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A weekly column from children’s author Simon Rose

Although Lord of the Rings is set in a fictional world, many of the characters have some basis in history. Aragon as a reluctant hero, who shuns power for himself and merely seeks to free his people, has echoes of Scottish freedom fighter William Wallace, the hero of Braveheart. The wise counsellor is also a recurring character throughout history. Gandalf in Lord of the Rings is not ambitious for himself and only has his king’s best interest at heart. He thus tells the king what he should hear, not want the king wanted to hear. Queen Elizabeth I had several such wise counselors throughout her long reign. Conversely, in The Two Towers, King Theodan is ill served by Wormtongue, an excellent example of an evil adviser. In history, Rasputin wormed his way into the affections of the Russian Royal family in the First World War. He told the Tsar and his family what they wanted to hear, especially about their invalid son Alexei, even when qualified doctors told them the truth. Many factors drove Russia to revolution in 1917, but Rasputin certainly had a major role in the downfall of the Tsar.

Often books can be said to be very much a product of their time. Tolkien was writing during the Second World War, when it seemed very likely that Hitler and the forces of evil might triumph. The entire world appeared to be headed for darkness in the early 1940’s before the tide of battle eventually turned in the Allies favour. The fact that the often competing forces of the shire, Rohan, Gondor, elves and dwarves all put aside their differences for the common good has echoes of how Britain, the USA and the Soviet Union worked together to defeat the Nazis. In Lord of the Rings, the heroes are up against overwhelming odds all though the story. Sometimes there is good and sometimes there is evil and sometimes to save your civilization you have to be prepared to fight and die for it. Optimism runs through the tale. There is a refusal to give in, no matter what and to always have hope. In the end, its message is that it is possible for good to triumph over evil and the victory is worth all the blood that had to be spilt.

A weekly column from children’s author Simon Rose

As a writer, I often find myself wondering ‘what if?’ This can in itself lead to many story ideas, some of which may end up being more developed than others. What if there was a letter in your mailbox, inviting you to attend a school for wizards? Or if one night a flying boy dressed in green appeared at your window with an invitation to accompany him to a magical realm? Or you discovered another universe at the back of your closet? Or followed a white rabbit down a hole into another dimension? This might not have been how the famous stories of Harry Potter, Peter Pan, The Chronicles of Narnia or Alice in Wonderland actually came about, but they demonstrate how the writer’s mind can work simply from the starting point of ‘what if’?

You might even want to conduct your own personal ‘what if’ exercises with a few story starter ideas. For example, what kind of a story might you able to conjure up from some of these random sentences? “He turned the corner and couldn’t believe it when he saw …” “I went to collect the mail and saw a letter from …” “Behind the bookcase was a small mysterious door …” “In the attic was an old dusty box …” “I found an old fashioned ring in the cupboard and when I tried it on …” Even if you have an idea for a story, sometimes it’s still tough to know where to start and although these sentences might not lead you to create a classic of children’s literature, they can help with your inspiration.

A weekly column from children’s author Simon Rose

One of the most common questions asked of authors, whether from children during school visits or in interviews, is where do you get your ideas?

In so many ways, ideas are all around us – in newspapers, magazines, pictures, photographs, other books, whether fiction or non fiction, television, movies, even video games.

History can be a constant source of inspiration for writers, but so are personal experiences, family vacations, family, friends or pets.

Many writers have had ideas come to them in dreams, often not the entire novel, but at least a significant enough piece of the puzzle to set them on their way to crafting the actual story.

My own ideas come from anywhere and everywhere. Perhaps when out walking the dog, in the car, something in a conversation, a newspaper story, a billboard, an item on the evening news, TV, movies, books of all kinds, song lyrics, historical events, ancient mysteries, long lost civilizations, the supernatural, ghost stories, the paranormal or something completely out of the blue.

Sometimes the challenge is to stop having ideas. Although I have been known to get ten ideas at once, which amazes my school audiences, I also have to point out that I can go for six months with no ideas at all. Some of the ideas may never be used, and may only be part of a story or a title. They could even feature a character or a piece of dialogue and you aren’t sure where it comes from. However, I do try to record as many ideas as I can, since I never know when they might fit in with a story I’m writing. Even ideas that don’t seem to work right away may have a use in the future.

