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by PJ Gardner
Calling all storytellers! Early middle grade needs you!
If you’re like me when I first started writing HORACE & BUNWINKLE, my debut novel, the term “early middle grade” is relatively unfamiliar. We’re much more aware of upper middle grade and the way it helps readers transition into the young adult sphere. But early middle grade is a real thing with a similar goal, only in its case the transition is from Chapter Books.
So What Is Early Middle Grade and How Is It Different From Chapter Books?
Let’s do a break down of the basics.
Chapter Books
- Age of reader: 5-10
- Word count: 5,000 – 10,000
- Subject matter: concentrate on the external events of the story, fewer characters, less character development, more straightforward story
Early Middle Grade Books
- Age of reader: 7-11 (8-9 year olds being the ideal age)
- Word count: 15,000-30,000
- Subject matter: Bigger cast, more complex characters, who have emotional arcs. Complex stories.
The Sky’s the Limit
Early Middle Grade is where we start to lose young readers, and I think that’s directly tied to the limited number of books aimed at them. And that’s where you come in.
Writing for this age group is full of possibilities. Series like JUDY MOODY, DOG MAN and GERONIMO STILTON prove that kids love a book with a healthy mix of the written word and images. Graphic novels are another format that kids are excited about, which is great news for author-illustrators.
Humor and adventure stories are always popular. However, books like A BOY CALLED BAT show that there is interest in deeper, real life topics as well. Also, there is growing need and desire for diverse characters.
Keys to Writing Early Middle Grade
There are two major keys to writing for this age group—create believable characters and craft dynamic plots.
Believable Characters
As writers for young readers we know children are people, too. They experience heartbreak and joy and everything in between as much as any adult. The difference is they don’t always have the language to identify or process those emotions. Books are an excellent way of giving them that vocabulary. I truly believe the early middle grade years are the most critical time to do that.
The best characters are born from a respect for the emotional life of the reader. So, whatever your character is experiencing—whether it’s funny or sad—keep it real. Dialogue and inner thoughts are especially important in creating that believability.
Dynamic Plots
By seven years of age a child has already consumed countless hours of TV and video games, where they have encountered a wide variety of stories. This means they won’t be satisfied by or invested in a book that isn’t interesting and compelling. The plot should have twists and turns, highs and lows, and real stakes. It may not be life or death, but it should feel that serious to the characters.
But Seriously You Should Consider Early Middle Grade
It may seem like a huge jump to go from picture books to early middle grade, but it’s actually a natural step. It calls for the same kind of creativity and skill set, as well as the enthusiasm for storytelling.
Early middle grade is the perfect place to branch out. First, it’s an under-tapped market, and it’s a fantastic market. Seven to eleven year olds are hungry for good books and they are absolutely devoted to their favorite authors. At present there simply aren’t enough books geared to the 7-9 year-old crowd.
Unfortunately, picture books are in lower demand right now. If you’re an illustrator as well, it can be time-consuming, which drastically limits the number of projects you can do at any given time. And, let’s be honest, they have smaller advances, too. These are the reasons why I recommend diversifying.
While no one can predict what will happen in publishing I’m convinced middle grade in general, and early middle grade specifically, is about to hit a boom.
Personally, I love writing for this age group. And I love getting pictures of kids reading my book independently. That’s a huge deal and I’m thrilled to be a part of it.
I hope you consider being a part of early middle grade as well, because there will never be a better time to share your stories with older readers.
When PJ Gardner was a little girl growing up in Colorado she dreamt of being an actress or a dental hygienist or even Mrs. John Travolta. It didn’t occur to her that she could be a writer until she was a grown up. Her debut middle grade novel, Horace & Bunwinkle, has been published by Balzer + Bray, an imprint of HarperCollins, and she’s thrilled. PJ lives in the scorching heat of the Arizona desert with her husband, sons, and Boston Terriers, Rosie and Rocky. She doesn’t own a pig because her husband says she’s not allowed to. Visit her online at pjgardnerswitzer.com.
An agent I follow online posted about a squirrelly situation last month.
Umm, not that situation.
A querying writer had told other agents that she had offered representation–BUT SHE HAD NOT.
Why did the writer do that? Supposedly to elicit offers from the agents, or perhaps just to hurry them along.
Way!
But the publishing world is a very small place, so the agent found out…and without naming names, warned fellow agents about the situation.
That writer put the kibosh on their career.
