I left a promising career with advertising giant Leo Burnett, cashed in $17,000 from my 401(k) plan, and launched a publishing house from an upstairs bedroom in my home in Naperville, Illinois. I started with just one book, and was initially focused on publishing professional finance titles, books for bankers, and how-to books for small-business owners.
It’s pretty wild that the company I started 31 years ago has become a Top 10 U.S. publisher and the largest woman-owned publisher in North America. We have over 100 employees and now publish hundreds of books each year in a variety of categories.
We are a data-driven company in an industry that is way too rooted in the notions of “taste” and “instinct.” I’ll take data over my gut any day of the week. We gather and learn from data wherever possible, even if it’s on the smallest of scales. We use data in every single department of the company. My background has certainly helped drive us in that direction, but all areas of the company have embraced the use of data.
In terms of innovation, our personalized books platform came from the discovery that readers were already customizing our bestselling kids and gift books on their own. We launched Put Me In The Story as an app, and quickly realized that readers actually wanted a print copy featuring their child’s name and photo, as a gift or keepsake. We are constantly adapting to better suit the needs and wants of readers.
We know books change lives because books changed my life at a young age when I first came to America. I was 9-years-old and did not speak English. I found refuge in the library, where books helped me to understand the culture and the language of the world I now found myself in. I have seen over the last 31 years how books can make a profound difference in peoples’ lives, and that is what continues to drive the Sourcebooks mission.
Agile, transparent and collaborative. We’ve also incorporated “growth mindset” throughout our corporate culture. It’s meaningful when every person on the team is pushing themselves to recognize that “you don’t know what you don’t know” and strive to understand something new. We publish 400 new titles each year.
In 1998, we broke all boundaries with We Interrupt This Broadcast by Joe Garner, a mixed-media book featuring two compact discs with integrated content. It was our largest first printing, and it went on to become Sourcebooks’s first New York Times bestseller. The brilliant pairing of live audio with photographs and the written word generated enormous interest within the bookselling community.
Three years later, we reinvigorated the way readers experience poetry with Poetry Speaks, a book and three-CD combination featuring noted poets like Tennyson and Plath reading their own work. This anthology, a Los Angeles Times and New York Times bestseller, was lauded by Publishers Weekly as having “the potential to draw more readers to poetry than any collection in years.”
After saying I would never publish a children’s book, we released our first children’s picture book, Poetry Speaks to Children, in 2005. The unique grouping of poems, illustrations, and a CD of poets reading their work delighted booksellers and found its way into the hearts of parents, teachers, and children alike, landing it on the New York Times bestseller list for ten weeks. The title eventually marked the springboard for the launch of Sourcebooks Jabberwocky, which started in 2007. A decade later, we’re the 11st largest children’s book publisher.
When I first started the company, my husband came with me to the bank to take out a loan. The banker only talked to my husband. He didn’t pay me any attention, even though my husband made it clear I was the founder and CEO of the company. On the next visit, my husband came with me again, but this time he sat at the back of the room and read a book. When the banker asked for his attention, he said, “you need to talk to her.”
Sourcebooks is the largest woman-owned publisher in North America. Our staff is 70% female, and our leadership team is 70% female. We publish books that empower, recognize and celebrate women who have made a difference.
Sourcebooks Kids is the umbrella under which four children’s imprints live including:
- Sourcebooks Wonderland (customized, proprietary, and regional books)
- Sourcebooks Jabberwocky (ages 0—8, including board books, picture books, and chapter books)
- Sourcebooks Young Readers (middle grade)
- Sourcebooks eXplore (juvenile nonfiction
The viral picture book P Is for Pterodactyl, by Raj Haldar and Chris Carpenter and illustrated Maria Tina Beddia, skyrocketed to #1 on the New York Times Children’s Picture Book bestseller list in December, selling 63,000 in eight weeks (NPD Bookscan).
Reading a print book will always be an incredibly special experience for all ages, but there are absolutely some areas where technology can really create major impact.
Some questions we asked ourselves years ago were: How do we engage reluctant readers? How do we turn every child into a reader? With those questions in mind, we created Put Me In the Story, which takes bestselling books and personalizes them with children’s names and pictures. We work with bestselling authors, award-winning publishers, and blockbuster brands to shape each personalized story into the best reading experience possible. For parents and children, these books become very special bonding experiences that they cherish for years to come. It also engages children at a much higher level, and helps their love of reading grow.
Another example for us is our Fiske Guide to College, the #1 going-to-college guide. It features 316 of the best schools in the US, Canada, and Great Britain. We wanted to find a way to enhance the overall experience for parents and college-bound students, so we created the Fiske interactive app. This allows individuals to browse the curated list of schools and create personal college lists, flag schools for a second look or visit, add notes about each school, email admissions departments directly, and so much more. The college search can be very daunting, and this app really helps families organize all of the information that they need so that that can make more informed decisions.
The future of publishing isn’t a far away concept; it’s actually happening right now. Books are unique, and the publishing is incredibly different than the music or magazine industries. When you buy a book for yourself or as a gift, that book tells the people around you what you like and what’s important to you. It’s another social way to share who you are with the world. That’s why platforms like Instagram are becoming vital to booksellers, librarians, and influencers. It helps them communicate their brand, and it helps them connect to the customer or reader.
As publishers, we have to be innovative and agile, and we have to constantly be thinking about what books mean to readers. We have to uncover new ways to reach them. The future of publishing involves changing and evolving. It means being brave enough to say that you don’t know the answer or the best solution – but that you’re going to ask questions and experiment until you find it. You have to stop believing everything you think you know, and you have to listen to what readers and saying and watch what they’re buying habits are. Then you collect your data, you experiment, you learn, and you move forward. And then you start the process all over again.
The Complete Cookbook for Young Chefs by America’s Test Kitchen, which launched in October with a story on National Public Radio, spent 11 weeks on the New York Times bestseller list and three weeks in the #1 spot on the Children’s Middle Grade Hardcover list.
Love: from Sesame Street by Sesame Workshop also debuted on the New York Times Children’s Picture Book bestseller list, the first time a Sesame Street book has made the list in 49 years.
In addition, with more than 850,000 copies sold of Baby University, the breakout series of science books for kids by Chris Ferrie, Sourcebooks Kids has quickly established itself as a leader in the preschool category.
