Write Every Day?

You probably know the adage: “Write every day.”  Because I love to write, that's not hard to do. But not long ago, my writing routine was abruptly interrupted.  I came down with some weird mysterious flu.  The chills, a migraine, and nausea kept me from writing (and cooking for my family, going to the hair salon, taking care of the cat, and doing household chores).  I was miserable and bed-ridden.  All I could think about was staying warm and not throwing up.  After several doses of Imitrex and Tylenol, plus anti-nausea medicine, I was back on my feet in five hours—until another headache and a wave of nausea hit again.  So…back to bed. 

Through it all, my cat stayed by my side.  I had heard that dogs know when their owners are sick and will stay close by.  I never knew cats would.  And yet, Ollie did.  Okay, I was using one of his favorite nap-time comforters, but I like to think he really wanted to be close to comfort me.  And he did, snuggling and purring.  Later that evening, I was up and at ‘em.  I couldn’t eat much, and I didn’t want to think about anything, even writing. 

Two days later, I was ready to tackle some editing.  It was a great feeling, sitting in front of the computer with my work before me. After being sick, my mind was clear. I had more drive and energy.    

Don’t get me wrong, I don’t recommend that anyone get sick to find a new zeal for writing.  But I noticed that in getting away from the computer keyboard was beneficial.  I’ll have to think hard about the “writing every day” approach.  Maybe taking a break from time to time is a good thing.  For me, putting writing on hold for a few days gave me a new appreciation for what I love to do.   

Don't forget to check out the August issue of Kid's Imagination Train, now a flipbook, at: www.kidsimaginationtrain.com 

Re-submitting

We all want second and even third chances of trying to succeed.  But when it comes to revising a manuscript, a writer may only have one more chance to get it right. 

I believe everyone deserves to know why a story or an article is not ready for publication. Generally, if I see a manuscript for Kid's Imagination Train that has promise and needs a little editing, I’ll point out the areas which need attention.  For example, I might suggest getting closer to the expected word count, or finding another research source, or presenting the conflict earlier.  These are things a writer can easily fix.  I’ll send an email offering to read the revision.  Most writers are eager to comply to perfect their work.

But sometimes, the issue is the mood of the story.  Kid's Imagination Train does not accept violent or scary stories.  If we receive stories such as these, we still offer a chance to revise.  In some cases, writers will re-work the story and the revision will be accepted. 

Other times, writers refuse to make significant changes.  They re-submit the same story, but with fewer words. When this happens, their work will not be accepted.  I will tell them why:  KIT publishes whimsical, upbeat stories.  Yet a few writers can't accept the fact that their story has been rejected.  They want another chance.  They even feel entitled to send multiple unsolicited revisions. 

Sending a revision without an editor's invitation is discourteous and unprofessional. Many writers may never know the reason why a piece is rejected. Even fewer get an opportunity for a revision.  So receiving an editor’s opinion and getting a chance to edit is rare.  If however, an editor indicates that she must pass on the submission after seeing a revision, then writers have two choices.  They can either send the editor a new story that better fits her needs or they can find another market that accepts pieces similar to the story they have written.   

Tips for Writing and Publishing Nonfiction for Children

I love reading nonfiction submissions for Kid's Imagination Train.  Recently, I received an article that needed a little editing before it could be accepted for publication.  This piece inspired me to make a list of some common submission problems and ways to fix them.

1.  Problem:  A weak beginning.
     Fix:  Start with a fascinating hook.  It can be an unusual fact, an amazing statistic,
     an entertaining anecdote, or an interesting quote.

2.  Problem:  Starting every paragraph with the same word.
     Fix:  Use prepositional clauses to begin some sentences.

3.  Problem:  Misspelled words.
     Fix:  Use spell check, but watch out for homonyms.

4.  Problem:  Failure to group similar ideas together.
     Fix:  Outline and organize your article before you begin to write.

5.  Problem:  Misuse of contractions:
     Fix:  The word "it's" is the contraction for "it is."  The word "its" is a possessive.

6.  Problem:  Improper formatted bibliography; unreliable sources.
     Fix:  Alphabetize the bibliography. Refer to examples in The Chicago Manual of Style.        Aim for primary sources.

7.  Problem:  Writing like an encyclopedia article.
     Fix:  Keep the writing light and lively.  When using a simile, make the comparison
     relevant to the age group for which you are writing.

8.  Problem: Failure to edit.
     Fix:  Read your work multiple times.  Have a trusted friend also read your work before        you submit. Don't expect an expert to catch all of your mistakes.

9.  Problem: Submitting without a cover letter.  Forgetting to include contact information.
     Fix:  Always include a brief cover letter with your submission.  Make sure it has your            home address and email.

10. Problem:  Exceeds word count
      Fix:  Keep to the specified word count as noted in the writer's guidelines. Some  editors don't mind if word counts exceeds by fifty words; going over by one hundred words might be pushing your luck.

Though an editor probably would not reject a manuscript without a cover letter, it is considered polite and professional to include one. Most editors however, may reject manuscripts that contain any of the other problems mentioned above. They usually don't have time to correct a manuscript.

Writing nonfiction for children is challenging—there are so many things to consider.  But you can increase your odds of publication when you avoid these ten common mistakes.

Scary stories

What kind of stories do you write for children?  Are they funny or whimsical?  Do they have a happy ending? These are the kinds of stories that Kid's Imagination Train likes to publish.  

