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Those who love horse stories (you know you are picturing a little girl or two) will enjoy Susan Schank's book about a wild, young horse that is determined to not be captured by rancher's, as her mother was long ago. All Tera wants is to be able to see her mother again, when the worst that could happen occurs and she is indeed captured. While in captivity, however, a wonderful thing happens and Tera is still able to make her dreams come true.

The book is a quick, heartwarming read that children will enjoy. They will root for Tera as she works hard at meeting her goals while living on a farm, rather than in the wild where she belongs. The illustrations, done by Denise Seah are beautiful as well, my only complaint being that the text is done in white and written in a cursive-like font, making it hard to read out loud in a flowing manner. Other than that, a very nice book for the young ones!

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Recent Publishing News mostly from PW...

• Walter Lorraine is retiring from Houghton Mifflin after working in children’s publishing for 55 years. Cool Walter Lorraine fact from PW: in 1992 Lorraine edited both the Caldecott and the Newbery winners (Lois Lowry’s The Giver and Allen Say’s Grandfather’s Journey).
• Disney Publishing is moving from New York City to White Plains (where I just was for a wedding), but Hyperion is remaining in NYC.
• The Boston Globe-Horn Book Awards were given out last week. See their website for the list winners which includes an honor award for Sara Pennypacker and Marla Frazee's Clementine. (They also offer the whole awards ceremony on video.)
• In December, former Dial senior editor Nancy Mercado will become executive editor of Roaring Brook Press (a position most recently held by Deborah Brodie).

Below are the full CWIM listings for Roaring Brook (which now includes Nancy's name) and Hyperion. They both prefer agented material.


HYPERION BOOKS FOR CHILDREN
114 Fifth Ave., New York NY 10011-5690. (212)633-4400. Fax: (212)633-4833. Web site: www.hyperionbooksforchildren.com. Manuscript Acquisitions: Editorial Director. Art Director: Anne Diebel. 10% of books by first-time authors. Publishes various categories.

• Hyperion title Knuffle Bunny: A Cautionary Tale, written and illustrated by Mo Willems, won a 2005 Caldecott Honor Award. Their title Who Am I Without Him?: Short Stories About Girls and the Boys in Their Lives, by Sharon G. Flake, won a 2005 Coretta Scott King Author Honor Award.

Fiction Picture books, young readers, middle readers, young adults: adventure, animal, anthology (short stories), contemporary, fantasy, folktales, history, humor, multicultural, poetry, science fiction, sports, suspense/mystery. Middle readers, young adults: commercial fiction. Recently published Emily's First 100 Days of School, by Rosemary Wells (ages 3-6, New York Times bestseller); Artemis Fowl, by Eoin Colfer (YA novel, New York Times bestseller); Dumpy The Dump Truck, series by Julie Andrews Edwards and Emma Walton Hamilton (ages 3-7).
Nonfiction All trade subjects for all levels.
How to Contact/Writers Only interested in agented material.
Illustration Works with 100 illustrators/year. "Picture books are fully illustrated throughout. All others depend on individual project." Reviews ms/illustration packages from artists. Submit complete package. Illustrations only: Submit résumé, business card, promotional literature or tearsheets to be kept on file. Responds only if interested. Original artwork returned at job's completion.
Photography Works on assignment only. Publishes photo essays and photo concept books. Provide résumé, business card, promotional literature or tearsheets to be kept on file.
Terms Pays authors royalty based on retail price. Offers advances. Pays illustrators and photographers royalty based on retail price or a flat fee. Sends galleys to authors; dummies to illustrators. Book catalog available for 9×12 SAE and 3 first-class stamps.


ROARING BROOK PRESS
143 West St., Suite W, New Milford CT 06776. (860)350-4434. Manuscript/Art Acquisitions: Simon Boughton, publisher. Executive Editor: Nancy Mercado. Publishes approximately 40 titles/year. 1% of books by first-time authors. This publisher's goal is "to publish distinctive high-quality children's literature for all ages. To be a great place for authors to be published. To provide personal attention and a focused and thoughtful publishing effort for every book and every author on the list."

