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Children’s book writers were treated to another fun and informative first page session this week in Princeton, hosted by the NJ-SCBWI. Editors Michelle Burke and Allison Wortche of Knopf & Crown Books For Young Readers listened to 30 first pages read aloud as they followed along with each manuscript page. Then they gave their immediate first impressions of the work.
If you’ve never attended a first page critique, it’s a quick way to get a handle on what your peers are writing. A first page session shows you what it’s like for an editor to spend two hours in the slush pile. Common themes emerge. Mistakes reveal themselves. If you listen carefully, you’ll learn how to avoid first page problems and encourage an editor to read on.
So what did the editors say? I encourage you to read on…
Picture Books:
Use varying imagery in picture books. One manuscript conveyed a lot of emotion and the editors didn’t see where the illustrator would take inspiration for art. The same scene through several page turns may lose a child’s attention.
Dialogue needs to match the age of your character. A picture book character shouldn’t sound older than a five- or six-year-old child. Their actions should also match their age.
Cut excess detail in picture books. The first page of the manuscript should reveal a clear story arc. If the manuscript is bogged down with details, it slows the story down. For example, writing that a mother is carrying a napkin to the table and setting it down next to the plate is unecessary (unless that specific action is crucial to the story, and even so, it could probably be illustrated).
Premise and conflict should be apparent on the first page of a picture book manuscript. For example, dialogue between two characters should reveal a story, not just serve as adorable banter.
Every line in a picture book should move the story forward. There’s no room for chatting or extraneous stuff.
Picture books should have a linear approach. Moving back and forth in time can confuse a young child.
With holiday stories, you automatically have to work harder. Stories about specific times of year are a tough sell. There’s a lot of competition and a small sales window.
Some picture book stories are told better without rhyme. If the phrasing is unnatural in rhyme–things you wouldn’t ordinarily say–it can be jarring to the story. One bad line can ruin the manuscript’s chances.
Middle Grade/YA:
The narrator/main character should be the highlight of the first page. One manuscript began by describing a minor character as a way to compare/contrast the narrator. However, when that minor character disappeared from the rest of the page, the editors were confused. Was that comparison necessary to introduce the narrator?
Historial fiction should tell a story. The reader should get a sense of the main character first–how he/she is affected by historial details. Too much fact will bog the story down and lose the character.
Don’t be too reptitive in a novel–get on with the story. If a main character reveals the same thing over and over again on the first page, it feels overdone. Introduce a concept and then move on with the story; don’t circle back paragraph after paragraph.
A first person narrative should have more narrative than dialogue on the first page to take advantage of this device. Plus, the narrative voice and the dialogue voice should match (unless the disconnect is for a specific purpose).
Avoid the stereotypical whiny, displaced, unhappy middle-grade voice. More than one middle-grade manuscript began with a character learning that he/she had to move. The result was a whiny narrator who wasn’t necessarily likeable. Editors warned that they see a lot of the parents-uprooting-child theme, so to rise above the slush, consider a different approach.
Be cautious in stories with several important characters. It’s difficult to write a story with multiple characters because introducing them can sound like a laundry list. Reveal their personalities in a way that’s organic to the story. It also asks a lot of the reader, to keep track of several characters.
Watch tense. The switch from dialogue to narrative in one story felt very abrupt because the dialogue was in past tense and the narrative was in present.
The difference between MG and YA is edgy, gritty. If the main character’s personality feels innocent, the genre might be middle grade, not young adult.
Balance description and dialogue. Dialogue moves a story along fast. Description slows it down. Long stretches of each create a choppy storytelling rhythm.
Make descriptions specific, not generic. One story began with vague details that could be applied to almost any story setting. It wasn’t until further down on the page that the reader learned the unique time and place, something that attracted attention. The editors suggested moving that info higher up.
YA characters should be teenagers. College YA characters and those over the age of 19 can be a tricky sell. That moves the story into adult territory. YA readers need to relate to the characters, and 20+ seems like a lifetime away to a 15 year-old.
Finally, stories should be kid-friendly, not sprinkled with adult sensibilities. One of the editors warned, “this feels like it’s about kids rather than for them.” Don’t let a parental point of view creep into your writing–kids find that creepy.
I’ve pulled together some questions and answers from yesterday’s QueryDay on Twitter. I’ve edited this slightly to make it more readable (there’s more room than 140 characters here). The questions are in no particular order and may not include every response. In fact, I’ve removed answers by writing peers to concentrate on agent advice.
I hope this helps you with your query process. Thanks to all the agents and writers who participated!
Will an agent overlook a title she doesn’t like to request proposal/chapters for a query that otherwise caught her eye?
Rachelle Gardner: It’s all about the writing. The story. Yeah, a title can help or hurt your chances, but not make or break.
What are the rules for resubmitting after lots of revision? (We’re talking years since the original sub.)
Rachelle Gardner: Most important rule on resubmitting after revision: Be honest, say it up front.
Is it best to send a query to a few agents at once or just send them one by one?
Rachelle Gardner: I don’t know of any agents who expect or even want exclusivity on queries. On requested partials, yes.
Scenario: Big publisher has full manuscript. They offer contract. How can one query an agent to represent you in this situation? Is it proper?
