Delicious; Lines that children and those working with children in GENRE(S): Informative but fun nonfiction for Wiggle grades pre-K through 6, however, we selectively older children. publish outside of that grade range. METHOD OF SUBMISSION: nonfiction send BLUE STOCKING PRESS QUERY LETTERS: Accepting synopsis or full manuscripts only. Send via Email P.O. Box 1014 MULTIPLE SUBMISSIONS: Yes or post. Placerville CA 95667 UNSOLICITED MANUSCRIPTS: Yes, send to SUBMISSION GUIDELINES: No fiction. www.bluestockingpress.com/index.html publisher’s attention. WILL REPLY IN: 6+ Months

CONTACT PERSON: Submissions Editor PAYMENT: Depends on project. Either work for MULTIPLE SUBMISSIONS: Yes PUBLICIZING YOUR PUBLISHED WORK GENRE(S): Stories for young adults that focus on hire or royalty. TITLES TO STUDY: The Boys Summer Book; business, economics, finance. ARTWORK INTEREST: Yes, send to publisher’s Meerkat Mischief METHOD OF SUBMISSION: Does not take attention. unsolicited submissions at this time. ARTWORK PAYMENT: Depends on project. Either CAROLINA WREN PRESS TITLES TO STUDY: Common Sense Business for work for hire or royalty. 120 Morris St. Kids Durham, NC 27701 BRIGHT SKY PRESS [email protected] BLUE MARLIN PUBLICATIONS Manuscript Department carolinawrenpress.org 823 Aberdeen Road 2365 Rice Boulevard CONTACT PERSON: Andrea Selch West Bay Shore, NY 11706 Suite 202 GENRE(S): Children’s literature that deals with 631-666-0353; Fax: 631-666-0353 , TX 77005 disease, difference, gender issues, bullying, www.bluemarlinpubs.com www.brightskypress.com especially by writers historically neglected by [email protected] [email protected] .

CONTACT PERSON: Francine Poppo Rich 866-933-6133 BOOKS PUBLISHED YEARLY: 3 SCHOOL VISITS WRITER CONTACT: Francine Poppo Rich CONTACT PERSON: Lucy Chambers METHOD OF SUBMISSION: Not accepting ILLUSTRATOR CONTACT: Francine Poppo Rich GENRE(S): All unsolicited manuscripts at this time. Writers can GENRE(S): Picture books; middle grade novels BOOKS PUBLISHED YEARLY: 24 submit to two contests. See website for details. (historical fiction only, please). METHOD OF SUBMISSION: Send proposals as hard TITLES TO STUDY: Peace Comes to Ajani; The BOOKS PUBLISHED YEARLY: 2 copies. Please send copies, no originals. See website North Carolina Alphabet Book METHOD OF SUBMISSION: United States Post Office for details on proposal content for fiction and LEGAL QUESTIONS MULTIPLE SUBMISSIONS: Yes, send your nonfiction. CEDAR FORT PUBLISHING manuscripts to as many publishers as you like, MULTIPLE SUBMISSIONS: Yes 2373 W. 700 S. but only one to ME at a time, please! WILL REPLY IN: 6-12 months Springville UT 84663 SUBMISSION GUIDELINES: www.bluemarlinpubs. METHOD OF PAYMENT: Royalties www.cedarfortbooks.com com/Page06ForAuthors.html CONTACT PERSON: Submissions Editor WILL REPLY IN: 3 months BUREAU FOR AT-RISK YOUTH GENRE(S): Stories in the subjects of prayer, The METHOD OF PAYMENT: Advance and royalties 303 Crossways Park Drive Book of Mormon, general fiction and nonfiction, 110 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org OTHER INFORMATION: Publishes workfrom Match, RainbowWeaver, Finding theMusic Olinguito, fromAtoX!,MarisolMcDonald Doesn’t TITLES TO STUDY: ¡Olinguito,delaAaZ!/ METHOD OFPAYMENT: advance on royalties acquiring yourwork WILL REPLY IN:6months ONLY ifinterested in MULTIPLE SUBMISSIONS:Yes org/about-us/contact-us SUBMISSION GUIDELINES:childrensbookpress. guidelines) ONLY (seewebsitefor completesubmission METHOD OFSUBMISSION:Via snail mail BOOKS PUBLISHEDYEARLY: Approximately 4 approach. nonfiction with adistinct voice orunique are realistic fiction, historical fiction, and for readers ages 5to12.Ofspecial interest nonfiction) featuring children/people of color, only (fiction, historical fiction, poetry, (S): Currently publishing picture books CONTACT PERSON:Submissions Editor www.childrensbookpress.org [email protected] NEW YORK,NY10016 95 MadisonAvenue, Suite#1205 (An imprint of Lee&LowBooksInc.) CHILDREN’S BOOKPRESS MULTIPLE SUBMISSIONS:Yes WILL REPLY IN:4weeks submissions.html SUBMISSION GUIDELINES:cidermillpress.com/ mail submissions withSASE. samples. Seewebsitefor further guidelines. Can Writers submitcoverletter. Illustrator submit SUBMISSION METHOD:Email asPDFpreferred. entertaining giftbooks. GENRE(S): Interactive, creativity booksand Editor CONTACT PERSON:John Whalen,submissions cidermillpress.com/index.html [email protected] Kennebunkport, ME04046 12 SpringStreet PO Box 454 CIDER MILLPRESS of Rime TITLES TO STUDY: Gardenof LostSouls;TheRifts MULTIPLE SUBMISSIONS:Yes BOOKS PUBLISHEDYEARLY: 100 guidelines/ cedarfortbooks.com/manuscript-submission- guidelines and usethe submission form. www. unsolicited manuscripts. Pleaseseesubmission METHOD OFSUBMISSION:Accepting historical fiction, and behavioral issues. | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Activity books philosophy and religion. history; SouthwesternAmericana; and Eastern board books, educational, and classics. board, giftand activity books). and Intervisual Books(quality pop-up,novelty, language). Seeseparate entries for Piggy Toes submissions atthistime), Sonrisas(Spanish submissions. submissions atthistime. from the communities represented intheir work. established and emerging authors and artists Boston, MA02108-4715 Fifteen CourtSquare, Suite320 DAVID R.GODINEPUBLISHING IMPRINTS INCLUDE: METHOD OFSUBMISSION: GENRES: CONTACT PERSON: www.dalmatianpress.com [email protected] 800.815.8696 Franklin, TN37067 Suite C-250 113 SeaboardLane DALMATIAN PRESS METHOD OFS GENRE(S): CONTACT PERSON: www.clearlightbooks.com [email protected] Santa Fe, NM87505 823 DonDiego CLEAR LIGHTBOOKS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.childswork.com [email protected] Woodbury, NY11797 303 CrosswaysPark Drive CHILDSWORK CHILDSPLAY of Christmas TITLES TO STUDY: NativeAmericanTwelve Days MULTIPLE SUBMISSIONS:Yes WILL REPLY IN:4+weeks clearlightbooks.com/ SUBMISSION GUIDELINES:www. samples of artwork.Illustrators submitsamples. summary, and fullmanuscript. Alsoinclude Color and activitybooks, storybooks, American Indian culture, religion, and Nonfiction, Therapeutic workbooks, UBMISSION: Coverletter, brief 6 weeks Submissions Editor Diane Baur Publisher Spirit Press (not accepting Determined byproject Yes Only acceptdigital Not accepting 6-10 Texas and Oklahoma. history and culture of the Southwest,especially participation init. appreciation for nature and arespectful books thatare intended toencourage an Illustrators: Muffy Weaver. html/submissions.html SUBMISSION-GUIDELINES hard copies for samples. Illustrators: coverletterand samples, preferred more details. SASE ifsending inahard copy. letter and submission. Seeguidelines for from anagent. unsolicited material. Willacceptsubmissions with querylettersthatinclude synopsis and bio. METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: www.dawnpub.com/submission-guidelines/ [email protected] Nevada City, CA95959 12402 BitneySpringsRd. DAWN PUBLICATIONS TITLES TO STUDY: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: godine.com/index.asp [email protected] GENRE(S): CONTACT PERSON: www.faber.co.uk [email protected] UNITED KINGDOM London WC1B3DA 74-77 GreatRussellStreet Bloomsbury House FABER &FABER TITLES TO STUDY: MULTIPLE SUBMISSIONS: WILL REPLY IN: SUBMISSION GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: www.eakinpress.com [email protected] Waco, TX76702 P.O. Box 21235 EAKIN PRESS MULTIPLE SUBMISSIONS: SUBMISSION GUIDELINES: Farmer’s Alphabet Feester FilibusterbyMollyLeviteGriffis “Nature Awareness” Mainly picture Children’s fiction and nonfiction Fiction, YA, middle grade, and Fiction and nonfiction thatcoverthe 3+months Writers:GlennHovemann. Submissions Editor KrisGholson, publisher The LonelyPhoneBooth; The RachelResistance; Design dept. Yes yes Writers:email cover Doesnot accept Email fullmanuscripts WWW.DAWNPUB.COM/ www.eakinpress.com/ 20-30 SMALL PRESS MARKET SURVEY | 111 picture books. OTHER INFORMATION: Looking for books set in PREPARING & SUBMITTING METHOD OF SUBMISSION: ONLY ACCEPTING Canada or intriguing U.S. cities and regions. GUARDIAN ANGEL PUBLISHING ILLUSTRATION SAMPLES. Send samples via post “We work very closely with writers to produce a www.guardianangelpublishing.com or email with cover letter. fine book—to our specifications.” [email protected] WILL REPLY IN: Up to a year if interested. TITLES TO STUDY: Blues Across the Bay by Whitney GENRE: children’s hygiene and health. See Stewart; Speechless in New York by Ellen Dreyer; website for details. FARCOUNTRY PRESS Jammin’ on the Avenue by Whitney Stewart METHOD OF SUBMISSION: email only. Submissions P.O. Box 5630 accepted from May 1 - September 1. See website Helena, MT 59604 FULCRUM PUBLISHING for details. [email protected] 4690 Table Mountain Dr., Ste. 100 TITLES TO STUDY: Check website www.farcountrypress.com Golden, CO 80403 MARKET SURVEYS CONTACT PERSON: Submissions Editor [email protected] H.J. KRAMER GENRE(S): Nature and history for children. https://fulcrum.bookstore.ipgbook.com/ New World Library Educational CONTACT PERSON: Publisher 14 Pamaron Way METHOD OF SUBMISSION: SASE. Book proposal and GENRE(S): Nonfiction Novato, CA 94949 sample chapters. BOOKS PUBLISHED YEARLY: 10-20 [email protected] SUBMISSION GUIDELINES: www.farcountrypress. METHOD OF SUBMISSION: Writers: Query letter, www.newworldlibrary.com com/contact/submitproposal.php proposal with writing sample. Illustrators: CONTACT PERSON: Submissions Editor

WILL REPLY IN: As soon as possible Sample color or B&W illustrations. Email GENRE(S): Spirituality, self-improvement, the DIRECTORIES & RESOURCES TITLES TO STUDY: Who Pooped in Central Park?; A submissions only. environment, sustainability Cow’s Boy MULTIPLE SUBMISSIONS: Yes BOOKS PUBLISHED YEARLY: 2-4 SUBMISSION GUIDELINES: www.fulcrum-books. METHOD OF SUBMISSION: Writers: Email query FLASHLIGHT PRESS com/client/client_pages/submissions.cfm or cover letter with proposal materials as file 527 Empire Boulevard WILL REPLY IN: 4-6 weeks attachments. No longer accepting unsolicited Brooklyn, NY 11225 METHOD OF PAYMENT: Advance and royalties children’s book manuscripts 718-288-8300 MULTIPLE SUBMISSIONS: Yes www.flashlightpress.com GIFTED EDUCATION PRESS SUBMISSION GUIDELINES: newworldlibrary.com/ [email protected] 10201 Yuma Court, P.O. Box 1586 Submissions/tabid/70/Default.aspx CONTACT PERSON: Shari Dash Greenspan. Manassas, VA 20108 WILL REPLY IN: 10 weeks GENRE(S): picture books [email protected] METHOD OF PAYMENT: Royalties based on

BOOK PUBLISHED YEARLY: 2-4 www.giftededpress.com publisher’s net receipts PUBLICIZING YOUR PUBLISHED WORK METHOD OF SUBMISSION: Only email queries to CONTACT PERSON: M. Fisher TITLES TO STUDY: Where Does God Live? by Holly according to online submission guidelines. GENRE(S): Nonfiction environmental sciences or Bea; Smudge Bunny by Dr. Bernie Siegel; Secret WRITERS: See online submission guidelines for environmental studies books for gifted children of the Peaceful Warrior by Dan Millman details BOOKS PUBLISHED YEARLY: 20 ILLUSTRATORS: See online submission guidelines METHOD OF SUBMISSION: Writers: Query first via HARA PUBLISHING GROUP for details email. Book Publishers Network MULTIPLE SUBMISSIONS: Yes MULTIPLE SUBMISSIONS: No P. O. Box 2256 SUBMISSION GUIDELINES: www.flashlightpress. WILL REPLY IN: 4-6 weeks Bothell, WA 98041 com/submissionguidelines.html METHOD OF PAYMENT: Royalty based on sales 425 483-3040; Fax: 425 483-3098 WILL REPLY IN: 1-2 weeks from receipt of email [email protected] query GINGERBREAD BOOKS www.bookpublishersnetwork.com METHOD OF PAYMENT: Advance and royalties 602 Montauk Highway CONTACT PERSON: Sheryn Hara TITLES TO STUDY: I Need My Monster, Hammer and Westhampton Beach, New York 11978 GENRE(S): Self-help, Children’s books, business

Nails [email protected] books, memoir, cookbooks. SCHOOL VISITS www.gingerbreadbooks.com BOOKS PUBLISHED YEARLY: 30-35 FOUR CORNERS PUBLISHING CONTACT: Illustrators: Maria Nicotra METHOD OF SUBMISSION: Electronic is best but 45 West 10th Street, Suite 4J GENRE(S): children’s historical fiction and fiction mail is fine also. www.bookpublishersnetwork. New York, NY 10011 picture books com/testimonials/ www.fourcornersbooks.com METHOD OF SUBMISSION: Not accepting MULTIPLE SUBMISSIONS: Yes CONTACT PERSON: Publisher unsolicited material at this time. Illustrators: WILL REPLY IN: 2-4 weeks LEGAL QUESTIONS GENRE(S): Travel and Fiction send samples in PDF form or by post to Art BOOKS PUBLISHED YEARLY: 2 Director. HENDRICK-LONG PUBLISHING METHOD OF SUBMISSION: Writers: Sample chapter WILL REPLY IN: As soon as possible 10635 Tower Oaks, Suite D from published novel for this age group. TITLES TO STUDY: Frances Woke Up Early by Houston, Texas 77070 Illustrators: None needed now. Maureen Hyde [email protected] MULTIPLE SUBMISSIONS: Yes www.hendricklongpublishing.com METHOD OF PAYMENT: Flat fee CONTACT PERSON: Michael or Vilma Long 112 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org activity books, resources for teachers. Art Director Editor Submit_Manuscript.php &id=26&Itemid=53 com/index.php?option=com_content&task=view color/B&W withSASE. manuscript with SASE. Illustrators: Sample 1-page bio withsubmission. available onwebsite. Illustrators should send a Publishers catalogueand author’s guidelines Original artworkwithSASE. manuscript orquerywithSASE. Illustrators: Illustrators: SASE; Hard copyonly. manuscript withSASE. No email, please. www.dalmatianpress.com [email protected] Franklin, TN37067 Suite C-250 113 SeaboardLane (an imprint of Dalmatian Press) INTERVISUAL BOOKS TITLES TO STUDY: SUBMISSION GUIDELINES: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.innovativekids.com [email protected] Norwalk, CT06854 50 Washington Street INNOVATIVE KIDS TITLES TO STUDY: OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.humanicspub.com [email protected] Lake Worth, FL33460-3737 12 S.DixieHwy, Suite203 HUMANICS PUBLISHINGGROUP METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): Terrific “4s” | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Educational Middle grade nonfiction, K-3 teacher Texana 6 months 6 2 weeks Bubbleology; BugsintheGarden Super SimpleScience;Teaching Writers: Editor;Illustrators: W. Arthur Bligh, Acquisitions No advance. Royalty:10% Advance against royalties In business for 27years. Writers:Picture book Writers:Completed Writers:Submit Yes No www.innovativekids. www.humanicspub.com/ 10 2-5 30 touch-and-feel, collectiblebooksfor ages 0-6. and grow, popup,magic ribbonbooks, holiday, touchable counting, uniqueformats, giggle YA Biography books withNew England sensibilities. grade chapterbooks, and young adult titles; (Tennessee) (New York). Illustrator: Gina Rhodes-Haynes New England orthe Northeast United States. authors and illustrators who are connected to com/submission-guidelines. Prefer to workwith only disposableduplicate copies. background); artwillnot bereturned sosend email address, phone and fax, professional copies withresume’, coverletter(name, address, of full-colorprint samplesorhigh-quality color background +SASE. Illustrators: send arange description and info aboutyourprofessional fax +fullms. (100-250word count), novelty with name, address, email address, phone and Lane, Suite250,Franklin, TN37067. Illustrator: Gina Rhodes Haynes, 113Seaboard 110 W. 5thStreet, New York, NY10019-2200. Senior EditorWillHollis, Stacks2nd Floor, samples. and bio. Illustrators: coverletter, bio, and submissions. Fullmanuscript withcoverletter calls. letters orhandwritten submissions and no phone CONTACT: 866-418-2572 GENRE(S): CONTACT PERSON: users.tm.net/sherwells/ [email protected] Royal Oak,MI48068 P.O.Box 1338 LAWELLS PUBLISHING TITLES TO STUDY: MULTIPLE SUBMISSIONS: WILL REPLY IN: MANUSCRIPT GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT: www.islandportpress.com [email protected] Yarmouth, Maine04096 PO BOX10 ISLANDPORT PRESS OTHER INFORMATION: SUBMISSION GUIDELINES: WILL REPLY IN: METHOD OFSUBMISSION: GENRE(S): Ride Ever!andMysteryonPineLake Author: Senior Editor/WillHollis Melissa Kim,Editor Picture books, storybooks, middle Memory albums, board books, Middle grade ; Three tosixmonths Within 6months Sherry A.Wells The Iciest,Diciest,ScariestSled No picture books, query Yes Regularmail. Author: Prefer email www.islandportpress. Authors: Coverletter themed anthologies. novels, young adult and new adult novellas, and ages 0-8. about/submissions/ but onlyone toLeapatatime, please! manuscripts toasmany publishers asyoulike, posted toourwebsiteorFacebookpage. submission guidelines. Occasional opencalls submissions tothe appropriate editorasperour for submission guidelines. Illustrators: N/A. if weneed more info orsamplesof yourwork. If JacketFlap), provide alink.We will contact you work isotherwise availableonline (e.g., on Illustrators: IfyouhaveaWebsite oryour which you may download from the website. Manuscript Submission Policy &Agreement, along with asigned and dated copy of our Submit acompletemanuscript and coverletter METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): ILLUSTRATOR CONTACT: WRITER CONTACT: CONTACT PERSON: [email protected] http://leapbks.net/ 13825 Otego, NY PO Box 63 LEAP BOOKS,LLC TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: 877-415-4488 [email protected] www.littlepicklepress.com Belvedere, CA94920 P.O. Box 983 LITTLE PICKLEPRESS TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: Missouri Rabbit. Right Kindof Mistake, BewaretheLittleWhite Fall, LethallyBlonde, IslandSting,Half-Life, advances atthistime. Middle grade novels, young adult Children’s fiction and nonfiction for Approximately three months 3 weeks

StormWatcher, WhenSparrows Shannon Delany Shannon Delany Father Ford; The Mullers from Father Ford;TheMullersfrom Submissions Editor Competitiveroyalties, no Royalties, Work for hire Shannon Delany No Yes, send your Accepting agented Writers:Check website Electronic. Writers: http://leapbks.net/ 10 5 5+ SMALL PRESS MARKET SURVEY | 113 your work is not online, please email at least 10 WILL REPLY IN: 6 months DESCRIPTION: High quality literary fiction, PREPARING & SUBMITTING examples of your work in an electronic format. METHOD OF PAYMENT: 5% Royalties nonfiction, and poetry for Please put “artwork submission” in the subject middle grade and young adult readers. Books line of your email. Include your bio within MEADOWBROOK PRESS are published simultaneously in hardcover, or attached to your email. Send to leslie@ 6110 Blue Circle Drive paperback, and ebook formats. littlepicklepress.com. Suite 237 BOOKS PUBLISHED YEARLY: 6-8 MULTIPLE SUBMISSIONS: Yes Minnetonka, MN 55343 SUBMISSIONS: Does not accept unsolicited WILL REPLY IN: 3 months from the time we [email protected] SUBMISSIONS: Will critique your manuscript. receive a complete query package from Creative www.meadowbrookpress.com Send to [email protected]. See web Byline CONTACT PERSON: Submissions Editor site: www.namelos.com/submissions.php METHOD OF PAYMENT: Upfront compensation GENRE(S): Nonfiction MULTIPLE SUBMISSIONS: Yes MARKET SURVEYS plus royalties. METHOD OF SUBMISSION: Writers: Cover letter. PAYMENT: Royalty TITLES TO STUDY: What Does It Mean to Be Global? Illustrators: submit nonreturnable copies (color (October 2009), What Does It Mean to Be Green? copies are fine) of work that best represents NEW LEAF BOOKS (March 2010) What Does It Mean To Be Present? their style and strengths. WigWam Publishing Co. (July 2010) MULTIPLE SUBMISSIONS: Yes P.O. Box 6992 WILL REPLY IN: 4 months Villa Park, IL 60181 MAGINATION PRESS / APA METHOD OF PAYMENT: Advance and royalty for 630-832-8337

750 First Street NE authors; flat fee for illustrators. [email protected] DIRECTORIES & RESOURCES Washington, DC 20002 OTHER INFORMATION: In business 30 years. www.newleafbooks.net [email protected] Catalog free to authors and illustrators. Not accepting submissions per website. www.maginationpress.com TITLES TO STUDY: Arts and Crafts Busy Book CONTACT PERSON: Acquisitions NORTHWORD BOOKS GENRE(S): Nonfiction and Fiction MITCHELL LANE PUBLISHERS National Book Network BOOKS PUBLISHED YEARLY: 8-10 P.O. Box 196 4501 Forbes Blvd. METHOD OF SUBMISSION: Writers: Complete Hockessin, DE 19707 Lanham MD 20706 USA manuscript. No electronic submissions. www. www.mitchelllane.com www.nbnbooks.com apa.org/pubs/magination/guideline.aspx CONTACT: Submissions Editor CONTACT PERSON: Publisher ILLUSTRATORS: Sample color or B&W illustrations GENRE(S): nonfiction for all age ranges BOOKS PUBLISHED YEARLY: 20 with website info METHOD OF SUBMISSION: Work for hire basis. Send METHOD OF SUBMISSION: Writers: Full text. See

MULTIPLE SUBMISSIONS: Yes in resume with cover letter and sample work. website for more information. PUBLICIZING YOUR PUBLISHED WORK WILL REPLY IN: 3-6 months SUBMISSION GUIDELINES: Will not accept Illustrators: Send samples to keep on file. METHOD OF PAYMENT: Authors: 5-15% Royalty on unsolicited material. mitchelllane.com/pages/ MULTIPLE SUBMISSIONS: Yes, with notice net revenues. Usually no advance; Illustrators: auth_guide.php WILL REPLY IN: 12 weeks Usually fee, no royalty. TITLES TO STUDY: A Kid’s Guide to Genealogy; The METHOD OF PAYMENT: Flat fee or royalty/advance OTHER INFORMATION: Catalogue: enclose 9” x 12” Minotaur TITLES TO STUDY: See website SASE. Enclose SASE with sufficient postage with all submissions if you want materials returned. MOUNTAIN PRESS ONSTAGE PUBLISHING Include credentials, intended audience/ market; P.O. Box 2399 190 Lime Quarry Road, Suite 106 description of book (how does it benefit readers, Missoula, MT 59806 Madison, AL 35758 and how does it differ from other books). [email protected] [email protected] TITLES TO STUDY: Magic Box; The Year My Mother www.mountain-press.com www.onstagepublishing.com Was Bald; Why Are You So Sad?; Big Ernie’s New CONTACT PERSON: Writers: Acquisitions GENRE(S): chapter books, middle grade novels Home; Feeling Better; Ginny Mom’s and Mom’s GENRE(S): History - YA biography and nonfiction. and young adult novels. We do not publish

House; Dad’s House; Don’t Squeal Unless It’s a Science & Natural History--illustrated for picture books. We do not publish short stories SCHOOL VISITS Big Deal; What To Do When You Worry Too Much elementary, K-5. or poetry. BOOKS PUBLISHED YEARLY: 15 METHOD OF SUBMISSION: Email query and/or MAVAL PUBLISHING MULTIPLE SUBMISSIONS: Yes with notice in cover synopsis and first three chapters in the body of 3900 East 6th Avenue letter. an email. NO ATTACHMENTS will be accepted. Denver, CO 80206 SUBMISSIONS GUIDELINES: mountain-press.com/ Send to [email protected] [email protected] for_authors.php Illustrators may send their web sites to the art LEGAL QUESTIONS www.mavalpublishing.com METHOD OF PAYMENT: Royalties to authors and director. They may put illustrations in the body CONTACT PERSON: George Luder illustrators. Flat fee for single illustrations of the email. NO ATTACHMENTS. GENRE(S): Picture Books (covers). SUBMISSION GUIDELINES: www. BOOKS PUBLISHED YEARLY: 5-10 onstagepublishing.com/submissions.php MULTIPLE SUBMISSIONS: Yes. Please contact NAMELOS WILL REPLY IN: As soon as possible publisher for more Information about www.namelos.com TITLES TO STUDY: Huntsville, 1892: Clara; submissions. [email protected] Mission Shanghai 114 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org touch-and-feel, collectiblebooksfor ages 0-6. and grow, popup,magic ribbonbooks, holiday, touchable counting, uniqueformats, giggle Illustrator: Gina Rhodes-Haynes (Tennessee). node/20 only disposableduplicate copies. background); artwillnot bereturned sosend email address, phone and fax, professional copies withresume’, coverletter(name, address, of full-colorprint samplesorhigh-quality color background +SASE. Illustrators: send arange description and info aboutyourprofessional fax +fullms. (100-250word count), novelty with name, address, email address, phone and cover letter. 250, Franklin, TN37067. Gina Rhodes Haynes, 113Seaboard Lane, Suite Street, New York, NY10019-2200.Illustrator: Senior Editor, Stacks2nd Floor, 110W. 5th WRITERS. No Email. with fullmanuscript. ONLY ACCEPTS CANADIAN calls. letters orhandwritten submissions and no phone [email protected] Houston, TX77204-2004 Rm 100 University of Houston4902GulfFwy, Bldg19, (ARTE PUBLICO PRESSIMPRINT) PINATA PRESS OTHER INFORMATION: SUBMISSION GUIDELINES: WILL REPLY IN: METHOD OFSUBMISSION: GENRE(S): CONTACT: 866-418-2572 www.dalmatianpress.com Franklin, TN37067 Suite C-250 113 SeaboardLane (an imprint of Dalmatian Press) PIGGY TOES TITLES TO STUDY: MULTIPLE SUBMISSIONS: BOOKS PUBLISHEDYEARLY: SUBMISSION GUIDELINES: METHOD OFSUBMISSION: Canadian writers. GENRE(S): Chapterbooksand YA fiction by CONTACT: Submissions Editor www.oolichan.com [email protected] Fernie, B.C. CanadaV0B1M0 P.O. Box 2278 OOLICHAN BOOKS Story | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Author: Senior Editor Memory albums, board books, Within6months Kid Dynamite:TheGerryJames No picture books, query Yes. Pleasespecifyin SASE and coverletter Regular mail. Author: www.oolichan.com/ Authors: coverletter 10 States. customs of Hispanic culture inthe United of the themes, languages, characters, and 8-15. Interest inhistorical fiction. submissions/ ONLY CANADIAN AUTHORS/ARTISTS for-writers/submission-guidelines/ through submission form returned. chapters. SASE ifyouwant the manuscript providencepublishing.com Illustrators: pleasessubmitsamplesto help@ letter via the contact page onthe website. necessary. SASE. and samplechapters. Onlymail ifabsolutely GENRE(S): CONTACT: TITLES TO STUDY: EcoWarrior; HannahandtheSpindle MULTIPLE SUBMISSIONS: MANUSCRIPT GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT ronsdalepress.com [email protected] Vancouver, B.C., CanadaV6S1G7 3350 West 21stAvenue RONSDALE PRESS TITLES TO STUDY: WILL REPLY IN: SUBMISSION GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT: www.raintownpress.com [email protected] Portland, OR97214 1111 E.BurnsideSt.#309 RAINTOWN PRESS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.providencepublishing.com Houston, Texas 77069 13607 BelindaCourt PROVIDENCE PUBLISHING TITLES TO STUDY: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: my Mother ; Visibility : Veronica Hatch Submissions Editor Submissions Editor Middle Grade and YA fiction. Middle grade and YA novels, for ages Seeks realistic and authentic portrayal Children’s Books 4 months 4 2-6weeks 90days Pepita Talks Twice; TheDesertis Spartacus and the Circus of Vuthy Kuon Negotiable Yes Yes Pleasesend aquery Email queryletter Yes Submit manuscript Cover letterand sample raintownpress.com/ ronsdalepress.com/ 3-6 Illustrators: Portfolio, websitelinks. series totheir line.” Press iscurrently adding an18bookcareer reaching young peoplethrough sports. Scobre peoples booksdesigned toincrease literacy by [email protected]. or manuscript withcoverletter. Email periodically. submissions atthistime. Check website TITLES TO STUDY: OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.scobre.com [email protected] La Jolla,CA92037 2255 CalleClara SCOBRE PRESSCORPORATION Whorl METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.sportspubbooks.com New York, NY10018 307 West 36thStreet,11thFloor Skyhorse Publishing,Inc. SPORTS PUBLISHING TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.sleepingbearpress.com Ann Arbor, MI48108 315 EisenhowerParkway, Suite200 SLEEPING BEARPRESS Way Around;TheKidfromCourage Majors; TheHighestStand;LongShot; Spy and theChocolatePilot;TheScarlettStocking Z isfor Zamboni:AHockey Alphabet;Mercedes standard, re: royalty percentages. Children’s and YA Sports Nonficiton Picture Books 7-10days 8 weeks 9-12 months ScottBlumenthal Hoop City;TheRoadtothe The Legendof MackinacIsland; Submissions Acquiring Editor Bi-annual royalty Almost double industry Royalties “We are publishers of young Yes Writers:Email, Mail. Writers:Proposal Not accepting Yes 6-9 80 25-28 SMALL PRESS MARKET SURVEY | 115

manuscripts (No Young Adult Books). Life, The Ring, Listen, Saved by the Music TANGLEWOOD PRESS PREPARING & SUBMITTING P.O. Box 3009 TITLES TO STUDY: The Lady in the Box by Ann Terre Haute, IN 47803 McGovern; The Crab Man by Patricia Van West; WINDWARD PUBLISHING www.tanglewoodbooks.com Prairie Dog Pioneers by Jo Harper; Finding (An Imprint of Finney Company, Inc.) [email protected] Daddy: A Story of the Great Depression by 8075 215th Street West 812-877-9488 Jo Harper Lakeville, MN 55044 CONTACT PERSON: Kairi Hamlin, Acquisitions 952-469-6699 Editor VENDERA PUBLISHING www.finneyco.com WRITERS: Kairi Hamlin PO BOX 116 [email protected] ILLUSTRATORS: Kairi Hamlin Franklin Furnace Ohio 45629 CONTACT PERSON: Finney Company GENRE(S): Picture books, middle grade, YA www.venderapublishing.com, 711press.com GENRE(S): Primarily nonfiction covering natural MARKET SURVEYS BOOKS PUBLISHED YEARLY: 5-10 CONTACT PERSON: Jaime Vendera admin@ history and science, outdoor recreation and METHOD OF SUBMISSION: Email query or cover venderapublishing.com children’s literature and occasional Fiction with letter with sample chapters to khamlin@ GENRE(S): nonfiction instructional including self educational value. tanglewoodbooks.com. See website for further help and vocal instruction, fiction- children’s BOOKS PUBLISHED YEARLY: 6-8 guidelines. fiction / for 711press- horror, fantasy, children’s METHOD OF SUBMISSION: No electronic MUTIPLE SUBMISSIONS: Yes fantasy, sci-fi, , crime drama, spy, submissions. Query by mail with brief overview, WILL REPLY IN: 3-6 months action & adventure table of contents, intro and at least 3 chapters,

METHOD OF PAYMENT: Royalties BOOKS PUBLISHED YEARLY: 6 / 12 description of proposed market, SASE. DIRECTORIES & RESOURCES BOOKS PUBLISHED YEARLY: 5-10 Method of Submission: electronic submission of MULTIPLE SUBMISSIONS: Yes TITLES TO STUDY: Those written by Audrey Penn, first 2-3 chapter through secure upload server / SUBMISSION GUIDELINES: www.finneyco.com/ Katie McKy or illustrated by Barbara Gibson, no submissions authoring.html. Christa Unzner. SUBMISSION GUIDELINES: All titles accepted WILL REPLY IN: 10-12 weeks except for erotica / no submissions to 711 press METHOD OF PAYMENT: Royalties MULTIPLE SUBMISSIONS: Yes / NA OTHER INFORMATION: No A,B,C or 1, 2, 3 books, THREE BEARS PUBLISHING WILL REPLY IN: Email / NA board books mysteries, romances, science Box 132 fiction, poems, short story collections, religious Aldergrove, BC, Canada V4W2T7 WESTSIDE BOOKS material or recipe/cookbooks. Will provide free [email protected] 60 Industrial Road catalogs. www.threebearspublishing.com Lodi, NJ 07644

CONTACT: Acquisitions Editor 973-458-0485 YORKSHIRE PUBLISHING PUBLICIZING YOUR PUBLISHED WORK GENRE(S): Picture books for ages 5 and up. www.westside-books.com Post Office Box 472246 METHOD OF SUBMISSION: Cover letter and [email protected] Tulsa, Oklahoma 74147 manuscript. Illustrators: send samples and cover CONTACT PERSON: Evelyn M. Fazio, Publisher. [email protected] letter. Send in post. Writer Contact: same as above. Illustrator www.yorkshirepublishing.com SUBMISSION GUIDELINES: www. Contact: same as above. CONTACT: Submissions Editor threebearspublishing.com/new_page_21.htm GENRE(S): YA fiction (no fantasy or chick lit), YA GENRE(S): Children’s fiction and nonfiction MULTIPLE SUBMISSIONS: Yes nonfiction (issue-based); will consider novels in METHOD OF SUBMISSION: Fill out form on website TITLES TO STUDY: What do You Want to Be?; If I verse and graphic novels. and send in manuscript via email was Mayor BOOKS PUBLISHED YEARLY: 15-20 SUBMISSION GUIDELINES: yorkshirepublishing. METHOD OF SUBMISSION: Query by email com/ TURTLE BOOKS describing your novel in a few paragraphs with MULTIPLE SUBMISSIONS: Yes 897 Boston Post Rd a 1-2 page synopsis; if interested, we’ll request TITLES TO STUDY: The Tortoise and the Hair Piece Madison, CT 06443 email sample pages from the novel as Ms.

[email protected] Word docs, then possibly a full manuscript. No ZIPPER PRESS SCHOOL VISITS www.turtlebooks.com queries by phone or fax; or no cold submissions PO Box 164 CONTACT PERSON: Ronald Zollshan of manuscripts in hard copy, on disc or via Englewood, OH 45322-0164 GENRE(S): Illustrated children’s trade picture email. Writers: send query to submissions@ [email protected] books in English & Spanish editions. westside-books.com. Illustrators: send query to www.zipperpress.com BOOKS PUBLISHED YEARLY: 6 [email protected] CONTACT: Submissions Editor METHOD OF SUBMISSION: Writers: Submit MULTIPLE SUBMISSIONS: Yes, but no more than GENRE(S): Picture books and easy reader fiction LEGAL QUESTIONS manuscripts with an SASE. Illustrators: Submit two at a time, please. METHOD OF SUBMISSION: Currently not accepting samples for files. SUBMISSION GUIDELINES: www.westside-books. submissions, but check website periodically. MULTIPLE SUBMISSIONS: OK com TITLES TO STUDY: The Little Wooden Table; It’s WILL REPLY IN: As soon as possible WILL REPLY IN: 4-6 months to review full ms. Raining Whisper METHOD OF PAYMENT: Contract with advance and METHOD OF PAYMENT: royalty advance and royalties. royalties based on sales. OTHER INFORMATION: No queries. Send complete TITLES TO STUDY: Stepping Up, Running for My 116 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL 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 done by following the magazine’s guidelines closely. If you are writing publication’s requirements, policies, and procedures. An effort has a nonfiction piece, be sure to include all documentation the magazine been made to include more information for illustrators and artists. In requires. Understand the terms before you submit your work; the time some instances, publishers may not have provided all the information spent researching the magazine and its guidelines could mean the requested, and guidelines change, so always send for guidelines. difference between a sale and rejection.

KNOW THE MAGAZINE MARKET THINK LIKE AN EDITOR Study this guide to get an idea of which magazines interest you Editors want a professional-looking manuscript (see “From Keyboard and may be interested in your work. Then get your hands on those to Printed Page”). In the top left-hand corner of the first page you magazines! If your library or newsstand does not carry a magazine, should include your name, address, zip, and phone number. In the top write a letter to the editor requesting guidelines and a sample copy right-hand corner, include the word count. (there is usually a fee). You can often find details for doing this along Some editors prefer queries (make sure to check), especially for with back issues and theme lists on a magazine’s website. nonfiction articles. When submitting queries, include writing samples or clips of your published work. Describe your idea and qualifications, STUDY THE MAGAZINE listing your publishing credits, if any. Before you query make sure Look at the quality, format, style, and trends of the magazine. Note you will be able to gather enough information to write the article. how much is devoted to fiction, nonfiction, short stories, artwork, etc. Illustrators should query with color copies (no larger than 8” x 10”) of Notice the titles, types of stories, articles, word length, and vocabulary. at least five different pieces of art, all labeled with your name, address, Compare and critique your work against the published work. Would your phone number, and type of media. Send with a cover letter or résumé, work fit in with this magazine? Remember that the stories and articles tear sheets if any, and an SASE. Send only what each editor asks for in you read are the type of work the magazine is seeking. It’s best to study the guidelines and state that the editor may keep the work for his/her current issues as formats and what is included in the magazine change. file. Never send original art work. Editors may keep your work on file to contact you for future assignments. STUDY THE GUIDELINES When they are available, look up online guidelines for more current KNOW YOUR RIGHTS information. Take notice of the description of the magazine, the age When a magazine purchases your work, its buys certain rights. Be level, and what the magazine accepts. What will they pay you? What sure you understand what rights you are selling before you agree to the rights do they buy? How long will it take to get a response? Take note purchase. of the editor’s comments. All editors want contributors to submit work that fits the magazine’s format and requirements. This can only be »» First North American Serial Rights means the publisher purchases the 118 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org you are rejected: ithappens tothe bestof us! your workpublished isnot easyand takes persistence. Don’tgiveup if along withanSASE asking the statusof the work.Remember, getting the editorinthe time statedinitsguidelines, writeacourteousletter that and tryanother suitablemagazine. Ifyouhavenot heard from which editor, date). Ifyourmanuscript isreturned, make anote of equal size. Mark envelope:PHOTOS—DO NOT BEND.Include anSASE. releases. Mail photos inphoto envelopesorplacebetweencardboard of of eachphoto. Donot mount photos onboard orpaper. Include model (with numbered photos) ortypedonalabeland attached tothe back identity and source of eachphoto, either onaseparate piece of paper some prefer an8”x10”. Include yourname, address, phone number, This wayyouwillbeabletotrace the package ifit gets lostinthe mail. way butmake sure tosend the package bycertified mail, UPS,orFedEx. SASE. When the editor requests the original artwork,protect itthe same mark the envelope:ILLUSTRATIONS—DO NOT BEND.Alwaysinclude an stock thatwon’tbend easily, inalarge manila envelope. Besure to querying, send colorcopies of artworkprotected bycardboard orcover you are asked byaneditortodo so. Never email yourmanuscript unlessthe guidelines sayitisallowedor back: [Name of magazine] isinreceipt of [manuscript title] on[date]. addressed, stampedpostcard withthe following information onthe an SASE withsufficient postage. You may alsowant toinclude aself- for yourfiles. Mail the copyflatinalarge manilaenvelope and include » » » , IN GENERAL MAILING PHOTOGRAPHS MAILING ILLUSTRATIONS MAILING YOUR MANUSCRIPT | MAGAZINE MARKET GUIDE MARKET | MAGAZINE » » » Keep copies of everything yousend (whatyousend, which magazine, Most editorsrequest 5”x7”black-and-white glossyprints, although Never send original artworkuntil instructed bythe editor. When Always send acopyof yourmanuscript whilekeeping the original writing the piece butyoucannot resell itelsewhere. without further payment toyou.You willalwaysbegivencredit for your workasmany times asitwants to,atany time, inany place, back toyou.Selling allrights means youallowthe publication touse Sometimes the editorisflexible, and may allowthe rights to revert All Rights means the editorpurchases allthe rights toyourwork. especially inthe religious Sunday School take-home papers. illustrations, and artwork,butoccasionally willapplytowriting, to publishthe work.One-time rights most often applytophotos, that the purchasers haveno guarantee thatthey willbethe first One-time rights differfrom FirstNorth American Serial Rights in belong toyou,the creator of the work. the firsttime inits magazine, journal, orperiodical. Allother rights First Serial Rights permitsthe publisher topublishyourworkfor only. Allother rights belong toyou,the creator of the work. permission topublishthe workfor the firsttime in North America Assignment Byline completion date, and ifthere is akillfee. upon, when itwillbepaid, ifthere willbeany payment inadvance, a agreement may include adescription ofthe assignment, the fee agreed tor, inwhich the writer orillustrator agrees to doaspecified job. The poetry, puzzles, recipes, quips, etc. column oraspecial space inthe magazine, such as jokes, anecdotes, Fillers unless otherwise stated. DONOT send cash orloose stamps. lines, include check or money order, made payable to the magazine, Fee special topics orthemes, special departments ofthe magazines. Features/Articles requested your manuscript orillustration. your background, special knowledge, orremind the editor she/he ing the editor pertinent information, oritmay outline your expertise, Cover Letter notice ofapublication is the year ofpublication, not creation. is not copyrighted, you mustdoso. The year stated inthe copyright lication formally copyrights your work for you, but ifthe publication all rights,benefits and privileges the ownership entails. Usually a pub- It recognizes you as the creator and owner ofthe work and grants you soon as ithas beencreated intangible form, even ifnot yet published. Copyright more free copies ofthe magazine inwhich your work appears. Contributor’s Copy your work (receiving anaward for your work, for example). It can also mean reviews ofyour work orpublicity about you and/or Clips This is anagreement between the publisher and writer, orillustra Author’s orillustrator’s name as itappears inpublished work. Usually ashort item used by aneditor to “fill” remaininga space in If afee is indicated for asample copy of the magazine and/or guide- Features and articlesgenerally fall into categories: special columns, Abriefletter accompanying aqueryorcomplete manuscript tell- The copyright law, effective January 1,1978, protects your work as As the contributor ofwork to amagazine, you may receive one or Samples ofpublished work, usually from magazines ornewspapers. GLOSSARY OFTERMS - MAGAZINE MARKET GUIDE | 119 PREPARING & SUBMITTING GLOSSARY OF TERMS (CONT’D)

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

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

Legal-size Envelope held for months or years before publication. This means that you, the PUBLICIZING YOUR PUBLISHED WORK Also known as the #10 or business-size envelope, used in sending creator, cannot resell the work until it is published. business correspondence, and is often the size required for an SASE. Response Time Model Release The length of time the editor takes to report back to you about the This form is signed by the person in the photograph (or by his/her work you submitted, a query, or to a request for information. If the edi- legal guardian if a minor). It authorizes the photographer to use the tor hasn’t responded in the promised time, a courteous follow-up letter photograph for business as well as editorial purposes. If the subject of is in order. Do not call or fax the editor. the photograph is an animal, object, building, or place, then a model release must be signed by the owner. SASE A self-addressed, stamped envelope for the return of your material. MS For foreign publishers, you may be required to use foreign postage as Manuscript. Plural: mss. US postage will not be valid. Check with your post office for informa- tion. SCHOOL VISITS Payment on Acceptance The editor, purchaser of a written piece or illustration, agrees on Tearsheets behalf of the publisher to send a check for the work upon acceptance or Originally this term referred to pages torn out of a magazine or news- agreement of purchasing the work. Payment on acceptance could be as paper containing your printed work, a review of your work, a reference long as several months, depending on the magazine’s pay schedule. to your work, or all of the above. Today photocopies of these are often used instead of originals. LEGAL QUESTIONS Payment on Publication The editor, purchaser of a written piece or illustration, agrees to Unsolicited Manuscript send a check for the work upon publication of the work. This could be A manuscript sent without prior authorization. Magazines that do several months to several years, depending upon its editorial calendar. not take unsolicited manuscripts require that you query first and wait for a response. Photo Essays/Photo Features The emphasis of the or article is on the photo rather than the 120 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org resources. important. Use primary sources and up-to-date Scientific and historical accuracy extremely appropriate, and exhibit original approach. Looking for articles thatare lively, age- articles for individual themes separately. website under editorial guidelines. Query theme. Theme list ispostedonCobblestone any issueand must becloselyrelated tothe COMMENTS: Writersmay propose anarticle for per 150-word page. TERMS: Allrights purchased. Rateof payis$50 “Experts inAction,” “The Artist’sEye”). “Reading Corner,” “Where inthe World,” departments (“FunStuff,”“Bythe Numbers,” (1-4 pages; nonfiction, interviews, how-to); queries only. Email preferred. Feature articles ACCEPTS: Focusisonnonfiction. Send AGE GROUP:7-10 multidisciplinary social studies magazine. DESCRIPTION: 36-page, theme-based editorial.html GUIDELINES: www.cobblestonepub.com/guides_ CONTACT: SusanBuckley, Editor Email: [email protected] www.cobblestonepub.com 140 E.83rdSt. NewYork, NY10028 APPLESEEDS submit tous. a worldwithout racal and religious prejudice to writers, wewant everyone interested increating COMMENTS: We not onlyappealtohigh school TERMS: $25pluspublication more than4,000words. stories thatshow how alike allraces are. No ACCEPTS: Articles, poems, essaysand short AGE GROUP:High School magazine. through the writtenword. AIMisanon-profit focus of eliminating racism from ourworld DESCRIPTION: Aquarterly magazine withthe GUIDELINES: www.aimmagazine.org/submit.htm CONTACT: RuthApilado, Associate Editor Email: [email protected] www.aimmagazine.org Milton, WA 98354-0390 P.O. Box 390 MAGAZINE) AIM (AMERICA’S INTERCULTURAL MAGAZINES SECULAR | MAGAZINE MARKET GUIDE MARKET | MAGAZINE Poems: upto$3.00per line, $25.00minimum. TERMS: Stories and articles: upto25¢perword. details about submitting portfolio samples). assignment only(seesubmission guidelines for ideas); action rhymes and finger plays. Art:By “first concepts” (playfultakes onsimple fiction and nonfiction (sixsentence maximum); they may be more whimsical); very short, clear poetry (poems may explore ababy’sday, or especially interested inrhythmic and rhyming to read together againand again.We are that adults and veryyoung children willwant ACCEPTS: Writing: We seekliterary manuscripts AGE GROUP:6months –3years babies and toddlers (9issuesperyear). DESCRIPTION: Alook-and-listen magazine for www.cricketmag.com/submissions GUIDELINES: submittable.cricketmag.com; CONTACT: Submissions Editor Email: [email protected] www.cricketmedia.com/art-submissions guidelines www.cricketmedia.com/babybug-submission- months-3-years submit/17819/babybug-magazine-for-ages-6- www.cricketmag.submittable.com/ , IL60601 70 EastLake Street,Suite800 BABYBUG submitting. com for themes and editorial calendar before submittable.com orcricketmag.sumittable. list of resources. Please visit cricketmag. paragraph, and comprehensive bibliography/ COMMENTS: Send querypitch,samplefirst Rights vary. TERMS: Ratesvary. Payment after publication. a question, not afact. engaging stylewithplenty of humor. Startwith technology, orthe arts. Prefer aninformal, interesting discovery, event, or idea inscience, well-researched, engaging storyaboutsome words. The ideal Ask article should tella articles, photo essays, and stories, 400-1600 ACCEPTS: Querypitches for theme-specific AGE GROUP:7-10 science, and art(nine issuesperyear) exploring science, technology, nature, historyof DESCRIPTION: Themed nonfiction magazine cricketmag.com/submissions GUIDELINES: cricketmag.submittable.com, www. CONTACT: LizHuyck, Editor Email: [email protected] cricketmedia.com/ask-submission-guidelines Chicago IL60601 70 EastLake Street,Suite800 ASK returned. Querybymail, not byphone. unsolicited nonfiction manuscripts willbe Style and Usage. Allarticles are commissioned; Editors follow Manual of in relatively short, straightforward sentences.” 12. Ourreaders demand crisp,punchy writing, COMMENTS: “Writefor aboyyouknow who is acceptance. for alloriginal, unpublished material, payson $300; short stories: $750and up.Firstrights columns: $150-$400;how-to articles: $250- TERMS: Major nonfiction articles: $400-$1,500; completed ms). (1000-1500 words; queryFiction Editororsend 750 words; queryAssociate Editor)short stories Articles Editor),columns/how-to features (300- ACCEPTS: Nonfiction (500-1,500words; query AGE GROUP:8-18 since 1911. magazine published byBoyScoutsof America DESCRIPTION: General-interest monthly resources-for-contributors GUIDELINES: www.boyslife.org/home/383/ Aaron Derr, Nonfiction Senior Writer CONTACTS: Johnny D.Boggs, Fiction Editor; www.boyslife.org Irving, TX,75038 1325 W. Walnut HillLane BOYS LIFE time. submissions. Pleaseallow3-6months response query. Include exact word count. Prefers online COMMENTS: No advance listof themes. Donot Payment afterpublication. Rights vary. www.owlkids.com/magazines/chirp/ Toronto, M5E1B3,CANADA 49 FrontSt.E.,2ndFloor Owl MagazineGroup CHIRP disk oremailed. Guidelines available. COMMENTS: Submissions should bemade on 1,000 words). Allrights unlessnegotiated. TERMS: Payment isgenerally $75perpage (800- welcomed, but queries withclipsare preferred. Unsolicited manuscripts onspeculation are news, puzzles, photos, humor, tips, cartoons. ACCEPTS: Chess games and instruction, chess AGE GROUP:12and under [email protected] www.uschess.org Crossville, TN38577 P.O. Box 3967 U.S. ChessFederation CHESS LIFEFORKIDS MAGAZINE MARKET GUIDE | 121

rights. Email: [email protected] Email: [email protected] PREPARING & SUBMITTING GUIDELINES: Not accepting unsolicited CONTACT: Amy Tao, Editor COMMENTS: A query including cover letter, manuscripts as of 8-2009. GUIDELINES: www.cricketmag.com/submissions outline, bibliography, writing sample and SASE DESCRIPTION: A see and do magazine for pre- DESCRIPTION: Themed nonfiction magazine that must accompany each individual idea; may send schoolers, printed monthly during school year. explores science, art, and nature (9 issues per multiple queries. Go-aheads requesting material AGE GROUP: 2-6 year). proposed is usually sent five months prior to ACCEPTS: Solicited Submissions Only AGE GROUP: 3-7 publication date. Response time may be several TERMS: Buys all rights, $100-$250 for longer ACCEPTS: Click presents nonfiction concepts to months. We only notify people if a query is stories, and $10-$50 for shorter stories or young children through a variety of formats: accepted; we no longer return unused queries. poems. articles, photo essays & stories. Articles & photo Theme list and index of past issues is available COMMENTS: Aimed at non-readers, basic text is essays (200-400 words) should explain the how online. MARKET SURVEYS important with suggestions of visual reference. & why of something in a friendly, engaging, Submissions from outside Canada must be humorous way. Prefer informal, conversational COLLEGE BOUND accompanied by a money order or IPC for $2. style; best articles tackle one idea or concept 1200 South Ave., Suite 202 Allow 12 weeks to review ms. in-depth rather than several ideas superficially. Staten Island, NY 10314 Stories (600-1,000 words) should contain www.collegebound.net CICADA and explain nonfiction concepts within them; Email: [email protected] 70 East Lake Street, Suite 800 successful stories often show children engaged CONTACT: Gina LaGuardia, Editor

Chicago, IL 60601 in finding out about their universe with the DESCRIPTION: Bimonthly college prep magazine DIRECTORIES & RESOURCES www.cricketmag.com/cicada help of supportive, but not all-knowing, adults. AGE GROUP: High School www.cricketmag.submittable.com/submit/17820/ TERMS: Rates vary. Payment after publication. ACCEPTS: Feature articles (800-1,100 words; cicada-magazine-for-ages-14 Rights vary. real-life student experiences, college life tips) Email: [email protected] COMMENTS: Click themes introduce children to and specific departments (150-1,000 words: CONTACT: Submissions Editor ideas and concepts within the natural, physical, campus survival tips, admissions advice, money GUIDELINES: submittable.cricketmag.com; or social sciences; the arts; technology; math; tips, college experiences, opinion on college www.cricketmag.com/submissions and history. The goal is to allow young children controversies). Should be original, thought- DESCRIPTION: Bimonthly literary magazine (six access to the world of ideas and knowledge in provoking ideas. issues per year) an age-appropriate yet challenging way. Articles TERMS: Features: $70-$100; departments: $15- AGE GROUP: 14+ and stories are commissioned. Please see theme $100. Buys first rights and will consider second ACCEPTS: Fiction and novella (to 9,000 words): list and writers guidelines at www.cricketmag. rights.

Realistic, contemporary, and historical fiction, com/submissions. Authors must provide COMMENTS: Query first (via email or mail), PUBLICIZING YOUR PUBLISHED WORK as well as humor, mysteries, fantasy, and bibliography, listing all resource materials and include a summary, specifics about who you science fiction. Nonfiction (to 5,000 words): notes as the sources of facts and information will interview or stories you will tell, two or First-person experiences of interest to teens given. three samples of writing and SASE. Tone of and young adult readers. Poetry (to 25 lines): the articles is light-hearted and fun; when serious, humorous, rhyming or free verse. COBBLESTONE you query “begin with the lead you expect to Comics: Cicada publishes comics, zines, visual Cobblestone Publishing put on the article; make it catchy—grab our poems, and any other work in image and/or 30 Grove St., Suite C attention!” Allow 4 to 6 weeks for response. text. Peterborough, NH, 03458 TERMS: Fiction: up to 10 cents/word. www.cobblestonepub.com COUSTEAU KIDS Nonfiction: up to 25 cents/word. Poems: up to Email: [email protected] The Cousteau Society $3/word, $25 minimum CONTACT: Meg Chorlian, Editor P.O. Box 112, 61 E. 8th St. Payment after publication. Rights vary. DESCRIPTION: Theme-based history magazine New York, NY 10003 COMMENTS: No advance list of themes. Do not for young people. www.cousteaukids.org

query. Include exact word count. Prefers online AGE GROUP: 8-14 Email: [email protected] SCHOOL VISITS submissions. Please allow 3-6 months response ACCEPTS: Related to theme: Feature articles CONTACT: Melissa Norkin, Editor time. (700-800 words; in-depth nonfiction, plays, DESCRIPTION: Bimonthly educational Email comics to [email protected] first-person accounts, biographies); supplemental publication. Formerly Dolphin Log. (subject line: COMIC SUBMISSIONS). nonfiction (300-600 words); fiction (up to 800 AGE GROUP: 7-12 words; authentic historical/biographical fiction, ACCEPTS: No fiction! No talking animals! No CLICK adventure, ); activities (up to 700 words; first-person accounts or articles by children! LEGAL QUESTIONS 70 East Lake Street, Suite 800 crafts, recipes, etc. Sketches should accompany Wants nonfiction articles (features 500-700 Chicago, IL 60601 these queries); poetry (up to 100 lines); puzzles words; shorter pieces to 250 words) about www.cricketmedia.com/cricket-submission- and games (crosswords, mazes and picture science, nature, marine biology, ecology, guidelines puzzles relating to theme—no word finds). environment. Also interested in “games based www.cricketmag.submittable.com/ TERMS: Feature articles, supplemental on scientific fact, original home science submit/17789/cricket-magazine-for-ages-9-14 nonfiction and fiction pay 20-25¢/word; others experiments, and art projects that are related www.cricketmedia.com/art-submissions are paid on an individual basis. We buy all to an ocean theme.” Query first! Unsolicited 122 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org with name, address, and phone number. No tear sheets orphotocopies, eachclearlylabeled but not caricatures or“cartoony.” Forartsend material. Artshould berealistic and humorous, very high, and wewillacceptonlytop-quality for original contributions, butourstandards are children’s illustrators and authors aspossible COMMENTS: Cricket would like toreach asmany after publication. Rights vary. Activities and recipes: $75.00flat rate. Payment Poems: upto$3.00perline, $25.00minimum. TERMS: Stories and articles: upto25¢perword. woodcut. watercolor, acrylic, oil,pastels, scratchboard, illustrations invarious media: pencil, ink, is commissioned separately from text. Accepts Puzzles, mazes, crafts, recipes, plays, music. Art 35 lines): serious, humorous, nonsense rhymes. culture, travel, adventure, sports. Poetry (max. history, social science, geography, foreign biography, history, science, technology, natural legend, . Nonfiction (1,200-1,800words): fantasy, science fiction, folk/fairy tales, contemporary, historic, humor, mysteries, ACCEPTS: Fiction (1,200-1,800words): realistic, AGE GROUP:9-14 issues peryear). DESCRIPTION: Monthly literary magazine (nine guidelines/ http://www.cricketmedia.com/submission- GUIDELINES: submittable.cricketmag.com; CONTACT: Submissions Editor Email: [email protected] www.cricketmagkids.com http://www.cricketmedia.com/ CRICKET-Magazine-for-Kids.html http://shop.cricketmedia.com/magazines/ Chicago, IL60601 70 EastLake Street,Suite800 CRICKET first-class stamps. $2.50 for sampleissueand 9”x12”SASE w/3 line drawings toscientific illustrations. Send biology background. Needs range from simple but alsoneeds illustrators, especially with publication.” CousteauKids isphoto-oriented, the content orstyleisinappropriate for our 95% of submissions are rejected because beginning writer. Readatleast3recent issues; COMMENTS: It “isnot agood market for the and rates. Onlyduplicate slides accepted. one-time rights. Queryfor photo submissions $100 for shorter pieces onpublication and buys TERMS: Pays $100-$300for features and $15- if queried. be realistic. Willreview artworkfor assignment mss willbereturned unread. Illustrations must | MAGAZINE MARKET GUIDE MARKET | MAGAZINE with article. High-res JPEGs preferred; color Style. Submit any photos and/or illustrations ms should conform toChicago Manual of or overtlydidactic “message” plays).Finished children’s theater pieces, teenangst dramas unpublished; performable inhigh schools; no humor pieces. Plays(one-act and full-length, surveys, photo spread withcopy, bookreviews, ACCEPTS: Articles (800-4,000words), interviews, AGE GROUP:High School published September-May. DESCRIPTION: Educational theater magazine guidelines.asp GUIDELINES: www.edta.org/publications/writers_ CONTACT: DonCorathers, Editor [email protected] www.schooltheatre.org/resources/dramatics Cincinnati, OH45219-2815 2343 Auburn Ave. Educational TheatreAssociation DRAMATICS freelance. Response time 2-4months. May submitmultiple queries; magazine is80% outline, bibliography, SASE, and writing sample. stating subject/word length, detailed one-page (no email) preferred with brief coverletter COMMENTS: Contact for future themes. Queries publication. Buysallrights. TERMS: Queryfirst;pays20¢-.25¢/word on encouraged. Computer-generated art,when appropriate, is on “bendable” paperfor scanning purposes. with queryorarticle). Allartmust beproduced finds); photos (must relate totheme, submit or withsupervision; puzzles/games (no word activities (max. 700words) achildcando alone fiction, adventure, retold legends, etc.); 800 words, authentic historical/ biographical words, littleknown information); fiction (max. biographies); supplemental nonfiction (300-600 (700-800 words, in-depth nonfiction, plays, ACCEPTS: Relatedtotheme: Feature articles AGE GROUP:9-14 magazine published 5times ayear. DESCRIPTION: Theme-based worldhistory CONTACT: Rosalie Baker, Editor [email protected] www.cricketmedia.com/art-submissions www.cricketmedia.com/Dig-Into-History-for-kids Peterborough, NH03458 30 GroveSt.,SuiteC Exploring World HistoryCobblestonePublishing DIG INTO HISTORY Please allow3-6months response time. exact word count. Prefers online submissions. advance listof themes. Donot query. Include difficulty levels.” critical thinking; and other skillsof similar like using a logic line orclassifying attributes; measurement; geometry; problem-solving skills fractions and decimals; chartand graph reading; conceptualization, addition and subtraction of multiplication, division; whole number value; whole number addition, subtraction, and upperelementary math curricula: place All the while, weremain truetothe middle math canbefunand relevant totheir lives. of DynaMath iscasual. We aimtoshow kids that COMMENTS: Queryfirstthrough mail. “The tone TERMS: Pays $250+. oriented slant. issues inthe news; bestwhen they haveakid- to story;couldinclude graph reading activities, including activitythatusesmath thatisrelevant Interdisciplinary articles (upto600words) awareness, popularTVshows and/or movies. sports, careers, famous personalities, consumer explained inthe story;couldinclude stories on including anactivitythatusesthe typeof math applications of math skills(upto600words) ACCEPTS: Articles thatshow real-life AGE GROUP:Grades 3-6 magazine (September-May). DESCRIPTION: Themed monthly classroom CONTACT: Matt Friedman dynamath.scholastic.com/ New York, NY10012-3999 555 Broadway, Room367 Scholastic Inc. DYNAMATH basic conventions of the stage.” conventions of playscriptformat oreventhe be playwrights who do not understand the basic themselves asexperts when they’re not; would- reporting and research; writerswho represent cranky: writerstoolazyorcareless todo basic queries. Samplecopyfor $2.50.“Whatmakes us will respond toqueries. No phone oremail COMMENTS: Prefers finished manuscript but other rights. Responds in6weeks. publication rights toplays;playwright retains all publication rights. Buysone-time, non-exclusive TERMS: Pays $25-400onacceptance for first or larger), line artare alsoacceptable. transparencies, 35mm+,colororB&Wprints (5x7 www.shop.cricketmedia.com/FACES-Magazine- for-kids www.cricketmedia.com/Faces-travel-magazine- Peterborough, NH03458 30 GroveSt.,SuiteC Cobblestone Publishing FACES MAGAZINE MARKET GUIDE | 123

send $6 if from within the U.S. or $7.50 if from about 16 lines. for-Kids.html PREPARING & SUBMITTING [email protected] overseas. TERMS: Buys all rights, pays on acceptance CONTACT: Elizabeth Crooker Carpentiere $150+ for fiction/nonfiction, $25+ for crafts, DESCRIPTION: Theme-based magazine published GIRLS’ LIFE $25+ for finger plays/action rhymes, $25+ for September - May. 4529 Harford Rd. verse. $40+ for puzzles. Cartoons: $40 for BW, AGE GROUP: 8-14 , MD 21214 $50+ for color ACCEPTS: Related to theme: Feature articles www.girlslife.com Responds in 4-6 weeks, longer if holding for (800 words, in-depth nonfiction and personal [email protected] consideration. accounts), supplemental nonfiction (300-600 CONTACT: Katie Abbondanza, Associate Editor COMMENTS: Accepts mss year round, including words), fiction (800 words), activities (700 Creative Director Chun Kim: [email protected] seasonal material. Prefers mss to queries. words), poetry (to 100 lines, serious and light (photography and illustration pitches) Highlights is a secular magazine “dedicated to MARKET SURVEYS verse), puzzles and games (no word finds). Assistant Editor Sydney Adamson: sydney@ helping kids grow in basic skills and knowledge, Illustrations done on assignment; roughs only; girlslife.com (entertainment) creativeness, ability to think and reason, send samples of work, interested in photos Assistant Editor Amanda Tarlton: amanda@ sensitivity to others, high ideals and worthy relating to theme. Query must include brief girlslife.com (health, wellness, beauty, lifestyle, ways of living.” cover letter stating subject and word length, inspirational stories detailed one-page outline of information to be Submission guidelines: www.girlslife.com/ HIGHLIGHTS HIGH FIVE presented, extensive bibliography of materials Writers-Guidelines 807 Church St. to be used, SASE, 2-3 line biographical sketch Guidelines and comments: Email or mail Honesdale, PA 18431 DIRECTORIES & RESOURCES and writing samples. queries with detailed story ideas. No poetry. www.highlights.submittable.com/submit TERMS: Pays on publication 20-25¢/word for Stories should include title, blurb, and byline, Email: [email protected] feature articles, supplemental nonfiction, author’s full contact info (email, address, phone CONTACT: Kathleen Hayes, Editor fiction. Buys all rights to text and illustrations. number). AP format, double-spaced, 12-point DESCRIPTION: The magazine is designed to Photos are usually one-time rights. font, Verdana font. be shared by child and parent (or other skilled PHOTOGRAPHS AND ILLUSTRATIONS: $25- Must have complete list of only primary sources reader), but we are also keeping the text short $100. Email queries responded to within 90 days and the readability low so that good first and COMMENTS: “Lively, original approaches to the Rights/terms: “Unless submission is stated to second grade readers can read it independently. subject are the primary concerns of the editors be a possible work for hire, submission will be AGE GROUP: Ages 2-6 and their parents in choosing material.” Send for guidelines and considered property of Girls’ Life magazine.” ACCEPTS: Stories are 150 words or less. Poems theme list. “A memorandum of agreement is to be executed typically 1-3 stanzas. We are buying stories from

Submission guidelines at www.cricketmedia. by both parties before payment is made.” freelance writers with a proven track record who PUBLICIZING YOUR PUBLISHED WORK com/faces-submission-guidelines and www. HIGHLIGHTS FOR CHILDREN can successfully write for young children. Most cricketmedia.com/art-submissions 803 Church St. of the nonfiction features are either written Honesdale, PA 18431 in-house, or commissioned, although we have FUN FOR KIDZ www.highlights.submittable.com/submit and will publish some nonfiction articles by P.O. Box 227 Email: [email protected] freelance writers. Bluffton, OH 45817-0227 CONTACT: Manuscript Coordinator TERMS: Watch website guidelines for updated www.funforkidzmagazines.com/writers DESCRIPTION: General interest, ad-free monthly information. Email: [email protected] AGE GROUP: 6-12 COMMENTS: “I want to stress that we are not CONTACT: Marilyn Edwards ACCEPTS: Crafts: should have concise, numbered currently seeking manuscripts from folks unless GUIDELINES: funforkidzmagazines.com/ directions, up to 5 steps. Should appeal to boys they have published a number of things for this ffk_guidelines and girls age group.” DESCRIPTION: A theme based, no-ad magazine Puzzles: “should not require a reader to write for boys and girls published on alternate months in the magazine.” Current needs include math

as Boys’ Quest and Hopscotch. puzzles, code activities, and visual puzzles SCHOOL VISITS AGE: 6-13 Cartoons: can be single-panel or multiple-panel, HUMPTY DUMPTY’S MAGAZINE ACCEPTS: Activities or stories based on theme. black-and-white or full-color, with or without P.O. Box 567 Payment: Min. 5 cents/word for fiction and a caption, and with either human or animal Indianapolis, IN 46206 nonfiction. Additional payment if piece is characters. www.uskidsmags.com/magazines/humpty- accompanied by photo/art. Max. $10 per poem Nonfiction: can include science, arts, sports, dumpty/ or puzzle. Complimentary copy given how-to’s, world cultures, history, What a Pro CONTACTS: Nancy S. Axelrad, Editor LEGAL QUESTIONS TERMS: First American serial rights. Pays upon Knows articles, and Gallant Kids articles. Rob Falcon, Art Director publication. Reserves the right to publish all Fiction: should have an engaging plot, strong GUIDELINES: www.uskidsmags.com/writers- materials from magazine on the website as a , a specific setting, and lively guidelines/ sample of the magazine, which will be displayed language. DESCRIPTION: Healthy living/educational for a limited time. Contributors paid whenever Verse: purchased sparingly at the moment. magazine published 8 times a year. work is published However, if you’d like to submit poetry, it AGE GROUP: 4-6 COMMENTS: For a sample copy and theme list, should be appealing to kids and no longer than ACCEPTS: “Health topics should be incorporated 124 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org ACCEPTS: Fiction (upto800words, AGE GROUP:3-6 issues peryear). art and literature for young children (nine DESCRIPTION: Animaginative magazine with www.cricketmedia.com/art-submissions www.cricketmag.submittable.com/submit submit/17818/ladybug-magazine-for-ages-3-6; GUIDELINES: www.cricketmag.submittable.com/ CONTACT: Submissions Editor Email: [email protected] for-Kids.html shop.cricketmedia.com/LADYBUG-Magazine- Chicago, IL60601 70 EastLake Street,Suite800 LADYBUG submission guidelines. COMMENTS: Pleaseseeourwebsitefor TERMS: One-time print rights maximum). fiction that relates toourthemes (500words of published nonfiction; freelance poetryand for assignments may send resumes and clips ACCEPTS: Writerswanting tobeconsidered AGE GROUP:6to9 children. The science magazine for curious kids. technology, math, and engineering for young DESCRIPTION: Amagazine of science, CONTACTS: Shannon Hunt, Adrienne Mason Email: [email protected] www.knowmag.ca Victoria, BCV8X4A3,CANADA 501-3960 QuadraSt KNOW by mail. Sample copies $2.95.Send entire manuscript COMMENTS: Send for author guidelines first. Crafts: $40and up Poetry: $25and up time rights for photos. Fiction: $30and up. TERMS: Buysallrights for manuscripts, one- can make withabitof adult help” “Crafts of 250words orlessthatyoung children 4-12 line poems Mini stories 70-125words photos) photos; willpurchase short photo features (8-10 Does not acceptartworkorpurchase single accepted. Work isonspeculation only. Queries not count should beonfirstpage of ms. number, email, date of submission, and word a response. Author’s name, address, phone 8 months inadvance. SubmitanSASE for Seasonal material should besent atleast into the storyorarticle, not bethe focus of it.” | MAGAZINE MARKET GUIDE MARKET | MAGAZINE months response time. Prefers online submissions. Pleaseallow3-6 themes. Donot query. Include exact word count. childlike point of view. No advance listof a sense of joyand wonder, and agenuinely editors lookfor clearand beautifullanguage, COMMENTS: When reviewing submissions, the after publication. Rights vary. Activities and recipes: $75.00flat rate. Payment Poems: upto$3.00perline, $25.00minimum. TERMS: Stories and articles: upto25¢perword. about submitting portfolio samples). only (seesubmission guidelines for details plays, crafts, and activities. Art:Byassignment gentle nonfiction, action rhymes and finger usually rhythmic/rhyming. Alsolooking for (up to20lines): canbehumorous orserious, and folk tales, multicultural stories. Poetry contemporary stories, original retellings of fairy shorter manuscripts welcome): imaginative emphasis. Pleasevisitwebsite. accept articles and stories withovertreligious and other drugs.” ListenMagazine doesn’t prevention “ontotalabstinence from alcohol COMMENTS: Editorial philosophy of primary drug TERMS: Pays 5-10¢/word onacceptance. Responds in6weeks. conflicts and develop self-esteem).Query. ways tohelp teenagers copewitheveryday self-help and social skills(positivepractical drug-free lifestyles, are positiverole models); of their achievements and wholesome, upbeat, focusing on teenagers and adults who, because others); personalities and organizations (articles achievement and/or involvement in helping to increase sense of self-worththrough other drugs); positivealternatives (activities on nature and effectsof alcohol, tobaccoand use); factuals (current, accurate information may ormay not bedirectly related todrug about situations teenagers face eachday; words) of 5types:narratives (truestories only, ACCEPTS: Articles and stories (1,000-1,200 AGE GROUP:Teenagers for teens) DESCRIPTION: Monthly (Drug-free possibilities php?id=17 GUIDELINES: www.listenmagazine.org/article. CONTACT: CelestePerrino Walker, Editor Email: [email protected] Email: [email protected] www.listenmagazine.org Hagerstown, MD,21740 55 West OakRidgeDrive LISTEN MAGAZINE [email protected] www.cricketmedia.com/Muse-science-magazine Chicago, IL60601 70 EastLake StreetSuite800 MUSE COMMENTS: Email for writers’guidelines. rights. -1,200 words. Pays onpublication for one-time TERMS: Pays $30-$40for articles of 1,000 topics. ACCEPTS: Articles onlocalregion orhealth AGE GROUP:0-16 NJ, DE). resources for families inthe tri-statearea (PA, emphasizes educational and recreational DESCRIPTION: Parenting publication that CONTACT: Tom Livingston, Editor Email: [email protected] www.metrokids.com Philadelphia, PA 19112 4623 S.BroadSt. METROKIDS outside the US. Adults can translate and add person account of agirlwho is anative of/lives ACCEPTS: GlobalVillage (600words): first- AGE GROUP: 8-12 powerful, active, and incharge of their lives. DESCRIPTION: Portrays women and girlsas contributors-new-moon-girls/ GUIDELINES: www.newmoon.com/adult- [email protected] www.newmoon.org Duluth, MN55802 #101 2 W. FirstSt NEW MOON Rights vary. TERMS: Ratesvary. Payment afterpublication. fiction (1,000-1,600words), and infographics. (100-300 words), sci-fiorscience-focused experiments (500-800words), photo essays professionals (500-800words), activities and particularly of underrepresented STEM including sidebars), profiles and interviews, ACCEPTS: Featured articles (1,200-2,000words, AGE GROUP:9-14 year). and irreverence are encouraged (nine issuesper subjects related toscience and culture. Humor engaging, challenging stories aboutunexpected magazine for kids and teens. The editorsseek Universe, and Pie Throwing,” isanonfiction DESCRIPTION: Muse, “The Magazine of Life, the submission-guidelines Guidelines: www.cricketmedia.com/muse- CONTACT: Submissions Editor MAGAZINE MARKET GUIDE | 125 accompanying material about the country and DESCRIPTION: No longer accepting unsolicited DESCRIPTION: Basic content is science and PREPARING & SUBMITTING its historic women. manuscripts or queries. A discovery magazine language arts. Herstory (600 words): profile of girls, women, for kids featuring amazing facts, fascinating AGE GROUP: 5-14 or girl-related events in history; best chance of articles on science, technology, and the natural ACCEPTS: Only accepts inquiry letters and acceptance if it fits an editorial theme world, plus challenging puzzles and experiments resumes from writers in the metropolitan Women’s Work (600 words): profiles a woman in kids can try on their own. Washington, D.C., MD and VA areas. her chosen career; best chance of acceptance if AGE GROUP: 9+ TERMS: Varies. it fits an editorial theme. TERMS: Varies. Purchases extensive rights. COMMENTS: Does not accept freelance Fiction (900-1,600 words): short stories where COMMENTS: Study magazine available at submissions. Once a writer has been assigned main character(s) are girls ages 8+ that shows newsstands and libraries. Send money order (no a topic, guidelines are provided. Each issue is power of girls at this age. Not interested in stamps, includes GST) for reply to manuscripts. written by a single writer. Prefer writers with MARKET SURVEYS “perfect” girls; best chance of acceptance if it a science, education, and/or children’s writing fits editorial theme. PLAYS background. For the Curious: (300-600 words): science, tech, P.O. Box 600160 engineering, and math activities that relate to Newton, MA 02460 SCIENCE WORLD girls’ daily lives and/or imagined futures. www.playsmagazine.com/ Scholastic, Inc. TERMS: Varies. [email protected] 555 Broadway COMMENTS: Writers and illustrators are CONTACT: Elizabeth Preston, Editor New York, NY 10012-3999 encouraged to read New Moon prior to DESCRIPTION: The drama magazine for young www.scienceworld.scholastic.com/ DIRECTORIES & RESOURCES submitting. Guidelines posted on website. Only people. Publishes approximately 75 wholesome, Email: [email protected] electronic submissions are accepted; please one-act plays each year (in seven issues). CONTACT: Mark Bregman, Editor send submissions to [email protected]. AGE GROUP: Lower and middle grades to junior DESCRIPTION: Award-winning magazine and senior high. designed to complement classroom teaching of ODYSSEY ACCEPTS: One-act plays including comedies, life, earth, physical and environmental sciences, 30 Grove Street, Suite C farces, dramas, mysteries, and melodramas, as and health. Peterborough, NH 03458 well as plays for holidays and special occasions. AGE GROUP: 12-18 www.odysseymagazine.com Lower grades, 6-10 typed pages; middle grades, ACCEPTS: Science news; articles emphasizing Email: [email protected] 12-15 typed pages; junior and senior high, 15- current science (200 words); features that CONTACT: Elizabeth Lindstrom 20 typed pages. give in-depth treatment to one or more major DESCRIPTION: Adventures in science. Odyssey TERMS: Pays on acceptance. Rates vary scientific topics (750 words). seeks scientific accuracy, lively approaches to according to length and age level. Buys all TERMS: Rates range from $100-$125 for news PUBLICIZING YOUR PUBLISHED WORK subject, and the inclusion of primary research. rights. items and $200-$650 for features. All material must relate to theme of specific Comments: We use only secular plays for COMMENTS: Send well-researched story upcoming issues. Christmas and other religious holidays. Above proposals, including suggested sources, and 2-3 AGE GROUP: 10-16 all, plays must be entertaining and relevant clips as samples of your work. SASE. ACCEPTS: Fiction up to 1,000 words. Feature to young people. We do not publish musicals. articles of 750-950 words, in-depth nonfiction Do not send photos or tapes of productions. SEVENTEEN (interactive approach a plus), Q&A interviews, Send for guidelines. We do not accept email 1440 Broadway, 13th Floor plays, and biographies. Supplemental submissions. New York, NY 10018 nonfiction, 200-500 words. Activities, up to 750 www.seventeen.com words. Department features, 400-650 words. READ [email protected] Articles must be submitted on disk. Weekly Reader Corporation DESCRIPTION: Beauty/fashion magazine TERMS: Pays 20-25¢/word. Photos range from P.O. Box 120023 covering entertainment, guys, health, and teen $15-$100. Purchases all rights. Stamford, CT 06912-0023 issues.

