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Where’d Your Mo Go?

4/20/2022

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​by Amanda Smith

One of the ladies in my ceramics class, let’s call her Dee, recently made a set of cat dishes for her friend, each dish featuring one letter of the cat’s name, Mozart.

One fine day in class, we were all struggling. Like really struggling. Unable to center. Unable to throw. Exasperated, Dee left her wheel for the kiln room to check whether the set of dishes had been fired. She reappeared, holding four dishes that spelled Z-A-R-T.
“We’ve lost Mo,” she said. “That’s what’s wrong. Our Mo-jo went missing.”

And we were stuck with Zart.

Let’s be real. The last couple of years had offered more than enough incentive for Mo to pack his inspirational bags and seek greener pastures. Some of us lost our creative Mo early on in the pandemic, while others had managed to hold on, tooth and nail, for longer. But I haven’t met a single creative over the last two years that hadn’t at some point felt stuck with Zart. Deflated. Incomplete.

So what happened in the studio when we discovered the loss of Mo? Each of us dealt with the bad pottery spell differently. Dee is a power-through kind of person. She kept throwing. At the end of the three hours, she had four sloppy piles of clay drying on the plaster table – evidence of four collapsed pots. But she also had two lovely bowls.

Peg decided to abandon the wheel for the day and instead focused on glazing some of her vessels that had been bisque-fired– a differently challenging skill, and a good change of pace.

I turned my back on the blasted wheel and affixed handles to mugs that I had thrown and trimmed previously. On a whim, I decided to carve designs on the mugs. I got lost in the joy of line and form and measurable progress.

The next open studio, Mo was still missing. Dee, Peg and I together decided to hand-build little cheese boards. Collectively we figured out the process, fine-tuned each other’s technique, got expert tips from our studio’s resident master hand-builder and made something pretty cute. Confidence somewhat restored, and bravery bolstered by mutual encouragement, we left the studio rejuvenated that day.

So why am I sharing my ceramic woes with you, dear writer?
Because, just like me, you might have lost your writing Mo. What to do until Mo returns?
  1. Keep throwing. Like Dee, you can power through. Keep writing. It might be slow-going. Your word count might be lower than usual. You’d likely have some evidence of discarded efforts. But in the end, you will have progress.
  2. Like Peg, you could move on with other necessary work that might require a different skill-set or less creative Mo-jo, but needs doing anyway. Do you have correspondence to work through? Records to update? Research? Keep moving forward by tackling the less glamorous stuff, so when your Mo returns, you will have uncluttered time to write.
  3. Like me, you could channel your creativity into the frivolous. Did the mugs need carving? Nope. Did it fill my creative well? Yup. Write poetry. Play around with words and ideas, scribble, doodle, dabble. Even if it leads nowhere. Even if it serves zero purpose beyond filling your well.
  4. Collaborate. Get together with writing friends for an impromptu writing day.  Or meet a fellow writer for a cup of coffee and get rejuvenated. Attend a class or brainstorming session. Host a picture book book-club for fellow picture book writers. Get your writing-bravery bolstered by mutual encouragement.
Last week, Dee returned from the kiln room hugging two celadon cat dishes to her chest. Mo had been found. We all smiled with deep satisfaction as she placed six dishes on the table:

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Complete!

Along with the lost bowls, our Mo-jo returned.


Did it have anything to do with those cat dishes? Likely not.

Did it have everything to do with not giving up even when we felt like it? Absolutely.

Keep writing, work on other writing related stuff, fill your well with the frivolous, and commiserate with co-writers. But don’t dare give up. Like a stray cat, Mo will return!

(With special thanks to always inspirational DE and PC.)
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BOOK PROPOSALS FOR NONFICTION CHILDREN'S BOOKS

2/28/2022

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​“June Cotner's book proposals are the gold standard.”
 
~ Denise Marcil
Marcil-O’Farrell Literary LLC

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~ Guest blog by June Cotner
​

If you’re a nonfiction writer who would like to have your book traditionally published, you will need a book proposal. In this post, I will be sharing ideas I have used to secure contracts with large publishers such as HarperCollins, Random House, and Hachette, as well as medium-size publishers such as Chronicle Books, Henry Holt, and Andrews McMeel Publishing.

