Resources: Tips
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Frequently Asked Questions
I've moved/changed my e-mail address. Will you forward the information to the executive office in Los Angeles?
Sending your updated information to the executive office in Los Angeles is better than sending it to the regional advisor. The best and quickest way to update your personal profile information such as new snail mail / email address or to upgrade your membership from associate to full, log on to www.scbwi.org and make changes to your profile. You may also write to the SCBWI executive office at 8271 Beverly Boulevard, Los Angeles, CA 90048. Unless you're a Minnesota SCBWI volunteer, you don't need to notify Minnesota SCBWI of the changes because the regional advisor receives an updated list of all Minnesota members each month.
How much of the SCBWI membership dues sent to the executive office in Los Angeles does Minnesota SCBWI get?
No part of the membership dues is given to Minnesota directly, but Minnesota members do receive indirect benefits from the membership fees. All the membership dues are used to fund the executive office expenses, print and mail the Bulletin, help finance the big conferences in New York and Los Angeles, provide grants, and much more. Minnesota SCBWI needs about $1,000 a year to finance the website, mentorship program, office supplies, postage, and other costs. All Minnesota SCBWI's operating expenses are raised through profits from the conferences and, to a lesser extent, from sales of merchandise and newsletter and website subscriptions.
How do I download SCBWI forms and publications?
Some of the SCBWI Publications such as "From Keyboard to Printed Page" are available to nonmembers, but others are available only to members. For access to these publications, go to the website at www.scbwi.org and click on "Publications." Members will be asked for their login name and password. If you've forgotten your password, follow the instructions on the site.
Will you type/edit my manuscript? No? What are you there for if not to provide services like this to members?
The regional advisor's time is limited. His or her primary responsibility is to organize the region. With the help of many volunteers, the advisor conducts conferences, meetings, and workshops; maintains a website; publishes a newsletter; sends regular narrative and financial reports to the executive SCBWI office; keeps track of on-going critique groups and encourages new groups to start; offers writer and illustrator mentorship programs; answers questions from members and others interested in children's literature; sends welcome letters and information to new members; participates in an on-line discussion group with other regional advisors; and much, much more.
To get feedback on your manuscript, join a critique group or the SCBWI manuscript exchange program. Also, the SCBWI Publications Guide includes a section listing freelance "writing doctors" who edit manuscripts.
Will you give me _______'s address and phone number?
To protect members' privacy, the regional advisor cannot provide contact information of SCBWI members.
Why don't you get more New York editors to come to the Minnesota conferences?
Bringing in speakers from other locations is costly. In addition to the speaker honorarium, Minnesota SCBWI must pay the travel expenses. The speaker fees, plane fare, hotel room, meals, and incidental expenses can easily run well over $1,200 for each speaker. In short, each speaker from a distant location would drive the registration up an additional $20 – $25 per registrant. Making travel and hotel arrangements for each speaker also requires many more volunteer hours.
Why do the conferences cost so much?
The registration fees must cover the expenses of speaker fees; rental space; refreshment costs (even a simple meal can be over $20 per person and a single cup of coffee about $1.75); the printing of flyers and posters; postage to mail over 500 flyers, posters, and press releases; and many other expenses. A profit also has to be factored into the registration fee to cover the operating expenses Minnesota SCBWI incurs throughout the year.
Why can't we have conferences in the Duluth / Rochester / other area instead of the Twin Cities?
Most of the Minnesota SCBWI members live in and around the Twin Cities, which means more people will be able to benefit from an event. The more people who participate means the lower the registration fee can be. Also, so far all Minnesota regional advisors have lived in the Twin Cities. Organizing a conference is demanding enough without the added difficulties and costs of making the arrangements from a distance.
Would you hold your next conference at ______ hotel / community center / other venue?
Cost is a major factor in where we hold events. Many places that have been suggested are too expensive, charge for parking, or other factor that makes the location fall short in comparison with others. You're not only welcome, but encouraged to recommend locations. Any preliminary research into costs or even website information or a phone number that you can provide will be appreciated.
May I place brochures / business cards for my editing / marketing / designing business on the information table at the SCBWI conference?
Regulations from the executive office state "Since we do not, and cannot, endorse any given person (e.g. agent) or their business, advertisements for critiquing services and business cards should not be on the freebie table." SCBWI cannot take responsibility for any poor service consumers may receive from businesses advertising at events and any brochures/business cards on the information table are assumed to be SCBWI-endorsed. This regulation doesn't mean people can't mention their business services and quietly distribute their brochures or business cards while networking at a conference-as long as other registrants aren't bothered.
