Editor Stacy Whitman has recently made a huge career transition that started with taking a risk. And isn't that always the seed for success?

In early 2009 she found herself laid off from Wizards of the Coast's Mirrorstone Books, relocated to Utah, and building her freelance editing business. In the midst of this, she decided to start her own small press, Tu Publishing, which she called a "labor of love." She and a friend had come up with the idea while "watching anime and discussing the RaceFail controversy, thinking about the lack of diversity in children's and YA fantasy."

The purpose of starting Tu Publishing was to create a list that reflected a wide variety of cultures and genres for middle grade and young adult titles that would be a mix of contemporary, historical, and futuristic settings. And to reflect cultures whose folklore and fairy tales haven't really inspired many fantasy worlds in the U.S.

She raised over $10,000 through a KickStarter campaign and caught the attention of Lee & Low Publishing, an independent publisher focusing on diversity, who then offered to acquire Tu Publishing, which then became Tu Books.

Thanks for agreeing to the interview, Stacy. This success seems to have happened so quickly. Was it serendipity? Timing? Or are you just one of those Make Things Happen kind of people?

I’m pretty sure it was serendipity combined with timing, because I didn’t do anything to make it happen. :) I was quietly going about my business, working toward a goal, and it turns out that my goal was one that many other people believed in. They saw the need as I did, and supported us in achieving it.

Do you have to be a little bit crazy to start a small press or have advancements in technology and online communities made things easier for someone interested in doing so?

Ha—well, that’s a hard one. I didn’t feel a little bit crazy, though I did feel a bit scared to try to start a company in the middle of a recession. Yet it felt like the right thing to do, and the support of so many online communities did make a difference in getting the word out. I love how the internet makes it possible to connect with so many people with similar interests, despite geographic limitations. Also, a small company felt right--we could address a smaller niche using a smaller overhead, and success could be measured on a smaller scale than might be expected at a larger company.

In your ideal vision, what would Tu Books bring to the publishing world?

We didn’t set out to be big; we just wanted to make a little bit of a difference. If our books help contribute to diversifying fantasy, then my goal has been met. We want to make fantasy more welcoming to readers of color.

There are so many subgenres and genre-mixing happening in fiction these days. What are some of the most exciting new trends to you?

There’s actually not much new about that in YA. The cool thing about YA and books for younger readers is that the interstitial happens all the time, because the books are usually shelved all together in one spot in the bookstore or library. But if I had to pick one, I’d have to say that I love that steampunk seems to finally be coming into the mainstream. I’ve loved steampunk ever since I discovered it several years ago in anime and movies. It’s a combination of science fiction and alternate history, and there are so many ways it can play out. It's tougher to write, because it's such a visual genre, but those that do it well are just plain awesome. I’d LOVE to see an Asian steampunk, because so much of the genre is set in Victorian Great Britain.

This venture was started partly due to some pretty controversial discussions online, and the issues are complex. What would you say to an author who is tentative about writing characters from different cultures?

Yes, RaceFail and related conversations is what started the idea of Tu Publishing. RaceFail was a huge online discussion that started when readers of color talked about how a white author introduced problematic racial dynamics in a fantasy novel for adults. It’s a tough issue.

But I think it's also possible for writers to write well cross-culturally, because who wants books to be completely segregated by race or culture? The thing to remember when writing cross-culturally is research. Writers who do this successfully talk to people who are members of the group whose perspective they want to write from. They read a lot. They study human behavior, and reach for the universal as well as the specific--the things that tie us together as human, the idiosyncrasies that make each person unique, and the mores, practices, and beliefs of a culture. They become aware of privilege and power dynamics and work to avoid perpetuating stereotypes.

For a list of things to remember when writing cross-culturally, author Nisi Shawl has an excellent article on the subject over on the SFWA [Science Fiction and Fantasy Writers of America] site called Transracial Writing for the Sincere. (Nisi Shawl has written a number of articles and a whole book related to writing the “other” which I recommend that authors look up.)

What advice would you give to an author who is contemplating going with a small press rather than submitting to a larger house? What does he/she need to be aware of?

The choice to go with a small press is a personal one, with pros and cons depending on the author’s preferences and needs.

Small presses generally will not have the kind of publicity machine that a larger company might—we generally won’t have the funds for cross-country author tours and other huge events. However, nowadays, that gap is closing as publicity and marketing goes more and more online. Smaller presses can reach out to readers online just as easily as a larger press, and sometimes more effectively because of a focused niche.

Small presses usually offer a more personal touch, too. Authors are one of a smaller list—for example, our first two lists will be just three books each—compared to a much larger number for larger houses.

Smaller presses can be stronger at keeping their backlist in print than a larger publisher, which means that even with a smaller advance, the book will do better financially long-term because it will earn out its advance and keep earning over time. Remember, an advance is just that—an advance against royalties. While a larger advance might seem like a better option in the short run, if the smaller press has a strong backlist, you’ll be more likely to have a longer career if your books consistently earn out their advances.

What makes the *ideal* author to work with?

Someone who understands that the editing process is collaborative. The book belongs to the author, yes—and the editor is there to make sure that the author’s book is telling the best story possible. We make suggestions because when we see a problem, it needs to be fixed in some way, even if our suggested solution isn’t the one you wish to implement. The best authors are people who understand that we’re part of a team, and that we have the same goal: to make sure the book reaches readers in the best shape possible.

Additionally, the ideal author will dig into the publicity process and be willing to reach his or her readers via at least one or two steady methods. Whether that’s through a blog, Twitter, Facebook, or some other method, nowadays the internet makes the connection between author and reader more possible, and readers want that. (Though it should not be to the detriment of writing their next book!)

