Aline Pereira is an independent writer, editor and media consultant specializing in multicultural children’s books, and until January this year, she was Managing Editor of PaperTigers, a post she had held since 2004. So we are very happy to welcome her back with a Personal View she wrote following her attendance of the Asian Festival of Asian Content in Singapore in May.
Aline had a special part to play in the Festival as she was one of the judges for the inaugural Scholastic Asian Book Award, along with “Chief Judge Nury Vittachi, journalist and Hong Kong’s best-selling English language author; Anushka Ravishankar, award-winning children’s poet and author (India); John McKenzie, principal lecturer at the School of Literacies and Arts in Education at the University of Canterbury (New Zealand); and literary agent Kelly Sonnack (Kelly grew up in Singapore), from the Andrea Brown Literary Agency (US).”
In her article, Aline shares with us her impressions of the Festival as a whole, and gives us a peek behind the scenes of the award. You can read the whole article here - and here are a couple of extracts to whet your appetite.
The big picture
A consistent thread seemed to run through a good number of the panels and sessions, as well as through informal conversations: “There are plenty of valid ways to produce and deliver a book”. This naturally led to discussions about the enormous changes the publishing world has gone through in the last decade or so, and all the things that have played a part in these changes. And to think that there was a time, not long ago, when people believed the Internet was a passing fad… Now one can only ignore the internet, social media and digital platforms at one’s peril. Without a doubt, these new technologies have affected the way children’s books are acquired, published and marketed, but one of the many things I came away with from those sessions and conversations was that having these new tools, platforms and processes is simply a means, not the end goal. Without losing sight of readers’ needs, the end goal continues to be finding ways to foster the creation, reception, and dissemination of a diverse children’s literature in all genres, mediums and platforms. When it comes to bringing children and books together, it should never be an either/or scenario, but a “the more, the better” one. After all, why get territorial and deaf to voices (platforms, devices) that are not our own? With regards to Asian content, AFCC was a call to join forces in that effort.
One of my favorite sessions was presented by US publisher Neal Porter (Neal Porter Books/Roaring Brook Press) on which types of books travel well to other countries, which don’t, and why. He calls himself an “intuitive publisher”, meaning he publishes what he loves, without worrying too much about the marketability of a project – a privilege most publishers these days don’t have, and one he’s earned after decades of hard work and a successful track record. I have always admired Neal’s imprint, so it was wonderful to learn about which of his books have traveled successfully to/from other countries, even if the majority of the examples given were of books that have traveled between the US and
Kelly Sonnack, agent with Andrea Brown Literary is offers 15 tips in this session. Here are a few:
- Beware of lessons and morals. (“And Gator never misbehaved again.” “I guess veggie shakes are so bad after all.”) If you want to incorporate one, it has to be almost invisible and fun to learn.
- Avoid writing to trends and copying bestsellers. This does not mean you can’t write a vampire book, but you have to realize that the bar is higher for you.
- Don’t let an adult solve the problem or come to the rescue. (And of course, she says, every children’s book needs to have a problem or conflict the character must overcome.)
- Don’t list character spec (“Gregory had sturdy broad shoulders, handsome hazel eyes and short thick reddish hair. He was a good-looking 18-year-old.”)
- Avoid stereotypical teen dialogue (“Oh my gawd, could my life be any more embarrassing? I mean come on. That was so over, like two years ago.”) and overdone teen angst (Arguments, rolling eyes, sighing, dialogue like: “You don’t understand me.”).
POSTED BY ALICE POPE
This is Kelly Sonnack of the Andrea Brown Lit Agency. She reps picture books to MG and YA. As well as a few illustrators and graphic novelists. To submit, you can email her a query along with the first ten pages pasted in the body of the email.
Kelly tells us to write what's in our heart. And not to be swayed by ecomonic news. Children's books are still selling really well!
As far as her part in the editorial process, she feels it's best to take the time to make the manuscript as strong as possible to get the best interest from publishers. Except to revise with your agent.
by Suzanne Young
Our Western Washington SCBWI conference is two weeks in the past now, and still some of the wonderful snippets of wisdom and tantalizing tips stick in my mind, and continue to to nourish me.
I'll not forget Nina Laden (ROMEOW AND DROOLIET) reminding us, "If you don't make mistakes, you may not make anything."
And Deb Lund (MONSTERS ON MACHINES) reading her unforgettable poem about that inner voice that harasses us as we write, and summing it up by telling us, "Sometimes we have to revise our own story, that story we tell ourselves."
Krista Marino, Senior Editor at Delacorte, reminded us to take cute out of our dictionary, when talking about children's books.
Nathan Bransford (Agent, Curtis Brown Ltd.) gave us his pet peeves for story beginnings: Don't start your book with
- the weather
- your character waking up
- looking in the mirror
- sarcastic characters (too flip and negative)
Steven Malk (Agent, Writer's House) says it's great to be
aware of trends, but don't
write to them.
He also advised us to be nice to everyone, not only because it's the right thing to do, but also because you never know when that editorial assistant may become the Senior Editor.
Kelly Sonnack (Agent, Andrea Brown Literary) told us to avoid
- forced pace-building (suddenly, quickly, at that moment)
- copious tears (only one tear per story)
- faces draining white or blushing
- exclamation points!
Justina Chen (NORTH OF BEAUTIFUL) encouraged us to "say yes to the emotional truths of your heart."
And Sundee Frazier (BRENDAN BUCKLEY'S UNIVERSE AND EVERYTHING IN IT) told us she has to write, that she cannot deny that creative part of her being. "I could not deny the One who created me."
I've offered just a few nibbles of that wonderful feast that was spread before us at our unforgettable
Feed Your Genius conference. Now fully fueled, it's back to work. Happy writing, everyone!
Picture above: Some of my favorite people in the whole world--Molly Blaisdell, Janet Lee Carey, me, Katherine Grace Bond, Holly Cupala, all members of our Diviner Writing Group, all of us enjoying the Conference Feast
On the GLA Blog: Agent Kelly Sonnack...
Guide to Literary Agents editor Chuck Sambuchino posted an interview with agent Kelly Sonnack who recently joined Andrea Brown Literary Agency. Here's a snippet:
I’d love to see more well-written and clever middle grade fiction. There’s a need for it right now and I see a lot of potential in this market. I’d also love to see more memoir for kids – especially cultural memoir about growing up in different countries, identity, and living across cultures. We are a colorful world, and I’m not sure that’s reflected adequately in children’s lit quite yet.
Click here to read the full interview.
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So delightful to see your shining face around the conference. What a gem you are for our little circle and for so many starting out on this path. Keep up the good work -- writing, teaching, sharing...