I blogged last week about jump-starting your writing resolutions with Julie Hedlund’s wonderful 12X12 in 2013 program for picture book authors, but here’s some further news that includes yours truly…

Next week, from January 23-25th, I’ll be offering FREE query critiques for members of the 12X12 in 2013 program. If you’re a children’s book author and you haven’t already signed up for 12X12, now’s the time to do so, since registration closes in just a few weeks. And if you do it this week, you’ll get access to my free query critique session AND a special offer to join the Children’s Book Hub for just $5 for the first month!

Here’s what Julie has to say about it from her blog:

“NYT bestselling, award-winning author Emma Walton Hamilton will conduct a multi-day query critique session, January
23-25, on the 12 x 12 Membership Forum. Little GOLDen Book and Shel SILVERstein members will be able to submit one
query for Emma’s review and comment, with LGB member queries taking priority if there is not enough time to get
through all the queries.

Those of you who have attended Emma’s similar sessions during WriteOnCon know how invaluable her feedback is and
how much you learn, even from her comments on others’ queries. But you have to be a 12 x 12 member, so sign up
today and don’t miss the chance to get your query in shipshape for submissions in 2013!

Emma is also offering a special deal for 12 x 12 members interested in joining the Children’s Book Hub. Details will
be provided next week on the Membership Forum!”

To find out more and register for the 12X12 experience as well as my free critique session, click here: 12 X 12 in 2013

Here’s a fabulous way to jumpstart your writing goals for 2013!

My friend and colleague Julie Hedlund launched the first 12×12 initiative in 2012. Members were challenged to write a picture book draft a month, so as to conclude the year with 12 completed manuscripts. The idea took off like wildfire, with hundreds of members signing on to take part in the incredible inspiration and community that Julie created.

This year, Julie has taken it a step further. She has made 12 X 12 for 2013 a membership site, with amazing perks – including getting to submit your work to agents! There are three different membership levels for different needs and budgets:

Margaret Wise BRONZE – Write. If what you need is the motivation to get your drafts written, along with the accountability of a deadline and the company of a community of writers dedicated to improving their craft, this level is for you!

Shel SILVERstein – Write, Revise. Perhaps you already have a stockpile of manuscripts drafted, and you would like to challenge yourself to revise some of them while also writing new ones. The Shel SILVERstein level gives you the ability to get feedback on YOUR work – queries, pitches and manuscripts – perfect for writers want to focus on both writing and revising. Shel SILVERstein is also perfect for agented, published authors who would like access to an instant platform. A place to share your books, events, trailers AND to get promotion assistance (in the Help an Author Out section of the Forum) from fellow members.

Little GOLDen Book – Write, Revise, Submit. Do you have submission-ready manuscripts? Are you looking for an agent or editor (who accepts picture books!) for your work? If so, Little GOLDen Book is for you! Each month, one agent or editor will accept submissions from 12 x 12 members for the duration of that month, enabling you to bypass the slush pile.

To find out more, and to register for the challenge in 2013, click here.

I’ve written here before that I prefer setting goals to making resolutions, because they feel more positive and attainable, less like resolving not to do something and more like committing to a new behavior or action.  This year, I’m choosing a new word – ‘intention.’  I like this word even better than goal, because it feels more proactive – a plan, rather than a wish or a dream.  The power of words!

Here on the cusp of 2013, I have a number of intentions for the year with respect to my family, my community, and my health and well-being. The following are my intentions with respect to my work as an author, editor and educator:

1)  To write and deliver at least one new picture book in The Very Fairy Princess series with my Mom.

2)  To create a how-to-write-for-children book based on my Just Write for Kids home study course.

3)  To further develop and launch the Just Write for Kids middle grade writing course, which has been long in the making.

4)  To recommit to regular weekly installments of this blog.

5)  To enhance and enrich the Children’s Book Hub membership site with new opportunities, connections and resources for children’s books authors and illustrators.

6)  To launch the new Children’s Book Fellows certificate program for Stony Brook Southampton’s MFA in Creative Writing and Literature, as well as to further develop and enrich the Southampton Children’s Literature Conference there, for which I serve as Director.

7) To further develop and strengthen my own writing in the continued pursuit of my master’s degree.

8)  To seek out new opportunities for enrichment through joint ventures with esteemed industry colleagues… stay tuned for more news on this in the not too distant future.

What are your writing intentions for 2013?  By sharing them here, you make a powerful statement to yourself and the universe that will greatly increase the chances of realizing those intentions in the days and weeks ahead.

Happy New Year to all!

Does the idea of reading your work in front of an audience terrify you?

