There is a dedicated writer who sends me manuscripts so regularly that I recognize his handwriting on the envelopes.
I have had to reject every manuscript he has sent.
His grammar, punctuation, and spelling are always flawless. It’s the stories that are…not what they need to be. It is as if he has no idea how or what to write for children. It seems like he may not have read a children’s book since he last put down a Hardy Boys mystery two or three decades ago. The rejections became so numerous that I felt I needed to send him more than the usual polite refusal. My hope was that if he took my advice, he might achieve his dream of writing a children’s book that will be accepted by a publisher and enjoyed by readers.
My advice to this man, and to everyone who wishes to write a book, is regularly visit bookstores and libraries. If you are writing for children, you need to read children’s books. The same advice goes for writers writing mysteries, romances, or craft books: read the books your audience is reading.
Staff at bookstores will recommend the books they’ve read and enjoyed. Librarians will happily talk to you about what kids like to read. You can look at the sections in bookstores and libraries and see how much shelf space is given to a genre. What kinds of books are on the shelf? Read those books. Borrow lots of library books. Buy books that you admire and keep them on hand. How did that author interest you in opening the book? Why did you turn the page? Why did you keep reading until you finished the book? Give some thought to these questions as you read.
Then go back to your manuscript and keep writing.
—Jacquelyn C. Miller
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I know we just passed Valentine’s Day and have not yet reached St. Patrick’s Day, but holiday books have been on my mind. Recently I read-and rejected-a Christmas story that had many of the red flags I hope not to find in a manuscript. I feel bad for authors when I send rejections, as I know that their heart and soul are poured into their work. As I’m already thinking about the catalog for the fall and the publication schedule for next year, now seems like a good time to share my thoughts-scattered as they may be-on writing holiday books for children.
What am I thinking when I pull a holiday story from the stack of manuscripts waiting to be read? First, I hope that it won’t be written in rhyme. Too many people seem to think that stories for children must be written in rhyme. Rhyming is well and good if it suits the story, and the writer doesn’t try to force the rhyme. Yet I often find myself muttering, “Prose is a good thing. Give prose a chance.” as I go through manuscripts with an 8:2 rhyme to prose ratio.
I also hope that the story is about a holiday other than Christmas. Halloween is the second favorite for holiday stories, but Christmas holds a strong lead in the holiday stories submissions stakes. I’m quite fond of Christmas, but there are other holidays where new books would have a better chance of being noticed.
Then there is the Rudolph the Red-Nosed Reindeer Syndrome. That’s my phrase for when a writer uses a popular character in a story without researching if it is in public domain. Rudolph has an interesting copyright and trademark history. I won’t go into that here, but if you use a copyrighted/trademarked character in your story, two things happen. The words “copyright issues” come to my mind. I also immediately discard the manuscript.
Check out what holiday books are available. Think about what makes them work well. What ideas do you have that would appeal to readers? Find out what the publisher chooses to publish.
Don’t include illustrations. Publishers have art directors who find professional illustrators for projects.
Then send it to a publisher. We are always looking for the next holiday classic.
What holiday books has Star Bright Books published?
Visit www.starbrightbooks.com to see our holiday books.
Now what?
You have a picture book idea. You’d like to write a children’s book and have it published. Where do you turn to learn the process of writing a children’s book and submitting a manuscript?
You should start at your local library. Libraries not only have books on writing and publishing, but the Children’s Room is filled with books you should read to get a feel for what makes a picture book a pleasure to read to a child.
Notice how the text is spread out on the pages. How does the author describe the action, the characters, and use the dialogue to move the story along? Look at the name of the publisher in the front of the book. Notice what kinds of books each publisher chooses to publish.
At Star Bright Books, some of the books we have published recently are:
Do you have a manuscript that would be of interest to us?
If you want to submit a manuscript to a publisher, please visit the publishers’ website for the guidelines.
Visit Star Bright Books to see our
guidelines .
Please follow the guidelines if you want your manuscript read.
FYI: Publishers find the illustrators for the manuscripts they accept. You don’t need to have your story illustrated. You can add notes about how you picture a scene, but remember that editors are used to imagining what a book will look like.
