Chapter Two Cimax! - International Publishing with Mallory Kass

International Publishing Session with Mallory Kass (Scholastic USA) in conversation with Suzanne Gervay. 

Mallory Kass Commissioning editor for Scholastic USA

Despite a difficult Skype connection, Scholastic USA Senior Editor Mallory Kass gave SCBWI delegates a fascinating insight into the US Market.

Mallory acquires middle-grade and young adult fiction. She particularly loves rich word building, magic in unexpected places and heart-expanding emotion.

However Mallory says the editor of each imprint (Blue Sky Press, Orchard Books, Cartwheel, Arthur Levine etc.) will have their own preferences. She says US agents are adept at placing the work with the right agent. Susanne Gervay asked Mallory if she there are any agents who she particularly loves working and Mallory answered that she will read the work from any agent, even if she doesn’t know them.

“Every author I have has a different agent,” she said.

There is no umbrella submission process for Scholastic USA. It is all about finding the right fit – right manuscript with right imprint.

When Susanne asked Mallory what she is looking for in Middle-Grade and Young Adult, she replied that above all, the storytelling must be compelling Although Mallory says Scholastic USA is experiencing success on every level, she is particularly excited by the possibilities of YA at the moment because of the Adult genre crossover.  They also have a lot of middle-grade success due to Scholastic’s strong relationship with schools (book fairs).

Although Scholastic USA is open to Australian creators, Susanne Gervay confirmed Scholastic Australia does look to the USA for their list. Furthermore, regardless of where the story comes from, every office will look at an exciting manuscript with global appeal. According to Mallory, she has a colleague who looks at lists outside the US.

The acquisitions process can be complicated. Mallory’s challenge is to effectively communicate why she is passionate about a manuscript to the different departments within Scholastic (art direction, sales and marketing). If everybody is on board, there is a lot of enthusiasm for the book.

“They take the book very seriously,” she said.

What is your role in the publishing process? How does the pitch go if you love something?

SUSANNE – EK model where the book goes straight to UK and USA. You automatically go into three markets.

How the US classifies genres?

• Picture books aged 3 to 8
• Chapter Books aged 6 to 8
• Middle Grade aged 8 to 12 – (between 30,000 and 65,000 words)
• Young Adult is 13 to 18 – 45,000 to 80,000 words).

Susanne was keen to understand how Mallory approaches the editing process with an author.

“I like to make the character suffer in ways they never imagined. For me, it’s also about the emotional state and make things more urgent. I do three big picture revisions and help the author identify the vision for the story and make sure that vision ends up on the page,” said Mallory.

The editing process normally takes nine months.

“I don’t ever want the author to feel rushed,” she said.

Susanne Gervay asked Mallory if Scholastic USA is open to books with an Australian setting.

“I personally am very open to books set in Australia. We are very proud to publish authors such as Jaclyn Moriarity.”

Susanne also asked Mallory about the relationship between author and publisher. Mallory answered she would never want to reject anything from my authors.

“If it doesn’t fit, I’ll always talk to them about it. I never want to reject anything from my authors, I’ll always talk to them about it. Sometimes, I may not be the best editor for it.”

Regardless, Mallory emphasised the importance of good communication so there is no misunderstandings.

A delegate asked about the category of ‘New Adult’ and whether this is an emerging category.

“Scholastic doesn’t publish New Adult. We publish up to the age of 17/18. I don’t think it’s a category that is going to have continued support. I think it’s a marketing hook.”

Another delegate asked if they expect submissions to be exclusive?

“Submit as widely as you can. It’s assumed.”

Rachel Noble Roving Reporter

#SBWISyd

Chapter Two: Uncovering Talent

Paul MacDonald discusses the picture book genre with three creators

Chaired by Paul MacDonald from The Children’s Bookshop, Beecroft

This session featured three wonderful creators talking about their latest books and what inspired them.

Author Emma Allen is inspired by childhood, she re-imagines her own, looks at her children’s childhood as well as those of other children.

