• ~Guest post by Kristine Asselin

Thank you to 24 Carrot Writing for asking me to blog for them today. It’s a pleasure to be here talking about one of my favorite things: The Query Letter.

A bit of background: It’s no secret that I’d queried a lot in the early 2010s (I’ve written about it in a bunch of places -- Articles about Querying and Writing - Query Godmother). After a few false starts, I signed with my third agent in the summer of 2013. This past summer, after seven years with the same agent, we parted ways—and I was honestly feeling like a bit of a failure. I’d been hoping for feedback on a manuscript and wasn’t prepared for my agent to be downsizing their list. In the middle of 2020, I took it really hard.

All this to say that anyone can be in the query trenches.

Writing a query can be scary. Remember, a query letter is a tool. It’s a way to put your words into the world. Don’t overthink the query letter. It’s manageable. There are parts to it.

1. Introduction (and opening paragraph):
Sometimes this is called the “hook” part of the query. Include the title, the word count, the target age, and the genre of the book. A short tagline (elevator pitch) can be included in this section as well. It is not mandatory, though. If you have something personal to add, like that you met the agent at a conference, or took their workshop, do that here. If you don’t have anything personal, don’t force it.
2. Book section:
Think of this as your back cover copy. This is the most important part of the query. Be specific, but brief. Try to express how your book is different than others. Use specificity about character goals, stakes, and motivations. This section should be the longest—after all the query is about your BOOK. Make sure you are answering these questions in this section:

• Who is the main character?
• What do they want more than anything else?
• What is stopping them from getting it?
• What problem do they face?
• What choices do they have to make?
• How does the problem get worse?

3. Bio:
Something about yourself and your expertise. What makes you the person to write this book? If you have any relevant published works, mention them here. Keep this part business. Don’t include things about your family or hobbies.

Query strategies:

• Do your research, determine what the submission guidelines are and attach what is asked for. This will differ by agent. Some want the whole book; some only want a few chapters or pages. If you’re querying a picture book, it will typically be the whole piece.
• I generally advise starting by sending out five query letters. When you receive a pass, send out a new one. (Look at this blog for ideas of where to find agents.) Keep track of your process and replies in a spread sheet or tracking tool.
• Don’t send too many queries at one time. If you feel like revising or refining the letter, you can’t do that if you’ve sent out too many at once.
• Don’t let querying get you down. If you feel overwhelmed, it’s okay to stop and take a break.
• Don’t take anything personally. But that said, take any and all feedback seriously.
• Putting your work out in the world requires having a bit of a tough shell. You have to be honest with yourself. When you get responses, make changes as appropriate. Be ready to change the manuscript if necessary, but don’t let it affect your confidence in yourself and your work.

I’ll be honest, I have yet to sign with a new agent. However, my request rate is over 20%, so I feel like my query letter is working, and there are several people considering my work. Keep track of this sort of data, so you know when to revise and/or move to the next manuscript.

Jumping into the querying pool can help you put aside your fears and anxieties about your work. Querying is forward motion. It is taking control of your career.

Know yourself and what works for you. I wish you all good luck in 2021.

Robert Thibeault designed an amazing and genre-specific cover: 
​

Hopefully, you can see how it would not only fit alongside the books in its genre but also stand out. It looks great as a thumbnail. Very important in this digital age!
 
Pro Tip: Choose a type of cover that sells well in the genre. What you love as a book cover might not be what your reader loves. Sometimes as authors, we have to put our personal preferences aside!
 
Here’s a closer look at Tom’s cover, so you can see the details: 

You can see here how an artist and book designer make a cover—it wraps around. Isn’t that cool?

REACHING YOUR READERS:
 
While Tom was waiting for his cover art masterpiece, he put up a freebie so people would sign up for his mailing list. 

 Having an email list—direct contact with fans—is the most important piece of the publishing puzzle.
 Without this, every time you publish a new book, you start from scratch looking for fans.
 
Tom gave away the first few chapters of his book and audio files of his book to entice people onto his list. Check it out here. Go ahead and sign up—Tom is going to KICKSTART this book, and you get to walk through the steps with him! (See the countdown page here!)
 
Don’t just hide your freebie and the sign-up to your list on your personal website—plug it into one of the sharing sites that go directly to fans. Right now, two of the biggest sites are BookFunnel and StoryOrigin. Using sites like these, Tom doubled the number of fans he had on his list!
 
Pro Tip: Story Origin is still in beta, so it’s currently FREE to use! Nothing beats free!
 
Once you have fans, interact with them on a weekly or regular basis. Use email companies like MailChimp or mailerlite to do this professionally.
 
