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March 31, 2017 by Steven Spatz, President of BookBaby, excerpted and adapted from The Hybrid Author Game Plan: Self-publish Your Way To A Traditional Publishing Deal.

There are many ways to approach a hybrid publishing strategy, but the premise is simple: take the elements from the traditional and self-publishing models that best suit your situation.

Not long ago, BookBaby exhibited at a writers conference, and I spent a weekend with authors from all over the country. Many had journeyed thousands of miles and spent hundreds of dollars hoping to pitch their manuscripts to agents attending the event.

Most of these same authors passed my table without so much as a look.

Why? Because they had decided to put all their efforts towards pursuing a traditional publishing career. The few I did manage to coax into talking told me the same story over and over: self-publishing wasn’t part of their plan.

My response to them? “You need a different plan!” I told them there was a different way to accomplish their goal. Traditional publishing vs. self-publishing is not an either/or endeavor. You can do both; in fact, you should do both. That approach is working for thousands of writers just like you.

Hybrid publishing

It’s called hybrid publishing, and authors of all kinds – experienced New York Times best-selling writers all the way to first-time authors – are using this approach. In my book, The End. Now What? I spend a chapter discussing the pros and cons of traditional and self-publishing. But, what if neither feels quite right? You like some aspects of both models. What if you want to do both?

That’s the answer: do both. Try as many things as possible to jumpstart your writing career. This dual model combining self-publishing and traditional publishing empowers authors and publishers alike.

Hybrid publishing is difficult to pin down because it’s dynamic; there are many different ways to approach this kind of strategy. There are clear steps, benefits, and drawbacks to the distinctly separate models of self-publishing and traditional publishing. By pursuing a hybrid publishing strategy, authors take the things from each model that best suits their own situation.

The more recent development to the hybrid publishing approach is that most publishers encourage and applaud this course. Traditional publishers gain from writers’ trailblazing efforts, making for a tailored, innovative approach to publishing.

Your hybrid publishing game plan

Hybrid publishing is difficult to define because there are so many possible variations. That’s the beauty of this approach, because every author’s situation is different.

One more bonus: This approach can be applied to a single project or an entire career. Take a look at some of the most common examples of hybrid publishing strategy.

Author A
Author A’s career started with traditionally published books, but watching the rise of self-publishing, he decides to try it for himself. From there, the author publishes some books traditionally and self-publishes others. Hugh Howey is a perfect example of this strategy.

Author B
Author B has self-published several books and is picked up by a traditional publisher. She established an author platform and attracted the attention of an agent and/or publisher with her own marketing and sales. We’ve seen this happen first-hand within our building. Scott McCormick and Robert Lazzell signed a four-book contract with Puffin Books after self-publishing through BookBaby.

Author C
Author C gets a traditional book deal for printed book publishing, but continues to self-publish eBooks, retaining all digital rights and royalties. More commonly, authors – or even estates of authors – are using ancient pre-Internet contract language to assume digital rights. Recent court rulings have favored these “jailbreaks” away from the grip of legacy publishers.

And there are a dozen other possible scenarios that can employ both models at once. Simply put, these new hybrid models are changing the face of publishing. So what are the benefits?

The benefits of hybrid publishing

I’ve mentioned how hybrid publishing is a win-win for all concerned, including the traditional publishers. Traditional publishers benefit because they can sign authors who have already self-published and have established an audience. It’s like the National Football League depending on the college system to vet the next stars of the game. That’s a lower-risk investment for the publisher because they know the books should sell to existing readers and fans. Even if the sales aren’t spectacular, they can better judge the appeal of a book’s premise or topic when it’s a real, tangible product and not just a pitch letter.

You may have noticed how the movie studios showing the latest films at the local Cineplex tend to like sequels, or movie premises that seem like a “can’t miss” proposition. Nowadays studios are less likely to experiment with new, untested leading actors or actresses or try to cover subject matter that’s far from traditional movie plot formulas. They simply can’t risk $100 million misses.

