INTERVIEW WITH KATHRYN OTOSHI, PICTURE BOOK AUTHOR/ILLUSTRATOR AND SUCCESSFUL INDEPENDENT PUBLISHER – PART TWO

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

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

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

Keep an eye out for future posts on independent publishing.

BONUS INTERVIEW QUESTION AND ANSWER

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

KO:

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

MORE ABOUT KATHRYN AND WRITING ILLUSTRATING

AKC: How many awards have your collective works received?

KO: Collectively over 20, I’d say.

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

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

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

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

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

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

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

AKC: What advice would you give to writers?

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

AKC: What advice would you give to illustrators?

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

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

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

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

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

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

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

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Contests, Games, Inspiration, Support, Learning and Fun!

I’ve been busy working on the next Sienna, the Cowgirl Fairy book and rewriting my picture book writing course, Art of Arc. That’s only part of what I’ve been up to. But what’s important here is that I haven’t written a blog post in a while, so it’s high time I wrote one.

Today, I thought I would take a little time to share a few other things that I’ve been up to because I want to share some news, opportunities, and resources.

Teachers, librarians, parents – this one is for you.

I was just invited to be a judge for a fun writing contest for children in grades 3-5. Rosie Pova is offering the contest on her blog. This is a nationwide competition for creative writing with a theme, a twist and, of course, PRIZES! Teachers and librarians have 30 days from the contest opening date to submit the best entries that they select.

The contest began January 18 and will end at 11:59 pm February 16, 2018.

Writers, this one is for you.

I’ve signed up for my sixth year as a 12 X 12 member and my third year as a 12 X 12 critique ninja. As a member of Julie Hedlund’s 12 x 12, you get the motivation and accountability you need to write picture book drafts in 2018. There are opportunities to learn from industry experts, receive advice on the craft of writing picture books from published authors, literary agents, and editors, and enjoy the fellowship of community. Registration is open until February 28.

Just so you know, a critique ninja is a person who works in the 12 X 12 forum offering critiques on posted picture book manuscripts. There is a whole team of critique ninjas – all professional critique writers.

Another one for writers.

I’ve joined Tara Lazar’s Storystorm challenge for, I think, my sixth year. The Storystorm challenge is to create 30 story ideas in 30 days. You don’t have to write a manuscript (but you can if the mood strikes). You don’t need potential best-seller ideas. The registration is over and the challenge is more than half over, but you can still get some great inspiration for finding ideas from the month-long Storystorm posts on Tara’s blog. Once upon a time, Storystorm was called PiBoIdMo or  Picture Book Idea Month.

This one is for illustrators, artists, and illustrator wannabes (like me 😉 )  

I have bounced around the idea of trying my hand at art with this KIDLIT411 illustration contest, but I haven’t gained the courage. But YOU might want to give it a try. Excellent opportunity! The deadline is February 9.

Another one for illustrators, artists, and illustrator wannabes (like me 😉 )

I’ve been practicing art using a bunch of different books, but I also recently signed up with the Society of Visual Storytelling (SVS). Here’s a little blurb from their site. Our videos are custom made to show you how to get the skills necessary to break into the dynamic field of illustration. We have a wide range of subjects that fit any interest you may have in art. On top of our huge video library of art videos, we are now offering multi-week interactive classes where you get direct feedback from the instructor. In addition to our video content, we offer a forum where you can chat with other students and ask for help or just show off your stuff!

Now, if only I could get reliable Internet access on the road so I can watch my courses!

And one last bit of fun for writers.

If you don’t know about it, Sub Six is a Facebook support group for kid lit writers who are focusing on submitting their work. I’ve had a hard time keeping up with it, and the wonderfully smart and talented Manju Gulati Howard has volunteered to help. And boy has she helped. She does so much to inspire and encourage the group. She’s secured monthly prizes for the whole year from generous donors. And now, she has started Rejection Bingo, which is a blast. The game is in play until June 1.

 

  

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MELISSA STOLLER’S TOP TEN CHAPTER BOOK WRITING TIPS – PLUS GIVEAWAY!

Before I share Melissa’s wonderful post, there are a few things I want to announce.