Pro Tip: Make sure to consider who your fans are and give them what they are looking for! Remember that the people who sign up for your list are readers of your genre (or parents of the readers) and not just other writers or your friends.
 
Formatting/Book Design: Use a program like Vellum (only for Macs) to format the inside of your book, or use the free program at Reedsy.  Reedsy is a great one-stop-shop for finding indie-publishing support in general.

PRODUCTION:
 
While growing his email list, Tom finished all the production pieces.
 
Here’s a list you can use:

1. If you are writing a series, you’ll want the series name for the cover, and the first chapter of the next book included at the end of the first book.
2. Acknowledgments
3. Author bio and headshot
4. Description or author testimonials for the back cover, a description for online venues
5. Dedication
6. Copyright page
7. ISBN numbers (You’ll need one ISBN number for each distinct type of book.) Tom is publishing an ebook, paperback, and hardcover, so he has three. You purchase these through Bowker.
8. You can register your US copyright if you want to protect your Intellectual Property. This is easily done before your book is published.
9. Name of your publishing house and graphic, if you want.
10. A call to action for the back of your book. Very important. When people purchase your book, you’ll want to have them sign up for your mailing list or buy your next book!

 
Upload all the pieces (formatted correctly) along with the final cover artwork to Ingram Spark.

Pro Tip: if you pay to be a member at ALLi you get a code for free uploads and Kindle Direct Publishing (KDP has free uploads.

Upload your ebook to KDP and choose to either have your book in Kindle Unlimited or use a distributor to go wide (like Draft2Digital)
 
Pro Tip: Sites like Ingram Spark and KDP are often wonky, so make sure to save all your keywords and descriptions and bios elsewhere and paste them in. We have had some tense moments in the past!
 
Pro Tip: You can purchase keywords that work in your genre at K-lytics, KPD Spy, or Publisher Rocket, to attract the right online buyers. Oftentimes as authors, it’s hard for us to think about what search words readers use! These keywords help people find your book when they search for it.
 
If this seems like it’s a costly process, it can be. We generally budget $1,000 for a novel. (For an original cover like Tom’s from an artist, it’s much more!) But you can publish on a shoestring budget, by buying your cover premade (there are so many sites to use--just search for ‘premade book cover’) or by bartering. If you know someone who is a cover designer, and you are a great editor, trade those skills!
 
Pro Tip: It’s okay to publish with the budget you have and then upgrade things as you go!

FIND YOUR "WHY?"
 
One of the most important questions to ask, before you start this process, is, “Why?”
Why are you indie-publishing?
 
If you want to see your book in your local bookstores:

1.  Make sure to use Ingram Spark as a printer and distributor--not just KDP. (Most local booksellers don’t stock books printed by Amazon at KDP.)
2. Allow booksellers to make a profit off your book by giving them a good percentage—40% or so. (This will be one of the questions you have to answer when setting up your accounts with IngramSpark and KDP.)
3. Take returns. (Another account-setting up question you’ll run into.) Otherwise, booksellers won’t consider carrying your book. They will be able to order your book out of the Ingram Catalog once your book is published, or they can consign the book directly from you.

 
If you want to make the most money you can:

1. Focus on ebook sales.
2. Make the percentage that booksellers get as small as you can.
3. Ideally, have multiple books coming out in quick succession.
4. Check out Julia Koty’s cozy mystery series as a great example—she’s launching multiple books in the next few months!

 
Whatever you do, don’t go it alone. Some of the best resources for authors starting out on the Indie-pub path are Joanna Penn’s podcasts, the Facebook Group 20 Books to 50K, and joining an indie pubbing group. We have a virtual one at the Writers’ Loft if you’d like to join (email writersloftma@gmail.com to get on the email list). It’s run by Dave Pasquantonio who is also a freelance editor and knows a ton about book promotion. We promise, once you get going, things get easier, because you keep running into the same people, the same sites, and most of the people you run into are very supportive! So that’s another part of the job—be supportive of your fellow writers.
 
Pro Tip: Don’t shortchange your readers—oftentimes the beautiful things that we love about books are simple enough for indie-publishers to achieve. See the gears that Tom added to each page number, the way his cover artist put the Pocket Moon Press logo into a gear, and how Tom invites his reader to read on into the next adventure! 

Phew, we covered a lot, right? Thanks to 24 Carrot Writing!
 
Feel free to leave us questions in the comments! Just out of curiosity, did we make you open up a billion tabs? We might just give a prize for the person who fesses up to opening a ton of tabs! Heather generally has at least 25,000 tabs open on her screen on any given day. (Let us know in the comments and we’ll pick someone at random.) Did you sign up for Tom’s email list so you can follow his further adventures in Kickstarting? We can’t wait for that process. (That’s another blog post)! 

