Publishing & Promotion

Distance Doesn’t Have to Mean Disconnection

By on July 24, 2020   /   For Kids, For Librarians, For Parents, For Teachers, For Writers, Publishing & Promotion  

Quick question.

What do you miss most?

I know. It’s a broad question.

But the truth is, most of us are missing something that we used to enjoy. Travel. Dinners out. Family gatherings. Weekends with friends. Browsing in the library or local bookshop. The list could go on and on.

I’ve been thinking a great deal about how the world has changed the way authors connect with readers. For those of us who write for children, connections with readers come by way of very important adults: parents, teachers, librarians, booksellers.  Like many authors, my life used to be filled with connection. I spoke at schools regularly. I said “Yes!” to every invitation to book-talk at a library, and I cherished the chance to sit at the signing table at a book store or book festival and ask a bright-eyed ten-year-old how to spell their name as I signed their new book.

But none of those things are happening right now. And I’m feeling it, big-time.

When all of my spring 2020 events were cancelled, I was hopeful. We’ll rebook in the fall. Fall is going to be so busy! But now we know that’s how it’s working out.

Here’s the thing:  Covid-19 doesn’t have to steal our connection. Authors and illustrators still want to meet our readers. We’re just going to have to get creative and think of new ways to make it happen.

Now, before I go on, let me say this:  Teachers, Librarians, Parents, Administrators, PTA presidents, all those who usually orchestrate author connections in schools:  You are swamped right now. You are trying to figure out how to do the impossible and you are nothing short of heroes who didn’t ask to be heroes. Thank you. Author connections are likely the last thing on your minds. So, tuck these ideas away for a day (and I hope that day comes sooner rather than later) when your routine is set, your students are in the groove, and the learning doesn’t feel so overwhelming. Then perhaps, you might come back to this post, this list, and we’ll find our connections once more.

Virtual Author Visits – What was once considered second-rate to the “real thing” is now becoming commonplace. And it doesn’t feel so second-rate at all. I had the privilege of meeting with two wonderful groups of students in May and June via Zoom and we all relished the experience. I’m in Ohio and they were in Texas and California. Bringing an author to your classroom doesn’t have to mean raising money for airfare and coordinating years in advance.  Many authors have revamped their author visit options to include small group visits with students in their own virtual classrooms. Some schools are meeting in person this fall with strict (and wise) rules prohibiting outside visitors. Authors are as flexible as ever. Virtual visits are alive and well! Check out authors’ websites or visit an author booking site such as StorySeer to find out how authors are still coming to schools and virtual classrooms.

Snail Mail is Back – What did your students like about the book they just read? What questions do they have for the author? Many authors answer mail from readers. To find out how to reach an author, check out their website for information about where to send mail. We love hearing from our readers more than just about anything else!

Story Time Has Gone Online – Your local library might be limited to curbside pick-up right now, but librarians have proven themselves some of the most adaptable folks on the planet (no surprise there!). Look at your library’s website or social media pages to see if authors are visiting virtually. Many of the summer events my fellow authors and illustrators had planned in Northern Ohio went to a virtual format instead of being cancelled.

Booksellers are our Best Friends – At first, booksellers were simply trying to figure out how to stay in business (and many still are trying to stay afloat, so buy local and buy indie. But now we realize that events that draw a crowd are not going to happen in the near future, so booksellers are finding new ways to connect authors and readers. I’m in the middle of a three-Saturday virtual Author-Led Book Club with a group of chapter book readers, and while this was all new to everyone participating, a local bookseller was willing to give it a go! Stay connected with your local bookseller. They have a lot to offer.

Remote Learning Resources from Authors and Illustrators –  The Society of Children’s Book Writers and Illustrators (SCBWI) has collected a mass of resources for teachers, librarians, and parents to support literacy and learning in the remote environment. From activities, to online readings, podcasts, and workshops, find everything in one neat location right here.

Family Virtual Author Visits –  What child wouldn’t love to have a one-on-one meeting with the author of their favorite book? Would a personal video conference with a beloved author be the perfect birthday present for the young reader in your life? A sign of the digital age, this new service that connects children with authors in virtual, at-home, meet-and-chats sounds like something that may have come out our current pandemic situation, but in fact Talkabook was underway prior to stay-at-home orders and online schooling. Click here to read about how it works.

NOTE: I would be remiss if I completely ignored the elephant standing before me as I type. So, I won’t. Some of the things listed above cost money. Not all, certainly.  Many book creators have always been generous with their time when it comes to answering letters, discounting school visits, making a limited number of appearances free of charge. But, when it comes down to it, authors and illustrators are professionals. Many earn half or more of their annual income with speaking engagements – and most have completely lost that income in 2020. Speaking as a creator who frequently visited schools, I can tell you that the lost income is difficult. But the lost connection is worse.  Most authors and illustrators will do what they can afford to maintain their relationship with schools, libraries, booksellers, and families.

