Q: I had recommended a book, Feed, to a high school teacher and suggested his class read it since it’d be a great discussion starter, and he said no way would his school let him have that book in class because it had the f word in it. Is this a common reason why some books aren’t read in class? If so, would publishers consider publishing a “school version” where the unacceptable swear words are shown like this *@%! or f— or whatever? That way the story would get read, but it wouldn’t offend anyone (in an ideal world!).
According to Pat Scales, a consultant who specializes in censorship issues and who has served as chair of both the Newbery and Caldecott committees, “Publishing two different editions is expurgation and a blatant form of censorship. It should be between the author and the editor as to whether the “word” should be there. If the word doesn’t fit the character who is using it, then the novel is perhaps flawed. Words help define character, and in Feed I think the word needs to be there. The best thing that teachers can do is to help students focus on character —not words. Focusing on “the word” is what censors do. They take words out of context and never consider the value of the entire book. The book is devalued when “the words” are taken out. If teachers can’t use the book as the author wrote it, then why did they choose to use it in the first place? Publishing two editions is “selling out” and I wouldn’t think many authors or publishers would go for it. We absolutely must fight the fight and not give in.” 9:10/05
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Q: FEATURE TOPIC: Expert Tips for Author Visits
Each fall, thousands of children’s authors and illustrators start a ten month cycle of working at home and traveling to schools and libraries to promote their books. Some stay within a day’s drive of home, others travel across the country. The kit bag for this trip can contain presentation materials as basic as pencils and paper, or as elaborate as a multi-media presentation. The presenters can work off the cuff, or they can have evolved programs using voice and acting techniques. There’s no right answer, so don’t be afraid to experiment and learn from other authors and illustrators. Here are suggestions from Ilene Abramson, Director of Children’s Services for the Los Angeles Public Library and Joan Grant, a professional actress and consultant on acting techniques about programming ideas and techniques you can try.
As Director of Children’s Services for the Los Angeles Public Library and its 71 branches, Ilene Abramson and the librarians in the regional library system run thousands of programs each year. Abramson’s view is that “Although we are living in a world of technological bells and whistles children still love to hear stories, be read to, and play “make believe.”
In her work with kids, she’s used simple storytelling techniques:
And more elaborate ones, such as:
Illustrators may also want to tie in activities that encourage children to think about the story in different ways. They can encourage young children to:
Joan Grant is a professional actress based in Newtown, Connecticut, who consults on presentations skills using acting techniques as a basis. These techniques can be helpful whether you’re overcoming stage fright or building stage presence.
She says, “Most of us get nervous before speaking. As an actress, I usually feel a little jittery before my entrance, but there are tried and true actor’s “tricks” you can use:
Ask yourself at what time during the day you feel at peak performance. If your talk is not at that time, find a personal way to compensate for lack of focus or energy; maybe a yoga class earlier that day, a jog, or eating a power bar before you leave for the engagement.
Identify the qualities you possess that make it easy for you to speak. Breathe deeply when you have difficulty. It will focus and relax you – and no one will notice; they will think of it as a “dramatic pause.”
Choose your “costume” consciously. Wear something that makes you feel terrific – not just comfortable but powerful and in command.
Be aware of yourself in your surroundings. Stand – don’t pace without a purpose – in a relaxed and an erect position. Keep hands comfortably at your side only to be used for a specific gesture; never indiscriminately. Your hands are great props, use them to create pictures, not for fidgeting.”
Know that the fluttering in your stomach is your friend. IT MEANS YOU’RE ALIVE. Think of it as a springboard to propel you into the good graces of your audience.
Remember these numbers: 55%, 38%, 7%. It is documented through a study by Dr. Albert Merabian at UCLA that the impact a speaker makes on his or her audience is: 55% Visual, 38% Vocal, and 7% Verbal. It is, therefore, crucial to make solid eye contact with groups of audience members; finish a thought and move on- no scanning; project your voice so all can hear your enthusiasm and passion; keep your posture strong and stay in command of the room; create verbal pictures with your hands (props); use humor if it is natural to you and related to your topic; use an anecdote or story for personalization; hone your message as if you were sculpting Michelangelo’s David. The words you speak must be meaningful — nothing without a purpose- and those well-chosen words make a greater impact if you concentrate on how you speak them.