~by Amanda Smith

So, you wrote something. And now you wonder what the steps are for getting it published.

First of all, congratulations! Writing on a consistent basis, to the point where you have a book, is a huge accomplishment. (If you want to write children's books and aren't sure where to start, this blog by Kelly is for you.) Writing a book, however, is only the first step. Sending a freshly written manuscript to an agent or publisher would be like asking Paul and Prue to judge a cake after you had only gathered the ingredients.
 
Here are some basic steps towards publishing:

Critique Partners:
You need someone else's eyes on your work (not family!). Ideally your critique partners should be up to date on the current market and knowledgeable about writing. They will look at content, structure, plot and character development, language use and, if you need, line editing. It is imperative to have someone else read your work. Sometimes we gets caught up in the excitement of a new project, or have read the same words so many times we don't see the plot holes, unclear details, or glaring mistakes.
Where to find critique partners?
SCBWI
Local writing organizations 
Online groups such as Kidlit 411, Storystorm, Children’s Book Authors & Illustrators, 12X12, to name a few.
Craft workshops and courses
 
Revisions:
If your critique partners are worth their salt, you will receive lots of revision notes. Depending on the depth of the notes, you will have to revise or, in some cases, even rewrite. Regardless of the scope of revisions, you will likely have a couple of critique-revision rounds. Do not skip this step! It is during this phase that your work continues to mature and become the best it can be. It is hugely rewarding to dig deep and polish away the rough edges of your story.
 
Beta Readers: (Not necessary for picture books)
After critiques and revisions, you need Beta readers, who consist of readers the age of your intended audience or readers deeply familiar with your genre (think teachers, librarians). A beta reader questionnaire is a helpful tool for gathering focused feedback. Another round of revisions will likely follow beta readers.
 
Publishing choices:
Once you have completed these steps and you feel that your work is ready to send out, you need to decide whether you want to take the traditional publishing route or explore independent publishing? 
The rest of today's post will focus on traditional publishing. Next time we will learn about independent (self) publishing. Make sure you know the pros and cons of each option. 

If you choose traditional publishing, you should know that it can take months or even years. Most of the bigger publishers are closed to unsolicited submissions and you need an agent to represent your work.
Some publishing houses however, do accept unagented submissions. Books, such as THE CHILDREN’S WRITER’S & ILLUSTRATOR’S MARKET, can provide guidance as to which publishing houses are open to unagented submissions. Always check the publisher’s website for their latest guidelines. 
​ While you can certainly do research online and through publishing trade journals to find publishers who are open to unagented or unsolicited manuscripts, it is very helpful if you have a more personal contact with an editor at the publishing house. One of the best ways to make this connection is to attend a class or workshop taught by the editor. Also, editors who attend writing conferences will often accept unsolicited submissions from conference attendees for a limited time, so be sure to look into this possibility when attending these events.  Always do your research to be sure a specific publisher publishes the genre/age level you write. 
 
Agents:
A good literary agent will help you polish and edit your story, send submissions to publishing houses, negotiate contracts, and handle advances and royalties. They are super knowledgeable about the industry, and know what editors are seeking. Your agent is your ally and business partner. Therefore it is important to carefully research agents, not only for what genres they represent or what their interests are, but also whether they will be a good match for you. Once you have narrowed down agents you would like to approach, you need to query. 
Places to research agents:
SCBWI The Book
Agency websites
Manuscript wishlist (www.manuscriptwishlist.com/)
#MSWL (https://www.manuscriptwishlist.com/​)
QueryTracker (querytracker.net/)
Publishers Marketplace (https://www.publishersmarketplace.com/​)
Some writing websites also offer a treasure trove of information in the form of agent interviews and guest blogs. A few to browse are http://www.literaryrambles.com/, https://www.pbspotlight.com/, and The 12x12challenge
Most agents are active on social media
Acknowledgements of books you have read
  
Queries:
A query is a letter in which writers pitch their work and introduce themselves to an agent. It is a business letter that follows a specific form. Stay tuned for a guest blog regarding query letters by the Query Godmother, Kris Asselin, later this month.
Queries are used for picture books, both fiction and nonfiction, as well as all other fiction. Nonfiction writers send a cover letter, proposal with outline, and some writing samples.
Each agent or agency has their own rules regarding submissions. It is very important that you read and follow each specific agency's submission guidelines. Not only does it streamline the process for them, but it also reflects well on you, their future client, and your ability to take direction. 
Be prepared for several rounds of querying. If an agent would like to represent you, they will contact you and usually schedule a phone call with you to further discuss the details. Remember, not only is the agent interviewing you to see whether they want to take you on as a client, but you are also interviewing the agent to see whether they will be a good match for you.
Once you have received an offer of representation and contracts have been signed, you and your agent may go through another round of revisions before they submit your manuscript to publishers. There might be several rounds of submissions before you receive an offer for your book.
 
