Buzz Words (All the Buzz About Children's Books)

In 2006 I started a subscriber-based twice-monthly online magazine exclusively for people in the Australian children’s book industry, such as writers (new, mid-career and experienced), illustrators, librarians and publishers – in fact, anyone interested in children’s books. As the Buzz Words’ compiler, I gather material from many sources and sometimes commission material.

Buzz Words aims to keep readers abreast of what’s currently happening in the children’s book industry and to give them as many opportunities as possible to advance their career and/or to keep them informed. Every issue contains markets, competitions and awards, publisher profiles, profiles of people in the industry, industry news, an interview (editors, publishers, designers, etc), opportunities, festivals and conferences, workshops and article/s. Links are frequently provided to help readers.

Recent additions are ‘Who’s Who in Children’s Books’ (profiles of publishers, editors, agents and packagers), ‘Book Creators’ (featuring famous and outstanding children’s authors and illustrators of the past such as Enid Blyton, Dorothy Wall and Eve Pownall) and ‘Resources’ such as Australian children’s book publishers (an up-to-date comprehensive list), writing tips, income for writers, children’s bookshops, popular Facebook groups for children’s book creators and so on.

Buzz Words is as subscriber-friendly as possible. Preference for interviews, articles, profiles, etc is always given to subscribers. They are also given the opportunity to advertise for free if they have a product and/or service they wish to promote. Often publishers take up this offer as it’s a very inexpensive way of promoting their latest titles.

There are many ways readers can show-case their books and/or their writing or editing services: Buzz Words interviews both commercially and self-published authors for ‘The inside Scoop’. Questions are generally directed in such a way as readers can learn about how to get feet past publishers’ locked doors, or which resources (such as designer, editor, printer and distributor) that self-published authors used and  how effective they were. 

Subscribers are also invited to submit samples of their writing or illustrating to be showcased on the Buzz Words website www.buzzwordsmagazine.com Twice a month there’s also an ‘Achievements’ section on this website and reviews of current children’s books. There is a team of 15 reviewers, all of whom are subscribers. And, too, the website is available for subscribers to post material, such as a blog tour, book launch or forthcoming title.

Articles are often commissioned (payment is offered) and have included ‘My Experiences with Literary Agents’, ‘How to Crowd-Fund to Publish Your Book’ and ‘The Art of Picture Books.’  

Buzz Words is exactly the kind of resource which I wish was available when I first started writing for children. And it’s ideal for anyone in the industry who wants to place their work and/or learn what the latest trends in writing for children are and/or what’s happening in the industry here in Australia or overseas.

If you’d like to check out the latest issue of Buzz Words, I’m only too happy to send you a complimentary, obligation-free copy; go to the website and click on ‘Contact’. Cost is $48 per year (for 24 issues). The magazine is distributed on the 1^st and 15^th of every month.

Dianne (Di) Bates has been in the industry for decades. She has published over 130 books for children, some of which have won state and national awards, including two children’s choice book awards (WAYRBA and KOALA). She is a recipient of the Lady Cutler Award for distinguished services to children’s book. Di is married to award-winning children’s author Bill Condon; they live in the Wollongong area, NSW.

 Go to www.buzzwordsmagazine.com to receive a free copy. If you decide to subscribe ($48 for 24 issues pa), Di will send you a copy of her article, 'How to Get Both Feet Past Publishers' Locked Doors.'

Dealing with Literary Agents

Many new writers are desperate to find an agent to represent their manuscripts to publishers. They believe that only via an agent can their work be ‘discovered’ and published. Getting published this way certainly results in success for some authors, but my experience might result in you changing your mind if you are desperately searching for an agent. Over a long, successful literary career in children’s books, I’ve had three agents; however, I have managed to place all my manuscripts – fiction and non-fiction – by myself.

It was easy enough to find my first agent (Ms X) and to have her represent my interests. Ours was a verbal contract; she was to place my work and to charge 10% of my income if successful. It didn’t take me long to discover that I knew more than she about the Australian children’s book market. In fact, I soon discovered that I was the first – and only – children’s author she represented. This was pre-computer days, so our communication was via phone and letter. However, Ms X was difficult to contact by phone, and she did not answer letters. One day, while I was attending a writers’ festival, I saw her and tried to engage her in conversation. At the time she was accompanying a highly regarded author; in passing, she promised to ring me ‘soon’. There was no phone call. Consequently, I wrote her a polite note letting her know I preferred to go my own way. I have no idea whether she ever sent off any of my manuscripts to publishers. The bottom line was that she did not sell anything I wrote.

For a long time after this, I continued to represent my own interests and was very successful, sometimes placing up to seven or eight book manuscripts a year (mostly to the educational market which was flourishing at the time). However, a time came when I was very ill and needed help. When I rang Mrs Y, a highly regarded agent, and told her I had four contracts that needed to be negotiated, she expressed surprise that I’d contacted her. ‘Di,’ she said, ‘you know more about publishers than most writers.’ When I explained why I needed her help, she agreed to represent me. Before long the four contracts were signed and delivered.

