SCBWI University - Deep Dive Into Nonfiction BEGIN TODAY!

 The next course in SCBWI University - Deep Dive Into Nonfiction - begins TODAY Tuesday, September 9!

Click HERE to register.

"This 3-part online course is designed for children's book creators eager to create nonfiction books that will sell in today’s market. The course will guide participants through research techniques, formats, voice, structure, and the current nonfiction market. Tuition includes all three classes and access to video replays for 30-days after the final live session.

After each session, video replays can be accessed through MEMBER HOME > MY RESOURCES."

Creative Nonfiction from A-Z, taught by author Lesa Cline-Ransome

If There's No Hook, There's No Book: Tips and Tools for Writing Nonfiction with author Melissa Stewart

The Current Market for Nonfiction with author and agent, Miranda Paul

What is SCBWI University?

"Led by renowned industry professionals, award-winning authors, and celebrated illustrators, this dynamic program empowers you to hone your craft, build meaningful connections, and gain the confidence to bring your stories to life. Each university course dives deep into an element of the craft of illustrating or writing children’s books. All courses consist of three consecutive classes taught by high-level children’s book writers, illustrators, editors, agents or art directors."

Below are some past SCBWI University sessions with some incredible authors, illustrators and children's book professionals:

Drawn to the Story: Unlock the Power of Visual Narrative

Mastering the Art of Picture Book Writing

SCBWI University is an excellent opportunity to continue your learning in a concentrated and focused manner. Check out the offerings, and register now! No manner where you are in your journey, it's never too late to learn something new!

AI, World Kid Lit Month, and #scbwiSummer25

Happy World Kid Lit Month! Since 2016, September has been a time of highlighting international children’s and young adult literature. It's a terrific month to read a book authored outside your country and share it with a young person—and, if you like, on social media!

An array of reading suggestions can be found at WorldKidLit.org, together with a brand-new reading challenge program for schools, media assets, interviews, and background information.

A hot topic this World Kid Lit Month is AI. Many global reads for children are translations, and concerns are rising that AI may be perceived as an acceptable alternative to human translators. As one such translator, I say nay!

But you don’t have to take my word for it. To explore what translators do for young readers that bots cannot, you can go right to the SCBWI Virtual Summer Conference 2025 session replays. Registration remains open through September 9, affording access to replays of nearly fifty sessions.

One is a twenty-minute interview with Claire Storey, who explores the role of translators as book “scouts,” bringing titles deserving of translation to the attention of the right publishers. Claire describes how in-person networking, including at the London Book Fair and the Bologna Children’s Book Fair, has been key to pitching books that she has gone on to translate. One work that she pitched and translated won the 2025 Global Literature in Libraries Initiative Translated YA Book Prize!

Claire Storey holding printed materials she hands out at book fairs

Human translators connecting at the #scbwiSummer25 Translators' Social

Another rich offering is Lawrence Schimel’s breakout session on translation of books for different age groups. Lawrence’s philosophy as a translator is “always to recreate the reading experience," which means making moves AI never could, in order to take readers on a particular emotional journey. (AI, lest we forget, cannot feel.) Translating might include reworking humor that does not land in a new language, reinventing wordplay or rhyme, or even making wholesale changes to poetic structure—all for the sake of fidelity to how the source text moves readers. Lawrence describes taking weeks to complete a board book translation of less than 100 words. Don’t you want to read that book?

Lawrence speaking from Madrid

The opening keynote features Soman Chainani discussing how important it is, in the age of AI, for kidlit makers to share the human side of their creative process. This point reminds me of how author-illustrator Debbie Ridpath Ohi took time at a book signing to make a short video for my students, showing how she had included items of personal significance in the art for I Want to Read All the Books. (Debbie accepts the 2025 Stephen Mooser Member of the Year Award at the #scbwiSummer25 closing session!)

I saved a screenshot from the editorial phase of my latest translation, The Village Beyond the Mist by Sachiko Kashiwaba, to show that many humans also come together to polish the final text of a book.

Portion of The Village Beyond the Mist with changes by two editors, a proofreader, and myself

Collaborative revision is yet another aspect of kidlit that is beyond AI—as is hitting the road with an author to launch a translation. For more on that subject, see my post next Thursday!

