By Anna Crowley Redding
 
 
My fourth-grade science classroom is burned into my memory. If I close my eyes, I can still see the glass aquariums in the back of the room that held soon-to-be-hatched snake eggs, turtles, and mice. Adorning the perimeter of the room? The steps to the scientific method. On the board? A parade of brainy topics from the Sputnik to Dr. Jarvik and the artificial heart. The highlight of the year? Walking into the classroom to find the desks have been pushed together, are covered with trash bags and newsprint to accommodate what our teacher picked up from the butcher: a set of bonafide cow lungs. We will all take turns blowing into them to investigate how this organ works in humans. (Tip: If you blow into the wind pipe to inflate the lungs, close your mouth quickly ‘cus what goes in the lung, comes out––only with a new lung-y taste and smell.) It was a time of wonder and first touch with meaningful scientific inquiry. It was an amazing experience.

What I don’t remember from that time? Our textbooks or any science-based picture books. And for good reason. All of the joy of hands-on learning, the pull of a magnetic intellectual journey died in our books. And this was no fault of my marvelous teacher. By and large most nonfiction texts of that day were boring, caught in the trap of regurgitating facts.
 
Luckily, that is no longer the case and thank goodness! Today’s nonfiction books are at turns poignant, jubilant, and fascinating––written with a hook that leaves the reader wanting to go deeper into any topic, whether science, history, social studies, math, art, etc. Not only is this an obvious win for students and young readers but this is a win for writers, too, freed from outdated misconceptions of what nonfiction must look like. Yay!
 
So, as a nonfiction writer where do you begin? Here’s some advice that people have given me along the way that’s made all the difference.
 
When I was a TV news intern in Boston, a more seasoned reporter said to me, "When you are going around in life or learning about something, and you have that thought: ‘OH! I never knew that!’––train yourself to listen to that thought, because you are not alone."
 
That’s tip #1 – If you hear these thoughts-- “Oh, that’s cool!” or  “Gee, I never knew that.” STOP what you are doing, write it down. Write down that cool thing. NOW, look at your paper. You have a story idea! Woohoo.

Now What?
​Well, I learned how to answer ‘Now what?’ from one of my college professors. I took his class as an elective, because I wanted to understand how public policy was made, so that as a reporter, I would recognize flaws. That professor was none other than Governor Michael Dukakis. To this day, he is one of the smartest people I’ve ever had the pleasure of talking to (and one of the most committed to helping young people learn and become public servants).
 
Listening to his process, I realized it applied not only to public policy, but also to reporting and storytelling. Let’s run through it. Tip #2 is Do as Dukakis Does!
 
Step 1 – Take out three sheets of paper. Label the first one “history and background.” So, you have your idea. Put on your investigative hat and start jotting down bullet points that go deeper. Is your story idea about Albert Einstein’s childhood? Find out the important dates. What else was happening in the world then? What were other kids of the day like?
 
Is your topic cannibalistic insects? List them. When were they discovered? What are the facts, as you dive in, that still have you saying “oh, I never knew that!” List them.
 
Fill your page with facts!
 
Step 2 – Grab your second sheet of paper. Label it “Key People/Sources.” Now you are going to list off all the people you and the Google search engine can think of, who might be an expert on your topic or be able to point you to an expert. I say ‘people’ but it can also be museums, websites, books. If your story is about crop-killing bugs, you’ll want to make sure you have farmers on the list. If your story is about the Titanic, you’ll want to read first-hand accounts from survivors. If you are writing about Mars, NASA’s website might be helpful. Brainstorm who you need to talk to, places you need to visit, websites to read, books to check out, etc. Fill the page!
 
Step 3 – Grab that last sheet of paper and write “Connect.” Working from your “Key People/Sources” page, list all the people or places you are going to call, visit, e-mail. This is a working list so you can check them off as you go along. And as they suggest other important contacts or sources, you can keep adding to the lists.
 
Wait, that’s a lot of work. What’s the point?
It helps you get your arms around your story idea and research quickly and comprehensively, adding structure to the process.
 
So, you have a ton of information. Now, what?!
 
Tip #3 – Find Your Hook
 
Now, you need to think about your hook! In that mountain of research, what really got your attention? What do you find yourself thinking back on over and over again? When I was in journalism school, this little sentence was offered as an exercise to find the hook. Here’s the cleaned-up version:
 
“HOLY MOLY! I just found out that . . . !”
 
When you complete that sentence, you know what your hook is.
 
Sometimes your first paragraph is centered around your hook. But sometimes you need to set it up. To understand which group your story idea fits in to, break your story down into moments. If your story is about a person, typically the moments of their life start with 1) potential 2) effort 3) setback 4) growth 5) another setback and repeats like this until 6) Eureka! Breakthrough. This is a similar story arc to fictional stories.
 
If your topic is about science or math, it may too have this arc, or you might be organizing ideas together in a way that tells a story.
 
Tip #4- Play story time leader!
 
But imagine this, you are sitting in a rocking chair at story time, and you begin to talk to the wide-eyed, riveted children seated at your feet. They want to hear all about your book. Using your very best story time voice, where do you naturally begin? Full disclosure: This particular author is not above grabbing stuffed animals and acting out this scenario. It helps.
 
Even when you are writing for middle schoolers and young adults, you still have to tell a story.

Wait! I just realized . . . you came up with a story idea, researched it, and figured out where to start and what your hook is! I guess we better end here so you can get busy writing, because we want to read your book!
 
In the meantime, I am hoping in my time machine to drop off some books to my fourth-grade classroom. I think I’ll take …
 
Terrific Tongues by Maria Gianferri, Volcano Dreams: A Story of Yellowstone by Janet Fox, Two Truths and a Lie by Ammi-Joan Paquette and Laurie Ann Thompson.


​​
Before diving into the deep end of writing for children, Anna Crowley Redding was as an Emmy-award winning investigative reporter, TV anchor, and journalist. The recipient of multiple Edward R. Murrow awards and recognized by the Associated Press for her reporting, Anna now focuses her stealthy detective skills on digging up great stories for younger readers―which, as it turns out, is her true passion. Her book, Google It: A History of Google, is available now in a bookstore near you.

