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Posts Tagged ‘Vivian Kirkfield’

kid-lit writing wisdom

Last week, Rob Sanders, Michelle Nott, Kirsti Call, Vivian Kirkfield, and Pippa Chorley shared their valuable words of wisdom for writing captivating middles. If you missed it, you can read KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3) here. And you can read Ellen Leventhal’s and my mini-course in Part 1 of 3 here.

Today, Beth Anderson, Rosie Pova, Dawn Prochovnic, and Melissa Stoller share their Writing Captivation Middles toolboxes, roadmaps, wisdom, and tips. You won’t want to miss it!

Before we move on, I have some good news to share.

Happy Book Birthday

My friends Kirsti Call and Corey Rosen Schwartz‘s latest picture book COLD TURKEY (illustrated by Chad Otis) will come into the world on November 1. However, it is available for pre-orders now. CONGRATULATIONS!

cold turkey cover

Words of Wisdom

MARVELOUS MIDDLES

by Melissa Stoller

When writing picture books, it is important to craft snappy openings that grab the reader’s attention. It is also crucial to draft satisfying endings, so the reader wants to read the story over and over. But the middle of a picture book . . . that is notoriously difficult to get just right. Here are a few tips about turning the middle of the story from muddy to marvelous!

In SADIE’S SHABBAT STORIES (illustrated by Lisa Goldberg, Clear Fork Publishing, 2020), Sadie listens to Nana tell stories about their ancestors as they prepare for a Shabbat dinner. I knew that Sadie’s biggest wish at the opening was tell stories just like Nana. I also knew that, at the end, Sadie would find her unique voice and tell her special stories. So in the middle, I drafted three vignette stories for Nana to tell (based on my family history). I knew I had to keep these “stories within a story” concise and full of emotion that children could relate to. Because Sadie believes that Nana is the best storyteller, these vignettes had to rise to meet the readers’ expectations. So in drafting within this particular structure, I paid close attention to this important middle of the manuscript. I tried to include lots of emotional resonance and heart! And of course, Lisa Goldberg’s stunning illustrations and her vision truly added another layer to the whole book, and especially to the vignettes in the middle.

Here are two examples:

Middles Melissa 1

Middles Melissa 2

Good luck drafting your own marvelous middles for your picture books!

WRITING CAPTIVATING MIDDLES TOOLBOX AND ESSENTIAL STEPS

by Beth Anderson

Muddy, mediocre middles quickly quash readers’ enthusiasm for the story. To create a captivating middle you’ll need a full toolbox of writer skills. Here are the essentials as I see them—and the reminders I give myself as I revise.
• Plot the arc with a clear inciting incident and escalating tension.
• Build scenes.
• Keep your main character active.
• Pay attention to motivation and stakes—keep the emotional arc driving the story.
• Create effective transitions.
• Enhance turning points.
• Craft page turns.
• Use pacing techniques to keep the story moving.
• Weave in necessary context and make it relevant to the action—no info dumps.
• Immerse readers in the experience of the main character. This involves “Show don’t tell” and other considerations.
• Tie it all tightly with the essential, uniquely-through-you, “heart” thread.
For me, beginning, middle, and end evolve simultaneously in the writing process because you really can’t craft one well without the others. But once I’m able to eke out a middle, I have lots to work with, and I’m on my way!

EXCAVATING THE HEART OF A COMPELLING MIDDLE

by Dawn Prochovnic

Middles are what seem to come most easily to me—or more accurately, it’s the story ideas for which I have strong middles that I actually sit down and write and stick with to the end.

I have a LONG list of story ideas, and I update this list regularly as new ideas pop into my head. Many of these ideas remain just that—ideas. They seem SO GOOD on the surface, but I have difficulty figuring out how to make something of them. Other ideas really grab hold of me and insist on being written. For me, that urgency and insistence comes from the middle of the story. It’s the middle of the story that begs to be let out of my head. It’s the middle of the story that spills out of me. It’s the middle of the story that compels me to find a strong opening and satisfying ending, and it’s the middle of the story that I sometimes have to completely reimagine in order for the story to reach its full potential.

My forthcoming book, MAMA’S HOME (Familius, 2024), provides a great example of this process. The working title for the original draft of this story was CHILDHOOD BLISS. It was a slice-of-life story about a joyful, play-filled, childhood. I wrote it on scraps of paper and in notes on my phone while my youngest child (now a sophomore in college) blissfully engaged in the imaginative play area in our local children’s museum. I loved the idea of a story about everyday, child-centered activities that bring joy into a child’s life, and that collectively make for a bliss-filled childhood.

Over time, it became clear that the story would need a stronger hook in order to become a book. I loved the story enough to keep working on it, which led to different stories with essentially the same “middle.” For example, for a time, the story was entitled GRANDMA’S HOUSE IS HAPPINESS, and associated revisions incorporated the elements of connection with an active and engaged grandparent. Eventually, the focus shifted to the excitement and delight in sharing everyday, joyful activities with a parent who returns home after being away for an extended period of time. With that angle, the current title emerged, and I revised the story to incorporate the preparations for and anticipation of Mama’s return.

When I submitted this version to Familius, their team wondered if I might be open to a more specific reason for Mama being away— the arrival of a new sibling. This brought additional revisions that incorporated the anticipation and preparations for a new sibling along with Mama’s return and featured activities that could be engaged in with a new sibling in tow. For this revision, I also looked for opportunities to emphasize and lean into the enduring and evolving nature of the relationship between Mama and an older child.

Throughout the revision process, the essence of the story, childhood bliss, remained intact as the story evolved into the version that will be made into a book. The story idea that took hold of me from the start and insisted on being written was the middle. It’s the part of the story that I connected with so deeply right from the start, and that kept me motivated to keep working on it until it was just right for its eventual publishing home.

ROSIE’S ROADMAP TO A CAPTIVATING ENDING

by Rosie Pova

The meat of the story is in the middle, so make sure it’s full of action, go ahead and throw in a little mid-way twist, too, and let us learn something new or something more in-depth about your character. Grab the reader’s attention by fleshing out an irresistible personality for your character, bring us along on the emotional journey with every scene, and plant little questions we’d want to find out the answers to.

Middles can be challenging, but they are also an opportunity to go all in and turn a reader into a fan.

Now, go move and shake your middles!

MORE WISDOM ON THE WAY!

Follow my blog or keep a close eye out because we have more “writing middles” wisdom coming from Beth Anderson, Rosie Pova, Dawn Prochovnic, and Melissa Stoller.

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

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

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1, part 2, part 3)

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

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

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

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

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kid-lit writing wisdom

Last week Ellen Leventhal and I focused on building a story via cause and effect and how a weak cause and effect thread can lead to an episodic story. If you missed this mini-course, you can find it here. If you read the post, but missed the links to the additional resources links see below.

Read my blog post about EPISODIC STORIES here.

Read my post about CAUSE AND EFFECT here.

Today, Rob Sanders, Michelle Nott, Kirsti Call, Vivian Kirkfield, and Pippa Chorley share their valuable words of wisdom for writing captivating middles.

Before we move into sharing our wisdom, I have some good news to share.

Happy Book Birthday

Kid-Lit Wisdom team member, Melissa Stoller and her co-authors Callie Metler and Shirin Rahman picture book PLANTING FRIENDSHIP: PEACE, SALAAM, SHALOM (Illustrated by Kate Talbot) will be born on October 19, but it is available for pre-order now. Congratulations, my friends!

PLANTING FRIENDSHIP

I just discovered that my friend, 2021 Word Birds group member, and fantastic author/illustrator Laurie Smollett Kutscera’s new baby MAYA’S TREASURE was born yesterday!!!! CONGRATS Laurie. This is a lovely book. My heart has been connected to it for a long time.

Maya's Treasure

Words of Wisdom

THREE HAIKUS ON MIDDLES

by Rob Sanders

When writing middles
Always think rising action—
Attempts and failures

Keep raising the stakes
And readers will then relate
To your character

Step by step by step
Middles tie us to the start
And lead to the end

WHAT IF?

by Michelle Nott

There are so many names for the place where our manuscripts get stuck — right after our brilliant beginnings and right before our extraordinary endings… it’s the muddy middle, the murky middle, the mushy middle. But why not the Magnificent Middle? Because it can be so hard to get out of the muck! But what if there were a way…

That’s it… ask yourself, “What if…?”

Not sure what your character will say next? What if he says this or that or shouts or cries or stays silent? (Make a list of the possibilities). Then, what would happen?

Not sure where your characters will go next? What if they go here or there or to the moon or to the cinema or into the garden or nowhere at all? (Make a list). Then, what would happen?

Not sure what your characters will do next? What if they do this or that or ride their bikes or eat a poisonous snake or surf in the Board Master competition or do nothing at all? (Make a list). Then, what would happen?

Check your lists. What combinations of dialogue, scene, and action will lead your story to that extraordinary ending you have in store for your readers? But what if none of those possibilities work? That’s ok! Because you can tweak your ending accordingly.

In my experience, when I am forcing my story and characters to go specifically to only one possible ending, the messy mucky middle becomes quicksand that leads to no one going anywhere. So what if you let your inner critic take a nap, put your plot outline under some books, and go on an imaginary, non-committal, “just ’cause” adventure with your characters? You can stop at any point. You can open a new document and start again as many times as you want. The narrative will eventually pull you by your own bootstraps into your story and take you where it needs to go… and it will be magnificent!

