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My #1 tip for PiBoIdMo 2009? Celebrate the Weird Stuff in life. It’s good material for stories.
Late one evening a weird thing happened to me. After my husband and I tucked our kids in, we heard an unexpected knock at the door. I opened it and found a kid standing on my front porch. He was selling newspaper subscriptions in an effort to go to…Cowboy Camp. I looked at this kid with his everywhere hair and thick glasses and uncowboy-like everything and knew I had a story.
Another weird thing happened a few summers ago. I was visiting my sister who, at the time, lived in a gorgeous area outside of Plymouth, Massachusetts. I loved every bit of the trip—except for my early morning wake-up call.
Each day the sun would come up around 4:30AM and the rooster who lived on the nearby farm would let me know it. Each morning my dislike for that rooster grew. And grew. I got to hoping that bird was missing out on a lot of barnyard fun since he had to make sure he was ready to greet the early morning sun in such a loud and enthusiastic way.
Sooo…since I was up anyway…I started brainstorming. What did that rooster miss out on? What had the other animals been up to when he was catching his zzzzzs? Then I knew—a barnyard talent show.
The joke’s on me, though. In Chicken Dance the rooster didn’t sleep through the talent show after all. Instead, he ends up being one of the stars of the story as everyone who partakes in the competition is out for the grand prize—tickets to see Elvis Poultry in Concert: The Final Doodle-Doo.
Not all of my ideas show up at my door or wake me up at 4:30 in the morning. How I wish that were the case! But many of them do begin with Weird Stuff.
Today I want you to brainstorm some of the weird things in your life.
Do you live with a Giant Madagascar Hissing Cockroach? Do you come from an enormous family? Did you grow up on a pig farm? Have you had a strange run-in with a squirrel? With a rhino?
Go on. You know you’re weird, too. Get some paper and let’s celebrate it.
Tammi Sauer is the author of seven picture books (and counting). You can find her online at www.tammisauer.com and www.elvispoultrybooks.com.
Tammi’s Picture Books:
Cowboy Camp (Sterling, 2005)
Chicken Dance (Sterling, 2009)
Mostly Monsterly (S&S, 2010)
Mr. Duck Means Business (S&S, forthcoming)
Princess-in-Training (Houghton Mifflin Harcourt, forthcoming)
Oh, Nuts! (Bloomsbury, forthcoming)
Bawk and Roll (Sterling, forthcoming)
We all know them.
Jumbo shrimp. Baby Grand. Awfully good. Soft rock. School food.
Have you ever told them to a kid? Children think they’re hysterical.
And then there’s puns. Every year Lisa Yee holds a title contest, where she asks writers to change one or two letters of an existing title—or rhyme a title—and then create a new storyline. (This year she’s asking for synopses in Six Word Memoir style. This is right up my alley cat.)
Here’s some of my examples from past years:
Peter Tan: A boy who claims he’ll never grow old thwarts his philosophy with an unhealthy tanning bed obsession.
Lorna Boone: A young heiress is nearly murdered for singing one too many verses of “You Light Up My Life.”
National Velveeta: A fourteen-year-old girl wins the Kraft national cheese cook-off.
The Jungle Cook: A young boy’s tasty recipes for didactic anthropomorphic animals.
Silly, huh?
And when’s the last time you saw a kid NOT totally lose it when you said, “underwear”? The phrase “I see Paris, I see France, I see your underpants” has not gone out of style in the past 40 years.
I’m not saying any of these could be real books, but what I am saying is that you should play with familiar words and give them a new twist. Change one letter of a silly phrase and see if you come up with something even more hilarious. Or, grab an oxymoron. Does it make a good title? Would it make a good piece of dialogue? What kind of character would say something like that? In what kind of situation?
There’s lots of words out there waiting for you to play with them. Scramble them up. Tickle them until they tinkle. (Yeah, kids find that funny, too. But if scatological humor ain’t your thing, just move on.)
So, how’s it going today?
BUGS MAKE IT BIG IN GRAPHIC NOVELS…HERE’S HOW
by Aaaron Reynolds & Neil Numberman
(Interior. Aaron Reynolds, a writer of children’s books and graphic novels, is sitting at his writing desk. He’s typing, but suddenly stops when a shadow falls over his screen. It’s a kid, about ten or eleven.)
Aaron: (looking up) Hey.
Kid: Hey. Whatcha doin’?
Aaron: Um…writing. Who are you? What are you doing in my writing room?
Kid: I’m just some random kid.