Rehearse, Rehearse, and Rehearse Some More. Work your talk out by yourself, keeping the above in mind. If you can snag a friend or colleague, deliver it to them. Rehearsal is where you are encouraged to take your time, take chances, make mistakes and try new and different tactics. Use this time to develop and polish your work. Rehearsal will give you the confidence you need to incorporate yourself into your speech.
Check The Venue Out Beforehand. Make sure you arrive at the room early. This will give you an opportunity to get a feel for the room and for how your voice will travel when all those chairs are filled. Sit in the audience and experience the way in which they will see you. Then go “onstage” and imagine speaking to your audience. Place yourself in the most advantageously visual position. Don’t use a microphone unless you must, and if you must use one, check it during this time. A mic only amplifies your voice, it doesn’t carry your passion unless you put it there.
Acknowledge Distractions. Notice potential distractions and be prepared to acknowledge them if they happen. You can turn a negative into a positive. Chat briefly with the audience as they arrive thus making sure they are with you.
Be Yourself And Enjoy!
Have fun with your talk. If you are having fun, so will everyone else.”
Ilene Abraham believes that you have a great advantage as authors and illustrators because “the magic of the tale and the birth of a picture will always capture the attention of a youngster’s imagination. These “program” tips might add sugar to your presentations but true merit comes from your artistic and literary talents.” 11:12/05
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Q: Do you have any hints as to what authors charge for a visit to schools? I am thinking of developing this and wish to know the usual rates.
Debbie Hochman-Turvey, who runs www.visitingauthors.com has said, “I find that honorariums range anywhere from $1000-$3500 with the average being about $1500 for three presentations. That does not include expenses, and hosting schools can be expected to pay all travel, lodging and meals. Most authors also charge an additional fee (1/3 of their day fee) for a fourth presentation.” 1:2/06
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Q: FEATURE TOPIC: Musing on Manners
MUSING ON MANNERS
Children’s books have become a much bigger business in recent years and some people think the industry may not be as nice as it used to be. There’s always competition in business, but most industries do not involve the heart and soul that goes into writing, illustrating and producing a new book. It’s a long process and one that requires sharing a lot personally. As a result, many close relationships are forged working in this industry, and we should take care in the way we deal with each other.
Some questions are: Is it realistic to expect things to be different in our industry? Has the increased focus on the bottom line changed our relationships? What impact has the formation of online communication and communities had? Are there consequences when relationships are publicly breached?
Clearly, the industry has changed substantially in recent years. Many publishers are owned by big conglomerates, short-staffed, and trying to figure out how to balance handling brand name products with the rest of the books on the list. Authors and illustrators are looking for new advocates in-house and out, and everyone’s trying to figure out how to make a living without facing job cuts or having books go out of print.
“One of the biggest changes in-house,” according to Deborah Brodie, Executive Editor of Roaring Brook Press, “is that there’s little time for mentoring, so younger people aren’t getting the training they once received in negotiating and working with authors and illustrators. It takes time to learn how to diplomatically work with someone. The mergers and consolidation have also meant less personal contact in-house. At one time, the editor would know all the sales reps and other people in the trenches advocating for your books. Now that’s much harder.”
Jodi Reamer, Literary Agent with Writers House, says that publisher consolidation has also made relationships more formal and less personal. Even with that, Amy Berkower, President of Writers House, thinks that the children’s book business is still gentler than most. One of the main problems, according to Berkower, is that the economic model of the business is based on publishing a large volume of books making it very difficult to provide all books and authors with a satisfying amount of attention. She also believes that the pressures of Wall Street to constantly top past performance as well as the needs of large entertainment conglomerates creates a unhealthy tension between the creative people in the business–the authors and editors– and those responsible for the bottom line.
Patricia Gauch, former Vice President and Publisher of Philomel, currently Editor-at-Large at Penguin Children’s Books, thinks authors and illustrators should know that editors will do everything they can to advocate for their books, both editorially and marketwise. She also feels that respect and good manners go a long way in the working relationship. “If there is that underlying mode of working, it will positively affect everything: how quickly your calls are answered, the kind of support you receive inhouse, everything. And it works both ways. The author/artist can and should expect respect as well.”
