You are currently browsing the tag archive for the ‘Q&A’ tag.
Graphic by Edna Cabcabin Moran
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Yes, we’ve gotten to a fourth installment! Or maybe I can call this THE FOURTH STALL?
(P.S. I loved this book. It includes one of my favorite things to write—a secret place that adults don’t know about.)
So, there have been three previous Q&A’s…check them out here: Part I, Part II, Part III.
Without further ado…Part IV!
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berylreichenberg asks:
If you already have several picture books published, what are the best blogs and other sites to use to get the word out and market your books?
So many kidlit authors tend to stick with promoting on writer blogs, which is certainly good, but we can be preaching to the same audience over and over again. I, myself, worry that people are gonna get sick of me.
Instead, look to librarian blogs, parenting blogs, teacher blogs, homeschool blogs, bookseller blogs and other “gatekeeper” sites that target those who buy children’s books.
Technorati.com is a good place to search for top blogs in various categories, like books, education and parenting.
Some blogs have review policies, so read them and reach out. I receive many unsolicited requests every month. I can’t accept them all, but I do what I can. Bloggers are always in search of good content, so you’ve got nothing to lose by asking for coverage. Make sure you appeal to that blog’s readership with your pitch. (I receive pitches that don’t come close to interesting my audience, which tells me the sender is doing a mass mailing rather than targeting me specifically.)
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Pat Miller asks:
When you have a drawer full of PiBoIdMo drafts that just don’t seem to get off the ground, how do you maintain your motivation to dig back in and make one of them sing?
Another tough question!
I have barrels full of uncompleted manuscripts. Honestly, I tend to think that if I’m not “feeling” them, they’re not worth my time, at least not at the moment. I might feel them later, so that’s why nothing ever gets tossed.
Jerry Spinelli’s EGGS was in a drawer for 20 years when his wife Eileen made him pull it out. He reread the manuscript and felt re-energized. Neil Gaiman got the idea for THE GRAVEYARD BOOK 20 years before he actually wrote it. He wanted to wait to become a better writer because he knew the idea would be challenging to execute.
Other writers will argue that you cannot wait for the muse, you just have to keep pounding on the manuscript. I tend not to do that because I have enough ideas that do sing to me, in key and on beat.
And hence we get to the reason why I do PiBoIdMo—the more ideas in your file, the more potential manuscripts you’ll have. You can ditch one idea and move onto another. In my experience, the best manuscripts have begun when I have stopped working on a manuscript that’s been giving me headaches. It’s like my brain has suddenly been freed from its chains. My upcoming title, I THOUGHT THIS WAS A BEAR BOOK, came about after I ditched a struggling manuscript. The words for BEAR just flew out, whereas I was laboring hard on the previous story and it just wasn’t working.
Sometimes changing the voice or POV in a manuscript is enough to get it revived.
A critique partner pow-wow can also provide a boost. Just sit around with some best buddies (and coffee and coffee cake) to discuss the challenges and concerns you have. Ask for suggestions and solutions. If you can’t do it in person, Google hangouts are fun, especially since you can stay in your jammies. I truly believe critique partners are not just for completed manuscripts, but those in progress, too.
When all else fails, go for a walk or take a shower. Research shows that “thinking on our feet” leads to creativity. And mundane, repetitive tasks give our minds freedom to wander.
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Amymariesmith asks:
I’m going to my first SCBWI regional conference in June. Any tips on what to bring?
Have fun, Amy! You should bring:
- A list of your PB ideas. I think it’s great to get a professional’s opinion about whether your story ideas are marketable or if they’re too common and need work. You might have an opportunity to sit down with someone to discuss them.
- Your manuscripts. You never know when a critique opportunity will arise.
- A list of industry questions. I know I tend to forget everything once I arrive at a conference. If there’s something you want to know, write it down and keep it handy. There’s often panel discussions where you can pose your questions.
- A notebook and pen to take good notes. (Then when you go home, type up your notes. This will help them soak into your brain.)
- A camera. Take pics and share them.