To learn more, visit Anna's website at https://annacrowleyredding.com/

​by Francine Puckly

In the past two or three weeks, I’ve come in contact with nearly a dozen writers and illustrators who are struggling. So this post is part blog, part book pick and suggested reading, and part battle cry for all of my creative friends who have hit the wall and are questioning the pursuit of publishing books.
 
We are living and operating as artists during a time when we are expected to project a lot of energy outwardly—connecting, marketing, networking. Through the conversations I’ve had with writers in the last month, several of them said they had lost their way, and in all of the cases their energy had been depleted by social media, conferences, and the revolving door of submissions and rejections. As another friend told me today, “I have become a professional student, chasing after classes to inspire me to write. I just need to sit down and write.” We featured Melissa Sweet for our illustrator month, and she spoke of the lessons she learned from E. B. White while writing and illustrating the exquisite book, Some Writer! The Story of E. B. White. While E. B. White might have been eccentric in his need for nature, he can teach us about pulling back, sitting with an idea, and letting nature nurture us as our ideas are developed. Any man who spends a year studying spiders has something to teach me about pacing myself. We owe ourselves a break from the fast lane in order to reconnect to our writing. We can only spin like a top for so long before we lose steam, wobble, and topple over.
 
Instead I say, let’s embrace and find inspiration in life. If I stop and look around, I can find inspiration in all of my day-to-day surroundings. For starters, I am inspired by my daughter’s 99-year-old dance teacher, Georgia Deane, who continues to teach, dance and sing every day. (Here she is performing in Arizona last month.) And then there’s my critique group member who has spent years pulling together a family tome of photos, family trees and stories, poetry, and Ancestry.com details to pass along to her nieces and nephews. When she shared the book Monday night, we were speechless. The detail and care that had gone into creating it could rival any book written. Big publishing house project? Nope. But what a gift. Another friend faces a recurrence of cancer but remains upbeat and continues to draft her most riveting YA fantasy yet, and I can’t wait to read it! I’ve been on all sorts of adventures this summer with my son as he searches for a new home next year—at a university that will embrace all of his loves. It’s taking over a great deal of my “writing time” but I wouldn’t miss this journey for anything. The writing will have to wait.
 
This is life. We live it. We embrace it. We feel it. We will eventually create from it.
 
My friend and 24 Carrot co-founder Annie Cronin Romano said in one of our goals meetings last month that she was going to “throw it at the page.” Her wisdom hit me like a slap across the face. I have been struggling with a complete rewrite of a novel, but I was spending an inordinate amount of time and energy trying to control the direction of the writing. I had lost the love of sitting down with a cuppa, my favorite pens, and a pad and writing for the sheer joy of seeing something new—something never written before—on paper. It had been a long time since I had experienced that oneness with a snippet of a thought or story. Long overdue. So despite the fact that I have a meaningful and immediate deadline ahead, I am reeling myself in. I am going to dip in, splash it, mix it, repeat. I will trust that this is the only viable process if I’m going to deliver something fresh and engaging. I will probably miss my deadline but I'm determined to enjoy this process.

Autumn is here. Nature beckons, as do our creative souls. Go back to the basics. Do whatever you need to truly live and retrieve the joy you once knew when you sat down to draw or write.  If you live in a place with seasons, take a hike, play in a pile of leaves, drink warm cider. If you live in a place without seasons, go to the beach or bask in the warmth in other ways! If rain drives you inside, buy a box of crayons or a set of watercolor paints (the kind with only eight colors and one brush). And listen to E. B. White’s wisdom. Explore The Story of Charlotte’s Web: E.B. White’s Eccentric Life in Nature and the Birth of an American Classic by Michael Sims and The Essays of E. B. White by E. B. White. And definitely don’t miss out on Some Writer! The Story of E. B. White by Melissa Sweet! 

By Kelly Carey
​
​We are abuzz at 24 Carrot Writing, as one of our founders, Annie Cronin Romano, prepares for the launch of her debut picture book, Before You Sleep, due out October 9, 2018 from Page Street Publishing.
​
I’d like to take this time to reflect on the integral part Annie has played in our writing group and on the way our group has supported Annie on her writing journey. My purpose is to highlight the benefits of joining a writing group, encourage you to become an active and fully engaged member of a writing tribe, and to point out the significant advantages, for all writers, regardless of where they are on the writing path of belonging to a writing community. 

I’m Just Starting. What Could I Possible Offer?

When our founding mother, Francine Puckly, first gathered our group of four together and suggested we start 24 Carrot Writing, I wondered what a group of barely published, novice writers, in the infancy of their writing careers could offer each other let alone a larger audience.  Luckily, Francine drowned out those concerns with her dogged determination that we had big things to contribute both to each other and to the KidLit industry.

At the very beginning, we offered each other companionship as we set out on our writing voyage. And this has made all the difference in helping us persevere in the face of form rejections, harsh critiques, and self-doubt.  Our shared goal, a desire to be successful KidLit writers, meant we brought a unique understanding of how it feels to struggle with plot, manage word count, construct a query letter, and suffer the pain of form rejections. We knew exactly how significant a completed first draft was, we celebrated a revision break through with appropriate verve, and we cheered raucously when publishing success found our group. Our non-writing friends and family were supportive, but our group of fellow writers offered a kinship only they could bring to the table.

That kinship is critical in a career that so often requires you to be alone with your laptop. If you are fortunate, your inner voice can help sustain you along your writing path. But, I would argue that the fresh and often kinder voices of trusted fellow writers are a necessary and crucial component to writing success.
​
Francine was right. No matter where you are on the path, or how new your journey is, if you want to write, if you are determined to become a KidLit author, then you have an impactful role to play in a group of like-minded writers. 

​We Can Cover More Ground Together

We could all agree that a single person cannot read every new KidLit book; devour every article in a trade journal; take every workshop;  attend every book event; and connect with every single agent, editor, librarian, bookstore owner and KidLit author in our industry. But, if you commit to a group of writers, allow them to get to know your style, show them your manuscripts, talk openly about your writing strengths and weakness, then you will have a team helping you accomplish your goals.