Growing up in a small country town, the library was her magical place. When Possum Magic by Mem Fox came out she and her class crafted fake lamingtons that looked good enough to eat. And though she knew they weren’t real she couldn’t resist taking a bite. How can something made-up be so real, she wondered. This incidence started her love of picture books and literature.

‘Fiction seemed truer to me and has stayed like that ever since.'

Her latest picture book ‘My Friend Ernest’ illustrated by Hannah Sommerville, though completely fictional somehow ended up in the non-fiction section of a confused bookshop due to its ‘true emotion’ which though a compliment, ultimately was clearly not where this book should have been placed.

Her work as a paediatric speech therapist has informed her writing, and her love of writing and narrative have informed her career and work with children.

‘Narrative helps children understand the world.’

She collaborated on her story with editor Lisa Berryman from Harper Collins through face to face meetings.

Author Nerida McMullin discussed how her latest picture book ‘Fabish: The Horse that Braved a Bushfire’ is a story based on fact and falls in the category of creative- or narrative non-fiction.

Fabish was inspired by a radio interview she heard, featuring a man, Allen, who lived through Black Saturday with his horses. Neridah herself experienced the effects of Ash Wednesday and coming from a racing family could identify with his experiences. And the story of one of one retired racehorse leading itself and seven yearlings to safety after hope had been lost during the fires was what led to her writing of ‘Fabish’.

The story originated as a short story which was published in the School Magazine, though her editor immediately saw it as a picture book.

As a great example of collaboration between author and illustrator Neridah took the illustrator, Andrew McLean, to meet racehorses so he could experience firsthand the horses’ body language, to be immersed in the feel, smell and sounds of horses. This collaboration between author and illustrator also ensured the authentic feel of the book.

Illustrator Marjorie Crosby-Fairall who illustrated ‘Mrs Dog’ didn’t get the chance to work with the author Janeen Brian directly. The editor, Karen Tayleur, formerly with Five Mile Press, had a specific vision for this story; to have the illustrations feature the animals without emphasise on humans.

Marjorie took this on board but also wanted the story feel like a hug, and to slowly intertwine the images of the two animals, dog and lamb, as the story advanced.
Using added texture in the illustrations for a tactile feel and using underpaint in warm browns added to the warm, snug, feel of the story

Perfecting the 'hug' Mrs Dog spread

Each creator had a different response to when they first saw the finished book:

Emma, put the book a way for a while before looking at it, to prepare herself emotionally, and then read it for the first time with her children.

Neridah was not ready to see the finished book published as in the time it took for the book to be finalised, Allen, the horse trainer she collaborated with closely in the telling of the story had passed away unexpectedly. But, after contacting his wife and family she realised it was important for this story to be told and remembered.

Yvonne Mes Roving Reporter

#SCWBISyd

Chapter One: Dynamic Duos: A Case Study

Pairs of publishers and authors (+ one illustrator!) offering insight into the book creating process.

Dynamic Duos, vibrantly hosted by Deb Abela, was a conversational panel about the importance of collaboration in creating a children’s book.

Author Lesley Gibbes and publisher, Ana Vivas (Scholastic) were first-up, chatting about the highly successful picture book, ‘Little Bear’s First Sleep’. This is a gentle bedtime story about a bear cub embarking on his first long winter sleep.

Early on in the acquisition process Lesley and Ana agreed that the warm and soft drawings of illustrator Lisa Stewart would be the perfect complement for Little Bears story.

The collaboration on this book took an interesting turn when Ana recognised that the gloominess of the cave setting left little scope for Lisa’s illustrations.

In response to Ana’s concerns Lesley rewrote the text to include moonlight and snow allowing Lisa to use more white in her illustrations. The designer also worked to maximise the contrast of lighter areas while still keeping the soft feel of the book by setting light vignettes against dark pages.