Aaron: Ah. A random kid in my writing room. Okay.
Kid: Yeah. Act like I’m not here. (pause…Aaron starts to get back to work, but is interrupted) Aren’t you an author?
Aaron: (turning back around) Ignore you, huh? That’s gonna be tricky. Yeah. I write kid’s books and graphic novels.
Kid: Graphic novels? Like comic books?
Aaron: Kinda.
Kid: Whatcha writing now?
Aaron: An article about how a graphic novel gets made, but I wanted to write it LIKE a graphic novel, so that’s what I’m doing.
Kid: But…there’s no pictures. A graphic novel has lots of pictures.
Aaron: Not at first. Not mine anyway.
Kid: What?
Aaron: Seriously. I don’t draw.
Kid: I must have the wrong house then. I thought the dude that lives here makes graphic novels.
Aaron: I do. But I don’t draw them….I write them.
(Kid pauses while he thinks about this, then…)
Kid: That’s messed up.
Aaron: No, it’s not.
Kid: You can’t make a graphic novel without being able to draw.
Aaron: Well, I do. Like my new graphic novel…it’s called Joey Fly, Private Eye…
Kid: Way to work that in there. Nice plug. Smooth.
Aaron: Yeah, thanks. Well, Joey Fly starts out like this. A script, just like this one.
Kid: Just the stuff people say?
Aaron: Mostly. I also write in what I see happening in each scene.
(Kid flops into a big cushy chair and puts his feet on Aaron’s writing desk, makes himself at home. He looks at Aaron like he’s lost his mind.)
Aaron: See? Like that. It’s called “stage directions.”
Kid: Oh cool! Like actions and stuff!
Aaron: Yeah, exactly.
Kid: Do it again.
(Kid gets up, kind of excited now. He’s putting it all together in his head, but then he notices a fresh sandwich on Aaron’s desk. Goes over, lifts the bread…he’s kinda hungry…but decides he doesn’t like tuna. Flops back down in the chair.)
Kid: Hey, that’s awesome how you made me do all that stuff! And I do hate tuna.
Aaron: It’s a script. In the graphic novel, I write the story. I come up with the characters. In Joey Fly, Private Eye, I create what happens, what characters are in it, all that stuff. Then I put it into a story…a script like this.
Kid: But it’s not a graphic novel. No pictures.
Aaron: Not yet. It will be soon. But first, I break it into panels.
Kid: Panels?
Panel
Aaron: Like this. Chunks. How I imagine it will get broken into boxes in the finished graphic novel. This helps me figure out the flow and pacing of the story, helps me cut extra junk that’s not needed, and helps the illustrator figure out how he’s gonna lay out the pictures on the page.
Panel
Kid: Cool. I notice you use lots of words like “gonna” and “whatcha” and stuff. My Language Arts teacher would go nuts on you for that.
Panel
Aaron: Yeah, well… I try to write how people really talk. I think that’s important, especially for a graphic novel. It all depends on the character. Like, Joey Fly says some gonnas, but he also uses lots of detective-y phrases…
Panel
Joey: Life in the bug city. It ain’t easy. Crime sticks to this city like a one-winged fly on a fifty-cent swatter.
Panel
Aaron: Like that. That’s his opening line in the book.
Kid: Okay, that’s pretty funny.
Panel
Aaron: Well, I try.
Panel
Kid: But it’s still not a graphic novel.
Panel
Aaron: Man, for a random kid who shows up in my writing room, you’re seriously pushy.
Panel
Kid: Do you know many eleven-year-olds? We’re all like this.
Aaron: That’s right. Not being one, I forget sometimes.
Panel
Aaron: Well, now that it’s all broken into panels, I give it to my publisher. And once she’s happy with it, she sends it off to the illustrator and he starts drawing.
Panel
Kid: You tell him what to draw?
Aaron: No.
Panel
Kid: You tell him what the characters should look like?
Aaron: No.
Panel
Kid: What do you tell him?
Aaron: Nothing. Most of the time, we never even meet.
Panel
(pause…the kid’s mouth is hanging open.)
Panel
Kid: That is seriously messed up.
Panel
Aaron: That’s how it works. Unless you are the writer and the illustrator (which I’m not…I don’t draw, remember?), that’s how it works.
Panel
Kid: So what happens then?
Aaron: The illustrator looks at it and begins to sketch out what he thinks the characters look like.
Panel
Aaron: Like, for Joey Fly, Private Eye, the illustrator is a guy named Neil Numberman.