COMMENTS: Writers new to Odyssey should send www.weeklyreader.com AGE GROUP: 13-21 SCHOOL VISITS a writing sample with query. Prefers queries by [email protected] ACCEPTS: Solicited Submissions Only mail rather than email. Sample issue available CONTACT: Debbie Nevins, Managing Editor GUIDELINES: www.seventeen.com/about/ for $4.50 and SASE. Send for theme list and DESCRIPTION: Read is a literary magazine a12135/about-us/ guidelines for submissions. distributed through schools. TERMS: Pays on acceptance for first-time rights. AGE GROUP: Grades 6-10 Payment varies. OWL ACCEPTS: Read is not currently accepting COMMENTS: Read magazine and send for LEGAL QUESTIONS Owl Communications submissions. guidelines before submitting. Send one-page 370 King St. E., Suite 300 pitch for ideas via mail to appropriate editor at Toronto, Ontario M5V 1J8, CANADA SCIENCE WEEKLY [email protected]. www.owlkids.com/magazines/owl/ 2141 Industrial Parkway, Suite 202 [email protected] Silver Spring, MD 20904 SPIDER GUIDELINES: No longer accepting unsolicited www.scienceweekly.com 70 East Lake Street, Suite 800 submissions. Email: [email protected] Chicago, IL 60601 126 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.teenmag.com Santa Monica,CA 90407 300 OceanPark Blvd. TEEN work. original word game. Querywithlistof published describing a funactivityrelated tobooks;oran to books, reading, orwriting; ahow-to article children doing something interesting related Best chance for freelancers isbrief article about accepted, especially from unpublished writers. COMMENTS: Very fewunsolicited manuscripts TERMS: Purchases allrights. Payment varies. pieces are rarely more than2,000words. books, and other book-related features. Main books and reading, word games, news about interviews with authors, activities related to ACCEPTS: Fiction, nonfiction, poetry, plays, AGE GROUP:8-12 illustrators, and the world of literature. kids excited aboutbooks, reading, authors, DESCRIPTION: Amagazine designed toget Email: [email protected] storyworks.scholastic.com New York, NY10012-3999 555 Broadway Scholastic, Inc. STORYWORKS time. submissions. Pleaseallow3-6months response query. Include exact word count. Prefers online COMMENTS: No advance listof themes. Donot after publication. Rights vary. Activities and recipes: $75.00 flat rate. Payment Poems: upto$3.00perline, $25.00minimum. TERMS: Stories and articles: upto25¢perword. photos considered. math, and word activities. Artsamplesand crafts, recipes, puzzles, games, brainteasers, serious, humorous, nonsense rhymes. Other: history. Poetry (not longer than20lines): technology, environment, foreign culture, (300-1,000 words): nature, animals, science, science fiction, fables and myths. Nonfiction easy-to-read, fantasy, folk and fairy tales, ACCEPTS: Fiction (300-1,000words): realistic, AGE GROUP:6-9 the world’sbestchildren’s authors. pages witha4-page activitypullout.Features DESCRIPTION: Spider isfull-color, 8”x10”,34 submission-guidelines GUIDELINES: www.cricketmedia.com/spider- CONTACT: Submissions Editor Email: [email protected] magazine cricketmedia.com/Spider-stories-for-children- | MAGAZINE MARKET GUIDE MARKET | MAGAZINE fiction and nonfiction onalimitedbasisonly. problems handled sensitively. At present buying concerned withcontemporary teeninterests and COMMENTS: Looking for realistic, upbeatstories all rights. Nonfiction, varies. TERMS: Payment for fiction, $500-$1000.Buys query, résumé,and recent clips. No fantasy, science fiction, etc. Nonfiction, send have teenage girlascentral character. Romance. ACCEPTS: Fiction, 2,500-4,000words. Should AGE GROUP:10-15 magazine for junior high girls. DESCRIPTION: Monthly general interest CONTACT: Jane Ford, Editor-in-Chief high-resolution photos. Purchases one-time features (8-10photos). Must be high-quality, Does not accept single photos, onlyphoto Jill–not U.S.Kids. Doesnot acceptartwork two magazines–Humpty DumptyorJack and COMMENTS: Submitspecificallytoone of our rights may bereturned. TERMS: Purchases allrights. One-time book guidelines/ GUIDELINES: www.uskidsmags.com/writers- and photo features. ACCEPTS: Fiction, nonfiction, poetry, recipes, AGE GROUP:5-10. lifestyle for kids. Emphasis isonhealth, fitness, and anactive DESCRIPTION: Aweeklyreader magazine. [email protected] www.uskidsmags.com/ Indianapolis, IN46206 P.O. Box 567 U*S*KIDS magazine (onnewsstands nationwide). COMMENTS: Querywithclipspreferred. Study fitness, self-improvement, etc. college and careers, entertainment, health and current issues. Other articles coverbeauty, romance, and abroad selection of relevant “Real life”stories willdeal withschool, friends, as-told-to format orthrough direct quotation. teenagers wherever possible, either inan ACCEPTS: Features include input of real AGE GROUP:14-19 young women. captures the energy, attitudes, and interests of DESCRIPTION: Twist isateenmagazine that Email: [email protected] www.twistmagazine.com Englewood Cliffs, NJ07632 P.O. Box 1663 Heinrich BauerPublishing TWIST of magazine. Pleasevisitwebsite. COMMENTS: Lookatasamplecopytoget feel TERMS: $80payment. Purchases firstrights. 600 to650words. help features. Article should beno more than ACCEPTS: Fiction, nonfiction, how-to, and self- AGE GROUP:Grades 4-6 situations. social skillsand real world, problem-solving and alcohol, butalsoinclude articles thatstress and figures aboutthe dangers of drugs, tobacco, DESCRIPTION: Winner communicates the facts listwinner/var_pages/guidelines.asp#winner GUIDELINES: www.winnermagazine.org/ CONTACT: Jane Schleifer, Editor Email: [email protected] Email: [email protected] www.winnermagazine.org Hagarstown, MD21740 55 West OakRidgeDrive WINNER and Jillmagazine. except for nonfiction pieces submittedto Jack speculation only. Queries are not accepted Mail oremail entire manuscript. Work ison website. rights butreserves rights tousephotos on involving teens and horses. Likes humor. ACCEPTS: Fiction: 800-1000word stories AGE GROUP: 8-14 young riders. DESCRIPTION: Small equestrian magazine for guidelines.aspx GUIDELINES: www.youngrider.com/writers- CONTACT: LesleyWard, Editor Email: [email protected] www.youngrider.com Lexington, KY40533. P.O. Box 8237 YOUNG RIDER website, under “contact.” Comments: Guidelines are availableonthe TERMS: One-time print rights. words. ACCEPTS: Science-related articles only, 250-800 AGE GROUP:9-14 technology, math, and engineering for children. DESCRIPTION: Amagazine of science, CONTACTS: Jude Isabella, Editor Email: [email protected] www.yesmag.ca Victoria, BCV8X4A3,CANADA 501-3960 QuadraSt YES MAGAZINE MARKET GUIDE | 127

Nonfiction: 800-1000 word horse interest with AGE GROUP: 10-14 ACCEPTS: True stories, profiles of Christian PREPARING & SUBMITTING good photos or slides. ACCEPTS: Nonfiction articles (800-1,200 words) celebrities, profiles of outstanding Christian TERMS: First North American serial rights. $150 on inspiration, adventure, personal growth, youth, and general articles. for fiction, $200 nonfiction. Christian humor, biography, nature. Terms: Buys first rights or one-time rights. Pays COMMENTS: Study guidelines and a copy of the TERMS: Buys First North American Serial Rights on acceptance. magazine before querying. or reprint rights and pays 7-10¢/word on COMMENTS: Publication of the Seventh-Day acceptance. Payment is $25-40 for first serial Adventist Church. See website or send for rights. detailed guidelines. COMMENTS: “Our mission is to show readers, Religious through stories that illustrate Bible truth, NATURE FRIEND how to walk with God now and forever.” Some 4253 Woodcock Ln. MARKET SURVEYS MAGAZINES topics of interest include: choices, self-esteem, Dayton, VA 22821 friendship, changes, school, peer pressure, www.naturefriendmagazine.com/index. CADET QUEST (FORMERLY CRUSADER) adventure, and nature. See website for detailed pl?linkid=12;class=gen P.O. Box 7259 guidelines. [email protected] Grand Rapids, MI 49510 Our preferred version is the New King James CONTACT: Kevin Shank, Editor www.about.calvinistcadets.org/cadet-quest- Version. Please indicate the version for any DESCRIPTION: A nature magazine that presents magazine/ Bible quotes that are not from the NKJV. facts of creation in ways that are factual, [email protected] interesting, and enlightening. DIRECTORIES & RESOURCES CONTACT: Editor IGNITE YOUR FAITH (FORMERLY CAMPUS LIFE) AGE GROUP: 5-18 GUIDELINES: www.counselors.calvinistcadets. 465 Gunderson Dr. ACCEPTS: Stories, puzzles, science activities org/submissionshelp/quest-authors-info/ Carol Stream, IL 60188 centered on a nature theme. DESCRIPTION: Christian-oriented magazine for www.christianitytoday.com/iyf/ TERMS: Pays 5¢ per edited word on publication. boys. [email protected] Buys one-time rights. Also pays for artwork and AGE GROUP: 9-14 CONTACT: Christopher Lutes, Editor photos. ACCEPTS: Fiction (1,000-1,300 words) that GUIDELINES: www.christianitytoday.com/ct/ COMMENTS: Needs more science/nature related appeals to boys’ sense of adventure/sense of help/about-us/writers-guidelines.html projects, how-to, etc. Guidelines available, $5 humor to show them how God is working in DESCRIPTION: Christian Monthly with SASE (9X12 SASE with $2.00 postage). their lives and in the world around them (no AGE GROUP: 13-17 $5 for sample copy. Magazine is unique, so science fiction or romance); nonfiction (up to ACCEPTS: First-person stories (1,200-2,000 studying it is recommended before submitting.

1,500 words); project/hobby articles; camping words), fiction (up to 2000 words), humor (250- PUBLICIZING YOUR PUBLISHED WORK and nature articles; cartoons, puzzles. All 1000 words, can incorporate satire, parody, ON COURSE Christian-themed. hyperbole), poetry, and information for the 1445 N. Boonville Ave. TERMS: Pays 5¢/word on acceptance; pays college bound (all must be tied to teenager’s Springfield, MO 65802-1894 $5+ for single gag cartoons, $15+ for full- life experience). No essays or how-to articles. www.oncourse.ag.org page panels; pays $5 for each photo used with TERMS: One time rights. Pays 15-20¢/word on Email: [email protected] article. Buys all rights. acceptance. GUIDELINES: www.oncourse.ag.org/writer4oc.cfm COMMENTS: Editorial theme list and/or author COMMENTS: No unsolicited manuscripts. DESCRIPTION: Bimonthly e-magazine and guidelines available at our website or by Query first. Simultaneous submissions must be quarterly print magazine for teens. Themes sending request with #10 SASE. If emailing indicated on the first page. Expect a response are contemporary issues-oriented and articles manuscripts, copy your material into the body in 3-6 weeks. “Manuscripts are rejected if they: emphasize biblical approaches to teen life. of the email, we will NOT open attachments. become moralistic or preachy; offer simplistic AGE GROUP: 13-18 Write to our audience and to the issue’s solutions; take an adult tone; use religious ACCEPTS: Resumes with writing samples; fiction theme. Keep stories or articles exciting and clichés and overuse or misuse and nonfiction. Interested in humorous stories.

entertaining. Include humor. The best time TERMS: Payment for assigned stories is 10¢/ SCHOOL VISITS to send your submissions to Cadet Quest is religious language; lack respect and empathy for word plus first and electronic rights. Payment between January and April. Remember our teenagers.” for Web-only features is $30/article. purpose of showing God’s work in boys’ lives! COMMENTS: Content is now on assignment basis INSIGHT and focuses on scheduled themes. Does not GUIDE 55 West Oak Ridge Drive purchase unsolicited articles. 55 West Oak Ridge Drive Hagerstown, MD 21740 LEGAL QUESTIONS Hagerstown, MD 21740 www.insightmagazine.org OUR LITTLE FRIEND www.guidemagazine.org Email: [email protected] P.O. Box 5353 [email protected] GUIDELINES: www.insightmagazine.org/ Nampa, ID 83653 CONTACT: Randy Fishell, Editor guidelines/index.asp www.primarytreasure.com/?page=authors GUIDELINES: www.guidemagazine.org/writers- DESCRIPTION: Weekly 24-page magazine for Email: [email protected] guidelines Christian teens. CONTACT: Aileen Andres Sox, Editor DESCRIPTION: Weekly Christian journal. AGE GROUP: 13-19 GUIDELINES: www.pacificpress.com/index. 128 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org website for extensive guidelines and theme list. children grow intheir relationship toGod. View COMMENTS: The primary purposeistohelp and games $25+. Stories and articles 14¢/word; poetry, activities, accepts one-time previously published material. newspaper, periodical, and electronic rights; TERMS: Pays onacceptance. Purchases appropriate and related to theme. words); crafts, puzzles, and jokes thatare age lines); nonfiction related totheme (400-1,000 settings (600-1,400words); poems (upto24 upcoming_themes.asp. Fiction withreal-life ACCEPTS: www.upperroom.org/pockets/ AGE GROUP:6-11 DESCRIPTION: Christian magazine. writer_guidelines.asp GUIDELINES: www.upperroom.org/pockets/ CONTACT: LynnW. Gilliam, Editor Email: [email protected] writers-guidelines/ www.pockets.upperroom.org/write-for-us/ Nashville, TN37203-0004 P.O. Box 340004 POCKETS this time. Prefers electronic submissions. buying poetry, games, puzzles, orartworkat on website. Prefers completemanuscript. Not COMMENTS: Extensive guidelines available One-time rights. Responds within4months. TERMS: Payment is$25-$50onacceptance. Mom. Humor helps. stories thatfeature Dadasthe adult instead of and getting along withsiblings. Need more portray God’slove, coping withpeerpressure, appropriate for age level.True stories that ACCEPTS: One ortwopage manuscripts AGE GROUP:1-5 Church. Sabbath School atthe Seventh-Day Adventist written for children, distributedweeklyat DESCRIPTION: Aspiritually-oriented magazine php?pgName=newsOLFPTsub ACCEPTS: Prefers stories four pages orshorter. Be AGE GROUP:7-9 at aSeventh-Day Adventist church. written for children who attend SabbathSchool DESCRIPTION: Aspiritually-oriented magazine com/?page=authors GUIDELINES: www.primarytreasure. CONTACT: AileenAndres Sox, Editor Email: [email protected] www.pacificpress.com Nampa, ID83653 P.O. Box 5353 PRIMARY TREASURE | MAGAZINE MARKET GUIDE MARKET | MAGAZINE COMMENTS: Goalistohelp girls discoverhow games from $5-10. word upto$35.Poetry from $5-15. Puzzlesand publication. Fiction and nonfiction pays3-5¢/ TERMS: Buysfirstrights. Payment on Prefers manuscripts overqueries. dealing withinterests of teens (100-400words). words). Nonfiction: wide range of articles relationships, and alittleromance (400-900 lives.” Fiction: adventure, mystery, animals, see how Christian beliefs applytotheir daily realistically, and thatcauseyoung readers to are fresh, that present the Christian life games, puzzles, crafts, and cartoons that ACCEPTS: “Stories, articles, quizzes, poems, writers-guideline/ GUIDELINES: gemsgc.org/shine-brightly- AGE GROUP:10-14 DESCRIPTION: Christian magazine for girls. Email: [email protected] www.gemsgc.org Grand Rapids, MI49510 P.O. Box 7259 GEMS Girl’s Clubs SHINE BRIGHTLY COMMENTS: Seewebsitefor guidelines. Photographers paid bythe photo. (reprint) rights. $150-$400for manuscripts. TERMS: First-time rights and second words. crafts, puzzles, orjokes. Average 700-1,200 amateurs and professionals; current. No fiction, Christian coaches, athletes, orsupporters; ACCEPTS: Nonfiction profiles/stories on AGE GROUP:Junior high through college a-story GUIDELINES: www.fca.org/quick-links/submit- and coaches. DESCRIPTION: AChristian magazine for athletes CONTACT: JillEwert,Editor [email protected] www.fca.org/fca-magazine Kansas City, MO64129 8701 LeedsRd. Fellowship of ChristianAthletes SHARING THEVICTORY this time. Prefers electronic submissions. buying poetry, games, puzzles, orartworkat on website. Prefers completemanuscript. Not COMMENTS: Extensive guidelines available One-time rights. Responds within4months. TERMS: Payment is$25-$50onacceptance. animals orother fantasy stories. child. Humor helps. Stories must betrue. No talking positive rather thannegative. Speaktotoday’s material withamulticultural slant. annual theme asaguide. We like toreceive to Sparklereaders. Use the GEMS Girls’Clubs 6-9. Subjectsshould becurrent and important style asexciting and appealing togirlsages in the world. Authors should seetheir writing world changers—to help girlsmake adifference young girlstoliveouttheir faith and become COMMENTS: Sparkle’smission istoprepare from $5-10. article. Poetry from $5-15.Puzzlesand games publication. Fiction and nonfiction pays$20per TERMS: Buysfirstrights. Payment on Prefers manuscripts overqueries. feature, religious, travel. (100-400words). humor, inspirational, personal experience, photo words). Nonfiction: How-to (crafts/recipes), religious, slice-of-life vignettes. (100-400 Adventure, ethnic, fantasy, humorous, mystery, His Truth—applies totheir daily lives. Fiction: causes young readers toseehow God’sword— presents the Christian liferealistically, and games, puzzles, and crafts thatare fresh, ACCEPTS: Stories, articles, quizzes, poems, AGE GROUP:6-9 DESCRIPTION: Christian magazine for girls Email: [email protected] magazine/ www.gemsgc.org/writers-guideline-sparkle- Grand Rapids, MI49510 P.O. Box 7259 Gems Girl’s Clubs SPARKLE and theme listonwebsite. God isatworkintheir lives. View guidelines DESCRIPTION: Catholic magazine. www.americancatholic.org Cincinnati, OH45210-1298 1615 RepublicStreet St. AnthonyMessengerPress YOUTH UPDATE COMMENTS: Send for guidelines. $10 perpoem. Terms: Purchases one-time rights. 3-5¢/word; speak tothe needs of allchildren. words), poems (6-20lines), and activities that ACCEPTS: Stories and articles (300to800 AGE GROUP:4-9 Christian valuesthrough stories. DESCRIPTION: Monthly magazine thatreinforces CONTACT: SusanReithSwan,Editor www.mph.org Scottdale, PA 15683 616 Walnut Avenue STORY FRIENDS MAGAZINE MARKET GUIDE | 129

AGE GROUP: 14-18 PREPARING & SUBMITTING ACCEPTS: One essay per issue that includes the following elements: a statement of purpose, narrative, box, and questions. TERMS: Pays 15¢/word on acceptance. COMMENTS: Mission is to support the growth of teenagers in a life of faith through the application of Catholic principles to topics of timely interest. Submit by disk with printed copy. Guidelines available. MARKET SURVEYS DIRECTORIES & RESOURCES PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS

RELIGIOUS PRESS MARKET SURVEY

compiled by Nancy Dearborn and Etta Wilson 2001 updated by Jess Costello © 2019

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) P.O. Box 428 METHOD OF PAYMENT: 10% on net receipts with P.O. 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 accept within the general framework of Catholic 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, BOOK PER YEAR: 1-2 DIRECTOR: Dan Lynch activity books, early readers, chapter books, TYPES OF BOOKS: Devotionals and biographies EDITOR: Michelle Prater Burke and nonfiction for ages 0-12 that represent for teens; activity books for pre-teens. DESCRIPTION: Publishes Bible-based books for progressive Christian themes and values. METHOD OF SUBMISSION: Send a single kids, primarily for the 4–8 and 8–12 age groups, METHOD OF SUBMISSION: Through submittable document that includes a title, a one-paragraph but will also publish some titles for tweens and or via agents; no hard copies. synopsis, a short biography, an annotated teens, with 20 titles per year planned. Books table of contents, and 1-2 sample chapters to include the message of the Gospel. 132 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.veggietales.com Franklin, TN37064 230 Franklin,Bldg.2A BIG IDEA METHOD OFPAYMENT: Average royalty of 5%. to ArtDirector ataboveaddress. 5-10 samplesof published illustrations oronline Expect reply in3months. Illustrators:Submit Please do not send simultaneous submissions. www.behrmanhouse.com/submission-guidelines. manuscript. Review submission guidelines at email submissions. Email coverletterand METHOD OFSUBMISSION:Writers:Prefer and activity/workbooks. TYPES OFBOOKS:Nonfiction for allage levels BOOKS PERYEAR:5-10 nature only. RESTRICTIONS ORTABOOS: Topics of aJewish CONTACT: [email protected] FAITH AFFILIATION: Jewish. www.behrmanhouse.com Milburn, NJ07041 241 MilburnAve. BEHRMAN HOUSE METHOD OFPAYMENT: Varies perproject. the aboveaddress. published illustrations or completeportfolio to on website. Illustrators:submit5-10samplesof Please seesubmission guidelines for nonfiction agencies. Nonfiction submissions accepted. they are submittedthrough professional literary accepts unsolicited fiction submissions unless METHOD OFSUBMISSION:Writers:No longer except poetry. TYPES OFBOOKS:We willconsider any type BOOKS PERYEAR:6+ Christian perfection. times, Lord’s Supper, women’s ordination, and relating tobaptism,giftsof the Spirit,end RESTRICTIONS ORTABOOS: Avoid content Christian FAITH AFFILIATION: Conservative evangelical www.barbourbooks.com Uhrichsville, OH44683 P.O. Box 719,1810BarbourDrive BARBOUR BOOKS ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: website for specificguidelines. [email protected]. Check the Kids staff.You may submityourworkto and writersconferences attended byB&H Submissions acceptedthrough agents | RELIGIOUS PRESS MARKET SURVEY MARKET PRESS | RELIGIOUS Not accepting. Not accepting artsamples. Not accepting. Not accepting. would fitasaBig Idea property. sharp, innovative, witty, and something that yourself toevaluate honestly ifthe material is polished and ready for publishing. Challenge do not submitamanuscript unlessitishighly that onlyfitwiththe Big Idea style. Please we are alsolooking for potentially new products writing VeggieTales booksonassignment, and witty. We are looking for writerscapableof for manuscripts thatare fun,whimsical, and ADDITIONAL COMMENTS:Big Idea islooking METHOD OFPAYMENT: Flatfeeonallprojects. freelance illustrators atthistime. submissions. Illustrators:We are not seeking any letters: 3months. We prefer no simultaneous letters onwebsite. Response time toquery query letterand entire manuscript. Email query readers, Activity, workbook,and puzzlebooks- letter only. Board books, picture books, early books, devotionals and series books-query METHOD OFSUBMISSION:Writers:Chapter riddle and puzzlebooks. middle graders, activitybooksand workbooks, collections, nonfiction for young readers and early readers, middle grade fiction, story TYPES OFBOOKS:Board books, picture books, BOOKS PERYEAR:20-30 witty nature. based. Allsubmissions must beof afunand must benondenominational and biblically RESTRICTIONS ORTABOOS: Allsubmissions FAITH AFFILIATION: None or entire manuscript byMAILONLY. No email METHOD OFSUBMISSION: Send queryletter social and cultural issues. history, art,literature, ethics, and contemporary and inreligious approaches tophilosophy, TYPES OFBOOKS:Biblical studies and theology FAITH AFFILIATIN: Christian CONTACT PERSON:Jon Potts, Editor-in-Chief www.eerdmans.com [email protected] Grand Rapids, MI49546 4055 Park EastCourtSE EERDAMAN’S BOOKSFORYOUNG READERS [email protected] METHOD OFSUBMISSION:Email queryto ages. TYPES OFBOOKS:Nonfiction and fiction forall the Scriptures and the Lutheran Confessions. RESTRICTIONS ORTABOOS: Subjectsfaithful to FAITH AFFILIATION: Lutheran www.cph.org Grand Rapids, MI63118 3558 SouthJeffersonAvenue CONCORDIA PUBLISHINGHOUSE SUBMISSION CONTACT: [email protected] depending onproject. METHOD OFPAYMENT: Flatfeeorroyalty, listed above. and asampleof yourresource tothe address explanation of how yourresources canbeused, and background, anoutline of youridea, an that includes acoverletteraboutyouridea METHOD OFSUBMISSION:Submitaquery TYPES OFBOOKS:Leadership-based material. BOOKS PERYEAR:65-70 is leader/teacher oriented. RESTRICTIONS ORTABOOS: Allof ourmaterial FAITH AFFILIATION: Christian www.grouppublishing.com Loveland, CO80538 1515 CascadeAve. GROUP PUBLISHING,INC. $150 and upfor nonfiction stories $200 and upfor feature-length fiction stories. ROYALTIES: Generally 15to25cents perword. GENRE: Fiction and nonfiction. Seeguidelines. aspx clubhousemagazine.com/submission-guidelines. SUBMISSION GUIDELINES:www. Clubhouse Jr. (ages 3to7) Clubhouse Magazine (ages 8to12)and www.focusonthefamily.com FOCUS ONTHEFAMILY Francois Dumont Katie Quirk;TheChickens BuildaWall byJean- TITLES TO STUDY: AGirlCalledProblemby MULTIPLE SUBMISSIONS:Yes WILL REPLY months IN:3 Pages/YoungReaders/EBYR-Guidelines.aspx SUBMISSION GUIDELINES:www.eerdmans.com/ submissions. submissions acceptableifinformed. Expect hachai.com ormail withSASE. Simultaneous letter and completemanuscript toeditor@ METHOD OFSUBMISSION:Writers:submitcover 2-4, 3-6,and 7-10. devotion and relevance of the Torah for ages young and historical fiction thathighlights and easyreaders onJewish topics for the very TYPES OFBOOKS:Board books, picture books, BOOKS PERYEAR:6 or references toother religions. stories, romance, violence, preachy sermonizing RESTRICTIONS ORTABOOS: No fantasy, animal FAITH AFFILIATION: Jewish www.hachai.com Brooklyn, NY11225 527 EmpireBoulevard HACHAI PUBLISHING RELIGIOUS PRESS MARKET SURVEY | 133 reply in 6 weeks. Illustrators: Submit color picture book manuscript or sample chapters Evangelical Christian. Our authors must be in PREPARING & SUBMITTING photocopies and tear sheets or online portfolios through the Kube Publishing Submittable page. agreement with our mission statement, which is of work with inclusion of human character to Only submissions made through Submittable will available at our website. the above address. Include SASE for response. be accepted. RESTRICTIONS OR TABOOS: Kregel Kidzone is METHOD OF PAYMENT: Flat fee to both author kubepublishing.submittable.com/submit/42879/ committed to publishing books and collateral and artist. children-and-ya-proposals materials that target both the spiritual CONTACT EMAIL: [email protected] METHOD OF PAYMENT: Advance flat fee 200-500 and educational development of children Sterling Pounds. by engaging their God-given creativity, HERALD PRESS imagination, and interest in the world around P.O. Box 866 JOURNEY FORTH them. All of our children’s products must be Harrisonburg, VA 22802 1700 Wade Hampton Blvd. biblically based and emphasize solid Christian MARKET SURVEYS www.heraldpress.com Greenville, SC 29614 principles and values. We do not publish FAITH AFFILIATION: Mennonite Church (US www.bjupress.com/books/journeyforth curriculum or privately subsidized editions for and Canada) FAITH AFFILIATION: Christian individuals. RESTRICTIONS OR TABOOS: No positive RESTRICTIONS OR TABOOS: Only accept BOOKS PER YEAR: 20 views of violence, aggression, or weapons. Christian-based subjects. Avoid high fantasy and TYPES OF BOOKS: Novelties of all sorts, picture We also generally avoid holding up the didactic or crass language. books, Bible stories, easy readers, middle grade military, celebrities in pop culture or sports, TYPES OF BOOKS: Christian fiction books, and YA fiction, activity and puzzle books, politicians, judges, and police as role models. Christian biographies, read-aloud books, and nonfiction for all levels, and devotionals. DIRECTORIES & RESOURCES BOOKS PER YEAR: 2-3 teen Bible studies. METHOD OF SUBMISSION: Writers: Kregel TYPES OF BOOKS: Picture books, middle METHOD OF SUBMISSION: Writers: See Publications does not accept unsolicited grade fiction, and young adult fiction. manuscript guidelines www.bjupress.com/ material for review. We do, however, review METHOD OF SUBMISSION: Writers: see our books/freelance.php. Will respond in 12 weeks. summaries from The Writers’ Edge and Christian complete guidelines at our website above. Illustrators: Email qualifications to Nancy Lohr Manuscript Submissions regularly. These Email or mail submissions to Dorothy at [email protected] or send with SASE to the manuscript-screening services provide an Hartman at [email protected] above address. opportunity for you to share your proposal with or the above address. Include an SASE over 40 Christian publishers simultaneously for and expect a reply in about two months. KAR-BEN PUBLISHING a moderate fee. We also accept query letters If your proposal has potential for Herald Lerner Publishing Group from professional literary agents. Press, we will request a finished manuscript. 241 First Avenue North METHOD OF PAYMENT: Royalties are determined

Simultaneous submissions are accepted. Minneapolis, MN 55401 on a project-by-project basis. PUBLICIZING YOUR PUBLISHED WORK Illustrators: Please send samples for our www.karben.com files to Merrill Miller at the above address FAITH AFFILIATION: Jewish MASTER BOOKS/NEW LEAF PRESS and SASE if you want a reply or via email at RESTRICTIONS OR TABOOS: Our publications are P.O. Box 726 [email protected]. Samples may geared toward the Reform/Conservative/Modern Green Forest, AR 72638 include tear sheets, photocopies (both b/w Orthodox strains of Judaism. www.masterbooks.net and color), slides, photographs, and original BOOKS PER YEAR: 15-20 FAITH AFFILIATION: Protestant art. All must fit in an 8.5 x 11” file folder. TYPES OF BOOKS: Board books, picture books, RESTRICTIONS OR TABOOS: List is strong in Include a cover letter and short resume. easy readers, nonfiction for young readers, biblical doctrine, Christian ideas/principles; METHOD OF PAYMENT: Usually up to 10% activity and workbooks, holiday books, folktales, children’s books aim to establish creation, not of the net sales and the possibility for contemporary stories and picture books, evolution, in children’s minds. No children’s escalation above 15,000 copies. reflecting the rich diversity of today’s Jewish fiction or YA fiction. community, preschool through middle school. BOOK PER YEAR: 30-35 THE ISLAMIC FOUNDATION METHOD OF SUBMISSION: Writers: we respond TYPES OF BOOKS: Board books, picture books,

Ratby Lane, Markfield to both query letters and complete manuscripts. easy readers, educational nonfiction for all age SCHOOL VISITS Leicestershire, LE67 9SY Submit to [email protected]. Expect ranges, activity books, riddle and puzzle books. United Kingdom response in 12 weeks. Simultaneous submissions No fiction. www.islamic-foundation.com are accepted, but we want to know. Illustrators: METHOD OF SUBMISSION: Download author’s FAITH AFFILIATION: Islam We request either 3-4 slices or online proposal document on the website and submit RESTRICTIONS OR TABOOS: We only accept illustrations sent to [email protected]. to [email protected]. manuscripts that portray a positive Islamic METHOD OF PAYMENT: Royalty. METHOD OF PAYMENT: 10% of net sales, no LEGAL QUESTIONS perspective. advance. BOOKS PER YEAR: approximately 10 KREGEL KIDZONE TYPES OF BOOKS: Board books, young adult Kregel Publications TOMMY NELSON fiction, story collections, poetry, puzzle books, 2450 Oak Industrial Dr. NE Building 100, Suite 600 activity/workbooks, middle grade fiction. Grand Rapids, MI 49501 402 BNA Drive METHOD OF SUBMISSION: Submit a cover www.kregel.com Nashville, TN 37217 letter, CV/resume, one-page proposal, and FAITH AFFILIATION: Nondenominational, www.tommynelson.com 134 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.tahapublishers.com London, SE279NT, UK Windsor Grove, West Norwood Unit 4,TheWindsorCentre TA-HA PUBLISHERS com. only through ChristianManuscriptSubmissions. guidelines onwebsite. Submissions accepted METHOD OFSUBMISSION:Manuscript books aboutprayer, seasonal books. as Biblestorybooks, board books, devotionals, resources, booksthatreinforce teaching such TYPES OFBOOKS:Children and teenclassroom BOOKS PERYEAR:15-20 Classroom and ministrymaterials. RESTRICTIONS ORTABOOS: No fiction or poetry. FAITH AFFILIATION: Evangelical Christian www.standardpub.com Cincinnati, OH45249 Suite 400 8805 Governor’s HillDr. STANDARD PUBLISHING website. Willrespond in2-8weeksifinterested. Submissions. Seeguidelines for Rainbowat Illustrations: Send samplestoIllustration chapters. LabelManuscript Submissions. with coverletter, tableof contents, and 2-5 METHOD OFSUBMISSION:Writers:Send SASE to creatively teachthe Bibletokids ages 2-12. use crafts, games, puzzles and other activities TYPES OFBOOKS:classroom resource booksthat BOOKS PERYEAR:10-20 bookstore market. to meet the general standards of the Christian RESTRICTIONS ORTABOOS: Manuscripts need FAITH AFFILIATION: Evangelical Christian www.hendricksonrose.com Peabody, MA01961 P.O. Box 3473 ROSE PUBLISHING project. METHOD OFPAYMENT: Varies from project to slides Attn: ArtDirector. No simultaneous submissions. Illustrators:send accepting unsolicited manuscripts atthistime. METHOD OFSUBMISSION:Writers:not 0-14. TYPES OFBOOKS:Alltypesfor children ages BOOKS PERYEAR:50-75new titles submitting any manuscript. competitors’ books, and market needs before booksellers market, assessing current trends, have thoroughly researched the Christian RESTRICTIONS ORTABOOS: Writersneed to FAITH AFFILIATION: Christian | RELIGIOUS PRESS MARKET SURVEY MARKET PRESS | RELIGIOUS METHOD OFPAYMENT: Varies withcontract. Will reply insixweeksifinterested. tahapublishers.com, ormail toaboveaddress with synopsis and target market toeditor@ METHOD OFSUBMISSION:Email queryletter Islamic stories for children and young adults. TYPES OFBOOKS:Traditional and modern positive manner. subjects relating tothe teachings of Islam ina TABOOS ORRESTRICTIONS:No poetry. Only FAITH AFFILIATION: Islamic range from pre-school (2-5yearsold)toupper theme such aslove, forgiveness, etc. Ages Most books focus onaBiblestoryorbiblical activity bookswritteninaneasy-to-read style. TYPES OFBOOKS:Biblestudies coloring and coloring and activitybooks. BOOKS PERYEAR:4-6new titlesand 15 themed. RESTRICTIONS ORTABOOS: Must beChristian FAITH AFFILIATION: Church of God www.warnerpress.com Anderson, IN46018 P.O. Box 2499 WARNER PRESS publishing industry. Seewebsiteguidelines. from other publishers, orother peopleinthe agents, Tyndale authors, authors known tous manuscripts submittedbyprofessional literary METHOD OFSUBMISSION:Tyndale reviews only and children’s books. TYPES OFBOOKS:Christian fiction, nonfiction, stories only. RESTRICTIONS ORTABOOS: Christian based FAITH AFFILIATION: Christian www.tyndale.com Carol Stream,IL60188 351 Executive Drive TYNDALE HOUSEPUBLISHERS quarterly. METHOD OFPAYMENT: Royalties givenout more information. address withanSASE. Contact publisher for proposal and queryletteronline ortothe above METHOD OFSUBMISSION:Submitbook currently outof print. themed children’s books, and Franciscan works TYPES OFBOOKS:Inspirational Franciscan subjects. RESTRICTIONS ORTABOOS: Franciscan themed FAITH AFFILIATION: Franciscan www.tau-publishing.org Phoenix, AZ85014 4727 North12thStreet TAU PUBLISHING . WISDOM PUBLICATIONS METHOD OFPAYMENT: Royaltyand flatfee. material submittedfrom aliterary agent. unsolicited manuscripts atthistime. Only METHOD OFSUBMISSION:Not accepting fiction. grade fiction, concept booksand historical TYPES OFBOOKS:Picture booksand middle BOOKS PERYEAR:10-15new titles subjects only. RESTRICTIONS ORTABOOS: Christian based FAITH AFFILIATION: Evangelical Christian www.waterbrookmultnomah.com Colorado Springs, CO80921 10807 NewAllegianceDr., Suite500 WATERBROOK +MULTNOMAH depending onthe project. METHOD OFPAYMENT: Payment varies, manuscript [email protected]. METHOD OFSUBMISSION:Email your elementary (8-10). METHOD OFPAYMENT: Royaltyand flatfee. unsolicited manuscripts atthistime. METHOD OFSUBMISSION:Not accepting stories, and prayer books picture books, middle grade fiction, Bible TYPES OFBOOKS:Novelties, board books, BOOKS PERYEAR:75-90new titles appropriate for children. must bebiblically basedand developmentally RESTRICTIONS ORTABOOS: Allourpublications FAITH AFFILIATION: Christian www.zonderkidz.com Grand Rapids, MI49530 5300 Patterson Avenue SE ZONDERKIDZ Questionnaire. email ittothe email address listedonthe on the contact page of the websiteand complete the Submission Questionnaire found METHOD OFSUBMISSION:Downloadand to Buddhism for children and young adults. TYPES OFBOOKS:Inspirational stories related BOOKS PERYEAR:20new titles teaching credentials. relevant professional, academic, orDharma- related toBuddhism and writtenbypeoplewith RESTRICTIONS ORTABOOS: Onlytopics directly FAITH AFFILIATION: Buddhism www.wisdomexperience.org Somerville MA02144 199 ElmStreet EDUCATIONAL PRESS MARKET SURVEY

compiled by Melissa Stewart. updated by Jessica Costello 2019

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

ABC-CLIO ABDO GROUP a glossary, and an index, timelines, maps, 147 Castilian Drive P.O. Box 398166 diagrams, sidebars, full-color photos and Santa Barbara, CA 93117 Minneapolis, MN 55439 captions. 1-800-368-6868 952-831-2120 EDITOR-IN-CHIEF: Paul Abdo www.abc-clio.com www.abdobooks.com/ CONTACT: [email protected] DESCRIPTION: Publishes educational resources Magic Wagon Books DESCRIPTION: High-quality, authoritative, and select fiction for grades K-12. See imprints (Imprint of Abdo) reference scholarship and innovative coverage for more details. DESCRIPTION: Picture book, beginning reader, of history, humanities, and general interest SUBMISSIONS: Only accepting proposals for or chapter book manuscripts that can become topics across the secondary and higher fiction series (at least 4 books) at this time. a series of 4-6 titles. Blends imagination with education curriculum. Libraries Unlimited is the Writers: Submit a summary of the series and information. librarian reference book imprint. each individual book, along with 1-2 sample SUBMISSION GUIDELINES: Send a proposal chapters from the first book, to fiction@ POP! that includes a keynote and outline as well abdobooks.com. (Imprint of Abdo) as a description of length, user purpose, Illustrators: Email sample illustrations as an DESCRIPTION: Web-enhanced nonfiction that competition, and bibliographic information to attachment to [email protected]; keep uses QR codes to expand each book into an the editor in your field. See the website for the file size total under 10 MB per email. interactive online experience for grades K-3. appropriate emails based on subject. abc-clio.com/ABC-CLIOGreenwood/Authors/ Abdo Publishing Company Abdo Zoom BecomeanAuthor.aspx (Imprint of Abdo) (Imprint of Abdo) DESCRIPTION: publishes pre-K–12 educational DESCRIPTION: Leveled and hi-lo nonfiction for nonfiction books that contain high-quality grades PreK-8. text features, including a table of contents, 136 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org arts, and sportsfor grades K-2. in science, social studies, language arts, visual DESCRIPTION: Publishes media-enhanced books ART DIRECTOR: Terry Paulhus SENIOR MANAGING EDITOR: Heather Hudak www.av2books.com 1-866-649-3445 New York, NY 10118-0069 and writing samples(ideally nonfiction for bearportpublishing.com along withyourresume SUBMISSIONS: Email proposal toinfo@ larger series. individual titles, butbooksthatare partof a nonfiction for grades K-6. We do not publish DESCRIPTION: High-interest narrative www.bearportpublishing.com (877) 337-8577 New York, NY10010 45 West 21stStreet,Suite3B BEARPORT PUBLISHING Royalties vary. Acquisitions Manager. Willreply in8months. nonfiction only proposal and coverletterto fiction manuscript withcoverletterand SASE; SUBMISSIONS: NO EMAILsubmissions. Send fiction and nonfiction. standardized testpreparation materials both children’s books, activitykits, study guides, and DESCRIPTION: Publishes awide range of [email protected] www.barronseduc.com 1-800-645-3476 Hauppauge, NY11788 250 WirelessBlvd BARRONS EDUCATIONAL SERIES 59 350 5thAvenue AV2 reading experience. designed toprovide anenhanced, engaged DESCRIPTION: Ebooksand other online content (Imprint of Abdo) Abdo Digital engageable reading. six relatable titlessimultaneously for easy, DESCRIPTION: Hi-loYA fiction that releases (Imprint of Abdo) EPIC Press novels for grades PreK-12. DESCRIPTION: Popular fiction and graphic (Imprint of Abdo) Spotlight | EDUCATIONAL PRESS MARKET SURVEY MARKET PRESS | EDUCATIONAL th Fl address. grades K-6), oryoucanmail them tothe above school and library market, grades preK-4. books, easyreaders, and chapterbooksfor the DESCRIPTION: Publishes informational picture www.capstonepub.com (imprint of Capstone) Picture Window Books capstonepub.com/library/service/submissions. com. Seefullsubmission guidelines atwww. experienced withtoil.sub@coughlancompanies. showcase yourwork,and subjects/stylesyouare link toyourwebsite, 1-2illustrations thatbest [email protected]. Illustrators:Email a credits, writing sample, and topics of interest to Authors: Submitcoverletter, previous writing authors/illustrators onawork-for-hire basis. unsolicited submissions, butislooking for SUBMISSIONS: Currently not accepting library market, grades 5and up. and high-interest nonfiction for the school and DESCRIPTION: Publishes curriculum-aligned www.capstonepub.com (imprint of Capstone) Compass Point Books capstonepub.com/library/service/submissions. com. Seefullsubmission guidelines atwww. experienced withtoil.sub@coughlancompanies. showcase yourwork,and subjects/stylesyouare link toyourwebsite, 1-2illustrations thatbest [email protected]. Illustrators:Email a credits, writing sample, and topics of interest to Authors: Submitcoverletter, previous writing authors/illustrators onawork-for-hire basis. unsolicited submissions, butislooking for SUBMISSIONS: Currently not accepting nonfiction titles. skills todeliver assigned easy-to-read and hi-lo seeking writerswithsolid research and writing the school and library market, preK-9. Actively high interest nonfiction and fiction series for DESCRIPTION: Publishes curriculum-aligned and www.capstonepress.com CAPSTONE PRESS Check websiteperiodically. accepting unsolicited submissions atthistime. market, elementary through high school. Not nonfiction series for the school and library DESCRIPTION: Publishes curriculum-aligned benchmarkeducation.com (855) 245-9751 New Rochelle, NY10801 145 HugenotSt. BENCHMARK EDUCATION samples, and proposal toEditorial Director at SUBMISSIONS: Send query, resume, writing material inthe classroom. and ebooks thatcanbeusedassupplemental more. Focusesoncolorful,engaging books social studies, science, geography, health, and biographies bothhistorical and contemporary, for middle and high school students covering DESCRIPTION: Curriculum-based nonfiction [email protected] www.infobasepublishing.com New York, NY19008 capstonepub.com/library/service/submissions. com. Seefullsubmission guidelines atwww. experienced withtoil.sub@coughlancompanies. showcase yourwork,and subjects/stylesyouare link toyourwebsite, 1-2illustrations thatbest [email protected]. Illustrators:Email a credits, writing sample, and topics of interest to Authors: Submitcoverletter, previous writing authors/illustrators onawork-for-hire basis. unsolicited submissions, butislooking for SUBMISSIONS: Currently not accepting to the curriculum. readers, grades 2-8.Most titleshavestrong ties violent graphic novels intended for reluctant mysterious and adventurous novels and non- DESCRIPTION: Publishes funny, scary, www.capstonepub.com (imprint of Capstone) Stone Arch Books capstonepub.com/library/service/submissions. com. Seefullsubmission guidelines atwww. experienced withtoil.sub@coughlancompanies. showcase yourwork,and subjects/stylesyouare link toyourwebsite, 1-2illustrations thatbest [email protected]. Illustrators:Email a credits, writing sample, and topics of interest to Authors: Submitcoverletter, previous writing authors/illustrators onawork-for-hire basis. unsolicited submissions, butislooking for SUBMISSIONS: Currently not accepting 132 West 31 Imprint of Infobase Publishing CHELSEA HOUSE manuscript submissions atthistime. SUBMISSIONS: Not accepting unsolicited materials inallcontent areas. DESCRIPTION: Publishes preK-8 educational www.carsondellosa.com 800-329-0943 Greensboro, NC27425 PO Box 35665 CARSON-DELLOSA PUBLISHING st St,17 th Floor EDUCATIONAL PRESS MARKET SURVEY | 137 [email protected]. Flat fee paid. No books for K-12. DESCRIPTION: Publishes a variety of PREPARING & SUBMITTING fiction. supplementary classroom materials, including SUBMISSIONS: Writers submit a proposal, activity books, lesson plans, reproducibles, cover letter, outline, and sample chapter with CHICAGO REVIEW PRESS and skill-building resources for grades K-12. SASE. See author guidelines for more details. 814 N. Franklin St. Deadlines vary. Payment varies. Royalties. Chicago, IL 60610 SUBMISSION GUIDELINES: View Corwin Press’s SUBMISSION GUIDELINES: www.davisart.com/ 1-312-337-0747 detailed author guidelines at resources.corwin. about-us/write-for-davis. www.chicagoreviewpress.com com/author-guide. Send submissions to your PUBLISHER: Cynthia Sherry, csherry@ editorial team, listed on the website. DAWN PUBLICATIONS chicagoreviewpress.com 12402 Bitney Springs Rd. DESCRIPTION: Publishes children’s and CREATIVE TEACHING PRESS Nevada City, CA 95959 MARKET SURVEYS YA nonfiction and activity books, ages 9 6262 Katella Ave. www.dawnpub.com and up. See author guidelines at www. Cypress, CA 90630 EDITORIAL DIRECTOR: Tara Kelley chicagoreviewpress.com/information-for- 1-800-287-8879 ART DIRECTOR: Muffy Weaver authors--amp--agents-pages-100.php. No need www.creativeteaching.com DESCRIPTION: Nature awareness books for for art. Authors provide photos. Deadlines 9 DESCRIPTION: Publishes teacher resource books, children. No stories about pets, animal rescue, months to 1 year. Royalty with small advance. emergent readers, and other supplemental or fantasy. Send a resume, proposal, and sample chapters learning products in the areas of phonics, SUBMISSIONS: Writers please see submission to an acquisition editor listed in the guidelines. reading, writing, math, science, and social guidelines on the website www.dawnpub.com/ DIRECTORIES & RESOURCES studies. Materials serve grades PreK-8. submission-guidelines/. Email submissions to CONTINENTAL PRESS SUBMISSIONS: Seeking ideas for resource books [email protected] or mail submission 520 East Bainbridge Street and emergent readers that have been used and with an SASE to Tara Kelley. Illustrators send Elizabethtown, PA 17022 tested in the classroom; does not generally samples and cover letter to Muffy Weaver with 1-800-233-0759 publish trade children’s books. To submit an SASE. www.continentalpress.com idea, mail a cover letter, summary of the idea DESCRIPTION: Publishes fiction and nonfiction and submission form with an SASE to DRAMATIC PUBLISHING leveled readers and other materials that support Creative Teaching Press 311 Washington St. literacy for grades K-12. Writers should be Attn: Idea Submissions Woodstock, IL 60098-3308 familiar with Reading Recovery, guided reading, 6262 Katella Ave, 1-800-448-7469 and other reading intervention programs. Also Cypress, CA 90630-5204 www.dramaticpublishing.com interested in specialized math, reading, and test For full guidelines, visit creativeteaching.com/ DESCRIPTION: Plays for children, K-12. PUBLICIZING YOUR PUBLISHED WORK preparation materials for grades K-12. pages/submit-an-idea. SUBMISSIONS: Will accept unsolicited SUBMISSIONS: Writers: Not accepting submissions ONLY if we already publish one submissions at this time. Illustrators: send THE CRITICAL THINKING CO. or more works by the author, the author is sample artwork to the Art Director at the 1991 Sherman Ave, Suite 200 already published by a major licensing house, above address. Samples should be no larger North Bend, OR 97459 the author is represented by a credentialed than 8.5X11”; DO NOT send email submissions, 1-800-641-6555 theater or literary agent, or the author has originals, or discs/flash drives. www.criticalthinking.com two fully staged productions in the last five EDITORIAL DIRECTOR: Michael Baker years. No longer accepting adaptations of Seedling Press DESCRIPTION: Publishes curriculum programs A Christmas Carol, folktales, fairytales, or (Imprint of Continental Press) that align with state standards, study guides, Shakespeare. Complete the submission form and DESCRIPTION: Publishes fiction and nonfiction activity books, games, puzzles, and test email all materials: more specific guidelines on leveled readers and other materials that support preparation materials for reading, writing, Submissions page. literacy for grades K-2. Writers should be math, science, and social studies. All products SUBMISSION GUIDELINES: dramaticpublishing.

familiar with Reading Recovery, guided reading, emphasize critical thinking skills. com/submissions SCHOOL VISITS and other reading intervention programs. Also SUBMISSIONS: Send cover letter and full interested in specialized math, reading, and test manuscript to Michael Baker at the above ENSLOW PUBLISHERS preparation materials for grades K-12. address with a SASE 101 W. 23rd Street, Suite 240 SUBMISSIONS: Not accepting submissions at Berkeley Heights, NJ 07922 this time. DAVIS PUBLICATIONS 1-908-771-9400 50 Portland Street www.enslow.com LEGAL QUESTIONS CORWIN PRESS Worcester, MA 01608 EDITOR IN CHIEF: Dorothy Goeller 2455 Teller Road (508) 754-7201 DESCRIPTION: Publishes curriculum-aligned Thousand Oaks, CA 91320 www.davisart.com nonfiction series for the school and library 805-410-7244 PUBLISHER: Valerie Sullivan, vsullivan@ markets, grades K-12. www.corwinpress.com/home.nav davisart.com SUBMISSIONS: Send resume and writing EDITORIAL DIRECTOR: Ariel Curry, ariel.curry@ DESCRIPTION: Art textbooks, resource guides, samples, series proposals, unsolicted corwin.com student activity books, posters, videos, and manuscripts, and non-returnable art samples 138 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 1-800-884-3764 Grapevine, TX76051 800 IndustrialBlvd.Suite100 FROG STREETPRESS at freespirit.com/Submission-Guidelines. read. Seefullsubmission guidelines onwebsite via Submittable. Email submissions willnot be personal promotional plantoaboveaddress or sample chaptersorentire manuscript, and letter, resume, market analysis, detailed outline, self-help. Submitaproposal including acover biographies/autobiographies/memoirs, adult stories, poetry, religious content, single NOT accepting: general fiction, animal/fantasy education, educational games, and counseling. education, bullying prevention, character strategies, earlychildhood, gifted/special proposals ONLY inthe subjects:teaching SUBMISSIONS: Currently seeking nonfiction needs. Deadlines vary. prevention, social action, creativity, and special school success, peacemaking and violence esteem and self-awareness, stress management, children/teens withemphasisonpositiveself- counselors, orprofessionals working with nonfiction materials written byeducators, materials, and teacher guides. Looking for include books, classroom supplemental emotional development of children. Products tools thatsupportthe social health and DESCRIPTION: Publishes avariety of learning www.freespirit.com 1-612-338-2068 Minneapolis, MN55427 6325 SandburgRd.,Suite100 FREE SPIRITPUBLISHING the aboveaddress. products. Send resume and writing samplesto with experience creating K-5 language arts core curriculum. WFH.Actively seeking writers ELL, and writing thatsupportand enrich the reading, science, social studies, arts&crafts, educational materials inlanguage arts, math, DESCRIPTION: Publishes avariety of preK-8 ART DIRECTOR: Cheryl Pucket EDITORIAL DIRECTOR: Andrea Weiss www.evan-moor.com 1-800-714-0971 Monterey, CA93940 18 LowerRagsdaleDr. EVAN-MOOR CORPORATION a storyformat. 2) and math and character building presented in ideas for earlyelementary readers (grades 1and to Dorothy Goeller. Actively seeking nonfiction | EDUCATIONAL PRESS MARKET SURVEY MARKET PRESS | EDUCATIONAL frogstreet.com. submissions and querytocustomerservice@ for great product ideas and artsamples. Email students. guides topromote literacy inearlyelementary books, reproducibles, flipcharts, and activity DESCRIPTION: Publishes teacher resource FOUNDER: Sharon Barnett www.frogstreet.com [email protected] social studies for K-12. Send queryemail to reading, writing, mathematics, science, and DESCRIPTION: Materials and booksthatsupport www.secure.greatsource.com 800.225.5425 Wilmington, MA01887 181 BallardvaleStreet (imprint of HOUGHTON MIFFLINHARCOURT) GREAT SOURCEEDUCATION GROUP goodyearbooks.com. parents. Email submissions tosubmissions@ resources for teachers orhome-schooling multicultural/ESL, aswellprofessional studies, mathematics, science, artsand drama, phonics. Alsointerested inmaterials for social for language arts, writing, reading, and and WFH.Currently seeking quality materials materials, grades K-8. Deadlines vary. Royalty supplemental educational and classroom DESCRIPTION: Publishes arange of [email protected] www.goodyearbooks.com Culver City, CA90232 10200 JeffersonBlvd.,Box 802 GOOD YEARBOOKS only ifinterested. proposal ifneeded. Will respond in3months gibbs-smith.com. Include samplechaptersand Please email submissions todebbie.uribe@ submissions SUBMISSION GUIDELINES:gibbs-smith.com/ humor, and giftbooks. popular culture, gardening, artsand crafts, focus onabroad array of topics including cookbooks. We alsoacceptsubmissions that along withinterior design, architecture, and DESCRIPTION: Activity booksfor children www.gibbs-smith.com 801.544.9800 Layton, Utah84041 PO Box 667 GIBBS SMITHPUBLICATIONS Deadlines vary. WFH.Alwayslooking Department. above address, attention: Material Review an idea, mail aproposal and coverletterto 1-9. Deadlines vary. Royaltyand WFH.To submit reading programs for struggling readers, grades DESCRIPTION: Publishes hi-lobooksand www.highnoonbooks.com/ 1-800-422-7249 Novato, CA94949-5746 20 LeveroniCt. AcademicTherapy Publications HIGH NOONBOOKS above address. and twenty page sampletoAcquisitions atthe grades PreK-3. Send queryletter, proposal, including activitybooksand lessonplans, DESCRIPTION: Publishes teacher resources, www.gryphonhouse.com 1-800-638-0928 Lewisville, NC27023 6848 Leon’s Way PO Box 10 GRYPHON HOUSE address. Flatfee paid. No fiction. at [email protected] ortothe above samples, and proposal toEditorial Director SUBMISSIONS: Send query, resume, writing com/ContactUs.aspx?Page=AuthorSubmission SUBMISSION GUIDELINES:infobasepublishing. across awide range of disciplines. biographical dictionaries and encyclopedias science, ecology, and cultural studies, and offer We havestrong curriculum-based titlesin history, worldhistory, and globalissues. particularly multi-cultural studies, women’s DESCRIPTION: American history books, www.infobasepublishing.com 212-967-8800 New York, NY10001 132 West 31stStreet,16thFloor INFOBASE PUBLISHING copies. consideration. Email submissions only;no hard manuscript [email protected] for SUBMISSIONS: Submitillustrations oryour grades K-12. Deadlines vary. WFH. (grades 5-8)and teaching strategy booksfor educational resources for middle school students DESCRIPTION: Publishes supplemental PUBLISHER: JillS.Norris www.incentivepublications.com 1-800-421-2830 Nashville, TN37215 2400 CrestmoorRoad,Ste. 211 INCENTIVE PUBLICATIONS EDUCATIONAL PRESS MARKET SURVEY | 139

expressing your interest, and an unedited KAEDEN PUBLISHING OTTN PUBLISHING PREPARING & SUBMITTING P.O. Box 16190 writing sample that does not need to be 16 Risler Street Rocky River, OH 44116 returned to the address above. Most books are Stockton, NJ 08559 1-800-890-7323 photo illustrated, so little need for art. 1-866-356-6886 www.kaeden.com www.ottnpublishing.com/index.htm DESCRIPTION: Publishes early literacy books MONDO EDUCATION DESCRIPTION: Develops curriculum-aligned and beginning chapter books that support 875 Montreal Way nonfiction series in the area of history and young readers. Submissions needed in beginning St. Paul, MN 55102 social studies. Books are created for the school chapter books, unique nonfiction manuscripts, 1-800-328-1452 and library markets and serve students in grades and manuscripts with strong characters www.mondopub.com 4-12. Deadlines vary. WFH. Most books are that have potential to become a series. Mail EDITORIAL DIRECTOR: Susan Eddy photo illustrated, so little need for art. MARKET SURVEYS cover letter and manuscript to the Editorial DESCRIPTION: Publishes reading and writing SUBMISSIONS: Send proposals or resumes and Department at the above address. Illustrators programs for grades K-5 and teacher resources samples of previously published work by mail to send samples and cover letter to the above and professional development materials. Acquisitions Editor. No phone calls or email. address. Deadlines vary. WFH. Not currently looking for writers or illustrators. PELICAN PUBLISHING COMPANY KENDALL HUNT PUBLISHING 1000 Burmaster Street 4050 Westmark Dr. NOMAD PRESS Gretna, LA 70053-2246

P.O. Box 1840 2456 Christian Street (504) 368-1175 DIRECTORIES & RESOURCES Dubuque, IA 52004 White River Junction, VT 05001 www.pelicanpub.com 1-800-228-0810 1-802-649-1995 DESCRIPTION: Easy readers, biographies, www.kendallhunt.com www.nomadpress.net ethnic/regional fiction, and picture books with DESCRIPTION: Publishes student and teacher PUBLISHER: Alex Kahan a lesson or historical connection for grades materials in science, math, language arts, DESCRIPTION: Publishes a range of how-to K-3. Send a query letter and manuscript to health, and physical education as well as and curriculum-aligned nonfiction books [email protected]. Send in SASE if custom curriculum programs and resources. for grades K-8. Deadlines vary. Primarily mailing in a submission. Deadlines vary. Royalty or WFH. All books are WFH. Writers should send a detailed resume, written by experts in the field. Illustrators may including relevant experience and previous PERFECTION LEARNING CORPORATION send art samples and a resume to the above publication credits to [email protected]. 1000 North Second Avenue address. Does not accept full manuscripts; query first. P.O. Box 500

SUBMISSION GUIDELINES: Writers may pitch an Email preferred. Logan, IA 51546-0500 PUBLICIZING YOUR PUBLISHED WORK idea by filling out the form at he.kendallhunt. (800) 831-4190 com/publishing_idea OLIVER PRESS www.perfectionlearning.com Charlotte Square DESCRIPTION: Publishes content-area readers, LERNER PUBLISHING GROUP 5707 West 36th Street leveled readers, hi/lo readers, language arts 1251 Washington Ave N Minneapolis, MN 55416-2510 workbooks and resource books, and assessment Minneapolis, MN 55401 (952) 926-8981 guides for grades K-12. Deadlines vary. Royalty 1-612-332-3344 www.oliverpress.com or WFH. Send cover letter, outline, and www.lernerbooks.com DESCRIPTION: Publishes nonfiction and sample chapters or a complete manuscript to DESCRIPTION: Publishes informative picture classroom supplements in social studies, Acquisitions at above address. books, illustrated nonfiction titles, and inspiring biographies, and sciences for young adult photo-driven titles, for the school and library readers. Send query letter to orders@ PERSONHOOD PRESS markets, grades PreK-12. Deadlines vary. Not oliverpress.com. See website for more details P.O. Box 370 accepting unsolicited manuscripts at this time; about the types of books published. Fawnskin, CA 92333

visit lernerbooks.com/headlines/tag/press for (909) 866-2912 SCHOOL VISITS open submission announcements. ON THE MARK www.personhoodpress.com 15 Dairy Ave DESCRIPTION: Publishes educational MITCHELL LANE PUBLISHERS Napanee, ON K7R 1H4 supplements, easy reader books, and subjects 1001 SW 31st Ave. Canada that generate a culture of personal and Hallandale, FL 33009 1-800-463-6367 social responsibility in the world for grades 1-800-223-3251 www.onthemarkpress.com/ K-6. Writers see specific guidelines at LEGAL QUESTIONS www.mitchelllane.com PRESIDENT: Lisa Solski personhoodpress.com/pdf/5_Submission%20_ DESCRIPTION: Publishes nonfiction, DESCRIPTION: Publishes curriculum-aligned Guidelines.pdf. Also submit a manuscript supplemental books, resource books, easy-to- reproducible activities and workbooks. Deadlines submission form on the website. See website for reads, reluctant readers in all subject areas, vary. WFH. Writers send in a sample of lesson ideas on the types of books that are published. grades 4-8. Deadlines vary. WFH. Send a plans, a sample of writing you’ve done for comprehensive resume and list of previously children and a resume to the address above or published work along with a cover letter email them to: [email protected]. 140 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org supplementary college textbooks, and trade for children withspecial needs, primary and development resources for children, resources professional development books,talent classroom materials (e.g., activitybooks), DESCRIPTION: Publishes supplementary EDITOR: SeanRedman, [email protected] www.prufrock.com (800) 998-2208 Waco, TX76714-8813 PO Box 8813 PRUFROCK PRESS Playwrights/Submit.asp. full guidelines, visitwww.pioneerdrama.com/ audience, and SASE toaboveaddress. To see designs, proof of production, age of intended synopsis, cast list,CD/score (for musicals), set SUBMISSIONS: Send queryletter, 100-word textbooks, improvisation, and theatre games. acting textbooks, how-to speechand theatre short one-act plays, scenes for students, We publishbooksonmonologs, duologs, subjects from playanthologies totheatrecraft. DESCRIPTION: Publishes avariety of theatre www.pioneerdrama.com (800) 333-1262 Englewood, CO80155-4267 PO Box 4267 PIONEER DRAMASERVICE copy manuscripts. com. Currently not accepting unsolicited hard Send submissions topianopress@pianopress. requested todo sobythe acquisitions editor. MP3s, manuscript .docs, orpicture .jpgsunless link(s) withyourinquiry. PleaseDONOT send letter and pleaseinclude abrief bio and/or web music supplements. EMAILONLY. Send query including activitybooks, song books, and materials for music teachers and students DESCRIPTION: Publishes funand interesting www.pianopress.com (619) 884-1401 Del Mar, CA92014-0085 P.O. Box 85 PIANO PRESS com. Send queryletterand ideas torich@phoenixlr. language artsand math literacy for grades K-12. supplemental books, and workbookspromoting DESCRIPTION: Publishes textbooks, classroom phoenixlearningresources.com (800) 228-9345 Honesdale, PA 18431 812 CourtSt. PHOENIX LEARNINGRESOURCES | EDUCATIONAL PRESS MARKET SURVEY MARKET PRESS | EDUCATIONAL material. with coverletter, proposal, and other required author_info.aspx. Email submissions toeditor submission guidelines here: Prufrock.com/ books. Focusisongiftededucation. Seespecific EDITORIAL DIRECTOR: ElizabethWard (imprint of Scholastic) Franklin Watts artwork toArtDirector. Deadlines vary. WFH. Send non-returnable the school and library markets, grades K-6. Readers series (leveledreaders). Allbooksfor nonfiction series and fiction for the Rookie DESCRIPTION: Publishes curriculum-aligned 10012) (at NYoffice: 557Broadway, New York, NY EDITORIAL DIRECTOR: Jannelle Cherrington (imprint of Scholastic) Children’s Press scholasticlibrary.digital.scholastic.com (800) 621-1115 Jefferson City, MO65102-3765 PO Box 3765 SCHOLASTIC LIBRARYPUBLISHING email [email protected]. Send queryand manuscript toaddress aboveor Currently looking for cover samplesfrom artists. authors withexperience writing hi-lotexts. looking for writing samplesand resumes from about 4months, butcan flexible. WFH.Always workbooks, and educational software. Deadlines reproducible, read-alongs, videos, textbooks, for grades 4-12,including paperbackbooks, DESCRIPTION: Publishes curriculum materials PRESIDENT: Arianne McHugh www.sdlback.com/ (714) 640-5200 Costa Mesa,CA92626 151 Kalmus Dr. J-1 SADDLEBACK EDUCATIONAL PUBLISHING WFH. Send querylettertoPhyllis Greenspan. for teachers and administrators. Deadlines vary. literacy for grades PreK-8 and professional books and other classroom materials thatpromote DESCRIPTION: Publishes guided reader programs [email protected] DIRECTOR: Phyllis Greenspan, www.rcowen.com 1-800-262-0787 Katonah, NY10536 P.O. Box 585 RICHARD C.OWEN PUBLISHERS submit.htm. guidelines atscholastic.com/custsupport/ returnable artsamples. Seedetailed submission manuscript. Illustrators should send non- proposal, and samplechapterorcomplete curriculum areas. Writersshould send query, in mainstream Pre K-8 classrooms across all classroom-tested professional bookstobeused WFH. Currently seeking proposals for teacher/ areas. Targets grades PreK-8. Deadlines vary. activity books, games, and playsinallcurricular books, resource books, reproducibles, student supplemental books, teacher’s guides, big DESCRIPTION: Publishes classroom ART DIRECTOR: Jaime Lucero EDITORIAL COORDINATOR: Adriane Rozier www.scholastic.com 1-800-724-6527 New York NY10012 555 Broadway, 5thFloor (imprint of Scholastic) Scholastic Teaching Resources Director. vary. WFH.Send non-returnable artworktoArt and library markets, grades 6-12.Deadlines nonfiction series and single titles for the school DESCRIPTION: Publishes curriculum-aligned ART DIRECTOR: Marie O’Neil 10012) (at NYoffice: 557Broadway, New York, NY contact withinthree months ifinterested. letter and manuscript. Email preferred. Will editor [email protected] withaquery grades 1-8.No fiction needed. Contact the DESCRIPTION: Educational nature booksfor www.stemmer.com/ (603) 357-0236 Keene, NH03431 34 ProductionAve. STEMMER HOUSEPUBLISHERS submission-guidelines. full guidelines atsleepingbearpress.com/ [email protected]. See SUBMISSIONS: Email submissions to for illustrated nonfiction titles, and teacher’s guides DESCRIPTION: Publishes picture books, AR DIRECTOR: Jennifer Bacheller PUBLISHER: Heather Hughes www.sleepingbearpress.com 1-800-487-2323 Ann Arbor, MI48104 2395 S.HuronParkway, Suite200 SLEEPING BEARPRESS the school and library markets, grades K-5. EDUCATIONAL PRESS MARKET SURVEY | 141

Royalty based. Illustrators send query letter and PREPARING & SUBMITTING samples.

TEACHER’S CREATED RESOURCES www.teacherscreated.com 12621 Western Ave. Garden Grove, CA 92841 (800) 662-4321 PUBLICATIONS MANAGER: Matt Mulder, [email protected] DESCRIPTION: Publishes quality and affordable MARKET SURVEYS teaching materials and lessons for teachers by teachers. SUBMISSION GUIDELINES: www.teachercreated. com/contact/submissions.php SUBMISSIONS: Submit 10-12 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 DIRECTORIES & RESOURCES email submissions. Will respond in six months.

TILBURY HOUSE PUBLISHERS 12 Star Street Thomaston, ME 04861 800-582-1899 www.tilburyhouse.com EDITOR: Audrey Maynard 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 PUBLICIZING YOUR PUBLISHED WORK have teacher supplements to go along with the book. SUBMISSIONS: Send query letter and complete manuscript with SASE to the above address. Email [email protected] or use online submission form. Will take a minimum of one month to respond. SCHOOL VISITS LEGAL QUESTIONS

SCBWI DIRECTORIES & RESOURCES

2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

AGENTS DIRECTORY

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

The process of finding a good agent is quite a challenge for children’s CHOOSING AN AGENT book writers or illustrators. Many literary agents specifically do not Not all agents are created equal. Again, it is in your best interest represent children’s books. We hope then that this directory will to research an agent as much as possible before contacting him/her. facilitate your search for representation. As with every other aspect You will want to take at least the same amount of care as you would in of the children’s book business, a writer or illustrator should act choosing a lawyer, doctor, or plumber. Word of mouth is one legitimate professionally. Seek advice from more experienced writer or illustrator way of learning an agent’s reputation. Anyone can set him or herself up friends. In addition, it will be in your best interest to carefully read and do business as a literary agent. Many, but not all, reputable agents the entries in this publication and to follow the procedures indicated. belong to the Association of Author’s Representatives, Inc. (AAR), as For instance, most agents will only look at multiple query letters, not indicated in this list. The AAR is a not-for-profit organization that sets multiple manuscripts. professional standards and requires members to subscribe to its Canon All correspondence with an agent should be accompanied by a self- of Ethics. For example, the AAR officially discourages the practice of addressed stamped envelope (SASE). Also, you should always keep a charging fees for reading and evaluating submissions. Agents who copy of your manuscript and/or art samples. Do not send original art charge reading fees have been so indicated in this list. Please note that and unpublished material unless specifically requested to do so by an the SCBWI believes agents should make money from selling your work, agent. not from charging fees. Choosing an agent is a highly individual decision, and some factors THE AGENT’S JOB will be more important to you than others. Choose carefully! The choice In general, an agent advises you about your work’s potential, markets you make will affect you longer than even your choice of a mate. You the work to publishers, negotiates your contracts, and protects your will be tied to that agent for the life of the contract he/she negotiates interests on many different levels. The agent should be knowledgeable for you (a period which, in the case of books that stay in print a long about current trends, practices, and conditions in the industry. The time, could extend past your death). agent reviews royalty statements, exploits rights that you have reserved You will want to evaluate this list with an eye toward which factors (foreign, film, merchandising, etc.), and collects and disburses the are most important to you: money owed to you. An agent cannot sell an unsellable manuscript or inappropriate »» Does the agency specifically represent the type of material you write artwork. Also, an agent cannot make basic, personal decisions about or illustrate? your writing, which only you can make. An agent works with you, but »» Are the agency’s commission and expenses in line with what you are does not do your work for you. You are the most important factor in looking for? your writing career, not the agent. »» Has the agency been in business a long time or is it relatively new? Some agents are more flexible than others. Some on this list, as (Both can have advantages.) indicated, are willing to let clients do their own marketing (i.e., make »» Who are its current clients? their own sales) and will then negotiate the contract for a specified fee »» Is the agency based in New York or in your geographic area? or commission. Such an arrangement must be worked out in advance, as »» Does the agent offer editorial guidance before submitting must any other special circumstance you desire. manuscripts to publishers? 146 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org unsolicited queries ormanuscripts. Seewebsite Submission Procedure: Not accepting Multiple Submissions:No Rep Agreement: Yes deducted from monies received Other Fees: Postage, photocopying expenses Reading Fees: None Commission: 15%domestic, 20%foreign Preferred Clients: Published/unpublished artists Agent for: Fiction, middle grade, picture books, Secondary Contact:Josh Adams, QuinlanLee Contact Name:Tracey Adams Established: 2004 [email protected] www.adamsliterary.com Charlotte, NC28226 7845 ColonyRoad ADAMS LITERARY source of encouragement inanoften difficultbusiness, where editors emotional supportontopof allthat,looking tothe agent asasteady your agent asaconsultant indeveloping yourwork.Some writersneed editorial guidance inaddition tobusiness support,and youwilllookto only when financial negotiations are taking place. Oryou may need your relationship onadollars-and-cents level,and rely onthe agent work, and the agent’s policies and practices. Ifyouwish,cankeep author-agent relationship depends onyourneeds, the nature of your who canperform many services inhelping youbuildyourcareer. The be inarelationship of mutual confidence and trust,with someone researching the market onyourown. and the energy might bebetterspent inperfecting one’s craft and it canbejustasdifficulttofind an agent astosellyourfirstbook, to haveanagent toget published. Foranunpublished writer, infact, not. Inother words, withthe majority of publishers, itisnot necessary adult books, isone area where manuscripts are read whether agented or careers. And most editorswilltellyouthatchildren’s books, unlike illustrators do not haveagents, preferring tocontrol allaspectsof their you begincontacting agents. Many successful children’s writersand submissions? industry asyoudesire? How does he/she keep the writerinformed about aggressive orpassiveaboutmarketing? Is he/she asup-to-date onthe personality and workmethods compatiblewithyours?Is the agent the agent beensuccessful withthe typeof workyoudo? Are the agent’s you abetterchance toevaluate anagent’s expertise. Forinstance: Has arrange aninterview, either overthe phone orinperson,thiswillgive » » DO YOU NEEDANAGENT? | AGENTS DIRECTORY | AGENTS » » The advantages tohaving anagent are complex. Ideally, youwill This isanimportant question youwillwant toconsider before If anagent does express interest inyourworkand youare ableto desire? Is the agency willing toletyoudo yourownmarketing, ifyouso break withthatagent atany time? binding youtogether for aspecifiedperiod of time, orare youfree to Does the agent require youtosign arepresentation agreement, list uponrequest; works withbookpackagers; Other Comments: Willing tosend current client have seenmanuscript. No phone orfax queries. synopsis publishing history, orifany publishers Submission Procedure: Queryletterswith Multiple Submissions:Yes, queryletters Rep Agreement: Yes, one-year contract Other Fees: None Reading Fees: None Commission: 15%text domestic, 20%foreign Preferred Clients: Published/unpublished Agent for: YA, PB,fiction, nonfiction Contact Name:AlisonPicard Established: 1985 [email protected] Cotuit, MA2635 PO Box 2000 ALISON J.PICARDLITERARY for updated submission information. SASE withany correspondence. remember tobeprofessional inyourapproach and alwaysinclude an of aliterary lawyer, orto market and negotiate onyourownbehalf— Literary Market Place. recommends literary lawyersand similarinformation isavailableinthe contract, youwillwant toresearch thisoption further. The Authors Guild you do yourownmarketing and merely want anattorney’s help withthe lawyers billtheir clients bythe hour. Paying yourbillends the expense. If negotiations withpublishers. Instead of charging acommission, such with the publishing industry, who regularly represents authors incontract without istohire aliterary lawyer—not justany lawyer, butone familiar having no agent. creatively spent elsewhere. The wrong agent for youcanbeworsethan spend much time complaining aboutthem—time thatcouldbemore rapport orarelationship of long standing. Some writerswithagents between youand aneditor, especially one withwhom youhavegreat especially one withwhom you’re not happy, canalsoget inthe way on domestic salesoverthe lifeof the book)toanagent. Anagent, keep allof yourmoney, instead of paying 15%(the average commission have soldyourfirstfewbooksyourself. started outthisway;itisdifficultto get taken onbyanagent until you smart enough tonegotiate his/her owncontract. Certainlymost writers writers willagree thatanyone smart enough towriteand sellabookis then youmay decide thatrepresenting yourselfisyourbestbet. Many agent might bejustone more barrier betweenyouand yourreaders, ALTERNATIVES TO GETTINGANAGENT be wellworthit. agent who meets allorsome of these needs may take time, butitcan and effort frees yourbrain for creative endeavors. Therefore, finding an taking care of business whileyoufocus onyourwork.The agent’s time and, inparticular, canactasabufferbetweenyouand youreditor(s), can change frequently. The agent canbeahelpful problem-solver, Whatever youdecide—to seekrepresentation byanagent, the advice Finally, one compromise betweensigning onwithanagent and doing The main advantage tonot having anagent issimple:youget to If talking aboutmoney doesn’t bother you,and youfeelthatan Other Fees: Yes, for unpublished authors critique Reading Fees: Onlyifdiscussedinadvanced for domestic Commission: 10–15%text domestic, 20%art Preferred Clients:Published/unpublished fiction, nonfiction Agent For: Authors and illustrators, allgenres, Contact Name:Sandy Ferguson Fuller, Director Established: 1994 [email protected] www.alparts.com (970) 949-1856 Vail, CO81658 PO Box 669 ALP ARTSCOMPANY YA fiction. picture books. Primary focus ismiddle grade/ offers editorial guidance. Accepting veryfew AGENTS DIRECTORY | 147

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

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

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

only. Choose one agent and email that one. If Submission Procedure: Letter of inquiry with in all genres from babies to teenagers. See SCHOOL VISITS interested, we will contact writer. Send entire author background and project description. If submission guidelines for specific details picture book texts via email, and writers may picture book, submit entire manuscript with Commission: 15% send one page of text with query letters for query. Reading Fees: No fiction. Other Comments: Willing to let clients do own Rep Agreement: Yes Other Comments: Agency has offices in marketing, but require complete and current Multiple Submissions: Yes California, New York, and Chicago. We accept updating from client and consultation with all Submission Procedure: Query by email LEGAL QUESTIONS published and unpublished writers and love cases; offer editorial guidance; member of AAR. only. See submission guidelines at www. starting off new authors. Some authors we thebentagency.com/submissions. represent include Maggie Stiefvater, Jay BARBARA S. KOUTS Asher, Tom Angleberger, Catherine Ryan Hyde, PO Box 560 BETSY AMSTER LITERARY ENTERPRISES Neal Shusterman, Ellen Hopkins, Ying Chang Bellport, NY 11713 607 Foothill Blvd. #1061, La Canada Flintridge, Compestine, Daniel Pinkwater, Mitali Perkins, [email protected] CA 91012 (626-529-5667) Nate Evans, Kate Messner, Kimberly Derting, (631) 286-1278 amsterlit.com 148 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org with acoverletter. Email submissions should be or email firsttenpages of manuscript along Submission Procedure: Pleasemail (withSASE) Rep Agreement: Yes expenses Other Fees: Upto$25ayearfor incidental Reading Fees: None foreign sales Commission: 15%text/art domestic, 20% Preferred Clients: Published/unpublished illustrations Agent For: PB,fiction, nonfiction, poetry, plays, Secondary Contact:MinjuChang Marcus Contact Name:Kendra Established: 1984 [email protected] www.bookstopliterary.com Orinda, CA94653 67 MeadowViewRoad BOOKSTOP LITERARYAGENCY Other Comments:No unsolicited manuscripts. Submission Procedure: Queryfirstwith SASE. Multiple Submissions:Not accepted Rep Agreement: No agent Commission: 15%;20%ifworking withasub- Agent For: Fiction, nonfiction Contact Name:Lynda C.Gregory Established: 1936 [email protected] www.bcgliteraryagency.com Fax: (212)697-0828 (212) 697-0828 New York, NY10017 2 Tudor CityPlace BLANCHE C.GREGORY particularly for middle grade and picture book. please. Email only. Actively seeking clients, Other comments:No phone ormail inquires, profiles seeamsterlit.com wishlist oncummingskidlit.com Forclient Submission procedure: seeguidelines and Multiple submissions:yes Rep agreement: yes Other fees:none Reading fees:none Commission: 15%domestic Preferred clients:published/unpublished illustrators. and poetry. Represents authors and author/ grade and yafiction, narrative nonfiction Agent for: picture books, chapterbooks, middle Contact name:Mary Cummings Established: 1992 cummingskidlit.com For children’s andteensprojects, see: | AGENTS DIRECTORY | AGENTS book packagers, offers editorial guidance. an arrangement tobenegotiated; workswith who wishtosubmittheir ownmanuscripts, in Other Comments:Willing toworkwithauthors send original art;photos orcopies are okay. and ms title. Pleasemail artsamples. DoNOT line reading “Submission” followed bylastname sent [email protected] withsubject that understands them and their work.We work to berepresented and managed byanagency specialize in children’s publishing who want for illustrators, artists, and designers that Other Comments:Bright actsasaresource cannot look atexternal websites. or zippedfileattachments. We regret thatwe com We do not acceptany other file formats attached tosubmissions@thebrightagency. please send tentotwelvelowres jpegsamples are atalented artistlooking for representation crucial that you follow ourguidelines. Ifyou be happytolookatyoursamplesbutitis each week.We lovereceiving artworkand will and therefore receive hundreds of submissions Submission Procedure: We are abusyagency Rep Agreement: No Reading Fees: None Preferred Clients:Illustrators Agent For: Illustrators, artists, designers Contact Name:Alexandra Gehringer Established: 1971 [email protected] www.thebrightagency.com (917) 741-1919 New York, NY10009 435 East14thStreet,#11F THE BRIGHTAGENCY bradfordlit.com. and firstchapterinbody of email toqueries@ Submission Procedure: Email query, synopsis, Multiple Submissions:No Rep Agreement: Yes Other Fees: None Commission: 15% Justin Matott Preble, CharlotteBennardo, Natalie Zaman, Domovitch, Roseanne Thong, KittyGriffin,Laura Preferred Clients:Jessica Souders, Monique Agent For: Bradford Literary Agency Secondary Contact:Laura Bradford Contact Name:Natalie Lakosil, Sarah LaPolla Established: 2001 [email protected] www.bradfordlit.com San Diego,CA92108 5694 MissionCenterRoad#347 BRADFORD LITERARYAGENCY a selectlistof juvenilewriters. interested inprofessional writersonly. We have packagers; offers editorial guidance. We are upon request; sometimes workswithbook contract; member of AAR; client listavailable contracts or10%of earnings ifweagent the marketing, butcharge $125/hour toconsult on Other Comments:Willing toletclients do own who are already professional artists. synopsis of project. No artists unlesswriters previous publishing history, brief bio, and Submission Procedure: Letterof inquirywith Multiple Submissions:No Rep Agreement: Yes, two-yearterm Other Fees: None Reading Fees: None Commission: 15%text domestic, 20%foreign Preferred Clients:Published/unpublished picture books Agent For: YA, PB,fiction, nonfiction—no Secondary Contact:Joanna MacKenzie Contact Name:Danielle Egan-Miller Established: 1971 [email protected] www.browneandmiller.com (312) 922-3063 Chicago, IL60605 410 SouthMichiganAvenue, Suite#460 BROWNE &MILLERLITERARYASSOCIATES do best. relationships—leaving them todo whatthey taking care of alltheir promotional and business best opportunities and commissions, aswell hard toensure thatourartistsfind the very of Illustrators, SCBWI,GAG, NAEA Other Comments:Memberships include Society samples, and SASE. No original art. jpg orpdfsamples, orsend letterof inquiry, Submission Procedure: Email two to three Rep Agreement: Yes Other Fees: None Commission: 25% Preferred Clients: Published/unpublished books Agent For: Illustrators; specializing inchildren’s Contact Name:Joy Tricarico Established: 1972 [email protected] www.carolbancroft.com Fax: (203)730-8275 (203) 730-8270;(800)720-7020 Danbury, CT6813 PO Box 2030 CAROL BANCROFT &FRIENDS AGENTS DIRECTORY | 149

