The 9th Annual SCBWI Winter Conference on Writing and Illustrating for Children opened on Saturday, February 9, 2008 to a crowd of over 1,000 people. The room was lively with conversation as old friends caught up, new friendships were made, and the 240 writers and 200 illustrators who participated in Friday's pre-conference Intensives shared their experiences.

The audience quieted for the first keynote speaker, award-winning poet and author Nikki Grimes, whose lyrical talk explored the powerful impact of storytelling with poetry.  Speaking from the heart to the heart, poetry reminds readers how to dream. It helps them navigate grief, and it can celebrate an unspoken love between a grandmother and grandchild. Grimes showed how poetry paints pictures with words.
In contrast, Caldecott Medal winner David Wiesner demonstrated how effectively pictures can tell stories without words. Wiesner discovered the power of wordless stories as a child. His fascination grew until he felt compelled to create his own stories using pictures and the all important page turn to connect things through space and time. In these stories, the voice is not supplied by the author but by each individual reader.

Giving voice to the teen reader was the topic of the luncheon keynote speaker, award-winning author Carolyn Mackler. As a teen, Mackler escaped into books.  She discovered the importance of digging below the surface of a story to get to its deeper meaning.  As part of her writing process, Mackler walks and thinks about her story and her characters. While she walks, she listens for her characters to talk to her so that she can dig down to their deeper stories.

In the closing panel, agents Tracey Adams, Miriam Altshuler, Elizabeth Harding, Barry Goldblatt, and Jodi Reamer shared their views of the marketplace.  One point the agents highlighted was that authors are the best advocates for their books, Given that, the   agents encouraged authors to be involved in their own marketing.  For example, authors can actively promote themselves online through Web sites, blogging, and virtual tours.  However, the agents emphasized that while it is important to have a marketing plan, in the end it is all about the writing. Therefore, leave time to write.

Writers and illustrators also need to find time to study the industry. Conference participants had the opportunity to do just that in Saturday’s breakout sessions in which editors discussed their publishing houses and shared their publishing wish lists.

In addition, attendees were reminded how helpful grants could be to a career when the 6th annual Kimberly Colen Memorial grants were presented during the luncheon.  Jessica Dimuzio received a grant for her picture book manuscript and Sandra Jackson-Opoku for her manuscript for older readers. 
The day ended as it began, with many pockets of lively conversation.

Saturday, February 9, 2008
Keynote Reports

Key Note
9:15 AM – 10:00 AM
Nikki Grimes: The Power of Poetry
By Michelle Parker-Rock, Regional Advisor, Arizona

Award-winning author and poet Nikki Grimes said she was jazzed to be back in her home town of New York City and delighted to be speaking at the conference. Grimes, who discovered the power of story as a youth, described poetry as a place where words and music meet the emotions. Sometimes the sheer power of poetry astonishes her.

She said it soothes, rocks, wraps, and welcomes us to new worlds, as a lullaby does when it is sung to an infant. Grimes believes that poetry has a special appeal to children. She continues to receive letters from children who love Meet Danitra Brown.

Grimes noted that editors often see poetry that is abysmal. Generally, they may not even publish what is good because traditionally even good poetry does not generate sales. However, she reminded the audience that a good story is a good story. She suggested that if you choose to write poetry, do it for love. On the brighter side, Grimes said that poetry is making a comeback. There are elements of poetry in all good writing, especially descriptive prose.

”Poetry speaks from the heart,” she commented. “When trouble shrinks our world, poetry opens a window to new vistas, other worlds, and other places.”  Grimes said, “No genre speaks more directly to the heart than poetry.”

Key Note
10:15 AM-11:00 AM
David Wiesner: "Storytelling Without Words"
By Michelle Parker-Rock, RA Arizona

Award-winning author/illustrator David Wiesner, a graduate of the Rhode Island School of Design, said his work is all about process. He focuses on telling a story clearly and on moving the images from page to page.