What’s the worst thing you do? The worst thing you can do is to call the publisher to pitch your idea. You aren’t likely to get to speak to an editor, and you show that you haven’t done your homework.
Let me recommend a terrific book about getting a children’s book published. It’s The Complete Idiot’s Guide to Publishing Children’s Books by Harold Underdown.
Harold Underdown is an editor with a wealth of experience.
Harold also has a
websiteyou should visit regularly.
There are a number of genres within the children’s book arena. The target audience ranges from babies right on through to young adults. This provides a unique situation for writers to pick and choose a genre that feels comfortable to write in, while still remaining within the children’s book market.
Each genre is geared toward a specific age group and has its own set of rules and tricks.
Children’s Books: An overview of the different genres and a description of each:Bedtime stories: These stories are simple and soothing. They are written to help lull little ones off to sleep and are in the form of picture books. The age group can be from newborn to five or six years of age.
An example of a bedtime story is
Day’s End Lullaby by Karen Cioffi. The classic
Good Night Moon by Margaret Wise Brown is another example of a bedtime story.
Board Books: Board books are simple picture books geared toward babies and toddlers. They are designed to hold up to a toddlers prying and pulling fingers. Board books can be black and white or very colorful. These books usually teach simple concepts, such as numbers from one to ten, days of the week, colors, and simple words.
An example of a classic baby board book is
The Very Hungry Caterpillar by Eric Carle.
Good Night Moon by Margaret Wise Brown is also a board book, a very well known.
Picture books for the 2 - 5 year old group: These books are meant to be read aloud the child. Rather than simply concept themes, simple story lines can be written with short sentences and words. These books are for children in the ‘pre-reading’ stage and the word count can range from 100 - 500 words.
An example of a very young child’s picture book is
The Runaway Bunny by Margaret Wise Brown.
Picture books for the 4 - 8 year old: This genre makes up most of the picture book market. These books are also meant to be read aloud to children, but for the older child it can be read individually. The pictures will give a visual element for children learning to read, helping with the comprehension of the text. The wording and themes can be a bit more interesting, but still rather simple.
For the writer, in this genre you will need to use introduce ‘showing’ to create an engaging reading experience for the child. The average picture book is 32 pages and under 1000 words.
Two examples of picture books for this age group are
Walter the Farting Dog by William Kotzwinkle and
Owen by Kevin Henkes.
Chapter books for the 6 - 9 or 7 – 10 year old group: Children in this group are learning to read. The vocabulary and storyline is expanding, but clarity is still a must. These books may be labeled as ‘early readers’ or ‘easy readers’ by educational publishers and are designed to read by the child. The word count is usually between 5,000 and 12,000.
An example of a chapter book is
Clarice Bean, that's me by Lauren Child; another is
Because of Winn-Dixie by Kate DiCamillo.
In regard to
Because of Winn-Dixie, the protagonist is ten years old. Since children tend to read-up (the protagonist will be 2 – 3 years older than the reader), the target audience is around 7 – 8 years old, placing it within this genre and possibly the younger end of middle grade.
Middle grade books: The middle grader is between 8 and twelve years old. The middle-grader will go for stories that he can associate with and cha
The world of children’s picture book publishing is extremely competitive. If you’re an aspiring children’s author, you need to make sure your manuscript is in excellent shape and has all the elements editors and agents look for before you begin the submission process.
Here are five tips to make your picture book manuscript more marketable:
Start right with the problem.
Many times beginner writers begin a picture book with back-story. It’s okay to have this back-story in the first draft, but be sure to get rid of it when you edit. Back-story is unnecessary 90% of the time and it only serves to slow down the beginning of a story, making it weaker. You want to grab the reader right from the start. So don’t be afraid to begin your story at the heart of the problem. It’s okay to set the stage with a sentence or two—but no more!
Have a protagonist readers can relate to.
Generally, children like to listen to stories about other children or animals with children’s characteristics. They don’t want to hear about a grandma or grandpa looking back to the time when they were young. Create characters kids can identify with. When readers can identify with the protagonist, they are drawn into the story and become emotionally involved with it.
I love picture books that have that 'WOW' factor. You know the type of book that you open the first page and you're already there. It grabs your attention immediately and is a feast for the eyes, mind, and soul.
