German Kidlit Words, English is Long Overdue for

I am a native German-American writer, translator, and proofreader. I have been fascinated with languages since the fifth grade when we studied Latin as our first foreign language. The ancient history and culture of Rome, Pompeii, the aqueducts, and architecture intrigued me. I was hooked. Diving deep into this ancient time, culture, and way of life was truly captivating. Of course, cramming new vocabulary words every week was also tedious. So, when we finally started learning English in the seventh grade, a language that felt much more vibrant than Latin (a dead language), I was excited. I could read more contemporary texts and later books and magazines like Time and Newsweek. That made me feel very grown-up and mature.

As I got deeper into the English language, I read wider and different genres and recognized a few fully naturalized German words. 

Kindergarten, literally “children’s garden,” is essentially Preschool in Germany. It was introduced to English in the 19th century. Kindergarten began in the nineteenth century with German educator Friedrich Fröbel, who built on child‑centered ideas from Pestalozzi and Rousseau. In the 1830s and 1840s, he promoted music, nature work, storytelling, playful learning, and the iconic kindergarten circle time. He established the first Kindergarten in Blankenburg in 1837. 

The idea reached the United States in 1856, when Margarethe Schurz founded a German‑language kindergarten in Wisconsin. Her work inspired Elizabeth Peabody to open the first English‑language kindergarten in Boston in 1860. By the late nineteenth century, kindergarten had become established nationally.

A Doppelgänger “double walker” is a ghostly or uncanny double. It was first used by the 18th-century German writer Jean Paul. He actually invented the word and used a footnote to explain it. When the book was translated into English a little later, the word was left untranslated, and so it came into English.

Then there is Rucksack, or backpack, used especially for hiking. Lots of kids take their Rucksack, Knabberdose (Snack or Bento-style box), and water bottle to school and Kindergarten every day.

Soon, I discovered that many German words have no equivalent in English. When you come across them in translation, you have to set the scene differently to evoke the specific emotions that these German words hold. They carry whole worlds in one small, lovely bundle, and make young readers giggle, wriggle, or smile because they name something they’ve always known but never had a word for. A lot of them are also fun to say out loud. 

How about Kuschelecke? A perfectly cozy snuggle‑nook with fairy lights, full of pillows and stuffed animals, where stories are so much more fun. Your dream reading nook, with maximum coziness factor.

Quatschkopf (a lovable goof with endless potential for silliness) is an endearing term for kids who love being silly. I remember those after‑dinner moments when the laughter got so big my brother and I collapsed under the table, tears streaming down our faces. We could not stop. Every time I looked at him, I started again.

Silly goose is probably the best match and also holds the same lovable endearment. 

Fingerspitzengefühl (the gentle, intuitive touch that children use when handling beetles, sharing secrets, or forming new friendships). Some people possess more of it than others. It is definitely a sign of emotional intelligence and empathy when you know how to handle fragile matters or people with care. What a word! I know it’s long, but with a little phonetic help, it should be no problem!

These German kidlit terms are more than words. They’re tiny clues to how Germans view and understand childhood, play, coziness, and emotions. Part of their charm is the emotion they spark, and part comes from the way they sound. 

Zappelphilipp

TSAP: like the word "zap"
el: like "el" in "elephant"
FIL: similar to "fill"
ip: like "ip" in "ship"

“Wiggle‑Phillip” first appeared in a 1920s story collection called Der Struwwelpeter and is the story of a boy who could not sit still and caused huge chaos at the dinner table.  

It is used for the joyful, unstoppable wiggle-energy of a child who simply cannot sit still.

Dreckspatz,

Phonetic Breakdown: DREK-shpahts,

literally means “dirt sparrow”. A child who always ends up dusty, muddy, or delightfully dirty, a lovable mess-maker. I was that girl who returned home just in time for dinner, covered in mystery dirt. You get the picture. My parents lovingly called me Dreckspatz a lot growing up, because we spent a lot of time outside and in nature, exploring big time!

Tohuwabohu means complete chaos, utter confusion, or a wild, disorderly mess. 