On a much smaller scale, every new author is a risk for a publishing house. There’s no way to tell which books will make the bestseller lists and which ones will bomb. Mind you, we’re not talking about $100 million dollar losses here, but as traditional publishers are getting weaker in this new publishing climate, they cannot afford losing efforts.

Meanwhile, authors who self-publish are honing both their writing and marketing skills on a smaller stage, so if and when they’re picked up by a publisher, they have the proper experience to reach out to the broader audience that the publisher will expose them to.

Like I said: “It’s a win-win.”

http://www.scbwi.org/insight-new/on-the-shelves-shakespeare-co-offers-small-batch-publishing-at-new-locations/

New York-based bookstore Shakespeare & Co. has announced the opening of three new locations in Greenwich Village, the Upper West Side, and Philadelphia, in a year that has been very hopeful for independent booksellers. In February, the American Booksellers Association reported that the number of independent bookstores has risen 35% since 2009, with a collective sales increase of 2.6% in 2017. Dane Neller, the new owner of Shakespeare & Co., is optimistic about the future. “It’s gratifying,” he says. “Nice to see what I’ve always suspected—that there is a demand for beautifully curated bookstores.” But with its high-tech concept and many opportunities for self-published authors, Shakespeare & Co. does not look like the independent bookshops of the past.

Neller is also the CEO and co-founder of On Demand Books, the company behind the Espresso Book Machines (EBM) that have been popping up in indie bookstores around the US. Customers can use the print-on-demand feature to create copies of any book from a large virtual library, which can be printed and bound in the time it takes to enjoy a coffee at the in-store cafe. Neller plans to put one of these machines in every Shakespeare & Co., arguing that the machine’s efficiency can reduce shelf space and storage, while still giving customers access to millions of approved titles. Unlike struggling big box retailers, his view of a modern bookstore combines the vibe of an indie bookstore with the ease of an online retailer. He plans to make each Shakespeare and Co. store as neighborhood-friendly as possible, with unique designs that reflect the local architecture and spirit of the community. “If you can offer curation and community within an intimate space but also have the technology to get any book you want, that’s a real game changer.”

The Espresso Book Machine is of special interest to writers who wish to self-publish their work. An EBM produces paperback books between 40 and 800 pages, at a quality that the company guarantees is “indistinguishable from books produced by traditional publishers.” There is no minimum print run, so authors can order as many copies as they want, whenever they want, without worrying about where to store the extras. Authors can also upload their books as digital files in the EBM library, making them available to purchase for any customer who visits the shop. Neller believes this gives local authors a better chance to get their work into the marketplace. “It’s good to get your work online, but there’s a lot of clutter online,” he says. “At the same time, shelf space is very expensive, and some books don’t turn quickly enough to justify the real estate. Exposure is critical for authors. By putting their content on our technology, authors can get a store front to display and sell their content without ever being out of stock.”

At extra cost, Shakespeare & Co. offers a sliding scale of publishing packages, some of which include physical placement on the store’s shelves and author consultation services. The new stores in New York and Philadephia mean that more local authors will have access to Espresso Book Machines, and since Neller has plans to expand in future years, more locations may follow. Visit www.shakeandco.com for more information, or go to the flagship store at 939 Lexington Ave, New York, NY.

13-year-old Emma Yang already possesses the talent & depth of a writer many years her senior. We’re honored to feature her work on QuietRev. Today, she manages to find untold depths in her observations of a house cat. We hope you enjoy reading her work as much as we did (not only today, but years from now when, we feel sure, her byline will grace your pages).

Kittenish: playful and lively. A kitten isn’t a kitten if it doesn’t chase after anything in sight that wriggles, hops, or glitters. A kitten isn’t a kitten if it’s not always moving on to the next item or person, hopping from lap to table to rug, stretching out its paw for a string of yarn or a dust bunny. Therefore, this kitten isn’t exactly a kitten.