Annie has recommended books that are great comp titles for Amanda’s PB. Francine has forwarded marketing articles to Annie, weeks after her contract was signed, because she knew Annie would benefit from the information.  Just this week, Amanda sent me the names of two editors she felt might be a great match for a manuscript I have on submission. There is no doubt that our writing group is giving each of us extra writing focused eyes and ears to help us on our individual journeys.
​
We are looking out for each other, for our manuscripts, for our submissions, for our writing, and offering targeted advice and help. These informed knowledgeable connections that we bring to each other are only possible because we have freely and candidly opted to share our writing journey. You can certainly go it alone. But, a tribe will facilitate your path to success and you will reach your goal faster and with more joy along the way if you invite others on your trip. 

The Friction of Give and Take Sparks Success

As Annie launches her book next month, our writing group will be out in force to help her set up her event, offer a knowing and encouraging wink, and ensure that this special moment goes off without a hitch. For months, we have acted as a sounding board as Annie worked through the steps of planning the arrival of her new book. We offered suggestions, forwarded marketing opportunities, shared Annie’s news on our personal Twitter and Facebook accounts, and helped make sure that Annie heard positive and encouraging voices when concerns or doubts surfaced.

In return, Annie has given us reason to celebrate. We are motivated by her success to send out queries with hopeful abandon. Sometimes the phrase “success breeds success” can have negative connotations, in the case of a solid writing group, I would argue that “success motivates success”. This is a rough rejection filled industry and feeling connected to Annie’s success has given each member of her writing tribe a burst of sunshine.
​
Having a front row seat to Annie’s success also means we have seen firsthand how a launch works. We may have been helping Annie with her book, but she has given us the opportunity to learn and prepare for our own launches. I know I am grateful that when my debut launches in 2020, I will have been a part of Annie’s journey and she will be a solid advisor who I will rely on. 

Don’t Hike Alone

I love hiking because it offers the joy of communing with nature, the gorgeous vistas along the path, and the euphoric feeling of accomplishment when you summit at the end of the trail. But, I have never opted to hike alone.  That seems scary and dangerous.  So why would I ever choose to travel my writing path alone?

You could choose to hike into the woods, carrying everything you think you could possibly need in your own backpack. When you happen upon a stunning vista, I suppose it is glorious even if you have no one to share it with. But I would argue that the ability to share revelations, successes, and the burdens in your pack make the journey easier and more enjoyable. That is exactly what we did and why 24 Carrot Writing has become a growing and dynamic group.

The benefits of sharing your writing career are vast. Your writing tribe will keep you motivated, remind you to take advantage of workshops, greet you at conferences, buoy you when you hit writing walls, and celebrate your success.
​
If you are a part of 24 Carrot Writing – congratulations! You have recognized that you have something significant to offer a writing community, you have a team supporting your writing journey, and you will feel the success sparked by our collective energy. I’m so happy you decided not to hike alone! 

Guest Post by Melissa Sweet

There is no separation between art and life in my book. I’m always seeing the world through the eyes of what I’m working on. In writing my biography Some Writer! The Story of E. B. White, I had the pleasure and privilege of reading everything he wrote, as well as listening to his three children’s books in my car for the better part of three years. It was an education, and an inspiration. There is much to admire about White and his writings. In the end, the essence of White to my mind was his sense of freedom, and the conviction for living life on his own terms. He personified what President Kennedy wrote in a speech celebrating the role of the artist: “If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth.”
 
When Francine invited me to create a blog post I suggested: “10 things I learned from E.B. White” (even though there were scores of things I learned from him). Then I remembered towards the end of Charlotte’s Web, Charlotte had laid 514 eggs, and since 5+1+4=10, hence the organization for this piece.
 
Here is just a handful of White’s many words of wisdom:
 
5
 
1. “I think the best writing is often done by persons who are snatching the time from something else…”
Sometimes taking a walk, deadheading the flowers, or jotting down something that comes to me in a flash is still part of “working.” It’s all another form of thinking.
 
2.  “Work from a suitable design”
Finding the design not just the writing, but the merging of words and pictures, is the best part of designing a book. Once I discover and decide on the “scaffolding,” the elements begin to fall into place. In Some Writer!, the hierarchy was first my text, then White’s quotes with illustrations, and finally the merging of archival photos, manuscript pages, and White’s ephemera. Creating the book was akin to inventing a three–dimensional jigsaw puzzle.
 
3. “I would really rather feel bad in Maine than feel good anywhere else.”
White left New York City and the The New Yorker, as well as fame and notoriety, to live in Maine, a place that had inspired him since childhood. While living on his farm, he wrote essays for Harper’s Magazine that became a collection of some his finest writings: One Man’s Meat.He also penned Charlotte’s Web and Trumpet of the Swan, to name a few. Just as important as loving where we live is carving out a space and time to work. John Updike wrote, “Try to develop actual work habits, and even though you have a busy life, try to reserve an hour, say -- or more -- a day to write." Even an hour a day adds up.
 
4. “I like to read books on dog training….to me a book on dog discipline becomes a volume of inspired humor. Every sentence is a riot.”
Why throw a wrench in the middle of deadlines when everything is going pretty well? In a fit of madness, or just to keep things interesting, we got a purebred shepherd puppy– I wasn’t looking for either. We named her Ruby. She continues to remind me not to take myself so seriously and that I need fresh air and exercise. For Ruby, life is a ball, and it might as well be the same for me, too. As White once wrote, “A really companionable and indispensable dog is an accident of nature.” Ruby is both. (With apologies to White’s famous line regarding Charlotte).
 
5. “The approach to style is by way of plainness, simplicity, orderliness, sincerity.”
This says it all.  Could crafting a book with this advice be that simple? Yes, along with the other bit of advice.
When I wrote my first book, Carmine: A Little More Red, I had Strunk and White’s The Elements of Style on my desk and referred to it constantly. By the time I began writing Some Writer!, I realized I had about seven copies of that book between my home and studio. It was the book that helped me understand White’s process.
 