It originates from the Biblical Hebrew phrase tohu va‑vohu, meaning formless and void, used in Genesis to describe the primordial chaos before creation. Some fun English equivalents that capture the noisy or frantic nature of kid-induced chaos include "hullabaloo" and "ruckus."

Sorgenfresserchen,

Phonetic Breakdown:
ZOR-gen-fres-er-shen

This adorable “little worry-eater” is the perfect companion to help ease your fears and worries. It’s very soft and cuddly, too.

You write or draw whatever bothers you on a small piece of paper, feed it to the Sorgenfresserchen, zip it up, put it under your pillow at night, and voila, your worries are gone, and you are ready for sweet dreams.

Believe it or not, I still have mine for all the ridiculous, never-ending worries that pop up way too much. Keeping my little monster fed gives me a sense of control. It helps me dump everything, so I can move on. It reminds me a lot of South American worry dolls.

Last but not least is Schnickschnack.

Pronounced SHNIK-shn-ah-k,
shnik (short 'i' sound, like in "stick")
shnahk (open 'ah' sound)

It is a term for charming, unnecessary decorative little extras, a little bit like knick-knacks. Another word that has a great English equivalent and captures the playful sound of the German expression. Kids love Schnickschnack; they endlessly collect things, those sparkly bits and bobs, and all sorts of random stuff they find. I definitely did. When I was growing up, my town collected and recycled unwanted household items twice a year. My friends and I could not wait to hunt for treasures and rummage through all the boxes that our neighbors put out the night before pickup. It was almost like Christmas! I always found something special that ended up on my bookshelf for display, or in my treasure box. One year, my friends and I (six of us) built an elaborate Smurf mansion from all the Schnickschnack we gathered. We worked on it for a week. It was a masterpiece! Unfortunately, I don't have a photo of that. 

I hope you enjoyed this short list of my favorites. English children's literature could really use some of these German imports because each one carries us into a familiar emotional space that children recognize instantly. I think it is time for some of these to make an appearance in the books we write. What do you think? Do you have a favorite?

Karin Redclift is the Translation Coordinator for SCBWI SF South. She is a

German‑born creative writer, translator, and proofreader, raised in Southern

Germany. Her passion for children's books started in pre-school and deepened

when she began teaching. She specializes in writing and translating kidlit, loves

playing with words (German and English), and dreams of making the world a better

place, one sentence at a time. She is bridging cultures and generations through

storytelling, with publications including the German translation of Emily of

New Moon by L.M. Montgomery and an updated version of the German classic

Maya the Bee. Her flash fiction appears in the Bolts of Fiction anthology.

She also enjoys reading, knitting, drawing, Tai Chi, gardening, hiking, and chasing

her little rescue dog, Charlie. 

Find her at www.KarinRedclift.com (sign up for the monthly newsletter).

Follow @karinredclift on Instagram.

Deep Dives with Merfolx: A Sparkling Interview with Jessica Love

Happy Thursday! We are back with the final installment of our MerMay entries, and I am over the coral moon about this one— an interview with the one and only, Jessica Love! The author and illustrator of one of my favorite books of all time, I feel so privileged and honored to have her on the Official SCWBI Blog. SO without further ado, let's get started!

 Hi Jessica, I am so beyond excited for you to join us on the Official SCBWI Blog. The wonderful author/illustrator of Julián is a Mermaid, and Julián at the Wedding, please tell us a little about yourself, in your own words.

Thank you so much for having me, Justin. When I was about nine years old my answer to the question "what do you want to do when you grow up?" was actor, artist, writer. Which is a pretentious answer for a nine year old but oh well, I suppose I was a little bit pretentious, but I guess I meant what I said because I've done all three of those things professionally as an adult. My parents are both artists--my mom is a weaver, my dad is a potter, and my extended family on both sides is made up of highly creative people. 

I grew up in Santa Barbara, California. I've always drawn and painted, and from as far back as I can remember I was making up stories and illustrating them. I was passionate about playing pretend, I was definitely one of those kids who would live inside a game for days at a time. Eventually I discovered theater, which felt like a bigger game of make believe, and I really fell in love with it. But I think both of my interests (visual art and theater) spring from an interest in make-believe.

