by Kelly Carey

Looking for comparative or comp titles for your manuscript can sometimes seem counterproductive.  Editors are looking for unique books and if you are able to provide a list of books just like yours, then how can you argue that your book is original?

If you can find piles of books just like yours in tone, character, plot, theme and narrative quality then perhaps your manuscript lacks that special original spark.  The hunt for comp titles can help you assess the originality of your work.  No sense wasting time and energy revising and submitting a manuscript that will fall short of publication because editors will say it already sits on the shelf. 

But, beware. Readers will always crave books on certain topics and if you have added your own twist and voice to the manuscript, then your manuscript will be unique. See my blog http://www.24carrotwriting.com/-blog/find-your-own-bear for a discussion on originality. The trick with creating fresh manuscripts and finding comp titles is to locate books that share one common thread with your manuscript rather than the entire knitted fabric.

When searching for comp titles consider the following hunting tactics:

1. Character: Look for books that have a main character that would be best friends with your main character or for whom your MC shares major traits or flaws. For example, it could be argued that Katniss Everdeen would be best friends with Han Solo, and that Bruce from Ryan Higgins’ Mother Bruce and Mike from Michelle Knudsen’s Big Mean Mike would be best buddies.  However Star Wars and The Hunger Games, while comparable, are very different stories. And while both Bruce and Mike share similar qualities and themes that make them comparable, the plot and humor found in those stories are original.  
2. Theme: Is your story about perseverance, confidence or bullies? Look for books that handle the same topic explored in your manuscript but with a different tone, delivery, and plot.  For example, The Book of Mistakes and Tyrannosaurus Rex vs. Edna both present themes of confidence, however one uses lyrical language and a gentle plot while the other uses humor and an active plot. Similarly, The Big Bed and In Your Hands are both stories that revolve around the child/parent relationship. However, The Big Bed uses humor and a spunky main character while In Your Hands uses lyrical language and heartstring tugging text. These manuscripts are thematically similar and, as a result, are comparable titles, but they are still unique.  
3. Style: Perhaps your manuscript uses rhyme, humor, or Meta to deliver the story. Josh Funk’s Albie Newton uses a fun rhyme and a capable and determined main character to present a science-centered theme about imagination and creation, while Ashley Spires’ The Most Magnificent Thing presents an imagination themed main character using a narrative style. Both share similar themes and Albie and Spires’ main characters would be pals, but Funk and Spires use totally different writing techniques. Clearly the two books are both comparable and unique.

 
It is important to know what you are looking for when you set out to find comp titles, but it is also helpful to know where to look. The best spots to find those elusive comp titles include:

1. Advice from Crit Partners: Sometimes a reader who can take a step back from your manuscript is a fabulous resource when searching out comp titles. Take advantage of the reading knowledge your writing buddies can offer and share your own suggestions on their manuscripts
2. Librarians & Booksellers: These folks are trained to offer advice on finding titles that match a reader’s taste and topic desire.  Ask “Do you have any picture books with a quiet character searching for confidence?”  or even more simply “Do you have any humorous picture books about trucks?”.
3. Internet Searches: Type in searches like “picture books about sharks” and you will be amazed at the lists that pop-up. Amazon, to Goodreads, to wonderful blog posts titled “25 Best Kid Books About Sharks” will have you running to the bookstore or library finding great comp titles.
4. You!: Read and read heavily in your genre. You will accumulate, in the most fun way, the best catalog of comp titles when you keep track of the books you have read and enjoyed. I like to manage my own reading list in Goodreads (see my blog post use-goodreads-to-build-your-virtual-library.html). Whether in Goodreads, in a spreadsheet, or on notecards, build your own comp library with shelves and topic headers that read “picture books about snow”, “picture books about confidence”, or “picture books about girl power”. Those personal lists become gold mines when searching for comp titles.

Having strong comp titles can help you sell your book to an editor, help your editor sell your book to the acquisitions board, help booksellers promote your book to bookstores, and ultimately give the reader a wonderful incentive to pick your book up and read it. Don’t miss the opportunity to link your manuscript to the perfect comp titles.

You’ll be glad you did! 

~ by Amanda Smith

Dear First-time Conference Attendee,
Phew! What a weekend! Is your head still spinning with all you heard and everyone you met? Are you finding yourself alternating between euphoric highs, having walked the hallways with legends, and gloomy lows with whispers of “but do I belong?” haunting your dreams?

