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ATTENTION TEACHERS, PARENTS, CHILDREN, AND WRITERS! WIN PRIZES!

Sienna wand

Sienna, the Cowgirl Fairy Art by Brian Martin

POOF!

You are a cowgirl (or cowboy) fairy!

 

WRITING AND DRAWING CONTEST

FOR KIDS 7-11!

Holidays are coming! How would you like a gift card to help you buy gifts? Would you like two signed copies of Sienna, the Cowgirl Fairy: Trying to Make it Rain to give as gifts? Or keep one for yourself and give the other away?

How to win . . .

Two signed copies of Sienna, the Cowgirl Fairy: Trying to Make it Rain and a $25 Amazon gift card.

 

1. If you are 7-11 years old, draw a picture of a cowgirl or cowboy fairy.
2. And write a story about what you would do if you had cowgirl/cowboy skills and fairy powers. You are the main character or hero in this story. This story will be your adventure that results in something good happening for other people.
3. The story must be no less than 75 words and no more than 125 words.
4. The story must have a beginning, middle, and end.
5. Be sure to give your story a title (not part of word count) and to put your name as the author of the story. Sign your drawing too.
6. Honor system. You must create the story yourself and draw the picture yourself.
7. You may ask an adult to help you type the story (as you have told it) or take a picture of your handwritten story.
8. You may ask an adult to help you take a picture of your drawing.
9. You may ask an adult to help you enter the contest by posting it as a comment on this blog post by November 25, 2017.
10. You may do this as a class project. Everyone in your class will illustrate and write a story, and the class will vote to determine which story will be entered into the contest. Be sure to add to your entry your school name and location, your classroom number, your teacher’s name, and of course, the author’s name.

Cowgirl/Cowboy Fairy Abilities

As a cowgirl/cowboy fairy, you can . . .

• Ride horses.
• Use a lasso to capture anything.
• Herd cattle.
• Take care of horses, goats, donkeys, cows, pigs, and chickens.
• Fly.
• Use your wand and fairy dust to make magic.
• You can also add or create your own cowgirl/cowboy fairy powers and skills.
• Your friends may be fairies, humans, animals, or all of the above.

FOR ADULT WRITERS

Help me spread the word for this contest and your name will go in a drawing for your choice of one of the following:
• A signed copy of Sienna, the Cowgirl Fairy Trying to Make it Rain
• A picture book critique
• A chapter book (first three chapters only) critique

GUIDELINES FOR ADULT WRITERS DRAWING

1. Share one of the five prepared tweets below.
2. Visit my page in the SCBWI BookStop and sign my guest book, which is located on the right under my photo. Be sure to have a look around. There are lots of great 2017 children’s books to view. If you signed my guest book previously, that counts – just let me know in your comment.
3. Honor system. Share news of the contest with your child’s (or children’s) teacher(s), or any teacher, and your name will go in the hat twice!
4. Comment on this post to let me know you have tweeted and signed my guest book. And your name will be entered in the drawing. Good Luck! Don’t forget to let me know if you have shared the contest with teachers, so I get your name added a second time.

PREPARED TWEETS

Children’s Writing & Illustration Contest. Great prizes! #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

Children’s Writing Contest. Gift card, signed book, critiques. #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

Children’s Writing & Drawing Contest. Prizes! #teachers #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

Children’s Writing & Drawing Contest. Prizes! #parents #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

POOF! You’re a cowgirl/cowboy fairy Children’s writing contest #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

sienna-cover-1

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At a recent SCBWI conference, one editor mentioned leaving room for the illustrator. So, I asked Tara Lazar if she would share what that means to her and give some advice on how to do it.

 

HOW PICTURE BOOK WRITERS CAN LEAVE ROOM FOR THE ILLUSTRATOR
by Tara Lazar

“Leave room for the illustrator.” You hear it all the time.

But what does it mean?

I imagine the school bus, smelling like moldy socks and overripe bananas (which have an eerily similar aroma). Should you scoot over? Stop saving that seat for your bestie?

Well, kinda. The illustrator’s art is the elephant on the school bus. It’s the first thing people see when your bus…err, I mean book…rolls into the world. So it’s in your best interest to make that pachyderm shine.

So let the elephant speak for himself. Don’t shove words into his mouth. Don’t over-describe what he’s doing.

