Dividing books by age is an imperfect measurement, because kids vary so widely in their development, exposure/experience, and preferences. Some kindergarteners are reading at a high school level, and some high schoolers need extra help. Some third graders want hard facts and science in their nonfiction, while some 8th graders still want to read about unicorns going on adventures. Age is only a rough estimate.

When we talk about age categories, we’re talking about both the reader’s reading ability and the types of content that are considered appropriate for them. 

When most people think of age categories, they probably imagine clearly defined boundaries and kids progressing sequentially through them.

Note that adults actually read across all these age ranges, especially when screening books for kids, but Young Adult is unusual in that up to 80% of the books are estimated to be read by adults. 

While there’s a roughly equal distribution of readers across the age spectrum at any given moment, publishers don’t always consciously cater for the full age spectrum. 

Publishers are divided into imprints and divisions which specialize in one or two of the age categories above. They’re not accountable to each other, and each is charged with selling the most books it can within its categories. 

No publishing house is weighing their acquisitions against the age spectrum and saying, “We don’t have anything for the 13-14 year old set, let’s acquire something to fill that gap.” Rather, they’re looking at each individual project that comes in and asking if they can sell it. If they get a bunch of submissions that happen to all fall within a certain age band, and they think they can sell them all, then maybe their releases for that season will end up only being for a narrow part of the age spectrum. 

Publishers put money where they think they can make money. There’s a sweet spot on the chart where Young Adult, New Adult, and Adult overlap: 18-19. In this range you can catch teens, college-age readers, and adults up to any age. These are the potential buyers, and there’s a lot of readers in that space. Publishers need to make money, so they’re choosing titles that will sell to these demographics.

Who are we leaving out?

There’s also a range on the chart that’s only served by one of two categories: Upper Middle Grade (10-12), and Lower Young Adult (12-14). These two age categories seem to pick up where one leaves off, but in reality there’s a dearth of options for readers in this age band. 

It’s a self-feeding system. The youngest readers (ages 5-10) have a plethora of options. Wherever they are, there’s a book to meet them. This is fantastic. It encourages kids to keep reading. But then they turn 10, and the options start falling away. By the time they’re 12 or 13, there’s really only a few kinds of books for them–Upper Middle Grade. There are still the same number of kids, the same number of potential readers, but publishing caters to only a subset of them. 

Kids like to read up, about characters a little older than they are. So a lot of Middle Grade readers start looking in Young Adult. But when Young Adult is putting all its focus on Upper Young Adult, and the adult readership there, stories for 13-15 year olds fall by the wayside. 

Because there aren’t as many books for that age range, many kids stop reading altogether. Or they jump to Upper Young Adult and Adult, where they may encounter elements they aren’t ready for or just don’t want to read about. 

What can we do about this?

Actively pursue books in the underserved Upper Middle Grade/Lower Young Adult gap. Talk about them, request them from your library or bookseller, and post reviews so publishers know there’s demand and great reception for these books. 

That said, it’s not productive or kind to shame anyone who writes or enjoys Upper Young Adult that verges on New Adult or Adult. There are a lot of readers in that space, and a lot of stories to be told. It’s not that these books shouldn’t be published–the issue is that it makes it harder for younger readers to find books suitable for them. Clearer marketing would go a long way toward fixing that.

What does this mean for writers?

First, if you’re writing a book that falls in the underserved part of the age spectrum, please don’t be discouraged! There are fewer books being acquired here, but they are being acquired. And there are readers who badly need those books. Your book could make a world of difference to a young reader, including keeping them a reader for life. 

The good news is that plenty of people have recognized this upward shift in Young Adult, and now Upper Middle Grade is growing upward a bit, too. The market is always in flux, and this is just one of many ongoing fluctuations.

All readers have different needs throughout their lives. It’s important that we keep all of them in mind, and make books available to all ages so that kids who love reading always have something to read. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

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This problem is not unique to kidlit. Traditional publishing is an inherently political industry. It amplifies certain voices and narratives, and not others, which is a political choice. You’re chosen, or you’re not. Your perspective is valued and shared widely, or it’s not. 

As this column has discussed before, young readers are particularly sensitive and vulnerable to negative depictions of themselves and others in books. It’s imperative that books for kids be welcoming and inclusive. That’s why we need to talk about DEI in kidlit publishing.

You may be under the impression that these issues are better in kidlit than in other areas of publishing. You may be aware of data like The Ripped Bodice’s survey of diversity in romance publishing, which shows dismal numbers, and contrast it with the existence of organizations like We Need Diverse Books, which specializes in children’s’ publishing and advocates for wider inclusion. You might want to pat kidlit on the back and say, “Great job being better than those other genres and categories!”

Here’s the thing… better does not mean good.

More and more visible work has been done to broaden kidlit. There have been slight improvements, but still way, way too far left to go. 

Where We Stand

The Cooperative Children’s Book Center (CCBC) at the University of Wisconsin-Madison has been assessing diversity statistics in children’s books since 1985. Each year they “receive most but not all trade books published by the ‘Big 5,’ as well as books from some smaller trade houses, smaller independent presses, and self-published books.” The books are primarily from the US, but they do receive some from other English-speaking nations. The CCBC determines if a book was by a BIPOC (Black, Indigenous, and People of Color) author, and if the major characters featured in the book are BIPOC. 

The CCBC survey primarily focuses on race every year, but has done some work around LGBTQ+ books and authors. It’s also important to note that how they defined BIPOC varied over the years. For instance, there are statistics for Black authors going back to 1985, but Latinx statistics only go back to 1994. They continue to expand the categories over time. 

You can find raw numbers here. Also, here is a more detailed analysis of 2019, which is the most recent data available.

The infographics below illustrate the proportionate distribution of books depicting BIPOC characters in a given year. 

2012 – Only 7% BIPOC

Original Graphic via CCBC illustrating 2012 Statistics || Tina Kügler, Illustrator, https://tinakugler.squarespace.com/

Of the 3,600 books CCBC received in 2012, 3,329 were primarily about white characters.

Houston, we have a major problem.

2015 – Slightly More BIPOC than Animals

In 2015, BIPOC made up 14.2% of the 3,400 books CCBC received. To quote the infographic, “About a quarter of the total children’s books published in 2015 were picture books, and about half of those depict non-human characters like animals & trucks. … The remainder depict white characters.” 

Houston, I smell smoke. Like a lot of smoke.

