sign in sign up
<<
Home , Abigail Breslin, Agate Publishing, Alpha Books, Annual publication, Authors Guild, Bantam Books

THE

The ESSENTIAL GUIDE to for CHILDREN 2017 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 . It contains virtually all the information you will need about 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 . 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 sites. Time-sensitive material contained in THE BOOK is updated regularly on our , scbwi.org. The SCBWI staff takes great pride in presenting you with this invaluable tool that will optimize your career, whether you are already well published or a newcomer to the field. Use it as your primary reference and workbook. Don’t hesitate to contact us if you have any remaining questions. We wish you great success in the children’s book field and hope that THE BOOK will guide you along your creative path.

With all best wishes,

Lin Oliver | Executive Director

Stephen Mooser | President

EXECUTIVE EDITOR: Kim Turrisi ASSISTANT EDITOR: Kayla Heinen COVER DESIGN, MANAGER & DESIGN: Sarah Baker INTERIOR DESIGN: Meagan Bennett

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

2017, SCBWI THE BOOK: THE ESSENTIAL GUIDE TO PUBLISHING FOR CHILDREN. © 2017 SOCIETY OF CHILDREN’S BOOK WRITERS & ILLUSTRATORS. Published by Society of Children’s Book Writers and Illustrators, 4727 Wilshire Blvd. Suite 301, , California 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 is intended for the personal use of SCBWI members only. It may not be used, sold or lent for any purpose, commercial or otherwise. CONTENTS

PREPARING & SUBMITTING Book Reviewers Directory...... 173 YOUR WORK International School Directory...... 187 Writing & Illustration Courses Directory...... 189 Benefits of SCBWI Membership...... 5 From Idea to Execution...... 197 From Keyboard to Printed Page...... 9 Essential Reference on Writing & The Query Letter...... 13 Illustrating for Children & Teens...... 219 The Synopsis...... 15 Grants, Fellowships, Residencies, and Retreats... 225 SCBWI Illustrators Guide...... 17 Jumpstart Your Creative Career...... 23 Putting Together a Prize-Winning Portfolio...... 25 PUBLICIZING YOUR Creating Dummies...... 27 PUBLISHED WORK De-mystifying Digital Dummies...... 29 1,000+ Ways to Promote Yourself and You’re Hired to Illustrate Your First Your Books...... 231 Childrens Book: What Comes NEXT?...... 31 Grassroots Book ...... 235 From the Editor’s Desk...... 33 Keeping Your Book Alive...... 237 Starting a Critique Group...... 37 Resources for Published The Give & Take of Critique...... 39 & Illustrators...... 241 Mentoring Matters...... 43 Principles for Using Social Media Effectively...... 245 Self-Publishing: Best Practices...... 45 7 To Blogging Success...... 249 The Wild West of Self-Publishing...... 49 International Bloggers...... 253 Hiring an Illustrator for Your RIP for the Press Release?? Not So Fast!...... 255 Self-Published Book...... 51 Fifty- Kidlit to Visit What the Heck is an Informational Book?...... 53 Before You Die...... 257 All About Book Trailers...... 261 MARKET SURVEYS Crafting Your Book Marketing Plan...... 265 Pal Speaking Opportunities...... 267 2017 SCBWI Market Survey Publishers of Books for Young Readers...... 57 International Market Survey...... 85 SCHOOL VISITS Edited By...... 87 Doing School Visits in the United States...... 271 Market Survey...... 99 Guide to International School Visits...... 275 Market Guide...... 109 Sample Lecture Contract...... 277 Religious Press Market Survey...... 123 Public Speaking Primer...... 279 Educational Press Market Survey...... 129 LEGAL QUESTIONS DIRECTORIES & RESOURCES Facts for Writers...... 283 Agents Directory...... 139 SCBWI Sample Children’s Book Contracts...... 287 Agented By ...... 155 Archiving Your Work...... 302 Freelance Editors Directory...... 161 A-Z Guide to Publishing in the Digital World...... 167 MY WORK Book Producers Directory...... 169 My Projects...... 306 Submission Record...... 310

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

SCBWI PREPARING & SUBMITTING YOUR WORK

20142017 PUBLICATIONSpublications guide: GUIDE: the THE book BOOK | www.scbwi.org | www.scbwi.org

FROM KEYBOARD TO PRINTED PAGE

edited by Kim Turrisi & Aaron Hartzler

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 writers’ periodicals, and, most importantly, examination of books A query letter is always recommended before submitting a full themselves should indicate to you which publishing houses would . This letter is an introduction of you and your story for be most receptive to your work. the editor. If your manuscript is of interest, the editor will request Here are some basic suggestions: a submission. Read “The Query Letter” on page 13 of this guide, or online at scbwi.org “Resource .” Click on SCBWI THE BOOK. »» Your manuscript should be addressed to the editor who requested it in response to your query letter. Include a self- AGENTS addressed, stamped envelope of the correct size to hold your While an agent is not necessary to submit a manuscript to an manuscript, with a sufficient amount of postage affixed. editor, many publishers accept only solicited material represented »» Include a brief cover letter with only information that by an agent. When submitting to an agent, here are some things is necessary for the editor to know, as it relates to your you should know: manuscript (e.g., for nonfiction, describe what qualifies you to discuss your subject; for fiction, include any previous »» Not all agents handle children’s material. Consult the Agents publishing credits). If you are submitting your manuscript in Directory on page 129, or online in the “Resource Library” response to a previous query, be sure to mention this in your portion of the SCBWI website. Click on “SCBWI THE letter. Online” and “Directories & Resources.” »» Keep copies of all correspondence. »» Most agents list their submission guidelines and procedures »» Unless you are a professional illustrator, do not include at their . It is imperative that you research these with your picture book manuscript. An art guidelines prior to submitting. director will choose an illustrator that suits your work. »» The SCBWI recommends that you not deal with agents who »» Do not attempt to indicate where you would like illustrations charge up-front for any of their services or have a “” fee. to be placed in your picture book story, or what they should portray. This is the job of the art director and the illustrator. SUBMITTING YOUR MANUSCRIPT »» While not all editors will do so, you may include a Most legitimate publishers post their submissions guidelines at self-addressed, stamped envelope to encourage the their website. A simple search will pull up any publishing acknowledgment of your manuscript. house you might want to submit to. Be sure to read their specific submission policies prior to sending in a manuscript. A decision on your manuscript may take six months or more. To assist you in determining which publishers might be a good Some editors are slower to respond than others. If you have not match for your writing, the SCBWI offers a resource called “Edited had a response at the end of three months, send a polite letter By,” a house-by-house listing of what editors have published or e-mail of inquiry to the editor and ask about the status of recently. A careful investigation of publishers’ catalogs (available your manuscript. by request from the publisher), Children’s Books in Print (available Submitting a manuscript to several editors at the same time (a policy in the “Resource Library”), various marketing lists found in called “multiple submissions”) is sometimes frowned upon by editors, but if 10 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org where your specificstory falls. defines yourbook.Research prior tosubmitting will help youknow characters grab them, they willhelp youdecide whatgenre best being offered bypublishers. visiting abookstore (not alibrary) toseewhatbooksare currently trends for the genres listedbelow. We recommend thatyoubeginby page below. » » » » » » NUMBER OFMANUSCRIPTPAGES FORMATTING YOUR MANUSCRIPT sentence inyourcoverletterstating thatthisisa“multiple submission.” you choose todo so,youmust notify the editorupfront. Simplyinclude a | FROM KEYBOARD TO PRINTED PAGE TOPRINTED | FROM KEYBOARD » » » » » » Agents and editors seekgood writing. Ifyourvoice, plotand While there are no specific requirements, here are current market The format of the firstpage might looksomething like the agent specifically requests youdo so. Do not submitelectronically (i.e., e-mail) unlessthe editoror page. manually, usea1-inch or1.25-inch margin oneachside of the Word document are acceptable. Ifyouare setting margins The default margin settings thatappearinanew Microsoft Pages should benumbered consecutively. Double spaceallmanuscripts. Use 12-point Arial orTimes New Roman. black ink. All must betypedon8½”x11”whitepaperin Here are suggested guidelines from the publishing industry:

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

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

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

THE QUERY LETTER

by Carla Killough McClafferty

ometimes the same author who is capable of writing a book, , 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 be different, each one should contain four basic parts: hook, summary, from one for a YA . Then within each genre, each manuscript is biographical information, and a closing. unique, 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 manuscript. Likewise, the first line of a query letter should hook the to read your manuscript or book proposal. That’s it. Period. The writer’s reader. Think of this section as a sound bite, not the entire newscast. job 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. A relating to the manuscript that makes the reader want to find out writer’s product is a group of words that tell a story. The query letter more. The only exception to beginning your query with a hook would is an advertisement that should make the reader want to know more be if the writer has personally met the editor or agent. In that case, it about the product. In some ways, that might sound harsh. It may could begin with something like, “I enjoyed meeting you recently at even contradict the “touchy, feely, love of books” reason most people the Arkansas SCBWI conference and appreciate your willingness to become writers. Yet writers must understand that they work in a consider submissions from attendees.” Editors are usually nice people creative business. The process of writing is creative, but publishing is who would like for writers they have met personally to succeed, so a business. In order for a writer to get the words they have lovingly they will consider such a query carefully. If a query begins with a crafted into the hands of children to enjoy, they need to market their meeting reminder, it should be brief, then go immediately to the hook. product. Often that marketing plan includes a query letter. A query letter should fit on one single page—never longer. It Summary should be clear and concise so that a busy editor gets the meaning of In this section, summarize what your manuscript is about in three the letter in one quick read. A query letter is a business letter. In it, or four sentences. For novels, this does not mean the plot points of the writer is not looking for a friend; he/she is looking for an editor your novel. It means an overview that includes the setting, characters, or agent. Since the goal is to create a professional relationship, the conflict, and how the novel is different from other similar novels. For tone of the letter should not be overly chummy or personal. When nonfiction, it means an overview of how the material will be handled, an editor or agent reads a query, their impression should be that the the availability of photos, access to experts, and facts or statistics that author is a professional writer, not an amateur who is dabbling with a indicate how many potential readers may be interested in such a book. . 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 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org no one believes ina manuscript more thanitsauthor. you canmake it.Any writercanwriteaneffectivequeryletter. Afterall, rough draft, then revise, revise, and revise again—until itisasgood as writer worksonthe queryjustasthey did the manuscript: Writea 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 first submission toaneditor, soI really hope youlike it,”or“Sixdifferent when they are justbeginning. Never make comments like “Thisismy 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, even 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’ 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 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 ten dosand don’ts when writing your you write one. We spoke withmany publishing professionals, personality, there are some triedand truedosand don’ts when While every queryletter is different and should reflect your INDUSTRY INSIDERS TIPS FROM THE SYNOPSIS

by Deborah Fletcher Blum

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

Attempt to fit the essentials of your story into a neat package— Highlight the main character’s personality with one or two vivid between one to three pages—though lengths vary depending on adjectives. This may seem like type-casting, but it a useful tool that the audience. Synopses (plural based on the Latin root) are often allows the reader visualize the character quickly. requested by agents and editors. Writers may or may not be given a For Example: Shy, but adventurous Katy longs to discover what is word count or page length guide. Either way, a writer does best to hidden in the old chest in the attic that belonged to her grandmother. ponder the highs and lows of his or her story, the main character’s , But first she must gather up the courage to ask her stern grandfather the tone and setting before beginning. Then take a deep breath and for the key. begin, knowing that there will be a chance to edit and revise. Step 5: Construct the Body of Your Synopsis A GUIDE TO WRITING SYNOPSES: Use paragraphs to write out the main events of each chapter. Or pick out the high and low points and chart the story’s progression from Step 1: Always Use the Third Person Present Tense beginning to end. Major events focus on the rising action and the main Regardless of the tense in which the story is written or the voice of character’s conflict or goals, and how they are achieved or not achieved. the narrator, a synopsis should always be written in the third person, Keep paragraphs tight. Only details critical for the reader’s present tense. understanding should be included. Each paragraph must include: an ACTION, REACTION and DECISION by a main character. Include Step 2: Write a One Sentence Character Arc Before Starting thoughts, beliefs, mistaken-beliefs and assumptions, if they are critical Write a one sentence arc for the main character before starting, and to the 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 bag lunch from now on and throw it away. Step 3: Hook the Reader Start your synopsis with a gripping, one sentence summary that Step 6: Put Character Names in ALL CAPS captivates and mirrors the tone of the story. A mystery may use a Which secondary characters are involved in the major scenes included mysterious question. A synopsis for a middle grade novel or a picture in the synopsis? Each new character’s name should be written in all book might require vocabulary more elevated than that used in the capitals the first time it appears, exactly as it appears in the story. story, but the language should not be too overblown. A tone that Characters mentioned unnecessarily will only take up valuable space. evokes the story itself is best. The hook provokes thought and forces the reader to ask: What happens next? It can be the same few sentences Step 7: Reveal the Ending used in a query letter. In fact, of your synopsis might Tell the story to the end. Even if the story is a mystery, do not be sound very much like the plot-summary paragraph of a query letter. mysterious with the ending. State it clearly and briefly. Devote one to two paragraphs to the CLIMAX (CRISIS) and RESOLUTION (ENDING). Step 4: Introduce the Main Character Describe the main character’s final struggle and its outcome. Why does Describe the main character’s MOTIVATION, CONFLICT and GOALS. this matter? This is the time to state what the main character learns. 16 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SYNOPSIS THE writing. It canbetoanaudience ortoyourself. have done agood job. Reading aloud isthe bestwaytohear your Does the synopsis sound like the storyonlyshorter? Ifyes, then you Step 11:ReaditAloud character’s journey through the story. thought lostshould beregained. The synopsis should reflect the main the world, overcomes afearorrepairs abroken relationship. Something should bemeaningful. Maybe he orshe learns anew wayof looking at Your main character need not change dramatically, butthe change Step 10:Checkfor theMainCharacter’s Arc character are themselves partof the plot. or twomight appearinasynopsis, thiswouldbeifthe words said bya dialogue tobreak upthe sentences. Though, itispossiblethataquote of the storyspeakfor itselfnow, withno flowery details orquirky exposition, butitmust not drag eventhe tiniest bit.The bare bones A synopsis should bequick toread. It must not slowdown. It isall Step 9:Remove Extra Words Be patient. The process isavaluable one. a three tofour page summary and whittleitdown toone ortwopages. until the synopsis flowsand isthe length you desire. You may startwith of the story. Use strong adjectivesand verbs. Keep revising and Each sentence must flowand conveythe power, excitement, and humor Step 8:Revise andPolish chance tomake ituptothe person. friend. She learns thatifyoumake amistake, sometimes youget a back the money she stolefrom himand ends upwithanew best Don’t keep editorsoragents guessing. Good luck—and enjoy! For Example: Inthe end, Jess makes peacewithher brother, pays SCBWI ILLUSTRATORS GUIDE

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

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

What should I put in my portfolio? for trade work. Picture book action is going on within its own Let the art do the talking! It’s your style, your characters, world. Characters are normally unaware of the readers’/viewers’ your color palette, your conceptual thinking, your design sense, observations. Your images should reflect this. Some educational that will attract the attention of art buyers. The purpose of a work and greeting cards may use the presentation posture more portfolio, whether in a book, online, or in a mailing package, is often. to get the best you have to offer into the hands of the buyers If you are interested in doing jacket art for middle grade or who might want to hire you. These samples must do the right kind young adult (YA) novels, you should also include images of of talking for you. It is more professional to keep the portfolio preteens and teens in appropriate settings. Perhaps design and simple, neat, orderly, and a manageable size (8 1/2 x 11, or an show mock jackets with titles as well. For middle grade chapter iPad maybe). You will want to present a competent, consistent books, include black-and-white line and tone action vignettes. style and attitude. Do not confuse. Think humor. Be memorable. Include about ten to fifteen strong pieces of art The inclusion of a book dummy along with your portfolio will that show the range and consistency of your talents. Definitely help the editor/art director learn a great deal about the way have full-color and perhaps a few black-and-white samples (line you think about a book. This is particularly true if you have not and/or tone). Show only styles and mediums you are comfortable been published. may reassure them that you are and proficient with and can afford to do (time = money!). It knowledgeable of the overall design of picture books. If you seems obvious, but show only your best work. Any weakness have a printed book, do include pages from it (perhaps the cover will be spotted by the buyers, and they will pass. You may show with text). They might ask for information about how the book original artwork during a personal visit to a publisher, but never sold, as the bottom line is more important than ever now. leave or send original artwork for viewing. If you cannot get in For the dummy, you might illustrate a favorite , the door (and it’s harder and harder), have a copy portfolio with folktale (don’t be trite), or original story, or reillustrate another reproductions only that you can leave behind and pick up later. book just for show. Use written text as part of your design and Better yet, have printed sheets of samples you can leave for them layout. Include one or two finished color pieces of art. Work to keep with contact information, website, and blog links. should be highly original, unique, and provocative, but at the Most picture books and educational assignments contain same time kid-friendly and accessible. Think about reproduction, representations of children and/or animals, so you should too; be careful of grays, browns, and muddied colors. The dummy show both if you do both well. Show character development should also show your ability to draw the same characters by having the same characters in different narrative settings, consistently and believably, in a variety of settings, positions, doing different activities, and showing different expressions and attitudes. They will want the illustrations to relate to the and moods. Remember to avoid presentation poses generally manuscript text but give the reader more than just what the 18 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org they tellyou tostop! Buyers haveprecious little time. Dokeep sending samplesuntil hear backunlessthey have anassignment or want toseemore. easily checked-off response possibilities, butyouprobably won’t it. You might trysending asmall, self-stamped postcard with returned, include anSASE, butavoid thisasthey do not like will not make the desired impression. Ifyouwant yoursamples their needs. Again, yourartdoes the talking for youand willor about yourselfifyoureally thinkitmight behelpful infilling credits. You might givesome brief background information several sheets. Arésumé isonlyhelpful ifyouhavepublishing contact information and website .which youshould have. 11 pages for filing reasons. Mark eachpiece withyourname and SEND ORIGINAL ARTWORKEVER. Donot send bigger than81/2x without checking first. You do notwant toannoy them. DONOT Not allbuyerslike toreceive samplesonline, sodon’t do this postcard withmultiple images, orseveral printed glossysheets. order tointroduce yourself.Thiscanbeasingle page ordeluxe very difficult today), send asamplepacket for them tokeep in industry attimes. Ifyoucannot visitthe house (and thatis and/or artdirectors are stillcurrent. Turnover ishigh inthe story, check directly withthe houses toconfirmthatthe editors publishers thatmight beagood match withyourstyleand out the publishers’ websites. these tomake sure yourworkisseenand not discarded. Check instructions for submission policies, and it’simportant tofollow searching online. Most publishers willhavetheir ownguidelines/ lists provided bythe SCBWIand updated eachAugust, and by e-mails, etc., canbe found inreference booksatyourlibrary, Send for publishers’ catalogs. Current listsof names, addresses, How havethey made their characters interesting and believable? illustrations show the story?Notice the pacing of the page turns. makes them successful. Whatmediums are used?How do the the booksyouparticularly like inorder tounderstand what different publishers and their pastand current booklists. Study , bookstores, and Googletoget familiar withthe many How doIshow my work toapublisher? hello! several times ayearwithmailers ore-mailed JPEGs/PDFsand a connection. Leavethem withthe WOWfactor, and then follow up you, butultimately itisyourartthatwillmake orbreak the the art,willtellthem alotabouthow itmight betoworkwith they willremember . ornot. Meeting you,the personbehind portfolios these days. Alwayskeep inmind thatitisthe 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, words wouldconveyalone. Thisdummy bookwillletthe editor | SCBWI ILLUSTRATORS GUIDE | ILLUSTRATORS SCBWI If youare able tomake atriptoNew York City, where the Include ashort coverletterinthispacket ifyouare combining After yourresearch iscompleteand youhavealistof You must 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 paper, photography, and increasingly digital, of course. Reflective (graphite), ink, watercolor, acrylics, oils, gouache, pastel,cut art director. The most common mediums usedtoday: pencil , 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 abook ideaifIhave 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. taxies are the easiest waytotravel, butexpensive. Ask whatfloor building whenever possible. Getagood busand subwaymap— around the city. Group visitsnear eachother orwithinthe same Try toallowplenty of time betweenappointments for travel see individual artists, buttake advantage of their drop-off days. and crisescome upthroughout the day. Some houses willnot and artdirectors are extremely busy, and emergency meetings the day and times afewdays toaweekbefore the visit.Editors write atleastthree tofour weeksinadvance, and then confirm way toactually get firsthand feedbackand suggestions. Callor Midwinter Conference eachJanuary/February! Thisisagood illustrating for thismarket. Perhaps combine itwiththe SCBWI experience and willshow them thatyouare serious about majority of publishers are based, do so!It’s agreat learning 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 . 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 artwork is usually done on flexible paper illustration board for expected on both sides, and also assumed by the buyers using PREPARING & SUBMITTING canvas. If you use hard, nonflexible board, films, pastels, or agents to find artists. The SCBWI has a good listing of agents in other high-maintenance media or backings, be sure to share this this market, and you can research them further online, too. Do with the art director before beginning. spend time on their websites to get to know them before sending With the common use of today’s sophisticated electronic off samples. equipment for color separation, publishers are printing full-color books as a matter of course. Artists have more freedom than What should I do if asked to illustrate an uncontracted ever to work in any medium they choose. Electronic equipment manuscript? can require flexible surfaces, but there are reproduction Say, “Thank you. I’m flattered, but no.” Do not work for solutions that may add to the cost of production. Always check an author directly unless you understand that the author before starting your finishes if you have any doubts. has no authority to hire you as an illustrator for a publisher. MARKET SURVEYS Editors choose the illustrators for their books. They have the What is color pre-separation? experience and knowledge to match the right illustrator with Artists rarely need to consider pre-separating colors; it is done the right manuscript and demand a free hand in doing this. inexpensively by very sophisticated electronic equipment, or by Many beginning writers will think that presenting art with their layering programs used by the artists on their home . 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 DIRECTORIES & RESOURCES methods, you can Google it! with picture books. Self-publishing has grown to such an extent as to now be a Must/should I have an agent represent me? viable option for authors. And artists might want to consider It is never necessary to have an artist agent represent you . . . participating if the payments and rights are competitive and but it can be very helpful! There are several reasons for wanting appropriate. Your time and talent have value. Few self-publishers to work with an agent. If you do not live near enough to visit can afford the price for art for a 32-page picture book on their the larger NYC and 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 PUBLICIZING YOUR PUBLISHED WORK to respected agents (literary and artist agents) to have them What fees or royalties can I expect for illustrating a children’s suggest artists who might work for their story. There is a certain book? professionalism that is assumed when an artist is represented. The standard book royalty is 10 percent of the 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 SCHOOL VISITS as getting published on your own. Some agents represent artists differently with its own distinct costs and sales potential. These only in the children’s markets, some in advertising and editorial offers might be a bit negotiable. as well, or exclusively. Some are literary and artist agents. Some The Graphic Artists Guild (90 John Street, Suite 403, New York, are very large operations with many reps, and others are single NY 10038) recommends certain fees for illustrations based on the rep agencies offering much personal contact. Even when you find market norms and averages for trade and mass market illustrated the perfect marriage possibility, the rep might not have room to books. You can obtain from them their publication, The Graphic LEGAL QUESTIONS take you on at the present time. Be sure to ask a lot of questions, Artist Pricing and Ethical Guide Handbook, which holds a wealth know their expectations, and know how that meshes with yours. of helpful industry information. These are ideal figure ranges Talk to a couple of their other artists and clients perhaps (with from their thirteenth (fourteenth edition coming January permission), study their contract obligations carefully, and be 2013) from a random sampling, and the publishers may offer somewhat patient once the relationship begins—it takes time lower or higher fees than the Guild recommends. to get your work known! Keep the interactive communications Jacket (front only): $F–$3,000+ (flat fee) very open and honest always. Ethical, professional behavior is Jacket + Interior Art (black-and-white): $2,500–$4,000 (flat fee 20 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » from the SCBWIorthe Graphic ArtistsGuild. language. Ifyouare uncomfortable, do find acontracts lawyer and youneed toread and understand allof this. Most istypical is typical). There willbelegaltalkaboutindemnity and such, dates, and payment schedules (1/3atsigning, sketch, and finish and the typeand number of the pieces of art,sketch dates, finish and the artistsand writers. It should clearlyexplain the project, to spelloutexpectations and legallyprotect boththe publishers intimidated abouteducating yourself.The purposeof contracts is either! You may not beable tochange anything, butdon’t be terminology. Many editorsdon’t understand allof their contracts, contracts carefully and askifyoudo not understand the What shouldIknow whensigningacontract? or advance) | SCBWI ILLUSTRATORS GUIDE | ILLUSTRATORS SCBWI » » » had traveled along wayinto convincing the publishers tousethe they transfer tothe digital age needs of schools. Agents and artists of income. The market hasbeenterriblyslowthese pastfewyearsas for experience, honing skills, and sometimes a more consistent source best!) for one flatfee. These educational assignments are wonderful often the ownership of the original artwork (thus digitally sent artis hire (WFH).Thismeans thatyousign 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 wish tolimitthe 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 Picture BookText and Art:$10,000–$60,000(advance) Picture BookArtOnly:$3,000–$15,000+(advance) 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 backlistsare 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 story inthe forefront of yourimagination. but youmust stillkeep the childand hisinteractivity withthe picture bookdummy. You are not limited to acertainpage count, an idea, workupalayered thumbnail visual dummy, justlike a strive toexpand and deepen the storyexperiences. To present advantage ingetting into thisarea, asit’sveryvisual. You will about the 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 atthis time, butthat this industry. Artistsshould continue towatchand read. There exciting and expensive experimentation and rights battlesin publisher, and averydifferent one the next. It’s atime of convoluted, complex answers. It’s one answer one day, one require agreat deal of complex production and design.” Nor are they .They are something elseentirely, that publishing consultant withdrydenbks) says, “Apps are not books. Graphic ArtistPricingandEthicalGuideHandbook( keep upwithwhatisthe market norm. One good resource isThe particularly digital rights thatseemtochange sooften! Try to What are ebooks, andhow canIgetintoillustrating them? What aboutphoto-illustrators? industry? What are apps, andhow canIgetintothisexciting new Most ebooks(digitally enhanced booksread onelectronic All of the preceding information, including pricing, generally If youwant totryenter thisarea, youstillneed tostart We are allasking good questions towhich there are many The moving target! As Emma .Dryden (children’s editorial and There are several articles, blogs, and booksaboutcontracts, they most often onlyoffer WFH. rights they need for the educational market. Now withsolittlework, more fair school rights only(SRO)contracts, where they buyonlythe www.gag.org). SCBWI ILLUSTRATORS GUIDE | 21

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

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

1998. PUBLICIZING YOUR PUBLISHED WORK • Graphic Artists Guild Handbook: Pricing and Ethical Guide, by Graphic Artists Guild, 2007 edition. • How to Write & Illustrate Children’s Books and Get them Published, edited by Treld Pelkey Bicknell and Felicity Trotman, Writers Digest Books, 2000. • How to Write, Illustrate, and Design Children’s Books, Frieda Gates, Library Research Associates, 1986. • Illustrating Children’s Books: A Guide to Drawing, Printing and Publishing, by Nancy S. Hands, Prentice Hall, 1986. • Illustrating Children’s Books: Creating Pictures for Publication, by Martin Salisbury, Barrons, 2004. • Illustrating Children’s Picture Books, by Steven Withrow and Lesley B. Withrow, Writers Digest Books, 2009. • Illustrator’s Notebook, edited by Lee Kingman, Horn Book, 1978. SCHOOL VISITS • It’s a Bunny-Eat-Bunny World: A Writer’s Guide to Surviving and Thriving, by Olga Litowinski, Walker & Co., 2001. • Minders of Make-Believe, edited by Leonard Marcus, Houghton Mifflin Harcourt, 2008. • Picture This, by Molly Bang, Seastar Books, 2000. • Storybook Art: Hands-On Art for Children in the Styles of 100 Great Picture Book Illustrators, by MaryAnn Kohl, Bright Ring LEGAL QUESTIONS Publishers, 2003. • Writing Picture Books, by Ann Whitford Paul, Writers Digest, 2009. • Writing with Pictures: How to Write and Illustrate Children’s Books (reprint edition), by Uri Shuevitz, Watson-Guptill, 1997. 22 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI ILLUSTRATORS GUIDE | ILLUSTRATORS SCBWI illustrationfriday.com www.textbook.com Educational publisher list www.ala.org American Library Association www.bookpage.com Book reviews www.bookweb.org/aba American Booksellers Association www.bookwire.com Book industry info and links www.catugeau.com Artist agent’s atArticlesand site—look Blog www.underdown.org The PurpleCrayon—editor Harold Underdown lcweb.loc.gov/copyright US Copyright Office www.cbcbooks.org Children’s BookCouncil www.lights.com/publisher Listing ofpublishers’ catalogs www.hbook.com The Horn Bookmagazine www.publishersweekly.com online magazine www.gag.org Graphic Artists Guild www.scbwi.org Society ofChildren’s Books Writers and Illustrators WEBSITES member blogs. See thescbwi.org homepage for amothly selection of kathytemean..com Daily industry info and interviews characterdesign.blogspot.com lynnechapman.blogspot.com penandoink.com dulemba.blogspot.com chrisoatley.com blaine.org/sevenimpossiblethings designofthepicturebook.com www.simplymessingabout.com catugeau.wordpress.com Agent’s tips BLOGS JUMPSTART YOUR CREATIVE CAREER

by Katie Wools

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

1) Admit it. five different scenes of the same fairy tale, three scenes of a Mother The first step is to tell everyone you know that you’re an artist. This Goose rhyme, four scenes of what your pet does when everyone leaves, is one of the hardest steps of all. Saying your dream out loud is scary. a story your child tells you. In a perfect world, you will show you can What if people laugh or don’t think you’re good enough? An accountant draw children, adults, senior citizens, and animals, and that you can doesn’t worry if her friends think she is good at numbers. She does it draw the same character in different poses. And if you can do different because she likes working with numbers. You do art because you like nationalities, even better! doing it. If you want to do art, do it!!! Once YOU really start to think of yourself as an artist, you will be amazed how much quicker things begin 4) Choose. to happen. Choose twelve sketches you like the most and execute them in black and white. This will help you understand the values in the composition 2) Community. and make your color illustration stronger. Plus, bonus if you have black Surround yourself with other artists. It’s incredibly hard to do art in and white pieces for your portfolio! You might not have time to do this a vacuum. I cannot tell you how many horror stories I’ve heard from for all your pieces, but consider doing a handful. people who asked their mother/huband/wife/friend to critique their art. Love ones mean well, but their advice can sometimes do more harm 5) Execute your drawings in color. than good. You need other artists to keep you focused, answer technical As an artist you will always find fault with your pieces. Do them questions and, most important, motivate you. Nothing energizes me the best you can, learn from them, and then 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 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 of your work that represents your style, not 3) Subject. necessarily an actual book. It’s important to get that portfolio online Two or three drawings are not enough of a foundation to show so people see it. The best way is to build a website. A Tumblr page will your work quite yet. You need more. And your drawings can’t just be also work, and it’s a quick tool to use. Be careful not to fall into the a still life, a portrait smiling directly at the viewer, or an . trap of constantly telling yourself your portfolio will ready after the They should show some kind of narrative/story. As an illustrator you next piece. It’s easy to tell yourself your portfolio isn’t ready to avoid are clarifying what is happening in a story. A smiling portrait of your taking the somewhat scary next step. child/grandchild—no matter how nicely drawn—does not necessarily tell a story. If your drawings are just a well-drawn vase of flowers, you 7) Announce. will need to show you can tell a story. Sketch. Sketch. Sketch. Draw Choose your favorite piece and to make a postcard to send out. 24 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 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 isanawardwinningillustratorlivinginSt.Louis, Missouri. Good luck!!! Yes, lifeisfullof distractions. Stayfocused. Persevere. 10) Look,abird! This isabusiness where youwillmost likely receive rejections. 9) Relax. Continue tomake artand update yourportfolio. RepeatSteps3to7 8) RinseandRepeat. PUTTING TOGETHER A PRIZE-WINNING PORTFOLIO

by Molly Idle

here are a plethora of ways to present your work these days: Online port- 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 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 yet elegant solution to my compositional challenges, and I want my unique design. But whatever you choose—be it sleek and black or portfolio to reinforce that. wonderfully whimsical—make sure it suits your work. So, here’s what mine looks like . . . 2. Introduce Yourself. Like a good strong handshake—a strong title card or introductory piece lets those opening your portfolio discern quite a bit about you. My advice? You don’t want to start off with a limp-fish handshake (i.e., a weak piece). I prefer to add a title piece as the first page of my printed portfolio, rather than clutter up the rest of the pieces with my contact information. If you can swing it, I think it’s a good idea to have your “title” piece tie in with the rest of your promotional pieces. For instance, feature the same piece on your business card. That way, when someone who has met you (and has your card) opens your portfolio, they will immediately make the connection between the two. Here’s one from 2010 as seen in my portfolio . . . 26 2017 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? use the 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 they One of my favorite movies isTheThreeAmigos.Init,the Amigos (and pages inbetween) yourportfolio showcases the bestof you! must do thisagainsoon!”parting handshake. handshake, agood end page isyour:“It’s beenlovelytomeet you,we of end pages . to twelveorthirteenpieces plusmy titleand end page. And speaking believe thatlessismore when itcomes toaprinted portfolio. I limitit add thatmediocre 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 to 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 if template at www.dulemba.com/FreeTools/storyboard, or look at a picture 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 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 . 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 My personal formula has been to pencil out the entire story and numbered.” take two or three of the pieces to final. The wiggle room has been I do suggest getting one of those over-sized staplers that can reach how finished those pencils are. I’ve recently loosened up, sometimes all the way to the middle. I love mine. If you’re worried about sharp including enlargements of my thumbnail sketches to get the general ends, put some masking or fabric tape over the spine. ideas across. If you do want to get fancy, you can lay your story out in printer Both Dianne and Meredith believe it’s important to share at least spreads in InDesign, ready to fold into a proper book. Or a little bit of two finished pieces in a proposal to show what your final art will skill in Photoshop can go a long way if you’d like to format your pages look like. Meredith said, “Even finished art unrelated to the proposed there. You can have your local copy shop put it together or send your project is fine. What I’m really looking for is the finished style, since dummy off to Lulu.com for a seriously slick finish. But it’s really not sketches don’t convey that well enough.” necessary. Dianne said, “I have seen sketch dummies with very loose, As Meredith said, “No need to provide anything super fancy—the rudimentary drawings that are just fine. But whether you are a new simpler, the better.” artist—or a veteran artist—it’s good to create a full sketch dummy. You So, do dummies work? Do dummies sell books? don’t need refined sketches—just something loose. But enough to When I asked Dianne if she’d ever acquired a book because of a show placement, have some feeling of character development and dummy, she said, “I can’t say how often—but­ I have bought many a page design, and logical movement of the story.” book based on a dummy.” Dummies don’t have to be hard to make. They don’t even have to be Meredith has too. She said, “Twice that I can think of . . . true to the book’s final intended size (although you can trim them down and one of those times, we didn’t even end up using the author as the 28 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org there are many different waystoget the point of your storyacross. long asyouhavethe page count right for astandard picture book, 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 illustrator! BUTthe dummy showed veryclearlythe author’s vision for | CREATING PICTURE BOOK DUMMIES BOOK | PICTURE CREATING Bottom line, don’t letcreating apicture bookdummy scare you.As Creating bookdummies isn’tjustfor illustrators. Allcreators can Take note authors!

ELIZABETH DULEMBA DE-MYSTIFYING DIGITAL DUMMIES

by Bonnie Adamson

Creating the files for yourself), and files cannot be saved directly as pdfs—you can Essential tools for producing a digital dummy are: either print to a pdf driver (when I experimented, this option added 1) a way to scan sketches and final art (if you work traditionally), to an arbitrary white border to my image), or use a pdf converter tool. create digital files; It is also possible to find low-cost or free open source alternatives to 2) a way to add text to image files; and Photoshop (GIMP is one)—and there’s Scribus as an alternative to 3) a way to combine the resulting files into a multi-page pdf. InDesign. As with all the mentioned in this article, research When scanning or having your images scanned, specify a file format carefully before investing! other than jpeg, which compresses the information in the scan and Don’t be seduced by fancy page-turn technology for your dummy. re-compresses with every editing session, resulting in a progressive It’s very cool but unnecessary—and may even get in the way of the loss of quality. Bitmap or tiff formats are safer choices. A suggestion: primary objective, which is to showcase your work. If this is a piece you scan and process at print resolution (300 pixels per inch) if possible. It’s want to put on your tablet to show off your mad skills to colleagues, a good idea to think of this as a print project from the start so that you however, there are free options (google “page-turn software”). Be sure retain as much information as possible in your native files—including to keep that pdf spread dummy in reserve for submissions. converting color images to CMYK. That way you can use your digital dummy to produce a more polished print dummy if asked. Sizing the files The easiest way to combine images and text into a multi-page pdf As a rule of thumb, try to get the size below 5 MB, in case you is with layout software such as Adobe InDesign. Set up your document need to e-mail as an attachment. There are ways to play with pdf to the dimensions of the finished page size, import scanned images, compression: start with “Smallest File Size” as the pdf Preset option create text, and save. Once saved, you can export the document as in InDesign. (If you’ve already exported, you must open the original a pdf. Be sure to check “Spreads” in the Export dialog window under InDesign file and export again.) Experiment with different settings Pages so that each panel of the pdf is a spread rather than a single (renaming your file each time) to determine a workable balance page. between size and quality. If you’re using Photoshop to create spreads, The next easiest method is to set up a spread-sized template in choose “Low” or “Medium” Quality as your pdf option. You can also try Photoshop or CorelDraw and proceed as above, dropping in art and the “Reduced-size pdf” option under “Save As Other” in Adobe Acrobat adding text. The difference is that each saved spread will be a separate Pro’s drop-down “File” menu. file. Name each pdf file to reflect the order in which you want the files seen: Dummy 1 for the cover image, Dummy 2 for the title page Some tips: spread, etc. (There are excellent resources online that explore the »» Always check “Optimize for fast view,” which controls how your many permutations of the standard 32-page picture book format. file will load. For dummy purposes, I generally disregard endpapers: page one is »» Choosing the highest available version of Acrobat in the the title page, page two is designated for copyright information, and “Compatibility” menu can have a dramatic effect on file size—just the story spans pages 3-32.) Once you have your spread files saved, be sure the person viewing has upgraded to the latest version of you can use a pdf converter such as Adobe Acrobat Pro or one of its Adobe Reader. less costly clones (google “pdf converter software”) to combine the »» Standard screen resolution is 72 ppi. You can down-sample your individual pdfs into one multi-page file. images to this resolution without worry for on-screen viewing. For those of you who do not own one of the pricier image-editing »» If you’ve created your dummy at full print size—say, 11” x 9” page programs, any simple utility—like Paint (part of the basic MS package size—try scaling down proportionately: resize pages to 8.25” x 6.75” for PC), or Paintbrush for Mac (not included with the basic operating (75%) or 5.5” x 4.5” (50%). system but available as a free add-on)—will allow you to size your »» If you’re including finished color art samples, consider storing and images and add text. But they’re a bit clunky for the purpose of sending them as separate files to keep your dummy in grayscale. creating dummies. My Paint program will allow me to resize by percentage or by pixel dimension only (you must work out the math 30 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DE-MYSTIFYING DIGITAL DUMMIES | DE-MYSTIFYING permission. storage limits, never attachapdfdummy filetoane-mail without doubt, ask.Although e-mail hosts are continually upgrading their requirements vary, soresearch yourintended targets, and when in your tabletorphone. device, youcanstore yourfilesonlaptopor desktop and sync to Android. utilities employFlash,which isno longer supportedfor iPhone, iPad or to embedthe dummy withathird-party reader, however. Most of these Issuu (besure yoursettings are setto“private”).Resistthe temptation store yourfileonaserverorfree publishing sitesuch asScribdor externally, inane-mail. IfyouownaBlogger orTumblr site, youmust use tolinkinternally toapassword-protected page onyoursiteor library. Once uploaded, the filewillhaveitsownurlwhich youcan Delivering thefiles Storing thefiles The safestoption when querying istoprovide alink.Submission If you’re concerned onlywithviewing the dummy onyourown A Wordpress websitewillallowyoutouploadapdfyourmedia 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 be absolutely feel free to talk with your art director and ask for them to be there to help you, but it pays to be informed so you can know your taken out or, at the very least, discuss that you would like the freedom options. to draw what you envision without those restraints. The Big Exception: non-fiction. With non-fiction, the author has PAGINATION: probably spent years researching the topic and, since the art must Some art directors will give the illustrator a manuscript that has all factually reflect the topic, art notes are often needed. In fact, the the page breaks inserted throughout, so it’s clear what text falls on author’s notes will be a treasure trove of resources for you and you may which page. But often the text is presented as one flowing story, so it’s want even more information from the author as you do your sketches. 32 2017 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 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. design. in anorganic way, allthe whileknowing the parameters and “rules”of The bookdesigner’s expertise isinincorporating the typeinto the art text—like injazz,I“riff”off of the artstyle, colorpalettes, emotions, etc. 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. or are they different from their surroundings? Etc. inside? Dothey share the same design qualities astheir environment on the outside and how canthe design hint atwho they are onthe or animal (orobject..)?Whatdo they show abouttheir character illustrators togo wild—tryoutallsortsof designs. Who isthisperson world youare creating for them, butisalsoalotof fun.Ialwaysask with the character visually willnot onlyinform how youillustrate . 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 —choosing yourcolor look different from how itlooksonanartdirector’s screen—and itwill want itto. rest of the arttobesure yourcolorpalettewillreproduce the wayyou piece, perhapssend ittoyourartdirector before youjumpinto the print like they lookinoriginal art,sowhen youcreate yourfirstcolor certain colorssimplywon’treproduce. Aboveall,neon colorswon’t 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 first bookshould beajoy, and the more tools youhaveatthe 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 71) will help you research It may be difficult to think about your manuscript from the other side specific editors’ tastes and the types of manuscripts for which they of the desk, but do so for a moment and the process may seem a little look. less overwhelming. Editors need to discover new talent, and indeed, Another valuable resource is the Children’s Book Council (CBC), it’s what makes their job exciting. With this in mind, you have a real a nonprofit organization of the children’s book industry. The CBC shot at finding a home for your manuscript. It does, however, take some maintains a list of publishers who are committed to publishing books serious work. Unfortunately, many people believe that writing is easy. for young people. See their website, www.cbcbooks.org, for more These same people do not realize that their text goes off into the world information. alone and must withstand the tests of a variety of readers and tastes as Literary Market Place (LMP) is another source for a list of publishers; well as changing trends. In light of these demands, it is encouraging it also lists literary agents. It is available at any reference desk at that so many manuscripts do find their niche. public libraries across the country and is updated annually. The match between the kind of project you’ve written and the Although the CBC and LMP are important sources for you to use, your house/editor to whom you send it is important. You may receive a real work is more complex. You need to determine whether there is a response that says your project is “not right for our list.” For some publisher who is currently publishing titles in the vein of your work. editors, that may simply be a kind way of saying no. For others, it is This seems obvious—send a picture book to any children’s publisher, true—your specific project does not work for them because they do because they all publish picture books, right? Not really. A better not edit picture books, or nonfiction, or whatever genre you have approach is to try to figure out exactly what you’ve got. If you have a submitted. No matter how good your manuscript is, you won’t get on holiday story, try to figure out who might have a subcategory of holiday that list. One thing many authors should know, however, is that if there titles. If you don’t see any general trend, then you need to visit a is some element in a project that strikes the editor as inventive or well bookstore and really look at what is similar to your work and check who written, he or she may take the time to write an encouraging note the publisher is. Be certain to find the exact imprint and not just the even if the work is declined. You may have written a work that will, in overall corporate name. Many large publishers are umbrellas for smaller fact, appeal to only a limited readership; it may not be appropriate for imprints. Each imprint has its own staff and its own mission. You can wide distribution. This should not deter you, but should help you put see this for yourself by visiting various publishers’ websites. These sites in perspective the enormous task ahead. Now let’s assume you are will list each imprint, with examples of exactly the type of books each willing and ready to seek the widest recognition possible and form a one publishes. It may seem to you at first glance that all the imprints relationship with a 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? imprint/editor you are writing to, and do not send your submission There are some general rules for picture book submissions. Do not to someone else in that group at the same time. Once you have your send a text that is equivalent to a greeting card, or send one that is so list of publishers and specific imprints, find out whether unsolicited long it cannot possibly fit the standard thirty-two-page picture book manuscripts are being accepted. Post-9/11, many houses determined format. Do your research. Never assume your book is for all ages. An that for security reasons they would return manuscripts addressed editor as well as a bookseller or librarian needs to place the book in simply to “The Editors,” without a specific name attached. This may some category. Who is really the best reader for your work? Of course, make you feel as if it’s even harder to find a home for your work, but a book can cross over and appeal to other groups, but you should understand that from the publisher’s side, security measures are not understand that it needs to start in some specific category. Once you unreasonable. Your research should include finding the names of know what kind of book you have written, it will be easier to focus. editors to whom you should submit your work. This security policy The SCBWI’s “Publishers of Books for Young Readers” list (page 49) applies to many literary agencies as well. It is up to you to find out is updated annually and is a good place to begin your research. In each recipient’s requirements. 34 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org has purchased. Ifthe magazine hasbought nonexclusive serial rights 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. time and energy into the process sothatyourmanuscript finds a home. Nonetheless, like any teenager applying tocollege, youneed toput a perfectmatch for yourmanuscript, butnot allof them willworkout. some waysthe twoare alike! There are plenty of placesthatcouldbe manuscript isasanxiety-provoking asapplying tocollege. And in and issuesinchildren’s books. Some peoplefeelthatsubmitting a July, PWhasads, interviews, reviews, and general coverage of trends sold insome of the larger bookstores. Twice ayear, inFebruary and 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 inbookform 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 lawstatesthatworkiscopyrighted 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. declined—or, more happily, bought. same time. Save the second one tooffer afterthe firstone hasbeen writers not send more thanone manuscript toapublisher atthe manuscript toone publisher atatime. It isstrongly advisedthat manuscript from consideration. is withthe editor, writeagain,stating thatyouare withdrawing the with it,grant her another month ortwobefore youwriteagain. says the manuscript ishaving asecond reading, orshe’d like more time the editorcanjotanote onitand return ittoyou quickly.) Ifthe editor are much better. (It’s agood idea toenclose aself-addressed postcard; 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 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 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 one? Will Ihave betterluckwithanagent?How doIgoaboutfinding No. Thisisunnecessary and canbeoff-putting. Send adouble-spaced An editorgets many submissions. Your coverletter isawayfor you It isnot necessary tohaveanagent ifyoudo yourresearch and Most editors, agents, and the SCBWIbelieve it’sbesttosend one If youhear nothing at allduring the three months yourmanuscript If youhaven’theard withintwomonths, writethe editorafriendly Send acopyof yourmanuscript and sayinyourletterthatyouare The following procedure isfair toyouand the editorand You haveeveryright tosubmitanyone you’dlike tosend your FROM THE EDITOR’S DESK | 35 submit to a house that has an open policy, or if you learn of an editor PREPARING & SUBMITTING and write directly to that person. However, an agent is the person whose business it is to have contacts in the publishing industry. What an agent might do is match your work with an appropriate editor more quickly. However, it is difficult to make agent connections, and the process takes time. The “Agents Directory” on page 129 of this guide is a listing of agents and artists’ representatives. Once you’ve selected a few agents to write to, send one of them a query letter (with an SASE) outlining your writing history and a sample of your work. Do not submit your work simultaneously to several agents, even though you may need MARKET SURVEYS 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. After you’ve published a number of books, you may find an agent a great help in negotiating better terms and relieving you of concern about various business details. In short, there are arguments for and DIRECTORIES & RESOURCES against new writers having an agent, and the final decision rests with you.

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

STARTING A CRITIQUE GROUP

by Sara W. Easterly & Jolie Stekly

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

GETTING STARTED SCBWI can’t force a critique group to accept you as a new member, Before you start looking outward, carefully reflect on the kind of of course, but we may be able to match you with one or more critique group you’d like to belong to by asking yourself the following possibilities. questions: »» SCBWI activities. Hang out where others with similar interests will be: Check out the SCBWI website and the Bulletin for a »» Do you prefer to mingle exclusively with others in your genre or comprehensive list of conferences and happenings geared exclusively field, or are you open to mixing (e.g., picture book writers only; all for writers and illustrators of children’s books. children’s writers, novelists and picture book writers alike; writers »» Writing classes and events. Also be on the lookout for various only; or writers and illustrators)? classes that are offered in your community via libraries, universities, »» How prolific/productive are you, and how often do you need community colleges, and other professional organizations. Critique feedback from your peers? groups regularly launch from these kinds of activities. »» How do you handle comments from colleagues? Are you able to »» Blogs and social networking sites. Facebook, Twitter, MySpace, listen to criticism without getting defensive? Is it easy for you to and the SCBWI’s own SCBWIinc. social networking platform have tune out comments you disagree with and stick with your intuition? opened up a whole new world to the children’s book community, Are you willing to give others’ suggestions a try, even if at first you and critique groups have sprung up as a result of how easy it is to disagree? connect and share work electronically. Children’s writer and podcaster »» Do you feel more comfortable with others at your same level, or Tony Dirksen recently advertised his cyber-critique group’s search are you more inspired when you work with people across levels of for another writer by making a comment on other writers’ blogs and experience? on Meetup.com. It paid off, too! Tony connected with two great writers and is thrilled about his new group. Using online tools to How you answer these questions will give you an idea of the kind find a critique group allows all parties to be completely honest about of group you’ll want to find—one that will be most successful for you. what they’re looking for—in terms of commitment level, experience, While it’s not always a breeze finding the perfect group, being clear feedback needs, and relationship 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 your chapter’s regional advisor or check your regional page at scbwi. as needed? org to inquire about critique group opportunities in your area. The »» Where? In person at a home, library, or café, or online? 38 2017 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 33. notes without being defensive. constructive feedbackwithpraise. When being critiqued, listenand take respect the workand privacyof yourpeers. When critiquing, sandwich » » » » » » » » SEARCHING SUGGESTIONS KEEPING ITREAL | STARTING A CRITIQUE GROUP | ACRITIQUE STARTING » » » » » » » » » » » Keep atit! there are justasmany critiquegroups asthere are fishinthe sea. members may end up going their separate ways. Remember that Even inthe bestof critiquegroups, dynamics canchange and geographies. groups are great for others—especially when spread across forms. In-personmeetings workreally wellfor some, whileonline Remember successful critiquegroups come inmany shapesand 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, members (orwillyounot)? What willbethe group’s sizeand how willyoubring innew letting the feedbackflowfreely asinspired? How willyoucomment onone another’s work—taking turns or Will the writerprovide photocopies for eachgroup member? do the honors? Will the writerread hisorher ownworkaloud orhavesomeone else e-mail, oronthe spotwhileread aloud atyourmeeting? How do youprefer toreview one another’s work—inadvance by individual scenes for critique? reading anentire manuscript, orwouldyouprefer tobring If you’re critiquing one another’s novels, are youcomfortable 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 Why not? Because the work must stand or fall on its own. When the else’s work? It varies, of course, depending on the genre. Although piece eventually gets submitted and is read by an editor, the writer every piece is different, the following give a general blueprint for what won’t be there to say things like, “Well, what I meant there is . . .” or a critiquer should be looking for: “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 »» Problem: Does the main character have a clearly delineated before the meeting is invaluable. problem 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 The method I like best is often referred to as “the sandwich.” A something happening in the middle or at the end of the piece that commenter begins by saying something he/she likes about the piece, simply doesn’t make sense given the setup? then goes on to point out weaknesses, and finishes up with another »» Ending: “Unexpected inevitability”—has the writer laid the positive comment—sandwiching the negative between two positives. groundwork for the ending, even if it’s a twist or surprise? When a writer hears something good first, he/she is more likely to be open-minded about the criticisms. And finishing with a positive point Character keeps the critique friendly. »» Believability: Do the characters seem real? Do they talk and act like Just as the writer should abide by the rule of not speaking during people you might know—even if they’re hedgehogs? Do they have the critique, the commenters should abide by the sandwich rule. flaws, or are they too perfect? Do they have characteristics, quirks, Everyone should offer both positive and critical comments on the idiosyncrasies that increase their individuality, or are they generic? piece. I can’t count the number of times a writer has said to me, “My »» Empathy: Do you care about the characters? Do you feel anxious for critique group always praises my work. That makes me feel good, but them as they face their problem? Do you feel like cheering wildly or I end up not knowing how it can be improved.” Once in a blue moon, at least smiling if/when they finally solve it? maybe someone does offer a perfect or near-perfect piece for critique. »» Growth: Has the character grown or changed in some way by the But 99.99 percent of the time, a good critiquer will be able to offer end of the story? helpful comments for improvement. 40 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org could she say such athing!? Ileta few days go byand I decided to utterly dismayed. Thiswasmy ending—the climax of the book!How work atall.She toldme so and made analternative suggestion. I was dies atthe end. My critiquepartner thought the wayhe died didn’t 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: the method Ilike best. differ greatly onhow they workwithcritiquecomments, buthere is 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 this weakness. group cando insuch casesistopoint outtothe writerthathe/she has work isbestdone one-on-one, withanediting partner. The besta tedious and difficulttopoint outthese errors inagroup setting. Such for 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 thiscan be—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 place 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 happened hadIdismissedher suggestion outright. I stumbledonto something evenbetter. Thisnever wouldhave not exactly the same—because intrying toworkouther suggestion, scene ended upbeing similartowhatshe hadsuggested, although it couldn’tpossiblywork.I’msure youcanguesswhathappened. The prove her wrong. Iwouldwritethe scene her wayjusttoshow her how 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 , Horn Book, , 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 . 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 Austin Shelley Jackson Austin Avant-Garde Mentoring Program regionaladvisor@ austinscbwi.com CA North/ Patricia Newman or Catherine Meyer www.scbwi.org/Regional-Chapters.aspx?R=5&sec=Events Central Iowa Connie Heckert [email protected] Michigan Catherine Bieberich kidsbooklink.org/id69.html Minnesota Quinette Cook www.minnesotascbwi.org/Events_Mentorships.html Missouri Joyce Ragland www.moscbwi.org/Mentorship_Program.html Nevada Jenny MacKay www.nevadascbwi.org/Mentor.html Northern 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 [email protected] Coordinator for illustration mentorship) Wisconsin Julie Shaull www.scbwi.org/Regional-Chapters.aspx?R=51&sec=News [email protected] 44 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | MENTORING MATTERS | MENTORING www.scbwi.org in thisway. volunteering tohelp yourregion—and ourSCBWIcommunity—grow 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, 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 for your hands-on level? Be realistic about your personality, skills, and POD (/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 weighing your budget against your projected costs. To do that, make a and taking them straight to a POD printer like Source or business plan. uploading 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 46 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org they are seeking reviews), and then switchtopress printing. (typically three orfour months before official publication date, when a fewdozen orhundred copies for the Advance Reading Copyphase edition, not tothe printer. Some self-publishers usePODtoproduce does not require achange of ISBN; thatnumber isassigned tothe makes sense toprint inthousands, switchovertopress printing. This printed bythe PODmethod and then, ifactual salesindicate thatit up withagarage fullof booksthey couldnot sell. a print runinseveral thousands toget the unitcostdown, onlytoend long the bane of the bookbusiness. Too many self-pubbershaveordered costs of transportation and warehousing, aswellthe risk of returns, to refer tothe 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 company, orlearntodo most orallof the essential stepsyourself. your project and staywithinyourbudget, enlistanauthor services hire individual professionals who havethe time and talent toworkon want toensure aprofessional-level, quality bookpackage, youmust together yourcoverrequire creative and technological skills. Ifyou manuscript, designing and formatting yourtext files, and putting matter. 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: » » POD: TheCons. Ofcourse, there are some negative factors onthe 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. Publishand market the final product. 5. Receiveand review proofs of the book. 4. Prepare and uploadyourdigital filestoyourpublisher’s system. 3. Puttogether yourcoverimage, backcover, front matter, and back 2. Ifyougo for aprinted book,choose itssizeand format the text. 1. Write, edit,revise, editagain,and finalize your manuscript. The basic stepsinvolvedinmaking yourbookare these: Set Your Price. 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/ of yourtarget audience transitioned to ebooks? ebooks evenasthe totalnumber of ebookcustomers rises. Has enough is the ambiguity abouthow many young readers are transitioning to their workavailabletopeoplewho read onscreens. And then there complicating the problem for the author who simplywants tomake e-reader. Unfortunately, there are many software file formats for ebooks, simple software downloads canturnaPCorMac computer into an and other tablets;some mobile phones can displaybooktext, and e-readers are inabattle for future market share withApple’siPad Nook, Kobo, PocketBook, the , and many others. All the Kindle. Thatfamily of e-readers isnow competing withB&N’s the ebookrevolution exploded withAmazon’s 2007introduction of bargaining strength from the success of her ebooks. seven-figure deal withSt. Martin’s Press (Macmillan), butshe gained her sales withebookssoldonline. Yes, Amanda Hocking eventually made a of fiction self-publisher success all made the great majority of their the recorded music business and record stores? The famous examples ebooks do topublishers and bookstores whatMP3sand iTunes did to their business models tostayintune withrapidly shifting trends. Will book bizhard. Allpublishers, big and small, are struggling toadjust handle the cashflowand financial risk? are the real costsand risksthatapplytoyourspecific project? Canyou decision, youmust do some serious research and calculations. What advances. little orno revenue, and authors receive no royalties orcredits against merchandise, or“cut-outs”—sales for which the publisher collects authorize the bookstore tosellleftoverstockasremainders, distressed the costof return transportation. To avoid the returns, publishers often of yourdeal withthe distributor orwholesaler, youmay havetopay return ifnot soldwithinacertaintime. And, depending onthe terms in bookstores, since they take booksonconsignment and subjectto it willbemany months before youcollectrevenue from yoursales recovered onlyifyoursalespredictions come true. Evenifthat 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:. LSisowned byIngram, the largest to the company thatactually makes virtually allPODbooksinthe POD booksfor you,butinreality they are simplysubmitting the order 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, Simple Answers. There are afewrelatively simple answers. One 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 SELF-PUBLISHING: BEST PRACTICES | 47 choice is to limit yourself to just the two biggest players, your material. Avoid legal disputes with a written agreement that PREPARING & SUBMITTING 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, offers one-stop-shopping; they can owns the copyright in the design. adapt your MS Word text to the file formats needed for compatibility Cover Illustration. Despite the old saw “You can’t judge a book by with most reading devices and set up distribution with major vendors its cover,” most people get their first and most important impression (www.smashwords.com). With ebooks, interior design means almost of a book from its cover. Indeed, an attractive cover that hints at the nothing, since the reader chooses the font and the size and most other story’s essence and appeals to the core audience is often the first step aspects of appearance of the text. in building awareness, which hopefully will lead to interest, and then to desire, and then to action. (Pick it up! Check it out! Buy it! Read HIRING PROFESSIONALS it! Recommend it!) To locate candidates for your cover illustration, MARKET SURVEYS With all the changes in the publishing industry, lots of experts who check Web portals such as www.directoryofillustration.com and www. used to work in traditional publishing houses are now offering their illustrationweb.com, as well as portfolios and samples at SCBWI talents on a freelance basis. conferences and in your local SCBWI group. If you see a book with a Professional Editing. Is your text as strong as it can be? Does it cover illustration that you like, you can probably find the artist by a attract and hold readers’ attention? For fiction, are the plot, characters, standard Web search. Some illustrators are represented by agents, but and narrative voice fully developed? Are you sure there are no typos many work entirely freelance. Remember that just as important as talent or bad grammar? Missing or double words? You can’t buy software to and style are availability, budget, and reliability. evaluate and guide you in revising a manuscript. No matter what else To protect both you and the illustrator, the details of the art DIRECTORIES & RESOURCES you do with the other stages, do not scrimp on professional editing. commission should be spelled out in a written contract before work Poorly written and poorly edited content is what gives self-published begins. Most commonly, a portion of the fee is due upon approval of books the presumption of inferiority. Separate your book from the glut the rough compositional sketch, another portion is due upon approval of mediocre books by investing in the manuscript. Your story needs to of the line drawing, and the final payment is due upon approval and satisfy readers if you want them to buy your next book and give you acceptance of the full-color artwork. The agreement should specify good reviews. ownership of the copyright in the artwork; if it remains with the artist, Find qualified editors through the SCBWI’s Freelance Editors then the exact rights granted to you by the contract should be spelled Directory, available to members (www.scbwi.org and on page 147), the out in detail. Editorial Association (www.the-efa.org), online searches Author Services Companies. There are now many “self-publishing” and writers’ forums, and by asking for recommendations from your companies, sometimes called author services companies or writing community or from an agent. publishers for hire. Among the well-known names are Aventine Press,

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

“rivers of white”—awkward spaces between words—running down com). Using an author services company will simplify the journey, but SCHOOL VISITS the page. In contrast, a true page design program fine-tunes the you will not be able to make your own choices of editor, designer, spaces between letters (kerning) to produce text lines that are visually illustrator, etc. If you want that level of control and customization, smooth, with a consistent balance between black ink and white space. then you will have to don the general contractor hat, acting much Certainly industry professionals—book buyers and sellers, librarians, like a traditional publisher by seeking out and hiring the expertise reviewers—will notice if a book is not professionally designed. For a that is most appropriate for your project. good introduction to this topic, see Book Design and Production by Pete WARNING: It has traditionally been considered unethical for a publisher LEGAL QUESTIONS Masterson or InDesign Type by Nigel French. to make the author pay for the 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 their standard asking fee is often negotiable and can vary with their service companies and e-publishers are blurring lines with their mix of current workload, your schedule, and how strongly they relate to paid-for services and royalty requirements. Read contract language carefully 48 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org so widely known. their prices are much lowerthanAdobe, butthe Serif products are not markets design programs, including the page designer calledPage Plus; costs and some major learning time. The Serifsoftware company also programs. Ifyouchoose thisroute, beprepared for substantial software includes Acrobat, Photoshop, Illustrator, and many other design-related program. It canbebought onitsownoraspartof aCreative Suitethat Adobe’s InDesign program isthe industry standard page layoutdesign books, isnoticeably less impressive thanprofessionally designed pages. formatting features; the quality you’llend upwith,atleastfor printed prepare yourfiles. Word and WordPerfect programs havelimited MAKING READERS AWARE OF YOUR BOOK 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- | SELF-PUBLISHING: BEST PRACTICES BEST | SELF-PUBLISHING: You canknock yourself outwriting and producing aquality book,but 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 asawhole (www.independentpublisher.com ). online magazine, which coversself-publishing alongside the publishing (www.parapublishing.com). Lastly, check outIndependent Publisher books onthe subject,and alsooffers anexcellent free newsletter leading authority onself-publishing, hasmany highly informative affiliates atbit.ly/7bnuxH.Also,DanPoynter, who haslong beena 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 OTHER RESOURCES audience aware of yourbook. program thatsomehow makes the opinion leaders inyourtarget public inthe retail market, youmust develop and execute amarketing is this:Ifyourgoal istosellyourself-published booktothe general marketing, and harnessing the powerof social media. Ourpoint here age thirteen.Seewww.ftc.gov/privacy/coppafaqs.shtm. thatrestricts collecting the personal information of children under aware of the Children’s Online PrivacyProtection Act (COPPA), afederal tomarket bookstochildren under thirteen,then youmust be your booktoreaders’ attention. However, ifyouplantousethe books. Thankstothe Internet, there are more waysthanevertobring take off.” EvenBig Sixpublishers havetoaggressively market their It’s not realistic tosay, “It’s onAmazon; readers willfind itand itwill if potential readers don’t know aboutit,youwon’tsellmany copies. a priorlifehewasradiobroadcaster. of attorneys, landuseplanners, authors, andindependentpublishers. In frequent speaker atnational,state, andlocalconventionsmeetings using thegeneralcontractormodeldescribedinthisarticle. Heisa (www.7MC.com), whichissetfor independentpublicationinearly2013, 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- THE WILD WEST OF SELF-PUBLISHING

by Molly Hahn

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

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

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 e-mail 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 a book takes time—anywhere from two months to a year. How much 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. , 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. Don’t have the money? Oftentimes, self-publishers ‘invite’ (1/2 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 result is the illustrator could end up working for free. And nobody the final artwork. Typically the copyright stays with the illustrator can eat on that. (copyright applied and paid for by the publisher). However, you can But your book is a guaranteed seller... purchase the copyright to the artwork from the illustrator to be able to The sad news is there’s no such thing. Add to that, most booksellers do whatever you like with it—this is called work-for-hire. Expect to pay have limited policies when dealing with or representing self-published more for this. Although honestly, you don’t need to hold the copyright. books. Their reasons are good: It’s one of those misconceptions of hiring an artist—that you have to 1. Most small publishing houses don’t accept returns, the own the artwork to use it. The contract should spell out exactly how bookstore could get stuck with books they can’t sell. the usage breaks down, both for you and for the illustrator (use of the 2. While there are exceptions, most self-published books have an artwork for the illustrator’s self-promotion should be expected and amateur look to them. allowed). 3. It can be more hassle to deal with people who don’t know the To be fair to the illustrator, there should be a limit to the number industry than it’s worth. of revisions permitted at each stage of creation. (No more than three So if traditional bookstores won’t carry them, self-published books revisions per sketch is reasonable.) Few revisions should be made after are rarely noticed unless accompanied by serious advertising. In the completion of the art. (If communication has been good, the client traditional publishing, companies spend millions of dollars using their should have a good understanding of what they will receive.) 52 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org professionally, itcanbeawonderful experience for allinvolved. really want and achieve asuccessful product. come prepared, youare much more likely toland the illustrator you inexperience orunrealistic expectations). Don’tletthatbeyou!Ifyou be toodifficulttoworkwithworththeir time (usually because of 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, 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 into aproject thinking thisway, butsometimes itcan’tbeavoided. circumstance youhope never willoccurand certainly, nobody goes 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 illustrator tobring their uniquevision tothe project. (Again, thisshould beinthe contract.) Ideally, youare hiring an you are willing topayextra for revisions aboveand beyond the limit. much time. “I’llknow itwhen Iseeit”isnever afair waytoworkunless revisions sucking upany benefit of compensation by requiring too is anuntenable and unrealistic scenario and canleadtocountless can seethe images intheir head butcan’tdraw themselves, which | 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:,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 arranged alphabetically by the author’s last name. Soon, librarians of crafting a true story based on documentable facts. Nonfiction began calling everything left behind (still arranged according to writers work long and hard to gather information, but sometimes the Dewey’s system) nonfiction. Besides factual books based on documented tantalizing tidbits we’re hoping to find simply don’t exist. When that research, the nonfiction section included drama, poetry, and folktales. happens, it can be tempting to invent dialogue or imagine scenes or Eventually, librarians realized that they needed a term rearrange chronology to improve a story arc. So tempting that we’d to describe just the factual, research-based books in the nonfiction love a term that justifies doing so. That’s why it’s no surprise that some section, and around 1970, they began calling these titles informational writers are currently misusing the term informational book, thinking books. That’s why the Robert F. Sibert Informational Book Medal, which it’s a kind of nonfiction that’s based on true information but takes is sponsored by the American Library Association, defines informational occasional liberties with the verifiable facts. books as “those written and illustrated to present, organize, and But that is NOT a legitimate use of the term. If your goal is to write interpret documentable, factual material.” nonfiction, you can’t tinker with the facts to strengthen a story. If you make up anything, anything at all, you’re writing fiction. Period. Definition 2: Educators But that’s not the end of the story. Unaware of what was happening Definition 1: Librarians in the library world, in the 1980s, literacy educators began using the So what is an informational book? To answer this question, we need term informational texts to describe a narrow subset of nonfiction to jump into a time machine, strap on our seatbelts, and head back to writing that presents information about science, history, and other 1876. That’s when John Dewey invented an ingenious book cataloging content areas. system that was quickly adopted by libraries around the world. According to this usage, informational books do not include But the Dewey Decimal System wasn’t perfect. By the early biographies, how-to descriptions (instructions), or any kind of narrative 1900s, a growing number of library patrons were complaining that writing. This definition, which is roughly equivalent to expository it was difficult to find a good novel. That’s because fiction (novels nonfiction, became widespread in 2000, following the publication of a and short stories) was interspersed among all the other categories of landmark academic article by Nell Duke. literature (essays, letters, speeches, satire, etc.) in the 800s. In addition, For a while, librarians and educators used their separate definitions all the books were organized by original language of publication, so with few problems. But when Congress passed the No Child Left Behind novels by American writers were nowhere near novels by German Act of 2001, schools changed their funding priorities, and school writers or French writers. library budgets started to shrink. To save their jobs, school librarians How did librarians solve this problem? Sometime between began taking on new roles, including teaching responsibilities. Not 1905 and 1910, they started pulling novels and short story collections surprisingly, this led to disagreements about the proper use of the term out of the 800s and creating a separate fiction section with books informational books. 54 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | WHAT THE HECK IS AN INFORMATIONAL BOOK? | INFORMATIONAL AN IS HECK THE WHAT www.melissa-stewart.com science books for childrenandamemberof theSCBWIBoardof Advisors. Is itfact orisitfiction? to do thatistobetransparent aboutthe literature wecreate for them. need toteachchildren toidentify truthiness. And one of the bestways demand toknow the source of statistics. Ifwewant thattochange, we themselves ifaparticular news outlethasanagenda. They don’t rhetoric without question. They don’t check facts. They don’t ask real, what’strue, what’sverifiableand what’s not. emphasizes the critical importance of distinguishing betweenwhat’s way toshare ideas and information withyoung readers. Butitalso creative liberties withtrue, documentable facts canbeaneffective some animal lifecyclestories. embellishments. Examples include The Magic School Busseries and accurately, butcontain made-up characters, fantastical art,orother improve storytelling. imagined scenes orevents presented outof chronological order to and picture bookbiographies withsome made-up dialogue or 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 historical fiction, like the DearAmerica series Recently, some librarians and educators havebegunusing the term What theHeckisInformational Fiction? And yet,despite the contradictions and the confusion they cause, all The confusion intensified in2010when the Common Core State Definition 3:CommonCore StateStandards SCBWI MARKET SURVEYS

2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS

compiled & edited by Deborah Halverson

ABDO PUBLISHING grades 6–12. for series concepts; not accepting nonfiction. 8000 West 78th Street, Suite 310 SANDCASTLE beginning nonfiction imprint samples of manuscripts to nonfiction@ Edina, MN 55439 publishes titles for beginning readers, grades abdopublishing.com or fiction@abdopublishing. 800-800-1312; Fax 800-862-3480 PreK–3. com. Submissions accepted via U.S. Post; please SPELLBOUND imprint publishes high-interest, specify “fiction” or “illustration” and include www.abdopublishing.com low-level (hi-lo) titles written at a second grade SASE. PRESIDENT: Jill Hansen reading level yet aimed at middle-grade interest PAYMENT: Flat fee. PUBLISHER: Jim Abdo level. ARTWORK INTEREST: Accepting. Email submissions EDITOR-IN-CHIEF: Paul Abdo SPORTSZONE imprint publishes sports titles for a to [email protected]. EDITORIAL DIRECTOR: Tam Britton range of readers, grades 2–12. ARTWORK PAYMENT: Flat fee. ART DIRECTOR: Candice Keimig SUPER SANDCASTLE oversized early nonfiction DESCRIPTION: A publisher of nonfiction titles imprint publishes larger trim size titles with Abdo Magic Wagon for the school and library market. Its PreK–12 full-spread designs for beginning readers, grades (A Division of Abdo Publishing) educational nonfiction titles support a wide K–4. DESCRIPTION: Publishing PreK–8 titles blending range of state curriculum standards as well as QUERY LETTERS: Accepting. imagination and information with original personal interest reading. Includes the divisions MULTIPLE SUBMISSIONS: Accepting. illustrations and story lines. UNSOLICITED MANUSCRIPTS: Accepting. Looking and imprints below, as well as the Abdo CALICO chapter book imprint publishes original for series concepts; not accepting nonfiction. fiction with larger type for transitional readers, Spotlight division, which consists of several Email samples of manuscripts to nonfiction@ grades 3–8. imprints publishing popular licensed character abdopublishing.com or fiction@abdopublishing. CALICO KIDS early chapter book imprint titles for young readers. com. Submissions accepted via U.S. Post; please publishes introductory fiction with full-color A&D XTREME hi-lo nonfiction imprint publishes specify “fiction,” or “illustration” and include illustrations, grades PreK–3. high-interest content with bold, full-spread SASE. GRAPHIC PLANET graphic novels imprint publishes photos for reluctant readers, grades 3–9. PAYMENT: Flat fee. original fiction and nonfiction graphic novels, ABDO & DAUGHTERS middle grade nonfiction ARTWORK INTEREST: Accepting. Email submissions grades 2–10. imprint publishes high-interest and highly to [email protected]. LOOKING GLASS LIBRARY picture book imprint informative titles for research and independent ARTWORK PAYMENT: Flat fee. publishes original fiction and nonfiction picture reading, grades 5–9. books, grades PreK–4. MAGIC READERS leveled readers imprint BIG BUDDY BOOKS oversized elementary Abdo Kids (A Division of Abdo Publishing) publishes leveled reading with photo-realistic nonfiction imprint publishes larger trim size www.abdokids.com illustrations, grades K–3. titles with popular nonfiction content, grades ABDO KIDS JUNIOR primary nonfiction PreK–2 SHORT TALES adapted stories nonfiction imprint 2–5. imprint with clean design, clear photos, and publishes adapted myths, classics, fairy tales, BUDDY BOOKS elementary nonfiction imprint simple sentences for the youngest readers. and , grades 1–6. publishes introductory level titles to high- ABDO KIDS JUMBO oversized primary nonfiction interest nonfiction content, grades 2–5. PreK–2 imprint with huge, full-color images and EPIC Press CHECKBOARD LIBRARY curriculum-based a large trim for beginning readers. (A Division of Abdo Publishing) nonfiction imprint publishes in-depth content DESCRIPTION: Abdo Kids is a print and digital www.epicpress.com with a cross-curricular approach, grades 3–6. division for readers in grades PreK–2, with MANAGING EDITOR: Kenneth Abdo CORE LIBRARY common core nonfiction imprint many nonfiction series designed with simple DESCRIPTION: YA fiction imprint with series for publishes titles aligned with Common Core text and photos. Abdo Publishing is a publisher young adult readers. For avid and hi-lo readers of nonfiction titles for the school and library State Standards that promote in-depth learning, alike, EPIC books—called Young Adult chapter market. grades 3–6. books—are bold, edgy, emotional, and mature. QUERY LETTERS: Accepting. ESSENTIAL LIBRARY research and reference QUERY LETTERS: Accepting. MULTIPLE SUBMISSIONS: Accepting. imprint publishes 100+ page, well-researched MULTIPLE SUBMISSIONS: Accepting. UNSOLICITED MANUSCRIPTS: Accepting Looking historic, scientific, and current event titles, UNSOLICITED MANUSCRIPTS: Accepting. Email 58 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org middle-grade readers. illustrated nonfiction for preschool through responsible ifsubmitted. or other original material accepted;not Director ChadBeckerman. No original artwork series. a mixof original books, imports, and branded preschoolers, ages birth to5years. Publishes young picture booksfor babies, toddlers, and against royalty orflatfee. Smith Smith ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: CREATIVE DIRECTOR: ASSISTANT EDITOR: ASSOCIATE EDITOR: EDITOR-AT-LARGE: EXECUTIVE EDITOR: EDITORIAL DIRECTOR: ASSOCIATE PUBLISHER: EDITORIAL DIRECTOR, AMULET: VP, EDITOR-IN-CHIEF, CHILDREN’SBOOKS,& SVP &PUBLISHER,CHILDREN’SBOOKS: (An Imprint of ) Abrams Books for Young Readers ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: CREATIVE DIRECTOR: EXECUTIVE EDITOR: EDITORIAL DIRECTOR, AMULET: VP, EDITOR-IN-CHIEF, CHILDREN’SBOOKS,& SVP &PUBLISHER,CHILDREN’SBOOKS: (An Imprint of Abrams Books) Abrams Appleseed SVP, PUBLISHER,CHILDREN’SBOOKS: www.abramsbooks.com 212-206-7715; Fax212-519-1210 New York, NY10011 115 West 18thStreet ABRAMS BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: SASE. Post; pleasespecify“EPIC Press” and include epicpress.com. Submissions acceptedvia U.S. samples of manuscripts tosubmissions@ flat fee, depending onthe project. | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI Flat fee. Depends on project. Either advance Publishes picture bookfiction and Board books, novelty books, and AlyssaNassner Not accepting. Not accepting. Howard W. Reeves Traci Todd Erica Finkel Orlando Dos Reis Traci Todd ChadBeckerman ChadBeckerman Flat fee. Advance against royalty or Yes, through Creative Yes, through Creative Accepting. Tamar Brazis Jody Mosley Not accepting. Not accepting. Not accepting. Not accepting. Susan Van Metre Susan Van Metre Andrew Smith Andrew H. Andrew H. Heltzel cartoons. and the historyof art,animation, and novels and illustrated booksaboutthe creators . imprint, alistof reprints and original grade readers. Includes the Amulet Paperbacks and nonfiction for young adults and middle- responsible if submitted. or other original material accepted;not Director ChadBeckerman. No original artwork against royalty orflatfee. ARTWORK PAYMENT: responsible ifsubmitted. or other original material accepted;not Director ChadBeckerman. No original artwork Evanston, IL60202 1328 GreenleafStreet (a linewithintheAgate Boldenimprint) DENENE MILLNERBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: EDITORIAL DIRECTOR, AMULET: VP, EDITOR-IN-CHIEF, CHILDREN’SBOOKS,& Smith SVP &PUBLISHER,CHILDREN’SBOOKS: (An Imprint of Abrams Books) Amulet Books ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: CREATIVE DIRECTOR: ASSISTANT EDITOR: EDITORIAL DIRECTOR, ABRAMSCOMICARTS: (An Imprint of Abrams Books) Abrams ComicArts DESCRIPTION: CREATIVE DIRECTOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSOCIATE EDITOR: SENIOR EDITOR: SENIOR EDITOR, AMULET&COMICARTS: EXECUTIVE EDITOR: EDITORIAL DIRECTOR: Kochman advance against royalty orflatfee. advance against royalty orflatfee. flat fee, depending onthe project. “ATTN: Abrams ComicArts Editorial.” submissions, withSASE, via U.S.Post, marked Advance against royalty. Depends onproject. Either advance Publishes groundbreaking graphic Publishes novels, graphic novels, Maggie Lehrman Accepting. Not accepting. Courtney Code Erika Finkel Orlando DosReis Orlando DosReis Traci Todd Advance against royalty or ChadBeckerman ChadBeckerman Depends onproject. Either Depends onproject. Either Yes. Yes, through Creative Tamar Brazis Not accepting. Accepting. Not accepting. Accepting. Mail Susan Van Metre Anne Andrew H. Charles

African-American children. of being achildfrom the perspectivesof African American lifebysharing the experience Denene Millner Booksillustrates the diversityof the Agate Bolden imprint of Agate Publishing. and illustrator. Launched Spring 2017aspartof readers, created byAfrican-American writers children and fiction and nonfiction foryoung children. originals. Artsamplesshould show pictures of middle-grade and teenfiction. including picture books, chapterbooks, and ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: PUBLISHER: www.agatepublishing.com 847-475-4457 PUBLISHER, ADULT ANDCHILDREN’STRADEGROUP: www.apub.com/imprints New York, NY10001 276 FifthAvenue, Suite1007 (A Division of Amazon Publishing) AMAZON CHILDREN’SPUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSOCIATE EDITOR: EDITOR: EDITORIAL MANAGER: www.albertwhitman.com 0039 800-255-7675 or847-232-2800;Fax847-581- Park Ridge, IL60068 250 SouthNorthwest Highway, Suite320 ALBERT WHITMAN&CO. agatepublishing.com. flat fee. flat fee. have further interest. Response withinsixmonths, butonlyifthey for-unrepresented-authors/ for instructions. albertwhitman.com/submission-guidelines- albertwhitman.com. Seehttp://www. submissions via email to submissions@ first made anemail inquiry. not send hard-copy submissions unlessyouhave Denene Millner Eliza Swift Advance against royalty. Advance against royalty. Doug Seibold Publishing picture booksfor List of 40hardcover titlesayear, Accepting via email atseibold@ Accepting via email only. Andrea Hall Advance against royalty or Advance against royalty or Accepting. Yes, butdo not send Wendy McClure N/A Accepting. Accepting, butdo Yes, accepting 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 59

Mikyla Bruder ARBORDALE PUBLISHING BARRON’S EUCATIONAL SERIES PREPARING & SUBMITTING VP, PUBLISHING: Jeff Belle 612 Johnnie Dodds Blvd., Suite A2 250 Wireless Boulevard EDITORIAL DIRECTOR: Sarah Smith Mt. Pleasant, SC 29464 Hauppauge, NY 11788 843-971-6722 or 877-243-3457; Fax 843-216- 800-645-3476 Alloy Entertainment 3804 www.barronseduc.com (A Joint Imprint of Amazon Children’s www.arbordalepublishing.com ACQUISITIONS EDITOR: Wayne Barr Publishing and Alloy Entertainment) PUBLISHER: Lee German SENIOR ART DIRECTOR: Bill Kuchler 1325 Avenue of the Americas, 29th Floor EDITOR: Donna German DESCRIPTION: Ongoing interest in children’s New York, NY 10019 ASSOCIATE EDITOR: Katie Hall books (fiction and nonfiction), both text and 1-212-329-8449 www.alloyentertainment.com DESCRIPTION: Publishing picture books that artwork. Children’s books make up roughly EDITOR: blend math, science, and geography, and 1/5 of publishing program; most are foreign Hayley Wagreich MARKET SURVEYS DESCRIPTION: A digital-first imprint focusing on dual language (English/Spanish), interactive acquisitions. young adult, new adult, and commercial fiction, eBooks for young readers. (Formerly Sylvan Dell QUERY LETTERS: Yes, via email to waynebarr@ which are Alloy’s specialty areas in its book Publishing.) barronseduc.com. packaging business. Alloy’s offerings include QUERY LETTERS: Accepting via email only. MULTIPLE SUBMISSIONS: Accepting. Gossip Girl, Pretty Little Liars, and the Vampire MULTIPLE SUBMISSIONS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting via regular Diaries. UNSOLICITED MANUSCRIPTS: Accepting. Send U.S. Post, preferably after first sending an QUERY LETTERS: Not accepting. to [email protected]. Primarily emailed query letter. See barronseduc.com/ MULTIPLE SUBMISSIONS: Not accepting. looking for fiction manuscripts with nonfiction info.html for instructions. Response time is DIRECTORIES & RESOURCES UNSOLICITED MANUSCRIPTS: Not accepting. facts woven into the story. Manuscripts must approximately 4 weeks; please do not call. For details, visit http://alloyentertainment. com/articles/manuscript-submission- be 1000 words or less and meet all the criteria PAYMENT: Usually advance against royalty. programs-729141/. listed in the submission guidelines listed on the ARTWORK INTEREST: Yes, by regular mail. Address PAYMENT: Advance and royalties. house website. Not accepting previously self- material to “Art Director.” ARTWORK INTEREST: Not accepting. published books. ARTWORK PAYMENT: Advance against royalty or ARTWORK PAYMENT: N/A PAYMENT: Advance against royalty. flat fee, depending. ARTWORK INTEREST: Accepting with email Skyscape only. Looking for realistic-style (not BEYOND WORDS PUBLISHING (An Imprint of Amazon Children’s Publishing) cartoon) illustrations for children; color 20827 NW Cornell Road, Suite 500 EDITORIAL DIRECTOR: Courtney Miller only, no black and white. Submit to Katie@ Hillsboro, OR 97124 EDITOR: Marilyn Brigham arbordalepublishing.com per illustration 503-531-8700; Fax 503-531-8773

EDITOR: Miriam Juskowicz PUBLICIZING YOUR PUBLISHED WORK submissions on house website. www.beyondword.com DESCRIPTION: Publishes fiction from new and ARTWORK PAYMENT: Advance against royalty or PRESIDENT & PUBLISHER: Richard Cohn established authors. Offering teen, young adult, flat fee, depending on project. EDITOR: Lindsay Easterbrooks-Brown and readers books from contemporary to to fantasy and more. DESCRIPTION: Small press partnered with QUERY LETTERS: Not accepting. BAREFOOT BOOKS imprints Atria Books, Aladdin, and Simon Pulse MULTIPLE SUBMISSIONS: Not accepting. 2067 Massachusetts Avenue, 5th Floor at Simon & Schuster, publishing nonfiction UNSOLICITED MANUSCRIPTS: Not accepting. Cambridge, MA 02140 for adults, children, and teens that fosters PAYMENT: Advance against royalty 617-576-0660; Fax 617-576-0049 and inspire wellness and healthy living as ARTWORK INTEREST: Not accepting. www.barefootbooks.com well as kids’ power to change and expand and ARTWORK PAYMENT: N/A CO-FOUNDER & CHIEF EXECUTIVE OFFICE: Nancy raise awareness through innovative ideas and Traversy practices. Also publishes contemporary new Two Lions MANAGING EDITOR: Kate DePalma science titles that explore and/or question (An Imprint of Amazon Children’s Publishing) DESCRIPTION: An independent publisher with traditional wisdom and spiritual practices. PUBLISHER, EDITOR-IN-CHIEF: David Blum offices in Cambridge, Massachusetts, and Oxford, QUERY LETTERS: Accepting manuscripts and EDITORIAL DIRECTOR: Kelsey Skea

UK. Specializes in children’s books, CDs, games, proposals from agents only. Not accepting SCHOOL VISITS EDITOR-AT-LARGE: Melanie Kroupa puppets, puzzles and gifts that celebrate picture book submissions. EDITOR: Marilyn Brigham EDITOR: Miriam Juskowicz enduring values and inspire creativity. MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Publishes picture books, chapter QUERY LETTERS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. books, and middle-grade fiction for kids ages 8 MULTIPLE SUBMISSIONS: Not accepting. PAYMENT: Advance against royalty. to 12. UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK INTEREST: No. QUERY LETTERS: Not accepting. PAYMENT: Advance against royalty. ARTWORK PAYMENT: N/A LEGAL QUESTIONS MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Yes, via U.S. Post only. Send UNSOLICITED MANUSCRIPTS: Not accepting. nonreturnable samples to “ATTN: Acquisitions BLACK RABBIT BOOKS PAYMENT: Advance against royalty Editor.” P.O. Box 3263 ARTWORK INTEREST: Not accepting. ARTWORK PAYMENT: Advance against royalty for Mankato, MN 56002 ARTWORK PAYMENT: N/A picture books. 507-388-1609; Fax 507-388-1364 www.blackrabbitbooks.com ASSOCIATE PUBLISHER: Jennifer Besel 60 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org titles such asautobiographies. historical fiction. Doesinclude select nonfiction dystopian/commercial futuristic novels, and to) contemporary, fantasy, romance, suspense, and spans genres, including (butnot limited ethical standards. The listisprimarily fiction and approach and which represent morals and real issueswhilestriving for apositive balance faith. Looking for hopeful booksthattouch on Blink fiction is for all readers, regardless of titles for the general trade market peryear. imprint publishes 5to6young adult fiction Harpercollins Christian Publishing. The Blink as reluctant readers, 3to5booksperyear. grade fiction for general teen readership aswell BRB Teen publishes booksfor grades 6and up. BRB Kids publishes booksfor grades K-5, and UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: SENIOR EDITOR: www..com/children.html www.BlinkYABooks.com 800-226-1122 Grand Rapids, MI49546 3900 Sparks Drive (An imprint of Zondervan) BLINK 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 , NY11215 232 ThirdStreet,SuiteA115 (An Imprint of Akashic Books) BLACK SHEEP ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSOCIATE PUBLISHER: work-for-hire basis. are developed in-house and are assigned ona | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI Jillian Manning Advance against royalty orflatfee. Advance against royalty orflatfee. Zondervan isadivision of Publishes young-adult and middle- Publisher of booksfor grades K-12. Jacque Alberta Not accepting. Not accepting. Not accepting. Aaron Petrovich N/A N/A Not accepting. Not accepting. Ibrahim Ahmad Jonathan Strickland Not accepting. Not accepting. Not accepting. Not accepting. Not accepting. Titles Not accepting. Johnny Temple first option for print editions. fantasy. Contracting for digital rights, witha paranormal, dystopian, historical, contemporary, categories including romance, mystery, thriller, adult readers, and new adult readers, inall publishing fiction eBooks for teens, crossover annually. fiction, and fantasy. Publishes 100to125books easy readers, middle-grade and teennovels, indicate onquery/cover letter. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: bloomsbury.com/us/bloomsbury-spark/ (An Imprint of Bloomsbury Publishing) Bloomsbury Spark ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR, NONFICTION: SENIOR EDITOR: EXECUTIVE EDITOR: EDITORIAL DIRECTOR, FICTION: EDITORIAL DIRECTOR: PUBLISHING: VP &PUBLISHINGDIRECTOR OFCONSUMER www.bloomsbury.com/us/childrens/ (A Division of Bloomsbury Publishing PLC) Bloomsbury Children’s Books CHILDREN’S BOOKS: VP, U.S.PUBLISHINGDIRECTOR, BLOOMSBURY 1385 , 5 BLOOMSBURY PUBLISHINGPLC www.bloomsbury.com/us/childrens/ www.bloomsbury.com/us/ 212-419-5300 New York, NY10018 flat fee, depending onproject. flat fee. months response time. will respond onlyifinterested; pleaseallow2 should be 25,000–100,000 words. Publisher bloomsbury-spark/submissions/. Manuscripts See guidelines atwww.bloomsbury.com/us/ at [email protected]. Advance against royalties. Offering standard ebookroyalty rates. Advance against royalty. Cindy Loh A global,digital-first imprint Publishes trade picture books, Donna Mark Sarah Shumway Accepting. Not accepting. th Mary Kate Castellani Brett Wright Hali Baumstein Cindy Loh Advance against royalties or N/A Advance against royalty or Floor Not accepting. Not accepting. Not accepting. Susan Dobinick Bethany Buck Accepting, but please Not accepting. Accepting via email Not accepting. Liese Mayer season titles. puzzle books, craft books, joke books, and books and innovative novelty formats, including middle-grade and selectteenfiction. chapter books, illustrated nonfiction, and nonfiction. Listconsists of picture books, educational fiction and informative, lively package “Art SampleSubmission.” books. Send nonreturnable samples. Label encouraged. and novels. imprint publishes picture books, chapterbooks, CALKINS CREEK DESCRIPTION: ART DIRECTOR: ART DIRECTOR: ASSISTANT EDITOR: EDITOR, HIGHLIGHTSPRESS: SENIOR EDITOR, CALKINSCREEK: Rebecca Davis SENIOR EDITOR, BOYDS MILLSPRESS/WORDSONG: SENIOR EDITOR, BOOKPUBLISHING: Elizabeth Van Doren VP, BOOKEDITORIAL AT HIGHLIGHTSFORCHILDREN: DEVELOPMENT: SVP, BOOKPUBLISHINGSTRATEGY, &PRODUCT www.boydsmillspress.com 800-490-5111 or570-253-1164 Honesdale, PA 18431 815 ChurchStreet Boyds MillsPress CHILDREN’S PUBLISHER: PUBLISHER: www.cameronbooks.com 800-779-5582; Fax415-223-8520 Petaluma, CA 94952 149 Kentucky Street,Suite7 (An Imprint of Cameron +Company) CAMERON KIDS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: WORDSONG HIGHLIGHTS PRESS (See below.) picture books. response time 3months. instructions. Willreply toallsubmissions; from overseas. Pleaseseewebsitefor full not acceptany submission byemail except Submissions) before submitting fiction. Will website (https://www.boydsmillspress.com/ but pleasereview guidelines and catalogor and anthologies. Advance against royalty. imprint publishes poetrycollections Chris Gruener Imaginative, socially conscious, historical fiction/nonfiction Barbara Grzeslo Tim Gillner Mary-Alice Moore Send coverletterwithmaterials. imprint publishes activity Cherie Matthews Yes, particularly for picture Advance against royalty for Nina Gruener Acceptable, butnot Marlo Scrimizzi Reading everything, Carolyn Yoder Mary Colgan 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 61

CHILDREN’S EDITOR: Amy Novesky PAYMENT: Varies. in grades K-9. The imprint transforms reluctant PREPARING & SUBMITTING CREATIVE DIRECTOR: Iain Morris ARTWORK INTEREST: Accepting. Send readers into reading enthusiasts through an CHILDREN’S ART DIRECTOR: Melissa Nelson correspondence, art samples, and dummies to exciting array of topics and genres. Greenberg “Attn: Art Resource Coordinator.” Do not send SWITCH PRESS is a young adult imprint DESCRIPTION: Publishing primarily picture books. originals; materials will not be returned. publishing contemporary nonfiction such QUERY LETTERS: Accepting. ARTWORK PAYMENT: Varies. as , craft and how-to titles, and MULTIPLE SUBMISSIONS: Accepting. narrative nonfiction, as well as historical UNSOLICITED MANUSCRIPTS: Accepting. For CAPSTONE YOUNG READERS fiction, fantasy, graphic novels, and poetry. submission information, contact info@ 1710 Roe Crest Drive Titles released both in hardcover and digital cameronbooks.com. North Mankato, MN 56003 formats. PAYMENT: Advance against royalty. 800-747-4992; Fax 888-262-0705 QUERY LETTERS: Not accepting. Send full MARKET SURVEYS ARTWORK INTEREST: Accepting. www.capstoneyoungreaders.com materials (see below). ARTWORK PAYMENT: Advance against royalty or www.capstonepub.com MULTIPLE SUBMISSIONS: Accepting. flat flee. CHIEF CONTENT OFFICER: Ashley Andersen Zantop UNSOLICITED MANUSCRIPTS: Accepting, though EDITORIAL DIRECTOR, NONFICTION: Nick Healy most titles are developed in-house and written CANDLEWICK PRESS SENIOR EDITOR: Christianne Jones and illustrated by freelance writers and artists. (A Division of The Walker Book Group) SENIOR EDITOR: Alison Deering For full details, please visit http://www. 99 Dover Street MANAGING EDITOR: Shelly Lyons capstonepub.com/library/service/submissions/.

