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Alessandra Balzer and Donna Bray formed their imprint in 2008 after working together for twelve years at Hyperion Books for Children. During that time, they found that they really relied on each other as sounding boards for everything from manuscripts to marketing materials. When the time came for them to make a change, they figured, why not make their partnership official and create an imprint? B+B is a continuation of their collaborative way of working that has been going on for…well, a pretty long time, if you do the math! (Fun fact: It’s their second round at HarperCollins—they both worked there before Hyperion.)
How has the publishing industry changed since you formed B+B?
The children’s industry has definitely become more frontlist-focused, more like the adult industry. Children’s books also have a higher profile than they did years ago, which means a lot more money all around—more revenue, higher advances, bigger stakes. But with that comes more pressure on authors and publishers—and sometimes less patience for a book to build an audience over time.
That said, many things remain true: indie booksellers and librarians are still key tastemakers who can make a book happen; backlist is still incredibly important to our bottom line; and a small book can hit big. And most importantly: Authors and illustrators are the backbone of the business.
Your imprint is unique in that your list is made up of picture books, middle grade, and young adult. How did that evolve?
Every imprint is defined by its editors’ tastes and interests, and we have always edited in these categories, so it seemed natural that we continue to do so in the imprint. It keeps our jobs interesting to be able to work on such varied books on a day-to-day basis.
What reels you in when you read a manuscript that makes you say "This has to be a B+B book"?
We try to be very rigorous about what we acquire at B+B. Generally, though, we are drawn in by an original and arresting narrative voice, as well as a compelling story that really seems to be adding to the conversation. It’s a very personal, subjective process!
What’s your editorial process once you acquire a manuscript?
Our editorial process begins even before we acquire a manuscript, at the most important meeting of our week: the B+B team meeting. This is where the incubation process of a manuscript starts. We circulate among our group of six any project we’re seriously considering, and ideally we read all or most of each one. At the meeting, we discuss very frankly our thoughts on the manuscripts. It’s a place to give and get great nuts-and-bolts editorial comments, thoughts on comps in the market and positioning, advice on advance level, packaging, illustrators…This meeting is where the blueprint of the book is sketched out.
As for the editorial process with the author: although each editor on our team has a slightly different process, our goal is always the same: to help the author realize his or her vision. We ask a lot of questions and make suggestions that we hope will launch a collaborative discussion, a dialogue that keeps going right through the galley stage.
What are you seeing as trends in publishing?
One recent trend we’re happy about is diversity in children’s publishing. While there’s always been an awareness of the need for diversity in our industry, with the advent of social media and the founding of We Need Diverse Books, it seems that awareness is turning into more support for diverse authors and books, as well as a broadened definition of diversity.
On the picture book side, there seems to be more of an openness in the market to what would have once been considered quirky, sophisticated picture books. These are now turning into some of the biggest commercial successes, when for many years the bestseller lists were dominated by character-driven series.
Do you have a tip or two for anyone submitting to B+B?
Take the time to research the kinds of books we publish and to get a sense of our taste. We do have a handy Facebook page which is a good place to start. Feel free to mention a recent title or two that you feel is in the same vein or has a similar sensibility as your manuscript.
*While B+B doesn’t normally accept unsolicited submissions, they are making an exception for SCBWI members for the next three months until December 1, 2015. You can send the queries to firstname.lastname@example.org and put “Balzer + Bray/SCBWI submissions” in the subject line.
I only recently discovered the Dear Teen Me
site, where young adult authors post encouraging, honest, heartfelt letters to their teenage selves. For this series of posts, we Teaching Authors
are writing to our younger selves, inspired by those letters.
When our kids were still small, I started writing for children—poetry and picture books, fiction and nonfiction. I carried a pocket notebook around to keep track of ideas. The notebooks piled up in my desk drawer until I dumped them all into a box that I’ve been slowly weeding out.
Here’s what I’d say to that young mother:
Remember the notebooks! Yes, you carry one around most of the time. You’re always jotting down a favorite word or a quick observation or something funny one of the kids said. From time to time—especially when you’re stuck—stop and see what treasures you’ve gathered. Ideas and stories and poems are in there! Go back and find them!
The same thing with pictures. Look through them once in awhile. Remember the silly, wonderful, brave things you did. In another unsorted box, I just found this one of me and our (little!) boys on a camping trip. Priceless, right?
More weeding ahead!
Charlotte S. is the winner of our latest Book Giveaway, the autographed copy of Write a Poem Step by Step. Congratulations, Charlotte! Your book is on its way!
JoAnn Early Macken
Hello, readers, royals, and mediators! It’s been such a fun, busy summer. I’ve had a great time seeing (and hearing from) so many of you during my 15th Anniversary Princess Diaries tour to celebrate the releases of Royal Wedding and From the Notebooks of a Middle School Princess!
