Editors & Agents Panel: Sonali Fry

Sonali Fry is VP & Publisher of Crown Books for Young Readers at Penguin Random House where she  acquires timeless, diverse children's books. She began her publishing career at Penguin, where she worked at Grosset & Dunlap in the managing editorial department. She then held editorial positions at Scholastic and Simon & Schuster. Prior to joining PRH in Spring 2019, she was Publisher of startup Little Bee Books, which she joined at inception and grew into three imprints. 

Sonali (she/her) focuses on board books and picture books.

Another part of her job is working with Little Tiger to craft their publishing program, with a focus on board books and picture books.

She loves working with new talent, finding new illustrators, collaborating with authors to come up with ideas, stories that are waiting to be told.

Changes in the industry

Sonali believes that post-pandemic, people have been reassessing what they want to do. Editors and publishers have been moving between houses; this can open up new opportunities for writers.

Because more publishers and agencies are more open to remote work, it increases the diversity of their workforce.

On Trends

Be wary of chasing trends. By the time the book comes out, the trend is probably going to be over.

Some trends do stick around longer, like sustainability. Some printing trends may or may not stick around, depending on the affordability.

Craft and Technique

Sonali does throw out ideas to agents and writers, will discuss the topic to find out how they approach it, asks the writer to write a synopsis. Sonali loves the collaborative process, the back-and-forth during the creative process.

She likes breaking the text into pages, which helps her figure out pacing and page turns.

The Editors and Agents Panel Has Begun!

The first panel of #scbwiSummer22 is a panel of editors and agents, discussing "The Current Market for Children's Publishing."

Moderated by Emma D. Dryden (top left), with ASL sign language interpretation by Jennye Kamin (top center), the panelists are, clockwise from top right:

Namrata Tripathi (Founder & Publisher, Kokila)

James Mustelier (Agent, The Bent Agency)

Elena Giovinazzo (VP & Senior Agent, Pippin Properties)

Tiff Liao (Executive Editor, Zando)

Watch the blog for posts centering on each of the panelists!

Farrin Jacobs and Denene Millner: Editors Panel #scbwiWinter22

 

Editor Farrin Jacobs

Farrin Jacobs is editorial director and vp at Little, Brown Books for Young Readers. She has edited a variety of fiction and nonfiction, including New York Times best sellers Little Leaders: Bold Women in Black History, Little Dreamers: Visionary Women Around the World, and Little Legends: Exceptional Men in Black History by author/illustrator Vashti Harrison;  I Am Malala and We Are Displaced by Malala Yousafzai, as well as the picture book Malala’s Magic Pencil;  I Will Always Write Back by Caitlin Alifirenka and Martin Ganda with Liz Welch; and Printz-winner Jellicoe Road by Melina Marchetta.

Editor (and author) Denene Millner

Denene Millner is the editorial director of Denene Millner Books, an imprint that publishes stories featuring Black children and families, by Black authors and illustrators. In her imprint’s debut year, Denene published Crown: An Ode to the Fresh Cut, one of the most decorated picture books of 2018. Her debut list at S&S earned a second Caldecott Honor and Coretta Scott King Award Honor for Illustration when she published Cozbi A. Cabrera’s Me & Mama, along with the NAACP-nominated Just Like a Mama by Alice Faye Duncan, and Wings of Ebony, a YA fantasy book that debuted on the New York Times best seller’s list. Denene is also a six-time New York Times best-selling author, Emmy Award-nominated TV show host, and award-winning journalist who has written 31 books, among them the picture book Early Sunday Morning. The Atlanta-based editor and mom of two is interested in stories that celebrate the humanity of Black children. (FYI - Denene is pronounced De-neen)

Highlights from what Farrin shared:

"I love voice. Especially for YA and MG - I love a sad story told by funny people." On the NF side, Farrin is looking for stories that haven't been told before, and is looking to lift girls' voices.

Illustrators: "Put your portfolio on your website." Especially if you want to illustrate picture books, make sure you're showing you can do sequential art and tell a story.