The most important principle is that your book proposal is a business plan prepared for the publisher to show them why your book will be successful.

Here is a sample Table of Contents:
1. Overview
2. Description of the Book
3. Comp Books
4. Delivery Date
5. The Market (or The Audience)
6. Special Sales
7. Publicity
8. Sequels
9. About the Author
10. Sample Content

A proposal may vary from 5-35 pages in length, plus sample content.

You will create:
1.  Overview
More about this later.
2. Description of the Book
This includes number of pages and perhaps a suggestion about the book package—trim size, hardcover or paper, and number of photos.
3. Analysis of Comp Books
There are three types of comp titles: competitive, complimentary, and comparative. Also mention why your book will stand out from the competition.
4. Delivery Date
When will you deliver the complete manuscript?
5. The Market that exists for this book
Include statistics—if your book is about dogs, you can list the number of households in the U.S. who have dogs.
6. Special Sales
This section lists places that sell books outside of a traditional bookstore, such as Paper Source, or a catalog such as Bas Bleu. Be very specific and selective about your suggestions. You should be clear about your rationale why various special sales markets will have an interest in your book. Perhaps your children’s book is about art museums, so you should include a link of all art museums in the U.S. If you think it’s perfect for The Land of Nod and Pottery Barn for Kids, go online and see if they sell your type of book. If so, list the chain’s online books link in your proposal.
7. Publicity
I often call this section “Author’s Promotional Contribution,” so it’s clear to the publisher what I will undertake to make the book successful. In this section, I list traditional media (print, TV, radio) and blogs in which I’ve been featured. I include all of my social media links and the number of friends or followers for each one.
8. Sequels
If you have a sequel or series idea, list it.
9. About the Author
Write in third person. List why you’re an expert on this subject, along with any major book sales and awards.
10. Sample Content
List all of your chapter titles and give a succinct description of each—no more than 3-5 sentences. After that, insert your first chapter. For your second sample, use a chapter that demonstrates why your book is a unique contribution to the marketplace.

My favorite book about writing book proposals is How to Write a Book Proposal: The Insider’s Guide to Proposals that Get You Published, © 2017 by Jody Rein with Michael Larsen.

The rest of my post is devoted to something new I’ve developed. I use the first page after the Table of Contents  to present one page that will serve a dual purpose: First, I want to give the publisher a succinct overview of the book, why the market is perfect for it now, and why my target audience will be eager to read the book. Secondly, I make the first paragraph bold and I write it like a book description that would appear on Amazon.

Here is the first page from the proposal for BLESS THE EARTH, coauthored with Nancy Tupper Ling. It resulted in a contract from Convergent/Penguin Random House.

BLESS THE EARTH
Overview and Description

 
Bless the Earth: A Children’s Book of Prayers and Poems for Honoring the Earth celebrates the miracle of our planet Earth and offers a spiritual dimension of caring for our world through universal prayers of gratitude and earth-related inspirational poems. Bless the Earth is the only children’s anthology for 4–8-year-olds that knits together humanity, the environment, and spirituality in an engaging way that is simple for young readers to understand.
 
Moreover, nine-in-ten Americans believe in a “higher power” (Pew Center).
Bless the Earth will be a welcome addition for 90% of families.

 
We live in an age in which 17-year-old climate activist Greta Thunberg received TIME’s 2019 Person of the Year award. Climate change and environmental awareness are at the forefront of topics that parents and teachers discuss with children. While no one wants to alarm young readers, a book like Bless the Earth fosters an awakened appreciation for the world around them.
 
In support of these developing environmental efforts, Bless the Earth shows the importance of caring for our world, treating our neighbors—humans, plants, and animals alike—with respect, and imagining a positive future. While many contemporary children’s books focus on “being green,” Bless the Earth introduces a spiritual dimension not featured in comparative books.
 
The book is compiled by bestselling anthologist June Cotner, whose books have sold more than one million copies, and multiple-award winning author Nancy Tupper Ling, whose children’s books have been published by major publishers. In Bless the Earth, writings from Karla Kuskin, Mary Oliver, Theodore Roethke, Emily Dickinson, Lao Tzu, Paramahansa Yogananda, and Kahlil Gibran intermingle with voices of celebrated poets such as Charles Ghigna, Patti Tana, Janine Canan, and Barbara Crooker.
 
