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Three is a magic number. Not only because it’s the age when tiny toy parts no longer pose a choking hazard to your toddler, but because the universe is full of threebies.
Three square meals a day.
Three strikes and you’re out.
Three ring circus. And three ring government. (Excellent analogy, Schoolhouse Rock.)
Then there’s the “rule of thirds” design principle for composing visual images with tension and interest.
Ever heard of the FOUR LITTLE PIGS? Of course not. There’s just three, like THREE BLIND MICE and THREE BILLY GOATS GRUFF. Heck, there’s even THREE STOOGES.
In picture books, you’ll often find the protagonist struggling to solve their problem three times before finally succeeding. This technique encourages the reader to become invested in the hero’s journey. If the character were to try once and triumph, what fun is that? There’s no time to root for her!
Likewise, you’ll often see groups of three drawings on one picture book page. Three offers a nice balance because two is too few and four is too many. Like Goldilocks and the THREE Bears know, three is “just right”.
So today I’m going to extend “The Rule of Three” to you, the aspiring author. How so? I encourage you to have THREE polished manuscripts ready before submitting to an agent or editor.
Three manuscripts means that you’ve been writing for a while. Not a month or two, but most likely a year or two…or yes, even three. You’ve taken the time to hone your craft. Three manuscripts also means you’ve got a body of work an agent can review. If they don’t like your first story, but they see potential, they will ask for some more. Wouldn’t it be a missed opportunity if you didn’t have more?
In fact, even if they LOVE your first story, they will ask to see more. Picture books are a difficult sell, so if the first manuscript doesn’t find a home, they’ll want something else to submit. Three stories lets the agent know that your body of work, your style, resonates with them. On the flip side, they may LOVE your first book but not see a market for your other stories, or personally dislike them. Their lack of enthusiasm means they are not the right agent for you. You want to know this BEFORE you sign with someone, not AFTER….’cause breaking up? It’s hard to do.
And listen, if you have three manuscripts ready, I’m going to go a bit further and suggest you get FIVE ready. Because five is shiny, like “five golden rings” or “The Jackson Five”.
Yeah, it’s easy as A B C, 1 2 THREE.
Time to grab your backpack, notebook and Dixon Ticonderoga #2’s—it’s back-to-school time! But hey, let’s make this year a little more interesting, shall we?
How about candy-coated pencils for sucking in class? YES!!! *fist pump* (Remember, I’m from Jersey.)
I don’t deserve credit here. Back in 1994, just a few years after Roald Dahl’s passing, his widow Liccy compiled truly inspired recipes for the book ROALD DAHL’S REVOLTING RECIPES, based on his darkly humorous children’s tales.
There’s George’s Marvelous Medicine Chicken Soup from GEORGE’S MARVELOUS MEDICINE, Mr. Twit’s Beard Food from THE TWITS, and Mosquitoes’ Toes and Wampfish Roes Most Delicately Fried from JAMES AND THE GIANT PEACH. And while these treats might not be on your next tea party list, there’s also sweet favorites like Bunce’s Donuts from FANTASTIC MR. FOX and Bruce Bogtrotter’s Chocolate Cake from MATILDA.
But considering the time of year, I thought it would be fun to share a recipe for making daydreaming in class a little sweeter.
CANDY-COATED PENCILS FOR SUCKING IN CLASS
Makes 6
You will need:
- 6 pencils (Dahl’s favorite were Dixon Ticonderoga #2’s)
- Play-Doh or other modeling clay (for standing pencils up)
- candy thermometer (optional)
- buttered 8X10 rimmed baking sheet lined with wax paper
- buttered knife
- 1/2 pound sugar cubes
- 1/2 cup plus 2 TBSP water
- large pinch cream of tartar
- few drops flavoring and food coloring
- Put sugar and water in saucepan over low heat and stir until sugar has dissolved.
- Raise the heat. When syrup is almost boiling, add cream of tartar and a warmed candy thermometer.
- Boil without stirring to 250 degrees F, or until a little bit of the syrup dropped into cold water forms a hard ball (a ball that will hold its shape but still be pliable).
- Remove from heat, add flavoring and coloring. Do not over-stir and be careful, mixture is very hot.
