Books and Arts Industry in Ireland.
| > | The Arts Council |
About the Arts Council | |||
| > | Clé | About the Irish Publisher's Association |
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| > | Create |
About Collaborative Arts in Ireland | |||
| > | Culture Ireland | About Culture Ireland | |||
| > | Dubray Books | About Bookselling in Ireland |
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| > | Robert Dunbar - Critic | About Reviewing Children's Books in the Irish Media | |||
| > | Folens |
About Folens - Educational publishers |
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| > | Foras na Gaeilge |
Scéimeanna agus Feachtais | |||
| > | ICLA |
About Irish Copright and Licensing | |||
| > | Illustrators' Guild Ireland |
About the Illustrators Guild |
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| > | Inis |
About CBI's quarterly magazine | |||
| > | Ireland Literature Exchange |
About Ireland Literature Exchange |
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| > | Irish PEN | About Irish PEN | |||
| > | Irish Writers' Union | About the IWU |
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| > | Kids' Own |
About Kids' Own and publishing books by children |
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| > | Kids' Review |
About Books Reviews by Children |
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| > | Laureate na nÓg | About the Laureate na nÓg |
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| > | The Library Council |
About the Library Council | |||
| > | LISC-NI | About the Library Council in NI |
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| > | Mercier |
About Mercier Press |
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| > | NI Library Boards |
About School Libraries in NI | |||
| > | O'Brien Press |
About The O'Brien Press |
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| > | Faith O'Grady |
About the role of a agent (pending) |
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| > | Poetry Ireland |
About Writers In Schools | |||
| > | Public Lending Remuneration | About PLR |
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| > | Random House | About Random House Publishers | |||
| > | St Patrick's College | About St Patrick's Centre for Children's Literature | |||
| > | SCBWI Ireland |
About SCBWI |
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| > | Visual Artists Ireland | About VAI |
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| > | Youth Library Group |
About Youth Library Group |
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The Arts Council
The Arts Council of Ireland is the Irish government agency for
developing the arts. We work in partnership with artists, arts
organisations, public policy makers and others to build a central place
for the arts in Irish life.
The Arts Council remit in literature includes support for the writing, presentation and publication of high quality poetry, fiction, short fiction, children's literature, critical writing and some forms of creative non-fiction. These supports range from the provision of bursaries to individual writers through to annual funding of literature resource organisations, publishers, publications and festivals. STRATEGY The Arts Council's overall strategy is detailed in Partnership for the Arts and individual action plans are published in Partnership for the Arts in Practice. In terms of literature, we are working to achieve the following goals:
Clé CLÉ is the Irish Publisher's Association established in 1970 as a response to the need felt by publishers to share expertise and resources in order to benefit from opportunities and solve problems which were of common concern to all.
Guinness Enterprise Centre
Create is the national development agency for collaborative arts.
They provide advice and support services to artists and arts
organisations working collaboratively with communities of place and/or
interest.
Create supports artists across all art forms who work collaboratively with communities, be they communities of place or communities brought together by interest. Collaborative arts is a dynamic and contemporary form of arts practice. Related and similar ways of working can come under the headings of participatory arts, socially engaged arts and in the theoretical realm closely linked to relational aesthetics. Work that is made collaboratively often exists outside of the gallery or takes place outside the traditional theatre space. It can also be interdisciplinary and, for example, involve a musician working with a visual artist or an architect with a dance artist The exploratory processes and practices of collaborative arts demand different approaches to traditional definitions of art, artists and arts development. Create responds to these demands by offering a range of services for artists and arts organisations which include Professional Development, Learning Development, Project Management and Consultancy and Projects and Initiatives that support and develop collaborative arts. Professional Development Create provides a number of services to assist the professional development of collaborative arts practice including the Artist in the Community Scheme, and a range of CPD workshops. Learning Development Create encourages, supports and fosters initiatives around learning to expand and challenge the thinking about ideas, processes and practices in the collaborative arts arena. Working in partnership with a number of arts organisations and educational institutions, Create provides experiential learning opportunities for artists looking to develop the skills to work collaboratively with communities of place and/or interest. Project Management In addition to the free services we offer artists and arts organisations, Create provides management and consultancy services, either funded directly by clients or supported by third-party agencies. Services include incubation, organisational development, project and programme development, research and other support. Projects and Initiatives A number of projects and initiatives Create have been in partnership with include Arts and Disability, Garda Vetting Affiliate Service and a range of publications which include their own quarterly arts journal, Contexts.
