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As you may have noticed, (or if you're seeing this someplace other than blogger you probably haven't) I have a list of important publishing terms and my own unique definitions on the side of my blog. However, there were several important terms I overlooked, so my friend Chuck over at The Guide to Literary Agents and I are compiling a new, more comprehensive list. The ones in normal print are mine, in italics are his. Chuck's are also slightly more serious.

The Buried Editor & GLA's Irreverent Literary Definitions, Volume 1:

To Acquire - (v.) The act of accepting a manuscript for publication. A work is not officially acquired until the contracts have been signed. Until then, it's in the process of being acquired.

ARC: Advanced Reading Copy - (n.) A bound copy of a book given to reviewers, booksellers, and other interested members of the industry for the purpose of creating excitement prior to the release of the book. Although these are not the final copy, they tend to be pretty damn close with cover art and some interior illustration. Although not the same thing as a galley, the words may be used interchangeably.

Galley - (n.) A bound version of just the text of the book (or article, if writing for magazines). There is little to no illustrations and the cover is a solid color with release data printed on the cover. Used for the same purposes as ARCs.

IRC: International Reply Coupon - (n.) International postage so that countries who don't use American currency stamps can mail back your submission and/or notification of rejection.

Sic - Latin for thus or so. Usually [enclosed in brackets] or (parentheses), sic is inserted after a word, phrase or expression in a quoted passage to indicate that the word or phrase has been quoted exactly as it was written, even though it may seem strange or incorrect (e.g., there was a spelling error in the quote).

Slush - (n.) Unsolicited manuscripts submitted to a publishing house. They tend to accumulate into mountainous piles.

Stet - Latin for let it stand. Editors and proofreaders place the word stet in the margin of a manuscript to indicate that a marked change or deletion should be ignored, and the copy typeset in its original form.

Vet - (v.) A term used by editors when referring to the procedure of submitting a book manuscript to an outside expert for review before publication. A manuscript is usually vetted at the publisher's expense.

This Thursday, February 28 , 2008, at 2:00 p.m. eastern time, the Children’s Writers’ Coaching Club will offer another exciting and informative teleclass for children’s writers.

Rita Milios will present session 1 in the Writing for Children’s Educational Markets Series - The Lucrative Educational Market: Where Do YOU Fit In?

Join the Children’s Writers’ Coaching Club today and find out on Thursday if writing for the educational markets is right for you.

When you join the club you will receive links to these other three teleclasses that were presented earlier this month:

Lila Guzman - Show Me the Money: Writing Biographies for Young Readers

Margot Finke - Picture (Book) Perfect

Simon Rose - Beyond Belief: Writing Science Fiction and Fantasy for Young Readers (part 1 of a 2 part teleclass)

Every month, club members are given the opportunity to attend 4 LIVE 55-minute teleclasses about some aspect of writing and publishing for children. Later, the links to these recorded classes are sent to all members, too.

Join the CWCC here.

I thought I'd take a moment to remind everyone of the places where it's good to have innovated, creative ideas in the stuff you submit to editors & agents:

• In the text - Great new ideas for characters, in plots, or in settings. There's nothing more exciting than a brand new style of story, as long as it makes sense.


• In the marketing plan - Now, you often don't need to submit a marketing plan with your submission, but if someone asks to see one, here is an excellent place to show your creativity. Postcards and bookmarks are great, but everyone does them. If you have a great, practical idea for getting your book in the public's eye, then now's a great time to tell us.


• In your pitch - Like anything, you want to have an eye-catching, interesting pitch when you go to sell your book. You should be able to describe your project in one interesting sentence.

• Submission packaging - Send your submission in a normal envelope or box with the submission bound by a rubber band or large binder clip. Do not use ribbon or string to tie up your manuscript. Knots are a pain to deal with. And don't wrap your submission like a present. I've had more than one submission sent to me in wrapping paper. It's unnecessary and just adds another layer between me and your work.


• Submission formatting - I know I've said it before, but double-spaced, standard 12 pt font (Times, Arial, etc.), one inch margins. Don't deviate.


