Photo courtesy: Paula Engebretson

SHOW SOME RESPECT  

It bugs me when people don't reply, can't say no, can't admit they're not interested.

This happens quite a bit when I query agents.  I may not hear back after following the agent's guidelines, filling out a Query Manager form, and sending a professional query letter.  No word = no thank you.  In the past this wasn't the case.  Agents actually got back in touch through snail-mail.  But these days, agents claim they're overwhelmed with submissions and don't have the time to respond.   

What surprised me was other professionals have adopted this behavior, too.  Six years ago, when I tried to promote my book, I found that newspaper journalists, librarians, and teachers didn't have the courtesy to get back in touch with me.  None of them returned my phone calls, texted me or emailed me.  I was left hanging with the hope they'd be interested in writing a newspaper review, or having me lead a storytime, or inviting me to school to meet young readers.  Though my book was traditionally published, it didn't warrant their attention.  This was eye-opening, sad, and disappointing. 

Unfortunately, this attitude is prevalent beyond the book world and into our daily lives.  Last month, I contacted a handyman who was recommended on Next Door .  He stopped by our house to look at the projects and told me he'd send a quote.  After waiting two weeks, I sent an email to remind him.  He never responded.  Okay, I get it.  He really wasn't interested, but couldn't he have responded to my email?  

Now here's the thing.  I'd like to warn other people about this fellow.  This guy is not reliable and may not follow up.  But I won't.  He has my email and my cell phone number.  And he knows where I live.  I'm not careless or stupid.  It takes very little to set someone off.  So, I'll do nothing.  Stew, yes.  But quietly.

It's a shame some people feel that they don't need to respond, that no response speaks for itself.  But come on man, that's so rude.  And it boils down having no respect for others.  People have gotten self-centered.  They don't think about (or care about) another person's feelings.  It doesn't occur to them to be nice, to get back in touch, to send a reply.   

   

While writing this post, I found an article that was helpful in dealing with people who don't have the courtesy to say no thanks.  In "No Thanks, 3 Things You Can Do When People Don't Respond to Your EMail," I learned not to take it personally and to move on.   

This article made me feel I'm not alone.  It gave me the go ahead to reach out to other people.  People I can count on.  In the future, I will reach out to my publisher to help me contact journalists, teachers, and librarians.  And outside the writing world, I will reach out to more conscientious handymen.    

Sometimes it's hard to avoid people who choose not to reply.  The thing is, I don't have to let them get me down.  True, their rudeness gets under my skin, but the power is in my hands.  I don't have to deal with these kind of people.  When someone shows me their true colors, I can move on.  I have the choice to work with people who will treat me with the decency I deserve.   

À la prochaine!  

 

                                                                                                                                          Photo: Gabrielle Henderson 

LETTING GO OF REGRET

I don't always make good decisions.  And as a result, I end up having regret.  

To illustrate, last month I entered one of my manuscripts in a pitch party.  Minutes after submitting it, I knew I screwed up.  The text could have been stronger and it did not reflect my best work.  

I sulked over the manuscript for days because this submission opportunity only happens once a year.  Talk about feeling down.  And stupid.  A chance to have a select group of picture book agents request my work—gone.

When I looked back at this misfortunate circumstance, it became apparent to me that a lingering migraine had altered my reasoning.  Being foggy-brained is an effect of having a migraine.  But since I was pain-free, I hadn't realized that making good decisions was impaired.  If I had been thinking clearly, there would have been no way I would've submitted this version.  My migraine brain deceived me into thinking the manuscript was in good shape.  And I made a bad choice. 

Now, it's water under the bridge (or the toothpaste is outta of the tube, as my husband would say) and now I know (most likely) that a silent migraine served me a heaping helping of regret.    

Feeling miserable, I turned to the internet to find articles on remorse and regret.  I found a helpful post written by Gila Gam titled Reframing Regret: from Hindsight to Insight 

Since I can't do this piece justice by rephrasing, I quote Gila: 

"Beating yourself up about the things that went wrong, doesn’t help things go right. Don’t regret anything that has taught you valuable and worthwhile lessons. Replace regret with reflect. To reflect is to try and understand what your regrets are trying to tell you. It means looking for insights in order to draw lessons from the experience. The goal of reflection is to move away from regret to make better decisions and take action toward better future outcomes. 

"Remember: life is meant for exploring and experimentation. You are likely to fail many times, but    

“nothing ventured, nothing gained.” When you accept that risks must be taken and setbacks must be   

experienced in order to achieve anything meaningful, then you recognize the futility of regret because there’s a valuable lesson in everything you do. Your life’s lessons allow you to grow. The biggest risk is not to take any risks, and the greatest regret is an unfulfilled life, or a life not lived fully. 