“I’ve found that some of the people who have been the rudest are those who are inexperienced and who have been told that they should be pushy to get attention. Pushy is seldom a good thing. Bad advice.”
“If anyone thinks being rude will get them anywhere, they’re likely to be disappointed in the long run. Keep in mind that these are very human relationships and that you can disagree without being rude. If you are polite, people are more likely to care about you and will try harder on your behalf.”
Tim Moses, former director of publicity for children’s books at Penguin Group (USA), thinks things have gotten worse over the years in terms of trust among professionals. He points out that “each company has its own culture and etiquette and trust stems from that. He agrees that etiquette is extremely important. “Some authors have used their temper to get what they want or need, but most people can’t get away with that. There’s always a risk you’ll be seen as too difficult, and not worth it.”
Deborah Brodie points out that “everyone has choices and that once you’ve dealt with a person who acts unprofessionally, you may have second thoughts.” She also is mindful of the fact that everyone at the house will have to deal with the authors she takes on.
What about how we treat people online and in other professional forums? “Be sure of your facts before you post things,” advises Tim Moses. “For one thing, you run the risk of legal action against you. You shouldn’t air dirty linen because everyone has some. It’s plain stupid in my opinion for people not to think carefully about what they say. When people do make derogatory comments, it’s usually clear that it’s being done by someone of no stature attacking someone of higher stature for their own gain.”
People should realize that it’s easy to hurt others in such situations. It can even damage people who are willing to listen because others know they’re open to that and it looks bad all around. People should keep in mind that it’s a small world on the internet, and everyone knows everyone’s business very quickly.
Amy Berkower concludes, “It doesn’t make any sense to burn bridges. People in this industry are hard working, dedicated professionals, and we all should behave as though we’re on the same team.”
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Q: I am looking for Halloween plays for fifth graders. Where would you suggest I look?
There are youth theaters around the country and some sell rights for the use of plays they’ve commissioned. For a list of theaters by state, check the United States Center for the International Association of Theater for Children and Young People (ASSITEJ/USA) website at http://www.assitej-usa.org/tyausa.html. Jon Madof, marketing and public relations manager for the TADA! Youth Theater in Manhattan said they do have a play called “Perfect Monster” that may be a good fit for Halloween at that grade level. You can check that and other plays they’ve done at www.tadatheater.com. Script information is in the “About Tada!” section. 11:12/03
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[This is shared from a speech given at Paula’s memorial service.]
I was 23 and working at Dell when I met Paula. It was rare to tour children’s authors then, but we planned to send her to Washington, Cleveland, Boston and Toronto. The tour was planned for Northeast cities in January — probably with the notion that we’d get more interviews, since more sensible people would have known to stay home.
From the start, Paula worried our planes might crash. My boss worried about my managing Paula, and warned me, saying: “Don’t let her stay out all night playing video games!”
Paula made a dramatic entrance at each TV studio. Upon our arrival, she’d clutch the producer’s arm and say how frightened she was to go on air. Then, while the producer blanched and glared at me, Paula would walk onto the set completely calm and do a hilarious interview. The cameramen loved her.
Most programs didn’t do much with children’s topics, so had no idea what to make of Paula.
One TV host was completely baffled when she answered the question, “What would you do with a kid who won’t read?” by saying “I’d lock him in a room with no food and water, just stacks of books, and not let him out or feed him until he could write a book report on each one.”
From the first night, Paula insisted she needed to play Centipede and Pacman, and eat peanut M&Ms; to unwind; so we did that daily. We talked about family and work and we laughed a lot.
We also debated about whether it was safe to fly to the next city, and by the time we left for Boston, I was taking breaks by sitting in other parts of the plane.
That was about the time she called me into her room, pointed at the TV, and declared she was right, and I saw that a plane had crashed at Logan just hours after we landed.
Paula went on to inform me she always lost her luggage in Buffalo, which was where we were flying next on the way to Toronto. She felt perfectly vindicated when her luggage did get lost there, and we had to rely on friends in Toronto to provide her with clean underwear.
