Thursday, February 27, 2025
Why Book Banning Doesn't Only Harm Marginalized Readers
Tuesday, February 25, 2025
"Knowing your history is generational wealth" —Carole Boston Weatherford on the importance of children's books about Black history
This Publishers Weekly Q&A with seven children's book authors "about their books showcasing Black cultural and historical figures, and the importance of teaching young people about the full scope of American history" is full of insights and wisdom.
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Screenshot from the Publishers Weekly feature |
While the quote above by Carole Boston Weatherford resonated the most with me, there's so much more good stuff shared. Read the full Q&A with Kwame Alexander, Regis and Kahran Bethencourt, Ruby Bridges, Cheryl Willis Hudson, Andrea Davis Pinkney, and Carole Boston Weatherford here.
Illustrate, Translate, and Write On,
Lee
P.S. It's also a fun exercise to consider how would YOU answer the questions about your latest book (or even work-in-progress):
Why did you choose your subject?
How did you approach the research?
Why a picture book?
What do you want young readers to understand about your subject?
As book bans expand, why is it important to continue creating books that include this history for young readers?
Thursday, February 20, 2025
Reaching Distracted Middle Grade Readers in New Ways
There's been much talk lately about the fact that middle graders just aren't reading as much as they used to. The middle grade market is tough right now, and publishers are scrambling to figure out how to capture the hearts and minds of kids who'd rather be staring at a screen than a printed page. The jury's still out on whether COVID's to blame or if our digital world is simply creating shorter and shorter attention spans--it's probably a combination of those things and more--but we do know that we need new strategies to get kids reading.
Here are a few things that seem to be working:
Graphic Novels
The MG graphic novel market has been huge, and it's not showing signs of slowing down. I work at a Barnes & Noble, and I can attest to the fact that middle grade readers come out in droves for the newest big graphic novel release. Many books that were originally written in prose are being adapted into graphic novels as well. The Wings of Fire Series and the I Survived Series are great examples of books that sold extremely well in their original format and are now seeing a huge surge as graphic novels.
Shorter Books
I did a school visit the other day, and the librarian said she can't convince students to read a 400-500 page book anymore. Kids simply won't pick a book of that length up in the first place. Publishers have noticed this too, so they're looking for shorter MG novels these days. Books that are around 200 pages (40-50k words) seem to be in high demand.Christina Soontonvat's Legends of Lotus Island Series is a great example. These fantasy adventure books come in at only about 150 pages each, but each book has a satisfying story arc.
Highly Illustrated Novels
I've been seeing more and more highly illustrated MG novels on the shelf, a trend that I love. These books generally have a lower wordcount, just like those shorter books do, but they also have plenty of illustrations. These types of books have been around for a long time (Diary of a Wimpy Kid, anyone?), but they're becoming even more popular as a bridge from graphic novels to prose novels or as a bridge from chapter books written for younger readers (up to age 8) to novels written for 8-12 year olds.
One of my favorite examples of a highly illustrated series is The Area 51 Files by Julie Buxbaum. I recommend this one all the time at the bookstore, and it's always met with great enthusiasm!
Hybrid Forms
novels work well for reluctant readers because of the lower wordcount and because the increased whitespace tends to be less intimidating. Jarrett Lerner's A Work in Progress is a great example of an illustrated verse novel. Megan E. Freeman's Away uses news articles, text messages, letters, verse, scripts, and more to tell the story.
Tuesday, February 18, 2025
Your Book In The Spotlight. Two Minutes. What Would You Say?
Awards season comes with acceptance speeches for the lucky winners. Hands shaking with adrenaline and excitement as they unfold the paper so the winner can remember everything they wanted to say in the two minutes they have in front of the microphone before the orchestra plays them off the stage...
Which of course, inspires the exercise: what would you say?
You've worked so hard on your book, it's finally out in the world, and it has this moment in the spotlight.
And while your cheering section is watching, so are people who have never heard of you or your book before. What's your strategy?
Would you read a giant list of names to thank?
Would you share an anecdote about why this book is important to you – and hopefully others?
Would you acknowledge the other finalists?
Read the dedication?
Thank the judges?
Aim to make folks laugh? Cry?
Would you try to do it all?