I started my career in publishing in the 90s at magazines like The Face and Sleazenation. I had been an avid reader of magazines before that, as a child and a teenager. With these titles, I was lucky enough to ‘go behind the curtains’ and learn how to create them. I always secretly wanted to make my own and it is when I became a Mum ten years later that the dream became a reality. Anorak is now in its 12th year of publishing which officially makes us veterans on the indie publishing scene!!
I read anything when I was a child, from Marvel comics to The Famous Five books, or my mum’s womens or TV listings magazines. As a family we moved around a lot and magazines were constant companions. When we lived abroad, we used to get comics and pop magazines sent over to us as this was a way to stay in tune with what was happening on the Continent. When I became a Mum, I started reconnecting with children’s magazines and realised things had changed hugely and not for the best. Magazines had become commercial and gender-specific and I thought about creating a magazine that I would love to read with my son and would be more about childhood than a brand extension.
I wear many hats so every day is different. My favourite day is when I have no admin to do and instead I spend the day writing stories and commissioning artists. If I have to do some admin, I will tackle it first thing, early morning, and then give myself the rest of the day to think, write or visit a Museum for inspiration. One of the things I have learnt over the years is not be a slave to my Inbox! I usually stop around 430pm/5pm (for ice cream and spending time with my son) and start again later after dinner to answer emails.
Every issue has a theme and they vary hugely, from the more conceptual (Art, Myths and Tales, Words, Dreams) to the plain fun (Cakes, Sweets, Party). The themes we explore are sometimes connected to the British Curriculum, or inspired by a documentary or a podcast. They also come from conversations I have had with my son. We never repeat themes and never shy away from the more ‘philosophical’ ones, such as Friendship, Fear and Kindness. One of the things that frustrates me with mainstream culture for kids is that it always revolves around the same topics like Princesses, Robots and Dinosaurs and yet childhood is the perfect time to be inspired by and absorb everything.
I simply love illustrations so I feel like a kid in a candy shop when I get to commission artists! The process always starts with me writing a story. For Anorak, I tend to write in a short story format, thinking about the narrative and the words (obviously!). For our younger children’s magazine, DOT, I tend to think of it more visually and would often sketch it out before I write it. That’s because DOT’s audience is made of very young readers so the approach has to be more visual than wordy.
Once the first draft is done, I look for the style that would suit it better. It’s a subjective process as it is down to tastes a lot! Sometimes I already have a visual style in mind and it is then about matching that to an illustrator and at other times, I have no idea and just look around in search of the perfect one!
It is hard to put into words such instinctive process but generally I look for consistency and craft. Consistency because I’d like to get a good idea of how the story will come back and if a portfolio has too many styles, it can be confusing. Craft because I love detailed and fun scenes that will ultimately inspire our readers to immerse themselves in a story and pick up a pen and draw. I also have a bit of a white page phobia so bright colours are best! Anorak, to me, should be this box of surprises where every page is visually stimulating and gives children a sense that every drawing is a great drawing and there is not one way to draw.
It’s hard to pick one amongst the 46 of them but if I had to choose just one, it would be the one Amandine Urruty did for our Cats & Dogs edition. Amandine is one of my personal favourite artists so I was really humbled when she accepted to do it. I love it because it captures the theme in such a beautiful and intriguing way. It is weird but completely enticing, and looks like it could have been produced over 60 years ago. And the egg on top of the dog is hilarious and bizarre, which is just perfect!
Children are invited to take part in drawing missions and/or they review books for us. Anorak has always been about involving children, as frankly, they are the best drawers and editors. At first, Little Editors were friends of friends but now we have around 300 of them scattered across the world and we also involve schools for some missions.
I think the illustrations we use in Anorak are often very child-like so artists and children’s drawings live very well side by side. We get a huge amount of positive feedback about this scheme as it does wonders for children’s confidence to see their stories and drawings published.
The fun stuff is educational and we make the educational stuff fun! There are subjects that come back every edition such as Nature, Space, Food, and with these, we always look for interesting and fun facts. We approach everything through the lens of child wonderment and when we plan every issue, we access our 8 year old within!
We have just launched a Spanish edition of DOT and are doing events in Barcelona and Madrid to spread the word. It is distributed in mainland Spain and South America.
It is too difficult to pick a single one but I am proud of the fact that we just keep thriving with products that people genuinely love. It amazes me the level of support we receive year in year out from parents, teachers, who really champion everything we do. I am also massively grateful that we have been asked to create magazines like Anorak for brands such as The Scouts, 2017 City of Hull and Airbnb.
Our editorial policy is ‘EVERYTHING IS FUN’ so we hope that by highlighting how fun food, nature or the world are, we inspire them to treat everything and everyone around them with kindness and respect. I truly believe that learning while having fun is the easiest way to learn and stay connected to the world around. But, ultimately, we are very conscious that publishing magazines means chopping down trees so we don’t overprint and ensure we use recycled paper. I also don’t want to add to the sea of throwaway magazines that are available on the shelves (only to end up in a landfill a few months later) which is why Anorak is printed on really nice paper and it is designed to be kept and passed on.
As I grew up, I loved art and was taught that “bored” was a bad word and that one should always try to make something with what they already have - perhaps by finding the magic of what is right in front of you. I often found joy in imagining the world to come alive in wonder the way that children’s books portray (like looking at a tree in the wind and seeing the leaves dance, or thinking that perhaps the stars at night are singing us a lullaby). However, when it was time to think about what career path I wanted to follow, these things never crossed my mind. All I knew was that I wanted to do something that helped others. So, naturally, I decided I would go to school to become a doctor. Within my first year of school I came to realize, despite my best efforts, that I did not enjoy the sciences nearly as much as art. And how would I help others if I was not inspired? I thought to myself, why can’t I help people through art? And there the story really started to take off.
I always loved the way children see life as full of possibility, so I began early on in school designing materials for non profits geared toward helping children in need. As I was nearing graduation as an art major, I knew I wanted to do something that involved design, art, and children, but what? Teaching? It was then that my aunt, Diane Greenseid, introduced me to the magical world of actually making children’s books. She was and still is a children’s book illustrator. She kindly gave me a list of art directors she knew and I immediately contacted them. Several of them graciously agreed to see me! I recall taking my giant, unwieldy portfolio through the wind and rain in NYC back in the winter of 1999, meeting so many lovely people but alas, however, none that could offer me a job. I did find a job at a small design studio in NYC, which was great, but now I had my heart set on working in children’s publishing.