Years later, Paula claimed she knew I’d finally lost it in Toronto when I started pelting her with snowballs. I was forced to agree when I remembered our last morning there when, at breakfast I found myself pouring tea into my cup of coffee. Paula laughed and said that happened to everyone she worked with.
Paula went on to meet my family, and later became part of my children’s lives. We were privileged to be among many people who knew and loved her, and we’ll remember her always. 9:10/04
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Q: A Discussion of the Library Market in 2004
There’s been a lot of concern recently about cuts in library funding. The following is an interview with GraceAnne Andreassi DeCandido, writer, editor, and part-time lecturer in children’s literature at Rutgers. She runs Blue Roses Consulting, a company that specializes in research, writing, web content, and other “word tools for libraries.”
Q: We’ve heard a lot lately about budget cuts in the library market. How are school libraries faring compared with public libraries?
My feeling is that school libraries are the worse off. It isn’t just that the money pot grows ever smaller; it’s that school libraries seem consistently underappreciated by school administrations. What libraries do, what libraries are for, how much they support students’ learning, seems to be fuzzy at best in the minds of those who hold the finances? I am on a handful of school librarians’ lists, and this comes up over and over again.
Q: Do you have tips for authors and illustrators who’d like to set up events at schools and libraries?
Schools and libraries love to have author visits! Be as clear as possible about what you can do (e.g., talk for half an hour, answer questions) and cannot do (autograph five hundred books). Be upfront about your fees. Work with your publisher to get your books available to the kids you will see. If you have a web site, lay out your plan for author visits. If you only do local events, say so.
Q: Should authors and illustrators tailor events differently for school and public libraries?
Probably. School events tend to be tied more to the curriculum: what the kids are studying and learning about. Public library events can be more freewheeling. In a school setting, you know what grades and ages of children you will see. In a public library, you have less sure knowledge of your audience.
Q: Which publications have the most impact on whether a new title will be bought for a library’s collection?
Booklist, Horn Book, Kirkus, Publishers Weekly, School Library Journal and VOYA. Notice I put them in alphabetical order! I did an informal survey of school librarians for ALA a few years ago that indicated School Library Journal and Booklist were at the top of their lists.
Q: Is it appropriate for authors and illustrators to send advance copies of their books directly to library systems and, if so, who should they contact?
Many library systems, perhaps most, do not buy materials unless they can find reviews of same. Unless you know that the librarian doing book selection would welcome your ARCs or new publications, this might be a frustrating exercise.
Q: Which categories or types of children’s books are most in demand in school and public libraries today?
There is always a demand for good books. That means many things. It certainly means good nonfiction: biographies, history books, and science books. It means quality fiction and lighthearted series stuff. It is vitally important to remember that books aren’t just “good for” study or learning or teaching. Books are good when they give genuine pleasure to readers, and that can be overlooked or forgotten at times. The pleasure of reading is a real one, and children deserve to be allowed to discover that.
Librarians and teachers and parents need to know that there are many ways of finding good books for children, that it isn’t a vast wasteland out there, and that the tools exist.
I also recently spoke with Fauzia Burke, founder of FSB Associates www.fsbassociates.com an agency specializing in Internet marketing, about strategies for promoting books online. Here are some tips from her experience with adult books.
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Q: The sad truth has finally dawned on me that the road to sales and royalties in children’s books is not to write books kids love, but to write books that win prestigious awards. Is there anything an author can do to increase the chances of winning these awards, or is it pretty much out of our hands?
While winning a major award does have tremendous impact on book sales, it’s important to realize that only a handful of the 5,000-6,000 children’s books published each year are chosen for these awards. There are many excellent books that have not been chosen, but have sold well over time. There are also books that would not be likely award candidates, such as series fiction, that kids love and that sell in very large quantities. There are also Children’s Choice Awards given at the state level to give kids a chance to vote for books they like. For a full listing of industry awards, you may want to check your library or purchase Children’s Books Awards and Prizes, which is available in hardcover for $75.00 from the Children’s Book Council by calling 800-999-2160. The book lists more than two hundred domestic and international awards, including those that are well-known and others that are more specialized.
