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Posts Tagged ‘Marcie Flinchum Atkins’

Beth Anderson

The last “wisdom” post for 2021 has been posted. But I’m excited to share that most of the team will be returning to share more wisdom in 2022. If you’ve been following us from the beginning, you know that we have already shared a wealth of wisdom and a treasure trove of tips. If you have read (or you do read) all the posts, you will see that combined, they amount to a full course in picture writing, and then some. I want to offer my gratitude to all the generous authors who contributed to this collection of wisdom posts. THANK YOU, THANK YOU, THANK YOU! And I want to thank you, our blog readers, for taking time to follow us and sometimes give us lovely comments that let us know our work is all worthwhile. It means a lot.

In return for our wise authors’ generosity, I hope you will consider supporting them and me by spreading the word about our books and services, buying the books (great Christmas gifts), and sharing our posts. And then, the ultimate gift to an author is always reviews. Please, if you’ve read our books, post reviews. Following is a list of our team members linked to our websites so you can learn more about our books and services. Following the list you will find just a sampling of our many books. I believe most of us have many more that aren’t shared in this post.

In the spirit of giving and to honor the message of THE WEED THAT WOKE CHRISTMAS, I’ve decided to offer a holiday gift to one lucky winner of my giveaway drawing. Following our three collages of our books, you will find the information about the giveaway. And then, finally, you will find links to all of our posts at the end of this post.

Beth Anderson
Marcie Flinchum Atkins
Kirsti Call
Pippa Chorley
Alayne Kay Christian
Laura Gehl
Vivian Kirkfield
Ellen Leventhal
Michelle Nott
Rosie Pova
Dawn Babb Prochovnic
Rob Sanders
Melissa Stoller

Untitled design (3)

Untitled design (4)

Than

GIVEAWAY!

Enter for a chance to win your choice of

Complimentary enrollment in Art of Arc

Complimentary access to my webinars

A thirty-minute first impressions critique Zoom call with Alayne

A copy of any one of Alayne’s books (In U.S. only. I can offer a PDF otherwise.)

THE WEED THAT WOKE CHRISTMAS: THE MOSTLY TRUE TALE OF THE TOLDEDO CHRISTMAS WEED

An Old Man and His Penguin: How Dindim Made João Pereira de Souza an Honorary Penguin

Butterfly Kisses for Grandma and Grandpa

Sienna, the Cowgirl Fairy: Cowboy Trouble

Sienna, the Cowgirl Fairy: Trying to Make It Rain

HOW TO ENTER

  • Follow my blog.
  • Share any one of our wisdom posts on social media.
  • Comment on this post telling us that you have followed and shared and that you want to be included in the drawing.
  • The deadline to enter is December 17th, and the winner will be announced on December 18. Unfortunately, any book giveaway won’t arrive before Christmas.

In case you missed the news . . .

Analyze with Alayne 3 11 wk course

FOLLOWING ARE THE LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

WRITING SATISFYING AND EFFECTIVE ENDINGS (part 1, part 2, part 3, bonus post 1, bonus post two)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1part 2part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONEPART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

Read Full Post »

kid-lit writing wisdom

For our final “Wisdom” topic of the year, I asked the Kid-Lit Writing Wisdom team for their thoughts on writing effective and satisfying picture book endings. And with all the wisdom combined, we ended up with another great free course in picture book writing (although much of our wisdom can be applied to longer works). Our thoughts and tips on this topic have been presented in three parts. Plus, I will be offering a bonus post, so wait there’s more! If you missed parts one and two click here for part one and here for part two.  You can find a list of links to all of our 2021 Kid-Lit Writing Wisdom posts at the end of this post.

Today’s wisdom comes from Dawn Prochovnic, Marcie Flinchum Atkins, Michelle Nott, and Pippa Chorley.

Words of Wisdom

MIRROR THE BEGINNING WITH THE ENDING, BUT WITH CHANGE

by Marcie Flinchum Atkins

Many times endings harken back to the beginnings–often with a change. This can be true even in nonfiction.

Runaway: The Daring Escape of Ona Judge by Ray Shepard, illustrated by Keith Mallett

In this book, the narrator is talking directly to Ona Judge, “Why you run away Ona Judge?” Shepard begins Ona Judge’s journey with a question. In the end, the narrator gives her a charge: “Then run, Ona Judge, run”. The character has changed.

The Floating Field: How a Group of Thai Boys Built Their Own Soccer Field by Scott Riley, illustrated by Nguyen Quang and Kim Lien

In the beginning, we are introduced to a group of boys and their village on stilts on the water in the southern part of Thailand. In the end, the final image is of the boys retuning home after playing football (soccer). We return to the image of the village on stilts. The boys lives are different, but they still return home.

Wait, Rest, Pause: Dormancy in Nature by Marcie Flinchum Atkins

In my book, I begin by talking to the reader asking them to imagine what it might be like to go dormant. The ending ends the dormancy and begins to stir.

As a writer, can you find a way to mirror the ending with the beginning, but with a change?

QUESTIONS TO PONDER ABOUT YOUR STORY’S ENDING

by Pippa Chorley

Endings are part of your main character’s emotional journey and integral to the arc of any good story. Readers want to feel satisfied at when they close the last page. They want to feel that the ending is justified. They want all the loose ends tied up neatly with a bow on top!

It can really help to know your ending ahead of writing your book so that you make your arc as strong as possible and ensure everything that happens on the journey of the main character leads directly towards the ending.

If you are struggling with your story, ask yourself a few important questions:

Does your main character have emotional closure at the end? Is your main character better off at the end of the story than they were at the start, have they learnt something along the way?

In my picture book Stuffed!, a story about the nighttime adventures and arguments of Sam’s stuffed toys, I needed to make sure that I had emotional closure for both Sam and her toys at the end of the story. It begins with the toys arguing in the night and Sam waking up to find them strewn about her bedroom floor looking lost and alone the next morning. It was important when writing the ending that I addressed both Sam’s desires to help her toys and settled the toys arguments as well. I needed all the characters pulled together at the end of the story to make it feel satisfying and tie up all loose ends. Without that my main characters and my readers would not have had the emotional closure needed for a satisfying book.

Does your ending use a repeated phrase or end with similar lines to the very beginning? Does the tone of your ending match the beginning of the story?

I was very careful when writing my new picture book Out of the Box, that the story should come full circle. It begins with great excitement at the arrival of Granny. Sam’s birthday is only three sleeps away and she is hoping for all sorts of grand, expensive presents from her Granny. When things don’t turn out quite as she expected the story takes us on an emotional and imaginative journey with Sam and eventually back to Granny again at the end. Over the course of the story Sam learns and grows but it was important to me to bring her back full circle at the end, to her Granny, equally full of excitement. If I hadn’t done that then Granny would have been obsolete, and there is so much to love about Granny the story would have suffered for it. The tone of excitement at the start matches with the tone of excitement at the end as Sam has learnt an important lesson in the story – that our imaginations can give us just as much of an adventure than a toy.

Can you add a twist at the end to make it more of a surprise?

When I wrote Counting Sheep, a picture book about a little sheep who couldn’t jump over the fence, I came up with lots of possible ideas for the ending. At storytelling sessions, when I ask children how they think the problem should be resolved they nearly always say that the other sheep could help lift him over. It’s a lovely idea and one that crossed my mind too when writing the book, but it’s also very predictable. In the end I decided to write an ending that no one else ever thinks of. It is always a surprise and always a wow, why didn’t I think of that moment, for children as a result. I am ever grateful when I read this story to children to have written a surprise ending.

Hope these examples and questions help you make your endings super satisfying! Happy writing and editing everyone J

MAKE YOUR READER WANT TO RELIVE THE STORY: NOW THAT’S AN ENDING!

by Michelle Nott

A good ending will make us want to relive a story, to close a book only to open it back up, even when we know how it will end.

As we know with picture books and reading to young children, that’s just what we want to happen, to read the story over and over again. So that ending must be good! But strong endings need to conclude an already strong story with strong characters that a child wants to experience over and over again even, and especially, when they already know the ending.

As a freelance editor, I have read lots of manuscripts. Some stories seem to be going fine and then the ending just comes and goes. No hurrah, no tears, no laugh. When that happens, I advise the writer to review what events are leading to the ending. Often, not enough has happened to logically and smoothly arrive at the ending they want. It may be a lovely or funny or inspiring last sentence, but there is a missing link between the middle and end which compromises the final emotion.

For example, in my early reader Dragon Amy’s Flames, she wants to win a prize by hitting the bullseye at the fair. But she has a habit of burning up that and other toys whenever she feels frustrated. And so, she has to learn to control her temper. The reader sees she is trying hard and making progress calming down and staying focused in different scenarios. By this point, the reader knows she could probably do it. And so, I could have ended the story with her finally hitting the bullseye. The story had logically led to that conclusion. But instead, the next day she asks her brother if she can practice with him. He agrees but only if she controls her flames. That could have also been a logical place to end, on an image of her succeeding. But it would not have been as satisfying as how it did truly end.

I added one more moment of suspense and doubt: “Sizzle, a spark flew too high. Fizzle, a flame fell too low. And then … Amy’s scales quivered. Her skin shriveled. Her nostrils flared…ROAR [and this is when something previously would have been engulfed in flames]… and ZING!”

The last illustration shows she has hit the bullseye perfectly. Her family (and the reader) cheers.

If your ending looks and sounds like it has all the elements of a strong and satisfying ending but it’s not getting the emotion for which you’re striving, look at the lines between your middle and end. Is there a space waiting to be filled? It may just need a sentence or two. It may need an illustration note to create just enough of a pause. Maybe you could take a refrain and twist it just one more time.

As they say, “Mind the Gap!” and your story will smoothly get to where it needs to go.

WRAP THINGS UP BUT KEEP THEM WONDERING

by Dawn Prochovnic

When I reflect on story endings that are especially satisfying to me, the one constant is that I find myself thinking about the story long after it has ended. For example, when a television show has me hooked, I’m sure to be thinking about and/or talking about “last night’s episode” when I wake up the next morning. Likewise, the movies and novels that I count amongst my favorites are the ones I’m still reflecting on long after I’ve finished them.

Not surprisingly, one of my favorite ways to end a picture book is with an ending that wraps things up in a satisfying way, but that also invites the reader to ponder what happens next.

One of my first books, The Nest Where I Like to Rest, offers an example. It is a cumulative story about a mama hen who wants to rest while she waits for her nest of eggs to hatch. The story begins:

This is the nest where I like to rest.

These are the eggs I carefully laid to hatch in the nest where I like to rest.

But how can I rest with a rat near my nest?

Throughout the story, mama hen’s nest is disrupted again and again by various characters. Finally, at the end, mama hen successfully hatches her eggs. “Hooray!” you might say! But not so fast. The last line in the story reads:

But how can I rest with these chicks in my nest?

This “second ending” invites readers to wonder, “What happens next?” What will those chicks be up to? Will mama hen EVER get any rest? (parents everywhere know the answer to that!).

The ending of my most recent book, Lucy’s Blooms, provides a similar invitation for readers to consider what happens next. In the story, Lucy nurtures a garden of blooms she finds in the meadow behind Gram’s house, with a goal of entering the town’s gardening contest. Throughout the story, Lucy’s blooms grow and change, but Lucy’s love for them remains strong—even when Lucy doesn’t get what she hopes for. In the end, Lucy and her blooms return to Gram’s open and loving arms. The lines on the next-to-last spread read:

“C’mon,” Lucy said with a smile.

“I’ll race you back to Gram’s.”

She took hold of her wagon and ran.

And the last spread reads (with a fabulous illustration to match):

“A fantastic flurry of silky seeds swirled and twirled behind her.”

This “ second ending” invites readers to wonder, “What will happen to all of those silky seeds? How will Gram and Lucy spend their afternoon? Their next week? Their next summer?”

One of the things I love most about books with this type of ending is the opportunity to ask young readers these types of questions when the book is shared. Their ideas for how a story might continue beyond the last page never cease to amaze me!

WAIT THERE’S MORE!

