Chapter Two: 100 years of The School Magazine

The panel

A Centenary of School Magazine with (Editor) Alan Edwards, (Contributors) Sheryl Gwyther, Marjorie Crosby-Fairall and Wendy Fitzgerald and (Graphic Designer) Josemalene Ruaya.

This year marks the 100th anniversary of The School Magazine, which began publication in 1916 and is now the longest running children’s literary publication in the world. To commemorate this momentous occasion SCBWI included a panel discussion about the School Magazine and their publication process, as a part of the 2016 Conference. Chaired by Sheryl Gwyther, author   and prolific contributor for the magazine, the panel provided an interesting and informative overview of the magazine’s process and it’s glorious 100-year history.

For those who don’t know, The School Magazine is Australia’s foremost literary magazine for children, filled with texts of literary merit that encourage children to read for pleasure and explore stories. Editor Alan Edwards says “we are trying to instill a love of reading in our young students and I think we have done a pretty good job of that over the last century”.

In honor of their birthday The School Magazine has recently released “For Keeps” An anthology of stories, poems and plays from the last century of publications. It is a visual and literary feast for adults and children alike. I spoke with designer, Wendy Rapee, about her choices in putting together this gorgeous treasury.

“It was with a sense of nostalgia I approached this task, so the palette is soft and slightly dusty. Right from the start I wanted to contextualise the pieces for kids of today as well as evoking nostalgia for past readers."

The School Magazine publishes 4 different magazines aimed at children in years 3, 4, 5 and 6 at school.

• Countdown (year 3)
• Blast Off (year 4)
• Orbit (year 5)
• Touch Down (year 6)

They produce 40 magazines a year along with 40 teaching guides, with each issue lovingly assembled by a hardworking and dedicated team including panelists Alan Edwards and Josemalene Ruaya.

Jose is The School Magazine’s only graphic designer, single handedly responsible for the look and layout of 40 publications per year. Jose gave a fascinating breakdown of her design process and philosophy for the magazine saying

“I tend to design to make our pieces inviting to read and to make sure that the layout and the illustrations and graphics support and enrich the text rather than overwhelm it…we use illustration in many different ways. We always try to add something else that there isn’t space for in the text, we always try to support what’s going on in the text and add value to what’s already there”

The School Magazine has had the input of some of Australia's most prominent children's writers and illustrators throughout their 100-year existence, including but certainly not limited to, Aaron Blabey, Sarah Davis, Duncan Ball, Patricia Wrightson and Ursula Dubosarsky and panelists, Sheryl Gwyther and Wendy Fitzgerald.

Wendy Fitzgerald discussing her latest contribution

As a matter of fact Neridah McMullin’s new picture book “Fabish” came from a story originally published in “Blast Off “Magazine in 2011. The School Magazine has a reputation for inspiring books and launching careers.

But anyone involved in the world of children’s books and primary education already knows this, what made the SCBWI session stand out from all the other celebrations this year, was the way it detailed The School Magazine’s process from submission to publication. Providing a real insight for writers and illustrators about submitting their work and what to expect when they do.

A couple of interesting facts;

• The School Magazine is one of the last publications in Australia that accepts unsolicited manuscripts.
• It is also one of the last places that will publish poetry now, making it’s existence even more important on the literary stage for writers and readers alike.

So if anyone is interested in submitting to the School Magazine and wants to know what happens once you do, the process is pretty simple.

For writers:

• The School Magazine accepts prose, stories, plays, poetry and fiction. 
• When a manuscript comes in the assessment process usually takes about 4 months and it is read by 3 or 4 different people, before having a decision made on whether it will be accepted or not.
• Once a submission has been accepted the magazine contacts the author, purchases the piece AND pays them straight away!

"Choice is driven by the quality of the writing." Alan Edwards on the submission decision process

How to submit to The School Magazine

Just another great advantage for contributors to The School Magazine, they pay upon purchase and their purchase is for single use only. So if they want to use your work again, you get paid again, at a reduced rate. Once the piece has been purchased they will wait for the right issue to come up before placing it. Generally you will know when it’s time because a copy of The School Magazine arrives, like a present, in your mailbox.