​
+ 1

1. A nod to another great writer…                                                                             
Author John McPhee, a New Yorker contributor, is one of my favorite nonfiction writers. In his book, DRAFT #4, McPhee’s essays are a collection of writing advice that is fun and informative to read, as are all his books. Writing a biography of E. B. White was a gigantic undertaking, not just because he is one of our most beloved writers but the sheer volume of research that had to be read, sifted through, and organized. The following quote by McPhee is sage advice for choosing the content of a biography (and writing in general): 
​“What is creative about nonfiction?…here are a few points: The creativity lies in what you choose to write about, how you go about doing it, the arrangement through which you present things, the skill and touch with which you describe people and succeed in developing them as characters, the rhythms of your prose, the integrity of the composition, the anatomy of the piece…the extent to which you see and tell the story that exists in your material…. Creative nonfiction is not making something up but making the most of what you have.”  –– John McPhee
 
+ 4
 
1. “Always be on the lookout for the presence of wonder.”
Dr. Dorian said this in Charlotte’s Web. White once watched a spider spinning an egg sac in the doorway of his barn, and the rest is history.  It could be, as Mary Oliver writes, that “paying attention is the beginning of devotion.” Indeed.
 
2. “Omit needless words.” 
This rule from the Elements of Style is a favorite. By editing and rewriting, we find clarity and simplicity. White goes on to write: “Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.” And in conclusion: “There you have a short valuable essay on the nature and beauty of brevity– sixty-three words that could change the world.” 
 
3. “Every writer, by the way he uses the language, reveals something of his spirit, his habits, his capacities, his bias. This is inevitable as well as enjoyable. All writing is communication.”
All art is a form of communication. White wrote tens of thousands of letters in his lifetime. An invaluable exercise that lots of writers have used as a way of limbering up (myself included), is writing a letter, a postcard, or a thank you note. Try writing by hand or on an old typewriter. Why not email? Because doing something by hand slows us down, helps our mind become in synch with our hand, not to mention the recipient will receive a memorable gift in the mail. Also, a book titled, The Collected Emails of (insert name here) may not capture our imagination.
 
4. “A person who is looking for something doesn’t travel very fast.”
Stuart Little knew this. His quest was more important than the destination. You’re going artistically, and otherwise, write on!You are no doubt heading in the right direction.

Melissa Sweet has written and illustrated many award–winning books including, Balloons Over Broadway: The True Story of the Puppeteer of Macy’s Parade, and two Caldecott Honor winning books, The Right Word, and A River of Words, both by Jen Bryant. Her most recent book, How To Read A Book by Kwame Alexander, will be published in June, 2019.  You can find out more about Melissa at melissasweet.net and https://www.facebook.com/melissa.sweet.35.

~ Hosted by Amanda Smith

Stevie has been living on the road for the past three years, furthering her passion for climbing, art, and the outdoors. Striving to live simply and tread lightly on the earth, she gathers inspiration from a variety of places, be it climbing in the high desert at Smith Rock, hiking in the forests of southeastern Alaska, or sharing laughs with strangers around a campfire.  After working four years in animation at DreamWorks, she now illustrates children's books and creates art based on her travels. Her latest work includes PRINCE & KNIGHT (Daniel Haack; Simon and Schuster), THE FINDING SERENDIPITY series(Angelica Banks; Scolastic), and LOST IN THE LIBRARY (Josh Funk; Henry Holt & Co.), which will be on shelves August 28, 2018. 

​1. Tell us a little about your journey. How did you become an illustrator?
​
 I remember always having a pencil in my hand as a kid.  You would always see me doodling on the edges of my notebook, or on napkins in the restaurant.  It just flowed out of me, and became the way I shared and communicated with the world. I decided to seriously pursue a career in art when I was a senior in high school, and ended up getting accepted to Ringling College of Art and Design in Sarasota, Florida.  After working endless nights and creating, with my friend, Avner, our senior film, Defective Detective, I landed a dream job at DreamWorks Animation in the Bay area.  After 4+ years of working there, I decided it was time to pursue children's book illustration.

4.  I’m an art supply hoarder. To me art supplies and a living out of a van sound incompatible. Most of your current art is digital. Did you make a decision about art media limits before you went on the road? 
​
Ha, I know what you mean.  I used to work with traditional media much more when I was in college.  But, since I started working in animation, my work became heavily digital-based.  It's incredibly easy to make changes, especially with big files and detailed pieces.  Sometimes you'd have a note that would ask you to remove a few buildings and add a park with trees in its place.  I can't imagine how hard that would be to do on paper.  It's funny because I worked with a few guys who have been around since the PRINCE OF EGYPT days, and did all of their artwork with pencil, airbrush, or a variety of traditional techniques.  Now they all work digitally and it's expanded their work to a new level.  But it is nice to be able to go back to pencil and paper when desired.  Living in the van, I've had to make a few sacrifices.  While I don't have to pay rent, I had to limit what I could bring along (especially living with two dogs and a 6'4" partner).  I pretty much have room for my computer, a small collection of gouache paints, color pencils, and some ink materials. Let's just say I have to make several trips to the art store when I'm working on a traditional project.

5.  What is the one medium (besides digital) you have to have? Why?

 Lately I've been experimenting a bit more with paper cutouts.  It's been a change in pace and challenge for me.  I like how I can reuse and recycle paper from old magazines or catalogs, and how it almost creates a sense of dimension off the page.  Every year I try to focus on a new style or medium, just to mix things up.  Next year I want to try screen printing!
 
6.  When you first receive a manuscript to illustrate, what is your process? 
​
 After reading a manuscript for the first time, I immediately have ideas of what I want to illustrate.  Once I’ve read it through a few times, done thorough research, and confirmed with my editor any details they want to see, I start sketching.  They’re usually rough sketches, just to see my ideas on paper.  If necessary, I’ll do research in person, for example, I flew out to the New York Library in Manhattan to spend some time sketching, taking photos, and gathering ideas for LOST IN THE LIBRARY, written by Josh Funk. Since that book took place in a beautiful, historical location, I wanted to capture as many details as I could. ​

Thank you, Stevie, for sharing your journey, process and amazing art with us!

