Writing for the Children’s Book Market
Transcription
Writing for the Children’s Book Market
Writing for the Children’s Book Market Everyone wants to write a book for children. Perhaps we all have an urge to give back to children some of the benefits of our own childhood. We should be careful that we’re not trying to turn children’s books into the Victorian era’s ‘little lessons’ to change children’s ideas and influence their lives! Moral statements at the end of books date the writers. It is important to realise that publishers of children’s books usually focus on either the schools market or the trade (bookshops) market. Recently the lines of demarcation which used to be so clear have become more blurred. Educational publishers also produce books for the trade market and trade publishers also sell to education. The recent trend towards literature-based reading (as opposed to readers) has increased the demand for high quality fiction and non fiction in schools. Educational publishers‚ textbooks and curriculum-based materials can be lucrative for writers familiar with curriculum. Because many children’s books have short texts, many people think they take a short time to write. One well known picture story book writer claims to have done 17 drafts of 500 words over two years. I have stored 15 drafts (on different coloured papers to keep myself entertained) of Silly Baby Magpie!, a ‘simple’ story which took a year to write. Some writers have cracked a contract on a first draft, but don’t count on that scenario. Don’t expect writing for children to be easy, just because the finished books have achieved the ultimate – simplicity. One of the major secrets of writing for children lies in narrowing the focus of your target age group. Are you aiming for 4-5 year-olds or 5-6 year-olds? Is the story to be read aloud to a child, or is it aimed at an independent reader? Some very successful classics for children seem to be aimed at all children. Make the target age as narrow as you dare. If it works for that age group, it may well work for everyone. But if you aim for everyone, you may reach no one. Markets There are a number of conventional formats for which you can write. 1. Picture Storybooks Most aspiring writers for children envisage a children’s book as a major picture storybook, hardback, fully illustrated in colour. Picture storybooks usually have 32 pages. They may be published in hardback for library use, but the current trend is to publish picture storybooks for the first time in paperback. Rising costs have also influenced length and some picture storybooks are emerging with 24 pages. Full colour production is so expensive that the story chosen for investment has to be very special indeed. There is a growing market for picture books for older readers, but the story has to be very unusual and the issues involved have to be of interest to teenagers for your story to be chosen for this format. 2. Novels and Junior Novels Because of the expense involved in picture storybooks, this is an easier area of the market for a new writer. Novels may have as few as 64 pages or as many as 240 pages or more (numbers divisible by 8); with illustrations ranging from a number of black and white drawings to no illustrations at all; designed for specific age groups of readers from six year-olds to young adults. You can estimate the number of words by studying published books for about the same target reading age level. Junior novels (children call them ‘chapter books’) are a voracious market for enthusiastic young independent readers who feel they are too old for picture books. There is another strong market at the other end of the scale: young adult fiction. These are novels for teenage readers that can often contain adult themes. Achieving publication of a YAF novel is a fast track to publicity, especially if the topic is controversial eg. drugs, sex or suicide. 