Society of Children’s Book Writers and Illustrators
What does it have to offer?
The Society for Children’s Book Writers and Illustrators is the only professional association of its kind. This guild provides writers and illustrators with a network linking them with editors, publishers, agents, librarians, educators, booksellers, and other writers and illustrators involved with literature for young people.
There’s helpful information on its Web site about resources the group offers, including the basic nuts and bolts of getting started. Its beginner’s guide, From the Keyboard to Printed Page, is available to download along with inside tips from editors and a basic road map of the industry.
The Western Washington Chapter is extremely well organized. It hosts online discussion boards and puts together local events and critique groups. The local chapter’s annual conference, held this year in mid-May, is the largest of all the regions and rivals the international conference in terms of variety and quality of speakers.
Magazines and newsletters from both the national organization and local chapters contain valuable information about grants and the business of writing and marketing books for young people.
International Society of Children’s Book Writers and Illustrators: www.scbwi.org/
University of Washington Certificate Program in Writing for Children
The Seattle area offers a wide variety of children’s book-writing and illustration classes. The University of Washington offers an in-depth certificated program called “Writing for Children.”
Brenda Guiberson, one of the instructors, and local writer Peg Cheng, who has been through the program, note that the course is designed to take writers through the entire writing process, from idea to revision, and to help students understand the publishing industry. Guest speakers share their own perspectives, and writers often form critique groups that stay together long after the program has ended.
The program is taught by award-winning authors and runs for three semesters, one class per semester. (There is a shorter summer program offered as well.) Each class meets for one night a week for three hours.
“Writing for Children: Foundations” teaches writers about basic elements of plot, character, setting and dialogue.
“Writing for Children: Intermediate” focuses on the craft of revising.
“Writing for Children: Capstone” takes an in-depth look at editing, critiquing, and publishing.
Students aren’t required to enroll for the whole program – they can opt to take just one or two of the classes.
Cheng notes that the program focuses more on writing picture books, and those working on middle-grade or young-adult novels may not get as much out of it. However, guest speakers lend expertise from a variety of genres. Cheng suggests that people interested in writing for older children try writing a picture book while in this program to get a good foundation and have a jumping off point.
Seattle is home to a wealth of children’s book writers and illustrators. The combination of our rainy climate keeping creative minds indoors and the inspiring natural beauty of the Northwest appears to be the perfect recipe for success in creating stories for young readers. Plus, notes Wendy Wahman, an author/illustrator who is basking in the glow of having just published her first children’s book: “Doesn’t everybody want to do this?”
Great (and Not-So-Great) Beginnings
The road to publication is rarely direct or quick. Kirby Larson, Newbery Honor author of Hattie Big Sky never imagined being a writer, but after having children, reading bedtime stories to them rekindled her passion for books.
Picture book author/illustrator Nina Laden had wanted to create children’s books since she was a little girl. She tried at 18, with no luck, so worked for years as a graphic artist and freelance illustrator before publishing her first children’s book. She was 31.
Peg Kehret, author of several middle-grade mystery books, calls herself “The Late Bloomer of Late Bloomers.” She didn’t start writing children’s books until her late 40s after a long career in radio commercials, plays and magazines. “It has taken me years to get to where I know what I am doing,” she says. “There aren’t any shortcuts. No secret to success.”
Rejections are part of the business. That’s no surprise considering Theodor Geisel (Dr. Seuss) heard “no”28 times (some reports say twice that) before hearing that first magical “yes.” Children’s poet Eric Ode notes the average manuscript might get turned down five or six times. “You have to find the right house and catch them at just the right time.”
Kevin Emerson had never heard of Stephenie Meyer when he was penning Oliver Nocturne, but when the Twilight frenzy hit, his middle-grade coming-of-age vampire story sitting on an editor’s desk at Scholastic was a perfect fit for younger readers suddenly intrigued by the undead.
Not Child’s Play
Illustrator Wendy Edelson is bemused by people’s perception of her job. “I heard a statistic that children’s book illustrating is considered to be the second-most glamorous occupation after being a pop star.” She loves what she does, but points out that she works seven days a week from early morning to late at night: “You must have a great passion for doing it.”
Middle-grade fantasy writer Joni Sensel adds: “People think writing for children is easier than writing for adults, but the reverse is true. Children’s books have to appeal to kids and parents.” The most ridiculous question Laden says she has been asked (many times) is, “How many books can you write in one day?”
