Oh, those writers’ guidelines

I've written about following the writers’ guidelines many times on this blog, but the topic is important enough to share again with readers.  

Writers' guidelines help you learn what an editor wants in terms of a submission. They can be usually found on the homepage of a publication. Sometimes, you will have to look in the subheadings labeled "About us" or "Contact."  

Guidelines spell out the specific requirements for fiction or nonfiction.  You will find the expected word count and the specifications for formatting a manuscript. You may also discover the requirements for a bibliography.  Guidelines may even point out the types of stories that are suitable for submission.  Sometimes, you will learn how an editor wants the subject of an email worded. 

Contact information:
Remember to include your contact information (usually email and snail mail) on the first page of a submission.  This is fairly standard even if it's not mentioned in the guidelines. Even though this seems over-the-top, omitting this simple step may result in a rejection.   Keep in mind that editors do not have time trying to search emails for contact information.  

Multiple submissions:  
Multiple submissions are two or more pieces submitted at the same time, whether sent together in a letter by snail mail, or by sending several in one email.  This also includes staggering submissions over a short period of time (like less than a week apart). If the guidelines state that multiple submission are not accepted, don't even think about sending more than one submission to an editor.  While you might think this may increase your chances that one of your pieces will be accepted, this tactic will always backfire.

Cover letter:
As cruel as it might seem, failing to include a cover letter may earn you a rejection.  It's common courtesy to write one when submitting.  Always include a short letter with your submission that describes your work and presents your biography.  It's also nice to close the letter by thanking the editor for her time.

You want to get published, right?  Then, always check the writer's guidelines before writing and once again before submitting.  Sometimes, the requirements have been changed.  Make every effort to adhere to the rules.  I guarantee you that following the writers' guidelines improves your chances of publication.

The Five Senses at S & S

Once a week, I take a French class at the Carnegie Center for Literacy and Learning in downtown Lexington, Kentucky.  However one February morning on my way to class, I only made it halfway up my street.  A car alarm flashed on.  I stopped to have a look and found a flat tire.  My husband left work, came home, and put on a spare tire (bless his sweet soul) in time for me to make it for most of the class.

The next day, I drove to a repair shop to get a new tire.  Knowing I would have some time on my hands, I brought several pieces to edit.

Here are the five senses as I sat down (and tried) to write at S & S Tire:

I smell:
tire rubber—lots of it
strong, bitter-smelling coffee at the help-yourself station

I feel:
smooth leather chairs
a cold breeze as customers entered the shop
a blast warm air from a space heater

I hear:
a sports channel on the television
men chatting about business
the telephone ringing
cars rumbling down the road
zip, zip (lug nuts being tightened)

I see:
an disorderly stack of magazines
a calla lily with a cream-colored bloom
a bucket of toys
lollipops for sale
a candy dispenser machine
two other customers:  one chatting a cell phone, the other going for the coffee

I taste:
cinnamon gum
(I'll have a fresh cup of coffee when I get home)

Action and Conflict

When you write a story for children, action and conflict should play huge roles. Yet some of the submissions that I receive for Kid's Imagination Train online magazine (http://www.kidsimaginationtrain.com/ ) are missing these very important elements.

Let's say a story begins with this scene:  a little girl tells her mother that she doesn’t want to go to school. The mother asks her daughter why she doesn't want to go to class.  The child tells her mother she can't leave home without her pet cat.  Notice that while this scene sets up the plot, it does not have any action.  This is telling. It's a conversation. 

A better way to do this would be by showing.  Now, if the little girl says will not go to school without her cat and then hides the cat in her book bag, the story has action. Through her actions we know that she loves her cat and doesn’t want to be separated from it.  Also through her actions, conflict is set up.  I’m betting the cat will cause trouble in class.  Maybe the cat causes a distraction by playing with students' shoelaces, lying across text books, and meowing loudly during lessons. 

The story should build with more tension that will lead to the climax and finally, to the resolution.  Keep in mind that the ending should also be active.  Don't tell us what happened. Having dialogue at the end of the story doesn’t cut it.  Let there be more action!  Show us how the little girl solves the feline dilemma.  Add a twist or a surprise so that the ending is unpredictable. 

Children’s stories thrive on action.  Without it, a story is simply dialogue and that can create a pretty boring story.  Stories for the young also depend on conflict.  It is needed to make us care about the main character and to drive the plot.  Without conflict, story is stagnant—there is no quest, no job for the main character to tackle.   