10-11 Earl Street South
Culture Ireland is the Irish State Agency that promotes the best of
Ireland's arts and culture internationally and assists in the
development of Ireland's international cultural relations. The
organisation was established in 2005 by the Minister for Arts, Sport
and Tourism and comprises a board of directors appointed by the
Minister and an executive staff led by the Chief Executive.
We offer financial support for Irish artists, arts organisations and cultural practitioners to:
We support international showcases by:
We provide information through:
We support the development of Ireland's international cultural policy by:
We foster international cultural relations by:
Culture Ireland
Mary Esther Judy is a children's bookseller with Dunbray Books in Galway. Dubray Books is one of Ireland's leading independent booksellers.
CHILDREN'S BOOKSELLING: A BOOKSELLER'S PERSPECTIVE
Mary Esther Judy - Dubray Books, Galway. What does a children's bookseller look for when taking in new titles? Having had your book now written and published, and hopefully reviewed (though this frequently will not happen until the book has been released), you are now anxiously waiting to see it proudly displayed on the shelf in the children's section of your local - and in national - bookshops. First of all, I would like to state that I am speaking from the perspective of a bookseller working within a small independent Irish company. As such, we do not stock pile large quantities of selected titles for promotion and sale, but rather consider titles on an individual basis through a broader spectrum of publishers and representatives. This does differ from some of the larger multi-national chains, and can make a positive difference to the new writer in the Irish market. When taking in new titles, certain aspects of the book (over which booksellers have no control) have to be considered. I cannot stress enough that a children's book author should know their target audience. What age range is this book geared towards, what interest range? While specific age banding is a matter that is still up for considerable debate, having an indication of the age range the content of the book is aimed at will be invaluable to any children's bookseller. It is true, as well, that bookselling (and to some extent publishing) tends to run in trends, although a book that is well-written with a dynamic plot and characters is far more important than following the current pattern of interest, and may stand the test of time. Have you worked with children in regards to this book ie: gone to school classes and done readings from the manuscript, asked children of the appropriate reading level/interest group their opinion of what you are doing? Your harshest critics and strongest allies will always be the children themselves and it is important to remember they are the ones for whom you are writing. They are very honest and forthright about their reading material and they can spot insincerity in a heartbeat. I frequently give copies of new titles to young reviewers. Their opinion makes a strong difference to sales as they are the target audience. Knowing what children are looking for in a book is one of your greatest assets. As it has gone through the long process of publication, you will have already been advised and have carried out any rewrites or editing processes and it will be up to a publishing standard. It would be prudent to work with your publisher on the presentation of the book. Look at other books on the shelf in the children's section of bookshops and determine how the presentation quality of your book will stand up while sitting next to them. The presentation of the book is an aspect that is considered carefully by a contientious bookseller. While we are always told not to judge a book by it's cover, inevitably we all do. And children are particularly affected by the visual elements of a book. I cannot count the number of times I have seen a child look at the cover of a book and simply say "no". While this may not stop the bookseller stocking your book, it will most likely affect the quantity they will stock and how the book will be presented, and therefore, how many people will easily see your book in the bookshop. Please remember that in the children's section alone, there will be thousands of titles. Children's booksellers are presented with a huge number of new titles every month. While we would like to read them all, and many of us make a valiant effort, this simply is not possible. When considering a new book, we rely on the distributors' representatives to provide us with as much information as possible, so that we can promote and sell. The reps have a strong grasp of what books are coming out, what the initial reception of the book manuscript has been, and how much promotion and media attention is being given to the book. Also included are briefs or synopses, proof copies or manuscript copies, posters, pre-publication reviews..... any promotional materials your publisher is providing on your book. It gives us a clear indication of how well it will be promoted by the publisher and how much interest is already present in the market. From this, we can determine how much work will be required to present and draw attention to new titles. Many bookshops will promote a title as "Children's Book of the Month", or some such promotion, which will give a higher profile to that particular book upon its release. But selection of this title is largely due to the cooperation and communication between the publisher/distributor and the bookshop itself. Once your book has made it into the bookshops, the best thing you can do is to get out there yourself to generate interest about your writing! Local children's booksellers have valuable contacts for new authors, such as the local schools and libraries. They can assist you in efforts to get yourself and your book into the area schools for readings and classroom visits. Many schools try to maintain an "authors in schools" programme and are delighted to welcome writers into the classroom. As well as donating your time and energy to the children (remember, this is your audience), you are also generating real excitement for your wonderful new book. Once you have set up a date to visit schools, inform the area bookshops well in advance of your school visit. This gives us the time to check the stock level on your book and determine if we need to restock. Then inform the schools where your book will be available, so the children can purchase and read it in advance of your visit. Also, make yourself available to bookshops, as well as schools and libraries, for readings and events, especially during October for the Children's Book Fest, World Book Day in March and any local literary festivals. Do keep the local children's booksellers informed of your activities in their area. If you cannot contact them personally, make sure your publisher's rep has all the information to pass along. Call into the bookshops and meet the children's bookseller. Talk to them about your work. Sign any copies of your book that are in stock and enquire about the interest and sales to date. (Remember that local and regional sales of any book may differ. A title that is specific to Galway, may sell brilliantly in Galway, but not in Cork or Dublin.) This personal contact is always appreciated and creates more interest in the bookseller to promote your book. Also, given the number of children's books published, personal contact with the children's booksellers will encourage them to take a specific interest, and this leads to staff and personal recommendations. Your presence and availability as an author really does increase interest and sales of your book. It also helps to generate an ongoing interest in your book, which allows us to keep it in stock over a longer period. With such a volume of new books arriving in the bookshop, we unfortunately have to justify a book's place in stock by consistency of sales over time. As booksellers, we have very little, if any, impact during the publication process and can only work with the finished product we are given. But do keep in mind that we are not simply retail sales assistants. We are always looking for dynamic, interesting new additions to the vast collection of children's books and to facilitate enthusiasm for reading and children's literature. It is our job to hit the ground running with your book, and we have a keen interest in making sure your book is a success.