Let me assure you, I know the feeling. I attended my first NESCBWI conference seven years ago. I was just returning to writing and not sure of anything yet. The inevitable ice-breaker “What do you write?” stumped me all day long. Because I went to the conference to figure that out! As I shared workshops with seemingly confident people who were much more knowledgeable than I was, I felt my voice getting smaller and smaller. By lunch time I was barely a whisper. Somehow, in my oblivion, I ended up at a table with YA and MG writers who were all either published or on the cusp of getting published. They included me, took interest in my work, encouraged me, gave advice, and showed extreme kindness.

I left the conference knowing this:

• Picture books have rules. Yes, even I have to follow them.
• I have to write the YA novel in my heart.
• There are years of unseen work and multiple manuscripts behind what seems like overnight success.
• If this is the kidlit community, I want to be part of it.

So, dear First-timer, here are some post-conference tips for you:

• If you heard the same advice multiple times, from multiple people, believe them. There are correct ways to approach industry professionals and writing picture books. There are genres and sub-genres and word limits. There are steps to be taken when it comes to plotting, character development, revision, and publishing. There are basic, fundamental guidelines you are expected to follow, no matter how unique you think you or your manuscripts are. Listen to what people are telling you regarding your work and the industry. You came to learn.
• If you heard the same encouragement multiple times from multiple people, believe them. You can do this. You have a place here. Your voice is important. Only you can tell your story. Creativity is necessary. Our audience counts. What we do has purpose and meaning. Let these encouragements be your wings.
• Educate yourself regarding every aspect of your craft and the industry. You don’t have to do it all at once, but keep learning.
• Read, read, read in your genre. And outside your genre.
• Keep coming back. Every time you come back, you will recognize more names and faces, get to know people, and become more familiar with the format. After a few years, you will find that you have become the welcoming, generous kidlit person who can help a newby.
• Step out of your comfort zone. When you return to a conference, prepare to do something brave. Volunteer, sign up for a critique, participate in open-mic night. The conference is a place to grow. You can’t grow if you don’t break out of your shell.
• Follow up with a few people you have met after the conference. You might find a writing or critique partner. You might even find a friend. 24 Carrot Writing wouldn’t be a thing if it hadn’t been for a brave soul following up on conference acquaintances.
• Take time to go over your conference notes. You have been inundated with oodles of information. Also, file your notes to be easily accessible for future use. (Francine wrote a helpful blog about that here.)
• Keep writing. Try some of the tools you learned during the workshops. Ride the wave of conference inspiration. Butt in chair, my friend.

See you at the next conference!
Amanda

by Francine Puckly
 
For years I have been revising and polishing one of my manuscripts in order to get it ready for an agent or editor. It’s been a struggle, a journey sprinkled with pockets of both excitement and disillusionment. I’ve had it critiqued numerous times by my critique group members and various other beta readers. I’ve also paid for 10-page critiques, first page critiques, query critiques, more 10-page critiques and back around again. This past weekend I attended a regional conference and had two more industry professionals weigh in on the manuscript. They were in violent agreement. I continue to miss the mark.

I read over their feedback several times. I had a two-hour “therapy session” with a writing colleague who is familiar with the manuscript. Then just this morning I pulled out two files of notes from past workshops and conferences—one on Beginnings, the other on Character Development. The file on Beginnings was a slap in the face. There, dated four years earlier, was feedback about my opening chapters—almost verbatim to the feedback I received a few days ago. Nothing had changed.

So I either A) hadn’t learned a thing in four years, B) don’t possess the skill to fix it, or C) am locked into what has already been written and can’t break out of the word trap to fix the problems with the novel. I’m going with option C.

I’m fiddling, not fixing. I’m tweaking, not writing fresh new prose. I’m trying to force stale, overworked characters to fit a pre-determined plot instead of creating fresh, fabulous characters and then sending them (and the reader) on an exciting journey that incorporates character, voice, and setting.

So I’m following Lynda Mullaly Hunt’s lead. I deleted all of the drafts of that manuscript from my hard drive. (Confession: I’m not crazy. Unlike Lynda, I do have them saved to an external drive. But the drive is packed away in the deep recesses of my office closet and not easily accessed.)