But guess what? It’s not over yet. I’ve still got a few more (national and international) stops to make in September and October!
Read on to see if I’ll be visiting a town near you (unless of course you’re my mother-in-law, in which case you already know I’m coming to see you. Hi, Bonnie)!
In the meantime, the cover reveal (and synopsis) for Remembrance, Mediator 7 (in stores February 14, 2016), is coming soon . . .
Come see me and my amazing fellow writers at the following locations:
Decatur Book Festival
601 W Ponce de Leon Ave, Decatur, GA 30030
- Saturday, September 05, 2015 – 4:15 PM to 5:00 PM
First Baptist Decatur Sanctuary
Panel: Queens of Romance with Meg Cabot, Robyn Carr and Kristan Higgans, signing to follow
- Sunday, September 06, 2015 – 3:45 PM to 4:30 PM
Panel: Happily Ever After with Meg Cabot, Jessica Lawson, Elizabeth Lenhard, signing to follow
Columbus Children’s Book Festival
Columbus Public Library, 3000 Macon Rd, Columbus, Georgia 31906
- Saturday, September 19, 2015 – Noon-1:00 PM
Embrace Your Inner Princess! – Signing to follow
Read for Pixels 2015
Online Chat – Register here
- Sunday, September 27, 2015 – 11:30PM EST (8:30 PST)
Reading and Q&A session in support of the Celebrity Male Role Model Pixel Reveal Campaign.
I’m so excited to be heading to Brazil in October! Can’t wait to see you there!!! Obrigada!!! (I’m seriously going to learn more Brazilian Portuguese than this one word before I get there.)
Cachoeira, BA – Oct 18th, 10AM
Recife, PE – Oct 19th, 5pm
Saraiva MegaStore Riomar Shopping Recife
Avenida Republica do Líbano, s/nº – Piso L2 – Luc 227 – Pina
CEP: 51110-160 – Recife – PE
São Paulo, SP – Oct 20th, 5pm
Saraiva MegaStore Shopping Center Norte
Travessa Casalbuono, 120 – Loja 414 – Vila Guilherme
CEP: 02047-050 – São Paulo – SP
Porto Alegre, RS – Oct 21st, 5pm
Saraiva MegaStore BarraShopping Sul
Av. Diário de Notícias, 300 – Loja 1022 – Cristal
CEP: 90810-080 – Porto Alegre – RS
Belo Horizonte, MG – Oct 22nd, 5pm
Saraiva Megastore Shopping Diamond Mall
Av. Olegario Maciel, 1600 – Lojas 16 a 21 – Nivel Bernardo Guimarães Lourdes
CEP: 30180-111 – Belo Horizonte – MG
Rio de Janeiro, RJ – Oct 23rd, 5pm
Saraiva MegaStore Shopping Rio Sul
Av. Lauro Muller, 116 – Botafogo
CEP: 22290-160 – Rio de Janeiro – RJ
It’s going to be an amazing trip! I can’t wait to see you there!
The post 2015 September Events and October Brazil Tour! appeared first on Meg Cabot.
We're delighted to have Melinda Braun join us to chat about her debut novel STRANDED.Melinda, what was your inspiration for writing STRANDED?
My inspiration for Stranded came from a few different things:
I grew up in Wisconsin but now have lived in Minnesota for more than half my life, and one thing Minnesotans really love to do in the summer is "go up north" and "go to the cabin". I've been up in the north woods area several times, but had never done serious camping. I had heard about a Boy Scout troop who got lost out on a lake in the BWCA, but they were rescued very quickly. I also heard a few other stories (short news articles) about other campers having to be rescued for various reasons. The BWCA has also had several large forest fires over the years, and I decided to take all that information and roll it up into a camping trip that goes horribly wrong for a small group of teenagers.Read more »
Ann Levine and Andy Laties of Bank Street Books in New York tell us what's on the shelves.
What trends do you notice in children’s book sales? What are the current hot reads?
Graphic novels are a growing segment of book publishing, and many are designed specifically for young readers. A good example is Cece Bell's El Deafo, a 2015 Newbery Honor book that appeals to a range of ages because it tells the author's own childhood story in words and pictures.
How do you choose what books to order? Do you use a publishing rep?
New books are promoted by publishers and often ordered through reps who know the children's market as well as talented authors and illustrators. We attend trade shows that keep us apprised of upcoming titles, and we read trade magazines, blogs, reviews, and newsletters.
What would you like to see more of from authors/illustrators in terms of community involvement?
