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Posts Tagged ‘Alayne Kay Christian’

Can you write a children’s story in 50 words? Would you like to try? Are you up for the challenge? If so, check out Vivian Kirkfield’s 50 Precious Words challenge. The deadline is March 6, so get moving! Great prizes! Twenty-one winners – 21 prizes! Includes 50% off coupons for Art of Arc or for Art of Arc alumni 50% off coupons for a critique.

Here is my entry.

WINTER WALK

by Alayne Kay Christian  winter-walk-night-2

Cold air – warm sun
Feet crunch
in snow.

Fragrant pines.
Icy river groans.

Sun slips
behind pines.
Nightfall flaunts black-velvet skies
Evening star
Soft moon glow

Feet crunch
in snow.
Up steps
Through the door
Boots fall
to the floor.

Toasty fire – cozy quilt
Puffy pillow
Muscles hush

Pleasant dreams

 

 

 

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12X12 NINJAOne of the many benefits of Julie Hedlund’s 12 x 12 group is the Manuscript Makeover section in the 12 x 12 forum. Members post their picture book manuscripts in the forum and critique ninjas pop in and offer critiques. Last month, I had the pleasure of being a critique ninja. I’ll be returning in September for another month as ninja. There are many talented writers in 12 x 12, and I read lots of stories – some fun, some funny, some touching – all creative. I found a pattern in many of the stories I read. They had elements of episodic storytelling.

 

Following, I provide a brief overview of episodic storytelling in an abbreviated lesson from my online picture book manuscript writing and analyzing course Art of Arc.

 

Rising Chaos

 

A while back, in response to a critique I had done for a chapter book, the author responded, in part, with the following:

 

“For me, rising action means adding story problems! Rising chaos!”

 

That’s one way I would describe an episodic story. While the story might be entertaining dogand move forward, it meanders. An episodic story reminds me a bit of the expression, “The tail wagging the dog.” For a while, the story is taken over by some fun and entertaining scene(s), but eventually it has to get back to the story as a whole – the one with a cohesive beginning, middle, and end. The entertainment is the tail – the dog is the main character who is being wagged by the tail – and as a result, your reader is also being wagged by the tail.

 

The story takes the reader down a meandering path that is disconnected from the other parts of the story. Perhaps the path is loosely connected because the protagonist is involved and there is some sort of loose connection to the character’s problem. But the question to consider is, how connected is each scene to the scene that came before and the scene that follows?

 

The goal in a picture book with a classic arc is to have scenes flow seamlessly, building off each other until they are so blended you don’t even notice the changes that lead up to the end.

 

In an episodic story, the scenes often feel disconnected.

 

The scenes feel erratic, and even though the scene itself might have some tension, it doesn’t add tension to the story as a whole. The story might be moving forward, but the reader has a sense that she is not getting anywhere.

Whackamole

In the picture book manuscripts I critique, I often find main characters taking action, going from one place (or one thing) to another with no real reason. It’s a little bit like the main character is playing a game of Whack-a-Mole. To the reader, it feels like the main character is spending all his time reacting to any obstacle that pops up. He has no real plan or reason for his actions – no real direction. Episodic stories lack focus and direction. Many times circumstances or other characters drive the direction the story takes, and the main character seems to go along for the ride. We see no change or growth in the scenes or in the story. One way that change and growth are revealed is through decisions.

 


SOME WAYS TO TEST YOUR PICTURE BOOK MANUSCRIPT FOR EPISODIC ELEMENTS

 

DOES IT MATTER WHERE EACH SCENE APPEARS IN THE STORY?

 

With storylines built via cause and effect, scenes rely on each other to tell the story and to build tension. What if you moved your scenes around? Would the plot change? If it doesn’t matter where a particular scene happens in the story, it is likely episodic.

 

ARE SCENE GOALS RELATED TO THE STORY GOAL (larger plotline)?

 

Although scenes stand alone, they also need to be steps in the story plot. How does each scene advance the story (related to the plot as a whole)? Does the resolution or discovery made at the end of one scene set things up for the next? Or stated differently, does the next scene start with something that stemmed from the prior scene – an event, a decision, an action – and then move on to something new that leads to the next scene?