The elephant picked the perfect seat. [elephant in back, bus on two wheels]

The kids made him feel welcomed. [kids crowd in first row to balance bus]

It was a smooth ride to school. [flat tires]

OK, you see what I did there?

Read those lines without the art notes:

The elephant picked the perfect seat.

The kids made him feel welcomed.

It was a smooth ride to school.

Eh, rather ordinary without those notes. But with them, it’s funny. It might even be hilarious.

A picture book comes together when the words and the text play together. And sometimes there’s a tug-of-war between them that elicits giggles and guffaws.

Leaving some things unsaid is a technique you must learn as a picture book writer.

So go ahead, DON’T WRITE!

And that, my friends and elephants, is how you write a picture book.

Alayne: Tara’s guest post prompted me to ask one of the most common questions that picture book writers ask. . . .

“I’ve been told by agents that text should be clear enough that art notes are not necessary, so how do you leave room for the illustrator without art notes?”

Here is Tara’s answer. . . .

Well, what you’ve been told by agents is true…and also not true at all.

Often at conferences and workshops geared toward new writers, presenters steer picture book writers away from art notes. That is mostly because new writers tend to use unnecessary art notes. New writers either try to dictate what their characters should look like or describe action that is perfectly clear by the text (or at least well implied). So it is sometimes easier to put the ix-nay on the ote-nay at that level.

Also, some illustrators will tell you they don’t look at the art notes. And that’s fine. Once they understand the overall story, they can tuck the notes away and think of something better.

However, if what you have written is not understandable without art notes, if the story does not make sense without art notes, YOU MUST USE ART NOTES.

Look at DUCK, DUCK, MOOSE by Sudipta Barhan-Quallen. There are only three words in that book–really, two, because DUCK is repeated. If she submitted that manuscript without art notes, there would be no story. Her story is IN THE ART, IN THE ACTION.

I have written manuscripts that use so many art notes it renders the story difficult to read. In those cases, my agent and I submit the manuscript in grid format. There’s a handy post on my blog that talks all about it. (https://taralazar.com/2012/10/03/art-notes-in-picture-book-manuscripts/)

The art of playing tug-of-war with text and image is best demonstrated by author-illustrators. It’s a difficult skill for authors-only to master, but it is one that all the best authors use.

Alayne: For additional information, see my post on including art notes in manuscripts.

Tara Lazar head shot

 

About Tara

Street magic performer. Hog-calling champion. Award-winning ice sculptor. These are all things Tara Lazar has never been. Instead, she writes quirky, humorous picture books featuring magical places that everyone will want to visit.

Tara loves children’s books. Her goal is to create books that children love. She writes picture books and middle grade novels. She’s written short stories for Abe’s Peanut and is featured in Break These Rules, a book of life-lesson essays for teens, edited by author Luke Reynolds.

Tara created PiBoIdMo (Picture Book Idea Month) as the picture book writer’s answer to NaNoWriMo (National Novel Writing Month). PiBoIdMo is held on this blog every November. In 2015, PiBoIdMo featured nearly 2,000 participants from around the world.

Tara was diagnosed with Multiple Sclerosis in 2010 and has permanently lost feeling in her feet and legs. She has an inspirational story to share about overcoming a chronic illness to achieve your goals and dreams. Tara can speak to groups big and small, young and old—just contact her for more information.

Tara is the co-chair of the Rutgers University Council on Children’s Literature Conference, a picture book mentor for We Need Diverse Books and an SCBWI member. She speaks at conferences and events regarding picture books, brainstorming techniques, and social media for authors. Her former career was in high-tech marketing and PR.

Tara is a life-long New Jersey resident. She lives in Somerset County with her husband and two young daughters.

7 Ate 9

Tara’s picture books available now are:

• THE MONSTORE (Aladdin/S&S, 2013)
• I THOUGHT THIS WAS A BEAR BOOK(Aladdin/S&S, 2015)
• LITTLE RED GLIDING HOOD (Random House Children’s, Oct 2015)
• NORMAL NORMAN (Sterling, March 2016)
• WAY PAST BEDTIME (Aladdin/S&S, April 2017)
• 7 ATE 9: THE UNTOLD STORY (Disney*Hyperion, May 2017)

A big THANKS to Tara for sharing her wisdom with us. To learn more about Tara and her work, visit her website at https://taralazar.com/

 

 

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Melissa bookThe Winner

The winner of Melissa Stoller’s giveaway is Jane Heitman Healy! Congratulations, Jane, you have won a signed copy of The Enchanted Snow Globe: Return to Coney Island.