A weekly column from children’s author Simon Rose

To combat the dreaded writer’s block, another idea is to engage in non-writing activities and just walk away for a while. It might seem perhaps overly simple, but you’d be surprised at the ideas that come to mind or the clutter that can be removed from your thoughts when out walking the dog, for example. And even if you don’t have a dog, get out in the fresh air and blow away those cobwebs. Maybe try driving whilst running errands, doing laundry or other housework, yard work in the summer or raking leaves in the fall.

Meditating or relaxation exercises may ease the stress associated with the temporary impasse with your writing. Perhaps you also pursue other artistic endeavors like painting, completely unconnected to your usual projects, but this again may stimulate your creativity. You could even attempt something out of the ordinary or merely try something that is a genuinely new experience for you. If your particular writer’s block has resulted in a lack of new ideas, attempts to spark creativity by going somewhere new or doing something different could prove very worthwhile. Reading, watching movies or plays, listening to music or similar activities might also bring inspiration.

Writing, particularly of fiction, can be a lonely experience, and spending too much time alone in front to the computer can make writers prone to depression. In addition, too much caffeine, lack of sleep, not enough exercise or neglecting your diet will sooner or later adversely affect your health, which will in turn damage your creativity. Writing is often a solitary occupation, but you don’t have to live like a hermit. If you prefer not to join a critique group or some other writer’s organization, be sure to occasionally meet up with friends for coffee or dinner, to chat about something unrelated to writing. The change of scene will most likely do you the world of good and who knows, inspiration may even strike in the most unlikely settings.

A weekly column from children’s author Simon Rose

If I’m struggling a little with a project, I also opt for writing tasks unrelated to my current novel, such as writing articles like this one, but also emails, planning out another story, creating a new word search puzzle for my website, making changes to my online pages, editing blog entries, sending invoices and other paperwork to schools in advance of an author visit or other general marketing and promotional work.

Once I am actually tapping away at the keyboard, it eventually seems to get the creative juices flowing again. It’s also a good idea to walk away from the computer every once in a while, just to take a break from your writing. I often work elsewhere in the house, such as at the kitchen table, for example, when I’m preparing a new workshop or residency, writing an outline and so on, usually with pen and paper.

This can also involve editing a manuscript, if I’m at that point in the process and I need to see the novel on paper, so print off a copy and go elsewhere, simply for a change of scenery. I will also sometimes head to a coffee shop or some other similar establishment, working for several hours and invariably return home feeling refreshed. As writers, we spend so much time at our desks, engrossed in out projects and it’s a good idea to take a break and recharge your batteries once in a while.

A weekly column from children’s author Simon Rose

No matter how experienced you are as a writer, it’s always tough to edit your own work, because this is your baby and you are biased, even if you don’t think you are. You have to have a thick skin to be able to handle the rejections which come to all of us and you have to be hard on yourself before you even send it out in the first place to publishers. Once the actual novel is done, I always read through it as many times as I feel is necessary, making fewer and fewer changes as I go through the text. I also find that reading the novel aloud helps as well, since this is the closest you can actually get to experiencing another person’s point of view. How do you know when to stop editing? Well, there are no hard and fast rules on that, but at some point you will know. At that time, you have to take a deep breath and finally get someone else to read your masterpiece, whether this is a publisher or just someone you hire to evaluate your manuscript. Is it then ready to send out? Again, there are no set procedures, but eventually, you have to make a decision. The fear of rejection is a very strong emotion and holds many people back, but at some point it has to be submitted. Just make sure it is ready, doing whatever you need to do and taking as much time as you feel is necessary. Never rush things or take short cuts, because you will most likely regret it.

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Here are some pictures from the Calgary Children’s Book Fair and Conference, held on November 27, 2010 in Calgary (where Simon lives).

http://calgarybookfair.com/gallery2.php

A weekly column from children’s author Simon Rose

Although I try to engage in creative writing on a variety of projects during the daylight hours rather than late into the night, my writing work schedule at home sometimes seems to be restricted to responding to e mails, attending to blog entries, answering inquires from schools and engaging in various aspects of promotional activities. Consequently, during busy periods of the year, very little creative work gets done. If you have a full time job during the week, your only real option is to attempt to create your literary masterpiece at night or over the weekend. However, this process has to be finely balanced with allowing time for your family. Often, spouses and other family members can be incredibly supportive of your burning desire to break into print, but they can also soon begin to feel neglected if the writing project starts to take over your life. Develop not only a schedule, setting time aside in the evening or weekend to attend to your writing, but also have a firm starting time and especially a finish time, no matter how involved in the creative process you are. Always remember to be respectful of their people in your life who are supporting your efforts and allowing you the precious time to pursue your dream.