The most coveted awards in the industry are, of course, the Newbery and Caldecott Medals and Honors. Janice Del Negro, editor of the Bulletin of the Center for Children’s Books and a member of the 1997 Caldecott Committee, explained the process this way. “Each award is given by the Association of Library Services for Children (ALSC). The award committee consists of an elected chairperson, seven members appointed by the president of ALSC and seven elected by the ALSC membership. The group meets at the American Library Association (ALA) summer convention and at the ALA Midwinter conference, where the final decision is made and announced. A similar process takes place for the ALA Notables, except that the discussions are in open session. Authors and illustrators may want to sit in on these meetings at ALA Midwinter to hear how books are chosen.
Publishers provide the committees with copies of all new books for consideration. Any member of ALSC can also nominate a book for discussion by the committee. While people may differ on whether they agree with the selections made in a given year, the decisions are weighted in such a way that the group must keep going back into discussion until a strong consensus is achieved. For that reason, I don’t see any way to influence the decision. The bottom line is to write the very best book you can.” 12:97/1:98
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Q: How is children’s book marketing different from adult book marketing?
The biggest difference between children’s and adult book marketing has been the importance of sales of children’s books to schools and libraries. In the past, the success of a children’s book hinged largely on sales to schools and libraries, which would occur over a long period of time, because teachers and librarians would buy books they liked year after year. Today, children’s books must also prove they can sell well in retail and special outlets, which make them subject to many of the pressures adult books have faced.
The trick to marketing children’s books successfully is to find effective ways to reach these different markets. To do so, it’s important to remember that, even though the books are intended for children, they have to be presented in such a way that they appeal first to the adults who make the buying decisions. 7:8/92
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I recently received a letter from author Thomas Owens, a “SCBWI Bulletin” reader, asking me to share his “success story” on promoting to local media. I think his idea of readers sharing experiences is an excellent one, and I would be happy to include other authors’ and illustrators’ accounts in future “To Market” columns. Thanks, Mr. Owens, for your suggestion, and best wishes with your promotional efforts. [The following is an excerpt from his letter.]
“Your comments about the hometown media being accessible are mostly on target. However, our local newspaper reporter seemed ho-hum about covering Collecting Comic Books, described by him as “yet another” book of mine. To give them the special hometown hook for a story angle, I pointed out that the dedication thanked a local librarian and a 12-year-old area collector. Therefore, the newspaper interviewed THEM, recounting their praise of me, the book, and comic books in general. Instead of telling the public my book was worthy, two other sources “showed,” reinforcing the “show, don’t tell” maxim.” 2:3/96
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Q: How to I inject new life into a mid-list book?
Niche marketing offers the best opportunities for a book that has already been on the market for a while. You can also consider contacting radio stations or publications that do prize give-aways to see if they are interested in offering books. 6:7/96
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Q: How does a publicist fit in with an agent and an editor? Aren’t theretimes when everybody is stepping on everyone else’s toes?
The work of a publicist is different than that of a literary agent oreditor. The three can coordinate, but each is handling a differentaspect of a book’s life. A literary agent’s role is to sell amanuscript, or concept, to a publisher. An editor, usually in-house,will work with the author (and illustrator, if there is one) to bring abook from concept to a finished book. A publicist, whether in-house, orfree-lance, gets involved shortly before a book is due to be published(ideally 3-4 months in advance of the publication date). The publicist’sjob is to generate excitement about a book in the marketplace. This canbe done in a variety of ways, but a lot of publicity efforts are focusedon media placement (placing reviews in magazines, newspapers, wireservices, on-line; and arranging interviews on radio and TV, and in thepress). A children’s book publicist may also handle author tours,special events, school and library appearances, newsletters andconvention appearances. It’s best when the literary agent, editor andpublicist work cooperatively, though the publicist’s job doesn’t need tohave a lot of overlap with the others.
When we handle a campaign for a publisher, or directly for an author, wetalk with the staff at the publishing house (and with the literaryagent, if appropriate) to make sure we know what publicity areas we canpursue. We also check when it is appropriate to turn over a contactwe’ve made to the publishing house, or the literary agent. An example iswhen we contact sports associations for children’s sports books. If theassociation wants to list the book in a newsletter or bibliography,that’s publicity. If they want to purchase a quantity of books for useat a special event, that’s a special sale, and we direct the person toan in-house contact to pursue the lead. If the organization wantspermission to print an excerpt from the book, we forward the lead eitherto the publisher, or to the author’s literary agent, depending on whoholds therights. 3:4/99
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Q: I have been asked to speak about my recently published picture book. The last four talks I gave were not paid. Can I take these unpaid for talks off my income tax?