Panel
Neil: Hey kid. What’s up? Hey Aaron.
Panel
Aaron: Hey Neil. So, Neil might decide after reading this script that you look like this:
Panel
Kid: That’s me?
Neil: Yep.
Panel
Kid: You made me a bug!
Neil: Well, we’re talking about Joey Fly, Private Eye, so I’m thinking in bugs. It’s my job to use my imagination, to come up with my ideas of what Aaron’s characters and story look like.
Panel
Kid: Cool.
Panel
Neil: And as I start drawing and figuring out what it all looks like, Aaron’s story moves away from being a script and I start creating real characters…
Neil: …and pretty soon, I take Aaron’s written words and begin to put them into the mouths of the characters I’ve created.
Aaron Reynolds is a human, not a bug, but he often writes about bugs. He is the author of Chicks and Salsa, Superhero School, Buffalo Wings, and, of course, the Joey Fly, Private Eye graphic novels.
Neil Numberman is a termite currently residing in New York City. Joey Fly, Private Eye is his first graphic novel, but he is also the author/illustrator of the picture book Do NOT Build a Frankenstein.
So there you are, folks. That’s how to make a graphic novel. Thanks, Aaron & Neil. (And Joey & Sammy, too.)
PiBoIdMo’ers, maybe you’d like to approach your next picture book idea in graphic terms. Your story doesn’t have to be a novel to fit the format. Author/illustrator Sarah Dillard penned Perfectly Arugula in this style, with perfect results.
So, how’s it going today?
It’s Day 2 of PiBoIdMo. I hope you already have idea one down with more brewing. So go grab your coffee (and spoon) and sit down for the next piece of juicy inspiration.
(Yeah, today I’m making you sit down. Tomorrow I might make you jump up and run outside again. Ya never know. This month is gonna be crazy. Crazy like a Fox in Socks!)
Today author Aaron Reynolds and illustrator Neil Numberman are stopping by to talk about their new book Joey Fly Private Eye (in Creepy Crawly Crime).
And since it’s Day 2, I’ve even got 2 blog posts for you!
First, I asked Aaron and Neil where the idea for Joey Fly originated and how it developed.
Aaron: It started for me with just a title…which was, at the time, Joey Off, Private Fly (get it, Off? Off bug spray?…get it?) Anyway, I loved the idea of a goofy mystery, having grown up with a steady diet of Scooby Doo and movies like Clue (and I’m a huge Agatha Christie fan). Bugs seemed the perfect cast of characters…all freaky and different, each with their own personalities and weird physical traits. From there, the story just took off.
See that, folks? The idea started with just a title.
Neil: When I first got Aaron’s script, I started buying all the film noir movies I could get my hands on, and creepy insect books from dusty old bookstores. That, and a couple books on city architecture in the 40s, and I felt good to go! I had my arsenal of bug characters and buildings to fill the street scenes, and noir-esque shots to compose many of the panels. I knew I wanted some Martin Handford (he of Where’s Waldo fame) type shots in there, too, because his books were always the greatest to sit and stare at for hours, and I want to bring that to Bug City.
OK, let me get this straight. Old movies and dusty books?
Eureka, picture book writers! Run to your local thrift store! (Sorry, I’m making you jump up today anyway. I told you things might get crazy!)
Got your idea yet? Well stay tuned, kidlit lovers. Aaron and Neil will be back later today with a graphic novel about how to create a graphic novel.
[UPDATE: PiBoIdMo 2010 sign-up has begun. Do not sign up on this post. Go to the PiBoIdMo 2010 kick-off post, scroll to the bottom and leave a comment to sign up.]
It’s here! Picture Book Idea Month!
Welcome!
Sharpen those pencils, open a Word document, grab a crayon. It doesn’t matter what you use, what matters is that you get an initial idea down. You might get such a great idea you can’t help but write the story immediately, or you might just record the first entry in this month’s idea file and leave it for a future burst of creativity.
I had so much fun doing this last year, but I was all by myself. I’m happy to have you join me. Four of the ideas from November 2008’s idea file turned into picture book manuscripts and one is out on submission. I expect you to have even better results.
So how is this going to work?
Stop here once a day in November for a new inspirational little tale. We’ll have guest bloggers and giveaways. And at the end of the month, if you’ve collected 30 ideas, you’ll get a PiBoIdMo badge for your blog (based on the logo above by Ryan Hipp) and a special super-secret prize. (You’ve guessed it, “super-secret” is code for “I don’t know what it is yet.”)