"As you reflect upon your wins and losses, accept the whole package and seek the lessons to apply in the future. Take intentional action to keep doing the things that really matter to you. Be open to change and new opportunities along the self-actualization journey. And most importantly, once you reach success, don’t linger in the comfort zone for too long. Celebrate your accomplishments but beware of resting on your laurels. Move on to something new and continue to be relevant and have impact.

"Life is made up of a series of changes, choices, and consequences. The choices you make today will make sense in retrospect with time and reflection. The road is windy and slippery. Embrace the wobble. Keep walking and trust you will figure out your own way. So, turn the insights into foresight."

Turn insights into foresight.  That's perfect, isn't it? 

For me, that would mean paying closer attention to the effects of a migraine:  recognizing mental clarity can be lacking after an attack and then refraining from making important decisions until the headache symptoms have subsided.  But even if I'm aware, there are other ways to f*ck-up a submission: typos in a manuscript, misunderstanding the submission guidelines, or misspelling an agent's name.  So, to lessen regret, I try to turn the negative feelings into positive feelings by visualizing mistakes as stepping stones that will lead me closer to my goals. 

This wonderful submission opportunity seemed to be the chance of a lifetime and it hurts that I messed up.  But there's always next year.  Until then, I will keep going.  I will remember this situation for a long time, but without regret.  It happened for many reasons:  To learn and to improve.  To understand my limitations.  To revel in my tenacity.  I will keep moving forward along those stepping stones.  And if things backfire or don't go as smoothly as hoped, I will reflect.  I forge on to make things better next time.

À la prochaine!  

                                                                                                                                                                                                              Photo: Gus Ruballo

Surprisingly audacious reflections of a humble writer

A HUGE MISTAKE  

Many years ago when I was an aspiring writer, I made a mistake.  A huge mistake.  A costly mistake.  But first, the backstory:

Ever since I was a teen, I wanted to write, but my career path took a different direction and I became a medical technologist.  After graduating, I landed a good-paying job at the University of Kentucky Medical Center.  However, as the years rolled on, the work environment grew stressful due to downsizing and poor management.  Luckily, I was able to retire early. 

At that time, I decided to take a writing class.  My desire to write for kids had been simmering for quite some time as my husband read picture books to our young daughter.  But it wasn't because of the delightful stories that drew me to writing.  It was because of an unimaginative story he had read to her.  I wondered how it ever got published.  This sad little picture book pushed me to learn how to write for children.  If something like this could be published, then surely I could write a picture book.

So, I enrolled in a class at the Carnegie Center for Literacy and Learning to discover how to write for kids.  Towards the end of the course, all of the participants had written a picture book manuscript.  Many of us hoped to get our work published.  As it was, I had already begun sending out my manuscript to publishing houses...and it was getting rejected time after time.

On the last day of class, our instructor had a surprise for us.  She invited a literary agent to speak to us.  This was an amazing opportunity.  The agent gave a brief lecture and then after a question and answer period, she handed out her business cards.

I wasted no time in contacting her and we arranged a time to get together.  A few weeks later, I drove about 30 miles from Lexington to her farmhouse in central Kentucky.  She served a light snack and then she discussed which agents she would contact and how she would present my book to them.  I was so ready to work with an agent and this was the ticket to getting published.  The timing seemed perfect to me.

But I was so naive.  This situation was all wrong because:

Just pretend this was me, shelling out beaucoup de money to an agent. 
Photo: Sharon McCutcheon

1.  I had given her my manuscript, actually the first draft, which was ridiculous 'cause the first draft of anything is pure sh*t.  The manuscript had not been revised nor had it been critiqued by a second reader.  As you can you imagine, this piece cried for help with character development, plot, word choice, voice, and page turns.

2.  I paid her a fee—a whopping three hundred dollars to be represented.  Ouch!  I took for it for granted that this was the way agents worked and that writers paid them upfront.

Since then, I've grown as a writer.  I took more classes, read books on the craft of writing for kids, and joined the Society of Children's Book Writers and Illustrators (SCBWI).  And through SCBWI, I learned about the Association of Authors' Representatives.  Founded in 1991, the Association of Authors' Representatives (AAR) is a nonprofit membership organization which has more than 400 professional literary and dramatic agents as members.  Members must meet the AAR's minimum experience requirements and agree to adhere to its bylaws and the canon of ethics.  Agents do not charge a writer a flat fee for signing a contract—they are paid for their work through the commission they make when they sell a book.

Looking back to the time when I began seriously writing for children, I see a starry-eyed dreamer who made lots of mistakes because she desperately wanted to publish beautifully illustrated books for kids.  I'm still this starry-eyed dreamer, but a tad smarter.  Now, I do things differently.  Before querying an agent, I revise my manuscript countless times and I have a second reader critique the piece.  In addition, I shop around for reputable agents that represent picture books.   