Authors and illustrators are usually generous with their time, especially when they are promoting their books, meeting with families, talking to children, visiting classrooms, and appearing at literacy events. Many writers and artists attended our recent grand opening when we moved our store location. At the Brooklyn Book Fair there are always many writers and artists who appear in person at programs designed for the public.
How do you handle author/illustrator visits? Can authors/illustrators contact you directly?
We publicize special events on our store website and in our store newsletter. Authors and illustrators are welcome to contact us, but we make final decisions about scheduling dates and times.
What is your favorite part of being a bookseller/manager/librarian?
Getting books in the hands of young children is an important part of learning and understanding, and it is very gratifying to know we have helped them discover that every book is a new adventure.
Personal book recommendation?
Recommendations from our staff: Princess and the Pony by Kate Beaton; Nana in the City by Lauren Castillo; Ophelia and the Marvelous Boy by Karen Foxlee; Curious World of Calpurnia Tate by Jacqueline Kelly; Young Hee and the Pullocho by Mark James Russell; Invention of Hugo Cabret by Brian Selznick; and You Nest Here with Me by Jane Yolen and Heidi Stemple.
Each scrapbook in COUNTDOWN and REVOLUTION is anchored by a song from that period that helps the reader "hear" that particular time-and-place, and sink deeper into the story. Book 3 will be the same.
I don't have scrapbooks done yet, but I'm keeping a hold file of possible photos on Pinterest, as well as a board with song possibilities (well.. two... maybe three.. I need to consolidate, now that I better understand what I'm doing).
Many of the songs I'm gathering will be mentioned in the narrative, but seven (or so) will be anchors for the scrapbooks of photos, newspaper clippings, and other ephemera that will help tell the story of 1969, and indeed the late sixties, as we're going to have to skip from 1964's REVOLUTION to 1969.
We'll need to secure permission and pay for the right to use these songs in their entirety if we so choose. I've only used one or two entirely -- "Dancing in the Street" and "Ain't Gonna Let Nobody Turn Me Around" (public domain) in REVOLUTION, but we want to use as much as we want of these anchor songs, as we design scrapbooks, and not worry about permissions.
I'll cover much of the five-year gap between REVOLUTION and BOOK THREE in scrapbooks. So the songs are important -- they have to carry us through. Often I use a song that denotes the opposite of what you see in the scrapbooks so I can give you that Unity of Opposites, so you can think about what you're seeing, and about that particular piece of the story. I juxtapose Barry McGuire's "Eve of Destruction" over the early days of the Vietnam War (before there was much protest) in the final scrapbook in REVOLUTION, for instance.
The scrapbooks are a visual storytelling device and serve as a look at what's going on in the "outside" world while the story I write gives us the "inside" story, or the narrative arc of the book, of these characters and their hopes and dreams and very human failings.
Since I don't know them very well yet, I'm working on the scrapbooks. This usually goes back and forth as the book takes shape -- some scrapbook, some narrative. But right now, I'm just empty on the narrative, so the scrapbooks are getting heavy attention.
Here are some possibilities for starting Book 3. Let's see if one of these actually makes the cut. It will have to work against photos and ephemera that span 1965-1968, which includes death (Malcolm X, Martin Luther King, Jr., Bobby Kennedy, Vietnam), the birth of the counter-culture, war protests, and the rise of some amazing rock-and-roll.
1. Richie Havens at Woodstock singing "Freedom/Sometimes I Feel Like a Motherless Child"..."a long way from home." I can see this as a way to begin Book 3. But it may be too close to REVOLUTION'S beginning. Just gathering right now.
2. Jefferson Airplane, "Don't You Want Somebody to Love" from Woodstock. "When the truth is found/ To be lies/ And all the joy/ Within you dies/ Don't you want somebody to love?/ Don't you need somebody to love?/ Wouldn't you love somebody to love?/ You better find somebody to love."
I love this. I really wanted to use "White Rabbit" as a possibility, but the lyrics are too tightly focused on that hookah smoking caterpillar, and might be confusing instead of enhancing.
3. Randy Newman, 1968: "Broken windows and empty hallways/ A pale dead moon in the sky streaked with gray/ Human kindness is overflowing/ And I think it's going to rain today.... / Lonely, lonely/ Tin can at my feet/ Think I'll kick it down the street/ That's the way to treat a friend."
This is hands-down my favorite. It holds so much possibility. The song meant a lot to me in the mid-'70s when I was alone with two kids and hoping for some human kindness. Joe Cocker's version
is the one I heard in the '70s. I sat in a parking lot and cried. So I worry that I'm attached to it for reasons that won't serve the story.
Those are my top picks to begin Book 3. I loved and discarded for various reasons (although they could show up as anchors for different scrapbooks) Steppenwolf's "Born To Be Wild
," The Rascals' "Get Together,
" The Isley Brothers' "It's Your Thing,
" The Fifth Dimension's "Aquarius/Let the Sunshine In,
" and Buffalo Springfield's "For What It's Worth
I'm open to suggestions.... ?