We’ve been discussing the subject of presenting your work on the Children’s Book Hub this month, and if you answered yes to the above question, you’re not alone.  Many writers are drawn to writing because it’s something we can do alone, behind closed doors – in our pajamas, so to speak. It’s a solitary business, and we like it that way. But the truth is, if you’re a published author, you will be expected to read from your work publically from time to time.

Here are just a few of the places you may be asked to present your work:

- Interviews (especially TV, radio and web)
- School visits
- Book signings
- Library “author events”
- Publishing sales group events
- Writers’ workshops
- Conferences and book fairs

Below are five common mistakes writers make when presenting their work in front of an audience. By simply becoming aware of them, you can take the first step toward presenting your work with greater ease and authority…

1. Assuming that because you wrote it, you know it well enough to read cold – You’d be surprised how often writers make this mistake. Rehearsing, out loud and often, is the best way to ensure a smooth and successful read.
2. Reading too fast – Another very common mistake. Slow down! Let your thoughts and ideas ‘land.’ Give your audience time to hear and visualize what you’re saying.
3. Hiding the eyes – Cliché, I know, but the eyes really are the windows to the soul, and thus the key to making a connection with an audience. Don’t keep them glued to the page. Look up and out from time to time – make eye contact with someone in the audience and speak to them.  Also, if your hair has a tendency to fall over your eyes, wear it up or style it in such a ways that you don’t have to constantly brush it away with your hand.
4. Putting on a ‘reading voice’ – I’m not referring to character voices. I’m talking about the sing-song, lilting, lyrical or self important tones writers often ‘put on’ for readings. This actually has the effect of distancing your audience. Another problem is ‘up-talk’ at ends of lines – as if there’s an implicit “right?” or “are you with me?” at the end of your sentence. Give each thought the opportunity to have its full impact by allowing it to end with a vocal ‘period,’ rather than leaning into the next one with an implied comma or question mark.
5. Diffusing energy and focus – Nervous energy has a way of leaking out.  Shifting feet and fidgety hands often result from trying to manage or expel some of this energy, but the end result is distracting and actually serves to scatter your energy.  A better choice is to ground yourself, feet connected to the earth, and hands relaxed, or anchored to the podium or page.  Focus your energy on the intention behind your words, not the tension in your body.

A Jake McGreevy Novel.  By Sean Vogel.  MB Publishing

Gold Recipient:The Mom’s Choice Awards®
Winner: The Global eBook Awards

Jake, a 14-year-old gadget whiz, didn’t plan on a summer full of treasure, thieves, and danger. He just got lucky. While in Ireland on a class trip, Jake stumbles upon the first clue to a treasure missing from the Spanish Armada. Jake sees the riches as his chance to buy back the family sailboat and restore a piece of the life he enjoyed before his father was critically injured in an accident. Desperate to find the treasure, Jake teams up with Zach, his nemesis and class bully, and two girls in a clue-hunting chase across the Dingle Peninsula. Dodging would-be thieves, exchanging wisecracks with Zach, and concocting ingenious devices to get them out of scrapes, Jake leads the team as they connect piece after piece to the more than 400-year-old mystery.

Click here to purchase.

by Stacie Vaughn Hutton (Author) and Cheryl Harness (Illustrator).

Meggie Gwinn loves dreaming about faraway places, but one day her dreams are gone. With the help of her coal miner daddy,

Meggie learns of all the Gwinn dreams that have come true and the family message that would triumph over danger and darkness.

Generations of families have endured sacrifice and hardship in hopes they may leave a better world for their children and grandchildren. From letters written by coal miners, author Stacie Vaughn Hutton writes a story of hope and inspiration by showing how a young girl copes with her father’s job as a coal miner. Illustrated by renowned children’s book illustrator, Cheryl Harness, this book will be a family treasure for years to come.

Click here to buy on Amazon.

When it comes to maintaining continuity of plot details in a series, it can be helpful to create a scene chart or a storyboard for each story as well as for the overall series itself.

Some novelists use index cards or Post-it notes to build a storyboard, because they allow for manipulation of the sequence of events in quick and immediately visible ways – but for tracking the many elements of a series over several books, a spreadsheet may be a better choice.

Whichever method you choose, the elements to consider keeping track of include:

• Book Number / Title
• Chapter Number / Title
• Scene Number
• Time / Time Frame
• Location / Setting
• Characters
• Central Problem/ Conflict
• Action / Events
• Surprises / New Information
• Open Questions

The last item is particularly important when it comes to avoiding red herrings and tying up loose ends.  Make note of any questions, puzzles or mysteries that come up in the course of a chapter so that you can track when, where and how they get resolved.