Colleen Lindsay: It will depend on the offer. Agents are in it for $$$ too, so if the offer isn’t big enough, we won’t care. It takes as much time to work on a $2000 deal as a $20,000 deal. Not every deal created equally. But you should always have a publishing lawyer look over the contract even if an agent won’t rep you.
Greg Daniel: If I were a writer trying to find the right agent, I’d pay for access to Publishers Marketplace.com.
Regarding requested material: What is it that ultimately kills the YES when you read a partial or full that had potential?
Lauren MacLeod: Actually, it goes the other way. I start with probably no & you can move to yes with great voice & writing.
Rachelle Gardner: TOP reason I say “no” to queries is the story doesn’t sound unique, fresh, exciting. The problem isn’t the query, it’s the book. What kills the YES? That’s where it gets difficult and subjective. Does the story grab me and not let go, or not? What about being told “your writing is good” but still no? Remember–dozens of queries in the pile. Can only say yes to a few.
I’d think it’s better not to compare your book to other books and just let it stand on it’s own, meself.
Rachelle Gardner: Listing comparable books is important, it puts yours in context, shows you know your market, helps agent “get” your book.
Would this put you off – if someone spends years perfecting one novel? Would output be a concern?
Lauren MacLeod: No need to tell me in the first place (nothing to gain), but I expect first novels to have had more polish than 2nd.
Greg Daniel: No, wouldn’t concern me.
Why do publishers/agents even bother with email partials? Why not just take the whole manuscript and stop reading if it’s a dud?
Lauren MacLeod: I ask for email partials to manage expectations. I try and write longer & more involved rejections for fulls.
Having a hard time deciding what genre my novel is, should I leave that part out of query or can you suggest a way to help decide?
Rachelle Gardner: You must include the genre. Publisher, bookstore, consumer all need to know! Find books/websites that discuss genre.
How much of it is really who you know? How much of the process relies on you receiving recommendations?
Rachelle Gardner: Referrals definitely help. That’s why you go to conferences and network like crazy. I appreciate referrals from my current clients, editors I trust, and other friends in the industry.
Elana Roth: Connections help. Half my list is from referral, but the other half is from queries.
Greg Daniel: The only recommendations that make much difference to me are writers who are referred to me by my current clients.
Are most agents from NY or CA? Is it okay to query agents in other places? Are they for real?
Lauren MacLeod: With email and phones agents anywhere can get in contact with editors. First and foremost, pick someone you connect with.
Rachelle Gardner: It’s a good point about agent location. The Internet has made it easier for publishing folks to live anywhere.
Should a fiction writer ever mention their education or academic publications?
Lauren MacLeod: It should be mentioned in your bio, certainly, esp. if you are planning on doing more, but it should be a CV.
I’m worried about being relevant to the market…will the super hero novel I’m writing now still be relevant six months from now?
Lauren MacLeod: A great story with dynamic writing will always be relevant. Write good books, don’t worry about trends.
Do I need an agent to get a great book published?
Lauren MacLeod: Not necessarily, but probably to get it in the hands of the editors at the big houses & to negotiate a fair contract.
What are you looking for when it comes to voice?
Colleen Lindsay: Authenticity.
In my YA query, would you want to know if I’ve been mentored by famous YA author?
Kate Sullivan (editor): YES, I would LOVE to know if you were mentored by a famous, accomplished or great YA author in a query/pitch.
In early March, several literary agents, organized by Colleen Lindsay and Lauren E. MacLeod, participated in QueryFail on Twitter. They sat at their desks, inboxes open, a pile of envelopes at their side, and then read queries one-by-one, Tweeting examples from undesirable letters: “I know that I have attached a file, but please have a read even though it’s against your policy.”
Lesson #1: follow submission guidelines.
Lesson #2? Even though many writers felt QueryFail was interesting and helpful, there was a considerable backlash from those who felt it was unfair to share query letters meant only for the agents’ eyes. But listen, if you’re an aspiring author, that means you want your words to go into print someday. You have to be ready for the criticism. If you’re not confident about sharing your query letter, perhaps you should try writing another one.
QueryFail2 was all set for yesterday, but it didn’t happen. Instead, we got QueryDay. The guidelines were supposedly the same, but the tone was decidedly different. Agents opened the floor to questions from writers, making QueryDay an interactive event. And because writers became participators, I doubt that anyone who witnessed QueryDay had anything negative to say about it.
Several positive spins emerged. Elana Roth of Caren Johnson Literary Agency announced her first QueryWin of the day early on. She requested “a YA light sci-fi novel. Strong query. Good voice in sample pages.” She was also impressed with a “Smart cookie author/illustrator: did not attach art to email, but pointed me to link of her art online. Win.”
Later on Ms. Roth passed on “a 3,000 word picture book” and a “YA novel set in college. Still on the fence about that. And only 39,000 words.” Writers, you need to know the proper word counts for your genre.
Agents also provided tips. Rachelle Gardner offered, “This may be hard to hear, but I suggest you avoid being in a rush to get published. Take TIME to develop your craft.” Later she confessed, “A query that makes me laugh is a great thing! Whether or not the book is for me, it definitely gets my attention.”
Agent Lauren MacLeod shared information on her preferences: “For the record, I prefer not published to self-published. For me, self-published has to try harder. Others feel differently.” She then explained, “Why my self-pubbed position? 1) I assume it has already been widely rejected by agents, 2) might have already exhausted the market.”
