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ttAft m 1995 Children's Writer's & Illustrator's Market KEt- WUH.ObS Ub3o iyV‘J Cliiiilren’a writer’s & illufjiratur'a market. Distributed in Canada by McGraw-Hill Ryerson, 300 Water St,, Whitby , Ontario LIN 9B6. Also distributed in Australia by Kirby Booh, Private Bag No. 19, P.O. Alex- andria NSWI2015. Managing Editor, Market Booh Department: Constance I Achabal; Superxinng Editor: Michael Willins. Children's Writer's 8f Illustrator's Market. Copyright © 1995 by Writer's Digest Booh. Published by FdcW Publications, 1507 Dana Ave., Cincinnati, Ohio 45207. Printed and bound in the United States of America, All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means includ- ing information storage and retrieval systems without written permission from the pub- lisher, except by reviewers who may quote brief passages to be printed in a magazine or newspaper. International Standard Serial Number 0897-9790 Intematmal Standard Book Number 0-89879-679-2 Cover illustmtm by John Steven Gurney Portraits by Leslie Sowers Slaughter Attention Bookstiltis: This is an aniwal directory of F&W Publications. Returns a<xepted between January 1 , 1996 and March 31, 1W6, 1995 Children's Writer's & Illustrator's Market Edited by Alice P. Buening and Christine Martin miTfit'S mmsi ftCKms Cincinnati, Ohio Contents 1 From the Editors 3 How to Use Children's Writer's & Illustrator's Market 5 Inspiration is the Only Mn' You Need: A Will Hillenbrand Story, by Alice P. Buening In this in-depth interview, featuring artwork from five of his books, established illustrator Will Hillenbrand reveals the road he took to a success^l career in picture book illustration. 15 First Books, by Christine Martin Staton Rabin, Yumi Heo and Juddi Morris confirm that it is still possible for new authors and illustrators to get a children's book published. 22 Don't Miss Out! Explore the Children's Religious Market, by Sally E. Stuart Discover the vast opportunities in the market of Christian periodicals, magazines and books for children. 26 Jewish Publishing Take a peek into the world of Jewish publishing for lads. in<bkf of Knopf Rooks for Young Readers on page 100; and Rosanne Main, freelance designerlan director for Orchard Books, on page 116, 160 Magazines Magazine publication is a great to break into children s publishing, so check out which magazines are new and whads new with the magazines you know. Also hear from Steve Charles, editor of Children 's Better Health Institute publications ’riirtlc Magazine and U,S. KidJn on page 170: and Al Maumo, editor and art dinrtor o/Scicncclantl a picture^ oriented science magmine, on page 20o, 225 Audiovisual & Audiotape 7h’ husinm ofchtkimi’s entertaitmimt, hath videri and audid, is hmminK. Find out hm you t'an j^rt tn on it as an illustrator, animator, writer or .songwriter, (k’t the inside trai'k from Jeffrey Aikman, pn‘.sident ofJKF Films, on page 2J2; and Joseph Porrello, senior viee president of prexiwt development for Peter Pan Industries, on page 244. 252 Scriptwriter's Markets These play puhlishers and producers an- in need of exciting, original material, as well as clnn adaptations of etassies, for produrtums in froth local theaters and touring et)mpante.s. 265 Special Markets these Imsngs yvu'll find an array of eornpanies producing everythirfg from greeting cards, games and comie hitoks to pusiles, pafier products and toys. All arc in need of freelance writing and artn‘ork. 280 Young Writer's & Illustrator's Markets and slhistniiors under Id - wdt find dosens of markets that publish the work of young people. Also learn ah rut the aenvities of the Tvkeioon Young Author hMsking Company from its fimruUr, .Matty Kioifniersh, on page 2^12. 297 Contests & Awards CotHjretiims offer gmii nppirmmim to get froth wnting and artwork noticed by those in the mdustty, so cheek out the mutniude llsietl here, a nutttbrr ofwhieh are o/m to iuhmmurns from students. Resources 327 Clubs & Organizations /Ibww^ f/jrw listings an' both national and retfitmal orgmUmom for wnien and artists which provide kformatm, support md repdae (fporiumties to network with peen and mdmfry mttdm. Page 212 337 351 Conferences & Workshops Learn everything from writing and illustration techniques to business issues and marketing strategies from top names in the industry at a conference or workshop. These listings include events taking place throughout the year in the U.S. and Canada. Helpful Books & Publications 353 356 359 373 Here is a list of books and magazines which will help you refine techniques and keep you in touch with the industry's latest news. Glossary Defines terms throughout the book that may be unfamiliar, Age-Level Index Book and magazine publishers are listed under four different age-groups to help you find the right market for manuscripts and artwork. Subject Index Find out what subjects book and magazine publishers seek in both fiction and nonfiction. General Index Can't find a market? This inda lists all the companies in the book alphabetically. § n Page 117 tophcr Raschka. Reprinted with permission of Orchard BtKjks. From the Editors ‘It’s important for me to always be aware who my audience is,” says illustrator Will Hillenbrand. ‘‘And for me, children are the truest, most honest, and most satisfying audience ...” And he’s right. That’s why the calling to create material for children is such a special one. Whether you’re a children’s writer, illustrator, animator, photogra- pher or songwriter, the work you do entertains, instructs and delights young minds, making imprcvssions that can last a lifetime. Children's Writer's & Illustrator's Market is an important tool in helping you reach your young audience. In creating this, our seventh edition, we’ve worked hard to gather new markets and up-to-date listing information, as well as conduct- ing enlightening interviews to give you added insights into the children’s field. As part of our effort to better address the concerns of illustrators, you can hear more from Will Hillenbrand in an in-depth interview on page 5, where he explains how he became a children’s illustrator, and shares examples of work from his picture books. Hillenbrand’s insights are not just beneficial for illustrators, how- ever. We urge anyone chasing a dream to read his story. Equally inspiring is our First Books feature on page 15. This year we talked to Staton Rabin, whose first children’s picture book was a work of historical fiction about World War I; Yumi Heo, a new author and illustrator with a unique style that mixes oil paint, pencil and collage; and Juddi Morris, author of a nonfiction book for ages 10 and up. These three women recall the very different paths they took to getting their first children’s books on the shelves. Sally E. Stuart, nationally recognixed expert on Christian writing, marketing and publishing, shares her tips for selling work in the vast religious market in Don’t Miss Out! Explore the Children’s Religious Market, on page 22. We have also included a special sidebar on Jewish publishing at the end of that article. One big change we made this year was combining audio and video markets for children in a single section now called Audiovisual & Audiotape. In the last few years, the children’s entertainment industry has been booming, and the lines have begun to blur between audio and video. You can read more about these exciting developments in the section introduction on page 225. We’ve also included Insider Reports with Jeffrey Aikman of JEF Films (our first ever audiovisual interview) and Joseph Porrello of Peter Pan Industries. In addition to those two interviews, you’ll find seven other Insider Reports throughout this book. In Book Publishers, Sasha Alyson of Alyson Publications talks about the consequences of producing material that can be controversial Arthur A. Levine, author and editor-in-chief of fCnopf B(K)ks for Young Readers discusses multiculturalism and the children’s field in general And illustrators can gain perspective from both sides of the drawing board from award-winning illustrator Carole Byard and Rosanne Main, freehifice designer/art director for Orchard Books. Youl! find two interviews in Magazines. First Steve Charles, editor of Turtk Magazine and £XS. Kiek^ publications of the Children’s Better Health Iiistiliite» shares his views on writing for kids. Next you’ll hear from A1 Mtitno* editor and 2 Children's Writer's & Illustrator's Market '95 art director of Scienceland, a picture book magazine designed to teach science and reading. Finally, young writers and illustrators — and parents and teachers— should be sure to read our interview with Marty Kusmierski in Young Writer’s & Illustrator’s Markets. Kusmierski is the founder of the Tyketoon Young Author Publishing Company which produces books created completely by kids. Note that we’ve included artwork with all of our Insider Reports this year, in addition to sprinkling it throughout the book. We’ve picked some great pieces in a variety of styles and media. If you’re an illustrator or photographer, be sure to read Show Us What You’ve Sold! on page 40, and perhaps your work can appear in the pages of our next edition. We continue to add editorial comments within listings (including the more than 100 new ones) to give you added information that we believe is important and useful. For example, we have included comments to help you sort through the Simon & Schuster/Macmillan merger, and to let you know which publishers want material submitted through agents. We feel sure that by using the 1995 Children's Writer's & Illustrator's Market your work will reach its special audience. But remember you are our audience. Please write or call to let us know what we’re doing right and what we can do better. Tell us who you’d like to hear from or where you sold your work. After all, our goal is to continue to give you opportunities to entertain, instruct and delight young minds. Alice P. Buening Christine Martin How to Use Children's Writer's & Illustrator's Market As a children's writer, illustrator or photographer first picking up Children’s Writ- er’s dc Illustrator’s Market, you may not know quite how to start. Your impulse may be to flip through the book, quickly make a list of contacts who purchase freelance material, and submit to them in hopes that someone will buy your work. But there's more to it. Before you begin to submit manuscripts, illustrations or photos to the markets listed here, you've got to do some research. Editors, art directors and producers don't have time to sort through stacks of inappropriate submissions, so the more you know about a company that interests you— whether it be a book publisher, a greeting card company, or a film production house — the better chance you have of getting work accepted. Besides providing listings, this directory includes a number of tools to help you determine which markets arc the best ones for your work. By using these tools, as well as researching on yt)ur own (for instance, checking into specific publishers' styles by finding their books in libraries or bookstores, or sending for sample copies of maga/.incs that interest you), you arc turning the odds in your favor. start with the indexes This dircetc^ry has over 60(1 potential buyers of freelance material and more than 100 listings (all marked with an asterisk {*]) are new in this edition. The easiest way to narrow down the listings, to learn which ones publish the type of materia! you’re interested in submitting, is to start with the indexes. In most listings of book ptiblishcrs and magay:incs, you will find four age catego- ries: 'Theture books" (or “picture-oriented material") are written/iilustrated tor pre-schoolers to K-year-olds; "young readers" are for 5- to H-year-olds; "middle readers" are fc^r 0- to 1 1 -year-olds; and "young adults" arc for those ages 12 and up. These age breakdowns may vary slightly from publisher to publisher, but they can help you identify buyers who may he interested in your work. If you have a manuscript about teenage sports heroes, identify and contact those book publishers who publish titles for young adults. If you have an exciting short story about dragons, princes and princesses that would interest 6-year-olds, search for maga’/ine markets catering to young readers. The Age-Ixvel Index in the back of this hook can help you quickly accomplish this task. Using the Age-Level Index in combin«atian with the Subject Index will further hone your list of potential markets. The Subject Index lists book and magazine piiblislicrs by the fiction and nonfiction subjects they are seeking. If youTc a writer trying to place a health article written for iniddic readers, make a list of those markeis under Health in the Magazines: Nonfiction section of the Subjcci Index. Then go^ to the Age-Level Index and compare your list with the list of magazines under Middle Readers. Circle those that are the same, and rend the circtcci listings to discover submission procedures. 