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Archive for the ‘Editing Picture Books’ Category

This two-part Q&A with Kathryn Otoshi was originally posted way back in 2013. I’m sure a lot has changed for Kathryn since then. But one thing I know for sure is her success continues to grow. I thought it might be fun to bring this oldie but goodie back for all you Kathryn fans. Following is the interview as it appeared in 2013.

Before I get started, I want to give a giant THANKS to Kathryn Otoshi for taking many hours out of her busy schedule to answer my questions and for sharing so much of herself with us in this interview. Today, I am happy to post Part 2 of my interview with Kathryn and even happier to first offer the bonus of Kathryn’s thoughts regarding THE TOP FIVE THINGS THAT MAKE A SUCCESSFUL INDEPENDENT PUBLISHED BOOK.

There are many definitions floating around for “Independent Publisher.” I tend to like the following: Jenkins Group, Inc., the organizers of the Independent Publisher Book Awards, define “independent” as 1) independently owned and operated; 2) operated by a foundation or university; or 3) long-time independents that became incorporated but operate autonomously and publish fewer than 50 titles a year.

Keep an eye out for future posts on independent publishing.

BONUS INTERVIEW QUESTION AND ANSWER

AKC: What are the top five things that you think make a successful independently published book?

KO:

  1. Write about a story or topic you feel strongly about — First and foremost there must be a real love and passion for the story you are writing about. I’ve always felt that the author must be absolutely fascinated with the story they are telling in order to be motivated to finish it. And also for the reader to be engaged with it as well! Another suggestion: do your research. Do your homework. If you want to connect with your readers, then start connecting with them before your book is published. Be willing to read a draft mock up to whoever your target audience is. I read to classrooms, teachers, booksellers, young kids, and parents to get their feedback on my children’s book. I found that experience invaluable. Then when your book is published, you will need to go out and do author visits. You must feel passionate about your story for you to be able to speak about it over and over, again and again and still keep it real.
  2. Strong production value — The saying ‘don’t judge a book by its cover’ doesn’t apply to children’s books! With thousands of books for a reader to choose from, having a strong production value with appropriate design does indeed matter. An elegant embossment or appropriately placed foil stamp on a jacket, for example, is never lost on your readers. They might not be able to vocalize about exactly why one book might feel ‘good’ over another, but they will instinctively know that the loving details are in there. Graphic design is key. Bringing on a professional graphic designer for your book to have a strong visual appeal is necessary. If you are independently publishing a book, how your book ‘reads’ across a room or how you package it becomes a deciding factor on if your book is picked up – or not.
  3. Have a business plan and budget — While it’s true, that most of us agree that writing and illustrating is a labor of love, publishing is a business. You must factor in all aspects when you publish a book. Be willing to take off your creative hat momentarily to look at how much it will cost to properly produce your book. And how much will it cost to properly support your book in the market so that it will have the best chance for success?  Editing, designing, distributing, printing, marketing and advertising all have a price tag attached. Other questions that involve your overall budget are: how much should you list the book for?  How many copies of the book should you print for the first run? Will you print 2,000 copies of this book? Or 10,000 copies? And if it’s a success, do you have enough buffer in your budget to be able to push the print button right away?
  4. Marketing strategy and distribution is key — Almost 1/3 of my overall budget is set aside for Marketing. Consider the review copies that need to be sent out. Budgets need to be set aside for contests and awards, for conferences, travel, promotional materials, fliers, postcards, bookmarks, ads, website updates and social media. The list goes on. Decide up front how much you want to set aside to promote your book so you know how much you’ll need to budget for. And although Distribution should probably be in its own category, I put it next to Marketing here for the purpose of consolidation. But in a nutshell, having the right distributor for your company to get you into the right channels can make all the difference in the world for the success of your book. I found John Kremer’s web site very helpful in obtaining an initial list of book distributors to start the researching process.
  5. Get involved — Go out there and get involved in your book community! Do readings, go to conferences, meet booksellers, join organizations, have coffee with other authors and illustrators. Listen to your peers speak at events. While writing is by its very nature, introverted, the other part of getting your book out there is you getting yourself out there. So move away from your desk, out of your room, through the door and into the world. In today’s book market, part of sharing your story is also about sharing a part of you.

MORE ABOUT KATHRYN AND WRITING ILLUSTRATING

AKC: How many awards have your collective works received?