FOLLOW MY BLOG OR KEEP A CLOSE EYE OUT FOR MY BONUS POST ON ENDINGS.

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1part 2part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONEPART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

Read Full Post »

kid-lit writing wisdom

For our final “Wisdom” topic of the year, I asked the Kid-Lit Writing Wisdom team for their thoughts on writing effective and satisfying picture book endings. And with all the wisdom combined, we ended up with another great free course in picture book writing (although much of our wisdom can be applied to longer works). Our thoughts and tips on this topic will be presented in three parts, so keep an eye out for more. If you missed part one, click here.  You can find a list of links to all of our 2021 Kid-Lit Writing Wisdom posts at the end of this post.

Today’s wisdom comes from Laura Gehl, Ellen Leventhal, Vivian Kirkfield, and Rob Sanders.

Words of Wisdom

ENDING WITH A BONUS

by Laura Gehl

One of my favorite types of ending is when the main conflict is resolved before the final page, allowing the last spread or two to add a twist of humor or an extra layer to the story.

For example, in I Got a Chicken For My Birthday, by me and Sarah Horne, Ana is initially upset about getting a chicken as a gift from her grandmother, instead of the amusement park tickets that she had requested. This conflict is resolved when the chicken builds Ana a backyard amusement park and Ana realizes Abuela Lola knew exactly what she was doing. But the wonderful spread with Ana riding in eggshell-shaped roller coaster cars with Abuela Lola is not the end of the book! Afterward, Ana says, “Next year, I’m asking Abuela Lola for a trip to the moon!” and we see the chicken beginning to design a rocket ship.

In My Pillow Keeps Moving, by me and Christopher Weyant, a lonely man keeps accidentally purchasing a dog—first as a pillow, then as a footrest, and finally as a coat. The main conflict is resolved when the man decides to adopt the dog. But then the story continues with the dog winking at her feline friend, the man accidentally purchasing the cat as a hat, and all three becoming a happy family on the final page.

In Judge Juliette, by me and Mari Lobo, Judge Juliette has to rule on whether her family should get a dog (like her mom wants) or a cat (as her dad hopes). The main conflict is resolved when Juliette discovers she must recuse herself, since judges aren’t allowed to rule in cases involving family members. But the book ends on a funny twist when Juliette hands her courtroom and gavel over to a friend and takes on the role of lawyer instead. Juliette says she would like to make a case for getting a dog AND a cat…AND (on the final page!)…a boa constrictor.

These endings with a little extra twist are favorites for me as a reader (This Is Not My Hat by John Klassen is a great example) and as a writer. I love how this type of ending gives the reader the satisfaction of “Hooray, the conflict is resolved!” and then a bonus laugh, or an extra “Wow, I wasn’t expecting that!”

WHAT KIND OF ENDING WILL SET YOUR BOOK APART FROM THE REST?

by Ellen Leventhal

There are many different types of endings, all satisfying in their own way. I love endings with a twist, a surprise, a laugh, and even with an “aww.” Of course, your conclusion needs to stay in line with the rest of the book. You wouldn’t want a serious, quiet book to end with a big guffaw. A smile, yes, but probably not a huge laugh. Humorous books can definitely have an “aww” ending, but there needs to be a lead-up to it. It’s important to keep the character of your book throughout. When a funny book ends on an “aww” note, a fun thing to do is to have a humorous page turn that would tie it all together. It’s certainly not necessary, but it’s sometimes fun. I’m currently working on two humorous books that end with a sweet solution to the problem. However, the last page turns are both wordless spreads that tell the reader that something funny is about to happen.

I knew exactly what ending I wanted in A Flood of Kindness. It ends with an “aww” moment, but it wasn’t surprising. Readers could guess it may happen, but still, when it did, it was satisfying. (At least reviews say it is, and who am I to argue?) As an aside, illustrator Blythe Russo evoked such emotion that the reader roots for this main character from the minute they see her.

Lola Can’t Leap (by Noelle Shawa and me) has a surprise ending in the fact that the main character does NOT reach her goal, but she discovers something else. And then, Noelle made it even more surprising on the last page turn with her art.

I love circular stories where the end takes the reader back to the beginning of the story. There are so many wonderful circular stories. I recently re-read Maria Gianferrari and Bagram Ibatoulline’s Coyote Moon, which starts with Moonrise, takes us through the night, and ends with the coyote family waiting for the moon to wake them again.

Don’t Eat the Bluebonnets (written by Ellen Rothberg and me, illustrated by Joel Cook) is circular in the sense that when reading aloud, children cheer “Don’t eat the bluebonnets!” throughout the book. The last line invites them to echo it one last time.

Play around and see what will set YOUR book apart. And mostly, enjoy the process. Happy Writing!

ENDINGS THAT WRAP THINGS UP IN A NICE PACKAGE OF WORDS

by Vivian Kirkfield

Early on in my writing life, I attended a conference and heard Candace Fleming speak about picture book endings – and what she said made a huge impression on me. She told us that when a reader gets to the end of the book, they should be saying one of three things: HAHAHAHA, AHA! or AWWW.

Why, you ask? Because the emotional connection between the reader and the story is so very important. And, if the reader laughs at the end because the story was funny, or is surprised because there was a twist, or if the reader’s heart is touched, the author has succeeded.

For me, when I read the last lines of a story, I love to get a chill down my spine or a warm fuzzy feeling. For me, a ‘satisfying ending’ is an ending that tugs at my heart…it’s an ending that fulfills the promise of the opening lines of the story. Here are a couple of examples:

SWEET DREAMS, SARAH:

Opening Lines: Before the Civil War, Sarah obeyed her owner.

                          Hurry up!

                          Eyes down!

                          Don’t speak!

                          Slaves were property–like a cow, or plow, or the cotton that grew in the master’s fields.

Satisfying Ending: Sarah took a slow deep breath.

                              She slid out the papers.

                               She read out loud!

                               S.E. Goode

                                Cabinet Bed

                                No. 322,177. Patented July 14, 1885

                               Staring at her name in print, Sarah proudly traced each letter. Her idea, her invention, her name in history.

                               She had built more than a piece of furniture.

                               She had built a life far away from slavery, a life where her sweet dreams could come true.

MOON MAN: Robert Goddard and the Liquid Fuel-Propelled Rocket  (One of the stories in FROM HERE TO THERE)

Opening Lines: Sometimes Robert Goddard’s curiosity was so intense, it made things explode.

Satisfying Ending: Robert Goddard ushered in the era of space flight with the world’s first liquid fuel-propelled rocket. Today’s space program is built on the discoveries he made, and for some of us, that trip to Mars young Robert dreamed about up in the cherry tree may one day become a reality.

ALL ABOARD: George Stephenson and the Steam Locomotive (One of the stories in FROM HERE TO THERE)

Opening Lines: Click! Clunk! Hiss!                   

Deep underground, in a maze of pitch-black tunnels, young George Stephenson hefted chunks of coal.

Satisfying Ending: The railway revolution had begun, and George Stephenson had led the charge, changing the landscape not only of England, but of the entire world.

One of the best ways to learn how to write satisfying endings is to read LOTS of them. Pick out your favorite picture books and use them as mentor texts. Examine the endings and observe how you feel when you read them. And then, go bravely into the morning or the night or whenever you do your best writing and play with those words until YOUR satisfying ending emerges!

MOVING FROM TROPES TO TREMENDOUS ENDINGS

by Rob Sanders

Sometimes to understand what something is, it’s helpful to know what it isn’t. Endings we grew up hearing or that were frequently used tropes, are a good place to look for what not to do.

That’s all folks. Bug’s Bunny may have been able to get away with his famous line to end Saturday morning cartoons, but as writers it’s not that easy. A story that just ends—without an ending—one that just stops without providing resolution or emotional climax, does not actually have an ending. Story doesn’t just end. It builds to and ending.

The End. As I always told student writers, “If you have to write THE END, then you haven’t written an ending.” The ending (even in nonfiction) is the conclusion of the plot. After the exposition, inciting incident, rising action, climax, and falling action, the ending brings the reader home and helps to create a feeling of completeness or wholeness for the piece.

They lived happily ever after. Oh, that the life really always ended with happily ever after. While most picture books do end happily or hopefully, the ending is really the place the author can create a variety of emotional impacts. In his pyramid plot structure, Freytag called this the denouement. Some define denouement as the emotional climax of the story. This emotional impact may affect the reader in a variety of ways. It may bring a smile, a tear, a cheer, a spine-tingling chill, an ah-h-h-h, and more.

And that’s the way it was. Walter Cronkite ended his CBS evening news broadcasts every night by saying, “And that’s the way it was.” Writers sometimes are tempted to conclude a story by recapping everything that has gone before. In this situation, the writer tries to ensure that the reader doesn’t miss out on anything important that’s come before. While the intention is good and while the approach might work on occasion, it also discredits readers and their ability to think, remember, and participate in the story.

The moral of the story. I grew up with books that made sure I understood the lesson or moral once I’d finished reading. Today, “The moral of the story,” should be saved for folktales. Yes, many current picture books do have a lesson or theme, but a skillfully written manuscript reveals that lesson or theme and a wise writer trusts the reader to make inferences to uncover the lesson or theme. (By the way, it’s ok if readers arrive different at different conclusions. It’s the magic of storytelling—each reader or listener can their own ideas about the story).

So, how do you end a picture book manuscript? Remember these tips:

  1. Don’t rely on tropes.
  2. Build to an ending.
  3. Make sure the ending completes the plot.
  4. Create an emotional impact.
  5. Trust your readers.

Allow readers to make their own inferences and to draw their own conclusions.

MORE WISDOM ON THE WAY!

Follow my blog or keep a close eye out because we have more “writing endings” wisdom coming from Dawn Prochovnic, Marcie Flinchum Atkins, Michelle Nott, and Pippa Chorley.

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1part 2part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONEPART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1part 2part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONEPART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

Read Full Post »

kid-lit writing wisdom

For our final “Wisdom” topic of the year, I asked the Kid-Lit Writing Wisdom team for their thoughts on writing effective and satisfying picture book endings. And with all the wisdom combined, we ended up with another great free course in picture book writing (although much of our wisdom can be applied to longer works). Our thoughts and tips on this topic will be presented in three parts, so keep an eye out for more. Before, I move on to our wisdom, we have some good news and announcements to celebrate. You can find a list of links to all of our 2021 Kid-Lit Writing Wisdom posts at the end of this post.

Happy Book Birthday

Screenshot 2021-08-20 at 6.48.40 PM

Pippa Chorley’s latest picture book OUT OF THE BOX (illustrated by Danny Deeptown and published by Marshall Cavendish) will be coming into the world in mid-November. You can find some more info on KIDLIT411 here. CONGRATULATIONS!

OddBeasts_CV-1

Laura Gehl’s board book ODD BEASTS: Meet Nature’s Weirdest Animals (illustrated by Gareth Lucas, published by Abrams) was born on November 2. HAPPY BELATED BOOK BIRTHDAY!

Congratulations!

Who is a scientist

Laura Gehl’s book WHO IS A SCIENTIST? received a blue star review from Kirkus!

“Convincing evidence that readers, too, might become scientists.” – Kirkus Reviews

You can read the whole review here.

stitch by stitch

Rob Sanders’ recently released picture book STITCH BY STITCH: CLEVE JONES AND THE AIDS MEMORIAL QUILT received a blue star review from Kirkus and a starred review from Publishers Weekly! This baby is off to a good start! CONGRATULATIONS!

“Storytelling and history, beautifully stitched together.” Kirkus Reviews

Read the whole Kirkus review here.

Read the whole PW review here.

Words of Wisdom

To kick off our series on writing effective and satisfying endings, I will share an excerpt from Art of Arc that I think is an important tip.

“From the beginning and all the way through the story, the destination is the ending. Therefore, everything you write should relate to the ending. Every word, sentence, and scene should relate to the ending. And the ending should relate to the beginning.”

COMMON MISTAKES WITH ENDINGS

by Alayne Kay Christian

One thing that I often see in picture books that I edit or critique is the last lines feature a character that is not the main character. In my opinion, the main character should always be the one under the spotlight at the end of his/her story.