A weekly column from children’s author Simon Rose

Its very important to set up your office space so that you can be comfortable while working on your writing projects, but its equally important to set time aside for your writing. This can be particularly challenging for people with younger children, especially if they are using the same computer and workspace. It’s also extremely difficult for aspiring authors with regular jobs, which may entail long hours and precious little time to spare once they return home at the end of the day. However, if you set time aside on Saturday mornings, for example, to do some writing for a couple of hours, make sure you stick to it.

If you have a partner who can take care of the children that day, all the better to free you from distractions. And if you decide to designate the evenings for your creativity, make sure that you adhere to a certain time to finish your writing session, especially if you have to work the next day.

Even if you are utterly inspired to complete the latest chapter of that potential best seller and it might take all night, it won’t do you any good if you fall asleep at work the next day and lose your job. If you are going to write again the following evening, the ideas will still be there anyway. Doubtless you will still think about your writing at various points throughout the day, and may even make a note or two while you’re at the office, out at lunch or stuck in traffic. However, if you are going to do your writing justice, you need to be able to focus when you have the available time to work on your project.

A weekly column from children’s author Simon Rose

Whether you’re just starting out as a writer or are a seasoned professional with several published novels to your credit, it’s important to have the right space to effectively pursue your chosen craft. You need to be comfortable in the area in which you choose to work within your home. If you have a laptop, you may write all over the house, in the backyard or even in coffee shops, but sooner or later you’ll wish to create your own space. Writing, especially of fiction, is a solitary business by nature and you need remain focused, which is much easier to achieve if you have a distinct area in which to work.

In terms of furniture, you don’t have to go overboard and buy the most up to date office equipment. Just be sure to get a desk and chair that are comfortable, with enough room not just for a computer, but anything else you think you may need to have close at hand. Some office equipment is relatively small, but a printer can often take up as much room as a computer, so be sure to allow for that in your office area. It’s always a good idea to keep storage places in mind as well. Get a filing cabinet or something similar, because once you start to get serious about your writing, even if you aren’t published, you soon begin to accumulate paper, related to marketing ideas, writing tips, starting points for stories and so on and the paper piles up very quickly.

A weekly column from children’s author Simon Rose

Children are almost always inspired when they meet a real life author or illustrator, but it may not always be possible to have an author visit your school. However, why not put technology to work for you? Now you can arrange a virtual author visit via video using Skype. These can be conducted with large groups in a library or gym or with individual classes. You can get an idea of what a virtual visit looks like by viewing my videos in which I talk about my books, my workshops for adults and schools, plus my various services for writers. To host a virtual author visit, it is necessary to download Skype, which is available for both Windows and Macintosh, and have a webcam. Mac users may also be able to set up a virtual author visit using iChat. Schools also need a projection screen and speakers in the library, gym or wherever the virtual visit takes place. For individual classes, it is possible to connect via laptop computers. A technical run through a few days prior is also advisable, to ensure that everything runs smoothly on the day of the visit.

Ideally, in preparation for a virtual author visit, students should have read at least one of the author’s books prior to the visit. Personally, I suggest the children familiarize themselves with my work by undertaking the Super Scavenger Search on my website. Teachers may also wish to download the word search puzzles related to each novel. Study guides are also available for all my novels and each book can provide teachers with a wide variety of ways to explore projects with their students and class sets of books are available.

A weekly column from children’s author Simon Rose

On the day of the author visit, once everything is all ready to go, have someone introduce the author with some biographical information, details about his books and any other work that he does. Most authors who visit schools on a regular basis are proficient in crowd control, but make sure you have a staff member on hand to deal with any disruptive or just overly excited and enthusiastic students.

Have someone thank the author. either at the end of the whole day or at the end of each session, if the author is presenting to multiple groups. Although not essential, most authors appreciate any tokens of thanks, such as coffee mugs with the school logo, pens or whatever you have available, as a memento of their visit.

If there are going to be book sales to students after the session in which the author will autograph copies of his books, ensure that this is organized properly and that students line up in an orderly fashion. Once the author is ready to leave, have student volunteers to help the author with his belongings, if needed, at the end of the session. This may be particularly important if the author is engaged in a tour of your area and has a limited amount of time to travel to another school for an afternoon presentation, for example.