Common denominator of authors Farrin works with: Kind people.

If we're asking to revise and see again before acquisition, "we're serious." If Farrin puts time into it, to give notes, it's with the hope of setting it up for success for acquisitions.

On writing across age, subjects, genre categories: on the business side, it can be challenging - if we're trying to develop you as a YA writer, and suddenly you have a MG, it can be hard. Book buyers at retailers have to buy in... How many books can you produce a year. Are you over-publishing? That said, if you're amazing at all the things, we want to be there for that.

Farrin also spoke about the tension between creativity and commerce, the "collaborative" acquisitions path books take at Little Brown, how sometimes they pass things to other editors if not right for them, and much more.

Highlights from what Denene shared:

"I really love it when I get a story that speaks to the mission of Denene Millner books." Books about joy, bonding and loving with family. Pet peeve is that most of children's book with African American characters have been focused on Black firsts, or Civil Rights, or slavery... "As a mom, I didn't want to read those stories to my kids before bedtime" Bonus: "if it's really beautiful and I can look at it and see art and imagine illustrations... that makes me really happy."

Acquisitions is more straightforward - as part of Simon and Schuster Books for Young Readers, Denene runs it by Justin Chanda, and if they agree, Denene can make an offer. 

Denene does look at unsolicited manuscripts, and loves social media for authors and illustrators. 

"I love working with illustrators... it's crazy as hell and beautiful to see." The collaboration can be magical. 

On working with authors: please remember Denene is "trying my best to help you make this book the best book it can possibly be." Denene is a writer as well, who has written 34 books and been through this before, so understands the journey. 

Denene publishes exclusively African American authors and illustrators. Loves books that stretch outside New York City, outside northeast. And she applauds working across age, subjects, and genre categories - as it's something she does herself.

Denene also spoke about how things have changed since the pandemic and the racial pandemic - Black Lives Matter - she's seeing lots more manuscripts of Black folks celebrating joy. Now she's competing with other publishers for those stories. It's "a trend that makes me very happy. And a trend that makes readers very happy."

The Editors Panel is Happening Now!

 

The editors panel - clockwise from top right, author curator (Heartdrum/HarperCollins) Cynthia Leitich Smith, Emma Ledbetter (Abrams Books for Young Readers), Michelle Frey (Alfred A. Knopf Books for Young Readers), Farrin Jacobs (Little Brown Books for Young Readers), Denene Millner (Denene Millner Books/Simon and Schuster), and ASL interpreter Lynne Kelly.

The Editors Panel!

top row: moderator Lin Oliver, sign language interpreter Brian Truitt, and Carol Hinz
middle row: Emily Feinberg, Kandace Coston, and Melissa Manlove
lower row: Sydnee Monday and Farrin Jacobs

Moderated by Lin Oliver, the panelists discuss what they're publishing and why, and then answer some audience questions.

Highlights include:

Kandace Coston, Assistant Editor, Lee & Low Books:

Kandace is looking for "strong female protagonists...unapologetic women who have been overlooked by history" but "whose contributions to society cannot be ignored."

Kandace speaks of POC and native creators and other underrepresented communities, and how Lee & Low's New Voices contest has for the last 20 years worked to create a path to publication for those creators and stories. (One of her responsibilities now is to read the hundreds of submissions that come in for the contest.)

She discusses the demand for greater diversity, and how "writing nonfiction can become a form of activism."

She recalls watching Hidden Figures in the movie theater, and the impact the true story of a brilliant group of Black women mathematicians might have had on her if she'd seen it as a young person.

Nonfiction is "an opportunity to break stereotypes... and the story of how our country is more multifaceted than we know."

Emily Feinberg, Editor, Roaring Brook Press

Emily shares about some of the books she's published, starting with picture books, and considers the through-line of many of the books she's worked on.

If Sharks Disappeared is a series that started as an infographic that Emily saw online, and then contacted the illustrator.