THE CAT AGENCY INC. Preferred Clients: Published/unpublished. Established: 2000 PREPARING & SUBMITTING 29 Newman Place Highly selective Contact Name: Jennie Dunham Fairfield, CT 06824 Commission: 25% art Secondary Contact: Bridget Smith (917) 434-3141 Other Fees: Agent pays 25% of agreed upon Agent For: Writers and illustrators Fax: (757) 221-6669 promotion expenses, artist pays 75% Preferred Clients: Usually published www.CATugeau.com Rep Agreement: Yes Commission: 15% text/art domestic, 20% [email protected] Submission Procedure: Letter of inquiry foreign sales Established: 1994 accompanied with previously published work. Reading Fees: None Contact Name: Christy T. Ewers Please send illustration samples we can keep Other Fees: Reimbursement for fees according Agent For: Illustrators and illustrator/authors on file or enclose a SASE for return. Do not to AAR ONLY send originals or slides. Four to six weeks for Rep Agreement: Exclusive MARKET SURVEYS Preferred Clients: Prefer published response. Will accept email submissions. Multiple Submissions: Yes Commission: 25% Submission Procedure: Letter of inquiry first Other Fees: None CURTIS BROWN with SASE. No slides or original art; color copies Rep Agreement: Yes 10 Astor Place okay with SASE—if requested from query letter. Submission Procedure: Best is to email New York, NY 10003 Does not accept email or fax queries. three or four JPEGs of samples, live link to (212) 473-5400 Other Comments: Member of AAR, SCBWI. website, with introduction—best pieces in one www.curtisbrown.com style showing animals/children in narrative Established: 1914 DYSTEL & GODERICH LITERARY MGMT DIRECTORIES & RESOURCES situations; B/W & F/C; list of awards and/or Contact Name: Ginger Knowlton One Union Square West, Suite 904 books published, clients, possibly. Secondary Contact: Ginger Clark, Elizabeth New York, NY 10003 Other Comments: Offers art guidance; member Harding (VP), Laura Blake Peterson, Maureen (212) 627-9100 of SCBWI. Always open and happy to look, Walters (Sr. VP), Mitchell Waters, Anna Webman Fax: (212) 627-9313 though full at the moment. Please read articles Agent For: YA, MG, PB, fiction, nonfiction, www.dystel.com posted on the website. illustration [email protected]; [email protected]; Preferred Clients: Published/unpublished [email protected] THE CHUDNEY AGENCY Commission: 15% text/art domestic; 20% Established: 1994 72 North State Road foreign sales Contact Name: Michael Bourret Briarcliff Manor, NY 10510 Reading Fees: None Secondary Contact: Jim McCarthy, Stacey Glick www.thechudneyagency.com Other Fees: None Agent For: Fiction, nonfiction [email protected] Rep Agreement: Yes Preferred Clients: Published/unpublished PUBLICIZING YOUR PUBLISHED WORK Established: 2002 Multiple Submissions: No, not preferred, but if Commission: 15% Contact Name: Steven Chudney you do it, please advise us Reading Fees: None Agent For: PB, fiction, novels. See website for Submission Procedure: Letter of inquiry first, Rep Agreement: Yes more detail with SASE. For picture books, send one sample Multiple Submissions: Yes Preferred Clients: talented writers and picture book with letter & SASE. Please see the Submission Procedure: Query letter with illustrators agents page of our website for more specifics. outline and first fifty pages. Commission: 15% domestic; 20% foreign Reading Fees: none DEBORAH WOLFE, LTD. Other Comments: Handle film, TV and foreign Other Fees: international postage 731 North 24th Street rights. Rep Agreement: yes Philadelphia, PA 19130 Multiple Submissions: Okay as long as www.illustrationOnLine.com EAST/WEST AGENCY informed [email protected] 1158 26th Street, Suite 462 Submission Procedure: Initial queries are Established: 1978 Santa Monica, CA 90403

preferred over submissions; see website for Contact Name: Deborah Wolfe www.publishersmarketplace.com/members/ SCHOOL VISITS details. Agent For: Illustrators and animators only eastwestagency Preferred Clients: Published/unpublished [email protected] CORNELL & MCCARTHY Commission: 25% Established: 2000 2-D Cross Highway Reading Fees: None Contact Name: Deborah Warren Westport, CT 06880 Other Fees: None Agent For: Authors (of board books up to (203) 454-4210 Rep Agreement: Yes young adult fiction and nonfiction), authorial LEGAL QUESTIONS Fax: (203) 454-4258 Submission Procedure: Submit inquiry via illustrators, and illustrators www.cmartreps.com email. Preferred Clients: Seeking clients by referral [email protected] only Established: 1989 DUNHAM LITERARY, INC. Commission: 15% text/art domestic, 25% Contact Name: Merial Cornell 156 Fifth Avenue, Suite 823 foreign, 20% film Secondary Contact: Pat McCarthy New York, NY 10010 Reading Fees: None Agent For: Illustrators ONLY www.dunhamlit.com Other Fees: Outside photocopying of text/ 150 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org novels. and synopsis for middle grade and young adult synopsis and picture bookms; queryletter Submission Procedure: Queryletterwith Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Commission: 15%domestic, 20%foreign Gloria Whelan, Sucie Stevenson Dan Gutman, Joan Holub, Suzanne Williams, Agent For: AlyssaSatinCapucilli, LoisEhlert, Contact Name:LizaPulitzerVoges Established: 2009 [email protected] www.edenstreetlit.com Fax: (845)223-7108 Billings, NY12510 PO Box 30 EDEN STREETLLC of adiverseclientele. in many genres enables ustomeet the demands first-time authors and ourbreadth of experience provides career management for established and attention toourauthors and their books. E/WL facilitate hands-on, personalized service and (E/WL) is, purposely, aboutiqueagency, to Tyler Whitesides. East/West Literary Agency Richard Jesse and Jesse Joshua Watson, and Paul, RobSanders, Holly Schindler, Judy Sierra, MacLachlan, Gianna Marino, AnnWhitford #2 onthe NYTpixbooklist—Jeff Mack, Patricia Cat: ILoveMyWhiteShoesare currently #1and the Cat:RockinginMySchoolShoesand Pete the collaborators Eric Litwinand James Dean—Pete Bowers, PlatteClark,Anna Dewdney, David Diaz, Austin, JimAverbeck, Marion Dane Bauer, Tim illustrators including: Danielle Arbour, Mike medalists, well-established/debut authors and illustrated, award-winning Newbery/Caldecott () renowned NYTbest-selling/best Other Comments:We’re honored torepresent and/or dummy. credits. Forpicture books, submitentire ms or fewer),synopsis (one page), and publishing sample chapter, tableof contents (twopages chapter books/novels, submitthe firstthree Submission Procedure: QuerywithSASE. For Multiple Submissions:No day writtencancellation clause Rep Agreement: Letterof agreement withsixty incurred) as monies are received, not asexpenses are art, overseasand overnight mail (deducted | AGENTS DIRECTORY | AGENTS based ontrends orcelebrities. Other Comments:Not interested inmanuscripts but without attachments. chapter books),and SASE. Email queries okay of picture booksortwochaptersof novels or relevant samplematerial (e.g. dummies and text project(s) and publishing background, plus ONLY (no fax orphone) withdescription of Submission Procedure: Letterof inquiry Multiple Submissions:Okay oninitial query thirty-day cancellation Rep Agreement: Ifrequested byclient with and legalfees Other Fees: Photocopying of novel manuscripts Reading Fees: None commercial Commission: 15%domestic, 20%foreign, 25% accepts veryfewclients Preferred Clients:Published/unpublished; fiction Agent For: PB(especially writtenbyartists), Secondary Contact:Heather McManus Contact Name:EditeKroll Established: 1981 [email protected] Saco, ME04072 20 CrossStreet EDITE KROLLLITERARYAGENCY INC. nra azi Pny Moore Penny Barzvi, Andrea Secondary Contact: 2013 Established: [email protected] www.empireliterary.com New York, NY10001 115 West 29th Street,3rdfloor. EMPIRE LITERARY information for eachagent. website for individual agent bios and contact the first5pages pastedinbelowthe pitch. See Submission Procedure: E-queries onlywith Multiple Submissions:Okay Rep Agreement: Yes Other Fees: None used. foreign, 25%foreign when alocalco-gent is Commission: 5%domestic, 20%dramatic/ authors. YA. We workwithdebut and established Preferred Clients:ECLArepresents PBthrough Contact Name:Mandy Hubbard Established: 2015 [email protected] www.EmeraldCityLiterary.com Tacoma, WA 98406 2522 N.ProctorST, #359, EMERALD CITYLITERARYAGENCY met atconferences. by referral; alsoopentoqueries from writers Other Comments:Considering new clients only the website. requirements (seebelow),the contact form at Submission Procedure: When meeting Multiple Submissions:Yes Rep Agreement: Yes shipping Other Fees: Photocopying (rarely), overseas Reading Fees: None used for foreign, dramatic, etc.) Commission: 15%(20–25%when co-agent is Preferred Clients:Published/unpublished interest; no educational only clients, though author-illustrators are of Agent For: PB, middle grade, YA; no illustration- Secondary Contact:Ammi-Joan Paquette Contact Name:ErinMurphy Established: 1999 emliterary.com/contact.php (928) 525-2056 Flagstaff, AZ86001 2700 Woodlands Village#300-458 ERIN MURPHYLITERARYAGENCY Multiple Submissions:yes Rep Agreement: yes Other Fees: N/A Commission: 15% illustrators Preferred Clients:YA, MG,some PBand Pamela Ehrenberg, RebeccaEvans Chris Scofield, Sarah Prager, Isabel Bandeira, Agent for: Melissa Gorzelanczyk, complete manuscripts. Middle Grade/YA: Submission Procedure: Picture Books:1–3 Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Reading Fees: None foreign Commission: 15%text/art domestic, 20% Preferred Clients: Published/unpublished Selected nonfiction and selectedillustration. all children’s fiction, activitybooks, novelties. Agent For: Picture books, middle grade, YA, and Contact Name:EthanEllenberg Established: 1984 [email protected] www.ethanellenberg.com Fax: (212)941-4652 (212) 431-4554 New York, NY10012 548 Broadway#5E ETHAN ELLENBERGLITERARYAGENCY AGENTS DIRECTORY | 151

Synopsis with first three chapters. Writer/ FLANNERY LITERARY PREPARING & SUBMITTING illustrators: 1–3 dummies or manuscripts 1140 Wickfield Court THE FRIEDRICH AGENCY accompanied by artwork. All submissions must Naperville, IL 60567 19 West 21st Street, Suite 201, be accompanied by SASE. Do not send original (630) 428-2682 New York, NY 10010 artwork. [email protected] Fax: (212) 317-8811 Other Comments: Member of AAR; client Established: 1992 www.friedrichagency.com list available upon request; works with book Contact Name: Jennifer Flannery [email protected] packagers; provides editorial guidance. We Agent For: PB, fiction, nonfiction for middle Contact Name: Lucy Carson are actively seeking Published/Unpublished grade and YA Established: 2007 children’s and young adult clients. We represent Preferred Clients: Published/unpublished Agent for: Fiction and nonfiction for adults and the the 2002 Caldecott winner, Eric Rohmann, Commission: 15% text domestic, foreign & film teens MARKET SURVEYS among our other fine writers and illustrators. split with co-agents Preferred Clients: Judy Blundell, Anna Banks, Please check website for a wealth of information Reading Fees: None Jessica Khoury, William Ritter, Josh Sundquist, on agency and publishing in general. I’m proud Other Fees: None Lori Goldstein, Robin Epstein. of the articles I’ve written that have appeared Rep Agreement: Contracts on a book-by-book Commission: 15% Domestic, 10% Foreign in a number of writer’s magazines and are now basis for the life of the book and its subrights Other Fees: None available on my site. We look forward to your Multiple Submissions: Letters and manuscripts Rep Agreement: None submission. okay, but please let us know. Multiple Submissions: Acceptable

Submission Procedure: Letter of inquiry, Submission Procedure: Query letter in writing DIRECTORIES & RESOURCES FARBER LITERARY AGENCY project synopsis, and SASE only, with presentation of the author, the 14 East 75th Street Other Comments: Prefers contact through project, and any relevant writing experience, New York, NY 10021 regular mail only—no email queries. preferably 3-5 paragraphs with contact (212) 861-7075 information provided. Fax: (212) 861-7076 FLETCHER & COMPANY [email protected] 78 Fifth Avenue, 3rd Floor FULL CIRCLE LITERARY Established: 1992 New York, NY 10011 3268 Governor Drive, #323, San Diego, CA 92122 Contact Name: Ann Farber fletcherandco.com www.fullcircleliterary.com Agent For: YA, PB, fiction, nonfiction [email protected] Contact Name: Stefanie Von Borstel Preferred Clients: Published/unpublished Contact Name: Lisa Grubka Secondary Contact: Adriana Dominguez, Taylor Commission: 15% text domestic Title: Literary Agent Martindale Kean, Lilly Ghahremani

Reading Fees: None Preferred Clients: Young Adult Established: 2005 PUBLICIZING YOUR PUBLISHED WORK Other Fees: None Commission: Standard Agent For: Children’s books toddler to teen, Rep Agreement: Yes Other Fees: None author-illustrators, middle grade fiction, young Multiple Submissions: Yes Rep Agreement: Yes adult fiction, nonfiction with a distinct voice; Submission Procedure: Letter of inquiry Multiple Submissions: Yes also represents select adult crossover fiction and accompanied by manuscript/art samples. Please Submission Procedure: Please send a query nonfiction. mention who has seen work. to [email protected]. Please do not Preferred Clients: We work with both veteran Other Comments: Member of AAR. We offer include email attachments with initial query. and debut writers and artists, and our team has the services of Donald C. Farber, a specialist in Please do not query more than one agent at a knack for finding and developing new and entertainment law and publishing. a time. You may refer to our website’s Staff diverse talent. Please visit our website for agent section to review each agent’s interests and wish lists and to see the amazing list of clients FINEPRINT LITERARY MANAGEMENT specialties. we represent. 240 West 35th Street, Suite 500 Commission: 15% domestic, 25% foreign and New York NY 10001 FOUNDRY LITERARY + MEDIA film (Taryn Fagerness Agency handles foreign

(212) 279-1282 33 West 17th Street, PH and translation rights.) SCHOOL VISITS www.fineprintlit.com New York, NY 10011 Rep Agreement: written agreement Established: 2007 (212) 929-5471 Multiple Submissions: Yes Contact Name: Peter Rubie, Rachel Coyne, www.foundrymedia.com Submission Procedure: Please visit our website Marissa Walsh, Becky Vinter Contact Name: See website for agent listing www.fullcircleliterary.com for up to date Preferred Clients: Published/unpublished and emails for all. submissions information, and submit your work Commission: 15% Established: 2007 via our online form. LEGAL QUESTIONS Rep Agreement: Yes Agent For: Fiction, esp. YA and middle grade Submission Procedure: Please follow the Commission: 15% domestic, 20% foreign GILLIAN MACKENZIE AGENCY (GMA) submission guidelines on fineprintlit.com. Other Fees: None (212) 496-8064 Other Comments: Primary focus is MG/YA. No Rep Agreement: Standard www.gillianmackenzieagency.com picture books, please. Multiple Submissions: Yes [email protected] Submission Procedure: Query by email or mail Established: 2005 Other Comments: Member of AAR Contact Name: Gillian MacKenzie 152 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org None Other Fees: None market) Commission: 15%(domestic, originating illustrators who canwrite Preferred Clients:Published/unpublished; nonfiction. graphic novels, middle grade &teenfiction & Agent for: Illustrators and authors --PB, Title: Agent/Founder Established: 2010 Contact Name:ErzsiDeak www.henandink.com 04870 StMichell’Observatoire, France La Désirée–Tavernoure HEN&INK LITERARYSTUDIO and manuscript. if wefeelthere isreal potential inbothauthor are prepared togo through editswithwriters around the world. We are alsoveryeditorial and Rights People, represents ourforeign rights international inoutlook.Oursistercompany, DC, metro area and London, butalsohighly transatlantic, withoffices inthe Washington, Other Comments:Greenhouse isnot only that most interests us. represent and guidance onthe kinds of work be viewed alongside afull listof authors we date submission guidelines, which canthen visit www.greenhouseliterary.com for upto Submission Procedure: We prefer writersto Multiple Submissions:Yes Rep Agreement: Yes translation and UK/Commonwealth; 20%onfilm/TV;25% Commission: 15%onsalestoNorth America Preferred Clients:Middle grade, tween,and YA seeking) debut picture books, which we’re not currently Agent For: Children’s and YA fiction (excluding Secondary Contact:Julia Churchill (inLondon) Title: Founder, VPand agent Contact Name:Sarah Davies Established: 2008 [email protected] www.greenhouseliterary.com Oakton, VA 22124 11308 LaphamDrive GREENHOUSE LITERARYAGENCY [email protected] be sent via email toGillian MacKenzie at Submission Procedure: Allqueries should Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Reading Fees: None Agent For: Fiction, nonfiction | AGENTS DIRECTORY | AGENTS for firstrights. worldwide withaconcentration inUS and UK for “OpenCoop”announcements. Submits Twitter, Henandinkblots blog,and website – and watchHen &InkLiterary Facebookpage, books through time and fullsubmission details Coop” days. Pleaseseewebsitefor favorite by professional recommendation; during “Open from writers/illustrators met atconferences; submissions only. Submissions acceptedonly Submission Procedure: Accepts email mitting exclusively) Multiple Submissions:Yes (pleaseadviseifsub Rep Agreement: Yes CONTACT NAME: Kate McKean, kmckean@ referral only SUBMISSION PROCEDURE:for Howard: by MULTIPLE SUBMISSIONS: yes REP AGREEMENT: yes OTHER FEES: none COMMISSION: 15%domestic horror contemporary, science fiction, fantasy, thriller, Preferred Clients: Young adult and middle grade: , Tom Sniegoski Nancy Holder, Debbie Viguie, TimLebbon, AGENT FOR:Cathrynne Valente, AmberBenson, SECONDARY CONTACT: Kate McKean TITLE: President ESTABLISHED: 1979 CONTACT NAME:Howard Morhaim [email protected] www.morhaimliterary.com 30 PierrepontSt.Brooklyn,NY11201 AGENCY HOWARD MORHAIMLITERARY queries only. and author/artists for picture books. Email of workwerepresent. I work withillustrators Other Comments:Seewebsitetoseethe kind this category, pleasecontact byemail. successfully inthe trade market. Ifyoufitinto clients unlesspublished extensively and Submission Procedure: Not accepting new Multiple Submissions:Yes Rep Agreement: Yes Commission: 25%art,15%text ortext/art Agent For: Illustrators and authors Title: Owner Contact Name:Ronnie AnnHerman Established: 1999 [email protected] www.HermanAgencyInc.com New York, NY10025 350 CentralPark West, Apt.4i HERMAN AGENCY icmpartners.com [email protected], amachinist@ www.icmpartners.com New York, NY10019 530 FifthAvenue ICM chapters byemail only SUBMISSION PROCEDURE:queryand firstthree MULTIPLE SUBMISSIONS:yes REP AGREEMENT: yes OTHER FEES:none COMMISSION: 15%domestic fiction contemporary, thriller, horror, fantasy, science Preferred Clients: Young adult and middle grade: Shalanda Stanley, Anna Pellicioli Devine,Eric Klauss, Verdi,LucasJessica Caela Carter, Mary G.Thompson, Carey Wallace, AGENT FOR:Madeleine Roux,DelilahS.Dawson, TITLE: Vice-President ESTABLISHED: 2007 morhaimliterary.com New York, NY 10021 216 East75thStreet, Suite1E JEAN V. NAGGAR LITERARYAGENCY, INC. first three chaptersvia email or regular mail. synopsis, and either the firstthirty pages orthe Submission Procedure: Send aquery letter, Multiple Submissions:No Rep Agreement: Yes Reading Fees: None foreign sales Commission: 15%onUS and Canada, 20%on Secondary Contact:Christina Hogrebe Title: Jr. Agent Contact Name:Carlie Webber Established: 1974 www.janerotrosen.com [email protected] Fax: (212)593-4330 New York, NY10022 318 E.51stStreet JANE ROTROSEN AGENCY pages. SUBMISSION PROCEDURE: Querywithfirstfive exclusive submission withinICM MULTIPLE SUBMISSIONS:Yes, solong asit’san REP AGREEMENT: Yes COMMISSION: 15% domestic, 20%foreign picture booksfor existing clients only chapter books, middle grade, young adult, AGENT FOR: Fiction/nonfiction, specifically: Machinist CONTACT NAME:Tina Wexler, Alexandra ESTABLISHED: 1975

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(212) 794-1082 Other Fees: None LARSEN POMADA LITERARY AGENTS PREPARING & SUBMITTING www.jvnla.com Submission Procedure: Query first with outline, 1029 Jones Street [email protected] sample chapter, and SASE. San Francisco, CA 94109 Established: 1978 Other Comments: Handle film & TV rights. Fax: (415) 673-0367 Contact Name: Jennifer Weltz www.larsenpomada.com; Secondary Contact: Jessica Regel, Alice THE KNIGHT AGENCY www.agentsavant.com Tasman, Elizabeth Evans 570 East Avenue [email protected]; correspondence: Agent For: YA, MG, PB, fiction, nonfiction Madison, GA 30328 [email protected] Preferred Clients: Previously published www.knightagency.net Established: 1972 Commission: 15% text domestic, 20% foreign [email protected] Contact Name: Laurie McLean, Agent & Kat Reading Fees: None Established: 1996 Salazar, Associate Agent MARKET SURVEYS Other Fees: None Contact Name: Elaine Spencer Title: Agent Rep Agreement: Yes Agent For: Young adult/middle Grade Secondary Contact: Kat Salazar Multiple Submissions: No Preferred Clients: Published/unpublished ([email protected]) Submission Procedure: Submit form at www. Commission: 15% on domestic deals; 20%–25% Agent For: Authors jvnla.com/submissions and Include bio, books foreign rights; 20% film Preferred Clients: Laurie handles middle grade published, pertinent awards, and a summary of Reading Fees: None and young adult children’s books only in all the work in question. Rep Agreement: Yes genres—nothing younger. Kat Salazar handles

Other Comments: Member of AAR; some Submission Procedure: We are a green agency all ages of children’s books from picture books DIRECTORIES & RESOURCES editorial guidance. Jennifer handles picture and, therefore, only accept emailed queries. We up to young adult. books, Jessica and Alice do not. Elizabeth only request that queries be kept to approximately Commission: 15% (20% for foreign/dramatic) handles YA. one-page in length and that all text be Reading Fees: None JILL CORCORAN LITERARY AGENCY contained in the body of an email (we do not Other Fees: None 777 Silver Spur Road, Suite 219 open attachments.) All queries will be reviewed Rep Agreement: On website Rolling Hills Estates, CA 90274 on an individual basis by our submissions Multiple Submissions: Yes www.JillCorcoranLiteraryAgency.com coordinator and relevant agents. If we feel that Submission Procedure: Email the first ten [email protected], your project matches the Knight Agency’s needs, pages plus a two-page synopsis in the body of [email protected] we will then request additional materials from the correct agent’s email. No attachments. Established: August 2013 the author. In such cases, authors will be asked Other Comments: Reading Time: Eight weeks. Contact Name: Jill Corcoran to submit a partial manuscript. The response Submissions: MG & YA ONLY:

Agent For: PB, CB, MG, YA time for queries is two to three weeks from the [email protected]. All ages: PUBLICIZING YOUR PUBLISHED WORK Commission: 15% without sub-agents, 20% time of receipt. Review of requested material [email protected] with dramatic rights sub-agent, 25% with currently takes six to eight weeks from the time foreign rights agent of receipt. LAURA DAIL LITERARY Rep Agreement: Yes 350 Seventh Avenue, Suite 2003 Multiple Submissions: Yes KT LITERARY, LLC New York, NY 10001 Submission Procedure: If you have been 9249 S. Broadway, #200-543 Fax: (212) 947-0460 referred by someone I know or have been to Highlands Ranch, CO 80129 www.ldlainc.com a conference where I have spoken and want (720) 344-4728 [email protected] to submit please your query plus the first ten www.ktliterary.com Established: 1996 pages of your manuscript pasted into the body [email protected], [email protected] Contact Name: Tamar Rydzinski of your email to queryjillcorcoran@gmail. Established: 2008 Preferred Clients: No picture books com. All submissions with attachments and/or Contact Name: Kate Schafer Testerman, Commission: 10% sent to [email protected] will Sara Megibow Rep Agreement: Yes

be deleted. Agent For: Authors Multiple Submissions: Yes SCHOOL VISITS Preferred Clients: YA and middle grade; We do Submission Procedure: Query letter, preferably KIRCHOFF/WOHLBERG not represent picture books at this time. via email. Synopsis and up to ten pages 897 Boston Post Road Commission: 15% on domestic deals; 20% on optional. Madison, CT 06443 foreign and dramatic rights. (203) 245-7308 Reading Fees: None LAURENS R. SCHWARTZ Fax: (203) 245-3218 Other Fees: None 5 East 22nd Street, Suite 15D LEGAL QUESTIONS www.kirchoffwohlberg.com Rep Agreement: Yes New York, NY 10010-5315 [email protected] Multiple Submissions: Yes Established: 1982 Established: 1930 Submission Procedure: Send email query Contact Name: Laurens R. Schwartz Contact Name: Ronald Zollshan to [email protected] with three pages Agent For: PB, fiction, nonfiction Agent For: Baby through YA, fiction, nonfiction included in the body of the email. No Preferred Clients: Published/unpublished (trade only) attachments. Commission: 15% text domestic, art up to 25% Reading Fees: None Reading Fees: None 154 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Multiple Submissions: Yes Rep Agreement: Yes Other Fees: None material. No fee Reading Fees: We onlyread author/illustrator Commission: 15-25% Preferred Clients:Established illustrators Agent For: Illustrators, author/illustrators only Secondary Contact:PiperSmith Contact Name:Patricia Lindgren Established: 1986 E-mail: [email protected] www.lindgrensmith.com (212) 397-7333 New York, NY10019 888c 8thAvenue LINDGREN &SMITH need tobereturned. original artwork,photos orother items that completing the form there. Pleasedo not send by going tothe “How to Submit”page and electronic submissions, which youcansend respond toqueries sent by mail. We prefer of submissions wereceive, weare unable to Submission Procedure: Duetothe volume Reading Fees: None Agent For: YA, fiction, nonfiction Contact Name:Kerry Sparks, Stephanie Rostan Established: 1989 www.levinegreenberg.com Fax: (212)337-0948 (212) 337-0934 New York, NY10001 307 SeventhAvenue Suite2407 LEVINE GREENBERGLITERARYAGENCY, INC. something “large,” i.e., picture book. outlets (galleries, CD-ROM,etc.) afterplacing will workwithartists/illustrators onother I amthe “first”line editor/critic. Also, lines, 12thcentury hands/feet perspective). illustration must beperfect(no smears, stray be (oreventually be)inpublishableform; art/ techniques. Iamasevere critic. Writing must development of a“name” through promotional artists todevelop long-term goals, including the who do ownmarketing. Iworkwithmy writers/ Other Comments:Willing toworkwithauthors resume, and SASE. 1–3 page proposal orsynopsis of project, c.v. or Submission Procedure: Letterof inquirywith Multiple Submissions:No terminated atwill Rep Agreement: Writtencontract, canbe agreement; the agreement tellshow toavoid it) Other Fees: Photocopying (specifiedinagency | AGENTS DIRECTORY | AGENTS respond ifweare interested. jpgs and alinktoblogorwebsite. Willonly Submission Procedure: Pleasesend one ortwo Fax: (212)628-2705 (212) 722-1950 New York, NY10028 Main Meetingoffices: 6East81stStreet New York, NY10028 Mailing address:1049Park Avenue LIZA ROYCE AGENCY LLC time toqueries: 1week first fivepages. Noattachments. Turnaround Submission Procedure: Email only. Querywith Multiple Submissions:Yes Rep Agreement: Letterof agreement Other Fees: None Reading Fees: None foreign, 20%film Commission: 15%text/art domestic, 20%–25% Preferred Clients: Published/unpublished and authors of adult books children’s books—board bookstoyoung adult, Agent For: Authors and author illustrators of Contact Name:LizaDawson Established: 1997 [email protected] www.lizadawsonassociates.com (212) 465-9077 New York, NY10001 350 SeventhAvenue, Suite2003 LIZA DAWSON ASSOCIATES boxed withcover. double spaced, unbound, one side of page, Other Comments:Submissions should be pages. target audience), two-page synopsis, firstten letter (credits, bio, word count, title, genre, queries. Querybymail withSASE. Include cover Submission Procedure: No phone, fax, oremail Rep Agreement: At the time of the firstsale charges Other Fees: Unusual printing and/or shipping Reading Fees: None sales Commission: 15%;20%ondramatic &foreign No littlekids books. fantasy, screwball fiction, YA ,and family . Agent For: Fiction, special interest inSFand Contact Name:LinnPrentis [email protected] Fax: (212)876-5565 (212) 876-8557 New York, NY10029 155 East116thStreet,#2F LINN PRENTISLITERARY

they should let usknow. writer isreaching outatsomeone’s suggestion, referrals are ourmain source of business, soifa in Word, butPDFshavebeenaccepted. Lastly, necessary. We prefer submissions tobesent to current published booksishelpful butnot some information about the writer. Comparison include abrief synopsis of the work,along with sent [email protected]. It should Submission Procedure: Allqueries should be exceptions) Multiple Submissions:No (there are Rep Agreement: Yes, written than straight commission Other Fees: None—no expenses, etc., other foreign Commission: 15%domestic, 20%ancillary, 25% among others. in conjunction withAuthor Marc Olden’s Estate, Hyde, US Marine James duPont, Diane Crafford Author Michael Gibney, Novelty Author Margaret Author ArjenTerpstra, MGSeries Tori Corn,MGWriterDarlene Beck-Jacobson, Art Perry, YA WriterAmalie Howard, PBWriter Paula Woodward, Photographer and Professor Post Critic and ColumnistLinda Stasi,Journalist stages of their development. Examples are NY established authors towritersinthe early Preferred Clients:We represent both and memoirs. the pasttoinclude historical fiction, truecrime but are opentoanything thatspeakstous, in thriller, commercial woman’s fiction and comedy, in many genres. We leantowards suspense/ PB, toMGYA. We alsorepresent adult books Agent For: Allchildren’s works, from Novelty, to Secondary Contact:Ginger Harris-Dontzin Title: Founding Member Contact Name:LizaFleissig 2010 Established: 2009—changed toofficial LLCFeb mailbox) (partner); [email protected] (general [email protected] (me);[email protected] www.lizaroyce.com Preferred Clients:Published/unpublished general children’s market. fiction. Trade, educational & mass market, Agent For: Illustration only, PB,YA nonfiction/ Contact Name:LizSanders Established: 1985 [email protected] www.lizsanders.com (509) 993-6400 Spokane, WA 99224 2415 EHangmanCreekLane LIZ SANDERS AGENCY

AGENTS DIRECTORY | 155

Presentation is not important. Commission: 30% Established: 1984 PREPARING & SUBMITTING Rep Agreement: Written agreement Contact Name: Marie Dutton Brown Other Comments: MB Artists represents Submission Procedure: Via email (include link/ Agent For: YA fiction, nonfiction, PB illustrators whose work is primarily intended website address) or 5–10 non-returnable color Preferred Clients: Multicultural for the juvenile market in books, editorial samples via mail. Response only upon interest. Commission: 15% publications, licensed merchandise, advertising, Reading Fees: None toys, game boards or other applications. LOIS DE LA HABA AGENCY Other Fees: Yes Previously known as HK Portfolio. 1133 Broadway, Suite 810 Rep Agreement: Yes New York, NY 10010 Multiple Submissions: Prefer exclusive MCINTOSH & OTIS (212) 929-4838 Submission Procedure: Query first. Submit 353 Lexington Avenue Fax: (212) 924-3885 outline and sample chapters or full manuscript New York, NY 10016 MARKET SURVEYS [email protected] on request. Send SASE, 12-point, double- (212) 687-7400 Contact Name: Lois de la Haba spaced, one sided only, typed, & Fax: (212) 687-6894 Agent For: YA fiction, nonfiction unbound. [email protected] Reading Fees: None Established: 1927 Submission Procedure: Query first with outline MARTHA MILLARD LITERARY AGENCY Contact Name: Christa Heschke and sample chapters. 420 Central Park West #5H Agent For: YA, PB, fiction, nonfiction, New York, NY 10025 illustration

MARIA CARVAINIS AGENCY [email protected] Preferred Clients: Published/unpublished DIRECTORIES & RESOURCES Rockefeller Center Established: 1980 Commission: 15% text/art domestic; 20% 1270 Avenue of the Americas, Suite 2320 Contact Name: Martha Millard foreign New York, NY 10020 Agent For: YA fiction, nonfiction Reading Fees: None (212) 245-6365 Preferred Clients: Published only Rep Agreement: None Fax: (212) 245-7196 Commission: 15% domestic, 20% foreign Multiple Submissions: No [email protected] Reading Fees: None Submission Procedure: Letter of inquiry Established: 1977 Other Fees: None accompanied by a manuscript/art samples and Contact Name: Maria Carvainis Rep Agreement: Optional a SASE. Letter to include the target audience, Agent For: YA, fiction, nonfiction Multiple Submissions: Yes, initial queries only, genre, short synopsis of the manuscript, Preferred Clients: Published/unpublished preferably with samples of published work. publication history and background of the Commission: 15% text domestic & 20% foreign Submission Procedure: Referrals through author.

Reading Fees: None professional colleagues only Other Comments: Offers editorial guidance. PUBLICIZING YOUR PUBLISHED WORK Other Fees: None Other Comments: Member of AAR, Science Member of AAR. Rep Agreement: Agreement is two-year book- Ficton Writers of America, Authors Guild. Not by-book basis currently accepting unsolicited queries. M. COURTNEY BRIGGS Multiple Submissions: Yes 100 North Broadway Avenue, 28th Floor Submission Procedure: Letter of inquiry with MB ARTISTS Oklahoma City, OK 73102 SASE. Include a 1–2 paragraph description 775 Sixth Avenue, #6 [email protected]; briggs@ of the project, including where it fits into New York, NY 10001 derrickandbriggs.com the market place, and writing credentials if (212) 689-7830 Established: 1994 applicable. Also, identify what material is Fax: (212) 689-7829 Contact Name: Courtney Briggs available: complete manuscript, sample chapter, www.mbartists.com Agent For: PB, fiction, nonfiction, illustration or synopsis. [email protected] Preferred Clients: Published Other Comments: Encourages clients to Established: 1986 Commission: 15% domestic, 25% foreign generate marketing plans; AAR member, serving Contact Name: Mela Bolinao Reading Fees: None

as Board member, Treasurer, Committee Chair, Agent For: Illustrators for the juvenile market Other Fees: None SCHOOL VISITS etc.Does offer editorial guidance if necessary. (trade books, textbook, advertising, editorial, Rep Agreement: Contract, terminable at will. Prior to establishing the agency in 1977, Ms. toys, stationery, etc.) Multiple Submissions: No Carvainis worked for ten plus years in the Preferred Clients: Published/unpublished Submission Procedure: Query with SASE. publishing industry as an editor and then senior Commission: 25% art editor at Macmillan Publishing, Basic Books, Other Fees: None MELISSA TURK & THE ARTIST NETWORK Books, and Crown Publishers. Rep Agreement: Exclusive representation for 9 Babbling Brook Lane LEGAL QUESTIONS the juvenile market required. Suffern, NY 10901 MARIE BROWN ASSOCIATES Submission Procedure: Letter of inquiry with www.melissaturk.com 412 West 154th Street art samples via regular or electronic mail. [email protected] New York, NY 10032 Artists should submit the type of work they Established: 1984 (212) 939-9725 are most interested in doing, and within that, Contact Name: Melissa Turk Fax: (212) 939-9728 as broad a range as they can. Show at least Agent For: Illustration only (children’s and [email protected] 12–15 images with a signature/consistent style. natural science) 156 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Title: President and Senior Literary Agent Established: 2002 Contact Name:KristinNelson nelsonagency.com [email protected]; smegibow@ www.nelsonagency.com Denver, CO80202 1732 Wazee Street,Suite207 NELSON LITERARYAGENCY, LLC small filesinemail form. Submission Procedure: Mail them in, orvery Commission: 25% Preferred Clients: Published/unpublished Agent For: Illustrators. Seewebsite. Contact Name:Judy Neis Established: 1983 [email protected] com/neisgroup www.neisgroup.com; www.childrensillustrators. (616) 450-1533 Dripping Springs, TX78620 14600 SawyerRanchRoad THE NEISGROUP website. and online submissions form found onour Submission Procedure: Submissions guidelines Multiple Submissions:Yes Rep Agreement: Yes Commission: 15% domestic, 20%international and illustrators Preferred Clients:Authors, author/illustrators, adult, graphic novels Agent For: Picture books, middle grade, young Established: 2000 Beth Phelan Contact Name:Nancy Gallt,Marietta Zacker, www.galltzacker.com Phone andFax:(973)761-6358 South Orange, NJ07079 273 CharltonAvenue GALLT ZACKER LITERARYAGENCY not justwhatyouhavebeenhired todo.” without art.Show me whatyoulovetopaint, illustrators/authors only—no manuscripts member.”I workwithillustrators and Other Comments:Graphic ArtistGuild samples. website linkorattachment of illustration Submission Procedure: Email, including Multiple Submissions:Yes Rep Agreement: Varies Other Fees: None Reading Fees: None Commission: 25%artdomestic Preferred Clients:Published | AGENTS DIRECTORY | AGENTS nelsonagency.com/pub-rants at www.nelsonagency.com Kristinblogsat: work. Submission guidelines and FAQs are listed should bea1–2paragraph description of the no head shots, no weblinks. The queryletter to [email protected]. No samplepages, grade (and sub-genre) may email aqueryletter complete manuscript inyoung adult ormiddle Submission Procedure: Writerswitha100% submissions—we never askfor anexclusive Multiple Submissions:We encourage multiple other fee. client, withclient approval. That’sthe only then wecharge the costof those bookstothe of aclients’ bookfor foreign orfilmco-agents, Other Fees: Ifthe agency needs tobuycopies Commission: 15% (not chapterbooks and not picture books) young adult and middle grade books Preferred Clients:bothare activelyacquiring Submission Procedure: Query+5double- our submissions withone another. multiple submissions in-house asweshare allof Multiple Submissions:We don’t accept Rep Agreement: Yes Other Fees: None we workwithco-agents) we workwithco-agents), upto25%foreign (if Commission: 15%domestic, upto20%film(if Preferred Clients: Published/unpublished Young Readers), etc. Readers), PuzzledbyPink(Viking/Penguin and Ice(Simon &Schuster Booksfor Young Penguin Young Readers), EverAfters:OfGiants Children’s), See aHeart,ShareHeart(Dial/ The SevenTales of Trinket (FSG/Macmillan Macmillan Children’s), Sway(Disney-Hyperion), and Bone/The Grishatrilogy(Henry Holt/ Ugly FatFriend)(Poppy/Little Brown), Shadow Books/HarperCollins), TheDUFF(Designated Agent For: Divergent trilogy(Katherine Tegen Secondary Contact:Danielle Barthel, assistant Agent and Title: President business and changed the name in2012. & Media Representation. Joanna tookoverthe Inc., isthe former teamof Nancy Coffey Literary Established: 2007New LeafLiterary &Media, Mackenzie Brady Contact Name:Joanna Volpe, SusanTownsend, [email protected] [email protected] or www.newleafliterary.com (646) 861-4654 New York, NY10018 110 West 40thStreet,Suite410 NEW LEAFLITERARY&MEDIA,INC. week attachments. Turnaround time toqueries: 1 first fivepages in the body of the email. No Submission Procedure: Email only. Querywith Multiple submissions:Yes Rep Agreement: Informal letterof agreement Reading Fees: None foreign, 20%film Commission: 15%text/art domestic, 20% Preferred Clients:Published/unpublished authors of adult nonfiction fiction and nonfiction, authors of YA nonfiction, and picture books, authors of middle grade Agent For: Author-illustrators of board books Contact Name:Anna Olswanger Established: 2014 [email protected] www.olswanger.com 201-791-4699 Fair Lawn,NJ07410-2715 16-60 ChandlerDrive OLSWANGER LITERARYLLC com/submissions.cfm) set of guidelines, go here: www.newleafliterary. spaced pages inthe body of the email (for full Agent For: PB,fiction, nonfiction, board books Contact Name:Pema Browne Established: 1966 [email protected] (845) 268-0029 Valley Cottage, NY10989 11 Tena Place PEMA BROWNE LTD. revisions. in writing should beopentocritiqueand artists aswriters. Illustrators who are interested all disciplines of illustration and developing Other Comments:We are currently working in we haveinterest. review allinquiries, however onlyreply tothose your websiteornon-returnable samples. We Submission Procedure: Pleasesend alinkto Rep Agreement: Yes Other Fees: None Reading Fees: None interested inwriting Preferred Clients:Illustrators who are Agent For: Illustrators and author/illustrators Contact Name:LoriNowicki [email protected] www.painted-words.com New York, NY10025 310 W. 97thStreet#24 (formerly LoriNowicki &Associates) PAINTED WORDS AGENTS DIRECTORY | 157

Preferred Clients: Published/unpublished looking for published and unpublished young Submission Procedure: Color samples of current PREPARING & SUBMITTING Commission: 20% adult, middle grade and picture book authors work by mail or email. Reading Fees: None and illustrators. We are looking for authentic Other Fees: None writing that will strike a note with children of RODEEN LITERARY MANAGEMENT Rep Agreement: Letter of agreement all ages. 3501 N. Southport #497 Multiple Submissions: No Chicago, IL 60657 Submission Procedure: Letter of inquiry with PUBLISHERS’ GRAPHICS www.rodeenliterary.com synopsis of fiction or nonfiction proposal, 231 Judo Road www.facebook.com/rodeenliterary publishing history and bio. Art: send good color Easton, CT 06612 www.twitter.com/rodeenliterary copies or printed samples (no slides). Must (203) 445-1511 Established: 2008 include a SASE. www.publishersgraphics.com Contact Name: Paul Rodeen MARKET SURVEYS Other Comments: Agent does not accept [email protected] Secondary Contact: Lori Kilkelly manuscripts sent to publishers or handled by Established: 1970 Agent for: picture book authors and author/ other agents. Accepts only new material. Contact Name: Paige Gillies illustrators, chapter books, middle grade, young Agent For: Children’s, YA, PB, illustration adult. No educational. PIPPIN PROPERTIES INC. Preferred Clients: Not taking on new clients Preferred Clients: Published/ Unpublished 155 East 38th Street, Suite 2H Commission: 25% art Commission: 15%; 20% co-agents New York, NY 10016 Other Fees: None Reading Fees: No

Fax: (212) 338-9579 Rep Agreement: Yes Rep Agreement: Yes DIRECTORIES & RESOURCES www.pippinproperties.com Multiple Submissions: No Multiple Submissions: Yes, please state [email protected] Submission Procedure: Not taking on new Submission Procedure: Electronic submissions Established: 1998 clients, reviewing manuscripts, or accepting Contact Name: Julie Just portfolios at this time. only; no mail. Please see website for updated Secondary Contact: Lauren Weber, Sara Crowe Other Comments: Member of Author’s Guild. submission information. Agent For: Picture books, middle grade, young adult, graphic novels, and adult books on RED FOX LITERARY ROOT LITERARY occasion 129 Morro Avenue 617 S Olive, Suite 1207, Los Angeles CA 90014 Preferred Clients: Authors and illustrators Shell Beach, CA 93449 www.rootliterary.com Commission: 15% (805) 459-3327 [email protected] Other Fees: No www.redfoxliterary.com Established: 2019

Rep Agreement: Agency agreement [email protected] Contact Name: Holly Root PUBLICIZING YOUR PUBLISHED WORK Multiple Submissions: Yes, but we greatly Established: 2011 Title: President prefer one-month exclusive Contact Name: Karen Grencik; Abigail Samoun Second Contact: Taylor Haggerty Submission Procedure: Please follow Agent For: YA, middle grade, PB, illustrators Commission: 15% submission guidelines on our website— Commission: 15%–25% Rep Agreement: Yes www.pippinproperties.com/submissions Reading Fees: None Multiple Submissions: We regularly pass Other Fees: None submissions back and forth, so a no from one PROSPECT AGENCY Rep Agreement: Yes of us is a no from all of us. If you’re querying 551 Valley Road, PMB 337 Multiple Submissions: Yes, but see guidelines. one agent in specific, please include their name Upper Montclair, NJ 07043 Submission Procedure: Karen: Only accepting in the subject line of your email. You’re also (718) 788-3217 submissions the first week of each month. welcome to query the agency in general, and www.prospectagency.com Abigail: Only accepting submissions from people we’ll direct your material internally. [email protected] she meets at conferences. See submission Submission Procedure: Please send a query Established: 2005 guidelines on website for further details: letter and the first 10 pages of your manuscript

Contact Name: Emily Sylvan Kim www.redfoxliterary.com/submissions. in the body of an email to submissions@ SCHOOL VISITS Secondary Contact: Rachel Orr, Becca Stumpf, rootliterary.com. Full submission guidelines at: Teresa Kietlinski, Carrie Pestritto REMEN-WILLIS DESIGN GROUP www.rootliterary.com/submissions/ Agent For: YA, middle grade, PB, illustrators 1420 NW Lovejoy #516 Preferred Clients: Published/unpublished Portland, OR 97209 SALZMAN INTERNATIONAL Commission: 15% (503) 954-1209 1751 Charles Avenue Reading Fees: None www.annremenwillis.com Arcata, CA 95521 LEGAL QUESTIONS Other Fees: None [email protected] (707) 822-5500 Rep Agreement: Yes Established: 1985 Fax: (707) 825-6600 Multiple Submissions: Yes Contact Name: Ann Remen-Willis www.salzint.com Submission Procedure: Prospect Agency Agent For: Trade and text book art management [email protected] requests that all work be submitted through the and illustration commission Established: 1982 “Submissions” section of our website. Commission: 25% Contact Name: Richard Salzman Other Comments: Prospect Agency is currently Rep Agreement: Yes Agent For: Illustration only 158 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Fax: (561)996-9294 (561) 996-9294 West Palm Beach,FL33413 236 Trails End SCHIAVONE LITERARYAGENCY work. passing onthe opportunitytorepresent your you havenot heard within8weeks, then weare generally replyto queries within6–8weeks. If wish tohaveyourmaterials returned toyou.We Enclose astamped, self-addressed mailerif you files oralinksend colorcopies inthe mail. Original artwork isnotaccepted. Send electronic addressed envelopefor reply. Forillustrators: the work(for fiction), aswellastampedself- chapters of the manuscript and asynopsis of manuscript (for picture books);orthefirst three Please submitaqueryletter, and the entire fiction). Ifyouplantosend ahard copyquery: the manuscript and asynopsis of the work(for picture books);orthefirst three chapters of Word attachments: the entire manuscript (for in the body of the email, and the following as query via email: Pleasesubmitaqueryletter prefers email submissions. Ifyouplanto Submission Procedure: Brenda Bowengreatly Multiple Submissions:Yes Reading Fees: None Some adult fiction and narrative nonfiction. graphic novels, middle grade &teenfiction. Agent For: Illustrators and authors—PB, Contact Name:Wendi Gu Established: 1932 www.greenburger.com Fax: (212)463-8718 (212) 206-5600 New York, NY10003 55 FifthAvenue SANFORD J.GREENBURGER&ASSOCIATES client list;workswithbookpackagers. hour orstraight commission of 25%;willsend a who wishtodo their ownmarketing for $100/ Other Comments:Willing toworkwithartists Email linktoyourwebsite. samples (images/portfolio) need tobereturned. samples tokeep onfile. SASE requested onlyif Submission Procedure: Send illustration Multiple Submissions:Yes cancellation clause. Rep Agreement: Contracts withthirty-day expenses. Other Fees: Artistspayshare of advertising Reading Fees: None Commission: 25–30%artdomestic requirement ishigh-quality artwork. Preferred Clients:Published/unpublished; | AGENTS DIRECTORY | AGENTS inside the major trade publishers enables us for eachclient, for eachproject. ourreach manuscript sellers. wecraft individual strategies certainly ardent author advocates—asmuch as We seeourselvesascareer managers—and for authors abletosustainlong-term careers. guidance (sometimes extensive). We are looking and television subagent. We offer editorial and Asia and SouthAmerica.Dedicated film guidance. Sub-agencies throughout Europe Author’s Guild; comprehensive editorial Other Comments:Member of AAR, SCBWI, website Submission Procedure: Onlythrough STNY Multiple Submissions:Yes license agreements Rep Agreement: Agency clauseinserted in Other Fees: None Reading Fees: None foreign Commission: 15–20%text domestic, 20–25% commercial professional; durable; dedicated; ambitious; Preferred Clients:Very highly talented; PB (for author/illustrators only)through YA Agent For: Illustrators and alltext categories Title: Agent Contact Name:ScottTreimel Established: 1994 [email protected] scotttreimelny.com Fax: (212)505-0664 New York, NY10003 434 Lafayette Street SCOTT TREIMELNY date of publication include withqueryletter. published booksmust include publisher and unless specifically requested. Bibliography of Other Comments:Donot send any materials queries. No queries via phone orfax. page no attachments. We do NOT acceptpostal Submission Procedure: Email queries only. One Multiple Submissions:Acceptable agreement Rep Agreement: Offerswrittenagency Other Fees: None Reading Fees: None Commission: 15%domestic, 20%foreign Preferred Clients:Published authors Agent For: Fiction, nonfiction Contact Name:James Schiavone Established: 1996 [email protected] blogspot.com profschia/; www.schiavoneliteraryagencyinc. www.publishersmarketplace.com/members/ query letter. literary orrelevant professional credits inyour description of yourbook,bio, and any your workand yourwebsite. Include abrief Illustrators submitupto3JPGsorPDFsof book manuscripts over1,000words. manuscript; not currently accepting picture attachment. Picture bookssubmitentire in the body of anemail orasaWord orPDF (about 25pages) and aone-page synopsis Submission: Novelists submitfirst3chapters Preferred clients: writersand illustrators Agent for: YA, middle grade, picture books Contact Name:SeanMcCarthy Established: 2013 [email protected] www.mccarthylit.com/submissions.html Email: [email protected] URL: http://www.mccarthylit.com/ SEAN MCCARTHYLITERARYAGENCY manage. We negotiate contracts meticulously. to secure in-house supportfor the talent we Reading Fees: Depends onneed Preferred Clients:Published/unpublished Agent For: Illustrators and writers Contact Name:Tammy Shannon Established: 1994 [email protected] www.shannonassociates.com New York, NY10019 333 West 57thStreet,Suite810 SHANNON ASSOCIATES submission guidelines Submission Procedure: Seewebsitefor detailed Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Reading Fees: None Commission: 15%domestic, 20%foreign Preferred Clients:Published/unpublished books, MG,YA Agent For: Fiction and nonfiction, picture Karen Thomas Secondary Contact:Folade Bell,DawnHardy, Title: President Contact Name:Regina Brooks Established: 2000 [email protected] [email protected], www.serendipitylit.com Fax: (718)230-7829 (718)230-7689 NY, NY10019 1633 Broadway, 30thFl, SERENDIPITY LIT AGENTS DIRECTORY | 159

who originate book products, not illustrators Other Fees: $200 for one hour consultation 4–5 color examples of your work and/or link to PREPARING & SUBMITTING with industry art director “for hire.” your website to start. Will request full portfolio Rep Agreement: Standard via regular mail if interested in seeing more. Multiple Submissions: Yes TRANSATLANTIC LITERARY AGENCY Other Comments: We’re always looking for Submission Procedure: Online 2 Bloor Street East, Suite 3500 new talent. Please, share your work with us! Toronto, ON Canada To our represented artists, we offer a dynamic SHELDON FOGELMAN AGENCY (416) 488-9214 relationship with project opportunities in all 10 E. 40th Street Fax: (416) 929-3174 areas of children’s publishing. New York, NY 10016 www.tla1.com (212) 532-7520 [email protected] UPSTART CROW LITERARY, LLC Fax: (212) 685-8939 Established: 1993 PO Box 25404 MARKET SURVEYS www.sheldonfogelmanagency.com Contact Name: Refer to website Brooklyn, NY 11202 [email protected] Secondary Contact: Refer to website. www.upstartcrowliterary.com Established: 1965 Reading Fees: None Established: 2009 Contact Name: Sheldon Fogelman Submission Procedure: Initial letter of inquiry Contact Name: Alexandra Penfold Secondary Contact: Amy Stern essential. Refer to guidelines on website. Agent For: YA, middle grade fiction Agent For: PB, fiction, nonfiction, illustration Preferred Clients: Authors of YA/middle grade Preferred Clients: Published/unpublished TRIDENT MEDIA GROUP Commission: Fiction: 15% domestic, 20%

Commission: 15% domestic; 25% foreign 41 Madison Avenue, Floor 36 foreign & subsidiary DIRECTORIES & RESOURCES Reading Fees: None New York, NY 10010 Reading Fees: None Other Fees: Messengers, photocopying, (212) 333-1531 Other Fees: None overnight/overseas mail—deducted from monies Fax: (212) 262-4849 Rep Agreement: We have a formal contract that received, not as incurred. www.tridentmediagroup.com we send potential clients for review after we Rep Agreement: Contract, either party may [email protected] offer them representation. terminate at any time [email protected] Multiple Submissions: We do accept them and Multiple Submissions: Yes, but must indicate Established: 2000 ask only that prospective authors let us know Submission Procedure: Letter of inquiry with Contact Name: Alyssa Eisner Henkin, Alexander they are multiply submitting. previous publishing credits, where author Slater Submission Procedure: We run a completely learned of the agency, and a brief description of Agent For: Fiction, Nonfiction; children’s and YA paper-free office environment (or try to, the project. Preferred Clients: Published or debut authors anyway), and we do not accept submissions via

Commission: 15% domestic, 20% foreign hard copy and the US post. Interested writers PUBLICIZING YOUR PUBLISHED WORK Reading Fees: None may submit a query and twenty pages of their STERLING LORD LITERISTIC Other Fees: Books ordered for subsidiary rights manuscripts to submission email addresses on 65 Bleecker Street, 12th Floor and foreign rights submissions our website. Please put your query in the body New York, NY 10012 Rep Agreement: Letter of the email, and attach your pages as a Word (212) 780-6050 Multiple Submissions: Letter of inquiry only. document. If your submission is received by our Fax: (212) 780-6095 Submission Procedure: Accepts email queries system, an automated response will be emailed www.sll.com only; no hard copy queries. to you. For artists, please send a query with a [email protected] Other Comments: Willing to let clients link to your portfolio online. We’re looking for Established: 1979 participate in marketing; works with book authors/ illustrators who will be good business Contact Name: George M. Nicholson, Erica purchasers; offers editorial guidance; member partners, so please be professional. While we do Silverman of AAR. our best to respond in a timely manner, we do Agent For: Fiction (preschool to YA), especially read each submission personally so we thank literary fiction TUGEAU 2 you for your patience in advance. Feel free to

Preferred Clients: Published/unpublished 2231 Grandview Avenue contact us after the time listed on our website SCHOOL VISITS Commission: 15% domestic, 20% foreign Cleveland Heights, OH 44106 has expired. Thank you! Reading Fees: None (216) 707-0854 Other Fees: None www.tugeau2.com WAXMAN LEAVELL LITERARY Rep Agreement: Written contract—can be [email protected] 443 Park Ave. S. Suite 1004 NY NY 10016 mutually cancelled on sixty days’ notice. Established: 2002 www.waxmanleavell.com Multiple Submissions: On occasion, depending Contact Name: Nicole Tugeau [email protected] LEGAL QUESTIONS on property Agent For: Illustrators/artists and author/ Established: 2012 (expanded from The Waxman Submission Procedure: Query letter with illustrators Agency, established 1997) detailed proposals. Preferred Clients: Published/unpublished Contact: [email protected] Other Comments: Willing to let clients do Commission: Generally 25% Agent for: Rae Carson, Nancy J. Cavanaugh, own marketing in specialized circumstances; Rep Agreement: Varies, though typically one Alison Cherry, Rachel Hawkins, Christina Lauren, works with book packagers; offers full editorial year to start. Amanda Maciel, Myra McEntire, CJ Redwine, guidance. Only represents writer/ illustrators Submission Procedure: Send a brief email with Victoria Schwab, Kiera Stewart 160 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org (212) 685-2400 La Jolla,CA92037 San Diego/StevenMalk:7660FayAvenue, #338H New York NY10010 New York office: 21 West 26th Street WRITERS’ HOUSELLC website under “Contact Us.” Submission Procedure: Instructions onour Rep Agreement: Yes Commission: 30% Preferred Clients: Published/unpublished Agent For: Illustrators for allindustries Secondary Contact:LisaO’hara Contact Name:Christine Wilkinson Established: 1998 [email protected] www.wilkinsonstudios.com Fax: (630)945-3241 (630) 549-0504 Chicago, IL60607 901 West Jackson Boulevard,Suite201 WILKINSON STUDIOS,INC. SCBWI Other Comments:Members AAR;members submissions-policy submission guidelines at www.wernickpratt.com/ agent only, withattachments. Pleasesee Submission Procedure: Email querytoone month exclusive. Multiple Submissions:Yes, butweprefer one- Rep Agreement: Yes deducted from monies received Other Fees: Postage, photocopying expenses, Reading Fees: None Commission: 15%domestic, 25%foreign Preferred Clients:Published/unpublished book, middle grade, and YA. Allgenres. Agent For: Authors and illustrators. Picture Established: 2011 Emily Mitchell Contact Name:Marcia Wernick, Linda Pratt, or [email protected] www.wernickpratt.com Beacon, NY12508 1207 NorthAvenue WERNICK &PRATT AGENCY, LLC confirm successful receipt. in the body of the email; autoresponder to Submission Procedure: Query&firsttenpages Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Commission: 15%domestic Preferred Clients:NA,YA, &MGnovelists | AGENTS DIRECTORY | AGENTS Ingrid Law, , Lane Smith Paolini, Neil Gaiman, Barbara Park, John Green, such asDavPilkey, Stephenie Meyer, Christopher winning and bestselling authors and illustrators, Diego, and London. Clients include many award- Other Comments:Officesin New York, San query one agent atatime. book uniqueand special, and asynopsis. Only credentials, anexplanation of whatmakes your or hard copywithSASE. Pleaseinclude your compelling letterof inquiryeither via email Submission Procedure: Writeaconcise, in query Multiple Submissions:Yes, butpleasespecify Rep Agreement: Yes received, not asincurred overnight/overseas mail\deducted from monies Other Fees: Messengers, photocopying, Reading Fees: None Commission: 15%text domestic, 20%foreign Preferred Clients:Published/unpublished young adult fiction and nonfiction, illustration Agent For: Picture books, middle grade and Sherman Steven Malk, RobinRue, Jodi Reamer, Rebecca Merrilee Heifetz, Daniel Lazar, Simon Lipskar, Contact Name:Amy Berkower, SusanCohen, Established: 1973 www.writershouseart.com www.writershouse.com; Fax: (212)685-1781 COPYRIGHT FACTS FORAGENTED WRITERS BY

ADAMS LITERARY HOURS (Henry Holt) BEAM OF LIGHT (Chronicle), CALVIN CAN’T FLY Michael Tougias, A STORM TOO SOON and TEN and CALVIN, LOOK OUT! (Sterling) TRACY ADAMS HOURS BEFORE DAWN (Henry Holt) Middle Grade Picture Book Sara Hunt, THREE CHEERS FOR GIRLS (Lerner/ Tom Angleberger, Origami Yoda series (Abrams/ Margery Cuyler,100TH DAY WORRIES Millbrook) Amulet), Qwikpick Papers series (Abrams/ Cynthia Lord, HOT ROD HAMSTER Middle Grade Amulet) Fred Koehler, HOW TO CHEER UP DAD Jennifer Gennari, MY MIXED-UP WILD BERRY YA Vaunda Micheaux Nelson (Coretta Scott King SUMMER (Houghton Mifflin) Tamara Ireland Stone, TIME BETWEEN US and Award winner), BAD NEWS FOR OUTLAWS YA TIME AFTER TIME (Disney*Hyperion) Middle Grade Carol Tanzman, DANCERGIRL and CIRCLE OF Tara Sullivan, GOLDEN BOY (Putnam) Cynthia Lord (Newbery Honor winner), RULES SILENCE (Harlequin Teen) Margaret Peterson Haddix, The Missing series Stephanie Guerra, TORN (Marshall Cavendish) LAURA RENNERT Jacqueline Davies, The Lemonade War series Picture Book YA ALP ARTS COMPANY Tammi Sauer, NUGGET AND FANG Anne Blankman, PRISONER OF NIGHT AND FOG Nina Laden, ONCE UPON A MEMORY Ryan Graudin, THE WALLED CITY SANDY FULLER Middle Grade Kristin Clark, FREAKBOY Picture Book Shannon Messenger, Keeper of the Lost Cities Terry Farish, THE GOOD BRAIDER Carmela LaVigna Coyle, DO PRINCESSES WEAR series Amie Kaufman & Meagan Spooner, THESE HIKING BOOTS? Matt Ward, THE FANTASTIC FAMILY WHIPPLE BROKEN STARS Dylan Pritchett, THE FIRST MUSIC YA Louise Schroeder/Carol Malnor/S. Fuller, The Maggie Stiefvater, THE RAVEN CYCLE JOSH ADAMS Blues Go Birding series Ellen Hopkins, Crank trilogy Picture Book J.P. McDaniel/Jon Van Zyle, MARDY MURIE DID Jay Asher, THIRTEEN REASONS WHY Alan Katz, TAKE ME OUT OF THE BATHTUB Pattie Schnetzler, EARTH DAY BIRTHDAY Hilary Smith, WILD AWAKE Middle Grade Michael Engler/Joelle Tourlonias, Sarah Cross, KILL ME SOFTLY Henry H. Neff, The Tapestry series ELEPHANTASTIC Kimberly Derting, THE TAKING Kat Falls, Dark Life series Mira Lobe/Angelika Kaufmann, HOBBLEHOP! Jeffrey Salane, Justice series Nonfiction KELLY SONNACK YA Anthony D. Fredericks, UNDER ONE ROCK Picture Book Megan Crewe, THE WAY WE FALL John Denver, The Music Is You series Bridget Heos and Joy Ang, MUSTACHE BABY Emily Kate Johnston, THE STORY OF OWEN YA Middle Grade Amie Kaufman & Meagan Spooner, THESE Anne Baldwin, CATIARA’S TREASURE Gordon McAlpine, The Misadventures of Edgar BROKEN STARS and Allan Poe series Sara B. Larson, Defy trilogy ANDREA BROWN LITERARY AGENCY James Burks, Bird and Squirrel series Veronica Rossi, Under the Never Sky trilogy YA Megan Shepherd, The Madman’s Daughter trilogy CARYN WISEMAN Courtney Stevens, FAKING NORMAL Picture Book Sharon Cameron, THE DARK UNWINDING ALISON J. PICARD LITERARY Tom Angleberger, CRANKEE DOODLE (Clarion) Cece Bell, SOCK MONKEY (Candlewick), RABBIT JENNIFER ROFÉ ALISON J. PICARD & ROBOT (Theodore Geisel Honor Award winner) Picture Book Middle Grade Nonfiction (Candlewick), EL DEAFO (Abrams) Mike Boldt, 123 VERSUS ABC Michael Tougias & Casey Sherman, THE FINEST Jennifer Berne, MANFISH (Chronicle), ON A Bob Boyle, ROSIE & REX 162 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Sheila Grau, DR.CRITCHLORE’S SCHOOL FOR Middle Grade MOLLY KERHAWN Rachael Allen,17FIRSTKISSES YA 2015) Lisa Tyre, THEWARS OFZOLLICOFFER (summer Shelley Tougas, THEGRAHAMCRACKER PLOT Sarah Lariviere, THEBAD KID(2016) ACCIDENTAL KEYHAND Jennifer Downey, THENINJA LIBRARIANS:THE Middle Grade SUSAN HAWK Shannon Greenland, KILLERINSTINCT BEAUTIFUL GIRLS Lynn Weingarten, SUICIDE NOTES FROM AG Howard, Splintered Trilogy Sandra Waugh, LARKRISING YA JENNY BENT THE BENTAGENCY Emily Martin, THIS SIDEOFINFINITY Tracy Barrett, THESTEPSISTER’S TALE YA Dianna DorisiWinget, A MILLION WAYS HOME Matthew Ward, THEFANTASTIC FAMILY WHIPPLE Middle Grade Anne SibleyO’Brien, I’MNEWHERE Ross Burach, THERE’SAGIRAFFEINMY SOUP BED Denise Vega, IFYOUR MONSTER WON’TGOTO Picture Book LARA PERKINS Joy Preble, FINDINGPARIS YOUR ASS Meg Medina, YAQUI DELGADO WANTS TO KICK YA WRONG? Graeme Stone, WHAT COULDPOSSIBLY GO Middle Grade Nonfiction POPULARITY SPELL Toni Gallagher, TWIST MYCHARM:THE CAME EARLY Kathryn Fitzmaurice, THEYEARSWALLOWS BUBBA-SIZED TROPHY Crystal Allen,HOW LAMAR’SBAD PRANKWONA Middle Grade Mary Peterson Renée Kurilla Eliza Wheeler Illustrators MAIDEN STIRRED Samantha Vamos, THECAZUELATHAT THEFARM- | AGENTED BY | AGENTED Melissa Martin, THOSE ARENOT MYUNDERPANTS Nick Dyer, LITTLETHINGS Ariel Horn, DO NOT GOINTHERE! with Chewy FRIENDS and WARREN ANDDRAGON: Weekend Ariel Bernstein,WARREN ANDDRAGON: 100 Lois Bar, WHENNUMBERSMETLETTERS Elizabeth Verdick, BIKEANDTRIKE TIGHT J. Theron Elkins, MERRYCHRISTMAS, SLEEP Ariel Bernstein, WHEREIS MYBALLOON? BETSY AMSTER BETSY AMSTERLITERARYENTERPRISES House Children’s, fall 2016) Jessica Cluess, ACLOAK OF FLAME(Random Teen, 2015) Adam Silvera, MORE HAPPY THANNOT (Soho AGENDA (Balzer+Bray, 2015) Becky Albertalli,SIMON VS.THEHOMO SAPIENS Emma Trevayne, CHORUS (Running Press Kids) YA May 2015) and THECABINETOFCURIOSITIES (Greenwillow, MYSTERIOUS TIMES(Simon &Schuster) Emma Trevayne, FLIGHTS ANDCHIMES PIRATE CODE (Disney*Hyperion) and HOOK’S REVENGE:THE Heidi Schulz, HOOK’S REVENGE Middle Grade Schuster fall 2016) Rita Meade, EDWARD GETS MESSY (Simon & (Bloomsbury Children’s, spring 2016) Heidi Schulz, GIRAFFESRUINEVERYTHING winter 2016) Sean Ferrell, IDON’TLIKEKOALA (Atheneum, Bray) Sam Garton,The IAmOtterseries (Balzer+ Picture Book BROOKS SHERMAN (Scholastic Press, 2015) Tricia Stirling, WHENMYHEARTWAS WICKED YA 2015) Simon P. Clark,EREN(Constable &Robinson, House, 2015) PEOPLE’S HOUSES (Wendy LambBooks/Random Bonnie-Sue Hitchcock,THESMELLOFOTHER MINIONS (Abrams, 2015) Lane Books) Geoff Stevenson, GERALDTHE GIANT (Beach Picture Book NATALIE LAKOSIL BRADFORD LITERARYAGENCY Sharon Roat,BETWEENTHENOTES Jackie LeaSommers, TRUEST Moriah McStay, EVERYTHINGTHAT MAKESYOU Patrick Flores Scott,JUMPEDIN WAR Tanita S.Davis, HAPPY FAMILIES and MARE’S BARGAINING Carly Anne West, THEMURMURINGSand THE LIKE THESE Tess Hilmo, WITHANAMELIKELOVEand SKIES YA COOL BEANS Lisa Harrader, ADVENTURESOFBEANBOY AND Middle Grade STEVEN CHUDNEY THE CHUDNEYAGENCY Kaitlin Ward, BLEEDINGEARTH Jessica Taylor, WANDERING WILD Jennifer Mathieu, THETRUTHABOUTALICE YA Cory Putman Oakes, DINOSAUR BOY Middle Grade SARAH LAPOLLA OPS (Thomas Dunn/St.Martin’s) Natalie Zaman and CharlotteBennardo, BLONDE Jessica Souders, RENEGADE YA (Aladdin) Rachele Alpine, OPERATION PUCKERUP Middle Grade Andria Rosenbaum,TRAINSDON’TSLEEP(HMH) Roseanne Thong, TWAS NOCHE BUENA(Viking) Todd Mitchell, BACKWARDS YA BIRTHDAYS Wendy Mass, AMANGOSHAPEDSPACE and 11 Middle Grade Uma Krishnaswami, THREADS OFPEACE Picture Book GINGER KNOWLTON Scott Tracey, MOONSET Julia Gibson,COPPERMAGIC Ursula K.LeGuin,AWIZARDOFEARTHSEA Gretchen McNeil, GETEVEN Elizabeth Wein, CODENAMEVERITY Patricia Wrede, The Enchanted Forest Chronicles YA Debbie Ridpath Ohi,WHEREAREMYBOOKS? Kelly Bingham, CIRCLE,SQUARE, MOOSE Picture Book GINGER CLARK CURTIS BROWN, LTD. AGENTED BY | 163

Linda Sue Park, A LONG WALK TO WATER Monica Brown & John Parra, FRIDA KAHLO AND FULL CIRCLE LITERARY PREPARING & SUBMITTING Nancy Werlin, RULES OF SURVIVAL and HER ANIMALITOS (NorthSouth Press) UNTHINKABLE ADRIANA DOMINGUEZ Juana Martinez-Neal, ALMA AND HOW SHE GOT Eve Yohalem, CAST OFF Picture Book HER NAME (Candlewick) Katheryn Russell-Brown, LITTLE MELBA AND HER Cindy Jenson-Elliott, ANTSY ANSEL (Holt) DUNHAM LITERARY BIG TROMBONE (Lee and Low) Rafael López (illus.), DRUM DREAM GIRL (HMH) Ana Aranda (illus.), THE CHUPCABRA ATE THE Middle Grade JENNIE DUNHAM CANDELABRA (Nancy Paulsen Books/Penguin) Diana López, COCO: A STORY ABOUT MUSIC, Picture Book Tony Piedra, THE GREATEST ADVENTURE (Arthur SHOES, AND FAMILY (Disney) and LUCKY LUNA Robert Sabuda, THE LITTLE MERMAID A. Levine Books/Scholastic) (Scholastic) Barbara McClintock, MY GRANDFATHER’S COAT Emma Otheguy, MARTÍ’S SONG FOR FREEDOM Celia Pérez, THE FIRST RULE OF PUNK (Viking/ MARKET SURVEYS Nick Bruel, BAD KITTY (Lee & Low) Penguin) Middle Grade F. Isabel Campoy, Theresa Howell, & Rafael Monica Brown, LOLA LEVINE series (Little, Jody Feldman, The Gollywhopper Games series López, MAYBE SOMETHING BEAUTIFUL (HMH Brown) and SARAI AND THE MEANING OF YA Books for Young Readers) AWESOME (Scholastic) Leslie Connor, THE THINGS YOU KISS GOODBYE Middle Grade Anna Shinoda, LEARNING NOT TO DROWN Angela Cervantes, GABY, LOST AND FOUND GREENHOUSE LITERARY AGENCY (Scholastic) and ME, FRIDA, AND THE SECRET OF

BRIDGET SMITH THE PEACOCK RING (Scholastic) JOHN CUSICK DIRECTORIES & RESOURCES YA Eric Pierpoint, THE LAST RIDE OF CALEB O’TOOLE Picture Book Emma Mills, FIRST & DOWN (Sourcebooks) Chana Stiefel, DADDY DEPOT (Feiwel & Friends, Lee Gjertsen Malone, THE LAST BOY AT ST. Reyna Grande, THE DISTANCE BETWEEN US 2015) EDITH’S (Aladdin/S&S) Middle Grade Ellen Goodlett, THE QUIET ONES Lila Quintero Weaver, MY YEAR IN THE MIDDLE Ryan Gebhart, THERE WILL BE BEARS (Candlewick) (Candlewick Press, 2013) DYSTEL & GODERICH LITERARY Sylvia Acevedo, PATH TO THE STARS (HMH) Hannah Moskowitz, A HISTORY OF GLITTER AND MANAGEMENT YA BLOD (Chronicle Books, 2015) Michaela and Elaine DePrince, TAKING FLIGHT: YA MICHAEL BOURRET FROM WAR ORPHAN TO STAR BALLERINA (Knopf) Sharon Biggs Waller, A MAD, WICKED FOLLY YA (Viking, 2013)

Gayle Forman, IF I STAY and I WAS HERE TAYLOR MARTINDALE KEAN Courtney Alameda, SHUTTER (Feiwel & Friends, PUBLICIZING YOUR PUBLISHED WORK Lisa McMann, THE UNWANTED and Wake series Picture Book 2015) Sara Zarr, STORY OF A GIRL and THE LUCY Aisha Saeed, BILAL COOKS DAAL (Salaam Tommy Wallach, WE ALL LOOKED UP (Simon & VARIATIONS Reads/S&S) Schuster, 2015) Andrew Smith, WINGER and GRASSHOPPER Middle Grade Vin Vogel, THE THING ABOUT YETIS (Dial Books, JUNGLE Aisha Saeed, AMAL UNBOUND (Nancy Paulsen 2015) A.S. King, EVERYBODY SEES THE ANTS and Books/Penguin) Gina Ciocca, LAST YEAR’S MISTAKE (Simon Pulse, GLORY O’BRIEN’S HISTORY OF THE FUTURE Sally J. Pla, THE SOMEDAY BIRDS and STANLEY 2015) WILL PROBABLY BE FINE (HarperCollins) Marina Cohen, INN BETWEEN (Roaring Brook EAST WEST LITERARY , CODE BUSTERS CLUB series Press, 2015) YA Rahul Kanakia, ENTER TITLE HERE (Disney- DEBORAH WARREN Emery Lord, WHEN WE COLLIDED and THE NAMES Hyperion, 2015) Picture Book THEY GAVE US (Bloomsbury) Michelle Modesto, MACHINE AND THE WILD Jim Averbeck, IN A BLUE ROOM Aisha Saeed, WRITTEN IN THE STARS (Penguin) (Balzer & Bray, 2016)

James & Kimberly Dean, Pete the Cat series Anna-Marie McLemore, WILD BEAUTY and SCHOOL VISITS Anna Dewdney, Llama Llama series BLANCA & ROJA (Feiwel & Friends) SARAH DAVIES Mike Lowery, The Gingerbread Man series Diana Rodriguez Wallach, PROOF OF LIES and Middle Grade Gianna Marino, TOO TALL HOUSES LIES THAT BIND (Entangled Teen) Caroline Carlson, THE VERY NEARLY HONORABLE Antoinette Portis, FROODLE LEAGUE OF PIRATES Middle Grade STEFANIE VON BORSTEL Tricia Springstubb, WHAT HAPPENED ON FOX Kwame Alexander, THE CROSSOVER STREET

Picture Book LEGAL QUESTIONS Platte Clark, Bad Unicorn trilogy Jennifer Ward, MAMA BUILT A LITTLE NEST Shawn Stout, Penelope Crumb series YA (Beach Lane Books/S&S) Kat Yeh, THE TRUTH ABOUT TWINKIE PIE Alethea Kontis, Enchanted series Toni Buzzeo, MY BIBI ALWAYS REMEMBERS Donna Cooner, SKINNY Holly Schindler, FERAL (Disney) Elle Cosimano, NEARLY GONE Monica Brown, WAITING FOR THE BIBLIOBURRO Lindsey Leavitt, GOING VINTAGE (Random House) Erica L. Scheidt, USES FOR BOYS Susie Ghahremani, STACK THE CATS (Abrams) Tess Sharpe, FAR FROM YOU 164 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Ellen Potter, Otis Dooda series Picture Book ALICE TASMAN J.C. Carleson,THETYRANT’SDAUGHTER YA Ellen Potter, THEKNEEBONEBOY Middle Grade NO! Lisa Charrier and Agnes Domergue, OHMY, OH Picture Book LAURA BIAGI AMERICA’S BULLIED Gabrielle Ford, GABE &IZZY: STANDING UPFOR COSMOS TO THEUNIVERSE:AGUIDETO EXPLORING THE Kim Arcand and Megan Watzke, YOUR TICKET Nonfiction ELIZABETH EVANS HOUSE Kelly Moore, Tucker Reed, LarkinReed, AMBER YA Alexander Vance, THEHEARTBREAKMESSENGER Middle Grade COUNT ONTHESUBWAY Paul DuboisJacobs and Jennifer Swender, Emily Kate Moon, JOONE Picture Book JENNIFER WELTZ (JVNLA) JEAN V. NAGGAR LITERARYAGENCY Kate Karyus Quinn,ANOTHER LITTLEPIECE Jennifer McGowan, MAIDOFSECRETS Sabaa Tahir, ANEMBERINTHEASHES YA J.A. White, THETHICKETY M. A.Larson,PENNYROYAL ACADEMY Middle Grade ALEXANDRA MACHINIST Gina Damico, Croak series Brandy Colbert,POINTE YA Anne Ursu,BREADCRUMBS Alice Hoffman, NIGHTBIRD SCHOOL Donna Gephart,HOW TO SURVIVEMIDDLE Middle Grade TINA DUBOIS ICM Brenna Yovanoff, FIENDISH | AGENTED BY | AGENTED and 13LITTLEBLUEENVELOPES Maureen Johnson, The Shades of London series Alexandra Duncan, SALVAGE SMALL PERSONSWITHWINGS Ellen Booraem, TEXTINGTHEUNDERWORLDand SOMETHING LIKENORMAL Trish Doller, WHERETHESTARS STILLSHINEand THE HAPPILY EVERAFTER LOLA ANDTHEBOY NEXTDOOR,and ISLA AND Stephanie Perkins, ANNAANDTHEFRENCHKISS, YA WILL INSCARLET, THEDEADGENTLEMAN Matthew Cody, The Supersof Noble Green series, Middle Grade KATE TESTERAMAM KT LITERARY, LLC. HUMPHREY Betty G.Birney, IMAGINATION ACCORDING TO Middle Grade Sophie Blackall, BABY TREE Ben Clanton, SOMETHINGEXTRAORDINARY CHRISTMAS Bagram Ibatoulline, ALITTLEWOMEN Bonnie Adamson, RUTABAGA BOO Carin Bramsen, JUST ADUCK Picture Book MARIETTA ZACKER GALLT ZACKER LITERARYAGENCY Jess Verdi, MYLIFEAFTERNOW Calea Carter, MYBESTFRIEND,MAYBE Madeleine Roux,ASYLUM and SANCTUM Delilah S.Dawson,SERVANTS OFTHESTORM Eric Devine, TAP OUT, DARE MEand PRESSPLAY YA Carey Wallace, THEGHOST INTHEGLASSHOUSE Middle Grade KATE MCKEAN AGENCY HOWARD MORHAIMLITERARY THE DEMENTEDLIFEOFFRENCHIEGARCIA Jenny Torres Sanchez, DEATH, DICKINSON, AND Carrie Arcos, OUTOFREACH Jennifer Niven,ALLTHEBRIGHT PLACES YA Jennifer AnnMann, The Sunny SweetSeries Middle Grade Mark Pett, THEBOY ANDTHEAIRPLANE Picture Book KERRY SPARKS LITERARY AGENCY, INC. LEVINE GREENBERGROSTAN T. Michael Martin, THEENDGAMES Kody Keplinger, THEDUFF , SHADOWANDBONE Veronica Roth,DIVERGENT YA Kirk Scroggs, SNOOP TROOP Shelby Bach,The EverAftersseries Amber McRee Turner, Circa Now TRINKET Shelley Moore Thomas, THESEVENTALES OF Middle Grade Lori Nichols, MAPLE Elizabeth RoseStanton, HENNY Picture Book JOANNA VOLPE NEW LEAFLITERARYANDMEDIA Nora Raleigh Baskin,RUBY ONTHEOUTSIDE Mary Amato, GETHAPPY YA Paige Britt,THELOSTTRACK OFTIME Rick Riordan, PERCYJACKSON’S GREEKGODS Alison McGhee and Peter Reynolds, SOMEDAY Jon Agee, LITTLESANTA WORM and Harry Bliss, DIARYOFA TYPE Doreen Cronin, CLICK CLACK MOO: COWSTHAT Kate McMullan and JimMcMullan, ISTINK! Anna Kang, YOU ARE(NOT) SMALL Picture Book HOLLY MCGEE PIPPIN PROPERTIES Vince Vawter, PAPERBOY LONDON MIDNIGHT GHOST SHOW Steve Bryant, LUCASMACKENZIE ANDTHE Middle Grade KAY KAY’S ALPHABETSAFARI Dana Sullivan,OZZIE ANDTHEARTLESSONand Alan Rabinowitz, ABOY ANDAJAGUAR DAZZLING LIFEOFJOSEPHINEBAKER Patricia HrubyPowell, JOSEPHINE:THE JUNGLES OFHENRIROUSSEAU Michelle Markel, BRAVE GIRLand THEFANTASTIC Rich Lo,FATHER’S CHINESEOPERA A CRAYON’S STORY SQUARE, IT’SANORANGEAARDVARK!, and RED: Michael Hall, MYHEARTIS LIKEAZOO, PERFECT HAS ADREAM Rebecca Dudley, HANKFINDSANEGG, Picture Books ANNA OLSWANGER OLSWANGER LITERARYLLC AGENTED BY | 165