As life will have it, you never know what turns your path will make unknowingly — 2 weeks later, I got a call from the very first art director I met, Joann Hill, saying she had a position open for a design assistant at Clarion Books (Houghton Mifflin). And it was there that my career really began. I spent several years learning under her wing and having such a great time. I then moved on to the Knopf imprint at Random House, where I continued to learn every day for just shy of a decade, meeting so many amazing creators from authors to illustrators, editors of all styles including Janet Schulman who showed me how a book can be serious and funny at the same time, fellow art directors and designers, and of course Isabel Warren-Lynch, who taught me to always focus on powerful expression (and yes, I mean that in more ways than one).
When we moved out to the North Bay of California after my daughter was born, I never thought I would be able to find what I have found now which is the incredible team of Cameron + Company — a small boutique publisher that embraces the love for story, design, books and creative collaboration. I am definitely one of those lucky people who can say they love their work.
Here, at Cameron Kids, I feel my job is less about directing the art than inspiring artists and idea makers to inspire our children as they acquire language and gain a deeper understanding of the world around them and their part in it. To help bring stories to people through books. Because in the end it is our stories that make the world human. I guess I finally found my role after all.
Although Cameron + Company has been publishing children’s books for a few years, we really started to establish and grow this past year with the official launch of the Cameron Kids imprint. The team consists of our children’s publisher, Nina Gruener, our children’s book editor, Amy Novesky, (both amazing authors in their own right), myself — the art director, our production manager, CJ Hemesath, who is stellar at making all our crazy ideas tangible, Emma Kallok, our Marketing and Publicity manager (also a published author), and Jan Hughes, managing editor and copyeditor extraordinaire.
We are an imprint of Cameron and Company -- where Iain Morris is the creative director, who is always inspiring with his expertise -- making sure none of our books got to print being anything shy of perfect and Chris Gruener is publisher. And of course, the heart of our work -- all the authors and illustrators! So, you see, we are all here because we truly love the art of making stories for children and pretty much everyone does a little bit of everything. There is a definitely a lot of joy in our work, but we take it seriously. We publish about 6-8 titles a year on our list, as well as publishing our Cameron Studio projects on our Roundtree list, which is an exciting new endeavor.
To me what that means is that our books are stories begging to be heard in a way that only a tangible book can do (you know that feeling that comes from reading and holding an actual book? the smell of the paper, the feel, the quiet...)
I’ll have to refer to our blog about this as I couldn’t put it better myself.
To us there is a place in today’s digital media-driven culture for the printed word and the print design that goes with it. We seek out those books that need to be held, and appreciated for their tangible value. The books that call to us to be just that, books.
Following the Cameron tenet of publishing books that need to be books – FOR KIDS, has been a thrilling and rewarding journey for our team. Whether it be a picture book biography or a board book about trucks, we choose stories that need to be told, and told well. Our hope is that when given the chance to visit some other world in the pages of our books, children will glean wisdom, compassion and empathy. The dance between words and art in a picture book, executed with thoughtful design, has the power to not only entertain a child, but engage them in a way no other medium can. Books can expose kids to beauty they may have otherwise missed in our fast paced world. Even among the youngest of us, beauty is a great and underrated tool for cultivating change and inspiration.
Truthfully, they all stand out in their own little way. Each project I have worked on has taught me something new. It would be fun one day to make a list of what they have taught me!
I will say, that one of my most treasured experiences, that stands out in a big way, was working on THE BOOK THIEF by Markus Zusak. I remember being handed a huge stack (real paper!) of a manuscript to read and turn into a physical book. I read those very pages on an airplane ride across the country, unable to put it down. I was haunted by the imagery and power of Markus’s story and have been ever since. How on earth was I going to capture that in a cover?! His words were life changing and the project was humbling. And then to watch it over the last many years reach so many other people. It has been an honor to see how much one little book really can help the world.
There are most definitely so many wonderful books I have had the pleasure of working on, it is almost impossible to choose as what has meant the most, is the process of creating a book for children together with other creative people whether we are like-minded or not. What a delight it is to work with other artists, constantly hearing and seeing new ideas. I actually just finished working on a project, called ODE TO AN ONION written by Alexandria Giardino, illustrated by Felicita Sala, that is to be published in the Fall of 2018, that I am simply thrilled about all around: the words, the pictures, the content, the design, the process of collaboration between publisher, editor, author, artist and production — truly lovely.
Absolutely! One of the most fascinating things to me is watching artists grow to reach their potential while working on making a book reach its highest potential. I love looking through an artist’s work and finding that little nugget of art that is just begging to be explored, and subsequently working with an artist to develop that in a way that is unique to them.
As an art director, I can look at sketches and help with pacing, emotion, expression, perspective, composition, etc. once we get into the book making – but the artist is the artist, and that is what we are looking for – that unique artistic expression that will turn a story into a tangible magical world.
I am lucky that I can say all of them! Our Spring 2018 list which just published at the end of April, features a The Great Chicken Escape by Nikki McClure, for which we had fun creating a giant die-cut of a chicken in the case to echo her signature cut paper style, Red a 2 color wordless book by first time author/illustrator Jed Alexander, a bright and bold book about Los Angeles by Elisa Parhad, illustrated by Alexander Vidal, and the second installment of the WALNUT ANIMAL SOCIETY, Magnolia’s Magnificent Map written by Lauren Bradshaw, illustrated by Wednesday Kirwan....that is 4, but I can’t choose.
Being a small publisher, it is always a collaboration. We receive a story submission, and decide if we love it. Since we do so few books, we always search for that absolute yes moment! Once that is settled (often after several rounds of edits to the text), we begin the search for an illustrator who can bring the words visually to life. This sometimes happens quickly and sometimes takes a really long time.
While we do have a certain aesthetic we gravitate towards, what excites us most is when we see something different than what has been done before. We believe the art for children’s books can be sophisticated yet still childlike. So, often, we may work with artists who are amazing artists but have never done a children’s book before.
Once the team for the book is made, we go through anywhere from 1 to 4 sets of sketches, with the level of involvement differing due to the nature of the project and how the artist works. The design happens simultaneously as we begin to think about the production aspect of the book from the get go.
Design plays a huge role in our books, but it has to be thoughtful. No bells and whistles! So we think about the format, the paper, and any other added elements we may want to explore. Then the final design comes in to play once the art is done, we go through several rounds of edits to make it perfect. Then we proof the book to get the look and feel just right, then it becomes a book! That is an extremely simplified version of the process (not including all the materials and plans made to get the outside world excited about the book, the number crunching, the marketing and publicity,...)