Avery Fischer Udagawa’s translations include the 2022 Batchelder Award-winning novel Temple Alley Summer, the 2024 Batchelder Honor book The House of the Lost on the Cape, and new release The Village Beyond the Mist, all authored in Japanese by Sachiko Kashiwaba. Avery works in international education north of Bangkok and volunteers as SCBWI Global Translator Coordinator.

The US Open AND Art Making?!

 This past Saturday, I attended the 2025 US Open in Queens, NY, where thousands of fans congregated to watch the object of my latest obsession: TENNIS! Shout out to my girl, Gia, for the invitation!

In recent years, I've grown to love tennis and lately, it has been a respite for me in such a noisy world. Midday, I'll walk to the park by my apartment and I'll find myself playing wall tennis for two to three hours. There, sweat in my eyes and Beyoncé in my ears, I work out my emotions, my schedule, conversations to be had and interpersonal conflicts, all the while being driven by the monotone, and almost hypnotic lullaby of the ball popping off the wall. Spurred on by that eruptive and percussive connection; the sinewy channels of my physical, emotional and mental health, all come together with the help of a ratchet, a neon ball and a cement wall. 

I've never been a sports guy really, though I swam for a season at fourteen years old until I transferred to a school with no pool. Whomp. I was forced to run track and hated it; double whomp (sorry to all my runners) Because of this, I never though I would ever be a sports guy. But shout out to my friend, David, who invited me to play some tennis in Upper Manhattan a few years ago on a beautiful spring day. It was exciting, and athletic, and as a dancer, I felt a similar mind and body connection. 

After all these years, I never knew I would get excited about a sport. But here I am, cheering along to a game that I actually know the rules of, not just because people around me are cheering. "You can't hit a touchdown!" I, now, have a perspective, I have players I love, and the newness of it all is exhilarating. 

As I walked home, with a US Open hat and new tennis balls in my bag, I began to think: why do I love tennis so much and how does it apply to my craft? The discipline, and skill shown on the court was brilliant and in the spirit of excellence, I wanted to see how it might reflect the goals I have for myself. I've officially been in the publishing world as a professional for five years now, and I get the same giddy feeling I get when I am watching a great game of tennis.

Here is what my new obsession with tennis is teaching me about myself and my art making:

1. It's Never Too Late: It's never to late to jump in. Considered one of the healthiest sports, you can play tennis for many years (I have a good friend who played up into his 60s). I began my art journey later in life and I plan on continuing late into my life, not unlike a Quentin Blake, and Tomie dePaola. Like tennis, whether professional or recreational, you can play for many years to come. It's never too late so never stop playing! Find healthy habits and stay sharp.

2. Patience is Key: You have to let the ball bounce before you decide where to send it next. This is a lesson that I really took to heart. In a world that moves extremely fast, it is a good reminder to have patience. Don't rush it. See where the "ball" is going, and move in power. In tennis, you have to be light on your feet, and ready to go, but you have to let. the. ball. bounce. Sometimes you have to think quickly and send the ball back over the net without it but when you can, let the ball come to you and then release your powerful swing. 

3. Tennis is a Silent Game: One thing that tickles me pink is that the referee is allowed to shush the audience. "Thank you. Ssshhhhhh. Sit down." The audience isn't even allowed to move in the bleachers behind a player when it is a major point to be had. The serve is in silence. The volleys are in silence, amid a grunt or two. So... it's okay to move in silence. Sometimes the strongest move is done in the quietest of ways. Even if tons of people are watching, you stay focused and do the work. Shut out the noise, and move in silence to your victory. 

4. Unexpected Brilliance: Brilliance can come in the most unexpected ways. I saw some amazing plays this weekend, and some of them came from unexpected serves, or volleys. The ball was hit in short range or it went a little too high, or a behind the back shot wins you the set. It was exciting to witness and even more so to see a player do their best work under pressure. Don't overthink your work, and be open to the unexpected. You might discover new things about yourself, your craft and your creativity. Keep fighting, keep stretching, keep diving for that ball. 15, 30, 40, set. You have countless opportunities to make your move, so make it brilliant and surprise yourself. 