 

IS THE RISING ACTION, RISING CHAOS?

 

Are the main character’s challenges independent problems that create a meaningless (as related to the big story problem) obstacle course for the main character?  How can the challenges all be connected to the common thread of the story? Resist causing unnecessary trouble for the main character. Even when the trouble is entertaining, fun, and exciting, if it doesn’t have “whole story” purpose, it is probably episodic.

 

Each of the main character’s challenges should involve the following:

 

  • Overcoming the obstacle for that portion of the story.
  • Have significance to the bigger story. Remember, the main character has a big story goal and then smaller goals as the story builds. The smaller goals should not be too far removed from the big goal.

 

IS THERE A GOAL DRIVING THE SCENE?

 

Why is the main character in this scene? Why is he taking action? Is he taking intentional action or is he just reacting with no goal in mind?

 

DO THE SCENES INFORM THE READER?

 

  • What will the reader learn about the story (as a whole)?
  • What will the reader learn about the main character?
  • Do these events and actions move the plot forward in a way that makes the reader care about the main character, become curious, want to know more?
  • What is the purpose of the scene?

 

At the end of this post you will find a couple of links that will lead to excellent posts on episodic writing. Although they are not about picture book writing, they still help clarify what an episodic story is and why it can be problematic. Although some people write episodic stories intentionally, I believe there is no room for episodic storytelling in picture books. Young children do not have the attention span to follow the chaos that is created in such a story.

 

Let me be clear about the above statement. I am talking about classic stories. There are picture books that may seem episodic, and at times that’s okay. Concept picture books are a good example. The reason these books can be episodic is because they are built around a theme or concept. Take a look at THE BELLY BOOK by Fran Manushkin or EVERYBODY SLEEPS (BUT NOT FRED) by Josh Schneider. Many of the events in these books could have happened at any point within the book (or story). But these books are not built around a classic arc. Every story you write will NOT need to be analyzed for episodic elements. However, if the story you are writing is built around a classic arc with rising action and cause and effect, watch for episodic elements.

 

In the Art of Arc Course, I list some books in the cause and effect section that have somewhat episodic segments, but they are still built around cause and effect. NO DAVID, by David Shannon and WHAT IF EVERYBODY DID THAT, by Ellen Javernick are a couple. Although many of the segments could appear anywhere in the book, these segments each have their own cause and effect.

 

In NO DAVID, David’s actions lead to a reaction from his mother. But eventually the sum of the events lead to a reaction from David and that event leads to the final reaction from his mother.

 

In WHAT IF EVERYBODY DID THAT, each time that question is asked the reader sees the effect.

 

In BECAUSE I STUBBED MY TOE, by Shawn Byous you will find a perfect example of how important the order of events can be. Everything that happens in this story is a result of the boy stubbing his toe, but it is also the result of the event that came before it. This is a true cause and effect book.

Copyright Alayne Kay Christian 2016

LINKS TO ARTICLES ON EPISODIC WRITING

 

Plotting Problems – Episodic Writing

By Marg McAlister

http://www.fictionfactor.com/guests/plottingproblems.html

 

From Moody Writing

Episodic Storytelling is a problem

http://moodywriting.blogspot.com/2012/11/episodic-storytelling-is-problem.html

 

IF YOU WOULD LIKE TO LEARN MORE ABOUT CAUSE AND EFFECT, EPISODIC STORIES, art of arc extraOR STORY AND CHARACTER ARCS contact me and ask about the new TRY IT plan where you can try the first five Art of Arc lessons for $35.00 – purchased with no obligation to buy the remainder of the course. You may contact me using the “contact” tab at the top of this page, or via my Art of Arc webpage.

 

An outline of the first five lessons follows:

 

WELCOME SECTION

 

The welcome section includes a nine-page supplement demonstrating sixteen different picture book structures with diagrams, descriptions, and book titles.

 

LESSON ONE: BEGINNINGS AND ENDINGS

 

  • Who is your protagonist?
  • What drives your protagonist?
  • Beginnings and hooks.
  • Who, what, where, when, why?
  • Story promise, reader’s expectations, and story questions.
  • Page-turners.
  • How the whole story connects to the ending.

