children’s books, kids apps, nonfiction, publishing, art, interactive apps, game apps

Doing some casual research on copyright before signing a book contract recently, I found out something really cool, which may be useful to authors who have had a book in print for a while.

In 2003 the US Copyright Office made a change in the 1978 copyright law. Authors can get their copyright back from their publishers (a one-time chance) after 35 years. You need to set the wheels in motion from ten to two years earlier (at 25 to 33 years after you signed the contract). The contract must have been signed after 1978. There is only a five-year window at 35 to 40 years of publication, and, again, only one shot at doing it.

But for some longtime authors who may have signed away rights when they were starting out, or were desperate to publish, it is great – you can get your copyright back, or renegotiate your contract for better terms.

Below are helpful links. I am not a lawyer, so for more information please read the articles, or ask your lawyer, agent, or even your publisher.

At any rate, this is good news for published authors, artists, musicians, and other creative folks who may regret doing a bad deal early on. Rather charmingly, the Supreme Court noted that “authors are congenitally irresponsible, [and] that frequently they are so sorely pressed for funds that they are willing to sell their work for a mere pittance.”

Excellent piece:

US Copyright Office:

Massachusetts Institute of Technology Libraries article:

NY Times article (if I read the other three links correctly, the NY Times writer is wrong when he says it was in the 1978 law; it was added in 2003):

I’ve been wondering what this new 3-D printing thing is all about. Well, in keeping with its name, the 21st Century Children’s Nonfiction Conference, which just concluded in New Paltz at the State University of New York, had a cool demo of it. SUNY has state-of-the-art 3-D printers. Daniel Freedman, the Dean of the School of Science and Engineering, gave a brief luncheon talk about it. Sally Isaacs and Lionel Bender, conference co-chairs, wanted a faculty member for a demo, and after the Dean’s talk, asked me if I’d volunteer to model for it.

Sure, says me. I’ll try anything once. So a couple hours before the demo I wander over to the table in the registration area to observe the machine. It’s a glass-enclosed rectangular box about 15” high. Okaaaay, I thought. Gulp. I guess I stick my head in that box and get it scanned, kind of like a MRI. A little undignified, but anything for science. Or is that, anything for art? Either one.

Main concerns: (1.) Will it fry my brain right away, or will the damage show up in 20 years; (2.) Will the head come out looking like those little shrunken heads we were so repelled and fascinated by as kids.

1.nonfiction_74 copyAt the appointed time I show up, as does the professor, his nice assistant, and a bunch of conference attendees. Ah! Great relief. The box is where the “printing” occurs, not the scanning. I sit on a chair, super still, and they’ll use a hand-held scanner. Scanning goes on for about 1-1.5 minutes, with the lady scanning sides, top and front of my head in maybe 2-3 passes, with the scanner held about 30 inches away.

2.nonfiction_87 copy4.nonfiction_90 copy6.nonfiction_93 copySoon, the glass box starts to make some noise and comes alive, and slowly, over about 30 minutes, in thin layers, prints the “image.” I had a choice of red or white for it. Chose white –  red would be too creepy. The white material, a kind of light-weight poly substance, was wrapped around a spool behind the machine – it was like thick  thread (diameter maybe 1/8”). Lots of substances can be used, including gold (for jewelry!). Apparently, this technology is already being implemented to make crowns for teeth. And you CAN actually make a gun, but after a couple of shots the heat and action distorts it. But, hey, a couple bullets may be all that is needed. :-((

nonfiction_96 copy8..nonfiction_103 copyThe tiny Roxie “sculpture” has a flat back, where it was lying on the bed of the printer, and was built up from there – ending on the nose. (Although, you can see below that the nose was a little cut off…) The 3-D print can be made larger, but that takes longer. The larger it is, the better the quality, up to almost full head size; then as you make it even larger, quality decreases.

Roxie_Munro_3-D(Thought we should have two largish ones made and they could be used as Roxie bookends. Or a big one for a doorstop. Except they are really lightweight – there is a honey-comb interior.)