Of course tracking plot details for continuity is different than crafting a plot in the first place – but keeping a record of the myriad details can be helpful when it comes to plot development and the editing/revision process.   On the Children’s Book Hub, we have spreadsheets for both crafting plot and tracking the details, but you can create your own by copying and pasting the above elements into headings on a spreadsheet.

Next up, continuity of voice…

In the last post, we looked at building, developing and maintaining the continuity of characters within a series. Now let’s look at the same thing with respect to setting.

The key to creating an evocative setting – whether real or fantasy – is to incorporate the senses. Many writers describe only what can be seen when it comes to describing a setting, but we experience our surroundings with all our senses, not just our vision.

Just as we discussed creating a character worksheet or file to keep track of character details, the same tool is useful when it comes to settings.  In the Childrens Book Hub, we have Setting Worksheets available for download – but if you’d rather create your own spreadsheet or file for tracking your setting(s), be sure it includes details about the following (and the more specific the better):

• City/Town/Village
• Region/Area/Country
• Buildings – style of architecture, age, materials
• Room(s) – size, function, décor, relationship/placement, furniture
• Topography / Landscape – hilly, flat, desert, ocean, forest, etc?
• Flora and Fauna
• Climate
• Year/Time Period
• Season
• Sights
• Sounds
• Smells
• Textures
• Weather
• History / Historical Facts (what else happened there?)
• Other details, features or elements specific to this place
• The “rules of the world” (if fantasy, or different than our world)

Despite scrupulous editing, some of the most successful series of all time feature notable inconsistencies.  For example, in Eragon, book one of Christopher Paolini’s Inheritance Cycle, the character of Murtagh has brown hair – but in Eldest and Brisingr, he has black hair.  J.K. Rowling is the first to admit to the many discrepancies in time and other elements in her Harry Potter books – the result of writing under the intense pressure of deadlines, and often corrected in subsequent printings. The Twilight Saga suffers from similar contradictions and logic problems.  From all this we might infer that consistency is not essential when it comes to writing a series, but in fact a really crackerjack series depends upon it.

So what are some ways to track character, setting, plot details or consistency of voice?

One useful tool for continuity of characters is the character file, or worksheet. Whether physical (a folder full of notes, or certain pages from the manuscript with key details highlighted, for instance) or digital (a spreadsheet or questionnaire), here are some details worth keeping track of:

• Character Name
• Age (relative to time period of story)
• Nationality
• Gender
• Race
• Eye Color (Glasses?)
• Hair – Color, Style,  thick/fine, straight/curly, long/short/bald, etc.
• Build – Height, Weight, Body Type/Shape
• Complexion
• Style of Dress
• Distinguishing Marks / Physical Features – scars, moles, etc.
• Characteristics / Mannerisms
• Speaking Voice – Vocabulary, Accent
• Personality
• Strengths
• Weaknesses
• Back Story
• Family background – Parents? Siblings?
• Key Relationships – Married, single, divorced, significant other? Children?
• Home / Hometown
• Education
• Hobbies, interests, activities
• Job(s) / Occupation
• Religion/Philosophy
• Fears
• Loves
• Frustrations
• Habits
• Character Flaws
• Other notable details – Car? Pets? Possessions? Influences?
• Role in the story (protagonist, antagonist, instigator, love interest, foil, etc.)
• What does s/he want?
• What’s in his/her way? What’s the problem?
• What compounds the problem / raises the stakes?
• How does s/he go about getting what s/he wants?
• How does s/he change or what does s/he learn by the end?

In the Children’s Book Hub, there are character worksheets incorporating all these elements that can be downloaded in pdf or .doc form, but you can also build your own in any spreadsheet or word processing program by copying and pasting in the details above and/or incorporating your own.

In the next post, I’ll discuss tools for tracking setting and plot details.

It took us thirteen drafts to figure out the best way to start the Very Fairy Princess series: with a “day in the life of…” establishing story.  Once we had introduced the character and  her world, other story ideas seemed to flow more easily.  The first book in the Dumpy the Dump Truck tells the story of how young Charlie and his grandfather restored the old wreck to a really useful (and possibly magical) truck, after which subsequent stories could focus on their adventures together. The first Little Bo book introduces all the characters, both feline and human, establishes that Bo’s siblings have been scattered (so that she can find them in subsequent stories), and connects her with her beloved sailor, Billy, with whom she later travels the seas.