Or would you do something else entirely?
Two minutes goes pretty fast, and while none of us control whether we'll have this opportunity, I hope it's a fun exercise for you.
Want to see how eight of your fellow #KidLit creators handle their book's moment in the spotlight? The online SCBWI Golden Kite Awards are this Friday Feb 21, 2025 from 4pm-5:30pm Pacific. You can attend for FREE – register here.
On a personal note, this exercise is real for me this year, with my The Gender Binary is a Big Lie a finalist in the Nonfiction for Older Readers category. So I have to prepare something to say... And yeah, that inspired this exercise for you.
Hope you'll join me and so many others in our #KidLit community for the online ceremony!
Illustrate, Translate, and Write On,
Lee
Thursday, February 13, 2025
Write the Book of Your Heart... Even If It's Not Sellable?
I'm going to tell you a secret. When I wrote The Song of Orphan's Garden, I had no idea if I would be able to sell it. This book doesn't follow the rules--it's a fantasy in verse, a genre that basically doesn't exist. It incorporates formal poems (in other words, not free verse, but poems that follow strict rules), and I didn't even stick to only the simple poetry forms that most middle grade readers would know, like haikus. No, I put a blitz poem and an awdl gywydd poem in my book! Why? Because I like them. Because, when I started writing this story, I wanted to feel free to play. I experimented. I failed sometimes, but each time, I got closer to something that felt right to me.
People often ask me why I wrote this story in verse. There's a school of thought that says you should only write in verse for very specific types of books: introspective stories that don't have a lot of external plot. Fantasy worldbuilding in verse is hard--and generally not recommended. So, why did I break all the rules?
Well, when I get the inevitable question of "why verse?," I point out that my story is certainly more introspective than your average fantasy. The book is about a world falling apart, yes, but it's more about two kids who are trying to keep their hearts and minds (and bodies!) intact while the world crumbles around them. So, there certainly are good reasons this story works well in verse. But the real reason I wrote it that way? Because that's the way it came to me.
This is the book of my heart. A story born from an image that stuck with me from a favorite childhood picture book ("The Selfish Giant" by Oscar Wilde). That image formed such an indelible imprint on my mind that it still haunted me forty years later. When I began turning that image into The Song of Orphan's Garden, I was writing for myself, partially as a way of processing my own feelings about the divisions and problems we were facing as a country and in the world (I started writing this book in 2019--there was a lot to process). I was already on submission with another book, hoping to hear good news at any time. So, I gave myself permission to write this one exactly the way I wanted without worrying about the MG market or the eventual editor who might read it.
Of course, you should pay attention to the old adage that says you should know the rules before you break them.
In the end, I got the book I wanted, and I also got a publishing deal. I can't guarantee that if you write the book of your heart in exactly the way you want to, the same will happen for you. But I can guarantee that you'll learn some things along the way!
Three middle grade books that broke the rules--and sold anyway:
Everything Sad is Untrue by Daniel Nayeri - This book is told in an unusual non-linear format, jumping between the present and memories, and incorporating myths as well.
Mightier Than the Sword by Drew Callander and Alana Harrison - This fun novel includes interactive elements where the reader completes puzzles, draws pictures, fills in words, and more!
Tuesday, February 11, 2025
Need a laugh? Or maybe a primer on how NOT to pitch an editor?
Check out this hilarious (and somewhat awkward) roundup of stories from children's book editors on the most inappropriate places and times they received a pitch...
Children’s Editors on the Worst Places They Were Ever Pitched
During a root canal? At a funeral? Being stopped at security in an airport (when the editor was late to their flight)? Those all really happened.
Meeting an editor in real life and wanting to pitch them does not mean you should. Empathy, people. Imagine if YOU were a children's book editor. Would you really want to be pitched while you were in the middle of labor? (And, by the way, if you do pitch an editor at a terrible time for them, you're not actually helping the chances of your work being seen in a good light.)
Thanks to Diane Roback at Publishers Weekly for pulling these together - and to the gracious editors who were able to look back with a sense of humor!
Illustrate, Translate, Write – and appropriately pitch on!