2018 – More Animals than BIPOC

In 2018 CCBC received 3,653 books, half of which were about white characters. That’s quite a decrease from 2012, no? But: across these three graphics we can see that when the percentage of white characters decreases they are primarily replaced by animals and other non-human characters–not by BIPOC characters. 

Houston, the wing is on fire.

2019 – “Alternatives” Continue

Data from 2019 was released in June 2020 and there’s no infographic for this year (thanks, COVID!). This year’s data drew from 3,716 books, and was broken down into a few extra categories, most notably “Brown Skin.”

From the blog post: “‘Brown skin’ indicates books in which the primary character clearly has brown skin (indicated by illustrations or text), but there are no specific racial or cultural signifiers in the illustrations or text.” This is problematic because it lumps all brown-skinned characters into an undifferentiated mass. 

The decrease in white characters between 2018 and 2019 is 8.2%. Which is handily exceeded by the “Brown Skin” category at 9.2%. As with the Animal/Non-Human trend, we see between 2018 and 2019 that published books would rather give space to vaguely “Brown Skin” characters than give BIPOC characters actual identities. 

Mayday, Houston, mayday! 

The Lost Books

Reflection Press is a small publisher focused on diversifying children’s lit. They used CCBC’s 2017 data to do their own infographics and analysis, which you can read in full here.

Their work compares the character breakdowns to the US population’s racial makeup. For instance, African Americans make up 13% of the US population, but were only 3.3% of characters that year. 

Then they calculated how many books would have to be published featuring African American characters to fill that gap between the population and the represented characters. In 2017 it would’ve taken 524 books to bring about parity! 

They ran these numbers using CCBC’s data for the last 12 years, and reckon we’re missing some 6,000 books that should have featured African American major characters.

Who’s Writing Whom?

But it’s not enough to look at the characters. We also need to look at the authors. 

In 2019, CCBC determined that 11.9% of books featured African American major characters. But of the 3,716 books received, only 5.8% were written by African Americans. Less than half of all books featuring Black characters are written by Black authors. 

The characters are fictional. The authors are real people. These authors have a tiny fraction of the publishing landscape, and as we saw with #PublishingPaidMe, they aren’t treated fairly even when included. 

What do we do now, Houston?

A recent academic study titled “Rethinking ‘Diversity’ in Publishing”, which focused on kidlit, genre, and literary fiction in the UK (which has its own diversity problems!) assessed how diverse authors and books are handled throughout the publishing process. They interviewed everyone: authors, agents, editors, publishers, book sellers, and so on. And they had some recommendations about how to support these books and authors. 

Publishing professionals need to question their biases, reckon with the privileges they have within the industry, and not only open up space but truly provide support by giving institutional resources–especially money–to the people doing this work. The system needs to demonstrate where its values lie through resources.

We need to build a more fair industry through anti-racist work. It’s especially important that we do this within kidlit where our readers are having formative experiences through books. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Diversity in Kidlit: Better Isn’t Enough appeared first on DIY MFA.

Author L.L. McKinney started #PublishingPaidMe, encouraging traditionally published writers to share their advances. Immediately it became clear that what was rumored is based in fact: Traditional publishing underpays Black authors, by a lot. Even as alarming disparities rolled in (Multi-Hugo award-winner NK Jemison received only $75k for her Broken Earth trilogy–the series that netted 3 Hugos in 3 consecutive years–while multiple white debut authors reported advances nearing $1 million.), the hashtag was almost immediately misconstrued. 

“Is this a YA thing?” some asked. 

If you’ve not closely followed the discourse within the YA publishing community at all in the last 5-10 years, you might well ask that question. Much of these conversations take place on Twitter, among authors, agents, editors, and readers, and may commonly be called “YA Twitter.” There have been some major scandals discussed within YA Twitter, large enough that news orgs and blogs have reported on them. That reporting almost always characterizes the conversations as “toxic” and claims that “cancel culture” is rampant.

To the casual observer, #PublishingPaidMe could very well look like ‘yet another YA Twitter blow-up.’ The hashtag was started by a YA author, after all, and many of the first posts came from YA authors. YA Twitter has a reputation by now. Surely this is more of the same. 

To answer the question, this is not only a YA thing. This is a publishing thing. What starts in YA and kidlit has significance for the rest of publishing, and ignoring or dismissing it is both insulting and foolish. 

Today let’s examine a brief history of what YA Twitter actually talks about and how, why it’s been mischaracterized repeatedly, and who benefits from that.

What’s been happening on YA Twitter?

Twitter is a popular place for discussions concerning publishing, and it can be a great resource for writers who want to stay on top of changes in the industry. There are spaces for different genres, and age categories, traditional publishing, and self-publishing, and so on. YA Twitter is just one of many spaces. 

What makes YA Twitter different? A few things. 

• Traditional YA publishing has become more open to diverse storytelling and authors. Rates of diversity in kidlit are broadly more encouraging (though by NO means good) in books for kids than they are in many adult genres. Orgs like We Need Diverse Books have done tremendous work to keep this top-of-mind.
• There’s more space in YA for authors who break the predominant Christian straight cis white mold, and consequently more participants who do not fit that mold. They may be BIPOC, LGBTQIA+, disabled, neurodivergent, from a variety of religious backgrounds, and so on.
• The stakes are higher in YA, and all of kidlit, because the readers are young and vulnerable. While adult readers have more coping mechanisms for grappling with harmful content, kids have far fewer and may be profoundly wounded by what they read, in a way that will stay with them for a lifetime.
• Consequently, you have more participants, more authors from diverse backgrounds, who want to ensure books are doing right by their young readers. And they speak up. 

When a marginalized YA author comes across a book that is problematic or outright harmful they weigh their options. 

1. They can stay silent, in which case nothing changes and a damaging book is released into the world. 
2. They can try to address the matter privately, such as giving feedback on an arc directly to the publisher, and hope something changes before publication. Their feedback is frequently ignored, and a harmful book is released into the world. 
3. They can say something publicly. PROS: There may be a groundswell of support that pushes the publisher to make changes, harmful content isn’t swept under the rug, and hopefully the hurtful draft never makes it into the hands of young readers. CONS: The author who speaks up opens themselves up to a deluge of criticism, harassment, and threats, which could include a campaign against their books. 

