I’ve worked in publishing for about 15 years, but every year I’m caught off guard by the January phenomenon of aspiring authors who’ve resolved that this is the year they’re publishing a book. Manuscript submissions and calls about the publishing process become more frequent, as do inquiries about how to get into the industry itself. When we field these calls at the Association of Book Publishers of BC, we direct these individuals to various resources and wish them luck, but in 2021, I’d also suggest they pay close attention to the effects of the COVID-19 pandemic when pitching themselves to the industry, whether as an author or a publishing professional.
The year 2020 was tough: at the end of it, BC book publishers were projecting a 30 to 40 per cent decline in their annual sales, in line with what was being reported across the country. While many bookstores were reporting strong sales leading into the holiday season, store closures through the first and second waves continue to impact publishers’ cash flow, forcing difficult decisions about acquisitions, printing, marketing and overall business operations. It’s too early to say if the fourth quarter results of 2020 will indicate a gradual return to normalcy.
Industry consolidation also presents challenges for independent publishers, who invest in new and diverse voices. The pending sale of Simon & Schuster, announced in November 2020, to Bertelsmann/Penguin Random House, will create a behemoth that dominates market share. Books written by established and bestselling authors, and published by well-capitalized multinational companies, have a competitive advantage in a changed marketplace, where booksellers and, in turn, consumers may gravitate toward safer bets. Authors will also find a narrower market for their work, which may mean lower advances.
So where are the opportunities for change in book publishing in 2021 and beyond? The pandemic hasn’t really highlighted how much is possible so much as it has underscored what should have been happening already.
Nothing will replace in-person book events. That said, online events have increased accessibility, and I expect these will continue in a hybrid capacity, even when social gathering restrictions are lifted. Some of the best virtual events I attended in 2020 were those in which the audience could interact via the chat or be present on-camera.
Publishers also got creative, reinvigorating their sales and marketing strategies. They offered higher discounts to independent bookstores, experimented with digital licensing for schools and libraries and creatively engaged readers online. In BC, Orca Book Publishers’ digital class sets, Rocky Mountain Books’ Think Outside podcast and Arsenal Pulp Press’s author Twitter takeovers and @arsenalpups Instagram account are examples of successful adaptations.
Publishers are well-equipped to work from home, and many are meeting their operational needs by hiring more remote staff. While these are still early days, we may observe that publishing begins to decentralize from major urban centres with higher costs of living, better positioning West Coast companies to compete for and retain talent.
I taught in the SFU Master of Publishing program last fall, working with a brilliant cohort of emerging publishing professionals. While they’re understandably anxious about their job prospects, they’ve recognized that their experiences working independently and resourcefully in a remote learning environment are an asset to prospective employers. Up-and-coming authors and publishers alike will need to be comfortable using collaboration tools (not just Zoom!) and to hone their skills as thoughtful and efficient communicators.
Finally, we can’t let the pandemic overshadow our need to grapple with the industry’s diversity problems. Just as the deeply rooted societal inequalities that were further exposed during the crisis will not be undone simply because anti-racist books sold well in 2020, neither will book publishing’s own lack of diversity. There are numerous initiatives underway in Canada to hold the industry accountable for its lack of diversity, and to change who and what gets published, including the BIPOC of Publishing in Canada collective. The pandemic presents a watershed moment for publishers to re-evaluate outdated practices and to expand their communities and their impact.
Whether you are hoping to get published for the first time, move into a career in the industry or stay the course, publishing in 2021 and beyond is going to require more of all of us. I hope we’ll answer the call.
Diversity panels and half-hearted efforts at inclusivity haven’t brought
the change our industry needs. If Canadian publishing truly wants to excel and
uplift, we have to ask some difficult questions about who we publish, what we
publish, and how we publish—and we must ensure that both writers and the
industry professionals working to publish them represent the change we seek.
Cherie will talk about the need for ‘diverse’ voices in decision-making roles in publishing. Sharing her own experiences and challenges she will examine how publishers can provide readers with what they want while giving them an opportunity to fall in love with what they don’t yet know they want.
Cherie’s talk will be followed by a conversation with CBC journalist, Angela Sterritt.