I want funk and R&B and rock-and-roll and more, but I'll stop here today. Not bad for a day's work. Along with the epiphany I had while listening to Mark Rylance read a page of the new novel THE WAKE
-- which as I wrote earlier
, has given me energy to begin the narrative again with a different character -- I think I can go find some supper (Jim is gigging) and welcome the weekend.
Hope you are still awake!
We're finally in to our home for the foreseeable future! We're exhausted from days and days of walking marathons all over the city, so we're tucking in and enjoying our new pad. Stan made us our first meal (lentil and spinach soup - to die for) and we sat and sat while enjoying it. Neither one of us wanted to get up, we were so happy right there.
And the light was amazing. Watching it climb up the sides of the buildings was a spectacular show. And the windows are so tall, we see so much sky! One of the views we're most excited about is our long view towards Broughton Street.
We slept like coma patients on our first night. Here is the morning view (taken later in the day).
Any my new office. (Don't expect it to look this neat for long.)
And Stan's new office with the 'welcome to your new home' bouquet we purchased at the most picturesque florist in the world - which happens to be at the end of our street, Narcissus
But back to the views and the light... Because truly, watching the light do it's tricks in Edinburgh is absolutely stunning. Here's some eye-candy from the other evening, walking home from the Book Festival where we had drinks with David Almond and his family. This is Calton Hill, which is near our new flat, but which we have yet to explore.
What I love about this city is nobody takes it for granted, even the locals. This will be one of the main bridges I cross everyday to get to class.
When we got to the other side after taking this picture, a group of people had stopped, tourists and locals alike, all with their cameras raised. Why? This is why.
The sun had turned the city and the sky to gold. My photo doesn't do it justice. And no, we haven't tried the Ferris Wheel yet, but we will!
Back to the flat... We're going through those little things you do when you're settling into a new home. Buying essentials, finding homes for things, writing lists of what we need, and trying to figure stuff out. Like this, for instance.
I couldn't for the life of me figure out what it was for, I just knew it had something to do with the clothes drying rack. After much debate on Facebook, it has been determined to be a stockings dryer - tuck the toes/legs through the holes and let the panty side hang down to dry. (Thanks, Lisa Jacobi!) So there!
It's back to school time!
September promises to be filled with fun theater, exhibitions, and mo'!
SERIOUSLY SILLY: THE ART & WHIMSY OF MO WILLEMS is on view at the HIGH MUSEUM in Atlanta, GA!
exhibit is based on the 2013 solo show at the Eric Carle Museum, with
added original work and cool interactive stuff. Don't miss it!
I'm very excited about the
Over the last few years there has been a dramatic increase in the number of online writing contests and so-called professional writing and internet gallery showcases.
Why? Because with more than a billion websites out there many creatively challenged webmasters are scrambling for content in order to maximize and monetize their likes and eyeballs. And that is, unfortunately, where the creative work of children’s book writers and illustrators comes into the picture. Those trolling the Internet for content range from mom and pop start-ups hosting questionable "Let’s Learn to Read!" sites to mega giants like Google, assembling searchable databases of everything ever written, drawn or photographed from cave paintings to yesterday’s viral videos.
Of course, posting anything online opens you up to outright theft, but in general these occurrences are rare, and that just may be the price of having an active online presence. Standard copyright is a form of protection for any piece of work in a fixed form, such as a manuscript, recording or piece of art and does provide some limited recourse if you discover someone has stolen your work. However, the ability to sue for infringement does require formal copyright.
SCBWI has a blanket policy of not endorsing any contest that requires an entry fee. The prizes offered vary from cash to a publishing contract and neither is ever worth the possibility that the fine print may award those offering the award the right to keep your work whether you win the prize or not. And even if they don’t take your work, they have taken your money and the prize, if they do give it at all, is just a fraction of the cash they took in. They are not unlike the carnival flimflammers who promise a prize every time, then deliver for a dollar a try a plastic toy worth twenty-five cents.
Contests such as Lee and Low’s New Voices Award, of course, are not what we are discussing here. Besides not charging a fee, they award a legitimate publishing contract and often help launch a new talent.
And while a few of the larger showcases do attract some industry eyeballs, many of the others get few views while potentially keeping your work off the wider market from a few months till eternity.
It is flattering, of course, to have someone want your work. Just do a little homework before letting it go, especially if you suspect the fast-talking sales person on the other end may care more about his or her own interests than yours.
Here are some sites to help you navigate those pirate-infested waters.
Chilling Effects Clearinghouse: Information on copyright issues regarding fan fiction.