At this point the process is out of your hands. You have baked your cake to perfection. You've trimmed and filled and frosted. You've decorated and delicately flavored.  Editors, acquisition boards, and marketing departments are your proverbial judges, and once your delectable offering hits the right palate, you will get your Hollywood-handshake: A published book!

by Kelly Carey

​You’ve just sold your debut book?
Fantastic!

You want to join a debut marketing group?
Even better!
​
What’s that? You’re not exactly sure what a marketing group is? How to find one? Or what kind of group to look for?
Don’t worry! Check out my tips on how to not only find a marketing group, but how to find a great one! 

Tip #1: Find a Book Marketing Group
​
A book marketing group is made up of authors who join together to help promote each other’s books. Most groups are organized around a common attribute, like debut authors, or middle grade authors, or books publishing in 2021.

You can find marketing groups by:

• Asking your agent and/or editor if they have other clients with books launching in your genre and/or launch year and then reaching out to those authors.
• You can put a call out on Twitter and other social media asking for group organizers to contact you.  
• Tap into your networks and ask your fellow writers, critique partners, and writing groups to help you find a marketing group. You never know who has a friend, who has a friend, who has a friend who is organizing a marketing group. Make sure folks know you are interested! Post a search for a marketing group on the 24 Carrot Facebook page!
• Scan Publisher’s Weekly for book deal announcements and reach out to authors with books launching in your genre and publication year.  
• If all else fails, start your own group. And if you need some guidance on how to organize and start a group, sign up for the Soaring’20s Debut group’s newsletter and they will send you a free guide on setting up a marketing group. 

Tip #2: Only Sign Up for One Group

Marketing groups are a huge help in plugging your book and in offering support and comradery during a launch. But you only need one group. While the benefits of a group are many, you will not multiple the benefits with more groups. One is plenty.
​ 
For "branding" purposes, it’s also better to identify yourself as belonging to one group. There will likely be a group logo, and a cool group name that you can include on your website, and in your social media. Best not to confuse folks with multiple tags.
 
Finally, a marketing group requires time and energy on your part. There is no need to juggle the responsibilities of more than one group. You’ll be spending plenty of time marketing and you don’t need to double the workload! 

Tip #3 Timing is Everything
 
It can take a few months to collect a group of like-minded authors for a marketing group. Once you have a group, it can take a few more months to agree on a name and logo, build a website and platform, and introduce your group to the world. It’s not too early to start looking for or forming a marketing group – um – today!
 
Your marketing group will want to start interacting with potential readers, librarians, bookstores, and teachers about six months before anyone’s book launches. That means you'll want your group to be forming about a year before publication dates. If your 2022 debut group wants to announce your fabulous new books to the world in the last half of 2021, you’ll want to find your marketing group in the first few months of 2021. 

​Tip #4 Assess the Group
 
Don’t be afraid to be picky if you get asked to join more than one group – you want to be in good one! The best way to do this it to ask a few questions and do a little research. I’d look for the following things in a group:
​

• Size Limit: You want the group to be a manageable size that allows for constructive interaction. I think 30 is a nice number. It allows for a good distribution of workload while keeping the group small enough to form meaningful working friendships.
• Diversity: I loved that my debut group intentionally looked for folks around the country so that we had different contacts at bookstores, libraries, schools and writing groups. This allowed us to really amplify our marketing reach geographically.  We also looked to be diverse in terms of gender, race and ethnicity. Finally, we intentionally included illustrators. This was a huge help when it came time to create logos and website art. The more diverse your group, and varied the skill set, the more you will be able to accomplish.
• Commitment: You want the group to work and that means the group members must be willing to work. Make sure that your group is asking for a commitment right up front – maybe a few hours a month or a requirement to volunteer to be on a sub-committee (giveaways, social media, reviews, newsletter...). You want to be in a group with folks willing to put in time and effort. 

​Congratulations on your upcoming book! I know you’ve worked hard on it and readers deserve to get ahold of it! Give yourself and your readers the best chance of connecting by finding a fantastic marketing group! 

Guest blog by Sarah Jane Abbott

​As a writer myself, I understand the struggle of trying to figure out when a story is “finished.” Is it ready to submit? Or does it just need a few more months of tinkering before it’s ready to be extracted from the bowels of my laptop? The truth is, it’s easy to make little adjustments to a manuscript forever and never send it out. There’s a fine line between putting thoughtful, thorough revision into your manuscript and completely overworking it. So how is one to decide when it’s time to stop tinkering and start querying?