Rae Carson, The Girl of Fire and Thorns trilogy and BREATHE Middle Grade PREPARING & SUBMITTING Kathi Appelt, THE TRUE BLUE SCOUTS OF SUGAR CJ Redwine, Defiance trilogy Nonfiction MAN SWAMP Rachel Hawkins, Hex Hall series and Rebel Belle Andrea Davis Pinkney and Brian Pinkney, HAND- Kate DiCamillo, FLORA & ULYSSES series IN-HAND YA Christina Lauren, SUBLIME Middle Grade Jandy Nelson, I’LL GIVE YOU THE SUN Jarrett J. Krosoczka, The Lunch Lady series Jason Reynolds, WHEN I WAS THE GREATEST WRITERS HOUSE, INC. Grace Lin, WHERE THE MOUNTAIN MEETS THE Other Clients Include: MOON, STARRY RIVER OF THE SKY, and the Ling Taeeun Yoo JODI REAMER & Ting series Isabel Roxas Picture Book Michelle Knudsen, LIBRARY LION MARKET SURVEYS Sujean Rim Brad Meltzer, Ordinary People Change the World Renata Liwska series Garret Freymann-Weyr Dan Santat, BEEKLE and RICKY RICOTTA Katherine Applegate Middle Grade Michelle Knudson, DRAGON OF TRELIAN RED FOX LITERARY Lisa Yee, MILLICENT MIN and Bobby vs. Girls Accidentally series

KAREN GRENCIK YA DIRECTORIES & RESOURCES Picture Book John Green, THE FAULT IN OUR STARS Miranda Paul, ONE PLASTIC BAG: ISATOU CEESAY Stephenie Meyer, The Twilight Saga AND THE RECYCLING WOMEN OF THE GAMBIA Ransom Riggs, MISS PEREGRINES HOME FOR (Millbrook) PECULIAR CHILDREN and HOLLOW CITY Middle Grade Kami Garcia, BEAUTIFUL CREATURES and Michelle Houts, WINTERFROST (Candlewick) UNBREAKABLE Bobbi Miller, BIG RIVER’S DAUGHTER Tahereh Mafi, Shatter Me series (Charlesbridge) Carolyn Mackler, THE EARTH, MY BUTT AND OTHER BIG ROUND THINGS ABIGAIL SAMOUN Michelle Knudsen, EVIL LIBRARIAN Picture Book Lisa Yee, THE KIDNEY HYPOTHETICAL

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Lisa Greenwald, MY LIFE IN PINK & GREEN Ruta Sepetys, BETWEEN SHADES OF GRAY SCHOOL VISITS Jennifer Roy, YELLOW STAR Matt de la Peña, MEXICAN WHITE BOY YA Julie Berry’s ALL THE TRUTH THAT’S IN ME REBECCA SHERMAN Picture Book WAXMAN LEAVELL LITERARY AGENCY Jared Chapman, PIRATE, VIKING, & SCIENTIST Matt Phelan, STORM IN THE BARN, AROUND THE LEGAL QUESTIONS HOLLY ROOT WORLD, and BLUFFTON Middle Grade Dan Yaccarino, DOUG UNPLUGGED Nancy J. Cavanaugh, THIS JOURNAL BELONGS TO Daniel Salmieri, DRAGONS LOVE TACOS RATCHET; ALWAYS, ABIGAIL Melissa Sweet, FIREFLY JULY Victoria Schwab, The Archived & Everyday Angel Selina Alko and Sean Qualls, THE CASE FOR series LOVING YA Scott Magoon, THE BOY WHO CRIED BIGFOOT

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 Winformation to help writers 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 walk away. A bad or unscrupulous agent is truly worse than no agent at unscrupulous so-called agents who took advantage of authors’ desire to 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 wiling to speak with you within a few business hours. They should be able to answer any questions that you days of that request (illness or vacation time are valid reasons why your have and provide you with explanations for everything they are doing for agent might not be available). While agents have insane inboxes and are you. None of what an agent does for you should be mysterious—it should often over-extended, they should still reply to your emails in a reasonably be straightforward and easy to understand. If you ever feel uncomfortable timely way. This will differ by agent, but if you’re not comfortable with about anything your agent is doing, ask them about it. And if you don’t your agent’s response time, they should be willing to discuss this with like the answer, or can’t get one, listen to your gut and be prepared to you and/or adjust if this is reasonable and feasible. 168 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | FINDING AN AGENT: BEST PRACTICES AGENT: AN BEST FINDING | to provide youwith,awrittenitemization of such fees. photocopying, etc.); ifso,they should provide youwith,orbewilling agents alsocharge reasonable expenses (for bankcharges, mailing, financially from such anarrangement (such as referral fees).Some any arrangement withthiseditorthatwouldmean thatthey benefit suggest thatyouhire afreelance editor;the agent should not have charging youreading feesoreditorial fees. Sometimes youragent may as yourprevious agreement. case the deal points are often described simplyas“onthe same terms” this wouldbewhen youare re-upping withthe same publisher, inwhich payout, delivery dates, rights included, and royalties. Anexception to At aminimum, the deal memo should outline such terms asadvance, with adeal memo either atthe time of the deal oruponyourrequest. should beexplained to youyoursatisfaction. You should beprovided approval first. agent should never acceptany offer without yourverbalorwritten explained clearlysothatyouunderstand allthe terms of the offer. Your in real time, butifnot, immediately uponyourrequest. all, offers do come inwriting). Again, ideally thisshould behappening editors aswellallwrittenoffers from publishers (most, although not and haveyourapproval before the agent proceeds withthisplan. decides togiveone editoranexclusive, thisshould beexplained toyou project). include (oralternatively explain why they wouldn’tbeagood fit for the have questions, and add any editorsorpublishers who you’dlike to the time of the submission, butifnot, upon yourrequest. have submittedyourmanuscript. Thisshould ideally come before orat time limit(thirtydays isstandard). you withasubmission listoragreeing topayyouwithinareasonable information thatwillhelp you,such asrequiring the agent toprovide protect the agent, not the author. Don’tbeshy aboutasking toinclude sign anything youdon’t understand completely. agency agreement isalegallybinding document, and youshould never explanation for why they can’tmake the changes. Remember thatan about making reasonable changes tothe agreement orprovide agood answer the questions youhaveaboutit.Your agent should beflexible familiar withindustry norms should do thisfor you),and bewilling to the lawisaspecialized fieldand onlyapublishing attorney who is to vetthisagreement (pleasedo not askyourtaxattorney, however; to understand. They should becomfortable withyourhiring alawyer Fees Deals Correspondence Submissions Agency Agreements It probably goes without saying thatyouragent should not be When youragent ismaking adeal onyour behalf,the deal points All offers should becommunicated toyouassoonpossibleand The agent should bewilling toprovide youwithallpasslettersfrom Your agent should submittoreputable publishers only. Ifyouragent Your agent should bewilling totalkthrough thislistwithyouif Your agent should provide youwithalistof editorstowhom they Also keep inmind thatthe agency agreement isusually there to Your agent should provide youwithanagency agreement thatiseasy negotiation, itshould beprovided toyou. willing and abletoanswer them. publisher. incorporate any changes into their first round of comments for the it’s bettertodo thisbefore youragent startstonegotiate sothey can publishing attorney review yourcontract prior tosigning it.However, as well,and the agent should becomfortable ifyou’dlike tohavea author should beapartof thisprocess and should review the contract need toaskthe publisher tomake atleastafewchanges. You asthe department should vetthe contract thoroughly and inmost caseswill a contract for youtosign. Your agent oryour agent’s contracts Weingarten, Lynsay Sands, LoriWilde, andJuliaLondon. Kasich, LoriNelson Spielman,GoldyMoldavsky, Yangsze Choo,Lynn which currentlyincludesStephanie Garber, AG Howard,GovernorJohn represented agreatmanyNewYork Timesbest-sellingauthors, alist she lefttofound TheBentAgency. Inthecourseof her career, shehas boutique agenciesbefore joiningTrident MediaGroupin2003.In2009 first classhonorsfromCambridge University, andthenworked atseveral in asunnywindowseat.ShewentontoEnglandgetBA/MA with in ahousefullof books whereshespentmanylazyafternoons reading commission splits. adequately, which includes the waysthatthiscanaffectyour questions, youragent should help youunderstand their methodology the publisher (note: allof these canbevalid options). Ifyouhave use anoutside agency, ordo they generally grant allthese rights to exploit yoursubsidiary rights. Dothey go direct, useasubagent, royalty statements, evenwhen no money isdue. explain any questions youhave. You should besent allcopies of your with overseaspublishers butalsocertaindomestic ones. publisher willnot do this, which isoften truewhen youare dealing goes directly tothem. Exceptions tothisare situations where the which means thatyourportion goes directly toyouand their portion payments. for bankfeesorexpenses, aswellanexchange rate for foreign receipt from the publisher. Payments Publishing Contracts from the industry standard. provide youwithareasonable explanation for why they are deviating charges more thanthat(and some reputable agents do), they should publication rights toasmuch as25%for foreign rights. Ifanagent Subsidiary Rights Royalty Statements If youasktoseeany relevant correspondence aboutthe contract If youhavequestions aboutyourcontract, youragent should be Once youhavestruck adeal, the publisher willsend youragent Jenny wasborninNewYork CitybutgrewupinHarrisonburg, Virginia Your agent should betransparent aboutthe means bywhich they Your agent should understand yourroyalty statement and beableto Your agent should bewilling tosplitpayments upon yourrequest, Payments should come withstatements thatdetail any deductions Payments toclients should bemade no laterthanthirtydays of Standard commission splitsrange from 15%for exploiting book FREELANCE EDITORS DIRECTORY

MARSHA DIANE ARNOLD marketplace, other resources, comparable publishing houses such as Simon & Schuster, 21300 Walker Farm Court picture books, and discussion of page turns Dutton, Holt, and HarperCollins. She is an Alva, FL 33920 and “dummies.” She thinks a lot about each instructor for the Institute of Children’s Literature 707-292-1171 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 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, Brooklyn, Ny, 11231 www. has a course on Writing Character James, both fiction and nonfiction, and she chadwbeckerman.com Driven Picture Books at the Children’s has been a freelance editor and book doctor for Chad W. Beckerman brings his experience as Book Academy. She has done manuscript more than fifteen years. Ms. Barkin offers a full creative director and picture book and graphic consultations through the Institute of Children’s range of editorial and book-doctoring services novel designer to his independent studio, He Literature, freelanced for over twenty years, from diagnosis to prescription and treatment, is offering portfolio reviews and one-on-one and been an instructor at the week-long Oregon from concise evaluation to detailed critique to in-depth picture book dummy development, Coast Children’s Book Writers Workshop. David developmental and line editing. She has extensive coaching illustrators and author- illustrators from Greenberg, author and founder of the Workshop experience in critiquing and editing all genres of preliminary rough sketches to a fully developed writes: “Marsha’s work has set the standard for children’s and young adult books, with a particular dummy with art samples. excellence. She offers the most constructive interest in nonfiction for all age groups. Fees vary, Need feedback, support and some helpful feedback and encouragement I’ve seen from depending on length of manuscript and the kind suggestions on how to make your work better? any instructor ever. All her interactions are of work needed. For more information, contact Ms. Then you are in the right place! I am offering supremely kind and affirmative. I greatly Barkin; for email, use “SCBWI editing query“ in portfolio and picture book consultations this year. respect her not only as an author, but as an the subject line. During the review we will talk about how you can editor and teacher. I highly recommend her.” get to your next creative level. What makes you Marsha asks a flat fee of $200 for picture book BONNY BECKER happy about your work? What is easy or effortless manuscript of 1,000 words or less. She usually PO Box 15268 about your work? What are you experimenting spends 4 hours or more on each client’s work. Seattle, WA 98115 on? What are you struggling at? These are a few This includes line editing, editorial suggestions (360) 597-3432 questions I want you to consider and we will on plot, character, pacing, and arc, ideas for [email protected] discuss them. In addition he will answer any revision, and a “Zoom” video chat of an hour or www.bonnybecker.com other question about your work or publishing you more. She enjoys working with aspiring writers, Bonny Becker is the author of nine books may have and post your work to his Instagram offering thoughts on marketability, today’s including picture books and novels from various stories so his my publishing contacts can see your 170 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org & Company, PSS!/Penguin). She wasthe VP Pick of the List (Giant Animal Fold-Outs: Kangaroo Penguin) and winning the American Bookseller’s years inarow (Make Your OwnValentines, PSS!/ #1 onthe Publishers Weekly BestsellerListtwo received various accolades, such as reaching (Berkley, 2002)withJulie Stav. Her bookshave the New York Times bestsellerFundYour Future for Dummies 2nd Ed(Wiley, 2013)and cowrote She wasleadauthor onWriting Children’s Books and hasbeentranslated into many languages. has alsowrittenoverahundred children’s books twenty yearsof experience inthe industry. Lisa Lisa Rojany Buccieri isapublishing executive with lbuccieri www.publishersmarketplace.com/members/ www.absolutewrite.com/novels/lisa_rojany.htm www.editorialservicesofLA.com [email protected] (818) 707-1042(phone&fax) Westlake Village, CA91361 1543 SycamoreCanyonDrive Editorial Servicesof LosAngeles LISA ROJANY BUCCIERI picture book rates and times ortohire himtodesign your Email [email protected] for review illustrationinfoandreviews coaching visithttp://www.chadwbeckerman.com/ To understand hismethod of reviews and Hendrix debut talents including Jared Chapman and John Rex, and Jeff Kinney, inaddition tonurturing ,Yuko Shimizu,Sterling Hundley, Adam Nikki McClure, RossMacDonald, CharleSantoso, Sophie Blackall, Mathew Cordell, CoryGodbey, Jarrett Krosoczka, David Roberts, DanSantat, Fieffer, Joe Sutphin,Henry Cole, Amy June Bates, Selznick, DaveMcKean, David Roberts, Jules Tamaki, Isabelle Arsenault, BryanCollier, Brian including ArtSpiegelman, John Hendrix, Jillian New York BookShow and ) York Times BestIllustrated Children’s Books, The The New York Times BestSellersList,The New and authors (Caldecott honor, Newbery Honors, with award-winning and best-selling illustrators During histime atABRAMS he worked closely Shorty. and BryanCollier’s Caldecott Honor Trombone Reynold’s IAMbooks, BillNye’sJack and Geniuses Scieszka’s Frank Einstein, The Terrible Two, Peter Yoda, NERDS,Nathan Hale’s Hazardous Tales, Jon The Questioneers (Iggy, Rosie and Ada), Origami successful children series asDiary of aWimpyKid, Chad isthe designer and artdirector behind such your picture book. In addition he isoffering hisservice todesign work. | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE [email protected] (912) 634-9610 St. SimonsIsland,GA 31522 217 VillagerDrive NANCY RAINESDAY questions. on rates and services, and contact her withany ChildrensBookEditing.com websitefor specifics publishers asafreelance editor. Pleaseseeher young adult novels. She alsoconsults with books, easy-to-read books, chapterbooks, and are permanuscript page and varyfor picture Rafe Martin. Her editing and evaluating rates Tomes, Diane Stanley, Lorinda BryanCauley, and Catherine Stock,Rachel Isadora, Jan Brett, Margot authors and illustrators asTomie dePaola, Eric Hill, Ms. Cohen worked withsuch award-winning publishing and submission process. At Putnam, a packet of informational sheets aboutthe publishers and literary agents. She alsoprovides experienced writersprior totheir submission to evaluate manuscripts of bothfirst-time and ChildrensBookEditing.com, toedit,polish, and runs achildren’s bookediting service, editor atG.P. Putnam’s Sons. She now Nora Cohen wasasenior editorand managing www.childrensbookediting.com [email protected] NORA COHEN com/members/lbuccieri Client references at:www.publishersmarketplace. as traditional submissions. Free queryletteredit. Extensive experience withself-publishing aswell SCBWI members get asubstantial discount. the manuscript, negotiable onasliding scale; services, depending onthe length and stateof others. She charges bythe hour for her editorial Gateway Learning Corp(Hooked onPhonics), and PSS!/ Penguin RandomHouse, Intervisual Books, editorial/ publishing director for Golden Books, and publisher of Americhip Books, and hasbeen DR” inthe subjectline. 1000 words. Contact her byemail, with“SCBWI MS letters. Ratesare $100for amanuscript upto or self-publishing and help withqueryorcover revision aswellcopyediting for submission in picture books, she offers suggestions for has alsoworked asamagazine editor. Specializing manuscripts thathavesince been published. She Literature and fellowchildren’s authors polish helped her students from the Instituteof Children’s was aNew York Times Notable Book.Nancy has first title, TheLion’s Whiskers (Scholastic,1995), World? NumbersinNature(BeachLane, 2015).Her books, many inrhyme, including Whatinthe Nancy Raines Dayisthe author of nine picture per hour; feesfor writing services are negotiable. rate for editing and coaching isapproximately $60 authors inallgenres reach their fullpotential. Her specializes inhelping bothnew and experienced editing, creative coaching, and ghostwriting. She proposal evaluation, substantive editing, line of services for writers, including manuscript and the University of London. Ellenoffers arange holds amaster’s degree inEnglish literature from Canada, including the University of Michigan. She at numerous schools inthe United Statesand teacher. She hasbeenawriter-in-residence is currently aneditorial consultant and writing finest authors and illustrators in the business, and Kindersley, she hasworked withsome of the Dial Books, Morrow Junior Books, and Dorling twenty years’experience asastaffeditorwith books for the trade and educational markets. With of the Year, aswellpicture booksand chapter The GlowStone,aBankStreet College BestBook Ellen Dreyer isthe author of the young adult novel www.ellendreyer.com [email protected] (973) 868-4396 Maplewood, NewJersey07040-1846 392 ElmwoodAvenue ELLEN DREYER whom Emma haseditedinclude EllenHopkins, and paperbacktitles. Authors and illustrators annual publication of overone-hundred hardcover fiction and fantasy. As publisher, she oversawthe books topoetry, novelties, nonfiction, MG,and YA children, ranging from board booksand picture of award-winning and highly lauded booksfor Throughout her career, Emma haseditedhundreds Children’s Publishing. K. McElderry Books, imprints of Simon &Schuster Atheneum Booksfor Young Readers and Margaret of McElderry Books, and then VP, Publisher of retired, Emma became VP, Editorial Director Margaret K.McElderry Books. After McElderry and Random House, followed byaposition with long children’s publishing career beganatViking publishers, and eBookand apppublishers. Her illustrators, agents, foreign and domestic editorial and consultancy supporttoauthors, drydenbks LLC,through which she provides book editorial and publishing consulting firm, Emma DDryden isthe founder of the children’s pinterest.com/drydenbks/ www.facebook.com/drydenbks?ref=ts twitter.com/drydenbks emmaddryden.blogspot.com/ [email protected] www.drydenbks.com DRYDENBKS: EMMAD.DRYDEN FREELANCE EDITORS DIRECTORY | 171

Karma Wilson, Susan Cooper, Alan Katz, Raul With over ten years in children’s publishing, Eileen on the New York Times best-seller list, including PREPARING & SUBMITTING Colon, Lee Bennett Hopkins, David Diaz, and Paul Robinson has worked with both published and The Very Fairy Princess series (#1 NY Times Zelinsky. unpublished authors and has helped many new ), ’ Collection Of Poems, A highly sought-after speaker about craft and writers get their first start. She has published Songs And Lullabies; Julie Andrews’ Treasury: the digital landscape, Emma is on the permanent over 150 books a year—a mix of nonfiction and Poems and Songs to Celebrate the Seasons; the faculty of “Your Best Book,” an annual week- fiction—for Scholastic as an executive editor and Dumpy The Dump Truck series; Simeon’s Gift; long writer’s retreat for MG and YA authors; the for Harcourt as an editorial manager. Her books The Great American Mousical and THANKS TO leader of the Editorial Quality Panel for picture have gone into Scholastic book clubs and book YOU – Wisdom From Mother And Child (#1 New eBook platform uTales; and on the SCBWI Board fairs as well as trade and educational/library York Times Bestseller). Emma’s own book, Raising of Advisors. Her blog, “Our Stories, Ourselves” markets. She has also worked with Scholastic, Bookworms: Getting Kids Reading for Pleasure and explores intertwined themes of life and writing, National Geographic, Santillana USA, Marshall Empowerment, premiered as a #1 best-seller on MARKET SURVEYS and she shares information through and Cavendish, Weekly Reader, Innovative Kids, and Amazon.com in the literacy category and won a encourages connection in the social network. To others as an editorial consultant and writer. F1rst Parent’s Choice Gold Medal, silver medals from the learn more about the services drydenbks offers to Pages is unique in that it critiques the first pages Living Now and IPPY Book Awards, and Honorable authors and illustrators, reviews and references, and first chapters for picture books and MG and Mention from ForeWord Magazine’s Best Book of submission guidelines and general pricing YA novels, as well as complete manuscripts. Please the Year. Emma teaches children’s lit for Stony information, and complete contact information, see website for more details and fees. You can Brook Southampton’s MFA in Creative Writing please visit www.drydenbks.com. contact Eileen with any additional questions at and Literature Program, and serves as Director of

the above email address. (Note: the letter i in the their Children’s Literature Fellows program and the DIRECTORIES & RESOURCES CATHERINE FRANK EDITORIAL SERVICES word first is replaced with the number 1.) Southampton Children’s Literature Conference. She [email protected] serves as Editorial Director for The Julie Andrews www.editedbycatherine.com DEBORAH HALVERSON Collection publishing program, formerly with Catherine Frank is the founder of Catherine Frank [email protected] Harper Collins and now with Little, Brown Books Editorial Services, LLC, which is an editorial www.deborahhalverson.com for Young Readers, and is also an award-winning consultancy specializing in children’s literature and www.deareditor.com freelance children’s book editor, providing editorial publishing. She began her career as an editorial Deborah Halverson is the award-winning author of evaluations, line editing, and mentoring services. assistant at Viking Children’s Books and eventually Writing Young Adult Fiction for Dummies and the Among the many books she has edited are the rose through the ranks to become Executive Editor teen novels Honk If You Hate Me and Big Mouth. Moonbeam Children’s Book Award Gold Medalist there. After eleven years of working in Manhattan, Armed with a masters in American literature, picture books Sunny Bunnies (Marjorie Blumberg) she returned home to New Orleans with her family Deborah edited picture books and teen novels and A Shovelful of Sunshine (Stacie Vaughn and created Catherine Frank Editorial Services in for Harcourt Children’s Books for ten years before Hutton) and the Mom’s Choice Gold medalist PUBLICIZING YOUR PUBLISHED WORK 2011. leaving to write full-time. She is also the founder middle grade novel, Celtic Run (Sean Vogel.) For Catherine is the editor of award-winning fiction of the popular writers’ advice website DearEditor. 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 ESTHER HERSHENHORN nonfiction. Books acquired and edited by her including UCSD’s Extension Program. Deborah 222 E. Pearson St., #1108 have received awards and honors including: The freelance edits fiction and nonfiction for both Chicago, IL 60611 Boston Globe Horn Book Award, the Golden Kite published authors and writers seeking their first 312-255-1619 Award, the Charlotte Zolotow Award, the New York book deals. By conducting word-by-word line [email protected] Times Best Illustrated Award, the Jane Addams editing or more general substantive editing, www.estherhershenhorn.com/coach Children’s Book Award, and the Deborah helps authors hone their storytelling Writing Coach Esther Hershenhorn has worked Book Prize. voices, synchronize age-appropriate language one-on-one with children’s book writers since Through Catherine Frank Editorial Services, and subjects, and develop stories that appeal 2000, helping them discover, craft and market Catherine works on a wide variety of projects with simultaneously to young readers and to adults their stories. Esther works with writers of all

independent authors, agents, app developers, such as parents, teachers, and librarians. She lives formats and genres, no matter where they are SCHOOL VISITS small presses, and the largest trade houses. She in San Diego, California, with her husband and in the writing or publishing process, utilizing edits picture book texts, chapter books, nonfiction triplet sons. For more about Deborah, check out her writing, teaching and Children’s Book World for older readers, and middle grade and YA novels. her website. knowledge and experience. Esther’s titles include Please visit editedbycatherine.com for additional the picture book and Sydney Taylor Book Award information and to learn more about Catherine’s EMMA WALTON HAMILTON winner Chicken Soup by Heart, the middle grade approach to editing. PO Box 839 novel The Confessions and Secrets of Howard LEGAL QUESTIONS Sag Harbor, NY 11963 J. Fingerhut and Teacher’s Choice winner S is F1RST PAGES: EILEEN ROBINSON [email protected] Story: A Writer’s Alphabet. A former classroom 2 Klarides Village Drive, 183 www.childrensbookeditor.com teacher, Esther has taught Writing for Children Seymour, CT 06483 Emma Walton Hamilton is a best-selling children’s workshops in the University of Chicago’s Writer’s (203) 709-0490 book author, editor and educator. She has co- Studio since 2002 and at Chicago’s Newberry [email protected] authored over thirty children’s books with her Library since 2001. She also proudly serves as www.f1rstpages.com mother, Julie Andrews, seven of which have been the Regional Advisor Emeritus of the Illinois 172 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Clients cansetalimitonwhatthey wishtospend. hours required (pleasecontact byemail first). manuscript and get afree estimate of the total hour, with$100minimum. Clients may send a final polishing for self-publication. Ratesare $50/ copyediting inpreparation for submission, and comprehensive manuscript analysis and critique, and adults. Macro and micro services offered: writing workshops and residencies for children for the 2006 JuvenileEdgar Award. She conducts & Observer(Raleigh, NC)and served asajudge children’s books from 1995to2002for TheNews Carolina Moon, and Crescent House. She reviewed and content editorof booksfor Millbrook Press, present. She hasbeenafreelance copyeditor worked asanewspaper editorfrom 1979tothe was afinalist for a2003Edgar Award. Eileen has and twomiddle grade mysteries, one of which the author of three young adult nonfiction books A longtime member of the SCBWI,EileenHeyes is www.eileenheyes.com [email protected] (919) 848-3858 Raleigh, NC27615 7012 Tanbark Way EILEEN HEYES for adescription of fees. writers’ testimonials. Email [email protected] Visit www.estherhershenhorn.com/coach toread clients’ writing strides and publishing successes. available. Esther takes enormous pride inher Children’s BookWorld. Line-editing isalso publishing whilegrounding them intoday’s manuscripts for traditional orindependent coaching new writers, helping them ready their in today’s marketplace. Esther especially enjoys writer learns the tenets of writing for children specific remarks aboutaspecific manuscript, the so her comments do the same, sothatfrom her draws life’suniversaltruths. Esther workshard offers concrete details from which the reader smarter. Inasuccessful picture book,the writer forward onhisplotline informed, supportedand area), ensuring the writerisabletomove phone, Skypeorinperson(ifthe Chicago precede and follow two-hour meet-ups via literature. Extensive comprehensive notes scene creation), marketability and comparable narrative (especially character, plot,voice and audience and format suitability, the elements of comments focus onthe storyand telling’s writer and hisstory. Her thoughtfully-worded as wellher personal investment ineach editing suggestions reflect her teaching talents Advisors. Esther’s manuscript evaluations and elected terms of service onSCBWI’sBoard of SCBWI Chapterand recently concluded her two | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE [email protected] Corning, NY14830 2683B SpencerHillRoad JACQUELINE HORSFALL upon request. See websitefor more details. References available professional certificate inediting from New York BA inEnglish from Cornell University and a conferences around the country. She holds a spoken at various SCBWIand regional writing contemporary fiction, and nonfiction. Pamhas enjoys editing historical fiction, fantasy, first steampunk novels, and she particularly Holiday House’s firstparanormal romance and state awards. She alsoacquired and edited various BooklistTop 10selections, and many selection, the IRA/CBCChildren’s Choice award, Taylor Honor, the ALANotable Children’s Book Street BestBookof the Year award, the Sydney Jane Cabrera. Her titleshaveearned the Bank Miller, LeeBennett Hopkins, SaciLloyd, and Jayne Church, EveBunting, SueMacy, Bobbi include Eric A.Kimmel, David Adler, Caroline fiction and nonfiction. Authors she hasedited While atHoliday House, she editedboth well-conceived draft into apublished book. takes toworkwithanauthor totransform a and young adult novels. She knows whatit picture books, earlyreaders, and middle grade years acquiring and editing award-winning editor atHoliday House, where she spent six and proofreader. She wasmost recently an Pam Glauberisafreelance editor, copyeditor, [email protected] (203) 556-3751 PAM GLAUBER available uponrequest. terminate atany point. Editedbooksamples hour onapay-as-you-go plan.Client may evaluation/critique. In-depth editing at$50/ initial $200retainer covers4hours of appraisal/ been repeatedly rejected bypublishers. An yet gentle appraisals of manuscripts thathave plan toself-publish.Jackie alsogiveshonest general nonfiction, especially for writerswho readers, rhyming picture books, memoirs, and specializing inmiddle grade novels and early been freelance editing for over15years, pieces for bothchildren and adults. She has author of 20+booksand hundreds of magazine the Institute of Children’s Literature and the Jacqueline Horsfall isawriting instructor for jacquelinehorsfallbooks www.amazon.com/author/ project and intended audience) (Please email for initial contact, describing Rush jobsare not aproblem. hurry? Contact David via email withproject details. free, toensure agood writer-editormatch. Ina first chapterorfewpages ofa manuscript for members. Further, David ishappytocritique the website. Discounts offered tofellowSCBWI and writing samples, are availableonDavid’s consistency). More information, including rates writing (e.g. voice, style, story, characterization, would-someone-want-to-read-this structure of paragraph arrangement) and the high-level why- of writing (e.g. grammar, spelling, sentence/ analytical eyetoboththe low-levelmechanics technical background, David brings akeen at making good writing great. Withanextensive from picture bookstoyoung adult, David excels Having editeddozens of manuscripts ranging g-revisions.com [email protected] (518) 225-2133 Delanson, NY12053 475 Weaver Road G-REVISIONS: DAVID E.GOLDSCHMIDT, PHD gmail.com todiscussyourdeveloping piece! books). Pleasecontact Pam atpam.glauber@ hour free (new clients only;excludes picture Her rate for manuscript editing is$50/hour, first picture editing), line editing, and copyediting. evaluation, developmental editing (broad, big- Editing services include manuscript and proposal the fulfilment of seeing thatworkpublished. over producing hisorher bestwriting and Pam enjoyssharing anauthor’s excitement She isnow raising ayoung reader of her own. has expertise asaprofessional balletdancer. University. She isalsoproficient inSpanishand ebooks for children, and haseditedapicture book the lastfewyears, Marya haswrittendozens of manuscript editing and evaluation services. In launching her journal, Marya begantooffer writers many topics, author profiles, and more. Soonafter of allgenres, the journal includes features on com). Inaddition toreviews of children’s books book review journal (www.lookingglassreview. and publishing her ownonline monthly children’s Review. Inthe fall of 2003,she beganediting Literature, kidsreads.com, and Midwest Book book review websites. These include Children’s books for several years for anumber of children’s Marya Jansen-Gruber hasbeenreviewing children’s www.childrensbookws.com [email protected] (541) 552-0753 Ashland, OR97520 1380 N.MountainAvenue MARYA JANSEN-GRUBER FREELANCE EDITORS DIRECTORY | 173 for a European publisher. Ms. Jansen-Gruber has a HarperCollins, Simon & Schuster, Readers Digest, with authors around the country, Anna founded PREPARING & SUBMITTING degree from Oxford University and has had many Running Press, Random House, and Lerner Anagram Editorial, an editorial and research years of writing experience. Ms. Jansen-Gruber Publishing. She is the author of more than forty service for a variety of manuscript and content- critiques both fiction and nonfiction manuscripts. books for children; these range from picture strategy needs. At Scholastic, Anna acquired and She also offers editing services, mentoring, and books to stories based on licensed properties edited middle grade, young adult, nonfiction, and classes. For more information, please visit her to nonfiction and two Young Adult novels for fiction novels. She has consulted for authors such website or contact her by email. reluctant readers. as Patricia McCormick and Paul Griffin, spoken on She enjoys coaching writers and believes her panels for aspiring writers at The New School and MICHELLE KNUDSEN strength as an editor lies in helping them Stony Brook, and currently serves as US Event www.michelleknudsen.com to locate the stories they want to tell. Her Planner and Brand Consultant for the Roald Dahl​ [email protected] services include line editing, developmental Estate. Collaborating with Penguin, the Estate, Michelle Knudsen has worked in the children’s editing, e-book consultation, writing, rewriting, and creative businesses across the country, Anna MARKET SURVEYS publishing industry for more than fifteen years. proofreading, and manuscript critiques. produces high-quality, brand-orientated events She is the author of forty books for young readers, Susan’s rates are $50 per hour. For many with an eye toward long-term strategy for the late including the award-winning and New York Times projects, a flat fee may be arranged in advance. author’s estate. best-selling picture book Library Lion, and has Please visit her website for more details, Editing services include proposal evaluation, written everything from board books and activity including references, or contact her by email. developmental and line editing, and extensive books to beginning readers and novels. Formerly editorial notes. Research services include exploring

a full-time editor at Random House Children’s SEMADAR MEGGED topics for fiction and nonfiction projects as well DIRECTORIES & RESOURCES Publishing, she was the editor of Barbara Park’s 5 East Third Street #2, New York, NY 10003 as agencies and houses best suited for your best-selling Junie B. Jones series and continues [email protected] submission. There’s little Anna enjoys more than to work with individual and corporate clients www.semadarmegged.com working with imaginative and passionate writers on various children’s and educational projects. Semadar Megged brings over twenty years of to figure out tricky plot points and character She has also taught children’s book writing experience as an art director and picture book development. Whether crafting marketing and at Gotham Writers’ Workshop in NYC. Michelle designer to her independent studio, offering brand strategies, or sculpting a manuscript into a offers a full range of editing services for all one-on-one in-depth picture book dummy tight piece of literature, Anna enables creativity, genres and age levels, although her specialties development, coaching illustrators and author- pushes for the highest quality, and brings your are picture books, beginning readers, and illustrators from preliminary rough sketches to a idea to life. She holds certificates in editing from fantasy novels. Please see her website for her fully developed dummy with final art samples. New York University and a BA with highest honors current rates and availability, or email her Over the years at various imprints of Penguin in English Literature from Lehigh University.

directly at the address listed above. Random House Semadar has worked closely PUBLICIZING YOUR PUBLISHED WORK with award-winning and best-selling illustrators JULIE SCHEINA EDITORIAL SERVICES SUSAN KORMAN and authors (, The New York [email protected] 101 Shelley Lane Times Best Sellers List, The New York Times www.juliescheina.com Yardley, PA 19067 Best Illustrated Children’s Books, The New York Julie Scheina is a former senior editor at 215-295-7503 Book Show and Society of illustrators) including Little, Brown Books for Young Readers with [email protected] Ed Young, David Small, Eric Carle, Loren Long, over a decade of experience editing acclaimed www.susankorman.net and Patricia Polacco, in addition and bestselling books for children and young www.linkedin.com/pub/susan- to nurturing debut talents including Renata adults. She loves collaborating with authors korman/18/9b2/793 Liwska’s first picture book and Ale Barba in her and illustrators, helping to identify a work’s Susan Korman has been working in book first US picture book. In addition, she has been strengths and weaknesses, and ensuring that an publishing for nearly twenty-five years. She a freelance jacket designer for New Directions author or illustrator’s vision is shining through began her career at and other publishers since the early 90s. from start to finish. She has edited more than (NAL) as an editorial assistant to the Executive To understand her method of coaching 150 titles across a variety of genres, from

Managing Editor and rose through the ranks picture book dummies visit http://www. picture books and poetry collections to middle SCHOOL VISITS at Simon & Schuster and Bantam Doubleday semadarmegged.com/picture-book- grade and young adult novels, and she brings Dell (Random House). As a senior editor, she development/, where you’ll find detailed this depth of experience and industry knowledge acquired and edited middle grade fiction, Young explanations in words and pictures of what to to every project. Adult fiction, nonfiction, and oversaw many expect from the process. Find rates on http:// Books that Julie has edited have spent more popular series such as Encyclopedia Brown, www.semadarmegged.com/services/ and than 125 combined weeks on the New York Choose Your Own Adventure, The Saddle Club, testimonials plus contact information on Times bestseller list and include a Lambda LEGAL QUESTIONS and more. She has also been an elementary http://www.semadarmegged.com/ Literary Award finalist, a William C. Morris Young school librarian and currently works part-time as aboutandcontact/ Adult Debut Award finalist, an a senior editor for www.littlefox.com, a website Award for Young Adult Science Fiction and that creates leveled animated stories and apps ANNA ORCHARD Fantasy nominee, and a New York Times Best for children. www.anagrameditorial.com Illustrated Children’s Book. As a freelancer, Susan has worked with hundreds [email protected] Whether you are an author, illustrator, agent, of writers as well as publishers such as After working in publishing, at bookstores, and packager, or publisher, Julie is available 174 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE email withadescription of yourproject. information onhissite before contacting himby the page listedabove. He asksthat youreview the be busywithlong-term projects) canbefound at details of services, rates, and availability(he may critiques todevelopmental editing and beyond. Full He performs arange of editorial services, from Complete Idiot’s GuidetoPublishingChildren’s Books. illustrators, and others. And he isthe author of The information aboutchildren’s publishing for authors, Purple Crayon (www.underdown.org ), awebsitewith as afreelance editorial consultant. He runs The such asMacmillan, Orchard, and Charlesbridge and children’s publishing, bothasaneditorwithhouses Harold hasworked for almost twenty yearsin www.underdown.org/pced.htm [email protected] (917) 656-7683 HAROLD UNDERDOWN Visit children’s literature conferences. Writers’ Retreat, and hasspoken atnumerous was amentor atthe Northern New England SCBWI She hasreceived the Golden KiteEditorAward, Mary Pope Osborne, and Cynthia Rylant. Edwidge Danticat, Bruce Degen, Walter DeanMyers, selling authors and illustrators such asJoanna Cole, Amy Betzworked withaward-winning and best- In her role asSenior EditoratScholastic and Disney, will engage yourreaders. and nonfiction, she can help youcraft abookthat From picture bookstoyoung adult novels, fiction including line editing and adetailed editorial letter. provide anhonest and constructive assessment, with further development of anidea, Amy will feedback onacompletedmanuscript orneed help with authors. Whether youare looking for editorial twenty years, Amy Betz’spassion iscollaborating As aprofessional children’s bookeditorfor over [email protected] [email protected] www.tinytalesediting.com TINY TALES EDITING:AMYBETZ flat feesare availableinsome cases. com. Standard editorial feesstartat$95/hour; project estimate, pleasevisitwww.juliescheina. she’s edited, read testimonials, and request afree about the editorial services Julie offers, seebooks conferences, panels, and workshops. To learn more also hasexperience asaspeaker and presenter for review; aswellconsultation and coaching. She line editing; query, synopsis, proposal, and copy detailed editorial feedback;developmental and and young adult projects, including critiques; for arange of editorial services for children’s tinytalesediting.com tolearnmore. www.wendywax.com [email protected] Remsenburg, NY11960 PO Box 218 WENDY WAX photographer for the Antarctica Marathon. Please Post and other magazines, and acting as official newspaper, light verseinthe SaturdayEvening control, advising anAll-American high school Review, e-commerce writing, editing and quality a stint assports editorof the Bainbridge Island freelance credits ranging from antiques tozoology, piece of original fiction inRunner’s World, scores of magazine for 17years. Other credits include the first publisher for award-winning NorthwestRunner turning tochildren’s literature, Jimservedaseditor/ fact-checker and painstaking proofreader. Before suggesting improvements. He’s alsoafanatical maintaining the authorial voice whilegently book, middle grade and YA authors. He emphasizes titles. He hasworked withpicture book,chapter children’s nonfiction booksand editedwellover200 in publishing. He has written more than160 Jim Whiting hasanespecially versatilebackground www.jimwhiting.com [email protected] 206-295-0337 Bainbridge Island,WA 98110 13881 JohnSt.NE Jim Whiting JIM WHITING com. additional hours. Find outmore: www.wendywax. creative examples and ideas for revisions. $50for evaluation, critique, editorial suggestions, and An initial $200feecoversfour hours of development, proposal writing, and proofreading. nonfiction), editing, rewriting, critiquing, project consultations (picture books, middle grade fiction, of editorial services, including manuscript book consultations. Wendy offers afullrange Wendy brings unique, visual thinking topicture artist (having illustrated three of her books), in graphic design and experience asacollage Boy withtheLongHair(Barrons). WithaBFA Christmas (HarperFestival), and Renoirandthe Bus toBooville(Grosset &Dunlap),AVery Mice Even FirefightersGotothe Potty (LittleSimon), Cavendish), EvenPrincessesGotothePotty, including CityWitch,CountrySwitch(Marshall Wendy haswrittennumerous children’s books, Simon &Schuster Booksfor Young Readers. Visual Publications, and afreelance editorat Publishing, anexecutive editoratByron Preiss consultant. She wasasenior editoratParachute publishing aseditor, author, illustrator, and Wendy Wax wearsmany hatsinchildren’s

See websitefor more details. always keeping the writer’svoice and goals intact. that isinsightful, honest, and encouraging, while consultation. She provides one-on-one attention discount as wellasaone-hour phone orSkype services, and offers SCBWImembers asignificant Debra charges bythe hour for her various editorial houses. Schuster, Random House, and many other publishing Dunlap, Golden BooksPublishing Company, Simon & Penguin Putnam Booksfor Young Readers, Grosset & Scholastic, Little, Brown Books for Young Readers, seventy-five booksthathavebeenpublished by hundreds of titlesand haswrittenwellover Piggy Toes Press. She hasdeveloped and edited Studios, and the publisher atIntervisual Books/ domestic and international publishing at Universal She wasaneditoratScholastic, the director of publishing executive for twenty-five years. Debra Mostow Zakarin hasbeenachildren’s www.ZoitMedia.com helping you! guarantee astronger manuscript. We lookforward to We cannot guarantee asale;westrivewithyouto details before submitting work.WritersInkMotto: can invoice through PayPal. Pleaseemail for other 5 pages add $8perpage. WIacceptschecks or appropriate). Fees:Upto5pages $75.More than notations, and suggestions for marketing (when SERVICE includes awrittencritiquewithmanuscript the SCBWIBoard of Advisors. WRITERSINKCRITIQUE Both Stephanie and Judy are Emeritus members of edited “Totally Fox Kids,” achildren’s magazine. served asfreelance editorsfor BoydsMillsPress and books. As partof their publishing experience, they lists and were Children’s Choice and Parents’ Choice End? Badd Babies(BoydsMillsPress), WillThirdGradeEver Principessa! (Simon and Schuster/McElderry), Two from picture bookstoYA. Titlesinclude: Smile, INK and co-authors of over35published books AKA Jeffie RossGordon are partners inWRITERS Judith RossEnderle and Stephanie Jacob Gordon [email protected] *www.writersinkville.com 818-851-9629 Agoura Hills, CA91301 29915 RainbowCrestDrive STEPHANIE JACOB GORDON/WRITERSINK turnaround time. contact Jimfor information regarding rates and [email protected] (310) 804-5545 Los Angeles, CA90272 17151 Palisades Circle Zoit Media,Inc. DEBRA MOSTOW ZAKARIN (Scholastic). Their bookswere onstatereading

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. When making the decision to become your own publisher, you must com/forums/activity.php understand one hard fact: you are opening a business. I know, catch Writer Beware – Another must is Writer Beware, a place to discover your breath . . . breathe in, breathe out. Whether you like it or not, literary scams, schemes, and pitfalls. This site is sponsored by the you are now an entrepreneur of a fabulous new company that sells Science Fiction & Writers of America. http://accrispin.blogspot.com/ a product. This product is your book. If you have an entrepreneurial spirit, you will find a most rewarding and challenging experience awaits LET’S LOOK AT THE MATH you. If not, you may waste a lot of time and money for disappointment. On average, a paperback book selling for $9.95 on Amazon will net The truth is that you must hustle and sell your book, regardless of your the author $1.75 in royalties. An ebook can earn nearly twice as much status with a big house, small press, or self-published venue. Most (and cost zero dollars to publish). So let’s say you earn $3.00 per book. businesses fail within the first year, so you have to know that you must The average indie author can expect to sell 50 copies of their book over work your business for a solid year before you should expect to see a the lifetime of the title. At two bucks a pop, you’re looking at expecting profit. You must be willing 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 »» Put in 40-60 hours a week working toward building a client just $1800.00 . . . per year. »» Study the industry Yes, you can increase your sales price to increase your profit, but if »» Generate leads the competition, whose name the consumer already knows, is selling »» Service your customers (fans) a similar book for under $10, then you’d better be close in price to »» Invest to grow compete. Keep in mind: Your book production must be equal to the Big 5 publishers to You must purchase sales tools such as business cards, postcards, include professional editing, cover, and interior formatting. posters, marketing freebies, and books in advance to giveaway. Books You must invest in your book just like a publisher because you ARE on hand will always sell faster than books that must be ordered. the publisher. Bottom line, you will become the publisher, distributor, sales force, and 176 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | A-Z GUIDE TO PUBLISHING IN THE DIGITAL WORLD THE IN | A-Z TOPUBLISHING GUIDE followers. 50% ormore) from these followers versesFacebookfans orTwitter for yourmailing list.You canexpect ahigher conversion rate (upto available tosellorgiveaway. stuffed animals, coloring pages, and other items related toyourbook highlight afewideas: results everytime. Icouldwriteanentire bookonmarketing, soI’lljust market yourbookeffectivelytothe right audience withthe desired to the literary community. Once youfigure thatout,youcanbeginto and organic process thatisbestdescribed asyouruniquecontribution important thing youcando istocreate yourbrand. Thisisacomplex product: yourbook. It’s time toshare itwiththe world. The most WHAT NOW? insurance ($600per year). will need toget fingerprinted through the state($100)and apply for fined hefty fees. And ifyouare planning on doing author visits, you sales taxonallbookssales, which youwillneed topayquarterly orbe » » » » » » » » » » » » expect topayself-publishyournovel: READY, SET, GO! year and take twice aslong tomake aprofit. an income next quarter. Remember, most businesses fail intheir first today willpayoff inthree months, soifyoustopnow, youwon’thave But you have tocontinuallywork your business. The workyoudo you alone made ithappenpushes youthrough tothe next milestone. publicity worksand doors open,the feeling of knowing thatyouand brain workthatmakes creative thinking more difficult; however, when become aformatter, coverdesigner, and booking agent. It’s tireless, left pro youare already. You must also—depending onyourbudget— marketing/publicity team,inaddition tothe creative writerand editing » » » » » » » » » » » » Collect names ateveryevent youattend. They willbecome the base People loveswag,sohave stickers, candy, book-themed jewelry, Congratulations! You’ve opened abusiness and haveyourfirst You willalsoneed toapplyfor astatesalesand usetaxIDtocollect before submitting Awards &Contests:Varies and should beresearched for reputation Book launch:From $50-$500,depending less than$10 Reviews much higher ifincolor Books: $2.50-$6.00for print-on-demand, based off page count and education management, social media funneling, subscriptions, continued Promotional tools:Ongoing and monthly feesfor newsletter swag for giveaways, postcards, etc. ($50-$100amonth average) cards, website, sellsheets (amust have!),booktalker, booktrailer, Marketing material:Ongoing feesfor bookmarks, stickers, business by anartist(average $350) Cover Copyright: $35 Barcode: $25 ISBN: Free-$25 Formatting: $200-$300 Editing: $550-$1500depending onquality of draft Here’s abreakdown of the publishing process and whatyoucan : $25-?depending onwhere youget the image orifit’screated : Varies, butshouldn’t bemore thanthe price of abookand Twitter |InstagramFacebookPinterestSnapchat@jmebooks Agency. Learnmoreatwww.jmebooks.com. com. SheisrepresentedbySaritzaHernandezof theCorvisieroLiterary and offers freewritingtipsfor aspiringauthorsatwww.awriterforlife. at conferences, colleges, andelementaryschoolsthroughoutthecountry, because wordshavepower. Jaimieteacheswritingandmarketing classes since. Herpassionisspeakingtokidsaboutwritingandsocialissues, As achild,shewassucked intoastorybookandhasbeenwriting ever happen! the ones who make itnever gaveup.Now get outthere and make it who prey off author’s dreams of being published. Finally, remember that and the industry toeducate yourselfand avoid the many scamartists and investigate everything for yourself.Bevigilant. Study the market author, no matter whatsome blogsmay promise. You need tobesmart independent publishing thatwillmake youanovernight best-selling There isno magic formula. Nor isthere aone-size-fits-all approach to Be assertiveand thinkoutside the box. novellas thatexpand yourcharacters oryourstoryworldfor yourfans. translations, television, film,stage, bookclubs, foreign publishers, and marketplace and become anexpert inthatarea. apart from the pack?Find thatniche thatmakes youspecial inthe your brand. Ifeveryone isselling abookthese days, whatsetsyou bank account and taxID,asalegalentity. sure toputmoney backinto yourbusiness, which should haveitsown Jaimie Engleisanaward-winningchildren’s bookauthorfromFlorida. Don’t forget, itwilltake hard workand perseverance tofind success. Consider additional products inyourline such asaudiobooks, Find social issuesinyourbookthatyoucanusetoestablish Spend aslittlepossible. Weigh youroptions and setabudget. Be 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 PROJECT SUBMISSIONS: Yes; Novelty nonfiction only. PREFERRED METHOD OF CONTACT: Regular Mail. 11010 Northup Way SPECIALTIES: Novelty nonfiction QUERY LETTER: Proposal. Bellevue, WA 98005 AGE-GROUP: Ages 0-6 425-827-7120; Fax 425-828-9659 FICTION/ NONFICTION: nonfiction only CHARLES DAVEY LLC, BOOK PRODUCTIONS [email protected] ASSIGN PROJECTS TO FREELANCERS: Yes 2 Deertrack Lane CONTACT: Beth Lenz SERIES BOOKS/SINGLE TITLES: Both Irvington, NY 10533, USA. PROJECT SUBMISSIONS: No. PREFERRED METHOD OF CONTACT: Emai/Regular 914-231-5120 SPECIALTIES: nonfiction mail. [email protected] AGE-GROUP: Ages 7-12 QUERY LETTER: Detailed description of the CONTACT: Charles Davey FICTION/ NONFICTION: Nonfiction only project history of previously published work PROJECT SUBMISSIONS: Not generally. ASSIGN PROJECTS TO FREELANCERS: Yes experience SPECIALTIES: mostly educational, some trade SERIES BOOKS/SINGLE TITLES: Both PAYMENT: Flat Fee Illustrated books in art and sciences PREFERRED METHOD OF CONTACT: Email. AGE-GROUP: Grades K-12 QUERY LETTER: Examples of nonfiction writing, CADER BOOKS FICTION/ NONFICTION: Mostly nonfiction published work and art portfolio. 2 Park Place, #4 ASSIGN PROJECTS TO FREELANCERS: Yes PAYMENT: Flat Fee Bronxville, NY 10708 SERIES BOOKS/SINGLE TITLES: Both Fax: 914-961-6946 PREFERRED METHOD OF CONTACT: Email BROWN WELLS & JACOBS www.caderbooks.com QUERY LETTER: Writing samples - art through Foresters Hall, 25-27 Westow Street PROJECT SUBMISSIONS: No. email or website London SE19 3RY, United Kingdom SPECIALTIES: Licensed Characters, PAYMENT: Usually Flat Fee +44 208-771-5115; Fax +44 208-771-9994 Merchandising [email protected] AGE-GROUP: All www.bwj.org FICTION/ NONFICTION: Mostly nonfiction CONTACT: Graham Brown ASSIGN PROJECTS TO FREELANCERS: Yes 178 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org AGE-GROUP: Ages 0-12 learning, from birthtoage 12 SPECIALTIES: everyday playand extraordinary PROJECT SUBMISSIONS:Yes. Norwalk, CT06854 18 AnnStreet innovativeKids INNOVATIVE KIDS PAYMENT: FlatFee original, unedited manuscripts) offered, aresume and samplesof work(artor QUERY LETTER:Abrief description of services PREFERRED METHODOFCONTACT: Email SERIES BOOKS/SINGLETITLES:Both ASSIGN PROJECTSTO FREELANCERS:Yes FICTION/ NONFICTION:Mostly nonfiction AGE-GROUP: Grades Kto 12 libraries SPECIALTIES: Nonfiction for schools and PROJECT SUBMISSIONS:No. [email protected] 312-829-5456; Fax312-275-7141 Chicago, IL60607-2148 Suite 203 1000 W. Washington Blvd. EDITORIAL DIRECTIONS,INC. FICTION/ NONFICTION:Both SPECIALTIES: Fiction and nonfiction PROJECT SUBMISSIONS:No. [email protected] +49-30-31 51770;Fax23 Germany D- 10625Berlin Leibnizstrasse 33 Peter DeliusVerlag GmbH&CoKG DELIUS BOOKPACKAGERS PAYMENT: FlatFee QUERY LETTER:Work History. mail. PREFERRED METHODOFCONTACT: Email or SERIES BOOKS/SINGLETITLES:Both ASSIGN PROJECTSTO FREELANCERS:Yes FICTION/ NONFICTION:nonfiction only AGE-GROUP: Ages 8-13 SPECIALTIES: Illustrated reference books illustrators) PROJECT SUBMISSIONS:Yes (authors and CONTACT: LynnLockett www.davidwestchildrensbooks.com [email protected] 9313 +44 (0)2087803836;Fax: London, SW151AZ,UnitedKingdom 7 PrincetonCourt,55FelshamRoad DAVID WESTCHILDREN’SBOOKS | BOOK PRODUCERS DIRECTORY PRODUCERS | BOOK PAYMENT: FlatFee educational formats. formats thatwilllend themselves tointeractive, nonfiction) aswellproposals for new book We consider manuscripts (bothfiction and QUERY LETTER:QueryLetterorManuscript. PREFERRED METHODOFCONTACT: Regularmail SERIES BOOKS/SINGLETITLES:Both ASSIGN PROJECTSTO FREELANCERS:Yes FICTION/ NONFICTION:Both negotiation). PAYMENT: Royalties or FlatFee(by chapters together withaSASE. what isoffered. Include synopsis and two stance and imprints and precise details about QUERY LETTER:Indicate familiarity withour Regular mail. PREFERRED METHODOFCONTACT: Email or SERIES BOOKS/SINGLETITLES:Single ASSIGN PROJECTSTO FREELANCERS:Yes for children. nonfiction only for adults. FICTION/ NONFICTION:Fiction and nonfiction AGE-GROUP: All SPECIALTIES: Christian Religious titles two samplechapters. PROJECT SUBMISSIONS:Yes withsynopsis and CONTACT: Kate Leech [email protected] 302757 +44 (0)1865302750;Fax(0)1865 Oxford OX27DH,England Mayfield House, 256,BanburyRoad LION HUDSONPLC PAYMENT: FlatFee record writing for educational publishers QUERY LETTER:Evidence of aproven track PREFERRED METHODOFCONTACT: Email SERIES BOOKS/SINGLETITLES:Project-based ASSIGN PROJECTSTO FREELANCERS:Yes FICTION/ NONFICTION:nonfiction only students) AGE-GROUP: Grades Kto6(teachers and guides, workbooks, student materials, etc. educational publishing clients like teacher’s SPECIALTIES: Instructional materials for PROJECT SUBMISSIONS:No. CONTACT: Mary Pearce [email protected] 732-892-4994; Fax732-892-2212 Pt. PleasantBeach,NJ08742 802 CedarAvenue JUMP START PRESS FICTION/ NONFICTION:nonfiction Only AGE-GROUP: Ages 6-13 SPECIALTIES: nonfiction, reference PROJECT SUBMISSIONS:No. CONTACT: OliverSalzmann [email protected] 416-923-5027; Fax416-923-9708 Toronto, Ontario,CanadaM4W2K2 1000 Yonge Street,Suite200 MADISON PRESSBOOKS PAYMENT: FlatFee QUERY LETTER:Info aboutthe person’swork PREFERRED METHODOFCONTACT: Email. SERIES BOOKS/SINGLETITLES:Both ASSIGN PROJECTSTO FREELANCERS:Yes some fiction FICTION/ NONFICTION:Mostly nonfiction, but AGE-GROUP: Grades Kto6 SPECIALTIES: nonfiction PROJECT SUBMISSIONS:No. CONTACT: Pam Scheunemann [email protected] 612-338-2075x102;Fax612-338-4817 Minneapolis, MN55402 10 S.5thSt.,Suite1105 MIGHTY MEDIA in the published work. PAYMENT: FlatFee. Work willbe acknowledged only. sense of the marketplace. Samples-highlights published, anote of special areas of interest, a QUERY LETTER:Detailsof previous work PREFERRED METHODOFCONTACT: Email ormail SERIES BOOKS/SINGLETITLES:Both ASSIGN PROJECTSTO FREELANCERS:Yes nonfiction. FICTION/ NONFICTION:0-8fiction 0-14 AGE-GROUP: Ages 0-14 titles, tononfiction. from board books, through fiction and novelty SPECIALTIES: Allmass-market children’s books plans. a project to“fit”withthe publisher’s existing with. However, itisrare inthe mass market for sent in,wewillshow ittopublishers wedeal from concept. Occasionally, ifagood project is PROJECT SUBMISSIONS:We produce books CONTACT: Nicola Baxter [email protected] +44 (0)1508491111 Norwich, Norfolk NR147UREngland Framingham EarlRoadYelverton The BrewHouse PO Box 215 NICOLA BAXTER BOOK PRODUCERS DIRECTORY | 179

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

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

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

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

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

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

BOOK REVIEWERS DIRECTORY

compiled by Jim Averbeck

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

When deciding to whom you should send your book, consider the Once you have submitted your material, it is out of your hands. Even types of books they review and the publications or sites where the if a reviewer enjoys your book, they may not be able to include it in a review will appear. Circulation and page view figures for the various review. Word counts are limited, and entire columns may be canceled outlets are estimates. They are meant to give you an idea of how many due to overall space limitations within a publication. The book may also people may read the reviews in each publication. have to meet the tastes and standards of the editor and publisher as Pay attention to what each reviewer wants. Some reviewers prefer well as the individual reviewer. to receive press releases and not copies of books. Others never review Unless otherwise indicated, don’t expect the reviewer to return your picture books or fantasy titles. Some reviewers need copies of the book book to you. After reading your book, a reviewer may donate it to a in a timely manner and would like to receive galleys because they local school or 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 EBOOKS: Yes audience deserves the very best writing. I reject 25 Wildwood Lane REVIEWS MATERIAL THE SEASON IT IS the notion that our culture is post-literate and Novato, CA 94947 RELEASED: Yes the fiction that we are a nation of boobs. As [email protected] ADDITIONAL INFORMATION: I expect much a writer and as a reviewer, I insist on respect REVIEWS FOR: New York Times, Washington Post, of a book. If it sets out to tell a story, real for a reading audience that is remarkably Boston Globe, History & Technology, CoEvolution or fictional, I expect to be carried along with sophisticated, informed, and curious. Quarterly style and skill. I appreciate innovation, admire DURATION: I’ve reviewed occasional books 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 arts teacher, I prefer Henry Petroski). are discerning, sensitive readers, training middle grade or YA in any genre. REVIEWS SELF-PUBLISHED MATERIAL: Yes themselves to appreciate literature. This REVIEWS SELF-PUBLISHED MATERIAL: No 182 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Thirteenyears Magazine, MADMagazine Kirkus Reviews, HolidayGoddess.com, Susie REVIEWS FOR:MidwestBookReview, [email protected] Sherman Oaks, CA91423 3740 BenedictCanyonLane VICKI ARKOFF Kathleen T. Horning (Collins, 2010). Reviewing Children’s Books (revised edition) by reviews byFromCovertoCover:Evaluatingand reviewer. I’mguided inthe preparation of my Capitol Choices; and anactiveblogger and book member of the SCBWI,ALAand ALSC,and educator at the National Galleryof Art;a ADDITIONAL INFORMATION: Iamamuseum LEAD TIMEFORPUBLICATION: Two weeks RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No grade; multicultural and international books. and nonfiction); fantasy, especially middle and museums inchildren’s books(bothfiction TYPES OFBOOKS:Booksfor allage groups; art DURATION: Sevenyears REVIEWS FOR:www.bookstogetherblog.com [email protected] Arlington, VA 22205 856 N.LarrimoreStreet ANAMARIA ANDERSON challenging, afterall. really are inabody thatisconstantly influxis and adash of patience. Discovering who you the writtenword, butwithalittlemore sarcasm hope tostillspread my loveand enthusiasm for teach thisparticular age group. You see, it’smy language arts. And yes, Iactually wantedto found me teaching (gulp)seventh grade English and fifthgrades. The 2011–2012school year reading identity. I’vetaught first,third, fourth, in directing my students ontheir ownpaths of reader of any text inmy home), I’mconfident listener tographic novel gobbler tovoracious tick (I’veseenthe transformation from avid bookworms. BecauseIknow how boyreaders mother of three boys, I’mproud tocallthem my readers, bothathome and atschool. The reader, my goal istoforge more lifelong ADDITIONAL INFORMATION: As alifelong RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes | BOOK REVIEWERS DIRECTORY REVIEWERS | BOOK query orSASE. separate the wheat from the chaff.No need for manuscripts, ittakes more time thanIhaveto but without acquiring editorstoprescreen I’m sure there are indie gems outthere, ebooks, ortitlesfrom nontraditional publishers. press, print-to-order, regional, narrow-niche, distribution. No self-published, subsidized from traditional houses withnational retail published review copies of mass-market titles ADDITIONAL INFORMATION: Pleaseonlysend RELEASED: Withinthe firstquarter of release REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No market titlesfrom traditional print publishers. books, middle grade, young adult; allmass- Jenny, and Ireview booksonour site REVIEWS FOR:My partner-in-crime, [email protected] Seattle, WA 98115 3158 NE82ndStreet Our TimeinJuvie RUBY LBAYLOR RELEASED: Sometimes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes it, and thatwouldnaturally include allgenres. connected toWWIIinsome way, Iwillreview War IIand children. As long asthe bookis My blogfocuses onbookswrittenaboutWorld books, earlyreaders, middle grade, young adult. TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Two years REVIEWS FOR:thechildrenswar.blogspot.com [email protected] ALEX BAUGH weeks LEAD TIMEFORPUBLICATION: Two toeight RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No books, earlyreaders TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Two years REVIEWS FOR:www.justchildrensbooks.com [email protected] Warminster, PA 18974 1404 HamptonLane NICHOLE ARMSTRONG being abletodo thisisagreat pleasure. in the bookindustry for overfifteenyears, so books and authors withothers. I’veworked write aboutbooks. Ilovetoshare fantastic ADDITIONAL INFORMATION: Ilovetoread and titles. RELEASED: Ireview bothnew and backlist REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No from ages 0–18,genre doesn’t matter. and nonfiction). Ifit’spublished for anyone up and nonfiction) toyoung adult books(fiction Anything from children’s picture books(fiction books, earlyreaders, middle grade, young adult. TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Fiveplusyears publishers via NetGalley. Baylor account. Reviews are alsosent to available through under my Ruby www.ourtimeinjuvie.com. My reviews are also post reviews of booksIdid not like. Ihavea resource for well-writtenliterature, soIdo not students, and parents tousemy blogasa limited tofavorable reviews. Iwant my readers, ADDITIONAL INFORMATION: My blogis RELEASED: Yes REVIEWS MATERIAL THE SEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes illustrated picture bookswithastory. young adult and wonderfully written/ tend tofavor middle grade books, butIalsolike young adult. Iamamiddle grade writer, so I TYPES OFBOOKS:Picture book,middle grade, REVIEWS FOR:literarylunchbox.blogspot.com [email protected] San Diego,CA ALISON BREIDENSTEIN assigned, I’llonlyreview itifIloveit. ADDITIONAL INFORMATION: Ifabookisnot RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No nonfiction middle grade and young adult novels, and TYPES OFBOOKS:Picture books, easyreaders, DURATION: Since February 1999 appear indatabase); BarnesandNoble.com REVIEWS FOR:Children’s Literature(reviews Reston, VA 20195-1215 PO Box 3215 ELLEN R.BRAAF BOOK REVIEWERS DIRECTORY | 183 degree in English/American literature. I am a two million) reaching about 25,000 readers) PREPARING & SUBMITTING teacher, wife, and mother. I am also a writer, DURATION: Since 1994 DURATION: Since 1976 and I know the work that goes into writing TYPES OF BOOKS: I work with themes, but I am TYPES OF BOOKS: Books for young readers that great stories. I read constantly, and I keep an open to any and all books—fiction, nonfiction, are of special interest to Jewish feminists open mind while reading books and writing poetry, adventure, etc., for ages 10 and up. I REVIEWS SELF-PUBLISHED MATERIAL: Yes reviews. look for good books for/about girls or books REVIEWS EBOOKS: No that contain strong heroines, but I will also REVIEWS MATERIAL THE SEASON IT IS PATTY CAMPBELL include any book that I think is good regardless RELEASED: Not necessarily 1842 Santa Margarita Drive of male or female characters. ADDITIONAL INFORMATION: We have always Fallbrook, California 92028 REVIEWS SELF-PUBLISHED MATERIAL: Yes reviewed some books for young readers in REVIEWS FOR: Horn Book Magazine and REVIEWS EBOOKS: No our quarterly Jewish feminist magazine (we MARKET SURVEYS Amazon.com REVIEWS MATERIAL THE SEASON IT IS also review adult books). Since 1996, in our TYPES OF BOOKS: Young adult fiction RELEASED: Yes fall issue we have had a special feature on REVIEWS SELF-PUBLISHED MATERIAL: No ADDITIONAL INFORMATION: If your book is books for young readers. We usually do a REVIEWS EBOOKS: No selected for review, two additional copies will feature related to children’s books, such as REVIEWS MATERIAL THE SEASON IT IS be needed for copyediting and artwork. I rarely this year’s roundup of readers remembering RELEASED: Yes review picture books. reading The Diary of Anne Frank, or last year’s ADDITIONAL INFORMATION: I have been a children’s book author roundup on “How critic, reviewer, and columnist in the field of SUE CORBETT Books Share the World’s Bad News with Kids”; DIRECTORIES & RESOURCES young adult literature for thirty-seven years. 202 Hilton Terrace not necessarily your standard reviews. For a I am the author of five books on the subject Newport News, VA 23601 subscription or sample copy of Lilith, call toll (see Presenting Robert Cormier) and have REVIEWS FOR: People magazine, Publishers free (888) 2‑LILITH, or email lilithmag@aol. written for most of the major review journals, Weekly, Miami Herald com. including the New York Times Book Review. DURATION: Sixteen years Currently I write The Sand in the Oyster, TYPES OF BOOKS: Fiction, nonfiction, picture JANELLE DAVIS a column for Horn Book Magazine, which books, middle grade, young adult [email protected] focuses on controversial issues in young REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS FOR: Brimful Curiosities, www. adult books and publishing. I also review REVIEWS EBOOKS: No brimfulcuriosities.com (Feedburner = 1,237 teen books for Amazon.com online bookstore. REVIEWS APPS: No Readers; average unique monthly visitors = I prefer realistic young adult fiction, the REVIEWS MATERIAL THE SEASON IT IS 8,000) darker the better; I deplore horror but RELEASED: Yes DURATION: Four years PUBLICIZING YOUR PUBLISHED WORK occasionally consider fantasy. LEAD TIME FOR PUBLICATION: One month TYPES OF BOOKS: Fiction, nonfiction, picture books, early readers, middle grade; I primarily JACKIE CASTLE TRACEY COX review picture books, both fiction and 701 Queens Way PO Box 573 nonfiction. Occasionally I review beginning Bedford, TX 76021 Ocilla, GA 31774 readers and middle grade, depending on [email protected] [email protected] content. Subject matter of posts varies along REVIEWS FOR: www.castlereads.blogspot.com; REVIEWS FOR: Tifton Gazette and Ocilla Star with the interests of my children. the Castle Library does weekly features on (both are monthly) REVIEWS SELF-PUBLISHED MATERIAL: No newly released books. TYPES OF BOOKS: Picture books (my first REVIEWS EBOOKS: Yes DURATION: One year choice), middle grade, and young adult, fiction REVIEWS APPS: Yes TYPES OF BOOKS: Fiction, picture books, early and poetry REVIEWS MATERIAL THE SEASON IT IS reader, middle grade, young adult REVIEWS SELF-PUBLISHED MATERIAL: Yes RELEASED: Random schedule. I review both REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: Not at this time newly released as well as backlist/out of print.

REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS ADDITIONAL INFORMATION: Particularly SCHOOL VISITS REVIEWS APPS: No RELEASED: Yes interested in reviewing works of Wisconsin/ ADDITIONAL INFORMATION: I cannot ADDITIONAL INFORMATION: I will only publish Midwest authors and illustrators and/or Midwest guarantee a feature on my blog. I do not good reviews. Sender of the book needs to and rural subject matter. Please send email generally review, but rather introduce a book understand that if the book doesn’t grab me query prior to sending review items. and offer activity ideas to go along with it. (text/pictures), I have the option of not doing Young adult books I will feature if I like them, a review. I would rather not say anything about SHIRLEY DUKE LEGAL QUESTIONS but seldom offer activity ideas with this age a book than write a bad review. 37 Pine Cone Drive level. Jemez Springs, NM 87025 NAOMI DANIS [email protected] KIM CHILDRESS, BOOK EDITOR Lilith Magazine REVIEWS FOR: SimplyScience (www. 4287 Aztec Way 250 W. 57th Street, #2432 simplyscience.wordpress.com) Okemos, MI 48864 New York, NY 10107 DURATION: Three years REVIEWS FOR: Girls’ Life Magazine (circulation REVIEWS FOR: Lilith Magazine (11,000 copies TYPES OF BOOKS: Nonfiction. I review 184 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org RELEASED: Ifpossible REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No don’t like. young adult fantasy. Ido not review booksI have aparticular fondness for middle grade and those Iconsider tobetrulyoutstanding. I that Ienjoy. Forpicture books, Ionlyreview ages. When possible, Ireview everything Iread TYPES OFBOOKS:Alltypesof books, for all years, posting the websitefor one. DURATION: I’vebeenwriting the ezine for two com (approximately 10,000hitspermonth) REVIEWS FOR:My ownwebsite, Sonderbooks. [email protected] Centreville, VA 20120 5914 BaronKent Lane SONDRA EKLUND RELEASED: Flexible REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No books. and young readers find avariety of excellent authors. The goal of my blogistohelp parents that feature Missouriorare writtenbyMissouri nonfiction. Iespecially enjoy receiving titles science fiction, fantasy, historic fiction, and board books, orchick lit.Ilovemysteries, your bestchoice for toddler picture books, TYPES OFBOOKS:Allbooks, though Iamnot DURATION: Fifteenyears (suebe2.wordpress.com) REVIEWS FOR:Bookshelf: WhatWe’re Reading [email protected] Florissant, MO63033-6244 1725 St.AnthonyLane SUE BRADFORDEDWARDS additional exposure. Monday and STEMFriday—so the bookgets I participate inblogroundups—Nonfiction the information. Iblogonlyonce aweek,but activity toaccompany the bookthatextends ADDITIONAL INFORMATION: Isuggest an RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No for grades 9–12. preK–8, although onoccasion I’llreview abook subjects. Imostly aminterested ingrades (science, technology, engineering, and math) nonfiction that relates toany of the STEM | BOOK REVIEWERS DIRECTORY REVIEWERS | BOOK wordpress.com REVIEWS FOR:goodreadswithronna. [email protected] Columbia, MD21046 6429 BelleviewDrive KAREN ESTRADA REVIEWS FOR:StoryTime Secrets storytimesecrets.blogspot.com [email protected] Rockville, Maryland20850 714 Elmcroft Boulevard KATIE FITZGERALD one month before Hanukkah. considered for review must bereceived atleast to my picks for the season.Bookstobe but readers trust my judgment and lookforward ADDITIONAL INFORMATION: I’mveryselective, RELEASED: Not necessarily REVIEWS MATERIAL THESEASONITIS REVIEWS SELF-PUBLISHEDMATERIAL: No ordered for my congregation’s bookfair aswell. but which Ibelieve willsellinthe area, willbe in the area. Many booksthatare not reviewed, will beordered for various Hanukkah bookfairs general audience. Allbooksthatare reviewed while the IthacaJournalappealstoamore the Reporterfocuses more onreligious material most twelvebooksfor eachpaper—although or really good literature. However, Ireview at related, humor, allholidays, interfaith families, deal withhistorical orcurrent topics, family and nonfiction. Must have Jewish content, can TYPES OFBOOKS:Allage levels, bothfiction DURATION: Eight years holiday seasonfor Hanukkah only) NY state;columnisdone once yearlyduring the daily Gannett paperserving Tompkins County in County incentral NY)and the IthacaJournal(a newspaper serving Broome, Tioga, and Tompkins REVIEWS FOR:TheReporter(aweeklyJewish [email protected] Ithaca, NY14850 102 TheCommons BRYNA J.FIRESIDE weeks LEAD TIMEFORPUBLICATION: One totwo REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No readers. international issues. Current preference for early nonfiction orfiction dealing withculture/travel/ on nature, how things work,lifelessons; any books, earlyreaders; educational books, books TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Two months smartphone, ifother formats are not available. copies. Icanalsoread Kindle booksonmy PDF are the bestformats for digital review publication dates. Ihave aNook, soEPUBand that reviews are published onornear the books’ month inadvance, and Ido my besttoensure picture books. Ischedule my reviews abouta YA romance novels. Idon’t review self-published self-published booksIhavereviewed havebeen published booksonacase-by-casebasis. Most ADDITIONAL INFORMATION: Iconsider self- month LEAD TIMEFORPUBLICATION: Aboutone RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes content. novels inverse, and YA romance without sexual middle school/high school, sportsstories, school stories, mysteries, booksaboutsurviving favorites: humor, tweenromance and friendship, science fiction, or nonfiction. Particular fantasy, tearjerkers, scarystories, speculative/ chapter books, middle grade, young adult. No following categories: earlyreaders, beginning TYPES OFBOOKS:Realistic fiction inthe DURATION: Since January 2011 library collections. recommendations aboutpurchasing the bookfor for who might enjoythe book,aswell brief plotsummary, critiqueand suggestions 4000 pageviews perweek.Reviews include a has over600subscribersand averages 3500- (storytimesecrets.blogspot.com). Thisblog months LEAD TIMEFORPUBLICATION: Two tothree RELEASED: Year-round reviewing REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No fiction high fantasy, abitmore mainstream), historical dystopian, paranormal, fantasy (though not TYPES OFBOOKS:Young adult contemporary, DURATION: Three years Galleysmith (www.galleysmith.com). REVIEWS FOR:My reviews appearonmy blog, [email protected] Springfield, VA 22153 MICHELLE FRANZ BOOK REVIEWERS DIRECTORY | 185

than middle grade books, but the subject matter LUCY FUCHS MARY LEE HAHN PREPARING & SUBMITTING 178 Morris Road is more important than the target demographic. 523 E. Lincoln Avenue Ambler, PA 19002 REVIEWS SELF-PUBLISHED MATERIAL: No Columbus, OH 43214 [email protected] REVIEWS EBOOKS: No [email protected] REVIEWS FOR: The Small Press Review REVIEWS APPS: No REVIEWS FOR: A Year of Reading (readingyear. (circulation 3,000) REVIEWS MATERIAL THE SEASON IT IS blogspot.com) with Franki Sibberson DURATION: Five years RELEASED: Yes, if possible DURATION: Six years TYPES OF BOOKS: Picture books, beginning TYPES OF BOOKS: Fiction, nonfiction, picture readers, middle grade fiction, nonfiction, DAVE GOODALE books, middle grade. I teach fifth grade; Franki seasonal 65 Sutton Place teaches fourth grade. We review books we’d REVIEWS SELF-PUBLISHED MATERIAL: Yes Bloomfield, CT 06002 use in our classrooms or recommend to other MARKET SURVEYS REVIEWS EBOOKS: Yes [email protected] teachers for use in their classrooms. Our blog REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: Voice of Youth Advocates is an education blog more than just a straight RELEASED: Yes DURATION: Approximately one year book blog. The context for our book reviews is ADDITIONAL INFORMATION: I review three or TYPES OF BOOKS: Young adult and middle grade almost always classroom use. We review poetry four books, four times a year. fiction and nonfiction along with the others. We don’t guarantee a REVIEWS SELF-PUBLISHED MATERIAL: No review for every book that’s sent to us. DEBBIE GLADE REVIEWS EBOOKS: No REVIEWS SELF-PUBLISHED MATERIAL: Rarely [email protected] REVIEWS MATERIAL THE SEASON IT IS REVIEWS EBOOKS: Rarely DIRECTORIES & RESOURCES REVIEWS FOR: Good Reads with Ronna RELEASED: Yes, if possible REVIEWS APPS: Rarely (goodreadswithronna.wordpress.com)—feeds ADDITIONAL INFORMATION: For libraries with REVIEWS MATERIAL THE SEASON IT IS through various parenthood websites, such as teen collections (school and public). Reviews RELEASED: Yes LA Parent Magazine); Smart Poodle Publishing every other month. LEAD TIME FOR PUBLICATION: One month (smartpoodlepublishing.com/blog); I am also an Amazon Top Reviewer. HEIDI GRANGE ESTHER HERSHENHORN DURATION: Four years 223 Penny Lane 222 E. Pearson Street, #1108 TYPES OF BOOKS: Fiction, nonfiction, picture Logan, Utah 84341 Chicago, IL 60611 books, middle grade; I review picture books [email protected] [email protected] of all types. I especially enjoy books related REVIEWS FOR: My blog (geolibrarian.blogspot. REVIEWS FOR: www.teachingauthors.com to science, nature, art, or gardening, or books com), Goodreads, and Amazon DURATION: Three years with extraordinary illustrations. I also enjoy DURATION: One year, five months TYPES OF BOOKS: I review only those books PUBLICIZING YOUR PUBLISHED WORK biographies for middle readers. I only publish TYPES OF BOOKS: Fiction, nonfiction, picture that pertain to the writing process, writers, reviews of books I like and do not review books books, early readers, middle grade, young writing for children, or teaching writing. I would not highly recommend. adult; fantasy, contemporary, humor, clean REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS SELF-PUBLISHED MATERIAL: No romance, mystery, books featuring other places REVIEWS EBOOKS: No REVIEWS EBOOKS: No and/or cultures, historical fiction, graphic REVIEWS APPS: No REVIEWS APPS: No novels; nonfiction on any topic, but especially REVIEWS MATERIAL THE SEASON IT IS REVIEWS MATERIAL THE SEASON IT IS geography/history related topics RELEASED: Yes RELEASED: Yes REVIEWS SELF-PUBLISHED MATERIAL: Yes LEAD TIME FOR PUBLICATION: Two to three ADDITIONAL INFORMATION: I will review REVIEWS EBOOKS: Yes months galleys and prefer to review books before REVIEWS APPS: No publication date. I do not review books that REVIEWS MATERIAL THE SEASON IT IS HILLARY HOMZIE were published more than a year ago. I post my RELEASED: Yes, as much as possible 429 Montecito Boulevard reviews on Amazon. LEAD TIME FOR PUBLICATION: Usually at least Napa, CA 94558

a month, unless specifically scheduled [email protected] SCHOOL VISITS PAUL GOLDSCHMIDT ADDITIONAL INFORMATION: I work as a REVIEWS FOR: The Philadelphia Inquirer (daily 5625 Highland Way school librarian, so I’m always looking for newspaper) Middleton, WI 53562 great new books to share with my students and DURATION: Irregularly for four years [email protected] to put in my school library. I read a little bit TYPES OF BOOKS: I review all types of books, REVIEWS FOR: Not Acting My Age of everything in children’s literature (except fiction and nonfiction, for middle grade and DURATION: Seven years horror). I’m more selective about young adult young adults. LEGAL QUESTIONS TYPES OF BOOKS: Fiction, middle grade, young because I prefer books to be clean (little if any REVIEWS SELF-PUBLISHED MATERIAL: No adult; my key focus is contemporary coming- bad language, mild sexual situations). REVIEWS EBOOKS: No (not yet) of-age books. Books dealing with interpersonal REVIEWS MATERIAL THE SEASON IT IS relationships are also of interest. I review some RELEASED: Yes fantasy works dealing with these subjects in a realistic fashion. On occasion, I will review historical novels. I tend to do more young adult 186 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org teens, and other librarians, soitisimportant for good and the badinabook.Iwritefor parents, always bepositive, although Itrytobalance the ADDITIONAL INFORMATION: My reviews may not want the review atacertaintime LEAD TIMEFORPUBLICATION: Thirtydays ifyou RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No interested in poetryorgraphic novels related toparenting, crafts, orgardening; not infant through young adult, some adult ifitis books, earlyreaders, middle grade, young adult; TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Three years Their Pet Librarian, butmerged the twoblogs. old); Ipreviously reviewed onThree Turtles and (just passed10,000visitors, alittleoveryear REVIEWS FOR:amomssparetime.blogspot.com [email protected] High RollsMtPark, NM88325 PO Box 204 AMI JONES policy.html genres): www.stackedbooks.org/p/review- information onfavorite authors, books, and review policy available here (where wehave [email protected]. We haveafull to reach usallvia ourgroup email address, ADDITIONAL INFORMATION: You’re welcome reviews, though, butItry my best. months, please. Ido not make promises on LEAD TIMEFORPUBLICATION: Two tothree RELEASED: No REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No fiction. interested inparanormal orChristian/spiritual interest infantasy and romance. We are not review middle grade and young adult, with “magical realism” subgenre. My co-bloggers fiction, mystery, sci-fi, horror, or are of the stuff), butIwillread booksthatare historical adult; Iprefer contemporary (and Ilovedark TYPES OFBOOKS:Fiction, middle grade, young DURATION: Three years month); Icross-post toGoodreads. org) (between15,000and 25,000pageviews a REVIEWS FOR:STACKED books(stackedbooks. [email protected] Delavan, WI53115 1117 SpruceStreet KELLY JENSEN | BOOK REVIEWERS DIRECTORY REVIEWERS | BOOK used orimpactelementary and middle grade series titlesand describe how these canbe I particularly review alarge number of nonfiction books, early readers, middle grade, young adult; TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Sevenyears REVIEWS FOR:www.PracticallyParadise.org [email protected] Lebanon, TN37090-8812 2655 HollowayRoad DIANE R.CHENKELLY literature connections. field of education with many opportunities for they cancontact me. Thisisahuge, growing questions about my workorservice learning, ADDITIONAL INFORMATION: Ifanyone has any RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No welcome. literacy. Bilingual booksonthese themes also justice, special needs and disabilities, and violence, hatecrimes), social change, social safe and strong communities (bullying, local choices, hunger and homelessness, immigrants, environment, gardening, healthy lives, healthy animals indanger, elders, emergency readiness, themes: AIDSeducation and awareness, adult; allbooksthatrelate toanyof these books, earlyreaders, middle grade, young TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Twenty plusyears conferences. that Iworkwith,and for saleatservice learning of teacher education, libraries, and bookstores identify booksfor recommendation for schools magazine articles; parenting newsletters; to how touseliterature toinspire social action; the country witheducators toteachthem below). Ialsousebooksinworkshops around connect withany theme of social action (listed hundred children’s and young adult titlesthat an annotated bibliography of overthree Publishing, 2003).Thispublication includes and CD-ROM(bothpublished byFree Spirit Guide toServiceLearning(future editions), REVIEWS FOR:Use inmy book,TheComplete [email protected] Los Angeles, CA90066 13108 Warren Avenue CATHRYN BERGERKAYE for themselves ortheir library. whether they want toorder/purchase the book me togivethem enough information todecide books unlessrequested. should alwaysqueryfirstand should not send Maine orby local authors. Inallcases, authors coast of Maine. Special attention tobooksabout serving the communities of the northeastern school graduations. Thisisaweeklynewspaper issue; the spring columnruns around the time of and June. The winter columnisfor aholiday gift biannual columnthatcomes outinDecember For the DowneastCoastalPress,Iwritea northern California adult community publication. column thatcomes outinNovember. Thisisina For the RossmoorNews,Iwriteaholiday gift column onnew booksbyCalifornia authors. focused columns, and I annually trytodo a Times, Iwritequarterly reviews thatare theme- ADDITIONAL INFORMATION: Forthe Sunday RELEASED: Try to,butnot always REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No some picture books young adult fiction; biographies and memoirs; TYPES OFBOOKS:Primarily middle grade and DURATION: Since 1995 10,000) 10,000); DowneastCoastalPress(circulation Bookshelf for the RossmoorNews(circulation Sunday Times(circulation 350,000);Auntie Jo’s REVIEWS FOR:SanFrancisco’s EastBayArea Walnut Creek,CA94595 3117 Terra GranadaDrive#4 JOANNA KRAUS education. that relate toelementary and middle school receive aniPhone, Iwouldreview iPhone apps apps asIdo not haveaniPhone. IfIwere to ADDITIONAL INFORMATION: Ireview Android RELEASED: Allyear REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes fiction. related titles, young adult literature, and adult (science, technology, engineering, and math) board books, picture books, biographies, STEM students. Ireview alltypesof booksincluding Bookmarks, TheBark,Foreword Reviews Review, BookPage, OurState (North Carolina), REVIEWS FOR:KirkusReviews, MultiCultural [email protected] Wake Forest,NC27587 817 S.WhiteStreet Educational Consultant ANGELA LEEPER BOOK REVIEWERS DIRECTORY | 187

DURATION: Since 1997 SHARON LEVIN REVIEWS EBOOKS: Yes PREPARING & SUBMITTING TYPES OF BOOKS: Children’s and young adult 475 Quartz Street REVIEWS APPS: No fiction, nonfiction, and poetry; North Carolina Redwood City, CA 94062-2225 and Southern books; dog books [email protected] RONNA MANDEL REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS FOR: I review regularly for the 4813 Indianola Way REVIEWS EBOOKS: No Unshelved website. Much of my reviewing La Canada, CA 91011 REVIEWS MATERIAL THE SEASON IT IS happens in the form of book talks. I am a [email protected] RELEASED: Yes regular at the Raising a Reader Conference in REVIEWS FOR: www.goodreadswithronna.com Redwood City and at Nevada Reading Week (on Twitter @goodreadsronna, on Facebook at MARGO LEMIEUX every year in Reno. I also give book talks for www.facebook.com/goodreadswithronna); find 22 Highland Avenue students (fourth grade through high school), our children’s book reviews in print, online, MARKET SURVEYS Mansfield, MA 02048 parents, teachers, librarians, etc. I have a San and on the blog at losangeles.parenthood.com, [email protected] Francisco Bay Area children’s literature list bayareaparent.parenthood.com, sanantonio. REVIEWS FOR: Sun Chronicle (circulation (although there are people on it as far away as parenthood.com, boston.parenthood.com, 25,000) London) with 1,300+ people on it, and I will westchester.parenthood.com, colorado. DURATION: Since 1997 share books with them. If a book inspires a parenthood.com, and featured weekly in TYPES OF BOOKS: All types of children’s books column, I send it to my list and to the Child Lit Parenthood.com’s Practical Parenting newsletter. REVIEWS SELF-PUBLISHED MATERIAL: No Listserv out of Rutgers. DURATION: Four years

ADDITIONAL INFORMATION: The Attleboro, DURATION: Sixteen years TYPES OF BOOKS: Fiction, nonfiction, picture DIRECTORIES & RESOURCES MA, Sun Chronicle is a daily paper that serves TYPES OF BOOKS: All books; I will look at pretty books, early readers, middle grade, young adult; ten communities in central southeastern much anything. I’m always looking for books we review all genres for children through teens Massachusetts and has a strong commitment that will make readers’ eyes light up. (college-aged) as well as family cookbooks and to family and educational news. In my monthly REVIEWS SELF-PUBLISHED MATERIAL: Yes adult nonfiction and fiction occasionally if it column, I review all types of children’s book, REVIEWS EBOOKS: No pertains to families and parenting, fatherhood, including poetry, fiction, and nonfiction; I REVIEWS APPS: No motherhood, divorce, special circumstances, review very little young adult. I am an author/ REVIEWS MATERIAL THE SEASON IT IS etc. We also want to review more special needs illustrator. No self-published or religious books. RELEASED: Not always titles. Column is theme-based. I try to review as much REVIEWS SELF-PUBLISHED MATERIAL: No as I can. HARRY LEVINE REVIEWS EBOOKS: No Center on Aging REVIEWS APPS: Yes

KAREN LEMMONS 800 S. Limestone Street REVIEWS MATERIAL THE SEASON IT IS PUBLICIZING YOUR PUBLISHED WORK 19467 Snowden University of Kentucky RELEASED: Yes Detroit, MI 48235-1263 Lexington, KY 40536-0230 LEAD TIME FOR PUBLICATION: Two months [email protected] REVIEWS FOR: Reviewed for Appraisal (children’s ADDITIONAL INFORMATION: I really like to see REVIEWS FOR: Contributor to the upcoming science books for librarians) from 1991 until books from local LA authors and help promote book, ALSC Popular Picks for Kids. My blog is The it closed in 2002. Now not affiliated with a them. I also publicize events such as book Eclectic Kitabu Project. specific publication, but willing to review. readings and launches. My Facebook page is DURATION: Two to three years TYPES OF BOOKS: Science, nature, technology, where I share lots of book news. I have a strong TYPES OF BOOKS: Fiction, nonfiction, picture and medicine for K–12, although prefer middle relationship with many publishing houses, so I books, early readers, middle grade, young adult; school through high school can do special promotions such as giveaways. my particular focus is African, African-American, REVIEWS SELF-PUBLISHED MATERIAL: No On Twitter I make it a priority to do social or Caribbean fiction and nonfiction. In addition REVIEWS EBOOKS: No media coverage when I blog about a book. I to reviewing books, I will sometimes include REVIEWS MATERIAL THE SEASON IT IS love to do author interviews, too. lesson plans and/or other related resources that RELEASED: Within a year of publication

feature/use the reviewed books. ADDITIONAL INFORMATION: I donate the PARVATI MARKUS SCHOOL VISITS REVIEWS SELF-PUBLISHED MATERIAL: Yes books I get to local school libraries. I review 911B Don Gaspar REVIEWS EBOOKS: No content as well as style. Santa Fe, NM 87505 REVIEWS APPS: No [email protected] REVIEWS MATERIAL THE SEASON IT IS JONE MACCULLOCH REVIEWS FOR: Transitions Radio Magazine RELEASED: No 4397 SE Glen Echo (three‑hour Sunday morning radio show ADDITIONAL INFORMATION: At the present Milwaikie, OR 97267 in Albuquerque/ Santa Fe area, now in its LEGAL QUESTIONS time, I do not review ebooks and apps. [email protected] twentieth year) However, I do plan to review books in these REVIEWS FOR: maclibrary.wordpress.com DURATION: One year formats in the future. DURATION: Six years TYPES OF BOOKS: Picture books, beginning, and TYPES OF BOOKS: Nonfiction, middle grade; young readers poetry and novels in verse REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS 188 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org schools and libraries aware thatnew writersare interested inencouraging writersand making of the book,not acritique.Iamespecially ADDITIONAL INFORMATION : Iwriteareview newspaper space LEAD TIMEFORPUBLICATION: Varies with receive the book RELEASED: Yes, assoonpossibleafterI REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: Yes books thatfitinto whatIamwriting. cross culture; veryfewnonfiction; I review the contemporary, historical, humor; no fantasy, books orshort middle grade and YA; TYPES OFBOOKS:Allbooks;mostly picture DURATION: Twelve years section of the BaytownSun. reviews are published weekly inthe Lifestyle for parents, grandparents, and teachers. The of bothnew and award-winning children’s books me towritetwo-three-hundred-word reviews Municipal Library, Baytown’spublic library, asked quarterly librarians; newsletter; Sterling Banner; Reviewof Texas Books, Lamar University paper; GalvestonCountyDailyNews;TheHouston REVIEWS FOR:TheBaytownSun,localdaily www.joanwmartin.com [email protected] Baytown, TX77520 2407 KilgoreRoad JOAN WATSON MARTIN RELEASED: Withinaboutone yearof release REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes regulation coping strategies, tolerance, emotional social skills, organization, learning strategies, that commonly co-occurwithADHD;friendship, somehow relate toADD/ADHD,LD,orconditions books, middle grade, young adult; booksthat TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Nine years (ADDitudeMag.com/adhdblogs/4) REVIEWS FOR:ADDitudemagazine [email protected] Ames, IA50014 5304 CervantesDrive KAY MARNER vacation. material usually before Christmas and summer ADDITIONAL INFORMATION: Reviews seasonal RELEASED: Not necessarily | BOOK REVIEWERS DIRECTORY REVIEWERS | BOOK donated tolocalliteracy orother localcharities. ADDITIONAL INFORMATION: Allreview books RELEASED: Not usually REVIEWS MATERIAL THE SEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No occasionally prefer YA tomiddle grade; not alotof sci-fi,but grade, young adult; picture booksany subject; TYPES OFBOOKS:Fiction, picture books, middle DURATION: Fiveand ahalfyears readingkidsbooks-teenreads.blogspot.ca com; readingkidsbooks.blogspot.ca; REVIEWS FOR:sherylbooks.wordpress. [email protected] Victoria, BC—BritishColumbiaV8R4Z3 2540 Trent Street SHERYL MCFARLANE to me, sopleasefollow these rules. over $40isheld incustoms and results infees with avalue. Any unvaluedpackage orpackage shipments should belabeledassuch and marked libraries/collections throughout Europe. Allbook in the United Statesfor useinEnglish-speaking am alwaysinterested inwhat’snew coming out American International School’s library aide, I ADDITIONAL INFORMATION: As Vienna RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No markets inEurope. refer booksfor the international school libraries publication orsite, butamwilling toreview and REVIEWS FOR:No longer reviewing for a [email protected] 1190 Vienna,Austria Keylwerthgasse 10 TRACY GAMES MCCAFFERTY I canreview yourbook.Iwillrespond quickly. a copyof the review. Pleaseemail me and askif conferences. Pleasesend anSASE soIcansend libraries and offer them asdoor prizesatSCBWI I share them withschool libraries and public with the publisher. When the booksstackup, assess my ownwriting, and Igainacontact behind. Writing areview teaches me how to be reviewed, butusually amsixtoeight books publisher. Ilovereceiving beautifulbooksto in any promotional material, tothe author or published copy, along withpermission touseit books. Afterthe review ispublished, Isend a that my reviews make them want toread the readers havebeenverycomplimentary, saying out there and deserve their consideration. Adult the review and any other publications thatwillaccept announce the review onmy Facebookpage ( com; my children’s bookreview blog REVIEWS FOR:Amazon.com; Barnes&Noble. [email protected] Taos, NM87571 6561 NDCBU JUDITH NASSE like you! opinion . plusthousands more from people everything inbetween.Justone dad’s worst children’s booksof alltime, and ADDITIONAL INFORMATION: The bestand RELEASED: Rarely REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes will bemixed infrom time totime this reviewer, although booksfor older kids adult; picture booksare highly preferred by books, earlyreaders, middle grade, young TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Two years REVIEWS FOR:kidbookratings.com [email protected] Washington, Districtof Columbia20007 1725 34thStreetNW ERIK METZROTH positive review. I rarely review booksthatIcannot givea readers areal flavor of the book. concise, user‑friendly reviews thatoffer ADDITIONAL INFORMATION: Ifocus on material also RELEASED: Yes, and previously released REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No on writing ages, mainstream and literary fiction, books TYPES OFBOOKS:Children’s booksfor all the lastthree years. DURATION: Ihavebeenreviewing booksfor newsletter, once ayear contributor; three times ayear;Babyzone.com, frequent publication for Presbyterian women, twoto REVIEWS FOR: [email protected] Louisville, KY40205 2165 EastviewAvenue ELLEN BIRKETTMORRIS childrens-book-reviews.blogspot.com); I Borderlines, the SCBWIMidsouth Horizons Magazine,national BOOK REVIEWERS DIRECTORY | 189

published books. DURATION: Since 1994 JEAN L. S. PATRICK PREPARING & SUBMITTING TYPES OF BOOKS: Fiction, nonfiction, picture Book Columnist, c/o The Daily Republic books, early readers, middle grade, young LISA L. OWENS PO Box 1288 adult; I am open to all genres. The books I 18730 SE 45th Place 120 S. Lawler write are historical fiction, sustainability, Issaquah, WA 98027 Mitchell, SD 57301 biographies, and art. However, I read all [email protected] [email protected] genres including mysteries and science www.llowens.com REVIEWS FOR: The Daily Republic, weekly fiction. At this point I don’t review apps, REVIEWS FOR: Freelance reviews have been column (circulation 20,000) but will when I can get the technology. featured in a variety of publications, including: DURATION: Since 1989 I have an extensive background in early Prevention Update, a quarterly journal sent to TYPES OF BOOKS: All types childhood education, and so will include schools nationwide by Committee for Children; REVIEWS SELF-PUBLISHED MATERIAL: MARKET SURVEYS recommendations for classrooms and parents Middle Level Learning, a supplement to the Occasionally if appropriate to the book. National Council for the Social Studies journal REVIEWS EBOOKS: No REVIEWS SELF-PUBLISHED MATERIAL: Yes (three and seven issues/year, respectively); The REVIEWS MATERIAL THE SEASON IT IS REVIEWS EBOOKS: Yes Writer, a monthly magazine for working writers; RELEASED: Yes REVIEWS APPS: No TDMonthly, ToyDirectory.com’s monthly trade ADDITIONAL INFORMATION: My book reviews REVIEWS MATERIAL THE SEASON IT IS magazine for the toy, hobby, game, and gift are accompanied by reviews written by local RELEASED: Yes industry; LLOwens.com, the writer’s personal youth. I’ve been coordinating this program

LEAD TIME FOR PUBLICATION: Two to four author site featuring her books for children and since 1989. DIRECTORIES & RESOURCES weeks depending on the length of the book young adults, with regular trade book reviews ADDITIONAL INFORMATION: I charge a small and literature-based activity ideas; assorted PAMELA C. PATTERSON reader’s fee, plus I keep the copy of any educational publishing industry newsletters Associate Editor, January Magazine books sent to me, which I later donate to a (in-house publications) and writers’ association 512 East Chicago Boulevard children’s ward or a school. newsletters (for members only) Tecumseh, MI 49286 DURATION: Ten plus years [email protected] CATHERINE NICHOLS TYPES OF BOOKS: Picture books, middle grade, REVIEWS FOR: January Magazine, a 149 4th Avenue and young adult fiction and nonfiction, classic well‑respected website that does book reviews Phoenixville, PA 19460 literature and author interviews [email protected] REVIEWS SELF-PUBLISHED MATERIAL: No DURATION: Since 1998 REVIEWS FOR: The Cath in the Hat blog REVIEWS EBOOKS: No TYPES OF BOOKS: All genres, including picture

(thecathinthehat.blogspot.com) REVIEWS MATERIAL THE SEASON IT IS books, beginning readers, middle grade, and PUBLICIZING YOUR PUBLISHED WORK DURATION: Eighteen months RELEASED: Yes; also some older material young adult; fiction, nonfiction, and poetry TYPES OF BOOKS: Fiction, nonfiction, picture ADDITIONAL INFORMATION: Reviewer writes REVIEWS SELF-PUBLISHED MATERIAL: Yes books, early readers; the focus of my blog is and edits children’s books and K–12 classroom REVIEWS EBOOKS: No easy readers and beginning chapter books. I materials; she reviews only books that she REVIEWS MATERIAL THE SEASON IT IS also review picture books for ages 4–8. endorses. RELEASED: Yes REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: Yes J. L. PARKER PHYLLIS J. PERRY REVIEWS APPS: No 3877 Westwood Drive 3190 Endicott Drive REVIEWS MATERIAL THE SEASON IT IS Carson City, NV 89703 Boulder, CO 80305 RELEASED: Yes [email protected] [email protected] REVIEWS FOR: Children’s Museum of Northern REVIEWS FOR: Above & Beyond and Think & WENDIE OLD Nevada Newsletter in a monthly column Discover [email protected] (circulation 5,000) DURATION: Two years

REVIEWS FOR: blog.wendieold.com TYPES OF BOOKS: Picture books, beginning TYPES OF BOOKS: Children’s books. I review SCHOOL VISITS DURATION: Four years online, forty years in a readers, middle grade, fiction and nonfiction; books for gifted students in grades 1–8. Fiction library seasonal material okay, if received three months and nonfiction, poetry, activity, crafts, and TYPES OF BOOKS: Nonfiction, picture books, in advance of holiday seasonal. early readers; easy-reading nonfiction suitable REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS SELF-PUBLISHED MATERIAL: Yes for preschoolers and first readers; nothing REVIEWS EBOOKS: No REVIEWS E-BOOKS: No longer; no fiction ADDITIONAL INFORMATION: The Reading Room REVIEWS MATERIAL THE SEASON IT IS LEGAL QUESTIONS REVIEWS SELF-PUBLISHED MATERIAL: No of the Children’s Museum of Northern Nevada RELEASED: I review new books or books with REVIEWS EBOOKS: No appeals to children and their families ages recent copyright dates. REVIEWS APPS: No toddler through junior high. We seek to review REVIEWS MATERIAL THE SEASON IT IS quality books that will appeal to diversified RELEASED: Yes cultural and socioeconomic backgrounds. ADDITIONAL INFORMATION: I am a retired librarian and a working writer with over thirty 190 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org column. book reviews featuring three tofivebooksper ADDITIONAL INFORMATION: Iwritethemed theme Ihaveplanned. particularly moving orI’mlacking booksfor a publication. Imake exceptions ifIfind abook RELEASED: Iusually review booksinthe yearof REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No fiction, nonfiction, and young adult TYPES OFBOOKS:Picture books, middle grade, DURATION: Since 2001 column, Sunday (circulation 16,000) REVIEWS FOR:ArizonaDailySun,monthly Flagstaff, AZ86001 3020 N.SnowCapWay ANNE PISACANO year of publication RELEASED: Yes, fairly current bookswithinthe REVIEWS MATERIAL THE SEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No (small) press. long asthey were published byanindependent TYPES OFBOOKS:I’llreview any and allbooksas DURATION: Overtwoyears reaches over 20,000peopleaday. well. The online magazine (www.newpages.com) month; Iam beginning amonthly columnas Independents, approximately four booksa REVIEWS FOR:NewPages, The Portal of [email protected] JESSICA POWERS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No young adult, poetry, fiction, nonfiction, seasonal TYPES OFBOOKS:Picture books, middle grade, Parents, and many more. Parenting, JanuaryMagazine, LongIsland Writer’s Journal,MidwestBookReview, Christian many forums, including Publisher’s Weekly, several yearsand havebeenpublished in DURATION: Ihavebeenreviewing booksfor freelance) staff reviewer); MidwestBookReview(monthly; com) (weekly, middle grade/young adult only; Crescent Blueswebsite(www.crescentblues. only; staffreviewer, assigned reviews only); Literature (bimonthly, middle grade/young adult REVIEWS FOR:KliattJournalof Young Adult [email protected] Nesconset, NY11767-2707 26 PineDrive LYNNE MARIEPISANO | BOOK REVIEWERS DIRECTORY REVIEWERS | BOOK 350,000; infrequently until June 2006); largest circulating national daily (approx. REVIEWS FOR:PhilippineDailyInquirer , the [email protected] [email protected] Metro Manila,Philippines Tahanan Village, Parañaque 1700 #146 DonRufino Avenue NENI STA. ROMANA-CRUZ nyjournalofbooks.com. is SCBWImember. Contact: reviewrequests@ advance ifpossible. Publisher and EditorinChief books are sent tousatleastthree weeks in posts onbook’srelease date soweaskthat small presses. No self-published books. Review of children’s and adult booksfrom large and since 2009.No feefor review. Reviews all types and often published themselves. In business winning reviewers who are experts intheir fields Premier respected bookreview sitewithaward- http://ww.nyjournalofbooks.com LISA ROJANY positive spinonallbooks. ADDITIONAL INFORMATION: Itrytoputa RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No and young adults, butparticularly nonfiction TYPES OFBOOKS:Alltypesof booksfor children DURATION: Sevenyears Children’s Literature Database, monthly reviews 101.com (circulation 6,000),monthly reviews; (circulation 15,000),quarterly reviews; Suite REVIEWS FOR:SundayReview,Towanda, PA Columbia Crossroads, PA 16914 RD 3Box 264 SUE REICHARD CocoaJava.com. magazine. Award-winning teenessayonline at have apublished children’s storyinHodgepodge and anMS degree inspecialized journalism. I working knowledge of bothFrench and Spanish programs and teacher training. Ialsohavea international earlychildhood education training writing and published photography, aswell includes bothcorporate communications ADDITIONAL INFORMATION: My background RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes [email protected] Staten Island,NY10312 232 HamptonGreen JOAN REGEN-RAMIREZ headed the Children’s Media Center. Manila for allof my professional lifewhere I and havebeenteaching atInternational School published author of booksfor children and adults reading and envisions anation of readers. Iama public school teachers onpromoting the loveof Cool!] Foundation. The latter trains grade 4 People and the SaAklatSisikat [BooksAre of the Philippine Board on Booksfor Young for me and young reviewers. Iamonthe boards continuing tohone the craft of bookreviewing and school libraries; would like anetwork for endorsement for purchase byparents, teachers, they personally appealtome ordeserving an books thatare worthy of mention because ADDITIONAL INFORMATION: Onlyreview books RELEASED: Yes, especially for locallypublished REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No relevance tothe Filipino audience other countries thatmay beof significance and books for allages and juvenileliterature from TYPES OFBOOKS:Locallypublished children’s June 2006) second innational circulation (infrequently until Manila Bulletin,anational daily broadsheet, opinion makers (circulation approx. 10,000); read bybooklovers, academicians, scholars, and Newsbreak Magazine,abiweeklypublication the book.More information canbefound inmy weaknesses, aswellsuggested audience for review critically and discussthe strengths and I don’t like. Ido trytoanalyze eachbook I promise a review, and Irarely review booksthat respond toyourquery, it’snot personal. Idon’t more submissions thanIcanread, soifIdon’t the book.Pleasebeaware thatIreceive many I’m interested, I’llsend youthe address tosend email [email protected], and if ADDITIONAL INFORMATION: Pleasequeryby months LEAD TIMEFORPUBLICATION: One totwo RELEASED: Some books REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: Yes fiction adult; fantasy, science fiction, and speculative TYPES OFBOOKS:Fiction, middle grade, young DURATION: Eight years wandsandworlds.com) REVIEWS FOR:Wands and Worlds (blog1. [email protected] SHEILA RUTH BOOK REVIEWERS DIRECTORY | 191 review policy at: blog1.wandsandworlds.com/p/ REVIEWS SELF-PUBLISHED MATERIAL: No ART SPENCER PREPARING & SUBMITTING blog-review-policy.html. REVIEWS EBOOKS: No 2632 26th Place SE REVIEWS APPS: Yes Auburn, WA 98002 CHRISTINE GERBER RUTT REVIEWS MATERIAL THE SEASON IT IS [email protected] Rheinländerstrasse 16 RELEASED: Yes REVIEWS FOR: BookVoyages blog (www. 4056 Basel, LEAD TIME FOR PUBLICATION: One month bookvoyages.com); Auburn School District [email protected] Destiny Library Manager (internal only), 440 REVIEWS FOR: Basel Childbirth Trust MERIBETH C. SHANK students (newsletter), monthly column (circulation 200) 10200 N. Miami Avenue DURATION: Eleven years DURATION: Since September 2003 Miami Shores, FL 33150 TYPES OF BOOKS: All books; realistic fiction is TYPES OF BOOKS: Picture books, beginning [email protected] a favorite; I review only a few YA books; most MARKET SURVEYS readers, poetry, and seasonal material REVIEWS FOR: Miami Family Magazine (www. of my reviews are for books appropriate for REVIEWS SELF-PUBLISHED MATERIAL: Yes, if miamifamilymagazine.com) (circulation 40,000) elementary age, and all genres. exceptional DURATION: Since October 2004 REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS EBOOKS: No TYPES OF BOOKS: Picture books, beginning REVIEWS EBOOKS: Yes REVIEWS MATERIAL THE SEASON IT IS readers, middle grade, young adult, fiction, REVIEWS APPS: No RELEASED: Book reviews are slotted to fit with nonfiction, poetry, and seasonal material; I REVIEWS MATERIAL THE SEASON IT IS the newsletter theme often have a theme when I write reviews. RELEASED: No

ADDITIONAL INFORMATION: Our readers are ex- REVIEWS SELF-PUBLISHED MATERIAL: No DIRECTORIES & RESOURCES pats who are interested in helping their children REVIEWS EBOOKS: No LU ANN BROBST STAHELI maintain or develop a connection to the English ADDITIONAL INFORMATION: My reviews appear 804 East 1050 South language and culture. Two to four books are monthly. Spanish Fork, UT 84660 reviewed each issue. [email protected] JENNIFER SINGER REVIEWS FOR: Read All About It, Spanish TARIE SABIDO 2523 NE 115th Street Fork Press, weekly column (circulation 4,000); 21 F. Manalo Street Seattle, WA 98125 Utah Children’s Writers Listserv, weekly Brgy. Pinagkaisahan [email protected] column (circulation 400); The ALAN Review, Cubao, Quezon City 1111 REVIEWS FOR: Cofounder and contributor to SIGNAL Journal, and NCTE Selects quarterly as Philippines children’s and young adult book review blog submissions used [email protected] Our Time in Juvie (www.outrimeinjuvie.com). We DURATION: Three years

REVIEWS FOR: Into the Wardrobe, an provide book reviews, book recommendations/ TYPES OF BOOKS: Picture books, middle grade, PUBLICIZING YOUR PUBLISHED WORK international blog on literature for the young lists (by category and age), author interviews and young adult novels; fiction, some nonfiction and young at heart; Asia in the Heart, World and guest blog posts, local event information, REVIEWS SELF-PUBLISHED MATERIAL: No on the Mind, a blog on Asian children’s and YA etc. REVIEWS EBOOKS: No books DURATION: Two years REVIEWS MATERIAL THE SEASON IT IS DURATION: Eight years TYPES OF BOOKS: Fiction or nonfiction, picture RELEASED: Whenever possible; also review TYPES OF BOOKS: Fiction, nonfiction, picture books, early readers, middle grade, young adult; older books that are still favorites or perhaps books, early readers, middle grade, young adult all books written for children and teens are fair undiscovered by teachers, parents, or child REVIEWS SELF-PUBLISHED MATERIAL: Yes game, whether they’re fiction or nonfiction, audience REVIEWS EBOOKS: Yes wordless picture-book or epic-novel length. ADDITIONAL INFORMATION: I also give several REVIEWS APPS: Yes In the past, our site has covered virtually book talk workshops each year to students, REVIEWS MATERIAL THE SEASON IT IS every genre and lists even more books for teachers, and librarians. I have used a hundred RELEASED: I have no specific schedule for recommendation. of my book reviews in the first edition of a reviewing books. REVIEWS SELF-PUBLISHED MATERIAL: No study guide manuscript intended for teachers. I

REVIEWS EBOOKS: Yes especially look for books that will work well in a SCHOOL VISITS MARY ANN SCHEUER REVIEWS APPS: No secondary language arts classroom. 3132 Lewiston Avenue REVIEWS MATERIAL THE SEASON IT IS Berkeley, CA 94705 RELEASED: Review year-round, new and old WHITNEY STEWART [email protected] titles alike 6030 Hurst Street REVIEWS FOR: Parents’ Press, a monthly ADDITIONAL INFORMATION: While I will New Orleans, LA 70118 newspaper distributed throughout the San happily read ebooks, my preferred format is [email protected] LEGAL QUESTIONS Francisco Bay Area (monthly Bookshelf column); the physical book. I will occasionally review REVIEWS FOR: Freelance for The Times-Picayune my blog, Great Kid Books (greatkidbooks. self-published material, but I request specific newspaper, Blueear.com, online journals blogspot.com) inquiries for those. Our email and additional DURATION: Since 1991 DURATION: Three years information on the materials we accept for TYPES OF BOOKS: Fiction, nonfiction, picture TYPES OF BOOKS: Fiction, nonfiction, picture review can be found at www.ourtimeinjuvie.com. books, middle grade, young adult; I have a books, early readers, middle grade; my target special interest in books set in Asia, books on age group is ages 2–14; I do not review YA. Asian cultures, and mountain adventures; Asian 192 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org especially nonfiction; audiobooks for children graphic novels, no manga; picture books, books, middle grade; baseball-themed books; TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Fouryears employed Twitter @shelfemployed; onFacebook:Shelf- daily regular readers via RSSfeedand email); on (5,000 visitspermonth—approximately 275 employed (www.shelf-employed.blogspot.com) REVIEWS FOR:SchoolLibraryJournal;Shelf- [email protected] LISA TAYLOR RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No science fiction for kids and teens grade, young adult; primarily fantasy and TYPES OFBOOKS:Fiction, earlyreaders, middle DURATION: Fiveand ahalfyears (charlotteslibrary.blogspot.com) REVIEWS FOR:My blog,Charlotte’sLibrary [email protected] Providence, RI2903 150 BenefitStreet CHARLOTTE TAYLOR particular bookscanbeusedwithmy students. negative reviews. Inmy blog,Ishow how ADDITIONAL INFORMATION: Idon’t do any RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No just aboutanything that canbeusedwithmy students—which is books, earlyreaders, middle grade; any books TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Sixmonths (speakwellreadwell.blogspot.com) REVIEWS FOR:SpeakWell, ReadWell blog [email protected] Mendocino, CA95460 45331 S.CasparDrive JEANETTE STICKEL interest publication. book comes my way, Ireview it for aspecial ADDITIONAL INFORMATION: When the right RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No folktales ororiginal stories | BOOK REVIEWERS DIRECTORY REVIEWERS | BOOK RELEASED: Any time REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No fairy tales, and mythology. Middle Ages, Renaissance artand life, theater, and professional bookswithanemphasisonthe contemporary fiction, poetry, and also reference and young adult science fiction and fantasy, grade, young adult; Ireview middle grade TYPES OFBOOKS:Fiction, nonfiction, middle DURATION: Sixteenyears at all. you know. Inthatcase, Iwillnot postareview give apositivereview for yourbook,Iwilllet that yourbookhasmerit. IfIhonestly cannot or Goodreads for fellowSCBWImembers ifIfeel provide areview for Amazon, Barnes &Noble, not guarantee apublished review inVOYA. Ican editor. My recommendation for inclusion will included solelyatthe discretion of the review professionals and teachers). VOYA reviews are of 7,000,butareadership of 30,000library REVIEWS FOR:VOYA magazine (circulation www.nancykwallace.com [email protected] Ellwood City, PA 16117 549 DutchRidgeRoad NANCY K.WALLACE Year, 2012from the Texas Library Association. site; itjustwonBestHigh School Blogof the ADDITIONAL INFORMATION: Pleasecheck my weeks LEAD TIMEFORPUBLICATION: Abouttwo RELEASED: Yes, and before publication REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No more info funny coming-of-age books;seemy sitefor adult; paranormal romance, realistic fiction, TYPES OFBOOKS:Fiction, middle grade, young DURATION: Twenty yearsand five months com); YA booksfor TheElPaso Times Reading Now (booksbypamelathompson.blogspot. REVIEWS FOR:Young Adult Books—WhatWe’re [email protected] El Paso, TX79935 10701 MillerBarberDrive PAMELA THOMPSON REVIEWS APPS:No RELEASED: Generally REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: Yes TYPES OFBOOKS:All DURATION: Nearly ayear Sun (www.studiocitysun.com) REVIEWS FOR:Kids’ Shelf columnfor StudioCity [email protected] Los Angeles, CA90034 10765 Tabor Street MARK L.WILLIAMS RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No readers, fiction, nonfiction, seasonal TYPES OFBOOKS:Picture books, beginning REVIEWS FOR:BookReview.com [email protected] LAURIE WHITMAN physical copyof yourbooktoreview it. reviewed orreceive aresponse. Irequire a Unsolicited workswillnot necessarily be project before submitting abookormanuscript. courteous and email me firstto describe your ADDITIONAL INFORMATION: Pleasebe LEAD TIMEFORPUBLICATION: Three months REVIEWS SELF-PUBLISHED MATERIAL: Yes issues nonfiction. parenting how-to and specificeducational deal withgrowth/personal issues/self-help; literary; MG/YA nonfiction to buildself-esteem, mystery/suspense, paranormal, historical, New Adult; genres: fantasy, science fiction, others: allages, fiction, picture book through Library Journal, editorprovides suggestions. All apps, picture booksfor ages 0-4.ForChristian all ages. For EarlyOn:board and novelty books, suitable for ages 0–5,fiction and nonfiction for genre; classic and well-lovedpicture books TYPES OFBOOKS:Picture books, any typeand Library Journal since 1997. DURATION: EarlyOnsince 2012;Christian Classrooms board onPinterest, and blogs. reviews posted onGoodreads, BooksUse in librarians)–editor provides assignments; plus 1,000, toChristian, school, and public 100,000); Christian Library Journal (circulation Early Onnewsletter, Wayne RESA, (circulation REVIEWS FOR:“Read&Play”columnfor [email protected] Naples, FL34105 441 QuailForestBlvd.,#301 LISA A.WROBLE BOOK REVIEWERS DIRECTORY | 193

(send email first) address. A list of topics and other information is PREPARING & SUBMITTING REVIEWS EBOOKS: Yes available on the website. REVIEWS MATERIAL THE SEASON RELEASED RELEASED: NOT ESSENTIAL

RITA ZOBAYAN [email protected] www.ritazthewriter.com @ritazthewriter www.facebook.com/rita.thewriter.3 REVIEWS FOR: Good Reads with Ronna MARKET SURVEYS DURATION: Three years TYPES OF BOOKS: Fiction, nonfiction, picture books, early readers, chapter books, middle grade, young adult SELF-PUBLISHED: No EBOOKS: No REVIEWS APPS: Yes

LEAD TIME FOR PUBLICATION: Two months DIRECTORIES & RESOURCES ADDITIONAL INFORMATION: I review only books that I have enjoyed reading. My background is in education and writing, so I look for books that would be well-placed in classrooms (preS-12th grade).

MARKETABILITY: BOOK PUBLICITY AND PROMOTION WITH A TWIST 813A 14th Street Golden, CO 80401

(888) 55-TWIST PUBLICIZING YOUR PUBLISHED WORK (fax) (303) 279-7950 www.marketability.com ADDITIONAL INFORMATION: In cooperation with the Mining Company, MarketAbility has formed a network of sites on over five hundred topics. Each Mining Co. GuideSite™ is devoted to a single topic and includes site reviews, articles, and discussion areas. Many Guides are interested in receiving review copies of books in their subject area for review on their site. To review the list of subject areas, visit www. marketability.com. Follow the directions on this site to receive contact information. SCHOOL VISITS THE CHILDREN’S LITERATURE PROGRAM Department of English and Comparative Literature San Diego State University San Diego, CA 92182‑8140 www-rohan.sdsu.edu/~childlit LEGAL QUESTIONS TYPES OF BOOKS: Children’s books on a variety of topics ADDITIONAL INFORMATION: Book reviews are posted on the website by topic and are written by academics associated with the program. In order to have your book considered for review, have your publisher submit it to the above INTERNATIONAL SCHOOL DIRECTORY INTERNATIONALCOPYRIGHT FACTSSCHOOL FORDIRECTORY WRITERS

by Holly Thompson

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 »» International Schools Service (Directory of International Schools) community of an international school—the administrators, faculty, www.iss.edu students and families—typically includes members of many different »» The SHAMBLES in South East Asia (The Education Project Asia; cultures, languages and belief systems. The approach to education International Schools in S.E. Asia) www.shambles.net/allschools/index. tends to be truly international. Some international schools follow the htm International Baccalaureate (IB) programs, including the IB Primary »» East Asia Regional Council of International Schools (Member Schools) Years Program, the IB Middle Years Program, and the IB Diploma www.earcos.org Program. Some international schools follow the national curriculum of a particular country, such as the Australian Schools and British Schools. Note: For the below SCBWI Directory of International School listings, Some international schools include many students of the local culture, “percent native English speakers” refers to the estimated percentage whereas other international schools are forbidden by local law from of native English speaking students at the school; “other languages accepting local students. In countries such as South Korea, international taught” refers to languages besides English taught at the school. schools may be composed almost entirely of students from the local culture studying in English. Some international schools are aligned with See the complete International School Directory in the “Publications” a particular religious faith. Most international schools are located in or section of www.scbwi.org under The Book. 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

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 209 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 english.arizona.edu/ US COURSES Tuscan, AZ www.pima.edu/ ARKANSAS ARIZONA COURSE TITLE: Literature/Social Studies for WRITING COURSES OCCASIONAL WRITING COURSES Children University of Arkansas COURSE DESCRIPTION: Survey of principles, Department of English Arizona State University materials, and techniques for the selection 333 Kimpel Virginia G. Piper Center for Creative Writing and evaluation of children’s literature Fayetteville, AR 72701 Mollie Connelly and social studies materials. Includes 479-575-4301 PO Box 875002 incorporating an appreciation of other www.uark.edu/depts/english/ Tempe, AZ 85287-5002 cultures, and planning and implementing 480.727.0818 developmentally appropriate activities. CALIFORNIA http://piper.asu.edu WRITING COURSES Tucson Parks and Recreation Cochise Community College/Wilcox 509-573-3933 CSU/Northridge English Department www.ezeereg.com Department of English 800-966-7943, Ext. 4058 or Ext. 5490 CSUN, 18111 Nordhoff Street, www.cochise.edu/deptsdirs/englishdept/index. Tucson Public Library Northridge, CA 91330-8248 asp Pima County Public Library 818-677-3434 www.library.pima.gov/ www.csun.edu/english/index.php Glendale Community College www.gc.maricopa.edu/ The University of Arizona City College of San Francisco COURSE TITLE: Children’s Literature Department of English Department of English COURSE DESCRIPTION: Review of folk and 1423 E. University Blvd. Rm. 445 www.ccsf.edu/Departments/English/ modern literature, including application of Modern Languages Building literary criteria to folk and modern literature P.O. Box 210067 Learning Annex/San Diego Tucson, Arizona 85721 619-544-9700 520-621-1836 Writing and Publishing Channel 198 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org https://www.uclaextension.edu/fos/Writing.aspx [email protected] 310-825-9415 Writing Program UC Extension/LosAngeles www.marinlearn.com/ Tamplais UnionSchoolDistrict for children ages 1-13. students interested in the field of literature aides, childdevelopment professionals and Designed for parents, prospective teachers, practices inpresentation and analysis. in childdevelop­ ture, including criteria for selection, uses classic and contemporary children’s litera­ COURSE DESCRIPTION:Examination of Literature COURSE TITLE:Introduction toChildren’s 916-660-8018 Department of English www.sierra.cc.ca.us/index.html Sierra College www.scu.edu/english/ Department of English 408-554-4142 Santa Clara University www.sbcc.edu/english/ 805-965-0581 ext. 2340 Department of English Santa Barbara CityCollege www.ces.sdsu.edu/ 619-594-5821 San DiegoStateUniversity Extension academic/english/index.shtml www.oxnardcollege.edu/departments/ 805-986-5800, ext. 1949 Department of English Oxnard College www.otis.edu/ 310-665-6800 Otis Collegeof ArtandDesign www.learningexchange.com/ 916-929-9200 Learning Exchange/Sacramento writing+%2526+publishing www.learningannex.com/categories/ | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING ment and education, and english.ucr.edu/ 951-827-5301 English Department UC ContinuingEducation/Riverside www.napavalley.edu/apps/comm.asp?$1=26 Writing Center Napa Valley College mcweb.moorparkcollege.edu/english/ 805-378-1400 English Department Moorpark CommunityCollege english/ www.mjc.edu/prospective/programs/litlang/ [email protected] Department of English Modesto JuniorCollege 310-478-6677 Learning Annex/Los Angeles www.csustan.edu/English 209-667-3361 Department of English California StateU/Stanislaus www.csuchico.edu/engl/ 530-898-5124 English Department California StateU/Chico www.csub.edu/English/index.htx 661-654-2144 English Department California StateU/Bakersfield www.arnenixoncenter.org/ 559-278-8116 Literature Arne Nixon Centerfor Children’s LITERATURE: Multicultural Literature and Literature: Storytelling; Children and COURSE TITLES:Children and Literature; Children English.htm www.arc.losrios.edu/Programs_of_Study/ 916-484-8101 American River College/Sacramento www.hancockcollege.edu/Default.asp?Page=520 805-922-6966 English Department Allan HancockCollege OCCASIONAL WRITINGCOURSES UC ContinuingEdu/Boulder REGULAR WRITINGCOURSES COLORADO on=saDetail&vStudyAreaID=1 extension.ucsd.edu/StudyArea/index.cfm?vActi Art Department UC Extension/SanDiego www.otis.edu/ 310-665-6800 Otis ArtInstitute www.ccsf.edu/Departments/ 415-239-3157 Art Deparment City Collegeof SanFrancisco REGULAR ILLUSTRATING COURSES www.vcccd.edu/ 805-652-5500 Ventura CommunityCollege www.artinstitutes.edu/denver/ 303-837-0825 The ArtInstituteof Colorado OCCASIONAL ILLUSTRATING COURSES www.rmcad.edu/ 303-753-6046 Rocky MountainCollegeof Art&Design REGULAR ILLUSTRATING COURSES to joinusfor lunch. super-creative hands-on class!Allare welcome consultations during breaks. ThisisaFUN, advice -not destructive. Free fiveminute private you from getting valuable advice -constructive it’s justonanapkin!). Don’tletshyness stop publish. Bring yourownartorwriting (evenif straightforward and profitable itcanbetoself- publishers. We’ll alsotake agood lookathow for successfully submitting manuscripts tolarge development, picture booklayouts, and secrets to the published work.We’ll covermanuscript entire process, from the cultivation of ideas or illustrating achildren’s book?Learnthe COURSE DESCRIPTION:Everdreamed of writing Illustrate It, PublishIt! COURSE TITLE:The Children’s Book:WriteIt, conted.colorado.edu/ [email protected] 303-492-5148 WRITING & ILLUSTRATION COURSES DIRECTORY | 199

UC Continuing Edu/Boulder 808.956.3032 University of Chicago Publishing PREPARING & SUBMITTING 303-492-5148 Course Title: Children’s Literature Program [email protected] www.english.hawaii.edu/ 773-702-2768 conted.colorado.edu/ [email protected] ILLINOIS https://grahamschool.uchicago.edu/php/ CONNECTICUT REGULAR ILLUSTRATING COURSES museumpublishingseminar/index.php REGULAR WRITING COURSES Evanston Arts Center Waubonsee Community College Fairfield University 847-475-5300 630-466-7900 (nighttime continuing education courses) www.evanstonartcenter.org/catalog. www.waubonsee.edu/ 203-254-4110 aspx?did=5 MARKET SURVEYS [email protected] Winnetka Community House www.fairfield.edu/admission/csa_index.html OCCASIONAL WRITING COURSES 847-446-0537 www.winnetkacommunityhouse.org/ REGULAR ILLUSTRATING COURSES College of DuPage 630-942-2800 OCCASIONAL ILLUSTRATING COURSES University of Hartford Art School home.cod.edu/ Illustration Department Art Institute of Chicago Continuing www.hartfordartschool.org/departments- College of Lake County Studies DIRECTORIES & RESOURCES illustration.php 847-543-2000 312 629-6100 www.clcillinois.edu/ [email protected] OCCASIONAL WRITING COURSES www.saic.edu/continuing_studies/ace/index. Harper Community College html 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 [email protected] www.ccis.edu/ www.southernct.edu/english/ Newberry Library 312-943-9090 Ragdale Foundation www.newberry.org/ 847-234-1063

REGULAR ILLUSTRATING COURSES [email protected] PUBLICIZING YOUR PUBLISHED WORK Northern Illinois University www.ragdale.org/ Palm Beach Community College Department of English 561-868-3350 815-753-0611 IOWA [email protected] [email protected] REGULAR WRITING COURSES www.pbcc.edu/ www.engl.niu.edu/index.shtml University of Iowa Summer Writing GEORGIA Oakton Community College Festival REGULAR ILLUSTRATING COURSES Department of English C215 Seashore Hall 847-635-1953 The University of Iowa Savannah College of Art and Design [email protected] Iowa City, IA 52242 912-525-5000 www.oakton.edu/acad/dept/egl/ 319-335-4160 Illustration Master of Arts and Master of Fine www.continuetolearn.uiowa.edu/iswfest/ Arts Degrees Off Campus Writers Workshop www.scad.edu/illustration/ma_mfa. [email protected] LOUISIANA SCHOOL VISITS cfm#illudesign www.ocww.bizland.com/ REGULAR WRITING COURSES

HAWAII Ragdale Foundation University of New Orleans OCCASIONAL WRITING COURSES 847-234-1063 The University of New Orleans [email protected] 2000 Lakeshore Drive University of Hawaii/Hilo www.ragdale.org/ New Orleans, LA 70148 LEGAL QUESTIONS English Department 504-280-6000 808-974-7479 Saint Xavier University www.writing.uno.edu/ www.uhh.hawaii.edu/depts/english 773-298-3236 [email protected] University of Hawaii/Manoa www.sxu.edu/Academic/Liberal/English_ Department of English Foreign_Lang/default.asp [email protected] 200 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.salemstate.edu/academics/2500.php 978-542 6331 Salem StateCollege htm www.framingham.edu/dgce/cert_childlit_grad. 508-626-4550 Framingham StateCollege www.ccae.org/ 617-547-6789 Cambridge Centerfor Adult Edu. www.bcae.org/ 617-267-4430 Boston Centerfor Adult Edu. www.berkshirecc.edu/ Berkshire CommunityCollege REGULAR WRITINGCOURSES MASSACHUSETTS authors. and published children and young adult including editorsatmajor publishing houses courses are taught byexperts inthe field, publishing inthe field. The graduate online professionals who want astraight pathto Certificate Program is designed for working Writing for Children &Young Adults (WCYA) COURSE DESCRIPTION:The McDaniel College http://www.mcdaniel.edu/WCYA 410-857-2501 2 CollegeHill,Westminster, MD21157-4390 Graduate andProfessional Studies McDaniel College https://www.writer.org/workshops/index.asp 301 654-8664 Writer’s Center/Bethesda REGULAR WRITINGCOURSES MARYLAND www.umaine.edu/ 207-581-1110 University of Maine OCCASIONAL WRITINGCOURSES usm.maine.edu/stonecoastmfa/ 207-780-4141 Coast MFA Program) University of SouthernMaine(Stone REGULAR WRITINGCOURSES MAINE | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING www.massart.edu/x394.xml 617-879-7000 Massachusetts Collegeof Art www.capecodcreativearts.org/workshops.cgi 508-945-3583 Cape CodLiterary Arts Workshop www.ccae.org/catalog/courses/?id=1 Cambridge Centerfor Adult Education www.lesley.edu/aib/curriculum/programs.html 617-585-6600 Art Instituteof Boston REGULAR ILLUSTRATING COURSES www.umass.edu/ University of Massachusetts/Amherst edu/mfa for more information. by members of the public. Visitwww.pmc. writing for children—are availablefor audit classes inwriting for young adults and residency, selectcraft classes—including with afaculty mentor. During each10-day one-on-one from home via mail and email the semesters inbetween,students work and faculty members are oncampus;during summer (startof fall term)when students each winter (startof spring term)and two-year program features 10-day residencies genre study isavailableand supported. The writing for children &young adults. Cross- on fiction, poetry, creative nonfiction, and Writing Program enables students tofocus The Solstice Low-Residency MFA inCreative www.pmc.edu/mfa (617) 731-7631fax (617) 731-7684 Chestnut Hill,MA02467 400 HeathStreet Pine ManorCollege Creative Writing Program The SolsticeLow-Residency MFA in REGULAR WRITINGCOURSES MICHIGAN www.radcliffe.edu/research/arts.aspx Radcliffe Seminars COURSES OCCASIONAL WRITING/ILLUSTRATING 978-542-6515 Art Dept. Salem StateCollege www.cce.umn.edu/ Eduaction University of MinnesotaContinuing www.english.mnsu.edu/cw/index.htm Mankato StateUniversity www.loft.org/ 612-215-2575 The Loft Literary Center centerfordevelopingwriters.com/ 763-755-4966 Center for Developing Writers REGULAR WRITINGCOURSES MINNESOTA reced.aaps.k12.mi.us/reced.home/classes_ 734-994-2300 Education Ann ArborPublicSchoolsCommunity cfm?SRC=DB&SRCN=&GnavID=19 www.cccneb.edu/igsbase/igstemplate. [email protected] 308-398-4222 CommunityCollege REGULAR WRITINGCOURSES NEBRASKA www.slu.edu/index.xml 314-977-2222 St. LouisUniversity REGULAR WRITINGCOURSES MISSOURI www.extension.umn.edu/ [email protected] 612-624-1222 University of MinnesotaExtension OCCASIONAL WRITINGCOURSES www.cce.umn.edu/splitrockarts/ 612-624-4000 Program University of MinnesotaSplitRockArts REGULAR ILLUSTRATING COURSES www.cce.umn.edu/splitrockarts/ 612-624-4000 Program University of MinnesotaSplitRockArts WRITING & ILLUSTRATION COURSES DIRECTORY | 201

OCCASIONAL WRITING COURSES Brooklyn College SUNY/Purchase College PREPARING & SUBMITTING 718-951-5195 914-251-6000 Southeast Community College www.brooklyn.cuny.edu/pub/Department_ www.purchase.edu/Departments/Admissions/ 402-228-3468 Details.jsp?div=G&dept_code=32&dept_id=83 AreasOfStudy/ www.southeast.edu/academics/default.asp Cooper Union The New School OCCASIONAL ILLUSTRATING COURSES 212-353-4195 https://continuingeducation.newschool. www.cooper.edu/administration/continuing_ edu/flexibleregistration/index. Southeast Community College ed/Welcome.html jsp?frc=NC&q=NLIT,NWRW 402-228-3468 Children’s Book Illustration and Writing www.southeast.edu/academics/default.asp Gotham Writer’s Workshop Class runs 15 weeks starting in January and MARKET SURVEYS 212-974-8377 August NEVADA www.writingclasses.com/ REGULAR WRITING COURSES REGULAR ILLUSTRATING COURSES Long Island University/Brookville Truckee Meadows Community College 1-800-548-7526 Cooper Union 775-829-9010 www.liu.edu/liu_start.html www.cooper.edu/art/Welcome.html www.tmcc.edu/wdce/

Mediabistro Parsons School of Design DIRECTORIES & RESOURCES University of Nevada http://www.mediabistro.com/courses/ 212-229-5855 775-784-4700 childrens-book-writing-and-illustrating/new- www.parsons.edu/departments/index.aspx www.unr.edu/programs/graduate/cla/ york/8942/ Children’s Book Writing and Illustrating Quackenbush Studios NEW HAMPSHIRE Class runs 8 weeks throughout the year www.rquackenbush.com/workshops.htm REGULAR WRITING COURSES Check schedule for next class School of Visual Arts 209 East 23 Street Lebanon College NYU School of Continuing Education New York, NY 10010-3994 603-448-2445 212-998-7200 212-592-2251www.schoolofvisualarts.edu www.scps.nyu.edu/academic-programs/ REGULAR ILLUSTRATING COURSES continuing-education/ SUNY/Purchase College

914-251-6750 PUBLICIZING YOUR PUBLISHED WORK Lebanon College Quackenbush Studios www.purchase.edu/Departments/ 603-448-2445 www.rquackenbush.com/workshops.htm AcademicPrograms/arts/ www.lebanoncollege.edu/cgi-bin/ courselistings.pl Queens College OCCASIONAL WRITING COURSES 718-997-4600 OCCASIONAL WRITING COURSES www.qc.cuny.edu/Academics/Degrees/DAH/ Barnard College English/Pages/default.aspx 212-854-2116 University of New Hampshire Continuing www.barnard.edu/english/ Education Stony Brook University 603-862-2015 http://childrenslitfellows.com Hofstra University [email protected] COURSE DESCRIPTION: Twelve Fellows are Hempstead, NY 11549-1000 www.learn2.unh.edu/programs/index.html selected each year to work independently in the 516-463-6600 Spring and Fall with acclaimed faculty mentors, www.hofstra.edu/Academics/Colleges/HCLAS/

OCCASIONAL ILLUSTRATING COURSES and, twice a year, come together as a cohort - ENGL/MAECW/maecw_course_desc.html SCHOOL VISITS once in July during the Southampton Writers University of New Hampshire Continuing Conference and again in January for a special Learning Annex/NYC Eduaction Publishing and Editing Conference. During their www.learningannex.com/categories/ 603-862-2015 year, Fellows complete one publishable YA or writing+%2526+publishing [email protected] middle grade manuscript, or, for chapter and www.learn2.unh.edu/programs/index.html picture book writers, three to four separate Manhattanville College LEGAL QUESTIONS manuscripts. Admission is highly selective. 914-323-5239 NEW YORK Children’s Lit Fellows receive Advanced www.manhattanville.edu/ REGULAR WRITING COURSES Certificates in Creative Writing from Stony Brook AcademicsandResearch/GraduateStudies/ Southampton’s MFA in Creative Writing and Writing/Default.aspx Baruch College Literature. 646-312-5000 The Manuscript Workshop(VT) www.baruched.com/ www.themanuscriptworkshop.org/ 202 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING Lewis &ClarkCollege OCCASIONAL WRITINGCOURSES OREGON art.okstate.edu/ [email protected] 405-744-6016 Oklahoma StateUniversity REGULAR ILLUSTRATING COURSES english.okstate.edu/home/index.htm [email protected] 405-744-9474 Oklahoma StateUniversity REGULAR WRITINGCOURSES OKLAHOMA 800-223-4700 www.cia.edu/ Cleveland Instituteof Art OCCASIONAL ILLUSTRATING COURSES OHIO PREREQUISITES: English 110and English 120. and trends inthe children’s publishing industry. for children. The course willalsoconsider issues an opportunitytocreate writtenmanuscripts for children indifferent literary genres and with students withanunderstanding of how towrite COURSE DESCRIPTION:Thiscoursewillprovide INSTRUCTOR: Carole BostonWeatherford COURSE TITLE:Writing Children’s Literature www.uncfsu.edu/english/descriptions.htm 910-672-1416 Fayetteville, NC28301 G.L. ButlerBuilding,Room123 1200 MurchisonRoad Department of EnglishandForeignLanguages Fayetteville StateUniversity NORTH CAROLINA 516-463-5474 (ArtDept) Hofstra University www.graphicartistsguild.org/ Graphic ArtsGuild OCCASIONAL ILLUSTRATING COURSES id=163 specialprograms.mmm.edu/listings.cfm?cat_ [email protected] Marymount ManhattanCollege 717-626-8481 Rabbit HillWriter’s Studio www.chatham.edu/ 412-365-1100 Chatham College REGULAR WRITINGCOURSES PENNSYLVANIA www.pdx.edu/art/ 503-725-3515 Art Department Portland StateUniversity www.pcc.edu/ 503-244-6111 Portland CommunityCollege www.lclark.edu/college/departments/art/ 503-768-7390 Art Department Lewis &ClarkCollege OCCASIONAL ILLUSTRATING COURSES www.english.pdx.edu/index.php 503-725-4944 Portland StateUniversity www.pcc.edu/ 503-244-6111 Portland CommunityCollege www.occbww.com/ Workshop Oregon CoastChildren’s BookWriters www.lclark.edu/college/departments/english 503-768-7405 English Department www.dccc.edu/ 610-359-5050 Delaware CountyCollege/Media OCCASIONAL WRITINGCOURSES www.pcad.edu/ 717-396-7833 Pennsylvania College of Art+Design REGULAR ILLUSTRATING COURSES www.rosemont.edu/ 610-527-0200 Rosemont College TEXAS www.rhodes.edu/academics/4416.asp English Department 901-843-3000 Rhodes College/Memphis REGULAR WRITINGCOURSES TENNESSEE www.brown.edu/scs/adult/continuingstudies/ 401-863-7900 Brown University, ContinuingStudies OCCASIONAL WRITINGCOURSES www.risd.edu/conted.cfm 401-454-6200 Continued Education Rhode IslandSchoolof Design, REGULAR ILLUSTRATING COURSES RHODE ISLAND www.susqu.edu/ 570-374-0101 Susquehanna U/Selinsgrove www.utexas.edu/ 512-475-7348 University of Texas/Austin https://www.twu.edu/ 940-898-2000 Texas Woman’s University www.ollusa.edu 210-434-6711 Our Ladyof theLake University www.actx.edu/ 806-371-5000 Amarillo College OCCASIONAL WRITINGCOURSES www.utdallas.edu/ 972-883-2111 University of Texas/Dallas www.tcu.edu/ 817-257-7000 Texas ChristianUniversity REGULAR WRITINGCOURSES WRITING & ILLUSTRATION COURSES DIRECTORY | 203

Children UTAH Council of Adult Education PREPARING & SUBMITTING REGULAR WRITING COURSES COURSE DESCRIPTION: Investigate the world 03-9652-0611 of children’s fiction and nonfiction, including [email protected] Brigham Young University picture books, chapter books, and novels. Learn www.cae.edu.au/ 801-422-4636 to bring your own tales to life and captivate www.byu.edu children’s imaginations. Discover how to Australian Catholic University transform the idea of a story into an enthralling www.acu.edu.au/ University of Utah Continuing Education narrative, page by page. Explore how to use 801-581-6461 your own inner resources to strengthen your Deakin Univ/Malvern continue.utah.edu/ creative voice and prepare for the long, quiet 03-5227-1100 phase of writing and rewriting on your own. www.goingtouni.gov.au/Main/ MARKET SURVEYS Utah Valley State College CoursesAndProviders/ProvidersAndCourses/ 801-863-1636 REGULAR ILLUSTRATING COURSES HigherEducationProviders/VIC/ www.uvu.edu/ DeakinUniversity.htm University of Washington Extension Westminster College 206-685-8936 Box Hill College of TAFE 801-484-7651 www.extension.washington.edu/ext/ +61-3-9286-9222 www.westminstercollege.edu/ certificates/dap/dap_gen.asp www.bhtafe.edu.au/

COURSE TITLE: Certificate in Drawing and DIRECTORIES & RESOURCES VIRGINIA Painting Holmesglen College of TAFE REGULAR WRITING COURSES COURSE DESCRIPTION: Discover the artist holmesglen.vic.edu.au within and develop basic skills in drawing, Hollins University painting, and mixed media. Explore the 540-362-6000 technical, philosophical, and historical tools ONLINE www.hollins.edu/ of drawing and painting. Build composition skills as you draw still life, figure, and botanical ACCREDITED SCHOOLS ONLINE John Tyler Community College subjects. Study the basics of painting with http://www.accreditedschoolsonline.org/art- 804-796-4000 acrylic or oil. Learn to develop a personal style schools/ www.jtcc.edu/ and visual voice. ED2GO

WASHINGTON OCCASIONAL WRITING COURSES www.ed2go.com/cgi-bin/ed2go/newcrsdes.cgi? PUBLICIZING YOUR PUBLISHED WORK REGULAR WRITING COURSES course=wfc&title=Writing%5efor%5eChildren&d Kirkland Arts Center epartmentnum=PW Edmonds Community College 425-822-7161 Department of English www.kirklandartscenter.org/ WRITING FOR CHILDREN [email protected] Online course taught by Carol Parenzan Smalley WISCONSIN is good for credit at over 2400 colleges and Green River Community College OCCASIONAL WRITING COURSES universites around the world. A new section 253-833-9111 (Main Campus-Auburn) starts each month and runs for 6 weeks. Department of English Mount Mary College www.greenriver.edu/programs/az/info/english. Department of English shtm 414-258-4810, ext. 395 www.mtmary.edu/dept_english.htm Lake Washington Technical College

Department of English University of Wisconsin SCHOOL VISITS [email protected] www.uwsa.edu/ 425-738-8100 x308 [email protected] www.lwtc.edu/

Renton Technical College INTERNATIONAL 425-235-2352 LEGAL QUESTIONS www.rtc.edu AUSTRALIA REGULAR WRITING COURSES University of Washington Extension 206-685-8936 Victorian Writers’ Centre www.extension.washington.edu/ext/ 03-9654-9068 certificates/wfc/wfc_gen.asp www.vwc.org.au/ COURSE TITLE: Certificate in Writing for FROM IDEA TO EXECUTION RESEARCH RESOURCES FROM IDEA TO EXECUTION RESEARCH RESOURCES

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

magazines, news services, and more in the US. Links to publisher Web sites and submission GENERAL An International edition is also available. guidelines. Some articles about writing for children. REFERENCE Writers’ and Artists Yearbook A&C Black Limited, London How to Find Out of Print Books DIRECTORIES Directory of agents, publishers of all media types, by Marylaine Block American Library Directory festivals, advice from professional writers and marylaine.com/bookbyte/getbooks.html Bowker, annual more. An article full of great tips and links to Lists libraries by state and city in the US, used booksellers from an expert information Canada, Mexico, plus library networks and The Writer’s Handbook professional. special libraries, including those accessible to The Writer, annual the physically challenged. A similar directory covering all aspects of LibWeb publishing world, with how-to advice on writing lists.webjunctrion.org/libweb Directory of Special Libraries and Information and getting published. A directory site linking to libraries around the Centers world, including special research collections and Gale Research Writers’ Market museums. Lists libraries across the US that have special Writer’s Digest Books collections on many topics. Annual listing of publishers. Publishers, Book Stores, Distributors, & Vendors Encyclopedia of Associations GENERAL REFERENCE - ONLINE RESOURCES www.uky.edu/Subject/publishers.html#bs Gale Research, biennial Abebooks.com Links to all of the above. Lists association by type (eg. Trade and Consortium of international used booksellers; Business, Social Welfare). This is a good great for finding out of print books. BIBLIOGRAPHIES AND INDEXES reference tool for finding out about association The 101 Best Graphic Novels publications. Bookfinder.com Edited by Weiner, Stephen & Keith R.A. Search for new and used books and compare DeCandido Literary Market Place prices. Nantier Beall Minoustchine Pubishing, 2001 Bowker, annual Defines the graphic novel and offers concise Lists literary agents, artist and book services, Colossal Directory of Children’s Publisher’s reviews with reading levels. book clubs, publishers, book reviewers, www.signaleadeer.com 206 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Libraries Unlimited, 1995 Rothschild, D.Aviva Comics Graphic Novels: AGuide to Book-Length of the field. informative articles and interviews on aspects conferences, and contests. Alsoprovides submission guidelines. Listsorganizations, Includes up-to-date contact information and magazines and playsinthe youthmarket; Comprehensive guide topublishers of books, Writer’s Digest Books, updated annually Children’s Writer’s &Illustrator’s Market Senior High School Library Catalog. publishes: Junior High Library Catalogand author, titleand subjectindex. Wilsonalso Annotated listof selectedbooksfor children: H.W. Wilson Children’s Catalog Children’s BooksinPrint. Children’s BooksinPrint and SubjectGuide to Author, title, subject index. Alsoavailable: Bowker, annual Books inPrint Guide tobookreviews appearing inallmedia. Gale Group, three times yearly Book Review Index Guide tobookreviews appearing inallmedia. H.W. WilsonResearch, bi-monthly Book Review Digest world literature. Considered one of the bestencyclopedias of Harper-Collins, 1991 Siepmann, Katherine Baker Benet’s Reader’sEncyclopedia organized bytime period. 3,000 titlesfor young adults and adults Oryx Press, 1998 Adamson, Lynda Guide to Novels for Adults andYoung Adults American Historical Fiction:AnAnnotated books. Subject index toapproximately 23,000picture Libraries Unlimited 2001 Lima, Carolyn &John Lima Books A to Zoo: SubjectAccess to Children’s Picture | FROM IDEA TOEXECUTION | FROM IDEA January 1994-April2005. publications availablefor their use. Coverage is by stateorarea code thatcanmake print libraries feature enables userstofind libraries of these publications. Additionally, the locate available, linksare provided tothe full-text publications created byFederal agencies. When provides anindex toprint and electronic The Catalogof US Government Publications www.gpoaccess.gov/cgp/index.html US Government Publications the West Indies. Asia, Canada, Europe, Middle East,Mexico, US & Titles organized byAncient Civilizations, Africa, bookgirl3.tripod.com/historicalfiction.html Historical Fictionfor Children ONLINE BIBLIOGRAPHIESANDINDEXES Arranged chronologically by author. Little Brown, 1992 Bartlett, John Familiar Quotations all kinds of sources. Guide tofinding allkinds of information using Writer’s Digest Books, 1999 Metter, Ellen Facts inaFlash companion website:www.extremesearcher.com commercial sites, thisisthe bookfor you.See If you’re tired the thousands of false hitsand search and keys tothe invisibleordeep web. Strategies for going beyond simple keyword CyberAge Books, 2004 Hock, Randolph Extreme Searcher’s Handbook Greenwood Press, 1987 Adamson, Lynda G. Children andYoung Adults A Reference Guideto Historical Fictionfor Comprehensive guide torecent historical fiction. Libraries Unlimited, 2005 Johnson, Sarah Historical Fiction:AGuideto theGenre characters, literary allusions, art,and music. information onbooks, authors, fictional Updated version of Benet’s Reader with HarperCollins, 2002 Perkins, George and Perkins, Barbara American Literature HarperCollins Reader’sEncyclopedia of RESEARCH AIDS sites.) is often availablethrough Public Library Web htm. (The fullWorldCat service [for fullrecords] go to:www.oclc.org/worldcat/open/how/default. code orcity. To read more aboutthisservice, WorldCat sitewilldirect youtoinputyourzip author’s name and aword from the title. The library” along withthe titleof the workorthe Run asearch withthe phrase “Find inyour libraries inyour area: The waytofind outifabookisavailablein WorldCat: FindinaLibrary Web Service current events and much more. dictionaries, encyclopedias, maps, yellowpages, Well-organized general reference websitewith RefDesk.com author’s completeorpartial name, Search for aquote byentering aphrase oran www.quotationspage.com The Quotations Page image libraries, expert databases, and more. government information, maps, styleguides, Easy navigation toencyclopedias, almanacs, LibrarySpot.com guides and much more. grammars, current events, quotations, style demographic data, biographies, geneology, encyclopedias, calendars, conversion tools, includes almanacs, directories, dictionaries, Comprehensive, user-friendly reference site www.ipl.org/div/subject/browse/ref.00.00.00 Internet PublicLibrary: Reference Elements of Style. Gray’s Anatomy, Roget’s Thesaurus and Strunk’s sources, poetry, fiction and nonfiction, including multiple dictionaries, encyclopedias, quotation General Reference website. Free accessto Bartleby.com ONLINE RESEARCHAIDS for easyaccess. maps conveniently arranged in26subjectareas Contains awealthof facts, figures, chartsand A researcher’s dream and abrowser’s delight. Hyperion, 2002,4thedition Farqis, Paul &The New York Public Library New York PublicLibrary DeskReference Dated, butvaluable source. Cross-referenced. Wilson, 1955 Shankle, George American Nicknames DICTIONARIES, STYLE&USAGE GUIDES FROM IDEA TO EXECUTION | 207

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

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

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

Crowell, 1995, 3rd edition Guinness Book of World Facts SCHOOL VISITS Excellent dictionary covers all periods of Oxford English Dictionary Bantam, annual American history with quotations and citations. Murray, James Gives facts on tallest, fastest, slowest, etc. of Oxford University Press, 1989 whatever it is you want. Good for winning bets Dictionary of American Slang This is the monumental granddaddy of the or settling arguments. and Colloquial Expressions English language, present every word introduced Spears, Richard A. since 1150, with etymology and quotations to Statesman’s Yearbook 2006, 142nd Edition LEGAL QUESTIONS National Textbook Co., 1989 show usage. Turner, Barry, ed. , 2005 Dictionary of Modern English Usage Roget’s International Thesaurus Standard source for info on every country, Fowler, Henry W. HarperCollins, 1992 including members of diplomatic corps, and Greenwich House, Oxford, 1979 Grouped according to related concepts and short bibliography for each. Also see guidebooks Famous guide to usage of the English language. alphabetically arranged. like Fodor’s, published annually, about foreign Essays on grammar, syntax, word choice, and countries and regions of the US 208 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org American Library Association, 1982 Carr, Jo Beyond Fact Libraries Unlimited, Inc.,1989 Roginski, Jim Young Adults, Vols. IandII and Illustrators of Booksfor Children and Behind theCovers: Interviews withAuthors Peck, R.L.Stine, and Jane Yolen. Hopkins, Thatchur Hurd, Sid Fleischman, Richard Authors include: Rosemary Wells, LeeBennett Short interviews and quotes organized bytopic. Quill DriverBooks, 2002 Koehler-Pentacoff, Elizabeth Writing Children’s Literature the Art,Business, theCraft andtheLifeof Children’s Authors andIllustrators Talk About The ABC’sof Writing for Children: 114 CREATORS ABOUT CHILDREN’SBOOKSANDTHEIR and the baseballalmanac. infoplease, Guinness world, CIAworldfactbook Access toanumber of almanacs, including www.libraryspot.com/almanacs.htm Library Spot.com Online almanac InfoPlease.com events worldwide. The Calendar Directory of days, dates & DateDex.com statistics oncountries of the world. maps, political maps as well askey facts and Atlapedia Online contains fullcolorphysical Atlapedia.com ONLINE ALMANACS information, completelyupdated. A great source for allkinds of quick reference World Almanac, 2005 World AlmanacandBookof Facts 2006 what youneed. It’s good toknow thatone of them willhave Slight differences inarrangement and features. World Almanac and Bookof Facts Reader’s Digest Almanac Information PleaseAlmanac economics, industry, and more. Statistics onpopulation, business, ethnicity, Gale Research Inc., 1994 Statistical Abstract of theUnitedStates | FROM IDEA TOEXECUTION | FROM IDEA literature withbibliographies. Guide tochildren’s booksand issuesinchildren’s University of Illinois, 1999,3rd edition Hearne, BetsyGould&Deborah Stevenson A CommonsenseGuide Choosing Booksfor Children: 325 terms relevant tochildren’s literature. Neal-Schuman, 2002 Latrobe, K.,Brodie, C.S.&White, M. Definitions, Resources andLearning Activities The Children’s Literature Dictionary: artist. biographical sketches and quotations from the Full colorreproductions from booksalong with PBC International, 1998 Cummins, June Children’s BookIllustration andDesign the major authors and illustrators. developmental perspectives, concentrating on of the field, including psychological and Classic college text, thisbookisanoverview HarperCollins, 1991 Sutherland, Zena Children andBooks publishers, teachers, reviewers and librarians. from view points of writers, editors, illustrators, Considers major issuesin children’s literature Lothrop, Lee&Sheppard, 1981 Hearne, Betsyand Marilyn Kaye, eds. Sutherland Children’s Literature inHonorof Zena Celebrating Children’s Books:Essayson Allsburg Marcia Brown, David Wiesner &ChrisVan Robert McCloskly, William Steig, , Walker, 2002 Marcus, Leonard Paths to theCaldecottMedal A CaldecottCelebration: SixArtistsandTheir examination of selectedEuropean classics. place of booksinthe livesof children, withan A lyrical and philosophical defense of the Horn book,1960 Hazard, Paul Books, Children andMen science, history, biography and controversy. reviewers onchildren’s nonfiction, including Essays bylibrarian, editors, writersand Inspirational essays byone of the foremost E.P. Dutton/Lodestar Books, 1988 Paterson, Katherine Books for Children Gates of Excellence: OnReadingandWriting such asBruce Brooks and RobertCormier. insight into the more complex writing of authors Looks critically atthe problem novel and offers History of the YA novel from 1960sto1990s. HarperCollins, 1996 Cart, Michael Growth and ChangeinYoung Adult Literature From Romanceto Realism:FiftyYears of offer criteria for evaluating them. Examine best examples of children’s booksand HarperCollins, 1997 Horning, Kathleen T. Children’s Books From Cover to Cover: Evaluating andReviewing of children’s books, and areading list. process, historyof children’s books, importance should bebooksfor children. Coverswriting Discussion bywell-known editoronwhy there The John DayCo.,1970 Karl, Jean and TheirCreators From Childhoodto Childhood:Children’s Books adult points of view. populated by disobedient children who challenge These essaysexplore why children lovebooks Avon, 1991 Lurie, Alison Books They Do Don’t Tell theGrown-Ups: Why KidsLove the award winning booksand aglossaryof terms. The appendices include evaluating, and alistof recommended books. with asummary, suggestions for reading and books, and nonfiction. Eachchapterconcludes setting, point of view, style, tone, rhyme, picture Chapters covergenre, character, plot,theme, HarperCollins, 1990 Lukens, RebeccaJ. A CriticalHandbookof Children’s Literature stories for children. scholarship, onthe nature and importance of perspectives, including writing, teaching, 50 essays, mostly British,from avariety of Atheneum, 1978 Meek, Margaret, etal. Reading The CoolWeb: ThePattern of Children’s FROM IDEA TO EXECUTION | 209 children’s writers. Perceptive, honest, wise, this this exhaustive tome covering 350 years of The Spying Heart PREPARING & SUBMITTING should be required reading for everyone in the children’s books. Paterson, Katherine field. Lodestar Books, 1980 Only Connect: Readings on Children’s Companion to Gates of Excellence provides The Heart Has its Reasons: Young Adult Literature more of Paterson’s book reviews, speeches, Literature with Gay/Lesbian/Queer Content Egoff, Sheila, et al and essays, and gives insight into writing for 1969-2004 (Scarecrow Studies in Young Adult Oxford University Press, 1969, 2005 children. Literature) Over 40 essays representing a varied and Cart, Michael fascinating collection of writers and scholars, Ways of Telling: Conversations on the Art of Scarecrow Press, 2005 their views and recommendations. the Picture Book Examines the growing body of literature for Marcus, Leonard MARKET SURVEYS young adults with gay themes or characters. Pauses: Autobiographical Reflections of 101 Dutton, 2002 Creators of Children’s Books Interviews with 14 prominent picture book Humor and Children’s Development: Hopkins, Lee Bennet creators, including Maurice Sendak, Mitsumasa A Guide to Practical Applications HarperCollins, 1995 Anno, Eric Carle, Tana Hoban, Karla Kuskin, McGhee, Paul A collection of interviews with the Greats of William Steig, Charlotte Zolotow, gives insight Haworth Press, Inc.1987 children’s books offering sound advice as to into the creative process. A study of children’s humor, including a quick what being a writer entails. reference table and thorough bibliography. What’s So Funny?: Wit and Humor in American DIRECTORIES & RESOURCES Picture This: How Pictures Work Children’s Literature Innocence and Experience: Essays and Bang, Molly Cart, Michael Conversations on Children’s Literature SeaStar, 2000 HarperCollins, 1995 Harrison, Barbara and Gregory Maguire Fascinating and nsightful analysis of the Offers a serious look at the importance of Lothrop, 1987 emotional components of color, line and humor in children’s literature. Over 70 lectures, presentations and informal perspective by award winning children’s book remarks gleaned from 10 years of programs author and illustrator. ABOUT CHILDREN’S BOOKS AND THEIR at Simmons College Center for the Study CREATORS - ONLINE RESOURCES of Children’s Literature by notable authors, Radical Change: Books for Youth in a Digital Barahona Center for the Study of Books in illustrators, editors and others in field. Age Spanish for Children and Adolescents Dresang, Eliza T. www.csusm.edu/csb

