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I get this question a lot. And often the person wants to know 1) how the book can be picked up by a major publisher or 2) how to get the book and related products in the traditional bookstores. This is a very tough question. But here’s the short answer. PREPARE FOR A DIFFICULT ROAD [...]

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A: If you are both a writer and a professional illustrator, then what you will want to do is create a picture book dummy. I’m not an illustrator myself, but I can point you to a great article on how to make one. http://www.yellapalooza.com/tutorials/dummies.html If you’re only a writer, then...

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Are you gearing up for a conference and find yourself wondering what to wear, what to bring, and how NOT to make a fool of yourself in front of editors and agents? Then this is the article for you.

Practical Do’s and Don’ts for Attending a Children’s Writer and Illustrator Conference

1. Do NOT harass editors and agents to see your work. It’s perfectly okay to talk with them should the opportunity arise, but shoving your manuscript in their faces is NOT the way to make a good impression, nor is asking them if they will look at your work later. The only time you should ask an editor or agent specific questions about your work is if you’ve paid for a private one-on-one critique and you are in a session with the editor or agent specifically for the purpose of talking about your critique.
2. Do dress appropriately. I can’t stress this enough. You have to remember that most of these editors and agents live in New York. They are usually pretty decently dressed people. You should try not to look like you just threw on the first mumu you could reach when you rolled out of bed this morning. Leave the ties and business suits at home. But do dress business casual. Even Casual Friday for the office environment is acceptable (so neat denim can work if you still look put together.) If you’re a lady, dressing with the rule of three in mind will help you weather any conference. Three? What do you mean? 1) Wear a top. 2) Wear a bottom. 3) Bring something to wear over your top in case the room is cold. This might mean a coordinating jacket, cardigan or sweater. Men? You’ll be safe with a collared shirt, button-down, or sweater with khakis or neat trousers.
3. Do NOT forget your business cards. I manage to do this at least once a year and feel like a complete idiot when I find myself scribbling my info on the back of a napkin. These conferences are a great way to network with writers and other industry professionals who are in a position to help you or vice versa. Make it easier to network by having a “professional-looking” business card to give to them. If you don’t know what “professional” looks like, ask buddies you trust to help you pick out your design. Haven’t published anything yet? It doesn’t matter. You’ll want your name, your email address, physical address, phone number and your title “WRITER” or “ILLUSTRATOR” on there. If you don’t want to share that much info, at the very least, put your name, email address, and title on your card. The best place to get FREE professional-quality business cards on the Internet quickly is, by far, Vistaprint.com. I use them myself and am extremely pleased with their product. (The matte finish also looks and feels great. No need to upgrade to the glossy or the 100-lb paper unless you really, really want to.)

If you’re an illustrator, making up a postcard displaying samples of your work in full-color is also a REALLY, REALLY GOOD IDEA. You can also do this at Vistaprint.com. So get those ready and printed in time for your conference.

4. Do bring a notebook and a writing instrument. You’ll be taking lots of notes and you’ll want a working pen to do it with. Using one notebook reserved strictly for conferences might also help you stay organized if you plan on going to more than one in your lifetime.
5. Do NOT make Q&A sessions all about you. Often, you will have an opportunity to ask questions of editors and agents at the end of a session. If you want to know something, don’t make the question all about you. There is nothing more aggravating to your audience or speaker than having to answer a question about the marketability of your picture book about frogs and funerals for the 8-12 year-old audience in front of two hundred people. Make your questions open-ended and general so that everyone may benefit from the answer.
6. DO remember to smile. Every year I see it. People who attend conferences with a permanent scowl on their faces as if they were forced to attend. It’s easy to get nervous and worry about whether or not you are making all the right moves, but in that process, don’t forget to change the expression on your face. Sometimes something as simple as a “pleasant” countenance is all you need to to start up a conversation.
7. Do NOT forget to bring breath mints or gum. Speaking of your mouth, there is nothing worse than having stale breath from keeping your trap shut for hours on end. Or maybe you had a sandwich with onions on it for lunch. So don’t forget to bring the Altoids with you. Not only will your breath thank you, but it’s a great way to make nice with the neighbor sitting next to you who just might have forgotten to bring their own arsenal of fresh-breath products.
8. DO leave room in your baggage for freebies. If you’re going to a large conference, like the annual national SCBWI conferences, do leave room in your luggage for all the freebies you will bring home. Mostly this will consist of publisher catalogs. I personally prefer to stuff all these publications into the “expandable” part of my carry-on and then ship the whole puppy back on the plane. Going to the conference, however, I make sure I have my luggage with me at all times. Nothing worse than having your luggage lost when you’re on a trip.
9. DO NOT get drunk. Okay, this goes without saying. But little do you know how much partying there can be if alcohol is present! You’ll want to remember who you are and what you did the night before when you wake up for the second day of the conference.
10. DO put yourself out there. If you make one promise to yourself, it should be this: MEET PEOPLE while you are at the conference. How rare it is to be among others who love children’s writing as much as you do! And guess what? You might find your new, beloved critique partner at one of these conferences. That’s how I met both of mine. Are you shy? Me, too. I just try to remember most people hate small talk as much as I do. You already have something in common with everyone around you–so break the ice! Put yourself out there and be amazed by how others respond.

Good luck at your next conference! Now excuse me while I get ready for mine!