She cautions that she doesn't do a lot of picture book biographies as they can seem "wikipedia-ish," but then speaks of "Secret Engineer: How Emily Roebling Built the Brooklyn Bridge" as an example of how to do it right.

For older readers, she encourages playing with how a story is told, like the transcripts of sourced quotes in “Bringing Down a President: The Watergate Scandal.” 

Emily says her goal with nonfiction is 

"To give young readers the tools they need to be part of the conversation... To impart knowledge in way that sticks."

Carol Hinz, Editorial Director, Millbrook Press & CarolRhoda Books at Lerner

Carol is looking for “books that spark my curiosity, and that I think will spark the curiosity of parents, educators, and most of all, young people.” 

Carol shares categories and titles she publishes, including picture books that address science concepts in fresh ways, topics that may be be unexpected or "difficult," and middle grade nonfiction picture books on environmental themes (especially highlighting scientists of color and underrepresented backgrounds.)

She mentions science literacy, saying "the pandemic has made it clear what a poor job we've done with this in the US." She would love to see some novel approaches to help young people become more scientifically literate.

Overall, Carol says that about nonfiction, she loves "just how much is possible, in terms of topics and approaches," with Point of View and voice.

Farrin Jacobs, Editorial Director, Little Brown Books for Young Readers

Farrin discusses how Malala's story lent itself to spinning off to other formats, taking an anecdote from Malala's autobiography and making a picture book, and now even a chapter book. 

She speaks about how if its not a "big person with a big platform" then they're "looking for a story that will be picked up" for things like all-school reads and state lists and "have that long tail."

It's "all about stories and characters," and she talks about big idea books, and telling underserved stories.

Farrin says, "we're reaching readers when they're still developing" so she wants stories that help develop empathy, with "characters who feel and think."

Melissa Manlove, Senior Editor, Chronicle Books

With nonfiction, Melissa tells us that "you can do so many things."

And Melissa challenges us to ask ourselves, "What can I do that is new? What can I do that is surprising, and inspiring to kids?"

Sydnee Monday, Assistant Editor, Kokila/Penguin Random House

Sydnee explains that she's "Focused on publishing subversive, entertaining narratives" and especially the stories of Black, Indigenous and Queer people.

One example Sydnee mentions is the upcoming "Not Everyone Is Going To Like You" by Rinny Perkins

She speaks of self-sufficient marginalized communities, and using her list to celebrate underrepresented subjects and audiences. She's looking, in particular, for YA nonfiction.

Thanks to all the editors!

#SCBWISummerSpec Editors Panel: Stacey Barney

Stacey Barney of G.P. Putnam's Sons kicked off the Editor's Panel at the SCBWI Summer Spectacular by reassuring the publishing community that although she is eager to return to the office, business continues as usual on her end during the pandemic. She quoted Publisher Jennifer Klonsky in reiterating their ongoing mission to "publish books for every reader." She mentioned her experience as an educator prior to becoming an editor, and highlighted books on her list including the award-winning Firebird by Misty Copeland.
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She talked about how the heart of her work lies in the writer-editor relationship, specifically working with a full and trusted list of talent ("repeat offenders"!), emphasizing the push-and-pull of collaboration, and how fun it can be to shape a book together with her authors.

She talked about her criteria in seeking new talent: LOVE. Stacey wants to fall in love with an author's voice and vision, and to see longterm potential in working together, noting that she invests in authors for a career, not just for a debut. 

Although she loves a debut! She said finding new talent "is like the bloom of a new romance."

Stacey also mentioned that although some authors may come to her as best-selling in their genres, if they're new to Children's Publishing, she sees and works with them in the same way as she does with debut talent.

Penguin colleague Julie Strauss-Gabel also noted that Penguin does not a separate acquisitions board, so acquisitions are mostly editor-driven. That effort can be seen and felt in Stacey's passion for seeking authors she wants to collaborate with for a lifetime. 

Q: What's one thing you wish authors did more often?