It has its paws folded under its bulky belly, face pressed against the swing hanging from the ceiling of a quiet living room. Its two hind legs are awkwardly draped over the side as it silently struggles not to fall off the seat. The suspense of being suspended in air doesn’t seem to bother it. One of its eyes, a thin slice of emerald, tracks a mosquito that zips around the room. The other eye is nowhere to be found. The cat doesn’t even twitch when an ancient air conditioner turns on and buzzes like a muffled jackhammer.

This kitten is a mystery, sitting for so long in such an uncomfortable position when it could be playing with its toys or lying on a comfy bed. Most people would be tempted to dismiss it as a failure, useless and unproductive. But a sedentary life is not necessarily an unrewarding one, and so many among us–cats and people alike–are driven by uncommon (but not unworthy) passions. A curious feline or human mind might be put to use studying the emotional effect of sleeping at various times on various couches, or seeing what happens if you roll your eyes back in your head too many times. These futile obsessions may only be relevant to those who pursue them. Even if they are accused of being boring, they secretly feel that their obsessions are the most intriguing, cutting-edge subject.

Such perseverance is like standing on a board precariously balanced on top of a ball. Staying stable is the difference between success and failure–lose your balance, and you’ll go tumbling to the ground as the ball rolls out of sight. It is frustrating that your audience has no sense of the sheer willpower it takes to stay still.

In the doorway of the living room, the little girl watches the cat and wistfully chews on one of her pigtails. This isn’t new for her. This lump of a cat seems eternally indifferent to her and to everything surrounding it, but maybe this time will be different…

Feet wearing socks like bubbles of pink gum thump across the floor. The porcelain trinkets on the rickety table clink against each other like faint windchimes over the sound of the girl’s delighted squeals.

There’s a twitch of an ear. A fully opened eye. The turning of a wide, swollen head towards the oncoming girl, whose pudgy outreached hands wake the cat from the reverie it worked so hard to maintain. Their two worlds collide like tornadoes, the overwhelming force of the impact blasting both of their ambitions into the air.

After hours of meditating in its own world, the kitten is paralyzed by shock. All is lost: the swing tips over and the cat rolls onto the ground. Its outstretched limbs twitch like those of a dying cockroach. The girl kneels by the swing, wondering why the cat has collapsed. For a minute, neither of them moves. Then slowly, the kitten rolls itself onto its feet and climbs back onto the swing, resuming its precarious position.

When I write, I am the cat on the swing, focusing entirely on maintaining my balance while girls run around in pink socks and other kittens chase after balls of string. Although it may look as though I am simply staring at a blank page for hours on end, behind this single-minded concentration is a flurry of mental activity: weaving threads of vivid observations, details, and anecdotes into a single, coherent piece. Lose your balance–lose your focus–and you have to start all over again.

Perseverance is a skill that I have cultivated through reading stories. I have explored new ways to find deeper meanings or common threads in my experiences and stories. This kind of thinking and writing takes a lot of concentration, as well as a commitment to tune out the thousands of distractions that grab at my attention. Sometimes when I’m writing on the hard floor against my locker in the hallway, staring at my laptop, I pause to listen to the tempting chatter of my classmates across the hall in the computer lab. Some are listening to music on their iPhones and gossiping; others are watching YouTube videos. Every so often the elevator door opens and a couple of my friends walk through, laughing at funny stories from the weekend. All the while, I keep my eyes glued to the words on my screen, until I cannot help but look up and call my friend over for a chat. The half-filled page looks daunting when I turn back to my computer, and I feel guilty for losing my thread of ideas–but I take a deep breath, regain my focus, and start typing again.