It’s easy to figure out if you have action and conflict.  Simply think of the plot of  your story in pictures or scenes.  If you see a character doing something actively, you have succeeded.  You have accomplished incorporating two important elements into your story (and that makes this editor very happy).

Do You Believe in KIT?

Kid's Imagination Train was created about three years ago.  It began as a blog and is growing by leaps and bounds. Now, readers can enjoy our magazine as a flipbook and can listen to features from our audio page.  KIT offers fiction, poetry, nonfiction, book reviews and much more each month. 

You may already know that our magazine engages children by providing them the opportunity to illustrate their favorite features and have their pictures published online. What you may not know about our magazine is that the staff of KIT donates their talents. Yep, that means, we don’t earn a salary.  This scenario is rare.  Most people want to get paid for their services.  So, you can imagine how blessed I am  to work with this wonderful group of individuals.

Book reviewer and marketing director Donna Smith evaluates children's books for each issue.  She also composes press releases and works on ways to market our magazine.  In addition, she creates puzzles for our Word Scrambles and content for our Facebook page.

Thrace Shirley Mears is our illustrator.  She not only designs each cover page of KIT, she helps in giving advice on the design of the magazine and she draws illustrated titles for our features.

Sharon Olivia Blumberg is our voiceover talent.  She records poems, stories, articles, and book reviews for our audio page so that children, teachers, and parents can listen to their favorite features.  The audio page also benefits children who are visually impaired.

Ultimately, KIT has three goals.  We would like to offer competitive rates for writers.  We would also like to cover production costs.  We would like to compensate the staff for their amazing services.  

We believe in keeping KIT a free magazine for children around the world.  And you can help.  If everyone who read Children’s Writers World and Kid's Imagination Train gave $5.00, we would be able to meet our goals.  Another option would be to buy an ad on our sponsor page.  

Please visit  http://www.kidsimaginationtrain.com/ .  Contributors will be acknowledged in KIT.  A portion of the proceeds will go to First Book  http://www.firstbook.org/ which donates new books to children in need. 

Won't you please consider giving?  A small gift will make a big difference.    

Thank you in advance.  
Randi Lynn Mrvos,editor

The Five Senses with Ozzie

For those of you who faithfully read Children's Writer's World blog, you know that my beloved eight-year cat passed away in March.   It's hard to describe the loss.  Ollie was part of our family and his passing left me terribly sad.  Several friends suggested that I find another pet.  One friend told me there is always room for more love.

Some time afterward, my husband and I visited local humane societies. But going to the animal shelter on the weekends was too crowded with pet-seekers.  So, I started to search online instead.  In a short period of time, I found an eight-month old, amber-eyed stray named Polo. I felt a connection to him.  Mid-week, I drove to the shelter. When I called his name, a little grey-striped paw pushed through the slats of a cage. My heart melted the moment we were face to face.  That day, I signed the adoption papers and renamed him Ozzie.

In many ways, Ozzie is Ollie reincarnated.  Though he may not look like Ollie, he acts like him.  Ozzie rests on the bed when I nap, lounges in front of the computer as I work, and sits near me in the arm chair when I read—just as Ollie had once done. He understands the same words that Ollie had once known:  "sit," "stay," and "come here" and "let's go up" and "let's go down" whenever I call him from the stairs.

I will always miss Ollie, but his passing led us to meeting and adopting Ozzie.

I sit at a table with the kitchen door open and Ozzie at my feet.  This is where I write.

I hear:
Ozzie's rumbled purring
a cardinal singing "cheer, cheer, cheer"

I touch:
Ozzie's fuzzy furry belly
the smooth, slick wooden table
rough woven place mats

I smell: 
chicken cooking in olive oil
clean fresh spring air

I taste:
a sweet Honey crisp apple
iced tea, slightly sweetened

I see: 
shadows of tree branches on the deck
a breeze tickling the lime-green leaves of a locust tree
a wisp of a cloud floating across a pale blue sky
Kentucky bluegrass, a deep emerald green
Ozzie stretched out, eyes closed, dreaming

So You Want to Write for KIT?

As the editor of Kid’s Imagination Train, I receive emails from writers who want to know what topics interest me.

A few authors want to write about famous people.  And this is what I tell them. If you want to write an article about a famous person, it has to relate to children.  You may spend many hours detailing the important aspects of a prominent person's life from birth to death, but chances are kids will not be drawn to this kind of article.  A piece like this has the tendency to come across as lifeless and dull.  So you need to find a way to spice it up. See if you can find a humorous event or discover a courageous act about the famous figure during his childhood days.  If the person is still living, do an interview and add some interesting quotes.  Make the writing snappy and lively.