4 Children's Writer's & Illustrator's Market '95 If you’re an illustrator or photographer, use the Subject Index to determine which publishers are seeking your preferred subject matter. If you enjoy painting or photographing animals, for instance, consider sending samples to book and magazine publishers listed under Animals and, perhaps, Nature^nvironment. Of course, read the listings for the potential markets to discover the type of work the art directors prefer and what type of samples they will keep on file. Study the listings Many listings use the “Tips” section to describe the freelancing credentials they seek or to impart special advice for selling to their companies. Look for additional information about specific markets in the form of comments from the editors of this book set off by bullets (•) within the listings. Besides providing subject information, markets also state the average word lengths for the fiction and nonfiction material they seek. To guarantee you are sending an editor or art director exactly what he wants, see if specific submission guidelines are available and send for them. Throughout this book, the abbreviations “ms” or “mss” refer to “manuscript” or “manuscripts,” respectively. The letters “SASE” stand for self-addressed, stamped envelope, while SAE (self-addressed envelope) is often used in conjunc- tion with IRC (International Reply Coupon). Many markets require SASEs and you must include one if you want your work returned. IRCs are required when sending mail to countries other than your own. In the Book Publishers section a solid block (■] appears before markets that subsidy publish manuscripts. In Contests & Awards a double dagger [+] indicates contests open to students. If you’re a parent or teacher you may be interested in Young Writer’s & Illus- trator’s Markets. The markets in this section encourage submissions from chil- dren — and your students or kids may have material that could get published. Some markets, however, require a written statement from a teacher or parent, noting the work is original. Also watch for age limits. Along with information for writers, markets provide information for photogra- phers and illustrators. If you’re a photographer, check under the Photography subhead to see what format a buyer prefers. For example, some want 35mm color transparencies, others want b&w prints. Most important, note the type of photos a buyer wants to purchase and the procedures for submitting. It’s not uncommon for a market to want a rdsume and promotional literature, as well as tearshcets from previous work. Listings also note whether model releases and/or captions are required. Illustrators will find numerous markets in which samples are kept on file for possible future assignments. If you arc both a writer and illustrator, look for markets that accept manuscript/illustration packages. In researching listings you will also find payment information. Some markets pay on acceptance, others on publication. Some pay a flat rate for manuscript,s and artwork, others pay advances and royalties. Know how a market operates. This will keep you from being shocked when you discover your paycheck won't arrive until your manuscript is published -18 months after it was accepted. For details about contracts and other business tips, see The Business of Children's Writing & Illustrating. Inspiration is the Only 'In' You Need: A Will Hillenbrand Story by Alice P. Buening Will Hillenbrand is a master storyteller, telling talcs through his pencils, pens and paintbrushes. To learn his stories he\s ventured (in his imagination) to differ- ent periods in time and exotic places like China, Af- rica and South America. I le’s hung out with dogs and cats and visited zoos. Most of all, he’s paid attention to the world around him, believing that, for a story- teller, every experience is important. Ixaving behind his job at an advertising agency, Hillenbrand began his career in picture hook illustra- tion in 1990 with Iraveting to Tondo, by Verna Aard- cma. To date he has 12 picture books to his credit (and that number is growing). He’s worked with pub- lishers the likes of Holiday House, Harcourt Brace, Houghton Mifflin, Knopf and Macmillan, He’s illus- trated books by established authors like firic A. Kim- mel (who retells a Jewish folktale in Asher and the Capmakers), as well as talented newcomers such as Roxanne Dyer Powell (whose enchanting 1994 debut was Cat, Mouse ami Among his latest projects are a C’hinesc folktale, complete with three magical geniedike monks, entitled 7he Ireasure Chest, by Rosalind C, Wang (fJoliday House), to be released in March |995; and The House Ihut I>rak Built, by Judy Sierra (Harcinirt Brace), a spooky story featuring a haunted house and a group of little Irickair^rcaters, due out in the fall -just in time for Halloween. Here, ihc CdncinnaiidiasecI artist tells his own tale. He talks abi>ut how he developed his love of the story, and how he created a structure In his life that would itlkm him Ui pursue his dream. He also shares insights on approaching a new manuscript, and advice for budding itiustriitors wishing to break into the competitive market of chlklren’s book publishing. Tell me ebeut your batkgmunti. Wh&t drew yettr interest to chiT dren*$ books? The reason I tlf> children’s books now is that I was read to as a child and shown pictures. 1 was told stories by my grtindmolher and my father sometimes they Alice P. Buening is etetdimrt^f dm editim f^/Childrcn’E Writer’s Si liliisirator’s Market She hm ills# umismi on the 1995 editmn of ArtHt*s & Graphic Designer’s Market mnd lies pmmmfy worked tm Writer’s Digest magmine. The Artist’s Miigaxine mid Decorative ArO tst’s Wcirkhoiiit 6 Children's Writer's & Illustrator's Market ‘95 were just family tales, especially from my grandmother. She had it down to a pattern where we’d ask for a specific story. That kind of background was a founda- tion. I began my first real lessons with an art teacher in junior high. It was then I thought this would be something I would consider as a career. After that, you attended the Art Academy of Cincinnati. What kind of courses did you take? At the Art Academy, the experience was really good because there was a broad base. We had foundation courses in design, and other things. But eventually we progressed to courses which always had drawing in every class— different kinds of drawing, but every time you looked at your schedule, drawing was going to be a part of it. I also had classes in printmaking and photography. All of the experiences were very useful for someone who does picture books. You end up dealing with things like typography— it’s not something you can wish away. You can’t let these things daunt you and say, “I can’t do this because ...” I had also worked in television during college, and I had an opportunity to continue to work at a TV station, but I knew I was more interested in print because it’s a more private kind of thing— you don’t need to be plugged in, you don’t need a certain piece of equipment. It’s simple, economical, and as far as books go, a great invention. [When you read] you can do it at your own pace. You can begin where you want. You can take it to bed with you. So I knew I wanted to be in print, but it wasn’t that defined yet. / know you worked in advertising after college. When did you finally decide to go into children's book illustration? When I began dating Jane, who became my wife, she had just graduated from Capital University in Columbus, Ohio, where she was an elementary school teacher. I began getting involved in doing [classroom] bulletin boards for her about illustrators like Tomie DePaoIa, and it started rekindling the embers of that early storytelling. I started wanting to learn more about these people. Jane would go to literature conferences and tell me she saw Tomie DePaola. I’d say, “Next time you have to go to one of those conferences, let me know -- I’ll take off work and join you.” So [my interest] began to build. At that point I started thinking that there was a possible change ahead, but I knew my portfolio wasn’t prepared. My daily task was doing design work, not illustration. But it was also being a communicator — being able to take a huge amount of information and focus it down to a small, digestible amount for an audience. And that training benefited me. How then did you get your portfolio prepared? It’s a little like the old Yankee thing, “You can’t get there from here." Before you can be clever about the pictures you make, you have to be clever enough to come up with a structure that’s going to allow you to do it. If you can solve that mystery, you’ve made it. What structure did you come up with? When Jane and I were dating, she still lived in Columbus and I lived in Cincinnati, and we saw each other once a week usually. After that date, I’d do a watercolor painting of what we did that weekend, I came up with that structure for two 'In' You Need / . King Who Trloil to Piy an igg on Hfi Hoail •» th* king trtumphMntiy prm:l»lm$ Ml ivt m Sm, tf»* mom, tnti iho kovm mmy hh thro* «tm>§ht»tv to bring proMpority to Ms ^ ! W WiM If In this illustration from Asher and the Capmakers, by Brie A. Kimmel, Hillenbrand depicts the title character surrounded by his famiiy on Hanukkah Eve as he prepares to depart on what becomes (much to Asher’s surprise) a fantastic journey. The tale Is rooted in the lore of Ireland, England and Eastern Europe, and Hillenbrand re- searched the cultures, clothing and architecture of the period. Hillenbrand Is cur- rently working on illustrations fora version o/Ali Baba & the Forty Thieves by Kimmel, who has written, adapted and retold dozens of tales. reasons. I wanted to do it for Jane as something special to keep our communica- tion going— and visually I can communicate things often that words can't. But I also knew it was a weekly exercise. If we saw The Nutcracker, I’d draw my own Nutcracker- it wouldn’t be as it was on stage, but I might draw a puppet theater with the Nutcracker coming out. It was the structure that allowed me to exercise, almost like an athlete who knows to get to the pros you have to practice. It was extremely useful in tw-o ways. I ended up marrying Jane, and I was able to exercise the kind of muscles I needed. I exercised my imaginatimi. Eventually, Jane went to a lit conference and found out about a threc-wcek [book illustration) class she thought I might want to take. 1 had two weeks of vacation from work, so it didn’t quite fit, but I took it anyway because I was interested in having a real experience (in which] I would have made a book. I knew at the end of it that I would find out whether I liked [illustrating books] or whether I hated it. The book was not great, but it was a book, and it allowed me to begin to send work to publishers in New York and Boston. Then how did you finally make the Jump from your advertising ca- reer to your illustration career? Eventually, I knew I had to take another step. As you pnrbably know, when you work on salary, you agree to an approximate 4<J-hour week, but that's nt»t always f66f Inspiration is the only In You Need a the case. And they use the best hours you have. When you come home, unless you’re a night owl, it’s hard to get that energy level back up. I knew I needed to talk to my employer about working on a part-time schedule. I was lucky. The fellow that was my boss wanted to be a novelist when he was younger, so he understood what I wanted to do and the transition required. He essentially said, “If you can do what you do now in three days a week, then you can do it.” I got paid less, and I did about the same amount of work, but I knew I wanted to be able to do books. What was your first assignment? My first book was a chapter book called /4w/u//y Short for the First Grade (by Elvira Woodruff). [Doing