Every now and then, a few writers submit scary stories.  Though there are markets for these kind of stories, they just aren't right for KIT.  We publish for a young audience—our lower age group is five-years old.  Children of this age have not learned how to express their fears verbally and because of this, we may never be sure of the impact of scary stories. 

Young children may however, send other clues or signals to indicate that they have been frightened.  For instance, years ago my husband and I could not figure out why our four-year old daughter suddenly became afraid to go to sleep by herself.  She needed one of us in her room every night.  After a few weeks of this behavior, I talked to Sister Marsha, one of my daughter's teachers.  Marcia asked if we allowed our daughter to watch a scary movie or television program.  I remembered that the three of us had watched the classic The Wizard of Oz, but we had fast-forwarded through the frightening scenes.  

“There’s your answer,” said Sister Marcia.  

While our young daughter seemed to enjoy the movie, it had actually scared her. And, we were clueless. She simply couldn't express her fears to us. 
   
Though this personal episode is about a movie not a story, l always think about it whenever scary fiction is submitted to KIT.  If you are writing for very young children, I would suggest staying away from scary and save it for the older kids.  Instead, focus on creating an upbeat story. Give it a positive message and end it on a cheerful note.        

Take a look at the July issue of Kid's Imagination Train:  www.kidsimaginationtrain.com

More on Revising

You’ve chopped all the ingredients for soup.  You’ve sautéed the veggies in a skillet.  You’ve poured the cooked contents into a crock pot, added broth or cream, and allowed the soup to simmer.  You know that the longer it cooks, the better it will taste.

I like to use this analogy when it comes to revising a manuscript for Kid's Imagination Train.  A revision should simmer on the back burner a good while before it is returned to the editor.  But recently, I’m finding that writers are rushing the process.  Sometimes when I ask for a revision, I get it back the following day.  Once, I got the revision back in one hour (I wish I was kidding).

Please don’t rush revision.  You should take into account what the editor has requested and edit your work.  But put it away for a few days and then come back to it.  Read it with fresh eyes.  Read it out loud.  Then edit again.  When you handle revising this way, you may see mistakes that you may have missed, or you may find more creative ways to edit your work. 

When you rush revision, it makes you look desperate.  So give your work the time and love that it needs.  An editor will notice and appreciate a thoughtful revision.  They know that the longer something simmers, the better it will turn out.

Don't forget to check out this issue of Kid's Imagination Train. Children interested in drawing for next month's issue can send in pictures of dragons to kitillustratorsubmissions@gmail.com 

Revising

If you are a frequent visitor to Children's Writers World, you know that I make suggestions to writers on their submissions to Kid's Imagination Train.  Usually, writers will revise their work.  But sometimes, writers never respond—which I don't understand. Are they arrogant?  Lazy?  I believe that when an editor takes the time to write to you and point out ways to improve your article, you should try your best to meet those needs.  

I take it as a compliment when an editor writes to me wanting a revision.  For instance, an editor at Highlights for Children magazine expressed interest in one of my articles, but pointed out that my manuscript needed some editing.  First, he wanted more details about a historical event that related to my topic. Realizing that would require more research, I read about six more sources to understand the event better.  Once I grasped the history, I included this new information in my article.     

The editor also wanted some clarification on the scientific research that I had been presented.  So, I contacted the expert whom I had interviewed.  In my email, I mentioned the title of my article, the name of the magazine interested in publishing my work, and the point in question.  She promptly wrote back with a great explanation. This too, was added to the piece.

Lastly, the editor wanted age-appropriate vocabulary.  He explained that some of my word choices were too advanced for the audience.  In fact, he actually listed each word (I know of no other editor who would have taken the time to be so specific). I referred to the thesaurus Children’s Writer’s Word Book by Alijandra Mogilner.  By using this book, I was able to find words that better suited the age group. 

The revision would not be rushed, even though I was eager to get the piece back to the editor. I read it over and over and then handed it to my second reader (my husband) for his opinion.  I edited it one more time.  Feeling that the manuscript was ready, I slipped it into an envelope and marked the outside: “requested revision.”  It will probably be several months before I hear whether or not the piece will be accepted for publication. But I feel good about the article. It was well-researched, well-written, and well-edited.  I know I gave my very best to meet the editor's needs.  

Conflict and Backstory

Conflict.  Every story needs it.  When you write for young children, that conflict must be delivered early on, in the first or second paragraph of a 500-word story. This hooks the audience. Waiting until the middle of a story to add conflict can be a mistake. The midpoint is where the climax should take place. 

Some writers delay the conflict by presenting too much backstory.  Long drawn out descriptions or explanations have a tendency to prevent the story from moving forward. 

For example, I received a story for Kid’s Imagination Train in which a lonely female bear wanted to have a baby cub.  Many years later she did and it became the love of her life. The bear's longing for a cub filled the first paragraph.  The next paragraph detailed the adventures of mama and baby bear. In the third paragraph, conflict was introduced—the cub had no friends. But placing conflict at this point arrives too late. By now, readers have lost patience with the story. Too much backstory bogs this piece down.  

If you write for young children, you have little time to keep them interested in a story. Children have short attention spans.  So, you have got to deliver the conflict as soon as possible.

If you must use backstory, keep it to one to two sentences.  Use backstory to describe characters and the setting or to set a compelling stage.  Then bam!  On to the conflict and the rising action.  Conflict engages an audience.  They will begin to care about the main character and will want to learn how this character deals with the conflict—a conflict that has been crafted well and presented early on.