Many people want to write about animals.  KIT publishes animal pieces, but they should be told with a unique slant.  For instance, KIT has published pieces about animal tongues and animal feet.  We also like articles about unusual animals. In our June 2015 issue, we will publish an article about an animal called a Fisher cat.   Have you ever heard of this creature?  Let me give you a clue—it is not a cat!

Sometimes, authors send me a list of topics and ask me to choose.  Though I may select a topic, this may not necessarily garner an acceptance.  It’s all in the writing.  After the piece is written, read your work out loud as if you were reading it to a child.  Is the information presented in a logical manner with similar facts grouped together?  Would it capture and hold the attention of a child from beginning to end?

To get ideas for a piece, take a look at our archives.  Look over the topics that have been published. Read several pieces.  Get a feel for the writing style.   And then mull over ideas and make a list of possibilities. Then choose a topic that has the potential to educate and entertain.  The key is find a topic that interests you and children as well.

Never Give Up--Part II

A couple of months ago, I blogged about my rejection from a prominent Mid-Western educational publisher.  Specifically, this publisher compiles writing passages for testing children's reading comprehension skills.  I proposed six articles, but a few weeks later, the rejection letter appeared in my inbox.  Not ready to give up, I requested examples of published passages in order to improve my chances of an acceptance.  Afterward, I proposed more articles—and another rejection letter came again.

This was getting frustrating!  What kind of articles did they want?

I read the rejection letter once more.  Despite turning down my ideas, the publisher said that my writing was strong and engaging.  She asked if I would consider doing some commissioning work.  I really hadn't planned on submitting again. Why open myself to a third rejection?  And then, I realized that was the wrong attitude. The publisher was interested in my work.

This time, the strategy was to improve my next group of submissions by creating a stronger hook for each article, by making sure that the topic idea was not too broad, and by providing intriguing details from cutting-edge research.  I submitted four proposals. And then...several days later, another email appeared.

It read, "After reviewing the proposals with our development team, we would be interested in a passage."  WOW.  But there was one more paragraph: "The approval of a topic idea does not guarantee payment.  Authors are not ensured payment until their passage has been officially accepted for use on assessments.  If a passage is considered unsuitable for testing, even after multiple revisions, it will not warrant payment, and the rights to the work will be returned to the author."

So, I could work on this passage with no guarantee that it would be accepted.  What to do, what to do? Because it seemed that I was getting closer to having my work approved, quitting now was not an option.  Even with a tight deadline, I carefully wrote the piece and edited it for grade level.  A week after the completed passage was sent, the director made editing suggestions:  rearrange the order of the paragraphs, simplify the scientific terminology, and make the writing snapper.  Okay, not a problem.

After completing the work, the passage was delivered.  And then I waited.  Even with the possibility of a rejection, I felt good knowing that the submission had been vastly improved.

And then shortly afterward, I got good news.  My passage had been accepted!  After weeks of researching and writing and after multiple rejections, I had reached this difficult goal.

Was it hard work?  Yep.  Would I do it again?  You bet.  As hard as it is to take, rejection is part of the writing life.  But so is perseverance.  If you want something bad enough, you know the drill—never give up.

The Five Senses: As I Write with Ollie

Late February, 2015

My beloved cat Ollie is dying.  In his younger days, he loved to swat at yarn, tear boxes to shreds, and carry his baby (a stuffed mouse toy) in his mouth.  For a treat, he would "sit," "stay," and "come here."  He knew the words "bird" and "squirrel" and when I asked him if he saw any, he would go to the kitchen door to look for them.  As he grew older, he would sleep on a dining room chair hidden under the tablecloth.  On sunny days, my lean cat would stretch out by the screen door.  At dinnertime, he would beg at the table, lifting his paw to my arm.

When he was healthy, he would hunt me out.  He would sit next to me on my chair as I read, or stretch out on the desk in front of the computer screen as I wrote, or snuggle on the bed as I napped.

Now, he is more stationary, saving his strength for potty and water breaks, resting on a soft blanket near my desk.  These days, I come to him.  I sit on the kitchen floor next to Ollie—this is where I write.

I see:
raindrops clinging to the deck door
sheets of drizzle rippled by the wind
birds winging across the pale gray sky

I hear:
the cat water fountain gurgling softly
the humming of the refrigerator
purring

I smell:
a light sweet scent of flowers on the kitchen table

I taste:
coffee sweetened with sugar

I feel:  
soft, silky fur
stiff whiskers
velvety ears

March 16, 2015.

Ollie is gone and I miss him terribly.

Rest in peace, my dear sweet cat.