a chapter book] was a useful way to get into picture books. When I got my contract, I was overwhelmed. I think Margery Cuyler (of Holiday House) was wise to give me a chapter book first to let me get my feet wet. I’ve had experience with some very fine editors. One of the really useful things I did when I began thinking about getting my portfolio together is spend hours and hours in children’s bookstores reading and looking. I wanted to understand [the industry) better. Going to the library and reading stories was extremely useful not only in getting to know what is appropriate and essential for good stoiytelling, but to begin to know what publishers my work might be right for. On my first visit to New York. I just went to four publishers. I spent one day there. I ended up coming back with the contract for Awfully Short. But within a year, I had three different contracts from three different publishers -three of the four. What kind of working relationships do you have with your editors and authors? I a.sked one of my editors, Liz Van Doren of Harcourt Brace, to define herself to me [as an editor]. She said, “I'm ready for that question -I’m a midwife. I’ll help you in your labor, but when that btxrk is finished it’s yours, and I’ll hand it right back to you. In your labor I’ll be by your bedside but you’ll feel every bit of the pain and all the joy." And that’s as good a description as I can think of. Mo-st often I work directly with editors. Very seldom will I ever work with an author. The editor will be the useful go-between. For example, Margery Cuyler sent the book dummy for Asher and the Capmakers to Eric Kimmel, and he took out about a third of the text because he thought the pictures were working well enough that they didn’t need to be supported. It’s the editor’s discretion. They know (the author) better than 1. So I don’t work with (authors) directly. And you think thi* Is best? I just recently read an article from The New York Times about how to do picture books, and it began talking about Sir John Tcnnicl. He illustrated both Alice's Adventures in Wonderland and the following book (Through the Looking Glass & What Alice Found There). I think there were 90-8omc illustrations- Lewis Carroll was happy with only one of them. A battle royal went on between them. It’s important to be able to say the visual part is distinct from the writing part. The author is the author of the text; the illustrator is the author of the pictures. Now, if something’s technically wrong -an element, a dress color, a sock— that needs to be changed, fKjriod. But to me it’s the illustrator’s sole right to interpret how it's done. 1 0 Children 's Writer's & Illustrator's Market '95 So you have control over all of the elements of a book— the back- ground, how the characters are going to look, etc.? When you do a story about a cat, you need to lose yourself in what the cat is. You build the relationships. You costume the characters. You need to consider every level— subplots, background, setting— for the continuity of the story. When a manuscript is given to me, that’s it. Sometimes the publisher will tell me that because of publishing limitations we’re doing 8x10 this time, or it has to be horizontal. But aside from that, the drama begins. Then I have to immerse myself in the stoiy. All my books look very different unless you know how I approach things, then you can see the continuity from the approach. But essentially, they all have a slightly different character— that’s because I look for the story to be my jumping- off point. And the personality of the story should come out before the personality of the illustration. They should be married, but the story should be more impor- tant. You've done Russian, Jewish and South American tales, and you've Just finished working on a Chinese folktale. How much research do you do into specific cultures for the stories you illustrate? I have an eclectic range of books that I’m interested in. It stems partly from publishers being more open to publishing multicultural literature. It also fits very well with my interest— being a visual interpreter, and an interpreter for children. If I get a book that’s a Chinese folktale, yes, there’s a lot of research I’ll do. And if I look at the bottom line. I’m not compensated for every hour in that sense. But I’m interested, because it’s a good story. And when I get that assignment, it’s like someone giving me a ticket to China, and saying, “Here are the people you’ll meet.” What’s even more fascinating is that they’re not people who arc living now. It can be 500 or 600 years ago or more. It can be a certain dynasty. It’s a fascinating journey. [When I got the manuscript for the Chinese folktale] I began collecting a pile of books and magazines about China. If I was at a used book sale. I'd look for the Chinese books they had, I put it all in my “China pile.” How did you research your first picture book. Traveling to Tondo? When I got Traveling to Tondo, the editor told me [the main character] was a civet cat. I said, “Fine. 'What’s a civet cat?” She said, “I don’t know, but you’ll find out.” And surely I did. I went to common resources, encyclopedias and things. Not much there— just illustrations of the cat. Eventually, that led me to take a trip to the Philadelphia Zoo, so I could sec a civet cat [in person] and draw it. Ultimately, a story will tell you what you need to do if you’re really listening to it. I had pretty much made a model [of the civet cat] from the picture.s I’d seen in magazines, but it was just a two-dimensional picture. I had no idea how it moved. It’s like if you imagine someone saying, “I want to tell you about an animal that’s in another country. It’s called a rabbit. I’ve got a picture of it.” And you see it’s a little fur-ball with a round body, an oval head and long ears. But you Still don’t know much about it. If you had .someone to tell you about it, you’d know more. Inspiration is the Only 'In' You Need 1 1 Hillenbnnd explored Chinese folklore - full of magical elements and supernatural characters -as well as the ancient lyric artwork of China, to Illustrate The Treasure Chest, by Rosalind C. Wang. The main characters, laifu and Pearl, are rewarded for an act of kindness by visits from three magical monks housed In bamboo poles. Here the pair meet the third monk In the story. The folktale was passed down to Wang through generations of oral tradition. {lilt if yiiu sec that animal’s character, if you're able to sit ami watch it anti see hi'ss it moves, am! Ikw its hotly shifts like a Slinky, Ami when it’s hopping it’s like a nthherbaml. going ami coming, ijoitigjind corning. ’I'he movement of the animal (goes hand in hamlj witli the movement of the story. Anti when you draw it. you’re like an ctiitorial cartotmist iloing a caricature of a president. It’s not the way the president looks, but the way the cartoonist inter- prets him. The carUHinist exaggerates so you know him in a different way, but you say. "Thai’s exactly him.” It's an intcrnali/atitm, a personalization, of that character. Ytni have ttt do everything y«m need to do tt» satisfy yourself, and create that pile, There are things you need to kmiw. For example, in an African tale, what the huts hwikcd like, what the vegetutitm Imtked like, what the animals look like. If you do find something [in your research) that you persimaHy like, you can inchide it. hut it shouldn’t be the linchpin of the stttry. Do you havm m onampto from one of your books? In the ease of Tnntling to Ttmda, I found that in the part of Africa (where the © IW4 Will Hiilcnbrand. 1 2 Children's Writer's & Illustrator's Market '95 pieces of birdseed on your doorstep to attract the bird. But that did not guarantee a successful marriage, although the bird may arrive and make you feel better. So I found out what a pied wagtail looked like [and included one in the book]. I put a few pieces of black seed on the ground, because the marriage [to take place in the book] never happens. Now since I know this, I know a legend. I know something more about the culture and the way the people behave. It wasn’t important for understanding the story, but the story became more interesting. And when I include [things like that], I talk to children about them, then they become storytellers of the specific, and it becomes more personal for them. You frequently visit schools and give presentations for kids at book- stores. Do you think this kind of communication with children is important for your career? I like to see children around each other. They’re fascinating to watch. It’s impor- tant for me to always be aware who my audience is. And for me, children are the truest, most honest, and the most satisfying audience — they are uncluttered; they’re not going to analyze; they’re going to look at the heart of the story. When I make a presentation I know I have to change my personality from how I am at my desk. Primarily what I talk to children about is process. One of the essential ideas I use is that your first idea is a great idea, but the best idea may be the twentieth idea. I don’t say, “I did this [book] the first time I sat down.” I show them how it builds, idea on idea, just like a drawing does, the first stroke to the next and the next — and pretty soon those abstract marks become something. Part of milenbrand's preparation for Cat, Mouse and Moon, by Roxanne Dyer Powell, Involved borrowing a neigh- bor's cat to observe feline mannerisms and personality, apparent In this detail from one of his Illustrations. The artist used a variety of colors -purples, blues, greens, browns and greys -ap- plied with spray bottles to create a background that wouldn't swallow up the stealthy, curious black kitty as read- ers spy on his nighttime prowl. Inspiration is the Only 'In' You Need 1 3 What advice can you offer aspiring illustrators about the market? It comes down to how much you want it. Because if you really want to do it, you’ll find your way. This book you produce {Children's Writer’s & Illustrator’s Market), is an extremely beneficial, helpful guide. When I get phone calls [from illustrators or writers], and I get lots of them, I refer them to your book or Uri Shulevitz’s book (JVriting With Pictures: How to Write and Illustrate Children’s Books). Many ask me if I’ll illustrate their manuscripts and I say no. They ask if I’ll read their manuscripts and I say no. Why won't you read manuscripts? Because, I’m thinking about writing one of my own, and if my idea was similar [to one of theirs], and I went with my idea, and they never got theirs published, they’d think I was taking their work, so I won’t do it. The best advice I can give them, and usually what they don’t want to hear, is if you’ve got a manuscript, send it to an editor. Go to a resource. Look up a publisher. Then submit it. You have your most likely chance by following that path. And what do you think about writers having their manuscripts illus- trated before submitting them? Finding .someone to draw pictures for your story is useless, absolutely u.scless. There are all kinds of pitfalls in doing it. If it’s a good story, it has some merit, period. And editors are trained to .see that. They might read it and think it reminds them of Ed Young, and they might call him and tell him to do it -.so why mess around with .someone down the block when you can have Ed Young? A lot of people think that, as in Hollywood, you have to have an “in.” The only “in” you need is inspiration. But what is the market like now? It may be harder now to break into the market than it was five or ten years ago. That was more of a golden age, more things were being published. Not nece.ssarily better things, just more. You need to prepare as broadly as you can and have a lot of tenacity -and it comes back to how much you want to do it. If you go into the office at 8:30 a.m., maybe you should get up at four in the morning, so you can put in a few hours of your best time. Sometimes you sit down and nothing comes of it, but it’s an act of faith. You know what you want to do, you have a goal, and you’re persistent. And it docs happen. It comes from the activity -all the times that you sat there and it didn’t, but you kept working. At this point, you've done a doxen picture books. Are you able to pick your own projects- tell a publisher, "I want this one, I don't want that one."