Some themes and suggestions emerged repeatedly, like submitting polished work. Lauren MacLeod announced, “I assume you have edited your work, have a writers group and have shown this to someone who likes it.” Later on, Colleen Lindsay said, “A writer needs to get the manuscript into the best shape possible before querying. An agent’s job is not to handhold or coddle or boost a writer’s self-esteem. An agent’s job is to sell the manuscript.” Editor Kate Sullivan presented this caveat, “Remain open-minded and be ready to revise. You need to be open to changes every step of the way.” Even a polished manuscript can be improved.
The most important thing learned from QueryDay is really quite basic: write a sharp query and follow guidelines.
And just how much time does an agent devote to your query? Lauren MacLeod answered, “A query that is to our guidelines, within normal word count range and my genre? About 5 minutes. These are rare.”
She then summed it up: “More important than anything: WRITE A GOOD BOOK. Good writing, good plot & good voice trump all.” Rachel Gardner agreed, “Fiction writers…it’s ALL about the writing. Nothing’s as important as what’s on the page. If it rocks, nothing else matters.”
Got that? Now if only the word “good” weren’t so subjective…
I collected a number of questions and answers from QueryDay that other writers may find useful. I’ll post separately…coming very soon.
I had the pleasure of meeting author Jeannine Norris at a recent NJ-SCBWI mentoring workshop. One of the organizers, Kathy Temean, held up a copy of Tonight You Are My Baby and pointed to Jeannine, the author, sitting right behind me. Kathy told us that Jeannine had met her editor at a previous NJ-SCBWI event. Amazing! I immediately knew I had to talk to Jeannine about her path to publication.
Jeannine, how long have you been writing?
I have been writing for about four years. I dabbled in writing when our children were babies, as I missed the creative stimulation of my former job. I really started to write when our youngest went to pre-K.
Where did the inspiration for Tonight You Are My Baby come from?
The inspiration came when our daughter, Quinn, who was four years old at the time, was diagnosed with a brain tumor. As a mother, I needed the strength to help our daughter get through this difficult journey. I started to think about Mary, as the mother of Jesus, and her incredible strength. I decided to write about the Nativity, from a mother’s perspective, and, if the book was published, donate part of the proceeds to helping kids with brain tumors. Quinn’s tumor was benign, and next year will be her five-year celebration! We started a foundation, At Least Kids, that contributes to pediatric brain tumor research at Children’s Hospital of Philadelphia and supports families struggling financially. A portion of each book sold is donated directly to At Least Kids.
What a scary time for you as a parent, but what a blessed outcome—a healthy child, a beautiful book and a charitable foundation.
You met your editor at a writer’s event here in New Jersey. Can you tell us how the deal transpired?
I met my lovely editor, Catherine Onder, at a NJ-SCBWI mentoring workshop. Catherine heard Tonight You Are My Baby during the first page session. Another editor asked to see the rest of the manuscript, but it was eventually declined. Several months later, I met Catherine at another NJ-SCBWI workshop (with another manuscript) and she remembered the first page of Tonight You Are My Baby. She asked to see the rest of the manuscript and several months later it was acquired. I couldn’t have been happier! The right time, the right place, a great editor. I’m a huge cheerleader for SCBWI events. Opportunities abound!
I love NJ-SCBWI, too!
After your book was acquired, what was the editing process like?
The editing process was fascinating! I needed to add a few stanzas, when Tim Ladwig, the illustrator, started working on the book. Catherine helped me with the revisions as well. I have to say, I love revising, as my book became so much better! Revisions and rhyme are always a challenge—often it means changing the entire line, instead of just a word. Catherine pointed out that I had used the word “quiet” several times in my manuscript. Not a good idea when you are only dealing with 400-500 words! I hadn’t even noticed. When I do my school visits, I always tell the students about my revisions. A good editor is like a good teacher—encouraging, has a vision, and wants your work to be its best. Kids are always surprised that even authors make many revisions.
Interesting–how many times had you repeated “quiet”?
I think I had repeated “quiet” three times!
I suspect that many writers have a “crutch” word or phrase in a manuscript that we just don’t notice. Yours was “quiet.” Mine is “just.” (See?) It takes a good editor to point that out!
Why the need to add the stanzas? Was it because of the illustration spread count? Or did Tim add a drawing you hadn’t envisioned?
We added three stanzas because when Tim started to draw the story arc, we wanted Mary first traveling to Bethlehem and meeting Jesus several pages in. Naturally, the book is about a mother and her baby, but we needed additional stanzas to add other images: the angels trumpeting, the sheep/cows/donkey in the stable, the wise men bringing gifts. All those stanzas were added during revisions. As it happens, the angels trumpeting is my favorite illustration! It’s not what I imagined, and I love it! Tim was so creative. The rest of the illustrations are what I saw in my mind’s eye when I was writing. Tim really “got it”—Mary is very young, completely accessible and a joyous mother.
What has surprised you most about being a published author?