The R Word---Revision

What would you do if an editor asked you for a revision? Would you:

A.  Shelf the piece 

B.  Send it off to another editor
C.  Follow up and revise

When I get a submission for Kid’s Imagination Train that has potential, I email writers to let them know that with a little editing, their work will likely be published.  I point out the strong parts of the piece and then discuss the portion that needs revising.  For instance   in nonfiction, a writer may need to conclude the article with a tie-in to the beginning.         In fiction, a writer may need to develop a true conflict closer to the start of the piece. With poems, writers may have to edit for rhythm and rhyme.

There are times however, when writers never follow up.  It’s puzzling.  Writers should understand that when an editor asks for a revision, she is interested in their work.  That means it's time to revise.  And this process should not be dreaded.  Think of it this way: effort has been spent creating an article or a story or a poem with the possibility of publication, so go the extra mile and spend just a little more time editing.

Most of the time, writers will comply.  They get it.  They will do what it takes, drawing on the editor’s suggestions and working to improve their submissions.  They know the goal is not to rush the process and submit, but to take their time and revise so that they will produce a polished manuscript. As an editor, it's a joy to know that writers realize the worth of revision.  In fact, one writer told me: "I would be happy to revise.  Editing is always welcome because there is always room for improvement."  I couldn't have said it better.

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

Perseverance

Throughout each week, I like to work out at the gym, walk for an hour, and take ballet. Of the three activities, ballet is the hardest.  Ballet requires strength, balance, coordination, and focus.

One of the most challenging ballet poses is a passé.  This is when a dancer balances on one foot with the other leg opened wide to the side and the foot arched and pointed at the knee.  Looks easy, right? However, I can only balance for two to three seconds without holding onto the barre.  

In one class, I asked the instructor what the secret was to balancing in passé.  She said a dancer had to develop a strong core and be able to lift the body up from the legs, hips, trunk, shoulders and head.  That's a lot to think about. 

I was struck with the similarity of writing nonfiction for children and performing ballet because both seem easy to do and yet, that's hardly the truth.  Both take perseverance to do well.  

With ballet, dancers practice to make it look effortless. They take classes which begin at the barre with a series of movements that warm up and stretch the entire body, literally from head to toe. From there, they move to the center of the studio to perform a combination of steps, applying the principles of the barre without the aid of the barre. Lastly, the dancers move across the floor practicing turning and leaping. 

In writing children's nonfiction, authors must strive to educate a young audience within a tight word count (generally 500 words).  Writers don't rely on the Internet for research. They dig deeper to find primary sources and current studies.  They present research in a lively, creative manner to engage children.  Writers edit, edit, edit, until the piece flows, the word choices are perfect, and the meaning of complex concepts are simplified. And, writers put this all together in such as way as not to talk down to children.

I love doing ballet and writing for kids, but sometimes they are not always easy.  There are always challenges like doing a perfect passé or aiming to have an article published. Since I want to succeed at doing both, it takes hard work and dedication.  It takes time and practice. And as Victor Hugo once pointed out, it takes "perseverance, secret of all triumphs."

The Five Senses

My daughter attends Wake Forest.  One of the many nice perks for parents is receiving an email called The Daily Deac.  Betsy Chapman writes every day about activities on campus, updates on construction projects, and opportunities and special events for students.  She offers reflections and questions for conversations with our Deacs. 

One of my favorite posts is called the “Five senses.”  In these posts, Betsy describes what she is experiencing on campus.  With distance separating us from our scholars, this post helps parents to connect with what our students may be sensing, too. 

I like this post so much, that once a month I plan to add my version to Children’s Writer’s World. Dear readers, here are the five senses from my desk in front of a window as I sit down to write.

I smell: 

—my husband’s lunch of spaghetti and marinara sauce   

I hear:

—the mail truck’s engine rumbling  

—the microwave humming 

—silverware clinking on a plate

—Ollie meowing for food

I taste: 

—Seattle’s Best dark roast coffee sweetened with a bit of sugar

I feel: 
—the warmth of my coffee mug

—the smooth surface of the desk 

I see: 

—an oak tree with curled brown leaves waving in the breeze 

—the blue sky warm with sunshine and streaked with veils of clouds  

—a man bundled up and jogging down the sidewalk with a dog

Never Give Up

Do rejections make you want to give up on writing?  A lot of writers feel this way from time to time.  When you have spent hours on a writing project, you are hoping for an acceptance.  But when that rejection note comes along, you may find yourself wanting to throw in the towel. 