Somerville, MA 02144 CREATIVE CONCEPT DIRECTOR, FICTION: Michael No phone calls; will respond only if they have DIRECTORIES & RESOURCES 617-661-3330; Fax 617-661-0565 Dahl further interest. www.candlewick.com CREATIVE DIRECTOR, FICTION: Heather Kindseth- PAYMENT: Flat fee, work-for-hire. MANAGING DIRECTOR, PRESIDENT, & PUBLISHER: Wutschke ARTWORK INTEREST: Illustrator inquiries can be Karen Lotz DESCRIPTION: Publishing program of the sent to email address listed at http://www. EXECUTIVE V-P, EXECUTIVE EDITORIAL DIRECTOR, & Capstone imprints includes nonfiction, fiction, capstonepub.com/library/service/submissions/. ASSOCIATE PUBLISHER: Elizabeth Bicknell picture books, interactive books, audio books, ARTWORK PAYMENT: Flat fee. ASSOCIATE PUBLISHER & CREATIVE DIRECTOR: Chris and literacy programs. Capstone Young Readers Paul is a trade division, publishing several imprints CHARLESBRIDGE PUBLISHING GROUP EDITORIAL DIRECTOR: Joan Powers into the trade market; it includes board books, 85 Main Street EDITORIAL DIRECTOR, DIRECTOR OF EDITORIAL picture books, chapter books, middle-grade Watertown, MA 02472 OPERATIONS: Mary Lee Donovan series fiction, and graphic novels. Nearly all 800-225-3214 or 617-926-0329; Fax 800-926-

SENIOR EXECUTIVE EDITOR: Sarah Ketchersid books are written on a work-for-hire basis and 5775 PUBLICIZING YOUR PUBLISHED WORK EXECUTIVE EDITOR: Hilary Van Dusen are part of a larger series; publisher is always www.charlesbridgeteen.com SENIOR EDITOR: Kate Fletcher looking for new authors and illustrators to www.charlesbridge.com SENIOR EDITOR: Andrea Tompa help craft high-appeal titles. Copyright and all ASSOCIATE PUBLISHER & EDITORIAL DIRECTOR: SENIOR EDITOR: Kaylan Adair reproduction rights are held by the company Yolanda Scott EDITOR: Carter Hasegawa unless otherwise expressly stated. EXECUTIVE EDITOR-AT-LARGE: Monica Perez ASSISTANT EDITOR: Miriam Newman COMPASS POINT BOOKS imprint publishes smart SENIOR EDITOR: Alyssa Mito Pusey ASSISTANT EDITOR: Allison Cole nonfiction for middle school readers. The EDITOR: Julie Bliven SENIOR EDITOR, BIG PICTURE PRESS, CANDLEWICK imprint weaves comprehensive narrative with ASSOCIATE EDITOR: Karen Boss STUDIO: Katie Cunningham intriguing facts and real-world examples to ART DIRECTOR: Susan Sherman EXECUTIVE ART DIRECTOR: Ann Stott make history, science, and biographies come DESCRIPTION: A smaller, independent, family- DESCRIPTION: American publisher from - alive for readers in grades 5-12. run publisher of approximately 50 illustrated based firm of Walker Books. Strength is picture -RAINTREE imprint publishes picture books, board books, and transitional books and middle-grade and teen fiction. curriculum-driven nonfiction that encourages books (early readers to middle-grade chapter

Emphasis on literary quality and superior inquiry and satisfies curiosity for students books) a year. Nonfiction makes up 60% of SCHOOL VISITS design. Approximately 200 titles annually, grades K-8. Comprehensive text and captivating the list; virtually any subject of interest to an both hardcover and paperback. The Candlewick images combine to create a reading experience elementary-school child will be considered. Entertainment imprint handles its media- rich in content and diverse points of view. Especially seeking innovative nonfiction. related children’s publishing, including TV and Among its most recognized brands include CHARLESBRIDGE TEEN imprint publishes Young movie tie-ins. The Candlewick Studio publishes Acorn, Heinemann First Library, and Raintree Adult fiction, with an interest in publishing new design-driven books with high production Perspectives. voices. Launching Fall 2017, with the goal of LEGAL QUESTIONS values, appealing to both children and adults, PICTURE WINDOW BOOKS imprint publishes publishing three to five new titles a year. as well as book collectors. Candlewick is the illustrated fiction and nonfiction easy readers, QUERY LETTERS: Not accepting. Send full U.S. publisher for the Nosy Crow and Templar picture books, and chapter books for grades pre manuscript (see below). imprints, as well Big Picture Press. K-4. MULTIPLE SUBMISSIONS: Accepting. QUERY LETTERS: Not accepting. STONE ARCH BOOKS imprint focuses on inspiring UNSOLICITED MANUSCRIPTS: Accepting. For full MULTIPLE SUBMISSIONS: Not accepting. independent reading with compelling submission instructions, visit http://www. UNSOLICITED MANUSCRIPTS: Not accepting. contemporary and appropriate fiction for readers charlesbridgeteen.com/pages/manuscript- 62 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI

submission-guidelines. PAYMENT: flat fee. ARTWORK INTEREST: submission instructions, visit https://www. charlesbridge.com/pages/art-submission- guidelines. ARTWORK PAYMENT: (usually) or flat fee.

CHARMZ (An imprint of Papercutz) 160 Broadway, Suite 700E New York, NY 10038 646-559-4681; Fax 212-643-1545 www.papercutz.com PRESIDENT/PUBLISHER: EDITOR-IN-CHIEF: EDITOR: DESCRIPTION: from children’s publisher Papercutz featuring “relationship-driven stories” tailored toward pre-teen and early teen girls. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: query and synopsis via email to Salicrup@ papercutz.com. PAYMENT: ARTWORK INTEREST: [email protected]. ARTWORK PAYMENT: flat fee.

CHRONICLE BOOKS 680 Second Street , CA 94107 415-537-4200; Fax 415-537-4460 www.chroniclekids.com CHILDREN’S PUBLISHING DIRECTOR: EDITORIAL DIRECTOR, CHILDREN’S: EDITOR-AT-LARGE: SENIOR EDITOR: SENIOR EDITOR: EDITOR: ASSOCIATE EDITOR: ASSITANT EDITOR: EDITORIAL ASSISTANT: ART DIRECTOR: DESCRIPTION: titles annually. Focuses on highly visual books with words that inspire the art; one must complement the other. Age range is from toddler and early chapter books to teen fiction. Interest in nonfiction, picture books, beginning readers, middle-grade fiction, and novelty formats. Looking for writing and illustration with unusual and distinctive flavor. Titles

Mariah McCourt

Ariel Richardson

Advance against royalty (usually) or

Advance against royalties.

A full-color graphic novel imprint

Publishes approximately 90

Kristine Brogno

Naomi Kirsten Melissa Manlove

Accepting.

Jim Salicrup

Zaneta Jung

Victoria Rock

Taylor Norman

Accepting. For full

Advance against royalty

Advance against royalties or

Accepting. Contact

Daria

Terry Nantier

Accepting.

Accepting. Send

Kelli Chipponeri

Ginee Seo

range from classically illustrated fairy tales to contemporary concept books. QUERY LETTERS: MULTIPLE SUBMISSIONS: query/cover letter. UNSOLICITED MANUSCRIPTS: U.S. Post. Responding only if interested; rejected submissions are recycled so don’t include SASE. Response time of 6 months. See http://www.chroniclebooks.com/childrens for complete submission guidelines. PAYMENT: ARTWORK INTEREST: original artwork; materials will not be returned. See http://www.chroniclebooks.com/childrens for complete submission guidelines. ARTWORK PAYMENT:

CRESTON BOOKS PO Box 9369 Berkeley, CA 94709 800-788-3123 www.crestonbooks.co PUBLISHER & EDITOR: DESCRIPTION: publisher of picture books. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: novels, include outline and 3 sample chapters. For picture books, send entire manuscript. Email to [email protected]. PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT:

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

Rosie Fickling

Anthony Hinton

Varies.

Advance against royalty or flat fee.

David Fickling

An author/illustrator-driven small

Partnered with Scholastic, UK-

Accepting.

Accepting.

Not accepting.

Varies.

Accepting. Do not send

N/A

Not accepting.

Marissa Moss

Simon

Bella Pearson

Ok, but indicate on

Accepting.

Not accepting.

Alice Corrie

Accepting via regular

Accepting. For

Accepting

PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT: flat fee, depending on project.

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

Disney Press (A Division of Disney Book Group) SENIOR VP & GLOBAL PUBLISHER, DISNEY PUBLISHING WORLDWIDE: VP & PUBLISHER, DISNEY BOOK GROUP: Naples EXECUTIVE VP, DISNEY PUBLISHING WORLDWIDE: Andrew Sugarman VP & EDITORIAL DIRECTOR: SENIOR EDITOR: SENIOR EDITOR: EDITOR: DESCRIPTION: hardcover and 55 paperback books a year based on Disney characters from live-action and animated films, TV, and other areas of the company. All assignments are work-for-hire. QUERY LETTERS: MULTIPLE SUBMISSIONS: UNSOLICITED MANUSCRIPTS: PAYMENT: ARTWORK INTEREST: ARTWORK PAYMENT:

Disney-Hyperion (An Imprint of Disney Book Group) DISNEY PUBLISHING WORLDWIDE EDITOR-IN-CHIEF, ASSOCIATE PUBLISHER: EDITOR-AT-LARGE: EXECUTIVE EDITOR: SENIOR EDITOR, DISNEY-HYPERION, FREEFORM: Kieran Viola SENIOR EDITOR: SENIOR EDITOR: ASSOCIATE EDITOR: ASSISTANT EDITOR: SENIOR ART DIRECTOR: DESCRIPTION: and teen fiction published in both the Disney- Hyperion Books and Jump at the Sun imprints. Disney-Hyperion Books publishes approximately 70 hardcover and 50 paperback books a year that are either linked to ABC television properties or that it believes can be extended to television or other corners of Walt Disney. All assignments are work-for-hire. JUMP AT THE SUN celebrate African-American culture. RICK RIORDAN PRESENTS mythology-based books for middle graders,

Brittany Rubiano

Advance against royalty.

Flat fee; work-for-hire.

Publishes approximately 35

Picture books and middle-grade

Brooke Dworkin Vitale Lauren Burniac

Tracey Keevan Laura Schreiber

Not accepting.

imprint publishes titles that

Stephanie Owens Lurie

Hannah Allaman

Rotem Moscovich

Julie Rosenberg

Advance against royalty and

Flat fee; work-for-hire.

Not accepting.

Not accepting.

Joann Hill

Emily

imprint publishes

Not accepting.

Jeanne Mosure

Wendy Lefkon

Not accepting.

Mary Ann 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 63 launching Spring 2018. Book Prize contest. EDITORIAL DIRECTOR & SENIOR EDITOR: Karen Grove PREPARING & SUBMITTING QUERY LETTERS: Not accepting. QUERY LETTERS: Not accepting. EDITOR: Kate Brauning MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: N/a. EDITOR: Theresa Cole UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Accepting only via EDITOR: Robin Haseltine PAYMENT: Advance against royalty. submissions to the Helen Sheehan YA Book Prize EDITOR: Maria Loggia-Kee ARTWORK INTEREST: Yes, through art director. contest, winner awarded every other year. Next EDITOR: Jen Mishler ARTWORK PAYMENT: Advance against royalty or submission period opens summer 2017: http:// EDITOR: Stephen P. Morgan flat fee, depending on project. www.elephantrockbooks.com/ya.html. EDITOR: Erin Molta Freeform PAYMENT: N/a. EDITOR: Tracy Montoya (An Imprint of Disney Publishing Worldwide) ARTWORK INTEREST: N/a EDITOR: Lydia Sharp DISNEY PUBLISHING WORLDWIDE EDITOR-IN-CHIEF, ARTWORK PAYMENT: N/a DESCRIPTION: Independent publisher of romantic MARKET SURVEYS ASSOCIATE PUBLISHER: Emily Meehan fiction in the adult, young adult, and new SENIOR EDITOR, DISNEY-HYPERION, FREEFORM: ENSLOW PUBLISHERS adult markets. Publishes both electronic and Kieran Viola (A Division of Rosen Publishing) print, with some imprints primarily publishing DESCRIPTION: Focusing on young-adult and 101 West , Suite #240 digital-first. crossover fiction and nonfiction aimed at New York, NY 10011 EMBRACE imprint publishes New Adult fiction in readers ages 14 to 34. Will publish original book 800-398-2504; Fax 877-980-4454 all subgenres with stories featuring romance, properties as well as material that can span www.enslow.com strong heroines, contemporary issues, intrigue, formats—from books to television—and tie in www.scarletvoyage.com fantasy, edge-of-your-seat thrills, paranormal DIRECTORIES & RESOURCES with existing TV programming. www.speedingstar.com adventure, and everything in between. QUERY LETTERS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. PRESIDENT: Mark Enslow ENTANGLED TEEN imprint publishes high-concept UNSOLICITED MANUSCRIPTS: Not accepting. VP & PUBLISHER: Brian Enslow young adult fiction in all subgenres including PAYMENT: Advance against royalty. DESCRIPTION: Program of children’s and teen contemporary, suspense, sci-fi, historical, ARTWORK INTEREST: Yes, through art director. nonfiction and fiction offering approximately paranormal, and fantasy, with at least a ARTWORK PAYMENT: Advance against royalty or 225 titles a year primarily targeting the romantic subplot. flat fee, depending on project. market. Interested in authors with TEEN CRAVE imprint publishes contemporary teen specialized knowledge in high-interest topics romance with a paranormal twist, following the DK PUBLISHING for reluctant readers and in elementary and teen traditional category romance format. Features (A Division of Group) fiction. first-love stories set during the characters’ teen 345 Hudson Street ENSLOW ELEMENTARY imprint publishes years—with an out-of-this-world, trope-driven New York, NY 10014 elementary nonfiction. bend. PUBLICIZING YOUR PUBLISHED WORK 646-674-4000 SCARLET VOYAGE imprint publishes young TEEN CRUSH imprint publishes contemporary teen www..com/us/ adult fiction for grades 6 and up and features romances that follow the traditional category U.S. EDITORIAL DIRECTOR: Nancy Ellwood contemporary, dystopian, fantasy, mystery, romance format. DESCRIPTION: Family reference books, nonfiction paranormal romance, science fiction, and QUERY LETTERS: Accepting. and educational books for young children. thrillers, many of which are foreign imports in MULTIPLE SUBMISSIONS: Accepting. Known for heavily illustrated nonfiction for translation. UNSOLICITED MANUSCRIPTS: Accepting. Submit via teens ages 13-17. SPEEDING STAR imprint publishes middle grade submission portal: https://entangledpublishing. QUERY LETTERS: Not accepting. Please, no phone fiction featuring topics that appeal to boys and submittable.com/submit/. Please address calls. like-minded readers from third grade through your query letter to the specific editor you’re MULTIPLE SUBMISSIONS: Not accepting. high school. interested in working with or “Dear Editor” for UNSOLICITED MANUSCRIPTS: Not accepting. QUERY LETTERS: Preferred. All requests for general interest. General submissions receive PAYMENT: Advance against royalty or work-for- guidelines and all submissions should be made equal attention as those directed to a particular hire, depending on project. through [email protected]. person. Response time sixty days. See website

ARTWORK INTEREST: Unsolicited samples not kept MULTIPLE SUBMISSIONS: Accepting. Please for additional submission guidelines. SCHOOL VISITS on file. indicate on query/cover letter. PAYMENT: Advance against royalty. ARTWORK PAYMENT: Work-for-hire; flat fee. UNSOLICITED MANUSCRIPTS: Accepting. ARTWORK INTEREST: N/A PAYMENT: Advance against royalty and purchase ARTWORK PAYMENT: N/A ELEPHANT ROCK BOOKS outright. PO Box 119 ARTWORK INTEREST: Not accepting. FACTS ON FILE ARTWORK PAYMENT: Usually flat fee. (A Division of Infobase Publishing)

Ashford, CT 06278 LEGAL QUESTIONS th www.elephantrockbooks.com 132 West 31st Street, 17 Floor PUBLISHER: Jotham Burrello ENTANGLED PUBLISHING New York, NY 10001 EDITOR-AT-LARGE: Amanda Hurley www.entangledpublishing.com 800-322-8755; Fax 800-678-3633 DESCRIPTION: Publishes a few titles each year. CHIEF EXECUTIVE OFFICER & PUBLISHER: Liz www.factsonfile.com Its young adult imprint, ERBYA, has been Pelletier EDITORIAL DIRECTOR: Laurie Likoff publishing fiction for young adult readers since EXECUTIVE EDITORIAL DIRECTOR, ENTANGLED TEEN, EDITOR-IN-CHIEF (AMERICAN HISTORY, 2014, and holds the annual Helen Sheehan YA TEEN CRUSH/CRAVE: Stacy C. Abrams MULTICULTURAL STUDIES, WOMEN’S STUDIES): 64 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI for young children. No phone calls. and science. No fiction, activitybooks, orbooks 4–9, withfocus onhistory, multicultural topics, grades 6–12and multivolume series for grades Interested insingle-volume reference worksfor market and the general nonfiction trade market. for young readers ingrades 2through 5. imprint, presents easy-to-read, full-colorbooks welcome. Chelsea Clubhouse, itselementary are developed in-house, butsuggestions are health, high-interest titles, and more. Most biographies, social studies, geography, science, series. Series spanhistorical and contemporary adult titlesayear;allbooksare partof a school students. Publishes about60–100young nonfiction books for middle school and high number of pieces of line artonly. number of pieces of line artonly. work-for-hire. work-for-hire. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: SCIENCE, MILITARY HISTORY, ECONOMICS,LAW): EDITOR-IN-CHIEF (HISTORY, GEOGRAPHY, POLITICAL STUDIES, RELIGION): EXECUTIVE EDITOR (WORLD HISTORY/GLOBAL Jeff Soloway EXECUTIVE EDITOR (LANGUAGE ANDLITERATURE): Andrew Gyory ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL DIRECTOR: www.chelseahouse.com (An Imprint of FactsonFile) Chelsea House ARTWORK PAYMENT: of publications. of publications. level of difficulty. level of difficulty. email [email protected]. regular mail addressed to“Editorial Director,” or send manuscript unlessrequested. Send via with résuméand listof publications; do not email [email protected]. regular mail addressed to“Editorial Director,” or send manuscript unlessrequested. Send via with résuméand listof publications; do not Owen Lancer Some advance against royalty; some Some advance against royalty; some Publishes for the school/library Publishes curriculum-based Erika Arroyo Accepting, with résuméand list Accepting, withrésuméand list Varies withexperience and Varies withexperience and Commissioning verylimited Commissioning verylimited Claudia Schaab Laurie Likoff Accepting. Accepting. Send queryletter Send queryletter

element. and preferably include acompelling romantic Books are 50,000–100,000words inlength and authenticity. Allsubgenres are welcome. experience and willspeak toreaders withpower high-concept stories thatcapture the teen historical worlds. Looking for commercial, paranormal, fantasy, science-fiction, and and extraordinary stories setincontemporary, unforgettable romance, extraordinary characters, memorable young-adult fiction featuring to building authors and publishing unique, Inteli www.harlequinteen.com 888-432-4879 New York, NY10279 233 Broadway, Ste. 1001 (An Imprint of , Ltd.) HARLEQUIN TEEN ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SEVENTEEN FICTION ASSISTANT EDITOR, HARLEQUINTEEN: EDITOR, HARLEQUINTEEN: EDITOR, HARLEQUINTEEN: SENIOR EDITOR, HARLEQUINTEEN: VP, EDITOR: FICTION: EDITORIAL DIRECTOR, HARLEQUINTEEN,SEVENTEEN EDITORIAL DIRECTOR, EARLY CHILDHOOD: EDITORIAL DIRECTOR, AMISTAD: VP, EDITORIAL DIRECTOR: VP, PUBLISHINGDIRECTOR: CHIEF: SENIOR VP, ASSOCIATE PUBLISHER,&EDITOR-IN- PRESIDENT &PUBLISHER: www.harpercollinschildrens.com/Kids 212-207-7000; Fax212-702-2583 New York, NY10017 195 Broadway HARPERCOLLINS CHILDREN’SBOOKS ARTWORK PAYMENT: Lipschultz flat fee. submit/29606. at https://harlequin.submittable.com/ agented submissions at this time. Guidelines Smulski of Harlequin Teen 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 Kate Jackson Natashya Wilson Advance against royalty/flat fee. Margaret Marbury A single-title program dedicated Not accepting. imprint publishes realistic Advance against royalty or Not accepting. Not accepting. Tara Weikum Suzanne Murphy Michael Strother T.S. Ferguson Rich Thomas Accepting only Tracy Sherrod Margo Margo Lauren Nancy young readers. paperback. www.harperteen.com in hardcover and bothoriginal and reprint Klonsky 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 product. Number of titles:roughly 500 Division publishes hardcover trade titlesand for the young-adult genre. only short fiction (short stories and novellas) EDITOR: EDITOR, LICENSEDPUBLISHING: SENIOR EDITOR: SENIOR EDITOR, HARPERTEEN: SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR: SENIOR EXECUTIVEEDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR, HARPERTEEN: EXECUTIVE EDITOR: SENIOR EXECUTIVEEDITOR: BOOKS, HARPERTEEN: EDITORIAL DIRECTOR, HARPERCOLLINSCHILDREN’S EDITORIAL DIRECTOR, TEEN&TWEEN: EDITORIAL DIRECTOR: VP, EDITORIAL DIRECTOR, HARPERTEEN: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: RAYO HARPERTROPHY HARPERTEEN IMPULSE HARPERTEEN HARPERFESTIVAL AMISTAD DESCRIPTION: EXECUTIVE ARTDIRECTOR: VP &CREATIVE DIRECTOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSOCIATE EDITOR, HARPERTEEN: ASSOCIATE EDITOR: ASSOCIATE EDITOR, HARPERTEEN: EDITOR: EDITOR: novelty/merchandise. Brosnan EDITOR: imprint. imprint publishes culturally inspired Jessica MacLeish Christopher Hernandez Jocelyn Davies Stephanie Stein imprint publishes picture booksand imprint publishes titlesfor imprint publishes teenfiction The HarperCollins Children’s Book Tamar Mays Not accepting. is aHarperCollins paperback Andrew Harwell Abby Ranger Alyson Day Karen Chaplin Pamela Bobowicz imprint publishes classic/ Elizabeth Lynch Mabel Hsu Sara Sargent David Linker Alyssa Miele Erica Sussman Margaret Anastas imprint publishes digital- Not accepting. Barbara Fitzsimmons Alison Donalty Alexandra Cooper Toni Markiet Not accepting. Emilia Rhodes Chloe Fraboni

Kristen Pettit Catherine Wallace Alice Jerman Jennifer Rosemary 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 65

PAYMENT: Advance against royalty. ARTWORK PAYMENT: Usually advance against Houghton Mifflin Harcourt Books for PREPARING & SUBMITTING ARTWORK INTEREST: Yes, samples through regular royalty, except flat fee for jacket art. Young Readers / Boston Office mail fine, but no original art. 125 High Street, Floor 5 ARTWORK PAYMENT: Usually advance against Walden Pond Press Boston, MA 02110-2112 royalty, except flat fee for jacket art. (An Imprint of HarperCollins) VP, ASSOCIATE PUBLISHER: Mary Hogan Wilcox EXECUTIVE EDITOR: Jordan Brown SENIOR EXECUTIVE EDITOR: Margaret Raymo Balzer + Bray SVP, EDITORIAL DIRECTOR Debbie Kovacs EXECUTIVE EDITOR: Ann (An Imprint of HarperCollins) DESCRIPTION: Publishes books for children in SENIOR EXECUTIVE EDITOR: Kate O’Sullivan VP & CO-PUBLISHER: Alessandra Balzer collaboration with Walden Media. CONSULTING EDITOR: Cynthia Platt VP & CO-PUBLISHER: Donna Bray QUERY LETTERS: Not accepting. CONSULTING EDITOR: Erica Zappy Wainer EXECUTIVE EDITOR: Kristin Daly Rens MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL ASSISTANT: Lily Kessinger EXECUTIVE EDITOR: Jordan Brown UNSOLICITED MANUSCRIPTS: Not accepting.

EDITORIAL ASSISTANT: Harriet Low MARKET SURVEYS ASSOCIATE EDITOR: Viana Siniscalchi PAYMENT: N/A EDITOR, FRANCHISE PUBLISHING: Alex Preziosi ASSISTANT EDITOR: Kelsey Murphy ARTWORK INTEREST: Not accepting. EDITOR, FRANCHISE PUBLISHING: Bethany DESCRIPTION: Publishes picture books, middle- ARTWORK PAYMENT: N/A Vinhateiro grade fiction, and teen fiction. ASSOCIATE EDITOR, FRANCHISE PUBLISHING: QUERY LETTERS: Not accepting. Christine Krones HOLIDAY HOUSE BOOKS FOR YOUNG PEOPLE MULTIPLE SUBMISSIONS: Not accepting. 425 Madison Avenue UNSOLICITED MANUSCRIPTS: Not accepting. Houghton Mifflin Harcourt Books for PAYMENT: Advance against royalty. New York, NY 10017

Young Readers / New York Office DIRECTORIES & RESOURCES ARTWORK INTEREST: Yes, samples through regular 212-68800085; Fax 212-421-6134 3 Park Avenue South, 19th Floor mail fine, but no original art. www.holidayhouse.com New York, NY 10016 ARTWORK PAYMENT: Usually advance against VP & EDITOR-IN-CHIEF: Mary Cash 212-420-5800 royalty for picture books; usually flat fee for PUBLISHER OF MARGARET FERGUSON BOOKS: SENIOR VP & PUBLISHER: Catherine Onder novel jacket art and interior illustrations. Margaret Ferguson EXECUTIVE EDITOR: Elizabeth Bewley EXECUTIVE EDITOR: Grace Maccarone SENIOR EDITOR: Sarah Landis Greenwillow Books ASSOCIATE EDITOR: Kelly Loughman EDITORIAL ASSISTANT: Nicole Sclama (An Imprint of HarperCollins) EDITOR: Sally Morgridge DESCRIPTION: Hardcover picture books, chapter www.greenwillowblog.com DIRECTOR OF ART & DESIGN: Claire Counihan books, middle-grade and teen fiction, and VP & PUBLISHER: Duncan DESCRIPTION: Independent publisher with list nonfiction. EXECUTIVE EDITOR: Martha Mihalick of 60 titles a year. Acquiring picture books, QUERY LETTERS: Not accepting. ART DIRECTOR: Paul Zakris MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: List includes mostly fiction and middle-grade and teen fiction, and nonfiction.

UNSOLICITED SUBMISSIONS: Not accepting. PUBLICIZING YOUR PUBLISHED WORK No toy or novelty books. picture books (no nonfiction over the second- PAYMENT: Advance against royalty. QUERY LETTERS: Not accepting. Send entire grade level). ARTWORK INTEREST: Accepting. Send color QUERY LETTERS: Not accepting. manuscript, whether submitting a picture book copies or tear sheets; do not send original MULTIPLE SUBMISSIONS: Not accepting. or a novel. artwork or slides. Samples will not be returned. UNSOLICITED MANUSCRIPTS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. Will contact you only if they have a potential PAYMENT: Advance against royalty. UNSOLICITED MANUSCRIPTS: Accepting. Address to illustration assignment. Send to “HMH Books ARTWORK INTEREST: Send art samples (postcards “Editorial Department.” Responding (within four for Young Readers, Design Department/Art only) in duplicate to Paul Zakris and Virginia months) only if interested so do not include Samples” or to individual editors at the Boston Duncan. SASE. Don’t accept certified or registered mail; or New York office. OK to submit art samples to ARTWORK PAYMENT: Advance against royalty or no email submissions. both locations. For more info, see submissions flat fee. page http://www.hmhco.com/popular-reading/ PAYMENT: Advance against royalty. authors/manuscript-submissions. ARTWORK INTEREST: Accepting. Send copies only, Katherine Tegen Books ARTWORK PAYMENT: Advance against royalty or no original artwork. No submissions will be (An Imprint of HarperCollins) flat fee. VP & PUBLISHER: Katherine Tegen returned. Send samples to Claire Counihan. SCHOOL VISITS SENIOR EXECUTIVE EDITOR: Claudia Gabel ARTWORK PAYMENT: Usually advance against Clarion Books EXECUTIVE EDITOR: Jill Davis royalty, unless for jacket. (An Imprint of Houghton Mifflin Harcourt) SENIOR EDITOR: Maria Barbo 3 Park Avenue South, 19th Floor SENIOR EDITOR: Melissa Miller HOUGHTON MIFFLIN HARCOURT BOOKS FOR New York, NY 10016 SENIOR EDITOR: Ben Rosenthal YOUNG READERS 212-420-5800 EDITOR: Alex Arnold www.hmhco.com VP & PUBLISHER: Dinah Stevenson ASSISTANT EDITOR: Rebecca Schwartz VP, ASSOCIATE PUBLISHER, SENIOR EXECUTIVE DESCRIPTION: Publishes picture books and LEGAL QUESTIONS DESCRIPTION: High-quality, award-winning books EDITOR: Anne Hoppe middle-grade and teen fiction. for children and young adults in a variety of SENIOR EDITOR: Jennifer Greene QUERY LETTERS: Not accepting. print and e-book formats, including picture SENIOR EDITOR: Lynne Polvino MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL ASSISTANT: Rachael Stein UNSOLICITED MANUSCRIPTS: Not accepting. books, fiction, and nonfiction. Note: The New DESCRIPTION: List includes hardcover picture PAYMENT: Advance against royalty. York and Boston HMH editors operate as a books, chapter books, middle-grade and teen ARTWORK INTEREST: Yes, samples through regular single team; Clarion Books remains a separate fiction, and nonfiction. mail fine, but no original art. imprint of HMH in New York. 66 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI authors/manuscript-submissions. pages http://www.hmhco.com/popular-reading/ Clarion Books. Formore info, seesubmissions to bothHMHBooksfor Young Readers and individual editors. OKtosubmitartsamples Books, Design Department/Art Samples”orto illustration assignment. Send to“Clarion contact youonlyifthey haveapotential or slides. Sampleswillnot bereturned. Will or tearsheets; do not send original artwork original characters and settings. with editorsinto wholly original bookswith popular thathasbeen re-envisioned works developed exclusively for Duetaswell offering universalappeal.The listincludes diverse perspectivesonLGBTQ characters and readers featuring new voices and fresh, Duet publishes fiction appropriate for teenage imprint Duetrepresents LGBTQ characters. romantic fiction, Interlude’s young adult fiction as original booksfor children. Imprint Insight Kids publishes licensed aswell publisher innovative artand popculture books. ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: PUBLISHER, MANAGING EDITOR: www.duetbooks.com www.interludepress.com INTERLUDE PRESS PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER ANDCEO: www.insighteditions.com San Rafael, CA94912 PO Box 3088 (An Imprint of Insight Editions) INSIGHT KIDS Director.” only (no original artwork)via U.S.Post to“Art via U.S.Post to“Art Director.” flat fee. query lettervia U.S.Post to“Art Director.” authors/manuscript-submissions. page http://www.hmhco.com/popular-reading/ Clarion Books/Submissions.” Seesubmissions Advance against royalty. Advance against royalty orflatfee. Advance against royalty orflatfee. A boutiquepublisher of LGBTQ Insight Editions isanindependent C. B. Messer Not accepting. Accepting. Submitqueryletter Accepting. Advance against royalty or Accepting. Send colorcopies Accepting. Raoul Goff Accepting. Accepting. Accepting. Submit Accepting. “Send to

Annie Harper Submit samples with particularly American subjects. adventure, historical, etc.), especially those great stories inallgenres (mystery, fantasy, books, and middle-grade fiction. Interested in nonfiction. Launched Spring 2017. www.friends.kanemiller.com/submissions.html. artwork, orsamplesonCD.Seefullguidelines at kanemiller.com. Pleasedo not send original to external websitesvia email tosubmissions@ returnable illustration samples via USPS, orlinks send postcards (preferred) orother non- UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: www.kidscanpress.com 416-479-7000; Fax416-960-5437 , ,CanadaM5AOB5 25 Dockside Drive Corus Entertainment, Inc.) (An Imprint of Kids CanPress, aDivision of KCP LOFT ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER, EDITOR: www.kanemiller.com 858-456-0540 San Diego, CA92117 4901 Morena Blvd, Ste213 (A Division of EDCPublishing) KANE MILLERPRESS ARTWORK INTEREST: ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: EDITOR: EDITORIAL DIRECTOR-AT-LARGE, KCP LOFT: PRESIDENT: flat fee. flat fee. Egan kanemiller.com/submissions.html. submission guidelines at www.friends. months for reply. [email protected]. Pleaseallow3 synopsis, author bio, and manuscript to Yvette Ghione Semareh Al-Hillal Advance against royalty orflatfee. Advance against royalty orflatfee. Lisa Lyons Johnston Publishing picture books, chapter Publishes young-adult fiction and Accepting. Not accepting. Advance against royalty or Advance against royalty or No. Not accepting. Accepting. Illustrators may Kira Lynn Accepting Not accepting. Not accepting. Accepting. See Accepting. Send Not accepting. Kate all genres; geared toreaders ages 14-19. grade, young adult, and new adult fiction. nonfiction with astrong storyline. the main storyline. Listincludes fiction and disability integrated into the storybutnot as identity, orthatfeature apersonwith non-traditional family structures and gender in multicultural and diversitythemes, including ages 10-14. contemporary, and fantasy. Geared toreaders all genres, butwithapreference for mystery, contemporary, and horror. but withapreference for thriller, mystery, young adult and new adult fiction inall genres, bilingual and multicultural books. QUERY LETTERS: SURGE SHINE SEEK DESCRIPTION: EDITOR: EDITOR: LEE &LOW BOOKS CHILDREN’S BOOKPRESS BEBOP BOOKS DESCRIPTION: PUBLISHER, TUBOOKS: EDITORIAL ASSISTANT: SENIOR EDITOR: EDITOR-AT-LARGE: EDITORIAL DIRECTOR: PUBLISHER: PRESIDENT: www.leeandlow.com 212-779-4400; Fax212-683-1894 New York, NY10016 95 Madison Avenue LEE &LOW BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: EDITOR: ACQUISITIONS EDITOR, SEEKLINE: CO-PUBLISHER: PUBLISHER: www.leapbks.net Otego, NY13825 P.O. Box 63 LEAP BOOKSLLC illustration samples for Tu Booksimprint) (maximum 1,500words) and nonfiction illustrated booksfor ages 5–11; fiction in guided reading and intervention settings. literacy learning content for beginning readers stories withbothtext and pictures thatsupport imprint publishes middle grade fiction in imprint publishes short, fast-paced imprint publishes young adult fiction in Laura Taylor Tara Kelly Sara Biren N/a. Craig Low Jason Low Shannon Delaney imprint publishes child-centered Independent publisher of middle Independent publisher specializing Judith Graves Jessica Echeverria Not accepting. imprint primarily publishes Louise May N/a. Not accepting. Cheryl Klein Kandace Coston Stacy Whitman (receives imprint publishes Not accepting. Not accepting. Kelly Hashway 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 67

(maximum 3,000 words). They do not publish DESCRIPTION: Publishes primarily nonfiction and portfolio samples from illustrators and PREPARING & SUBMITTING folklore or animal stories. Also chapter books for juvenile readers of all grade levels. List photographers. No original art. Send jpgs or and middle-grade works for ages 8–12. Of includes titles encompassing nature, geography, pdfs on disk, color or black-and-white copies, particular interest are realistic fiction and natural and physical science, current events, or tear sheets. Will reply if interested. Send to nonfiction; folktales and animal stories not ancient and modern history, world art, special attention of “Creative Director.” ARTWORK PAYMENT: Flat fee. being considered. interest, sports, world cultures, and numerous SHEN’S BOOKS imprint emphasizes cultural biography series. Kar-Ben Publishing diversity and tolerance, introducing young CAROLRHODA BOOKS imprint publishes fiction (An imprint of Lerner Publishing Group) primarily, including picture books, chapter readers to the cultures of Asia. Kar-Ben Publishing TU BOOKS imprint publishes only middle-grade books, middle-grade and young adult novels. 241 First Ave and teen science fiction, fantasy, and mystery. Nonfiction includes unique photo essays. No Minneapolis, MN 55401 MARKET SURVEYS A special effort is made to work with writers alphabet books, puzzle books, songbooks, www.karben.com and artists of color, and submissions from , workbooks, religious subject matter, PUBLISHER, KAR-BEN PUBLISHING: Joni Sussman authors and artists at all levels of experience or plays. DESCRIPTION: Publishes up to 20 new titles of are encouraged. CAROLRHODA LAB is an imprint of Carolrhoda Jewish content annually. Preschool and young QUERY LETTERS: Accepting for middle-grade and Books. It is dedicated to distinctive, children’s works through middle-grade fiction teen fiction, but prefer the entire manuscript for provocative, boundary-pushing fiction for teens and nonfiction. younger works. and their sympathizers. Carolrhoda Lab examines QUERY LETTERS: Not accepting.

MULTIPLE SUBMISSIONS: Accepting. the young adult condition one novel at a time, MULTIPLE SUBMISSIONS: Not accepting. DIRECTORIES & RESOURCES UNSOLICITED MANUSCRIPTS: Accepting full picture affording YA authors and readers an opportunity UNSOLICITED MANUSCRIPTS: Accepting Jewish- book manuscripts. Address all submissions to to explore and experiment with thoughts, ideas, themed children’s books for (see website for “Submissions Editor” at the appropriate imprint; and paradigms in the human condition. http:// details). Send to [email protected]; no clearly mark CALL2015 on the outside of the www.lernerbooks.com/carolrhodalab phone calls. envelope. Responding only to manuscripts DARBY CREEK imprint publishes series fiction for ARTWORK INTEREST: Accepting samples via email of interest; no SASE. No faxed or emailed emerging, striving, and reluctant readers ages or printed samples via U.S. Post. Do not send 7–18 (grades 2–12). Includes chapter books, submissions; regular mail only. Will respond original art. intermediate fiction, and YA fiction. only if there is interest. Response time up to ARTWORK PAYMENT: Advance against royalty or FIRST AVENUE EDITIONS is Lerner Publishing 6 months. Note that Tu Books holds an annual flat fee. Group’s paperback imprint; no original titles. contest for fiction called the New Vision Award. GRAPHIC UNIVERSE publishes fiction and PAYMENT: Advance against royalty. nonfiction graphic novels in all genres and for LITTLE BEE BOOKS ARTWORK INTEREST: Yes, artists should send all ages from beginning readers through young (An Imprint of Bonnier Publishing USA) PUBLICIZING YOUR PUBLISHED WORK nonreturnable color samples, attention adults. 251 Park Avenue South, Floor 12 “Submissions Editor.” Especially interested in KANE PRESS publishes illustrated titles for New York, NY 10010 samples featuring children/people of color children ages 3 to 10. 844-321-0237 and that show an ability to illustrate the same LERNER PUBLICATIONS imprint publishes photo- www.littlebeebooks.com character consistently over many scenes. Will illustrated, educational and high interest PRESIDENT & CEO: Shimul Tolia nonfiction series for grades K–5. keep artwork of interest on file. PUBLISHER, LITTLE BEE, SIZZLE PRESS: Sonali Fry MILLBROOK PRESS publishes nonfiction ARTWORK PAYMENT: Advance against royalty. SENIOR EDITOR: Joy Bean for preschool through grade 6, including SENIOR EDITOR: Kristin Zelazko curriculum-oriented picture books, social studies LERNER PUBLISHING GROUP topics, and Kathy Ross craft books among its EDITOR: Jenna Pocius 1251 Washington Avenue North many subject areas. ASSISTANT EDITOR: Charlie Ilgunas Minneapolis, MN 55401 TWENTY-FIRST CENTURY imprint publishes EDITORIAL ASSISTANT: Courtney Fahy 800-328-4929; Fax 800-332-1132 curriculum-related series at both the middle- DESCRIPTION: The U.S. children’s imprint of www.lernerbooks.com grade and high-school level as well as single U.K.-based Bonnier Publishing, little bee books

VP & EDITOR-IN-CHIEF: Andy Cummings titles. (note: all lowercase) publishes early learning SCHOOL VISITS ASSOCIATE TRADE PUBLISHER, CAROLRHODA, QUERY LETTERS: Not accepting. No phone calls. concept books, board books, novelty books, CAROLRHODALAB: Alix Reid MULTIPLE SUBMISSIONS: Not accepting. activity books, picture books, nonfiction titles, UNSOLICITED MANUSCRIPTS: Not accepting EDITORIAL DIRECTOR, DARBY CREEK: TBD and licensed products for readers 0-12 years unsolicited manuscripts except for Jewish- EDITORIAL DIRECTOR, MILLBROOK PRESS: Carol Hinz old. Works alongside Sizzle Press, a Bonnier themed children’s books for Kar-Ben Publishing EDITORIAL DIRECTOR, TWENTY-FIRST CENTURY Publishing USA imprint for licensed properties, imprint (see below) and periodic open calls for BOOKS: Domenica Di Piazza media tie-in books, and pop-culture titles for unsolicited submissions announced on the blog LEGAL QUESTIONS SENIOR EDITOR, CAROLRHODA, DARBY CREEK, carolrhoda.blogspot.com. All other imprints readers of all ages. LERNER, MILLBROOK PRESS: Anna Cavallo seek targeted solicitations on the company LITTLE BEE CHAPTER BOOKS imprint publishes SENIOR EDITOR, CAROLRHODA, GRAPHIC UNIVERSE: website www.lernerbooks.com and in national chapter books aimed at newly independent Greg Hunter newsletters such as the SCBWI Bulletin. readers ages 6-8. PUBLISHER, KANE PRESS: Joanna Kane PAYMENT: Flat fee/advance against royalty. QUERY LETTERS: Not accepting. EDITOR, KANE PRESS: Jen Arena ARTWORK INTEREST: Will consider. (Most books MULTIPLE SUBMISSIONS: Not accepting. EDITOR, CAROLRHODA: Amy Fitzgerald illustrated with photos.) Accepting resumes UNSOLICITED MANUSCRIPTS: Not accepting. Only 68 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI children anywhere. writers of thisregion butthatwillappealto Northwest, aswellbooksthatoriginate from features stories thattake placeinthe Pacific specializing innonfiction. LittleBigfoot an independent Northwest regional publisher Design Department.” EDITOR-AT-LARGE: ASSOCIATE PUBLISHER: PUBLISHER: subjects/?subject=childrens_books http://www.sasquatchbooks.com/ www.sasquatchbooks.com 206-467-4300; Fax206-467-4301 , WA 98101 1904 ThirdAvenue, Suite710 (An Imprintof SasquatchBooks) LITTLE BIGFOOT ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: agented manuscripts willbereviewed. VP, EDITORIAL DIRECTOR, LITTLE,BROWN BOOKS FOR DIRECTOR: VP, PUBLISHER,JAMES PATTERSON PUBLISHING PUBLISHING: EDITOR-IN-CHIEF, BRAND,LICENSED,ANDIP FOR YOUNG READERS: VP &ASSOCIATE PUBLISHER, LITTLE,BROWN BOOKS LBYR: EXECUTIVE VPHACHETTE BOOKGROUP&PUBLISHER, kids/ www.lb-kids.com, www.hachettebookgroup.com/ teens/ www.lb-teens.com, www.hachettebookgroup.com/ 212-364-1100 New York, NY10017 237 Park Avenue (A Division of Book Group) READERS LITTLE, BROWN BOOKSFORYOUNG ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: YOUNG READERS: VP, EDITOR-IN-CHIEF, LITTLE,BROWN BOOKSFOR flat fee. please allowuptothree months for reply. not accepted. Responding onlyifinterested; original materials of any sort;email inquiries you’d like materials returned. Please do not send via U.S.Post to“The Editors.” Include SASE if query letter, proposal, oracompletemanuscript Megan Tingley Christy Cox Advance against royalty orflatfee. Ned Rust Gary Luke Kara Sargent Kara Seattle-based Sasquatch Booksis Accepting. Alvina Ling Tegan Tigani Yes. Send postcards “Attn: Advance against royalty or

No. Jackie Engel Jenny Abrami Accepting Accepting. Send that of new full-length work. whose release isoften timed tocoincide with story-length titlestied toexisting properties Jacobs acquisitions overseenbyJames Patterson. James Patterson’s booksand the others being annually, with4to6of those titlesbeing to 12middle-grade and young adult titles nonfiction projects also. books and novelty books. Opentoquality adult and middle-grade fiction aswellpicture year. Wide range of interests, specificallyyoung EDITORIAL DIRECTOR, POPPY&NONFICTION: MANAGEMENT: EXECUTIVE DIRECTOR, BRANDANDLICENSED YOUNG READERS: NOVL LBKIDS JIMMY PATTERSON BOOKS DESCRIPTION: EXECUTIVE ARTDIRECTOR: VP, CREATIVE DIRECTOR: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: TIE-IN PUBLISHING: ASSISTANT EDITOR, BRAND,LICENSED,ANDMEDIA ASSISTANT EDITOR: ASSOCIATE EDITOR: MEDIA TIE-INS: ASSOCIATE EDITOR FORLICENSING,BRAND,AND ASSISTANT EDITOR: EDITOR: EDITOR, JIMMYPATTERSON BOOKS: SENIOR EDITOR, JIMMYPATTERSON BOOKS: SENIOR EDITOR: PUBLISHING: SENIOR EDITOR, BRAND,LICENSED,&MEDIATIE-IN EDITOR-AT-LARGE: EXECUTIVE EDITOR: EXECUTIVE EDITOR: http://us.macmillan.com/mackids/ 646-307-5151 New York, NY10010 175 FifthAvenue GROUP MACMILLAN CHILDREN’SPUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: POPPY picture books); otherwise flatfee. Bak series for teen girls. licensed tie-ins. imprint produces e-only novella and short- imprint produces paperbackoriginal imprint produces novelty and brand/ Deirdre Jones Advance against royalty. Rex Ogle Mara Lander List of about150original titlesa

Not accepting. Russell Busse Pam Gruber Andrea Spooner Susan Rich Kheryn Callender Nikki Garcia Mary-Kate Gaudet Lisa Yoskowitz Allison Moore Daniella Valladares Not accepting. Advance against royalty (for Hannah Milton Hallie Tibbetts Dave Caplan Not accepting. imprint publishes 8 Sasha Illingworth Not accepting. Aubrey Poole Jenny Farrin www.macteenbooks.com books for childrens. fiction and picture books. ranges and formats, withamain interest in about 15new hardcovers eachyearacross all challenge and entertain inquisitivereaders. milestones—contemporary classics thatboth young people’sinterests asthey explore various the feelings of children, and speakdirectly to foster asense of family and community, target that encourage imagination and free-thinking, with afocus onthe middle-grade market. Books commercial picture booksand fiction for allages author-illustrators and encompasses literary and edgy YA fiction. The line’s broad scopefeatures coming of age, historical, commercial and fiction—adventure, mystery, urban fantasy, and feelings; middle-grade and young adult nature, history, exploring childhood milestones picture books—humor, curriculum-focused, well assome nonfiction. Ofparticular interest: to middle-grade and young adult fiction, as per yearranging from preschool picture books welcome through regular mail. printed material (butno original art)are through young adults inhardcover and DESCRIPTION: EDITORIAL ASSISTANT: ASSISTANT EDITOR: PUBLISHER: Group’s Henry Holt Booksfor Young Readers) (An Imprint of Macmillan Children’s Publishing Christy OttavianoBooks VP, ASSOCIATE PUBLISHER: SENIOR VP&PUBLISHER: PUBLISHING GROUP: PRESIDENT& PUBLISHER,MACMILLAN CHILDREN’S DESCRIPTION: PRIDDY BOOKS MARGARET FERGUSON BOOKS ART DIRECTOR, FSG,ROARING BROOK PRESS: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: EDITOR: EXECUTIVE EDITOR: EXECUTIVE EDITOR: VP &EDITORIAL DIRECTOR: Group) (A Division of Macmillan Children’s Publishing Readers Farrar, Straus &Giroux Books for Young ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: Clark flat fee, depending onproject. submissions only. Grace Kendall Advance against royalty. Christy Ottaviano Publishes booksfor toddlers Publishes approximately 20books imprint publishes photographic Not accepting. Jessica Anderson Janine O’Malley Wesley Adams Advance against royalty or Accepting. Copies and Jonathan Yaged Farah Rishi Melissa Warten Nicholas Henderson Megan Abbate Jean Feiwel Not accepting. Angus Killick Joy Peskin Not accepting. Agent imprint publishes Beth 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 69 paperback. Includes the Francis Foster Books UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK PAYMENT: Advance against royalty or PREPARING & SUBMITTING imprint. PAYMENT: Advance against royalty. flat fee, depending on project. QUERY LETTERS: Not accepting. ARTWORK INTEREST: Accepting. Copies and MULTIPLE SUBMISSIONS: Not accepting. printed material (but no original art) are Imprint UNSOLICITED MANUSCRIPTS: Not accepting. welcome through regular mail. (An Imprint of Macmillan Children’s Publishing ARTWORK INTEREST: Not accepting. ARTWORK PAYMENT: Advance against royalty or Group) ARTWORK PAYMENT: Advance against royalty or flat fee, depending on project. PUBLISHER: Erin Stein flat fee, depending on project. EXECUTIVE DIRECTOR: John Morgan Flatiron Books EDITOR: Rhoda Belleza Feiwel and Friends/Swoon Reads (An Imprint of Macmillan Publishing Group) EDITORIAL ASSISTANT: Nicole Otto (An Imprint of Macmillan Children’s Publishing SENIOR VP & PUBLISHER: Amy Einhorn DESCRIPTION: Publishing a roughly equal Group) VP & ASSOCIATE PUBLISHER: Elizabeth Keenan combination of picture books, middle grade, MARKET SURVEYS SENIOR VP & PUBLISHER: Jean Feiwel EXECUTIVE EDITOR, YA FICTION: Sarah Dotts Barley and young adult, with the focus on branded DIRECTOR, SWOON READS: Lauren Scobell DESCRIPTION: Flatiron Books is a division of publishing, new content creation, and original, ASSOCIATE PUBLISHER: Liz Szabla Macmillan publishing 8-10 novels per year. commercial fiction. EDITOR, SWOON READS, SQUARE FISH: Christine Committed to publishing intelligent fiction and QUERY LETTERS: Not accepting. Barcellona nonfiction with commercial appeal by authors MULTIPLE SUBMISSIONS: Not accepting. EDITOR: Holly West with distinctive voices, including books for UNSOLICITED MANUSCRIPTS: Not accepting. Agent EDITOR: Anna Roberto young adults. submissions only. EDITOR: Kat Brzozowski QUERY LETTERS: Not accepting. PAYMENT: Advance against royalty. DIRECTORIES & RESOURCES DESCRIPTION: Publishes list of picture books, MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Accepting. Copies and fiction, and nonfiction with broad commercial UNSOLICITED MANUSCRIPTS: Not accepting. printed material (but no original art) are appeal for readers from preschool through PAYMENT: Advance against royalty. welcome through regular mail. young adult. Handles the crowdsourced teen all- ARTWORK INTEREST: Not accepting. ARTWORK PAYMENT: Advance against royalty or genre imprint Swoon Reads, which works with ARTWORK PAYMENT: Advance against royalty or flat fee, depending on project. both writers and readers to discover (and then flat fee, depending on project. publish) “swoon-worthy” teen romance novels Roaring Brook Press (with protagonists ages 14–19) and New Adult Henry Holt Books for Young Readers (An Imprint of Macmillan Children’s Publishing novels (with protagonists ages 19–23), at www. (An Imprint of Macmillan Children’s Publishing Group) swoonreads.com. Group) SVP & PUBLISHING DIRECTOR: Simon Boughton QUERY LETTERS: Not accepting. EDITORIAL DIRECTOR: Christian Trimmer PUBLISHER, NEAL PORTER BOOKS: Neal Porter MULTIPLE SUBMISSIONS: Not accepting. SENIOR EDITOR: Kate Farrell SENIOR EDITOR: Connie Hsu UNSOLICITED MANUSCRIPTS: Accepting only for ASSOCIATE EDITOR: Julia Sooy SENIOR EDITOR: Katherine Jacobs PUBLICIZING YOUR PUBLISHED WORK Swoon Reads, for which interested writers EDITOR: Tiffany Liao ASSOCIATE EDITOR: Emily Feinberg submit online via www.swoonreads.com, ASSISTANT EDITOR: Rachel Murray ASSISTANT EDITOR: Claire Dorsett at which viewers can read the material and CREATIVE DIRECTOR: Patrick Collins SENIOR CREATIVE DIRECTOR: Anne Diebu report on it to the publisher. Must be original, DESCRIPTION: General list of 60–70 titles per ART DIRECTOR, FSG, ROARING BROOK PRESS: Beth complete novels that have never been under year for all age groups. Publishes picture books, Clark contract with a publisher; submissions are chapter books, and novels for preschoolers DESCRIPTION: Trade picture books, fiction, and exclusive to Swoon Reads while posted on the through young adult. nonfiction for preschool through young adult. site. The manuscripts given the highest ratings QUERY LETTERS: Not accepting. Approximately 60 titles per year. Includes the by the most readers will be considered for MULTIPLE SUBMISSIONS: Not accepting. :01 First Second imprint (listed separately publication by the Swoon Reads Staff. UNSOLICITED MANUSCRIPTS: Not accepting. above), the paperback imprint Square Fish, and PAYMENT: Advance against royalty. PAYMENT: Advance and royalty. the Neal Porter Books imprint. ARTWORK INTEREST: Only accepting art samples ARTWORK INTEREST: Not accepting. QUERY LETTERS: Not accepting. to keep in mind for a potential cover. Please ARTWORK PAYMENT: Advance and royalty (for MULTIPLE SUBMISSIONS: Not accepting. send via regular mail to “Feiwel and Friends, c/o complete picture book art) or flat fee (primarily UNSOLICITED MANUSCRIPTS: Not accepting. Art Department”; do not send original art. for jackets). PAYMENT: Advance against royalty.

ARTWORK PAYMENT: Advance against royalty or ARTWORK INTEREST: Not accepting. SCHOOL VISITS flat fee, depending on project. Godwin Books ARTWORK PAYMENT: Advance against royalty or (An Imprint of Henry Holt Books for Young flat fee, depending on project. :01 First Second Readers) (An Imprint of Macmillan Children’s Publishing VP & PUBLISHER: Laura Godwin Wednesday Books Group’s Roaring Brook Press) DESCRIPTION: Publishing fiction and nonfiction (An Imprint of Macmillan Children’s Publishing PUBLISHER: Simon Boughton across all age ranges. Group) EDITORIAL & CREATIVE DIRECTOR: Mark Siegel QUERY LETTERS: Not accepting. PUBLISHER: Jennifer Enderlin LEGAL QUESTIONS EXECUTIVE EDITOR: Calista Brill MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL DIRECTOR: Sara Goodman ASSOCIATE EDITOR: Robyn Chapman UNSOLICITED MANUSCRIPTS: Not accepting. Agent EDITORIAL DIRECTOR, ROMANCE & EXECUTIVE EDITORIAL ASSISTANT: Kiara Valdez submissions only. EDITOR, ST. MARTIN’S PRESS: Monique Patterson DESCRIPTION: Graphic novels for all ages. PAYMENT: Advance against royalty. SENIOR ASSOCIATE EDITOR: Vicki Lame Approximately 15 titles per year. ARTWORK INTEREST: Accepting. Copies and EDITOR, ST. MARTIN’S PRESS: Eileen Rothschild QUERY LETTERS: Not accepting. printed material (but no original art) are DESCRIPTION: A crossover imprint of MacMillan’s MULTIPLE SUBMISSIONS: Not accepting. welcome through regular mail. St. Martin’s Press division, publishing publish 70 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Chang EDITOR, TOR/FORGE: fiction. of fiction and nonfiction including young adult Martin’s Press division, publishing awide range up (grades 8and up),published inhardcover and fantasy for young adult readers ages 13and publishes critically acclaimed science fiction imprints Tor Teen and Tor Starscape. Tor Teen DESCRIPTION: SENIOR CREATIVE DIRECTOR: PUBLISHING COORDINATOR: ASSOCIATE EDITOR, TOR TEEN/FORGE: EDITOR, TOR TEEN,TOR STARSCAPE: EDITOR, TOR TEEN: SENIOR EDITOR, TOR: SENIOR EDITOR, TOR TEEN,TOR STARSCAPE: SENIOR EDITOR, TOR TEEN: SENIOR EDITOR, TOR TEEN: ASSOCIATE PUBLISHER,TOR: ASSOCIATE PUBLISHER,TOR: PUBLISHER, FORGE: PRESIDENT &PUBLISHER,TOR/FORGE: us.macmillan.com/TorForge 175 FifthAvenue Tom Doherty Associates, LLC Group) (An Imprint of Macmillan Children’s Publishing ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL ASSISTANT: VP, EDITOR-IN-CHIEF, ASSOCIATE PUBLISHER: VP, PUBLISHER: http://us.macmillan.com/thomasdunne/about www.thomasdunnebooks.com Group) (An Imprint of Macmillan Children’s Publishing Thomas DunneBooks ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: category. Launching Fall2017. readers looking for stories inand beyond the YA voices infiction and nonfiction who speakto Focuses onbold, diverse, and commercial themes. YA and adult titlesfocused oncoming-of-age J. Wolverton flat rate. flat rate. | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI Advance against royalty. Advance against royalty. Includes the children’s books An imprint of MacMillan’s St. Tom Dunne Not accepting. Not accepting. New York, NY10010 Bess Cozby Linda Quinton Advance against royalty or Advance against royalty or Accepting. Accepting. Amy Stapp Miriam Weinberg Janine Barlow Not accepting. Not accepting. Melissa Frain Whitney Ross Juliet Pederson Devi Pillai Patrick Nielsen Anne Diebu Accepting. Accepting. Ali Fisher Elayne Beck

Tom Doherty Susan Peter

formation. original art.Seewebsitefor portfolio review in consideration. Tearsheets/copies only;no middle-grade fiction and nonfiction. Mighty Media Junior Readers imprint publishes Media Kids imprint publishes picture books, and materials. include reader’s guides and other supplemental age- and theme-appropriate. Some editions in hardcover and paperback.Alltitlesare ages 10and up(grades 5and up),published fiction and fantasy for middle-grade readers Starscape publishes award-winning science guides and other supplemental materials. Tor appropriate. Some editions include reader’s and paperback.Alltitlesare age- and theme- EDITOR: MANAGING DIRECTOR: PUBLISHER &CEO: www.milkweed.org 215-2550 612-332-3192; Toll Free800-520-6455; Fax612- Minneapolis, MN55415 Open BookBuilding,Suite300 1011 Washington Avenue South MILKWEED EDITIONS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHING DIRECTOR: PUBLISHER, CREATIVE DIRECTOR: 612-455-0252; Fax612-338-4817 www.mightymediapress.com Minneapolis, MN55403 1201 CurrieAve (An Imprint of Mighty Media) MIGHTY MEDIAPRESS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: flat fee, depending onproject. us.macmillan.com/torforge/about/faq. time 4–6months. Seewebsitefor details returned). No email submissions. Response and SASE for reply only(materials willnot be cover letter, synopsis, 3samplechapters, http://www.mightymediapress.com/submissions. periods; seesubmission guidelines for dates submissions onlyduring announced reading Joey McGarvey Advance against royalty. Advance against royalty. Formerly ScarlettaPress. Mighty Not accepting. Accepting. Daniel Slager N/A Advance against royalty or Yes, for coverart N/A Patrick Thomas Lauren Kukla Accepting. Not accepting. Accepting. Send Accepting Nancy Tuminelly board, poetry, orpicture books. not previously published byMilkweed. No toy, received during the calendar yearbyawriter at time of acceptance tothe bestmanuscript is offered inaddition toroyalties agreed upon yearly MilkweedPrizefor Children’s Literature Seeking booksthatembody humane values. A readers ages 8–13(middle grade and YA). program, looking for high-quality novels for and young adult titlesayear. Forthe children’s publishes 15–20award-winning middle grade with the outdoors, summer 2016. books thathelp kids ages 12and under engage launched the Muddy Bootsimprint, offering of independent publisher Rowman &Littlefield, Rinehart UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: EDITORIAL ASSISTANT: EXECUTIVE VP, PUBLISHER&CHIEFCREATIVE about-us/our-program/ http://www.nationalgeographic.com/books/ 877-873-6846 Des Moines, IA50340 P.O. Box 4002864 NATIONAL GEOGRAPHICCHILDREN’SBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL DIRECTOR &EXECUTIVEEDITOR: PUBLISHER, GLOBEPEQUOT: www.GlobePequot.com 203-458-4500 Guilford, CT06437 246 GooseLane Rowman &Littlefield) (An Imprintof GlobePequot, aDivisionof MUDDY BOOTS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: chapters. https://rowman.com/Page/RLAuthRes. phone calls. for completeguidelines and instructions. No website. Visitwww.milkweed.org/submissions/ manager” systemaccessiblethrough the website. Electronic submissions via “submissions periodic submission periods announced ontheir Royalties orflatfee. Advance against royalty. A literary nonprofit press that Globe Pequot, the trade division Mary Austin Speaker Accepting, withthree opening Accepting. See guidelines at N/A Royalties orflatfee. Not accepting. Not accepting samples. Harvieux Accepting. Accepting. Accepting during Jim Childs Not accepting. Rick 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 71

OFFICER, BOOKS, KIDS & FAMILY: Melina Gerosa 888-417-0195; Fax 952-582-1000 QUERY LETTERS: Accepting. PREPARING & SUBMITTING Bellows www.northstareditions.com MULTIPLE SUBMISSIONS: Accepting. VP, CONTENT, KIDS & FAMILY: Jennifer Emmett UNSOLICITED MANUSCRIPTS: Accepting. Email VP & EDITORIAL DIRECTOR: Erica Jacobs Green Flux submission only. Send first three chapters, EXECUTIVE EDITOR: Rebecca Baines (An Imprint of North Star Editions) synopsis, and query to submit@jollyfishpress. EXECUTIVE EDITOR: Marfé Ferguson Delano 2297 Waters Drive com; include your submission in the body of Mendota Heights, MN 55120 SENIOR EDITOR: Shelby Alinsky your email. www.fluxnow.com SENIOR EDITOR: Kate Hale PAYMENT: Advance against royalty or flat fee. MANAGING EDITOR: Mari Kesselring SENIOR EDITOR: Priyanka Lamichhane ARTWORK INTEREST: Accepting. DESCRIPTION: Young-adult fiction imprint ASSOCIATE EDITOR: Ariane Szu-Tu specializing in edgy, realistic books, with ARTWORK PAYMENT: Advance against royalty or ASSOCIATE EDITOR: Paige Towler everything from literary to comedic reads. flat fee. MARKET SURVEYS DESCRIPTION: List of about 50 trade and direct QUERY LETTERS: Accepting. mail narrative nonfiction and reference titles MULTIPLE SUBMISSIONS: Accepting. ONI PRESS a year, appealing to gift-givers, librarians, UNSOLICITED MANUSCRIPTS: Accepting. 1305 SE Martin Luther King Jr Blvd and kids. Subjects of interest include history, Submit query letter and first 3 chapters Portland, OR 97214 biography, science, nature, geography, to [email protected]. For 503-233-1377 adventure, exploration, and the multicultural details see www.fluxnow.com/submissions. onipress.com Looking for well-crafted YA fiction with a strong society for ages 3–16. FOUNDER: Joe Nozemack voice, engaging plot, and unique characters. QUERY LETTERS: Not accepting. EDITOR-IN-CHIEF: James Lucas Jones DIRECTORIES & RESOURCES Interested in mystery/thrillers/suspense; MULTIPLE SUBMISSIONS: Not accepting. SENIOR EDITOR: Charlie Chu realistic fiction/voice-drive contemporary; UNSOLICITED MANUSCRIPTS: Not accepting. alternate realities/magical realism/flashbacks/ EDITOR: Robin Herrera PAYMENT: Advance against royalty or fee, time travel; high fantasy; or unique literary MANAGING EDITOR: Ari Yarwood depending on project. approaches. DESCRIPTION: A premier and graphic ARTWORK INTEREST: N/A PAYMENT: Advance against royalty or flat fee. novel publisher. ARTWORK PAYMENT: Advance against royalty or ARTWORK INTEREST: Accepting. QUERY LETTERS: Not accepting. fee, depending on project. ARTWORK PAYMENT: Advance against royalty or MULTIPLE SUBMISSIONS: Not accepting. flat fee. UNSOLICITED MANUSCRIPTS: Not accepting. NORTHSOUTH BOOKS PAYMENT: Advance against royalty or flat fee. (An Imprint of Oetinger Publishing Group) FOCUS READERS ARTWORK INTERET: No. (An Imprint of Bridge Editions) 600 Third Avenue, 2nd Floor ARTWORK PAYMENT: Advance against royalty or SENIOR EDITOR: Nick Rebman New York, NY 10016 flat fee. PUBLICIZING YOUR PUBLISHED WORK DESCRIPTION: Middle-grade nonfiction imprint 917-210-5868 distributed by North Star Editions, launched www.northsouth.com January 2017, focusing on titles for students in PAGE STREET PUBLISHING CO. PUBLISHER: Herwig Bitsche grades 3–7 with an emphasis on accessible text 27 Congress Street, Suite 103 ASSOCIATE PUBLISHER: Andrew Rushton and visuals aimed to engage younger readers. Salem, MA 01970 MANAGING DIRECTOR: Heather Lennon QUERY LETTERS: Not accepting. 978-594-8758 EDITOR, PICTURE BOOKS: Beth Terrill MULTIPLE SUBMISSIONS: Not accepting. www.pagestreetpublishing.com DESCRIPTION: The list includes picture books UNSOLICITED MANUSCRIPTS: Not accepting. All PUBLISHER: Kristen Nobles (primarily fiction), early chapter books, and work is work-for-hire. Interested authors should DESCRIPTION: Publishing picture books and some board books. Publishes over 30 titles send a resume and publication list to jobs@ Young Adult fiction in all genres. Distributed by redlineeditorial.com. annually. MacMillan. PAYMENT: Per project, work-for-hire. QUERY LETTERS: Not accepting. Prefer full QUERY LETTERS: Accepting. ARTWORK INTEREST: Not accepting. manuscript submission. MULTIPLE SUBMISSIONS: Accepting. MULTIPLE SUBMISSIONS: Yes. Jolly Fish Press UNSOLICITED MANUSCRIPTS: Accepting.

UNSOLICITED MANUSCRIPTS: Accepting full (An Imprint of North Star Editions) Send submission to childrensubmissions@ SCHOOL VISITS manuscripts for picture books via electronic c/o North Star Editions, Inc. pagestreetpublishing.com.See full guidelines submission. Please refer to the “How to Submit” 2297 Waters Drive at www.pagestreetpublishing.com/submission- instructions located on the “Contact” page on Mendota Heights, MN 55120 guidelines. the NorthSouth Books website. jollyfishpress.com PAYMENT: Advance against royalty or flat fee. PAYMENT: Advance with royalty or flat fee. EDITORIAL DIRECTOR: Mari Kesselring ARTWORK INTERET: Yes. ARTWORK INTEREST: Yes, through editors. Send DESCRIPTION: Publishing middle-grade and ARTWORK PAYMENT: Advance against royalty or LEGAL QUESTIONS postcard samples and email submissions. young-adult fiction in the national and flat fee. ARTWORK PAYMENT: Advance against royalty or international market. Particular interest in flat fee stories that are emotional in unpredictable PEACHTREE PUBLISHERS ways; science fiction and fantasy with an epic 1700 Chattahoochee Avenue NORTH STAR EDITIONS and visual scope; thrillers with strong, carefully Atlanta, GA 30318 2297 Waters Drive crafted characters and a unique voice; and 404-876-8761; Toll Free 800-241-0113; Fax 404- Mendota Heights, MN 55120 unconventional love stories. 875-2578; Fax Toll Free 800-875-8909 72 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Launched Spring 2016. and young adult novels. picture books, chapterbooks, and middle-grade children’s fiction and nonfiction, including publisher, publishing 30titlesannually of peekopress.com your portfolio orsubmitsamplestocontact@ only). samples and résumétoArtDirector (ifartwork PRESIDENT &PUBLISHER: www.pelicanpub.com 888-5-PELICAN; Fax504-368-1195 504-368-1175; Toll free 800-843-1724or Gretna, LA70053-2246 1000 Burmaster Street PELICAN PUBLISHINGCOMPANY ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: FOUNDER &PUBLISHER: FOUNDER &CEO: www.peekopress.com 801-449-0570 Salt Lake City, UT84171 PO Box 711656 PEEKO PRESS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: QUERY LETTERS: DESCRIPTION: SENIOR ARTDIRECTOR: ACQUISITIONS EDITOR: SENIOR EDITOR: VP, ASSOCIATE PUBLISHER: PRESIDENT &PUBLISHER: www.peachtreepub.blogspot.com www.peachtree-online.com picture books. and YA manuscripts; prefer fullmanuscript for outline, and firstthree chapters of middle grade flat fee. flat fee, depending onproject. materials to [email protected]. response. if return requested, and allow6to9months for submissions. Author bio helpful, enclose SASE Harriss, Acquisitions Editor. No email orFax for full-length fiction. Send to Helen either fullmanuscripts or3sampleschapters manuscripts for picture books, and accepting | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI Advance against royalty orflatfee. Advance against royalty. Small publisher of picture books. An independently owned trade MULTIPLE SUBMISSIONS: Vicky Holifield Accepting. Not accepted. Send synopsis, Jeffrey Conrad Advance against royalty or Advance against royalty or Yes, send nonreturnable Accepting. Send linkto Helen Harriss Loraine Joyner Brandon Henderson Accepting. Margaret Quinlin Kathleen Calhoun Kathy Landwehr Accepting full Accepting. Send Accepting. accepted. send originals. No emailed orfaxed submissions should bedirected to“Art Director.” Donot in ourfiles. Samplesubmissions welcome and correct. Nonfiction orfiction. Age levels5–8. always looking for good material iffocus is a year. General list with a strong local emphasis; publisher, publishing approximately 50–60titles 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 DESCRIPTION: ART DIRECTOR: EDITOR-IN-CHIEF: Nettleton www.penguin.com/publishers/ (A Division of Penguin Young Readers Group) Dial Books for Young Readers DESCRIPTION: ART DIRECTOR: VP &EXECUTIVEARTDIRECTOR: VP, EXECUTIVE DIRECTOR OFPUBLICATION: VP, ASSOCIATE PUBLISHER: U.S.: PRESIDENT OFPENGUINYOUNG READERSGROUP aboutus/faq/#manuscripts guidelines page:http://www.penguin.com/ Penguin Young ReadersGroupsubmission www.penguin.com/children/ www.penguinrandomhouse.com 212-366-2000 New York, NY10014 345 HudsonStreet PENGUIN YOUNG READERSGROUP ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: format. agreement; depends ontypeof material and the specific manuscript guideline. website for fullqueryletter, submission, and required for reply orreturn of materials. See emailed orfaxed submissions accepted. SASE synopsis, 1or2samplechapters, and SASE. No 1,100 words. Novels: submitqueryletterwith and SASE via regular mail; cannot exceed books: submitqueryletterwithfullmanuscript exclusive submission for 12weeks. Picture Britt Jennifer Loja Advance against royalty. Family-owned, medium-sized Random House and Penguin Kevin Johnson Marikka Tamura Accepting, withfullmanuscript. Nina Kooij By purchase orroyalty asper Often choose from samples Not accepting. Jocelyn Schmidt Accepting; require Cecilia Yung Nadine dialbooksforyoungreaders/ 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 (middle grade and YA). preschool and ages 4–8aswellfiction annually. Interested inpicture booksfor 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 with a focus ontitles ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: VP &EXECUTIVEARTDIRECTOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: SENIOR EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: Namrata Tripathi ASSOCIATE PUBLISHER&EDITORIAL DIRECTOR: PRESIDENT &PUBLISHER: EXECUTIVE EDITOR: ASSOCIATE EDITORIAL DIRECTOR: Nancy Paulsen PRESIDENT &PUBLISHER,NANCYPAULSEN BOOKS: PRESIDENT &PUBLISHER: 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: EDITOR: ASSOCIATE PUBLISHER&EXECUTIVEMANAGING PRESIDENT &PUBLISHER: duttonchildrensbooks/ www.penguin.com/publishers/ (A Division of Penguin Young Readers Group) Dutton Children’s Books ARTWORK PAYMENT: ASSISTANT EDITOR: picture books. respond ifinterested. Steve Meltzer Advance against royalty. List of 75hardcover books Boutique teenand middle- Lucia Monfried Jessica Dandino Garrison Accepting. Not accepting. Claire Evans Kate Harrison Arianne Lewin Karre Andrew Dana Chidiac Stacey Friedberg Advance against royalty. Advance against royalty for Yes, direct toArtDirector. Not accepting. Not accepting. Not accepting. Lauri Hornik Jennifer Besser Julie Strauss-Gabel Accepting butonly Not accepting. LilyMalcom Susan Kochan

Melissa Faulner 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 73

SENIOR EDITOR: Stacey Barney books per year for teens and adults (www. Kathy Dawson Books PREPARING & SUBMITTING EDITOR: Stephanie Pitts (An Imprint of Penguin Young Readers Group) firebirdbooks.com). ASSOCIATE EDITOR: Katherine Perkins www.penguin.com/publishers/kathydawsonbooks/ QUERY LETTERS: Not accepting. DESCRIPTION: Focusing on fiction at the VP & PUBLISHER: Kathy Dawson MULTIPLE SUBMISSIONS: Not accepting. preschool level and ages 8–12 as well as YA. ASSISTANT EDITOR: Claire Evans UNSOLICITED MANUSCRIPTS: Not accepting. Some young nonfiction material. Includes the DESCRIPTION: A boutique hardcover imprint PAYMENT: Advance against royalty. Nancy Paulsen Books imprint. publishing emotionally driven middle grade and ARTWORK INTEREST: Accepting. Send to Art QUERY LETTERS: Not accepting. young adult fiction across a variety of genres. Director. Do not send originals. MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Accepts queries via regular ARTWORK PAYMENT: Flat fee. UNSOLICITED MANUSCRIPTS: Not accepting. U.S. Post only, no e-mail submissions and PAYMENT: Advance against royalty. no full manuscripts, please. Please do not Razorbill ARTWORK INTEREST: Yes, send to Art Director. include postcards or SASE, as will respond only (A Division of Penguin Young Readers Group) MARKET SURVEYS ARTWORK PAYMENT: Advance against royalty or if interested, with response time being four www.penguin.com/publishers/razorbill/ flat fee, depending on project. months. PRESIDENT & PUBLISHER: Ben Schrank MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE PUBLISHER: Casey McIntyre Grosset & Dunlap/PSS! UNSOLICITED MANUSCRIPTS: Not accepting. EXECUTIVE EDITOR: Jessica Almon (A Division of Penguin Young Readers Group) PAYMENT: Advance against royalty. ASSISTANT EDITOR: Jessica Harriton www.penguin.com/publishers/grossetdunlap/ ARTWORK INTEREST: Not accepting. ASSOCIATE EDITOR: Marissa Grossman PRESIDENT & PUBLISHER, GROSSET & DUNLAP/ ARTWORK PAYMENT: N/A VP & EXECUTIVE ART DIRECTOR: Deborah Kaplan PSS!, PENGUIN YOUNG READERS, WARNE & EARLY DESCRIPTION: Original contemporary fiction titles DIRECTORIES & RESOURCES – READERS, PENGUIN WORKSHOP, & CARTOON for middle-grade and teen readers (ages 11 18). QUERY LETTERS: Not accepting. NETWORK BOOKS: Francesco Sedita (A Division of Penguin Young Readers Group) www.penguin.com/publishers/philomel/ MULTIPLE SUBMISSIONS: Not accepting. ASSOCIATE PUBLISHER, GROSSET & DUNLAP/PSS!, PRESIDENT & PUBLISHER: Michael Green UNSOLICITED MANUSCRIPTS: Not accepting. WARNE: Daniel Moreton EDITORIAL DIRECTOR: Jill Santopolo PAYMENT: Advance against royalty. EDITORIAL DIRECTOR: Sarah Fabiny EDITOR: Liza Kaplan ARTWORK INTEREST: Not accepting samples. VP & EDITOR-AT-LARGE: Jane O’Connor ASSOCIATE EDITOR: Brian Geffen ARTWORK PAYMENT: N/A EXECUTIVE EDITOR: Rob Valois ASSISTANT EDITOR: Talia Benamy SENIOR EDITOR: Eve Adler ART DIRECTOR: Semadar Megged Viking Children’s Books EDITOR: Paula Manzanero DESCRIPTION: List with strong interest in story, (A Division of Penguin Young Readers Group) ASSOCIATE EDITOR: Karl Jones must have voice. Picture books often deal with www.penguin.com/publishers/vikingbooks/ ASSISTANT EDITOR: Max Bisantz the human experience and . Interest in VP & PUBLISHER: Ken Wright regional and ethnic pieces that are authentic ASSOCIATE EDITORIAL DIRECTOR: Tracy Gates

ASSISTANT EDITOR: Hannah Campbell PUBLICIZING YOUR PUBLISHED WORK EDITOR-AT-LARGE: ASSISTANT EDITOR: Renee Hooker and have child appeal. Action/adventure and Regina Hayes sports books; literary fiction; fantasy with EXECUTIVE EDITOR: Kendra Levin EDITORIAL ASSISTANT: Anu Ohioma warm, human component and unique world EDITOR: Joanna Cardenas EXECUTIVE ART DIRECTOR: Giuseppe Castellano building; mystery; and historical fiction. No ASSOCIATE EDITOR: Leila Sales PENGUIN WORKSHOP imprint launching Fall 2017. concept books. ASSOCIATE EDITOR: Alex Ulyett Publishing accessible titles and brands for every QUERY LETTERS: Not accepting. ASSISTANT EDITOR: Diego Nunez type of reader, from ages 0–12. Will work up to MULTIPLE SUBMISSIONS: Not accepting. ASSISTANT EDITOR: Maggie Rosenthal publishing approximately 30 titles annually. UNSOLICITED MANUSCRIPTS: Not accepting. VP & ART DIRECTOR: Denise Cronin DESCRIPTION: Strong trade, mass market, and PAYMENT: Advance against royalty. DESCRIPTION: List of high quality trade hardcover school market list for audience from preschool ARTWORK INTEREST: Accepting. Send to Art books for children of all ages through young through sixth grade. Publishes approximately Director. adult, including picture books, fiction, 135 titles per year and deals largely in original ARTWORK PAYMENT: Advance against royalty; flat nonfiction, and novelty books. Output averages paperback series, leveled readers, brands, fee for novel jackets. 60 titles annually. QUERY LETTERS: Not accepting. and licenses. Interest in series, licensing and MULTIPLE SUBMISSIONS: Not accepting. novelty ideas, some nonfiction up to age 12. (A Division of Penguin Young Readers Group) UNSOLICITED MANUSCRIPTS: Not accepting. SCHOOL VISITS The PSS!/ imprint publishes www.penguin.com/publishers/puffin/ PAYMENT: Advance against royalty. predominantly novelty and paperback titles, not PRESIDENT & PUBLISHER: Eileen Bishop Kreit ARTWORK INTEREST: Accepting. Send to Art original books. EDITORIAL DIRECTOR: Kristin Gilson Director. No originals, please. QUERY LETTERS: Not accepting. EDITOR: Dana Leydig ARTWORK PAYMENT: Advance against royalty or MULTIPLE SUBMISSIONS: Not accepting. VP, EXECUTIVE ART DIRECTOR: Deborah Kaplan flat fee. UNSOLICITED MANUSCRIPTS: Accepting all formats DESCRIPTION: Paperback list that ranges from except for picture books. Summary and the first preschool to teen, with both fiction and LEGAL QUESTIONS PERSNICKETY PRESS chapter or two for longer works. Must include nonfiction. Picture books, middle grade, (An Imprint of St. Claire Publishing, SASE. and young adult books. Includes paperback LLC) PAYMENT: Flat fee or advance against royalty. originals, such as middle-grade and teen fiction and nonfiction. Always interested in new www.persnickety-press.com ARTWORK INTEREST: Yes, send to Art Director. writers. Includes the paperback reprint imprint CEO/PUBLISHER: Brian Scott Sockin ARTWORK PAYMENT: Flat fee or advance against Speak, and the science fiction/fantasy crossover royalty. DESCRIPTION: Publishing books for children and imprint Firebird, which publishes 12–18 young adults, both fiction and non-fiction from 74 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.phaidon.com/store/childrens-books/ www.phaidon.com/about-phaidon/ 212-652-5400, Fax212-652-5410 New York, NY10012 creative and visual arts. They are broadening for publishing and distribution booksonthe picture booksannually. book line publishes twotofour hardcover various lines of activitybooks. Its trade picture a presence inthe children’s market withits stationery. The house hasalsoestablished references, travel guides, journals, and including giftbooks, humor books, compact hundred booksand ancillary products annually, Nonreturnable pieces only. hardcopy tothe attention of “Art Submissions.” DESCRIPTION: ART DIRECTOR, CHILDREN’S BOOKS: YORK OFFICE): PUBLISHING DIRECTOR, CHILDREN’SBOOKS(NEW 65 Bleecker Street,8 (An Imprint of Phaidon Press) PHAIDON CHILDREN’SBOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EXECUTIVE EDITOR: PRESIDENT &CEO: www.peterpauper.com 914-681-0144; Fax914-681-0389 White Plains, New York 10601-5376 202 Mamaroneck Ave., Suite400 PETER PAUPER PRESS PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: empowerment of children. to contribute tothe well-being, growth, and is onnonfiction and fiction titlesthataim topics inuniqueand humorous ways. It’s focus is alittleedgy, pushing boundaries toexplore picture booksthrough teentitles. Persnickety the project isamatch for the list. respond withinthree months onlyifthey feel to the attention of “Editorial Submissions.” Will Bennett flat fee. persnickety-press.com/book-submissions/. through websitesubmission systemathttps:// | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI Advance against royalty orflatfee. Advance against royalty orflatfee. Advance against royalty. Phaidon Press isbestknown Publishes approximately one Cecily Kaiser Accepting via U.S.Post mailed Accepting. Laurence Beilenson Mara Conlon Accepting. Advance against royalty or Accepting. Submitvia th Floor Accepting. Accepting. Accepting, butonly Accepting. Meagan world are encouraged. reflect the complexity and ambiguity of today’s Off-beat approaches and narrative choices that multiracial universeand current teenissues. on stories thatreflect our multicultural, adult readers (not middle grade), withemphasis traditional and cross-genre mysteries for young annually, including young adult fiction. publishing company publishing 30to40titles DESCRIPTION: PUBLISHER: www.polisbooks.com New York, NY POLIS BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR-IN-CHIEF: PUBLISHER: www.thepoisonedpencil.com 480-945-3375; Toll free800-421-3976 Scottsdale, Arizona85251 6962 E.FirstAvenue, Suite103 (An Imprint of Poisoned Pen Press) THE POISONEDPENCIL ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: ages 0–8. books, novelty books, and picture booksfor their children’s booksprogram, publishing board 37 MainStreet (An Imprint of powerHouse Books) POW! BOOKS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: submitting-a-book-proposal/. http://www.phaidon.com/about-phaidon/ For bookproposal submission guidelines, see email [email protected]. flat fee. polisbooks.com. Willrespond onlyifinterested. attached toanemail tosubmissions@ send aqueryletterand three samplechapters Advance against royalty. N/A Advance against royalty. Robert Rosenwald Jason Pinter Publishes fast-paced, edgy A digital-first independent Accepting bookproposals, via Accepting. Not accepting. Ellen Larson N/A Advance against royalty or N/A No. Not accepting. Not accepting. No. Accepting. Not accepting. Not accepting. Accepting. Accepting. Please with crossover into the adult market. funny, and haveanoffbeat oredgy sensibility, books thatare visually striking, imaginative, publisher powerHouse Books, publishing picture originals. com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission qualifications, signed Submission Agreement, discovery. picture books focusing onscience, nature, and original, edutainment-quality nonfiction approximately 20titlesannually. Publishing depending onthe project. ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: EXECUTIVE PUBLISHER: powkidsbooks.com 212-604-9074 Brooklyn, NY11201 ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL DIRECTOR: http://www.quartoknows.com/MoonDance-Press 949-380-7510; Fax949-380-7575 Lake Forest,CA92630 6 Orchard,Suite100 (An Imprint of USA) Press www.quartous.com 949-380-7510; Fax949-380-7575 Lake Forest,CA92630 6 OrchardRoad,Suite100 (A divisionof QuartoGroup) QUARTO USA ARTWORK PAYMENT: flat fee. 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 com/Corporate/Submission-Guidelines/. guidelines postedathttp://www.quartoknows. and other materials listedonsubmission submit proposal, signed Submission Agreement, Jordan Nielsen Advance against royalty orflatfee. Advance against royalty orflatfee, Launched 2016.Publishing An imprint of independent Accepting. Not accepting. Advance against royalty or Advance against royalty or Yes, butdo not send Yes. Pleasesubmit Charles Nurnberg Craig Cohen Not accepting. Accepting. Accepting. Please Accepting. Send to 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 75 flat fee, depending on the project. wideeyededitions.com DESCRIPTION: Small press. YA imprint publishes PREPARING & SUBMITTING https;//www.quartoknows.com/Wide-Eyed- historical narrative nonfiction for young readers. Seagrass Press Editions Focused on American history and emphasizing (An Imprint of Quarto USA) PUBLISHER: Rachel Williams social justice themes. EDITORIAL DIRECTOR, WIDE EYED, FRANCIS http://www.quartoknows.com/Seagrass-Press QUERY LETTERS: Not accepting. VP & GROUP PUBLISHER: LINCOLN: Jenny Broom Anne Landa MULTIPLE SUBMISSIONS: Accepting. PUBLISHER, EDITORIAL DIRECTOR: Josalyn Moran DESCRIPTION: Specializes in curriculum-focused UNSOLICITED MANUSCRIPTS: Accepting. Only DESCRIPTION: Publishing environmentally illustrated nonfiction for ages 2–10 with an seeking YA nonfiction for ages 10+. See focused titles for pre-K to fifth-grade readers. emphasis on art, geography, and natural history. website for full submission guidelines: https:// Will publish 12 to 16 titles annually. Based in the U.K., Wide Eyed Editions releases QUERY LETTERS: Not accepting. are edited in the U.S. for North American quindaropress.com/contact. Submit via email MULTIPLE SUBMISSIONS: Not accepting. audiences. Many of the Wide Eyed Editions only to [email protected]. MARKET SURVEYS UNSOLICITED MANUSCRIPTS: Accepting. Please authors and illustrators are American. PAYMENT: Advance against royalty. submit proposal, signed Submission Agreement, QUERY LETTERS: Accepting. ARTWORK INTEREST: No. and other materials listed on submission MULTIPLE SUBMISSIONS: Not accepting. ARTWORK PAYMENT: N/A guidelines posted at http://www.quartoknows. UNSOLICITED MANUSCRIPTS: Accepting. Please com/Corporate/Submission-Guidelines/. submit proposal, signed Submission Agreement, QUIRK BOOKS and other materials listed on submission PAYMENT: Advance against royalty or flat fee, 215 Church Street depending on the project. guidelines posted at http://www.quartoknows. , PA 19106 ARTWORK INTEREST: Yes. Please submit com/Corporate/Submission-Guidelines/. 215-627-3581; Fax 215-627-5220 DIRECTORIES & RESOURCES qualifications, signed Submission Agreement, PAYMENT: N/A www.quirkbooks.com and other materials listed on submission ARTWORK INTEREST: Yes. Please submit guidelines posted at http://www.quartoknows. qualifications, signed Submission Agreement, EDITOR: Jason Rekulak com/Corporate/Submission-Guidelines/. and other materials listed on submission EDITOR: Blair Thornburgh ARTWORK PAYMENT: Advance against royalty or guidelines posted at http://www.quartoknows. EDITOR: Rick Chillot flat fee, depending on the project. com/Corporate/Submission-Guidelines/. DESCRIPTION: Publishing innovative books for ARTWORK PAYMENT: N/A middle graders and young adults within their Walter Foster Jr. program of approximately 25 books per year; (An Imprint of Quarto USA) words & pictures distributed by Penguin Random House. http://www.quartoknows.com/Walter-Foster-Jr (An Imprint of Quarto USA) MULTIPLE SUBMISSIONS: Accepting. VP & GROUP PUBLISHER: Anne Landa www.quartoknows.com/words-pictures UNSOLICITED MANUSCRIPTS: Accepting. Email EDITORIAL DIRECTOR: Pauline Molinari GROUP PUBLISHER: Zeta Jones submissions preferred, but U.S. Post accepted. DESCRIPTION: Part of Walter Foster Publishing, PUBLISHER: Maxime Boucknooghe Please submit to editor specified at www. PUBLICIZING YOUR PUBLISHED WORK publisher of instructional art books and kits DESCRIPTION: Publishing illustrated children’s quirkbooks.com/page/submissions. for adults and children. Walter Foster Jr. titles that celebrate imagination and creativity, publishes books and kits for children of all PAYMENT: Advance against royalty. with a focus on escaping this world and ages, encouraging learning and exploring and ARTWORK INTEREST: Not accepting. learning something that you don’t normally covering a wide range of subjects, including art, ARTWORK PAYMENT: N/A transportation, history, craft, gardening, and see—and then coming back to the world and more. enriching it. U.S. expansion of this formerly RANDOM HOUSE CHILDREN’S BOOKS QUERY LETTERS: Not accepting. England-only imprint launched Spring 2017. (A Division of Random House, Inc.) MULTIPLE SUBMISSIONS: Not accepting. QUERY LETTERS: Accepting. 1745 Broadway UNSOLICITED MANUSCRIPTS: Accepting. Please MULTIPLE SUBMISSIONS: Not accepting. New York, NY 10019 submit proposal, signed Submission Agreement, UNSOLICITED MANUSCRIPTS: Accepting. Please 212-782-9000 and other materials listed on submission submit proposal, signed Submission Agreement, www.penguinrandomhouse.com guidelines posted at http://www.quartoknows. and other materials listed on submission www.randomhousekids.com com/Corporate/Submission-Guidelines/. guidelines posted at http://www.quartoknows. www.randomhouse.com/teens PAYMENT: Advance against royalty or flat fee, com/Corporate/Submission-Guidelines/. DESCRIPTION: Random House and Penguin depending on the project. Publishing merged in 2013 to form Penguin SCHOOL VISITS PAYMENT: N/A ARTWORK INTEREST: Yes. Please submit Random House; at present, the children’s ARTWORK INTEREST: Yes. Please submit qualifications, signed Submission Agreement, books divisions of the two respective merged qualifications, signed Submission Agreement, and other materials listed on submission companies function separately. Random House guidelines posted at http://www.quartoknows. and other materials listed on submission Children’s Books includes the paperback/reprint/ com/Corporate/Submission-Guidelines/. guidelines posted at http://www.quartoknows. classics imprints , Dragonfly, ARTWORK PAYMENT: Advance against royalty or com/Corporate/Submission-Guidelines/. Delacorte Press Trade Paperbacks, Yearling flat fee, depending on the project. ARTWORK PAYMENT: N/A Books, Laurel Leaf, Golden Books, Ember, LEGAL QUESTIONS Bluefire, and Knopf Trade Paperbacks, and the Wide Eyed Editions QUINDARO PRESS Disney properties imprint Disney Books for (An Imprint of Quarto USA) 816-200-2276 Young Readers. th th 142 West 36 Street, 4 Floor quindaropress.com PRESIDENT & PUBLISHER, RANDOM HOUSE New York, NY 10018 CHILDREN’S BOOKS U.S.: Barbara Marcus PUBLISHER: Aaron Barnhart 212-779-1809; Fax 212-779-6058 76 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org launches 2018. reflects the diversity of abroadening world;list publishing literature for young peoplethat Make Me aWorld, curated byChristopher Myers, novels for young people. Includes the imprint award-winning board books, picture books, and hook. Includes Tricycle Press, which publishes into fiction and might haveacurriculum strong kid appealthatintegrate nonfiction hardcovers eachyear. Interested inbookswith the occasional YA. Publishes 10–15new nonfiction for ages 8–12, although publishes distinguished middle grade fiction and narrative not bereviewed. Send samplepostcards; email submissions will middle-grade and teenfiction and nonfiction. UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EXECUTIVE ARTDIRECTOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSISTANT EDITOR: ASSOCIATE EDITOR: EDITOR: EDITOR: SENIOR EDITOR: EXECUTIVE EDITOR: SENIOR EXECUTIVEEDITOR: SENIOR EXECUTIVEEDITOR: ASSOCIATE PUBLISHINGDIRECTOR: READERS: VP &PUBLISHER,CROWN BOOKSFORYOUNG WORLD: VP &PUBLISHER,ALFREDA.KNOPF, MAKEMEA VP &PUBLISHER,CROWN: GROUP: , &CROWN BOOKSFORYOUNG READERS SVP &PUBLISHER,RANDOMHOUSE/GOLDENBOOKS, (Imprint of Random House Children’s Books) Crown Books for Young Readers Alfred A.Knopf SENIOR EDITOR: SENIOR EXECUTIVEEDITOR: SENIOR EXECUTIVEEDITOR: SVP &PUBLISHER,DELACORTE PRESS: (An Imprint of Random House Children’s Books) Delacorte Press Books for Young Readers ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: Horowitz flat fee, depending onproject. manuscripts via email. 2-6 months for aresponse. Pleasedo not submit be reviewed with other unsolicited work.Allow 1745 Broadway /New York, NY10019.It will addressed envelope, toTHEEDITORS /Knopf / of yourwork,25-50pages, and astamped, self- knopfdoubleday.com/contact-us/. Send asample Submission guidelines posted athttp:// | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI Julia Maguire Katherine Harrison Mallory Loehr Jennifer Brown Advance against royalty. Emily Easton The CBYR imprint hasalistof AllisonWortche Not accepting. Kate Sullivan Karen Greenberg Samantha Gentry Stephen Brown Kelly Delaney Michelle Frey Advance against royalty and Yes, for picture books, Not accepting. Isabel Warren-Lynch Phoebe Yeh Nancy Siscoe Wendy Loggia Erin Clarke Krista Marino Accepting. Melanie Nolan Beverly educational and general interest categories. as wellnonfiction thatcrosses both fiction for the middle grade and YA categories, paperback fiction for ages 0–18. nonfiction for beginning readers, hardcover and books, board and novelty books, fiction and books; onlyfor bookcoversorline interiors. EXECUTIVE EDITOR: EXECUTIVE EDITOR: EDITOR-AT-LARGE, EXECUTIVEEDITOR: EDITORIAL DIRECTOR, GOLDENBOOKS: READERS, RANDOMHOUSE: EDITORIAL DIRECTOR, PICTUREBOOKS&BEGINNING RANDOM HOUSE/GOLDENBOOKSGROUP: EDITORIAL DIRECTOR OFLICENSEDPUBLISHING, DOUBLEDAY: ASSOCIATE PUBLISHINGDIRECTOR, GOLDENBOOKS/ GOLDEN BOOKSGROUP: ASSOCIATE PUBLISHINGDIRECTOR, RANDOMHOUSE/ ,DR.SEUSS: PRESIDENT &PUBLISHER,RANDOMHOUSE’S PUBLISHING/GOLDEN BOOKS: VP, EDITOR-IN-CHIEF, EXECUTIVEDIRECTOR LICENSED GROUP: DOUBLEDAY, &CROWN BOOKSFORYOUNG READERS SVP &PUBLISHER,RANDOMHOUSE/GOLDENBOOKS, (A Division of Random House Children’s Books) Readers Group Random House/GoldenBooks Young ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: QUERY LETTERS: DESCRIPTION: SENIOR ARTDIRECTOR: EDITORIAL ASSISTANT: EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR: EDITOR: SENIOR EDITOR: SENIOR EDITOR: Modugno EDITORIAL DIRECTOR, PICTUREBOOKS: Muldrow flat fee, depending onproject. Shealy Mallory Loehr Chelsea Eberly Rachel Poloski Frank Berrios

Advance against royalty. Frances Gilbert List of literary and commercial This listincludes colorand activity Not accepting. Diane Landolf Carolyn Abbey Not accepting. Monica Jean Mary Man-Kong Alice Jonaitis Rebecca Weston Kelsey Horton Anna Membrino Jenna Lettice Michael Joosten Kristen Depken Advance against royalty and Not accepting for picture Rachel Chlebowski Audrey Ingerson Alexandra Hightower Roberta Ludlow Michelle H.Nagler Not accepting. Heidi Kilgras Not accepting. Chris Angelilli Cathy Goldsmith Shana Corey Diane Maria Dennis

VP &EXECUTIVEEDITOR: nonfiction, and graphic novels. grade and young adult fiction, non-traditional a year, mostly picture books, as wellmiddle at thistime. 8–12 and 12–18.Not publishing picture books young adult fiction and nonfiction for readers samples; no email submissions willbereviewed. Wade orArtDirector RachaelCole. 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: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: DESCRIPTION: ASSOCIATE PUBLISHER: PRESIDENT &PUBLISHER: www.regnery.com 202-216-0600; Fax202-393-1781 Washington DC20001-2253 300 NewJerseyAve NW, Suite500 (A Division of EaglePublishing) REGNERY PUBLISHING ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: ASSISTANT EDITOR: VP &PUBLISHINGDIRECTOR: (An Imprint of Random House Children’s Books) Wendy LambBooks ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: flat fee, depending onproject. flat fee, depending onproject. flat fee, depending onproject. preferences. com/faqs/#manuscripts for submission 10019. Seehttp://www.penguinrandomhouse. 1745 Broadway, 10-4,New York, New York Schwartz &Wade Books, Submissions Editor, longer books. Allsubmissions may besent to: picture bookmanuscripts and proposals for Advance against royalty. Advance against royalty. Advance against royalty. Publishes about15to20books Publisher of conservative books. List of literary middle-grade and Rachael Cole Isabel Warren-Lynch AnnKelley Not accepting. Not accepting. Anne Schwartz Lee Wade Dana Carey Advance against royalty or Advance against royalty and Advance against royalty and Contact artdirector. Accepting. Send postcard Contact VP&Publisher Lee William Vogan Alex Novak Harry W. Crocker Not accepting. Not accepting. Not accepting. Marji Ross Accepting unsolicited Not accepting. Not accepting. Wendy Lamb

2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 77

PHOTO DIRECTOR: Cindy Reiman ASSCOCIATE EDITOR: Adrienne Szpyrka Imprints for young readers include Regnery PREPARING & SUBMITTING Kids and Regnery Adventure (details below), DESCRIPTION: Educational publisher for preschool DESCRIPTION: Publishes about 30–40 titles as well as Little Patriot Press (a list of civic- through high school, with high-interest, annually. Focus is on novelty, picture book, and minded educational titles by an in-house curriculum-correlated materials. Multivolume, YA titles with a select amount of middle grade team for readers 5–8 years old; not accepting library-bound series nonfiction books geared to books. Target audience ranges from newborn submissions). a young adult (grades 7–12) audience. Subject to teen. Looking for unique formats, creative areas include multiculturalism, self-help, and concepts, distinctive writing and illustration, Regnery Kids career guidance. Also publishes library-bound visual stories, and strong, accessible voices. (An Imprint of Regnery Publishing) one-volume reference works. In 2014, Rosen Note: In 2016, acquired www.regnery.com/imprint/regnery-kids/ DESCRIPTION: Children’s imprint featuring Publishing acquired Enslow Publishers; Enslow Perseus Books Group, of which Running Press patriotic, non-partisan, entertaining, funny remains a standalone company. Kids is a member; company address expected MARKET SURVEYS picture books. POWERKIDS PRESS imprint publishes children’s to change as Perseus offices are moved to QUERY LETTERS: Accepting manuscripts and nonfiction (grades K–8) addressing topics Hachette’s offices. proposals from agents only, via submissions@ such as curriculum-related subjects, character QUERY LETTERS: Not accepting. regnery.com. building, multicultural issues, biographies, MULTIPLE SUBMISSIONS: Not accepting. MULTIPLE SUBMISSIONS: Not accepting. science, nature, guidance, and conflict UNSOLICITED MANUSCRIPTS: Not accepting. UNSOLICITED MANUSCRIPTS: Not accepting. resolution. PAYMENT: Advance against royalty or flat fee, PAYMENT: Advance against royalty. ROSEN CENTRAL imprint publishes middle grade depending on project. ARTWORK INTEREST: Accepting samples from (grades 5–9) nonfiction in series on topics ARTWORK INTEREST: Not accepting. DIRECTORIES & RESOURCES agents only, via [email protected]. including science, history, self-help, health, and ARTWORK PAYMENT: Flat fee or advance against ARTWORK PAYMENT: Advance against royalty and flat fee, depending on project. career guidance. royalty, depending on project. ROSEN YOUNG ADULT imprint publishes high- RODALE KIDS interest books for teens grades 7–12, often with SCHOLASTIC TRADE (An imprint of Rodale Books) activities and other features to help develop 557 Broadway 733 Third Avenue critical thinking skills. New York, NY 10012 New York, NY 10017 BRITANNICA EDUCATIONAL PUBLISHING publishes 212-343-6100 www.rodalekids.com reference books that help students develop www.scholastic.com VP, PUBLISHER: Gail Gonzalez a deeper understanding of core subjects and PRESIDENT, TRADE PUBLISHING: Ellie Berger VP, EDITORIAL DIRECTOR: Jennifer Levesque current events. EDITORIAL DIRECTOR: Nancy Mercado EDITOR: Rhea Lyons WINDMILL BOOKS imprint publishes fiction and VP, PUBLISHER, SCHOLASTIC INC.: Tracy Mack CREATIVE AND EDITORIAL DIRECTOR, RODALE KIDS: nonfiction, from basic-concept board books to DESCRIPTION: Total of 450 titles a year for all PUBLICIZING YOUR PUBLISHED WORK Eric Wight novels for young readers. imprints. Scholastic also publishes the UK DESCRIPTION: Publishing a variety of fiction and QUERY LETTERS: Accepting. Send via regular mail imprint Chicken House (www.doublecluck.com) nonfiction titles for infants, children, and teens, only, addressed to “Submissions” and including books in the U.S. and . with a focus on picture books, chapter books, outline with sample chapter as well as SASE early-reader titles, graphic novels, and gift to guarantee a reply. Writers and illustrators Arthur A. Levine Books books and an emphasis on Rodale’s specialty: can contact the Customer Service team for (An Imprint of Scholastic Trade) www.arthuralevinebooks.com fitness, self-help, and health. Launching Fall information about contributing to Rosen VP & PUBLISHER: Arthur A. Levine 2017; will eventually publish 30–45 titles per Publishing Group via an online contact form on EDITOR: Nicholas Thomas year. the website. No telephone calls, please. ASSOCIATE EDITOR: Kait Feldman QUERY LETTERS: MULTIPLE SUBMISSIONS: Accepting. Accepting from agents only. ASSISTANT EDITOR: Weslie Turner UNSOLICITED MANUSCRIPTS: Accepting, but send MULTIPLE SUBMISSIONS: Not accepting. DESCRIPTION: Publishes titles that cross over UNSOLICITED MANUSCRIPTS: Not accepting. queries only, not manuscripts. into bookstore, library, and school markets. PAYMENT: Advance against royalty. PAYMENT: Flat fee. QUERY LETTERS: Accepting. For picture books,

ARTWORK INTEREST: Accepting samples from ARTWORK INTEREST: Yes, photos only. submit query letter with the full text. For SCHOOL VISITS agents only. ARTWORK PAYMENT: Flat fee. novels, send query letter, the first two chapters, ARTWORK PAYMENT: Advance against royalty and and a one-page synopsis. For other items, flat fee, depending on project. RUNNING PRESS KIDS submit query letter plus five page samples (five (A Member of the Perseus Books Group, a poems, five nonfiction pages, etc.). Submit to http://arthuralevinebooks.submittable.com/ THE ROSEN PUBLISHING GROUP Division of Hachette Book Group) Philadelphia Office: 2300 Chestnut Street, Suite submit.