Now, I understand why the writer resorted to such a tactic. Writing is like being that squirrel—you are so close to the prize, but you feel like you are being whipped around. You want that golden nut but you can barely hold on. Impatience and frustration set in. Then, perhaps, desperation.
However, nothing will shut you out of the publishing business—really, any business—faster than lying and being unprofessional.
If you have a positive attitude toward writing and your place in it, you will eventually succeed. I once heard Jarrett J. Krosoczka say that if someone hires you to do a $50 job, but you really want a $500 job, do that $50 job like it was paying $500. Deliver beyond expectations. Be kind to everyone. Be grateful. Soon word will spread that you’re awesome…and you’ll attract those bigger gigs. The good guy & girl really do finish first.
And here’s who else finishes first in all the recent giveaways!
(Thanks, Pam.)
PIRATES DON’T GO TO KINDERGARTEN
Kelly Rice Schmitt
YOUR FIRST DAY OF CIRCUS SCHOOL
Linda Mitchell
SUN!
Liz Bedia
POE WON’T GO
Barbara Bockman
FUTURE ASTRONAUT
Katie Engen
VAMPIRINA BALLERINA
Lynne Marie
TAMMI SAUER SIX PACK
Megan Walvoord
Susie Sawyer
Lora Wendling
Diane Roberts
Amber Webb
Heather Stigall
ALL OF US
Jennifer Phillips
Congratulations! Watch out for an email from me.
And watch out for another giveaway tomorrow.
by I fell in love with writing at the age of six. I scribbled poems and stories everywhere I could. But when it came time to choose a field to pursue my studies in, I opted for practicality and studied Pure and Applied Science.
It was hard work and I earned my degree. YAY!
But then, OH NO! The sinking feeling in my heart was undeniable. I realized I didn’t want a career in science.
So it was back to the drawing board. Since writing was always my first love, I decided to study English Literature at McGill University. Cut to a few decades later, I’m a published children’s author and found a way to incorporate my science background into my writing. I finally had the opportunity to use my science degree in a fun way.
It came about unexpectedly, when I began to write for the educational market several years ago. I didn’t know I would love it until I tried it. Now I have over 40 educational books and eBooks under my belt, including two really exciting contracts I landed with Kane Publishing for their Science Solves It! series. I’m happy to announce both books are now officially released: A REAL LIVE PET! and THE SPACE ROCK MYSTERY.
You may be wondering if the educational market is right for you. Here’s a list of common questions:
- Can I submit my own work to educational publishers?
There may be exceptions, but most educational publishers offer work-for-hire (WFH) contracts. They develop their concepts and specific guidelines in-house. Then they hire freelance authors who will create an outline and write the book under the guidance of an editor. - Will I get an advance and royalties?
In general, most educational publishers don’t offer an advance or royalties. Rather, they pay a one-time flat fee and retain all rights to the work. In some cases, you may not even get credit. On the plus side, WFH contracts typically pay fast, and the turn-around is quicker. - Can WFH contracts help open doors to trade publishing?
Landing WFH contracts can help you break into the market and gain experience working with editors and publishers. It’s also an opportunity to develop your writing skills and gain writing credits. This may help you on your path to traditional publishing, but there’s no guarantee as the two markets are separate. - Do I need an agent for the educational market?
Nope! You can apply and negotiate your contracts on your own. The contracts are typically fairly straight forward. Another bonus is that it’s slightly easier to break into this market in comparison to commercial publishing. - How can I get started?
Start compiling a list of educational publishers that work with the age brackets you’re interested in. In the SCBWI book, there are many great listings. Check the guidelines for each publisher and send them a cover letter detailing your experience and qualifications, along with your CV and some writing samples.
But as all writers know, you’ll need plenty of patience and perseverance. I remember my first attempt several years ago. I painstakingly crafted my cover letter and beefed up my CV as much as I could. I sent off 100 cover letters but didn’t get a single reply. Not even one! I experienced a moment of despair but decided to keep going. A year later, my body of work had grown and my writing samples improved. I sent off another batch of cover letters to the same publishers and lo and behold, I got my first break! From there, it snowballed.
While the educational market is not for everyone, it works well for authors who have a passion for writing nonfiction and want to supplement their income. For those interested in giving it a shot, I wish you luck on your journey! If you have any other specific questions, feel free to post them in the comments below.