Although rejections are part of writing/publishing process, sometimes they frustrate and discourage me.  I get downright grouchy about rejection (just ask my husband). 

Some rejections are harder to take than others.  For example, I can’t figure out why one Midwestern educational publisher keeps rejecting my work. Their guidelines state to submit a description of an article in one to two paragraphs.  Since reprints and multiple submissions are permitted, I submitted descriptions of three articles that had been published in respectable magazines.  These pieces have been used as testing passages and in books to improve students’ reading skills.  And yet, all three of the articles were declined.

Despite the rejection, I submitted again to this publisher.  And, more “no thank you” emails came my way.  But this time, the rejection note included a message:  “Your writing was strong and engaging and very close to what we're looking for.”  They even sent examples of the kinds of articles they had published.

So what would you do?  Would you give up or try again?  For weeks, I put off approaching this publisher because I didn't want to set myself up for another rejection. But, I decided to submit once more because this editor appeared genuinely interested in my work.

Striving (and hoping) to earn an acceptance, I worked on improving my next group of submissions by creating a stronger hook for each article, by making sure that the topic idea was not too broad, and by providing intriguing details that had been discovered through research.  

Perhaps, the editor will be interested in this new set of articles.  And then again, another rejection could come my way.  But if that happens, I will have to find another way to crack this market. Giving up is never an option.

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.

Grade Level

When you write for young children, you should aim to keep the reading level age-appropriate.  In other words, if you are writing for ages 8 and 9, the readability should be for grades 3 - 4.   But what you have written an article intended for third-graders and an editor tells you that your piece is too advanced?  How can you measure the reading level so that you can edit it for the appropriate grade?

Here's when the Flesch-Kincaid grade level tool comes in handy. If you use Microsoft Word to spell-check your manuscript, you can choose to display readability statistics such as Flesch-Kincaid.  This tool was created to indicate comprehension difficulty when reading a passage.  The Flesch-Kincaid tool indexes readability by employing a formula that results with a number that corresponds with a U.S. grade level.  

Writers should become familiar with Flesch-Kincaid and use it as a guide to judge grade level.  I am not sure how many writers know about this tool, or know about it and forget to use it.  But if an editor points out that the reading level of your article is too high for the intended audience, you will need to find a way to lower it.  And this is where Flesch-Kincaid can help. 

In order to succeed in lowering readability, you cannot rush the process.  You should not hurriedly shorten a few sentences and cut some words here and there, and send it back to the editor with the message:  “Here you go.”  (I’m not kidding. I have seen this quite often.)  When you return an article to an editor in a day, it looks like you haven’t spent the time it takes to edit properly.  In fact, it almost shows that you don’t care enough about your work.  

My advice would be to work on the revision over several days, put it on the back burner for a few days, and return to it with fresh eyes.  Then take a look at the length of your sentences.  Turn the compound sentences into simple sentences.  Balance the number of simple sentences so that the work does not sound choppy.  Include some complex sentences, those that have an independent clause and a dependent clause.  Next, scrutinize each word.  Reduce the number of multisyllabic words.  Use a thesaurus to find grade-suitable words. 

You may find that you will need to repeat this process many times to gradually lower the grade level.  It's challenging, but doable.  And it's worth it. Before long, you will have created an age-appropriate piece and made an editor happy by giving her what she has requested.  

The Subject Line

Writer's guidelines.  Every magazine has them.  But I'm trying to understand why some writers fail to observe them.  Do writers simply forget to read the guidelines?  Do some feel entitled to skip them if they are published authors?   

The writer's guidelines will usually state how an article or story should be presented to an editor. This includes the way an editor wants the subject line of an electronic submission to read.  For Kids' Imagination Train, we would like to see the author's last name, the genre and the title in the subject line.  

Writers must always follow the guidelines.  And that includes having the correct wording in the subject line for an electronic submission. As cruel as it may seem, your work might get deleted or find its way into a spam folder if the subject line is not worded as specified.
    

Whether you pen fiction or nonfiction, you are well aware of the work that goes into writing for children. Nonfiction writers spend hours finding sources, reading them, taking notes, writing the piece and then editing it.  They spend time trying to find an expert to review the manuscript. Likewise, fiction writers spend hours crafting stories that demand conciseness, simplicity, and a visual sense.  They too, must edit and revise.  So with the mountains of time invested, why would writers take the chance of having their work trashed simply because they failed to follow one little step?  
 