About Cherie Dimaline
Cherie Dimaline‘s young adult novel The Marrow Thieves shot to the top of the bestseller lists when it was published in 2017, and stayed there for more than a year. It won the Governor General’s Literary Award, the Kirkus Prize in the young adult literature category, the Burt Award for First Nations, Métis and Inuit Literature, was a finalist for the Trillium Book Award and, among other honours, was a fan favourite in the 2018 edition of CBC’s Canada Reads. It was also a Book of Year on numerous lists including the National Public Radio, the School Library Journal, the New York Public Library, the Globe and Mail, Quill & Quire and the CBC. Cherie was named Emerging Artist of the Year at the Ontario Premier’s Awards for Excellence in the Arts in 2014, and became the first Indigenous writer in residence at the Toronto Public Library. From the Georgian Bay Métis Community in Ontario, she now lives in Vancouver. Her most recent novel for adults, Empire of Wild, published by Penguin Random House Canada in 2019, was named Indigo’s #1 Fiction Pick of the Year, and is forthcoming in April in the US through HarperCollins.
About Angela Sterritt
Angela Sterritt is an award-winning journalist, writer, artist and keynote speaker from British Columbia. In 2018, Sterritt won multiple awards for her CBC column, Reconcile Thiswhich explores the tensions between Indigenous people and institutions in British Columbia. Sterritt’s feature on missing and murdered Indigenous, women, girls and two-spirit people was nominated for a Canadian Association of Journalists Award. She is now writing a book on the topic.
Story by Jazmin Welch, Master of Publishing student
The MaRS Discovery District was buzzing with excitement this past week as I entered into BookNet’s annual Tech Forum & ebookcraft conference. I felt an overwhelming sense of curiosity, not knowing exactly what I would discover, but eager to soak in as much as I possibly could from some of the most innovative and prominent leaders in the publishing industry today. With my laptop open ready to take notes and a coffee in hand, I was all ears.
It was an absolute pleasure to see that the 2019 programming for both ebookcraft and Tech Forum had a strong focus on accessibility and diversity. Arguably publishers are still some of the most prominent gatekeepers of what content reaches consumers and therefore publishers have such an important duty in ensuring that diverse voices are heard and that the content they produce is accessible for all. I didn’t expect that I would be touched by the presentations at a conference about technology in the publishing world but it made me proud to be part of this traditionally colonial industry, whose current members are working incredibly hard to break away from the darker areas of it’s past to create a truly inclusive industry.
I had the incredible opportunity to chat with people from all over the world, including two men from O’Reilly in the States, and two women from Book Wire in Brazil, along with many young women from Penguin and Simon and Schuster among others. Their questions and comments brought so much more to the table.
Here is a recap of my highlights from the conference!
Diversity & Publishing
Ritu Bhasin of Bhasin Consulting Inc. was a stellar presenter, I felt like I was watching a Ted Talk, but the best part was that she gave the audience actionable tools to start using right away in order to create inclusive companies.
I didn’t realize that there were different levels of diversity. Compliance represents the level to which a company is simply following government regulated diversity legislature, diversity is the quantitative representation of groups which often feels like tokenism since it’s just looking at the numbers (for example how many women or visible minorities are working at a company), and lastly inclusion is the true qualitative inclusion of diversity into the company by allowing employees to bring their authentic selves to work. It is at this stage that anti-oppression and decolonization can really start to take place, and where employees don’t have to mask or deflect biases. At the inclusion level, companies can start to attack the system and unwind the underlying ideologies.
From here Bhasin went into a detailed analysis of bias which to her is the fundamental problem underlying the diversity issue. People are prone to bias as we are programmed to be afraid of people who are different from us. Bhasin takes care to back up her talk with neuroscience, really grounding her action steps in research. She says that to attack our own personal biases we need to start recognizing difference. The old way of thinking about diversity is to believe that we are all the same, but in order to actually catch ourselves and start to break down our inherent biases we need to make our unconscious decision making conscious. Bhasin defined a 2 step process:
Step One: In your brain consciously clock cultural identities
For example, “I am talking with an indigenous woman or a disabled person etc.”
Be aware of who you’re talking to. Identifying cultural identity is not the issue, it’s the meaning that your brain has attached to it.
Step Two: Try to determine what the meaning is that you’re attaching to that cultural identity but don’t beat yourself up about your biases. You have to probe yourself to find out why you have these biases. The presence of diversity in our midst is not being inclusive, you need to be having meaningful interactions to change your biases over time.
Bhasin also provided 4 strategies for inclusion:
Change your behaviour: Start with the steps above.