KO: Collectively over 20, I’d say.

Teacher’s Choice Award, the E.B. White Read Aloud Honor, and the Flicker Tale Award.

AKC: Which came first, the desire to illustrate picture books or the desire to write?

KO: My desire to simply tell a story rises above my desire to illustrate or write a children’s picture book.  If I absolutely had to make a decision between the two though, I’d probably choose writing…but whew – it would be a very close call.

AKC: Out of all the books you have illustrated, do you have a favorite? How about those you have written?

KO: I suppose I had fun illustrating ONE the most. In general, I’m a representational illustrator. So for my book ONE, where all the blobs of color are symbolic, this was very unique style for me, but also the most freeing. Originally, One started as a story about differences – physical differences. I thought, “What if I created a story about children with totally different colored faces?” Instead of using white, black, brown skin tones, etc – I could use completely different colors like green, purple, blue and orange!  Gradually in my quest to make One as simple as a story possible and boiling it down to its core essence – I ended up making the children’s faces into splotches of colors instead. It was a risk because of the abstraction, but I think that by doing so, I got more leeway to touch upon complex themes and subject matters.

AKC: Where did you get the idea or inspiration for your books?

KO: Mostly from life. “What Emily Saw” is about a day of discovery through the eyes of a little girl. But it’s also based on my own childhood memories. There’s a page spread in there where there’s a hill that transforms into the back of a dinosaur. That’s what I used to imagine when I was growing up! That the hills were the backs of sleeping dinos!

AKC: What advice would you give to writers?

KO: I would say…keep it authentic. And being passionate about your story.  It needs to be meaningful to you if it’s going to mean something to someone else. Everything is key to making a children’s book work because everything is so honed down: the text, the illustrations all the way to the graphic design and production of the book. Even the size of the book and the style of the font have a big influence on the overall look and feel of the book. A children’s book is so limited in text, you have to ask yourself  – What  is each page saying? Is it leading toward my theme? The core ingredients to making a children’s book really solid is to ask yourself a lot of questions about what is working and what is not. Is it really saying what I want it to say in the least amount of words possible? Then before the book is released, it is crucial to read the story to children, parents, teachers, booksellers, librarians – the book lovers in general. They are your audience. Stories are meant to be shared, after all.

AKC: What advice would you give to illustrators?

Before starting the illustration, ask yourself the question: What am I trying to say here? And then ask yourself, What else can I tell the reader that wasn’t in the text? The illustrations are just as important as the text in a children’s picture book. And the pictures should say what the text does not. If your story starts out as “Morris was a lonely mole” …the illustrator has this wonderful opportunity to show us how lonely Morris really is! Is he so lonely, there are cobwebs on his doorknob? Are there briar branches blocking his pathway? A welcome mat that is new and shiny, and never been used? Pictures are a glorious way to engage young readers. Children see and understand images before they ever learn to read. If we get children interested in reading children’s books at an early age, they will become readers for a lifetime. How wonderful! I’m thrilled to be a part of that process.

So for me, it’s making the page come alive. I’m still learning how to do this, by the way. It takes all my experience about composition, leading the eye to where you want it to go, using gesture, POV, lighting, values…and finally the x-factor — your own style, which will summon the page and bring your characters to life.

Through a story, if you are able to create something that influences a young reader in some positive way, however minor – to me, that is true success.

 AKC: Do you have any projects in the works that you are able to tell us about?

KO: I am currently working on a chapter book called “Peter Dobb and the Wondrous Pod” and then two more picture books. I’m coming up with ideas for a graphic novel to pitch in a year. Just recently, I’ve started working on a short screenplay which deals with love, loss and memory.

Please read INTERVIEW WITH KATHRYN OTOSHI, PICTURE BOOK AUTHOR/ILLUSTRATOR AND SUCCESSFUL INDEPENDENT PUBLISHER – PART ONE for Kathryn’s bio with photo, a list of her published books with links, and a link to KO Kids Books.

This concludes my interview with Kathryn Otoshi.  I hope you have found it as informative as I have. With one final thank you to Kathryn, we are done.

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It’s been a long time since I’ve blogged. And boy do I have some good reasons for that.

Reason #1

In 2016, my husband and I sold our home, bought a motor home, and began a two-year journey across America. It was the experience of a lifetime! I saw places and things I never thought I’d see, and I saw places and things that I didn’t even know existed.

bus new

Our home for two years. We lived everywhere!