Dubray Books, Galway
The Reviewing of Children's Books Robert Dunbar- Critical Commentator
For the past twenty years Robert Dunbar has been a regular reviewer of
children's books for The Irish Times, Books for Keeps, The School
Librarian and a range of RTE radio programmes.
How does the process work? So, you have written your children's book, you have found a publisher for it, you are waiting for it to hit the nation's bookshops - and now you are hoping to have it reviewed; preferably, of course, to have it reviewed favourably. What happens? Let me make it clear at the outset that I am writing primarily in the Irish context; reviewing practices in, for example, Britain are rather different and, moreover, if your book has been published by an Irish publisher your chances of having it reviewed in a British publication (although it does happen) will be fairly slim. Your publisher will almost certainly employ someone whose job it is to distribute your book to the books section - usually presided over by the ‘literary editor' - of our various newspapers and magazines. It is this editor's job to select which of the hundreds of books that arrive every week in his or her office will then be reviewed, which reviewers will be called upon to review them and how much space will be devoted to them. All of these are a matter of personal, professional judgement and will vary from editor to editor. Writers themselves occasionally contact literary editors or radio programmes but such contact is unlikely to have any special positive outcome. Self-published books hardly every make the length of the review pages. As a general rule, Irish newspapers (unlike, say, British publications such as The Guardian or The Sunday Times), do not review children's books on a regular weekly or monthly basis, nor, except for certain individual titles, do they tend to have individual reviews and certainly not many of more than, perhaps, 400 words. Instead, reviews of children's books in Ireland tend to follow a seasonal pattern - Spring, Summer, Autumn and Christmas - and often in the form of ‘round up' reviews where the reviewer may have been sent up to ten books (usually linked by their being intended for a particular age group) and given perhaps 800 words to review a selection (or all) of these. Reviewers are free in this situation to choose which books they wish to review from what they have been sent - but they do not usually, in my experience, make their own choice of the initial titles that they will review. The various arts programmes on RTE Radio occasionally incorporate reviews of children's books but, again, not on any regular basis. My experience here is that the reviewer is given total freedom by the producer as to which books are going to be discussed but, since the time allotted is rarely more than ten or fifteen minutes, there is very little chance to consider the books in any detail. The best chance of having your children's book reviewed in Ireland will almost certainly be in Inis, the quarterly magazine of Children's Books Ireland. Not every Irish children's book published will necessarily be reviewed - though most of them are - and there are no ‘round up' features; instead, each book is dealt with individually, usually allocated between 200 and 300 words. This is also the practice followed in Britain in such specialised magazines as Books for Keeps and The School Librarian. If your book has been published by a British publisher, it will almost certainly end up with the editors of these magazines, among hundreds of other titles from which choices must ultimately be made. Both of these magazines also share the Inis practice of drawing on a large number of reviewers for each issue, one consequence of which is that the standards of reviewing will vary considerably, depending on the nature and extent of the reviewer's experience. Book reviewing, if it is to be done properly, is an exceedingly demanding kind of writing: attempting to convey the essence of, for example, a complex young adult novel of 400 pages in 300 words is a task not to be undertaken too lightly. If you are lucky enough to have your book chosen for review you will want a review which demonstrates an understanding of what you were trying to do in your writing (or illustration) and an assessment of how successful you were in your efforts. What you will not want - and you might be surprised how frequently it happens - is a ‘review' which merely summarises your plot or regurgitates the blurb on your book's jacket. And, finally, it is always worth remembering that what you may perceive as an unfavourable review does not necessarily mean the end of your writing career. The most critical review of an Irish children's book ever to appear in our newspapers was probably Eileen Battersby's review in The Irish Times of Eoin Colfer's first Artemis Fowl novel: he hasn't exactly sunk without trace since!
