Children's Book Publishing

RACHAEL W. DEANGELO

THISA R T I C L E W I L L C O V E R A L L B O O K S exclusive
of textbooks and paperback books published for children from pre-
school through junior high school. It is based on data secured from
existing literature and research in the field, forty returns from a
questionnaire sent to children's book editors and/or persons re-
sponsible for the juvenile list in publishing houses, interviews with
selected editors and other authorities on the subject, and personal
study and research.

The history of children's book publishing is an important segment

of the social history of this country since each generation reveals itself
in its children's books. For about two hundred years, from the
printing in 1646 of the first children's book in America, John Cotton's
Milk for Babes, Drawn out of the Breast of Both Testaments. . . . the
Puritan influence of the "good Godly books" persisted. The scant and
mediocre children's literature of the period was "overloaded with pre-
cocious goodness, morbid piety, and sickly sentiment," l and was
designed to edify if not to terrify.
In the second half of the nineteenth century, America entered upon
her Golden Age of children's literature, in spite of a stream of poorly
written information books and the stilted, repetitious Elsie Dinsmore
and Rollo travel series. Such writers as Mary Mapes Dodge, Louisa
May Alcott, Mark Twain, Joel Chandler Harris, Howard Pyle, Thomas
Bailey Aldrich, Kate Douglas Wiggin, Laura E. Richards, and Frances
Hodgson Burnett brought new stature and distinction to children's
books. Two epoch-making books of that period are Alcott's Little
Women (1868) for its genuine realism and Mark Twain's Tom Sawyer
( 1876) which "carried realism across the tracks."
Three early children's magazines-Our Young Folks, Horace Scud-
der's Riverside Magazine for Young People and Mary Mapes Dodge's
Mrs. DeAngelo is Coordinator, Library Education Program, Queens College.
 Children's Book Publishing
St. Nicholus-served as "nurseries for children's b ~ o k s ' ' ~where
editors sought out, encouraged, and guided young writers. They
exerted a profound influence on children's books and authors, and
prepared the way for the rapid development in children's book pub-
lishing in the early 1900's.
At this time there was a new emphasis on the child as an individual,
resulting in new types of schools and new methods of teaching.
Public and children's librarians engaged in many activities 'hointing
up the joy and the value of children's books." Publishers, noticing
the effect on sales figures, began to pay more attention to children's
books by bringing out the old stand-by classics in editions with better
print, illustrations, and bindings. These, together with inexpensive
fiction series and a sprinkling of new books, made up the bulk of
publishing for young people.
Between 1915-30 significant developments affected children's book
publishing.5 In 1919, the Macmillan Company was the first publisher
to establish a department devoted to the production of children's
books. However, Macmillan along with many other firms produced
important children's books before a separate department was estab-
lished. By 1925, there were five or six such departments. Louise Seaman
Bechtel, a former children's librarian, became the first children's book
editor. Children's Book Week was initiated in 1919. The &st standards
for school libraries were adopted in 1920, and in 1925 similar stand-
ards were prepared for elementary school libraries. In 1922, F. G.
Melcher established the Newbery Medal Award presented annually
to the author of the most distinguished contribution to American lit-
erature for children, and in 1937 the Caldecott Medal Award for the
illustrator of the best picture book for children. The influence of these
two awards on the improvement of children's books and on the prestige
of writing for children cannot be underestimated. May Massee,
acknowledged dean of children's book editors today, left The Booklist
in 1923 to become head of Doubleday's children's book department.
In 1924, The Horn Book Magazine, devoted entirely to children's
literature, was established by Bertha M. Miller. The same year chil-
dren's book reviewing came into its own with Anne C. Moore's articles
in The Bookman and her famous "Three Owls" page in the New York
Herald Tribune. The National Society for the Study of Education pro-
duced in 1925 the first of three important yearbooks on reading. From
1920-30, over one hundred studies of children's reading interests were
made.
 R A C H A E L W . DE A N G E L 0

