Today's #AtoZChallenge post is all about length. For Writers, I'll discuss how long the book should be. For Readers, I talk about long-winded picture book titles (that are so good anyway).
If you happen to scroll down my homepage, you'll read that I write "for, about, and around children all day." But what you may not know is that I also READ for, about, to, and around children all day. So today's word is...
So I just wrote this blog post for the A to Z Challenge and just thought you might like to read it. Enjoy!
This is my first post of the 2017 AtoZ Blogging Challenge. My theme this year is "For Writers and Readers" and today's word is "Animal." For Writers, I'll be sharing my ideas about when it's OK to have anthropomorphic animals in your story, and tips on how to do that effectively. For Readers, I'll talk about nonfiction animals, and why you might sometimes find them in the picture book (fiction) section.
Quick shout out to the ReFoReMo peeps, who are feverously reading mentor picture books. Even if you aren't actively participating, I suggest you take a peek at the official blog for amazing tips on how published books can make you a better writer. (Link is at the bottom of this post)
*Clink *Clink* Is this thing on?
Oh! Sorry about that. Guess it's on.
Ahem! This is your Big Goals Blog Hop Cohost speaking with an important message:
(My poem, written several years ago, seems appropriate):
Here I am
New Year's here again,
Looking at that same old list,
I wrote so long ago.
They say hindsight is 20/20,
But I don't really know.
I guess you have to turn around
to see if that is so.
Those of you who know about the goals blog hop that this post is a part of may wonder what Anne of Green Gables has to do with my goal of getting rejected 24 times. Bear with me...
While I wait to hear back from the agents I've queried, I sometimes build my author visit skills by volunteering and guest teaching at my kids schools. As soon as I have a traditionally published book to promote, I will be charging a fee and will need to do some relabeling.
I was looking for a great picture to put on this blog post. One that would create hopeful feelings in the viewer.
I didn't find anything I could use, but I did find a hopeful picture I couldn't use.
It's here! It's here! Susanna Leonard Hill is hosting her annual holiday contest. And of course I'm entering.
Well, lovely readers, once again I've failed to rise above the other 145 entries in Susanna's Halloweensie Contest with my "Witch Vs. Superhero" entry.
No pity parties though...
It be Talk Like a Pirate Day and ye'll be walkin' the plank if ye don't talk like a pirate. Lucky for you, thare be a treasure trove o' books to celebrate.
The stage is in my blood. I was hooked from the first play I saw. The way I remember it, My Dad was the star (he played a chimney sweep) and I was wearing a brand new dress with white pantaloons underneath. I remember my dad also played a grey mouse in another play, and later directed several others.
Sometimes I lined up my stuffed animals and dolls like an audience on my daybed and tilted my bedside lamp like a spotlight. My toys must have attended thousands of my plays. (Most people don't know that... Well, I guess they do now!)
When I was in high school, I wrote The Dramatic Handbook for an assignment in English class. It had all of my best tips and tricks to put on a great show. Below is an excerpt from it, "The S.E.L.F. rule"
SELF Rule: Slow, Enunciate, Loud, and to the Front
The audience won’t get the jokes if lines are rattled off too fast. Some of the songs’ tempos may need to be slowed so that the lyrics can be heard.
Move your mouth, exaggerate your gestures, and be overly expressive. This will help the audience hear the words, see the action, and get the comedy.
Pretend there will be no microphones and project every line and lyric to the back of the house (the audience). The mics don’t pick up as much as people assume.
to the Front
It feels weird at first, but everything is done toward the audience. Even actions and dialogue normally directed toward another character are actually done toward the audience.
You Don't want the audience to see This all performance:
During my college days, I got to direct some of my plays. It was awesome watching other people enjoying the stage as much as I did. We won some awards, but what really sticks with me are the comments I got from the audience, "I could hear every line," "I could see the performers' faces," and my favorite - "I loved the humor, and I didn't miss any of the jokes!" Invariably after some such comment, I would then hear that this is not usually true at amateur performances. I think that my plays were successful in large part because the cast had been drilled on the S.E.L.F. Rule all through the rehearsals.