Take A Step Back

One of my best tips is to take a step back for perspective. It’s easy to get so close to a manuscript that objectivity is impossible; if you’ll excuse the cliché, you can’t see the forest for the trees. So put the manuscript away and work on something else. Try not to even think about it for several weeks. Then, when you come back to it, it should feel fresher and you may be able to see it in a way you couldn’t before. Maybe you’ll realize it needs more revision after all. Or maybe, after being away from it, you’ll see that it’s stronger and more polished than you remembered.

Read Aloud

​Picture books are a unique and special form in literature in that they are often read aloud. I always suggest that authors read their work out loud before finalizing it. This will help you see numerous things: Is the language colorful and engaging? In a rhyming text, do the rhyme, rhythm, and meter flow naturally? Does the pacing move along quickly enough to keep a child’s attention, while allowing time for the plot to develop? If all of these things feel good during read aloud, it’s a positive sign that the manuscript is polished.

Get Feedback from Critique Partners

Another helpful tool to gauge readiness for submission can be input from a trusted critique partner or group. It’s one thing to have a non-writer family member or friend read your work; you’ll often be met with sincere, but vague feedback like, “this is really great!” Peers who are familiar with the world of writing for children specifically will be able to give targeted, constructive feedback on your work. Your critique partners can give their honest opinions about the readiness of the manuscript for submission and, if they think it still needs work, their thoughts on how it can be revised.

The possible pitfall, of course, is taking so much feedback from so many critique partners that you lose your own voice or intention. Maybe you’ve followed several different suggestions and ended up with so many different versions of your manuscript you barely remember the story you were trying to write in the first place. Maybe you’ve written both rhyming and non-rhyming versions, both first and third person narration, in past and present tense. It gets confusing! Or maybe you’ve tinkered and tinkered and even though you think it’s a strong manuscript, you just can’t seem to make yourself press send on any queries.

​If you feel stuck, maybe it’s time to bring in a professional. A freelance editor can use their experience and industry knowledge to give you an expert opinion on your manuscript’s readiness for submission as well as what areas need revision. They can read multiple versions and tell you which one they think is the strongest, or help you pull together the best pieces from different iterations of the manuscript to make the heart of your story shine through.

Celebrate!

Most of all, the important thing to remember if you’re thinking you’re ready to query is: it’s a big accomplishment just to be at this point! So take a breath, take a step back, and read through that manuscript one more time. Pressing send can be scary, but once you’ve put in the work to polish up a story you’re confident in, it’s an incredibly satisfying feeling to send it out into the world.

​Sarah Jane Abbott is an experienced editor who has spent eight years making books for children. She got her start at Simon & Schuster’s Paula Wiseman Books and Beach Lane Books, where she had the pleasure of working with many wonderful authors and illustrators including Samantha M. Clark, Samantha Cotterill, Scott Magoon, Anita Lobel, Alice B. McGinty, and Diane Goode. In 2020, she established Sarah Jane Abbott Editorial, and works with authors and publishers on a wide range of projects. Visit her at sarahjaneabbotteditorial.com or get in touch at sarahjaneabbotteditorial@gmail.com. 

~Guest Post by Amanda Davis
​
Hello fellow-24 Carrot Writers! My name is Amanda Davis. I’m an author-illustrator and high school art educator. My debut creative nonfiction picture book, 30,000 STITCHES: THE INSPIRING STORY OF THE NATIONAL 9/11 FLAG, will be hitting shelves May 4th. The story is illustrated by the amazing Sally Wern Comport and will be releasing with WorthyKids/Hachette Book Group. Thank you to the 24 Carrot Writing team for inviting me onto the blog today. I’m excited to kick off my MINI BLOG TOUR for my cover reveal (more about this at the end of the post)  by chatting about all things nonfiction. 
​I learned a lot about writing nonfiction from crafting my debut and attempted to boil my process down to the Three ‘R’s of Writing Nonfiction for Children.
Let’s dive in!

1. The first ‘R’ of Writing Nonfiction for Children is RESEARCH:
 
The research for my debut picture book, 30,000 STITCHES began seven years before I ever started drafting a manuscript for it. Late summer of 2011, I was searching for a lesson I could facilitate with my high school art students to honor the tenth remembrance of 9/11. As I was researching, I came across the story of the National 9/11 Flag and knew I needed to share it with students. We learned all about the flag and then created our own patched together flag inspired by the story

The story of the flag continued to linger, and as I began more seriously diving into the world of kidlit, I was drawn back to it. I have a background in journalism so uncovering stories, facts, and resources, is right up my alley!
 