Plus, leave a comment to enter to win a copy of A REAL LIVE PET!
A winner will be selected in a few weeks.
Good luck!
Lydia Lukidis is a children’s author with over forty books and eBooks published, along with numerous short stories, poems and plays. Her background is multi-disciplinary and spans the fields of literature, science and puppetry. Lydia writes fiction and nonfiction for children from K-6, and enjoys working with educational publishers such as Kane Publishing, Houghton Mifflin Harcourt and Red Line Editorial. She is also passionate about spreading the love of literacy and has been facilitating writing workshops for children since 1999. Visit Lydia at lydialukidis.com or connect with her on Twitter @LydiaLukidis.
by I’ve worn a number of hats in my career—and for the most part I have always had at least two hats on at once.
Now, I’m a children’s author who is celebrating her picture book debut, CHICKEN WANTS NAP, and a Literary Agent at BookEnds Literary representing fiction, non-fiction and illustration for children and teens.
But I’ve also been a newspaper correspondent, a children’s book reviewer, a freelance copywriter, a literary agents assistant, a freelance editor and a communications manager. (Well, and a pharmacy tech—which has nothing to do with this post—and very, very briefly an assistant at a wedding dress preservationist’s—which is the only job I’ve ever been let go from. I was relieved.)
Anyway, so many of these hats forced me to learn to write in a different way. Feature pieces vs. event wrap ups, editorial letters vs. pitch letters, book reviews vs. press releases—everything had a different format or tone, but there was also a lot of overlap. Ultimately, I think all of the above experience helped me with my writing and agenting career, and I hope that some of the below helps you too!
Character
I would get my newspaper assignments on Friday, do interviews and write the story over the weekend, and submit on Sunday so it’d be in my editor’s inbox by the Monday deadline. (Monday I’d be commuting to work as a literary assistant.)
My favorite pieces to write were feature pieces that honored another person’s life. People were generally so happy to talk about this person that they loved or admired, even though we’re all flawed, and I usually left the interviews feeling pretty inspired. I also felt like there was a little more room for creativity in a feature piece. A good features makes the reader feel like they’ve met the person, too.
Looking back on feature writing makes me think about a character exercise that I was once assigned in undergrad. The exercise says to pick a person you know and write about them as they would write about themselves. Then write about them through the eyes of someone that hated them. Then again through the eyes of someone that loved them. You have three different people on the page—or four, right? Because the primary subject is actually probably closer to a culmination of those three pieces than any one particular view—and I think that’s why the exercise can be so helpful when you’re struggling with rounding out your characters. Remember, even antagonists think they’re the hero of the story.
Hook
Book reviews, newspaper pieces, pitch letters, press releases, copywriting—all of it relied on being able to find a hook that was going to grab a reader and make them want to read more, attend the event, buy the book, click a link, etc.
As an author, particularly as a picture book author, you have to be thinking about what is going to make your story stand out on the shelves or in the submissions pile.
That said, your hook is not the plot summary. For example, I’ve pitched CHICKEN WANTS A NAP as “Remy Charlip’s Fortunately set in the barnyard,” but that’s not the summary.
One exercise I’ve done with friends when they’re having trouble with finding a strong concept for their own WIPs is to go through the bookstore or their own shelves, pull out and read a picture book, then find a hook. For example, DUCKS’S VACATION is THERE’S A MONSTER AT THE END OF THIS BOOK set on the beach. NUT JOB is “Ocean’s 11” with squirrels. Or, if I were to pitch a book without a comparison, I might say something like HOORAY FOR FISH is a fun and heartwarming celebration of a fish’s love for their mom.
Once you’ve had practice with some books on the shelves, tell your friend the hook for your WIP. If it’s a plot summary, your friend should make you try again. And if you can’t find the hook for your WIP—that thing that’s going to make it stand out from all the other queries/manuscripts in an agent or editor’s inbox—then perhaps it’s time to take another look at your WIP’s concept.
In truth, you might not use this hook in your query letter at all, but if you find that a common theme in your rejection letters is “not sure it can compete in the marketplace,” this is an excellent exercise to help punch up your concept!
Word Choice
Almost everything I wrote had a standard structure and/or expected word count, be it a press release, feature story, book review, pitch letter or pieces for a social media campaign. Just like in a picture book text, EVERY WORD COUNTED. I had to be concise—looking for that one perfect word instead of two to four less precise words.