Wow factor can be described as being different, unexpected, unique and exciting. It may seem like an insurmountable challenge (especially with the digital age) but it can be done. I'm not only talking about picture books with flashing lights, sounds to press, music, and intricate origami. I'm talking about picture books that really hook you in and children request, 'Please, read again!'
Some of my favourite books listed here will make you sing, dance, laugh and cry,
pop, imagine, and wonder why.
I hope you enjoy!
Maskew Miller Longman calls for drama entries for its annual literature awards competition
Leading South African educational publisher, Maskew Miller Longman, is calling for entries for its 2012 Literature Awards, which will be for youth dramas.
Each year Maskew Miller Longman runs an award for writing in all South Africa’s official languages. The award aims to stimulate the further development
I am delighted to announce the launch of my new venture, Blue Elephant Storyshaping, an editing, mentoring and coaching service for children's book authors and illustrators. I will also be offering editorial support and creative brainstorming services to publishers and agents, as well as running workshops.
Please check out my website at www.blueelephantstoryshaping.com and help spread the word!
Dear fellow writer and illustrator:When I started to write and illustrate children’s books some 30 years ago I knew very little about it. I had just arrived to America and had not heard about SCBWI. However, I was fortunate to have met some wonderful successful children’s book authors and illustrators who guided and helped me through my first struggling years. I am deeply grateful to these
It’s May 1st already. Can you believe the year is almost half over? Yikes! Well, let’s not worry about time now. Instead, let’s focus our attention on the talented author,
Jane Kennedy Sutton. While living in Europe, the Far East and the Middle East, Jane considered herself a “professional tourist.” She is now a resident of Florida. Her first novel,
The Ride, was released in 2008. Her second novel,
Reigning Cats and Dogs, is due to be released later this year.
The Ride received a five-star review from Midwest Book Review. It has been described as a funny but poignant mis-adventure of a desperate housewife who is taken on the ride of her life—in more ways than one.
Jane Kennedy Sutton discusses hook beginnings for children’s books:
As an author of adult novels, I don’t believe there’s anything harder than coming up with the perfect first line that sets the stage for all that’s to come in a story. As a grandmother, I’ve discovered that books for children are no exception to the, “capture the reader with the first line” rule. In fact, I’d say it’s even more important for a young audience.
Through the many books I’ve read to my grandson, I’ve noted that there are several effective methods used by children’s authors to grab the attention of their young audience.
1) Start the book in the middle of the action (this is one of the best ways to begin regardless of the age of the audience)
“Where's Papa going with that ax?” said Fern to her mother as they were setting the table for breakfast.” (Charlotte’s Web by E. B. White)
The night Max wore his wolf suit of one kind and another, his mother called him WILD THING and Max said, ‘I’LL EAT YOU UP!’ so he was sent to bed without eating anything.” (Where the Wild Things Are by Maurice Sendak)
2) Clever use of description
Pirates have green teeth—when they have any teeth at all. (How I Became a Pirate by Melinda Long)
In the great green room There was a telephone And a red balloon And a picture of The cow jumping over the moon (Goodnight Moon by Margaret Wise Brown)
3) Sound Effects
Chug,chug, chug. Puff, puff, puff. Ding-dong, ding-dong. (The Little Engine that Could by Watty Piper)
Zum. Zum buzzz, Zum. Zum. Buzz. (Berlioz the Bear by Jan Brett)
4) Ask a question
"Is your mama a llama?" I asked my friend Dave. (Is Your Mama A Llama by Deborah Guarino)
How does a dinosaur say good night when Papa comes in to turn off the light? (How Do Dinosaurs Say Good Night? By Jane Yolent and Mark Teague)
5) That old favorite, “Once upon a time,” always seems to work
Once upon a time in the dark of the moon there was a little raccoon. (Wait Till the Moon is Full by Margaret Wise Brown)
Once upon a time there was a little boy named Jeremy who lived with his mother in a small house near the sea. (The Little Baby Snoogle-Fleejer by Jimmy Carter)
Do you know other effective ways to begin a child’s story? What are some of your favorite opening lines?
~~~~~~~~~~~~~~~~~~
I love the first line from
Charlotte’s Web. Talk about hook beginnings—what child wouldn’t want to find out what Papa is doing with that ax.