Folens
Folens Publishers has recently celebrated its 50th anniversary in educational publishing. We publish books for the Primary and Post-primary market from our base in Dublin 24, and we are always interested in hearing from new talent. If you would like to write or supply artwork for Folens, take a look at the steps listed below. However, please note that we do not publish general fiction or non-fiction.
Foras na Gaeilge www.leabhar.ie / www.gaeilge.ie Clár na Leabhar Gaeilge Scéimeanna agus Feachtais Scéim na Foilsitheoireachta Fógraítear an scéim seo uair sa bhliain. Tugann sé cúnamh d'fhoilsitheoirí leabhair Ghaeilge a fhoilsiú. Cuirtear tacaíocht maoinithe ar fáil sna réimsí táirgeachta, margaíochta agus forbartha.
Na Scéimeanna Scríbhneoireachta Scéim na nOidí Is í aidhm na scéime seo deis a thabhairt do scríbhneoirí i dtús a ré scríbhneoireachta comhairle faoina gcuid scríbhinní, agus faoi cheird na scríbhneoireachta i gcoitinne, a fháil ó scríbhneoirí aitheanta (oidí) Scéim na Scoláireachtaí Taighde Tá ciste teoranta ag an mBord chun scoláireachtaí taighde a roinnt ar scríbhneoirí Gaeilge. Déanfar na scoláireachtaí seo a dháileadh i measc scríbhneoirí Gaeilge a bhainfeadh leas as deontais taighde chun cur lena n-inniúlacht agus lena n-eispéireas. Scéim na gCoimsiún Is í aidhm na scéime seo ciste coimisiúnaithe a dháileadh i measc lucht liteartha na Gaeilge sa chaoi is go gcinnteofar soláthar sásúil sna réimsí éagsúla léitheoireachta. Scríobh Leabhar
Is éard atá i gceist leis an tionscnamh seo ná go n-iarrtar ar pháistí bunscoile leabhar a scríobh, rud a thugann an deis dóibh taithí a fháil ar an gcruthaitheacht, ar na scileanna agus ar an spraoi, a bhaineann lena leabhair féin a scríobh agus a fhoilsiú.
Reáchtáiltear Gradam Leabhar na Bliana i gcomhar le hOireachtas na Gaeilge. Tá dhá rannóg i gceist le Leabhar na Bliana, Leabhar do Dhaoine Fásta (Gradam Uí Shúilleabháin) agus Leabhar do Dhaoine Óga (Gradam Réics Carló).
The Publishing Scheme This scheme is advertised once a year. It assists publishers to publish Irish language books. Financial support is available in the production, marketing and the developmental fields. The Writing Schemes These schemes are advertised once a year. The Writing Schemes contribute to the abilitiy of writers to engage with the various aspects of the literary process. The Tutor's Scheme The aim of this scheme is to provide an opportunity to writers at the beginning of their writing career to receive advice about their writings and about the writing craft , in general, from recognised writers (tutors). Research Scholarship Scheme The board has a limited fund to allocate research scholarships to writers of the Irish language. These scholarships will be awarded to writers of the Irish language who would benefit from research grants, adding to their ability and experience. The Commission Scheme The aim of this scheme is to distribute the commisioning fund among the literary sector of the Irish language in order to ensure satisfactory supply in the various areas of reading. Scríobh Leabhar The aim of this project is to encourage primary school children to write a book; which gives them an opportunity to gain creative experience, skills and have fun in connection with writing and publishing their own books. Book of the Year
The Book of the Year Award is run in conjuction with Oireachtas na Gaeilge. There are two sections in question regarding Book of the Year, A Book for Adults ((Gradam Uí Shúilleabháin) and A Book for Young People (Gradam Réics Carló).
www.leabhar.ie / www.gaeilge.ie
ICLA The Irish Copyright and Liscensing Agency
What does copyright protect?
What is not protected by copyright? Some "works" are too small or unoriginal to be protected as copyright works. For example, single words, names, titles, slogans and headlines are unlikely to be protected by copyright - although they may be protected in other ways, for example as trademarks.