My boiled down nuggets from the research are:

• Ask yourself why?:  To begin your research, ask yourself, why am I writing this story? Why is it important to me? Why is it important for my readers to learn about? Why am I the person to write it? For me, I was not directly impacted by 9/11 but was alive during the events, which will forever be ingrained in my memory. This pushed me to want to teach about the events in my classroom every year. Through these lessons and projects, I’ve connected with so many amazing and selfless individuals who were directly impacted by the tragedy and will forever feel a connection to them and a responsibility to continue to teach about the events so we never forget. I hope the story of the flag reminds people about hope and healing, about the power of our shared stories, and our ability to rise from the shadows if we unite and come together. That is my why for writing 30,000 STITCHES.

 

• Gather reliable sources: If you’ve answered the above questions and decide that you would like to forge ahead with your story idea, I can’t stress enough the importance of finding reliable sources. I feel fortunate that through my research, I connected with many amazing people like the Ground Zero superintendent, and the Flag Tour Staff. Their stories, courage, and selflessness inspired me and they were integral in helping me get the details of the story correct.  To start, I suggest compiling a list of people who were close to the story. Gather their contact information (some detective skills might be needed here) and reach out. Cold calling can be awkward but it’s well worth it in the long run. Many times, people are happy to share their stories and information with you.  You may even get some wonderfully useful information that will spark a whole different seed or trajectory for your story. And the worst that may happen--you won’t hear back. Try not to take this personally and feel good knowing that you tried!

 

• Well-Researched and Complete Back Matter: If you are new to writing nonfiction, I suggest learning all about back matter. Find as many different examples of back matter as you can. When I was navigating how to put together the back matter for my book, I referenced piles of other picture books. From creative timelines to actual photos*, there are many fun ways you can craft your back matter.  I also suggest fully fleshing out the back matter before submitting it to editors and agents. This could give you a leg up when they’re reading your story. I’m a geek for nonfiction, and love me some interesting back matter but I like to believe that agents and editors do, too! When querying, I made sure to mention that I had well-researched back matter and interviewed primary sources who helped verify the details of my story. This element could help your query shine! Because my story is a lyrical creative nonfiction narrative, I left many of the straight facts for the back matter. This put an added weight on the validity of what I chose to incorporate in the back matter and also became a delicate balance of how much of the facts do I include in the story versus in the back matter, which leads me to the next point--

* Side note: If you plan on using photos in your back matter or including photos when you submit to an agent or editor, either 1) make sure you are the owner of those photos or 2) if you are not the owner, make sure you can get signed permissions to use the photos in the book. The publisher will need this from you and in most cases, it will be your job to get it. 
 
2. The second ‘R’ is for REVISION:
After the bulk of my research was complete (or so I thought), I began to revise my story…and revise…and revise again. Looking back, I’m afraid to officially count the number of versions I have so I’ll just leave it at countless. We all know that revision is part of every writer’s process but I noticed I felt an added weight when it came to writing nonfiction because there was no room for error when it came to relaying the facts of the story and the subject matter.
 
My boiled down nuggets for revision are:

• Balance is key: Before the story got acquired, the hardest part about my revisions was balancing how much of the hard facts to include in the story and how much to leave in the back matter. I wanted readers to understand the story without having to read the back matter but also didn’t want to disrupt the lyrical nature of the text by inserting too much of an expository type narrative.  To confuse matters further, when I was submitting to agents and editors, some praised my lyrical writing while others felt it was too sparse and wanted more of the back matter inserted into the main text. This contradicting feedback became a point of struggle for me as I revised and continues to be an area of growth as I write other nonfiction stories. In the end, you only have to find one person who is going to believe in the story and align with your vision. Thankfully, my agent for the story, Melissa Richeson, was that person and later, my editor Peggy Schaefer at WorthyKids connected with my vision as well.

 

• Keep all your notes and versions!! The version of the story that I originally sent WorthyKids was around 780 words and the version that my agent followed up with was around 220 words. Before signing me, the editors asked if we had a version that was somewhere in between. Thankfully, I did! My agent quickly sent along a version that was around 500 words, and we later signed a deal. If I hadn’t saved all my versions or had those three different versions to offer, I hate to think this would have been a deal breaker, but who knows! I’m thankful I held onto all my revisions and kept them (somewhat) organized so that when I needed them, they could easily be referenced. Sometimes when we revise, it can feel like an endless venture but I like to think that with 30,000 STITCHES, each of those drafts ultimately led me to the one that landed me an agent and later a book deal!

 
3. The third and final ‘R’ in writing for nonfiction is REPEAT:
Once you land a deal for your nonfiction story, your research and revision will most likely be on repeat. There will be questions to answer, details to check, and countless times you will dive back into your sources for information.