Roxie-Munro 3-D

So this was a bit of an adventure – no harm done (“…yet,” she says grimly), and we learned a lot. Very cool of the Nonfiction Conference folks to have arranged this.

I’ll have a more extensive report on the Conference, which was totally fabulous!, in another post.

(This post was written for The Book App Alliance, an organization of leading authors in the publishing industry who create interactive books for kids. See:


To engage children and keep them interested, and to impart information in a fun way, many app creators use simple forms of “gamification”: lift-the-flap activities, mazes, guessing games, inside-outside concepts, search-n-find, ABCs and numbers, puzzles, matching games, Q&A, hidden objects, word/noun object recognition, and so forth. The games have to be logically associated and integrated with the subject – not just put in gratuitously.

I don’t do fantasy or digital video-type games. I make mainly nonfiction apps. However, many subjects lend themselves to these sorts of game-like interactive formats. It’s great for Common Core. For learning about concepts, people, animals, a historical period, science, a workplace, you can cast the content in an interactive way – children can look under flaps to discover things, answer Q&As (and earn points), play matching games, find and count items, look for hidden ABCs, solve a maze…often in collaboration with others.

Some of my apps with games, all built by OCG Studios:

Roxie’s a-MAZE-ing Vacation Adventure” (games: solving interconnected mazes, out to the goal and back to the starting place, through 16 screens; finding various items like a recurring penguin, other animals, designated vehicles, numbers, alphabet letters, more; score is kept; up to five players):

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Roxie’s Doors” (games: seek-n-find objects behind flaps, doors, in drawers, under/inside things, etc; naming/vocabulary [word highlighting]):

Roxies-doors04 copyRoxies-doors02 copy

Roxie’s Puzzle Adventure” (game: 16 interconnected jigsaw puzzles/screens – choose between 6 and 260 pieces per puzzle/screen; choose rotation, hints, music; up to five players):

Roxies-Puzzle-Adventure2 copyRoxies-Puzzle-Adventure3 copyRoxies-Puzzle-Adventure5 copy

Coming out in September 2014: a series of 11 AR (augmented reality) apps designed to work with KIWiStoryBooks (giant interactive walk-in picture books; themes: Rainforest, Dinosaurs, Space Station, Coral Reef, Farm, Maze, Castle, Fire Station, more):

34. Rainforest KIWiStoryBooks copy33a.KIWiApps copy35.Rainforest app copy37.Rainforest app copy36.Rainforest app copy

“Seek-n-Find.” Matching game; with iPad camera, match images found in backdrop (here, Maze and Farm):

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“Make Some Noise.” Click on images, hear the sounds, and record your own (here, Fire Station and Space Station):

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“Explore & Learn.” Q&A with information and fun multiple choice answers with rewards, games, hidden details/scratch off (here, Rainforest, TV Station, Castle, and Dinosaurs). Activated by scanning markers/stickers placed on KIWiStoryBook:

42.Rainforest app copyScreen shot 2014-06-04 at 12.34.39 PM copyScreen shot 2014-06-04 at 12.34.51 PM copy

“Movie-making.” Use iPad camera and supplied frames to make series of 1-minute videos. Combined/edited into 8-minute movie w/kids’ own voiceovers/narration (here, Coral Reef and Wild West/Native Americans):

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“Puzzles.” Activated by scanning markers/stickers placed on KIWiStoryBook (here, Desert and Fire Station):

Screen shot 2014-06-04 at 12.36.52 PM copy

Engaging in games helps children with concentration, setting goals, problem-solving, working together and collaboration (many allow multiple players), perseverance, and celebrate achieving goals. Many games, and mazes in particular, also help children learn decision-making and critical thinking skills. They make them think ahead and plan steps in advance. Mazes teach alternative ways to solve problems and judge spatial relationships. For younger children, they help develop fine motor skills; for older children, maneuvering through mazes helps improve handwriting. Game formats are particularly suited to reluctant readers, special needs children, and boys (although girls are rapidly catching up).