To learn more about Stevie Lewis, visit her website here.

LOST IN THE LIBRARY will be in book stores, August 28. If, like me, you cannot wait, it is available for pre-order at indiebound and other book retailers.
​
To learn  more about Josh Funk, 24 Carrot Writing contributor and the author of LOST IN THE LIBRARY, visit his website here.

Guest Blog Post by Brian Lies

My newest book, The Rough Patch, deals with a difficult topic—grief, especially the anger aspect of grief—and hope. The story is about fox named Evan who does everything with his dog, but one day the dog dies. One of their favorite activities had been working in Evan’s garden, and without the dog, Evan can’t bear to even look at the place they’d enjoyed so much together.  He hacks it to bits, and in his grief, begins to tend the weeds that sprout in the space where his vegetables and plants had grown before. The garden becomes a dark place, but when a pumpkin vine sneaks in under his garden fence, Evan begins a transformation back to hope.
 
I didn’t set out to write a story about grief.  Sometimes a story idea comes to you and won’t leave you alone.  This was one of those ideas.  The story of a man, a dog and a garden began as I was weeding my own vegetable garden, wondering what would happen if instead of pulling weeds, I transplanted them into even rows and tended them.  Would some reverse psychology cause the vegetables I wanted to come up between my rows of weeds?
 
When you’re illustrating a story on a difficult subject, many questions arise.  How are you actually going to depict the difficult parts?  How much should happen “off-stage”?  How much is too much to show?  Or too little?  I wanted the story to carry real feeling but not be so strong that it felt brutal or manipulative.
 
One roadblock at the beginning was that I originally envisioned Evan as human, a crusty old New Englander with a good heart.  The more I thought about this, the more I worried that young readers wouldn’t empathize with him.  When we’re children, most of us don’t see our grandparents as fully-rounded beings with complex emotional lives.  Much of our relationship with grandparents is selfish—about how they make us feel, or what they’ll give us.  So, would a child looking at a story about an old man really feel for him when he’s sad?  I didn’t think so.
 
Turning him into an animal may seem like a no-brainer solution, but it took a while for me to see him differently.  I tried him as a bear...

 and then as a rhinoceros. ​

Both looked clunky, and I didn’t instinctively feel anything for them. But then I drew Evan as a fox, and knew I’d found him. A fox has soulful eyes, expressive ears and tail, and his long lines better echoed that crusty old Yankee that I’d originally envisioned.  Evan became a fox, and I think it’s much easier for a child to look at his face now and think, “Poor fox!  He’s so sad...”

The next big challenge was to find that storytelling line between bland and brutal.  The interplay between text and illustrations is always important in a picture book, but here it felt critical.  It’s easy to get maudlin if you say too much about how a character feels. So I decided to keep the text mostly factual, explaining Evan’s actions in a kind of reportorial way, and let the illustrations show his feelings.  The classic “show, don’t tell.”

Several techniques or tricks came to the forefront as I worked on how to illustrate the story. One was using a wide range of compositions or “camera angles” to convey emotion and feeling. When Evan destroys his garden, I didn’t want to fill the page with a bird’s eye view, looking down at a character mowing down vegetation. The most important thing was his emotional state at that moment, so I came in for one of two extreme close-ups in the book—Evan filling the page, slashing with a hoe and vegetation spraying behind the hoe. 

When Evan’s in the throes of anger and sadness, the color dims and becomes a kind of sickly green-gray.

And as hope returns to Evan’s life, the primaries re-assert themselves.  Even if the text doesn’t say that Evan is going to be okay in the end, the palette suggests that it will be.  The colors act as our guide.
 
This book was very rewarding to create. Each image was different enough from the others to make the process of painting them interesting, from the first day to the last.  And it was also the most difficult book I think I’ve done, taking some fourteen years from when I first came up with Evan’s story to publication.  But it’s a good reminder to keep plugging away if a story idea grabs you.  I returned to the idea for years, thinking “I’ve got to do that story!” before I finally discovered how it should look.  
 
Honestly, I don’t think I was ready to do this book back in 2004, and though it would have been great to get it out quickly, I think it’s a better book for the wait.
 
 
Brian Lies is the author and illustrator of the NY Times bestselling bat series (Bats at the Beach, Bats at the Library, etc.), and over two dozen other titles.  The Rough Patch has already received three starred reviews (Booklist, School Library Journal and Publishers Weekly), been named a Junior Library Guild selection and is being translated into three languages.  You can visit him at www.brianlies.com, connect on Twitter at @BrianLiesbooks, or Instagram at brianlies.

4.  Let’s talk MARY’S MONSTER. You deliberately set out to do something so new and unique with this book to mirror Mary Shelly. How did you arrive at this format – an illustrated biography in verse that reads like a YA novel?
It took me a while to discover this format. For years I had been drawn to the story of the teenaged Mary Shelley, but didn’t quite know how to tackle it. First I considered a graphic novel, but it didn’t feel like the format fit. Mary Shelley’s life was so intense. Her emotions needed to leap out of the page. Graphic novels are structured so that the art unfolds within several contained panels. They leave a lot of white space around the images. This can be great for developing action, but it didn’t give me the room I needed to fully develop the visual story with the emotional intensity I wanted. I wanted full bleed illustrations that viscerally poured out emotion. I also wanted poetry, something I couldn’t fit into graphic novel format. Mary’s life and her love affair with Percy Shelley revolved around poetry and literature. And I really wanted to do something different than what I had seen before. Mary Shelley developed a whole new genre - science fiction. I felt I needed to do something unique to capture her story. Or maybe, I was just inspired by her to be bold and brave. Whatever it was, I felt like the only way I could bring her story to life was by blending full-page illustrations with free verse.
 