Children's book publishing ceased being considered "books not quite

good enough for adults" or "a sort of Cinderella literature practiced
by hacks, failures and literary incompetents." Efforts of leading edu-
cators and librarians to provide broader and more meaningful reading
for children began to bear fruit. More books, more beautifully illus-
trated, appeared as the result of new processes in color, print, and
designs5In 1920, juveniles ranked eighth in the list of categories of
titles publi~hed,~whereas from 1930 on they held second place in the
total production in any category.
Mary K. Eakin has said that "Few decades have given to children
so many titles with so much promise of lasting value as did the years
between 1930 and 1940."8 She attributes this to the establishment of
elementary school libraries, increased use of trade books in teaching,
and publishers' recognition of children's books as big business. Her
analysis of the period indicates a steady increase in both fiction and
nonfiction; a higher quality of writing and illustrations in picture books
and fiction than in informational books; biography geared to the junior
and senior high school level, much of it of the "written-to-order" type;
regional stories successfully launched; similarities rather than differ-
ences among children emphasized in books treating minority groups
and peoples of other countries; humor in many forms of expression;
and the triumph of imaginative picture book classics.
However, increased costs, wartime restrictions and other economic
factors affected children's publishing during the years 194045.
Hastily written, poorly illustrated picture books substituted for toys
and flooded the market. Good standard titles went out of print, as did
promising titles with no opportunity to establish themselves. This
period, however, did produce such "classics" as Armstrong Sperry's
Call it Courage ( Macmillan, 1940), Genevieve Foster's George Wash-
ington's World (Scribner's, 1941), Robert McCloskey7s make W a y
for the Ducklings (Viking, 1941), Eleanor Estes' The Mofats (Har-
court, 1941), Virginia L. Burton's Little House ( Houghton, 1942),
Esther Forbes' Johnny Tremaine (Houghton, 1943), Robert Lawson's
Rabbit Hill (Viking, 1944), and Lois Lenski's Strawberry Girl (Lip-
pincott, 1945).
The postwar period saw unparalleled growth and development in
the industry. At least twenty new juvenile departments or juvenile
houses were established with editors appointed in all but two, and
great expansion took place in juvenile departments already established.
Newcomers to the field include Broadman Press, Harvey House, Par-
 Children's Book Publishing

nassus Press, Prentice-Hall, and Sterling. Latest statistics show

ninety-six publishers specializing in children's books or with special
juvenile departments. There were fifty juvenile editors in 1949 and
over sixty in 1957.9
In terms of production and sales the growth is phenomenal. The
juvenile market has become a big business and one of the mainstays
of publishing in this country. As shown in the table below there was
approximately a 67 per cent increase in volume of production from
1947-57.
TABLE I
Growth of Juvenile Book Publishing

Year
Juvenile Books Published
New Titles New Editions Total 1 All Books Published
Total

Compiled from annual statistics and summary numbers of Publishers' Weekly.

The main reasons for this tremendous output are the greatly ex-
panded public and school library market, the varied outlets for many
categories of books, and the new publishers attracted to this lucrative
field. Mary K. Eakiqs William Jovanovich,l0 F. G. Melcher,ll and
Lillian H. Smith express grave concern over the relationship of the
flood of children's books to their quality. Time indicates that over 350
million copies of children's books, including approximately two thou-
sand new titles, came from the presses in 1957-about one in three
of the total books published. Children's books comprise two-thirds
of Grosset and Dunlap's output, 35 per cent of Random House's
sales volume, and $13 million of Simon and Schuster's $18 million
gross in 1956.12Viking's juvenile department's business represents one
third of the company's total.13 An established juvenile title continues
to sell anywhere from 10,000 to 20,000 copies a year over a long life
span, while the profitable life expectancy of an adult best seller may
be no more than six months.
 RACHAEL W. DE ANGEL0