How do I feel after deleting five years of work? I’m scared to death! I’ve consumed every piece of chocolate in the house and thought about opening a bottle of wine at 8:30 this morning. (I opted for a decaf earl grey latte…) But I also know deep in my bones that this was the right move. I won't go back to those drafts on the external drive.
​
I have work to do. An editor I greatly respect suggested a list of novels to study on character and beginnings. I will. I am. I will go back to the drawing board on creating, sketching and really getting to know my characters. And only after I complete those tasks will I sit down and rewrite the story. With renewed vigor. With soulful characters. From scratch.

By Kelly Carey

​It can happen when you excitedly present your latest work in progress to your critique group, and they take turns rattling off lists of picture books with your exact plot. Or when you are browsing the shelves at your favorite indie bookstore and find your book idea, with a stunning cover face out, written by someone else. Perhaps it was in a rejection letter from an editor that read “sorry, but we already have a similar book on our list”. The results are a stunning hit to your creative energy that can leave you with the niggling feeling that every idea you’ve ever had has already been done.

The knee jerk response could be to delete the manuscript and snuggle under a blanket with a large bowl of ice cream admonishing yourself for ever thinking that you had a unique idea. I mean how could you really think your idea was original?

You can!

Take a breath and realize that while similar plots, themes, settings, and even characters can be found throughout kidlit, it’s your unique voice that puts the originality in the work.

Guest Blog by Meg Lysaght Thacher

​

​Every year, over 700 writers, illustrators, agents, and editors converge on Springfield, MA, to meet and learn and talk about their favorite thing: children’s books. If you’re heading to Springfield next month, here’s how to make the most of your conference experience.
 
First, go read Francine Puckly’s Essential Conference Preparation Checklist.

Your First Conference
About a third of conference attendees are first timers. (You can recognize them by the subtle “First Conference” labels on their badges.) If you are one, be sure to attend the conference orientation on Friday afternoon. You’ll get information and advice that’s even more useful than what you’ll read here, plus you’ll meet the conference coordinators and the New England SCBWI team.
 
Workshops
Listen well. Take notes. Participate! Don’t sit in the back—this isn’t high school.
 
Critiques
Go into your one-on-one agent/editor meeting with an open mind. No matter how many times you’ve polished your work, no matter how many critique partners have read it, an editor or agent will probably see something that needs improvement. You paid for this advice. You will get your money’s worth by listening.
Visit the critique prep and support room. There will be a moderator and other attendees who can give you an idea of what to expect in your meeting, or help unpack your 15 minutes of advice.
 
Conference Extras
There will be talks by lots of famous authors. Do not miss Jane Yolen’s keynote address. Just trust me on this one. It will be short, sweet, inspiring, and you will finally learn what BIC* means.
Other events include panels, open mic, peer critiques, an interview with Patricia MacLachlan…um, I don’t think the 24Carrot folks have enough space for me to talk about it all. Read your conference schedule!
 
Networking Basics
* Behave like a professional.
SCBWI has recently adopted anti-harassment guidelines for its conferences. Would you like to be a professional writer? Behave in a professional manner. The NESCBWI conference is a place to learn, network, and hang out with fellow writers. It is not a singles bar.
* Meet new people.
Sit down at a table with someone you don’t know at least once. When you meet someone new, tell them your name, age group you write for, genre(s), and current project. Don’t just read each others’ nametags.
* Do not pitch unless requested.
There are 600 people at the conference, and all of them have at least two projects they’re dying to pitch. We could all stand around pitching for the entire conference, and we would not have a single human conversation. That being said, it’s fine to pitch when someone asks you to.
* Treat the agents and editors like the human beings they are.
​There’s plenty of time after the conference to send them your manuscript and perfectly polished query letter. Would you rather that query letter started with “Remember me? I’m the one who monopolized your time during the Friday night mixer!” or “I really enjoyed chatting with you about our favorite classic fantasy novels”?
 
Volunteering
This is an excellent way to get involved, feel like you belong, help the conference to run smoothly, and meet folks. Plus, there’s free food on Saturday night, and you get to learn the secret volunteer handshake.**
 
Take Care of Yourself
You can always tell the people who don’t get enough food or sleep at a conference. By the last day, they have glazed eyes, are speaking complete gibberish, and have probably introduced themselves to you three times. Don’t stretch yourself so thin that you can’t make a good impression. There are quiet spaces listed in the conference schedule. Use them if you need to decompress or regroup.