3. Non Fiction Information Texts Non fiction written in a range of genres is a growing market, especially in education. This is usually the result of commissioning or soliciting by a publisher. Instead of sending a finished manuscript, you could let a number of publishers know that you have the capability or background to tackle a particular topic. If they are interested in that topic they may put your details on file and approach you at a later date. 4. Anthologies These are rare, but they give the aspiring children’s writer the best chance of publication. The ASA has established a set of anthology rates which most publishers follow. Basically you are sharing royalties with all the other writers in the book. Some will be well known and their names will help to sell ‘your’ book. 5. Innovative Formats These are rare. Publishers have to be sure of a market before committing funds to a project with a format which is unfamiliar to the marketplace and which demands special promotion. A face-to-face interview with an editor gives you the best chance of selling your idea for an unusual format. Exploring Your Own Potential Marketing is very important in children’s books. Your one-off book is of great interest to you and your family, but someone has to sell it to schools, libraries and bookshops. Most texts are easiest to market if they are part of a series. Thus much children’s publishing is the result of invitation, solicitation or commissioning. Your unsolicited manuscript may be rejected – but you may be remembered. Take note of any encouragement you receive from a particular editor. Writers have missed major opportunities in the children’s book world by being fixated on getting a certain story published and not listening to good advice from an editor about writing something else which is needed in the marketplace. Children’s editors and publishers are often crusaders for good children’s literature. They work in a commercial field, but their main motive often goes deeper than making money. Your task is to isolate these crusaders from the money-makers! Collaborating With an Illustrator Many writers think they have to find their own illustrator before submitting a text to a publisher. You are much better advised to send in the manuscript and let the publisher find just the right illustrator for the work. To reach the children’s book market, a publisher will often team an unknown writer with a known illustrator, or vice versa. In rare instances a publisher allows a writer and illustrator to collaborate while maintaining a supervisory role over the project via an in-house editor and designer. There are several successful writer /illustrators in Australia but a newcomer taking both roles is difficult to promote. Better to succeed at one role first. 2 ASA: Writing for the Children’s Book Market If you are determined to interest a publisher in a particular artist, send just a sample of finished art by the potential illustrator. Before sending anything anywhere, consult the ASA paper on joint authorship. A letter of agreement to your co-author can avoid later misunderstandings. Rejection of one person and approval of the other is a quick way of destroying a friendship or family relationship. Don’t send a publisher the finished book with text and pictures completed. If the idea is valuable and the art has potential, everyone will have to start again (under the guidance of an editor, designer and marketer). Don’t ‘publish’ the book on your computer to show its potential. Just send a great story. Approving the Illustrations Children’s authors often have set ideas about the potential illustrations for their books. They don’t want to lose control. It is the mark of a new writer not to trust the opinion of an experienced editor and designer, and to want to dictate all the details and style of the pictures. The writer’s suggestions are valuable – but you get much better artwork if you keep out of it and let the artist fly! Royalty Structure Children’s book royalties are not different from general literature royalties, but when a book is illustrated, your royalty is shared with the illustrator. In a picture storybook this is likely to be a 50/50 share. In a junior novel or non fiction text the division will vary according to the extent of the pictures: perhaps 60/40 or 70/30. The total royalty may be 10% of Recommended Retail Price‚ or a higher percentage of publisher’s proceeds. Look for the contract details regarding other rights. What if your story becomes a play or a TV series following the success of the book? What if the book is remaindered, as many books are these days, and you want to purchase the remaining copies? (At present most Australian children’s authors and illustrators earn their living by making appearances at schools, rather than from collecting royalties. Be sure to ask for proper ASA rates and requirements when you are making an appearance. Otherwise, you will be denigrating all other children’s authors and artists.) High Discount Sales Most publishing contracts have a clause that reduces payments to