Bless the Earth will contain approximately 60 selections divided into five chapters below.
  1. Dreams for My World
  2. Earth and Sky
  3. All Creatures, Big and Small
  4. Seasons
  5. Caring for Our World

There is no one right way to write a book proposal. Do make sure you have shown the publisher why they should invest their money in publishing your book.
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Bio:
June Cotner is the author of 38 books including the bestselling books, Graces, Bedside Prayers, Wedding Blessings, and House Blessings. Her books have been published by both major houses and mid-size publishers. Collectively, her books have sold more than one million copies and have been featured in many national publications. To find out more about June and for helpful publishing tips, visit her website at www.junecotner.com. You can also find her at https://www.facebook.com/June.Cotner.Books and on Instagram (@junecotner) where she posts sections from her book proposals. ​

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Untangling Your Goals

1/3/2022

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~ by Amanda Smith​
 
The sweet time between Christmas and New Year is when I usually ponder writing goals: What worked the previous year? What didn’t? How far did I come? Where am I heading? And my trusty bullet journal serves both as memoir and roadmap.

In preparing my bullet journal for the new year, I wanted to write the year 2022 for my cover page in a unique way. Last year I had handwritten it using brush pens, which was fine, but I felt that the new year deserved some more flair. So, after playing around a bit, I landed on something I’ve never done before – Zentangle.

Using my inspiration quote for the year, I knew I wanted something botanical, and after using WordArt to set the outline of my numbers and googling some Zentangle designs, I set to work. It took some time to find my rhythm, but I finally figured out the scale of the design and the limits of my chosen font and everything went fine and dandy with that first two and half the zero.

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But all of a sudden, a little flower decided to jump the outline.
“Huh,” I said.
“Why are you squashing me like this?” asked the flower.
​

I sat back and stared at that rebel flower, the sharp ends of its petals stubbornly poking outside the soft rounded line. Maybe it had a point. Maybe it didn’t have to be all neatly contained within the oval line of the zero. What if the flowers bloomed outside the lines of the other twos?

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I loosened my design. And I listened to the flowers. And I watched them grow and BLOOM!

And as I worked, I thought about my goals and hopes and dreams for this  year. To reach past limits. To listen to my art.  And to Bloom!

As you think and plan your writing goals for the new year, I want to encourage you to do the same:
  • Have outlines, but don’t let them be constraints.
  • Start something, even of you don’t know into what it will grow.
  • Take time to play and listen to your art.
  • And bloom!

During the month of January, Annie, Kelly, and I will be posting our yearly goals into the 24 Carrot Writing Goals tab. Take a look (you can also see my complete, blooming 2022 zentangle there) and then set your own goals and dreams for this year. And be sure to post them somewhere you will see them often.
​

Together, let’s burst out of the constraints this last year or past habits might have placed on us. Let’s become green-thumbed curators of our vibrant, fragrant story-gardens.
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Season's Greetings

12/21/2021

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Dear 24 Carrot Writer,
​
What a year this has been!
If you had written
words and stories,
well done!
If you had queried,
or launched a book into this world.
If you had hustled with marketing,
or had dipped deep
into the well of online classes
to grow and improve your craft,
we applaud you.
  
And if, this year,
your pen was dry,
your fingers quiet,
your stories dormant,
because life,
because you had to be there for others,
because you had to take care of yourself,
we send you hugs and encouragement.
 
Because even if stories weren’t written,
they are still there:
sleeping,
dreaming,
patiently waiting,
deepening
until your heart can open up for them,
until your fingers can pen them.
 
So for now,
take a break.
You deserve it.
 
Cuddle with loved ones,
read fluffy novels,
watch tinsel movies.
And recharge.
 
And when you feel ready,
start dreaming -
gentle dreams about gentle goals.
 
But in the meantime,
all of us at 24 Carrot Writing
wish all of you a beautiful,
peaceful,
joyful,
rejuvenating
Holiday Season.

