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You may be wondering–what ever happened to Tara? It’s been almost a month since she blogged. (Or you may not. You may be relieved your inbox has been devoid of my blivel. I made that word up, in case you’re wondering. A portmanteau of blog and drivel.)
Well, I’ve been traveling! I’ve actually changed out of my pajamas several times in the last few weeks!
At the end of March I drove down to MD/DE/WV SCBWI’s Annual Conference to present my workshop “From Concept to Dummy for Picture Book Writers”. About 70 writers attended–it was a full house in our little room. The attendees got a taste of my imbalance. Yes, my mental imbalance, but also my MS imbalance. Luckily I didn’t topple the whiteboard. I did, however, have one sinking moment when I thought I used a permanent Sharpie on the pristine white surface. It reminded me of NJ-SCBWI 2008 when I volunteered to hang signs on the aging plaster of the Princeton Theological Seminary, only to take chunks of wall with me when I removed the signs. Be forewarned, I cause mayhem and destruction at SCBWI events.
I think many will agree that the best part of the workshop was when we read the beginnings of successful picture books to discern the WHO, WHAT, WHERE, and WHEN in each opening line. Incorporating these details makes your reader ask WHY and eagerly turn the page to find out.
Many new writers mistakenly begin stories with, “My name is Jamie and I’m six years old.” This tells a reader nothing about the story to come. And more importantly, an editor who reads this plain first line will most likely stop there. YIKES. Not what you want. You have to break out of that slush pile with a line that captures the editor immediately.
After reading a dozen picture book openings, with me screaming WHY? WHHHHHYYYYY? and bending over in feigned painful anticipation, shaking my fists at the sky, I challenged the participants to rewrite their opening lines. Everyone was quite thrilled to get their own Tara WHHHHHYYYYY? in response to their improved introductions.
Writer Sarah Maynard summarized my workshop with bullet points, to which I’ve added my thoughts from the event:
- You have 30 seconds to grab their attention. MAKE IT GOOD!
Like a resume to obtain a job, you have limited time to make an impression with an agent or editor. They can have hundreds of manuscripts to read each week, so they give each one only a few moments to grab them. Punch that opening, make them want to continue reading.
- “Writing a picture book is 99% staring and 1% writing.”
There is A LOT of thinking involved in writing a picture book. Don’t worry if you’re not actually putting words on paper every day. Think about how to resolve problems in your story. Stare at your manuscript. Your subconscious will most likely be working on a solution and it will pop out while you’re doing mundane chores, like emptying the dishwasher, folding laundry, or taking a shower.
- Learn who YOU are as a WRITER.
A lot of authors, including me, espouse advice that may not work for you. Discover how YOU work best and stick with it. For instance, routine doesn’t jive with me, although it works for a lot of other people. I used to force myself into routine only to get frustrated, losing my creative mojo. Only you know how to thrive in your creative mode. It’s very personal. Don’t take advice that doesn’t serve you well. (It may be useful to note here that I’ve shunned routine my entire life.)
- If it’s not apparent by words you’ve written, add an art note.
One attendee told me I was the first person to speak positively about art notes. Yeah, I think they get a bad rap. They’re absolutely ESSENTIAL to use if it’s not apparent what’s happening by your words alone. If the text says your character is smiling but you actually want them to frown, you need an art note to convey that. Of course, you should not use them to direct the entire shabang, but to ensure there are no misunderstandings. Which brings me to the last point…
- Don’t make an agent or editor guess!
I find that some new writers like to surprise the reader on the second or third page of a manuscript. This means the beginning is not entirely clear and the reader must guess what is happening. Well, what if your reader guesses wrong? Then they become hopelessly confused at the reveal and probably discard your manuscript. You don’t want an agent or editor to have to guess what is happening in your tale. Make it CRYSTAL either by the text or the addition of art notes. It can be as simple as “[art: the character is a bear]” to make everyone understand.
I thoroughly enjoyed my time in Maryland—the hospitality of the chapter went above and beyond. We had a lovely faculty dinner at the Craftsman-style log cabin home of former RA Edie Hemingway. Is there anything more writerly than that (I mean, c’mon, HEMINGWAY)? Edie has a charming home with a writing hut tucked into the woods.