So take out your picture book WIP. Are you in the sweet spot (300 – 500 words for fiction*)? Does every word convey the exact meaning you intend? If you’re using repetition, is it done in a way that builds tension, humor or otherwise adds to the story? If you’re not sure about a word or line, delete it and then read the story aloud (or bring it to somebody else). Does the story lose anything? If not, then permanently delete that line, phrase or word.
*CHICKEN WANTS A NAP is 165 words, and my current WIP is 600. CHICKEN is a read-aloud for younger picture book readers and the story just did not need another 140 words. My WIP is for older picture book readers who are starting to read by themselves. So I guess I’m saying to use the words you need and not one word more!
Speaking of one word more, I had started a different draft of this post where I went through each job individually and it quickly became a novel. And as I’m hitting that point again, I think it’s best to close here. I hope that these tricks help you in your own writing, and if you have the time or opportunity to do some freelance writing in another format—I say, why not! You’ll exercise a different writing muscle, and I’ll bet it’ll improve your current children’s writing as well!
Tracy Marchini is a Literary Agent at BookEnds Literary, where she represents fiction, non-fiction and illustration for children and teens. She’s thrilled to represent a list of debut and award-winning authors and illustrators, and is currently open to submissions. To get a sense of what she’s looking for, you can follow her Twitter #MSWL, see her announced client books, and read her submission guidelines.
As an author, her debut picture book, CHICKEN WANTS A NAP, was called “A surprising gem” in a starred review from Kirkus. She’s been accepted for publication in Highlights Magazine and has won grants from the Highlights Foundation, the Puffin Foundation and La Muse Writer’s Retreat in Southern France. She holds an M.F.A. in Writing for Children and a B.A. in English, concentration in Rhetoric.
Tracey is giving away a signed copy of CHICKEN WANTS A NAP.
Leave one comment below to enter and a winner will be chosen next week.
Good luck!
Here it is, the moment you’ve been waiting for…
SANTA SLAM DUNK!
OK, maybe not what you were expecting. A little holiday humor. Let’s move on…
Those of you who participate in Picture Book Idea Month already know I moved the annual writing challenge to January instead of November. And you also know I changed the name. The new, much-easier-to-pronounce moniker is…
Did that just blow your mind?
I hope so!
The new logo was designed by talented illustrator S.britt (of NORMAL NORMAN fame).
Now, I hear you asking some questions.
WHY THE NAME CHANGE?
The original challenge—to create 30 picture book concepts in 30 days—was named “Picture Book Idea Month” or “PiBoIdMo” for short. Everyone pronounced the awkward acronym a different way. And if you managed to say it, it didn’t make sense to others.
“STORYSTORM” is a portmanteau of story and brainstorm that is more immediately understood.
The new name signals a broader scope—any type of writer interested in being inspired in January can now join the challenge. Novelists, short story writers, non-fiction authors and even teachers and their students are welcomed. Any writer, anyone who wants to brainstorm for a month.
The goal is for STORYSTORM participants to jot down 30 story ideas in January. Then everyone will have thirty new shiny ideas to ponder, flesh out and write in 2017.
WHY THE MONTH CHANGE?
PiBoIdMo was originally held in November because it was modeled after NaNoWriMo, which runs at that time. But November is so busy with the start of the holiday season. Starting fresh in January—a new year, new goals—will hopefully prove to be both inspiring and motivating.
IS IT STILL FREE TO PARTICIPATE?
ABSOLUTELY.
WHEN CAN I REGISTER?
After the slam-dunking of presents down the chimney is over. In other words, Boxing Day. In other, other words, December 26th.
Registration will remain open for the entire first week of January. You do not have to register, but doing so makes you eligible to win prizes—agent consultations, books, critiques, and a whole lotta fabulous stuff that even Santa can’t make possible.
So THANK YOU for being patient while I pondered these changes. More announcements soon—like the guest-blogger line-up!
But in the meantime, join our STORYSTORM Facebook group which is active year-round for friendly support and discussion.
I awoke this morning and thought, “What a fine day for a new blog post.” Of course, I also thought, “What a fine day to go swimming” and “What a fine day to finish reading that book.” Sensing that I have packed today’s schedule, I decided that said blog post would have to be ultra-short. (I would have said “uber” short, but that word has been bogarted by some taxi service.)
So here I have pieced together quick quotes and sage snippets from the SCBWI events I attended in the spring—New England SCBWI and New Jersey SCBWI.