Can you talk about Tu Books' slate or is it still too early?

It’s still too early to discuss specifics, but I can tell you that I’m looking for diversity not only in the cultures that we feature in our list, but also in age range, author experience (published or not), and appeal to boys and girls. I’d like a nice mix of middle grade and YA titles, and a nice mix of titles that would draw in boy and girl readers. I’d like to publish new authors and authors who have been previously published. So I’m working on planning for that balance as I consider submissions. Keep an eye on our website as time goes on, because of course we’ll announce our acquisitions once we’re ready for that.

Thank you so much, Stacy! Fabulous information and congratulations again on your success.

Find out more about Stacy and her Tu Books adventure on her fabulous website: Stacy Whitman's Grimoire

I feel so fortunate to have found a place at Indie Debut. Being a writer can be a lonely occupation. When rejection letters start piling up, your spouse feels neglected, and your friends get tired of hearing about your creative woes . . . a writing community is a great way to stay inspired. It's also a great way to share information and can help you keep up with the latest industry news. Whether it's a monthly critique group or an on-line discussion forum, I highly recommend surrounding yourself with people who can relate!

I've been writing in a variety of forms for many years, first as a poet, then as a screenwriter, and finally as a novelist. My novel was, in fact, originally a feature screenplay. I hadn't actually intended on becoming a novelist, but then found that the form allowed me many freedoms I never got from screenwriting.

(If this process interests you, I invite you to read an interview with me on Lindsey Carmichael's Ten Stories Up where I discuss the differences between writing a screenplay and a novel, as well as the differences between publishing a novel and producing a film.)

As I was adapting the screenplay, the imaginary world I had created demanded to be explored further, and so it turned into a series. Brigitta of the White Forest is the first book in the series, a fantasy adventure about a young faerie who must save her forest from a mysterious curse. Because there is no one in the forest left to help them, Brigitta must take her little sister along on her dangerous journey outside the faerie's protected realm.

The selection below is from the story when Brigitta and her little sister Himalette leave the White Forest for the first time.

Eventually, the vines became so dense that the girls could no longer fly without getting tangled in them. They pushed their way through the forest, passing occasional songless stone birds perched in the trees. Brigitta was long past humming and concentrated on a breathing rhythm to keep herself moving.

They were both so focused on putting one foot in front of the other that they were completely startled when the forest ended and they found themselves standing before an immense river of dry earth that stretched around the perimeter of the White Forest as far as their eyes could see. Ahead of them, across the shifting dirt moat, was the rest of the world, beginning with the edge of the Dark Forest.

“The Shift,” said Brigitta, holding Himalette back with one arm. They stood listening for a moment. There were no trees or plants or beasts of any kind across the large expanse of land. They could hear nothing but the strange sound of the slowly churning earth.

“Are you sure?” Himalette whispered.

Brigitta nodded and moved forward. There was nothing else it could have been. She had heard it described many times by the Air Faerie Perimeter Guards, but this was more endless and empty than she had ever imagined. There was nothing to protect them, and nowhere to hide.

“Is it safe?” asked Himalette.

Brigitta took a few tentative steps into The Shift. She could feel the dirt moving beneath her, carrying her along on its sluggish journey. She fluttered back over to her sister.

“Where’s the magic field?” asked Himalette.

“Wait here.” Brigitta picked up a small rock and stepped back into The Shift.

There was a light breeze, and a strange scent rode in on it.

“What’s that smell?” Himalette called, wrinkling her nose.

“The other side.” Brigitta threw the rock as hard as she could. Half-way across The Shift, it passed through a watery force-field and continued out the other side. It landed with a soft thud on the outskirts of the Dark Forest. Brigitta returned to Himalette, who quickly hid her hands behind her back.

“What’s that? What have you got?” Brigitta demanded.

“Nothing.”

Brigitta reached behind Himalette and grabbed her arm. Himalette opened her hand to reveal a stone bird.

“It’s just a bird,” admitted Himalette. “It was on the ground. It was lonely.”

“Himmy, you have to stop taking everything.” Brigitta grabbed the bird from Himalette and contemplated where to put it.

“I’ll keep it in my pocket,” Himalette pleaded. “You won’t even see it.” Her wide eyes softened Brigitta’s heart just a little.

“No more, Himmy.” Brigitta handed the bird back to her. “Stay close to me and don’t touch anything else. Do you understand?”

Himalette nodded and put the bird back into her pocket.

“Will the magic field let us back in?” asked Himalette.

“Anything originally from the White Forest can get back across,” said Brigitta. “Anything that comes from the other side has to be escorted by a Perimeter Guard. Like this.”

Brigitta took Himalette’s hand and carefully led her over the rough earth river until they were half-way across. They hesitated in front of the force-field, a little bewildered to be standing still and moving at the same time. Brigitta took a deep breath and walked forward.

She felt streams of coldness, not completely unpleasant, like walking through an invisible waterfall. A moment later, they had passed through to the other side. They shivered and paused to look back at the White Forest. Himalette’s free hand went into her pocket.

Brigitta looked down at Himalette, whose face was contorted in horror. “What? What is it?”

Himalette pulled her hand out of her pocket and opened it. Instead of a stone bird, there was a pile of grey dust. She looked up with frightened eyes as the dust fell through her fingers.

How do you think e-books are changing the face of publishing? In particular, do you think indie presses could benefit from e-books? Why or why not?