• Submission spelling - This is a pet peeve of mine. I don't read phonetically so sounding out words can be an absolute nightmare for me. Jim's dialogue in Huck Finn was incomprehensible. Spell stuff the normal way. This isn't the 1600s. We have standard spelling now.

This week’s teleclass for members of the Children’s Writers’ Coaching Club will take place at 7:00 central time. Author Simon Rose will be the instructor for Beyond Belief: Writing Science Fiction and Fantasy for Young Readers. This is part 1 of a 2 part teleclass conducted by Simon Rose.

To take part in the class tonight, join the Children’s Writers’ Coaching Club today, then look for an email this afternoon with the call in information you’ll need tonight.

To learn more about Simon Rose and his books for children, visit his website at www.simon-rose.com

The boss has posted some updates regarding submissions at BTP on her blog. Curious about our new policies, etc? They're there. Trot on over to her blog and have a look-see.

Last night I scheduled my newest spring speaking engagement. As I was adding it into my calendar today, it occurred to me that I should make my schedule public so that if I'm going to be somewhere near you, you can come visit with me. I like being able to put faces with names even if I never seem to remember either one. So without much ado:

March 15 -- San Antonio SCBWI monthly meeting
April 15-18 -- TLA in Dallas (I'm not speaking, but I will be manning our booth. Yuck.)
May 28 -- Agent/Editor Pitch Session hosted by Writer's Digest at BEA (So, this one isn't confirmed yet, but I shall cry if I don't end up getting to do this. As far as I can tell, I'm the only person even sort of excited by the prospect of 2 straight hours of having authors pitch to me for three minutes.)
May 27-31 -- BEA (I'll be in LA for BEA although we don't have a booth. However, I'll happily meet up with anyone who is going to BEA too.)

Now if you're looking at this and thinking, but I live nowhere near these places, then I have only one solution for you. You have to start your own conference and invite me to speak. I jest. But if you do know of a conference in your area, and you think I should be speaking at it, either recommend me to them or tell me about the conference and I'll recommend myself. Either way we'll all eventually meet up someday.

This week’s teleclass for members of the Children’s Writers’ Coaching Club will be presented by children’s author Margot Finke. She’ll talk about what it takes to write a children’s picture book. Just look at what she’ll cover in this fun and informative teleclass:

PICTURE (BOOK) PERFECT

* Good grammar and punctuation
* Tight writing — use a few carefully chosen words to write a “big” story.
* The benefit of bringing powerful verbs into play.
* How to paint word pictures that will stick in a child’s head.
* How to write active paragraphs that easily translate into illustrations
* How to FOCUS on what is important to the story — and cut the rest.
* The art of crafting characters kids will identify with and root for.
* Develop a writing “voice” that is unique.

This LIVE teleclass will take place on Wednesday, February 13, 2008, at 4:00 pacific time.

To receive an email invitation to this event, along with any handouts needed for the class, join the Children’s Writers’ Coaching Club HERE.

Members of the Children’s Writers’ Coaching Club are in for a real treat tonight with this teleclass at 7:00 central time.

To receive an email invitation to this teleclass (and a link later to a recording of this event), join the Children’s Writers’ Coaching Club NOW. Join here.

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Writing Biographies for Children: Show Me the Money

Biographies can be a strong revenue generator for children’s authors. What are the secrets to breaking into the field? What are the rewards and the pitfalls? How are biographies different from other non-fiction writing?

Join Lila Guzman, author of nine biographies, in a lively discussion of this specialized field.