I hope you enjoy while I do the backstroke with a soggy book.
“A picture book is an amazing thing, a world unto itself. You can do anything in those 32 pages and that is the thing I love about it.” ~David Wiesner
“As I create, I am continually asking myself ‘why is this happening?’ You know you are desperate when you go to the ‘magic button’ solution.” ~David Wiesner
“Be nice. Be resilient. Set goals. Adapt & learn. Your biggest achievement is just around the corner.” ~Jarrett J. Krosoczka
“Don’t do a $50 job like a $50 job, you’ll get $50 jobs your whole life. Do it like a $500 job and you’ll start getting those.” ~Jarrett J. Krosoczka
“It’s not necessarily ‘write what you know.’ Write what you want to know ABOUT. The passion for that subject will come through.” ~Wendy Mass
“When it comes to the nitty gritty marketing of your book, always remember, something is better than nothing.” ~Laurie Wallmark
“A postcard is the best way to get our attention. I get 60 emails a day…it’s too much. I like the tactile nature of a postcard. I love feeling them and looking at them…if they hit anything in me, I keep them.” ~Laurie Brennan, Associate Art Director, Viking
“Characters who make interesting mistakes are inherently interesting. The kind of mistakes your character makes defines her. How a character acts in the wake of a mistake should be unique and personal to her. Failure is fertilizer: a world of things can grow from the mistakes your character makes. Someone who is always right is BORING.” ~Sudipta Bardhan-Quallen
“I wanted to write a book where my daughter could see herself—that’s me!” ~Suzy Ismail
“Writing from a multicultural perspective is no different than writing. All writing is about crossing boundaries.” ~Suzy Ismail quotes Debby Dahl Edwardson
And, finally, my favorite quote…which is still making me think long and hard:
“How are you creating a literary world besides being a literary creator?” ~Donalyn Miller
Sylvia Liu
is co-founder of the comprehensive children’s literature resource Kidlit411 and a picture book author whose debut A MORNING WITH GRANDPA (illustrated by Christina Forshay) won Lee & Low’s prestigious New Voices Award.
One of the most important and inspiring movements in kidlit today is diversity, so I’ve asked Sylvia to talk to us today about creating authentic stories with relatable, diverse characters. Get those pencils ready because you will want to write after you read this interview!
Sylvia, what does the movement “We Need Diverse Books” mean to you?
For me, We Need Diverse Books means that every child can easily find stories and books that are mirrors and windows. Mirrors that reflect their own stories and circumstances and windows that show other people’s stories. This means that previously underrepresented groups need to be better represented at every level of children’s books. On the supply side, we need more diverse creators and more diverse gatekeepers (agents, editors, booksellers, librarians, reviewers). On the demand side, we need a reading public that buys and demands more diverse books. To achieve these isn’t a matter of wishful thinking or good intentions, because the societal inequalities that created the lack of supply and demand ultimately need to be addressed. For example, publishing and the creative arts are professions that are still very much based in apprenticeships—i.e., you need to have enough money to take unpaid internships when you’re starting out, or to take creative risks.
What led to you entering Lee & Low’s “New Voices” contest?
I have known about the New Voices Award ever since it began in 2000 because I have been following Lee & Low for over twenty years (my college and law school friend is related to the company’s founder). Over the last five or six years that I’ve been writing picture books seriously, I have always had the award in the back of my mind. Most of my stories are not specifically geared towards multicultural or diverse topics, so I didn’t submit any until 2013, when I wrote A MORNING WITH GRANDPA. After I wrote it, I thought it would be a good fit because it told a universal story about a grandparent and grandchild’s fun and funny relationship but with specific cultural references.
“When writing a diverse story, you should not just insert a character of a certain ethnicity or race. It is about so much more.” Can you expand upon this concept?
You’re right. It’s about telling a story from deep within a point of view or culture that requires intimate knowledge or experience to that culture. It’s more than changing a name to Maria or Mei Mei. It’s inhabiting that character’s world and showing and sharing the details of that world that make it specific to the culture, ethnicity, or world view. I do believe authors are capable of writing from different perspectives and cultures other than their own, but if they do, they need to approach the story with respect and research.
Going forward, what are your hopes for diversity in children’s publishing?