Another mistake that I often see is bringing a new character into the story toward the ending for no other reason than to facilitate resolving the story.

Allowing the main character to be a victim of circumstances instead of the master of his destiny or allowing the main character to be the recipient of a sheer-luck induced or happenstance resolution that comes way too easily are common issues in stories I critique.

Similar to the above, having someone else solve the main character’s problem usually diminishes and destroys your main character’s role as the hero of his story. There are stories, where the main character seeks out or asks for help. However, I prefer stories where main characters make their own choices and decisions and then take action based on those decisions. I’ve seen older or wiser character’s help guide the main character toward the direction of the final action and discovery. I’m sorry, I can’t think of any books off hand. But if you study picture books, you will find the older or wiser rescuer or guide seldom shows up, and if one does, the main character remains the star/hero of the story in the end.

Ahh, I just thought of two books that have someone help solve the problem. They are both older books, but good examples of allowing an older/wiser person to help while still keeping the main character the star.

In MADDI’S FRIGE by Lois Brandt, the mom eventually steps in to help. However, only because the main character decided to tell her mom about her problem. But in the end, the main character and her friend Maddi are the stars in the spotlight. Change in the story is a result from choices and decisions that the main character makes.

In THE LADY IN THE BOX by Ann McGovern, it can almost feel like the mom hijacks the story once the kids decide to tell the mom about their problem. However, the reason this works is the story always remains told from the main character’s point of view. And again, she is the star in the spotlight at the end of the story. Change in the story is a result from choices and decisions that the main character makes.

In both of the above examples, the story topic included a problem that was too big for a picture-book age child to handle by herself. For either character to successfully handle these tough situations would have been unrealistic.

Now, I’m going to move away from common mistakes and move on to different types of picture book endings. Many of our wise authors talk about the same topic, I’m just saying it in a different way because I think it’s valuable information.

SOME TYPES OF PICTURE BOOK ENDINGS

As some of our wise authors have stated there are at least two kinds of endings. The “Aww” ending, which is usually an emotionally touching ending, and the “Aha!” ending, which usually leads the reader to a surprise or some sort of unexpected realization. Then there is the “Wow!” ending which is when the ending is so unexpected that it changes the way you view the whole story. There is sometimes a fine line between a wow ending and an aha ending. The other ending, which is also a surprise, is the funny (Ha-ha) ending where the payoff is so huge or funny that the reader can’t stop thinking about it and wants to read it over and over. All the endings are kind of closely related because they all have elements of surprise mixed with satisfaction. And they all touch the reader on an emotional level. So, that tells me that emotion, surprise, and satisfaction are key factors in creating a strong and effective ending.

The “aha” ending feels like a surprise but it also feels inevitable—but not predictable. It’s kind of like, “I can’t believe I didn’t see that coming.” Or maybe even a “Wait. What?” When it comes to aha and wow endings, there is little better than giving our readers a moment where they suddenly see or understand the story in a new or clearer way. If our story ending causes the reader to pause and reevaluate the story, we’ve done a good job.

With the “aww” ending, the reader is satisfied and touched emotionally because after a “try and fail” arc struggle, the main character’s emotional needs are finally met. This doesn’t always come from the character getting what he wants. Sometimes, it’s from getting what he needs. With the aww ending, the reader usually has a sense of empathy with the character, and this empathy generally started earlier in the story via the emotional roller coaster ride, but then that final moment of empathy is where the reader gains a sense of satisfaction. “Oh good. All is well.” This kind of story ending leaves the reader feeling comforted with a strong sense of closure, which stems from the discomfort the character experiences earlier in the story (the emotional roller coaster ride).

As you’ll see many of our wise author’s mention offering a surprise twist at the end of a story. This will give the reader one last boost before closing the story. And the surprise twist is a great tool for setting up aww, aha, wow, or ha-ha endings.

Joyce Wan says, “When a book takes you where you didn’t expect to go, that makes the trip all the more exciting and fun. When done well, an unpredictable twist can turn a good book into a classic and is often what makes repeated re-readings a pleasure. In subsequent readings, the reader enjoys being in the know and re-reading a book when you know what’s coming can be enjoyable in its own right too.”

CIRCLE BACK PICTURE BOOK ENDINGS

by Melissa Stoller

I love writing picture book endings that circle back to the beginning of the story. The endings I craft often refer back to the opening lines, and then add something more to show that the main character has grown and changed throughout the pages of the book.

For example, in SCARLET’S MAGIC PAINTBRUSH (illustrated by Sandie Sonke)

Opening lines: One day, Scarlet found a magic paintbrush and everything changed.

Ending lines: With her own magic, she painted what she saw in her heart . . . Scarlet’s masterpiece.

Readers follow Scarlet as she learns to let go of perfection and find her own magical creativity.

In PLANTING FRIENDSHIP: PEACE, SALAAM, SHALOM (illustrated by Kate Talbot) –

Opening lines: On the first day of school, the wind rattled and leaves swirled. Molly’s knees knocked as she buttered her toast. Would the other kids like her?

Ending lines: That season, the girls planted trees of friendship. And built bridges of hope. Together. In Peace Park and beyond. Peace, Salaam, Shalom.

Readers follow three girls of different faith traditions through the seasons of a school year, as they discover friendship and celebrate their differences.

And in READY, SET, GORILLA! (illustrated by Sandy Steen Bartholomew) –

Opening lines: Gorilla liked racing his school pals. But most of all, he loved to win . . . at any cost.

Ending lines: They all lined up. They crouched down. Together, they shouted Ready, Set, GO! Off they raced . . . and everyone was a winner.

Readers follow Gorilla as he learns that having friends and playing fairly makes him a winner.

As you create your own picture books, experiment with different types of endings and see what resonates with you. Happy writing!

A SATISFYING STORY ENDING IS UNEXPECTED YET INEVITABLE

by Kirsti Call

Jane Yolen taught me that a satisfying ending is unexpected yet inevitable.  Here are three endings from books I’ve written–always with Jane’s advice in mind.

  1. MOOTILDA’S BAD MOOD‘s ending is surprising, yet makes sense. Mootilda’s bad mood has es-cowlated all day, until she chooses to think about her friends instead of herself.  The final spread shows her with the sign:  “Cow-nseling, expert in the field.”  Mootilda sits with her pen, notebook,a box of tissues, and Crow on a couch across from her.  He begins his session with, “I’m in a bad mood.”  This ending also mirrors the beginning of Mootilda’s journey when she says, “I’m in a bad mooood!”
  2. COW SAYS MEOW has a circular ending where the end hearkens back to the beginning, and encourages the reader to read the book again.

OPENING line: “Cow says… Meow.”

CLOSING line: “Cow says…Pssst. Can I meow again?”

3. COLD TURKEY ends with the opposite of the beginning. You guessed it, he starts out cold, and the last line is: “TOASTY TURKEY!”

Circular, surprise and opposite endings are only a few of the numberless ways we can create satisfying endings.  So, don’t be afraid to try out multiple endings for your story–read, re-read, write, re-write and find the solution that gives you that satisfied feeling of closure. You’ll find it’s almost always something unexpected….yet inevitable.

GIVE THE READER SOMETHING TO TAKE AWAY

by Beth Anderson

Endings and beginnings are equally difficult. And they’re intricately dependent upon each other. Endings need to circle back to the beginning in some way—as an “answer” to the story question posed, or the “bridge” that takes the story into the future. As a person who writes historical stories, the decision of where to start and stop is crucial. Just as identifying that inciting incident is essential, knowing when your emotional arc is complete is, too.

  • Endings can’t be too abrupt. Or drone on and on.
  • Endings must be clear, but not sappy or didactic.
  • They should elicit an emotional reaction, linger, resonate.
  • The take-away must be just that—something a child can carry in their mind or heart or funny-bone.

When I work on revising an ending, I copy and paste the section into another document and redo, redo, redo. Small tweaks, rephrasing, rearranging. Over and over and over until I work through to that just right piece that will bring satisfaction and go a step further to carry something forward. I like to think of the process of writing as mining—digging deep into story and also into self to find that special take or “heart” to shape, polish, and thread through. Your ending is the resulting “gem.”

I like endings that provide an invitation for a child to rethink themselves.

In An Inconvenient Alphabet, I used the “conventional you,” addressing the reader, in both beginning and end. The last page says: “Next time you sound out a word, think of Ben and Noah. Thay wud bee pleez’d beecuz that iz egzaktlee wut thay wonted!” It’s sort of “congratulations, you’re a great thinker, too”—a chance to rethink self.

Another way I think of endings is laying a thought or idea in the lap of the reader.

The end of Lizzie Demands a Seat! plants the seed for carrying social justice action forward.

Smelly” Kelly and His Super Senses ties back to the the beginning question, “What good was an extraordinary nose?” and Kelly’s desire for a “power” that would make him special. At the end he discovers that his special power is inside, then… “James Kelly gazed at the waiting passengers. He would bet each person had something special inside. He could almost smell it.” (the last sentence is also in the opening) This is an invitation for a child to think about what makes him or her special, but also a “lay it in their lap” ending.

The end ties up the story with a bow, a gift for the reader to carry forward.

At the end of Tad Lincoln’s Restless Wriggle, people around Tad finally see the goodness in the “problem” child when his relentless, pandemonium-producing wriggle benefits others. This ending is an affirmation of the capableness and goodness of children. A gift.

Endings are hard. But…a good ending makes a story sing!

MORE WISDOM ON THE WAY!

Follow my blog or keep a close eye out because we have more “writing endings” wisdom coming from Dawn Prochovnic, Marcie Flinchum Atkins, Pippa Chorley, Laura Gehl, Vivian Kirkfield, Ellen Leventhal, and Rob Sanders.

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1part 2part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONEPART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

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kid-lit writing wisdom

This month, I asked our wise authors to share thoughts on the importance of powerful first lines along with some tips for writing an outstanding beginning or outstanding first lines. I’m excited to share our many fabulous tips, examples, and mini-lessons. These tips can also be used for revising your stories’ beginnings, so you get double the treasure with these posts. Some authors have shared first lines of books in Part 1, Part 2, and now Part 3 on this topic. Study them and see if you can find some of the techniques mentioned in the two parts for this topic. Also notice if they inform you and draw you into the story–hook you. And if so, why? For those of you who are working on nonfiction picture books, Vivian Kirkfield’s first line examples and some of mine are from nonfiction picture books. However, they are good examples for works of fiction as well.

This is such an important topic that we will have three parts for this topic. This is part two, and just in case you missed it, you can read part one here and part two here.

WE HAVE A BONUS!

writing for children webinars and courses

I will give away free access to my webinar HOW TO WRITE POWERFUL FIRST PAGES LIKE A PRO to one lucky winner. To enter for a chance to win, please comment on one of the three posts about writing outstanding beginnings and share the link on Twitter or FB. Please tag me when you share the link, so I can make sure I get your name in the drawing. Now for some great words of wisdom.

Words of Wisdom

HOW TO CUT AN ORIGINAL 304-WORD BEGINNING TO 76 WORDS

by Michelle Nott

Often when we sit down to write a new story, our beginnings are like Fred Flintstone’s feet scurrying fast underneath his car before it really gets going. But what the reader needs is not all the revving up, but the final kick that sets your story in motion.

As you begin to write, let your mind spin, write everything down. Then, once your manuscript is complete (not necessarily done, however), go back to the first words, paragraphs, pages, and see where your story really gets going. It may sound painful but go ahead and delete whatever doesn’t really jump-start your story.

What should be left is:

A hook – a detail about the setting, an interesting fact about your character, a catchy phrase, anything that will literally grab your reader’s interest and make them to want to read more.

An inciting incident – the hook will lose its grip on your reader if something doesn’t happen to your character. This moment should motivate your reader to want to see how events play out.

Here is an example from my upcoming picture book, TEDDY LET’S GO!

The absolute very first draft went like this… (and you don’t have to read it all to see it was entirely too long!)

