CHILDREN’S LIBRARIANS!
Use Your Skills to Fill Your Collection Gaps
How many times have you gone to the shelves and muttered, “Someone needs to write a good book on ant farms”—or some other as-yetunresearched topic. Or perhaps the current book you need hasn’t been written yet to replace out-ofdate materials. We all bump into collection gaps. But most of us never do anything about it—other than perhaps mentioning it to a publisher at a conference.
But there is something we can do. And as resourceful librarians, we are in a unique position to do this. We can research and write the book we need.
As children’s librarian at Bothell Public Library, I was constantly approached by parents who had been asked to handle Skit Night for outdoor education week. They felt they needed a good book of skits. And they needed it desperately. I tried to explain: “You don’t need a book of skits. Someone who has been to camp before will say ‘At Camp Lakewood we did this great skit last summer.’ And another child will chime in with ‘At Camp Seabeck we did this skit.’ Then you simply choose the skit your cabin wants to do.” Of course this did not reassure anyone at all. There were only a couple of skit books left in our library system, both so worn out that they had long ago been withdrawn from branch circulation.
While chatting with publishers at ALA, I proposed the notion of a new skit book. The idea took hold and I started work on the project. Of course, as a librarian, my first approach was to order up all the skit books available in any library anywhere. But after reading through those, I realized that this was not the approach I needed. What I needed to do was to ask kids for skits.
Collecting skits proved easy. I had two teenage daughters, so I planned slumber parties and coaxed out of the girls every skit they could remember. I tackled Boy Scouts in the library, and I queried every teen that I met. When I had 101 skits, I stopped, typed up the manuscript, and sent in the book. That was the easiest book I ever wrote—er, compiled.
A few years later, my family was sitting around the kitchen table at our Guemes Island summer home singing rounds. Then we came to a stop. Surely there were more rounds out there. But none of us could think of one. Time to research a round book! A search showed not many round collections. I began to collect rounds from young singers I knew. Our family tried out rounds in collections I ordered up on interlibrary loan, searching for good rounds that might be lying fallow and just needing a new crop of singers to bring them to life.
Because this project involved music, in which I was less expert, I asked a friend to help. When I mentioned rounds, Winnie Jaeger ran to her closet and lugged out a box full of rounds. She and her partner, Mary Whittington, are avid recorder instructors and had a houseful of music. Now I had a whole new lot of rounds to select from. And because Winnie had been born and raised in Germany, we ended up including some German rounds as well. One thing led to another and soon we were hosting a round sing at their home. Their recorder-playing friends arrived and we passed out rounds and sang and played an evening away just to make sure the rounds in the book were as much fun as they looked to be on paper. So The Skit Book received a companion: The Round Book.
Finding a press for this type of book is not as difficult as trying to find a publisher for your novel or picture book. Consult publishers’ catalogs to see who might be interested in the nonfiction topic you think needs treatment. Check your shelves to see which publishers produce books similar to the one you would like to write. Do your research well, and approach only publishers who might be able to use your book in their line. You won’t want to write the whole book before you find a publisher, but you will need to do enough work to show them exactly what such a book would include. Explain in your proposal why such a book is needed. The publisher will expect you to have researched and be able to show what books already exist on this topic. These books may be out of date or may not cover the topic as extensively as you plan to do. In what way will your book appeal to the library buyer? If libraries already have five books on frogs, why would they buy yours?
Sometimes, you have an idea for a book that just must be written. So you go ahead and write it, on the faith that it will eventually see the light of day. This was the case with my eight-hundred-page tome, The Storyteller’s Sourcebook: A Subject, Title, and Motif-Index to Folk-Literature. When studying anthropology at Indiana University, I had used the Stith Thompson Motif-Index of Folk-Literature. I remember sitting on the floor in the closed stacks of the old library poring over the descriptions of world folktales in amazement. I could look up a topic— frogs—and find tales about frogs from all over the world. Later, as a children’s librarian, I needed such a tool. But the massive Stith Thompson work wouldn’t help. It indexed scholarly sources available in research libraries. I needed the same sort of index, but one that would index the folktale collections in my children’s library. “That could be a fun project,” I thought. So I began to compile just such an index. After a couple of months, I began to realize the enormity of the project I was tiptoeing toward. I wrote to a colleague, Anne Pellowski, for advice. Was I really foolish to attempt this? Would my index be different enough from the Faxon indexes? Those included subject indexes but not motif indexes. And they did not describe tales in the way my motif index would do. Anne encouraged me. So I plunged forward. Anne wrote a letter to the ALA publishing division encouraging them to publish the work. They turned it down. But I was hooked by now. I worked on the project for eleven years—and wept through ten rejections by publishers who gave me great encouragement for a while and then got cold feet on the project. But I did not give up. And eventually Gale Research published the book in 1982.