Far better than my writing space—my unmade bed!
As I crawl back into my pajamas, I’ll be getting another blog post ready. This time, about my trip to Reading is Fundamental and the donation that my publisher and PiBoIdMo participants made possible, enriching the lives of children with BOOKS!
Today we’re lucky to have Peggy Robbins Janousky visiting to share highlights from SCBWI FL’s Picture Book Intensive. Take it away, Peggy!
I have attended many picture book intensives over the years, but this one topped them all. Participants were treated to an all-star panel that included: agent Deborah Warren of East West Literary, editor Laura Whitaker of Bloomsbury, author and editor Andrea Davis Pinkney and author Toni Buzzeo.
The presentations were practical, but powerful:
- Always bring your “A” game.
- Rhyme is not taboo, but bad rhyme is.
- Picture books are getting shorter and are being targeted for younger audiences.
- Show, don’t tell.
- Hook me and keep me hooked.
- Be passionate about your book and be able to pitch in just a few sentences.
One of the best things that was presented was the HOT list. These are the topics that editors and Barnes and Noble want now:
- Moments of the day
- School stories
- Learning concepts
- Holidays (MLK, Valentine’s Day, 4th of July, St. Patrick’s Day)
- Friends and family
- Character-driven stories
- Original stories that every kid will love
- Interactive picture books
- Finding the new in the old
If you haven’t taken an intensive before, I strongly urge you to consider it. Intensives are exactly that, intense. They give you the opportunity to delve in deeper and they also give you the opportunity to get to know the presenters on a more intimate level. I came away from this intensive with a new sense of purpose and drive. I also came away with a few good friends. All in all, it was money worth spending.
I have to admit, I almost did not attend the Miami conference. I was having a pity party and I wasn’t really up for the company. I had broken my leg in three places. Needless to say, getting around was a wee bit difficult. I was ready to bail. I am glad I didn’t. The first page of my manuscript was read during “first page reads”. Much to my surprise, the panel loved it. One editor wanted to know who wrote it, an agent wanted to read more, and another editor wanted to acquire it. I have to admit, I was in shock. By the end of the weekend, thanks to the help of a good friend, I had signed with that agent. Just one month later… My bio and picture are up on the East West Literary website. The editor that I mentioned is considering three of my manuscripts. And I am still pinching myself.
I will tell you that this was not an overnight success. I have attended many conferences and taken copious notes. I have revised, cut, and revised some more. I have also had moments where I was so rejected that I thought I would never put myself through another critique again. So what’s the moral of the story? Never give up. Never let pity or self-doubt get the upper hand. Believe with all your heart that your day will come. Then get off your butt and get to that conference. Your happily ever after is waiting for you to show up!
Peggy Robbins Janousky uses her offbeat sense of humor to write offbeat picture books. When she is not writing, Peggy uses her time to rescue stray animals. Much to her family’s dismay, she keeps them all.
And thanks to Kristen Fulton for adding this summary of Andrea Pinkney’s workshop: The Write Stuff.
- Writers write every day, whether it be a holiday or vacation.
- Find your “twinkle”—what makes you sparkle around others?
- Establish immediacy—using voice, characterization, mystery and drama.
- Ask yourself, “Why does the reader want to come on this journey and what makes the reader stay on this journey?”
- Writing is fun—and hard work.
- Writing is re-writing at least 10 times.
- Just get started and keep going.
- Read every day, whether it be a holiday or vacation.
Kristen Fulton writes non-fiction picture books and is running an amazing non-fiction picture book retreat with loads of agents, editors, and authors on July 7-12. Check out her website for details!
Let’s welcome Mindy Alyse Weiss back…she’s got the scoop from the recent SCBWI FL Conference. And boy, what a scoop it is! It’s chocolate fudge with rainbow sprinkles!
Ever wonder about an editor’s wish list? Wonder no longer! In the Editor Panel, Stacy Abrams, Kat Brzozowski, Aubrey Poole, Laura Whitaker and Andrea Pinkney discussed what kind of projects they’re seeking—and not seeking. There seems to be a trend away from dystopian and paranormal novels in YA.