 I see that you studied Drama at Juilliard and was a professional actor until you moved into publishing, very similarly to me being a dancer turned illustrator. How has your background in the theater world shaped your storytelling as an author/illustrator and how was that transition?

I didn't know you were a dancer! That makes me very happy. I am currently at work on the third Julián book in the series, and it is called, Julián is a Dancer. It's about that threshold moment when you enter a creative process with other people for the first time, and how intimidating it is at first but also how thrilling once the first step into the room has been taken. 

So yes, I was an actor in New York City for many years. I moved to New York after studying Visual Art and doing Shakespeare plays at UC Santa Cruz, to study Drama at Juilliard. After graduation I stayed in New York working as an actor in new plays and very old ones. I loved it. While I was doing that I had the idea for Julián is a Mermaid and started working on it whenever I had time. I developed it slowly over several years, the last draft I did before I started submitting it was completed backstage in my dressing room in a play called "The River". The actor (and brilliant writer as well, by the way) Mary Louise Parker helped me meet my wonderful agent, Meredith Kaffel-Simonoff, who immediately understood what I was trying to do with Julián and really guided me through the process of crafting a proposal and readying it for submission. 

So there were lots of practical ways my work as an actor informed my pivot to this new industry. But on a process level I think I am making use of much of the same vocabulary, and using similar principals as guidelines. In drama school one of the phrases you hear most often is "be specific" which is something I really try to do in my illustration. I like for every character to feel as embodied as possible, that's important to me. I think I also see the page as a kind of stage, in terms of the way I like to frame action. Another virtue of the theater I want to try to keep in mind more often is the possibility that is afforded by a really deep depth of field, it allows several different threads to be at play at once, and that's something I love in art, any kind of polyphony. I think I also tend to sort of act while I'm drawing, I'm making the faces, I'm trying out the movements in my own body. I also try to think of drafts of a book as rehearsal--a physical process you use to get the story in your body, so that when you do the final art I know what I'm doing so I can be loose.

When Julián is a Mermaid came out, everyone I know and who know the true me sent me the announcement. Not to exaggerate, but this is one of my favorite children's books ever. I've never felt more seen in a book. I, too, grew up in New York, had a secret love of mermaids, but unlike Julián, I didn't show my true love until I was older. 

I'd love to hear what inspired you to create the book and how did Julián come to you as he is? I mean, did you hear stories of me when I was eight years old?!

Wow, I love this question so much. It is incredibly, powerfully affirming to me to get to hear that from a reader, thank you so much. 

I had a very clear goal for myself, which was to make the Juliáns of the world feel seen, and even celebrated by that seeing. I was deeply inspired by the documentary Paris is Burning about the golden age of the ballroom scene in New York in the '80's, the first time I saw it I immediately watched it over from the beginning. Those ballroom artists had created something astonishing. I was also pained by how many of those kids--because they were so young!--had been forced out of their birth families due to their unwillingness to reign in their self-expression. And of course they created new families with long legacies in the establishment of the different houses and family structures in which this culture thrived. 

With this picture book I wanted to reach way back to the early childhood of kids like Julián, and give them a story in which they express something deep about themselves, and are seen for who they are, and celebrated. Just a story of pure love and recognition being exchanged between two generations. I wanted to bottle that feeling you get when one of your elders really sees you and loves what they see. I really didn't write the book with just kids in mind, I had hoped it would reach the grown mermaids too, so it makes me so happy to hear your saw yourself in it's pages.

As a New York, I've attended the Mermaid Parade for several years. It is sort of my Pride celebration. I've always loved the parade just from its sheer inclusiveness. Being a mermaids doesn't come with the expectations and standards of what it means to be "human." It is a celebration of all people, from all backgrounds, ages, body types, cultures, etc. What drives you as an artist to celebrate representation in your work and in the book space?