And drink plenty of water!
 
Beware of False Comparisons
At any given NESCBWI conference, about a quarter of attendees are published authors or illustrators. Everyone else is “pre-published.” We’re all here to improve our writing and learn. Comparing yourself to other people will get in the way of that. Embrace your you-ness.
 
After the conference
A major benefit of attending a conference is that you get a list of agents and editors who will accept your query for a few months after the conference. The list includes people who don’t normally accept unsolicited queries. Follow the directions on the list. Show them how easy you will be to work with. Make sure you submit only a polished manuscript. You’ll learn a lot at this conference. Apply it! And never share the list with non-attendees. You paid for this privilege. And we don’t want to swamp the faculty inboxes.
 
Final words
Approach your conference with a growth mindset. Everyone is there to learn—even the faculty. Even the editors and agents. And especially you. So learn!
​
~ Meg
 

Meg Thacher will be attending her eighth NESCBWI conference this April. She teaches astronomy at Smith College and writes nonfiction for Highlights and the Cricket Magazine group. This is her first blog post of any kind.


Find out more about Meg:
Website: Megthacher.com
Twitter handle: @MegTWrites
 

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​
2017 meeting stats courtesy of Shirley Pearson (who will remind you to fill out your post-conference evaluation). Thanks, Shirley!
 
*Nope. Not going to tell you. Listen to Jane.
**There is no secret volunteer handshake. Maybe we should make one up! 

Hosted by Kelly Carey
​
Tami Charles' debut middle grade novel launches this month and the buzz is already high for LIKE VANESSA (Charlesbridge).  The novel is a Junior Library Guild selection and has earned a Kirkus starred review that praises the work as "a treasure: a gift to every middle school girl who ever felt unpretty, unloved, and trapped by her circumstances".

24 Carrot Writing is thrilled to have author Tami Charles join us for a candid interview exploring her path to publication, networking and marketing advice, and some thoughts on how she approaches working in different genres and with different editors. 
​
A big 24 Carrot Writing welcome to Tami. Thank you so much for joining us. 


Congratulations on the publication of your debut middle grade novel, LIKE VANESSA (Charlesbridge, Spring 2018)! Can you tell us a bit about your journey from teacher, to freelance writer, to author of a Kirkus starred review middle grade novel? (With ahem…more happy buzz and more books on the way!)

First of all, thanks so much for including LIKE VANESSA on your blog! I was a teacher for 14 years, beginning as a substitute teacher and then an elementary teacher of third and fifth grades. I’d always loved to read and write as a child. As I grew older, I sort of forgot about my dream of becoming an author. Once I became a teacher and started reading wonderful books with my students, my passion was reignited and my students encouraged me to write again. I’m so thankful for them! So, I started writing stories, picked up a few freelance article gigs along the way, which taught me discipline, and once I finished writing LIKE VANESSA, I knew I had to take the plunge.

​In an online article, you credited your husband with the quote “If you want to be great at something, you have to surround yourself with people who are doing it and doing it better than you.” How did you act on that advice and how has it made a difference both for your pre-published self and for you now as a debut author?

My husband is one of the smartest (and funniest) people I know. When he told me this, I did the research and found the SCBWI and Women Who Write. Who knew there were organizations out there that supported aspiring writers? I had no clue! Joining these groups put me in touch with critique groups where I had the opportunity to have my work read by other writers. This level of feedback was crucial to improving my craft. I’m certain that being in a critique group played a role in my publishing journey. To this day, I still have online critique partners. The give-and-take is invaluable.

You once wrote “Having the talent is a HUGE part of making it in this industry, but don’t rule out the power of networking.” What is your networking advice? Can you give the 24 Carrot Writing crew a do’s and don’ts list?

To me, networking is everything! My grandmother used to say, “Closed mouths don’t get fed.” And she was right! You’ll get what you need to progress if you have the courage to ask for it.  My two cents on networking: A thank you note goes a long way (this can be hard copy snail mailed or a quick email). Study the bios of who will appear at writer’s conferences. Get to know the editors’ and agents’ work to see if they’re the right fit for your work. Last but not least, don’t be pushy. Your work should be able to speak for you. If you get a rejection, take it with a grain of sugar. More craft, more work, and your time will come!  
 