A: "I wish authors would take more risks with their craft & execution." Stacey mentions that editors read a lot of submissions, and seek a fresh voice and style that jumps out at her – which is the magic that happened when she read the manuscript for Ziggy Stardust and Me by James Brandon.

When asked about authors seeking to begin their publishing career over the age of 50, Stacey mentioned that she won't look at the submission letter first. She emphasizes it's about the words on the page, not the age of the author. If she gets about 25 pages into the submission itself and begins to get curious about the author's identity, "that's when you know you have me!"

Sidenote: Last night at the Illustrator's Social on Twitter, we established a tea club #SCBWITea, so here that is referenced in my drawing! All tea lovers welcome. Despite the virtual format for this conference, we're still finding ways of connecting and building community!

Editor and Agent Panel: Kirby Kim, Alvina Ling, Marietta Zacker

With a panel of six industry leaders moderated by Lin Oliver, this post features highlights from literary agent Kirby Kim, editor Alvina Ling, and literary agent Marietta Zacker. 

left to right: Kirby Kim, Alvina Ling and Marietta Zacker

 Kirby Kim is an agent at the Janklow & Nesbit Literary Agency.

Alvina Ling is VP and editor-in-chief at Little, Brown Books for Young Readers (a division of Machete Book Group).

Marietta Zacker is an agent at Gallt Zacker Literary Agency.

Things opened up with the question what do you look for in a submission:

Kirby wants writers to focus on one book at a time and do it well.

"I want to see stakes. I like high stakes in my novels. Create an urgency so your character is backed into a corner." 

Alvina gravitates to fresh concepts and voice.

"I’m a sucker for books that make me laugh and cry and important books. I’m always   looking for that feeling, that spark. I want to fall in love."

Marietta is looking for people who create stories and illustrations no one else can create.

"Something unique." 

On themes that are important to them:

Kirby believes forecasting is a difficult thing to do. So when a story idea comes, writers “should focus more on what they want to say and build out a world that encounters that.” Marietta stressed the importance of understanding that writing to trends does not work and to instead start thinking ahead. "What do you want young readers and young adults to be reading four years from now?"

On final thoughts:

Alvina:

            "Follow your compass, and not your clock."

Kirby:

            "Get way below the surface of what you are doing."

Marietta:

            

            "Make room for folks whose voices have always been there but have not been given a chance."

Agent and Editor Panel: Patrice Caldwell, Susan Dobinick, Connie Hsu

With a panel of six industry leaders moderated by Lin Oliver, this post will feature highlights from literary agent Patrice Caldwell, editor Susan Dobinick, and editor Connie Hsu.

left to right: Patrice Caldwell, Susan Dobinick, and Connie Hsu

Patrice Caldwell is an agent at the Howard Morhaim Literary Agency.

Susan Dobinick is Senior Editor, Nonfiction at Bloomsbury Children’s Books.

Connie Hsu is an executive editor at Roaring Brook Press at Macmillan Publishing.


On what they're looking for in a submission:

Patrice: She's not looking for books that adults would tell a kid are "important."

"What is that story that would have hooked me? What is super engaging? What's going to make [young people] put down their phones and read a book?"

Susan:

"Deep thinkers"

Connie:

"Voice and the quality of the writing is the top line that drives you in." Then, on a deeper level, I wonder is the reason for the book to be.

On graphic novels:

Connie speaks about Shannon Hale's script for a graphic novel, and how it had emotional resonance.

Susan chimes in with the advice: "write the full script," which the whole panel agrees with.

Patrice shares that she's worked on a lot of graphic novels, and notes that for the ones acquired in 2018, will won't come out until 2021. Script has to be complete and edited, and then the art.

There's discussion on so much more, including the strength of nonfiction and the ongoing interest in middle grade.

Final nuggets of wisdom shared:

Connie:
The core story remains the same as our favorites from when we were kids, but thinking about what kids are absorbing right now. Toxic masculinity, sexism, body image, periods, Don't lose the timeless heart and emotion...