Do Life Right, Inc. is an independent publishing company located in Sahuarita, AZ, USA. Founded in 2005, Do Life Right, Inc. expanded into publishing in 2009. Do Life Right, Inc. is owned and operated by Lisa Bentley.

Lisa Cottrell-Bentley is no stranger to start-up companies, having worked for and/or owned five. So, when private investment made it possible for her to turn her small internet consulting company, Do Life Right, Inc., into an independent publishing house, she went for it and hasn’t looked back. With two published books under its belt, Wright on Time: Arizona: Book 1 (Volume 1), and Wright on Time: Utah: Book 2 (Volume 2), Do Life Right, Inc. is now accepting submissions for additional children’s books featuring homeschooled children.

Do Life Right, Inc. specializes in fictional books for all ages with themes often not present in modern fiction, e.g. homeschooling, strong family ties, and people without traumatic physical or emotional issues. Their stories, while intense and exciting, are guaranteed to have happy endings.

For small press month, we had the opportunity to ask Lisa Bentley about how she started Do Life Right, Inc., and the challenges and advantages of running a small press. . .

Tell us about your path to publication and how you started Do Life Right, Inc..

I spent over 8 years trying to break into the publishing world, only to be rejected based on content (rather than writing ability) over and over. When I mentioned this to fellow homeschoolers, they were shocked to find that traditional publishing companies considered the 2.2 million homeschooling families of today as much too small of a market to cater to. Using contacts I had, I found an angel investor who agreed with my vision and invested money in me. I already owned a consulting company, so I immediately put the money toward turning it into a publishing company. This was in April 2009. By August 2009, our first book was published. The second one was published in November 2009.

The Wright on Time(Registered Trademark) series of children's chapter books, written by myself, are Do Life Right, Inc.'s flagship books. Since I had not officially worked as a publisher previously, we used these as a testing ground to make sure that I (with help) could learn the necessary skills required to put out a high quality children's book series. With the first two books now a proven success, we are using the proceeds from them to take on more authors, editors, illustrators, and marketing teams. While backwards from how it is usually done, I felt it was important to prove to the world that I could publish books before I took on another author's work. My investors agreed.

I'm about to start a KickStarter campaign so that I can sign on even more authors this year. I'm really excited about this! Children's fiction with homeschooling characters is sorely lacking; I'm excited to be bringing more of it to the world. I've also written a non-fiction book about my publishing journey which will be published this coming summer.

What was the inspiration behind your stories of a 50 state RV homeschooling tour of the USA?
My children! :)

I had been a writer for a number of years (and my kids knew this). One day while we were out swimming, my older daughter started telling me about the books she'd been reading. While she loved to read, she was disappointed in how school-centric the books were, how the parents were always absentee parents or dead, and how the siblings and so-called friends were always calling each other names. So, I asked her what the perfect book would be...

This led to a series of many conversations with both of my daughters (and then later many other homeschooled children). We started with the characters, Aidan and Nadia and their parents and pet turtle, and wondered how they could live an interesting life. We put in some of our own dreams and desires, sprinkled in some science fiction (because who doesn't like a bit of that?), a whole bunch of hands-on research (and internet research), and out came the Wright on Time series.

How can homeschoolers use this series to educate and inspire their students?
In the Wright on Time series, the family explores at least one new educational topic per book. Each book is set in a different state, a different month (as the story progresses), and a different theme. There is an overall story arc, too, since the children age and grow and the family learns about life together.

A Journey Through Learning, a lapbook company, has made companion lapbooks for the first two books in
the Wright on Time series. As more are published, they will continue to make more. These were logical supplements for the books since each has an in-depth learning topic. Be sure to check out their website to learn more about lapbooks.

I've had many families tell me that the Wright's adventures have inspired their own family vacations. I'm even hoping to see a family travel company promote Wright on Time tours.

What are some of the challenges and advantages of running a small press?
IMO, the advantages far outweigh the challenges. :) Once the money for a project is there, we are able to move quickly from the completed manuscript stage to the published book-in-hand stage. Since we work with
private contractors for editing, copyediting, illustration, cover design, etc. the turn around time is quick.

The only two challenges that I've had are (1) getting the word out there about our books, and (2) wanting to grow faster than the money has allowed. I truly believe in word-of-mouth marketing and the money to grow is coming in! I encourage all people to do at least one thing daily in order to get to their goals. Anything is attainable if you keep at it! :)

Is your publishing company accepting submissions and what exactly are you looking for?
Yes, we are! We're currently accepting submissions (via e-mail only). We are looking for children's chapter books and YA (young adult) books that feature realistic (not caricatured) homeschoolers as the primary
characters. Beyond that requirement, we'll entertain any genre including science fiction, mystery, romance, futuristic... I'd be thrilled to find a Hannah West type of children's chapter book series with homeschooled
characters! I'd also really love a coming of age YA novel, or a science fiction mystery with a teen boy and/or teen girl as the main character.

To see more about Do Life Right Inc. and their books, check out:
http://www.DoLifeRightInc.com
http://www.WrightOnTimeBooks.com
http://www.RichAuthorPoorWriter.com

Winters always seem to be the longest season of the year, especially when an author is eagerly awaiting the release of their book. This is the position I find myself in. The publication of my first book can't come soon enough. Guardian Angel Blog Editor, Sandra Muncaster recently interviewed me about my road to publication and I'm thrilled to share with you today an excerpt of my interview.

CONGRATULATIONS TO: LINDSEY CARMICHAEL FOR WINNING THE RANDOM DRAWING FOR: FIRST CHAPTER CRITIQUE BY INDIE-DEBUT AUTHORS. Kindly please send Donna McDine an email at: dmcdine@optonline.net to set up this fantastic opportunity!