KEEP THE MAIN CHARACTER ACTIVELY MOVING FORWARD (with a nonfiction focus example)

by Vivian Kirkfield

Just like in a family with three children, the middles of your manuscript sometimes don’t get the same attention as the youngest (opening lines) and the oldest (satisfying ending). But the middle of your manuscript is where the action is, where your main characters are pursuing their goals, overcoming obstacles and inviting the reader to connect with them.

That’s why I love writing nonfiction picture book biographies…the middle pretty much writes itself. 😊 Well, perhaps not quite. 😊 But the plot and pacing are provided by the true events of the person you are writing about. It’s all a matter of choosing which information to include and which to omit. I think the key is to keep the main characters front and center…keep the main characters active…and keep the main characters moving forward towards realizing their goals.

Here’s an example from MAKING THEIR VOICES HEARD: The Inspiring Friendship of Ella Fitzgerald and Marilyn Monroe:

1. Beginning: Two girls, different on the outside, but inside they have hopes and dreams and plans of what might be. Ella wants to share her voice with the world and Marilyn wants to become a great actress.
2. Middle: Ella sings at the Apollo Theatre and signs a contract with a band. Marilyn captures the attention of photographers and signs with a motion picture studio. Ella encounters discrimination as she works in the entertainment industry but continues to perform wherever she can. Marilyn battles salary inequality and lack of control of her career but she studies Ella’s singing. Marilyn buys a ticket to Ella’s show to thank her for her help. Ella confides in Marilyn. Ella and Marilyn hatch a plan. Marilyn calls the club owner. Ella practices her songs. Marilyn attends the performance. Ella wows the audience.
3. End: Ella never misses one of Marilyn’s movies. Marilyn listens to all of Ella’s songs. Two stars, different on the outside, but on the inside, both understood that even stars need a little help to shine.

Just remember – keep your main character actively moving forward towards realizing her goal and your middle will keep your readers engaged!

ella-and-marilyn

IT’S ALL ABOUT THE STRUCTURE

by Kirsti Call

Compelling middles come from stellar structure. Including a repeating refrain, or the rule of three helps readers engage, anticipate the structure, and want to turn the page.

A DELICIOUS SANDWICH FILLING: GIVE YOUR MIDDLE FLAVOR

by Pippa Chorley

Think of the middle of a story as a delicious sandwich filling. Full of flavor. It is where your story truly develops for your main character. It is where they face their main obstacles and we see their characters being tested and reacting and learning along the way. It can often be neglected in your first round of edits, even your second and third but without a strong middle, it is easy for your readers to lose interest. So, here are my top tips for making the middle flavorsome:

1. Vary the setting for the middle section. Whether your story has emotional or physical obstacles, try to make the middle scenes exciting and different for the illustrator.
2. Include a variety of obstacles or plot complications that your main character must overcome before they can reach their ultimate goal. Try to build these as you go, creating more and more climax along the way.
3. Don’t be too wordy. Keep the middle active and moving forwards. I often use a plot clock for this. I find this very helpful in checking I maintain the pace of the story.
4. Raise uncertainty through emotional depth. As your main character reaches their low point, make the reader uncertain about the outcome too. This will heighten tension and make them care about their main character more.
5. Take a break. When you feel your middle isn’t working, put the story aside for a few days. Take a walk, a bath or a nap and let the story play out in your head over and over. When you are most relaxed, that is when solutions come and your problem solving can begin.

No more tasteless middles!

MORE WISDOM ON THE WAY!

Follow my blog or keep a close eye out because we have more “writing middles” wisdom coming from Beth Anderson, Rosie Pova, Dawn Prochovnic, and Melissa Stoller.

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

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

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1, part 2, part 3)

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

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

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

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

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kid-lit writing wisdom

The Kid-Lit Writing Wisdom team is gradually working our way into topics such as submission and marketing. But we believe it’s important to talk about the craft of writing along with the writer’s life first, which will also include the topic of critiques and critique groups. When we last left off with the Wisdom series, we talked all about writing outstanding first lines and beginnings (part1, part 2, part 3). Now it’s time to tackle middles. I struggled with words to describe a good middle and my favorite words were “captivating” “compelling” and “engaging.” They all have similar meanings. If your middle doesn’t compel readers to keep turning pages, it probably needs some tweaking or a rewrite. The same goes for engage or captivate. What will make your readers want to keep reading? With my many years as a professional critique writer and the former acquisitions editor for Blue Whale Press, I can tell you that you can have the best beginning and ending, but if the middle doesn’t keep the story train on the track, the story will never survive.

This month, I’m excited to share our wise authors’ many fabulous tips and examples for writing strong middles. These tips can also be used for revising your stories’ middles, so you get double the treasure with these posts. Today’s post will focus on building a story via cause and effect and how a weak cause and effect thread can lead to an episodic story. Ellen Leventhal and I were on the same wavelength, so we both wrote about cause and effect. Probably no surprise, but my portion is quite long, so I’ll start with Ellen’s wonderful thoughts and examples and then finish with my mini-lesson for writing middles. Before we move into sharing our wisdom, I have some good news to share.

Happy Book Birthday

Beth Anderson’s fantastic book TAD LINCOLN’S RESTLESS WRIGGLE: Pandemonium and Patience in the President House (illustrated by S.D. Shindler) is coming into the world on October 5!

Congratulations, Beth.

TAD LINCOLNS RESTLESS WRIGGLE FC

My friend and fellow Word Birds 2021 member Nancy Churnin has two new babies being born!

DEAR MR. DICKENS (illustrated by Bethany Stancliffe) with a birth date of October 1 and A QUEEN TO THE RESCUE: The Story of Henrietta Szold, Founder of Hadassah (illustrated by Yevgenia Nayberg) with a birth date of October 5.

Congratulations, Nancy!

mr. Dickensimage0 (16)

Congratulations!

My longtime critique partner and friend Hannah Holt’s fun, funny, and educational picture book A HISTORY OF UNDERWEAR: With Professor Chicken (illustrated by Korwin Briggs) is now available for preorder.

Congratulations, Hannah!

Final Cover Underwear_Medium

Now for some words of writing wisdom. . . .

Words of WisdomTHE MIDDLE SHOWS US HOW THE MAIN CHARACTER GOT TO THE END

by Ellen Leventhal

Somewhere between the excitement of those glorious first lines and the relief of coming up with a satisfying ending, something has to happen. With picture books, we don’t have much time or space to bridge those two, but the middle IS the story. It’s the journey, and that’s true whether you are utilizing a traditional arc or something a little different. We still need to see the character move forward toward that end. When I teach writing to kids, I talk a lot about cause and effect. For example, in my book, A FLOOD OF KINDNESS, I first jotted down the following. Because there was a flood (cause) Charlotte lost her possessions, and her home was ruined.(effect) Because her home was ruined, (cause) she had to go to a shelter (effect). I did that for each scene until the cause and effect got us to the ending. It would be so much easier to say something like, “Charlotte’s house flooded, but she learned that doing kindness for others would help her heal, so she gave a boy her teddy bear.” Easy, but not a story. The middle is where we learn all about Charlotte, her emotions, obstacles, and growth. It tells us HOW she got to the end.

I don’t always approach middles that way, but when I do, I come up with different cause and effect scenarios. I think about all the different ways my character could reach the ending. How do I want my character to achieve the goal? Or not achieve her original goal? Once I choose a path, I begin to write. I work on flow and transition, always asking myself questions such as, does this work with the beginning? Does it lead to the outcome? Do I want to change the outcome? Is it child-friendly?

This is just one trick in the toolbox of writing middles, and to be honest, it doesn’t always seamlessly lead to a satisfying ending. But that’s ok because, as we all know, writing is revising.

The middle has the power to bring our character to life and truly bring us on the journey with her. It’s where we see her emotions and obstacles. It’s where the reader hopefully connects with the character. Writing the middle is not easy, but when that messy middle flawlessly brings us to our satisfying ending, it’s magic.

WK_FloodOfKindness_Cover_2 (002) Official

SOLID MIDDLES VS FRACTURED MIDDLES

by Alayne Kay Christian

I went through the Art of Arc course to see if I could choose just a couple top tips, but there is so much that goes into writing compelling middles that it was difficult to choose. However, the fact that I dedicate two full lessons to the topics of cause and effect and episodic stories convinced me to share some already existing blog posts on these very important topics. You will find the links below. These two posts don’t only have a wealth of information, they offer worksheets and ways to test if your story is episodic. These are old posts, so any deals or giveaways are no longer valid.

EPISODIC STORIES AND CAUSE AND EFFECT

FRACTURED MIDDLES

What would a Dachshund look like without a middle? A school bus? The Eiffel Tower? Imagine just about anything without a middle, and what do you get? What if the Dachshund, school bus, or the Eiffel Tower look like if they had a weak middle? What if the middles of the Dachshund, school bus, or Eiffel Tower were disconnected from the beginning and ending of your story? In the following video, I have a little fun demonstrating solid middles vs fractured middles using crude and wacky drawings.

Read my blog post about EPISODIC STORIES here.