But enough about me, What have you've learned from the stage?
This is a recycled post from my old blog. I have added a few credits since, including an adaption of "Hot Fudge Pickles" by Marilyn D. Anderson being performed in Indiana, and a local teen group considering another of my plays. There will always be a special place in my heart for the stage, and I hope this post will help those who would like to get more involved in theater... a cause of which I highly approve.
Save the Date!!! September 10th is the next #PitMad twitter pitch party. All Details are on Brenda's blog,
Whether you actually pitch or not, it's a good idea to try to get your pitch down to 140 characters. That's the essence of your story.
A pitch needs to do a lot. It needs to hook, lure, and promise. It needs to make the person reading that pitch want to read more. There are many blogs and books on creating the perfect pitch, but the best test is having someone read it that hasn't read your story. Do they want to read more? Yes? You're ready to pitch.
Here I was on JEN’s Blog, just reading through posts, when a spaceship crashed right into it!
Now, JEN has written about plenty of aliens, but I’ve never seen one like that. Clearly, he had landed in the wrong blog.
(Guest Post by Krystal Owens)
Are you a writer with a passion for history? Looking for advice on how to bring history to life? Join Nancy Herman, author of “All We Left Behind: Virginia Reed and the Donner Party,” for her presentation “Historical Fiction: Fact versus Truth” at 1:00 pm on Saturday, September 12, at the Placerville Library, 345 Fair Lane.
Placerville resident Nancy Herman is a third-generation Californian who is fascinated with her state’s colorful history, including the westward migration of the 1800s. She grew up in the coastal town of Watsonville and earned a Bachelor of Arts in Journalism from San Jose State University. After her 25-year career as a Silicon Valley marketing communications professional, Nancy began researching and writing her first historical novel “All We Left Behind: Virginia Reed and the Donner Party.” The novel has received top reviews from Kirkus Reviews and San Francisco Book Review and is a popular purchase in bookstores, museums, and visitor centers along the California and Oregon Trails, stretching from Missouri to California.
Ms. Herman is one of a series of guest speakers addressing the library’s writing group, The Writers’ Bloc, which meets the first Saturday of the month. For more information on this free public event, contact the Library at (530) 621-5540 or visit the Upcoming Events calendar on the library’s website www.eldoradolibrary.org.
A year ago, I wrote this post about Illustration notes with some tips on how to check if your notes are necessary. I was cocky then and thought I knew it all.
I WAS WRONG.
You see, I thought illustration notes were for the illustrator.
I thought if the editor's going to delete them before the illustrator sees them, then there's no point in putting them there in the first place.
The truth is that I didn't know what (or whom) illustration notes were for.
Truth: Illustration notes are NOT for the illustrator.
The purpose of illustration notes should never be to tell the illustrator how to tell their part of the story. It is likely that the illustrator will see few, if any, of the notes.
Truth: Illustration notes may be needed in a manuscript.
More than ever, the text and art of picture books interweave to tell a complete story. Many times a writer needs to explain the parts of the story that will be in the art. An illustration note may be the most effective way to do that.
Truth: Illustration notes are for the Editor/Agent reading the manuscript.
Writers who are trying to sell a story need to be clear and efficient. If a vital illustration note is missing, and the story isn't clear, it's likely to get a pass. On the other hand, if the story is buried in unnecessary notes, and isn't efficient, then it will also likely get a pass. A manuscript that clearly and efficiently tells a story that hooks begs to be a picture book, then it will likely get sold.
Remembering these truths has helped me put in the right balance of illustration notes in my manuscripts.
How do you know when you need to add an illustration note?
I just have to share this excerpt from “No Dogs Allowed” by Jane Cutler and Tracey Campbell Pearson. Jason and Edward are brothers who decide to create a book together. Jason plans to write it and Edward is going to illustrate.