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Points of Interest

1. Dead or Alive: special problems when picking a person to write about

2. Trusting your sources: Dealing with conflicting information/Doing research

3. Making it understandable to young readers

4. Word Count and the “Formula” for a children’s biography:
a. 5 chapters
b. Timeline
c. Biography (for kids)
d. Words to Know
e. Pronunciation Guide (To Spanish Words)

5. Getting permission/pictures.

6. How to get a contract.

Lila’s biographies (2nd-3rd grade level):

Famous Latinos (biographies of Cesar Chavez, Roberto Clemente, Frida Kahlo, Diego Rivera, Ellen Ochoa, George Lopez)

Forthcoming:

Mohammed
Moses
Jesus

Working on: Dr. Hector P. Garcia: Father of Latino Civil Rights

Lila Guzman, Ph.D.
www.lilaguzman.com
LORENZO AND THE PIRATE (Blooming Tree Press, Fall 2008)
LORENZO AND THE TURNCOAT (Arte Publico Press, 2006) ****WINNER: 2006 Arizona Authors Literary Award****
KICHI IN JUNGLE JEOPARDY (Blooming Tree Press, 2006)
MOHAMMED (Blooming Tree Press, 2009)

Join the Children’s Writers’ Coaching Club and enjoy this week’s teleclass:

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Writing Biographies for Children: Show Me the Money

Biographies can be a strong revenue generator for children’s authors. What are the secrets to breaking into the field? What are the rewards and the pitfalls? How are biographies different from other non-fiction writing?

Join Lila Guzman, author of nine biographies, in a lively discussion of this specialized field.

=======================================================

Points of Interest

1. Dead or Alive: special problems when picking a person to write about

2. Trusting your sources: Dealing with conflicting information/Doing research

3. Making it understandable to young readers

4. Word Count and the “Formula” for a children’s biography:
a. 5 chapters
b. Timeline
c. Biography (for kids)
d. Words to Know
e. Pronunciation Guide (To Spanish Words)

5. Getting permission/pictures.

6. How to get a contract.

Lila’s biographies (2nd-3rd grade level):

Famous Latinos (biographies of Cesar Chavez, Roberto Clemente, Frida Kahlo, Diego Rivera, Ellen Ochoa, George Lopez)

Forthcoming:

Mohammed
Moses
Jesus

Working on: Dr. Hector P. Garcia: Father of Latino Civil Rights

Lila Guzman, Ph.D.
www.lilaguzman.com
LORENZO AND THE PIRATE (Blooming Tree Press, Fall 2008)
LORENZO AND THE TURNCOAT (Arte Publico Press, 2006) ****WINNER: 2006 Arizona Authors Literary Award****
KICHI IN JUNGLE JEOPARDY (Blooming Tree Press, 2006)
MOHAMMED (Blooming Tree Press, 2009)

I'm still operating on the high I got yesterday from finishing my first novel. When I read it today, I actually kind of enjoyed it. Oh, I'm sure I'll find it dire in a few months, but for now I am just reveling in the bliss of having a complete novel done. I also promise this will be the last time I mention it.

Instead, let's discuss rejection/resubmission ettiquetee. In most cases a rejection is a firm and complete rejection. The house has decided not to pursue your manuscript for some reason, and it is unlikely to change its mind. This is especially true of vague, impersonal rejection letters that may or may not be a form letter. And form letters while regrettable and (I'll be honest) sucky are a neccesity in this business. The GLA blog actually has a nice little article on these kinds of rejections. You have to scroll down to the second post, but you will find a quote from The Boss (my boss, not Springsteen) and a link to one of the bestest small presses on earth.

No, the issue of resubmitting becomes stickier when the editor or agent writes a personal rejection letter. In these types of letters the editor often offers words of encouragement or advice. It's tempting to think that since the editor went to the time and effort to create this dialog with you, they would would want to see the new version of your work. But the truth of the matter is that this isn't always the case. I've written personal rejection letters with advice for authors on how to make the story stronger, but the story itself is inappropriate for our press or not the type of story I'm personally interested. Even if the author takes every comment I made to heart and ends up writing a dynamic new story out of it, the truth is that I still don't want to see it again. I could tell that story had potential, hence the comments in my letter; however, the story isn't a good fit for me.

So in a situation like this, how does an author know whether or not the editor wants them to resubmit? Simple, the editor or agent asks. They will say something similiar to the following phrase: I would be interested in looking at this work again. If that kind of sentence does not appear somewhere in the letter, then assume the editor is not interested in a resubmission. Consider the editor's advice, and then move on to the next potential target.