? Yeah, that happens now. But usually the publishers I work with know what I'm interested in because of our relationship. The things I get that aren’t right arc from publishers who have seen my work but don’t know me that well. Now I think I have a pretty good idea of the publishers I like to work with and which ones print quality books and market them well. I’ve learned that when you say yes to a book, you commit. You know you’re not going to be the same person when you’ve gone through the experience. You know j^u’re going to grow. You’re going to know the story so intimately that after Traveling to tonclo, an Afrkm tale wfoM by l/#ma Aanlema^ was first picture book. In tMs ilfostrmtioo bm diopicts thm civef cat with his Mmdis f At jcilgton# f A t tortoise modi the smkm (who hms Just dleuouredl mo mmtolope). The stofy tmkms pimtm deep in the rminfomst tmpfumd in rich, muted emrthtones. 1 4 Children's Writer's & Illustrator's Market '95 you see that cover with your name on it, you’ll say, “Well, it should say my name, I earned it.” But now I’m able to be more selective, although early on I was very fortunate to get some really good manuscripts. Traveling to Tondo couldn’t have been a better first picture book to do. I think it’s real important to look to the very finest publishers. I recommend to anyone to not think you have to start with a smaller publisher and work your way up. If you like and admire and respect a certain publisher, go directly to them, even if you have to keep working to get better. It’s better than going to a third- rate publisher, and being able to say, “I got published,” but your book is on paper that’s going to fall apart. Is Traveling to Tondo your favorite of the books you've illustrated? A professor I had always said the cliche answer; “My favorite is the book I’m working on right now.” The one I’m working on needs to be my favorite, so I’ll pay attention to it and nurture it and give it everything it needs. It has to be my favorite because I need to love it. I feel very fortunate and grateful I can do what I do. There are no words for it— it’s my real dream-come-true, not knowing what the dream was in the begin- ning, but loving stories. What I remember most from my childhood is the voice of my father telling a story. When he read The Night Before Christmas, it was right from the encyclopedia. But the pictures came up here [in my mind]. Now I think, “What would I be doing now if I didn’t have an adult that read to me?” Nothing in the visual world could inspire me like that . . . across the board, it’s magic. First Books by Christine Martin As an aspiring writer or illustrator, it’s natural to wonder about your chances of breaking into the children’s book market. With increased competition and restrictions on unsolicited manuscripts, the question of whether newcomers can get their books published is a legitimate one. The answer, however, is “Yes, they can!” For the past two years, we have brought you stories of both writers and illustra- tors who have made their way inside the doors of children’s book publishing and have seen their “first books” on store shelves. This year is no exception. Here you will discover three individuals who had their first children’s books published just last year. How did we locate these folks? Staton Rabin called us to say that after 15 rejections she sold her first fiction picture book. Illustrator Yumi Heo was one of the “talents new to the children’s book scene” included in “Flying Starts,” a semiannual feature in hMishm Weekly. And writer Juddi Morris came to our attention in a conversation with Cheryl Peremes, publicity and promotion man- ager at Walker and Company. Staton Rabin Casey Over There (Harcourt Brace & Company) From the moment Staton Rabin finished the manuscript for Cmey Over There, she says her first thought was, “Well, I've finally done it. I’ve written a picture book that works.” And her second thought was, “My God. Nobody’s going to notice!" Rabin’s concern stemmed from the fact that she inten- tionally limited her text, "Over the years, as I’ve read picture books, I’ve noticed those writ- ten by illustrators have text that is well-integrated with the pictures. Those made by two separate people (writer and illustrator) tend to have text that doesn’t really need pictures,” she says. “My goal was to write a picture book text almost as an illustrator would -one that needed pictures to work and that, hopefully, would CASEY m T H li we k Christine Martin is eo-eddor of this edition 0 / Children's Writer’s & Illustrator’s Market She is also editor of the W5 Poet’s Market, has edited Tbe Art and Craft of Poetry by Michael I Rugeja, md has worked on previom editkm of Novel & Short Story Writer’s Market 1 6 Children's Writer's & Illustrator's Market '95 result in a synergistic relationship between words and art.” As a graduate of New York University’s film school and a freelance story ana- lyst for Warner Bros. Pictures and Laurel Entertainment, Rabin wrote a picture book that juxtaposed two locations. Her story is about a family whose oldest son, Casey, joins the army and sails to France to fight in World War I. While Casey is sitting in muddy trenches and awaiting mail from overseas, his younger brother, Aubrey, at home in Brooklyn, New York, is playing kick the can, riding the Coney Island Ferris wheel, and writing Casey letters. When months go by without any response from Casey, a concerned Aubrey writes a letter to Uncle Sam — and receives a reply from President Woodrow Wilson. Though Rabin, who lives in Tarrytown, New York, knew the book was good when she wrote it, she feared editors wouldn’t understand what she was trying to do. At the time, she had a children’s book agent who agreed to represent her for a previous manuscript which never sold, so Rabin promptly sent the agent the manuscript for Casey. After four unsuccessful tries at submitting it to publishers for her, the agent gave up and dropped Rabin as a client. Still believing in her manuscript, Rabin sent it to a number of other publishers on her own. At first, her efforts were also unsuccessful. In fact, the book was rejected a total of 15 times — and Rabin had already become discouraged — by the time Jeannette Larson pulled the manuscript out of the slush pile at Harcourt Brace. Within six weeks Rabin received word that Harcourt was very interested, and two weeks later, she was offered a contract. “I know Harcourt likes historical fiction, but the truth is it was the luck of the manuscript happening to land on Jeannette’s desk that resulted in the sale. She understood the book and isn’t locked into convention as much as some editors are,” Rabin says. “I think she liked Casey because it has a warm family feeling. I think she also believed there would be a market for a book about World War I.” A history buff, who, like young Aubrey, wrote letters to famous people as she was growing up, Rabin chose World War I because it occurred around the time her father was born in Brooklyn. Part of her research for the book was asking him about life in his old neighborhood, such as what kinds of games he played as a boy. She also fact-checked details about World War I and drew on her father’s own experiences in World War 11. “I believe historical fiction for kids should be accurate,” Rabin says. “But I also believe good historical fiction not only can but must vary from historical fact to some degree in order to make a worthwhile stoiy. Any event that could have happened, but may or may not have, is certainly appropriate for historical fiction. How much you alter depends to some degree on the fame of the events and the people involved. The better known they arc, the less you should tamper with them. In Casey, Woodrow Wilson gets a letter from a little boy and answers it. Did it happen? No. But based on what I know of Wilson’s character, such an event was in keeping with it.” While the book was published in April of 1994, Rabin actually wrote Ca.sey Over There during the Persian Gulf War. “I was upset about our participation in that war, yet have deep respect for veterans since my father’s a veteran. It was the tug of war between my feelings of support for our soldiers and dismay and distress at our fighting the war that prompted me to write Casey," she says, “I felt that if I set the story during World War I instead of the present it would give kids— and me— a safe emotional distance from the subject, to better be able to deal with it.” In a starred review. Publishers Weekly called Casey Over There “an excellent First Books 1 7 picture-book introduction to the topic of war and its effect on families.” Yet, besides being especially relevant to the lives of children whose relatives are veter- ans or active duty servicemen and women, Casey has universal appeal. It is a book about separation from loved ones, Rabin says, something all kids have experi- enced, whether through travel, divorce, illness, or other events beyond their con- trol. Although Rabin has had other material for children published, this was her first fiction picture book and it was the first picture book for self-taught, San Diego, California, artist Greg Shed, whose sepia-shaded gouache paintings cap- ture the era of the text. “Harcourt gave me the best support possible by hiring Greg,” Rabin says. “He put his heart and soul into the art. He used his family and friends as models for the book’s characters and did lots of research about what Brooklyn looked like in 1917 and what soldiers looked like in battle. “In Casey Over There, I wrote a book that requires pictures to contrast the lives of its two main characters,” Rabin says. “The emotional impact of the book depends on the way the artist can depict this contrast and visibly establish warm family relationships that bridge the geographical gap between the soldier and his family. Without Greg’s terrific art, Casey Over There would be only half a story.” Yumi Heo The Rabbit's Judgment (Henry Holt and Company, Inc.) Unlike most illustrators, that time' her mother gave her b^c^n^ d^^awing'''and painting Korea, Heo was encoura'ged to draw throughout her child- \ •. w hood and began more formal W ,, training at age 14, when her f V — mother sent her to an art stu- dio to study every day after school. She earned a Bachelor of Fine Arts in graphic design from Sangji University and worked as a graphic designer in Korea until coming to the United States in 1989 Wanting to study more, Heo had followed up on an ad in a Korean art magazine for the School of Visual Arts in New York City. It was an exciting step, and one that would eventually lead her, quite by accident, to discover the field of children’s books. While at school, Heo created a project about a grocery boycott carried out by African-Americans against Korean-owned stores In Brooklyn, New York. Then Yorker, Ms. Ma^mne and McCall’s. “In school I did a btiok with puppets and 1 8 Children's Writer's & Illustrator's Market '95 Company and I made an appointment with editor Laura Godwin. She loved the style of my book, but the subject was not appropriate for their list.” After graduation, Heo kept trying to make the rounds but got few appoint- ments. “When you get lucky, publishers will say, ‘Why don’t you come in and show your book?’ And often they will refer you to someone else,” she says. When you don’t get lucky, you just have to continue sending out samples. About six months after her first contact with Holt, Heo received a call from Godwin who had a manuscript for a Korean folktale. “She sent me the book and asked me to do samples,” Heo explains. “I did three and she loved them. And the next day I got the contract.” The manuscript Heo was given was actually one of 64 folktales recorded by Suzanne Crowder Han in Korean Folk and Fairy Tales, published in 1991 by Hol- lym Corporation in Seoul, Korea. Godwin had seen Han’s book and, believing some of the stories would make good picture books, asked Han to rework the narrative. A native of South Carolina, Han had gone to Korea as a Peace Corps volunteer in 1977 and continues to make her home in Seoul. In an initial effort to learn the language, however, she had encouraged Korean friends to tell her .stories. After becoming proficient in the language, she then studied various interpretations of their folktales and recorded the stories in her own words. As for the folktale manuscript she received, Heo says Han’s interpretation is very close to the story she remembers from when she was little. Though different characters are used in the tale, the version Han tells is about a rabbit who solves a dispute between a man and the hungry tiger he just rescued from a deep pit. To help create the illustrations, Heo located a book about animals and drew a realistic tiger and rabbit. She kept drawing the tiger and rabbit, and altering them, until she was happy with the characters. After making about ten sketches of each animal in her notebook, Heo went to work on the final art, combining pencil, oil paint and collage. The resulting book. The Rabbit’s Judgment, published in March of 1994, is the first picture book for both Han and Heo and includes a Korean translation along- side the English text. “I am veiy proud they also put the text in Korean," Heo says. “I felt it was part of my duty, being a Korean, to show a bit of Korean culture to America. I think this book is also important for Koreans becau.se the style of illustration is more modern. I never saw a book in Korea like this." But The Rabbit’s Judgment is not Heo’s only book ~ it’s only the first book she’s illustrated. Six month.s < September of 1994, One Afternoon, the first picture book Heo both wrote and illustrated was pub- lished by Orchard Books. The story is about a boy named Minho who spends an afternoon doing er- rands with his mother. In many ways, One Afternoon is the result of Heo’s earlier meetings with editors. While still at the School of Visual Arts, Heo had also met Harold Underdown now an editor at Orchard, who was looking for illul trators with new styles. Though Underdown was interested in Heo’s book about a boycott in Brook^ he liked her style and encouraged her to write a stoty about something she knew, the Korean immigrant ex- perience. Another person Heo met said, "You’re so First Books 1 9 good at doing store scenes, why don’t you do something about stores?” Heo decided to combine the two suggestions, but wondered what story could use all the different stores. Then she recalled all the new sights and sounds she experienced when she first arrived in New York— the sounds were different in the streets and at all the stores. She would write a book highlighting all the differ- ent sounds at all the different places! Though writing the actual story of going from store to store did not take long, Heo wanted to incorporate the sounds into her illustrations. “But when I hear a sound, I think in Korean,” she says. “So I had to do research at the library to look for the sounds.” Heo found onomatopoeic words, such as “kaching” and “clickety clack,” and, by putting them in various typefaces, made them graphic design elements. The result is a delightful picture book filled with lively, detailed illustrations and sounds youngsters can imitate. Yet, when One Afternoon received a starred review in Publishers Weekly, Heo was a bit overwhelmed. “1 never thought I would be a writer,” she says. “When I tried to write, it was veiy difficult. This is not my first language. It surprises me that I could do it. Sometimes I don’t believe I’m doing it, even now.” Yet Heo is doing it. In addition to recently illustrating another picture book for Holt based on a tale in Han’s original collection (The Rabbit’s Escape, due out in the spring of this year), she has also just finished writing and illustrating her second picture book for Orchard (Father’s Rubber Shoes, due out this fall). Overall, Heo says, the best advice she received was to write from her own experience. “It’s the only way you arc different from others. You don’t have to look for ideas. They’re in you. I think that’s very important. I also like to tell beginners that when you see editors and art directors and they tell you something, it is better for you to try their .suggestions instead of saying ‘What do they know?’ If I hadn’t taken their advice, I wouldn’t be here.” Juddi Morris The Harvey Girls (Walker and Company) “Just call me a late bliHtmcr," .says Juddi Morris of Paso Robles, California. “I didn't become a writer until after my husband’s death and my son Christopher was an adult.” Actually, Morris had al- ready spent several years work- ing at a string of odd jobs when she noticed an article in the Las Angeles Times about the Harvey Girls, women who ven- tured west in the late I9th cen- tury to work as waitresses in restaurants owned by Fred Harvey along the Santa Fc railroad line —women who were often credited for “civilizing” the West as they carried out their duties. “After reading the piece," Morris says, “I knew three things: One. this was one of the most sparkling chapters in American history. Two, these were gutsy 20 Children's Writer's & Illustrator's Market '95 worncn — spunky und adventurous when those qualities weren t admired in the female sex. And three, I would write a book about them someday.” And just like that, Morris broke the cardinal rule most actors and writers live by-she quit her job. Then she bought a secondhand typewriter and, though she had never written anything longer than letters to friends and family, disciplined herself to work four hours at a time. “Naive as I was, I knew I didn t know how to write a book,” she says. “So I decided to start writing magazine articles and work up.” _ . . , I • • Morris admits she knew nothing about publishing, “like how hard it is to get your byline in print,” but she was lucky. The first piece she wrote, about a suitcase coming open on a baggage carousel at New York’s John F. Kennedy Airport, sold to Westways, a California travel magazine. “From then on I lived closer with the Writer’s Market than I ever did with a human being,” she says. “It was always by my side and when it wasn’t, I was thinking of a religious market on, say, page 535 that sounded right for the piece I’d just done on church cookbooks, or would that humorous essay about a couple being served an awful child-cooked breakfast in bed work for Woman’s Worldl “Coming to writing late, I had years of ideas stacked like cordwood and they were, and are, all grist for the mill. I wrote travel articles, e,ssays, fillers, you name it. The Writer’s Market was my security blanket, rapidly becoming underlined, pasted-in, tattered and torn -my guide to the world of freelance roulette.” After four years of freelancing, coping with hundreds of rejections, and accep- tances, and obtaining a firmer grasp on her craft, Morris recalled the story of those Harvey Girls and decided to see if anyone would be interested. She spent a couple of months doing research and then wrote an article entitled “The Dish That Won the West.” The response was overwhelming! In fact, Morris ended up selling one-time rights for the article to nearly 20 magazines around the United States. “I knew then,” she says, “that these were my nonfiction heroines.” Convinced that children, especially girls, need strong role models, Morris be- lieved the Harvey Girls would be the perfect subject for a book for ages ten and up. So she began to research further, traveling to “towns and wide spots in the road where there used to be Harvey Houses [as Harvey’s restaurants and hotels were called]. I spent hours at universities, museums, and historical societie.s in Arizona, New Mexico, Kansas and Colorado -any place that had Santa Fc Rail- road or Harvey Corporation papers,” she says. Since many Harvey Houses remained in operation until after World War II, when railroad passenger service began to decline, Morris was also able to locate and interview former Harvey Girls. “In my travels I’d hear of a Harvey Girl who would then tell me about another, and that Harvey Girl knew another, and on it went,” she explains. “It was wonderful! The women were gracious, eager to talk, and a joy to interview. Being a Harvey Girl still loomed large in their lives.” By the time Morris finished the manuscript, she had Children’s Writer’s & Illus- trator's Market close at hand and queried several publishing houses about the project, but with no luck. Then a friend, children’s writer Elizabeth Van Steenwyk, suggested she query Mary Rich, who had just moved to Walker & Company. Morris did and was delighted to learn Rich was interested. “Mary thought the manuscript needed more focus and asked for changes up front before offering a contract,” Morris says. “From day one, I trusted Mary and realized her suggestions would make a better book. So I made the changes— more than one time. I’ll admit I wondered why I was doing all that work without a contract, but Mary never lost confidence in the project and I kept reminding First Books 21 myself that, although I had a track record with magazines, I was new to the chil- dren’s book world that she knew very well.” In the end, Morris’s revisions resulted in the publication of The Harvey Girls: The Women Who Civilized the West in July of 1994. Throughout its 112 pages, divided into eight chapters and featuring black and white photographs culled from museums, historical societies and Harvey Girls, Morris shares the story of Fred Harvey and the women who traveled west in response to his need for reliable help to work in his chain of quality eating establishments. Believing “truth shouldn’t be boring,” Morris included a number of anecdotes, often quoting former Harvey Girls and other sources. By all accounts, she suc- ceeded in writing a text that entertains as well as informs. A review in School Library Journal said, “The narrative is lively, conversational, and spiced with wry humor that will interest even reluctant readers.” Another review referred to The Harvey Girls as “a book for history buffs of all ages.” Throughout the process of writing and revising the book, Morris was boosted by the support of other writers. “On the day I signed the contract, my writer’s group threw a champagne party for me,” she says. “Believe me, this was going beyond the call of duty, for these people had heard all the manuscript changes and had given me helpful critiques. Not only that, they listened to my whining and doubts with patience and good grace. “The support of other writers is tremendously important. 1 knew no other writers when I got into the business. The day a mutual friend told me about another writer in my town, I nearly flipped. I called her within 15 minutes. She felt isolated, too. As soon as I actively started looking for other people in the business, they seemed to come out of the woodwork. After we got together for the first time wc were a functioning group that is still going strong. Writing is lonely work, and it’s easy to start feeling you’re the la.st person left in Dodge.” Besides finding a support network, Morris’s advice to writers is to tru.st editors. “My work has only improved from listening, making the suggested changes, and pushing my own ego out of the way,” she says. “I have enough rejections I could probably paper my whole house. Never, ever give up. Don’t take rejections penson- ally. And, finally, it’s never too late to try something new. I’m living proof. Now is the time to start making your dreams come true.” Don't Miss Outl Explore the Children's Religious Market by Sally E. Stuart If you have not explored your options in the religious area, you are missing sales to more than a third of your potential markets. Thirty-five percent of the periodi- cals in this market guide, for example, are religious. Once you discover religious magazines and book publishers, you’ll be surprised at the range of options and at the apparent “coming of age” in this long-established, but expanding market. “The best way to break into the religious market is to write for magazines before trying to sell a book,” says Diane Stortz, children’s book editor at Standard Publishing. “You can establish credibility that way; editors see that you can de- liver. Plus you get great practice at your craft.” Another benefit of starting with religious periodicals is that because so many are denominational publications with non-overlapping readerships, you can sell your material over and over — if you only sell one-time rights. Sunday school take-home papers A number of the “magazines” Stortz refers to are actually Sunday school take- home papers -eight-page leaflets (some 4 or 16 pages), published quarterly in weekly editions— that are distributed to children and teens in Sunday school classes. Because many denominations produce 52 of these every year (for each age-group), there is a tremendous demand for good material. A typical take-home paper features a fiction