Stacy Abrams, Executive Editorial Director of Bliss and Entangled Teen
Contemporary (no paranormal or dystopian). Can have an issue in it, but the book can’t be about the issue.
Kat Brzozowski, Associate Editor, Thomas Dunne Books, MacMillan
Dystopian is hard. Would love a good YA mystery. Comes across as loving dark but does love girl meets boy and they kiss, light romantic contemporary stuff for girls.
With social media, if you do one thing well but don’t like another, don’t force it.
Aubrey Poole, Associate Editor, Sourcebooks Jabberwocky and Fire
Loves sci fi, YA, not looking at genre really—it’s the stories that stand out within a genre. More experimenting with format. Read more about her wish list here.
Laura Whitaker, Associate Editor, Bloomsbury Children’s Books
She’s tired of dystopian and paranormal YA. She wants to be immersed in a story so much that she’s physically removed from her own issues. She wants to read about real people. Contemporary, original voice. With MG and YA, networking is important. Do a lot of digital marketing initiatives. You can get a huge impact from doing a blog tour. “Help me help you.”
Andrea Pinkney, Vice-President and Executive Editor, Scholastic
More diversity, African American boys, adventure, mystery, fun. Contemporary stories. *You need to normalize and not make it about the problem, even with something like bi-polar.” She’s interested in a novel with a character who has piercing or a lot of tattoos.
Besides writing a well-crafted story, how do you catch an editor’s attention? Laura Whitaker presented “Dating 101: What Makes YOU Desirable to an Editor”.
Tell her something interesting about your writing journey. What drew you to telling this story? Let her know any cool things you can share about yourself—show what makes you vibrant and unique.
Title—come up with something original that represents your work. If the title is the same when you’re published and there’s a story behind how you arrived at the title, marketing will want it later for a blog/Tumblr piece.
She’ll look at a query for 30 seconds to a minute. First thing should be the hook, then a two sentence synopsis (three if you have to), then info about yourself.
Your website is your calling card—especially for picture books.
Do you tweet out interesting, dynamic tweets? It’s the best way to build connections with other authors, agents, and editors. Twitter is more important for MG and YA.
Interact! Do you write about the process or what you’re working on? Marketing and publicity want to see your social media platform. The more social media, the better—but it is not a substitute for the craft.
Thanks again, Mindy!
Come back on Friday for the rest of the scoop from SCBWI FL. We’ll have vanilla and strawberry for those who don’t like chocolate. (Don’t like CHOCOLATE? Who are you people???)
This week I’m doing something special–bringing you a boatload of notes from Florida’s recent SCBWI conference in Miami, courtesy of author Mindy Alyse Weiss. Why a boatload? Well, it’s freezing here in NJ, so I imagined Mindy on a catamaran, sipping a piña colada with the captain as she wrote this. (We all have dreams, and my dream is to attend a WARM conference! Or maybe that should be a HOT conference?)
I was thrilled when Tara asked me to blog about the 2014 SCBWI FL Regional Conference in Miami. She always gives so much to the kidlit community through her yearly PiBoIdMo challenge and thoughtful blog posts, and I hope this will help all of you, too. Since workshops are often repeated, I can’t share all the secrets…but I definitely have some juicy info, plus insight into what some agents and editors are hoping to find…
I attended the Agent Panel with Jen Rofé of Andrea Brown Literary Agency, Deborah Warren of East*West Literary Agency and Ammi-Joan Paquette of Erin Murphy Literary Agency, where they shared wish lists and do’s/don’ts with aspiring authors.
- When sending a query, make it clear you’re personalizing it to that agent.
- When asked how many editors she sends a manuscript to at a time and when she considers giving up, she said she won’t stop until she’s exhausted every opportunity.
- The fastest she sold a manuscript—three hours! The longest it took was four years.
- Wish list: commercial character-based picture books. A country song book for YA. Books based on childhood, like a girl who is getting into stuff she isn’t supposed to do, but nobody would expect that.
- If you write picture books, she would want at least four she could try to sell right away.