Juvenile book sales fall into two main categories: books that sell
for one dollar and over retail, and those that sell for less than one
dollar retail. The main outlets for the first group are book sections
of department stores, bookstores, and school and public libraries.
Schools and school and public libraries comprise the largest market.
Fifty per cent of Houghton Mifflin's juveniles were sold to these
institutions in 1945, and in 1953 it was safe to assume that 85 per cent
of the juveniles of all publishers were bought by librarians and
teachers.14
Books in the second group are available in supermarkets, drug
stores, newsstands, variety stores, candy and stationery stores, through
mail order houses, and the regular book channels. One publisher of
inexpensive juveniles estimated that between twenty and twenty-five
million copies were sold through super markets alone in 1957. Inex-
pensive books fill a real need. In 1942 Simon and Schuster in co-
operation with the Artists and Writers Guild began to publish the
Little Golden Books for children, which sold for twenty-five cents
and had remarkable success. They have been followed by the more
expensive Giant Golden Books and other titles designed for different
age groups.
C. B. Grannis estimates that juveniles accounted for close to
120,000,000 copies of the 760,000,000 books sold annually between
1953-55.15 In 1956, there were 26,546,000 juveniles sold which re-
tailed at one dollar and over, an increase of 38 per cent over 1954. In
the same year, 118,386,000 copies which retailed under one dollar
were sold, an increase of only 12 per cent, making a 50 per cent in-
crease in total juvenile sales-the highest increase in all categories
except paperbound books. Total dollar value of juvenile books sold
in 1956 was $45,244,000, an increase of 38 per cent over 1954. These
figures include only 71 per cent of all general publishers and omit
sales of textbooks and encyclopedias.16
Reasons for the increased sale of children's books which began in
the middle forties include increase in child population; growth of
school libraries; increased use of trade books in the expanded school
curriculum; improved quality and attractiveness of books; increased
number and greater variety of books; greater awareness and apprecia-
tion on the part of parents and the public of the need and value of
books for children; increased prosperity; better advertising, pro-
motion, and publicity; awakened interest in reading during the war-
time shortage of toys; greater emphasis on increased service to
 Children's Book Publishing
children in public libraries; television creating interests in new fields
and expanding children's horizons; mass production and distribution
of attractive and inexpensive books; and more research in children's
preferences in books and greater skill in using the findings.
The juvenile department of a publishing house may be integrated
with other departments using all company facilities and services, or
it may be a relatively separate unit, depending on the size of the
firm.179Is The organization of juvenile departments, methods of func-
tioning and backgrounds of editors vary from one publisher to another.
The majority of departments as reported by twenty-two houses on
the questionnaires sent to juvenile editors have an editorial assistant
or associate editor and secretary. Juvenile editors have varied back-
grounds. They were previously teachers, librarians, authors, book-
store clerks, and employees of publishing houses.
The main considerations in planning a juvenile list are the literary,
artistic and useful quality of the material to give the book permanent
interest and value; variety and balance in types of books for all age
groups; current needs and existing vacuums in the market; and sales
potential. Most editors stress quality with less concern for balance.
Since schools and public libraries comprise the overwhelming market
for children's books, they have a direct effect on publishers' lists.
Librarians and/or teachers guide the present and future reading of
most of America's children and thus influence the policies of children's
book publishing.
The number of manuscripts received yearly by the juvenile editors
ranges from one hundred to over one thousand. Between 80 to
85 per cent of these are unsolicited, and the rest come from
agents and previously published authors-about equally divided.
Eighteen juvenile editors reported that their departments attempted
to specialize in either books for particular age groups or types of books
such as activity books, picture books, short books and books for pri-
mary grades, and information books about other countries.
Authors of children's books may receive outright payments or a
lump sum ranging from $100 to $500 for a manuscript instead of the
customary royalty.lg This is common practice among publishers of
inexpensive books retailing up to one dollar. Royalties differ according
to the publisher's practices, the individual book, the author's previous
sales record, market possibilities, and the author's future potential in
supplying good manuscripts. Ten per cent of the retail price is a
customary royalty. Usually illustrators of books for older boys and
 RACHAEL W . DE A N G E L 0