“Many, many winters ago, a little girl was born. Her grandmother sat by her hospital window. She looked at the tiny hairs on the baby’s head and started to thread a needle. She touched the baby’s cheek and cut some shapes out of cotton fabric. She giggled seeing the little baby’s tongue slipping through her tiny lips and snipped a piece of red felt. The baby’s eyes were often shut, so Grandma picked some wide-open eyes from her craft box. She sat for hours threading, stitching, cutting. With every paw sewed, she smiled. With every arm attached, she laughed.

Then, with the strength of stiff fingers, she stuffed me with all the love she had. Up into my ears. Around my belly. Down to my toes. The opening was just under my bum. She patched it with a label.

‘Specially hand-made by Grandma’.

What a relief to be done! We left the hospital. Grandma gave me a final squeeze and packaged me up for Christmas. I peered out of a corner of the wrapping paper. The sun came and went several times. Lots of people came to visit and stood around a big tree with bright lights and colors. I could see Grandma’s mouth wide-open laughing. I could see a baby’s mouth wide-open crying. A bigger girl sat under the stockings. Her mouth was closed. She was combing her doll’s hair. Who will unwrap me? Grandma’s voice came closer, then I felt like I was flying. From my view, the baby was no bigger than I was. A lady whispered to her, “Look at this. It’s your first Christmas present. Let Mommy open it for you.”

That’s how it started…and how the crying ended. I lay down next to the baby. She rubbed her nose against my cheek. We were made for each other.”

A much later draft that caught the attention and interest of my agent and editor went like this… (a much tighter version of 76 words from the original 304!)

“The wavy-haired woman with love in her eyes pulled me close and whispered in my ear. Then she wrapped me up. And I floated.

The smell of pine drifted through my paper. I drifted from one pair of hands to another.

My head spun. My tummy clogged up with cotton. I pushed through the packaging.

“Teddy,” she said, “for you.”

[ILLO: A patch on the bear reads, “Specially hand-made by Grandma.”]

A nose as small as mine rubbed against my cheek. We were made for each other.”

By cutting out all the “revving up,” the story is more interesting, and the reader gets hooked much quicker. But all that preliminary spinning is often necessary for you, as the writer, to understand your characters and to be able to write the best version of their story. So, write as much as you need when you start, all the while knowing that you will go back and tighten in a way that serves your story best.

As for the final version of Teddy Let’s Go, it is slightly improved yet again. And that, you’ll be able to read as soon as it releases in 2022.

HOW TO USE MENTOR TEXTS TO GUIDE YOU WHILE WRITING BEGINNINGS AND ENDINGS

by Marcie Flinchum Atkins

I usually study beginnings before I write a beginning. This is where I turn to mentor texts. When I’m studying comp titles for a particular book I’m working on, I often keep a spreadsheet of things I want to keep track of. For more of how I keep track of mentor texts on spreadsheets, you can read my post here.

When I look at beginnings, I look at how the author bookended the first and last lines. When they are right next to each other on a spreadsheet, it’s easy to see how they fit together or diverge. I also notice what the author included on that first page. What are the things they wanted the reader to know right away? What did they leave out? Then I look at how they fashioned the beginning lines. What is the construct of those lines?

Then I look at my own work. I might try on first lines in various styles. I try out various starting points for the story. I sometimes even set a timer and write as many first lines as I can. Are there any gems? Are there ways I can combine? I realize it might take me lots of tries to get my first lines just right.

BEGINNINGS ARE A HUGE CHALLENGE, BUT WHEN YOU FINALLY GET THERE, THE STORY IS TRANSFORMED

by Beth Anderson

Thanks for this great topic – beginnings are such a challenge! Here are my thoughts….

Beginnings are difficult, require LOTS of work, and can make or break a story for an editor and readers. They have to be strong—they have a lot of heavy lifting to do. Pressure! I have to push myself to just dive in and know that I’ll be working on that beginning later – after I know the arc, the heart thread I want to resonate, and where I end up. Beginnings and endings are integrally related. Here are my essential elements for beginnings with the kind of stories I tell (narrative NF and historical fiction) and some examples from my books.

> The hook: kid friendly invitation to readers that sets up the story question to be answered at the end, often it sparks an emotional response in the reader. Readers are pulled in by that question and read to find out the answer. In “Smelly” Kelly and His Super Senses we get the superhero kid hook and, literally, a question. The opening of An Inconvenient Alphabet addresses the reader and offers the promise of something puzzling—a battle with the alphabet.

> The essentials: What do you need to know about the character and setting? (nothing extra!) The main character and their goal/want/need should be up front. The setting can be implied by illustrations with specifics added later—we don’t need to start with dates and places, but we need a sense of time and place. While you want to ground the reader, you don’t want anything that’s not essential to bog it down. Fill in needed back story and context as needed later, interwoven with action. Examples: I open with Tad Lincoln’s wriggle from birth, clearly involuntary; Prudence Wright’s (2/1/22) spark of independence; a bit about Ben Franklin and Noah Webster (but without names) and the American Revolution as rejecting the rule of England to set up the context and conflict.

> “Plant” seeds: What items or ideas will you need to support for later? What idea do you want to resonate at the end? I had to set up “Smelly” Kelly smelling water and recognizing the odor of elephants, and also the heroism “heart” of the story. On the first spread, Prudence Wright is visually connected with the antagonist that comes later. Sometimes the illustration on the title page or an epigraph (quote) with an illustration, as in the case of Tad Lincoln’s story, strengthen the opening by providing essential information and/or a few seeds.

> Action ASAP: What’s your inciting incident? How can you get to the action, the problem, the emotional response immediately? Often when sharing manuscripts, a critique partner will point to the spot where we first see characters in motion and conflict, and say, “This is where your story really starts.” There’s nothing better than beginning with action. That’s what pulls a young reader in, though that’s often a challenge. It’s harder to get the essentials, the seeds, and the hook embedded immediately in the action. But…I think it’s the most powerful. In Lizzie Demands a Seat!, the first spread has Lizzie in motion, heels clicking, in a hurry, purposeful. Also streetcar, horses, NYC, the pieces of setting we need right away. We get the heat, the stress of being late, and BOOM inciting incident. The shocking unfairness of what happened is obvious – kids recognize unfairness. Then after that emotional hit, we get more context to fully understand society of the time—incentive to keep reading.

Beginnings are a HUGE challenge, but when you finally get there, the story is transformed. The test is to see if you can keep crafting it until you’re there. I think it takes a lot of practice, ongoing learning, to learn how to embed all this information in a short, powerful opening. How can you embed key points without devoting a sentence to each of those pieces? How can you interweave the essentials within the action? The best way to learn about beginnings is to analyze those you consider effective. Good luck!

Read Full Post »

kid-lit writing wisdom

This month, I asked our wise authors to share thoughts on the importance of powerful first lines along with some tips for writing an outstanding beginning or outstanding first lines. I’m excited to share our many fabulous tips, examples, and mini-lessons. These tips can also be used for revising your stories’ beginnings, so you get double the treasure with these posts. Some authors have shared first lines of books in both Part 1 and Part 2. Study them and see if you can find some of the techniques mentioned in the two parts for this topic. Also notice if they inform you and draw you into the story–hook you. And if so, why? For those of you who are working on nonfiction picture books, Vivian Kirkfield’s first line examples and some of mine are from nonfiction picture books. However, they are good examples for works of fiction as well.

This is such an important topic that we will have three parts for this topic. This is part two, and you can read part one here.

WE HAVE A BONUS!

writing for children webinars and courses

I will give away free access to my webinar HOW TO WRITE POWERFUL FIRST PAGES LIKE A PRO to one lucky winner. To enter for a chance to win, please comment on one of the three posts about writing outstanding beginnings and share the link on Twitter or FB. Please tag me when you share the link, so I can make sure I get your name in the drawing. Now for some great words of wisdom.

Words of Wisdom

WELCOME READERS BY GIVING A PEEK INTO THE STORY WITH GREAT FIRST PAGES

by Ellen Leventhal

I love the topic of tips for writing outstanding beginnings. For me, this ties into last month’s topic about why it’s important for kid lit writers to read a lot of books in their genre. I read picture books with a different eye each time I pick them up, and recently I have been focused on beginnings and endings because they are both so important.

The first few lines matter for several reasons.

Beginnings of books invite the reader in. It’s the place to welcome your readers, so you want to make it welcoming and give a hint of what’s to come.

As picture book writers, we don’t have “the real estate” to give a lot of background. We have a lot to say in only 32 pages! (actually more like 28 pages). We need to give the readers a peek into the book. Is it humorous? Serious? Light hearted? In a picture book with a traditional arc, we need to introduce the character, what that character wants, and what is standing in the way right off the bat.

But we also can’t just jump in to something that doesn’t make sense to the reader so there needs to be some background in the first few lines. We walk a very thin line!

Remember, all of that information doesn’t all have to be in the first line, but it definitely needs to be close to the beginning. And the lines need to be crafted to make the reader want to read on. I recently re-read Jacqueline Woodson’s EACH KINDNESS. Her fist page just tells us it’s snowy…hmm. However, the description of the snow was just a few words, but they kept me engaged and hinted at something that drew me into the story. (HOW you say things matter) By the second page, we know what the story is about. One more page turn, and we know what the conflict is. BOOM! So was ALL this info in the first two or three lines? No, but pretty close, and it worked! Each page beckoned me to turn the page, and there were not a lot of words on each page.

Even concept books should set up the tone and theme from the very beginning. Parents picking up a book for their little ones, have many options. They want something to grab them. Think about CHICKA CHICKA BOOM BOOM by Bill Martin Jr., John Archambault, and Lois Ehlert. The first time I read “A told B and B told C I’ll meet you at the top of the coconut tree,” I was hooked! I knew what it was about, I loved how unique it was, and it stood out from other alphabet books.

So how do writers do all this? It’s hard! I look up to many writer friends who are experts at awesome first lines.

For me, getting those first lines just right (and are they ever just right?) often takes loads of revision. I write my story first, knowing it’s going to go through multiple revisions before I’m even close to being happy with the beginning. I “wordsmith” the beginning as I go along, checking to make sure that the beginning, middle, and end still make sense together. I actually have a list of great first lines I’ve thought of. Of course, a list of first lines doesn’t make a story, but maybe someday they’ll appear in one. You never know!

Here are a few of my first lines that did make it into print.

A FLOOD OF KINDNESS:
The night the river jumped its banks, everything changed.

LOLA CAN’T LEAP:
Lola came from a long line of leapers. She wanted to leap too, but… (second page sets up the conflict)

DON’T EAT THE BLUEBONNETS (Co-written with Ellen Rothberg)
Sue Ellen had a mind of her own. When the other cows mooed, Sue Ellen Whistled. When the other cows strolled, Sue Ellen danced. And when Max put a sign in the South Pasture, Sue Ellen stomped her foot. (First two pages…the words on the sign sets up the conflict)

Happy reading and writing, everyone!

QUOTABLE QUOTES ON BEGINNINGS: ADVICE FROM SOME OF THE GREATS OF WRITING (plus a little extra from me)

By Rob Sanders

To inspire myself when writing and revising, I often look to advice from some of the greats of writing. After all, I’m not the first person who has walked down the road of writing a story. And I’m certainly not the first who has tried to determine the best way to begin a story in hopes of capturing the attention of my audience. That struggle began millions of years ago when our ancestors orally shared tales around roaring fires.

Some seem to think that beginnings (and maybe writing in general) are easy. Lewis Carrol must have known a few folks like that when he said:

“Begin at the beginning and go on till you come to the end: then stop.” -Lewis Carroll

Carroll knew the process of writing was more complex than that, right? We have to remember the complexity of our craft, too. So, let’s back up and begin at the beginning. What is a beginning?

“The beginning is the promise of the end.” -Henry Ward Beecher

The beginning does not exist in isolation. It must be linked to what comes after it—the middle—and the beginning and the middle must lead to a satisfying conclusion. But be warned. You won’t nail the beginning in the beginning.

“Almost all good writing begins with terrible first efforts. You need to start somewhere.” -Anne Lamott

If Anne Lamott says it’s okay for my first efforts to be less-than stellar, that’s good enough for me. But I’m still left wondering what a beginning needs to accomplish. A beginning often (or nearly always) begins with the character, the character’s desire, the character’s problem, or the character’s situation.

