8.16.2010
8.13.2010
Houghton Mifflin Harcourt Book of the Day: Out of the Egg by Tina Matthews
Third in the HMH Book of the Day series is...
Out of the Egg
by Tina Matthews
9780618737413, $12.95
A retelling of the Little Red Hen, Tina Matthews updates not only the illustrations, but the ending as well. The illustrations depict a mix of country and city elements complete with farm, apartment buildings, cars, computers, and telephone wires, yet the simple woodcuts in black, red, and green maintain the classic feel this tale requires.
For those who don't remember the story, the Little Red Hen finds a seed, plants it, and cares for it. She asks Fat Cat, Dirty Rat, and Greedy Pig for help throughout the seasons, but "Not I," they say each time. "Then I shall [insert task here] myself," answers the Little Red Hen. Over the years, the seed grows into a large tree, providing a safe space for the Red Hen to lay her egg. Soon a little chick appears, as does a little cat, a little rat, and a little pig. When the Red Hen would deny the little cat, little rat, and little pig the chance to play beneath her shady tree, she learns a lesson in kindness from her cheeky little chick.
I don't know if the title is a play on the phrase "out of the mouths of babes," but that's what I always think of when I relate the title to this book, for out of the egg came a little chick and out of her mouth comes true friendship.
Out of the Egg
by Tina Matthews
9780618737413, $12.95
A retelling of the Little Red Hen, Tina Matthews updates not only the illustrations, but the ending as well. The illustrations depict a mix of country and city elements complete with farm, apartment buildings, cars, computers, and telephone wires, yet the simple woodcuts in black, red, and green maintain the classic feel this tale requires.
For those who don't remember the story, the Little Red Hen finds a seed, plants it, and cares for it. She asks Fat Cat, Dirty Rat, and Greedy Pig for help throughout the seasons, but "Not I," they say each time. "Then I shall [insert task here] myself," answers the Little Red Hen. Over the years, the seed grows into a large tree, providing a safe space for the Red Hen to lay her egg. Soon a little chick appears, as does a little cat, a little rat, and a little pig. When the Red Hen would deny the little cat, little rat, and little pig the chance to play beneath her shady tree, she learns a lesson in kindness from her cheeky little chick.
I don't know if the title is a play on the phrase "out of the mouths of babes," but that's what I always think of when I relate the title to this book, for out of the egg came a little chick and out of her mouth comes true friendship.
8.12.2010
What I Learned From My Summer Internship, Part 2
Today I want to share two issues I learned about this summer that had not previously occurred to me as problems editors encounter.
The first issue involves an author an editor has worked with before. Say Editor A has published Book B by Author C. Author C's agent then continues to submit Author C's work to Editor A. Unfortunately, none of the work appeals to Editor A as much as Book B did. This could be for any number of reasons - different subject matter, different genre, not as well written, etc. Yet Editor A doesn't want to lose Author C as one of "their" authors. If Editor A continues to turn down Author C's manuscripts, the agent is no longer going to submit them to the editor. This would disappoint Editor A, because Editor A believes in Author C, and thinks Author C is capable of producing another book as good as Editor A thought Book B was. What's Editor A to do?
I was surprised at this situation, having never thought the continued working relationship between editor and author would be anything other than magical (naive, I know). What should/could/would an editor do in that situation? There's no hard-and-fast rule. Anyone in that situation has a number of options, including acquiring a book the editor is not as thrilled with, just to keep the author as one of "theirs" - perhaps they could work on it together to make it more like whatever the editor liked about Book B; not acquire anything and let the author go elsewhere; or perhaps an unorthodox option would be to talk to the author directly to inquire what else the author might be working on to see if there's anything similar to Book B (I thought of this one myself, so I don't know if it would really work).