If we’ve learned one thing in these past few trying months, it’s that distance doesn’t have to mean disconnection. Book creators can still connect with their readers in engaging, fun, and creative ways.  If you have more ideas on how to make this happen, put them in the comments below.  We love hearing from you!

 

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Writing and Illustrating Funny Poetry For Kids – Author Interview with Vikram Madan, and Giveaway

By on February 26, 2020   /   Author Interviews, Book Lists, Diversity, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers, Giveaways, Indie Spotlight, New Releases, Poetry/Verse, Publishing & Promotion, Writing, Writing  

At Mixed-Up Files today, we’re thrilled to have author-illustrator Vikram Madan. Vikram talks about his new book A Hatful Of Dragons that comes out on April 21, 2020. He also shares his exciting publishing journey along with other writing tips.

                                                           

 

  1. Tell us about A Hatful Of Dragons. What inspired you to write the book?

‘A Hatful of Dragons: And More Than 13.8 Billion Other Funny Poems’ is a quirky, eclectic collection of funny rhyming poems woven together with rich illustrations featuring recurring characters and sub-plots – a double dose of visual and literary fun for all ages 7 and up.

As a kid I loved both cartooning and writing poems but never thought of combining the two till I encountered, much later in life, Shel Silverstein’s work. I was instantly attracted to the concept of words and images working together to create a funnier experience. So much so that ‘A Hatful of Dragon’ is my third collection of self-illustrated funny poems featuring intertwined words and drawings.

 

  1. What would you want readers to take away from A Hatful Of Dragons?

I would love for readers of all ages to come away from this book with the idea that you can have a lot of fun playing with language and also with a desire to read more rhyming poetry.

 

  1. What were some of the most fun and challenging parts about writing A Hatful Of Dragons?

The poems in my original manuscript were largely disconnected from each other. While shortlisting the poems, Rebecca Davis, my editor, instinctively zeroed-in on the uniqueness of creating cross-connections between poems. As I developed the illustrations for the book, I had a lot of fun thinking of ways to interconnect the poems visually. For example, a main character in one visual might show up later in the book as a secondary character in another visual, helping create a cohesive, but weird, universe for the characters. I hope kids will have fun closely inspecting the illustrations for cross-connections.

The most challenging part of the book was stuffing 13.8 billion poems into 64 pages. 🙂

Actually I found doing the illustrations to be a challenge as I underestimated the sheer physical work required to get through multiple rounds of revisions and changes. Somewhat like running a marathon, most enjoyable, not while you’re doing it, but well after it is done. 🙂

 

 

Another challenge was coming up with a distinctive title for the book. The title poem ‘A Hatful of Dragons’ did not exist in my original manuscript. We thought of titling the book ‘There’s a Dragon in My Wagon’ but an internet search showed half-a-dozen books already had that title. Many other title poems from the manuscript did not pass internal sales and marketing reviews. I finally proposed ‘A Hatful of Dragons’ and once that title was approved, I had to then write a title poem from scratch worthy of the book. Talk about pressure! 🙂

 

  1. You began your writing career by self-publishing your work. How did the experience influence you as a children’s writer? How did you make the transition from self-publishing to traditional publishing?

Prior to self-publishing, I spent a decade trying to have my rhyming picture books and themed poetry collections published. I found agents and publishers reluctant to consider poetry. With rejections piling up, I actually gave up writing and submitting for a few years. However the itch never went away. In 2012, I spent a summer writing a fresh collection of poems. I decided then that if no one would publish my poems, I would publish them myself, which led to my first collection ‘The Bubble Collector’.

 

Once ‘The Bubble Collector’ was out, I realized writing the book was the easy part. Marketing, distribution, getting anyone to notice a self-published book, was incredibly hard (more so for us introverts!). I learnt that if I didn’t do the hustle, no one else would. With perseverance and leg work, I was able to get the book into local bookstores, gain a few favorable reviews and endorsements, and conduct some school visits. The book went on to win a 2013 Moonbeam Book Award for Children’s Poetry and was invited to apply to the 2014 WA State Book Awards. All in all, for a self-published poetry book, it did quite ok. The ‘hustling’, however, left me with deep appreciation for traditional publishing.