"Everything we do must add value to the text" Josemalene Ruaya on magazine design

For Illustrators,:

• The School Magazine provides a rotating cycle of opportunity by having a pool of illustrators it draws upon year round, choosing the illustrator that best suits the written work.
• Submissions are open for certain periods of time each year, usually June to July but this can change, so it ‘s best to keep an eye on the website. 
• Just like with written work, illustrators also retain their rights and purchase is for a single use only.

"Illuminate not decorate" Marjorie Crosby-Fairall on her illustrative briefs

Marjorie Crosby-Fairall discussing the magazine's illustrative briefs

Throughout this panel one point became abundantly clear, EVERYONE has nothing but reverence and deep respect for The School Magazine. The people who work to bring it to life, are deeply impassioned individuals who strive to expose our kids to quality literature.  To be accepted as a contributor is an honor, a validation of literary merit and something people own with great pride. So why not try submitting your work and see where The School Magazine could take you too…

Kel Butler Roving Reporter

#SCBWISyd

Chapter One Keynote Address by Tara Weikum - The State of the Market

Tara Weikum delivering her Keynote Address

The state of the market for illustrators and authors with Tara Weikum, Vice President of HarperCollins USA.

The SCBWI delegates were very excited to welcome Tara Weikum to the stage. She is the vice-president of Harper Collins USA, as well as editorial director of HC children’s books. She has worked in publishing for over 20 years and publishes middle grade and YA (teen).

Tara told us that Harper Collins is the second biggest publisher of children’s books. They publish about 500 books a year including backlists and are celebrating 200 years of publishing this year.

Tara’s team of six people publish 10-15 books a year. Her passion has always been for YA.

She shared some of her favourites. For example, ‘Big Mouth Ugly Girl‘ by Joyce Carol Oates, ‘Inside Out and Back Again’ by Thanhha Lai, and showed us the covers of other junior fiction and teen fiction.

A few years ago Tara said she only had a few middle grade on her list. However, in 1996, the National Book Foundation began a category for teens. Now just about every publisher in the states has a category just for teens. YA had been very popular but there has been a tipping point and middle grade began making new ground. For example, ‘The One and Only Ivan’ has sold over 1 million copies. It was on the bookseller list before it won awards. Tara didn’t publish Ivan but is working with Kathryn on a new series in 2018.

Several factors have helped improve sales for children’s books.

• The Times began a children’s book list and there are now six lists. It enabled the children’s list to become more competitive.
• There has also been teen movies adapted from books which has resulted in lots more sales.
• Social media also promotes books and enables authors to promote to their target audience.

During the years there was a downfall in selling children’s books, some booksellers blamed Amazon for the fall out in bookstores. Just recently, however, Amazon set up stores in America. E-books sales were also blamed, but recently there has been a downfall in this market. Based on research e-books peaked in 2014. Some books sell well in e-books, but now e-books are not so cheap. There is also screen fatigue, a lot of people like holding a book in their hands. Tara said they still expect to see some growth with ebooks but not like it has been.

Inspiring

We were all interested to know what was the biggest trend and groaned when Tara said colouring books are still selling extremely well. They are even selling colouring-in books to go with children’s books. We perked up when she said highly illustrated books such as The Dork Diaries and graphic novels are bestsellers, as well as novels and non-fiction with girls as main characters. Also books about science and computer coding. In 2014 people tweeted on the Internet about the lack of diversity in children’s books. Since then a hashtag and a formal organisation are addressing that issue and more diversity books are being published.

We Need Diverse Books #weneeddiversebooks

Tara ended with the following wise words. “Don’t follow trends". It’s a good idea to read outside of your area, even if you are not writing those books.”