Reason #2

Just as we were winding down and planning on settling back into a traditional home, we decided to resurrect Blue Whale Press—a publishing company my husband had started many years ago.

sold

New journey on the way!

Reason #3

I’ve been busy as the content and developmental editor and creative director for Blue Whale Press. We have spent the last nine months or so, taking submissions, acquiring books, editing, and designing books. We have moved into our new home in Texas, and we are super excited about the Blue Whale Books that will be released this year. You will be seeing more posts about Blue Whale Press and our books in the near future. For now, if you would like to learn more, visit the Blue Whale Press website. Be sure to visit the “about” page.

 

blue-whale-press-logo-web2

 

ANNOUNCEMENT!

Through Blue Whale Press, I am also launching Writing for Children Webinars and Courses: The place to learn about children’s book writing and publishing.

 

writing for children webinars and courses

 

Our first webinar is Top Ten Reasons for Rejection (and what you can do about it.) It includes a mini course on writing with a classic arc. See the short video below to learn more. Payment instructions below the video.

 

 

BEFORE CLICKING TO PAY, READ ALL INSTRUCTIONS BELOW. If you would like to view the webinar, click here to pay. Once payment is received, you will be sent a link for the webinar. If you would like the webinar link sent to a different email than the one used for PayPal, please put it in the notes section at time of payment.

If you have questions or need help with the payment, you can contact me by clicking on the “contact” tab at the top of this page, message me on Facebook or Twitter. Or message me here.

Follow Writing for Children’s Webinars and Courses on Facebook to stay informed about new webinars and courses and specials.

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heart This month, on the  TODAY’S LITTLE DITTY blog, Michelle H. Barnes had a spotlight on Rebecca M. Davis – the senior editor for Boyds Mills Press and for WordSong, the only imprint in the United States dedicated to children’s poetry. Rebecca challenged TODAY’S LITTLE DITTY followers to write poems about acts of kindness. Lacking confidence in my poetry skills, I hesitated to join the fun. But I had a little ditty gnawing at me until I gave in and tried. I will share my free verse piece below. But first I must say, if you aren’t aware of TODAY’S LITTLE DITTY, it is worth a visit. It inspires not only writing and poetry, but in my case, stepping outside comfort zones and possibly growing as a writer.

Eye to Eye

by Alayne Kay Christian

Inside a cardboard lean-to
a child crouches, wrapping arms around legs,
tapping tingling toes
to warm them.
“Change to spare?” her mother begs.
A boy stares,
his mother tugs.
His arms reach out
with cocoa and coat.
Eyes meet.
Smiles match.
A grinning boy shivers his way home.

Alayne’s Picture book writing course – Art of Arc: How to Analyze Your Picture Book Manuscript (deepen your understanding of picture books written with a classic arc).

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sub six series 2

I apologize for hijacking Jan’s informative post with a few announcements. I feel it is important to let you know that I have decided to let ALL ABOUT SUBMISSIONS Q & A rest for the summer. However, there are still some ALL ABOUT SUBMISSIONS guest posts coming up. The two main reasons for the summer break with the Q & A are:

1) It’s a busy time for everyone, so I thought it might be nice to give the team a break.

2) I am busy with writing projects and my new picture book critique service.

Many of our Q & A members have had good news since we started the team. I am hoping to share some of it with you in the future.

I would like to thank today’s guest blogger, Jan Godown Annino, for sharing some of the things she has learned in her writing journey. Here’s Jan. . . .

 

Admissions about Submissions:

Things Learned from my Crackerjack Critique Partners

 by Jan Godown Annino

 

It could be that at the end of this day, you won’t submit that poem, story, article or book. I’m talking about that manuscript glowing over there in your To-Go queue.

Why not?

1. There is a time to submit.

2. And there is a time to delay a submission.

Having spent plenty of time around the table with my prize-winning poetry critique partner and two groups of published writers / editors, I’ve been privileged with an inside view of their submission experiences, results, and hopes.

Jan's crackerjack  critique group L to R : Debra, Ann, Jan & M.R. Photo by Paolo Annino

Jan’s crackerjack critique group
L to R : Debra, Ann, Jan & M.R.
Photo by Anna Annino

As the leader of a writing workshop in a retirement community for several years, I discovered a surprising reason to hold back on submissions. Also, in attending crackerjack workshops at the Hollins University summer children’s literature program, I learned a lot about submission attitudes from fellow writers.