WHAT A MESS! by Frank Muir illustrated by Joseph Wright is still one of my favorite books, as well as Who Took the Farmer's Hat? by Joan L. Nodset, illustrated by Fritz Siebel, Harold and The Purple Crayon, and The Little Prince.
We are looking for artists who can visually capture childlike wonder–artists that have a unique expression that can turn a story into a tangible magical world and fill the spaces the words leave open with more. It inspires me when an illustrator shows the reader what he/she can’t already see.
I am moved when I can see an artist’s passion and potential through their work. A good balance of fresh use of line, white space, and poignant expression of character—whether that is portrayed through the setting of the stage or the characters themselves . . . I love to see an artist open to trying new things within his or her own style to make the story come to life.
Our emphasis is on beauty, simplicity, and story.
To continue to find stories that inspire and teach children about empathy and an open minded understanding of the world around them and inside them, to see the beauty in the simple things that are really the big things. And to turn those stories into books.
Yes! I am so excited for OH, BEAR. It will be illustrated by Ruth Hengeveld - this is her first picture book and she is a true talent. I am over the moon at the art I have seen so far. After all these years of being on the art director side of picture book making it is invigorating to see someone else put visuals to a story that came directly from my heart. And Ruth couldn't be a more perfect fit. She is brilliant! The story is simple, yet deep. It's about a dear bear, a beloved kite, loss and renewal, and friendship. The art is realistic yet magical and my hopes are that this book will inspire children to find the magic in nature, the magic of connection, and the magic that can emerge when you change the way you look at something. It will be published in the spring of 2019.
If I do have to pick, a couple of projects that come to mind, I’d mention Lunch Lady and Punk Farm by Jarrett J. Krosoczka, who I am simply thrilled has had so much success in publishing.
The Sleepy Little Alphabet by Judy Sierra, illustrated by Melissa Sweet.
A Splash of Red, by Jen Bryant, illustrated by Melissa Sweet.
See the City by Matteo Pericoli.
Modern Fairies, Dwarves and Other Goblins by Lesley M.M. Blume, illustrated by David Foote.
Thelonius Monster's Sky High Fly Pie by Judy Sierra illustrated by Ed Koren.
...and a recent book, Play? by Linda Olafsdottir.
I’ve been in love with print for as long as I can remember but I couldn’t decide if I wanted to make art or write. In the end I did an art degree, but while I was there I wrote for magazines and interned at a couple of publishers. I had an Aunt in Romford who let me kip on her sofa. When I graduated I had a body of work to show, so I was able to get a job with a local publishing consultancy in the production department. From there I worked my way up, writing bits whenever I had the opportunity, to production editor, where I was in charge of coming up with ideas for new titles. I love that bit the best, so this job is perfect for me. I get to come up with a whole raft of new ideas every month.
We’re a small in-house team. Benita Estevez and I share the editor’s role and manage a large group of freelance writers and illustrators. Then we have Sophie Bryant Funnell who is a very talented art director an in-house illustrator, and Tim, who manages layouts.
My day begins at about 8.30, directly after I’ve finished the school run. I check my emails, maybe commission for a few things later in the year and then I’ll take a look at the spreads for the current issue and start proof reading, copy editing, image research and approving roughs. I might be involved in kicking around concepts for an important cover or talking a museum into lending us their expertise on a feature. Last week I spent some time building a pinball machine out of cardboard. It’s so varied, I am really lucky.
The world may have changed quite a lot over the last 25 years but fundamentally the kids who read AQUILA have not. They respond to the same things you and I responded to at that age. They’re incredibly switched on, well informed and eager to learn, so as long as the content is colourful, interesting, intelligent and packed with fun, it remains relevant and engaging. We try not to think too much about this trend or that. Our aim is that the AQUILA going out this month will still be being passed around, used and enjoyed two or three years from now.
That’s a tricky one. I like the covers with little hidden jokes or details in them but I know they don’t necessarily please marketing. A cover has to do so much! It has to work at loads of different sizes and communicate a very precise message. I LOVED Ed Brown’s Grow Your Own cover for our March issue. I felt it really conveyed the nuttiness of AQUILA.
8-12 is a really diverse age group and within that there are kids of all different abilities and with a whole host of different interests. It’s an organic process. We don’t run anything that we don’t find interesting, and when we run something that is very challenging we have a few tricks up our sleeve – we can pair a very tough maths feature with a really fun and colourful illustrator, we can use a very bright and friendly colour palette or I can write jokes and splice them into the text. Animals and ecology always go down well.
Repeat pattern artwork (below) by Ed Brown.
I can’t speak for Sophie, our art director, but personally I look for these things:
A fairly consistent style running across all the work. I should be able to tell instantly that all this work has been made by the same person, and it should tell me something about the person who made it.
Ideally I want to see a good mixture of subjects including people (adults and children), town and country scenes, food, diagrams (a good diagram illustrator is worth their weight in gold), hand-rendered text and large illustrations and spots.
A mixture of personal and professional projects. It’s really interesting to see what an artist chooses to work on, as opposed to what they’re given to work on.
I LOVE sketchbooks. Show me your sketchbook work. It will tell me so much about your process and your practice.
I like to be surprised by a topic. Often my favourites are things I think I’ll get nothing out of, but then suddenly I’m fascinated. A while back we ran a feature on slime moulds and their ability to solve mazes, and that just blew me away!
Slime mould artwork (below) by Rachel Tunstall.
Personally I think it’s absolutely crucial. For a start I think it helps people retain information but a shared joke also makes you feel like part of a gang. That’s what AQUILA really is – it’s a club for kids who are creative, kind, curious and a bit mad.
I just hope my jokes are actually funny.
The boy who was so inspired by our interview with a coracle maker that he made his own boat and sailed it down a river.
The kid who made our Dig for Victory garden with his granddad and ended up learning all about his experiences during world war two.
The boy who can’t go to school because of ill-health and disabilities, but who enjoys learning and feeling part of a community of kids because of AQUILA magazine. And then the replies to him from other children on the letters page telling him how proud they are of him and what he is achieving.
These are the stand outs, but I get great letters from kids every day. Each one makes me feel really privileged to be able to come to work and do this job.