Review by Suzanne Lieurance
As a children's writing instructor myself, it's not every day that I get writing tips from an eight-year old, especially GOOD writing tips. But I just finished reading FLYING FINGERS: MASTER THE TOOLS OF LEARNING THROUGH THE JOY OF WRITING, which includes tips, stories, and writing activities from its author, Adora Svitak. Adora is an eight-year old girl from Redmond, Washington, who was just seven when she wrote Flying Fingers, which also includes commentary and coaching advice from her mother, Joyce Svitak.
After reading this book I realized that many of my adult writing students don't write as well as Adora. But then, most of these adults don't write as MUCH as Adora does. In FLYING FINGERS she explains that she wrote more than 250,000 words (over 300 stories, essays, and poems) in a single year and she continues to write thousands of words of fiction, nonfiction, and poetry every week. Plus, she reads all the time. By her own estimate she's already devoured more than 1600 books.
Typing is another skill that Adora mastered early. In fact, she started writing at age four, when her mother bought her a laptop and she used it to make up stories. Now she types about sixty words per minute.
With so many early accomplishments, it's no wonder Adora has been a guest on Good Morning America and Diane Sawyer calls her "a tiny literary giant." But although Adora's skills are truly amazing, she didn't write FLYING FINGERS to brag about herself. She wrote it because she is passionate about inspiring other children to become just as accomplished and excited about learning as she is. And her mother says,"With support, encouragement from parents and educators, and the proper use of technology, all children have the potential to excel and enjoy writing and learning as much as Adora does."
After reading FLYING FINGERS, I think she might be right about that - so I hope parents, educators, and children everywhere will get a copy of this book. Then just maybe we can find out.
Adora's book is available online at http://www.amazon.com and at bookstores across the country.
FLYING FINGERS: MASTER THE TOOLS OF LEARNING THROUGH
THE JOY OF WRITING
Author: Adora Svitak
Action Publishing (Glendale, CA )
October 1, 2005
ISBN: 1888045191
$12.95
For more reviews of children's books and other articles, tips, and resources for children's writers, visit http://www.writingforchildrencenter.com and sign up for the mailing list. Visit http://www.workingwriterscoach.com for articles, resources, and programs for freelance writers. Suzanne Lieurance is a fulltime freelance writer, children's author, writing coach, and the founder and director of The National Writing for Children Center. | |
Eighteen months ago, I took up karate. It's a great workout, but the biggest reason I train is I want to be a formidable senior citizen. If someone tries to nab my purse or deny my senior discount at Denny's, I'll be able to answer with a quick roundhouse kick to the solar plexus. By laying the foundation now, I'll be a badass when I'm 65.
But the coolest thing about taking up karate when you're a woman in her mid-40's is that people don't automatically expect it. If you're just a casual acquaintance, you won't know I'm working toward my black belt. And by the time I'm collecting Social Security, the possibility won't even cross your mind. Unless you try to steal my purse.
In life most people become more complex as we get to know them. This should also be true for characters in children's books. At a conference recently, Lyron Bennett, editor for Sourcebooks Jabberwocky, called it "the slow reveal". It means giving your characters enough varied qualities that some can be withheld until called for in the plot.
The slow reveal is especially important when writing a series. If J.K. Rowling had allowed Harry Potter to reach his full power as a wizard in Book 1, would fans have waited nine years and six more books to learn if he finally defeated you-know-who? But equally important is planting the seeds early on for who you want your character to become. From the start, readers saw Harry's potential, and Rowling allowed greatness to surface in Harry when it was least expected. Those qualities grew along with Harry as the series unfolded.
You don't want to give away everything at once in stand-alone books either. Picture books and easy readers, with their lower word counts and straightforward plots, do best with characters who have one or two surprises up their sleeve. In Peggy Parish's classic easy reader Amelia Bedelia, the child sees that Amelia is doing a bad job on her first day as a housekeeper because she doesn't understand the list her employer left her. But even before Amelia starts on the list, she whips up a lemon merengue pie. What the reader doesn't know is that Amelia makes the best pies anywhere, which eventually saves her job at the end of the book.