I want to be an author and thought I'd start with children's books because they're easier to write than books for adults. How do I get started?
First of all, children's books can be a lot more difficult to write than books for adults. Many children's books may be shorter, but that means less space to develop characters and plot or choose which information goes in a nonfiction book. Many books on the craft of writing for children are available in libraries and bookstore. To get started writing, simply block out a specific time to write. Start with an hour or even a half-hour once a day or even once a week at first and sit down and write anything just to get in the habit of writing. You don't have to start the story at the beginning, but write what strikes you at that moment. Remember that a large part of writing is rewriting so the words don't have to be perfect the first time they're put on paper.
Should I take the Institute of Children's Literature (or similar) course?
Whether a correspondence course will be helpful depends on the individual; what helps one person may not help another. Classes and courses can be valuable learning tools as well as a means to establish a regular routine for writing. A word of caution: to take a correspondence course, you must be self-motivated — also a requirement for writing!
What are the best colleges/classes for someone who wants to become a writer/illustrator?
Where you live and your budget are major factors in what type of education you should seek. Many low-cost community education courses can be as helpful as expensive private university courses. To decide what courses to take, simply research what's available in your area. Use the Internet to research courses, ask others in your critique group about classes, network at conferences, and talk to instructors to find the best classes for your needs.
What are some good books for writers/illustrators to read?
The SCBWI Publications Guide has a section listing books and other resources valuable to writers and illustrators. The Children's Writer's & Illustrator's Market, updated annually, not only lists places to submit your work, but includes many useful articles about writing and illustrating for children. Reading all kinds of children's books, particularly those of the same type you wish to write, is also helpful.
Should I join a critique group?
A good critique group is invaluable to a writer or illustrator. See the tip sheet elsewhere on this website for hints on critiquing and being critiqued.
Is mailing half-pages of a picture book manuscript to a publisher acceptable? Using a whole sheet of paper for one or two sentences seems so wasteful.
What you're describing is doing a "dummy book." That's a helpful tool while you're writing the manuscript, but when submitting, the text should flow continuously without forced page breaks. If the manuscript is well written, the editor will know where the page breaks are without being told.
How do I set up my manuscript?
See the "From Keyboard to Printed Page" article in the SCBWI Publications Guide for detailed instructions on manuscript format. The article is also available on the website at www.scbwi.org. You do not have to be a member of SCBWI to access this article. You may also send a self-addressed, stamped business-sized envelope to the regional advisor and request a copy of the article.
Will you send me a list of all publishers who publish books about ______?
Doing market research for individuals is not part of the regional advisor's duties. Unless you have an agent, doing your own market research is part of being a writer/illustrator. The Children's Writer's & Illustrator's Market and the various Market Guides in the SCBWI Publications Guide list publishers and what they're seeking.
What publisher should I let publish my manuscript? What publisher pays the most?
Just because you've finished writing a book doesn't mean that any publisher you submit it to will publish it. Often, the publishers who pay the most aren't the best publishers for the book. For example, if your book is about collecting baseball cards, a publisher specializing in sports may be a better publisher than a general interest publisher. A specialty publisher has the experience in targeting a particular audience. See the Children's Writer's & Illustrator's Market and the various Market Guides in the SCBWI Publications Guide for more information on publishers.
How do I keep others in a critique group/publishers from stealing my idea/writing?
Although incidents of plagiarism have been documented, the occurrence is extremely rare. Just because, back in 1985, you had an idea about a boy going to a school for wizards doesn't mean that J. K. Rowling stole your idea. Ideas cannot be copyrighted. As for the writing itself . . . your work is copyrighted as soon as you write it without having to register the work with the copyright office. The publisher will have the material copyrighted for you when it's published. If you're really worried about the theft of your material, mail a copy of the material to yourself, but DO NOT open the envelope. The postmark will be proof that you had the material as of a certain day. Keep in mind that this process is not necessary.
What's a SASE?
"SASE" is short for self-addressed, stamped envelope. Enclosing a SASE with your submission makes getting a reply from a publisher much more likely. The SASE should be addressed to you (not to the publishing company) because it will be mailed to you. The envelope should be large enough and affixed with enough postage for the return of your manuscript. The SASE enclosed with a query letter should be large enough to hold a 8.5" by 11" sheet of paper (#9 envelopes are slightly smaller than regular #10 envelopes and fit nicely inside the regular business envelopes).
What are simultaneous/multiple submissions?
Simultaneous/multiple submissions are submissions for identical manuscripts sent to more than one publishing company at the same time.
