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Sarah Davies

Rubin Pfeffer

Sarah Davies and Rubin Pfeffer are both literary agents with deep editorial experience honed over many years working as editors at various publishing houses.

Sarah is the founder of The Greenhouse Literary Agency. Rubin Pfeffer founded Rubin Pfeffer Content.

They spoke to us today about opportunities and challenges in publishing, with Rubin asking all of the panelists a variety of questions ranging from terminology to process and working styles.

Sarah's career in children's publishing in London lasted for 25 years. She moved to Washington, D.C. to found her agency, and is now back across the pond, where her agency is an international presence. She loves cultivating new talent and selling books all around the world (including Iran and the republic of Georgia).

What is an auction? 
Sarah explained this happens when more than one editor wants a book. Agents might set a time by which offers need to be received. Sarah likes to hold her auctions on Fridays (there was disagreement on the panel about this). Offers come in with their basic terms in addition to a lot of love from editors. To Sarah, the editor's passion for a project is a significant factor.

What does rejection signify?
To Rubin, rejection doesn't mean your writing wasn't good enough. There are factors beyond your control.

What kind of control do you have over the projects you submit?
Everything is done on behalf of your clients, Sarah said. One of the first questions she asks is about which editors clients already have relationships with. But she's also going to search her frequently updated database and use what she's learned in her frequent meetings with editors. "I'm making notes all the time and updating those."

She also runs submission ideas past her clients to make sure the best decisions are made.

How do you cope with losing a project that you love? 

Sarah Davies doesn't often fall in love with a new author. "I'm quite sparing in my love... when I fall in love, I want to get it." But it sometimes does happen that potential client chooses someone else.

Rubin Pfeffer on respect
It's easy to wear your emotions on your sleeve, but showing professionalism will take you very, very far. "It will cut you off short if it's not there."

How much work do you do on a manuscript before submitting it to an editor? 
In eight years, there have been only about two times Sarah has sent out a manuscript she hasn't given some feedback on. "My goal is to sell it as well as it can be done. My editorial role is working on it until we can get it to where it stands the best chance of being acquired by an editor."

What is joint accounting? 
When an editor makes an offer for more than one book, joint accounting is where both books have to earn out before royalties are paid. Agents don't want this situation to happen, but it's the house policy at certain publishers. At Little, Brown, series are jointly accounted, which is more reasonable to agents.

When should you submit to a junior vs. a senior agent? 
There are merits to both. Often a senior person such as Alving Ling might be well placed to give it to a less senior editor on her team. If Sarah has a large submission list, it's more likely to work that way. Many of the less senior editors have worked a long time as assistants, and have excellent experience.

Final words of wisdom 
A client was devastated by the rejection of her dark, edgy YA novel. She felt as though there was no future for her in publishing. She decided to recapture her joy in writing again, which she was starting to lose. "It's so easy to do in the frenzy of deal-making."

Some months later, she came back with a nonfiction picture book text and a chapter book series. Neither of which she had attempted before. These were her "peach sorbet" projects. She took delight in them, and Sarah told them fast. "This is a story not only of determination, but of flexibility... she's my heroine."

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From left to right, Rubin Pfeffer (Agent, Content, standing at podium), Alvina Ling (VP and Editor-in-Chief, Little Brown Books for Young Readers), Sarah Davies (Agent, Greenhouse Literary), Ginger Clark (Agent, Curtis Brown), Liz Bicknell (EVP, Executive Editorial Director & Associate Publisher, Candlewick Press), Alessandra Balzer (VP and Co-Publisher, Balzer + Bray/Harper Collins.)

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Rubin Pfeffer was a publisher of Children's books (at both Harcourt Brace Jovanovich and Simon and Schuster) and then became an agent. He launched his own agency in January of 2014, Rubin Pfeffer Content, LLC.

Rubin Pfeffer

Laura Rennert has a PHD in English literature, is an author of both a picture book (Buying, Training and Caring for your Dinosaur, and the chapter book Royal Princess Academy: Dragon Dreams.) She has been a senior agent with Andrea Brown Literary Agency since 1998.

Laura Rennert

The panel's focus is "What Hooks Me" and it covered topics including cover and query letters, how each agents sees their role (editorial or not?) and clients building a brand.

Here are some highlights of what Rubin and Laura shared:

Rubin: 

I love to open a package or click on a file and feel the potential…

Looking for an author and/or illustrator who is able to "tell a story and bring me into their world."