CAUSE AND EFFECT RUFFLE

In the following video I do a clumsy ruffle demonstration explaining how a solid cause and effect thread vs a broken one can impact your story’s middle.

Read my post about CAUSE AND EFFECT here.

EMOTIONAL ROLLER COASTER RIDE (a little something extra)

EMOTIONAL ROLLERCOASTER v3

I love picture books that offer an emotional roller coaster ride. Since, I already have an example that I did for a few recent manuscript critiques using the book THOSE SHOES by Maribeth Boelts and illustrated by Noah Z. Jones, I share the PDF via the following link Middles Those Shoes. This example highlights the many wonderful ups and downs this story ride offers. In addition, it points out the links in the cause and effect chain. This analysis is a good example of one way to use published books as mentor texts.

The ups and downs of the roller coaster ride are usually created by tension that results from obstacles/conflict/struggles. As I was going through Art of Arc’s lessons about writing middles, the following blurb jumped out at me. I thought it worth sharing as I end my portion of this post and start preparing my next blog post with more great words of wisdom from our blog team.

Straightforward and struggle-free stories, with no apparent consequences or sense of what might happen if the main character doesn’t succeed, will generally lose a reader’s attention. But when obstacles (conflict) create struggles and force the main character to make choices and decisions, the story is taken in new and exciting directions. This engages the reader.”

I can’t wait to share more good news and the treasure trove of wisdom about middles from our other wise authors. Follow my blog or keep a close eye out because we have more “writing middles” wisdom coming from Beth Anderson, Kirsti Call, Pippa Chorley, Vivian Kirkfield, Michelle Nott, Rosie Pova, Dawn Prochovnic, Rob Sanders, and Melissa Stoller.

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

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

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

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

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

REMINDER SEASON OF KINDNESS

Before I move on to the video, I want to remind everyone that your opportunity to win fabulous prizes for you, your children, or your classroom will end on October 1. The Season of Kindness guidelines can be found here. I hope you’ve been working on creating kindness, and I will be pleasantly surprised in the coming days when you share your acts of kindness in comments.

CHECK OUT THESE FABULOUS PRIZES

PRIZES, PRIZES, PRIZES!!!!

Winners will be chosen based on creativity, humor, fun, kind acts, bonus book photos, and following the guidelines accurately. The top eight winners’ names will be drawn from a hat randomly, and prizes will be offered in an elimination process. So, the first name drawn from the hat will have the first pick of the 8 prizes. The next person will choose from the remaining seven prizes, and the third will pick from the remaining six prizes, and on and on.

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christmas in July

 

WE ARE

 

EXTENDING THE CONTEST DEADLINE

I’ve decided to expand Holiday and Christmas in July into A SEASON OF KINDNESS AND FUN. After I posted the contest and spread the news, I realized I couldn’t have chosen a worse time. People are busy taking final vacations and getting ready to go back to school. Soon, people will be adjusting to going back to school. Plus, since we really want to give teachers a chance to participate, I believe it is imperative to extend the deadline date.

 

The new deadline is October 1, 2021!

 

Goodness and love washed over the city. Summer ReadingThings have been quiet for Weed lately, so let’s bring the heart of Christmas back . . . summer style. And remember . . . Christmas isn’t the only time of year to give or be kind. How much Christmas or holiday spirit can you and your family and friends stir up?

HOLIDAYS IN JULY if you don’t celebrate Christmas, please don’t let that keep you or your children from stirring holiday spirit in July. As you read, replace the word “Christmas” (and anything associated with Christmas) with your most important or beloved holiday (and the things you associate with that holiday) and build the activities and photos around that. Just be creative and have fun.

We have seven different ways you can win the contest (You choose 1 activity from 7 options–of course, you are welcome to do as many activities as you want.) We have lots of fabulous prizes (or should I say Christmas-in-July gifts). Ellen Leventhal, Melissa Stoller, Nancy Churnin, Tina Shepardson, Pippa Chorley, Vivian Kirkfield and yours truly are offering chances to win signed books, Zoom calls, class visits, critiques, and even a picture book writing course. See the prize details at the end of this post.

WAYS TO WIN (BE CREATIVE—BONUS POINTS FOR CREATIVITY)

All of these activities could include children for some unique summertime family experiences.

Teachers, join in the fun to win prizes for your classroom. Save the activities to do with your students. 

Note: I know it’s possible that Covid restrictions might be an issue for some of the ideas. They are just ideas to get you thinking. Plus maybe you can use the ideas in the future when things are more “open.”

OPTION #1: MAKE AN ACTS-OF-KINDNESS ADVENT CALENDAR

WK_FloodOfKindness_Cover_2 (002) Officialqueentree

Because THE WEED THAT WOKE CHRISTMAS and Nancy Churnin’s THE QUEEN AND THE FIRST CHRISTMAS and Ellen Leventhal’s A FLOOD OF KINDNESS are all about kindness, unity, community, and hope, I believe the following is a perfect Christmas-in-July activity.

Make an Acts-of-Kindness Advent Calendar. If you have children, this would be a perfect thing to work on together. Choose a set number of good deeds to accomplish by August 25, and write each one down and place it in a numbered envelope. Then, choose one activity to do each day. Help an elderly, sickly, or disabled neighbor. Read a book to someone who needs cheering up. Make cards and mail them to someone who needs cheering up. Pull weeds from the yard of someone who is not able to do it themselves. Bring a Christmas-in-July treat to someone. Create a Christmas-in-July play, and perform at local nursing homes. They can also be simple acts such as giving someone a compliment. Helping someone unload their cart at the grocery story. Tell a joke to make someone smile. Draw a picture to make someone smile or inspire or encourage someone. Help an author or illustrator share the word about their book. Request a book at your library.

HOW TO ENTER THE CONTEST

  • Share a list of your acts of kindness—include photos if possible. If you include THE WEED THAT WOKE CHRISTMAS or any of our other author’s books in your photo, even better.
  • Post your completed Acts-of-Kindness list and photos on your blog any time between Sunday, July 25 and Friday, October 1.
  • Please include a mention of this contest, plus link.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos and Acts-of-Kindness list on Facebook or Twitter with a mention of this contest, plus link to this blog post. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter, tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

OPTION #2 DO SOMETHING CHRISTMAS-LIKE IN A SUMMERTIME WAY

Do something Christmas-like in a summertime way. Decorate a tree with summer items such as weeds, sunglasses, flip-flops, pool toys, drink umbrellas, swim suits, beach toys, and on and on. Make a holiday wreath or bouquet from weeds. The more creative the better. What would your Christmas in July look like? Take photos. 

HOW TO ENTER THE CONTEST

  • Post your photos with captions on your blog any time between Sunday, July 25 and Friday, October 1. Bonus points for including THE WEED THAT WOKE CHRISTMAS or any of our gift-giving authors’ books in your photo.
  • Please include a mention of this contest, plus link.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos on Facebook or Twitter with a mention of this contest, plus link. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

OPTION #3 SUMMERTIME ELF ON THE SHELF OR GARDEN GNOME MISCHIEF

Bring back the Elf on the Shelf. What kind of summer related mischief might your elf get into? Take photos. Or, if you are feeling really creative, replace Elf on the Shelf with a garden gnome or gnomes.

HOW TO ENTER THE CONTEST

  • Post your photos with captions on your blog any time between Sunday, July 25 and Friday, October 1. Bonus points for including THE WEED THAT WOKE CHRISTMAS or any of our gift-giving authors’ books in your photo.
  • Please include a mention of this contest, plus the link to this post.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos on Facebook or Twitter with a mention of this contest, plus the link to this post. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

OPTION #4 HELP A CHARITY

People had plentyThis one is related to option #1, acts of kindness. Help a Charity. People donate to shelters and food banks around the holidays, but as the months pass and summer fun begins, those gifts dwindle. Summer is a perfect time to help.

What might you and your children do to help others? A toy drive? A food drive? A pet food drive? Volunteer at an animal shelter. Sell lemonade and cookies to raise money to donate? Let us know how you helped others this summer. If you can include photos, that’s great, but it is understandable that you might not be able to.

HOW TO ENTER THE CONTEST

  • Share a list of your acts of kindness—include photos and captions if possible. If you include THE WEED THAT WOKE CHRISTMAS or any of our other authors’ books in your photo, even better.
  • Post your story about helping charities (or a charity) and photos with captions on your blog any time between Sunday, July 25 and Friday, October 1.
  • Please include a mention of this contest, plus the link to this post.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos on Facebook or Twitter with a mention of this contest, plus the link to this post. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

OPTION #5 HOST A CHRISTMAS-IN-JULY PARTY (MAYBE TIE IT IN WITH AN ACT OF KINDNESS OR HELPING A CHARITY)

People noticed each otherHost a Christmas in July party, which could include a gift exchange in July party. If you’re feeling creative, come up with a theme for the gifts that fits the season (think luau-inspired gifts or things you could use for a picnic or pool day). Or have a a White Elephant or Dirty Santa gift exchange. Perhaps the gifts could be Christmas items. Maybe you could even have your party guests bring donations for your Act-of-Kindness or Help-a-Charity activity. How can you use Christmas in July to help others?