Expand your circles and practices: have more meaningful, deeper conversations, understand differences and acknowledge who you’re talking up versus talking down.
Reveal your personal side:the more empowered you and your team is, the more innovative and creative. Think about one thing about yourself that’s tied back to your cultural identity that you don’t share at work due to cultural bias? Start to share it and feel like you belong as you are.
Change the system: Change how we market books and hire staff to really create systemic disruption.
I found the candid fireside chat that Bhasin had with Leonicka Valcius following the presentation equally eye opening. I’ve already started to put her methods into practice. As a straight white cis woman, I have a privilege that can’t be denied and although I grew up with the ideals that everyone is equal and deserves to be treated equally, I understand that there are relentless underlying biases that are so deeply entrenched that I personally have so much work to do to unravel hundred of years of sterotying, bias and inequality. One thing that can be hard is having those meaningful conversations that I recounted above. Bhasin acknowledged that people typically avoid conversations with those different from us in order to not offend. I can attest to this, I think I’m being overly nice and then just end up saying nothing which will do us no good in terms of breaking down those biases. Bhasin recommended asking for permission. for example, upon engaging with a person who told her that they suffer from bipolar disorder, she said she asked them if she could have permission to ask her about her experiences as a person living with bipolar disorder. From there the deeper conversation could begin. I thought this was a very simple and powerful tool to open up the floor for meaningful discussion.
Diversity by the Numbers
Both Noah Genner of BookNet Canada and Kate Edwards of ACP presented on the state of diversity in the publishing industry. The 2018 Canadian Book Publishing Diversity Baseline Survey shows that the industry is still overwhelmingly run by white people especially in leadership positions, and is mostly composed of women, but less so in leadership roles. Edwards noted some of the initiatives that publishers are starting to implement to increase diversity in their companies. These included:
New recruitment strategies and hiring practices
Only offering paid internships
Looking farther afield for candidates
The removal of publishing experience as a requirement for getting a job
Writing job descriptions to be more attractive for people in diverse communities
Offering mentorship and professional development
Hiring sensitivity readers
Ensuring boards have diverse members
Genner’s data looked at diversity from the book and content perspective. BookNet’s survey found that 62% of respondents say they seek out diverse books and 22% say they can’t find what they’re looking for. People want to see books that represent themselves. The results are in! These are high stats and as members of the publishing industry we should be acting on these numbers.
Diversity and Data: Give the Readers What They Want!
The numbers presented by Genner and Edwards tied nicely into a presentation by Wattpad with Ashleigh Gardner. Wattpad is harnessing data and technology to bring more diversity into publishing. Because of their incredibly large user base of writers and readers they are able to see where people are located and the type of books they are reading. Emerging trends that Wattpad is tracking show a strong business case for diversity in publishing. For example a prominent tag right now is #muslimromance. LGBT stories are also growing in demand. People are looking for more diverse titles to read and love reading about strong women. The traditional publishing industry can be problematic to publishing diverse voices since publishers use comp titles to make a sales case for new books. In this model, diverse voices aren’t published simply because they haven’t been published in the past, but this issue is eradicated with Wattpad where users post their own stories and self tag them for Wattpad readers to find. If a book becomes popular and is read by thousands of people, there is no need for a comp title. The proof is in the data!
Data and Artificial Intelligence in the Publishing World
The consensus on this panel discussion of experts in the AI field was that AI will never operate entirely without human intelligence. For example you can get an AI to do your ebook tagging to speed up the process, but a human should still review it. An example provided was the website this person does not exist which showcases faces created entirely by AI, but you can still tell that a robot made them (for the most part). It will of course continue to get better, but it was reassuring to hear a panel of experts strongly concur that robots are not taking over any time soon.
The benefit of AI, is that it can harness and review millions of pieces of data and spit out the results of that review very quickly, tasks that no human mind could ever complete.
The panel also discussed neural net, a type of AI where there are no inputs added by the developer so the machine is let loose on large amounts of data to learn patterns on its own. This sounds like it would be great because there would be no bias that would be added inherently by the developer but unforeseeable issues still arise based on the data that the machine picks up. This can be problematic if people purposefully abuse the technology so that it learns unsavoury traits. Another example of this is the recent Amazon hiring story where the AI didn’t pick any female candidates because there were no women in their data set. Based on some backfiring AI’s, it seems like developer inputs are necessary. Since this is the case, there is a lot riding on the clean input of data. One of the panelists stated that, “if you garbage in, you’ll get garbage out” because your AI will spit your bad data and biases right back at you if that’s what data it’s been trained on.