The Invisible Child Wilson, 1999 Promotes literacy in English and Spanish; PUBLICIZING YOUR PUBLISHED WORK Paterson, Katherine Thought-provoking and in-depth exploration about books centered around Latino people and Dutton, 2001 of the changes in YA books and how young culture. Two searchable databases. More moving, thought-provoking and inspiring people raised in the electronic age interact essays and speeches by award-winning novelist. with literature differently than did previous Carol Hurst’s Children’s Literature Site generations. Looks at current YA literature and www.carolhurst.com The Mask Beneath the Fact: Reading about methods of evaluation. Book reviews, subject lists, teaching ideas, and with, Writing about and for Children professional topics. Konigsburg, E.L. The Seed and the Vision: On the Writing and Library of Congress, 1990 Appreciation of Children’s Books Children’s Book Council An eloquent and moving talk delivered in 1989 Cameron, Eleanor www.cbcbooks.org by the Newberry Award winning author about Dutton, 1993 Sponsored by a consortium of publishers; how books touch and shape children’s lives, Eleven essays explore the creative process includes book and author showcases, directory about why children’s books are important. and provide insight into the full spectrum of of member publishers, resources for writers.

children’s literature. Companion to the author’s SCHOOL VISITS The Marble in the Water: Essays on Green and Burning Tree. Children’s Literature Contemporary Writers of Fiction for Children www.childrenslit.com/home.htm and Young Adults Side by Side: Five Favorite Picture-Book Teams Reviews, themed book lists, author/illustrator Rees, David go to Work interviews, ideas for teachers. Horn Book, 1980 Marcus, Leonard Academic criticism of writers: Judy Blume, Walker, 2001 Children’s Literature Web Guide LEGAL QUESTIONS Robert Cormier, Beverly Cleary Ursula LeGuin, In depth examination of the collaborative www.ucalgary.ca/~dkbrown/index.html E.B. White, and others. processes includes Yorinks & Egielski, Lane Directory of Links related to children’s books Smith and Molly Leach, Julius Lester and Jerry Norton Anthology of Children’s Literature Pinkney. Written for ages 8 up, of interest to Cooperative Children’s Book Center Zipes, Jack, et al all ages. www.soemadison.wisc.edu/ccbc Norton, 2005 Annotated bibliographies, author interviews, 170 authors and illustrators included in etc. 210 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org and mind. Insight into how the writerworksfrom heart getting startedand continuing asawriter. Both practical and inspirational advice on 1981, Diane Pub. Co,2004 Harcourt Brace, 1934;J.P. Tarcher Paperback, Brande, Dorothea; forward byJohn Gardner Becoming aWriter on writing exercises from her workshops. and working witheditors. Practical help based elements of craft, choosing agenre and finding Well-respected, longtime editorsheds light on Archon Books, 1991 Epstein, Connie C. Techniques for theCraft The Artof Writing for Children: Skillsand published. writers canimprove chances of getting Insight into whateditorslookfor and how Writer’s Digest Books, 1989 Krull, Kathleen 12 Keys to Writing Books thatSell FOR CHILDREN ILLUSTRATING WRITING & INFO ON GENERAL publishers, booksellers, and more. organizations, materials and techniques, Links toconferences, awards, galleries, www.picture-book.com/resources.asp illustrators, publishers, &booklovers PictureBook: Theresource for children’s learning, ascholarly snow-white, and more. young adult literature, linking literature with Pages include historyof children’s literature, www.scils.rutgers.edu/~kvander Kay E.Vandergrift’s SpecialInterest Page book from around the world. Microsoft Research. Adigital library of children’s Institute for Museum and Library Services and Project of the National Science Foundation, the www.icdlbooks.org International Children’s Digital Library | FROM IDEA TOEXECUTION | FROM IDEA

writers’ personalities and demystifies the writer- & Schuster and Doubleday. She hasinsights into Lerner wasaneditoratHoughton-Mifflin, Simon editor’s point of view. Now aliterary agent, Reflections onwriting and publishing from an Riverhead Trade, 2001 Lerner, Betsy Writers Forest for theTrees: AnEditor’s Advice to novelizations and working withpackagers. book alsooffers information onwriting YA Christopher Pike, R.L.Stine, and others. This and teens with Francine Pascal, AnnM.Martin, Short articles and essaysonwriting for children Romantic Times Publishing Group, 1990 Falk, Kathryn and Cindy Savage Published a Novel for Young ReadersandGetit Fiction Writers’ Magazine:How to Write entertaining and instructive read. and examples from her work,making itan to troubleshooting, Naylor usesanecdotes character development, to style, tostructure author of .From nurturing the idea to the children’s novel byNewberry-winning Everything youwanted toknow aboutwriting Writer, 1989 Naylor, Phyllis Reynolds The Craft of Writing theNovel to publication from submission topromotion. in picture bookform, and offers practical steps children, provides overview of what’savailable Explore the principles of good writing for Writer’s Digest Books, 1981 Roberts, EllenE. How to SellIt The Children’s Picture Book:How to Write It, master, essential for illustrators. “Bible” for bookdesign and production bythe Bowker, 1979 Lee, Marshall Production, Editing Bookmaking: TheIllustrated Guideto Design, writing itself. engagement inthe deep and satisfying workof comes, not from publication, butfrom regular offers anessential insight: awriter’sfulfillment the writing process and the writer’slife. She her soulwhileoffering practical guidance on In thiswise, funny, gentle bookLamott bears Pantheon, 1994 Lamott, Anne Bird by Bird Easy-to-read information basic tothis Writer’s Digest books, 1994,2000 Karl, Jean How to Write andSell Children’s Picture Books structuring the picture book. with afocus onthe special problems of Analyses classic picture bookstoteachbasics E &Publishing, 2004 Bine-Stock, EveHeidi and OtherFavorite Stories Night Gorilla,Sylvester andtheMagicPebble, the WildThingsAre, TheCarrot Seed,Good Chicka Chicka BoomBoom,Corduroy, Where Learning from TheVery HungryCaterpillar, How to Write aChildren’s Picture Book: pro. Practical and inspiring ideas for beginner and publishing and the artistic craft of writing. earlier overview of the business side of A revised and expanded version of Seuling’s Wiley; 3rd edition, 2004 Seuling, Barbara Published How to Write aChildren’s BookandGetIt interactive computerformats. writers everything from whole language to publishers, and opportunities for teachers and covers the writing process, educational This reference bookonthe educational market Walker and Company, 1994 Stangl, Jean Writer’s Guideto EducationalPublishing How to GetYour Teaching IdeasPublished:A organizations. bibliography of books, Web sites, courses, and will interest allwriters. Exhaustiveannotated nonfiction, butthe insight into publishing world dealing withpromotion. Focusisonadult empowers writersingetting published and Common sense, nitty-grittyadvice that Collins; 5thedition, 1998 Appelbaum, Judith A CompleteandCandidGuide How to GetHappilyPublished: Art Spiegelman, AlCapp,and RobertCrumb. aspect of story. Illustrated withsamplesfrom while showing how touseartenhance every Emphasizes the importance of good narrative Poorhouse Press, 1996 Eisner, Will Graphic Storytelling editor relationship. FROM IDEA TO EXECUTION | 211 specialized field with chapters on specific types on interviews, humor, usage and punctuation. Highly personal, intelligent essays by some PREPARING & SUBMITTING of picture books, marketing, acceptance. Doesn’t address children’s writing. of the most accomplished children’s authors: Richard Adams, Nina Bawden, Leon Garfield, Jill How to Write for Children and Young Adults: Picture Writing: A New Approach to Writing Paton Walsh and 18 others. What to Write, How to Write It, Where to for Kids and Teens Sell It Suen, Anastasia The Way to Write for Children Fitz-Randolph, Jane Writer’s Digest Books, 2002 Aiken, Joan Johnson Books, 1987 Based on Suen’s Intensive Picture Book Courses, St. Martin’s Press, 1982, 1998 A complete handbook, on writing fiction and offers advice and exercises, leads writers to set With as much advice on how not to write for nonfiction for children and YA with principles, up good work habits and reflect on their process children as how-to, this is thought provoking, techniques and examples. along the way. idiosyncratic commentary from a master MARKET SURVEYS practitioner who takes children and their How to Write, Illustrate and Design Children’s Steering the Craft: Exercises and Discussions literature seriously. Books on Story Writing for the Lone Navigator or the Gates, Frieda Mutinous Crew What’s Your Story? A Young Person’s Guide to Lloyd-Simone Moore, 1986 LeGuin, Ursula Writing A practical reference from initial idea to signed Eighth Mountain Press, 1998 Bauer, Marion Dane contract. Focusing on story as exploration of change, Clarion, 1992

LeGuin shares techniques, examples, and Though this book is aimed at young people, DIRECTORIES & RESOURCES Illustrating Children’s Books: Creating Pictures exercises in a warm, encouraging voice. She it contains valuable information – from idea for Publication also offers advice for making critique groups through finished manuscript – for all writers on Salisbury, Martin productive and constructive. how to structure a story and keep the tension Barron’s Educational Series, 2004 high. A brief introduction to many aspects of Story Sparkers: A Creativity Guide for children’s book illustration from materials to Children’s Writers Writing and Illustrating the Graphic Novel: techniques to design and composition, using Thornton Jones, Marcia & Debbie Dadey Everything You Need to Know to Create artwork from children’s books to demonstrate Writer’s Digest Books, 2000 Graphic Works ideas. Advice and exercises by the authors of the Chinn, Michael Bailey School Kids books. Barron’s Educational Series, 2004 The Illustrator’s Notebook Nuts and bolts guide to the graphic novel from

Kingman, Lee, ed. Story Writing idea to finished work. Looks at genres within PUBLICIZING YOUR PUBLISHED WORK The Horn Book, Boston, 1978 Mirrieless, Edith this format, such as sci-fi, crime, gothic, and Artists discuss their philosophies and share the The Writer, 1947 literary fiction. Advice on publication process. methods of illustration. Dated, but aspects of the craft are timeless; especially helpful are the chapters on time and Writing Books for Children It’s a Bunny-Eat-Bunny World: A Writer’s characterization. Yolen, Jane Guide to Surviving and Thriving in Today’s The Writer, 1984 Competitive Children’s Book Market Techniques of Examines the wide range of children’s literature, Litowinsky, Olga Surmelian, Leon its various types and genres. Inlcudeds business Walker, 2001 Doubleday, 1969 advice from marketing basics to the author- Historic overview of children’s publishing This classic work for writers struggling with editor relationship industry. Advice on craft of writing, business of the intricacies of plot, theme, and structure, is getting published and surviving the writing life. clear, concise, and truly helpful. Writing Books for Young People Answers many fundamental questions. Giblin, Jame Cross

Take Joy Writer, Inc. 1990, 1995 SCHOOL VISITS Nonfiction for Children: How to Write It, How Yolen, Jane This experienced editor and award winning to Sell It Writer, Inc, 2003 author offers a encouragement and solid advice Roberts, Ellen E. A spirited and personal look at the writing in this thorough, practical guide with specifics Writer’s Digest Books, 1986 process with advice both practical and on picture books, nonfiction, middle grade and Comprehensive guide covers writing and inspirational by award-winning author of just YA. marketing to magazine and book market. about every genre of children’s book. Yolen has LEGAL QUESTIONS taught writing for many years at Centrum in Writing Down the Bones On Writing Well Port Townsend, WA. Goldberg, Natalie Zinsser, William Shambhala, 1986 Collins, 25th Annv. Ed., 2001 The Thorny Paradise: Writers on Writing for Designed to free up the muse. Uses exercises This is an overview of the profession and Children to get writers past their own inner critic and business of writing, and a thoughtful guide Blishen, Edward into the creative soul of writing. A nurturing to techniques of the craft, including advice Kestrel, 1975 approach for beginners and pros. 212 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org An introduction to how authors canpromote Raab Associates, 1992,1999 Raab, SusanSalzman Promotion An Author’s Guideto Children’s Book ILLUSTRATING OF WRITING& THE BUSINESS houses. news onwhich editorshavemoved towhich interviews; current trends inpublishing. Updated Articles onwriting, illustrating, publishing, www.underdown.org Site The PurpleCrayon, AChildren’s BookEditor’s Articles, tips, linkstopublishers. www.childrenslit.com Children’s Literature Comprehensive Database Children’s Writer’s &Illustrator’s Market . children’s publishing from Alice Pope, editorof Not-quite-daily news and information on www.cwim.blogspot.com Market (CWIM)Blog Alice Pope’s Children’s Writer’s &Illustrator’s ONLINE RESOURCES WRITING &ILLUSTRATING FORCHILDREN- form, content and style. Chapters onsensory perception, rhythm, sound, how tomake useof itwhen writing for them. Looks atthe language of young children and Doubleday, 1981 Lewis, Claudia Writing for Young Children nonfiction. Nuts and boltsof juvenilewriting, fiction, and Writer’s Digest, 1989 Wyndham, Lee, revised byArnold Madison Writing for Children andTeenagers adult. sections onhow children’s humor differsfrom read orhear the work.Ofparticular note are the emphasis onconnecting withthe childwho will the principles of writing for children withan published under the name Jane Thayerdiscusses Prolific writerwhose picture bookswere , 1989;, 1991 Woolley, Catherine Writing for Children | FROM IDEA TOEXECUTION | FROM IDEA licensing agreements. background for understanding and negotiating books, this guide gives the reader the creates characters and ideas beyond children’s Aimed atthe illustrator/artist/designer who Allworth Press, 1995(North Light Books) Leland, Caryn R. Licensing ArtandDesign Legal issues, copyright, etc. Allworth Press, 1999 Crawford, Tad Legal Guidefor theVisualArtist face, withapolitical analysis. realistic approach tothe many obstacles writers on many aspects of the business of writing; a market, thisbookhasvaluable information While not specificallyonthe children’s book National WritersUnion, 2000 Waller, James, editor Freelance Writer’s Guide coping withcontract-related questions. a thorough index, aswellusefuladvice on what “workfor hire” means. The bookincludes when toobtainarelease orpermission, and to understand how copyright protection works, offering basic assistance toany writerseeking out the general principles of copyright law, Newly revised informative legalguide sets Owl Books, 2004 Kozak, EllenM. Publishing Law Every Writer’s Guideto Copyright and publication tomarketing. essential guide coverseverything from idea to Concise, comprehensive and practical, this Shepard Publications, 2000 Shepard, Aaron Write, Publish,andPromote aBookfor Kids and PublishingChildren’s Books, orHow to An Award WinningAuthor’s TipsonWriting The Businessof Writing for Children: Covers publishing and filmindustries. Capital Books, 2005 Davis, Stacy, etal Rights andResponsibilities Author LawAto Z:ADesktop Guideto Writers may beof most interest tothe beginner. first time authors, and pros, although thisguide Provides suggestions for self-published writers, strategy, orifthe publisher makes littleeffort. their booksinaddition tothe publisher’s taxes. collaboration, agents, defamation, copyright and Covers many legalissuesincluding contracts, Perseus BooksGroup, 1998 Bunnin, Brad &Peter Beren Handbook for theWorking Writer Writer’s LegalCompanion:TheComplete (usually) negotiable. provides insight onwhatisfair and whatis emphasis onwhateachclausemeans. Also special problems of children’s bookswithan typical children’s bookcontract, geared tothe provides aclause-by-clausetripthrough a children’s bookcontracts, thispractical guide Written byanattorney who specializes in Fern HillBooks, 1988 Flower, Mary A Writer’s Guideto aChildren’s BookContract novice and pro, withextensive resource list. Incisive guide to all aspects of promotion for the Perigee Books, 2003 Deval, Jacqueline Getting Your BooktheAttention ItDeserves Publicize Your Book:AnInsider’sGuideto but applicable. nonfiction; not specifically forchildren’s writers, the reader. Emphasisonmagazine articles and editor, and, equally important, how totreat a friendly, professional relationship withan Sound advice onestablishing and maintaining Writer’s Digest Books, 1989 Brohaugh, William Professional Etiquettefor Writers published before 1963are under copyright. Search byauthor ortitletofind outifbooks www.scils.rutgers.edu/~lesk/copyrenew.html Copyright Renewal Records music and other registered works. Search for copyright information aboutbooks, www.copyright.gov/records/cohm.html Copyright Office Selection of events across the US and worldwide www.loc.gov/loc/cfbook/bookfair.html Literary Events Center for theBook:BookFairs andOther related sites Links tomany writing, bookand publishing Bookwire.com ONLINE RESOURCES BUSINESS OFWRITING&ILLUSTRATING - FROM IDEA TO EXECUTION | 213

Children’s Literature in Education School Library Journal PREPARING & SUBMITTING WRITING, Articles and interviews on noted children’s monthly, except June and July authors. Reviews, articles on children’s books in A large 100-page journal, it has columns and ART & BOOK the classroom. departments of interest to school librarians, as well as essays and book reviews of wider appeal. JOURNALS Communication Arts 8 issues, annually Wildlife Art Magazine The Artist’s Magazine www.commarts.com semi-monthly monthly Founded in 1959, Communication Arts is the Information about art and artists depicting www.artistsmagazine.com leading trade journal for visual communications. the natural world, including wildlife, Western, Contains how-to articles and markets for artists. It’s the largest design magazine in the world Southwestern, Indian, landscapes and more… MARKET SURVEYS and showcases the top work in graphic design, subjects include artistic media, the masters and Booklist advertising, illustration, photography and new artists, regional and national art shows, semi-monthly September-June, monthly July- interactive design, as well as information on and collectibles. August industry trends and annual competitions. Reviews fiction and nonfiction books for young The Writer adults, as well as Spanish language books and The Horn Book Magazine monthly children’s books. Special sections include media bi-monthly www.writermag.com reviews, foreign language books, and reference Contains essays, news, and book reviews. Each Articles and essays on writing, often from DIRECTORIES & RESOURCES and subscription reviews. booklist of reviews is divided into sections luminaries in the field. Monthly market lists. (Picture Books, Stories for Younger Readers, Folk Book Links Tales and Legends). Special sections include Writer’s Digest Bi-monthly “Of Interest to Adults” and “Recommended Articles of instruction for writers. Tips on “how A publication of the American Library Paperbacks.” to” and suggested markets for all kinds of Association (ALA), Book Links pulls together literary productions. books around themes such as forests, Kirkus Reviews endangered animals, or the Civil War. Many Reviews adult and children’s books. website ONLINE JOURNALS articles contain teaching strategies and features many free reviews. Children’s Literature – Electronic Journals and discussion questions. A comprehensive guide for Book Review using books in the classroom, Book Links also www.acs.ucalgary.ca/~dkbrown/journals.html includes thematic bibliographies with related A journal which focuses on the broader world Directory of Links. PUBLICIZING YOUR PUBLISHED WORK discussion questions and activities, author and of international children’s literature, but with illustrator interviews and essays, and articles frequent reference to and discussion of fairy ArtistsNetwork.com by educators on practical ways to turn children tales. Published three times a year. Artist forums and community site hosted by the onto reading. publishers of The Artist’s Magazine. Parent’s Choice: A Review of Children’s Media Bulletin of the Center for Children’s Books bi-monthly CreativeHotList.com monthly, except August As the subtitle suggests, this informal A dedicated career site for creative professionals An advisory committee meets weekly to discuss newspaper supplies articles, reviews, hosted by the publishers of Communication Arts books and reviews, which are written by the bibliographic suggestions about a variety of Magazine. editor. The result is a list of “New Titles for children’s media. Each issue covers books, Children and Young People” in alphabetical television, films, records, and includes a special order by author. Each entry is coded for child’s Parent’s Essay. PERIODICAL reading range and kind of recommendation.

Intended for librarian use, it is of interest to Publisher’s Weekly INDEXES SCHOOL VISITS anyone who follows new books for children. The journal of the book industry. Contains articles, reviews, statistics of sales, marketing/ Without an index to their contents, the user Children and Libraries, The Journal of the editorial news. Two issues annually (February of periodicals is hopelessly lost. This fact was Association of Library Service for Children and July) are devoted to children’s books. realized nearly a century ago when a group of Three times a year; Discusses library services librarians compiled the first index. to children; articles on children’s literature, Reading Teacher LEGAL QUESTIONS authors and illustrators. monthly October-May; and winter supplement Children’s Magazine Guide A professional journal for teachers of reading, Libraries Unlimited, to date Children’s Book Review Magazine it has specialized articles and book reviews. Nine issues per year; subject index to children’s quarterly “Critically Speaking” reviews literature for magazines at the elementary and middle school Devoted to reviewing children’s books and some children. level. media. 214 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org A database of articles from many popular www..com Look Smart/FindArticles now available for free. available through fee-basedservices only, are documents (issued1993-2004), previously 1966. More than 107,000full-text non-journal more than1.1 million citations going backto searching the ERIC bibliographic database of the public with acentralized ERIC websitefor literature. The ERIC online systemprovides database of journal and non-journal education Education, produces the world’spremier Sciences (IES) of the US Department of (ERIC), sponsored bythe Institute of Education The Education Resources Information Center Authoritative Education Database www.eric.ed.gov ERIC materials. will discoveranamazing wealthof resource website for their Databasesection and you is alibrary card. Check your public library’s access toawide variety. Usually allthisrequires However, public libraries offer their patrons indexes and fulltext articles canbepricey. Commercial Databasesthatoffer searchable ONLINE DATABASES both foreign and domestic. Classified guide towide range of periodicals, Bowker, todate Ulrich’s InternationalPeriodical Directory technology. education, engineering, law, medicine, psychology, indexes relating tospecial subjects:art,agriculture, of interest tothe general public. There are alsomany Author, subject,and titleindex topopularmagazines Wilson, todate Reader’s Guideto Periodical Literature to you. other newspapers thatmay bemore available in theTimes,youcanlocatesimilarreports in Times. Bynoting the date anevent wasreported This indexes events reported inthe NewYork New York Times Co.,todate New York TimesIndex stations and cable. collecge publications, radio and television Includes US newspapers, mazazines, journals, Gale, todate Media Gale Directory of Publications&Broadcast | FROM IDEA TOEXECUTION | FROM IDEA Education. Entertainment, Business &Finance, Reference & fee todownload. Categories include: Arts& free articles onlyorthe ones thatrequire a journals and magazines. You cansearch the Public Library. originated asaseries of talksatthe New York McCullough, RobertCaro, and Jean Strouse) that contemporary biographers (including David A usefulcollection of essaysbysix Houghton Mifflin,1988 Zinsser, William, ed. of AmericanBiography Extraordinary Lives: TheArt&Craft reference listof magazine articles and books. to three pages and provides agood starting subject and/or beginning awork.Eachruns one information for looking into abiographical Annual with index. Overall biographical Wilson, todate Current Biography Yearbook current people. Points tobiographical sources of historical and Wilson, annual Magazines to Biographical MaterialinBooksand Biography Index: ACumulative Index problems of writing biography. A classic discussion of the pleasures and Little Brown &Company, 1969 Bowen, Catherine Drinker Biography: TheCraft andtheCalling and marketing. on everything from handling quotes toresearch Fantastic reference thatprovides helpful advice Harper and Row, 1986 Lomask, Milton The Biogrpaher’sCraft BIOGRAPHY Directory siteusefulfor finding news sources www.naa.org/hotlins/index.asp Newspaper Associationof America Directory siteusefulfor finding news sources ajr.newslink.org AJR Newlsink portals tomany periodicals. These sitesare not indexed, butthey are good ONLINE NEWSDIRECTORIES biographies of women ormen. a focus onthe differences betweenwriting Reflections onthe writing biographies, with Rutgers University Press, 1994 Wagner-Martin, Linda Telling Women’s Lives capture and convey the human story. all worthconsideration, of how toeffectively others) onthe artof telling lives. Many views, biographers (Edel, Tuchman, Kazin, Kaplan and A collection of essaysbythe bestmodem University of Pennsylvania Press, 1981 Pachter, Marc, ed. Telling Lives: TheBiographer’s Art the end of the article. and eachcontains avaluable listof sources at scholar especially knowledgeable onthe subject, entry (over1,300inall)hasbeenwrittenbya biographies not easilyfound elsewhere. Each American history;anindispensable source of Encyclopedia of women of achievement in Harvard University Press, 2005 Ware, Susan,editor A Biographical Dictionary Notable AmericanWomen: please contact [yourname and address].” having information orpersonal knowledge, anecdotes: “Forabiography on[Mr. X],anyone and askthe public for direct knowledge or Review, 229W. 43rd St.,New York, NY10036, Query” notice tothe New York Times Book when working onbiographies. Send an“Author’s An unusual buthelpful (and interesting) source New York TimesBookReview background. biographical subject,hisorher workand and dates. Brief butprecise description of Thorough and accurate check for spellings Merriam-Webster, 1995 Dictionary Merriam-Webster’s New Biographical “The Biographical .” helpful toourworkisher introductory section: women’s impactonourhistory. Especially status atvarious times inourhistoryand of dealing withpossibleinterpretations of women’s making women’s stories the stuffof history, and feminists, eachspeaking tosome aspectof Essays byleading contemporary historians and University of Illinois, 1995 Scott, Anne Firor Making theInvisibleWoman Visible FROM IDEA TO EXECUTION | 215

Five stories and eight essays that illustrate how encyclopedia of fantasy people, places, and Women and Wilderness PREPARING & SUBMITTING LaBastille, Anne life and story intertwine, by the Newbery winner, things from all over the world is a useful Sierra Club Books, 1984 poet and fantasist. reference and creativity jogger. The index is very Wildlife ecologist LaBastille profiles 15 helpful for making unusual connections. adventurous women whose lives and work Anthology of Traditional Literature related to the outdoors. Includes Eugenie Lechner, Judith V. The Fairies in English Tradition & Literature Dark, the “shark lady,” and Margaret Murie, Allyn & Bacon, 2003 Briggs, K.M. conservationist. Bibliography at the end of each Tales from all over the world, scholarly sources, University of Chicago Press, 1967 chapter. cultural contexts. This is an erudite, scholarly, and fascinating account of the fairy tradition in Great Britain, Women in the Field, America’s Pioneering The Arthurian Handbook from medieval times to the present. If you traffic MARKET SURVEYS Women Naturalists Lacy, Norris, et al. with fairies, this is the book to own. If you have Bonta, Marcia Myers Garland, 1997 a favorite tale you want to retell, the fairy’s Texas A&M University Press, 1991 Critical study, historical facts and discussion of background is here. Biographies of 25 women naturalist from the Arthurian history, legend, archeology, literature late 18th century through the early 20th and the arts. Folklore: An Encyclopedia of Beliefs, Customs, century. Includes Rachel Carson, ecologist; Tales, Music and Art Florence Merriam Bailey, ornithologist; and Alice The Classic Fairy Tales Green, Thomas

Eastwood, botanist. Good bibliography. Opie, Iona and Peter ABC-CLIO, 1997 DIRECTORIES & RESOURCES Oxford, 1980 In-depth, essential resources, historical Writing a Woman’s Life The introduction to the book and the individual overviews, cross-cultural perspective. Heilbrun, Carolyn introductions to the stories tell a lot about the , 1989 genre of the fairy tale. The Opies, scholars and The Folktale Looks at ways in which traditional attitudes literature lovers, fill the book with facts and Thompson, Stith about women have informed biographies of opinions, such as, “A child who does not feel University of California Press, 1978 women and suggests ways to do it differently. wonder is but an inlet for apple pie.” This is a classic work about folklore in general. It will teach you more about folk and fairy tales Writing Biography and Autobiography Dictionary of Chicano Folklore than you want to know, and is an important Osborne, Brian D. Castro, Rafaela, G. reference tool to keep on any shelf. A & C Black, 2004 ABC-CLIO, 2000

All aspects of researching, writing and Terms, genres, concepts, stories and folklore from Funk & Wagnalls Standard Dictionary of PUBLICIZING YOUR PUBLISHED WORK publishing biography and autobiography. Mexican American culture selected from oral and Folklore, Mythology, and Legend written literature, folk arts, customs and beliefs. Funk & Wagnalls, 1984 BIOGRAPHY - ONLINE RESOURCES A good, solid, basic (if uninspired) compendium Biographical Dictionary The Dictionary of Imaginary Places, The Newly of all sorts of folkloric characters, ideas, www.s9.com Updated and Expanded Classic attitudes, motifs, A-Z. A good starting place. Covers more than 28,000 people from ancient Manguel, Alberto time to present. Harcourt, 2000 The Glass Harmonica An astonishingly complete encyclopedia of over Byfield, Barbara Ninde Biography.com 3000 places fantasy places that “a traveler could Macmillan, 1967 Sponsored by the A & E Biography Channel. expect to visit” on or under our world. Maps and Sometimes known in paperback as “The Book charming black-and-white pictures accompany of Weird.” An encyclopedia full of useful Biographies at InfoPlease.com many of the entries, and all entries are annotated information, like the difference between a wizard www.infoplease.com/people.html by primary source material. and a warlock. A wonderful childlike approach to

Over 30,000 biographies. fantastic things. SCHOOL VISITS An Encyclopedia of Fairies, Hobgoblins, Brownies, Bogies, and other Supernatural The Great Fairy Tale Tradition: From Straparole FANTASY, Creatures and Basile to the Brothers Grimm Briggs, Katherine Zipes, Jack, editor - Norton, 2000 FOLKLORE & Pantheon, 1977 Tales grouped by subject and critical essays. An extensive cross-referenced source covering Zipes has written and edited many valuable LEGAL QUESTIONS SCIENCE folk and fairy lore of Great Britain. books on fairy tales and children’s literature.

FICTION Encyclopedia of Things That Never Were Green and Burning Tree Page, Michael and Robert Ingpen Cameron, Eleanor Angel in the Parlor Viking, 1987 Atlantic, Little, 1969 Willard, Nancy Using articles that treat each item as if it is Classic study of time travel fantasy serves as both Harcourt, 1983 real, and beautiful original art, this oversized introduction and crash course in certain kinds of 216 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org the fantasy genre. Though itisessentially for This isthe basic bookfor anyone interested in Cambridge, 1976 Cook, Elizabeth to Myths, LegendsandFairy Tales The Ordinary andtheFabulous: AnIntroduction Illustrations and bibliography. ,and Marion Zimmer Bradley. references tomodem authors like T.H. White, and literature, from the earliest 6thcentury alphabetical cross-reference toArthurian legends A revised and expanded, comprehensive, Garland, 1995 Lacy, Norris J.,ed. The New ArthurianEncyclopedia numbers, decimals, standard names. modeled onLCclassification systemusing Several volumes break down talesinto motifs; Indiana University Press, 1955,1989 Thompson, Stith -Index of Folk Literature seen infantasy and fairy tale. Shadow,” onthe dark side of human nature as and the equally brilliant “The Childand the essay ondiction, “From Elfland to Poughkeepsie,” the language usedinit. Included isher brilliant with boththe substance of the fantasy genre and Essays onfantasy and science fiction that deal Putnam, 1979 LeGuin, Ursula The Languageof theNight Title index totalesinnumerous collections. Scarecrow Press, Faxon, 1978-1986 Eastman, Mary H. Index to Fairy Tales, MythsandLegends a delight. anecdotal aswelldescriptive, these booksare and legend around the world. Witty, charming, monsters and monstrous characters outof myth A pairof elegantly writtenbooksthatlookat Holt, Rinehart, Winston, 1972 McHargue, Georgess The ImpossiblePeople ;TheBeastsof Never culture. the mythic patterns found invirtually every behind the story, the single storythatunderlines This brilliant study of worldmyth tellsthe story Princeton University Press, 1968,2004 Campbell, Joseph The Hero withaThousandFaces fantasy and the machinery of fantastic worlds. | FROM IDEA TOEXECUTION | FROM IDEA of atale. importance of “touch magic,” and the structure in achild’slife, the language of faerie, the covered include the valueof fantasy stories and storywriting by a working fantasist. Topics This isthe synthesis of 25yearsof storytelling Philomel Books, 1981 Yolen, Jane Literature of Childhood Touch Magic:Fantasy, Faerie andFolklore inthe Index of folktale retellings. Neal-Schuman/Gale, 2001 MacDonald, Margaret Read The Storyteller’s Sourcebook researching folk tales, copyright issuesand more. award winning picture bookauthor, covering Concise overview of fieldbystorytellerand Folkprint 1996 Sierra, Judy & Legends Storytellers’ Research Guide, Folktales, Myths Journal BestReference Source. fairies, nymphs and more. Illustrated. ALibrary Over 2,000entries covering angels, demons, Norton, 1998 Rose, Carol Encyclopedia Spirits, Fairies, Leprechauns, andGoblins:An publication. new developments inthe fieldsince thisbook’s Its main drawback isthatthere havebeenmany a usefullisting of 31other booksonthe subject. science fiction and modern society. There isalso concentrating onmany aspectsof the role of known science fiction writers of the time “A DiscursiveSymposium” by15of the best Penguin, 1974 Bretnor, Reginald, ed. Science FictionToday andTomorrow book and magazine publishing. history of science fiction, various sub-genres, and number of science fiction writersdiscussthe A good introduction for the non-specialist. A Van Nostrand Reinhold Co.,1984 Wingrove, David The ScienceFictionSource Book those who teachwhatthey write. slim volume are asapplicable tothe writersasto teachers and storytellers, the insights inthis to nanotechnology and virtual reality. The scope orbital mechanics tocreating galactic empires An excellent reference covering everything from Writer’s Digest Books, 1993 Ochoa and Osier Universe A Writer’s Guideto Creating aScienceFiction and through history. Examination of storytelling indifferent cultures Pellowski, Anne, &H.W. Wilson,1991 The World of Storytelling Writer’s Digest Books, 2001 Gillett, Stephen &BenBova World Building(ScienceFictionWriting) mythic underpinnings of fantasy. sledding, butitisamagnificent study of the is idiosyncratic, and the bookcanberough the single storyfrom the female side. Graves “historical grammar of poetic myth” handles Brilliant, quirky, provocative, alittlemad, this (amended and enlarged 1966) Farrar Strauss, 1948 Graves, Robert The WhiteGoddess and time travel asjumping off points. such topics asspacecraft, galactic civilizations, An overview of science fiction using essayson , 1977-1983 Ash, Brian, ed. The VisualEncyclopedia of ScienceFiction that givethem such universal,lasting power. of fairy stories and their essence, the elements “On FairyStories” where he discussesthe origin Tolkien, butmost of itistaken upwithhisessay fantasy. The book contains an early short story by A beautifulpiece bythe father of modern Unwin Books, London, 1964-2001 Tolkien, J.R.R. Tree andLeaf ballads, sayings, providing anoverview. A general grab bagof quips, stones, yams, Random House, 1993 Botkin. B.A., ed. A Treasury of AmericanFolklore on storytelling worldwide. 100 wide-ranging brief essaysbyleading scholars Fitzroy DearbornPublishers, 1999. Holmes McDowell, Linda Degh,Barre Toelken Edited by:MacDonald, Margaret Read, John Sourcebook Traditional Storytelling Today: AnInternational FROM IDEA TO EXECUTION | 217 of the book precludes exhaustive, in-depth tales and mythic lore, including sites for reading Every Day Life In . . . Series PREPARING & SUBMITTING treatment of any one idea, but the authors lists, lesson plans, and classroom activities. Grey House Publishers provide a solid foundation, and point out some of the pitfalls awaiting newcomers to the field. Index to Andrew Lang’s Colored Fairy Books and The History Highway 2000: A Guide to the Arabian Nights Entertainments Internet Resources Writing Science Fiction and Fantasy: www.mythfolklore.net/andrewlang Trinkle, Dennis & Scott A. Merriman 20 Dynamic Essays by Today’s Top Professionals Index to Andrew Lang’s colored Fairy Books and M.E. Sharpe, 2000 Dozois, Gardner, et al. the Arabian Nights. Over 500 pages of online history sources. St. Martin’s Press, 1993 Essays by Isaac Asimov, Robert Heinlein, Jane Science Fiction Chronicle History Timeline Yolen, and other known SF/Fantasy writers on www.dnapublications.com/sfc Cooke, Jean, Ann Kramer, and Theodore MARKET SURVEYS some of the special requirements of the field, and “Science Fiction’s Only Professional News & Trade Rowland-Entwistle articles by editors of science fiction magazines. Journal.” Crescent Books, 1981 “How to Build a Future” by John Barnes is Each chapter contains a short overview and a particularly instructive. SurLaLune Fairy Tale Pages summary of important events taking place in Heiner, Heidi Anne different parts of the world simultaneously. FANTASY - ONLINE RESOURCES www.surlalunefairytales.com Maps, photos, reference tables of presidents, Aaron Shephard’s World of Story Annotated, hyper-linked fairy tales; history, rulers, battles, more. www.aaronshep.com/index.html#storytelling analysis, bibliography. DIRECTORIES & RESOURCES Resources for teachers, librarians, storytellers, Tales of Wonder: Folk and Fairy Tales from Writer’s Guide to Everyday Life In…. children’s writers, and story lovers of all ages – Around the World Writer’s Digest Books series reader’s theater scripts, stories to tell, articles, Darsie, Richard advice, links. Very useful information. members.nbci.com/darsie/tales GENERAL HISTORY - ONLINE RESOURCES BBC History Timelines Arabian Nights www.bbc.co.uk/history/timelines www.arabiannights.org GENERAL Translations of the entire Rubaiyat and the Best of History Web sites Arabian Nights can be found online here, HISTORY www.besthistorysites.net courtesy of the Electronic Literature Foundation. Chronicles of Western Fashion Costume History Guide from Cornell Online

Bulfinch’s Mythology Peacock, John costume.cornell.edu PUBLICIZING YOUR PUBLISHED WORK www.bulfinch.org Abrams, 1991 The Cornell University Costume and Textile Collection now has an online database of over Children’s Literature - Resources for Storytellers The Columbia History of the World 5,000 records online. www.ucalgary.ca/~dkbrown/rstory.html Garraty, John A. and Peter Gay, ed. Harper, 1972 Dover Publications Encyclopedia Mythica Narrative of civilization’s origins and progress. store.doverpublications.com/by-subject.html www.pantheon.org/information/about.html Maps. Look for books on Americana, Costume, Free online encyclopedia, over 5100 articles on Furniture, Folklore, Period Style, and more for mythologies and folklore worldwide. Daily Life Through History many useful publications. Greenwood Press Series Fairy Stories and Anecdotes (and Greenwood Encyclopedia of Daily Life) Eye Witness to History faeryland.etsu.edu/~earendil/faerie/story/ www.eyewitnesstohistory.com Over 75 story links grouped by type, such Dover Publications Pictorial Archives Eyewitness account with a brief description

as “Fairy Changelings”, “Fairy Trickery” and Dover publishes books and CDs filled with of the event and of the person recounting it, SCHOOL VISITS “Mermaids and Tales of the Sea.” Connects with images of clothing and everyday items from includes a bibliography and related links. Faery Dictionary Page. Stories are from the British different times and places in history. Isles, Germany and . Guide to History on the Web Sears Catalogues chnm.gmu.edu/assets/historyweb/historyweb.php Folklore and Mythology Electronic Texts Catalogues from different time periods have a database of 5000 US and World history Web Ashliman, D.L. been published by a variety of publishers sites, which you can search by type of website, LEGAL QUESTIONS www.pitt.edu/~dash/folktexts.html (Dover, Chelsea, etc) and are a great source of geographical area and topic. Folktales, folklore, fairy tales, and mythology historical detail. from around the world, arranged by theme. HistoryWorld.net The Expansion of Everyday Life: 1860-1876 Hyper History Online Frank Rogers Page of Fairy Tale Links Sutherland, David E. Harper and Row, 1989 www.hyperhistory.com/online_n2/History_n2/a. frankrogers.home.mindspring.com/fairy.html A good practical history of everyday inventions html A collection of annotated links to sites and fairy and customs. An expanding scientific project presenting 218 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Jennings, Francis Migrations to thePresent The Founders of America:From theEarliest is covered. annotations. Children’s clothing, often omitted, illustrations are clear, accompanied bydetailed A good mixture of drawings and text. The Dover, 2004 Wilcox, R.Turner Five Centuriesof AmericanCostume format. and needs accurate information in a brief the author who writesaboutAmerican history policies inAmerica’s past.Aninvaluable aid for gives specific facts aboutevents, trends, and With more than 7,000entries, thisdictionary Scribners, 1983 Concise Dictionaryof AmericanHistory Good battlediagrams and general background. American Heritage, 1960;Gramercy, 1994 Catton, Bruce of the CivilWar The AmericanHeritage Picture History archaeology, folkways, arts, and more. state’s history, government, people, industry, Everything here for the period novelist abouta Series byStates, 1941 Hastings orDuell,Sloanand Pearce American GuideFederal Writer’s Project decade, starting in1900. Series coversAmerican social historydecade by UXL, (Gale),2002 Pendergast, Sara &Tom Pendergast American Decades HISTORY AMERICAN countries through English and Italian interfaces. heritage,” offers over11,000linksfrom 142 This “worldwide Portal toMuseums and Cultural Museumland.com Sourcebook, and Modern HistorySourcebook. Ancient HistorySourcebook, Medieval www.fordham.edu/halsall Internet History Sourcebooks Project timelines, and maps. combination of synchronoptic lifelines, 3,000 yearsof worldhistorywithaninteractive | FROM IDEA TOEXECUTION | FROM IDEA Stratton, Joanna L. Pioneer Women medicine. customs, developments infine arts, music, and popular sportsand pastimes, eating and drinking history” bothpolitical and social, including this book“traces the major strands inAmerican Written byone of America’s foremost historians, Oxford, 1965 Monson, Samuel Eliot Oxford History of theAmericanPeople photographs. bibliographies ineachbook,plushistorical The Pioneers, and The Frontiersmen. Good include such titles as: The Cowboys, The Women, These booksare about the American frontier and Time-Life Booksseries The OldWest something happened, etc. basic structure of the U.N.orthe placewhere dates compare withPascal’s? Fordetails of the History. When wasGalileoborn?How do his Columbia University Press, 1975 Harris, William H.and Judith S.Levey, eds. The New ColumbiaEncyclopedia source. could bewrittenwithout looking atanother horse trappings, and more. Many period novels windmills, farm implements, cowboyregalia and guns and ammo, wagons, fences, steamboats, wants toseeit“real.” Uniforms, ladies’ dress, Obscure detail ishere for the writerwho Viking, 1955 Harris, Foster The Lookof theOldWest Period postcards from cities alloverthe US. Arcadia Publishing Images of Americaseries Americana crazy quilt. preachers, lawyers, etc. Citedasascrap inthe Classic onYankee peddlers, strolling actors, Lippincott, 1927 Wright, Richardson Hawkers andWalkers inEarlyAmerica bibliography. Chronology of events, notes onthe text, and consequences of the European invasion. spread and growth of their culture, and the from Siberia toNorth America, the remarkable Describes the migration of nomadic people W. W. Norton &Company, 1993 American Guide Serv., 1989 the USfrom Interviews withFormer Slaves Slave Narratives: AFolk History of Slavery in Jefferson and Adams onJuly4,1826. turmoil and disorder, closing withthe deaths of progress and expansion butalsoatime of formative years. Depicts not onlyanera of An in-depth portrait of American history’s McGraw-Hill, 1980 Smith, Page the Young Republic The Shapingof America:APeople’s History of strategies. Comprehensive bibliography. sides, aswellthe battlefieldaction and and personalities of the major playersonboth issues leading uptothe conflict: the politics the American Revolution thatlooksatthe A brief, veryreadable, one-volume historyof William Morrow and Co., 1991 Stokesbury, James L. A ShortHistory of theAmericanRevolution taming of westernland bypioneers. Over 300photographs plustext telling of the Scribners, 1955 Schmitt, Martin F. and DeeBrown The Settlers’West the westernlands of 1870-1890. summaries of advertisements and descriptions of Fifty-one pages of railroad maps and brief Found onlyinuniversityorlarger libraries. Rand McNally, 1956 West Rand McNally’sPioneerAtlas of theAmerican draws onher ownexperience asabiographer. observations of the international scene. She insights into American historytoher Provocative essaysthatrange from Tuchman’s Ballantine Books, 1981 Tuchman, Barbara Practicing History , 1982 Clinton, Catherine Old South The Plantation Mistress: Woman’s World inthe frontier. an intimate feelfor the livesof women onthe It ispoignant, filledwithinformation, and gives experience thatno other reference cansupply. women hasthe authenticity and gritof true This collection of oral historyof frontier Simon and Schuster, 1981 FROM IDEA TO EXECUTION | 219

(reprint of 1941 WPA ed.) A pre-1918 history of the nations of Middle PBS “The West” Page PREPARING & SUBMITTING What it was like to live as a slave, from www.pbs.org/weta/thewest Europe, wedged between Germany, Italy, and testimonies of the people who lived it. Original An extraordinary resource for research into the Russia, a geographical area much neglected in manuscript in the Rare Book and Special American West. It includes a other historical accounts. Collections Division of Library of Congress. biographical index, a timeline index, first person Microfilm, Microfiche, facsimile editions journal accounts. A History of Their Own: Women in Europe from available. Prehistory to the Present, Volumes I & II PictureHistory.com Anderson, Bonnie S. & Judith P. Zinsser To Be a Slave Kunhardt Productions presents images and Harper, 1988 Lester, Julius footage illustrating more than 200 years of Scholastic, 1968 American history: images of maps, postcards, Men and Ideas: History, the Middle Ages, the MARKET SURVEYS First person accounts of African-Americans photographs, cartoons, stereo cards, periodicals, Renaissance enslaved before the Civil War, recorded originally and more, in addition to video and audio clips. Huizinga, Johan in the Federal Writer’s Project in the 1930s. Princeton University Press, 1984 Cultural history, sociology, politics, psychology, Women’s Diaries of the Westward Journey EUROPEAN and the arts are combined to form a broad Schlissel, Lillian image of the two periods, with emphasis on Schocken, 1982 HISTORY individuals.

This compilation of diaries, letters, and DIRECTORIES & RESOURCES information about the westward trek is The Anglo-Saxon Chronicles EUROPEAN HISTORY - ONLINE RESOURES invaluable. Schlissel’s meticulous research and Savage, Anne, trans. and coll. British History Online feminist perspective give new insight into Written by monks between 880 and 1154, this www.british-history.ac.uk historical material and the reality of women’s history of Britain begins with 6th century “The digital library of text and information routines, losses, and delights on the frontier. events and concludes with the reign of Henry II, about people, places and businesses from the father of Richard the Lion Heart. medieval and early modern period, built by the AMERICAN HISTORY - ONLINE RESOURES Institute of Historical Research and the History African American Odyssey The Discoverers of Parliament Trust.” Among the resources: memory.loc.gov/ammem/aaohtml/aohome.html Boorstin, Daniel J. Journals of the Houses of Commons and Lords, Part of the American Memory project. Random House, 1983 Office-Holders in Modern Britain, 1660-1939, a A sweeping examination of important variety of documentary resources for the history

The American Civil War Homepage discoveries and the desire to explore and of London and ecclesiastical history. Searchable. PUBLICIZING YOUR PUBLISHED WORK sunsite.utk.edu/civil-war examine the unknown. Subjects vary from Directory of links exploration of the planet to the concept HistoricalDirectories.org of time. Many familiar and not-so familiar This new “digital library of eighteenth, American Memory personalities are brought to life. Detailed nineteenth and early twentieth century local lcweb2.loc.gov/ammem or memory.loc.gov reference notes included. and trade directories from England and Wales” Project of the Library of Congress with many should be of particular interest for genealogists. online exhibits. Encyclopedia of European Social History, 1350-2000 Life in Elizabethan England: a Compendium of EarlyAmerica.com Stearns, Peter N. editor Common Knowledge 1558-1603 Primary resource material of 18th century Scribner, 2001 elizabethan.org/compendium/home.html America. Values, ideas, social and political movements of A cross between an illustrated glossary and a Europe. backgrounder on the social and cultural milieu of Database of Early American Furniture Elizabethan England – its games, fashion, food,

digital.library.wisc.edu/1711.dl/DLDecArts Eyewitness to History occupations, household management, etc. Very SCHOOL VISITS Carey, John, ed. useful companion for courses in the literature or Making of America Avon Books, 1987 history of the era. www.umdl.umich.edu/moa/index.html Firsthand accounts of major and minor events A collaboration between the University of in world history beginning with the Plague of Michigan and Cornell University offering a large Athens in 430 BC and ending with the fall of MULTICULTURAL collection of primary sources on American social Ferdinand Marcos in 1986. Includes a list of LEGAL QUESTIONS history from the antebellum period through sources. EXPERIENCES Reconstruction. A History of Middle Europe from The African American Encyclopedia National Women’s History Project the Earliest Times to the Age Williams, Michael, W. www.nwhp.org of the World Wars Marshall Cavendish, 1996 Links to sites on women’s history. Tihany, Leslie C. Eight volumes. Rutgers University Press/Dorset Press, 1987 220 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org height of their culture. describing the lifestyleof the Plains Indians atthe and nearly 1,000detailed drawings bythe author, rich text iscomplemented by32colorillustrations in itsresearch and dramatic initsnarrative. The A classic encyclopedia of Plains Indian lore, detailed Mallard Press, 1991 Mails, Thomas E. The MysticWarriors of thePlains Cavendish, 1996 Cahbrin, Richard YRafael Chabrin The LatinoEncyclopedia local library. or cultural services office inthe US, oryour are typically availablefrom the country’s tourist elaborates ontheir land. Copies of these books Get the handbook most countries putoutthat Samhwa Printing Co.,1990 Korean OverseasInformation Service A Handbookof Korea groups inthe United States. Over 100articles withinformation onethnic Gale, 2000 Galens, Judy, Anna Sheets, RobynYoung, eds. Gale Encyclopedia of Multicultural America States; supplements and updated appendixes. Detailed treatment of ethnic groups of the United Marshall Cavendish, 1998 Encyclopedia of Multiculturalism Simon &Schuster, 1996 Tenenbaum, Barbara, ed. Culture Encyclopedia of LatinAmericanHistory and Simon &Schuster Macmillan, 1996 History Encyclopedia of African-AmericanCulture and Marshall Cavendish, 1995 Ng, Franklin, ed. The AsianAmericanEncyclopedia available. authentic volume of American Indian myths world make thisthe most comprehensive and of creation, love, animals, and the end of the gathered from 80different tribes. These tales A superbcollection which includes 160tales Pantheon, 1984 Erdoes, Richard and Alfonso Ortiz,eds. American IndianMythsandLegends | FROM IDEA TOEXECUTION | FROM IDEA to some of the speeches. speakers and information onaudience reaction of subjects. Includes biographical info on 230 speeches by130peopleonawide variety Gale, 1995 Straub, Deborah Gillan,editor Hispanic and Native Americans, 1790-1995 Notable Speeches Delivered byAfrican, Asian, Voices of Multicultural America: versions from three different authors. suggest trying tofind atleastthree different wants todo aretelling of anancient story, I Folktales are avaluable reference. Ifawriter Charles E.Tuttle Co.,1976 Carpenter, Frances Tales of aKorean Grandmother An A-Z reference tomultiethnic storytelling. Oryx Press, 1997 Leeming, David Adams, ed. Around theWorld and MultiethnicApproach to Oral Traditions Storytelling Encyclopedia: Historical, Cultural, the “history”needed toretell folktales. the earliest writerof astory. Thisisanexample of It’s wisetoget backasfar intime as possibletofind Yonsei University Press, 1972 Ilyon Three Kingdomsof AncientKorea) Samguk Yusa (LegendsandHistory of the identifiable peoples. cultural characteristics of some 400separately (in aboriginal times and present day), and on identity, kinships, locations, populations Grande. It offers essential basic information peoples, from the Canadian Arctic tothe Rio A compactreference workonNative American Macmillan, 1994 Johnson, Michael A ConciseEncyclopedia The Native Tribes of NorthAmerica: www.toptags.com/aama AFRO-American Almanac Links tosources onbiography and history. www.multcolib.org/homework/aframhc.html African AmericanResources study of blackhistoryand culture. A Library of Congress resource guide tothe www.loc.gov/exhibits/african/intro.html African AmericanMosaic RESOURCES MULTICULTURAL EXPERIENCESONLINE Index toNative American resources. www.hanksville.org/NAresources WWW VirtualLibrary –AmericanIndians resources and more. Jewish American, Multiracial, Native American American, Asian American, Chicano, Immigrant, Links tositesonAfrican American, Arab vos.ucsb.edu/browse.asp?id=2721 Voice of theShuttle:MinorityStudies World religious holidays and festivalsexplained. MulticulturalCalendar.com culture and literature. Documents relating toAfrican American history, Practical advice onplanning and plotting, with Writer’s Digest Press, 2005 Ephron, Hallie to Knock‘Em DeadwithStyle Writing and SellingYour MysteryNovel: How Marcia Muller, EllenHart, and Val McDermid. American women mystery writers, including Essays onthe crafting mysteries byBritishand Spinsters Ink,2000 Windrath, Helen, editory Writers Tell All They Wrote theBook:ThirteenWomen Mystery professionals. (SeeMWA websitebelow) Memberships availablefor newcomers and America (MWA). Goodarticles and market lists. Official newsletter of the Mystery Writers of The Third Degree and the creator orPerry Mason. Gardner wasaprolific author of popularliterature appendices, “Formulae for Writing aMystery.” techniques inwriting and selling. Includes in Advice toother writersand tohimself about Collection from Gardner’s notebooks and letters. Morrow, 1980 Fugate, Francis L.and RobertaB. Storytelling Techniques of Stanley Gardner Secrets of theWorld’s BestSellingWriter: The fiction in general. to structuring not justthe mystery novel, but nuanced guide byanaward winning author Booklist calledthisbookindispensable. A Perseverance Press, 2003 Wheat, Carolyn Mystery &theRollerCoasterof Suspense How to Write KillerFiction:TheFunhouseof MYSTERY FROM IDEA TO EXECUTION | 221 exercises; advice on getting published as well. For animal, nature, and anthropological Looking for Good Art PREPARING & SUBMITTING material. www.infotoday.com/searcher/sep04/mattison. Writing Mysteries: A Handbook by the Mystery shtml Writers of America The Metropolitan Museum of Art An amazing three part article on finding art and Grafton, Sue, ed. Photograph & Slide Library image research online with lots of great links. Writer’s Digest Books, 2002 Fifth Avenue and 82nd Street, NYC Essays on all aspects of the genre by 37 For art and historical material. The library contains New York Public Library Image Collection luminaries in the field. photographs of all the paintings, sculptures, prints, www.nypl.org/research/chss/spe/art/photo/ drawings, and decorative objects owned by this research.html Writing Mysteries for Young People comprehensive museum, the largest of its kind in the Search over 600,000 images by subject; in the Nixon, Joan Lowery Western Hemisphere. arts, humanities, performing arts and sciences. MARKET SURVEYS Writer, 1977 How-to on all aspects of the juvenile mystery Photography for Writers Library of Congress: Picture Catalogs Online- from characterization to plotting. Chapters Abrams, Lawrence F. Guides, Reference Aids, and Finding Aids on writing the easy-to-read, middle grade, Entwood Publishing, P.O. Box 268, Wausau, WI www.loc.gov/rr/print/resource/223_piccat.html young adult, or magazine mystery story. 54402-0268 Online directory linking to image catalogs with Includes steps, from idea to marketing the final Photography basics (cameras, lenses, film an emphasis on history and documentary. manuscript. processing), and specifics of how a writer can

best combine text and photos. Library of Congress: Prints and Photographs DIRECTORIES & RESOURCES MYSTERY - ONLINE RESOURCES Online MysteryNet.com The www.loc.gov/rr/print/catalog.html Lots of useful resources, including a list of Office of Printing and Photographic Services Searchable database. Mystery Writers Organizations. National Museum of American History Washington, D.C. 20560 Mystery Writers of America POETRY & www.mysterywriters.org PHOTOGRAPHY - ONLINE RESOURCES Premier organization for mystery writers. All You Wanted to Know About Digital VERSE website has great resources. Photography www.basic-digital-photography.com The Child as Poet: Myth or Reality SistersInCrime.org Advice and tutorials. Livingston, Myra Cohn

Promotes the professional advancement of Horn Book, 1984 PUBLICIZING YOUR PUBLISHED WORK women who write mysteries and addresses American Historical Images on File: The Native A truly handsome volume. Discusses the writing discrimination against women in the mystery American Experience of poetry by children, but with a wealth of rich field. A great support network. www.csulb.edu/projects/ais/nae material for the adult poet. Comprehensive collection arranged chronologically from prehistoric to 1900. Climb into the Bell Tower: Essays PHOTOGRAPHY Livingston, Myra Cohn Corbis.com Trophy Press, 1990 When you’re doing photo research for a One of the most comprehensive sites for photo nonfiction article or book, art museums, US research. How Does a Poem Mean? government agencies, local historical societies, Ciardi, John and museums of natural history are likely to Finding Images Online: Directory of Web Random House, 1990 prove the most valuable resources, depending Image Sites With imagination, wit, and intelligence, John on the subject matter of the particular book or Berinstein, Paula, 2006 Ciardi ask readers and writers to consider what

article. These can be contacted via snail mail www.berinsteinresearch.com/fiolinks.htm goes into a poem, how a poem may mean, and SCHOOL VISITS or online. Large directory of links to image sites by how to recognize poor verse and doggerel. A category. must for anyone interested in poetry. The Library of Congress Prints and Photographs Division GettyImages.com Index to Poetry for Children & Young People: Room 337, James Madison Memorial Bldg., Image archive: creative, film, and editorial 1993-1997 First Street and Independence Avenue, S.E.; images. Wilson, 1998 LEGAL QUESTIONS Washington, D.C. 20540 Indexes by author, title, and subject of Americana of all kinds. Write for a free brochure Internet Public Library, Pathfinder to children’s poetry in collections. Also an index describing the extent of the collection. Historical Photographs by first line. www.ipl.org.ar/ref/QUE/PF/histphotos.html The Library for Photographic Collections Introductory advice and links. An Introduction to Poetry The American Museum of Natural History Kennedy, X. J. & Dana Gioia Central Park West at 79th Street, NYC Longman, 2005 (11th edition) 222 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Harcourt, 1994 Oliver, Mary A Poetry Handbook understandable and lavished withquotations. Very handy, concise dictionary of terms, readable, Collins, 1982 Deautsch, Babette Poetry Handbook ages willfind inspiration. writing. Forgrades 5-7,butaspiring poetsof all great examples and exercises toget readers Introduction toforms and typesof poems with Simon &Schuster, 1994 Janeczko, Paul Poetry from Ato Z writing poetryfor allages. introduction tothe mechanics and craft of Written for grades 4-9,thisisawonderful HarperCollins, 1991 Livingston, Myra Cohn Poem-Making: Ways to BeginWriting Poetry classic text. Children’s poetrybegins withnursery rhymes. A Oxford University Press, 2006 Opie, Iona, Peter Opie &Joan Hassall The Oxford NurseryRhyme Book For Grade 6and up,organized bysubject. Oxford University Press, 2006 Harrison, Michael, etal. One Hundred Years of Poetry for Children poetic tradition inthe world.” Everything aboutpoetry;coverage of “every Princeton University Press, 1993 Preminger, Alex, etal of Poetry and Poetics The New Princeton Encyclopedia poets. pantoums, odes. Features examples from many villanelles, sestinas, sonnets, elegies, patorals, Concise explanation of allthe various forms: Norton, 2001 Strand, Mark &EavanBoland Poetic Forms The Makingof aPoem: ANorton Anthologyof enhance usefulness. useful for beginners; the excellent examples of writing. Anindex of terms makes the book Kennedy examines various elements of the craft as contemporary mode, the noted poetX.J. Exploring poetryinthe traditional aswell | FROM IDEA TOEXECUTION | FROM IDEA between personal experience and writing. Willard’s uniqueperspectiveonthe relationship Though not restricted topoetry, these essaysoffer Harcourt Brace, 1993 Willard, Nancy Telling Time representing avariety of styles. how they work,along withselectedpoems they share advice and inspiration and discuss Letters from 32children’s poetsinwhich Candlewick, 2002 Janeczko, Paul Seeing theBlueBetween Arranged according tonumber of syllables. Thames &Hudson, 2004 Stillman, Frances Poets’ ManualandRhyming Dictionary payment information, and how tosubmit. of editors, addresses, typeof poetryneeded, containing market listings indetail: names Comprehensive marketing toolfor poets, Writer’s Digest Books, annual Poet’s Market writing poetry. and passionately aboutthe artand craft of National BookAward winner writesconcisely Exquisite photograph and information about DK Adult, 2001 Wilson, DonE.&David Burnie World’s Wildlife Animal: TheDefinitive VisualGuide to the NATURE SCIENCE & Directory of worldwide linkstopoetrysources. www.poetry-portal.com Poetry Portal and subject. Thousands of poems, searchable by author, title www.theotherpages.org/poems The Poets’ Corner Contains thousands of public domain poems. www.emule.com/poetry The Poetry Archives www.poets.org Academy of AmericanPoets POETRY -ONLINERESOURCES Firefly Books, Ltd. 2003 Moore, Patrick Firefly Atlas of theUniverse animals. is agood investment ifyou’re writing about libraries haveit,butthe paperbackedition 13-volume zoologyencyclopedia. Most large other experts around the worldtocompilethis Zoological Gardens, gathered entries from Grzimek, who wasdirector of the Frankfurt Gale, 2003 Grzimek, Dr. H.C.Bemhard, ed. Grzimek’s AnimalLifeEncyclopedia Houghton, 1983 (movie tie-in edition, 1988) Fossey, Dian Gorillas intheMist Photos and colordrawings. by scientific classification with introduction. Contributions byexperts inthe field. Arranged Facts onFileNatural Science Library, 2001 Macdonald, David, ed. Encyclopedia of Mammals drawings and colorphotos. checked accuracy. Contains black-and-white Expert consultants are listedwho presumably Written intruealphabetical encyclopedia form. Facts onFile, 2004 Campbell, Andrew &John Dawes The New Encyclopedia of Aquatic Life full colorillustrations and line drawings. Good general reference toanimal kingdom with UC Press, 2005 McKay, George, etal Guide Encyclopedia of Animals:ACompleteVisual more). Glossaryatend of Volume II. reproduction, order, colorphotograph, map, and details (size, weight, habitat,food, lifespan, Well-documented information onmammals with This setisamust for animal/mammal research. National Geographic Society, 1981 Book of Mammals, Volumes I&II ancient times tothe 1970s. achievements of 1,195great scientists from This paperbackvolume describes the livesand Avon, 1976 Asimov, Isaac Technology Biographical Encyclopedia of Scienceand habitats, behavior, etc. withcharsand maps. FROM IDEA TO EXECUTION | 223

This book gives up-to-date information on the Database with records of over 32,000 bird Scrolls, and the Nag Hammad texts. PREPARING & SUBMITTING solar system, stars, and galaxies. It has many species and subspecies, distribution data and star maps, maps of the moon and planets, and maps. Celebrate! The Complete Jewish Holidays tables. Be sure to get the latest edition of this Handbook book. eNature.com Ross, Leslie Koppelman Includes field guides to birds, plants, shells, Jason Aronson, 1996 The Natural History of the Universe insects, mammals, regional wild life and more. Comprehensive non-denominational resource on Ronan, Colin the history and customs of Jewish holidays. Random House, 1995 Geology.com Past, present and future of the universe; Earth science news, dictionary, maps, satellite Encyclopedia of African and African American illustrated glossary. images, and more. Religions MARKET SURVEYS Glazier, Stephen The New Encyclopedia of Mammals National Aeronautics and Space Routledge, 2001 Macdonald, D. Administration (NASA) Extensive and in-depth coverage of religions in Oxford University Press, 2001 www..gov Africa and their influence on African-American religious life. The New York Public Library Desk Reference, Natural History Museums and Collections 4th Edition www.lib.washington.edu/sla/natmus.html Encyclopedia of African American Religions

Hyperion, 2002 Directory of links worldwide. Murphy, Larry G. ed, DIRECTORIES & RESOURCES This 1,016-page volume is packed with answers Garland Publishing, 1993 to the most frequently asked questions, as well as Paleontology Portal Covers founders of larger African American easy-to-read charts, graphs, and tables, insightful www.paleportal.org religious groups, descriptions of denominations, sidebars, full-color maps, and illustrations, plus groups and organizations. cross-references and web addresses to aid more Plants Database Encyclopedia of American Religions in-depth research. plants.usda.gov Melton, J. Gordon Database of regional and state characteristics, Gale, 2002 Oxford Dictionary of Science fact sheets plant guides, and 25,000+ images. Comprehensive and scholarly. Oxford University Press, 2006 Covers biology, chemistry, physics, earth Public Library of Science Encyclopedia of Eastern Philosophy and sciences and astronomy. www.plosbiology.org Religion

PLoS Biology is a peer-reviewed, open-access Schreiber, Ingrid Fischer, et al PUBLICIZING YOUR PUBLISHED WORK The Whitetail Deer: A Year’s Cycle journal published by the Public Library of Shambhala Pub. 1994 Stadtfeld, Curtis K. Science (PLoS), a non-profit organization Covers Buddhism, Taoism, Tibetal Buddhism, , 1975 committed to making scientific and medical Hinduism and Zen. literature a public resource. Comprehensive and scholarly. Women in the Field, America’s Pioneering Women Naturalists Science Gateway Encyclopedia Judaica Bonta, Marcia Myers www.academicinfo.net/subsci.html Roth, Cecil Texas A & M University Press, 1991 Exhaustive directory of links to all subjects Keter, 1972, supplements through 1994 Biographies of 25 women naturalists from scientific. A 26-volume English-language encyclopedia of the late 18th century through the early 20th the Jewish people and their faith. century. Good bibliography. Wildfinder www.worldwildlife.org/wildfinder Encyclopedia of Native American Religions World of the White-Tailed Deer A map-driven database of more than 26,000 Hirschfielder, Arlene & Paulette Molin

Rue, Leonard Lee, III birds, mammals, reptiles, and amphibians that Facts on File, 2001 SCHOOL VISITS Lippincott, 1962 allows users to discover where species live. Good introduction to Native American beliefs, The Year of the Gorilla ceremonies and religions. Schaller, George B. University of Chicago Press, 1964 RELIGIOUS Encyclopedia of Religion Eliade,Mircea, ed SCIENCE & NATURE - ONLINE RESOURCES Macmillan Reference, 2004 TOPICS LEGAL QUESTIONS Animal News Center One of the most important reference works of www.anc.org The Anchor Bible Dictionary the millennium according to Library Journal. News about animals – pets, wildlife, farm and Freedman, David Noel, ed lab – from around the world. Doubleday, 1994 (CD-ROM, 1998) Forward Newspaper (English Edition) Comprehensive and scholarly compendium of Forward Publishing Co. Inc. Avibase issues in the field of bible studies including Contemporary American/international Jewish www.bsc-eoc.org/avibase/avibase.jsp Old and New Testament, Apocrypha, Dead Sea issues. Very literate with heavy emphasis on the 224 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.sacred-texts.com/index.htm Internet Sacred Text Archive www.csn.net/advent/cathen Catholic Encyclopedia Buddhism. Source for information and resources on Buddhanet.net RELIGIOUS TOPICS -ONLINE RESOURCES Biblical doctrines are presented. biographical, and doctrinal. Nonsectarian archeological, historical-geographical, Four emphasescharacterize thisdictionary: Moody Press, 1988 Unger, Merrill F. Unger’s BibleDictionary God and religion. and agnostic children ontheir thoughts about psychiatrist with500Christian, Jewish, Islamic Fascinating interviews by Harvard child Mariner Books, 1991 Coles, Robert The SpiritualLifeof Children McGraw-Hill, 1967,supplements to1997 Mcdonald, William J. New CatholicEncyclopedia Mennonite Publishing, 1990 Kran, Cornelius Mennonite Encyclopedia life cycle, synagogue, and home observance. An excellent introduction toJewish holidays, , 1991 Diamant, Anitaand Howard Cooper Living aJewish Life and practices of the Jewish holy days. Good background material to the history, values, Harper and Row, 1985 Strassfeld, Michael The Jewish Holidays:AGuideandCommentary issues inthe US and Israel. Contemporary articles onart,music, women’s Hadassah Magazine rites, ceremonies, liturgy, and ritual of Judaism. A guide tothe further understanding of the America, 1979 Klein, Isaac Jewish Theological Seminary of A Guideto Jewish ReligiousPractice arts and language. | FROM IDEA TOEXECUTION | FROM IDEA Links toreligious denominations. www.refdesk.com/factrel.html World ReligionResources many aspectsof worldreligion and spirituality. Website for the public radio show. Articles on speakingoffaith.publicradio.org Speaking of Faith subjects related toreligion. Vast and diversedirectory of linkstoall www.religionwriters.com/library.php Religion Writers OnlineLibrary maps, religion, and more. subject: history, women, reference, biography, all aspectsof the New testament. Organized by Directory of internet links toinformation on www.ntgateway.com The New Testament Gateway www.refdesk.com/factrel.html My Facts Page: World ReligionResource www.gate.net/~critch/libraryofgod Library of God observances, and more. Jewish historyand the Holocaust, holidays, culture and government, US agencies inIsrael, and Yiddish languages, aswellIsraeli sites onart,archaeology, and the Hebrew Comprehensive. Linkstolibraries, museums, shamash.org/trb/judaism.html Judaism andJewish Resources Links tomany resources onIslam and Muslims. www.uga/islam Islam: Resources for theStudyof Islam mythology, and folklore. Free archive of worksof worldwide religion, FROM IDEA TO EXECUTION | 225

USING HISTORICAL ASSOCIATIONS EFFECTIVELY PREPARING & SUBMITTING

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

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

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

determined by how the researcher plans to use it. (There’s a LEGAL QUESTIONS However, since some researchers never follow up on their higher fee if it is to be used in a book.) Ask for the HAs policy requests, staff members usually don’t begin the search until you when you arrive. come and sign in. Your letter will serve as a useful guide at that time. APPLY PROPER RESEARCH ETIQUETTE Know that retrieval systems vary. Typically, you won’t be Don’t be a hit-and-run researcher. I’ve worked with HAs on allowed to browse the stacks like you can in a library. Staff will both coasts. The worst nightmare consists of the “RV Raiders” pull only what you request. Most HAs have their own unique who “drop by” and say, “Give me everything you have on the 226 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | FROM IDEA TOEXECUTION | FROM IDEA » » » » » » » friendships. Get to know members ofthe culture; develop genuine » » » » » Immerse yourself inthe culture. your book,anyway! work and takes staffaway from other duties.They’ll read itin you discover, no matter how juicy. Itinterrupts others intheir you are about what you find. Resist the temptation to share what to chat about itwithyou. Don’t worry ifthey aren’t as excited as thousands staffmembers address each year. Don’t expect them do this are stealing history. photographs into their notebooks. This is criminal. People who things—like tear pages out ofirreplaceable books orslipping Smith family. Now.” Hurriedresearchers also dodesperate » » » » » » » » » » » » Be sensitive. Your research project is only one among Locate members ofthe culture who lived inthe same interactions, attitudes, mores. differently than American children? Observe family Get to know children ofthis culture—are they treated Have abasic understanding oftheir religion. Learn their holidays—how and why they are celebrated. Learn their superstitions and beliefs. festivals, ceremonies, parties, orother functions. Ask them to explain certain activities, costumes, etc. at famous sights,etc. clothes, languages, occupations, plants, animals, of questions about their homeland, customs, foods, Show respect and never mock their beliefs.Ask millions Visit their homes. Eattheir foods, obey their customs. music; learn some oftheir language. Watch their movies attheaters oronline, listen to their recipes. taste, and feel. Try to cook some oftheir more popular grocery stores; learn how their foods look,smell, Eat atrestaurants from that culture; shop attheir parties, etc. Attend festivals, religious ceremonies, weddings, sights, sounds, and smells. then travel to San Francisco’s Chinatown to observe subcultures. For example, ifyou cannot travel to China, If you cannot travel to the country itself, visit American of the country. the weather, plants, animals, smells, sounds, colors, etc. If possible, travel to the setting ofyour bookto learn TIPS FOR RESEARCHING ACULTURE DIFFERENT FROM YOUR OWN » » » » » travel there yourself. Obtain physical descriptions ofyour setting ifyou can’t » » Understand the culture’s literature. » » Understand the culture’s history. » be areference for future researchers. will It book. you can, sendyour them acomplimentary copy of HAs inyour bookfor information and photos you use. And, if » » » » » » » » » » Give duecredit and share the results. Always acknowledge or tourists who have traveled there. Interview peoplewho once lived inyour novel’s setting Watch movies set inthat locale. Study videosorslides taken by visitors to the locale. Consult photo-journalist books. street maps. Consult travel guides, especially those withphotos and famous poetry, sagas, ballads, novels, orother literature. Read English translations oftheir country’s most tell you some popular legends and folktales. find them inbooks, then ask members ofthe culture to Learn the culture’s legends and folktales. Ifyou cannot are. Ask members ofthe culture who their historical heroes ancient and modem. until you have abasic knowledge ofitshistory, both Irish immigrants. Read several books about the culture are adescendant from African slaves, Aztec fanners, or Your people’s history influences your life, whether you the culture, especially those set inthe home country. Read autobiographies ornovels written by members of characters inyour novel. culture who have orhad the same occupations as the locale as your novel’s setting, and also members ofthe

FOR CHILDREN &TEENS

WRITING &ILLUSTRATING ESSENTIAL REFERENCEBOOKS ON

ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS

by Lee Wind

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

What these more than twenty-five experts* are talking about are the “She talks about telling the truth—your truth, which I believe is the books on craft that inspire them, that are must-reads, and that they most important thing I can teach my students.” recommend. You’re scrambling for a pen and paper, but relax—I’m your “Invaluable and inspiring.” note-taker, and I’ve made some fantastic lists of their favorites. It was fascinating to see so much crossover: books for writers On Writing: A Memoir of the Craft, by (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. 228 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org interviews withpublishing pros.)” annuals should not beoverlooked, asthey are packed withtimeless of publishers, magazines, agents and artreps, and more. (Earlier CWIM articles inform, educate, advise, challenge, and inspire.” annual) to-understand steps and exercises. Invaluable. And from amaster.” turns, emotional effect,etc.” spatial relationships, composition, technique, and style.” character development, sequencing, rhythm, storyboard, bookdummy, covers most aspectsof the craft from concept topublication; including to allbooksof any decade.” illustrated, butthe main elements of visual storytelling he coversapply and technologies have evolvedquitealotsince this waswrittenand picture bookand why wedo whatwedo. The printing techniques Uri Shulevitz (Watson-Guptill, 1997) with Pictureswonthe overall race, withatotalof tenrecommendations! Longman, 2010) Elizabeth Stuckey-French, and Ned Stuckey-French (8thedition, leave their oldselvesbehind.” Using MythtoPower Your Story,Writer’sAudioShop, 2002) Vogler (3rd edition, Michael Wiese Productions, 2007;audio version: plot isusefuleventothose who aren’t writing screenplays.” by RobertMcKee (ReganBooks, 1997) and writing ingeneral. Ilovedher clarity.” (Riverhead Trade, 2010) eight hundred well-writtenentries.” century—authors, illustrators, editors, formats, genres, inmore than best of the best,especially of the lastfiftyyears of the twentieth Harcourt, 1995) Twentieth CenturyChildren’s Literature,byAnitaSilvey(Houghton Mifflin The Top Seven RecommendedBooks onIllustrating | ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN &TEENS FOR CHILDREN &ILLUSTRATING ON WRITING BOOKS REFERENCE ESSENTIAL | “A comprehensive marketing resource, which includes current listings “A vitallyimportant resource book,updated annually . Relevant Children’s Writer’s &Illustrator’s Market Book(Writer’sDigest Books, “Breaks down the process of telling stories withpictures into easy- “He looksateverything, the whole bookcovertocover, layout,page “An indispensable guide topicture bookillustration. Shulevitz “A must-have for anyone who isserious aboutdeveloping their craft.” “It’s great for stepping backand pondering the anatomy of a Writing withPictures:HowtoWriteandIllustrateChildren’s Books, by These are the booksthatwere onmore than one short list.Writing “Clear and comprehensive withanexcellent discussion of characterization.” Writing Fiction:AGuidetoNarrativeCraft,byJanet Burroway, “Young protagonists are allonajourney tochange and grow and The Writer’s Journey:MythicStructurefor Writers,byChristopher “What he hastosayaboutthe waythatcharacter should influence Story: Substance, Structure, StyleandthePrinciplesof , “Useful, practical waystounderstand and usevarious writing skills— The Forestfor theTrees: AnEditor’s Advice toWriters,byBetsyLerner “Belongs oneverychildren’s bookwriter’sshelf. Readers meet the Children’s Books andTheirCreators:AnInvitationtotheFeastof amuses, and resonates.” David Jauss isbrilliant and writesinawaythat explains, details, 2008) About theCraftof FictionWriting,byDavid Jauss (Writer’sDigest Books, this bookisfullof tools, exercises, and inspiration. morning pages toartistdates tothe importance of “filling the well,” blocks, replacing them withartistic confidence and productivity. From Cameron withMark Bryan(G.P. Putnam’s Sons, 1992) (including anecdotes abouttheir creation). (Mariner, 2005) Choices for Your Young Reader, Toddler toPreteen,byAnitaSilvey More Recommended Books onWriting say whatyouneed tosayassimplypossible.” it not onlyasabiblefor writing, butapplyitswisdom tomaking art— Longman, 1999) composition, design, and basic figure drawing.” (Touchstone, 1984) and thinkaboutyourownstorytelling innew ways.” look into the effectiveuseof illustration.” on their workwhileexamining the deeper currents . Anenlightening Dilys Evans (Chronicle Books, 2008) before.” which wealready maybe do buthavenever consciously thought about eyes whatcanmake for extraordinary images and compositions.” on those forms and shapes. Agreat bookfor helping usseethrough artists’ know well,such astriangles and horizontals, tothe effectcolor canhave 2000) Press, 1991;retitled asPictureThis:HowPicturesWork, Chronicle Books, whole children’s bookindustry.” “My all-time favorite craft bookfor somany reasons, just because Alone withAllThatCouldHappen:RethinkingConventionalWisdom A twelve-weekprogram torecover yourcreativity from avariety of The Artist’s Way: ASpiritualPath toHigherCreativity,byJulia “The booksthateverychildren’s author and illustrator should know,” 100 BestBooks for Children:AParent’s GuidetoMakingtheRight “There are atleastfivecopies around my house and studio. Ilookat The Elementsof Style,byWilliam Strunk&E.B. White(4thedition, “It givesmost artistsallthe essential toolsthey need tostudy How toDrawComicstheMarvelWay, byStanLeeand John Buscema Bird by,Anne Lamott (asonprevious page) “It’s like amaster classinhow tolookatart,learn from the best, “This anthology features twelvecontemporary illustrators, focusing Show andTell: ExploringtheFineArtof Children’s BookIllustration,by “It makes usaware of intuitive principles of making pictures, many of “Provides fun,dynamic teaching throughout, from using simpleforms we Picture This:Perception andComposition,byMolly Bang (Bulfinch “The bestand most up-to-date source for information aboutthe ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS | 229

The Anatomy of Story: 22 Steps to Becoming a Master Storyteller, by “This book is geared toward writing memoir, but I found it extremely PREPARING & SUBMITTING 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 particularly another and how their desires, flaws, and actions all intersect.” 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. MARKET SURVEYS 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.” DIRECTORIES & RESOURCES 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 Scott An abecedarian (ABC) book on how to create good stories. Written 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/limited as well. vs. distant) as well as pros/cons to POV choices.” PUBLICIZING YOUR PUBLISHED WORK Save the Cat: The Last Book on Screenwriting You’ll Ever Need and Save Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting the Cat Strikes Back: More Trouble for Screenwriters to Get Into . . . and Dynamic Characters and Effective Viewpoints (Write Great Fiction), by Out Of, by Blake Snyder (Michael Wiese Productions, 2005, and Save the Nancy Kress (Writer’s Digest Books, 2005) 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 on SCHOOL VISITS Butler’s chapter on longing answers this question by showing writers 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.” LEGAL QUESTIONS “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 scene/ Old Friend from Far Away: The Practice of Writing Memoir, by Natalie characters but from different POVs.” Goldberg (, 2009) 230 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org contracts and self-publishing. A classroom inabook. character bibles, outlining and illustrating, the writing process itself, book from choosing the format and age range, tocreating concepts and Rojany Buccieri and Peter Economy. with great exercises.) tension, and developing aninspiring premise. (The workbookisloaded out. Covering time and place, , characters, themes, narrative genre—and shows writing techniquestomake yourownbooksstand Books, 2004) by Donald Maass (Writer’sDigest Books, 2002,and Writer’sDigest wit, intelligence, and candor are wildlyinspiring.” other writerswho inspired her (from Shakespeare toEudora Welty). “Her 2005) essential questions thateditorsusetoevaluate manuscripts everyday. authors tackledactual revisions ontheir ownstories. Includes the nine Their Stories,bySandy Asher (Writer’sInstitute Publications, 2009) will liftyourspiritsand help youthrough difficulttimes.” quotes aboutwriting and the creative life, willsurely havesomething that About Writing,editedbyDeborah Brodie (St.Martin’s Press, 1997) worksheets, samplecritiques, and examples. of how torevise yourownworkaswellsomeone else’s. With Books, 2009) Feedback, Self-Edit,andMake Revisions,byBeckyLevine (Writer’sDigest needs, and whymust drive ourstories.” Fiction writersseeinstantly: whoourcharacter is, whathe wants/ Dane Bauer(Sandpiper, 1992) Padgett (Teachers and WritersCollaborative, 2000) afraid tograb hold of the experience withbothhands and take joy.” tourniquets and ibuprofen canhavesome chance of helping. Donot be with anidea. As Jane explains, “Savethe bloodand painfor real life, where and endings, rejection, the technical aspectsof writing, and coming up Digest Books, 2006) | ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN &TEENS FOR CHILDREN &ILLUSTRATING ON WRITING BOOKS REFERENCE ESSENTIAL | A primer for children’s bookwritersonhow to writeachildren’s Writing Children’s Books for Dummies(2ndEd.)(2013, Wiley)byLisa Details the elements thatallbreakout novels share—regardless of Writing theBreakout Noveland WritingtheBreakout NovelWorkbook, The National BookAward Winner’s essaysonwriting, teaching, and The WritingLife,byEllenGilchrist(University Press of Mississippi, Behind-the-scenes lookathow twenty accomplished children’s Writing ItRight!HowSuccessfulChildren’s Authors ReviseandSell “Whenever you’re inafunkaboutyourwork,thisbook,fullof wonderful Writing ChangesEverything:The627BestThingsAnyoneEverSaid Tools tohone yourediting skillsand deepen yourunderstanding Writing &CritiqueGroupSurvivalGuide:HowtoGiveandReceive “Newbery Medalist Bauerwrote thisbookfor middle-schoolers . What’s Your Story?AYoung Person’s GuidetoWritingFiction,byMarian Defines and gives examples of poetic terms and forms. The Teachers &WritersHandbookof Poetic Forms,editedbyRon A guide todealing withwhatwritersstrugglewith:voice, beginnings Take Joy:AWriter’s GuidetoLovingtheCraft,byJane Yolen (Writer’s Salisbury and Morag Styles(Lawrence King Publishers, 2012) they solvevisual problems, and whatsparksthem.” children’s bookillustrators. Ilovereading aboutother illustrators, how Library of Applied Design, 1992) your confidence.” days when youfeellike things aren’t going welland youneed tobolster in 1945;60thAnniversaryEdition byHarperCollins, 2004) contributions tothe artof the children’s book. illustrators’ workand anautobiographical section onhisown illustrating for children, exploring bothhiscritiquesof other Straus and Giroux, 1988) stages, and aphoto of their workspace.” childhood photograph and earlydrawing, sketches, their workshown in their work.Eachcontributor hasincluded anunusual self-portrait, a to them whenever Ineed inspiration.” read them countless times. They sitonmy nightstand where Icanrefer Both copies of her booksare held together byathread becauseI’ve and Mariner Books, 1993) Angels, Ancestors, andStories,byNancy Willard (BookthriftCo,1983, More Recommended Books onIllustrating writing classesand for the do-it-yourselfer.” information, the guide wouldmake anexcellent textbook for creative everything I’velearned overthe years.” (Linda Ashman, 2013) of eachchapter.” need toknow aboutwriting for children . withexercises atthe end (Writer’s Digest Books, 2001) like butterfly nets tocatchfleeting thoughts.” anyone elsewho writes. Iuseher techniquesdaily becausethey work directions and illustrations onitsapplication for students, authors, and “An historic overview of picture booksthrough the ages.” Children’s Picturebooks: The Artof VisualStorytelling,byMartin “Insightful lookinto the livesand work of eighty-plus acclaimed Children’s BookIllustrationand Design,editedbyJulie Cummins (PBC “It ishandy tokeep thisprofound littlepicture bookaround for the The CarrotSeed,byRuthKrauss and Crockett Johnson (first published The legendary illustrator’s essaysand musings onwriting and Caldecott &Co.:NotesonBooks &Pictures,byMaurice Sendak (Farrar, “An anthology of twenty-three major illustrators talking about Artist to(Philomel Books, 2007) “Pure genius. Nancy shares rich insights into the creative process. Angel intheParlor: FiveStoriesandEightEssays Telling Time: “Clearly written,well-organized, and loaded withpractical “A practical, “nuts and bolts”handbook for new writersbasedon The NutsandBoltsGuidetoWritingPictureBooks, byLinda Ashman “Explains structure, plotting, characterization, and everything you The Writer’s GuidetoCraftingStoriesfor Children,byNancy Lamb “Explores left-right brain science, and then givesstep-by-step Writing theNaturalWay, byGabriele Rico (Tarcher, 2000) ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS | 231

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

Framed Ink: Drawing and Composition for Visual Storytellers, by Marcos ’s Art, by Anne Stevenson Hobbs (Frederick Warne, 1989) Mateu-Mestre (Design Studio Press, 2010) Using lessons learned from working in the comic and movie Margaret Wise Brown: Awakened by the Moon, by Leonard S. Marcus industries, Mateu-Mestre shares his step-by-step system for how to (Harper Paperbacks, 1999) make the audience feel the story while they are reading the story.