So, using games in apps enhances learning, engagement, and collaboration. And, of course, they’re fun!!!

More info, see Gamification post below on interactivity in print books, and

Using games in the classroom:



Recently, on Facebook, I did a “small rant on a snowy day,” and thought I’d post it on this blog…

“I wish more of my children’s book illustrator friends would do apps. You are needed! The ‘art’ in most kids’ apps these days (particularly the ones purporting to be educational) looks so much alike – computer-generated, bright primary colors, cartoon-y… Children recognize good art, and deserve it. Children’s book artists have so much more style and variety.”

To expand a bit: Art makes content. Kids love and appreciate beauty. Why shouldn’t they have well-crafted and elegantly-made visuals, seamlessly integrated?

An anecdote: On a school visit once, after the program, we had a Q&A. Later, as I was packing up my materials (which included big spreads of the original art – this was before Powerpoint), a teacher came up with a 3rd grade girl, and said, “Ellen had a question – you didn’t call on her.”

“Oh,” I said, “What is your question?”

Ellen asked, “How do you make them so pretty?”

I almost teared up, and kept her question on a post-it in my studio for years. I have never forgotten that girl.

Do not underestimate the power of beauty.

Here is a quote from a great recent post by the app developer and author, Sarah Towle:

“…However, lacking in the above equation, I felt, was the time-honored lesson to be drawn from the world of children’s publishing: that the visual element serves a valuable role too, and one often neglected in today’s interactive media for kids.

As a children’s author and a connoisseur of picture book art, I was shocked by the low visual quality of some of the media products we studied at Dust or Magic. Many of them, I’m sorry to say, were just plain ugly, with illustrations that looked little better than clip art.

Anyone working on behalf of children must appreciate the role that great illustration plays in communicating with and teaching children. In illustrated books, the story and images weave seamlessly together to create something better than the sum of their parts. Indeed, great illustrations tell at least 50% of the story and can make an already great text shine even brighter.

Yet, this is not often the case in today’s digital products.

Not all children’s digital media will contain story. They don’t all have too. But digital media are nothing if not visual. It is imperative, therefore, that we developers make our products visually appealing. To make them works of art.”

You can read the rest of her post here:…/26/j07i91um0k19nt0aeuku4avd5xx3as

The 13th Annual Dust or Magic Institute: Magic-Making Factor #4

So lots of illustrators and authors responded to my FB mini-rant (we also need better and well-edited writing in apps! I’ve seen purported “educational” apps with spelling and grammatical mistakes.). They are very interested in doing apps but many don’t know where to start. Here’s a kind of “basics” post I did about a year ago for Digital Storytime…of course, things have changed in the last year, including the fact that you now get 100 free promo codes with each app publication and update, and I now have a new app out based upon the maze app, called “Roxie’s Puzzle Adventure.”

An a-MAZE-ing Transition: Roxie Munro Talks about Print, Digital & Lessons Learned

But the main problem, of course and sadly, is money. There are various issues re ROI (return on investment) – a few, of many (also discussed in the Digital Storytime blog, above):  development costs are high/price point for apps is low; marketing is very difficult; discovery is an issue; there are too many kinds of devices out there which require different platforms, and so on …

And children’s book authors and illustrators, who have so much to offer the app world in creativity and originality, have to eat and support themselves, their families, and their art too.

But, I just wish more of these talented folks could make apps! The industry needs them.

One of the most exciting days in the life of a children’s book author (or illustrator) is when you learn that your book has been accepted for publication. But, receiving, years later, the often inevitable “We regret to say…” publisher’s letter announcing that your book is going OP (out-of-print) is rarely welcome.