Protection is automatic A work is protected automatically from the time it is first written down or recorded in some way, provided that it has resulted from the creator's skill and effort and is not simply copied from another work. Depending on the circumstances, it may be difficult for an author to prove that he or she had created a work at a specific point in time. Proof of this fact might be needed in an action for infringement. An author can create such proof by sending a copy of the work to himself or herself by registered post, keeping the post office receipt and leaving the envelope unopened. Another way of creating this type of proof is to deposit the work with an organisation such as the Copyright Protection Agency, which, for a fee, will provide the necessary proof should the need arise.
ICLA
Illustrator's Guild
or This e-mail address is being protected from spam bots, you need JavaScript enabled to view it the IGI. Inis Inís is the quarterly magazine of Children's Books Ireland. Inís contains reviews and articles on Irish and international children's books and is the only publication of its type in Ireland. Inís takes an Irish perspective on children's literature issues. There is an emphasis on books published in Ireland or by Irish writers, but the magazine is international in its range, outlook and contributors. Inis is a key resource for schools, libraries, parents, writers and everyone interested in children's books. Inís means both ‘island' and ‘tell' in Irish and is pronounced ‘inn-ish'. Inís magazine was formerly entitled Children's Books in Ireland and took on its new name in 2002.The first issue of Children's Books in Ireland was published in 1989 and since then the magazine has continued to grow in scale, focus and readership.Back issues of both CBII and Inis are available for purchase (stock allowing) or for consultation in the CBI office Fiction reviews are arranged by age categories: 0-4, 4+, 6+, 9+, 12+ and older teens. Inís also carries reviews of poetry, information books and books for children's books professionals. You can try Inís for free. If you would like to recieve a taster copy of the magazine, please contact the CBI office.
Children's Books Ireland Ireland Literature Exchange
A not-for-profit organisation, ILE is funded by the Arts Council and Culture Ireland and the Arts Council of Northern Ireland. Established in 1994, ILE has funded the translation of over 1,200 works of Irish literature into 46 languages around the world.
Ireland Literature Exchange Irish PEN
Irish PEN is affiliated to International PEN, a worldwide association of writers with over 140 branches in 90 countries. PEN stands for poets, playwrights, editors, essayists and novelists. The organisation exists to promote friendship, freedom of expression, international goodwill and intellectual co-operation between writers from a variety of mediums.
PEN was founded by novelist Catherine Amy Dawson Scott who envisaged a dinner club where well-known writers could meet socially. The first dinner was held at the prestigious Café Royal in London in October 1921 with 41 writers in attendance, including Joseph Conrad, John Galsworthy and D.H. Lawrence.
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Conor Kostick - Chairman, 2008
The IWU has provided judges for the Glen Dimplex awards and the
European Union Prize for Literature and is a nominating body for a
number of important literary awards, including the Nobel Prize. For
children's writers it is relevant to note that the IWU is a nominating
body for the Astrid Lingren award. The IWU is also a supporter of the
work of the International Board of Books for Young People (iBbY).
Mission
Aims
Kids’ Own are a non-profit arts organisation. We have a holistic approach to the creative environment, which is passionate, ambitious and determined. Our programmes are devised to build the capacity, creativity and confidence within children to enable them to deal with, and participate in an ever-changing world.
The team that make up Kids’ Own are motivated by a belief in the power of creativity and good quality arts practice to make for a better education experience and a more intercultural society. Above all, the ethos of Kids’ Own is rooted in respect for children and their creative abilities alongside the belief that publishing has the potential to raise the status of their creative endeavours and personal self-esteem.
Kids' Own Publishing Partnership
Kids' Review is an online database of book reviews by children for children.
Kids' Review
was designed to give children a platform to express and share their
experiences of books they have read. Use of the Internet enables
children to communicate with a wider audience and can be used by both
mainstream and special schools, enabling children of all abilities to
communicate on equal ground. Our aim is to encourage children to read and encourage an interest in books.
Aimed at children aged 7 to 14, Kids' Review can be used from both home
and school so parents can become involved too. Features include
searches by title, author, series, genre, reviews and 'top 10' linked
to a database of 280,000+ titles and over 10,000 book reviews by
children for children.
Phone: (+44) 01322 433552 Fax: (+44) 01322 431537 PO Box 50 Belvedere Kent DA17 9AA This e-mail address is being protected from spam bots, you need JavaScript enabled to view it www.kidsreview.org.uk
Laureate na nÓg
Laureate na nÓg is a new project recognising the role and importance of literature for children. This honour is awarded to an established and dynamic children's writer or illustrator every two years. During their two year term the laureate will participate in selected events and activities around Ireland.