Upon completing the manuscript for my second collection (in 2015), I decided to give the traditional channel another shot. It took a year of querying agents before one, Rosemary Stimola at Stimola Literary Studios, expressed interest in the manuscript. (The modest success with the self-published book really helped my pitch). It took Rosemary another year to find a publisher, Boyds Mills & Kane. The publisher scheduled the book for a 2020 release, five years from when I finished the manuscript. Despite the slow pace of traditional publishing, I’ve really enjoyed working with my editors, Rebecca Davis and Barbara Grzeslo – the book is so much better than I could have made just by myself – and I’m looking forward to it being available everywhere without having to knock on doors, one at a time. 🙂

And since the second book was going to take five years, I squeezed out another self-published poetry collection, ‘Lord of the Bubbles’, in 2018, which went on to win a 2019 Moonbeam Award for Children’s Poetry.

 

 

  1. If you could tell your younger writing self anything, what would it be?

Although I was writing and drawing from a really early age, I didn’t take my art seriously because I couldn’t see how to traverse the gap between what I made and what I admired. With no insight into the creative journey, the learning process, the blood, sweat, and tears that every piece of art demands, I did not believe in my own abilities. My epiphany came when one day, as an adult, I accidently wandered into an exhibition of original Dr. Seuss manuscripts. Typewritten sheets covered with frustrated scribbles, crossed out over and over again in search of better options. I was stunned to realize that the ‘genius’ was in the incessant revision, the twenty attempts before something worked, the trying, trying, trying and not giving up. Looking at those manuscripts was the first time I thought to myself, “Wait, if this is how it’s done, then maybe I can do this too!” Thank you Dr. Seuss – I wish I could have sent my younger self to see that!

 

  1. Do you have any other advice/tips for writers?

In visual-art circles the running joke is that ‘Only the first fifty years are the hardest’. In other words, the ‘successful’ artists are the ones who find ways to persist. The same is true for writers. Patience, persistence, working on your craft, and never giving up! (And if you do feel like giving up, read a book, any book, by creative coach Eric Maisel).

 

Here’s a cool flip-through video that Vikram made for the book: https://youtu.be/XswGM2FLlBM

Seattle-area Author-Artist Vikram Madan grew up in India, where he really wanted to be a cartoonist but ended up an engineer. After many years of working in tech, he finally came to his senses and followed his heart into the visual and literary arts. When not making whimsical paintings and public art, he writes and illustrates funny poems. His books include ‘The Bubble Collector’, ‘Lord of the Bubbles’, and ‘A Hatful of Dragons’. Visit him at www.VikramMadan.com

 

Want to own your very own ARC of A Hatful Of Dragons? Enter our giveaway by leaving a comment below! 

You may earn extra entries by blogging/tweeting/facebooking the interview and letting us know. The winner will be announced here on March 2, 2020 and will be contacted  via email and asked to provide a mailing address (US/Canada only) to receive the book.

 

 

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Interview with Editor Jonah Heller – Peachtree Publishing Company Inc.

By on November 12, 2019   /   Book Lists, Common Core & NGSS, Diversity, Editor / Agent Spotlight, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers, Publishing & Promotion, STEM, Teacher Tips  

We are delighted to have with us, Jonah Heller, associate editor at Peachtree Publishing Company Inc.

Welcome to Mixed-Up Files, Jonah!

Hey, thanks for having me!

 

Could you share your editorial journey at Peachtree with us?

My editorial journey with Peachtree started shortly after I graduated with my MFA in Writing for Children and Young Adults from VCFA. I was fortunate enough to have a network of peers connected to Peachtree who helped advocate my intern application, and I did my internship with Peachtree in the summer of 2016. Through hard work, careful attention to detail, and routinely showering everyone with baked goods, I left enough of a positive impression that I was hired on as a publisher’s assistant on January 1, 2017.

From there, I was entering orders for sales, organizing mailings, proofing our catalog, and doing just about anything that needed an extra pair of hands while also training into editorial assistant work. As my supervisor left for other horizons—I eventually did take on more editorial work and started dipping into acquisitions by examining imports from Frankfurt and Bologna. It was great exposure to literature abroad and an excellent opportunity to develop my own taste and direction. Of course, the reward for work done well is—more work! So lots of paperbacks and reprints and editorial outreach as an assistant editor. And now I’ve been upgraded to an associate editor, so I’ve been set loose into the wilderness to go find exciting things and build my list. Woo!

 

What are some books you’ve worked on?

Peachtree is very well established in the picture book arena, so plenty of those!

In terms of middle grade: Peachtree is a smaller house, so that means it’s an all-hands-on-deck environment and everyone’s got their hand in the cookie jar at some point. I’ve helped proof various stages of our Charlie Bumpers and Nina Soni series. I’ve also overseen the paperback adaptation process for quite a number of our middle grade titles, which can involve anything from a new cover and revised back matter to substantial text edits and updates with the author.