Before the author leaves the premises, ensure that his fee is paid, unless prior arrangements have been made to use direct deposit, mail out the payment and so on. Even if you have given the author a thank you card after his time at your school, always send a thank you e mail a week or so later, since this is always appreciated by the author. And finally, if everything went smoothly, don’t forget to congratulate yourself on hosting a successful author visit at your school.

A weekly column from children’s author Simon Rose

No examination of author visits to schools and libraries would be complete without some mention of fees and honorariums. Fees naturally vary from one author to another and while writing organizations have recommended rates, usually calculated by the hour, it’s still wise to do your own research. While some authors charge by the hour, others may charge by the day, half-day or even per head. Prices also vary greatly from one part of the country to another. What an author may consider a fair rate for his or her time and services in one city may appear expensive elsewhere, or even completely out of the range of a school in a less affluent region. These differences in pricing and affordability apply to Canada, the United States, the UK and other countries where there are always going to be significant regional variations, between both urban and rural areas or simply when comparing different areas of the same country.

Make sure you always ensure that author in agreement about all the school’s financial matters well in advance. This is particularity true of mileage, which may not be possible to calculate until the author arrives at the school. However, you should attempt to get at least a rough estimate, since this will be an additional charge on top of the author’s agreed fee. Should meals and accommodation be required and the author expects the school to foot the bill, make sure this is all discussed beforehand as well. If your school requires invoices before they can release payment for anything, make sure the author is aware of this so that they can send you the appropriate paperwork. Similarly, ensure that you inform the author if your school requires forms to be filled out for the payroll department, if banking information is needed for direct deposit of the fee or if you require the author’s social insurance information. With regards to the financial aspects of an author visit, planning and preparation in advance is always advisable.

A weekly column from children’s author Simon Rose

In addition to school visits in their local city or geographic area, authors often travel and usually try to arrange tours of schools in other parts of the country. This can involve a working week in an area, with either full days at five different schools, ten half-day visits or a combination of this. Such tours can be a challenge for an author to organize, considering the bookings themselves and all the arrangements which will vary from school to school, plus travel, accommodation, meals and so on. However, in the best case scenario, one teacher may make all the arrangements for the author, contacting his or her colleagues at other nearby schools, setting up an itinerary, arranging for transportation between venues and even organizing accommodation in someone’s home. The author’s books may have proved very popular in your school, you may have completed novel studies using one or more of their titles or you may simply have loved the author’s work and want to make your students more aware of their books.

Most authors have websites and blogs these days so are usually relatively easy to contact, but they live in a different part of the country, you will be incurring additional costs on top of the author’s fee for a school or library visit. However, although each school will be responsible for covering their own fee, other expenditures can be minimized if the costs of the accommodation and travel, for example, are shared equally between all the schools involved in the tour. It can certainly be a lot of work if you’re the one organizing everything in the local area, perhaps on behalf of up to ten schools, but an author tour can be very worthwhile, raising the profile as an author with children and parents. Plus, very often the local media will take an interest and send photographers and reporters to cover one or more of the author’s appearance, giving valuable publicity to your school and its programs.

A weekly column from children’s author Simon Rose

Last week, we talked about determining what type of presentation you might be looking for during an author visit to your school. These mostly related to one day visits, but for an here on my website. However, this is just an example, and I am always happy to discuss a residency with the school to determine how the time there will work best. I offer a variety of presentations and you can see these on my website here. However, certain sessions remain popular, such as those relating to the superhero genre, the subject matter of The Emerald Curse, or the ones about time travel, since three books feature this theme. You can learn about the subject matter of my books here.

I also offer a variety of workshops on writing topics such as character development and dialogue, creating stories for younger students in K to 2, and on popular subjects such as the fantasy realm and science fiction, but I am very flexible and always happy to discuss matters with the teachers to ensure a good fit with the students. 

I have also worked on dramatic productions with children, both in schools and at summer camps, plus I conduct programs very similar to a residency in my work with homeschooled students. Any author who is advertising his services as an author in residence will similarly have a wealth of material to draw on for workshops designed to take place over the course of a week or longer at your school.

A weekly column from children’s author Simon Rose

Many authors who conduct school visits on a long-term basis have a well thought out set of presentations, workshops and other material. These might be related to their own books, but also to topics such as editing and revision, for example. Authors might talk about where they get their inspiration, character development or just how a book comes together, and whenever possible they leave time for questions from the children.