After graduating with a degree in English and American Literature, I interned at several children’s publishers before I landed a job as editorial assistant at Andersen Press. While there I had the pleasure of working for the inimitable Klaus Flugge and had a hand in producing picture books created by David McKee, Tony Ross and Quentin Blake, to name a few. I’d long admired Nobrow’s books so when I heard they were starting a children’s list I knew I had to get in touch, and soon after I was hired. There wasn’t actually an editorial department when I started at Nobrow, so it’s been amazing to create a new department which has grown to a team of three within the four and half years that I’ve been here.
Nobrow and its children’s list, Flying Eye Books, was founded by two graduates of Central Saint Martins, Alex Spiro and Sam Arthur. For a while they were the only ones producing the books, but the UK office has since grown to a team of thirteen people, passionately working across editorial, design, publicity, marketing, accounts and foreign rights. We also have a sales office in the US where a team of three work to market and publicize our books in America while also liaising with our US distributor, Penguin Random House.
As a small and fairly young company we are still learning our way, but we have had some successes of which we are proud. One in particular that comes to mind is when Shackleton’s Journey by William Grill won the Kate Greenaway Medal in 2015. More recently we’ve had success with The Secret of Black Rock by Joe Todd-Stanton, which won this year’s Waterstones Best Illustrated Book. But success for us isn’t just about winning awards, it’s about creating good quality books that sell well domestically and all over the world.
This can be true, but we do often notice a correlation between our bestselling titles in the US and the UK and I think this comes down to the globalization of publishing. However, the US market is much bigger so our sales expectations are higher, especially in certain areas such as Graphic Novels. This area is still quite niche in the UK, but we appear to be having a golden age in illustration which is opening the UK market up to different types of visual storytelling.
Arthur and the Golden Rope by Joe Todd-Stanton, of which we recently published the paperback edition, is an example of how we have experimented with visual storytelling. It’s a hybrid between a children’s picture book and graphic novel, which is set in the world of Norse Mythology. It’s been particularly successful for us as it reaches an age group of 5-8 year olds and schools have loved using the book in class. At its core it tells the tale of an unexpected hero, in the form of shy and awkward Arthur who manages to battle gods and beasts to save his village. We paired text and illustration in a slightly unusual way but it’s worked out well and it is accessible to children who might be reluctant readers.
This month we’re celebrating ten years of Nobrow, and have released a special anniversary 10th edition of the Nobrow magazine. The magazine was one of the very first projects to be published by Nobrow. In this edition 70 contemporary illustrators from all over the world have responded to the theme of ‘Studio Dreams’, and it’s printed in four spot colours. It’s been incredible to see the range and variety of art styles and interpretation of the theme by all the artists, and I could look through the book for hours!
In June, we are publishing a creative non-fiction book called Skyward: The Story of Female Air Pilots in WWII by Sally Deng. It’s a stunning book that tells the unrecognized story of female pilots from Great Britain, USA, and Russia. Set during the Second World War, Sally Deng sensitively tells the story of three women who all had a passion to fly and faced enormous obstacles along the way. This is a book I would have loved to have read as a child myself, especially as I had no idea women flew during WWII.
This can vary from project to project and it’s hard to describe exactly. Mostly we work with illustrators who are visual storytellers, but don’t find the writing part so easy. We’ll often work on the overall arc of the story and help the illustrator to write the text and make sure the book works as best as it can. Or sometimes I’ll send an illustrator a story or a visual reference for inspiration. Creating stories can be a long process, as sometimes original ideas by new voices take time to develop.
Shackleton’s Journey by William Grill is our most successful creative non-fiction title. It pairs inventive visuals and a fascinating historical story about survival and teamwork. When it was published in 2014, there were very few books out there like it – so it’s been wonderful to see how successful it has been.
I think the best children’s picture books are about universal experiences, whether that is something funny and silly or emotional and heartwarming. At their core children’s books have to appeal to children, but that doesn’t mean an adult can’t enjoy the book either, especially if they are going to be reading the book aloud every night to a young child!
Like most children, I was read to, and read a lot of illustrated books. These books have always stayed in my memory because they were some of my very first experiences of reading. However, it wasn’t until I started interning at children’s publishers that I realized my skill set was much more suited to working on illustrated books.
My taste in illustration styles is hard to define, as for every editor it is quite a subjective thing. I would say it’s often when an illustration provokes a response from me. I tend to like illustration styles that are warm and full of character and expression, like Emily Hughes’s art. Lately, I’ve been drawn to lots of diverse subject matters, but in particular I like simple stories with important and relevant themes, be they social or environmental.
I’m particularly excited by a non-fiction book we are publishing in October called Everest. It tells the story of the world’s tallest mountain, from its early beginnings, to the flora and fauna which survive on it and the legends that surround it. It’s written beautifully by the talented Sangma Francis and illustrated by the incredible Lisk Feng, whose illustrations are bold and mystical. It’s been an ambitious project, but it’s truly breathtaking – in my humble opinion!
I've always gotten a buyers high from buying a new book, and 90% of the time I've bought the book because of the cover. My love for books and illustration made me very determined to get a job in publishing my senior year of college, but I took a slight detour first. I graduated from University of the Arts with a BFA in illustration and one month after graduation I hopped on a retro-fitted school bus and travelled around the country for six months. The trip was for a non-profit I co-founded that taught workshops on gardening and sustainability out of a barn-red school bus. (To this day it's one of the craziest, hippiest things I've done.) When I returned back to my home in North Carolina, I was flat broke and picked up a catering job at a local restaurant. However, my heart was still set on publishing. After several failed job applications (no one wanted to hire a girl with no experience, living in North Carolina), I got a design internship at Penguin. With only the brashness of someone with nothing to lose, I packed my bags and moved to New York. I wasn't sure if I would get a job from the internship, but I knew I needed to be in New York to get my foot in the door. Thankfully, a friend from Uarts told me about a junior designer job at Sterling Publishing and that became my first job in publishing. After Sterling, I worked at Scholastic and then a couple years later ended up at Imprint.
The design team at Imprint is always looking for ways to push the limits of what we can do with the packaging on our books to best match the story inside. A few recent titles we're proud of are The Language of Thorns by Leigh Bardugo, The Joy of Cookies by Cookie Monster, and The Wicker King by K. Ancrum.
With The Language of Thorns, we knew we wanted to create a lush package that matched the dark, magical stories inside. Natalie Sousa had the brilliant idea of creating an illustrated frame around the text of each story that slowly grew as you turned the page. Sara Kipin illustrated these amazing frames that revealed one new sinister piece of the story. We wanted the cover to feel like those classic antique cloth bound books, so we designed the cover as a piece of embroidery, that later was beautifully embossed to make it feel real. Overall, this book is beautiful and tactile, and feels like it's straight out of the Grishaverse.