The second issue is trickier, and is almost more philosophical or ethical than strictly editorial. Let me make it clear that this is a line of questioning I'm pursuing on my own, not in affiliation with any publishing company. In this scenario, Editor A purchased Book B from Author C. Though several people read the manuscript, it wasn't until after acquiring it that someone realized the manuscript for Book B was awfully similar to Movie Plot D. Names, characters, and general themes were changed, but the basic plot points were eerily similar. Now is that plagiarism of ideas or not? And if it is, what should the editor do? Book B is obviously going to be a huge hit for various reasons. To complicate matters, say Editor A has not worked with Author C before; therefore there is no rapport for Editor to say, "Look, Author C, what's up with this manuscript?" What's Editor A to do? Un-acquire Book B, a book that's sure to be a best-seller? Confront the unknown author and risk having Author C pull the project and hand it to a different publisher? Or ignore the similarities and publish it anyway?
I don't have a ready answer to this second issue myself. Does anyone have an opinion on this?
These are two of the major issues that stand out to me as particularly difficult to negotiate, and are probably indicative of the types of decisions editors deal with on a daily basis (though I imagine situation 1 is more common than situation 2, though I don't know for sure). While a part of me can not wait for the day when I have the power to make decisions like these, it is very clear to me that I will need years more experience before I feel comfortable handling a decision like that on my own. I'm very much looking forward to continuing to work my way up to that.
The first issue involves an author an editor has worked with before. Say Editor A has published Book B by Author C. Author C's agent then continues to submit Author C's work to Editor A. Unfortunately, none of the work appeals to Editor A as much as Book B did. This could be for any number of reasons - different subject matter, different genre, not as well written, etc. Yet Editor A doesn't want to lose Author C as one of "their" authors. If Editor A continues to turn down Author C's manuscripts, the agent is no longer going to submit them to the editor. This would disappoint Editor A, because Editor A believes in Author C, and thinks Author C is capable of producing another book as good as Editor A thought Book B was. What's Editor A to do?
I was surprised at this situation, having never thought the continued working relationship between editor and author would be anything other than magical (naive, I know). What should/could/would an editor do in that situation? There's no hard-and-fast rule. Anyone in that situation has a number of options, including acquiring a book the editor is not as thrilled with, just to keep the author as one of "theirs" - perhaps they could work on it together to make it more like whatever the editor liked about Book B; not acquire anything and let the author go elsewhere; or perhaps an unorthodox option would be to talk to the author directly to inquire what else the author might be working on to see if there's anything similar to Book B (I thought of this one myself, so I don't know if it would really work).
The second issue is trickier, and is almost more philosophical or ethical than strictly editorial. Let me make it clear that this is a line of questioning I'm pursuing on my own, not in affiliation with any publishing company. In this scenario, Editor A purchased Book B from Author C. Though several people read the manuscript, it wasn't until after acquiring it that someone realized the manuscript for Book B was awfully similar to Movie Plot D. Names, characters, and general themes were changed, but the basic plot points were eerily similar. Now is that plagiarism of ideas or not? And if it is, what should the editor do? Book B is obviously going to be a huge hit for various reasons. To complicate matters, say Editor A has not worked with Author C before; therefore there is no rapport for Editor to say, "Look, Author C, what's up with this manuscript?" What's Editor A to do? Un-acquire Book B, a book that's sure to be a best-seller? Confront the unknown author and risk having Author C pull the project and hand it to a different publisher? Or ignore the similarities and publish it anyway?
I don't have a ready answer to this second issue myself. Does anyone have an opinion on this?
These are two of the major issues that stand out to me as particularly difficult to negotiate, and are probably indicative of the types of decisions editors deal with on a daily basis (though I imagine situation 1 is more common than situation 2, though I don't know for sure). While a part of me can not wait for the day when I have the power to make decisions like these, it is very clear to me that I will need years more experience before I feel comfortable handling a decision like that on my own. I'm very much looking forward to continuing to work my way up to that.
8.11.2010
What I Learned From My Summer Internship, Part 1
I can hardly believe that one week from Friday, my internship with Houghton Mifflin will be over. Ten weeks wasn't nearly enough time to fully absorb everything, yet I also learned so much from the wonderful editors I've worked with this summer.
Margaret Raymo, Kate O'Sullivan, and Erica Zappy were the Editors "on location" in the Houghton Mifflin Boston office, with the knowledgeable Christine Krones as Editorial Assistant, and the ever-helpful Meredith Wilson as Assistant to the Publisher. Editor Ann Rider also sent me tasks from her home office in Minnesota.