Patrice:
It's not about being preachy, it's about infusing contemporary issues.

Editor Panel Publishing Options in 2019 - Bethany Buck

Bethany has recently been named editor-in-chief for Pixel + Ink an imprint of Trustbridge Global Media, the parent company of Holiday House and Peachtree. You may remember her from her time as editorial director at Bloomsbury Children's or VP and Publisher of S&S's Aladdin and Simon Pulse imprints, as well as having been an agent at Sanford J. Greenburger.

Bethany talks a little bit about her new house: 

Pixel + Ink is bucking the trend, they don't acquire YA or non-fiction. "Our dayjob is to publish books, but we also are concurrently developing things for other media platforms like TV and apps."

"We acquire multiples in everything we acquire, we're also acquiring all rights because of our broad range of development."

Emma asks: Historically there's been the thought that if you submit a manuscript that you want to be a series, it's usually there's a waiting game on the publisher's part to contract for just the one title and see how it goes, and if the first one gets to the paperback, then they'll consider a series, so there's a waiting game, but Pixel + Ink is different?

Bethany says her new house is committed to long-running properties and because they put so much development into it from the very beginning, they'll take rougher pieces that other publishers might not take, they'll front-build for a long game, and want a lot of titles to be possible in a series, with those series titles already mapped out on their calendar til 2022.

What does Bethany want to see? 

A series proposal with a full manuscript. They're also looking for ghost writers as they are also creating their own intellectual property.

Last words from the editor panel from Bethany:

THINK BIG! UNLEASH YOUR EARLY, CARTOON-WATCHING SELF.

The #NY19SCBWI Agent/Editor Panel: Tanusri Parsanna, Alexander Slater, and Mekisha Telfer

(left to right:) Tanusri Prasanna, Alexander Slater, and Mekisha Telfer

Tanusri Prasanna is an agent at Foundry Literary + Media representing children’s books, middle grade, and YA. Picture books are at the heart of her list. She's especially looking for author/illustrators.

Highlights: 

"The real debate on diversity needs to be on the gatekeeper level... We're really not doing nearly enough."

"If I love it, really love it, I feel confident that I can sell it."

"It really helps, at the agent level, to say 'don't try to write to trends... write what you're bursting to write.'"

Everything that you're writing in a year isn't going to be pearls. 'I have this amazing book coming out, what else do I want to have out there along with that?' Don't throw stuff out there because you're impatient. Be thoughtful about what you're submitting next.


Alexander Slater is an agent at Trident Media Group — his own list focuses on YA and middle grade, graphic novels, and some picture books.

Highlights: 

re: graphic novels "publishers are giving creators the reins" and that's exciting. "I'm not getting as many queries for graphic novels as I want" and Alexander finds he's reaching out to illustrators to encourage them to put together a graphic novel proposal (and he's sold a few of those.)

Diversity is something we should be working on throughout the industry.

Diversify who you're reading, and who you're critiquing with.

In response to a discussion about subscription boxes, "I always tell my clients, 'we need to come up with marketing ideas that don't cost the publisher anything'."


Mekisha Telfer is an associate editor at Roaring Brook Press (Macmillian), where she is building a list of picture books, middle grade, and young adult novels. Her sweet spot is middle grade and YA.

Highlights:

Roaring Brook has First Second as their sister imprint, and Mekisha echoes the panels' interest in graphic novels. "I just bought a graphic novel that was just a script, no illustrator attached."

Something she wants to see more of is more novels about the LGBTQ experience.

"There's still work on the diversity front to be done in the industry... Marginalized children are still under-represented."

On having a "balanced list" - Mekisha speaks of passion being a driver of publishing (she doesn't have to acquire a book if she doesn't love it), and how that means that the more well-rounded your publishing staff, the more well-rounded your list will be.

***

The panel covers creative trends (what editors are interested in right now), diversity, #ownvoices, financial/marketplace trends, what happens in acquisitions meetings, "quieter" books, how to decide what to work on next, their best advice for those just starting out and those already published, and so much more!