Now, on a rare occassion you'll come across a time when you are unsure if the editor wants you to resubmit or not. Perhaps they've been unclear in the letter, or one paragraph flatly contradicts another. In this case, be sure to ask before resubmitting. Write or email (but only email if and only if your previous communications with the editor have been through email) the editor thanking them for their advice, and then ask them if you can resubmit. The worst that will happen is they will say no. And if that turns out to be the case, you've saved both yourself and them time. You can move onto the next house. They won't sit down to a manuscript and think, "Haven't I seen this before?"

All of this resubmitting stuff popped into my mind because this morning I emailed a woman some comments on her submission. Since I knew The Boss had already told her she could resubmit, I didn't think to put anything about looking at a resubmission in the email. The author then sent me the nicest email basically thanking me for my suggestions and then asking if she could resubmit to me. I wish I could show it to you since it is an excellent example of how to professionally communicate while still showing enthusiasm. And it's this kind of professionalism that I encourage all of you to aim for. When an editor or agent is unclear, ask questions. And I'll keep trying to post advice here.

I have in the past few moments finally finished, completely and in its entirety, the first draft of my thesis. There are no more holes, areas of dropped logic, or gaps -- at least not that I know of. I may find some when I go to revise tomorrow and my advisor will certainly find them, but for now I feel triumphant in that the lion's share of the work is now done.

And my thesis is doubly exciting to me because it is also the first novel I have ever created. Weighing in at a lofty 34000 words, it's a little shorter than most YA novels on the market these days, but really there was nothing more in that story to tell. And like all good first novels, after this one serves its purpose as thesis, it will go live on a shelf never again to see the light of day. However, the important thing is that I can finish a novel. I can really do it.

And trust me, if someone with as little writing discipline as me (I spent 4.5 hours today getting those last 3000 words done. I hadn't worked on it for months up until this point.) can do it, than you can write a novel too.

I'm glad to be home at last. I must have spent at least 14 hours sleeping yesterday, recovering from the trip and preparing for the trip. Thank goodness for being home.

I did make lots of great contacts with authors, agents, & editors. However, I only know for sure of one with a blog. That would be the editor for the Guide to Literary Agents, a companion book to the Children's Writer's & Illustrator's Market that I've mentioned before. Although unlike the CWIM which is exclusively children, GLA does all agents. This surprised me since I had always thought it was an adult market-geared publication. But, no, it turns out that it deals with children agents. In fact, if you click on the Children's Writing link, it'll take you to alerts & news specifically concerning children's agents. I suppose that's why there's not a specific alert there about how I am the coolest children's editor ever. I suppose since I'm not an agent, it's understandable. I suppose. Actually, there's a very nice picture on the blog of me and my boss. And yes, I do believe the word "cool" and my name are used in the same sentence. Not in relation to one another, but in the same sentence. It's sweet.

On a more serious note, I would like to talk about agents. I don't mention them much because by and large, I work with unagented authors. However, I like agents. There have been several occasions, especially on the business side (read here contracts) when I would have welcomed the buffer that an agent provides. So, do not hesitate to consider submitting to agents when you are ready to be published. Us small press folk are as willing to work with them as the big guys. But of course, when submitting, remember to be as professional as possible. Research the agent to see what they want to see and what they've published. Blogs and books like the one above are exactly the way to go about doing just that. Then send proper query letters and properly formatted manuscripts. And don't be too daunted by the possibility of rejection. Agents receive just as many if not more manuscripts than an editor, so the possibility is always there. But stay optimistic. And remember, if the agent wants to charge you a reading fee or a flat fee for representing you, than they are probably not a legitimate, accredited AAR sanctioned agency.

How do you create a resume for your freelance writing if you’re just starting to look for freelance writing assignments?

How do you develop an author bio when you haven’t published any books yet?

What do editors mean when they say they want to see writing samples or writing clips?

Find out the answers to these questions, and get the help you need to start your career as a freelance children’s writer when you become a member of the Children’s Writers’ Coaching Club.