"I don't get attracted to a one book relationship… I want a relationship to grow." It's very satisfying to watch something start small and see it go big.

It starts with one book… and that's the foundation upon which more will grow.


Laura:

She referred to herself as a "literary omnivore."

Looking for works that "explore universals in incredibly idiosyncratic ways."

Think about the voice of your cover letter.

"When you are ready to go out with your project [to submit to an agent], you should feel like you've done everything you can" to get it as far as you can.

The client should be the CEO of their own business. She considers her role more that of COO.

She asks herself: "What makes this author stand out in this crowded category?"

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From the seats...

And close up!

Left to Right: Sarah Davies and Steve Malk

Left to Right: Erin Murphy and Aleandra Penfold

Left to Right: Rubin Pfeffer, Linda Pratt and Laura Rennert

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by Arree Chung

published June 2014 by Henry Holt and Company, an imprint of Macmillan.

Friends, I’m so excited to have Arree Chung in this corner of the internet today. I met Arree last summer at SCBWI in Los Angeles, and am humbled every time I think about how we share an agent and a friendship. He’s an expert storyteller with a bright, animated style and a fresh perspective. Ninja! is his debut picture book, and it will be far from his last.

First, you should watch this short film. And here’s my confession. Arree sent this to me a number of weeks ago with the caveat that it was unreleased and not to share. Except: it was too awesome not to. So I showed it to my students, because single-digit-aged kids are pretty good at secrets and don’t have Twitter accounts anyway.

They loved it. And I mean L O V E D  I T. Each class, without fail, asked to watch it many, many times in a row. So we did.

Meet Maxwell, and then meet Arree.

What has been the most surprising thing about this whole debut picture book thing?

The most surprising thing about the publishing process is how long it takes to actually bring a book to market (1.5 – 2 years).  My background is in games, where companies can publish with the click of a button and make updates via the internet.  The process gives me appreciation for the care that goes into the publishing process.  It also helps to have a great team of people to work with.  Everyone from your agent, publisher, editor and art director in making the book and then there’s publicity, marketing and sales folks that help in getting the book out.An early cover design.revision notes.

I’m fortunate to have a supportive publisher in Macmillan.  They have a great team of experts.  Each one helps you with a specific aspect of the publishing process.  I’ve learned so much.  I’m so grateful I’ve been in good hands.  I’ve worked hard to hold up my end of the deal and make something special.  With Ninja it was easy, because I loved it so much.

Who are your creative and/or literary heroes?

Oh, so many!

Authors:
Roald Dahl
E.B. White
Jack Gantos
Judy Blume
Jeff Kinney

Illustrators:
Russell Patterson
Chris Ware
Yuko Shimitzo

Author/Illustrators:
Shel Silverstien
Wolf Erlbruch
William Steig
Mo Willems
Peter Brown
Leo Lionni
Maurice Sendak
Ian Falconer
Jon Klassen
David Shannon
Bill Peet
Calef Brown

Comics:
Jim Lee
Scott McFarlane
Jeffrey Brown
Bill Watterson
Jim Davis
Charles Schulz

Animation/Film:
Brad Bird
John Lassetter
Guillermo Del Toro
Chris Sanders
Danny Boyle
Tim Burton
Nick Park (Wallace & Gromit)
Steven Spielberg
Hayao Miyazaki

Can you talk about the similarities and differences in animation and the picture book form?

I love both mediums for different reasons.  Both mediums can transport the reader into new worlds.  I love it when a book or movie captures my imagination and I am completely immersed in a world that has been built.  The world is invented but it feels familiar and the story resonates with honesty.  I hate it when a story is force feeding me a message and it feels like an infomercial or when a story rambles without a focus.  Storytelling is magical when it has both the imagination and heart and speaks to you directly and honestly.  A great story is so exhilarating.  There’s nothing in the world that feels like it.  I love both animation and picture books because they have the ability to create magic.

How they are different?  Well, I think the main difference is that film tends to be a passive experience.  The viewer is in a dream like state that watches the story unfold.  It’s like being suspended in a time capsule and you watch everything that happens.  You take the story in a more subliminal kind of way.Books on the other hand I think are active experiences.  You as the reader actively interact with the words and pictures.  It’s like your brain is the film projector and is working to play the story.  Because of this, I think books are much more intimate experiences.  You go at your own pace.  You stop, question and wonder.  Sometimes you’re so engaged, you speed all the way through and sometimes you like to read slowly just because.  Readers engage books with their imaginations and a lot of the story is told in-between the words, the page turns and the illustrations whereas films are full experiences that use all the arts of composition, acting, music and visuals to put you in a state of suspension.