Wiesner has illustrated more than twenty award-winning books for young readers.
His ideas develop in many different ways. He records them all in his sketchbook. He often makes models, such as the clay frogs he used for his illustrations in Tuesday, to help him draw the illustrations. The models let him see how light falls across the object.

Weisner’s first job was for Cricket magazine. He said it was an incredible experience. He learned how to meet deadlines and how to keep important things out of a book's gutter. In 1980, he did the illustrations for Honest Andrew by Gloria Skurzynski. He went on to do sample pieces of folk tales and many book covers. That led to his first fairy tale book, The Ugly Princess.

Then, in 1987, after co-authoring Loathsome Dragon with his wife Kim Kahng, he authored and illustrated Free Fall, a book that won a Caldecott Honor Medal book in 1989. In 2000, he won the Caldecott for Tuesday, and then he received another Honor Medal in 2000 for Sector 7. Wiesner went on to receive a Caldecott Medal in 2002 for The Three Pigs, and one for Flotsam in 2007.

Luncheon Keynote Address
12:30-2:30 PM
Carolyn Mackler: “Laughing, Crying & Being a Major Snoop:  My Life as a Teen Novelist”
by Pam Beres, Regional Advisor, Wisconsin

Carolyn Mackler is the author of several books for teens, including the Printz Honor book The Earth, My Butt and Other Big Round Things.  She opened her talk by reading entries from a diary she kept as a teen—entries that she said remind her of the things that were important to her then and are universally important to teens today.  During those years, to feel less alone, she turned to authors such as Lois Lowry and Judy Blume. 

Mackler noted several things that inspire her to write.  Among them is her desire to control a little bit of the universe and to change it a little at a time.  She is also intrigued by what happens below the surface.  She wants to know what is really going on with someone.  She loves the tingly feeling she gets when it all jells. She is also intrigued by the teen years that shape who you become.

Mackler’s favorite advice about writing is to write a bad book.  Once the panic passes, she doesn’t think about perfection or publication.  Instead, she rolls up her sleeves and has fun. 

Mackler says that when she is asked what books can do, her answer is “everything.”  A common love for books smoothed an uneasy relationship between her and her grandmother and helped her through a period of post-partum depression. When all of her books were challenged, she remembered that the “bestway out is all the way through.”  Writing is a source of strength.  It centers her, and for that she is grateful.

Panel - Five Agents View the Marketplace
 4:00 PM-5:15PM
 With Tracey Adams (Adams Literary), Miriam Altshuler (Miriam Altshuler Literary), Barry Goldblatt (Barry Goldblatt Literary), Elizabeth Harding (Curtis Brown, Ltd.), Jodi Reamer (Writer’s House)
 By  Sydney Salter Husseman, Regional Advisor, Utah/Southern Idaho

Agents don’t like to follow trends. “The minute one is spotted, it’s done,” said Tracey Adams. Instead, agents want to fall in love with a book. Writers have one chance to impress an agent and they should work to get their manuscript in the best shape possible. According to Jodi Reamer, “Strong writing will always sell.”

All of the agents agreed that the future of children’s publishing looks bright. Elizabeth Harding explained that the YA market is vibrant in part because middle grade books are so engaging. YA books have also benefited from the introduction of the Printz Award, as well as the new National Book Award category. Crossover titles are also an increasing trend as the lines between tween, teen, and adult fiction blur.

Now more than ever it is important for authors to market their own books. “Author and Marketer” are interchangeable terms, according to Elizabeth Harding. Writers need to establish an online presence with websites, blogs, and MySpace. Barry Goldblatt emphasized that even picture book writers should be online because “kids are online.”

All of the agents were eager to find new talent, and they advised writers to persevere during the submissions process. “It is incredibly subjective,” said Barry Goldblatt. “Don’t ever let it get so discouraging that you crawl into a hole.” Writers should become familiar with agents’ lists, write great query letters, and check submission guidelines. Ultimately it’s all about the writing. As Miriam Altshuler said, “You have to write from your heart.”