Editor Panel: Daniel Nayeri

Daniel on the big screen

Daniel Nayeri is the publisher of a new imprint at Macmillan Children’s Publishing Group. Previously, he was publisher at Workman Publishing Company, where he oversaw a team of designers, editors, and inventors in the pursuit of creating “art objects for great and terrible children.” Before that, he was digital editorial director at Houghton Mifflin Harcourt, editor at Clarion Books, and before that, a professional pastry chef. Daniel was born in Iran and spent a couple of years as a refugee before immigrating to Oklahoma at age eight with his family. He is the author of several books for young readers, including The Most Dangerous Book; Straw House, Wood House, Brick House, Blow: Four Novellas; and How to Tell a Story.

Daniel starts by explaining how his still-to-be-named imprint as Macmillan Children's Publishing Group is a design-first group. They're focused on nonfiction with an interactive element or gift package. Four-color, substantive, and long. "Four to five times more expensive than a regular book." Which raises the acquisitions stakes...

He speaks next about fear: fear of making a bad acquisition, fear of missing out, fear of not having a big book this season,,, and what that fear does to every acquiring editor: they read "looking for the no." But if there's something they love about the work that demands to be on their list, they'll work with an author to fix everything else.

There's much more, including a discussion of how rejection doesn't mean your book is bad, wisdom and hope shared, and how the "mind-meld" as Tiffany Liao put it, of an editor working with an author is so important to them that they want to continue working with that author long into the future.

A fascinating panel!

The Editors Panel Begins!

Moderated by Emma Dryden (at podium), from left to right the editors are: Caitlyn Dloughy, Jill Santopolo, Tiffany Liao, and Daniel Nayeri.

Editors' Panel: Kendra Levin

Having had the pleasure of meeting Kendra Levin at a SCBWI Western Washington Conference, I can confirm that she is maybe one of the most calming yet energizing presences around, so if you get the chance to be one of her authors, it's probably best to request all of your editorial talks/meetings/notes be delivered in person. I know this is going to complicate her schedule, but I don't care, just demand it in your contracts and you'll thank me later.

Kendra has been an editor at Penguin/Random House for twelve years. She edits everything from picture books to YA, and a few titles are linked to below. To start the panel off, Rubin asks every editor to provide a mock memoir title. And Kendra's hypothetical biography title is Kendra, Plain Old Jerk: 

Rubin asks: What does 'being relevant' mean to you?

Kendra says the more things change the more things stay the same. A lot of what we are seeing right now has been repeated before. What to Kendra is always relevant is empathy. That's the core of what Kendra does as an editor, finding empathy in her authors' writing and bringing it out in their books.

Asked what makes for an authentic voice? Kendra says someone speaking from a place of experience whether it's a culture or any number of things. It number one comes from experience, but she goes on to define if it's out of your literal life experience, what Kendra thinks is important to remember is to write the emotional truth you do know (Research being a separate question).

Some of Kendra's books:
REBEL OF THE SANDS by Alwin Hamilton
THE PASSION OF DOLSSA by Julie Berry
DON'T THROW IT TO MO! by David A. Adler
and THE LOST HOUSE by B.B. Cronin

Kendra has ALSO written a book! THE HERO IS YOU, a grounded self-help guide to a healthier writing process. Kendra is also on twitter @kendralevin.

Editors Panel: Bethany Buck

Bethany Buck is the Editorial Director of Bloomsbury Children's Books. She was previously the Editorial Director of Sky Pony Press, the children’s imprint at Skyhorse publishing, and a literary agent with Sanford J. Greenburger Associates, representing children’s book authors and illustrators. Buck began her editorial career in the trade division at Scholastic, and was also Vice President, Publisher, in the children’s division of Simon & Schuster for many years.

Re: staying relevant, Bethany shares that she works to stay up to date on what kids are up to, keeping an eye on what she's publishing.