- Write the thing that scares you. It usually comes from some raw, painful place and that’s where the good stuff comes out.
- So many people say that it only takes one yes. But it’s not just one yes—you typically need lots of yeses, including the editor, publisher, marketing, etc.
- Don’t EVER write to the market!
- A personal note from an agent is a good sign! They don’t have time to send that to everyone. It might be the project/first page/query letter that isn’t quite right at the moment.
- Specializes in picture books. She’s known for building brands and loves finding new talent!
- She loves working with author/illustrators—it’s her sweet spot. She’s having trouble with chapter books (they’re usually franchises). Realistic fiction is really coming back and she’s excited about that.
- The client/agent relationship is like a marriage. She’ll never give up on a client—once you’re on the team, you’re there!
- Wish list: Author/illustrators, multicultural, books based on childhood, a book about singing, or kids overcoming their obstacles.
- She looks for a strong opening in the sample pages and is especially drawn to precise pitches in a query that are snappy and compelling.
- She usually takes three to four weeks to respond to queries. For longer requested manuscripts it was two months, but she’s backlogged right now.
- When working on promotion, authenticity and what feels natural to you is important. An awkward presence is actually worse than no presence. In the pre-published stage, the focus should be on craft.
- Wish list: books that do something really different, a different narrative structure, different POV. She loves unusual projects, books based on childhood—travel, unusual vacations, anything to do with food or baking or French food.
Thanks for the agent tips, Mindy. See you back here on Wednesday with more from the SCBWI FL Conference!
Mindy Alyse Weiss writes humorous middle-grade novels with heart and quirky picture books. She’s constantly inspired by her two daughters, an adventurous Bullmasador adopted from The Humane Society, and an adorable Beagle/Pointer mix who was rescued from the Everglades. Visit Mindy’s Twitter, Facebook, or blog to read more about her writing life, conference experiences, and writing tips.
The Picture Book Idea Month success stories just keep pouring in!
The latest news is from lucky Penny Klostermann who was named runner-up for the 2012 SCBWI Barbara Karlin grant! This makes THREE YEARS IN A ROW that a PiBoIdMo story either snatched the grant or was named next in line.
Without further ado, I’ll let Penny tell you all about it!
In the fall of 2011, my wonderful critique group, Picture Bookies, made me aware of Tara’s brilliant concept, PiBoIdMo—30 picture book ideas in 30 days! My very first PiBoIdMo idea was to do a rewrite of THE NIGHT BEFORE CHRISTMAS. I know….holiday stories are hard to sell. I know….rhyme done right is hard to write! But, it was November…and Christmas was just around the corner…and I love the original. By the end of November, I had three different ideas for rewriting THE NIGHT BEFORE CHRISTMAS.
From the time I wrote the first line for my 25th idea, MARS NIGHT BEFORE CHRISTMAS, I knew it was my favorite.
Then, in December, Susanna Leonard Hill hosted a competition on her blog for a rewrite of THE NIGHT BEFORE CHRISTMAS. This brought my idea to the forefront, and I decided to work on it right away. I read every version of the story I could get my hands on. I researched Mars and Space! I got excited as words and phrases from my research enhanced my manuscript.
February 26, 2012, I emailed my manuscript to my critique group. As usual, their comments were incredible. I revised and revised and revised some more. Then on March 12, 2012, I mailed my manuscript to the Barbara Karlin committee…and waited.
I got the call/voicemail at 6:36 p.m. Friday, August 3rd. (Of course I took a picture of my call log!) I didn’t listen to the voicemail until 10:30 p.m. The caller said she was with the Barbara Karlin Grant, and could I give her a call. COULD I GIVE HER A CALL?????? I live in Texas. She was in California. It wasn’t too late! When she told me I was runner up I just couldn’t believe it. Uncontained happiness!!!
I have to say, Tara, that PiBoIdMo is out-of-this-world awesome. As I look through my list of ideas for the next manuscript to tackle, I am amazed. Your organization of the event with inspiring posts and interaction among so many picture book writers took my mind to places it wouldn’t go sitting alone in front of my computer. Thank you.