The winners of my book and critique giveaways are Cathy Ogren and Kim Delude. Cathy has won a copy of Sienna, the Cowgirl Fairy: Trying to Make it Rain. Kim has won a critique on the first three chapters of her chapter book. Congratulations! Thank you to all who participated in the giveaway by commenting and sharing the link.

September is Chapter Book Challenge Lite month (a.k.a. ChaBooCha Lite). This is another chance for writers to challenge themselves, and to give themselves a deadline for writing a book. The goal is to write the first draft of an early reader, chapter book, middle grade book or YA novel within a month. Want to join the fun? Sign up here.

 

I am pleased to have my friend, Spork sister, and fellow Chapter Book Challenge member Melissa Stoller as a guest blogger today. She is offering a chance to win your choice of a copy of her book, The Enchanted Snow Globe Collection: Return to Coney Island, or a chapter book critique (first three chapters), or a picture book critique. All you have to do is comment. Be sure that your name is on the comment.

TOP TEN FACTORS TO CONSIDER WHEN CHOOSING TO WRITE A CHAPTER BOOK VERSUS A PICTURE BOOK

by Melissa Stoller

My debut chapter book, THE ENCHANTED SNOW GLOBE COLLECTION: RETURN TO CONEY ISLAND, released from Clear Fork Publishing shortly after Alayne’s chapter book, SIENNA THE COWGIRL FAIRY: TRYING TO MAKE IT RAIN. I enjoyed following Alayne’s posts about the differences between picture books and chapter books here and here. And I blogged about writing chapter books as well here and here.

When Alayne asked me to comment further about this topic, I wondered what I could add that would be new and fresh. I decided that a Top Ten List would do the trick. So here goes:

TOP TEN FACTORS TO CONSIDER WHEN CHOOSING TO WRITE A CHAPTER BOOK VERSUS A PICTURE BOOK:

1. Length of the Book – In a chapter book, the author has room for more words. I tried to keep each of the ten chapters of my book to approximately five hundred words each. That was a general rule I used for my own planning purposes but I think it helped to keep each chapter on track. And in picture books, I aim for the sweet spot of approximately five hundred words. So just by doing the math, it is apparent that I would tell a story much differently in 500 words rather than 5000 words. I liked the longer format a chapter book afforded me to tell this story.
2. Age of the Characters – My main characters are nine-year-old twins. Generally, young readers enjoy reading about characters who are a bit older than they are. The book is geared to children ages 5-8, with the main characters falling just above that mark. This older age of the main characters fits in perfectly with a chapter book structure.
3. Age of the Reader – In a chapter book, the reader can be a bit older and may be more sophisticated than the reader of a picture book. The sweet spot for picture books is generally 3-5 years old. The sweet spot for chapter books is generally 5-8 year olds. These ages tend to fluctuate and the lines get blurry, but that’s how I categorize them in my mind. Writing for each age group has its rewards, you just have to know your audience.
4. Number of Characters – The common wisdom is that the fewer the characters the better in a picture book. Picture book writers generally stick to a few characters so that the plot is tightly woven. In a chapter book, that general number of characters can expand. In my book, the main characters are twins. Plus, I include their grandmother and her dog Molly, and then Jessie and her two sisters Anna and Pauline, and finally Jack. They all had some character development (some more than others) and I had the time and word count to include relevant details and dialogue to shape them. In a picture book, there just isn’t the word count, the attention span of the young reader, or the availability of plot to include so many characters.
5. Complexity of the Plot – A picture book usually focuses tightly on one problem or issue, and one or two characters who are somehow growing or changing. That is enough for the young reader who is the target audience for the picture book. In contrast, a chapter book’s plot can be more complex, and can have more sub-plots, twists, and turns.
6. Dependence on Illustrations – Whereas the magic in a picture book comes from the meeting of the text and the illustrations, in a chapter book the magic usually comes mostly from the text. The chapter book illustrator enhances the story and helps bring the story to life, but usually there are only a few full-page and/or spot illustrations per chapter. The book is not dependent on illustration as a picture book is (hence the difference in title between a picture book and a chapter book).
7. Dialogue – A picture book usually doesn’t have excessive dialogue because there is a potential for the characters to just seem like “talking heads.” Of course there are exceptions and there can be dialogue-heavy PBs, but generally I try to keep PB dialogue to a minimum. In contrast, chapter books are filled with more dialogue and description as they present a well-rounded view of the characters and plot.
8. Enough Material for Ten Chapters – A typical chapter book is broken down into ten chapters. Ask yourself these questions: do you have enough story to fill in these chapters? Does your story arc have a complete and satisfying beginning, middle, and ending? Or could you condense the story into approximately 500 words that will be enriched by illustrations? Also, try to make sure that each chapter has a mini story arc with a beginning, middle, and end, and the transition to the next chapter contains a small cliff-hanger to help the reader maintain interest.
9. Writing Time – Because chapter books are longer and the plots are more complex, the author can spend more time with the characters and plot (of course writing picture books and chapter books both take tremendous time in the brainstorming, writing, and re-writing phases). In my case, I love my chapter book characters and this story line so I’m happy to have more time with them. I enjoyed fleshing out their emotions, their characteristics, details about their appearance and dress, their dialogue, and their adventures.
10. Series Potential – I know that an author is not supposed to be concerned with series potential when writing a picture book or a chapter book. However, I must admit that when writing THE ENCHANTED SNOW GLOBE COLLECTION, I did think about, well . . . a collection! I envisioned twins shaking many snow globes in their grandmother’s collection, and each time they did, they would be transported to a different time period and location. When writing a picture book, I might think, wow, this could really lend itself to a sequel. In fact, SCARLET’S MAGIC PAINTBRUSH is my debut picture book being published by Clear Fork Publishing in 2018, and I’m hard at work writing the sequel. But I would not envision designing a whole picture book series.