Stories can be about so many things, from family roots to dramatic descriptions of mindless tasks. They have taught me that everything contains a story, and it is the job of the writer to find and tell that story. Sometimes narratives reveal morals and truths that I had never thought about before, and as a reader of stories I have enthusiastically experienced authors’ discoveries through the words they write. Who knew that a story about a never-spoken-of aunt could help someone find her own identity? Or that a family picking apples could offer a lesson about freedom? Or that a cat falling off a swing might inspire me to become a better writer? The passion to look closer, to listen harder, and to find meaning in everyday situations is at the heart of all the stories that we have read–and the ones I hope to write someday.

March 29, 2018 by IngramSpark Staff

One thing many indie authors come to terms with is that they’re not just publishing a book, they’re starting an author business. Here's what you need to get it going: a publishing imprint comprised of an appropriate name and logo, a budget that takes into account the book marketing you'll need to do to make that money back, and—more likely than not—a little hired help.

Choose a Business Name/Publishing Imprint

Your publishing imprint might not carry the kind of power and weight associated with Penguin Random House or HarperCollins, but it does say something about the author brand you're building. Whether or not you plan to register your imprint as an actual business has little effect on what you should (or shouldn't) name it.

Consider the genre in which you write. When Little, Brown and Company started a new imprint for thrillers, they chose the name Mulholland Books, which references Mulholland Drive in California because of its notorious twists and turns.

Ask yourself what values you want your author brand to convey. If your romance novels have a Christian theme, you might steer toward values of chastity, Christianity, and faithfulness, and stay away from something overt like Let's Do It! Books. You might also consider the mission of your book and your author business. Is your book educational or escapist? Do you plan to write a book series? If you write nonfiction, informative books, you might want to incorporate words that refer to learning; Little School Books, History Ridge Publications, etc.

Optimize your imprint's searchability. If your last name is difficult to spell don't use it in your imprint; readers will have a hard time locating you when they try to Google your publishing imprint. Stay away from confusing words and phrases, and make your business name/imprint easy to remember.

Be original and make sure the name you choose is available. You cannot use the same imprint as anyone else. In fact, your business name should be completely original and not play on the name of another imprint. In other words, HarleQueen and HarleKing are much too close to Harlequin, so probably best just to steer clear and check the availability of the business name you want to use beforehand.

Remember, the name you choose as your publishing imprint will convey your author brand so choose wisely.

Choose a Logo for Your Publisher Imprint

Your imprint logo won't be as recognizable as the penguin on the spine of Penguin classics or the recognizable house of the Random House imprints, but you should still consider it the face of your author brand. Like your author business name, your logo should reflect the values you want to convey. Choose colors that match or complement your author website and keep it simple. Remember, the logo needs to fit on the spine of your books yet still be able to communicate your author brand at a glance, so best not to choose something too intricate. Like your business name, your logo must be completely original; you cannot use an image you don't own. Consider hiring a professional book designer to create an imprint logo for you. That way you'll be sure not to infringe on anyone's copyrighted image or use one that you shouldn't.

Set a Budget

You’re most likely already aware that as an independent publisher you'll be investing money in your book for services including editing, design, printing, shipping, and to purchase ISBNs. However, you should simultaneously be creating a sales and book marketing plan that enables you to earn that money back. Your book marketing strategy should be in full swing as you work to bring your book to market so you avoid digging a financial hole. Publishing a book and setting it for distribution will sell some books organically, but it takes more than that to sell a substantial amount of books. As the owner of an author business consider the marketing you'll need to do to get the word out about your book and help you recoup your investment when you begin the publishing journey, not after your book has already published.

Hire Help

Although you might have some professional skills in the areas of editing, design, website creation, publicity, and marketing, it's a monumental task to do it all. Should you decide to take it all on, be sure to do some research in order to find the best DIY tools available to help you do things the right way. And don't be shy about hiring the kind of help you need to give your author business its best chance for success.

Although starting your business can be fun and exciting, it's also a lot of work. But with a little guidance and determination, it’s well within your grasp to make it happen and make it successful as well.