Newbie Mistakes
Some words of wisdom Sensel offers to neophytes: “Thinking it’s easier than it is leads to mistakes.” One major newbie blunder is rushing. Brenda Z. Guiberson, author of several nonfiction picture books, who teaches children’s writing and illustration classes at the University of Washington, notes that Maurice Sendak took two years to write the 338-word Where the Wild Things Are before starting on the illustrations. “Let a story sit to make sure it’s really your best shot to put forward,” Larson advises.
Too many writers, eager to see themselves in print, fall victim to the vanity press world of self-publication. For Emerson, the third time was indeed the charm. His first two novels are still sitting in a drawer where he feels they belong: “If I had self-published that first book, it would have been a mistake.”
“It’s a funny idea that it should be easy and come quickly,” Larson says. “We wouldn’t expect a surgeon to perform surgery right away. Writers need to learn about the craft. It is an apprenticeship.”
Almost every author and illustrator who spoke to Seattle’s Child advises aspiring children’s book writers and illustrators to hone their skills by taking classes. There are several offered in the area to suit any budget and schedule. They also encourage people to join the Society of Children’s Books Writers and Illustrators to learn about the industry.
Another gaffe newcomers make is following fads rather than writing about something they care about. “Trends will have changed by the time your book comes out anyway,” Kehret warns. At the same time, it is important to know what is being published today. Too many people try to imitate their favorite childhood books when many of the classics would never be published in the current children’s market.
A Changing Trade
The Golden Book type of ending is a thing of the past. Children’s stories are no longer about teaching lessons. Guiberson says authors like Seuss and Sendak changed things. She advises writers to “let go of being a parent/teacher. You need to entertain. Take them on a field trip; have fun. They will learn something along the way.”
Funding cuts are also altering what sells. Guiberson notes that librarians who base their purchases from reviews and consider books in relation to their collections don’t have the money to buy books right now. More buyers today are parents in book stores, and they are a harder market to pin down.
Another sign of the times is the closure of many publishing houses. The market is more competitive than ever. “It better be really, really good and presented correctly,” Ode urges.
Inspiring Words from the Inspired
Knowing what will make it to book store shelves is tricky. “Editors really do want fabulous writing,” muses newly published nonfiction writer Richard Farr. “But fabulous writing is a mysterious substance, and nobody (including fabulous writers) knows how it happens.”
Despite the ups and downs, these authors and illustrators love what they do. “It doesn’t happen overnight, but it’s worth it – like having a baby,” Larson says. “You will forget the labor pains. All the struggle will evaporate in your joy.”
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10 Tips on How to Look All Grown Up in the Children’s Book World
Advice shared by local authors/illustrators and from Andrea Brown Literary Agent Kelly Sonnack’s presentation at this year’s Society of Children’s Book Writers and Illustrators - Western Washington Conference. While these are good guidelines, Sonnack notes that every rule can be broken!
1. Don’t get someone to illustrate your book (unless you are a professional illustrator and do it yourself). Illustrator Wendy Edelson says, “If you want to get to the editor’s pile, the worst thing you can do is come up with a “package deal.” They have their own ideas for the look and feel of a book and want to take it in their own direction.” Author/illustrator Wendy Wahman also advises picture book writers to remember that illustrations can tell part of the story.
2. Don’t get cute. Author Kirby Larson advises writers to avoid cutesy names like “Katie Caterpillar” that turn editors off.
3. Don’t write about your pet, grandchild, or child. Sonnack urges writers to be fresh and tell a story that hasn’t been told before. She sees a lot of manuscripts about a family who has adopted a dog from the pound for example.
4. Let kids be the stars. Don’t have an adult as the protagonist or let an adult solve the problem in the book. Sonnack notes that kids want to feel empowered and gain a sense of accomplishment. Picture book author/illustrator Nina Laden advises those interested in writing for the youngest of readers, to remember that babies are self absorbed. Their world is them. “At this age, it’s about enchantment and discovery, not plot.”
5. Work on dialogue. Don’t worry about being up on the hippest slang. Larson notes that by the time your book is published, it will change. Sonnack also warns against using stereotypical teen dialogue like “Moooooooom.” While teens may use such phrases, Sonnack says they do not want to see themselves portrayed in a negative way. Larson, whose dialogue is one of her strengths, says. “I’m a good evesdropper. Writers need to listen to conversations.”
6. Research! Guiberson says many early writers overlook the need to research. It provides rich details and makes writing sound more authentic. This goes for illustrators too. Edelson says she was illustrating a book about the Dutch and was planning on putting a tea pot on the table in the picture, until her research showed that this would have been inaccurate for the time period.