• Roaring Brook Press is an imprint of Holtzbrinck Publishers, a group of companies that includes Henry Holt and Farrar, Straus & Giroux. Roaring Brook is not accepting unsolicited manuscripts.

Fiction Picture books, young readers, middle readers, young adults: adventure, animal, contemporary, fantasy, history, humor, multicultural, nature/environment, poetry, religion, science fiction, sports, suspense/mystery. Recently published Get Real, by Betty Hicks.
How to Contact/Writers Primarily interested in agented material. Not accepting unsolicited mss or queries. Will consider simultaneous agented submissions.
Illustration Primarily interested in agented material. Works with 25 illustrators/year. Illustrations only: Query with samples. Do not send original art; copies only through the mail. Samples returned with SASE.
Photography Works on assignment only.
Terms Pays authors royalty based on retail price. Pays illustrators royalty or flat fee depending on project. Sends galleys to authors; dummies to illustrators, if requested.
Tips "You should find a reputable agent and have him/her submit your work."

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Interview: Editor Deborah Brodie

After three decades working for publishers, Editor Deborah Brodie has hung out her shingle as a freelance editor, working for both publishing houses and writers on varying projects in varying capacities. I've caught up with her to ask about what she's doing--and what she can do for a writer--and to see how things are going in her life as a freelancer.

Writers interested in contacting Deborah should email a description of your manuscripts and some sense of what you think your work together might be to: [email protected].

What is your new "title"--are you a freelance editor? a book doctor? (What do your new business cards say?!)

I thought a lot about what to put on my new business cards, as my job description is now amazingly varied. As a freelancer, I'm editing books for all ages, even fiction for adults-I worked on several adult books years ago at Penguin, including The Eyes of the Dragon by Stephen King.

I'm also leading writers' retreats and staff-development workshops; being a book doctor; speaking at conferences; teaching creative writing and mentoring MFA students. My clients include small and large publishers, as well as literary agents and individuals.

But what I ended up putting on the card is truly who I am: "Editor of Books for Children and Teens."

What services can you offer writers? What types of books for young readers will you work on? And what freelance work are you doing for publishers?

As a book doctor, I try to make it clear that, while I obviously cannot guarantee that our work together will result in their book being published, I can help individual writers take their work to the next level by giving detailed comments and direction.

I can work with the author through several rounds of intensive revising. In some situations, though, it makes more sense to do light editing and provide a phone consultation-really a one-on-one tutorial about the field of children's books and how the writer can find a place there.

For publishers, I'm working on books that will definitely be published, and some want me to step in for one or two early stages. Others want me to take over completely and work directly with the author, provide jacket copy and marketing support materials, and oversee the book through most of the production process.

The range of books is the same as when I worked on--staff at a publishing house: from deceptively simple picture books for toddlers to humorous, family-centered middle grade novels to sex-and-violence teen fiction, with a touch of nonfiction--all literary and/or commercial.

You worked for Viking for more than 20 years and spent six years or so at Roaring Brook. What's it like for you living the freelance life?

When I first left Roaring Brook, I immediately started to look for fulltime work in another publishing house. Editors, publishers and agents kept sending me freelance projects, unsolicited, and two major publishers said they'd like to turn over projects to me, as a freelance editor, that would include working directly with the authors. As long as I can work directly with authors--the juicy, delicious part of being an editor--I'm happy. I worked from a home office for the last six years, so I'm all set up and have already proven how productive and professional such an arrangement can be. I just didn't expect to enjoy it this much and to be so comfortable with such a fluid structure.

So this is no longer an interim arrangement for me, it's my new work life-and I love every varied and meaningful minute of it!

Over the years have you noticed common mistakes writers make? Are there 2 or 3 things you'd advise them not to do?