Today, I share what I learned about manuscript submissions and writing from the above mentioned experiences.

This blog post is about moving a voluntary, not required writing for everyday employment, submission along. Moving it the long, long, miles from the keyboard toward publication. NOTE:  Writing required for everyday employment such as, works-for-hire, paid/staff writing assignments, writing in other employment settings, or other similar pieces are not in the hopper for this discussion.

Two Little Reasons to Hold Back on Submitting

Little reason one: The poem, article, story or book manuscript ain’t poifect. It’s not the best.

Some things that might get overlooked or might need a little extra attention are: the idea, research, writing, revisions, fact-checking, copy editing, formatting & agreements / commitments previously made with an agent or editor.

Although flush with the thrill of creation earlier, the writer now realizes that all the words don’t work well. The next revisions might start with arrangements for hiring an expert copy-editor where they will work together to provide polish before submitting. They might look for things such as, lax formatting, missing significant facts and so on.

The best work moves forward. The less than best, no.

Now for a word about partial manuscripts. Sometimes, upon request from editors or agents, a writer sends out work that is partially written. But those requests for partials do not mean that those professionals on the receiving end hope to read work without sparkle. Those partials must be the best they can be, not hurry up, rough-and-tumble drafts.

As for the writer who has an arrangement with an agent or editor to peek at works-in-progress that are covered in construction dust, well, that writer owns a unique send button. Brava! Not every keyboard has ’em.

For most of us, it works in our favor to leave the typos, wonky formatting, and blobby ideas at home.

Little reason two for holding back on submitting, with three aspects to it: An unready, unprepared writer.

1. Not the writer’s true topic.

A writer may realize they dislike the topic that they are messing around with in Microsoft Word, longhand, or however it is they bring something to the page.

As a community college adult education writing instructor, I had big ears for the round-the-world adventures of active retirees. They are the ones who taught me about this “wrong topic” problem.

Out of about 20 fascinating writers with lively stories to tell, each semester, usually one-fourth shared that they were slogging away at a piece that they didn’t want to write. But they were dully plodding because a spouse, child, sibling, college group, former employer, etc. tasked them with it. Someone had complimented them on their writing, rhyme, annual family newsletter, vacation report, or anecdote about Uncle Mortimer and the wasp in his armpit by telling them, “You have to publish this!”

If you don’t want to write the piece you are working on, give yourself permission to write something you want to write. (Note – again, under discussion is voluntary writing, not required writing for everyday employment.)

 2)     Scrutiny

A smaller part of little reason two is that an author is unready, at this particular moment, to be out there for scrutiny. Consider the following scenario: An author’s pal runs interference and sets up a pitch session with their editor or agent. The unprepared author doesn’t have the pitch polished, is sick with the ick, is distracted by several serious family kerfuffles, etc. The editor is faced with either wasting time with an unprepared author or a string of cancelled appointments due to the author’s personal issues.

The remedy is to always try to be ready, but to understand if the time is truly not right. Ask the editor/agent if you can be in touch soon, like in two weeks?

3)     Unwilling to budge

A third aspect of little reason two is that the writer is emotionally tied to the story exactly the way it is submitted. The connection, often from a heartfelt childhood experience or other event, is so vivid to the author that any manuscript changes suggested by an editor or publisher feel wrong . . . or it seems as though it would be a betrayal of this emotional material to make changes for improvement.

So why send a piece to a traditional publisher, whose job is to find ways to make the piece better, and whose experience guides them to do this, when the writer’s thinking from the get-go is,  I’m not open to substantial changes. You must be open to changes to work with a top-drawer editor and publisher.

There may be other reasons a writer is unready; please share a comment.

COMMENT prize

The prize(s): A surprise item (or items) from Jan’s writer’s vault (U.S. & Canada postal mail, only.)

To be considered for a prize, leave a comment, by June 30 midnighty and include your real name if that is not the automatic comment name.

I appreciate those who helped. In acknowledging assistance (Ann, Debra, M.R, especially, thank you) any foolishness of thought, fact or interpretation, is my own. I’d like to also express gratitude for Sub Six/Alayne and your supporting cast, and more thanks to Kristen Fulton for the enthusiasm she shares in the writing community.