The Pooh Sketchbook: Drawings by Ernest H. Shepard for the Pooh DIRECTORIES & RESOURCES How to Make , by Scott Kurtz, Kris Straub, Dave Kellet, and Stories by A.A. Milne, edited by Brian Sibley (E. P. Dutton, 1982) Brad Guigar (Image Comics, 2008) Advice on how to create compelling characters, develop a solid comic Self-Portrait: Trina Schart Hyman, by Trina Schart Hyman strip, build a website, forge a community, and start earning money from (HarperCollins, 1981) your . . . without having to sell your soul. Tomie dePaola: His Art & His Stories, by Barbara Elleman (Putnam, How to Write and Illustrate Children’s Books and Get Them Published, 1999) edited by Treld Pelkey and Felicity Trotman (Writer’s Digest Books, 2000) If you have a favorite book on the craft of writing and/or illustrating “Lots of great general information about the industry and about for children and teens that isn’t mentioned, please let me know at submitting work to publishers.” [email protected]. Include why it’s your favorite, and I’ll post

them on SCBWI: The Blog (scbwi.blogspot.com). Thanks! PUBLICIZING YOUR PUBLISHED WORK Illustrating Children’s Books: Creating Pictures for Publication, by Martin Salisbury (Barron’s Educational Series, 2004) From media and materials to composition and typography, this book “covers a lot of territory” and includes artwork examples.

Interaction of Color, by Josef Albers ( 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. SCHOOL VISITS 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 LEGAL QUESTIONS 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.”

Understanding Comics, by Scott McCloud (William Morrow Paperbacks, 1994) Looks at the history, meaning, and art of comics and cartooning.

GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS

by Melissa Stewart

GENERAL U.S. GRANTS & FELLOWSHIPS www.arkansasarts.org/grants/williamsfund.aspx Fellowship Program North Little Rock, Arkansas, Laman Library artscouncil.ky.gov/Grants/ASF/asf_gdl.pdf Creative Capitol Writers Fellowship creative-capital.org/ www.lamanlibrary.org/page/42/laman-library- Maine Community Foundation’s Martin Dibner writers-fellowship Fellowship McKnight Artist Fellowships for Writers of www.mainecf.org/Default.aspx?tabid=616 Children’s Literature Arts Council Silicon Valley, California Artist https://www.loft.org/for-writers/contests-and- Laureate Program A Louisiana Division of the Arts rtist Career awards/103-loft-contests-grants-a-awards/216- www.artscouncil.org/page/grants_artist_ Advancement Grants mcknight-artist-fellowships-for-writers laureate www.crt.state.la.us/arts/guidelines2012-ca.aspx

National Endowment for the Arts Literature San Francisco, California Arts Commission Maine Arts Commission Individual Artist Fellowships www.sfartscommission.org/programs/cultural_ Fellowship www.nea.gov/grants/apply/Lit/index.html equity_grants.htm mainearts.maine.gov/grant_individualfellowship. aspx STATE AND REGIONAL GRANTS & Colorado Council on the Arts Artist Fellowships FELLOWSHIPS www.coloarts.state.co.us./grants/apply/artists/ Maryland State Arts Council index.htm www.msac.org/grantsforartists Most of the programs listed below are awarded by state Arts councils and funded by state Connecticut Commission on Culture and Tourism Massachusetts Cultural Council Artist governments. Many local cultural councils also www.cultureandtourism.org/cct/cwp/view. Fellowships award grants to artists. Check with Arts and asp?a=3933&q=293740 www.massculturalcouncil.org/programs/ cultural organizations in your area to find out artistfellows.asp what is available. Delaware Division of the Arts Individual Artist Fellowships Kansas Arts Commission Artist Innovation Grant Alabama Arts www.artsdel.org/grants/IAFinfo13_DE.pdf arts.ks.gov/fy11grants/artists/innovation/index. www.arts.alabama.gov/grants/index-grants.html shtml Idaho Commission on the Arts QuickFund Grants Alaska State Council on the Arts, Career www.arts.idaho.gov/grants/indoverview.aspx Kresge Arts in Detroit, Michigan Opportunity Grants kresge.collegeforcreativestudies.edu www.eed.state.ak.us/aksca/grants3.htm#fellow Idaho Commission on the Arts Fellowships www.arts.idaho.gov/grants/indoverview.aspx Mid-Atlantic Arts Foundation Individual Artist Arizona Commission on the Arts Artist Project Grants Grants Illinois Arts Council Individual Artist Support www.midatlanticarts.org/funding/artists_ www.azarts.gov/grants/artists/#APG www.arts.illinois.gov/Individual%20Artist%20 programs/index.html Support Arkansas Arts Council Individual Artist Minnesota Five Wings Art Council Fellowships Indiana Arts Commission Individual Artist www.fwac.org www.arkansasarts.org/grants/iaf.aspx Fellowships www.in.gov/arts/individualartistprogram.htm Arkansas Arts Council / Sally A. Williams Artist Fund Kentucky Arts Council Individual Artist 234 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.oac.state.oh.us/grantsprogs/guidelines/ Excellence Awards Ohio ArtsCouncil Funding for Artists Individual GrantProcessArtists.asp www.oac.state.oh.us/grantsprogs/guidelines/ Ohio ArtsCouncil Funding for Artists www.nd.gov/arts/grants/grant.html Development North Dakota Council onthe ArtsProfessional html Artist Fellowshipwww.nd.gov/arts/grants/grant. North Dakota Council onthe ArtsIndividual FellowshipWritersFAQ.pdf www.ncarts.org/elements/docs/ North Carolina ArtsCouncil www.larac.org/Artist_Grants.html Council Individual ArtistGrants New York--Lower Adirondack Regional Arts www.nyfa.org/level2.asp?id=1&fid=1 Fellowships New York Foundation for the ArtsArtists’ sk=view&id=1043&itemid=367 nac.nevadaculture.org/?option=com_content&ta Grant Nevada ArtsCouncil Professional Development sk=view&id=1043&itemid=367 nac.nevadaculture.org/?option=com_content&ta Nevada ArtsCouncil ArtistFellowships fellowships_1 www.pw.org/writing_contests/individual_artist_ Individual ArtistFellowships New Hampshire StateCouncil onthe Arts art.mt.gov/artists/artists_innovation.asp Montana ArtsCouncil Artist’sInnovations Grant www.artskc.org/inspirationgrants.aspx Grants Missouri—Kansas CityArtsCouncil Inspiration php www.arts.state.ms.us/grants/artist-fellowship. Fellowships Mississippi ArtsCommission Literary Artist php www.arts.state.ms.us/grants/artist-fellowship. Grants Minnesota StateArtsBoard ArtistInitiative | GRANTS, FELLOWSHIPS, RESIDENCIES, &RETREATS RESIDENCIES, FELLOWSHIPS, | GRANTS, www.tn.gov/arts/grant_categories.htm Fellowship Tennessee ArtsCommission Individual Artist South Dakota ArtsCouncil South Dakota ArtsCouncil www.vermontartscouncil.org/Grants/tabid/65/ Vermont ArtsCouncil Creation Grant Default.aspx www.vermontartscouncil.org/Grants/tabid/65/ Vermont ArtsCouncil ArtistDevelopment Grant artists/ www.houstonartsalliance.com/grants/individual- Fellowship Texas—Houston ArtsAlliance New Works artists/ www.houstonartsalliance.com/grants/individual- Grant Program Texas—Houston ArtsAlliance Individual Artist artscouncil.sd.gov/grants/grantartist.aspx Grant artscouncil.sd.gov/grants/grantartist.aspx Grant fellowships.shtml www.southcarolinaarts.com/grants/artists/ Fellowships ArtsCommission Artist www.arts.ri.gov/individuals/fellowships09.php Individual Fellowships Rhode Island StateCouncil onthe Arts tabid/362/Default.aspx GrantOpportunities/MacCollJohnsonFellowship/ www.rifoundation.org/Nonprofits/ MacColl Johnson Fellowships Rhode Island Foundation Robert&Margaret www.literary-arts.org/oba-home/fellowships/ Oregon Literary Fellowships for-individual-artists www.oregonartscommission.org/grants/grants- Grants Oregon ArtsCommission Career Opportunity for-individual-artists www.oregonartscommission.org/grants/grants- Fellowships Oregon ArtsCommission Individual Artist IndividualExcellenceAwards.asp Artist Project Artist Fellowship www.scbwi.org/Pages.aspx/Martha-Weston-Grant SCBWI/Martha Weston Grant Author-Grant www.scbwi.org/Pages.aspx/Jane-Yolen-Mid-list- SCBWI/Jane Yolen Midlist Author Grant Grants www.scbwi.org/Pages.aspx/Work-In-Progress- SCBWI/Work-in-Progress Grants award grants/karen-and-philip-cushman-late-bloomer- www.scbwi.org/awards/grants/work-in-progress- SCBWI/Karen Cushman LateBloomer Award emerging-voices-grant www.scbwi.org/awards/grants/on-the-verge- SCBWI/Emerging Voices Award www.scbwi.org/Pages.aspx/Don-Freeman-Grant SCBWI/Don Freeman Grant www.scbwi.org/Pages.aspx/Book-Launch-Award SCBWI/Book Launch Award funding/grants-for-the-arts/ www.artscouncil.org.uk/funding/apply-for- Arts Council England www.canadacouncil.ca/writing/ Canada Council onthe Arts INTERNATIONAL GRANTS&FELLOWSHIPS wyoarts.state.wy.us/Artists/Literature.aspx Wyoming ArtsCouncil Literature Fellowship cid=171 ubcatid=3324&linkcatid=3398&linkid=1653&lo artsboard.wisconsin.gov/subcategory.asp?links Wisconsin ArtistFellowships artisttrust.org/index.php/for-artists/money Washington ArtistTrust html www.arts.virginia.gov/grants/Artistfellowships. Fellowships Virginia Commission for the ArtsArtists Default.aspx opportunity tospend time interacting with free workspaceand housing, aswellthe All of the programs listedbelowinclude U.S. RESIDENCIES GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS | 235 other creative people. In most cases, food is Kimmel Harding Nelson Center for the Arts Kindling Words PREPARING & SUBMITTING provided or participants receive a stipend to www.khncenterforthearts.org/residency. kindlingwords.org/ cover the cost of food. A few programs cover html#resfee travel expenses. Most of the others offer need- Nebraska City, NE based scholarships to cover the cost of travel. Marguerite and Lamar Fellowship for Writers The Anderson Center www.mccullerscenter.org/fellowships.php www.andersoncenter.org/index.html Columbus, Georgia Red Wing, MN MacDowell Colony Atlantic Center for the Arts www.macdowellcolony.org/ MARKET SURVEYS www.aca35.org/artist-residence-program Very prestigious, very competitive. New Smyrna Beach, FL Peterborough, NH

Blue Mountain Center Millay Colony for the Arts www.bluemountaincenter.org/whatsnew www.millaycolony.org/residencies Highly regarded, rustic, rural, beautiful Austerlitz, NY Blue Mountain Lake, NY

Norton Island Residency Program DIRECTORIES & RESOURCES Boston Public Library www.easternfrontier.com/about.html Children’s Writer-in-Residence Program Extremely rustic, isolated www.bpl.org/general/associates/childrensres. Norton Island, ME htm Sitka Center for Art & Ecology Byrdcliffe Artist in Residence Program www.sitkacenter.org/10-0.html www.woodstockguild.org/artist-in-residence Otis, OR Woodstock, NY Thurber House Djerassi Resident Artists Program thurberhouse.org/childrens-writer-in-residence. www.djerassi.org/index.html html

Woodside, CA Reserves a slot especially for children’s writers PUBLICIZING YOUR PUBLISHED WORK Dorland Mountain Arts Colony Columbus OH dorlandartscolony.org/index.php/about-dorland/ artist-residencies Ucross Residency Program Temecula, CA www.ucrossfoundation.org/residency-program/ Sheridan, Wyoming Edward F. Albee Foundation www.albeefoundation.org/Mission.html Virginia Center for the Creative Arts Montauk, Long Island, NY www.vcca.com/main/index.php Amherst, VA Fine Arts Work Center www.fawc.org/fellowships/index.php Yaddo Provincetown, MA yaddo.org/ Very prestigious, very competitive.

Headlands Center for the Arts Saratoga Springs, NY SCHOOL VISITS www.headlands.org/program/air/ Fort Barry, CA RETREATS

Hedgebrook Many SCBWI regions offer retreats. Check www.hedgebrook.org/ with your Regional Advisor to find out what Women only is available in your area. The programs listed LEGAL QUESTIONS Whidbey Island, Puget Sound, adjacent to below are highly regarded and are intended for Seattle, Washington children’s authors and illustrators from all over North America. Jentel Artist Residency Program www.jentelarts.org/sitepages/application03.htm Highlights Foundation Workshop Retreats Banner, WY www.highlightsfoundation.org/

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 »» The Writing Barn in Austin, TX – Billed as the perfect place to a day for up to eight weeks. http://www.macdowellcolony.org/ retreat, create, and celebrate, there are various lodging options to »» Yaddo in Saratoga Springs, NY – Artists who qualify for Yaddo accommodate a quiet solo retreat or a group endeavor with fellow residencies are working at the professional level in their fields. An creative friends. Having taught a weekend writing workshop at The abiding principle at Yaddo is that applications for residency are Writing Barn, I can attest to the peaceful atmosphere and wonderful judged on the quality of the artist’s work and professional promise. creative energy. (10% discount on rates offered to SCBWI members): https://www.yaddo.org/apply/guidelines/ http://www.thewritingbarn.com/private-group-writing-retreats/ »» Sitka Center for Art and Ecology in Otis, OR – Up to five residents »» Peaceful Acres Horses in Pattersonville, NY – a quiet place at a time, usually from different disciplines and stages in their to retreat among rescued horses and donkeys. Open from April careers, live and work on campus anywhere from two weeks up to to October, they offer a variety of retreat options. http://www. three and a half months free of charge. https://www.sitkacenter.org/ peacefulacreshorses.com/r-r-retreats/ residencies »» Highlights Foundation Unworkshop in Milanville, PA – offers »» The Studios of Key West in Key West, FL – Month-long residencies flexible scheduling—from a day to a week or longer—as well as a for writers and artists in the supportive creative community of the chance to create in lovely surroundings. Meals are provided. http:// Studios of Key West, near where Judy Blume, incidentally, owns a www.highlightsfoundation.org/unworkshops/ bookstore. https://tskw.org/studios/apply-for-a-residency/ »» Kindling Words (East and West) – For more than twenty years, »» The Millay Colony for the Arts in Austerlitz, NY – Adjacent to Kindling Words has been the leading professional retreat for the the former home and gardens of poet Edna St. Vincent Millay, this children’s book world. Published authors, illustrators, and editors residency offers a private bedroom, studio space, and meals for six hone the tools of their craft, engage in deep conversation with to seven visual artists, writers, and composers each month between colleagues, and fill the creative well with fresh ideas. https:// April and November. https://www.millaycolony.org/programs/ kindlingwords.org/ residencies-artists-millay-colony-arts/ »» Writing Between the Vines in vineyards at various Residencies and Retreats with No or Low Cost to Attend: locations worldwide – short-term solo retreats for writers of fiction, nonfiction, screenwriting, and poetry. https://www. »» The MacDowell Colony in Peterborough, NH – The MacDowell Colony writingbetweenthevines.org/ nurtures the arts by offering creative individuals of the highest talent »» The Edward Albee Foundation in Long Island, NY – The Edward F. an inspiring environment in which to produce enduring works of Albee Foundation exists to serve writers and visual artists from all 238 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | ANSWERS AND QUESTIONS CONTRACT » » » » » » » » » Residencies/Retreats ThatPay You toAttend: » » » » » » » » » willapabayair.org/about.php each month from March 1through September30.http://www. provides lodging, meals, and workspaceatno costtosixresidents scholars, singer/songwriters, and musical composers. The Residency self-directed residencies toemerging and established artists, writers, Willapa BayAiRinBay, WA –They offer month-long, residence-program/ – https://www.edithwharton.org/visit/the-edith-wharton-writer-in- The EdithWhartonWriters-in-Residence Program inLenox, MA org/writers-in-residence/ their stories. Thisretreat isfor women only. http://www.hedgebrook. to share ahome-cooked gourmet meal, their work,their process, and Bluff beach.Inthe evenings, they gather inthe farmhouse kitchen reading, taking walksinthe woodsonthe property ornearby Double handcrafted cottage. They spend their days insolitude –writing, the writer. Sixwritersare inresidence atatime, eachhoused ina all overthe worldfor residencies of twotosixweeks, atno costto Hedgebrook inWhidbey Island,WA –The retreat hosts writersfrom andersoncenter.org/residency.html scholars toadvance orcompletetheir work-in-progress. https://www. of twotofour weekslong inorder toenable artists, writers, and The Anderson CenterinRedWing,MN–They provide retreats workshops/residency.html work onaproject intheir particular field. http://www.wildacres.org/ individuals the solitude and inspiration needed tobeginorcontinue residencies availablefrom Aprilthrough October. The program allows cabins, the program willhaveaboutseventy one- and two-week Wildacres Retreat inLittleSwitzerland,NC–Withthe useof three www.albeefoundation.org/guidelines—submitting.html laugh, the FAQ isintentionally hilarious toread through.) http:// the Foundation invitesany and allartiststoapply. (Ifyouneed a disturbance. Using onlytalent and need asthe criteria for selection, walks of lifebyproviding time and spaceinwhich toworkwithout and mid-January. There isa$1,000monthly stipend which isprorated residencies of twotosix weeks during the months betweenLabor Day between mid-January and the end of May, and three orfour shorter CT –The program offers one four-and-a-half-month residency James MerrillHouseWriter-in-Residence Program inStonington, khncenterforthearts.org/residency.php and aweekly$100stipend for the duration of their stay. http://www. is provided withcomfortable accommodations, amplestudio space, at atime for staysthatvaryfrom twotoeight weeks. Eachresident NE –The KHNCenter accommodates uptofiveartists, writers, etc. Kimmel Harding NelsonCenter for theArtsinNebraska City, https://thecompact.org/dune-shacks.html by lottery, allowing writersof alllevelsthe same opportunity. of allgenres. Thisisanon-juried process and writerswillbeselected apply for twoone-week residencies funded bythe Compactfor writers three weekslong. One of these hasa$500fellowship.Writerscan can applyfor one of three juried summer residencies thatare each Provincetown Community CompactinCapeCod,MA–Visual artists living stipends. http://www.headlands.org/program/air/ space, chef-prepared meals, comfortable housing, and travel and Headlands, CA–Residencies of four toten weeks include studio Headland Centerfor theArtsinFort BarryintheMarin resources. and conferences. Visitwww.donnagephart.com for writingtipsand for Lilyand Dunkin.Donnaisapopularspeaker atschools, bookfestivals for President, andtheSouthernPrizefor Fiction intheJuvenileCategory Award for As ifBeing 12-3/4isn’tBadEnough, My Mother isRunning novels havewonnumerousawards, includingtheSidFleischmanHumor a bowlingcenterandfuneralhomebecause.of courseitis!Her peaceful location thatwouldbeconducive toyour creative process. retreat bybooking aninn,bedand breakfast, orhotel room ina programs, online. And youcanalwaysdesign yourownsoloorgroup » » » » » » Donna Gephart’s newestmiddlegradenovel,InYour Shoes, issetin You canfind more residencies and retreats, including international thurberhouse.org/childrens-wir/ settings. And there may ormay not bearesident ghost.) http://www. writing workshops toyoung peopleinthe community inavariety of space and time towrite, there are wonderful opportunities toprovide Writing Camp.(Iwasawarded thisresidency in2012.Inaddition to a variety of community settings, including the Thurber House Summer activities tomiddle grade children for eight totenhours perweekin residency, the Children’s Writer-in-Residence teaches writing-based bedroom apartment onthe third floor of Thurber House. During their James Thurber. The winning writerstaysinthe fullyfurnished, two- their ownproject(s) and explore Columbus, the childhood home of in June, July, orAugust. The residency allowsthe author tofocus on emerging middle grade author amonth-long residency, typically held Columbus, OH–Everyyearthe Thurber House offers one talented, The ThurberHouseChildren’s Writer-in-Residence Program in programs/writer-in-residence-program/ published abook.)https://www.associatesbpl.org/events-and- a $20,000stipend. (Prospective candidate may not havepreviously private office spaceatthe BostonPublic Library inCopleySquare and runs Septemberthrough May, the fellowshiprecipient willreceive a children oryoung adults. During the nine-month residency that support and office space needed tocompleteone literary work for program provides anemerging children’s writerwiththe financial The Association of theBostonPublicLibrary inBoston,MA–This fawc.org/program form of living/work spaceand amodest monthly stipend. http://web. provides seven-month Fellowshipstotwenty Fellowseachyearinthe artists inthe crucial earlystages of their careers, the Work Center Fine ArtsWork CenterinProvincetown, MA–for writersand visual residence-program/ for shorter stays. http://jamesmerrillhouse.org/residency/writer-in- SCBWI PUBLICIZING YOUR PUBLISHED WORK

2019 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 your book, be sure to reach out to them and express your enthusiasm to events, school visits, library events, festivals, other appropriate work together on the promotion. Some specific topics to inquire about promotional 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 »» Publishing trade magazines: These include, but are not limited your book’s biggest cheerleader. Once you have a better idea of what to Publishers Weekly, School Library Journal, Kirkus, The Horn your publisher’s involvement in the promotion will be you can proceed Book, The Bulletin of the Center for Children’s Books, Booklist, and with the preparations. the New York 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, »» Electronic media: Appropriate talk shows, magazine shows, and but if you feel very strongly about the location at which you want to entertainment shows are eager to interview new and local authors. host 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 ask them about any specifications or requirements by your publisher, that are appropriate for your genre? ie. 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 help with the promotion of your book by offering blurbs and fit for you and your book. School visits and book festivals tend to recommending it to their own audiences. require more lead time to coordinate than bookstore and library events. Keep in mind that if you will be arranging school visits • Will you have the following promotional materials and without the help of the publisher, try finding a local bookstore that resources: will be willing to work with you to provide presale books to students 242 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | BOOK RELEASE CHECKLIST RELEASE BOOK | » » » » » 3 MonthsBefore Release: » » » » » ideas. ideas. and ordering cardboard cutouts, and developing giveawayand raffle stickers, creating activitysheets, designing postcards, designing potential publicity and marketing ideas. Forexample: designing General brainstorming: It’s never tooearlytostartthinking up with them. relationships withschools inthe area and are happytoconnect you and stafffor the event. Many times localbookstores already have addition toattending and/or performing they would typically post to giveademonstration during the event, or evenjustattend. In reached outtodojos near my event locations toseeifthey wanted first book,NinjaBunny,which included amartial artselement, I connect withanew pool of readers withsimilar interests. Formy promotional reach for bothyouand them, butitwillalsohelp you or organization related todogs. Not onlywillthisbroaden the animal shelters, dog bakeries, petstores, groomers, and any business as the main character, youmight consider connecting withlocal with youfor the event. Forexample, ifyourbookfeatures adog location and inquire ifthey wouldbeinterested incollaborating out tolocalbusinesses, vendors, and organizations near the event Cross promotion: Prior toone of your upcoming signings reach membership-benefits-new/ just some of the services SCBWIprovides: https://www.scbwi.org/ in yourlaunch. The membership benefits page offers an idea of book. There are avariety of programs and databases tosupportyou for authors and illustrators and specificallywhen promoting a new Utilize SCBWI: Thisorganization isahuge resource bothgenerally coloring pages, bookmarks, etc. in ablogtour;and downloadable material such asactivitysheets, an updated author bio; alistof blogdates ifyouare participating list of any confirmed upcoming events; abooktrailer ifyouhaveone; book. Forexample: linkstowhere readaers canpreorder yourbook;a website toinclude general and promotional information aboutyour Update your website: Thiswouldbeagood time toupdate your it. snacks, activitysheets) make sure the location isequippedtohandle reading and signing (PowerPoint, demo oneasel,coloring pages, author copies. Also,if youintend todo anything inaddition to if they haveenough booksinstockorifyoushould bring additional call ahead tosigning locations one weekbefore the event tofind out also ensure thatthere willbeenough booksinstock.Remember to so thatthey cancoordinate itwithany other existing events and can a publicist, make sure toshare any confirmed appearances withthem with and email orphone calltoschedule it.Ifyouare working with after the release of youbook,make certaintofollow upafterwards booksellers orlibrarians express interest inhosting youfor anevent librarian hasn’talready beenprovided one bythe publisher. Ifthe bring some copies of yourF&GsorARCsjustincasethe bookseller/ a purchase during yourvisit.It’s alsohelpful during these visitsto remember totryand supportlocalindependent bookstores bymaking and librarians helps get yourbookinthe hands of readers. Always information. Having apersonal connection withthe booksellers individuals responsible for booking such events and exchange contact list of potential signing event locations. Try connecting withthe book, make anattempttovisitbookstores and libraries onyour Bookstore andlibrary visits:Prior tothe publication of your » » » » » » » » » 1 Week Before Release: 1 MonthBefore Release: Post BookRelease: Week of BookRelease: jennifergrayolson.com her husband,three children,andtoomanypets. Visitheratwebsite, through acombinationof inkandwatercolor. She livesinCorona,CAwith the worldsinwhichtheyliveledher intoillustrating. Herworkiscreated in SouthernCalifornia. Her loveof creatingentertainingcharactersand rewarding element of itall. process, especially connecting withyourreaders, which canbethe most Try toslowdown and enjoythe accomplishment of completing the exciting and overwhelming period of the entire publishing experience. » » » » » » » » » any other signing events shortly following. have allevent items prepared for the booklaunch partyaswell Be prepared: Your book comes outinone week!Make sure thatyou a signed copyof the bookwhen itisreleased. media thatthe firstfivepeopletoshare yourbook trailer will receive and/or giveaways. Forexample, posting onTwitter orother social More promo: Thisisagood time tostartaninitial round of raffles as well. possible, reach outtopeopleinkidlit topostand debut the trailer Book trailer: Post yourbooktrailer ifyouhaven’talready. If book onsocial media. Also,postlinkstostores preselling yourbook. Post: Share any reviews, comments, orupcoming events aboutthe have activitysheets, giveaways, themed snacks, raffle items, etc. like tohaveatyourbooklaunch party. When possible, it’sfunto Start organizing, preparing, and planning allitems thatyouwould remember totagyourpublisher sothatthey canmore easilyrepost. Create and postpromotional material onallsocial platforms and Book launchevent: Confirmfinal details of the event and venue. whether you’re pre-published oronyour180 Pay itforward: Thisapplies toeverystepof the publishing process, certain topromote yourevent hosts. social media, comment onthe event afterthe fact, and alwaysmake positive feedbackyou’re receiving onthe book.Share event dates on Promo doesn’tend:Alwaysremember torepost and share allthe not nothing. Relaxand enjoyitfor amoment. Breathe: You created abookthatnow exists inthe worldand that’s websites. who havealready read the booktoleavereviews onthe appropriate reviews, and linksfor purchasing the book.Also,encourage those who havealready received yourbook.Repostupcoming event dates, prizes from raffles and giveaways. Share any postings from people Home stretch: Organize final details of upcoming events. Mail out promote them online aswell.It wasawinfor everyone involved. flyers promoting the event online and attheir business and Iwould Jennifer GrayOlsonisachildren’s bookauthorandillustratorbased The months preceding yourbook’spublication canbethe most connected and activeinthe kidlit community. reviews, and repost their positivenews. Doyourbesttoalwaysstay fellow authors and illustrators, show uptotheir events, write th book:supportyour CHILDREN’S BOOKS PROMOTE YOUR 100 WAYS TO

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. 244 | 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. 2019 GRASSROOTS BOOK PUBLICITY

by Kerry Madden

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

Regardless of how well a book is written, critical praise doesn’t 8. Join a YA and middle grade fiction writers or picture book always translate into sales, and often even well-reviewed books listserv. The Child_Lit Serve out of Rutgers is another great listserv disappear, out of print within a couple of years. No matter how of authors, professors, librarians. Richie Parrington has started an much publicity and support your publisher offers, you are the best excellent listserv for middle school books for librarians, teachers, and advocate for your book, and there are actions you can take to authors. Also, Cynthia Leitich Smith (www.cynthialeitichsmith.com), prolong its life in print. and Alice Pope (www.cwim.blogspot.com) both maintain excellent Perhaps you’re about to publish a first book and have no idea what to blogs about the world of children’s literature. There are many great expect. Maybe you’re a seasoned pro looking for new ideas on promoting children’s and YA book blogs. Clicking on one will lead you to many your books. Here are 25 surefire ways to keep your book selling. more. Children’s and young adult book bloggers are the ones who keep 1. Begin laying the groundwork for your book promotion six your books alive. Thank them. Send them your books to review, but only months before your book is published. Write a press release and email devote a little time each day to these blogs; you want to be protective it to newspapers and TV stations closer to the publication date along of your writing time. with a review or two if you have them. Bookpromotion101 (www. 9. Create your own book tour! Stay with friends and family. Rent bookpromotion101.com) is a good workshop, as is Author Buzz (www. the cheapest rental car and purchase airline tickets through inexpensive authorbuzz.com), run by MJ Rose. online travel sites. Visit bookstores before your book comes out—six 2. Hire a publicist. If you can’t do that: barter. Find a friend or a months is a good rule of thumb. Set up email correspondence with the student and offer to edit their stories and novels for free (forever) in store manager, or the person in charge of scheduling their author visits exchange for helping you do publicity. This may sound extreme, but or promotions. Over the next few months, set up dates for the book book publicity can be grueling work and it helps so much to have a signings/writing workshops. If you just have a handful of galleys, make friend with a sense of humor who “gets it.” photocopies and get them out to select book reviewers. This especially 3. Check out websites like Winding Oak at www.windingoak.com and works well for regional newspapers. The bigger markets are so glutted, the Children’s Literature Network. They are incredibly knowledgeable at but the smaller papers do a great job of author profiles and reviews if helping authors set up events, creating fliers, and doing regular website you let them know in time. updates. They charge, of course, but they do a great job. Little Willow is 10. Email bookstores with your information (book, website, jacket also great for website design. quotes) and follow up those emails with store-visits or phone calls. 4. Make postcards and/or bookmarks. Start with a printing of 5,000 Explain how you are able to offer writing workshops for kids instead copies. You can leave stacks in bookstores, restaurants, and libraries. of traditional readings. Hint: Be upbeat and professional even when Hand them out on school visits. clerks can and will be indifferent. You will find the ones who get you, 5. Set up a website where kids can write to you and learn more and as for the ones who don’t, move on with grace. Try to focus on the about the world of the book and what you do as an author. Peruse other independent bookstores because they are the ones who will hand-sell author sites to give you ideas. your book. 6. Update your website regularly. Offer creative writing ideas, story 11. Set up writing workshops for kids in schools, libraries, and prompts, etc. bookstores. Lead a guaranteed audience of kids in writing their own 7. Send out email blasts as often as you feel comfortable, but don’t stories and poems. Make sure art supplies are on hand so the kids can overdo it; three or four times a year is a good rule of thumb, and only if illustrate their creations, and offer to publish any stories that they there are real updates. Be wary of emailing in bulk too often. email you in a special section of your blog or website. The fee for 246 | GRASSROOTS BOOK PUBLICITY

attendance? Have the bookstore require the purchase of one of your this together, and the more we can reach out and support each other, books to participate in the writing workshop. Talk to the parents and the more we’ll get back. teachers who attend. Networking can lead to “artist-in-residencies” at 18. Send your press release to your old grade school, high school, schools and more school visits. or college. Offer to meet with students from your alma mater to talk to Keep writing workshops high-energy: MORE participation. Get kids them about writing. excited through sincere praise, and encouragement, then up on their 19. Write an essay for your alumni magazine about writing for feet to read their poems or stories. With older kids and teen groups, kids, or about how you became a writer. You’ll get readers; universities smaller circles work best. Get them writing about favorite secret places like to hear about their graduates and their adventures. If a rural library or magic powers or fishing—whatever relates to them. Bring in the asks you to donate books, say yes. Say yes as much as you can. Just five senses. Tell them funny stories about your childhood: the bus do it. If you can’t do it all the time, that’s okay, but say yes whenever bully in fourth grade, the nun in sixth grade, your father’s driving. Kids possible. will identify with stories about how you survived childhood and be 20. Write an essay/op. ed. piece for a newspaper with a large encouraged to write their own stories. readership. This will get your name out to more readers. For the writing workshops with young readers, bring in a suitcase of 21. Record your book at your local Braille Institute and offer to props that inspired your book. In other words, what do your characters do a workshop at its summer reading program. You’ll meet amazing kids love and collect? I bring in special agate stones, peacock feathers, who are budding storytellers. books, pictures, music, old cow bones, paintings, drawings, journals in 22. Go to ALA, Book Expo, SCBWI events or book festivals on your my characters’ voices, fairy books, and The Synonym Finder. The kids own dime at least once if you have a book coming out that season. Ask can see how messy writing is before a book is a book. They will love your publisher to “badge” you in to ALA and Book Expo if they cannot to explore the table of props and it will inspire the shyer kids to ask offer you a signing during the conventions. Go meet people. It’s worth questions... Oftentimes, librarians or teachers will contact local media it. You will make connections you cannot make emailing from home. to cover your school visit and announce your next signing or even do a Tight budget? Stay with friends and family to save money, or contact story. the SCBWI regional advisor in your area to see if a nearby member Tell the kids they are also “storycatchers!” Tell them to interview might have a guest room available. their parents and grandparents; encourage them to be “storycatchers” 23. Find a local chapter of the SCBWI and offer to do a workshop in their family. In one of my workshops a boy said, “I am not a writer.” on setting, plot, voice. “What do you like to do?” I replied. 24. Write thank-you notes to everyone: librarians, teachers, He said, “Fish.” booksellers. Be appreciative. Don’t whine. Say “thank you.” “Well, write about fishing,” I told him. “Tell me about night crawlers. 25. Use your phone’s GPS navigation device. It really helps out How much does a can of night crawlers cost?” there on the road. “About a $1.25 a can,” he said. “I can write about fishing?” Remember, the more you give of yourself as an author, the more you I said, “You may write about anything you want!” He wound up writing will connect with your readers at every level. But also give yourself a a great story about how he loves to brag when he catches a big bass. break and time to be alone to write and just be, so you can gather the 12. Consider having a reading/book signing at a place other than stamina needed to get out there again. a bookstore. Go to the pancake house, a bar, a tea house or some other nontraditional place. A friend’s backyard or your own if you like. An independent bookseller will love to sell books, and you’ll be able to woo more friends into coming and bringing their friends. If you have kids, your kids can run around and celebrate too. Hire a musician; a left- handed banjo player was a hit at my most recent reading. 13. Do as many free writing workshops as you feel you can at first. Do them for foster kids, kids in juvenile hall—kids who don’t have a chance to meet with writers. 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 2019 COPYRIGHTKEEPING YOUR FACTS FORBOOK WRITERS ALIVE

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

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

You have a right to be concerned about what happens to 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 which will please you; and the satisfaction of knowing you didn’t let your growing backlist as well as your new titles. If you are writing it die an untimely death. in a variety of genres, you will want to try to find two or more publishing houses. Do not overdo this. Flitting lightly from genre PRE-ACCEPTANCE to genre and publisher to publisher will not win you or your books »» Should you go for hardcover or paperback? The kind of book you the friends and advocates you need in the publishing world. (See want to write may determine that. But if your writing could work in “Your editor leaves . . .” below.) In the early stages of your career, either market, keep the differences in mind. The hardcover market establish yourself in the genre you do best. At some point you is more prestigious, but difficult to break into. Most hardcover may want to branch out or move on, and by then you will have a books will be reviewed in all or almost all of the major review professional track record. publications. They will sell in modest numbers but may stay in print »» Contract negotiations: During contract negotiations, maintain longer than paperbacks. Paperback publishers often want writers a cordial and professional tone at all times. Especially early in for existing or proposed series, so your artistic freedom may be your career, you may not be able to get many changes made, and limited. Paperback originals do have their own review sources, but being overly demanding may damage your relationship with your their sales are strongly affected by the publisher’s promotional editor. According to Brad Bunnin, coauthor of The Writer’s Legal efforts and early reactions in the marketplace. Paperback series, in Companion, you need to understand four crucial points about particular, can be lucrative, but do not stay in print long. negotiations. The first point is that they are negotiations. Some »» Timing: Plan to follow your first published book with a second and things are not negotiable, but you will be surprised at how many a third at regular intervals. At least one a year is a good schedule, things can be changed. Know what you want—what is really if you can achieve it. Be sure to leave time for writing. You want to important to you—and it’s more likely that you will get it. Don’t build an audience for your books who will be waiting impatiently ask for things that are not important. The second is don’t agree for your next one. (Think of Dick Francis and . Think of to anything, including the advance, over the phone. When the Patricia Polacco and Eve Bunting!) Don’t let two or three years go publisher calls to offer you a contract, ask to see the offer in by between books. You will be quickly forgotten. Your readers will writing first so you can think it over. Contracts are complicated also grow up and move on to other authors. legal documents. You need time to understand what it is you »» How many publishers should you publish with? If you are are signing. The third point—don’t sign it until you understand committed to writing in one genre, such as picture books for pre- everything in it. This is not as impossible as it sounds. The SCBWI 248 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » staff during the pre-publication period. will workbestasyouinteract withyoureditorand other publishing POST-ACCEPTANCE/PRE-PUBLICATION | KEEPING YOUR BOOK ALIVE YOUR BOOK | KEEPING » » » » » to make the corrections yourself. about itisincorrect, tell yourpublisher; do not askthe bookstore before itspublication date. Ifitdoes not, orifany information image, atAmazon and other online bookstores amonth ormore in the next edition. Your bookshould alsoappear, withajacket immediately tellyourpublisher ifnot, sothatitcanbeincluded edition. When 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 binding. into the contract. Anything agreed tooverthe phone isnot legally all the others—if any point isimportant toyou,get itwritten even todo yournegotiating for you.The fourth point incorporates paying apublishing lawyertoexplain whatthe contract saysand a guide, askyoureditorfor clarification. As alast resort, consider the dark aftertaking atourthrough yourowncontract withitas Book Contract” for members touse(page 265).Ifyouare stillin publishes, and regularly updates, the “SCBWISampleChildren’s BIP) andonlinebookstores: It’s the publisher’s » monitoring. Try tocultivateone personasyourcontact. in addition toyours. They willappreciate help, butnot constant they most likely are verybusyand responsible for dozens of titles » » » » YOUR BOOK’SLIFEAFTERPUBLICATION MARKETING » » » » » 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 When working withapublisher’s marketing staff,keep inmind that 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 out booksfor award consideration, butmay not enter and sends the correct number of copies tothe right address. sure yourpublisher knows which ones yourbookmay beeligible to Research. These are availableatyourpublic library oronline. Be such asthose published bythe Children’s BookCouncil and byGale Eligibility for awards: Check listsof competitions and awards in will,occasionally, tipthe balance infavor of reprinting. stimulate demand and orders for yourbook—DOIT!Orders coming may not beplans toreprint. Ifyoucando anything atthispoint to “indefinitely.” It has soldoutthe current printing and there may or should beabletogiveyouareprint date. The “I”inOSImeans “OS” usually means “outof stocktemporarily.” The publisher ordering department atonce, orcheck itsstatuswithyoureditor. isn’t onany of them, orislistedasOSOSI,callyourpublisher’s independent booksellertocheck the wholesalers’ lists. Ifyourbook availability of yourbookbyperiodically asking yourlocal Is your bookavailable? You can keep track of the current Paperback rights:Most publishers keep paperbackrights in-house Booklist, and PublishersWeekly. Nothing youcando KEEPING YOUR BOOK ALIVE | 249

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

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

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

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

RESOURCES FOR PUBLISHED COPYRIGHTAUTHORS FACTS & ILLUSTRATORSFOR WRITERS

by Melissa Stewart

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Description: Web design, marketing a project feeafterdiscussing aclient’s needs Fee: $60/hour; for large projects, establishes www.windingoak.com [email protected] Contact: Vicki Palmquist 763-416-5385 Maple Grove, MN55311-3542 6985 CrestDr. WINDING OAK Armstrong, www.jennifer-armstrong.com thanks toSusanand her team.”—Jennifer to beonthe receiving end of it,too!Many around itwasfuntowatch--and itwasgreat and then planning apublicity campaign common thread thatruns through my work | RESOURCES FOR PUBLISHED AUTHORS &ILLUSTRATORS AUTHORS FOR PUBLISHED | RESOURCES - Testimonial: “Working withDeborah has programs. materials, KidsBuzz and TeacherBuzz design, and production of promotion and special interest events; development, coaching for media appearances; school visits coordination; event design and coordination; blog adcampaigns; tourbooking and online marketing; social media consultations; educational, specialty and consumer markets; contacts; national campaigns toretail, Description: Networking among key industry client’s needs establishes aproject feeafterdiscussing a Fee: $125/hour; for large projects, deborahsloanandcompany.com [email protected] Contact: Deborah Sloan 978.684.5005 Andover, MA01810 Box 2095 DEBORAH SLOAN ANDCOMPANY them.” —Anne SibleyO’Brien, author books find the readers who are waiting for or develop curriculum guides, tohelp your produce anevent, get school visits, and/ supplement yourpublisher’s efforts, planand service todevelop apromotion planto literature, allof which she canputatyour and reading), and apassion for children’s book world(creating, publishing, selling, extensive knowledge of allphasesof the with abrilliant, quirky, creative mind, an Testimonial: “KirstenCappyisagenius photography, webdesign. launch event planning, mailing lists, book trailers, giveaways, event kits, book Description: Activities and lessonplans, client’s needs establish aproject feeafterdiscussing a Fee: $75.00/hour for large projects, may visitcuriouscity.wordpress.com [email protected] Contact: KirstenCappy 207-699-2755 Portland, Maine04102 118 EmeryStreet CURIOUS CITY vickyalvearshecter.com beautiful work.”—Vicky AlvearShecter, represented inthe e-worldthankstoher I feelproud and confident about how Iam different kinds of booksIwrite. Bestof all, I needed anidentity thatworked among the thanks toShelli. She completely“got” how and twitter[background] lookand it’sall 404-447-6242 Atlanta, GA 30324 2865 N.Lenox Road,Suite302 MAX COMMUNICATIONS friend.” —CharlesGhigna, author publisher’s, bookseller’s, and author’s best into celebrations. Simplyput,Julie isa workaholic wizard who turns challenges in everyaspectof the business, afriendly charm and aplomb. She isaprofessional book promotion with such joy, grace, enough tobaskinher glow. She handles fire who ignites the bestineveryone lucky Testimonial: “Julie isanenergetic ballof social media training. book tours, websites, booktrailers, and media appearances and liveand virtual Description: after discussing aclient’s needs Fee: www.jkscommunications.com marissa@jkscommunications julie@jkscommunications Contacts: Julie Schoerke and Marissa DeCuir 615-476-1367 Nashville, TN37215 6132 HillsboroPike #101 646-318-1193 New York, NY10011 511 Avenue of theAmericas#317 JKS COMMUNICATIONS fast!” —Mayra Calvani,author excellent press releases. Bestof all,she’s Donna McDine’s publicity service. She writes about it,Icanwhole-heartedly recommend book, orsimplyaren’t sure how togo and distributeapress release aboutyour Testimonial: ”Ifyouare toobusytowrite media placement Description: Press releases, writing and Fee: $30.00-$120.00,seewebsitefor details donnamcdine.com/dynamicmediareleases.html [email protected] 845-359-6646 Tappan, NY10983 334 Washington Street DONNA MCDINE —Diane Stanley, author together for anevenbigger marketing buzz.” getting everybody excited and working energy levelintheir marketing department, giving SAVING SKYastellarlaunch raised the publisher. Seeing how committedIwasto ‘out there’. The rippleeffectevenreached my been adelight and she really got my book No hourly rate, establishes aproject fee Promotional campaigns, RESOURCES FOR PUBLISHED AUTHORS & ILLUSTRATORS | 253

Contact: Mimi Schroeder business side of appearances. CASSANDRA REIGEL WHETSTONE PREPARING & SUBMITTING [email protected] Testimonial: “SchoolVisitExperts is my go-to 159 Red Ridge Court, maxbookpr.com site for expertise about school visits. The Folsom, CA 95630 Fee: $100/hour; for large projects, is clear and concise, and the 916-989-9499 establishes a project fee after discussing a range of topics covered is all-inclusive, wide- [email protected] client’s needs ranging, and unique, everything from the www.cassandrareigelwhetstone.com Description: Publicity plans; media lists; latest technology with regards to equipment Fee: $125-$250 press releases; press kits; trade and review and computer programs, to the psychology Testimonial: ”Cass is an amazingly gifted mailings; target mailings to niche markets; of school presentations, to business matters. writer, teacher, and mom. Her teacher’s proposals to book festivals, conferences, I have learned so much from this site! It is guides are developed from her rich trade shows; book signings; media tracking; a comfort knowing that everything I need experiences as an educator, and I’ve never MARKET SURVEYS book award nominations. for an effective school visit is there waiting known anyone with a greater passion Testimonial: “Mimi is savvy, experienced, for me in one place--to return to again and for educating children.” —Katy Duffield, effective and a delight to work with—always again.” —Joanne Rocklin, author author upbeat and encouraging, always on the ball, always looking for the right combination of WINDING OAK JENNIFER RICHARD JACOBSON activities to maximize public awareness and 6985 Crest Dr. 89 Tuttle Rd demand for my books.” — Grady Thrasher, Maple Grove, MN 55311-3542 Cumberland Center, ME author 763-416-5385 207-829-8373 DIRECTORIES & RESOURCES Contact: Vicki Palmquist [email protected] RAAB ASSOCIATES [email protected] www.jenniferjacobson.com 345 Millwood Road www.windingoak.com Fee: Please contact Jennifer for rates. Chappaqua, NY 10514 Fee: $60/hour; for large projects, Testimonial: ”Jennifer Jacobson wrote 914-241-2117 establishes a project fee after discussing a the wonderful discussion guide for my Contact: Susan Raab client’s needs novel, Extraordinary (Dial/Penguin 2010). [email protected] Description: Promotional planning, press The questions she developed showed her www.raabassociates.com kits, social networking and advanced understanding of how the book could be Fee: No hourly fee, charges for a suite of technology consultation, marketing used by reading groups and in schools that services over a period of time materials, press releases, teachers went beyond anything I had imagined; she Description: National media campaigns, guides, presentation development, was prompt and professional; and her work author tours, blog tours, marketing video production, website design and required no editing whatsoever and was a PUBLICIZING YOUR PUBLISHED WORK consulting, website design and web maintenance, career planning. pleasure to read. My publisher was thrilled. consulting, library market outreach, media Testimonial: “When I signed on to work I’d recommend her work to anyone. ” training, teacher’s guides. with Vicki and Steve at Winding Oak, I did —Nancy Werlin, author Testimonial: “I have worked with Susan not realize that I would be joining a kind Raab for well over fifteen years. And in that of “dream team” for wandering authors KATE PALACES NARITA time, the number of my interviews, reviews, and illustrators! They are supremely 227 Mountain Road book tours--and just plain book sales--has knowledgeable about the field and fearless Princeton, MA 01541 risen dramatically. She has always been in the face of the new 21st Century (603) 401-8144 enthusiastic, supportive, knowledgeable, demands on writers. This combination [email protected] inventive, and certainly very attentive. I of knowledge and courage is fortified by katenarita.blogspot.com can’t see going on toward the future without a willingness to learn anything that a Fee: $200-$250, depending on the length of having her as part of my team.” —Jane challenge requires. In addition, they are the guide Yolen, author cheerful, witty, and seem to know everyone Testimonial: “I am so pleased that I

everywhere. They have a passion for partnered with Kate Narita to develop SCHOOL VISITS SCHOOLVISITEXPERTS.COM connecting people, interests and skills, so curriculum guides based on my books. Her 1001 Hillview Lane working with them immediately makes your teaching experience and insight helped Simi Valley, CA 93065 own world larger. They are just the best.” develop curriculum guides that peak interest (805) 581-1906 —Debra Frasier, author-illustrator and benefit students. I often hear from Contact: Alexis O’Neill teachers who have used these materials, and [email protected] they tell me that the curriculum guides are LEGAL QUESTIONS www.schoolvisitexperts.com CURRICULUM creative, helpful, and fun.” —Rose Kent, Fee: No fee to access information on the author website; consulting services will be added & BOOK CLUB soon. SHIRLEY SMITH DUKE Description: Advice on designing programs GUIDES 2801 Apple Valley Dr. for schools, libraries, bookstores, and Garland, Texas 75043 conferences; assistance managing the 972-840-0204 or 575-834-0503 254 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org and professional.”—Sarah Lamstein, author a successful children’s bookauthor herself), curriculum guides. She’s fast, insightful (she’s Tracie Vaughn Zimmer for the creation of Testimonial: “Icanrecommend heartily Fee: Pleasecontact Tracie for rates. wildgeeseguides.blogspot.com www.TracieVaughnZimmer.com [email protected] Liberty Township, OH45011 5795 FurlongWay TRACIE VAUGHN ZIMMER series. Schuricht, and Lynda Pflueger’s biography Yoon, Carolina Hatton, Randy Morrison, Cindy for Children’s BookAuthor Bruce Hale, Salina materials. She hascreated Educator Guides Reviewer for Common Core Curriculum California Department of Education Adoption Board Certified Teacher and hasservedasa Core Standards. Grace Nall isaNational Educator Guides aligned tothe Common Description: Reviews, consults, and creates Fee: Pleasecontact Grace for rates. Visit: www.teachingseasons.com [email protected] Contact: Grace Nall San Diego,CA92138 P.O.Box 83581 TEACHINGSEASONS.COM Marketing Manager/Peachtree Publishers recommended!” —Kenyette Kilpatrick, School useful inthe classroom setting. Highly for the typesof activities and information and agreat researcher withacreative mind Teacher’s Guide writer. Easytoworkwith Testimonial: “ShirleySmithDuke isaterrific the guide Fee: $175-$225,depending onthe length of www.shirleysmithduke.com [email protected] | RESOURCES FOR PUBLISHED AUTHORS &ILLUSTRATORS AUTHORS FOR PUBLISHED | RESOURCES

SOCIAL MEDIA PRINCIPLES FOR USING EFFECTIVELY

PRINCIPLES FOR USING SOCIALCOPYRIGHT MEDIA FACTS FOREFFECTIVELY WRITERS

by Alice Pope

o tweet or not to tweet; that is the question. Or to Facebook. Or to blog. Or to Pinterest. Or whatever’s next. By now everyone’s aware of social T media, and it’s becoming more and more a staple for promotion of au- thors and illustrators. Even renowned, award-winning authors Judy Blume (@ judyblume), Angie Thomas (@angiecthomas), Laurie Halse Anderson (@halse- anderson), Libba Bray (@libbabray), and other children’s publishing luminar- ies can be found on Twitter. That speaks volumes about the importance of not just an online presence, but a social online presence, for authors and illustra- tors. And this applies to both the published and the aspiring.

Contrary to popular belief, social media isn’t just about media as an author or illustrator is all about building long-term learning what everyone had for lunch. It’s also not about hard awareness, developing an audience, and general networking. selling. Your friends and followers won’t be around for long if You’re building a network that will ultimately help you market you do nothing but ask them for things (“read my blog post,” your books (which, really, you can’t do on your own these days). “attend my event,” “buy my book”). As a writer or illustrator, the And in that capacity, social media should be part of your overall purpose of social media is to create a network, make connections, plan as you create your identity and build yourself as a brand. and share things of value with like-minded fans and followers. If you haven’t yet joined the conversation, or if you’re currently Reach Out and Participate engaged in social media, here are some things to keep in mind When you engage in social media, it’s all about expanding so you can use Facebook, Twitter, and Instagram to your best your group of friends, not just talking to the same ones. Don’t advantage. be cliquish, but instead judiciously broaden your base, increase your circle, and be open to new friendships and contacts. You Invest Time never know when a small moment of reaching out via social media When it comes to social media, if you’re not willing to invest (retweeting someone or sharing their book trailer on Facebook) time to participate in them, they will not be much of a help could turn into something positive for your career down the line. to you. Social networking is about building relationships. If you’ve cultivated a network of fans, friends, and followers Relationships that start online may often be solidified offline, before you have a book to promote, that can only have a positive just as relationships that start offline can blossom via social impact when you do have work available. Users of social media media. Think about a friend you met at a conference who you now notice when they’re noticed, and if you’re helping them expand interact with regularly on Facebook, or that writing group you their reach, they will likely respond in kind when the opportunity found online who you now meet with in person. presents itself. And just like with any other relationship, there’s a trust- Social media like Facebook and Twitter are just that: social. building process, and you have to be committed for the long Social networking is about talking, but it’s also about listening. term. Creating a network is a slow build; it happens over time. You can’t engage with people if you don’t know what they’re It takes patience and perseverance. Note also that you’re not interested in. Respond to Tweets. Comment on Facebook updates going to see results overnight, whether that’s gaining thousands and blog posts your friends link to. Engage in discussions. of followers or seeing an increase in book sales. Using social Show people you’re listening and you’re interested in them. And 256 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org (your latestblog post,yourupcoming bookstore appearance, a readership inthe long run. professionals) who canultimately help yougrow yournetwork and attention of gatekeepers (bookreview bloggers, publishing recommending blogposts, retweeting), youmay gainthe in the discussion and being generous yourself(sharing links, supporting you—social networking isreciprocal. Byparticipating favor. Supporting the community willresult inthe community you retweeted orreposted willremember and likely return the your friends and followers. They willbegrateful, and those whom something that’svaluable toyou,itwilllikely be valuable to social media. networks. There’s a generosity present among like-minded users of all partof the community-building thathappens ononline social share knowledge and insights, and engage indiscussions. Thisis helpful blogposts, articles, and news bits, answer questions, illustrators, editors, and agents offer tipsand advice, linkto it easytokeep upwithindustry news and headlines. Writers, easily recognize youasthey move betweenplatforms. theme of yourwebsite/blogthrough tosocial media sousers photo and Twitter background. It’s alsogreat tocarrythe design work (anillustration from yourportfolio) inyourFacebookcover your books, yourlatestbookjacket) orsomething related toyour Conference poolpartyisayes. Showcase yourwork(ashelf of is ano; ashot of youinyourthemed outfitatthe SCBWISummer headshot, useit.Aphoto of youtipsyinyourHalloween costume but thatdoesn’t mean stuffyand no fun.Ifyouhaveagreat also aboutyourappearance. Your photos should beprofessional, about. Passion iscompelling—get thatacross. Tweet. It’s more aboutyourpassion for the things you’re talking necessarily abouthow skilledyouare atwriting anupdate ora about posting something, youprobably shouldn’t. And it’snot you, soalwaysuseyourbestjudgment. Ifyou’re atallhesitant Internet ispublic, and things yousaycancome backtohaunt it’s okay torelax and beyourself.Butalwaysremember thatthe meaningful. And keep inmind thatsocial media isinformal, so Be anauthentic you.Focusonbeing genuine, sincere, and Colbert). Don’tbeajerk.complain.salesman. not apersona youtrytoproject (unlessyou’re, say, Stephen yourself online. Readers and potential readers want toknow you, Learn andShare; Don’t Sell Be Yourself, but BeProfessional consistent. of gaining afollowing. Try yourbesttobebothvisibleand Popping inonce aweekisn’tgoing tohelp youmuch interms rest isoutof yourhands. control yourlevelof participation and how activeyouare. The make peoplebuyyourbookorread yourblog.You canonly other peopleand how they respond toyourefforts. You can’t remember thatwhen itcomes tosocial media, youcan’tcontrol | PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY MEDIA FOR SOCIAL USING | PRINCIPLES It’s great topromote whatyou’re doing via social media Retweet and share the linksand postsof others. Ifyouread Facebook and Twitter are rich sources of information and make Presenting aprofessional selfisaboutyourwords, butit’s It’s okay—ideal, even—toshow yourpersonality and be Just trytobeconsistent withyourposting and participation. subscriptions canbeinvaluable. (Check Facebook’shelp pages or For authors with personal (rather thanfan) pages, listsand have tosay, buttheir posts won’t show uponyournewsfeed. rather thanbeyourfriend—that waythey get toseewhatyou Facebook subscription feature allowspeopletofollow yourposts to yourentire network of personal and professional contacts. The disseminate personal information toyourinner circle rather than to those who willnot beinterested. It alsoallowsyouto your efforts and keeps youfrom offering certaininformation news toonlyalistof writerfriends. Using listshelps youfocus list of localfriends toabooksigning, orpostlinkstopublishing certain specific groups of friends. Forexample, youcaninvitea subscriptions. Listsallowyoutoprovide certaincontent to you couldonyourown. that they found valuable and thus spread the word further than of youraudience, they willalsorepost/retweet aboutcontent Facebook and Twitter friends and followers likely bethe majority they probably won’tmake ahabitof it.And not onlywillyour essential toremind readers tovisityourblog,becauseotherwise you’re well-known), withsomuch online content outthere, it’s about. The reality isthatunlessyou’re well-known (and evenif blog orawebsiteaslong asthat’snot the onlything youpost your network and allowing them toget toknow you. a balance of industry and personal, thus being bothusefulto certainly usefuland of interest toyournetwork, it’sgood tooffer not bepublishing/book-related. Whilethese typesof postsare about itvia comments. Allyourphotos, videos, and linksneed relate towhatyou’re posting and start/participate inadiscussion posting. Thisallowsfriends tolearnaboutyou,and they may find interesting/funny/outrageous/important aboutwhatyou’re a good idea toget visual now and again.Comment onwhatyou as . oatmeal. and reveals alittleaboutyou.“Time for my oatmeal” isasdull I catchuponpublishing industry blogs”iskind of interesting boring. “Munching onleftoverturducken ongrilledsourdough as to know you.Justdon’t do itallthe time, and don’t make it respond tofood, and these kinds of postshelp yournetwork get to talkaboutwhatyou’re having for lunch—people loveand responses from, some of yourfriends. And, honestly, itisokay are fine solong asthey willbeinteresting to,and likely elicit that daily). day onTwitter isjustfine (and some userspostevenmore than platform. Sixpostsaday onFacebookistoomany. Sixpostsa subscribers. Ifyoulike toupdate frequently, Twitter isabetter too often onFacebook,asthatcanannoy friends/followers/ newsfeeds rather thanbyvisiting yourpages. Avoid updating majority of yourfriends and followers willfind them via their Posting DosandDon’ts socializing, not selling. Social media sitesare communities. and thus participating inand building community. Focuson of yourtime supporting, encouraging, promoting, orsharing, conference inwhich you’re participating), butspend the majority On Facebook,take advantage of features like listsand Social media isagreat waytoremind peopleyouhavea Photos, videos, and linksstand outinaFacebookfeed, soit’s As far aswhattosay, straightforward “whatI’mdoing” posts When itcomes toseeing yourpostsand yourtweets, the PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY | 257

Google for instructions on setting up these features.) PREPARING & SUBMITTING

Enjoy Social networks are places where writers and illustrators can hang out, vent, commiserate, share, and get refreshed. Engaging in social media can be fun. If it feels like a chore, something you dread, then either it’s not right for you or you’re doing it wrong. If it’s not working for you, reassess, consider the above advice, and give it another shot. Social media can certainly play a role in the success of an author or illustrator, and you don’t want to miss out on the opportunity to have it work for you. MARKET SURVEYS DIRECTORIES & RESOURCES PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS 258 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY MEDIA FOR SOCIAL USING | PRINCIPLES useful for illustrators, but can behelpful for writers too by giving fans and friends areal “glimpse” into your life. help authors reach their audience. in their networks. Reviews are searchable by author, title, ISBN, and genre. Goodreads also features anauthor program to programming knowledge. You can follow other users to see their posts. chat, music,and video. It’s agreat platform for those who wish to integrate media to blogs but don’t have extensive recommendations for others intheir network. You’ll find a wealth of publishing types here. can videochat with,say, awriters group orbookclub. “circles,” allowing for focused social networking. Plus, you can upload avideoplug-in and create “hangouts,” where you YouTube “channels.” websites, loaded onto Facebook and Google+,linked to from Twitter, and pinned onPinterest. Users can create their own Reading.”) It’s easy to accumulate followers by signing inwithyour Facebook account. share things, like bookcovers and trailers, and see what others are looking atinvarious “Books Worth categories (like congregate: quirky, as opposed to what’s inane/inappropriate/vague/cryptic/TMI. Seek out the former and unfriend the latter. from adaily chuckleto links to consistently helpful blogposts). Become agoodjudgeofwhat’s interesting/relevant/ time you dodevote to keeping upwithyour network willbemore focused and more valuable. endlessly noisy Twitter orFacebook newsfeed can beannoying and justplain daunting. With fewer poststo deal with,the to share. offline for a week (or a month) so you can concentrate on work. When you come back to check in, you’ll likely have plenty the day (or whatever works for you)—and stickto it. your creative time. waster—it’s funand can bealittle addictive. Take aself-disciplined approach so social networking doesn’t infringe on Instagram (instagram.com): Asocial network and app that allows you to share photos withcaptions. This is especially Goodreads (goodreads.com): This is asocial network all about reading. Users share their reviews ofbooks withfriends Tumblr (tumblr.com): This is ablogging platform that allows users to easily upload text, images, quotes, links, LinkedIn (linkedin.com ): Amore professional social network, LinkedIn users list jobexperience and skills and can leave Google+ (plus.google.com): Just as withFacebook, users can share updates, videos,and photos and easily create YouTube Pinterest (pinterest.com): Asite allowing users to “pin”images and videosto “boards”. It’s agreat way to visually Beyond Facebook (facebook.com) and Twittertwitter.com) ( , here are afew other social networks where bookish types It’s absolutely okay to unfollow orunfriend those from whom you are getting no value (and “value” could beanything Don’t follow everyone who follows you, and don’t accept every friend request that comes your way. Weeding through an It’s perfectly acceptable to temporarily disconnect when you find it necessary. Tell your friends and followers you’ll be Consider giving yourself atime limit—say, thirty minutes inthe morning, withacouple offive-minute check-ins during While it’s essential to invest time engaging insocial media, beware: Ifyou’re not careful, itcan become ahugetime (youtube.com): Upload booktrailers and other promotional orfunvideosthat can beembedded inblogs and OTHER PLACES TO CONNECT AVOIDING THETIMESUCK 7 STEPS TO BLOGGING SUCCESS

by Lee Wind

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

Well, you can. But the web is crowded and loud, and to break »» What is the common element that makes them stand out? What through you need a plan. Here are seven steps to build that plan: makes them uniquely you? »» Defining this is the first step to finding your authentic blogging STEP 1: BE AUTHENTIC voice!

You don’t need “a” blog – you need your blog, one that’s unique, STEP 2: CLAIM YOUR POWER content-rich and effective. In a word: Authentic. “What is your unique voice?” Blogging is publishing 2.0 This is something that editors and agents are talking about all the There are no gatekeepers (for good and bad – make sure you time. They’re asking authors and illustrators, are you telling your story proofread before hitting ‘publish!’) and it’s pretty much free. There in a way that only you – and no one else – could? is some hardware involved, though internet time and computers are Imagine you want to do a picture book about The Boy Who Cried available in many libraries. Wolf. You’re going to need to figure out what makes your take on the Blogger, Wordpress, YouTube, Twitter, Facebook*, Squarespace, story unique, right? Are you telling it from a different point of view? Is Tumblr, Pinterest . . . the list of blogging platforms is constantly there an unexpected twist? What about your retelling makes it uniquely changing, and as of this writing a quick search turned up more than 20 yours? available options. There are people out there who will be interested in Look at John Rocco’s “Wolf! Wolf!” [link here: http://roccoart.com/ what you have to say . . . But what are you going to say? wolf-wolf/ ] It’s a retelling of that Boy Who Cried Wolf fable, but told from the Blogging is your opportunity to create content, filter content, wolf’s point of view, in China, and with a great twist at the end that and share content. makes it the version that only John could have written and illustrated. “Wolf! Wolf!” has its own voice, and that makes it stand out and be Want to write your own poems? Share your illustration process? successful. Conduct an interview? That’s all content you create. Now you need to ask yourself these questions about your blog: Want to let your blog readers know about your favorite movies that What is my blog voice? relate to your blog’s theme? Discuss how a book or TV show works What’s going to make my blog post on something 300, or 3,000, or or doesn’t work from your perspective? Want to rant about the latest 30,000 other people are also blogging about stand out? (hint: the only Disney kid’s App? That’s all content you filter. (Think of filtering content thing you have that no one else has is you!) as a mix of someone else’s content and your contribution to the conversation about that.) How is my blog uniquely authentic – a genuine expression of me? 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 Action Plan for Step 1: share. »» Make a list of the three blog posts you’re most proud of (or the three Create. Filter. Share. Blogging is powerful! posts you’d most like to write.) 260 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org thematic message? value. create. Oftenthisrevolves around some personal passion for acauseor » why wouldIcome back?’ think, ‘Ifthe blogowner doesn’t care enough tokeep thisplacenice, full of spammy, inappropriate, unrelated comments. They’re going to coming yourway, and nothing turns off readers quicker thanthreads and you’re the publisher. You decide whatgets inand whatdoesn’t. seems off-topic, go ahead and delete it.Your blogisself-publishing, you moderate everycomment? Willyouallowanonymous comments? your virtual dinner party?How are yougoing tocontrol yourblog?Will news! employer toseeonthe front page of the New York Times orthe local your mother, yourkid’s kindergarten teacher, and any possiblefuture for yourself. members bycategory, like “Teen” or“Husband.” Make some decisions created. from yourFacebookfriends butyoustayincharge of the content you’ve somewhere elseand postaboutitonFacebook.Thatgets youthe traffic I’d recommend against making ityouronlyplatform. Bettertoblog not giving upright of usage. Alotof peopleare onFacebook,but Wordpress oranother platform) keeps yourmaterial yours, and you’re become Facebook’s. Blogging atyourownsite(through Blogger or » » » STEP 4:LEADWITHPASSION STEP 3:SHOW RESPECT | 7 STEPS TO BLOGGING SUCCESS TOBLOGGING | 7STEPS » » » » To help youputitinto words, seeifyoucananswer thisquestion: You need tofigure out,what are yourpassions? What isyour Writers tend toworkaround similarthemes inthe content they clicking backtoyou. wondering ‘Justwho isthatinsightful commenter?’ and they’ll start good Karma, and overtime, sharing great comments willhavereaders promote. Stayon-topic and contribute totheir conversation. It’s Be polite. When commenting anywhere online, don’t blatantly self- Action Planfor Step3: Similarly, youmust monitor for spam.There’s alotof itthatwillbe It’s yourblogand youare incharge. Ifacomment offends you,or Do youhaveacontroversial topic? How much dissent do youwant at How safeaspaceisyour blog? Respect yourselfand others willrespect you,too. Remember thatyoushouldn’t bloganything youwouldn’twant Some peoplepostphotos of their kids. Others refer totheir family How personal do youwant togo? *A note onFacebook:technically, things youpostonFacebook What content do youwant toshare? What content do youwant tofilter? What content do youwant tocreate? Try toanswer these questions: Action PlanFor Step2: content, and youare onyourown dealing withcomments, changes, yours isthe responsibility for regularly creating, filtering and sharing content, yourcontrol and yourpromotional vehicle. What’salsoall attention. did itfor anumber of years, and each time itgot lotsof well-deserved on ared bathmat before they went in for the ceremony! He himself interviewing famous authors and illustrators standing http://www.kidlitredcarpet.com/ ]Jimgot dressed upand shot video of to create a‘red carpet’for the Newbery and Caldecott awards. [linkto idea… Agreat example ishow author/illustrator JimAverbeck decided attention, and then they focus onother things until their next amazing while haveabrilliant idea, make ithappen and get tons of traffic and control. There are bloggers who don’t blogconsistently, butonce ina schedule. posts inaclump,buthavethem go uponyourblogaregular publish (orinadvance) yourposts. Thatwayyoucancreate three months after. longevity of yourblog)thansevenpostsone weekand nothing for month) onaregular day isbetter(for readers, search engines and the get youtolong-term goals. will deflate youifthey’re not met. Focusonshort termstepsthatwill roll outcontent overtime. Becareful of unrealistic expectations that without asix-month planfor sustaining yourposting. Allowyourselfto » where youwant togo. content withaneyetohow itallfitstogether synergistically. you’re posting willhaveyourreaders caring, too. you do care aboutit–it’syourpassion! And youcaring aboutwhat sense thatit’simportant. It willseemlike youcare aboutit,because passion willhelp youstayontheme. sell more of their books. Dig deeper.) STEP 5:BEDILIGENT » With asoloblog,it’sallyours. Your voice, yourpassion, your Consider SoloBloggingVersus Group Blogging Note: There are no ruleswithblogging, and it’sallunder your Explore the ‘scheduling’ function onmany blogplatforms topre- A regular blogging schedule (like posting once aweek,oronce a Set yourself upfor success Recognize thatanaudience buildsovertime. Don’tstartablog Short Term/Long Term on yourtheme. contribute meaningfully. Overtime, youcanbecome aleading voice passion. Join inthe conversation where it’salready happening, and who istalking aboutyou,butwho istalking aboutyoursubject, Use Googlealertsand Twitter hashtag searches tofind out not just Action Planfor Step4: Think of yourpassion asyourblogging compass. It willhelp youget Knowing yourpassion you’llbeabletocreate, filterand share Sticking toyourpassion willimbueeverything youpostwiththe Define thispassion. Writeit down. Sayitoutloud. Defining your (Note that‘selling books’isnot ahelpful answer. Everyone wants to What isthepointof you havingablog? 7 STEPS TO BLOGGING SUCCESS | 261 PREPARING & SUBMITTING MARKET SURVEYS

Queer. What The Hell Do I Read? archiving, link updating, spam and other ‘blog business.’ You’re also on DIRECTORIES & RESOURCES your own in terms of getting people to come to your blog. This brainstorming exercise doesn’t have to be neat, it’s just for you. With a group blog, the responsibilities are vastly less, but you don’t get the control or the same promotional/branding value. For a group This helps you see where you can go to connect and hook into your blog, having a clear theme is critical! Also, consider how many more communities. What’s extra-cool is that it’s also the secret to generating people will come to a blog when there are multiple people who are content ideas. passionate about promoting it! For each circle, ask yourself ‘What can I offer this group?’ Action Plan For Step 5: Don’t overwhelm yourself. You don’t have to do it all right now. When the #WeNeedDiverseBooks movement took off (after I’d been »» Narrow down your to-do list to the top three things you want to do blogging at I’m Here. I’m Queer. What the Hell Do I Read? for seven years),

with your blog. I wanted to do something more on my blog to support it but I wasn’t sure PUBLICIZING YOUR PUBLISHED WORK »» yourself. Setting realistic goals – and meeting them – will feel what. This exercise helped me discover the connection between “other great! authors and illustrators who include LGBTQ characters and themes,” “Ally for other diversity in Kid Lit” and the “#WeNeedDiverseBooks” circles. STEP 6: DEFINE YOUR CIRCLES OF INFLUENCE What could I offer other children’s content creators to help get more diverse books out there in the world? That’s how my “Agents Looking For Most blogs have less than 20 unique visitors a day, because their Diversity” series [link to: http://www.leewind.org/search/label/Agents%20 circle of influence is limited to their friends and family. Looking%20For%20Diversity ] came about, and one or more of those What you need to do is find the people and groups out there who interviews are 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 SCHOOL VISITS trying to sell them your books. You’re trying to engage them about this in her post Marketing 101: The Best Social Media Platforms For Authors your passion, which maybe they share . . . [link: http://blog.leeandlow.com/2015/09/03/marketing-101-best-social- Note: While the children’s book community is super-supportive, media-platforms-for-authors/#more-11304 ] “One of the questions I get beware of the echo chamber. You want to speak to your fellow writers most often from authors – both new and experienced – is, “Which social and illustrators, sure, but you want your books and stories to go media platforms do I have to be on?” There are a lot of ways to answer beyond that audience as well. this question but I want to start by addressing the question itself, which is often phrased in exactly this way. The answer is: you don’t have to be LEGAL QUESTIONS Action Plan for Step 6: on any social media platforms you don’t want to be on. …the number »» Take a blank piece of paper, and draw an -sized circle in the one thing you should ask yourself is whether a particular platform will be middle of it. Write the name of your blog there. Around it, in circles enjoyable and sustainable to you.” that touch the first, add in those additional audiences and groups. It’s great advice. If you don’t enjoy blogging, you’re not going to be good at it. You won’t bring your passion. And it won’t offer you the results I spent five minutes doing this for my personal blog, I’m Here. I’m you want. 262 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 7 STEPS TO BLOGGING SUCCESS TOBLOGGING | 7STEPS roadmap toblogging success. Seeyouonline! » passion, andshow your joy. should youcare? Make peoplecare aboutwhatyouwrite. be writteninawaythatmakes youfeelthatthe author cared, orwhy should beinteresting, inspired, intriguing and passionate. It should And eventhen .) food issomehow expressive of yourpassion. Oryou’re acelebrity. lunch, no matter how popularfood photos seemtobe. (Unless the ultimately, ifyou’re not enjoying blogging, you’re not doing itright. Post” tobesuccessful. Success canmean many different things, but conversations do youwant tojoin? with yourfriends and colleaguesinthe lastmonth? temperature. Whatmakes youwant toshare? Whathaveyoushared and therestof thetimehecanbefound writingandblogging! Programming for theIndependentBookPublishersAssociation, SCBWI Memberof theYear. Bydayheworks asDirectorof Marketing and Blog scbwiconference.blogspot.com. In2015hewasrecognizedas SCBWI: TheBlogscbwi.blogspot.comandOfficialSCBWIConference What theHellDoIRead?www.leewind.org, andthetwoSCBWIblogs, pageviews for hisaward-winningpersonalblog,I’mHere. I’mQueer. Lee Windhasbeenbloggingsince2007,tallyingupmillionsof » Work through the abovestepsand action plans, and you’llhaveyour to find yourjoy. It willhave found you. Consider thatifyou’re trulyblogging yourpassion, youwon’thave Action Planfor Step7: When you’re doingsomethingyou love, itshows. Show your What wouldyoucare toread aboutonthe blogof astranger? It The worlddoesn’t need another blogpostaboutwhatyouhadfor Not everyblogneeds tohaveanaudience like “The Huffington Where do youwant tospend youronline reading time? What Think aboutwhatmakes youlaugh.Whatchanges youremotional 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 email. 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 talkmusebanter.blogspot.com in India for the season’s hottest YA novels, and relationships with a long list » Jo at onceuponabookcase.blogspot.com in the UK of Brazilian publishers. Write her back! About four months after my novel Sing Me to Sleep (Penguin/ » Raila at booksoutofthebookshelves.blogspot.com in Brazil Razorbill, 2009) released, I received such a request. I didn’t delete » Regie at theundercoverbooklover.blogspot.com in the Philippines it. I had a few ARCs left. Why not take a chance? I sent one to » Amber at serenehours.blogspot.com in Vietnam Brazil and answered interview questions. After the initial review went up, I received more and more requests. Deciding it was worth » Iris at www.literalmentefalando.com.br in Brazil the investment, I sent several more, and several bloggers created » Eloisa at www.mientraslees.com in Spain book tours, sending my books from one blogger to another. I did interview after interview. They translated my answers—and usually » Lucia at the-itzel-library.blogspot.com in Mexico posted them in both English and Portuguese. » Jess at sheknownasjess.blogspot.com in Australia Because I enjoyed existing relationships with international » Aik at aik-friendsnfamily.blogspot.com in Malaysia blogger 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. English is the universal language of business. Students I always: everywhere study English. They watch American television and 1. investigate the blog and make sure it’s legitimate. If the movies. Reading a foreign language is easier than speaking or blogger doesn’t include a link to their blog, ask for it. writing it. Further exposure in an up-and-coming market could yield 2. sincerely compliment the blogger’s English. They’re usually a foreign rights deal. nervous about it and always better at English than I am at any And even if that didn’t happen, I understood that more and foreign language. more books published in the United States are finding international 3. ask international bloggers to share my review books with other readers. Services from Amazon to the reach readers bloggers—either casually with acquaintances or via a book tour they around the globe, especially with ebooks and devices like the Kindle. organize. This can bloom into something quite amazing. Lucia at Websites like Goodreads have readers worldwide posting reviews. Itzel Library put together a huge tour of Hispanic blogs featuring The YA blogging craze doesn’t stop at your border. There are no both my YA books—and translated all the interview questions and boundaries in cyberspace. my answers. And maybe, if you bug your publisher enough with updates of reviews and interviews, they’ll shoot an email to their agent in the 4. happily grant requests for an interview. I’m very selective target country in question. I ended up being featured on about regarding the bloggers I mail books to. When I have to say no, I thirty YA review blogs in Brazil. Six months later, Penguin signed a always offer to answer interview questions. contract for Sing Me to Sleep to be published in Brazil. 5. double-check the address. International mailings cost between $10 and $18, so you don’t want to make mistakes. Check the Book Depository. Even with free or discounted review copies from your publisher, it might be less expensive to use.