I just have to brag on my critique group, Picture Bookies. Rebecca Colby was the winner of the 2011 Barbara Karlin Grant. Also, in 2011, Mona Pease received a Letter of Merit. The other members are just as incredible. I am lucky to be a part of this group.
Congratulations, Penny, and thanks so much for sharing your success story! You can visit Penny online at her blog: “A Penny and Her Jots“.
Now folks, you know the old rhyme: “Find a Penny, pick it up, all day long you’ll have good luck!” So let Penny’s story sprinkle some good fortune on you.
PiBoIdMo guest bloggers and badges will be revealed on October 1st, with registration to begin on October 24th right here on this blog. Subscribe via email (← see left column) to make sure you don’t miss PiBoIdMo updates!
If you have suggestions about who you’d like to see guest blogging this year, please leave a name (or two or three) in the comments!
‘Twas the night before Conference and all through the hotel,
Authors were dreaming of merchandise deals with Mattel.
The manuscripts were printed with name and website,
In the hopes that an agent would find love at first sight.
The editors were snoring tucked into their rooms,
Knowing before them a day of pitching looms.
And while I am too warm, and Corey Rosen Schwartz too cold,
We share a king bed because the queen rooms are all sold.
Out in the hallway, there arose such a noise,
Wouldn’t you know it, it’s the conference’s only two boys.
The place is packed with slinky stiletto-heel wearers,
‘Cause style in books means style in fashion is fairer.
A kidlit conference is full of women who are hot,
Who sell tons of stories while you just want one shot.
But we authors are friendly, we certainly don’t bite,
We’re not filled with envy, we’re not filled with spite.
We will welcome you to our world that’s so crazy,
So will editors and film agents who’ve worked with Scorcese.
Get out there and network! Polish your pitch to a shine!
Relax in the lounge with a smooth glass of wine.
A kidlit conference is the place to make a friend,
It’s where deals happen ’cause deal-makers attend!
But don’t drone for hours about your book’s premise,
Talk about your life, your hobbies. Do you play tennis?
And don’t just stand there, go mix and go mingle.
Don’t stare at the editors like they’re all Kris Kringle.
Be yourself and you’ll find that you’ll be an attraction,
Don’t croon like Jagger about not gettin’ no satisfaction.
Be happy, be cheerful, take crits with salt if need be,
Remember we’re here to help you succeed, see?
(Excuse the bad meter, I’m not really a poet.
Ask Corey the rhyme genius, she really does know it.)
And with that I bid you a hearty good luck.
Break a leg, do your best, get that writer’s block unstuck.
Enjoy yourself for three days and two nights.
Happy Conference to all, and to all a good write!
Last November this blog hosted “Picture Book Idea Month,” a daily exercise for picture book writers. The object was to create one new picture book idea a day. (As an added benefit, it kept us from having NaNoWriMo envy.)
When I tried PiBoIdMo on my own the year prior, I came up with the concept for THE MONSTORE, which became my first book to be purchased. It’s set for release with Simon & Schuster in 2012. And, this week, my editor is meeting with the art director to talk about illustrators. Oh yeah, it’s a fun time.
Then this week I got word that Diana Murray won the 2010 SCBWI Barbara Karlin grant with one of her PiBoIdMo 2009 ideas! Wow! So I asked her to tell the story…take it away, Diana!
When Tara announced PiBoIdMo on the blueboards, I was thrilled. One idea per day was something I could handle time-wise and I was looking forward to an excuse to ramp up my picture book writing. It was more challenging than I expected, but the best part was, it helped me figure out my main problem: I’m a compulsive writer. As soon as I think of an idea, I run for my laptop and I can’t stop writing until I get the whole story out of me. I literally find myself waking in the middle of the night to jot things down. In other words, I’m completely nuts. In many ways, this can be a good thing. Motivation has never been an issue for me. But participating in Piboidmo forced me to delay my compulsion to write about anything that popped into my head, and for me, that ended up being more efficient.