 

Tara Lazar’s Upcoming Guest Post

Tara bannerI’m excited to share that next week, the one and only Tara Lazar will share some of her expertise regarding how to leave room for the picture book illustrator.

More – Lots of resources for chapter book writers

  • Do you have a chapter book idea, but don’t know where to start?
  • Do you have a chapter book idea, but feel something is missing in your first draft?
  • Do you have a chapter book that you’ve been unable to finish?

Grog bannerIf you answered “yes” to any of the above, you might want to check out my guest post on the GROG blog I Have a Chapter Book Idea – Now What? The post is full of chapter book writing resources and my own checklist for developing or editing your chapter book.

sienna-cover-1butterfly kisses cover

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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.

Melissa with book

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! Melissa book

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.

 

Melissa head shot  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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SHOULD MY PICTURE BOOK BE A CHAPTER BOOK?

by Alayne Kay Christian

I’m excited to reveal the cover of my forthcoming chapter book SIENNA, THE COWGIRL FAIRY: TRYING TO MAKE IT RAIN – coming April 2017! This is the first book in the Sienna, the Cowgirl Fairy series. Didn’t Brian Martin do a fantastic job?

sienna-cover-1

In this story, Sienna is not your normal cowgirl. She’s half-human and half-fairy. But Sienna wants nothing to do with fairies. When her ma sends her to fairy camp instead of cowgirl camp, she ain’t none too happy. Not only must she deal with cliquish fairies who reject her spunky spirit and outspoken ways, she must also noodle out how to help Mother Nature end the Texas drought. Can Sienna balance cowgirling with some tried ‘n’ true fairy skills to both fit in and make it rain? This is a story about perseverance, friendship, teamwork, self-acceptance, and acceptance of others.

This book and the second book in the series AUNT ROSE’S FLOWER GIRL started as picture books. So, how did they become chapter books? It all started in 2012. I was invited by the Institute of Children’s Literature’s (ICL) faculty to participate in their advanced program, Writing and Selling Children’s Books. About that time, I visited my then five-year-old granddaughter in Chicago.

“What if you could fly?” my granddaughter asked.

I responded, “I’d come to see you more often. What if you could fly?”

“I’d fly up to that ceiling fan and take a ride,” she said.

Boing! Idea time! I thought, There must be a picture book in there somewhere. So I started brainstorming. My first version was titled THE GIRL WHO COULD FLY, and it included a protagonist that took a ride on a ceiling fan. Then I changed the title to THE GIRL WHO SAVED TEXAS. My ICL instructor wasn’t really sold on the fairy angle I had developed, but she did say that she’d like to see me Texas the character up. That thought led her to suggesting that I make the protagonist a cowgirl fairy. I ran with those ideas and fell in love with Sienna.

In 2013, I took my SIENNA, THE COWGIRL FAIRY: TRYING TO MAKE IT RAIN picture book manuscript to the North Texas SCBWI conference. And I was lucky enough to have the first page read on stage and commented on by Lin Oliver. I could see by her smile that she liked the voice. But in her comments, she wondered if the story was too old for the picture book audience. I later found a few minutes of one-on-one time with Lin, and she encouraged me to consider expanding the story into a chapter book.

The conference gave me the confidence that I needed to submit the picture book manuscript. Three agents offered me representation. One agent was actually interested in shopping it as a picture book. I didn’t discuss it with the second agent because I chose the third agent to represent me. This agent agreed that it would be wise to turn the Sienna story into a chapter book. We worked together for about a year and then we parted ways amicably. As time went by, not being able to attract a new agent caused my confidence to wane. I spent a year floundering and nearly another year halfheartedly submitting.

In 2016, I went to a weekend workshop with a highly-respected literary agency where we presented our work in a roundtable forum. The senior agent who led the group loved Sienna’s voice and asked me to send her the whole manuscript. Yes! Perhaps my beloved Sienna would be published after all. But after months of nothing but crickets, I nudged the agent. Finally, I heard back with a form letter rejection – not one clue as to why it wasn’t right for her. I had a brief setback, but instead of letting it get me down, I immediately started submitting again. Two months later, I had a contract for the Sienna, the Cowgirl Fairy chapter book series with Spork, an imprint of Clear Fork Publishing.