 

This lesson includes supplemental materials that demonstrate the components of strong beginnings and endings. It also includes worksheets for analyzing published picture books and your manuscripts.

 

LESSON TWO: BEYOND THE HOOK

 

  • Setting the hook.
  • Creating a connection with the reader.
  • Inciting incident.
  • Ways to keep the reader reading.
  • More on page-turners.

 

This lesson includes supplemental materials that demonstrate the components of strong beginning and endings. It also includes worksheets for analyzing published picture books and your manuscripts.

 

LESSON THREE: OVERVIEW OF PICTURE BOOK PLOT STRUCTURE

 

  • Story arc (plot development)
  • Character arc (character development)
  • Questions to ponder
  • Small, scene goals
  • Tension
  • Feelings
  • Character turning points

 

LESSON FOUR: CAUSE AND EFFECT

 

  • What is cause and effect and why is it important
  • Diagrams
  • Writing exercises
  • Worksheets
  • Examples
  • Bonus supplement with links to additional info

 

LESSON FIVE: EPISODIC STORIES

 

  • What is an episodic story?
  • What causes a story to be episodic?
  • Worksheets and tips for testing your story for episodic elements
  • Links to additional info

 

 

 

 

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FIRST A LITTLE INSPIRATION

EVERY DAY BIRDSAmy Ludwig VanDerwater, author of FOREST HAS A SONG and EVERY DAY BIRDS, challenged Today’s Little Ditty readers to write poems about small things— animals or objects you see everyday and don’t give much thought. I took the challenge, and I’m honored that my piece was selected as the poem that will close out Today’s Little Ditty’s month of small beauties.

little dittyToday’s Little Ditty is a great blog to follow. It offers tips and prompts for writing various forms of poetry, wonderful interviews, and fantastic examples of poetry. It’s well worth checking out.

Following is my little ditty.

 

 

SOMEWHERE BETWEEN NIGHT AND DAY
by Alayne Kay Christian ©2016

As the morning light steals the night
A new day is on the horizon
I am drawn to the eastern sky

In complete silence
The bright morning star calls to me
I am one with the Universe
Of this I am never more certain than
Somewhere between night and day

scan0027

In the sharing of this poem, I wish you many moments of quiet peace.

OVERCOMING SELF-DOUBT and FREE GIVEAWAY

revimo 2016In January, I was a guest blogger for Meg Miller’s ReviMo challenge where I wrote REVISING YOUR WAY TO DREAMS COME TRUE. If you are struggling with frustration or self-doubt, you might feel renewed after reading this post. At the end, I offer a free checklist for polishing manuscripts and doing critiques and edits.

IMPROVE YOUR MANUSCRIPTS AND YOUR ABILITY TO ENGAGE READERSReFoReMo 2016

This month, I had the honor of being a faculty member on the ReFoReMo (Read for Research Month) team. In my guest post, CLOSING THE GAP BETWEEN READING AND WRITING, I encourage readers to look deeper than the surface when analyzing mentor texts or your own work. In considering ways to engage readers, I offer four questions to ponder while analyzing your stories or mentor texts.

DEEPEN YOUR UNDERSTANDING OF PICTURE BOOK WRITING

My picture book writing course ART OF ARC: How to Analyze Your Picture Book Manuscript continues to deepen writers understanding of picture books while helping them refine their work. Following are some of the latest comments from students who have completed the course.

I wish The Art of the Arc course existed a year ago. It would have saved me a lot of time. It gathers a lot of information that new picture book writers need all in one place. Alayne provides so many examples and even includes a few that don’t follow the classic arc. I found the reminders about what the reader should be experiencing at different points in the story especially helpful.