- Pour mixture into rimmed, lined baking sheet. Edges will cool more quickly then the center, so as the mixture cools, turn the edges inward with a buttered knife, but do not stir.
- Working quickly, lay 2/3rds of a pencil (not the pointed end) on top of the mixture. Using the buttered knife, lift up the candy and gently wrap it around the pencil. You can create all sorts of shapes before it hardens. When the candy is almost set, stand the pencil point side down into the clay. Try not to touch the candy now, as you’ll leave fingerprints.
- Repeat step 6 with other pencils.
Note: Do not double the recipe to make more. Make additional batches instead.
That’s it! Now suck away in class, but don’t tell your teacher who gave you the recipe! I don’t want to get in trouble!
While ROALD DAHL’S REVOLTING RECIPES seems to be out of print, it has been resurrected several times. I suspect it will be released again. But if you just can’t wait to devour SNOZZCUMBERS or LICKABLE WALLPAPER, I suggest checking for a local indie seller.
Bon appetite!
Geesh, you’d think I wouldn’t forget about my own book contest. But I plead summer brain. It’s all mushy with Slurpees and Sno-Cones. Maybe I should plead brainfreeze then, too!
So without further ado, the red guy on the front cover is named DUSTER!
While no one guessed the exact name, Wafa Musitief guessed DUSTERS, so she wins an original signed monster sketch by illustrator James Burks!
But wait! We added a second prize for a random winner. And that winner is Jarm Del Boccio!
Congratulations Wafa and Jarm! I’ll be emailing you shortly.
Once again, thanks for subscribing to my blog. Rest assured there will be a lot more prizes coming soon. You’re bound to win one eventually. And if you don’t, I’ll treat you to a Slurpee. Brainfreeze is an awesome way to float through summer.
[Update 10/19/12: There wasn’t enough time to properly plan this retreat for the Nov-Dec timeframe, so I am considering doing it in the spring instead. Please follow this blog (see left column) to get all the updates!]
No, this isn’t a trick. No plastic thumb or fake dove here. Smoke and mirrors? Nah. This is a real treat. Better than chocolate. It’s a PiBoIdMo Retreat!
Yes, I’ve been kicking around this harebrained scheme to host a picture book writing retreat and workshop weekend with a PiBoIdMo theme in late November or early December. Am I nuts? Yes, of course! Only crazy pants people can be children’s authors, silly!
Cozy, no? Don’t you wanna just plop down and write?
The Grand Summit Hotel in Summit, NJ is the proposed venue. Located in downtown Summit, The Grand Summit offers walking access to the NYC train, shops and restaurants, plus this mid-sized hotel provides personalized service and well-appointed rooms with a comfortable, hometown feel. (OK, with that description it’s painfully obvious that I’ve been obsessed with “The Price is Right” game on Facebook.)
Two picture book authors (moi included), one picture book literary agent and one picture book editor from a major house comprise the potential faculty.
And you, the first 24 PiBoIdMo devotees to register, will be the small, intimate group of lucky attendees.
There will be four workshop classes plus smaller break-out sessions. And plenty of time to write and gossip. How about a Friday night dinner soiree with open bar, too? Cranberry Cosmos for all! (Saturday-morning hangover optional.)
I am busy crunching numbers to determine if this is possible. So, if this sounds even remotely intriguing, please speak up in the comments. Tell me how much is a reasonable attendance fee (bear in mind you’d also have costs for hotel accommodations and transportation) and what you’d want out of the weekend.
I need your input, PiBoIdMo’ers! Let the comments commence!
If you’re an un-agented writer, you might be thinking—do I even NEED a blog? What content should it contain? How often should I post? What SHOULDN’T I blog about?
Well, relax. Deep, cleansing breaths. I asked a few agents what they thought of writerly blogs. Their responses may surprise you.
Erin Murphy, Erin Murphy Literary Agency:
“I don’t have any strict rules or do’s and don’ts. I find blogs are perhaps less useful than they used to be, with the exception of those with large followings. Mostly I go to them, when considering signing someone new, to get a sense of their personality and how they present themselves (whether to fellow kidlit folks, gatekeepers or kids).”