But starting a series is more than establishing characters and setting.  You are also establishing style, tone, and any other unifying elements that will be present in subsequent books. When Jim and Kate McMullan published I Stink!, the first book in their wonderful anthropomorphic vehicle series, they didn’t realize they were committing to having an internal “game” within every subsequent story. I Stink!  featured a “trash alphabet” in the center of the book, thus necessitating that each subsequent book provide a similar fun element – a maze, a counting game, a “Where’s Waldo?” type puzzle, etc.  Olivia, by Ian Falconer, establishes with the first book that there will be legit art represented at least once or twice in each subsequent book, in full color to contrast with the black, white and red illustrations.

But don’t feel bogged down by the details. There are plenty of examples of series that have changed as they developed. Marc Brown’s Arthur series is a case in point – the scratchy, edgy character drawings evolved over the course of the series to become smoother and more widely appealing than their earlier counterparts.  The point is simply to be aware that whatever simple rules and styles you establish in Book One will, ideally, extend through and define the balance of the series thereafter.

I’ve been on a series of deadlines and taking a bit of a break from blogging, but as I promised last week, I’m picking it up again with a series of posts about… writing a series.

My mother and I have developed three series to date:

The Dumpy the Dump Truck picture book series; the Little Bo series of chapter books (the conclusion or final installment of will be published this Fall); and our current The Very Fairy Princess series of picture books, and now leveled readers – the first of which will be published in time for the holidays.

A question that I get asked frequently by editing clients is, “how do you plan a series? Do you start out intending to write a series, or does one book just evolve into more?”

The answer is: it depends.

Generally speaking, in today’s market, publishers want to see if a picture book character or concept will fly before they commit to more of the same. We had always hoped that The Very Fairy Princess would be a series, and had pitched it as such, but our publisher was nervous about committing to any sequels until the first book had demonstrated a sales record. Happily, it did – though we continue to bite our nails with each new installment to see if sales will warrant another.

With chapter books and middle grade novels, the price point tends to be less – and there is also a greater demand for multiple titles in a series for this age group. This makes pitching a chapter book or middle grade series a little easier.

To be on the safe side, when conceiving a series, it’s probably best to draft no more than one to three complete manuscripts before attempting to sell them. It’s important, though, to brainstorm a handful of other ideas, titles even – and to write a paragraph or so on each.  This way you can be ready if an interested publisher or agent asks for more information.

Next up: Starting a Series – How do you establish the world and the characters?

I’ve been taking a break from blogging for the past month in order to focus on writing and editing deadlines, as well as other professional obligations… but I’m proud to have popped up on one or two other people’s blogs this month in interviews!

Please check out Julie Hedlund’s Blog where I am proud to be the featured author for June, discussing the problem of “The Mucky Middle” when crafting a picture book, as well as Beth Stilborn’s blog where I am equally proud to be interviewed in depth for her Wednesday Worthy series.

I’ll be blogging again shortly with a new series on … Series Writing!

What are the elements that go into creating a picture or chapter book series? How does one establish continuity of style, develop character, or come up with plots that continue to engage? These are just a few of the questions I’ll be addressing… but what do YOU want to know about crafting a series? Post your questions here and I’ll do my best to answer them in the weeks ahead!

The first thing I said when my husband and I learned we were expecting a daughter was, “OK, but we’re not doing the pink princess thing.”  Famous last words.  Hope was born seemingly hard-wired to be the girliest girl in the world – she wouldn’t even wear pants until 1^st grade. Her passion extended to giving every one of her toys female names and making us substitute “she” for all pronouns in every bedtime story we read to her.  And whenever there was a choice of color – for anything from a t-shirt to a toy to an ice cream cone – the answer was (and still is) “pink.”

For someone who lives in jeans and t-shirts and has more male friends than female ones, this has been a challenge.  But I’ve always believed in supporting my kids’ individual passions, so over the years I’ve become intimately acquainted with the many variations of pink, and with every Disney Princess, American Girl and Barbie on offer.  We’ve had countless tea parties and played “Pretty, Pretty Princess” more times than I can remember.  And I discovered that affirming Hope’s taste, even though it was and is so very different from my own, provided a boost to her self-esteem and gave her the confidence to be both feminine and strong at the same time.

This has been more significant than you might imagine. Hope has a physical disability that requires her to wear leg braces, so her self-image has been vulnerable from time to time.  But her own absolute faith in her beauty, femininity and grace has made that her reality.  It also led my mother and I to an idea for a children’s book series, The Very Fairy Princess, about a little girl who so believes she is a fairy princess that she overcomes all the naysayers and obstacles in her path.

