When Change Comes Knocking

I think it’s safe to say that most everyone is frustrated with the state of publishing these days, including the people in the industry. But what if we creators could do something to change that, even a bit?

This question has been pinging around the usually overcrowded thought-scape that is my brain for months, especially in light of my involvement with KidLitGN. As stated in a previous post, we thought we’d have to stop the pitch event because the resources and time to manage it were just getting too much for our small but mighty volunteer group, then we connected with Orange Country School of the Arts (OCSA) and opened up a new direction for KidLitGN, with student interns doing interviews and helping with the pitch event. (BTW, the students are going to be picking their favorite pitches from KidLitGN’s pitch event and sharing those results in an article on KidLitGN’s website in November. Subscribe to the website to be among the first to read about their choices.)

I don’t think I realized how big this merger was. At that moment, it was a way to keep the pitch event going, but as time passed, it became clear that we had the opportunity to do something much bigger. How many platforms bring industry pros, creatives, and students–the audience for our books–together?

Let’s face it, most books on the market are top-down driven. Publishers decide what they will publish and the market can choose whether to buy it or not. Kickstarter, and the like, has democratized that process a bit, but by and large, the people buying the books aren’t the ones making the decisions of what books are published. What if we flipped that a bit? What if we gave the book readers a voice in the market? What if we, as creatives, could hear what they were thinking about the books they liked and what stories they wished they could find? What if graphic novel readers could chime in on the pitches that connect with them?

Well, KidLitGN now has the chance to do just that, with our student interns infusing their thoughts and ideas into the graphic novel community. I don’t know how it will all shake out, but I am excited to see if these students’ involvement will enhance the industry, even in some small way. If you want to hear more about our plans, check out this interview by Barney Smith on his fabulous StoryComic channel.

You can also get just the audio version. And check out Barney’s StoryComic website with loads of incredible resources.

And if you have any thoughts on what you’d like to learn from the students, add it in the comments section. Good luck to those who are pitching in KidLitGN’s pitch event this year. Remember that the pitch window opens up this Saturday, October 3, and closes at 11:59 pm. on October 7. Agents, editors, and publishers can view pitches October 7-31.

Big Changes for KidLitGN’s Annual Pitch Event

KidLitGN is hosting its 6th, annual pitch event on its website: kidlitgn.com. Agented and unagented graphic novel creators can load pitches October 3-7, with editors, agents, and publishers being invited to view pitches beginning October 7 through October 31.

Unagented and agented GN creators have their own sections and can pitch in the following categories: comics-style picture books, early/chapter, middle grade, and young adult. If you’re an illustrator and don’t have a project to pitch, you can post a portfolio sample in the unagented or agented illustrator sections.

Something new this year: after the pitch event is over, KidLitGN will archive the pitches behind password protected pages. Agents, editors & publishers can request a password and view the pitches throughout the year. Anyone who pitches can request to have their pitch removed at any time.

And the change I’m most excited about: writers-only can upload up to 4 pages of their script along with a bio attached as an art file. And, they can use their pitches to seek out collaborators. See here for more details: https://kidlitgn.com/blog/

Some of you may know that I’ve been involved with KidLitGN since its beginning, and this year was likely going to be our volunteer team’s last year of being able to pull it off. The costs were mounting, and each member of the team was finding successes that were pulling us in other directions.

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Let’s Go! An Anthology Beginning

In a recent article for SLJ, Henry Herz asked “Why Anthologies?” Great question that I can now answer, having embarked on an adventure with 33 other graphic novel creators to produce a middle grade, crowdfunded graphic novel.

Why did I sign up to be part of this? Well, I’m part of Kids Comics Studio, a membership program of Kids Comics Unite (KCU). When Janna Morishima, a literary agent and owner of KCU, proposed the idea, my first thought was “how are we going to pull this off?” Followed by, “I’ve got to see how this works.”

So, I signed up and it has been a wild ride. Or should I say wild “journey.” That, after all, is the unifying theme for our anthology.

Aside from my curiosity about how it would all work, I was excited to learn how to crowdfund, and even more excited to work with an illustrator. I’m an author-only, and alas, lack the skills to draw the images I see in my own head, so I was very excited to work with an artist. Watching an artist translate my words into their own visual version has been so fun and amazing, which I’ll be writing more about soon.

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