Now, get out of your seat.
That’s right.
I advocate butt-in-chair for getting writing done, but now I want you to jump up.
Go lift up that area rug.
Peek underneath.
What would you expect to find there? Footprints, dust bunnies, a penny, a plastic board game piece missing since 2003?
What would you NOT expect to find there?
Now go stand in the far corner of the room.
(Don’t worry, you’re not being punished.)
Turn around and face the room.
Have you ever looked at this room from this angle? Probably not. What’s different about the room?
Now run outside.
(You get a rain check if it’s pouring.)
Stand beneath a clump of trees.
What would a child create out of this little spot? Now imagine this same clump of trees in a different season. Did the child’s creation change?
OK, I hear you breathing hard. You’re tired of running around. And your neighbors are starting to gossip.
I think you get the point.
Change your perspective. Do things differently this month.
If you walk your kids to school every day, take a different path.
If you shop at a particular grocery store, go to a different one.
Start looking at your world from strange new angles.
When we settle into a routine, we take things for granted. The teaspoon you use to stir your morning coffee is just a spoon, but Amy Krouse Rosenthal turned that spoon into the main character of a picture book.
Go sit now.
Open your notebook or Word document.
Write something down—a working title, a character’s name, a location, an unusual object. Something that may someday sprout into a story. You don’t have to write the story now, you just have to file the idea away for another day.
And you don’t have to stop at one idea a day. If you get a non-stop flicker of flashbulb moments, just keep writing.
All month long that idea file will grow. Maybe today’s idea will connect with an idea on November 14th and you’ll start building a plot in your head. Who knows? Anything can happen this month.
That’s the idea.
So, how’s it going?
Hush little baby, don’t say a word.
Mama’s found a book that beats the herd.
It’s got a little dragon and his mum.
She’s finding food for him, and not just crumbs.
A knight, a queen and a magician.
Yes, those folks are good nutrition.
Set to the tune of a sweet lullaby,
That author Boni Ashburn is awfully sly.
Please excuse my forced rhyme here,
Boni’s verse is better, don’t you fear.
In fact, that couplet with “nutrition”
Is the author’s, not my addition.
My three year-old just loves this book,
Hush Little Dragon boasts quite the hook.
So rush right out and grab this title,
Sorry I have nothing to rhyme with title.
Let me repeat just one more time,
Boni’s verses are better than mine.
Hush little baby, don’t say a word.
There’s a Hush sequel and maybe a third?
If Boni keeps writing books like this,
Kids everywhere will have reading bliss.
Hush, Little Dragon
Story by Boni Ashburn
Illustrations by Kelly Murphy
Abrams Books for Young Readers, March 2008
Want it? Sure you do!
Mirror Book by Heidi Swapp
Dear Vanity Press,
Your website stinks.
I can find more books on an archeology dig than on your site.
Your home page caters to would-be authors instead of book buyers.
Listen, I know your business model depends on signing authors rather than selling books, but at least give book selling a try. I’m sure you have some talented authors. Unfortunately, you make buying books a bothersome activity.
For instance, why do you distribute a press release without a direct link to the book you’re announcing?
Why is the search on your home page broken? I entered the exact title but got:
Can’t find what you’re looking for? Learn more about self-publishing by requesting a free publishing guide.
Thanks, but I’m interested in buying a book. You know, those papery, bound things you publish?
And when I do finally locate the book’s page, why is the excerpt always blank?
Do you think someone is going to buy a $31.99 children’s picture book without browsing a few pages first?
I’m here to tell you: no. Frankly, I don’t know any parent who would spend $32 on a picture book. Even Robert Sabuda’s gorgeous feats of pop-up acrobatics cost less.
I would like to support self-published authors, really I would. But you’re making it impossible.
Regretfully,
A Book Lover
Who doesn’t love Cheerios? Little circles of oat goodness! The TV show “Glee” pays homage to Cheerios by naming their cheerleading squad after the superior cereal. And since we’re already cheering, let’s whoop it up for the Spoonfuls of Stories program! Cheerios distributes 6 million children’s stories in its specially-marked bookish boxes. Bravo!
Well, I do love Cheerios.
When I’m not hating them.
You see, my love/hate relationship with the ubiquitous toddler treat runs deep—deep in my carpeting, that is.