“First find out what your hero wants, then just follow him!” -Ray Bradbury

To write about a character we have to know as much as possible about that character. We need to know what motivates the character, what makes them who they are. We need to know the story behind the story.

“Everything must have a beginning . . . and that beginning must be linked to something that went before.” -Mary Shelley

But be cautious—it seems that the biggest problem with beginnings is that they often get lost in back story. While back story is essential to the writer it is usually nonessential to the reader. Find the back story, then edit out as much as possible. Speaking of editing and revision, the beginning will change and grow and develop as the story does.

“By the time I’m nearing the end of a story, the first part will have been reread and altered and corrected at least one hundred and fifty times.” -Roald Dahl

Often it is only after you’ve finished a story (is a story ever finished?) that the beginning becomes clear.

“I write the beginning last.” -Richard Peck

Here’s the thing—we writers often overthink things. Maybe it’s because we spend a lot of time with in our own heads or because we spend so much time in front of a monitor or because we work again and again and again to find the just-right word. Sometimes, we can think so much that we don’t write. So, the best advice for beginnings might come from a race car driver.

“To finish first, you must first finish.” -Rick Mears

Or we could revise that a bit to say, “To finish, you must first begin.” Better yet, we might let a motivational speaker inspire us and our beginnings.

“You don’t have to be great to start, but you have to start to be great.” -Zig Ziglar

You have greatness inside you. You have stories inside you. You have beginnings inside you. Now, go on—begin!

OPENING LINES ARE HOW AN AUTHOR MAKES A STRONG FIRST IMPRESSION ON THE READER

by Vivian Kirkfield

I was always taught that first impressions are really important. You wear a new outfit on the first day of school. You give a firm handshake at a job interview. And in a manuscript, the opening lines are how the author makes a strong first impression on the reader. Opening lines are a doorway into the story – they give the reader a taste of what’s to come and they often set up the promise that will be fulfilled with the satisfying ending. I’m a big fan of concrete examples and so I’ll share a few of my favorite opening lines from some of my own stories – and also the closing lines that mirror them:

The Boys Who Dreamed of Flying: Opening Line: “At a time when most of the world believed human flight was impossible, one boy thought differently.”

Closing Line: “And it all started with Joseph and Etienne Montgolfier, two brothers, as different as could be, who worked together to take the first step in that starry direction.”

Black Forest or Bust: Opening Line: “Something had to be done. And Bertha Benz was tired of waiting for her husband to do it.”

Closing Line: “And in July of 2016, exactly 125 years after a determined young woman tiptoed past her sleeping husband to take her children on a visit to their grandmother’s house, Bertha Benz was inducted into the Automotive Hall of Fame in Dearborn, Michigan, in recognition of her invaluable contribution to the development and design of the modern automobile.”

Raye Draws Her Own Lines: Opening Line: “When Raye Montague was seven years old, she knew exactly what she wanted to be when she grew up.”

Closing Line: “The tour director had been right all those long years ago. Raye didn’t need to worry about becoming an engineer…she just went out and did it!”

Making Their Voices Heard: Opening Line: “Ella and Marilyn. On the outside, you couldn’t find two girls who looked more different. But on the inside, they were alike–full of hopes and dreams, and plans of what might be.”

Closing Line: “On the outside, these two stars couldn’t have looked more different. But on the inside, they both understood that sometimes even stars need a little help to shine.”

One of my favorite ways to get opening line inspiration for a new nonfiction picture book bio is to read some of my favorites…classics or current ones. I study how those authors crafted their opening lines. Then I go to my research and look for something that jumps out at me. It’s not a scientific way of doing it…but somehow, it works.

A MINI-LESSON IN WRITING GREAT BEGINNINGS

by Rosie Pova

For me a great beginning should not only accomplish several important things all at once, but also do so smoothly and organically.

1. Introduce the main character so the reader knows immediately who to root for

Whenever I critique manuscripts, I often see stories that open with a secondary character speaking or “entering” the scene first, and that causes confusion. If I, as the reader, get on board and ready to see the world through the eyes of the first character I encounter only to find that that was not the star of the story, that creates disconnect as my focus was misplaced.

2. Give a sense of the character’s personality

This is where the reader forms a first impression about the main character and they must engage the audience with something interesting, unique, fresh, intriguing etc. about themselves.

3. Establish the premise.

This is very important — it’s the “promise” the story makes to the reader and it’s also what we would come back to to measure up against and see whether that promise has been fulfilled by the resolution.

4. Establish the tone.

There should be no confusion about that.

5. Evoke a strong desire to keep reading and find out more.

Say too much, and you might lose the reader. Say too little, and you might confuse the reader. Make it just right!

So, if your beginning hits all the marks above, you’re golden!

A FEW MORE FIRST LINES FROM MY BOOKS

by Alayne Kay Christian

AN OLD MAN AND HIS PENGUIN: How Dindim Made João Pereira de Souza an Honorary Penguin, illustrated by Milanka Reardon

“On an island off the coast of Brazil, a black blob bobbed on the beach. The tarry figure shimmered and squirmed in flowing sea foam. It squeaked. Joao squinted and moved closer.

Slippery.

            Heavy.

                        Soaked with oil.

The penguin squiggled and wiggled. It could not stand.”

These first lines let you know who, what, and where.

Where: The story occurs on an island off the coast of the Brazil.

Who: João and a dying penguin (you learn the penguin’s name on the next page)

What: João discovers a dying penguin.

It also sets the tone or demonstrates the voice. It creates questions that make the reader want to turn the page. What will João do next? What will happen to the poor little penguin? The next pages connect the reader emotionally to both João and the penguin.  

THE WEED THAT WOKE CHRSITMAS: The Mostly True Tale of the Toledo Christmas Weed, illustrated by Polina Gortman

“When Weed was a seed, it tumbled on a breeze and snuggled in a crack, smack-dab in the middle of a busy traffic island.

Spring rains showered, and Weed sprouted.

Summer sun warmed. Weed grew.

Cars zoomed. People zipped and scurried—always in a hurry.

But no one noticed Weed.”

We know this story is about a weed that wants to be noticed. We can tell the story is set in a big city. And we get a sense of the voice/tone. We are left wondering what will happen to weed. We build a slight emotional connection (especially anyone who can relate to longing to be “seen” in a big world too busy and unaware to see). In this book, the illustrations help tell the story and raise more interest when the reader sees that weed isn’t the only one going unnoticed. What about the homeless man and his dog who are seeking kindness?

BUTTERFLY KISSES FOR GRANDMA AND GRANDPA, illustrated by Joni Stingfield

“Emily loved staying at Grandma and Grandpa’s house. They let her eat sweets, stay up late, and jump on the bed. She could skip her bath, make lots of noise, and run in the house.

Grandma and Grandpa played with her, read her stories, and let her help in the garden.

Emily loved her time with Grandma and Grandpa except for one thing. . . .”

With these first lines the ellipsis is used as discussed in Part 1 on writing outstanding beginnings. This leaves the reader wondering what that “one thing” is, and it compels the reader to turn the page and keep reading–it pulls the reader forward into the story. 

SIENNA, THE COWGIRL FAIRY: COWBOY TROUBLE, illustrated by Blake Marsee

“I was happier than a snake sunning on a woodpile when Aunt Rose asked me to be in her elegant wedding. I was sadder than a rodeo clown on a rainy day when I learned flower girls wear dresses and fancy shoes.”

This is the first paragraph of a chapter book. This book is book 2 in the Sienna, the Cowgirl Fairy series. So, there is a prologue written in the form of a letter from Sienna. Therefore, the reader has a sense of who, what, where and tone before they read this first paragraph. This first paragraph, informs the reader that this is a story about a girl who has a problem. Her Aunt Rose wants her to be in her elegant wedding, but that means wearing a dress and fancy shoes!

The last page in the chapter reveals Sienna’s fears. “I’d look mighty silly in a dress. I’d trip over my own feet in them fancy shoes. And I ain’t much good at manners neither.” We learn she is struggling with those fears but also the fear of of hurting Aunt Rose’s feelings and making her sad if she refuses to be a flower girl.

So, by the end of the chapter, the readers have been informed enough to pull them forward into the story.

MORE TO COME!

Next week Beth Anderson, Marcie Flinchum Atkins, and Michelle Nott will share their wisdom, tips, and even some worksheets for writing outstanding first lines. 

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kid-lit writing wisdom

The Kid-Lit Writing Wisdom team is gradually working our way into topics such as submission and marketing. But we feel it’s important to talk about the craft of writing along with the writer’s life first, which will also include the topic of critiques and critique groups. So, it seems the best place to start is the beginning. When I was acquisitions editor for Blue Whale Press, if the first lines of a manuscript didn’t capture me, the story usually didn’t engage me. I always say, if the first lines don’t hook the agent or editor you’ve submitted to, what will make them think they will capture readers?

This month, I asked our wise authors to share thoughts on the importance of powerful first lines along with some tips for writing an outstanding beginning or outstanding first lines. I’m excited to share our many fabulous tips and examples. These tips can also be used for revising your stories’ beginnings, so you get double the treasure with these posts. This is such an important topic that we will have three parts for this topic. You’ll notice that some of our wise authors talk about the ending of the story as much as the beginning. There is good reason for this. In my picture book writing course Art of Arc, I interrupt the lessons on writing beginnings to talk about endings. Following are a few excerpts from Art of Arc to explain why it’s smart to think about endings when writing your beginning. You’ll also find more on the subject of endings in some of the wise-authors’ answers in this post and the two to come.

Excerpts from Art of Arc

“You might think that endings would be the final lesson presented in a course on writing and analyzing picture books, but another common problem that I have found in writing critiques is there is often a disconnect between the beginning of the story and the end. The ending has so much to do with the beginning and the rest of the story that it is important to start thinking about it at the beginning.”

“. . . From the beginning and all the way through the story, the destination is the ending. Therefore, every word, sentence, and scene should relate to the ending. And the ending should relate to the beginning.”

WE HAVE A BONUS!

writing for children webinars and courses
I will give away free access to my webinar HOW TO WRITE POWERFUL FIRST PAGES LIKE A PRO to one lucky winner. To enter for a chance to win, please comment on one of the three posts about writing outstanding beginnings and share the link on Twitter or FB. Please tag me when you share the link, so I can make sure I get your name in the drawing.

Happy Book Birthday

Listen_coverMost of the people in this group are from my groups for 2021 picture book releases: 2021 Word Birds and Twenty One-derful Picture Books. Before I move on, I’d like to congratulate one of our Twenty One-derful group members Gabi Snyder. Her picture book LISTEN, illustrated by Stephanie Graegin, will be coming into the world on July 13. Happy Early Birthday baby LISTEN!

Peach and Cream Photo Spring Quote Twitter Post

Also, friends have made me aware that I failed to let the world know about my latest Sienna, the Cowgirl Fairy Book: COWBOY TROUBLE. So, I thought this would be a good time to let everyone know it is there and would make an excellent summer reading book. You and your children can read the first three chapters on You Tube (see below). The “cowboy trouble” begins in chapter three. I also share the book trailer for anyone who is interested.

Words of Wisdom

Since, as usual, my answer is the most wordy, I will lead with it.

THE FIRST LINES OF A BOOK ARE THE DOOR TO YOUR STORY. THE WORDS INVITE THE READER TO STEP OVER THE THRESHOLD AND ENTER THE STORY WORLD.

by Alayne Kay Christian

I decided to take the easy way out and pull some excerpts from my picture book writing course Art of Arc. Unfortunately, it ended up being a hard way to go because I struggled to choose just a few words to share from the course. I thought it might be fun to introduce some of the reasons a strong beginning is so important. So here goes. . . .

Have you ever seen carnival barkers in old movies? “Step right up!” they shout to people passing by. They describe attractions. They emphasize variety; advertise novelty, oddity, beauty, challenge, and fun. Their barks are intended to create curiosity, generate excitement, and entice listeners to buy tickets to entertainment. Sometimes, they conduct short shows for free, where they introduce performers and describe acts. Their promises of entertainment are all intended to entice and incite the passersby to come on in!