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Breakout Sessions
"What I Want to Publish"

Alessandra Balzar, Executive Editor at Hyperion Books for Children
by Nancy Castaldo Assistant Regional Advisor, Eastern NY

Alessandra Balzar has been with Hyperion for twelve years. She acquires everything from
picture books to young adult titles, with the exception of nonfiction and novelty books.
She began the session by informing the audience that editors are always looking for new writers.  She said it is not about the perfect query letter; it is about a good juicy read. 

Balzar said that writers should realize that most editors are not reading manuscripts in their offices. They are reading them while sitting on a train or plane, or even in bed, which is why those first few paragraphs need to grab her attention.  The writing must stand out.  In young adult and middle grade fiction, the voice must be authentic and inform the reader of the sex and age of the character.  The voice also sets the tone for humor or drama. If the voice is special and strong, like in the novel Sold by Patricia
McCormick, it will generate attention. Balzar also said that writers should attempt to approach the familiar in a new way, such as in the book Generation Dead.  Keep in
mind, dialogue is a great way to flesh out characters without being so heavy
handed. 

Balzar told participants that when writing picture books, don't underestimate kids. Books in this genre should have heart and be brief. Authors should not write what can be
shown in illustrations. New twists on old ideas, such as in the book John, Paul, George and Ben by Lane Smith, excite editors. Before submitting, authors should always read their picture book manuscripts out loud to check the flow and the language.

Anamika Bhatnager, Senior Editor, Scholastic Press
By Michelle Parker-Rock, Regional Advisor, Arizona

Anamika Bhatnager, Senior Editor at Scholastic Press and Director of Paperback Reprints for Scholastic’s Hardcover Imprints, considers herself a generalist. “I like a little bit of everything,” she said. She works on a variety of projects including picture books, chapter-book series, middle-grade fiction, graphic novels, and YA novels.

Bhatnager is the editor of Elijah of Buxton by Christopher Paul Curtis. The book was a 2007 Newbery Honor book. She recently edited Dav Pilkey’s Captain Underpants and the Preposterous Plight of the Purple Potty People, Lisa Papademetriou’s How to Be a Girly Girl in Just Ten Days, and John Coy’s Crackback.

Bhatnager said that the children’s book market has exploded in the past ten years, and she is always looking for great new writers. She wants good writing and a unique narrative voice. A well crafted query letter will get your foot in her door and a strong narrative voice on the first page of your manuscript will get her attention. “The best writers revise and revise,” she said. She told writers to submit only their best efforts.

“The hardest part about getting published,” said Bhatnager, “is finding the editor that loves your work. I need to really truly love a manuscript and I must think that the reader will as well. You are taking a good first step by being here.”

Caitlyn M. Dlouhy
By Donna H. Bowman, Co-Regional Advisor, Southern Breeze (AL, GA, MS)

One of Dlouhy’s favorite things to do is discover new writers. She personally looks through her slush pile rather than relying on agents. Agents might let something that Dlouhy would love slip through their fingers.

Dlouhy looks for voice, the most important aspect of a manuscript. She said she can help improve a story arc, character development, and plot, but voice is something a story either has or does not have.

“I’m madly in love with everything I publish,” Dlouhy said. Her passion shined through as she read snippets from several of her books that are scheduled for release this summer.

Dlouhy’s list includes several notable books: Kira-Kira by Cynthia Kadohata (a Newbery Medal winner), Someday by Alison McGhee/Peter Reynolds (a New York Times bestseller), and Clever Beatrice by Margaret Willey/Heather Solomon (a Parents' Choice Award winner) just to name a few.

Dlouhy’s favorite books as a child were Babar and Zephir, and the Madeleine books, and she absolutely adored Little Bear.

Dlouhy also loves to look at art samples. She enjoys including art anywhere it is possible – even in a novel.

David Gale, Vice President, Editorial Director, Simon & Schuster Books for Young Readers
by Priscilla Burris, SCBWI Illustrator Coordinator

David Gale described himself as an editor with a reputation for being brutally honest. He has very specific needs and wants in books for children. He reminded writers to show a real knowledge of their readers.