29 East 21st Street LEGAL QUESTIONS MULTIPLE SUBMISSIONS: Not accepting. 200, Philadelphia, PA 19103, 215-567-5080 New York, NY 10010 UNSOLICITED MANUSCRIPTS: Only accepting New York Office: 1290 Avenue of the Americas, 800-237-9932; Fax 888-436-4643 query letters except in the case of picture book www.rosenpublishing.com New York, NY 10104, 212-364-1100 dummies, which will be accepted via U.S. post; PRESIDENT & PUBLISHER: Roger Rosen www.runningpress.com/rpkids please mail those to Arthur A. Levine Books VP: Gina Strazzabosco-Hayn SVP, PUBLISHER, PERSEUS BOOKS: Susan Weinberg at the above New York address, and include ASSOCIATE EDITORIAL DIRECTOR, ROSEN YA: Jacob VP, PUBLISHER: Kristin Kiser an SASE if you’d like the materials returned. Steinberg EDITORIAL DIRECTOR: Julie Matysik See full submission guidelines at http://www. 78 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI beginning readers. books aswellthe Scholastic Reader line for seasonal/curricular picture books, and board includes concept, novelty, young nonfiction, year for children from the ages of 0to6.List library, and school markets. titles peryearthatcross overinto bookstore, directors. enough postage tocoveritsreturn. like yourdummy tobereturned toyou,include self-addressed, stampedenvelope. Ifyouwould you wouldlike toreceive aresponse, include a Books, 557Broadway, New York, NY10012.If post withquerylettertoArthur A.Levine dummies (fulltext and illustrations) via U.S. submittable.com/submit. Submitpicture book portfolio via email tohttp://arthuralevinebooks. sample illustrations and linkstoyouronline ART DIRECTOR, ASSOCIATE TO CREATIVE DIRECTOR: EDITOR: Cassandra Pelham SENIOR EDITOR, GRAPHIXANDSCHOLASTICBOOKS: 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: Patti AnnHarris BOOKS, READERS,BRANCHES,&LITTLESHEPHERD: CREATIVE DIRECTOR, CARTWHEELBOOKS,ORCHARD SCHOLASTIC PRESS: EDITOR, CARTWHEELBOOKS,ORCHARDAND PRESS: SENIOR EDITOR, CARTWHEELBOOKSANDSCHOLASTIC BOOKS ANDORCHARDBOOKS: VP, EXECUTIVEEDITORIAL DIRECTOR, CARTWHEEL (An Imprint of Scholastic Trade) Cartwheel Books ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: VP &EDITORIAL DIRECTOR: (An Imprint of Scholastic Trade) The BlueSkyPress ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: arthuralevinebooks.com/submission.asp. fee. Orli Zuravicky Adam Rau Advance against royalty orflatfee. Advance against royalty. Advance against royalty. David Saylor Publishes roughly 80booksa Publishes around 60hardcover Not accepting. Not accepting. Advance against royalty orflat Celia Lee Advance against royalty. Advance against royalty. Yes, through ArtDirector. Yes, through editorsand art Accepting. Send three Not accepting. Not accepting. Bonnie Verburg Not accepting. Not accepting. Liza Baker and they are closedtosubmission. Most of their projects are generated in-house books, guides, and aneducational product line. publishes hands-on formats, including activity novels for children. ages 0–10. Primarily picture booksand earlychapterbooks, attention “Art Director.” attention of “Art Director.” SCHOLASTIC PRESS: EDITOR, CARTWHEELBOOKS,ORCHARDAND BOOKS ANDORCHARDBOOKS: VP, EXECUTIVEEDITORIAL DIRECTOR, CARTWHEEL (An Imprint of Scholastic Trade) Orchard Books 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: DESCRIPTION: SENIOR PRODUCTEDITOR: VP, PRODUCTDEVELOPMENT: SENIOR VP, GENERALMANAGER: (An Imprint of Scholastic Trade) Klutz ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: Marijka Kostiw www.thisispush.com (An Imprint of Scholastic Trade) Push ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: BOOKS: CREATIVE DIRECTOR, CARTWHEELBOOKS,ORCHARD picture book;flatfeeifjacket only. picture book;flatfeeifjacket only. fee. Patti AnnHarris N/A Advance against royalty. Advance against royalty. Advance against royalty orflatfee. Michael diCapua Klutz isa“booksplus”imprint that Imprint publishing original graphic List of 15plustitlesperyear. Not accepting. Accepting. Not accepting. Not accepting. Advance against royalty orflat N/A Celia Lee Accepting samples. Advance against royalty if Advance against royalty if Send samplestothe Accepting. Send samplesto N/A Not accepting. Not accepting. Not accepting. Not accepting. Caitlin Harpin Not accepting. Not accepting. Not accepting. Not accepting. Netta Rabin Liza Baker Stacy Lellos originals and series. Leyshon EXECUTIVE EDITOR: SCHOLASTIC INC.: ASSOCIATE PUBLISHER,PILKEYPUBLISHING& Samantha Schutz ASSOCIATE PUBLISHER,LICENSINGANDNONFICTION: PAPERBACKS: ASSOCIATE PUBLISHER&DIRECTOR, TRADE HOUSE: PUBLISHER &MANAGING DIRECTOR, THECHICKEN PICTURE BOOKS: VP &EDITORIAL DIRECTOR, SCHOLASTICPRESS BOOKS, NONFICTION,&LICENSING: VP &PUBLISHEROFREADERS,EARLY CHAPTER TRADE HARDCOVER PICTUREBOOKS: VP, ASSOCIATE PUBLISHER,&CREATIVE DIRECTOR MULTIMEDIA PUBLISHING,&PUSH: VP, PUBLISHER,&EDITORIAL DIRECTOR FORFICTION, (An Imprint of Scholastic Trade) Scholastic Press UNSOLICITED SUBMISSIONS: DESCRIPTION: VP &EDITORIAL DIRECTOR: ASSOCIATE EDITOR: EDITOR, TRADEPAPERBACKS: EDITOR, TRADEPAPERBACKS: JUNIOR EDITOR, CHICKENHOUSE: ASSOCIATE EDITOR: SCHOLASTIC PRESS: EDITOR, CARTWHEEL BOOKS,ORCHARDAND EDITOR, NONFICTION: EDITOR: EDITOR: EDITOR: EDITOR: EDITOR: SENIOR EDITOR: SENIOR EDITOR, LICENSEDPUBLISHING: Cassandra Pelham SENIOR EDITOR, GRAPHIXANDSCHOLASTICBOOKS: SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR: SENIOR EDITOR, LICENSEDPUBLISHING: Jenne Abramowitz SENIOR EDITOR, LICENSING/NONFICTION/READERS: EXECUTIVE EDITOR, TRADEPAPERBACKS: EXECUTIVE EDITOR: EXECUTIVE EDITOR: Rachel Griffiths EDITORIAL DIRECTOR, MULTIPLATFORM PUBLISHING: EDITORIAL DIRECTOR, CHICKENHOUSE: VP, EXECUTIVEEDITOR: Friedman Petranek Bignell Woehr com for novel contests. Barry Cunningham Emily Seife Paige Hazzan Nick Eliopulos Anna Bloom Erin Black Abigail McAden Publishes teenfiction paperback Jody Corbett Matt Ringler Mallory Kass Katie Carella

Ken Geist Anamika Bhatnagar Lisa Sandell Amanda Maciel Dianne Hess Kait Feldmann Savannah Kuper Celia Lee Marisa Polansky Andrea DavisPinkney David Levithan See www.thisispush. Rebecca Shapiro Zack Clark Kesia Lupo Debra Dorfman David Levithan David Saylor Rachel Michael Katie Aimee 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 79

ASSISTANT EDITOR: Samantha Swank ARTWORK PAYMENT: Flat fee. picture books, contemporary middle-grade

ASSISTANT EDITOR: Michael Coulter fiction, “cutting edge” teen fiction, and PREPARING & SUBMITTING EDITORIAL ASSISTANT: Patrice Caldwell SIMON & SCHUSTER interesting nonfiction. Moonbot Books publishes CREATIVE DIRECTOR, HARDCOVER NOVELS: Elizabeth (Simon & Schuster Children’s Publishing approximately three books annually (picture books and middle grade books), all illustrated Parisi Division) 1230 Avenue of the Americas by William Joyce and other artists at Joyce’s DESCRIPTION: Interest in strong picture books, New York, NY 10020 Moonbot Studios. appealing middle-grade novels for ages 8–12, 212-698-7000 QUERY LETTERS: Not accepting. and quality chapter books for ages 7–9. Also www.simonandschuster.com MULTIPLE SUBMISSIONS: Not accepting. seeking interesting and well written YA fiction. PRESIDENT & PUBLISHER, CHILDREN’S PUBLISHING: UNSOLICITED MANUSCRIPTS: Not accepting. Chicken House is a small children’s book Jon Anderson PAYMENT: Advance against royalty. publishing company and part of Scholastic Press. ARTWORK INTEREST: Submit samples through mail

Scholastic Branches imprint publishes early Aladdin to “Art Director.” MARKET SURVEYS chapter books designed for newly independent (An Imprint of Simon & Schuster) ARTWORK PAYMENT: Advance against royalty or readers who are ready to make the exciting leap www.simonandschusterpublishing.com/aladdin/ flat fee, depending on the project. from leveled readers, but not quite prepared for VP & PUBLISHER: Mara Anastas a traditional chapter book. VP & DEPUTY PUBLISHER: Mary Marotta Beach Lane Books (An Imprint of Simon & Schuster) QUERY LETTERS: Not accepting. VP & EDITORIAL DIRECTOR, PULSE & ASSOCIATE EDITORIAL DIRECTOR, ALADDIN: Liesa Abrams 5666 La Jolla Boulevard #154 MULTIPLE SUBMISSIONS: Not accepting. EDITORIAL DIRECTOR: Fiona Simpson La Jolla, CA 92037 UNSOLICITED MANUSCRIPTS: Not accepting. EXECUTIVE EDITOR: Karen Nagel imprints.simonandschuster.biz/beach-lane-books PAYMENT: Advance against royalty. DIRECTORIES & RESOURCES EDITOR, ALADDIN, MAX: Alyson Heller www.simonandschusterpublishing.com/beach- ARTWORK INTEREST: Yes, through editors and art EDITOR, ALADDIN, MAX: Amy Cloud lane/ directors. EDITORIAL ASSISTANT: Tricia Lin VP & PUBLISHER: Allyn Johnston (La Jolla office) ARTWORK PAYMENT: Advance against royalty. EXECUTIVE ART DIRECTOR: Karin Paprocki VP & DEPUTY PUBLISHER: Anne Zafian (New York DESCRIPTION: Publishes hardcover and paperback office, 1230 Avenue of the Americas, New York, SCHOLASTIC TRADE PUBLISHING originals for ages from preschool through tween, NY 10020) (Scholastic Library Publishing) including picture books, beginning readers, EXECUTIVE EDITOR: Andrea Welch (La Jolla office) P.O. Box 3765 chapter books, middle-grade and tween series ASSISTANT EDITOR, BEACH LANE BOOKS, PAULA Jefferson City, MO 65102-3765 as well as single-title fiction, with emphasis on WISEMAN BOOKS: Sarah Jane Abbott 800-621-1115 quality and recreational reading in all genres. Of DESCRIPTION: West-coast-based imprint offering http://scholasticlibrary.digital.scholastic.com/ particular interest are school stories, action- 18–20 hardcover and paperback titles a year, about-us/ adventure, humor, and coming-of-age stories. mostly picture books for the very young, but also MAX, a paperback line publishing a range of select middle-grade and teen fiction. PUBLICIZING YOUR PUBLISHED WORK Children’s Press fiction genres for middle-grade boys, and MIX, a QUERY LETTERS: Not accepting. DESCRIPTION: School and library list with paperback line publishing contemporary stories MULTIPLE SUBMISSIONS: Not accepting. concentration on curriculum-related nonfiction for middle-grade girls who have outgrown early UNSOLICITED MANUSCRIPTS: Not accepting. series at elementary and middle school level. chapter books but aren’t yet ready for YA. PAYMENT: Advance against royalty. Main subject areas are history, social issues, QUERY LETTERS: Not accepting. ARTWORK INTEREST: Yes, if requested. natural and physical science, and biography. The MULTIPLE SUBMISSIONS: Not accepting. ARTWORK PAYMENT: Advance against royalty for only picture books published by Children’s Press UNSOLICITED MANUSCRIPTS: Not accepting. picture books. are in the Rookie Readers series. No YA fiction of PAYMENT: Advance against royalty and some any kind. work-for-hire series projects. Caitlyn Dlouhy Books QUERY LETTERS: Not accepting. ARTWORK INTEREST: For picture books, beginning (An Imprint of /Simon & MULTIPLE SUBMISSIONS: Not accepting. readers, chapter books, jacket/covers. Schuster) UNSOLICITED MANUSCRIPTS: Not accepting. ARTWORK PAYMENT: Flat fee or advance against imprints.simonandschuster.biz/atheneum PAYMENT: Various terms, mostly work-for-hire. royalty, depending on project. www.simonandschusterpublishing.com/atheneum/ ARTWORK INTEREST: Yes, send nonreturnable art VP & EDITORIAL DIRECTOR: Caitlyn Dlouhy samples to “Art Director.” Atheneum Books for Young Readers EDITORIAL ASSISTANT: Alexandria Borbolla ARTWORK PAYMENT: Flat fee. (An Imprint of Simon & Schuster) DESCRIPTION: Publishing picture books, middle SCHOOL VISITS imprints.simonandschuster.biz/atheneum grade, and young adult fiction. Franklin Watts www.simonandschusterpublishing.com/atheneum QUERY LETTERS: Not accepting. DESCRIPTION: School and library list with VP & PUBLISHER: Justin Chanda MULTIPLE SUBMISSIONS: Not accepting. concentration on curriculum-related nonfiction VP & DEPUTY PUBLISHER: Anne Zafian UNSOLICITED MANUSCRIPTS: Not accepting. individual and series titles, directed to middle EDITORIAL DIRECTOR, RICHARD JACKSON BOOKS: PAYMENT: Advance against royalty. school and high school readers. Main subject Richard Jackson ARTWORK INTEREST: Submit samples through mail LEGAL QUESTIONS areas are cutting-edge social issues, natural and EXECUTIVE EDITOR: Reka Simonsen to “Art Director.” physical science, history. ASSISTANT EDITOR, S&S BFYR, ATHENEUM, MARGARET ARTWORK PAYMENT: Advance against royalty or QUERY LETTERS: Not accepting. K. MCELDERRY: Alexa Pastor flat fee, depending on the project. MULTIPLE SUBMISSIONS: Not accepting. EDITOR: Emma Ledbetter UNSOLICITED MANUSCRIPTS: Not accepting. EDITORIAL ASSISTANT: Julia McCarthy Little Simon PAYMENT: Various terms; mostly work-for-hire. EXECUTIVE ART DIRECTOR: Ann Bobco (An Imprint of Simon & Schuster) ARTWORK INTEREST: Accepting. Send DESCRIPTION: Publishes approximately 60 imprints.simonandschuster.biz/little-simon nonreturnable art samples to Art Director. hardcover and 20 paperback titles a year. www.simonandschusterpublishing.com/little- Looking in most categories, especially for simon/ 80 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI authors and illustrators. top-quality fiction. Like toencourage new books and teenmaterial. Lookfor humor and nonfiction. Special interest inpreschool picture to teenfiction. Publish more fiction than ‘n’ feel,etc. About50titlesayear. books, pull-tabbooks, gate-fold books, touch up books, lift-the-flaps, glitterbooks, sticker merchandise only, including board books, pop- Simon &Schuster’s children’s list:novelty and that are wholly childlike, centered inemotion, books, and novels focusing onstories and art QUERY LETTERS: DESCRIPTION: EXECUTIVE ARTDIRECTOR: MARGARET K.MCELDERRY: ASSISTANT EDITOR, S&SBFYR,ATHENEUM, EDITOR: SENIOR EDITOR: VP &EDITORIAL DIRECTOR: VP &DEPUTYPUBLISHER: VP &PUBLISHER: k-mcelderry-books/ www.simonandschusterpublishing.com/margaret- mcelderry-books imprints.simonandschuster.biz/margaret-k- (An Imprint of Simon &Schuster) Margaret K.McElderryBooks ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EXECUTIVE ARTDIRECTOR: EDITOR: EDITORIAL DIRECTOR: VP &DEPUTYPUBLISHER: PUBLISHING: VP &PUBLISHERFORNOVELTY &LICENSED DESCRIPTION: WISEMAN BOOKS: ASSISTANT EDITOR, BEACH LANEBOOKS,PAULA EDITOR: VP &DEPUTYPUBLISHER: VP &PUBLISHER: wiseman-books/ www.simonandschusterpublishing.com/paula- books/ imprints.simonandschuster.biz/paula-wiseman- (An Imprint of Simon &Schuster) Paula WisemanBooks ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: art. picture books only;otherwise flatfee for jacket flat fee. Annie Nybo Hannah Lambert Sylvie Frank Advance against royalty and advance. Flatfeeoradvance against royalty. Valerie Wide range, from picture books Generally mass-market end of Publishes picture books, novelty RutaRimas Not accepting. Not accepting. Paula Wiseman Justin Chanda Sarah Jane Abbott Advance against royalty for Advance against royalty or Send copies only. Accepting. Jeff Salane Not accepting. Not accepting. Mary Marotta Ann Bobco Ann Anne Zafian Anne Zafian Chani Yammer Alexa Pastor Karen Wojtyla Not accepting. Not accepting. [email protected]. Launched 2017. a minimum of nine titlesperyearfor allages. grade and young adult titles. Aims topublish all ages, including picture booksand middle Muslim characters and stories for readers of ages. 20–30booksayear. innovative, and timeless for children of all Publishing 12to15hardcovers ayear. and above, although predominantly adult titles. speak toabroad readership. Titlesare for YA appeal, withaspecial emphasisonworks that speculative fiction from literary tocommercial science fiction imprint publishing the best of [email protected]. MULTIPLE SUBMISSIONS: QUERY LETTERS: SENIOR EDITOR: VP &EDITORIAL DIRECTOR: VP &DEPUTYPUBLISHER: VP &PUBLISHER: www.simonandschusterpublishing.com/bfyr/ imprints.simonandschuster.biz/bfyr Readers Simon &SchusterBooks for Young ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITORIAL ASSISTANT: EXECUTIVE EDITOR: VP &PUBLISHER: reads/ www.simonandschusterpublishing.com/salaam- www.salaamreads.com (An Imprint of Simon &Schuster) Salaam Reads ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: EXECUTIVE EDITOR: PUBLISHER: www.sagapress.com (An Imprint of Simon &Schuster) Saga Press ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: royalty, depending onproject. art. picture booksonly;otherwise flatfee for jacket Navah Wolfe Advance against royalty. Advance against royalty. Advance against royalty. Justin Chanda Publishing booksfocused on An all-inclusive fantasy and Not accepting. Krista Vitola Accepting. Not accepting. JustinChanda Justin Chanda Zareen Jaffery Joe Monti Advance against royalty for Flat feeoradvance against Flat feefor jacket art. Yes. Send samples to Yes, through agents only. Yes, through agents only. Mekisha Telfer Not accepting. Accepting. Send to Not accepting. Anne Zafian David Gale Not accepting. Accepting. Not accepting. range isfrom infant through high school. both institutional and bookstore markets. Age fiction, and some nonfiction thatwillfit into first chapterbooks, middle-grade and teen on 3seasonal lists. Fullrange of picture books, commercial fiction. includes series and single-title contemporary reprints for ages 12and up.Original publishing hardcover and paperbackand alsosome send originals. their illegalactions. teens who havefaced the consequences of chronicling actual crime stories involving real simonpulse/ www.simonandschusterpublishing.com/ (An Imprint of Simon &Schuster) Simon Pulse ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ART DIRECTOR: EDITORIAL ASSISTANT: EDITORIAL ASSISTANT: MARGARET K.MCELDERRY: ASSISTANT EDITOR, S&SBFYR,ATHENEUM, ASSISTANT EDITOR: ASSOCIATE EDITOR: SENIOR EDITOR: EDITORIAL DIRECTOR: VP &DEPUTYPUBLISHER: PUBLISHING: VP &PUBLISHEROFNOVELTY &LICENSED spotlight/ www.simonandschusterpublishing.com/simon- imprints.simonandschuster.biz/simon-spotlight (An Imprint of Simon &Schuster) Simon Spotlight ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: SIMON TRUE EXECUTIVE ARTDIRECTOR: EDITORIAL ASSISTANT: ASSISTANT EDITOR: ASSOCIATE EDITOR: ASSOCIATE EDITOR: EDITOR: EDITORIAL DIRECTOR, ALADDIN: VP &EDITORIAL DIRECTOR, PULSE&ASSOCIATE VP &DEPUTYPUBLISHER: VP &PUBLISHER: interiors. for picture books;flatfee for jackets and b&w Jocelyn Davies Advance against royalty. Advance against royalty orflatfee. imprint publishes YA nonfiction Valerie Garfield Imprint includes 95titlesayear Publishes original fiction in Laurent Linn Not accepting. Lisa Rao Not accepting. Mara Anastas Catherine Laudone Sarah McCabe Liz Kossnar Jennifer Ung Nicole Ellul Yes, via regular mail. Donot Advance against royalty Flat fee. Limited. Siobhan Ciminera Mekisha Telfer Amanda Ramirez Jessica Smith Not accepting. Not accepting. Mary Marotta Mary Marotta Karin Paprocki Alexa Pastor Not accepting. Not accepting. Liesa Abrams 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 81

EDITOR: Beth Barton EDITORIAL ASSISTANT: Lois Hume EDITORIAL ASSISTANT: Margaret “MJ” Johnston PREPARING & SUBMITTING EDITOR: Suzy Capozzi DESCRIPTION: Publishes 25–30 titles per year. EDITORIAL ASSISTANT: Sarah Kasman ASSISTANT EDITOR: Rebecca Webster Looking for stories that entertain and educate, SOURCEBOOKS FIRE imprint publishes young adult ASSISTANT EDITOR: Erinn Pascal with 50% fiction and 50% nonfiction. Their list fiction. EXECUTIVE ART DIRECTOR: Chani Yammer is primarily picture books but includes middle- SOURCEBOOKS imprint publishes DESCRIPTION: Licensed properties (e.g. Dora the grade and teen fiction. picture books, chapter books, and middle Explorer and SpongeBob SquarePants), brands, QUERY LETTERS: Not accepting. grade novels that make a difference and foster and original paperback series, publishing MULTIPLE SUBMISSIONS: Not accepting. kindness—to self, others, and our Earth. across a wide array of formats and age ranges. UNSOLICITED MANUSCRIPTS: Accepting. Submit LITTLE PICKLE PRESS imprint publishes inspiring Approximately 100 titles a year. cover letter, sample of the work (up to 15 stories and compelling products for middle QUERY LETTERS: Not accepting. pages), and SASE. Address U.S. Post submissions grade youth and young adults. MARKET SURVEYS MULTIPLE SUBMISSIONS: Not accepting. “Manuscript Submissions.” Electronic DESCRIPTION: Publishes children’s picture books, UNSOLICITED MANUSCRIPTS: Not accepting, as submissions to submissions@sleepingbearpress. chapter books and middle-grade fiction. projects are developed in-house. com. QUERY LETTERS: Not accepting. PAYMENT: Flat fee. PAYMENT: Advance against royalty. MULTIPLE SUBMISSIONS: Not accepting. ARTWORK INTEREST: Samples of existing licensed ARTWORK INTEREST: Send samples to “Art UNSOLICITED MANUSCRIPTS: Not accepting except characters only. Do not send originals. Director.” at Little Pickle Press imprint using system at ARTWORK PAYMENT: Flat fee. ARTWORK PAYMENT: Varies. http://www.littlepicklepress.com/resources/

submitting-manuscript/ DIRECTORIES & RESOURCES SKY PONY PRESS SOHO TEEN PAYMENT: Advance against royalty. (An Imprint of Skyhorse Publishing) (An Imprint of Soho Press) ARTWORK INTEREST: Not accepting. 307 West 36th Street, 11th Floor 853 Broadway ARTWORK PAYMENT: N/A 212-643-6816; Fax 212-643-6819 New York, NY 10003 www.skyponypress.com 212-260-1900; Fax 212-260-1902 STERLING CHILDREN’S BOOKS PUBLISHER: Tony Lyons www.sohopress.com/soho-teen/ (A Division of Sterling Publishing Co., Inc.) GROUP EDITORIAL DIRECTOR: Mark Gompertz PUBLISHER: Bronwen Hruska 1166 Avenue of the Americas, 17th Floor EDITOR-IN-CHIEF: Alison Weiss ASSOCIATE PUBLISHER: Juliet Grames New York, NY 10036 SENIOR EDITOR: Nicole Frail-Magda EDITORIAL DIRECTOR, SOHO TEEN: Daniel Ehrenhaft 212-532-7160 EDITOR: Becky Herrick ART DIRECTOR, SOHO TEEN: Janine Agro www.sterlingpublishing.com ASSISTANT EDITOR: Kylie Brien DESCRIPTION: Publishing YA mysteries and www.sterlingpublishing.com/childrens-books.html

ASSISTANT EDITOR: Rachel Stark thrillers, including paranormal, dystopian, EXECUTIVE EDITOR: Meredith Mundy PUBLICIZING YOUR PUBLISHED WORK DESCRIPTION: Publishing children’s books across humorous, and realistic. SENIOR EDITOR: Eliza Berkowitz a broad range of subject matter to celebrate QUERY LETTERS: Not accepting. SENIOR EDITOR: Brett Duquette diverse interests. The growing list includes MULTIPLE SUBMISSIONS: Not accepting. SENIOR EDITOR: Christina Pulles picture books, educational books, novelty books, UNSOLICITED MANUSCRIPTS: Not accepting. EDITOR: Ada Zhang and middle grade and young adult fiction. PAYMENT: N/A ART DIRECTOR: TBD QUERY LETTERS: Accepting. ARTWORK INTEREST: Not accepting. DESCRIPTION: Owned by Barnes & Noble, MULTIPLE SUBMISSIONS: Accepting. ARTWORK PAYMENT: N/A Sterling’s children’s list includes picture books UNSOLICITED MANUSCRIPTS: Accepting. and nonfiction for every age, from babies Send via email to skyponysubmissions@ SOURCEBOOKS CHILDREN’S BOOKS through young adults. They do not publish skyhorsepublishing.com. Attach all material 232 Madison Avenue, Suite 1100 fictional chapter books or novels. Their as Word documents, or as a jpeg for art New York, NY 10018 nonfiction list primarily focuses on activity- submissions. 212-414-1701 based subjects, such as: crafts, activities, PAYMENT: Advance against royalty. www.sourcebooks.com puzzles (math/word/picture/logic), and science

ARTWORK INTEREST: Send samples via email to VP & EDITORIAL DIRECTOR: Todd Stocke experiments. They also have a small focus SCHOOL VISITS [email protected]. EDITORIAL DIRECTOR, SOURCEBOOKS CHILDREN’S on history and biographies. Also a general Attach art samples as a jpeg. BOOKS: Steve Geck nonfiction list, including crafts, games, history, ARTWORK PAYMENT: Varies. EDITORIAL DIRECTOR, SOURCEBOOKS CHILDREN’S puzzles, humor. Has a small focus on history and NONFICTION, JABBERWOCKY: Kelly Barrales-Saylor biographies. SLEEPING BEAR PRESS CHIEF EXECUTIVE, LITTLE PICKLE PRESS: Rana SPLINTER imprint publishes edgy YA fiction for (An Imprint of Cherry Lake Publishing) DiOrio teens, including fantasy, romance, and thrillers. LEGAL QUESTIONS 2395 S Huron Parkway, Suite 200 EDITORIAL MANAGER, SOURCEBOOKS FIRE: Annette QUERY LETTERS: Accepting, but full manuscript Ann Arbor, MI 48104 Pollert-Morgan needed for picture books. Submit via U.S. Post 800-487-2323; Fax 734-794-0004 EDITOR, SOURCEBOOKS JABBERWOCKY AND only. www.sleepingbearpress.com SOURCEBOOKS FIRE: Annie Berger MULTIPLE SUBMISSIONS: Accepting. PUBLISHER: Heather Hughes ASSOCIATE EDITOR, SOURCEBOOKS JABBERWOCKY UNSOLICITED MANUSCRIPTS: Accepting. SENIOR EDITOR: Barb McNally AND SOURCEBOOKS FIRE: Kate Prosswimmer See https://www.sterlingpublishing. EDITOR: Sarah Rockett EDITORIAL ASSISTANT: Elissa Erwin com/wp-content/uploads/2017/01/ 82 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI commitment. and emphasizespersonal stories of courage and adults. Listincludes fiction, nonfiction, and memoir, and booksfor middle-grade readers and young arrangement for authors. self-published titles, withanadvance plusroyalty titles, directly e-publishes original and previously which includes middle grade and young adult arrangement withauthors. The Studio imprint, publishers, withaflat-feework-for-hire develops print publication projects for other company/packager Paper Lantern Lit,which imprint of the boutiqueliterary development art samples. art samples. DESCRIPTION: EDITOR &DIRECTOR OFWRITERRECRUITMENT: EDITOR: EDITOR: CO-FOUNDER: CO-FOUNDER: www.paperlanternlit.com www.thestudiopll.com Brooklyn, NY (An Imprint of Paper Lantern Lit) THE STUDIO ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: guidelines. AuthorGuidelines_1.26.17.pdf for fullsubmission ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: PUBLISHER &PRESIDENT: square https://www.sevenstories.com/imprints/triangle- 212-226-8760; Fax212-226-1411 New York, NY10013 140 Watts Street (Animprint of SevenStories Press) TRIANGLE SQUARE EDITIONS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: manuscripts. accepting email submissions orany unsolicited full regular mail to“Acquisitions” and include SASE. Not letter and uptotwosamplechapters. Send via Wejko Jessica Sit Kamilla Benko Work-for-hire. Advance against royalty. Advance against royalties. Lexa Hillyer Lauren Oliver Publishing asmall listof picture books The Studio isthe digital publishing Not accepting. Not accepting. N/A Depends onproject. Accepting. Send nonreturnable Accepting. Send nonreturnable Not accepting. Not accepting. Not accepting. Dan Simon Accepting, with acover Not accepting. Alexa young adult fiction and nonfiction in2016. nonfiction, from around the world. Expanded to publishing arange of literature, from sci-fito fiction. picture booksormiddle grade and young adult gift booksand kitsfor children. Doesnot publish e-mail address must beonthe backof eachpiece SASE. Your name, address, telephone number, and Varick Street, New York, NY10014-4381.”Include Department, Workman Publishing Company, 225 also send hard-copy submissions to“Children’s workman.com inthe form of aPDF. You may submissions, which may besent tosubmissions@ UNNAMED PRESS ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ASSOCIATE EDITOR: SENIOR EDITOR: EDITOR-AT-LARGE: DIRECTOR OFCHILDREN’SPUBLISHING: OF CHILDREN’SPUBLISHING: PUBLISHER, WORKMAN PUBLISHING,&EDITOR-IN-CHIEF www.workman.com 212-254-5900; Fax212-254-8098 New York, NY10014-4381 225 Varick Street Workman PublishingCompany WORKMAN PUBLISHINGCOMPANY ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR-AT-LARGE: EXECUTIVE EDITOR: PUBLISHER: www.unnamedpress.com Los Angeles, CA90041 P.O. Box 411272 guidelines/ http://www.workman.com/resources/submission_ [email protected]. Forsubmissiondetails: fee. [email protected]. NY 10014-4381.”Include SASE. Publishing Company, 225Varick Street, New York, submissions to“Children’s Department, Workman document oraPDF. You may alsosend hard-copy [email protected] inthe form of aWord electronic submissions, which may besent to Advance against royalty. Advance against royalties. C.P. Heiser Independent publisher since 2014, Publishing high-concept, novelty Nathalie LeDu Accepting. Accepting. Send via email to J. Ryna Stradal Raquel Jaramillo Olivia Taylor Smith Justin Krasner N/A Advance against royalties orflat N/A Accepting. Prefer electronic Accepting. Not accepting. Accepting. Submitvia Accepting. Prefer Susan Bolotin Daniel Nayeri SERIES EDITOR, EDITORIAL BOARD EXECUTIVEDIRECTOR: science fiction, etc.). nonfiction. Does not publish genre fiction (romance, list of middle-grade and teenfiction and narrative Press isknown for itsregional books. or byauthorship and most commonly byboth.USC Carolina, the “Palmetto State,” either bycontent focusing on series booksconnected toSouth books and young adult fiction and nonfiction, Children’s Books and Literacy. Includes picture Carolina Press and the SouthCarolina Center for a partnership betweenthe University of South focused booksfor young readers created through if submitted. or other original material accepted;not responsible Haines Fogle ARTWORK PAYMENT: ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: PUBLISHER &EDITOR: www.algonquinyoungreaders.com 919-967-0108; Fax919-933-0272 Chapel Hill,NC,27515 P.O. Box 2225 Algonquin Books of ChapelHill (An Imprint of Workman Publishing Company) Algonquin Young Readers ARTWORK INTEREST: PAYMENT: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: ORIGINAL FICTION,&GENERALINQUIRIES: ASSISTANT DIRECTOR FOROPERATION –TRADETITLES, Kim Jeffcoat DIRECTOR: www.sc.edu/uscpress/microsites/ypbooks/index.html Columbia, SC29208 1501 GreeneStreet Davis College Children’s Booksand Literacy) in collaboration withthe SouthCarolina Center for (An Imprint of University of SouthCarolina Press, YOUNG PALMETTO BOOKS ARTWORK PAYMENT: of art. fee microsites/ypbooks/submissions.html submission details:http://www.sc.edu/uscpress/ to 30and October1toNovember 30.For during tworeading periods eachyear:May 1 Krestyna Lypen Advance against royalties. Advance against royalty Jonathan Haupt Publishing asmall, focused, literary Series of educational SouthCarolina- Not accepting. Accepting. N/A Advance against royalties orflat Not accepting. Accepting. No original artwork Elise Howard Accepting. Not accepting.

Accepting. Accepting Not accepting. Linda 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS | 83

ARTWORK PAYMENT: Advance against royalty or Nosy Crow PREPARING & SUBMITTING flat fee, depending on the project. Publisher Templar

ZEST BOOKS Imprints CAPSTONE YOUNG READERS 2443 Filmore Street, Suite 340 Compass Point Books San Francisco, CA 94115 When submitting manuscripts or artwork Capstone Press 415-777-8654; fax 415-777-8653 samples to imprints that are owned by one Capstone Young Readers www.zestbooks.net company, you must submit to one imprint Heinemann-Raintree PUBLISHER AND CREATIVE DIRECTOR: Hallie and then resubmit to another imprint of Picture Window Books Warshaw the same company. Please note: Due to Stone Arch Books PUBLISHING DIRECTOR: Daniel Harmon space constraints, the abbreviation “BFYR” Switch Press DESCRIPTION: Publishing young adult nonfiction is sometimes substituted for the words MARKET SURVEYS about entertainment, history, science, health, “Books for Young Readers.” , and lifestyle advice since 2006. DISNEY BOOK GROUP

Distributed by Houghton Mifflin Harcourt. Disney Press QUERY LETTERS: Accepting. ABDO KIDS Disney-Hyperion MULTIPLE SUBMISSIONS: Accepting. A&D Xtreme Freeform UNSOLICITED MANUSCRIPTS: Accepting. Most ABDO & Daughters Jump at the Sun projects are developed in-house and then hired ABDO Kids Junior/Jumbo Rick Riordan Presents through Author Pool. For information, visit ABDO Magic Wagon DIRECTORIES & RESOURCES http://zestbooks.net/opportunities/. ABDO Spotlight ENSLOW PUBLISHERS PAYMENT: Advance against royalty/flat fee. Buddy Books/Big Buddy Books Enslow ARTWORK INTEREST: Accepting. Visit http:// Checkerboard Library Enslow Elementary zestbooks.net/opportunities/. Core Library ARTWORK PAYMENT: Advance against royalty/ Scarlet Voyage EPIC Press flat fee. Speeding Star Essential Library Sandcastle/Super Sandcastle ENTANGLED PUBLISHING Spellbound Embrace SportsZone Entangled Teen Teen Crave ABRAMS BOOKS FOR YOUNG READERS Teen Crush

Abrams Appleseed PUBLICIZING YOUR PUBLISHED WORK Abrams Books for Young Readers FACTS ON FILE Abrams ComicArts Chelsea House Amulet Books Facts on File

AMAZON CHILDREN’S PUBLISHING HARPERCOLLINS Alloy Entertainment Amistad Skyscape Balzer + Bray Two Lions Greenwillow Books HarperCollins Children’s Books BLACK RABBIT BOOKS HarperFestival BRB Kids HarperTeen BRB Teens HarperTeen Impulse HarperTrophy BLOOMSBURY PUBLISHING PLC Katherine Tegen Books SCHOOL VISITS Bloomsbury Children’s Books Rayo Bloomsbury Spark TOKYOPOP Walden Pond Press BOYDS MILLS PRESS Boyds Mills Press HOUGHTON MIFFLIN HARCOURT Calkins Creak BOOKS FOR YOUNG READERS LEGAL QUESTIONS Highlights Press Clarion Books WordSong Houghton Mifflin Harcourt Books for Young Readers CANDLEWICK PRESS Big Picture Press HOLIDAY HOUSE Candlewick Press Holiday House Candlewick Studio Margaret Ferguson Books 84 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 2017 SCBWI MARKET SURVEY PUBLISHERS OF BOOKS FOR YOUNG READERS OF BOOKS PUBLISHERS SURVEY | MARKET 2017 SCBWI FocusReaders Flux NORTH STAR EDITIONS Mighty Media Junior Mighty Media Kids MIGHTY MEDIAPRESS Tor Books/Tor Teen/Tor Starscape Thomas DunnBooks Books/Square Fish Roaring Brook Press/Neal Porter Imprint Henry Holt Booksfor Young Readers Flatiron Books :01FirstSecond Feiweland Friends/Swoon Reads Foster Books/Priddy Books Farrar, Straus &Giroux BFYR/Francis ChristyOttaviano Books PUBLISHING GROUP MACMILLAN CHILDREN’S Poppy Novl Little, Brown Booksfor Young Readers LBKids JIMMYPatterson Books READERS LITTLE, BROWN BOOKSFORYOUNG Twenty-First Century Books Millbrook Press Lerner Publications Kar-Ben Publishing Kane Press Graphic Universe FirstAvenue Editions DarbyCreek Carolrhoda Lab Carolrhoda Books LERNER PUBLISHINGGROUP Tu Books Shen’s Books Lee&LowBooks Children’s BookPress BebopBooks LEE &LOW BOOKS Surge Shine Seek LEAP BOOKS Duet INTERLUDE PRESS Cartwheel Books The BlueSkyPress Arthur A.Levine Books SCHOLASTIC TRADE Windmill Books RosenYoung Adult RosenCentral PowerKids Press Britannica Educational Publishing ROSEN PUBLISHINGGROUP Regnery Kids/Regnery Adventure LittlePatriot Books REGNERY PUBLISHING Wendy LambBooks Yearling Books Schwartz&Wade Books Group Random House/Golden Books Young Readers Make Me aWorld Laural Leaf Knopf Trade Paperbacks Ember Dragonfly Disney Booksfor Young Readers RANDOM HOUSECHILDREN’SBOOKS words &pictures Wide EyedEditions Walter FosterJr. Seagrass Press Moondance Press QUARTO USA Viking Children’s Books Razorbill PuffinBooks/Firebird Philomel Books Penguin Workshop Kathy DawsonBooks Sloan Grosset &Dunlap/PSS!/Price Stern G.P. Putnam’s Sons Frederick Warne DuttonChildren’s Books Dial Booksfor Young Readers CartoonNetwork Books PENGUIN YOUNG READERSGROUP Jolly FishPress Trade Paperbacks DelacortePress BFYR/Delacorte Press Bluefire Bantam Books Young Readers/Tricycle Press Alfred A.Knopf/Crown Booksfor

Scholastic Press Push Orchard Books Michael diCapua Books Klutz Graphix Chicken House Simon True Simon Spotlight Simon Pulse Readers Simon &Schuster Booksfor Young SalaamReads SagaPress Paula Wiseman Books MIX MAX Margaret K.McElderry Books LittleSimon CaitlynDlouhy Books BeachLane Books Atheneum Booksfor Young Readers Aladdin PUBLISHING DIVISION SIMON &SCHUSTERCHILDREN’S Franklin Watts Children’s Press SCHOLASTIC LIBRARYPUBLISHING Workman Publishing Company Algonquin Young Readers WORKMAN PUBLISHINGCOMPANY Sterling Children’s Books Splinter STERLING CHILDREN’SBOOKS Sourcebooks Jabberwocky Sourcebooks Fire LittlePickle Press SOURCEBOOKS CHILDREN’SBOOKS COPYRIGHTINTERNATIONAL FACTS MARKETFOR WRITERS 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 , , Canada, , 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 “Resource Library.” Click on The Book and follow the directions to the International Market Survey link.

Many of the publishers have existed for a long time and are part • many of these publishers only take submissions from nationals of large multinational publishers. These houses may publish many and those who are residents of their countries, and some of the hundreds of books each year while other publishers are much newer publishers have limited times for receiving manuscripts. independent publishers, and they might only publish a few titles each • work samples will probably not be returned due to the year. Many are trade publishers but some only publish educational restrictive costs of international postage. titles. Some will take only agented submissions while others are open • some have very specific content focus and genres. to unsolicited manuscripts but only at specific times of the year. Many publish in English (some in addition to their native tongue), while The survey contains many details but it is imperative that as well as others publish in their native tongue only—the respective websites reading this information, members visit the websites of the publishers (which might be in a native tongue and not in English) will be the most to obtain the most up-to-date information. appropriate source 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.

COPYRIGHTEDITED FACTS BY FORA HOUSE-BY-HOUSE WRITERS LISTING OF EDITORIAL CREDITS

compiled by Kim Turrisi

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

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

ABRAMS BOOKS »» Camp Rolling Hills, Stacy Davidowitz TWO LIONS 115 West 18th Street »» The Boy with Seventeen Senses, Sheila New York, NY 10011 Grau Kelsey Skea, Editorial Director 212-206-7715 »» The Movie Version, Emma Wunsch »» Twenty Yawns, , illustrated by »» The Last Thing You Said, Sara Biren Lauren Castillo Tamar Brazis, Editorial Director »» That’s (Not) Mine, Anna Kang, illustrated »» The Night Gardener, Jonathan Auxier AMULET BOOKS by Christopher Weyant »» Like Pickle Juice on a Cookie, Julie »» Pipsie, Nature Detective (3-), Sternberg Anne Heltzel, Editor Rick DeDonato, illustrated by Tracy Bishop »» Klickitat, Peter Rock »» The Graces, Laure Eve »» Turkey Trick or Treat, Wendi Silvano. »» Hiawatha and the Peacemaker, Robbie »» The Romantics, Leah Rowan Illustrated by Lee Harper Robertson and David Shannon »» RoseBlood, A.G. Howard »» Captain Freddy Counts Down to School, »» Peanut Butter and Brains, Joe McGee and »» Devil and the Bluebird, Jennifer Mason- Elizabeth Shreeve, illustrated by Joey Charles Santoso Black Chou »» I am Yoga, Susan Verde and Peter H. »» Seven Ways We , Riley Redgate Marilyn Brigham, Editor Reynolds »» How To Lead a Life of Crime, Kirsten Miller »» Go to School, Little Monster, Helen »» The Dog Who Belonged to No One, Amy »» The Daring Escape of the Misfit Ketteman, illustrated by Bonnie Leick Hest and Amy Bates Menagerie, Jacqueline Resnick »» Knock Club: Going Green, »» Cloth Lullaby, Amy Novesky and Isabelle »» Firecracker, David Iserson Louise Bonnett-Rampersaud, illustrated Arsenault by Adam McHeffey Erica Finkel, Associate Editor AMAZON »» There Was an Old Mummy Who »» Fraidyzoo, Thyra Heder Amazon Publishing Swallowed a , Jennifer Ward, »» The Bear Report, Thyra Heder 1350 Avenue of the Americas, 17th Floor illustrated by Steve Gray »» In My Heart, Jo Witek and Christine New York, NY 10019 »» Loud Lula, Katy S. Duffield, illustrated by Roussey 646-722-5100 Mike Boldt »» Brobots, Sudipta Bardhan-Quallen and »» Puppy and Bear: The First Day of School, Scott Campbell 88 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » Director of EditorialOperations Mary LeeDonovan, EditorialDirector, » » » » » » Editorial Director, &Associate Publisher Elizabeth Bicknell,Executive VP, Executive 617-661-3330 Somerville, MA02144 99 DoverStreet CANDLEWICK PRESS » » » » » » » » » » Elizabeth Van Doren, EditorialDirector 800-490-5111 or5700-253-1164 Honesdale, PA 18431 815 ChurchStreet BOYDS MILLSPRESS

| BY EDITED » » » » » » » » » » » » » » » » » » » » Lavender, LeslyeWalton The Strange and BeautifulSorrows of Ava Journey; Quest;Return,Aaron Becker Rocco Jason CarterEaton,illustrated byJohn How toTrain aTrain; How toTrack aTruck, George O’Connor If IHad aRaptor;IfIHad aTriceratops, Boston Weatherford Spirit of the CivilRights Movement, Carole Voice of Freedom: Fannie LouHamer, the Crocodile, Laura Amy Schlitz The Hired Girland Princess Cora and the Timmy Failure series, StephanPastis and We Found aHat, , IWant My Hat Back Herrera Imagine WhatYou CanDo,Juan Felipe M.T. Anderson Shostakovich and the Siege of Leningrad, Symphony for the Cityof the Dead:Dmitri Jack E.Davis Monster Goose, Judy Sierra, illustrated by Adler, illustrated byTerry Widener Lou Gehrig, the Luckiest Man, David Peek-A-Boo Kisses, Barney Saltzberg Mary, Bloody Mary, Carolyn Meyer illustrated byStephen Alcorn Let It Shine, Andrea DavisPinkney, Love, RubyLavender, Deborah Wiles Each LittleBird ThatSings, Deborah Wiles Johanna Wright series, Julie Sternberg, illustrated by The Top Secret Diary of Celie Valentine Sweet Heidi Stemple, illustrated byMelissa You Nest Here WithMe, Jane Yolen and Staub, illustrated byJeff Mack Time for EarthSchool, DeweyDew, Leslie Bendall-Brunello Larry Dane Brimner, illustrated byJohn » » » » » » » » Melissa Manlove, Editor 415-537-4200 San Francisco,CA94107 680 SecondStreet CHRONICLE BOOKS » » » » » » » » » » Andrea Tompa, SeniorEditor » » » » » » » » » Hilary Van Dusen,Executive Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » On aBeamof Light, Jennifer Berne, Diane Goode Ninja Baby, David Zeltser, illustrated by illustrated byJohn Parra Marvelous Cornelius, PhilBildner, by Melissa Sweet Little RedWriting, Joan Holub, illustrated Christian Robinson Baker, Patricia HrubyPowell, illustrated by Josephine: the Dazzling Lifeof Josephine Jeremy Tankard It’s aTiger, David LaRochelle, illustrated by Underwood, illustrated byMeg Hunt Interstellar Cinderella, Deborah illustrated byMark Siegel How toReadaStory, Kate Messner, Magoon X: ANovel, IlyasahShabazzwithKekla Backyard, Annette LeBlanc Cate Look Up!:Bird-watching inYour Own Vittur Kennedy Ragweed’s FarmDogHandbook, Anne Personal Effects, E.M.Kokie Judith Robbins Rose Look BothWays inthe Barrio Blanco, The LittleSnowplow, Lora Koehler , Kate DiCamillo The Illuminated Adventures of Flora & Girls Like Us, GailGiles Jesse Joshua Watson Ghetto Cowboy, G.Neri, illustrated by The BlackRabbit,PhilippaLeathers illustrated byBarryRoot Passing the Music Down,Sarah Sullivan, illustrated byDavid Slonim The DeerWatch, Pat LowryCollins, The Chance You Won’t Return,Annie Cardi Spotswood A Tyranny of Petticoats, editedbyJessica translated byGuyPuzey Adventures withWaffles, Maria Parr, Can We Help, George Ancona Beyond Magenta, SusanKuklin Almost Astronauts, Tanya LeeStone The ImpossibleRescue, Martin Sandler illustrated byAngela Barrett The Night Fairy, Laura Amy Schlitz, Juan and Luca, Juana Medina » » » » » » » Rotem Moscovich, SeniorEditor » » » » » » » » » Publisher &EditorialDirector Stephanie Owens Lurie, Associate DISNEY-HYPERION New York, NY10011 114 FifthAvenue Global Children’s Books DISNEY BOOKGROUP » » » » » » » » » » Naomi Kirsten, SeniorEditor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » The Magical Animal Adoption Agency: My Pen, Christopher Myers by Mark Fearing Tommy Can’tStop,TimFederle, illustrated To the Sea,CaleAtkinson illustrated byLondon Ladd Frederick’s Journey, Doreen Rappaport, illustrated byKevin Cornell Count the Monkeys, Mac Barnett, The Watermelon Seed, Greg Pizzoli Pennypacker, illustrated byMarla Frazee Waylon! One Awesome Thing, Sara A Listof Cages, RobinRoe Were-Hyena, Bruce Hale Monstertown Mystery: The Curseof the Monsters, Margaret Dilloway Momotaro: Xander and the LostIsland of Magic, Joshua Khan Munsinger Tammi Sauer, illustrated byLynn Ginny Louiseand the School Showdown, Shea :The Totally Secret Secret, Bob Staircase, Jonathan Stroud Lockwood and Company: The Screaming Sword of Summer, Rick Riordan Magnus Chaseand the Godsof Asgard: The The Land of Lines, Victor Hussenot Chris Edmundson Yeti, Turn Outthe Light!, Greg Long and Girl, Micah Player Lately Lily:The Adventures of aTraveling Bonjour Camille, FelipeCano Cat SaysMeow, Michael Arndt The Bear’sSurprise, BenjaminChaud The Bear’sSeaEscape, BenjaminChaud The Bear’sSong, BenjaminChaud School, Davide Cali A Funny Thing Happened onthe Way to Davide Cali I Didn’t DoMy Homework Because…, Morstad Pavlova, Laurel Snyder, illustrated byJulie Swan: the Lifeand Dance of Anna Rinker, illustrated byTom Lichtenheld Steam Train, Dream Train, Sherri Duskey illustrated byVladimirRadunsky EDITED BY | 89

Clover’s Luck, Kallie George, illustrated by »» The Program, Suzanne Young »» More Caps for Sale, Esphyr Slobodkina, PREPARING & SUBMITTING Alexandra Boiger »» Bittersweet, Sarah Ockler with Anne Marie Mulhearn Sayer »» Smek for President, Adam Rex »» Paperweight, Meg Haston »» Hamsters Don’t Fight Fires, Andrew Root, »» Hook’s Revenge, Heidi Schulz »» The Outliers, Kimberly McCreight illustrated by Jessica Olien »» The Door by , Katherine Marsh »» The Thousandth Floor, Katherine McGee »» The Fog Diver, Joel Ross Just Like Fate, Cat Patrick and Suzanne »» Scarebaby, Clive Barker HARPERCOLLINS CHILDREN’S BOOKS Young »» Spirit Hunters, Ellen Oh 195 Broadway Erica Sussman, Editorial Director, »» The Ethan I Was Before, Ali Standish New York, NY 10017 HarperCollins Children’s Books »» Mars Evacuees, Sophia McDougall 212-207-7000 »» The Selection series, Kiera Cass »» Sweet Evil series, Wendy Higgins »» My Lady Jane, Cynthia Hand, Brodi »» Skatefate, Juan Felipe Herrera MARKET SURVEYS Tara Weikum, VP, Editorial Director Ashton, and Jodi Meadows Tamar Mays, Senior Editor »» Inside Out & Back Again, Thanhha Lai »» The Last Time We Say Goodbye, »» Shakespeare Retold, E. Nesbit, illustrated »» Say What You Will, Cammie McGovern Cynthia Hand by Antonio Caparo »» September Girls, Bennett Madison »» The Warriors series, Erin Hunter »» Christmas To Color, Mary Tanana »» Infinite In Between, Carolyn Mackler »» Storybound, Marissa Burt »» Rappy the Raptor Goes to School, »» Scavengers, Mike Perry »» Ferals, Jacob Grey Dan Gutman, illustrated by Tim Bowers »» Shatter Me, Tahereh Mafi »» Roxbury Park Dog Club, Daphne Maple »» The Clark the Shark series, Bruce Hale,

»» I Am Number Four, Pittacus Lore David Linker, Executive Editor illustrated by Guy Francis DIRECTORIES & RESOURCES »» Dorothy Must Die, Danielle Paige »» Bedtime for Chickies, Janee Trasler »» Ranger Rick I Can Read titles, Sandra »» After the End, Amy Plum »» There’s a Giraffe in My Soup, Ross Burach Markle »» Big Mouth & Ugly Girl, Joyce Carol Oates »» A Bed for Bear, Clive McFarland »» Let’s Read And Find Out Science titles, Nancy Inteli, Editorial Director, Early »» Alien in My Pocket: Blast Off, Nate Ball authors including D.J. Ward, Melissa Childhood »» Action Presidents: George Washington, Stewart, Carolyn DeCristofano, Kathy »» Imaginary Fred, Eoin Colfer, illustrated by Fred van Lente and Ryan Dunleavy Zoehfeld and Sarah Thomson; illustrators Oliver Jeffers »» Shivers: The Pirate Who Was Afraid of including Taia Morley, Eric Puybaret, »» Ella and Penguin Stick Together, Megan Everything, Annabeth Bondor-Stone and Mike Lowrey, and Amy Schimler-Safford Maynor, illustrated by Rosalinde Bonnet Connor White »» Gran on a Fan, Kevin Bolger and »» Punk Skunks, Trisha Speed Shaskan, »» Seven Wonders: The Colossus Rises, er Ben Hodson illustrated by Stephen Shaskan Lerangis Emilia Rhodes, Senior Editor

»» The Dead Bird, Margaret Wise Brown, »» Lock & Key, Ridley Pearson »» Let’s Get Lost, Adi Alsaid PUBLICIZING YOUR PUBLISHED WORK illustrated by Greg Pizzoli »» This May Sound Crazy, Abigail Breslin »» Out of Reach, Carrie Arcos »» Tea with Oliver, Mika Song Kristen Pettit, Executive Editor »» The Chasers series, John Kloepfer, »» I Am a Story, Dan Yaccarino »» Thirteen Reasons Why, Jay Asher illustrated by Steve Wolfhard and David »» The Keeper: The Unguarded Story of Tim »» Red Queen, Victoria Aveyard DeGrand Howard, Tim Howard with Ali Benjamin »» Anatomy of a Misfit, Andrea Portes »» The Merciless, Danielle Vega »» The Naughty List, Michael Fry and Bradley »» Magonia, Maria Dahvana Headley »» Reign of Shadows, Sophie Jordan Jackson »» What We Saw, Aaron Hartzler »» Queen of Hearts, Colleen Oakes Rosemary Brosnan, Editorial Director, »» Eleven and Holding, Mary Penney »» Ruined, Amy Tintera HarperTeen »» A Tale of Highly Unusual Magic, »» The Thousandth Floor, Katharine McGee »» Before I Fall, Lauren Oliver Lisa Papademetriou Andrew Harwell, Senior Editor »» Challenger Deep, Neal Shusterman »» Schizo, Nic Sheff »» , Noelle Stevenson »» Faking Normal, Courtney C. Stevens »» Emmy and Oliver, Robin Benway »» The Asylum series, Madeleine Roux »» Fortunately, The Milk, Neil Gaiman »» Positive, Paige Rawl and Ali Benjamin »» The My Weirdest School series, Dan

»» The Graveyard Book Graphic Novel, Alexander Cooper, Senior Executive Editor Gutman SCHOOL VISITS Neil Gaiman, Adapted by P. Craig Russell »» The Distance Between Lost and Found, »» The Blood Between Us, Zac Brewer »» Juba!, Kathryn Holmes »» Frannie and Tru, Karen Hattrup »» Liesl & Po, Lauren Oliver »» The Forget-Me-Not Summer, Leila Howard »» Swing Sideways, Nanci Turner Steveson »» One Crazy Summer, Rita Williams-Garcia »» Things We Know By Heart, Jessi Kirby »» Secrets of Valhalla, Jasmine Richards »» Proof of Forever, Lexa Hillyer »» Hillary Rodham Clinton: Dreams Take »» Almost Super, Marion Jensen »» The Rest of Us Just Live Here, Patrick Ness Flight, Kathy Krull, illustrated by Amy June »» The Jupiter Pirates series, Jason Fry LEGAL QUESTIONS »» A Tale of Two Castles, Gail Carson Levine Bates »» The Case File 13 series, J. Scott Savage Jennifer Klonsky, Editorial Director, Teen »» Cut Both Ways, Carrie Mesrobian & Tween »» The Boy and the Airplane, Mark Pett BALZER + BRAY »» Honey, Baby, Sweetheart, Deb Caletti »» Kissing in America, Margo Rabb Alessandra Balzer, VP & Co-Publisher »» Wake, Lisa McMann Alyson Day, Senior Editor »» Shark Detective, Jessica Olien »» Fade, Lisa McMann »» Enzo Races in the Rain!, Garth Stein, »» Louise Loves Art, Kelly Light »» Gone, Lisa McMann illustrated by Bob Alley »» Hello, My Name is Octicorn, Kevin Diller 90 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » » » » » Martha Mihalick,SeniorEditor GREENWILLOW BOOKS » » » » » » » » » » Jordan Brown, SeniorEditor, Walden Pond » » » » » » » » » » Kristen DalyRens, Executive Editor » » » » » » » | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Pretty, Christine Heppermann Poisoned Apples:Poems for You, My The Girlfrom Everywhere, Heidi Heilig One, Sarah Crossan Walk onEarthaStranger, RaeCarson Heppermann and RonKoertge Backyard Witch:Sadie’s Story, Christine The Doldrums, Nicholas Gannon A Riddle inRuby, Kent Davis illustrated byRuthChan Thing inthe World, ColleenAFVenable, Mervin the SlothIs abouttoDothe Best Tap the Magic Tree, Christine Matheson Touching Snow, M.Sindy Felin Partials, DanWells The FourthStall,ChrisRylander Sidekicked, John David Anderson Podos The Mystery of Hollow Places, Rebecca A Trick of the Light, LoisMetzger illustrated byGrisGrimly Gris Grimly’sFrankenstein, Marry Shelley, Guy InRealLife, SteveBrezenoff Breadcrumbs, Anne Ursu Bone Gap,Laura Ruby Snow Like Ashes, Sara Raasch Symptoms of Being Human, Jeff Garvin Blankman Prisoner of Night and Fog,Anne Ten, Gretchen McNeil Shepherd The Madman’s Daughter, Megan Peterfreund For Darkness Shows the Stars, Diana Omega City, Diana Peterfreund Sized Trophy, CrystalAllen How Lamar’s BadPrank Won aBubba- by LeUyenPham Born To Lead, Michelle Markel, illustrated Hillary RodhamClinton: Some GirlsAre Bentley Little Penguin Getsthe Hiccups, Tadgh Warga My Heart and Other BlackHoles, Jasmine Jennifer Maschari The Remarkable Journey of Charlie Price, Ungifted, Gordon Korman Danforth The Miseducation of Cameron Post, Emily Fans of the ImpossibleLife, Kate Scelsa 99 Days, Katie Cotugno Dumplin’, Julie Murphy and JustinLowe 617-351-5000 Boston, MA02116 222 Berkeley Street Boston Office FOR YOUNG READERS HOUGHTON MIFFLINHARCOURTBOOKS » » » Sally Morgridge, Associate Editor » » » » » » » » » » Grace Maccarone, Executive Editor » » » » » » » » Mary Cash,VP&Editor-in-Chief 212-688-0085 New York, NY10017 425 MadisonAvenue HOLIDAY HOUSEBOOKSFORYOUNG PEOPLE » » » » Alexandra Arnold,Assistant Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » Desert Dark,SonjaStone Clayton Stone, At Your Service, EnjaJones Carmella Van Vleet Eliza Bing Is (Not) aBig, FatQuitter, illustrated byMike Wohnoutka Hanukkah Bear, Eric A.Kimmell and Owl Boy, Brian Schatell Nicola Costa The LittleTree ThatWould Not Share, Look!, Thumpy Feet,BetsyLewin A Bird Is aBird, LizzyRockwell Fun inthe Sun,David Catrow Dirty Gert,Tedd Arnold 3, 2,1Go,EmilyArnold McCully illustrated byEric Velasquez Ol’ Clip-Clop,Patricia C.McKissack and America, RussellFreedman Campaign for Voting Rights ThatChanged Because They Marched: The People’s Ransome, illustrated byJames Ransome White Jazz Band inHistory, LesaCline- Taking the Stage asthe FirstBlack-and- Benny Goodman and Teddy Wilson: O’Brien A-Z, AlanSchroeder, illustrated byJohn Abe Lincoln: HisWitand Wisdom from Civil Rights inMississippi,SusanRubin Freedom Summer: The 1964Strugglefor Giff Hunter Moran Digs Deep,Patricia Reilly Dee and Me, Amy Schwartz Hillenbrand Off We Go!ABearand Mole Story, Will Look and BeGrateful, Tomie dePaola 16 Ways toBreak aHeart, Adina Bishop and Mindi Scott This Way BackTo You, Michelle Andreani Elan McVoy This isAllYour Fault,Cassie Parker, Terra Shallow Graves, Kali Wallace This Savage Song, Victoria Schwab » » » » » » » Adah Nuchi,Associate Editor » » » » » » » » » Sarah Landis, SeniorEditor » » » » » » » » » » Elizabeth Bewley, Executive Editor 212-420-5800 New York, NY10003 215 Park Avenue South New York Office » » » » » » » » » » Margaret Raymo,SeniorExecutive Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Little RobotAlone, Patricia MacLachlan, Davis Stuck withthe Blooz,Caron Levisand Jon Davis Small Blueand the DeepDarkNight, Jon Santoso Spy Guy, Jessica Young and Charles Robin Mellom Confessions From the Principal’s Kids, Far from Fair, Elana K.Arnold The Question of Miracles, Elana K.Arnold Parallel, Lauren Miller Eve, Anna Carey The Taking, KimberlyDerting Lily, Jodi LynnAnderson The Distance BetweenUs, Kasie West Undertow, Michael Buckley With Malice, EileenCook We’ll Never BeApart, Emiko Jean Into the Dim,Janet B. Taylor Midnight without aMoon, Linda Jackson The Artof Not Breathing, Sarah Alexander Rules of Summer, Joanna Philbin Morgan Spoiled, Heather Cocksand Jessica Sundquist We Should Hang OutSometime, Josh Suffer Love, Ashley Blake Sight, Jennifer E.Smith The Statistical Probability of LoveatFirst Bunheads, Sophie Flack Lost Stars, LisaSelinDavis This Raging Light, EstelleLaure Flash Burnout, L.K.Madigan Roskos Dr. Bird’s Advice for SadPoets, Evan Brown Polkabats and OctopusSlacks, Calef Son, LoisLowry and GothGirl,BarryLyga The Astonishing Adventures of FanBoy Dairy Queen,Catherine Murdock The Testing, Joelle Charbonneau Just Grace, ChariseMericle Harper Steve Jenkins What DoYou DoWithaTail Like This, The Crossover, Kwame Alexander EDITED BY | 91

Emily MacLachlan Charest, and Matt LEE & LOW BOOKS LITTLE, BROWN BOOKS FOR YOUNG READERS PREPARING & SUBMITTING Phelan 95 Madison Avenue, Suite #1205 237 Park Avenue »» Dear Life, You Suck, Scott Blagden New York, NY 10016 New York, NY 10017 »» A Death-Struck Year, Makiia Lucier 212-779-4400 212-364-1100

CLARION BOOKS Louise May, VP & Editorial Director Alvina Ling, VP, Editor-in-Chief, LBBYR 215 Park Avenue South »» Parrots Over Puerto Rico, Susan L. Roth »» The Diviners, Libba Bray New York, NY 10003 and Cindy Trumbore »» I Hunt Killers, Barry Lyga, 212-420-5800 »» Little Melba and Her Big Trombone, »» Daughters of Smoke & Bone, Laini Taylor Anne Hoppe, VP, Associate Publisher, Katheryn Russell-Brown »» Forgive Me, Leonard Peacock, Matthew Senior Executive Editor »» Maya’s Blanket/La Manta de Maya, Monica Quick MARKET SURVEYS »» Nation, Brown »» Where the Mountain Meets the Moon, »» The One and Only Ivan, Katherine »» Water Rolls, Water Rises/El Agua Rueda, El Grace Lin Applegate Agua Sube, Pat Mora »» The Land of Stories, Chris Colfer »» The Stray Dog, Marc Simont »» It Jes’ Happened, Don Tate »» The Truth About Twinkie Pie, Kat Yeh »» When I Grow Up, Al Yankovic »» Poems in the Attic, Nikki Grimes »» Wolfie The Bunny, Ame Dyckman »» Emily The Strange: The Lost Days, Rob »» Rainbow Stew, Cathryn Falwell »» The Curious Garden, Peter Brown Reger and Jessica Gruner »» Sunday Shopping, Sally Derby »» Knock Knock, Daniel Beaty

»» Pink, Lili Wilkinson »» Dreaming Up, Christy Hale Andrea Spooner, VP, Editorial Director, DIRECTORIES & RESOURCES »» Tell the Wind and Fire, »» ¡Olinguito, De La A A La Z!/Olinguito from LBBYR »» Mummy Cat, Marcus Ewert A to Z!, Lulu Delacre »» The Lion and the Mouse, »» Hercufleas, Sam Gayton Jessica Echeverria, Editor »» Me… Jane, Patrick McDonnell »» Agatha Parrot and the Odd Street School »» The -Hoopin’ Queen, Thelma Godin, »» , Chris Gall Ghost, Kjartan Poskitt illustrated by Vanessa Brantley-Newton »» The Thing about Jellyfish, Ali Benjamin Jennifer B. Greene, Senior Editor »» Juna’s Jar, Jane Bahk, illustrated by Felicia »» The Tapper Twins Go To War (With Each »» Nana in the City, Lauren Castillo Hoshino Other), Geoff Rodkey »» Tallulah’s Tutu and sequels, Marilyn »» Twenty-two Cents: Muhammad Yunus »» What We found in the Sofa and How It Singer; illustrated by Alexandra Boiger and the Village Bank, Paula Yoo, illustrated Saved the World, Henry Clark »» I Yam a Donkey, Cece Bell by Jamel Akib »» Glory O’Brien’s History of the Future, A.S. »» First Grade Dropout, Audrey Vernick; »» Lend a Hand, John Frank, illustrated by King

illustrated by Matthew Cordell London Ladd »» The Drowned Cities, Paolo Bacigalupi PUBLICIZING YOUR PUBLISHED WORK »» Grumpasaurus, Edward Hemingway »» Ira’s Shakespeare Dream, Glenda Armand, »» Just Call My Name, Holly Goldberg Sloan »» Brothers at Bat: The Amazing True Story illustrated by Floyd Cooper Farrin Jacobs, Editorial Director, Poppy of Twelve Baseball, Audrey Vernick; »» The Story I’ll Tell, Nancy Tupper Ling, »» I Am Malala, Malala Yousafzai with Patricia illustrated by Steven Salerno illustrated by Jessica Lanan McCormick »» Fairy Spell: How Two Girls Convinced »» A Morning with Grandpa, Sylvia Liu, »» Wildlife, Fiona Wood the World that Fairies Are Real, Marc illustrated by Christina Forshay »» Hello, Goodbye and Everything in Nobleman; illustrated by Eliza Wheeler »» Rainbow Weaver, Linda Marshall, Between, Jennifer E. Smith »» Water Balloon, Audrey Vernick illustrated by Elisa Chavarri »» Those Girls, Lauren Saft »» Marked, Laura Williams McCaffrey »» The Crane Girl, Curtis Manley, illustrated »» Jellicoe Road, Melina Marchetta »» Frida & Diego: Art, Love, Life, Catherine by Lin Wong Lisa Yoskowitz, Executive Editor Reef »» Midnight Teacher, Janet Halfmann, »» Bad Luck, Pseudonymous Bosch Lynne Polvino, Editor illustrated by London Ladd »» The Odd Squad series, Michael Fry »» Jimi: Sounds Like a Rainbow, A Story Stacy Whitman, Publisher, Tu Books »» Gracefully Grayson, Ami Polonsky

of the Young Jimi Hendrix, Gary Golio; »» Killer of Enemies series, Bruchac »» The Adventurer’s Guide to Successful SCHOOL VISITS illustrated by Javaka Steptoe »» Summer of the Mariposas, Guadalupe Escapes, Wade Albert White »» Swallow the Leader: A Counting Book, Garcia McCall »» The Enchanter Heir, Cinda Williams Chima Danna Smith; illustrated by Kevin Sherry »» Ink and Ashes, Valynne Maetani »» The Loose Ends List, Carrie Firestone »» Five Little Monkeys Trick-or-Treat, Eileen »» Perfect Liars, Kimberly Reid »» Girl in the Blue Coat, Monica Hesse Christelow »» Cat Girl’s Day Off, Kimberley Pauley »» Far From You, Tess Sharpe »» Tales for Very Picky Eaters, Josh Schneider »» The Monster in the Mudball, S.P. Gates »» Time Between Us, Tamara Ireland Stone LEGAL QUESTIONS »» The Carver Chronicles series, Karen »» Diverse Energies, ed. Tobias Buckell & Joe »» Every Last Word, Tamara Ireland Stone English, illustrated by Laura Freeman Monti Pam Gruber, Senior Editor »» Greenglass House, Kate Milford »» Hammer of Witches, Shana Mlawski »» VIP: I’m With the Band, Jen Calonita, »» It Ain’t So Awful, Falafel, Firoozeh Dumas »» Vodnik, Bryce Moore illustrated by Kristen Gudsnuk »» Hoodoo, Ronald L. Smith »» Tankborn series, Karen Sandler »» Not If I See You First, Eric Lindstrom »» Mechanica, Betsy Cornwell »» The New Guy (and Other Senior Year »» Black River Falls, Jeff Hirsch Distractions), Amy Spalding 92 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » » » » » » Joy Peskin, VP&EditorialDirector YOUNG READERS FARRAR, STRAUS & GIROUXBOOKSFOR » » » » » » » » » » Christy Ottaviano,Publisher CHRISTY OTTAVIANO BOOKS 646-307-5151 New York, NY10010 175 FifthAvenue MACMILLAN CHILDREN’S PUBLISHING GROUP » » » » » Jenny Bak,Editor » » » | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » Where You’ll Find Me, Natasha Friend A Unicorn Named Sparkle, Amy Young Underwater, Marisa Reichardt Rules for 50/50Chances, Kate McGovern The Riverman Trilogy Jen White Survival Strategies of the Almost Brave, Freakboy, KristinElizabethClark Little Humans, Brandon Stanton This Song WillSaveYour Life, LeilaSales Love Letterstothe Dead, Ava Dellaira Girl, Stolen,AprilHenry Book Scavenger, Jennifer Bertman Masterpiece, EliseBroach Kimberly WillisHolt When Zachary BeaverCame toTown, Jake Tashjian My LifeasaBook,Janet Tashjian, ill.by Bowling AlleyBandit, Laurie Keller The Adventures of Arnie the Doughnut: Stone, ill.byMarjorie Priceman Who Said Women Can’tBeDoctors, Tanya Keller The Scrambled Statesof America, Laurie Kostecki-Shaw Same, Same, butDifferent, Jenny Sue Cloudette, Tom Lichtenheld illustrated byJohn Martin Sci-Fi Junior High, ScottSeegert, Sutphin Chris Grabenstein, illustrated byJoe Word of Mouse, James Patterson and Grabenstein, illustrated byKerascoët Jacky HA-HA, James Patterson and Chris Park and ChrisTebbetts, illustrated byLaura The Middle School series, James Patterson The Maximum Ride series, James Patterson Diamond Boy, Michael Williams Illusive, EmilyLloyd-Jones The WitchHunter, Virginia Boecker » » » » » » » » » » » » » » » » » » » » » Holly West, Associate Editor » » » » » » » » Liz Szabla,Editor-in-Chief » » » » » » » » » » Lauren Scobell,Director, Swoon Reads FEIWEL ANDFRIENDS/SWOON READS » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Lovato Staying Strong: 365DaysaYear, Demi Finding Bigfoot, Animal Planet Bennett The Anatomical Shapeof aHeart, Jenn Goldfish, Nat Luurtsema Boys Don’tKnit,T.S. Easton Ladybirds series), Jenny McLachlan Flirty Dancing and Love Bomb(The The Mighty Dynamo, Kieran Crowley O’Dowd and Nick V. Murphy Moone Boy:The Blunder Years, Chris How toFind aFox, Nilah Magruder Little Bird’s BadWord, Jacob Grant Anna Roberto,Associate Editor All the Feels, Danika Stone No LoveAllowed, Kate Evangelista Kelly Zekas These Vicious Masks, Tarun Shanker and Kimberly Karalius Love Fortunes and Other Disasters, A LittleSomething Different, Sandy Hall The Ministryof S.U.I.T.s, Paul Gamble Plot, Sarah Courtauld Buckle and Squash: The Perilous Princess Monument 14,Emmy Laybourne My Big FatZombie Goldfish, Mo O’Hara School for Sidekicks, Kelly McCullough Shutter, Courtney Alameda The F-It List,Julie Halpern Cinder, Marissa Meyer Behind the Canvas, Alexander Vance Rain Reign, AnnM.Martin Bystander, James Preller Shane W. Evans Mixed Me!, Taye Diggs, illustrated by illustrated byStevenHenry It’s Raining Batsand Frogs, RebeccaColby, Finding You, Lydia Albano Meg &Linus, Hanna Nowinski Love, Lies &Spies, Cindy Anstey No LoveAllowed, Kate Evangelista Cozzo How toKeep Rolling AfteraFall,Karole Orlando You Don’tKnow My Name, Kristen All the Feels, Danika Stone Kiss Cam,Kiara London Kelly Zekas These Vicious Masks, Tarun Shanker & A LittleSomething Different, Sandy Hall » » » » » Connie Hsu,SeniorEditor ROARING BROOKPRESS » » » » » » Erin Stein,Publisher IMPRINT » » » » » » » » » » Christian Trimmer, Executive Editor » » » » » » Sally Doherty, Executive Editor HENRY HOLT BOOKSFORYOUNG READERS » » » » » » » » » » » » » » » » » » » » » » » » » » » illustrated by Angela Dominguez Marta! Big &Small, Jen Arena and Where’s the Party?, RuthChan illustrated byElizaWheeler Wherever You Go,Pat Zietlow Millerand Lichtenheld This isaMoose, Richard Morris and Tom Unimaginary Friend, DanSantat The Adventures of Beekle:The The Fix-It Friends, Nicole Kear The Wicker Throne, Kayla Ancrum The Ones, Daniel Sweren-Becker The LovelyReckless, Kami Garcia Tomo, Trevor Lai and Illustrated byRobbiBehr Babies RuinEverything, Matthew Swanson McKay Heidicker Cure for the Common Universe, Christian Daniel Kraus The Deathand Lifeof Zebulon Finch, Lock &Mori, Heather W. Petty In aWorld JustRight, Jen Brooks We AllLooked Up,Tommy Wallach illustrated byDustyHiggins Attack of Horde, RobertVenditti; by Amy June Bates Red Butterfly, A.L.Sonnichsen; illustrated illustrated bySallyWern Comport Orchestra of Paraguay, SusanHood; Ada’s Violin: The Storyof the Recycled It Came inthe Mail, BenClanton by Eric Fan The Night Gardener, Terry Fan;illustrated Blizzard of Glass, SallyM.Walker illustrated byLeUyenPham Bo atBallard Creek, Kirkpatrick Hill, Jonathan D.Voss Winnie, SallyM.Walker, illustrated by by TimZeltner Little Boo,Stephen Wunderli, illustrated Wonder Horse, EmilyArnold McCully Eugene Yelchin Won Ton, LeeWardlaw, illustrated by EDITED BY | 93

»» Ask My Mood Ring How I Feel, Diana »» The War that Saved My Life, Kimberly »» The Accident Season, Moїra Fowley-Doyle PREPARING & SUBMITTING Lopez Brubaker Bradley »» Pieces of Why, K.L. Going »» Patrick Griffin’s Last Breakfast on »» The Forgetful Knight, Michelle Robinson, »» Three Times Lucky, Sheila Turnage Earth, Ned Rust illustrated by Fred Blunt »» Where Futures End, Parker Peevyhouse »» Bright Lights, Dark Nights, Stephen »» Here Comes Santa Cat, Here Comes »» Rocks Fall, Everyone Dies, Lindsay Ribar Emond Valentine Cat etc., Deborah Underwood, »» Saving Montgomery Sole, Mariko Tamaki illustrated by Claudia Rueda PHILOMEL BOOKS »» The Square Root of Summer, Harriet »» All of Baby, Nose to Toes, Victoria Adler, Reuter Hapgood illustrated by Hiroe Nakata Jill Santopolo, Executive Editor Kate Harrison, Senior Editor »» A Tangle of Knots, Lisa Graff TOR BOOKS »» I Won a What?, Audrey Vernick ; illustrated »» The Wild Ones, Alex London MARKET SURVEYS by Robert Neubecker »» A Tiny Piece of Sky, Shawn K. Stout Melissa Frain, Senior Editor, Tor/Forge, Tor »» Pink is for Blobfish, by Jess Keating ; »» Invisibility, Andrea Cremer and David Teen illustrated by David DeGrand Levithan »» Riders, Veronica Rossi »» Rump: The True Story of Rumpelstiltskin, »» The Secret Sky, Atia Abawi »» Anna Dressed in Blood, Kendare Blake Liesl Shurtliff »» Fell of Dark, Patrick Downes »» Article 5, by Kristen Simmons »» The Goblin’s Puzzle: Being the Adventures »» It’s Your World: Get Informed, Get Inspired »» The Last Harvest, Kim Liggett of a Boy with No Name and Two Girls & Get Going!, Chelsea Clinton

»» Flying, Carrie Jones Called Alice, Andrew S. Chilton »» Peanut Butter & Cupcake!, written and DIRECTORIES & RESOURCES »» Seriously Wicked, Tina Connolly »» A Boy Called Christmas by Matt Haig, with illustrated by Terry Border »» Nightstruck, Jenna Black illustrations by Chris Mould »» Little Cub, Olivier Dunrea »» Vicarious, Paula Stokes »» Love and Other Perishable Items, Laura »» A Dance Like Starlight, Kristen Dempsey, »» The Rains, Gregg Hurwitz Buzo illustrated by Floyd Cooper »» The Tyrant’s Daughter, J.C. Carleson PENGUIN YOUNG READERS GROUP »» This Is The Part Where You Laugh, Peter G.P. PUTNAM’S SONS 345 Hudson Street Brown Hoffmeister New York, NY 10014 »» A Song to Take the World Apart, Zan Jennifer Besser, VP & Publisher 212-366-2000 Romanoff »» Percy Jackson and the Olympians, Rick Andrew Karre, Executive Editor Riordan DIAL BFYR »» Sex & Violence, Carrie Mesrobian »» Legend, Marie Lu

»» The Freak Observer, Blythe Woolston »» Conversion, Katherine Howe PUBLICIZING YOUR PUBLISHED WORK Namrata Tripathi, Associate Publisher & »» The Story of Owen, E.K. Johnston »» Last Stop on Market Street, Matt de la Editorial Director »» No Crystal Stair, Vaunda Micheaux Nelson Pena, illustrated by Christian Robinson »» Hug Machine, Scott Campbell »» Lament, Maggie Stiefvater »» The Apothecary, Maile Meloy »» Gaston, Kelly DiPucchio, illustrated by »» The of 100 Dogs, A.S. King »» The Trilogy of Two, Juman Malouf Christian Robinson »» Brooklyn, Burning, Steve Brezenoff »» Max and Marla, Alexandra Boiger »» Mama’s Nightingale, Edwidge Danticat, »» 4th Down and Inches, Carla Killough »» The Insomniacs, Karina Wolf illustrated by Leslie Staub McClafferty »» Blue Bloods, Melissa de la Cruz »» Poor Little Guy, Elanna Allen »» The Bunker Diary (U.S. Edition), Kevin »» Pennyroyal Academy, M.A. Larson Lulu and the Brontosaurus, Judith Viorst, Brooks illustrated by »» The Sin Eater’s Confession, Ilsa J. Bick NANCY PAULSEN BOOKS »» Circus Mirandus, Cassie Beasley »» Full Cicada Moon, Marilyn Nelson GROSSET & DUNLAP/PSS! Nancy Paulsen, President & Publisher »» Where Things Come Back, John Corey »» Brown Girl Dreaming, Jacqueline Woodson