girls are paid an outright fee. When text and illustrations are equally
important in a picture book, author and artist share evenly in royalty
arrangements.
There is a decided increase in the number of American children's
books printed abroad. Both Europe and Asia are good markets. From
data supplied by twenty-six juvenile editors, the four countries pub-
lishing the largest number of titles in rank order are Germany, France,
Sweden, and Britain. R. G. Lynip's Democracy (Harcourt, 1940) has
been published in twelve languages, among them Bengali, Burmese,
Hindi, and Tagalog. One publisher reported that 260 foreign per-
missions had been given since 1946. Foreign children's books are trans-
lated in the United States less frequently. Juvenile imports reached
116 titles in 1956 and 128 in 1957, an increase of 10 per cente20
The channels for promoting and distributing children's books have
expanded and increased in importance during the past decade. Special
school and public library service consultants or directors have been
added to juvenile departments to work with key librarians and edu-
cators. Review copies are distributed more liberally to school and
public libraries for the purpose of centralized reviewing and ordering.
Promotional devices and activities, such as Children's Book Week,
book fairs, book awards, book clubs, special radio and television pro-
grams based on books, displays and special exhibits, book reviews, and
approved lists prepared by educational and library agencies, have
focused increased attention on children's books.
Children's Book Week has had a far reaching effect on the pub-
lishing and distribution of children's books.21 It motivates extensive
book reviewing in newspapers, stimulates articles in magazines gen-
erally on children's books and reading, and encourages book fairs
and book programs in schools and communities. The Children's Book
C o u n ~ i l ,a~ ~nonprofit organization composed of children's book
editors, was established in 1945 as national headquarters for Book
Week and as the information and promotion center for children's
books. The Council has built up a mailing list from 11,000 in 1948 to
32,000 in 1957 to receive free its quarterly Calendar. The Children's
Book Council joined with the American Museum of Natural History
and the New York Times in sponsoring the first Annual Boys' and
Girls' Book Fair in 1947. Since then the book fair movement has spread
rapidly, and the co-sponsoring and encouraging of book fairs has
become one of the major activities of the Council. For the past three
years books provided for exhibit by member publishers have been
 Children's Book Publishing
made available for loan to teacher-education institutions and univer-
sity education departments. Ultimately the books are donated to
charitable organizations.
Commercial or publisher sponsored exhibits include the Children's
Book Caravan, Evanston, Illinois, directed by Ruth Tooze who takes
her exhibit to small places from Maine to California and lectures to
children and parents on books and reading; the Combined Book
Exhibit displayed by its director, T. J. McLaughlin, at library and
educational meetings; and E. G. Wood's Books on Exhibit, loaned to
large city school systems. Some state library commissions or de-
partments of education exhibit books supplied by publishers. Travel-
ing Book Exhibits, under the directorship of Ruth Gagliardo, of the
Kansas State Teachers Association, is one of the most successful of
these.
There are at present twenty-nine children's book awards. The
prizes most coveted which have stimulated greatest effort and interest
in the children's book field are the Caldecott and Newbery Awards
and the New York Herald Tribune Children's Spring Book Festival
Awards. Juvenile book clubs which began with the Junior Literary
Guild have grown to fifteen and are supplying books on a large scale
distribution. Most of these make provision for various age groups and
some of them distribute paperbound editions. There are twenty-four
established radio and television juvenile book programs covering all
age levels. Through book discussions and reviews, author interviews,
dramatizations, and story hours they create and deepen interest in
children's books and reading.
Awakened interest on the part of educators in trade books for
schools has resulted in exhibits and programs related to books at
educational meetings. Publication of books written especially for
parents and teachers on children's books and reading has increased.
Among these are Ruth Tooze's Your Children W a n t t o Read (Pren-
tice-Hall, 1957), Phyllis Fenner's Proof of the Pudding (Day, 1957),
Annis Duff's Longer Flight (Viking, 1955), and Josette Frank's Your
Child's Reading Today (Doubleday, 1954). Children's book review-
ing has a special and recognized place today, and is doing much for
the children's book field. More serious reviewing of children's books
is being done in a variety of places and greater space is given to
reviews in literary and educational journals.
In evaluating the effectiveness of all promotional devices, juvenile
editors rated highly the following: appearance of titles on approved