Gale prefers quirky kid-friendly picture books, and encourages writers to use as few words as possible. He thinks teen horror may be the next fantasy. 

David edits and acquires single titles. To better understand his taste, he recommended reading books by his authors, such as Wolves by Emily Gravett, Invisible by Pete Hautman, The Unspoken by Thomas Fahy, and Potty Train by David Hochman, Ruth Kennison, and Derek Anderson.

Jennifer Hunt, Executive Editor at Little, Brown Books for Young Readers
By Jaime Temairik, Co-Regional Advisor, Western Washington

Jennifer Hunt, Executive Editor at Little, Brown Books for Young Readers began by addressing the business side of  publishing: "Know as much as you can about the personality of the editor, agent, or publishing house before sending in your materials,” she said. “Understand genre. It may seem simple, but many people don't take the time to really understand it."

She then explained the various imprints that comprise Little, Brown. Poppy, the trade paperback imprint, specializes in girl fiction and series. LB Kids is their novelty imprint with high quality licenses and some originals. Yen focuses on manga and graphic novels, mostly imports, but with plans to include domestic works in the near future. Little, Brown Books for Young Readers does literary and commercial novels and picture books, including a small amount of non-fiction.

Instead of listing trends or specific interests, Ms. Hunt offered attendees some hints about what she would like to acquire by describing several basic elements all manuscripts should have. A distinctive voice is key. “Take the time and effort to develop it,” she said. Original characters, plot lines, and craft are also important. Hunt explained that skill in craft equals the ability to have a long term career. “Craft is learned, so it means you’ve been working, observing, and being thoughtful,” she said.

Wendy Loggia, Executive Editor Delacorte
By Pat Easton, Regional Advisor, W. PA. SCBWI

According to Wendy Loggia, Delacorte's blend of commercial and literary books allows the company to take chances on newer authors. She feels as an editor she can help a great writer find a great story and help a writer with a great story find great writing.

To demonstrate how varied the criteria are for selecting a book, she read key selling poin

ts from some of the title information sheets that are used by salespeople when presenting books. Some of the points included the following: a new twist on a familiar story; great characters and setting; a unique hook; an accessible narrative; a fast-paced fun plot; an appealing heroine; an under-published genre; a reluctant reader appeal; a laugh-out-loud funny story with a deeper meaning; a clean and wholesome theme; and a timely subject.

Loggia also stressed that Delacorte editors have the freedom to buy what they want without going through an acquisition’s committee. The editors dictate to the sales force. One of the books on her fall list is a first novel she found doing a critique at an SCBWI event.

Mark McVeigh Editoral Director of Aladdin Paperbacks, Simon and Schuster’s Children’s Publishing
by Michelle Parker-Rock, Regional Advisor, Arizona

Mark McVeigh, now the Editorial Director of Aladdin Paperbacks, is doing what he loves: publishing original paperback fiction for young readers. As a boy, he was a “spinner rack kid,” a reader of paperbacks sold on spinner racks in drugstores and supermarkets. “Over the years,” he said, “the pulpy paperback industry grew up and today there is a strong market for high quality paperbacks for kids.” Approximately sixty percent of the books published by Aladdin are original paperbacks and forty percent reprints.

Aladdin Mix, Simon and Schuster’s new imprint, targets "tweens." The titles speak directly to readers 9-14 years old. The books reflect kids’ lives and take kids outside of themselves. “Our books are designed for kids so they will want to read them,” said McVeigh. “The Mix motto is your life, your time, your book.”  McVeigh said the books tend to be funny and address social issues done in appropriate ways. Current Mix titles include Totally Joe by James Howe and The Melting of Maggie Bean by Tricia Rayburn. Coming in 2008 is Trading Faces, a middle reader series by Julia and her twin sister Jennifer Rozines Roy.  “We are always looking for new writers,” said McVeigh.

