TFCB is a YA nonfiction imprint that fulfills this mission: to help teens better understand their world in all its complexity, whether delving into gender identity, race relations, and global conflicts--or exploring the fun stuff, too, such as prom, the human microbiome, or trends in social media.
TFCB is always looking for new voices across all disciplines, which is the reason for this submissions call. People from all backgrounds and orientations are encouraged to submit.
Please include the following in your submission:
**a brief description of your background and your work in the body of your email. You do not have to have been previously published, although familiarity and experience with the YA audience is a plus.
**a 4- to 8-page doublespaced, typewritten sample of your writing on the topic, to be made available as a Word document attachment to your email
**a selected bibliographic list of the sources you consulted to prepare the writing sample, to be included at the end of your writing sample. A mix of print and reputable online sources is acceptable, with a minimum of five sources.
Please send your submission to firstname.lastname@example.org This open call begins today, July 14, 2016, and will last until August 14, 2016. We cannot guarantee a reply to every submission.
TOPICS FROM WHICH TO CHOOSE
1. How have scientists been able to capture the sound of gravitational waves? Explain the technology in accessible as well as domain-specific language.
2. Does service learning promote community engagement among teens? If so, how? if not, why not? Give examples of successes or failures from real programs with real teens.
3. Analyze the validity and efficacy of the affirmative consent standard ("yes means yes") as it plays out in the law and in policy. Is it a more effective standard than the "no means no" definition of consent? Why/how or why not?
4. As a biracial South African man--and relative newcomer to the United States--does Trevor Noah (the host of The Daily Show) bring unique, trenchant insight of race relations in the United States to his comedic routines? If so, how? If not, why not? Analyze his approach and give examples.