Interview with Yolanda LeRoy, Editorial Director, Charlesbridge

E-mail interview by Lisa Lodholm Gilman

Yolanda LeRoy is the editorial director at Charlesbridge (www.charlesbridge.com), an independent publisher of children's books since 1989. She currently works with Linda Sue Park, Eve Bunting, Kathy Lasky, Tony Johnston, Caroline Arnold, Iza Trapani, and Jerry Pallotta, among others. She began her career in publishing at Charlesbridge and has also worked as an editor at Candlewick Press. She is a former executive board member of the Foundation for Children's Books, a Boston-based non-profit organization for children's literacy, and is the founder of the Boston Children's Publishing Group, a social and networking organization for children's publishing professionals. LeRoy studied Russian language and literature at Harvard College, and she enjoys performing as a singer and actress in the Boston area.

© Mark Ludy

How many manuscripts do you receive in a day? A week? Of those, how many truly stand out to you and why?
Editors tend to think in terms of monthly submissions (“Have you finished all the June submissions yet?”), so I’ll frame my answer in those terms. We receive 200 general unsolicited manuscripts a month. In addition to that, there are probably about 100 manuscripts a month that come in addressed to specific editors (there are five of us). That adds up to an annual total of 3,600 submissions. We publish 25-30 books each year, so that’s a success rate of less than 1%. But I’m not trying to scare your readers! There are many manuscripts that stand out to me but don’t get published for one reason or another. Developing a correspondence with an editor is always a good move for a writer. It may take a few years for something to pan out, but consider the time an investment. As far as why a manuscript stands out to me, it’s always a combination of the writing and approach.

You have edited books covering a range of subjects: What are the benefits and/or disadvantages of this?
Actually, I really can’t think of any disadvantages. I love working on a variety of subjects and in a variety of literary styles and approaches; it keeps my job interesting and my editorial skills challenged. Over the years I’ve learned a lot about some peculiar topics. I’d probably be a mean Trivial Pursuit player if I had more free time.

What challenges you most in your work?
For me, balancing my managerial duties as editorial director with the nuts-and-bolts editing of my projects is a major challenge. Fortunately, I love both halves of my job. I find that motivating and developing staff is very like the process of motivating and developing authors and texts. It’s incredibly gratifying to watch an editor find her own editing style and voice and to watch her grow in confidence and ability, just as it is rewarding to see an author take my editorial suggestions and go the next step, creating something new and better than I could ever have imagined.

What subjects are particularly needed or underrepresented at this time?
I always get asked this question, and I always refuse to answer it! As a writer, you need to find what inspires you and not write to trends or topics suggested by others. I really believe this. In the hands of a talented and passionate writer, the most mundane, boring topic can become fascinating. That’s the power of language.

How does your editing style differ from others you work with?
I think I tend to be more focused on the technical side than some editors. I often combine line editing with conceptual editing. I’m definitely a type-A person, so I care about commas, for example. On the other hand, I’m an extrovert and enjoy the social aspect of my job. I think it’s really important to build a personal connection to my authors. So I do goofy things like use rubber stamps and funky paperclips on all my editorial letters. Some editors prefer to do all their work via email. I like a mix of phone, email, in-person meetings, and traditional letters. I try to tailor the approach to the personality of the author. I like to think I have a good sense of humor. I’m a firm believer in the role of the writer. Some editors take a heavy hand in their editing--I will never rewrite someone; that’s not my job. If I wanted to be a writer, I’d be a writer. I’m fond of saying that if you give me a blank piece of paper I don’t know what to do with it, but if you give me some text I can make it better.