SANDRA MUNCASTER: Tell us a bit about yourself.

DONNA McDINE: I embarked on my writing career with my completion of the Institute of Children’s Literature Writing for Children and Teenagers Magazine Course in 2007. It has been a rollercoaster ride to say the least. Filtered between the many rejection letters I have had success publishing over 25 short stories and articles in both print and online publications. Thank goodness, for without those successes I would have thrown in the towel. I’m also proud to say I have been bestowed the honor of Honorable Mention in the 77th Writer’s Digest Writing Competition and twice in the 78th Writer’s Digest Writing Competition. The first resulting in my award-winning historical fiction manuscript The Golden Pathway, being accepted by Guardian Angel Publishing as a story book.

SM: Tell us about your upcoming book.

DMc: The Golden Pathway is with the illustrator now and I’m keeping my fingers for an early-Summer release. In the meantime, I’d like to share with your readers the synopsis:

Raised in a hostile environment where abuse occurs daily, David attempts to break the mold and befriends the slave, Jenkins, owned by his Pa. Fighting against extraordinary times and beliefs, David leads Jenkins to freedom with no regard for his own safety and possible consequences dealt out by his Pa.

SM: How was the publishing process for you?

DMc: The story of David started out as writing assignment with the Children’s Writers Coaching Club (CWCC) and after several revisions I submitted it to the 77th Writer’s Digest Writing Competition and it placed 12th with over 1,400 entries in the Children/Young Adult category. I’ve been told if you don’t place 1st it doesn’t really count. But I don’t feel that way. To me this accomplishment is a major feather in my cap.

Then after meeting Lynda Burch of Guardian Angel Publishing at the Muse Online Writer’s Conference I took the plunge (so to speak) and submitted my manuscript for consideration. Lynda responded back with suggestions for edits and instead of taking the chance and doing it on my own I hired professional editor, Lea Schizas. Together we went through several revisions and without the constraint of the word count from the contest the manuscript became more dynamic, resulting in an acceptance from Lynda. The book cover is complete with the expert illustration by K.C. Snider and the story illustrations will be completed in the coming months. I can hardly wait!

I'd be delighted for you to read the rest of my interview by Sandra Muncaster at: http://www.guardianangelfamily.blogspot.com/ DATE TO BE ANNOUNCED.

I look forward to chatting with you and thank you in advance for your interest.

In honor of Small Press Month, I asked my publisher, Mary Wilson of Jupiter Gardens Press, a few questions.

How long has your publishing company been in operation?
Jupiter Gardens has been around since January 2008. We started publishing books in October under both our Jupiter Gardens Press and Pink Petal Books imprints and had our first paperbacks out by the end of 2008.

Why did you decide to go into publishing?
I'm an author and have always held a fascination for the business end of things. When I realized I could apply what I learned on the author-side to creating a dynamic, author-friendly publisher for specific genres, I jumped at the chance. I also love editing and the business side of the busienss, so this allows me to do that as well.

Do you publish exclusively YA and children’s books?
No, we publish metaphysical fiction and nonfiction, science fiction and fantasy, and romance novels. Any YA/children's works we publish would fall under those genres.

Do you plan on publishing more YA in the future?
I'd love to see more YA works, especially in the science fiction/fantasy genres. Alternate history is a particular love of mine.

How can authors get more information about your company (submission guidelines, etc.)?
Our website is http://www.jupitergardens.com and our submission guidelines can be found there.

Where can your company’s books be purchased?
We offer books on our website at http://www.jupitergardens.com and also offer paperbacks on Amazon.com, as well as ebooks through their Kindle store. You can also find us on other ebook distribution sites such as Omnilit, Books on Board, and Mobipocket.

QUESTION OF THE WEEK GIVEAWAY:

Do you feel small presses are the wave of the future?

Join in the discussion by leaving a comment and be automatically entered to win a First Chapter Critique by Indie-Debut Authors.

That's right! At least four Indie Debut authors will critique the first chapter of YOUR manuscript.

Winner will be announced on FRIDAY.

Good Monday morning, all :) I'm Indie-Debut 2010 author Jo Ramsey, and I'm excited to be today's spotlight author!

My first YA novel, Connection, was released in January by Jupiter Gardens Press, a small metaphysical publisher based in Iowa. As part of this month's Small Press Month festivities, I'll share an interview with Mary Wilson of Jupiter Gardens tomorrow.

Connection is the first book in my ten-book series Reality Shift, and I'm thrilled to announce that Jupiter Gardens has contracted book two, Filtration System, with a tentative release date of October 2010!

I live in Massachusetts with my two daughters and my fiance; the wedding is planned for April 17, so right now I'm in the thick of writing deadlines (in addition to YA, I write romance under a pen name) and wedding plans, in addition to taking care of my kids, cleaning the house, and working part time for my father-in-law-to-be. Kind of hectic, but at least I get to write!

I'll be popping in again later today, after I've caffeinated myself a bit more and have done some of my self-assigned writing for the day. I hope wherever you are is nicer than here; we have high wind, rain, and overall weathery nastiness this morning.

Readers:

Here's a special, sneak peek of Mice Don't Taste Like Chicken. Keep your eyes and ears posted as August approaches for more information regarding the release. Enjoy!

2
Pinkies, Fuzzies, & Hoppers

“Did you know mice are the most intelligent beings on Earth?” Drew asked. He pulled a bag of shavings from the cabinet and placed it on the countertop.

“Where’d you hear that crazy talk?” Jackson said. He popped the top from the white mice cage.