Whaley Ever Adler, Editor »» Fish in a Tree, Lynda Mullaly Hunt SCHOOL VISITS »» Highly Illogical Behavior, John Corey »» Hello, World: Paris, A Book of Shapes, »» The Blossoming Universe of Violet Whaley Ashley Evanson Diamond, Brenda Woods »» Thieving Weasels, Billy Taylor »» Phoebe G. Green, Veera Hiranandani »» The Baby Tree, Sophie Blackall Jessica Garrison, Senior Editor »» Monstrous Fun: A Doodle & Activity Book, »» Little Poems for Tiny Ears, Lin Oliver; art by »» Wink Poppy Midnight, April Genevieve by Travis Nichols Tomie de Paola Tucholke »» Night-Night, Forest Friends, Annie Bach »» Looking at Lincoln, Maira Kalman LEGAL QUESTIONS »» I’ll Give You the Sun, Jandy Nelson »» What Am I?: Frog & Friends, Joyce Wan »» Maple, Lori Nichols »» My Life Next Door, Huntley Fitzpatrick »» Miss Maple’s Seeds, Eliza Wheeler »» Love and Other Foreign Words, Erin KATHY DAWSON BOOKS »» Little Dog Lost, Monica Carnesi McCahan »» Tad and Dad, David Ezra Stein »» The Wrong Side of Right, Jenn Marie Kathy Dawson, VP & Publisher Arianne Lewin, Executive Director Thorne »» Trouble is a Friend of Mine, Stephanie »» The 5th Wave Series »» The Books of Elsewhere, Jacqueline West Tromly »» Juniors, Kaui Hart Hemmings 94 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org » » » » » » » » » Joanna Cardenas, Associate Editor » » » » » » » » » » Kendra Levin, SeniorEditor VIKING CHILDREN’SPUBLISHING » » » » » » » » » » Stacey Barney, SeniorEditor » » » » » » | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Caveboy Dave:More Scrawny Than Cartaya The Epic Failof Arturo Zamora, Pablo Will Mabbitt, illustrated by RossCollins The Unlikely Adventures of Mabel Jones, Me and Miranda Mullaly, Jake Gerhardt Nope, Drew Sheneman illustrated byCorey R.Tabor A Dark,DarkCave, Eric Hoffman, Thong, illustrated bySara Palacios ’Twas Nochebuena, Roseanne Greenfield Archie the Daredevil Penguin, Andy Rash Tim Miller in ThisBook!),Julie Falatko, illustrated by Snappsy the Alligator (Did Not Ask toBe Rebel of the Sands, AlwynHamilton Karen Finneyfrock Starbird Murphy and the World Outside, Blythewood, Carol Goodman Man Made Boy, Jon Skovron All the Truth That’s inMe, Julie Berry Janet The Charmed Children of RookskillCastle, Solomons My Brother isaSuperhero, David Curtis Jobling Max Helsing and the Thirteenth Curse, By Mouse and Frog, Deborah Freedman Valeria Petrone Yellow Copter, Kersten Hamilton, illus. by Ask Elizabeth,ElizabethBerkely Counting Thyme, Melanie Conklin Unlocking the Truth withCharisseJones of Life, Friendship. And Making the Band, Unlocking the Truth: Three Brooklyn Teens The Secret Hum of aDaisy, Tracy Holczer The Lions of LittleRock,Kristine Levine Golden Boy, Tara Sullivan Eero Johnson Original Fake, KristinCronn-Mills and E. Silent Alarm,Jennifer Banash The Wrath and the Dawn,RenéeAhdieh Firebird, MistyCopeland illustrated byAnna Raff The Wrong Side of the Bed, LisaBakos and Dreamwood, Heather Mackey Pointe, Brandy Colbert The RebelBelleSeries, Rachel Hawkins Blood and Salt,KimLiggett Kujawinski Nightfall, Jake Halpern and Peter » » » » » » » Erin Clarke, Executive Editor » » » » » » » » » » Nancy Siscoe, Senior Executive Editor » » » » » » » » » » Phoebe Yeh, VP&Publisher ALFRED A.KNOPF 212-782-9000 New York, NY10019 1745 Broadway RANDOM HOUSECHILDREN’SBOOKS » » » » » » » » » » » » » » » » » » » » » » » » » » » Show and Prove, SofiaQuintero illustrated by Jane Massey Eat, Sleep,Poop, Alexandra Penfold, Foxlee Ophelia and the Marvelous Boy, Karen Kate Hattemer The Vigilante Poets of SelwynAcademy, Taking Flight, Michaela DePrince Wonder, R.J. Palacio The BookThief, Markus Zusak Julia Vanishes, Catherine Egan Denton Little’sDeathdate, Lance Rubin Skink—No Surrender, CarlHiaasen Van Draanen The Sammy Keyes mysteries, Wendelin Poultry Farmer, Kelly Jones Unusual Chickens for the Exceptional Cynthia Voigt Mister Max: The Bookof LostThings, Shelley Pearsall The Seventh Most Important Thing, Quackers, LizWong Emberley Barbara Bottner, illustrated byMichael Miss Brooks LovesBooks(and Idon’t), Sarcone-Roach The BearAte Your Sandwich, Julia Dear Martin, Nic Stone Reeve’s End, Kelly Armstrong Humans, Laurence Yep and Joanne Ryder A Dragon’s Guide tothe Care &Feeding of edited byEllenOh Myers, TimTingle, Jacqueline Woodson; Grace Lin,Meg Medina, Walter Dean Chainani, Matt de laPena, TimFederle, Sherman Alexie, Kelly Baptist,Soman Stories for Allof Us, Kwame Alexander, Silverworld, Diana AbuJaber Dead Boy, Laurel Gale The ’s Dog,Eric Kahn Gale Lucy &Andy Neaderthal, Jeffrey Brown Anders Frostborn (Thrones &Bones series), Lou illustrated byGusGordon The CatawumpusCat,Jason CarterEaton; McAndrew Brawny, Aaron Reynolds, illustrated byPhil » » » Kate Sullivan, SeniorEditor » » » » » » » » » » » Krista Marino,SeniorExecutive Editor » » » » » » » » » » Wendy Loggia,SeniorExecutive Editor DELACORTE PRESSBFYR » » » » » » » » » » Allison Wortche, SeniorEditor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » The Map toEverywhere, JPDavisand Kody Keplinger The DUFF(Designated UglyFatFriend), Ash, Malinda Lo Seeker, ArwenElysDayton The GirlatMidnight, Melissa Grey Places No One Knows, Brenna Yovanoff Michael Scott of the Immortal Nicholas Flamel series), The Alchemest (and the completeSecrets Hunted, Matt de laPena Mexican WhiteBoy;The Living, The Johnson The Mark of the Dragonfly, Jaleigh These ShallowGraves, The Darkest Corners, Kara Thomas Nightmares!, Jason Segel &KirstenMiller series), Brandon Sanderson Steelheart (and the completeReckoners series, Everything, Everything, Nicola Yoon And IDarken, Kiersten White Project UnPopular, KristenTracy Summer Trust Me, I’mLying, Mary Elizabeth I Woke UpDeadatthe Mall, Judy Sheehan The Trouble WithDestiny, Lauren Morrill Save Me, ,Jenny Manzer Dead GirlsSociety, Michelle Krys The Fallenseries, Lauren Kate Look BothWays, Alison Cherry Graffiti Moon, CathCrowley All the Bright Places, Jennifer Niven The Great Trouble, Deborah Hopkinson One Came Home, Amy Timberlake Gottesfeld Through ’s Window, Jeff The Tree inthe Courtyard: Looking Rosenstock Sounds of Kandinsky’s Abstract Art,Barb The Noisy Paint Box: The Colorsand Horace Pippin,Jen Bryant A Splashof Red:The Lifeand Artof Ninja Bunny, Jennifer Gray Olson A Bookof Sleep,IlSung Na How toBabysitaGrandpa, Jean Reagan illustrated byMatt Hunt Lady Liberty’sHoliday, Jen Arena, Alter The Sprout Street Neighbors series, Anna Mare’s War, Tanita S.Davis EDITED BY | 95

Carrie Ryan a Knight, Penny Parker Klosterman, ARTHUR A. LEVINE BOOKS PREPARING & SUBMITTING »» Etiquette & Espionage, Gail Carriger illustrated by Ben Mantle »» Rapture Practice, Aaron Hartzler »» Uni the Unicorn, Amy Krouse Rosenthal, Arthur A. Levine »» Burning Midnight, Will McIntosh illustrated by Brigette Barrager »» A Tangle of Gold, Jaclyn Moriarty »» A Totally Awkward Love Story, Tom Ellen Diane Muldrow, Editorial Director »» The Game of Love and Death, Martha and Lucy Ivison »» Bringing the Outside In, Mary McKenna Brockenbrough Siddals, illustrated by Patrice Barton »» The Kidney Hypothetical, Lisa Yee RANDOM HOUSE/GOLDEN BOOKS YRG »» Shivery Shades of Halloween: A Spooky »» Rules of Summer, Shaun Tan Book of Colors, Mary McKenna Siddals, »» Cleonardo: The Little Inventor, Mary Michelle H. Nagler, Associate Publishing illustrated by Jimmy Pickering Grandpre Director »» My Pet Book, Bob Staake »» Unidentified Suburban Object, Mike Jung MARKET SURVEYS »» Puppy Pirates, Erin Soderberg »» The Noisy Garage, Dennis Shealy, »» The Summer Prince, Alaya Dawn Johnson »» Louise Trapeze, Micol Ostow, illustrated illustrated by Mike Yamada »» Love, Santa, Martha Brockenbrough, by Brigette Barrager »» Puppy Princess, Sue Fliess, illustrated by illustrated by Lee White »» The Voyagers series, D.J. MacHale and Steven Salerno »» Welcome to My Neighborhood: A Barrio others »» I’m a Bulldozer, Dennis Shealy, illustrated ABC, Quira Hudes, illustrated by Shino »» Comics Squad II, Jennifer Holm, Matt by Bob Staake Arihara Holm, Jarrett Krosoczka, et al. »» Football With Dad, Frank Berrios, »» The Letter Q: Queer Writers’ Notes to Their

»» Wednesdays in the Tower, Jessica Day illustrated by Brian Biggs Younger Selves, edited by Sarah Moon DIRECTORIES & RESOURCES George Chelsea Eberly, Associate Editor and James Lecesne »» The Maggie Brooklyn Mysteries by Leslie »» Twerp, Mark Goldblatt Cheryl Klein, Executive Editor Margolis »» Damage Done, Amanda Panitch »» Openly Straight by Bill Konigsberg »» Finding Family, by Tonya Bolden »» Astray, Amy Christine Parker »» The Great Greene Heist, Varian Johnson »» Our Children Can Soar, Michelle Cook, »» Dualed, Elsie Chapman »» Grounded: The Adventures of , et al »» Up to This Pointe, Jennifer Longo Megan Morrison »» The Need series, Carrie Jones »» A Shadow Bright and Burning, Jessica »» The Best Friend Battle, Lindsay Eyre Frances Gilbert, Associate Publishing Cluess »» Shadowshaper, Daniel José Older Director »» Words on Bathroom Walls, Julia Walton »» The Princess and the Pony, Kate Beaton »» I Don’t Want to Be a Frog, Dev Petty; »» Srsly Hamlet, and »» What’s New? The Zoo!: A Zippy History illustrated by Mike Boldt Courtney Carbone of Zoos, Kathleen Krull, illustrated by

»» Pirate’s Lullaby: Mutiny at Bedtime, Marcie »» The Amazing Book Is Not on Fire, Dan Marcellus Hall PUBLICIZING YOUR PUBLISHED WORK Wessels; illustrated by Tim Bowers Howell and Phil Lester »» The Memory of Light, Francisco X. Stork »» Mom School, Rebecca Van Slyke; »» Words in the Dust, Trent Reedy illustrated by Priscilla Burris SCHWARTZ AND WADE BOOKS »» The Nazi Hunters: How a Team of Spies »» Mother Goose’s Pajama Party, Danna and Survivors Captured the World’s Most Smith; illustrated by Virginia Allyn Lee Wade, VP & Publisher Notorious Nazi, Neal Bascomb »» Dear Santa, Love Rachel Rosenstein, »» , Chris Raschka Amanda Peet and Andrea Troyer; »» How Learned to Read, Tad Hills CARTWHEEL BOOKS illustrated by Christine Devanier »» Duck & Goose, Tad Hills »» Bunny’s Book Club, Annie Silvestro; »» Bluebird, Bob Staake Orli Zuravicky, Senior Editor, Cartwheel illustrated by Tatjana Mai-Wyss »» How Many Seeds in a Pumpkin, Margaret Books and Scholastic Press »» 10 Busy Brooms, Carole Gerber; illustrated McNamara and illustrated by G. Brian »» If You’re a Robot and You Know It, Musical by Michael Fleming Karas Robot, illustrated and engineered by David »» Pretty Minnie in Paris, Danielle Steel; »» Here is the Baby, Polly Kavevsky and A. Carter

illustrated by Kristi Valiant illustrated by Taeeun Yoo »» Five Stinky Socks, Jim Benton SCHOOL VISITS »» Chicken Dance, Tammi Sauer; illustrated »» Rosie Goes to Preschool, Karen Katz »» What’s in My Truck?, Linda Bleck by Dan Santat »» Little Penguins Snow Day, »» Pepper & Poe, Frann Preston-Gannon »» I Saw an Ant on a Railroad Track, Josh and illustrated by Christian Robinson »» ABC School’s for Me!, Susan B. Katz, Prince; illustrated by Macky Pamintuan »» I Love my Hair doodle and coloring book, illustrated by Lynn Munsinger Marina Modugno, Editorial Director, Picture Andrea Pippins »» You Can Do It, Stinky Face!, Lisa McCourt, Books »» Douglas, You Need Glasses!, Ged illustrated by Cyd Moore LEGAL QUESTIONS »» Snowflakes Fall, Patricia Maclachlan, Adamson »» How to Dress a Dragon, Thelma Godin, illustrated by Steven Kellogg illustrated by Eric Barclay »» How to Grow a Friend and How to Mend a SCHOLASTIC TRADE »» Bedtime Blastoff!, Luke Reynolds, Heart, Sara Gillingham 557 Broadway illustrated by Mike Yamada »» Mission: New Baby, Susan Hood, New York, NY 10012 illustrated by Mary Lundquist 212-343-6100 »» There Was an Old Dragon Who Swallowed 96 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Tracy Mack,Executive Editor » » » » » » » » » » Multiplatform Publishing Rachel Griffiths, EditorialDirector, » » » » » » » Scholastic Press Ken Geist,VP&EditorialDirector, SCHOLASTIC PRESS » » » » » » » » Cassandra Pelham, SeniorEditor » » » » » » » » » » Editorial Director David Saylor, VP, Creative Director, & GRAPHIX | BY EDITED » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Medusa Jones, RossCollins My InvisibleBoyfriend, Susie Day Sidekicks, DanSantat Stone The Romeo and Juliet Code, Phoebe Kathryn Lasky Wolves of the Beyond #1:Lone Wolf, Woof, Spencer Quinn Loot, Jude Watson The Maze of Bones, Rick Riordan The Finisher, David Baldacci It’s AllYour Fault,Paul Rudnick Jayne Church I LoveYou Through and Through, Caroline Bad Wolf, Mark Teague The Three LittlePigs and the Somewhat Please, Mr. Panda, SteveAntony Guy Parker-Rees Giraffes Can’tDance, GilesAndreae and Hey, Seymour!, Walter Wick Train, ElishaCooper An Animal Alphabet,ElishaCooper and DouglasHolgate The ClemHetherington series, Jen Breach The BONEseries, Jeff Smith Maihack The Cleopatra inSpaceseries, Mike The Amulet Series, Kazu Kibuishi Ghosts, Raina Telgemeier Sisters, Raina Telgemeier Drama, Raina Telgemeier Smile, Raina Telgemeier The DumbestIdea Ever, Jimmy Gownley The LostBoy, Greg Ruth The Three Questions, Jon JMuth Zen Shorts, Jon JMuth Space Dumplins, Craig Thompson Fish, Greg Mone Savage Where’s Walrus? And Penguin?, Stephen Where’s Walrus?, Stephen Savage illustrated byStephen Savage Polar BearMorning, Lauren Thompson, illustrated byStephen Savage Polar BearNight, Lauren Thompson, » » » » » » » » » » Licensing/Nonfiction/Readers Jenne Abramowitz, SeniorEditor, » » » » » » » » Paperbacks Aimee Friedman,Executive Editor, Trade » » » » » » » Lisa Sandell,Executive Editor » » » » » » » » Amanda Maciel,Executive Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Boris onthe Move, Andrew Joyner Neubecker Tales of the Time Dragon, Robert The DollGraveyard, LoisRuby Petlandia, Peter Hannan The BadGuys, Aaron Blabey Key Hunters, Eric Luper The World From UpHere, Cecilia Galante Race the Wild, KristinEarhart Starring Jules, BethAin The Yeti Files, Kevin Sherry Cake Pop Crush, Suzanne Nelson PS ILike You, Kasie West Prisoner B-3087,AlanGratz Alender The DeadGirlsof Hysteria Hall, Katie Rice The Secret Language of Sisters, Luanne Can’t LookAway, Donna Kooner Skinny, Donna Cooner The WhateverAfterseries, Sarah Mylnowski Long Shang The Great Wall of Lucy Wu,Wendy Wan- A Night Divided, Jennifer A.Nielsen The FalsePrince, Jennifer A.Nielsen Saving Wonder, Mary Knight Icefall, Matthew J.Kirby Untwine, Edwidge Danticat Rook, Sharon Cameron Pet Trouble series, T.T. Sutherland Charmed Lifeseries, LisaSchroeder Suzanne Williams Grimmtastic Girlsseries, Joan Holub and The Serious Kiss, Mary Hogan Border Town series, Malin Alegria Emma Is Onthe Airseries, Ida Siegal My Secret Guide toParis, LisaSchroeder Wings of Fire series, Tui T. Sutherland illustrated byEdwin Fotheringham What To DoAboutAlice?, Barbara Kerley, illustrated byLaura Huliska-Beith The RecessQueen,Alexis O’Neill, Grumpy Bird, Jeremy Tankard Ice Cream Summer, illustrated byLeeWhite The LostTrack of Time, Paige Britt, All the Broken Pieces, AnnE.Burg Selznick The Invention of Hugo Cabret, Brian The Marvels, Brian Selznick Esperanza Rising, Pam Muñoz Ryan , Pam Muñoz Ryan » » » » » » » » Erin Black,Associate Editor » » » » » » Emily Seife, Editor » » » » » » » » Paige Hazzan,SeniorEditor » » » » » » » » » » Katie Carella, SeniorEditor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Jane B. Mason and Sarah Hines Stephens The Dogand HisGirlMysteries series, Weyn The Haunted Museum series, Suzanne Secrets of Bearhavenseries, K.E.Rocha Once UponaCruise, Anna Staniszewski Revenge of the Angels, Jennifer Ziegler Ziegler Revenge of the FlowerGirls, Jennifer Fire &Floodbooks, Victoria Scott Titans, Victoria Scott, Waddle! Waddle!, James Proimos The Angel Tree, Daphne Benedis-Grab How toSpeakDolphin,Ginny Rorby TombQuest series, Michael Northrop Faceless, AlyssaSheinmel Moving Target, Christina Diaz Gonzalez George Sullivan Mr. President (2016RevisedEdition), Koob: The Backwards Book,Anna Brett Way toGlow!,LisaRegan Calkhoven Women Who Changed the World, Laurie Illustrated byErwinMadrid When IGrow Up:Taylor Swift,Lexi Ryals, Military Animals, Laurie Calkhoven Carson Edition), Melvin Berger and Mary Kay Discovering Mars (Revisedand Updated Scholastic Inc Scholastic Almanac for Kids 2016, David Milgrim Scholastic Reader: Level One: Moo Bird, Dog, Eric Seltzer Scholastic Reader: Level One: The Long Cyndi Marko Kung Pow Chicken #1:Bok!Boom!, James Burks On Deck,Jessica Young, illustrated by Haggis and Tank Unleashed #1:AllPaws Spiders, Amy Marie Stadelmann Olive &Beatrix#1:The Not-So-Itty-Bitty Rebecca Elliott Owl Diaries #1:Eva’sTreetop Festival, Damien Jones Dragon, Tracey West, illustrated by Dragon Masters #1:Riseof the Earth Jack Chabert,illustrated bySamRicks Eerie Elementary#1: The School isAlive, Beards, Noah Z.Jones Believe #1:Moldylocks and the Three Princess Pinkand the Land of Fake- Balloon Goons, Troy Cummings The Notebook of Doom#1:Riseof the EDITED BY | 97

Celia Lee, Associate Editor »» The Wicked and the Just, Jillian Anderson »» The Tree Lady, H. Joseph Hopkins, PREPARING & SUBMITTING »» Believe It Or Not, My Brother has a Coats illustrated by Jill McElmurry Monster!, Kenn Nesbitt, illustrated by »» This is Not a Werewolf Story, Sandra Evans »» Dinothesaurus, Douglas Florian David Slonim »» The Storyteller, Evan Turk »» The Great Good Summer, Liz Garton »» Let it Shine, Maryann Cocca-Leffler »» Tell Me Something Real, Calla Devlin Scanlon »» Ten Easter Eggs, Vijaya Bodach, illustrated »» In Your Hands, Carole Boston »» The Secrets of Eastcliff-by-the-Sea, Eileen by Laura Logan Weatherford, illustrations by Brian Beha »» Peek-a-boo Zoo and Peek-a-boo Farm, Pinkney Ruta Rimas, Senior Editor Joyce Wan Emma Ledbetter, Associate Editor »» Long May She Wave, Kristen Fulton »» The Very Stuffed Turkey, Kate Kenah, »» I Don’t Like Koala, Sean Ferrell, illustrated »» Mouseheart, Lisa Fiedler, illustrated by illustrated by Binny Talib by Charles Santoso Vivienne To MARKET SURVEYS »» I Love My and I Love My Puppy, »» The Backwards Birthday Party, Tom »» Irena’s Children, Young Readers Edition, Caroline Jayne Church Chapin and John Forster, illustrated by Tilar Mazzeo, adapted by Mary Cronk »» Pirasaurs, Josh Funk, illustrated by Chuck Groenink Farrell Michael Slack »» What About Moose?, Corey Rosen »» SIX, M.M. Vaughan »» Super Happy Magic Forest, Matty Long Schwartz and Rebecca J. Gomez, »» MiNRS, Kevin Sylvester »» Papercuttables, David Landis illustrated by Keika Yamaguchi »» The Way I Used to Be, Amber Smith »» Press Start! Series, Thomas Flintham »» Island Treasures, Alma Flor Ada »» Fig, Sarah Elizabeth Schantz

»» Ida, Always, Caron Levis, illustrated by »» The Gospel of Winter, Brendan Kiely DIRECTORIES & RESOURCES SIMON & SCHUSTER BFYR Charles Santoso »» Of Metal and Wishes, Sarah Fine »» If Not for You, , illustrated by Sylvie Frank, Editor David Gale, VP & Editorial Director David Walker »» Strictly No Elephants, Lisa Mantchev, »» Bear & Hare Go Fishing, Emily Gravett »» The Sword in the Stove, Frank W. Dormer illustrated by Taeeun Yoo »» Murphy in the City, Alice Provensen »» The Snurtch, Sean Ferrell, illustrated by »» New Shoes, Susan Lynn Meyer, illustrated »» Better Nate Than Ever, Tim Federle Charles Santoso by Eric Velasquez »» Cartwheeling in Thunderstorms, »» The Marvelous Thing That Came from a »» Roar!, by Tammi Sauer, illustrated by Liz Katherine Rundell Spring: The Accidental Invention of the Starin »» Redeemed, Margaret Peterson Haddix Toy That Swept the Nation, Gilbert Ford »» My Story, My Dance: Robert Battle’s »» 100 Sideways Miles, Andrew Smith »» Four-Four-Two, Dean Hughes Journey To Alvin Ailey, Lesa Cline- »» UnDivided, Neal Shusterman Ransome, illustrated by James E. Ransome

»» Last Leaves Falling, Sarah Benwell BEACH LANE BOOKS »» Miss Mary Reporting: The True Story of PUBLICIZING YOUR PUBLISHED WORK »» Randoms, David Liss Sportswriter Mary Garber, Sue Macy, »» Draw the Line, Laurent Linn Allyn Johnston, VP & Publisher illustrated by CF Payne Zareen Jaffrey, Executive Editor »» Is Mommy?, Victoria Chang, illustrated by »» Footer Davis Probably is Crazy, Susan »» To All the Boys I’ve Loved Before, Jenny Marla Frazee Vaught Han »» Rain Fish, Lois Ehlert »» Peter Lubinsky and the Magician’s Dog, »» The House, Christina Lauren »» Say Hello!, Linda Davick Frances Sackett »» Dangerous Lies, Becca Fitzpatrick »» Gooseberry Park and the Master Plan, »» Whistle in the Dark, Susan Hill Long »» Gemini, Sonya Mukherjee Cynthia Rylant, illustrated by Arthur »» Ticket to India, NH Senzai »» The Geek’s Guide to Unrequited Love, Howard Sarvenaz Tash »» Blue on Blue, Dianne White, illustrated by SIMON PULSE »» Lucky Few, Kathryn Ormsbee Beth Krommes »» Hidden Girl, Shyima Hall »» Nasreen’s Secret School, Jeanette Winter Liesa Abrams, VP & Editorial Director, »» The Pregnancy Project, Gaby Rodriguez »» Rhyming Dust Bunnies, Jan Thomas Pulse

»» Randi Rhodes, Ninja Detective, Octavia »» All the World, Liz Garton Scanlon, »» Story Thieves, James Riley SCHOOL VISITS Spencer illustrated by Marla Frazee »» The Blackthorn Key, Kevin Sands »» Some Kind of Happiness, Claire Legrand »» Deer , Mary Lyn Ray, illustrated by »» The Unwanteds, Lisa McMann Laura Stringer »» Five Kingdoms series, Brandon Mull ATHENEUM BFYR »» The Scraps Book: Notes from a Colorful »» Dork Diaries series, Rachel Renee Russell Life, Lois Ehlert »» Suicide Notes from Beautiful Girls, Lynn Reka Simonsen, Executive Editor Andrea Welch, Executive Editor Weingarten LEGAL QUESTIONS »» A Nearer Moon, Melanie Crowder »» LMNO Peas series, Keith Baker »» The Remedy, Suzanne Young »» Enchanted Air, Margarita Engle »» Baby Bear Sees Blue, Ashley Wolff »» Zeroes, , Deb Biancotti, »» The Shadow Behind the Stars, Rebecca »» Some Bugs, Angela DiTerlizzi, illustrated Hahn by Brendan Wenzel »» Other Broken Things, Christa Desir »» A Pocket Full of Murder, R.J. Anderson »» Mama Built a Little Nest, Jennifer Ward, »» Me Being Me is Exactly As Insane As You »» How to Catch a Bogle trilogy, Catherine illustrated by Steve Jenkins Being You, Todd Hasak-Lowy Jinks »» Raindrops Roll, April Pulley Sayre 98 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | BY EDITED » » » » Elise Howard, Publisher &Editor ALGONQUIN YOUNG READERS » » » » » » » » » » Daniel Ehrenhaft, EditorialDirector SOHO TEEN » » » » » » » » » » Alison Weiss, Editor SKY PONYPRESS » » » » » » » » » » Michael Strother, Associate Editor » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » » Klise Thee-Ring Rascalsseries, Kate and Sarah The Jumbies, Tracey Baptiste Unbelievable Fib, Adam Shaughnessy The Entirely True Storyof the The Witch’sBoy, Kelly Barnhill Novak Black Sabbath,John Hamburg and Lev Dark Horses, CecilyvonZiegesar It Wasn’t AlwaysLike This, Joy Preble David Ostow The Deviland Winnie Flynn,Micol and More Happy ThanNot, Adam Silvera Adele Griffin The Unfinished Life of Addison Stone, Razorhurst, Justine Larbalestier I’m GladIDid, Cynthia Weil Liv, Forever, Amy Talkington Kiem Dancer, Daughter, Traitor, Spy, Elizabeth Tear You Apart, Sarah Cross Code BustersClubseries, Penny Warner Goofballs series, Tony Abbott Amity, Micol Ostow A Summer of Sundays, Lindsay Eland dotwav, Mike A.Lancaster Wandering Wild, Jessica Taylor McBride A Million Times Goodnight, Kristina Valiant, Sarah McGuire Rasa,KristenLippert-Martin Vegas Pyramid Hunters: The Iron Tomb, Peter Bounders, Monica Tesler Savage, Thomas E.Sniegoski Morgan Secrets, Lies, and Scandals, Amanda K. Three Truths and aLie, Brent Hartinger We Are the Ants, ShaunDavid Shades of Darkness, A.R.Kahler et al. Violent Ends, ShaunDavid Hutchinson, Diary of aHaunting, M.Verano Willful Machines, TimFloreen » » » » » » » » » » » » Radioactive!, Winifred Conkling The Artof Secrets, James Klise Sara Farizan Tell Me Again How aCrush Should Feel, Jackaby series, William Ritter The Wall Around Us, Nova RenSuma The Girlinthe Well isMe, Karen Rivers SMALL PRESS MARKET SURVEY

compiled by Chelsea Mooser, updated by Kayla Heinen

here are scores of small presses currently publishing books for children and young adults. Some are well-established publishing houses that have T been in business for decades. Others start up, publish books for a few years and then quietly fade away. Many small presses are niche publishers, cater- ing to a specific need not met by mainstream publishers. Generally, small presses will pay a small advance plus a small royalty, or will offer an author or illustra- tor a flat fee. As one small press publisher noted, publishing with a small press is not the road to riches. It can, however, be the road to getting your offbeat manu- script published. Many authors and illustrators report that they get very person- al 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 website. Send for a catalogue and for author’s/ illustrator’s guidelines. kinds of books published by small presses. Learn who the audience Always enclose a self-addressed, stamped envelope (SASE) with your is for each publisher to whom you intend to send your work. Many catalogue request. publishers now have websites and we have included this information Over 70 small to medium size independent publishers were sent when it was provided. However, it doesn’t hurt to surf the web for questionnaires to determine if they were receptive to unsolicited a particular publisher, since this is becoming a popular way for submissions from SCBWI members. We included publishers who are publishers to advertise their books. Although we have included e-mail actively seeking new authors and illustrators as well as those who are addresses of those who supplied them, check with a publisher before currently closed to submissions with the hope that eventually they will you submit your work through electronic mail. reopen. We tried to get as much specific information as possible about Do your homework: in your cover letter, let the publisher know the kinds of books each small press publishes. Many publishers included that you have studied its list. Give solid reasons why you think your specific titles you might want to read before submitting your work. proposal or manuscript will fit its needs. In order to find out what Enclose an SASE with all correspondence to these publishers. a publisher’s needs are, check out the submission guidelines at its

WE LOVE CHILDREN’S BOOKS Children’s books as my Web team! I’ve worked GENRE(S): Educational and Fiction 2500 Painter Ct. with Bobbie Combs and Laurina Cashin for BOOKS PUBLISHED YEARLY: 10 Annapolis, MD 21401 four years and have consistently found them METHOD OF SUBMISSION: Writers: Snail mail 609-502-8147 enthusiastic, prompt, professional and ready with SASE for reply Contact: Bobbie Combs to help me solve problems.” —Pat Mora, SUBMISSION GUIDELINES: absey.com/ [email protected] www.patmora.com submission.php?PHPSESSID=323a40a6d2a4e5a3 www.welovechildrensbooks.com 237fbd6ffbe846ca Fee: No hourly rate; establishes a project fee ABSEY AND CO. MULTIPLE SUBMISSIONS: No after discussing a client’s needs 23011 Northcrest Drive WILL REPLY IN: 8 weeks Description: Website design and creation of Spring, TX 77389 OTHER INFORMATION: We do not accept email educator guides. www.absey.com submissions Testimonial: “I’m honored to have We Love CONTACT PERSON: Edward E. Wilson 100 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Nonfiction, Fiction MULTIPLE SUBMISSIONS:No Illustrators: Send insamplesof portfolio. submissions. Outline and samplechapters. 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: 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. Non fiction send chapters and outline. Picture Bookssend METHOD OFSUBMISSION:YA send sample ages. and young adult fiction and non-fiction forall GENRE(S): Children’s picture books, juvenile CONTACT PERSON:Submissions Editor actionpublishing.com/index.html Glendale, California 91209 P.O. Box 391 ACTION PUBLISHING SUBMISSION GUIDELINES: and proposal withsamplechapters. METHOD OFSUBMISSION:Send incoverletter BOOKS PUBLISHEDYEARLY: 200 GENRE(S): Fiction, no YA CONTACT PERSON:Submissions Editor www.andrewsmcmeel.com/index.html Kansas City, MO64106 1130 Walnut St. Andrews McMeelPublishing,LLC (AN IMPRINTOFMcMEEL PUBLISHING) ACCORD PUBLISHING Boyd Biro; Shadowbox Hunt:A Search andFind Family of Reeseries | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Picture books, Chapterbooks, 90Days Walking with MagabyMaureen The DinosaurDogseries; Linda Guevara, Editor Advance; Royalty Yes Yes Have withdrawn itscall actionpublishing.com/ aakp.com/guidelines. 6

No Email and childdrama education. audience. Booksontheatrical design, directing, storytelling. folktales, and the artand application of Acquisitions Editor MULTIPLE SUBMISSIONS:Yes Illustrators: Sample colororB&Willustrations METHOD OFSUBMISSION:Writers:Ms. BOOKS PUBLISHEDYEARLY: 1-2 GENRE(S): Children’s Books submissions. with SASE. We do not acceptemail orfax send portfolio samplestoArtDirector. manuscript. No Email orphone calls. Illustrators by Mary Burke Peterson Odyssey byLaura L.Seely;A,MyNameisAndrew 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:Submissions Editor www.augusthouse.com/ Atlanta, GA 30305 NE Suite310 3500 PiedmontRoad AUGUST HOUSEBOOKS METHOD OFPAYMENT: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: [email protected] www.applays.com Woodstock, IL60098-3308 311 Washington St. Dramatic Publishing ANCHORAGE PRESSPLAYS METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: CONTACT PERSON: Worcester, MA01605 91 PrescottStreet AMBASSADOR BOOKS Stories pertaining tofolklore, Theatrical playsfor K-12 and family 5 Months 5 4 months 4 Owner: Gae Eisenhardt Surf War; TheUglifiedDucky Publisher Ms. Kathryn Conlan Royalty Royalties onsales. Yes Yes Yes Mail proposal or Writers: Queryletter See website 6 6-8

Illustrators: Queryletterwith1or2samples information. mail. Illustrators: Regularmail or queries. METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.barefootbooks.com Cambridge, MA02140 2067 MassachusettsAve. BAREFOOT BOOKS 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: Hall(2011)byJaenet , Colorado, Arizona, 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 METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: www.bayoakpublishers.com [email protected] Dover, DE19904 34 WimbledonSt. BAY OAK PUBLISHING WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.baylightpub.com [email protected] Mooresville, NC28117 P.O. Box 3032 BAY LIGHTPUBLISHING TITLES TO STUDY: OTHER INFORMATION: WILL REPLY IN: MULTIPLE SUBMISSIONS: We GotoMexico; TheAnimalBoogie Fiction and non fiction. Children’s Books Christian Children’s Books 6weeks 6-8months Writers:Tessa Strickland Submissions Editor Writers:CharlotteSoutullo The BoyWhoGrewFlowers;Off No email submissions : Yes Writers:FullMS. Contact publisher for Writers:Email orregular Yes Yes 2 30-35 SMALL PRESS MARKET SURVEY | 101

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

www.blueapplebooks.com 530-623-5399; Fax: 530-623-5525 866-933-6133 SCHOOL VISITS [email protected] [email protected] CONTACT PERSON: Lucy Chambers CONTACT PERSON: Publisher www.bouldenpublishing.com GENRE(S): All GENRE(S): Picture books that address important EDITOR: Richard Morris BOOKS PUBLISHED YEARLY: 24 themes of early childhood (separation, loss, ASSOCIATE EDITOR: Mark Tangard METHOD OF SUBMISSION: Send proposals as hard reunion, emotional bond between parents and GENRE(S): Story and activity books, CD-ROMs, copies, rather than on disk over the Internet or by kids, development of empathy). , and DVDs, lesson plans, games, etc. for fax. Please send copies no originals. See website LEGAL QUESTIONS BOOKS PUBLISHED YEARLY: 50 children, counselors, teachers and professionals for details on proposal content for fiction and METHOD OF SUBMISSION: No longer accepting on a wide range of subject matter, bullying, nonfiction. unsolicited manuscripts. teasing, bereavement, parental substance MULTIPLE SUBMISSIONS: Yes MULTIPLE SUBMISSIONS: abuse, sexual abuse, academic improvement, WILL REPLY IN: 6-12 months WILL REPLY IN: 2-8 months character education, drug awareness, parental METHOD OF PAYMENT: Royalties METHOD OF PAYMENT: Varies incarceration, divorce and remarriage, family issues and more. Primary focus is materials for 102 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org . especially bywritershistorically neglected by disease, difference, gender issues, bullying, older children. GENRE(S): CONTACT PERSON: www.cedarfortbooks.com Springville UT84663 2373 W. 700S. CEDAR FORTPUBLISHING Carolina AlphabetBook TITLES TO STUDY: Peace ComestoAjani;TheNorth contests. Seewebsitefor details. manuscripts atthistime. Writerscansubmit totwo METHOD OFSUBMISSION:Not accepting unsolicited BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: carolinawrenpress.org [email protected] Durham, NC27701 120 MorrisSt. CAROLINA WRENPRESS TITLES TO STUDY: MULTIPLE SUBMISSIONS: WILL REPLY IN: SUBMISSION GUIDELINES full manuscripts only. Send via Email orpost. METHOD OFSUBMISSION:Non fiction send synopsis or GENRE(S): CONTACT PERSON www.busterbooks.co.uk [email protected] London SW47NQEngland 9 LionYard Tremadoc Road (IMPRINT OFMICHAEL O’MARABOOKS) BUSTER BOOKS WILL REPLY IN: MULTIPLE SUBMISSIONS: WRITERS: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.at-risk.com [email protected] Woodbury, NY11797 303 CrosswaysPark Drive BUREAU FORAT-RISK YOUTH Mischief subject of yoursubmissions. including yourqualifications asan expert onthe For allsubmissions, pleaseinclude ashort bio files [email protected]. reviewed orreturned. Pleasesend yourdigital Printed manuscripts sent touswillnot be | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL Will onlyacceptdigital submissions. Stories inthe subjectsof prayer, Children’s literature thatdeals with Informative butfunnon-fiction for Nonfiction only. 6+Months Project-by-project basis : SubmissionsEditor TheBoysSummerBook;Meerkat Diane Baur Submissions Editor Andrea Selch Yes Yes : No fiction. 3 6-10 approach. nonfiction with adistinct voice orunique are realistic fiction, historical fiction, and for readers ages 5to12.Ofspecial interest nonfiction) featuring children/people of color, only (fiction, historical fiction, poetry, literary entertaining giftbooks. GENRE(S): Interactive, creativity booksand Editor about-us/contact-us guidelines/ cedarfortbooks.com/manuscript-submission- and usethe submission form. www. manuscripts. Pleaseseesubmission guidelines website for completesubmission guidelines) mail submissions withSASE. samples. Seewebsitefor further guidelines. Can Writers submitcoverletter. Illustrator submit METHOD OFSUBMISSION: fiction, historical fiction, and behavioral issues. The Bookof Mormon, general fiction and non OTHER INFORMATION: TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: SUBMISSION GUIDELINES: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.childrensbookpress.org [email protected] NEW YORK,NY10016 95 MadisonAvenue, Suite#1205 An imprintof Lee&LowBooks Inc. CHILDREN’S BOOKPRESS MULTIPLE SUBMISSIONS: WILL REPLY IN:4weeks submissions.html SUBMISSION GUIDELINES:cidermillpress.com/ SUBMISSION METHOD: CONTACT PERSON: cidermillpress.com/index.html [email protected] Kennebunkport, ME04046 12 SpringStreet PO Box 454 CIDER MILLPRESS TITLES TO STUDY: MULTIPLE SUBMISSIONS: BOOKS PUBLISHEDYEARLY: of Rime Match, RainbowWeaver, Finding theMusic Olinguito, fromAtoX!,MarisolMcDonald Doesn’t acquiring yourwork Currently publishing picture books 6months ONLY ifinterested in ¡Olinguito,delaAaZ!/ John Whalen,submissions Garden of LostSouls;TheRifts Submissions Editor Email asPDFpreferred. advance on royalties Publishes workfrom Yes Yes Via snail mail ONLY (see Yes Accepting unsolicited childrensbookpress.org/ 100 Approximately 4 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 com/ submissions. submissions atthistime. samples of artwork.Illustrators submitsamples. summary, and fullmanuscript. Alsoinclude 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 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 Christmas TITLES TO STUDY: NativeAmericanTwelve Days of MULTIPLE SUBMISSIONS: WILL REPLY IN SUBMISSION GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT PERSON: Color and activitybooks, storybooks, American Indian culture, religion, and Nonfiction, Therapeutic workbooks, : 4+weeks 6 weeks Submissions Editor Diane Baur Publisher Spirit Press (not accepting Determined byproject Yes Coverletter, brief Yes Only acceptdigital Not accepting www.clearlightbooks. 6-10 SMALL PRESS MARKET SURVEY | 103 [email protected] books. OTHER INFORMATION: Looking for books set in PREPARING & SUBMITTING godine.com/index.asp METHOD OF SUBMISSION: ONLY ACCEPTING Canada or intriguing U.S. cities and regions. CONTACT PERSON: Submissions Editor ILLUSTRATION SAMPLES. Send samples via post “We work very closely with writers to produce a GENRE(S): Children’s fiction and non fiction or email with cover letter. fine book—to our specifications.” BOOKS PUBLISHED YEARLY: 20-30 WILL REPLY IN: Up to a year if interested. TITLES TO STUDY: Blues Across the Bay by Whitney METHOD OF SUBMISSION: Does not accept Stewart; Speechless in New York by Ellen Dreyer; unsolicited material. Will accept submissions FARCOUNTRY PRESS Jammin’ on the Avenue by Whitney Stewart from an agent. P.O. Box 5630 TITLES TO STUDY: Phone Booth; The Helena, MT 59604 FULCRUM PUBLISHING Farmer’s Alphabet [email protected] 4690 Table Mountain Dr., Ste. 100 www.farcountrypress.com Golden, CO 80403 MARKET SURVEYS DAWN PUBLICATIONS CONTACT PERSON: Submissions Editor [email protected] 12402 Bitney Springs Rd. GENRE(S): Nature and history for children. https://fulcrum.bookstore.ipgbook.com/ Nevada City, CA 95959 Educational CONTACT PERSON: Publisher [email protected] METHOD OF SUBMISSION: SASE. Book proposal and GENRE(S): Nonfiction www.dawnpub.com/submission-guidelines/ sample chapters. BOOKS PUBLISHED YEARLY: 10-20 CONTACT PERSON: Writers: Glenn Hovemann. SUBMISSION GUIDELINES: www.farcountrypress. METHOD OF SUBMISSION: Writers: Query letter, Illustrators: Muffy Weaver. com/contact/submitproposal.php proposal with writing sample. Illustrators:

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

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

WILL REPLY IN: 3+ months Nails [email protected] SCHOOL VISITS MULTIPLE SUBMISSIONS: Yes www.gingerbreadbooks.com TITLES TO STUDY: The Rachel Resistance; The FOUR CORNERS PUBLISHING CONTACT: Illustrators: Maria Nicotra Feester Filibuster by Molly Levite Griffis 45 West 10th Street, Suite 4J GENRE(S): children’s historical fiction and fiction New York, NY 10011 picture books FABER & FABER www.fourcornersbooks.com METHOD OF SUBMISSION: Not accepting Bloomsbury House CONTACT PERSON: Publisher unsolicited material at this time. Illustrators: LEGAL QUESTIONS 74-77 Great Russell Street GENRE(S): Travel and Fiction send samples in PDF form or by post to Art London WC1B 3DA BOOKS PUBLISHED YEARLY: 2 Director. UNITED KINGDOM METHOD OF SUBMISSION: Writers: Sample chapter WILL REPLY IN: As soon as possible [email protected] from published novel for this age group. TITLES TO STUDY: Frances Woke Up Early by www.faber.co.uk Illustrators: None needed now. Maureen Hyde CONTACT PERSON: Design dept. MULTIPLE SUBMISSIONS: Yes GENRE(S): Fiction, YA, middle grade, and picture METHOD OF PAYMENT: Flat fee 104 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org books, memoir, cookbooks. environment, sustainability website for details. Submissions/tabid/70/Default.aspx com/testimonials/ mail isfine also.www.bookpublishersnetwork. children’s bookmanuscripts attachments. No longer accepting unsolicited or coverletterwithproposal materials asfile for details. accepted from May 1-September1.Seewebsite GENRE(S): CONTACT PERSON: www.hendricklongpublishing.com [email protected] Houston, Texas 77070 10635 Tower Oaks, SuiteD HENDRICK-LONG PUBLISHING WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.bookpublishersnetwork.com [email protected] 425 483-3040;Fax:483-3098 Bothell, WA 98041 P. O. Box 2256 Book PublishersNetwork HARA PUBLISHINGGROUP TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.newworldlibrary.com [email protected] Novato, CA94949 14 Pamaron Way New World Library H.J. KRAMER TITLES TO STUDY: METHOD OFSUBMISSION: GENRE: [email protected] www.guardianangelpublishing.com GUARDIAN ANGELPUBLISHING of thePeaceful Warrior byDanMillman Bea; SmudgeBunnybyDr. Bernie Siegel; Secret publisher’s net receipts | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL children’s hygiene and health. See Self-help, Children’s books, business Spirituality, self-improvement, the Texana 10weeks 2-4 weeks Check website Where DoesGodLive?byHolly Michael orVilma Long Sheryn Hara Submissions Editor Royalties basedon Yes Yes Writers:E-mail query email only. Submissions Electronic is bestbut newworldlibrary.com/ 30-35 2-4 activity books, resources for teachers. Editor Art Director Submit_Manuscript.php &id=26&Itemid=53 com/index.php?option=com_content&task=view Original artworkwithSASE. manuscript orquerywithSASE. Illustrators: Illustrators: SASE; Hard copyonly. manuscript withSASE. No email, please. color/B&W withSASE. manuscript with SASE. Illustrators: Sample 1-page bio withsubmission. available onwebsite. Illustrators should send a Publishers catalogueand author’s guidelines METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: 866-418-2572 www.dalmatianpress.com [email protected] Franklin, TN37067 Suite C-250 113 SeaboardLane (an imprint of Dalmatian Press) INTERVISUAL BOOKS TITLES TO STUDY: 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: Terrific “4s” Educational Middle-grade nonfiction, K-3 teacher 2 weeks 6 months 6 Bubbleology; BugsintheGarden Super SimpleScience;Teaching W. Arthur Bligh, Acquisitions Writers: Editor;Illustrators: No advance. Royalty:10% Advance against royalties In business for 27years. Writers:Completed Writers:Submit Writers:Picture book Yes No www.innovativekids. www.humanicspub.com/ 2-5 10 30 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 SUBMISSION GUIDELINES: WILL REPLY IN: METHOD OFSUBMISSION: GENRE(S): CONTACT: BOOKS PUBLISHEDYEARLY: 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: Ride Ever!andMysteryonPineLake Author: Senior Editor/WillHollis Melissa Kim,Editor Picture books, storybooks, middle Memory , board books, Middle-grade Creative Nonfiction; Three tosixmonths Within 6months Sherry A. Wells The Iciest,Diciest,ScariestSled No picture books, query Yes Regularmail. Author: Prefer email www.islandportpress. Authors: Coverletter 5 SMALL PRESS MARKET SURVEY | 105

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

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

CONTACT PERSON: Submissions Editor Big Deal; What To Do When You Worry Too Much books. We publish speculative fiction for teens and SCHOOL VISITS GENRE(S): Children’s fiction and non-fiction for tweens. ages 0 - 8. MAVAL PUBLISHING BOOKS PUBLISHED YEARLY: 5+ 3900 East 6th Avenue MOUNTAIN PRESS METHOD OF SUBMISSION: Electronic. Writers: Denver, CO 80206 P.O. Box 2399 Submit a complete manuscript and cover letter [email protected] Missoula, MT 59806 along with a signed and dated copy of our www.mavalpublishing.com [email protected] LEGAL QUESTIONS Manuscript Submission Policy & Agreement, CONTACT PERSON: George Luder www.mountain-press.com which you may download from the website. GENRE(S): Picture Books CONTACT PERSON: Writers: Acquisitions Illustrators: If you have a Website or your BOOKS PUBLISHED YEARLY: 5-10 GENRE(S): History - YA biography and nonfiction. work is otherwise available online (e.g., on MULTIPLE SUBMISSIONS: Yes. Please contact Science & Natural History--illustrated for JacketFlap), provide a link. We will contact you publisher for more Information about elementary, K-5. if we need more info or samples of your work. If submissions. BOOKS PUBLISHED YEARLY: 15 your work is not online, please email at least 10 WILL REPLY IN: 6 months MULTIPLE SUBMISSIONS: Yes with notice in cover 106 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org M site: www.namelos.com/submissions.php Send [email protected] . Seeweb or poetry. picture books. We do not publish short stories and young adult novels. We do not publish for_authors.php Books published yearly:6-8 paperback, and ebookformats. are published simultaneously inhardcover, middle grade and young adult readers. Books nonfiction, and poetry for Illustrators: Send samplestokeep onfile. website for more information. METHOD OFSUBMISSION: GENRE(S): CONTACT: www.onstagepublishing.com [email protected] Madison, AL35758 190 LimeQuarryRoad,Suite106 ONSTAGE PUBLISHING TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: CONTACT PERSON: www.nbnbooks.com Lanham MD20706USA 4501 ForbesBlvd. National BookNetwork NORTHWORD BOOKS Not accepting submissions perwebsite. www.newleafbooks.net [email protected] 630-832-8337 Villa Park, IL60181 P.O. Box 6992 WigWam PublishingCo. NEW LEAFBOOKS PAYMENT: SUBMISSIONS: SUBMISSIONS: DESCRIPTION: [email protected] www.namelos.com NAMELOS METHOD OFPAYMENT: SUBMISSIONS GUIDELINES letter. (covers). illustrators. Flatfeefor single illustrations | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL ULTIPLE SUBMISSIONS: Royalty chapter books, middle grade novels Willcritiqueyourmanuscript. Doesnot acceptunsolicited High quality literary fiction, 12weeks Seewebsite Publisher Flat feeorroyalty/advance Royalties toauthors and Yes, withnotice Yes Email queryand/or Writers:Fulltext. See : mountain-press.com/ 20 touch-and-feel, collectiblebooksfor ages 0-6. and grow, popup,magic ribbonbooks, holiday, touchable counting, uniqueformats, giggle Illustrator: Gina Rhodes-Haynes (Tennessee). email address, phone and fax, professional copies withresume’, coverletter(name, address, of full-color print samplesorhigh-quality color background +SASE. Illustrators: send arange description and info aboutyourprofessional fax +fullms. (100-250word count), novelty with name, address, email address, phone and node/20 cover letter. WRITERS. No Email. with fullmanuscript. ONLY ACCEPTS CANADIAN 250, Franklin, TN37067. Gina Rhodes Haynes, 113Seaboard Lane, Suite Street, New York, NY10019-2200.Illustrator: Senior Editor, Stacks2nd Floor, 110 W. 5th Mission Shanghai TITLES TO STUDY: Huntsville, 1892:Clara; WILL REPLY IN:As soonaspossible onstagepublishing.com/submissions.php SUBMISSION GUIDELINES:www. of the email. NO ATTACHMENTS. director. They may putillustrations inthe body Illustrators may send their websitestothe art Send [email protected] an email. NO ATTACHMENTS willbeaccepted. synopsis and firstthree chaptersinthe body of 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 Author: Senior Editor Memory albums, board books, Within6months Kid Dynamite:TheGerryJames Yes. Pleasespecifyin SASE and coverletter Regular mail. Author: www.oolichan.com/ Authors: cover letter 10 States. customs of Hispanic culture inthe United of the themes, languages, characters, and for-writers/submission-guidelines/ through submission form necessary. SASE. and samplechapters. Onlymail ifabsolutely providencepublishing.com Illustrators: pleasessubmitsamplesto help@ letter via the contact page onthe website. calls. letters orhandwritten submissions and no phone TITLES TO STUDY: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: GENRE(S): CONTACT: [email protected] Houston, TX77204-2004 Rm 100 University of Houston4902GulfFwy, Bldg19, (ARTE PUBLICO PRESSIMPRINT) PINATA PRESS OTHER INFORMATION: only disposableduplicate copies. background); artwillnot bereturned sosend 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 my Mother Shadows; Visibility Submissions Editor Submissions Editor Middle Grade and YA fiction. Seeks realistic and authentic portrayal Children’s Books 4 months 4 90days 2-6weeks Pepita Talks Twice; TheDesertis Spartacus and the Circus of Vuthy Kuon No picture books, query Negotiable Yes Yes Email queryletter Pleasesend aquery Submit manuscript raintownpress.com/ 3-6 SMALL PRESS MARKET SURVEY | 107

TITLES TO STUDY: Hoop City; The Road to the www.sportspubbooks.com RAVEN TREE PRESS PREPARING & SUBMITTING 1400 Miller Parkway Majors; The Highest Stand; Long Shot; The Long CONTACT PERSON: Submissions McHenry IL 60050-7030 Way Around; The Kid from Courage GENRE(S): Sports Nonficiton [email protected] BOOKS PUBLISHED YEARLY: 80 www.raventreepress.com SHEN’S BOOKS METHOD OF SUBMISSION: Writers: Proposal CONTACT PERSON: Publisher 1547 Palos Verdes Mall, #291 or manuscript with cover letter. Email GENRE(S): Bilingual (English/Spanish) Children’s Walnut Creek, CA 94597 [email protected]. Picture Books. 800-456-6660 MULTIPLE SUBMISSIONS: Yes BOOKS PUBLISHED YEARLY: 6-8 www.shens.com WILL REPLY IN: 8 weeks METHOD OF SUBMISSION: Not accepting any [email protected] METHOD OF PAYMENT: Bi-annual royalty submissions at this time. Check website. CONTACT PERSON: Renee Ting, Publisher MARKET SURVEYS MULTIPLE SUBMISSIONS: Yes WRITER CONTACT: Renee Ting TANGLEWOOD PRESS WILL REPLY IN: 4-6 weeks ILLUSTRATOR CONTACT: Renee Ting P.O. Box 3009 METHOD OF PAYMENT: Advance and Royalties, GENRE(S): Asian and multicultural children’s Terre Haute, IN 47803 some work for hire. picture books. www.tanglewoodbooks.com OTHER INFORMATION: See website for submission BOOKS PUBLISHED YEARLY: 2 [email protected] guidelines. Check before sending materials METHOD OF SUBMISSION: No email or fax. Send 812-877-9488 please. cover letter including brief bio and publishing CONTACT PERSON: Kairi Hamlin, Acquisitions

TITLES TO STUDY: Polar Slumber; Oh Crumps; history, complete ms. and SASE. Send self- Editor DIRECTORIES & RESOURCES Mason Moves Away; Isabel and the Hungry addressed stamped postcard for confirmation WRITERS: Kairi Hamlin Coyote of receipt. Writers: As above. Illustrators: ILLUSTRATORS: Kairi Hamlin mail color copies, tearsheets, and/or other GENRE(S): Picture books, middle-grade, YA RONSDALE PRESS illustration samples; no electronic samples on BOOKS PUBLISHED YEARLY: 5-10 3350 West 21st Avenue CD or by email; no original artwork; include METHOD OF SUBMISSION: Email query or cover Vancouver, B.C., Canada V6S 1G7 web address if you have a site with additional letter with sample chapters to khamlin@ [email protected] samples, send contact info; can receive tanglewoodbooks.com. See website for further ronsdalepress.com confirmation of receipt if send self-addressed, guidelines. CONTACT: Veronica Hatch stamped postcard. MUTIPLE SUBMISSIONS: Yes GENRE(S): Middle grade and YA novels, for ages MULTIPLE SUBMISSIONS: Yes WILL REPLY IN: 3-6 months 8-15. Interest in historical fiction. SUBMISSION GUIDELINES: www.shens.com/ METHOD OF PAYMENT: Royalties

METHOD OF SUBMISSION: Cover letter and sample submissions/ BOOKS PUBLISHED YEARLY: 5-10 PUBLICIZING YOUR PUBLISHED WORK chapters. SASE if you want the manuscript WILL REPLY IN: up to one year TITLES TO STUDY: Those written by Audrey Penn, returned. METHOD OF PAYMENT: Negotiable Katie McKy or illustrated by Barbara Gibson, MANUSCRIPT GUIDELINES: ronsdalepress.com/ TITLES TO STUDY: The Wakame Gatherers, Cora Christa Unzner. submissions/ ONLY CANADIAN AUTHORS/ Cooks Pancit ARTISTS THREE BEARS PUBLISHING MULTIPLE SUBMISSIONS: Yes SLEEPING BEAR PRESS Box 132 TITLES TO STUDY: Eco Warrior; Hannah and the Spindle 315 Eisenhower Parkway, Suite 200 Aldergrove, BC, Canada V4W2T7 Whorl Ann Arbor, MI 48108 [email protected] www.sleepingbearpress.com www.threebearspublishing.com SCOBRE PRESS CORPORATION CONTACT PERSON: Acquiring Editor CONTACT: Acquisitions Editor 2255 Calle Clara GENRE(S): Picture Books GENRE(S): Picture books for ages 5 and up. La Jolla, CA 92037 BOOKS PUBLISHED YEARLY: 25-28 METHOD OF SUBMISSION: Cover letter and [email protected] METHOD OF SUBMISSION: Not accepting manuscript. Illustrators: send samples and cover

www.scobre.com submissions at this time. Check website letter. Send in post. SCHOOL VISITS CONTACT PERSON: Scott Blumenthal periodically. SUBMISSION GUIDELINES: www. GENRE(S): Children’s and YA MULTIPLE SUBMISSIONS: Yes threebearspublishing.com/new_page_21.htm BOOKS PUBLISHED YEARLY: 6-9 WILL REPLY IN: 9-12 months MULTIPLE SUBMISSIONS: Yes METHOD OF SUBMISSION: Writers: Email, Mail. METHOD OF PAYMENT: Royalties TITLES TO STUDY: What do You Want to Be?; If I Illustrators: Portfolio, website links. TITLES TO STUDY: The Legend of Mackinac Island; was Mayor WILL REPLY IN: 7-10 days Z is for Zamboni: A Hockey Alphabet; Mercedes TURTLE BOOKS LEGAL QUESTIONS METHOD OF PAYMENT: Almost double industry and the Chocolate ; The Scarlett Stocking 897 Boston Post Rd standard, re: royalty percentages. Spy Madison, CT 06443 OTHER INFORMATION: “We are publishers of young [email protected] peoples books designed to increase literacy by SPORTS PUBLISHING www.turtlebooks.com reaching young people through sports. Scobre Skyhorse Publishing, Inc. CONTACT PERSON: Ronald Zollshan Press is currently adding an 18 book career 307 West 36th Street, 11th Floor GENRE(S): Illustrated children’s trade picture series to their line.” New York, NY 10018 books in English & Spanish editions. 108 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org verse and graphic novels. nonfiction (issue-based); willconsider novels in adventure sci-fi, spaceopera, crime drama, spy, action & for 711press- horror, fantasy, children’s fantasy, fiction / help and vocalinstruction, fiction- children’s Contact: same asabove. Writer Contact: same asabove. Illustrator venderapublishing.com press except for erotica /no submissions to711 of manuscripts inhard copy, ondiscorvia queries byphone orfax; orno coldsubmissions Word docs, then possiblyafullmanuscript. No email sample pages from the novel asMs. a 1-2page synopsis; ifinterested, we’llrequest describing yournovel inafewparagraphs with samples for files. manuscripts withanSASE. Illustrators: Submit manuscripts (No Young Adult Books). METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: [email protected] www.westside-books.com 973-458-0485 Lodi, NJ07644 60 IndustrialRoad WESTSIDE BOOKS WILL REPLY IN: MULTIPLE SUBMISSIONS: SUBMISSION GUIDELINES: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: www.venderapublishing.com, 711press.com Franklin FurnaceOhio45629 PO BOX116 VENDERA PUBLISHING TITLES TO STUDY: OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: no submissions first 2-3chapterthrough secure uploadserver/ Method of Submission: electronic submission of Harper Daddy: AStoryof theGreatDepressionbyJo Prairie DogPioneersbyJo Harper; Finding McGovern; TheCrabManbyPatricia Van West; royalties. | SMALL PRESS MARKET SURVEY MARKET PRESS | SMALL YA fiction (no fantasy orchick lit), YA non-fiction instructional including self Email / NA As soonaspossible TheLadyintheBox byAnn Evelyn M.Fazio, Publisher. Jaime Vendera admin@ No queries. Send complete Contract withadvance and Querybyemail Writers:Submit Yes /NA OK Alltitlesaccepted 6 15-20 6 /12 educational value. children’s literature and occasional Fiction with history and science, outdoor recreation and com/ authoring.html. com two atatime, please. and send in manuscript via email description of proposed market, SASE. table of contents, intro and atleast3chapters, submissions. Querybymail withbrief overview, catalogs. material orrecipe/cookbooks. Willprovide free fiction, poems, short story collections, religious board booksmysteries, romances, science [email protected] westside-books.com. Illustrators: send queryto email. Writers:send querytosubmissions@ TITLES TO STUDY: MULTIPLE SUBMISSIONS: SUBMISSION GUIDELINES: METHOD OFSUBMISSION: GENRE(S): CONTACT: www.yorkshirepublishing.com [email protected] Tulsa, Oklahoma74147 Post OfficeBox 472246 YORKSHIRE PUBLISHING OTHER INFORMATION: METHOD OFPAYMENT: WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: METHOD OFSUBMISSION: BOOKS PUBLISHEDYEARLY: GENRE(S): CONTACT PERSON: [email protected] www.finneyco.com 952-469-6699 Lakeville, MN55044 8075 215thStreetWest (An Imprint of Finney Company, Inc.) WINDWARD PUBLISHING TITLES TO STUDY: METHOD OFPAYMENT: WILL REPLY IN: SUBMISSION GUIDELINES: MULTIPLE SUBMISSIONS: Life, TheRing,Listen,SavedbytheMusic royalties basedonsales. Submissions Editor Primarily nonfiction covering natural Children’s fiction and non fiction 4-6months toreview fullms. 10-12 weeks SteppingUp,Runningfor My TheTortoise andtheHair Piece Finney Company Royalties royalty advance and No A,B,Cor1,2,3books, Yes Yes Yes, butno more than Fill outform onwebsite No electronic yorkshirepublishing. www.finneyco.com/ www.westside-books. 6-8 submissions, butcheck websiteperiodically. TITLES TO STUDY: METHOD OFSUBMISSION: GENRE(S): CONTACT: www.zipperpress.com [email protected] Englewood, OH45322-0164 PO Box 164 ZIPPER PRESS Raining Whisper Submissions Editor Picture booksand easyreader fiction The LittleWooden Table; It’s Currently not accepting 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, phone number, and social write a letter to the editor requesting guidelines and a sample copy security number (single spaced). In the top right-hand corner, include (there is usually a fee). You can often find details for doing this along the word count. with back issues and theme lists on a magazine’s website. Some editors prefer queries (make sure to check), especially for nonfiction articles. When submitting queries, include writing samples STUDY THE MAGAZINE or clips of your published work. Describe your idea and qualifications, Look at the quality, format, style, and trends of the magazine. Note listing your publishing credits, if any. Before you query make sure how much is devoted to fiction, nonfiction, short stories, artwork, etc. you will be able to gather enough information to write the article. Notice the titles, types of stories, articles, word length, and vocabulary. Illustrators should query with color copies (no larger than 8” x 10”) of Compare and critique your work against the published work. Would your at least five different pieces of art, all labeled with your name, address, work fit in with this magazine? Remember that the stories and articles phone number, and type of media. Send with a cover letter or résumé, you read are the type of work the magazine is seeking. It’s best to study tear sheets if any, and an SASE. Send only what each editor asks for in current issues as formats and what is included in the magazine change. the guidelines and state that the editor may keep the work for his/her file. Never send original art work. Editors may keep your work on file to STUDY THE GUIDELINES contact you for future assignments. When they are available, look up online guidelines for more current information. Take notice of the description of the magazine, the age KNOW YOUR RIGHTS level, and what the magazine accepts. What will they pay you? What When a magazine purchases your work, its buys certain rights. Be rights do they buy? How long will it take to get a response? Take note sure you understand what rights you are selling before you agree to the of the editor’s comments. All editors want contributors to submit work purchase. that fits the magazine’s format and requirements. This can only be 110 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org you are rejected: ithappens tothe bestof us! your workpublished isnot easyand takes persistence. Don’tgiveupif along withanSASE asking the statusof the work.Remember, getting the editorinthe time statedinitsguidelines, writeacourteousletter that and tryanother suitablemagazine. Ifyouhavenot heard from which editor, date). Ifyourmanuscript isreturned, make anote of 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, lost inthe mail. Federal Express. Thiswayyouwillbeabletotrace the package ifitgets same waybutmake sure tosend the package bycertified mail, UPS,or an SASE. When the editorrequests the original artwork,protect itthe mark the envelope:ILLUSTRATIONS—DO NOT BEND.Alwaysinclude stock thatwon’tbend easily, inalarge manila envelope. Besure to querying, send colorcopies of artworkprotected bycardboard orcover you are asked byaneditortodo so. Never e-mail yourmanuscript unlessthe guidelines sayitisallowedor back: [Name of magazine] isinreceipt of [manuscript title] on[date]. addressed, stampedpostcard withthe following information onthe an SASE withsufficient postage. You may alsowant toinclude aself- for yourfiles. Mail the copyflatinalarge manilaenvelope and include » » » » 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 use yourworkasmany times asitwants to,atany time, inany place, back toyou.Selling allrights means youallowthe publication to Sometimes the editorisflexible, and may allowthe rights to revert All Rights means the editorpurchases allthe rights toyourwork. especially inthe religious Sunday School take-home . illustrations and artworkbutoccasionally willapplytowriting, to publishthe work.One-time rights most often applytophotos, that the purchasers haveno guarantee thatthey willbethe first One-time rights differfrom FirstNorth American Serial Rights in belong toyou,the creator of the work. the firsttime inits magazine, journal, orperiodical. Allother rights First Serial Rights permitsthe publisher topublishyourworkfor America only. Allother rights belong toyou,the creator of the work. the permission topublishthe workfor the firsttime in North First North American Serial Rights means the publisher purchases 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 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 | 111 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, 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, 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 112 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org editorial.html GUIDELINES: www.cobblestonepub.com/guides_ CONTACT: SusanBuckley, Editor Email: [email protected] www.cobblestonepub.com 140 E.83rdSt. NewYork, NY10028 APPLESEEDS a SASE. Sampleissuesavailablefor $5.95. COMMENTS: Allqueries must beaccompanied by North American rights; responds in12weeks TERMS: Negotiable; paysonacceptance, first Express and Craft and Cooking. finished manuscripts.” Sections include: Girls familiar topics. Pleasesend queries rather than schools, and girlbands. Lookfor new twistson girl entrepreneurs, girlswho attend unusual girls are passionate. Past pieces havefeatured read and learnabout.Find atopic aboutwhich are doing something other girlswouldloveto “We’re looking for individual girlsorgroups who ACCEPTS: Not currently looking for fiction. magazine (ages 8+) DESCRIPTION: bimonthly, 4-color, girls’ corporate.php?section=about&id=8 GUIDELINES: www.americangirl.com/corp/ CONTACT: Submissions Editor www.americangirl.com Middletown, WI53562-0986 8400 FairwayPlace 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 submitting. com for themes and editorial calendar before submittable.com orcricketmag.sumittable. list of resources. Pleasevisitcricketmag. paragraph, and comprehensive bibliography/ COMMENTS: Send querypitch,samplefirst Rights vary. TERMS: Ratesvary. Payment afterpublication. a question, not afact. engaging style withplenty of humor. Start with technology, orthe arts. Prefer aninformal, interesting discovery, event, oridea 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] www.askmagkids.com www.cricketmag.com/ask IL60601 70 EastLake Street,Suite800 ASK 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 listispostedonCobblestone 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 Email: [email protected] www.babybugmagkids.com www.cricketmag.com/babybug Chicago, IL60601 70 EastLake Street,Suite800 BABYBUG time. submissions. Pleaseallow3-6months response query. Include exact word count. Prefers online COMMENTS: No advance listof themes. Donot Payment afterpublication. Rights vary. Poems: upto$3.00perline, $25.00minimum. TERMS: Stories and articles: upto25¢perword. details aboutsubmitting 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 bemore whimsical); veryshort, 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 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 MAGAZINE MARKET GUIDE | 113

poems. in-depth rather than several ideas superficially. BOYS QUEST PREPARING & SUBMITTING P.O. Box 227 COMMENTS: Aimed at non-readers, basic text is Stories (600-1,000 words) should contain Bluffton, OH 45817-0227 important with suggestions of visual reference. and explain nonfiction concepts within them; www.boysquest.com Submissions from outside Canada must be successful stories often show children engaged Email: [email protected] accompanied by a money order or IPC for $2. in finding out about their universe with the GUIDELINES: funforkidzmagazines.com/ Allow 12 weeks to review ms. help of supportive, but not all-knowing, adults. bq_guidelines TERMS: Rates vary. Payment after publication. DESCRIPTION: Boys’ bimonthly CICADA Rights vary. AGE GROUP: 6-13 70 East Lake Street, Suite 800 COMMENTS: Click themes introduce children to ACCEPTS: Fiction and nonfiction (around 500 Chicago, IL 60601 ideas and concepts within the natural, physical, words) puzzles, poems, cooking, carpentry www.cricketmag.com/cicada or social sciences; the arts; technology; math; MARKET SURVEYS projects, jokes and riddles. Photography is Email: [email protected] and history. The goal is to allow young children accepted based on articles, art is by assignment CONTACT: Submissions Editor access to the world of ideas and knowledge in (send sample of art to be kept on file—inside Guidelines: submittable.cricketmag.com; www. an age-appropriate yet challenging way. Articles art is pen & ink. cricketmag.com/submissions and stories are commissioned. Please see theme TERMS: Buys first American serial rights and DESCRIPTION: Bimonthly literary magazine (six list and writers guidelines at www.cricketmag. pays upon publication. Minimum of 5 cents per issues per year) com/submissions. Authors must provide word for fiction and nonfiction, $10 per poem or AGE GROUP: 14+ bibliography, listing all resource materials and puzzle; art: $35 full page, $25 for partial page. ACCEPTS: Fiction and novella (to 9,000 words): notes as the sources of facts and information DIRECTORIES & RESOURCES COMMENTS: Looking for “articles, fiction, Realistic, contemporary, and historical fiction, given. nonfiction and poetry that deal with timeless as well as humor, mysteries, fantasy, and topics such as pets, nature, , science, science fiction. Nonfiction (to 5,000 words): COBBLESTONE etc.” Each issue revolves around a theme; First-person experiences of interest to teens Cobblestone Publishing check the website for a list of future themes. and young adult readers. Poetry (to 25 lines): 30 Grove St., Suite C Nonfiction should be accompanied by black and serious, humorous, rhyming or free verse. Peterborough, NH, 03458 white photographs. Prefers complete ms with Comics: Cicada publishes comics, , visual www.cobblestonepub.com cover letter, “Attn: The Editor.” poems, and any other work in image and/or Email: [email protected] text. CONTACT: Meg Chorlian, Editor CHESS LIFE FOR KIDS TERMS: Stories and articles: up to 25¢ per word. DESCRIPTION: Theme-based history magazine U.S. Chess Federation Poems: up to $3.00 per line, $25.00 minimum. for young people.

P.O. Box 3967 Payment after publication. Rights vary. AGE GROUP: 8-14 PUBLICIZING YOUR PUBLISHED WORK Crossville, TN 38577 COMMENTS: No advance list of themes. Do not ACCEPTS: Related to theme: Feature articles www.uschess.org query. Include exact word count. Prefers online (700-800 words; in depth nonfiction, plays, [email protected] submissions. Please allow 3-6 months response first-person accounts, biographies); supplemental AGE GROUP: 12 and under time. nonfiction (300-600 words); fiction (up to 800 ACCEPTS: Chess games and instruction, chess Email comics to [email protected] words; authentic historical/biographical fiction, news, puzzles, photos, humor, tips, cartoons. (subject line: COMIC SUBMISSIONS). adventure, legends); activities (up to 700 words; Unsolicited manuscripts on speculation are crafts, recipes, etc. Sketches should accompany welcomed, but queries with clips are preferred. CLICK these queries); poetry (up to 100 lines); puzzles TERMS: Payment is generally $75 per page (800- 70 East Lake Street, Suite 800 and games (crosswords, mazes and picture 1,000 words). All rights unless negotiated. Chicago, IL 60601 puzzles relating to theme—no word finds). COMMENTS: Submissions should be made on www.cricketmag.com/CLK-CLICK-Magazine-for- TERMS: Feature articles, supplemental disk or emailed. Guidelines available. Kids-ages-3-6 nonfiction and fiction pay 20-25¢/word; others www.clickmagkids.com are paid on an individual basis. We buy all

CHIRP Email: [email protected] rights. SCHOOL VISITS Owl Magazine Group CONTACT: Amy Tao, Editor COMMENTS: A query including cover letter, 49 Front St. E., 2nd Floor GUIDELINES: www.cricketmag.com/submissions outline, bibliography, writing sample and SASE Toronto, M5E 1B3, CANADA DESCRIPTION: Themed nonfiction magazine that must accompany each individual idea; may send www.owlkids.com explores science, art, and nature (9 issues per multiple queries. Go-aheads requesting material Email: [email protected] year). proposed is usually sent five months prior to GUIDELINES: Not accepting unsolicited AGE GROUP: 3-7 publication date. Response time may be several LEGAL QUESTIONS manuscripts as of 8-2009. ACCEPTS: Click presents nonfiction concepts to months. We only notify people if a query is DESCRIPTION: A see and do magazine for pre- young children through a variety of formats: accepted; we no longer return unused queries. schoolers, printed monthly during school year. articles, photo essays & stories. Articles & photo Theme list and index of past issues is available AGE GROUP: 2-6 essays (200-400 words) should explain the how online. ACCEPTS: Solicited Submissions Only & why of something in a friendly, engaging, TERMS: Buys all rights, $100-$250 for longer humorous way. Prefer informal, conversational stories, and $10-$50 for shorter stories or style; best articles tackle one idea or concept 114 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org publication.” CousteauKids is photo-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- queried. realistic. Willreview artworkfor assignment if will bereturned unread. Illustrations must be an oceantheme.” Queryfirst! Unsolicited mss experiments, and artprojects that are related to on scientific fact, original home science environment. Alsointerested in“games based science, nature, marine biology, ecology, words; shorter pieces to250words) about Wants nonfiction articles (features 500-700 first-person accounts orarticles bychildren! ACCEPTS: No fiction! No talking animals! No AGE GROUP:7-12 publication. Formerly DolphinLog. DESCRIPTION: Bimonthly educational CONTACT: Melissa Norkin, Editor Email: [email protected] www.cousteaukids.org New York, NY10003 P.O. Box 112,61E.8th St. The CousteauSociety COUSTEAU KIDS 6 weeksfor response. make itcatchy—grab our attention!” Allow4to with the leadyouexpect toputonthe article; is light-hearted and fun; when youquery“begin samples of writing and SASE. Tone of the articles interview orstories youwilltell,twoorthree include asummary, specificsaboutwho youwill COMMENTS: Queryfirst(via e-mail or mail), rights. $100. Buysfirstrights and willconsider second TERMS: Features: $70-$100;departments: $15- provoking ideas. controversies). Should beoriginal, thought- tips, college experiences, opinion oncollege campus survivaltips, admissions advice, money and specific departments (150-1,000words: real-life student experiences, college lifetips) ACCEPTS: Feature articles (800-1,100words; AGE GROUP:High School DESCRIPTION: Bimonthly college prep magazine CONTACT: Gina LaGuardia, Editor Email: [email protected] www.collegebound.net Staten Island,NY10314 1200 SouthAve., Suite202 COLLEGE BOUND | MAGAZINE MARKET GUIDE MARKET | MAGAZINE 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 Please allow3-6months response time. exact word count. Prefers online submissions. advance listof themes. Donot query. Include with name, address, and phone number. No tear sheets orphotocopies, eachclearlylabeled but not caricatures or“cartoony.” Forartsend material. Art should berealistic and humorous, very high, and wewillacceptonlytop-quality for original contributions, butourstandards are children’s illustrators and authors aspossible COMMENTS: Cricket wouldlike toreach asmany after publication. Rights vary. Activities and recipes: $75.00 flat rate. Payment Poems: upto$3.00perline, $25.00minimum. TERMS: Stories and articles: upto25¢perword. . watercolor, acrylic, oil,pastels, scratchboard, illustrations invarious media: pencil, ink, is commissioned separately from text. Accepts Puzzles, mazes, crafts, recipes, plays, music. Art 35 lines): serious, humorous, nonsense rhymes. culture, travel, adventure, sports. Poetry (max. history, social science, geography, foreign biography, history, science, technology, natural legend, myth. Nonfiction (1,200-1,800words): fantasy, science fiction, folk/fairy tales, contemporary, historic, humor, mysteries, ACCEPTS: Fiction (1,200-1,800words): realistic, AGE GROUP:9-14 issues peryear). DESCRIPTION: Monthly literary magazine (nine Email: [email protected] Email: [email protected] www.cobblestonepub.com Peterborough, NH03458 30 GroveSt.,SuiteC Exploring World HistoryCobblestonePublishing DIG INTO HISTORY freelance. Response time 2-4months. May submitmultiple queries; magazine is80% outline, bibliography, SASE, and writing sample. stating subject/word length, detailed one-page (no e-mail) preferred 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 reporting and research; writerswho represent cranky: writerstoolazyorcareless todo basic queries. Samplecopyfor $2.50.“Whatmakes us will respond toqueries. No phone ore-mail 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 with article. High-res JPEGspreferred; color Style. Submitany 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.edta.org Cincinnati, OH45219-2815 2343 Auburn Ave. Educational TheatreAssociation DRAMATICS MAGAZINE MARKET GUIDE | 115 themselves as experts when they’re not; would- cover letter stating subject and word length, Include photos or art reference material. Also PREPARING & SUBMITTING be playwrights who do not understand the basic detailed one-page outline of information to be looking for original craft ideas. Interested in conventions of playscript format or even the presented, extensive bibliography of materials finger plays and action rhymes easy enough basic conventions of the stage.” to be used, SASE, 2-3 line biographical sketch for a young child to understand. Seldom buys and writing samples. verse (16 lines max) or stories in rhyme. DYNAMATH TERMS: Pays on publication 20-25¢/word for For illustrators, Highlights accepts a variety Scholastic Inc. feature articles, supplemental nonfiction, of artwork in different mediums. Work is 555 Broadway, Room 367 fiction. Buys all rights to text and illustrations. commissioned as the assignment arises. Must New York, NY 10012-3999 Photos are usually one-time rights. demonstrate an ability to illustrate for the Email: [email protected] PHOTOGRAPHS AND ILLUSTRATIONS: $25- children’s market. Send samples to be kept on CONTACT: Matt Friedman $100. file. No original artwork. MARKET SURVEYS DESCRIPTION: Themed monthly classroom COMMENTS: “Lively, original approaches to the TERMS: Buys all rights, pays on acceptance magazine (September - May). subject are the primary concerns of the editors $150+ for fiction/nonfiction, $25+ for crafts, AGE GROUP: Grades 3-6 in choosing material.” Send for guidelines and $25+ for finger plays/action rhymes, $25+ for ACCEPTS: Articles that show real-life theme list. verse. Responds in 4-6 weeks, longer if holding applications of math skills (up to 600 words) for consideration. including an activity that uses the type of FUN FOR KIDZ COMMENTS: Accepts mss year round, including math explained in the story; could include P.O. Box 227 seasonal material. Prefers mss to queries. stories on sports, careers, famous personalities, Bluffton, OH 45817-0227 Highlights is a secular magazine “dedicated to DIRECTORIES & RESOURCES consumer awareness, popular TV shows and/ www.funforkidzmagazine.com helping kids grow in basic skills and knowledge, or movies. Interdisciplinary articles (up to 600 Email: [email protected] creativeness, ability to think and reason, words) including activity that uses math that is CONTACT: Marilyn Edwards sensitivity to others, high ideals and worthy relevant to story; could include graph reading GUIDELINES: funforkidzmagazines.com/ ways of living.” activities, issues in the news; best when they ffk_guidelines have a kid-oriented slant. DESCRIPTION: A theme based, no-ad magazine HIGHLIGHTS HIGH FIVE TERMS: Pays $250+. for boys and girls published on alternate months 807 Church St. COMMENTS: Query first through mail. “The tone as Boys’ Quest and Hopscotch. Honesdale, PA 18431 of DynaMath is casual. We aim to show kids that AGE: 6-13 www.highlights.com math can be fun and relevant to their lives. ACCEPTS: Activities or stories based on theme. Email: [email protected] All the while, we remain true to the middle TERMS: vary. CONTACT: Kathleen Hayes, Editor and upper elementary math curricula: place COMMENTS: For a sample copy and theme list, DESCRIPTION: The magazine is designed to PUBLICIZING YOUR PUBLISHED WORK value; whole number addition, subtraction, send $6 if from within the U.S. or $7.50 if from be shared by child and parent (or other skilled multiplication, division; whole number overseas. reader), but we are also keeping the text short conceptualization, addition and subtraction of and the readability low so that good first and fractions and decimals; chart and graph reading; GIRLS’ LIFE second grade readers can read it independently. measurement; geometry; problem-solving skills 4529 Harford Rd. AGE GROUP: Ages 2-6 and their parents like using a logic line or classifying attributes; , MD 21214 ACCEPTS: Stories are 150 words or less. Poems critical thinking; and other skills of similar www.girlslife.com typically 1-3 stanzas. We are buying stories from difficulty levels.” [email protected] freelance writers with a proven track record who CONTACT: Katie Abbondanza, Associate Editor can successfully write for young children. Most FACES of the nonfiction features are either written Cobblestone Publishing HIGHLIGHTS FOR CHILDREN in-house, or commissioned, although we have 30 Grove St., Suite C 803 Church St. and will publish some nonfiction articles by Peterborough, NH 03458 Honesdale, PA 18431 freelance writers.

www.cobblestonepub.com www.highlights.com TERMS: Watch website guidelines for updated SCHOOL VISITS CONTACT: Elizabeth Crooker Carpentiere Email: [email protected] information. DESCRIPTION: Theme-based magazine published CONTACT: Manuscript Coordinator COMMENTS: “I want to stress that we are not September - May. DESCRIPTION: General interest, ad-free monthly currently seeking manuscripts from folks unless AGE GROUP: 8-14 AGE GROUP: 6-12 they have published a number of things for this ACCEPTS: Related to theme: Feature articles ACCEPTS: Fiction (800 words max) children age group.” (800 words, in-depth nonfiction and personal 8-12 want to read and children under 7 enjoy LEGAL QUESTIONS accounts), supplemental nonfiction (300-600 hearing. Stories for beginning readers (400 HOPSCOTCH words), fiction (800 words), activities (700 words.). No war, crime or violence. Nonfiction The Magazine for Girls words), poetry (to 100 lines, serious and light articles (400 words for beginning readers; 800 P.O. Box 164 verse), puzzles and games (no word finds). words for readers 8-12) on auto/biographies, Bluffton, OH 45817-0164 Illustrations done on assignment; roughs only; various approaches to arts, science, history, www.hopscotchmagazine.com send samples of work, interested in photos sports, world cultures. Include references Email: [email protected] relating to theme. Query must include brief or sources of information with submission. CONTACT: Marilyn Edwards, Editor 116 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org one-time rights for photos. publication. Pays $15/poetry and photos. Buys time rights for photos. Pays upto22¢/word on TERMS: Buysallrights for manuscripts, one- recipes. Responds in3 months. science experiments, and healthful, no-cook be narrow and specific in focus. Wants simple health, aswellgeneral themes, and should words max.) withfresh, creative approach to with good “read-aloud” quality. Nonfiction (350 ACCEPTS: Fiction (350 words max.) and poetry AGE GROUP:4-6 magazine published 8times ayear. DESCRIPTION: Healthy living/educational writersguidelines.shtml GUIDELINES: www.cbhi.org/cbhi/ Rob Falcon,ArtDirector CONTACTS: Nancy S.Axelrad, Editor www.humptydumptymag.org , IN46206 P.O. Box 567 HUMPTY DUMPTY’SMAGAZINE Sample copies $6. nonfiction 3times more often thanfiction. look atqueryletters. No fax submissions. Uses publications.” Prefers completemss, butwill cosmetics, fashion, and the like toother We leavedating, romance, human sexuality, anything elselikely tointerest ayoung girl. games, sports, careers, simplecooking, and topics, such aspets, nature, hobbies, science, nonfiction, and poetrythat deal withtimeless COMMENTS: and $5/colorslide. $35/full-page illustrations. Pays $5-$10/photo cartoons, etc. Pays $25/partial illustrations and with variable rates offered for games, crafts, and nonfiction. Pays $10/poemorpuzzle and pays5¢/word onpublication for fiction TERMS: BuysFirstNorth American Serial Rights transparencies. with mss. Uses 5”x7”B&Wprints and 34mm will beassigned. Buysphotos separately and sample work,which willremain onfile.” Artwork stories and features and welcomes copies of anxious tofind artistscapable of illustrating client listand tearsheets. “The magazine is recipes. Illustrators send resume, portfolio, stories (500+words). Alwayslooking for traditional, wholesome, humorous, and rhyming lines, submitno more than6atone time), nonfiction (upto500words), poetry(8-16 ACCEPTS: Fiction (upto1,000words), AGE GROUP:6-12 DESCRIPTION: Bimonthly magazine for girls hs_guidelines GUIDELINES: funforkidzmagazines.com/ | MAGAZINE MARKET GUIDE MARKET | MAGAZINE Looks “for articles, fiction, by mail. Sample copies $2.95.Send entire manuscript COMMENTS: Send for author guidelines first. months response time. Prefers online submissions. Please allow3-6 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:By assignment gentle nonfiction, action rhymes and finger usually rhythmic/rhyming. Alsolooking for (up to20lines): canbehumorous orserious, and folk tales, multicultural stories. Poetry contemporary stories, original retellings of fairy shorter manuscripts welcome): imaginative ACCEPTS: Fiction (upto800words, AGE GROUP:3-6 issues peryear). art and literature for young children (nine DESCRIPTION: Animaginative magazine with www.cricketmag.com/submissions GUIDELINES: submittable.cricketmag.com; CONTACT: Submissions Editor Email: [email protected] www.ladybugmagkids.com www.cricketmag.com/ladybug 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 for young DESCRIPTION: Amagazine of science, CONTACTS: Shannon Hunt, Adrienne Mason Email: [email protected] www.knowmag.ca Victoria, BCV8X4A3,CANADA 501-3960 QuadraSt KNOW emphasis. Pleasevisitwebsite. accept articles and stories withovertreligious and other drugs.” Listen Magazine 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 onteenagers and adults who, because others); personalities and organizations (articles achievement and/or involvement inhelping to increase sense of self-worth through 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 www.cricketmag.com/muse 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-state area (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 MAGAZINE MARKET GUIDE | 117

nonfiction, 200-500 words. Activities, up to 750 www.musemagkids.com READ PREPARING & SUBMITTING Email: [email protected] words. Department features, 400-650 words. Weekly Reader Corporation CONTACT: Submissions Editor Articles must be submitted on disk. P.O. Box 120023 Guidelines: www.cricketmag.com/submissions TERMS: Pays 20-25¢/word. Photos range from Stamford, CT 06912-0023 DESCRIPTION: Muse, “The Magazine of Life, the $15-$100. Purchases all rights. www.weeklyreader.com Universe, and Pie Throwing,” is a nonfiction COMMENTS: Writers new to Odyssey should send [email protected] magazine for kids and teens. The editors seek a writing sample with query. Prefers queries by CONTACT: Debbie Nevins, Managing Editor engaging, challenging stories about unexpected mail rather than e-mail. Sample issue available DESCRIPTION: Read is a literary magazine subjects related to science and culture. Humor for $4.50 and SASE. Send for theme list and distributed through schools. and irreverence are encouraged (nine issues per guidelines for submissions. AGE GROUP: Grades 6-10 year). ACCEPTS: Read is not currently accepting MARKET SURVEYS AGE GROUP: 9-14 OWL submissions. ACCEPTS: Muse does not accept unsolicited Owl Communications manuscripts or post theme lists. Writers may 370 King St. E., Suite 300 SCIENCE WEEKLY send article queries, along with resume and Toronto, Ontario M5V 1J8, CANADA 2141 Industrial Parkway, Suite 202 polished clips, to [email protected] or www.owlkids.com/owl Silver Spring, MD 20904 by mail to: Submissions Editor, MUSE, ePals Email: [email protected] www.scienceweekly.com Media, 70 East Lake Street, Suite 800, Chicago, GUIDELINES: No longer accepting unsolicited Email: [email protected]

IL 60601. submissions. DESCRIPTION: Basic content is science and DIRECTORIES & RESOURCES TERMS: Rates vary. Payment after publication. DESCRIPTION: No longer accepting unsolicited language arts. Rights vary. manuscripts or queries. A discovery magazine AGE GROUP: 5-14 for kids featuring amazing facts, fascinating ACCEPTS: Only accepts inquiry letters and NEW MOON articles on science, technology, and the natural resumes from writers in the metropolitan 2 W. First St world, plus challenging puzzles and experiments Washington, D.C., MD and VA areas. #101 kids can try on their own. TERMS: Varies. Duluth, MN 55802 AGE GROUP: 9+ COMMENTS: Does not accept freelance www.newmoon.org TERMS: Varies. Purchases extensive rights. submissions. Once a writer has been assigned [email protected] COMMENTS: Study magazine available at a topic, guidelines are provided. Each issue is GUIDELINES: www.newmoon.com/ newsstands and libraries. Send money order (no written by a single writer. Prefer writers with content/?id=1006&type=1 stamps, includes GST) for reply to manuscripts. a science, education, and/or children’s writing

DESCRIPTION: Portrays women and girls as background. PUBLICIZING YOUR PUBLISHED WORK powerful, active, and in charge of their lives. PLAYS AGE GROUP: 8-12 P.O. Box 600160 SCIENCE WORLD ACCEPTS: Fiction, nonfiction, biographies. Newton, MA 02460 Scholastic, Inc. Poetry is girl-written. www.playsmag.com 555 Broadway TERMS: Varies. Email: [email protected] New York, NY 10012-3999 COMMENTS: Writers and illustrators are CONTACT: Elizabeth Preston, Editor www.scienceworld.ca encouraged to read New Moon prior to DESCRIPTION: The drama magazine for young Email: [email protected] submitting. Guidelines posted on website. Only people. Publishes approximately 75 wholesome, CONTACT: Mark Bregman, Editor electronic submissions are accepted; please one-act plays each year (in seven issues). DESCRIPTION: Award-winning magazine send submissions to [email protected]. AGE GROUP: Lower and middle grades to junior designed to complement classroom teaching of and senior high. life, earth, physical and environmental sciences, ODYSSEY ACCEPTS: One-act plays including comedies, and health. 30 Grove Street, Suite C farces, dramas, mysteries, and melodramas, as AGE GROUP: 12-18

Peterborough, NH 03458 well as plays for holidays and special occasions. ACCEPTS: Science news; articles emphasizing SCHOOL VISITS www.odysseymagazine.com Lower grades, 6-10 typed pages; middle grades, current science (200 words); features that Email: [email protected] 12-15 typed pages; junior and senior high, 15- give in-depth treatment to one or more major CONTACT: Elizabeth Lindstrom 20 typed pages. scientific topics (750 words). DESCRIPTION: Adventures in science. Odyssey TERMS: Pays on acceptance. Rates vary TERMS: Rates range from $100-$125 for news seeks scientific accuracy, lively approaches to according to length and age level. Buys all items and $200-$650 for features. subject, and the inclusion of primary research. rights. COMMENTS: Send well-researched story LEGAL QUESTIONS All material must relate to theme of specific Comments: We use only secular plays for proposals, including suggested sources, and 2-3 upcoming issues. Christmas and other religious holidays. Above clips as samples of your work. SASE. AGE GROUP: 10-16 all, plays must be entertaining and relevant 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. (interactive approach a plus), Q&A interviews, Send for guidelines. We do not accept e-mail plays, and biographies. Supplemental submissions. 118 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org interviews withauthors, activities related to ACCEPTS: Fiction, nonfiction, poetry, plays, AGE GROUP: 8-12 illustrators, and the worldof 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 list of 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 www.cricketmag.com/submissions GUIDELINES: submittable.cricketmag.com; CONTACT: Submissions Editor Email: [email protected] www.spidermagkids.com www.cricketmag.com/spider Chicago, IL60601 70 EastLake Street,Suite800 SPIDER guidelines before submitting. COMMENTS: Readmagazine and send for Payment varies. TERMS: Pays onacceptance for first-time rights. ACCEPTS: Solicited Submissions Only AGE GROUP:13-21 issues. covering entertainment, guys, health, and teen DESCRIPTION: Beauty/fashion magazine www.seventeen.com New York, NY10018 1440 Broadway, 13thFloor SEVENTEEN | MAGAZINE MARKET GUIDE MARKET | MAGAZINE work. original word game. Querywithlistof published describing afunactivityrelated tobooks;oran to books, reading, orwriting; ahow-to article children doing something interesting related Best chance for freelancers isbrief article about accepted, especially from unpublished writers. COMMENTS: 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 with SASE. Pleasevisitwebsite. time aboutthree months. Guidelines available acceptable, especially holiday material. Review material withmore general themes is children. Although emphasisisonhealth, COMMENTS: Turtle isdesigned toberead to Payment made onpublication. games, no fixed rates. Purchases allrights. word. Poetry $25+.Photos $15+.Puzzlesand TERMS: Fiction and nonfiction upto22¢per Need easyrecipes. No single photos. that accompany articles are alsoconsidered. experiments. Short photo features and photos Also poems, games, crafts, and simplescience and creative nonfiction, upto350words. activities withhealth-related themes. Stories ACCEPTS: High quality stories, articles, and AGE GROUP:2-5 with emphasisonhealth and fitness. DESCRIPTION: Magazine for pre-school children www.turtlemag.org Indianapolis, IN46202 1100 Waterway Blvd. TURTLE fiction and nonfiction on alimitedbasisonly. problems handled sensitively. At present buying concerned withcontemporary teeninterests and COMMENTS: 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 www.teenmag.com Santa Monica,CA90407 300 OceanPark Blvd. TEEN www.uskidsmag.org 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 inputof 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: Lookatasample copy toget 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 about the 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 writers and artistsavailableonwebsite. stories, articles, and activities. Guidelines for COMMENTS: Would like toseemore seasonal rights may bereturned. TERMS: Purchases allrights. One-time book and photo features. ACCEPTS: Fiction, nonfiction, poetry, recipes, AGE GROUP:5-10. lifestyle for kids. Emphasis isonhealth, fitness, and anactive DESCRIPTION: Aweeklyreader magazine. MAGAZINE MARKET GUIDE | 119

and nature articles; cartoons, puzzles. All in 3-6 weeks. “Manuscripts are rejected if YES PREPARING & SUBMITTING 501-3960 Quadra St Christian-themed. they: become moralistic or preachy; offer Victoria, BC V8X 4A3, CANADA TERMS: Pays 5¢/word on acceptance; pays simplistic solutions; take an adult tone; www.yesmag.ca $5+ for single gag cartoons, $15+ for full- use religious clichés and overuse or misuse Email: [email protected] page panels; pays $5 for each photo used with religious language; lack respect and empathy for CONTACTS: Jude Isabella, Editor article. Buys all rights. teenagers.” DESCRIPTION: A magazine of science, COMMENTS: Best submission time January-April. technology, math, and engineering for children. Editorial theme list and/or author guidelines INSIGHT AGE GROUP: 9-14 available at our website or by sending request 55 West Oak Ridge Drive ACCEPTS: Science-related articles only, 250-800 with #10 SASE. If e-mailing manuscripts, copy Hagerstown, MD 21740 words. your material into the body of the e-mail, we www.insightmagazine.org MARKET SURVEYS TERMS: One-time print rights. will NOT open attachments. Email: [email protected] Comments: Guidelines are available on the GUIDELINES: www.insightmagazine.org/ website, under “contact.” GUIDE guidelines 55 West Oak Ridge Drive DESCRIPTION: Weekly 24-page magazine for YOUNG RIDER Hagerstown, MD 21740 Christian teens. P.O. Box 8237 www.guidemagazine.org AGE GROUP: 13-19 Lexington, KY 40533. Email: [email protected] ACCEPTS: True stories, profiles of Christian www.youngrider.com CONTACT: Randy Fishell, Editor celebrities, profiles of outstanding Christian DIRECTORIES & RESOURCES Email: [email protected] GUIDELINES: www.guidemagazine.org/ youth, and general articles. CONTACT: Lesley Ward, Editor aboutguide/writersguidelines.asp Terms: Buys first rights or one-time rights. Pays GUIDELINES: www.youngrider.com/writers- DESCRIPTION: Weekly Christian journal. on acceptance. guidelines.aspx AGE GROUP: 10-14 COMMENTS: Publication of the Seventh-Day DESCRIPTION: Small equestrian magazine for ACCEPTS: Nonfiction articles (800-1,200 words) Adventist Church. See website or send for young riders. on inspiration, adventure, personal growth, detailed guidelines. AGE GROUP: 8-14 Christian humor, biography, nature. ACCEPTS: Fiction: 800-1000 word stories TERMS: Buys First North American Serial Rights NATURE FRIEND involving teens and horses. Likes humor. or reprint rights and pays 7-10¢/word on 4253 Woodcock Ln. Nonfiction: 800-1000 word horse interest with acceptance. Dayton, VA 22821 good photos or slides. COMMENTS: “Our mission is to show readers, www.naturefriendmagazine.com

TERMS: First North American serial rights. $150 through stories that illustrate Bible truth, [email protected] PUBLICIZING YOUR PUBLISHED WORK for fiction, $200 nonfiction. how to walk with God now and forever.” Some CONTACT: Kevin Shank, Editor COMMENTS: Study guidelines and a copy of the topics of interest include: choices, self-esteem, DESCRIPTION: A nature magazine that presents magazine before querying. friendship, changes, school, peer pressure, facts of creation in ways that are factual, adventure, and nature. See website for detailed interesting, and enlightening. guidelines. AGE GROUP: 5-18 ACCEPTS: Stories, puzzles, science activities Religious IGNITE YOUR FAITH (FORMERLY CAMPUS LIFE) centered on a nature theme. 465 Gunderson Dr. TERMS: Pays 5¢ per edited word on publication. MAGAZINES Carol Stream, IL 60188 Buys one-time rights. Also pays for artwork and www.christianitytoday.com/iyf/ photos. CADET QUEST (FORMERLY CRUSADER) Email: [email protected] COMMENTS: Needs more science/nature related P.O. Box 7259 CONTACT: Christopher Lutes, Editor projects, how-to, etc. Guidelines available, $5 Grand Rapids, MI 49510 GUIDELINES: www.christianitytoday.com/iyf/ with SASE (9X12 SASE with $2.00 postage).

calvinistcadets.org/writersguide2.php features/guidelines.html $5 for sample copy. Magazine is unique, so SCHOOL VISITS [email protected] DESCRIPTION: Christian Monthly studying it is recommended before submitting. CONTACT: Editor AGE GROUP: 13-17 GUIDELINES: http//calvinistcadets.gospelcom. ACCEPTS: First-person stories (1,200-2,000 ON COURSE net/CadetWeb/pages/CadetQuestThemes.html words), fiction (up to 2000 words), humor (250- 1445 N. Boonville Ave. DESCRIPTION: Christian-oriented magazine for 1000 words, can incorporate satire, parody, Springfield, MO 65802-1894 boys. hyperbole), poetry, and information for the www.oncourse.ag.org LEGAL QUESTIONS AGE GROUP: 9-14 college bound (all must be tied to teenager’s Email: [email protected] ACCEPTS: Fiction (1,000-1,300 words) that life experience). No essays or how-to articles. GUIDELINES: www.oncourse.ag.org/writer4oc.cfm appeals to boys’ sense of adventure/sense of TERMS: One time rights. Pays 15-20¢/word on DESCRIPTION: Bimonthly e-magazine and humor to show them how God is working in acceptance. quarterly print magazine for teens. Themes their lives and in the world around them (no COMMENTS: No unsolicited manuscripts. are contemporary issues-oriented and articles science fiction or romance); nonfiction (up to Query first. Simultaneous submissions must be emphasize biblical approaches to teen life. 1,500 words); project/hobby articles; indicated on the first page. Expect a response AGE GROUP: 13-18 120 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Email: [email protected] www.upperroom.org/pockets Nashville, TN37203-0004 P.O. Box 340004 POCKETS this time. Prefers electronic submissions. buying poetry, games, puzzles, orartwork at 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 with siblings. 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 GUIDELINES: www.pacificpress.com/index. CONTACT: AileenAndres Sox, Editor Email: [email protected] www.pacificpress.com Nampa, ID83653 P.O. Box 5353 OUR LITTLEFRIEND purchase unsolicited articles. and focuses onscheduled themes. Doesnot COMMENTS: Content isnow onassignment basis for Web-only features is$30/article. word plusfirstand electronic rights. Payment TERMS: Payment for assigned stories is10¢/ and nonfiction. Interested in humorous stories. ACCEPTS: Resumes withwriting samples;fiction 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. , periodical, and electronic rights; TERMS: Pays onacceptance. Purchases appropriate and related totheme. words); crafts, puzzles, and jokes that are age lines); nonfiction related totheme (400-1,000 settings (600-1,400words); poems (upto24 upcoming_themes.asp. Fiction with real-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 | MAGAZINE MARKET GUIDE MARKET | MAGAZINE 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 and coaches. DESCRIPTION: AChristian magazine for athletes CONTACT: JillEwert,Editor [email protected] www.sharingthevictory.com Kansas City, MO64129 8701 LeedsRd. Fellowship of ChristianAthletes SHARING THEVICTORY this time. Prefers electronic submissions. buying poetry, games, puzzles, orartwork at 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 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 www.primarytreasure.com Nampa, ID83653 P.O. Box 5353 PRIMARY TREASURE website for extensive guidelines and theme list. realistically, and thatcauseyoung readers to are fresh, thatpresent the Christian life games, puzzles, crafts, and cartoons that ACCEPTS: “Stories, articles, quizzes, poems, 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 material with amulticultural 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 life realistically, and games, puzzles, and crafts thatare fresh, ACCEPTS: Stories, articles, quizzes, poems, AGE GROUP:6-9 DESCRIPTION: Christian magazine for girls Email: [email protected] www.gemsgc.org Grand Rapids, MI49510 P.O. Box 7259 Gems Girl’s Clubs SPARKLE and theme listonwebsite. God isatworkintheir lives. View guidelines COMMENTS: Goalistohelp girlsdiscoverhow 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 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 | 121

Terms: Purchases one-time rights. 3-5¢/word; PREPARING & SUBMITTING $10 per poem. COMMENTS: Send for guidelines.