Choosing #3 is by no means easy. Authors do it because they are sick of seeing harmful content put into the world. They do it because they are tired of kids getting hurt by books, which are supposed to bring them comfort. They do it because if they don’t it’s highly unlikely anyone else will be brave enough to. 

So, when YA Twitter talks about these issues, it’s coming from a place of wanting to fix what’s wrong and make a better environment for everyone. 

Why is YA Twitter called toxic?

No one likes to be told they’ve made a mistake. And people with privilege often react badly to being told that they have privilege, let alone how they’ve made a mistake stemming from that privilege. The publishing industry is steeped in privilege. The privilege of resources that afford one the ability to write and complete a book, the privilege of agents and editors who “love” a book enough to champion it, the privilege of being able to afford three unpaid internships before landing a paid position making $30,000 in Manhattan. 

Not only is it difficult for the industry to hear and accept that it’s making mistakes, fixing those mistakes costs money. They would have to pay their employees better, pay authors more, pay for adequate fact-checking and sensitivity readers, hire new people to broaden their teams. Change is expensive. 

How to avoid having to acknowledge problems and make costly changes? Act as though the complaints are invalid. Paint the people speaking out as acting in bad faith. Claim they want to “cancel” and banish people who make mistakes (pro tip: it’s far more likely that the person who spoke up will be blackballed and driven from the industry). Call them toxic, and not worth listening to. A sideshow to be stared at from a safe distance and not taken seriously. 

Who benefits from the toxicity narrative?

Journalists, news outlets, and blogs: The headlines are often clickbait, and result in ad revenue. Fomenting discord results in money for the outlets.

Publishing houses: People have predicted the death of publishing for years, sometimes even from inside publishing. It’s a common claim that there simply isn’t money to pay employees better, or to pay advances to (particularly marginalized) authors… and yet executives take home millions in compensation every year, and there’s always money for splashy book deals. 

The status quo: The argument that this discourse is inherently toxic invalidates the very real concerns being raised, and provides an excuse for traditional publishing not to act on them. Agents, editors, and other publishing professionals can pretend the people raising concerns aren’t worth listening to, and keep doing their jobs exactly as they always have. They don’t have to expend their time or money creating change.

Systems of oppression: When publishing doesn’t work to dismantle the status quo, the status quo is upheld and continues to perpetuate embedded white supremacy, racism, and other forms of bigotry and oppression. We know these things are there because we see their impact repeatedly, from who gets to be a protagonist to who is employed to produce the books. Producing books that are products of these systems help to reinforce them, and so it continues.

Who loses out when YA Twitter is called toxic?

Readers: Delivering harmful books hurts the kids who are targeted, and the kids who aren’t directly impacted. 

Aspiring writers: Writers who hope to publish are turned away from valuable information and education, making them more vulnerable to scams, schmagents, and other risks. 

Marginalized authors: As demonstrated by #PublishingPaidMe, marginalized authors, especially Black authors, are paid far less. When one concern from marginalized folks is ridiculed and dismissed (ie., that some content is harmful), it weakens their position in other areas. Why pay them more if they’re going to ‘stir up trouble’? Why pay them more if they’re ‘oversensitive’? Why take on their books at all? It’s infantilizing and infuriating. 

The world at large: Publishing does not exist in a vacuum. Publishing influences what people think, and how they behave. If the books coming out of publishing houses are damaging then that damage will ripple outward. Oppressive systems in other areas will strengthen, and continue. More people will be hurt. Social change can be hugely influenced by the content we consume. 

It’s not just a YA thing, and YA can’t fix it alone

Calling discussion of systemic issues in publishing overblown or toxic discredits the discussion and the people taking part. It is a deliberate tactic employed by people who do not want to risk change. 

These conversations need to happen. Silence allows abusive practices to continue. #PublishingPaidMe was started to break that silence. There are still lots of taboo subjects in publishing discourse, but hopefully who gets paid what will no longer be as secretive. 

The YA space has so many brave, dedicated champions within it. Instead of dismissing them, listen to them. Buy their books. Pay them. Learn from them, and hold all of publishing accountable.

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang, The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post “Is this a YA thing?” On Pay Rates, Racism, and Toxicity in Publishing appeared first on DIY MFA.

Below, we’ll look at ways authors and illustrators are helping young readers and parents, and then explore some free or inexpensive resources currently on offer. But first:

If you’re struggling to create… you’re not alone.

In the first days of quarantine, there were a lot of people talking about it like a vacation–a period with lots of free time in which people could get things done. Surely writers, who prefer isolation anyway, would be writing up a storm now!

But that’s not always how it works. Sure, some people are able to throw themselves into their creative work–it can be cathartic, a mental escape–but for others creating right now is an uphill battle. COVID-19 is scary. The uncertainty is scary. And being anxious, worried, and uncertain is not necessarily a great recipe for creativity. Or productivity in general.

Rule #1 is to be kind to yourself. That means you shouldn’t berate or blame yourself if you’re having a hard time right now. 

What Kidlit Authors & Illustrators Are Doing For Readers

While parents and kids are stuck at home there’s a growing need for entertainment, comfort, and educational resources. The outpouring from creators has been overwhelming.

Writers are doing read-alouds and discussions, illustrators are doing draw-with-me sessions, and publishers are granting permission to teachers and librarians to stream or record themselves reading books. All in the name of helping our favorite people: kid readers! 

Rather than try to collect the myriad links for these online resources here, check out these articles with lists of where to find them: 

• BookRiot – Kid Lit Authors Stepping Up During the COVID-19 Crises and Quarantine
• LAist – Coronavirus Storytime: Here’s Where To Find Celebrities Reading Children’s Books Online 
• The New York Times – Home With Your Kids? Writers Want to Help 
• Publishers’ Weekly – How Kids’ Lit Is Responding to the Coronavirus 
• School Library Journal – Kid Lit Authors Step Up To Help Educators, Students, and Parents 

Indie authors are also getting creative. Many have discounted their books, or made them free. Sarra Cannon is reading a paranormal YA novella on YouTube as she edits it, an interesting twist for writers. 

Don’t Miss

LeVar Burton Reads – Yes, the same LeVar Burton who used to host Reading Rainbow on PBS now offers a podcast and Twitter streaming reading series for grown ups, and during the pandemic he’s expanding to multiple times a week with offerings for kids and teens! Including works by Neil Gaiman! 

Everywhere Book Fest – A virtual book festival designed to “bring the book festival experience to everyone.”  