The Joy of Cookies was an IP project we dreamed up during a weekly meeting. We had all just watched a hilarious video with Cookie Monster and started brainstorming fun book ideas. The Imprint team LOVES puns, so after "The Joy of Cookies" was shouted out as a title idea, the whole project just snowballed from there. The design team really tried to channel what we thought a book would look like if Cookie Monster had made it himself. My favorite part about the book is the die-cut bite mark that cuts through the whole book. Cookie Monster gets so excited, we imagined him taking a bite out of his own book in all his enthusiasm.
The Wicker King was a debut book for K. Ancrum and when I read the manuscript I completely fell in love with her writing. It's a moody story about a teen boy who tries to save his best friend from this hallucinatory world he's spiraling into. The first draft was written with artifacts between specific chapters that told missing pieces of the story. As a designer, I loved the idea of artifacts telling a piece of the story, so with the interior design I went crazy making these pieces feel as authentic as possible. In the final book there are many handwritten notes, photographs, journal entries and drawings that integrate into the story. The pages slowly become water damaged and darker, finally fading into black pages with white type when the characters hit rock bottom. One unplanned design outcome was that the page design created an ombre effect on the edge of the book and readers loved it.
The illustrator in me is always looking for new artists that have clever concepts or use of images (The New Yorker cover always has some of the most clever illustrations). Like most people, I spend way too much time on Instagram (@childrensillustrators) finding my way down the rabbit hole to new artists. However, when I'm not getting lost in the social media web, I find a lot of inspiration just interacting with the city on a daily basis.
The Imprint design team tries to take monthly design outings to art exhibits, book stores or anything funky in the city. Our outings started as a way to get inspiration for book designs, but has turned into a fun way to seek out new content and think outside the box. I love going to unexpected places or exhibits, because you never know what's going to spark an idea.
The cover creation process varies from book to book. My favorite process is to read a manuscript and then hone in on the essence of the book. I often will ask myself a few questions: What is a strong message or theme that is being conveyed in the book? How can I represent that with imagery that doesn't feel too literal? One good example of this process is the book Winner Take All by Laurie Devore. This is a young adult novel about a driven, type-a girl who cares so much about being the best in school and sports, that she ruins all her relationships. When coming up with concepts for this cover I thought about being an over achiever to the point of destruction. Some images that came to mind were matches (burning everything down), gold stars (acknowledgment for high achievements) and burnt prize ribbons (ruined awards). In the end we went with a matchbook that looked subtly like a middle finger as a way to show her attitude towards the world. I love how edgy and fun this cover is, because it truly reflects the attitude of the main character.
The Language of Thorns and The Joy of Cookies are two of Imprint's best selling books so far. Both books are beautiful and fun to read in their own way, which is why I think readers were so drawn to them.
I'm very interested in #OwnVoices stories right now. I find it's very important to work with artists who can relate to the stories they are illustrating and also bring some of their own experience to the narrative. The feminist in me is also loving all of these badass female illustrators making work that celebrates women and all their strengths.
No one wants to work with a jerk. Making friends and being kind to those you work with has been one of the most powerful pieces of advice in my career. All of the opportunities I've had, have either happened because a friend has recommended me or they've introduced me to someone new. Being kind to others makes them remember you and want to work with you again. Plus, it's always fun to make new friends.
One of my favorite projects to work on while I was still at Scholastic, was George by Alex Gino. This was one of the first middle grade novels about a trans character written by a genderqueer author and was such an important book when it came out. I fell in love with the story and the main character Melissa. It was an honor to be able to design and illustrate the cover.
Oh man, this is a hard one! A lot of my favorite books as a kid were mainly because of the art and humor. I was a huge fan of William Joyce's Bob the Dinosaur and A Day with Wilbur Robinson. I also loved the Lane Smith & Jon Scieszka books The Stinky Cheese Man, Math Curse, and The True Story of the 3 Little Pigs!. Another favorite, mainly for the artwork, was The Velveteen Rabbit illustrated by Donna Green. As I got older I fell in love with the Harry Potter series and like most kids I would doodle scenes from the book and create my own versions of the cover.
I would LOVE to work on a book that is a compilation of fully illustrated advice for middle grade readers. Being in middle school can be such a hard time as a kid and I think it helps to hear encouragements from those who survived that awkward time. In a dream world, I would hire multiple illustrators to draw and write out each piece of advice, so the final book would be beautiful and helpful!
I’ve always been a huge book worm. When I was a kid, my local Barnes & Noble even kicked me out of their reading challenge after I won too many free books (I think you got one for every ten you read), so the fact that I ended up working in publishing probably isn’t surprising to anyone who knew me growing up!
In college, I studied creative writing and communications, so I was considering going into marketing or PR as well, but being a book editor was always at the top of my list. I was interested in working in children’s literature specifically since kids have a never-ending well of fascinating, relatable stories to tell, and the best children’s books tend to stick with readers long into adulthood. (Plus, I’ll never get tired of watching first love unfold!) Luckily I landed an internship at Scholastic during college, and from there I was happy to be hired after graduation as a production editor. I worked there for three years before moving over to an editorial role at Disney-Hyperion. Starting in managing editorial gave me a lot of insight into the book-making process which proved to be invaluable when I made the switch to editorial. I loved my time at Hyperion, and I worked there for four years before moving over to Razorbill’s editorial team in 2017.
Razorbill has a publisher and associate publisher who edit their own books as well as overseeing our publishing program at large. On the editorial front, Razorbill has another editor, two assistant editors, and an editorial assistant. We also work closely with our design, marketing, publicity, sales, managing editorial, production, and publishing teams to get our books out in the best way possible!
In my role, I spend a lot of time reading submissions in order to find projects I’m excited about, so I’m always in communication with agents regarding negotiations or potential new projects. After acquisition, I love to work with authors to finesse their books through all stages of the editorial process. In a broader sense, my role is to be a book’s biggest advocate and fan as I work across divisions to make sure it has a great cover and copy as well as a strong marketing and publicity plan so that our sales force will have a dynamic product to work with.
In addition to traditional acquisitions, I also work with the other editors on my team to develop IP projects, which entails coming up with the concept and outline for a book as well as pairing it with the perfect author.
Razorbill publishes 20+ frontlist titles per year across middle grade and YA fiction and nonfiction.