Ammi-Joan Paquette, Erin Murphy Literary Agency:
“A writer’s blog wouldn’t be a deal-breaker for me unless it was wildly unprofessional. First and foremost, when I’m looking at a potential client, it’s all about the writing. But beyond that, a blog or website gives a sense of who that person is, how our tastes and interests might mesh, etc. So make sure your web presence reflects who you are, and that it looks clean and tight and polished. I don’t think they’re essential, but it is nice to put a face and background to the voice I’m reading on the screen.”
Jennifer Laughran, Andrea Brown Literary Agency:
“I don’t care if an author has a blog or not. But if they DO have a blog, I hope it is lively, interesting, informative, fun to read, and gives a sense of their “voice” and a glimpse into their lives.
Turnoffs: Lots of word-count posts. Constant self-promotion. Complaining about blogging, complaining about the publishing industry, complaining about specific people (your agent or editor, for example)—or “Humblebragging.” Overly political or “sexy” posts (unless you are a political or sexy writer).
If an author HATES blogging and is struggling to find the time or energy…if it is taking away from their work or making them miserable…then they should absolutely not do it. An unused blog, or a blog that is just complaints or self-PR, is so much worse than no blog at all.”
Teresa Kietlinski, Prospect Agency:
“Blogs are absolutely important in my decision making. When submissions come in, I tend to visit blogs first because they give me a taste of the writer’s (and illustrator’s) personality, voice and interests. It also lets me see how dedicated they are to the craft of writing or illustrating. Do they post frequently? Do they talk about topics of interest in the children’s book world? Are they honing his/her skills? What books is he/she reading? Would I like to join him/her for lunch or tea? (the last question for me is the most important). If I do not instantly connect with a blog, chances are I will not connect with the blog’s writer.
My goal as an agent is to work with clients who I like working with. Clients who are funny, interesting, and interpret the mundane stuff in a surprising way. Blogs can give me insight on these qualities. And while websites are important, especially for seasoned authors, they are not always personal.
I would suggest not limiting your blog to “kids stuff only.” Talk about what interests you—but keep it professional in tone. Readers are looking to connect with your personality. Who are you?
Do remember that anyone can read your posts so keep them professional in tone. Do update your blog regularly.”
So it’s clear: if an agent is interested in your work, they WILL Google you. So avoid posting:
- Samples of works in progress (they might be considered “published”)
- A tally of submissions/rejections
- Complaints about rejections, the industry or specific professionals
- Long, rambling posts
- Overly political, religious or controversial topics (unless that is the focus of your professional writing)
Before you start a blog, realize there’s millions of them out there already. What are you bringing to the table? Do you have a unique perspective? Just like thinking of the hook before you write the book, you might want to think of the hook for your blog before you launch into it. (Relatively-newish blogs with compelling hooks: Literary Friendships by Audrey Vernick and Design of the Picture Book by Carter Higgins.)
Or, you can just go for it and post whatever you like. After a few dozen posts, you might discover your niche. Check your blog stats and determine which posts bring in the most visitors. Work in that direction.
And remember, the story’s the thing. No blog will snag you a book deal if your submission is sub-par. So get the manuscript right first, then worry about blogging later…
Or, maybe, not at all.
I am ridiculously far behind in picking winners. So without further ado, here they are!
WINNER of CRASHING EDEN by Michael Sussman:
MIKE ALLEGRA! (heylookawriterfellow)
WINNER of THE MONSTER WHO LOST HIS MEAN by Tiffany Strelitz Haber:
LESLIE G!
Congratulations, guys! I’ll be emailing you shortly.
I’m sorry if you didn’t win, but everyone’s leaving with a consolation prize. No, not a lifetime supply of Turtle Wax. (Do they even make Turtle Wax anymore? If you ever won a lifetime supply on Let’s Make a Deal you’d be ripped off.) Instead, it’s a piece of picture book writing advice:
Think BIG and carry a SMALL manuscript.
One of my favorite quirky picture books is OTTO GROWS DOWN by Michael Sussman, so you can imagine how thrilled I was to learn that Michael has a new YA novel, CRASHING EDEN. Well, Michael is crashing my blog today and he’s leaving behind a paperback copy just for you.
“Dr. Suss” (as I like to call him) is a prolific, versatile writer who has published books in diverse genres. So I asked him how he shifts gears to different formats and what obstacles he faces in doing so.
TL: Michael, you’ve written medical books, picture books, and now a young adult novel. How did you adjust from writing one genre to another?