5.    During discussions of this book, our book group wondered about the genre of MARY’S MONSTER and how libraries would categorize it. Were you and your editors ever concerned that it would get lost in the adult biographies?  And in your heart, to which genre does this book belong?
Yes, I was concerned about how libraries and bookstores would categorize this book! I went multiple times to our local library and my local bookstore, The Toadstool Bookshop, and asked them where they would shelve it. I was concerned that it would slip into adult biography or that it would be categorized in the graphic novel section. I love graphic novels, but that section really didn’t feel like home to this book. I see this being an illustrated novel, rather than a graphic novel, and I really wanted it to be shelved with other YA books.
 
I was also concerned about whether it would be shelved as nonfiction or fiction, which has been an issue. It’s deeply researched and I tried to portray Mary Shelley‘s life as accurately as I could, but ultimately I chose to write it in first person. I thought that it was the only way I could capture the essence of this brave, courageous teenager who dared to throw off the shackles that society inflicted on women. But this is definitely not a straight up biography. It dives into the realm of what goes on in the mind of a creative soul. I didn’t want to be restricted by writing it in a purely non-fiction way because, in a strange sense, I didn’t feel that could possibly tell the whole truth of her story. And besides, there is also her creature. She gave him a voice in her book. I couldn’t ignore that. Her novel is about creating life from death, but ultimately she created life from literature. I wanted this story to reflect that. And to reflect the interaction that goes on between a writer and his or her creation. He just had to have a voice in this book.

8.   The amount of work that went into MARY’S MONSTER is vast. Your research, your sketchbooks, your photographs and models, your poetry and artwork. What practical methods did you learn along the way about organizing big projects like these?
      Hmmm, I wish I could say I had a plan, but really it was get up every day and write and draw the hell out of it. It was just full throttle rather than planned out vision. Maybe for the next one, I could come up with something a little saner. I’m just learning how to take a weekend off again.
  
9.    You worked on the HOOT AND PEEP books while you were working on MARY’S MONSTER. In which ways was it challenging to transition from the playful colorful artwork of making picture books to the dark, haunting paintings of MARY’s MONSTER? In which ways was it helpful?
Yes, I did work on HOOT AND PEEP during the six years I’ve worked on Mary‘s Monster. It was incredibly challenging going back and forth between the picture books and MARY'S MONSTER - not so much because the style of art was different, mostly because of the pacing involved in a picture book versus the pacing of a longer form book. Everything has to be spelled out but simple in PB art. Little readers have to be lead through a story differently. In MARY'S MONSTER, I had to trust that I could make big leaps, otherwise, it would have taken 5000 pages. But there, I could put a lot more hidden meanings into things because I knew my readers would have more life experience to interpret them. Working on the novel for such long spells made it hard to get back to the simplicity of a picture book.

But on the other hand it was incredibly helpful to have an oasis in which to fall back on, because MARY'S MONSTER was an incredibly intense project. At times I just needed to let my brain rest before diving in again. I often work back-and-forth between nonfiction and fiction picture books. I think creatively it can be good to work on more than one project at a time so that you allow yourself time to escape a project and then come back with fresh eyes.

10. You work mostly in watercolor, but in MARY’s MONSTER, the illustrations have a layered and washy quality. How did you adapt your techniques and media for the art in this book? Have you transported some of these techniques into your newer picture books?
I did have to adjust my techniques for MARY'S MONSER. To get the emotional depth to some of the pieces required a lot of haunting imagery. I found that digitally layering different washes helped me find the richness that I needed. In a picture book, simplicity is important. Young readers are just learning to explore visual images so my washes are often very simple and my line work bold. I’m not sure that the work I did with Mary will translate to picture books. But I’d love to find another project in the future where I can use these techniques. Artistically it was really fun to dive into this new style.

13. What has been your greatest joy in your career as an author/illustrator so far?
Having my picture book, FLIGHT SCHOOL, get turned into an off-Broadway musical was an incredibly joyful experience. Creating a character out of your imagination and then watching him suddenly come to life, singing and dancing on stage, was mind blowing. I also loved seeing how other artists, in this case, the composer, lyricist, director, actors, and costume designer pour their energy into this character. I will forever be thankful for that experience. Plus, it’s pretty cool to crank up the volume and play the soundtrack of the musical and dance with my parrot on a rainy day!
 
14. What has been the biggest surprise?
As a kid I never imagined I’d get to be an artist. I really didn’t know people did this for a living. My mind was reeling with imaginary friends, basically because my family lived far out in the woods, and I didn’t have other kids to play with. It was kind of a lonely childhood and living in my imagination helped me get through it. But now I get to give those imaginary friends life within the pages of a book. Is that sappy? It’s just that they feel real to me. And then kids read those books, and in so doing, those characters become real to them. It gives me a strong sense of connection to people that I didn’t have when I was a kid. I wasn’t expecting that gift to come out of this career.

15. What is next?
I’m very excited to have another picture book coming out with the character from FLIGHT SCHOOL. This one is titled PENGUIN FLIES HOME and is coming out in January. I also have a non-fiction picture book coming out called HOMES IN THE WILD, which draws on my love of animals and the natural world. It’s full of all the cool ways animals create shelters and homes for themselves in the wild. And one more picture book – called Wingbeats. I wait to let that mystery unfold.

Thank you, Lita, for sharing your amazing art, insights and stories with us. To learn more about Lita, visit her website at  www.litajudge.net.
For a 24 Carrot review of MARY'S MONSTER click here.
For book group discussion questions on MARY'S MONSTER click here.​

We are pleased to welcome Deb Shapiro, the president and founder of Deb Shapiro & Company, a public relations, marketing and media services and consulting business focusing on authors and books. A former journalist and bookseller with an MA in children’s literature, Deb worked for nearly 15 years in book publishing, creating and executing publicity and marketing campaigns for publishing houses large and small before launching her own company. She is also an instructor at the Columbia School of Journalism’s graduate publishing course and an active volunteer with several literacy organizations. She lives in Washington, DC with her daughter. We are pleased to have her here at 24 Carrot Writing to share her marketing experience and knowledge with us.
 