HOW TO ENTER THE CONTEST

  • Take photos. If you include THE WEED THAT WOKE CHRISTMAS or any of our other authors’ books in your photo, even better.
  • Post your photos with captions and tell us about your party and gift exchange or creative donations from guests on your blog any time between Sunday, July 25 and Friday, October 1.
  • Please include a mention of this contest, plus the link to this post.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos and story on Facebook or Twitter with a mention of this contest, plus the link to this post. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

Queen Interior spread

THE QUEEN AND THE FIRST CHRISTMAS TREE BY NANCY CHURNIN “The tradition of the Christmas tree continues today, just as the hospital Queen Charlotte championed continues. And so do stories about Charlotte, who wasn’t like other princesses. She didn’t like fancy balls, and sometimes (well, a lot of times) smudged her gowns. But she is remembered and honored as one of the kindest and most beloved queens.”

OPTION #6 CREATIVE PHOTOS WITH OUR BOOKS (TRAVEL PHOTOS EVEN BETTER)

If you own a copy of THE WEED THAT WOKE CHRISTMAS or any of our Santa-Authors’ books, take a summertime photo of the book or books. It can include your children, parents, self, pets, boats, sand snowman, or sand castle, summer foods, flowers, flip-flops, summer toys, beach toys. Weed loves traveling! If you go on a vacation, take the book with you. The more creative you get the better.

HOW TO ENTER THE CONTEST

  • Post your photos with captions and tell us about your summer or vacation fun on your blog any time between Sunday, July 25 and Friday, October 1.
  • Please include a mention of this contest, plus the link to this post.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos and story on Facebook or Twitter with a mention of this contest, plus the link to this post. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

OPTION #7 COME UP WITH YOUR OWN IDEA

Get creative. Come up with something we haven’t thought of to share your Christmas-in-July celebration. Brainstorm with friends or family, and have fun! Don’t forget to document it via photos.

HOW TO ENTER THE CONTEST

  • Post your photos with captions and tell us your Christmas-in-July story on your blog any time between Friday, Sunday, July 25 and Friday, October 1.
  • Please include a mention of this contest, plus the link to this post.
  • Then pop over here, and add your blog’s post-specific link in the comments section, and I will share it on my blog in September.
  • If you don’t have a blog, share your photos and story on Facebook or Twitter with a mention of this contest, plus link. Then pop over here and add your post-specific link in the comments section.

How to find your post-specific links on Twitter and Facebook

To find your post-specific link for Twitter tap the share icon (little up arrow under the tweet) then click on “Copy link to Tweet.” Then paste it somewhere to be copied later or to paste into your comment.

To find your post-specific link for Facebook find the time stamp located at the top of your post under your name, click on it, and the link will show at the top of the page, and you can copy it.

queen

THE QUEEN AND THE FIRST CHRISTMAS TREE BY NANCY CHURNIN

ABOUT OUR CHRISTMAS-IN-JULY AUTHOR-SANTAS

Pippa Chorley is the award-winning author of three picture books. She grew up in a picturesque village in England and now lives in sunny Singapore with her husband and their three children. As a child, she spent her days dreaming up magical worlds on her family dog walks. Today, Pippa can still be found composing stories on her morning walks with their springer spaniel, Jasper.

Trained as a primary school teacher, Pippa loves to write stories that make children giggle and think outside the box. Her newly released picture book, STUFFED! (illustrated by Danny Deeptown) empowers children to use their imaginations and problem solve with courage and kindness. Watch out for Pippa’s next picture book OUT OF THE BOX, which is due to be released at the end of 2021 and is sure to be ‘out of this world’! To learn more about Pippa and her books visit pippachorleystories.com.

Alayne Kay Christian is an award-winning children’s book author and the creator and teacher of a picture book writing course Art of Arc. She was the co-founder of Blue Whale Press and the acquisitions editor and art director for three years. In addition, she shares her knowledge with writers through free and affordable webinars at Writing for Children Webinars. She has been a picture book and chapter book critique professional since 2014, and she worked as a 12 X 12 critique ninja for three years. Her published works include the Sienna, the Cowgirl Fairy chapter book series, and picture books BUTTERFLY KISSES FOR GRANDMA AND GRANDPA, AN OLD MAN AND HIS PENGUIN: HOW DINDIM MADE JOÃO PEREIRA DE SOUZA AN HONORARY PENGUIN, and THE WEED THAT WOKE CHRISTMAS: THE MOSTLY TRUE TALE OF THE TOLEDO CHRISTMAS WEED. Her fourth picture book, FAITH BENEATH THE BRIDGE is planned for release in the fall of 2021. Born in the Rockies, raised in Chicago, and now a true-blue Texan, Alayne’s writing shares her creative spirit and the kinship to nature and humanity that reside within her heart. To learn more about Alayne visit alaynekaychristianauthor.com. 

nancyheadshotNancy Churnin is the award-winning author of ten picture books about people who persevered to achieve their dreams and make the world a better place. Among her awards: a Junior Library Guild selection, Kirkus Star, multiple National Council for the Social Studies Notables, multiple Silver Eureka Awards, multiple inclusions on A Mighty Girl list, Sydney Taylor Notable, Towner Award nominee, Sakura Medal finalist, Notable Book for a Global Society, Anne Izard Storytellers Choice Award and the South Asia Book Award. DEAR MR. DICKENS and A QUEEN TO THE RESCUE, THE STORY OF Henrietta Szold, FOUNDER OF HADASSAH will be out in October 2021. A native New Yorker, Nancy lives in North Texas with her family, which includes a dog named Dog and two cantankerous cats. To learn more about Nancy visit nancychurnin.com/

mr. Dickensimage0 (16)

 

Ellen Leventhal is an educator and writer in Houston, TX. Ellen is the co-author of Don’t Eat the Bluebonnets, the author of Lola Can’t Leap, and the upcoming A Flood of Kindness, which releases in April 2021 from Worthy Kids/Hachette Book Group. She has been published in magazines, newspapers, as well as in poetry and short story anthologies. Ellen loves school visits (in person or virtual)! When visiting schools, she coordinates with and supports literacy programs as well as diversity and anti-bullying programs. Ellen’s best days are when she can interact directly with the students and spread her love of literacy and kindness. To find out more about Ellen’s books and writing projects, please go to Ellenleventhal.com.

WALKOUTCover-pdfTina.outside.head2020

Tina Shepardson An award-winning teacher for 33 years, Tina shared thousands of books with children. Her picture book, Walkout, released in 2020, with Clear Fork Publishing. A chapter book, Canines Unleashed, is set to release in 2022. Tina is a Children’s Book Academy graduate and an active member of 12×12 and SCBWI. Now a full-time author, find her in Upstate New York with her family, enjoying the latest snowstorm with her akitas, and writing more books. Learn more at tinashepardson.com.

Melissa Stoller is the author of the chapter book series The Enchanted Snow Globe Collection – Return to Coney Island (Clear Fork Publishing); and the picture books Scarlet’s Magic Paintbrush, Ready, Set, GOrilla!, and Sadie’s Shabbat Stories. (Clear Fork). Melissa is a Blogger and Course Assistant for the Children’s Book Academy, a Regional Ambassador for The Chapter Book Challenge, a volunteer with SCBWI/MetroNY, and a founding member of The Book Meshuggenahs. In other chapters of her life, Melissa has worked as a lawyer, legal writing instructor, freelance writer and editor, and early childhood educator. She lives in New York City with her family, and enjoys theatre, museums, and long beach walks. To learn more about Melissa and her books visit MelissaStoller.com.

Writer for children—reader forever…that’s Vivian Kirkfield in five words. Her bucket list contains many more words – but she’s already checked off skydiving, parasailing, and visiting kidlit friends all around the world. When she isn’t looking for ways to fall from the sky or sink under the water, she can be found writing picture books in the picturesque town of Bedford, New Hampshire. A retired kindergarten teacher with a masters in Early Childhood Education, Vivian inspires budding writers during classroom visits and shares insights with aspiring authors at conferences and on her blog where she hosts the #50PreciousWords International Writing Contest and the #50PreciousWordsforKids Challenge. Her nonfiction narratives bring history alive for young readers and her picture books have garnered starred reviews and accolades including the Silver Eureka, Social Studies Notable Trade Book, and Junior Library Guild Selection. Vivian’s books are available at Barnes & Noble and indie bookstores, as well as Bookshop.org and Amazon. If you order from her local indie, Toadstool Bookstore in Nashua, you can get a signed copy. If you order from anywhere else and would like a signed bookplate, please email her at: viviankirkfield@gmail.com. To learn more about Vivian and all of her books visit viviankirkfield.com.

PRIZES, PRIZES, PRIZES!!!!

Winners will be chosen based on creativity, humor, fun, kind acts, bonus book photos, and following the guidelines accurately. The top eight winners’ names will be drawn from a hat randomly, and prizes will be offered in an elimination process. So, the first name drawn from the hat will have the first pick of the 8 prizes. The next person will choose from the remaining seven prizes, and the third will pick from the remaining six prizes, and on and on.

HAVE FUN!!!!

 

 

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kid-lit writing wisdom

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

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

WE HAVE A BONUS!

writing for children webinars and courses

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

Words of Wisdom

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

by Ellen Leventhal

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

The first few lines matter for several reasons.

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

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

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

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

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

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

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

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

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

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

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

Happy reading and writing, everyone!