the author and illustrator where books are sold at high discount to book clubs, educational distributors, and even to other imprints within the same publishing company. Look carefully at these clauses, which can offer the author as little as 2% of net receipts where discounts are 75% or more. You may well consider it not worth signing a contract that offers such little reward. Self Publishing Because of the cost of preparing and printing in colour, self-publishing of a children’s book is not an option. The only appropriate circumstance for self-publishing is a defined market where distribution is not an issue – and then only if production is to be in one colour. If you are determined to self-publish, employ an editor and a designer to achieve professional quality. Children are good critics! Networking is one of the keys to success in the children’s literature world: • Join the Children’s Book Council of Australia, which is composed of librarians, booksellers, editors, teachers, parents, authors, illustrators and publishers • Join the Society of Book Illustrators (contactable via the ASA) if you are an illustrator • Join the Writers’ Centre in your state or territory and meet other writers who can help you • Attend ‘writing for children’ courses, conducted by experienced authors, illustrators etc • Consult the industry magazines: Reading Time, Magpies & Literature Base • Study the publishers lists. Study the marketplace. Study your own writing development. 3 ASA: Writing for the Children’s Book Market Don’t be content with just asking: Which publisher should I try next? Ask yourself: How can I make my writing better? What else could I write? What sorts of books are being published these days? What sorts of books are children looking for these days? What topics are children’s librarians looking for these days? How did these published writers manage such publishable texts? (Analyse their success.) How can I meet some children and listen to their needs? What questions can I ask the children in order to receive honest answers? What organisations can I join in order to mix with children’s librarians and teachers? What organisations can I join in order to become a more professional writer for children? This study could take years and lead you into endless new paths. Writing for children is not one moment of success but a journey. On the way you may decide that writing for children is not for you. But if you love children – and love writing for them – and you’re willing to learn along the way, then go for it! (7th Edition) Originally published in 1998; updated by Jill Morris 2003. This edition updated September 2009 4 ASA: Writing for the Children’s Book Market AUSTRALIAN CHILDREN’S BOOK PUBLISHERS We suggest you use this list as a starting point. Publishers’ submission policies will change from time to time, therefore it is advisable to contact each publisher to establish submission guidelines (including changes of address and changes in corporate ownership) before sending unsolicited manuscripts. Please note that some publishers on this list will only accept manuscripts through recognised agents. Details were correct at the date of publication. The ASA accepts no responsibility for changes made since. A&A BOOK PUBLISHING PO Box 449, Leichhardt NSW 2040 Ph: (02) 9564 6808 Email: [email protected] Web:www.aampersanda.com ABC BOOKS GPO Box 9994, Sydney NSW 2001 Ph: (02) 8333 3963 Fax: (02) 8333 3888 BLACK DOG BOOKS 15 Gertrude St, Fitzroy VIC 3065 Ph: (03) 9419 9406 Fax: (03) 9419 1214 Email: [email protected] Web:www.bdb.com.au BOYER EDUCATIONAL RESOURCES PO Box 255, Glenbrook NSW 2773 Ph: (02) 4739 1538 Fax: (02) 4739 1538 Email:[email protected] Web:www.boyereducation.com.au CENGAGE LEARNING AUSTRALIA Level 7, 80 Dorcas St, Sth Melbourne VIC 3205 Ph: (03) 9685 4111 Fax: (03) 9685 4199 Email:[email protected] Web:www.cengage.com.au DISCOVERY PRESS 218 Pakington St, Geelong West VIC 3218 Ph: (03) 5223 1660 Fax: (03) 5223 2313 Email: [email protected] Web:www.discoverypress.com.au 5 ERA PUBLICATIONS PO Box 231, Brooklyn Park SA 5032 Ph: (08) 8352 4122 Fax: (08) 8234 0023 Email:[email protected] Web:www.erapublications.com FORD STREET PUBLISHING 2 Ford St, Clifton Hill VIC 3068 Ph: (03) 9481 1120 Fax: (03) 9481 1123 Email: [email protected] Web:www.fordstreetpublishing.com FREMANTLE PRESS PO Box 158, North Fremantle WA 6159 Ph: (08) 9430 6331 Fax: (08) 9430 5242 Email:[email protected] Web: www.fremantlepress.com.au FUTURE TRACK AUSTRALIA