And just look at this lineup of exciting teleclasses set up for coaching club members:

Thursday, February 7, 2008, at 7:00 p.m. central time
Lila Guzman presents: Writing “You Are There” Biographies for Young Readers

Wed, February 13, 2008, at 4:00 p.m. pacific time
Margot Finke presents: Picture (Book) Perfect

Thursday, February 21, 2008, time TBA
Simon Rose presents: Science Fiction and Fantasy for Young Readers - Part 1

Thursday, February 28, 2008, at 2:00 p.m. Eastern time, Rita Milios presents:
The Lucrative Educational Market: Where do YOU Fit In? Session 1 in the Writing for Children’s Educational Markets Series

Each of these teleclasses is recorded, so members can listen to them at any time.

Join the club here.

Bringing the Past to Life: Writing Middle Grade Historical Fiction, this week’s teleclass for members of the Children’s Writers’ Coaching Club will be presented tonight at 7:00 central time. The instructor for this class is Suzanne Lieurance, author of the upcoming middle grade historical novel, The Locket: Surviving the Triangle Shirtwaist Fire (to be released in May 2008). Lieurance is currently completing a second historical novel for Enslow Publishers’ fiction adventure series.

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Other CWCC News

Members of the CWCC enjoyed a manuscript critique telesession last night, where everything from picture book manuscripts, writers’ resumes, and nonfiction articles were critiqued. Today, members will receive a link to the recording of this session so they can listen to the critiques of their work even if they were unable to attend last night’s LIVE session.

Join the Children’s Writers’ Coaching Club, here, and receive these benefits, plus many more, for only $27.00 per month.

Tomorrow I leave rainy, dreary Austin for not-so sunny Florida where I'll be speaking at the Space Coast Writers' Guild's annual conference. My topic is "Getting a Children's Book Published." Just the very title sends chills and thrills up and down my spine. Too exciting for words, I know. And because I know everyone is dying to know what I said, I will post my powerpoint presentation on Saturday after my presentation. That way, if I run out of handouts, people can get it. Also, that way everyone who is not fortunate enough to go to Cocoa Beach this weekend can take a peek.

Now, as I prepare for my journey, I've been trying to decide what to bring to read. Normally for a 4 day trip where I will have a good chunk of free time, I take between 6-8 books/working manuscripts. However, today I had the great fortune of finally acquiring a thesis advisor. Turns out I might get my MA after all. So, I plan to lock myself in my room for the times when I'm not needed either in a professional or social/networking capacity and then spend that time polishing my thesis and writing the pesky 3000 words missing at the end of the middle. That way I can send off my "masterpiece" next week and let thesis advisor #1 have a look-see. So, I'm only taking 2 readers, Zombie Blonds & The Compound, both Feiwell & Friends books, one manuscript, and one 50 page work in progress I promised to read through and give feedback.

I'm looking forward to this little sabbatical from real life. Florida. The beach. Books. Life doesn't get much better.

As a prelude to her World Domination Tour with Shannon Hale on the west coast, Libba Bray dropped by our little children's section at Bookpeople here in Austin. She did a lovely presentation, read from her book, and did one of the longest signings I've ever seen. Yes, part of this was because she drew a huge crowd, but some of it was due to the fact that Libba was willing to chat with every fan who came up with a book. She has to be one of the most personable and friendly authors I've seen. As a terminally shy person myself, I always admire anyone who can put more than a sentence together when talking to a perfect stranger.

But as great as Libba's large event was, my favorite part of the evening happened earlier during our "Coffee & Tea with Libba." We held a drawing for four lucky people to come chat with Libba before the event. Here's Libba with the winners making the universal "W" sign for winner. Libba is in the center.