​What do you wish to accomplish with LIKE VANESSA?

I’d love for readers to take away that no matter what hardship they may face in life, there’s always something beautiful waiting for them if they stay focused on the journey. This, I feel, is what Vanessa learns in the story.  
For a bit more on LIKE VANESSA, check out this Author Discussion video. 

At 24 Carrot Writing we are big on goal setting. Do you set detailed writing goals, broad yearly goals or do you fly by the seat of your pants?

How about all three? Ha! I do make it a habit to wake up, Monday through Friday, at 4:30 a.m. This is my best time to write when the whole house is sleeping and no one is bothering me for a snack. If I’m on a deadline, I do set (and try to stick to) my goals. But if not, I absolutely just go with the flow.  

How have you approached marketing your debut book? What lessons have you already learned? What are you going to do again and what might you avoid next time? Has your experience as a teacher helped you construct school relevant material and visits?

Being a teacher for 14 years really guided my marketing decisions. Ultimately, I write for children, so I knew I wanted to incorporate a strategy that involved young readers and their responses regarding what they got out of the book. I learned a lot in creating this campaign—how to write a script, secure participants, budget, and edit. I don’t regret a second of it. Moving forward, I’m sure I will come up with new ideas.  

In the meantime, I’d love to share a reader’s response video below: ​

You write both fiction and non-fiction, both PB and MG, and I hear that a YA is in the works. Can you talk about the different skill sets you employ to write in those different genres and for those different age groups? 

Let me just say that I haven’t written a new picture book since last summer and I MISS THEM SO BADLY!!!! I’ve been busy writing MG and YA these days. And you’re right, I need a different mindset for those. For my current YA, it’s set in 1984, so I had to research slang, clothes, fads and watch way too many old school movies to capture the essence of the story. 
​
Voice is important no matter what you write. To fully immerse myself, I can only work with one category at a time. I find the voice to be snarkier with middle grade than YA. With YA, I can cross certain lines that I can’t with middle grade. There are times I’ll write a swear word and I’ll cringe just a bit, but then I remind myself it’s totally allowed in YA.
 
With picture books, I have to become a student to capture the inner child as best as I can. This involves reading lots of mentor texts and Disney watching!

How did you find your agent? What have you found most surprising, most rewarding, and/or most daunting about working with an agent?

I found my agent the old fashioned way. I queried her. I can’t say enough about Lara Perkins. I have no clue how she manages to carry her client load and still make me feel like I’m her ONLY client, which I know isn’t true. She has quite the roster of successful authors! Lara is a cheerleader and she gives me a good kick in the literary butt when I need it. Her advocacy for my work has been the greatest reward!  

So many writers spend years writing without the input from an editor. How did you find working with an editor? Did the experience differ between editors? And has the experience with your MG been different from working on your PB, FREEDOM SOUP (Candlewick, Fall 2019)? 

Picture books are a different animal from middle grade. A lot of the work is in the hands of the illustrator and that takes time. I find the editing to be heavier with middle grade because there are no pictures to rely on. I’ve done some edits on FREEDOM SOUP and there will likely be further small edits once the art is in place. On the other hand, the edits for Vanessa were pretty ongoing and extensive. May I also add that I adore both Karen Boss and Carter Hasegawa? It’s been a great experience!

What is up next for you? And where can readers find you and your books? 

Right now, I am revising the follow up to LIKE VANESSA. This will be a companion YA novel featuring Beatriz Mendez, who is a secondary character in LIKE VANESSA. She comes across as a bully in the first book, but in the follow up, we learn her backstory and see her passion for dance reignited. I also have a middle grade novel, DEFINITELY DAPHNE, publishing with Capstone in October. 

Thank you Tami. We wish you continued success with LIKE VANESSA and in all your writing endeavors.

If 24 Carrot Writers would like to purchase a copy of Tami's debut novel LIKE VANESSA, please click on the links below. To learn more about Tami, please visit her website at https://tamiwrites.com/ .  
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by Francine Puckly

Conferences and workshops are invaluable to our development as writers and illustrators, but their disruption to our normal work schedules can be anxiety provoking. We launch into a frenzy of polishing manuscripts, digging through closets in search of clothing-beyond-yoga-pants, sharpening pencils, and buying really cool journals for note taking.
 