So there you have it . . . ten factors to consider when deciding whether your story is more suitable to a picture book or a chapter book. And of course, these are my top ten factors . . . you might have your own distinct top ten. Whatever you decide, make sure you set yourself up for success: work closely with your critique partners; hone your craft by participating in writing classes such as The Children’s Book Academy Chapter Book Alchemist, and writing communities such as the 12 x 12 Picture Book Writing Challenge, The Chapter Book Challenge, The Debut Picture Book Study Group, KidLit411, and many others; join the SCBWI and your local SCBWI chapter; and immerse yourself in the world of children’s books. Reading, writing, and being part of the KidLit community has truly inspired my work – and it’s been so much fun as well! 

I look forward to reading your books, and I know that whatever format you choose, it will be the best one for you.

_ _ _

Thanks, Alayne! I loved being featured on your blog. And I’m excited to read more of your upcoming chapter books and picture books!

_ _ _

Alayne: Thank you, Melissa! I look forward to reading more of your work as well.

 

  About Melissa:

Melissa Stoller is the author of the debut chapter book THE ENCHANTED SNOW GLOBE COLLECTION: RETURN TO CONEY ISLAND (Clear Fork Publishing, July 2017); the debut picture book SCARLET’S MAGIC PAINTBRUSH (Clear Fork, March, 2018); and THE ENCHANTED SNOW GLOBE COLLECTION: THE LIBERTY BELL TRAIN RIDE (Clear Fork, April 2018).  She is also the co-author of THE PARENT-CHILD BOOK CLUB: CONNECTING WITH YOUR KIDS THROUGH READING (HorizonLine Publishing, 2009). Melissa is a Regional Ambassador for The Chapter Book Challenge, an Admin for The Debut Picture Book Study Group, an Assistant for Mira Reisberg’s Children’s Book Academy, and a volunteer with SCBWI-MetroNY. Melissa writes parenting articles, and has worked as a lawyer, legal writing instructor, and early childhood educator. She lives in New York City with her husband, three daughters, and one puppy. When not writing or reading, she can be found exploring NYC with family and friends, travelling, and adding treasures to her collections. Find Melissa online at www.MelissaStoller.com, MelissaBergerStoller (Facebook),  @MelissaStoller (Twitter), and Melissa_Stoller (Instagram).

 

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12 X 12 CRITIQUE NINJA and EPISODIC STORIES

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

 

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

 

Rising Chaos

 

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

 

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

 

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

 

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

 

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

 

In an episodic story, the scenes often feel disconnected.