You hear it all over the Picture Book Publishing World, "You need a hook." Check out Erin Dealey's "Writer's Rap" about it. (Scroll down on her page) So, what's a hook?
In a Query letter the hook is that first sentence designed to grab the agent's attention. It's that "something" that makes them want to read on.
In a Pitch it's what will get the listener/reader to say those magic words, "Tell me more." Maybe it's the angle, maybe it's the interesting MC, maybe it's the kid appeal, maybe it's just "something" that intrigued and excited.
In a Picture Book itself, it's the first few pages, or beginning that gets your reader to want to continue (and your buyer to put down the money – just so they can finish the story).
In an Acquisitions meeting (which I have never experienced personally) a hook seems to be those points about a book that will convince an editor to take on the project. For examples, what "kid appeal" does the book have? Are there any Common Core Connections? What gaps will this book fill? Where on the bookshelf will it be?
For a Writer, all of the above are important hooks. We need to have a polished manuscript, query, and pitch that hooks whichever reader lays eyes on it. We also need to be aware of the hooks that an agent or acquisitions editor will use to sell our manuscript.
Want to know what else I think about Hooks?
One piece of sound advice for those agent hunters (like me) is to never say any agent is your "dream agent." This can hurt the chances of finding the best agent for you, because other agents think, "What, am I chopped liver?"
The dream agent should be the agent you sign up with for years and years, who continually gives you satisfying deals, and communicates with you on a level you are most comfortable with. That means one author's dream is going to be another's nightmare.
Sometimes, however, I think we point to those agents who have an impressive list of best-selling books and label them "dream agent" much like we label George Clooney "sexy actor." Sure he's got good looks for his age, but would I even consider dating him? Yuck.
Now, my hubby is another story. He is the sexiest, most awesome man I know. (And you can't have him; he's mine!)
So, Writers... Dream-Agent Hunters, just be careful what you say.
You may know that I’m taking an online course called “Writing for Love and Money” at The Children's Book Academy.
Wow, talk about a wealth of info! Lists of publishers that took years to compile and update. Assignments and Homework, Blog lectures and videos that show step by step, and help get me ready to submit. I even got some of my cover letter critiqued by the instructors! The course is only half over and already there’s so much stuff, I’ll have to revisit after the course is over. Luckily, class members have six months access after the class is live.
As excited as I am about the course I’m taking now, I’m even MORE enthusiastic about the next one offered at The Children’s Book Academy.
“Writing Children’s Books”
Why am I looking forward to this course so much? Well, Take the wonderful Dr. Mira Reisberg who always over-delivers on her courses, and add acquiring editor Kelly Delaney, who WORKS at dream publisher Random House/Knopf! Talk about the inside scoop. Could it get any better for a Picture Book writer like me?
The course is chock full with guest instructors, critique opportunities, worksheets and handouts, and skip-the-slush Golden Ticket opportunities where every student gets to have their pitch in front of acquiring editors and agents eyes! Yep, I can’t wait for the first live training June 29th. If you are picture book writer - or want to be – here’s all the info you need to register for the course: "The Craft and Business of Writing Picture Books"
Hope to see you there!
One of the great inspirations for writers is music. But how we use it is impressively different.
Get in Character
One writer creates a playlist for each character. Whenever she wants to get into a character’s head, she puts on the correct playlist. She says it helps her differentiate between characters and really get a feel of the voice.
One writer creates a playlist that she listens to on loop while she’s writing. When she gets sick of the same songs over and over, it becomes an incentive to GET THE BOOK DONE.
Movie Overtures and Lyrics
One writer loves how songs can almost have a character of their own. She likes to channel that into her writing, so she picks several mood pieces for her playlist.
Sweet, Sweet Silence
I don’t write with any music on. The stuff in my brain is loud enough. In fact, I’ve caught myself trying to turn OFF the radio, when it was just me losing my mind – I mean thinking.
How does music inspire you?
I write about, with, for, and around kids all day. (Well, maybe I do the dishes too. Sometimes.)