Coronavirus: A Book For Children – A free book to help explain the virus to young children, illustrated by Alex Scheffler of Gruffalo fame, and written in consultation with psychologists and medical experts. 

Resources For Kidlit Writers

It’s not just love for readers being put into the world. Writers are helping other writers, too. 

Funds

Because time is a critical factor in addressing people’s needs, deadlines and thresholds may already have passed. There will likely be more, and these are listed as examples of what to keep an eye out for. Social media can be an excellent resource for finding similar opportunities. 

We Need Diverse Books Emergency Fund for Diverse Creatives in Children’s Publishing – A fund to support diverse traditionally published writers and illustrators, and publishing professionals. 

Maurice Sendak Emergency Relief Fund by the New York Foundation for the Arts – A fund for picture book writers and illustrators in need due to the crisis. 

Education

The Society of Children’s Book Writers & Illustrators (SCBWI) is offering members free digital workshops every week. 

WriteOnCon Anytime Archive Access – This year’s virtual writers conference has passed, but access to four years of content for 30 days is now only $10. 

About Publishing

Authors, illustrators, agents, editors, and other publishing pros are all enduring this pandemic alongside us. Their reactions range from “Give me more manuscripts to read!” to “I made… more tea? That’s something, right?” to “I have kids I have to homeschool there’s no way I can work right now!” 

YA author Alexa Donne is a wealth of writing and publishing knowledge. On her YouTube channel she answers the question, “Should you query your book now?” She also talks about how other parts of the traditional publishing machine are faring. 

There are also a ton of resources being aimed at indie, and aspiring indie authors right now. A lot of them are very expensive. A lot of them are free. Start with the free resources so you can better judge which gotta-buy-now offers may or may not be worthwhile. 

While these are uncertain times, you can count on the kidlit community to prioritize young readers. And in the writing community at large there’s always someone offering a helping hand up. 

Take care of yourselves, Word Nerds, and stay safe.

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Kidlit’s Coronavirus Response appeared first on DIY MFA.

As writers (and illustrators!) for children we should be deeply invested in spreading literacy and a love of books to kids all over the world. Kids who read have better outcomes in school, which leads to greater earning potential as adults, and a literate society benefits everyone.

Here’s an overview of the calendar, followed by ways you can get involved.

International Children’s Book Day

When: On or around April 2

Held by the International Board on Books for Young People (IBBY), this day also commemorates the birthday of Hans Christian Andersen, writer of The Little Mermaid and other beloved stories. Is a non-profit that connects some 75 national “sections” from all over the world, helping countries with robust publishing industries support those that are still building their own. Each year a different national section ‘hosts’ the event, creating a poster and message to be distributed. In 2020 the host is Slovenia.

World Book and Copyright Day (International)

When: April 23

An initiative of UNESCO (which stands for United Nations Educational, Scientific and Cultural Organization), this is a day dedicated not only to reading and publishing, but also to copyright protections and awareness. It is celebrated around the world, with Wikipedia noting special traditions in Catalonia, where they give books and roses to loved ones. 

The date was chosen because it is the birth or death date of many famous writers, including Shakespeare and Cervantes. 

World Book Day (UK and Ireland)

When: First Thursday in March

An extension of UNESCO’s day, the UK and Ireland have moved their celebrations so as not to intersect with spring school holidays. Organized by a nonprofit of the same name, since 2007 they’ve partnered with sponsors to provide as many children as possible a book token to buy one of a selection of books for just £1, or get a hefty discount on other select titles. For one in four kids in the UK this is the first book of their very own that they ever own.

Participating schools encourage kids to make a costume and ‘become’ a fictional character for the day. The emphasis is on kid-friendly DIY costumes (lots of construction paper and cardboard!), rather than getting Mom or Dad to buy or sew something. Teachers read to kids, and kids read in groups to themselves. Older students can read excerpts from a multitude of MG and YA titles, including popular tie-ins like Star Wars, and authors including Angie Thomas, Patrick Ness, and Sarah J Maas.

Free Comic Book Day

When: First Saturday in May

On this day participating comic shops in North America and around the world give out free copies of special edition comics printed specially for the occasion. Kids love graphic novels and they’re a great gateway to reading other books, so this is not an event to be missed! 

How Authors & Illustrators Can Get Involved

You don’t have to be featured by one of these organizations to take part in the celebrations! Lots of events and locations are always on the lookout for local writers and illustrators to make connections with kids. You can promote literacy while also getting your work in front of your ideal readers.

Join Existing Events

Reach out to local schools, libraries, and book stores. Ask if they have festivities already in place, and if you can join–or start something! 

Visit Young Readers

You could offer to read from your book, and speak to kids about your book and your job as a writer or illustrator. For older students you may be able to hold workshops where kids learn and practice new literacy skills. Regardless of age, all kids benefit from seeing that “author” is a real job that real people just like them can have.

Donate Books

If you’ve got ARCs on hand, donate them to a classroom library! These are often stocked by teachers out of their own pockets, and they welcome the chance to broaden their students’ access to a wide range of books. 

Donate Time

If your local spot is hosting a costume party, see how you can help out. You could help young kids cut out shapes for their costumes, or do simple face-painting. The goal is to make sure kids associate reading with having a good time. Teachers, librarians, and booksellers are often pressed for time and an extra pair of hands can make all the difference.

Help Fundraise

Donate directly to the organizations listed above, or help them to fundraise with local events. Book Aid International and World Book Day in the UK & Ireland have partnered for a fundraiser called “Big Booky Breaktime”, where proceeds go to buy books for kids “affected by conflict, poverty and violence.” You might donate a signed copy of your book for auction, or use your platform to raise awareness of a bake sale or other activities. 

Regardless of how you participate, remember your priorities: these days are about celebrating all books, reading, publishing, copyright protection, and literacy. Encouraging young people to become lifelong readers is the goal. 

And don’t forget to share your love of stories with the kids in your life, too. Even if you don’t leave the house, a day dedicated to books is a great excuse to curl up together for a favorite read.

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Celebrating Reading: Days Dedicated to Books appeared first on DIY MFA.

This much-debated topic has no easy answer. First, an overview of the debate, then we’ll discuss how the dynamics shift when your target audience skews younger, and how to make your references work if you do decide to use them. 