This is what I love about the Mermaid Parade too! Despite being a dress-up as a fantastical creature parade, it is its human-ness that is moving to me. I love that it's on a day when it's SO hot and it's in the direct sun so everybody is all sweaty, and kind of naked, and truly, truly the crowd is made up of a raucously heterogenous sample of New York Humans, I absolutely love it. 

I think showing the world we live in means showing a diverse world. And beyond being accurate, beyond being fair, it's interesting to move your point of view around, and to remember that really it is only ever just that, a point of view in an vast number of points, each as real as you.

I just saw the announcement that Julián is a Mermaid will be making its way to become an animated feature, led by the Academy Award nominated director Louise Bagnall with Cartoon Saloon. How did it feel to be approached about the adaption and what are your hopes for the feature?

I am so excited for this film to come out. Louise and an absolutely incredible team of animators from all over the world have been working so hard on this for years and years. The script is written by Juliany Taveras, who is also a playwright and the way they managed to expand a 30 word story into a feature length film while maintaining the original bones of the house is a pretty awesome feat of ekphrasis. It's beautifully done, Cartoon Saloon is one of the last studios actually drawing everything by hand, which is really meaningful to me. A human hand was important in this story.

Last question, which I know I've personally pondered for ages, but if you were to sprout a tail right this second, what would it look like?

I'm so glad you asked. This season my tail is going to be like a black plum with the occasional scale of nacreous pearl, but my fins will be tipped in vermillion.

Check out more about Jessica Love, HERE, and follow her on Instagram @jesslovedraws.

That's all, Merfolx! Thank you for joining me on this month long journey through the seas! As MerMay comes to an end, I hope you've celebrated your mermaid-ness but also, in doing so, as Jessica said, your humanness! And for those who are in the NYC area, the Mermaid Parade is June 20th! Hope to see you there! Ciao!

Introducing SCBWI Critique Groups

Introducing SCBWI Critique Groups

You've asked, and SCBWI has heard! Introducing the SCBWI Critique Groups! SCBWI is proud to announce that the beta version of their exclusive Critique Group program has officially launched!

One of the best ways to grow as a storyteller is by receiving feedback from your peers. Whether you’re an author, illustrator, or translator, our critique group builder is designed to connect you with the perfect partners who are working on similar projects. 

As a member of SCBWI, you will have the opportunity to browse listings from fellow members, or create a group of your own, all on your SCBWI ‘Member Home.

Check out this video below by the one and only, Jolie Stekly, for more information on the groups!

Find your people, connect, create, and critique! Your craft will thank you!

This premium member benefit allows SCBWI creators to design the peer groups of their dreams and connect with new critique partners. Start your critique journey now through your MEMBER HOME.

Why Join a Critique Group?

Every creator reaches a point where an outside perspective becomes essential. A critique group gives you a trusted space to share your work and hear how it lands with others: what resonates with readers, what confuses them, and where your vision has room to grow. The conversations you have there won't just improve a manuscript or a spread; they can help sharpen how you think about storytelling itself. This is a member benefit that helps anyone at any stage of their development.


Read more about the SCBWI Critique Groups, its benefits, Code of Conduct, and more, HERE!

Thoughts before this Year's Conference

The week is finally here! The In-Person 2026 Winter Conference! It is such a special and exciting time, which I look forward to every year. As authors, artists and illustrators, it can be very solitary work and I always relish the times when we can be in community. As I think about last year and what I looked forward to and the goals I set for myself, I decided to browse over the blogs from last year. 

So as we gear up for the eventful weekend, I wanted to reshare this amazing Closing Keynote by Sophie Blackall from last year's conference. I was blown away by this keynote and I revisit it all the time. Sophie Blackall had a quiet power, so warm and inviting, that I was captivated and her advice changed my perspective as an artist and a person. If I could go back in time and watch it all over again, I would. 

Some of my favorite points were:

• Remember People's Name
• Give Voice to Your Own Astonishment
• Stand Tall

I decided to reread the blog and I'm glad I did. As I prepare to attend the In-Person Conference as the new Chief Blogger, I want to bring some of this energy into my experience this year. Meeting new people, reconnecting with old friends, staying curious, and standing tall—excellent advice to remember.