MS: The toughest shift was from writing nonfiction professional books on psychotherapy to writing fiction. About 20 years ago I first tried my hand at a novel. Looking back at that manuscript, I cringe at how stiff and wooden my writing was—especially the dialogue. Thanks to practice and critiques from writer’s groups, my next novel was considerably better, although it too went unpublished.
After reading hundreds of picture books to my son, I decided to start writing for children. That transition was a breeze. Writing for kids totally freed my imagination and allowed me to be much more playful and fantasy-based. The result was OTTO GROWS DOWN, a story about a boy who becomes trapped in backwards time.
In writing for young adults, I benefited from having already spent years honing my novel-writing skills. There were, however, two major differences. It was a stretch to write with the voice of a teenager, and that took a great deal of revising to get right. Secondly, I had to revisit my own adolescence, and that was no picnic!
TL: Which genre is your comfort zone?
MS: When it comes to writing, I’m such a perfectionist that I’m not sure I have a comfort zone.
Writing picture books is probably easiest for me, since the sky’s the limit when it comes to letting your imagination run wild. In terms of novels, I think I feel most comfortable writing thillers and mysteries, especially with a comic edge.
TL: How did you get the idea for CRASHING EDEN? What made you decide to tackle the YA genre?
I started trying my hand at fiction about twenty years ago. I wrote a psychological thriller and a comic mystery novel, neither of which were published. I developed severe writer’s block, which was immediately relieved when I began writing for young children. Looking back, I think I was working out unresolved issues from my own childhood. Next I turned to writing for young adults. Consciously, I chose YA because the market was hot! But unconsciously, I believe I realized that it would give me the chance to work on issues from my mostly miserable adolescence.
The genesis of CRASHING EDEN began with the title, which had floated around in my mind for nearly a decade. I’d been interested in world mythology for many years, and especially intrigued by the widespread myths suggesting that humans have degenerated from an ancient state of grace, symbolized by Paradise or the Golden Age.
I began to wonder what might happen if we were somehow able to recapture the state of mind supposedly experienced by people before the Fall. What if a device could be built that altered our brains in such a way that we felt like we were back in the Garden of Eden?
This led to speculating about how the God of the Old Testament might react to trespassers in his Garden. That’s where the story takes a controversial turn.
TL: What an intriguing premise! So, what YA reads have really stuck with you? To which books would you compare your style?
MS: My favorite YA novels are Phillip Pullman’s trilogy, FEED by M.T. Anderson, UNWIND by Neal Shusterman, and MARCELO IN THE REAL WORLD by Francis X. Stork.
I’d like to think my style is unique, although I’d say it’s strongly influenced by two of my favorite novelists: Tom Robbins and Christopher Moore.
TL: How do you hope readers will react to your book?
MS: My ideal reader loved OTTO and is curious about the title of my novel. She’s intrigued by the notion that the widespread myths of a Golden Age were based on something real, and by the idea of returning to Edenic consciousness. She feels empathy for my troubled protagonist and gets caught up in his many dilemmas. She enjoys the humor and suspense of the story and finishes the book in one sitting. Then she recommends the novel to all her friends, posts glowing reviews on Amazon and Goodreads, and sends a copy of the book to her uncle, the filmmaker!
TL: Ha, ha! Don’t we all wish! So, with all those genres floating around in your head, do you ever experience writer’s block? If so, how do you overcome it?
Yes, I’ve definitely had periods when I couldn’t write a thing and couldn’t come up with a single idea. It feels awful. With other types of work you can just phone it in, but not with writing.
With mild writer’s block, I can overcome it by exercising, being in nature, taking a hot bath, meditating, or simply taking a break from writing. With more serious cases, it takes some psychological/emotional exploration. The blockage may be due to depression. It may stem from avoiding something that you need to write about. In one case, my writer’s block evaporated when I shifted from writing for adults to writing for children!
TL: I love that. Writing for children definitely frees the imagination and lets you go places adult fiction doesn’t.
Thanks to Dr. Suss for offering a paperback copy for me to give away! Just leave a comment to enter. You get one entry for your comment plus an extra entry for each share on social media, just let me know in a separate comment! A winner will be selected in one week. Good luck!