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

By Rob Sanders

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“I write the beginning last.” -Richard Peck

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

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

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

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

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

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

by Vivian Kirkfield

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

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

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

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

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

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

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

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

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

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

A MINI-LESSON IN WRITING GREAT BEGINNINGS

by Rosie Pova

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

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

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

2. Give a sense of the character’s personality

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

3. Establish the premise.

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

4. Establish the tone.

There should be no confusion about that.

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

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

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

A FEW MORE FIRST LINES FROM MY BOOKS

by Alayne Kay Christian

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

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

Slippery.

            Heavy.

                        Soaked with oil.

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

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

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

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

What: João discovers a dying penguin.

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

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

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

Spring rains showered, and Weed sprouted.

Summer sun warmed. Weed grew.

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

But no one noticed Weed.”

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

BUTTERFLY KISSES FOR GRANDMA AND GRANDPA, illustrated by Joni Stingfield

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

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

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

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

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

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

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

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

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

MORE TO COME!

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

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kid-lit writing wisdom

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

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

Excerpts from Art of Arc

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

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

WE HAVE A BONUS!

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

Happy Book Birthday

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

Peach and Cream Photo Spring Quote Twitter Post

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

Words of Wisdom

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

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

by Alayne Kay Christian

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

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

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

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

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

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

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

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

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

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

HOW DO WE KEEP OUR READERS INTRIGUED AND WANTING MORE?

by Kirsti Call

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

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

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

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

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

FIRST LINES THAT ECHO THROUGHOUT THE STORY—AN EFFECTIVE TECHNIQUE

by Laura Gehl

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

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

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

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

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

FIRST LINES PROVIDE A PEEK INTO THE WORLD OF THE STORY

by Melissa Stoller

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

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

SCARLET’S MAGIC PAINTBRUSH

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

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

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

READY, SET, GORILLA!

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

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

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

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

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

by Dawn Babb Prochovnic

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

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

MORE TO COME!

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

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kid-lit writing wisdom

For this round of Kid-Lit Writing Wisdom Q & A, I asked the team why it’s important for writers to read children’s books and how one might get the most out of reading them. To read the fabulous answers from last week (Part 1 of 2) click here. Before we get started with words of wisdom. If you’d like to see Rob Sander’s inspiration for TWO GROOMS ON A CAKE, check out this clip from the Today Show. It’s very good. Congratulations, Rob!

Words of Wisdom

SPREADSHEETS AND MENTOR TEXTS!

by Beth Anderson

Since others are offering thoughts on why it’s important for authors and illustrators to read children’s books, I thought I’d share a little on how I go forward from there. One of the best pieces of advice I received when I started this journey was from critique partner Julie Rowan-Zoch. She not only told me to read LOTS of children’s books, but also to log them on a spreadsheet for later reference. On my log, I record genre, structure, NF/F, topics, and notes which can include story summary, beginnings and endings, likes/dislikes, and anything else interesting. And WA-LA! I have an amazing reference tool that grows and grows! It’s a 5 minute job that really pays off. If I need to see how an author made a complex topic simple, or used 2nd person narration, or broke the 4th wall, or tackled a bio, or used quotations, or handled 2 main characters, or superheroes, or a myriad of other things, all I need to do is search the document for key words and I’ve got some books to go to as mentor texts. Taking that a step further, when I find a book that knocks my socks off, I type up the text. (It’s truly astounding what you see when you type up the text!) I note page breaks, line breaks, word count, etc. And then use colored highlighters as I analyze and examine how that author did what they did. Transitions, context, characterization, conflict, arc, vital idea threads, backstory, voice, imagery, and on and on. I look for whatever I’m struggling with or find particularly amazing. Many times I use the same typed up text for different elements of craft as I work through different manuscripts. I’m learning from the masters! The more you dig in, the more magic you see! And then…at different points in my own manuscripts, I get out those colored highlighters and attack my own words on the page. Seeing elements of craft in others’ work, helps me identify needs in my own.

STUDYING ALREADY PUBLISHED BOOKS CAN HELP MAKE YOUR STORY SING!

by Vivian Kirkfield

My love affair with picture books began on my mother’s lap as she turned the pages of THE LITTLE HOUSE by Virginia Lee Burton. The year was 1949 – I was two years old – and with every new book, I discovered a magical world. Stories like BLUEBERRIES FOR SAL, THE CARROT SEED, and GOODNIGHT MOON, spirited me to places I had never been and introduced me to characters I had never met. Although written more than 70 years ago, those stories and other classics can still provide today’s writers with tips on structure, character development, plot, pacing, and the importance of opening lines and satisfying endings. Of course, it’s also crucial to read current books published in the last five years, as well as all of the Newberry and Caldecott winners.

Read first for enjoyment. Let the words and the story surround you like a beautiful melody. Then read the book again and pay attention – how did the author draw you in – what engaged you. Deconstruct the text (some people like typing out the words) and examine the opening lines, the page turns, the ending. My bookshelves are overflowing and I can’t always buy all the books I’d like to, but libraries are a fabulous resource, as well as YouTube where you can find many books being read aloud, especially the older classics and the popular award-winning newer ones. Even the Amazon ‘Look Inside’ feature can be helpful in providing opening lines and a bit of the flavor of the book. There are also Facebook groups and blogs and challenges like ReFoReMo.com (Reading for Research Month) where you can find discussions and information on using picture books as mentor texts.

And here’s a tip on using mentor texts in a clever way that a writer friend, Judy Cooper, shared with me: Find your favorite picture book in the genre you are writing (nonfiction, rhyme, fractured fairytale, or whatever) – the one you absolutely love. Then copy out YOUR own manuscript onto little post-it notes and stick one on each corresponding page of the already published book that you love – your opening lines go on the first page of the published book, and so on. Do you have enough scenes, page-turns? Does YOUR story have a good rhythm to it. Does it engage you like the published book did? If the answer to any of those questions is no – please don’t give up – remember what Stephen King said, “Writing is rewriting” – and studying already published books can help you make your story sing!

ONE OF THE BEST WAYS TO DEVELOP AS A WRITER IS TO READ, READ, READ

by Ellen Leventhal

My first thought about why I read children’s books is, “Why wouldn’t I?” I love them! Reading children’s books has always been part of my life as both a child and an adult. That may sound strange, but it really isn’t. As a teacher I read them as part of my job, and as I writer, I read them as part of my job. A fun part, but still part of the job. I consider reading children’s books a type of professional development. I want to continue to improve my craft, and one of the best ways to do this is to read, read, read.

I read middle grade novels for the joy of reading, since I don’t write them (at least at this moment). I mostly write picture books, and I am working on a chapter book, so I approach them a bit differently. I start by reading them through to allow myself to feel the story without dissecting it. Then I think about something I’m having some difficulty with and look at how other authors handle it. Did they slow down the action to ramp up the emotion? Did they use figurative language to make it more lyrical? What did they do to add a twist at the end? I sometimes type out the text and study the page turns, etc. I find this helps me with my pacing.

But honestly, I read children’s books to surround myself with something I love and something I love to share. And when I face the blank page and begin to wonder if I can do this, I look at my stack of books and they give me the spark I need to get started.

READING IS ONE OF THE EASIEST WAYS TO BECOME A BETTER WRITER

by Dawn Babb Prochovnic

When I teach writing workshops at schools, libraries, and professional conferences, the most important advice I give to aspiring writers of all ages is that reading is the easiest way to become a better writer. When young writers press for more information on why the above statement is true, we talk about how reading exercises the muscles in the brain and how a stronger brain is capable of writing stronger stories. We also talk about how reading helps expand our vocabulary and trains our brains to recognize and replicate the structural aspects of effective writing. We talk about how reading other authors’ books can help writers come up with their own ideas. And we talk about how nonfiction books for young readers are a particularly good resource for those (adults included) who want to learn something new, because children’s literature is especially good at presenting complex information in comprehensible ways. We also talk about how reading a good book can be relaxing, which might be just what your brain needs to help you come up with good ideas. And, we talk about the Pleasure Reading Award I earned for reading the most books in Mr. Snook’s fifth grade class and how I’m certain that all of that reading significantly contributed to my eventual successes as a writer.

I could go on and on about the wisdom of reading children’s books, but the truth of the matter is, the main reason I do so is because I sincerely enjoy it. I especially love picture books, which likely comes as no surprise, since that is what I most often write. When my kids were little, we read stacks and stacks of picture books together, on topics carefully curated to their particular interests, coupled with whatever authors/publishers/themes I was researching at the time. My library system allows up to 99 books to be checked out by a single patron. Pre-pandemic it was not unusual for me to have upwards of 80 borrowed picture books in my home at any given time!

READING MENTOR TEXTS HELPS TO EXPLORE WHAT WORKS AND WHAT DOESN’T WORK FOR THE BOOKS YOU WANT TO WRITE

by Michelle Nott

I read children’s books, anything from picture books to MG, for many reasons.

First, picture books are an extraordinary combination of poetry and art which are two of my favorite things! Even if a book is not written in verse, the author has still chosen each word, literary device, and structure in a very intentional way. When I read picture books, I’m not only paying close attention to what authors write, but what they don’t. The white space is so important to create pause and reflection. It’s a true skill to understand how leaving words out can allow the text to say even more. Also, spare text leaves space for artists to use their talents to enhance the overall experience of picture books. For me, studying the balance between text and image is essential to creating memorable picture books and a true pleasure as well.