I appreciated how the worksheets made me take apart my own manuscripts so I have a better understanding of why some aspect isn’t working. I’m going to continue using the worksheets to guide my revisions. The Facebook group doing a monthly study of a picture book should help solidify what I’ve learned. Thank you, Alayne! – Mary Worley – Children’s Writer and Former Librarian

Alayne’s Art of Arc self-paced course not only teaches a writer about story structure but explains the specific parts of a story, in depth, and the importance of why each must be related, relevant, and remain connected. What I learned through her examples and exercises are the specific ways to break down a story using task analysis. This process helps me determine if the reader is “imagining and feeling” the story I want to tell reflected through my writing. As a writer who starts as a pantser, Alayne provided the organization I needed to analyze my own writing. – Keila V. Dawson, Author, THE KING CAKE BABY, Pelican Publishing Co., January 31, 2015

Alayne distills and clarifies picture book wisdom in a conversational tone. Her writing has earned a place on my reference shelf. Mike Karg – Children’s Book Writer

Art of the Arc teaches you to methodically analyze your manuscript or mentor text, and in doing so, pulls you back as the author to see your story through more objective eyes, able to evaluate it piece by piece. The course is well organized and contains a virtual plethora of resources. – Beth Anderson – Freelance Writer

This course was so helpful in showing me the areas where my manuscripts were not moving and how to fix that. Studying picture books suggested in the course focused this for me. The great thing is now I’ll be able to use this as I’m writing and, I hope, cut down on revision time. I highly recommend this comprehensive course. – Carol Crane – Children’s Writer

When asked, “How does this course compare to other courses you have taken?” One Art of Arc graduate said, “I haven’t taken other courses. The best comparison is Ann Whitford Paul’s WRITING PICTURE BOOKS. I love the depth and specificity of both. As with her book, your materials are worthy of re-reads.”

The following are not testimonials, but a few wonderful comments from the ART OF ARC Facebook group.

I just want to thank you, Alayne Kay Christian for putting together such a comprehensive course. I am only on lesson two, but I have already learned so much. The cost of this course is some of the best money I ever spent on learning the picture book craft. My mind is racing with all the possibilities for improving my manuscripts and writing new and better ones. I am truly blown away with how much work you put into this and how generous you are to share it with the world. Thank you!

I agree! And the ability to be in this group, ask questions and give answers is invaluable, too! Thanks, Alayne Kay Christian!

Click here to learn more about ART OF ARC and to read many more testimonials.

art of arc extra

 

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After many months of purging my house for major right sizing, we have sold the house and will soon be moving on to some exciting adventures. Now that I’ve caught my breath, it’s time to give my blog a little attention. I’ve decided to get back into blogging by sharing a little something that I have written for Vivian Kirkfield’s 50 PRECIOUS WORDS WRITING CONTEST.

The challenge is to write a story appropriate for kids ages 12 or under, using only 50 words. I will share my submission, GONE FISHING, and then a second story that I decided is not quite as kid-friendly.

 

My 50 PRECIOUS WORDS ENTRY

FISHING

GONE FISHING

by Alayne Kay Christian © 2016

 

Fishing pole –

dragonfly perch,

flirting with the water.

 

Bobber floats

Bobber bobs

Ripple

Tug,

jerk, and reel!

 

“It’s a big one. . . .

No, it’s not.”

 

Tiny prize

Back in lake

Tail flips – flop-flop

Bubble-bubble-glub . . .

Gone from sight

 

Bobber floats

Pole flirts

Dragonfly perches

 

I wait.

 

MY SECOND 50-WORD STORY JUST FOR FUN

 

ONE MORE DAY

by Alayne Kay Christian © 2016

 

The last rose

swings and clings

to the bush.

She’s not in a rush

for winter.

 

Autumn winds propel

free-flowing dancers.

Maple and oak leaves

mingle into a fall-frenzied jitterbug.

 

Swirling, twirling red and gold

Flitting, falling, flirting

with their pink-petaled audience.

 

She sways and staysrose 2

for one more day.

 

art of arc extra

Click on the  above image to learn about Alayne’s picture book writing course.

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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 4This month, I asked the All about Submissions team the following questions: How do you cope with rejections? What do you do with the rejection letters – even if they are just form letters? I shared some of our answers yesterday in Part One. Here are the remaining answers plus links to some excellent posts. Please feel free to comment and share your tips for coping with rejections. And remember, if you have questions you would like answered, either ask it in the comment section or contact me by clicking the “contact” button at the top of this page.