• Don’t forget the art: Just like the text, the art will need fact-checking and revising, too-especially with nonfiction. If you are fortunate enough to get the opportunity to be involved in this process, don’t be afraid to speak up and share your thoughts.

 

• Just Ask: You should be the subject matter expert of your story and therefore can be utilized as a resource when questions arise. If you find that you aren’t being tapped into for insights during this part of the process, it can’t hurt to ask to be involved. Let your editor know you would love to see the sketches or that you have resources available to them if they need references to help check for accuracy. It will be easier to correct any inaccuracies at the development stage, and everyone will be thankful for that in the end.

 
If you are taking on the challenge of writing nonfiction, hooray! I hope you found these nuggets of information helpful in your process. For me, there is an undeniable pleasure in knowing that I’m sharing an important, true story with the world and making it accessible and fun for children to read and learn about. What could possibly be cooler than that?
 
I’d like to leave you with one final BONUS ‘R’ for the road, which is ROCKS, because simply put, when you truly boil it all down, nonfiction ROCKS!

I hope you will join me in celebrating my cover reveal by following along with the tour. I’ll be stopping by the places below, and using the #30000StitchesTour. There will be fun giveaways and prizes along the way!

Today’s giveaway is a chance to win one of 10 (ten) signed copies of 30,000 STITCHES!
​Enter the giveaway below. Be sure to check out tomorrow’s stop on the tour over at author, Brian Gehrlein’s PB Spotlight blog. I’ll be in conversation with my agent for 30,000 STITCHES, Melissa Richeson, and she’ll be offering a generous giveaway. Stay tuned! 
Happy Creating!
​~Amanda
Enter for a chance to win one of 10 (ten) signed copies of 30,000 STITCHES here:

Amanda Davis is a teacher, artist, writer, and innovator who uses her words and pictures to light up the world with kindness. After losing her father at the age of twelve, Amanda turned to art and writing as an outlet. It became her voice. A way to cope. A way to escape. And a way to tell her story. She was thus inspired to teach art and pursue her passion for writing and illustrating children’s books. Through her work, Amanda empowers younger generations to tell their own stories and offers children and adults an entryway into a world of discovery. A world that can help them make sense of themselves, others, and the community around them. A world where they can navigate, imagine, and feel inspired—over and over again. When she’s not busy creating, you can find her sipping tea, petting dogs, and exploring the natural wonders of The Bay State with her partner and rescue pup, Cora.
 
Amanda is represented by Jennifer Unter of The Unter Agency.
​
Her debut picture book, 30,000 STITCHES, hits stores May 4, 2021 with WorthyKids/Hachette Book Group. 
 
 To connect with Amanda and learn more about her work:
Visit her online at amandadavisart.com (http://amandadavisart.com/)
Twitter @amandadavisart (https://twitter.com/amandadavisart)
Instagram @amandadavis_art  (https://www.instagram.com/amandadavis_art/)
and Facebook. (http://facebook.com/amandadavisart)
​

Guest post by Francine Puckly

A little over a year ago I made the very difficult but necessary decision to retire from 24 Carrot Writing after five wonderful years. I have missed the camaraderie with my friends and co-founders, and I’m excited to be invited back this week to talk about what I hold near and dear — reimagining creative visions, establishing long-term plans, and setting tangible, immediate goals.

Each new year I take several hours (or sometimes a luxurious whole day!) to celebrate the concluding year’s accomplishments and reassess my goals for the year ahead. In the summer of 2019, I saw a large gap in my September calendar approaching — my kids would both be departing for college while at the same time my husband was heading out of town on business. Rather than pack the days and evenings with hikes and dinners with friends (oh, so tempting!), I trusted my gut to take that time for some extensive reflection. I spent four solid days at home — all to myself — to reexamine my writing vision. What I realized during that block of time was that I had become a little too comfortable with my routine and wasn’t exactly thrilled with how I was spending my writing time.

I gathered the nerve to make several pronounced changes to my commitments. While it was scary to be unmoored from what was comfortable and familiar, I created an avenue for new opportunities to seep in. And seep they did! I had additional novel-writing time and took on a freelance editing gig in June that led to a full-time writer/editor position in December, but the biggest shift was that I found myself hired by a publisher to write and submit an entire manuscript in seventeen days!

The work-for-hire pursuit would not have come about if I hadn’t cleared ample space for it. I was e-introduced to the editor in May, and after an initial video interview, she asked me to submit several writing samples for a couple of different book ideas. We went back and forth several times, during which time I submitted additional samples, incorporated editorial feedback and provided revisions. The editor pitched the project to the editorial team, they authorized it, and we set off on our own version of Operation Warp Speed. (For more details of that process and my  takeaways, see Lessons from a Seventeen-Day Book Sprint.) Because I redirected my efforts and reset my long-term goals, The Word-a-Day Vocabulary Workbook, not even a thought seven months ago, hits bookstores today!