Both are magical and I love doing both so much.

Can you give us any behind-the-scenes information on how you created the short film? Did you get to know Maxwell differently in that format?

Yeah!  It was so thrilling to bring Maxwell to life.  I had a pretty good idea of who he is as a character after creating the book but actually seeing him move and casting Taylor Wong as Maxwell brought another whole dimension.

As for production, here’s a quick behind the scenes look of what it took to make the short film.  I plan on doing a much more in-depth look in a separate blog post.

We used 4 software tools: Photoshop, Flash, After Effects and Final Cut Pro.  The process was a highly collaborative effort between folks at MacMillan, myself and David Shovlin, the animator.  It was a ton of work to do but a ton of fun as well.

In all, it took about 5 weeks of work.  David and I worked really hard on it and I’m really proud of what we created in a relatively short period of time.Where did Ninja! come from?

It’s been my dream to make my own picture books for a long time.  The first conception of Ninja came when I was in art school.  I jotted down “A boy goes creeping around the house dressed as a Ninja and causes trouble.”  That was probably in 2007 or so.

        Early Ninja! thumbnails and character sketches.

In 2012, I decided to do the Illustrator Intensive at the SCBWI Summer Conference.  We were given an assignment to submit a story along with a manuscript, thumbnails, character sketches, and a finished illustration.  Up to that point, I had been writing stories for years but was stuck on many of them.  For the workshop we had to write down answers to the following questions:

WHO
WHAT is the dilemma?
WHERE does it take place?
HOW is the problem solved?

This really helped me a lot.  Previous to this, many of my stories didn’t have focus and wandered a lot.  Ninja was a big break through for me as a storyteller and I had lots of people who helped guide me through it.   I’m so thankful for Rubin, my agent, and Kate, my editor.  The more I worked on it, the more the world and character took shape and gained depth.  It was so much fun to make.

Do you remember any art you made as a kid? What was it?!

Yeah, I made a lot of ninja stars and origami.  I was also obsessed with Legos.  I loved to build cruiser space ships and large fortresses armed to the teeth.  Whenever my uncle bought us Legos, we would make the thing we were supposed to make and then tear it apart and then make what we wanted to make.  Making your own thing was much more fun.

I was a huge comic book reader and collector as well.  I bought all of the X-men, Spiderman, Spider-ham, Batman and Spawn comics.  I still buy comics.

I also really love the Teenage Mutant Ninja Turtles.  I used to record all of the episodes.  In fact, I used to press pause on the VCR and trace drawings of the Ninja Turtles by overlaying paper onto the TV.  At school, everyone thought I was the best drawer, but I never told anyone my technique til now!  Eventually I copied so many drawings I could draw it out of memory.  I tried to do the same technique with Transformers but that wasn’t nearly as successful because I didn’t understand perspective as at 12 year old.

And now what’s next for you?I’ve got a lot of things I’m working on.  I have lots of Ninja stories to tell with Maxwell. (I’m so excited about all of them!)  One of them involves an old Chinese folktale involving ghosts!

I’m also illustrating two Potty Training books for kids that are hilarious.illustrations from How to Pee

I have lots of picture book stories I’m developing and I’m also writing a middle grade novel titled Ming Lee, All American.  Ming Lee chronicles my experiences growing up as an ABC (American Born Chinese).  It’s deeply personal and is funny in that Louis CK, embarrassing but honest kind of way.  I would describe it as Judy Blume meets Diary of a Wimpy Kid.  Of course, it is its own thing that I am figuring out.  I have a sense of what I want it to be but you never know what it will be until you get there.

A huge thanks to Arree for this peek into the mind of a master craftsman. Be sure to get your hands on Ninja! this week!

Tagged: arree chung, character sketch, design, illustration, lego, ninja!, picture book, rubin pfeffer, scbwi, teenage mutant ninja turtles, thumbnails, typography

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How perfect that award-winning children’s book artist Terry Widener has done the pictures for the new picture book by Jonah Winter (just released by Schwartz and Wade) about the greatest all around baseball player ever – Willie Mays. Terry brings a background of high level advertising and editorial illustration and something else to the many [...]