YOUTH UPDATE St. Anthony Messenger Press 1615 Republic Street Cincinnati, OH 45210-1298 www.americancatholic.org DESCRIPTION: Catholic magazine. AGE GROUP: 14-18 MARKET SURVEYS 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 DIRECTORIES & RESOURCES copy. Guidelines available. PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS

RELIGIOUS PRESS MARKET SURVEY

compiled by Nancy Dearborn and Etta Wilson 2001 updated by Kayla Heinen © 2013

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

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

ABINGDON PRESS assignments. Illustrators: color samples of 2-4 published United Methodist Publishing House METHOD OF PAYMENT: Royalty without advance illustrations for future assignments. 201 Eighth Avenue South, P.O. Box 801 or flat fee; flat fee for illustrators. METHOD OF PAYMENT: Royalty without advance Nashville, TN 37202 for authors, flat fee for illustrators. www.abingdonpress.com ALEF DESIGN GROUP FAITH AFFILIATION: Methodist 4423 Fruitland Avenue AUGSBURG FORTRESS PUBLISHERS RESTRICTIONS OR TABOOS: avoid concept books Los Angeles, CA 90058 P.O. Box 1209 BOOKS PER YEAR: 4-6 FAITH AFFILIATION: Jewish Minneapolis, MN 55440-1209 TYPES OF BOOKS: Picture books on biblical RESTRICTIONS OR TABOOS: Accepts only books www.augsburgfortress.org themes and characters, Christmas books, all with Jewish content. FAITH AFFILIATION: Evangelical Lutheran books must have some explicitly religious BOOKS PER YEAR: 1-2 RESTRICTIONS OR TABOOS: Only accept content. TYPES OF BOOKS: Easy books, middle-grade books that provide academic and professional METHOD OF SUBMISSION: We work with authors fiction, YA fiction, story collections. resources that inform and reform Christian faith. previously published or acquired through METHOD OF SUBMISSION: Writers: send query TYPES OF BOOKS: Picture books on biblical agents and our acquisition editors. Illustrators: letter with synopsis, author bio, and SASE; themes, middle-grade and YA with biblical color samples (not original artwork) for future does not accept simultaneous submissions. subjects. 124 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org include of the Gospel. teens, with20titlesperyearplanned. Books but willalsopublishsome titlesfor tweens and kids, primarily for the 4–8and 8–12age groups, submissions from allwriters. RESTRICTIONS OR TABOOS: We accept EMAIL: [email protected] FAITH AFFILIATION: Bahai www.badipublishing.com Phone: 888-909-1919 Phoenix, Arizona85069 P.O. Box 39651 BADI PUBLISHINGCORPORATION ARTWORK INTEREST: UNSOLICITED MANUSCRIPTS: MULTIPLE SUBMISSIONS: QUERY LETTERS: DESCRIPTION: EDITOR: DIRECTOR: www.bhpublishinggroup.com/category/kids/ Nashville, TN37234-0188 One LifeWay Plaza (An Imprint of B&HPublishing Group) B&H KIDS negotiable sliding scales. METHOD OFPAYMENT: 10%onnet receipts with with notification. address; simultaneous submissions accepted complete manuscript withquerytothe above via email [email protected] or METHOD OFSUBMISSION:Writers:send query teens. biographies for teens; activitybooksfor pre- TYPES OFBOOKS:Nonfiction, devotionals and BOOK PERYEAR:1-2 tradition. teachings, confessional doctrine, and spiritual within the general framework of Catholic moral RESTRICTIONS ORTABOOS: Content must be FAITH AFFILIATION: Catholic www.avemariapress.com Notre Dame, IN46556 P.O. Box 428 AVE MARIAPRESS company/submitfp.jsp. guidelines atwww.augsburgfortress.org/ augsburgfortress.org. Pleaseseesubmission proposal oremail submissions tobooksub@ METHOD OFSUBMISSION:SASE withbook 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 Michelle Prater Burke DanLynch Publishes bible-basedbooksfor Not accepting. Not accepting artsamples. Not accepting. Not accepting. METHOD OFPAYMENT: 10%royalty reply inuptothree months. guidelines.php. No multiple submissions. Will manuscripts atwww.badipublishing.com/ website for details onhow tosubmityour and hardcopy submissions. Pleasevisitour METHOD OFSUBMISSION:We acceptelectronic Nonfiction and fiction. collections, board booksand picture books. TYPES OFBOOKS:activity/workbooks, story BOOKS PERYEAR:2-3 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, and review submission guidelines at submissions toRina Maimon. Email coverletter, METHOD OFSUBMISSION:Writers:Prefer email and activity/workbooks. TYPES OFBOOKS:Nonfiction for allage levels BOOKS PERYEAR:5-10 nature only. RESTRICTIONS ORTABOOS: Topics of a Jewish EMAIL: [email protected] CONTACT: Rina Maimon FAITH AFFILIATION: Jewish. www.behrmanhouse.com Springfield, NJ07081 11 EdisonPlace 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.barbourpublishing.com Uhrichsville, OH44683 P.O. Box 719,1810BarbourDrive BARBOUR PUBLISHING 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 www..com Franklin, TN37064 230 Franklin,Bldg.2A BIG IDEA TYPES OFBOOKS: Children’s picture books histories. Christ of Latter-day Saints. No poetryorfamily the values espoused byThe Church of Jesus RESTRICTIONS ORTABOOS: Stories thatreflect FAITH AFFILIATION: Church of LatterDaySaints Salt Lake City, UT 84130 PO Box 30178 DESERET BOOK [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 St. Louis, MO63118-3968 3558 SouthJeffersonAvenue CONCORDIA PUBLISHINGHOUSE RELIGIOUS PRESS MARKET SURVEY | 125 through YA. HACHAI PUBLISHING escalation above 15,000 copies. PREPARING & SUBMITTING METHOD OF SUBMISSION: Please send a 527 Empire Boulevard manuscript with a SASE and a cover letter to Brooklyn, NY 11225 IDEALS PUBLICATIONS the above address. View submission guidelines www.hachai.com 2630 Elm Hill Pike, Suite 100 on the website. deseretbook.com/pages/author_ FAITH AFFILIATION: Jewish Nashville, TN 37214 guidelines. Will reply in 12 weeks. RESTRICTIONS OR TABOOS: No fantasy, animal www.idealspublications.com METHOD OF PAYMENT: Varies with contract. stories, romance, violence, preachy sermonizing FAITH AFFILIATION: Judeo/Christian but or references to other religions. nonsectarian EERDAMAN’S PUBLISHING BOOKS PER YEAR: 6 RESTRICTIONS OR TABOOS: Content should not 2140 Oak Industrial Dr. NE TYPES OF BOOKS: Board books, picture books, be inappropriate in any way for young children. Grand Rapids, MI 49505 and easy readers on Jewish topics for the very BOOKS PER YEAR: 50-75 MARKET SURVEYS [email protected] young and historical fiction that highlights TYPES OF BOOKS: Fiction and nonfiction picture www.eerdamans.com devotion and relevance of the Torah for ages books for children ages 4 to 8. Subjects include CONTACT PERSON: Jon Potts, editor-In-chief 7-10. holiday, inspirational, and patriotic themes; FAITH AFFILIATIN: Christian METHOD OF SUBMISSION: Writers: submit cover relationships and values; and general fiction TYPES OF BOOKS: Biblical studies and theology letter and complete manuscript to editor@ METHOD OF SUBMISSION: Writers: submit and in religious approaches to philosophy, hachai.com or mail with SASE. Simultaneous board book manuscripts to CandyCane Press and history, art, literature, ethics, and contemporary submissions acceptable if informed. Expect picture book manuscripts to Acquisitions Editor, social and cultural issues. reply in 6 weeks. Illustrators: Submit color Ideals Publications, both with SASE at above DIRECTORIES & RESOURCES METHOD OF SUBMISSION: Send query letter, photocopies and tear sheets of work with address. Simultaneous submissions accepted if bio, table of contents, or entire manuscript by inclusion of human character to the above informed. Illustrators: submit color samples to MAIL ONLY. No email submissions. address. Include SASE for response. Art Director at above address with SASE if reply SUBMISSION GUIDELINES: www.eerdmans.com/ METHOD OF PAYMENT: Flat fee to both author expected. Pages/YoungReaders/EBYR-Guidelines.aspx and artist. METHOD OF PAYMENT: Both flat fee and WILL REPLY IN: 3 months negotiable royalty based on net, depending on MULTIPLE SUBMISSIONS: Yes HERALD PRESS project. TITLES TO STUDY: A Girl Called Problem by 1251 Virginia Ave Katie Quirk; The Chickens Build a Wall by Jean- Harrisonburg, VA 22802-2434 THE ISLAMIC FOUNDATION Francois Dumont www.heraldpress.com Ratby Lane, Markfield FAITH AFFILIATION: Mennonite Church (U.S. Leicestershire, LE67 9SY

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

Loveland, CO 80539 a reply in about two months. If your proposal SASE. Manuscripts must be in Word format. SCHOOL VISITS www.grouppublishing.com has potential for Herald Press, we will No simultaneous submissions. Will reply in FAITH AFFILIATION: Christian request a finished manuscript. Simultaneous 3 months. Please review guidelines on the RESTRICTIONS OR TABOOS: All of our material submissions are accepted. website. is leader/teacher oriented. Illustrators: Please send samples for our METHOD OF PAYMENT: Advance flat fee 200-500 BOOKS PER YEAR: 65-70 files to Merrill Miller at the above address Sterling Pounds. TYPES OF BOOKS: Leadership based material. and SASE if you want a reply or via email at LEGAL QUESTIONS METHOD OF SUBMISSION: Writers: send query [email protected]. Samples may JOURNEY FORTH letter only to Submissions Editor at above include tear sheets, photocopies (both b/w 1700 Wade Hampton Blvd. address. and color), slides, photographs, and original Greenville, SC 29614 METHOD OF PAYMENT: Flat fee or royalty, art. All must fit in an 8.5 x 11” file folder. www.bjupress.com/category/Books depending on project. Include a cover letter and short resume. FAITH AFFILIATION: Christian METHOD OF PAYMENT: Usually up to 10% RESTRICTIONS OR TABOOS: Only accept of the net sales and the possibility for Christian-based subjects. Avoid subjects with 126 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS: Novelties of allsorts, picture BOOKS PERYEAR: 20 individuals. curriculum orprivatelysubsidized editions for principles and values. We do not publish biblically based and emphasizesolid Christian them. Allof ourchildren’s products must be imagination, and interest inthe worldaround by engaging their God-givencreativity, and educational development of children materials that target boththe spiritual committed topublishing booksand collateral RESTRICTIONS ORTABOOS: Kregel Kidzone is available atourwebsite. agreement withourmission statement, which is Evangelical Christian. Ourauthors must bein FAITH AFFILIATION: Nondenominational, www.kregelpublications.com Grand Rapids, MI49501-2607 P.O. Box 2607 Kregel Publications KREGEL KIDZONE METHOD OFPAYMENT: Flatfeeorroyalty. illustrations sent [email protected]. We request either 3-4slices oronline are accepted, butwewant toknow. Illustrators: response in12weeks. Simultaneous submissions Submit [email protected]. Expect to bothquerylettersand completemanuscripts. METHOD OFSUBMISSION:Writers:werespond community. reflecting the rich diversity of today’s Jewish contemporary stories and picture books, activity and workbooks, holiday books, folktales, easy readers, nonfiction for young readers, TYPES OFBOOKS:Board books, picture books, BOOKS PERYEAR:14-16 Orthodox strains of Judaism. geared toward the Reform/Conservative/Modern RESTRICTIONS ORTABOOS: Ourpublications are FAITH AFFILIATION: Jewish www.karben.com Minneapolis, MN55401 241 FirstAvenue North Lerner PublishingGroup KAR-BEN PUBLISHING or send withSASE tothe aboveaddress. qualifications to Nancy [email protected] pdf. Willrespond in12weeks. Illustrators:Email books/documents/2011-freelance-guidelines. manuscript guidelines www.bjupress.com/ METHOD OFSUBMISSION:Writers:See teen Biblestudies. Christian biographies, read-aloud books, and TYPES OFBOOKS:Christian fiction books, magic ortime travel. | RELIGIOUS PRESS MARKET SURVEY MARKET | PRESS RELIGIOUS on aproject-by-project basis. METHOD OFPAYMENT: Royalties are determined from professional literary agents. a moderate fee. We alsoacceptqueryletters over 40Christian publishers simultaneously for opportunity for youtoshare yourproposal with manuscript-screening services provide an Manuscript Submissions regularly. These summaries from The Writers’Edge and Christian material for review. We do, however, review Publications does not acceptunsolicited METHOD OFSUBMISSION:Writers:Kregel nonfiction for alllevels, and devotionals. and YA fiction, activityand puzzlebooks, books, Biblestories, easyreaders, middle-grade the website. submissions atthistime. Pleasekeep checking METHOD OFSUBMISSION:Not accepting and diverse society inawesternizedcountry. Muslims living asaminority inamulticultural Stories withcharacters and settings thatinclude cookbooks, “how to”books, CDs, e-books. Adult fiction, poetry, activity/workbooks. Other: TYPES OFBOOKS:Middle-grade fiction, Young BOOKS PERYEAR:3-4 violence/intolerance. RESTRICTIONS ORTABOOS: No erotica or FAITH AFFILIATION: Islam www.muslimwriterspublishing.com Phone: 480-894-6014 Tempe, Arizona85285 P.O. Box 27362 MUSLIM WRITER’SPUBLISHING advance. METHOD OFPAYMENT: 10%of net sales, no to [email protected]. proposal document onthe websiteand submit METHOD OFSUBMISSION:Downloadauthor’s No fiction. ranges, activitybooks, riddle and puzzlebooks. easy readers, educational nonfiction for allage TYPES OFBOOKS:Board books, picture books, BOOK PERYEAR:10 fiction or YA fiction. , inchildren’s minds. No Children’s children’s booksaimtoestablishcreation, not biblical doctrine, Christian ideas/principles; RESTRICTIONS ORTABOOS: Listisstrong in FAITH AFFILIATION: Protestant www.masterbooks.net Green Forest,AR72638 P.O. Box 726 MASTER BOOKS/NEWLEAFPRESS 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.rainbowpublishers.com San Diego,CA92196 P.O. Box 261129 RAINBOW PUBLISHERS/LEGACY PRESS 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 www.tommynelson.com Nashville, TN37217 402 BNADrive Building 100,Suite600 TOMMY NELSON sure “Children’s MinistryResource Submission” to [email protected]. Make manuscript guidelines onwebsite. EMAILONLY METHOD OFSUBMISSION:Writers:See 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 RELIGIOUS PRESS MARKET SURVEY | 127 appears in the subject line of the email. Will themed. BOOKS PER YEAR: 75-90 new titles PREPARING & SUBMITTING respond in 6 months. BOOKS PER YEAR: 4-6 new titles and 15 TYPES OF BOOKS: Novelties, board books, coloring and activity books. picture books, middle-grade fiction, Bible TA-HA PUBLISHERS TYPES OF BOOKS: Picture books and coloring stories, and prayer books Unit 4, The Windsor Centre and activity books written in an easy-to-read METHOD OF SUBMISSION: Writers: only Windsor Grove, West Norwood style. Most books focus on a Bible story or accepting submissions for resource books at London, SE27 9NT, UK biblical theme such as love, forgiveness, etc. this time. See guidelines on website. www.tahapublishers.com Ages range from pre-school (2-5 years old) to METHOD OF PAYMENT: Royalty and flat fee. FAITH AFFILIATION: Islamic upper elementary (8-10). TABOOS OR RESTRICTIONS: No poetry. Only METHOD OF SUBMISSION: E-mail a query letter subjects relating to the teachings of Islam in a and brief summary of your story and your past MARKET SURVEYS positive manner. published writing experience to Robin Fogle, TYPES OF BOOKS: Traditional and modern Acquisitions Editor at [email protected]. Islamic stories for children and young adults. Submission deadline is July 31. METHOD OF SUBMISSION: Email query letter METHOD OF PAYMENT: Payment varies, with synopsis and target market to editor@ depending on the project. tahapublishers.com. Will reply in six weeks if interested. WATERBROOK PRESS

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

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

EDUCATIONAL PRESS MARKET SURVEY

compiled by Melissa Stewart. updated by Kayla Heinen 2013

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

ABC-CLIO ABDO PUBLISHING COMPANY and cover letter via email to submissions@ 130 Cremora Drive [email protected] abdopublishing.com or by mail with SASE to Santa Barbara, CA 93117 DESCRIPTION: publishes pre-K–8 educational ABDO Publishing. Illustrators please submit 3-5 1-800-368-6868 nonfiction books that contain high-quality samples. Contracts vary. www.abc-clio.com text features, including a table of contents, CONTACT: [email protected] a glossary, and an index, timelines, maps, BARRONS EDUCATIONAL SERIES DESCRIPTION: high-quality, authoritative, diagrams, sidebars, full-color photos and 250 Wireless Blvd reference scholarship and innovative coverage captions. Hauppauge, NY 11788 of history, humanities, and general interest EDITOR-IN-CHIEF: Paul Abdo 1-800-645-3476 topics across the secondary and higher SUBMISSIONS: Send manuscript and cover letter www.barronseduc.com education curriculum. Contact for submission via email to [email protected] [email protected] guidelines and inquiries. Libraries Unlimited is or by mail to the above address. Include SASE. DESCRIPTION: Publishes a wide range of the librarian reference book imprint. Illustrators please submit three to five pieces children’s books, activity kits, study guides, and that reflect your style and range as hard copies standardized test preparation materials both ABDO GROUP or jpg images. Contracts vary. fiction and nonfiction. NO EMAIL submissions. P.O. Box 398166 Send fiction manuscript with cover letter and Minneapolis, MN 55439 MAGIC WAGON BOOKS SASE; nonfiction only proposal and cover letter 952-831-2120 [email protected] to Acquisitions Manager. Will reply in 8 months. www.abdopub.com/ DESCRIPTION: Picture book, beginning reader, Royalties vary. DESCRIPTION: Publishes educational resources or chapter book manuscripts that can become a for grades K-12. See imprints for more details. series of 4-6 titles. EDITOR-IN-CHIEF: Paul Abdo SUBMISSIONS: Send manuscript submission 130 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org website toquery. library titles. Submitcontact form onthe authors with experience writing school and publishers, grades K-12. Currently looking for hi-lo nonfiction series for school and library DESCRIPTION: Developscurriculum aligned and PUBLISHER: Bonnie Szumski bowpublications.com 1-858-248-4926 San Diego, CA 92131 10755 ScrippsPoway Parkway BOW PUBLICATIONS qbslearning.com. Send resume and querylettertofreelance@ magazines, teachers guides, and webcontent. leveled readers, posters, assessment materials, textbooks, reference books, activitybooks, education print and digital media, including DESCRIPTION: Developsawide variety of www.billsmithgroup.com 1-512-349-2500 Austin, TX78731 Suite 285 8310-1 NorthCapitolof Texas Highway BILL SMITHGROUP Check websiteperiodically. accepting unsolicited submissions atthistime. market, elementary through high school. Not nonfiction series for the school and library DESCRIPTION: Publishes curriculum-aligned www.marshallcavendish.us 1-914-332-8888 Tarrytown, NY10591 P.O. Box 2001 99 WhitePlainsRd. An imprintof MarshallCavendishCorporation BENCHMARK BOOKS address. grades K-6), oryoucanmail them tothe above and writing samples(ideally nonfiction for bearportpublishing.com along withyourresume SUBMISSIONS: Email proposal toasiegel@ larger series. individual titles, butbooksthatare partof a nonfiction for grades K-6. We do not publish DESCRIPTION: High-interest narrative bearportpublishing.com EDITORIAL DIRECTOR: Adam Siegel, asiegel@ www.bearportpublishing.com (877) 337-8577 New York, NY10010 45 West 21stStreet,Suite3B BEARPORT PUBLISHING | EDUCATIONAL PRESS MARKET SURVEY MARKET | PRESS EDUCATIONAL fiction. [email protected]. Flatfeepaid. No samples, and proposal toEditorial Director at SUBMISSIONS: Send query, resume, writing 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 historybooks, [email protected] www.infobasepublishing.com New York, NY19008 writing [email protected]. Writers should email acoverletter, resume, and tools, inallcontent areas, for grades K-12. ancillary materials, and innovative instructional including leveledreaders, teacher’s guides, DESCRIPTION: Developseducational materials, brainworxstudio.com CLIENT DIRECTOR: Derrick Everett, derrick@ brainworxstudio.com 773-743-8200 Chicago, IL60626 Suite 200 6807 N.SheridanRoad BRAINWORX STUDIO, INC. chicagoreviewpress.com PUBLISHER: Cynthia Sherry, csherry@ www.chicagoreviewpress.com 1-312-337-0747 Chicago, IL60610 814 N.FranklinSt. CHICAGO REVIEWPRESS 132 West 31 Infobase PublishingImprint CHELSEA HOUSEPUBLISHERS [email protected]. saved at72dpiinGIForJPGformat to in asingle ZIParchive. Images should be art samplesshould becollectedand provided (grades PK–5)and animals. Individual digital types. We typically show images of children and four-color artsamples, pleasesend both com. Illustrators ifyouhavebothline art samples tofreelancesamples@carsondellosa. SUBMISSIONS: Writerssubmitresume and materials inallcontent areas. DESCRIPTION: Publishes preK-8 educational www.carsondellosa.com 1800-329-0943 Greensboro, NC27425 PO Box 35665 CARSON-DELLOSA PUBLISHING st St,17 th Floor sample artworktothe ArtDirector withaSASE. guidelines onthe website. Illustrators send submissions. Send toManaging Editor. See cover levelbymail onlywithSASE. NO EMAIL SUBMISSIONS: Writerssend manuscript and preparation materials for grades K-12. interested inspecialized math, reading, and test and other reading intervention programs. Also familiar withReading Recovery, guided reading, literacy for grades K-2. Writersshould be leveled readers and other materials thatsupport DESCRIPTION: Publishes fiction and nonfiction www.continentalpress.com 1-800-233-0759 Elizabethtown, PA 17022 520 EastBainbridgeStreet CONTINENTAL PRESS chapters [email protected] should send aresume, proposal, and sample seeking biographies and activitybooks. Writers to 1year. Royaltywithsmall advance. Actively art. Authors provide photos. Deadlines 9months about.cfm#manuscriptguidelines guidelines atwww.chicagoreviewpress.com/ and activitybooks, ages 9-12.Seeauthor DESCRIPTION: Publishes children’s nonfiction to [email protected]. corwinpress.com/publish.nav Press’s detailed author guidelines atwww. Deadlines vary. Payment varies. View Corwin and skill-building resources for grades K-12. activity books, lessonplans, reproducibles, supplementary classroom materials, including DESCRIPTION: Publishes avariety of corwin.com EDITORIAL DIRECTOR: LisaShaw, lisa.shaw@ www.corwinpress.com/home.nav 805-499-9734 Thousand Oaks, CA91320 2455 Teller Road CORWIN PRESS sample artworktothe ArtDirector withaSASE. guidelines onthe website. Illustrators send submissions. Send toManaging Editor. See cover levelbymail onlywithSASE. NO EMAIL SUBMISSIONS: Writerssend manuscript and preparation materials for grades K-12. interested inspecialized math, reading, and test and other reading intervention programs. Also familiar withReading Recovery, guided reading, literacy for grades K-2. Writersshould be leveled readers and other materials thatsupport DESCRIPTION: Publishes fiction and nonfiction SEEDLING PRESS . Send submissions . No need for EDUCATIONAL PRESS MARKET SURVEY | 131

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

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

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

SUBMISSIONS: Writers submit a proposal, DESCRIPTION: Publishes a variety of preK-8 SCHOOL VISITS STONE ARCH BOOKS cover letter, outline, and sample chapter with educational materials in language arts, math, www.stonearchbooks.com SASE. See author guidelines for more details. reading, science, social studies, arts & crafts, DESCRIPTION: Publishes funny, scary, Royalties. ELL, and writing that support and enrich the mysterious and adventurous novels and non- core curriculum. WFH. Actively seeking writers violent graphic novels intended for reluctant DAWN PUBLICATIONS with experience creating K-5 language arts readers, grades 2-8. Most titles have strong ties 12402 Bitney Springs Rd. products. Send resume and writing samples. LEGAL QUESTIONS to the curriculum. Nevada City, CA 95959 SUBMISSIONS: Writers send resume, sample www.dawnpub.com FREE SPIRIT PUBLISHING chapters, and prior experience to sub@ EDITORIAL DIRECTOR: Glenn Hovemann 217 Fifth Ave. N., Suite 200 capstonepub.com for fiction submissions. ART DIRECTOR: Muffy Weaver Minneapolis, MN 55401 NONFICTION BY MAIL ONLY with SASE to DESCRIPTION: Nature awareness books for 1-612-338-2068 Editorial Director. Illustrators send samples and children. No stories about pets, animal rescue, www.freespirit.com resume to [email protected]. or fantasy. DESCRIPTION: Publishes a variety of learning 132 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org multicultural/ESL, aswellprofessional studies, mathematics, science, artsand drama, phonics. Alsointerested inmaterials for social for language arts, writing, reading, and and WFH.Currently seeking quality materials materials, grades K-8. Deadlines vary. Royalty supplemental educational and classroom DESCRIPTION: Publishes arange of [email protected] www.goodyearbooks.com Culver City, CA90232 10200 JeffersonBlvd.,Box 802 GOOD YEARBOOKS Will respond in3months onlyifinterested. Include samplechaptersand proposal ifneeded. only using submission form onthe website. humor, and giftbooks. Pleaseemail submissions popular culture, gardening, artsand crafts, focus onabroad array of topics including cookbooks. We alsoacceptsubmissions that along withinterior design, architecture, and DESCRIPTION: Activity booksfor children www.gibbs-smith.com 801.544.9800 Layton, Utah84041 PO Box 667 GIBBS SMITHPUBLICATIONS 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 1-800-884-3764 Grapevine, TX76051 800 IndustrialBlvd.Suite100 FROG STREETPRESS Will respond in2-6months. Acquisitions atthe aboveaddress withSASE. proposal, samplechaptersorfullmanuscript to SUBMISSIONS: Send resume, coverletter, needs. Deadlines vary. prevention, social action, creativity, and special school success, peacemaking and violence esteem and self-awareness, stress management, children/teens withemphasisonpositiveself- counselors, orprofessionals working with nonfiction materials writtenbyeducators, materials, and teacher guides. Looking for include books, classroom supplemental emotional development of children. Products tools thatsupportthe social health and | EDUCATIONAL PRESS MARKET SURVEY MARKET | PRESS EDUCATIONAL Deadlines vary. WFH.Alwayslooking publishwithus.cfm. www.goodyearbooks.com/client/client_pages/ parents. Submission details availableat: resources for teachers orhome-schooling above address. Illustrators send samples. manuscript withSASE toMatt Mulder atthe Mail incover letter, resume, proposal, and librarians. Deadlines vary. Royaltyand WFH. library media specialists and children’s public way aswellprofessional resources for school and reading programs inafresh and playful books thatintroduce libraries, bookselection, DESCRIPTION: Publishes library-centered picture [email protected] PUBLICATIONS MANAGER: Matt Mulder, www.upstartbooks.com UPSTART BOOKS www.highsmith.com 1-800-694-5827 Madison, WI53707-7820 P.O. Box 7820 HIGHSMITH CORPORATE an idea, email [email protected]. 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 20 CommercialBoulevard 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 [email protected] social studies for K-12. Send queryemail to reading, writing, mathematics, science, and DESCRIPTION: Materials and booksthatsupport www.greatsource.com 800.225.5425 Wilmington, MA01887 181 BallardvaleStreet (HOUGHTON MIFFLINHARCOURT) GREAT SOURCEEDUCATION GROUP [email protected] and email submissions to Acquisitions Editorat at www.hunterhouse.com/docs/Manuscript.pdf and personal growth. Seemanuscript guidelines health, violence prevention and intervention, and educators withsubjectsrelating towomen’s DESCRIPTION: Publishes booksfor counselors www.hunterhouse.com 510-865-5282 Alameda, CA94501 P.O. Box 2914 HUNTER HOUSEPUBLISHERS above address. Illustrators send samples. manuscript withSASE toMatt Mulder atthe Mail incoverletter, resume, proposal, and librarians. Deadlines vary. Royaltyand WFH. library media specialists and children’s public way aswellprofessional resources for school and reading programs inafresh and playful books thatintroduce libraries, bookselection, DESCRIPTION: Publishes library-centered picture [email protected] PUBLICATIONS MANAGER: Matt Mulder, www.edupressinc.com EDUPRESS samples, and proposal toEditorial Director at SUBMISSIONS: Send query, resume, writing 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,17thFloor INFOBASE PUBLISHING envelope toArtDepartment. pieces withawarm,whimsical style. Address the should send good quality photocopies orprinted envelope toManuscript Submissions. Illustrators contents, and asample chapter. Address the should send aletterof introduction, tableof grades K-12. Deadlines vary. WFH.Writers (grades 5-8)and teaching strategy booksfor educational resources for middle school students DESCRIPTION: Publishes supplemental PUBLISHER: JillS.Norris www.incentivepublications.com 1-800-421-2830 Nashville, TN37215 2400 CrestmoorRoad,Ste. 211 INCENTIVE PUBLICATIONS EDUCATIONAL PRESS MARKET SURVEY | 133 [email protected]. Flat fee paid. No PUBLISHER Julie Graddy, publisher@ MORGAN REYNOLDS PUBLISHERS PREPARING & SUBMITTING fiction. maupinhouse.com 620 Elm St., Suite 223 Chelsea House and Chelsea Clubhouse DESCRIPTION: Publishes professional resources Greensboro, NC 27406 chelseahouse.infobasepublishing.com/ for K-12 teachers. Deadlines vary. Payment 1-800-535-1504 Facts on File varies. Currently seeking classroom-proven ideas www.morganreynolds.com factsonfile.infobasepublishing.com/ and resources on writing craft, integrating DESCRIPTION: Publishes engaging nonfiction Ferguson Publishing technology into the reading and writing for K-12 grades. Send ideas and inquiries to ferguson.infobasepublishing.com/ curriculum, and reading strategies. Authors [email protected]. See website should send a resume, list of publications, and to become familiar with the types of books KAEDEN BOOKS proposal plus table of contents, introduction, published. P.O. Box 16190 and sample chapter to publisher@maupinhouse. MARKET SURVEYS Rocky River, OH 44116 com. Include intended audience, competition, NOMAD PRESS 1-800-890-7323 and what makes your book better than what is 2456 Christian Street www.kaeden.com currently available. White River Junction, VT 05001 DESCRIPTION: Publishes early literacy books 1-802-649-1995 and beginning chapter books that support MERIWETHER PUBLISHING www.nomadpress.net young readers. Submissions needed in beginning 885 Elkton Drive PUBLISHER: Alex Kahan chapter books, unique non-fiction manuscripts, Colorado Springs, CO 80907 DESCRIPTION: Publishes a range of how-to and manuscripts with strong characters (800) 937-5297 and curriculum-aligned nonfiction books DIRECTORIES & RESOURCES that have potential to become a series. Mail www.meriwether.com for grades K-8. Deadlines vary. Primarily cover letter and manuscript to the Editorial DESCRIPTION: Publishes a variety of theatre WFH. Writers should send a detailed resume, Department at the above address. Illustrators subjects from play anthologies to theatrecraft. including relevant experience and previous send samples and cover letter to the above We publish books on monologs, duologs, publication credits to [email protected]. address. short one-act plays, scenes for students, Send art samples to Alex Kahan. acting textbooks, how-to speech and theatre KENDALL HUNT PUBLISHING textbooks, improvisation, and theatre games. OLIVER PRESS 4050 Westmark Dr. SUBMISSIONS: Send query letter, outline, and Charlotte Square P.O. Box 1840 sample chapters to [email protected]. If 5707 West 36th Street Dubuque, IA 52004 sending hard copies, include SASE. Will reply in Minneapolis, MN 55416-2510 1-800-228-0810 6 weeks if interested. (952) 926-8981 www.kendallhunt.com www.oliverpress.com PUBLICIZING YOUR PUBLISHED WORK DESCRIPTION: Publishes student and teacher MITCHELL LANE PUBLISHERS DESCRIPTION: Publishes nonfiction and materials in science, math, language arts, P.O. Box 196 classroom supplements in social studies, health, and physical education as well as Hockessin, DE 19707 biographies, and sciences for young readers. custom curriculum programs and resources. 1-302-234-9426 Send query letter to [email protected]. Deadlines vary. Royalty or WFH. All books are www.mitchelllane.com See website for more details about the types of written by experts in the field. Illustrators may DESCRIPTION: Publishes nonfiction, books published. send art samples and a resume to the above supplemental books, resource books, easy-to- address. reads, reluctant readers in all subject areas, ON THE MARK grades 4-8. Deadlines vary. WFH. Send a P.O. Box 433 LERNER PUBLISHING GROUP comprehensive resume and list of previously Clayton, NY 1251 Washington Ave N published work along with a cover letter 13624 Minneapolis, MN 55401 expressing your interest, and an unedited 1-800-463-6367 1-612-332-3344 writing sample that does not need to be www.onthemarkpress.com/

www.lernerbooks.com returned to the address above. Most books are PRESIDENT: Lisa Solski SCHOOL VISITS DESCRIPTION: Publishes informative picture photo illustrated, so little need for art. Publishes curriculum-aligned reproducible books, illustrated nonfiction titles, and inspiring activities and workbooks. Deadlines vary. WFH. photo-driven titles, for the school and library MONDO PUBLISHING Writers send in a sample of lesson plans, a markets, grades K-5. Deadlines vary. See website 980 Avenue of the Americas sample of writing you’ve done for children and a for various imprint submission guidelines. New York, NY 10018 resume to the address above or email them to: Illustrators send samples and cover letter to the 1-888-88-MONDO [email protected] LEGAL QUESTIONS address above. www.mondopub.com EDITORIAL DIRECTOR: Susan Eddy OTTN PUBLISHING MAUPIN HOUSE PUBLISHING DESCRIPTION: Publishes reading and writing 16 Risler Street 2300 NW 71st Place programs for grades K-5 and teacher resources Stockton, NJ 08559 Gainesville, FL 32653 and professional development materials. 1-866-356-6886 1-800-524-0634 Deadlines vary. WFH. Not currently looking for www.ottnpublishing.com/index.htm www.maupinhouse.com writers or illustrators. DESCRIPTION: Develops curriculum-aligned 134 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org supplemental books, workbooks, videos, science, DESCRIPTION: Publishes textbooks, classroom www.phoenixlearninggroup.com 314-569-0211 x104 Saint Louis, MO63043-2509 141 MillwellDr., SuiteA PHOENIX LEARNINGRESOURCES ideas onthe typesof booksthatare published. submission form onthe website. Seewebsitefor Guidelines.pdf. Alsosubmitamanuscript personhoodpress.com/pdf/5_Submission%20_ K-6. Writersseespecificguidelines at social responsibility inthe worldfor grades that generate aculture of personal and supplements, easyreader books, and subjects DESCRIPTION: Publishes educational www.personhoodpress.com (909) 866-2912 Fawnskin,CA92333 P.O. Box 370 PERSONHOOD PRESS Acquisitions. sample chaptersoracompletemanuscript to or WFH.Send coverletter, outline, and guides for grades K-12. Deadlines vary. Royalty workbooks and resource books, and assessment leveled readers, hi/loreaders, language arts DESCRIPTION: Publishes content-area readers, www.perfectionlearning.com (800) 543-2745 Logan, IA51546-0500 P.O. Box 500 1000 NorthSecondAvenue PERFECTION LEARNINGCORPORATION mailing inasubmission. [email protected]. Send inSASE if K-3. Send aqueryletterand manuscript to a lessonorhistorical connection for grades ethnic/regional fiction, and picture bookswith DESCRIPTION: Easyreaders, biographies, www.pelicanpub.com (504) 368-1175 Gretna, Louisiana70053-2246 1000 BurmasterStreet PELICAN PUBLISHINGCOMPANY ottnpublishing.com. No phone calls. Alsoinquire atinquiries@ published workbymail toAcquisitions Editor. proposals orresumes and samplesof previously photo illustrated, solittleneed for art.Send 4-12. Deadlines vary. WFH.Most booksare and library markets and servestudents ingrades social studies. Booksare created for the school nonfiction series inthe area of historyand | EDUCATIONAL PRESS MARKET SURVEY MARKET | PRESS EDUCATIONAL phoenixlearninggroup.com. K-12. Send queryletterand ideas toinfo@ social studies, reading, and math for grades DIRECTOR: Phyllis Greenspan, www.rcowen.com 1-800-262-0787 Katonah, NY 10536 P.O. Box 585 RICHARD C.OWEN PUBLISHERS PRESIDENT: www.quarasan.com 1-312-981-2500 Chicago, IL 60610 405 West SuperiorSt. QUARASAN and other required material. submissions onlywithcoverletter, proposal, pdfs/Book_Prospectus.pdf. NO EMAIL.Mail in here: www.prufrock.com/Assets/ClientPages/ books. Seespecificsubmission guidelines 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 com EDITOR: SeanRedman, sredmond atprufrock. www.prufrockpress.com 512.300.2220 Austin, TX78731 5926 BalconesDr, Ste. 220 PRUFROCK PRESS com. 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, CA92015-0085 P.O. Box 85 PIANO PRESS letter [email protected]. Deadlines vary. RoyaltyorWFH.Send query variety of clients. Materials for grades K-12. guides and other educational materials for a readers, student workbooks, textbooks, teacher’s DESCRIPTION: Developsleveledand content Randi Brill on the website. Send querytoaddress above oruseemail form Currently looking for cover samplesfrom artists. authors withexperience writing hi-lotexts. looking for writing samplesand resumes from about 4months, butcanflexible. WFH.Always workbooks, and educational software. Deadlines reproducible, read-alongs, videos, textbooks, for grades K-12, including paperbackbooks, DESCRIPTION: Publishes curriculum materials PRESIDENT: Arianne McHugh www.sdlback.com/ (714) 640-5200 Costa Mesa,CA92626 3120-A PullmanStreet SADDLEBACK EDUCATIONAL PUBLISHING WFH. Send querylettertoPhyllis Greenspan. for teachers and administrators. Deadlines vary. literacy for grades PreK-8 and professional books and other classroom materials thatpromote DESCRIPTION: Publishes guided reader programs [email protected] EDITORIAL COORDINATOR : Adriane Rozier www.scholastic.com 1-800-724-6527 New York NY10012 555 Broadway, 5thFloor SCHOLASTIC TEACHING RESOURCES Director. vary. WFH.Send non-returnable artworktoArt and library markets, grades 6-12.Deadlines nonfiction series and single titles for the school DESCRIPTION: Publishes curriculum-aligned ART DIRECTOR: Marie O’Neil 10012) (at NYoffice: 524Broadway, New York, NY EDITORIAL DIRECTOR: ElizabethWard 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: 524Broadway, New York, NY EDITORIAL DIRECTOR: Jannelle Cherrington CHILDREN’S PRESS www.scholastic.com 203-797-3500 Danbury, CT06816 90 OldShermanTurnpike SCHOLASTIC LIBRARYPUBLISHING EDUCATIONAL PRESS MARKET SURVEY | 135

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

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

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

SCBWI DIRECTORIES & RESOURCES

2017 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 CHOOSING AN AGENT children’s book writers or illustrators. Many literary agents specifically Not all agents are created equal. Again, it is in your best interest do not represent children’s books. We hope then that this directory to research an agent as much as possible before contacting him/her. will facilitate your search for representation. As with every other You will want to take at least the same amount of care as you would in aspect 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 of Ethics. For example, the AAR officially discourages the practice of self-addressed stamped envelope (SASE). Also, you should always keep charging fees for reading and evaluating submissions. Agents who a 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 In general, an agent advises you about your work’s potential, markets choice you make will affect you longer than even your choice of a the work to publishers, negotiates your contracts, and protects your mate. You will be tied to that agent for the life of the contract he/she interests on many different levels. The agent should be knowledgeable negotiates for you (a period which, in the case of books that stay in about current trends, practices, and conditions in the industry. The print a long 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 artwork. Also, an agent cannot make basic, personal decisions about write 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 does not do your work for you. You are the most important factor in are looking for? your writing career, not the agent. »» Has the agency been in business a long time or is it relatively new? Some agents are more flexible than others are. Some on this list, as (Both can have advantages.) indicated, are willing to let clients do their own marketing (i.e., make »» Who are its current clients? their own sales) and will then negotiate the contract for a specified fee »» Is the agency based in New York or in your geographic area? or commission. Such an arrangement must be worked out in advance, »» Does the agent offer editorial guidance before submitting as must any other special circumstance you desire. manuscripts to publishers? 140 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 solver, and, inparticular, canactasabufferbetweenyouand your editors canchange frequently. The agent canbeahelpful problem- steady source of encouragement inanoften difficultbusiness, where need emotional supportontopof allthat,looking tothe agent asa to youragent asaconsultant indeveloping yourwork.Some writers editorial guidance inaddition tobusiness support,and youwilllook only when financial negotiations are taking place. Oryou may need your relationship onadollars-and-cents level,and rely onthe agent work, and the agent’s policies and practices. Ifyouwish,cankeep author-agent relationship depends onyourneeds, the nature of your who canperform many services inhelping youbuildyourcareer. The be inarelationship of mutual confidence and trust,withsomeone researching the market onyourown. and the energy might bebetterspent inperfecting one’s craft and it canbejustasdifficulttofind an agent astosellyourfirstbook, to haveanagent toget published. Foranunpublished writer, infact, not. Inother words, withthe majority of publishers, itisnot necessary adult books, isone area where manuscripts are read whether agented or careers. And most editorswilltellyouthatchildren’s books, unlike illustrators do not haveagents, preferring tocontrol allaspectsof their you begincontacting agents. Many successful children’s writersand informed aboutsubmissions? date onthe industry asyoudesire? How does he/she keep the writer agent aggressive orpassiveaboutmarketing? Is he/she asup-to- agent’s personality and workmethods compatiblewithyours?Is the Has the agent beensuccessful withthe typeof workyoudo? Are the you abetterchance toevaluate anagent’s expertise. Forinstance: arrange aninterview, either overthe phone orinperson,thiswillgive » » DO YOU NEEDANAGENT? | DIRECTORY AGENTS » » The advantages tohaving anagent are complex. Ideally, you will This isanimportant question youwillwant toconsider before If anagent does express interest inyourworkand youare ableto desire? Is the agency willing toletyoudo yourownmarketing, ifyouso to break withthatagent atany time? binding youtogether for aspecifiedperiod of time, orare youfree Does the agent require youtosign arepresentation agreement, for updated submission information. unsolicited queries ormanuscripts. See website Submission Procedure: Not accepting 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 include anSASE withany correspondence. behalf—remember tobeprofessional in your approach and always advice of aliterary lawyer, ortomarket and negotiate onyourown information isavailableinthe Literary Market Place. further. The Authors Guildrecommends literary lawyersand similar attorney’s help withthe contract, youwillwant toresearch thisoption ends the expense. Ifyoudo yourownmarketing and merely want an commission, such lawyersbilltheir clients bythe hour. Paying yourbill authors incontract negotiations withpublishers. Instead of charging a one familiar withthe publishing industry, who regularly represents doing without istohire aliterary lawyer—not justany lawyer, but can beworsethanhaving no agent. could bemore creatively spent elsewhere. The wrong agent for you with agents spend much time complaining aboutthem—time that have great rapport orarelationship of long standing. Some writers the waybetweenyouand aneditor, especially one withwhom you An agent, especially one withwhom you’re not happy, canalsoget in commission ondomestic salesoverthe lifeof the book)toanagent. to keep allof yourmoney, instead of paying 15%(the average 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 take time, butitcanbewellworthit. Therefore, finding anagent who meets allorsome of these needs may The agent’s time and effort frees yourbrain for creative endeavors. editor(s), taking care of business whileyoufocus onyourwork. Whatever youdecide—to seekrepresentation byanagent, the Finally, one compromise betweensigning onwithanagent and The main advantage tonot having anagent issimple:youget If talking aboutmoney doesn’t bother you,and youfeelthatan 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 list uponrequest; workswithbookpackagers; Other Comments:Willing tosend current client have seenmanuscript. No phone orfax queries. synopsis publishing history, orifany publishers Submission Procedure: Queryletterswith AGENTS DIRECTORY | 141

California, New York, and Chicago. We accept updating from client and consultation with all Agent For: Authors and illustrators, all genres, PREPARING & SUBMITTING fiction, nonfiction published and unpublished writers and love cases; offer editorial guidance; member of AAR. Preferred Clients: Published/unpublished starting off new authors. Some authors we Commission: 10–15% text domestic, 20% art represent include Maggie Stiefvater, Jay BARBARA S. KOUTS domestic Asher, Tom Angleberger, Catherine Ryan Hyde, PO Box 560 Reading Fees: Only if discussed in advanced for Neal Shusterman, Ellen Hopkins, Ying Chang Bellport, NY 11713 critique Compestine, Daniel Pinkwater, Mitali Perkins, [email protected] Other Fees: Yes, for unpublished authors Nate Evans, Kate Messner, Kimberly Derting, (631) 286-1278 Rep Agreement: Yes Rebecca Janni, James Burks, and Salina Yoon. Fax: (631) 286-1538 Multiple Submissions: Yes, query letters Established: 1980 Submission Procedure: Letter of inquiry and ASCIUTTO ART REPRESENTATIVES Contact Name: Barbara Kouts MARKET SURVEYS 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 DIRECTORIES & RESOURCES 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 Preferred Clients: Writers copies and black and white via e-mail, showing [email protected] Commission: 15% domestic, 20% foreign children, animals, and nature. Art should be Established: 2000 Reading Fees: None interactive, representing storytelling in either Contact Name: Barry Goldblatt

Other Fees: None humorous or realistic styles. Agent For: MG and YA fiction, all genres PUBLICIZING YOUR PUBLISHED WORK 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 Drive San Pedro, CA 90732 Submission Procedure: E-mail queries only Salinas, CA 93905 Fax: (310) 548-4672 with synopsis and first five pages pasted into www.andreabrownlit.com [email protected] body of e-mail; no attachments. [email protected] Established: 1976 Established: 1981 Contact Name: Ashley Grayson THE BENT AGENCY Contact Name: Andrea Brown Secondary Contact: Carolyn Grayson 204 Park Place Number Two

Secondary Contact: Laura Rennert, Caryn Agent For: PB, fiction Brooklyn, NY 11238 SCHOOL VISITS 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, Beth Phelan, LEGAL QUESTIONS Submission Procedure: Query first via e-mail Multiple Submissions: Yes Brooks Sherman only. Choose one agent and e-mail that one. If Submission Procedure: Letter of inquiry with Agent For: Fiction, nonfiction, illustrators, interested, we will contact writer. Send entire author background and project description. If in all genres from babies to teenagers. See picture book texts via e-mail, and writers may picture book, submit entire manuscript with submission guidelines for specific details send one page of text with query letters for query. Commission: 15% fiction. Other Comments: Willing to let clients do own Reading Fees: No Other Comments: Agency has offices in marketing, but require complete and current Rep Agreement: Yes 142 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 website and blog:www.fullcircleliterary.com. Penny Warner, and many others. Pleasevisitour Lainez, Diana Lopez,Mara Price, Jennifer Ward, Monica Brown, F. Isabel Campoy, Rene Colato Alma Flora Ada, Karen Benke, Toni Buzzeo, to represent many SCBWImembers including types of contracts.Full Circle Literary isproud Other Comments:Works withallpublishers, all art samples;must include SASE for return. Submission Procedure: Letterof inquirywith Rep Agreement: None Preferred Clients:Published only educational Agent For: PBillustrations, fiction, nonfiction, Contact Name:June Ogilvie Established: 1972 [email protected] www.bookmakersltd.com Fax: (505)776-2762 (902) 697-2569 Wolfville, NSCanadaB4P2K8 32 Parkview Avenue BOOKMAKERS, LTD 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 thebentagency.com/submissions. only. Seesubmission guidelines atwww. Submission Procedure: Querybye-mail Multiple Submissions:Yes | DIRECTORY AGENTS book packagers, offers editorial guidance. an arrangement tobenegotiated; workswith who wishtosubmittheir ownmanuscripts, in Other Comments:Willing toworkwithauthors okay. Do NOT send original art;photos orcopies are last name and ms title. Pleasemail artsamples. subject line reading “Submission” followed by be sent [email protected] with with acoverletter. E-mail submissions should or e-mail firsttenpages of manuscript along Submission Procedure: Pleasemail (withSASE) Rep Agreement: Yes expenses Other Fees: Upto$25ayearfor incidental Reading Fees: None foreign sales please send tento twelve lowres jpegsamples are atalented artistlooking for representation crucial thatyoufollow ourguidelines. Ifyou be happytolookatyoursamplesbut itis each week.We love receiving artwork and 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 e-mail toqueries@ Submission Procedure: E-mail 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 in professional 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 that understands them and their work.We work to berepresented and managed byanagency specialize inchildren’s publishing who want for illustrators, artists, and designers that Other Comments:Bright actsasaresource cannot lookatexternal websites. or zippedfileattachments. We regret thatwe com We do not acceptany other file formats attached tosubmissions@thebrightagency. 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 | 143

Other Fees: None CORNELL & MCCARTHY Commission: 25% PREPARING & SUBMITTING Rep Agreement: Yes 2-D Cross Highway Reading Fees: None Submission Procedure: E-mail two to three Westport, CT 06880 Other Fees: None jpg or pdf samples, or send letter of inquiry, (203) 454-4210 Rep Agreement: Yes samples, and SASE. No original art. Fax: (203) 454-4258 Submission Procedure: Submit inquiry via Other Comments: Memberships include Society www.cmartreps.com e-mail. of Illustrators, SCBWI, GAG, NAEA [email protected] Established: 1989 DUNHAM LITERARY, INC. CHRISTINA A. TUGEAU Contact Name: Merial Cornell 156 Fifth Avenue, Suite 823 3009 Margaret Jones Lane Secondary Contact: Pat McCarthy New York, NY 10010 Williamsburg, VA 23185 Agent For: Illustrators ONLY www.dunhamlit.com MARKET SURVEYS (757) 221-0666 Preferred Clients: Published/unpublished. Established: 2000 Fax: (757) 221-6669 Highly selective Contact Name: Jennie Dunham www.CATugeau.com Commission: 25% art Secondary Contact: Bridget Smith [email protected] Other Fees: Agent pays 25% of agreed upon Agent For: Writers and illustrators Established: 1994 promotion expenses, artist pays 75% Preferred Clients: Usually published Contact Name: Christina A. Tugeau Rep Agreement: Yes Commission: 15% text/art domestic, 20% Agent For: Illustrators and illustrator/authors Submission Procedure: Letter of inquiry foreign sales Reading Fees: None

ONLY accompanied with previously published work. Other Fees: Reimbursement for fees according DIRECTORIES & RESOURCES Preferred Clients: Prefer published Please send illustration samples we can keep to AAR Commission: 25% on file or enclose a SASE for return. Do not Rep Agreement: Exclusive Other Fees: None send originals or slides. Four to six weeks for Multiple Submissions: Yes Rep Agreement: Yes response. Will accept e-mail submissions. Submission Procedure: Letter of inquiry first Submission Procedure: Best is to e-mail with SASE. No slides or original art; color copies three or four JPEGs of samples, live link to CURTIS BROWN okay with SASE—if requested from query letter. website, with introduction—best pieces in one 10 Astor Place Does not accept e-mail or fax queries. style showing animals/children in narrative New York, NY 10003 Other Comments: Member of AAR, SCBWI. situations; B/W & F/C; list of awards and/or (212) 473-5400 books published, clients, possibly. www.curtisbrown.com DYSTEL & GODERICH LITERARY MGMT Other Comments: Offers art guidance; member Established: 1914 One Union Square West, Suite 904 of SCBWI. Always open and happy to look, Contact Name: Ginger Knowlton New York, NY 10003 PUBLICIZING YOUR PUBLISHED WORK though full at the moment. Please read articles Secondary Contact: Ginger Clark, Elizabeth (212) 627-9100 posted on the website. Harding (VP), Laura Blake Peterson, Maureen Fax: (212) 627-9313 Walters (Sr. VP), Mitchell Waters, Anna Webman www.dystel.com THE CHUDNEY AGENCY Agent For: YA, MG, PB, fiction, nonfiction, [email protected]; [email protected]; 72 North State Road illustration [email protected] Briarcliff Manor, NY 10510 Preferred Clients: Published/unpublished Established: 1994 www.thechudneyagency.com Commission: 15% text/art domestic; 20% Contact Name: Michael Bourret [email protected] foreign sales Secondary Contact: Jim McCarthy, Stacey Glick Established: 2002 Reading Fees: None Agent For: Fiction, nonfiction Contact Name: Steven Chudney Other Fees: None Preferred Clients: Published/unpublished Agent For: PB, fiction, novels. See website for Rep Agreement: Yes Commission: 15% more detail Multiple Submissions: No, not preferred, but if Reading Fees: None Preferred Clients: talented writers and you do it, please advise us Rep Agreement: Yes

illustrators Submission Procedure: Letter of inquiry first, Multiple Submissions: Yes SCHOOL VISITS Commission: 15% domestic; 20% foreign with SASE. For picture books, send one sample Submission Procedure: Query letter with Reading Fees: none picture book with letter & SASE. Please see the outline and first fifty pages. Other Fees: international postage agents page of our website for more specifics. Other Comments: Handle film, TV and foreign Rep Agreement: yes rights. Multiple Submissions: Okay as long as DEBORAH WOLFE, LTD. informed 731 North 24th Street EAST/WEST AGENCY LEGAL QUESTIONS Submission Procedure: Initial queries are Philadelphia, PA 19130 1158 26th Street, Suite 462 preferred over submissions; see website for www.illustrationOnLine.com Santa Monica, CA 90403 details. [email protected] www.publishersmarketplace.com/members/ Established: 1978 eastwestagency Contact Name: Deborah Wolfe [email protected] Agent For: Illustrators and animators only Established: 2000 Preferred Clients: Published/unpublished Contact Name: Deborah Warren 144 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 to facilitate hands-on, personalized service and Agency (E/WL)is, purposely, aboutiqueagency, Watson, and Tyler Whitesides. East/West Literary Judy Sierra, Richard Jesse and Jesse Joshua Whitford Paul, RobSanders, Holly Schindler, Mack, Patricia MacLachlan, Gianna Marino, Ann #1 and #2onthe NYTpixbooklist—Jeff the Cat:ILoveMy WhiteShoes are currently the Cat:Rocking inMy School Shoes and Pete 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 (among others) 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 Other Fees: Outside photocopying of text/ Reading Fees: None foreign, 20%film Commission: 15%text/art domestic, 25% only Preferred Clients:Seeking clients byreferral illustrators, and illustrators young adult fiction and nonfiction), authorial Agent For: Authors (of board booksupto | DIRECTORY AGENTS novels. and synopsis for middle grade and young adult synopsis and picture bookms; queryletter Submission Procedure: Queryletterwith Multiple Submissions:Yes Other Comments:Offerseditorial guidelines. submissions. of market and need, SASE; prefers electronic content outline, manuscript sample, description Submission Procedure: Letterof inquirywith Multiple Submissions:Yes Rep Agreement: Yes, time-dated contract Other Fees: None Reading Fees: None Commission: 15%text domestic, 25%foreign Preferred Clients: Published/unpublished materials for K–12school market, college Agent For: Professional development &text Contact Name:Bertram L.Linder [email protected] www.educationaldesignservices.com (301) 881-8611 North Bethesda,MD20852 5750 BouAvenue, Suite1508 EDUCATIONAL DESIGNSERVICES based ontrends orcelebrities. Other Comments:Not interested inmanuscripts but without attachments. chapter books),and SASE. E-mail queries okay of picture booksortwochaptersof novels or relevant samplematerial (e.g. dummies and text project(s) and publishing background, plus ONLY (no fax orphone) withdescription of Submission Procedure: 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. Multiple Submissions:yes Rep Agreement: yes Other Fees: N/A Commission: 15% illustrators Preferred Clients:YA, MG, some PBand Evans Rebecca Ehrenberg, Pamela Chris Scofield, Sarah Prager, Isabel Bandeira, Agent for: Melissa Gorzelanczyk, Moore Penny Barzvi, Andrea Secondary Contact: Howland Carrie Contact Name: Established: 2013 [email protected] www.empireliterary.com 10001 NY York, New 115 West 29thStreet,3rdfloor. EMPIRE LITERARY information for eachagent. website for individual agent bios and contact the first5pages pastedinbelowthe pitch.See Submission Procedure: 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 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 AGENTS DIRECTORY | 145

Submission Procedure: When meeting Reading Fees: None Commission: Standard PREPARING & SUBMITTING requirements (see below), the contact form at Other Fees: None Other Fees: None the website. Rep Agreement: Yes Rep Agreement: Yes Other Comments: Considering new clients only Multiple Submissions: Yes Multiple Submissions: Yes by referral; also open to queries from writers Submission Procedure: Letter of inquiry Submission Procedure: Please send a query met at conferences. accompanied by manuscript/art samples. Please to [email protected]. Please do not mention who has seen work. include e-mail attachments with initial query. ETHAN ELLENBERG LITERARY AGENCY Other Comments: Member of AAR. We offer Please do not query more than one agent at 548 Broadway #5E the services of Donald C. Farber, a specialist in a time. You may refer to our website’s Staff New York, NY 10012 entertainment law and publishing. section to review each agent’s interests and (212) 431-4554 specialties. MARKET SURVEYS Fax: (212) 941-4652 FINEPRINT LITERARY MANAGEMENT www.ethanellenberg.com 240 West 35th Street, Suite 500 FOUNDRY LITERARY + MEDIA [email protected] New York NY 10001 33 West 17th Street, PH Established: 1984 (212) 279-1282 New York, NY 10011 Contact Name: Ethan Ellenberg www.fineprintlit.com (212) 929-5471 Agent For: Picture books, middle grade, YA, and Established: 2007 www.foundrymedia.com all children’s fiction, activity books, novelties. Contact Name: Peter Rubie, Rachel Coyne, Contact Name: See website for agent listing

Selected nonfiction and selected illustration. Marissa Walsh, Becky Vinter and e-mails for all. DIRECTORIES & RESOURCES Preferred Clients: Published/unpublished Preferred Clients: Published/unpublished Established: 2007 Commission: 15% text/art domestic, 20% Commission: 15% Agent For: Fiction, esp. YA and middle grade foreign Rep Agreement: Yes Commission: 15% domestic, 20% foreign Reading Fees: None Submission Procedure: Please follow the Other Fees: None Other Fees: None submission guidelines on fineprintlit.com. Rep Agreement: Standard Rep Agreement: Yes Other Comments: Primary focus is MG/YA. No Multiple Submissions: Yes Multiple Submissions: Yes picture books, please. Submission Procedure: Query by e-mail or mail Submission Procedure: Picture Books: 1–3 Other Comments: Member of AAR complete manuscripts. Middle Grade/YA: FLANNERY LITERARY Synopsis with first three chapters. Writer/ 1140 Wickfield Court THE FRIEDRICH AGENCY illustrators: 1–3 dummies or manuscripts Naperville, IL 60567 19 West 21st Street, Suite 201, accompanied by artwork. All submissions must (630) 428-2682 New York, NY 10010 PUBLICIZING YOUR PUBLISHED WORK be accompanied by SASE. Do not send original [email protected] Fax: (212) 317-8811 artwork. Established: 1992 www.friedrichagency.com Other Comments: Member of AAR; client Contact Name: Jennifer Flannery [email protected] list available upon request; works with book Agent For: PB, fiction, nonfiction for middle Contact Name: Lucy Carson packagers; provides editorial guidance.We grade and YA Established: 2007 are actively seeking Published/Unpublished Preferred Clients: Published/unpublished Agent for: Fiction and Non-Fiction for adults children’s and young adult clients. We represent Commission: 15% text domestic, foreign & film and teens the the 2002 Caldecott winner, Eric Rohmann, split with co-agents Preferred Clients: Judy Blundell, Anna Banks, among our other fine writers and illustrators. Reading Fees: None Jessica Khoury, William Ritter, Josh Sundquist, Please check website for a wealth of information Other Fees: None Lori Goldstein, Robin Epstein. on agency and publishing in general. I’m proud Rep Agreement: Contracts on a book-by-book Commission: 15% Domestic, 10% Foreign of the articles I’ve written that have appeared basis for the life of the book and its subrights Other Fees: None in a number of writer’s magazines and are now Multiple Submissions: Letters and manuscripts Rep Agreement: None

available on my site. We look forward to your okay, but please let us know. Multiple Submissions: Acceptable SCHOOL VISITS submission. Submission Procedure: Letter of inquiry, Submission Procedure: Query letter in writing project synopsis, and SASE only, with presentation of the author, the FARBER LITERARY AGENCY Other Comments: Prefers contact through project, and any relevant writing experience, 14 East 75th Street regular mail only—no e-mail queries. preferably 3-5 paragraphs with contact New York, NY 10021 information provided. (212) 861-7075 FLETCHER & COMPANY LEGAL QUESTIONS Fax: (212) 861-7076 78 Fifth Avenue, 3rd Floor FULL CIRCLE LITERARY [email protected] New York, NY 10011 7676 Hazard Center Drive, Suite 500 San Diego, Established: 1992 fletcherandco.com CA 92108 Contact Name: Ann Farber [email protected] www.fullcircleliterary.com Agent For: YA, PB, fiction, nonfiction Contact Name: Lisa Grubka [email protected] Preferred Clients: Published/unpublished Title: Literary Agent Contact Name: Stefanie Von Borstel Commission: 15% text domestic Preferred Clients: Young Adult Secondary Contact: Adriana Dominguez, Taylor 146 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org contemporary, historical and/or multicultural in finding uniqueand unforgettable voices in select non-fiction projects. She isinterested adult fiction, literary middle grade fiction, and Hispanic Studies. Taylor islooking for young and Mary, where she studied English and and isagraduate of The College of William with the Sandra Dijkstra Literary Agency and non-fiction projects. She began agenting Taylor Martindale isactivelyacquiring fiction of view. welcomes submissions thatoffer diversepoints underrepresented authors and illustrators, and Adriana hasalong trajectory of publishing grade novels, and literary young adult novels. interested in children’s picture books, middle 2009, and isbasedonthe EastCoast.She is imprint, Rayo.Adriana joined FullCircle in managed the children’s division of the Latino at HarperCollins Children’s Books, where she in publishing, most recently asExecutive Editor Adriana Dominguez has15yearsof experience diverse talent. a knack for finding and developing new and and debut writersand artistsand ourteamhas Other Comments:We workwithbothveteran current interests. website tolearnthe latestnews, titlesand would bebestfit for yourwork.Visit our in subjectline and name of agent youfeel fullcirclelitery.com. Pleasenote SCBWIMember submissions onlysent tosubmissions@ Submission Procedure: We accepte-mail representation. to fullyconsider yourproject for potential opportunity another agency, sothatwemay alsohavethe and ifyouare offered representation from in coverletterand keep uspostedonstatus Multiple Submissions:Pleaseletusknow None RepAgreement: writtenagreement and translation rights. film (Taryn Fagerness Agency handles foreign Commission: 15%domestic, 25%foreign and author-illustrators. voices, middle grade and young adult fiction, diverse talent. Especially looking for diverse a knack for finding and developing new and and debut writersand artistsand ourteamhas Preferred Clients:We workwithbothveteran lifestyle and design. represents selectadult crossover areas such as fiction, nonfiction withadistinct voice; also (contemporary and historical), young adult author-illustrators, middle grade fiction Agent For: Children’s bookstoddler toteen, Established: May 2005 Martindale | DIRECTORY AGENTS fullcircleliterary.com. For more information, pleasevisitwww. and the CharlotteZolotow Award. Award, NCTEOrbisPictus, the Agatha Award, Notable Children’s Books, the Christopher have beenawarded Pura Belpre Honors, ALA to workwithtalented writersand artiststhat nonfiction books for allages. She is honored books, chapterbooks, middle grade novels and Stefanie isinterested instand-out picture and marketing withPenguin and Harcourt. Prior toagenting, she worked ineditorial experience inchildren’s bookspublishing. Stefanie vonBorstelhasalmost 20yearsof entertaining, and compelling. perspectives, withwriting thatisaccessible, hopes tofind authors withfresh ideas and Taylor usesmuch the same approach, and novels. When considering non-fiction projects, represent and guidance onthe kinds of work be viewed alongside afulllistof 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 e-mail toGillian MacKenzie at Submission Procedure: Allqueries should Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Reading Fees: None Agent For: Fiction, nonfiction Contact Name:Gillian MacKenzie Established: 2005 [email protected] www.gillianmackenzieagency.com (212) 496-8064 GILLIAN MACKENZIE AGENCY (GMA) 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 accepted only Submission Procedure: Accepts email mitting exclusively) Multiple Submissions:Yes (pleaseadviseifsub Rep Agreement: Yes Other Fees: None market) Commission: 15%(domestic, originating illustrators who canwrite Preferred Clients:Published/unpublished; non-fiction. 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.Oursister company, DC, metro area and London, butalsohighly transatlantic, withoffices inthe Washington, Other Comments:Greenhouse isnot only that most interests us. Other Comments: Seewebsitetosee the kind this category, pleasecontact bye-mail. 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 AGENTS DIRECTORY | 147

with dramatic rights sub-agent, 25% with of work we represent. I work with illustrators SUBMISSION PROCEDURE: Query with first five PREPARING & SUBMITTING and author/artists for picture books. E-mail pages. foreign rights agent queries only. Rep Agreement: Yes JANE ROTROSEN AGENCY Multiple Submissions: Yes HOWARD MORHAIM LITERARY AGENCY 318 E. 51st Street Submission Procedure: If you have been 30 Pierrepont St. Brooklyn, NY 11201 New York, NY 10022 referred by someone I know or have been to www.morhaimliterary.com Fax: (212) 593-4330 a conference where I have spoken and want [email protected] [email protected] to submit please your query plus the first ten CONTACT NAME: Howard Morhaim www.janerotrosen.com pages of your manuscript pasted into the body ESTABLISHED: 1979 Established: 1974 of your e-mail to queryjillcorcoran@gmail. TITLE: President Contact Name: Carlie Webber com. All submissions with attachments and/or MARKET SURVEYS SECONDARY CONTACT: Kate McKean Title: Jr. Agent sent to [email protected] will AGENT FOR: Cathrynne Valente, Amber Benson, Secondary Contact: Christina Hogrebe be deleted. Nancy Holder, Debbie Viguie, Tim Lebbon, Commission: 15% on US and Canada, 20% on Christopher Golden, Tom Sniegoski foreign sales KIRCHOFF/WOHLBERG Preferred Clients: Young adult and middle Reading Fees: None 897 Boston Post Road grade: contemporary, science fiction, fantasy, Rep Agreement: Yes Madison, CT 06443 thriller, horror Multiple Submissions: No (203) 245-7308

COMMISSION: 15% domestic Submission Procedure: Send a query letter, Fax: (203) 245-3218 DIRECTORIES & RESOURCES OTHER FEES: none synopsis, and either the first thirty pages or the www.kirchoffwohlberg.com REP AGREEMENT: yes first three chapters via e-mail or regular mail. [email protected] MULTIPLE SUBMISSIONS: yes Established: 1930 SUBMISSION PROCEDURE: for Howard: by JEAN V. NAGGAR LITERARY AGENCY, INC. Contact Name: Ronald Zollshan referral only 216 East 75th Street, Suite 1E Agent For: Baby through YA, fiction, nonfiction CONTACT NAME: Kate McKean, kmckean@ New York, NY 10021 (trade only) morhaimliterary.com (212) 794-1082 Reading Fees: None ESTABLISHED: 2007 www.jvnla.com Other Fees: None TITLE: Vice-President [email protected] Submission Procedure: Query first with outline, AGENT FOR: Madeleine Roux, Delilah S. Dawson, Established: 1978 sample chapter, and SASE. Caela Carter, Mary G. Thompson, Carey Wallace, Contact Name: Jennifer Weltz Other Comments: Handle film & TV rights.

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

New York, NY 10019 editorial guidance. Jennifer handles picture Submission Procedure: We are a green agency SCHOOL VISITS www.icmpartners.com books, Jessica and Alice do not. Elizabeth only and, therefore, only accept e-mailed queries. We [email protected], amachinist@ handles YA. request that queries be kept to approximately icmpartners.com one-page in length and that all text be ESTABLISHED: 1975 JILL CORCORAN LITERARY AGENCY contained in the body of an e-mail (we do not CONTACT NAME: Tina Wexler, Alexandra 777 Silver Spur Road, Suite 219 open attachments.) All queries will be reviewed Machinist Rolling Hills Estates, CA 90274 on an individual basis by our submissions LEGAL QUESTIONS AGENT FOR: Fiction/nonfiction, specifically: www.JillCorcoranLiteraryAgency.com coordinator and relevant agents. If we feel that chapter books, middle grade, young adult, [email protected], your project matches the Knight Agency’s needs, picture books for existing clients only [email protected] we will then request additional materials from COMMISSION: 15% domestic, 20% foreign Established: August 2013 the author. In such cases, authors will be asked REP AGREEMENT: Yes Contact Name: Jill Corcoran to submit a partial manuscript. The response MULTIPLE SUBMISSIONS: Yes, so long as it’s an Agent For: PB, CB, MG, YA time for queries is two to three weeks from the exclusive submission within ICM Commission: 15% without sub-agents, 20% time of receipt. Review of requested material 148 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org [email protected] [email protected]. Allages: Submissions: MG&YA ONLY: Other Comments:Reading Time: Eight weeks. the correct agent’s e-mail. No attachments. pages plus atwo-page synopsis inthe body of Submission Procedure: E-mail the firstten Multiple Submissions:Yes Rep Agreement: Onwebsite Other Fees: None Reading Fees: None Commission: 15%(20%for foreign/dramatic) up toyoung adult. all ages of children’s booksfrom picture books genres—nothing younger. Kat Salazarhandles and young adult children’s booksonlyinall Preferred Clients: Laurie handles middle grade Agent For: Authors ([email protected]) Secondary Contact:Kat Salazar Title: Agent Salazar, Associate Agent Contact Name:Laurie McLean, Agent &Kat Established: 1972 [email protected] [email protected]; correspondence: www.agentsavant.com www.larsenpomada.com; Fax: (415)673-0367 San Francisco,CA94109 1029 JonesStreet LARSEN POMADA LITERARYAGENTS attachments. included inthe body of the e-mail. No to [email protected] withthree pages Submission Procedure: Send e-mail query Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None Reading Fees: None foreign and dramatic rights. Commission: 15%ondomestic deals; 20%on not represent picture booksatthistime. Preferred Clients:YA and middle grade; We do Agent For: Authors Sara Megibow Contact Name:Kate SchaferTesterman, Established: 2008 [email protected], [email protected] www.ktliterary.com (720) 344-4728 Highlands Ranch,CO80129 9249 S.Broadway, #200-543 KT LITERARY, LLC of receipt. currently takes sixtoeight weeksfrom the time | DIRECTORY AGENTS

optional. via e-mail. Synopsis and uptotenpages Submission Procedure: Queryletter, preferably Multiple Submissions:Yes Rep Agreement: Yes Commission: 10% Preferred Clients:No picture books Contact Name: Tamar Rydzinski Established: 1996 [email protected] www.ldlainc.com Fax: (212)947-0460 New York, NY10001 350 SeventhAvenue, Suite2003 LAURA DAIL LITERARY 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 Reading Fees: None Commission: 15%text domestic, artupto25% Preferred Clients:Published/unpublished Agent For: PB,fiction, nonfiction Contact Name:Laurens R.Schwartz Established: 1982 New York, NY10010-5315 5 East22ndStreet,Suite15D LAURENS R.SCHWARTZ respond ifweare interested. jpgs and alinktoblogorwebsite. Willonly Submission Procedure: Pleasesend one ortwo Multiple Submissions:Yes Rep Agreement: Yes Other Fees: None material. No fee Reading Fees: We onlyread author/illustrator Commission: 25% Preferred Clients:Established illustrators Agent For: Illustrators only Secondary Contact:PiperSmith Contact Name:Pat Lindgren Established: 1986 E-mail: [email protected] www.redpaintbox.com (212) 397-7330 New York, NY10036 676A NinthAve. #458 LINDGREN &SMITH/REDPAINTBOX.COM need tobereturned. original artwork,photos orother items that completing the form there. Pleasedo not send by going tothe “How toSubmit”page and electronic submissions, which youcansend respond toqueries sent bymail. We prefer 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 ten pages. genre, target audience), two-page synopsis, first cover letter(credits, bio, word count, title, e-mail queries. Querybymail withSASE. Include Submission Procedure: No phone, fax, or 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 sagas. 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 AGENTS DIRECTORY | 149 [email protected] with first five pages in the body of the email. exceptions) PREPARING & SUBMITTING Established: 1997 Submission Procedure: All queries should be No attachments. Art samples sent via dropbox Contact Name: Liza Dawson sent to [email protected]. It should or website link. See submission guidelines on Agent For: Authors and author illustrators of include a brief synopsis of the work, along with website for further details: www.lupinegrove. children’s books—board books to young adult, some information about the writer. Comparison com/submissions and authors of adult books to current published books is helpful but not Preferred Clients: Published/unpublished necessary. We prefer submissions to be sent MARIA CARVAINIS AGENCY Commission: 15% text/art domestic, 20%–25% in Word, but PDFs have been accepted. Lastly, foreign, 20% film referrals are our main source of business, so if a 1270 Avenue of the Americas, Suite 2320 Reading Fees: None writer is reaching out at someone’s suggestion, New York, NY 10020 Other Fees: None they should let us know. (212) 245-6365 MARKET SURVEYS Rep Agreement: Letter of agreement Fax: (212) 245-7196 Multiple Submissions: Yes LIZ SANDERS AGENCY [email protected] Submission Procedure: E-mail only. Query with 2415 E Creek Lane Established: 1977 first five pages. No attachments. Turnaround Spokane, WA 99224 Contact Name: Maria Carvainis time to queries: 1 week (509) 993-6400 Agent For: YA, fiction, nonfiction www.lizsanders.com Preferred Clients: Published/unpublished LIZA ROYCE AGENCY LLC [email protected] Commission: 15% text domestic & 20% foreign

Mailing address: 1049 Park Avenue Established: 1985 Reading Fees: None DIRECTORIES & RESOURCES New York, NY 10028 Contact Name: Liz Sanders Other Fees: None Main Meeting offices: 6 East 81st Street Agent For: Illustration only, PB, YA nonfiction/ Rep Agreement: Agreement is two-year book- New York, NY 10028 fiction. Trade, educational & mass market, by-book basis (212) 722-1950 general children’s market. Multiple Submissions: Yes Fax: (212) 628-2705 Preferred Clients: Published/unpublished Submission Procedure: Letter of inquiry with www.lizaroyce.com Commission: 30% SASE. Include a 1–2 paragraph description [email protected] (me); [email protected] Rep Agreement: Written agreement of the project, including where it fits into (partner); [email protected] (general Submission Procedure: Via e-mail (include the market place, and writing credentials if mailbox) link/website address) or 5–10 non-returnable applicable. Also, identify what material is Established: 2009—changed to official LLC Feb color samples via mail. Response only upon available: complete manuscript, sample chapter, 2010 interest. or synopsis.