Molly O’Neill, Assistant Editor, Harper Collins
By Jolie Stekly, Co-Regional Advisor, Western Washington

Bowen Press is the newest imprint at HarperCollins Children’s Books. It was started in the summer of 2007 and was only recently named. Brenda Bowen is Vice President and Publisher and Molly O’Neill is Assistant Editor. Together they are working to lay the foundation for what is to come.

The Bowen Press will publish its launch list in the winter of 2009. It will include 15-20 books per year, from picture books to young adult. The work will primarily be fiction, with some nonfiction.

Bowen and O’Neill feel strongly that their profile will best be described by the work they are doing and by the authors and artist they publish. They believe in the mantra, “Start as you mean to go on.”
           
Bowen and O’Neill have particular areas of interests and the imprint’s first books reflect their taste, including books about cultural trends and global matters, such as
MySpace/Our Planet: Change is Possible;-Literary Fiction, including Virginia Euwer Wolff’s This Full House; popular Fiction, including Tad Williams and Deborah Beale’s The Dragons of Ordinary Farm and Mary Rodgers’s Freaky Monday; bold and arresting picture books, including Greg Foley’s Willoughby & the Lion and Joost Elffer’s Do You Love Me?; graphics, including C.M. Butzer’s The Graphic Gettysburg; and first novels and new talent, including Kathryn Fitzmaurice’s The Year the Swallows Came Early

“Most of all,” O’Neill said. “We’ll strive to publish good books well!”

Reka Simonsen, Senior Editor Henry Holt
by Pat Easton, RA Western PA

Simonsen said that because Holt's trade division is relatively small, all of the editors and staff know the company’s books well. Another one of their strengths is a strong back list. All submissions are read and books do make it out of the slush pile onto their published lists.

Simonsen gave some hints for escaping Holt’s slush pile. Submitters need to do their homework. Know what the company publishes to be ahead of half the manuscripts in the slush pile. Know the editors' tastes. Submitters need to look at Holt’s web site to make sure their submission information is current, and writers need to hone their skills.

The most common mistake writers make is not taking enough time and not putting in the necessary effort to complete a manuscript. These manuscripts lack polish. Too many writers get excited when they think they've finished a manuscript, and they send it out before it is ready.

Nancy Siscoe, Associate Publishing Director & Executive Editor at Knopf & Crown Books
By Jo S. Kittinger, Co-Regional Advisor, Southern Breeze

Nancy Siscoe acquires a broad range of books from picture books to teen novels. “We make a conscious effort to have books across the board for a wide age range and span of reading ability.” However, early readers and chapter books are not on her list, because the Random House imprint of her company handles those. She considers her house to be an “upscale, literary publisher” which is author-driven, not topic-driven. She looks for authors she can work with and develop for the long term. Nancy is a huge mystery fan but likes manuscripts of any genre with a strong story. “I love a really pacey book,” she said. She also likes characters that are enthusiastic about something.

Nancy shared a number of books on this year’s list including picture books: Pale Male by Janet Schulman and Meilo So; One Naked Baby by Maggie Smith; A Kitten Tale by Eric Rohmann; and Turtle’s Penguin Day by Valeri Gorbachev. Middle grade novels she talked about included: the Shredderman series by Wendelin Van Draanen and Brian Biggs; and Thornspell by Helen Lowe. The breadth of her tastes were evident in her teen books, including the “smart chick-lit” title, Am I Right, or Am I Right? by Barry Jonsberg; very dark YA, The Fetch, by Chris Humphreys; and a short story collection, Red Spikes, by Margo Lanagan. In describing what she was looking for, she said, “You want to find something that you are dying to have everyone else read.”

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The SCBWI Winter Conference continued on Sunday, February 10, 2008 with an award ceremony for the juried portfolio exhibition that took place on Friday evening. It included portfolios submitted by 200 illustrators who participated in the Illustrators Intensive.  The exhibition itself was a private showcase that was attended by approximately 100 editors, art directors, and agents. 