What are the differences between working at an independent publisher versus a bigger house, such as culture, work, freedoms, advantages, disadvantages?
Oh, I have strong feelings about this. I really believe that smaller independent houses are where it’s at. I think they are the hope of the publishing future. Charlesbridge has an informal, collegial, and creative environment. I feel very much a part of a team. There is no competition among editors, which is unique. I think that’s because in some ways Charlesbridge is still a smaller fish in a big pond, and we feel united in our mission to get the word out about the good books we’re doing. Another major plus is the job security that we enjoy. We’ve never had the rounds of layoffs you’ll find at other houses, and I can’t imagine we ever will. It’s just not that type of business. Decisions are made by taking more than numbers and percentages into account.

On a mundane note, a smaller company is nice because most of our employees have offices. On the flip side, there are not large support departments like there are at other companies. People tend to wear many hats, which is challenging and interesting for the employee, but sometimes I miss the benefits of having an in-house copyeditor, an entire IT department, or a subrights specialist, for example. Another disadvantage is that fact that our acquisitions and marketing budgets are obviously not as big as they would be at one of the conglomerates. But I like to think that the personal attention and family business approach that we provide more than make up for that.

How have things changed at Charlesbridge since you started?
I’ve seen the company grow tremendously since I started here in 1995. Our staff has grown from three in the editorial and design departments to eight. I’ve seen our books receive more critical acclaim, I’ve seen great strides in our book design and overall look, and I’ve seen our image in the industry shift to the positive. We started doing fiction picture books and began working with Shakti for Children, our global diversity publishing partner, in 1997. We acquired Whispering Coyote Press in 1999.

We’ve always done good books, but something very exciting is happening here. We have a terrific team in place, and the books are getting better and better--and more well-received. In fall 2006, we’ll be launching our first “bridge book” list. We hired Judy O’Malley (formerly of Cricket, Book Links, and Houghton Mifflin) to head up this new publishing venture. These older-level books bridge newly independent readers from the picture books they love to early readers, young chapter books, and middle grade books.

What do you see happening in the industry in the next few years?
Well, I try not to comment too much on industry trends, since my expertise is really in my own work here at Charlesbridge. In some ways we’re isolated from the industry in a way that teachers, librarians, reviewers, and children’s literature specialists are not. That having been said, yep, I think the bigger houses will keep getting bigger, I think we’ll see more commercial projects, possibly more celebrity books, deeper discounts, and all that doomsday stuff that everyone talks about. But as I mentioned above, the smaller independent houses are there in the background, plugging along, making good books, and doing what we believe in. Everyone is going to have to get really creative with their business models in order to adapt. I think eventually publishers like Charlesbridge will step into the void left by the fiscal irresponsibility and shortsightedness of the entrenched publishing establishment, who have become increasingly influenced by their multi-media corporate partners.

Have there been surprises on any of your recent books? How did you deal with it/them?
I would have to say that every book has at least one surprise attached. Sometimes good, sometimes bad. You just have to roll with the punches and not be too inflexible in your editorial vision. Ultimately, it’s not the editor’s book--it’s the author’s and illustrator’s.

How often do you work with previously unpublished writers or illustrators? What was compelling about their work that you took a risk on them?
It’s written into the company mission statement that “we continually strive to seek new voices, new visions, and new directions in children’s literature.” It’s important to the survival of our industry that new voices are actively sought and nurtured. As a smaller company, we routinely work with first-time authors and illustrators. On a practical note, we can’t really afford to sign up the latest Caldecott-winning artist, so finding emerging talent makes sense from a business standpoint, too. I’d venture a guess that 10% of each list is comprised of first-time authors and illustrators. In addition, all of us editors make a concerted effort to seek out prospective new talent at national exhibits and conferences, such as those sponsored by SCBWI.

Is there any other insight or advice you can offer to our readers?
Well, bottom line: getting published is hard work. And it takes a bit of luck and timing. You’re not going to get far in this business if you’re impatient or thin-skinned. It’s important to recognize the difficulties and obstacles involved in the process, but it’s also important not to give up hope. I can tell you that time and time again, quality rises to the top. Do your work, pick up the pen or pencil, and hone your craft.