So here's the final moment of the 2025 Winter Conference to bring us into the 2026, with the excitement and joy to continuing growth and discovery in our journey as creators. See you very soon!

SCBWI 2026 In-Person Winter Conference— Just Around the Corner

 

Happy New Year, all! 

Hope you rang in the day with love, joy and laughter, surrounded by family, friends. pets, plants, good food, good conversation, amazing desserts, treats for your pets, pets for your treats, dancing, good books, happy time, happy days, happ—sorry...I'm just so grateful for the new year!

And with that "25" ticking over to "26," you know what that means...

WE ARE JUST OVER A WEEK AWAY FROM—

Justin—stop screaming...

...My bad. I can't help it, I'm so excited.

I know. Just bring it down two notches.

Okay, fine...

...

......

.........

THE 2026 WINTER NEW YORK CONFERENCE!

I couldn't resist!

We kick off the conference with the Illustrators' Intensive "ACTION! Harnessing the Visual Energy of Movement", a curated and focused intensive, geared towards all illustrators, no matter where you are in your journey. Check out the Illustrators' Intensive interview series here on the blog with the amazing Pat Cummings, Cecilia Yung, and Laurent Linn! 

Which is then followed by the Portfolio Showcase for Illustrators during SCWBI Industry Night when the children's publishing world comes together to enjoy the spectacular art of our talented community! I always enjoy perusing through the hundreds of portfolios. It is quite inspiring! And once the judging is complete, it is open to the public! So come on by, enjoy the art, and meet some fantastic artists!

The weekend is jam-packed with so many opportunities for the attendees. From Keynotes and Panels: Inspiring Wisdom from Industry Experts, to socials, to the selection of Craft and Business Breakout Workshops, there is something for everyone!  

Register HERE and join the fun! It is never too late to invest in your career, your art and YOU!

Giving Tuesday! SCBWI Impact & Legacy Fund, Awards & Grants, etc.

Happy Thanksgiving to all those who celebrate. 

To close out our month of activism, community action, and celebration, I want to invite you to check out some of SCBWI's charitable programs, awards, and grants as well as our book ban champions. In the spirit of gratitude, and with Giving Tuesday around the corner, please consider donating to help the KidLit community survive and thrive.

Impact and Legacy Fund

The SCBWI Impact and Legacy Fund, launched in 2022, is a division of SCBWI created to support the charitable activities and community purposes of SCBWI. Its programs and initiatives are not limited to SCBWI members but are available to the entire children’s book community.

The Society of Children’s Book Writers and Illustrators Impact and Legacy Fund is committed to creating, implementing, and supporting programs that center children’s books and their creators as a driving force behind equity, literacy, and freedom of expression for readers and storytellers alike.

Amber Brown Grant

The Amber Brown Grant commemorates author and beloved school speaker Paula Danziger. One school is awarded each year with an author or illustrator visit and new books to continue Paula’s love of connecting children with creative influences.

Disability Fund Application

The SCBWI Disability Fund gives grants to disabled members for anything that would help them create children’s literature. For nonmembers with disabilities, the funds may support memberships and/or registration to events.

Emergency Fund

The SCBWI Emergency Fund provides a grant of up to $1,500 to a member for anything that would help them create children’s literature. For nonmembers with disabilities, the funds may support memberships and/or registration to events.

Banned Book Resources

Here are some resources to continue the fight beyond Banned Book Week!

• Banned and Challenged Books Bookshop 
• A expansive list of banned books that you can purchase to help support creators

• SCBWI Banned Book Video Playlists
• Check out SCBWI's Banned Book Playlist, full of panel discussions with industry professional, censorship activists and more!

• Consider joining organizations that are on the front line of the fight!
• Unite Against Book Bans
• Pen America
• Authors Against Book Bans
• National Coalition Against Censorship

SCBWI Artober: Day 28- Maze

SCBWI Artober: Day 28- Maze

Happy Tuesday, everyone! Hope your October, or rather, ARTober has been going well for all those who are celebrating! Though I have been SUPER DUPER busy, I wanted to join in on the fun! 