Is it OK to send simultaneous/multiple submissions?
SCBWI policy discourages simultaneous submissions, but check with individual publisher guidelines for their policies. Some publishers require exclusive submissions, others want to be informed that the submission is simultaneous, and other publishers expect submissions to be simultaneous, although it's common courtesy to tell all publishers if you choose to simultaneously submit. With some publishers taking four months or more to respond to a submission, writers can't afford to keep their work tied up at just one publishing company so long. If publishers do require exclusive submissions, you may indicate in your cover letter that the submission will be exclusive until "such-and-such-a-date" (generally the time in which the publisher says they will respond). If you haven't heard from them by that date, send a letter with a SASE asking the status of the manuscript. If you haven't heard from the publisher after a reasonable length of time, send another letter withdrawing the manuscript from their consideration.
How much will I get paid for a book?
The payment amount from royalty percentages and advances can vary, not only from publisher to publisher, but also from book to book within the same publishing company and even from different books by the same author or illustrator within a company. Advances can range from nothing to many thousands of dollars. Some books don't ever bring more income than the advance, while others can generate thousands and thousands of dollars each year after the advance has been recouped. The SCBWI Publication Guide has a chart of average advance amounts and royalty percentages for various types of books and types of publishing companies.
Do I need an agent?
No, you don't need an agent, although many publishers will accept only agented submissions. Many people discover they enjoy doing their own marketing and submitting and simply contact an attorney to look over contracts. A good agent will have personal contacts among editors and can push your manuscript a bit more than you can do yourself, but even the best agent can't get a contract for an unpublishable manuscript. Agents will know the industry standards for payment and what elements contracts should contain. Some agents will also give you suggestions to improve your manuscripts. For more information on agents, see the SCBWI Publications Guide.
How do I find an agent?
The SCBWI Publication Guide includes a list of many agents and a list of further resources about agents.
What's work-for-hire?
In work-for-hire, the publisher pays the writer or illustrator for all rights to the text and/or illustrations of a book. The publisher often owns the copyright, but the rights to the work may sometimes revert back to the creator if the book goes out of print. The writer or illustrator is usually paid a set amount instead of being paid royalties. In some cases, a writer or illustrator can negotiate a small royalty or bonus if the book sells more than a certain number of copies.
I got a book contract! They only charge $x,xxx to publish the book, and I need to get a loan. Can you recommend a good bank?
Reputable publishers pay you; you should not pay them.
What is subsidy publishing?
Subsidy, also called vanity, publishing is when a writer pays a publisher to publish a book. In most cases, the quality of the content and binding of subsidy-published books is poor. Although the company claims to offer editing services, typically little or no editing is done on a manuscript. Although subsidy publishers claim to market the books they publish, that marketing usually consists of nothing more than listing the titles of the books they publish in a cheap ad. Many bookstores, libraries, and schools refuse to stock books from subsidy publishers. Note that subsidy publishing and self-publishing are not the same.
What's the difference between self-publishing and subsidy publishing?
In subsidy publishing, the book's creator gives up control of the project and pays the publishing company to publish the work. In self-publishing, the book's creator controls all aspects of publication from editing to printing through marketing and even shipping. Self-publishing requires large amounts of time and money. A self-published book can easily cost more than $20,000 to produce and promote properly, but the self-publisher also receives all profits-if any-from the book. Book creators who self-publish receive more respect than those who subsidy-publish, but some bookstores and libraries still don't stock self-published books. For more information on self-publishing, see the SCBWI Publications Guide.
I wrote a picture book. How do I find an illustrator?
Picture book writers don't need to find an illustrator. Most publishing companies prefer to select an illustrator themselves. That way, a known illustrator can be partnered with an unknown writer or vice versa. Several friendships have been broken when writer and illustrator friends submitted the text and illustrations for a book and an editor rejected the manuscript but hired the illustrator or accepted the manuscript and wanted a different illustrator.
What should be in a portfolio?
A portfolio should contain your best work in the style and medium in which you'd like to work. The artwork doesn't have to be original — portfolios have been known to be damaged — but the portfolio contents should be good-quality photocopies. The samples can be published or unpublished. Don't include too many pieces in your portfolio; anywhere from 10 to 15 pieces is reasonable. Select artwork that represents the type of work you'd like to do. For example, if you want to illustrate books for children, you wouldn't include erotic art in your portfolio. If you'd like to illustrate picture books, you may wish to include a picture book dummy. The portfolio may also include promotional sheets you can leave with an art director. SCBWI has pamphlets titled "Portfolio Presentation" available for members.
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