C 227 1
 RACHAEL W. D E A N G E L 0

lists, book reviews in professional journals, exhibits at library and edu-

cational meetings, review copies sent to schools and libraries, and
publishers' catalogs.
The most obvious trend of the postwar period is the steady in-
crease in the flow of children's books from the presses, accompanied
by a rise of prestige and status of juvenile book production in the
total publishing picture. The recent concern of parents and educators
with children's ability to read effectively has resulted in a second
trend towards greatly increased use of children's trade books by
schools. Producers of children's books are now guided by research in
the areas of educational trends, curriculum development, the qualities
in books that attract children, and their comprehension levels.
Books are made more accessible to children through a variety of
outlets, including more school libraries, book fairs, and mass media
of distribution. The cost of children's book production has in-
creased steadily during the past decade. Juvenile editors agree that
the increased prices of books have not absorbed the increase in cost
of book production. As a result royalty free inexpensive editions of
the classics and larger editions of established authors are competing
with new titles. Siri A n d r e w ~ ,Vernon
~~ Ives,24 and May Massee 25
point out that costs have prevented the publication of experimental
books and books of promising new authors, and this has resulted in
fewer developments and less originality in the field. More and more
of the older titles are going out of print because often it is not eco-
nomically feasible to reprint even when the author accepts a royalty
reduction. There is evidence to indicate that higher prices have
affected the trade market adversely but not decreased school and
library purchases to any extent.
The improved format and attractiveness of children's books, due to
creative design and technological advances in book manufacture is
another important development. The format is less conventional,
more varied, and appropriate. Bindings are better and sturdier and
new methods of reproduction have increased the range and effects
possible in illustration. Marcia Brown has been particularly successful
in experimenting with color and techniques in illustrating famous folk
and fairy tales, including Dick Whittington and His Cat (Scribner,
1950), Cinderella (Scribner, 1954), T h e Three Billy Goats Gmf
(Harcourt, 1957), and T h e Flying Carpet (Scribner, 1956).
More authors of adult books as well as ifluskators are entering the
 Children's Book Publishing
juvenile field. There is now status and prestige attached to writing and
illustrating for children. In addition, information books require au-
thors who are subject matter specialists and who have had previous
writing experience in a particular field.
Perhaps the major trend in postwar children's publishing is the
phenomenal growth of publishers' series, which are books similar in
format, written by the same or different authors on different or related
subjects, and issued by the same publisher under a series name.
Earlier series were planned around a single character or family and
still continue to this time. Series deluging the market are primarily
nonfiction, covering a variety of subjects but emphasizing history,
biography, and science, among them The First Books (Watts), The
Landmark Books (Random House), The Real Books (Garden City),
The Signature Books (Grosset), and The True Books (Children's
Press). The Landmark Books have sold more than ten million copies
since 1950 when the series started. In 1952, there were ninety-three
series being issued by thirty-six publishers, whereas at the beginning
of 1958 there were 148 series from fifty-four publishers.
Statistics reported of titles published in various categories for 1947,
1953, and 1957 show the greatest increase in science books first, biog-
raphy second, and history, geography, and travel third.2BBooks of
folklore and folktales, especially for the younger group, increased as
did books of poetry, religion, and hobbies. Sports books showed a
marked decline, whereas new books on art and music are among the
weakest fields. The continued over-all increase in informational books
on all age levels "reflects the growing awareness of a need for simply
written but highly interesting materials" 27 that can be used by teach-
ers in regular class work. More and better books on all aspects of
science and nature are being written especially for younger people.
Outstanding authors include Lancelot Hogben, H. C. Holling, Her-
man and Nina Schneider, Millicent Selsam, and Herbert Zim.
The second World War and the number of recent series relating to
historical personages as well as a renewed interest in American history
and heroes, particularly the lesser known men and women, may ac-
count for the increase in biography and history. The decade has pro-
duced such outstanding biographies for both younger and older
readers as H. S. Commager's Robert E. Lee (Houghton, 1951), Alice
Dalgliesh's Columbus Story ( Scribner, 1955) , Elizabeth Yates' Amos
Fortune (Aladdin, 1950), and a number of simply written biographies
 RACHAEL W. DE A N G E L 0