This more intimate event was a fascinating question and answer session moderated by our kid's buyer. Since one of the winners also happened to be a writer, there were lots of writing questions asked. What I found most inspiring was Libba's frank discussion about the art of revising. Like many writers, Libba has a more organic, unoutlined method of writing. She finds that she writes best this way but does have to revise more. Her first draft of her latest novel, The Sweet Far Thing, was 540 pages. She received back from her editor a full 12 single-spaced pages of notes and comments. She then went back in 2 months and rewrote 400 of the 540 existing pages. I find this story both daunting and inspiring at once. In 2 months she rewrote 400 pages? She said she pulled 2 all-nighters and several 18 hour days, but still . . . That's impressive. I think if faced by a prospect like that, I might just cry. But it's inspiring to think that this nationally best-selling author still has to do copious rewrites just like the rest of us. She doesn't automatically generate beautiful prose. Ah, there's still hope for the rest of us.

We’re pleased to welcome children’s author Lila Guzman to the faculty of the Children’s Writers’ Coaching Club.

Lila Guzman writes children’s fiction and nonfiction, young adult novels, and adult-level short stories from her home north of Austin, Texas.

Guzman has won a number of awards, including Honorable Mention from the National League of American Pen Women, The National TCARABook Award, and the Arizona Authors Literary Award. She holds a Ph.D. in Spanish and a commission in the United States Navy.

Her published works include:

Green Slime and Jam (Eakin Press, 2001)
Lorenzo’s Secret Mission (Arte Público Press, 2001)
Lorenzo’s Revolutionary Quest (2003)
Lorenzo and the Turncoat (2006, Arizona Authors Literary Award)
Kichi in Jungle Jeopardy (Blooming Tree Press, 2006)
Famous Latinos Series (2nd-3rd grade biographies for Enslow Publishing, 2006): Cesar Chavez, Roberto Clemente, Ellen Ochoa, Frida Kahlo, Diego Rivera, George Lopez.

FORTHCOMING WORKS:

Lorenzo and the Pirate (Young Adult Novel)
George Lopez: King of Latino Comedy (Middle Grade Non-fiction)
Mohammed (Picture Book)
Moses (Picture Book)
Jesus (Picture Book)

Every week, members of the Children’s Writers’ Coaching Club are given the opportunity to attend a LIVE 55-minute teleclass about some aspect of children’s writing.

These teleclasses are always presented by successful, published children’s book authors and/or illustrators. Each teleclass is recorded, and the day after the LIVE teleclass coaching club members are sent a link to the recorded session, so they can listen to it whenever it is convenient for THEM.

This week’s teleclass - Bringing the Past to Life: Writing Middle Grade Historical Fiction, will be presented on Thursday night at 7:00 central time. The instructor for this class is Suzanne Lieurance, author of the upcoming middle grade historical novel, The Locket: Surviving the Triangle Shirtwaist Fire (to be released in May 2008). Lieurance is currently completing a second historical novel for Enslow Publishers’ fiction adventure series.

Membership in the Children’s Writers’ Coaching Club is only $27.00 per month.

Click here to learn more about the club and find out how to become a member.

The National Writing for Children Center is pleased to welcome author Simon Rose to the faculty of the Children’s Writers’ Coaching Club.

Simon Rose was born in Derbyshire, England. He graduated from university with a degree in history and has lived in Canada since 1990. He is also a graduate of the Institute of Children’s Literature of West Redding, CT.

The Alchemist’s Portrait, Rose’s first novel for young readers was published in 2003, followed by The Sorcerer’s Letterbox in 2004. Both have been nominated for several awards and continue to receive excellent reviews. The Sorcerer’s Letterbox was shortlisted for the 2005 Silver Birch Award in Ontario and the Diamond Willow Award in Saskatchewan. The Clone Conspiracy was published in 2005 and The Emerald Curse in 2006, both having received great reviews from adults and children. A fifth novel, The Heretic’s Tomb, was released in October 2007.

Simon Rose’s books are published in Canada, the USA, UK, Australia and New Zealand and are available around the world. His novels can be purchased in the USA through Amazon.com, Barnes & Noble and many other online locations and also through local bookstores. Autographed copies may also be purchased at www.simon-rose.com

Rose’s first teleclass for members of the Children’s Writers’ Coaching Club will take place in February. More information about this teleclass will be available here soon.

The National Writing for Children Center

Children’s Author Margot Finke

Find out more about Margot Finke on Our Staff & Faculty Page.