My primary responsibility was to read, read, read - a job with which I had no problem, as you might imagine. I read manuscript submissions for the various editors and wrote reader reports. What are reader reports, you ask? Basically, it's my opinion. How great is that? As I clearly have no trouble stating my opinion, that's pretty much the perfect task for me. What was harder was putting into words the feelings I get from reading manuscripts, both those that appealed to me and those that didn't. What was it I was/was not liking? What about that character was so compelling? Was the dialogue too stilted and unreal? What impressed me about that turn of phrase or plot sequence? Could a paragraph be removed to tighten a scene? I don't know how other interns/editorial assistants work, but nothing seemed too large or too small for me to comment about. Thanks to my MFA and the critical papers I spent the last two years writing, I was somewhat more prepared to describe the answers to these questions using (I hope!) appropriately descriptive language and industry jargon. The hardest part about this? Not knowing if or when I might see the books I liked in print. It IS thrilling, though, to know that at least a few manuscripts I liked were acquired during the time I was at HMH. Sometime in the next few years, I'll be able to pass a bookstore shelf and smile, knowing I'd read the manuscript version years prior.
Other fun editorial tasks I learned included how to write decline letters, catalogue descriptions, and flap copy. For decline letters, I learned never to send them right before a major holiday - even if it clears off my desk, the recipient won't be so pleased. I also learned to say something nice before making a suggestion, much like operating within a writing group structure. Lastly, personal to me, I had to learn to change my tone - I was sounding too condescending (shocker!). Catalogue descriptions are comprised of a one-liner sell-line, a short descriptive paragraph, and maybe an excerpt from the book. This all goes into the catalogue publishers put together to give to their reps who sell to bookstores and other retail accounts. As for flap copy, in April 2011, go take a look for The Adventures of Sir Gawain the True, Book 3 in the Knights' Tales series by acclaimed Arthurian author Gerald Morris, illustrated by Aaron Renier (9780547418551, $14.99). On the cover of the book, on the inside flap, should be printed my synopsis/description of the tale. Book 1 is pictured here; this series has been approved by the eight-year-old boy in the household I live in.
Last, but certainly not least, I also got to go through slush piles. Confession: this was my favorite part, second only to reading the actual solicited manuscripts. Slush piles are unsolicited manuscripts, sent to Houghton Mifflin by hopeful would-be authors who have not made a personal contact with any of the editors. Houghton Mifflin is one of the few publishers that still accepts unsolicited manuscripts; most publishers prefer that potential authors work through agents. The slush piles were my favorite because it was like a treasure hunt AND a project I got to organize at the same time. My fun-loving, slightly-OCD self was in heaven. What's even more exciting is that one of the picture books I plucked from the slush pile might get picked up by HMH! Nothing for sure yet but an editor is taking a second look at it. I have daydreams of helping an unknown author get their work published to the joyful satisfaction of us both. I can't help it; I'm an idealist.
Those are the major day-to-day tasks I work on. Stay tuned for the next installment of "What I Learned From My Summer Internship," when I will be discussing unexpected (by me) issues that editors come across.
Oh, the other thing I get to do? Go out for after-work-drinks with my fellow interns (and co-workers).
Margaret Raymo, Kate O'Sullivan, and Erica Zappy were the Editors "on location" in the Houghton Mifflin Boston office, with the knowledgeable Christine Krones as Editorial Assistant, and the ever-helpful Meredith Wilson as Assistant to the Publisher. Editor Ann Rider also sent me tasks from her home office in Minnesota.