I also write middle grade, and so read a fair number of novels for that age group as well. Again, it starts from a place of enjoyment. I used to teach middle school and absolutely loved this age group. But, it’s been a long time since I was that age or taught that age and my own daughters are older now, so reading current middle grade is important to keep up with the interests and dilemmas of this important age. It also reinforces how many issues around friends, self-discovery, family, and school are universal and timeless. Studying pacing and structure from various texts (prose and verse) and knowing what types of stories are available, helps me also to explore what works, what doesn’t, and what I can uniquely bring to the world of middle grade literature.

READING MENTOR TEXTS INSPIRES, MOTIVATES, AND INFORMS

by Rosie Pova

If you’re in the business of children’s writing, you better be current on your children’s books reading.

For me, one of the reasons I read kidlit is so that I know what the market looks like. Is it saturated with too many books with the same animal/theme/style of writing?

If I’m working on a story, I need to know where it could be placed and how good of a chance it has to “make it” in the marketplace. How does it measure up to what’s already out there? How and why would it stand out? Has it already been done in the same or similar way? The answers to these questions help me course-correct in order to avoid future rejections and have publishing professionals tell me “it’s already been done” or “it didn’t stand out” whereas I could’ve done my timely research.

Another reason I read picture books is to get inspiration about the type of stories I want to have in my body of work. Sometimes the tone or feeling of a book grab me, other times, it’s the takeaway, or something particular about the character, the brilliance or absurdity of the title, the humor, an unexpected angle etc. I get clarity and get excited!

This gives me great motivation to write a story that would have a similar feel to it or evoke that kind of reaction in the reader, like it did in me. In other words, I use reading to give myself a general prompt. Some of my best stories have come to be that way.

Reading my colleagues’ work also gives me validation, makes me feel like what I do matters and there’s an audience for my work.

Those little gems are also great teachers on the craft! I could keep going with the reasons, but I will stop here and just say, we, as writers, must read. It’s that simple.

CHECK OUT THE FOLLOWING KID-LIT WISDOM POSTS LISTED BELOW

TO READ Part 1 OF WHY KID-LIT WRITERS SHOULD READ CHILDREN’S BOOKS (MENTOR TEXTS) AND HOW TO GET THE MOST OUT OF READING THEM click here.

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

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

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

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

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

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KID-LIT WRITING WISDOM PRESENTS LONG AND WINDING ROAD: PUBLICATION (USUALLY) DOESN’T HAPPEN OVERNIGHT (Part 1 of 3)

kid-lit writing wisdom

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

This “Wisdom” round’s question isn’t exactly a question. I asked the team to tell us about their travels down the long and winding road to publication. One of the reasons I wanted us to cover this topic is because every once in a while, you’ll see blog posts from an author who tells you the very first manuscript they sent out was acquired overnight—as though it’s the easiest thing one can do. That is not the norm nor is it reality. I also wanted emerging writers as well as those who have been at it for a long, long time to see similarities and differences in each writer’s experience. My wish for you and all our readers this round is that you might be inspired or pick up just one bit of wisdom that will help you in your journey. But also, that you adjust your expectations, so that if you find yourself on a long and winding road, you’re not disappointed or discouraged. And if you are one of the lucky ones who gets a contract overnight, you will be surprised and appreciate the moment even more than you might have.

Because it has been a long road for the “Wisdom” authors, we all had a lot to say. So, this topic will be shared in three parts over the next three weeks.

I’ve seen some similarities in answers, but everyone’s path has been a little different. I’m going to start with my own answer because it brings up a topic that didn’t pop up in any of the other answers.

Before we get started, I’d like to share some good news and congratulate Rob Sanders has a book birthday coming on May 4 with  TWO GROOMS ON A CAKE: THE STORY OF AMERICA’S FIRST GAY WEDDING. HAPPY BIRTHDAY! I’d like to also congratulate the illustrators of my picture books for winning the Story Monsters Approved Award. Polina Gortman illustrated THE WEED THAT WOKE CHRISTMAS: The Mostly True Tale of the Toledo Christmas Weed. And Milanka Reardon illustrated AN OLD MAN AND HIS PENGUIN: How Dindim Made João Pereira de Souza an Honorary Penguin.

Congratulations!

Two Grooms on a Cake

AWARD WINNER FOR MAKING A DIFFERENCE!Winner for (1)

Words of Wisdom

WHEN YOU SAY “YES” TO ONE THING, YOU ARE SAYING “NO” TO ANOTHER

by Alayne Kay Christian

I’m guessing, as with most team members, it would take an entire book to share my long journey. I’ll do my best to keep this short. My first picture book BUTTERFLY KISSES FOR GRANDMA AND GRANDPA was released way back in 2009. It won some awards and got great reviews, so I thought for sure, this kid-lit writing thing was going to be a breeze. I was wrong. I spent the next several years taking children’s book writing courses, attending SCBWI conferences and workshops, and getting involved in the online writing community. In 2013, I was on top of the world when I signed with an agent (my choice out of three agent offers—wasn’t I something?). I knew for sure that I was going to conquer the kid lit world now! Well, once again, I was wrong. In 2015, I parted ways with the agent. That set my confidence back for a couple of years. I did very little submitting, but I did continued to write, study children’s book writing, and work to grow my online presence. I also started a professional critique service and wrote an independent-study picture book writing course, Art of Arc. I also started working as a critique ninja for Julie Hedlund’s 12 X 12, which I did for three years. In 2016 I signed with a small publisher and in 2017, my chapter book series Sienna, the Cowgirl Fairy was launched. I continued to study children’s book writing and submit. Also in 2017, I helped my husband relaunch Blue Whale Press where I was the acquisitions editor and creative director. In addition to that, I spent the year going back and forth with an agent who I thought was going to sign me for sure. Once again, I was wrong. We even had what I thought was “the call.” But it turned out to be a “let you down easy” call. She loved one of my stories, but didn’t fully connect with the others I offered. That set me back for a while. But I had so much going on with Blue Whale Press and my other writing related work that I didn’t have time to fall into negative thinking. In 2019, I started offering affordable children’s writing webinars. But even with all of the above, I also continued to study, write, and submit. 2020 was an exciting year for me when finally; my next two picture books were published. I am so proud of AN OLD MAN AND HIS PENGUIN and THE WEED THAT WOKE CHRISTMAS and my latest Sienna book COWBOY TROUBLE. I’m so excited that THE WEED THAT WOKE CHRISTMAS recently won the Story Monsters Approved award for books that make a difference. And THE OLD MAN AND HIS PENGUIN won an award in the nonfiction picture book category.

It took thirteen years of hard work, but more than anything, perseverance, to get (soon to be) four published picture books and two chapter books into the world. I tried to include what I consider to be major parts of my journey to demonstrate that it’s not necessarily just about writing and submitting. It’s about learning, growing, and finding ways to apply your knowledge and creative energy when it sometimes feels as though all has failed. And like in the stories that we write, finding our way through our darkest moments will lead us to a satisfying ending.

I don’t regret my path for a minute because I love all the gifts I have given writers and illustrators over the years with my critiques, courses, work with Blue Whale Press and so on. I’ve found that for me, relaxing into where life takes me usually leads me to where I need to be. But a word of warning . . . when you say “yes” to one thing, you are saying “no” to another. In my case, I said a lot of “no” to writing and submitting by saying “yes” to helping others. Where might I have been had I been more focused? That is not a question of regret. It is a question that I pose to you as writers. Following is a little worksheet to help you see your “yes” and “no” choices more clearly. I hope some of you find it helpful. The worksheet was initially part of a much longer post I wrote on the topic. Click here to read it

say yes say no

SHEER LUCK? SOMETIMES. SHEER GRIT? MOST OF THE TIME.

by Kirsti Call

It happened backwards for me. I wrote my first couple of stories, joined a critique group, submitted THE RAINDROP WHO COULDN’T FALL about three months into my writing journey. Character Publishing gave me an offer almost immediately, and my first book came out in 2013. Then for 6 years I wrote and revised and submitted and submitted and submitted again. I FINALLY got my first agent who subsequently sold 4 books for me. Sheer luck led to my first book. Sheer grit led to others.

ALL THE TIME I PUT INTO LIVING LIFE, AND WRITING STORIES, LED ME TO STRENGTHEN MY CRAFT AND FIND MY WRITING VOICE

by Melissa Stoller

My journey to publication was indeed a “long and winding road.” I had started writing when my oldest daughter was a baby and I loved reading picture books to her and making up bedtime stories. Before that, I practiced as an attorney, taught legal research and writing to law students, and worked as a career counselor at a law school. When I received many rejections to my initial book queries, I turned my attention to writing parenting articles and doing freelance editing. But eventually, I returned to my dream of writing for children (and by that point, I had three children and lots more time doing field research into the KidLit world). In fact, I had joined the SCBWI in 1997 (!) and my first book, THE ENCHANTED SNOW GLOBE: RETURN TO CONEY ISLAND, was published in 2017! I am forever grateful to Callie Metler and Clear Fork Publishing for helping me turn my writing dreams into reality. My advice to aspiring writers is to keep pursuing your goals. Your writing journey may detour down some curving roads, like mine did, and your path to publication may not be straight. But all the time I put into living life, and writing stories, led me to strengthen my craft and find my writing voice. So, buckle up, get on whatever type of road best fits your career, and say ready, set, GO!