So here's to playing your own match of tennis with your writing, art and creative work. Stay flexible, stay patient, work hard, and play hard. Strengthen your skills through play, and healthy practices. Be the Serena, Venus, Coco, Naomi, Jannick, Carlos, Dustin, etc, etc, etc of your artistic dreams and keep going! The game isn't over until Match Point! 

Observe, Experience, Research, Write–The Lasting Impact of an Internship

 Guest Post by Holly Thompson

My books tend to have a slow incubation time–perhaps because I tend to cultivate stories rooted deeply in place, stories for which I need to spend months and years researching. 

This not-so-expedient method derives in part from my early plan to become a wildlife biologist. I spent years as a child and teen at local Audubon properties in Massachusetts–attending day and overnight camps; taking weekend and evening classes on flora and fauna; and working as an Audubon camp counselor for four summers. So in my senior year of high school I created my own wildlife biology internship–specifically to observe birds, insects, mammals and plants as spring rolled in. My supervisor was a naturalist, birder and watershed specialist, and instead of attending high school classes, I spent my days observing field, forest and wetland environments of the Ipswich River Wildlife Sanctuary. ​ I was aiming to become a wildlife biologist. 

Photo courtesy of Mass Audubon

That spring I documented bird migrations; learned to identify birds by silhouette and song; managed wood duck houses–counting eggs from a canoe; banded birds for population studies; learned meadow management to protect pheasant and bobolink nests; and walked miles of trails in all weather, pausing to raise my binoculars and write observations in my notebook. 

At the end of the three months, I wrote a report and gave a talk about my experience to the high school principal and teachers. That spring of wildlife observation and study–taking copious notes, researching, and reporting–plus my college major in biology, helped develop the close attention I pay to environments when I'm writing novels and picture books. 

For all of my books, I spend months or years observing, listening to, and learning, the human and natural environments of my story. I often immerse myself in place. For my novel Ash I did on-site research in Kagoshima and Kyoto; for Orchards I apprenticed to a Shizuoka mikan farmer; for The Language Inside I made multiple study trips to Cambodia and Lowell, Massachusetts and consulted with the Angkor Dance Troupe; for Falling into the Dragon’s Mouth, I built a story of intensifying bullying grounded in the seaside town of Kamakura where I lived for many years. 

Holly Thompson with mikan farmer in Shizuoka

Picture books, though shorter than novels, also often require years of observation, experience and research, until I have the ability to zoom in and zoom out from my idea to grow a story that invites illustration. Some books take years of learning. The Wakame Gatherers, illustrated by Kazumi Wilds followed many seasonal observations of local wakame seaweed cultivation in Kamakura.  Listening to Trees: George Nakashima, Woodworker (2025 Crystal Kite winner!), illustrated by Toshiki Nakamura, took eight years of research and drafting from the day I received the go-ahead from George’s children to submitting the final manuscript in haibun form to my editor. One picture book I’m currently working on has taken three years so far, another, fifteen. I’ve learned to be patient as I grow stories. 

In some way or another, all of my books draw on that immersive wildlife biology experience I had as a teen. That experience heightened my awareness of environments and taught me to rely on all my senses wherever I am–to make observations, sketch, take photos and notes; to patiently collect first-hand experiences over time; to conduct thorough research; to learn from specialists and receive feedback from mentors; and to patiently draft and rewrite.

“Observe, Experience, Research, Write” is how my stories begin and grow. 

How about you? 

RUN IT BACK!: SCBWI 2025 Virtual Summer Conference REPLAYS!

I don't know about you, but I'm still buzzing and riding the high from the 2025 Virtual Summer Conference. With a coffee in hand, and Twizzler hanging from the side of my mouth, I blogged in real time only a few of the amazing offerings, typed away during the panels, and tried to capture as many gems from the keynotes. So I am so excited now that the Zoom meetings are available for replays.

