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?”

Submitting, Again

Congratulations!  You submitted an article to a children’s magazine and it was accepted for publication.  As you write your next article for the same publication, consider this piece of advice:  Be professional when you submit again. 

For example, one of my science articles was published in an outstanding children’s publication.   Thinking I could write another piece for the magazine, I simply queried the editor very informally.  Think:  a one line snappy email pitch.  She immediately wrote back to me and berated me for not following the guidelines (which stated to send a professional query with clips). I thought since she had published one of my pieces that I didn’t need to be so formal.  Wrong.  So wrong.  

Editors have preferences when it comes to submitting.  Some want a professional query each time you write to them that includes specific details like a bio or clips, while other editors will consider a more casual letter.  

Every time you query, formal or not, always include the basics:  the title, the word count, the age group, the submission date, and a brief synopsis of the article. Always read the guidelines. They may have changed since your last article was published.  And just because you’ve published before with a publication doesn’t give you a green light to submit informally.  Some editors just won't stand for it, as I found out.  In the end the editor refused to consider my work again.  This is a harsh example, and I’m willing to bet a rare case.  But use this example as food for thought.  Unless you know it’s okay to write a casual letter, play it safe:  stick to writing a professional query.

Another Look

You submitted your picture book manuscript to an agent.  But in only a few weeks she sent a rejection.  On the bright side, she offered some useful suggestions.  So you tweaked your manuscript based on her advice.  Now you’d like to send your revision back to her for another look.  How should you approach this agent?  

Begin your email by reminding her that she has already read the manuscript.  Ask her if she’d be interested in taking another look.  Give the title.  Tell her that she had provided helpful feedback and that your work has been revised. 

In the next paragraph include the word count, the age group, if the story is a simultaneous submission, and any other distinguishing features that make the story marketable.  Then describe the story to refresh the agent’s memory.  Be sure to answer these questions:

Who is the main character?

What does the main character want and what gets in his way?

What launches the story?
What is at stake?

In the last paragraph give your bio. Close by thanking her for her time.  Remember to include your email address or contact information.

There’s no guarantee that a second look will garner a nod from an agent.  But when you approach an agent using my suggestions, you will come across more professionally.  Your letter will make an agent take notice.  And chances are she will send you a thoughtful reply.  

Surprisingly audacious reflections of a humble writer

CALL ME ISHMAEL OR BOSSY

Some people may call me a know-it-all.

They misunderstand.  Truth is, I love sharing my knowledge with people.  And that could come across as bossy or pushy.  I like to write how-to pieces because people are hungry to discover ways to solve a problem or learn something new.

I'm not alone.  Lots of people write how-to articles.  Go ahead, and goggle "how-to" and you'll find

how to learn a language,
how to work with unprofessional people,
how to do laundry,
how to walk in heels,
how to make a car repair,
how to fix a toilet,
how to mend a broken heart,
yada yada yada it's all there on the Internet—anything your little heart desires to know.

Writers who want to build their bio can write a how-to article.  These pieces are not difficult to write.  It takes some research and good writing skills.  Here's how to get started:

• Read your favorite publications to see what techniques writers use to write a how-to article.
• Choose a topic that interests you and one that will address your audience's needs.
• Research the topic using reliable sources.
• Outline the piece keeping important points grouped together.   
• Begin the piece with a hook:  an interesting fact, a startling statistic, an inspiring quote. 
• Use a conversational tone. 
• Tie the ending to the beginning.  
• Have a second reader have a look at the article and check for grammatical errors.
• Edit the piece.  

I'm always thinking about new topics for a how-to article.  From my experience, I could advise writers on publishing with an indie press or finding marketing ideas.

But I wouldn't have to narrow my how-to topic to just writing.  The saying goes "write what you know."

Therefore, I could write about:

• trying to talk a police officer out of a ticket (it didn't work)

• playing racket ball in a dorm room (I don't recommend it)

• teaching a cat boundaries (don't waste your time) 

I've lived these experiences; therefore, I would have plenty to write about.

So call me what you will, bossy or pushy, a know-it-all, whatever.  It won't hurt my feelings.  My mission is to inform the hungry reader.

CWW is published twice a month.

À la prochaine! 

Surprisingly audacious reflections of a humble writer

MENTORING 

I didn't plan on being a mentor.

My intention was to write nonfiction articles for children with the objective of getting them published and developing a bio.  After several years of writing and publishing for kids, I had the good fortune of landing a job as an editor.  But during this time, I noticed the children's magazine market was changing.  Magazines were closing and writers had fewer opportunities to publish.  My fellow writers and I had this sinking feeling about the publishing world. 

So, instead of complaining about the situation, I tried to change it.  I created Kid's Imagination Train ezine (KIT) an online magazine that inspires children to read and learn and gives writers a way to reach an audience.  Being the editor of KIT required deciding if submissions could be accepted for publication.  As I read manuscripts, I noticed many had the potential to be published, but the stories or articles needed revision.  Since I understood how writers longed for publication, I decided to become a mentor and show them how to improve their manuscripts. 

In the years that followed I helped a lot of writers get published; however, my very first mentee was the most memorable.  G. Smith, a wannabe published writer, needed a lot of guidance.

Whether he was writing a story or an article, he had to be taught the importance of following the writer's guidelines (the standards writers are expected to observe).  He had to learn how to use active verbs, create conflict, and perfect grammar.  In addition, he needed to understand how to format bibliographies and compose query letters.  Sometimes he got it and other times he struggled.  At times, I wondered if I was getting through to him.  Would he ever catch on?