My big surprise was—I didn’t really have any big suprises! The tremendous benefit of using the SCBWI and Verla Kay discussion boards is using the experiences of other authors to make the path easier. I am hugely indebted to those who have traveled this literary path before me! Through the discussion boards and workshops, I felt really well-prepared. Any of my questions were answered: simple questions such as “How do I make postcards?” to more complicated questions dealing with contracts. One pleasant surprise was that all of my school visits were wonderful. Each one was gracious, organized, prepared AND I sold a lot of books! Again, I learned how to prepare pre-order forms, write school contracts and even develop a PowerPoint presentation through the experiences of others. There is much to be learned, but a wealth of information is readily available.
What other advice do you have for aspiring children’s authors?
I would urge writers to join a critique group—or start one of their own! I belong to an online group and a local group. I met both of these groups through SCBWI conferences. Critique groups have so much to add! My groups provide me with valuable, honest comments and help prepare my manuscript for an editor’s eyes. I would also suggest aspiring authors gain writing credits through magazine articles, local publications and online sites. The extra income is nice, too! Attend every SCBWI workshop/conference you can afford. I’ve had an SCBWI workshop on my birthday list for the past several years! If your manuscript is acquired, be prepared to market yourself–heavily. The debut author MUST knock on doors, visit schools, call the bookstores, have a website, ask for interviews. This is your opportunity! Finally, have fun. Write what will bring you to your desk each day with a smile on your face.
That’s excellent advice, thank you, Jeannine.
Although Tonight You Are My Baby is about the birth of baby Jesus, a celebration of Christmas, what makes it a relevant read throughout the entire year?
Tonight You Are My Baby is really a celebration of a mother’s love. It’s about the boundless joy that every new mom experiences. The knowledge that a baby’s birth is truly a miracle—a gift unto itself. Tonight You Are My Baby is a celebration of Christmas, but it’s also a celebration of a mother’s heart. The book is certainly most popular at Christmas, but I find many people buying it for other occasions: new baby presents, baby showers, birthdays, etc. Mothers and little ones snuggle as they read of the love story that took place long ago.
Extra cuddle time: a wonderful reason for everyone to pick up this glorious book. Congratulations and thank you for sharing your journey to publication with us!
Tonight You Are My Baby
Story by Jeannine Norris
Illustrations by Tim Ladwig
HarperCollins, September 2008
Check it out!
Publishing a book can be an adventure, and that’s especially true for Christine and Ethan Rose. Authors of Rowan of the Wood, the husband-and-wife team take to the road in their “Geekalicious Gypsy Caravan” to promote their book.
Released with Austin-based Dalton Publishing last November, Rowan of the Wood became a finalist in USA Book News’ National Book Award for Young Adult Fiction. Even with this recognition, Christine and Ethan knew they would have to take on much of the promotion responsibilites for the book to get noticed.
“We knew that promoting both on and offline was essential in getting our book ‘out there.’ First time authors, especially with a small, independent publisher, have a difficult time getting into bookstores. By visiting bookstores for signings, it forces books onto the shelves and creates an interesting event. We get to go out and talk to our readers face-to-face, so it establishes a connection that we hope will last throughout the series.”
Their first tour lasted three weeks as they visited Louisiana, Texas and Florida, appearing at Renaissance Faires and Celtic Festivals on weekends and at bookstores during the week. Their next planned tour, May to July, will feature stops from Mississippi to Missouri with eight weekend events and 20 bookstores on the schedule. They’re also adding libraries to the intinerary and will tell tales in the ancient Bardic Tradition, with a lyre that Ethan crafted. Ambitious? You bet. These folks are passionate about their book–and promoting it.
I asked Christine about the best part of being on tour.
“The best experience is just being on the road! I guess the highlight is when a guy stopped us in a Safeway parking lot (because of the Gypsy Caravan) and bought a book. Another highlight was when we totally sold out of books!”
I was curious about their travels, so Christine offered a tour of the Geekalicious Gypsy Caravan:
Here’s the video on How to Make a Geekalicious Gypsy Caravan with cover artist Ia Layadi. The first coat of green paint peeled right off, and one of the signs printed too short, so lessons were learned along the way.
Indeed, publishing a book can be an adventure. Never were it more true for the Roses. They are a small publisher’s dream come true–artists who are as creative with promotion as they are with their stories.
You can find the Rowan of the Wood intinerary at BookTour.com. Follow Christine on Twitter, or check out her videos from the road by subscribing to her YouTube channel.
A few weeks ago, YA author Mitali Perkins put together a list of young adult authors on Twitter.
In the same spirit of connecting children’s authors with fans and other publishing professionals, here’s a list of published picture book authors and illustrators who maintain a Twitter presence. Also included are debut authors with books due for release in the coming year or two.
UPDATE AUGUST 2013: It’s been eons since I’ve updated this list, but I see it’s been referenced online in several places and has become a popular resource. Unfortunately, I can no longer take the time to update this list–there are just too many changes to keep up with. But if you want to be included, simply add a comment with your Twitter handle and you’ll be seen there. Thank you!
Enjoy! Make new connections; discover talented people!