 

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

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

 

SOME WAYS TO TEST YOUR PICTURE BOOK MANUSCRIPT FOR EPISODIC ELEMENTS

 

DOES IT MATTER WHERE EACH SCENE APPEARS IN THE STORY?

 

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

 

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

 

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

 

IS THE RISING ACTION, RISING CHAOS?

 

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

 

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

 

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

 

IS THERE A GOAL DRIVING THE SCENE?

 

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

 

DO THE SCENES INFORM THE READER?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Copyright Alayne Kay Christian 2016

LINKS TO ARTICLES ON EPISODIC WRITING

 

Plotting Problems – Episodic Writing

By Marg McAlister

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

 

From Moody Writing

Episodic Storytelling is a problem

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

 

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

 

An outline of the first five lessons follows:

 

WELCOME SECTION

 

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

 

LESSON ONE: BEGINNINGS AND ENDINGS

 

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

 

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

 

LESSON TWO: BEYOND THE HOOK

 

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

 

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

 

LESSON THREE: OVERVIEW OF PICTURE BOOK PLOT STRUCTURE

 

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

 

LESSON FOUR: CAUSE AND EFFECT

 

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

 

LESSON FIVE: EPISODIC STORIES

 

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

 

 

 

 

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OVERCOME SELF-DOUBT, DEEPEN YOUR UNDERSTANDING OF PICTURE BOOK WRITING, AND A GIVEAWAY

 

FIRST A LITTLE INSPIRATION

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

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

Following is my little ditty.

 

 

SOMEWHERE BETWEEN NIGHT AND DAY
by Alayne Kay Christian ©2016

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

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

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

OVERCOMING SELF-DOUBT and FREE GIVEAWAY

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

IMPROVE YOUR MANUSCRIPTS AND YOUR ABILITY TO ENGAGE READERS

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

DEEPEN YOUR UNDERSTANDING OF PICTURE BOOK WRITING

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

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

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

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

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

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

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

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

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

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

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

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

 

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ARTISTS AND GRUMBLES AND BEARS – OH MY! And a little news about me too!

While I was off pondering future blog posts, taking a break from critiques, and editing picture book manuscripts, I discovered a great picture book writing course. To be fair, I wrote a picture book writing course! Today’s post will share some exciting news about my critique partners and friends. But I’m also EXCITED TO ANNOUNCE the launch of ART OF ARC: How to Analyze Your Picture Book Manuscript – An independent study writing course. My Mama brought me up to be polite, so I’ll share the news about my friends first. We have had so much good news in the writing community this year that I can’t share it all in one post. My apologies to my friends who are not in this round of announcements.

My critique partner Yvonne Mes has two newly released picture books.

Oliver’s Grumbles – illustrated by Giuseppe Poli

Meet Sydney Nolan – illustrated by Sandra Eterovic

My critique partner Renee LaTulippe  authored poems in the recently released

National Geographic Book of Nature Poetry: More than 200 Poems With Photographs That Float, Zoom, and Bloom!

My critique partner Julie Falatko’s debut picture book Snappsy the Alligator (Did Not Ask to Be in This Book)  will be released in February 2016. It is illustrated by Tim Miller.

My critique partner Dev Petty’s debut picture book I Dont’ Want to be a Frog was released this year. The illustrator is Mike Boldt. 

My friend and Sub Six member

Penny Parker Klostermann’s debut picture book 

There Was an Old Dragon Who Swallowed a Knight was released in August. It’s illustrated by Ben Mantle.

I just registered for my fifth round of Tara Lazar’s PiBoIdMo (Picture Book Idea Month) Since I am sharing friend’s books, Tara has been on fire! She had two books released this year and has several coming out next year. CONGRATULATIONS TO ALL MY FRIENDS!

 

AND NOW FOR MY BIG ANNOUNCEMENT!