My primary responsibility was to read, read, read - a job with which I had no problem, as you might imagine. I read manuscript submissions for the various editors and wrote reader reports. What are reader reports, you ask? Basically, it's my opinion. How great is that? As I clearly have no trouble stating my opinion, that's pretty much the perfect task for me. What was harder was putting into words the feelings I get from reading manuscripts, both those that appealed to me and those that didn't. What was it I was/was not liking? What about that character was so compelling? Was the dialogue too stilted and unreal? What impressed me about that turn of phrase or plot sequence? Could a paragraph be removed to tighten a scene? I don't know how other interns/editorial assistants work, but nothing seemed too large or too small for me to comment about. Thanks to my MFA and the critical papers I spent the last two years writing, I was somewhat more prepared to describe the answers to these questions using (I hope!) appropriately descriptive language and industry jargon. The hardest part about this? Not knowing if or when I might see the books I liked in print. It IS thrilling, though, to know that at least a few manuscripts I liked were acquired during the time I was at HMH. Sometime in the next few years, I'll be able to pass a bookstore shelf and smile, knowing I'd read the manuscript version years prior.
Other fun editorial tasks I learned included how to write decline letters, catalogue descriptions, and flap copy. For decline letters, I learned never to send them right before a major holiday - even if it clears off my desk, the recipient won't be so pleased. I also learned to say something nice before making a suggestion, much like operating within a writing group structure. Lastly, personal to me, I had to learn to change my tone - I was sounding too condescending (shocker!). Catalogue descriptions are comprised of a one-liner sell-line, a short descriptive paragraph, and maybe an excerpt from the book. This all goes into the catalogue publishers put together to give to their reps who sell to bookstores and other retail accounts. As for flap copy, in April 2011, go take a look for The Adventures of Sir Gawain the True, Book 3 in the Knights' Tales series by acclaimed Arthurian author Gerald Morris, illustrated by Aaron Renier (9780547418551, $14.99). On the cover of the book, on the inside flap, should be printed my synopsis/description of the tale. Book 1 is pictured here; this series has been approved by the eight-year-old boy in the household I live in.Last, but certainly not least, I also got to go through slush piles. Confession: this was my favorite part, second only to reading the actual solicited manuscripts. Slush piles are unsolicited manuscripts, sent to Houghton Mifflin by hopeful would-be authors who have not made a personal contact with any of the editors. Houghton Mifflin is one of the few publishers that still accepts unsolicited manuscripts; most publishers prefer that potential authors work through agents. The slush piles were my favorite because it was like a treasure hunt AND a project I got to organize at the same time. My fun-loving, slightly-OCD self was in heaven. What's even more exciting is that one of the picture books I plucked from the slush pile might get picked up by HMH! Nothing for sure yet but an editor is taking a second look at it. I have daydreams of helping an unknown author get their work published to the joyful satisfaction of us both. I can't help it; I'm an idealist.
Those are the major day-to-day tasks I work on. Stay tuned for the next installment of "What I Learned From My Summer Internship," when I will be discussing unexpected (by me) issues that editors come across.Oh, the other thing I get to do? Go out for after-work-drinks with my fellow interns (and co-workers).
7.31.2010
Houghton Mifflin Harcourt Book of the Day: King Bidgood's in the Bathtub & Heckedy Peg by Audrey & Don Wood
Today will actually be a mini-ode to the author/illustrator genius of husband-and-wife team Audrey and Don Wood who publish a lot of work with Houghton Mifflin Harcourt.
King Bidgood's in the Bathtub
Hardcover: 9780152427306, $17
Paperback: 9780152054359, $7.99
A Caldecott Honor-winner, this book is a true delight to both read and look through, as there is so much happening in the illustrations that you'll want to spend forever discussing each page. Quirky rhyming at its best, this story is about King Bidgood who won't get out of the bathtub.
"Help! Help!" cried the Page when the sun came up.
"King Bidgood's in the bathtub, and he won't get out!
Oh, who knows what to do?"
The people of the court including the Queen, a Knight, and a Duke suggest various amusements to tempt the King out of the tub, but none of them work. All of the suggestions are adapted to working within the tub. Much hilarity for the readers ensue, while the poor Page has to run around not knowing what to do until FINALLY at the end of the day, he figures out a way to force the King out.