Preditors and Editors: The go to place for researching publishing scams. Click on "CONTESTS" on their homepage. By the way, they also advise against entry fees.
Writerbeware.com: This excellent site hosted by Science Fiction Writers of America has a comprehensive overview of contest and award scams.
Lee and Low New Voices Award: For information on this significant and legitimate award with a September 30 deadline visit:
Our September workshop will open for entries on Saturday September 5, 2015, at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our permanent mentors, we have author JJ Howard and agent Danielle Burby!
And we have a new format! The workshop runs three weeks, but the third week will now include a pitch. And Danielle will select one participant as the “workshop winner”- and the prize is that she will review and comment on the first chapter of the manuscript! So get those pages ready!
September Guest Mentor – JJ Howard
If you’re looking for J. J. Howard, you’ll probably find her in Central Florida, but she wishes you’d find her in New York City. NYC, along with books, TV, music, coffee, and her mini-dachshund Willow are on top of her list of favorite things. By day she teaches English and Humanities at a small private high school, and by night she writes, edits, or Netflixes.
Howard’s debut YA, That Time I Joined the Circus, tells the story of Lexi, who accidentally joins the circus (and falls in love) while searching for her missing mother. Her second YA, Tracers, follows Cam, a NYC bike messenger who meets a beautiful stranger named Nikki who pulls him into the world of parkour. Her debut Middle grade, Sit, Stay, Love is coming from Scholastic this January.
Cam is a New York City bike messenger with no family and some dangerous debts. While on his route one day, he runs into a beautiful stranger named Nikki—but she quickly disappears. When he sees her again around town, he realizes that she lives within the intense world of parkour: an underground group of teens who have turned New York City into their own personal playground—running, jumping, seemingly flying through the city like an urban obstacle course.
Cam becomes fascinated with Nikki and falls in with the group, who offer him the chance to make some extra money. But Nikki is dating their brazen leader, and when the stakes become life-or-death, Cam is torn between following his heart and sacrificing everything to pay off his debts.
In the vein of great box-office blockbusters, the high-stakes romance here sizzles within this page-turning thriller that will leave readers feeling like they are flying through the streets of New York.
Purchase it at your local bookstore, or online at Amazon
or Barnes and NobleSeptember Guest Agent – Danielle Burby
Danielle graduated from Hamilton College with honors and a double major in Creative Writing and Women’s Studies. Before finding her home at HSG, she interned at Writers House, Clarion Books, Faye Bender Literary Agency, Dunow Carlson and Lerner, John Wiley and Sons, and SquareOne Publishers (along with stints as a waitress and a farmers’ market vendor).
Her passion lies in YA, Women’s Fiction, and mysteries. She gravitates toward stories with a strong voice and particularly enjoys complex female characters, narratives that explore social issues, and coming-of-age stories. Genres that appeal to her include contemporary YA, medieval fantasy, historical fiction, cozy mysteries, and upmarket Women’s Fiction. She finds it hard to resist gorgeous writing and is a sucker for romantic plotlines that are an element of the narrative, but don’t dominate it. You can follow her on twitter at @danielleburby
खबरों की खबर
तिल का ताड बनना हो या राई का पहाड .. खबरिया चैनलों का कोई सानी नही. होता कुछ है बताते कुछ है दिखाते कुछ और ही है और जैसे निष्पक्ष पत्रकारिता तो रही नही इस विषय में भी बहुत सवाल खडे हुए हैं .
बस खबर बनानी है … वो भी हट कर एक्सक्लूजिव
खबरों की खबर
The post खबरों की खबर appeared first on Monica Gupta.
Is what children tend to do. They bust their moves with untamed joy, Their pride just beaming through. Yet when self-consciousness begins, They hold their true selves back And spontaneity may never I love when Henry dances, (He insists I join right in) For no one watching can control I dread the day embarrassment With rein in his delight, ‘Cause Henry’s dancing makes me feel
Like everything’s all right.
CODE OF HONOR is the latest novel by Alan Gratz, and we're excited to have him here to share more about it.Alan, what was your inspiration for writing CODE OF HONOR?
The idea for CODE OF HONOR was originally, "How do I write a YA version of the TV show Homeland
?" The book is very different than the show Homeland,
of course, but that's where it began. How could I write a thriller about Middle Eastern terrorists in America that kept you guessing all the way to the end?What did this book teach you about writing or about yourself?
I learned that I love writing thrillers! This won't be the last one I write, for sure. I also began to understand how thrillers work--whether they're novels, TV shows, or movies. It's all about dangling your main characters into the fire and then yanking them out again at the last second. (While always turning up the heat each time, of course!)Read more »
लग रहा है शीना मर्डर मिस्ट्री को लेकर न्यूज चैनल वाले बौखला से गए है.. बस कुछ बोलना है कुछ दिखना है वो भी सबसे पहले सबसे पहले और सबसे तेज Breaking News के चक्कर मॆं गलती पर गलती हुई जा रही है.