As silly and as persnickety as it might sound, the subject line of an email submission must be stated exactly as requested.  You must pay attention to this little detail, because if you fail to do so, your precious manuscript that you spent oodles of time on may never get read.  And no writer wants to walk down that path.  I've said it before and I'll say it again (and again).  Review the writers' guidelines.  Pay attention to what is required for the subject line.  Doing this little step correctly should guarantee that your hard work will get into the hands of an editor.  

Read It Out Loud

You've probably heard this before:  read your work out loud. Most editors would encourage you to do so.

Once, a writer sent a nice poem to Kid's Imagination Train, but she repeated a phrase three times in two stanzas.  The repetition in this piece was distracting and it caused the poem to weaken.

Had she read her work aloud, she would have caught this slip. Then, she could have used a thesaurus to find words to replace the redundant phrase.

There is an exception to using repetition.  If you want to draw attention to a word for emphasis or for humor, then words and phrases can and should be repeated.  A classic example is Green Eggs and Ham by Dr. Seuss:

I am Sam.

Sam I am.

That Sam-I-am!

That Sam-I-am!

I do not like

That Sam-I-am!

Do you like

Green eggs and ham?

I do not like them,

Sam-I-am.

I do not like

Green eggs and ham.

Take a careful look at what you have written.  Review it multiple times.  Then close the door if you want and start reading it out loud to the computer screen.  You can print a copy and read to a mirror or even read to your pet. Listen for any unintended repetition. Check to see if you work flows off your tongue. Catch awkward phrasing. I urge you to do this every time before you submit your work. And so, allow me to repeat myself: read your work out loud:)

Multiple/Simultaneous Submissions

Do you know the difference between multiple submissions and simultaneous submissions? Though some people use the words interchangeably, there is a difference between the terms.  In the case of a multiple submission, a writer sends several different manuscripts to one editor.  In other words, an editor may end up with two or more pieces from one writer. Conversely, a simultaneous submission is when a writer sends the same manuscript to different editors. This means that your story is being considered by more than one editor.

It's important to understand the difference and know if multiple or simultaneous  submissions are accepted.  Your work might get rejected if you send an editor multiple submissions when the guidelines state otherwise.  So it's your job to find out if what is permitted.  

For instance, Kid's Imagination Train has a small staff so we don't accept multiple submissions or simultaneous submissions and we state that in our guidelines.  But that doesn't mean that everyone adheres to the rule.  Once, a writer sent a very nice poem which was accepted for publication in KIT.  Since the piece required a little editing, I worked on the revision for a few days.  And then, the author retracted the poem.  The explanation:  another publication had excepted the piece.  The author had submitted her work simultaneously.  I was not a happy editor—my time was spent editing a piece that KIT will not be able to use.

Be sure to find out what an editor prefers before submitting.  If multiple and/or simultaneous submissions are permitted, you will get the chance to have your work and lots of it considered by editors.  But when the guidelines state that an editor does not want multiple or simultaneous submissions, then follow those requirements.  That way, you will know exactly what to submit and how to target editors who may be interested in publishing your work. 

More Tips for Writing Nonfiction for Kids

In July, I had written a blog that had tips for writing nonfiction for children.  I’d like to add a few more.  The following came to mind after I edited an article and a book.   

*Write in the present or past tense.  Avoid using the future tense if the wording can be expressed in the past tense.  Example: She would become a great athlete.  Better:  She became a great athlete.

 *Look up words in a dictionary if you are not sure if they need to be hyphenated.  Check out the links below to discover extra tips on using hyphens: 

http://www.quickanddirtytips.com/education/grammar/hyphens?page=all 

http://www.chicagomanualofstyle.org/16/images/ch07_tab01.pdf      

*Dig deep when you research your topic.  Go beyond what is presented in encyclopedias or on the Internet.  Aim for primary sources.  Editors love primary sources.

*If you include an organization that is known by initials or an acronym, spell out the name of that organization. If it is not well known, give one sentence to describe the essence of the organization.

*Read your article out loud.  Really!  You will be surprised how many grammatical errors you may catch.

Before you submit manuscript to an editor, edit it thoroughly.  Put it away for a few days and read it again with fresh eyes.  Have someone you trust take a look at your work. Review the tips in the July blog and follow the tips listed above to help your writing get stronger and to make your manuscript shine.  

Do you have any tips for writing nonfiction for kids?  I welcome you to leave a comment.

Pushing the Limit on Word Count

Do you stay within word count when submitting to a children's magazine?  I hope so. Yet, some writers think it's okay to push the limit.  Once, a writer sent Kid's Imagination Train a 1200-word article.  That's a bit too long—700 words over the limit.  KIT accepts fiction and nonfiction that run about 500 words.