Heckedy Peg
Hardcover: 9780152336783, $17
Paperback: 9780152336790, $7
You'll find a similar depth of illustration in this picturebook, but a little less light-hearted story. Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, and Saturday are seven children told by their mother to not let any strangers in and don't touch fire while she goes to the market. She intends to bring back something for each one of them, but while she is gone, a clever witch convinces the children to open the door, light her pipe with sticks from the fire, and then turns them into food. When their mother gets back, she must rely on how well she knows her children in order to save them from being eaten by the witch. The illustrations are too bright to really be scary, and the mother is a tremendously loving force to be reckoned with at the end.
King Bidgood's in the BathtubHardcover: 9780152427306, $17
Paperback: 9780152054359, $7.99
A Caldecott Honor-winner, this book is a true delight to both read and look through, as there is so much happening in the illustrations that you'll want to spend forever discussing each page. Quirky rhyming at its best, this story is about King Bidgood who won't get out of the bathtub.
"Help! Help!" cried the Page when the sun came up.
"King Bidgood's in the bathtub, and he won't get out!
Oh, who knows what to do?"
The people of the court including the Queen, a Knight, and a Duke suggest various amusements to tempt the King out of the tub, but none of them work. All of the suggestions are adapted to working within the tub. Much hilarity for the readers ensue, while the poor Page has to run around not knowing what to do until FINALLY at the end of the day, he figures out a way to force the King out.
Heckedy PegHardcover: 9780152336783, $17
Paperback: 9780152336790, $7
You'll find a similar depth of illustration in this picturebook, but a little less light-hearted story. Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, and Saturday are seven children told by their mother to not let any strangers in and don't touch fire while she goes to the market. She intends to bring back something for each one of them, but while she is gone, a clever witch convinces the children to open the door, light her pipe with sticks from the fire, and then turns them into food. When their mother gets back, she must rely on how well she knows her children in order to save them from being eaten by the witch. The illustrations are too bright to really be scary, and the mother is a tremendously loving force to be reckoned with at the end.
7.28.2010
Houghton Mifflin Harcourt Book of the Day: Guyku by Bob Raczka, illustrated by Peter H. Reynolds
Introducing the Houghton Mifflin Harcourt Book of the Day series!This series is pretty self-indulgent for me, as it combines my intern life at HMH and one of my favorite blogging exercises - a picturebook series.
First up in the series is a book coming out this fall:
Guyku: A Year of Haiku for Boys
by Bob Raczka, illustrated by Peter H. Reynolds
9780547240039, $14.99, Pub. Date: October 2010
Whimsical and kid-friendly, these haikus speak to the little guys about favorite seasonal activities. Acclaimed illustrator Peter H. Reynolds (probably known best for his books Dot and Ish) brings his signature charm to these illustrations, using a muted color-palate of shades of one color per season - greens for spring, yellows for summer, browns for fall, and blues for winter. Children of all races and sizes fly kites, pound cattails to make pretend snow, skip rocks, and play in the stream. My favorite aspect of this book is that almost every scene takes place outside. This is a true celebration of outdoor fun during all four seasons.
Proving these activities can be enjoyed just as much by girls as guys, one of my favorite haikus reminds me of summer nights from my own childhood when my father used to take my sister and me out to tell us about the stars:
"Lying on the lawn,
we study the blackboard sky,
connecting the dots."
This is a perfect book to share on the first day of each new season, and then write your own seasonal haikus. Encouraging notes by the author and the illustrator at the end will help the reader connect with the creators of such a poignant, inspiring book.
7.23.2010
I'd like to thank the Academy (Part 2)...
I apologize to you, Fourth Musketeer, and everyone else for being MIA. I'm still trying to figure out how to fit blogging into my new Boston life. I think I'm finally figuring it out, though, and today will be the start of my Boston blogging phase.
In accordance with The Versatile Blogger Award rules, I must do these things in acceptance of this award:
1. Thank and link back to the person who gave you this award.
Done above, but will also link to The Fourth Musketeer now.
2. Share 7 things about yourself.
Here goes nothin':
a. I like lowercase letters better than uppercase letters.
b. Garamond is my favorite "everyday" font. Cool Garamond fact: it uses less ink to print than other fonts. Don't believe me? Check it out here.
c. I have about 60% of my body mapped out for tattoos; 3 already on my body. Now I just have to save the money to get the rest.
d. The next three places on my travel list: New Zealand, Australia, & Ireland.
e. Children's book editing is my dream job. Still working on making it full time.
f. Skydiving is on my bucket list.
g. If I had to pick a favorite color, it would probably be orange.