What can you learn from my experience?
Who better to write fine picture books for children than those who use them daily? As children’s librarians, we have accumulated years of experience in the use of picture books with children. Reading aloud over and over, we come to have a sixth sense of what works and what does not flow off the tongue quite so well. Letting this sense guide us, we are in a position to create picture books that will prove themselves truly worthy of storytime.
My own method is based on oral sharing with multiple audiences. This might not work for everyone, but it is one way to hone a text. I begin with a folktale that I think would be great fun to share with the children. You could also begin with an original story you have created that you think has good child appeal. Be sure that the story really excites you. You are going to be sharing this story again and again for many years. So choose a tale with staying power.
Now that you have your story idea, the work begins. Tell this story to many, many groups of children. It helps if you can tell the story rather than read it at this point. The oral telling allows the words to shift and flow and settle themselves into their most listener-friendly patterns. Minor plot points may shift, too, as you respond to your audiences. Seek out diverse audiences to practice your tale on. Each audience will respond in a different way; each will draw something new from you and from your story.
Once the story has settled itself into a predictable form—one that is fairly stable and has stopped morphing radically, it is time to get it down on paper. You can just sit down and type it out, or you can tape your own performance of the tale and transcribe that, to make sure you get it down just as you are telling it.
Now that you have fixed the text in print, another round of editing begins. Is this really the way you want your tale to appear in print? Are there different word choices you would make? Will the tale sound as fine in the voice of another reader as it does in your practiced presentation?
The proof in the pudding is in the speaking in this case. Give your text to a friend and listen as he or she reads aloud. Keep a copy of the text in your hand and mark any spots where the reader stumbles or where the sound of the language seems awkward. Rewrite and try it on another friend. I finalize my editing by asking young men who are family friends to read the texts aloud. They know nothing of the skills of story reading. I want my picture books to sound just as well in the voice of a father reading to his child as they do in the library storytime. So I test them on people who are unskilled reading aloud.
OK, the story is working well, even in unpracticed readings. It is ready to send off to a publisher— probably again and again and again. You will have a better chance with publishers if you have a personal contact, so don’t be shy about asking the editors met at conferences if you can send your story to them personally. But be sure your manuscript is worthy of their time before you ask this favor.
The work of a children’s author is just that— work. It is a full-time job, not an avocation. To hope for success in the field, one must do all the things that are required of any other field. The first step is to join the professional organizations: the Society of Children’s Writers and Illustrators (www.scbwi.org) is a must. Attend their meetings and conferences. Find a writer’s support group. Organize your time so that you have regular periods to write. And create more than one manuscript worthy of submission. Publishers want to publish authors, not accidental onetime picture book creators.
Once the picture book is accepted and given to an illustrator, you will have a final chance to hone that book. You will receive the black-and-white illustrations from the illustrator. At this time, you get to see the vision of another person for this story. The illustrations will not be quite what you had expected. Paste up a dummy using your text and the illustrations and read it to groups again. You may need to do slight rewrites to make sure that your words truly match what the illustrations are showing. Watch the page turns and make sure the language is flowing beautifully as the book moves from page to page. I always read the dummy to many groups at this stage, making minor alterations to the text after every reading. This is the fine-tuning that makes the book truly speakable for the end user.
Now you have a picture book to be proud of—one that has been created, shaped, honed, and fine-tuned through use of your skills as a children’s librarian, one from which other children’s librarians will benefit for years to come or at least until the book goes out of print (sigh). But that is another story.
My first picture book, Dog Tales: The Adventures of Smyles, debuted at a book-release party hosted by my publisher. More than two hundred people joined the celebration, and I inscribed books for attendees for nearly two hours.
Even though I was a first-time author, the publisher was so confident in my main character Smyles’s viability that it produced a plush toy to merchandise with the book.
Today, nearly every child under the age of seven in Ames, Iowa, and surrounding areas owns a copy of my book, as does virtually every day-care site and preschool classroom.
How many first-time authors can say all that?
My publisher is Ames Public Library, where I’m a library assistant in Outreach Services. Smyles, the book’s main character, is the library’s mascot. Dog Tales was published in conjunction with Project Smyles, Ames Public Library’s early literacy outreach program.