                                               

Working on imports as an assistant, I adapted The Bookshop Girl from Scholastic UK and oversaw the illustration process from sketches to final art and cover. It’s a fun mystery about a girl who can’t read and has to save her family’s recently acquired bookstore from a shady con man. A good choice if you love whimsy and the idea of a mechanical wonder bookstore with rooms dedicated to rocket ships or pirate treasure aquariums.

What are some subjects you’d like to see authors tackle in middle grade?

Ultimately, I’d like to see them tackle whatever interests them. That’s the best place to start. But as far as my wish list for this group…

Themes: adventure, animal points of view, comedy, coming of age, contemporary, magical realism, mystery, wilderness survival,

Craft: character driven; compelling voice; page-turning digestible plot; 3-dimensional protagonist & antagonist

It’s one of those things, where I’ll know it when I see it and get into the first ten pages. So I try to keep a wide net cast. I would, however, especially LOVE ownvoices LGBTQ+ stories.

Could you share with us your ideas and goals when it comes to the representation of diversity in the books you publish?

Everyone should be able to reach out to literature and see themselves. That’s critical not only to a sense of belonging but also to establishing empathy for other walks of life outside of our own experience. I strive to be mindful and thoughtful in my acquisitions, because I don’t want a one-note list. I’d be very bored and disappointed with that and, ultimately, so would my publisher and our readers.

Putting that into practice: I don’t ever actively look to check off a box and then move on to something else. I don’t think that’s a good approach, nor a sincere one. My goal is to ultimately acquire talent from all walks of life, who can deliver an excellently crafted story while also offering authentic mirrors and varied experiences. I don’t want to just acquire you and your one book and then be done with it:  I want to build a long-lasting relationship with you and work on lots of cool things for years to come.

What are some common reasons for a manuscript to make it to acquisitions at Peachtree Publishing?

For middle grade fiction, it’s usually character- or voice-driven. You can really latch onto someone’s journey and empathize with their trials and triumphs if the writing lets you step close enough. It’s not really theme or topic that drives fiction for us; it’s a fully satisfying story and arc of growth. You walk away from the book, having had some sort of raw emotional experience that sticks to you and you carry around for a while.

Nonfiction: it’s not my area of expertise, admittedly. But this can be topic or theme driven at first and then develop into something that will ultimately be more for the institutional market. So, we’ll ask: how can this be used in the classroom? What makes it different and specialized from everything else already out there? How can we grow it further from this one book? Etc.

What advice do you have for writers who want to query you?

So if you’re unagented, I’m on snail mail at the moment. It’s not everyone’s favorite method, but it’s mine and it keeps me organized! You can find Peachtree’s address and submissions guidelines on our website, and if you were dutiful enough to read this then you’ll now discover that if you don’t put my name on the envelope, it won’t ever come to my desk.

My general wish list is above, but it’s always a good idea to check out a publisher’s catalog and see what kind of stuff they’ve done. That’s always step one. Ask yourself: does it feel like they’re a good fit for my work, or am I going to be an odd duck out here? Or, if they’ve done something similar: how is my work going to stand out?

As I’ve said, nonfiction isn’t generally my cup of tea. But maybe I’ll surprise myself one day.

I’m also probably not the right editor for a divorce or abuse story, unless it culminates in healing and/or some type of cathartic and triumphant resolution. Additionally, fantasy and science fiction haven’t been as prominent at Peachtree, so the pacing, world building, and character work has to be top-of-the-line.

Other tips:

  • Spelling the editor’s name right is cool
  • Showing up at their office in-person is not cool
  • Neither are frequent phone calls
  • Explore resources on writing query letters

What’s going on in Middle Grade at Peachtree right now?

I’ve been Americanizing an illustrated adventure from the UK, called Mr. Penguin. It’s Indiana Jones meets Sherlock, but with a penguin and a kung fu spider. So basically loads of fun.

                                         

 

Our Nina Soni series continues, and upcoming for 2020: we’ve bought the US text rights to Lavie Tidhar’s Candy from Scholastic UK. It’s an awesome film noir-like mystery following young detective Nelle Faulkner as she uncovers the shady underworld of candy smuggling in a town that’s outlawed sugar. We will be re-illustrating, so expect a fun story and a fresh American package!

Domestically, I’m on the verge of some exciting things I can’t share just yet. So stay tuned and be on the lookout for Peachtree’s middle grade!

 

Jonah Heller is an Associate Editor at Peachtree Publishing Company Inc. in Atlanta, GA. He graduated with an MFA in Writing for Children and Young Adults from the Vermont College of Fine Arts and earned his BFA in Dramatic Writing for Film and TV at the Savannah College of Art and Design. His editorial focus ranges from board book to young adult. Say hello on Twitter @jrheller87

 

 

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