- Bonnie Adamson @BonnieAdamson
- Laurie Halse Anderson @HalseAnderson
- Boni Ashburn @BoniAshburn
- Carin Berger @CarinBerger
- Phil Bildner @PhilBildner
- Deborah Blumenthal @DeborahBlu
- Susan Taylor Brown @Susanwrites
- James Burks @JamesBurksArt
- Heather Ayris Burnell @HeatherAyris
- Clay Carmichael @ClayCarmichael
- Tara Larsen Chang @TLCillustration
- Susan Chodakiewitz @SusanChodak
- Rob Christianson @RobChristianson
- Peggy Collins @PeggysBooks
- Susan Crites @SusanCrites
- Kristy Dempsey @KristyDempsey
- Sarah Dillard @SWDillard
- Brandi Dougherty @BrandiDougherty
- Elizabeth Dulemba @Dulemba
- Ame Dyckman @AmeDyckman
- Wendy Edelson @WendyEdelson
- Carol Gordon Ekster @CEkster
- Claudia Golden @Claudiamm37 (Account deleted)
- Gus Gordon @IllustratorGus
- Jean Fischer @JeanFischer1
- Kakie Fitzsimmons @KakieF
- Alison Ashley Formento @AFormento
- Roz Fulcher @Rozzieland
- Neil Gaiman @NeilHimself
- K.L. Going @KLGoing
- Lorie Ann Grover @LorieAnnGrover
- Diane Dawson Hearn @DDHearn
- Anette Heiberg @AnetteHeiberg
- Leeza Hernandez @leezaworks
- Ryan Hipp @HippHop
- Lisa Horstman @LisaHorstman
- Oliver Jeffers @OliverJeffers
- Ward Jenkins @wardomatic
- Dani Jones @danidraws
- Cathy June @CathyJuneArt
- Michelle Knudsen @MichelleKnudsen
- Kara LaReau @KaraLaReau
- Tara Lazar (me!) @taralazar
- John Lechner @JohnLechner
- Kelly Light @KellyLight
- Grace Lin @pacylin
- Wendy Martin @wendymartinart
- Anne Mazer @AnneMazer
- Rich McCoy @McCoyDigital
- Kate Messner @KateMessner
- Jennifer L. Meyer @JenniferLMeyer
- Jamie Michalak @JamieMichalak
- Amy Moreno @EarthenVessel
- Cyn Narsisi @CynDraws
- Jeannine Norris @JeannineNorris
- Neil Numberman @NeilNumberman
- Dianne Ochiltree @WriterDi
- Eric Orchard @EricOrchard
- Alicia Padrón @AliciaPadrón
- Todd Parr @ToddParr
- The Pigeon @The_Pigeon
- Jamie Pogue @JamiePogue
- Jean Reidy @JeanReidy
- Peter H. Reynolds @PeterHReynolds
- Jacqui Robbins @JacquiRobbins
- Shelly L. Rogers @KidsIllustrator
- Candace Ryan @CandaceRyan
- Tammi Sauer @SauerTammi
- Niki Schoenfeldt @NikiofWare
- Corey Rosen Schwartz @CoreyPBNinja
- Jon Scieszka @GuysRead
- Diana Scimone @DianaScimone
- Cynthia Leitich Smith @CynLeitichSmith
- Kim Sponaugle @PictureKitchen
- Laurel Snyder @LaurelSnyder
- Ruth Spiro @RuthSpiro
- Patricia Storms @stormsy
- Susan Marie Swanson @Susan_Marie
- Don Tate @Devas_T
- Nikki Tate @WriterGrrrl
- Jennifer Therms @JenThermes
- Holly Thompson @HatBooks
- Renee Ting @ReneeAtShens
- Joyce Wan @wanart
- Kathy Weller @wellerwishes
- Leah Wiedemer @RoamingArtist
- Karma Wilson @KarmaWilson
- Paula Yoo @PaulaYoo
- Laura Zarrin @CreativeGirl
- Paul O. Zelinsky @PaulOZelinsky
Every SCBWI first-page session I’ve attended has had one thing in common: picture book manuscripts about new babies in the family. At least two or three are submitted each time. Editors and agents respond by warning new writers: “The market is saturated with mom-is-having-a-baby books. If you’re going to write about a new sibling, the idea must be unique to stand out.”
I remember a harsh moment. After reading the first page of a new baby tale, an editor said, “This isn’t special enough to continue.”
Daunting, isn’t it? Makes you want to toss your baby—erm, your manuscript—out the window!
So when they say the idea has to be unique, what do they mean?
In a perfect world, they’d whip out Michael Sussman’s Otto Grows Down. Illustrated by Scott Magoon, it’s a tale of a boy who wishes his baby sister Anna was never born. “Be careful what you wish for” might be a cliché, but trust me, Otto Grows Down is an uncommon cautionary tale.
Otto makes his Anna-be-gone wish on his 6th birthday as he blows out the candles. Immediately, life begins to travel in reverse. Otto wraps up his gifts and hands them back to his friends. The second hand on his new watch ticks backward.
The next day at school, they start with mess-up time. Otto can’t get used to sliding UP the slide, and he’s so tired at the end of the day, he just wants to eat breakfast and get to bed. And going to the bathroom? Nasty business. (Nasty, hysterical business to my kids.)
Otto’s parents soon return Anna to the hospital and she disappears. Otto rejoices. But strangely, time doesn’t move forward again, it just keeps unraveling. Otto celebrates his fifth birthday, his fourth, his third…and he realizes that he may disappear, too! He’s slowly losing the words he needs to make his new wish come true: OTTO BIG!
Call it a dark comedy for kids. Scott Magoon’s film noir feel strikes the right balance between humor and horror. Dark shadows and warm colors mimic Otto’s flip-flopping emotions. (And hey, did you notice all the character names are palindromes? Another cool touch, huh?)