264 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | INTERNATIONAL BLOGGERS INTERNATIONAL | tour around the world—without everleaving yourbedroom. welcoming and enthusiastic asIdid. Sitback,relax, and enjoyabook evidence of thispersonally. Becareful, though. of blackmarketers posing asinternational bloggers, buthaveno option, butitupsthe risksof pirating. Ihaveheard suspicions your publisher tosend them, thismight beaviable, inexpensive safeguarded ebooksand permission from yourpublisher orcanget tweet, and FBitup. www.angela-morrison.com. Portuguese translationreleasedinBrazil2011.Visitheronlineat Vermont Collegeof FineArtsandaBA fromBYU.Sing Me toSleep’s fiction, andTaken byStorm(Books 1–3).SheholdsanMFA from 2011 YA Winneranda2010GoodreadsChoiceAward nomineefor YA Angela Morrisonistheauthorof Sing Me toSleep,USA BestBooks I’m confident you’llfind the international blogging community as 7. refuse tosend electronic copies. Ifyouhaveaccessto 6. askthem tosend alinkwhen the postisupsoIcanblog, RIP FOR THEPRESS RELEASE?? NOT SOFAST!

RIP FOR THE PRESS RELEASE?? NOT SO FAST!

by Susan Salzman Raab

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

Along with that have been reports about the demise of the press Facebook is number one. It’s where more than half of every Internet release. News releases are definitely still with us, but require new user already is. Make sure you are there and interacting with your thinking to be effective. friends and fans. Today, releasing news is about sharing, creating conversation, and YouTube, Vimeo, and a Flip camera are priceless. It doesn’t cost much using links, keywords, and multimedia to engage your audience. Of to create a quick video. Again, people follow people, not businesses or course there are tools to help present your story in a more dynamic way. books. Let people make a connection with you and they’ll come back for PitchEngine is one designed to create social media releases, and I asked more, again and again. founder Jason Kintzler for his thoughts. PitchEngine provides a great way to tell your story or summarize your book. Websites are good, but hard to create, and even harder 1. What need was PitchEngine created to address, and how has it to optimize for search engines, etc. Social networks are great for evolved over time? cultivating and sharing with your audience, but they aren’t for It was built as an alternative to the traditional press release and storytelling. PitchEngine fills this role. Package up your content and push distribution process. Instead of sending documents via email or share it on your site, social 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 2. What do you think is most important in effective promotion watch on YouTube via iPhone for a distraction when things are getting a today? little crazy. Be a solution and a resource at the same time.) Authenticity. People are savvy to the traditional “push” marketing methods. People follow people, not businesses. Be real, be 5. What about the press release specifically? Do you think that’s conversational, and interact with consumers and fans in authentic ways. still a key publicity tool, and what other formats do you think are Then, when you do have the need to “pitch,” it isn’t unexpected or effective? annoying to your audience. They follow YOU and realize YOU are your Well, I think the days of the traditional press release are long gone. business. The saying holds true for social media as well: do unto others Black-and-white, AP format copy just isn’t engaging anymore. Content as you would have done to you. consumers (which include journalists as well as consumers) like to be engaged. Images, video, illustrations, whatever. What is still cool 3. What tools do you recommend for authors and illustrators who about the press release is the utility. Make your content accessible and may not have a big budget, but are willing to put in the time to sharable so that bloggers, journalists, and fans can evangelize for you. promote their books? That’s when the word will get out. FIFTY-THREE KIDLIT BLOGS TO VISIT BEFORE YOU DIE FIFTY-THREE KIDLIT BLOGS TO VISIT BEFORE YOU DIE

by Joni Sensal

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

We’re taking a tip from the bucket lists and must-see travel guides. FROM THE LIBRARY (MOSTLY) Here are fifty-two kidlit blogs you’ll want to check out at least once— Bookshelves of Doom explore one a week for a year, perhaps—along with tips for using your Book news, reviews, and fun tidbits surfing time effectively. www.bookshelvesofdoom.blogs.com/bookshelves_of_doom Prioritize what you want. Blogs exist for different reasons, and their readers reap different rewards. Are you after how-to tips? Moral A Chair, a Fireplace & a Tea Cozy support? Industry news? Lively debate? Shared deadlines? Friends? Almost Reviews and commentary from New Jersey librarian Lizzy Burns; anything you’re after can be found in a blog, at least part of the time. currently hosted by School Library Journal “Sometimes it’s just the experience of reading something beautiful,” blog.schoollibraryjournal.com/teacozy says Mirka Breen, author of The Voice of Thunder. “But the surprise revelation of my dip into the blogosphere is that blogs become company Charlotte’s Library and remind me of pulsating hearts out there.” Reviews of mostly fantasy and sci-fi for young readers While that connection is important to many, you’ll enjoy blogs most charlotteslibrary.blogspot.com efficiently if you identify what you most want but can’t get elsewhere (such as your in-person critique group). Click first to those blogs that A Fuse #8 Production reliably provide it, create your own don’t-miss list, and leave the “also Reviews and industry commentary from Manhattan librarian Betsy fun” blogs for spare time. Bird; currently hosted by School Library Journal Participate. The community that develops among readers who blog.schoollibraryjournal.com/afuse8production comment is a key benefit of many blogs. Discussions keep things lively, so add your perspective, too. Ms. Yingling Reads Watch the procrastination factor. You literally could read kidlit A teacher reviews books for middle schoolers, especially boys blogs all day long—especially if you use them as an anxiety crutch, as msyinglingreads.blogspot.com described in an insightful post by The Intern (bit.ly/JbMKD2). Don’t let them cut into your own creation time. One good strategy is to set aside Seven Impossible Things Before Breakfast a finite time, such as thirty minutes a day or an hour on Sundays, to Reviews and interviews, mostly about illustrated books read and comment. Then get to work. blaine.org/sevenimpossiblethings Subscribe to favorites. Although the distinction between a blog and a website is blurring, most blogs have RSS feeds or similar methods of Stacked getting new posts by email or in a reader. Reviews and library perspectives, including a special interest in cover Don’t be afraid to move on. Most blogs wax and wane with the art blogger’s interest level, life events, and career demands, and each www.stackedbooks.org year’s debut authors often start new ones. If a fabulous blog fades or ends, don’t despair. Just move on. There’s always another great blog (or Google group or YouTube Channel or NewFangledThang) to discover. 268 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org GANG EFFORTS Levine Books First SecondBooks: DoodlesandDailies The EnchantedInkpot The Brown Bookshelf Blue RoseGirls The Bookshelf Muse Book Dads SCBWI: TheBlog Writer’s DigestGuidetoLiterary Agents Read Roger The PurpleCrayon Blog PW ShelfTalker Kidlit.com Editorial Anonymous Brooklyn Arden INDUSTRY VETSBLOGGING | FIFTY-THREE KIDLIT BLOGS TO VISIT BEFORE YOU DIE BEFORE TOVISIT BLOGS KIDLIT | FIFTY-THREE firstsecondbooks.typepad.com/mainblog Cool graphic novel stuff enchantedinkpot.blogspot.com Fantasy folks thebrownbookshelf.com Celebrating African-American voices in kidlit bluerosegirls.blogspot.com Several illustrators, authors, and aneditor thebookshelfmuse.blogspot.com Writing thoughts and tools, including TheEmotionThesaurus bookdads.com Reviews and news from daddy readers scbwi.blogspot.com Need wesayit?Interviews, conference scoop,and more www.writersdigest.com/editor-blogs/guide-to-literary-agents Interviews and tipsbyChuck Sambuchino www.hbook.com/category/blogs/read-roger Rants and raves from HornBookeditorRoger Sutton www.underdown.org/blog.htm Industry news and insights from Harold Underdown blogs.publishersweekly.com/blogs/shelftalker Vermont children’s booksellersonthe business kidlit.com Movable Type agent Mary Kole editorialanonymous.blogspot.com Apparently inhiatus, ifnot retirement, buthasvaluable archives chavelaque.blogspot.com Manuscript analysis and revision tipsbyCheryl KleinatArthur A. Illustration Portfolio Mentorship Program. INDIVIDUAL CREATORS WITHCONTENTTO SPARE writing tips The Picture BookJunkies Blog Literary Rambles Kidlit Artists I.N.K. Guys LitWire From theMixed-Up Files.of MiddleGrade Authors Cynsations A Children’s Author’s Eye View of Writing andLife YA OutsidetheLines YA Highway Viva Scriva Through theTollbooth Teaching Authors Readergirlz www.pbjunkies.blogspot.com Illustrators and art www.literaryrambles.com Zillions of agent interviews kidlitartists.blogspot.com Tips, news, and resources from the recipients of the SCBWI inkrethink.blogspot.com Interesting Nonfiction for Kids guyslitwire.blogspot.com Book news and reviews for teenboys www.fromthemixedupfiles.com The name pretty much saysit! cynthialeitichsmith.blogspot.com Interviews and more from Cynthia Leitich Smith susannahill.blogspot.com Help for picture-book creators bySusanna Leonard Hill yaoutsidethelines.blogspot.com Teen angst and authors www.yahighway.com Great linksonField Trip Fridays vivascriva.com Thoughts particularly oncritiqueand revision thru-the-booth.livejournal.com A bunch of Vermont College of Fine ArtsMFA graduates withgreat www.teachingauthors.com Teaching, writing, and teaching writing readergirlz.blogspot.com Teen literacy, interviews, and hipinteractions FIFTY-THREE KIDLIT BLOGS TO VISIT BEFORE YOU DIE | 269

I’m Here. I’m Queer. What the Hell Do I Read? Nathan Bransford, Author PREPARING & SUBMITTING GLBTQ books and views from Team Blogger Lee Wind And former agent www.leewind.org blog.nathanbransford.com

The Happy Accident Pub Rants Social media tips from Greg Pincus Tips from Nelson Literary agent Kristin Nelson www.thehappyaccident.net pubrants.blogspot.com

Inkygirl Query Shark Fun writer/illustrator comics from Debbi Ridpath Ohi Agent Janet Reid gets tough on queries inkygirl.com queryshark.blogspot.com MARKET SURVEYS

Jen Robinson’s Book Page And check out her archives as Miss : Possibly the longest kidlit blogroll you’ll find, in case this list isn’t misssnark.blogspot.com enough jkrbooks.typepad.com Writer Beware® Blogs Warnings, gotchas, and industry watchdogging Middle Grade Ninja www.accrispin.blogspot.com

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

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

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

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

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

Drawn

Daily art inspiration SCHOOL VISITS blog.drawn.ca

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

The Intern Publishing insights from (now unveiled) Hilary Smith internspills.blogspot.com

ALL ABOUT BOOK TRAILERS

by Sara Wilson Etienne

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

Though making trailers is a popular marketing trend for authors and audience for your book trailer will be parents, teachers, and librarians. publishers, book trailers can be an expensive and complicated endeavor. Consider what these people look for when they are picking out books for This publishing guide will help you decide if you need a trailer for your children. Author interviews can be a good choice for these genres. book and, if so, how to go about creating one. If you are writing young adult fiction, then your target audience is your readers. Think about how to captivate teens and get them excited Do I need one? about your story. Book bloggers, librarians, and parents might also This is the first and most important question you must ask yourself watch your book trailer, but they are not your target audience. when considering a book trailer. Trailers must be thought about as one piece of a larger promotional picture. Authors and publishers have a What are my resources? finite amount of resources when it comes to marketing, and there can If you need to fund your own book promotion, think about what your be a lot to do: website design, printing bookmarks, swag, funding a resources are and build your marketing plan around them, rather than book tour, etc. A book trailer might be a wonderful use of marketing the other way around. In terms of a trailer, make a list of your resources resources, creating buzz about your book. Or you might find another in each area. way to create this buzz and a different use for your time and money. The goal of a book trailer is the same as putting a best-selling »» Money: A book trailer can cost anywhere from $50 to over $10,000. author’s blurb on your front cover or a gripping synopsis on the Think about what you want to spend for your total book promotion. jacket flap: to get people to pick up and read your book. Therefore, What portion of that can you spend on making a trailer? just like your book, your trailer must have a hook. Something that »» Skills: Do you write music? Know how to shoot or edit movies? will set it apart from other trailers. Something that will get it shared Are you an artist who can animate? Be honest with yourself when and reshared with potential readers across the Internet. If you don’t thinking about your abilities. Can you do these things in a way that have the resources or interest in creating a trailer that will captivate will feel professional? potential readers and buyers, consider skipping it. There are many other »» Friends, family, and community: What skills do your friends have? compelling ways to spend marketing money. Do these skills lend themselves to book trailers? Are there film After all, having no book trailer is better than having a bad book trailer. schools nearby where students might be able to help with your endeavor? Who pays for a book trailer? »» Locations: Do you have any locations for filming at your disposal That depends. Most book trailers are paid for by the author, out of that would fit your book? their own pocket. Occasionally, publishing houses will both pay for and create trailers for their books. Make sure to have a conversation with Once you’ve taken a look at your resources, think about how you your editor about this so that you are on the same page when it comes might be able to build a trailer around your strengths. to trailers. »» Have a friend who composes music? Make the sound track do the Who is my audience? work, letting the music carry the tension, drama, or romance of your If you are writing middle grade or picture books, much of the story. 272 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » anyone you’re working withare onthe same page. interested inyourproject. It willalsoallowyoutobesure thatyouand idea of whatyouwant tocreate and giveyouawaytoget other people own, and that’sokay! Thissecond planning stage cangiveyouaclear » » » » » » can behelpful for allof them. text and pictures, author interview etc.), and these planning techniques endless variety of booktrailers youcancreate (live-action, animated, intensive, it’simportant tomaximize the planning stage. There are an » » So! You want tomake abooktrailer? Thenlet’s getstarted! | ALL ABOUT BOOK TRAILERS BOOK ABOUT | ALL » » » » » » » » » » » get afeelfor the style. Read yourscriptsoutloud tocheck for pacing short, direct phrases; typeupscriptsfrom movie trailers youlike to the scriptrepeat information youwillbeseeing onthe screen. Use a picture book.Letthe visuals do atleasthalf of the work.Don’tlet Write aRoughDraft of Your Trailer: Remember, atrailer isabitlike there. music thatcommunicates the feeland tone of yourstoryand start Jaws bewithout thatinsistent, menacing sound track? Listenfor would DarthVader bewithout “The Imperial March”? Whatwould Music: Music isvitaltoyourtrailer, butiseasytooverlook.Who point. actual trailer, soyoudon’t need toworryaboutcopyrights atthis life. These pictures are onlyfor inspiration, not tobeusedinthe what their worldlookslike. These images canbring yourconcept to specific moments, whatyourcharacters wear, whatthey looklike, and real lifethatcommunicate the feelof yourbook.Thinkabout Create aLookbook:Collectimages from movies, magazines, online, Most peopledon’t havethe skillstocreate agreat trailer ontheir 2. MakingaPlanYou CanShare dream big, butstillbeflexible basedonyour resources. C—the bare minimum of whatyouwant tocreate. Thiswayyoucan needed; B—ifyouhadamore modest budget and time frame; and scenarios for yourtrailer: A—ifyouhadallthe time and money you What isthe scopeand ambition of yourtrailer? Create A,B,and C advance of yourrelease date. exposure orputituponAmazon, they may want ittwomonths in to youreditor:Ifyouwant yourpublisher tohelp yourtrailer get most trailers come outatleastamonth before their books. Also,talk How much time do youhavetocreate the trailer? Keep in mind that What isyourbook’shook? Canitbethe hook for yourtrailer, too? main character? Introduce the setting? readers? Thatit’sathrillerorromance orfunny? Introduce your What isitaboutyourbookthatyouwant toget across toyour moments thattellalotaboutyourcharacters. visually. Thinkaboutcritical moments of yourplot.Thinkabout What scenes/moments from yourbookdo youwant toconvey?Think What isthe tone of yourtrailer? Ask yourselfthese questions toget started. Planning isfree! Since creating trailers canbetime- and money- 1. Dreaming UpaConcept better, consider taking thatpath. If you’vediscovered resources thatwouldfitadifferent promotion money getting great footage of the setting and letittellyourstory. Have astunning location thatworksfor yourbook?Spend your » » » » » » you are coming tothem for help! flexible, open,and attentive toother people’s ideas. There isa reason their time and talents, then yourtrailer becomes acollaboration. Be people involvedand excited! Remember, ifyouaskpeopletovolunteer what youare getting into when planning yourtrailer. animals. You don’t haveto avoid these completely, justbeaware of complicated: multiple locations/scenes/montages, using kids, and using » » » » » » » » » » people tofind yourbooktrailer. Once you’veuploaded yourtrailer to Where Else? YouTube and Vimeo are easyand expected placesfor trailer isreleased. that some websiteswillwant exclusivity for the firstfew days the or other websitesand ask them todebut yourtrailer. Keep inmind the other hand, youasthe author canalwaysapproach bookbloggers ideas and contacts toget yourtrailer shown ininteresting places. On created the booktrailer yourself,yourpublisher might havegood they canevenbeshown inmovie theaters. Evenifyoupaid for and Weekly orSeventeen tobookwebsitesand blogs. Inrare cases, debut inmany places, from traditional media siteslike Entertainment Releasing Your Trailer: First,talktoyoureditor. Booktrailers can Now thatyou’vemade abooktrailer, whatdo youdo withit? 4. GettingYour Trailer OutintheWorld terms of use. (SeeOnline Resources sidebar.) purchase pictures, beaware thatprices canvarybasedonsizeand very carefultoget permission touseanything inyourtrailer. Ifyou also are many online resources for pictures. Withallof these, be samples inorder tochoose someone who fitsyourvision. There create visualeffectsand music.You can listentoand lookatwork Online: Happily, youcanfind peopleonline todovoiceovers and doesn’t looktoomuch like acommercial. professional results. Ifyougo thisroute, becareful thatthe trailer significantly increase the cost of abooktrailer, butcanalso get Production Companies:Using aproduction company will to collaboration. can beasource of innovative ideas and talent. Remember tobeopen Film andTheaterSchools:Know afilmstudent oractor?Students resources of their own! be interested inhelping. They might surpriseyouwithideas and Friends: Approach friends withyourlookbookand seeifthey would Now thatyouhaveaconcept youcanshare, it’stime toget other 3. Approaching OtherPeople Also, some things canmake creating atrailer exponentially more if itmeans creating abettertrailer. combine scenes and change times of day orwhatsomeone iswearing The trailer isnotyourbook,it’smerely atasteof it.Allowyourselfto Watch Out!Don’tget obsessedwithgetting the storydetails exact. accompany the scriptishelpful. need toget thisdetailed, creating alistof scenes/images/visuals to shots tobefilmed, including camera angles. Whileyouprobably don’t Create aShotlist/Listof Scenes:Ashotlist isanordered listof caught upinthe details. the idea of yourbook,not the storyitself.It’s important not toget range from thirtyseconds totwominutes. Thinkof communicating and tone. Keep the whole trailer short: Ideally, yourtrailer should ALL ABOUT BOOK TRAILERS | 273

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

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

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. (mrschureads.blogspot.com) A great blog about children’s literature and book trailers. Entertainment Weekly’s Shelf Life (shelf-life.ew.com/ tag/book-trailers) A good source for catching new book trailers.

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

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

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

by Susan Salzman Raab

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

You need to evolve a strategic plan that capitalizes on your strengths, and weaknesses. Are you tied in with the school market? Are you a good engages consumers, and has sufficient flexibility to evolve with a public speaker or journalist? Are you active in social media and set up marketplace that is constantly changing. Each follows logically from the to do traditional media outreach? Do you see yourself connecting via other, once you have a clear picture of the role you want to play. gatekeepers—parents, teachers, librarians—or going directly to your The first step is to consider the industry as it pertains to you and end consumer—readers? your work. Ask yourself why you’ve chosen to come into the market Identify your opportunities. Now you’re ready to look at what now. Are you pursuing a passion to publish a particular kind of work, can be done to move forward with your goals. Start by looking at or for a particular kind of reader? Did you recognize a need in the the tools you have and the processes you can easily put in place. Do marketplace that you’re particularly qualified to fill? Are you entering you have a good contact database, media list, and email system (e.g. an underserved or overcrowded part of the market in terms of type of Constant Contact, Mail Chimp) that you can use for regular outreach? consumer, genre, or format? How are you entering the market—will Are you set up with Facebook, Twitter, and LinkedIn accounts? What you self-publish, start your own publishing entity, or publish with a about Pinterest, Instagram, and Google+? Look at what others in your small or large publisher, and will you publish a print book or go directly space have done to generate interest and excitement. Do they do to digital? Once you have the answers to those questions, it’s time to giveaways and contests? Are they positioning themselves as experts or consider how that will affect your timing, presentation, and strategy. newsmakers, or trying to become popular with their fan base (which is Define your platform. This is a core issue and incorporates both why often the case with the teen market)? Can you speak at conferences, do you’ve chosen to publish now and what need you intend to fulfill. Start public events, or be 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 276 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | CRAFTING YOUR BOOK MARKETING PLAN MARKETING YOUR BOOK | CRAFTING strategically and creatively. what willhappen,butyoucansucceed ifyou’re prepared towork persistence tosucceed. There isno crystalballtotellyouexactly is along-term process thatneeds toevolve. It takes dedication and comes and adjustyourplans accordingly. So youneed tobeprepared torecognize these realities when the time to writeand produce abook,youcan’tknow these things inadvance. you? Whatgenre orage bracket istrending? Withthe leadtime required have abudget tospend? Is there competition thatcanhelp orhurt change aswell.What’sthe economy like? Which partsof the market what may workfor another. Certainlyconditions inthe market will one bookataparticular stage of yourcareer willnot bethe same as and loveinteractivity. games. People like when material ispresented invisual and audio media with booktrailers, YouTube, podcasting, Pinterest, Instagram, and even posts tobewrittenatyourconvenience. Thinkinterms of multimedia, to postsimultaneously tomultiple platforms and canpreschedule your each one-by-one orwithacalendar inhand. You cancertainlysetup engage onaregular schedule. Thisdoesn’t mean thatyouhavetodo with awebsiteand withsocial media and are prepared toupdate and to ensure good results. Make sure thatyou’veestablished apresence you should beprepared todo strategic advance outreach tocontacts social). Know thatfollow-up willbeabig partof the equation and that type of outlet(long leadfor print and broadcast, short for online and their schedules. Withpublicity outreach, yourtiming willvarybythe to givepotential hosts asmuch leadtime aspossibletofityouinto to different segments of the market. Inpitching for events, youwant is truewithbothprint and digital—and when itshould besampled when earlyand finished copies of yourbookwillbeavailable—this on what’smost effective. Timing isimportant, soyoushould know small and then expand marketing inagivenarea once youget aread mechanism thanyouthought there might be. You canalwaysstart timing isn’tadvantageous; orthatthere’s lessresponse toagiven sampling of contacts. You may find thatwhilethe idea is good, the For the bestresults, consider testing some of yourideas onasmall messaging inplace, it’stime toprioritize and execute yourcampaign. objectives, know the kind of outreach youwant todo, and haveyour understanding of the larger concept youwant toconvey. and anyone elsewho isinvolvedwithyourmarketing haveaclear and the speaking youdo. It’s alsoimportant tohaveyourpublisher your promotional copy, yourpublicity, yoursocial media outreach, your work.Thisshould carryoverfrom one platform tothe next—in marketplace, the betterchance you’llhaveof evolving afollowing for brand. The more youcanidentify and conveywhatyourepresent inthe messaging tohelp the gatekeepers and consumers understand your or post)for you. publicity services, blogtours, ortogenerate content (toblog, tweet, aggregators (HootSuite, TweetDeck), and contracting withagencies for on newswires (PRWeb, PRNewswire, Marketwire), using social media and quicker. Thiscaninclude buying advertising orpaid placement Be confidentthat your efforts willmake adifference. Marketing Evaluate your results. Eachsituation isdifferent. Whatworksfor Define and execute your plan.Now thatyou’veidentified your Craft your message. You need anoverarching idea and consistent feel athome, and become fans. young readers get your books, they can goto your site, the materials onitinateen-friendly manner so that after teen audience, though, you can present your website and folks before landing inakid’s hands. Inanod to your Every YA bookmustpass through atleast one ofthese booksellers—collectively referred to as gatekeepers. primarily to parents, teachers, librarians, reviewers, and targeting young readers as direct customers, you market information ofchildren under age thirteen. Instead of parental permission before collecting the personal Act (COPPA), for example, requires websites to obtain purposes. The Children’s Online Privacy Protection the Internet for inappropriate ordownright nefarious (FTC) enforce laws protecting kids from adults who use Commission (FCC) and the Federal Trade Commission networking sites. Boththe Federal Communications their email addresses orchatting withthem onsocial unknown kids has limits.You certainly can’t becollecting interact withthem; you’re agrown-up, and your access to ages nine and eighteen. You mustbecareful inhow you considerations. Your readership is somewhere between As aYA writer, you have special marketing

PAL SPEAKING OPPORTUNITIES

by Nancy Castaldo

heck out these great festivals and conferences to share your books with readers all over the country. These not only offer you the chance C to promote your books, but they also serve to connect you with other speaking opportunities. Book festivals are the perfect place to connect with 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

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

SCHOOL VISITS 282 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DOING SCHOOL VISITS IN THE UNITED STATES UNITED THE IN VISITS SCHOOL | DOING hosts: presentations, including venues thatoffer gatewaystoschool visit that workbest. experience, modify yourpresentation until youcome upwithprograms Based onfeedbackfrom others and from yourowntake onyour librarian, orSCBWIcolleaguetogiveyoufeedbackonyourprogram. your wayuptolarger ones. During these “rehearsals,” ask a teacher, your presentation withsmall groups inclassrooms and libraries, working gate. Enlistthe assistance of alocalteacher orlibrarian and practice control. you canusethem toassistyouwithhanding outmaterials and crowd representative hastoaccompany youwhen youworkwithstudents, some offer different ones according tograde levels. Becauseaschool and sixtyminutes. Some authors limitworkshops toolder students; researching, orillustrating. Usually these runbetweenforty-five bring withyouand whatyouneed yourhost toprovide. newsprint pad, microphone, audio speakers). Determine whatyouwill presentation (e.g., PowerPoint slide sequence, LCDprojector, flash drive, arm motions, orreciting poems and singing songs). (e.g., employing rhythmic activities such asclapping, finger-snapping, second-language learners especially appreciate whole-group interaction source of pride for the students inthe volunteers’ classes. student volunteers are not onlyego-boosting tothe volunteers, buta of yourbook,being amodel for adrawing). Interactions thatinvolve calling onstudents toassistwithequipment, props, acting outparts » » » » » » Adults andchildren together(usuallyallages) Students (theprimaryaudiencefor authorandillustrator visits) TYPES OFVENUES Practice Workshops Presentation Tools Interaction enormously. Projecting PowerPoint slides of smaller items youbring along helps » » » » » » Here are some common venues for author and illustrator Don’t expect tobefabulous (ortocharge afee)right outof the You may decide tooffer workshops onanaspectof writing, Decide whatkinds of equipment orprops youwillneed for your Elementary schools withhigh populations of students who are Include waystoinvolvethe audience inyourpresentation (e.g., Libraries (public and school for large group programs, workshops) Schools (public and private for assemblies, workshops, residencies) Book festivalsorliteracy festivals(school, city, orregional) nights, and book signings) Bookstores (independent and chain for author programs, educator Schools (family nights, young author fairs) events) Libraries (public storytimes, summer reading programs, family » your school visitsand other presentations? Here are some guidelines. charge afeefor their services. Buthow much should youcharge for sites where yourworkcanbeseenbypotential hosts. available todo school visits and other appearances? you letteachers, librarians, parents, and booksellersknow thatyouare recommendations from trustedsources trumpeverything. Sohow do consideration), and presentation fee. Butinthe end, word-of-mouth the author’s orillustrator’s body of work,locality (travel feesare a iron outinadvance, the fewersurpriseswillgreet you. a samplelecture contract thatyoucanadopt oradapt.) The more you letter of agreement, orasaformal contract. (SCBWI’sThe Book includes book sales, cancellation policy). Thiscanbedone via email, through a conditions of yourappearance (i.e., schedule, setup,compensation, » » Many offer discounts for: » » » » » Some authors offer amenu of options withfeesfor: » » » » » » » » SETTING FEES made) Adults (where contactsfor schoolandlibrary visitsare often PROMOTING YOUR AVAILABILITY CONTRACTS &AGREEMENTS » » » » » » » » » » » » » » » » » » » school visits?Honoraria often fall withinthese three categories: experience (number of books, background) charging for in-person Research localmarkets: Whatare others inyourregion withsimilar You are aprofessional, not aprofessional volunteer. Professionals Create anauthor orillustrator website. Bevisibleonsocial media Most peoplewho request anauthor visitare doing sobasedon It istoeveryone’s benefit tospelloutinwritingthe terms and visits totwoseparate schools withincloseproximity inthe same day multiple-day bookings inthe same region virtual school visits keynote addresses each separate assemblyorpresentation half-day bookings full-day bookings $500, depending onthe length of the visit. Virtual school visits(bySkype, etc.) generally range from free to keynote address. payment (i.e., admission tothe conference), unlessyoudeliver a Professional conferences range from free tolowfeeorin-kind you are amain-stage attraction. Author festivalsand bookfestivalsrange from free tolowfee, unless Bookstore visitsare generally free asacourtesytothe booksellers. accordingly. See whatothers withsimilarexperience charge and position yourself visit section onitswebsiteoremployanauthor visitcoordinator. Research national markets: Your publisher islikely tohaveanauthor the fee;others charge aflat,inclusive fee. Most authors charge for expenses (travel, lodging, food) ontopof Service clubs(Rotary, Lions, Kiwanis, Zonta, Assistance League) writers and illustrators) reading, library, and specificschool subjectareas; organizations for Professional conferences (local,state, and national associations for » » » $2,000 and up $1,000–$2,000 $500–$1,000 DOING SCHOOL VISITS IN THE UNITED STATES | 283

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

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

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

If you do have to turn down an event, refer the client to a colleague It’s difficult to quantify the exact effect and reach resulting from SCHOOL VISITS who might be within their range. When you show concern for a client’s authors and illustrators interacting with students in schools. Yet needs, they are more likely to keep you in mind for a future event. you will receive fan letters throughout your career testifying to the life-changing impact you have had on young audiences. An author’s Equipment Failure in-person meeting with students percolates for years—in a dawning Expect the unexpected and be prepared! Can you do your presentation of the type of books children choose, in the volume of books children without images? With props only? If not, consider carrying along backup read, in the validation of children’s own creativity as writers and artists, LEGAL QUESTIONS equipment, including your own computer, a flash drive containing your in the choosing of future careers. And this is why children’s authors and PowerPoint presentation, an extension cord, and, if possible, your own illustrators are dedicated to meeting young readers face-to-face, sharing LCD projector. If this is difficult to do, print your PowerPoint show images a love of books. on paper and display them on a document camera that projects images, commonly called an Elmo, which most schools have in classrooms today. For more information on school visits and other presentations, (FYI: Matte paper projects better than glossy.) go to the column The Truth About School Visits in issues of the SCBWI Bulletin from 2006 to the present, as well as to the website www.SchoolVisitExperts.com. 284 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DOING SCHOOL VISITS IN THE UNITED STATES UNITED THE IN VISITS SCHOOL | DOING Curriculum) www.Scholastic.com/authorvisits Example ofaPublisher’s Author Visit Page www.nctm.org NCTM: National Council ofTeachers ofMathematics www.nsta.org NCSTE: National Science Teachers Association wwwsocialstudies.org NCSS: National Council for the Social Studies www.ncte.org NCTE: National Council ofTeachers ofEnglish www.ala.org American LibraryALA: Association www.reading.org InternationalIRA: Reading Association www.corestandards.org Common Core State Standards Initiative (Educational www.read.gov/resources/statefairs.php Book Fairs and Festivals inthe United States www.SchoolVisitExperts.com Advice onthe Craft and Business ofDoing School Visits HELPFUL LINKS

GUIDE TO INTERNATIONAL

SCHOOL VISITS

GUIDE TO INTERNATIONAL SCHOOL VISITS national school visits. and time ofyear preferred. The following tips willhelp you plan successful inter illustrator visits, as well as contact information and details ofthe number ofvisits tional Schools provides alist ofschools around the world that schedule author and 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 I 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 roundtrip airfare issometimes paid for orshared byseveral schools and some teachers may becovered bythe school. Economy class, Lunch isusually provided bythe school, and dinner withthe librarian all, schools offer hotel accommodations, oraportion of these costs. presentations or workshops. Inaddition tothe daily fee, many, but not published, award-winning authors who are known togiveoutstanding with yourexperience and yournotoriety. Schools paymore for well- day varyfrom author toauthor, and whatyou charge should beinline what schools canoffer for fees. Minimum daily feesfor four sessions per visits from Parent Teacher Associations. There are huge differences in other toget youfrom one placetoanother. information yourself,asschools may not alwayscommunicate witheach accommodation, etc. Ifthisisnot possible, besure togather this act asacoordinator tohandle the details of localtransportation, meals, with the organizing librarian wellinadvance of yourvisit. Whatever the arrangement, itisextremely important todiscussclearly form and purchase the pre-ordered booksprior tothe author visit. shipping bythe publisher. Many schools offer students abookorder keep inmind thatonline salesmay beeasier and cheaper thanoverseas book sales, givethe librarian the contact details of yourpublisher, but Not allschools willhandle booksales. Ifthe school iswilling tohandle the visit,discussthiswiththe librarian far inadvance of yourvisit. screens, and computersreadily available. equipment. Most, butnot all,international schools haveprojectors, will require any particular physical arrangements in aroom orspecial Many international schools receive funding for author/illustrator Guidelines for fees If youwillvisitseveral schools inaregion, askif one librarian can If youhope tosellbooksorhavestudents read yourbooksbefore Let the librarian orcontact personknow wellinadvance ifyou

- - SCHOOL VISITS 286 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org school librarians. contact and againbefore yourvisit. you willvisit. to actasyourpersonal travel agent. Doyourownhomework onthe area be expected. country. Alocaltourissometimes included asanextra, butshould not local authors and illustrators. may wishtoinviteyougive apresentation orconduct aworkshop for Regional Advisor well inadvance (3–9months). SCBWIregional chapters and athrillfor students. serious artstudents). Thismay beappreciated byteachers and librarians who are interested inwriting oraselectnumber of illustrations by and comment on(perhapsaselectnumber of pieces byolder students communicate how many stories orillustrations youare willing toread by students, letthe librarians and teachers know this. Besure to audience, plantouseclear, simpleEnglish. address. Ifyouwillhavemany non-native speakers of English inthe with North American culture. represented inthe school. Donot assume thatallchildren willbefamiliar in yourbooks. Beconsiderate and respectful of the various cultures Determine inadvance ifthere might beany culturally sensitive material prepared toexplain whatevercontent may beuniquetoyourculture. words, orconcepts withwhich the children might not befamiliar. Be experiences and roots may spanmany cultures. to speakaninternational audience of children whose collective from many different countries, cultures and belief systems. Beprepared numbers, should certainlybeexchanged toconfirmarrangements. as transportation, food, and accommodation, aswellcontact phone book salearrangements, yourfeeand any expenses tobecovered such includes the overall content of the program, date of visit,schedule, practice. However, afternegotiations, anemail letterof agreement that contract for aschool visit,not allcultures orschools follow this made inthe localcurrency onthe day of the visit. few international schools canafford this. Note thatpayment isgenerally Caldecott orNewbery author might charge $2,000USD perday, butvery about $500–$700USD ($125–$175USD persession). Anaward-winning fees for four sessions perday for awell-published author seemtobe at all.Some schools provide onlylocaltransportation. Average daily in the same region. Insome cases, however, airfare isnot included | GUIDE TO INTERNATIONAL SCHOOL VISITS SCHOOL TOINTERNATIONAL | GUIDE Do trytobeflexible asyoucommunicate your expectations with the Do familiarize yourselfwith the school via itswebsite before yourfirst Don’t expect the SCBWIRegional Advisor of the country youwillvisit Don’t expect alibrarian orthe school toactasapersonal guide tothe Dos andDon’ts If there isanSCBWIchapterinthe country youwill visit,contact the If youare willing tocritiquesamplewritings orillustrations Extras Ask inadvance aboutthe English abilities of the children youwill Closely review yourbooksand determine whether there are topics, Most international schools are composedof teachers and children Guidelines for your schoolpresentation Although itmay becommon insome cultures toprepare aformal Contract Do haveapositiveand adventurous spirit! Do beprofessional from initial contact toyourfinal thankyou note. “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 288 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SAMPLE LECTURE CONTRACT LECTURE | SAMPLE SCHOOL REPRESENTATIVE SIGNATURE AUTHOR/ILLUSTRATOR SIGNATURE 12. GOVERNING LAW. Thiscontract shallbegoverned bythe lawsof the Stateof ______. signed bybothparties. 11. MODIFICATION. Thiscontract contains the fullunderstanding betweenthe parties hereto and may onlybemodified inawritteninstrument Sponsor willcheck tomake sure thatallrequired equipment isinplaceand working property. 10. AUDIO-VISUAL AND PHYSICAL ARRANGEMENTS. ensure their arrivalintime for the appearance. Bookordering information for the following booksisincluded (below/onseparate page). available for autographing atthe time and placespecifiedaboveafter______(time of day). Paragraph 1,Sponsor shallberesponsible for ordering, collecting money for, distributing and returning unsold books. Author agrees tobe 9. BOOKSALE ANDAUTOGRAPHING. IfSponsor desires the availabilityof Author’s booksfor saleand autographing onthe date outlined in use. recording shallbemade bythe sponsor without the written consent of the Author and, ifstipulated therein, additional compensation for such recording, film,videotape, orother similarordissimilar method of recording, whether now known or here after developed. No use of any such or any worksshown inthe coursethereof. The term“recording” asusedherein shallinclude any recording made byelectrical transcription, wire record, Sponsor agrees thatthe Author shallretain allrights; including copyrights, in“relation torecordings of any kind made of the appearance 8. RECORDINGS.No recording shallbemade bythe Sponsor without written consent of the Author. Inthe event Author grants permission to Three orFour, until such time aspayment ismade. will payasadditional damages 15%ininterest onthe amounts owing tothe Author, said interest torunfrom the dates stipulatedinParagraphs 7. LATE PAYMENT. The Sponsor agrees that,inthe event thatitislateinmaking payments due the Author under Paragraphs Three and Four, it fee agreed uponinParagraph Three above, inaddition tosuch expenses under Paragraph Fourasthe Author shallactually haveincurred. 6. CANCELLATION FEE.IfSponsor cancels appearance byAuthor for any other reason thananactof God, Sponsor agrees topayAuthor the full The Sponsor agrees insuch casestoattemptreschedule the Author’s appearance atamutually acceptablefuture date. control, the Sponsor shallberesponsible onlyfor the payment of such expenses under Paragraph Fourasthe Author shallactually haveincurred. acceptable future date. Ifthe Sponsor isprevented from having the Author appearbyActs of God, governmental order, orother causebeyond its no obligation tomake any payments under Paragraphs Three and Four, butshallattempttoreschedule the Author’s appearance atamutually 5. INABILITYTO PERFORM.Ifthe Author isunable toappearonthe dates scheduled inParagraph One due toillness the Sponsor shallhave » » » 4. EXPENSES.Inaddition, the Sponsor agrees toberesponsible for the following expenses: » » » IN WITNESSWHEREOF, the parties hereto havesigned thisAgreement asof the date firstset forth above. If Sponsor wishes toorder booksdirectly from the publisher, it must do soapproximately eight weeksprior tothe Author’s appearance to otherwise agreed toinwriting inadvance. Other specifics. The reimbursement for food, lodging, and other expenses shallbe made no laterthanone week following Author’s visit,unless otherwise the Sponsor agrees toacceptand reimburse the Author for food and lodging receipts presented). Food and lodging. (Sponsor willprovide the following meals: Ifmeals are onaperdiem basis, the Sponsor shallinform the Author inadvance; expenses). the tickets; ifbyrental carorother modes of transportation, the Sponsor shallmake arrangements withthe Author for payment of these Roundtrip travel. (Ifbythe Author’s owncar, reimbursement inthe amount of 29cents permile;ifbyair or train, the Sponsor shallprovide ______(Specify everything that you will need, i.e. slide projector and screen, table and chair, etc.) variety of visuals and stylesof delivery. Avoid common pitfalls, like “I stories. simplicity, unexpectedness, concreteness, credibility, emotions, and in Chipand DanHeath’s book 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 understanding youraudience. Doing wellrequires good preparation and presentation skills, and also how hismessage willbereceived and isafraid of being embarrassed. is ranked atornear the top.Why? Becausethe speaker isnot sure daunting. Infact, according tosurveysof topfears, public speaking adults atconferences and public programs is another matter. Y During the presentation, change the dynamics periodically, using a When crafting yourpresentation, know thataudiences today have As adouble-check, and toshare thatintent, startyourprogram with Start byfocusing onyouraudience. In“Speaking Is aTeam Sport” For many, the prospect of addressing anaudience of peersis PUBLIC SPEAKING books. Even ifyou’ve mastered speaking atschool visits, presenting to illustrating career, but it’s likely to bepart ofhow you promote your ou may not expect to domuchpublic speaking as part ofyour writing or 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

2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org

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? of types of works it shields, it is not an exclusive list. Copyrightable Copyright is a set of exclusive rights granted to authors, illustrators works include, but aren’t limited to the following: and copyright owners for limited times. Under Section 106 of the Literary works; Copyright Act, copyright owners have these exclusive rights and the Musical works, including any accompanying words; exclusive monopoly to authorize others to: Dramatic works, including any accompanying music; §106(1) Reproduce the work; Pantomimes and choreographic works; §106(2) Make derivatives based upon the work; Pictorial, graphic and sculptural works; §106(3) Distribute copies of the work to the public by sale; Motion pictures and other audiovisual works; §106(4) Perform the work publicly; Sound recordings; §106(5) Display the work publicly; Architectural works. §106(6) To publicly perform sound recordings by digital audio transmission. When does a copyright start? Copyright is just that: the right to make copies. This exclusive right For works created after 1/1/1978, copyright protection begins the is given in §106(1). But what good is the exclusive right to make a moment the original expression of an author or illustrator’s idea is copy if the author or owner can’t distribute and sell those copies? created and fixed in a tangible form that it is perceptible either directly Those rights are granted in §106(3). Section 106(2) is the exclusive or with the aid of a machine or device. In other words, copyright starts right to make derivatives based on the original work. For authors, this when the ink is dry on the paper, the artist has put down the brush or covers the right to translation of their works into foreign languages, the computer file is saved. audiobooks and adaptations for the stage and screen. For illustrators, There’s no need to file a registration or publish the work to have a derivative works include posters, graphics, videos and even t-shirts copyright, as long as it is in a form that is perceptible either directly or using their original art. with the aid of a device like a computer or CD player. The general rule Public performance §106(4) and public display rights §106(5), is that the person who creates the work owns its copyright from the should be considered as twins. You can perform a play or movie, but moment of creation. you can only display a painting or sculpture. The final right of public performance by digital audio transmission §106(6), applies only to What doesn’t copyright protect? sound recordings broadcast on the Internet, digital cable TV or satellite Ideas are not protected, only the tangible expression of those radio. ideas. You may have a great idea for a book, but there’s no protection available for that alone; you have to write the book. Facts are not What can be protected? protected by copyright either, because they’re not original. Titles Copyright protection covers more than expected. Any original work and short phrases are not copyrightable. They too fail the originality of an author or artist’s expression, which has been fixed in a tangible requirement. form, is protected under the Copyright Act. Although the Act has a list Common things are not protected by copyright. You can’t get 294 | COPYRIGHT FOR WRITERS AND ILLUSTRATORS

exclusive rights on a name, short phrase, familiar symbol, list of How long does a copyright last? ingredients or a color. For copyright purposes, originality requires that That depends on how long you live. If the work was created after the author show creativity and independent creation of the work. January 1, 1978, then the copyright lasts for the life of the author Intangibles are not protected by copyright because they are unfixed. plus 70 years. For joint works (two or more authors or illustrators If the work hasn’t been fixed in a tangible form (written down, tape contributed), the copyright lasts for the life of the last surviving joint recorded or burned to a CD-ROM), then it is not eligible for protection. author plus 70 years. There is no renewal of copyright. For works-for-hire (creations of an employee or contractor), copyright Other non-copyright forms of protection lasts in the name of the employer or hiring party for 95 years after • Domain names are registered through the Internet Corporation 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 11 herbs and spices. Copyrights, If registration is made within three (3) months after publication patents and trademarks are public records; trade secrets can never or before an infringement, additional damages and attorney’s fees are 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: © 2019 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 www.scbwi.org | 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 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 How do I file my registration? PUBLICATIONS GUIDE: THE BOOK work. Please see the sample WORK FOR HIRE AGREEMENT. Online registration through the electronic Copyright Office (eCO) is

2019 the preferred way to register. Advantages of online filing include lower COPYRIGHT FOR WRITERS AND ILLUSTRATORS | 295

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

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

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

HIS AGREEMENT made this ______day of [month], [year] between______(“Author”) [author or illustrator’s name] residing at ______[street address, city, state, zip code, country] and XYZ Children’s Books, an imprint of Books for Young Readers, a division of BigBookCorp, Inc., whose principal office is located at 205 Lexington Avenue, New York, New York 10086 ( “Publisher”). WHEREAS the Author is the proprietor of the following work (the “Work”) Title: [working title of the book] Subject matter description: [genre of book and one-sentence synopsis] [The publisher may want a longer synopsis of the book—this should be attached to the contract.] AND WHEREAS the Author desires to have the Publisher publish, and the Publisher desires to publish the Work on the terms and conditions and in consideration of the covenants set forth herein Grant of Rights [The Grant of Rights sets forth the territories and formats in which the publisher can publish and/or license the work and the length of time that this contract is in force.] AUTHOR AND PUBLISHER AGREE: 1. The Author hereby grants to the Publisher during the full term of copyright [you want to try to limit this to a shorter term; 20–35 298 | 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.] 2019 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 299

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

manuscript for any such work to the Publisher upon the terms set forth in this Agreement. [This provision is totally unacceptable. If the rights MARKET SURVEYS are terminated—and of course the Publisher must notify the Author of this—then they should revert immediately back to the Author upon repayment of the portion of the Advance paid prior to the notice.] (d) If the Publisher exercises its option to terminate this Agreement, the Author shall use his best efforts to sell the Work elsewhere and shall repay any and all sums paid to him under this Agreement out of the first payments due him when and if another publisher accepts the Work for publication. (Such payments from another publisher, up to the total amount of any and all sums paid to the Author under this Agreement, being First Proceeds. [This means if the Author/Illustrator sells the book to a third party, money payable by that third party first goes to repay the initial publisher if the Author has not yet repaid the advance. Another point is to limit this repayment to proceeds from the sale of the book only—not from subsidiary rights, such as movies, etc.] DIRECTORIES & RESOURCES (e) Simultaneously with the delivery of the manuscript, the Author shall deliver to the Publisher, at the Author’s sole cost and expense, all photographs, drawings, captions, maps, charts, tables, appendixes, notes, bibliography, and other matters required by this Agreement. If the Author fails to do so, the Publisher shall have the option to supply such materials itself, if necessary employing outside editorial and artistic assistance, and to charge the cost thereof to the Author against the Work. [The latter sentence should be deleted and the Publisher should pay all costs] (h) If copyrighted material is included in the Work (other than that for which the Author is the lawful proprietor), the Author, at his sole expense, shall secure from the copyright proprietor and deliver to the Publisher written permission, in a form satisfactory to the Publisher, to reproduce such materials in the Work and in all editions, adaptations, and media and in the territory and during the entire term permitted in this Agreement. [This permission form should be provided by the Publisher up front.] (i) The Author shall read, revise, correct, and return to the Publisher all proofs of the Work submitted to him by the Publisher within 60 days of receipt of a written statement from Publisher detailing the changes. The Author shall pay for all alterations in the proof made at the Author’s request exclusive of the cost of correcting typesetter errors or making publisher alterations), to the extent that such alterations exceed ten PUBLICIZING YOUR PUBLISHED WORK percent (10%) of the cost of composition. The Author shall pay for all alterations (exclusive of the cost of correcting typesetter errors or making Publisher alterations) that he requests after page proofs have been made or of the Work has been corrected in conformity with the Author’s corrected galley proof. [If Publisher fails to comment within 10 days, it is deemed accepted-this is important because portions of the advance are tied to acceptance] 3. (a) The Publisher will, within eighteen (18) months after acceptance of the Work, publish or cause publication of the Work in such editions, imprints, style, and manner and at such prices as it deems suitable. The Publisher shall be authorized to exercise the usual editorial privileges in the course of preparing the Work for composition and to make the manuscript conform to its standard style of punctuation, spelling, capitalization, and usage. [This applies to text-only manuscripts—which basically means novels. The publication time for picture books and nonfiction that requires author-supplied photographs or other material will depend on when the artwork, photographs, or other material is received, in which case the language will read: “The publisher shall, except for circumstances beyond its control, publish the work no more than eighteen (18) months after receipt of such artwork, photographs, or other material.”] (b) The failure of the Publisher to publish or cause publication of the Work within the time period set forth above shall not be deemed to be a violation of this Agreement if such failure to publish is caused by restrictions of governmental agencies, labor disputes, inability to have the book manufactured or to obtain the materials necessary for its manufacture, or by any delay occasioned by the assertion of any claim, or warranties contained n paragraph 13, or for any other cause beyond the control of the Publisher. In the event of a delay resulting from any cause SCHOOL VISITS referred to in this paragraph, the publication date may, at the Publisher’s option, be postponed accordingly, provided, however, that if the delay is occasioned by the assertion of any claim, action, or proceeding covered, and such claim, action, or proceeding is not resolved by settlement or final judgment within six (6) months, the Publisher shall have the option to terminate this Agreement and the Author shall thereupon repay any advance paid to him. (c) If the Publisher fails to publish the Work within the agreed time period, the Author may, at his option, by written notice to the Publisher demand that the Publisher, publish the Work. In the event the Publisher has not published within six (6) months of such notice, the Author LEGAL QUESTIONS may terminate this Agreement. If, however, the Publisher’s failure to publish is the result of delays in delivery and acceptance of the text and/ or artwork for the Work, the Publisher’s time to publish shall be extended accordingly. In such event the only damages recoverable by the Author shall be limited to the total advance payable under this Agreement. (d) Nothing herein shall require the Publisher to publish or license each and every edition permitted to be published or licensed hereunder. Furthermore, the Publisher shall not be required to continue publication of the Work if, in its opinion, it violates the right of privacy or any property or personal right of any person, or contains any libelous, scandalous, or other unlawful matter, or presents a substantial risk of liability 300 | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

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

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

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

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

www.scbwi.org *(d) A royalty of ten percent (10%) of the amount received by the Publisher for copies, bound or in sheets, sold for export, for copies, bound | or in sheets, sold in bulk to book clubs, or for copies sold at a special discount of sixty percent (60%) or more of the Publisher’s suggested retail price; (e) A royalty of twelve and one-half percent (12.5%) of the amount received by the Publisher on all sales in Canada on copies of any edition published by the Publisher; *(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. 2019 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 301

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

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

Mass market on net paperback 50% LEGAL QUESTIONS Trade paperback 50% Hardcover reprint 50% Book club 50% Syndication 50% First periodical rights (prior to first book publication) 70% Second periodical rights (after first book publication): serialization, digest, abridgment, condensation, excerpt 50% 302 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | licensees, and assigns, and any officers, agents, and employees of the foregoing, from and against any and allliability, damage, loss, expense Publisher’s defense and shallindemnify and hold harmlessthe Publisher, any sellerordistributorof the Work, and the Publisher’s successors, the Publisher shallhavethe right todefend the same through counsel of itsownchoosing, and (b)the Author shallfullycooperate inthe the situationswillbedealtwith.] privacy orother personal or property right whatsoever. Agreement and tomake the grants herein contained; (v)thatthe Work does not, inwhole orinpart,infringe any copyright orviolate any right of (iii) thatthe Work isoriginal, hasnot beenpublished inbookform, and isnot inthe public domain; (iv)thathe hasfullpowertoenter into this and exclusive owner of allrights granted tothe Publisher inthisAgreement and hasnot assigned, pledged, orotherwise encumbered the same; licensees, and assigns, and any officers, agents, and employees of the foregoing: (i)that he isthe sole Author of the Work; (ii)that he isthe sole Author during the period covered bysuch request shallbefound tohisdisadvantage, inwhich casethe costshallbeborne bythe Publisher. examination shallbeatthe costof the Author unlesserrors of accounting amounting tofivepercent (5%)or more of the totalsumpaid tothe his duly authorized representative shallhavethe right, uponwrittenrequest, toexamine the Publisher’s records thatrelate tothe Work; such [however,rendered you canrequest, inwriting,to have astatement rendered], and the amount due shallbecarried forward. The Author or be lessthanfifty dollars ($50)[thisamountvaries from publisherto publisher—thestandard range is$10to $50],no statement shallbe a tax orotherlienagainsttheearningsof theauthor].When the balance tothe credit of the Author atthe end of any statement period shall required bylawtobewithheld and paid bythe Publisher, shallbeproper charges against the Author’s earnings hereunder [thisiswhenthere is payments accruing tothe Author under thisAgreement withthe Publisher. State, federal, and foreign taxes onthe Author’s earnings, when that thischangebemadeto thecontract], and allsums owing by the Author tothe Publisher under thisAgreement may bededucted from agreement shouldberecoverable ONLY from thisagreement andnotfrom anothercontract withthispublisher;itishighlyrecommended by the Publisher from any and allmoneys accruing tothe Author under thisAgreement withthe Publisher [money thatisrecoverable from this statements shallbesubmittedtothe Author, together withpayment for allamounts due for eachperiod solong asany payments are due. 1 for the period ending June 30,except thatthe firststatement shall not be rendered until atleastsix(6) months afterpublication date. Such by radio, television, oronline selections from the Work, for publicity and promotion purposesonly. recordings, solelyfor the blind and other physically handicapped persons; and publishing orpermitting others topublishorbroadcast ortransmit otherwise usedtopromote the saleof the Work; to bepublished pursuant tothisAgreement: payments shallbedue the Illustrator. Ifsaid receipts relate onlytothe useof artwork,no payments shallbedue the Author. above paragraphs asprinted, provided said sums are related tothe useof bothtext and artwork.Ifsaid sums relate onlytothe useof text, no illustrator.] very low percentage] aroyalty of three percent (3%)of the retail amount received bythe Publisher. book (orother similaredition) of the Work, lesscredited returns and lessareasonable reserve for estimated returns [tryto capthereturns to a In the event of the assertion of any claim, action, orproceeding inconsistent withany of the foregoing representations and warranties, (a) [This sectionisfor your protection. Publisherstake outinsurance whichcovers mostsituations. Thefollowing specifies the way inwhich 13. The Author hereby represents and warrants tothe Publisher, any sellerordistributorof the Work, and tothe Publisher’s successors, Author’s Representations, Warranties, and Indemnities All payments made bythe Publisher toor for the account of the Author pursuant tothisAgreement shallbechargeable against and recoverable 12. (a)The Publisher shallrender semiannual statements of account no laterthanMay 1for the period ending December31and November Statements andPayments (b) Licensing publication of the Work without fee, inBraille (orsimilartactilesymbols),orbymechanical audio recordings orvisual (a) Salesmade atorbelowManufacturing Cost,copies destroyed, copies furnished gratis tothe Author, editorial review copies, orcopies 11. No royalty, fee, orother charge shallbepayabletothe Author for the following, applicable toalleditions of the Work published orcaused NoRoyalties 10. Allsums of money due the Author shallbepaid atthe rate of [apercentage previously negotiated]of the royalties stipulatedinthe [Thefollowing sectionwillonlyappearinacontract ifthere isaseparate contract withanotherparty—suchasanauthoror (c) The Publisher shallpaytothe Author, orcredit tothe Author’s account, the following royalties oncopies soldbythe Publisher of any board On salesof digital version, 12.5%of amounts received [thisisquicklychanging] *Commercial adaptations and tie-ins 50% *Motion picture, television, radio, lyric and dramatic rights 70% Publication inother languages 70% Publication inthe English language outside of the United States70% *Interactive multimedia form 50% Mechanical audio recordings 50% Mechanical audiovisual rights 50% Display rights 50% Premium, direct mail, couponadvertising 50% Textbook edition, large print edition, picture bookedition, photonovel 50% Anthology and other selection reprint, inwhole orinpart:complete, condensed, adapted orabridged versions 50% SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 303

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

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

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

304 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | Agreement, tothe extent permittedbylaw, shallterminate. [Thetrusteeinbankruptcy makesalldecisions regarding disposition of thework, Publisher to terminate.] book inprint.Withrespect to digital publishing,again, makesure there isacertain revenue amount,whichifachieved, doesnotallow the himself/herself aware of thesalesof thebook,recognizing thatsalesof fewer than500copiesayear willnotnormallybeenoughto keepa below. [ItishighlyunlikelythatthePublisher will,infact, notifythe Author thatthebookis going outof print.TheAuthor shouldkeep and sale, the Publisher may givewrittennotice of the termination of thisAgreement to the Author, withsuch effectasprovided inparagraph 24 allow arevenue amount.Itmaybepossibleto negotiateto raise the numberof copies.] unless there are totalsalesof 300copies ormore peryear. [Makesure you receive documentation of this. Somepublishersare beginningto amount of revenue.] The existence of anindividual print ondemand edition oranelectronic edition shallnot constitute the Work being inprint [This isaclauseyou want modified to reflect eitheracertain numbermustbesold—300is reasonable—or youmusthave received acertain long asitisunder contract for publication oronsaleinany edition inthe United States, whether under the imprint of the Publisher oralicensee. Publisher), thisAgreement shallthereupon terminate subjecttothe terms inparagraph 24.The Work shallnot bedeemed tobeoutof print so to getthisreduced to 2–3monthsmaximum]afterthe date of such notice (subject,however, todelay from causesbeyond the control of the place the Work in print, orlicense publication of areprint edition byanother publisher aspermitted herein withinaperiod of six(6)months [try short articleonthisintheappendix.] that work elsewhere withoutpenalty.] the samecharacter”—and to ensure thatifthePublisherrejects awork containing thatsamecharacter thattheauthoristhenfree to sell suggest thattheAuthor considerrevising thelanguageinthissectionto includelimitations—for instance, to limititto “a work featuring “substantially similar.” Whilethislanguageisfairly standard throughout theindustry, itisreally too broad for theauthor’s protection. We granted herein. [Thisisavery burdensome anddifficultclause. If you cannotgetitstricken,try to addlanguagethatmore clearlydefines to bepublished any worksubstantially similartothe Work orwhich isreasonably likely toinjure itssaleof the merchandising orthe other rights advertising, publicizing, licensing, and promoting the Work, and any commercial adaptation thereof. biographical data in[makesure thePublisherisrequired to useonlypictures, bios, etc., thatyou approve inadvance] connection with it], shallfurnishthe Author withacopyof eachsuch contract oragreement. more and, uponthe Author’s request [you shouldaddlanguagerequiring thePublisherto dothissothattheburden isnotonyou to askfor permitted under thisAgreement where the Author’s share of the proceeds orroyalty isorlikely toamount tofive hundred dollars ($500)or use of your work oranexcerpt andany paymentsfor it.] receive acopy of any printeditioninwhichyour work appears. Thereason for thisbeing inthecontract issothatyou have away to track statement, itispossibleandadvisableto request acopy of any permissiongranted by thePublisher. Itisalsoadvisableto request thatyou price. [40%isfairly standard throughout theindustry. Thisdiscountisnotanegotiableitem.Whilepermissionsare notcovered by this right topurchase further copies for personal useand not for resale atadiscount of forty percent (40%)from the Publisher’s suggested retail worth more.] the Illustrator feelsthatthesefigures don’t represent theactual value of theartwork, theIllustrator mustprovide documentation thatitis illustrator, you mayhave to askto have thislanguageinserted.Notallpublishersincludeitautomatically inillustrators’ agreements. If (black/white orcolor)black/whitefullpage. It isagreed thatthe Publisher shallnot beresponsible for normal wearand tear. [Ifyou are an or damaged artwork,and thatsuch artworkisvaluedat$500perfull-colorspread, jacket, orfullindividual page and $100perpiece of spotart is lostordamaged soastorender such artworkunsaleable, itisagreed thatthe Publisher shallreimburse the Author for the valueof the lost of the Work. Inthe event the Author’s original artwork,whileinthe Publisher’s possession and control and due tothe Publisher’s ownnegligence Illustrator’s Property 23. Ifthe Publisher isadjudicated abankruptormakes ageneral assignment for the benefit of creditors orliquidates its business, this Bankruptcy andLiquidation 22. Ifthe Publisher shalldetermine thatthere isnot sufficient sale of the worktoenable the Publisher tocontinue the Work’s publication Termination by Publisher 21. Ifthe Work shall beoutof print and if,afterwrittenrequest from the Author toputthe Work backinto print, the Publisher shallfail to [Note thattheseprovisions are critical,especiallywithdigital distribution.Suggestedlanguagefor thiswillappearbelow. There isalsoa Out of printProvisions TERMINATION 20. The Author agrees thatduring the termof thisAgreement he willnot, without the writtenpermission of the Publisher, publishorauthorize No CompetingWork 19. The Publisher, initssolediscretion, may useand authorize the useof the Author’s [approved] name, likeness, photograph, and Use of Author’s NameandLikeness 18. The Publisher shallnotify the Author of the terms of any contract oragreement entered into bythe Publisher for any grant orlicense Contracts withOthers 17. The Author shallbeentitled toreceive onpublication ten(10)free copies of the Work published bythe Publisher, and shallhavethe Author’s Copies 16. The original artworkisthe property of the Illustrator and istobereturned tothe Illustrator withinsix(6)months following publication SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 305

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

25. If the Publisher, in its sole discretion, determines that a revision of the Work is desirable, the Author shall have thirty (30) days after MARKET SURVEYS receipt of a request from the Publisher to notify the Publisher that he will make the revision himself within [a period to be mutually agreed]. If the Author fails to deliver such notice, or having delivered such notice he shall fail to deliver a revision satisfactory to the Publisher in style, content, length, and form within that period, the Publisher shall have the right, with the agreement of the Author, to make the revision, charging any outside editorial fee or other fee or royalty to the Author against the Work. It is further agreed that for the purposes of royalty computation, the revised edition shall be considered a new work, and the same scale of royalties shall apply to it as applied to the original edition hereunder. [If a royalty escalation has gone into effect, this will eliminate the escalation and the royalty rate will go back to the original rate as set forth in the contract.] DIRECTORIES & RESOURCES Option on Next Work [This provision is in some but not all contracts. It is best to delete it completely. If the Publisher refuses, some suggested modifications appear below.] 26. The Author hereby grants to the Publisher the exclusive right and option to publish his next book-length work, subject to the terms and conditions hereinafter set forth. The Author shall submit the completed manuscript of such work to the Publisher before offering or submitting it to any other party. The Publisher shall have a period of ninety (90) days after submission within which to notify the Author whether it desires to publish the work. If within such period the Publisher notifies the Author of its desire to publish such work, the parties shall negotiate in good faith with respect to the terms of an agreement to publish such work. For ninety (90) days the Author shall not submit or offer such work to any other party or negotiate with any other party with respect to such work. After ninety (90) days, or if the Author and the Publisher are unable to reach an agreement, the Author may offer such work to other parties, provided, however, that he shall not enter into an agreement for the publication of such work with any other publisher upon terms equal to or less favorable than those offered by the Publisher. [If you can’t delete this, make the option as specific as possible—, for example, a book featuring the same characters, next book in a series, or a PUBLICIZING YOUR PUBLISHED WORK book in the same genre as the contracted work. Many publishers want to have the right to wait until publication of the contracted work before responding to the submission of the next work. This is blatantly unfair, since publication may take three years or more. In the event the Author and the Publisher cannot come to an agreement on this option work, the Publisher may want to continue the option. This is unacceptable.] Agency Clause 27. [If you have an agent, there will be an agency clause, inserted by your agent, to authorize the collection and receipt by the agent of all sums of money payable to you under the terms of this agreement. This clause will also empower your agent to act on your behalf in all matters in any way arising out of this agreement. If you and your agent terminate your relationship, you both must notify the publisher in writing. The publisher may consider the agent’s notification valid without hearing from the author, but the reverse will never be true.] Notices 28. Any notices required or permitted to be given shall be in writing and shall be delivered personally or sent by registered or certified mail, postage prepaid, return receipt requested, to the Publisher or the Author (or his agent) at the respective addresses given above, or at such other addresses as the parties may from time to time designate by written notice given in the manner provided herein. Reservation of Rights to Author 29. All rights in the Work not granted to the Publisher are reserved to the Author and may be exercised or disposed of by him at any time SCHOOL VISITS during the term of this Agreement. [It is recommended that you ask for the following paragraph to be included in your contract, as it is not likely that most contracts will have this provision: “The Publisher acknowledges that the Author has the right to use the cover, any pictures, and all text of the Work for the sole purpose of promotion of the Author on the Author’s own website and in any publicity material the Author may distribute for any self-promotional purposes, including but not limited to flyers, postcards, trailers, social networking, and bookmarks. Additionally the Author may use of the LEGAL QUESTIONS cover of the Work or illustrations or text for use in any presentation the Author may make about his work. The Author agrees to acknowledge the Publisher as the publisher of the Work and to provide ordering information for the Work should the Publisher so desire.”] Assignment of Publication Under Affiliated Imprint 30. This Agreement shall be binding upon and shall inure to the benefit of the parties and their respective heirs, executors, administrators, successors, and assigns. Notwithstanding anything to the contrary contained in this Agreement, the Publisher may assign this Agreement to any parent, subsidiary, or affiliated company that expressly assumes all the obligations of the Publisher or that acquires all or a substantial portion of 306 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | are not tobeconsidered alegalpartof thisAgreement. discount of eighty-five percent (85%)or more from the suggested retail price shallbe deemed soldbelow manufacturing cost. shipping costsorother similarcharges, and sales, excise, orsimilartaxes, ifany; and the retail listprice for the edition suggested bythe Publisher initscatalogs, order forms, orpromotional material; ninety (90)days, and, inthatevent, any advances paid toorfor the account of the authors shallberepaid tothe Publisher. litigation, the Publisher shallhavethe right tocancel thisAgreement ifsuch disputeisnot settledorfinally determined bycourtorder within the event thisAgreement iswithmore thanone author and adisputearisesbetweenthe authors thatthreatens toinvolvethe Publisher in or proceeding brought bythe Publisher against either orbothauthors arising outof orinany wayrelating tothisAgreement oritsbreach. In and duties shallbejoint and several, and eachauthor ishereby designated asagent for the other for purposesof service of process inany action deemed completethree (3)days afterthe mailing thereof. or registered mail, postage prepaid, return receipt requested. Service of process made bycertifiedor registered mail as herein provided shallbe located], and the parties hereby consent tojurisdiction of the said courtsand toservice of process uponthem either personally orbycertified relating tothisAgreement oritsbreach may bebrought onlyinacourtof record inthe Stateof [the stateorcountry inwhich the publisher is located], applicable tocontracts made and tobeentirely performed therein. Any suit,action, claim,orproceeding arising outof orinany way such partorpartshadnever beenincluded. void shallbedeemed tohavebeendeleted from thisAgreement, and the remainder of thisAgreement shallhavethe same force and effectasif effect of invalidating orvoiding the remainder of thisAgreement, and the partorpartsof thisAgreement held tobeinvalid, unenforceable, or only pointsinwritingare valid]. waiver of any subsequent breach ordefault orinany wayaffectany of the other terms orconditions contained inthisAgreement. [Thismeans in writing and signed byoronbehalfof the partygranting such waiverormodification. No waiver of any breach or default shallbe deemed a (whether writtenororal) inrespect tothe matters specified. No waiveror modification of any of these provisions shallbevalid unless done shall benull and void unlessthe assigning partyhasobtained the writtenapproval of the other party. the case, you shouldhave theoptionto terminateandgettherightsback.]Any other assignment, whether voluntary orbyoperation of law, continue publishingtitlesithasaccepted—provided thatitcontinuespublishingthegenre of thebooklicensedhereunder. Ifthatisnot the business of the Publisher. [Intheevent thatthePublishermerges withorispurchased by anothercompany, thisallows thePublisherto 36. Descriptivewords and general statements usedinthe paragraph headings of thisAgreement tosummarize the contents of the paragraphs Effect of Headings (c) “Manufacturing cost”willmean the per-unitcostof plant, paper, printing, and binding of the applicable edition, butany copysoldata b) “Amount received” willmean amounts actually received bythe Publisher, afterallowances and return credits, and excluding postage and (a) “Suggested retail price” willmean the price onthe jacket orcoverof the applicable edition of the Work or, inthe absence of acoverprice, 35. As usedinthisAgreement: Definition of terms 34. The word “Author” shallinclude male, female, orafirmcorporation, and the plural. Inthe case of more thanone author, their rights Definition of “Author”; Joint Authors 33. ThisAgreement shallbeinterpreted and construed inaccordance withthe lawsof the Stateof [stateorcountry inwhich the publisher is Interpretation, Venue, andServiceof Process 32. Ifany provision of thisAgreement isjudicially declared tobeinvalid, unenforceable, orvoid byacourt,such decision shallnot havethe Severability 31. ThisAgreement constitutes the entire agreement betweenthe parties and supersedes allprior agreements, understandings, and proposals Entire Agreement SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 307 PREPARING & SUBMITTING JOINT AUTHOR AGREEMENT

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

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

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

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

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

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

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

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

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

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

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

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

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

______name name address address LEGAL QUESTIONS

______name name address address 308 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | thereof, and any actions thatmay accruefrom the date of creation thereof; inthe United Statesand the world. description attaching toorwhich may attachtosaid workand/or embraced byorincluded inthe copyright and any renewal and/or extension Hiring Party any and allexisting copyrights therein throughout the United Statesand the world, and any and allrights of everykind, nature or commission willbeconsidered aninfringement of Hiring Party’s copyright. creation of the commissioned work. property of Hiring Party, and thatHiring Party retains allrights inthese materials, and thatContractor may usethese materials onlyfor the Party hasthe soleand exclusive useof the commissioned workand any derivative worksmade therefrom. shall remain the property of Hiring Party, thatallcopyright forms willlistHiring Party asanauthor of awork–made-for–hire, and thatHiring specified under §101 of the 1976Copyright Act of the United States. WORK FORHIREAGREEMENT

Thus agreed and signed this______day of ______,20___. In the event thatthe commissioned workisnot considered awork–made-for–hire, then itshallbedeemed thatContractor hasassigned to Any unauthorized copying orother useof these materials or the commissioned workbyanyone other thanContractor for this specific It isfurther understood thatallmaterials, data, property, and other items usedinthe creation of thiscommissioned workremain the It isexpressly understood byContractor thattheir efforts are specially ordered and commissioned, thatcopyright inthe commissioned work Description of the commissioned workfor hire: This document confirms thatacopyrightable work of intellectual property commissioned byHiring Party isa“work–made-for–hire” as and Between address address name Hiring ______Party name ______(the Contractor) ______(the Hiring Party) Contractor SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 309 PREPARING & SUBMITTING ASSIGNMENT OF COPYRIGHT

KNOW BY THESE PRESENTS, the undersigned copyright owner:

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

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

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

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

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

______Assignor Assignee name name address address SCHOOL VISITS LEGAL QUESTIONS 310 2019 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | book for PODsales, and then have another sixmonths could receive the letter, state that they are setting upthe (POD) controversy addressed below, as the publisher when looked atinthe context ofthe printondemand to continue selling the book.This takes onnew meaning has sixty days to respond as to whether they are going you want the rightsto revert to you. The publisher then are required to give notice to the publisher stating that property originally furnishedby theAuthor.” way of awrittenreversion letter, together withanyexisting all rightsgranted hereunder shallrevert totheAuthor by available for sale, thenthisAgreement shallterminateand not declare inwritingthatitintendstokeep theWork date of suchnotice. Ifwithin60days thePublisherdoes print, itshallactnot laterthansix(6) monthsfrom the the Publisherdeclares itsintentiontoreturn thebookto of theformats specified previously inthis Agreement. If term “out of print”isdefined asbeingunavailable inany whether itintendstokeep theWork available for sale. The event thePublishershalldeclare within60days, inwriting, Author maygive notice thereof tothePublisherandinsuch look atthis sample out-of printclause: However, this is more complicated than itseems. Take a them again ordowhatever you want withyour book. the rightsrevert to you, the author, you’re free to sell publisher no longer owns the rightsto your book.When on and has approval ofany new format. devised oronthe derivative works and (2) is consulted in the agreement, ofroyalties being paid onwhatever is clause. This is acceptable only if(1)the author is assured, hereinafter devised.” This is called afuture technologies as CD-ROM, DVD, etc.), include the phrase “now and referring to technological changes and inventions (such stating the rightsthat the publishing house has, and by placing conditions onthem. Some contracts, when agreement that are troublesome, but that can bemodified They are perpetuity,forever, and universe. should bedeleted, as they are to the author’s detriment. in anagreement that is not awork-for-hire document, There are anumber ofproblematic issues. First, you “In theevent theWork isatanytimeout of print,the A reversion of rights refers to the time atwhich the 2. Reversion ofRights:When is abookout ofprint? There are other words/phrases that often exist inan 1. Red Flag Words There are words that, when found MISCELLANEOUS NOTES The three primary possibilities are as follows: providing guidelines onhow bestto protect your rights. continue to keep itsmembers informed as well as provision atthe following link: 1.usa.gov/Zq7NQ. and ifspecific actions are taken. You can read the ability to getyour rightsback under certain conditions discuss here, but this provision basically gives you the section 203 ofthe Copyright Act. This is too complex to book, and that is the termination rightgranted under want to sell itto athird party orlicense ebooks. out ofprint—otherwise you could runinto trouble ifyou acknowledgement from the publisher that your bookis addition to the above, make sure that you obtainwritten the publisher to maintain the rightsto the book.In a minimumamount ofsales are required inorder for very least, attempt to negotiate acontract that specifies Until this definitional issue is resolved, you should, atthe definition ofabookand therefore is considered inprint. the material is capable ofbeing printed, itfalls withinthe book, but publishers are taking the positionthat because taking the positionthat aPODbookis not atraditional just presented. The SCBWI and other authors’ groups are a “book”as historically understood and by the definition The issue centers onthe questionofaPODbookreally termination rights. met, and therefore you are not entitled to exercise your the requirement that the bookis stillfor sale has been taking the positionthat ifabookis available as POD, this is not the case, and ingeneral publishers are now by the publisher and listed initscatalog. Most likely English language hardcover orpaperback editionissued copies are available for sale inthe United States inan specified that abook is only considered inprint when ebooks, POD, etc. Ideally, your contract should have has increased incomplexity because ofthe advent of licensed to the publisher. The interpretation ofrights with legal counsel ifnecessary, which rightsyou actually actually being made. Second, you should determine, to accomplish that goal without any requirement ofsales The publisher files for bankruptcy (voluntary In what manner didthe publisher goout ofbusiness? 3. DidYour Publisher GoOutOfBusiness As the industry precedents change, the SCBWI will There is one other way to obtainrightsback to your There is quite abitofcontroversy onthat last point. SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 311 bankruptcy). Once bankruptcy has been filed, the PREPARING & SUBMITTING bankruptcy court has control over the publisher and the assets. In this case, the copyrights of the books (we are assuming the publisher holds the copyright ) become assets of the bankrupt estate. This means that the trustee of the bankrupt corporation can either assign the assets to a third party or continue to sell them to pay off debts. It is extremely difficult to get the rights back for a product that has been published by a company that goes bankrupt. Clauses stating that the rights revert to you MARKET SURVEYS in case of bankruptcy have been found invalid; however, they are worth fighting for because they may give some basis for a reversion, particularly if advances have not yet been paid. Creditors file for bankruptcy against the publisher (involuntary bankruptcy). The method of this bankruptcy DIRECTORIES & RESOURCES is different in that creditors file for the bankruptcy rather than the publisher itself, but the implications are the same as above. The publisher simply dissolves. First, what does your contract say? The out of print clause may be useful here. Even if there isn’t, take the position that the publisher will be unable to fulfill its obligations and is thus in breach. Technically in this case, the copyright holder no longer exists in law and so the rights would revert. You can do your best to protect yourself by having a clause that states if the publisher is no longer actively marketing PUBLICIZING YOUR PUBLISHED WORK your book, the rights revert immediately. Tying this clause to sales of the book can be dangerous, particularly in the era of POD and ebooks. However, if the publisher was sold or assigned the rights to a third party before it dissolves, then unless the contract specifically has wording to the contrary; the copyrights would belong to the assignees or the purchaser. The wording in most contracts does allow such assignments, but sometimes specifically requires the author’s/illustrator’s consent, so look carefully at your agreement. Normally, if it is assigned or purchased, then the assignee/purchaser remains obligated to all the terms SCHOOL VISITS of the contract. LEGAL QUESTIONS ARCHIVING YOUR WORK: WHAT YOU SHOULD KNOW NOW ARCHIVING YOUR WORK: WHATCOPYRIGHT YOU SHOULD FACTS FORKNOW WRITERS NOW

by Susan Salzman Raab

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

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

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