I came up with most of my ideas during little “holes” in time throughout the day, like while pushing the stroller or putting my kids to sleep. Some of these ideas were pretty awful, like: “Tabby Moves to Dogtown” and “Mabel’s Amazing Hat,” about a do-everything hat with a remote control. Ha! That one still cracks me up. Some of the ideas were worth investigating and I kept getting tempted to drop everything and start writing. But I held back in the interest of coming up with at least one new idea each day. I knew that if I started writing, I wouldn’t be able to stop and move on to thinking of other ideas. I held off as long as I could.
Finally, on idea #23, I couldn’t take it anymore. The idea of a stubborn, messy witch who keeps losing things resonated with me (Gee, I wonder why?). It’s a very personal experience, of course. An idea that works for one person may not appeal to somebody else. But for me, it just clicked. For a few days, I thought about it and planned it out in my head. Actually, idea #23 had been brewing since idea #1 (to borrow a metaphor from my MC, Grimelda). That’s the good thing about ideas: even the bad ones can ultimately lead to something that inspires you. By the time I started writing, I was overflowing with creative juices and the whole manuscript just poured out.
So, long story short, I’m a PiBoIdMo loser! My compulsion got the best of me, and I didn’t get past idea #23. But the good news is, I won the 2010 SCBWI Barbara Karlin Grant and learned something in the process.
For the record, I announced my participation on the blueboards but not on Tara’s blog. Let’s just say I was a little new to the concept of blogs at the time. Luckily, I was able to read all the inspiring posts after the event.
Congraulations, Diana! I hope you’ll let us know when your manuscript gets purchased!
Do you have a PiBoIdMo success story to share?
Agents and editors have told me they occasionally receive calls from writers who are brand new to children’s books. These aspiring authors ask, “How do I get my book published?”
Kindly folks that they are, these agents and editors don’t slam the phone down. They’ll sometimes spend a few moments providing basic details. But this information can be easily found online. That’s what makes being a new writer so exciting these days: there’s professional advice available via websites and blogs, you just have to search for it. It’s not all so mysterious anymore.
So if you’re looking to launch a kidlit career, please don’t call an agent or editor to learn the basics. Let them read manuscripts, sell books and do their jobs. Come here instead…
A New Children’s Writer’s To-Do List:
I knew you’d like that one.
- Read children’s books.
Become familiar with the genre in which you write. Understand appropriate length and content for specific age groups. See what’s being published. Don’t follow trends, but know the competition. When pitching editors and agents, it’s often helpful to compare your book to another title. You can’t compare if you aren’t well read.
- Join SCBWI.
Take advantage of their resources—local chapter events, national conferences, online discussion boards and publications.
- Join a critique group.
Find fellow writers who work in the same genre as you. They provide support, motivation, and helpful feedback. (And if you can, find a group with writers who are more experienced than you.) P.S. Your mother, daughter, spouse, and neighbor’s 2nd grade class are not a critique group.
- Attend workshops, conferences and events.
Seek out opportunities to learn and network with authors, agents, editors and writing peers.
- Read books on the craft.
Writer’s Guide to Crafting Stories for Children by Nancy Lamb
Writing Picture Books by Ann Whitford Paul
Writing for Children and Teens by Cynthea Liu
Writing with Pictures by Uri Shulevitz
- Revise and rewrite.
It’s not going to be right the first time (or maybe even the second or the fifteenth). It’s just not. Resist the temptation to submit an early draft to a publisher.
- Take time to develop your skill.
Your writing will improve with practice. Most professional authors need at least two years of serious writing to hone their craft, and it’s not unheard of to work for ten to fifteen years before becoming published.
- Submit when you have more than one project polished.
Finished your first manuscript? Keep writing. If an editor or agent likes your manuscript, but not enough to make an offer, they may request other material. Have a few manuscripts at the ready.
- Learn to have patience.
It can take many years to write publishable material, sell your first project, and develop a career. Even after you become published, the business is still full of waiting—waiting to hear from your agent and/or editor, waiting for a book to be released, waiting to earn out. You will never NOT be waiting. Patience and perseverance are key.
- Call yourself a writer.
Because you are one!
If you have some newbie suggestions, let’s hear them. Please leave a comment.
