Editing

From Ursula

Posted by on Mar 13, 2017 in Childhood, Children's Literature, Editing | 0 comments

381134Ursula Nordstrom edited and published some of the greatest writers and illustrators for children: Maurice Sendak, Shel Silverstein, Ruth Krauss, Garth Williams, Margaret Wise Brown, and many more. I like to look through her collected letters for joy and inspiration when the creative slog feels longer than usual.

In 1953 she wrote to Meindert Dejong:

“Did I ever tell you that, several years ago, after the Harper management saw that I could publish children’s books successfully, I was taken out to luncheon and offered, with great ceremony, the opportunity to be an editor in the adult department? The implication of course, was that since I had learned to publish books for children with considerable success perhaps I was now ready to move along (or up) to the adult field. I almost pushed the luncheon table into the lap of the pompous gentleman across from me and then explained kindly that publishing children’s books was what I did, that I couldn’t possible be interested in books for dead full finished adults, and thank you very much but I had to get back to my desk to publish some more good books for bad children.”

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Books that Break the Rules

Posted by on Dec 17, 2014 in Children's Literature, Editing | 0 comments

Old booksI was an editor before I was a writer (still am, in fact), and I can tell you there are certain things you look for in a manuscript when you first pick it up, a sort of mental checklist before you can even begin deciding whether or not it’s a fit for your list and something your company could publish successfully. Will it fit in a recognized format? Does it have a protagonist of the right age? Does the main character grow and change as the book progresses? Does it preach an irritating and stuffy moral? Stuff like that.

It is surprising, then, when I’m reading the classics to my daughter, to find how many of them violate these rules. Like these:

The Best Christmas Pageant Ever: Can’t be beat for sheer transgressive fun and sly humor and a dead-on perception of the trials of childhood (like being FORCED to be Joseph in the Christmas pageant just because your father is the minister). Violates the rules by having a protagonist who is barely developed, doesn’t even get a name (!), and essentially exists as a set of eyes through which to see the action.

Charlie and the Chocolate Factory: The ultimate wish-fulfillment book, as tasty to read as a chocolate bar is to eat. Violates the rules by having a passive protagonist who does nothing to earn his good fortune—who, in fact, earns his good fortune BY doing nothing.

Stuart Little: There’s something just so oddly satisfying about this book, although I have trouble putting my finger on it. Is it the sharp perception of the experience of being tiny in a giant world, perhaps? Violates the rules by not wrapping up plot threads once they have been started. (Did Stuart ever find Margalo? Did he ever see Miss Ames again?) And the car that goes invisible, too. That part’s just silly, E.B.

And yet, they’re marvelous books. I enjoying reading them as much as my girl loves hearing them. So is the moral that geniuses (genii?) can break the rules, or that the rules are silly?

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