I have run into countless writers who have spent hundreds of dollars on literary agents, vanity publishers, and book doctors, in the hopes of making it big in children’s publishing. It really breaks my heart to hear this because the truth is, there are people out there feasting on hopeful newbie writers, turning a very legitimate business into something reeked with fraudulence. THIS ANGERS ME. AND SNOOP! In fact, it’s upset me enough that I’ve decided I’d shell out some of my own money to help combat the scams that are out there. You might have even gotten to this page by clicking on my sponsored ad. (If you did, pat yourself on the back. You’re a very smart cookie).

Here’s the deal. If you do a Google search, a lot of the links go to vanity publishers or predatory “agents” who will try to convince you that if you PAY them, they’ll make you successful nearly instantly. BUT LISTEN TO THIS: DO NOT PAY ANYONE A DIME TO REPRESENT OR PUBLISH YOUR BOOK (unless you really want to self-publish. If this is the case, [read post, should I self-publish my children’s book?->should I self-publish my childrens book]).

If you’re hoping to make it big with a reputable publishing house, standard industry practices is Agents and Pubishers pay you, not the other way around. This means, if an agent decides to rep you, he won’t charge you a DIME until he’s sold your book to a publisher. If you want to know how REAL literary agents operate, read AAR’s Canon of Ethics. AAR is an organization that has established ethical standards for literary agents. Many good agents are members, but it’s not a requirement. If you find an agent who’s breaking many AAR rules (like charging reading fees to consider your manuscript, demanding payment up front, etc., promising some analysis to be read in 24 hours, selling critiquing services along with representation), you don’t want to sign up with them. You’ll want to report them to Preditors and Editors. This is a great place to see if a name you’ve found has already been listed as “not recommended.”

The same goes for “publishing on demand” (or POD) publishers, self-publishers, and vanity presses (all the same thing essentially, though they will claim they are not). If any of them say they will make you big on Amazon or in bookstores, RUN THE OTHER WAY. The truth is, if you go this route, only you can make your book big by doing some serious hard-selling. [read post, should I self-publish my children’s book?->should I self-publish my childrens book] to find out why.

When it come to book doctors or people selling critique services, you’ll certainly find you don’t always get what you pay for. THIS KILLS ME because I often offer free critiques (what I call free-tiques), and then I hear these stories about how someone paid $400 for total drivel. Often book doctors are so out of touch with the children’s writing industry that you have to ask yourself why you should seek advice from someone who is probably less informed than you are. So be sure that you’ve exhausted all your other resources (seeking out free advice from other writers, critique partners, and even this website!). And if you do go with a paid critique service, get recommendations from people you trust before you shell out a ton of money. Also know this: critique services won’t ensure your book’s success. Only you can do that by writing a good story that publishers actually want to buy.

Finally, not everyone who shows up on the Internet is a scam. There are a few guys out there who are operating legitimate businesses helping children’s writers. To find out the real deal on organizations you’re unsure of, ask the children’s writer community by visiting The Blue Board. A simple search on there should get your answer. Or just ask me.

Finally, if you like what I’m doing about book scams, then please consider supporting my cause. I’ve made a book that features all of the FREE writing articles in my crash course. If you like what you see, you can download all of it in one handy, organized document. Proceeds go to funding author visits to school and libraries that couldn’t otherwise afford them and keeping this website up! So if you can, please consider helping out.

Thank you!

Cynthea (and Snoop!)

1. action adventure

think spies, superheros, journeys to exotic lands

2. board book

a type of children's book that is illustrated and characterized by the hard “board” material it is made of. Meant to take abuse. Could probably survive weapons of mass destruction like toddlers.

3. chapter book

Or transitional chapter book. A book that's not a full-blown novel or a picture book. Often series books. Examples Franny K. Stein, Geronimo Stilton. Written for young kids who can read on their own. Typically 2nd-4th graders. Usually more difficult than early readers. Easier than middle grade novels.

4. chick-lit

think sassy girly books, pink, boys, boys, and boys

5. commercial

has universal appeal, accessable, suitable for the masses, tons of marketing potential (e.g., movies, licensed products like toys, etc.,). Think money, money, money. Opposite of literary fiction

6. contemporary

today, now, set in current times. Opposite of historical fiction.

7. easy reader

Also known as leveled reader or early reader. For kids beginning to read. I CAN READ books fall in this category. Typically 50% text, 50% illustration. Page counts are fairly standard (32 pages, 48, etc.,). Usually more difficult than a board book. Easier than a chapter book.

8. emergent reader

extremely simple and fully illustrated books with teeny-tiny word counts. Meant for children just beginning to read. An example? Check out any book in this Candlewick series Brand New Readers.

9. fantasy

think made-up worlds, dragons, wizards - many elements are "make-believe." Opposite of realistic fiction.

10. gothic

think vampires, gargoyles, cathedral, darkness

11. historical fiction

stories set in the past that usually have to do with a historical event like the Plague, Holocaust, Japanese internment. Opposite of contemporary fiction.

12. middle-grade novels

meant for an 8 to 12-year-old audience. Example: Millicent Min, Girl Genius

13. novel

what you first think of when you hear the word "novel". Novels are usually geared toward middle-grade and teen audiences since those are the folks who can handle a book that long.

14. picture book

filled with pictures! 32 pages. Some are 48, some in between. A kind of book you'd read to your child. Not a book a child would necessarily read on their own. Usually written for ages 4-8. Example: Cowboy Camp, If You Give a Mouse a Cookie, Goodnight, Moon

15. teen novel

Also known as young adult novel. Usually meant for a 13 and up audience. Example: Storky: How I Lost My Nickname and Won the Girl, Girls for Breakfast

16. tween book

usually a middle grade novel, but further defines the age group to something in the 10 to 12-year-old audience.

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