Want it now? Crashing Eden is available at Amazon, Barnes & Noble and Smashwords.
And visit “Dr. Suss” online because he’s hilarious and talented (and a good friend)!
OK, so you know that I love monsters. Can’t get enough of them. Well, my friend Tiffany Strelitz Haber is here today with a monster of a story—her debut picture book, THE MONSTER WHO LOST HIS MEAN!
Some of you may know Tiffany as one of the two rhyming geniuses behind The Meter Maids (with Corey Rosen Schwartz). If you don’t, you have to check out her site, which is all about writing in rhyme. Don’t make me slap you with a citation!
Before we get riffing with Tiffing (yeah I can call her that, it rhymes), you MUST take a look at the extraordinary trailer for her new book. The Danny-Elfman-like original music, the animation—it’s all so monstrous and so much fun!
TL: THE MONSTER WHO LOST HIS MEAN is about a monster who loses his ‘M’. You know I host Picture Book Idea Month every November so I’m obsessed with the origin of ideas. Where did this idea come from?
TSH: I have always been a very visual person when it comes to words. Even as a kid, I loved the concept of homonyms, acrostics, acronyms, spelling words backwards, and even looking at them upside down. One day I started thinking about the letters in the word MONSTER, and what they might actually stand for if the word MONSTER was an acronym. From there the concept just grew and evolved, and “The Onster” was born!
TL: We’re also all about characters names on this blog. Did “The Onster” have a name before he lost his M?
TSH: Ya know…that’s a great question. I like to think that he only really found any identity at all after he lost his M. Before that he was just…well… generic, nameless, and not nearly as cool—Monster. Bleh.
TL: The Onster cooks brunch at one point in the book. I’m a foodie like you, so what’s your favorite brunch food?
TSH: Hmm…for me, picking a favorite food is kind of like bending a spoon into a perfect figure eight using just my toes (almost impossible). But in the interest of quasi-decisiveness…I’ll go with a tie. EITHER: Perfectly toasted onion bagels slathered in whipped cream cheese, lox and just a few rounds of raw, red onion…OR…a dim sum extravaganza.
So…What’s YOUR favorite brunch food? Tell us and be entered to win a signed ARC of THE MONSTER WHO LOST HIS MEAN!
You get one entry for commenting and then one entry for every place you share—blog, Facebook, Twitter, Pinterest, etc. Just let us know where you ONSTER’ed!
Tiffany Strelitz Haber is the author of two rhyming picture books: THE MONSTER WHO LOST HIS MEAN (Henry Holt Books for Young Readers, July 17, 2012) and OLLIE AND CLAIRE (Philomel/Penguin, 2013). She will eat any food she is served, be it fried witchetty grubs on a stick or calf’s brain ravioli, and loves to be high in the air or deep in the sea. Tiffany lives in NJ with her two little monsters, Jack Dalton and Travis Hawk. Like her on Facebook. If you don’t, Tara will sic the monsters on you.
STORYTELLER: The Authorized Biography of Roald Dahl by Donald Sturrock cannot be missed, yet for two years I missed it. What is wrong with me? (Eh-hem, this is a rhetorical question, thankyouverymuch.)
Roald Dahl remains one of the most iconic children’s authors of all time, yet he began his career writing macabre short stories based upon his experience in the Royal Air Force during World War II. Just how did he evolve into the fantastical children’s author we all love?
Sheila St. Lawrence, Dahl’s literary agent at the Watkins Agency, is to thank. She realized “the ease in which Dahl could enter a child’s mind,” clearly apparent in his short story “The Wish”. In the tale, a young boy dares to walk across a carpet by stepping only on its yellow portions. Should his foot slip onto another color, he thought he would “disappear into a black void or be killed by venomous snakes.” This story was the only adult Dahl piece to feature a child protagonist to date, and it could not escape St. Lawrence’s attention.
After a disastrous two-year foray into playwriting, St. Lawrence implored Dahl to turn his literary aspirations elsewhere. Yet he ignored her kidlit suggestion, wrote stories that got turned down by The New Yorker, and instead got placed in the far less desirable (but still paying) Playboy.
Dahl’s publisher Alfred Knopf expressed interest in a children’s book, but then dropped a collection of adult stories called “Kiss Kiss” from Knopf’s 1959 list. Dahl spouted some choice words in response, threatening that Knopf would never squeeze a children’s book out of him.