* * *

Teresa Robeson, author and artist

teresarobeson.com

Rejections used to get me into a deep funk. I think that’s partly why I gave up writing for a while in the 2000s (that, combined with the stress of homeschooling two young kids during that period). I had some wonderfully encouraging, personalized rejections among the form ones, but it was still so depressing.

I think that, with age, I have grown a thicker skin and now rejections don’t bother me as much. They still do, but they don’t define my self-worth. Also, I’ve gotten fan letters and compliments (from readers and editors) on my published works, and that really helps to sustain me when I receive a rejection.

Because I’m semi-organized (more hypothetically than in practice), I save all my rejection letters in files, either real or virtual. I occasionally, like once every seven years, pull out the encouraging ones to look at, but I don’t do anything with them otherwise. No need to re-live the angst of the form rejections, and I hold the good ones in my heart anyway.

As much as rejections pain me, in today’s world of “we’ll reply only if interested,” I would rather receive a form rejection than no rejection at all!

* * *

Sophia Mallonée, Children’s Writer

www.sophiamallonee.com

Rejections suck. Yeah, your skin might grow a little thicker over time, but there really is no getting used to the rejection process.

For me, my coping mechanisms vary from rejection to rejection. The best rejections are the personalized ones. With those, I like to pick apart the letter and try to view my manuscript the way the agent or editor did. Can I utilize their advice? I’ll pour over my manuscript and try to find any weak links that I might be able to strengthen. I take these rejections as learning experiences. Yes, it still sucks to be rejected. But at least in these cases (most often) I’ve received a little bit of knowledge as a consolation prize.

It’s the form rejections that are the worst. It’s more difficult to take away a great lesson when you receive an “It’s wonderful…but just not for me” type of letter. That always stings. It’s like a breakup where you’re never able to say how you felt in the end, and the closure is never had. Why? Just give me something. If it’s so wonderful, then why is it not for you? It took me a while to let go of those rejections. But I get it. I know that a manuscript can be good and still not connect with you – I read stories like that all of the time – for no particular reason. I understand that to respond to every single query/submission would be a ridiculous waste of time. But still, just because I understand the rejection process, doesn’t mean I have to like it. I definitely allow myself to have a mini pity-party, followed by a phone call or lunch with my critique buddies, where we all commiserate. After that, I’ll write something new. Nothing makes me feel more accomplished and happy than diving into a new story.

I like to keep my rejection letters. I keep all of my electronic rejection letters filed away (even if they’re form) in my email. That way, if I query or submit to the same agent/editor again in the future, I can reference back to any correspondence we might have had in the past.

I don’t, however, keep any paper rejections unless they’re personalized and mailed to me. I don’t have the time or space for extra paperwork.

I’ll mention that I also have a running “Submission Tracking” spreadsheet that I maintain. I track all letters received, dates and any specific notes next to the agent/editor info on this sheet. That way, even if I don’t have the letters themselves, I’m still able to reference specifics quickly.

* * *

Cindy Williams Schrauben, Children’s Writer

Raising Book Monsters – kids who devour books and hunger for knowledge

http://www.RaisingBookMonsters.com

What do I do with form rejections? I log them (on my submission spreadsheet) and forget them. Done.

How do I cope with rejections? This question sounds very straight forward, but there are many variables. I can say, though, that my coping mechanisms have become much stronger over time and I can even say that I am grateful for them – okay, not grateful that they said NO, but grateful for the fact that they responded at all.

My first few rejections were very difficult – I, simply, didn’t know how it worked. I had written a story – a good story, so I thought – and put it out there for the world to see. Time for agents to start knocking at my door, right? Finding that others didn’t share my passion for this manuscript was, initially, really tough. I know now that it isn’t quite that easy. But I can say that I ALWAYS read a rejection like a critique, quickly the first time… let it sit… and then read it again later with less emotion and more objectivity.

Call it rationalization if you like, but I cope with rejections by asking myself a couple questions:

Was this a dream agent? If the answer is no, I tell myself that this rejection is just getting me closer to the right one. If the answer is yes, well, I blubber away for a while and then I eat some ice cream.