Contact Name: Liza Fleissig Other Comments: Encourages clients to PUBLICIZING YOUR PUBLISHED WORK Title: Founding Member LOIS DE LA HABA AGENCY generate marketing plans; AAR member, serving Secondary Contact: Ginger Harris-Dontzin 1133 Broadway, Suite 810 as Board member, Treasurer, Committee Chair, Agent For: All children’s works, from Novelty, to New York, NY 10010 etc.Does offer editorial guidance if necessary. PB, to MG to YA. We also represent adult books (212) 929-4838 Prior to establishing the agency in 1977, Ms. in many genres. We lean towards suspense/ Fax: (212) 924-3885 Carvainis worked for ten plus years in the thriller, commercial woman’s fiction and comedy, [email protected] publishing industry as an editor and then senior but are open to anything that speaks to us, in Contact Name: Lois de la Haba editor at Macmillan Publishing, Basic Books, the past to include historical fiction, true crime Agent For: YA fiction, nonfiction Books, and Crown Publishers. and memoirs. Reading Fees: None Preferred Clients: We represent both Submission Procedure: Query first with outline MARIE BROWN ASSOCIATES established authors to writers in the early and sample chapters. 412 West 154th Street stages of their development. Examples are NY New York, NY 10032 Post Critic and Columnist Linda Stasi, Journalist LUPINE GROVE CREATIVE, LLC (212) 939-9725

Paula Woodward, Photographer and Professor 3940-7222 Broad St Fax: (212) 939-9728 SCHOOL VISITS Art Perry, YA Writer Amalie Howard, PB Writer San Luis Obispo, CA 93401 [email protected] Tori Corn, MG Writer Darlene Beck-Jacobson, (805) 481.1716 Established: 1984 Author Arjen Terpstra, MG Series www.lupinegrove.com Contact Name: Marie Dutton Brown Author Michael Gibney, Novelty Author Margaret [email protected] Agent For: YA fiction, nonfiction, PB Hyde, US Marine James duPont, Diane Crafford [email protected] Preferred Clients: Multicultural in conjunction with Author Marc Olden’s Estate, Established: 2016 Commission: 15% LEGAL QUESTIONS among others. Contact Name: Danielle Smith Reading Fees: None Commission: 15% domestic, 20% ancillary, 25% Agent for: YA, middle grade, PB, illustrators Other Fees: Yes foreign Commission: 15%-25% Rep Agreement: Yes Other Fees: None—no expenses, etc., other Other Fees: None Multiple Submissions: Prefer exclusive than straight commission Rep Agreement: Agency Agreement Submission Procedure: Query first. Submit Rep Agreement: Yes, written Multiple Submissions: Yes, but please indicate outline and sample chapters or full manuscript Multiple Submissions: No (there are Submission Procedure: E-mail only. Query on request. Send SASE, 12-point, double- 150 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org (212) 687-7400 New York, NY 10016 353 Lexington Avenue MCINTOSH &OTIS Previously known asHKPortfolio. toys, game boards orother applications. publications, licensed merchandise, advertising, for the juvenile market inbooks, editorial illustrators whose workisprimarily intended Other Comments:MBArtistsrepresents Presentation isnot important. 12–15 images withasignature/consistent style. as broad arange asthey can.Show atleast are most interested indoing, and withinthat, Artists should submitthe typeof workthey art samplesvia regular orelectronic mail. Submission Procedure: Letterof inquirywith the juvenilemarket required. Rep Agreement: Exclusive representation for Other Fees: None Commission: 25%art Preferred Clients:Published/unpublished toys, stationery, etc.) (trade books, , advertising, editorial, Agent For: Illustrators for the juvenilemarket Contact Name:Mela Bolinao Established: 1986 [email protected] www.mbartists.com Fax: (212)689-7829 (212) 689-7830 New York, NY10001 775 SixthAvenue, #6 MB ARTISTS currently accepting unsolicited queries. Ficton Writersof America, Authors Guild. Not Other Comments:Member of AAR,Science professional colleaguesonly Submission Procedure: Referrals through preferably withsamplesof published work. Multiple Submissions:Yes, initial queries only, Rep Agreement: Optional Other Fees: None Reading Fees: None Commission: 15%domestic, 20%foreign Preferred Clients:Published only Agent For: YA fiction, nonfiction Contact Name:Martha Millard Established: 1980 [email protected] New York, NY10025 420 CentralPark West #5H MARTHA MILLARDLITERARYAGENCY unbound. spaced, one sided only, typed, whitepaper& | DIRECTORY AGENTS Member of AAR. Other Comments:Offerseditorial guidance. author. publication historyand background of the genre, short synopsis of the manuscript, a SASE. Lettertoinclude the target audience, accompanied byamanuscript/art samplesand Submission Procedure: Letterof inquiry Multiple Submissions:No Rep Agreement: None Reading Fees: None foreign Commission: 15%text/art domestic; 20% Preferred Clients:Published/unpublished illustration Agent For: YA, PB,fiction, nonfiction, Contact Name:ChristaHeschke Established: 1927 [email protected] Fax: (212)687-6894 illustrators/authors only—no manuscripts member.”I workwithillustrators and Other Comments:Graphic ArtistGuild samples. website linkorattachment of illustration Submission Procedure: E-mail, including Multiple Submissions:Yes Rep Agreement: Varies Other Fees: None Reading Fees: None Commission: 25%artdomestic Preferred Clients: Published natural science) Agent For: Illustration only(children’s and Contact Name:Melissa Turk Established: 1984 [email protected] www.melissaturk.com Suffern, NY10901 9 BabblingBrookLane MELISSA TURK&THEARTISTNETWORK Submission Procedure: QuerywithSASE. Multiple Submissions:No Rep Agreement: Contract, terminable atwill. Other Fees: None Reading Fees: None Commission: 15%domestic, 25%foreign Preferred Clients:Published Agent For: PB,fiction, nonfiction, illustration Contact Name:Courtney Briggs Established: 1994 derrickandbriggs.com [email protected]; briggs@ Oklahoma City, OK73102 100 NorthBroadwayAvenue, 28thFloor M. COURTNEYBRIGGS small filesine-mail 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 Contact Name:Nancy Galltand 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, 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 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 AGENTS DIRECTORY | 151 grade (and sub-genre) may e-mail a query fiction and nonfiction, authors of YA nonfiction, PIPPIN PROPERTIES INC. PREPARING & SUBMITTING letter to [email protected]. No sample authors of adult nonfiction 155 East 38th Street, Suite 2H pages, no head shots, no web links. The query Preferred Clients: Published/unpublished New York, NY 10016 letter should be a 1–2 paragraph description of Commission: 15% text/art domestic, 20% Fax: (212) 338-9579 the work. Submission guidelines and FAQs are foreign, 20% film www.pippinproperties.com listed at www.nelsonagency.com Kristin blogs at: Reading Fees: None [email protected] nelsonagency.com/pub-rants Rep Agreement: Informal letter of agreement Established: 1998 Multiple submissions: Yes Contact Name: Julie Just NEW LEAF LITERARY & MEDIA, INC. Submission Procedure: E-mail only. Query Secondary Contact: Lauren Weber, Sara Crowe 110 West 40th Street, Suite 410 with first five pages in the body of the email. Agent For: Picture books, middle grade, young New York, NY 10018 No attachments. Turnaround time to queries: 1 adult, graphic novels, and adult books on MARKET SURVEYS (646) 861-4654 week occasion www.newleafliterary.com Preferred Clients: Authors and illustrators [email protected] or PAINTED WORDS Commission: 15% [email protected] (formerly Lori Nowicki & Associates) Other Fees: No Contact Name: Joanna Volpe, Susan Townsend, 310 W. 97th Street #24 Rep Agreement: Agency agreement Mackenzie Brady New York, NY 10025 Multiple Submissions: Yes, but we greatly Established: 2007 New Leaf Literary & Media, www.painted-words.com prefer one-month exclusive

Inc., is the former team of Nancy Coffey Literary [email protected] Submission Procedure: Please follow DIRECTORIES & RESOURCES & Media Representation. Joanna took over the Contact Name: Lori Nowicki submission guidelines on our website— business and changed the name in 2012. Agent For: Illustrators and author/illustrators www.pippinproperties.com/submissions Title: President and Agent Preferred Clients: Illustrators who are Secondary Contact: Danielle Barthel, assistant interested in writing PROSPECT AGENCY Agent For: trilogy (Katherine Tegen Reading Fees: None 551 Valley Road, PMB 337 Books/HarperCollins), The DUFF (Designated Other Fees: None Upper Montclair, NJ 07043 Ugly Fat Friend) (Poppy/Little Brown), Shadow Rep Agreement: Yes (718) 788-3217 and Bone/The Grisha trilogy (Henry Holt/ Submission Procedure: Please send a link to www.prospectagency.com Macmillan Children’s), Sway (Disney-Hyperion), your website or non-returnable samples. We [email protected] The Seven Tales of Trinket (FSG/Macmillan review all inquiries, however only reply to those Established: 2005 Children’s), See a Heart, Share a Heart (Dial/ we have interest. Contact Name: Emily Sylvan Kim

Penguin Young Readers), Ever Afters: Of Giants Other Comments: We are currently working in Secondary Contact: Rachel Orr, Becca Stumpf, PUBLICIZING YOUR PUBLISHED WORK and Ice (Simon & Schuster Books for Young all disciplines of illustration and developing Teresa Kietlinski, Carrie Pestritto Readers), Puzzled by Pink (Viking/Penguin artists as writers. Illustrators who are interested Agent For: YA, middle grade, PB, illustrators Young Readers), etc. in writing should be open to critique and Preferred Clients: Published/unpublished Preferred Clients: Published/unpublished revisions. Commission: 15% Commission: 15% domestic, up to 20% film (if Reading Fees: None we work with co-agents), up to 25% foreign (if PEMA BROWNE LTD. Other Fees: None we work with co-agents) 11 Tena Place Rep Agreement: Yes Other Fees: None Valley Cottage, NY 10989 Multiple Submissions: Yes Rep Agreement: Yes (845) 268-0029 Submission Procedure: Prospect Agency Multiple Submissions: We don’t accept [email protected] requests that all work be submitted through the multiple submissions in-house as we share all of Established: 1966 “Submissions” section of our website. our submissions with one another. Contact Name: Pema Browne Other Comments: Prospect Agency is currently Submission Procedure: Query + 5 double- Agent For: PB, fiction, nonfiction, board books looking for published and unpublished young

spaced pages in the body of the e-mail (for full Preferred Clients: Published/unpublished adult, middle grade and picture book authors SCHOOL VISITS set of guidelines, go here: www.newleafliterary. Commission: 20% and illustrators. We are looking for authentic com/submissions.cfm) Reading Fees: None writing that will strike a note with children of Other Fees: None all ages. OLSWANGER LITERARY LLC Rep Agreement: Letter of agreement 16-60 Chandler Drive Multiple Submissions: No PUBLISHERS’ GRAPHICS Fair Lawn, NJ 07410-2715 Submission Procedure: Letter of inquiry with 231 Judo Road LEGAL QUESTIONS 201-791-4699 synopsis of fiction or nonfiction proposal, Easton, CT 06612 www.olswanger.com publishing history and bio. Art: send good color (203) 445-1511 [email protected] copies or printed samples (no slides). Must www.publishersgraphics.com Established: 2014 include a SASE. [email protected] Contact Name: Anna Olswanger Other Comments: Agent does not accept Established: 1970 Agent For: Author-illustrators of board books manuscripts sent to publishers or handled by Contact Name: Paige Gillies and picture books, authors of middle grade other agents. Accepts only new material. Agent For: Children’s, YA, PB, illustration 152 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org adult. No educational. illustrators, chapterbooks, middle grade, young Agent for: picture bookauthors and author/ Secondary Contact:LoriKilkelly Contact Name:Paul Rodeen Established: 2008 www.twitter.com/rodeenliterary www.facebook.com/rodeenliterary www.rodeenliterary.com Chicago, IL60657 3501 N.Southport#497 RODEEN LITERARYMANAGEMENT work bymail ore-mail. Submission Procedure: Colorsamplesof current Rep Agreement: Yes Commission: 25% and illustration commission Agent For: Trade and text bookartmanagement Contact Name:AnnRemen-Willis Established: 1985 [email protected] www.annremenwillis.com (503) 954-1209 Portland, OR97209 1420 NWLovejoy#516 REMEN-WILLIS DESIGNGROUP www.redfoxliterary.com/submissions. guidelines onwebsitefor further details: she meets atconferences. Seesubmission Abigail: Onlyaccepting submissions from people submissions the firstweek of each month. Submission Procedure: Karen: Onlyaccepting Multiple Submissions:Yes, butseeguidelines. Rep Agreement: Yes Other Fees: None Reading Fees: None Commission: 15%–25% Agent For: YA, middle grade, PB,illustrators Contact Name:Karen Grencik; Abigail Samoun Established: 2011 [email protected] www.redfoxliterary.com (805) 459-3327 Shell Beach,CA93449 129 MorroAvenue RED FOX LITERARY Other Comments:Member of Author’s Guild. portfolios atthistime. clients, reviewing manuscripts, oraccepting Submission Procedure: Not taking onnew Multiple Submissions:No Rep Agreement: Yes Other Fees: None Commission: 25%art Preferred Clients:Not taking onnew clients | DIRECTORY AGENTS fiction).If youplantosend ahard copyquery: the manuscript and asynopsis of the work(for picture books);orthefirst three chapters of Word attachments: the entire manuscript (for in the body of the e-mail, and the following as query via e-mail: Pleasesubmitaquery letter prefers e-mail 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:Brenda Bowen 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 E-mail 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; Agent For: Illustration only Contact Name:Richard Salzman Established: 1982 [email protected] www.salzint.com Fax: (707)825-6600 (707) 822-5500 Arcata, CA95521 1751 CharlesAvenue SALZMAN INTERNATIONAL submission information. only; no mail. Pleaseseewebsitefor updated Submission Procedure: Electronic submissions Multiple Submissions:Yes, pleasestate Rep Agreement: Yes Reading Fees: No Commission: 15%;20%co-agents Preferred Clients: Published/ Unpublished 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: E-mail 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/ 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 artworkisnotaccepted. Send electronic addressed envelopefor reply. Forillustrators: the work(for fiction), aswellastampedself- chapters of the manuscript and asynopsis of manuscript (for picture books);orthefirst three Please submitaqueryletter, and the entire 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 AGENTS DIRECTORY | 153

Other Fees: None Multiple Submissions: Yes TRANSATLANTIC LITERARY AGENCY PREPARING & SUBMITTING Rep Agreement: Agency clause inserted in Submission Procedure: Online 2 Bloor Street East, Suite 3500 license agreements Toronto, ON Canada Multiple Submissions: Yes SHELDON FOGELMAN AGENCY (416) 488-9214 Submission Procedure: Only through STNY 10 E. 40th Street Fax: (416) 929-3174 website New York, NY 10016 www.tla1.com Other Comments: Member of AAR, SCBWI, (212) 532-7520 [email protected] Author’s Guild; comprehensive editorial Fax: (212) 685-8939 Established: 1993 guidance. Sub-agencies throughout Europe www.sheldonfogelmanagency.com Contact Name: Refer to website and Asia and South America.Dedicated film [email protected] Secondary Contact: Refer to website. and television subagent. We offer editorial Established: 1965 Reading Fees: None MARKET SURVEYS guidance (sometimes extensive). We are looking Contact Name: Sheldon Fogelman Submission Procedure: Initial letter of inquiry for authors able to sustain long-term careers. Secondary Contact: Sean McCarthy, Amy Stern essential. Refer to guidelines on website. We see ourselves as career managers—and Agent For: PB, fiction, nonfiction, illustration certainly ardent author advocates—as much as Preferred Clients: Published/unpublished TRIDENT MEDIA GROUP manuscript sellers. we craft individual strategies Commission: 15% domestic; 25% foreign 41 Madison Avenue, Floor 36 for each client, for each project. our reach Reading Fees: None New York, NY 10010 inside the major trade publishers enables us Other Fees: Messengers, photocopying, (212) 333-1531 to secure in-house support for the talent we overnight/overseas mail—deducted from monies Fax: (212) 262-4849 DIRECTORIES & RESOURCES manage. We negotiate contracts meticulously. received, not as incurred. www.tridentmediagroup.com Rep Agreement: Contract, either party may [email protected] SERENDIPITY LIT terminate at any time [email protected] 1633 Broadway, 30th Fl, Multiple Submissions: Yes, but must indicate Established: 2000 NY, NY 10019 Submission Procedure: Letter of inquiry with Contact Name: Alyssa Eisner Henkin, Alexander (718)230-7689 previous publishing credits, where author Slater Fax: (718)230-7829 learned of the agency, and a brief description of Agent For: Fiction, Nonfiction; children’s and YA www.serendipitylit.com the project. Preferred Clients: Published or debut authors [email protected], Commission: 15% domestic, 20% foreign [email protected] STERLING LORD LITERISTIC Reading Fees: None Established: 2000 65 Bleecker Street, 12th Floor Other Fees: Books ordered for subsidiary rights

Contact Name: Regina Brooks New York, NY 10012 and foreign rights submissions PUBLICIZING YOUR PUBLISHED WORK Title: President (212) 780-6050 Rep Agreement: Letter Secondary Contact: Folade Bell, Dawn Hardy, Fax: (212) 780-6095 Multiple Submissions: Letter of inquiry only. Karen Thomas www.sll.com Submission Procedure: Accepts e-mail queries Agent For: Fiction and nonfiction, picture [email protected] only; no hard copy queries. books, MG, YA Established: 1979 Other Comments: Willing to let clients Preferred Clients: Published/unpublished Contact Name: George M. Nicholson, Erica participate in marketing; works with book Commission: 15% domestic, 20% foreign Silverman purchasers; offers editorial guidance; member Reading Fees: None Agent For: Fiction (preschool to YA), especially of AAR. Other Fees: None literary fiction Rep Agreement: Yes Preferred Clients: Published/unpublished TUGEAU 2 Multiple Submissions: Yes Commission: 15% domestic, 20% foreign 2231 Grandview Avenue Submission Procedure: See website for detailed Reading Fees: None Cleveland Heights, OH 44106 submission guidelines Other Fees: None (216) 707-0854

Rep Agreement: Written contract—can be www.tugeau2.com SCHOOL VISITS SHANNON ASSOCIATES mutually cancelled on sixty days’ notice. [email protected] 333 West , Suite 810 Multiple Submissions: On occasion, depending Established: 2002 New York, NY 10019 on property Contact Name: Nicole Tugeau www.shannonassociates.com Submission Procedure: Query letter with Agent For: Illustrators/artists and author/ [email protected] detailed proposals. illustrators Established: 1994 Other Comments: Willing to let clients do Preferred Clients: Published/unpublished LEGAL QUESTIONS Contact Name: Shannon own marketing in specialized circumstances; Commission: Generally 25% Agent For: Illustrators and writers works with book packagers; offers full editorial Rep Agreement: Varies, though typically one Preferred Clients: Published/unpublished guidance. Only represents writer/ illustrators year to start. Reading Fees: Depends on need who originate book products, not illustrators Submission Procedure: Send a brief e-mail with Other Fees: $200 for one hour consultation “for hire.” 4–5 color examples of your work and/or link to with industry art director your website to start. Will request full portfolio Rep Agreement: Standard via regular mail if interested in seeing more. 154 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Victoria Schwab, Kiera Stewart Amanda Maciel, Myra McEntire, CJRedwine, Alison Cherry, Rachel Hawkins, Christina Lauren, Agent for: RaeCarson,Nancy J.Cavanaugh, waxmanleavell.com Secondary Contact:taylorsubmit@ Title: Literary Agent Agency, established 1997) Established: 2012(expanded from The Waxman Contact Name:Holly Root [email protected] www.waxmanleavell.com 10016 NY NY 1004 Suite S. Ave. Park 443 WAXMAN LEAVELL LITERARY has expired. Thankyou! contact usafterthe time listedonourwebsite you for yourpatience inadvance. Feelfree to read eachsubmission personally sowethank our besttorespond inatimely manner, wedo partners, sopleasebeprofessional. Whilewedo authors/ illustrators who willbegood business link toyourportfolio online. We’re looking for to you.Forartists, pleasesend aquerywith system, anautomated response willbee-mailed document. Ifyoursubmission isreceived byour of the e-mail, and attach yourpages asaWord our website. Pleaseputyourqueryinthe body manuscripts tosubmission e-mail addresses on may submitaqueryand twenty pages of their hard copyand the US post. Interested writers anyway), and wedo not acceptsubmissions via paper-free office environment (ortryto, Submission Procedure: We runacompletely they are multiply submitting. ask onlythatprospective authors letusknow Multiple Submissions:We do acceptthem and offer them representation. we send potential clients for review afterwe Rep Agreement: We haveaformal contract that Other Fees: None Reading Fees: None foreign &subsidiary Commission: Fiction: 15%domestic, 20% Preferred Clients:Authors of YA/middle grade Agent For: YA, middle grade fiction Contact Name:Alexandra Penfold Established: 2009 www.upstartcrowliterary.com Brooklyn, NY11202 PO Box 25404 UPSTART CROW LITERARY, LLC areas of children’s publishing. relationship withproject opportunities inall To ourrepresented artists, weoffer adynamic new talent. Please, share yourworkwithus! Other Comments:We’re alwayslooking for | DIRECTORY AGENTS 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 SCBWI Other Comments:Members AAR; members submissions-policy submission guidelines atwww.wernickpratt.com/ agent only, withattachments. Pleasesee Submission Procedure: E-mail 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 marketing strategy. AARBoard Member. Other Comments:Offerseditorial guidance and preferred. guidelines onourwebsite. E-mail queries Submission Procedure: Pleaseseesubmission Multiple Submissions:Letterof inquiry with thirtydays’ notice byeither party Rep Agreement: Contract offered, terminable Reading Fees: None film Commission: 15%domestic, 20%foreign and unpublished Preferred Clients:Previously published/ Agent For: Fiction and nonfiction Contact Name:Wendy Sherman Established: 1999 [email protected]. www.wsherman.com New York, NY10010 27 W. 24thStreet,700B WENDY SHERMANASSOCIATES Ingrid Law, Jon Scieszka, Lane Smith Paolini, Neil Gaiman, Barbara Park, John Green, such asDav Pilkey, 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 e-mail 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 (212) 685-2400 La Jolla,CA92037 San Diego/StevenMalk:7660FayAvenue, #338H New York NY10010 New York office: 21 West 26thStreet WRITERS’ HOUSELLC website under “Contact Us.” Submission Procedure: 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. COPYRIGHT FACTS FORAGENTED WRITERS BY

ADAMS LITERARY Michael Tougias & Casey Sherman, THE FINEST Jennifer Berne, MANFISH (Chronicle), ON A HOURS (Henry Holt) BEAM OF LIGHT (Chronicle), CALVIN CAN’T TRACY ADAMS Michael Tougias, A STORM TOO SOON and TEN and CALVIN, LOOK OUT! (Sterling) Picture Book HOURS BEFORE DAWN (Henry Holt) Middle Grade Margery Cuyler,100TH DAY WORRIES Sara Hunt, THREE CHEERS FOR GIRLS (Lerner/ Tom Angleberger, Origami Yoda series (Abrams/ Cynthia Lord, HOT ROD HAMSTER Millbrook) Amulet), Qwikpick Papers series (Abrams/ Fred Koehler, HOW TO CHEER UP DAD Middle Grade Amulet) Vaunda Micheaux Nelson (Coretta Scott King Jennifer Gennari, MY MIXED-UP WILD BERRY YA Award winner), BAD NEWS FOR OUTLAWS SUMMER (Houghton Mifflin) Tamara Ireland Stone, TIME BETWEEN US and Middle Grade YA TIME AFTER TIME (Disney*Hyperion) Cynthia Lord (Newbery Honor winner), RULES Carol Tanzman, DANCERGIRL and CIRCLE OF Tara Sullivan, GOLDEN BOY (Putnam) Margaret Peterson Haddix, The Missing series SILENCE (Harlequin Teen) Jacqueline Davies, The Lemonade War series Stephanie Guerra, TORN (Marshall Cavendish) LAURA RENNERT YA Picture Book Anne Blankman, PRISONER OF NIGHT AND FOG ALP ARTS COMPANY Tammi Sauer, NUGGET AND FANG Ryan Graudin, THE WALLED CITY Nina Laden, ONCE UPON A MEMORY Kristin Clark, FREAKBOY SANDY FULLER Middle Grade Terry Farish, THE GOOD BRAIDER Picture Book Shannon Messenger, Keeper of the Lost Cities Amie Kaufman & Meagan Spooner, THESE Carmela LaVigna Coyle, DO PRINCESSES WEAR series BROKEN STARS HIKING BOOTS? Matt Ward, THE FANTASTIC FAMILY WHIPPLE Dylan Pritchett, THE FIRST MUSIC YA JOSH ADAMS Louise Schroeder/Carol Malnor/S. Fuller, The Maggie Stiefvater, THE RAVEN CYCLE Picture Book Blues Go Birding series Ellen Hopkins, Crank trilogy Alan Katz, TAKE ME OUT OF THE BATHTUB J.P. McDaniel/Jon Van Zyle, MARDY MURIE DID Jay Asher, THIRTEEN REASONS WHY Middle Grade Pattie Schnetzler, EARTH DAY BIRTHDAY Hilary Smith, WILD AWAKE Henry H. Neff, The Tapestry series Michael Engler/Joelle Tourlonias, Sarah Cross, KILL ME SOFTLY Kat Falls, Dark Life series ELEPHANTASTIC Kimberly Derting, THE TAKING Jeffrey Salane, Justice series Mira Lobe/Angelika Kaufmann, HOBBLEHOP! YA Nonfiction KELLY SONNACK Megan Crewe, THE WAY WE FALL Anthony D. Fredericks, UNDER ONE ROCK Picture Book Emily Kate Johnston, THE STORY OF OWEN John Denver, The Music Is You series Bridget Heos and Joy Ang, MUSTACHE BABY Amie Kaufman & Meagan Spooner, THESE YA Middle Grade BROKEN STARS Anne Baldwin, CATIARA’S TREASURE Gordon McAlpine, The Misadventures of Edgar Sara B. Larson, Defy trilogy and Allan Poe series Veronica Rossi, Under the Never Sky trilogy ANDREA BROWN LITERARY AGENCY James Burks, Bird and Squirrel series Megan Shepherd, The Madman’s Daughter YA 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 Picture Book Middle Grade Nonfiction winner) (Candlewick), EL DEAFO (Abrams) Mike Boldt, 123 VERSUS ABC 156 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 FARM-MAIDEN STIRRED Samantha Vamos, THECAZUELATHAT THE Bob Boyle, ROSIE&REX 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 | BY AGENTED BRADFORD LITERARYAGENCY House Children’s, fall 2016) Jessica Cluess, ACLOAK OF FLAME(Random Teen, 2015) Adam Silvera, MORE HAPPY THANNOT (Soho SAPIENS AGENDA (Balzer+Bray, 2015) Becky Albertalli,SIMON VS.THEHOMO Emma Trevayne, CHORUS (Running Press Kids) YA (Greenwillow, May 2015) and THECABINETOFCURIOSITIES 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, Random House, 2015) PEOPLE’S HOUSES (Wendy LambBooks/ Bonnie-Sue Hitchcock,THESMELLOFOTHER MINIONS (Abrams, 2015) Sheila Grau, DR.CRITCHLORE’S SCHOOL FOR Middle Grade MOLLY KERHAWN Middle Grade (HMH) Andria Rosenbaum,TRAINS DON’TSLEEP Roseanne Thong, TWAS NOCHE BUENA(Viking) Lane Books) Geoff Stevenson, GERALDTHEGIANT(Beach Picture Book NATALIE LAKOSIL Kaitlin Ward, BLEEDINGEARTH Jessica Taylor, WANDERING WILD Jennifer Mathieu, THETRUTHABOUTALICE YA Cory Putman Oakes, DINOSAUR BOY Middle Grade SARAH LAPOLLA 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 BLONDE OPS(Thomas Dunn/St.Martin’s) Natalie Zaman and CharlotteBennardo, Jessica Souders, RENEGADE YA (Aladdin) Rachele Alpine, OPERATION PUCKERUP Barbara McClintock, MYGRANDFATHER’S COAT Robert Sabuda, THELITTLEMERMAID Picture Book JENNIE DUNHAM DUNHAM LITERARY Eve Yohalem, CASTOFF UNTHINKABLE Nancy Werlin, RULESOFSURVIVAL and Linda SuePark, ALONGWALK TO WATER Todd Mitchell, BACKWARDS YA BIRTHDAYS Wendy Mass, AMANGOSHAPED SPACE and 11 Middle Grade Uma Krishnaswami, THREADSOFPEACE Picture Book GINGER KNOWLTON Scott Tracey, MOONSET Julia Gibson,COPPERMAGIC Ursula K.LeGuin,AWIZARDOFEARTHSEA Gretchen McNeil, GETEVEN Elizabeth Wein, CODENAMEVERITY Patricia Wrede, The Enchanted Forest Chronicles YA Debbie Ridpath Ohi,WHEREAREMYBOOKS? Kelly Bingham, CIRCLE,SQUARE, MOOSE Picture Book GINGER CLARK CURTIS BROWN, LTD. AGENTED BY | 157

Nick Bruel, BAD KITTY O’TOOLE (Sourcebooks) Courtney Alameda, SHUTTER (Feiwel & Friends, PREPARING & SUBMITTING Middle Grade YA 2015) Jody Feldman, The Gollywhopper Games series Michaela and Elaine DePrince, TAKING FLIGHT: Tommy Wallach, WE ALL LOOKED UP (Simon & YA FROM WAR ORPHAN TO STAR BALLERINA (Knopf) Schuster, 2015) Leslie Connor, THE THINGS YOU KISS GOODBYE TAYLOR MARTINDALE Vin Vogel, THE THING ABOUT YETIS (Dial Books, Anna Shinoda, LEARNING NOT TO DROWN YA 2015) Emery Lord, OPEN ROAD SUMMER and THE START Gina Ciocca, LAST YEAR’S MISTAKE (Simon BRIDGET SMITH OF ME & YOU (Bloomsbury) Pulse, 2015) YA Annie Cardi, THE CHANCE YOU WON’T RETURN Marina Cohen, INN BETWEEN (Roaring Brook Emma Mills, FIRST & DOWN (Candlewick) Press, 2015) Lee Gjertsen Malone, THE LAST BOY AT ST. Saeed, WRITTEN IN THE STARS (Penguin) Rahul Kanakia, ENTER TITLE HERE (Disney- MARKET SURVEYS EDITH’S Anna-Marie McLemore, THE WEIGHT OF Hyperion, 2015) Ellen Goodlett, THE QUIET ONES FEATHERS (St. Martins) Michelle Modesto, MACHINE AND THE WILD Debra Driza, MILA 2.0 series (HarperCollins) (Balzer & Bray, 2016) DYSTEL & GODERICH LITERARY MANAGEMENT STEFANIE VON BORSTEL ICM Picture Book MICHAEL BOURRET Jennifer Ward, MAMA BUILT A LITTLE NEST TINA WEXLER

YA (Beach Lane Books/S&S) Middle Grade DIRECTORIES & RESOURCES James Dashner, Maze Runner series Toni Buzzeo, MY BIBI ALWAYS REMEMBERS Donna Gephart, HOW TO SURVIVE MIDDLE Gayle Forman, IF I STAY and I WAS HERE (Disney) SCHOOL Lisa McMann, THE UNWANTED and Wake series Monica Brown, WAITING FOR THE BIBLIOBURRO Alice Hoffman, NIGHTBIRD Sara Zarr, STORY OF A GIRL and THE LUCY (Random House) Anne Ursu, BREADCRUMBS VARIATIONS Middle Grade YA Andrew Smith, WINGER and GRASSHOPPER Diana Lopez, ASK MY MOOD RING HOW I FEEL Brandy Colbert, POINTE JUNGLE (Little, Brown) Gina Damico, Croak series A.S. King, EVERYBODY SEES THE ANTS and YA GLORY O’BRIEN’S HISTORY OF THE FUTURE Malin Alegria (Scholastic) ALEXANDRA MACHINIST Middle Grade EAST WEST LITERARY GREENHOUSE LITERARY AGENCY M. A. Larson, PENNYROYAL ACADEMY

J.A. White, THE THICKETY PUBLICIZING YOUR PUBLISHED WORK DEBORAH WARREN SARAH DAVIES YA Picture Book Middle Grade Sabaa Tahir, AN EMBER IN THE ASHES Jim Averbeck, IN A BLUE ROOM Caroline Carlson, THE VERY NEARLY HONORABLE Jennifer McGowan, MAID OF SECRETS James & Kimberly Dean, Pete the Cat series LEAGUE OF PIRATES Kate Karyus Quinn, ANOTHER LITTLE PIECE Anna Dewdney, Llama Llama series Tricia Springstubb, WHAT HAPPENED ON FOX Mike Lowery, The Gingerbread Man series STREET JEAN V. NAGGAR LITERARY AGENCY Gianna Marino, TOO TALL HOUSES Shawn Stout, Penelope Crumb series (JVNLA) Antoinette Portis, FROODLE Kat Yeh, THE TRUTH ABOUT TWINKIE PIE Middle Grade Donna Cooner, SKINNY JENNIFER WELTZ Kwame Alexander, THE CROSSOVER Elle Cosimano, NEARLY GONE Picture Book Platte Clark, Bad Unicorn trilogy Lindsey Leavitt, GOING VINTAGE Emily Kate Moon, JOONE YA Erica L. Scheidt, USES FOR BOYS Paul Dubois Jacobs and Jennifer Swender, Alethea Kontis, Enchanted series Tess Sharpe, FAR FROM YOU COUNT ON THE SUBWAY

Holly Schindler, FERAL Brenna Yovanoff, FIENDISH Middle Grade SCHOOL VISITS Alexander Vance, THE HEARTBREAK MESSENGER FULL CIRCLE LITERARY JOHN CUSICK YA Picture Book Kelly Moore, Tucker Reed, Larkin Reed, AMBER ADRIANA DOMINGUEZ Chana Stiefel, DADDY DEPOT (Feiwel & Friends, HOUSE Picture Book 2015) Katheryn Russell-Brown, LITTLE MELBA AND HER Middle Grade ELIZABETH EVANS LEGAL QUESTIONS BIG TROMBONE (Lee and Low) Ryan Gebhart, THERE WILL BE BEARS Nonfiction Lorena Siminovich, YOU KNOW WHAT I LOVE? (Candlewick Press, 2013) Kim Arcand and Megan Watzke, YOUR TICKET (Dial), You are My Baby series (Chronicle) Hannah Moskowitz, A HISTORY OF GLITTER TO THE UNIVERSE: A GUIDE TO EXPLORING THE Middle Grade AND BLOD (Chronicle Books, 2015) COSMOS Angela Cervantes, GABY, LOST AND FOUND YA Gabrielle Ford, GABE & IZZY: STANDING UP FOR (Scholastic) Sharon Biggs Waller, A MAD, WICKED FOLLY AMERICA’S BULLIED Eric Pierpoint, THE LAST RIDE OF CALEB (Viking, 2013) 158 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 HOWARD MORHAIMLITERARYAGENCY THE DEMENTEDLIFEOFFRENCHIEGARCIA Jenny Torres Sanchez, DEATH, DICKINSON, AND Carrie Arcos, OUTOFREACH Jennifer Niven,ALLTHEBRIGHT PLACES YA Jennifer AnnMann, The Sunny SweetSeries Middle Grade Mark Pett, THEBOY ANDTHEAIRPLANE Picture Book KERRY SPARKS AGENCY, INC. LEVINE GREENBERGROSTAN LITERARY and 13LITTLEBLUEENVELOPES , The Shades of London series Alexandra Duncan, SALVAGE and SMALLPERSONSWITHWINGS Ellen Booraem, TEXTINGTHEUNDERWORLD SOMETHING LIKENORMAL Trish Doller, WHERETHESTARS STILLSHINEand THE HAPPILY EVERAFTER ANDTHEBOY NEXTDOOR,and ISLA AND Stephanie Perkins, ANNAANDTHEFRENCHKISS, YA WILL INSCARLET, THEDEADGENTLEMAN Matthew Cody, The Supersof Noble Green series, Middle Grade KATE TESTERAMAM KT LITERARY, LLC. Ellen Potter, OtisDooda series Picture Book ALICE TASMAN J.C. Carleson,THETYRANT’SDAUGHTER YA Ellen Potter, THEKNEEBONEBOY Middle Grade NO! Lisa Charrier and Agnes Domergue, OHMY, OH Picture Book LAURA BIAGI | BY AGENTED Nora Raleigh Baskin,RUBY ONTHEOUTSIDE Mary Amato, GETHAPPY YA Paige Britt,THELOSTTRACK OFTIME Rick Riordan, PERCYJACKSON’S GREEKGODS HUMPHREY Betty G.Birney, IMAGINATION ACCORDING TO Middle Grade Sophie Blackall, BABY TREE Ben Clanton, SOMETHINGEXTRAORDINARY CHRISTMAS Bagram Ibatoulline, ALITTLEWOMEN Bonnie Adamson, RUTABAGA BOO Carin Bramsen, JUST ADUCK Picture Book MARIETTA ZACKER NANCY GALLT LITERARYAGENCY Vince Vawter, PAPERBOY LONDON MIDNIGHT GHOST SHOW Steve Bryant, LUCASMACKENZIE ANDTHE Middle Grade and KAY KAY’S ALPHABETSAFARI Dana Sullivan, OZZIE ANDTHEARTLESSON Alan Rabinowitz, ABOY ANDAJAGUAR DAZZLING LIFEOFJOSEPHINEBAKER Patricia HrubyPowell, JOSEPHINE:THE FANTASTIC JUNGLESOFHENRI ROUSSEAU Michelle Markel, BRAVE GIRLand THE Rich Lo,FATHER’S CHINESEOPERA RED: ACRAYON’S STORY SQUARE, IT’SANORANGEAARDVARK!, and Michael Hall, MYHEARTIS LIKEAZOO, PERFECT HAS ADREAM Rebecca Dudley, HANKFINDSANEGG, Picture Books ANNA OLSWANGER OLSWANGER LITERARYLLC T. Michael Martin, THEENDGAMES Kody Keplinger, THEDUFF Leigh Bardugo, SHADOWANDBONE Veronica Roth,DIVERGENT YA Kirk Scroggs, SNOOP TROOP Shelby Bach,The EverAftersseries Amber McRee Turner, Circa Now TRINKET Shelley Moore Thomas, THESEVENTALES OF Middle Grade Lori Nichols, MAPLE Elizabeth RoseStanton, HENNY Picture Book JOANNA VOLPE NEW LEAFLITERARYANDMEDIA Garret Freymann-Weyr Renata Liwska Sujean Rim David Small Isabel Roxas Taeeun Yoo OTHER CLIENTSINCLUDE: Jason Reynolds, WHENIWAS THEGREATEST Jandy Nelson, I’LLGIVEYOU THESUN YA Kate DiCamillo,FLORA&ULYSSES MAN SWAMP Kathi Appelt,THETRUEBLUESCOUTS OFSUGAR Middle Grade Alison McGhee and Peter Reynolds, SOMEDAY Jon Agee, LITTLESANTA WORM Doreen Cronin and Harry Bliss, DIARYOFA TYPE Doreen Cronin, CLICK CLACK MOO: COWSTHAT Kate McMullan and JimMcMullan, ISTINK! Anna Kang, YOU ARE(NOT) SMALL Picture Book HOLLY MCGEE PIPPIN PROPERTIES Jennifer Roy, YELLOWSTAR Lisa Greenwald, MYLIFEINPINK &GREEN R.J. Palacio, WONDER Middle Grade Jen Bryant, ASPLASHOFRED Picture Book ALYSSA EISNERHENKIN TRIDENT MEDIAGROUP HarperCollins) AND JOHNNYTHENINJAS (Balzer+Bray/ Kevin Serwackiand ChrisPallace, JOEY Middle Grade Hannah Harrison, EXTRAORDINARY JANE (Dial) Sarah Watts, HOW HIPPOSAYS HELLO (Sterling) Picture Book ABIGAIL SAMOUN (Charlesbridge) Bobbi Miller, BIG RIVER’SDAUGHTER Michelle Houts, WINTERFROST (Candlewick) Middle Grade (Millbrook) AND THERECYCLINGWOMENOFGAMBIA Miranda Paul, ONEPLASTIC BAG: ISATOU CEESAY Picture Book KAREN GRENCIK RED FOX LITERARY AGENTED BY | 159

Matt de la Peña, MEXICAN WHITE BOY YA PREPARING & SUBMITTING Julie Berry’s ALL THE TRUTH THAT’S IN ME REBECCA SHERMAN WAXMAN LEAVELL LITERARY AGENCY Picture Book Jared Chapman, PIRATE, VIKING, & SCIENTIST HOLLY ROOT Matt Phelan, STORM IN THE BARN, AROUND Middle Grade THE WORLD, and BLUFFTON Nancy J. Cavanaugh, THIS JOURNAL BELONGS TO Dan Yaccarino, DOUG UNPLUGGED RATCHET; ALWAYS, ABIGAIL Daniel Salmieri, DRAGONS LOVE TACOS Victoria Schwab, The Archived & Everyday Melissa Sweet, JULY Angel series Selina Alko and Sean Qualls, THE CASE FOR MARKET SURVEYS YA LOVING Rae Carson, The Girl of Fire and Thorns trilogy Scott Magoon, THE BOY WHO CRIED BIGFOOT CJ Redwine, Defiance trilogy and BREATHE Rachel Hawkins, Hex Hall series and Rebel Belle Nonfiction series Andrea Davis Pinkney and Brian Pinkney, HAND- Christina Lauren, SUBLIME IN-HAND Middle Grade

WRITERS HOUSE, INC. Jarrett J. Krosoczka, The Lunch Lady series DIRECTORIES & RESOURCES Grace Lin, WHERE THE MOUNTAIN MEETS THE JODI REAMER MOON, STARRY RIVER OF THE SKY, and the Ling Picture Book & Ting series Michelle Knudsen, LIBRARY LION Brad Meltzer, Ordinary People Change the World series Dan Santat, BEEKLE and RICKY RICOTTA Middle Grade Michelle Knudson, DRAGON OF TRELIAN Lisa Yee, MILLICENT MIN and Bobby vs. Girls Accidentally series

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

STEVEN MALK SCHOOL VISITS Picture Book Jon Klassen, I WANT MY HAT BACK Marla Frazee, THE FARMER AND THE CLOWN Mac Barnett & Jon Klassen, EXTRA YARN Jon Scieszka & Lane Smith, THE TRUE STORY OF THE THREE LITTLE PIGS LEGAL QUESTIONS Sara Pennypacker & Marla Frazee, CLEMENTINE Kadir Nelson, HEART AND SOUL Middle Grade Adam Rex, THE TRUE MEANING OF SMEKDAY YA Jennifer Donnelly, A NORTHERN LIGHT Ruta Sepetys, BETWEEN SHADES OF GRAY

FREELANCE EDITORS DIRECTORY

CAROL BARKIN issues. For more details about her services and NORA COHEN 47 Avenue fees, visit her website. She is a frequent speaker at [email protected] Hastings-on-Hudson, NY 10706 writing conferences with an expertise in plot and www.childrensbookediting.com (914) 478-0612 story structure. If you would like a free copy of her Nora Cohen was a senior editor and managing [email protected] article on classic story structure for the Children’s editor at G. P. Putnam’s Sons. She now Carol Barkin has been a senior editor at various Writers and Illustrators Market, just send an e-mail runs a children’s book editing service, publishing houses, including Lothrop, Lee & to the above address. ChildrensBookEditing.com, to edit, polish, and Shepard, Prentice-Hall Children’s Books, and evaluate manuscripts of both first-time and Simon & Schuster Books for Young Readers. LISA ROJANY BUCCIERI experienced writers prior to their submission to She has written numerous books with Elizabeth Editorial Services of Los Angeles publishers and literary agents. She also provides James, both fiction and nonfiction, and she 1543 Sycamore Canyon Drive a packet of informational sheets about the has been a freelance editor and book doctor for Westlake Village, CA 91361 publishing and submission process. At Putnam, more than fifteen years. Ms. Barkin offers a full (818) 707-1042 (phone & fax) Ms. Cohen worked with such award-winning range of editorial and book-doctoring services [email protected] authors and illustrators as Tomie dePaola, Eric Hill, from diagnosis to prescription and treatment, www.editorialservicesofLA.com Catherine Stock, Rachel Isadora, Jan Brett, Margot from concise evaluation to detailed critique to www.absolutewrite.com/novels/lisa_rojany.htm Tomes, Diane Stanley, Lorinda Bryan Cauley, and developmental and line editing. She has extensive www.publishersmarketplace.com/members/ Rafe Martin. Her editing and evaluating rates experience in critiquing and editing all genres of lbuccieri are per manuscript page and vary for picture children’s and young adult books, with a particular Lisa Rojany Buccieri is a publishing executive with books, easy-to-read books, chapter books, and interest in nonfiction for all age groups. Fees vary, sixteen years of experience in the industry. Lisa young adult novels. She also consults with depending on length of manuscript and the kind has also written over a hundred children’s books. publishers as a freelance editor. Please see her of work needed. For more information, contact Ms. She was lead author on Writing Children’s Books for ChildrensBookEditing.com website for specifics Barkin; for e-mail, use “SCBWI editing query“ in Dummies (, 2005) and cowrote the New York on rates and services, and contact her with any the subject line. Times best seller Fund Your Future (Berkley, 2002) questions. with Julie Stav. Her books have received various BONNY BECKER accolades, such as reaching #1 on the Publishers NANCY RAINES DAY PO Box 15268 Weekly List two years in a row (Make 217 Villager Drive Seattle, WA 98115 Your Own Valentines, PSS!/Putnam) and winning St. Simons Island, GA 31522 (360) 597-3432 the American Bookseller’s Pick of the List (Giant (912) 634-9610 [email protected] Animal Fold-Outs: Kangaroo & Company, PSS!/ [email protected] www.bonnybecker.com Putnam). She is the VP and publisher of Americhip Nancy Raines Day is the author of nine picture Bonny Becker is the author of nine books Books, a children’s company she books, many in rhyme, including the most recent, including picture books and novels from various founded with Tim Clegg, and has been editorial/ What in the World? Numbers in Nature (Beach publishing houses such as Simon & Schuster, publishing director for Golden Books, PSS!/ Lane, 2015). Her first title, The Lion’s Whiskers Dutton, Holt, and HarperCollins. She is an , Intervisual Books, Gateway (Scholastic,1995), was a New York Times Notable instructor for the Institute of Children’s Literature Learning Corp (Hooked on Phonics), and others. Book. Nancy has helped her students from the and has been a freelance manuscript doctor and She charges by the hour for her editorial services, Instituteof Children’s Literature and fellow writing coach for over five years. Her clients depending on the length of the manuscript, children’s authors polish manuscripts that have include published authors and beginners alike. negotiable on a sliding scale; SCBWI members get since been published. She has also worked as a Fees are $100 for a picture book and $200 for a substantial discount. References available upon magazine editor. Specializing in picture books, initial feedback on a novel, including plot, request. she offers suggestions for revision as well as character development, voice, theme, and genre copyediting for submission or self-publishing and 162 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org oversaw the annual publication of overone- MG, and YA fiction and fantasy. As publisher, she picture bookstopoetry, novelties, non-fiction, books for children, ranging from board booksand hundreds of award-winning and highly lauded Throughout her career, Emma hasedited Children’s Publishing. K. McElderry Books, imprints of Simon &Schuster Atheneum Booksfor Young Readers and Margaret of McElderry Books, and then VP, Publisher of retired, Emma became VP, Editorial Director Margaret K.McElderry Books. After McElderry and Random House, followed byaposition with long children’s publishing career beganatViking publishers, and eBookand apppublishers. Her illustrators, agents, foreign and domestic editorial and consultancy supporttoauthors, drydenbks LLC, through which she provides book editorial and publishing consulting firm, Emma DDryden isthe founder of the children’s pinterest.com/drydenbks/ www.facebook.com/drydenbks?ref=ts twitter.com/drydenbks emmaddryden.blogspot.com/ [email protected] www.drydenbks.com DRYDENBKS: EMMAD.DRYDEN per hour; feesfor writing services are negotiable. rate for editing and coaching isapproximately $60 authors inallgenres reach their fullpotential. Her specializes inhelping bothnew and experienced editing, creative coaching, and ghostwriting. She proposal evaluation, substantive editing, line of services for writers, including manuscript and the University of London. Ellenoffers arange holds amaster’s degree inEnglish literature from Canada, including the University of Michigan. She at numerous schools inthe United Statesand teacher. She hasbeenawriter-in-residence is currently aneditorial consultant and writing finest authors and illustrators 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 e-mail, with“SCBWIMS DR”inthe subjectline. for amanuscript upto1000words. Contact her by help withqueryorcoverletters. Ratesare $100 | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE approach to editing. information and tolearnmore aboutCatherine’s Please visiteditedbycatherine.com for additional grade and YA novels. books, nonfiction for older readers, and middle houses. She editspicture booktexts, chapter developers, small presses, and the largest trade with independent authors, agents, app Catherine works onawide variety of projects Through Catherine Frank Editorial Services, Angeles Times BookPrize. Addams Children’s BookAward, and the Los New York Times BestIllustrated Award, the Jane Kite Award, the CharlotteZolotow Award, the Boston GlobeHorn BookAward, the Golden have received awards and honors including: The nonfiction. Booksacquired and editedby her from picture bookstonovels inversetonarrative and nonfiction children’s books ranging in format Catherine isthe editorof award-winning fiction Frank Editorial Services in2011. Orleans withher family and created Catherine working inManhattan, she returned home toNew Executive Editorthere. Afterelevenyearsof eventually rose through the ranks tobecome editorial assistant atViking Children’s Booksand and publishing. She beganher career asan consultancy specializing inchildren’s literature Editorial Services, LLC,which isaneditorial Catherine Frank isthe founder of Catherine Frank www.editedbycatherine.com [email protected] CATHERINE FRANKEDITORIAL SERVICES please visitwww.drydenbks.com. information, and completecontact information, submission guidelines and general pricing authors and illustrators, reviews and references, learn more aboutthe services drydenbks offers to encourages connection inthe social network. To and she shares information through and explores intertwined themes of lifeand writing, of Advisors. Her blog,“OurStories, Ourselves” eBook platform uTales; and onthe SCBWIBoard leader of the Editorial Quality Panel for picture long writer’sretreat for MGand YA authors; the faculty of “Your BestBook,”anannual week- the digital landscape, Emma isonthe permanent A highly sought-after speaker aboutcraft and Diaz, and Paul Zelinsky. Katz, RaulColon,LeeBennett Hopkins, David Ellen Hopkins, Karma Wilson,SusanCooper, Alan and illustrators whom Emma haseditedinclude hundred hardcover and paperbacktitles. Authors (203) 709-0490 Seymour, CT06483 2 KlaridesVillageDrive, 183 F1RST PAGES: EILEENROBINSON word the abovee-mail address. (Note: the letteri contact Eileenwithany additional questions at see websitefor more details and fees. You can YA novels, aswellcompletemanuscripts. Please and firstchapters for picture books and MGand Pages isuniqueinthatitcritiquesthe firstpages others asaneditorial consultant and writer. F1rst Cavendish, Weekly Reader, Innovative Kids, and National Geographic, Santillana USA, Marshall markets. She hasalsoworked withScholastic, fairs aswelltrade and educational/library have gone into Scholastic bookclubsand book for Harcourt asaneditorial manager. Her books fiction—for Scholastic asan executive editorand over 150booksayear—amixof nonfiction and writers get their firststart.She haspublished unpublished authors and hashelped many new Robinson hasworked withbothpublished and With overtenyearsinchildren’s publishing, Eileen www.f1rstpages.com [email protected] book author, editorand educator. She hasco- Emma Walton Hamilton isabest-selling children’s www.childrensbookeditor.com [email protected] Sag Harbor, NY11963 PO Box 839 EMMA WALTON HAMILTON her website. triplet sons. For more aboutDeborah, check out in SanDiego, California, withher husband and such asparents, teachers, and librarians. She lives simultaneously toyoung readers and toadults and subjects, and develop stories thatappeal voices, synchronize age-appropriate language Deborah helps authors hone their storytelling editing ormore general substantive editing, book deals. By conducting word-by-word line published authors and writersseeking their first freelance editsfiction and nonfiction forboth including UCSD’sExtension Program. Deborah and awriting teacher for groups and institutions com, afrequent speaker atwritersconferences, of the popularwriters’advice websiteDearEditor. leaving towritefull-time. She isalsothe founder for Harcourt Children’s Booksfor tenyearsbefore Deborah editedpicture booksand teennovels Armed withamasters inAmerican literature, teen novels HonkIfYou HateMeand Big Mouth. Writing Young Adult Fictionfor Dummiesand the Deborah Halverson isthe award-winning author of www.deareditor.com www.deborahhalverson.com [email protected] DEBORAH HALVERSON first isreplaced withthe number 1 .) in the in the FREELANCE EDITORS DIRECTORY | 163 authored over thirty children’s books with her Library since 2001. She also proudly serves as hours required (please contact by e-mail first). PREPARING & SUBMITTING mother, , seven of which have been the Regional Advisor Emeritus of the Clients can set a limit on what they wish to spend. on the New York Times best-seller list, including SCBWI Chapter and recently concluded her two See website for more details. References available The Very Fairy Princess series (#1 NY Times elected terms of service on SCBWI’s Board of upon request. Bestseller), Julie Andrews’ Collection Of Poems, Advisors. Esther’s manuscript evaluations and Songs And Lullabies; Julie Andrews’ Treasury: editing suggestions reflect her teaching talents JACQUELINE HORSFALL Poems and Songs to Celebrate the Seasons; the as well as her personal investment in each 2683B Spencer Hill Road Dumpy The Dump Truck series; Simeon’s Gift; writer and his story. Her thoughtfully-worded Corning, NY 14830 The Great American Mousical and THANKS TO comments focus on the story and telling’s [email protected] YOU – Wisdom From Mother And Child (#1 New audience and format suitability, the elements of (Please email for initial contact, describing York Times Bestseller). Emma’s own book, Raising narrative (especially character, plot, voice and project and intended audience) MARKET SURVEYS Bookworms: Getting Kids Reading for Pleasure and scene creation), marketability and comparable www.amazon.com/author/ Empowerment, premiered as a #1 best-seller on literature. Extensive comprehensive notes jacquelinehorsfallbooks Amazon.com in the literacy category and won a precede and follow two-hour meet-ups via Jacqueline Horsfall is a writing instructor Parent’s Choice Gold Medal, silver medals from the phone, Skype or in person (if in the Chicago for the Institute of Children’s Literature and Living Now and IPPY Book Awards, and Honorable area), ensuring the writer is able to move the author of 20+ books and hundreds of Mention from ForeWord Magazine’s Best Book of forward on his plotline informed, supported and magazine pieces for both children and adults. the Year. Emma teaches children’s lit for Stony smarter. In a successful picture book, the writer She has been freelance editing for over 15

Brook Southampton’s MFA in Creative Writing offers concrete details from which the reader years, specializing in middle-grade novels and DIRECTORIES & RESOURCES and Literature Program, and serves as Director of draws life’s universal truths. Esther works hard early readers, rhyming picture books, memoirs, their Children’s Literature Fellows program and the so her comments do the same, so that from her and general nonfiction, especially for writers Southampton Children’s Literature Conference. She specific remarks about a specific manuscript, the who plan to self-publish. Jackie also gives serves as Editorial Director for The Julie Andrews writer learns the tenets of writing for children honest yet gentle appraisals of manuscripts Collection publishing program, formerly with in today’s marketplace. Esther especially enjoys that have been repeatedly rejected by Harper Collins and now with Little, Brown Books coaching new writers, helping them ready their publishers. An initial $200 retainer covers 4 for Young Readers, and is also an award-winning manuscripts for traditional or independent hours of appraisal/evaluation/critique. In- freelance children’s book editor, providing editorial publishing while grounding them in today’s depth editing at $50/hour on a pay-as-you-go evaluations, line editing, and mentoring services. Children’s Book World. Line-editing is also plan. Client may terminate at any point. Edited Among the many books she has edited are the available. Esther takes enormous pride in her book samples available upon request. Moonbeam Children’s Book Award Gold Medalist clients’ writing strides and publishing successes. picture books Sunny Bunnies (Marjorie Blumberg) Visit www.estherhershenhorn.com/coach to read PAM GLAUBER PUBLICIZING YOUR PUBLISHED WORK and A Shovelful of Sunshine (Stacie Vaughn writers’ testimonials. Email [email protected] (203) 556-3751 Hutton) and the Mom’s Choice Gold medalist for a description of fees. [email protected] middle grade novel, Celtic Run (Sean Vogel.) For Pam Glauber is a freelance editor, copyeditor, more information, visit her website. EILEEN HEYES and proofreader. She was most recently an 7012 Tanbark Way editor at Holiday House, where she spent six ESTHER HERSHENHORN Raleigh, NC 27615 years acquiring and editing award-winning 222 E. Pearson St., #1108 (919) 848-3858 picture books, early readers, and middle-grade Chicago, IL 60611 [email protected] and young adult novels. She knows what it 312-255-1619 www.eileenheyes.com takes to work with an author to transform a [email protected] A longtime member of the SCBWI, Eileen Heyes is well-conceived draft into a published book. www.estherhershenhorn.com/coach the author of three young adult nonfiction books While at Holiday House, she edited both Writing Coach Esther Hershenhorn has worked and two middle-grade mysteries, one of which fiction and nonfiction. Authors she has edited one-on-one with children’s book writers since was a finalist for a 2003 Edgar Award. Eileen has include Eric A. Kimmel, David Adler, Caroline

2000, helping them discover, craft and market worked as a newspaper editor from 1979 to the Jayne Church, Eve Bunting, Sue Macy, Bobbi SCHOOL VISITS their stories. Esther works with writers of all present. She has been a freelance copy editor Miller, , Saci Lloyd, and formats and genres, no matter where they are and content editor of books for Millbrook Press, Jane Cabrera. Her titles have earned the Bank in the writing or publishing process, utilizing Carolina Moon, and Crescent House. She reviewed Street Best Book of the Year award, the her writing, teaching and Children’s Book World children’s books from 1995 to 2002 for The News Taylor Honor, the ALA Notable Children’s Book knowledge and experience. Esther’s titles include & Observer (Raleigh, NC) and served as a judge selection, the IRA/CBC Children’s Choice award, the picture book and Sydney Taylor Book Award for the 2006 Juvenile Edgar Award. She conducts various Booklist Top 10 selections, and many LEGAL QUESTIONS winner Chicken Soup by Heart, the middle grade writing workshops and residencies for children state awards. She also acquired and edited novel The Confessions and Secrets of Howard and adults. Macro and micro services offered: Holiday House’s first paranormal romance and J. Fingerhut and Teacher’s Choice winner S is comprehensive manuscript analysis and critique, first steampunk novels, and she particularly Story: A Writer’s Alphabet. A former classroom copyediting in preparation for submission, and enjoys editing historical fiction, fantasy, teacher, Esther has taught Writing for Children final polishing for self-publication. Rates are $50/ contemporary fiction, and nonfiction. Pam has workshops in the University of Chicago’s Writer’s hour, with $100 minimum. Clients may send a spoken at various SCBWI and regional writing Studio since 2002 and at Chicago’s Newberry manuscript and get a free estimate of the total conferences around the country. She holds a 164 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 journal (www.lookingglassreview. and publishing her own online monthly children’s Review. Inthe fall of 2003,she beganediting Literature, kidsreads.com, and Midwest Book book review websites. These include Children’s books for several 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 details. Rushjobsare not aproblem. In ahurry? Contact David via e-mail withproject for free, toensure agood writer-editormatch. first chapterorfewpages ofa manuscript members. Further, David ishappytocritique the website. Discounts offered tofellowSCBWI and writing samples, are availableonDavid’s consistency). More information, including rates writing (e.g. voice, style, story, characterization, would-someone-want-to-read-this structure of paragraph arrangement) and the high-level why- of writing (e.g. grammar, spelling, sentence/ analytical eyetoboththe low-levelmechanics technical background, David brings akeen at making good writing great. Withanextensive from picture bookstoyoung adult, David excels Having editeddozens of manuscripts ranging g-revisions.com [email protected] (518) 225-2133 Delanson, NY12053 475 Weaver Road G-REVISIONS: DAVID E.GOLDSCHMIDT, PHD gmail.com 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 professional certificateinediting from New York BA inEnglish from and a | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE website orcontact her bye-mail. classes. Formore information, pleasevisither She alsooffers editing services, mentoring, and critiques bothfiction and nonfiction manuscripts. years of writing experience. Ms. Jansen-Gruber degree from Oxford University and hashadmany for aEuropean publisher. Ms. Jansen-Gruber hasa ebooks for children, and haseditedapicture book the lastfewyears, Marya haswrittendozens of She hasalsotaught children’s bookwriting on various children’s and educational projects. to workwithindividual and corporate clients best-selling Junie B. Jones series and continues Publishing, she wasthe editorof Barbara Park’s a full-time editoratRandom House Children’s books tobeginning readers and novels. Formerly written everything from board booksand activity best-selling picture bookLibraryLion,and has including the award-winning and NewYork Times She isthe author of forty booksfor young readers, publishing industry for more thanfifteenyears. Michelle Knudsen hasworked inthe children’s [email protected] www.michelleknudsen.com MICHELLE KNUDSEN rewriting/ghostwriting for anegotiated fee. hours, depending onlength. Ms. Kane willalsodo nonfiction work,approximately sixtotwelve three tofour hours of work;alonger fiction or letter. Apicture bookrequires approximately edit, margin comments, and adetailed evaluative market. Her rates are $75/hour for alight line manuscript tomake itstand outinacompetitive publishing fieldand can help youshapeyour she hasaninsider’s knowledge of the children’s grade and YA fiction, nonfiction, and fantasy, books, historical fiction, and contemporary middle- a winner. Specializing inpicture through teens, from best-selling picture booksto and nonfiction books for preschool-aged children Kane haseditedhundreds of children’s fiction through the Institute of Children’s Literature. Ms. classrooms, and she teaches writing for children children and five nonfiction books forchildren’s married name, Cindy Trumbore) of anovel for positions. She isthe author (writing under her Children’s Books, among other senior editorial and editor-in-chief of FourWinds Press/Macmillan executive editorof Dial Booksfor Young Readers Cindy Kane isthe former editorial director and www.cindykane.net [email protected] (973) 960-3509 Chatham, NJ07928 174 Weston Avenue CINDY KANE including references, orcontact her bye-mail. Please visither websitefor more details, projects, aflat fee may bearranged inadvance. Susan’s rates are $50perhour. Formany proofreading, and manuscript critiques. editing, e-bookconsultation, writing, rewriting, services include line editing, developmental to locatethe stories they want totell.Her strength as an editorlies inhelping them She enjoyscoaching writersand believes her novels for reluctant readers. properties tononfiction and two Young Adult picture bookstostories basedonlicensed than forty booksfor children; these range from Lerner Publishing. She isthe author of more Digest, Running Press, Random House, and as HarperCollins, Simon & Schuster, Readers hundreds of writersaswellpublishers such As afreelancer, Susanhasworked with for children. that creates leveledanimated stories and apps a senior editorfor www.littlefox.com, awebsite school librarian and currently workspart-time as and more. She hasalsobeenanelementary Choose Your OwnAdventure, The Saddle Club, popular series such asEncyclopedia Brown, Adult fiction, nonfiction, and oversaw many acquired and editedmiddle-grade fiction, Young Dell (Random House). As asenior editor, she at Simon &Schuster and Bantam Doubleday Managing Editorand rose through the ranks (NAL) asaneditorial assistant tothe Executive began her career atNew American Library publishing for nearly twenty-five years. She Susan Korman hasbeenworking inbook korman/18/9b2/793 www.linkedin.com/pub/susan- www.susankorman.net [email protected] 215-295-7503 Yardley, PA 19067 101 ShelleyLane SUSAN KORMAN directly atthe address listedabove. current rates and availability, oremail her fantasy novels. Pleaseseeher websitefor her are picture books, beginning readers, and genres and age levels, although her specialties offers afullrange of editing services for all at GothamWriters’Workshop inNYC.Michelle experience asanartdirector and picture book Semadar Megged brings overtwenty yearsof www.semadarmegged.com [email protected] 5 EastThirdStreet#2,NewYork, NY10003 SEMADAR MEGGED FREELANCE EDITORS DIRECTORY | 165 designer to her independent studio, offering marketing and brand strategies, or sculpting a twenty years, Amy Betz’s passion is collaborating PREPARING & SUBMITTING one-on-one in-depth picture book dummy manuscript into a tight piece of literature, Anna with authors. Whether you are looking for editorial development, coaching illustrators and author- enables creativity, pushes for the highest quality, feedback on a completed manuscript or need help illustrators from preliminary rough sketches to a and brings your idea to life. She holds certificates with further development of an idea, Amy will fully developed dummy with final art samples. in editing from New York University and a BA with provide an honest and constructive assessment, Over the years at various imprints of Penguin highest honors in English Literature from Lehigh including line editing and a detailed editorial Random House Semadar has worked closely University. letter. From picture books to young adult novels, with award-winning and best-selling illustrators fiction and nonfiction, she can help you craft a and authors (, The New York JULIE SCHEINA EDITORIAL SERVICES book that will engage your readers. Times Best Sellers List, The New York Times www.juliescheina.com In her role as Senior Editor at Scholastic and Best Illustrated Children’s Books, The New York [email protected] Disney, Amy Betz worked with award-winning Book Show and Society of illustrators) including www.twitter.com/juliescheina and best-selling authors and illustrators such as MARKET SURVEYS Ed Young, David Small, Eric Carle, Loren Long, www.facebook.com/JulieScheinaEditorialServices Joanna Cole, Edwidge Danticat, Bruce Degen, Ted Lewin and Patricia Polacco, in addition publishersmarketplace.com/members/JulieScheina Walter Dean Myers, Mary Pope Osborne, and to nurturing debut talents including Renata instagram.com/juliescheina Cynthia Rylant. Liwska’s first picture book and Ale Barba in her linkedin.com/in/juliescheina She has received the Golden Kite Editor Award, first US picture book. In addition, she has been pinterest.com/juliescheina was a mentor at the Northern New England a freelance jacket designer for New Directions Julie Scheina is a freelance editor of children’s SCBWI Writers’ Retreat, and has spoken at

and other publishers since the early 90s. and young adult fiction with in-depth professional numerous children’s literature conferences. DIRECTORIES & RESOURCES To understand her method of coaching publishing experience. As a senior editor at Little, Visit tinytalesediting.com to learn more. picture book dummies visit http://www. Brown Books for Young Readers, she had the semadarmegged.com/picture-book- pleasure of working with talented authors and HAROLD UNDERDOWN development/, where you’ll find detailed artists on books for ages 0–18+ in a variety of (917) 656-7683 explanations in words and pictures of what to genres, from picture books and poetry collections [email protected] expect from the process. Find rates on http:// to middle grade and young adult novels. During www.underdown.org/pced.htm www.semadarmegged.com/services/ and her career, she has edited numerous acclaimed and Harold has worked for almost twenty years testimonials plus contact information on bestselling books for children and teens, including in children’s publishing, both as an editor http://www.semadarmegged.com/ #1 New York Times bestsellers, a Lamda Literary with houses such as Macmillan, Orchard, and aboutandcontact/ Award finalist, a William C. Morris Young Adult Charlesbridge and as a freelance editorial Debut Award finalist, an for consultant. He runs The Purple Crayon (www.

ANNA ORCHARD Young Adult Science Fiction and Fantasy nominee, underdown.org), a website with information about PUBLICIZING YOUR PUBLISHED WORK www.anagrameditorial.com and a New York Times Best Illustrated Children’s children’s publishing for authors, illustrators, [email protected] Book. and others. And he is the author of The Complete After working in publishing, at bookstores, and She loves collaborating with authors and Idiot’s Guide to Publishing Children’s Books. He with authors around the country, Anna founded illustrators, helping to identify a work’s strengths performs a range of editorial services, from Anagram Editorial, an editorial and research and weaknesses, and ensuring that an author or critiques to developmental editing and beyond. service for a variety of manuscript and content- illustrator’s vision is shining through from start Full details of services, rates, and availability strategy needs. At Scholastic, Anna acquired and to finish. Whether you are an author, illustrator, (he may be busy with long-term projects) can edited middle grade, young adult, nonfiction, and agent, or publisher, she is available for a range of be found at the page listed above. He asks that fiction novels. She has consulted for authors such editorial services for children’s and young adult you review the information on his site before as Patricia McCormick and Paul Griffin, spoken on projects, including critiques; detailed editorial contacting him by e-mail with a description of panels for aspiring writers at The New School and feedback; developmental and line editing; your project. Stony Brook, and currently serves as US Event query, synopsis, proposal, and copy review; as Planner and Brand Consultant for the ​ well as consultation and coaching. Julie also WENDY WAX

Estate. Collaborating with Penguin, the Estate, has experience as a speaker and presenter for a PO Box 218 SCHOOL VISITS and creative across the country, Anna variety of conferences, panels, and workshops. Remsenburg, NY 11960 produces high-quality, brand-orientated events To learn more about the editorial services Julie [email protected] with an eye toward long-term strategy for the late offers, see some of the books she’s edited, read www.wendywax.com author’s estate. testimonials, and request a free project estimate, Wendy Wax wears many hats in children’s Editing services include proposal evaluation, please visit www.juliescheina.com. Standard publishing as editor, author, illustrator, and developmental and line editing, and extensive editorial fees start at $95/hour; flat fees are consultant. She was a senior editor at Parachute LEGAL QUESTIONS editorial notes. Research services include available in some cases. Publishing, an executive editor at exploring topics for fiction and non-fiction Visual Publications, and a freelance editor at projects as well as agencies and houses best TINY TALES EDITING: AMY BETZ Simon & Schuster Books for Young Readers. suited for your submission. There’s little Anna www.tinytalesediting.com Wendy has written numerous children’s books, enjoys more than working with imaginative and amybetz@.net including City Witch, Country Switch (Marshall passionate writers to figure out tricky plot points [email protected] Cavendish), Even Princesses Go to the Potty, and character development. Whether crafting As a professional children’s book editor for over Even Firefighters Go to the Potty (Little Simon), 166 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | FREELANCE EDITORS DIRECTORY EDITORS | FREELANCE [email protected] *www.writersinkville.com 818-851-9629 Agoura Hills, CA91301 29915 RainbowCrestDrive STEPHANIE JACOB GORDON/WRITERS INK www.writersinkville.com [email protected] * 360-306-5438 Bellingham, WA 98226 3646 Woodlake Road JUDITH ROSSENDERLE/WRITERSINK turnaround time. contact Jimfor information regarding rates and photographer for the Antarctica Marathon. Please Post and other magazines, and acting asofficial newspaper, light verseinthe SaturdayEvening control, advising anAll-American high school Review, e-commerce writing, editing and quality a stint assportseditorof 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 haswrittenmore 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

helping you! guarantee astronger manuscript. We lookforward to We cannot guarantee asale;westrivewithyouto details before submitting work.Writers InkMotto: invoice through PayPal. Pleasee-mail for other 5 pages add $8perpage. WIacceptschecks orcan appropriate). Fees:Upto5pages $75.More than notations, and suggestions for marketing (when SERVICE includes awrittencritique withmanuscript 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 upon request. See websitefor more details. References available voice and goals intact. encouraging, whilealways keeping the writer’s on-one attention thatisinsightful, honest, and very hard toget them there. She provides one- about the success of her clients—and working professionalism, Debra is known for trulycaring the marketplace and aconsummate, friendly consultation. Withakeen eyefor what worksin discount aswellaone-hour phone orSkype services, and offers SCBWImembers asignificant Debra charges bythe hour for her various editorial publishing houses. Simon &Schuster, Random House, and many other & Dunlap,Golden BooksPublishing Company, Penguin Putnam Booksfor Young Readers, Grosset Scholastic, Little, Brown Booksfor Young Readers, seventy-five booksthathavebeenpublished by hundreds of titlesand haswrittenwellover Piggy Toes Press. She hasdeveloped and edited Studios, and the publisher atIntervisual Books/ domestic and international publishing atUniversal She wasaneditoratScholastic, the director of publishing executive for twenty-five years. Debra Mostow Zakarin hasbeenachildren’s www.ZoitMedia.com [email protected] (310) 804-5545 Los Angeles, CA90272 17151 Palisades Circle Zoit Media,Inc. DEBRA MOSTOW ZAKARIN (Scholastic). Their bookswere on statereading

A-Z GUIDE TO PUBLISHING IN THE DIGITAL WORLD

By Jaimie Engle

n today’s digital marketplace, it seems everyone is writing a book. With the ease of publishing through print-on-demand platforms, publishers are pop- I ping up like acne on a teenager, and some of them are just as puss-filled. So what’s an aspiring author to do? Some things are easy to figure out, like thst you don’t EVER work with a publisher that is charging you for ANY service, be it 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 Bestseller’s list, then why bother? publisher before you submit. You can check their website to see who Why would you want to produce a sub-par product? All that does is they have published, where, what awards they’ve acquired, and other saturate the market and drive down prices. If you haven’t invested in information such as how long they’ve been in business (usually given a professional editor, your book gives every published book a away by the date at the bottom of their website). Other places to check disadvantage, especially those authors who have invested time and out are: money to be professional. To Publish or Not to Publish Absolute Write – This is the “water cooler” of the writer’s world. When making to become your own publisher, you Everything you need to know is discussed here. http://absolutewrite. must understand one hard fact: you are opening a business. I know, com/forums/activity.php catch your breath . . . breathe in, breathe out. Whether you like it Writer Beware – Another must is Writer Beware, a place to discover or not, you are now an entrepreneur of a fabulous new company literary scams, schemes and pitfalls. This site is sponsored by the that sells a product. This product is your book. If you have an Science Fiction & Writers of America. http://accrispin.blogspot.com/ entrepreneurial spirit, you will find a most rewarding and challenging experience awaits you. If not, you may waste a lot of time and money LET’S LOOK AT THE MATH for disappointment. The truth is that you must hustle and sell your On average, a paperback book selling for $9.95 on Amazon will net book, regardless of your status with a big house, small press, or self- the author $1.75 in royalties. An ebook can earn nearly twice as much published venue. Most businesses fail within the first year, so you have (and cost zero dollars to publish). So let’s say you earn $3.00 per book. to know that you must work your business for a solid year before you The average indie author can expect to sell 50 copies of their book over should expect to see a profit. You must be willing to: the lifetime of the title. At two bucks a pop, you’re looking at expecting to make a whopping $150.00 on your book. An author working their Put in 40-60 hours a week working toward building a client business every day can expect to sell nearly 600 a year, which is still Study the industry just $1800.00 . . . per year. Generate leads Yes, you can increase your sales price to increase your profit, but if Service your customers (fans) the competition, whose name the consumer already knows, is selling Invest to grow a similar book for under $10, then you’d better be close in price to compete. Keep in mind: You must purchase sales tools such as business cards, postcards, Your book production must be equal to the Big 5 publishers to posters, marketing freebies, and books in advance to giveaway. Books include professional editing, cover and interior formatting. on hand will always sell faster than books that must be ordered. You must invest in your book, just like a publisher because you ARE Bottom line, you will become the publisher, distributor, sales force and the publisher. marketing/publicity team, in addition to the creative writer and editing 168 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DIGITAL WORLD THE IN A-Z TOPUBLISHING GUIDE followers. to 50%ormore) from these followers verses Facebook fans orTwitter base for yourmailing list.You canexpect ahigher conversion rate (up available tosellorgiveaway. stuffed animals, coloring pages, and other items related toyourbook highlight afewideas: results everytime. Icouldwriteanentire bookonmarketing, soI’lljust market yourbookeffectivelytothe right audience withthe desired to the literary community. Once youfigure that out,youcanbeginto and organic process thatisbestdescribed asyouruniquecontribution important thing youcando istocreate yourbrand. Thisisacomplex product: yourbook. It’s time toshare itwiththe world. The most WHAT NOW? insurance ($600peryear). will need toget fingerprinted through the state($100)and apply for fined hefty fees. And ifyouare planning on doing author visits, you sales taxonallbookssales, which youwillneed topayquarterly orbe before submitting Awards &Contests: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 , stickers, business an artist(average $350) Cover Copyright: $35 Barcode: $25 ISBN: Free-$25 Formatting: $200-$300 Editing: $550-$1500depending onquality of draft 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 ithappen,pushes youthrough tothe next milestone. publicity worksand doors open,the feeling of knowing thatyouand brain workthatmakes creative thinking more difficult; however, when become aformatter, coverdesigner and booking agent. It’s tireless, left pro youare already. You must also—depending onyourbudget— Collect names ateveryevent youattend. They willbecome the People loveswag,sohavestickers, candy, bookthemed jewelry, Congratulations! You’ve opened abusiness and haveyourfirst You willalsoneed toapplyfor astatesalesand usetaxIDtocollect Here’s abreakdown of the publishing process and whatyoucan : $25-?depending onwhere youget the image orifit’screated by : 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 there and make ithappen! remember thatthe ones who make itnever gaveup.Now get out scam artistswho prey off author’s dreams of being published. Finally, the market and the industry toeducate yourselfand avoid the many be smart and investigate everything for yourself.Bevigilant. Study selling author, no matter whatsome blogsmay promise. You need to to independent publishing thatwillmake youanovernight best- There isno magic formula. Nor isthere aone-size-fits-all approach 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 When you are writing to a book producer, please do not fail to review be interested in the project. In some cases, publishers would have a and follow the recent guidelines on the company websites. You can also specific idea in mind and would shop around for the best possible book find more details at www.abpaonline.org. production house that can take the project from concept to finished product.

BECKER&MAYER PROJECT SUBMISSIONS: Yes; Novelty nonfiction only. PREFERRED METHOD OF CONTACT: Regular Mail. 11010 Northup Way Bellevue, SPECIALTIES: Novelty Non-fiction QUERY LETTER: Proposal. WA 98005 AGE-GROUP: Ages 0-6 425-827-7120; Fax 425-828-9659 FICTION/NON-FICTION: Non-fiction only CHARLES DAVEY LLC, BOOK PRODUCTIONS [email protected] ASSIGN PROJECTS TO FREELANCERS: Yes 2 Deertrack Lane CONTACT: Beth Lenz SERIES BOOKS/SINGLE TITLES: Both Irvington, NY 10533, USA. PROJECT SUBMISSIONS: No. PREFERRED METHOD OF CONTACT: Emai/Regular 914-231-5120 SPECIALTIES: Non-fiction mail. [email protected] AGE-GROUP: Ages 7-12 QUERY LETTER: Detailed description of the CONTACT: Charles Davey FICTION/NON-FICTION: Non-fiction only project history of previously published work PROJECT SUBMISSIONS: Not generally. ASSIGN PROJECTS TO FREELANCERS: Yes experience SPECIALTIES: mostly educational, some trade SERIES BOOKS/SINGLE TITLES: Both PAYMENT: Flat Fee Illustrated books in art and sciences PREFERRED METHOD OF CONTACT: Email. AGE-GROUP: Grades K-12 QUERY LETTER: Examples of nonfiction writing, CADER BOOKS FICTION/NON-FICTION: Mostly non-fiction published work and art portfolio. 2 Park Place, #4 ASSIGN PROJECTS TO FREELANCERS: Yes PAYMENT: Flat Fee Bronxville, NY 10708 SERIES BOOKS/SINGLE TITLES: Both Fax: 914-961-6946 PREFERRED METHOD OF CONTACT: Email BROWN WELLS & JACOBS www.caderbooks.com QUERY LETTER: Writing samples - art through Foresters Hall, 25-27 Westow Street PROJECT SUBMISSIONS: No. e-mail or website London SE19 3RY, United Kingdom SPECIALTIES: Licensed Characters, PAYMENT: Usually Flat Fee +44 208-771-5115; Fax +44 208-771-9994 Merchandising [email protected] AGE-GROUP: All www.bwj.org FICTION/NON-FICTION: Mostly Non-fiction CONTACT: Graham Brown ASSIGN PROJECTS TO FREELANCERS: Yes 170 2017 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/NON-FICTION: Mostly Non-fiction 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/NON-FICTION: Both SPECIALTIES: Fiction and non-fiction 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/NON-FICTION: Non-fiction 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 | DIRECTORY PRODUCERS BOOK PAYMENT: FlatFee educational formats. formats thatwilllend themselves tointeractive, non-fiction) aswellproposals for new book We consider manuscripts (bothfiction and QUERY LETTER:QueryLetterorManuscript. PREFERRED METHODOFCONTACT: Regularmail SERIES BOOKS/SINGLETITLES:Both ASSIGN PROJECTSTO FREELANCERS:Yes FICTION/NON-FICTION: 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. Non-fiction only for adults. FICTION/NON-FICTION: Fiction and non-fiction 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/NON-FICTION: Non-fiction 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/NON-FICTION: Non-fiction Only AGE-GROUP: Ages 6-13 SPECIALTIES: Non-fiction, 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/NON-FICTION: Mostly non-fiction, but AGE-GROUP: Grades Kto6 SPECIALTIES: Non-fiction 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 fiction. FICTION/NON-FICTION: 0-8fiction 0-14 Non- AGE-GROUP: Ages 0-14 titles, tonon-fiction. 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 | 171

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

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

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

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

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

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

BOOK REVIEWERS DIRECTORY

compiled by Jim Averbeck

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

When deciding to whom you should send your book, consider the Once you have submitted your material, it is out of your hands. Even types of books they review and the publications or sites where the if a reviewer enjoys your book, they may not be able to include it in a review will appear. Circulation and page view figures for the various review. Word counts are limited, and entire columns may be canceled outlets are estimates. They are meant to give you an idea of how many due to overall space limitations within a publication. The book may people may read the reviews in each publication. also have to meet the tastes and standards of the editor and publisher Pay attention to what each reviewer wants. Some reviewers prefer as 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 to you. After reading your book, a reviewer may donate it to a book in a timely manner and would like to receive galleys because local school or as a door prize at a writer’s conference. they must review a book closer to when it is released. Others are less At the end of this listing, several means of publicity other than timely but still must have the book within the year it is published. reviewers are provided. Even if you cannot find an eligible reviewer Many reviewers give priority to authors or books with a connection to within these pages, these additional resources may help you publicize their geographical region. If the bio on your book doesn’t tell people your work. If a contact has included their phone number, only call where you are from and there is a connection, let the reviewer know! during normal business hours. Treat them with the same courtesy and Send them what they want and there is a better chance that your book professionalism you would treat an editor. Remember that they, too, will 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 , admire DURATION: I’ve reviewed occasional books creativity, but “new” and “unusual” aren’t TESS ALFONSIN (THE READING COUNTESS) for these and other magazines since the sufficient criteria. The real test is whether a Katy, TX midseventies. book does its job. Does it tell the story? Does it [email protected] TYPES OF BOOKS: My particular oeuvre as a create its world or explain its subject? Does it REVIEWS FOR: www.recycleyourreads.com writer and illustrator is nonfiction for young introduce me to a new way of seeing something DURATION: Two years people, but I’ve reviewed many books about familiar or a rare glimpse of something exotic? TYPES OF BOOKS: Fiction, nonfiction, picture marine subjects and technology (including The I expect even more style, wit, and skill from books, middle grade, young adult. As a middle Pencil and The Evolution of Useful Things by writers addressing a young audience; children school 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 174 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Thirteenyears Magazine, MADMagazine , 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 Goodreads under my Ruby www.ourtimeinjuvie.com. My reviews are also good character! Relying uponthe psychological books whose characters demonstrate . well, education guidelines. We endeavor toilluminate fiction against acriteria baseduponcharacter first service to review children’s and young adult ADDITIONAL INFORMATION: Litland.com isthe RELEASED: Anytime REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: Yes other outlets. review issubsequently promoted there and at available for salethrough Amazon.com, asthe to older teens (ages 16+).Allbooksmust be well asfiction writtentoadults but of interest books inother categories are alsoconsidered as fiction of all genres for ages 9–18, exceptional demonstrate classic virtues. Primarily reviewing Litland.com reviews books whose protagonists TYPES OFBOOKS:Booksfor allage groups. DURATION: Three years and Facebook(Litland reviews). Announcements are made onTwitter (Litland) to the author’s bookfor saleonAmazon.com. on JacketFlap and Goodreads, and are posted Subsequently, Litland.com’s reviews appear and other reading-/learning-related resources. education guidelines, along withteaching com) provides reviews against character REVIEWS FOR:Litland.com (www.litland. [email protected] Bellingham, WA 98227 PO Box 684 DEBRA BLACK BOOK REVIEWERS DIRECTORY | 175 and social sciences, which inform of healthy degree in English/American literature. I am a two million) PREPARING & SUBMITTING moral and cognitive lifespan development, teacher, wife, and mother. I am also a writer, DURATION: Since 1994 stories must focus on the nature of the and I know the work that goes into writing TYPES OF BOOKS: I work with themes, but I am protagonist’s relationships, dilemma, and/or great stories. I read constantly, and I keep an open to any and all books—fiction, nonfiction, situation in a manner that exemplifies healthy open mind while reading books and writing poetry, adventure, etc., for ages 10 and up. I choices and selfless behavior. As such, storylines reviews. look for good books for/about girls or books that distract with unnecessary hedonism or that contain strong heroines, but I will also aggression are not reviewed. Our website is PATTY CAMPBELL include any book that I think is good regardless designed for families to choose books based 1842 Santa Margarita Drive of male or female characters. upon their own value system, a process which Fallbrook, California 92028 REVIEWS SELF-PUBLISHED MATERIAL: Yes we call Do-Re-Mi. Book reviews link to a blog REVIEWS FOR: Horn Book Magazine and REVIEWS EBOOKS: No MARKET SURVEYS with commentary on the book, allowing general Amazon.com REVIEWS MATERIAL THE SEASON IT IS discussion about it. Litland.com is also a TYPES OF BOOKS: Young adult fiction RELEASED: Yes teaching resource for classroom and homeschool REVIEWS SELF-PUBLISHED MATERIAL: No ADDITIONAL INFORMATION: If your book is instruction, highlighting books and resources REVIEWS EBOOKS: No selected for review, two additional copies will that will aid in character development of REVIEWS MATERIAL THE SEASON IT IS be needed for copyediting and artwork. I rarely students. As such, reviews provide suggestions RELEASED: Yes review picture books. as to the use of books in many settings. We also ADDITIONAL INFORMATION: I have been a provide parent and teacher activities and links critic, reviewer, and columnist in the field of SUE CORBETT DIRECTORIES & RESOURCES to free resources, which can be very useful for young adult literature for thirty-seven years. 202 Hilton Terrace tying the book into a homeschool or classroom I am the author of five books on the subject Newport News, VA 23601 curriculum. (see Presenting Robert Cormier) and have REVIEWS FOR: People magazine, Publishers written for most of the major review journals, Weekly, ELLEN R. BRAAF including the New York Times Book Review. DURATION: Sixteen years PO Box 3215 Currently I write The Sand in the , TYPES OF BOOKS: Fiction, nonfiction, picture Reston, VA 20195-1215 a column for Horn Book Magazine, which books, middle grade, young adult REVIEWS FOR: Children’s Literature (reviews focuses on controversial issues in young REVIEWS SELF-PUBLISHED MATERIAL: No appear in database); BarnesandNoble.com adult books and publishing. I also review REVIEWS EBOOKS: No DURATION: Since February 1999 teen books for Amazon.com online bookstore. REVIEWS APPS: No TYPES OF BOOKS: Picture books, easy readers, I prefer realistic young adult fiction, the REVIEWS MATERIAL THE SEASON IT IS middle grade and young adult novels, and darker the better; I deplore horror but RELEASED: Yes PUBLICIZING YOUR PUBLISHED WORK nonfiction occasionally consider fantasy. LEAD TIME FOR PUBLICATION: One month REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: No JACKIE CASTLE TRACEY COX REVIEWS MATERIAL THE SEASON IT IS 701 Way PO Box 573 RELEASED: Yes Bedford, TX 76021 Ocilla, GA 31774 ADDITIONAL INFORMATION: If a book is not [email protected] [email protected] assigned, I’ll only review it if I love it. REVIEWS FOR: www.castlereads.blogspot.com; REVIEWS FOR: Tifton Gazette and Ocilla Star the Castle Library does weekly features on (both are monthly) ALISON BREIDENSTEIN newly released books. TYPES OF BOOKS: Picture books (my first San Diego, CA DURATION: One year choice), middle grade, and young adult, fiction [email protected] TYPES OF BOOKS: Fiction, picture books, early and poetry REVIEWS FOR: literarylunchbox.blogspot.com reader, middle grade, young adult REVIEWS SELF-PUBLISHED MATERIAL: Yes TYPES OF BOOKS: Picture book, middle grade, REVIEWS SELF-PUBLISHED MATERIAL: No REVIEWS EBOOKS: Not at this time

young adult. I am a middle grade writer, so I REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS SCHOOL VISITS tend to favor middle grade books, but I also like REVIEWS APPS: No RELEASED: Yes young adult dystopia and wonderfully written/ ADDITIONAL INFORMATION: I cannot ADDITIONAL INFORMATION: I will only publish illustrated picture books with a story. guarantee a feature on my blog. I do not good reviews. Sender of the book needs to REVIEWS SELF-PUBLISHED MATERIAL: Yes generally review, but rather introduce a book understand that if the book doesn’t grab me REVIEWS EBOOKS: Yes and offer activity ideas to go along with it. (text/pictures), I have the option of not doing REVIEWS APPS: Yes Young adult books I will feature if I like them, a review. I would rather not say anything about LEGAL QUESTIONS REVIEWS MATERIAL THE SEASON IT IS but seldom offer activity ideas with this age a book than write a bad review. RELEASED: Yes level. ADDITIONAL INFORMATION: My blog is NAOMI DANIS limited to favorable reviews. I want my readers, KIM CHILDRESS, BOOK EDITOR Lilith Magazine students, and parents to use my blog as a 4287 Aztec Way 250 W. 57th Street, #2432 resource for well-written literature, so I do not Okemos, MI 48864 New York, NY 10107 post reviews of books I did not like. I have a REVIEWS FOR: Girls’ Life Magazine (circulation REVIEWS FOR: Lilith Magazine (11,000 copies 176 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TYPES OFBOOKS: Nonfiction. I review DURATION: Three years simplyscience.wordpress.com) REVIEWS FOR:SimplyScience (www. [email protected] Jemez Springs, NM87025 37 PineConeDrive SHIRLEY DUKE query prior tosending review items. and rural subject matter. Pleasesend e-mail Midwest authors and illustrators and/or Midwest interested in reviewing worksof Wisconsin/ ADDITIONAL INFORMATION: Particularly newly released aswellbacklist/outof print. RELEASED: Random schedule. Ireview both REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No with the interests of my children. content. Subjectmatter of postsvaries along readers and middle grade, depending on nonfiction. Occasionally I review beginning review picture books, bothfiction and books, earlyreaders, middle grade; Iprimarily TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Fouryears 8,000) Readers; average uniquemonthly visitors= brimfulcuriosities.com (Feedburner =1,237 REVIEWS FOR:BrimfulCuriosities, www. [email protected] JANELLE DAVIS aol.com. free (888)2‑LILITH,ore-mail lilithmag@ subscription orsamplecopyof Lilith,calltoll not necessarily yourstandard reviews. Fora Books Share the World’s BadNews withKids”; children’s bookauthor roundup on“How reading The Diaryof AnneFrank,orlastyear’s this year’sroundup of readers remembering feature related tochildren’s books, such as books for young readers. We usually do a fall issuewehavehadaspecial feature on also review adult books).Since 1996,inour our quarterly Jewish feministmagazine (we reviewed some booksfor young readers in ADDITIONAL INFORMATION: We havealways RELEASED: Not necessarily REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: Yes are of special interest toJewish feminists TYPES OFBOOKS:Booksfor young readers that DURATION: Since 1976 reaching about25,000readers) | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK 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 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 [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 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 BOOK REVIEWERS DIRECTORY | 177

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

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

dystopian, paranormal, fantasy (though not a month, unless specifically scheduled SCHOOL VISITS high fantasy, a bit more mainstream), historical PAUL GOLDSCHMIDT ADDITIONAL INFORMATION: I work as a fiction 5625 Highland Way school librarian, so I’m always looking for REVIEWS SELF-PUBLISHED MATERIAL: No Middleton, WI 53562 great new books to share with my students and REVIEWS EBOOKS: Yes [email protected] to put in my school library. I read a little bit REVIEWS APPS: Yes REVIEWS FOR: Not Acting My Age of everything in children’s literature (except REVIEWS MATERIAL THE SEASON IT IS DURATION: Seven years horror). I’m more selective about young adult LEGAL QUESTIONS RELEASED: Year-round reviewing TYPES OF BOOKS: Fiction, middle grade, young because I prefer books to be clean (little if any LEAD TIME FOR PUBLICATION: Two to three adult; my key focus is contemporary coming- bad language, mild sexual situations). months of-age books. Books dealing with interpersonal relationships are also of interest. I review some fantasy works dealing with these subjects in a realistic fashion. On occasion, I will review historical novels. I tend to do more young adult 178 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org RELEASED: Yes REVIEWS MATERIAL THE SEASONITIS REVIEWS EBOOKS:No (not yet) REVIEWS SELF-PUBLISHEDMATERIAL: No young adults. fiction and nonfiction, for middle grade and TYPES OFBOOKS:Ireview all typesof books, DURATION: Irregularly for four years newspaper) REVIEWS FOR:ThePhiladelphiaInquirer(daily [email protected] Napa, CA94558 429 MontecitoBoulevard HILLARY HOMZIE months LEAD TIMEFORPUBLICATION: Two tothree RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No for children, orteaching writing. pertain tothe writing process, writers, writing TYPES OFBOOKS:Ireview onlythose booksthat DURATION: Three years REVIEWS FOR:www.teachingauthors.com [email protected] Chicago, IL60611 222 E.Pearson Street,#1108 ESTHER HERSHENHORN LEAD TIMEFORPUBLICATION: One month RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Rarely REVIEWS EBOOKS:Rarely REVIEWS SELF-PUBLISHEDMATERIAL: Rarely every bookthat’ssent tous. with the others. We don’t guarantee areview for always classroom use. We review poetryalong blog. The context for ourbookreviews isalmost an education blogmore thanjustastraight book teachers for useintheir classrooms. Ourblogis use inourclassrooms orrecommend toother teaches fourth grade. We review bookswe’d books, middle grade. Iteachfifthgrade; Franki TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Sixyears blogspot.com) withFranki Sibberson REVIEWS FOR:AYear of Reading (readingyear. [email protected] Columbus, OH43214 523 E.LincolnAvenue MARY LEEHAHN | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK 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 e-mail 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 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 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, Tennessee 37090-8812 2655 HollowayRoad DIANE R.CHENKELLY BOOK REVIEWERS DIRECTORY | 179 students. I review all types of books including Bookmarks, The Bark, Foreword Reviews SHARON LEVIN PREPARING & SUBMITTING board books, picture books, biographies, STEM DURATION: Since 1997 475 Quartz Street (science, technology, engineering, and math) TYPES OF BOOKS: Children’s and young adult Redwood City, CA 94062-2225 related titles, young adult literature, and adult fiction, nonfiction, and poetry; North Carolina [email protected] fiction. and Southern books; dog books REVIEWS FOR: I review regularly for the REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS SELF-PUBLISHED MATERIAL: Yes Unshelved website. Much of my reviewing REVIEWS EBOOKS: Yes REVIEWS EBOOKS: No happens in the form of book talks. I am a REVIEWS APPS: Yes REVIEWS MATERIAL THE SEASON IT IS regular at the Raising a Reader Conference in REVIEWS MATERIAL THE SEASON IT IS RELEASED: Yes Redwood City and at Nevada Reading Week RELEASED: All year every year in Reno. I also give book talks for ADDITIONAL INFORMATION: I review Android MARGO LEMIEUX students (fourth grade through high school), MARKET SURVEYS apps as I do not have an iPhone. If I were to 22 Highland Avenue parents, teachers, librarians, etc. I have a San receive an iPhone, I would review iPhone apps Mansfield, MA 02048 Francisco Bay Area children’s literature list that relate to elementary and middle school [email protected] (although there are people on it as far away as education. REVIEWS FOR: Sun Chronicle (circulation London) with 1,300+ people on it, and I will 25,000) share books with them. If a book inspires a JOANNA KRAUS DURATION: Since 1997 column, I send it to my list and to the Child Lit 3117 Terra Granada Drive #4 TYPES OF BOOKS: All types of children’s books Listserv out of Rutgers.

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

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

a weekly newspaper serving the communities lesson plans and/or other related resources that ADDITIONAL INFORMATION: I donate the SCHOOL VISITS of the northeastern coast of Maine. Special feature/use the reviewed books. books I get to local school libraries. I review attention to books about Maine or by local REVIEWS SELF-PUBLISHED MATERIAL: Yes content as well as style. authors. In all cases, authors should always REVIEWS EBOOKS: No query first and should not send books unless REVIEWS APPS: No JONE MACCULLOCH requested. REVIEWS MATERIAL THE SEASON IT IS 4397 SE Glen Echo RELEASED: No Milwaikie, OR 97267 LEGAL QUESTIONS ANGELA LEEPER ADDITIONAL INFORMATION: At the present [email protected] Educational Consultant time, I do not review ebooks and apps. REVIEWS FOR: maclibrary.wordpress.com 817 S. White Street However, I do plan to review books in these DURATION: Six years Wake Forest, NC 27587 formats in the future. TYPES OF BOOKS: Nonfiction, middle grade; [email protected] poetry and novels in verse REVIEWS FOR: Kirkus Reviews, MultiCultural REVIEWS SELF-PUBLISHED MATERIAL: Yes Review, BookPage, Our State (North Carolina), 180 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org RELEASED: Not necessarily REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No young readers TYPES OFBOOKS:Picture books, beginning, and DURATION: One year twentieth year) in Albuquerque/ Santa Fearea, now inits (three‑hour Sunday morning radio show REVIEWS FOR:Transitions Radio Magazine [email protected] Santa Fe, NM87505 911B DonGaspar PARVATI MARKUS author interviews, too. coverage when Iblogaboutabook.lovetodo Twitter Imake itapriority todo social media can do special promotions such asgiveaways. On relationship withmany publishing houses, soI where Ishare lotsof book news. Ihaveastrong and launches. My Facebookpage is them. Ialsopublicize events such asbook books from localLAauthors and help promote ADDITIONAL INFORMATION: Ireally like tosee LEAD TIMEFORPUBLICATION: Two months RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:Yes REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No We alsowant toreview more special needs titles. motherhood, divorce, special circumstances, etc. pertains tofamilies and parenting, fatherhood, adult nonfiction and fiction occasionally ifit (college-aged) aswellfamily cookbooksand we review allgenres for children through teens books, earlyreaders, middle grade, young adult; TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Fouryears Parenthood.com’s Practical Parenting newsletter. parenthood.com, and featured weeklyin westchester.parenthood.com, colorado. parenthood.com, boston.parenthood.com, bayareaparent.parenthood.com, sanantonio. and onthe blogatlosangeles.parenthood.com, our children’s bookreviews inprint, online, www.facebook.com/goodreadswithronna); find (on Twitter @goodreadsronna, onFacebookat REVIEWS FOR:www.goodreadswithronna.com [email protected] La Canada,CA91011 4813 IndianolaWay RONNA MANDEL REVIEWS APPS:No REVIEWS EBOOKS:Yes | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK out there and deserve their consideration. Adult schools and libraries aware thatnew writersare interested inencouraging writers and 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 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. Pleasee-mail me and askif conferences. Pleasesend anSASE soIcansend libraries and offer them asdoor prizesatSCBWI I share them withschool libraries and public with the publisher. When the booksstackup, assess my ownwriting, and Igainacontact behind. Writing areview teaches me how to be reviewed, butusually amsixtoeight books publisher. Ilovereceiving beautifulbooksto in any promotional material, tothe author or published copy, along withpermission touseit books. Afterthe review ispublished, Isend a that my reviews make them want toread the readers havebeenverycomplimentary, saying donated tolocalliteracy orother localcharities. ADDITIONAL INFORMATION: 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 BOOK REVIEWERS DIRECTORY | 181

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

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

ADDITIONAL INFORMATION: I focus on DURATION: Four years online, forty years in a seasonal material okay, if received three months SCHOOL VISITS concise, user‑friendly reviews that offer library in advance of holiday readers a real flavor of the book. TYPES OF BOOKS: Nonfiction, picture books, REVIEWS SELF-PUBLISHED MATERIAL: No early readers; easy-reading nonfiction suitable REVIEWS EBOOKS: No JUDITH NASSE for preschoolers and first readers; nothing ADDITIONAL INFORMATION: The Reading Room 6561 NDCBU longer; no fiction of the Children’s Museum of Northern Nevada Taos, NM 87571 REVIEWS SELF-PUBLISHED MATERIAL: No appeals to children and their families ages LEGAL QUESTIONS [email protected] REVIEWS EBOOKS: No toddler through junior high. We seek to review REVIEWS FOR: Amazon.com; Barnes&Noble. REVIEWS APPS: No quality books that will appeal to diversified com; my children’s book review blog REVIEWS MATERIAL THE SEASON IT IS cultural and socioeconomic backgrounds. (childrens-book-reviews.blogspot.com); I RELEASED: Yes announce the review on my Facebook page ADDITIONAL INFORMATION: I am a retired and any other publications that will accept librarian and a working writer with over thirty the review published books. DURATION: Since 1994 182 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 1989. youth. I’vebeencoordinating thisprogram since are accompanied byreviews writtenbylocal ADDITIONAL INFORMATION: My bookreviews RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No Occasionally REVIEWS SELF-PUBLISHEDMATERIAL: TYPES OFBOOKS:Alltypes DURATION: Since 1989 (circulation 20,000) REVIEWS FOR:TheDailyRepublic,weeklycolumn [email protected] Mitchell, SD57301 120 S.Lawler PO Box 1288 Book Columnist,c/oTheDailyRepublic JEAN L.S.PATRICK REVIEWS FOR:ArizonaDailySun , monthly Flagstaff, AZ86001 3020 N.SnowCapWay ANNE PISACANO recent copyright dates. RELEASED: Ireview new booksor bookswith REVIEWS MATERIAL THESEASONITIS REVIEWS E-BOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: Yes seasonal. and nonfiction, poetry, activity, crafts, and books for giftedstudents ingrades 1–8.Fiction TYPES OFBOOKS:Children’s books. Ireview DURATION: Two years Discover REVIEWS FOR:Above&Beyondand [email protected] Boulder, CO80305 3190 EndicottDrive PHYLLIS J.PERRY RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: Yes young adult; fiction, nonfiction, and poetry books, beginning readers, middle grade, and TYPES OFBOOKS:Allgenres, including picture DURATION: Since 1998 and author interviews well‑respected websitethatdoes bookreviews REVIEWS FOR:JanuaryMagazine,a [email protected] Tecumseh, MI49286 512 EastChicagoBoulevard Associate Editor, JanuaryMagazine PAMELA C.PATTERSON | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK Think& [email protected] Staten Island,NY 10312 232 HamptonGreen JOAN REGEN-RAMIREZ year of publication RELEASED: Yes, fairly current bookswithinthe REVIEWS MATERIAL THESEASONITIS 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, ThePortal 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 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) 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 they personally appealtome or deserving an books thatare worthy of mention because ADDITIONAL INFORMATION: Onlyreview books RELEASED: Yes, especially for locallypublished REVIEWS MATERIAL THE SEASONITIS REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No relevance to the 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 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 BOOK REVIEWERS DIRECTORY | 183 endorsement for purchase by parents, teachers, ADDITIONAL INFORMATION: Our readers are ex- REVIEWS SELF-PUBLISHED MATERIAL: No PREPARING & SUBMITTING and school libraries; would like a network for pats who are interested in helping their children REVIEWS EBOOKS: No continuing to hone the craft of book reviewing maintain or develop a connection to the English ADDITIONAL INFORMATION: My reviews appear for me and young reviewers. I am on the boards language and culture. Two to four books are monthly. of the Philippine Board on Books for Young reviewed each issue. People and the Sa Aklat Sisikat [Books Are JENNIFER SINGER Cool!] Foundation. The latter trains grade 4 TARIE SABIDO 2523 NE 115th Street public school teachers on promoting the love 21 F. Manalo Street Seattle, WA 98125 of reading and envisions a nation of readers. I Brgy. Pinagkaisahan [email protected] am a published author of books for children and Cubao, Quezon City 1111 REVIEWS FOR: Cofounder and contributor to adults and have been teaching at International Philippines children’s and young adult book review blog MARKET SURVEYS School Manila for all of my professional life [email protected] Our Time in Juvie (www.outrimeinjuvie.com). We where I headed the Children’s Media Center. REVIEWS FOR: Into the Wardrobe, an provide book reviews, book recommendations/ international blog on literature for the young lists (by category and age), author interviews SHEILA RUTH and young at heart; Asia in the Heart, World and guest blog posts, local event information, [email protected] on the Mind, a blog on Asian children’s and YA etc. REVIEWS FOR: Wands and Worlds (blog1. books DURATION: Two years wandsandworlds.com) DURATION: Eight years TYPES OF BOOKS: Fiction or nonfiction, picture

DURATION: Eight years TYPES OF BOOKS: Fiction, nonfiction, picture books, early readers, middle grade, young adult; DIRECTORIES & RESOURCES TYPES OF BOOKS: Fiction, middle grade, young books, early readers, middle grade, young adult all books written for children and teens are fair adult; fantasy, science fiction, and speculative REVIEWS SELF-PUBLISHED MATERIAL: Yes game, whether they’re fiction or nonfiction, fiction REVIEWS EBOOKS: Yes wordless picture-book or epic-novel length. REVIEWS SELF-PUBLISHED MATERIAL: Yes REVIEWS APPS: Yes In the past, our site has covered virtually REVIEWS EBOOKS: No REVIEWS MATERIAL THE SEASON IT IS every genre and lists even more books for REVIEWS APPS: No RELEASED: I have no specific schedule for recommendation. REVIEWS MATERIAL THE SEASON IT IS reviewing books. REVIEWS SELF-PUBLISHED MATERIAL: No RELEASED: Some books REVIEWS EBOOKS: Yes LEAD TIME FOR PUBLICATION: One to two MARY ANN SCHEUER REVIEWS APPS: No months 3132 Lewiston Avenue REVIEWS MATERIAL THE SEASON IT IS ADDITIONAL INFORMATION: Please query by Berkeley, CA 94705 RELEASED: Review year-round, new and old e-mail to [email protected], and if [email protected] titles alike PUBLICIZING YOUR PUBLISHED WORK I’m interested, I’ll send you the address to send REVIEWS FOR: Parents’ Press, a monthly ADDITIONAL INFORMATION: While I will the book. Please be aware that I receive many newspaper distributed throughout the San happily read ebooks, my preferred format is more submissions than I can read, so if I don’t Francisco Bay Area (monthly Bookshelf column); the physical book. I will occasionally review respond to your query, it’s not personal. I don’t my blog, Great Kid Books (greatkidbooks. self-published material, but I request specific promise a review, and I rarely review books that blogspot.com) inquiries for those. Our e-mail and additional I don’t like. I do try to analyze each book I DURATION: Three years information on the materials we accept for review critically and discuss the strengths and TYPES OF BOOKS: Fiction, nonfiction, picture review can be found at www.ourtimeinjuvie.com. weaknesses, as well as suggested audience for books, early readers, middle grade; my target the book. More information can be found in my age group is ages 2–14; I do not review YA. ART SPENCER review policy at: blog1.wandsandworlds.com/p/ REVIEWS SELF-PUBLISHED MATERIAL: No 2632 26th Place SE blog-review-policy.html. REVIEWS EBOOKS: No Auburn, WA 98002 REVIEWS APPS: Yes [email protected] CHRISTINE GERBER RUTT REVIEWS MATERIAL THE SEASON IT IS REVIEWS FOR: BookVoyages blog (www.

