Anne Schwartz, VP and publisher of Anne Schwartz Books, an imprint of Random House Children’s Books, will retire from her current role and become editor-at-large under the umbrella of Knopf Books for Young Readers, effective February 1. Although she will no longer widely acquire, Schwartz will continue to edit and publish new projects.
Schwartz began her career in publishing in 1977 in the adult promotion department at Knopf. She moved into children’s books two years later, landing at Dial Books for Young Readers. Her first imprint at Random House Children’s Books, which launched in 1994, was Apple Soup Books. Under this imprint, she edited the Caldecott-winning Song and Dance Man by Karen Ackerman, illustrated by Steven Gammell. She later moved to Simon & Schuster, where she launched Anne Schwartz Books and published Ian Falconer’s Olivia picture book series. Schwartz is known for launching the careers of Falconer, Candace Fleming, Deborah Hopkinson, Patricia C. McKissack, and Brian Selznick. Across her career she has also worked with creators that include Brian Floca, Ekua Holmes, Chris Raschka, Eric Rohmann, Rowboat Watkins, Paul O. Zelinsky, and many others.
She returned to Random House in 2005 to cofound the Schwartz and Wade imprint with Lee Wade, and when the imprint was split in two in 2020, she launched Anne Schwartz Books. The imprint focuses primarily on picture books, but also publishes literary fiction and nonfiction for middle-grade and young adult readers.
Reflecting on her career, Schwartz says “The constants are that there are always parents, teachers, and librarians looking for great books that will engage and enlighten the kids in their lives, and there are always kids ready and eager to be read to,” while acknowledging that “what books will succeed, and how those books are made, has changed so much!”
Career highlights include the ALA Midwinter in 1988 when a note arrived at her hotel telling her that Song and Dance Man had won the Caldecott and Mirandy and Brother Wind was an Honor Book. “I kind of fell against the hotel room door and could barely move,” she said. “I couldn’t really wrap my head around it. What I did get was that it would be easier for me to acquire the projects I wanted from that point on!”
She also clearly remembers her first visit with Ian Falconer, whom she wanted to persuade to illustrate another author’s book. He was reluctant. He told her “he’d put together a little story of his own about his niece. Would I please take a look?” she said. “Then he pulled out what would eventually become Olivia. I knew immediately that something extraordinary had just dropped in my lap!”
“Anne’s titles are constantly recognized for their quality—in both their high production values and their contribution to the backbone of children’s literature,” said Melanie Nolan, associate publishing director at Knopf Books for Young Readers. “It’s the reason for their continued appeal to readers in a changing world, and why the creators on her list have regularly been awarded some of the highest honors our industry begets.”
Schwartz said she’s changed her viewpoint about a book’s success through the years. “I used to say that if a book is good, it will always find an audience. After too much disappointment, I no longer believe that to be true. There are many excellent books that I’ve loved, and that I feel in my bones kids would love, and regardless of in-house enthusiasm and support, they’ve sold a very underwhelming number of copies.”
Still, she doesn’t believe that should discourage editors from following their hearts on acquisitions. “Think less about the market and more about the quality of the work in front of you—does it excite or move you in some way? Don’t be scared to take risks!” Ultimately an editor’s job is “helping creative people do their best work,” she said.
This article has been updated.