The laureate meets 4 key criteria:
Children's Books Ireland are the Project Manager for Laureate na nÓg. As project managers, CBI is responsible for coordinating the nomination process, liaising with and participating in the Steering Committee as well as overseeing and managing all Laurate events. Also involved in the program are The Arts Council, Poetry Ireland, Office of the Minister for Children and Youth Affairs, The Irish Times, and Eason.
The Library Council in Ireland is the Advisory body on Public Libraries to National and Local Government. An Chomhairle Leabharlanna (The Library Council) was established by the Public Libraries Act, 1947. The functions of the Council, as set out in the Local Government Act 2001 include:
Local Authorities will spend an estimated €125 million on library services in 2009
o 4 services are run by City Councils
The public library service is the largest information and cultural infrastructure in Ireland. See our Overview of Public Library Services for more information. For a list of library contacts and addresses see http://www.library.ie/weblog/public-libraries/ The Library Council 53-54 Upper Mount Pleasant Street Dublin 2 t: +353(0)1-676 1167 | f: +353(0)1 676-6721 | www.librarycouncil.ie
Library and Information Services Council - Northern Ireland LISC-NI is the umbrella body for libraries and information providers from the public, academic, government, voluntary and commercial sectors.
LISC promotes high standards in library and information services throughout Northern Ireland by:
What LISC has achieved so far:
www.liscni.co.uk
Eoin Purcell Mercier Press is Ireland's oldest independent publishing house, based in Cork. It was founded in 1944 by Captain Seán and Mary Feehan.
About Mercier
Mercier Press Ltd
Northern Ireland Education and Library Boards belb.org.uk / seelb.org.uk / selb.org.uk / neelb.org.uk Northern Ireland Education and Library Boards are split into 5 areas; Belfast, South Eastern, Southern, North Eastern and Western. They provide for Primary, Post-Primary and Special school as well as information and resources for Teachers.
Also go to www.librariesni.org.uk for information on local libraries across the country, services and upcoming events.
Libraries NI belb.org.uk / seelb.org.uk / selb.org.uk / neelb.org.uk
Ivan O'Brien - Managing Director
www.obrien.ie
Tips: You have a much better chance of having your work accepted if you keep in mind the reading age of
the child for whom the story is written. Submitting a story for ‘6 to
10 year olds' just doesn't work; the storyline will be too simple for
the older age and the words or concepts too difficult for the younger.
By all means ‘try out' the story on your children, grandchildren etc.,
but be aware that they may be responding to you and to your reading as
much as to the story itself. Keep the story child-centred, fast-paced
and designed to entertain as well as inform. The book should be one that a child would want to buy for themselves. A child can spot an ‘eat your greens' moral or an 'adults know better' tone from fifty paces!
Agents in Ireland - Faith O'Grady
Poetry Ireland - The Writers in Schools Scheme Jane O'Hanlon - Education Officer
www.poetryireland.ie
The Writers in Schools Scheme mission statement: To empower the
participant by facilitating a magical and memorable experience through
the imaginative, emotional and intellectual energy and belief in
language that the writer brings to the classroom.
The Writers in Schools Scheme is one of the longest running
arts-in-education programmes in the country. 2007 marked the 30th
anniversary of the Scheme, run by Poetry Ireland and funded by the Arts Council/ An Chomhairle Ealaíon. The Scheme part-funds visits by writers, poets, dramatists, illustrators and storytellers to primary and post-primary schools throughout the Republic of Ireland. There are over 250 artists for schools to choose from on the Writers in Schools Web-Directory of Writers.
How does it work?
WIS Officer: Anna Boner
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Address: 2 Proud's Lane
Phone: 01 4758601
Website: www.poetryireland.ie/education/writers-in-schools.html
The Library Council
Random House Random House Children's Books is a company of the Random House Group. It ranks amongst the top 5 children's publishers in the UK, and have 5 hardback imprints, and 2 paperback imprints.
Word length:
Anything from a line a page to 1,500 words maximum. However, a good
length for a standard story-based idea is 600 - 1,000 words. The aim of
a picture book is to capture a complete idea in the most succinct way
possible. Every word must count and there is no room for padding or
whimsy. In other words do not clutter your story with too much
incidental detail or dialogue. Do not wander off on tangents.