Photo by M.R. Street

Photo by M.R. Street

About Jan

Jan Godown Annino’s picture book biography of Betty Mae Tiger Jumper, SHE SANG PROMISE, is an ALA Amelia Bloomer Top Ten book. ​The New Jersey native moved to south Florida as a teen and now ​​lives with her family safe from pythons,​ ​crocodiles and most tourists,​ ​in North Florida​.​ ​Her ​poems for children are published in a 2014 Peace Corps anthology for Ethiopian schools, and her poetry for young readers also appears in Milkweed’s STORIES FROM WHERE WE LIVE, Literary Field Guide Series (Piedmont & South Atlantic edition).  ​Her Florida nonfiction books​ ​ ​are also well-regarded. Jan is​  ​an active reader in schools.

Visit Jan’s blog

Learn more about Jan on Twitter

You can also find Jan on GROG a group blog offering guidance and support to writers. 

CLICK HERE TO FIND A COMPLETE LIST OF “ALL ABOUT SUBMISSION” POSTS

CLICK HERE FOR INFORMATION ON ALAYNE’S PICTURE BOOK CRITIQUE SERVICE

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AAS Q&A 4Welcome to the launch of ALL ABOUT SUBMISSIONS Q & A. This will be a monthly feature with some bonus posts here and there. I have been collecting questions about submitting to agents, editors, etc. from writers with inquiring minds. I have recruited a fantastic team of children’s writers who have many years of experience with submitting. I developed this team because I thought it would be beneficial to writers to see answers from a variety of perspectives. This month’s answers have some common threads. Two strong threads are “Join a critique group – maybe even more than one.” And “Don’t be in a hurry. Take time to let the story marinate.”

The team had so much to offer that I will be posting more answers tomorrow. Elaine Kiely Kearns will share the seven stages that her manuscripts go through before she considers them ready. Cindy Williams Schrauben will give you eight simple, common sense guidelines for determining if your manuscript is ready. I will share a few tips and provide some links with more tips, including some additional checklists that you can use to decide if your story is ready for submission. Before I move on I would like to announce my new picture book manuscript critique service. Click here to learn more about what I offer.

Introducing the team members!

Marcie Flinchum Atkins

Kirsti Call

Julie Falatko

Elaine Kiely Kearns

Sylvia Liu

Sophia Mallonée

Cindy Williams Schrauben

Alayne Kay Christian

HOW DO YOU KNOW WHEN YOUR MANUSCRIPT IS READY TO SUBMIT?

 Sylvia Liu, Writer-illustrator

portfolio: www.enjoyingplanetearth.com

blog: www.sylvialiuland.com

You know your manuscript is ready if: (1) it has sat in your computer and marinated for a while; (2) it has gone through at least two rounds of critiques and revisions, one for big picture issues and one for fine-tuning and word-smithing; (3) you’ve street tested it (read it out loud to children in your target age group, preferably not your own children); (4) optionally, it has gone through a professional paid critique, and (5) you read it and get that feeling that you have captured magic in a bottle. Getting to the fifth step is the hardest in my experience. I’ve sent out plenty of manuscripts that weren’t quite there and in retrospect, they were not ready. The one that met all of these criteria ended up being the manuscript that got me a publishing contract.

A BIG CONGRATULATIONS to Sylvia Liu. She is the winner of the Lee & Low New Voices Award. She tells all about it in her Interview on Clarike Bowman-Jahn’s blog.

Marcie Flinchum Atkins, Children’s and Young Adult Writer

www.marcieatkins.com

I consider my manuscript ready to go when I’ve vetted it through all of my critique groups (sometimes multiple times). When they start fiddling with commas and moving a word here or there, then I know it’s pretty close. Sometimes I’m so immersed in revisions that I think it’s ready before it really is. This year my goal is to take the manuscript as far as I can, put it away for 2-3 months, then re-evaluate it again. Sometimes that manuscript I think is really ready is really not.

Sophia Mallonée, Children’s Writer

www.sophiamallonee.com

This is probably the single most difficult question to answer when it comes to writing, and honestly there’s no clear sign or finish line. It would be so much easier if there was!

For me, I like to pound out a very rough first draft and then leave it for a week or two before I do anything with it. I usually then go through 1-3 rounds of personal revisions before I send it off to my critique group and then 1-2 rounds of edits with my crit partners. After a series of thorough revisions, I’ll leave the story to sit and marinate on its own for a couple of weeks.