Best,
Amanda and the 24 Carrot Crew

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The Road to Publication 101: The Query Letter

3/26/2021

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  • ~Guest post by Kristine Asselin

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

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

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

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

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

  • Who is the main character?
  • What do they want more than anything else?
  • What is stopping them from getting it?
  • What problem do they face?
  • What choices do they have to make?
  • How does the problem get worse?
3. Bio:
Something about yourself and your expertise. What makes you the person to write this book? If you have any relevant published works, mention them here. Keep this part business. Don’t include things about your family or hobbies.

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

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

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

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

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​Bio: 
​
Kristine Asselin is the author of several works of children’s nonfiction, co-author of the middle grade novel The Art of The Swap, as well as the YA novels Any Way You Slice It and Falling for Wonder Boy. She loves being a Girl Scout leader and volunteering with the Society of Children’s Book Writers and Illustrators. She is a sucker for a good love song (preferably from the 80s), and can’t resist an invitation for Chinese food or ice cream (but not at the same time!). She lives in Central Massachusetts with her teen daughter and husband, and spends part of everyday looking for a TARDIS to borrow.

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The Road to Publication 101: The Long and Short of Self-Publishing

3/15/2021

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PictureKristen and Heather at the launch of AN ASSORTMENT OF ANIMALS.
~ Guest post by Heather Kelly and Kristen Wixted

Hold onto your hats, folks, this will be a long post. But our goal is to give you a blueprint for following your dreams of holding your book in your hands!

It’s Heather Kelly and Kristen Wixted here, publishers and editors at Writers’ Loft Press and Pocket Moon Press. Not only do we indie-publish our own stuff, but we publish anthologies and mentor other writers to publish their own work. Check out our previously published anthologies: Firsts, An Assortment of Animals, Friends & Anemones, and Heather’s workbook to help you get the writing done, Jumpstart Your Writing in 30 Days. 

Today we’re going to take you on a journey to publication using Tom Franklin’s brand new steampunk Middle-Grade adventure story, The Pterrible Pteranodon, as a guide. 

THE MECHANICS:

​
Tom started with a very clean draft that had been critiqued and edited. 

Pro Tip: Throw your manuscript into Pro-Writing Aid for a final polish!

We recommend hiring freelance editors and copy editors at places like ALLi—the Alliance of Indie Publishers, Reedsy, or other indie-friendly forums. 
​

Next, Tom hired Robert Thibeault to create a genre-specific cover. Tom did his research by checking out his genre bucket at Amazon. Make sure to check out your genre-bucket best-sellers at Amazon before you choose a type of cover. 
For example, here are the best sellers of middle-grade steampunk at Amazon:

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Robert Thibeault designed an amazing and genre-specific cover: 
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Hopefully, you can see how it would not only fit alongside the books in its genre but also stand out. It looks great as a thumbnail. Very important in this digital age!
 
Pro Tip: Choose a type of cover that sells well in the genre. What you love as a book cover might not be what your reader loves. Sometimes as authors, we have to put our personal preferences aside!
 
Here’s a closer look at Tom’s cover, so you can see the details: 
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You can see here how an artist and book designer make a cover—it wraps around. Isn’t that cool?

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

 Having an email list—direct contact with fans—is the most important piece of the publishing puzzle.
 Without this, every time you publish a new book, you start from scratch looking for fans.
 
Tom gave away the first few chapters of his book and audio files of his book to entice people onto his list. Check it out here. Go ahead and sign up—Tom is going to KICKSTART this book, and you get to walk through the steps with him! (See the countdown page here!)
 
Don’t just hide your freebie and the sign-up to your list on your personal website—plug it into one of the sharing sites that go directly to fans. Right now, two of the biggest sites are BookFunnel and StoryOrigin. Using sites like these, Tom doubled the number of fans he had on his list!
 
Pro Tip: Story Origin is still in beta, so it’s currently FREE to use! Nothing beats free!
 

Once you have fans, interact with them on a weekly or regular basis. Use email companies like MailChimp or mailerlite to do this professionally.
 
Pro Tip: Make sure to consider who your fans are and give them what they are looking for! Remember that the people who sign up for your list are readers of your genre (or parents of the readers) and not just other writers or your friends.
 