In the ideal world, we wouldn’t be having this discussion. We would have all different kinds of stories written by all different kinds of people, reflecting the multiplicity of experiences–social, cultural, racial, ethnic, economic, gender, ability, and more. But in the short term, as I mentioned before, I hope that gatekeepers (editors, agents, reviewers, book sellers, librarians, parents) take seriously the emerging commitment to diversity–promoting and giving voice to people of color, LGBTQ people, and other underrepresented people in the industry through hiring, contracts, reviews, and book sales.
Sylvia, any final thoughts?
Remember that only you–a specific person on this planet with a particular worldview, background, culture, family, sense of humor, and self–can tell your stories. Don’t be afraid to share your stories with your truths and perspectives, and don’t deprive the world of them.
What an inspiring statement, Sylvia! I hope this sparks new ideas for our blog readers.
Thank you so much for sharing your “new voice” with us…and for having Lee & Low share your “New Voices” picture book!
One copy will be given away within the next two weeks. Just leave one comment below to enter. (US addresses only, please.)
Good luck!
This morning I thought I was still at the NJ-SCBWI Summer Conference because I stumbled downstairs expecting to find fresh-baked coffee cake and a fruit platter. Instead, I found a slumbering adolescent who never got up for middle school and missed the bus. Hence, I was rudely thrust back into the life of a mom. Sigh. So I decided to ignore my life for a while and write this post. Relive the glory days!
This would make a great WHERE’S WALDO? spread.
The weekend was chock full of good friends, like author extraordinaire Tammi Sauer, whom I’ve known for SEVEN YEARS but had never met in person. I wanted to make a good impression upon her, so I picked her up from the airport…and then proceeded to get hopelessly lost in Newark. We did spy a ’57 Chevy during one of our dozen-or-so U-turns, so perhaps all was not lost.
’57 Chevy! Yes, I snapped this while we were stopped.
And then, we got cut off by a rumbling, muffler-roaring Racini. RACINI, PEOPLE! Only in Jersey.
Racini! (Not the full license plate.)
Of course, there were also the usual suspects present: Sudipta Bardhan-Quallen, Kami Kinard, Marcie Colleen, Ame Dyckman, Adam Lehrhaupt, our fearless RA Leeza Hernandez, and newly-signed talents like Jason Kirschner, Colleen Rowan Kosinski and Kelly Calabrese. (For those of you with bets in the pool, Ame’s hair shone bright blue this year, bordering on periwinkle, stylishly accented with a coral red bow.)
Sudipta, Marcie & Kelly. Yes, they can go by first names only.
Katya Szewczuk from KidlitTV let us know that her last name is pronounced “Shove Chuck.” Sadly, Chuck Palahniuk was not in attendance. What a fight club that would have been! (P.S. Isn’t Katya adorable? I call her Ame Dyckman Jr.)
Carrie Charley Brown, Kirsti Call, Lori Degman and Robin Newman were there, too…but the Witherspoon Grill couldn’t get us a table for 10. For shame! But they did get us a bottle of Prosecco. Next time, it should be on the house.
Me, Kelly, Marcie, Kami, Sudipta and Tammi
My editor from Sterling, the smart and lovely Meredith Mundy, made an appearance with a stack of NORMAL NORMAN cover designs from which to choose. Tammi, an author of eight Sterling titles, offered her expert opinion, too. And guess what? We all agreed on two favorites. (Now do we eeny-meeny-miney-mo?)
NORMAN!
I only saw critique partners Corey Rosen-Schwartz and Mike Allegra briefly. I waved to Mike from my post at the registration table. Then he promptly dissolved into the crowd. This became a new picture book idea. Thanks, Mike!
So I bet you’re like ENOUGH ALREADY, TARA. GET TO THE NUGGETS.
Opening Keynote by Denise Fleming
Denise encouraged us to find out what age we really are. No, this isn’t a plug for how-old.net. Go back to your childhood and discover the age of your true voice. Denise never aged past Kindergarten. Me, I’m perpetually 8.
So that’s what you write. Dig down to emerge as a child, forever locked in a state of wonder.
Denise told us an impromptu paper-making class inspired her to choose this art form as her picture book medium. She evolved from precise watercolor paintings to a more loose, bold, colorful style. HER STYLE. Her illustrations set her apart. She asked us to ponder what makes us each unique. You’ve got to offer something different and not be like everyone else. Stand out, don’t blend in.
Oh, by the way, Denise thinks you’re pretty.