“I don’t know. I read it in a book I borrowed from Mr. Cross.” Drew unlatched the water bottle from within the cage, unscrewed the cap, and poured the contents into the sink. “Says in there mice created the Earth as an experiment.”

Jackson slid his hands into a pair of protective gloves. “You do realize it’s a fiction book, right Drew? Besides, if these things are so smart then why would they make themselves the main course?”

Drew refilled the bottle and fastened the cap. “I know it’s not real. I guess I don’t like thinking of them as food.”

“Then caring for the meals is the job for you. Can you believe we pulled mouse duty the first week? What a glamorous way to spend recess.” Jackson peered into the cage and prodded the rat droppings inside. “How do these cocktail weenies produce so much poop?”

“You’re a cocktail weenie. Besides, cut the pinkies some slack. They can’t even open their eyes yet.”

“I like fuzzies and hoppers better. At least they have fur and can move around.”

“You can have ‘em. I don’t need a runaway mouse on my conscience.”

Jackson furrowed his brow. “Do you think they know?” The mice darted around the cage to evade Jackson’s hand.

“Know what?”

“Gotcha!” Jackson lifted a hopper by its tail. It wriggled and lunged as it attempted to bite his finger. “That they’ll be mice-a-roni in a few days.”

Drew grimaced. “For their sake, I hope not.”

Jackson swung the hopper back and forth in front of Drew’s eyes. “What’s going through their little mouse brain before it happens?”

Drew swatted his hand away. “How should I know? I told you I don’t want to imagine them as food.”

“Bet they taste like chicken.” Jackson tilted his head back and held the hopper above his mouth.

“What makes you think that?”

“Dude, everything tastes like chicken.”

“You need serious mental help,” said Drew.

Jackson closed his mouth and swiveled his head. “What’s your problem?”

Drew pointed at the helpless mouse. “That. That’s my problem.”

“Everything needs to eat.” Jackson chomped his teeth.

“You’ll be eating rat poop if you hold it there any longer. Just put him down, or else...”

“Or else what?” Jackson opened his mouth and lowered the hopper.

“I said let him go!” Drew slapped Jackson’s hand. The mouse fell. Drew’s eyes widened as the mouse disappeared.

~Scott
"Live, Learn, Teach"
www.micedonttastelikechicken.com

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Last week, I had the opportunity to interview Stephen Mooser, one of the co-founders (along with Lin Oliver) of the Society of Children's Book Writers & Illustrators. Before we get started, I'd just like to say, if you're a writer or illustrator of children's books and you're NOT a member, you should seriously consider becoming one. SCBWI membership offers so much in the way of resources, information and opportunities, it really is invaluable. So go. Go now. Check it out here!
Mr. Mooser was incredibly kind answering my questions, which focus mainly on the place of SCBWI and small presses in the world of children's literature. I think you'll see from his answers how committed SCBWI is to helping writers and illustrators on their path to (and through!) publication.


Q: These days, SCBWI is *the* go-to organization for children's writers and illustrators. It provides countless resources and opportunities for the established and up-and-coming children's literature creators. How does that translate to the production side? What services or aid, if any, does SCBWI provide for publishers, editors and agents?

A: NOTHING DIRECTLY, BUT WE HOPE THAT THE INFORMATION WE GIVE TO OUR MEMBERS HELPS THEM BE BETTER, AND MORE PROFESSIONALLY PREPARED WHEN THEY DO APPROACH PUBLISHERS AND AGENTS. SO WE DO HOPE THAT OUR WORK MAKES THEIR WORK MORE EFFICIENT AND SENDS THEIR WAY AUTHORS AND ILLUSTRATORS THEY WANT TO PUBLISH OR REPRESENT


Q: SCBWI recently debuted it's PAL (Published and Listed) program. What's the idea behind PAL? How does it benefit SCBWI members?

A: PAL WAS PUT IN PLACE TO IDENTIFY SCHOOL SPEAKERS AND BOOK EXHIBITORS AS PEOPLE PROFESSIONALLY PUBLISHED—THAT MEANS PEOPLE WHOSE WORK HAS BEEN PAID FOR RATHER THAN THE PUBLISHER BEING PAID, OR IF NOT PAID PERHAPS TAKEN AT NO CHARGE OR UPLOADED ONTO THE WEB—THAT IS NOT TO SAY THAT SOME SELF PUBLISHED WORK IS NOT PROFESSIONAL WRITTEN AND PRODUCED, BUT, FOR NOW, WE NEEDED A WAY TO DISTINGUISH AUTHORS AND ILLUSTRATORS WHO WOULD PROFESSSIONALLY REPRESENT THE SCBWI IF WE WERE RECOMMENDING THEM TO SCHOOLS, ETC.


Q: Not all presses are listed on PAL. Large, well-known houses were listed immediately (please verify if this is true). There is a 'small press list' but given the enormous number of small, indie and regional presses, is it safe to say listing all of them would be impossible?

A: EVERY DAY WE ADD NEW SMALL PRESSES. WHEN A MEMBER APPLIES FOR PAL LISTING AND THEIR PUBLISHER DOES NOT COME UP THEN A FORM IS GENERATED, WE LOOK AT THE PUBLISHER AND IF THEY MEET THE SIMPLE CRITERIA OF NOT ASKING FOR MONEY AND PUBLISHING MORE THAN BOOKS BY A SINGLE AUTHOR OR FAMILY THEN THEY ARE GENERALLY APPROVED AND ADDED.


Q: What can a small press do to increase their chances of getting listed in PAL?