Today's prompt is: MAZE.

Okay, now, wait—let me cook on this one.

So when I was younger, my mother used to love buying my brother and I Happy Meals for the toys. We had a plethora of McDonalds toys but it was almost like a holiday or our birthday when she would buy an exclusive, special edition thing or another. 

The McDonalds franchise randomly created an animated series, released on video cassette, that was exclusively available at their fast food chains. I hope you all remember the VHS! 

The Wacky Adventures of Ronald McDonald was our absolute favorite growing up! And as I was thinking of what to draw for Day 28: Maze, the show popped into my head because of one episode where Ronald and friends were turned into babies by an evil scientist, and had to escape Birthday World...Yeah, I know—super random. 

I found the Birthday World episode on YouTube, and it was quite hilarious that I remember 87.63% of the script. I watched this a lot! But wow, how amazing it was to channel my younger self and draw this entry with all of the episodes playing in the background. 

It was a blast drawing this one and I hope you all are having a great time playing, exploring, drawing and dreaming! Happy Halloween and enjoy the rest of Artober!

Until next time—Keep creating!

Justin

Lessons in Resiliency From Bozo the Clown

Growing up, I had this Bozo the Clown punching bag toy. Tube-shaped and made of hard rubber, it stood about four feet tall and had a weighted bottom. It was painted with Bozo’s likeness, with 3D orange clown hair sticking out on either side of his head, a honkable red-ball nose, wide eyes and an exaggerated smile. The idea was to sock Bozo right in the face—possibly not a toy today’s parents would embrace—making him flail backward. But he’d always bounce right back up due to the weighted bottom, and always with that same goofy grin.

Thank you Universe. May I have another?

Stealing scenes as Dolly

Throughout my life, I’ve felt a kinship with these Bozo toys—getting knocked down but always bouncing back up, my undying willingness to try again intact. In my sixth grade graduation play, I was not cast as the lead in Annie Get Your Gun as I’d hoped, but instead tagged for the comical supporting role of Dolly. After a good sulk, I decided I’d be the best darn Dolly I could be and went on to steal most of the scenes I was in. 

Okay Universe. Watch me now.

My journey to becoming a published author began with a mostly unsuccessful attempt at a screenwriting career. After being knocked down countless times by near-misses and consolation prizes, I shifted my focus (i.e. bounced back) to writing books for kids. Guess what? I continued to get knocked down and had to continue bouncing back up. Somewhere along the line, I realized this was sort of my thing. I would not give up, would not lose hope. There would always be a different approach or another angle I could try. And I did—again and again. 

Howdy Universe! Guess who? 

Luckily, after signing with an agent whose resiliency rivaled my own and a new series of bounce-backs, we sold my debut YA novel, Cursed. I had a great experience working with my editor and publisher, and the book went on to win a big award. Whew! I’d made it! 

Alas—the punches to the face did not cease. Life generally doesn’t work that way, particularly for artists. There will always be hurdles, crushing near-misses, confidence-rattling disappointments. So what’s a tired punching bag clown to do? Keep writing. Keep bouncing back up. Keep relying on that weighted bottom to provide the momentum and balance needed to try again, to believe that a victory is not only possible but might be right around the next corner.

My metaphoric weighted bottom consists of a mix of encouragement in my early childhood, my innate stubbornness, a host of supportive friends who believe in me and the determination gained and strengthened by my managing life with a disability. It hasn’t failed me yet. But what if your weighted bottom feels lacking in heft? 

How might you build it into the gargantuan glutes necessary for an artist in an exceptionally difficult field? Give it a think, take any necessary actions and keep bouncing back.

Watch out Universe. Here we come…

KAROL RUTH SILVERSTEIN is an award-winning children's book author and disability activist. She lives in West Hollywood, CA with two impossibly fluffy cats. 