Formatting/Book Design: Use a program like Vellum (only for Macs) to format the inside of your book, or use the free program at Reedsy.  Reedsy is a great one-stop-shop for finding indie-publishing support in general.

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

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

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

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

FIND YOUR "WHY?"
 
One of the most important questions to ask, before you start this process, is, “Why?”
Why are you indie-publishing?
 
If you want to see your book in your local bookstores:
  1.  Make sure to use Ingram Spark as a printer and distributor--not just KDP. (Most local booksellers don’t stock books printed by Amazon at KDP.)
  2. Allow booksellers to make a profit off your book by giving them a good percentage—40% or so. (This will be one of the questions you have to answer when setting up your accounts with IngramSpark and KDP.)
  3. Take returns. (Another account-setting up question you’ll run into.) Otherwise, booksellers won’t consider carrying your book. They will be able to order your book out of the Ingram Catalog once your book is published, or they can consign the book directly from you.
 
If you want to make the most money you can:
  1. Focus on ebook sales.
  2. Make the percentage that booksellers get as small as you can.
  3. Ideally, have multiple books coming out in quick succession.
  4. Check out Julia Koty’s cozy mystery series as a great example—she’s launching multiple books in the next few months!
 
Whatever you do, don’t go it alone. Some of the best resources for authors starting out on the Indie-pub path are Joanna Penn’s podcasts, the Facebook Group 20 Books to 50K, and joining an indie pubbing group. We have a virtual one at the Writers’ Loft if you’d like to join (email writersloftma@gmail.com to get on the email list). It’s run by Dave Pasquantonio who is also a freelance editor and knows a ton about book promotion. We promise, once you get going, things get easier, because you keep running into the same people, the same sites, and most of the people you run into are very supportive! So that’s another part of the job—be supportive of your fellow writers.
 
Pro Tip: Don’t shortchange your readers—oftentimes the beautiful things that we love about books are simple enough for indie-publishers to achieve. See the gears that Tom added to each page number, the way his cover artist put the Pocket Moon Press logo into a gear, and how Tom invites his reader to read on into the next adventure! 
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Phew, we covered a lot, right? Thanks to 24 Carrot Writing!
 
Feel free to leave us questions in the comments! Just out of curiosity, did we make you open up a billion tabs? We might just give a prize for the person who fesses up to opening a ton of tabs! Heather generally has at least 25,000 tabs open on her screen on any given day. (Let us know in the comments and we’ll pick someone at random.) Did you sign up for Tom’s email list so you can follow his further adventures in Kickstarting? We can’t wait for that process. (That’s another blog post)! 
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The Road to Publication 101: So you wrote something...

3/8/2021

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~by Amanda Smith

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

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

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

If you choose traditional publishing, you should know that it can take months or even years. Most of the bigger publishers are closed to unsolicited submissions and you need an agent to represent your work.
Some publishing houses however, do accept unagented submissions. Books, such as THE CHILDREN’S WRITER’S & ILLUSTRATOR’S MARKET, can provide guidance as to which publishing houses are open to unagented submissions. Always check the publisher’s website for their latest guidelines. 
​ While you can certainly do research online and through publishing trade journals to find publishers who are open to unagented or unsolicited manuscripts, it is very helpful if you have a more personal contact with an editor at the publishing house. One of the best ways to make this connection is to attend a class or workshop taught by the editor. Also, editors who attend writing conferences will often accept unsolicited submissions from conference attendees for a limited time, so be sure to look into this possibility when attending these events.  Always
 do your research to be sure a specific publisher publishes the genre/age level you write. 
 