- Your business cards. Even if you’re unpublished, you’re still officially a “writer”. You want to connect with professionals and potential critique partners. If you’re having meals there, hand them out to those sitting at your table. Everyone else will remember to hand them out, too!
Side note: sometimes at conferences I’ve seen unpublished writers carrying plush likenesses of characters they’ve created. This seems like a smart idea, to attract attention and questions about your work, but some professionals just think this is strange. Great writing is guaranteed to attract positive attention, not gimmicks.
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Mrs. Ricefield asks:
I would also love to hear more on how to make the best out of conferences you attend. Thank you for the question.
See my suggestions above on what to bring. Also, make friends. See someone standing alone? They’re an introverted writer, but writers love to talk about writing, so go say hello. This is your opportunity to network and gain a support system. Have fun and be yourself.
Don’t go with too many expectations—it’s rare to get a book deal or an agent at a conference. (But be sure to follow-up if someone expresses interest. Things happen AFTER the event.)
Volunteering at a conference is also a great way to get one-on-one time with professionals and to be remembered. Why not volunteer to pick up agents and editors at the train station or airport? You’ll have time to chat and get to know them.
Ask editors about life outside the office. You’ll connect on a more personal level and you’ll be one of the few people who aren’t trying to squeeze a book deal out of them. Editors are people, too. They get tired of being pitched, poked and prodded.
Great friends at the NJ-SCBWI Annual Conference. Authors Ame Dyckman, Sudipta Bardhan-Quallen and Kami Kinard.
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Angela Turner asks:
I am writing a nonfiction book in narrative form but I want to put notes on the same page that tell a little more with more specific language. What is the proper way to show this in your manuscript?
While I haven’t written this kind of book before, I suggest using a format similar to how we place art notes in a picture book manuscript. Use brackets to denote the sidebars. Like this: [Sidebar text:].
Maybe someone more experienced with these manuscripts can comment below.
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Joy Moore asks:
How would you describe your writing style?
A quirky, punny word-a-palooza.
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Brenda Harris asks:
If an author-illustrator is self-publishing, who are the most important people (editors, art directors, etc) I should ask advice(hire?) from about my dummy book. And- where can I search and find these legit helpers?
There are independent editors with decades of publishing experience whom you could try. Just a few:
Read through each consultant’s site to determine the best fit for your writing style.
Also, be aware of current publishing scams and hustles. There are those who prey on writers with dreams of publication. Check out Preditors & Editors.
Before you begin, you should know the distinction between true self-publishing and publishing via a vanity press. Read this blog post.
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Thiskidreviewsbooks asks:
I’d really like to know what your best time to write is (and the importance of having a set time to write).
Erik, I don’t have a set time to write. I have found that routine tends to stifle my creativity. I know some writers insist upon writing the same time every day, in the same place, with the same materials, claiming that routine means they write whether or not they’re in the mood. And I suppose that does work nicely for a lot of writers. It doesn’t work nicely for me.
I’ve never been a routine person. Something about my personality always eschews routine. I cannot remember to take a daily vitamin. I don’t wake up the same time every day nor go to sleep at a set hour. I have a tough time eating leftovers.
I like changing things up. Sometimes I write in the morning, sometimes late at night. Different times of day can lend varying moods to my writing. Same as with different places—sometimes I write in bed, sometimes in the kitchen. Occasionally I work on my back deck, at the park or at the library.
And I don’t write every day. That may have to change when I start writing novels and I’ll need to get more words down, but for now, I take writing breaks. Two days on, one day off. Three days on, three days off. One day on, four days off. (GASP!) Again, I change it up a lot. And sometimes these breaks are dictated by family or other obligations.
With this non-routine routine, I’ve had no shortage of creativity, no writer’s block. I’ve got four manuscripts under submission right now and four under construction.
The bottom line is that there’s no “right” thing that works for everyone. It’s totally up to you to find your creative groove. Don’t take anyone else’s advice unless it resonates with you.