I then began sending manuscripts to her. A publisher was interested in a joke book I’d compiled but, because the jokes were culled from various sources and were not ‘original’, the company offered only a paltry royalty which I would not accept. Mrs Y was unable to change the publisher’s mind, so the manuscript was withdrawn. She submitted other manuscripts of mine, but without success, though I managed to place some manuscripts and she negotiated those contracts. Royalties and royalty statements began to come in via this agent. It was fortunate that I took the time to check the statements because there were mistakes in payments. Mrs Y had negotiated a rising royalty on contracts, which meant that after a certain number of books were sold, the royalty would rise from ten to twelve and a half percent of RRP. My sales on several books exceeded the ten percent number; however, the publisher had not paid the twelve percent. Mrs Y had not bothered to check my contract against the statements. It was then I realised that not only was she not thorough in handling my affairs, but she was over-worked with too many clients. As well, she had not managed to place any of my manuscripts. I decided to terminate our relationship, though she continued to handle royalties on those books she had negotiated contracts for.

Notwithstanding these two poor experiences with agents, I nevertheless decided, many published books later, to secure the services of an agent who might be able to sell my manuscripts overseas. Mrs Z had a good reputation and had even managed to negotiate film rights for a colleague, so I wrote and asked her to represent my overseas’ and local interests. No problem there. The problem, however, was Mrs Z’s lack of communication. She was very slow to respond to emails (when she did) and phone messages went unreturned. On the positive side, it seemed that she did have publishing contacts, especially in America, and, when she bothered to contact me, she did let me know where my manuscripts were sent, and how the overseas’ publishers had responded. Unfortunately, Mrs Z was unable – as I had been – to place any of my novels overseas. Meanwhile, in Australia I had managed to interest a publisher in one of my books; however, the publisher was dragging its heels with a contract. It was when I caught Mrs Z out in a lie about communicating with this publisher, I decided the time had come for us to part company; thus, I wrote her a short yet hopefully tactful letter terminating our verbal contract.

Not one of the three agents – all respectable and with many clients – managed to place one of my manuscripts. However, I have placed over 130 children’s books in the past 30+ years. Yes, it is more difficult these days to get publishers’ locked doors. But it can be done. I do it all the time, even when publishers’ websites indicate they don’t take unsolicited manuscripts and will only accept them through an agent.

Getting an agent is sometimes as difficult as getting a book acceptance. Agents can be, so I’m told, very helpful. Some are more proactive than others, but some, I think, represent too many clients and as a result are over-worked and not as effective as a writer can be who is talented and determined to have her books published.

© Dianne Bates

Di offers a twice monthly online magazine for those in the Australian children’s industry. Go to www.buzzwordsmagazine.com to receive a free copy. If you decide to subscribe ($48 for 24 issues pa), Di will send you a copy of her article, 'How to Get Both Feet Past Publishers' Locked Doors.'

Authors in Schools

Let’s say you want to get into the schools and have a captive audience for your brilliant work of literature. How do you do it? 

1.) If you aren’t vivacious, quick on your feet, and a strong public speaker, it’s probably not a good idea to get into classrooms. Kids expect to be entertained as much as informed (usually entertained more). You need to bring your best attitude to work with kids—they deserve no less. Connect kids with what you know, what you’ve written, what they’re learning, and what they care about and be enthusiastic about all of it and you should be well received.

2.) Know who you’re contacting. Don’t do the ‘To Whom It May Concern’ thing because you can bet it won’t be of any concern to anyone then. Do some basic research. If you’re aiming to speak to the classes of a certain subject or grade level, know who to send your pitch to. Usually the best person to contact (in primary school) is the teacher-librarian; in high school, try the head of English department.

3.) Offer to tailor your presentation to the class’s needs, but also provide the teacher or staff member you’re pitching to with some examples of presentations you can do. Keep it simple for them.

4.) Make sure your materials (emails, pamphlets, flyers, whatever) are professional looking and free of typos. They are frequently your first impression, so make it a good one.

5.) As above, if you plan to give a power point presentation, make it as visually attractive as possible.

6.) What you charge is up to you. At the moment most school’s presenters charge either Australian Society of Authors’ rates, or on average $3.50 per student per hour for performance/talk, with a minimum number of students. I charge $3 per student with a minimum of 90 students. For writing workshops I charge $5 per student for an hour with a maximum of 30 students.

7.) Be clear about what you will and won’t do. For example, I only give writing workshops for students from Year 3 and up.

8.) Arrive at least 30 minutes at the school before your first presentation. This gives you time to meet your school organiser, sign in at the front office and to set up. If there are technical hitches, say with your computer/power point presentation you won’t have children arriving in the middle of the crisis.

9.) Some schools are kind enough to allow you to sell your books. What I do if given permission to sell is send copies of the books to the teacher-librarian. If it’s okay with the TL, I also send flyers with book covers, blurbs and prices to her, asking her to please give to the students. Some TLs are kind enough to save you the time and expense; they will put a notice on your behalf in the school newsletter. The best time to sell books is immediately after school when parents come to pick up their children.

Did you get the gig? Awesome! Touch base with the school and the teacher who is hosting you about a week before you go. If there are things they need to provide (ideally, all they need to provide is the space you’re presenting in), gently remind them of that. Ask if there’s anything specific they want you to reinforce. Check over the schedule and general expectations. Know where you need to check-in (closest cross-street and parking availability).

9.) Support what the teachers are teaching with your presentation. Make their lives easier and they’ll be more likely to bring you back and/or recommend you to other schools.

© Dianne Bates

Do you have a specific query about presenting in schools? If so, send it to dibates@outlook.com and there will be a reply in the next issue of Buzz Words (http://www/buzzwordsmagazine.com) Buzz Words is an online magazine for those in the children’s book industry which Di founded in 2006.