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For those of you who are hungry for PiBoIdMo to begin on November 1, here’s something to satisfy your craving: a delicious PiBoIdMo 2010 badge for your blog, Twitter or Facebook page. Nom, nom, nom!
Just right-click on the image and save it to your computer. Then upload wherever you’d like! I ask that you link the badge back to this blog. I said “ask” because it’s most appreciated, but entirely optional.
Thanks to the talented James Burks for designing this year’s PiBoIdMo logo and badges. (Yes, there’s a “PiBoIdMo Winner” badge, too, but you don’t get to have that one yet!)
If you’re a Twitterholic, you can also add the PiBoIdMo Twibbon to your avatar.
Watch for the PiBoIdMo 2010 kick-off post to appear on Halloween!
Lately many writers have wondered, “Are you hosting Picture Book Idea Month again in November?”
Since this is a children’s lit blog, I have to tone down the language of my reply:
HECK, YEAH!
We’re gonna make NaNoWriMo novelists wish they were PiBoIdMo writers this year!
We’ve lined up great guest bloggers.
And three picture book agents to provide feedback to three winners.
And prizes! Oh, the prizes!
Just remember, you’ll have to complete 30 ideas in 30 days to qualify for the prizes. And you’ll have to officially sign up, too.
Watch for the kick-off post and sign-in on Halloween! You’ll have from then through the first week in November to sign-up.
And for now, I’m signing out!
What happens after a manuscript is bought by a publisher? Well, you pop a cork of bubbly and break the glass shade on your kitchen chandelier. But don’t worry, your advance will cover the repair. (That’s what I told my husband.)
I received an offer for my first picture book, THE MONSTORE, from Aladdin/Simon & Schuster in early May and accepted, after brief negotiations, shortly thereafter. By the end of June, my editor sent me the first round of edits, with the first revision due August 1st.
I opened the Word document and couldn’t believe all the RED.
Stuff was slashed. Crimson comment boxes asked me to change words…and entire passages. And most baffling of all, I thought my editor didn’t like my ending. I felt overwhelmed.
That’s when a good agent swoops in and saves you from having a toddler-like meltdown. A conference call was what I needed to understand the reasoning behind the red. The following week, my editor, editorial assistant and agent called and we ran through every detail. And, guess what? I didn’t feel so overwhelmed anymore. That’s what. (Sorry, there’s a little Junie B. Jones creeping in.) My editor had a great vision, and I agreed with every change she suggested. Big sigh of relief.
Then I had a month to make the changes.
I tried procrastinating. I played a lot of online Boggle. (My high score is 174.)
Honestly, I didn’t know how to tackle the revision—how I would solve the little problems that, at the time, seemed HUGE.
Then I remembered Anne LaMott’s BIRD BY BIRD. So that’s what I did. I took it bird by bird.
The first day I changed the manuscript from 1st person to 3rd. Send over the red button from Staples because that was easy.
The next day, I thought visually. My editor said some of the objects and actions in the manuscript, like a bag of moldy bread, and a monster slithering, wouldn’t come across well in illustrations. She asked me to think of details that were more visually interesting—things that would be humorous to draw, but also fun to read aloud. And, one of those things had to tie into the denouement.
My editor had paginated the manuscript, and she asked me to think of each page turn as a mini-cliffhanger. She did such a bang-up job on the pages, I didn’t need to do much there.
Then came the ending. Remember how I thought my editor didn’t like it? Well, she loved it. She just wanted me to stretch out the denouement. But how? I spent days staring at the screen. I’d come up with an idea, then erase it. And another. Delete. Then save. Then trash. This went on for a fortnight, until, by George, I think she’s got it! (I’ve always wanted to feel like Audrey Hepburn. That was my moment.)
I finished the first revision on June 27th, with enough time to email it to my agent for review before sending it to my editor just under the August 1st buzzer. My agent was thrilled, I was thrilled that my agent was thrilled, and let’s just say the word THRILLED ping-ponged between us that week.
My manuscript had gone from 522 words up to 730 to fit in the changes, but I thought that would be OK.
I was wrong.