Here are some things I've revisited:

I'm obsessed with the art process Rahele's in "My Secrets: How I Make Picture Book Art with Heart (and Hybrid Techniques) with Rahele Jomepour Bell." I've been thinking (not doing, unfortunately...I know) about how I could combine traditional and digital illustrating, and as a visual learner, this was the key to unlock the process for me. I've been experimenting more and more with my gouache paints (yes, I do paint with gouache) which I haven't been the bravest with and this detail walkthrough was just the catalyst I needed!

I also revisited the super helpful and jam packed session "Scripting a Graphic Novel with Shannon Hale" who affirmed part of the process I've been exploring with a graphic novel I've been working on, as well as introduced me to different concepts, books and ways to think as I script the story. As an illustrator as well, it's great to see both sides, so I can really set myself up for success as I build the foundation of the narrative.

I checked out "The Power of Procreate: From Author to Illustrator with Tim McCanna" to brush up on some of my Procreate knowledge and to see if there were any new techniques I can learn to expedite my current process! 

And I also checked out "Developing Your Artist Toolbox and Voice with John Parra," who gave the session attendees a live demo of how he illustrates traditionally! I was in such awe, and I loved seeing what inspires him, as well as his childhood pictures! I need a shirt that says "Justin Campbell" on it! So swaggy! His artstyle is so expressive, and rich and the folk art of it all really spoke to me. I can't wait to get back to creating my list of inspirations to help find my own voice!

If you want to revisit some of the sessions or check out others that you weren't able to clone yourself to attend, go to your MEMBER HOME where you will find the tab at the top that says "My Resources."

 Click through and you'll see all of the resources listed below. Click "See more" which will generate, in event order, the offerings, keynotes, and panels that were offered during the Summer Conference. Click "Play video" and you are all set!

If you didn't attend, NOT TO WORRY! You can still register and have access to all of the wonderful resources and offerings shared! These replays are available through September 14th, 2025! As for me, I'm making my way downtown, watching fast, faces past. and I'm Zoom bound! DoDoDo DoDoDoDo Do DoDo Do Dah Do Do! I'll be glued for the next two weeks! 

Happy Rewatch and Re-inspire! 

Translation and the Wide Worlds of KidLit

 Guest Post by Holly Thompson

           How many children’s books in translation do you read each year? What types of translations do you read? Picture books? MG/YA Novels? Nonfiction? Manga? Graphic Novels? And have you tried translating children’s books or stories from other languages into English? 

Living in Japan for many years meant translating my way through most every day–memos from our kids’ schools, homework assignments, community announcements, faculty meetings. Yet I never thought I’d try translating books from Japanese into English. 

Thanks to the energy and efforts of SCBWI’s Avery Fischer Udagawa and other translation members of SCBWI Japan, the region has had a translation group since its first Translation Day in 2010 roughly a year before the March 11, 2011 earthquake and tsunami. See Translation in SCBWI Japan.

Soon after the devastating March 11 earthquake and tsunami in 2011, I began to develop the fundraiser project of Tomo: Friendship Through Fiction--An Anthology of Japan Teen Stories (Stone Bridge Press, 2012), and this project helped to further coalesce the SCBWI Japan translation group. In a matter of months, not only did Japan-based or Japan-connected authors submit stories to be considered, but Japanese-to-English translators also teamed up with Japanese authors to ensure that this anthology of 36 YA short stories would include ten stories in translation. Tomo: Friendship Through Fiction, was a fundraiser publication–the book raised money to support programs for teens in the ravaged region of Tohoku, along the northeast coast of Japan’s main island.

Tomo: Friendship Through Fiction cover with
 launch announcement created by Debbie Ohi

Through the intense process of compiling stories and closely editing the translations, my interest in translating children’s books from Japanese to English grew. 

Still, I never expected to try literary translation myself. But in my role as SCBWI Japan RA/Co-RA, we hosted a total of seven SCBWI Japan Translation Days: 2010, 2012, 2014, 2016, 2018, 2020, 2022. This biennial event enabled translators–beginners to professionals–to gather; learn and share experiences, advice and information about translation of children’s literature; hear from translation editors; and try Japanese-to-English translation exercises in a supportive environment. These events ultimately led me to begin work on translations—a verse novel, a historical fiction novel, and a number of picture books, two of which were published by a local press in Saitama. 