KEEP YOUR CHIN UP AND YOUR FINGERS ON THE KEYBOARD!

by Rob Sanders

My journey to publishing started back in college. I paid my way through college and graduate school by writing religious educational materials. A few years later, I wound up working for the company for which I’d been writing, eventually becoming an editor and product designer there. But none of those materials were things kids would ever find in their public or school libraries or local bookstores. It wasn’t until I was 50 that I decided to pursue my dream of writing picture books. Two years later I made my first sale through a paid critique at SCBWI LA. A year later, I landed an agent. Selling my second book proved to be as difficult as selling the first and that pattern continues. Each of my manuscripts has to stand on its own merits and find its own home. I often remind myself of the advice my agent gave me when we first started working together: Keep your chin up and your fingers on the keyboard!

FIVE INGREDIENTS THAT ARE NECESSARY FOR SUCCESS IN ANY PROJECT

Vivian Kirkfield

Whenever I do presentations about the path to publication, I talk about how becoming a picture book author was a lot like making a pizza. Whether I’m speaking with six-year-old school kids or sixty-year-old aspiring authors, I share the 5 P’s…5 ingredients that are necessary for success in any project: PASSION, PREPARATION, PRACTICE, PATIENCE, and PERSISTENCE. It’s a process and it takes time. I started my writing journey at the end of 2011 – we signed my first book deal at the end of 2015 – and that book launched in 2019. I had sent out a few submissions to editors on my own, but I knew I wanted an agent because I knew I didn’t want to focus on where to send my manuscripts…I wanted to focus on writing them. However, the path is different for each one of us – and what is right for one person might not be right for another. What is needed, however, whether you have an agent or not, is positivity. Oh…there’s another P…I guess you can tell I’m a picture book writer with all of that alliteration.😅 I remain positive because I know that the rejections…and YES, I do get lots of rejections…are not personal. I try to remember that this is a business…and the publisher/editor must make a profit from the books they produce. Otherwise, they have to close their doors. And if they don’t choose my manuscript, it’s because they don’t think they will make money. I also try to keep in mind that sometimes, publishers are wrong. So, when I get a rejection, I remind myself that I am in good company with J.K Rowling and Louisa May Alcott and Stephen King and many others: https://wildmindcreative.com/bookmarketing/6-famous-authors-who-once-faced-rejection.

COMING IN THE NEXT TWO WEEKS PART 2 AND PART 3

Next week, Ellen Leventhal and Pippa Chorley talk about their journeys, which both include dealing with imposter syndrome. And Beth Anderson shares her thoughts on what it takes to be successful as an author. Finally on May 8th, we’ll wrap up our thoughts on the path to publication with Laura Gehl who talks about how time only serves to make you a better author. Dawn Babb Prochovnic looks at the importance of continuing the work in spite of obstacles. Michelle Nott talks about trends and also demonstrates that it pays to never give up on old stories. Rosie Pova talks about how persistence pays off. Marcie Flinchum Atkins talks about enjoying the rituals of writing and having friends who “get” the writer’s experience.

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

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Welcome to Kid-Lit Writing Wisdom where a team of multi-published kid-lit authors with over 170 years of combined experience as writers share their wisdom. You can read all about our team here. And you can read part one of THE MOST IMPORTANT LESSON LEARNED IN MY PUBLICATION JOURNEY here. Before we get started, I’d like to share some good news and congratulate some of our team members.

Before we get started, I’d like to share some good news and congratulate some of our team members.

Ellen Leventhal’s book A FLOOD OF KINDNESS will poke its sweet head out into the world on April 13. Happy early birthday wishes and welcome to the world! Beautiful story.

And another baby book will be born on April 13. Dawn Prochovnic’s LUCY’S BLOOMS will brighten our world. Another weed has captured my heart ; – )

I decided to launch our “wisdom” series with a general question. I half thought that there would be a lot of similar answers. The answers in this second part of “Lessons Learned” demonstrate that although what most of us strive for is the same, everyone’s experience is different. But I also notice a thread in several of the answers, which touch on the importance of community and support from other writers. I often say, it takes a village. Some of the answers shared here confirm that it truly does.

There are so many great online writing communities, but I’ll offer the first two that come to mind. They are both Facebook groups. I’m sure they will lead you to more groups and opportunities to grow as a writer. KidLit411 is a wonderful writing community. They also have a website that offers unlimited resources. Plus they have an illustrator/portfolio critique swap and a  manuscript swap/critique connection group. KidLitCreatives encourages and supports writers and illustrators that are actively writing and submitting. They even offer prizes each month!

And now for our question to the wise. . . .

Answers to “Most Important Lesson Learned”

WRITING IS A GIFT TO MYSELF
by Laura Gehl

The most important lesson I have learned is to focus on the happiness I get from the act of writing. I absolutely love to write—that’s probably obvious, or I would have chosen a different career. But it is easy to think that happiness for a writer comes from making a sale, getting a starred review, winning an award, and so on. For me, those things do bring happiness, of course, when they happen. But I can bring myself happiness EVERY SINGLE DAY just by sitting down to write. Sometimes, life gets extra busy and stressful, and I realize it has been a week or more since I actually did any writing. When I force myself to find time to write, voilà—it makes me happy! Writing is like a gift I can keep giving to myself over and over, and it is a gift I love every time. But for some reason, this is a lesson I keep needing to relearn. It’s easy to get pulled back into worrying about the next sale or the next review…and easy to feel like there are so many other things going on that there isn’t time to write. In both of those situations, I need to remind myself that I will feel better if I get back to writing. And then I do!

SPEAK UP WITH CONFIDENCE
by Vivian Kirkfield

I realize that every editor has her or his own way of moving forward and that the timeline for the path to publication for each book is going to be different. But I wish I’d had more knowledge of that timeline when I signed my first book deal and I wish I’d had more confidence to speak more decisively when things weren’t moving along smoothly. If you haven’t gotten sketches and you should have…speak up. If you’ve gotten them and there is a problem…gather your proof and speak up. When it comes to historical accuracy and authenticity, we must advocate for our stories to ensure that children receive the best books possible.

BY SUBMITTING TOO EARLY, WE BURN BRIDGES. BUT . . . THAT’S ALSO HOW WE LEARN
by Beth Anderson

I wish I’d had a better idea in the beginning about when a manuscript is ready for submission. As with most endeavors, you don’t know what you don’t know, so it’s probably impossible to have known that, and the gap between my “ready” and “submission ready” was significant. Thankfully, I’ve had critique groups that pushed me closer, but they too were working to understand “ready.” I think the only solution is to share your work with people that know more about the business and will be honest with you. And then we must be patient enough, diligent enough, tough-skinned enough, and trust them enough to really listen and keep working on it. By submitting too early, we burn bridges. But…that’s also how we learn. Beth

WRITING AND PUBLISHING IS LIKE A BOX OF CHOCOLATES—YOU NEVER KNOW WHAT EXPERIENCE YOU’RE GOING TO GET
by Dawn Prochovnic

I think one of the things I’ve learned (or, more accurately, one of the things I am still learning) is that writing books is somewhat akin to raising (and/or teaching) children. You can read about it and glean ideas about how to handle certain circumstances from others, but in the end, you have to follow your own instincts. What works for one parent/teacher/child or author/book does not necessarily mean it will work for another. And just because you have successfully written/published one (or many) books, does not mean you have it all figured out. Yes, you come to the table with more experience, more confidence, and more tools in your toolbox, but each book will require you to begin again. Each book will journey on its own unique path. And each book will require the depths of your love and commitment—coupled with the right balance of full-on attention and getting out of the way.

Vivian wrote: I LOVE this one, Dawn…so very true…each book and each editor and each illustrator who works on one of our books creates a different recipe…like baking a cake. And for those who have baked cakes, you know that even if you use the same ingredients, the temperature in the oven might fluctuate or someone might slam a door in the house or the baking powder you used isn’t as fresh…and the results may be different.

I’d like to share the link to the animated book trailer and song for LUCY’S BLOOMS

WRITING IS LIKE TENDING A GARDEN
by Melissa Stoller

I wish I had known – and I’m still learning – that writing is a bit like tending a garden. You can plant bulbs and water and feed them – but not every one will grow (some bulbs inevitably get eaten by resourceful squirrels!). But if you plant enough then hopefully some will blossom. It’s the same with manuscripts. Not every story will sprout and even those that do still have to go through revisions, editing, an agent search, rounds with an editor, acquisitions committees, and more. But hopefully the story that does make it through will bloom! So my tip is to keep writing and then write some more. Work on your craft. Take classes. Read mentor texts. And surround yourself with excellent critique partners. Hopefully, by tending to our writing gardens, we will cultivate the best stories that will become beloved books.

THERE IS STRENGTH IN NUMBERS
by Ellen Leventhal

One very important lesson I learned is that there is strength in numbers when it comes to marketing. I knew that getting a book published was just the beginning, but I didn’t know anything about marketing groups with my first two books. I am in two groups now, and the support has made a huge difference.