In addition to the subject matter of my own books, I cover such topics as where ideas come from, story structure, editing and revision, character development, time travel stories, the superhero genre, history and research and more. I will present to up to a hundred students at a time, although the smaller the audience the more participation from children, as a rule. I also consider workshops with smaller groups or individual classes. A list of some of the presentations I offer can be found here, but I am always happy to discuss matters with teachers to design sessions to best serve the needs of their students.

An important thing to consider when deciding to host an author visit is what type of presentation you’re looking for. There are usually numerous types to choose from and all authors are different in this regard. Are you looking for an author who will just read to the children or only be there to answer questions from the students, either about their book or about writing in general? Perhaps there’s part of the school curriculum that you would like to emphasize and the author’s books are related to it in some way? Is there a project the students have been involved in to which the author can contribute, either by assisting them in getting started or in bringing it to a satisfactory conclusion? Are you looking for workshops, in which you want the children to actually do some writing or would you like them just to listen to a presentation? Are there particular general topics on writing, rather than those related to the subject matter of the books, that you want the author to focus on? Do you want small groups in classrooms or the library or a hundred or more children in the school gym? How long do you want the sessions to be, to fit in with the normal schedule of the school day? Do you want the author to actually teach the children something or simple appear almost as a celebrity guest to inspire them? These are all important things to consider when planning an author visit and ensuring that it all goes smoothly.

A weekly column from children’s author Simon Rose

There are a variety of ways to book an author. Personally, I deal with all the school bookings myself and all inquiries come to me either directly via e mail or through my website and other places online, such as my blog, Facebook, and other sites.

Most authors have websites these days, which usually contain some kind of contact details, even if the authors don’t administer the sites themselves. With other authors, you may have to contact the publisher, or if they aren’t able to help, the author may have an agent or even a publicist who looks after all their personal appearances, including signing events, school and library visits.

If you still have trouble locating contact information for the author of your choice, you can look into writer’s organizations that the author may belong to or is somehow affiliated with. Perhaps your chosen author or illustrator is a member of the Society of Children’s Book Writers and Illustrators or SCBWI, which you can contact via the national office or the relevant chapter either in your own area or in the area where you know your selected author resides. SCBWI can be reached at www.scbwi.org and you can usually easily locate other writing groups on the Internet. Depending on the author, do be prepared to not hear back right way. If you are contacting an agent or publicist, they may be dealing with a number of different clients and their schedules and may simply be very busy, so be sure to give yourself plenty of lead time when planning the visit or event.

A weekly column from children’s author Simon Rose

How you choose an author to visit your school is entirely up to you. You should make a wish list of authors that you’re interested in. Maybe there’s a book that the students have been studying in class or for projects or perhaps an author has just received an award for their latest novel? Perhaps the author is a prolific writer of non-fiction on topics such as volcanoes, earthquakes and other natural phenomena and this fits in well with what the children in a particular grade have been studying? Maybe you’re looking for an illustrator to talk to the younger grades about picture books? Your reasoning might even be related to those books that are always very popular in your school library. Perhaps you’re considering someone who has written books about local history or culture? In the past, a school has contacted me following a referral from another school in the same district. On other occasions, teachers have moved to a different school and recommended me to their new principal or librarian.

My own books are in the science fiction and fantasy genre, but also deal with history, with The Sorcerer’s Letterbox and The Heretic’s Tomb set in the Middle Ages, which fits in with the curriculum at many schools who are covering the medieval period in certain grades. The Emerald Curse involves the superhero gene and some schools see a good connection with children who are learning about heroes and villains. The Doomsday Mask features the legend of Atlantis and ancient artifacts and this fits in classes where children learn about civilizations such as Greece, Rome and Egypt. The Clone Conspiracy involves scientific experiments and some schools have adapted this to science classes, while The Alchemist’s Portrait features art galleries and museums, which some teachers have found useful when running classes about fine art or organizing field trips to local museums and galleries. Both girls and boys in equal measure enjoy my books, but some teachers and librarians also utilize my novels as excellent resources for reluctant boy readers and this is sometimes a factor in my securing bookings as well. Whatever your motivation and preferences, there’s usually an author out there who will fit the bill and who you can investigate inviting to your school.