PO Box 369, Mount Hawthorn WA 6915 Ph: (08) 9444 5458 Fax: (08) 9444 6698 Email:[email protected] Web:www.futuretrack.com.au GREATER GLIDER PRODUCTIONS 8 Rees Lane, Maleny QLD 4552 Ph: (07) 5494 3000 Fax: (07) 5494 3284 Email:[email protected] Web:www.greaterglider.com.au HACHETTE AUSTRALIA Level 17, 207 Kent St, Sydney NSW 2000 Ph: (02) 8248 0800 Fax: (02) 8248 0810 Web:www.hachette.com.au ASA: Writing for the Children’s Book Market HARDIE GRANT EGMONT Private Bag 1600, South Yarra VIC 3141 Ph: (03) 8520 6444 Fax: (03) 8520 6422 Email:[email protected] Web:www.hardiegrant.com.au HARPERCOLLINS PUBLISHERS AUSTRALIA PO Box 321, Pymble NSW 2073 Ph: (02) 9952 5000 Fax: (02) 9952 5555 Web:www.harpercollins.com.au HINKLER BOOKS PTY LTD 45-55 Fairchild St, Heatherton VIC 3202 Ph: (03) 9552 1333 Fax: (03) 9558 2566 Email:[email protected] Web:www.hinklerbooks.com INTERACTIVE PUBLICATIONS PTY LTD Treetop Studio, 9 Kuhler Crt, Carindale QLD 4152 Ph: (07) 3324 9319 Fax: (07) 3324 9319 Email: [email protected] Web: www.ipoz.biz NEW FRONTIER PUBLISHING Suite 3, Level 2, 18 Aquatic Drive Frenchs Forest NSW 2086 Ph: (02) 9453 1525 Fax: (02) 9975 2531 Email:[email protected] Web:www.newfrontier.com.au PAN MACMILLAN AUSTRALIA Level 25, 1 Market St Sydney NSW 2000 Ph: (02) 9285 9100 Fax: (02) 9285 9190 Email:[email protected] Web:www.panmacmillan.com.au PASCAL PRESS PO Box 250 Glebe NSW 2037 Ph: (02) 8585 4044 Fax: (02) 8585 4052 Email:[email protected] Web:www.pascalpress.com.au PENGUIN BOOKS AUSTRALIA PO Box 701, Hawthorn VIC 3122 Ph: (03) 9811 2400 Fax: (03) 9811 2620 Web:www.penguin.com.au KOALA BOOKS PO Box 626, Mascot NSW 1460 Ph: (02) 9667 2997 Fax: (02) 9667 2881 Email:[email protected] Web:www.koalabooks.com.au PICK-A-WOO WOO PUBLISHERS PO Box 178, Nannup WA 6556 Ph: (08) 9756 1818 Email:[email protected] Web:www.pickawoowoo.com LITTLE HARE BOOKS 8/21 Mary St, Surry Hills NSW 2010 Ph: (02) 9280 2220 Fax: (02) 9280 2223 Email:[email protected] Web:www.littleharebooks.com RANDOM HOUSE AUSTRALIA Level 3, 100 Pacific Highway Nth Sydney NSW 2060 Ph: (02) 9954 9966 Fax: (02) 9954 4562 Email:[email protected] Web:www.randomhouse.com.au MAGABALA BOOKS PO Box 668, Broome WA 6725 Ph: (08) 9192 1991 Fax: (08) 9193 5254 Email: [email protected] Web: www.magabala.com SCHOLASTIC AUSTRALIA PO Box 579, Gosford NSW 2250 Ph: (02) 4328 3555 Fax: (02) 4323 3827 Email:[email protected] Web:www.scholastic.com.au 6 ASA: Writing for the Children’s Book Market UNIVERSITY OF QLD PRESS (UQP) PO Box 6042, St Lucia QLD 4067 Ph: (07) 3365 7244 Fax: (07) 3365 7579 Email:[email protected] Web:www.uqp.com.au MANIA 78 Renwick St, Redfern NSW 2016 Ph: (02) 9699 0333 Fax: (02) 9310 2012 Email:[email protected] Web:www.nextmedia.com.au WALKER BOOKS AUSTRALIA Locked Bag 22, Newtown NSW 2042 Ph: (02) 9517 9577 Fax: (02) 9517 9997 Email:[email protected] Web:www.walkerbooks.com.au PEARSON EDUCATION MAGAZINES 3 magazines, for different age groups: Comet (5-7 year olds) Explore (8-10 year olds) Challenge (11-14 year olds) PO BOX 1024, South Melbourne VIC 3205 Ph: (03) 9811 2800 Fax: (03) 9811 2999 Email: [email protected] Web:http://www.pearson.com.au/Schools/ Magazines/ WORKING TITLE PRESS 33 Balham Ave, Kingswood SA 5062 Ph: (08) 8271 6665 Fax: (08) 8271 0885 Email:[email protected] Web:www.workingtitlepress.com.au THE SCHOOL MAGAZINE 4 magazines, for different age groups: Countdown (8-9 year olds) Blast Off (9-10 year olds) Orbit (10-11 year olds) Touchdown (Advanced primary readers) The School Magazine, Private Bag 3 Ryde NSW 2112 Ph: (02) 9886 7754 Fax: (02) 9886 7769 Email: [email protected] Web:www.curriculumsupport.education.nsw.gov. au/services/schoolmagazine/ AUSTRALIAN JOURNALS FOR CHILDREN DISNEY ADVENTURES GPO Box 4088, Sydney NSW 2001 Ph: (02) 9282 8000 Fax: (02) 9267 3625 Web:www.acp.com.au JUST KIDDING PO Box 303, Yarra Glen VIC 3775 Ph: (03) 9730 2393 Fax: (03) 9730 2120 Email:[email protected] Web:www.justkidding.com.au K-ZONE 35-51 Mitchell St, McMahons Point NSW 2060 Ph: (02) 9464 3300 Email: [email protected] Web: www.kzone.com.au SCIENTRIFFIC PO Box 225, Dickson ACT 2602 Ph: (02) 6276 6017 Fax: (02) 6276 6641 Email:[email protected] Web:www.csiro.au/helix/scientriffic Correct as of September 2009 Australian Society of Authors ABN 26 008 558 790 PO Box 1566, Strawberry Hills NSW 2012 T: 02 9318 0877 | F: 02 9318 0530 [email protected] | www.asauthors.org Copyright © 2010 Australian Society of Authors Detail from ASA Medal design by Darrell Sibosado