Agents:
A good literary agent will help you polish and edit your story, send submissions to publishing houses, negotiate contracts, and handle advances and royalties. They are super knowledgeable about the industry, and know what editors are seeking. Your agent is your ally and business partner. Therefore it is important to carefully research agents, not only for what genres they represent or what their interests are, but also whether they will be a good match for you. Once you have narrowed down agents you would like to approach, you need to query. 
Places to research agents:
SCBWI The Book
Agency websites
Manuscript wishlist (www.manuscriptwishlist.com/)
#MSWL (https://www.manuscriptwishlist.com/​)
QueryTracker (querytracker.net/)
Publishers Marketplace (https://www.publishersmarketplace.com/​)
Some writing websites also offer a treasure trove of information in the form of agent interviews and guest blogs. A few to browse are http://www.literaryrambles.com/, https://www.pbspotlight.com/, and The 12x12challenge
Most agents are active on social media
Acknowledgements of books you have read
  
Queries:

A query is a letter in which writers pitch their work and introduce themselves to an agent. It is a business letter that follows a specific form. Stay tuned for a guest blog regarding query letters by the Query Godmother, Kris Asselin, later this month.
Queries are used for picture books, both fiction and nonfiction, as well as all other fiction. Nonfiction writers send a cover letter, proposal with outline, and some writing samples.
Each agent or agency has their own rules regarding submissions. It is very important that you read and follow each specific agency's submission guidelines. Not only does it streamline the process for them, but it also reflects well on you, their future client, and your ability to take direction. 
Be prepared for several rounds of querying. If an agent would like to represent you, they will contact you and usually schedule a phone call with you to further discuss the details. Remember, not only is the agent interviewing you to see whether they want to take you on as a client, but you are also interviewing the agent to see whether they will be a good match for you.
Once you have received an offer of representation and contracts have been signed, you and your agent may go through another round of revisions before they submit your manuscript to publishers. There might be several rounds of submissions before you receive an offer for your book.
 
At this point the process is out of your hands. You have baked your cake to perfection. You've trimmed and filled and frosted. You've decorated and delicately flavored.  Editors, acquisition boards, and marketing departments are your proverbial judges, and once your delectable offering hits the right palate, you will get your Hollywood-handshake: A published book!

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Cover Reveal: FRIENDS AND ANEMONES: Ocean Poems for Children

11/2/2020

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~by Amanda Smith
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About the Cover Art:
~ by artist Jodie Apeseche

When Kristen Wixted and Heather Kelly surprised me with the cover assignment, I felt both excitement and fear. I loved the theme. (My background is in biology, including a stint on a research vessel.) But I’d never done a cover and it would be the face of our anthology. Could I make my fellow contributors proud? 
 
Picking the design elements - the friends and anemones - was easy. I had to have an octopus because everyone should be curious about these highly intelligent creatures. They also morph dramatically, giving me  free range in depicting them. The sharks’ striking lines made them visually appealing. And the crabs are my make-believe pets, Bernie and Marlow. 

The cover art started as a watercolor and was collaged with parts of my shell collection, sand, and silk-screened papers. The image was then enhanced digitally. For example, the fabric on the octopus was inserted as an image through a clipping mask. This way the fabric didn't fray, as it originally did when I tried to apply it manually.

I hope every reader finds a favorite poem (or many) that they feel attached to and want to learn more about. Hey, maybe our anthology will inspire some future scientists!
What's Inside?
~by Audrey Day Williams
​

First, there was FIRSTS, then came AN ASSORTMENT OF ANIMALS—an illustrated anthology of poems for children. And now, with editors Heather Kelly and Kristen Wixted at the helm of the ship, the Writers’ Loft authors and illustrators are back with FRIENDS AND ANEMONES a fresh bounty of ocean poems for children.
 
This November, set sail on an epic, page-by-page ocean voyage with Peter Reynolds, Jane Yolen, Kip Wilson, Lynda Mullaly Hunt, Josh Funk, Matt Forrest Esenwine, and 61 other well-loved and emerging New England authors and illustrators. 

Dive under the enchanting cover—illustrated by esteemed local artist Jodie Apeseche—into a whimsical, watery world where you’ll rendezvous with petty penguins, little fish with big dreams, party-planning turtles, as well as anemones and crabs in the intertidal zone, and elusive sharks and jellies that call the deep sea home.
 
With a smorgasbord of poetic types, dozens of captivating sea creatures, and fascinating facts, FRIENDS AND ANEMONES will feel as at home clinging to your bookshelf as it will floating in a school library.  
Rozalia Project:
​Every story has a villain; in this case, it’s plastic and trash which you’ll see skulking in and around the poems. But, every story has a hero too, and that’s you! The Writers’ Loft has teamed up with the Rozalia Project—a non-profit dedicated to protecting our oceans—to empower readers of all ages to become ocean heroes with a simple message: A lot of little actions can make a big impact on the oceans. All profits from the first month's sales will be donated to Rozalia. To learn more, visit ​http://rozaliaproject.org.