Originals and translations of two books translated by Holly Thompson
 and published by a local press in Saitama

Japanese grammar and language structure differ drastically from English, and I discovered that I enjoy the puzzling challenge of reordering sentence components. I like mulling over whether to add a gloss for reader understanding; when to tuck setting context into a paragraph; how to capture an author’s voice; and how to keep tone and voice faithful to the original. Translation did not require having to grow an idea from scratch, as my own writing did. And, full confession, sometimes I worked on translations to take a break from the challenge of crafting my own novels and picture books.

So, do you speak a language other than English? What languages can you read? Have you tried translating a children’s book into English? Can YOU help bring more of the world into English-language children’s literature? Have you attended an SCBWI Translation event? Have you joined the SCBWI Translation Listserv? Read about Translation in SCBWI.

Even if you don’t opt to work on translations, here are some Translation Tactics you can try:

• Explore translations in libraries; find out where and how children’s books in translation are shelved. 

• Read reviews of translations and request books that interest you from your local library.

• Give books in translation to the children in your life, to traveling friends, and to family.

• Share enthusiasm and curiosity for translations at bookstores. 

• Include books translated from languages other than English when you share or recommend favorite books with kids, teachers, and librarians during author visits.

• Encourage young readers to read around the world with translations.

• Follow SCBWI member translators on social media.

• Study covers and copyright pages of books in translation–do they credit the translator? The Three Cs for Translators, as explained in this post by SCBWI Global Translator Coordinator Avery Fischer Udagawa, include credit, copyright, and compensation.

I love that reading books in translation enables me to meet characters living around the world in settings and situations I may have never encountered. I encounter children and teens centered in cultures, traditions, and circumstances less familiar to me; discover more about places I visit; dip into school systems, communities, sports, and entertainment I've never experienced; and encounter fresh approaches to structure, pacing, voice and characterization. I read books recognized with the Mildred L. Batchelder Award and the Global Literature in Libraries Translated Young Adult Book Prizes.

I hope you, too, will travel the world through translated books for children and teens. 

And watch out! You may find yourself, like me, getting pleasantly lost in the art of translation.  

Bologna Illustrator Scholarship 2026- Applications OPEN

Would you like to attend the Bologna Children's Book Fair April 13 - 18, 2026? Well, now is your chance! Applications for the SCBWI's 2026 Bologna Illustrator Scholarship are now OPEN!

Also, shout out to Rashin Kheiriyeh, the 2025 winner of the Bologna Illustrator Scholarship!

Check out SCBWI at the Bologna Children's Book Fair!

Click the link to apply for the Bologna Illustrator Scholarship

"Submissions can be found on the MY AWARDS tab in your Member Home. Members must be logged in to scbwi.org to access their Member Home.

The submission should consist of three or four images without text that best showcase your portfolio. Your art style and visual story must be appropriate for one of these two specific audiences/book genres (Choose one):

• Full color, intended for a picture book for 4 to 7-year-olds
• Black and white, intended for a middle grade book for 8 to 11-year-olds
• You must be a current SCBWI member to submit."

Take a chance on yourself and apply today!

ALSO! The Bologna Children's Book Fair Illustrators Exhibition is open until November 3! SO MANY OPPORTUNITIES!

"Now in its 60th edition, the Illustrators Exhibition—which will take place as part of the next edition of the fair (13–16 April 2026)—offers the rare opportunity to bring the work of both established and emerging artists to the attention of industry professionals, during the fair and in the months that follow."

Each year, the winning illustrations will be shown in the show as well as be published in the Ilustrators Annual, released and distributed worldwide. Following the Bologna Children’s Book Fair, the Exhibition will embark on a two-year tour, throughout the world as well will be presented—"either in full or in part"—at various international events in different countries. This is a wonderful opportunity to get your work in front of professionals all over the world!

Mantras of mine:

"You'll never know if you don't try"

"If it's a 'No,' you'll still be where you are. But if it's a 'Yes,' who knows what doors will open!"

"No fear. No judgement!"