Parceling out your protagonist's strengths and weaknesses keeps the tension taut in a novel. In Gary Paulsen's beloved Hatchet (ages 11-14), Brian, a city kid, is stranded in the Canadian wilderness after the his bush plane crashes, killing the pilot. Neither Brian nor the reader know if he's got what it takes to survive on his own. Can he figure out how to start a fire? Yes, quite by accident. Can he fish? Eventually. Kill and cook a bird? How about survive a moose attack or weather a tornado? Brian evolves from reacting to his predicament and stumbling upon solutions to carefully taking control of his situation. But nothing Brian does is out of character. Though he must teach himself to live in the wild, he draws upon bits of information he learned from watching television or at school, and reserves of strength that were in him all along.
Even if you're writing a single title, make your children's book characters complex enough to live for several books, just in case. Fans loved Brian so much that Paulsen was persuaded to use the character in several other wilderness adventures. Picture book series (such as Mo Willem's Pigeon books) or easy reader series like Amelia Bedelia generally grow because the protagonist's quirks are open-ended and funny enough that readers don't mind exploring them over and over in different circumstances.
The slow reveal works particularly well in mysteries. In this genre, the readers gradually get to know the victim (perhaps an honor student who is discovered to be running an Internet business selling test answers), and the villain (who may seem like a good guy at the beginning of the book). Or, how about a first person narrator in any genre who appears normal and likable early on, but becomes more unreliable as the story unfolds? Read Robert Cormier's timeless young adult I Am the Cheese for a masterful example of a shifting first person reality. If you prefer a broader perspective, try Avi's Nothing But the Truth: A Documentary Novel for ages 11-14, which looks at one incident from several viewpoints, gradually separating fact from fiction. So when you first breath life into your characters, don't stop too soon. Add layers that can be exposed later on. These surprises will keep readers enthralled, whether you're writing about a boy wizard, a demanding pigeon, or a ninja grandma.
Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to write children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com and the CBI Clubhouse at http://cbiclubhouse.com | |
Exhibition by Illustrators and Writers of Children’s BooksUniversity of PretoriaOpening Function: 3 November 2009 15:00Venue: Edoardo Villa Gallery (Old Merensky Building 19)Daily visiting hours: 4-10 November 2009 10:00 - 16:00Alliance FrancaiseOpening Function: 12 November 2009 19:15 for 19:30Venue: 19 Rivier St (cnr de Kock) SunnysideDaily visiting hours: 13-27 November 2009 08:30
Dr Donna Wyckoff-Wheeler will offer a 7-week module on WRITING FOR CHILD AND ADOLESCENT MARKETS. The module will begin on August 6 and continue through September 24 (no class, September 3), and will deal with analysis, writing practice and marketing opportunities in the basic genres of children’s literature. A module fee of R1250 is payable after the first class. CLASS TIMES AND VENUE: Thursdays,
Skryfgeheime - van idee tot publikasie - for more information see www.skryfgeheime.co.zaDIE TIEN-MODULE-PLANMODULE 1: Uitgewers en storie-idees Die Afrikaanse kinderboekwêreldWaarom moet ek hierdie kursus doen?Meer oor uitgewersHoe lyk ’n suksesvolle kinderboek?Die kind se sielkundige leesbehoeftesWaar kry ek idees?Werkstukke:1. Doen ’n taak oor die skryf van kort sinne2. Skryf ’n
Dates: Beginning Wednesday 27 May and continuing with three more workshops on dates to be agreed on by participantsTime: 10:00 -12:30Where: Houghton, JohannesburgCost: For Non-members R500 per personCost: For SCBWI members R250 per personDescription: The course will comprise of four hands-on sessions:1) Background and brainstorming session2) Writing and illustrating stories3) Discussion and
To join a Writers' Critique Group, send an email to [email protected]. Indicate your level of experience as well as the suburb in which you live.
Maskew Miller Longman has announced its annual competition. They are inviting writers to submit unpublished and original children's stories and illustrations.R7500 will be awarded to the story winner in each language and to the illustration winner. There will also be a runners-up prize of R3500.Click on the title above to get more details.
Writers and illustrators are required by MasterSkill, an American publisher. Click on the title above to read more.
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Lots of great links to check out. Thanks!
You're welcome, Susanne!