Another determining factor is the type of rejection – they are not all created equal. Form rejections, for example just suck; that’s all there is to it. There is nothing to learn from them other than perseverance and a tough skin. One way to help is to go to Literary Rejections and read about all the hugely successful authors who have been rejected hundreds of times.  Their tagline is: “helping writers persevere through rejection.” Their web and Facebook sites both offer commiseration and inspiration.

Personalized rejections are a different story entirely. I recently received one from an agent that included real reasons for rejecting my work. It wasn’t a copy/paste response like: “I wasn’t in love” blah, blah, blah, or “not a good fit” blah, blah, blah, but offered some constructive criticism.  I treat these rejections like gold. They are, in fact, critiques from someone who truly knows the business. Sure, it is just another opinion, but an informed one to say the least.

My final piece of advice/rationalization is to tell myself that I want an agent who LOVES my work. Period. If they don’t… well, they aren’t right for me.

* * *

Sylvia Liu, Writer-illustrator

portfolio: www.enjoyingplanetearth.com

blog: www.sylvialiuland.com

Sylvia Liu is a winner of the Lee & Low New Voices Award. http://blog.leeandlow.com/2014/01/15/announcing-our-2013-new-voices-award-winner/

I am very practical and dispassionate about rejections. I figure it’s a numbers game and I will need to rack up many rejections before I find the right fit. I also look on the bright side. If I get deafening silence, I can imagine that the agent or publisher is still pondering the story. If I get a form letter, I get closure. If I get a quick rejection, I’m happy to move on. If I get personalized feedback, I am thrilled to improve my story and am buoyed by the prospect that it is one step further out of the slush pile.

The hardest rejections are after an agent has requested more work and they end up passing on my work. It’s hard not take that personally, but it does spur me to keep strengthening all my pieces.

I keep all my rejections. In the olden days, I’d get photocopies of form letters that I still have in an accordion file. Nowadays, I keep an “Agent Correspondence” file in my emails. My favorite rejection was one where my husband and I submitted a piece he wrote and I illustrated about six years ago. The rejection was addressed to him, but the line, “Tell Ms. Liu her illustrations are brilliant,” still sustains me today.

* * *

Alayne Kay Christian, Award Winning Children’s Author

Butterfly Kisses for Grandma and Grandpa

Represented by Erzsi Deak, Hen&ink Literary Studio

Before I share this month’s links, I want to make one point. Many of the All about Submissions team members mentioned developing tough or thick skin. First I want to say that a form letter rejection, a kind/helpful rejection, or the emptiness of no response from a manuscript submission can all be perceived as criticism. I believe one excellent way to develop thick skin and practice coping with criticism is to join a critique group. But here’s the thing about critique groups, a critique partner who is afraid of hurting someone’s feelings and therefore is not as honest as they can be about their crit partners’ manuscripts is doing a disservice to their fellow writers. Be honest. Tell what you see, think, feel. Critiques are like dress rehearsals for rejections. The author of the manuscript can decide if they agree with you or not. Of course, you want to give positive feedback as well. Ask your critique partners to help you out by honestly telling it as they see it.

Links:

From Jessica P. Morrell

Three posts (all appear on the same page – if you click on any one of the three links below, you will access the page):

What Editor’s Notice

Top Eleven Reasons Why a Manuscript is Rejected

Tips for staying out of the rejection pile

 * * *

From OneWildWorld.com:  SIX GUIDELINES FOR TURNING REJECTION INTO SUCCESS by Carol Despeaux

 * * *

From Distractify: 10 PAINFUL REJECTION LETTERS TO FAMOUS PEOPLE PROVING YOU SHOULD NEVER GIVE UP YOUR DREAMS by Averi Clements

* * *

From Kristin Lamb’s blog: HOW TO TAKE CRITICISM LIKE A PRO by J.E. Fishman

* * *

From MORE online magazine: KATHRYN STOCKETT’S “THE HELP” TURNED DOWN 60 TIMES BEFORE BECOMING A BEST SELLER

by Kathryn Stockett

 * * *

TOP 10 FAMOUS BOOKS THAT WERE ORIGINALLY REJECTED

* * *

From Schuler Books Weblog: 30 FAMOUS AUTHORS WHOSE WORKS WERE REJECTED, by Michelle Kerns