It is clear to me that this writer didn't read (or understand) our guidelines.  What a shame because it wastes my time and the writer's time.  Had the requirements been reviewed, this writer may have sent an appropriate piece that KIT would love to publish.

Magazine editors post word counts not to challenge or frustrate writers, but to encourage writers to create pieces that are suitable for their audience.  Five hundred words or less is an appropriate length for young children because it's short enough to keep kids engaged.  Anything longer may result in losing a child's attention.  In fact, other editors will tell you that even adults lose interest in reading lengthy pieces online.

Here are some general rules:  twenty to fifty words over the count is generally okay. Going over by one hundred words is iffy.  Pushing the count to several hundred words over the limit is a no-no.  Just don't go there.  

Writing for children requires that you write concisely.  If you want to get published in the children's markets, make it a point to read the guidelines and stay close to the expected word count.  

Making a Lousy Day Better

I suppose everyone has a lousy day from time to time.  Not long ago, I had one of those kind of days.  A business associate left Kid's Imagination Train without giving notice, leaving me to fill in for her duties at the last minute.  Luckily, I had some clues that this might happen, so I prepared in advance.  Looking back, it was for the best.  My former partner is probably happier and I have fewer worries.  More, her departure pushed me to be creative with KIT.  And I could not be more pleased with the direction it has taken.

As I look back, it was truly an awful day.  A question kept burning:  How could anyone treat another person that way?  It really bummed me out.  But that question would never get answered.  So, I had two choices: to continue to have a bad day, or to do something to make the day a little better.  I choose the second. 

Early each morning I take a walk and pass by a dry cleaning business.  Cathy, the owner always waves or says hello to me.  It occurred to me that on this lousy day I could do something nice for her.  I was on my way to the grocery and decided to buy a potted flowering plant. 

When I gave it to her she looked stunned.  “Why?” she asked.  I said, “It’s a ‘because’ plant.”  I did not go into any details about my day.  I told her it was because she was always friendly to me.

Believe it or not, the little plant still blooms even months after it had been given as a gift.  Cathy tells me that people remark about it when they stop in.  As for me, it never reminds me of my lousy day.  Instead, it reminds me of hope and kindness.  It makes me smile knowing that a small gesture made my day better and someone else’s day a little bit brighter.

KIT's Writing Contest for Kids

All aboard!  Kid's Imagination Train is sponsoring a writing contest for children ages 7 - 12.

Here are the rules:

There is no entry fee.  Create a holiday or winter-themed story up to 500 words.  The story should be typed or neatly printed.  On the right hand corner of the first page include your name, age, and home and email address.

Submit online at kidsimaginationtrainmag@gmail.com  Type "Contest" and the title of your story in the subject line.  The stories can also be mailed to:

KIT c/o Randi Lynn Mrvos, Editor
4637 Spring Creek Drive
Lexington, KY  40515

Be sure to keep a copy of your story.  All submissions must be received by October 1, 2014.  The KIT editorial staff will review the stories.  Notification will be emailed approximately six weeks after the closing date of the contest.

The prize:  The winning story will be published in the 2014 KIT December issue.           The winner will also get to choose a book that has been reviewed on KIT.  Go to www.kidsimaginationtrain.com and click on Contest to see the list of books.

Stumped on ideas?  Here are a few titles that you can use or that might get your creative juices flowing:  

"Snowman has a Wish"
"A White and Wondrous World"
"The Magical Snow Angel"
"The Loneliest Snowflake"
"A Gift for Santa"

To read the latest issue of Kid's Imagination Train visit:  www.kidsimaginationtrain.com

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.  

Where's the Fire?

What would you do if an editor said, “I’d like to publish your work.”  You’d probably be screaming and fist-pumping with excitement.  What if she added, “First, you’ll need to do some editing.”  How do you feel now?

If it were me, I’d say, “Sure, show me what needs to be revised."  And, I’d work hard to get the piece up to the editor's standards. But lately, I have noticed that when I ask writers for a revision and give them suggestions for editing, I don’t get nearly the same response.  Sometimes they send their article/story/poem back the day after I've asked for a revision. This makes me think that the author is not giving the story or article the time it deserves. Other times, I may never hear back from the author.  When I work with writers like these, I find myself asking: where is the fire, that desire and passion to follow up on revising a submission and making it the best it can be? 

It’s funny.  It seems to me that some writers today have changed.  Their attitudes come across as indifferent, smug.  They don’t want to develop true conflict or tie-in the closing to the beginning.  They don't want to put the effort into finding an expert to review their work.  They could care less if the bibliography is insufficient or poorly formatted. They want an acceptance without having to make any changes to their manuscript. Sorry, that’s not how writing for publication works.  Writing requires revision and I know of few writers who get their work published without thorough editing.