by Clara I. Judson, known for her literary excellence and historical

accuracy. Books dealing with other countries are increasing after the
decline following the second World War.
There is also interest in books for special groups, such as slow
readers for whom many new titles are brought out each year. Another
important development is the publishing of quality trade books de-
signed for beginning readers to supplement or possibly replace tradi-
tional "readers" used as texts. Dr. Seuss' The Cat in the Hat (Random,
19-57), Remy Charlip's Where is Everybody? (Scott, 1957), and Else
Minarik's Little Bear (Harper, 1957) are good examples.
Since 1950, publishers have been successfully experimenting with
colors in picture books, sturdier bindings, and other techniques to
meet library needs. While the over-all quality may not measure up to
the 1930 decade, there has been considerable originality and distinc-
tion in some of the picture books, such as Leo Politi's Song of the
Swallows (Scribner, 1949), Selina Chonz' A Bell for Ursli (Oxford
University Press, 1950), Lynd Ward's Biggest Bear ( Houghton, 1952),
Robert McCloskey's One Morning in Maine (Viking, 1952), Marie
H. Ets' Play With Me (Viking, 1955), Antonio Frasconi's See and
Say (Harcourt, 1955) and Bruno Munari's Tic, Tac, and Toc, Animals
for Sale, Who's There?, and Open the Door (World, 1957).
Many outstanding older titles that went out of print during the war
and the years following are being brought back into print. The
number of reprint series has doubled since Mary K. Eakin's and
Blanche Janecek's study in 1947,28and many new titles have been
added to reprint series already in existence. A less welcome tendency
is the publication of many unsatisfactory editions of the classics and
the numerous "adapted classics" which continue to find their way on
the market.
The past decade was a leveling off period in children's publishing
caused by the desire to reach and to satisfy the widest possible
audience. To meet the needs and to maintain a profitable business in
the face of rising costs, a flood of books was released. Many of these
were poor, many good, but few truly great books.
What now lies ahead in the world of books for children? Reports
from juvenile editors and observation in the field point towards greater
expansion in the field of science books for children at every level;
continued emphasis on informational books for all ages, particularly
in the areas of geography, history, and biography; increase in books
in all subject fields covered by the school curricula and still greater
 Children's Book Publishing
use of trade books in the schools; more and better writers; possible
resurgence of interest in imaginative stories; growth in the inter-
national exchange of books through translations here and abroad;
more attention to better books for the middle age group of children;
increase in outlets for children's books; and possible extension of
paperback books to quality juveniles and teen age novels for home
use.
The major problems to be faced, as seen by the same group of
editors, are problems of production and costs, and problems relating
both to the product and the consumer. Maintaining a high standard
of quality for children's books and keeping prices down in face of
rising production costs is a serious problem. Securing good manu-
scripts with a fresh viewpoint, original approach, and imaginative
insight is also diff~cult.Locating and launching new authors and
avoiding duplication of the same authors on publishers' lists present
problems as well. In addition, there is the problem of producing
books which must appeal to both the reader (the child) and the buyer
(the librarian, teacher, and parent).
The juvenile book business will continue to flourish, however, in
the next decade because a larger number of children than ever before
must have books for enlarged purposes. On December 30, 1957, there
were 29,000,000 children in school in grades kindergarten through
eight and 9,000,000 in grades nine through twelve. The number of
pupils is expected to increase by about 6,000,000 in the next five years,
according to the U.S. Office of Education statistics. To provide the
quality and the quantity of books needed by these boys and girls to
develop their fullest potential and to become worthy citizens is a
challenge to the creative efforts of authors, artists, and publishers.