A weekly column from children’s author Simon Rose

Many teachers and librarians like to host artists in a variety of disciplines at their schools each year. They know that an author visit can be inspirational, boosting student creativity and encouraging children with their own writing. And for the author, meeting their readers can be one of the most enjoyable elements of a school visit. Younger students especially are almost always thrilled to meet a published author, especially if they have read and enjoyed their books.

Examples of comments from children about my own school visits over the years can be found here, while teacher and librarian comments are here. 

School and library visits offer an invaluable opportunity for authors to connect with their readers on a personal level and in some cases they can make a real difference in children’s lives, stimulating their imagination or simply getting them more interested in books and reading. Visiting a school allows an author to talk about his own work, his inspiration, any current or future projects, answer questions, sell some autographed copies of books, and even present himself to an entirely new audience or geographic area. An author visit can also be very beneficial to the school, inspiring the students and may also encourage some of them to explore their own artistic creativity, whether this involves writing, illustration, painting, poetry, sculpture, photography, film or another discipline altogether.

There’s no question that an author visit is usually one of the main highlights of the school year, for both the staff and the students.

A weekly column from children’s author Simon Rose

Ah, the summer is finally here. Traditionally, July and August are the months when people look forward to relaxing with friends and family, taking vacations and day trips in the warmer weather. For teachers, summer usually means a more lengthy time away from the workplace than most people, but many of those employed in the teaching profession spend at least some of the summer preparing for the next school year. July and August is often a good time to think about the fall, since the start of the school year can sometimes entail a chaotic couple of weeks before everything settles down. When teachers are preparing lesson plans and thinking about the kinds of things they might like to do in the classroom once classes resume, some might consider having an author visit the school.

For the next set of articles here at Simon Says, we’ll take a look at the benefits of hosting an author at your school, how you find an author who conducts presentations and workshops and how you choose a writer who is the most suitable guest for your school and for your students. We’ll also examine how much it might all cost, what kind of work will be involved for you to set everything up as the coordinator and what you can expect to have to do when the author is actually in your school. Over the next few weeks I’ll be answering some of these questions and providing tips and advice for teachers when planning an author visit at your school, in the fall and beyond.

A weekly column from children’s author Simon Rose

In any profession, everyone has to start somewhere and writers are no different. Every published author out there was once an unpublished author. Even writers who have sold millions of books were told at some point early in their careers that they would never be published. And, of course, if they had stopped submitting their work, they would never have been successful.

Yes, it can be daunting, but no one ever succeeded if they stopped trying. Fourteen publishers, including big names such as Penguin and HarperCollins, rejected J K Rowling’s manuscript for the first novel in the Harry Potter series, while A Wrinkle in Time received almost thirty rejections over the course of a decade before securing a publisher. William Golding’s Lord of the Flies was rejected by twenty publishers, while Stephen King’s first novel Carrie was rejected by dozens as well. Margaret Mitchell received thirty eight rejections for Gone with the Wind and Beatrix Potter’s The Tale of Peter Rabbit was rejected so many times that she initially self published it. John Grisham’s first novel, A Time to Kill, was rejected by a dozen publishers and sixteen agents before it was published and launched his career as a best seller.

So, although you might be receiving rejections, rest assured you’re in good company. Keep sending out your work, because you never know when your time will come.

A weekly column from children’s author Simon Rose

If a publisher rejects your work, they will not be publishing it, pure and simple. However, it also means that you are at least getting your writing out there. I’ve lost count of the number of people I speak to who have written a novel and still not sent it out. Yes, you have to feel its ready and in some ways it never will be, but some people are so fearful of rejection that they never submit anything at all. As I’ve already mentioned, rejections can often come with constructive criticism and suggestions for additions or improvements. Rejections also show that you’ve got the courage to actually send your work out and move toward becoming a professional writer. And once you have a rejection, you can of course now send it out to the next publisher on your list, preferably on the same day. Always have something out there doing the rounds, in my opinion. After all, some publishers can take six months or longer to reply. The more you submit, the more rejections you may receive, but the more chances you have of being accepted too. Someone once informed me that they never bought lottery tickets because they never won anything. Well, you’ll certainly never attract the attention of an editor or publisher if you don’t send anything out, so start submitting.

A weekly column from children’s author Simon Rose

All writers are rejected at some time or another, even the most famous or successful ones, so you are in good company. Even if you’ve mastered the art of not taking it personally, rejection will still hurt, even if only a little, so it’s best to wait a while before jumping straight back into any writing projects. Writers spend so much time at their desks anyway, engrossed in their projects and it’s always a good idea to take a break and recharge the batteries once in a while.