Luckily, I have found this attitude in only a few writers.  The majority know that when an editor is interested in publishing a story or an article, they jump on it and edit their work. They understand the value of revision. And they work hard to deliver what is required. They also know that when they give an editor what she wants, they not only have a better chance of seeing their work in print, they will have created additional opportunities for future manuscripts to be eagerly and warmly received.  

Writer's Contest

Heads up all contemporary middle grade writers.  Check out this great contest: http://tinyurl.com/kva3w9j.  Deadline is March 18th.  Top 3 winners all get: 1) A critique of the first 10 double-spaced pages of your work, by your agent judge. 2) A free one-year subscription to WritersMarket.com ($50 value)!

Follow-up

I receive a good number of submissions each month for Kid's Imagination Train.  Not long ago, two writers emailed me to inquire if I had received their stories.  Both of them wrote that they were having trouble with their emails.  Okay, perhaps that’s true.  But the cynic in me was asking:  Were these emails a handy excuse to check on their submissions?

There are some unwritten rules about emailing editors.  One rule is that writers should not email an editor until after the stated turnaround time.  Turnaround time can usually be found under writer’s guidelines.  For KIT, the turnaround time is about six weeks; but for other publications, it may be closer to two to three months.  Checking on work a couple of weeks after submitting is unnecessary.  In fact, it can make writers appear unprofessional.  

Some novice writers get nervous about submitting.  They feel that their work might get lost in cyber-space. Yet, that rarely happens when the correct submission address is used.  My word to these anxious writers would be:  relax.  Not many editors send email confirmations upon the receipt of a submission.  Instead of worrying about the submission, writers should move on to other projects. Then, if the turnaround time has been reached with no word from the editor, you have the green light to inquire about your work.  

In Today's Mail

Today, I received a letter in the mail addressed to Editor, Kid's Imagination Train (www.kidsimaginationtrain.com ). I was hoping for a great submission, but when I opened the letter, I found three pages of poems and a self-addressed stamped envelope.

There was no cover letter. 

All submissions, whether through the mail or email, should always have a short cover letter giving the title, genre, word count, and a biography.  I'm betting this author is new to submitting and doesn't understand the courtesy of a cover letter. 

The poems sent were eleven or twelve-word descriptions.  Short and poetic, yes.  But not a good fit for our magazine.  Our guidelines state that we are looking for poems that tell a story and run about 200 - 300 words.  It makes me wonder if the author read the require-ments.

Unfortunately, I will have to pass on this submission.  However, since the author included a SASE and her work was neat and properly formatted, I will write to her on how to properly submit and include a copy of our submission guidelines.  I will encourage her to follow the rules and to aim for longer poems.  I am hoping she won't give up.  Every writer deserves a chance to grow and to improve.

Titles

If you have written a picture book or middle grade novel, you probably have a particular title in mind for your work.  But be aware that if the piece is accepted for publication, the title you have chosen may be altered.  This is common in the world of publishing. 

J.K. Rowling’s first Harry Potter book, published by Bloomsbury in London in June 1997, was actually called Harry Potter and the Philosopher's Stone.  A year later, Scholastic published an edition for the United States market under the title Harry Potter and the Sorcerer's Stone.  Perhaps the editors felt the word “philosopher” didn’t stress magic as much as the word “sorcerer.”  

Other famous children’s book titles have been changed. For instance, The Secret Garden by Frances Hodgson Burnett was originally titled Mistress Mary.  Lewis Carroll's Alice's Adventures in Wonderland was originally titled simply Alice.  The same holds true for adult books. The Shine became The Shining by Stephen King, Fiesta became The Sun Also Rises by Ernest Hemingway, and Atticus became To Kill a Mockingbird by Harper Lee.   

Knowing that book titles are often changed should not make you lazy about choosing a great title for your work.  A title is the first thing editors and agents will probably consider before reading the first paragraph.  So buck up and spend time choosing a great title. Make a list of possibilities.  Imagine these titled books on a shelf.  Which one of your titles screams:  “Pick me up and read me.”  This is what you’re aiming for.  

Choose the very best title your story deserves regardless that it might be changed.  An attention-grabbing title whets the appetite of an editor or a literary agent.  It gets them in the mood to seriously consider your work.

Here’s link to see the original titles of famous books:
http://www.huffingtonpost.com/2013/05/21/classic-books-original-titles-_n_3311784.html