I have no regrets about the blunders I made in regards to writing.  And no doubt I'll make more mistakes.  But that's not necessarily a bad thing.  Mistakes can be great teachers.  We must recognize that as painful they may be, mistakes are part of any journey, part of anything we wish to excel at, and part of anything we wish achieve.  Mistakes have the power to turn us into something even better than we were before.  

"The only real mistake is the one from which we learn nothing." Henry Ford

À la prochaine! 

If you like, please leave a comment at: Rlmrvos@gmail.com

Comments:

Great article! But shame on your instructor for not checking out the agent she invited to class.
Why wouldn't a student trust someone who their teacher had invited? Harold U. 

Surprisingly audacious reflections of a humble writer

VENTING

I'm a venter.  I am vocal about things that bother me.  Just mention submitting and you'll get me going.  Submitting to agents and publishers is frustrating.

It wasn't always like this.

Twenty years ago, a writer would simply send a submission in a 13 x 9" envelope with a cover letter and SASE (self-addressed stamped envelope) to an agent or an editor.  Within about three months they'd receive a response in the mail.  Writers would get a definite yes or a no about their manuscripts.

Now days writers submit electronically, and most publishers respond only IF they are interested.

Professional writers put thought, care, and time into every submission.  And, we want to hear back.  Instead, we wait three months wondering if our submission has even been received.  We wait three months wondering if our submission has been read.  We wait three months wondering if someone likes our work.  We wait three months and hear nothing at all.

Whenever I used to discuss submitting with my mother-in-law, she would answer with an expression that rhythmically and rhetorically rolled off her tongue, "What are you doing to do?"  Which meant: there's nothing you can do.

But that was not me.  There was something I could do.  I could vent about it.

Given the submission situation, I have found that I'm not alone.  Other writers feel the same way.  They're not happy about the way submitting has changed.  They vent, too.  And with all of this venting, you may wonder if it is healthy.  So, I did a little investigating, but I found that the subject of venting is complicated and thorny.

Brad Bushman, professor of communication and psychology at Ohio State University and the lead author of the 2002 venting study says, “When people vent their anger, they want to hit, scream or shout, and it feels good to do that, and so they think, Oh, it feels good it must work,” says Bushman.  “But it also feels good to take street drugs and eat donuts. But just because something feels good doesn’t mean it’s healthy.”  

David M Reiss, M.D., a San Diego-based psychiatrist weighs in.  He states, “There’s certainly an advantage to acknowledging your emotions and being able to express them.”  Reiss believes there's a right way to vent.  The key is finding the right person.  “It has to be someone who is not just going to join you in the anger but is also going to help you to come to terms with it and help you calm down,” he says.

According to Psychology Today, there are positive and negative features to venting.  While venting can increase level of distress and antagonize others, it can discharge negative emotion and can help you feel better.  Dr. Leon F Sheltzer, Ph.D., an anger management specialist says, "Generally, it’s better to let things out than hold them in. And doing so feels almost akin to problem-solving—in the moment, at least. Venting your frustrations alleviates tension and stress."

For me, venting allows me to express my frustration and to let of negative energy.  Regardless of what some experts say, I think it's healthy to let off steam.  I'm all for venting.

Especially when I don't hear back from an agent about a manuscript that I love.


SO, COME ON NOW.

I'VE SENT YOU A PROFESSIONAL QUERY.

ALL I ASK IS FOR A LITTLE COURTESY.

DO YOU LIKE THE MANUSCRIPT OR NOT?

COMPOSE A ONE SENTENCE RESPONSE.

TELL ME FOR CRYING OUT LOUD.

LET ME KNOW.

IS IT YES OR IS IT NO?

FOR THE LOVE OF GOD, HOW HARD CAN IT BE?

SEND  

A

DAMN

EMAIL.




I'm glad to get that off my chest.

À la prochaine! 

 Surprisingly audacious reflections of a humble writer 

THE DEADLIEST CRAB 

"Want to go crab fishing?" asks my husband.

That's my cue to join him to watch an episode of the Deadliest Catch.  Or as I like to call it, the Deadliest Crab.

Deadliest Catch follows six sea captains and their crew as they hunt for elusive Alaskan crab.  Viewers can always count on drama.  Sea captains battle:

• arctic storms with hurricane-force winds and 40 foot waves
• ice floes
• snow blindness
• crew management 
• accidents that cause serious injury or death 
• fatigue
• health issues (back issues and conditions brought on by stress)
• equipment failure which may lead to fires, oil leaks, power outage, or loss of steering 

On top of all that, the captain must find crab. That's tricky because radar doesn't detect crabs resting upon the bottom of the sea. 