Lee
Thursday, February 6, 2025
Making the Most of Publishing Conference Contacts
With the SCBWI annual Winter Conference having just finished (in-person) and being just around the corner (online), I thought this was an ideal time to talk about how you can make the most of the contacts you make with agents and editors at this type of event.
First of all, I have to mention that I am a true SCBWI
success story. I met my agent (Deborah Warren of East West Literary) at a
regional SCBWI conference. I queried her shortly after and signed with her a
few months later. It was a perfect match!
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The Song of Orphan's Garden by Nicole M. Hewitt |
My agent story
So, how did this come about? My agent was closed to submissions, but she occasionally attended conferences and always allowed conference attendees to query her. I was able to use a special subject line to indicate I'd attended the conference. I also referenced her pitch session in my email and thanked her for the valuable information she shared. But, most importantly, I tailored my pitch based on what she shared. At the pitch session, Deborah indicated that she specifically likes to hear why the book you’re submitting is the book of your heart—why this is a book only you could write. This isn’t information most agents want in a query, and I normally would not have included it. But, of course, since she said this is something she looks for, I added a heartfelt message to my query with a note that it was specifically included for her. It worked! She requested a full and eventually signed me.
My road to publication was still a little
rocky (that book was shelved after being out on submission for some
time), but I didn’t give up. Two weeks ago I debuted with my middle grade
fantasy-in-verse The Song of Orphan’s Garden.
How to Best Leverage Your Contacts:
Here are a few tips:
Utilize agent/editor critiques
Many conferences give you the opportunity to get a critique from an industry professional. These often cost a little extra, but they can be invaluable. Getting feedback on a query and first pages can help you ensure your eventual submissions will be the best they can possibly be.
Don’t wait for perfection
Sometimes we avoid feedback until we’re
“finished” with a manuscript because we don’t want to submit less-than-perfect
work. But receiving notes earlier on in the process can give you valuable
insights that might help shape your story arc far beyond those first pages.
Before I had even completely finished my first draft of The Song of Orphan’s
Garden, I took advantage of an opportunity to get editor feedback on my
first pages and synopsis. I hesitated because it felt early in the
process, but it turned out to be a good strategy. The editor pointed out a possible
flaw in the storytelling (based on my synopsis) that greatly affected my planned
climax. Because I hadn’t yet written the full book, I was able to brainstorm
ways to avoid the pitfall—and I didn’t have to rewrite half the book to do it. I can say without a doubt that my final novel is much better due to this change.
Don’t get me wrong, I’m not saying you should submit work that hasn’t been polished or well-thought-out (I had written a good portion of the manuscript before submitting and worked for a long time on those first pages and my synopsis to make them the best they could be), but don’t fall into the trap of feeling like your work has to be perfect before an editor or agent can see it
But make sure you're ready before you hit send.
Most agents and editors will give you a timeframe (often up to a few months) during which you can send them a query—they want you to use the wisdom and knowledge you’ve gained from the conference to improve your manuscript before you send it. You don’t have to rush to query just because you attended. Take the time to digest and incorporate any feedback you’ve received and apply what you’ve learned.
Listen carefully and take notes!
Pay attention to industry professionals' wisdom and reference it in your query, if possible. As I mentioned, I tailored my query specifically to my agent’s desires. Agents and editors will often give you
clues about what they’re looking for, what they (specifically) like to see in a
query, and what piques their interest. Pay attention. Take notes. And then, if
your work aligns with their wishlist, query and make sure to mention the wisdom
you gained from them! If you spoke to the agent or editor in person or they did
a critique for you, mention something from the conversation or critique. Any
connection you make will help you stand out.
Format your submission emails properly
This seems like a silly detail, but it’s
important. There is almost always a special way to query agents and editors after
a conference, indicating in your subject line that you attended. This is an
incredibly valuable benefit. If you’ve done any research, you know that
agents and editors get hundreds, if not thousands, of queries in their inboxes.
This special wording will elevate you above the slush pile and get your query the added attention that just might be the edge you need. Make sure you read
each agent’s and editor’s instructions thoroughly and follow the instructions
given when you query so you don’t lose out on that benefit.
The publishing industry is tough to break into, so authors
need to use every advantage presented. Who knows, maybe that next agent or editor
you meet will be the one yes you need!