The popular and much honored illustrator/author Tomie dePaola presented the Tomie dePaola Award to Heather Powers, with honorable mentions going to Sandra Griffin, Larry Day, Jim Carroll, Andrew Mitchell, and Sarah Stern. Priscilla Burris, U.S. Illustrator Coordinator for the SCBWI, presented the portfolio awards.  Honorable mentions went to John Rocco and John Deininger.  The third place winner was Alan Witschonke; the second place winner was P. A. Lewis; and the Grand Prize Winner was Jim Carroll.
Sunday's opening speaker, Susan Patron, was the 2007 Newbery Medal recipient for The Higher Power of Lucky. Mixing humor with practical advice, she shared her personal manual on "how to be a Newbery."  Patron’s suggestions included:  read widely but ignore trends; figure out how to describe your book in one sentence; practice saying aloud any word from your book that might be considered controversial; and when you are convinced you should never write again, write anyway.

The Continental Breakfast and Publishers' Exhibition that followed offered the possibility that attendees might be looking at the next Newbery medal winner.  Publishers sent a selection of their most recent titles, providing glimpses into a variety of publishing styles, as well as a sense of the current state of children's book publishing.

Next, a panel traced the path of Jonah Winter's picture book Dizzy.  First, Winter shared his creation process and his struggle to find the right voice for telling Dizzy Gillespie's story.  Arthur Levine then discussed the editing process and his suggestion that Winter give the story a stronger emotional thread. John Mason described his successful efforts to market the book to librarians and educators, and Tracy van Straaten explained how she built on that success to reach the consumer market until Dizzy was finally in the hands of bookseller Bob Brown.  Dizzy had potential in several markets, and it generated excitement each step of the way.  It was a biography that used poetic language, had a good author's note, and begged to be read aloud.

The distinguished closing speaker, award-winning author Richard Peck, is a strong advocate of reading aloud to children. However, because of the competition from the Internet and a multitude of electronic devices, it is necessary for writers to hone their craft until they can grab a child's attention with the first line of the story.  Writers also have to work hard to keep themselves out of their books so that each reader can find himself/herself in the book.  Peck confirmed that "We have to be all our characters, but our characters should not be us."

The conference ended with an autograph party and the renewed buzz of conversations. Attendees compared notes, analyzed the advice they had received, recommended books to each other, and made plans to continue their discussions at a later time.

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Sunday, February 10, 2008
Keynote Reports

9:00 AM-9:15 AM
Private Portfolio Exhibition Awards Presentation
By Michelle Parker-Rock Regional Advisor, Arizona

On Friday evening, two-hundred illustrators participated in the weekend’s Private Portfolio Exhibition. About one hundred editors, art directors, and agents from various children’s publishing houses in New York attended the showcase to view the illustrators’ portfolios.

The Tomie dePaola Award was given to Heather Powers, an illustrator and Regional Advisor for the SCBWI in Southwest Texas. Powers studied painting and drawing at Kendall College of Art & Design, where she received a degree in Fine Arts. She currently lives and works in San Antonio. Powers was awarded a $1000 art supply gift certificate. Honorable mention went to Sandra Griffin, Larry Day, Jim Carroll, Andrew Mitchell, and Sarah Stern.

Prisiclla Burris, the SCBWI Illustrator Coordinator announced the winners of the juried exhibition. Honorable Mention went to John Rocco and John Deininger. The third place winner was Alan Witschonke. P. W. Lewis took second place. Jim Carroll of New York was the Grand Prize winner. Carroll will receive a full-page display of his artwork in Picturebook. He will also meet with several art directors in New York City.

Keynote Address
9:15 AM-10:00 AM
Susan Patron: The Diary of an Oldbery: How it Can Happen to You
By Michelle Parker-Rock, Regional Advisor, Arizona

Susan Patron has been a librarian at the Los Angeles Public Library for the past thirty-five years. She is also a children’s book writer and the author of a picture book entitled Maybe Yes, Maybe No, Maybe Maybe. Her middle grade novel, The Higher Power of Lucky, received the Newbery Medal in 2007.