So for the new parents out there, take heed. Sure, run out and buy What to Expect When You’re Expecting. But then, expect Cheerios to be on your grocery list for a lifetime, so pay attention to these lessons:
- Do not purchase carpeting that is the same color as Cheerios. My sand-colored shag disguises stray O’s. We’re endlessly grounding whole grain cereal into the fibers and getting little circles stuck to the bottom of our feet.
- Do not enter the ceramic tile of your kitchen with said Cheerios attached to your heels. You will go flying. It won’t be pretty. (Hey Mom, is that a new dance?)
- Do not buy Cheerios at Costco. The enormous box won’t fit into any cabinet. You will be forced to let it live on the kitchen floor, within easy reach of a newly-walking toddler. You will soon have 5,392 Cheerios dumped onto your floor…with 5,391 rolling under the refrigerator. All the money saved by buying in bulk will be beneath your icebox.
- Do not buy fruity Cheerios in rainbow colors to solve the carpeting dilemma. They will not be eaten, these strange, colorful cereal mutations. Instead, necklaces will be made. Bracelets. They look so beautiful glued to construction paper. If you lick them and press them against the wall, look—they stick!
- Murphy’s Law of Cheerio Consumption: if you place one Cheerio at a time on the baby’s tray to avoid cereal being thrown on the floor, she will eat each quickly and cry for more. If you put more than one on the tray, they will be immediately swiped onto the ground. (Corollary: number of Cheerios provided to your child is inversely proportionate to their hunger.)
I’m sure you other parents have your own Cheerio life lessons. Please share them! (The lessons, not the Cheerios. I have enough all over my floor to make a meal, thankyouverymuch.)
P.S. While I have your attention, please vote for the books to be included in the 2010 Spoonfuls of Stories program. Me, I like Bear’s New Friend by Karma Wilson and The Hair of Zoe Fleefenbacher Goes to School by Laurie Halse Anderson.
Corollary
What makes you pluck a picture book off the shelf? A clever title? The author’s name? What about a charming little girl on the cover, stirring a delicious pot of noodles? That’s what got to me with Cora Cooks Pancit by Dorina K. Lazo Gilmore.
Maybe it’s because I love to cook. Maybe the bright little dot that said “Recipe Included!” spoke to me. (And, by the way, the recipe is delicious!)
But more than anything, vibrant primary colors and Cora’s smiling eyes drew me in. Illustrator Kristi Valiant’s paintings evoke a warm feeling as Cora cooks a traditional Filipino dish with her mama for the first time.
Cora is the youngest of many children and always gets the kiddie kitchen tasks, like licking the spoon clean. Valiant’s opening scene shows the family from Cora’s point of view, as she sits on the floor with the family dog. We see her family from the waist down, spread along the kitchen counter, performing their duties. It’s amazing how Valiant can make the poses so varied and expressive, only working with half a body. Some of the pencil lines remain, creating an illusion of movement—the bustle of the family kitchen.
Valiant’s image presents the conflict immediately: little Cora is not involved with family meal preparation. We feel Cora’s longing to be a “real cook.”
One day when her siblings leave the house, Cora asks to cook with Mama. Mama lets Cora choose the dish. Cora wants pancit.
Mama tells the story of how her own father taught her to make pancit, and Cora feels proud when she gets to wear her Lolo’s red apron.
What follows is a delightful, heart-warming exchange between mother/teacher and daughter/student. Valiant’s illustrations are spot-on, from facial expressions to body language. She gets every detail just right. Even Cora’s feet, slightly off-balance, reveal her trepidation as she prepares the noodles. Sunlight streams in through the kitchen window, framing Cora and Mama in a scene that highlights the special bond created with family tradition.
As usual, I won’t reveal the story’s ending. There’s an oopsie along the way, but there’s also a beaming Cora.
I was so impressed with this book’s illustrations, I asked Kristi Valiant for an interview. Luckily, she agreed to talk to me about the making of Cora and other fun illustration stuff. Watch for it soon!
Cora Cooks Pancit
Text by Dorina K. Lazo Gilmore
Illustrations by Kristi Valiant
Shen’s Books, Spring 2009
Want it? Sure you do!
Last year I attended the Rutgers University Council on Children’s Literature One-on-One Plus conference. (Phew! That’s a mouthful. How ’bout I just say RUCCL from now on?)
It was my first big conference. It was my first conference, period. I thought I was prepared. I don’t get nervous in large crowds of people, nor do I find it difficult to go right up to someone and chat. And I love public speaking and performing. I’m not easily intimidated.
But, when I arrived, I realized it. I hadn’t fully prepared myself.