AI’s need to be trained properly. For example, Google’s capcha is one of the greatest examples of a global AI training. Everytime you choose what parts of an image have a car in them to prove that you aren’t a robot, you’re actually training a robot to pick out objects in an image. I’ve submitted countless Kapcha surveys and had never considered that I was helping out Google in the process!
The audience for this panel was not filled with AI developers, so a key message nearing the end of the panel was to encourage all of us to jump hurdles with new tech, because the pain of learning will only become harder and harder as new technologies emerge.
All things Ebooks and Accessibility
The future of digital reading
Dave Cramer started the day off with a discussion on the future of digital reading (full presentation here). After recapping the history of ereaders and various ebook formats, he turned to the opportunities that lie ahead. Cramer spoke candidly and did not hold back his disdain for the fixity of certain ebook formats (fixed layout ebooks primarily). He noted that even big publishers make bad ebooks and that even though ebook development has come a long way, it still has a long way to go. He argued for digital publications to move to the web and away from their EPUB containers. The future of digital reading is the removal of the reading systems all together. Web publications should be produced in a browser friendly format or BFF (how great is this term), so that it “plays nice” across all devices and platforms.
Cramer often acknowledges the developers in the room who are actively working to make more accessible publications. There was a stirring sense of collaboration throughout the day. When speakers mentioned various code initiatives they are working on, they all gave acknowledgement to those who have helped them with the project and stated that it’s open access for others to build upon and refine. One speaker also linked to their project on Github in an effort to have the community actively report bugs. With this strong sense of community already forming in the morning of day one, I knew I was in for a great conference!
What makes a great EPUB?
Following Cramer’s inspiring talk, we then jumped into some specifics about ebooks (for the full powerpoint, click here). Shannon Culver from eBOUND Canada and Sabina Iseli-Otto from NNELS (National Network for Equitable Library Service) talked about what’s needed to really make eBooks right. This doesn’t mean how they look, but if ebook are made properly they should be as accessible as possible and they should be built to last. They started out by explaining exactly what it means for an ebook to be accessible, which they defined using the following elements:
There need to be options for reading
Sales should be directed to an underserved audience
Consider timeliness (accessible version to be out at the same time as a print book)
The ebook must be findable (accessible versions are each to find)
Make it inclusive and equitable, benefitting all
Keep in mind internet connectivity, and
Remember there is a shared accountability and responsibility (by all those involved)
The speakers then moved into a discussion on the state of current ebooks and the challenges we are still facing with the EPUB format. These include:
A lack of semantic tags
A Lack of page numbers (how do you cite text in a reflowable eBook?)
Proper alt text for images
Broken or incomplete table of contents
Inaccessible fixed layout ebooks are still pervasive
Difficult searchability and discovery
Many publishers still use EPUB 2 over EPUB 3
I was surprised to learn that in many cases, especially academic publishing, PDF’s are still a pervasive format for digital texts. Page numbers are very important in academic fields, which is very problematic when faced with the reflowability of EPUB’s. This is a hard issue to reconcile for a standardized format and this presentation opened my eyes to how difficult it is to create an ebook format that works for everyone.
I really liked the quote the speakers included by Marisa DeMeglio who stated, “accessibility should be accessible”. This seems obvious, but for those who are trying to create accessible publications, the guidelines should be widely accessible and easy to find and follow. They then cited many resources to use to help you build accessible EPUB’s such as Laura Brady’svideo on Lynda.com. Another issue related to creating bulletproof ebooks is that ongoing training is required, but it’s an important investment for publishers to make.
In the end, they made a case for “born-accessible publishing” which is the creation of documents that start accessible rather than it being an afterthought. Accessibility for edge cases really ends up benefiting everyone, such as the ramps that are designed to allow wheelchairs easy access into buildings that also help out the larger user base of parents pushing strollers up the ramps. Accessible ebooks benefit those with perceptual disabilities but they also improve SEO and discoverability. It’s good for everyone!
