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Not Your Typical Writers Group

Writing groups are as common today as rejection slips, but there is one group that would rise to the top of any slush pile – The Rochester Area Children’s Writers and Illustrators of Western New York.

Imagine yourself at a table with Vivian Vande Velde, Linda Sue Park, Mary Jane Auch, Will Hubble, Ellen Stoll Walsh and Robin Pulver (to name just a few). Would you feel intimidated, self conscious, unworthy? Not with these folks. Try welcomed, valued and inspired.

Four years ago, I joined this amazing bunch who shared my passion for children’s books. Of course, I didn’t know then exactly who I was sitting at the table with, but that’s precisely what sets this group apart.

How it all began

There’s a wonderful resource for literature lovers in Rochester called Writers and Books, and it’s here that many of the founding members found each other. Through word of mouth, MJ Auch, Will Hubble and Jennifer Meagher got together and decided there were enough like-minded people when it came to children’s writing and illustrating that it’d be worthwhile to start their own group.

Jennifer describes that initial 1989 meeting: “We set up rules to keep it simple…each person must be serious about writing, actively writing, and actively submitting. Our newsletter was a 3x5 card handwritten with the date/location/time of the next meeting. There was no yearly fee; (just) a plastic bag sent around by Will Hubble to collect $1.00 per member per night.”

Sixteen years later, the number of participants, membership fee and newsletter format may have changed; but the philosophy remains the same: a serious commitment to quality writing and illustrating for children.

Today, RACWI consists of more than 50 members including writers of picture books, chapter books, mid-grade, young adult novels and non-fiction; while the illustrators of the group cover every sort of media from watercolors and ink to computer graphics and photography. Regardless of the individual’s goals, however, support, networking and education remain the foundation of this group.

Words of Wisdom

Some of these folks have been writing since the 60’s, while others are relatively ‘new’ to the business; but each offers a unique perspective to such issues as the need for an agent, changes in the industry and the necessity of reading. So pull up a chair, there’s always room at this table for people serious about children’s books.

How long did it take for you to “break in” to the children’s market?

Vivian Vande Velde: “It took me about two years to write my first novel…and I sent it – over a two year period – to 32 publishers before publisher 33 accepted it.”
MJ Auch: “Two years, thirteen rejections.”
Joan Baier: “Only a few months of submitting, but that was back in the 60’s.”
Linda Sue Park: “First book accepted within two months of initial submission (1997)” Marsha Hayles: “I thought I was home free (after the acceptance of my first book)…until the same editor rejected at least the next twenty submissions I sent her.”
Carol Johmann: “Less than one year (for non-fiction).”
Will Hubble: “Twelve years.”
Stu Smith: “From ‘slush’ to shelf it took around seven years.”
Roxane Chadwick: “(It took) less than a year for my first book (1978). But after a long hiatus, it’s difficult to break back in.”
Susan Williams Beckhorn: “I submitted my first book in 1976; my first short story was published in Cricket in 1994. That’s eighteen years. Ouch.”
Robin Pulver: “Several years; I wrote for magazines before submitting to the book market.”

How has the industry changed since you first began writing/publishing?

Ellen Stoll Walsh: “First of all, a new writer can no longer set up an appointment with an editor unless there is already a commitment on the editor’s part…In 1987, I set up appointments with five editors at different houses in NYC and spent a day seeing them all. Children’s publishing was kinder and gentler and much more personal when I entered the field. I miss the old days.”
Jennifer Meagher: “Most editors used to be able to make independent decisions on a manuscript purchase. Now it’s determined by the sales department.”
Vivian Vande Velde: “The fact that I could submit a manuscript 32 times in two years, one publishing house at a time, indicates an incredibly fast turn-around time that is unheard of in this day.”
MJ Auch: Back then, most editors had more clout in the acquisition meetings than they seem to have now. They could choose the books they loved rather than having the marketing people make the decision based on how profitable a project would be.”
Stu Smith: “I think it’s a lot harder to get your manuscripts read. Many houses have merged, limiting the potential publishers of your stories (and they) no longer accept unsolicited material because of the enormous amount of submissions they receive.”

What is your take on the need for an agent in today’s market?