The Changing of the Old MFA Guard

According to Electric Literature, the question picked up steam in the 1980s at MFA workshops. The professors had grown up in a world largely devoid of corporate branding slapped onto every aspect of their lives, but their students had come up surrounded by brand name cereals, trademarked products, and a wider common culture made possible by the spread of national TV and radio. To the young writers it was normal to say Kleenex or Hoover, instead of tissue or vacuum: the brand was the item. 

Their teachers objected, essentially claiming that all these brands and pop culture touchstones were ephemera, that they were fads that would fade as easily as they had come. After all, there was no MTV when they were kids! These professors said literature should seek to be “timeless” rather than products of their era. 

That’s the theory, anyway. 

What actually happened is that while specific pop icons like Davy Jones and Bananarama faded from popular consciousness, a lot of things haven’t. Coca-Cola is a prime example, a brand that’s been around since 1886 and keeps reinventing itself to stay relevant. Their product is so ubiquitous that many people don’t say “I’ll have a soda” or “pop,” they say, “Gimme a Coke.” Brands are absolutely everywhere (we’re all encouraged to even have personal brands to compete). The Internet has been divided up between Facebook, Google, Amazon, and other massive conglomerates. “To google” is now a verb. We now communicate through pop culture using GIFs taken from popular shows and movies. The zeitgeist has zeitgeisted itself. It’s all very meta. 

All that to say: this is how we live now.  So, can contemporary fiction that doesn’t incorporate or refer to the ubiquity of pop culture and big brands really call itself realistic fiction? 

What Readers and Other Writers Think

Both readers and writers are split, but they tend to have strong feelings about their preference. Discussions on Reddit are illuminating, from both the writers’ perspective and the readers’. Here are some highlights.

Don’t use references when they’re… cheesy, overdone, exist ‘just to appeal to readers’, are used as a prop, can be ‘distracting filler’, look like showing off, or come over like Steve Buscemi’s “How do you do, fellow kids?” when not used correctly.

Do use references when you want to… flesh out worldbuilding, anchor your story firmly in time and/or place, add in-jokes and layers of additional meaning, or quickly communicate something about a character through the references used. 

Most readers agree that if it’s done well, it can work. We’ll get into how to use pop culture references well in a moment. 

Pop Culture 4 Kidz

The same Do’s and Don’ts provided above still apply to writing for kids. However, age does make a difference when it comes to how specific and far-reaching your references can be. 

When writing kidlit, your first responsibility is always, always, to the intended audience: young readers. You want to depict a reality (be it historical, fantasy, or the future) that current young readers can understand and relate to. That means that when you’re writing about right now, you have to reckon with the influence of pop culture on our everyday lives. 

You also want to be careful about seeming to promote or endorse something you have no control over (people and brands can make mistakes!), and looking like you’re selling to kids. The opposite won’t save you–if you’re too harsh, you might have to deal with a legal team alleging that your work is insulting and damaging. 

In works for younger readers (picture books through some Middle Grade), it’s safest to steer clear of specifics. Generic terms can still get the point across, like tablet instead of iPad. (Besides which, iPad implies the money to acquire one, that the family uses Macs vs. PCs, and so on. Word choice matters!) Because younger kids have less experience, their frame of reference is limited. Today’s ten year olds were born when the 6th Harry Potter movie debuted, so Harry Potter means something different to them, if it means anything at all. 

Older readers (some Middle Grade and Young Adult) are more likely to be aware of pop culture and history, but they’re also extremely discerning. They can tell when an author is dropping names and slang they’re not comfortable with. You can use specific references for this age group so long as you don’t overdo it. 

How To Make References That Work

Provide context

Think of pop culture or historical references like uncommon or “fancy” words: the reader should be able to get the gist from the surrounding text. The Writer magazine has a great piece on how to make references, and the linked New Yorker piece has a lot of examples. 

The Writer provides this example:

[In his essay “Frame of Reference” in the New Yorker, John] McPhee cites a reference in the book Captured by Aliens [by Joel Achenbach], in which a professor supposedly looks like Gene Wilder, with “some of the same manic energy.” Readers who are familiar with Wilder are immediately treated to a vision of blond curls and bright blue eyes; readers who aren’t are still clued into the key reason for the comparison (the “manic energy”).

Try to anticipate frame of reference

…but don’t drive yourself to distraction. You can’t anticipate what every reader will or won’t be familiar with, but you can make assumptions based on their cohort. 

Every year since 1998, Beloit College circulates the “Mindset List” which “reflect[s] the world view of 18 year-old entering college students each fall”. For instance, the class of 2022, born around 2001, has “always been able to refer to Wikipedia” and “Oprah has always been a magazine.” College professors need to keep their references current if they want to reach students, but we as kidlit writers can glean important insights from them, too. Historical writers can refer to the book The Mindset Lists of American History: From Typewriters to Text Messages, What Ten Generations of Americans Think Is Normal.

Aim for popular or universal references, where possible

…but remember that you can’t cover every frame of reference. 

Keep in mind that with the Internet all knowledge can be searched for (and usually found), so if a reader really wants to know they can find it. But no one knows everything, and we increasingly occupy siloed communities which have their own subcultures. A political wonk will know things that a K-POP fan has never heard of, and vice versa. (Don’t forget the person who follows both! Crossovers happen because people contain multitudes.)

Try to use enduring references

There’s a conversation to be had about historical works that make pop culture references. They do! Some we recognize, some we don’t. Electric Lit points out that these are often considered references to “high art”, which means the item is still recognized because it’s become an enduring “classic”. Often we confuse “enduring” with “superior”. Just because the Odyssey has survived to the present doesn’t mean a play written in the same year was a worse play. 

It’s impossible to say in 2019 whose legacy will endure (BTS, Adele, or Beyonce?), so we just have to use what will be meaningful to current readers, and our best guess for future readers.

If you really want to play it safe, stick to references that are safely in the past. THE HATE U GIVE’s title refers to Tupac Shakur lyrics, and it works because time has passed since his death and his legacy is now relatively stable. The same book also references current pop stars, prompting a reddit user to say:

Some of the references already aren’t aging well, like the am I Beyonce or Taylor Swift today reference since now T Swift is seen as a problematic white pseudo-feminist that causes drama instead of a broken hearted girl anthem queen. Even Beyonce’s image, while still positive, now has changed to a woman who stayed strong through a betrayal. So the reference has a completely different meaning already which confused me (Did Chris cheat? Is that why she’s Beyonce?) etc. 