I won’t tell you where it ends—or where it begins—but let me just say: every editor who sent Mr. Sussman a rejection probably wishes they could make time go in reverse, too.
Otto Grows Down
Story by Michael Sussman
Illustrated by Scott Magoon
Sterling, February 2009
Want it? Get it!
P.S. Author Heather Ayris Burnell interviewed Michael Sussman on her blog–plus she’s giving away a copy of the book!
I love picture books with a touch of magic, so I was thrilled to speak with Patricia Storms, illustrator of the whimsical Edward and the Eureka Lucky Wish Company by Barbara Todd. Edward wishes he could fly, and by chance he gets three wishes–but he doesn’t use them wisely.
What a fun challenge to illustrate the Skyhopper 2000, a flying bike! Patricia, how did you land the contract to work on this book?
I’ve been very fortunate when it comes to getting book illustration jobs. Most of the time, publishers have approached me. If memory serves me correctly with the Eureka book, I had sent off a pamphlet of my recent work to various publishers in North America, and as luck would have it, Kids Can Press just happened to be looking for a humorous illustrator for this project. I believe they had been considering my work, since they were already familiar with my art (it’s a small world in Canadian publishing). My portfolio pamphlet just helped to seal the deal.
How did you get started illustrating children’s books?
Well, it was a very slow process for me. I always enjoyed drawing (especially cartoons) and took art all through high school, but for various reason (fear of failure being the big one) I initially took a different path, and studied to work in libraries instead (being a bibliophile and all, and settling for more ‘secure’ work).
But I continued to draw when I could, and slowly started selling art on the side, while working full-time in libraries. I ended up working for the Toronto Public Library cataloguing of all things–children’s books! That’s when I started dreaming about how it would be so much more enjoyable to illustrate the books, rather than catalogue them. Eventually in my mid-30s I went back to school and became a graphic designer, still selling the cartoon/humor work on the side.
About 6 years ago my freelance work really started to increase, mainly because I began putting my work online. My first few picture book illustration jobs were work-for-hire jobs, doing illustrations for the educational kid’s book market. In all those cases, I was approached by the publishers. I enjoyed doing the educational illustration but I really wanted to get into trade book illustration, because I knew I would have a much wider audience.
My first trade illustrated book was 13 Ghosts of Halloween, published by Scholastic Canada. Once again, they approached me. My upcoming illustrated picture book, The Pirate and the Penguin, which is completely my creation, will be my third trade picture book, and I hope I can do more in the future.
This job, more than anything else I have ever done, feels so right for me. Because for me, it’s not just a job. It is who I am. I view myself as a bit of a ‘late bloomer’ in this field. I still feel like a newbie in the kid’s book industry – there are many people my age (45) who have been doing it for 20 years or more. I have so much to learn. I hope I can continue to learn and grow in this industry, if the gods will allow it.
What is the biggest challenge when translating someone else’s words into pictures? How much input does the editor have? Do you ever speak directly with the author?
I guess finding that perfect balance in which the editor and author are happy, but also where I get to add my own personal flavor without completely taking over the story…yet at the same time, where I’m not just being a “hired hand” doing grunt work.
How much input the editor has in developing the art for the story really depends upon the publisher and editor with whom you are working. Some editors will give some basic guidelines and then just let you fly, while others are much more hands-on, giving lots of direction and feedback. It’s never been the exact same experience for me.
The only time I’ve spoken directly with the author is when I have been illustrating the story written by me. It’s actually kind of hard to get away from myself. 😉
Generally, editors prefer to keep the author and the illustrator apart until the project is done. I’m not entirely sure of the reasons for doing this, but I suspect it is because they fear a) the author and illustrator will conspire together to give the editor and publisher grief or b) the author and illustrator will hate each other with a passion and disagree on everything and kill each other thus giving the editor and publisher grief.
It’s a tough, time-consuming (and expensive!) job creating a picture book so the last thing anyone working on the project needs is any added emotional stress.
The way I understand the process is that once the story has been accepted, the editor will work with the author to fine-tune the words, and then when the story is pretty much polished, that’s when the artist comes in to illustrate said words. By this point, the editor and art director work together to communicate with the illustrator concepts for the vision of the story, and of course the illustrator provides feedback, too. The script may still get edited a bit at this point, because once the pictures come into the equation, one discovers that very often the images can take the place of any extraneous words.
Once rough sketches are satisfactory for the editor and art director, they are shown to the author, just to make sure that the author doesn’t totally hate the artist’s vision. I’m pretty sure that if the author really were upset with the art, that something would have to be done, but once again, it all depends upon the publisher working on the project.
I only met the authors of my first two trade picture books AFTER the books were complete. Thankfully, both authors were happy with the final product. I do find it a stressful, worrisome experience, wondering whether or not the author is happy with my art. But I am a bit of a neurotic worry-wart, so I tend to let these things eat away at me.
How and when did you make the decision to morph from illustrator to author-illustrator? Can you tell us about The Pirate and the Penguin, your first book as both author and artist?