piece but often adds a short article, a poem, and games, crafts or activities appropriate for the age-group. Some publi- cations require an explicit religious message, but many accept an implicit message or a strong character-building tone. Avoid religious jargon or unexplained use of Christian symbols or symbolism that many children will not understand. Although a number of periodicals are denominational, it is not necessary to be intimately familiar with the doctrines of each group. Write from a Christian and/or religious world view and avoid doctrinal issues. The articles and poetry used in take-home papers are often related to nature/ creation or the Bible. Poems might include a Bible story told in rhyme, a look at nature or creation that reveals an implicit reverence for God, or a fun poem to delight a child. Some editors prefer true stories as opposed to fiction. Most are open to true stories about children who have done something significant or are living out their faith in specific ways. Almost all social issues can be dealt with, generally from a conservative view- S&lly E, Stuart is a nationally recc^ized expert on Christian writing, marketing and publish- ing. She is the author of the Christian Writers’ Market Guide, a contributing editor for The Qlrisrian Communicator, and has sold more than 850 articles to nearly 100 different publica- Um in Aloha, Oregon, and speaks at CIvistian writers’ conferences nationwide. Explore the Children's Religious Market 23 point. “Social is.sues can certainly be addressed through the pages of Christian young people’s magazines,” says Randy Fishell, associate editor at Guide Maga- zine. “We have di.scovered, however, that such qualities as mystery, action and discovery arc the vehicles that seem to work best in holding young readers’ inter- est. If social issues are tackled, they must be addressed in an engaging way.” These papers also include how-to pieces on games, parties, crafts, recipes or family activities; a variety of word-puzzles; and jokes and short humor pieces. Because the papers are dated, they use a lot of holiday-related material. For .someone wanting to break into the religious market, take-home papers offer the best opportunity to learn what works and what doesn’t. The sheer volume of material used improves your chances of being accepted. However, it’s wise to send for guidelines and sample copies of publications that interest you and study them carefully. The publications put out by your own denomination are logical places to start, since you may already be familiar with them. Magazines The religious magazine market for children seems to be growing, although there have been casualties. (Perhaps parents who are used to getting take-home papers free at church arc reluctant to subscribe.) These magazines are generally sponsored by religious ministries, rather than denominations, and are slick, full- color magazines that rival any in the general market. They include such publica- tions as Focu.k on the Family Clubhouse (and Clubhouse, Jr.) and Guideposts for Kids. Mostly monthly, these magazines have highly visual, competitive appeal for children or teens. “We strive to give kids a biblical perspective on today’s problems to teach them how to think rather than what to think,” explains Mary Lou Carney, editor at Guideposts for Kids. “Basic values like kindness, patience, self-discipline and hon- esty run through the magazine like arteries. They are shown, not told.” Psriodkalt in {{•n^ral For the most part, topics deemed acceptable by religious children’s magazines parallel those acceptable in all children’s magazines. Publications for both chil- dren and teens are alw showing an increasing interest in multicultural material. Many publishers seek material on announced themes. If you send for a theme list from publishetn who offer them, and submit pieces to fit those themes, you will greatly increase your chances of selling in this market. The taboos in the religious market vary. Mmt editors do not like talking ani- mals, fantasy or science fiction (although there are exceptions). Most do not pub- lish material dealing with Santa Claus or the secular aspects of Christmas; some object to references to Halloween, ghosts, witches, etc. No matter what you write, avoid being “preachy.” Says Elaina Meyers, editor at R-A-D'A-R, *'Our writers make references to prayer, Bible reading, and church attendance throughout their stories, rather than tiying to tack (a moral} on at the end.” Sister Anne Joan Flanagan, managing editor of Afy Friend, a Catholic magazine, adds, “Write as you would for adults; respect the reader. You wouldn’t be moralistic or explicitly drag out every point for an adult reader ~ so why do it for kids?” And Janet Knight, editor at Pockets, simpb' says, “Avoid the words ‘ought’ and ‘should,* ’* 24 Children's Writer's & Illustrator's Market ‘95 Teen publications Religious publications for teens vary from black and white and one- or two- color take-home papers to full-color, visually animated magazines. More than half of the teen publications are monthly or bimonthly magazines, and a third are weekly take-home papers. The take-home papers follow the same basic format as children’s publications, but the magazines contain a wide variety of features of interest to teens, comparable to those in the general market. Several teen publica- tions have recently ceased publication or are revamping as they attempt to keep up with the market’s changing needs. Teen publications use a lot of fiction, but they are also looking for a variety of nonfiction topics as revealed in this list of possible topics for Straight, a teen publication that regularly appears on Writer’s Digest magazine’s annual list of the top 100 magazine markets; controversial issues, Christian living, divorce, environ- ment, ethnic,, health, holidays, self-help, humor, profiles, money, music, siblings, experiences, dating and friends. Book markets If you watch the best-seller lists of Christian children’s books, you’ll notice the majority are children’s versions of the Bible or Bible-stoiy books, plus a few children’s novels for 8- to 12-year-olds. Although most periodicals shy away from fantasy or science fiction, the best-seller book list often includes such titles as The Lion, the Witch and the Wardrobe, by C.S. Lewis, or a series of fantasy books by best-selling author Frank Peretti. Even books that are not explicitly Christian can make it onto this best-seller list (which is based on sales in Christian bookstores). For more than a year, Robert Munsch’s Love You Forever— z. book with no religious content— has been as high as number two. Although Christian bookstores stock such titles, few religious book publishers are willing to publish books that are not specifically religious. Spending some time in the children’s section of a religious bookstore will give you a good feel for what is meant by “specifically religious.” Most picture books tend to be illustrated Bible stories, or books on prayer or other virtues. Biographies of religious heroes or saints are also popular, along with books that deal with children’s problems or making good choices. “If stories are taken from the Bible, they should follow the biblical account closely,” explains Ruth Geisler, family and children’s resources editor at Con- cordia Publishing House. “’We encourage humor and delightful touches of all kinds in our Bible story series, but because we espouse a conservative doctrine, our Bible stories are biblically accurate. Fictional characters may be used to add reader interest or provide detail, but nothing should contradict the Scriptural text.” “Instead of preaching, offer the truth as part of the thought process or experi- ence of a character in the story,” says Lcn Goss, editorial director at Crossway Books. “When the actions, words or thoughts of your character forcefully commu- nicate your message, then readers will have been given a positive example that they will want to imitate.” Christmas is considered the only strong book-giving holiday by most Christian children’s publishers, so you’ll find Christmas bool« in the stores by June. Some houses also publish books on Easter or other religious holidays. Most religious children’s books are sold in religious bookstores. For the most mrt, only best sellers, such as the most popular children’s Bibles or Bible-story Explore the Children 's Religious Market 25 books, make it into mainstream stores. The Christian Booksellers Association estimates there are 8,000 to 10,000 Christian bookstores nationwide, so religious children’s books do get exposure. Middle-grade fiction As in the general children’s market, publishers are looking for picture books, young readers, middle readers and teen/young adult books (although the market for teens is more limited). While working on the 1994-95 Christian Writers’ Market Guide, I found a slight decrease in the number of publishers interested in young adult/teen fiction, while the number interested in picture books had increased since the previous edition. Today, it appears most publishers are looking for series books for middle readers and up. Novels for 8- to 12-year-olds are actually the most open market for juveniles. Publishers are e.specially interested in contemporary realism, historical, humor- ous, adventure and mystery books. They are also interested in a wide range of ideas. Don’t feel the need to create a family with two parents, two kids and a dog -consider the variety of today’s families. “I want racial and ethnic authors who write [fiction about] what life is like in their communities,” says Alice Pepplar, children’s book editor at Augsburg Fortress Publishers. “No animals or talking trees, etc. [Or] stories about the nuclear, idealized family of the 1950s.” The top-selling juvenile genre in secular publishing is horror, even for very young kids, says Geisler (Concordia). “[With] the largest bulk of kids in the United States moving into middle school, ready for series fiction, and parents seeking material with wholesome, Christian values, juvenile Christian fiction will boom.” Liz Duckworth, managing editor, Children and Youth, at Victor Books adds, “The teen population should reach all-time peaks in the year 2006, so publishers should be ready with young adult fiction next.” Other opportunities Besides religious periodicals and books, other outlets exist for religious writ- ers-cven young ones. Here are a few more possibilities for getting your work sold or recognized: • Markets for kids. Most take-home papers and magazines are open to submissions from young readers. Standard Publishing’s S/rajg/it, for example, publishes fiction and poetry from readers. Teen publications, especially, use teen poetry almost exclusively. • Curriculum markets. There are also markets open to those interested in writing curriculum for children or teens. These are lesson plans put out by both denomina- tional and non-denominttional publishers and used by Sunday school teachers in local churches. Lessons are written to very strict guidelines and always on assignment, usually in units of 13. Curriculum writing requires an intimate knowledge of the reli- gious field as a whole and the specific denomination in particular. Qualified writers may write to curriculum publishers, giving their background and experience, and re- quest an assignment. • Special cmt&tts. Watch for publisher-sponsored contests especially for religious material. For example. Pockets magazine sponsors an annual fiction writing contest for unpublished work, with winning entries appearing in the magazine. Published book writere, on the other hand, are eligible for the Gold Medallion Book Awards, ftoin the Evangelical Chrisrian Publishing Assodation. (For additional information on these and other ocmtesu:, turn to the Contests & Awai^ section.) 