A: JUST MEET THE CRITERIA—WE ALSO HAVE AN APPEAL PROCESS IF INITIALLY TURNED DOWN.

WELCOME TO THIS WEEK'S SMALL PRESS MONTH BLOGABRATION GIVEAWAY!

WIN A QUERY CRITIQUE WITH THE INDIE-DEBUT 2010 AUTHORS!!

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The winner will be selected by random.org

*For contact purposes, if you are a non-blogger or your email is not accessible in your blog profile, please leave a valid email address within the comment section.
*Contest ends on Sunday, March 7, 2010 at 11:59 PM EST.
*Winner will be chosen at random and notified on Monday, March 8, 2010.

THIS WEEK'S AUTHOR SPOTLIGHT: AMY ALLGEYER COOK:
To celebrate our small press authors, every Friday and Monday we'll feature work from one of them--short stories, articles, book teasers, whatever they'd like to share. This week's author is Amy Allgeyer Cook, author of The Invisible Sister (PM Moon, July 2010). Below is her short story, Fostering Nina...

I hear the first whimper in my sleep and my brain tries to work it into a dream. It’s just a puppy, sleep on, sleep on. But the second cry is louder, more insistent. My eyes pop open, dry and bleary, searching for the red numbers on the VCR that will tell me how long it’s been since the last time she cried.
3:47 am.
It’s the third time tonight. She’s off her schedule; I shouldn’t have to get up until 5:00. Maybe she had a bad dream and she’ll doze off again. So I wait. I think about the Trigonometry homework I still have to finish. I remind myself to wear sweatpants tomorrow so I don’t have to change for PE. As I wait in the dark, listening for a sound I hope not to hear, I slip quietly, slowly, warmly back to sleep.
But she cries again and my eyes fly open. This time, I know it’s no use. She needs something; she’s hungry, maybe wet. I crawl out of my comforter cocoon and stagger down the hallway toward her room, guided by a bare-bulb night light. I used to sleep in the room with her, but her sounds--her airy breathing, the rattle of her wet mouth--kept me awake. Now I sleep on the couch…when she let’s me sleep.
“Nina?” she says.
“I’m hear, Grammy.” I kneel next to her bed, reaching in the dark for her hand. “What do you need?”
“It hurts.” She swallows and I can tell her mouth is dry.
I turn on the bedside lamp and check the chart on the nightstand. It’s only been three hours since her last pain pill. The hospice nurse says to keep her comfortable, so I shake another pill out of the bottle and fill a glass from the water pitcher.
“Sit up, Grammy.” I struggle to raise her while she winces against the pain. It’s the most help she can give me. I wedge a pillow behind her and she eases back, wheezing from the effort.
“I’m so much trouble,” she says.
I put on what passes for a smile these days. “Oh, whatever.”
“You’re a good girl,” she says. “I don’t know why you stay with me.”
“Don’t be silly. Besides, where else would I go?”
She takes a sip of water and hands me the glass. The wrinkles in her forehead deepen and I wish I hadn’t said that. We both know she won’t make it much longer, and I’m not old enough to live on my own. When they first diagnosed her, we thought she’d have years.
I was fifteen then. Her cancer has grown faster than anyone expected. In a year and a half, I’ll be eighteen, but she won’t last that long. Foster care looms large and bleak on my horizon, but I can’t think about it. I have too much to do taking care of myself and Grammy and the trailer and school.
Maybe foster care will be better. Less work, for sure. But I can’t imagine life without Grammy. She’s been my grandma, my mother, my only family. I watch as her eyelids fall once, twice. Another minute and she’s breathing softly through her open mouth. I coat her lips with Vaseline then creep back to the couch and snuggle into my blanket hoping sleep will take me fast. I don’t want to worry about tomorrow, or the next day. I also don’t want to think about the letter that arrived last week.
It’s still lying on the counter. If I opened my eyes, I could probably see it. But my eyes, just like the letter, remain firmly closed. I haven’t heard from my father in six years. I don’t want to hear from him now. Grammy would have opened it right away. She says me going to live with my dad would be the answer to her prayers. Her prayers, not mine. Dad’s not the salvation I need. He left my mom for a better job a long time ago, and I can’t forgive him for that. She was a mess, I know, but still…you don’t leave people when they need you.
I burrow deeper into the couch, pulling the comforter over my head. If only it could block out the thoughts whirling through my brain. Trig, Grammy, empty fridge, scholarships, Dad, foster care. Round and round, the thoughts chase each other. The foster care people, dressed like Grim Reapers, stand silently to the side while Grammy tries to answer a trig problem and Dad wrestles a giant refrigerator. I’m actually pulling for my Dad, which I think is odd, when something bangs against the side of the trailer.
I sit up fast, blinking in the pale morning light. With relief, I realize Grammy slept the rest of the night. That’ll be good for her. The heavy knocks come again at the door and I untangle myself from the covers. It’s time for the nurse to arrive, and for me to take a shower and get to school. I unlock the door, thinking again about sweatpants, but it’s not Nurse Grayson shivering outside the trailer.
“Dad?”
He looks older, saggier. There’s gray around his ears, but he has the same kind eyes, the same gentle smile. He looks deceptively nice for an abandoner.
“Nina?” His eyebrows meet over his too large nose. “Wow. You’re…so grown up.”
Kids do that when you’re not around for six years, I think. But I don’t say it. After a few seconds, I invite him in, mostly because all the heat in the trailer is going out the door.
“How’s your Grandma?”
“Not so great.” I cross my arms and stare at him. “What are you even doing here?”
His eyebrows scrunch again. “Bess wrote and asked me to come. Didn’t you get my letter?” He follows my eyes to the counter, where the letter lies unopened. “Ah.” He rubs his grizzled chin and I realize he must have driven all night to get here at seven in the morning. “I guess you have a right to be angry. I’m sorry, Nina. I never wanted to leave you.”
“Me?” I yell. “What about Mom. How could you leave her?”
“We were already divorced,” he says quietly. “It’s not like the job in Columbus broke up our marriage.”
“She needed you!”
Dad shakes his head. “She needed help. For years I tried to help her, but she didn’t want to change. She just wanted the drugs.” He turns away, staring out the frosty glass on the door.
I throw my hands in the air. “Who cares what she wanted? She needed you and you left her.”
He turns back to me and I see his eyes are full of tears. “I should have stayed, but not for your mom. I should have stayed for you. And if you want to be mad at me for something, be mad about that.”
“Forget it.” I turn my back on him and walk into the kitchen. “If you’re here to take me away, you can leave right now.”
“No, that’s not--”
“Just leave. I don’t need you.”
“Yes, you do,” says a soft, wheezy voice.
“Grammy!” I whirl around. She is just outside her bedroom, hanging heavily onto the door frame. I scoot past my father toward her. “You shouldn’t be up.”
For once, she doesn’t argue, and Dad helps me get her back to bed. She’s shivering, so I turn on her electric blanket and tuck her in tight. Dad watches as I shake our her breakfast: eight different pills and a strawberry Ensure. He watches as I write what I’ve given her on the chart. He’s still watching when I kiss Grammy’s head and turn to leave the room.
“Micheal,” she says.
I turn back. “What do you need? I can get it.”
She ignores me and my father steps around me to her bed. “What is it, Bess?” His voice is quiet, almost like in church.
“How long are you staying?” she asks.
He looks at me, first. He seems embarrassed. “I have two weeks off, but I can take sick leave if… I can stay as long as necessary.”
Grammy pats his hand. She heard what she wanted. All I heard was the ‘if’. If two weeks isn’t enough, he can take sick leave. If Grammy’s still alive in two weeks. If he can’t take me away by then.
“I’m not going to live in Columbus,” I say.
“Maybe I’ll move here.”
I wonder…would he really? Would he do that for me? I’m not sure. “I don’t need you.” I sound like a broken record.
“Maybe I need you,” he says.
Dorky as that sounds, he actually looks serious. Can I trust him? Would he really stay? I guess I’ve got at least two weeks to figure it out. He’s still staring at me so I roll my eyes. “Oh, whatever.”
Grammy smiles and closes her eyes.