Will Hubble: “I still think they are unnecessary for a children’s writer.”
Linda Sue Park: “I think you can still break into children’s publishing without an agent…but those days are numbered. In the next decade or so, most writers will need one.”
Roxane Chadwick: “I think it’s a necessity with so many top markets closed to unagented submissions. But then of course, it’s almost as hard to get an agent as it is to get a book published.”
Jennifer Meagher: “The need is growing. More listings are looking for agented work. It narrows the playing field for those without an agent.”
Mary Beth Miller: “It seems that publishers are looking more and more to agents to do the initial editing and weeding out of manuscripts so that they only have to deal with the best submissions.”
Joan Baier: “I’m a firm believer in taking care of myself.”
Carol Johmann: “Not at all necessary in the nonfiction field; appears to be an increasing need in fiction, although I’m submitting fiction picture books on my own right now.”
Vivian Vande Velde: “In 1980, I wasn’t aware of very many children’s book authors having agents. I still don’t have an agent because I have relationships with editors at several different publishing houses…If I was just starting in the field and looking at all those notations in the market listings that say, ‘only agented submissions’, I might feel differently.”
Robin Pulver: “For me, finding an agent (three years ago) was harder than getting a book published.”
Kathy Blasi: “I don’t feel the need to have one at this point in my career, as I’m just starting out. I think a beginner only benefits by getting to know the markets, and the only way to do that is to research them first-hand…I would consider an agent at the point when the business of writing gets in the way of writing itself.”
Marsha Hayles: “I think each author has to make that decision based on his/her own needs. But I think it would be a mistake for anyone to spend years trying to get an agent at the cost of not submitting to editors.”

Why is a “reading life” so central to a “writing life”?

Robin Pulver: “Reading helps create pathways into and out of the writing mind. Reading gives us a natural feel for how language works on the page. It helps us understand voice and character and plot on a subconscious level…Reading feeds the writer.”
Mary Beth Miller: “If you don’t read, you won’t be able to write.”
Susan Williams Beckhorn: “I always compare it to inhaling and exhaling. You take in great draughts of words, ideas, the infinity of delicious ways of using language…and it gives you the tools, the mechanics, the voice to express the literature within yourself.”
Kathy Blasi: “Consistent exposure to words and their structure makes it easier to write. It’s good to know what’s out there…you never know where your next inspiration will come from.”
Barb Underhill: “A reading life is central to life itself.”

Of all possible audiences, why write for children?

Linda Sue Park: “Because they understand the importance of a story in a more elemental way than adults.”
Vivian Vande Velde: “Writing for children is the most important writing there is. Childhood is when you start deciding what you like, how you feel about certain things. Sure we change over the years, but our basic personalities are being formed.”
Jennifer Meagher: “It’s the biggest challenge.”
Stu Smith: “I can’t think of a more magical time in a child’s or adult’s life than ‘the bedtime story’.”
Robin Pulver: “Writing for children allows the imagination free reign. It allows for playing with words…It heals old wounds and nurtures hope in me. It keeps me optimistic and grateful.”
Mary Beth Miller: “Only children are at that stage of life where a book can change their lives.”

Despite such a competitive market, why do you feel there’s so much camaraderie and support in the world of children’s publishing?

Will Hubble: “I feel there is an element of altruism in writing for children.”
Susan Williams Beckhorn: “It’s sort of like fighting in the trenches alongside of others. I’m not exactly saying that publishers are the enemy, but there’s a lot of blood, sweat and tears involved in winning them over...when any of us breaks through that line of resistance, we all want to cheer.”
Barb Underhill: “I think it is the child in all of us, yearning to feel the heart of a story that keeps us connected to one another.”
Margery Hillenbrand: “If you’re always making room for kids, you’re always making room for people…It requires patience, a willingness to listen and learn.”
Linda Sue Park: “Because there’s relatively little money or status involved, which means people are for the most part doing it out of a true belief in the importance of literature for young people. When you take money and prestige out of the equation, you end up with a nicer crowd!”
Jennifer Meagher: “Maybe it’s because we write for children, we remember the rule: play nice...Each of us has someone who helped us, so we help someone else.”
Marsha Hayles: Children’s authors and illustrators just seem to enjoy life. Open a gallon of ice cream, they’ll scoop right in. Stick them on a long train ride together, they’ll laugh the whole way and back. Read a rejection, they’ll tell you how bone-headed some editors can be. And have some good news to celebrate, they’ll open a gallon of ice cream and scoop right in.”

In my own words…

Being a part of this talented group reminds me that I am a writer; hearing these award-winners talk about their rejections helps me see I’m not alone in my climb; and celebrating those mini-successes on the path toward publication reassures me there will be space for my books next to theirs someday.

Find people in your community – in town or on-line – that share your passion for children’s literature. Start a group and commit to a life of reading and writing. If you’re willing to work hard, learn your craft and inspire kids, I’ll be happy to edge my future books aside to make room for yours.

First appeared in the Children's Writer April 2006

All speeches and articles are copyrighted by, and are the property of, Laurie Thurston, and may not be reprinted without permission of the author.