How to get into Children's PublishingWhere can I get into the Kinderverlag?
I felt a little embarrassed and gave the terribly disastrous answer that in view of my inexperience it would be "easier" to edit children's literature than adult music. I was not quite sure in which way I wanted to go at that time, and only after a ten-year break (more or less) had I re-entered the child's literature universe, so that I wasn't really skilled enough to commented on its relatively "lightness".
Now a year later, after reading a few more children's literature and completing my traineeship at Hot Key, it's a good moment to review my emotions for children's literature and the reason why I want to follow a child publishing careers through the all-powerful on-line discussions forums, that is.... the blogs.
The most important thing I have found is how often kids' literature is inventive. As an example from the recent book I was reading, one showed a teenager who had a hemophilia with potential impact on the world (Paula Rawsthorne's Truth about Celia Frost), another showed the line "What if God were a hot teenager?
" The youngest one was the youngest one, a little boy's capacity to shrivel the planet, which has the whole of the sun system in a state of uproar ("50% Fun" SHRUNK! by F.R. Hitchcock). It is my belief that this innovative approach is due to the fact that children's literature is less tied to the need for reality, since kids are just not the hard critic that grown-ups are (this does not mean that reality is totally ignored; I firmly believe that a tale will only be exciting if the character has a core of reality in its composition, is usable in any way), and so there is the possibility for wild, fanciful tales.
With this in mind, when it comes to mere escaapism, I think children's literature is difficult to be beaten! One other thing I have found is that there is an attractive carelessness or a feeling for having a good time in children's imagination that keeps these pages moving. In contrast, the literature of adults has the capacity to become tiring by meditating on death rates, exploring the dark side of man's character and literature claims.
This does not mean that serious issues are not covered in children's literature (often about separation, emotional separation of the parent and, towards the end of the young adult range, sexual intercourse and death), but they never get stuck in the middle of the plot. The last thing I found is that a good children's textbook never tells its readers anything.
Quite the opposite, children's literature often celebrates the fact that kids will be roguish; it is just part of the pleasure of being young (see the Penny by Joanna Nadin, The Secret Diary of Adrian Mole by Sue Townshend, Spud by John van de Ruit). This way, the children's textbooks give the kids the task of teaching educational and educational value and instead concentrate on storytelling an exciting one.
I have met some grown-ups who not only often, but solely enjoy reading children's books, and for the above mentioned reason it is very simple to recognize the allure. Maybe the formulation "child fiction" is too restricted (proposals by everyone?).
I would like to work for Kinderverlag? Now is the chance to see a broad palette of creative contributions from writers. It is the fact that it offers you a front-row position in relation to all the interesting new publications in the child publishing busines. It' s the wonderful variety of jobs that are done every single working day (during my stay at Hot Key I spend a few hour glueing thumbnail artwork onto thumbnail textbooks, which was very therapeutical for the record).
It' s your turn now, Hot Keys blogger - tell me, what do you like about children's literature?