3. Pass the award along to 15 bloggers who you have recently discovered and who you think are fantastic for whatever reason! (In no particular order...)
Okay, problem with this - not only have I not had time to blog, I haven't had time to read (and thus discover new) blogs. So, I only have 2 new blogs to share, but please see the blog roll in the side panel for other favorites:
a. SlushPile Hell: A grumpy literary agent wades through query fails.
HILARIOUS blog, and today's post is a compilation of Twitter responses to the question: Worse Children's Book...Ever.
b. Catalog Living: A look into the exciting lives of the people who live in your catalogs.
A daily laugh, I guarantee it.
4. Contact the bloggers you've picked and let them know about the award.
Check.
With this taken care of, I'm officially back in blogger mode! Stay tuned for my new series:
Houghton Mifflin Harcourt Book of the Day
6.20.2010
Book Review: Wee Gillis by Munro Leaf, illustrated Robert Lawson
Wee Gillisby Munro Leaf, illustrated by Robert Lawson
0440845947, A Special Trumpet Edition (Penguin), © 1938, renewed © 1966 (OP)
9781590172063, New York Review of Books (Random House), $15.95
I found this book in a flea market in Madison, IN. Loving the Munro Leaf/Robert Lawsom combo (and the $1 price tag), I picked it up and read it aloud to my sister on our road trip. We were both laughing at how ridiculous and wonderful this little story is. It’s about a Scotsman (a boy at the beginning) named Wee Gillis and how he has to choose between living with his father’s family in the Highlands or his mother’s family in the Lowlands. I won’t tell you how it ends, except to say, it’s another classic about following your heart and everything working out the way it should. Delightful.
The paperback I bought is a Special Trumpet Edition book issued by Penguin in 1966. Thank goodness the New York Review of Books has reissued it in a beautiful hardcover edition in 2006. Run out and grab a copy!
5.31.2010
Book Review: Matched
Matched by Ally Condie
9780525423645, $17.99, Dutton Books (Penguin), Pub. Date: November 2010
Matched was fascinating. It had a slow start, but kept me intrigued, and gathered momentum until I was reading at full gallop toward the end of the first book of what is obviously a new series.
Cassia Maria Reyes lives in the Society: a perfect futuristic society created out of the ashes of a society much like ours today. Food is prepared in individually-specific packages, jobs are carefully assigned to those for whom they would best suit, and at 17-years-old, Matches are selected for romantic partnership. During Cassia's Match Banquet, she is unexpectedly Matched with someone she already knows - her best friend, Xander. Highly unusual, yet not unwelcome, Cassia is pleased to be Matched with someone she feels so comfortable with.
Even though she already knows everything about him, a few days after the banquet, Cassia puts the information data stick given to her into the home computer to learn all about Xander. After she scrolls through all of his information, another screen pops up. This screen holds a second match for Cassia. It is also a boy she knows. A boy named Ky.
The Officials have caught the mistake and they attempt to do damage control. Cassia can tell no one. The faulty data stick is destroyed. But that glance at a second face has Cassia imagining a different life than the one she is living every day. She feels a connection to Ky now, and though Ky has no idea she saw his face, he seems to feel a connection for her too.
In a perfectly controlled Society, emotions such as love are not allowed to enter into any equation, as they rarely determine what is best for anybody. But Cassia has something inside her, a feeling, a spirit, an emotion, of independence, of rebellion, of fighting for her right to choose her Match for love. But the Society sees all. It knows all. And it orchestrates all. How can one 17-year-old girl take on the whole Society and win?
Cassia's story is well-told, with layers carefully built upon each other. By the end of the book, my interest in these characters was complete. The beginning only seemed sluggish because I didn't understand why all the elements were important to mention, but Condie does a great job of picking up those snippets and tying them together at the end. I'm excited to read more of Cassia & Ky's story.
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