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Charlotte asks:
Why does it seem that there are so many women writing for children, attending SCBWI conferences, posting here, etc., and yet by comparison there seem to be so many successful children’s books by men? Ya know what I mean? Certainly there are tons of successful children’s books by women, but the rations have me baffled. At the last SCBWI conference I attended, women outnumbered men 98-2. Even if there are more children’s books by women authors, the ratio is not 98-2, not even close. So what’s going on? Do men feel more free to write wackier stories? Do women censor their own out-of-the-box impulses? Do editors and agents subconsciously give men more leeway to push the boundaries/break the rules? Do women tend to write more lesson-y stories? Are there just as many men writing and they just don’t show up at conferences? Whaddaya think?
Charlotte, you may want to check out the VIDA Count. VIDA has found a distinct imbalance between the amount of literature by women that’s published and awarded versus that of men. See these articles:
From VIDA’s FAQ:
But don’t women read more? Don’t they buy more books? Don’t they edit these journals [and books] and read slush? And therefore—isn’t this largely the fault of women, as well?
First: sexism pervades our culture, and so it is often unconsciously absorbed/internalized by everyone, including women. Feminism is an act, not a bumper sticker. It requires the constant re-evaluation of one’s assumptions, habits, and biases. By being a part of the system, women are often a part of the problem.
Further, as Sarah Seltzer points out,
“In my experience, the reality may even be worse than the numbers. Women who are allowed to be prominent — and this is not to erase those who do it on their own merit, because their numbers are growing — often don’t challenge the worldview of those who hire them. In fact, given all the anti-feminists like Caitlin Flanagan, Katie Roiphe and Christina Hoff Summers taking prime media real estate, it would seem that for women, reinforcing sexism is a good formula for vaulting ahead.”
~ Sarah Seltzer, Jewish Daily Forward, March 2012, “Byline Bias – and What We Can Do About It.”
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Stacy Couch asks:
I was wondering about the different stages of birthing a PB. PiBoIdMo does a great job re: brainstorming. Maybe posts about craft would help bring those ideas to life.
- Character-driven picture books: What they are, what makes a character sing.
- Plot: How to plot a PB.
- Plot: Why stakes matter.
- Rule of Three
- Plot and the Rule of Three.
- Different Genres within the PB World (Quiet, Noisy, Character-Driven, Interactive, Etc.)
- External vs. Internal Conflict
- Allowing Room for the Illustrator
Then perhaps a series about critique groups (how to find them, how to set up one), conferences (purpost, intensives, tips) and another querying agents, editors (the importance of etiquette, researching them beforehand).
I’d love to see more craft-related posts, though, since any agent or editor would focus on the work itself.
Great suggestions, Stacy! I’ve covered some of these topics already. Check out:
- The Rule of Threes in Picture Books
- The Rule of Threes for Picture Book Writers (with video evidence)
- Every Day I’m Structurin’ (by Tammi Sauer)
I’ll cover all your suggestions in craft posts soon. Thanks for the input!
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In closing, thanks to everyone who submitted a question. This was a fun series and I hope to make it a recurring blog feature!
Graphic by Edna Cabcabin Moran
In case you missed it:
Grab your PiBoIdMo mugga joe and let’s get to it, shall we?
mvanhierden asks:
When submitting query letters for picture books, is it standard practice to include a manuscript?
Always follow an individual’s submission guidelines. Some agents/editors don’t ask for a query first because a picture book is a short read. They’ll ask for a cover letter and the manuscript instead. And even though some want the full manuscript, they’ll still ask for a query letter with it. Why? They want to hear how you SELL the story.
Not sure what goes into a query letter? See yesterday’s post.
But everyone is different; pay attention to their guidelines. Guidelines are in place to help an agent/editor work most efficiently, according to their preferences. Therefore, not following guidelines is subject to an immediate, automatic rejection. They just can’t afford the time to read submissions that don’t follow directions.
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Anne Bromley asks:
I heard recently that one needs at least 3 polished, ready-to-submit picture book stories in order for an agent to take serious interest. Has this been your experience as well?
Yes, this is what I recommend—have at least 3 to 5 picture book manuscripts polished and ready for submission.
