Best Children's Book Publishers for new AuthorsThe best children's book publishers for new authors
New Zealand Children's Publisher's Ascent -essa duder
There was once - about 1978 - a young mum of four who had an image of a novel for them. By some miracle, 35 years and about 50 volumes later, she could find it in a stale little carton. While we may be laughing at the subtext of this comment, the use of "children's books" as grown-up authors actually has some fine examples:
However, it is more often the other way around: well-qualified children's authors who use adult writing: Mandy Hagar, Gaelyn Gordon, David Hill, Bernard Beckett, Fleur Beale, Roald Dahl, John Marsden, J.K. Rowling. Under the Mountain is a long road to a successful career. To look at such a fallable" angels of return to the diversity of children", let's remember New Zealand from 1974.
Supported by his spouse, he has recently made the difficult choice of giving up his daily task and using a children's book - in his case four moderate success stories for adults. The biographer Rachael Barrowman says he wants to work for his two youngsters. One of them is just at literacy school.
He needs to earn a living for his own families; these grown-up fiction has earned him prices and interest, but not much of it. If one or more popular children's stories are a success, the bread-and-butter work of scriptwriting for One of the first TV soap, to be abandoned. We know that Maurice Gee has started a remarkable carreer as a productive writer for grown-ups, young grown-ups and kids.
However, for all of us, composing and releasing Under the Mountain is a precautionary story, despite the later popularity of the book, the accolades and the film, TV and drama revamp. He proposed to Faber, the English publishing house, in 1975 a sturdy script with the clumsy title The War of the Smiths and the Jones.
He said somewhat on the defensive that he still considered it "an interesting and expert play of youth literature in its current form" and spoke with the small but fine editor Christine Cole Catley. It began to negotiate for a co-publication, but finally, after further revisions and much to and fro, the script was adopted by Oxford University Press, New Zealand and the UK.
The book was triumphed in Dorothy Butler's Book Shop in 1979, gaining fervent criticism, accolades and a loyal legend. This childrens bestseller, still in press, took five years to develop and included four publishers, three books and at least three large new releases.
Under the Mountain is a new glory age. The tale behind Under the Mountain is telling us a lot about the reality of the release, then and now: the need for self-confidence, perseverance, the readiness, the sometimes arduous effort of rewriting and above all perseverance. I think of Tauranga's Sherryl Jordan, who for over seven years had written 12 fiction stories (none published) and 27 illustrated textbooks (three published) before she won a Choysa Fellowship that led to the release of the award-winning Fantasie Rocco in 1991.
However, I think Maurice Gee has produced more than one winning novel, the first of 14 remarkable novels for young people. When someone whose first novel was published three years later, I think Under the Mountain ushered in a new glory days for the New Zealand children's publisher. Sorry, in 1982, researcher Betty Gilderdale published A Sea Change, a full report on 145 years of New Zealand children's music?
How about the good authors and illuminators who are already beloved by many young readers: How about all the authors and illustrations who have been making materials for the school journal since 1907? Weren't the illustrated albums of Joy Cowley, Lynley Dodd and especially Margaret Mahy internationally successful in 1980? However, in the 1970s Mahy and Cowley and a few others such as Anne de Roo were released in the UK and the USA, with little advertising and no author festival to present populist authors.
No other prizes for children's literature were offered than the reserved Esther Glen for her writings and Russell Clark for her illustrations, and no classes for creativity or manuscripts were offered. Grown-up literature with people like Gee, Janet Frame, Maurice Shadbolt, Keri Hulme, Marilyn Duckworth, Witi Ihimaera, C.K. Stead and Fiona Kidman flourished, but in 1978 so few children's novels were released for the feared Elsie Locke, the 1965 writer of the 1965 Runaway Settlers classical, to create a long play for the listener that bravely urged Kiwi publishers to do something about it.