In the old days, or in old movies, a newspaper boy shouted things like, “Extra! Extra! Read all about it! Bonnie and Clyde shot dead!” The purpose of this? All to create excitement and curiosity that would entice people to buy an extra edition of the newspaper.

Without the red carpet and fanfare on Oscar night, would the event be nearly as exciting, inviting, or enticing?

In the movie, The Wizard of Oz, would the beginning have been nearly as engaging without the yellow brick road, the fantastic send-off song, and Dorothy’s cheerful dance down the road? Not to mention, the switch from black and white images to color. What if Dorothy had just said, “Okay—I’ll go find the wizard.” and then shuffled along aimlessly in silence through a black and white setting, sans the road? Would we have been as eager to follow her into the story?

The barkers, the newsboys, the red carpet, and the yellow brick road all pave the way for an event, an experience, a journey, an adventure, or whatever it might be, to unfold. The first lines in our books pave the way for our idea/story/plot and our protagonist’s and readers’ journey to unfold. The whole objective of first lines is to capture readers’ attention and make them want more. We want to entice and incite them to come on in, buy into the experience, and commit to taking the journey with our protagonist. This is often referred to as the hook.

A good hook creates questions and curiosity. It makes a promise that says, “This is what the story is about.” It also sets expectations and maybe even evokes emotions. Wow! That’s a lot to accomplish in a picture book page or two. This is true, but writers do it all the time, proving that it can be done. . . .

. . . In picture books, we often incite the reader’s interest with words such as the following, “but,” “until,” “one day,” and we use the three little dots . . . called the ellipsis. Interestingly enough, these words and punctuation that incite the reader to turn the page usually lead to the inciting incident—the event that energizes the story’s progression. This event moves your protagonist into the action of the story. It also pulls him out of his ordinary world into a new world where change can occur—the door to our story.

Why are these words (“but,” “one day,” “until” and so on) or the ellipsis used so frequently? They work to keep the reader reading. How? They create a pause or a moment of silence that gives the reader an opportunity to think, imagine, guess, ask questions, and experience emotions. It makes them stop and pay closer attention. Using these techniques hint at what’s to come, which in turn creates curiosity. Sometimes they are the arrow that points to the heart of the story. Using these techniques are great ways to hook a reader. They all suggest there is something coming, and they create anticipation. It could lead to an answer, reveal a secret, hint at danger, present the unexpected, and so on. All of the above hook the reader. When the reader is hooked, she is pulled into the story far enough that she wants to read more.

I’d love to share more, but we have many great words of wisdom waiting for you, so let’s move on.

HOW DO WE KEEP OUR READERS INTRIGUED AND WANTING MORE?

by Kirsti Call

Richard Peck said: “You’re only as good as your opening line.” How do we keep our readers intrigued and wanting more?

Ask a question. Asking a question gets readers thinking. Not a Box immediately asks: “Why are you sitting in a box?” We want to turn the page to find out the answer. The Day the Babies Crawled Away questions: “Remember the day the babies crawled away?” This piques our interest. We want to know what happened on that fateful day. Did the babies survive? Where did they go?

Take People by Surprise. Mustache Baby declares: “When Baby Billy was born, his family noticed something odd: He had a mustache.” A baby with a mustache? We have to read on. Leonardo the Terrible Monster tells us: “Leonardo was a terrible monster…he couldn’t scare anyone.” A monster who isn’t scary? I can’t wait to turn the page.

Use word play. Being Frank starts with: “Frank was always frank” and Bridget’s Beret is similar: “Bridget was drawn to drawing.” There’s nothing better than the clever use of words to get people wanting more.

Using questions, surprise, wonder, opinion and word play makes the first sentences of our stories irresistible.

FIRST LINES THAT ECHO THROUGHOUT THE STORY—AN EFFECTIVE TECHNIQUE

by Laura Gehl

One of my favorite techniques when I am writing is to use a first line that will be echoed throughout the book.

For example, the first line of Juniper Kai: Super Spy reads, “Juniper Kai was born to be a spy.” This line comes back in the middle, when Juniper is feeling left out: “It didn’t matter if she had nobody to play with. Because Juniper Kai was born to be a spy. And spies work alone.” Then the line comes back a third time at the end: “Juniper Kai was born to be a spy. And spies work alone. Sometimes. But sometimes a spy needs a good co-agent. And Juniper Kai knew she was born to be…a spy-tacular big sister.”

Another example is in I Got a Chicken For My Birthday. Like the title, the first line reads, “I got a chicken for my birthday.” This line is repeated throughout the book: ”I got a chicken for my birthday. And the chicken has a list.” “I got a chicken for my birthday. And now the chicken stole my dog.” The line then comes back at the end. “I got a chicken for my birthday. And it was the Best. Present. Ever.”

The reason I like this technique so much is that you can see your character growing and changing by the way that repeated line is used at the end compared with at the beginning. In Juniper Kai: Super Spy, Juniper goes from being a lonely only child to wondering what secret her parents are hiding, to being an eager big sister. In I Got a Chicken For My Birthday, Ana goes from feeling perplexed (and a bit annoyed) by the strange birthday gift from her grandmother, to even more perplexed (and more annoyed) as the chicken begins recruiting her pets to build something huge in the backyard, to feeling absolutely thrilled (and realizing that her grandmother knew exactly what she was doing all along).

I also love this technique when I see it in other people’s writing! Any book that starts and ends with a similar line tends to leave me smiling and satisfied!

FIRST LINES PROVIDE A PEEK INTO THE WORLD OF THE STORY

by Melissa Stoller

First lines in a picture book set the tone and the mood for the story. Like an invitation that might provide an initial glimpse into the theme of a party, a first line can provide a peek into the world of a story. When I draft the first few lines, I try to give the reader an idea of what will come next, what the character might want, and a little bit about the setting, if possible. Of course, I write, rewrite, revise, and tweak as the story evolves. The first line that I start with is usually not the first line that is printed. Also, when I finish writing the story, I go back to ensure that the ending works with the beginning. I love to have first and last lines that complement each other, that show growth of the main character, and that leave the reader with that special something that makes them want to read the story over and over.

Here are examples of first and last lines from two of my picture books:

SCARLET’S MAGIC PAINTBRUSH

First line: One day, Scarlet found a magic paintbrush and everything changed.

Last line: With her own magic, she painted what she saw in her heart, Scarlet’s masterpiece.

Throughout the story, Scarlet realizes that she wants to rely on her own magical creativity instead of the magic of the paintbrush.

READY, SET, GORILLA!

First lines: Gorilla liked racing his school pals. But most of all, he loved to win . . . at any cost.

Last lines: The friends all lined up. They crouched down. Together, they shouted . . . Ready, Set, GO! Off they raced . . . and everyone was a winner.

Over the course of the story, Gorilla realizes that playing fair, good sportsmanship, and being a good friend make him a winner.

Happy writing and editing as you draft the best first lines for your stories!

FIRST LINES IN EARLY DRAFTS ARE OFTEN A TYPE OF WARM UP WRITING UNTIL YOU FIND THE PERFECT WORDS

by Dawn Babb Prochovnic

The beginning of a story is still very much a draft until I write and then polish the ending. Eventually, I return to the beginning and rework it until I’m satisfied that it aligns with (and is worthy of) the ending I have carefully crafted. Sometimes I discover that the “beginning” is actually several sentences into the story I have written, which means I have to cut some (often many) of my beloved words. To make this process easier on myself, I usually create a document called “darlings I had to cut” that I can copy and paste these tender words into, so I can bare to part with them in the working draft of my story. I rarely, if ever, go back and retrieve these “darlings,” but saving them “just in case,” allows me the creative freedom to vigorously revise, so the story can start right where it needs to, and without all of the unnecessary “throat clearing” that often shows up at the beginning of my earlier drafts.

I will also mention that Richard Peck offered his wisdom on this topic (as it relates to writing novels, but widely applicable), in this 2006 article for The Horn Book: In the Beginning: What Makes a Good Beginning? 

MORE TO COME!

There will be two more posts (July 10 and July 17) on this topic with lots of great information coming from the following wise authors: Vivian Kirkfield, Beth Anderson, Marcie Flinchum Atkins, Pippa Chorley, Ellen Leventhal, Michelle Nott, Rosie Pova, and Rob Sanders. 

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kid-lit writing wisdom

For this round of Kid-Lit Writing Wisdom Q & A, I asked the team why it’s important for writers to read children’s books and how one might get the most out of reading them.

I thought it would be good to start this post with the definition of mentor texts. The Iowa Reading Research Center defines mentor texts as “. . . written pieces that serve as an example of good writing for student writers. The texts are read for the purpose of studying the author’s craft, or the way the author uses words and structures the writing. The goal is to provide students a model they could emulate in crafting their own piece.”

Because I once again have the wordiest answer, I will start with my answer to the question. However, before I get started, I’d like to wish a couple of Laura Gehl’s newly released board books, SOCCER BABY and BASEBALL BABY, a belated HAPPY BIRTHDAY! And I’m excited to share that my book THE WEED THAT WOKE CHRISTMAS has won another literary award! Congratulations to illustrator Polina Gortman and me, of course : – )

Happy Book BirthdayBaseball soccer baby

Congratulations!

AWARD WINNER FOR HOLIDAY BOOKS TWITTER

Words of Wisdom

IN THE END, YOU’LL END UP BEING A DIFFERENT WRITER THAN YOU WERE BEFORE YOU STARTED DIGGING DEEPER

by Alayne Kay Christian

When I first started studying the art of children’s writing, veteran authors advised repeatedly, “read, read, read.” And so I read. I would bring home 50 picture books from the library (usually biweekly) loaded in my bag with wheels. What I didn’t understand, until I had read hundreds of picture books, was reading them wasn’t enough. What I really needed to do was analyze them. But how could I analyze them, if I didn’t know what I was looking for? So, my next step was to take writing courses specific to picture book writing. In those courses, I got a sense of story arc (narrative arcs and character arcs). When I started doing professional critiques, the “sense” of arc that I had learned from courses gave me enough instinct to know when something was off with the plot of the picture book I was critiquing. But I didn’t always know how to explain the problems to the author of the manuscript. So, I worked to find the answers and explain the issues. I continued to work to understand arc and plot deeper. I read craft books, I did searches on the Internet when something wasn’t clear to me, I took more courses, and I continued reading picture books. That’s when I discovered that the only way I was really going to learn what I wanted to know was to dissect the stories I read. And that’s exactly what I did. In the process of trying to help others, I helped myself as an author. I came to understand fully what makes a powerful beginning, what makes an engaging or compelling middle, and what makes a satisfying ending. I learned the importance of knowing your character’s motivation, want, and need. I discovered the power of solid cause and effect and growing tension. I love seeing how authors leave room for illustrators and how they both tell part of the story. I discovered the importance of pacing and so much more. Once, I understood how to build stories, and I had helped a hundred or so writers understand the same via my critiques, I wrote my picture book writing course, Art of Arc: How to Write and Analyze Picture Books and Manuscripts. Does the fact that I’m a retired acquisitions editor and I offer professional critiques, a bit of mentoring, and a writing course mean that I no longer need mentor texts? Absolutely not. There is still much more to picture book writing besides the plot. Today, I analyze picture books for word choice, voice, and execution of the idea or theme (usually looking for why it stands out). I pay attention to unique characters and character building. I study the huge variety of storytelling structures. I read humor and dream of one day writing something funny. I read heart-tuggers that connect me emotionally to the character and story (That’s the kind of story I tend to write.) I look for “why” I enjoy a book or “why” I sometimes wonder how a book ever ended up published (meaning I didn’t enjoy it). I’m always looking for something, and I’m always learning. I love studying books for language—especially lyrical stories—love them! I could go on forever about the treasures found when you start looking deeply into a story instead of just reading it. But I won’t.