What sparked your interest in working in publishing?  
​I’ve always believed that if you can read well and write well, you have the tools to succeed in life. I knew teaching wasn’t the right fit for me, so I thought that if I were involved in the process of creating good books to put into the hands of young readers, I could help level the playing field for all kids and help spark a life-long love of story and learning.

At 24 Carrot Writing, we focus on children’s literature. What is the biggest challenge children's debut authors face in marketing their books?
There is a lot of white noise out there, especially online, and trying to break through it is a challenge. But most of that white noise is created because people are doing what they “think” they should do, either because it’s what others are doing and they believe that’s what they should do too, or because they just don’t know what to do. Thinking about who your audience is, and what your strengths and interests are in relation to the book, will help you craft a plan that will be more relevant and effective, and that in and of itself can help break through. It’s also important to realistically think about who your audience is. Some books are going to gain more traction in the educational marketplace than the consumer marketplace and visa versa, and you need to be open and accepting of that because if you are, then you can better assess how best to position the book and yourself to reach that audience.

Many debut authors do not know where to begin in marketing their upcoming books. What are some essential first steps debut authors should take in preparing for their book’s release?
Patience. Patience. Patience. Rarely do books take off within the first few weeks of publication. It’s a slow build as reviews come in and are shared and the books are put into hands, read, and talked about. There is a wide and varied window of opportunity for a book to find its way. Authors need to look at the process (or the adventure) as a marathon not a sprint; they need to be strategic, thoughtful, creative and realistic in how they consider what will help readers—or the people who put the books into these readers’ hands—understand the book.

What can a pre-published author do to prepare themselves for book marketing?  
Much the same as what a debut should do: be mindful of your audience and what is in your comfort zone as you consider any promotions. Your audience can see through the efforts if they are not authentic, so be true to yourself, and hard as it may be, try not to compare what’s being done for other books to what is or isn’t being done for yours. In the age of social media it can be difficult and disheartening at times, but try and remember just because you may see a lot of activity it doesn’t mean that it’s effective, that readers are responding, or that any of it is translating to sales. Focus on yourself and your book.

When you approach marketing a children’s book, be it picture book, MG, or YA, are there certain aspects or features you look for (i.e., timely theme, target audience) that shape your marketing approach?
All of the above. One of the things I love about marketing and promoting books for kids and teens is that there is no one right way to do it. What’s key is looking at each book and author and understanding what they separately and together bring to the table, and then assess how those attributes fit into any trends, timely events, etc. and then position the book and author accordingly.

What are the differences in the strategies employed to market a PB vs. a MG or YA? 
In some ways not much. At the heart of the process, it’s about having a good book to work with. That being said, with YA you’re marketing more directly to the book’s core audience--the teens; with picture book and MG you’re marketing more to the people who will put the book into the readers’ hands—parents, booksellers, teachers, librarians, grandparents, aunts, uncles… Each of these adults looks at a book differently so you need to adjust how you position the book to them accordingly. For example, an educator may want to know how this book could be relevant in the classroom, and a bookseller would want to know what kind of reader it will appeal to.

In your experience with marketing books, what are some of the most effective publicity approaches you have seen?  
It all comes down to my mantra about being true to the book and author and understanding the audience. We Were Liars by E. Lockhart I think is a great example of checking all of these boxes—and it started with a fabulous read. The concept of the book became the campaign—every element wove in the intrigue of the mystery involved as to who was or wasn’t telling the truth. Another example would be Little Elliot and the Big City by Mike Curato; Little Elliot is such a delightful, endearing character and he was branded through a strategic bookseller, educator campaign so by the time the book hit shelves, he was loved and recognized by the people putting the book into readers hands and they couldn’t wait to introduce him to their customers. I often see other campaigns try to mimic those that are most successful but they always fall short. Books--like authors, like people--are their own unique entity and should be treated as such. It’s helpful to look at past campaigns to see what worked, but then look to see how that element might translate and be appropriate for you.

Social media plays a large part in many authors' publicity efforts. In your experience, have you found social media platforms, such as Twitter, Facebook, and Instagram, helpful in promoting a new children’s book release? Are some social media platforms more successful than others in increasing a book’s visibility and, ultimately, sales?
For the most part, effectiveness comes down to the person, their approach and their authenticity more than the platform. Authors should not be made to feel that they have to be on social media; they should only do it if it’s in their comfort zone and they feel they have something to say and something to contribute to the conversation. I will say though that when thinking about platform, think about the audience of your book(s) and see where that audience may be spending more of its time.
 
What are some of the biggest pitfalls you see authors experience in marketing their work? Is there anything you consistently recommend they don’t do?  
Don’t Google yourself, don’t monitor your Amazon rankings, don’t compare yourself to others or compare your efforts to other’s efforts. Do communicate with your publisher, even if they don’t appear to be listening, keep them posted on what you have going on, and your ideas. Be patient with yourself and the process. Be true to yourself and your book.

Many authors team up for book events. What are the pros and cons of being part of a multi-author event? 
Pros: you can be introduced to new readers through the other author’s fan bases; it can be more fun and less daunting to be with others, too. Cons: disparate or clashing personalities. It’s important to make sure that the participating authors are all tapping into a similar age-range and that each of the participating authors plays nicely in the sand box with others.

Many authors spend much time and expense having “swag” printed for their book launches and events. Do you feel that swag, such as bookmarks, magnets, postcards, etc., is worth the effort and expense, or do you feel the book can stand on its own?
It all depends on the book, the author, the swag and the means of getting it out there. If you’re creating swag, make sure it’s something useful, it represents the concept of the book in some way, is a helpful reminder to the person who receives it of what the book is about, is age appropriate for the book/audience, and that you have a plan to distribute it. If you do a lot of school visits, for example, book marks or postcards can be useful because not every student is able to buy a book, and this way you have something to hand out so that each child can get something.

A recent trend in marketing books is the book trailer. Do you believe that book trailers have a positive impact on a book’s success? Are they more effective based on the target audience, such as picture book vs. middle grade vs. YA?
Trailers have become one of the contributors of the white noise out there.
​
What can backlist authors do once the fervor of the launch has settled to continue to market and maintain interest in their books? 
There is no general, one right answer for this one. It’s all about looking at the book, the audience, and the author to assess what will keep momentum going.