26 Children 's Writer's & Illustrator's Market '95 Support for Christian writers One of the best places to learn about writing for the Christian market is at a Christian writers’ conference. The number of conferences across the country has increased dramatically over the last five years. Although some major ones have ceased, they have been replaced with local, one- to three-day seminars. Attending seminars will provide you with expert instruction on how to write, a feel for what is expected in this market, along with an opportunity to meet and discuss projects with editors. You’ll find Christian writers’ conferences in the Conferences & Workshops section, and a complete list appears in the Christian Writers^ Market Guide (for order information, write to 17768 SW Pointe Forest, Aloha OR 97006). Although there are no publications that specifically deal with writing for the religious children’s market. The Christian Communicator (P.O. Box 5168, Phoenix AZ 85010) is the leading publication for writers in the field and regularly carries articles on the children’s market. Some writers’ organizations even offer correspondence counses on religious children’s writing. The Christian Writer’s Guild (260 Fern Lane, Hume CA 93628); The Writing Academy (6512 Colby Ave., Des Moines lA 50311-1713); and Christian Writers Institute (177 E. Crystal Lake Ave., Lake Mary FL 32746) all have courses available. Jewish publishing One of the oldest publishing houses in the country, the Jewish Publication Society (JPS), produces only Jewish titles. While this may seem like a highly specialized area, it’s not a market that can be ignored. Although they make up less than two percent of the American population, the “People of the Book” buy more books per capita than any other ^up, according to a report in Children’s Writer. While publishers such as JPS, Jewish Lights Publishing, Behrman House and Kar-Ben Copies publish exclusively children’s titles with Jewish themes, many mainstream houses publish Jewish titles as well. For example, Eric Kimmel's Jewish folktale Asher and the Capmakers was published by Holiday House and Tambourine published Arthur A. Levine’s All the Lights in the Night. Most mainstream Jewish titles, however, must have a universal appeal. If this market intefests you, keep in mind that, just as in Christian material for children, Jewish books can have a broad range of formats and themes. A Jewish title could be anything from a board book about Hanukkah to a young adult novel about a boy in a Jewish family to a nonfiction reference about the Holocaust. But unlike Christianity, Judaism is not just a reli^on-it's a culture. Jews have their own language, customs, even food. And there are about a dozen Jewish holidays each year, including Hanuld^h and Passover, that can be ad- dressed in books. Refer to the Subject Index at the back of this book under the Religjous heading for publishers that produce both Jewish and Cfuistkn titles. Magazines such as Shofar, which publishes Jewish material by adults and children, are market possi- bilities as well. Also note that several Ibtings in the Contests <Sc Awards section are specifically for Jewish material The Business of Children's Writing & Illustrating When a writer, illustrator or photographer decides to market her talents she will encounter many unexpected problems, and develop numerous questions about the field. “What is the proper way to submit my work?” “Do I need an agent?” “How much should I be paid for my material?” This article answers your ques- tions— and exposes you to the business techniques needed to properly market your work. Researching markets There are two basic elements to submitting your work successfully: good re- search and persistence. Read through the listings in this book and familiarize yourself with the companies that interest you — study the specific needs and the required submission procedures of each. Editors and art directors hate to receive inappropriate .submissions because handling them wastes precious time. By ran- domly sending out material without knowing the markets’ needs, you’re sure to meet with rejection. If you’re interested in submitting to a particular magazine, write to request a sample copy. For a book publisher, obtain a book catalog and check a library or bookstore for titles produced by that publisher. By studying such materials care- fully, you can better acquaint younsclf with that market’s writing and illustration styles and formats. Most of the book publishers and magazines listed (as well as many special markets such as greeting card and paper product companies) offer some sort of writer’s/artist's/photographer’s guidelines. Read these guidelines before submit- ting work. Formats for submission Throughout the listings you will read requests for particular elements to include when initially contacting markets. Every submission should be directed to a spe- cific person. It is a good idea to call the company to confirm a contact name before sending anything. You do not need to speak to the contact person directly; merely ask the receptionist or secretary if the person still works there and if he still handles the .submifsions. Query letters. A query letter should be no more than a one-page, well-written piece to arouse an editor's, art director’s or producer’s interest in your work. Queries are usually required from writers submitting nonfiction material to a publisher. In the query letter for a nonfiction piece you want to convince the editor your idea is perfect for his readership and you’re the writer qualified to do the job. Note any previous writing experience in your tetter and include published samples to prove your credentials, especially samples related to the subject matter about which you’re querying. Many query letters from writers start with leads similar to those of actual manu- scripts. Next, briefly outline the work and include facts, anecdotes, interviews or 28 Children's Writer's & Iliustrator's Market '95 other pertinent information that give the editor a feel for the manuscript’s prem- ise. Your goal is to entice him to want to know more. End your letter with a straightforward request to write (or submit) the work, and include information on its approximate length, date it could be completed, and the availability of accompanying photos or artwork. More and more, queries are being requested for fiction manuscripts because slush piles at many publishing houses have become virtually uncontrollable. As the number of submissions continues to skyrocket, a number of publishers have stopped accepting unsolicited submissions. While some will now only accept agented material, many are still open to queries. For a fiction query, explain the story’s plot, main characters, conflict and resolution. Just as in nonfiction queries, make the editor eager to see more. For more information on writing good queries, consult //ow to Write Irresistible Query Letters, by Lisa Collier Cool (Writer’s Digest Books). Cover letters. Some editors prefer to review complete manuscripts, especially for fiction. In such cases, the cover letter serves as your introduction, establishes your credentials as a writer, and gives the editor an overview of the manuscript. If an editor asked for a manuscript because of a query, note this in your cover letter. Also, if an earlier rejection letter included an invitation to submit other work, mention that as well. Editors should know the work was solicited. For an illustrator or photographer, the cover letter serves as an introduction to the art director or producer and establishes credentials as a professional. Ex- plain what services you can provide as well as what type of follow-up contact you plan to make, if any. When sending samples of your work, indicate whether they should be returned or filed. Never send original work! If you wish to have the samples returned, include a self-addressed, stamped envelope (SASE). Cover letters, like queries, should be no longer than one page. R4sumls. Often writers, illustrators and photographers are asked to submit r^sumds with their cover letters and samples. R^sumis can be created in a variety of formats ranging from a single page listing information to color brochures featur- ing your work. Keep the r6sum6 brief, and focus on your achievements, including your clients and the work you’ve done for them, as well as your educational back- ground and any awards you’ve received. Do not use the same risum6 you use for a typical job application. Book proposals. Throughout the listings in the Book Publishers section you will find references to the submission of a synopsis, outline and sample chapters. Depending on an editor’s preference, some or all of these components, as well as inclusion of a cover letter, make up a book proposal. A synopsis summarizes the book. Such a summary covers the basic plot of the book (including the ending), is easy to read and flows well. An outline can also be used to set up fiction but is more effective as a tool for nonfiction. The outline covers your book chapter by chapter and provides high- lights of each. If you are developing an outline for fiction include major characters, plots and subplots, and length of the book. An outline can run to 30 pages depend- ing on the complexity of your manuscript. Sample chapters give a more ojmprehensive idea of your writing skill. Some editors may request the first two or three chapters to sec how your material is set up; others may request beginning, middle and ending chapters to get a better feel for the entire plot. Be sure to determine what the editor needs to see before investing time in writing and/or revising sample chapters. Maniisadpt formats. If an editor wants you to submit a complete manuscript. The Business of Children 's Writing & Illustrating 29 you should follow some basic guidelines. In the upper left corner of your title page, type your legal name (not pseudonym), address, phone number and Social Security number (publishers must have this to file payment records with the gov- ernment). In the upper right corner, type the approximate word length. All ma- terial in the upper corners should be typed single-spaced. Then type the title (centered) almost halfway down the page with the word “by” two spaces under that and your name or pseudonym two spaces under “by.” The first page should also include the title (centered) one-third of the way down. Two spaces under that type “by” and your name or pseudonym. To begin the body of your manuscript, drop down two double spaces and indent five spaces for each new paragraph. There should be VA inch margins around all sides of a full typewritten page. (Manuscripts with wide margins are more readable and easier to edit.) Set your computer or typewriter on double-space for the manu- script body. From page two to the end of your manuscript include your last name followed by a comma and the title (or key words of the title) in the upper left corner. The page number should go in the top right corner. Drop down two double spaces to begin the body of each page. If you’re submitting a novel, type each chapter title one-third of the way down the page. For more information on manu- script formats read Manuscript Submission, by Scott Edelstein (Writer’s Digest Books). Picture books. The majority of editors prefer to see complete manuscripts for picture books. When typing the text of a picture book, it is not necessary to include page breaks or supply art. As echoed in the interviews throughout this book, editors prefer to find the illustrators for picture books. Most of the time, a writer and an illustrator who work on the same book never meet. In this kind of arrange- ment, the editor acts as a go-between in case either the writer or illustrator has any problems with text or artwork. How to Write and Sell Children’s Picture Books, by Jean E. Karl (Writer’s Digest Books), offers advice on preparing text and marketing your work. If you arc an illustrator who has written your own book, create a dummy or storyboard containing both art and text. Then submit it along with your complete manuscript and sample pieces of final art (color photocopies or slides -no origi- nals). Publishers interested in picture books specify in their listings what should be submitted. For a step-by-step guide on creating a good dummy, refer to Frieda Gates’s book, How to Write, Illustrate, and Design Children’s Books (Uoyd-Simone Publishing Company). Mailing and recording submissions Your primary concern in packaging material is to ensure it arrives undamaged. If your manuscript is fewer than six pages it is safe to simply fold it in thirds and send it out in a #10 (business-size) envelope. For a self-addressed, stamped envelope (SASE) you can then fold another #10 envelope in thirds or insert a #9 (reply) envelope which fits in a #10 neatly without any folding. Some editors like receiving a manuscript folded in half in a 6x9 envelope. For larger manu- scripts use a 9 X 12 envelope both for mailing the submission out and as a SASE for its return. 