Frankfurt Diaries: The Frankfurt Kids Conference, Part 1 - Guest Blog Series by Lawrence Schimel

At this year's Frankfurt Book Fair, I wound up moderating quite a few public events. Moderation is a special skill, requiring a solid knowledge of both the subject and speakers (or doing enough homework before the event) in order to be able to ask them relevant and leading questions, during the delicate balance of making sure every voice has a chance to shine (and also hitting the key highlights you want the session to address). It's a different skill than doing school visits or other public events with kids--one of the other things we creators wind up needing to learn that we may not have expected when we set out on the road to become book creators.

When Lee Wind saw an interview with me in Publishers Weekly a few weeks before the Buchmesse, talking about the Frankfurt Kids Conference, he wrote to ask me to blog about the sessions I would be moderating. While I was at first nervous (since I couldn't really take notes on what the speakers said during the session since I was busy juggling the balance of themes and speakers) in the end I decided that by doing so it would be another way to help make my speakers shine, for those who weren't able to be at the Book Fair this year, which is part of what I felt my role as the moderator entailed. 

First up, the very first day of the fair (and coincidentally my birthday!), I moderated the entire Frankfurt Kids Conference, which consisted of a keynote by Cornelia Funke, and then three sessions with three panelists each, followed by a networking session. This was the second time the Conference was held; I had also been asked to moderate it two years ago, when the theme was on diversity and inclusion, which included a keynote conversation with Peter Warwick, president and CEO of Scholastic, as well as sessions on disability, racial representation, and more, with many participants of Every Story Matters, a project funded by Creative Europe. 

Lawrence on stage and Cornelia Funke on screen at the 2024 Frankfurt Book Fair, photo by Riky Stock.

This year's theme of "Paving the Way for the Future: Responsibility in Children's Publishing" was inspired by Cornelia Funke, who I interviewed as the opening keynote session. Alarmed at the rise of right wing extremisms and intolerances, Cornelia had spoken in the German newspaper Der Zeit, wondering "Are we telling the right stories?" During our talk, she modified her position to say that while, yes, it is important for creators to be writing/illustrating more inclusive stories, and even for sometimes other voices to be the ones to tell certain stories, the onus lies not just on creators but also on publishers, to be more active in supporting and nurturing these diverse and plural voices and stories.

Rather than just complain that something must be done, she has converted a farmhouse in Tuscany that she bought into a residence for creators, to help them have the space and time to write some of these necessary stories. She talked about how one such resident, the Ukrainian artist Oksana Bula, helped her see the Russian invasion from a new perspective, one she had lacked from just reading the news but not having any first-hand accounts.

In addition to this new residency program, Cornelia is thinking differently these days when she writes her own stories, which she hopes let children take "shelter" in her words. 

Cornelia ended the session encouraging everyone to not wait for someone else to step in and try and fix things, like a fairy godmother, but to try and do something wherever they were, no matter how small. 

That is the perfect note to end this entry on, and I hope all readers will put Cornelia's call to action into practice.

**

Lawrence Schimel is a multilingual author and literary translator, working primarily in and between Spanish and English. He has published over 130 books as an author, and has translated over 190 books. He has won a Crystal Kite twice, for his picture books Lucky Me, illustrated by Juan Camilo Mayorga (Orca) and Read a Book With Me, illustrated by Thiago Lopes (US: Beaming Books, Singapore: Epigram). His most recent children's book is HaiCuba/HaiKuba: Haikus about Cuba in Spanish and English, co-authored with Carlos Pintado, illustrated by Juan José Colsa (NorthSouth Books) which won a Eureka Honor from the California Reading Association and was chosen by the NYPL as a Best Books for Kids 2024.

Words to Help Keep Your Writing Heart Full

A lot of people think that writing is the hardest part of a KidLit creator's job. For some, they may be right. But for others, it’s the rejection. Agent rejections, losing a contest, editor passes, the list goes on. They are called the querying trenches for a reason…this is not a dramatic name. It’s descriptive and honest.

The amount of rejection has always been tough for me and my mental health, and I know I’m not alone. How do you keep yourself happy and thriving through all of this? I reached out to several successful authors that I look up to, and asked for their advice. 