Pagination in the Browser
The following presentation by Nellie McKesson of Hederis was incredibly exciting but also quite technical. She discussed how the platform Hederis allows publishers to create publications directly in the browser (based on paged.js). Starting with uploading your Microsoft file you can convert to EPUB and print PDF. Launching in the summer designers will also be able to go into the browser based publication and typeset the document. This was absolutely fascinating to see! I look forward to the launch of the design portion and I’m marking my calendar so that I can run one of my projects through the platform. This seems like an absolutely ground-breaking and revolutionary approach to publishing that will empower all publishers to create better works without needing a strong coding background. This was one of the best parts about the conference that I was a bit intimidated about at first: programming. Even though some presentations were technical, the speakers made them easy to follow and had valuable insights for people who know very little about the coding that goes on behind the scenes in ebook production like me!
Ebooks that Last
One problem I hadn’t spent much time thinking about before this conference is the ebook backlist. Teresa Elsey’s presentation (found here) on the issue of old ebooks and best practices to ensure the longevity of ebooks was eye opening.
The purpose of Elsey’s presentation was to empower teams to have the knowledge to create publications that can be passed down and will last longer than the teams in publishing houses that have specific knowledge. Ebooks in essence must be built to last.
One really great insight I hadn’t considered is what a bad ebook can do to sales. Elsey was Houghton Mifflin Harcourt’s Senior Managing Editor (Digital) where she handled ebook issues that were reported back to the company where she and her team would work on resolving them. When an ebook and print book go live on Amazon for sale, an ebook user gets access to the publication right away, as soon as it’s purchased. If they see an issue with the file, such as no table of contents or some reading error with the text, it’s possible that they will immediately post a bad review about the books functionality. Meanwhile the print reader won’t have even received their book in the mail yet, and they would not likely post any kind of review about the content of the book until they are finished reading it however many weeks or months later. The ebook reviews come out immediately and a 1 star review on the day of the book’s launch can have an incredibly negative impact on online sales. The immediacy of the digital format makes it’s proper creation even more important.
Elsey went on to describe digital practices to ensure that ebooks can be effectively achieved without losing future functionality such as using Internet Archive to ensure that your ebooks don’t succumb to link rot (link rot of just 2 or more links in an ebook can lead to the whole book being rejected by a retailer).
Here are some specific tips that Elsey provided for ensuring the longevity of ebooks:
Don’t be cute: don’t have design elements that are fragile
Don’t be clever: being conservative is important when you’re implementing features into a 500+ book backlist, think about being bulletproof
Use html first over css
Build all ebooks the same way (they should be automatable and low touch)
Edit source files not outputs
Save high-quality assets
Follow the standards
The User’s Perspective
This presentation by Kai Li was incredibly important as he talked from his lived experience with a perceptual disability. This was a call to arms for publishers to hire people with disabilities for all stages of content creation, but not just as the companies spokesperson for people with disabilities. Just like the exhaustion that visible minorities feel to be the beacons of diversity, people with disabilities have more to offer than their insights on the issues with accessible publishing. Li notes that people with disabilities are incredibly innovative as they have had to become the ultimate problem solvers to navigate a world that is so often not accessible, they are also highly productive. Li also cited a report that found that companies who hired people with disabilities had a 28% higher revenue than those who did not.
If you’re interested in checking out more of the presentations, the live videos will be up soon, but the powerpoint presentations from each speaker are already live if you click on their corresponding event listing here.
One of my biggest takeaways from the conference… I need to get on Twitter so that I can interact more with the industry and speak to these amazing publishing professionals. It seems to be where the publishing conversations are taking place. In all seriousness though, I am honoured to be part of this incredible industry and I look forward to the future of publishing knowing that these incredible people are leading the charge. Now it’s time to put the learnings from this conference into practice!
This February, Publishing Unbound is coming to Vancouver (February 9-11, 2018). This event came about as a way to bring together authors, activists, scholars, and publishing professionals in Canada to discuss inclusivity and accountability in the publishing industry.
Over the last year or so, many necessary conversations have taken place in the world known as CanLit. We have talked about the structural role racism, sexism, and colonialism play in the publishing industry; now we need to talk about what concrete steps we can take to change this industry for the better.
Publishing Unbound spans two and a half days, organized in conjunction with the Simon Fraser University Publishing Program’s Emerging Leaders Symposium (a weeklong event which fosters connections between MPub students and industry professionals). It begins on Friday, February 9 with en evening of readings and talks open to the public. Registration for this evening is currently full, but there is a waitlist in case of cancellations.