The Authors Guild, Feb. 23, 2018

The Independent Book Publishers Association (IBPA) has released its nine-point criteria for hybrid publishers. The freely available “IBPA Hybrid Publisher Criteria” aims to support both authors and independent publishers by dispelling misconceptions and concerns about hybrid publishing.

The advantages of hybrid publishing come with certain risks and uncertainties, as is the case with any new business model. The IBPA’s criteria are intended to help authors navigate those risks and identify the reputable players by setting clear and balanced standards.

Over the last few years, we have seen the non-traditional publishing market expand as more and more books are being self-published and new business models are being experimented with. Hybrid publishing, as the name implies, lies somewhere between traditional publishing and self-publishing. Like traditional publishers, hybrid publishers perform a gatekeeping function by curating titles and catalogues, and they also distribute through all of the traditional trade distribution streams. But like self-publishing platforms, they provide no advances, and they typically pay higher royalties and exert less control over rights than traditional publishers. Like any new business model, the advantages of hybrid publishing come with certain risks and uncertainty; the IBPA’s criteria are intended to help authors navigate those risks and identify the reputable players by setting clear and balanced standards.

You can read the IBPA’s press release announcing the criteria here. And if you are an Authors Guild member interested in exploring alternative publishing models, including hybrid publishing, we encourage you to read Chapter 3 in The Authors Guild Guide to E-Publishing, which further elaborates the risks and benefits of non-traditional publishing.

Two years ago, Pettid and Cowdin closed The Reading Reptile, the Kansas City bookstore they had owned for 28 years, launched a nonprofit arts organization, and focused their efforts on building a museum modeled on San Francisco’s Exploratorium and St. Louis’s City Museum that would allow visitors to immerse themselves in classic children’s literature via interactive three-dimensional galleries, installations, and exhibits created by professional artists.

Artists Charlie Mylie and Nicholette Haigler's rendering of the front entrance of the Rabbit hOle.

The mission of the Rabbit hOle is to “create new readers on an unprecedented scale” in a world where “only around 50% of parents read aloud to their kids on a regular basis.” Readers “of all ages and all abilities” are invited, the mission statement declares, “to engage with the book and long-form narrative in playful, artistic new ways,” with the promise that experiencing stories in such a tactile way will “change lives and change the way we think about literacy.” The name pays homage to Lewis Carroll’s beloved Alice in Wonderland.

The Rabbit hOle will also house a printing press and bindery, a bookstore, a resource library, and a theater. Programming will include performances, maker workshops, writing and story labs, professional development for educators, and a full slate of national author events and residencies.  There will also be regularly scheduled presentations and workshops led by touring authors and illustrators to complement the full-scale 3-D installations, which will change every three or four months.

“In addition to its investment value, location, and overall accessibility,” Pettid stated in a release, “the property is a perfect fit for the project in terms of initial space-needs and anticipated growth patterns. [The area] is rapidly becoming a natural extension of downtown Kansas City and a cutting-edge destination. As a national destination and the first major cultural institution for children north of the river, the Rabbit hOle will not only benefit from, but help to advance current growth and development in the area.”

by Aly Murphy  February 20, 2018   http://murphysmanners.com/

My passion for writing began in the fourth grade. It was 1998 and an author came to my school, Belle Hall Elementary, to have lunch with a few lucky students. I was selected for the lunch date after confidently sharing with my fourth-grade teacher, Ms. Peninger, that I too would one day write a book.  On our last day of class, Ms. Peninger gave me a hardback journal with instructions to write in it all summer and come back as a fifth grader and share.

Fast forward to exactly twenty years later.  I am sharing my book, The Manners Contract, with a group of 1^stgrade students at Belle Hall Elementary and guess who walks in the room…  You guessed it.. Ms. Peninger, now Mrs. Inglett! To my wonderful surprise Mrs. Inglett is still teaching 4^th grade at Belle Hall Elementary and I am given the honor and privilege to come back a few weeks later and share this poetic journey with the entire fourth grade class. As I read the book to the shadows of my former 4^th grade self, I often paused to explain the process that went into the creative writing, editing, illustrations and publishing. Just as Mrs. Inglett inspired me 20 years ago, I am inspired once again to continue this presentation – The Making of The Manners Contract – not only to the fourth graders at Belle Hall but to students of all ages all over the Lowcountry.