So, why were the Sienna picture book stories better suited for the chapter book audience? The characters were too old for a picture book. As much as I wanted to limit Sienna’s age in my mind to a spunky eight-year-old girl, she wanted to be older. Her voice was older. Her actions were older. And since the story was written in first person (Sienna narrator), the storytelling voice was better suited for an older audience. Another reason a chapter book was a good idea is because I was able to expand on the story and further develop this fantastic character. These are only a few reasons why a picture book manuscript or picture book idea might work better as a chapter book.

Do you have any picture books that really should be a chapter book? It might be worth thinking about.

Check out Is Your Idea a Picture Book, Chapter Book or Middle Grade Novel? By Hillary Homzie and Mira Reisberg on Tara Lazar’s blog.

Anastasia Suen answers the question “Should I write a picture book or a chapter book?” on her blog.

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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.

Yvonne's post 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.

Yvonne's post calm panicEven 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.

Yvonne's post stop.jpg

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?

Yvonne's post yoga ladyNow, 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.

Yvonne's post Brethe In

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

Yvonne's bio imageBIO

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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When submitting a manuscript, you want to submit your best work. One way to make your story shine is by learning from others. Marcie Flinchum Atkins shows us how to study other authors’ picture books to improve our craft. Thanks, Marcie, for this lesson in using character-driven picture books as mentor texts. Click on the images of the printables to get PDFs.

Using Character-Driven Picture Books as Mentor Texts to Improve Your Own Writing

By Marcie Flinchum Atkins

What is a Mentor Text?

A mentor text is a stellar text that is used as an example of good writing technique. If you study a mentor text, not just reading it as a reader, but reading it as a writer, you can improve your own writing. It’s like learning from the experts.

Professional athletes watch the techniques of others in their field. Artists look at the paintings of others artists and study HOW they created that work of art. Writers should be no different. We can read for pleasure, and we should. But reading with a writer’s eye is critical in improving at your craft.

The Most Important Thing

We can read and read and study phenomenal books for kids, but if we never apply what we’ve learned to our writing, then it’s not much help. Let me give you an example, when I teach kids about using sensory words in their writing, we spend time looking for how authors incorporate sensory language into their writing to help the reader really feel like they are experiencing the story. However, the most important piece of this lesson is giving kids time to actually try it out. After we’ve learned about it, we take a piece of writing that they are already working on and we try to find places to add sensory details. This is the application part.

As a writer for children, we need to do this too. If you are having trouble creating endings for your picture books (I have this problem), the first thing to do is to study a lot of different ways to end it by looking at real books. But the MOST IMPORTANT thing is to TRY IT OUT in your own manuscript. You may have to try many different ones before you nail it, but you must try it.

Character-Driven Picture Books
In this particular “Mentor Texts for Writers” session we are going to take a closer look at character-driven picture books.

What is a character-driven picture book?

The focus of the picture book is on the character and, in most cases, something unique that that character has/does/is.

If you want a great definition and examples of character-driven picture books see Pam Calvert’s website: WOVEN WITH PIXIE DUST.

Why Character-Driven Picture Books?

I read a lot about what agents and editors want because I’m still looking for an agent and/or an editor. Something that I keep seeing over and over again in their wish lists is CHARACTER-DRIVEN PICTURE BOOKS.

I have some character-driven picture books in my work-in-progress stack, but I know they are not quite there yet. So I set out to study them—what makes them character-driven and what were some of the common characteristics.

The Process:

1) Look for books in the area where you need work. In this case, character-driven picture books.

How did I find the picture books I wanted to study?

Trust me, I don’t have the time the go to the library and scan the shelves. I do a little bit of online research and I ordered them on my library’s online catalog.

Book Cover Mosaic

I did scan my kids’ bookshelves. I asked my friend Google: “character-driven picture books.” This led me to a few.

Amazon.com Amazon has this awesome feature that shows you what other books people bought who bought the same book you searched for. Sometimes it’s not helpful, but most of the time, it’s a goldmine.

Screenshot of Amazon

I narrowed my study to ONLY books that were written and illustrated by two different people because I’m a writer only. There are a ton of great character-driven picture books by author/illustrators (OLIVIA by Ian Falconer and MR. TIGER GOES WILD are just two great examples from author/illustrators). But so much of their books are revealed through the pictures, so I knew if I wanted to study writing technique, I’d need to look at books written and illustrated by different people.

2) Read those books.