• Isn’t princess a pejorative term?
• Should we really be encouraging girls to aspire to be princesses? Won’t that make them shallow or materialistic?
• Aren’t there already a glut of princess-themed books in the marketplace?

Perhaps. But their glittery covers notwithstanding, the Very Fairy Princess books are actually about inner sparkle rather than surface-level glam.  “You can be anything you want to be,” says Geraldine, our heroine. “You just have to let your sparkle out!”

So now we find ourselves launching National Princess Week, April 23-29^th… and in preparation for the event, I compiled a list of over seventy modern-day princesses and their causes for our young readers. As I did my research, I experienced a shift from paying lip service to the good work that princesses do, to gaining a newfound respect for their real value and contribution to the world. From their charitable endeavors – which are extensive and varied – to their dignity, strength and individuality, it turns out that princesses are, in fact, terrific role models for girls.

I’ll keep my blue jeans… but I might just wear a tiara to breakfast one day. After all, as Gerry would say, “Even a fairy princess is allowed to change her mind.”

I’m excited to announce that our new Very Fairy Princess app is now live!

The Very Sparkly Wand feature invites young princes and princesses to choose from three colors and sounds in order to create their own wand and add a little sparkle to anything with just a flick of the iPhone or iPad.  With the Sparkly Photo feature, they can add their choice of crown to a photo of themselves taken with the app itself or uploaded from a photo library. Photos can then be emailed, posted on Facebook, or Tweeted for friends and family to see.  Of course there’s also information about the books, and a gallery of images and captions taken from the illustrations.

This free app is the first step toward developing a full version that will include stories, games and other activities. Give it a try and let us know your feedback or ideas!

Click here to find out more: The Very Fairy Princess for iPhone

We’ve been discussing anthropomorphism this week in my graduate children’s lit class. Anthropomorphism – or the giving of human characteristics to animals, plants, machines, natural phenomena or objects – can serve to broaden an audience base, especially with picture books. A book about a duck or a pig can appeal to children of all genders, cultures and backgrounds, whereas a book about a Caucasian human girl will likely find its readership limited to Caucasian human girls. Anthropomorphism can also be used as a way to approach delicate subjects and make them less challenging for a young reader, and can offer non-threatening opportunities for perspective and compassion when it comes to differences. However, anthropomorphism can be very difficult to do well, and in recent years it has been a tougher sell with agents and publishers.

Here are some things to consider when using anthropomorphism…

Keys to Success

Reason for being – Think carefully about why you can tell this story better using anthropomorphism. Kids will not be more interested or engaged just because the protagonist is a giraffe, or a bunny, or a pig. Find a reason for using these specific characters to tell this story, otherwise they might just as well be human.

Authenticity – Incorporate as many of the real attributes and behavioral details of that specific animal or vehicle into the character as possible, and be sure that their actions and words are true to who or what they are.  For example, if your main character is a giraffe, try to find a way to bring her height, or legginess, to bear on the story.

Three-dimensional personalities – Anthropomorphic characters should have strong individual personalities and clear, well-developed motivations. They must encounter and overcome believable obstacles in the same way a human protagonist must.

Surprise – Consider the unexpected. Olivia is a case in point – we expect pigs to be slobs (such as in Mark Teague’s Pigsty), so there’s something deliciously ironic and endearing about Olivia’s vanity and self-absorption. Opposites and surprises can be very effective when using anthropomorphism.

Things to Avoid

“Cuteness” - Animals, by their nature, are already winning characters. They don’t need alliterative names, syrupy mannerisms or baby talk to be appealing. Even the youngest readers will find too much preciousness off-putting.

Humans in animal suits - Don’t just write generic animal characters who live in human-style houses, wear human clothing and engage in all the details of human life… otherwise they might as well be human. Consider how their lives, behavior and world are different from ours, as well as where they overlap.

What does it take to draw in today’s young reader and persuade them to keep reading?

Last week, in the children’s lit class I’m teaching at Stony Brook Southampton, we looked closely at the beginnings of middle grade and YA novels.  I made a list of important elements for my grad students… but I’d love to hear what else you consider when it comes to starting a story.

Here’s my crib sheet:

The beginning of your story has to accomplish several things. It must:

→ Introduce your setting
→ Introduce your main character/s
→ Establish the tone/rules of the world
→ Hook your reader and compel them to read on

The last point is perhaps the most important. Here, then, are some tips.

Good beginnings…

Start with an event, a problem or a change. Judy Blume says that novels should begin “on the first day that something different happens in your character’s life.” Don’t worry about backstory or exposition – that can reveal itself later.