The second round of edits arrived in early September. MORE RED. Cut, cut, cut! My editor liked the new denouement, but it was too wordy, bogging down the pace of the story. “This can be shown in illustration,” she said several times. I agreed. (And added those devilish art notes.) I slashed and burned, taking the manuscript down to 589 words.
So now it’s ready to ship out once again, way ahead of my November 1st deadline for the final manuscript.
But guess what? I think there will a lot more changes from now until then, but they’ll make the story even better. That’s what.
Last November this blog hosted “Picture Book Idea Month,” a daily exercise for picture book writers. The object was to create one new picture book idea a day. (As an added benefit, it kept us from having NaNoWriMo envy.)
When I tried PiBoIdMo on my own the year prior, I came up with the concept for THE MONSTORE, which became my first book to be purchased. It’s set for release with Simon & Schuster in 2012. And, this week, my editor is meeting with the art director to talk about illustrators. Oh yeah, it’s a fun time.
Then this week I got word that Diana Murray won the 2010 SCBWI Barbara Karlin grant with one of her PiBoIdMo 2009 ideas! Wow! So I asked her to tell the story…take it away, Diana!
When Tara announced PiBoIdMo on the blueboards, I was thrilled. One idea per day was something I could handle time-wise and I was looking forward to an excuse to ramp up my picture book writing. It was more challenging than I expected, but the best part was, it helped me figure out my main problem: I’m a compulsive writer. As soon as I think of an idea, I run for my laptop and I can’t stop writing until I get the whole story out of me. I literally find myself waking in the middle of the night to jot things down. In other words, I’m completely nuts. In many ways, this can be a good thing. Motivation has never been an issue for me. But participating in Piboidmo forced me to delay my compulsion to write about anything that popped into my head, and for me, that ended up being more efficient.
I came up with most of my ideas during little “holes” in time throughout the day, like while pushing the stroller or putting my kids to sleep. Some of these ideas were pretty awful, like: “Tabby Moves to Dogtown” and “Mabel’s Amazing Hat,” about a do-everything hat with a remote control. Ha! That one still cracks me up. Some of the ideas were worth investigating and I kept getting tempted to drop everything and start writing. But I held back in the interest of coming up with at least one new idea each day. I knew that if I started writing, I wouldn’t be able to stop and move on to thinking of other ideas. I held off as long as I could.
Finally, on idea #23, I couldn’t take it anymore. The idea of a stubborn, messy witch who keeps losing things resonated with me (Gee, I wonder why?). It’s a very personal experience, of course. An idea that works for one person may not appeal to somebody else. But for me, it just clicked. For a few days, I thought about it and planned it out in my head. Actually, idea #23 had been brewing since idea #1 (to borrow a metaphor from my MC, Grimelda). That’s the good thing about ideas: even the bad ones can ultimately lead to something that inspires you. By the time I started writing, I was overflowing with creative juices and the whole manuscript just poured out.
So, long story short, I’m a PiBoIdMo loser! My compulsion got the best of me, and I didn’t get past idea #23. But the good news is, I won the 2010 SCBWI Barbara Karlin Grant and learned something in the process.
For the record, I announced my participation on the blueboards but not on Tara’s blog. Let’s just say I was a little new to the concept of blogs at the time. Luckily, I was able to read all the inspiring posts after the event.
Congraulations, Diana! I hope you’ll let us know when your manuscript gets purchased!
Do you have a PiBoIdMo success story to share?
Editor and author Ken Geist recently spoke at the New England Children’s Booksellers Advisory Council, asking independent booksellers to get behind picture books, as reported by Publishers Weekly.
Why the impassioned plea? While picture books aren’t disappearing from the market, they have been a tough sell lately. Jacketed picture books are $16.99–not an inexpensive purchase–and customers seem unwilling to buy unjacketed titles. Lower-cost paperbacks aren’t usually produced until the hardcover has proven sales. And big retailer Barnes & Noble is removing its picture book wall and instead showcasing higher-margin activity books. (Say it isn’t so!)
The most interesting tidbit from the article–one that contradicts the word count guidelines heard lately (500 to 700 words, the less, the better)–is that “many [consumers] don’t know what a picture book is, and those who do are looking for more text.”
More text?