Workshop One:
Writing Picture Books that Sell! by Tammi Sauer
With 23 contracts in 10 years, you’ve got to listen to and respect Tammi’s advice. She presented her top 12 tips for picture books, citing from her titles as examples. The quirkiest thing I found out is that she loves to use the name “Louise.”
Tammi recommends reading A LOT of picture books. You will begin to absorb information about their structure and format without even realizing! This knowledge will then seep into your manuscripts.
Tammi also wants us to write titles that POP. Up the tension in your stories and use words that SING.
Me? My name sings. I shall hereforthto be known as Tra-la-la Lazar.
Workshop Two:
Writing Mainstream (BUT COOL!) Picture Books by Ame Dyckman and Adam Lehrhaupt
This dynamic duo demonstrated a lot of energy, pizzazz and “special sauce.” No, we’re not talking about McD’s. Their “cream of creativity” is a mixture of unique elements that add up to writing a hook-y, mainstream winner. Slather on your own writing style, stir in heart and humor, and you will concoct a winning picture book recipe.
But remember, that’s just the sauce—an accent. Your picture book still needs meat! Pick popular subjects, relatable situations and age-appropriate “big picture” messages to make your story its most delish.
Workshop Three:
Thinking Outside the Box to Market Your Book with Jen Malone
I call this presentation “How to Sell Your Book Without Being Creepy.” As natural introverts, we writers don’t like going outside to deal with “people and weather.” We abhor the uncomfortable, used-car-like sales pitch. We don’t want to plaster the interwebs with “BUY MY BOOK!” Ick.
So what’s an author to do? Jen presented unique, creative ways to market by simply being you. Look outside your own book community to find opportunities for connections. Offer others what they want and they might just offer what YOU WANT—an introduction to a new audience. Jen has been doing work with the Girl Scouts and a famous bakery to reach her target audience, tween girls. (And, there are CUPCAKES involved. Win, win, stuff yer face.)
Workshop Four:
7 Revision Tips to Take your PB from WAAH to WOW! by Sudipta Bardhan-Quallen and Marcie Colleen
Don’t let the high-heels distract you. These two PB experts offer furlongs of fabulous advice. (Furlongs? I gotta stop the alliteration.)
They emphasized reviewing your picture book to ensure visual variety. This refers to textual elements as well as compositional ones. Think story AND layout. Think page turns. Think scene changes. Dump anything that’s repetitive or passive without purpose.
Workshop Five:
Is Your PB Worthy? by Marie Lamba
Oh, how I regret not getting a photo of Marie hugging her presentation easel. Adorbs.
Marie, an author and agent, bubbles with enthusiasm for picture books. She brought some of her all-time favorites to share and exclaimed, “Isn’t that HILARIOUS?” while doubled over in laughter.
We all want that—a reader who loves our book five, ten, even 20 years after first reading it. So how do we get that?
Be different. Don’t just write the first idea that comes to mind. Write five ideas. Then another five. Use the tenth one. Applying this tip from Donald Maass means you’ll arrive upon something no one has done.
Marie also shared the top 10 mistakes she sees in picture book submissions. For example, she doesn’t want to see “just a schtick.” (Don’t you LOVE Yiddish words?)
Your picture book can be ridiculous, but quirky humor isn’t enough. She cited her own manuscript about a girl who wears gloves on her feet and pretends she’s a monkey. It’s cute and funny, but it’s not enough. Marie didn’t have a story, she had a schtick. Your manuscript needs a plot to matter.
Other common errors include rhyming NO MATTER WHAT and writing a slice-of-life vignette—a set-up instead of a story.
Sunday Morning Keynote:
Top 10 Things You Need to Know About the Children’s/YA Market by Harold Underdown
Harold! You have to love him. (You have to follow his Purple Crayon website!) He’s bursting with kidlit experience and wisdom.
First, he told us some great news: the children’s publishing market rose 20% last year!
Hard copy books are not disappearing and ebooks are not replacing them. In fact, the ebook market has hit a plateau and represents only 15% of the children’s market, but that number leans heavily toward YA. Picture books are preffered in hard copy by a wide margin.
Bookstores (both online and brick-and-mortar) are now the biggest sales channel (40%), as opposed to schools and libraries in years past.
Know that diverse books are hot and that writers and publishers are taking this issue seriously.
YA remains a boom area, MG is very healthy and PBs are experiencing renewed interest. Some are even calling this time “the golden age of picture books.”