That's an interesting question, Alice. Much of the strengthening of a manuscript takes place in cutting out didactic passages, encouraging writers to know their characters so well that actions and emotions are credible and the point of view makes sense. It really comes down to trusting your reader enough to not spell out every detail and, of course, to be willing to revise, revise, revise.

Why (or at what point) should a writer consider working with a book doctor or a freelance editor? Can it help a manuscript shine more brightly from the slush pile?

"Shine more brightly" is a great phrase and, yes, it can. The help of an experienced book doctor can make enough difference to inspire a publisher to actually acquire the book. Or for an agent to decide to take on the writer as a client or, if the writer is already a client, decide that the manuscript or dummy is now ready to submit to publishers.

Because I enjoy teaching so much, I'm also happy to talk to writers at a very early stage and give general comments on voice, audience, format, career planning and marketing.

The goal in all these situations is to bring the material to a higher level and also give the writer tools to use for the next book.

Are there important questions a writer should ask a freelance editor going in?

Any question that clarifies the expectations on both sides is a good question. It's crucial to define the parameters of the work. Will I be giving detailed notes throughout the manuscript, plus an editorial letter about strong points and specific suggestions for parts that need strengthening, plus phone and email access as needed, followed by a second round with light copyediting and editorial polishing? Or more general comments and no revising?

All financial arrangements must be clear before the work even begins. I charge a project fee for intensive editorial work and an hourly fee for consultations, with half up front, and usually ask to see the material to determine the extent of the work before quoting a fee. Then, if we decide to work together, we set up a schedule (and I keep the author informed if, for some reason, I need more time).

You've said that you're a better editor because you're not a writer--will you comment on that?

The urge to write is so compelling that an editor who writes usually becomes a writer who edits. I don't want to create something from scratch, I want to help someone else do that and stretch and grow and do even better work.

I give away ideas to people who can write, never holding on to them for myself. I try to work with writers the way they need to work, to fit their personal style (do they need a deadline, for example? OK, I'll make one up. Are they paralyzed by deadlines? OK, let's pretend we have all the time in the world. Do they need to talk out every detail before beginning or do they just generally want to know I'm there?)

Also, over a 30-year period, I've developed different ways of pulling out potential, tricks for overcoming writers block, and writing exercises for moving along. There are almost as many ways of approaching writing as there are writers, and the writers I've worked with have taught me so much.

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The Current Market for Children's Books: A Complete Survey...

Monday morning the conference started off bright and early with Connie Epstein giving her annual commentary on her Market Survey for this year, which contains 79 book publishers whom she contacted for updated information. (I feel her pain.) Being cognizant of not giving away the store, I'll offer a few highlights here:

• She reported no corporate mergers this year, but a number of high level position shifts and staff changes. Of her 79 entries, 32 are entirely open to unsolicited submissions, 19 are entirely closed, 4 are partially open (perhaps they take picture book submissions but not novels, for example), 24 are open to queries only. (I check the math--it adds up.)
• Response time given in her listing remained pretty much unchanged. (I think, however, that these can be often be best-case-scenario or in-a-perfect-world-ish date ranges.)
• Deborah Brodie, formerly editor with Roaring Brook Press, is now freelancing as a book doctor for publishers, agents and writers. You can contact her at [email protected].
  
• Connie noted that more publishers are now discarding unsolicited manuscript that don't interest them in instead of returning them in SASEs. She sited Philomel as an example. Here's the information as stated in their listing in the 2008 CWIM:

"As of January 1, 2007, Philomel will no longer respond to your unsolicited submission unless interested in publishing it. Rejected submissions postmarked January 1, 2007, or later will be recycled. Please do not include a self-addressed stamped envelope with your submission. You will not hear from Philomel regarding the status of your submission unless we are interested in publishing it, in which case you can expect a reply from us within approximately four months. We regret that we cannot respond personally to each submission, but rest assured that we do make every effort to consider each and every one we receive."

The Market Survey of Publishers of Books for Young People, August 2007 is now available to members on SCBWI's website.

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