Dahl once again became focused on writing for actors, as he wished to develop vehicles for his wife at the time, screen star Patricia Neal. After all, if Neal was working steadily, her income afforded him more time to write what he wanted to write. There were shows for Hitchcock and a drama series for TV based upon classic ghost stories, produced by Alfred Knopf’s half brother. But when the pilot episode encountered a controversy, the series got permanently shelved and Dahl was forced to return to the idea that evolved into JAMES AND THE GIANT PEACH.
I will say “and the rest is history” here, although STORYTELLER is only halfway through Dahl’s life story at this point. So like Sheila St. Lawrence, I implore you to turn your literary aspirations toward it.
But before I go, it would be a shame not to share with you Dahl’s advice to children’s writers, as told to Helen Edwards in an interview for Bedtime Stories exactly 42 years ago:
What makes a good children’s writer? The writer must have a genuine and powerful wish not only to entertain children, but to teach them the habit of reading…[He or she] must be a jokey sort of fellow…[and] must like simple tricks and jokes and riddles and other childish things. He must be unconventional and inventive. He must have a really first-class plot. He must know what enthralls children and what bores them. They love being spooked. They love ghosts. They love the finding of treasure. The love chocolates and toys and money. They love magic. They love being made to giggle. They love seeing the villain meet a grisly death. They love a hero and they love the hero to be a winner. But they hate descriptive passages and flowery prose. They hate long descriptions of any sort. Many of them are sensitive to good writing and can spot a clumsy sentence. They like stories that contain a threat. “D’you know what I feel like?” said the big crocodile to the smaller one. “I feel like having a nice plump juicy child for my lunch.” They love that sort of thing. What else do they love? New inventions. Unorthodox methods. Eccentricity. Secret information. The list is long. But above all, when you write a story for them, bear in mind that they do not possess the same power of concentration as an adult, and they become very easily bored or diverted. Your story, therefore, must tantalize and titillate them on every page and all the time that you are writing you must be saying to yourself, “Is this too slow? Is it too dull? Will they stop reading?” To those questions, you must answer yes more often than you answer no. [If not] you must cross it out and start again.
For me, these are words to write by. Funny that he should utter them within days of my birth! (Wait a second, did I just reveal my age?! Eh-hem, this is a rhetorical question, thankyouverymuch.)
UPDATE: Whoopsie. I looked at the wrong footnote. The quote above is from a letter Dahl wrote to “The Writer” Magazine in October, 1975: “A Note on Writing Books for Children”.
Allow me to reveal the cover of THE MONSTORE, my June 2013 picture book illustrated by James Burks!
It’s so fabulous I spend hours staring at it as if I’m a 7th grade dork in love with a 1981 poster of Rick Springfield.
Forget about wishing to be Jessie’s girl, I’d rather be James’s girl, ’cause the dude seriously knows how to whiz-bang-kaPOW a picture book cover. ( Oh, Rick, please don’t take it personally.)
That’s main character Zack front-and-center with his pesky little sister Gracie popping into the frame. The hulking orange guy is Manfred, the flying monster is Mookie, and that’s Mojo with the striped, wiggling arms and crooked horns. Peeper is the little eyeball perched on the Monstore sign, although he isn’t named in the book. He’s James’s invention!
That leaves the red broom guy. And guess what? He doesn’t have a name. Well, he does because James names all the character he draws, but this monster never gets mentioned in the story.
So here’s a monster of a contest for ya: try to guess the name James gave him! If you do, you’ll win an original, autographed monster sketch by the talented Mr. Burks. If no one guesses his correct name, or if there’s more than one correct answer, the ultimate winner will be decided by Random.org. UPDATE: We’re now giving away TWO sketches because y’all have come up with such great names. One to the person who guesses the name and one random winner chosen from the rest of the entries.
You get one entry for commenting and then one additional entry for each place you share THE MONSTORE cover—blog, Facebook, Twitter, Pinterest, etc. Just leave a comment letting us know! The contest closes one week from today, so get those monsterly names in!
Hope you love the cover.
And if Rick Springfield is out there, how about playing my book launch party?
Have your people call my monsters.
Writing for Kids (While Raising Them) 