What better promotional tool could a library hope for than a book? Yet, to my knowledge, Dog Tales is the only book of its kind in existence: a book written about a specific public library, for that library’s youngest customers. If you’re a librarian who writes, you’re uniquely suited to express your love of reading and libraries by writing a similar book.
Several years ago, Ames Public Library retired its road-weary bookmobile and replaced it with a new one. Because we had hoped the new bookmobile would perform a promotional role in addition to serving as a mobile library, we took special care in designing its exterior vinyl graphics. The graphics portray a neighborhood scene, populated by people of various ages and featuring local landmarks. The focal point of the neighborhood is a large tree. A sign touting the bookmobile as “Your Neighborhood Branch” hangs from one branch. Under the tree, a blue dog listens as his human companion reads to him from a book titled Dog Tales.
The new bookmobile evolved, as envisioned, into the library’s premier promotional vehicle. Soon, a custom-made mascot, Smyles, a two-legged incarnation of the blue dog from the bookmobile’s graphics, joined the bookmobile to further its promotional role.
Chances are that your main character won’t be as obvious as mine. Search your library carefully. The perfect protagonist will find you.
To connect readers to your library, your main character must be organic rather than stemming purely from your imagination.
Around the time that the new bookmobile debuted, I began three new seemingly unrelated projects at work. One was to develop a proposal for a new outreach initiative, whereby the library would serve children in day-care and preschool settings.
Another was to develop a branding campaign. Through regular appearances, Smyles was achieving excellent brand recognition. The public recognized Smyles as the library dog, and they clearly loved him. We’d brand Ames Public Library with Smyles and his print image. Think Smyles; think Ames Public Library. Love Smyles; love your library.
The third project was to write a book. If the blue dog on the bookmobile’s side could come to life in the form of our mascot, Smyles, I reasoned, his book, Dog Tales, could become an actual book. We’d discussed creating a coloring book. This is a library, I thought. Why not publish a picture book?
Think of all the stuff libraries sell or give away to promote or fund-raise or as incentives for reading: bookmarks, book bags, coffee mugs, pens, magnets, and so on. None of these says “library” like a book.
As I worked on these projects, their objectives, once distinct, began to coalesce in my mind. I realized that a custom picture book was the key both to a one-of-a-kind early literacy program and to branding and promoting the library.
By sending librarians to day-care centers and preschools to provide storytimes and deposit collections, we’d create lifelong readers. If we ensured that the children connect this service to the library, we’d create lifelong library users.
We planned to give each child a free book through Project Smyles to expand children’s home libraries. That book could be one of any number of popular picture books, or it could be Dog Tales. Home libraries would grow, as would good feelings about Ames Public Library.
At Ames Public Library, we had Project Smyles. When you’re looking for a hook, consider tying your book into a bigger, already-sanctioned project:
By piggybacking with another project and identifying shared goals, you may discover a potential source of funding.
In Dog Tales, Miss June, a bookmobile librarian, goes out of her way to welcome Smyles and his dog friends to her outdoor storytime, portraying libraries as inclusive and welcoming and librarians as approachable and friendly. Because I envisioned the book’s illustrations featuring likenesses of the Ames Public Library and bookmobile and, of course, Smyles, the book was a perfect branding tool. Who would argue against a book that would accomplish so many objectives?
I developed a comprehensive work plan for implementing Project Smyles. I prepared a plan for systematically branding Ames Public Library, using the Smyles character and his image. I positioned Dog Tales as the cornerstone of both projects. When I presented the plan to the library’s board of trustees they applauded. Two months later, they approved a funding package, giving me the go ahead on all three projects.
When you are working on the nuts and bolts of your work plan, be sure to delineate each step in the publishing process and target completion dates, the person responsible, and detailed cost estimates. Key steps include
Funding exists for virtually any worthy project. First, identify specific, valuable, realistic outcomes. For example, Project Smyles receives grant funding related to school readiness and early literacy development. Here are some ideas for finding funding for your project:
I learned the basics of producing a picture book from books about self-publishing in our library’s collection.
Project Smyles and Dog Tales have exceeded all expectations. Smyles is well known and well loved. And I’m a published author. Picture yourself reading your new book to a smiling, supportive crowd at your book release party. Now make it happen. I did!
For many, writing for children means writing a book. But there is a whole world of writing for children in children’s magazines. Articles are satisfying and rewarding to research and write, and they can lead to publishing credits that can help in getting your book published, if that is your goal.