Since most of our books are geared toward older readers, we are always looking for illustrators with a fresh and sophisticated style. I look for range in terms of emotion in particular since I love to find artists who can gives readers a glimpse into the characters’ personalities. We also work on a lot of type-driven covers, so artists that demonstrate unique hand lettering abilities tend to stand out as well.
One way we do this is by experimenting with different formats and design styles in order to differentiate our books. While I wasn’t the editor of this project myself, Razorbill recently published STILL HERE by actress and humanitarian Rowan Blanchard, which is an authentic look at Rowan’s life, featuring her own photos, poetry, and letters, alongside art and writing from her friends. The goal was to make this look like an actual scrapbook, and the final product provides readers with a really immersive experience.
While there are always exceptions to what I say here, I generally think of middle-grade illustrations as being more detailed, particularly when it comes to the appearance of the characters. Young Adult audiences seem to be drawn more to illustrations that look a bit more offbeat or show less of a character’s specific features. Middle grade covers also frequently showcase full-page scenes, whereas YA illustration is often more iconic.
It’s always so hard to narrow my list down for questions like this! I think I’d have to say these books were my top favorites as a child (and still are today):
• One Morning in Maine
• The Westing Game
• Harry Potter and the Sorcerer’s Stone
• Angus, Thongs, and Full Frontal Snogging
• The Princess Diaries
I was also completely obsessed with a series called Replica by Marilyn Kaye. I must have at least 20 of those books in my childhood bedroom! They feature genetically superior clones, an evil international conspiracy, and romance with the boy next door. What more could you ask for?
This is another list that’s too long for me to narrow down! But, I suppose I will give it a try. ;-)
I recently finished editing SONG OF THE DEAD by Sarah Glenn Marsh, which is the sequel to REIGN OF THE FALLEN. I’m proud of this series in a lot of ways since both books are such engaging reads with immersive worldbuilding and relatable characters, but Sarah is also a champion for LGBTQ+ representation in her work. The series’ protagonist is bi, and it features other bi, gay, and lesbian characters throughout, which is especially refreshing to see in fantasy. I’ve loved watching children’s literature become more inclusive as a whole, and it’s been wonderful to publish this series as we continue to work on bringing all readers books that reflect their lives and experiences. (Plus, it doesn’t hurt that Sarah is the queen of make-out scenes!)
I also edited a board book called FEMINIST BABY by Loryn Brantz while I was at Hyperion, and it’s definitely one of my favorite projects to date. Through her personality-packed illustrations and witty and playful text, Loryn’s book shows how much strength there is in just being yourself. I’ve loved watching this book take off, and it makes me happy to see how many young readers are being introduced to feminism.
LIES YOU NEVER TOLD ME by Jennifer Donaldson just hit shelves, and this thriller is the perfect binge read for summer. It has an amazing twist and it’s impossible to put down—I actually don’t want to say more since I don’t want to ruin it!
I’m also really excited about THESE WITCHES DON’T BURN by Isabel Sterling, which will be coming out in Spring 2019. This is the first book I signed up when I came to Razorbill, and it has magic, snark, and romance all wrapped up in a murder mystery—basically everything I like in one! Hannah, the main character (who also happens to be a teen witch), is having trouble getting over her ex-girlfriend since they keep being thrown together after their coven is targeted. And when a new girl in town catches Hannah’s eye, she has to figure out how to balance fending off a terrifying foe with agonizing over texts to her new crush. This book is such a treat, with lots of swoony scenes mixed in with tense action sequences, and Isabel Sterling is a debut author I can’t wait to introduce to the world!
My background is in fine arts, I studied painting at Elam School of fine arts at Auckland University, New Zealand. After finishing I moved to Sydney and landed a job in advertising for News Limited. I realised pretty quickly that newspaper advertising wasn’t for me. I wanted to do a bit of travelling so I moved to London and started work at TNT travel magazine as an Art worker, it was fun, but I really wanted a more creative role and liked the idea of commissioning illustrators and photographers, so I landed a job at RBI as Group Art Editor for Personnel Today. It was a diverse role working across 4 editorial titles and covered conferences, marketing and events.
After 18 months I stepped into the world of fashion working as a Designer for Drapers magazine covering all the fashion shows, creating look-books and art editing. After a year I went freelance working on a range of projects from corporate branding, retail, creating my own textile patterns, web and editorial design.
My friend Sharon King-Chai mentioned there was a part-time design role at Scoop and recommended me to the publisher and founder Clementine Macmillan-Scott. I met with Clementine and Sarah Odedina (Editor-in-Chief) and I was really impressed with what they were doing, I loved the fact they were producing original content, commissioning amazing illustrators and inspiring children to read. Scoop was approaching its first year in publishing and I was excited to be part of the team.
The love for print is still very much alive and I think children really like the physicality of holding a magazine, turning pages and keeping it as a treasured item.
It is exciting! We all work remotely so a typical day for me would involve checking emails in the morning, replying to any queries from the team, looking at sketches that have come in from artists, going through my to-do list and panicking that I’ve only managed to complete 1 out of 10 items on my list. Coffee normally helps at this point, once my brain has kicked into gear I’ll go through the content that’s in for the issue. I like to read all the stories first, that way when I start looking at illustrator portfolios I can match them to the story and hopefully create a clearer picture in my head of how the entire magazine could look.
Once I've decided on a match, I'll create a draft layout in Indesign, type up a brief and reach out to the illustrator. It’s a wonderful process working with artists, they have the ability to inject life onto our pages with colour and creativity and it really does enhance the joy of reading and celebrates the story. I try to give illustrators as much freedom to create artwork that they love, we often get the best results that way.
We're so lucky to have amazing writers and contributors that create engaging content that is fun to read and is educational without being too in your face and boring. Content is key!
Crime issue 12: The crime issue was packed full of amazing content, stories about Victorian prisons, Graffiti and WWII spies. I knew I wanted a central image and thought of the crime scene chalk outline of a person, dog or a face, using a limited colour palette, black being the dominant colour. It needed to look different from the previous cover which was colourful. I chose Lee Hodges work because of his poster style and I wanted the cover to have that same quality.
Sci Fi issue 14: I really wanted to work with Aart-Jan Venema, I loved his Green Man illustration and when he agreed to do the cover I did a little happy dance. Sci-Fi is such an interesting theme and I’m a huge fan of classics like Star Trek and Battlestar Galactica, so the brief was to create a real Sci-Fi ‘feast for your eyes’. The cover was filled with weird and wonderful creatures, aliens and imagery from the stories inside the magazine, so it was an amazing mix and Aart-Jan added Sci-Fi classics ET, Star Trek and Star Wars.