But this story hasn’t just resonated with students. It seems that everyone from my hair dresser to my Uber driver has an idea or story they would like to see come to fruition. While the book might have appeared to simply show up on amazon.com overnight, there was about a year of trial and error that went into nothing short of this labor of love.

So, if you are a fourth-grade student or a 64-year-old dreamer, I’ve compiled a list of my top six tips for getting your next story published.

1.Write about something you're familiar with. I teach manners and mindfulness classes so it was a no brainer that I would write a book on manners. A book can also be an extremely lucrative business tool so don’t waste an opportunity on a book about your dog. Or do.. it’s up to you!

2. Don’t do it for the money. According to Forbes the average income for a self-published author is under $5,000 while authors published by traditional publishers have a medium income range of $5,000-$9,000.

3. Find an editor you trust. If you are writing in rhyme it is crucial to find an editor who is an expert in rhythm and meter. If you are writing for YA find someone who can work with you on plot and pacing. Either way, find someone you can trust so that critiques feel like progress being made rather than personal attacks.

4. Understand basics behind traditional publishing vs. self-publishing vs. indie publishing. There are pros and cons for each. To publish traditionally you will need an agent and if you are not a celebrity, plan on at least 100 rejections and at least two years of further editing and marketing before your book hits shelves. Once it makes it to print, the royalty rate is on average only 10%. The positive side is that there are no upfront financial costs, in fact, they pay you an advance anywhere between $6,000-$10,000.

Self-publishing bypasses needing an agent and offers individuals custom publishing packages depending on their wants and needs. These packages range from $400-$6,000 and offer basic to advanced publishing services such as ISBN, copyright, design, print, etc. Again, the royalties are slim and it can take years to earn back your initial investment.

If you don’t necessarily care for being told no or giving the majority of your paycheck to a middle man (like myself) there is a third option called Independent Publishing aka Indie Publishing. I used a local independent publisher called Palmetto Publishing who was able to format my manuscript and illustrations and have the book in print and on amazon.com in less than two weeks! There is a small fee for formatting, but they take zero royalties.  Speaking of illustrations, if you indie publish, you will have to hire a professional illustrator (this will cost 1k-6k) or create the illustrations yourself. I was incredibly lucky to have the opportunity to work with award winning artist, Tate Nation on my first book and have reached out to Charleston Artist Collective to interview local artists for book no. 2.

5. Take risks, embrace rejection and celebrate the rewards. To indie publish I had invest about 4k of my own money. 3k for the illustrations and another 1k in editing and publishing costs. When the book was finally available to purchase, I only had $18 left in my business account – that’s not even enough to buy a copy of my own book! Lucky for me, not too many schools are opposed to having a guest author share a lesson on manners for free. The money comes from the order forms I send home with students and my gratitude is debited to all the parents who have supported this 20- year-old fantasy turned reality. In only three months since the book launched, I’ve grossed double what most indie authors are predicted to make in a year. Not every school generates the number of orders I hope for, but when I get a school that does I make sure to celebrate!

6. Hustle. Nobody is going to sell your book better than you will. School readings have been my biggest motivator, but other avenues can be book signing parties, farmers markets, gift shops, children’s boutiques, etc. Last week, I even filled an order for a local car wash. There are no boundaries for your book when it is something you believe in and are willing to put in the time and effort to market, promote and sell.

So to Mrs. Inglett and all of the teachers who have dedicated their entire lives to the potential of their students, please know how much your hard work is valued and appreciated. The seeds you plant today (whether in 2 years or 20 years) become the roots that give us prospect and promise for the rest of our lives.