Make your reference serve more than one purpose

Why are you using a given reference? Does a character’s favorite TV show say something about their taste, and what we can expect of them later in the book? Will naming the band playing at prom flesh out the worldbuilding? If the reference adds something to your story, it’s often worth leaving in. 

Next time you pick up a new book, ask yourself what hallmarks of the era are included, and what’s left out. 

There is so much more I could say about this topic. (Thank you to Rachel for suggesting it!) Ultimately, using pop culture references is a choice for each writer and each project. Hopefully these tips and resources will help you make that call. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Should You Use Pop Culture References in Fiction (For Kids and Teens)? appeared first on DIY MFA.

At DIY MFA, we believe goals or resolutions should be S.M.A.R.T.. That is, Specific, Measurable, Achievable, Relevant and Time-Bound. For more tips on how to craft resolutions that stick, check out Episode 23 of DIY MFA Radio. And let us know what you resolve to do in the year–or month, week or even decade ahead!

1) Manuela: Make Writing for Fun a Habit

Between graduate school work and regular work, my creative writing has definitely taken a backseat this year. While I’ve been writing a lot (hello, term papers), I haven’t dedicated a lot of time to writing for fun. So, for 2020, I resolve to fit more creative writing time into my schedule. Specifically, I want to focus on cultivating a regular writing habit, not necessarily with the goal of publication in mind, but with the purpose of rediscovering just how much fun it can be to write for myself! 

I’ll start by taking a look at my calendar and pinpointing times when I can enjoy some uninterrupted writing time. From there, I will create a writing schedule and make sure to stick to it. Ultimately, I would love to have a completed poetry manuscript by the end of 2020, but, at the very least, I want to develop some good writing habits to carry me through the rest of my graduate school years. 

2) E.J.: Experiment with new digital campaign approaches

In 2020, my first fantasy series will release its final title. This signifies not only the conclusion of a major creative endeavor for me, but also a turning point in how I approach my online marketing efforts–finally, I can sell a complete box set. I can track follow-through from book one all the way to the end. And, hopefully, a complete series is a series that gains increased sales momentum. 

Sales is never the end game for me–reader relationships is. But sales still matter, and with a full series of titles in hand, it feels like a natural time to challenge myself more in this area. With experimentation in a variety of pushes across social media, Amazon, email, advertising and other promo opportunities, I hope to take significant strides toward building a lean, mean sales machine. 

And in the meantime, it’s on to start creating the next series. 

3) Bronwen: Turn tracking my writing habits into a habit

In the last eighteen months I’ve gotten really into planning—bullet journals, agendas, printable calendars, etc. It’s been really helpful for getting tasks accomplished, but I’ve always resisted planning in one area: writing. I don’t want to put undue pressure on myself, but at the same time I know a lot of time is passing with very little forward momentum.

So this year I’m using planner tools to track my writing productivity. I’ll track when I start and end phases (brainstorming, drafting, revision rounds), quantifiable counts (words written, pages edited), and set flexible quarterly deadlines for myself. Each quarter I’ll check in and see how I did, and try to figure out what worked and what didn’t.

For me, turning tracking and check-in’s into a habit will be the win. Even if I produce less writing than last year, I’ll have a record of how and why that’s the case. Then I can iterate and improve.

4) Helen: Build my mailing list and author network

I’m really fortunate that my life permits me a dedicated time to write, and my writing time never exceeds my supply of ideas (my Evernote idea file has 450 items and counting…). However, being a serious introvert, I shy away from marketing my work–especially the human-interaction part of the task. I get how important it is, but I don’t like it. Putting myself out there feels scary and icky, so I hide as often as I can. 

This year is the year I get over it. Two of my marketing-related SMART goals for this year are:

1. By December 31, 2020, I will double my current mailing list.
2. By December 31, 2020, I will establish and maintain friendly relationships with three to five writers in my genre. “Friendly” means when I email them, they’ll know who I am–no reintroductions necessary–and will email back. 

Networking to achieve these resolutions is totally a mental game. Although my anxious mind invents endless disastrous scenarios to talk me out of trying (thanks so much, creative brain…), every time I do interact with real people, I’m rewarded. In a creative career pursued in isolation, real relationships matter and I don’t want to put them off any longer. If I have to tattoo my face with a reminder that people aren’t scary, I will–but let’s hope it doesn’t come to that.

5) Bess: Study Writing Craft

For years, I’ve devoted almost all of my writing time to working on projects, and comparatively little to my own writing education. While I read craft books and sometimes attend conferences, mostly I’ve just been writing. This year, in addition to working on my WIP, I want to spend more time studying and practicing my craft. 

I’ll kick this off by reading The Artist’s Way by Julia Cameron and, at some point during 2020, I will also do a 100 Day Challenge — write 100 pieces of flash fiction in 100 days. Some will be good, most will be terrible, and hopefully at the end, I will have a deeper creative well and will have learned more about my own process and ways I can continue to improve it.

What are your writing resolutions for 2020? Let us know in the comments, or on social media!

The post #5onFri: Five Resolutions from the DIY MFA Team appeared first on DIY MFA.

Just what defines a graphic novel? Why are kids reading them? And are kids getting as much from graphic novels as they do from novels without pictures?

What Graphic Novels Are, and Aren’t

There’s no singular definition of “graphic novel” so pinning it down can be tricky. The borders between a picture book, an illustrated novel, a comic book, and a graphic novel may seem confusing at first. (DIY MFA has a nice introductory post here.) 

Graphic novels typically:

• Consist predominantly of sequential illustrations to tell a story (like a comic). Text may or may not be present, and is usually secondary to the art.
• Are longer, with more room for subplots and deeper examination of themes.
• Are bound like books (hard or soft cover, glued or sewn binding) rather than comic periodicals (stapled with paper covers).

“Graphic novel” does not denote genre or age category, as it is used for everything from middle grade nonfiction to gritty adult superhero reboots. Picture books are shorter and aimed at young children. Illustrated novels are works of prose with single illustrations peppered throughout the text. (Think Roald Dahl’s Charlie and the Chocolate Factory or the original printing of Alice in Wonderland by Lewis Carroll.) 

Why Kids Love Graphic Novels

We start babies with picture books, and a thick novel may look intimidating, so it makes sense that a growing kid would want something that feels like a transition between the two. Carrying something with a hundred pages can make a kid feel accomplished, but knowing that those pages are filled with artwork is reassuring. Graphic novels are great for kids in transition.