Many captains must rely on intuition to locate the crab.  Others refer to logs which indicate the location and numbers of crabs caught in years gone by.  And captains will use  devices that mimic the sound of a crab-feeding frenzy or rely on smelly crab farts to lead them to rich crab grounds.

Crab fishing is one of the most dangerous jobs in the country.  It seems like once a season, Deadliest Catch airs footage of the United States Coast Guard searching for crewmen of capsized vessels or retrieving injured fishermen from a deck—a feat in itself as swimmers lower a rescue basket from a helicopter through rough wind onto a rocking ship.

Sea captain Josh Harris says, "It's not a sport for the weak or the weak-minded."

From time to time, a little levity peppers the show with the crew pulling silly pranks like filling a fisherman's boots with water and then freezing them or moving a captain's boat (unbeknownst to him) to another dock.

When an episode gets bloody
however, (say like when a steel crane smashes a forehead) or gross (or when a wound is lanced or part of a finger is lost), I'll look away while my husband replays the scene to be sure he hadn't missed any gore.

I may have writely challenges (marketing Maggie, submitting to agents, producing Kid's Imagination Train, writing two blogs) but these are nothing compared to fishing the Bering Sea.

Writing for children is demanding (ask any children's author) but it's not usually deadly.  With writing, you may face rejection, but you don't run the risk of getting bloody and gory...

and you never have to be on the lookout for crab farts.  

CWW is published twice a month.

À la prochaine! 

Surprisingly audacious reflections of a humble writer 

LEARNING WITH THE MANUSCRIPT ACADEMY 

My new manuscript was sh*t. (My husband tried to warn me the piece needed more work). 

Thinking it was good enough to submit, I had a 10-minute conversation with a literary agent, where I heard for a second time the story needed help.  

This short phone call with a member of the  Manuscript Academy saved me from submitting a poorly developed manuscript.  Without having this conversation, I would have submitted my work to agents and gotten rejections (and been in the dark about why it was rejected).   

I stumbled across this amazing online conference when I searched for agents.  I read that for a low price, you could have a consultation with an agent to discuss a manuscript and a query letter.  

I'm glad I did. 

The Manuscript Academy is a unique online instruction can be enjoyed from the comfort of your home.  All you need is a computer, a tablet, or even your smartphone to log in and you will receive advice and instruction from some of the best minds in the literary community.  

Here is what is available: 

• Access to exclusive recorded classes and panels, designed to educate you about need-to-know topics such as how to submit your work, what agents and editors are looking for, how to craft amazing novels and books, the business of writing and promotion, and much more. You will have access to many high-quality recorded video presentations for 30+ full days—so you can pause, rewind, and notes at your own convenience. See the full schedule of classes here.
• Opportunities to pitch agents and editors one-on-one online. Using just your computer, you can arrange one-on-one pitches with literary agents and publishing house editors who are actively seeking books and clients right now. (Pitches are optional. You can sign up for as many pitches as you like.)
• Critique opportunities for your work. If you want a professional critique of your work, then Manuscript Academy has opportunities for you. Our awesome faculty of agents, editors, and published authors offer detailed critiques of manuscript pages, query letters, synopses, and nonfiction book proposals. This is an amazing opportunity to get expert feedback on your work. Plus, Manuscript Academy members also gain access to our Academy Forum, which allows writers to connect with each other and form online writing critique groups.
• Live query and first page workshops and discussions (in groups of up to 10) on topics ranging from Publishing Law to How to Be A Trendsetter, Not Trendy. All of these are designed to be introvert friendly.

For under $50, I had a ten-minute consult with a well-known literary agent.  For me, it was a little nerve-wracking because she was late calling.  I was nervous to begin with and then...my computer went to sleep.  

I clicked and moved my mouse frantically.  

I got panicky.  I wanted it to wake up, wake up, WAKE UP!   

Luckily, I had jotted down my questions in advance so it was easy to continue.  Halfway through our short conversation, the agent told me that the middle of my manuscript was weak.  OMG, she suggested how to improve it!  

The Manuscript Academy was right for me.  And it may be right for you.  Poke around on the website and discover how the classes and consults work.  Read the testimonials.  Imagine talking about your manuscript with a professional and learning how she feels about it.  Find out if your work is ready to sent out agents. 

$49 + 10 minutes =  priceless knowledge

À la prochaine

 

8 Topics and 10 Tips on Presenting  a Workshop 

If you are a published writer or an aspiring writer, you should think about presenting a workshop.  Giving a workshop benefits other writers and helps to introduce yourself to the public.  Workshops can be held at a local library, a literacy center, bookstores and even gifts shops and local restaurants.