Someone from the audience asked whether American publishers were interested in publishing Australian stories. Tara answered that most publishers in the States only work with agents. There are hundreds of agents in the States. Agents are keen to take a chance with Australian authors, but there is a barrier if something doesn’t feel American. It depends if the humour and characters etc cross-over.

Maria Gill Roving Reporter

#SCBWISyd

Chapter Two: Denouement and Resolution - Masterclass for authors with Tara Weikum

Vice President of Harper Collins USA, Tara Weikum

Listening to Tara speak about how to approach a revision after an editor has provided feedback was riveting. I took as many notes as my typing fingers could muster.

While Tara’s talk was based on her personal approach to editing, she provided us with universal truths about writing and revisions.

Tara approaches each manuscript differently. She speaks extensively with the author and aims to provide feedback that fits their needs.

She doesn’t make notes on the manuscript; she prefers to write an editorial letter.

Tara’s editorial letters:

• Can be 20 pages, and they can be intimidating - not a sign your story is awful, rather a sign that the editor has a passion for your work, they are invested and want to make it as strong as possible.
• Can be 3-4 pages - it varies depending on the book.

Tara usually writes her comments under subject headings, e.g. character development, pacing, voice …

The letters contain suggestions - not absolute changes. However, if she believes certain changes are necessary she discusses this with the author before signing them. Sometimes changes are deal breakers and she needs to be certain that she and an author have the same vision for the book and can work together to achieve it.

Plot

Tara suggests authors think about plot in terms of jacket copy:

• How you would right your own jacket copy?
• Can you describe your story in a succinct and compelling way?
• What is the core story?
• Which plot line is the reader meant to care about the most?
• If you can write your own copy then you (and your editor) will have clarity about the plot.

Tara said editors are concerned authors will think they don’t ‘get’ the story if they question the plot. Instead, editors are trying to find out why a story is written a particular way and if there is a reason for the way a story unfolds.

Revision is more difficult if a story has layers of mystery and subtext, because any problems might not be obvious. Tara approaches these edits by pointing out that something isn’t working and she’s not sure why. Then it up to the author to think ‘what can I do to make this clear?’

Beginnings

Tara suggested we make sure our stories start in the right place. Beginnings need to include a set up and story thread that will lead the reader into the second chapter. The set up not just dumping reader in the middle of the action.

Number One Problem

The most common problems she sees is … telling vs showing. A way to think or fix the telling problem is to ask yourself:

• ‘Can I show this through action and/or dialogue?’
• ‘Would this scene be stronger if I show why?’
• ‘By summarising this part does it keep narrative flowing?’ Closely followed by ‘If this isn’t adding to the story or moving it forward, then can I get rid of it.’

Voice

Voice can be elusive to edit, and it’s difficult to tell someone why a voice doesn't work. A problem with voice is usually caused by a conflict between the character on the page and the character the author is trying to establish.

Tara suggests an author figure out the reason why you write a voice in a certain way, if you know the reason then you’re more likely to develop an authentic real character.

Some things to think about when writing a teen voice include:

• word choice - the way teens communicate, and
• focus on what they care about.

Some other great points Tara made during her talk included:

• When you receive feedback from an editor decide what makes sense for your story.
• With critiques, sift through what is going to work as you contemplate a revision.
• Editors want to collaborate.
• You may not agree with everything you hear.

If you don't have a contract with an editor and they write to you, take what they say seriously because they would only do this if they believe a story is worthwhile.

Tara tries to get as much feedback as she can in an editorial letter so the author doesn't have to go through another revision thinking they could have fixed it the first time.

She never turns down something she loves, even if it needs a lot of revision. However, the authors writing ability has to be strong.

She pauses if significant changes are required to a manuscript e.g. an ending. Tara asks the author if they will go through a revision with her before she decides to take the story forward.

Finally, editors only sign up books they love because they need to sustain their passion for a story through the gruelling acquisition process.

Sketch attributed to Liz Anelli

Thank you Tara for the insights into your editorial process. We hope to see you over our way again soon.

Melanie Hill Roving Reporter

#SCWBISyd