I’m happy to announce the launch of ART OF ARC: How to Analyze Your Picture Book Manuscript. This is a self-study course that will deepen your understanding of picture books written with a classic arc and introduce you to other picture book structures. Understanding story and character arcs will help give your stories order and the tension that will energize them from the beginning to the end. This energy will not only drive your protagonist forward – it will also drive readers to turn pages and keep reading. The course offers worksheets that will improve existing manuscripts and make future writing stronger. You will gain the knowledge and receive the tools to assist you in analyzing your own work prior to investing in professional critiques. It guides you through a manuscript-self-assessment process that may help prevent submitting manuscripts prematurely. It also shows how to avoid common writing errors and apply writing elements that will enhance your stories in a way that will take them to a higher level. The tools provided are perfect for analyzing mentor texts, too! All the above and much, much more for less than the cost of one professional critique! Detailed information about the course, the very low introductory price, and my qualifications to teach this course can be found on my website.  You can find a few testimonials below.

TESTIMONIALS

ART OF ARC is one of the most comprehensive writing classes I’ve ever taken. It breaks down complex aspects of story structure in a clear manner that helped me to understand every element of picture books, from hook to satisfying ending. The worksheets helped me to dissect my stories and see what they were missing and how they needed to be rearranged, making the revision process a lot less painful. If you want to learn how to develop a great story arc with a hook, page-turners, tension, dark moment, climax, and satisfying ending – this class is for you! Alayne even includes links for writing resources.

– Donna C.

Children’s Book Writer

Alayne has outdone herself with this course; I don’t know HOW she does it. Things I thought I understood about writing picture books are now crystal clear!! Alayne somehow manages to make it simple and easy to understand yet delves deeper into the workings of a picture book than I ever have before, and I’ve studied picture book writing quite a bit!  Great information, wonderfully laid out to lead you systematically through analyzing and improving your manuscript. Almost every lesson gives really helpful examples. I loved this course! I’ll continue using it to polish my manuscripts in the future.

– Meg M.

Children’s Book Writer

Fresh. Straight forward. Thought provoking. Idea generating. WOW! It clarified and enhanced my understanding of things I’ve learned prior to the course. You’ve explained things I’ve heard before in a way that is clicking better now. I feel I have a better eye for story arcs, extraneous information that bogs stories down, lack of forward movement, how authors keep or do not keep tension in their books, etc.

– ART OF ARC Beta Students

Detailed information about the course, the very low introductory price, and my qualifications to teach this course can be found on my website.

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ALL ABOUT SUBMISSIONS GUEST BLOGGER YVONNE MES: HOW TO SUBMIT WITHOUT FEELING LIKE THROWING UP

HOW TO SUBMIT WITHOUT FEELING LIKE THROWING UP

by Yvonne Mes

Through my travels in various children’s writing groups, on-line and in person, I have come across a few people who have said something like:

“I have just submitted my manuscript to (insert name of dream agent or publisher). Eurgh, I feel like throwing up.” Or they took it one step further and expressed the state of their nerves by regurgitating their lunch.

I am here to tell you submitting should not make you feel sick!

You may not be quite as emotional as some, or go to these bodily extremes after submitting a manuscript, however feelings of anxiety are quite common.

I admit to having experienced some strong but opposing emotions when submitting a story. I share a couple of my experiences below.

Ignorance is bliss

My first submission was a picture book story for a writers’ festival competition. I knew nothing about writing for children, but I had children, I loved reading, and I had an active imagination. Therefore, I was confident my story was a winner. Ah, the bliss of ignorance. I whistled merrily as I pressed that send button. I would win that contest. Someone would offer me a contract, and people would soon start calling me the new Mem Fox or Jane Yolen.

Fast forward a few months …

During the months of waiting for the results, I immersed myself in picture book writing. I researched online. I read books. I enrolled in one writing course and then another. By the time I found out I hadn’t won the contest, I was only a little devastated, because by then I had realized that the story I had submitted, well … sucked.

Too much knowledge is dangerous

The next time I submitted a story, to an agent no less, I had almost finished my writing courses. I had spent a lot of time on this story. I had joined several critique groups. Using their feedback, I revised and revised and polished my story so much that I could almost see my reflection in it.

But this time when I submitted, I had realized how hard it was to get traditionally published, how small the chances were and how long it could take. This time, I felt I had everything to lose. And I did feel rather queasy.