Margot will be teaching a monthly teleclass for members of the Children’s Writers’ Coaching Club starting in February.

Her February teleclass will be:

PICTURE (BOOK) PERFECT

This teleclass will cover the following:

* Good grammar and punctuation
* Tight writing — use a few carefully chosen words to write a “big” story.
* The benefit of bringing powerful verbs into play.
* How to paint word pictures that will stick in a child’s head.
* How to write active paragraphs that easily translate into illustrations
* How to FOCUS on what is important to the story — and cut the rest.
* The art of crafting characters kids will identify with and root for.
* Develop a writing “voice” that is unique.

Join the Children’s Writers’ Coaching Club today so you won’t miss any of Margot’s exciting and informative classes. Click the Coaching Club link directly below.<!--Begin--->

The Children’s Writers
Coaching Club


<!--End--->

Last night, members of the Children’s Writers’ Coaching Club were given the opportunity to take part in a live teleclass with children’s author Margot Finke, where she explained how and what authors need to do in order to plan and present visits to schools.

It was an excellent teleclass. And, as usual, Margot provided plenty of good information, as well as three pages of handouts. Thank you, Margot, for a wonderfully informative and fun class!

If you missed last night’s teleclass, you can still get the link to this recorded class, as well as the handouts, when you join the Children’s Writers’ Coaching Club. As a club member, you’ll also receive a CD of this recorded event later this month.

Join the Children’s Writers’ Coaching Club here.

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Members of the CWCC also receive weekly writing assignments every Monday morning. We try to make sure these are PRACTICAL assignments, and sometimes members are even able to sell a finished assignment to an appropriate market.

This was the case with club member, Sylvia C. Hall. She recently sold one of her weekly assignment to KC Parents magazine for their winter issue.

Congratulations, Sylvia!

If you’ve decided to make 2008 the year you finally become a published children’s author yourself, you’ll want to join the Children’s Writers’ Coaching Club to get the help you need to do that.

Here’s what you’ll receive as a member of the club:

1. Every month you will be invited to attend a LIVE teleclass with a successful children’s book author and/or illustrator, then you will receive a CD of this recorded event.

You’ll get the “inside scoop” on what it takes to become published in today’s markets.

2. Every Monday morning you’ll also receive an email with a short writing assignment designed to improve your skills in some area of children’s writing.

You can choose whether or not you complete this assignment and turn it in for review.

3. Every week you can submit a children’s manuscript for review. Then, every Wednesday night you can attend a manuscript critique telesession, where you’ll receive constructive comments and suggestions about your manuscript from at least one published children’s book writer.

Your writing career will really start to take off after just a few months in our club.

And, you’ll receive all this help - each and every month - for only $27.00 per month.

But wait, there’s more.

Don’t just take my word for it.

If you’d like a FREE trial membership for the month of January, email [email protected] and put the words, “free trial membership” in the subject area.

Try membership in the CWCC first to see how you like it, without paying a cent. Note: This offer applies to new members only.

But you’d better hurry.

This special offer will only be available today, January 7th. It expires at midnight tonight.

Make 2008 the year you finally DO something to create the writing career you’ve always dreamed of!

See you in print!

Suzanne Lieurance
Founder, Director
National Writing for Children Center

Members of the Children’s Writers’ Coaching Club are going to hit the ground running this month with a series of events early in the month.

First, tonight is our weekly manuscript critique telesession at 8:00 central time. It’s good to see at least a few club members are ready to refocus on their writing now after taking time out to enjoy the holidays.

Children’s Author and Speaker Margot Finke

Second, next Wednesday night, January 9th, at 8:00 central time, children’s author and presenter Margot Finke will present a special teleclass for members of the CWCC about how to design and present a super school presentation.

Join the Children’s Writers’ Coaching HERE to take advantage of these exciting events.

Start the New Year off right by subscribing to these informative publications for children’s writers.

Children’s Writers Newsletter is published by the Writer’s Institute in West Redding, Connecticut.