The New Zealand children's publisher's goodie. Wendy Harrex, who came back after six years of work with Oxford's iconic children's journalist Ron Heapy, saw Gee's novel as only the first of a growing OUP children's book. Joanna Orwin's two beautiful Ihaka stories and Jack Lasenby's disputed YA book The Lake were also featured.
Unfortunately, OUP's dedication to storybooks and serious literature for kids and YA did not last long beyond the ten-year period, but a new, light flare was lighted. Later on, Wendy Harrex, who was a member of Otago University Press, was also an exponent of the children's book prize. It was taken up in 1982 by the government printing house, later by AIM (on the assumption that literature and tooth paste are both good for children's health) and then by the New Zealand Post until 2014.
Accolades delighted publishers and bookshops, stirred press reports, press review, academia and, of course, boosted family, library and educational revenues. It was the first tipping point when New Zealand publishers reacted to the growing focus on New Zealand in curricula and teacher training, when they were able to exhibit a significant number of books on their bookshelves.
In the 1980s and 1990s it was reiterated with confidence that textbook export surpassed that of New Zealand wines. The radically new reader programs developed by Wendy Pye's Sunshine Schools and Avelyn Davidson in Shortland provided the small but beautifully crafted tales of Margaret Mahy, Joy Cowley, June Melser, Pauline Cartwright and many others.
Over the years, there has been an increase in interest from around the world and the boom in off-shore selling has also increased the opportunity for diverse and hard-working children's authors and graphic designers to actually lead a life of sustainability. In the middle of the 1980s, children's authors, graphic designers and publishers were able to submit applications for two large and other smaller scholarships to the QE2 Arts Council Literature Programme.
Being one of the jury for seven years who made a substantial amount of cash for the kids and YA authors, I used to love these day of making decisions, the tough discussions with sometimes quite astonishing results. Controversial was the advent of Creative New Zealand in 1994 with its neo-liberal stress on "contestability".
Children's authors and illuminators now faced grown-up authors, performers, dancers, potter, composer, playwrights, artists and theater groups. When the 1980s came to an end, the mastermind Margaret Mahy's astounding wealth of award-winning fiction and crazy illustrated textbooks was finally recognized in her own state.
Just like the just as productive Joy Cowley, who since about 1970 has written several beautiful books and more students than she or anyone can actually number. Until 1993, there were a hundred authors and graphic designers known for Ashton Scholastic enough to ask Tom Fitzgibbon and Barbara Spiers to compose the book Beneath Southern Skies, each contribution providing a brief bio and a critique of their work.
When the millenium was approaching, we had become a young writer and illustrator, a profession to be counted on and a strong and dedicated supporter. Organised by Storylines since 1993 for the next 23 years, this yearly storyline event, with storytelling and storytelling events, brought together virtually a hundred of authors with ten thousand kids in six large megacities.
Donations from Creative New Zealand, philanthropical foundations, community councillors and other organisations made sure that these activities were free of charge. Historylines has also introduced performance and new author recognition, along with the yearly notable book list in four categories. Now the New Zealand Post Award, which was led by experts and fiercely fought over, was well established, leading to greater awareness and promotion.
Now, publishers want authors to be good speakers too, good respondents have background stories that interest them. For those who are fortunate enough to be in front of large groups of young people, the Book Council's wonderful Book in schools program, which was established in 1972 and is spreading year after year, thanks above all to us.
Authors are now invited to give serious lectures on children's books for groups of adults and to perform at writing festival in New Zealand, Australia and beyond. Our torchbearer, the magic and wonderful Margaret Mahy, has won the country's highest civic honor: New Zealand's affiliation to the New Zealand Order of Elites, alongside New Zealand premiers, operatic choristers, industrial chiefs and Maori leader.
Meanwhile, Margaret Mahy has reached the top of the world: IBBY's Hans Christian Andersen Medal, which she was presented in Macau in 2006 for "her sustainable contributions to global children's literature". Included in our book prizes are thrilling newcomer such as Kyle Mewburn, Brian Falkner, Bernard Beckett, Sally Sutton, Melinda Syzmanik, Leonie Agnew, Donovan Bixley and Anna Mackenzie, as well as self-confident mid-careers such as Fleur Beale, David Elliot, Gwenda Turner, Ken Catran, Kate De Goldi, Mandy Hagar, Barbara Else.