कल गलती एबीपी न्यूज ने की और आज न्यूज 24 के सबसे बडा सवाल में शीना की बजाय बोला और लिखा आता रहा कि सौतेला पिता इंद्राणी का शोषण करता था उफ ये भयंकर उलझन… एक तो मिस्ट्री पहले ही समझ नही आ रही उपर से चैनल वाले और कंफ्यूज कर देते हैं ..
वैसे लगता है कि प्याज सस्ता हो गया या फिर वन रैंक वन पैंशन का भी हल निकल गया है क्योकि कोई बहस ही नही हो रही कोई बात नही हो रही बस शीना इंद्राणी मर्डर … फुल्ल टीआरपी मसाला …इसलिए …
The post Breaking News appeared first on Monica Gupta.
By Avery Udagawa
SCBWI welcomes translators, and many authors and illustrators hope to see their books translated.
So how do translations happen? How can we get more books translated? Here are some FAQs with answers.
1. Who makes a translation happen?
A translation happens when the original publisher of a book sells foreign language rights to another publisher, who issues the book in a new language and market. The publisher who buys rights will choose the translator and make all decisions about how to present the book in its new form. The foreign rights deal may begin at an event like the Bologna Children’s Book Fair or Frankfurt Book Fair. Foreign rights agents may mediate, or the publishers may negotiate directly. Stakeholders can converse year-round via the Internet or meetings.
Factors that drive a deal may include the fit of a text to a publisher’s list, its availability on other platforms (like TV or film) and its genre, author, illustrations, prior sales, and awards. Finally, culture matters: publishers in one market may bring different tastes than publishers elsewhere.
2. How does a translator get involved?
A translator of children’s books gets involved when a publisher who bought foreign rights to a title commissions the translation. The publisher might find the translator through recommendations, prior publications, the translator’s website, or a group like SCBWI. Some publishers ask several translators to submit samples before awarding a commission.
3. How can a translator network and develop skills?
A translator can build a network by seeking work relevant to children’s literature—for example, with publishers who commission sample translations for book fairs, or publishers who seek reader’s reports on overseas titles. Children’s literature conferences offer opportunities to meet publishers and network. Sometimes translators develop connections and skills in graduate programs, but as with writing and illustration no educational track “knights” a translator of children’s books. The professional translator offers degrees or extensive experience in her languages and cultures combined with writing skills. A translated book must engage readers as deftly as all of the other books they read. In this sense, literary translation differs as much from spoken interpretation—as in The Interpreter—as writing books differs from talking.
4. What helps a book’s chances of being translated?
A foreign rights pitch stands a better chance if the original publisher (or its rights agent) maintains a broad international network, and can provide a high-quality sample translation and promotional materials. It also helps if a government agency or other group can offer a grant to support the translation. Predictably, publishers and organizations in wealthy countries marshal more resources to market translations. This affects the representation of cultures and language groups on readers’ bookshelves.
5. How can translators, authors, and others encourage translations?
To encourage more translations, some translators propose texts they love directly to publishers for whom they seem a fit. This brings risk as publishers can always commission other translators, but it may raise awareness of under-marketed books. Authors who hope to see their books translated can network with SCBWI’s translators and international members, to study new markets—keeping in mind that one’s publisher must seal any foreign rights deal. Finally, groups who value translation can create grants for translated children’s literature. Grants spotlight deserving titles and help translators develop their skills.
6. What’s the big picture?
Everyone interested in translation should know about the imbalance between books written in English and books written in all other languages. A New York Times op-ed published July 7, 2015, notes that English as a global language “is turning literature into a one-way street,” with English-language books traveling widely and making authors in other languages struggle to compete, even at home. Often, fine overseas authors are not translated into English. This holds true in children’s literature. Translations count for just 3 percent of books published in the US. “So many books are translated from English, but not so many go the other way, which is a real shame, as readers are missing out on great stories,” translator Laura Watkinson tells Publishers Weekly in an August 6, 2015 article. Watkinson founded SCBWI Netherlands and has translated three of the past four winners of the Batchelder Award, conferred with the Newbery and Caldecott. SCBWI supports world literature, and many members enjoy foreign sales. For all, a question to ask alongside “How can I get translated?” is “What’s the last children’s book in translation I’ve read?”
Here are places to read on.