Aly Murphy is an international etiquette consultant based in Charleston, SC. She previously lived in Manhattan while she studied the history, social psychology and neuroscience of civility working with clients that ranged from former inmates to Wall Street executives. Aly discovered that while the rules of etiquette will continue to evolve and change over time, the need for acceptance and belonging remained timeless and at the core of our progressive society. When not working, Aly enjoys traveling, boating, chasing sunsets and hometeam.

Some of the best children's picture books are not on the best-seller list. Not even close.

HOUSTON - Nov. 28, 2017 - PRLog -- What's the last children's picture book you read? Was it by a best-selling author? It seems counter-intuitive, but some of the best children's books are very low-ranking on Amazon. That's because they are self-published. The authors who wrote these books are great writers — sometimes great illustrators, too. But, they may not be the best at marketing.

The Gittle List Book Competition, now in its fifth year, aims to find these literary gems and help their authors increase sales. "My contest offers something I've not seen anywhere else; free promotion for entrants," says Aviva Gittle, owner of Gittle Publishing. She is the host and sole judge of the contest that is exclusively for indie children's picture books.

Entrants are promoted in many ways throughout the submission period. "Anything from a tweet to being featured in a video," says Aviva. All of the promotions cross-market the author's book and The Gittle List competition. Aviva says it's a win-win and the true goal of the contest. Indie authors helping other indie authors.

Many entrants received free promotion over the nearly year-long submission period. Now, ten winners are being announced. Aviva reveals one winner a day, starting with #10 and working her way up to the #1 book of the year. Entrants and followers of the contest enjoy the anticipation.

Aviva says there's another important reason for the daily reveal. "I want each winner to get a day to promote their win. Kind of like being queen or king for a day." Each Facebook post announcing a winner receives paid promotion. Everyone is encouraged to share each of the posts. Winners are given more promotion throughout the holiday season.

To see the winners revealed, follow The Gittle List Book Competition Facebook page. https://www.facebook.com/TheGittleList/. "Please share — not just like — these Facebook posts and support indie authors. It's a couple of clicks and doesn't cost a cent to do so," says Aviva. Better yet, buy books on The Gittle List for the little ones in your life.

Featured books: Meet Odie earns the #9 spot and Which is mine? the #10 spot on The Gittle List 2017.

Have you self-published a great children's picture book? Follow The Gittle List Book Competition on Facebook to be the first to know about the 2018 submission guidelines. They are due out in January. Learn more about the contest at http://thegittlelist.com/.

Gittle Publishing writes and publishes stories for children in English and Spanish. Learn more about Aviva Gittle and her books at www.GoToGittle.com.

Author Kamilla Benko’s Top Five Favorite Books For Young Readers

Kamilla Benko | The Children’s Book Review | February 9, 2018

There are delicate moments of childhood when everything seems possible. A time when every wardrobe has the potential to lead to a kingdom, when the wind is just one whisper away from telling you a secret, and a letter from Hogwarts may arrive any day. For some kids, this feeling lasts a day, for others a week, and for a lucky few, years. My favorite books for young readers kindle that sense of possibility, and direct them toward the wonders of the real world.

A Wrinkle In Time

Written by Madeleine L’Engle

This is, of course, one of the most famous books in children’s literature, respected for its ingenuity and themes. What makes this book one of my favorites is its tacit permission to be angry. So many times, children (especially girls) are told how they should be or how they should behave, but in this book, Meg Murray is given permission to feel her feelings. And not only does the magical guardian Mrs. Whatsit tell Meg it’s okay to be angry, but that she is right to be angry…and that anger positively directed can be a catalyst for good.