Asian Festival of Children’s Content: SCBWI Opportunities in Asia

 August 14, 2025

Guest Post by Holly Thompson

Serving on the SCBWI Japan Regional Team for many years meant that in addition to interacting with authors, illustrators and translators in Japan, I often connected with SCBWI regional members in other areas of Asia–Hong Kong, Singapore, the Philippines, Taiwan, India, Mongolia and Malaysia.

SCBWI International Regions may be smaller in member numbers, but they typically include close-knit groups of authors, illustrators and translators. SCBWI international members are often bilingual or multilingual, and most have experienced living in more than one country, which results in international SCBWI regions that bloom with diverse energy, interests and talents. 

With my home in Japan for over 25 years, I had opportunities to learn from SCBWI members throughout Asia. In addition to the Japanese picture books and monthly children’s magazines that I devoured, I encountered a broad range of storytelling modes and narrative structures from around Asia; I considered word play and poetry in different languages; and I learned from specialists about illustration preferences, traditions and techniques.

Asia-based SCBWI members have often gathered at the annual Asian Festival of Children's Content Asian Festival of Children's Content in Singapore. AFCC is a major festival in Asia for writers, illustrators, translators, publishers, librarians and educators of children’s content. The festival features presentations, panels, workshops, masterclasses, and networking, with the aim of cultivating Asian stories for young people. Organized by the National Book Development Council of Singapore and the National Library Board, the AFCC has brought together local, pan-Asia, and international talents since 2010.

Though not affiliated with SCBWI, AFCC is where many SCBWI members from Asia and the world kidlit community gather. During my many years living in Japan, I attended, presented, led workshops and gave keynotes at AFCC. This year I attended the 16th edition of the AFCC…traveling the loooooong way from my new home in Massachusetts–more than twenty-four hours of flight time–as opposed to my previous seven from Japan. 

Top left: Singapore's Lion; Top right--Korea Country of Focus exhibits; Bottom left: SCBWI members from Japan and Singapore at AFCC; Lower right: book signing in the festival bookstore

At AFCC 2025, I presented on crafting verse novels–the why’s and how’s. And I served on the translation panel “Is There Such a Thing as a Bad Translation?”--well, yes, and no, we panelists from different language and country backgrounds discussed. And I signed copies of Listening to Trees: George Nakashima, Woodworker for the festival bookstore.

Korea was this year’s AFCC Country of Focus. So many dynamic author/illustrators from Korea presented, showcasing bold styles and techniques, contemporary applications of traditional arts, and fresh storytelling approaches. The gathered Korean talent was stellar: Suzie Lee, Park Hyunmin; Lee Geumyi; Baek Jee Hye; Cha Eunsil; Han Rakyoung; Huh Jungyoon; Kang Hyesook, Oh Mikyeong; and So Yunkyeon. 

Asian Festival of Children's Content: Korea, Country of Focus presentations

I attended as many presentations and workshops as possible. Well aware that learning more about illustration and practicing visual art helps my story building, I attended a number of illustrator workshops: I made a monotype in French printmaker Clémence Pollet’s workshop, and an accordion book during SCBWI Japan’s Kazumi Wild’s session on Folding Accordion Books.

L: Clémence Pollet explains monotype printmaking;
R: Kazumi Wilds surrounded by accordion book makers

 At AFCC, I also reconnected with old friends and made new friends from around Asia, enjoying conversations with SCBWI members from Japan, Malaysia, Hong Kong, Singapore and elsewhere. I was reminded of the importance of creative gatherings, of talking craft with other creatives, of making art and stories together, and of how many brilliant ways stories can be initiated, incubated, constructed, illustrated, explored, and ended.

I hope that many members of the SCBWI community will have the chance to visit Singapore, connect with Asia SCBWI members there, and encounter the magic of the Asian Festival of Children’s Content. 

August 2025 SCBWI Blog posts by Holly Thompson

August 7 SCBWI: One Intro to Another, Learning from Each Other 

August 14 AFCC: SCBWI Opportunities in Asia

August 21 Translation and Reading the Wide World of KidLit

August 28 Observe, Experience, Research, Write–The Impact of an Internship

 

Posted by Holly Thompson hatbooks.com