Analyzing or dissecting mentor texts will stretch you as a writer. You’ll be more willing to take risks and try new things. You’ll start wondering things like, what if I used that format instead? What if I tried that cool or clever strategy? The puzzle pieces of what makes a sellable picture book will start slipping into place. And in the end, you will be a different writer than you were before you started digging deeper.

We have lots of great wisdom on this topic, and it’s time to make way for those answers. I do want to say that many moons ago, I discovered that our wise author Marcie Flinchum Atkins knows her way around a mentor text, and you can find some of her posts here and here. At the end of this post, Marcie offers some excellent tips and tools for using mentor texts. Also, our wise author Kirsti Call is the co-founder and of Reading for Research Month (a.k.a. REFOREMO) along with Carrie Charley Brown. They not only offer this very focused annual challenge. They also offer posts year round that walk us through a variety of books with hints regarding what they might teach us as writers. In addition, look around their site for lots of resources. Finally, if you join their Facebook page, they have lots of files that list great mentor text books by categories.

Some of our authors, Vivian Kirkfield for example, participate in Susanna Hill’s Perfect Picture Book Fridays. Participating in this activity will expose you to lots of different books, plus Susanna offers a list of books by themes (scroll down on linked page). Following are some other links that will lead you to mentor text info from Marcie and Reforemo.

http://www.reforemo.com/2019/09/mentor-text-talk-with-author-marcie.html

https://www.marcieatkins.com/tag/reforemo/

https://groggorg.blogspot.com/2015/03/show-me-way-mentor-texts-as-lights-into.html

10 REASONS TO READ CHILDREN’S BOOKS

(ESPECIALLY PICTURE BOOKS)

(AND DEFINITELY PICTURE BOOK BIOGRAPHIES)

by Rob Sanders

1. To learn something new.
2. To soak in the story.
3. To examine the structure.
4. To observe the page turns.
5. To analyze what makes the story work.
6. To dissect the craft.
7. To enjoy the illustrations.
8. To investigate the word choices.
9. To evaluate the back matter.
10. Because you can’t not read them!

GET INSPIRED TO SIT DOWN AND WRITE!

by Laura Gehl

I read children’s books to marvel at thoughtful page turns, to laugh at witty spreads, to appreciate the interplay between text and art, to let various rhythms and cadences wash over me, to get refrains stuck in my head, to admire different text structures, to soak in new information, to feel characters tug at my heartstrings, to think, “I wish I had written that,” and…most of all…to get inspired to sit down and write!

READING PICTURE BOOKS ALOUD HELPS ME DELIGHT IN STORYTELLING AND LUSCIOUS SOUNDS

Kirsti Call

I read picture books to learn about what works and what doesn’t, to appreciate the poetry of sparse text, to feel and to heal. Reading picture books aloud with children helps me delight in storytelling and luscious sounds. And of course reading picture books inspires me to create my own stories, putting words together in ways that (hopefully) evoke laughter, love and connection.

WHY I LOVE READING CHILDREN’S BOOKS

By Melissa Stoller

As a children’s book writer, it’s vital for me to read children’s books. I write chapter books and picture books, so those are the book genres that I mainly read. I like to read children’s books for several reasons. First, it’s important to keep up to date with all the new books. I love reading newly published picture books so I can stay current about topics and what is selling at the moment. Second, I can apply the knowledge I gain from reading children’s books to my writing process. I use books as “mentor texts,” meaning they teach me about writing in some way. For example, if I’m writing a non-fiction book about sea life, I will read every current similar book I can find to see how other authors handled the subject. Or, if I’m trying to add more “heart” into my fiction picture book manuscript, I will read books that I know pull at the heartstrings. I also notice how the author chose specific words and language patterns, handled pacing, left room for the illustrator, and other craft points. Third, I use current children’s books as “comparative titles” that can help me pitch my manuscripts and place them in the marketplace, comparing my manuscript to a recently-published title, and also showing how my manuscript is different. Finally, the most important reason that I read picture books and chapter books is that I LOVE them! I enjoy reading children’s books almost as much as I like writing them! A perfect afternoon would be spent curling up with a cup of mint tea, a gluten-free muffin, and a stack of wonderful children’s books!

READING KID LIT MAKES ME FEEL LIKE A CHILD AGAIN, WHICH IS HOW WE NEED TO FEEL TO WRITE BOOKS ABOUT AND FOR CHILDREN

Pippa Chorley

Every Wednesday morning, we start our critique session with a table piled high with books; childhood favourites, classic picture books, brand new purchases, library searches and recommendations. It’s one of my favourite parts of the week. I always feel like a kid in a sweet shop!

It gets our conversation bubbling immediately, what we like, what we don’t like, what we find clever, beautiful, funny, endearing, or even why we don’t like something or think it could have ended differently. It opens up conversations about craft and style, and it also gets our own creative juices flowing. It helps us generate new ideas or writing styles and helps us critique our wobbly new manuscripts at a much higher level and gives us courage to try new things. Sometimes it even sparks a whole new idea for a manuscript too!

I think the reason why we read children’s picture books as authors is endless and unquestionably important. But, for me personally, why I love it so much, is because it brings me and my fellow critique partners together weekly through a shared love of children’s writing. And most importantly, it makes me feel like a child again. Which is just what we need to feel when we are writing books about them and especially for them!

IF WE’RE GOING TO WRITE BOOKS, WE NEED TO LEARN FROM THE BEST

by Marcie Flinchum Atkins

If we are going to create stories, we must also admire stories. If we are going to write books, we must learn from the best. One of the most accessible ways to learn about what the greatest writers are doing is to utilize your library card. I make a habit of keeping my holds and checkouts at the library maxed out. At least once a week, I take a big stack of picture books and read and analyze them.

One of my favorite ways to determine which ones I want to study in depth is to read through the stack of books. I make three stacks:

1) Not for me.

2) These are great, but not my style.

3) THIS is the kind of writing I want to do.

Pile #3 is the one that I take more extensive notes on. It’s the type of books I type up to see how it looks on the page, examine the structure, and bask in the language.

For more posts about reading mentor texts, you can check out the many mentor texts posts on my blog.

For a more extensive post on how I organize and keep track of my reading, you can check out this bullet journaling post.

One other tip: If I’m feeling stuck or mired in muck about my own writing, often reading stellar books can bring me back. It usually takes me only about 20 minutes of immersive reading to realize I really DO want this writing life, and I really want to create stories.

Next week, we will get more great tips and stories from Beth Anderson, Vivian Kirkfield, Ellen Leventhal, Dawn Babb Prochovnic, Michelle Nott, and Rosie Pova.

TO READ PART 1 OF “LONG AND WINDING ROAD TO PUBLICATION” click here.

TO READ PART 2 OF “LONG AND WINDING ROAD TO PUBLICATION” click here.

TO READ PART 3 OF “LONG AND WINDING ROAD TO PUBLICATION” click here.

TO READ THE TEAM MEMBERS’ ANSWERS TO “MY MOST IMPORTANT LESSON LEARNED” click here for Part One and here for Part Two.

TO READ MORE ABOUT THE KID-LIT WRITING WISDOM TEAM AND THEIR BOOKS click here.

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kid-lit writing wisdom

Copy of What was one of the most important lesson learned on your road to publication_

This “Wisdom” round’s question isn’t exactly a question. I asked the team to tell us about their travels down the long and winding road to publication. You can learn more about why I chose to cover this topic in Publication Doesn’t Happen Overnight Part 1 of 3 here. And you can read part 2 of 3 here. You can read more about the “Wisdom” team members and their books here.

Congratulations!

Cover When Water Make Mud 9781950169443

Before I move on, I’d like to do a little horn tooting and also offer a BIG CONGRATULATIONS to Janie Reinart and Morgan Taylor. Their book WHEN WATER MAKES MUD: A STORY REFUGEE CHILDREN has been rated the #1 new release in Children’s Africa Books on Amazon. So, where does the horn tooting come in? This is one of the last books that I edited, did art direction, designed, and published during my work with Blue Whale Press. Not a bad way to finish!

Now for some . . .

Words of Wisdom

“MY WRITING GREW STRONGER DURING THOSE TEN YEARS, AND MY KNOWLEDGE OF THE INDUSTRY INCREASED EXPONENTIALLY.”

by Laura Gehl

I wrote my first picture book, One Big Pair of Underwear, when my oldest son (now almost 17!) was a baby. The book was published almost exactly a decade later. In between, I wrote a lot of other books, some of which went on to be published. Most did not. My writing grew stronger during those ten years, and my knowledge of the industry increased exponentially. Like most people, I made some embarrassing mistakes before I knew what I was doing!

Now that I have published close to thirty books and have a fabulous agent (I did not have an agent when I sold my first book), I still get rejections. And I still have manuscripts that never end up selling—even books that my agent and my critique partners love. I can’t honestly say that rejections feel much different now either. While I KNOW that each rejection is just about a certain book not being the right fit for a certain editor at a certain time, that doesn’t mean each rejection doesn’t hurt. I once received a rejection for a manuscript that had already been acquired by a different publisher, and it STILL stung. The waiting hasn’t disappeared either. But my critique partners, my agent, and the wonderful teachers/parents/kids who take the time to tell me how much they love my books all help weather the inevitable rejections and the just-as-inevitable waiting that are part of this business!

KEEP DOING THE WORK

by Dawn Babb Prochovnic

My journey certainly has been and remains, long and winding. I attended my first writing conference in the summer of 2004. I knew nothing about the publishing industry, and I came to learn. The guest editor was Arthur A. Levine, of Harry Potter fame. He was kind and generous with his time, feedback, and encouragement. After the conference, I formed a critique group and joined SCBWI. With the support of these groups, I worked diligently on one of the stories I’d workshopped at the conference, and when I felt it was ready, I submitted my first manuscript to Arthur A. Levine Books, (his imprint at Scholastic, at the time.)

Arthur was again kind and encouraging, and I will always treasure the personal letter he sent back to me, gently declining my story. Over the next several years, I continued to do the work of a writer, inventing new stories, revising, and asking for critiques over and over again. As I developed an inventory of submission-ready manuscripts, I studied publishing houses and began the task of submitting. I accumulated several large file boxes filled with manuscripts in various stages of revision and correspondence from editors across the country (this was before submitting electronically was a thing.) Over time, the editorial correspondence I received shifted from form letters to personalized notes with suggestions for revision and/or ideas for other publishers that might be a better fit for my work.

One dark and stormy night in October 2007, I took my kids to a book event in our area to meet Bart King, the author of my daughter’s then-favorite book. At the event, I visited with another exhibiting author, David Michael Slater, whose books with an educational hook struck me as being similar in nature to my stories that incorporated American Sign Language. I told him about my work, and he agreed that it sounded like a strong fit for his publisher, ABDO, and he was kind enough to put me in touch with his editor. ABDO was indeed a good fit for my ready work at the time, and I published 16 books with that editor, from 2009-2012. It was a great experience.

Then I had a dry spell. A long dry spell that didn’t break until 2015 when two author friends in my local area, Elizabeth Rusch and Amber J Keyser, thought of me for an anthology they were working on called Oregon Reads Aloud. Liz reached out to invite me to participate, and I shared a freshly revised version of a story that had received several encouraging “personalized rejections” (so I knew that it was “ready,” it just needed to find the right home.) The story was accepted for the anthology, my dry spell had lifted, and my confidence was restored.

Through the process of participating in a wide variety of marketing events for Oregon Reads Aloud, I met the publishing director and marketing manager for West Margin Press (then Graphic Arts Books.) I’ve since published three picture books with the marvelous team at West Margin Press, including my book that just released in April, Lucy’s Blooms. It is my sincere hope I’ll get to work with them on another book in the future, but alas, they’ve passed on my last three submissions. Not to worry. Those stories will find a home, they just need to find the right home.

With 20 picture books and nearly as many years of experience, there are parts of me that still feel a bit like a newbie in this business. Maybe that’s because I’ve not yet been able to secure an agent (I will keep trying.) Maybe it’s because the publishing industry is hard to break into (over and over again.) Maybe it’s because each book takes a different route to publication, so the path is in fact a bit new each time.