To celebrate Small Press Month, the Indie-Debut Authors have rounded up a series of interviews with small presses, agents and other super-interesting industry folks to talk about how they work (or don't work) with Independent and Small Presses. Today, I had the honor of interviewing my senior editor at Dragonfly Publishing, Inc., Pat Gaines.

Pat Gaines worked 22 years in the Lincoln County, Oklahoma courthouse, and retired in 2003 after running the County Election Board Office for many years. Pat and her husband Jerry have two grown children and three grandchildren. She is a member of the Oklahoma Writers Federation, Inc., Web Writing Wonders, New England Ancestors, Daughters of the American Revolution, American Legion Auxiliary, and the Lincoln County Historical Society. She is the current Senior Editor for Dragonfly Publishing, Inc.

Her books include…
O. O. Octopus: Sheriff Of Blue Ribbon Sound
The Journal Of Amos Hannah

You're currently a senior editor at Dragonfly Publishing, Inc. which is owned by your daughter, Terri Branson. Can you share with us a little of how Dragonfly Publishing, Inc. came about?
Terri worked for an online publisher as an editor for several years in the early 1990’s and then decided to open her own publishing company.

When did Dragonfly Publishing, Inc. get started?
Dragonfly Publishing, Inc. was launched in 2001.

What's it's like working alongside your daughter?
It works out fine. We live about 60 miles apart and most of our work is done by electronic files. Sometimes we get together to work, but not often.

Do you think being an editor has improved your own writing--why or why not?
Yes, of course it has helped me. Terri had to teach me how she wanted her books edited. One of the hardest things for me to get straight in my head was “point of view.” She is a stickler about authors keeping point of view.

How many titles (adult and children's) does Dragonfly Publishing, Inc. publish each year?
Dragonfly Publishing, Inc. releases between 4-5 titles per year on average.

Each year, Dragonfly Publishing Inc. holds a picture book contest and you just recently announced the 2010 contest general rules. Why does Dragonfly Publishing, Inc. hold this contest?
The first contest we held was in 2008 for authors and illustrators of Children’s Color Picture Books. The response from authors was pretty good but we had few entries from illustrators. The contest was my idea because all submissions from authors come to me first. We have to keep our submissions closed most of the time because we get too many and we just can’t physically handle the volume. There are lots of good authors out there wanting to get their books published and so few opportunities unless you want to self-publish. Both Terri and I felt that this contest would give some of those aspiring authors an opportunity to get their books in print. Good illustrators are hard to find sometimes especially by small publishing companies because we can’t afford to pay big money for their work. This illustrator’s contest was a way to find new illustrators wanting to get into the Children’s Color Picture Book market.

What are some of the challenges of being a small press?
Small publishers have a very limited number of staff, which restricts the number of books they can publish in a year and the amount of marketing they can do.

With rising costs skyrocketing in publishing, many small presses have focused their business around a technology known as POD. What are some of the positives in working with POD?
The primary advantage of POD is twofold: cost and quality. Since POD books are printed as needed, from individual copies to short and large runs of hundreds to thousands of copies, publishers can control how many books are printed and when. This eliminates the print-run requirement to pre-order 500-1,500 copies minimum and then pay to have them warehoused.