Order a Copy Now: Indiebound | Amazon | Barnes and Noble

Ages 10+ | Publisher: Square Fish |2012 (Anniversary edition) | ISBN: 978-1250004673

The Princess Academy

Written by Shannon Hale

A book full of fresh mountain air and bright blue skies, this story features Miri of Mount Eskel, a young girl looking to represent her village well to the rest of the kingdom. And while Miri attends the prestigious Princess Academy, learning how to read and write, she also discovers there is a quiet magic in her mountain for those who are willing to listen. This original fairy tale is the best introduction to the basic concepts of economics, and shows how communities can change and grow with new information.   

Order a Copy Now: Indiebound | Amazon | Barnes and Noble

Ages 10-14 | Publisher: Bloomsbury USA Childrens |2015 (New edition) | ISBN: 978-1619636132

The Jumbies

Written by Tracey Baptiste

Tracey Baptiste dives into Caribbean folklore with her brave protagonist, Corinne La Mer. For Corinne, the Jumbies that lurk in the forest and in the sea aren’t just stories, they’re real…and they’re family. Throughout the series, Corinne encounters different legends as well as flashes of her island’s history, which was influenced by the slave trade. It is a beautiful commentary of the binding nature of stories. Author Tracey Baptiste explores how legends travel around the world, and how, in her own words, “these connected stories remind us that we are more alike than different.”   

Order a Copy Now: Indiebound | Amazon | Barnes and Noble

Ages 9-12 | Publisher: Algonquin Young Readers |2016 (Reprint) | ISBN: 978-1616205928

Love Sugar Magic: A Dash Of Trouble

Written by Anna Meriano

Newly published, Love Sugar Magic: A Dash of Trouble, is the story of Leo, the youngest of five sisters, who discovers that her family has been keeping a secret from her: they are all actually brujas—witches of Mexican ancestry—who run a magical bakery. The book is full of humor, tasty descriptions, and a fresh magic that underscores the power of generational stories and the magic of family without once sounding cheesy or cliché. The best books are a reflection of our world, and the author’s deft blend of Texan, American, and Mexican cultures will be a familiar for some and new for others, but will resonate with all.

Order a Copy Now: Indiebound | Amazon | Barnes and Noble

Ages 8-12 | Publisher: Walden Pond Press | January 2, 2018 | ISBN-13: 978-0062498465

Writing Magic: Creating Stories That Fly

Written by Gail Carson Levine

While it’s fun to press favorite narratives into kids’ hands, it’s just as important to give them the tools and space to capture their own moments of wonder. Gail Carson Levine’s Writing Magic does just that. This fun, interactive guide is full of writing prompts and helpful advice, such as, writing down your thoughts, as you may think you’ll remember what it’s like to be a kid, but you won’t. And as a former child and reader of this book, I am deeply grateful for this advice, for without it, I could have never written my own. Children should be reminded that writing is more than essays—it’s about capturing a moment in time to save for a rainy day.

Order a Copy Now: Indiebound | Amazon | Barnes and Noble

Ages 8+ | Publisher: HarperCollins | 2014 (Reissue) | ISBN-13: 978-0062367174

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The Unicorn Quest

Written by Kamilla Benko

Publisher’s Synopsis: Claire Martinson still worries about her older sister Sophie, who battled a mysterious illness last year. But things are back to normal as they move into Windermere Manor… until the sisters climb a strange ladder in a fireplace and enter the magical land of Arden. 

There, they find a world in turmoil. The four guilds of magic no longer trust each other. The beloved unicorns have gone, and terrible wraiths roam freely. Scared, the girls return home. But when Sophie vanishes, it will take all of Claire’s courage to climb back up the ladder, find her sister, and uncover the unicorns’ greatest secret.

Ages 8-12 | Publisher: Bloomsbury USA Childrens | 2018 | ISBN-13: 978-1681192451

Available Here:

About The Author

Kamilla Benko

Kamilla Benko spent most of her childhood climbing into wardrobes, trying to step through mirrors, and plotting to run away to an art museum. Now, she visits other worlds as a children’s book editor. Originally from Indiana, she currently lives in New York with her bookshelves, teapot, and hiking boots.