Can it be that picture book consumers feel slighted by the $16.99 price tag when they only get 400 words? Does this mean picture book word counts might be on the rise? This is difficult to tell, considering the article also mentioned that 4- and 5-year-olds are being pushed toward chapter books. Lower word counts serve the younger audience this suggests. But do we believe that 4-, 5- and even 6-year-olds are going to give up on picture books completely? Are teachers going to stop using them in their Kindergarten, 1st and 2nd grade classrooms?
And could picture book series be turning off some parents? Once there’s a hit book, publishers release new titles with the same character. Is this strategy a sure money maker, or are parents getting tired of the same premise repeated a half dozen times?
On one hand, familiarity is a strong selling point. Think of the popularity of chain restaurants–customers know the menu is the same in Boston or Boise, so they are assured an enjoyable meal. So a picture book with a character they and their children already know is appetizing, but when do they get full? Editors have been asking for character-driven manuscripts to take advantage of sequel potential, but will this trend level off?
I’m curious to see if publishers will change their acquisitions strategies in light of bookseller changes. What do you think?
One of the booksellers at the event suggested a grass-roots effort to make 2011 “The Year of the Picture Book.” I’m all for that! Who’s with me? What can we do to help a sagging picture book market? (Besides the obvious–write awesome books!)
Joyce Wan, talented author/illustrator of “Greetings from Kiwi and Pear,” stops by the blog today to recap the recent NJ-SCBWI annual conference. I couldn’t attend this year so Joyce offered to share the juicy details. (Get it? Kiwi and pear…juicy? Ugh, stick to humor in picture books, Tara.)
Take it away, Joyce!
It was my first time attending the New Jersey SCBWI Annual Conference and it was such a blast! There were intensives, workshops, lunches with editors/agents/art directors, a book fair, a juried art show, a raffle, auctions, one-on-one critiques, agent pitch sessions and portfolio reviews galore. A whopping 22 publishing houses/agents were represented. A round of applause to Kathy Temean (NJ-SCBWI RA), Laurie Wallmark (Assistant RA) and all the volunteers for coordinating such an amazing and well-organized event. The conference was informational yet inspiring and I left Princeton feeling excited and energized!
Highlights from two of the workshops I attended which stood out in my mind:
Sure it’s Cute, But Will it Sell?
Steve Meltzer
Associate Publisher/Executive Managing Editor
Dial, Dutton, & Celebra
He provided us with information on the business side of the industry and a snapshot of the current picture book market. The market is made up of four types of buyers:
- Independent Retailers
- Mass Market Retailers
- Institutional (Libraries and Schools)
- Book Clubs/Fairs
You want to write a book that hits ALL markets. Examples of current books that are hitting all markets:
- Skippyjon Jones
- Fancy Nancy
- Ladybug Girl
- Llama Llama Red Pajama
As mentioned in the recent #pblitchat on Twitter, Meltzer is looking for character-driven stories: stories with quirky characters that are unusual and original but realistic. Character stories invite sequels, branding, and licensing opportunities.
Finally, he suggested that writers should be able to pitch their story in one sentence. Compare it to something successful but then tell him how it’s different (ex. Like Skippyjon Jones but with whales).
Picture Books – What Works
Sudipta Bardhan-Quallen
Author of 13 picture books and seven non-fiction books
Picture books should be 650 words or less. Story should consist of a character that has a conflict and makes three failed attempts to solve the problem and then has a successful attempt on the fourth try. The end of the book must surprise the reader (a twist), extending the story beyond the story, which makes the book re-readable. Although she did mention that there are no hard and fast rules to picture book writing–and that these are just what, in her experience, has worked for her–I do think it’s a handy little formula to follow for those of us beginning our journey in the world of picture books! Another little trick that can help add tension to any story is to add a ticking clock of some sort: the character has to reach the goal by a certain time (ex. by bedtime, by sundown, etc.).
In addition to the workshops, there were two really inspiring keynote presentations at the lunches given on the first day by David L. Harrison, author of 80 children’s books, and on the second day by Catherine Gilbert Murdock, author of Dairy Queen and other books. David Harrison reminded us all why we do what we do, which is to create literature for young people. Catherine Gilbert Murdock charmed us all with her self-deprecating humor and shared with us how her journey to becoming a successful author started in a not-so-successful career in screenwriting.