In a few years, the highest distinction "Book of the Year" will be awarded to nicely composed and illustrated non-fiction, penguin and other bird literature, paintings, history and Maori myth and legend. Collectively, they lead to huge changes in the entire publisher sector. HarperCollins, a third one, reduces the size of the New Zealand offices and thus the children's census.
Others such as Reed Publishing, Hachette, Longacre, Mallinson Rendel, Pearson Education and Learning Medium either migrate or vanish wholly. Writers are hearing gruesome tales of slumps in turnover, of big and small bookstores fighting or even crippling. In my view, it is wrong for school children and adults to choose information rather than storybooks.
There is a major publishing house that refuses new scripts from three of their long-time, award-winning children's authors with hardly any review - I know I was one of them. Less publishers and fewer prints mean fewer opportunities for authors, right? Editors seem less interested in promoting an author's work. And even as a good publishing house outlay?
Is the lack of children's book reviews, interviewing and commenting (except around the award ceremony time) a clear indication that children's publications don't matter much in this state? A serious discussion about children's books as an independent and independent discipline does not have to be incorporated into the author's celebrations?
Aside from the romanticism, both here and worldwide, especially on the tide of on-line e-books, the truth is exactly the opposite: publishers for kids, commerce and education together, is a key actor in New Zealand total and has been for years. If one excludes education publishers, children's literature continues to predominate.
In 2008, the Society of Authors Honorary President, Owen Marshall, the premier author of shorts, stated that the childrens and youth literary style had "perhaps the most dramatic expansion and success", even though there had been a great heyday of commercially available non-fiction. All of his A-list of authors and graphic designers are among our most acclaimed authors in artistic and financial terms, and some have made an inroads.
Nine years later, he is even more strongly supported by the latest Nielsen BookScan numbers for child trafficking. In the last five years, overall book circulation in New Zealand has fallen by approximately 4%, while the number of copies of NZ's most popular children's literature has risen by approximately 3%. By 2016, children's literature made up more than a third of New Zealand's entirety.
When Nielsen began to collect data in 2009, there were 153 publishers (trade and education) that sold children's magazines in New Zealand. Remark: Of the currently 20 largest children's publishers in terms of value, 11 are small independent or self-publishers. For a more comprehensive perspective, the 2015 economic contribution of the New Zealand book publication sector was produced for Copyright Licensing New Zealand Limited.
By 2015, bookselling via conventional bookstores was at its highest level in four years; two years later, the numbers should be similarly positive. The book is published in New Zealand, directly contributing $167 million to GNP and employs nearly 3,000 people across the state. Education is still an important factor for the general positive mood and is exported to over 60 states.
Only the only shade over this jubilant scenery is the young adult publishers. Nielsen's numbers show little increase, despite some good YA publications in the last five years by Mandy Hagar, Brian Falkner, Fleur Beale, Kate De Goldi, David Hill, Bernard Beckett and (just after retirement) Maurice Gee. This is questionable, but I would dare the surprise shortage of energetic publishers advertising in their secondary school markets, with a corresponding shortage of teachers' and students' minds.
Aside from the further pattern of things YA, there are other readings that show the contributions of children's authors and illuminators to the publication of the nation's wealth and culture vibrancy - but not generally known. Look at the number of entries and the quality of the award. For several years now, the number of reference works submitted for the Book Trust's nationwide children's prizes and storyline notable book listings has been around 110 to 125 - far from the ten or so that were released in 1982 when Betty Gilderdale released A Sea-Chang.
Another action is the public credit law statistics. The $2 million state funding provides that New Zealand authors, graphic designers and editorial staff who register will be paid annually in acknowledgement of the availability of their works in a library. The sums are based on the number of 24 or more pages of a book in a library identified by periodic census.