Speakers on the Friday night panel include Kateri Akiwenzie-Damm, an Anishnaabe writer of mixed ancestry from the Chippewas of Nawash First Nation and founder of Kegedonce Press; David Chariandy, Associate Professor of English literature at Simon Fraser University and 2017 Rogers Writers’ Trust Fiction Prize winner for his novel Brother (McClelland & Stewart); Jordan Abel, a Nisga’a writer from BC pursuing a PhD at Simon Fraser University and the winner of the 2017 Griffin Poetry Prize for his third book, Injun (Talonbooks); and Vivek Shraya, Assistant Professor of English at the University of Calgary, founder of Arsenal Pulp Press’s new VS. Books imprint, and an award-winning artist whose body of work includes several albums, films, and books. The panel will be hosted by Erin Wunker, Assistant Professor of English at Dalhousie University and author of the award-winning Notes from a Feminist Killjoy: Essays on Everyday Life (BookThug).
Assistant Professor in Publishing Dr. Hannah McGregor, who was instrumental in organizing Publishing Unbound, said, “The inspiration for [the event] came when I was trying to add readings to the PUB 800 [Text & Context: Publishing in Contemporary Culture seminar class] syllabus. I was new to the [Master of Publishing] program and I wanted more readings on the syllabus that spoke to race, class, gender, disability, and sexuality.”
She put out a call on Twitter, expecting to be inundated with papers and articles and assuming there was lots of work that she just hadn’t heard of.
Instead, she received an underwhelming number of responses and was struck by the realization that there is a significant gap in publishing studies as a field that speaks to the systemic barriers to access in the industry.
While the second day and a half of this event consists of closed roundtable workshops (no audience), Publishing Unbound will be disseminating the results of the discussions to the public at a later date.
For those unable to attend the Friday night session, the event will be recorded and shared publicly.
Many Worlds to Walk In: Exploring Diversity in Children’s Literature, Librarianship, and Education is a one-day conference at UBC on April 30, 2016 showcasing graduate student research in children’s literature.
Call for Paper Proposals
Deadline for submission: February 15, 2016
Many Worlds to Walk In: Exploring Diversity in Children’s Literature, Librarianship, and Education seeks papers for a peer-reviewed graduate student conference on children’s literature, media, and culture taking place at the University of British Columbia on Saturday, April 30, 2016.
You are invited to submit an academic paper proposal that contributes to research in the area of children’s and young adult literature, librarianship, education, media, or cultural studies. Submissions of creative writing for children and young adults are also welcome.
We are particularly interested in research and creative pieces that draw on the broadly interpreted theme of diversity–including research on narratives that depict diversity and the diverse formats we use to create and share narratives.
Topics may include, but are not limited to:
Diverse theoretical perspectives on children’s and young adult literature (e.g. postcolonial, feminist, queer, eco-critical approaches)
Multiculturalism and stories of underrepresented, marginalized, or disabled populations
Underrepresented formats of stories for children and young adults (graphic novel, picture book app, etc.)
Inclusive programming and services in children’s librarianship and education
Indigenous and aboriginal narratives
Oral storytelling and sign language storytelling
Newcomer, refugee, and immigrant narratives
Otherness and trans-national identities
Problematic interpretations and definitions of diversity
Diversity within genres: boundary-pushing books, films, etc.
Cross-media adaptations of children’s and young adult texts
Translated and multilingual texts for children and young adults
Resources and services for multilingual readers and families
Empathy-building through story
Imagined identities: diversity in fantasy, created worlds
Multiple perspectives on historical events (Holocaust narratives, etc.)
The topics above are a guideline for the proposals we would like to see, but we are eager to receive paper proposals on any facet of diversity in children’s and young adult texts.
Academic Paper Proposals
Please send a 250 word abstract that includes the title of your paper, a list of references in MLA format, a 50 word biography, your name, your university affiliation, email address, and phone number to the review committee at email@example.com. Please include “Conference Proposal Submission” in the subject line of your email.
Submissions of creative writing for children and young adults in any genre are welcome, including novel chapters, poetry, picture books, graphic novels, scripts, etc. Please send a piece of work no longer than 12 pages double spaced. (Anything shorter is welcome– poetry, for example, might only be a page). The submission should include the title of your piece, a 150 word overview of your piece (describe age group, genre, and links to the conference theme), a list of references in MLA format (if you have any), a 50 word biography, your name, your university affiliation, email address, and phone number. Please send to the review committee firstname.lastname@example.org. Please put “Creative Conference Proposal Submission” in the subject line of your email.