This isn’t always bad news though…particularly these days, when there are so many options available for authors. But first, you have to make sure, when you sign the original contract, that you can ask for the rights back when the book goes out-of-print (OP). All mainstream publisher’s book contracts contain a clause referring to this. Not “out of stock,” but “out of print.” You need to clarify what OP means… I just signed a contract and had them add language that specifies that if the only edition available is an electronic one, there must be a minimum number of sales/income (usually spread over two royalty periods or one year) for the book to be considered in print. Whatever the number/amount is, it should be sensible in terms of the kind of book and likely sales, for print or ebooks. So make sure that a POD (print on demand) or electronic version does not constitute being “in print,” unless you also specify an amount (sales or income) for those options. (Because most publishers aren’t yet doing apps, in my latest contract, I retained the app rights only, among the electronic options.)

You don’t need a lawyer; just send a letter asking for the rights to be reverted to you. They usually have six months to respond to your request; if they don’t, the rights automatically revert to the author anyway. Some publishers send back the copyright papers; some don’t. Also, and this is important, ask for the electronic files/printer’s files (or printer’s film, if it is an old book). You may have to pay a fee for this, but it is worth it if you ever want to reprint or sell the rights. (In my case, a lot of original illustrations have been sold and are unavailable; it would be impossible to rescan them.)

The publisher usually allows you to buy a quantity of your books at a deep discount, when they notify you that your book is going OP. Always do this! The first few years I didn’t quite understand that OP meant (that, unless another publisher or opportunity comes along, that is IT for your book!), so I didn’t buy enough copies, and now only have a few left of some of my titles, which sell occasionally for a lot on Ebay!

So, now your book is OP, and you have had the rights reverted to you, and have acquired the electronic files. There are many opportunities available now to recycle, reprint, and reuse your content.

You may want to make (and will need to market) your own print book, ebook, or app. You may be able to find a publisher to reissue the whole book again (with perhaps an update, or a reworked cover). For this you get a new contract and new advance. The contract is similar to any original book contract, but the advance is usually less. (I’ve sold the rights for three of my OP books, which have been reprinted, with four more OP books in negotiation right now to be reissued, and have sold one book’s rights to make an app.)

And licensing is a great option… anywhere from a picture or paragraph, to whole chapter excerpts. If the book was still in print, you would usually get 50% of the fee (the publisher does the negotiation and gets the other 50%), but if you own all the rights, you get it all! There are various algorithms that will help you calculate what to charge (and, for a model, check the past rights deals done by your publisher; they usually send the details to you). Fees are mostly determined by the size of image or excerpt and quantity of print and e-rights requested (not necessarily the duration of the license). Usually they come to you, so marketing rights like this on your own is not easy. The way it works: the request is sent to your publisher the first time, and they forward it to you (because the rights have reverted). If you have already licensed to the company, from now on they will come directly to you, often to relicense the materials after the agreed upon time period for the first license has expired. They supply the forms and language in their letter/request; you just agree to it, give a price, a credit line, and sign. I’ve sold rights to excerpts from my books (most written with my husband, Bo Zaunders) for thousands of dollars to the IOWA State Reading Tests (used throughout the USA), as well as other school tests. With CCSS (Common Core) coming along (whether we like it or not), testing will continue to be a big part of education. You may also get reprint requests for visual images or covers, for various publications.

Besides reissuing or reprinting all or part of the book in a traditional print format, as mentioned, you can remake it, or parts of it, into a POD (print-on-demand) book, an ebook, an app, or other transmedia forms (website, blog series, etc).

Consider all of your hard work – creativity and ideas, research, crafting the book, your intellectual property – a tangible asset. Its value does not end when the print run is finished. Think of it as unique content, available to be “exploited” (by you!) in more and different ways. This is a wonderful time in publishing – great variety, a multitude of formats – and for authors, more control than ever over our work.








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I presented several programs last week at the 21st Century Children’s Nonfiction Conference at SUNY New Paltz (June 14, 15, and 16). Lionel Bender and Sally Isaacs did a terrific job. It was perfectly organized…from the programs, to the venue, to the timing of everything from intensives to workshops to critiques to the social time built in. Exceeded my (rather high!) expectations.