The same applies when dealing with a recent rejection, especially since you shouldn’t probably be writing anything while still feeling hurt anyway, wondering what’s wrong with your writing, considering yourself inadequate and second-guessing every paragraph, sentence, line or word that you write. Simply walk away for a while and engage in some non-writing activities. Run some errands, walk the dog, do laundry or other housework, read some magazines, watch movies or TV, even do some yard work. And if you don’t belong to a critique group or some other writer’s organization, meet up with friends for coffee or dinner, to chat about something unrelated to writing. The change of scene will do you the world of good and help you to eventually get writing again, most likely with some fresh ideas on how to improve an existing piece or to start work on a completely new one.

A weekly column from children’s author Simon Rose

The best rejection letter is usually a personal one addressed to you, including the name of your story and specific comments about the plot, including what the editor liked and where he thinks it could be improved. Is the editor rejecting your work in this example? Absolutely, but this time, you now have a lead to follow up on.

Perhaps the editor thinks you need a faster pace, less or more description, longer chapters, a more exciting beginning or that one character in particular could be more fully developed and even give you a few ideas. He might tell you he’d be happy to look at your manuscript again if you make the changes he suggests, so obviously in those circumstances, you should resubmit to the same person. Alternatively, the editor might just suggest changes without a commitment to look at the piece again. However, its still worth a try to send it back with a cover letter referring to the editor’s original comments. If he then shows no interest, you can simply consider this as free professional advice on how you might improve your story, which you are now free to send somewhere else. And of course, you also still have the original version that you submitted in the first place, which might still be more to a different editor’s taste anyway.

A weekly column from children’s author Simon Rose

As painful as rejection is, especially for the beginning writer, it must be stressed that it is nothing personal on the part of the publisher or editor. Writers who take rejection personally have to change their way of thinking if they hope to have a career in the business. Writing can be a solitary and lonely profession and writers tend to live very much inside their own imaginations for long stretches of time, as the plot comes together and the characters form. As a result, they can’t help but be deeply attached to the project. Consequently, it’s a little like sending your children off to their first day of school when you mail that manuscript out to the publisher. This is your baby, one that you’ve nurtured until its perfect. How could anyone not like it, right? However, a writer must remember that the rejection by the editor or publishing house is a rejection of the writing, not of the person. If you can accept that, then perhaps you can look at ways to improve the work you sent out, or even abandon it altogether, if you so desire. But if you convince yourself that there is something dreadfully wrong with you as a human being, you might never write again or at least never have the courage to submit anything else, forever fearful of being rejected.

Those reviewing your work at a professional publishing house are doing so in an unbiased manner. Your novel has already been read perhaps by friends, relatives, work colleagues and lots of people who know you. Yet you are never going to get a truly honest opinion until you send your work to someone who isn’t acquainted with you personally. Since the editor has no idea who you are, how can they be judging your work on anything but its own merits? There are lots of reasons why a submission might be rejected, which we will examine next week.

A weekly column from children’s author Simon Rose

Does everyone like the same things? Do all people have the same taste in books, music, movies, cuisine, vacation destinations, pets or anything else for that matter? Are you fascinated by the lives of everyone around you? And are they all unreservedly interested in you as a person? Of course not. We’re all individuals, with our own likes and dislikes and it would be a pretty dull world if we were all the same, wouldn’t it? The same applies to your writing, with which you’re never going to please all the people all, or even some of, the time. Your work is never going to be to everyone’s taste. Even the most prolific or famous authors are not read and enjoyed by every literate person on the planet.

No one wants to be rejected of course, but when submitting your work for publication, the experience remains very much an aspect of the writing life. Throughout their careers, all writers will be rejected by publishers far more often than they are accepted. Rejection might be a little easier to take for the seasoned professional, but is still never pleasant, even if you have perhaps twenty or thirty published works to your name. Just as we will never please everyone we encounter throughout our lives, rejections are a part of being a writer and happen to everyone at some point of another. To quote renowned science fiction author Isaac Asimov, “almost every writer, before he becomes a success, even a runaway supernova success, goes through an apprentice period when he’s a ‘failure.’” And yet, rejection of your work can sometimes result in you improving as a writer, going in another direction with your craft, say into a different genre or market, or into non-fiction instead of fiction, for example. How writers deal with rejection can often make the difference between success and failure in the long run.