So...you have some excuses.  You say you're too shy and you have nothing to talk about.  If you talk about a topic you feel passionate about, you will feel comfortable giving a workshop.  And it you're stuck for ideas, then here are a few topics worth presenting:

• How to get published: traditional presses versus small presses
• How to write a picture book
• How to build an author platform 
• How to give a school presentation
• How to get published in children's magazines
• How to develop a website or a blog
• How to query agents
• How to edit and proofread your work

Tips on presenting a workshop:

• Practice beforehand and time yourself
• Practice using inflections as you speak (avoid flat monotone speaking)
• Look in a mirror as your practice
• Start the workshop with a brief intro which includes your credentials
• Start the workshop by asking participant's experiences and goals
• Begin with a personal anecdote
• Have visuals
• Bring water 
• Get the participants involved by asking them questions or their opinions
• Handout a list of resources the participants can use at home

Presenting a lecture builds your platform. And building a platform should ideally begin before your book is published.  Believe me, you will be plenty busy trying to market you book when it is released, so if you can present workshops as well as get on social media, create a blog and develop website beforehand, you won't be as frantic.  Presenting a workshop is a smart and easy way to begin to develop your platform.  It is a perfect stepping stone for people to get to know you. 

Resources for PB Writers

Today, Children's Writer's World brings writers of picture books some more great resources.  This list is reproduced from http://www./kidlit411.com/2014/01/picture-books.html#more   

For those of you just beginning to write for children, check out these websites for tips on creating a picture book.  For writers who have already written manuscripts, take a look at the resources before you submit to agents and editors.  

DEBBIE RIDPATH OHI'S FREE PICTURE BOOK TEMPLATES

7 WAYS TO STRUCTURE YOUR PICTURE BOOK

WRITING IS REWRITING

CHECKLIST FOR PICTURE BOOKS

SO YOU WANT TO WRITE A PICTURE BOOK?

6 TIPS ON WRITING PICTURE BOOKS (THAT MAY JUST WARM YOUR HEART)

THETEN COMMANDMENTS OF PICTURE BOOK WRITING 

HOW TO FORMAT YOUR PICTURE BOOK   


Children's Writer's World wishes you, your family, and friends a happy New Year!

The Story that You Love

Have you written a picture book story that you love?  Have you submitted it to agents, but it’s been rejected? I can’t begin to count all of the times that's happened to me.  And then...  

Over the summer I re-read a 1000-word picture book manuscript that I had written five years ago.  I loved this story, but it was rejected time after time.  I finally figured out that the piece was too long.  So 500 words were cut.  Afterward, the story was critiqued and revised and revised.  A compelling query letter was crafted and the much shorter story was submitted. About a month later a handful of agents rejected it, but a publisher sent me an exciting note.  She texted me that she liked the book!  I screamed and jumped up and down like a maniac.  She sent me a book contract, something I've been dreaming about and working toward for many, many years.

It's exciting to find someone who loves the book as much as I do.  So based on my experience, I'd like to offer picture book writers some tips to help you get your work published.  

1.  Put the manuscript that you love on hold for a couple of months.  In the meantime go online or to the library and read current picture books.  Find one that speaks to your heart.  Analyze it.  Is it the voice, the theme, or the character that draw you to the story  Use this book as inspiration or even as a model to guide you when it's time to revise your work.

2.  Return to the story that you've written (and love) and get ready to edit it.  Read your story out loud.  Do you stumble on some words?  Work on improving the flow.  Consider word choice.  Use a thesaurus to find words that are better fits.  

3.  Cut words.  Today, publishers want stories under 500 words.  You may feel that you will not be able to tell the whole story with fewer words, but lowering the word count will challenge you to tell a concise story. 

4.  Have a second reader have a look.  Consider the suggestions and revise.  Start writing the hook and the synopsis.  Believe me, this will help you find areas in your picture book that may need editing.    

How do you like the story now?  Even better, I’m sure.  Now re-write your query (no gimmicks, just a professional letter) and send it to agents especially open to picture books.  If you get emails from agents that say your story has potential or the project sounds interesting, you’re on the right track.  These positive comments are saying you’re getting closer to publication.  You’re getting closer to finding someone who will fall in love with your work.