Let’s talk about the artwork. Often it’s visually magnificent. Even when it’s quirky, messy, or “simple,” great care goes into them, especially when they’re aimed at young readers. That’s because the images convey just as much, if not more, information than the text. 

Illustrations provide context clues to what’s happening in the story. A character could say, “I’m sorry” but the expression on their face will tell the reader how they’re saying it. For kids who struggle with prose reading comprehension the pictures can be a big help. 

Whether a reader has difficulty or not, graphic novels are a pleasure to read. Visual cues reinforce themes, subtle running gags appear in the margins, and color and ink create an immersive world. 

But Grown Ups Don’t Always Love Kidlit Graphic Novels

Some teachers and parents look down on comics and graphic novels as “not challenging enough” but those adults may not be familiar with what’s currently on shelves, or the latest science. 

Turns out that reading graphic novels engages the same parts of the brain as reading text. Having pictures and text together can improve recall and learning. The pictures actually help the reader instead of “dumbing down” the experience. (For citations, see this post at Northwestern University, and Teach.com’s guide for teachers.) 

All Reading Counts

There’s a reason “novel” is part of the term used for these books. Novels are known for their deep themes, emotions, and intricate story telling. There are many graphic novels being published that tackle harsh subjects. Perhaps the most famous is Maus by Art Spiegelman, which recounts the Holocaust using mice and cats as proxies for humans. Maus has heavy themes, but it has helped countless adults and older kids understand a human tragedy. 

On the October 2019 New York Times list, the kidlit graphic novels cover themes of debilitating anxiety, friendship and peer pressure, Japanese internment in WWII, sisterhood, diversity in schools, classism and racism, and growing up. Beyond the list, there are graphic novel adaptations of Anne Frank’s diary, A Wrinkle in Time, Shakespeare, and even The Odyssey. Whether your young reader wants fart jokes or an introduction to classic literature, there’s a graphic novel for that.

Maybe the most important thing for grown ups to remember about kidlit graphic novels is that all reading is reading. How matter how a story is consumed, it’s still important. Even better, graphic novels are sticky–they turn reluctant readers into story-hungry lifelong readers. 

Writing a Kidlit Graphic Novel 101

First, you’ll want to understand how graphic novels are created. It starts with a script, then storyboarding (rough sketches), then art, ink, color, lettering, and so on. 

In comics there are often teams who make a comic happen, but in traditional book publishing it’s more common for an agent to sign an individual writer or illustrator and then a publisher will match writers and artists. Being a writer/illustrator may be the easiest path to representation, but other models are still possible. 

If you’re a debut you’ll need to show that you are capable of finishing the work, and what that final work will look like. That can mean different things, from a synopsis, to a complete script or rough illustrations, and if you’re also the illustrator you’ll definitely want a sample chapter or two with finished art and letters. Querying a graphic novel isn’t easy, but neither is querying a prose or verse novel either. 

You don’t have to go traditional with a graphic novel. You can go indie or self-pub with a combination of webcomics, crowdfunding, doing it all yourself, or approaching small publishers directly. 

All the usual rules of writing kidlit apply. Make sure you check out The Special Responsibility of Writing Kidlit and Defining Kidlit for what makes a story kidlit and what to keep in mind when you’re writing for kids. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post A Whole New World: Graphic Novels for Kids appeared first on DIY MFA.

Being able to read and write are skills many of us take for granted. We learn as kids and use them every day, throughout our day (especially online!). As writers we become immersed in what makes a great sentence–and may forget how difficult it was to sound out the phonetics in a picture book for the first time, or to clumsily shape our own names with a crayon. 

Of course, plenty of adults have struggled since those early days with learning disabilities, vision impairment, and other difficulties that make it harder to read and/or write. And yet, many people who have struggled, and continue to struggle, keep reading and writing anyway. Why? Because they fell in love with sharing stories. 

This love for stories often starts young. There are umpteen studies showing how vital it is to read to very small children, to keep reading to older kids. Being literate improves their outcomes in school and life. Literacy is required for a growing proportion of jobs. 

Sometimes when people talk about literacy they emphasize the importance of reading and neglect how vital it is to also be able to write. Being able to communicate clearly, whether it’s a PhD dissertation or a memo about leftovers in the breakroom fridge, can make or break a person’s career or reputation. If they’re tasked with writing safety documentation, clear writing can literally save lives.

So how can we inspire kids to love not only reading but writing as well? How can we encourage them to speak, shout, declare their very own stories? The NaNoWriMo Young Writers Program is doing just that.

What is the NaNoWriMo Young Writers Program (YWP)?

YWP is an extension of National Novel Writing Month (NaNoWriMo), which is a challenge to all writers to get out a 50,000 word novel in 30 days. That’s a big goal for adults and an even bigger challenge for kids, but the challenge has a lot of benefits, so the team behind NaNoWriMo made a separate program focused on kids and students up to age 18. Kids who enroll in YWP can set their own word count goal for the 30 day challenge. A first grader’s goal might be 50 or 100 words.

Because literacy is such a vital skill it makes sense to incorporate the program into classrooms. In 2017 over 9,000 classrooms took part in the YWP, with over 100,000 students! Teachers can sign up to get a free classroom starter kit customized to their students’ grade level. Support materials include lesson plans, workbooks, a progress tracker poster, motivational pep talks, certificates and badges, and writing prompts. 

The NaNoWriMo Young Writers Program website also makes it easy for teachers to keep up with their students’ progress. It’s important to note that the YWP exists on a separate site from the main NaNoWriMo.org with its public forums and user profiles, to protect kids from cyberbullies and malicious adults. YWP is a safe space for kids to interact, learn, and write. 

Though most of the support is geared towards classrooms, families can join YWP too. All young writers are welcome!

Benefits of the NaNoWriMo Young Writers Program

Every person has a story to tell. The YWP encourages kids to tell their stories, empowering them to speak up and speak out.

YWP motivates kids to write! In the post-2017 event survey, 76% of participants said they were more enthusiastic about writing (more great feedback in this PDF). Just like with reading, kids won’t do a thing they don’t enjoy. The YWP makes writing fun for kids. 

The goal of the program is to tell a story, not to write something technically perfect. Students aren’t graded on spelling or punctuation, but on tenacity and follow-through. This allows young writers to practice writing with abandon, instead of fixating on doing it “right.” 