Okay. So what’s the overview?

Well, I felt that the beauty of the conference concept was that it appealed to midlist and mid-career authors and illustrators, unlike SCBWI which seems to target beginners. It gave nonfiction a long-overdue emphasis, and addressed current issues like the Common Core. And faced the digital revolution head-on with up-to-date info.

The faculty included, besides Lionel and me, Andy Boyles (Highlights), Mary Kay Carson (NF author, Bats! app), Robin T. Brown (Nat’l Geo kids), Kent Brown (Highlights Foundation), Vicki Cobb (iNK Think Tank, NF author), John Bemelmans Marciano (author), Laura P. Salas (NF author), Alyssa Pusey (Charlesbridge Sr Editor), Karen Robertson (app expert), Joy Butts (Time Home Entertainment), Melissa Stewart (NF author), Rebecca Graziano (Pearson), Patricia Stockland (Lerner, Editor-in-Chief), Peggy Thomas (NF author), Lou Waryncia (Cobblestone), others.

      Publishers Panel  Listening

And the attendees were writers, illustrators, librarians, and other kidlit folks. I asked a few where they were from, and they came from all over – PA, NY, WV, MA, GA, MD, FL, CA, DE, IL, OH, NC, TX, NJ…

I did a 3-hour Intensive with Lionel Bender on Transmedia (taking your story or idea across multiple media, like print, ebooks, TV, websites, interactive apps; showed KIWiStoryBooks and the new AR apps by OCG Studios). And three workshops: Reinventing Yourself: Using your skills in new markets (career paths, professional practices, dealing with rejection, using social media, fresh directions…); a panel with Karen Robertson (“Treasure Kai”) and Mary Kay Carson (“Bats!”) on Creating our apps; and The Business Side of Apps: Contracts and Costs (also how to make an app, the App Store, marketing, COPPA, profit/loss, iOS/Android). Plus did three critiques.

Because I was doing my own programs, or critiques,  almost the whole time, I got to sit in on only one workshop:  the excellent Mary Kay Carson on School Visits. Vicki Cobb’s Keynote was entertaining and witty, but she got serious when she talked about some of the absurdities of testing and the rigid way we are sometimes expected to write nonfiction. The Publishers Panel discussed The Future of Children’s Nonfiction, which needless to say is entering a robust time, what with Common Core and the coming digital age. For more extensive coverage, go to Rocco Staino’s piece in School Library Journal and Krystyna Poray Guddu’s article in Publishers Weekly. All in all, quite a busy, fun, and gratifying conference.

          Izumi Ashizawa & Roxie Munro     Roxie Munro Reinvent Talk    Roxie & Nancy Pi-Sunyer

Bo and I stayed in the dorm next door (here checking the iPhone on a bunk-type bed) – rather primitive, but cozy and just fine, particularly when I did a mental 180, and decided to view it like camping, in which case it was luxurious compared to a tent.

                                                        checking iphone in dorm room

The responses to the conference have been amazing – everyone has been raving about it, and feels like they are in on the beginning of something big. We’re almost afraid that it was TOO successful – that it will get too popular. Learned a lot, met new friends and reconnected with good buddies, and like the lady below, had a really good time!

                                      Fun Conf dinner

Authors all over are playing tag.

Someone came up with the idea to have a “blog hop”– a writer answers a few questions about his or her work, then tags two other authors in the post, and then they post and tag two other people and so on. Last week I was tagged by Mina Javaherbin, the award-winning author of Goal and The Secret Message. Her wonderful books are multicultural…she is interested in the “new global village way of life.” Mina and I met up in New York a couple years ago, and connected immediately – she is brilliant, vibrant, and involved. Please check out her website ) and her great books!

So on to The Next Big Thing questions for me:

1. What is the title of your work-in-progress? Slithery Snakes

Roxie Munro

2. Where did the idea come from? It evolved from a series of nature books I’ve created: Hatch! (about birds); Busy Builders (bugs); EcoMazes: 12 Earth Adventures (ecosystems); Desert Days, Desert Nights (desert habitats).