The passage of time is really my best tool to judge the strength of a manuscript. After enough time has passed for me to feel distant from the story, I’m then able to pick it back up and read it with fresh eyes. If it reads smoothly, makes me smile in the right places and so on, I’ll send it out. Otherwise, I start the process all over again and might add a few new eyes into the mix for more suggestions.

I also prefer to do small batches of submissions at a time and that way, if I get any helpful feedback from my submissions, I’m able to make further revisions before I send it out again. So you might find that even after you think a manuscript is ready to submit, there are still changes to be made!

Kirsti Call, Children’s Author

www.kirsticall.com

Her debut book: The Raindrop Who Couldn’t Fall! (trailer)

I started submitting almost immediately after I got back into writing 3 years ago. I thought my first story was fabulous and ready to be published.  Sadly, no publisher agreed with me!

Now that I’ve had more time working in the industry, I realize that it wasn’t ready.  I needed to go to a critique group, get a writing partner, revise, revise and revise some more!  I needed to attend conferences and hone my craft.

Now that I do that, I know my manuscript is ready when I have no qualms about the beginning, middle or ending. I know it’s ready when I can read it out loud without stumbling.  I know it’s ready when my critique partners have nothing much to say about the story, except for how wonderful it is, of course!  Nothing’s better than making a manuscript sing!

Julie Falatko, Author

http://worldofjulie.com/

Her debut book: SNAPPSY THE ALLIGATOR (DID NOT ASK TO BE IN THIS BOOK) (Viking Children’s, 2015)

Represented by Danielle Smith, Foreword Literary

In so many ways, it’s very, very hard to know when a manuscript is ready to submit. For me, at least. It took me years — YEARS — to understand that first drafts are SUPPOSED to be terrible. And that it is my job to fix them. So usually when I write, I go through a fairly normal cycle of “this is awful/this is brilliant.” I need to make sure that when I think a manuscript is done, that it is really done, and it’s not that I just happened to catch myself at a “this is brilliant” upswing. Having more than one critique group helps. Taking some time away from it helps, too, so you can come back to it like someone else wrote it, to see what still needs to be fixed.

But eventually, you’ll know in your gut that there’s nothing else you can change in a manuscript. You have to be really honest with yourself about this. It might, and probably should, take months. Take your time. Take it seriously. It’s a tough balance — you need to give yourself enough time to get it right, but at a certain point you also have to let go and trust that you’ve done all you can.

Alayne Kay Christian, Award Winning Children’s Author

Butterfly Kisses for Grandma and Grandpa

Represented by Erzsi Deak, Hen&ink Literary Studio

As I mentioned earlier, one of the strong themes in this month’s answers is do not rush to submission. Don’t let your desire to be published or get an agent interfere with good judgment. In a recent Interview on kidlit411, I offered the following advice to writers. Do not be in a hurry. I don’t want to discourage any writer from submitting because there are some people who are new to the writing scene who find success in achieving publication in a very short time. However, I believe that this is rare. I know it is tempting to jump right into submitting, but I caution you to take your time. Learn your craft, and learn it well. If you can afford it, take classes, get professional critiques, and read, read, read. Be sure to join a critique group. Immerse yourself in the writing community, and learn from those who have already learned from their mistakes. It is not a race – it is a journey.

Click her for HOW DO YOU KNOW WHEN YOUR MANUSCRIPT IS READY TO SUBMIT – PART TWO with additional answers and some excellent resources for deciding when your manuscript is ready for submission.

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Before I get started with this post, I want to announce my new professional picture book manuscript critique service. For more information on what I offer click here.  January 12-18, 2014, Meg Miller will be presenting ReviMo – Revise More Picture Books Week. She has interviewed me for one of her ReviMo posts. One of her interview questions was, “What is your revision process.” I decided to post a list of some things I take into consideration when writing and revising picture books. The list is similar to what I look for when I critique other people’s work. I hope it is helpful.

Read about the new Sub Six Series: ALL ABOUT SUBMISSIONS

THINGS I NATURALLY NOTICE WHEN POLISHING MY WORK

 Does it read smoothly or do I trip up a lot as I read?
 Does it make me feel emotion?
 Do I find myself smiling or chuckling?
 Do I feel anxious, excited or sad for the main character?
 Do I find myself cheering for the main character?
 Does it have a satisfying ending?