Fulfill the premise – and promise – of your story. If your book is about a girl who can talk to animals, don’t wait 50 pages before she talks to, or hears from, an animal. Even if she doesn’t realize what’s happening yet, there should she be some hint right away of what your story is really about.

Raise questions. Questions propel the characters into action, and the reader into the next page, wondering what will happen next. What’s going on here? How or why did this happen? Who could have done this?

Avoid clichés. Childrens book authors often start books on the first day of school or the day a character arrives some place new. Although these are natural starting points because they involve a change, they’re also a little too common. Try to be fresh, original. Here are some other common/cliché beginnings to avoid:

→ The weather (“It was a dark and stormy night…”)
→ The hero waking up in the morning and thinking about his/her day
→ A dream or a vision
→ A death
→ Starting with the present, and then going into flashback mode to provide exposition

Establish the rules of the world. If your story is set in a world in any way different from ours, then some hint of how the world works, or the rules operating there, should be in your opening – but remember to show rather than tell. Reveal or demonstrate the rules in action as opposed to describing them through exposition.

Establish the tone, style and pacing of the book. Your opening scene sets the overall mood of your story, whether its dark, funny, contemporary, lyrical, whatever. Whatever the primary tone of your piece is, your initial scene should establish that feeling.

Today’s post is actually a question – well, more of a favor.  We’re working with our wonderful publisher on developing an app for The Very Fairy Princess. We’ll start with a free one, then plan for other, more expanded versions down the line.  I’m researching picture book apps to get a sense of what the possibilities are… what works, what doesn’t, and always, how to invite the viewer/reader back to the book itself.

So here’s the favor: Please share your picture book app experience with me?

Which ones are the most successful, and why? (Not counting The Fantastic Flying Books of Mr. Morris Lessmore, which is in a class by itself.) What are the essential differences between the free apps and the paid ones? Most of all, any ideas as to how our app can be used to celebrate individuality – what Gerry, our Very Fairy Princess, refers to as ‘inner sparkle’?

While her friends and family may not believe in fairies, Geraldine knows, deep down, that she is a VERY fairy princess. From morning to night, Gerry does everything that fairy princesses do: she dresses in her royal attire, practices her flying skills, and she is always on the lookout for problems to solve. But it isn’t all twirls and tiaras – as every fairy princess knows, dirty fingernails and scabby knees are just the price you pay for a perfect day!  Recorded by Emma Walton Hamilton.

Click here to purchase:  VeryFairyPrincessAudioBook

Last week, we delivered the first draft of the next manuscript in our Very Fairy Princess series. This one is a leveled reader – still 32 pages, like a picture book, but with fewer and simpler words, more repetition, and a whole bunch of other ‘rules,’ such as no contractions, limited idioms, and so forth. The differences are based upon the fact that picture books are intended to be read aloud to, or with, a child, while leveled readers (also called Early Readers or I Can Read Books) are designed for the emerging reader to read to him- or herself. The challenge is that the story must still be compelling, with enough dramatic tension to make the reader want to turn the pages to find out “what happens next?” even while they’re busy decoding the words.

Today we received the expected feedback from our lovely editor: “Good first draft. We just need to work a little more on the dramatic tension…”

Writing a children’s book is sometimes very much like doing a math problem. We start with a concept or idea – in this case, it’s Christmas – and try to figure out what problem our hero is wrestling with. What does Gerry want, relative to Christmas – and what problem, or obstacle, does she encounter?

But it’s not enough to just establish a problem and then have the character solve it. The problem needs to escalate, to get compounded in some way as the story goes on so as to make the reader curious enough to keep turning the pages. Even when we are busy being distracted by details like whether a word has too many syllables or how to say something without using a contraction (or making sure the voice is consistent, or the rhyme is true, or any of the other myriad rules relative to writing children’s books) we still have to remember, first and foremost, to keep raising those stakes. After all, it’s a story.

Back to the drawing board – er, computer. But, like any math problem, I’ve come to trust that if we keep whittling away at it, the answer will reveal itself.

One of the things I love best about being a member of the children’s lit industry is the spirit of community with which we support one another. Unlike many other businesses, almost everyone who writes, illustrates, edits, publishes, markets, sells or otherwise works with children’s books puts their love of kids and reading first. This makes for an environment in which everyone encourages everyone else, and all in the interest of getting more kids reading – and loving – books.