Acclaimed translations for children
Batchelder Award winners: www.ala.org/alsc/awardsgrants/bookmedia/batchelderaward/batchelderpast
Marsh Award winners: en.wikipedia.org/wiki/Marsh_Award_for_Children%27s_Literature_in_Translation
Andersen Award winners: www.ibby.org/308.0.html?&L=2%2F%2F%2F%27
On translation and children’s books
Go Global: We Are the World at CBC Diversity blog: www.cbcdiversity.com/post/121270943783/go-global-we-are-the-world
YA in Translation at Stacked blog: www.stackedbooks.org/2014/11/get-genrefied-ya-in-translation.html
We Need More International Picture Books, Kid Lit Experts Say at School Library Journal, April 22, 2015: www.slj.com/2015/04/books-media/we-need-more-international-picture-books-kid-lit-experts-say/#_
Found In Translation, op-ed in the New York Times, July 7, 2015: www.nytimes.com/2015/07/08/opinion/found-in-translation.html?_r=0
Translator commentaries and interviews
A World for Children by Daniel Hahn: www.bbc.co.uk/programmes/b04hyyr0
Eight Ways to Say You: The Challenges of Translation by Cathy Hirano: archive.hbook.com/magazine/articles/1999/jan99_hirano.asp
SCBWI Summer Conference 2015: An Interview with Nanette McGuinness: www.scbwi.blogspot.com/2015/06/translation-at-la15scbwi-avery-udagawa.html
An Interview with Laura Watkinson: www.ihatov.wordpress.com/2013/05/30/an-interview-with-laura-watkinson/ and Laura Watkinson featured in Publishers Weekly, August 6, 2015: www.publishersweekly.com/pw/by-topic/childrens/childrens-book-news/article/67732-fickling-to-publish-dutch-classic.html
Avery Fischer Udagawa www.averyfischerudagawa.com translated the middle grade novel J-Boys: Kazuo’s World, Tokyo, 1965 by Shogo Oketani and the story “House of Trust” by Sachiko Kashiwaba in Tomo: Friendship Through Fiction: An Anthology of Japan Teen Stories. Her latest translation is “Swing” by Mogami Ippei, illustrated by Saburo Takada, in Kyoto Journal 82. She coordinates the SCBWI Japan Translation Group www.ihatov.wordpress.com and serves as SCBWI International Translator Coordinator.
चमकती सी है कभी,
कभी तन्हाई सी प्रतीत हो,
दहकती सी है कभी,
कभी पराई सी प्रतीत हो,
ललचाती सी है कभी,
कभी इनाम सी प्रतीत हो,
रूलाती सी है कभी,
कभी ईमान सी प्रतीत हो,
निगल जाती है कभी,
कभी हैवान सी प्रतीत हो,
सुझाए सौ रास्ते कभी,
कभी भगवान सी प्रतीत हो,
गिराए ये मुझको कभी,
कभी दुश्मन सी प्रतीत हो,
उठाए जब भी कभी,
कभी उपवन सी प्रतीत हो,
जलाए ये मुझको कभी,
कभी सौतन सी प्रतीत हो,
लगाए आग मुझमे कभी,
कभी यौवन सी प्रतीत हो,
अनेक रंगो से भरी है ये,
बेरंग मगर प्रतीत हो,
है ज़िंदगी की ये साथी,
परंतु रात सी प्रतीत हो |
By: Thais Linhares,
Algumas da artes que fiz para a coleção do Malba Tahan na ed. Record.
Veja também estudos das fontes e capas em minha página no Facebook
Estou na coluna da Penélope Martins no jornal ABC Maior! No destaque, o livro "O Homem que Calculava", que ilustrei. Obrigada, Penélope!http://www.abcdmaior.com.br/materias/…/o-homem-que-calculava
We're thrilled to have Leo Hunt stop by to tell us more about his debut novel THIRTEEN DAYS OF MIDNIGHT.Leo, what was your inspiration for writing THIRTEEN DAYS OF MIDNIGHT?
Various sources. When I was a teenager I was very taken with 20th Century horror like Stephen King, HP Lovecraft, that sort of thing. I adore horror as a genre, especially occult horror, so I wanted to write a story that would have some of that atmosphere and imagery: moonlit rituals, stone circles, forbidden books that contain knowledge man was not meant to have, etc. I was also interested in YA at the time as a way of exploring the way family relationships change as you grow older, how you deal with the realisation that your parents are fallible human beings (or maybe even evil), so the idea of a father who had made a Faustian deal which ended up having an impact on his son was immediately interesting to me. I was working on this thing at the time about a failed stage magician who had a ghost butler, and that sad washed-up magician character ended up becoming Luke’s father Horatio in the final novel. The story was the focal point of a few different things I’d been thinking about for a while. Read more »
How glorious it is to receive books from loved friends, and loved writers. The third Ruta Sepetys novel, the already-much-acclaimed Salt to the Sea
, is here. And I can't wait to read. You'll hear more from me on this once this veil of supreme busyness passes.