With that said, here are my tips and takeaways: Keep doing the work. Read. Write. Revise. Seek feedback. Revise again. Build a body of ready work. Attend book events. Support others in their work. Make friends. Seek out and accept opportunities that align with your interests. Strive to better understand the market. Submit your work, as it becomes ready. Repeat.

TRENDS COME AND GO

by Michelle Nott

I was first inspired to write children’ stories while living in Belgium. My little girls’ bookshelf was mainly stocked with stories written in French. They were brilliant books, but we had decided to raise our children bilingually. And so I dusted off my Creative Writing degree and got writing … and thinking about turning these bedtime stories into actual books. Luckily, I found SCBWI Belgium (now SCBWI Benelux) to guide me. A couple months into my first critique group, a friend said she thought her editor would like one of my manuscripts. I queried her and after a round of revisions, she offered to publish my first early reader book. But it would take four years to have it in my hands. Once that book came out, she acquired my second early reader that took another four years to see the light of day. In the meantime, I queried agents with picture book and middle grade manuscripts. One of my first picture book stories received many kind rejections, mainly “it’s lovely, but too quiet.” At the time, most agents and editors were asking for action-packed plot-driven stories. Mine was not. But it’s important to remember that trends come and go, and to write the story you are to write. Finally, I sent a middle grade manuscript to an agent who replied that she liked my writing, but asked if I also wrote picture books. I sent her that quiet manuscript,… and she loved it! And then an editor and an illustrator at Enchanted Lion Books loved it. And now I’m thrilled that this book, Teddy Let’s Go!, written when my oldest daughter was in Kindergarten, will be published in time for me to hand it to her on her way to university!

PERSISTENCE CAN CERTAINLY GET YOU TO WHERE YOU WANT TO BE

by Rosie Pova

My journey to publication was definitely long and full of heartbreaks along the way. Given the fact that English is not my native language, and I had no clue how publishing worked, no wonder it took me 13 years to get my first yes from a traditional publisher. I had so much to learn, so much to catch up on as an immigrant, and so much to experience before I found my footing.

But when that yes came, two more came with it as well, so I received three publishing contracts all at once! That was certainly an exciting victory!

Up to that point, I had been submitting to both agents and publishers. But even though I did get an agent before, the book she signed me with didn’t sell.

Fast-forward to today, I have five traditionally published books (four out, one upcoming), and my newly released one, Sunday Rain, was recently featured in The New York Times which is an absolute dream come true!

Overnight success in publishing is rare. But persistence can certainly get you to where you want to be.

And yes, I still get rejections. All the time. And that’s perfectly normal. In fact, those rejections are necessary, because that’s how our work finds the exact right home it’s meant for.

“I HAVE TO LOVE WHAT I’M WORKING ON, I HAVE TO ENJOY MY WRITING RITUALS, AND I HAVE TO RELY ON FRIENDS WHO ARE ON THE SAME JOURNEY.”

by Marcie Flinchum Atkins

It took me many years of writing very diligently to have my first book published. I first published work-for-hire nonfiction for the educational market. My first trade picture book WAIT, REST, PAUSE: DORMANCY IN NATURE was picked up in a call for submissions from Millbrook Press. I already had something to submit that had been getting good feedback, but ultimately kept getting rejected.

I write everyday (I score high on “discipline” in Clifton Strength’s Finders) because it helps me stay connected to my work. If I don’t write, I often feel like things are “off.” I have several projects in circulation—often in different genres and for different age groups. When one project isn’t going quite right, I can work on another project. I always have something percolating or waiting to be worked on. To stay positive, I keep a spot in my bullet journal for celebrations. They often don’t include “book deal.” But they do include things like: finished middle grade novel revision, finished fast draft of chapter book, received positive feedback from editor, participated in panel at XX conference. These celebrations remind me that the journey is important too. When it feels like a long wait for a book deal, these small victories remind me that I’m making progress.

I definitely get rejections—a lot of them. I try to frame rejections in different ways. Sometimes I get rejected because the publisher has already bought something similar. Other times I get rejected because the publisher just didn’t connect with it. If I get feedback from various places that sounds similar or points to the same thing, then I know it’s time to pull back and take another look. In those cases, rejections can make me a better writer. But they definitely don’t make the writing life easy. That’s why, for me, I have to enjoy the journey I’m on. I have to love what I’m working on, I have to enjoy my writing rituals, and I have to rely on friends who are on the same journey.

TO READ PART 1 OF “LONG AND WINDING ROAD TO PUBLICATION” click here and TO READ PART 2 click here. TO READ THE TEAM MEMBERS’ ANSWERS TO “MY MOST IMPORTANT LESSON LEARNED” click here for Part One and here for Part Two. TO READ MORE ABOUT THE KID-LIT WRITING WISDOM TEAM AND THEIR BOOKS click here.

A LITTLE BONUS FEATURE–THE BOOK TRAILER FOR WHEN WATER MAKES MUD

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kid-lit writing wisdom

Copy of What was one of the most important lesson learned on your road to publication_

This “Wisdom” round’s question isn’t exactly a question. I asked the team to tell us about their travels down the long and winding road to publication. To learn more about why I chose to cover this topic, read Publication Doesn’t Happen Overnight Part 1 of 3 click here. To learn more about the “Wisdom” team and their books click here. And now for some . . .

Words of Wisdom

IT’S IMPORTANT TO HAVE PEOPLE IN YOUR LIFE WHO UNDERSTAND THE TRIALS AND TRIBULATIONS YOU GO THROUGH

by Ellen Leventhal

Yes, it is definitely a long and winding road to publication. But what a lot of people don’t understand is that the twisting and turning of that road doesn’t stop after one or two books. At least for me, it doesn’t. I’m still dealing with twists, turns, small bumps, and large hurdles. And like all of publishing, the movement along the road is SLOW. But honestly, there is no other road I’d rather be traveling now.

Everyone’s journey is different, and mine is a bit odd. My first published book was a result of Ellen Rothberg and me winning a picture book writing contest. We didn’t know a lot about writing PBs, so we took classes and revised with the publisher/editor a ridiculous number of times until we all thought it was ready. And we won! The prize was publication, and that’s how the first version of Don’t Eat the Bluebonnets was born. After that, I was hooked. Ellen and I wrote a few more together, but unfortunately, that publisher decided they didn’t want to do kidlit anymore. Those last two books (which I still love) faded into the sunset. However, another publisher wanted the bluebonnet book, so we sliced and diced to bring it up to date, and that, along with new illustrations, became the Ten Year Anniversary edition. I published another book with that same publisher, and then…another contest! This didn’t lead directly to publication, but because I was in the finals of Picture Book Contest, I signed with a wonderful agent who sold my recently released book in six month. Story over? Far from it. That agent was project by project at the time, and she didn’t connect to my other work. So although I sold another book on my own (signed in 2021…pub date 2023), I am back looking for agents. Or more publishers at open houses. I’m not sure. When Imposter Syndrome sits on my shoulder and invades my very being, I can fall into a dark place, but I don’t. When more rejections fill my inbox each day, I can give up. But I don’t. And the saving grace for all of that is this incredible kidlit community. It’s important to have people in your life who understand the trials and tribulations your go through and critique partners who will be honest and help you. I am lucky to have all that to help me persist and stay positive. So the road to publication for me has been twisty, and it still is. But as I said, it’s exactly the road I want to travel now.

YOU CAN’T REACH YOUR GOAL BY SITTING STILL. YOU HAVE TO KEEP MOVING AND LEARNING AND PUTTING ONE FOOT IN FRONT OF THE OTHER

by Pippa Chorley

I have to admit that I am still very much travelling along the road to being a full-fledged writer and I still hesitate at times over being called an ‘author’. It can be hard for imposter syndrome not to creep in when you haven’t quite fulfilled all of your dreams. My road feels particularly long as I have been writing stories and poetry since I was seven. At the age of 17 I drafted my first ever picture book and at the age of 20 I drafted my first ever novel, a YA. Both of these have sat on my computer ever since but I still couldn’t help but write more and more and more. I just love it!

Finally, 3 years ago when my daughter (child number 3) went to nursery I decided to take my passion more seriously and joined SCWBI and a local critique group. I took some old picture book manuscripts along and very quickly one of the members introduced me to a publisher she felt would like my writing. I was extremely lucky that she was right and they offered me a three book deal. I was thrilled and it has been incredibly exciting to finally step onto the road I have always dreamed of walking down.

That said, my journey is not over by a long shot. I have yet to find an agent and I would still love to one day publish my YA novel and chapter books written over the years. There is still much to do, much to learn, more twists and turns to navigate. As we all know, the kidlit writing industry is particularly tough and takes more staying power that others to keep picking up your pen because rejection is everywhere. I have had numerous rejections since querying and it can be disheartening and discouraging but if you love writing as much as I do, then keep going, because you can’t reach your goal by sitting still, you have to keep moving and learning and putting one foot in front of the other. It’s the only way and together, we can help each other get there. I say that because without the support network of other amazing writers it would be easy to stop, but they keep you going and moving forward.

I UNDERSTAND THAT A MANUSCRIPT HAS TO BE RIGHT FOR AN EDITOR AND THAT THERE’S MUCH MORE TO CONSIDER THAN MY STORY

by Beth Anderson

I’ll try to make what could be a lengthy saga short by focusing on the timeline. I decided to go for it, to go after my “someday,” in fall 2013. I researched the industry, joined SCBWI and a critique group, and sought out writing groups online to guide me. All those pieces were immeasurably essential as I embarked on this journey. Spurred on by naiveté and the power of goal-setting, I thought I’d be subbing to agents and editors after a few months. [oh, silly me!] As I learned more from fellow creators and online courses, I realized that wasn’t realistic.

After examining options, I decided I wanted to pursue an agent first. I began subbing to agents in mid 2014 and racking up rejections. By the end of 2015, I was wondering at what point I should move on to a more worthwhile investment of my time and energy. But since I’d found some encouragement along the way, I felt I owed it to myself to double down my efforts, pushing myself into the discomfort zone, commit at a higher level. A month and a half later in early 2016, I signed with my agent. Having a knowledgeable partner made all the difference. Eight months later, I had my first offer. And in September 2018, I held my first book in my hands, five years after I began the journey.

Now, I have three books released and five more on the way. I learn more with each one, even the manuscripts that will never go anywhere. I still get plenty of rejections, but now it doesn’t hurt because I know that a rejection means I put it out there. I understand that a manuscript has to be right for an editor and that there’s much more to consider than my story. I’m fortunate to be retired and able to invest all the time I want in this endeavor. I’m continually amazed by all those who hold down jobs and raise kids while pursuing publishing. I think it’s important to not be too hard on yourself and be patient. But at the same time, I believe you have to put in your 10,000 hours and plunge in with an attitude of openness, push yourself by venturing past your comfort zone, dive into opportunities, and trust professionals. The road IS long. And winding. Full of bumps. And potholes. But if you take the kid lit community along, it’s an amazing ride!

BONUS! TEN-YEAR BOOK JOURNEY STORY BY MELISSA STEWART

As I was putting this post together, I discovered a post about Melissa Stewarts new book SUMMERTIME SLEEPERS: Animals that Estivate, which shows the timeline for the ten years it took to bring this book to publication. It is a perfect example of the sometimes long and winding road to publication. To read the post click here.

PART 3 COMING MAY 8

Next week, we’ll wrap up our thoughts on the path to publication with Laura Gehl who talks about how time only serves to make you a better author. Dawn Babb Prochovnic looks at the importance of continuing the work in spite of obstacles. Michelle Nott talks about trends and also demonstrates that it pays to never give up on old stories. Rosie Pova talks about how persistence pays off. Marcie Flinchum Atkins talks about enjoying the rituals of writing and having friends who “get” the writer’s experience.

TO READ PART 1 OF “LONG AND WINDING ROAD TO PUBLICATION” click here. TO READ THE TEAM MEMBERS’ ANSWERS TO “MY MOST IMPORTANT LESSON LEARNED” click here for Part One and here for Part Two. TO READ MORE ABOUT THE KID-LIT WRITING WISDOM TEAM AND THEIR BOOKS click here.

 

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