An agent will rarely take a writer based upon one picture book manuscript alone. Yes, it happens, but your odds are so much better if you have several ready. Why? If the agent likes your work, they will almost always ask for MORE WORK. An agent wants to ensure that they are a good fit for you, so they want to connect with a body of work, not just one piece. If they like your submission and want to see more but you don’t have anything else, you’ve wasted an opportunity.
More books ready means more books to sell, which is preferable for the agent. If they can’t sell one manuscript, they have another to sub immediately.
But what about an editor? The same holds true. They could like your manuscript but not have the ability to publish it for whatever reason. They may ask for something else. You want to have that something else ready!
And honestly, you become a better writer with each manuscript you complete. So although you might have one ready to submit, wait until you have more because the next manuscript might be the better sell.
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Patricia Tilton asks:
When do you set aside a MS after many rejections, even though it’s polished, been through editors and you’ve done the revisions and more revisions? Or do you just keep submitting?
Tough question, Patricia! I feel like this is dictated by a gut feeling more than anything else.
I have an agent, so my rejections always include a reason. If I receive compliments and suggestions, then the manuscript is on the right track and we keep submitting. If I receive a lot of similar suggestions for improvement, I take it back and revise.
For those without an agent, if you receive only form rejections without any personal rejections, it’s a signal that perhaps the manuscript needs more work.
It’s not uncommon to hear of manuscripts rejected 20 or more times, so sometimes it’s about just connecting with the right editor at the right time.
If you’ve submitted widely without a bite, I’d recommend putting the manuscript aside and coming back in a few months to see if you can make improvements. Then try another round. Again, some rejections are about timing rather than quality, so a new round of submissions can yield new results.
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Carrie Brown asks:
We know, as writers, to revise until our very best work is present. Then, we know to send it out to our critique groups and revise some more. Repeat. Repeat again. Etc. Once our work is “the best it can be,” do you think there is a secret numbers formula as to how many subs a manuscript should go through before being shelved? What if, for example, a manuscript goes through a period of requests mixed with personal feedback from agents, and then said changes are made and it goes back out to be met with chirping crickets? Then what? Just like everything in the writing world, I know these questions will be met with subjectivity, as well. But this inquiring mind values your opinion!
Yes, as you’ll see by my answer above, it really is subjective, a gut feeling. I’ve known writers who have submitted 27 times with rejections and the 28th time was the charm. I’ve known writers who have revised a manuscript on and off for nearly 10 years before it was bought.
I suppose my suggestion is to keep plugging away as long as you feel passion and confidence in your work. Again, sometimes it’s about timing more than anything else.
Let’s go to the scenario you proposed—if you’ve made changes that were requested but have only heard crickets in response, I would probably go back to the previous version. When you revise based upon suggestions from one individual, it’s purely being done to meet their specific taste. And if they don’t like it after the changes have been made, it probably wasn’t the right move.
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Jo Dearden asks:
In your query letter, when it comes to describing your Picture Book, should you include a short paragraph in the style of a jacket blurb, or should it be a straighter description (like a mini, paragraph-long synopsis)? This is assuming you’re sending the whole text to the agent/publisher.
Yes! It’s an excellent idea to write your synopsis in the style of jacket flap material. This kind of paragraph whets the appetite and makes the reader want to dive in. Pick up a bunch of picture books at your library and study the book jackets. Try to emulate them.
Guess what? There’s one final installment coming tomorrow!
And remember, follow-up questions are welcomed.
Graphic by Edna Cabcabin Moran
Jennifer Kirkeby asks:
What do you do to keep yourself motivated? Especially after rejections?
You know how “location, location, location” is real estate’s most important criteria? Well, “new work, new work, new work” is how I keep myself motivated. A new story is always so exciting, isn’t it?
I’ve seen writers try to sell the same manuscript year after year. On one hand, it’s good to be persistent, but on the other hand, you should know when it’s time to move on. Once you’ve finished a manuscript and started submitting, work on something new. Always have your list of ideas ready. Review them. Grab onto whatever resonates and start writing. An editor might not like what you’ve just submitted, but they might like your NEXT project. The more projects you have, the better your odds of becoming published.
Don’t let rejections get you down. Everyone gets them. It’s the nature of our business. I’ve gotten so many now that they’ve lost their sting. I read the rejection, absorb the comments, decide if I agree or disagree, and move on.