7. Know the market. For example, author Joni Sensel advises writers not to send out picture books to someone who doesn’t publish them. Also, author Peg Kehret says to avoid sending out text in a saturated market. Her editor has more vampire manuscripts than she could ever publish right now. Guiberson urges writers, “Focus on what you want to say and the best way to say it.”
8. Look professional. Don’t send out a text that is full of spelling errors or typos. Address your query to the correct editor. They change quickly and addressing a letter “Dear Editor” only shows you haven’t done your homework.
9. Get a thick skin. Larson urges folks to find a critique group, but to make sure it is one that is a good match.
10. Read and write. Farr is reluctant to give advice to aspiring authors (AAA as he calls it) and says “Some writers will say sagely that it's crucial for you to read 100 books in your genre before you even think about writing. I incline to the view that your time would be better spent feeding your mind by reading 100 books as far as possible outside your genre. Smarter than either of course is to spend the time actually writing - a thing that an amazing number of writers neglect.”
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Meet Some Local Children’s Book Authors/Illustrators
Discover more about these local authors and illustrators, their books, their journeys, and their tips for success. Some are brand new to the “published author/illustrator” table. Others have been at it for years.
Wendy Edelson of Bainbridge Island illustrated Saturn for My Birthday (Sylvan Dell Publishing, 2008), a second-place Reader Views winner for children ages 6 to 8, and also a 2009 Foreword Book of the Year Award Finalist. http://www.wendyedelson.com, http://www.elevenlemons.blogspot.com/
Kevin Emerson of Seattle writes middle-grade novels; his latest in a coming-of-age vampire series, Oliver Nocturne #5, the Eternal Tomb (Scholastic 2008) was released in April. http://www.kevinemerson.net/
Richard Farr of Seattle writes nonfiction for young adults. His first book, Emperors of the Ice: A True Story of Disaster and Survival in the Antarctic, 1910-13 (Farrar, Straus and Giroux 2008) was recently honored by the National Science Teachers Association as a “Selector’s Choice” in the organization’s 2009 list of Outstanding Science Trade Books for Students. http://richardfarr.net/
Brenda Z. Guiberson of Seattle has written award-winning narrative nonfiction children’s books about nature for 15 years. Her most recent book, Ice Bears (Henry Holt 2008) gives children a glimpse into the polar bear world. She is currently working on five new books. http://www.brendazguiberson.com/
Peg Kehret of the Mount Rainier area writes middle-grade and young adult novels. Stolen Children(Dutton 2008) is the latest in a long line of suspenseful stories. Of all the awards she has received, Kehret is most proud of winning various state Young Reader Awards because kids voted for them. Her next novel, Runaway Twin comes out this fall. http://www.pegkehret.com/bioframe.html
Nina Laden of Lummi Island and Seattle writes and illustrates picture books for infants on up. Button Nose (Chronicle Books 2008), is Laden’s newest interactive baby book, sure to be as big a hit with babies as her other clever creations like Peek-A-Who? (Chronicle Books 2000). Laden is also working on a graphic novel for middle and high school readers. http://www.ninaladen.com/
Kirby Larson of Kenmore writes novels for young adults. Her historical novel about a 16-year-old homesteader in 1918 Montana, Hattie Big Sky (Yearling 2008) was a 2007 Newbery Honor Book. http://www.kirbylarson.com, www.kirbyslane.blogspot.com
Eric Ode of Seattle and Tacoma writes children’s poetry. Tall Tales of the Wild West (Meadowbrook 2007) is a collection of humorous cowboy poems for young kids. Ode’s favorite thing about being an author is that is allows him to work with kids in school writing workshops. http://www.ericode.com/
Joni Sensel of the Mount Rainier area writes novels for middle-graders and young adults. Her fantasy novel, The Farwalker’s Quest (Bloomsbury USA Children's Books 2009) came out in February. She is also a co-adviser for the Western Washington chapter of the Society of Children’s Book Writers and Illustrators. http://jonisensel.com/index.html
Wendy Wahman of Bellevue is an author/illustrator who used to work as an illustrator for the Seattle Post-Intelligencer Her first picture book, Don’t Lick the Dog (Henry Holt 2009), a fun book of rhyming tips for kids who encounter a pooch they don’t know, came out this April. Wahman is currently working on cat safety book. http://www.wendywahman.com/pages/homeFlash.php
Laura Spruce Wight is a Seattle-area freelance writer and mother of two.