Rheinländerstrasse 16 RELEASED: Yes bookvoyages.com); Auburn School District SCHOOL VISITS 4056 Basel, LEAD TIME FOR PUBLICATION: One month Destiny Library Manager (internal only), 440 [email protected] students REVIEWS FOR: Basel Childbirth Trust MERIBETH C. SHANK DURATION: Eleven years (newsletter), monthly column (circulation 200) 10200 N. Miami Avenue TYPES OF BOOKS: All books; realistic fiction is DURATION: Since September 2003 Miami Shores, FL 33150 a favorite; I review only a few YA books; most TYPES OF BOOKS: Picture books, beginning [email protected] of my reviews are for books appropriate for LEGAL QUESTIONS readers, poetry, and seasonal material REVIEWS FOR: Miami Family Magazine (www. elementary age, and all genres. REVIEWS SELF-PUBLISHED MATERIAL: Yes, if miamifamilymagazine.com) (circulation 40,000) REVIEWS SELF-PUBLISHED MATERIAL: Yes exceptional DURATION: Since October 2004 REVIEWS EBOOKS: Yes REVIEWS EBOOKS: No TYPES OF BOOKS: Picture books, beginning REVIEWS APPS: No REVIEWS MATERIAL THE SEASON IT IS readers, middle grade, young adult, fiction, REVIEWS MATERIAL THE SEASON IT IS RELEASED: Book reviews are slotted to fit with nonfiction, poetry, and seasonal material; I RELEASED: No the newsletter theme often have a theme when I write reviews. 184 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org that canbeusedwith my 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 itfor aspecial ADDITIONAL INFORMATION: When the right RELEASED: Yes REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No folktales ororiginal stories Asian cultures, and mountain adventures; Asian special interest inbookssetAsia, bookson books, middle grade, young adult; Ihavea TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Since 1991 newspaper, Blueear.com, online journals REVIEWS FOR:Freelance for TheTimes-Picayune [email protected] New Orleans, LA70118 6030 HurstStreet WHITNEY STEWART secondary language artsclassroom. especially lookfor booksthatwillworkwellina study guide manuscript intended for teachers. I of my bookreviews inthe firstedition of a teachers, and librarians. Ihaveusedahundred book talkworkshops eachyeartostudents, ADDITIONAL INFORMATION: Ialsogiveseveral audience undiscovered byteachers, parents, orchild older booksthatare stillfavorites orperhaps RELEASED: Whenever possible;alsoreview REVIEWS MATERIAL THESEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No and young adult novels; fiction, some nonfiction TYPES OFBOOKS:Picture books, middle grade, DURATION: Three years submissions used SIGNAL Journal,and NCTESelectsquarterly as column (circulation 400);TheALANReview, Utah Children’s WritersListserv, weekly Fork Press,weeklycolumn(circulation 4,000); REVIEWS FOR:ReadAllAboutIt, Spanish [email protected] Spanish Fork,UT84660 804 East1050South LU ANNBROBSTSTAHELI | BOOK REVIEWERS DIRECTORY | REVIEWERS BOOK 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 REVIEWS SELF-PUBLISHED MATERIAL: 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 RELEASED: Any time REVIEWS MATERIAL THESEASONITIS REVIEWS APPS:No REVIEWS EBOOKS:Yes REVIEWS SELF-PUBLISHEDMATERIAL: No especially nonfiction; for children graphic novels, no manga; picture books, books, middle grade; baseball-themed books; TYPES OFBOOKS:Fiction, nonfiction, picture DURATION: Fouryears Shelf-employed on Twitter @shelfemployed; onFacebook: daily regular readers via RSSfeedand e-mail); (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 physical copy of yourbooktoreview it. reviewed or receive aresponse. Irequire a Unsolicited workswillnot necessarily be project before submitting abookormanuscript. courteous and e-mail me firstto describe your ADDITIONAL INFORMATION: Pleasebe LEAD TIMEFORPUBLICATION: Three months 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 RELEASED: Yes REVIEWS MATERIAL THE SEASONITIS REVIEWS EBOOKS:No REVIEWS SELF-PUBLISHEDMATERIAL: No readers, fiction, nonfiction, seasonal TYPES OFBOOKS:Picture books, beginning REVIEWS FOR:BookReview.com [email protected] LAURIE WHITMAN REVIEWS APPS:No BOOK REVIEWERS DIRECTORY | 185

MARK L. WILLIAMS LEAD TIME FOR PUBLICATION: Two months PREPARING & SUBMITTING 10765 Tabor Street ADDITIONAL INFORMATION: I review only books Los Angeles, CA 90034 that I have enjoyed reading. My background is [email protected] in education and writing, so I look for books REVIEWS FOR: Kids’ Shelf column for Studio City that would be well-placed in classrooms Sun (www.studiocitysun.com) (preS-12th grade). DURATION: Nearly a year TYPES OF BOOKS: All MARKETABILITY: BOOK PUBLICITY AND REVIEWS SELF-PUBLISHED MATERIAL: Yes PROMOTION WITH A TWIST REVIEWS EBOOKS: No 813A 14th Street REVIEWS MATERIAL THE SEASON IT IS Golden, CO 80401 MARKET SURVEYS RELEASED: Generally (888) 55-TWIST (fax) (303) 279-7950 LISA A. WROBLE www.marketability.com 441 Quail Forest Blvd., #301 ADDITIONAL INFORMATION: In cooperation Naples, FL 34105 with the Company, MarketAbility has [email protected] formed a network of sites on over five hundred REVIEWS FOR: “Read & Play” column for topics. Each Mining Co. GuideSite™ is devoted

Early On newsletter, Wayne RESA, (circulation to a single topic and includes site reviews, DIRECTORIES & RESOURCES 100,000); Christian Library Journal (circulation articles, and discussion areas. Many Guides are 1,000, to Christian, school, and public interested in receiving review copies of books librarians)–editor provides assignments; plus in their subject area for review on their site. reviews posted on Goodreads, Books Use in To review the list of subject areas, visit www. Classrooms board on Pinterest, and blogs. marketability.com. Follow the directions on this DURATION: Early On since 2012; Christian site to receive contact information. Library Journal since 1997. TYPES OF BOOKS: Picture books, any type and THE CHILDREN’S LITERATURE PROGRAM genre; classic and well-loved picture books Department of English and Comparative suitable for ages 0–5, fiction and nonfiction for Literature all ages. For Early On: board and novelty books, San Diego State University apps, picture books for ages 0-4. For Christian San Diego, CA 92182‑8140 PUBLICIZING YOUR PUBLISHED WORK Library Journal, editor provides suggestions. All www-rohan.sdsu.edu/~childlit others: all ages, fiction, picture book through TYPES OF BOOKS: Children’s books on a variety New Adult; genres: fantasy, science fiction, of topics mystery/suspense, paranormal, historical, ADDITIONAL INFORMATION: Book reviews are literary; MG/YA nonfiction to build self-esteem, posted on the website by topic and are written deal with growth/personal issues/self-help; by academics associated with the program. In parenting how-to and specific educational order to have your book considered for review, issues nonfiction. have your publisher submit it to the above REVIEWS SELF-PUBLISHED MATERIAL: Yes address. A list of topics and other information is (send e-mail first) available on the website. REVIEWS EBOOKS: Yes REVIEWS MATERIAL THE SEASON RELEASED RELEASED: NOT ESSENTIAL SCHOOL VISITS RITA ZOBAYAN [email protected] www.ritazthewriter.com @ritazthewriter www.facebook.com/rita.thewriter.3 REVIEWS FOR: Good Reads with Ronna LEGAL QUESTIONS 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 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 worldwide wishing to submit data should visit www.scbwi.org and under “Find a Speaker”, click on “About School Visits”, then click on “Submit International School Visit Information.”

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

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

WRITING & ILLUSTRATION COURSES DIRECTORY

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

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

Pima Community College/Tucson ARKANSAS US COURSES Tuscan, AZ WRITING COURSES www.pima.edu/ University of Arkansas ARIZONA COURSE TITLE: Literature/Social Studies for Department of English OCCASIONAL WRITING COURSES Children 333 Kimpel COURSE DESCRIPTION: Survey of principles, Fayetteville, AR 72701 Arizona State University materials, and techniques for the selection 479-575-4301 Virginia G. Piper Center for Creative Writing and evaluation of children’s literature www.uark.edu/depts/english/ Mollie Connelly and social studies materials. Includes PO Box 875002 incorporating an appreciation of other CALIFORNIA Tempe, AZ 85287-5002 cultures, and planning and implementing WRITING COURSES 480.727.0818 developmentally appropriate activities. http://piper.asu.edu CSU/Northridge Tucson Parks and Recreation Department of English Cochise Community College/Wilcox 509-573-3933 CSUN, 18111 Nordhoff Street, English Department www.ezeereg.com Northridge, CA 91330-8248 800-966-7943, Ext. 4058 or Ext. 5490 818-677-3434 www.cochise.edu/deptsdirs/englishdept/index. Tucson www.csun.edu/english/index.php asp Pima County Public Library www.library.pima.gov/ City College of San Francisco Glendale Community College The University of Arizona Department of English www.gc.maricopa.edu/ Department of English www.ccsf.edu/Departments/English/ COURSE TITLE: Children’s Literature 1423 E. University Blvd. Rm. 445 COURSE DESCRIPTION: Review of folk and Modern Languages Building Learning Annex/San Diego modern literature, including application of P.O. Box 210067 619-544-9700 literary criteria to folk and modern literature Tucson, Arizona 85721 Writing and Publishing Channel 520-621-1836 www.learningannex.com/categories/ english.arizona.edu/ writing+%2526+publishing 190 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.hancockcollege.edu/Default.asp?Page=520 805-922-6966 English Department Allan HancockCollege OCCASIONAL WRITINGCOURSES https://www.uclaextension.edu/fos/Writing.aspx [email protected] 310-825-9415 Writing Program UC Extension/LosAngeles www.marinlearn.com/ Tamplais UnionSchoolDistrict for children ages 1-13. students interested in the field of literature aides, childdevelopment professionals and Designed for parents, prospective teachers, practices inpresentation and analysis. child develop­ including criteria for selection, usesin and contemporary children’s litera ­ Course Description: Examination of classic 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 & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING ment and education, and ture, Art Deparment City Collegeof SanFrancisco REGULAR ILLUSTRATING COURSES www.vcccd.edu/ 805-652-5500 Ventura CommunityCollege english.ucr.edu/ 951-827-5301 English Department UC ContinuingEducation/Riverside www.napavalley.edu/apps/comm.asp?$1=26 Writing Center Napa Valley College mcweb.moorparkcollege.edu/english/ 805-378-1400 English Department Moorpark CommunityCollege english/ www.mjc.edu/prospective/programs/litlang/ [email protected] Department of English Modesto JuniorCollege 310-478-6677 Learning Annex/Los Angeles www.csustan.edu/English 209-667-3361 Department of English California StateU/Stanislaus www.csuchico.edu/engl/ 530-898-5124 English Department California StateU/Chico www.csub.edu/English/index.htx 661-654-2144 English Department California StateU/Bakersfield www.arnenixoncenter.org/ 559-278-8116 Literature Arne Nixon Centerfor Children’s LITERATURE: 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 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 UC ContinuingEdu/Boulder REGULAR WRITINGCOURSES COLORADO on=saDetail&vStudyAreaID=1 extension.ucsd.edu/StudyArea/index.cfm?vActi Art Department UC Extension/SanDiego www.otis.edu/ 310-665-6800 Otis ArtInstitute www.ccsf.edu/Departments/ 415-239-3157 203-254-4110 (nighttime continuing education courses) Fairfield University REGULAR WRITINGCOURSES CONNECTICUT conted.colorado.edu/ [email protected] 303-492-5148 UC ContinuingEdu/Boulder www.artinstitutes.edu/denver/ 303-837-0825 The ArtInstituteof Colorado OCCASIONAL ILLUSTRATING COURSES www.rmcad.edu/ 303-753-6046 Rocky MountainCollegeof Art&Design REGULAR ILLUSTRATING COURSES WRITING & ILLUSTRATION COURSES DIRECTORY | 191

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

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

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

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

University of Hawaii/Manoa 207-780-4141 SCHOOL VISITS Department of English University of Chicago Publishing usm.maine.edu/stonecoastmfa/ [email protected] Program OCCASIONAL WRITING COURSES 808.956.3032 773-702-2768 Course Title: Children’s Literature [email protected] University of Maine www.english.hawaii.edu/ https://grahamschool.uchicago.edu/php/ 207-581-1110 museumpublishingseminar/index.php www.umaine.edu/ LEGAL QUESTIONS ILLINOIS REGULAR ILLUSTRATING COURSES Waubonsee Community College MARYLAND 630-466-7900 REGULAR WRITING COURSES Evanston Arts Center www.waubonsee.edu/ 847-475-5300 Winnetka Community House Writer’s Center/Bethesda www.evanstonartcenter.org/catalog. 847-446-0537 301 654-8664 aspx?did=5 www.winnetkacommunityhouse.org/ https://www.writer.org/workshops/index.asp 192 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 isavailable and supported. The writing for children &young adults. Cross- on fiction, poetry, creative nonfiction, and Writing Program enables students tofocus The Solstice Low-Residency MFA inCreative www.pmc.edu/mfa (617) 731-7631fax (617) 731-7684 Chestnut Hill,MA02467 400 HeathStreet Pine ManorCollege Creative Writing Program The SolsticeLow-Residency MFA in www.salemstate.edu/academics/2500.php 978-542 6331 Salem StateCollege htm www.framingham.edu/dgce/cert_childlit_grad. 508-626-4550 Framingham State College www.ccae.org/ 617-547-6789 Cambridge Centerfor Adult Edu. www.bcae.org/ 617-267-4430 Boston Centerfor Adult Edu. www.berkshirecc.edu/ Berkshire CommunityCollege REGULAR WRITINGCOURSES MASSACHUSETTS authors. and published children and young adult including editorsatmajor publishing houses courses are taught byexperts inthe field, publishing inthe field. The graduate online professionals who want astraight pathto Certificate Program is designed for working Writing for Children &Young Adults (WCYA) COURSE DESCRIPTION:The McDaniel College http://www.mcdaniel.edu/WCYA 410-857-2501 2 CollegeHill,Westminster, MD21157-4390 Graduate andProfessional Studies McDaniel College | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING MINNESOTA reced.aaps.k12.mi.us/reced.home/classes_ 734-994-2300 Education Ann ArborPublicSchoolsCommunity REGULAR WRITINGCOURSES MICHIGAN www.radcliffe.edu/research/arts.aspx Radcliffe Seminars COURSES OCCASIONAL WRITING/ILLUSTRATING 978-542-6515 Art Dept. Salem StateCollege www.massart.edu/x394.xml 617-879-7000 Massachusetts Collegeof Art www.capecodcreativearts.org/workshops.cgi 508-945-3583 Cape CodLiterary ArtsWorkshop www.ccae.org/catalog/courses/?id=1 Cambridge Centerfor Adult Education www.lesley.edu/aib/curriculum/programs.html 617-585-6600 Art Instituteof Boston REGULAR ILLUSTRATING COURSES www.umass.edu/ University of Massachusetts/Amherst edu/mfa for more information. by members of the public. Visitwww.pmc. writing for children—are availablefor audit classes inwriting for young adults and residency, selectcraft classes—including with afaculty mentor. During each10-day 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 MISSOURI www.extension.umn.edu/ [email protected] 612-624-1222 University of MinnesotaExtension OCCASIONAL WRITINGCOURSES www.cce.umn.edu/splitrockarts/ 612-624-4000 Program University of MinnesotaSplitRockArts REGULAR ILLUSTRATING COURSES www.cce.umn.edu/splitrockarts/ 612-624-4000 Program University of MinnesotaSplitRockArts www.cce.umn.edu/ Eduaction University of MinnesotaContinuing 775-784-4700 University of Nevada www.tmcc.edu/wdce/ 775-829-9010 Truckee Meadows CommunityCollege REGULAR WRITINGCOURSES NEVADA www.southeast.edu/academics/default.asp 402-228-3468 Southeast CommunityCollege OCCASIONAL ILLUSTRATING COURSES www.southeast.edu/academics/default.asp 402-228-3468 Southeast CommunityCollege OCCASIONAL WRITINGCOURSES cfm?SRC=DB&SRCN=&GnavID=19 www.cccneb.edu/igsbase/igstemplate. [email protected] 308-398-4222 Central Community College REGULAR WRITINGCOURSES NEBRASKA www.slu.edu/index.xml 314-977-2222 St. LouisUniversity REGULAR WRITINGCOURSES WRITING & ILLUSTRATION COURSES DIRECTORY | 193

www.unr.edu/programs/graduate/cla/ Class runs 8 weeks throughout the year PREPARING & SUBMITTING Check schedule for next class School of Visual Arts NEW HAMPSHIRE 209 East 23 Street REGULAR WRITING COURSES NYU School of Continuing Education New York, NY 10010-3994 212-998-7200 212-592-2251www.schoolofvisualarts.edu Lebanon College www.scps.nyu.edu/academic-programs/ 603-448-2445 continuing-education/ SUNY/Purchase College 914-251-6750 REGULAR ILLUSTRATING COURSES Quackenbush Studios www.purchase.edu/Departments/ www.rquackenbush.com/workshops.htm AcademicPrograms/arts/ Lebanon College MARKET SURVEYS 603-448-2445 Queens College OCCASIONAL WRITING COURSES www.lebanoncollege.edu/cgi-bin/ 718-997-4600 courselistings.pl www.qc.cuny.edu/Academics/Degrees/DAH/ Barnard College English/Pages/default.aspx 212-854-2116 OCCASIONAL WRITING COURSES www.barnard.edu/english/ University of New Hampshire Continuing Stony Brook University Education http://childrenslitfellows.com Hofstra University

603-862-2015 COURSE DESCRIPTION: Twelve Fellows are Hempstead, NY 11549-1000 DIRECTORIES & RESOURCES [email protected] selected each year to work independently in the 516-463-6600 www.learn2.unh.edu/programs/index.html 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 once in July during the Southampton Writers Learning Annex/NYC University of New Hampshire Continuing Conference and again in January for a special www.learningannex.com/categories/ Eduaction Publishing and Editing Conference. During their writing+%2526+publishing 603-862-2015 year, Fellows complete one publishable YA or [email protected] middle grade manuscript, or, for chapter and Manhattanville College www.learn2.unh.edu/programs/index.html picture book writers, three to four separate 914-323-5239 manuscripts. Admission is highly selective. www.manhattanville.edu/ NEW YORK Children’s Lit Fellows receive Advanced AcademicsandResearch/GraduateStudies/

REGULAR WRITING COURSES Certificates in Creative Writing from Stony Brook Writing/Default.aspx PUBLICIZING YOUR PUBLISHED WORK Southampton’s MFA in Creative Writing and Baruch College Literature. The Manuscript Workshop(VT) 646-312-5000 www.themanuscriptworkshop.org/ www.baruched.com/ SUNY/Purchase College 914-251-6000 Marymount College Brooklyn College www.purchase.edu/Departments/Admissions/ [email protected] 718-951-5195 AreasOfStudy/ specialprograms.mmm.edu/listings.cfm?cat_ www.brooklyn.cuny.edu/pub/Department_ id=163 Details.jsp?div=G&dept_code=32&dept_id=83 The New School https://continuingeducation.newschool. OCCASIONAL ILLUSTRATING COURSES Cooper Union edu/flexibleregistration/index. 212-353-4195 jsp?frc=NC&q=NLIT,NWRW Graphic Arts Guild www.cooper.edu/administration/continuing_ Children’s Book Illustration and Writing www.graphicartistsguild.org/

ed/Welcome.html Class runs 15 weeks starting in January and SCHOOL VISITS Gotham Writer’s Workshop August Hofstra University 212-974-8377 516-463-5474 (Art Dept) www.writingclasses.com/ REGULAR ILLUSTRATING COURSES NORTH CAROLINA Long Island University/Brookville Cooper Union 1-800-548-7526 www.cooper.edu/art/Welcome.html Fayetteville State University LEGAL QUESTIONS www.liu.edu/liu_start.html Department of English and Foreign Languages Parsons School of Design 1200 Murchison Road Mediabistro 212-229-5855 G.L. Butler Building, Room 123 http://www.mediabistro.com/courses/ www.parsons.edu/departments/index.aspx Fayetteville, NC 28301 childrens-book-writing-and-illustrating/new- 910-672-1416 york/8942/ Quackenbush Studios www.uncfsu.edu/english/descriptions.htm Children’s Book Writing and Illustrating www.rquackenbush.com/workshops.htm COURSE TITLE: Writing Children’s Literature 194 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | WRITING & ILLUSTRATION COURSES DIRECTORY COURSES &ILLUSTRATION | WRITING 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 Coast Children’s BookWriters www.lclark.edu/college/departments/english 503-768-7405 English Department Lewis &Clark College OCCASIONAL WRITINGCOURSES OREGON art.okstate.edu/ [email protected] 405-744-6016 Oklahoma StateUniversity REGULAR ILLUSTRATING COURSES english.okstate.edu/home/index.htm [email protected] 405-744-9474 Oklahoma StateUniversity REGULAR WRITINGCOURSES OKLAHOMA 800-223-4700 www.cia.edu/ Cleveland Instituteof Art OCCASIONAL ILLUSTRATING COURSES OHIO PREREQUISITES: English 110and English 120. trends inthe children’s publishing industry. and for children. The coursewillalsoconsider issues an opportunitytocreate writtenmanuscripts for children indifferent literary genres and with students withanunderstanding of how towrite COURSE DESCRIPTION:Thiscoursewillprovide INSTRUCTOR: Carole BostonWeatherford www.risd.edu/conted.cfm 401-454-6200 Continued Education Rhode IslandSchoolof Design, REGULAR ILLUSTRATING COURSES RHODE ISLAND www.susqu.edu/ 570-374-0101 Susquehanna U/Selinsgrove www.dccc.edu/ 610-359-5050 Delaware CountyCollege/Media OCCASIONAL WRITINGCOURSES www.pcad.edu/ 717-396-7833 Collegeof Art+Design REGULAR ILLUSTRATING COURSES www.rosemont.edu/ 610-527-0200 Rosemont College 717-626-8481 Rabbit HillWriter’s Studio www.chatham.edu/ 412-365-1100 Chatham College REGULAR WRITINGCOURSES PENNSYLVANIA www.pdx.edu/art/ 503-725-3515 Art Department Portland StateUniversity www.pcc.edu/ www.rhodes.edu/academics/4416.asp English Department 901-843-3000 /Memphis REGULAR WRITINGCOURSES TENNESSEE www.brown.edu/scs/adult/continuingstudies/ 401-863-7900 Brown University, ContinuingStudies OCCASIONAL WRITINGCOURSES 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 TEXAS www.jtcc.edu/ 804-796-4000 John Tyler CommunityCollege www.hollins.edu/ 540-362-6000 Hollins University REGULAR WRITINGCOURSES VIRGINIA www.westminstercollege.edu/ 801-484-7651 Westminster College www.uvu.edu/ 801-863-1636 Utah Valley StateCollege continue.utah.edu/ 801-581-6461 University of UtahContinuingEducation www.byu.edu 801-422-4636 REGULAR WRITINGCOURSES UTAH www.utexas.edu/ 512-475-7348 University of Texas/Austin WRITING & ILLUSTRATION COURSES DIRECTORY | 195

WASHINGTON OCCASIONAL WRITING COURSES PREPARING & SUBMITTING REGULAR WRITING COURSES ONLINE Kirkland Arts Center Edmonds Community College 425-822-7161 ACCREDITED SCHOOLS ONLINE Department of English www.kirklandartscenter.org/ http://www.accreditedschoolsonline.org/art- [email protected] schools/ WISCONSIN Green River Community College OCCASIONAL WRITING COURSES ED2GO 253-833-9111 (Main Campus-Auburn) www.ed2go.com/cgi-bin/ed2go/newcrsdes.cgi? Department of English Mount Mary College course=wfc&title=Writing%5efor%5eChildren&d www.greenriver.edu/programs/az/info/english. Department of English epartmentnum=PW MARKET SURVEYS shtm 414-258-4810, ext. 395 www.mtmary.edu/dept_english.htm WRITING FOR CHILDREN Lake Washington Technical College Online course taught by Carol Parenzan Smalley Department of English University of Wisconsin is good for credit at over 2400 colleges and [email protected] www.uwsa.edu/ universites around the world. A new section 425-738-8100 x308 [email protected] starts each month and runs for 6 weeks. www.lwtc.edu/ DIRECTORIES & RESOURCES Renton Technical College INTERNATIONAL 425-235-2352 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 Children COUNCIL OF ADULT EDUCATION COURSE DESCRIPTION: Investigate the world 03-9652-0611 of children’s fiction and nonfiction, including [email protected] PUBLICIZING YOUR PUBLISHED WORK picture books, chapter books, and novels. Learn www.cae.edu.au/ to bring your own tales to life and captivate children’s imaginations. Discover how to AUSTRALIAN CATHOLIC UNIVERSITY transform the idea of a story into an enthralling www.acu.edu.au/ narrative, page by page. Explore how to use your own inner resources to strengthen your DEAKIN UNIV/MALVERN creative voice and prepare for the long, quiet 03-5227-1100 phase of writing and rewriting on your own. www.goingtouni.gov.au/Main/ CoursesAndProviders/ProvidersAndCourses/ REGULAR ILLUSTRATING COURSES HigherEducationProviders/VIC/ DeakinUniversity.htm University of Washington Extension 206-685-8936 BOX HILL COLLEGE OF TAFE www.extension.washington.edu/ext/ +61-3-9286-9222 SCHOOL VISITS certificates/dap/dap_gen.asp www.bhtafe.edu.au/ COURSE TITLE: Certificate in Drawing and Holmesglen College of TAFE Painting holmesglen.vic.edu.au COURSE DESCRIPTION: Discover the artist within and develop basic skills in drawing, painting, and mixed media. Explore the LEGAL QUESTIONS technical, philosophical, and historical tools of drawing and painting. Build composition skills as you draw still life, figure, and botanical subjects. Study the basics of painting with acrylic or oil. Learn to develop a personal style and visual voice. 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. 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 198 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Libraries Unlimited, 1995 Rothschild, D.Aviva Comics Graphic Novels: AGuide to Book-Length of the field. informative articles and interviews on aspects conferences, and contests. Alsoprovides submission guidelines. Listsorganizations, Includes up-to-date contact information and magazines and playsinthe youthmarket; Comprehensive guide topublishers of books, Writer’s Digest Books, updated annually Children’s Writer’s &Illustrator’s Market Senior High School Library Catalog. publishes: Junior High Library Catalogand author, titleand subjectindex. Wilsonalso Annotated listof selectedbooksfor children: H.W. Wilson Children’s Catalog Children’s BooksinPrint. Children’s BooksinPrint and SubjectGuide to Author, title, subject index. Alsoavailable: Bowker, annual Books inPrint Guide tobookreviews appearing inallmedia. Gale Group, three times yearly Book Review Index Guide tobookreviews appearing inallmedia. H.W. WilsonResearch, bi-monthly Book Review Digest world literature. Considered one of the bestencyclopedias of Harper-Collins, 1991 Siepmann, Katherine Baker Benet’s Reader’sEncyclopedia organized bytime period. 3,000 titlesfor young adults and adults Oryx Press, 1998 Adamson, Lynda Guide to Novels for Adults andYoung Adults American Historical Fiction:AnAnnotated books. Subject index toapproximately 23,000picture Libraries Unlimited 2001 Lima, Carolyn &John Lima Books A to Zoo: SubjectAccess to Children’s Picture | TOEXECUTION FROM IDEA 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..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. Invaluable. grammars, current events, quotations, style demographic data, biographies, geneology, encyclopedias, calendars, conversion tools, includes almanacs, directories, dictionaries, Comprehensive, user-friendly reference site www.ipl.org/div/subject/browse/ref.00.00.00 Internet PublicLibrary: Reference Strunk’s Elements of Style. including Gray’s Anatomy, Roget’s Thesaurus and sources, poetry, fiction and non-fiction, multiple dictionaries, encyclopedias, quotation General Reference website. Free accessto Bartleby.com ONLINE RESEARCHAIDS areas for easyaccess. maps conveniently arranged in26subject 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 | 199

choice, and more. Also covers spelling, Brewer’s Dictionary of 20th Century Phrase The Synonym Finder PREPARING & SUBMITTING and Fable formation of plurals, pronunciation and Rodale, J.I., Nancy LaRoche & Laurence Urdang Brewer, E. Cobham punctuation. 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 , 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 background information on holidays, festivals, PUBLICIZING YOUR PUBLISHED WORK times when you don’t know or can’t remember The New Fowler’s Modern English Usage notable anniversaries, and birthdays. the 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 Wilson, 1997 includes literary, colloquial, slang, regional, A record of first happenings, discoveries, and Dictionary of American Slang scientific and technical English from the 1700s inventions in the US; indexed by years, days of Wentworth, Harold and S.B. Flexner, ed. through the 1990s. Tracing terms from first month. R. Chapman known use, 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 or settling arguments. and Colloquial Expressions the English language, present every word Spears, Richard A. introduced since 1150, with etymology and Statesman’s Yearbook 2006, 142nd Edition LEGAL QUESTIONS National Textbook Co., 1989 quotations to 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 alphabetically arranged. like Fodor’s, published annually, about foreign language. Essays on grammar, syntax, word countries and regions of the US 200 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Essays bylibrarian, editors, writers and American Library Association, 1982 Carr, Jo Beyond Fact Libraries Unlimited, Inc.,1989 Roginski, Jim Young Adults, Vols. IandII and Illustrators of Booksfor Children and Behind theCovers: Interviews withAuthors Richard Peck, R.L.Stine, and Jane Yolen. Hopkins, Thatchur Hurd, Sid Fleischman, Authors include: Rosemary Wells, LeeBennett Short interviews and quotes organized bytopic. Quill DriverBooks, 2002 Koehler-Pentacoff, Elizabeth Writing Children’s Literature the Art,Business, theCraft andtheLifeof Children’s Authors andIllustrators Talk About The ABC’sof Writing for Children: 114 CREATORS ABOUT CHILDREN’SBOOKSANDTHEIR and the baseballalmanac. infoplease, Guinness world, CIAworldfactbook Access toanumber of almanacs, including www.libraryspot.com/almanacs.htm Library Spot.com Online almanac InfoPlease.com events worldwide. The Calendar Directory of days, dates & DateDex.com statistics oncountries of the world. maps, political maps as well askey facts and Atlapedia Online contains fullcolorphysical Atlapedia.com ONLINE ALMANACS information, completelyupdated. A great source for allkinds of quick reference World Almanac, 2005 World AlmanacandBookof Facts 2006 what youneed. It’s good toknow thatone of them willhave Slight differences inarrangement and features. World Almanac and Bookof Facts Reader’s Digest Almanac Information PleaseAlmanac economics, industry, and more. Statistics onpopulation, business, ethnicity, Gale Research Inc., 1994 Statistical Abstract of the United States | TOEXECUTION FROM IDEA children’s literature withbibliographies. Guide tochildren’s booksand issuesin 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 Van Allsburg Sendak, Marcia Brown, &Chris Robert McCloskly, , Maurice 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 E.P. Dutton/Lodestar Books, 1988 Paterson, Katherine Books for Children Gates of Excellence: OnReadingandWriting Cormier. of authors such asBruce Brooks and Robert offers insight into the more complex writing Looks critically atthe problem novel and 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 challenge adult points of view. populated bydisobedient children who 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 | 201

Inspirational essays by one of the foremost Norton, 2005 The Spying Heart PREPARING & SUBMITTING children’s writers. Perceptive, honest, wise, this 170 authors and illustrators included in Paterson, Katherine should be required reading for everyone in the this exhaustive tome covering 350 years of Lodestar Books, 1980 field. children’s books. Companion to Gates of Excellence provides more of Paterson’s book reviews, speeches, The Heart Has its Reasons: Young Adult Only Connect: Readings on Children’s and essays, and gives insight into writing for Literature with Gay/Lesbian/Queer Content Literature children. 1969-2004 (Scarecrow Studies in Young Adult Egoff, Sheila, et al Ways of Telling: Conversations on the Art of Literature) Oxford University Press, 1969, 2005 the Picture Book Cart, Michael Over 40 essays representing a varied and Marcus, Leonard Scarecrow Press, 2005 fascinating collection of writers and scholars, Dutton, 2002 MARKET SURVEYS Examines the growing body of literature for their views and recommendations. Interviews with 14 prominent picture book young adults with gay themes or characters. creators, including , Mitsumasa Pauses: Autobiographical Reflections of 101 Anno, Eric Carle, Tana Hoban, Karla Kuskin, Humor and Children’s Development: Creators of Children’s Books William Steig, Charlotte Zolotow, gives insight A Guide to Practical Applications Hopkins, Lee Bennet into the creative process. McGhee, Paul HarperCollins, 1995 Haworth Press, Inc.1987 A collection of interviews with the Greats of What’s So Funny? : Wit and Humor in

A study of children’s humor, including a quick children’s books offering sound advice as to American Children’s Literature DIRECTORIES & RESOURCES reference table and thorough bibliography. what being a writer entails. Cart, Michael HarperCollins, 1995 Innocence and Experience: Essays and Picture This: How Pictures Work Offers a serious look at the importance of Conversations on Children’s Literature Bang, Molly humor in children’s literature. Harrison, Barbara and Gregory Maguire SeaStar, 2000 Lothrop, 1987 Fascinating and nsightful analysis of the ABOUT CHILDREN’S BOOKS AND THEIR Over 70 lectures, presentations and informal emotional components of color, line and CREATORS - ONLINE RESOURCES remarks gleaned from 10 years of programs perspective by award winning children’s book Barahona Center for the Study of Books in at Simmons College Center for the Study author and illustrator. Spanish for Children and Adolescents of Children’s Literature by notable authors, www.csusm.edu/csb illustrators, editors and others in field. Radical Change: Books for Youth in a Digital Promotes literacy in English and Spanish;

Age about books centered around Latino people and PUBLICIZING YOUR PUBLISHED WORK The Invisible Child Dresang, Eliza T. culture. Two searchable databases. Paterson, Katherine Wilson, 1999 Dutton, 2001 Thought-provoking and in-depth exploration Carol Hurst’s Children’s Literature Site More moving, thought-provoking and of the changes in YA books and how young www.carolhurst.com inspiring essays and speeches by award- people raised in the electronic age interact Book reviews, subject lists, teaching ideas, winning novelist. with literature differently than did previous professional topics. generations. Looks at current YA literature and The Mask Beneath the Fact: Reading about methods of evaluation. Children’s Book Council and with, Writing about and for Children www.cbcbooks.org Konigsburg, E.L. The Seed and the Vision: On the Writing and Sponsored by a consortium of publishers; Library of Congress, 1990 Appreciation of Children’s Books includes book and author showcases, directory An eloquent and moving talk delivered in 1989 Cameron, Eleanor of member publishers, resources for writers. by the Newberry Award winning author about Dutton, 1993

how books touch and shape children’s lives, Eleven essays explore the creative process Children’s Literature SCHOOL VISITS about why children’s books are important. and provide insight into the full spectrum of www.childrenslit.com/home.htm children’s literature. Companion to the author’s Reviews, themed book lists, author/illustrator The Marble in the Water: Essays on Green and Burning Tree. interviews, ideas for teachers. Contemporary Writers of Fiction for Children Children’s Literature Web Guide and Young Adults Side by Side: Five Favorite Picture-Book Teams www.ucalgary.ca/~dkbrown/index.html Rees, David go to Work Directory of Links related to children’s books LEGAL QUESTIONS Horn Book, 1980 Marcus, Leonard Academic criticism of writers: Judy Blume, Walker, 2001 Cooperative Children’s Book Center Robert Cormier, Beverly Cleary Ursula LeGuin, In depth examination of the collaborative www.soemadison.wisc.edu/ccbc E.B. White, and others. processes includes Yorinks & Egielski, Lane Annotated bibliographies, author interviews, Smith and Molly Leach, Julius Lester and Jerry etc. Norton Anthology of Children’s Literature Pinkney. Written for ages 8 up, of interest to Zipes, Jack, et al all ages. 202 2017 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 | TOEXECUTION FROM IDEA

editor relationship. writers’ personalities and demystifies the writer- & Schuster and Doubleday. She hasinsights into Lerner wasaneditoratHoughton-Mifflin, Simon editor’s point of view. Now aliterary agent, Reflections 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 of picture books, marketing, acceptance. specialized fieldwithchapters onspecifictypes 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 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 market coversthe writing process, educational This reference bookonthe educational Walker and Company, 1994 Stangl, Jean Writer’s Guideto EducationalPublishing How to GetYour Teaching IdeasPublished:A courses, and organizations. annotated bibliography of books, Web sites, world willinterest allwriters. Exhaustive nonfiction, butthe insight into publishing 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 FROM IDEA TO EXECUTION | 203

How to Write for Children and Young Adults: Picture Writing: A New Approach to Writing The Way to Write for Children PREPARING & SUBMITTING What to Write, How to Write It, Where to Sell for Kids and Teens Aiken, Joan It Suen, Anastasia St. Martin’s Press, 1982, 1998 Fitz-Randolph, Jane Writer’s Digest Books, 2002 With as much advice on how not to write for Johnson Books, 1987 Based on Suen’s Intensive Picture Book children as how-to, this is thought provoking, A complete handbook, on writing fiction and Courses, offers advice and exercises, leads idiosyncratic commentary from a master nonfiction for children and YA with principles, writers to set up good work habits and reflect practitioner who takes children and their techniques and examples. on their process along the way. literature seriously. Steering the Craft: Exercises and Discussions How to Write, Illustrate and Design Children’s on Story Writing for the Lone Navigator or the What’s Your Story? A Young Person’s Guide to Books Mutinous Crew Writing MARKET SURVEYS Gates, Frieda LeGuin, Ursula Bauer, Marion Dane Lloyd-Simone Moore, 1986 Eighth Mountain Press, 1998 Clarion, 1992 A practical reference from initial idea to signed Focusing on story as exploration of change, Though this book is aimed at young people, contract. LeGuin shares techniques, examples, and it contains valuable information – from idea exercises in a warm, encouraging voice. She through finished manuscript – for all writers on Illustrating Children’s Books: Creating Pictures also offers advice for making critique groups how to structure a story and keep the tension for Publication productive and constructive. high.

Salisbury, Martin DIRECTORIES & RESOURCES Barron’s Educational Series, 2004 Story Sparkers: A Creativity Guide for Writing and Illustrating the Graphic Novel: A brief introduction to many aspects of Children’s Writers Everything You Need to Know to Create children’s book illustration from materials to Thornton Jones, Marcia & Debbie Dadey Graphic Works techniques to design and composition, using Writer’s Digest Books, 2000 Chinn, Michael artwork from children’s books to demonstrate Advice and exercises by the authors of the Barron’s Educational Series, 2004 ideas. Bailey School Kids books. Nuts and bolts guide to the graphic novel from idea to finished work. Looks at genres within The Illustrator’s Notebook Story Writing this format, such as sci-fi, crime, gothic, and Kingman, Lee, ed. Mirrieless, Edith literary fiction. Advice on publication process. The Horn Book, Boston, 1978 The Writer, 1947 Artists discuss their philosophies and share the Dated, but aspects of the craft are timeless; Writing Books for Children methods of illustration. especially helpful are the chapters on time and Yolen, Jane PUBLICIZING YOUR PUBLISHED WORK characterization. The Writer, 1984 It’s a Bunny-Eat-Bunny World: A Writer’s Examines the wide range of children’s Guide to Surviving and Thriving in Today’s Techniques of Fiction Writing literature, its various types and genres. Competitive Children’s Book Market Surmelian, Leon Inlcudeds business advice from marketing Litowinsky, Olga Doubleday, 1969 basics to the author-editor relationship Walker, 2001 This classic work for writers struggling with the Historic overview of children’s publishing intricacies of plot, theme, and structure, is clear, Writing Books for Young People industry. Advice on craft of writing, business concise, and truly helpful. Giblin, Jame Cross of getting published and surviving the writing Writer, Inc. 1990, 1995 life. Answers many fundamental questions. Take Joy This experienced editor and award winning Yolen, Jane author offers a encouragement and solid Nonfiction for Children: How to Write It, How Writer, Inc, 2003 advice in this thorough, practical guide with to Sell It A spirited and personal look at the writing specifics on picture books, nonfiction, middle

Roberts, Ellen E. process with advice both practical and grade and YA. SCHOOL VISITS Writer’s Digest Books, 1986 inspirational by award-winning author of just Comprehensive guide covers writing and about every genre of children’s book. Yolen has Writing Down the Bones marketing to magazine and book market. taught writing for many years at Centrum in Goldberg, Natalie Port Townsend, WA. Shambhala, 1986 On Writing Well Designed to free up the muse. Uses exercises Zinsser, William The Thorny Paradise: Writers on Writing for to get writers past their own inner critic and LEGAL QUESTIONS Collins, 25th Annv. Ed., 2001 Children into the creative soul of writing. A nurturing This is an overview of the profession and Blishen, Edward approach for beginners and pros. business of writing, and a thoughtful guide to Kestrel, 1975 techniques of the craft, including advice on Highly personal, intelligent essays by some Writing for Children interviews, humor, usage and punctuation. of the most accomplished children’s authors: Woolley, Catherine Doesn’t address children’s writing. Richard Adams, Nina Bawden, Leon Garfield, Jill , 1989; , 1991 Paton Walsh and 18 others. Prolific writer whose picture books were 204 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org may beof most interest tothe beginner. first time authors, and pros, although thisguide Provides suggestions for self-published writers, strategy, orifthe publisher makes little effort. their books inaddition tothe publisher’s An introduction tohow authors canpromote Raab Associates, 1992,1999 Raab, SusanSalzman Promotion An Author’s Guideto Children’s Book ILLUSTRATING OF WRITING& THE BUSINESS houses. news onwhich editorshavemoved towhich interviews; current trends inpublishing. Updated Articles onwriting, illustrating, publishing, www.underdown.org Site The PurpleCrayon, AChildren’s BookEditor’s Articles, tips, linkstopublishers. www.childrenslit.com Children’s Literature Comprehensive Database Children’s Writer’s &Illustrator’s Market . children’s publishing from Alice Pope, editorof Not-quite-daily news and information on www.cwim.blogspot.com Market (CWIM)Blog Alice Pope’s Children’s Writer’s &Illustrator’s ONLINE RESOURCES WRITING &ILLUSTRATING FORCHILDREN- sound, form, content and style. Chapters onsensory perception, rhythm, 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 | TOEXECUTION FROM IDEA editor, and, equally important, how totreat a friendly, professional relationship withan Sound advice onestablishing and maintaining Writer’s Digest Books, 1989 Brohaugh, William Professional Etiquettefor Writers licensing agreements. background for understanding and negotiating books, thisguide givesthe reader the creates characters and ideas beyond children’s Aimed atthe illustrator/artist/designer who Allworth Press, 1995(North Light Books) Leland, Caryn R. Licensing ArtandDesign Legal issues, copyright, etc. Allworth Press, 1999 Crawford, Tad Legal Guidefor theVisualArtist face, withapolitical analysis. realistic approach tothe many obstacleswriters on many aspectsof the business of writing; a market, thisbookhasvaluable information While not specificallyonthe children’s book National WritersUnion, 2000 Waller, James, editor Freelance Writer’s Guide coping withcontract-related questions. a thorough index, aswellusefuladvice on what “workfor hire” means. The bookincludes when toobtainarelease orpermission, and to understand how copyright protection works, offering basic assistance toany writerseeking out the general principles of copyright law, Newly revised informative legalguide sets Owl Books, 2004 Kozak, EllenM. Publishing Law Every Writer’s Guideto Copyright and publication tomarketing. essential guide coverseverything from idea to Concise, comprehensive and practical, this Shepard Publications, 2000 Shepard, Aaron Write, Publish,andPromote aBookfor Kids 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 and taxes. collaboration, agents, , copyright 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 the novice and pro, withextensive resource list. Incisive guide toallaspectsof promotion for 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 published before 1963are under copyright. Search byauthor ortitletofind outif books www.scils.rutgers.edu/~lesk/copyrenew.html Copyright Renewal Records music and other registered works. Search for copyright information aboutbooks, www.copyright.gov/records/cohm.html Copyright Office Selection of events across the US and worldwide www.loc.gov/loc/cfbook/bookfair.html Literary Events Center for theBook:BookFairs andOther related sites Links tomany writing, bookand publishing Bookwire.com ONLINE RESOURCES BUSINESS OFWRITING&ILLUSTRATING - FROM IDEA TO EXECUTION | 205

departments of interest to school librarians, as Children’s Literature in Education PREPARING & SUBMITTING WRITING, Articles and interviews on noted children’s well as essays and book reviews of wider appeal. authors. Reviews, articles on children’s books in ART & BOOK the classroom. Wildlife Art Magazine semi-monthly JOURNALS Communication Arts Information about art and artists depicting 8 issues, annually the natural world, including wildlife, Western, The Artist’s Magazine www.commarts.com Southwestern, Indian, landscapes and more… monthly Founded in 1959, Communication Arts is the subjects include artistic media, the masters and www.artistsmagazine.com leading trade journal for visual communications. new artists, regional and national art shows, Contains how-to articles and markets for artists. It’s the largest design magazine in the world and collectibles. MARKET SURVEYS and showcases the top work in graphic design, Booklist advertising, illustration, photography and The Writer semi-monthly September-June, monthly July- interactive design, as well as information on monthly August industry trends and annual competitions. www.writermag.com Reviews fiction and nonfiction books for young The Horn Book Magazine Articles and essays on writing, often from adults, as well as Spanish language books and bi-monthly luminaries in the field. Monthly market lists. children’s books. Special sections include media Contains essays, news, and book reviews. Each reviews, foreign language books, and reference booklist of reviews is divided into sections Writer’s Digest DIRECTORIES & RESOURCES and subscription reviews. (Picture Books, Stories for Younger Readers, Folk Articles of instruction for writers. Tips on “how Tales and Legends). Special sections include to” and suggested markets for all kinds of Book Links “Of Interest to Adults” and “Recommended literary productions. Bi-monthly Paperbacks.” A publication of the American Library ONLINE JOURNALS Association (ALA), Book Links pulls together Kirkus Reviews Children’s Literature – Electronic Journals and books around themes such as forests, Reviews adult and children’s books. website Book Review endangered animals, or the Civil War. Many features many free reviews. www.acs.ucalgary.ca/~dkbrown/journals.html articles contain teaching strategies and The Lion and the Unicorn Directory of Links. discussion questions. A comprehensive guide for A journal which focuses on the broader world using books in the classroom, Book Links also of international children’s literature, but with ArtistsNetwork.com includes thematic bibliographies with related frequent reference to and discussion of fairy Artist forums and community site hosted by the PUBLICIZING YOUR PUBLISHED WORK discussion questions and activities, author and tales. Published three times a year. publishers of The Artist’s Magazine. illustrator interviews and essays, and articles by educators on practical ways to turn children Parent’s Choice: A Review of Children’s Media CreativeHotList.com onto reading. bi-monthly A dedicated career site for creative professionals As the subtitle suggests, this informal hosted by the publishers of Communication Arts Bulletin of the Center for Children’s Books newspaper supplies articles, reviews, Magazine. monthly, except August bibliographic suggestions about a variety of An advisory committee meets weekly to discuss children’s media. Each issue covers books, books and reviews, which are written by the television, films, records, and includes a special PERIODICAL editor. The result is a list of “New Titles for Parent’s Essay. Children and Young People” in alphabetical INDEXES order by author. Each entry is coded for child’s Publisher’s Weekly reading range and kind of recommendation. The journal of the book industry. Contains Without an index to their contents, the user

Intended for librarian use, it is of interest to articles, reviews, statistics of sales, marketing/ of periodicals is hopelessly lost. This fact was SCHOOL VISITS anyone who follows new books for children. editorial news. Two issues annually (February realized nearly a century ago when a group of and July) are devoted to children’s books. librarians compiled the first index. Children and Libraries, The Journal of the Association of Library Service for Children Reading Teacher Children’s Magazine Guide Three times a year; Discusses library services monthly October-May; and winter supplement Libraries Unlimited, to date to children; articles on children’s literature, A professional journal for teachers of reading, Nine issues per year; subject index to children’s LEGAL QUESTIONS authors and illustrators. it has specialized articles and book reviews. magazines at the elementary and middle school “Critically Speaking” reviews literature for level. Children’s Book Review Magazine children. quarterly Gale Directory of Publications & Broadcast Devoted to reviewing children’s books and some School Library Journal Media media. monthly, except June and July Gale, to date A large 100-page journal, it has columns and Includes US , mazazines, journals, 206 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Education. Entertainment, Business &Finance, Reference & fee todownload. Categories include: Arts& free articles onlyorthe ones thatrequire a journals and magazines. You cansearch the A database of articles from many popular www.findarticles.com Look Smart/FindArticles now availablefor free. available through fee-basedservices only, are documents (issued1993-2004),previously 1966. More 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 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 | TOEXECUTION FROM IDEA 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 of making women’s stories the stuffof history, and feminists, eachspeaking to some aspect Essays byleading contemporary historians University of Illinois, 1995 Scott, Anne Firor Making theInvisibleWoman Visible York Public Library. that originated asaseries of talksatthe New McCullough, RobertCaro, and Jean Strouse) contemporary biographers (including David A usefulcollection of essaysbysix Houghton Mifflin, 1988 Zinsser, William, ed. of AmericanBiography Extraordinary Lives: TheArt&Craft reference listof magazine articles and books. to three pages and provides agood starting subject and/or beginning awork.Eachruns one information for looking into abiographical Annual withindex. Overall biographical Wilson, todate Current Biography Yearbook current people. Points tobiographical sources of historical and Wilson, annual Magazines to Biographical MaterialinBooksand Biography Index: ACumulative Index problems of writing biography. A classic discussion of the pleasures and Little Brown &Company, 1969 Bowen, Catherine Drinker Biography: TheCraft andtheCalling research and marketing. advice oneverything from handling quotes to Fantastic reference thatprovides helpful Harper and Row, 1986 Lomask, Milton The Biogrpaher’sCraft BIOGRAPHY related tothe outdoors. Includes Eugenie adventurous women whose livesand work Wildlife ecologistLaBastilleprofiles 15 Sierra ClubBooks, 1984 LaBastille, Anne Women andWilderness biographies of women ormen. a focus onthe differences betweenwriting Reflections on the 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 sources atthe end of the article. subject, and eachcontains avaluable listof a scholar especially knowledgeable onthe entry (over1,300inall)hasbeenwrittenby 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 introductory section: “The Biographical Mode.” history. Especially helpful toourworkisher history and of women’s impactonour of women’s statusatvarious times inour and dealing withpossibleinterpretations FROM IDEA TO EXECUTION | 207

Dark, the “shark lady,” and Margaret Murie, Allyn & Bacon, 2003 The Fairies in English Tradition & Literature PREPARING & SUBMITTING conservationist. Bibliography at the end of Tales from all over the world, scholarly sources, Briggs, K.M. each chapter. cultural contexts. University of Chicago Press, 1967 This is an erudite, scholarly, and fascinating Women in the Field, America’s Pioneering The Arthurian Handbook account of the fairy tradition in Great Britain, Women Naturalists Lacy, Norris, et al. from medieval times to the present. If you traffic Bonta, Marcia Myers Garland, 1997 with fairies, this is the book to own. If you have Texas A&M University Press, 1991 Critical study, historical facts and discussion of a favorite tale you want to retell, the fairy’s Biographies of 25 women naturalist from Arthurian history, legend, archeology, literature background is here. the 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 MARKET SURVEYS Florence Merriam Bailey, ornithologist; and The Classic Fairy Tales Green, Thomas Alice Eastwood, botanist. Good bibliography. Opie, Iona and Peter ABC-CLIO, 1997 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 DIRECTORIES & RESOURCES 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 Funk & Wagnalls Standard Dictionary of All aspects of researching, writing and Terms, genres, concepts, stories and folklore Folklore, Mythology, and Legend publishing biography and autobiography. from Mexican American culture selected from Funk & Wagnalls, 1984 oral and written literature, folk arts, customs and A good, solid, basic (if uninspired) compendium BIOGRAPHY - ONLINE RESOURCES beliefs. of all sorts of folkloric characters, ideas, Biographical Dictionary attitudes, motifs, A-Z. A good starting place. www.s9.com The Dictionary of Imaginary Places, The Newly

Covers more than 28,000 people from ancient Updated and Expanded Classic The Glass Harmonica PUBLICIZING YOUR PUBLISHED WORK time to present. Manguel, Alberto Byfield, Barbara Ninde Harcourt, 2000 Macmillan, 1967 Biography.com An astonishingly complete encyclopedia of Sometimes known in paperback as “The Sponsored by the A & E Biography Channel. over 3000 places fantasy places that “a traveler Book of Weird.” An encyclopedia full of useful could expect to visit” on or under our world. information, like the difference between a Biographies at InfoPlease.com Maps and charming black-and-white pictures wizard and a warlock. A wonderful childlike www.infoplease.com/people.html accompany many of the entries, and all entries approach to fantastic things. Over 30,000 biographies. are annotated by primary source material. The Great Fairy Tale Tradition: From Straparole An Encyclopedia of Fairies, Hobgoblins, and Basile to the Brothers Grimm FANTASY, Brownies, Bogies, and other Supernatural Zipes, Jack, editor - Norton, 2000 Creatures Tales grouped by subject and critical essays. FOLKLORE & Briggs, Katherine Zipes has written and edited many valuable

Pantheon, 1977 books on fairy tales and children’s literature. SCHOOL VISITS SCIENCE An extensive cross-referenced source covering folk and fairy lore of Great Britain. Green and Burning Tree FICTION Cameron, Eleanor Encyclopedia of Things That Never Were Atlantic, Little, 1969 Angel in the Parlor Page, Michael and Robert Ingpen Classic study of time travel fantasy serves as Willard, Nancy Viking, 1987 both introduction and crash course in certain LEGAL QUESTIONS Harcourt, 1983 Using articles that treat each item as if it is kinds of fantasy and the machinery of fantastic Five stories and eight essays that illustrate real, and beautiful original art, this oversized worlds. how life and story intertwine, by the Newbery encyclopedia of fantasy people, places, and winner, poet and fantasist. things from all over the world is a useful The Hero with a Thousand Faces reference and creativity jogger. The index is very Campbell, Joseph Anthology of Traditional Literature helpful for making unusual connections. Princeton University Press, 1968, 2004 Lechner, Judith V. This brilliant study of world myth tells the story 208 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org A good introduction for the non-specialist. A Van Nostrand Reinhold Co., 1984 Wingrove, David The ScienceFictionSource Book those who teachwhatthey write. volume are asapplicable tothe writersasto teachers and storytellers, the insights inthisslim the fantasy genre. Though itisessentially for This isthe basic book for anyone interested in Cambridge, 1976 Cook, Elizabeth to Myths, Legendsand Fairy Tales The Ordinary andtheFabulous: AnIntroduction Bradley. Illustrations and bibliography. T.H. White, Mary Stewart,and Marion Zimmer century references tomodem authors like legends and literature, from the earliest 6th alphabetical cross-reference toArthurian A revised and expanded, comprehensive, Garland, 1995 Lacy, Norris J.,ed. The New ArthurianEncyclopedia numbers, decimals, standard names. modeled onLCclassification systemusing Several volumes break down talesinto motifs; Indiana University Press, 1955,1989 Thompson, Stith Motif-Index of Folk Literature asseeninfantasy and fairy tale. Child and the Shadow,” onthe dark side of Poughkeepsie,” and the equally brilliant “The her brilliant essayondiction, “From Elfland to genre and the language used init.Included is deal withboththe substance of the fantasy Essays onfantasy and science fiction that Putnam, 1979 LeGuin, Ursula The Languageof theNight Title index totalesinnumerous collections. Scarecrow Press, Faxon, 1978-1986 Eastman, Mary H. Index to Fairy Tales, MythsandLegends descriptive, these booksare adelight. around the world. Witty, charming, anecdotal aswell and monstrous characters outof myth and legend A pairof elegantly writtenbooksthatlookatmonsters Holt, Rinehart, Winston, 1972 McHargue, Georgess The ImpossiblePeople ;TheBeastsof Never culture. the mythic patterns found invirtually every behind the story, the single storythatunderlines | TOEXECUTION FROM IDEA scholars onstorytelling worldwide. 100 wide-ranging brief essaysbyleading Fitzroy DearbornPublishers, 1999. Holmes McDowell, Linda Degh,Barre Toelken Edited by:MacDonald, Margaret Read, John Sourcebook Traditional Storytelling Today: AnInternational of atale. importance of “touch magic,” and the structure in achild’slife, the language of faerie, the covered include the valueof fantasy stories and storywriting 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 more. researching folk tales, copyright issuesand 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 and bookand magazine publishing. history of science fiction, various sub-genres, number of science fiction writersdiscussthe of the pitfalls awaiting newcomers tothe field. provide asolid foundation, and point outsome treatment of any one idea, but the authors of the bookprecludes exhaustive, in-depth to nanotechnology and virtual reality. The scope orbital mechanics to creating galactic empires An excellent reference covering everything from Writer’s Digest Books, 1993 Ochoa and Osier Universe A Writer’s Guideto Creating aScience Fiction 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 power. elements thatgivethem such universal, lasting origin of fairy stories and their essence, the essay “OnFairyStories” where he discussesthe by Tolkien, butmost of itistaken upwithhis fantasy. The bookcontains anearlyshort story 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 FROM IDEA TO EXECUTION | 209

Writing Science Fiction and Fantasy: Index to Andrew Lang’s Colored Fairy Books and The History Highway 2000: A Guide to PREPARING & SUBMITTING 20 Dynamic Essays by Today’s Top Professionals the Arabian Nights Entertainments Internet Resources Dozois, Gardner, et al. www.mythfolklore.net/andrewlang Trinkle, Dennis & Scott A. Merriman St. Martin’s Press, 1993 Index to Andrew Lang’s colored Fairy Books and M.E. Sharpe, 2000 Essays by , Robert Heinlein, Jane the Arabian Nights. Over 500 pages of online history sources. Yolen, and other known SF/Fantasy writers on some of the special requirements of the Science Fiction Chronicle History Timeline field, and articles by editors of science fiction www.dnapublications.com/sfc Cooke, Jean, Ann Kramer, and Theodore magazines. “How to Build a Future” by John “Science Fiction’s Only Professional News & Trade Rowland-Entwistle Barnes is particularly instructive. Journal.” Crescent Books, 1981 Each chapter contains a short overview and MARKET SURVEYS FANTASY - ONLINE RESOURCES SurLaLune Fairy Tale Pages a summary of important events taking place Aaron Shephard’s World of Story Heiner, Heidi Anne in different parts of the world simultaneously. www.aaronshep.com/index.html#storytelling www.surlalunefairytales.com Maps, photos, reference tables of presidents, Resources for teachers, librarians, storytellers, Annotated, hyper-linked fairy tales; history, rulers, battles, more. children’s writers, and story lovers of all ages – analysis, bibliography. reader’s theater scripts, stories to tell, articles, Tales of Wonder: Folk and Fairy Tales from Writer’s Guide to Everyday Life In…. advice, links. Very useful information. Around the World Writer’s Digest Books series

Darsie, Richard DIRECTORIES & RESOURCES Arabian Nights members.nbci.com/darsie/tales GENERAL HISTORY - ONLINE RESOURCES www.arabiannights.org BBC History Timelines Translations of the entire Rubaiyat and the www..co.uk/history/timelines Arabian Nights can be found online here, GENERAL courtesy of the Electronic Literature Foundation. Best of History Web sites HISTORY www.besthistorysites.net Bulfinch’s Mythology www.bulfinch.org Chronicles of Western Fashion Costume History Guide from Cornell Online Peacock, John costume.cornell.edu Children’s Literature - Resources for Storytellers Abrams, 1991 The Cornell University Costume and Textile www.ucalgary.ca/~dkbrown/rstory.html Collection now has an online database of over

The Columbia History of the World 5,000 records online. PUBLICIZING YOUR PUBLISHED WORK Encyclopedia Mythica Garraty, John A. and Peter Gay, ed. www.pantheon.org/information/about.html Harper, 1972 Dover Publications Free online encyclopedia, over 5100 articles on Narrative of civilization’s origins and progress. store.doverpublications.com/by-subject.html mythologies and folklore worldwide. Maps. Look for books on Americana, Costume, Furniture, Folklore, Period Style, and more for Fairy Stories and Anecdotes Daily Life Through History many useful publications. faeryland.etsu.edu/~earendil/faerie/story/ Greenwood Press Series Over 75 story links grouped by type, such (and Greenwood Encyclopedia of Daily Life) Eye Witness to History as “Fairy Changelings”, “Fairy Trickery” and www.eyewitnesstohistory.com “Mermaids and Tales of the Sea.” Connects with Dover Publications Pictorial Archives Eyewitness account with a brief description Faery Dictionary Page. Stories are from the British Dover publishes books and CDs filled with of the event and of the person recounting it, Isles, Germany and . images of clothing and everyday items from includes a bibliography and related links. different times and places in history.

Folklore and Mythology Electronic Texts Guide to History on the Web SCHOOL VISITS Ashliman, D.L. Sears Catalogues chnm.gmu.edu/assets/historyweb/historyweb.php www.pitt.edu/~dash/folktexts.html Catalogues from different time periods have a database of 5000 US and World history Web Folktales, folklore, fairy tales, and mythology been published by a variety of publishers sites, which you can search by type of website, from around the world, arranged by theme. (Dover, Chelsea, etc) and are a great source of geographical area and topic. historical detail. Frank Rogers Page of Fairy Tale Links HistoryWorld.net LEGAL QUESTIONS frankrogers.home.mindspring.com/fairy.html The Expansion of Everyday Life: 1860-1876 Hyper History Online A collection of annotated links to sites and fairy Sutherland, David E. Harper and Row, 1989 www.hyperhistory.com/online_n2/History_n2/a. tales and mythic lore, including sites for reading A good practical history of everyday inventions html lists, lesson plans, and classroom activities. and customs. An expanding scientific project presenting 3,000 years of world history with an interactive Every Day Life In . . . Series combination of synchronoptic lifelines, Grey House Publishers timelines, and maps. 210 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org illustrations are clear, accompanied bydetailed A good mixture of drawings and text. The Dover, 2004 Wilcox, R. Turner Five Centuries of 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 arts, music, and medicine. and drinking customs, developments infine including popularsportsand pastimes, eating in American history”bothpolitical and social, historians, thisbook“traces the major strands Written byone of America’s foremost Oxford, 1965 Monson, Samuel Eliot Oxford History of theAmerican People Good battlediagrams and general background. American Heritage, 1960;Gramercy, 1994 Catton, Bruce of the CivilWar The AmericanHeritage Picture History archaeology, folkways, arts, and more. a state’shistory, government, people, industry, Everything here for the period novelist about Series byStates, 1941 Hastings orDuell,Sloanand Pearce American GuideFederal Writer’s Project by decade, starting in1900. Series coversAmerican social historydecade 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 | TOEXECUTION FROM IDEA 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 be writtenwithout looking atanother source. trappings, and more. Many period novels could farm implements, cowboy regalia and horse ammo, wagons, fences, steamboats, windmills, to seeit“real.” Uniforms, ladies’ dress, guns and Obscure detail ishere for the writerwho wants 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 Jennings, Francis Migrations to thePresent The Founders of America:From theEarliest is covered. annotations. Children’s clothing, often omitted, turmoil and disorder, closing withthe deaths of progress and expansion but alsoatime 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 and strategies. Comprehensive bibliography. both sides, aswellthe battlefieldaction and personalities of the major playerson issues leading uptothe conflict: the of the American Revolution thatlooksatthe A brief, veryreadable, one-volume history 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 Stratton, Joanna L. Pioneer Women medicine. customs, developments infine arts, music, and FROM IDEA TO EXECUTION | 211

Jefferson and Adams on July 4, 1826. history from the antebellum period through Ferdinand Marcos in 1986. Includes a list of PREPARING & SUBMITTING Reconstruction. sources. Slave Narratives: A Folk History of in the US from Interviews with Former Slaves National Women’s History Project A History of Middle Europe from American Guide Serv., 1989 www.nwhp.org the Earliest Times to the Age (reprint of 1941 WPA ed.) Links to sites on women’s history. of the World Wars What it was like as a slave, from Tihany, Leslie C. testimonies of the people who lived it. Original PBS “The West” Page Rutgers University Press/Dorset Press, 1987 manuscript in the Rare Book and Special www.pbs.org/weta/thewest A pre-1918 history of the nations of Middle Collections Division of Library of Congress. An extraordinary resource for research into the Europe, wedged between Germany, Italy, and Microfilm, Microfiche, facsimile editions American West. It includes a Russia, a geographical area much neglected in MARKET SURVEYS available. biographical index, a timeline index, first person other historical accounts. journal accounts. A History of Their Own: Women in Europe from To Be a Slave Prehistory to the Present, Volumes I & II Lester, Julius PictureHistory.com Anderson, Bonnie S. & Judith P. Zinsser Scholastic, 1968 Kunhardt Productions presents images and Harper, 1988 First person accounts of African-Americans footage illustrating more than 200 years of enslaved before the Civil War, recorded American history: images of maps, postcards, Men and Ideas: History, the Middle Ages, the originally in the Federal Writer’s Project in the photographs, cartoons, stereo cards, periodicals, Renaissance DIRECTORIES & RESOURCES 1930s. and more, in addition to and audio clips. Huizinga, Johan Princeton University Press, 1984 Women’s Diaries of the Westward Journey Cultural history, sociology, politics, psychology, Schlissel, Lillian EUROPEAN and the arts are combined to form a broad Schocken, 1982 image of the two periods, with emphasis on This compilation of diaries, letters, and HISTORY individuals. information about the westward trek is invaluable. Schlissel’s meticulous research and The Anglo-Saxon Chronicles EUROPEAN HISTORY - ONLINE RESOURES feminist perspective give new insight into Savage, Anne, trans. and coll. British History Online historical material and the reality of women’s Written by monks between 880 and 1154, this www.british-history.ac.uk routines, losses, and delights on the frontier. history of Britain begins with 6th century “The digital library of text and information

events and concludes with the reign of Henry II, about people, places and businesses from the PUBLICIZING YOUR PUBLISHED WORK AMERICAN HISTORY - ONLINE RESOURES father of Heart. medieval and early modern period, built by the African American Odyssey Institute of Historical Research and the History memory.loc.gov/ammem/aaohtml/aohome.html The Discoverers of Parliament Trust.” Among the resources: Part of the American Memory project. Boorstin, Daniel J. Journals of the Houses of Commons and Lords, Random House, 1983 Office-Holders in Modern Britain, 1660-1939, a The American Civil War Homepage A sweeping examination of important variety of documentary resources for the history sunsite.utk.edu/civil-war discoveries and the desire to explore and of London and ecclesiastical history. Searchable. Directory of links examine the unknown. Subjects vary from exploration of the planet to the concept HistoricalDirectories.org American Memory of time. Many familiar and not-so familiar This new “digital library of eighteenth, lcweb2.loc.gov/ammem or memory.loc.gov personalities are brought to life. Detailed nineteenth and early twentieth century local Project of the Library of Congress with many reference notes included. and trade directories from England and Wales” online exhibits. should be of particular interest for genealogists.

Encyclopedia of European Social History, SCHOOL VISITS EarlyAmerica.com 1350-2000 Life in Elizabethan England: a Compendium of Primary resource material of 18th century Stearns, Peter N. editor Common Knowledge 1558-1603 America. Scribner, 2001 elizabethan.org/compendium/home.html Values, ideas, social and political movements A cross between an illustrated glossary and a Database of Early American Furniture of Europe. backgrounder on the social and cultural milieu of digital.library.wisc.edu/1711.dl/DLDecArts Elizabethan England – its games, fashion, food, LEGAL QUESTIONS Eyewitness to History occupations, household management, etc. Very Making of America Carey, John, ed. useful companion for courses in the literature or www.umdl.umich.edu/moa/index.html Avon Books, 1987 history of the era. A collaboration between the University of Firsthand accounts of major and minor events Michigan and Cornell University offering a large in world history beginning with the Plague of collection of primary sources on American social Athens in 430 BC and ending with the fall of

212 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 Overseas Information 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 Eight volumes. Marshall Cavendish, 1996 Williams, Michael, W. The AfricanAmericanEncyclopedia EXPERIENCES MULTICULTURAL | 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 a retelling 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, “history” needed toretell folktales. the earliest writer of a story. This is an example of the It’s wisetoget backasfar intime aspossibletofind 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 tothe Rio A compactreference workonNative American Macmillan, 1994 Johnson, Michael A ConciseEncyclopedia The Native Tribes of NorthAmerica: height of their culture. describing the lifestyleof the Plains Indians atthe and nearly 1,000detailed drawings bythe author, rich text iscomplemented by32colorillustrations in itsresearch and dramatic initsnarrative. The A classic encyclopedia of Plains Indian lore, detailed Mallard Press, 1991 Mails, Thomas E. The MysticWarriors of thePlains African American Mosaic 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, 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 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 was aprolific 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 | 213

article. These can be contacted via snail mail Large directory of links to image sites by They Wrote the Book: Thirteen Women Mystery PREPARING & SUBMITTING Writers Tell All or online. category. Windrath, Helen, editory Spinsters Ink, 2000 The Library of Congress Prints and GettyImages.com Essays on the crafting mysteries by British and Photographs Division Image archive: creative, film, and editorial American women mystery writers, including Room 337, James Madison Memorial Bldg., images. Marcia Muller, Ellen Hart, and Val McDermid. First Street and Independence Avenue, S.E.; Washington, D.C. 20540 Internet Public Library, Pathfinder to Writing and Selling Your Mystery Novel: How Americana of all kinds. Write for a free brochure Historical Photographs to Knock ‘Em Dead with Style describing the extent of the collection. www.ipl.org.ar/ref/QUE/PF/histphotos.html Ephron, Hallie Introductory advice and links. MARKET SURVEYS Writer’s Digest Press, 2005 The Library for Photographic Collections Practical advice on planning and plotting, with The American Museum of Natural History Looking for Good Art exercises; advice on getting published as well. Central Park West at 79th Street, NYC www.infotoday.com/searcher/sep04/mattison. For animal, nature, and anthropological shtml Writing Mysteries: A Handbook by the Mystery material. An amazing three part article on finding art and Writers of America image research online with lots of great links. Grafton, Sue, ed. The Metropolitan Museum of Art

Writer’s Digest Books, 2002 Photograph & Slide Library New York Public Library Image Collection DIRECTORIES & RESOURCES Essays on all aspects of the genre by 37 Fifth Avenue and 82nd Street, NYC www.nypl.org/research/chss/spe/art/photo/ luminaries in the field. For art and historical material. The library contains research.html photographs of all the paintings, sculptures, prints, Search over 600,000 images by subject; in the Writing Mysteries for Young People drawings, and decorative objects owned by this arts, humanities, performing arts and sciences. Nixon, Joan Lowery comprehensive museum, the largest of its kind in Writer, 1977 the Western Hemisphere. Library of Congress: Picture Catalogs Online- How-to on all aspects of the juvenile mystery Photography for Writers Guides, Reference Aids, and Finding Aids from characterization to plotting. Chapters Abrams, Lawrence F. www.loc.gov/rr/print/resource/223_piccat.html on writing the easy-to-read, middle-grade, Entwood Publishing, P.O. Box 268, Wausau, WI Online directory linking to image catalogs with young adult, or magazine mystery story. 54402-0268 an emphasis on history and documentary. Includes steps, from idea to marketing the final Photography basics (cameras, lenses, film manuscript. processing), and specifics of how a writer can Library of Congress: Prints and Photographs PUBLICIZING YOUR PUBLISHED WORK best combine text and photos. Online MYSTERY - ONLINE RESOURCES www.loc.gov/rr/print/catalog.html MysteryNet.com The Smithsonian Institution Searchable database. Lots of useful resources, including a list of Office of Printing and Photographic Services Mystery Writers Organizations. National Museum of American History Washington, D.C. 20560 POETRY & Mystery Writers of America www.mysterywriters.org PHOTOGRAPHY - ONLINE RESOURCES VERSE Premier organization for mystery writers. All You Wanted to Know About Digital website has great resources. Photography The Child as Poet: Myth or Reality www.basic-digital-photography.com Livingston, Myra Cohn SistersInCrime.org Advice and tutorials. Horn Book, 1984 Promotes the professional advancement of A truly handsome volume. Discusses the

women who write mysteries and addresses American Historical Images on File: The Native writing of poetry by children, but with a wealth SCHOOL VISITS discrimination against women in the mystery American Experience of rich material for the adult poet. field. A great support network. www.csulb.edu/projects/ais/nae Comprehensive collection arranged Climb into the Bell Tower: Essays chronologically from prehistoric to 1900. Livingston, Myra Cohn PHOTOGRAPHY Trophy Press, 1990 Corbis.com LEGAL QUESTIONS When you’re doing photo research for a One of the most comprehensive sites for photo How Does a Poem Mean? nonfiction article or book, art museums, US research. Ciardi, John government agencies, local historical societies, Finding Images Online: Directory of Web Random House, 1990 and museums of natural history are likely to Image Sites With imagination, wit, and intelligence, John prove the most valuable resources, depending Berinstein, Paula, 2006 Ciardi ask readers and writers to consider what on the subject matter of the particular book or www.berinsteinresearch.com/fiolinks.htm goes into a poem, how a poem may mean, and how to recognize poor verse and doggerel. A 214 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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 A classic text. Children’s poetry begins withnursery rhymes. Oxford University Press, 2006 Opie, Iona, Peter Opie &Joan Hassall The Oxford Nursery Rhyme 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 examples enhance usefulness. the bookusefulfor beginners; the excellent craft of writing. Anindex of terms makes Kennedy examines various elements of the as contemporary mode, the noted poetX.J. Exploring poetryinthe traditional aswell Longman, 2005(11thedition) Kennedy, X.J.&Dana Gioia An Introduction to Poetry by firstline. children’s poetryincollections. Alsoanindex Indexes byauthor, title, and subjectof Wilson, 1998 1993-1997 Index to Poetry for Children &Young People: must for anyone interested inpoetry. | 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 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 www.poetry-portal.com Poetry Portal and subject. Thousands of poems, searchable byauthor, title www.theotherpages.org/poems The Poets’ Corner Contains thousands of public domain poems. www.emule.com/poetry The Poetry Archives www.poets.org Academy of AmericanPoets POETRY -ONLINERESOURCES Directory of worldwide linkstopoetrysources. Grzimek, Dr. H.C.Bemhard, ed. Grzimek’s Animal Life Encyclopedia Houghton, 1983(movie tie-in edition, 1988) Fossey, Dian Gorillas intheMist Photos and color drawings. 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 with fullcolorillustrations and line drawings. Good general reference toanimal kingdom UC Press, 2005 McKay, George, etal Guide Encyclopedia of Animals:ACompleteVisual more). Glossaryatend of Volume II. reproduction, order, color photograph, 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. Exquisite photograph and information about DK Adult, 2001 Wilson, DonE.&David Burnie World’s Wildlife Animal: TheDefinitive VisualGuide to the NATURE SCIENCE & FROM IDEA TO EXECUTION | 215

Gale, 2003 The Year of the Gorilla PREPARING & SUBMITTING Grzimek, who was director of the Frankfurt Schaller, George B. RELIGIOUS Zoological Gardens, gathered entries from University of Chicago Press, 1964 other experts around the world to compile this TOPICS 13-volume zoology encyclopedia. Most large SCIENCE & NATURE - ONLINE RESOURCES libraries have it, but the paperback edition Animal News Center The Anchor Bible Dictionary is a good investment if you’re writing about www.anc.org Freedman, David Noel, ed animals. News about animals – pets, wildlife, farm and Doubleday, 1994 (CD-ROM, 1998) lab – from around the world. Comprehensive and scholarly compendium Firefly Atlas of the Universe of issues in the field of bible studies including Moore, Patrick Avibase Old and New Testament, Apocrypha, Dead Sea MARKET SURVEYS Firefly Books, Ltd. 2003 www.bsc-eoc.org/avibase/avibase.jsp Scrolls, and the Nag Hammad texts. This book gives up-to-date information on the Database with records of over 32,000 bird solar system, stars, and galaxies. It has many species and subspecies, distribution data and Celebrate! The Complete Jewish Holidays star maps, maps of the moon and planets, and maps. Handbook tables. Be sure to get the latest edition of this Ross, Leslie Koppelman book. eNature.com Jason Aronson, 1996 Includes field guides to birds, plants, shells, Comprehensive non-denominational resource

The Natural History of the Universe insects, mammals, regional wild life and more. on the history and customs of Jewish holidays. DIRECTORIES & RESOURCES Ronan, Colin Random House, 1995 Geology.com Encyclopedia of African and African American Past, present and future of the universe; Earth science news, dictionary, maps, satellite Religions illustrated glossary. images, and more. Glazier, Stephen Routledge, 2001 The New Encyclopedia of Mammals National Aeronautics and Space Extensive and in-depth coverage of religions in Macdonald, D. Administration (NASA) Africa and their influence on African-American Oxford University Press, 2001 www.nasa.gov religious life.

The New York Public Library Desk Reference, Natural History Museums and Collections Encyclopedia of African American Religions 4th Edition www.lib.washington.edu/sla/natmus.html Murphy, Larry G. ed,

Hyperion, 2002 Directory of links worldwide. Garland Publishing, 1993 PUBLICIZING YOUR PUBLISHED WORK This 1,016-page volume is packed with answers Covers founders of larger African to the most frequently asked questions, as well as Paleontology Portal American religious groups, descriptions of easy-to-read charts, graphs, and tables, insightful www.paleportal.org denominations, groups and organizations. sidebars, full-color maps, and illustrations, plus Encyclopedia of American Religions cross-references and web addresses to aid more Plants Database Melton, J. Gordon in-depth research. plants.usda.gov Gale, 2002 Database of regional and state characteristics, Comprehensive and scholarly. Oxford Dictionary of Science fact sheets plant guides, and 25,000+ images. Oxford University Press, 2006 Encyclopedia of Eastern Philosophy and Covers biology, chemistry, physics, earth Public Library of Science Religion sciences and astronomy. www.plosbiology.org Schreiber, Ingrid Fischer, et al PLoS Biology is a peer-reviewed, open-access Shambhala Pub. 1994 The Whitetail Deer: A Year’s Cycle journal published by the Public Library of Covers Buddhism, Taoism, Tibetal Buddhism,

Stadtfeld, Curtis K. Science (PLoS), a non-profit organization Hinduism and Zen. SCHOOL VISITS , 1975 committed to making scientific and medical Comprehensive and scholarly. literature a public resource. Women in the Field, America’s Pioneering Encyclopedia Judaica Women Naturalists Science Gateway Roth, Cecil Bonta, Marcia Myers www.academicinfo.net/subsci.html Keter, 1972, supplements through 1994 Texas A & M University Press, 1991 Exhaustive directory of links to all subjects A 26-volume English-language encyclopedia of LEGAL QUESTIONS Biographies of 25 women naturalists from scientific. the Jewish people and their faith. the late 18th century through the early 20th century. Good bibliography. Wildfinder Encyclopedia of Native American Religions www.worldwildlife.org/wildfinder Hirschfielder, Arlene & Paulette Molin World of the White-Tailed Deer A map-driven database of more than 26,000 Facts on File, 2001 Rue, Leonard Lee, III birds, mammals, reptiles, and amphibians that Good introduction to Native American beliefs, Lippincott, 1962 allows users to discover where species live. ceremonies and religions. 216 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org Biblical doctrines are presented. biographical, and doctrinal. Nonsectarian archeological, historical-geographical, Four emphasescharacterize thisdictionary: Moody Press, 1988 Unger, Merrill F. Unger’s BibleDictionary God and religion. and agnostic children ontheir thoughts about psychiatrist with500Christian, Jewish, Islamic Fascinating interviews byHarvard child Mariner Books, 1991 Coles, Robert The SpiritualLifeof Children McGraw-Hill, 1967,supplements to1997 Mcdonald, William J. New CatholicEncyclopedia Mennonite Publishing, 1990 Kran, Cornelius Mennonite Encyclopedia life cycle, synagogue, and home observance. An excellent introduction toJewish holidays, , 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. issues. Very literate withheavy emphasisonthe Contemporary American/international Jewish Forward Publishing Co.Inc. Forward Newspaper (EnglishEdition) the millenniumaccording toLibrary Journal. One of the most important reference worksof Macmillan Reference, 2004 Eliade,Mircea, ed Encyclopedia of Religion | TOEXECUTION FROM IDEA Links toreligious denominations. www.refdesk.com/factrel.html World ReligionResources many aspects of 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, www.sacred-texts.com/index.htm Internet Sacred Text Archive www.csn.net/advent/cathen Catholic Encyclopedia Buddhism. Source for information and resources on Buddhanet.net RELIGIOUS TOPICS -ONLINERESOURCES FROM IDEA TO EXECUTION | 217

USING HISTORICAL ASSOCIATIONS EFFECTIVELY PREPARING & SUBMITTING

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

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

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

determined by how the researcher plans to use it. (There’s a LEGAL QUESTIONS However, since some researchers never follow up on their higher fee if it is to be used in a book.) Ask for the HAs policy requests, staff members usually don’t begin the search until you when you arrive. come and sign in. Your letter will serve as a useful guide at that time. APPLY PROPER RESEARCH ETIQUETTE Know that retrieval systems vary. Typically, you won’t be Don’t be a hit-and-run researcher. I’ve worked with HAs on allowed to browse the stacks like you can in a library. Staff will both coasts. The worst nightmare consists of the “RV Raiders” pull only what you request. Most HAs have their own unique who “drop by” and say, “Give me everything you have on the 218 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | TOEXECUTION FROM IDEA » » » » » » friendships. Get to know members ofthe culture; develop genuine » » » » » Immerse yourself inthe culture. your book,anyway! work and takes staffaway from other duties.They’ll read itin you discover, no matter how juicy. Itinterrupts others intheir you are about what you find. Resist the temptation to share what to chat about itwithyou. Don’t worry ifthey aren’t as excited as thousands staffmembers address each year. Don’t expect them do this are stealing history. photographs into their notebooks. This is criminal. People who things—like tear pages out ofirreplaceable books orslipping Smith family. Now.” Hurriedresearchers also dodesperate » » » » » » » » » » » Be sensitive. Your research project is only one among interactions, attitudes, mores. differently than American children? Observe family Get to know children ofthis culture—are they treated Have abasic understanding oftheir religion. Learn their holidays—how and why they are celebrated. Learn their superstitions and beliefs. festivals, ceremonies, parties, orother functions. Ask them to explain certain activities, costumes, etc. at famous sights,etc. clothes, languages, occupations, plants, animals, of questions about their , customs, foods, Show respect and never mock their beliefs.Ask millions Visit their homes. Eattheir foods, obey their customs. their language. specialty stores; listen to their music;learn some of Watch their movies attheaters orrent movies at recipes. taste, and feel. Try to cook some oftheir more popular grocery stores; learn how their foods look,smell, Eat atrestaurants from that culture; shop attheir parties, etc. Attend festivals, religious ceremonies, weddings, sights, sounds, and smells. then travel to San Francisco’s to observe subcultures. For example, ifyou cannot travel to China, If you cannot travel to the country itself, visit American of the country. the weather, plants, animals, smells, sounds, colors, etc. If possible, travel to the setting ofyour bookto learn TIPS FOR RESEARCHING ACULTURE DIFFERENT FROM YOUR OWN » » » » » travel there yourself. Obtain physical descriptions ofyour setting ifyou can’t » » Understand the culture’s literature. » » Understand the culture’s history. » » be areference for future researchers. will It book. you can, sendyour them acomplimentary copy of HAs inyour bookfor information and photos you use. And, if » » » » » » » » » » » Give duecredit and share the results. Always acknowledge or tourists who have traveled there. Interview peoplewho once lived inyour novel’s setting Watch movies set inthat locale. Study videosorslides taken by visitors to the locale. Consult photo-journalist books. street maps. Consult travel guides, especially those withphotos and famous poetry, sagas, ballads, novels, orother literature. Read English translations oftheir country’s most tell you some popular legends and folktales. find them inbooks, then ask members ofthe culture to Learn the culture’s legends and folktales. Ifyou cannot are. Ask members ofthe culture who their historical heroes ancient and modem. until you have abasic knowledge ofitshistory, both Irish immigrants. Read several books about the culture are adescendant from African slaves, Aztec fanners, or Your people’s history influences your life, whether you the culture, especially those set inthe home country. Read autobiographies ornovels written by members of characters inyour novel. culture who have orhad the same occupations as the locale as your novel’s setting, and also members ofthe Locate members ofthe culture who lived inthe same

FOR CHILDREN &TEENS

WRITING &ILLUSTRATING ESSENTIAL REFERENCEBOOKS ON

ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS

by Lee Wind

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

What these more than twenty-five experts* are talking about are the “She talks about telling the truth—your truth, which I believe is the books on craft that inspire them, that are must-reads, and that they most important thing I can teach my students.” recommend. You’re scrambling for a pen and paper, but relax—I’m “Invaluable and inspiring.” your 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 “Because it’s so clearly laid out and because I know Harold, and he to read when you get a rejection and think maybe you’ll give up. And knows whereof he speaks . . . and he is continually updating this book then 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. 220 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 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.” dummy, spatial relationships, composition, technique, and style.” character development, sequencing, rhythm, storyboard, book covers most aspectsof the craft from concept topublication; including craft.” 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) skills—and writing ingeneral. Ilovedher clarity.” (Riverhead Trade, 2010) eight hundred well-writtenentries.” century—authors, illustrators, editors, formats, genres, inmore than the bestof 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 “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 Screenwriting, “Useful, practical waystounderstand and usevarious writing The Forestfor theTrees: AnEditor’s Advice toWriters,byBetsyLerner “Belongs oneverychildren’s bookwriter’sshelf. Readers meet Children’s Books andTheirCreators:AnInvitationtotheFeastof amuses, and resonates.” David Jauss isbrilliant and writesinawaythat explains, details, 2008) About theCraftof FictionWriting,byDavid Jauss (Writer’s Digest 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) think aboutyourownstorytelling innew ways.” look into the effectiveuseof illustration.” on their workwhileexamining the deeper currents . Anenlightening Dilys Evans (Chronicle Books, 2008) about before.” of which wealready maybe do buthavenever consciously thought artists’ eyeswhatcanmake for extraordinary images and compositions.” have onthose forms and shapes. Agreat bookfor helping usseethrough we know well,such astriangles and horizontals, tothe effectcolorcan 2000) Press, 1991;retitled asPictureThis:HowPicturesWork, Chronicle Books, whole children’s bookindustry.” interviews withpublishing pros.)” “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 Bird by,Anne Lamott (asonprevious page) “It’s like amaster class inhow tolookatart,learn from the best,and “This anthology features twelvecontemporary illustrators, focusing Show andTell: ExploringtheFineArtof Children’s BookIllustration,by “It makes usaware of intuitive principles of making pictures, many “Provides fun,dynamic teaching throughout, from using simpleforms 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 | 221

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

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

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

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

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

Made to Stick: Why Some Ideas Survive and Others Die, by The Spying Heart: More Thoughts on Reading and Writing Books for and Dan Heath (Random House, 2007) Children, by Katherine Paterson (Puffin, 1990) LEGAL QUESTIONS “Mark Twain said, ‘A lie can get halfway around the world before the “Whenever I need to be reminded of the true, deep, and real reasons truth can even get its boots on.’ This book explores creating concepts, I write for children, I pull out this book and open it to any page.” ideas, and fiction that ‘sticks’ in a way that readers and the public will remember them forever.” Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew, by Ursula K. Le Guin (The Eighth Mountain Press, 1998) “Great chapter with examples for each POV based on the same 222 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org anyone else who writes. Iuseher techniquesdaily because they work directions and illustrations onitsapplication for students, authors, and loaded withgreat exercises.) tension, and developing aninspiring premise. (The workbookis out. Covering time and place, subplots, characters, themes, narrative genre—and shows writing techniquestomake yourownbooksstand Books, 2004) by Donald Maass (Writer’sDigest Books, 2002,and Writer’sDigest “Her wit,intelligence, and candor are wildlyinspiring.” other writerswho inspired her (from Shakespeare toEudora Welty). 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) scene/characters butfrom different POVs.” | ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN &TEENS FOR CHILDREN &ILLUSTRATING ON WRITING BOOKS REFERENCE ESSENTIAL | “Explores left-right brain science, and then givesstep-by-step Writing theNaturalWay, byGabriele Rico (Tarcher, 2000) 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 ina funkaboutyourwork,thisbook,fullof wonderful Writing ChangesEverything:The627BestThingsAnyoneEverSaid Tools tohone yourediting skillsand deepen yourunderstanding Writing &CritiqueGroupSurvivalGuide:HowtoGiveandReceive “Newbery Medalist Bauerwrote thisbookfor middle-schoolers . What’s Your Story?AYoung Person’s GuidetoWritingFiction,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 , byWillEisner (W. W. Norton &Company, 2008) Salisbury and Morag Styles(Lawrence King Publishers, 2012) they solvevisual problems, and whatsparks them.” children’s bookillustrators. Ilovereading aboutother illustrators, how Library of Applied Design, 1992) bolster yourconfidence.” the days when youfeellike things aren’t going welland youneed to 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 RecommendedBooks 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.” Based onWill’scourse atNew York’s School of Visual Arts, thisbook Comics andSequentialArt:Principles andPracticesfromtheLegendary “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 CarrotSeed,byRuthKrauss and Crockett Johnson (firstpublished 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 ESSENTIAL REFERENCE BOOKS ON WRITING & ILLUSTRATING FOR CHILDREN & TEENS | 223

reveals the basic building blocks and principles of comics, including “It’s as important for an illustrator to understand the writing process PREPARING & SUBMITTING imagery, the frame, and the application of time, space, and visual forms. for a picture book as it is for a writer to understand the value and dynamics of picture in a picture book. This is an excellent resource. Ann Drawing Words and Writing Pictures: Making Comics: Manga, Graphic walks you through the picture book process with experience, perception, Novels, and Beyond: A Definitive Course from Concept to Comic in 15 and practical advice.” Lessons, by Jessica Abel and Matt Madden (First Second, 2008) Recommended Biographies A course on comic creation centered on storytelling, with chapters A number of our experts spoke about biographies of other children’s on lettering, story structure, and panel layout, culminating in making a book authors and illustrators as sources of inspiration. Here are the finished comic. ones they mentioned:

Framed Ink: Drawing and Composition for Visual Storytellers, by Marcos ’s Art, by Anne Stevenson Hobbs (Frederick Warne, 1989) MARKET SURVEYS 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 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 Self-Portrait: , by Trina Schart Hyman DIRECTORIES & RESOURCES , build a website, forge a community, and start earning (HarperCollins, 1981) money from 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! 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 PUBLICIZING YOUR PUBLISHED WORK book “covers a lot of territory” and includes artwork examples.