Not every manuscript is for every editor—and a rejection doesn’t mean your story’s terrible and it will never find a home. Editors can reject a manuscript because it competes too closely with one of their existing or upcoming books, or because it doesn’t fit with their imprint’s personality and goals. An editor with a bug phobia may stay away from beetle books. An editor might even love your story, but their team isn’t as enthused.
Remember a rejection is not a personal attack. They are rejecting the work you submitted, NOT YOU. YOU are marvelous. YOU are creative. YOU just need to write another story.
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Yangmommy asks:
Hi! I thoroughly enjoyed your presentation at the MD/DE SCBWI in Maryland last month. It was the highlight of my day (and I still find myself saying, “whhyyy?”)! But I left wondering more about how and when to insert the art notes. In the margins? Within the text (but doesn’t that break up the flow?)? Do you have an example you can showcase on your blog?
An art note can be written in the body of your text, right after the words the art will accompany. I typically put the art note in brackets and italicize the text, like this: [Art: bear tickles alien.]
I’ve also written manuscripts with so many necessary art notes that my agent has submitted them in graph format. This is because the art notes broke up the flow of the story too much, making it difficult to read. The graph format allows an editor to scan through the story easily while still being able to comprehend the illustrations. I explained this in a post here.
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Tim asks:
I attended a picture book writing conference recently, and the presenter asked for a show of hands of all those who at least occasionally wrote manuscript in rhyme. Nearly every hand in the room went up. And many new rhyming picture books are published each year. Yet aspiring PB writers are told frequently that rhyme is a very tough sell. So I’d love to see a post or two on how to sell rhyming PBs. Not tips on how to write in rhyme–there are lots of resources for that–but on how to SELL it, including the no-nos either in queries or in manuscripts that will stop an editor or agent cold.
Tim, there are no tricks to selling a rhyming manuscript other than making that rhyming manuscript GREAT. (There’s nothing you can say or do to sell a sub-par manuscript.)
Editors see a lot of bad rhyme, which is why they often tell new writers to avoid it. Rhyming manuscripts that don’t sell:
- use common and predictable rhymes,
- feature wonky meter,
- veer off in an unbelievable direction to meet the rhyme scheme,
- use awkward sentence structure to make a rhyme work,
- feature too many near-rhymes, or
- explore an overdone theme.
What’s a GREAT rhyming story? A manuscript whose rhyme scheme is original and whose meter is consistent. A manuscript that features an appealing, marketable hook.
For a picture book, some agents and editors zip right past the cover letter to get to the meat of the manuscript, so I don’t think anything is going stop them cold, unless you’re wildly unprofessional and stuff your envelope full of glitter.
Your query/cover should:
- address the agent/editor by name,
- explain why you are submitting/targeting that editor/agent/imprint,
- compare/contrast your book to existing titles,
- include a brief synopsis,
- offer a short bio (only with information relevant to writing for children), and
- have a polite closing.
It should be one page only.
The manuscript should be double-spaced in a 12 pt serif font, like Times New Roman.
Again, don’t use gimmicks. Good writing and a professional presentation are all you need to attract an agent/editor’s attention.
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Ginger asks:
What does a picture book look like in written form and do you add picture ideas?
I mentioned the standard format above. Here’s a pic of what the first page of a PB manuscript might look like:
The second and each subsequent page header will include “Name/TITLE” on the left and numerical page number on the right.
Regarding art notes, that really requires its own post! See these previous posts:
The bottom line is that you only include art notes if it’s not clear what’s happening from the text alone. For instance, if your text says “Felix was happy” but he’s really upset, you need an art note so the illustrator doesn’t make him smile.
Write something like: “Felix was happy. [Art: Felix isn’t happy.]” You should not write “Felix was happy. [Art: Felix is stomping his feet, wearing red, waving his arms and sticking his tongue out.]” That’s far too specific and doesn’t leave the illustrator room to interpret Felix and his feelings.
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You asked for it, you got it, Toyota.
Sorry, no car giveaway here. Not sure you’d want a ’77 yellow hatchback anyway.