In a speech sprinkled with humility and humor, Patron offered writers suggestions for ways to win a Newbery. “Write the best book you can,” she said. “Do not write a children’s book. Write a book that is responsible.” She also told the audience to read widely. “Love your characters, even the conflicted ones.”  Patron even condoned the use of words for body parts, when needed.

After receiving a phone call from the Newbery committee, Patron wondered if there was a manual for winners. How else would she know what to do? She wrestled with certain details like what hair-do and make-up would be best for her appearance on the Today show and how to describe her book in one sentence during the interview. She even practiced saying scrotum so it would sound natural on national TV.

Patron said she spent ten years writing and rewriting her award-winning novel. She had one year as the medalist. Now that her Newbery year is over, Patron waxed philosophically about being an oldbery. “Be concerned about never writing another book again,” she told prospective victors. “And be thrilled when Lin Oliver asks you to speak at an SCBWI conference.”

Panel
11 AM-12:00 PM
The Path of the Picture Book
Arthur Levine, Vice President Scholastic, Editorial Director of Arthur A. Levine Books
Bob Brown, Owner, Books, Bytes & Beyond
John Mason, Director of Library & Educational Marketing, Scholastic
Tracy van Straaten, Vice President of Publicity, Scholastic
Jonah Winter, Author/Illustrator
By Jo S. Kittinger, Co-Regional Advisor, Southern Breeze

Jonah Winter’s award-winning picture book Dizzy was traced from inception to sales by this interesting panel. Winter first shared his enthusiasm about conceiving and writing the book. Together, he and his editor, Arthur Levine, talked about the bumps in the road that occurred during acquisition and revision. Communication and trust were essential.  Levine’s suggestions focused the story, and Winter’s input brought exuberance to the art. Together they created the best book possible. Then it was Levine’s job to transfer his excitement about Dizzy to the marketing department.

John Mason’s goal was to excite librariansabout the book. “Marketing is about communicating ideas – getting your enthusiasm into their heads,” he said. Winter’s excellent reading of the story at an ALA conference led to a recording that was sent out as a marketing tool. Five starred reviews then lead to print advertisements. “This is when we get so excited we start spending money that’s not in the budget,” Mason said.

Tracy van Straaten explained that publicity is different from marketing, however, it is part of marketing. Marketing’s goal is to get the books into the hands of consumers through bookstores and media. She looked for back-story -- tidbits she could pitch to journalists around the country that would spark articles about the book. She mentioned that newspapers now ask for audio and video clips to put on their websites.
Finally, Bob Brown, owner of an independent children’s bookstore, talked about the factors he considered for buying Dizzy and other books. F&Gs, catalogs, sales reps and tie-ins to school curriculum all play a part. In the end, it is the book itself that matters most.

Closing Key Note
12:00 – 12:30 PM
Richard Peck: Facebook or Real Book? Writing for the Electronically Reared Child
By Jolie Stekly, Co-Regional Advisor, Western Washington

Richard Peck, award-winning author of thirty books, was the cherry on top of an amazing conference. With only one sentence, he had the audience captivated and hanging on his every word. Peck is often asked where he gets his ideas. “It’s widely assumed we (writers) can’t think of them,” he said. He also said that as writers, our behavior is “nowhere near normal.”
           
Books were important to Peck as a young boy. “Nobody but a reader ever became a writer,” Peck said. “A story is an alternate reality where a literate goes to make sense of the world.” Peck believes in the importance of reading to children in their first five years of life. He was read to by his mother leading up to Kindergarten. “I marched into kindergarten on the day Hilter marched into Poland, but I was better prepared,” he said. Peck said that some adults have very little patience when it comes to reading to hyperactive children. “I wanted to be hyperactive,” he said referring to his boyhood. “But my mother wouldn’t let me.”

Peck commented on what writers must do in order to connect with readers. “We must uncenter ourselves by getting off the stage and off the page.” He added, “Readers are looking for themselves, not the author.” As writers, “we have to be all of our characters, but none of our characters had better be us.” “A story is about how history repeats in every human heart,” he said. He left each and every conference attendee on their feet, applauding. “Our books are proof of what language does.”

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