Illustration
Again, there are no guidelines as to what makes a successful children's illustration. There are hundreds of thousands of highly competent professional illustrators but only a very small percentage have the individuality and appeal that is essential to the creation of a children's book. There are, however, some basic requirements. The illustrations must be of a publishable standard. This doesn't mean that they must be technically perfect, but that the drawing and colour work are competent. They must be as individual as possible to the artist. Presentation It is not advisable to complete finished artwork before presenting a project to a publisher. Nine times out of ten the publisher will require changes to both the story and illustrations. There are also several standard requirements, such as format, length, design, etc. The following is an ideal presentation: Dummy of complete book with rough pencil illustrations and text in place One or two pieces of finished artwork. Publishing a picture book It can take anything between a year to two years from the date of acceptance for a picture book to be published. Stage 1 If the publisher is satisfied with the roughs she will ask the illustrator to start the finished artwork. However, sometimes the rough drawings can go through two or three stages. Stage 2 The publisher will look at the artwork when the illustrator has completed three or four pieces to satisfy herself that the quality is consistent and that there is not too much deviation from the roughs. Stage 3 The artist will deliver the complete artwork and will make any amendments deemed necessary by the publisher and will redo any pieces not considered up to standard. Stage 4 The text will be edited and any last minute changes agreed. Stage 5 The cover and inside design will be discussed with the author/illustrator and layouts will be prepared. Stage 6 The text will be proof-read and corrected. Stage 7 When the layouts have been approved they will be sent with the artwork to a colour separator who will prepare colour proofs. Stage 8 The colour proofs will be taken to a bookfair, either Bologna or Frankfurt, in order to sell rights to US and foreign publishers. Unless a picture book has a very high print run publishers can rarely afford to print for the UK market alone and need to sell at least one co-edition to make their prices work. (A co-edition is where you sell the rights to another country and print for them as well as yourselves). Stage 9 The book will be featured in the catalogue. Stage 10 The publishers representatives will start selling from the proof about three months before publication. Stage 11 The book is printed and copies arrive in the warehouse about six weeks before publication so that they can be labelled and packed in time to arrive at the shops on publication day. Stage 12 Two weeks before publication the book is sent out to reviewers. This is a general outline of the way that quality picture books are published. Mass market children's books, where the emphasis is on the product rather than the author and illustrator, have different criteria. Fiction Any work in which the balance of words is greater than the illustrations is classified as fiction. There are four main areas. Read aloud: These are short novels, usually in a series, intended to be read aloud to children, so although the subject matter must appeal to a young audience the vocabulary can be slightly more sophisticated than that of a picture book. The age group is approximately four to eight and these books are usually generously illustrated with black and white line illustrations. Read alone: These are short novels or collections of short stories intended for children just starting to read by themselves. The subject matter must be exciting or interesting enough to engage a child's attention fairly quickly as the reader may be struggling with new skills. We do not publish graded educational readers but the author must be aware that the text must be accessible to new readers. Age group seven to nine. These books are usually illustrated. Middle readers: These are full-length novels (minimum 30,000 words) for children of nine to twelve. These can encompass almost any theme but historical fiction, pony books and science fiction are not popular at the moment. Also, avoid at all costs fantasy stories about children who fall down holes (usually in trees) into a mythical world. This idea has been flogged to death. Stories about a brother and sister stumbling upon adventure while on holiday have also had their day. Young adult fiction: This is a difficult area as most young adults will be starting to read adult books, However, there is a market for books for children between the ages of twelve and fourteen. The most popular genre is strong, punchy social realism (minimum length about 40,000 words). The children's fiction market is very difficult at the moment as library budgets have been cut to the bone and even established authors are suffering. You will really need to write something exceptional to have a chance of being published. At the moment we do not accept unsolicited manuscripts. Publishers that do accept fiction submissions generally prefer a submission that includes a comprehensive synopsis and three sequential sample chapters. Always enclose a stamped addressed envelope and include a short covering letter very briefly outlining the plot and giving the intended age group. Don't worry about including sample illustrations unless you are a very talented artist, and then only send in copies, not original artwork. Most publishers receive a lot of unsolicited manuscripts, so be prepared for a long wait, usually between two to four months. Most publishers will not have time to give individual comments or advices so don't be discouraged if you receive a standard rejection letter. If your work is accepted, the editor will go through the manuscript in detail and will ask you to make any changes he or she feels necessary. At this stage changes mostly involve plot, structure or character development. When the final manuscript has been approved it will go to a copy editor who will check the grammar and spelling and prepare the manuscript for typesetting. At this point a cover will be commissioned and a rough drawing sent to the author for approval. When the book has been typeset, one proof will be corrected by the publisher and one will be sent to the author for correction. The author's corrections are collated into the publishers set. We then receive the final typesetting (camera ready copy) to check that all the corrections have been made. The book is then printed. The publishing schedule is the same as outlined for picture books above. I hope this information has been helpful and good luck with your work!
The Random House Group Ltd
St Patrick's Centre for Children's Literature
The St Patrick's Centre for Children's Literature and Culture is part of St Patrick's College Drumcondra, a College of Dublin City University.
