|
Alice
Pope is a senior editor for Writer’s Digest Books. Of considerable
interest to SCBWI members, she is the sole editor of the 2001
Children’s Writer’s & Illustrator’s Market. Chris
Klimowicz, a reviewer for NJSCBWI’s Little Miracles print
newsletter, recently described the CWIM as an essential tool that
serves both the professional and aspiring writer and illustrator.
To
read Chris’s complete review in our Newsletter, click here.
Alice
was kind enough to discuss her position and duties with Writer’s
Digest.
Would
you tell us a little about yourself? What is your title and responsibilities
at Writer's Digest? How long have you been with them and edited
the CWIM?
I've
been at my company for almost nine years. I've worked on CWIM since
the 1994 edition, starting as sole editor on the 1996 edition after
asking for the job for several months. I've always loved children's
books. One of my favorite perks of my job is getting a lot of free
books! Many of the books I get while working on CWIM I donate to
a school library or a literacy group. There are always a few that
I just can't part with.
I'm also
the senior editor of our market books department, and work on various
projects on our other annuals (we do eight of them). However, CWIM
is my main job and takes up most of my time throughout the year.
In
compiling the listings, what is the process? How do you approach
publishers for information?
We keep
a database, and each year in June or July we mail "verification forms." We
send what was printed in last year's edition to all the publishers,
magazine, etc., and ask them to update it. Later, we contact listings
that haven't gotten back to us, faxing and phoning them.
To get
new listings, we mail questionnaires year-round. I check directories,
newsletters, trade publications, the Internet, etc., for leads on
new publishers or magazines, new imprints, etc.
Do
all the publishers respond to your request for information? Have
any turned you down or not responded?
I'm not
sure of the percentage, but most publishers respond to us eventually.
I think many editors feel they'd be better served by giving us correct
information on their needs and policies than by not being included
in the book. If we don't get a response from a publisher, we will
not include them, however.
How
would you describe the CWIM? How has it changed and evolved over
the years?
I like
to think of it as a annual guide full of information and inspiration.
It's not just a source of information about publishers, magazines,
conferences, contests, etc. There are also many articles and interviews.
As the CWIM editor, this is my favorite part of the book to work
on. Articles like "First Books" offering new authors' and illustrators'
experiences and my "Insider Report" interviews allow readers
to share the experiences of others who do the same thing.
When
the book started there were very few articles and not nearly as many
listings. The 1989 edition was very thin! Since I've been working
on CWIM, the page count has gone up, there are a lot more articles
and interviews, and I've added a section of agents & art reps.
I'm always open to suggestions on how to make the book better and
more user-friendly.
What
prompted Writer's Digest to first publish a guide for children's
book writers and illustrators?
I wasn't
around when it was started (1989), but the editors at the time felt
that children's writers needed their own book with information specifically
for them, unlike what was offered in Writer's Market, and illustrators
interested in children's publishing needed more information than
offered in Artist's Market. Children's books were booming in the
80s, so it seemed like a natural.
What
feedback have you received from readers and also publishing publishers?
I get
a lot of great feedback from readers, especially now that there's
email. It's also wonderful to meet people in person at conferences
and hear that people have used CWIM and gotten published. That certainly
makes my day! I also love to hear writers refer to it as their "bible."
As I
mentioned earlier, I appreciate suggestions on how to make the book
better, who people would like to see interviewed, etc. And I want
to hear about any problems people have with companies listed in CWIM.
As far
a publishers go, I got my favorite feedback last year from an editor
who appeared in an Insider Report. She hadn't seen CWIM before and
when she got her copy she emailed me to say that she was re-doing
her form rejection letter to "refer people to your wonderful book." (I
still have the email saved.) I wish every editor would do that!
What
are your plans in terms to adapting the guide into electronic media?
As of
August, 2000 writersmarket.com debuted, an online version of Writer's
Market. If it proves the success we except it to be, the format will
be adapted for other books including CWIM. In the next few years,
I suspect it will be available online as well.
One advantage
of the online versions is that we have no limit to the amount of
information we can offer. Writersmarket.com includes listings and
articles we don't have room for in the print version. Also, our online
books will be constantly updated.
With
all the editorial changes, do you offer any type of "update" prior
to the 2001 edition?
Four
times a year CWIM updates are printed in the Children's Book Insider
newsletter. That's all we do as far as updating at this point, but,
as I said, once we're online, readers can get updates when we do.
As
editor, would you elaborate how the guide helps both beginning
and advanced writers and illustrators?
CWIM
offers beginners the basic information they need to start submitting
their work–information on manuscript formats, promo pieces for
illustrators, self-addressed, stamped envelopes, editorial etiquette
and the like.
I also
try to mention SCBWI as much as possible throughout the book so new
writers and illustrators will learn about–and hopefully join–the
organization.
For more
advanced writers, particularly those working without an agent, the
updated listing information and the brand new listings are useful.
I also offer articles on specific areas in the realm of children's
writing, such as non-fiction or writing for boys. I hope these articles
offer published writers new ideas and tips about areas they haven't
delved into but maybe have considered.
The interviews
we offer, I hope, appeal to both new and established writers and
illustrators. It's great to hear from others who are doing what you're
doing and hear the different way creative people work and the various
paths they took to achieve their goals.
Is
there anything else you'd like to add?
If anyone
wants to email me, they can reach me at cwim@fwpubs.com.
|