The panel touches on diversity -– and authenticity – of voice, on nonfiction, and on sensitivity (or "accuracy") readers, leveled readers, and more.

On many children's books ending with a sense of hope, Bethany says,

"Kids want to read the things that bring them up."

A final thought from Bethany for all of us in the audience:

"Be true to yourself. Be true to what you write."

Editors’ Panel: Stephanie Owens Lurie

Stephanie Owens Lurie is the associate publisher of Disney-Hyperion, an imprint that publishes approximately eighty titles a year, for preschoolers through young adults. Stephanie manages a team of eighteen people and also edits picture books and novels. Recently she has had the privilege of collaborating with such authors as Bob Shea, Jonathan Stroud, Eoin Colfer, and Rick Riordan. 

Lurie has one word in regards to publishing: disruption. Old media has been turned upside down. For instance with ebooks, the delivery of content changed. That said, ebooks have flatlined, especially with children’s books. “Kids prefer physical books that can be held in their hands.” Lurie says. In addition, more authors are turning to self publishing, and more publishers are selling directly to the consumer, cutting out middle man like online retailers. Disruption.

Overseas, children paperback books sell well. But here in the states children love hard bound books. Book lovers can’t wait to get that brand new book in their hands and take selfies or “shelfies,” photos with books or bookshelves professing their love of books. 

Marketing is more important than ever. The majority of book sales happen in that first week of publication, so it’s important for authors to take to social networking. Today, fans demand to interact with a author through Facebook, Twitter, Tumblr. Social networking is a must. “John Green Tweets three times a day, interacting with readers,” Lurie says. Authors must feed their reader’s hunger for content.

An important question for authors to ask themselves: How can my story be expanded beyond the book? Books that get made into movies also drive more book sales, therefore more readers. 

Beverly Horowitz: Editors Panel

Beverly Horowitz

Beverly Horowitz is Vice President and Publisher of Delacorte Press, an imprint of Random House Children's Books. She began her career in the editorial department of Little, Brown and has held positions as publicity/promotion director at Bradbury Press and Academic Marketing and School and Library marketing director at Farrar, Straus and Giroux. Beverly has never stopped being an editor. She works with Judy Blume, Louis Sachar, E. Lockhart, Laura Hillenbrand, Caroline B. Cooney, Wes Moore, and many other beloved and debut authors. Throughout her career, she has been an advocate of First Amendment rights and has fought against censorship.

In her answers and introduction Beverly talks about so much, including:

How "Frozen" merchandizing books (so many different kinds of books) have shown that "a phenomenon can filter down from one kind of platform to another." It tells us all that there are wider audiences for books than we might have thought.

just a few of the many "Frozen" books

How "We Were Liars" by E. Lockhart crossed over from teen to also get adult readers.

How if your book is made into a movie, it gets a wider audience of non-readers to your book. (Like James Dashner's "The Maze Runner.")

"We want to bring people back to the book."

How the family read - adults and kids reading together - is a growing trend. (Like their release of Laura Hillenbrand's "Unbroken.")

She also cites the roll of nostalgia in the market, the success of Diane Muldrow's "Everything I Needed To Know I Learned From A Little Golden Book."

And the power of a title that lets audience know exactly what they're going to get.


She ends with telling the rapt audience,

"What we want is what you want. To sell as many of your books in as many formats as possible."

A rapt audience during the editors' panel

The Editors Panel!

Children's Books 2015: Report From The Front Lines gets underway with, left to right:

Stephanie Owens Lurie, Associate Publisher, Disney-Hyperion
Laura Godwin, Vice President and Publisher, Henry Holt Books for Young Readers
Beverly Horowitz, Vice President and Publisher, Delacorte Press
and
Justin Chanda, Vice President and Publisher, S&S Books for Young Readers

The long view:

Lin introduces the panel!

Close-ups from right before the panel began...

Stephanie Lurie (left) and Laura Godwin (right)

Beverly Horowitz (left) and Justin Chanda (right)