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| SCBWI
France |
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| Meet
the Pros |
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| SCBWI France publishes interviews
both in the SCBWI France Expression newsletter
and on-line. These interviews offer an insider's
view of the international children’s
publishing market. |
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| Susan
Kochan |
Interview
with Susan
Kochan, Editor, G.P.
Putnam's Sons (A Division of
Penguin Putnam Books for Young
Readers), 345 Hudson Street,
New York, NY 10014 USA
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1.
Erzsi Deak: Please tell us a little about
your background.
Susan
Kochan: I was an elementary teacher for four
years before coming to Putnam. I taught in
London, Wisconsin, and Virginia. I started
as the assistant to the Publisher (Nancy Paulsen),
worked on various hard covers as well as on
the PaperStar (paperbacks) list for three
years, and then began editing hard covers
full-time.
2.
E.D.: What recent titles reflect your voice,
or that of your house? Please name titles/authors/illustrators
that/whom you've published and whose work
you admire.
S.K.:
We try to publish young, lively books that
kids will want to read over and over. Some
are funky and hip (Grand Central, by Maira
Kalman; Once I Was, by Niki Leopold, illustrated
by Woodleigh Marx Hubbard; Bigger, by Dan
Kirk) and others are more traditional (Quiet
Wyatt!, by Bill Maynard, illustrated by Frank
Remkiewicz; Gold Fever, by Verla Kay, illustrated
by Steve Schindler; Cowboy Bunnies, by Christine
Loomis, illustrated by Ora Eitan: I Need a
Snake, by Lynne Jonell, illustrated by Petra
Mathers). We look for stories that will strike
a chord with a child's everyday routines and
emotions. I've worked with Bill Maynard, Verla
Kay, and Lynne Jonell.
3.
E.D.: Please describe the features that grab
your attention in a manuscript for children
aged 2-7. Are you interested in object/play/toy
books?
S.K.:
We like things on the kids' level. We mostly
try to reach two- to six-year-olds (or up
to first grade). Language play, rhythm, kid-friendly
topics and conflicts, and strong, active characters
are things we like. We don't do books with
novelties, but we have been doing some plushes
with established characters.
4.
E.D.: What is your definition of the dividing
line between middle grade and YA?
S.K.:
We consider the top of our audience for novels
to be 12-13-year-olds, who are the young end
of YAs. Books with sex and drugs don't work
here very often, although if the characters
and writing were strong enough we wouldn't
rule it out. Books for even 13-year-olds have
to compete with John Grisham and Danielle
Steele, so they're tough. For us, middle grade
is ages 9-11 (third through fifth grades)
and YA 12 and up.
5.
E.D.: What are your needs for middle-grade
novels? YA? Are you interested in series?
S.K.:
We are looking for fiction — mainly
for the 9-11 group. We don't do many series,
and mostly only after the first book has done
well.
6.
E.D.: What are three strong features of a
well-written middle-grade novel that catch
your eye? For a YA?
S.K.:
Strong characters, interesting/great voice,
and quick-moving plots for both.
7.
E.D.: What does your ideal cover letter include?
S.K.:
A short synopsis, information on previous
books (titles, illustrators, publisher, sales
figures, and reviews if possible), and a little
bit about the author's experience that led
him or her to write the story (very brief)
8.
E.D.: Do you accept simultaneous submissions?
S.K.:
Yes, but we ask to be notified if another
house shows interest. We don't like simultaneous
submissions with other imprints of Penguin
Putnam.
9.
E.D.: How do you feel about receiving more
than one manuscript in the same envelope?
S.K.:
Two or three (picture books only) is OK, more
than that gets difficult.
10.
E.D.: What are some common mistakes that authors
could avoid when submitting?
S.K.:
Don't send illustrations (or illustration
directions unless it's really unclear in the
text); don't break up the text on separate
pieces of paper; don't use a fancy font or
all caps (it's distracting)
11.
E.D.: How do you feel about authors who request
that you "recycle" the enclosed
manuscript rather than use a SASE (to avoid
international postage)?
S.K.:
That's fine.
12.
E.D.: Are you willing to read a French manuscript?
Would you be willing to read an English synopsis
of a French manuscript?
S.K.:
I don't speak or read French, and a synopsis
wouldn't help much because I wouldn't be able
to tell what the writing was like. (not very
encouraging, I know).
13.
E.D.: What are your illustration needs at
this time?
S.K.:
We are always looking out for interesting
illustrators, but it often takes a while to
find the correct manuscript for a particular
person. If we like someone, we will keep them
in mind — sometimes for years.
14. E.D.: To whom should artists send samples?
A: Cecilia Yung, Art Director, and
the editors (Kathy Dawson, Victoria Wells
and myself)
15. E.D.:
Any additionnal advice for those of use living
abroad?
S.K.:
Email is awesome — it cuts down on the
time tremendously. Try to write about universal
childhood experiences. Publishing books about
other cultures is great, but they have to
appeal to the American audience.
Erzsi
Deak |
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