The poet, Wendell Berry, said it best. “The life we want is not merely the one we have chosen and made. It is the one we must be choosing and making.” What life will you be choosing and making in 2021?

Here’s what I wish for all creatives this year (beyond health and well-being): Before you set your goals, may you have plenty of time for self-reflection. May you have the courage to make the necessary changes in your life that will bring joy, surprise, and authenticity to your creative endeavors. And may you trust yourself — always — because, deep down, you know what’s best for you.
Warmest best wishes for a joyful writing year!

 
Francine Puckly’s debut book, The Word-a-Day Vocabulary Workbook (Adams Media), is an entertaining nonfiction blend of 365 obscure words, amusing word trivia, and thought-provoking daily writing prompts, perfect for writers who need to get their creative juices flowing each day. It hits stores near you Tuesday, January 12, 2021.
 
You can find Francine online at francinepuckly.com, on Facebook at Francine Puckly, Author, and on Twitter and Instagram @francinepuckly.

by Kelly Carey

Ho, ho, ho! Where did the year go?

24 Carrot Writing wishes our wonderful community a joyous holiday!

We hope you use the last few weeks of the year to look back at your writing goals, and get ready for a fabulous 24 Carrot Writing 2021. The best way to do that is to give your goals ​The Santa Treatment. 

​Grab a cup of cocoa, a plate of cookies, throw on the holiday music, and let’s get started.  

Once you have your list of what worked and what didn’t work, start drafting your 2021 goals.

Better watch out! Better not cry! There is a whole new year of writing possibilities mere weeks away!  And 24 Carrot Writing is excited to share 2021 with you!
​
Enjoy the holidays and we will see you 2021! 

 ~Amanda Smith
Launching a debut book is a celebration of years of hard work, tons of rejection letters, lots of waiting, more revisions, and some well-aligned yesses along the way. But launching a book into the world successfully is also time consuming, energy taxing, and marketing activities might eat into writing time. 24 Carrot Writing spoke with members of the debut picture book group 21 For The Books about their marketing strategies and debut-year goals amidst a pandemic.

Phaea Crede:
Like all new babies, JET THE CAT (IS NOT A CAT) is going to get ALL of my attention around the spring launch, not only because I am so proud of the story, but because the illustrations by Terry Runyan are marvelous and the world needs to know.
My scrappy strategy for marketing so far is to write goofy but heartfelt (my brand!) emails to bloggers and bookstores, hoping that some magic will happen. And that’s been successful! Barefoot Books and my editor Lisa Rosinski have been incredible, so I have no doubt Jet and I will find ways to connect with kids and their readers.
​My creative goal for next year is to use limited writing time more wisely. But the secondary goal is to really hone in on my brand and voice. Like every picture book writer, I have about 1,000 ideas an hour, but I’d love to create stories that scream “me” 
Learn more at www.phaeacrede.com.

We also have a giveaway and scavenger hunt in store! For the 20-year remembrance of 9/11, I hope to reconnect with some of the special people and places the flag touched to see if they would be interested in sharing their stories. I hope to facilitate virtual school visits so students can be inspired by the story of the flag as well. The image below shows the moment when the flag was taken out of storage and emerged after seven long years. Torn and tattered, this was the beginning of its journey to being healed. I decided to share this spread, because the goal with all of my marketing efforts is to share this message of hope and healing. The flag is a reminder that if we come together, share our stories, and listen, we can become whole again.
Visit Amanda's website to learn about book giveaways and more. ​

S.K. Wenger:
Keeping a positive outlook on things I can control, will definitely help maintain balance so that I don’t get distracted by things that don’t go as planned. For launch parties and readings, I can present an engaging and entertaining event for those who can attend. For libraries, classrooms, or homes that add CHICKEN FRANK, DINOSAUR! to their collections, I can be sure to provide fun activities to go along with it. For every new reader I meet, I can take time to hear their opinion on what they like most about the book.
 As far as finding time to create new work, I keep the advice given from the late Rick Walton close to my heart. On writing he said, the goal shouldn’t be to write a book that will get published; the goal should be to write a publishable book. I’ve found this subtle shift in approach to the craft of writing incredibly empowering. It frees me to create the best book I can and provides me room to fall in love with it, because it keeps me from focusing on the end goal of finding a publisher, which can be stifling once you start thinking about it.
Learn more at skwenger.com.

Thank you to the members of 21 for the Books who shared goals and launch year strategies with us. 24 Carrot Writing wishes you all the best for your debut year. And congratulations on all these beautiful new books!