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From Cover To Coveris a fresh, up-to-date look at some of the best examples of children's literature today, and also includes practical advice on how to write clearly articulated, reasoned opinions so that others can learn about books they have not yet read.
It includes:
- a short explanation of the process of making a children's book from manuscript to final bound book
- a description of the importance of the many different parts of a book (jacket flaps, title page, copyright, Cataloging-in-Publication information, etc.)
- six thought-provoking chapters that explain how ot think about and critically evaluate several different genres of children's books:
- books of information
- traditional literature (myths, legends, tall tales, folktales)
- poetry, verse, rhymes, and songs
- picture books
- easy readers and transitional books
- fiction
- a concluding chapter on how to write reviews that are both descriptive and analytical
From Cover To Cover is an invaluable resource for all professionals who wish to write book evaluations that go beyond a simple personal response.
This definitive guide to reviewing children’s books makes it effortless for parents, teachers, librarians, children’s literature students and general readers who are interested in becoming children’s book reviewers to assess the strengths and weaknesses of a children’s book. An authoritative reviewer in her own right, Kathleen Horning provides practical guidelines for reading critically, evaluating an initial response, answering questions raised during the first reading, putting a response into words, balancing description with criticism, and writing reviews for a particular audience.- Sales Rank: #2038115 in Books
- Brand: HarperCollins
- Published on: 1997-03-19
- Released on: 1997-03-19
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .60" w x 6.00" l, .66 pounds
- Binding: Paperback
- 240 pages
- Great product!
About the Author
Kathleen T. Horning is the director of the Cooperative Children's Book Center of the School of Education at the University of Wisconsin-Madison. She was also a children's librarian at Madison Public Library for nine years.
Ms. Horning was the president of the Association for Library Service to Children of the American Library Association in 2007, as well as president of the United States Board on Books for Young People in 2003. She has chaired or served on a variety of children's book award committees, including the Américas Award, the Charlotte Zolotow Award, the John Newbery, USBBY's Hans Christian Andersen Award, the Coretta Scott King Award, the Mildred L. Batchelder Award, the ALA/ALSC's Notable Children's Books, and the NCTE Lee Bennett Hopkins Award committees, and she was selected to deliver the 2010 May Hill Arbuthnot Honor Lecture.
She is the coauthor with Ginny Moore Kruse of Multicultural Literature for Children and Young Adults and of CCBC Choices, an annual publication reviewing the best books for children and young adults. She has a BA in linguistics and a master's degree in library and information studies, both from the University of Wisconsin-Madison.
Kathleen T. Horning is a librarian who has served on many ALA award committees and is part of the CCBC staff in Madison, Wisconsin. She is the former chair of the Newbery Award Committee.
From Booklist
Horning articulates the reviewer's goal as "an informed and reasoned opinion clearly articulated so that others can learn about books they haven't seen." Toward that end, she begins with an enlightening discussion on children's publishing and ends with a practical presentation on evaluating books and writing reviews based on sound analysis. In between, she divides the literature into books of information, folklore, poetry, picture books, beginning readers, transitional books, and fiction, and cogently discusses each one. Pleasing design makes the book all the more readable. The appended source notes comprise a complete, chapter-by-chapter listing of books and magazines quoted as well as those simply mentioned in the text. Anyone entering the field of children's book reviewing, or indeed, the wider field of children's literature, will find From Cover to Cover an excellent guide to analyzing books and presenting clear, useful reviews. Carolyn Phelan
Excerpt. © Reprinted by permission. All rights reserved.
A Critical Approach to Children's Books
Reading a book for the purposes of evaluation and review requires more attention to detail than reading a book for personal pleasure or for information. When you read to evaluate, your assessment of the book will ultimately affect other potential readers. It may make a difference as to whether or not a book is purchased for a library or school or as a birthday gift for a child you'll never meet. In fact, it may make a difference as to whether or not the book is read by a child at all. It is your professional responsibility to try to take your evaluation beyond a personal response.
This is not to say that your personal response doesn't matter. It would be impossible, of course, for you to put it completely aside --you are a reviewer, after all, not a robot! What the responsible reviewer strives for is an informed and reasoned opinion, clearly articulated so that others can learn about books they haven't seen.
In essence, a children's book reviewer reads and writes with two audiences in mind: (1) adults who read reviews to help them select books for children and (2) the children themselves. It may also be read by the author and publisher of the book in question; however, neither is the intended audience for your review. In other words, it is not your goal to write a review to stroke an author's ego or to pick a bone with a publisher.
Still, it is important to remember that most books for children are created with the best intentions in mind. No one sets out to produce a crummy book that kids will hate. If this is your initial assessment of a book you're reviewing, it would be unfair and unwise to let it stand as your final one without a great deal of further consideration. You'll need to take a closer look at the book. What was the author's intent in writing the book? What qualities did the editor see that led her to believe that the book merited publication? Why did the illustrator choose this particular style? The answers to all these questions have their origins in the history of the book's creation. While it isn't necessary for you know the details of a book's publishing history in order to review it, an understanding of the general context in which children's books are created will help you read more critically.