Children’s Writer brings you these regular features to keep you on top of the market every month:

Marketplace—three full pages to provide even more news about what editors are looking foright now! PLUS . . . tips, updates, new faces, new specs, start-ups, shutdowns, mergers, and acquisitions.

Contest Announcements—Including Children’s Writer’s own contests with cash prizes of up to $500 for the grand-prize winner plus publication in Children’s Writer.

Commentary—Award-winning author Patricia Curtis Pfitsch delves into important and controversial developments in the children’s field in this regular feature.

Profession and Craft—Two regular columns where guest writers discuss key aspects of the business side and the writing side of being a professional writer.

Of course, as you might expect from the Institute, there’s even more:

• Book editors discuss their wants and needs;

• Interviews with authors who help shape the market;

• Profiles of magazines that are setting the pace.

Find out more about this publication and how to subscribe HERE.

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Children’s Book Insider is another publication children’s writers can’t be without!

Each issue of Children’s Book Insider includes:

NEW MARKETS. The first thing you’ll see when you pick up CBI each month is “At Presstime,” two pages of fresh and exclusive market news. This publication tells you about new imprints, changes in editorial direction, calls for submission, contests, grants and much more. CBI editors use their exclusive network of sources to provide readers with the hottest leads. And they put it all right up front, because they know your first objective as a writer is to sell. “At Presstime” is the source to find out who’s buying.

HOW TO SUBMIT YOUR WORK. CBI extensively covers the nuts and bolts of submitting your work, with information that will make it easy for you to take action. Their Editor Profile series brings you up close to top editors, who will tell you — in their own words — exactly what they’re looking for and how they like to be approached. Plus, CBI’s feature articles cover every aspect of the submissions process — from formatting your manuscript all the way through signing a contract.

WRITING SECRETS. Their straightforward “how-to” pieces about writing give you the do’s, don’ts and golden rules of children’s literature. From picture books through young adult novels, CBI tells the secrets that can turn rejection letters into book contracts.

ADVICE FROM TOP AUTHORS. CBI brings you the advice, encouragement and wisdom of America’s top children’s writers, through their series of exclusive interviews. Judy Blume, Jane Yolen, R.L. Stine, Gary Paulsen, Walter Dean Myers….these are just a few of the big names that have appeared in CBI. (Apply the lessons these folks have to offer and, who knows, maybe someday CBI will be interviewing you!)

Find out more about this publication and how to subscribe HERE.

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Become a member of the Society of Children’s Book Writers and Illustrators (SCBWI) and you’ll automatically receive the SCBWI Bulletin.

This bi-monthly publication contains comprehensive and current information in the field of children’s literature. Features include the latest market reports, articles on issues in writing, illustrating, and publishing, information on contests and awards, reports of events in the field, news of SCBWI members, as well as information about ongoing SCBWI activities throughout the country. The Bulletin is an invaluable source of information and inspiration to writers and illustrators of children’s literature.

Find out more about SCBWI and how to become a member and start receiving The Bulletin HERE.

Do YOU want to learn to write for children?

If so, then here’s a great little book that can help!

It’s called Writer’s First Aid: Getting Organized, Getting Inspired, and Sticking To It! by Kristi Holl.

Writer’s First Aid is divided into four sections for easy reference: “Getting Started,” “Work Habits That Work for You,” “Money and Other Practical Matters,” and “Creating the Writing Life You Want.”

When a writer is experiencing a particular problem, he or she can turn to the section of the book covering that topic and find 10 articles. These range from the very practical (in the work habits section) to inspirational and challenging (in the section on creating the writing life you want).

Articles in Writer’s First Aid fit the busy writer’s schedule: long enough to be helpful, yet short enough to be read during ten-minute breaks.

Think of Writer’s First Aid as a medicine chest, full of good things for what ails many writers. Medicine chests contain items that kill pain, bind up wounds, bring restoration, and increase vitality.

Order the book here.

Holl is the author of 35 books, both fiction and nonfiction. Visit her blogsite for writers called Writer’s First Aid: A Medicine Chest of Hope. Visit her website at www.kristiholl.com.