3. What genre does your book come under? Nonfiction, or informational, children’s picture books.

4. Which actors would you choose to play your characters in a movie?  Sir Hiss from the animated “Robin Hood” movie, the viper in “Kung Fu Panda,” Nagini in “Harry Potter”?

5. One sentence synopsis for your book? Brilliantly painted snake skin patterns, and some fun facts – try to guess the snake species; turn the page to see the answer, with the snake in its habitat.

6. Is your book self-published, published by an independent publisher, or represented by an agency? Out in August from Two Lions, Amazon Children’s Publishing.

7. How long did it take you to write the first draft of your manuscript? Six months.

8. What other books would you compare this story to within your genre? Hmmmm – maybe books by Lynne Cherry or Mia Posada.

9. Who or what inspired you to write this book? I think certain aspects of nature can be stranger than anything you can dream up!

10.What else about your book might pique the reader’s interest? The vibrant colors and patterns, and some fun and wild information about snakes!

And now, I am tagging two wonderful children’s book folks:

Pat Cummings (website: ) has been an artist all her life. She speaks at conferences, teaches, cohosts “Cover to Cover” (a talk show about the children’s book industry), and works with CBBC (Children’s Book Boot Camp). She’s also involved with PEN and SCBWI. Pat’s fabulous books, many of which she both writes and illustrates, have a strong graphic look …powerful and compelling.

Joy Chu has worked with books most of her life, as a designer and art director for many major publishers. She now runs Joy Chu Designs, as a graphic designer and publishing consultant. Her work has been cited by AIGA, BookBuilders West, the Society of Illustrators, National Book Awards, Print, Step-by-Step, and Publishers Weekly. She’s active in SCBWI, teaches, and writes the popular Got Story Countdown blog. ( )

On Saturdays, my preferred way to get to the studio is the 7 train, but on weekends this late winter/early spring, it’s been out for maintenance work. So, for exercise, I’ve been walking a mile (20 blocks) up Park Avenue and then block or two to the east, to get the E train at 53rd Street.

Today is crisp, with brilliant sun streaking in from the east down the streets and glittering between the high buildings. So I walk north through my Murray Hill neighborhood – semi-elegant prewar apartment buildings lining the broad avenue. Wander through Grand Central, marveling at the glorious space created by the huge vaulted ceiling. You never get used to it. Slip a glance over to the cool Apple store on the mezzanine. At 45th Street cut through a block-long interior passageway and pop out on a bright and open Park Avenue. It’s a Saturday…no business people – quiet and beautiful. Looking up, a lot of sky, sunlit canyons, and a profusion of man-made patterns – windows, a multitude of floors, vast shining facades, towering edifices. Many of these huge glass monuments to industry have big open plazas (a zoning code so they can build higher). Walk a few steps up to a couple of the plazas, to feel the space.  Some have cool public sculptures, and even fountains.  Pass the Waldorf Astoria…sleepy tourists wander out blinking in the bright sun. Beyond, there’s a guy leading an Ayn Rand tour…captains of industry theme, I guess. Further up, on St Bart’s church grounds there’s a permanent white tent with a cafe. At 53rd Street I cut across a plaza with two pools with bubbling fountains. East to the shiny Citycorps building.

I think: there is someone waking up west of here, in Idaho or Montana, maybe an artist like me, walking out into the brilliant sunlight, seeing their own world of high pristine monumental structures, gleaming.

At Citicorps, I go down the escalator, into the bowels of the city, to the E train.

A few days ago, going back and forth between two pieces I was writing, I started to think about the process, and how it varies among writers. So I posted this on Facebook, and on some authors’ groups:

“Doing a lot of writing this week. Thinking about how it works….I write the whole thing, regardless of length, very roughly. Then go back in and edit, rewrite, edit, rewrite, rewrite till it is done (at which time, like a piece of visual art, you know it, though, unlike an illustration which can be overworked, a piece of writing can always be tweaked, made better). But Bo’s method is quite different. He doesn’t do an outline; he starts the piece, and writes one paragraph. He does not write the next one until the previous one is rewritten, edited, polished, and complete – a jewel.”