HOW CHILDREN'S BOOKS ARE PUBLISHED
Many publishing houses have divisions or departmentsthat are especially devoted to publishing books for young people. These were, for the most part, established in the 1920s and developed through the pioneering efforts of women such as Louise Seaman Bechtel, May Massee, Helen Dean Fish, Marian Fiery, and Virginia Kirkus, who were the first children's book editors. Unlike adult book divisions, which are driven by the consumer market (bookstore sales), children's book divisions developed largely in response to an institutional market. Sales to libraries and schools accounted for a high percentage of the total number of children's books sold. As library budgets began to shrink in the 1970s and 1980s, children's book publishers began to turn their marketing toward consumer sales as well, although the institutional market continues to be an important influence in the children's book industry.
There are books that are created specifically for one market or the other. Those that are produced for the institutional school market alone are called textbooks. They are generally sold to entire school districts rather than to individuals. They are also created in a separate division of the publishing industry that specializes in producing books to fit the exact needs of teachers working with specific school curricula and guidelines at various grade levels. Books that are produced with only the consumer market in mind are called mass-market books. These are generally produced as paperbacks or as picture books with inexpensive cardboard covers (such as Little Golden Books), and they may be sold in supermarkets, airports, dime stores, and convenience stores as well as bookstores. While there are publishers that specialize in producing mass-market books, most children's book departments produce mass-market books to some degree.
Books created for both the consumer market and the institutional market are called trade books. These are sold to schools and libraries. They are also sold directly to consumers through bookstores. Both quality and child appeal are taken into account when weighing the sales potential. From the publisher's point of view, the best kind of children's trade book is one that will succeed in both the consumer and the institutional markets and will continue to sell well for decades. This is the type of success guaranteed to a book that wins the Newbery or Caldecott Medal.
Most children's books start out as an idea in the mind of an author. That may seem obvious to you, but I mention it here because many people seem to have the notion that ideas start with publishers, who then assign them to authors. I often hear people ask children's editors: "Why don't you publish more books about X?" in a tone that suggests they hold editors personally responsible for the lack of X books. But editors don't tell authors what to write. They must wait for X to develop in the mind of the author, and then they have to determine if it's good enough to publish. The editors' role is to find and nurture the talents of authors and artists who will create good children's books. If they cast their nets wide enough, their catch may include an author who will come up with the idea of writing about X on her own.
Once a manuscript is accepted for publication, the editor works with the author to help shape the book into its final form. An editor may make suggestions about chapters that need to be rewritten, characters that need to be developed, or ideas that need to be clarified. The ultimate responsibility for the writing, however, rests with the author.
Most helpful customer reviews
19 of 20 people found the following review helpful.
Good tool for writers, too
By A Customer
This book is should be an essential for anyone writing for children. Horning covers all the genres, offering insight into pacing, character and plot. She better defines what makes a picture book, an early reader, a chapter book, a mid-grade and a young adult -- definitions that are often murky in writing books. Although this book may have been intended for librarians and others in the book industry, I recommend it highly for anyone contemplating writing for children.
8 of 8 people found the following review helpful.
A better subtitle would be understanding children's books
By Ingrid Masak Mida
I get paid for writing reviews of children's books. Most of the books that I'm asked to review are art instruction books or picture books because I also am a freelance artist. I thought that I should read this book to make sure that I hadn't missed anything. However, the title is misleading. It is not really a book about "Evaluating and Reviewing Children's Books". A better title would be understanding children's books. Only the last chapter in the book deals with reviewing children's books and that is the shortest chapter. Most of the book is comprised of a comprehensive overview of the different categories of children's books (non-fiction, poetry, picture, easy readers, transitional and fiction). If I had the opportunity to browse through this book in a regular bookstore, it would have stayed on the shelf.
4 of 4 people found the following review helpful.
Good book, a bit overstated
By Dave Millman
First let me say that this is a good book, I am glad that I purchased it. It codifies many of the characteristics of a quality children's book, and helps writers and reviewers exercise better critical judgment.
However, the author sometimes "puts a bit too fine a point on it," as a Brit might say. There is a section on the layout of early readers and transitional books which describes a specific target number of words per line, lines per page, text size, etc. I found this section quite helpful overall, and I specified changes to our style guide after reading it. But as useful as this material is, I felt the author's attempt to distinguish numbers of words per line between level 1, level 2 and level 3 early reader books was taking the process a bit too far.
Overall, this is a minor issue. As other reviewers have mentioned, writers will find value in the detailed descriptions of how children learn to read, how they react to themes, styles and plots (and how to recognize weakness in each), and how to target different age groups. Indeed, this is the only book I have found with detailed and usable information on these points.
Summary: Buy it if you are a creator or reviewer of children's books.
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