According to Michael Barkan of Barkan & Kasen, an accounting firm in New York City, you cannot deduct time you spend providing services without pay. However, you can deduct out-of-pocket expenses you incur while doing business. Be sure to keep your receipts. In dealing with schools, or other host organizations, he says that, if you’re not paid to speak, it’s preferable to have them arrange and pay for your travel, hotel and meals. The reason is that, if you submit a bill for your expenses and then get a reimbursement check, you have to declare it as income at the end of the year and then have to deduct the expenses incurred. This may add to the preparation cost of the tax return.
My feeling is that, as you build a reputation, you should move quickly toward getting paid for your speaking time and getting reimbursed for your expenses. 3:4/00
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Q: Is “marketing” a dirty word?
It always surprises me when this question comes up. Often it’s not asked directly, but is implied, as though even talking about the business of children’s books is embarrassing. Having checked the dictionary definition and having spent more than twenty years on the business side of this business first in a bookstore, then in educational and consumer marketing at publishing houses and for the last fifteen years running a marketing and publicity agency, my answer is no.
Marketing is defined as “the total of activities by which transfer of title or possession of goods from seller to buyer is effected.” In my experience, most authors and illustrators want their books not just to be published, but to sell. We all want that because the point is to get the books into the hands of children and to get them to read.
So, I think this question has more to do with quality than with marketing. Will we sell any book just to make money, or do we care about what we’re asking kids to read? Most of the marketing people I know in the children’s book business do care about quality and are here because they want to help get good books to children. In running an agency, I’ve always made a point of working on books I believed in and wanted children to have access to. I’ve also turned down some very big projects for books I didn’t want to be involved with — and that wasn’t always easy.
I think it might be a good idea, as we move into the 21st century (it’s this year, remember?), to acknowledge that we’re all working toward the same goal. It’s a tough enough goal to reach without working at cross-purposes. 1:2/01
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Q: I’m marketing three new novels for children and am receiving good comments and interest from editors. Since I’ve built up market knowledge over the years, and have ongoing contact with several editors, I’ve preferred to market these myself, bypassing an agent. However, once I’m offered a contract, I know I’ll need professional help with the negotiations. Do you have a recommendation?
I’d suggest contacting a contract lawyer. One good place to check for someone local is through the Author’s Guild. If you’d like to through SCBWI, you can query Mary Flower via SCBWI’s main office. She is a specialist in children’s publishing contracts and will review contracts for individual authors and illustrators. 5:6/01
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Q: I was looking for a non-paid literary agent and would appreciate your help in finding one for a fantasy story I’d like to market. Can you recommend someone?
Literary agents generally take a percentage of the advance paid upon placement of a book with a publisher, then they take a percentage of the royalties that book sales generate. I would not expect you to have to pay up front to sign on with an agent. 7:8/01
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Q: I have been notified that I am a semi-finalist in a poetry contest, though I am under no obligation to buy the anthology in which my poem appears. I have myapprehensions about this company, Poetry.com (The International Library of Poetry). Do you have information about them?
Apparently, this company advertises in a lot of writers’ magazines, publishes what’s sent, and then encourages the authors to buy the anthology. Lee Bennett Hopkins says he once “sent them a very bad poem as a test and then received a glowing response from them followed by many solicitations to purchase the book.” It sounds like the process does more for the publisher than for the poet, so I’d be inclined to look to publish elsewhere. 3-4:02
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Q: I’m a member of SCBWI and am entering the Delacorte Press Contest for a First Young Adult Novel. Can you tell me how many entries they usually receive and how they judge them?
According to Random House’s publicity department, they receive anywhere from 200-500 entries for the contest, it varies year to year. The Delacorte editorial staff judges the entries for editorial merit. The prize includes a book contract covering world rights for a hardcover and a paperback edition, an advance and royalties.
Information can be found at: http://www.randomhouse.com/kids/games/delacorte.html. 5-6:03
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Raab Associates, Inc.
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