And got lots of fascinating responses. Many people do a hybrid, although most seem to work the way I do… fast, sloppy, and rough, and then tons of rewrite. One author said that Vonnegut worked like Bo (that’s my writer husband, Bo Zaunders). But Vonnegut would perfect a whole page before he continued on, not just a paragraph.

Another issue is, in nonfiction particularly, the role of research. You have to do a lot of studying up before you can even start, and then as you write and refine, you have to go back and check up on facts, develop new information, flesh out fledgling comments or sentences.

When I write one of my nonfiction science books for children, I try to learn everything I can about the subject first, before writing a word.  I use books, magazine articles, travel if necessary, interviews with experts, the web, visit natural science museums, etc. Then, after you have a firm grasp of the facts, you can choose what works with your idea, and can craft the piece. Once I had a kind of flashback to years earlier, and realized that this process was not dissimilar from writing papers in graduate school.

But, and I think most authors will agree, hard and scary and nerve-wracking as writing is – there are an infinite number of wonderful words and myriad ways to express a thought or idea – writing your own book is way more fun and gratifying and creative than writing a paper!

I attended Author (R)evolution Day (TOC) last week, and met a children’s book author sitting nearby. She said, “Soon, having an app will be as imperative as having a website.”

I’ve been thinking about that. Maybe, instead of creating an app to make money (good luck! marketing an app is not easy), you should think of it as an investment in branding, promotion, and showing your best work in a creative new format.

(Re: For fundamentals for children’s book writers/illustrators making apps, including creative, financial, marketing, go to An a-MAZE-ing Transition: Roxie Munro Talks about Print, Digital & Lessons Learned. )

Do it right. Don’t spend money, time, and your creative assets, and be disappointed. There are programs available (some with a steep time-consuming learning curve), and you may have a tech-y friend who volunteers to build your app. Some even “practice” making an app, using your money and creative content! But I recommend getting an experienced professional children’s app developer. It is worth the money, and may prevent a lot of stress and heartbreak. Do your homework: check out apps and figure out what you want (and need, to keep current); find out what functionality and issues are no-nos for parent/teacher/librarian reviewers, including privacy issues; what works with your concept, like animations, text/word highlighting, sounds, music; and get an idea of pricing – it varies a lot.

Some of my author/illustrator friends have had troubling problems: late delivery (4 to 6 or more months to make your app); expensive for what they got; developer used out-dated technology; a lack of follow-up with updates, bug fixes, and customer support; inadequate testing; no real creative collaboration or input.

Once a developer has made your app, you are stuck with them; if they don’t do updates or bug fixes in a timely manner (or at all!), there is not a lot you can do. Usually you can’t turn over the app to a new developer, because much of what goes into building it (coding for example) is proprietary, the intellectual property of the developer. Why would they hand it over to another, possibly rival, company? (You can change this in your contract, but most developers do not want to dive into someone else’s code.)

Am very happy with my developer, OCG Studios (my website home page has some awards and kudos). We’ve made two apps together with several more coming out in April. They have a cool new DYO (Develop Your Own) framework for making illustrated apps. Check out a free example (“The Artist Mortimer”). The program for making apps is explained…you do some work, they build it, and you save a lot of money. Scroll down the page to see pricing. If you’re interested, they send a menu and more info.

But you don’t have to use my guys. Get developer recommendations (check out the awards and reviews their apps have; look at customer comments on the App Store page). A good place to learn about developers and children’s apps is Moms With Apps. On the right side, they have links to more info, and scrolling down, a list of children’s app developers. I don’t know the developers’ commissioning guidelines, but they are experienced. And check out Digital Storytime, great for lots of information and reviews.