Well, I’ve always enjoyed writing as well as drawing. As a kid I wrote and illustrated many comic strips, some of which were quite detailed, chock full of numerous characters. English and Art were my two favorite subjects all through school, and well, they still are! I think as soon as I realized that it was possible for me to get work in children’s book illustration, I knew in the back of my mind that I would eventually want to write my own stories. A lot of this stuff has been bouncing around in my head for a long time, and I really needed to let it out! That’s one of the reasons I started a blog a little over 4 years ago.
I became more determined about becoming an author/illustrator about two years ago. I began reading a lot online and in books about writing picture books, and of course, I read lots and lots of picture books that I brought home from the library. Around this time I joined an online critique group which was very helpful. Then about a year ago I took a “writing for children” course, which was also very helpful in teaching me about what worked in my writing, and what didn’t. During this time I would meet up with a wonderful writer friend of mine, Liam O’Donnell, from time to time. He writes pictures books and graphic novels and he’s just a really cool guy.
I was in one of my crabby moods, and I was kvetching to Liam about how tough it is to get published in the kid’s book biz. I made a flippant comment to him, something to the effect of, “If someone really wanted to cash in on two popular icons in kid’s books, they would write a story about a pirate and a penguin!”
Liam, being much smarter than me, actually thought it was a cool idea for a story, and urged me to write this crazy idea. I didn’t follow up on his suggestion right away, but every now and then he’d ask me “how’s that Pirate and Penguin story going?” So I figured I’d better do something.
When I finally thought of the story idea, I thought it was just too silly, but I mentioned it to Liam, and he loved it, and encouraged me to pursue it. So I did. And that’s how my upcoming picture book The Pirate and the Penguin came to be.
Of course it’s a fun story, because pretty much everything I write and draw is somehow touched by my wacky sense of humor. It’s a silly version of the classic The Prince and the Pauper, except that it involved a Penguin who hates the South Pole and a Pirate who can’t stand life on a pirate ship in the Caribbean. When they meet, lots of interesting stuff happens! And that’s all I’m going to say about the story for now, other than to say that I owe so much to Liam O’Donnell, and I’m eternally grateful to him for his guidance and encouragement.
There are many factors that come to play in getting published–knowledge, talent, perseverance, luck and patience. But it sure doesn’t hurt to have friends who are right there behind you, pushing you, rooting for you, and guiding you towards your dream.
That’s terrific advice! Thanks, Stormsy! (You don’t mind if I call you Stormsy, do you? No? Thanks.)
Patricia is generously giving away an autographed copy of Edward and the Eureka Lucky Wish Company!
Please leave a comment to be entered into the drawing.
Blog or Tweet about the interview and get another two entries–just let me know here or on Twitter. Winner will be picked by Random.org one week from today! Good luck!
Last week I interviewed author-illustrator Steve Ouch about his indie picture book, SteamPotVille. I had discovered Steve on Twitter in January with 5,000 followers, 19 five-star reviews on Amazon, and a passion for promoting his book.
Today he may have made Twistory by selling 200 copies of SteamPotVille, enough to reach #208 in Amazon’s ranking system, just behind one of Rick Steves’ travel books. What inspired the push? Steve’s banker had promised him a book tour loan if he could sell 200 copies today. So that’s just what he did.
Steve remained on Twitter for 15 hours and made hundreds of posts pushing his book. With over 10,000 followers now, he only needed 2% of them to buy. And they did. He Tweeted when someone made a purchase and promoted that person. He excerpted lines from the book. Suggested adults would love it as much as kids. Offered it as a St. Patrick’s Day gift idea. There wasn’t a sales angle he missed.
If you want to learn something about marketing and self-promotion, follow Steve Ouch on Twitter.
Tammi Sauer is the author of Cowboy Camp, a knee-slappin’, whip-snappin’, giddyup of a picture book.
I predict you’re going to be hearing a lot about Tammi soon. With several gotta-read-’em titles on the way–including Chicken Dance, Mostly Monsterly and Princess-in-Training–we can all say we knew her when!
Tammi is moseyin’ over to my blog today to talk about her trail ride from writer to published author.
Tammi, how did Cowboy Camp gallop from your desk to the bookshelves?
Cowboy Camp didn’t start at my desk, it started on my front porch.
One evening, there was an unexpected knock at the door. I opened it and was greeted by a young boy. 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.
I wrote the manuscript, revised it, and sent it out in under a week—my fastest ever. Early on, Cowboy Camp made its way to three acquisitions meetings. Oh, the joy. But each time the manuscript was returned to me with regret. Oh, the agony. Many personal rejections rolled in as well. Then I discovered a house that was just starting up a picture book line. I thought, “Maybe this is it!”
I sent Cowboy Camp to Sterling Publishing. Within two weeks, I learned the manuscript was going to acquisitions. Shortly thereafter, the editor emailed and told me the acquisitions team loved the manuscript, but the house wanted to find the perfect illustrator before offering me a contract. Yes, more joy. More agony.
Months went by. I decided to send Cowboy Camp to SmartWriter’s first W.I.N.! (Write It Now!) Competition. Cowboy Camp ended up placing second in the picture book division out of more than 400 entries. I shared the news with my editor contact at Sterling. Within weeks, I had an offer. Yee-haw!
You said Cowboy Camp was your “fastest ever.” How many picture book manuscripts did you write before Cowboy Camp? Are any of those slated for publication?
I’m not sure how many picture book manuscripts came before Cowboy Camp. Maybe four or five? I do know that they were collectively awful. I consider them my “practice manuscripts.” And ha! No, none of those early works are slated for publication.