Another thing to note is that in most instances POD copies ordered in short run bundles (i.e. 50-250 copies) meet or beat the per-copy price of the same books produced by offset-press. Also, with some exceptions, POD copies are printed on superior paper using laser inks that fade less over time.

Only six to eight major publishing houses now exist. However, Publishers Weekly estimates that more than 7,000 new publishers form each year, giving writers options for seeing their books in print. Do you see small presses as the wave of the future?
Yes, I see POD publishing as the wave of the future. In fact, few people outside of the bookselling industry  realize that publishers of all sizes have been using POD either partially or exclusively for nearly ten years. The percentage of POD to off-set press books changes dramatically every year in favor of POD. In other words, customers do not know which books were printed POD as opposed to which were produced by offset press. Remember, POD is a "printing term."

What a way to celebrate National Small Press month--Dragonfly Publishing, Inc. just announced their 2010 Picture Book contest!

Do you have a picture book manuscript ready for submission? Have you ever considered publishing with a small press? If you answered yes to these questions, then you should consider entering the 2010 DFP Picture Book contest.

Contest Prizes:
1st Place: $100.00 plus a trophy and a possible book contract
2nd Place: $50.00
3rd Place: $30.00

Be sure to check out the last few year’s winners to get an idea of the books Dragonfly Publishing, Inc. publishes:

2009: Best Children's Book Award:
The Bug That Plagued the Entire Third Grade by Lori Calabrese
(Coming Fall 2010)

2008: Best Children’s Book Award:
Alley Loo: A Spooky Swamp Tale by C.E. Walz

2nd and 3rd place winners from 2008 were also published:
Al, The Spotted Zebra by Lori Z. Scott
Albert's Perfect Pet by Donna Zappala

Not sure if you want to enter a writing contest? Read:
My announcement after winning last year's contest
Should you enter a writing contest?
Read an interview with 2008 DFP winner C.E. Walz
How to find writing contests


Be sure to visit Indie-Debut 2010 tomorrow when I interview the Senior Editor of Dragonfly Publishing, Inc.: Pat Gaines.

Please visit Dragonfly Publishing, Inc.'s official website for contest rules and entry forms.

TODAY'S SMALL PRESS MONTH INTERVIEW:

4RV PUBLISHING
Edmond, Oklahoma
(from their website:)
4RV Publishing LLC works one on one with accepted authors to create quality work. The staff (including published authors and experienced editors, illustrators, and designers) works together to produce professional fiction and nonfiction books for all ages. Submissions are expected to be well-written and professionally edited, with few, if any, grammatical or spelling errors. We want manuscripts that catch the attention of readers (editors) and keeps them reading to the end. Only the best are accepted.


1. How many submissions do you typically receive in a year?

In the two years we’ve been in business, we’ve received over 125 submissions.
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2. How many books to you publish in a year?

Originally we planned on publishing twelve books per year at most. *laugh* We have already published thirty books in the first eighteen months we’ve put out books.
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3. What type of books do you publish? What are you looking for?

We publish any genre or type except erotica or anything with graphic sex or violence. Most the books so far have been picture books because they can be finished in less time. Novels take more and longer editing and formatting time.

We have tween and teen books, novels, chapter books, picture books, and non-fiction in the pipeline.

Submissions for picture books has been closed for a while, but we’re planning on reopening submissions in the next three months.
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4. What is the average response time a writer should expect after submitting to you?

Usually it takes about three months for a submission to work its way through the acquisition process. However, if we have a massive number of submissions, it can take longer.
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5. What advice can you give to someone wanting to submit a manuscript?

Submitters need to have a well-written manuscript with few if any errors and must follow the guidelines exactly to submit.
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6. How is 4RV Publishing different from other presses?

We are a traditional press, which means authors don’t pay for any of our services and aren’t required to purchase even one copy of their books. We do work one on one with authors (and illustrators where used). Our editors are some of the best to be found, and we help authors make their books become the best possible books. Our authors have more input into the publishing process of their books than can be found with many publishers.

Big news! All this month we're celebrating National Small Press Month. Small Press Month, sponsored by the New York Center for Independent Publishing (formerly the Small Press Center) and held annually in March, raises awareness about the work of independent presses across the United States.

The New York Center for Independent Publishing is pleased to announce that their 22nd Book Fair will help kick off National Small Press Month. It will take place March 6th and 7th, 2010 in the General Society Library at 20 West 44th Street in Midtown Manhattan. Registration is now open.

Join us here at Indie-Debut 2010 for our own celebration! Throughout the month of March, please visit for fascinating interviews with our own Small Presses:
Dragonfly Publishing, Inc.
en theos press
4RV Publishing
Guardian Angel Publishing
Jupiter Gardens Press
PM Moon Publishers, LLC
Soto Publishing Company

You can also learn more about small press authors, read fascinating articles about publishing with a small press, and find some great titles to check out from independent publishers!

It's also great to see others celebrating Small Press Month...
Chicago Tribune interviews Gina Frangello, Chicago Executive Editor of Other Voices Books.
Book Publishers Northwest
Ink & Paper Group spotlights small presses in their area
Christian Small Publishers Association
Pilots Books Seattle
Emerging Writers Network

Check out this article tweeted by Jon Bard and posted at the CBI Clubhouse! New and Small Presses are wonderful opportunities for aspiring authors, but there are some that aren't on the up-and-up. Click the link for great pointers on vetting new and small presses.