Resources for Picture Book Writers

Today, I thought writers of picture books would like to take a look at some awesome resources.  This list is reproduced from:  http://www.kidlit411.com/2014/01/picture-books.html#more

SCBWI - the Society for Children's Book Writers & Ilustrators, an organization that every children's writer and illustrator must join

LINDA ASHMAN author of The Nuts and Bolts Guide to Writing Picture Books

CHILDREN'S BOOK HUB - a paid subscription service with information about children's books, led by Emma Walton Hamilton  

CHILDREN'S BOOK INSIDER - a paid subscription monthly newsletter with tips about publishers and agents, writing courses, and more 

MEM FOX and her fabulous list of 20 DO'S AND DON'TS OF PICTURE BOOK WRITING. Learn tips on how to read a story out loud: READ ALOUD LESSON 

DARCY PATTISON How to Write a Picture Book Resources

THE PURPLE CRAYON -  the website by Harold Underdown, author of The Complete Idiot's Guide to Publishing Children's Books.  His site has resources and information, including an introductory article on the BASICS OF CHILDREN'S PUBLISHING

SUSAN UHLIG's link is full of resources from books to blog posts 

Write

Two weeks ago, I lost my sister-in-law Barb to cancer.  She had been diagnosed in February, and then four months later she passed away.  This was crazy fast.

Her untimely death sent me reeling.  She was relatively young by today’s standards, only 60, much younger than me.  So…it’s made me think about life more, what I want to do and to achieve.  For me, I’ve always wanted to publish a picture book, and now, I am more determined. 

Writing is my passion and I hope it is yours, too.  So my advice to you is to write every day.  No excuses.  Just put a few words down daily even if you don’t feel like it (you can always edit later.)  Create new fiction.  Edit older projects.  Or, get started on a topic that you’ve always wanted to research and write about it. 

Submit your work continuously, non-stop.  If your dream is to get published in a children’s magazine, then study the markets, submit and submit and persevere until your work is accepted.  If you want to get a book published, polish it until it is perfect, have a second reader review it, edit it again, and then search the directories for agents.  Don't give up.

I urge you know to think about your writing dreams and pursue them.  We never know what the future will hold.  Life is short.  Live it.  Live it well.  And write. 

Submitting to Agents

Are you submitting your work to agents?  Bravo!  Hopefully, you will hear good news. But what if an agent is not too eager to take on your project.  How would you be notified? Here are three scenarios:

1.  No reply.  Agents will only respond when they are interested.  No word = no thank you.  

2.  The standard rejection form.  It might read:  Thank you for submitting but unfortunately it doesn't meet our needs at this time.  

3.  The rejection letter with a little note.  These emails are personalized and give advice or a word of support. 

It is disappointing, but fairly common not to hear back from an agent.  So if you haven't gotten a response in about three months, consider it a pass.

A good number of agents will usually send a rejection letter.  Even though they've passed on your work, you will know that they received your submission and it had been considered.   

Occasionally, a rejection letter may arrive personally addressed to you along with a little note.  A note takes the sting out of the rejection.  It could read:  shape this piece, or this work has potential, or this project sounded interesting.  You may even get advice, and if you do, consider revising your manuscript. 

Though it is a pass on your project, a personalized rejection is an awesome thing to receive.  An agent has made time to send you feedback.  A personal message will remind you that others think your work has potential.  It may offer hope and validation.  It will boost your faith as a writer.  And more, it will give you courage to keep on submitting.   

To Be, or Not To Be Snappy

Many publishers and literary agents agree that queries should be professional.  That means the letter needs to be straightforward without any outward attention-grabbing devises. 

There are however, some writers who believe that a witty query will help them stand out from the slush pile. Some writers like to send a query written in the voice of the main character.  I wouldn't recommend this tactic.  It is usually frowned upon by agents.  

Other writers have met agents at conferences, and they feel confident enough to approach them with a snappy synopsis or bio.  Again, there is no guarantee that a writer will snag an agent this way.  

Literary agent Mary Kole says, “The point is, some agents will always prefer a straightforward, businesslike query.  Others will tolerate some cuteness or gimmick. You don't know who's who until you try it, though, even even then, most people won't tell you if that was part of the decision to pass."

I personally wouldn’t try a gimmicky query, but that’s just me talking.  I’d be afraid my clever query might backfire.  Even if my story is titled “The Bright and Brainy Pony ," I’d be scared to label myself as a bright and brainy writer in my bio.  Though it’s clever and plays on the title, it’s risky.  And…I’m not a risk-taker. 

So, how will you write your query?  Will it be snappy or strickly professional?  In the end it comes down to your gut feeling.  To paraphrase a quote from the movie Dirty Harry:  “You’ve gotta ask yourself one question: “Do I feel lucky?  Well, do ya?”

A New Year’s Wish

As you know, writing for children is not easy.  We freak out when nothing comes to mind when we want to begin a new story.  We lose faith when agents and publishers reject our work.  We get sensitive over a critique member's remarks, or feel exasperated when friends or family just don't get what it takes to write for kids.

Still, we strive to create just the right story that can be told with just the right words and with just the right number of words because we love to write for kids.  