There was also a juried art show organized by Leeza Hernandez, which was a first for the NJ SCBWI conference. You can read about the winners of the art show and view some of their beautiful artwork on Kathy Temean’s blog.
I submitted this piece for the art show which is a scene from my picture book that came out last year called Greetings from Kiwi and Pear.
I had fun being part of such a visual part of the conference and even had a fellow attendee email me after the show saying how much she loved my work and what a bummer it was that we didn’t get to chat during the conference.
One of the best parts of the conference was the one-on-one critique with the editor/agent. I thought the one-on-ones alone were worth the price of the conference. The editor I had my critique with gave me very insightful feedback and ideas. I showed her the picture book dummy that went with the manuscript I submitted for the critique along with my picture book that came out last year and even my Wanart catalog so that she could get a better sense of my illustration style. She liked my picture book dummy so much she actually asked to keep it along with my catalog–how exciting!
One fun side note is that there was a High School prom at the hotel the first night of the conference. I got quite nostalgic at dinner watching all the kids in their tuxedos and glittering gowns make their grand appearances in the hotel lobby–it was quite a spectacle and felt like dinner theater!
Overall, the conference was fantastic in every way from the top notch venue (there were koi ponds in the atrium!) to the high calibur faculty. I’m already looking forward to next year!
I was taken aback this week when a girl posted a comment on my blog in regards to the 365+ Things Kids Like post:
what the hell im i kid i dont like most the things on that list [sic]
OK, so we’ve got one unusual and outspoken kid out there. I mean, nearly 365 things is a lot NOT to like. Although I assume that this kid does like #21 Being Independent, #175 Ignoring Adults and #201: Knowing More than Everyone Else. And this kid may not be of picture-book age (less than 8 years old), given the language.
I add to this list periodically, to keep track of subjects that may work in a future picture book manuscript. But one thing I forgot is that kids like to be unique individuals. Not every child loves riding skateboards and roller coasters. Some are scared of clowns or think they’re stupid. And licorice? Blech. I know I hate it.
This leads me to ask–how do you know the subject of your story will appeal to a broad range of children?
Because at its heart, a picture book isn’t about a dragon or a robot. It’s about an emotional truth–friendship, family, fitting in. Carving out your place in the world. Accomplishing your goals.
So I have to add two things to the list of 365+ Things That Kids Like:
- Being loved and appreciated.
- Having their voice heard.
Every Monday at 10pm EST children’s writers and illustrators jump on Twitter to chat about picture books. The brainchild of Aussie authors Karen Collum and Kat Apel, #pblitchat churns away for an hour, with topic schedules and transcripts posted on the Picture Books Only blog. Below are highlights from this week’s chat on writing for the very young–children from birth to age 3.
- Unless you’re an author/illustrator, board books are a difficult sell. The word count is low and the stories are less complicated than picture books for 4-8 year-olds, so illustrations become even more crucial to bring life to the story. For example, the visual cues in Sandra Boynton’s Blue Hat, Green Hat allow non-readers to “read” the story themselves. As a new writer, you want to write a story with the broadest possible appeal to maximize your chances of being published, so writing specific to the board book format may limit you.
- A trend in board books is to republish books that have been popular sellers in hardcover/paperback. Board books are expensive to produce, and at the same time, parents want to pay less for them, so publishers may prefer to go with a proven story rather than a new one. Great example: Snowmen at Night by Caralyn and Mark Buehner was first a successful hardcover title, released in 2002. A few years later, the publisher created board books and sold them with a stuffed snowman during the winter holidays. A jigsaw puzzle board book and a pop-up version (a new story) were also created.
Rhyme (internal and external) and a jaunty meter delights young ears. Great examples: Chicka Chicka Boom Boom by Bill Martin Jr., John Archambault and Lois Ehlert; Hand, Hand, Fingers, Thumb by Al Perkins and Eric Gurney.
- Average word counts for young books are typically less than 500 words and could be fewer than 100 words.
- The market is saturated with ABC concept books, but books with a completely fresh take can be successful, like Shiver Me Letters, A Pirate ABC by June Sobel and Henry Cole.
- Repetition helps young children understand story and recognize words, plus it encourages participation in reading aloud.