Recent available data show that almost half of all sums paid for non-fiction for adults, 15% for literature for adults and 35% for children's literature and non-fiction. However, the top 20 authors, who earn from $10,000 to nearly $35,000, are children's authors with 35 or more titles in the system.
Taken together, 76% of the top 20 qualifying books were children's books and non-fiction books. In the last two centuries, three of us, Kyle Mewburn, William Taylor and myself, have spent three or more demanding years serving as the Society of Authors' President.
Joan de Hamel, Elsie Locke, Maurice Gee, Joy Cowley, William Taylor and Gavin Bishop were honorary presidents of the Society of Authors. For some, there have been prizes for a number of prestigious literature prizes against "adult" authors, including Mahy, Jack Lasenby, William Taylor, Joanna Orwin, Vince Ford, Mandy Hagar, Kate De Goldi, Bernard Beckett, Paula Green and Gavin Bishop, among others.
We have three of our friend's critical comments: The two Dorothy Butler, Joy Cowley and William Taylor; two, Margaret Mahy and Lynley Dodd, have authored serious works on their career internationally. During my 35 years as a publishing writer, I have often been told that the country's authors and graphic designers are conspicuous for the youth, even unusual in their collegiality and solidarity.
In his day it was a great writing effort that offered workshop and fun for the newcomer. On the whole, we do not make feats like the long and severe storm between the heavy weights of literature that erupted in 1990 with the unwise acquisition of a writer's apartment in Bloomsbury. Not surprisingly, for a while, harmful news was just to persuade the general press that authors in general were a quarrelsome and consistently unappreciative mob.
The Fat Man, Book of the Year 1995, Maurice Gee's compelling tale of harassment and vengeance, led experienced trader and writer Dorothy Butler to explain all round in Listener that "it was about robbing kids of their childhood". Paula Boocks Dare, Truth or Promise, the first New Zealand YA novel about a gay relation, triggered an uproar in 1998 by Islamic activists who complained until prime time TV.
Over the course of the week the general discussion revolved around the topic, the cursing, the gender, the drug, in two cases the desolate ends; only a few asked whether these were indeed excellent works of music. There must be more scrutiny, commenting and analysing of what is publicized and what is awarded - and not just when the doorman gets up - for the youngsters, who are undoubtedly affected by everything they do.
This is just the beginning: how to find a publishers, how to get their work of charity out there, on the bookshelves of the bookshops and in the hand of folks and schoolchildren. I have already given some: new publishers are opening up, national and international coverage of youngsters turning away from their monitors and turning back to reading, and bookstores are continually doing very well.
Was it always "as difficult to be published" as it is now? When we all agreed that our youngsters need the best we can offer, like ideal for everything else, shouldn't it be "hard to publish"? I was a novice writer, naïve and unaware of the ways of publishers, bookshops and the market.
Silent student novel writers like K.M. Peyton, Katherine Paterson and Susan Cooper, and as a young mother who allegedly only wanted to know about good literature for my four girls, I went to meeting and afternoon classes of the Children's Literature Association, precursor of storylines. The " write classes for children" are offered by experienced authors at colleges and polytech companies, including those run by schoolchildren.
Author-festival invites celebrities to tell their story and tell their work. There are several "How to" guides; Joy Cowley's Reading from the Heart, edited by Storylines, provides some of the whisest and most useful tips you'll find anywhere. The decline of the publishing company five years ago had a beneficial consequence: well-trained and seasoned internal copyediting staff who offered their services as assistants, copy editor, proofreaders, proofreaders and consultants for an appropriate fee.
This could be the best cash you ever spent. Through the New Zealand Society of Authors you can conduct script evaluation and tutoring programs for authors and illustrated artists, and you don't even need to be a member. Some publishers also provide tutoring options. Included in the three accolades for unreleased scripts - the Story Lines Joy Cowley Award for a text in a book of pictures, the Story Lines Tom Fitzgibbon Award for a novel for young people and the Story Lines Tessa Duder Award for a YA script - are cash and publishing offerings.