References
1. Smith, Lillian H.: The Unreluctant Years; a Critical Approach to Children's
Literature. Chicago, American Library Association, 1953, p. 34.
2. Arbuthnot, May H.: Children and Books. Rev. ed. Chicago, Scott, Fores-
man, 1957, p. 52.
3. Jordan, Alice M.: Magazines for Children, In: Spain, Frances L., ed.:
Reading Without Boundaries; Essays P~esentedto Anne Carroll Moore on the
Occasion of the Fiftieth Anniversary of the Inauguration of Libray Service to
Children at the New York Public Library. New York, New York Public Library,
1956, p. 65.
4. Massee, May: Children's Books on Demand. Ibid., p. 47.
5. Smith, Dora V.: Children's Books-Yesterday and Today. A.L.A. Bulletin,
51:254-259, April 1957.
 RACHAEL W . D E A N G E L 0

6. Daugherty, James: Illustrating for Children. In: Spain, op. cit., ref. 3, p. 35.
7. Grannis, C. B., ed.: What Happens in Book Publishing. New York, CO-
lumbia University Press, 1957, p. 394.
8. Eakin, Mary K.: Trends in Children's Literature. Libray Quarterly, 25:
47-57, Jan. 1955.
9. Literary Market Place, 1957/58. New York, R. R. Bowker Company, 1957,
pp. 1-64.
10. Jovanovich, William: The Structure of Publishing. New York, American
Book Publishers Council, 1957, p. 15.
11. Melcher, F. G.: What's Ahead for Children's Books. A.L.A. Bulletin, 34:
189-191, Aug. 1940.
12. The Grinch & Co.: Time, 70:74-76, Dec. 23, 1957.
13. Meet the Publishers-IV: The Viking Ship. A.L.A. Bulletin, 50:493-497,
Sept. 1956.
14. Colby, Jean P.: The Children's Book Business Comes of Age. Junior Re-
viewers, 12:l-2, July-August 1954.
15. Grannis, op. cit., p. 8.
16. American Book Publishers Council. Statistics Committee: 1956 Annual
Survey of the General Book Publishing Industry. Prepared by S. B. Hunt & ASSO-
ciates. New York, The Council, May 1957.
17. Blake, Eunice: Children's Book Publishing. In: Grannis, op. cit., pp. 299-
306.
18. Colby, Jean P.: The Children's Book Field. New York, Pellegrini and
Cudahy, 1952, pp. 162-167.
19. Ibid., pp. 44-60.
20. Annual Trade Statistics Issue: Publishers' Weekly, Jan. 20, 1958.
21. Children's Book Council. The World of Children's Books. New York, The
Council, 1952, pp. 108-113.
22. Fish, Helen D.: What Is This Association of Children's Book Editors?
Library Journal, 7:544-546, April 15, 1946.
23. Andrews, Siri: Publishing Books for Youth. In: Henne, Frances, et al.,
eds. : Youth, Communication and Libraries. ( University of Chicago Studies in
Library Science) Chicago, American Library Association, 1949, pp. 93-104.
24. Ives, Vernon: New Look at Children's Books. Library Journal, 72:1730-
1733, Dec. 15, 1947.
25. Massee, May: Publishing Children's Books Today. Horn Book, 25:396-400,
Sept.-Oct. 1949.
26. Spring and Fall Children's Book Issues. Library Journal, 1947, 1953, 1957.
27. Eakin, op. cit., ref. 8.
28. Eakin, Mary K., and Janecek, Blanche: Reprints of Children's Books in
Series and Editions. Library Journal, 73:624-639, April 15, 1948.

ADDITIONAL REFERENCES
Blake. Eunice: Why Do They Cost So Much? In: Children's Book Council,
op. cit., pp. 24-27.
Bonino, Louise: The Landmark Story. Publishers' Weekly, 170:461-463, July
30, 1956.
 Children's Book Publishing
Jordan, Alice M.: From Rollo to Tom Sawyer. Boston, Horn Book, 1948.
Massee, May: Publishing the Children's Books the Public Wants. Publishers'
Weekly, 166:308-310, July 24, 1954.
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