Tuesday, February 4, 2025
The SCBWI Golden Kite Award Finalists!
It was announced at this past weekend's SCBWI Winter 2025 In-Person Conference in New York City, and here are the finalists!
Congratulations to everyone whose books made it onto these lists - what a great reading list!
Picture Book Text
The Man Who Didn't Like Animals by Deborah Underwood (Clarion)
The Night Market by Seina Wedlick (Random House Studio)
The One & Only Googoosh by Azadeh Westergaard (Viking)
Emergency Quarters by Carlos Matias (Katherine Teagan Books)
Small Things Mended by Casey W. Robinson (Rocky Pond Books)
Picture Book Illustration
Eloisa's Musical Window illustrated by John Parra, written by Margarita Engle (Atheneum)
Joyful Song: A Naming Story illustrated by Susan Gal, written by Leslea Newman (Levine Querido)
The One and Only Googoosh written and illustrated by Azadeh Westergaard (Viking)
Rumi, Poet of Joy and Love written and illustrated by Rashin Kheiriyeh (NorthSouth Books)
Home in a Lunchbox written and illustrated by Cherry Mo (Penguin Workshop)
Middle Grade
The Bletchley Riddle by Ruta Sepetys and Steve Sheinkin (Viking)
The Deadly Daylight by Ash Harrier (Holiday House)
Finn and Ezra's Bar Mitzvah Time Loop by Joshua S. Levy (Katherine Teagan)
The Other Side of Tomorrow by Tina Cho, art by Deb JJ Lee (HarperAlley)
A Two-Placed Heart by Doan Phuong Nguyen (Lee and Low)
Illustrated Older Reader
Uprooted: A Memoir About What Happens When Your Family Moves Back by Ruth Chan (Roaring Brook Press)
Fake Chinese Sounds by Jing Jing Tsong (Kokila)
The Monkey King and the World of Myths: The Monster and the Maze by Maple Lam (Penguin)
Rover and Speck by Jonathan Roth (Kids Can Press)
Meet Me On Mercer Street by Booki Vivat (Scholastic)
Wagnificent by Bethanie Murguia (Roaring Brook Press)
Nonfiction Older Reader
Rising From the Ashes by Paula Yoo (Norton)
Spirit Sleuths: How Magicians and Detectives Exposed the Ghost Hoaxes by Gail Jarrow (Calkins Creek)
The Gender Binary is a Big Lie: Infinite Identities Around the World by Lee Wind (Zest Books)
Uprooted: A Memoir About What Happens When Your Family Moves Back by Ruth Chan (Roaring Brook Press)
Virus Hunters: How Science Protects People When Outbreaks and Pandemics Strike by Amy Cherrix (HarperCollins)
Nonfiction Younger Reader
Comet Chaser by Pamela S. Turner (Chronicle)
Ida B. Wells Marches For The Vote by Dinah Johnson (Christy Ottaviano Books)
One Day This Tree Will Fall by Leslie Barnard Booth (Margaret K. McElderry Books)
The Painter and The President: Gilbert Stuart's Brush with George Washington by Sarah Albee (Calkins Creek)
Fighting with Love: The Legacy of John Lewis by Lesa Cline-Ransome (Paula Wiseman Books)
Young Adult
Sync by Ellen Hopkins (Nancy Paulsen Books)
Girls Like Her by Melanie Sumrow (Balzer + Bray)
Trajectory by Cambria Gordon (Scholastic)
Kill Her Twice by Stacey Lee (Putnam)
The Breakup Lists by Adib Khorram (Dial)
Sid Fleischman Humor Award
On a Wing and a Tear by Cynthia Leitich Smith (Heartdrum)
Harriet Tells the Truth by Elana K. Arnold (Walden Pond Press)
The Truth About Fifth Grade by Kim Tomsic and Mark Parisi (HarperCollins)
The Great Zoodini by PJ Gardner (Balzer + Bray)
And on a personal note, it's thrilling to see my own The Gender Binary Is a Big Lie on the finalist list for Nonfiction Older Reader!
Everyone is welcome to attend the live online awards ceremony, save the date and time: February 21, 2025 at 4pm Pacific/7pm Eastern.
Illustrate, Translate, and Write On,
Lee