So how long had you been writing for children when you got the contract for Cowboy Camp?
In 2000, I started toying with the idea of writing children’s books (this meant I would write for a couple of hours one day and not write another word for the next, oh, ten months or so). I didn’t get serious about writing children’s books until the spring of 2003 when an illustrator paid a visit to my daughter’s preschool. Seeing a real live person who was involved in the creation of children’s books was the push I needed to make writing a priority in my life. I received Cowboy Camp’s offer the following year.
You have five books slated for release. Do you have an agent now, or are you continuing to submit on your own?
I have an agent. In August of 2005, after much agent research, I sent Laura Rennert at Andrea Brown Literary Agency a query for a humorous, contemporary teen novel. It wasn’t long before she asked for the manuscript. The next thing I knew, she wanted to call me. Eek! Fortunately, a miracle occurred and the phone call went well…so well in fact that I KNEW I found the right match for me and my work.
Around the time that I signed, my PB writing started to take off. And that teen novel of mine? It was getting revision request after revision request after revision request to infinity. I made the decision to put the novel on hold and focus on what I loved and did best–PBs. Laura fully supported me on my decision.
You obviously have the talent to succeed in novels. How did you come to the realization that you were a PB-writer at heart? Do you think you’ll ever go back to that YA novel?
PBs just felt more right.
I don’t think I will ever go back to that novel. There was a lot that I loved in that manuscript (the characters, the humor, the voice). But one day it occurred to me that if I was going to have a novel Out There, I’d want it to be someone’s favorite. I would want others to feel about my book the same way I had felt when I read A Crooked Kind of Perfect by Linda Urban. My manuscript was nice, but it didn’t have that kind of wow factor.
What do you love most about writing picture books? Is there a particularly satisfying challenge? Are you thrilled to see your words come to life through each illustrator’s interpretation?
I can’t think of the one thing I love most. Coming up with a good idea is awesome. So is finding the perfect word, creating just the right story arc, and discovering new ways to build heart and humor into a manuscript.
As for satisfying challenges? I would have to say getting the “Yeah, baby!” from my critique partner Cynthea Liu is one of the hardest things to come by and therefore one of the most satisfying of challenges. The “Yeah, baby!” is what we give one another when a manuscript is decidedly brilliant and ready to be sent agent-ward. Believe me, getting the coveted “Yeah, baby!” is worthy of fanfare.
It has been a real thrill to see my words come to life through each illustrator’s interpretation. In Chicken Dance, Dan Santat created an Elvis Poultry that absolutely floored me. I recently received Scott Magoon’s sketches for Mostly Monsterly and I was equally amazed. Scott’s take on the main character and her story was better than I had ever imagined. I feel honored to be working with such talented people.
One way for children’s authors to promote their books is with school visits. You just got back from a school visit in Texas. Can you tell us about that? What is a typical Tammi Sauer visit like for the students?
I absolutely love doing school visits–especially when schools work hard to make the day an event. On my web site, I list some tips for a successful school visit and Holliday Elementary certainly made the most of it. The kids–as well as some of the faculty and staff–gussied up in their best cowboy and cowgirl gear. Cowboy grub was served. Stick horse races took place in the gym. Bandana-wrapped trail mix was passed out. A guess-the-number-of-beans contest was held in the library media center… It was truly a cowboy-themed day.
I always strive to make my school visits fun, engaging, and informative. I offer a lot of opportunities for audience participation, perform a couple of magic tricks and/or an impromptu theater experience, and do what I can to really connect with the kids. Creating a memorable and meaningful experience for students is my top goal.
Yee-haw, honey! That sounds like a rootin’-tootin’ good time!
Once your picture book is accepted, the publisher has to find an illustrator. How much input do you give your editor regarding illustrator choice?
Some houses ask for illustrator input. Some don’t. I was thrilled when my editor at Simon & Schuster asked me for an Illustrator Wish List. So fun! One of the names at the very top of my list was Scott Magoon. I was astounded when Scott signed on for Mostly Monsterly. Total writerly dream come true!
I am happy to say I have formed good email relationships with Dan Santat and Scott Magoon. They are both so funny and brilliant and beyond what I had ever hoped for as partners for my books.
How do you stand the wait until your book is released? Most picture books take 1-2 years to hit the shelves!
I WISH it only took 1-2 years! Chicken Dance will hit the shelves three years after I received the offer. Mostly Monsterly debuts two and a half years post-offer. The waiting is pretty horrible–especially since I am not a patient person. At all.
But, wow, when little bits of news trickle in—like finding out who will illustrate an upcoming book or receiving preliminary sketches or seeing the final art for the first time–it makes for some really nice moments along the way.
Tammi, thanks for sharing your story. Before you ride off into the sunset, what’s your best piece of advice for aspiring picture book authors?
My best piece of advice for new writers who dream of becoming published picture book authors is to read–and study!–as many picture books as possible. Knowing picture books inside and out–their feel, their rhythm, their language–is the very first step in creating quality picture books of their own.
OK, cowpokes! You heard Tammi! Now get on back on yer saddle! Read and write!
And don’t forget to visit Tammi’s blog! You can order Cowboy Camp or pre-order Chicken Dance via Amazon.
Writing for Kids (While Raising Them) 