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Rubin Pfeffer is famous for challenging children's book writers and illustrators to think of ourselves as "Children's Content Creators."

He is a veteran of the children’s and adult trade industry. He has served as President and Publisher of Harcourt Brace Jovanovich, SVP and Chief Creative Officer of Pearson, and as SVP, Publisher of Children’s Books for Simon & Schuster. Pfeffer joined the East West Literary Agency in December 2009, as a partner and established the Boston base of the agency. He works with such luminary talents as Patricia MacLachlan, Marion Dane Bauer, Steven Kellogg, Susan Cooper, Judy Sierra, David Diaz, Richard Jesse Watson, Jesse Joshua Watson, Jeff Mack, Mike Austin, and a host of other published and new talents. In addition, he consults regularly on digital content for the Ruckus Media Group.

Rubin Pfeffer presenting his session on EBooks and Apps

Rubin starts off his breakout session by describing the spectrum of digital publishing, on one end: ebooks which are simply screen versions of the printed book.  In the middle: enhanced ebooks, where the story is enhanced with other medium: audio, animation, sound effects, things like that.  At the other end: Apps, that don't necessarily even look like a book anymore.  If the App is based on a book, they might leverage the world or characters of the story to include activities or games.

He's running down the current technology (ipad, kindle fire, nook, droid, kobo, and other proprietary devices) and sharing some eye-popping statistics on the growth of tablets.

There are six macro trends that he wants us to consider.  Here's one:  The demise of brick and mortar stores... Though he has a hunch that we will begin to see a Renaissance of niche Children's book stores!

We're learning about Zombie books (the ability to bring back old books that were considered "dead") and the impact on reluctant readers of being able to change the font size - which changes their experience of reading a book, and so much more!

Rubin challenges us to imagine the opportunities of this statement:

"New technology always creates new content."

He's sharing so much more, and answering questions from the floor, including a discussion of self-publishing and credentialed alternative publishers.

Overall, it's a very inspiring, thought-provoking session.

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Rubin talking to a packed ballroom with his fellow members of the panel (all of whom, he joked, have rejected his submissions).

Rubin Pfeffer is an industry veteran. Among other things, he's been president and publisher at Harcourt Brace Jovanovich, a senior VP and chief creative officer of Pearson, and publisher of children's books at Simon & Schuster. And he even worked as an art director, discovering talent like David Diaz.

These days, he's a partner at East West Literary Agency, where he not only represents some of the industry's brightest lights--Susan Cooper, Marian Dane Bauer, David Diaz, and the Watson clan--but also is on the forefront of emerging technologies in storytelling.

The best part of it, he says, "... is building a greenhouse around their ideas and hopes and seeing those ideas to fruition."

He shared a ton of insights with us. A few excerpts:


Observations on significant changes in the industry: 
He started his career at Grosset & Dunlap and was designing Hardy Boys covers. When he walked in their offices yesterday, he was amazed by the diversity and energy of the titles. There is also more commercial publishing in the industry.

Two years ago, digital publishing was groundbreaking and people were still saying how they wanted to cuddle up with real books. But now, it's generally acknowledged that digital publishing is part of the future.


On the importance of acquisitions committees and discoverability of our books:
"There is this notion about acquisitions groups and meetings, it's like the death knell to all would-be writers who want to be published. But it's important.... because it is not just publishing a book that an editor is a champion of. It's publishing a book that a number of people are championing in some very important fields. Is it something that can be marked effectively in all the new ways you can market? Because we are publishing fewer titles, we have to publish those fewer titles better."

There are new responsibilities that are associated with writers and illustrators, to make yourself discoverable by somebody who will be interested in it.

We'll start to see more "vertical groups on the interest," Rubin says. For example, second grade teachers, or preschool teachers. We need to reach out to them.


Do authors/illustrators need publishers anymore? 
"It's an important question. Just because there are examples of successful self-publishing endeavors, for every successful example, there are countless others that didn't work."

The editor, publisher, marketers--these people are the village that gets behind books.

"The bigger question: What is a publisher? They used to be the big six and the other six after that. There are new kinds of publishers coming out. Some of them are rising quickly."

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Team Blog's Martha Brockenbrough interviews agent Rubin Pfeffer to get the inside scoop on his E-books and Apps Breakout workshops on the conference Saturday - January 28, 2012.