Knowing that some of the spring conferences are already upon us, I wanted to share the preparation checklist I’ve used for many years for the workshops and conferences I attend. I hope this guideline will take some of the angst out of planning for your next event!
 
Three Months Before the Conference:

• If possible, before you register for a workshop or conference, take time to set specific learning goals for the conference and decide which of your manuscripts or illustration projects you have in mind for each breakout session you’ll attend. Having a grasp of the knowledge you seek will help you wade through the many offerings and make the best selections.
• It goes without saying, but make up your mind early regarding which conferences you plan to attend and register early to avoid being closed out of small and/or popular breakout sessions.

 
Two Months Before the Conference:

• Order new business cards. Be sure your email address, website, and other social media details are up-to-date.
• Figure out your networking goals for the conference. Check out Robbie Samuels’ invaluable bestselling book Croissants vs. Bagels: Strategic, Effective & Inclusive Networking at Conferences (www.robbiesamuels.com/2010/07/croissants-vs-bagels/). It’s a quick read packed with everything you need to think about before, during and after a networking event. A must-read before you set off!
• Prepare for conference keynoters and workshop presenters by reading a selection of their published books, blogs and interviews.

 
One Month Before the Conference:

• Email friends, colleagues, and anyone else you know who might be attending the event. Make plans to catch up over coffee or a glass of wine.
• Assess your wardrobe. Be sure all of your outfits have pockets (men need not worry) and if not, make sure you have a cross-body bag to hold your cell phone and business cards. You’ll want one hand free for your beverage and the other available for handshakes when you’re mingling and visiting at the mixers and socials at the conference.

 
Two Weeks Before the Conference:

• Practice your pitches for when colleagues and acquaintances ask about your current projects. Haven’t completed a pitch? Check out Nathan Bransford’s How to Write a One Sentence Pitch (blog.nathanbransford.com/2010/05/how-to-write-one-sentence-pitch) and then put them all together with Kelly’s Create a Pitch Ring blog (www.24carrotwriting.com/-blog/create-a-pitch-ring).
• Get that toothache and any other nagging problems taken care of before you set off for the conference so you’re free to stay focused.

 
One to Two Days Before the Conference:

• If you work full time and must pack at night, pack two nights before your scheduled departure. Trust me on this one. This will help ensure you’ll get plenty of rest the night before.
• If you’re flying to your conference, your carry-on bag should include the essentials to get you through 24 hours in the event your luggage is lost. This includes toiletries and cosmetics, important business papers, laptop, and a spare shirt (or complete outfit if you can manage it).
• If you’re driving, why not pack light and leave room for your favorite pillow for a good night’s sleep?
• If you think you’ll have free time to work, pack up the essential materials you’ll need. Check out The Portable Office (www.24carrotwriting.com/-blog/the-portable-office) for a reference list.

 
And Don’t Forget to Pack:

• A conference survival bag. Mine includes: mints/gum, headache relief, makeup/lip balm for dry hotel air, music device and earbuds, snacks and refillable water bottle, teabags, and charging cords.
• Layered outfits for each day of the conference so that you can ride the wave between overheated or overcooled rooms. (Don’t ever underestimate a hotel’s air conditioning system! Always have a sweater, blazer or wrap.)
• A book or magazine that will bring peace of mind in the evening as you wind down from a busy day.
• An extra collapsible bag for speaker books and swag you’re bound to collect.

 
Happy Conferencing!
 
~ Francine

~ by Amanda Smith

As a substitute teacher I often walk into an emergency, with lesson plans drawn up quickly by someone whose mind was in a much more urgent place. On one such a day, the art teacher left me, in her words, “sketchy plans” – most of which involved students finishing current projects followed by open studio. Now, I’m all for open studio and free draw, but first grade had no projects to finish first. That meant 45 minutes of free draw: The definition of chaos.

Thankfully, I had a planning period. And an ally in the school librarian. After thinking for a second or two, she pulled Harry the Dirty Dog by Gene Zion off her shelf.
“You know,” she said, “kids love dogs. And they always enjoy Harry’s adventures.”
Together we studied Margaret Bloy Graham’s illustrations, and a lesson plan was born.