* * *

Romelle Broas shares a humorous post, REJECTION LETTERS FROM A POSITIVE PERSPECTIVE

* * *

Tidbits from Alayne

Two responses to rejections that I see in the writing community that I enjoy are as follows:

Onword and upword! (spelling intentional)

Now I’m one step closer to publication (variations: signing with an agent, a book contract)

A list of all the ALL ABOUT SUBMISSIONS posts.

 

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AAS Q&A 4

This month, I asked the All about Submissions team the following questions: How do you cope with rejections? What do you do with the rejection letters – even if they are just form letters? I will share some of their answers today and the rest tomorrow. Please feel free to comment and share your tips for coping with rejections.

I would like to introduce our newest team member, Heather Ayris Burnell, author of Bedtime Monster. Welcome Heather.

As always, a big thank you to all that took the time to share their answers to this month’s questions.

* * *

Kirsti Call, Children’s Author

The Raindrop Who Couldn’t Fall!

http://www.characterpublishing.org/store/index.php?route=product/product&path=82&product_id=60

http://www.youtube.com/watch?v=ILoU8KRTjRM&feature=youtu.be

www.kirsticall.com

Rejection is proof that I’m writing.  Rejection is proof that I’m submitting!  Rejection gives me one less publisher or agent to send that particular manuscript to!  I have dozens or maybe even hundreds of rejections and I keep every one of them. Even form letters are concrete evidence of my dedication to writing stories for children.  And somehow, with each rejection, I feel like I’m one step closer to finding the right publisher.

* * *

Julie Falatko

Author of SNAPPSY THE ALLIGATOR (DID NOT ASK TO BE IN THIS BOOK) (Viking Children’s, 2015)

Represented by Danielle Smith

http://worldofjulie.com/

I am someone who suffered from severe submit-o-phobia for two years. It was good. I am grateful for my fear of rejection, because otherwise I would have submitted some truly awful stories. But as I was working on writing, and knowing I wasn’t ready yet, I’d see friends complaining about rejections, and I was so jealous. I wanted to be ready to submit things! I couldn’t wait until I was far enough along to actually start getting rejections. That was the next phase on the horizon that I could see: submitting stuff, getting rejections. And I knew I wasn’t there yet.

So when I did finally started submitting, I honestly didn’t mind getting rejections. I mean, well, sure, I minded a little. But I knew every rejection just meant the agent and I weren’t a good fit. I was so happy to finally be at a point where I was getting rejections. I found the waiting-for-rejections to be a lot harder than the rejections.

I kept all of my rejections. Some of them were very nice ones, and I would go back and reread them for encouragement. I don’t know what it means that I am someone who read rejections for encouragement, but it’s true.

* * *

Heather Ayris Burnell, Author

Bedtime Monster

www.subitclub.wordpress.com

www.frolickingthroughcyberspace.blogspot.com

Represented by Sean McCarthy Literary Agency

To me, rejection is just part of the process of becoming published. Statistically speaking, it takes a lot of rejection to get to an acceptance. When we send our work out for consideration we are competing against hundreds of other talented writers and their work. There are so many factors that are out of our control once we send our work for consideration. The piece we send not only has to be the best of the best, it has to reach the right person at the right time and fit into their vision, whether it be an agent building their list or a publisher looking for that next great book to publish. Being rejected means you are getting your work out there and trying to reach your goal of publication. That is a positive thing! When I get a rejection, I let myself have that “oh darn” moment but I don’t dwell on it. I read the reply a couple times to let it sink in (I always seem to skim on the first couple of reads), take note in my submission log, move on, and keep on working toward my goal. Sure, I might switch up my query letter if I keep getting forms or do some revising if I get suggestions.

Rejections don’t have to hold you back. They can help you gain insight that can keep you moving forward in a positive direction.