We know it's not easy, but sometimes we need a little encouragement.  

So I remind you to never give up, to believe in YOU, to know that you will succeed.

To all of my faithful readers, I wish you many days filled with the joy of writing. 

Keeping a Submission Log

Do you keep a log of your submissions?  I'm betting most writers do so.  But, I learned that some writers aren't interested in keeping records.  I was shocked.  How do writers keep track of their submissions if they are not written down or recorded?  

Keeping a submission log doesn’t have to be complicated.  A notebook or a word doc. will suffice.  List the title of your manuscript and the agents or publishers that you’ve contacted, their email addresses, and the date that you sent your submission.  You can format it anyway you like, even use color coding.  (I use orange for dates of submission, green for acceptances, and purple for rejections). 

Then in a few weeks, mark your submission to indicate if it’s been accepted and the date it will be published. You can even note the amount of payment.  If your submission was rejected, note that date, too.  When you have a record of your submissions, you will know when to follow-up if you haven’t heard back from an editor. And, with a complete list of your submissions you will be able to refer to it as you continue to submit new work.  

Keeping submission records is an important part of the writing life.  It's what writers do. Don't expect (or even ask) an editor will find your submissions.  She doesn't have the time and it’s not her job to keep track of submissions for you.  It’s your job to keep good records. 

Online Submission Forms

When it comes to submitting a children’s book manuscript, you can usually query an agent or a publisher by email.  A few publishers and agents however, have online forms that you must fill out.  Most of the time, the forms will only take a few minutes to complete.  But, some require more time and thought.  

This topic comes up because I found a publisher who requires writers to fill out an extensive online submission form.  The form consists of two parts:  an author section and a book section.  Both parts ask detailed questions.  Halfway through, I was ready to give up.  The clock was ticking away, my brain was getting numb, and I was beginning to think why bother.  Would my submission be taken seriously?  But, I continued to answer questions about hobbies, education, publications, awards, things that inspired me, and what makes a great book.  (This is just a sampling of the questions. There were many other questions that needed to be addressed).

Then, it was on to the book section.  Here, my manuscript had to be formatted as specifically described in the guidelines and uploaded.  Next, a description of the book had to be stated.  Then the hook, a quote from the book, a synopsis, and the intended audience were required.  Lastly, the publisher wanted to know why I chose to submit to them.  

All in all the entire process took a good part of an afternoon.  When I finally submitted my project and author profile, I felt proud to have completed the time-intensive form. Though there is no telling how successful my submission will be, the submission process forced me to think about my book in new ways:  how would the book be marketed, how do others feel about my book, and how strong is my platform?   

If you find a publisher that has an online form, try to read through the questionnaire before typing in answers. Judge how much time you’ll need to answer the complete form. Create thoughtful answers to the questions beforehand.  Then, don’t rush as you fill out the form.  Review your answers before you hit 'send.'  

Congratulate yourself when you’re finished.  You completed a submission form that few writers would have the patience or the time to tackle. Your dedication may pay off and you may have found a publisher who will be interested in your work. 

Storybird

I’m sending my multi-award winning picture book manuscript to agents.  In the meantime, I want to begin a new book.  And I’m stuck.  On my daily walks, I try to hash out new ideas, but every idea feels forced.  Then, the summer issue of The SCBWI Bulletin arrived.  Inside was a feature about Storybird   (www.storybird.com), a website for illustrators and writers.   

Storybird is amazing.  Whether you write picture books or graphic novels, it is the perfect place to begin. Storybird will help you to generate ideas.  You start by choosing from the artwork tags.  Say you want to write about a friendly feline.  Type in ‘cat’ and all kinds of kitty images pop up to inspire you.  Maybe you feel like creating a scary space alien story.  Type in ‘space alien’ and view an assortment of other-worldly creatures.  There are lots of categories to choose from.  Just select the art that you like and type your text into the blank pages provided to create your story.   

Even if you don't write illustrated books, Storybird may be used as a writer’s prompt.  It will get your creative juices flowing.  And with Storybird, you can even read the works of others to see how they used the art to create their stories.   

Some writers report that Storybird actually inspired stories that ended up as book deals. So it's worth having a look.  Take a peek at Storybird and join the community of writers, readers, and artists of all ages. You will not be disappointed.  The artwork is so stunning.  It’s irresistible and exciting.  It inspiring!  It may even help you hash out new ideas for your very next story.

Pitching an Agent

Last month, I pitched a literary agent for the first time at the Kentucky Writing Workshop. The night before however, I got maybe two hours of sleep because of a pounding migraine.  Pitching the next day was not going to be easy for me.  But you know the old expression:  the show must go on.