STORY COMPONENTS

BEGINNING PAGES

 Is the opening line or paragraph strong?
 Will it grab the reader’s attention immediately?
 Will it make readers want to learn more or continue reading?
 Does the setup and description go on forever? Or do the first couple of spreads reveal what the story is “really” about?
 Will the reader have a good sense of the main character and his desire or problem by the third spread?

CONFLICT

 Does the text move the main character and story forward through his attempts to get what he wants?
 As the main character moves forward, does he attempt and fail to achieve his goal?
 Do his attempts and failures increase the story tension and make me want to turn pages?
 Will readers feel like they are in the story, experiencing what the main character is experiencing?

STORY FOCUS

 Is there cause and effect throughout the story, connecting the dots from sentence to sentence, paragraph to paragraph, scene to scene?
 Are there too many obstacles?
 Too few obstacles?
 Do the steps that the main character take make sense?

CLIMAX AND RESOLUTION

 Is there a strong story arc that builds to a turning point or climax?
 Does the main character experience a darkest moment that leads him to resolution?
 Does the resolution come just a page or two before the ending?
 Is the ending connected to the rest of the story and satisfying?
 Does it offer a twist?
 A nice tie in to the beginning?
 A moment of realization or satisfaction that the main character has grown, learned something, or reached his goal?

LINE BY LINE QUESTIONS

 Do all the story dots seem connected?
 Is time and place clear throughout?
 Is tense consistent?
 Is point of view consistent?
 Are there awkward, clumsy, or wordy sentences?
 Are there any missing or confusing transitions between scenes?
 Is there too much telling and not enough showing?
 Is there too much dialogue and not enough action?
 Are there places where the text is doing the illustrators job?
 Do all passages create visions or move the story forward in some way?

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sub six series 2I am excited to announce the Sub Six Blog Series: ALL ABOUT SUBMISSIONS. We will launch the series tomorrow with guest blogger Sylvia Liu in a post titled CONTESTS AND OTHER SUBMISSION OPPORTUNITIES FOR BOTH WRITERS AND ILLUSTRATORS. Sylvia will be sharing a list of writing contests and illustration contest. Her list also includes opportunities to apply for grants, mentorships, scholarships and so on.

Each month, the Sub Six Series will feature a different guest blogger who will share his/her thoughts and knowledge on various subjects (see list below). Some months, we will be offering some bonus posts. January is a bonus month with three posts instead of one.

Our titles are not quite worked out, but I can give a basic idea of what will be happening in the coming months.

January is a busy month. I hope you will bear with my many posts. And I hope you will find them beneficial.

We start the month on January 4 with Sylvia Liu’s list of contest and submission opportunities for both writers and illustrators.

Polishing a manuscript before submission is crucial because you want to submit your BEST work. On January 6, I will post a list of things to look for when revising or polishing a manuscript. This post will link to my interview about revising manuscripts on Meg Miller’s  blog for the ReviMo challenge.

Improving your craft is another way to submit your best work. At the end of January, guest blogger Marcie Flinchum Atkins will be showing you how using mentor texts can improve your picture book writing. She will even be offering some worksheets that you can print out and use.

February will spotlight Marcie Flinchum Atkins and her tips for submission organization.

March brings Elaine Kiely Kearns. Her topic will be about things such as, how to choose an agent, knowing when to nudge, and so on.

In April, Yvonne Mes will be helping us learn how to submit without feeling like throwing up. Can you relate?

May is another bonus month. On May 4, Kristen Fulton will share her secrets for submitting nonfiction works. Then later in the month, we will feature Jan Godown Annino who will cover the topic What Critique Pals and I Know about Submissions.

In June, Vivian Kirkfield will be sharing what she has learned about submitting to niche publishers, and she might share one interesting way to get your foot in the door.

July – I will be covering queries and cover letters.

Sylvia Liu  will be returning in August to share her knowledge and experience with submitting as an author/illustrator.

September – December, we will be answering questions that writers have asked about submissions. The questions will be answered by a group of writers who are experienced in submitting to agents and editors.

The Sub Six support group submitted hundreds of manuscripts in 2013. I will be posting the actual numbers in February. I would like to invite anyone that is ready to start submitting to join us in 2014.

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