Rubin is a veteran of the children’s and adult trade industry, a visionary who's working on - as they used to refer to it when I was in grad school - the "bleeding edge of technology." He has served as President and Publisher of Harcourt Brace Jovanovich, SVP and Chief Creative Officer of Pearson, and as SVP, Publisher of Children’s Books for Simon & Schuster. Pfeffer joined the East West Literary Agency in December 2009, as a partner and established the Boston base of the agency. He works with such luminary talents as Patricia MacLachlan, Marion Dane Bauer, Steven Kellogg, Susan Cooper, Judy Sierra, David Diaz, Richard Jesse Watson, Jesse Joshua Watson, Jeff Mack, Mike Austin, and a host of other published and new talents.  In addition, he consults regularly on digital content for the Ruckus Media Group.

In the interview, Rubin also put out a call for readers to nominate our favorite book apps in the comments, so he can share and build on what we all have to say when he does his presentations.  See how innovative and cutting edge he is?

So head on over to Martha's blog and check it out.  It's a taste of one more amazing offering at the upcoming Lucky 13th Annual Winter Conference.   You can find out more and register here.

Hope to see you in New York.

Illustrate and Write On,
Lee

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Rubin Pfeffer was an editor - heck he was a Senior Vice President and Publisher for Simon & Schuster Children's Books! Now he's a partner at the East West Literary Agency, and he's taking his 36 years in publishing and using that foundation to divine where our industry of children's literature is heading (and what SCBWI should be called in that future.)

Here's the thing to keep in mind about Rubin's view of the future of changes in children's publishing:

"Not Instead of, But in addition to."

He joked about meeting a fellow faculty member who summarized Rubin's titles as "oddball" and Rubin embraced that.

With SCBWI on the verge of it's 40th year, he imagined how we might be relevant in the digital age, with all the changes happening now:

The publishing industry is being redefined by forces both inside and out. From book returns to new technologies, all pieces of the chain are being affected.

Retailers have become e-retailers (B&N reported last month increase in e-books, Amazon (the number 1 trade customer) reports e-books outsold hardcovers and quickly gaining on softcovers.)

Readers are speaking up regarding pricing, scheduling and formatting.

Technology companies are working on e-readers that are quickly eclipsed by a new one, and then a new one after that.

Some literary agents have even launched e-publishing ventures. (A big battle happening now, as old contracts get reinterpreted for e-publishing rights that weren't anticipated.)

Books as we know and love today will always be here. But that is not the only way...

it is a

"time of revolution - a time to look for opportunities."

And here's the room-shocker:

"Perhaps SCBWI should become an e-publisher."

With books being reinvented, we must be innovative in creating content that that can leverage the multimedia capabilities of technologies like the ipad.

Our challenge will be to remain high above all the poor quality material out there."

He suggests to SCBWI to form a steering committee to look at opportunities for its members as we move into the digital future.


Rubin recommends everyone read this Article:
NY review of books, march 11, 2010 "Publishing, the revolutionary future" by Jason Epstein

He acknowledges that maybe SCBWI won't become a publisher, but says it's never been needed more keenly to nurture and guide quality, into a future that celebrates great content and promotes childrens literature and literacy.

Rubin gets a standing ovation! Wow!

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"Among the opportunities the future offers writers is the marketing opportunities of the internet."


That's things like understanding and harnessing the power of blogging and facebook and twitter - social media.

And you already something about the world of social media because you're reading this on the SCBWI Conference blog!

Great job!

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In the latest in our series of SCBWI TEAM BLOG pre-conference interviews, Martha Brockenbrough talks with publishing luminary Rubin Pfeffer on the SCBWI WWA blog.

At the Annual Summer Conference, Rubin will offer a Pro-Track session--DIGITAL DOINGS: WHAT PUBLISHERS ARE DOING TO PROMOTE CHILDREN'S BOOKS ONLINE; give a workshop--FROM PUBLISHER TO AGENT: OBSERVATIONS FROM A SEASONED PUBLISHER TURNED AGENT; and deliver a keynote speech--SCCC FORMERLY KNOWN AS SCBWI? ONCE SOCIETY OF CHILDREN'S BOOK WRITERS AND ILLUSTRATORS, NOW A SOCIETY OF CHILDREN'S CONTENT CREATORS?

Here's a bit from Martha's interview:

"Rubin Pfeffer, people. THE Rubin Pfeffer.

He's one of the keynote speakers at this summer's SCBWI conference in L.A., and given his incredible career in children's literature, he'll no doubt give a sensational talk.