Children’s book writers were treated to another fun and informative first page session this week in Princeton, hosted by the NJ-SCBWI. Editors Michelle Burke and Allison Wortche of Knopf & Crown Books For Young Readers listened to 30 first pages read aloud as they followed along with each manuscript page. Then they gave their immediate first impressions of the work.
If you’ve never attended a first page critique, it’s a quick way to get a handle on what your peers are writing. A first page session shows you what it’s like for an editor to spend two hours in the slush pile. Common themes emerge. Mistakes reveal themselves. If you listen carefully, you’ll learn how to avoid first page problems and encourage an editor to read on.
So what did the editors say? I encourage you to read on…
Use varying imagery in picture books. One manuscript conveyed a lot of emotion and the editors didn’t see where the illustrator would take inspiration for art. The same scene through several page turns may lose a child’s attention.
Dialogue needs to match the age of your character. A picture book character shouldn’t sound older than a five- or six-year-old child. Their actions should also match their age.
Cut excess detail in picture books. The first page of the manuscript should reveal a clear story arc. If the manuscript is bogged down with details, it slows the story down. For example, writing that a mother is carrying a napkin to the table and setting it down next to the plate is unecessary (unless that specific action is crucial to the story, and even so, it could probably be illustrated).
Premise and conflict should be apparent on the first page of a picture book manuscript. For example, dialogue between two characters should reveal a story, not just serve as adorable banter.
Every line in a picture book should move the story forward. There’s no room for chatting or extraneous stuff.
Picture books should have a linear approach. Moving back and forth in time can confuse a young child.
With holiday stories, you automatically have to work harder. Stories about specific times of year are a tough sell. There’s a lot of competition and a small sales window.
Some picture book stories are told better without rhyme. If the phrasing is unnatural in rhyme–things you wouldn’t ordinarily say–it can be jarring to the story. One bad line can ruin the manuscript’s chances.
The narrator/main character should be the highlight of the first page. One manuscript began by describing a minor character as a way to compare/contrast the narrator. However, when that minor character disappeared from the rest of the page, the editors were confused. Was that comparison necessary to introduce the narrator?
Historial fiction should tell a story. The reader should get a sense of the main character first–how he/she is affected by historial details. Too much fact will bog the story down and lose the character.
Don’t be too reptitive in a novel–get on with the story. If a main character reveals the same thing over and over again on the first page, it feels overdone. Introduce a concept and then move on with the story; don’t circle back paragraph after paragraph.
A first person narrative should have more narrative than dialogue on the first page to take advantage of this device. Plus, the narrative voice and the dialogue voice should match (unless the disconnect is for a specific purpose).
Avoid the stereotypical whiny, displaced, unhappy middle-grade voice. More than one middle-grade manuscript began with a character learning that he/she had to move. The result was a whiny narrator who wasn’t necessarily likeable. Editors warned that they see a lot of the parents-uprooting-child theme, so to rise above the slush, consider a different approach.
Be cautious in stories with several important characters. It’s difficult to write a story with multiple characters because introducing them can sound like a laundry list. Reveal their personalities in a way that’s organic to the story. It also asks a lot of the reader, to keep track of several characters.
Watch tense. The switch from dialogue to narrative in one story felt very abrupt because the dialogue was in past tense and the narrative was in present.
The difference between MG and YA is edgy, gritty. If the main character’s personality feels innocent, the genre might be middle grade, not young adult.
Balance description and dialogue. Dialogue moves a story along fast. Description slows it down. Long stretches of each create a choppy storytelling rhythm.
Make descriptions specific, not generic. One story began with vague details that could be applied to almost any story setting. It wasn’t until further down on the page that the reader learned the unique time and place, something that attracted attention. The editors suggested moving that info higher up.
YA characters should be teenagers. College YA characters and those over the age of 19 can be a tricky sell. That moves the story into adult territory. YA readers need to relate to the characters, and 20+ seems like a lifetime away to a 15 year-old.
Finally, stories should be kid-friendly, not sprinkled with adult sensibilities. One of the editors warned, “this feels like it’s about kids rather than for them.” Don’t let a parental point of view creep into your writing–kids find that creepy.