What you’ve got are your burning kidlit questions with my answers. Please remember that these are my opinions and not necessarily gospel. (I can’t sing, anyway. Except, apparently, for 70’s car commercial jingles.)
If you have follow-up questions, please leave them in the comments!
Graphic by Edna Cabcabin Moran
Writenit asks:
Is there a better place than Amazon to search to see if the fabulous (at least in my head LOL) idea you came up with has already been done a million times?
Besides Amazon, try searching WorldCat.org, the world’s largest database of library holdings. A simple Google search is also a good idea. Try the various types of Google searches, including images and news.
But just remember, even if your title is taken or your idea has been published, there might be room for your manuscript, too. General ideas can be similar, but the execution can result in wildly differing stories. Of course, if there’s an extremely popular book with your idea, odds are that a publisher won’t take a chance on a directly competing book. In other words, if your dragons love tacos or your crayons are going on strike, you probably want to look elsewhere for ideas.
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Patricianesbitt asks:
Do you have any inside tips as to what themes or topics publishers are looking for?
This information is always changing. Right now, I hear that character-driven picture books are all the rage.
“Looking for” details can often be found at SCBWI conferences and on blogs when a particular agent or editor has been interviewed. You might want to search for conference bios, where professionals often divulge their wish lists.
You’ll also want to visit the bookstore at least once or twice a month. See what’s being displayed face-out (publishers have paid for this promotional opportunity). Are there are a lot of books on one particular subject, like trucks? Well then, the truck ship has probably sailed. (Whoa, that was a mixed metaphor, huh?) Once you see an abundance of one kind of book in the stores, the end of that craze is probably upon us. Remember pirate books during the Johnny Depp “Pirates of the Caribbean” movies? I went to a conference around that time and the editors practically screamed, “No more pirate books!” Sometimes they know more about what they DON’T want than what they DO.
Bottom line: everyone wants a good story. You don’t have to write to the marketplace’s demands. In fact, I suggest that you don’t. Whatever idea stirs up the most passion in you is the manuscript you should be writing. Your enthusiasm will be evident on the page—and that is always appealing.
And always remember Karma Wilson’s example. McElderry’s sub guidelines said “no rhyme and no talking animals” when she sent them BEAR SNORES ON, which turned out to be a huge hit, launching her successful career. It was a great manuscript, so the DON’T guidelines became moot.
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Maria Matthews asks:
Is it better to aim at writing a current popular topic or to write a quirky unusual book?
As I noted above, “currently popular” isn’t your best bet, simply because the books released today got purchased as manuscripts two to four years ago, on average. So you can’t necessarily catch up to what’s hot. And what’s hot is always changing. You never know what the next “big thing” will be.
That’s why I suggest writing from your heart. If quirky and unusual is what you enjoy, then by all means, write quirky and unusual!
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Josh Funk asks:
How do you get awesome illustrators to do “head shots” for you? (like AJ Smith did in your previous post)
When I first began my blog seven years ago, I paid illustrators to do graphics for my site, like this watermelon-themed banner by the talented Val Webb.
Now that my blog has become well-read, I often ask on Facebook or Twitter for a particular graphic and someone volunteers their services, in exchange for a mention and link. I’m usually blown away by the response, and so grateful!
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Jdewdropsofink asks:
So after reading your previous post, I want to know the super secret story techniques you learned from Sudipta?
I’ve learned a ton from Sudipta. If ever you get a chance to hear her speak or teach a class, grab the opportunity. I’m going to send you to her very pink site instead of spilling her secrets here…
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Nicole Snitselaar asks:
I would like to know, how much details you must write down when you are planning a PB without words…?
Only as much detail as you need to get the idea across. Be as succinct in your word choices as you are while writing a regular picture book. Paint the overall picture but don’t go into minutiae. You still must leave some things for the illustrator to fill in.
Author Linda Ashman has posted her manuscript for NO DOGS ALLOWED, which is nearly wordless. Check it out here. It’s an excellent example.
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Tune in for Part II tomorrow, kidlit fans!
Writing for Kids (While Raising Them) 