Rubin started as a designer for Macmillan in 1974 and then spent 27 years at Harcourt, where he rose to become president of their trade book division over the era the company won Newbery, Caldecott, and National Book awards, as well as Nobel prizes for work on the adult side."

You can meet Rubin Pfeffer in person (along with a ton of other terrific presenters) at the Annual Summer Conference in Los Angeles.
 
Click here to register for the event!

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Another WOW Wednesday, another guest blog from a wonderful writer about how she achieved success. Today's writer blogs over at Paranormal Point of View where she does a great series on Mondays turning other writers into monsters. She also has a formula for success she's willing to share. Read on! And as always, if you have a success, big or small, you'd be willing to share, please let us know!

---

Do not try to adjust your monitors. I have, in fact, temporarily taken over Adventures in Children’s Publishing. Mwahahaha! Okay, seriously? I’ve been asked to guest blog - to share with you my story and the surprises I’ve had along the way. So here goes…

My name is Lisa Gail Green and I’ve been writing basically my whole life, starting at age seven. I’ve done many different things since then, always with the idea in the back of my mind that one of these days I’d be a writer. The nice thing is that just about anything you do in the “real world” can help prepare you for a career in writing. Case in point? I was an actress. “Bah! Completely frivolous,” you say? No way. I have a handle on character. I get inside my characters’ heads and not coincidentally, tend to favor first person in my manuscripts. It also helps with natural dialogue.

Just under a year ago (don’t shoot me, please) I joined SCBWI. That was probably the best thing I’d ever done. I took advantage of every board, every conference, every workshop, and quite simply every resource I could. I immersed myself and learned the “business” side of things. I learned all about how I’d been sending out horrifyingly embarrassing query letters before my manuscript was ready. I learned all about the “rules” of writing and when it might be okay to break them. But most importantly, I learned that overwhelmingly, the people in this business, whether agents, editors, or other writers, are kind and supportive and absolutely AMAZING.

So, I started querying (for real this time). I joined my beloved critique group. I took Jill Corcoran’s workshop on the subject. I started publishing in online magazines, which raised my self-esteem and gave me something to put in that dreaded bio paragraph. I also started reading like crazy in my genre.

My agent didn’t pull me from the slushpile – though I beg you not to discount it as impossible. I met Rubin Pfeffer of East-West Literary (sorry guys, he only takes clients by referral, though you can hear him speak at this year’s SCBWI LA conference) through a mutual friend. He even said in the email in which he offered me representation that this is “not the typical outcome of introductions of writers to publishers or agents when made by friends.”

The thing was, I had still done what I was supposed to. I polished my manuscripts (by this time I had two plus a WIP), pumped myself up and braved the world announcing that I am a writer (which led me to my connection with Rubin), and approached him in the professional manner I’d taken the time to learn about. I sent a query letter, as I would have to anyone else. He asked me for quite a bit of info after that – info on me, on my books, my characters, comparison books, and marketing. Finally he asked to see my other work.

Then he offered to represent me. I was at my in-laws at the time and I still think they believe me to be completely unhinged. I was hysterical. See, I’d done my homework and I knew exactly who Rubin was (a former senior VP from Simon and Schuster’s children’s division for starters). After I collected myself off the floor, walls, and ceiling, I went right back to researching what to ask, how to handle other queries I’d had out, etc.

I signed up and met with both Rubin and Deborah Wa

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Allyn Johnston Moving to S&S...

I had a feeling in wouldn't take Allyn Johnston long to find a new position. (Yay!) This just in from PW:

Allyn Johnston is joining Simon & Schuster Children's Publishing as v-p and publisher of a yet-to-be named imprint, effective immediately. Her imprint, which will concentrate on picture books and middle-grade fiction, will be located in San Diego. She will report to Rubin Pfeffer, senior v-p and publisher of Children's Trade Publishing.

If I get any more info, I'll post.

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Author: Bob King
Illustrator: Bill Slavin (on JOMB)
Published: 1994 Kids Can Press (on JOMB)
ISBN: 1550741497 Chapters.ca

Imaginative, engaging illustrations and plenty of predictable, belt-it-out repetition rendered our copy of this sing-along comedy a ragged but treasured relic of the fleeting toddler years.

Tags:Bob King, Podcast, singalong, Sitting on the Farm, toddlerBob King, Podcast, singalong, Sitting on the Farm, toddler

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