Control

Now, I am going to be wildly assumptive and judgmental, or perhaps incredibly insightful and say that most of us writers are control freaks.

When you hit that send button or let that letter slip from your fingers into the great unknown and unpredictable via the mailbox, be it real or virtual, it is out of your control.

You had control when you coaxed it into being. You let others critique it, but still, you were able to decide what was worth taking into account, and you were in control of the revisions. But once it’s gone, you can’t change that sentence around anymore or find a stronger verb. And now that you have let it go, you are worried that perhaps it could have been better.

Even if you are completely confident about the creative masterpiece that is your manuscript, you worry about the things beyond your control. What if the mail truck does a double flip en route to Mr. Dream Agent? What if the agent sloshes her coffee over your manuscript? What if a computer virus hacks her inbox? What if your agent has left to join another agency and your manuscript has been filed in the black hole of lost stories?  There are so many variables beyond your control. And it makes you sick. Sick to your stomach. Pass the barf bag.

After a suitable amount of waiting, anywhere from 2 minutes to 6 months, you hang on to every little shred of hope that your story has, in fact, NOT been rejected but perhaps misplaced temporarily or even better is taking longer while a contract is being drawn up. You anxiously wait, and wait, and wait.

Hang on, hold on. Stop! What you are doing? Do you really have time to obsess over these things? Let’s be practical.

Set a reminder in your diary at the date the agent or publisher had specified as their cut-off date. If you haven’t heard anything by then, ask them for a status update. If you don’t hear back from them within a few weeks, that’s it. You have been rejected. Move on.

What can you do?

Now, I am the least Zen or Buddha-like person. I don’t believe in fate and karma, and I can never quite attain a sense of calm and complete relaxation, or at least not for very long. But I do believe in logic.

And my logic tells me that once my manuscript is gone, it is out of my control, and therefore not worth spending energy on.

Let it go.

Know that you have done all you can. You have done everything you can to make this manuscript the best. You did what you could to make yourself visible as an author. You did your homework, your research on your story AND on the agent or publishing house. You studied the craft of writing. You had the story critiqued several times. You have not written the stuffing out of it. Now it is time to …

… let it go.

Know there is more than one good story in you. Revel in the knowledge that even if every submission you ever send out gets rejected, you are already a successful writer. You wrote a story. You made it your best. And you are in the game!

Let it go.

So what if you discover you have made a grammatical error or misspelled Mr. Cszrukosy, your dream agent’s name? Well, it is out of your control now. Besides, if the rest of your query was professional, and your story is pretty awesome on top of that, well then, they will forgive you that mistake.

Go and work on something else. Spend some time with your family or friends or pets. Do something else enjoyable, like read a book! And then … start writing something else.

Let it go.

And if ‘Letting Go’ doesn’t work try the following:

Face your fears

What is the worst that could happen in the micro cosmos of this particular story? It could be rejected. Let’s be honest, statistically that is the most likely outcome. You know that it is going to happen, just not how, or when. Even established writers get more rejections than they do contracts.

Be practical, increase your chances by writing more stories and submitting more often, and if the story keeps getting rejected?  It still doesn’t mean the death of your story. If you receive feedback you can work with, you can submit it somewhere else. If you don’t receive feedback, seek it out. Maybe your story plot is fine but instead of a picture book, your idea will work better as a short story for a magazine or chapter book.

Whatever you do, keep submitting. Press that ‘send’ button, shove that letter in the mailbox, breathe, smile and let it go.

BIO

Yvonne has been around children most of her life, if she isn’t working with them, she is raising them. Yvonne coordinates Write Links, the Brisbane children’s writers group  ww.brisbanewritelinks.weebly.com and is a supporter of Kidlit411.com. Her short story My Sister Ate My Science Project will be published in The School Magazine (Australia) this year. In addition to writing for children, she also likes to work on her illustrations.

Yvonne has a Bachelor of Children’s Services, a Certificate in Professional Children’s Writing, a Cert IV in Visual Arts and Crafts and a Cert IV in Training and Assessment.

You can find out more about Yvonne on her website. www.yvonnemes.weebly.com.

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