I do think you can have some fun with rejection letters. Why not? I have a lot of ideas of what to do with them, I even wrote a post, Fun with Rejections! I’m saving mine up for a piñata and am hoping to have a big party with a bunch of my writer friends someday. Not sure exactly what I’ll fill the piñata with. Pens…notepads…chocolate? There will definitely be chocolate!

* * *

Elaine Kiely Kearns, Children’s Writer

http://www.kidlit411.com/

Ah, rejection.

After much reflection upon this question I can only answer in one way: rejection sucks, people. It stings, it burns, it makes us feel like we are inadequate and that our writing is subpar.

And of course, anyone reading this post also knows that rejection is a part of this wacky, wonderful path to publication. Getting your manuscript snatched up by an agent or an editor right out of the gate is unrealistic. Of course it happens, but it’s rare. I am guessing that it would be easier to win the lottery – twice.

So what do we do with all of this rejection? How do we cope?

Well, first of all, we have to learn to take comfort in knowing that it is just part of the process. It’s business. Just business. When you look at it like that, it’s so much easier to accept. Another rejection? Who cares! Onward! (Especially if it was the standard form letter rejection.)

However, if you received some notes from an editor or agent on your manuscript, Congratulations! If an agent or editor has taken the time to give you feedback, I would take that as a sign that you are getting closer. A lot closer. Agents and editors do not have the time to give feedback, so even though it’s a pass, be grateful that they thought enough of your manuscript to give you a little bit of something to go on. Celebrate!

The last thing you can do is to arm yourself with information and become familiar with an agent and editor’s job. Wait, what?! Why? Well, if you put yourself in their shoes, you will see that the rejection you’re receiving isn’t personal. Publishing, after all, is a business. That’s the bottom line, and sometimes we need to remind our creative brains of that fact. Your writing may be strong and entertaining, but for a myriad of other reasons, it may just not be the right time for them to accept it. If you understand where they are coming from, it’s much easier to understand and accept that painful sting.

And ultimately, won’t it be that much sweeter when your deal finally does come through? Just think of all the hope you’ll be able to give to those who come after you when they ask, “Did you get a lot of rejections before your ‘yes’?” And you’ll say, “Yeah, a lot. Hang in there, it will happen for you too!”

“You never really fail until you quit.”- Anonymous

Happy writing!

For more information about agents, editors and rejection visit: http://www.kidlit411.com/2014/01/kidlit411-submission-how-to.html

 * * *

Marcie Flinchum Atkins, Children’s and YA Writer

www.marcieatkins.com

Marcie wasn’t able to contribute this month, but Marcie, ten other writers (many you may know), and I discuss “Dealing with rejections” on her blog. Here are the links:

http://www.marcieatkins.com/2013/04/20/were-all-in-this-together-rejection-post-1/

http://www.marcieatkins.com/2013/04/21/were-all-in-this-together-rejection-post-2/

* * *

Alayne Kay Christian, Award Winning Children’s Author

Butterfly Kisses for Grandma and Grandpa

Represented by Erzsi Deak, Hen&ink Literary Studio

Instead of reinventing the wheel, I will offer links to a couple of my previous posts about rejections below.

TWELVE METHODS FOR COPING WITH REJECTIONS

This partly humorous and partly inspiring post offers the yin and yang of coping with rejections.

BLACK JELLYBEANS, MANUSCRIPT REJECTIONS, AND BEETS

This post talks about how taste influences rejections and acceptance.

From Marcie Flinchum Atkin’s blog: WHAT’S SO LOVELY ABOUT WRITING FOR CHILDREN? While all the writers’ answers are inspiring, mine relates to rejections, so be sure to scroll down until you get to my answer.

WHAT’S COMING IN PART TWO?

  • Teresa Robeson talks about growing out of the deep funk that rejections can induce.
  • Sophia Mallonée and Cindy Williams Schrauben both share their thoughts on the many sides of rejections.
  • Sylvia Liu gives her “numbers game” perspective along with sharing a bit about her favorite rejection.
  • I share a bunch of inspirational links on topics such as new perspectives, turning your rejections into successes, and taking criticism like a pro.

A list of all the ALL ABOUT SUBMISSIONS posts.

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