Any other final thoughts you’d like to share with regards to the marketing and publicity of children’s books? 
I am asked time and again about doing cover reveals (sort of the new book trailer), and while it used to be an opportunity that could raise awareness in advance of publication, they have now been done so much that people really don’t take notice and it’s really not worth the effort to put one into place. Timing is key with so much of online efforts, and doing too much too far in advance of publication can be detrimental—by the time your book is out it seems old hat. With cover reveals and with book promotions in general, time and effort is better spent finding opportunities that will make sense for you and your book rather than looking to do something just because you’ve seen it done. 

Thank you, Deb, for sharing your book marketing expertise and insights with us! 

Guest Blog by Trisha J. Wooldridge
 
It’s a busy day, the small staff is trying to help more customers and do more projects than is humanly possible, and New Author flags someone down.

“I just published my new book and I’d like a signing next Saturday. How many copies do you want to buy? I’ll give you ten per cent off the cover price.”

Insert screeching record-needle scrape.

Bookseller gingerly takes the book that’s been thrust in their face. The cover art is... “interesting”, the title font looks hand drawn, and at first glance the bookseller has already found three grammar errors on the jacket copy. There is no barcode nor a price, and the spine isn’t centered.

“So how many copies do you want to buy? I’m a local author!”

Some version of this happens frequently at the store where I work. We have a fairly large local author selection, because we try to support our community. A fair number of those books hurt the appearance of the section because of bad covers; many cause confusion with staff when hand-written price stickers fall off in humidity; and some customers walk away from the entire section when they find books riddled with errors.

This makes most bookstores wary about working with “local authors” or “indie authors.” Most traditional authors don’t contact us; we get their information from publishers. Some newer authors with traditional publishing houses do contact us—usually after first contacting us via email or on the phone, as our website suggests (ALWAYS check bookstore websites for preferred communication about selling books or doing events)—and that interaction is usually simple: 

“Hi, I’m a New Author, and I’ve got a book coming out in a few months with Publisher, would you be interested in hosting an event? Here’s the information on the book.”

New Author hands Bookseller a bookmark, sell sheet, card, or Advanced Reader Copy. Bookseller can easily order books from a distributor or publisher at their usual discount of 45-55% off cover. There is plenty of time for the bookseller to promote the event.

You’ll notice I’ve tied my examples with events. An event sells books. While most people who go into bookselling love books, they can’t be a bookseller without making money. Bookstores have limited space. A book on a shelf needs a reason for people to get engaged. An event is meant to get readers engaged. So, if you want a bookstore to consider carrying your book, see if they’ll consider hosting an event for your book.
Here are the most basic things a book store needs to consider your book event:

• A quality product. It’s painful to say, but too many books have poor covers, have not been edited (or have been poorly edited), have misaligned formatting, and/or are missing basic information a bookseller needs. While we’ve worked with some presses who also have these issues, this is mostly a problem with self-published books.
• A means to make money by hosting this book event. Can the bookstore order your books at a profitable discount (as mentioned above, usually 45-55% off cover)? If your books are ordered through a publisher or distributor, can the bookstore return unsold copies? Are you willing to sell within the bookstore’s consignment parameters (usually 30% off cover, often with a flat stocking fee)? (This also means, for authors setting their own prices, that it is important to consider the bookstore’s cut.)
• A minimum of a two to three month lead time. Many local publications want press releases weeks or months before an event. Many local calendars need time to approve listings. The bookstore wants to include the event on their mailing list, blog, and social media several times. Books about sales often cite a person needing to hear about something multiple times to remember. There needs to be time to create, print, and distribute flyers. The bookstore needs to make sure it has sufficient staffing. The more time to plan, the better chances of having a strong-selling event.
• An idea of what you, the author, will do to promote this event. Will you share our event listing? Our blog posts? Retweet us? Tell your fans to buy your book at our store? Invite friends and family to the event? Will you get your friends, family, and fans to share, retweet, and talk about the event? Don’t expect the bookstore to carry all the promotional weight. The best events we’ve had, hands down, are the ones where the author was involved in the promotion.

If working with you is a positive experience, even if an event wasn’t huge, a bookstore will be willing to host future events by you. Here are a few tips for being someone a bookstore loves to work with:
​

• Have a press kit ready to send or easy to access on your web page. A good press kit includes:
  • Bios of varying lengths
  • Short book descriptions
  • Cover images that can be used in flyers and online
  • Author photos that can be used in flyers and online
• Answer emails in a timely manner, usually within 48 business hours.
• Share, retweet, and promote the event along with the bookstore.
• Do not call the bookstore every day or every week for updates on the event or sales.
• Be friendly, fun, and approachable at the event.
• Have readings from your work ready and practice them.
• Do not yell at the bookstore staff if few people or no one comes to your event. Believe me, we already feel bad—and it is a financial loss for us because we do spend staff hours and funds promoting and marketing.

 
Boiled down to a “simple” answer, if you want a bookstore to carry your book, be a professional the bookstore wants to work with. Success of your book and book event is a success for the bookstore. When thinking about approaching a book store, have in mind what will make this partnership fun and profitable for all parties involved.

NOTE: Trisha is currently working on Annie's Book Stop's Annual Small Business Saturday event. They host a group of authors for a day of readings the Saturday after Thanksgiving. Small Business Saturday is an event created by American Express where cardholders get extra bonuses for shopping local at participating stores. Annie's Book Stop shares that extra promotion by inviting local authors in to spotlight their work, and this year they are focusing on children's book authors.

Annie's Book Stop of Worcester is at 65 James Street, Worcester, MA, and will host authors from 12:00 PM - 6:00 PM with scheduled readings, Q&As, and snacks through the day.

If anyone is interested, shoot Trisha an email at trish@anniesbooksworcester.com or trish@anovelfriend.com (both come to the same place; one is easier to misspell than the other). ​