Here is what I learned:

* Practice the pitch every day prior to the session.
* Memorize the pitch.
* Give the pitch in front of a mirror to watch your expressions and gestures.
* Videotape yourself with a cell phone.  Listen to the sound and speed of your voice.
* Think of questions that you might be asked.  Practice answering with confidence.
* Dress comfortably for the session.
* Be professional—don't do anything gimmicky.
* Begin the session with light conversation.
* Bring a copy of your pitch to glance at if necessary, but do not read from it.
* Bring a notepad to got down any comments that may be discussed.
* Be aware that the jitters may set in, even with months of practice.
* Speak slowly when you give your pitch.
* Be prepared to answer questions about your work.
* Be prepared to hear some criticism.
* Stay focused on the agent and try not to be distracted by other people in the room.
* Be knowledgeable and PASSIONATE about your work.
* If you plan a sequel, then mention it.
* Thank the agent for her time.

There were three outcomes for the writers who pitched:  a rejection, a request for the first three chapters, or a request for a full.  I met a gal at the conference who pitched the same novel to two different agents.  One requested a full, the other rejected her work. THE VERY SAME BOOK!  We know that querying an agent is subjective.  There's your proof.   So, when you get a rejection, remember that there is probably an agent who will love it.

The pitch is your one-on-one 10-minutes with an agent.  It's nerve-wracking and intense. But if you get the chance to pitch in person, try to relax and enjoy the moment.  This is an opportunity to not only meet an agent, but to convince her to fall in love with your work.

Tips from the Kentucky Writing Workshop

Last week I attended the Kentucky Writing Workshop.  In a word, it was FANTASTIC!
Chuck Sambuchino, an editor at Writer's Digest, presented four amazing lectures:

* Your Book Publishing Options Today
* Everything You Need to Know About Agents, Pitches, and Queries
* How to Market Your Books: Platform and Social Media
* How to Get Published

Just after lunch and before the last two lectures, four agents formed a panel for a session called Writer's Got Talent.  Chuck read the first pages of manuscripts from conference attendees.  When two agents raised their hands to signal they had heard enough, Chuck stopped reading and the critiques began.  As an attendee, it was fun trying to predict what the agents might have to say.  I noticed that Chuck was halted before most of the first pages were completely finished to the end, which signaled a problem with the manuscript.  Agents didn't care for too much backstory which slows down the pace. They didn't like rhetorical questions.  If the main character asks a question, then there must be an answer.  But, on the positive side, all of the agents loved great voice.

Here' s some tips that we learned:
*  Book publishing options include self-publishing or traditional publishing.  With traditional publishing you can choose to use an agent and you can aim for a big publishing house or a small house.  Publishing houses will help you sell subsidiary rights.  Traditional publishing creates an air of legitimacy. On the other hand, with self-publishing you are in more control of publishing.  Book length and genre no longer matter.  Some self-pub services include as CreateSpace, Smashwords, and Lulu.

* A pitch is like reading the back cover of a book.  It is generally 3 - 10 sentences.  Chuck advises not to give away the ending in a pitch.

*  A platform is your visibility and influence to others.  It can be a website, a blog, an e-newsletter, column writing, public speaking, and social media presence.  The key is to have take away value, whether it's humor or education.

Attendees spent a full day reaping valuable information and pitching agents.  If you ever have the opportunity to attend a workshop presented by Chuck, you will not only learn about writing and marketing your work, you will be inspired to write your very best and to get your work in front of agents.

Here is a link that you might like to check out:
http://www.writersdigest.com/editor-blogs/guide-to-literary-agents

The Kentucky Writing Workshop

Are you interested in advancing your writing career?  Then mark your calendar:  Chuck Sambuchino of Writer's Digest Books is hosting "How to Get Published" in Louisville, Kentucky on February 6, 2015 at the Holiday Inn Louisville East.

This writing event is a full-day opportunity to get intense instruction, pitch a literary agent or editor (optional) and get your questions answered.  Please note that there is limited seating (90 seats total).

The special writing workshop is designed to give you the best instruction on how to get your writing and books published.  The topics include:  your publishing opportunities today, how to write queries and pitches, how to market yourself and your books, what prompts an agent/editor to continue (or to stop) reading your manuscript and more. Writers of all genres are welcome.

Literary agents onsite will give feedback and take pitches from writers.  This year's faculty includes agent Natalia Aponte (Aponte Literary), agent Alice Speilburg (Speilburg Literary), agent Brent Taylor (TriadaUS Literary), agent Victoria Lea (Aponte Literary), and editor JD DeWitt (River Valley Publishing).

I have registered for this workshop and will blog about it next year—so check back with Children's Writer's World in February or March.  Until then, I hope you will consider attending, too.  By the end of the day, we will have more tools to help us move forward along our writing paths.