No matter what you like to write, a market exists for it in a children’s magazine. This includes
Do you like history and doing research in that field? Then you may want to write for Calliope, Cobblestone, or Dig. Is health and fitness your passion? Then try the magazines in the Children’s Better Health Institute group, such as Turtle or Jack and Jill. How about articles on timeless and traditional activities? Look into Hopscotch or Boys’ Quest. If you like to write about religious themes, many children’s magazines for a variety of faiths are looking for writers.
In addition, if you have the background or experience, you may be well qualified to write for specialty magazines that cover such wide-ranging topics as science, horses, dance, cheerleading, and more.
Editors look positively on librarians who write (because they know how to research) and teachers who write (because they know how to explain things). A plus if you are both!
So what is the best way to break into the children’s magazine field?
First, familiarize yourself with what is out there. Go to your local bookstore—one with a sizable magazine selection—and look for the kids’ titles. You will see some old favorites that you remember from childhood, as well as new ones that are unfamiliar. If you work in a public library and have not browsed the current magazines in the children’s area for a while, take a look.
You will see that there is an article for every child: humorous stories, articles for kids who like to make things, high-quality literary fiction, stories about kids who are making a difference in the world, celebrity profiles, mystery stories, puzzles of all types, science fiction stories, and much more.
Think about what you like to write or feel that you have a talent for, and prepare to go into more depth in your search for the right market for your work.
One common mistake of beginning writers is that they do not spend enough time in market research. The time you spend locating the magazines that are right for your story or article is well worth it; sending your work out to just any publication is a scattershot approach that more likely than not will end in rejection.
How can you find the best places to submit your work? Study the following sources. These books are available at bookstores or should be at most public libraries in the reference area:
Children’s Writer’s and Illustrator’s Market. Cincinnati, OH: Writer’s Digest Books, annual. Look in “The Markets” section for “Magazines.” Here you will find a list of children’s magazines and the preliminary information you need to submit your articles: addresses, phone numbers, and websites; editors’ names; what types of material are needed; and how to contact. This is the information that editors want you to have so that they receive stories and articles that they can accept. Of course, there is much more to this reference tool, including book markets, lists of organizations, and helpful articles by published authors who were once just starting out, too.
Writer’s Market. Cincinnati, OH: Writer’s Digest Books, annual. This is the market source for writers of all types, and while the listing of children’s magazines under “Juvenile” is small, it is worth examining. Also check out the “Journalism and Writing” magazine section for titles of magazines to buy or subscribe to that will help you in your writing. As with the preceding title, this guide also features articles with great information for beginning and established writers.
The short entries for each magazine in the market books provide the basics for submitting. Most magazines publish more extensive writer’s guidelines, which are invaluable for writers who want to submit articles successfully. In most cases, you can send for these guidelines with a letter and SASE (self-addressed stamped envelope). Many publications also include their writer’s guidelines on their website.
Educate yourself about writing and publishing by reading periodicals for writers. Especially helpful are Children’s Writer, a monthly newsletter, and the monthly magazines The Writer and Writer’s Digest, which are for all writers, with occasional articles about children’s writing. All three of these sources also include listings of markets.
You may wish to join the Society of Children’s Book Writers and Illustrators (SCBWI). Membership includes the Bulletin, a bimonthly publication, and access to other society publications and regional newsletters.
Send holiday or seasonal material well in advance of that time, usually six to nine months ahead. Some magazines publish theme issues. Editors will want either every article, or the majority in that issue, to reflect this theme. Editorial calendars for these publications are available with the writer’s guidelines. Query first, unless the writer’s guidelines specifically state to submit the entire article. A query letter is a one-page explanation of your article idea and your qualifications for writing it. Be sure to enclose a SASE with your manuscript or query letter. Follow guidelines to the letter. If the word count on stories is stated as no more than 500 words, do not send a 550-word story, no matter how good you think it is. When you are looking through sample copies of magazines, pay close attention to the style of writing, types of articles, and any special features like sidebars, and then make sure your submissions to the magazine follow suit. And look through more than just one issue; four to six is a good sample. Zero publishing credits? Try local publications, such as newspapers or city or regional magazines to build up your published articles file.
If you have a good idea and can express it with a fresh approach, you have a good chance of breaking into magazine writing. Editors are always on the lookout for good new writers who they can work with. Eventually, editors may contact you with writing assignments. So do your market research, send in your best work, and you may have a long-term relationship with that publication. And remember, your writing will inspire, inform, entertain, and influence children. What could be better?