 From bedtime to wartime New Zealand author, Maria Gill and Clare Hallifax (Scholastic) had a very different book project with, ‘Anzac Heroes’. This is a highly awarded non-fiction text covering 30 Anzac heroes from WW1 and WW11.

Maria’s book tells the stories of individual soldiers, sailors, airmen, spies and medics. She was keen to highlight not only well-known servicemen but some of the lesser recognised figures of the world wars including women and indigenous peoples. She talked with admiration about the subjects of her book in particular the daring Nancy Wake (the white mouse) who worked as a spy and guerrilla fighter behind enemy lines in WW11.

Clare of Scholastic was on board with Maria’s concept from the start. She could see its value in tying in with WW1 100 year commemorations and as a needed educational resource.

‘Anzac heroes’ required painstaking and far-reaching research of primary and secondary sources. Maria spent many hours in the war memorial viewing military records, talked to RSL representatives and to the families of the heroes.

What is striking about this book is the mastery of design. The main body of text is complemented by fascinating facts and snippets in coloured boxes. Each double page hero spread is decorated with illustrations, beautiful digitally enhanced photos, icons, pictures of military awards, documents, letters and timelines.  Although there were no designers on the panel. It was acknowledged that the designer had a vital role in bringing all the elements together.

Dianne Wolfer was next up discussing her latest book ‘Shark Caller’. Unfortunately, her publisher Zoe Walton (Penguin Random House) could not attend. 

Dianne had an interesting story to tell about this book’s road to publication.

Dianne had long held a fascination with the underwater world and the culture of the peoples of Papua New Guinea due to her holidays spent diving and snorkelling in that region. She began to write a YA novel about shark calling, a ritual imbued with spirituality practiced by the indigenous people of the New Ireland Province of PNG. However, Dianne’s writing stalled, finding the blend of fact and fantasy required for the story difficult to negotiate and outside her usual genre.

Some years later, while studying for her PhD on the topic of anthropomorphism Dianne decided to take up the story again, completing the novel to form part of her thesis. Dianne still had relatives who lived in New Guinea who she could contact to ask for advice on aspects of the indigenous language and culture.

During this time Dianne attended a writers retreat on Rottnest island. Zoe Walton from Penguin Random House was in attendance. ‘Shark Caller’ seemed like a good fit for Zoe’s stated interests so after the retreat Dianne sent her manuscript to Zoe who quickly championed it. Dianne said that the editorial process at Penguin Random House was quite painless as advice was always given in a considered and gentle manner. Within a year of the Rottnest retreat ‘The Shark Caller’ was on the shelves.

 The final panel members were Sharon Evans (Big Sky Publishing), Aleesah Darlison and Shane McGrath - not a dynamic duo, but a terrific trio. They collaborated to create the poignant picture book about the last wild thylacine titled, ‘Stripes in the Forest’.

Aleesah’s childhood growing up on a remote bush property inspired her love of native animals and wild landscapes. ‘Stripes in the Forest’ is written from the first person POV of a thylacine mother lending intimacy and emotional impact to the text. Although the story has an ecological message and deals with the likely extinction of a species.  Aleesah said she was careful to write a hopeful ending. Is the thylacine still out there somewhere?

It was evident that Sharon, the publisher was as passionate about this project as Aleesah. She was excited to acquire the book and procure Shane McGrath to do the illustrations.

Shane McGrath didn’t just rely on Aleesah’s text to create the illustrations he was meticulous in his research of the thylacine’s appearance and behaviours. He was also careful to ensure the man-made structures such as buildings and ships were accurate for the time periods spanned in Aleesah’s story.

Shane used a combination of manual pencil drawings and digital photoshop to create the pictures

‘Stripes in the Forest’ was clearly a project of passion for author, publisher and illustrator.

 This panel gave us an insight into the passion, dedication and meticulous care that goes into making a beautiful book. From the author to the publisher and illustrator to the designer – all are invested in making the book the best it can be.

Leigh Roswen Roving Reporter

#SCBWISyd