Here’s a roundup of what they had to say:

Sy Montgomery

Like all writers I know, there are times--even now, after writing 38 books, including five national bestsellers--when I look at the blank page and freeze: I am not worthy. I can't believe in myself enough to write this book. I can't trust myself to do this story justice. It happens to all of us. But that's OK. When I can't believe in myself, I can believe in my teachers: in the animals and places and people who allowed me to watch their lives, listen to their stories, and receive their wisdom. I can believe in the story THEY have to tell. And that gives me the strength to go on with the audacious task of writing a book. The book is not about me, even though I may be in it. Even if the book is a memoir, the book is not about me--but the generous, beautiful, and even sometimes scary lives and forces that shaped me. And the story's strength will not come from me.  It comes from them--and I can believe in them when I can no longer believe in me. They are the stronger force, and it's their story, their lessons, their dramas, that will carry the day!

Todd Parr

I get asked all the time, “How do you get a book published?” And every time, it takes me back to when I was starting with my art.

I’ve never forgotten the struggles I went through, the rejection, the defeat, and how I wanted to give up. So no matter how many times I get asked, I wish I had the perfect answer for everyone. But we all know that’s not possible, so here are a few tips that I hope might help and guide you based on my own experience. I will say that after years of “being a struggling artist,” I got my lucky break when an editor approached me after seeing some of my original art and licensed products at a trade show in NYC. I was lucky I hadn’t quit all those times earlier because there is no doubt I wanted to. (hint, hint)

The best advice I can give is no matter what idea you have for a book, think about what makes your book different. Keep asking yourself, “Why would someone want to read it or share it with others?” If I were starting now, I would pursue all fronts. It’s no doubt the internet has opened many doors if you have enough time and patience. Whether it’s sending manuscripts to publishers that accept them or discovering an excellent source to hone your skills, get feedback, or get the advice of others on publishing and sharing your material.

I would also explore a literary agent, not just anyone, but someone who connects with your ideas. With social media channels and your immediate network of contacts, you might just be surprised who you (or your friends) might already know who can connect you to someone in this field, beyond just emailing.

There is always self-publishing. I know it might not always be the easiest, but with more resources becoming available online, the option to really be creative has never been more within reach.

It doesn’t matter how you go about it as long as you always believe in yourself, and it only takes one yes.

Adam Wallace

As writers we face rejection in so many ways, so why let publishers get all the glory? Rejection from publishers, people listening to or reading our stories, children, magazines, and, often most of all...ourselves! So if everyone else is going to reject us, we have to be our biggest cheer squad. Our biggest believer. And write for joy. Have a goal of enjoying your writing, of giving it everything you have, of writing the best story you possibly can, so even if it is rejected, you have succeeded. And if you keep succeeding like that, it won't be long before someone in publishing will sit up and take notice.  

Jane Yolen

I consider a rejection merely an invitation to move on, not a full stop. It's the length of time it takes to say a simple NO I find annoying.

Join SCBWI. Find an agent if you can. And, prepare for the long haul... nothing happens quickly in publishing. And remember, rejection is about the writing--no one is criticizing how you look or how you walk across the stage, nor your weight, or your way of dressing. Sing! (Think what actors trying out for a part in a production go through!).

I have read these answers over and over and they will never stop inspiring me. I am grateful, from the bottom of my heart, for these words. I felt so lucky to get such thoughtful responses from these amazing authors, and I’m honored to be able to share their words with you. They have brought me so much joy and hope. I feel more invigorated than ever! I hope that you will take as much from them as I have. 

And I want to hear from you too! Please connect with me on social media and share, what do you do to stay positive on this journey? How do you keep your writing heart full?

Hugs and happy writing to you!

Ashley's debut picture book The Balloonimals will be published in 2025. She is a former journalist and marketing executive with an MFA in Writing. Ashley has written for various magazines and newspapers, along with a top 10 market television station. She lives in the Boston area with her husband, daughter, and fur baby.