​Fast forward to the first-grade class. I read the book. The kids were delighted. Then I held up Harry the Dirty Dog. “We are going to draw Harry,” I said.
Shock and mayhem.
“What!”
“We can’t draw like that!”
“That’s impossible.”
I turned a deaf ear to the protests as I handed out a sheet of paper with a rectangle already drawn on it. I explained that we would have to work together to draw Harry, as it is a step by step process.  Then the students and I drew Harry using the parameters of a rectangle. 

As their dog drawings took shape, their joy was contagious. And here’s the thing: even though they all followed my instructions, not one of the dogs looked the same. We had skinny, long nosed dachshunds, and pudgy, round nosed puppies. We had droopy eared dogs and shaggy tailed dogs. Boy Harrys with spiky collars and girl Harrys with pink bows. Every student loved their own Harry, and was amazed that they could indeed draw like that.
Here’s what I learned by drawing Harry, and how it pertains to writing:

1. Know the shape of your story. Harry is drawn in and around a rectangle. Once the students could see that, they could follow the steps to draw him. Identify the internal structure of your book.
2. Take it one step at a time. Those first graders looked at the cover of the book, and were done in by the details of it all, but once we broke the task down into steps, it was completely doable. Don’t stress about the revision process or the rewrite if you haven’t written the first draft yet. When you get to the next step, you will be ready for it, because you already did the groundwork. Follow the process.
3. You are capable of more than you think. Just like those first graders, you may look at an idea and think that you cannot possibly do it. Yet, each and every one of them drew a Harry. They loved their pictures and they celebrated their neighbor’s pictures. As a collective, they were in awe that the ability to draw that dog was INSIDE of them.
4. Listen to your heart and tell your story your way. Remember how the students’ dog drawings were all different? Even if an idea has been done before, your execution of it will be unique.
5. Also, librarians rock!

So, as you take the steps to shape your book, follow your heart and believe in the creativity you already have inside of you. Go ahead, unleash your inner-Harry.

by Kelly Carey

​Any writer who has been around the query block once or twice, knows rejections are a part of the process. Getting a rejection can have you shoving that manuscript into a folder far away and out of sight. 

Don’t do it!

Instead, employ the Boomerang Submission Strategy. The same day you get those infuriating “thanks but no thanks” replies, send that manuscript back out to the next dream agent and/or editor on your wish list.

That manuscript was a complete, fully revised, and polished piece of work that you submitted with confidence and hope.  A single rejection, in fact, I would argue a dozen rejections, should not be enough to warrant a delay in sending the manuscript back out on its journey to publication.  

The danger in overreacting to rejection letters is that a single denial can slam your manuscript into an unproductive holding pattern. I’ve done it. After a rejection, I’ve tucked many manuscripts away. My mind set at the time was that I would look at it again after my wounded ego had healed.  It was often a shock to run across that folder again and realize that I had let three months or even three years go by before I had considered myself “healed”. Worse, when I have re-read the rejected manuscript I found that I still had confidence in the story. The same confidence that had me submitting it in the first place. Only now, I had wasted months and sometimes years letting the manuscript sit stagnant in a folder.

As an alternative, last year, I started employing the Boomerang Submission Strategy. As soon as a submitted manuscript came back, I sent it right back out again.

A few caveats. First, this strategy works only if you have fully vetted and revised your story before you’ve sent it out. Do your revisions. Seek out advice from a critique partner and/or critique group, preferably more than one group and more than a single read. Second, this strategy is most effective when the rejection letters that come back are form letters with very little or no actual constructive advice. Things like “it doesn’t fit our list at this time” or “it didn’t resonate enough with me” are not really red flags for surrender or an indication of the need for a major rewrite. Finally, you need to be precise when you toss your boomerang ...er... I mean manuscript out into the publishing world. Choose your target agents and editors carefully, check out their wish lists, read their submission requirements, and be sure your manuscript is hitting the mark. Don't fling with reckless abandon, but with the skill and precision of a professional writer. 

If the denial letter is detailed and offers true constructive advice, you can pause and consider. BUT do not attempt a massive revision after a single negative comment unless your writing self, to the core, feels the strength of the advice.  That said, I would recommend setting a tight time-frame on how long you will hold onto your manuscript before you put it out on submission again. Give yourself a week or maybe a month and then Boomerang! 

Letting a story languish in a folder simply because it hasn’t yet found its ideal agent and/or editor is a colossal waste of time. So try the Boomerang Submission Strategy and let your manuscript fly!