This was something Katie Davis and I chatted about this week, when she invited me to be a guest on her terrific podcast series, Brain Burps About Books. (You can listen to the interview here: http://katiedavis.com/emma-walton-hamilton). Katie and I had a great time talking about various aspects of writing for kids, and she was enormously generous in putting the word out about my various creative efforts, such as The Children Book Hub, my Just Write for Kids online course in writing picture books and the Southampton Childrens Literature Conference. In return, I offered her listeners a special introductory rate to join the Hub (you’ll have to listen to the interview to access it!) and invited her to be an Expert Interviewee on the Childrens Book Hub in March. I’m really looking forward to that, since Katie has just published a fabulous resource for childrens book authors and illustrators, How to Promote Your Childrens Book. It’s chock full of invaluable information, and a thoroughly enjoyable read, being written (and illustrated!) in Katie’s fun, accessible style. I can’t recommend it highly enough.

I am also touched and honored to be “In the Spotlight” this week on Beth Stilborn’s excellent blog, By Word of Beth.  I have had the pleasure of working with Beth editorially on several different projects (she’s a terrific writer  with a shared commitment to the arts and literacy), and we now collaborate as co-administrators of the Childrens Book Hub Facebook page (check it out – it’s not limited to members of the Hub, but welcomes all children’s authors, illustrators and editors, whether published or aspiring). I’ve watched Beth’s passion for children’s literature grow into a thriving platform that now serves the industry in numerous wonderful ways. Beth is giving away two copies of my book Raising Bookworms: Getting Kids Reading for Pleasure and Empowerment this week – to be eligible for the draw, go here: http://www.bethstilborn.com/wednesday-worthy-emma-walton-hamilton/

As I watch our politicians (among others) take one pot shot after another at each other, I continue to be grateful to be a member of this warm and supportive community.

Last week I started teaching the spring course in Childrens Literature for grad students in the MFA in Creative Writing and Literature at Stony Brook Southampton. We spent the first class discussing the many formats of children’s lit, and began our picture book study (we’ll move on to chapter books, middle grade and YA fiction later in the term) by reading aloud and discussing some classic and contemporary books in the genre. In the former category, we read Ludwig Bemelman’s Madeline, Maurice Sendak’s Where the Wild Things Are and Ezra Jack Keats’ Whistle for Willie. In the latter, we read Ian Falconer’s Olivia and Mo Willem’s Knuffle Bunny, by way of introduction.

Each book turned out to be a unique lesson in showing versus telling, meaning letting the art reveal as much, if not more, than the text does. We discussed at length how we knew that Madeline and her friends attended a Catholic boarding school as opposed to an orphanage, how clear it was that Max’s mother had forgiven him, where Peter and Willie lived, and how much we knew about Olivia’s and Trixie’s families without being directly told… simply by way of their actions in the story, and most of all, through the illustrations.

That night, with showing versus telling on my mind, I watched “The Artist” – Michel Hazanavicius‘ valentine to silent films that is a contender for this year’s Best Picture Oscar. Since the story takes place in Hollywood during the time when silent cinema was replaced by the talkies, 90% of the film is silent. (It is also shot in balck and white.) The result is not only a wonderful, uplifting film and a terrific evening’s entertainment, but an invaluable lesson in showing versus telling.

With so little dialogue – which, when it occurs, is told through title cards – the story is almost entirely conveyed through action, behavior and expression.  It is a truly inspiring lesson for picture book authors, in terms of how little text is necessary to tell a story… as long as you know how to think visually, and show rather than tell. It also left me wondering how many other great silent movies might offer the same lesson.

With all the new publishing options available in our digital world, how can we verify the quality of an agent, editor or publisher?  Unfortunately, the publishing industry is no different than any other. There are plenty of individuals and companies that engage in unethical behavior and take advantage of writers by not following through on contract agreements or other shady business practices. The good news is that if you’re considering working with a particular publishing house, editor or agent, there are places you can go to find out more about them before you commit.

Writer Beware is a free website primarily for science fiction and fantasy writers, but they have a very good, regularly updated list of publishers and agents to steer clear of.  It’s important to run any name you have by their ‘red flag’ list of people and companies to watch out for.

The Absolute Write Water Cooler is a free forum on AbsoluteWrite.com, with a thread called “Bewares, Recommendations, and Background Checks.”  This is another great place to run a search and see if anyone has had a negative experience with the individual or organization that you are considering working with.

Of course, when it comes to agents and publishers, your first and best resources are still the Children’s Writer’s and Illustrator’s Market and the Society of Children’s Book Writers and Illustrators. Anyone who is truly active and legit in the industry will be listed there, so if you don’t see the name of the agent or publisher you are considering, that is likely to be a red flag.