In Dunedin, the University of Otago offers an yearly residence, the only one specifically for children's authors. The Sapling, a welcome new and vibrant website, presents the latest developments and opinions on New Zealand's children's world. Prospective graphic designers are offered regular classes at various universities in the large centers.
Gavin Bishop's Storylines Award for illustrations provides the unreleased winners with crucial input and the opportunity to publish. The Sandra Morris illustration agency provides help and support for those already out there. Every two years, a prominent female artist is awarded the Mallinson Rendel Award by the Arts Foundation, a $10,000 award created by Ann Mallinson in remembrance of her late father.
Many possibilities thanks to the miracles of technique, we authors and illuminators now have unimagined possibilities of publication of 20, even ten years ago. No matter if you are a majorstream, small independent or independent publisher, or if you first try to find an agency here or abroad, the possibilities are more extensive than ever before.
A number of high-flying Kiwi authors - for example Brian Falkner, Bernard Beckett and Stacy Gregg - have found major publishers in the UK and America. Some have registered with Australia-based firms such as Walker Books and Text. Several New Zealand frahlings exist, and more than a few authors now have off-shore frahlings.
Although it is correct that most short lists and notable book lists are still ruled by the titles of conventional publishers, those who choose self-publication - such as Mark Sommerset, Kate De Goldi, Bruce Potter, David Riley, Stu Duvall, Des Hunt and Sue Copsey - have a significant effect.
From the evaluation of manuscripts through the editorial, designing and producing processes to publishing and promotional activities, the company offers its partners a range of arsenals. If you are bold enough to hold your book in your hands, you can order printouts, with editions of several hundred or thousand if you have the courage, and other prints on req.
Granted, the stan-dards differ tremendously, while bookstores are careful not to accept the more professional but well-meant sales effort, but if done with honesty and diligence, with the best advise that can buy the cash, self-publication is now a real option for some. This may be the only book you ever made. It might result in an offering from a major publishers and a good local author or illustrator who earns good moneys.
Or, for a minority, these gifted, hard-working people scattered with good fortunes, it could result in offerings from across the planet, global laws, translation, invitations to writer parties, film laws, glory and wealth. However, whatever the futures mean for each individual, what we should all appreciate is this meeting, more than a hundred of us together in our wish to be better authors or illustrations, to be made public and to tell our tales.
Launched so brilliantly by the Wellington Children's Book Association in 2009 to switch to Auckland and Christchurch every two years, the presence of these talented youngsters bears witness to our shared resolve to improve our play and realize our hidden aspirations. We will share opinions, technologies and policies and explore how to respond to pressing needs, such as many other works that will be released in the te rio and Pasifika language, and a fresh engagement in young adult literature.
Can I give my own example of specific awards for children's authors and illustrations? One of my teachers told me that my first book, this sailin' experience, was at last and for ever the book for a 14-year-old boys who was familiar with boating but had never been a scholar.
Most of you will have had similar moments: the heartfelt thanks of your parents for a favorite book at bed time. The esteem of a schoolteacher for a history that has captivated a schoolroom or a non-fiction book that has proven to be an excellent source. A 40-year-old mum of two tells you that she used to love your book when she was a kid.
The best of all, of children: the shy'Thank you for joining our school'. That book with the dog-ears they brought home so you can subscribe it. Serious little faces at author parties ask authors: Where did you get your notions? How long does it take to make a book?
And the encouraging thought that somewhere in the whole wide body of the earth an educated kid is going to read your book under the bedding, in the limelight of a beacon. An uneducated kid sits on the laps of a foreigner and perhaps enjoys his first contact with storyboard. That book might even be yours.
Longman Paul, 1982 Locke, Elsie, New Zealand Listener, c. 1978 Office of the Public Lending Right, Publishing Statistics provided by Booksellers New Zealand, Royal Canadian Broadcasting New Zealand, Disclaimer, Copyrights Licensing New Zealand Limited,