TAKING PART IN A WRITING COMMUNITY CAN CHANGE EVERYTHING
by Michelle Nott

Besides all the previous tips, I would encourage everyone to find their writing community, be that organizations like SCBWI or CBI, critique groups or at least a partner, and writers and artists on social media. When I first started writing for children, I was in Belgium and didn’t realize there were so many other writers for children in Europe and who were so generous with advice and support. I had been writing alone for a year, and almost gave up, until I noticed an agent from NYC was offering a master class through SCBWI in Paris. That small gathering opened up the entire kid lit world to me. I found a critique group in Brussels, went to Europolitan Conferences, and actually learned about the business side of writing for children (and how much improvement my query letters needed!) Community can also help writers realize that everyone’s journey is unique and that fact, in itself, can avoid a lot of stress and unrealistic expectations. We can all learn something from each other, no matter where we are on our writing and publishing paths.

MAKING GENUINE, AUTHENTIC CONNECTIONS WITH FELLOW WRITERS IS GOLD
by Rosie Pova

The most important thing I’ve learned throughout my publication journey is that support is invaluable and that nothing really happens without it. This business is tough! Making it to publication is a huge victory! It means you’ve overcome a mountain of obstacles and heartaches, most likely, but then the hard work starts. So in light of that, I wish I had joined a promotional group or two after the publication of my first few books. Joining forces with peers can take a book so much farther! For years, I’ve struggled with marketing, promotions, spreading the word … solo. Having a support system and teammates makes all the difference! So, my advice is to start thinking about that very early in the process — don’t wait until your book is about to release — and plan wisely. Find a promo group to join or start one. The more heads come together to collaborate and promote, the better. Oh, and don’t forget to be a supporter of others in the kidlit community, too. Making genuine, authentic connections is gold in this business!

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Welcome to Kid-Lit Writing Wisdom where a team of multi-published kid-lit authors with over 170 years of combined experience as writers share their wisdom. You can read all about our team here. Before we get started, I’d like to share some good news and congratulate some of our team members.

Rosie Pova’s lovely book SUNDAY RAIN had a birthday on March 2. Welcome to the world, little one!

Vivian Kirkfield’s new book FROM HERE TO THERE: Inventions That Changed the Way the World Moves is really going places! (See what I did there?) Great collection of stories all in one book!

Kirsti Call’s picture book, COW SAYS MEOW just had an udderly sweet birthday on March 16! Welcome to the world little book!

Laura Gehl‘s rhyming board book BASEBALL BABY will come into the world on March 30. Happy early birthday!

I decided to launch our “wisdom” series with a general question. I half thought that there would be a lot of similar answers. Although, some answers might relate to another in small ways, the answers prove that although what most of us strive for is the same, everyone’s experience is different. I think most of us on the team agree that we are all still learning, but with so many years behind us, we do have a lot to share. The question for this post is . . .

Answers Most Important Lesson Learned

 

I am rudely offering my answer first because it is the longest answer.

 

COMPARISON, CRITICISM, AND JUDGMENT

A WRITER’S WORST ENEMIES
by Alayne Kay Christian

Through my own experience and through observing other writers’ struggle, one important lesson I’ve learned is comparison, criticism, and judgment are a writer’s worst enemies. When it comes to looking outside ourselves to find our worth via comparison and judgment, my experience and observations have been that it usually leads to self-criticism and pain. In the kid-lit writing world, it can be a long hard road to what one might consider success. Most of us see success as getting positive feedback on a manuscript, signing with an agent, getting a book contract, holding that published book in our hand, getting great reviews, having a million-copy seller, and on and on. Unfortunately, success is a moving target. Like a drug addict, we are always looking for the next success fix. But as soon as the pleasure of meeting a goal fades away, sometimes even while we are still enjoying it, we are looking for more of the same or maybe even something different.

In the online writing community, it’s almost a daily occurrence that someone’s good news (usually several people’s good news) is shared. Sometimes, it seems like an hourly event! Isn’t that great? It’s also great the writing community is always there to help celebrate our successes. But I know for sure that when you are surrounded by others’ perceived successes, and you can’t seem to see any successes on your end, comparing, criticizing, and judging is a surefire way to stop or hinder your chances of success. When we compare ourselves, our efforts, and our situations to others, we become our own victims because the next step is self-judgment and usually self-criticism. I suppose for some, the outcome might be inspiration, encouragement, and the strength to keep on keeping on. But for others, comparing, followed by self-judgment and criticism, lead to emotional confusion, discouragement, and sometimes a sense of defeat. Most climb out of it, pick themselves up, and get back on the rough road they have put themselves on in their writing journey. I admire and praise those who have found the peaceful route to their perceived success. But more than anything, I wish peace for those who struggle.

Of course, we all have our own path to follow. And we all have the road that will take us to where we are meant to be. I’d just like my ramblings to leave you with the thought that we have the power to make this writing journey a peaceful and pleasurable ride or to make it a treacherous and tumultuous one. For me, remaining aware of the compare, criticize, judge trap (whether it be directed at self, others, or both) is one of the best things I ever learned to do for myself. But the biggest lesson is to recognize it for what it is—the enemy. See that big flashing red light of discomfort and distraction and STOP looking outside yourself. Then, find a way to bring your focus back to you in the moment where you can find peace and joy in your writing journey. One lovely step at a time.

If doing what you love feels more like a struggle than a peaceful or joyful experience, take a good look within. You will likely find that you are comparing, criticizing, or judging (or maybe all three.) It’s impossible to be in the moment under those circumstances.

Coincidentally, while I was working on the above answer, the following Jane Friedman blog post popped up in my email. I feel like it is too related not to share. Although, I’m not talking about jealousy in my answer, falling into the compare, criticize, judge trap can lead you there. Click here to read The Green-Eyed Monster: Jealousy in the Time of Quarantine by Nancy Stohlman.

It’s funny how once you bring something into your consciousness, it seems to pop up everywhere. As I was preparing this blog post, I received newsletter from Jess Keating. Jess has a different take on jealousy. And she offers her creative guide to jealousy here. It’s definitely worth reading! Thanks, Jess.

 

To learn more about Alayne and her books visit alaynekaychristianauthor.com

 

SUCCESS LIVES IN THE NEIGHBORHOOD OF FAILURE
by Kirsti Call

My most important lesson learned on my publication journey:

Each rejection, each defeat, each failure only teaches resilience and leads to success in this business. Without years of persistence through the failures, I wouldn’t be where I am today. Success lives in the neighborhood of failure.

My book, COW SAYS MEOW came out on March 16! Here’s the 2 minute song my 15 year old daughter wrote for it: https://youtu.be/X14k86vW6FY (And I just got a very unexpected starred review from SLJ!)

Happy Creating!

To learn more about Kirsti and her books visit www.kirsticall.com

 

WRITING AUTHENTICALLY IS A MUST
by Rob Sanders

My most hard-learned lessons seem to be those that are the most obvious. I wrote and published for a few years before I finally owned the lesson that I need to write the stories only I can write and to write with authenticity. I still have to evaluate what I’m working on to see if I’m doing that. Life (and my writing career) is too short to spend time writing things that don’t truly represent who I am.

To learn more about Rob and his books visit www.robsanderswrites.com

 

WRITING IS ONLY THE BEGINNING
by Pippa Chorley

I think the thing I learned from the entire process is that writing is only the start. Once the book is handed over to the illustrator your work does not stop, its then time to begin marketing your book, engaging with other authors, preparing blog tours and launch events for when the book is out on the shelves, as well as school author visits, craft and storytelling sessions. For many authors that is particularly tough as we tend to enjoy the process of writing rather than speaking and shouting loudly about ourselves and our work. I do think in hindsight though that the earlier you begin this process the less pressured and easier it is, and the more you engage with other writers the less scary it feels and more enjoyable. Writers are wonderful people and love to help other writers and once you start talking to them, even via twitter and Facebook, it is easy to become part of this lovely community and gain the confidence you need to put yourself out there. So my tip would be to engage early on in small and meaningful ways and build it up slowly so that it never feels too onerous or overwhelming.

To learn more about Pippa and her books visit pippachorleystories.com

 

EVERYONE’S WRITING PROCESS IS DIFFERENT
by Marcie Flinchum Atkins

I wish I had known much earlier on that everyone’s writing process is different–that it’s okay to lean into what works for me. I’m fascinated by other people’s ways of brainstorming, organizing, and revising, and I learn a lot from the way other writers do things. What I have learned is that I need to think about what works best for my brain. Often, I hear a cool tip from another writer, and now my first step is to spend some time journaling about what that might look like in my own process with my current projects. If I think it might help, I try it out. If I think it needs tweaking, I change it to make it work for me. This means that I’m learning to trust myself more. I do a lot of reflection–weekly, monthly, quarterly, yearly. At every point along the way, I’m asking myself: “What did you learn about yourself as a writer or about your process?” Knowing that I can lean into my own quirks and develop my own unique processes has helped me abandon what is no longer working and feel more confident in my writing. It has helped me embrace the mantra: “Joy in the process.”

To learn more about Marcie and her books visit www.marcieatkins.com

The team will continue to answer the question in part two of THE MOST IMPORTANT LESSON LEARNED IN MY PUBLICATION JOURNEY with some great bits of wisdom from Beth Anderson, Laura Gehl, Vivian Kirkfield, Ellen Leventhal, Michelle Nott, Dawn ProchovnicRosie Pova, and Melissa Stoller.

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