- Lift-the-flap books offer peek-a-boo surprises and drive the story forward, but again, they’re a tough sell unless you’re an established author and illustrator.
- Novelty books (pop-ups, foldout pages, liftable flaps, or hidden sound chips) are often published by mass-market publishers and not trade publishers. What does this mean to you? In-house talent or work-for-hires create these books.
- The jury is split on interactive titles for the very young. Do parents want their toddlers drooling on an $800 iPad? Do electronic titles lose the “cuddle factor”? Or does the new interactive medium offer an unprecedented opportunity to unknown author/illustrators? A recent article cited a new 3D book as one of the top 20 ebook apps for the iPad, right up there with Dr. Seuss and Disney titles.
My favorite #pblitchat moment? Board books get gnawed and chewed by babies, so how about an edible board book? (As suggested by @RedStepChild a.k.a. illustrator Lynn Alpert.) I think this is an idea whose time has come, especially if they’re made out of freeze-dried astronaut ice cream. Mama may want to chow down on tasty kidlit, too! (I can see it now–Chicka Chicka Yum Yum.)
What else is important to know about writing and illustrating for the very young?
Don’t worry, I haven’t slid off the children’s book wagon to blog about the policies of Franklin Delano Roosevelt. No, “the new deal” to which I refer is my first picture book deal.
Did you hear what I said? FIRST PICTURE BOOK DEAL!
Tara Lazar’s debut THE MONSTORE, about a shop which sells only the most useful monsters, and has only one rule: no refunds, no exchanges, to Emily Lawrence at Aladdin, for publication in summer 2012, by Ammi-Joan Paquette at Erin Murphy Literary Agency (NA).
I’m thrilled to be working with Emily, who not only loves tacos as much I as do, but also made an appearance on this blog two years ago (unbeknownst to her). Joining Emily in the monsterly hijinx is assistant editor Alyson Heller, who shares my passion for figure skating.
(Note: Please don’t send these editors stories about TACO HARDING AND JEFF GUACAMOLE. Mexican food and figure skating don’t mix! Not even with some good queso!)
Next up, an illustrator will be chosen and then we’ll work on revisions.
And hey, what the heck, I’ll drag you along on the journey. I’ll share as much as I can about the behind-the-scenes process–from getting a book signed to signing books!
The journey thus far:
1. I was born.
2. I wrote my first picture book with my 2nd-grade BFF and told my great-grandparents it would be published soon.
3. I apologized to my 80-something great-grandparents for making them drive an hour to the bookstore.
4. I went to college and wrote awful short stories and lousy poetry.
5. I worked in high-tech and wrote awful press releases, shouldering some of the blame for “irrational exuberance.”
6. I got married and had two kids.
7. I decided to take up my 2nd-grade passion again (without BFF).
8. I wrote.
9. I revised.
10. I conferenced.
11. I rinsed and repeated.
12. I submitted.
13. I wrote this post. (And you commented!)
Want a great piece of writing advice? As a new writer, surround yourself with more experienced professionals. You’ll grow and learn far more quickly than if you remain in a critique group comprised of writers on your level.
Unfortunately, it’s not always easy to find an experienced critique group. However, paid critiques are one way to gain access to knowledgeable professionals and speed-up your learning curve. You can receive paid critiques at SCBWI conferences and through independent editors, and once in a while critiques go up for auction to benefit good causes. But these critiques, while thorough and worth every penny, can sometimes cost a lot of pennies.
I met award-winning author Brenda Reeves Sturgis at the 2008 Rutgers One-on-One Plus Conference and we had instant chemistry. Easy-going, lovely, and full of fun, Brenda possesses a great personality and a penchant for picture books. Her debut TEN TURKEYS IN THE ROAD releases fall 2011 with Marshall Cavendish, and her poetry appears in the SWEET DREAMS anthology later this year from Blooming Tree Press. And guess what? OK, you’ve guessed it, she has begun a new critique service for picture book writers (and for not that many pennies).
Hey–did you notice–critique service, Reeves Sturgis. That rhymes! Well, kind of. Maybe just a little? Huh?
But believe me, her critiques are far better than my rhymes.
Writing for Kids (While Raising Them) 