However, Howard emphasized that you should always do your best work and not focus on what’s hot. This is what will get you published.
Workshop Six:
Marrying the Right Manuscript with the Right Publisher by Steve Meltzer
Steve is a welcomed, popular mainstay at NJ-SCBWI. He emphasized doing your research when searching for a publisher. It’s important to seek out comparable titles published within the last three years, those that are of a similar subject and format, but not famous or mega-selling. No one’s gonna believe your series is the next Harry Potter. Query with a reasonable comp, not an outrageous claim.
Workshop Seven:
The Changing Face of Humor in Picture Books by Steve Meltzer
Do I even have to talk about this? Steve and I disagree. I respect his opinion immensely, but I think a popular recent title missed the mark and had opportunity for so much more humor than it presented. He nudged me on the lunch line, “It’s a great book.” I topped my salad with bleu cheese and thought about it.
Closing Keynote:
How to Be a Writer Without Losing Your Mind by John Cusick
John Cusick said much about life as a writer and agent, how he uses an Iron Man figurine on his desk to distinguish agent-time from writer-time, and how to balance our life roles.
He reminded us that our job is to “sit down and start.” Don’t worry about writing the whole book. Write a little bit for now. (This resonated with me. I tend to panic about writing AN ENTIRE NOVEL when I should really just put one word in front of the other.)
Also, no one cares if you stop writing. YOU MUST be the motivator.
Have a writing friend you can complain to…and let them know that this is their purpose. (Not their sole purpose, of course. We all need to kvetch and we need a kvetch catcher.)
Bottom line, it’s irrational and childish to make things up for a living. It’s crazy-making. So embrace it. Be crazy. It’s crazy that anything can be this good!
“Don’t worry about being normal because what you do is extraordinary,” John said.
I couldn’t agree more. How about you?
I grew up with a funny guy.
(No, Walter Matthau isn’t my dad, but I don’t have a digital photo of my father and he looks just like Mr. Wilson from “Dennis the Menace.” So this will have to do.)
Anyway, he’s the one who passed along his sharp, dry humor to me. He was actually a Chemical Patent Attorney for a large petroleum company and used to speak about opening a law firm together when I grew up. Only being a Chemical Patent Attorney is quite possibly the career of my nightmares. I suppose his job is why he’s so funny—it didn’t provide gas for humor so he had to create his own laughs. (It did provide gas, though.)
A simple man, he has means but always preferred to live in a small apartment or condo. When I asked him why he didn’t buy something larger, he quipped, “Why? You can only be in one room at a time.”
Smart, Pops.
So I began thinking about this concept recently…as it applies to picture books, of course. You know I suffer from PBOTB (Picture Books on the Brain, not Picture Book Off-Track Betting). Here’s what I came up with:
“You can only be on one spread at a time.”
Aha!!!
So what does this mean?
When you’re finished with your tale, cut it in pieces.
You may already be aware of my layout templates:
Look at each spread of your story individually and ask yourself some questions:
- Does it move the story forward?
- Does it provide a page-turn surprise?
- Does it provide ample opportunity for illustrative interpretation or an illustrative subtext?
- Is it interesting and entertaining? Does the reader want to linger?
- Is it active?
- Does it have too much text?
- Does the scene change from the previous page?
Remember, you can only be on one spread at a time. Make each one MATTER.
Maybe you’d like to comment with your interpretation of this witty Pops-inspired picture book phrase…? Please do!
And now, the winner of my March giveaway–Philip C. Stead and Matthew Cordell’s SPECIAL DELIVERY!
DIANA DELOSH!
Congratulations, Diana, I’ll be emailing you!
Now I usually end with something witty, so I called my dad for comment. He says being a children’s book author is quite possibly the career of his nightmares. And with that, he’s ready for a nap…albeit a scary one.
It’s come to my attention that we need a collective noun for children’s book writers and authors.
I am therefore inviting your input.
If you’d like to suggest one for writers and a different one for authors, please feel free. (Can’t forget illustrators!) Leave as many collective nouns as you’d like. Of course, you get points for cleverness. I’ll pull them together in a future post so we can vote on them. And then, perhaps, when we see a gathering of these wonderful folks, we’ll know what to call them.
For those of you who didn’t grow up on 80’s music, this is A Flock of Seagulls.
Writing for Kids (While Raising Them) 