Remember that any agency or publisher who charges a fee for reading your manuscript is probably not legit.  Unless you are self- or independently publishing, you should not have to pay a publisher or an agent to read or to publish your manuscript.  The industry standard contractual agreement entitles the author to an upfront advance against royalties, and an ongoing royalty rate once the sales have ‘earned out’ that advance.   Agents customarily receive their commission as a percentage (anywhere from 10% to 20%) against an author’s advances and royalties.

Bottom line?  Unless you’re self-publishing, there should be no upfront costs to you as an author.  And if there are, consider it a red flag.

“If you’re dreaming of becoming the next J. K. Rowling, we’ve got the perfect place for you—the Southampton Children’s Literature Conference!” So said School Library Journal last year after Rocco Staino paid a visit to the Stony Brook Southampton campus to observe the Conference in action.

As Director of the Conference, I am delighted to announce that applications are now being accepted for our July 2012 workshops. We have a truly stellar line-up of faculty members this year, every one of whom is an esteemed, award-winning author in his (or her) own right, including:

• #1 New York Times bestselling author/illustrator Peter H. Reynolds
• New York Times bestselling/Horn Book Award-winning author Kate McMullan
• New YorkTimes bestselling authors Cynthia and Greg Leitich Smith
• National Book Award finalist and ALA Best Book of the Year Award-winning YA author Patricia McCormick

Every workshop is capped at 12 students, which makes for a uniquely individualized experience and an incredible opportunity for specific and direct feedback and support. It also means they fill up quickly – so don’t delay if you’re thinking of applying!

A bit more information about the Conference… this year there will be two sessions, a five day one (July 11-15) featuring workshops in picture book, middle grade and YA with Peter H. Reynolds, Kate McMullan and Cynthia and Greg Leitich-Smith, respectively, and a 12-day session (July 18-29) in YA with Patricia McCormick.  Mornings are spent in workshop, and in the afternoons a series of electives are offered such as craft lectures, panel discussions and mini-workshops. You can also choose to spend time writing at one of the beautiful Hamptons beaches or on the gorgeous campus grounds.

Because the Childrens Literature Conference is part of the Southampton Arts Summer, it runs concurrently with workshops in playwriting and screenwriting, as well as with adult workshops in poetry, memoir, novel, creative non-fiction, and even acting and visual arts. Evening events feature well-known authors, playwrights, and filmmakers. The schedule of formal and informal social gatherings is rich—from author receptions to an open-mic night—with a few surprises, too. And because Southampton Arts sponsors an esteemed and long-standing MFA in Creative Writing and Literature at Stony Brook Southampton, as well as new MFA’s in Theatre, Film and Visual Arts, the workshops may be taken for credit. There are even a few partial scholarships available.

To find out more, or to download an application, visit http://www.southamptonchildrenslit.com

Say what you will about the ceremony itself (I actually found it to be refreshingly tender and dignified, for the most part), Sunday night’s Academy Awards were a tribute to Oscar’s own medium – the history, customs, elders, and influence of cinema.  From the retro popcorn girls in the aisles and the live band in the balcony, to the themes of the films and the longevity of the careers that were saluted, Oscar celebrated his own crib and the significant contribution the film industry has made to our lives.

For many of us, though, there was another medium honored throughout a surprisingly large portion of the evening – children’s books.  Back in January, Publishers Weekly noted that 21 of the nominations were ‘nods for films based on kids books,’ specifically Hugo (11 nominations), War Horse (6), Harry Potter & the Deathly Hallows (3), and Tin Tin (1).

I would argue the number to be 24, if you count Puss in Boots, Jane Eyre (now widely considered to be a YA novel) and The Fantastic Flying Books of Mr. Morris Lessmore, a children’s book app as well as a short film, that in and of itself celebrates books and reading.

This is great news for children’s book authors of all stripes (though it would have been nice – and politic – to hear Brian Selznick’s name mentioned at least once over the course of the evening’s 5 awards given to Hugo.)  It demonstrates the enduring appeal of stories for and about young people, from classic fairy tales, novels and comics to the richness of today’s middle grade and YA fiction and the exciting possibilities that new media represents for the entire genre.

But for me there was a subtler connection at play between the mediums of film and childrens literature on Sunday night.  The films on offer this year were notably less snarky, trendy or cynical than those of recent years. Those familiar Hollywood qualities were largely replaced by conscience, compassion and – dare I say it – hope.  What’s going on?  Even in the darkest realms of YA, these are the universal themes of childrens lit!

Whatever it is, I like it. Let’s hope it sticks around awhile… or at least for as long as some of Sunday night’s honorees have.