By: James Gurney,
Blog: Gurney Journey
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Pixar has released a free online course to explain the science and technology behind its approach to making computer-generated animated films. The interactive course covers most of the math-based aspects of the production pipeline, such as character modeling, environment modeling, combinatorics, animation physics, and surface rendering.
Here's the intro video (link to YouTube), which amusingly shows a lot of handmade skills (such as sculpting clay and drawing with markers—and relatively primitive technology, such as an Ektagraphic slide projector.
This video, for example, takes a look at the lighting factors and surface qualities that contribute to the color of an object. (Link to YouTube) The presentation seems intended for school-age learners rather than fellow professionals or mega-geeks. Each segment is presented by someone from the department in question.
Missing from the presentation is the softer science of Pixar's process, such as how they approach story development, character design, and acting for animation. I hope they include those topics in future teaching modules.
Via Design Taxi
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Lauren Rille is an Associate Art Director at Simon & Schuster, where she works with the Beach Lane, Atheneum, and McElderry imprints. Before joining S&S, Lauren was a designer at Sterling and Harcourt Children’s Books. Some books she’s designed include Are You There God, it’s Me, Margaret by Judy Blume; Baby Bear Sees Blue by Ashley Wolff; Scraps by Lois Ehlert; One Big Pair of Underwear by Laura Gehl, illustrated by Tom Lichtenheld; and the New York Times best-selling Bear Says Thanks by Karma Wilson, illustrated by Jane Chapman. Lauren loves the collaborative process of working with editors and illustrators, and she’s always on the lookout for new talent.
What do you look for in a portfolio?
In a broad sense, I look for a consistent level of quality throughout. Are all the pieces at the same level of finish? Does the style carry through from beginning to end? I look at technical things, too: Are the drawing and the perspective sound? Is there a good sense of composition and good use of value structures? Sometimes I scan for hands; hands can be tricky to draw, and if I see none, or if I see them hidden throughout, I worry it’s a red flag! But within those technical parts, and just as much as those technical parts, I’m looking for a point of view, a sense of humor. I want to see your personality! We hire you for your technical skill, of course, but also for your interpretation of the world and the way you bring words to life.
Where do you find artists? Any tips for how artists can promote themselves?
I look for artists everywhere! I’ve found them anywhere from agents’ websites to Pinterest to Etsy to Tumblr to Instagram—you name it. I am not concerned with the context of the art, just the work itself. There’s no magic to how you present it—I don’t mind if you have a simple blog or the fanciest website in town. Good work shows through. Sometimes I’ll start at an artist’s personal site and then click through the links of other artists that follow them, and so on and so on, just to see where it takes me and what I might discover. So I think having a social media presence is smart—even a basic blog or Tumblr in lieu of a website (I’ve never been a big fan of websites–templated blogs and the like are so easy to use and update!)—anything to get the work out there. I’m mixed on postcards—I sometimes think a more-targeted mailing of something slightly more special than a postcard (read: harder to discard) to a handful of specific ADs or editors whose work you’ve researched and really like is perhaps a better use of time and resources.
How do you pair artists with manuscripts?
It varies! Sometimes it’s as simple as matching the age range and feel of the text with art that complements it—for example a young and sweet text will call for an illustrator with a similar vibe. With quirky or unusual texts, we can reach for something unexpected and different. Sometimes an author will offer a suggestion that really works. Sometimes we’ll decide to pair a big-name artist with a first-time author to help launch them, or we’ll pair two heavy hitters to create a book with a lot of buzz behind it. Mostly though, it starts with a conversation between me and the editor about his or her vision for the book. We’ll discuss what they saw in it that made them want to acquire it and what shape they imagine the illustrations taking. Then I’ll do the research to find some artists that match that vision as well as one or two others that could push it in a slightly different direction. Occasionally a text will come to me already paired with an illustrator—that can be part of the initial proposal from the agent or it may be that the editor has found an illustrator.
What happens if an author/illustrator submits but you only want to acquire their text and not their illustrations?
I get this question a lot, and my answer is always the same: Throw a party! You got a book deal! If you have aims to illustrate, keep working on your art and use the contacts you establish through your manuscript deal to try to get more feedback and perhaps an opportunity to show other people in-house your work. Conversely, if you are so tied to your text that you can’t fathom anyone else illustrating it, then perhaps you’re too close to your work for the commercial market. Making a children’s book is a huge collaboration, and there are a lot of cooks in the kitchen, so you’ve got to be ready to hear feedback from any number of people, which means not being too precious with your work. IF you’re open to it, all those voices help push you to be an even better writer, illustrator, and ARTIST than you already are!