First I read them just to read them—mostly to myself or to my own kids. I made some notes about things I noticed about them as a genre.

Things that I noticed:

  • Many of the character driven books are author/illustrator books
  • Girl characters outweigh boy characters by a LOT (note to self: hole in the market). There are some boy characters, but many of them upon reading them are not about the character, they are all about action. This is not necessarily a bad thing.
  • Some of them have turned into franchises or multiple book deals and branching into other areas. For example, Fancy Nancy has multiple books and now is in beginning readers. Pinkalicious has brought about Purplicious and many others.
  • Many of them are stand alone titles and are really good all by themselves.

3) Pick a handful of the ones you thought worked really well. You probably will not LOVE all of them. But really delve deeper into the ones that you wouldn’t mind reading again and again.

I have provided a printable form as a guide for some of the things you might want to notice.

screenshot of character analysis chart blank

Screenshot of Explanation Slide

Here’s one that I filled out for LITTLE HOOT by Amy Krouse Rosenthal

Screenshot of Little Hoot analysis

4) The form I created is only ONE way you could study your favorite texts. Here are some more ideas:

Photo of Ribbit with sticky notes

5) Apply what you learned to your own writing

REMEMBER: This is the most important part. There are a number of ways you could apply it to your own writing, but a lot of it depends on where you are in your writing.

  • BRAINSTORMING. If you are just thinking about a new book but haven’t drafted it yet, this is a great time to brainstorm more about your character.
  • ANALYSIS OF A CURRENT DRAFT. If you have been noodling around with a character-driven picture book draft(s), and you can’t put your finger on what’s working or not working, it might be time to analyze your draft to see where you can improve.

I’ve created a printable for you to insert your own idea or analyze your own draft.

Screenshot of brainstorming chart blank

If you want some suggestions for character-driven picture books (written by different authors and illustrators), here is a list.

BIBLIOGRAPHY

BIG MEAN MIKE by Michelle Knudsen, illustrated by Scott Magoon

DESMOND AND THE NAUGHTYBUGS by Linda Ashman, illustrated by Anik McGrory

FANCY NANCY by Jane O’Connor, illustrated by Robin Preiss Glasser

LADYBUG GIRL by David Soman, illustrated by Jacky Davis

LITTLE HOOT by Amy Krouse Rosenthal, illustrated by Jen Corace

MY NAME IS NOT ISABELLA by Jennifer Fosberry, illustrations by Mike Litwin

PART-TIME PRINCESS by Deborah Underwood, illustrated by Cambria Evans

PINKALICIOUS by Victoria Kann, illustrated by Elizabeth Kann

PRINCESS IN TRAINING by Tammi Sauer, illustrated by Joe Berger

PRINCESS PEEPERS by Pam Calvert, illustrated by Tuesday Mourning

THE RECESS QUEEN by Alexis O’Neill, illustrated by Laura Hauliska-Beith

RIBBIT! By Rodrigo Folgueira, illustrated by Poly Bernatene

SPOON by Amy Krouse Rosenthal, illustrated by Scott Magoon

TALLULAH’S TUTU by Marilyn Singer, illustrated by Alexandra Boiger

VAMPIRINA BALLERINA by Anne Marie Pace, illustrated by Le Uyen Pham

THE VERY FAIRY PRINCESS by Julie Andrews and Emma Walton Hamilton, illustrated by Christine Davenier

If you’d like a printable PDF of this list click here.

I’d love to know how this exercise worked for you. Leave a comment below or shoot me an e-mail (MARCIE [AT] MARCIEATKINS [DOT] COM).

What are your favorite character-driven picture books? I want to study more of them (preferably ones written and illustrated by different people). Leave a comment below to tell us your favorite character-driven picture book.

Want More Information on Mentor Texts?

If you want more information about how I use mentor texts in my classroom, you can visit my website and/or sign up for my teacher useletter. I also do workshops on teaching with mentor texts in the classroom.

If you want more information about using mentor texts as a writer, you should watch the webinar I did with the WOW Nonfiction Picture Book group. I also created a resource page to go along with that webinar with links and printables.

Bio:

marcie 15 for web small

Marcie Flinchum Atkins teaches fourth graders how to write by day and writes her own books for kids in the wee hours of the morning. She can also be found wrangling her own kids and reading books with them. She blogs about making time to write and using mentor texts at www.marcieatkins.com. Marcie holds a MA and MFA in children’s literature from Hollins University.

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