Interaction of Color, by Josef Albers (Yale University Press, 1963) Color studies demonstrating the principles of color relativity, intensity, and temperature, vibrating and vanishing boundaries, and the illusions of transparency and reversed grounds.

The Original Art Catalog (The Society of Illustrators, annual) The exhibition catalog of the annual show of the best children’s book illustration at the Society of Illustrators. “The best way to see what books, art styles, subjects, and mediums are currently being published. Also, it credits the artist, publisher, art director, editor, and author of each book—a great research tool!” SCHOOL VISITS Talking with Artists, Volumes I, II, and III, by Pat Cummings (Simon & Schuster, 1992, Simon & Schuster, 1995, and Clarion Books, 1999) Pat’s conversations with more than forty luminaries of children’s book illustration, with “childhood photos and drawings, pictures of their studios, and sample illustrations from published books. At the back of the book, each artist shares their secret techniques.” LEGAL QUESTIONS

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

Writing Picture Books: A Hands-On Guide from Story Creation to Publication, by Ann Whitford Paul (Writer’s Digest Books, 2009)

GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS

by Melissa Stewart

GENERAL U.S. GRANTS & FELLOWSHIPS cultural organizations in your area to find out asp?a=3933&q=293740 what is available. Creative Capitol Delaware Division of the Arts Individual Artist creative-capital.org/ Alabama Arts Fellowships www.arts.alabama.gov/grants/index-grants. www.artsdel.org/grants/IAFinfo13_DE.pdf McKnight Artist Fellowships for Writers of html Children’s Literature Idaho Commission on the Arts QuickFund Grants https://www.loft.org/for-writers/contests-and- Alaska State Council on the Arts, Career www.arts.idaho.gov/grants/indoverview.aspx awards/103-loft-contests-grants-a-awards/216- Opportunity Grants mcknight-artist-fellowships-for-writers www.eed.state.ak.us/aksca/grants3.htm#fellow Idaho Commission on the Arts Fellowships Arizona Commission on the Arts Artist Project www.arts.idaho.gov/grants/indoverview.aspx National Endowment for the Arts Literature Grants Fellowships www.azarts.gov/grants/artists/#APG Illinois Arts Council Individual Artist Support www.nea.gov/grants/apply/Lit/index.html Arkansas Arts Council Individual Artist www.arts.illinois.gov/Individual%20Artist%20 Fellowships Support SCBWI/Book Launch Award www.arkansasarts.org/grants/iaf.aspx www.scbwi.org/Pages.aspx/Book-Launch- Indiana Arts Commission Individual Artist Award Arkansas Arts Council Sally A. Williams Artist Fellowships Fund www.in.gov/arts/individualartistprogram.htm SCBWI/Don Freeman Grant www.arkansasarts.org/grants/williamsfund. www.scbwi.org/Pages.aspx/Don-Freeman- aspx Kentucky Arts Council Individual Artist Grant Fellowship Program North Little Rock, Arkansas, Laman Library artscouncil.ky.gov/Grants/ASF/asf_gdl.pdf SCBWI/Work-in-Progress Grants Writers Fellowship www.scbwi.org/Pages.aspx/Work-In-Progress- www.lamanlibrary.org/page/42/laman-library- Maine Community Foundation’s Martin Dibner Grants writers-fellowship Fellowship www.mainecf.org/Default.aspx?tabid=616 SCBWI/Jane Yolen Mid-list Author Grant Arts Council , California Artist www.scbwi.org/Pages.aspx/Jane-Yolen-Mid-list- Laureate Program A Louisiana Division of the Arts rtist Career Author-Grant www.artscouncil.org/page/grants_artist_ Advancement Grants laureate www.crt.state.la.us/arts/guidelines2012-ca.aspx SCBWI/Martha Weston Grant Maine Arts Commission Individual Artist www.scbwi.org/Pages.aspx/Martha-Weston- San Francisco, California Arts Commission Fellowship Grant www.sfartscommission.org/programs/cultural_ mainearts.maine.gov/grant_ equity_grants.htm 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 Massachusetts Cultural Council Artist governments. Many local cultural councils also Fellowships award grants to artists. Check with Arts and www.cultureandtourism.org/cct/cwp/view. www.massculturalcouncil.org/programs/ 226 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org www.larac.org/Artist_Grants.html Council Individual ArtistGrants New York--Lower Adirondack Regional Arts www.nyfa.org/level2.asp?id=1&fid=1 Fellowships New York Foundation for the Arts Artists’ sk=view&id=1043&itemid=367 nac.nevadaculture.org/?option=com_content&ta Grant Nevada Arts Council Professional Development sk=view&id=1043&itemid=367 nac.nevadaculture.org/?option=com_content&ta Nevada Arts Council ArtistFellowships artist_fellowships_1 www.pw.org/writing_contests/individual_ Individual ArtistFellowships New Hampshire StateCouncil onthe Arts art.mt.gov/artists/artists_innovation.asp Montana ArtsCouncil Artist’s Grant www.artskc.org/inspirationgrants.aspx Grants Missouri—Kansas CityArtsCouncil Inspiration php www.arts.state.ms.us/grants/artist-fellowship. Fellowships Mississippi ArtsCommission Literary Artist php www.arts.state.ms.us/grants/artist-fellowship. Grants Minnesota StateArtsBoard ArtistInitiative www.fwac.org Minnesota FiveWings ArtCouncil programs/index.html www.midatlanticarts.org/funding/artists_ Grants Mid-Atlantic ArtsFoundation Individual Artist kresge.collegeforcreativestudies.edu Kresge ArtsinDetroit, Michigan index.shtml arts.ks.gov/fy11grants/artists/innovation/ Grant Kansas ArtsCommission ArtistInnovation artistfellows.asp | GRANTS, FELLOWSHIPS, RESIDENCIES, &RETREATS RESIDENCIES, FELLOWSHIPS, | GRANTS, Fellowship Tennessee ArtsCommission Individual Artist South Dakota ArtsCouncil South Dakota ArtsCouncil artscouncil.sd.gov/grants/grantartist.aspx Grant artscouncil.sd.gov/grants/grantartist.aspx Grant fellowships.shtml www.southcarolinaarts.com/grants/artists/ Fellowships South Carolina ArtsCommission Artist www.arts.ri.gov/individuals/fellowships09.php Individual Fellowships Rhode Island StateCouncil onthe Arts aspx MacCollJohnsonFellowship/tabid/362/Default. Nonprofits/GrantOpportunities/ www.rifoundation.org/ MacColl Johnson Fellowships Rhode Island Foundation Robert&Margaret www.literary-arts.org/oba-home/fellowships/ Oregon Literary Fellowships grants-for-individual-artists www.oregonartscommission.org/grants/ Grants Oregon ArtsCommission Career Opportunity grants-for-individual-artists www.oregonartscommission.org/grants/ Fellowships Oregon ArtsCommission Individual Artist IndividualExcellenceAwards.asp www.oac.state.oh.us/grantsprogs/guidelines/ Excellence Awards Ohio ArtsCouncil Funding for ArtistsIndividual GrantProcessArtists.asp www.oac.state.oh.us/grantsprogs/guidelines/ Ohio ArtsCouncil Funding for Artists www.nd.gov/arts/grants/grant.html Development North Dakota Council onthe ArtsProfessional grant.html Artist Fellowshipwww.nd.gov/arts/grants/ North Dakota Council onthe ArtsIndividual FellowshipWritersFAQ.pdf www.ncarts.org/elements/docs/ North Carolina ArtsCouncil Artist Project Artist Fellowship 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 www.vermontartscouncil.org/Grants/tabid/65/ Vermont ArtsCouncil Creation Grant Default.aspx www.vermontartscouncil.org/Grants/tabid/65/ Grant Vermont ArtsCouncil ArtistDevelopment 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 www.tn.gov/arts/grant_categories.htm based scholarships tocoverthe costof travel. travel expenses. Most of the others offer need- cover the costof food. Afewprograms cover provided orparticipants receive astipend to other creative people. Inmost cases, food is opportunity tospend time interacting with free workspaceand housing aswellthe All of the programs listedbelowinclude U.S. RESIDENCIES funding/grants-for-the-arts/ www.artscouncil.org.uk/funding/apply-for- Arts Council England www.canadacouncil.ca/writing/ Canada Council onthe Arts INTERNATIONAL GRANTS&FELLOWSHIPS GRANTS, FELLOWSHIPS, RESIDENCIES, & RETREATS | 227

The Anderson Center Marguerite and Lamar Fellowship for Writers PREPARING & SUBMITTING www.andersoncenter.org/index.html www.mccullerscenter.org/fellowships.php Red Wing, MN Columbus, Georgia

Atlantic Center for the Arts MacDowell Colony www.aca35.org/artist-residence-program www.macdowellcolony.org/ New Smyrna Beach, FL Very prestigious, very competitive. Peterborough, NH Blue Mountain Center www.bluemountaincenter.org/whatsnew Millay Colony for the Arts Highly regarded, rustic, rural, beautiful www.millaycolony.org/residencies MARKET SURVEYS Blue Mountain Lake, NY Austerlitz, NY Norton Island Residency Program 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 DIRECTORIES & RESOURCES www.woodstockguild.org/artist-in-residence Otis, OR Woodstock, NY Thurber House Djerassi Resident Artists Program thurberhouse.org/childrens-writer-in- www.djerassi.org/index.html residence.html Woodside, CA Reserves a slot especially for children’s writers Dorland Mountain Arts Colony Columbus OH dorlandartscolony.org/index.php/about- dorland/artist-residencies Ucross Residency Program Temecula, CA www.ucrossfoundation.org/residency- program/

Edward F. Albee Foundation Sheridan, Wyoming PUBLICIZING YOUR PUBLISHED WORK www.albeefoundation.org/Mission.html Montauk, Long Island, NY Virginia Center for the Creative Arts www.vcca.com/main/index.php Fine Arts Work Center Amherst, VA www.fawc.org/fellowships/index.php Provincetown, MA Yaddo yaddo.org/ Headlands Center for the Arts Very prestigious, very competitive. www.headlands.org/program/air/ Saratoga Springs, NY Fort Barry, CA RETREATS Hedgebrook www.hedgebrook.org/ Many SCBWI regions offer retreats. Check

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

Kimmel Harding Nelson Center for the Arts Kindling Words www.khncenterforthearts.org/residency. kindlingwords.org/ html#resfee Nebraska City, NE

SCBWI PUBLICIZING YOUR PUBLISHED WORK

2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org 1,000+ WAYS TO PROMOTE YOURSELF AND YOUR CHILDREN’S BOOKS 1,000+ WAYS TO PROMOTE YOURSELF AND YOUR CHILDREN’S BOOKS

by Susan Salzman Raab

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

What to do? Well, as Douglas Adams advised in The Hitchhiker’s Guide 100 Ways to Measure Social Media to the Galaxy, don’t panic. Stay grounded and be strategic. What works bit.ly/yAsm9 for a colleague who tells you he knows the latest and greatest about how to use Twitter, Facebook, YouTube, and Flickr might not work for 100 Ways to Use Twitter in Your Library you—there’s more available than anyone can try, or anyone can know. bit.ly/buX3H The real question is, what is out there, and how does that relate to what you’re trying to accomplish? Even that’s not easily answered, 100+ Flickr Resources because the information is evolving daily. But if you recognize that, bit.ly/cSgDGt you’ll be more prepared to experiment and move forward. There are lots of ways to go about it, but one is to let someone else 100+ Ways to Market Your Website do the research for you. And voilà! Below are a variety of sites to help bit.ly/atlDAy you with what you need. For example, a recent article showcased “100 Inspiring Ways to Use Social Media in the Classroom.” On that list are 100 Ways to Get More Traffic writing projects using the short Twitter format and research ideas that bit.ly/bQVfvh could be used by authors with student groups. Other items are not as much of a fit, but you can quickly peruse the list to figure out which can Top 100 Ways to Build Your Sports Career Using Social Media be of interest and then adapt them. Another thing to consider is which bit.ly/W8ZA mechanisms have been proven to offer the best results. Look for that in “100 Ways to Measure Social Media.” There are similar lists for using Twitter The Top 100 Ways a Home Office Warrior Can Utilize a Virtual Assistant and Flickr, doing website marketing, and for audience building. On other bit.ly/cCzH7v sites you can get good advice for organizing and conducting your work, and you can explore ways to market your career—here related to sports, 100+ Ways to Organize Your Life but you’ll find a good amount that apply to our work as well. bit.ly/iVUJ Of course, the main objective is to market children’s books, so inspired by these, I’ve provided a new list of “100 Ways to Promote Your Susan Salzman Raab is the author of An Author’s Guide to Children’s Children’s Books.” But be sure to take note of the last few items there, Book Promotion and the marketing advisor for the SCBWI. She is host of which are to recognize that this will take perseverance, time, and the University of Connecticut’s Teachers for a New Era children’s literature patience—and know, too, that we can’t expect to do it all. podcasts and records for Kids Public Radio. She’s been a correspondent for the nationally syndicated, Recess! Radio and is president of Raab 100 Inspiring Ways to Use Social Media in the Classroom Associates Inc., a marketing and public relations agency that works bit.ly/alnyIq with authors and publishers internationally. Visit her online at www. raabassociates.com. Questions can be sent to [email protected]. 232 | 1,000 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS

1,000 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS

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

www.scbwi.org 23. Read American Libraries Direct. 54. Do social networking. | 24. Read the New York Times and the NYT Book Review. 55. Set up a Facebook page. 25. Read Booklist, School Library Journal, and Horn Book 56. Use LinkedIn. blogs. 57. Join Twitter. 26. Research awards. 58. Write a teacher’s guide. 27. Submit your book for awards. 59. Apply for a grant. 28. Design a . 60. Draft a set of good pitches for media outreach. 29. Run a contest. 61. Plan a book tour. 30. Design an e-card. 62. Schedule a blog tour.

PUBLICATIONS GUIDE: THE BOOK 31. Prepare your elevator speech. 63. Stay engaged with your readers. 32. Get comfortable with networking at events and online. 64. Hire a marketing agency or an assistant. 2017 1,000 WAYS TO PROMOTE YOUR CHILDREN’S BOOKS | 233

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

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

GRASSROOTS BOOK PUBLICITY

by Kerry Madden

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

Regardless of how well a book is written, critical praise doesn’t only if there are real updates. Be wary of e-mailing in bulk too often. always translate into sales, and often even well-reviewed books 8. Join a YA and middle-grade fiction writers or picture book disappear, out-of-print within a couple of years. No matter how listserv. The Child_Lit Serve out of Rutgers is another great listserv much publicity and support your publisher offers, you are the of authors, professors, librarians. Richie Parrington has started an best advocate for your book, and there are actions you can take to excellent listserv for middle school books for librarians, teachers, and prolong its life in print. authors. Also, Cynthia Leitich Smith (www.cynthialeitichsmith.com), Perhaps you’re about to publish a first book and have no idea what and Alice Pope (www.cwim.blogspot.com) both maintain excellent to expect. Maybe you’re a seasoned pro looking for new ideas on blogs about the world of children’s literature. There are many great promoting your books. Here are 25 surefire ways to keep your book children’s and YA book blogs. Clicking on one will lead you to many selling. more. Children’s and young adult book bloggers are the ones who keep 1. Begin laying the groundwork for your book promotion six your books alive. Thank them. Send them your books to review, but only months before your book is published. Write a press release and e-mail devote a little time each day to these blogs; you want to be protective it to newspapers and TV stations closer to the publication date along of your writing time. with a review or two if you have them. Bookpromotion101 (www. 9. Create your own book tour! Stay with friends and family. Rent bookpromotion101.com) is a good workshop, as is Author Buzz (www. the cheapest rental car and purchase airline tickets through inexpensive authorbuzz.com), run by MJ Rose. online travel sites. Visit bookstores before your book comes out—six 2. Hire a publicist. If you can’t do that: barter. Find a friend or a months is a good rule of thumb. Set up e-mail correspondence with the student and you offer to edit their stories and novels for free (forever) store manager, or the person in charge of scheduling their author visits in exchange for helping you do publicity. This may sound extreme, but or promotions. Over the next few months, set up dates for the book book publicity can be grueling work and it helps so much to have a signings/writing workshops. If you just have a handful of galleys, make friend with a sense of humor who “gets it.” photocopies and get them out to select book reviewers. This especially 3. Check out websites like Winding Oak at www.windingoak.com and works well for regional newspapers. The bigger markets are so glutted, the Children’s Literature Network. They are incredibly knowledgeable at but the smaller papers do a great job of author profiles and reviews if helping authors set up events, creating fliers, and doing regular website you let them know in time. updates. They charge, of course, but they do a great job. Little Willow is 10. E-mail bookstores with your information (book, website, jacket also great for website design. quotes) and follow up those e-mails with store-visits or phone calls. 4. Make postcards and/or bookmarks. Start with a printing of 5,000 Explain how you are able to offer writing workshops for kids instead copies. You can leave stacks in bookstores, restaurants and libraries. of traditional readings. Hint: Be upbeat and professional even when Hand them out on school visits. clerks can and will be indifferent. You will find the ones who get you, 5. Set up a website where kids can write to you and learn more and as for the ones who don’t, move on with grace. Try to focus on the about the world of the book and what you do as an author. Peruse other independent bookstores because they are the ones who will hand-sell author sites to give you ideas. your book. 6. Update your website regularly. Offer creative writing ideas, story 11. Set up writing workshops for kids in schools, libraries, and prompts, etc. bookstores. Lead a guaranteed audience of kids in writing their own 7. Send out e-mail blasts as often as you feel comfortable, but stories and poems. Make sure art supplies are on hand so the kids can don’t overdo it; three or four times a year is a good rule of thumb, and illustrate their creations, and offer to publish any stories that they 236 | GRASSROOTS BOOK PUBLICITY

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

www.scbwi.org 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 want you to do so. 14. 826 Valencia, a San Francisco–based organization, is a great place to do free writing workshops for kids, and they will announce your visit on their website which reaches people across the country. They are opening more places in more cities. Check out their site: www.826valencia.org. 15. Pitch workshops or classes to MediaBistro, UCLA online or at a university near you. It’s free advertising for you and your book and your class. You also get to meet wonderful students in your workshop. 16. Set up a six- or ten-week writing workshop at a local bookstore for teens or adults wanting to write children’s stories. You will be able to charge, of course, and the bookstore will advertise the PUBLICATIONS GUIDE: THE BOOK class and your book on its website and in its newsletter. 17. Go support other authors. Show up at their signings and 2017 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 responsibility is yours.

You have a right to be concerned about what happens to it. Never schoolers, and you are reasonably happy with your publisher and be shy about looking after its interests when the end result will be editor, you will want to stay with them. Your editor will help you higher sales, which will please the publisher; more readers reached, develop your writing and career, and your publisher may support which will please you; and the satisfaction of knowing you didn’t let your growing backlist as well as your new titles. If you are writing it die an untimely death. in a variety of genres, you will want to try to find two or more publishing houses. Do not overdo this. Flitting lightly from genre PRE-ACCEPTANCE to genre and publisher to publisher will not win you or your books »» Should you go for hardcover or paperback? The kind of book you the friends and advocates you need in the publishing world. (See want to write may determine that. But if your writing could work in “Your editor leaves . . .” below.) In the early stages of your career, either market, keep the differences in mind. The hardcover market establish yourself in the genre you do best. At some point you is more prestigious, but difficult to break into. Most hardcover may want to branch out or move on, and by then you will have a books will be reviewed in all or almost all of the major review professional track record. publications. They will sell in modest numbers but may stay in »» Contract negotiations: During contract negotiations, maintain print longer than paperbacks do. Paperback publishers often want a cordial and professional tone at all times. Especially early in writers for existing or proposed series, so your artistic freedom may your career, you may not be able to get many changes made, and be limited. Paperback originals do have their own review sources, being overly demanding may damage your relationship with your but their sales are strongly affected by the publisher’s promotional editor. According to Brad Bunnin, coauthor of The Writer’s Legal efforts and early reactions in the marketplace. Paperback series, in Companion, you need to understand four crucial points about particular, can be lucrative, but do not stay in print long. negotiations. The first point is that they are negotiations. Some »» Timing: Plan to follow your first published book with a second and things are not negotiable, but you will be surprised at how many a third at regular intervals. At least one a year is a good schedule, things can be changed. Know what you want—what is really if you can achieve it. Be sure to leave time for writing. You want to important to you—and it’s more likely that you will get it. Don’t build an audience for your books who will be waiting impatiently ask for things that are not important. The second is don’t agree for your next one. (Think of Dick Francis and Sue Grafton. Think of to anything, including the advance, over the phone. When the Patricia Polacco and Eve Bunting!) Don’t let two or three years go publisher calls to offer you a contract, ask to see the offer in by between books. You will be quickly forgotten. Your readers will writing first so you can think it over. Contracts are complicated also grow up and move on to other authors. legal documents. You need time to understand what it is you »» How many publishers should you publish with? If you are are signing. The third point—don’t sign it until you understand committed to writing in one genre, such as picture books for pre- everything in it. This is not as impossible as it sounds. The SCBWI 238 2017 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 » » » » » homework, and then do the footwork. It makes adifference. groups, geographic areas, telephone conferencing, etc. Doyour through schools, libraries, bookstores, websites, special interest Ways toMarket Your Book,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 sold outthe 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 PREPARING & SUBMITTING MARKET SURVEYS DIRECTORIES & RESOURCES PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS 239 KEEPING BOOK YOUR ALIVE| Increasingly, many books are put put books are many Increasingly, book goes out-of-print: Your it take Do not publication. within a year or two of out-of-print you that your book is notifies your publisher When personally. you to be able to too late for likely it is most out-of-print, going be out-of-print may It happening. to stop this from anything do may who editor, by the made not are decisions OP since already, future. do look to the but Don’t fight, fact. only be told after the buy as discount, your book at a steep of copies offered If you are sell them will be able to You can store. and as you can afford many away to give them and your website, through visits and at school file or film. digital the out about getting Find as samples or prizes. publisher. the letter from rights” of a “reversion to get Be sure book, it’s to an OP rights resell publication it’s difficult to Though yourself as an ebook or print- it in print Keeping impossible. not follow do authors and likely, title (or both) is more on-demand with their books along resuscitated these promoting this strategy, a book this way supporting into put time But don’t titles. in-print reasons. many for Books die, one. next the writing into of instead next. is to write the best remedy the does, one When When the editor who has been has been editor who the When or is laid off: editor leaves Your it his/ making book (thereby closely with you on your working your abruptly departs, publisher) the eyes of book in the her one no it’s an award-winner, an orphan. Unless become book may as your editor did will feel as strongly publisher original at the can You here. have two options You success. about its survival and and manuscript your next them sending stay with that publisher, for on responsibility take will then who editor, a new acquiring your sending editor, or you can stay with your your books, all of (This is only an house. publishing new to his/her manuscripts next books you of kind the publishing if your editor will still be option your follow If you do case.) always the is not which writing, are be short- may book you both left behind accept that the editor, sequel. to write a lived unless you want nowadays, but you or your agent need to keep tabs if rights are are if rights tabs keep to need agent you or your but nowadays, or a clear contract the a copy of for Ask publisher. sold to another exceeded have royalties paperback the Once terms. the of summary who publisher, to your hardback will be paid they advance, the your stay until they There in your account. them puts half of later. be six months can which date, payment royalty publisher’s however, What you can do, about this. you can do is nothing There be statement paperback publisher’s the of is stipulate that copies publisher. hardback well as to the as (or your agent) to you sent out, royalty has earned paperback advance the that once sure Make and publisher hardback to the made being in fact are payments made, being not are payments If your share. getting that you are after what happens of track Keep or agent. call your publisher hardback that the event unlikely In the sold. are paperback rights doesn’t who to a paperback publisher rights sells reprint publisher You can call your publisher. and you’ll know, option, the exercise resell can now your publisher and on royalties, advance the keep paperback publisher. another to rights reprint » » » »

RESOURCES FOR PUBLISHED COPYRIGHTAUTHORS FACTS & ILLUSTRATORSFOR WRITERS

by Melissa Stewart

WEB DESIGN, BOOK TRAILERS, & CURIOUS CITY Description: Websites, book trailers. MARKETING MATERIALS 118 Emery Street Testimonial: “Julie and Marissa made Portland, Maine 04102 producing a trailer seem so easy. I told them AIMEE E. SUEN 207-699-2755 what I had in mind and they took it from 5625 Crescent Park West #335 Contact: Kirsten Cappy there. Marissa is a delight to work with and Playa Vista, CA 90094 [email protected] she’s incredibly creative and gifted at what 310-691-6474 visitcuriouscity.wordpress.com she does. She took an idea and turned it www.ascwpartnership.com Fee: $75.00/hour; for large projects, may into an adorable trailer that people gushed [email protected] establish a project fee discussing a client’s over! In fact, it was “Trailer of the Day” on www.accentaigu.com needs . I couldn’t have been more Fee: $50.00/hour; for large projects, may Description: Web design, book trailers, pleased.” —Sarah Sullivan, www.youtube. establish a project fee after discussing a photography, marketing materials. com/watch?v=ZvprKsvfD5s client’s needs Testimonial: “Kirsten has knowledge of Description: Web design the children’s book market, technological JOHN BALD Testimonial: “Aimee Suen redesigned and know-how, realistic expectations, integrity, 10 Columbia Avenue updated my children’s author website. I boundless creative energy, connections in Brunswick, Maine 04011 asked for a tailored, sleek look and she the library and publishing field . . . and (207) 729-7531 met every request I made. The site works a desire to make my book “sparkle” for [email protected] beautifully and I am so pleased with the the right readers at the right time. Using www.johnbald.net quality of work, her quick response, and her fount of knowledge and skills, Kirsten Fee: Establishes a project fee after discussing fair pricing.” — Shirley Smith Duke, www. transformed my website, designed a book a client’s needs; typically $400 to $1000 shirleysmithduke.com trailer for my upcoming picture book (that Description: Web design, photography. the publisher loved so much, they used on Testimonial: “I heartily recommend my BILAN, INC. their website too), and helped me design web designer, John Bald. John is quick 1344 Chalmette Drive an outstanding classroom activity guide. I to respond, flexible, creative, and highly Atlanta, GA 30306 look forward to working with her on my two professional. It’s a pleasure to work with 404-607-1735 upcoming books.” — Kathleen T. Pelley, him, and he does great work.” —Charlotte Contact: Shelli Johannes-Wells www.kathleentpelley.com Agell, www.charlotteagell.com [email protected] www.bilaninc.com JKS COMMUNICATIONS RAAB ASSOCIATES Fee: No hourly rate; establishes a project fee 511 Avenue of the Americas #317 345 Millwood Road after discussing a client’s needs New York, NY 10011 Chappaqua, NY 10514 Description: Web design, logos, marketing 646-318-1193 914-241-2117 materials. 6132 Hillsboro Pike #101 Contact: Susan Raab Testimonial: “Shelli Johannes-Wells has been Nashville, TN 37215 [email protected] a tremendous asset to the Southern Breeze 615-476-1367 www.raabassociates.com region (AL, GA, MS) of SCBWI. She beautifully Contacts: Julie Schoerke and Marissa DeCuir Fee: No hourly fee, charges for a suite of redesigned our website, created an impressive [email protected] services over a period of time logo and other attractive marketing materials. [email protected] Description: Web design, book trailers. Her work has always been professional and www.jkscommunications.com Testimonial: “Raab Associates gave shape timely.” — Jo Kittinger, Regional Advisor, Fee: No hourly rate; establishes a project fee and style to my website, unifying a widely SCBWI Southern Breeze after discussing a client’s needs diverse collection of titles. Identifying the 242 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org vickyalvearshecter.com beautiful work.”— Vicky AlvearShecter, represented inthe e-worldthankstoher I feelproud and confident about how Iam different kinds of booksIwrite. Bestof all, I needed anidentity thatworked among the thanks toShelli. She completely “got” how and twitter[background] lookand it’sall about how awesome my blog,website, Testimonial: “Iget alotof comments percent discount to SCBWI members. a wide range of marketing materials. Twenty networking consulting, designs websitesand Description: Author branding, social after discussing aclient’s needs Fee: No hourly rate; establishes aproject fee www.bilaninc.com [email protected] Contact: Shelli Johannes-Wells 404-607-1735 Atlanta, GA 30306 1344 ChalmetteDrive BILAN, INC. Publicity, Promotion, &Presentations nikkigrimes.com from Winding Oak.”—NikkiGrimes, www. and it’ssomething I’vecome tocount on do. Follow-through iseverything tome, They do whatthey saythey’re going to most, though, istheir unstinting integrity. of the client. WhatIappreciate aboutthem while remaining truetothe creative vision a special giftfor enhancing those ideas their clients, they consistently demonstrate makes ittick. Whiletranslating the ideas of of the children’s bookmarket and what creativity, and abroad-based understanding offer the perfectmarriage of hi-techsavvy, Testimonial: “Steveand Vicki Palmquist materials, videos, booktrailers. 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 —Diane Stanley, author together for anevenbigger marketing .” getting everybody excited and working energy levelintheir marketing department, giving SAVING SKYastellarlaunch raised the publisher. Seeing how committedIwasto ‘out there’. The rippleeffectevenreached my been adelight and she really got my book Testimonial: “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 mailings; target mailings toniche markets; press releases; press kits;trade and review Description: Publicity plans; media lists; client’s needs establishes aproject fee afterdiscussing a Fee: $100/hour; for large projects, maxbookpr.com [email protected] Contact: MimiSchroeder 404-447-6242 Atlanta, GA 30324 2865 N.Lenox Road,Suite302 MAX COMMUNICATIONS friend.” —CharlesGhigna, author publisher’s, bookseller’s, and author’s best into celebrations. Simplyput,Julie isa workaholic wizard who turns challenges in everyaspectof the business, afriendly charm and aplomb. She isaprofessional book promotion withsuch joy, grace, enough tobaskinher glow. She handles fire who ignites the bestineveryone lucky Testimonial: “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 No hourly rate, establishes aproject fee Promotional campaigns, RESOURCES FOR PUBLISHED AUTHORS & ILLUSTRATORS | 243

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

Fee: No hourly fee, charges for a suite of technology consultation, marketing —Nancy Werlin, author DIRECTORIES & RESOURCES services over a period of time materials, press releases, teachers Description: National media campaigns, guides, presentation development, KATE PALACES NARITA author tours, blog tours, marketing video production, website design and 227 Mountain Road consulting, website design and web maintenance, career planning. Princeton, MA 01541 consulting, library market outreach, media Testimonial: “When I signed on to work (603) 401-8144 training, teacher’s guides. with Vicki and Steve at Winding Oak, I did [email protected] Testimonial: “I have worked with Susan not realize that I would be joining a kind katenarita.blogspot.com Raab for well over fifteen years. And in that of “dream team” for wandering authors Fee: $200-$250, depending on the length of time, the number of my interviews, reviews, and illustrators! They are supremely the tours--and just plain book sales--has knowledgeable about the field and fearless Testimonial: “I am so pleased that I risen dramatically. She has always been in the face of the new 21st Century partnered with Kate Narita to develop enthusiastic, supportive, knowledgeable, demands on writers. This combination curriculum guides based on my books. Her PUBLICIZING YOUR PUBLISHED WORK inventive, and certainly very attentive. I of knowledge and courage is fortified by teaching experience and insight helped can’t see going on toward the future without a willingness to learn anything that a develop curriculum guides that peak interest having her as part of my team.” —Jane challenge requires. In addition, they are and benefit students. I often hear from Yolen, author cheerful, witty, and seem to know everyone teachers who have used these materials, and everywhere. They have a passion for they tell me that the curriculum guides are SCHOOLVISITEXPERTS.COM connecting people, interests and skills, so creative, helpful, and fun.” —Rose Kent, 1001 Hillview Lane working with them immediately makes your author Simi Valley, CA 93065 own world larger. They are just the best.” (805) 581-1906 —Debra Frasier, author-illustrator SHIRLEY SMITH DUKE Contact: Alexis O’Neill 2801 Apple Valley Dr. [email protected] CURRICULUM & BOOK CLUB GUIDES Garland, Texas 75043 www.schoolvisitexperts.com 972-840-0204 or 575-834-0503 Fee: No fee to access information on the CASSANDRA REIGEL WHETSTONE [email protected]

website; consulting services will be added 159 Red Ridge Court, www.shirleysmithduke.com SCHOOL VISITS soon. Folsom, CA 95630 Fee: $175-$225, depending on the length of Description: Advice on designing programs 916-989-9499 the guide for schools, libraries, bookstores, and [email protected] Testimonial: “Shirley Smith Duke is a terrific conferences; assistance managing the www.cassandrareigelwhetstone.com Teacher’s Guide writer. Easy to work with business side of appearances. Fee: $125-$250 and a great researcher with a creative mind Testimonial: “SchoolVisitExperts is my go-to Testimonial: ”Cass is an amazingly gifted for the types of activities and information LEGAL QUESTIONS site for expertise about school visits. The writer, teacher, and mom. Her teacher’s useful in the classroom setting. Highly is clear and concise, and the guides are developed from her rich recommended!” —Kenyette Kilpatrick, School range of topics covered is all-inclusive, wide- experiences as an educator, and I’ve never Marketing Manager/Peachtree Publishers ranging, and unique, everything from the known anyone with a greater passion latest technology with regards to equipment for educating children.” —Katy Duffield, TEACHINGSEASONS.COM and computer programs, to the psychology author P.O.Box 83581 of school presentations, to business matters. San Diego, CA 92138 244 2017 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 | 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 author Richard Peck— who a few years ago, with a great deal of conviction, declared to a packed ballroom at an SCBWI Summer Conference that “friend is not a verb”—now tweets (@RichardPeckAuth). He joins the ranks of Judy Blume (@judyblume), Bruce Coville (@brucecoville), Laurie Halse Anderson (@halseanderson), Libba Bray (@libbabray), and other children’s publishing luminaries. That speaks volumes about the importance of not just an online presence, but a social online presence, for authors and illustrators. And this applies to both the published and the aspiring.

Contrary to popular belief, social media isn’t just about It takes patience and perseverance. Note also that you’re not learning what everyone had for lunch. It’s also not about hard going to see results overnight, whether that’s gaining thousands selling. Your friends and followers won’t be around for long if of followers or seeing an increase in book sales. Using social you do nothing but ask them for things (“read my blog post,” media as an author or illustrator is all about building long-term “attend my event,” “buy my book”). As a writer or illustrator, awareness, developing an audience, and general networking. the purpose of social media is to create a network, make You’re building a network that will ultimately help you market connections, and share things of value with like-minded fans your books (which, really, you can’t do on your own these days). and followers. If you haven’t yet joined the conversation, or if And in that capacity, social media should be part of your overall you’re currently engaged in social media, here are some things plan as you create your identity and build yourself as a brand. to keep in mind so you can use Facebook and Twitter to your best advantage. Reach Out and Participate When you engage in social media, it’s all about expanding Invest Time your group of friends, not just talking to the same ones. Don’t When it comes to social media, if you’re not willing to invest be cliquish, but instead judiciously broaden your base, increase time to participate in them, they will not be much of a help your circle, and be open to new friendships and contacts. You to you. Social networking is about building relationships. never know when a small moment of reaching out via social media Relationships that start online may often be solidified offline, (retweeting someone or sharing their book trailer on Facebook) just as relationships that start offline can blossom via social could turn into something positive for your career down the line. media. Think about a friend you met at a conference who you now If you’ve cultivated a network of fans, friends, and followers interact with regularly on Facebook, or that writing group you before you have a book to promote, that can only have a positive found online who you now meet with in person. impact when you do have work available. Users of social media And just like with any other relationship, there’s a trust- notice when they’re noticed, and if you’re helping them expand building process, and you have to be committed for the long their reach, they will likely respond in kind when the opportunity term. Creating a network is a slow build; it happens over time. presents itself. 246 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org community supporting you—social networking isreciprocal. return the favor. Supporting the community willresult inthe whom youretweeted or reposted willremember and likely your friends and followers. They willbegrateful, and those something that’svaluable toyou,itwilllikely bevaluable to social media. networks. There’s a generosity present among like-minded users of all partof the community-building thathappens ononline social share knowledge and insights, and engage indiscussions. Thisis helpful blogposts, articles, and news bits, answer questions, illustrators, editors, and agents offer tipsand advice, linkto it easytokeep upwithindustry news and headlines. Writers, platforms. media souserseasilyrecognize youasthey move between carry the design theme of yourwebsite/blogthrough tosocial Facebook coverphoto and Twitter background. It’s alsogreat to related toyourwork(anillustration from yourportfolio) inyour (a shelf of yourbooks, yourlatestbookjacket) or something Summer Conference poolpartyisayes. Showcase yourwork costume isano; ashot of youinyourthemed outfitatthe SCBWI headshot, useit.Aphoto of youtipsyinyourHalloween but thatdoesn’t mean stuffyand no fun.Ifyouhaveagreat about yourappearance. 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 yousaycan come 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, consistent. of gaining afollowing. Try yourbesttobebothvisibleand Popping inonce aweekisn’tgoing tohelp youmuch interms The rest isoutof yourhands. only control yourlevelof participation and how activeyouare. You can’tmake peoplebuyyourbookorread yourblog.You can can’t control other peopleand how they respond toyourefforts. in them. And remember thatwhen itcomes tosocial media, you discussions. Show peopleyou’re listening and you’re interested updates and blogpostsyourfriends linkto.Engage in interested in.Respond toTweets. Comment onFacebook You can’tengage withpeopleifyoudon’t know whatthey’re Social networking isabouttalking, butit’salsoaboutlistening. Learn andShare; Don’tSell Be Yourself, but BeProfessional | PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY MEDIA FOR SOCIAL USING | PRINCIPLES Retweet and share the linksand postsof others. Ifyouread Facebook and Twitter are rich sources of information and make Presenting aprofessional selfisaboutyourwords, butit’salso It’s okay—ideal, even—toshow yourpersonality and be Just trytobeconsistent withyourposting and participation. Social media like Facebookand Twitter are justthat:social. news toonly alistof writerfriends. Using listshelps youfocus list of local friends toabooksigning, orpostlinkstopublishing certain specific groups of friends. Forexample, youcan invitea subscriptions. Listsallowyoutoprovide certaincontent to you couldonyourown. that they found valuable and thus spread the word further than of youraudience, they willalsorepost/retweet aboutcontent Facebook and Twitter friends and followers likely bethe majority they probably won’tmake ahabitof it.And not onlywillyour essential toremind readers tovisityour blog,becauseotherwise you’re well-known), withsomuch online content outthere, it’s about. The reality isthatunlessyou’re well-known (and evenif blog orawebsiteaslong as that’snot the onlything youpost you. both usefultoyournetwork and allowing them toget toknow good tooffer abalance of industry and personal, thus being of postsare certainlyusefuland of interest toyournetwork, it’s links need not bepublishing/book-related. Whilethese types discussion aboutitvia comments. Allyourphotos, videos, and may relate towhatyou’re posting and start/participate ina you’re posting. Thisallowsfriends tolearnaboutyou,and they you find interesting/funny/outrageous/important aboutwhat it’s agood idea toget visual now and again.Comment onwhat as . oatmeal. and reveals alittleaboutyou.“Time for my oatmeal” isasdull as Icatchuponpublishing industry blogs”iskind of interesting boring. “Munching onleftoverturducken ongrilledsourdough get toknow you.Justdon’t do itallthe time, and don’t make it respond tofood, and these kinds of postshelp yournetwork 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 communities. Focus onsocializing, not selling. Social media sitesare sharing, and thus participating inand building community. majority of yourtime supporting, encouraging, promoting, or a conference inwhich you’re participating), butspend the (your latestblogpost,yourupcoming bookstore appearance, network and readership inthe long run. publishing professionals) who canultimately help yougrow your may gainthe attention of gatekeepers (bookreview bloggers, (sharing links, recommending blogposts, retweeting), you By participating inthe discussion and being generous yourself On Facebook,take advantage of features like listsand Social media isagreat waytoremind people youhavea Photos, videos, and linksstand outinaFacebookfeed, so As far aswhattosay, straightforward “whatI’mdoing” posts When itcomes toseeing yourpostsand yourTweets, the It’s great topromote whatyou’re doing via social media PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY | 247

your efforts and keeps you from offering certain information PREPARING & SUBMITTING to those who will not be interested. It also allows you to disseminate personal information to your inner circle rather than to your entire network of personal and professional contacts. The Facebook subscription feature allows people to follow your posts rather than be your friend—that way they get to see what you have to say, but their posts won’t show up on your newsfeed. For authors with personal (rather than fan) pages, lists and subscriptions can be invaluable. (Check Facebook’s help pages or Google for instructions on setting up these features.) MARKET SURVEYS 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 DIRECTORIES & RESOURCES miss out on the opportunity to have it work for you. PUBLICIZING YOUR PUBLISHED WORK SCHOOL VISITS LEGAL QUESTIONS 248 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | PRINCIPLES FOR USING SOCIAL MEDIA EFFECTIVELY MEDIA FOR SOCIAL USING | PRINCIPLES help authors reach their audience. in their networks. Reviews are searchable by author, title, ISBN, and genre. Goodreads also features anauthor program to programming knowledge. You can follow other users to see their posts. chat, music,and video. It’s agreat platform for those who wish to integrate media to blogs but don’t have extensive recommendations for others intheir network. You’ll find a wealth of publishing types here. can videochat with,say, awriters group orbookclub. “circles,” allowing for focused social networking. Plus, you can upload avideoplug-in and create “hangouts,” where you YouTube “channels.” websites, loaded onto Facebook and Google+,linked to from Twitter, and pinned onPinterest. Users can create their own Reading.”) It’s easy to accumulate followers by signing inwithyour Facebook account. share things, like bookcovers and trailers, and see what others are looking atinvarious “Books Worth categories (like congregate: quirky, as opposed to what’s inane/inappropriate/vague/cryptic/TMI. Seek out the former and unfriend the latter. from adaily chuckleto links to consistently helpful blogposts). Become agoodjudgeofwhat’s interesting/relevant/ time you dodevote to keeping upwithyour network willbemore focused and more valuable. endlessly noisy Twitter orFacebook newsfeed can beannoying and justplain daunting. With fewer poststo deal with,the to share. offline for a week (or a month) so you can concentrate on work. When you come back to check in, you’ll likely have plenty the day (or whatever works for you)—and stickto it. your creative time. waster—it’s funand can bealittle addictive. Take aself-disciplined approach so social networking doesn’t infringe on Goodreads (goodreads.com): This is asocial network all about reading. Users share their reviews ofbooks withfriends Tumblr (tumblr.com): This is ablogging platform that allows users to easily upload text, images, quotes, links, LinkedIn (linkedin.com ): Amore professional social network, LinkedIn users list jobexperience and skills and can leave Google+ (plus.google.com): Just as withFacebook, users can share updates, videos,and photos and easily create YouTube Pinterest (pinterest.com): Asite allowing users to “pin”images and videosto “boards”. It’s agreat way to visually Beyond Facebook (facebook.com) and Twittertwitter.com) ( , here are afew other social networks where types It’s absolutely okay to unfollow orunfriend those from whom you are getting no value (and “value” could beanything Don’t follow everyone who follows you, and don’t accept every friend request that comes your way. Weeding through an It’s perfectly acceptable to temporarily disconnect when you find it necessary. Tell your friends and followers you’ll be Consider giving yourself atime limit—say, thirty minutes inthe morning, withacouple offive-minute check-ins during While it’s essential to invest time engaging insocial media, beware: Ifyou’re not careful, itcan become ahugetime (youtube.com): Upload booktrailers and other promotional orfunvideosthat can beembedded inblogs and OTHER PLACES TO CONNECT AVOIDING THETIMESUCK 7 STEPS TO BLOGGING SUCCESS

by Lee Wind

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

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

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

Imagine you want to do a picture book about The Boy Who Cried There are no gatekeepers (for good and bad – make sure you Wolf. You’re going to need to figure out what makes your take on the proofread before hitting ‘publish!’) and it’s pretty much free. There is story unique, right? Are you telling it from a different point of view? some hardware involved, though internet time and computers are Is there an unexpected twist? What about your retelling makes it available in many libraries. uniquely yours? Blogger, Wordpress, YouTube, Twitter, Facebook*, Squarespace, Look at John Rocco’s “Wolf! Wolf!” [link here: http://roccoart.com/ Tumblr, Pinterest… the list of blogging platforms is constantly wolf-wolf/ ] changing, and as of this writing a quick search turned up more than 20 It’s a retelling of that Boy Who Cried Wolf fable, but told from the available options. There are people out there who will be interested in wolf’s point of view, in China, and with a great twist at the end that what you have to say… But what are you going to say? makes it the version that only John could have written and illustrated. Blogging is your opportunity to create content, filter content and “Wolf! Wolf!” has its own voice, and that makes it stand out and be share content. successful. Want to write your own poems? Share your illustration process? Now you need to ask yourself these questions about your blog: Conduct an interview? That’s all content you create. What is my blog voice? What’s going to make my blog post on something 300, or 3,000, or Want to let your blog readers know about your favorite movies that 30,000 other people are also blogging about stand out? (hint: the only relate to your blog’s theme? Discuss how a book or TV show works thing you have that no one else has is you!) or doesn’t work from your perspective? Want to rant about the latest 250 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org why wouldIcome back?’ think, ‘Ifthe blogowner doesn’t care enough tokeep thisplacenice, full of spammy, inappropriate, unrelated comments. They’re going to coming yourway, and nothing turns off readers quicker thanthreads and you’re the publisher. You decide what gets inand whatdoesn’t. seems off-topic, go ahead and delete it.Your blogisself-publishing, comments? blog? Willyoumoderate everycomment? Willyouallowanonymous want atyourvirtual dinner party?How are yougoing tocontrol your news! employer toseeonthe front page of the New York Times orthe local your mother, yourkid’s kindergarten teacher, and any possiblefuture for yourself. members bycategory, like “Teen” or“Husband.” Make some decisions STEP 3:SHOW RESPECT content you’vecreated. the traffic from yourFacebookfriends butyoustayincharge of the blog somewhere elseand postaboutitonFacebook.Thatgets you but I’drecommend against making ityouronlyplatform. Betterto you’re not giving upright of usage. Alotof peopleare onFacebook, or Wordpress oranother platform) keeps yourmaterial yours, and become Facebook’s. Blogging atyourownsite(through Blogger » » » share. need toread? Orafascinating blogpostoncraft? That’sallcontent you conversation aboutthat.) as amixof someone else’scontent and yourcontribution tothe Disney kid’s App?That’sallcontent youfilter. (Think of filtering content | 7 STEPS TO BLOGGING SUCCESS | TOBLOGGING 7 STEPS » » » Similarly, youmust monitor for spam.There’s alotof itthatwillbe It’s yourblogand youare incharge. Ifacomment offends you,or Do youhaveacontroversial topic? How much dissent do you How safeaspaceisyour blog? Respect yourselfand others willrespect you,too. Remember thatyoushouldn’t bloganything youwouldn’twant Some peoplepostphotos of their kids. Others refer totheir family How personal do youwant togo? *A note onFacebook:technically, things youpostonFacebook What content do youwant toshare? What content do youwant tofilter? What content do youwant tocreate? Try toanswer these questions: Action PlanFor Step2: Create. Filter. Share. Blogging ispowerful! Seen agreat cliponYouTube? Oraninsightful article more people » where youwant togo. content withaneyetohow itallfitstogether synergistically. you’re posting willhaveyourreaders caring, too. you do care aboutit–it’syourpassion! And you caring aboutwhat sense thatit’simportant. It willseemlike youcare aboutit,because passion willhelp youstayontheme. sell more of their books. Dig deeper.) thematic message? or value. create. Oftenthisrevolves around some personal passion for acause three months after. longevity of yourblog)thansevenposts one weekand nothing for month) onaregular day isbetter(for readers, search engines and the get youtolong termgoals. will deflate youifthey’re not met. Focusonshort termstepsthatwill roll outcontent over time. Becareful of unrealistic expectations that without asix-month planfor sustaining yourposting. Allowyourselfto » STEP 4:LEADWITHPASSION STEP 5:BEDILIGENT » » on yourtheme. contribute meaningfully. Overtime, youcanbecome aleading voice passion. Join inthe conversation where it’salready happening, and is talking aboutyou,butwho istalking aboutyoursubject, Use Googlealertsand twitter#searches tofind out not justwho Action Planfor Step4: Think of yourpassion asyourblogging compass. It willhelp youget Knowing yourpassion you’llbeabletocreate, filterand share Sticking toyourpassion willimbueeverything youpostwiththe Define thispassion. Writeit down. Sayitoutloud. Defining your (Note that‘selling books’isnot ahelpful answer. Everyone wants to What isthepointof you havingablog? To help youputitinto words, seeifyoucananswer thisquestion: You need tofigure out,whatare yourpassions? Whatisyour Writers tend toworkaround similarthemes inthe content they A regular blogging schedule (like posting once aweek,oronce a Set yourself upfor success Recognize thatanaudience buildsovertime. Don’tstartablog Short Term/Long Term 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: 7 STEPS TO BLOGGING SUCCESS | 251

Explore the ‘scheduling’ function on many blog platforms to pre- Action Plan for Step 6: PREPARING & SUBMITTING publish (or publish in advance) your posts. That way you can create »» Take a blank piece of paper, and draw an egg-sized circle in the posts in a clump, but have them go up on your blog on a regular middle of it. Write the name of your blog there. Around it, in circles schedule. that touch the first, add in those additional audiences and groups.

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

Consider Blogging Versus Group Blogging

With a solo blog, it’s all yours. Your voice, your passion, your DIRECTORIES & RESOURCES content, your control and your promotional vehicle. What’s also all yours is the responsibility for regularly creating, filtering and sharing content, and you are on your own dealing with comments, changes, This brainstorming exercise doesn’t have to be neat, it’s just for you. archiving, link updating, spam and other ‘blog business.’ You’re also on your own in terms of getting people to come to your blog. This helps you see where you can go to connect and hook into your communities. What’s extra-cool is that it’s also the secret to With a group blog, the responsibilities are vastly less, but you don’t generating content ideas. get the control or the same promotional/branding value. For a group blog, having a clear theme is critical! Also, consider how many more For each circle, ask yourself ‘What can I offer this group?’ people will come to a blog when there are multiple people who are passionate about promoting it! When the #WeNeedDiverseBooks movement took off (after I’d

been blogging at I’m Here. I’m Queer. What the Hell Do I Read? for PUBLICIZING YOUR PUBLISHED WORK Action Plan For Step 5: seven years), I wanted to do something more on my blog to support Don’t overwhelm yourself. You don’t have to do it all right now. it but I wasn’t sure what. This exercise helped me discover the »» Narrow down your to-do list to the top three things you want to connection between “other authors and illustrators who include LGBTQ do with your blog. characters and themes,” “Ally for other diversity in Kid Lit” and the »» Pace yourself. Setting realistic goals – and meeting them – will feel “#WeNeedDiverseBooks” circles. What could I offer other children’s great! content creators to help get more diverse books out there in the world? That’s how my “Agents Looking For Diversity” series [link to: STEP 6: DEFINE YOUR CIRCLES OF INFLUENCE http://www.leewind.org/search/label/Agents%20Looking%20For%20 Diversity ] came about, and one or more of those interviews are Most blogs have less than 20 unique visitors a day, because their consistently in the top ten most popular posts for my blog. I didn’t circle of influence is limited to their friends and family. do them because they’d be popular, I did them because I wanted to contribute. But it’s a nice perk. What you need to do is find the people and groups out there

who share your passions and affiliations. Who else is your audience? STEP 7: BLOG WITH JOY SCHOOL VISITS Working moms? Queer teens? School counselors? Independent booksellers? Sport camps? Pre-school teachers? Knitters? Girl Scout Lee & Low Books’ Marketing and Publicity Director Hannah Ehrlich troop leaders? said this in her post Marketing 101: The Best Social Media Platforms For Authors [link: http://blog.leeandlow.com/2015/09/03/marketing- Whatever you’re writing about, whoever you are, your values/ 101-best-social-media-platforms-for-authors/#more-11304 ] “One issues/identities hold opportunity: You care passionately, and you’re of the questions I get most often from authors – both new and LEGAL QUESTIONS not trying to sell them your books. You’re trying to engage them experienced – is, “Which social media platforms do I have to be on?” about your passion, which maybe they share… There are a lot of ways to answer this question but I want to start by addressing the question itself, which is often phrased in exactly Note: While the children’s book community is super-supportive, this way. is: you don’t have to be on any social media beware of the echo chamber. You want to speak to your fellow writers platforms you don’t want to be on. …the number one thing you and illustrators, sure, but you want your books and stories to go should ask yourself is whether a particular platform will be enjoyable beyond that audience as well. and sustainable to you.” 252 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | 7 STEPS TO BLOGGING SUCCESS | TOBLOGGING 7 STEPS your roadmap toblogging success. Seeyou online! » passion, andshow your joy. should youcare? Make peoplecare aboutwhatyouwrite. be writteninawaythatmakes youfeelthatthe author cared, orwhy should beinteresting, inspired, intriguing and passionate. It should And eventhen…) food issomehow expressive of yourpassion. Oryou’re acelebrity. lunch, no matter how popularfood photos seemtobe. (Unless the ultimately, ifyou’re not enjoying blogging, you’re not doing itright. Post” tobesuccessful. Success canmean many different things, but conversations do youwant tojoin? with yourfriends and colleaguesinthe lastmonth? temperature. Whatmakes youwant toshare? Whathaveyoushared results youwant. be good atit.You won’tbring yourpassion. And itwon’toffer youthe and therestof thetimehecanbefound writingandblogging! Programming for theIndependent BookPublishersAssociation, SCBWI Memberof theYear.By dayheworks asDirectorof Marketing and Blog scbwiconference.blogspot.com. In2015hewasrecognized as SCBWI: TheBlogscbwi.blogspot.comandOfficialSCBWIConference What theHellDoIRead?www.leewind.org, andthetwoSCBWIblogs, pageviews for hisaward-winningpersonalblog,I¹mHere. I¹mQueer. Lee Windhasbeenbloggingsince2007,tallyingupmillionsof » Work through the abovestepsand action plans, and you’llhave to find yourjoy. It willhave found you. Consider thatifyou’re trulyblogging yourpassion, youwon’thave Action Planfor Step7: When you’re doingsomethingyou love, itshows. Show your What wouldyoucare toread aboutonthe blogof astranger? It The worlddoesn’t need another blogpostaboutwhatyouhadfor Not everyblogneeds tohaveanaudience like “The Huffington Where do youwant tospend youronline reading time? What Think aboutwhatmakes youlaugh.Whatchanges youremotional It’s great advice. Ifyoudon’t enjoyblogging, you’re not going to INTERNATIONAL BLOGGERS: WHAT THEY CAN DO FOR YOUR BOOK

by Angela Morrison

t’s late. You’re sitting in bed with your laptop, catching up on e-mail. A 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 » Raila at booksoutofthebookshelves.blogspot.com in Brazil has 10,000+ followers, close to a million pageviews, reviews posted » Regie at theundercoverbooklover.blogspot.com in the Philippines for the season’s hottest YA novels, and relationships with a long list » Amber at serenehours.blogspot.com in Vietnam of Brazilian publishers. Write her back! » Iris at www.literalmentefalando.com.br in Brazil About four months after my novel Sing Me to Sleep (Penguin/ » Eloisa at www.mientraslees.com in Razorbill, 2009) released, I received such a request. I didn’t delete » Lucia at the-itzel-library.blogspot.com in Mexico it. I had a few ARCs left. Why not take a chance? I sent one to » Jess at sheknownasjess.blogspot.com in Australia Brazil and answered interview questions. After the initial review » Aik at aik-friendsnfamily.blogspot.com in Malaysia went up, I received more and more requests. Deciding it was worth the investment, I sent several more, and several bloggers created I always: book tours, sending my books from one blogger to another. I did 1. investigate the blog and make sure it’s legitimate. If the interview after interview. They translated my answers—and usually blogger doesn’t include a link to their blog, ask for it. posted them in both English and Portuguese. 2. sincerely compliment the blogger’s English. They’re usually Because I enjoyed existing relationships with international nervous about it and always better at English than I am at any blogger reviewers, shipping ARCs to Brazil wasn’t out of the norm foreign language. for me. Having lived abroad, I knew how hungry readers around the 3. ask international bloggers to share my review books with world are. English is the universal language of business. Students other bloggers—either casually with acquaintances or via a book everywhere study English. They watch American television and tour they organize. This can bloom into something quite amazing. movies. Reading a foreign language is easier than speaking or Lucia at Itzel Library put together a huge tour of Hispanic blogs writing it. Further exposure in an up-and-coming market could featuring both my YA books—and translated all the interview yield a foreign rights deal. questions and my answers. And even if that didn’t happen, I understood that more and more 4. happily grant requests for an interview. I’m very selective books published in the United States are finding international regarding the bloggers I mail books to. When I have to say no, I readers. Services from Amazon to the Book Depository reach always offer to answer interview questions. readers around the globe, especially with ebooks and devices like 5. double-check the address. International mailings cost between the new international Kindle. Websites like Goodreads have readers $10 and $18, so you don’t want to make mistakes. Check the Book worldwide posting reviews. The YA blogging craze doesn’t stop at Depository. Even with free or discounted review copies from your your border. There are no boundaries in cyberspace. publisher, it might be less expensive to use. And maybe, if you bug your publisher enough with updates of 6. ask them to send a link when the post is up so I can blog, reviews and interviews, they’ll shoot an e-mail to their agent in tweet, and FB it up. the target country in question. I ended up being featured on about 7. refuse to send electronic copies. If you have access to thirty YA review blogs in Brazil. Six months later, Penguin signed a safeguarded ebooks and permission from your publisher or can get contract for Sing Me to Sleep to be published in Brazil. your publisher to send them, this might be a viable, inexpensive Some of my favorite international bloggers include: option, but it ups the risks of pirating. I have heard suspicions » Bee at talkmusebanter.blogspot.com in India of black marketers posing as international bloggers, but have no » Jo at onceuponabookcase.blogspot.com in the UK evidence of this personally. Be careful, though. 254 2017 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 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 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 using links, keywords, and multimedia to engage your audience. Of much to create a quick video. Again, people follow people, not course there are tools to help present your story in a more dynamic businesses or books. Let people make a connection with you and way. PitchEngine is one designed to create social media releases, and I they’ll come back for more, again and again. asked founder Jason Kintzler for his thoughts. PitchEngine provides a great way to tell your story or summarize your book. Websites are good, but hard to create, and even harder 1. What need was PitchEngine created to address, and how has it to optimize for search engines, etc. Social networks are great for evolved over time? cultivating and sharing with your audience, but they aren’t for It was built as an alternative to the traditional press release and storytelling. PitchEngine fills this role. Package up your content and push distribution process. Instead of sending documents via e-mail share it on your site, social networks, search, and more. or newswires, for the first time, PR pros could easily package up their own branded content into a single Web page. Before PitchEngine, 4. What emerging trends do you see as key for marketing? press releases were for journalists almost exclusively, and PDFs and Mobile and tablet devices are big. Other countries are somewhat ahead image e-mail attachments were the norm. It has evolved into a tool for of us in this arena—mostly because they didn’t have the PC adoption that businesses and organizations of all sizes to get the word out to their we did in previous decades. The more relevant and easily accessible your customers, fans, and other online influencers. It’s one part content content can be, the better. Look for ways to help your audience connect. creation, two parts storytelling. (When I’m at a public place for dinner with my kids, there’s nothing better for us than to find an interesting cartoon for our two-year-old to 2. What do you think is most important in effective promotion watch on YouTube via iPhone for a distraction when things are getting a today? little crazy. Be a solution and a resource at the same time.) Authenticity. People are savvy to the traditional “push” marketing methods. People follow people, not businesses. Be real, be 5. What about the press release specifically? Do you think that’s conversational, and interact with consumers and fans in authentic ways. still a key publicity tool, and what other formats do you think are Then, when you do have the need to “pitch,” it isn’t unexpected or effective? annoying to your audience. They follow YOU and realize YOU are your Well, I think the days of the traditional press release are long gone. business. The saying holds true for social media as well: Do unto others Black-and-white, AP format copy just isn’t engaging anymore. Content as you would have done to you. ;) consumers (which include journalists as well as consumers) like to be engaged. Images, video, illustrations, whatever. What is still cool 3. What tools do you recommend for authors and illustrators who about the press release is the utility. Make your content accessible and may not have a big budget, but are willing to put in the time to sharable so that bloggers, journalists, and fans can evangelize for you. promote their books? That’s when the word will get out.

FIFTY-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 librarian Lizzy Burns; anything you’re after can be found in a blog, at least part of the time. currently hosted by School Library Journal “Sometimes it’s just the experience of reading something beautiful,” blog.schoollibraryjournal.com/teacozy says Mirka Breen, author of The Voice of Thunder. “But the surprise revelation of my dip into the blogosphere is that blogs become company Charlotte’s Library and remind me of pulsating hearts out there.” Reviews of mostly fantasy and sci-fi for young readers While that connection is important to many, you’ll enjoy blogs most charlotteslibrary.blogspot.com efficiently if you identify what you most want but can’t get elsewhere (such as your in-person critique group). Click first to those blogs that A Fuse #8 Production reliably provide it, create your own don’t-miss list, and leave the “also Reviews and industry commentary from Manhattan librarian Betsy fun” blogs for spare time. Bird; currently hosted by School Library Journal Participate. The community that develops among readers who blog.schoollibraryjournal.com/afuse8production comment is a key benefit of many blogs. Discussions keep things lively, so add your perspective, too. Ms. Yingling Reads Watch the procrastination factor. You literally could read kidlit A teacher reviews books for middle-schoolers, especially boys blogs all day long—especially if you use them as an anxiety crutch, as msyinglingreads.blogspot.com described in an insightful post by The Intern (bit.ly/JbMKD2). Don’t let them cut into your own creation time. One good strategy is to set aside Seven Impossible Things Before Breakfast a finite time, such as thirty minutes a day or an hour on Sundays, to Reviews and interviews, mostly about illustrated books read and comment. Then get to work. blaine.org/sevenimpossiblethings Subscribe to favorites. Although the distinction between a blog and a website is blurring, most blogs have RSS feeds or similar methods of Stacked getting new posts by e-mail or in a reader. Reviews and library perspectives, including a special interest in cover Don’t be afraid to move on. Most blogs wax and wane with the art www.stackedbooks.org blogger’s interest level, life events, and career demands, and each year’s debut authors often start new ones. If a fabulous blog fades or ends, don’t despair. Just move on. There’s always another great blog (or Yahoo group or Twitterchat or NewFangledThang) to discover. 258 2017 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 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 | 259

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

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

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

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

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

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

Drawn

Daily art inspiration SCHOOL VISITS blog.drawn.ca

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

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

by Sara Wilson Etienne

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

Though making trailers is a popular marketing trend for authors audience for your book trailer will be parents, teachers, and librarians. and publishers, book trailers can be an expensive and complicated Consider what these people look for when they are picking out books for endeavor. This publishing guide will help you decide if you need a children. Author interviews can be a good choice for these genres. trailer for your 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. 262 2017 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 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 about moments thattellalotaboutyourcharacters. Think visually. Thinkaboutcritical moments of yourplot.Think What scenes/moments from yourbookdo youwant toconvey? 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 of whatyouare getting into when planning yourtrailer. using animals. You don’t havetoavoid these completely, justbeaware complicated: multiple locations/scenes/montages, using kids, and » » » » » » » » » » 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 | 263

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

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

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

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

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

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

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

CRAFTING YOUR BOOK MARKETING PLAN

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, to engage with them in a new or creative way. Consider your strengths engages consumers, and has sufficient flexibility to evolve with a and weaknesses. Are you tied in with the school market? Are you a good marketplace that is constantly changing. Each follows logically from the public speaker or journalist? Are you active in social media and set up other, once you have a clear picture of the role you want to play. to do traditional media outreach? Do you see yourself connecting via The first step is to consider the industry as it pertains to you and gatekeepers—parents, teachers, librarians—or going directly to your your work. Ask yourself why you’ve chosen to come into the market end consumer—readers? now. Are you pursuing a passion to publish a particular kind of work, Identify your opportunities. Now you’re ready to look at what can or for a particular kind of reader? Did you recognize a need in the be done to move forward with your goals. Start by looking at the tools marketplace that you’re particularly qualified to fill? Are you entering you have and the processes you can easily put in place. Do you have an underserved or overcrowded part of the market in terms of type of a good contact database, media list, and e-mail system (e.g. Constant consumer, genre, or format? How are you entering the market—will Contact, Mail Chimp) that you can use for regular outreach? Are you set you self-publish, start your own publishing entity, or publish with up with Facebook, Twitter, and LinkedIn accounts? What about Pinterest a small or large publisher, and will you publish a print book or go and Google+? Look at what others in your space have done to generate directly to digital? Once you have the answers to those questions, it’s interest and excitement. Do they do giveaways and contests? Are they time to consider how that will affect your timing, presentation, and positioning themselves as experts or news makers, or trying to become strategy. popular with their fan base (which is often the case with the teen Define your platform. This is a core issue and incorporates both why market)? Can you speak at conferences, do public events, or be brought you’ve chosen to publish now and what need you intend to fulfill. Start in to teach on a topic? by researching what has been published previously on the same topic Consider your resources. There’s a lot of ground to cover, so it’s or similar to your book. Set up Google Alerts to get notified of new and helpful to have others who will play a role in the marketing process. If forthcoming books that relate to what you’re doing. Look for similarities you have a publisher, they will certainly play a role, but what that will and points of differentiation. Also compare timing. Is your book for a be will vary depending on a variety of factors. If you’ve published with different type of consumer? Is the perspective fresh or original in a way the company before, then it will depend on your track record and status you can demonstrate? Can you benefit from timing, either because there with the publisher. If not, then it will depend on the potential they see hasn’t been anything like yours in a while or because there is current for your book and what they’re set up to do to promote it. The more interest in something related to your project? information you can find out about this, the better, but know that it’s Outline your objectives. You need to think about your objectives only one aspect of what you need to do to promote your work. The big for each book and how they fit with your career as a whole. Does the difference here is that the publisher will focus on the books you publish book represent a key step in your publishing career? Is it a first book, with them, while your work needs to focus on evolving your reputation the beginning of a series, one that will introduce you to a different and career as a whole and over the long term. type of consumer? This will help determine the type and extent of Ask yourself what alliances and connections you can make that the marketing you’ll want to do. If it is a book that serves your core can provide you with more resources and capabilities than you or existing customer base, consider what has worked well for others might have on your own. There are many answers to this, including working in that space, or if you have a track record, what you can do working in peer groups with other authors or illustrators who have 266 2017 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 that needs toevolve. It takes dedication and comes and adjustyourplans accordingly. So youneed tobeprepared torecognize these realities when the time to writeand produce abook,youcan’tknow these things inadvance. you? Whatgenre orage bracket istrending? Withthe leadtime required have abudget tospend? Is there competition thatcanhelp orhurt change aswell.What’sthe economy like? Which partsof the market what may workfor another. Certainlyconditions inthe market will one bookataparticular stage of yourcareer willnot bethe same as love interactivity. People like when material ispresented invisual and audio media and with booktrailers, YouTube, podcasting, Pinterest, and evengames. posts tobewrittenatyourconvenience. Thinkinterms of multimedia, to postsimultaneously tomultiple platforms and canpreschedule your each one-by-one orwithacalendar inhand. You cancertainlysetup engage onaregular schedule. Thisdoesn’t mean thatyouhavetodo with awebsiteand withsocial media and are prepared toupdate and to ensure good results. Make sure thatyou’veestablished apresence you should beprepared todo strategic advance outreach tocontacts social). Know thatfollow-up willbeabig partof the equation and that type of outlet(long leadfor print and broadcast, short for online and 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 content (toblog,tweet,orpost)for you. with agencies for publicity services, blogtours, ortogenerate social media aggregators (HootSuite, TweetDeck), and contracting placement onnewswires (PRWeb, PRNewswire, Marketwire), using work easier and quicker. Thiscaninclude buying advertising orpaid shared goals, looking atservices and toolsyoucanusetomake the Be confidentthat your efforts willmake adifference. Marketing Evaluate your results. Eachsituation isdifferent. Whatworksfor Define and execute tourplan.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 protecting kids from adults who use Commission (FCC) and the Federal Trade Commission networking sites. Boththe Federal Communications their e-mail addresses orchatting withthem onsocial unknown kids has limits.You certainly can’t becollecting interact withthem; you’re agrown-up, and your access to ages nine and eighteen. You mustbecareful inhow you considerations. Your readership is somewhere between As aYA writer, you have special marketing

PAL SPEAKING OPPORTUNITIES

by Nancy Castaldo

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

www.scbwi.org/pal-speaking-opportunities

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

SCBWI SCHOOL VISITS

2017 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, school visits. presentation creates buzzthatmotivates others tohire youtodo and promote the ideas thatyourbookrepresents. Aquality 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) so thatyoucancloseonaunifying high note withthe whole group. answer segment, consider placing it at the end of your middle segment 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 272 2017 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, finger-snapping, arm motions, or reciting poems and singing songs). interaction (e.g., employing rhythmic activities such asclapping, are second-language learners especially appreciate whole-group 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 » » » » » » » made) Adults (where contactsfor school andlibrary visits are often 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 Include waystoinvolvethe audience inyourpresentation (e.g., Libraries (public and school for large group programs, workshops) Schools (public and private, for assemblies, workshops, residencies) Professional conferences (local,state, and national associations for 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 regional advisor, booksellers, librarians, and community news a published author orillustrator. Introduce yourself to yourSCBWI sites where yourworkcan beseenbypotential 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 will greet you. adopt oradapt.) The more youiron outinadvance, the fewersurprises Guide includes aSampleLecture Contract onpage 255thatyoucan a letterof agreement, orasaformal contract. (ThisSCBWIPublication book sales, cancellation policy). Thiscanbedone via e-mail, through conditions of yourappearance (i.e., schedule, setup,compensation, » » Many offer discounts for: » » » » » Some authors offer amenu of options withfeesfor: » » » » » » SETTING FEES 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 Be activeinyourowncommunity and become known locallyas Create anauthor orillustrator website. Be visible onsocial 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. yourself accordingly. See whatothers withsimilarexperience charge and position 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 » » » $2,000 and up $1,000–$2,000 $500–$1,000 DOING SCHOOL VISITS IN THE UNITED STATES | 273

reporters. Participate in local literacy organizations. audience focused on your presentation. PREPARING & SUBMITTING 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 microphone—or one with a long cord—so that you can move closer which you belong, such as the SCBWI, the Authors Guild, the Children’s to form a bond with the audience and address issues quickly. Book Council, and local literacy groups. Make sure that you are Say hello to students at the door as they walk into the room. included on 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. 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!” MARKET SURVEYS county education offices, art galleries, or PTA/PTO councils. If you ask for student volunteers, be clear about how you will choose Participate in book fairs, festivals, literary events, bookstore kids. For example, “I’ll be calling on kids who are crisscross applesauce, educator nights, and library summer reading programs. Contact the hands raised, who show me with their face, and not with their words, event organizer to see how you can assist. that they’d like to help me.” Or perhaps explain, “First I’ll be calling on Propose a workshop or session, on your own or with colleagues, for girls and then on some boys.” Clarity helps. 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. DIRECTORIES & RESOURCES Send an e-mail to local booksellers—including contact information, If the audience becomes excited during a lively part of your basic information about your book(s), ideas for a bookstore event, presentation, wait for them to settle before you continue. and availability—about three to six months in advance of a proposed The best way to head off crowd control issues in the first place is to program. have a riveting presentation! Before the close of the school year, send a brochure to local PTA/ PTO program chairpersons telling of your availability to do assemblies Selling Books during 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 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 PUBLICIZING YOUR PUBLISHED WORK want to cement your reputation as a thoughtful presenter, follow up visit. Create a book order form and send it to your host to use or adapt. your visit with a handwritten thank-you note to the host. Building Send along summaries of your books. If the host still doesn’t want to relationships is important! do a sale, bring order forms with you so that teachers can place orders after your event. COMMON CONCERNS AND SOLUTIONS Negotiating a Fee THE VALUE OF SCHOOL VISITS You may be asked in person or by e-mail, “What do you charge?” Staying in front of audiences keeps your books alive and your Follow up by sending your price list via e-mail. Another is to publishers happy. But becoming skillful at the craft and business of ask the potential client, “What’s your budget?” and then be prepared doing school visits doesn’t happen overnight, so take the advice in this to say “I can work with that,” negotiate a fee, or turn the offer down. article in small doses. If you do have to turn down an event, refer the client to a colleague It’s difficult to quantify the exact effect and reach resulting from 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 SCHOOL VISITS Equipment Failure in-person meeting with students percolates for years—in a dawning Expect 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, equipment, including your own computer, a flash drive containing your in the choosing of future careers. And this is why children’s authors PowerPoint presentation, an extension cord, and, if possible, your own and illustrators are dedicated to meeting young readers face-to-face, LCD projector. If this is difficult to do, print your PowerPoint show images sharing a love of books. LEGAL QUESTIONS 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 Controlling the Crowd www.SchoolVisitExperts.com. Schools love it when you can handle a group on your own and teachers don’t have to intervene. Here are some ways to keep the 274 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | DOING SCHOOL VISITS IN THE UNITED STATES UNITED THE IN | VISITS SCHOOL DOING calendar/?ShowAsList=True Association Meetings Curriculum) Clients www.Scholastic.com/authorvisits Example ofaPublisher’s Author Visit Page www.nctm.org NCTM: National Council ofTeachers ofMathematics www.nsta.org NCSTE: National Science Teachers Association www.ncss.org NCSS: National Council for the Social Studies www.ncte.org NCTE: National Council ofTeachers ofEnglish www.ala.org American LibraryALA: Association www.reading.org InternationalIRA: Reading Association engage.reading.org/eventsnbspnbsp/ Professional Conference Information, State Reading www.corestandards.org Common Core State Standards Initiative (Educational www.read.gov/resources/statefairs.php Book Fairs and Festivals inthe United States www.scbwicencal.org/authorvisits Author Visit Funding and Hosting Information for www.SchoolVisitExperts.com Advice onthe Craft and Business ofDoing School Visits HELPFUL LINKS GUIDE TO INTERNATIONAL SCHOOL VISITS The following tips willhelp you plan successful international school visits. contact information and details ofthe number ofvisits and time ofyear preferred. schools around the world that schedule author and illustrator visits, as well as tional Schools (see www.scbwi.org under “Resource Library”) provides alist of some schools share alibrarian and author visitfunding across grades, of being invited. However, alsokeep inmind the school’s organization; toward, and remember thatthe wider the range, the betteryour chances study units?Indicate whatage groups yourpresentations are geared storytelling performance? Doyourpresentations tie intoparticular illustrations? Is the presentation interactive? Willyouinclude a focus onthe process of writing astory, orcreating poems, ormaking what yourvisitwillbring tothe students. Willyourpresentations details aboutthe contents of yourschool programs, besure tospecify librarian orcontact personane-mail withalink toyourwebsiteand to becontacted 3–9months inadvance. Inaddition tosending the schools schedule author visitsduring spring and fall. Most schools wish to visit.Some schools are flexible with regard totiming, but many websites and calendars, contact the schools inthe area you plan of International Schools and other listings and viewing the schools’ You should beabletoanswer “yes”toallof these questions. before? Doyouhavesomething uniquetooffer? Doyouhaveawebsite? appeal? Are youexperienced? Have youdone plenty of school visits or illustrators of self-published books.) Doyourbookshaveuniversal (Note thatmany librarians are reluctant toconsider visitsbyauthors following: Are youaPAL (Published and Listed)member of SCBWI? whether youare qualified or not, besides notoriety, consider the budgets may beeager toinvitelesserknown authors. To determine authors. However, schools inmore remote areas and those withsmaller populated cities around the worldmay invitebig-name, award-winning I If youfeelare qualified, afterconsulting the SCBWIDirectory Planning avisit Qualification depends onseveral factors. Large schools inthe more Are you qualified? Visits provides helpful information, and the companion Directory of Interna travel withvisits to international schools. This Guide to International School f you are apublished author orillustrator, consider combining some world edited by Holly Thompson outstanding presentations orworkshops. Inaddition tothe daily fee, for well-published, award-winning authors who are known togive in line withyourexperience and yournotoriety. Schools paymore per day varyfrom author toauthor, and whatyoucharge should be what schools canoffer for fees. Minimum daily feesfor four sessions visits from Parent Teacher Associations. There are huge differences in each other toget youfrom one placetoanother. information yourself,asschools may not alwayscommunicate with accommodation, etc. Ifthisisnot possible, besure togather this as acoordinator tohandle the details of localtransportation, meals, visit. discuss clearlywiththe organizing librarian wellinadvance of your author visit.Whateverthe arrangement, itisextremely important to book order form and purchase the pre-ordered booksprior tothe overseas shipping bythe publisher. Many schools offer students a but keep inmind thatonline salesmay beeasier and cheaper than book sales, givethe librarian the contact details of yourpublisher, all schools willhandle booksales. Ifthe school iswilling tohandle the visit,discussthiswiththe librarian far inadvance of yourvisit.Not screens, and computersreadily available. equipment. Most, butnot all,international schools haveprojectors, require any particular physical arrangements inaroom orspecial school librarians. but other schools haveseparate elementary, middle school and high Many international schools receive funding for author/illustrator Guidelines for fees If youwillvisitseveral schools inaregion, askifone librarian canact If youhope tosellbooksorhavestudents read yourbooksbefore Let the librarian orcontact personknow wellinadvance ifyouwill

- SCHOOL VISITS 276 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org you willvisit. to actasyourpersonal travel agent. Doyourownhomework onthe area be expected. country. Alocaltourissometimes included asanextra, butshould not workshop for localauthors and illustrators. chapters may wishtoinviteyougiveapresentation orconduct a the Regional Advisor wellinadvance (3–9months). SCBWIregional and athrillfor students. serious artstudents). Thismay beappreciated byteachers and librarians who are interested inwriting oraselectnumber of illustrations by and comment on(perhaps aselectnumber of pieces byolder students communicate how many stories orillustrations youare willing toread by students, letthe librarians and teachers know this. Besure to audience, plantouseclear, simpleEnglish. address. Ifyouwillhavemany non-native speakers of English inthe familiar withNorth American culture. represented inthe school. Donot assume thatallchildren willbe 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 certainly beexchanged toconfirmarrangements. as transportation, food, and accommodation, aswellcontact phone book salearrangements, yourfeeand any expenses tobecovered such that includes the overall content of the program, date of visit,schedule, practice. However, afternegotiations, ane-mail letterof agreement contract for aschool visit,not allcultures orschools made inthe localcurrency onthe day of the visit. few international schools canafford this. Note thatpayment isgenerally Caldecott orNewbery author might charge $2,000USD perday, butvery about $500–$700USD ($125–$175USD persession). Anaward-winning fees for four sessions perday for awell-published author seemtobe at all.Some schools provide onlylocaltransportation. Average daily in the same region. Insome cases, however, airfare isnot included class, roundtrip airfare issometimes paid for orshared byseveral schools the librarian and some teachers may becovered bythe school. Economy these costs. Lunch isusually provided bythe school, and dinner with many, butnot all,schools offer hotel accommodations, oraportion of | GUIDE TO INTERNATIONAL SCHOOL VISITS SCHOOL | TOINTERNATIONAL GUIDE Don’t expect the SCBWIRegional Advisor of the country youwillvisit Don’t expect alibrarian orthe school toactasa personal guide tothe Dos andDon’ts If there isanSCBWIchapterinthe country youwill visit,contact 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 school librarians. contact and againbefore yourvisit. Do haveapositiveand adventurous spirit! Do beprofessional from initial contact toyourfinal thankyou note. Do trytobeflexible asyoucommunicate your expectations withthe Do familiarize yourselfwiththe school via itswebsitebefore yourfirst “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 |edited by Aaron Hartzler

SCHOOL VISITS 278 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SAMPLE LECTURE CONTRACT LECTURE | SAMPLE SCHOOL REPRESENTATIVE SIGNATURE SIGNATURE AUTHOR/ILLUSTRATOR 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 unless otherwise agreed toinwriting inadvance. Other specifics. The reimbursement for food, lodging, and other expenses shallbe made no laterthanone week following Author’s visit, advance; 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 in 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 you onTwitter and Facebook. get intouch afterward toinvitethem tovisityourwebsiteand linkto address soyoucanreply tothose youdon’t get to.Thiswillalsolet you take writtenquestions, inviteyouraudience toinclude their e-mail with questions thatyoucouldincorporate asappropriate. Ifyoudo 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 attended yourpresentation. a discount onaschool visitortalkifthey contact youand saythey and Facebookinformation. Offerthem something special, such as with youdirectly, giveoutabusiness card listing yourwebsite, Twitter, about booking youfor school visitsand events. Forpeoplewho speak with bookinformation. Ifthe audience isappropriate, haveaflier 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

2017 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 transmission. When does a copyright start? Copyright is just that: the right to make copies. This exclusive right is For works created after 1/1/1978, copyright protection begins the given in §106(1). But what good is the exclusive right to make a copy if moment the original expression of an author or illustrator’s idea is the author or owner can’t distribute and sell those copies? Those rights created and fixed in a tangible form that it is perceptible either directly are granted in §106(3). Section 106(2) is the exclusive right to make or with the aid of a machine or device. In other words, copyright starts derivatives based on the original work. For authors, this covers the when the ink is dry on the paper, the artist has put down the brush or right to translation of their works into foreign languages, audiobooks the computer file is saved. and adaptations for the stage and screen. For illustrators, derivative There’s no need to file a registration or publish the work to have a works include posters, graphics, videos and even t-shirts using their copyright, as long as it is in a form that is perceptible either directly or 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 284 | 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 plus 70 years. For joint works (two or more authors or illustrators unfixed. If the work hasn’t been fixed in a tangible form (written down, contributed), the copyright lasts for the life of the last surviving joint tape recorded or burned to a CD-ROM), then it is not eligible for author plus 70 years. There is no renewal of copyright. protection. For works-for-hire (creations of an employee or contractor), copyright lasts in the name of the employer or hiring party for 95 Other non-copyright forms of protection years after publication or 120 years after creation, whichever is shorter. Domain names are registered through the Internet Corporation for The same formula (shorter of 95 or 120) applies to anonymous and Assigned Names and Numbers (ICANN) or through your web hosting pseudonymous works, unless the author’s identity is revealed. service. There is an annual renewal fee. give exclusive rights to an inventor for an invention, Why should I register if protection is automatic? discovery or process. To illustrate the difference, H.G. Wells could have Registration is a legal formality intended to make a public record of obtained a on the time machine he invented and a copyright on the basic facts of a particular copyright. However, registration is not his book The Time Machine. a requirement for protection. There are several excellent reasons to Trademarks (or service marks) identify the source of goods or register your claim to copyright: services to prevent public confusion. The trademark Coca-Cola® assures Registrations are public records identifying the copyright claimant; the public that the can contains Coke® not Pepsi® even though you Registration is mandatory before an infringement suit can be filed can’t see inside. For information on patents and trademarks, visit the in court; U.S. Patent and Trademark Office at https://www.uspto.gov For lawsuits, registration creates a presumption that the ownership Trade Secrets are protected by being kept secret. For example, only claim is valid; Colonel Sanders knows the 11 herbs and spices. Copyrights, patents and If registration is made within three (3) months after publication or trademarks are public records; trade secrets can never be revealed to the before an infringement, additional damages and attorney’s fees are 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: © 2017 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.

www.scbwi.org should be signed especially if the ownership is not evenly split. It will If registration is made within three months after the first publication | also spell out the duties and interests of the heirs of the writer and of the work, the effective date of protection becomes retroactive to artist. Please see the sample JOINT AUTHOR AGREEMENT. the date of publication. A registration filed prior to an infringement of the work gives the copyright owner the option for asking for an Works-for-Hire injunction 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 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

2017 the preferred way to register. Advantages of online filing include lower COPYRIGHT FOR WRITERS AND ILLUSTRATORS | 285

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

Writers and illustrators earn income through issuing licenses to An attorney since 1978 specializing in music and entertainment law, SCHOOL VISITS their §106 rights (copying, distribution, derivatives, serialization, 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 translation, etc.). Only the copyright owner has the authority to publish a thousand students at Loyola University and Northeastern University; and a work by offering copies for sale to the public. Section 106 rights has spoken to K-12 and college faculties about Fair Use, Creative Commons can be granted exclusively, non-exclusively, and for limited times, and TEACH Act guidelines for classroom and distance learning. His publications territories, formats and purposes. The essence of a publishing contract include Legal Issues in the and The Teacher’s Guide to is the grant of rights held by the author and illustrator to a publisher. Copyright, now in its 3rd edition. For more information, please visit www.buzzgig.com and the SCBWI website. LEGAL QUESTIONS Termination of licenses For copyrights assigned after 1/1/1978, the law grants an opportunity to terminate the assignment after 35 years. Termination by an author or heirs and the form and time periods for notices of termination are technical and require a copyright attorney.

SCBWI SAMPLE CHILDREN’S BOOK CONTRACT

by Mary Flower | updated by Sara Rutenberg

ontracts! A dirty word to some, intimidating to most. Can you 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. You should also refer to the legal section on The below agreement is not an idealized contract; rather, it contains our website for additional information and forms. provisions similar to standard boilerplate provisions in the contract

SAMPLE BOOK CONTRACT

HIS AGREEMENT made this ______day of [month], [year] between______(“Author”) [author or illustrator’s name] residing at ______[street address, city, state, zip code, country] and XYZ Children’s Books, an imprint of Books for Young Readers, a division of BigBookCorp, Inc., whose principal office is located at 205 Lexington Avenue, New York, New York 10086 ( “Publisher”). WHEREAS the Author is the proprietor of the following work (the “Work”) Title: [working title of the book] Subject matter description: [genre of book and one-sentence synopsis] [The publisher may want a longer synopsis of the book—this should be attached to the contract.] AND WHEREAS the Author desires to have the Publisher publish, and the Publisher desires to publish the Work on the terms and conditions and in consideration of the covenants set forth herein Grant of Rights [The Grant of Rights sets forth the territories and formats in which the publisher can publish and/or license the work and the length of time that this contract is in force.] AUTHOR AND PUBLISHER AGREE: 1. The Author hereby grants to the Publisher during the full term of copyright [you want to try to limit this to a shorter term; 20–35 288 | 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) , (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, | 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.] 2017 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 289

(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 . [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 290 | 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. 2017 SCBWI SAMPLE CHILDREN’S BOOK CONTRACT | 291

[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 , 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% 292 2017 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 transmit byradio, 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 or 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 | 293

(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 SCHOOL VISITS joint action in regard thereto, either the Author or the Publisher, jointly or separately, shall have the right to bring an action to enjoin such infringement and to recover damages. If they shall proceed jointly, the expenses and recoveries, if any, shall be shared equally; if they cannot agree to proceed jointly, any party going forward with such action shall bear 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 LEGAL QUESTIONS case would be brought jointly by the author and the publisher.]

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

294 2017 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 thatthebookisgoing out-of-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 tobeout-of-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 the author’s protection. We granted herein. [Thisisavery burdensome anddifficultclause. If you cannotgetitstricken,try to addlanguagethatmore clearlydefines to bepublished any worksubstantially similarto the 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 beout-of-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-Print Provisions 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 | 295

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 296 2017 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 shallbe repaid 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 | 297 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 298 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org | SCBWI SAMPLE CHILDREN’S BOOK CONTRACT BOOK CHILDREN’S SAMPLE SCBWI | or extension thereof, and any actions thatmay accruefrom the date of creation thereof; inthe United Statesand the world. nature ordescription attaching toorwhich may attachtosaid workand/or embraced by orincluded inthe copyright and any renewal and/ to Hiring Party any and allexisting copyrights therein throughout the United Statesand the world, and any and allrights of everykind, 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 Hiring Party hasthe soleand exclusive useof the commissioned workand any derivative worksmade therefrom. work shallremain the property of Hiring Party, thatallcopyright forms willlistHiring Party asanauthor of awork–made-for–hire, and that specified under §101of 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 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 Description of the commissioned workfor hire: This document confirms thatacopyrightable work of 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 | 299 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 300 2017 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 | 301 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 more with viewing material than with archival care.” any point in their career, but earlier is better,” says NCLC curator As to benefits, Tomie dePaola says, “When I started out in the early Terri Goldich. “Archivists can give advice about home storage and sixties, there were horror stories floating around about original art organization prior to donating materials, which can make the from well-known books disappearing into unknown hands only to donation process smoother and help preserve materials before they turn up for sale on the open market without the knowledge of the leave home.” Arne Nixon Center librarian Jennifer Crow adds, “There illustrators who created it, about original art being lost forever, and are a number of reasons why authors might donate papers early in even just thrown away. These types of abuses were more common their career. Proper storage and preservation should be done before when illustration was work-for-hire, being paid a flat fee instead of damage might occur. Home storage space and conditions are often royalties.” problematic for optimal upkeep of materials.” “In fact,” says Ellen Ruffin, But even now, material that’s not protected can be damaged or lost. curator of the de Grummond Children’s Literature Collection, “many of “Emotionally, it makes me very content to know that my work is safe, our donors find it a relief to pack up boxes and send them to a place well cared for in a protective environment, available to researchers and that will organize, preserve, and protect their work.” especially schoolchildren, who are welcome to visit and see original art Key factors to consider when choosing where to place your work and manuscripts and will be long after I’m gone and books are out of are your comfort level with the facility’s ability to care for it, your print,” says dePaola, whose work is at NCLC. accessibility to the material once donated, if your work is a good fit, For more about children’s archives, including collecting digital and how you will relate to the curator who will advise on the process. material, see raabassociat.es/Kly6tU. 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

SCBWI MY WORK

2014 publications guide: the book | www.scbwi.org MY PROJECTS

NOTES TO-DO LIST www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2017 MY PROJECTS

NOTES TO-DO LIST MY PROJECTS

NOTES TO-DO LIST www.scbwi.org | PUBLICATIONS GUIDE: THE BOOK 2017 MY PROJECTS

NOTES TO-DO LIST 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TITLE ofMANUSCRIPT SUBMISSION RECORD DATE SUBMITTED TO WHOM RESPONSE SUBMISSION RECORD

TITLE of MANUSCRIPT DATE SUBMITTED TO WHOM RESPONSE 2017 PUBLICATIONS GUIDE: THE BOOK | www.scbwi.org TITLE ofMANUSCRIPT SUBMISSION RECORD DATE SUBMITTED TO WHOM RESPONSE