Building on St Patrick's College English Department’s work in creating
and developing Ireland’s only taught MA programme in children’s
literature, and the College’s expanding doctoral programme in
children’s literature, the Centre provides a focus for the study of
children’s literature and culture in Ireland. The multidisciplinary
nature of the Centre enables scholars to focus on all aspects of
children’s and young people’s literature and culture, from classic
stories, poems, games and rhymes to comics, graphic novels, film,
video, rock music and lyrics, computer games, blog sites and text
messaging. The centre facilitates the engagement of young people in
taking ownership of and evaluating their own culture.
It hosts seminars and conferences, building on its record of publications in children’s literature and culture, and welcoming visiting scholars, experts and students from abroad. The Centre offers teaching and research fellowships and scholarships. It engages in joint projects with other institutions at home and abroad.
St Patrick's College
www.scbwiireland.wordpress.com The Irish Chapter of the Society of Children's Book Writers and Illustrators, SCBWI Ireland was established in 2007.
Founded in 1971 by a group of Los Angeles-based children's writers, the Society of Children's Book Writers and Illustrators
is one of the largest existing organizations for writers and
illustrators. It is the only professional organization specifically for
those individuals working in the fields of children's literature,
magazines, film, television and multimedia.
The SCBWI acts as a network for the exchange of knowledge between writers, illustrators, editors, publishers, agents, librarians, educators, booksellers and others involved with literature for young people. There are currently more than 22,000 members worldwide, in over 70 regions, making it the largest children's writing organization in the world. A Professional Guild The SCBWI speaks as a consolidated global voice for professional writers and illustrators. As a unified body, the SCBWI is a powerful force that effects important changes within the field of children's literature. Advisory Functions The SCBWI serves an advisory function for its members providing advice, information and counsel. Networking Regional Advisors coordinate local SCBWI events and activities for members in chapters all over the world. Critique groups, "shoptalk" groups, newsletters containing information of regional interest to writers and illustrators and social events enable members to share experiences and cultivate friendships. Grants To encourage continuing excellence in the creation of children's literature, the SCBWI has instituted grant programs. An important function of the SCBWI is to provide assistance and support to those working in the children's book field. Conferences Award-winning authors, esteemed illustrators, editors, agents and publishers present lectures, conduct workshops and give individual manuscript and art consultations at the Annual Summer and Winter Conferences organized by the SCBWI Executive Office.
www.scbwiireland.wordpress.com Visual Artists Ireland is the all-Ireland body for professional visual artists. As a membership organisation, it provides services, facilities and resources for artists, initiates artistic projects and publications and acts as an advocate on behalf of individual artists.
Services, facilities and resources
Visual Artists Ireland provides a range of services, facilities and resources to meet the needs of visual artists working in all media. These include training and workshops, provision of equipment and facilities, advice on insurance for artists, publications and e-bulletins as well as Info-pool. Info-pool provides practical information vital for all visual artists by artists working in the field. Artistic Programmes Visual Artists Ireland operates a number of artistic programmes. Visual Artists Ireland has initiated ongoing artistic projects such as its journal Printed Project and its media residency, Exercises in Folkatonica. It also has a policy of collaborating with artists and other arts organisations on the delivery of projects such as symposia, exhibitions and seminars. Artistic programmes provide opportunities for artists. They are also important for the organisation in that they facilitate a process of direct engagement with artists and the wider arts sector. This direct engagement allows the organisation to keep up to date with the needs, concerns and interests of practising artists. Advocacy, lobbying and representation Visual Artists Ireland is an advocate for the interests of individual artists, the visual arts sector and the arts in general. Visual Artists Ireland has a mandate to represent artists through its membership of professional artists. Visual Artists Ireland has the largest membership of creative artists in Ireland. The main programme of advocacy is focused on the larger issues, which affect the overall status of artists in Ireland. However, Visual Artists Ireland also reacts and responds to artists' individual requests for support or intervention on specific issues; for example, a dispute over commission procedures or a contract. The organisation's advocacy programme covers a range of issues both in the Republic of Ireland and Northern Ireland. It also takes an active interest in artistic and cultural policy issues at a wider international and European level.
Visual Artists Ireland
The Youth Library Group is an organisation for librarians, information professionals and all those working with or interested in children's and young people's books, reading development, the promotion of libraries and reading for pleasure.
Deirdriú McQuaid
The Youth Libraries Group, generally known as the YLG, is a very active
Group of the Library Association of Ireland. It aims to promote
children's books and reading activities through various programmes. The
Group organises seminars, workshops, and lectures on themes relating to
children's books and children's libraries. Some members of the YLG
serve on committees concerned with policy for school libraries and
general library services to children.
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