'Hte SASE can be folded in half. Book manuscripts require a sturdy box (such as a typing paper or envelope box) for mailing. Include a sclf-addres^d mailing label and return postage. If asked to send artwork and photographs, remember th^ require a bit more care in packaging to guarantee they arrive in good condition. Sandvrich illustra- tions and photos between heavy cardboard that is slightly larger than the work. 30 Children's Writer's & Illustrator's Market '95 and securely tape the cardboard together. Write your name and address on each piece in case the inside material becomes separated. For the packaging use either a manila envelope, foam-padded envelope, brown paper or a mailer with plastic air bubbles as a liner. Bind non-joined edges with reinforced mailing tape and affix a typed mailing label or clearly write your address. Mail material first class to ensure quick delivery. Also, first-class mail is for- warded for one year if the addressee has moved, and can be returned if undeliver- able. If you are concerned about your material safely reaching its destination, consider other mailing options, such as UPS or certified mail. If material needs to reach your editor, art director or producer quickly, you can elect to use overnight delivery services. Throughout this book you will occasionally see the term International Reply Coupon (IRC). Keep in mind markets outside your own country cannot use your country’s postage when returning a manuscript to you. When mailing a submission to another country, include a self-addressed envelope and IRCs. Your post office can help you determine, based on the package’s weight, the correct number of IRCs to include to ensure its return. If it is not necessary for an editor to return your work, such as with photocopies, don’t include return postage. Instead, track the status of your submission by en- closing a postage-paid reply postcard with options for the editor to check, such as “Yes, I am interested,” “I’ll keep the material on file,” or “No, the material is not appropriate for my needs at this time.” Some writers, illustrators and photographers simply include a deadline date. If nothing is heard from the editor, art director or producer by the specified date, the manuscript, artwork or photos are automatically withdrawn from consider- ation. Because many publishing houses and companies are overstocked with ma- terial, a minimum deadline should be at least three months. One thing you should never do is use a company’s fax number to send queries, manuscripts or samples. Only use a fax number after acquiring proper authoriza- tion so you don’t disrupt the company’s internal business. It’s important to keep track of the material you submit. When recording each submission be sure to include the date it was sent, the business and contact name, and any enclosures such as samples of writing, artwork or photography. Keep copies of the article or manuscript you send together with related correspondence for easier follow up. When you sell rights to a manuscript, artwork or photos you can “close” your file by noting the date the material was accepted, what rights were purchased, the publication date and payment. Many times writers, illustrators and photographers devote their attention to submitting material, then fail to follow up on overdue responses because they feel the situation is out of their hands. If you don’t hear from a market within its stated response time, wait a month and then follow up with a note inquiring about the status of your submission. Include the title or description, date sent, and SASE for response. Ask the contact person when he anticipates making a decision. By doing this you may refresh the memory of a buyer who temporarily forgot about your submission, or revise a troublesome point to make your work more enticing to him. At the very least you will receive a definite “no,” thereby freeing you to send your material to another market. Simultaneous submissions If you opt for simultaneous submissions— sending the same material to several editors at the same time — be sure to inform each editor your work is being consid- The Business of Children’s Writing & Illustrating 31 ered elsewhere. Doing so is a professional courtesy encouraged throughout the field. Most editors are reluctant to receive simultaneous submissions but under- stand the frustration experienced by hopeful freelancers who must wait many months for a response. In some cases, an editor may actually be more inclined to read your manuscript sooner because he knows it’s being considered elsewhere. The Society of Children’s Book Writers and Illustrators, however, warns against simultaneous submissions, for fear they will eventually cause publishers to quit accepting unsolicited material altogether. Also, since simultaneously sub- mitted manuscripts are not specifically tailored to any one publisher, SCBWI feels the act will result in less than serious consideration of work received. The official recommendation of the SCBWI is to submit to one publisher at a time, but wait only three months (note you will do so in your cover letter). If no response is received, then send a note withdrawing your manuscript from consideration. SC- BWI considers simultaneous submissions acceptable only if you have a manuscript dealing with a timely issue. It is especially important to keep track of submissions when you are submitting simultaneously. This way if you get an offer on that manuscript, you can instruct the other publishers to withdraw your work from consideration. Agents and representatives Many children’s writers, illustrators or photographers, especially those who are just beginning, are confused about whether to enlist the services of an agent or representative. The decision is strictly one that each writer, illustrator or photog- rapher must decide for herself. Some are confident with their own negotiation skills and feel acquiring an agent or rep is not in their best interest. Others feel uncomfortable in the business arena or are not willing to sacrifice valuable cre- ative time for marketing. Enough demand for children’s material exists that breaking into children’s publishing without an agent is easier than breaking into the adult market without one. Also, some agents avoid working with children’s books because traditionally low advances and trickling royalty payments over long periods of time make chil- dren’s books less lucrative. Writers targeting magazine markets do not need the services of an agent. In fact, it’s practically impossible to find one interested in marketing articles and short stories, as there simply isn’t enough financial incen- tive. One benefit of having an agent, though, is it may expedite the process of getting your work reviewed, especially with publishers who don’t accept unagented sub- missions (a polity becoming more and more common in children’s publishing). If an agent has a good reputation and submits your manuscript to an editor, that manuscript may actually bypass the first-read stage (which is done ty editorial assistants and junior editors) and end up on the editor's desk sooner. And illustra- tors and photographers who live elsewhere often seek representatives based in New York City when they want their work shown to New York City publishers. When agreeing to have a reputable agent represent you, remember that she should be familiar with the needs of the current market and evaluate jwur manu- script/artwork/photea accordingly. She shmild also determine the quality of your piece and whether it is saleable. Upon selling your manuscript, your agent shcmld negotiate a favorable contract and clear up any questions you have idjout mcme- taiy payments. One advantage to having an agent be the “go-between” is that she acts as the “bad guy” during negotiations. This allows you, as an individual, to preserve your good faith adth the publisher. 32 Children's Writer's & Illustrator's Market '95 Keep in mind that however reputable the agent or rep is, she has limitations. Representation does not guarantee sale of your work. It just means an agent or rep sees potential in your writing, art or photos. Though an agent or rep may offer criticism or advice on how to improve your work, she cannot make you a better writer, artist or photographer or give you fame. Literaiy agents typically charge a 15 percent commission from the sale of writ- ing; art and photo representatives usually charge a 25 to 30 percent commission. Such fees are taken from advances and royalty earnings. If your agent sells foreign rights to your work, she will deduct a higher percentage because she will most likely be dealing with an overseas agent with whom she must split the fee. Some agents offer reading services. If you are a new writer, you will probably be charged a fee of less than $75. Many times, if an agent agrees to represent you, the fee will be reimbursed (though not always). If you wish to use an agency’s critique service, expect to pay $25-200 depending on the length of the manuscript. The purpose of a critique service is not to polish the manuscript, but to offer advice based on the agent’s knowledge of what sells in juvenile publishing. Prior to using a reading or critique service, find out up front what results to expect. Beware of agencies that derive most of their income from reading and critique services. Unfortunately, some in this business are more interested in earn- ing their money from services than from selling books. Other standard fees incurred from an agent include miscellaneous expenses such as photocopying, phone bills, postage or messenger services. Before signing a contract with an agent, find out the exact terms, such as the rate of commission charged and the expenses you will be expected to pay. Be advised that not every agent is open to representing a writer, artist or pho- tographer who lacks an established track record. Your manuscript, artwork or photos, and query or cover letter, must be attractive and professional looking. Your first impression must be that of an organized, articulate person. Feel free to investigate an agent or rep before contacting her. Determine, for instance, how familiar and successful she is with selling to children’s publishers. For a detailed directory of literary agents, refer to Guide to Literary Agents; for listings of art reps, consult the 1995 Artist's & Graphic Designer’s Market; and for photo reps, see the 1995 Photographer’s Market (all Writer’s Digest Books). Negotiating contracts and royalties Negotiation is a two-way street on which, hopefully, both partic.s will feel mu- tual satisfaction prior to signing a contract. Book publishers pay authors and artists in royalties, a percentage of either the wholesale or retail price of each book sold. From large publishing hou.ses, the author usually receives an advance issued against future royalties before the book is published. Half of the advance amount is issued upon signing the book contract; the other half is issued when the book is finished. For illustrations, one-third of the advance should be collected upon signing the contract; one-third upon deliveiy of sketches; and one-third upon delivery of finished art. After your book has sold enough copies to earn back your advance, you will start to get royalty checks. Some publishers hold a reserve against returns, mean- ing a percentage of royalties is held back in case books are returned. If you have such a reserve clause in your contract, make sure to find out the exact percentage of total sales that will be withheld and the time period the publisher will hold this money. You should be reimbursed this amount after a reasonable time period, The Business of Children's Writing & lilustrating 33 such as a year. Royalty percentages vary with each publisher, but there are stan- dard ranges. According to the latest figures from SCBWI, picture book writers can expect advances of $3,500-5,000; picture book illustrators’ advances range from $7,000- 10,000; text and illustration packages can score $8,000-10,000. Royalties for pic- ture books are generally about 5 percent (split between the author and illustrator), but can go as high as 10 percent. Those who both write and illustrate a book, of course, receive the full royalty. Advances for chapter books and middle grade novels vary slightly from picture books. Hardcover titles can fetch authors advances o