Feast issue 15: This is the first time we used photography on the cover. The theme was food, so it needed to look festive and indulgent. I started looking at compositions first and I wanted to create a centrepiece of food with a nod to the festive season, so I came up with the idea of a food wreath made of sweets, chocolates and strawberries – it needed to be colourful and appeal to kids. I worked with Scoop photographer Maud Craigie in the studio to construct the wreath which was great fun and the best bit was creating the back cover shot, we got to eat the wreath.
The Secret Sinking by Lydia Syson is such an emotive piece, it’s a true story told to Lydia when Emilie was in her seventies and living in a nursing home in Belgium. The story is heart-breaking about young Emilie and her family in World War Two on the ship Lancastria which sank after it was bombed by the Germans near a French port. I commissioned Katie Harnett to illustrate the piece and what she produced was both dramatic and sombre, it really felt like you were in the story.
Trailblazers Trail Game is one of my favourites, I commissioned Carol Rollo and she really brought the theme to life with her bold colourful, dynamic style. She did a fantastic job.
I think it’s important to read Scoop from front to back, get a feel for the style of writing and audience its appealing to and look at the different illustration styles used in the magazine and then finally look at your own work/style and ask yourself is it a right fit?
I really enjoyed working with Will Drayson on Crime issue 12. Wills style was perfect to illustrate a story about a Japanese chemical company dumping mercury into Minamata Bay. Strange things began to happen in the town, backward walking cats, suicidal crows. Will said to me that he could down-play the colours and make them less psychedelic but that was the very reason I picked Will because of his psychedelic art and his skill at creating multi layered scenes and intricate detailing. The final image screams toxic waste and I love it.
The inspiration behind my current designs came from a recent trip to Ireland. My husband’s family live in a small coastal town on the South Coast, it reminds me of home (NZ) with its sweeping landscape and long sandy beaches.
How Maui slowed the sun - Peter Gossage
Roald Dahl – Charlie and the chocolate factory
The Lion, the witch, and the wardrobe - CS Lewis
I’ve been working in publishing since my early twenties. I got a job as an assistant in a literary agency in London after I completed an MLitt. From there I went to Oxford University Press, and then Saqi, where I commissioned international fiction for their Telegram list. Saqi is a small family-run publishing house in London, and it was there that I really learned every aspect of publishing. I had a brief stint in publicity and marketing, and then I was designing covers and laying out books, as well as commissioning them and editing them, so it gave me a proper grounding in the process. When my husband and I decided to move to Ireland in 2008, we had no concrete plans, other than to try to write and paint while I did some freelance editing. It was the height of the recession in Ireland. It was rough. Two years in, we decided to publish an art & literature magazine. Not an obvious way to make a living, but we got some support from the government in the first few years, and then it just took off. Highlights include publishing interviews by some of my favourite writers, launching, The Caterpillar magazine, The Moth Poetry Prize (annual prize of €10,000 for a single poem), being the first publication for some outstanding new writers, coming across some extraordinary artwork, meeting wonderful writers and artists and recently setting up The Moth Retreat here in rural Ireland, next to our home and office.
From early on, I wanted to publish a junior version of The Moth – mostly because I thought the title The Caterpillar was so good! Well, that and the fact I thought there was a huge gap in the market. We produced the first issue in the summer of 2013. I follow the same principles as The Moth when putting it together – bringing together the best poetry, short stories and art that I can find to give our readers the most joyful experience. It’s as simple as that. We don’t care about names, we don’t care about celebrity, and nor do children generally. They just want to be entertained.
I’m always on the lookout for work that is witty, whimsical, has heart, and has obviously been beautifully composed. I’m looking for contemporary work that has a timeless quality, that isn’t just responding to trends or fads. The artist has to have a real vision of what it is they’re trying to achieve, a real voice or whatever the visual equivalent of that is – integrity.
I love Sarah-Jane Szikora’s cover ‘The Great Escape’, featuring a bunch of jelly babies making their way out of the bag. Deidre Wicks’ work I love, and ‘Tea Dive’, an owl sitting wearing a snorkel sitting in a cup of tea, is utterly charming. Claudia Tremblay’s ‘Mursi Dream’, Lizzy Stewart’s ‘Lion’, Jantina Peperkamp’s ‘The Little Aviator’, ‘Iroquois’ by Anne Yvonne Gilbert ...
No theme, I just follow my nose, starting with the poems generally, then the stories. Then the search for the artwork begins.
Undoubtedly a highlight was visiting J. P. Donleavy, author of The Ginger Man, at his sprawling mansion in rural Ireland. He took us from room to room, showing us his wonderfully whimsical paintings and illustrations (some of which we published in The Caterpillar), told extraordinary anecdotes from his life and serenaded us on the piano! It’s always lovely to have the endorsement of well known writers. Michael Morpurgo very kindly gave us a story for the very first issue. And very early on, John Hegley featured us on a list in The Guardian of the ‘Top 10 Children’s Poetry Books’, even though we’re not a book, and we don’t just publish poetry, but hey ho! But it’s publishing new and up-and-coming writers and artists that still gives me the biggest thrill.
These prizes are run annually for a single unpublished poem and short story, and are our way of highlighting some of the best poetry and fiction that is being written for children. Anyone over 16 can enter our prizes, and the winner of each is awarded €1,000 and their work is published in The Caterpillar. There aren’t many outlets for publishing children’s fiction and poetry, so the prizes are a very useful way of writers getting the recognition they deserve. The inaugural winner of The Caterpillar Poetry Prize went on to secure a publishing deal as a direct result of winning, which was incredibly gratifying.
We don’t brief artists or illustrators, and I don’t even like to think of the work being there to illustrate the poetry or fiction. It’s place in the magazine is as prominent and as vital as that of the writing. I tend to approach artists directly to ask permission to reproduce some of their work. I will try to showcase 2–3 artists in each issue.
The most exciting and daunting experience was launching the first issue! I had no experience in the world of children’s publishing so I had to brush up quickly, and call on anyone I could think of who might be able to send us work. It took a little time before I could rely solely on unsolicited material, which is what I prefer to do.
Co-director (and husband) Will Govan visits schools to read from The Caterpillar. He says the wonderful thing about kids is they only react when they think the poem or story is really good or really funny or rude. And they don’t care about whose written it.