Setting and achieving goals proves to students that they can accomplish big things. In 2017 70% of participants “said they learned what they can accomplish when they’re determined.” Kids set their own goals and can adjust them as the month goes on, allowing them space to assess their own limitations and exceed their own expectations. 

Nurturing the next generation of writers–and readers 

Writers are readers! The best way to learn to write is to read, and kids who love writing are more likely to also be readers. As adult writers, we should celebrate literacy in kids because they will be our readers today and tomorrow. Someday we’ll be reading their amazing books!

As a local author you can inspire young writers! Reach out to your local schools and libraries to see if they’re participating, and offer to lead a lesson for students. As a writer you’ll be someone who’s done the big, scary thing before, someone who knows what they’re going through. If you’ve participated in NaNoWriMo (maybe even as a Young Writer yourself!) you can share your experiences with the challenge. Kidlit writers often visit schools and libraries to talk to kids about their own books, so why not ask about the books your listeners are writing? 

In doing so, you’ll be modeling what a “real writer” looks like for them–and it’ll be someone local, someone they might see at the grocery store. This modeling is even more important for people from marginalized communities. If you are part of such a community, you’ll be showing kids that people like you really can be, and are, writers! If you can see it, you can do it! 

Ways to support the NaNoWriMo Young Writers Program

• Reach out to local schools and libraries to see if they’re participating. Offer to write a pep talk or visit to talk about writing with kids.
• Spread the word to parents and kids you know. Learn about the program and answer questions for parents who are considering signing up.
• Donate to NaNoWriMo and the Young Writers Program. Donations fund the free classroom kits distributed to every participating teacher and keep the website functioning year-round.
• Be a positive force in the NaNoWriMo community. After age 13 young writers are legally allowed to join the public forums, and may choose to hang out there. Keep an eye out for them and help guide them away from trolls and toward their best writing selves. 

As writers for kids it’s important that we consider the well-being of our readers and act on our principles: books are good for kids. Reading is good for kids. And writing is good for kids.

You can learn more about the YWP at ywp.nanowrimo.org and in this great overview PDF, donate at the official NaNoWriMo shop, or learn more about how the non-profit behind NaNoWriMo operates. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Supporting Childrens’ Literacy with the NaNoWriMo Young Writers Program appeared first on DIY MFA.

Eligibility

The short answer is that anyone can join. SCBWI has several tiers of membership, structured around where a person is in their career. There are options for students and “associate members” who are unpublished and “have a general enthusiasm for the field.” “Full Membership” is for those who have their work produced or published, and PAL (Published & Listed) status is for those whose work has been through the editorial process with a traditional publisher. PAL status grants a member access to resources specific to their needs. 

Great things about SCBWI

Networking

SCBWI has regional chapters across the United States and around the world. Each chapter maintains a sub-site on scbwi.org where they post about their members and local events. Many have free mailing lists and host events that are open to non-members as well, so if you’re considering joining make sure to check out your local chapter’s page! 

For those who can’t make it to in-person meetings SCBWI has a thriving online forum where members from all over the world discuss, share, and make connections. Portions of the forums are private to members only, so you will need an active membership to access them, but there are also public areas. Make sure you follow the rules for registration and being a responsible member of the community. 

And don’t forget the conferences! SCBWI holds massive national annual conferences in winter and summer, one in New York and one in Los Angeles, and many regions host their own conferences as well. There are lots of benefits of attending a writing conference, including growing your network, learning from experts, and the opportunity to get professional eyes on your work. Attending a conference is an additional expense, but members get a discount. 

Support & Recognition

Part of membership includes access to information like The Book, where useful overviews and insights into how the industry works has been compiled for new members. SCBWI also sends out a quarterly newsletter to all members with information about changes in the field, interviews with members, and craft discussions. These can be invaluable resources, especially if you’re just starting out. 

Members are also eligible for marketing and promotional opportunities through SCBWI like the online Illustrator Gallery (featuring a different illustrator each month), Recommended Reading List (which is distributed to independent bookstores, libraries, and at conferences), and the Speakers Bureau listing (where teachers and librarians look for speakers to hire for events). 

There are over 50 awards and grants available to member writers and illustrators, from the Emerging Voices award for new writers, to conference scholarships, to Work-in-Progress Grants, and awards for exemplary published books. Winning one of these competitive opportunities is a mark of distinction. 

SCBWI is also invested in advocating for its members. Like other professional writing organizations it keeps tabs on things like industry trends and legal regulations that impact writers and illustrators. You can keep apprised via the newsletter and forums, and should something require collective action SCBWI can facilitate organization. 

Professionalism

Being a member connotes that you take your writing seriously as a career. It can be a nice point in your favor to list your membership on your website or query letter, though it’s unlikely to be a deciding factor. No one is going to give you a book deal based solely on the professional organization you’re part of. But it is a subtle clue that you are involved in the industry and invested in growing your career.

If you do join, make sure you take advantage of all the opportunities to learn and make connections. You’re paying for a service, so don’t let those newsletters sit unread! Log on to the forum, go to a regional chapter meeting, and soak it all up. You may even find yourself volunteering!

Reasons you might not want to join

It’s not free

SCBWI is a professional organization and it takes money to run their programs, so there is an annual fee (currently $95 to start and $80 to renew). The student rate is lower (currently $65 to start and $55 to renew). If your country is designated a UN Developing Nation your annual membership and renewal rate will be lower (currently $50 to start and $50 to renew). Not all, but some, local events may carry an additional fee (discounted for members), and the conferences are not inexpensive.

Each writer/illustrator will have to weigh the potential benefits against the cost. There is no requirement to be a member in order to publish children’s books. 

Your local chapter may not be very active

Regional chapters are run by local members, and each chapter may be more or less active depending on who is in the region. You may hear of members who rave about their chapter, but the next chapter over may be largely dormant. If you want an active region, be prepared to get involved and help make it happen. 

Similar support may be available elsewhere

There are lots of ways to find community and support for your writing, and SCBWI is just one of many. If SCBWI doesn’t work for you, don’t give up! Keep looking for local and online writing groups that can provide the sort of camaraderie and resources you need. 

If you’re considering joining, check out their free options (forums, local mailing lists), and consider attending a local in-person event or two to get to know your regional community. Whether or not you choose to join SCBWI it’s great to know they’re available as a resource.

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post What is SCBWI and Should You Join? appeared first on DIY MFA.