Though he tried my patience, I applauded his persistence and pluck.  He was earnest and sincere.  There was something likeable about this writer.  Eventually, through diligence and practice he got published.  In fact, he got published in the prestigious children's magazine Highlights, which is not an easy thing to do because the editors only accept outstanding writing.

How did I learn of this achievement?

It's been close to ten years since our initial contact, and we still stay in touch.  Every so often, he drops me a line just to say hello.  He writes to ask me questions.  He tells me about his writing accomplishments and his goals.

Not long ago, he mentioned that he showed my Facebook picture to his mom.  Wow, I guess I really do rate with some people.  I wonder what he told her?

"Hey Mom, here's the lady who marks up all of my manuscripts."

But maybe it's "This is the lady who never gave up on me."

Occasionally, G. Smith shares his rejection letters with me, which is pretty brave.  I know of no one who shares their rejections.  It's so personal.  And yet when he sends one to me, I try to encourage him to persevere because if you want to call yourself a writer, that's what you have to do.

Though I've been mentoring writers for a long time, I never tire of giving writers a helping hand.  Most of them genuinely want to invest the time to learn the craft.  However, there are others who get offended if they are asked to revise.  They have an attitude.  They believe their work is perfect as is.  They have yet to learn that editing + editing + editing = publication.

After all this time, G. Smith is remarkably disciplined.

He edits his work.

He continues to develop skills to reach a wider audience.

Most of all, he never gives up.

G. Smith understands what it means to be a writer.

And I couldn't be more proud.

CWW is published twice a month.

À la prochaine! 

Building a Fictional World

Children's Writer's World warmly welcomes a guest blog by Melody Delgado.

Creating a world for your novel can be based upon research, creative thinking, or both. Whether your novel is set in the past or the present day, while the setting doesn’t need to overshadow the basic story, it serves as the backdrop of the story and it needs to be realistic and believable.  

When writing historical fiction, in order to form a world that seems real, research is essential. For my recently released YA historical romance, ROYALLY ENTITLED, which takes place in the year 1630, I spent two months researching this time period and seeking clues as to what was happening in Europe at the time. Some of the books I poured over at the library were 700 pages long. These books included information about clothing of the Renaissance period, ordinary occupations, common food items, inventions of the time, and popular traditions.

One interesting point that I found was that the rifle, or caliver, was invented during this time period. It replaced the crossbow and was as popular then as having a smart phone is today. I tried to find a way to include this nugget of information, and the invention of the caliver ends up playing a pivotal role in the story.

A custom of the time that was interesting and surprising was that sometimes royals united themselves in marriage with other royals they’d never even met. A miniature portrait would be sent to a potential suitor and they would decide whether to meet or even wed the person based merely on this small portrait. This particular morsel was too good to pass up, so this tidbit is another key component of my story.

It took me ten months to write the initial skeleton of the story, for a total of one year from the germ of an idea to a completed draft. Once I finished the draft I realized that the story couldn’t possibly take place in an already existing country. I’d strayed away from too many details and true historical events. The solution was to invent my own country called the nation of Brevalia.

It was freeing to not have to hold to the physical description and landscape of a specific country, but to be able to come up with things from my own imagination and experience. Currently, I live in a locale with a river that takes up a large portion of the city and helps to define it. I’d lived in another city with the same river feature, so I knew I wanted to include a river in my story. But I may not have been able to do that if I’d had to stick to the description of a specific European location.

However, many writers choose to write about a part of history as it actually happened and may even include actual historical characters. This method couldn’t work for my story, but whichever road you choose for your historical novel, research is essential in creating a believable fictional world.

Even if you are writing in the present day, which will be the world for my upcoming middle grade novel, OOPS A DAISY, there still need to be specific enough details to ground the reader in the setting of the story. My story takes place in modern day Miami, so the cultural aspects needed to be represented, as well as the favorite pastimes of the people in the city and the actual locations and landmarks found in the area. On the other hand, I did fashion a fictional school for my story to take place in. But details are based on what I’ve observed in modern day magnet schools and ideas I came up with on my own.

I’ve published two picture books and even picture books take place in a ‘world.’ As an author, we can’t leave all this ‘world-creating’ to the illustrator. The setting and tone we want to achieve must be made clear through our characters’ words and actions.

Creating a believable fictional world may still require the writer to be rooted in reality, but there is also plenty of room for using one’s imagination. Let it run free, and see where it leads you.

BIO:

Melody Delgado has been a published writer since 2000.  Her short stories have appeared in national magazines such as AIM (America’s Intercultural Magazine), VISTA, and CHICKEN SOUP FOR THE LATINO SOUL.  She has published two picture books. TEN ROARING DINOSAURS was published by Houghton Mifflin Harcourt and DO YOU KNOW HOW I GOT MY NAME? was recently published by Little Debbie/McKee Foods.

Her YA inspirational, historical romance, ROYALLY ENTITLED, was released digitally by Clean Reads in May, 2017. It is the first in a three-book series called The Brides of Brevalia. A humorous children’s novel, OOPS-A-DAISY, is coming to print on September 5 of this year and is also the first in a children’s series, The De La Cruz Diaries. It will also be published by Clean Reads.

A short trailer of ROYALLY ENTITLED may be seen here: https://youtu.be/sF3Vx_IJBpo

For more about Melody you may visit her website at: http://www.melodydelgado.com/