The day went by quickly. Those organizers pack the event chock full of excellent speakers and interesting topics. (See my post-conference notes from last year.) The time you have to meet people is the time it takes to walk from one presentation to another.
I didn’t get the opportunity to talk to many editors or agents. True, I had only just begun to write for children, and thus, I didn’t know who I should be chatting with anyway.
So I decided that I would try to help other first-timers. Here’s a list of lessons I learned last year. I hope they help you make the most of your day.
1. Research the faculty in advance.
2008 RUCCL mentors arrive
Find out which editors and agents are interested in the kind of work you produce. Make a list of their names, and if possible, look up their photos online. No, I’m not encouraging anyone to be a stalker! There are 80 professionals mixing it up with 80 attendees, all wearing name tags. If you don’t want to squint at people’s chests all day trying to figure out who is who, go online and see if you can find a photo to recognize people by sight.
Approach editors/agents only during appropriate moments. Don’t interrupt another attendee or tap the editor’s shoulder while they’re taking a big honking bite of sandwich. You should know that the restroom is a no-no! The best time you’ll have to approach professionals is between sessions. Another good time is when they announce where mentors and mentees should meet. (They will announce pairings via alphabetical order and ask “A-F” to meet in a specific area, like near the fireplace.) When I went to find my mentor for my 45-minute session, I didn’t immediately see her…because another attendee had already pulled her aside to talk.
And I’ll say it: lunch is a good time to talk. They will seat mentors at numbered tables that correspond with the five-on-five assignments. Although not everyone sits in the right place, it will be easiest to find people during lunch. But again, if someone is chomping on chicken salad, it’s probably not a good time to interrupt.
Why is it important to talk to the faculty directly? Because they may not accept your submission post-conference if you don’t make contact. Now that’s contrary to what I had heard about conference submissions, but I did get one submission returned after RUCCL, citing that they don’t accept unsolicited manuscripts. (Yes, RUCCL was clearly marked on the envelope and in the cover letter.)
So find editors. Ask if you may submit. Ask for a business card. Don’t give them yours unless they ask. Be professional, courteous, polite and to the point! There’s not a lot of time, so don’t ramble. Which brings me to my next lesson…
2. If you know your manuscript needs direction, say so.
My submission last year was a novel I had only recently begun. I was not yet clear on the plot or direction. But when my mentor asked me about it, I meandered. I had two general ideas of the possible direction in my head, but I wasn’t certain which path I should take. Instead of asking my mentor what she thought, I tried to make it sound like I was clear. And I obviously was not.
Another attendee had it right. She told me, “I explained to my mentor that I had started the novel but stopped because I was stuck. I told her I wasn’t sure the direction it should take. She then gave me some very good ideas and we brainstormed the possibilities.”
3. Don’t be afraid to speak up and ask questions.
During the five-on-five, the mentees had an opportunity to ask questions of the professional panel. But our discussion leader asked questions off a prepared, suggested list of topics. They weren’t necessarily the questions I wanted answered, but I didn’t speak up and ask what was on my mind.
Remember, this is your day. The conference is arranged to help you, the mentee, take the next step in your career. So if you don’t find the topics to be of interest, speak up. Politely interject and ask if you can introduce a question instead.
Mixing it up at lunch
4. Prepare a list of questions.
Questions about your submission, questions about the market, questions about the publishing house, questions about your other manuscripts. Whatever questions you have, take them with you. Refer to them. If there’s information you want to collect, this is the place to do it.
Another good idea is to bring a list of your manuscripts with one-line descriptions. Even if you just have ideas, ask if they’re good ones. A mentor might tell you to pursue idea A and D but not B or C because of current market dynamics, competition, or other factors (remember, one of those factors might be personal taste).
5. Have fun!
This is your day. It’s a step forward in your career. Enjoy it, use it to your advantage, learn from it. Congratulations and have a great day!
FYI
I added the schedule from last year as I recall it, for those interested in how the day is structured. Please realize this may not be similar to this year.
2008 RUCCL Schedule
• Arrive, get folder with schedule/mentor assignment/faculty bios, read through it, have breakfast, free time to mingle with other attendees
• Introductory speaker (2008, Kay Winters)
• Mentor session
• Panel Discussion (2008, “How a Manuscript Becomes a Book”)
• Lunch
• Five-on-Five Discussion (You, your mentor and four other mentor-mentee pairs)
• Keynote Speaker (2008, K.L. Going)
Writing for Kids (While Raising Them) 