"We want to highlight the beauty of the ocean and show children that they can be ocean protectors through their actions and sustainable consumer choices."
-Editor Kristen Wixted

 Contributors:
Editors: Heather Kelly and Kristen Wixted
Book designer: Robert Thibeault
Art director: Sally Hinkly
Cover Design: Jodie Apeseche

Plus 70 poets and illustrators, including pre-published writers/artists alongside established children's authors and illustrators.

New books coming out by contributors to FRIENDS AND ANEMONES:
Amanda Davis - 30,000 STICTHES:THE INSPIRING STORY OF THE NATIONAL 9/11 FLAG (May 2021)
Matt Forrest Esenwine - "Pillow" in NIGHT WISHES (2020)
Josh Funk - SHORT&SWEET (September 2020),  WHERE IS OUR LIBRARY (October 2020), IT'S NOT LITTLE RED RIDING HOOD (October 2020)
Marlo Garnsworthy - THE TRUTLE DOVE'S JOURNEY, (Illustrator),  PIKA COUNTRY (Co-author)
Susan Novich - GUESS WHO IS BEHIND THE DOOR (October 2020)
Warren Ross - PODGE
Heidi Stemple and Jane Yolen - I AM THE STORM (October 2020)

FRIENDS AND ANEMONES may be ordered from Bookshop (https://bookshop.org/shop/thewritersloft​), and  will be available at your local indie bookstores and Barnes & Noble, November 20, 2020.

A virtual launch will be hosted by THE BLUE BUNNY BOOKSTORE on November 15 at 4 pm! Details and links will be posted on http://www.bluebunnybooks.com.

"If we take care of the ocean, the ocean takes care of us"
- Editor Heather Kelly

​

PictureThe Writers' Loft in Sherborn, MA
The Writers' Loft is a community organization in Massachusetts, which provides education programs, quiet work and meeting space, and general book making support. See some of the illustrators' work in our Illustrator Bonanza feature Illustrating for a Collaborative Project.
To learn more, visit https://www.thewritersloft.org.

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THE LITTLE BOOK THAT CHANGED EVERYTHING.

10/16/2020

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~By Amanda Smith
​
You know those days where you spend an entire day revising a picture book manuscript, making dummies and cutting your manuscript into little strips and studying the dialogue to make sure your characters’ voices are distinct yet consistent?
But at the end of the day nothing looks much different.
Or those days you research agents to query, and after many hours, have nothing more than a list to show?
Do you sometimes feel that drawing up maps or house plans for your novel, or filling out character sheets are wasting writing time, because no actual words are added to your WIP?

A lot of the work we do as writers, cannot be measured in tangible, concrete ways. It is easy to discount these aspects of our work. Yet, all these things are part of the writing journey and we need to acknowledge them as valuable. That is why, at the beginning of this year, I knew I wanted to track my writing progress in a way that included all these aspects of writing.
 Enter: The bullet journal.
Wait, hear me out. I’ve also looked at bullet journal blogs and thought What is this chaos? or This seems like a giant time suck. But that is the beauty of a bullet journal: You can make it exactly what you need it to be.

To have a journal that functions for you, there are a few questions to answer:

1. What is the purpose of your bullet journal for you? What do you want it to do?
Some authors, like Kate Messner, use one journal to manage all aspects of their life. If that sounds ideal to you, I encourage you to read Kate’s blog regarding bullet journaling here.
However, I needed something dedicated to writing and writing-related business ONLY. The rest of my life, my children’s schedules and dentist appointments still went in a daily planner. What I needed was a home for all things writing.

2. How decorative do you want it to be?
I like pretty. I buy planners, folders and notebooks based entirely on looks. I want beautiful covers AND decorative pages inside. Very early on in my research I realized that, if left unchecked, the bullet journal, instead of the writing, would become the project. I could easily spend all my time making it pretty, with swirly calligraphy and coloring pages. But that was not the purpose. The journal was to be my tool. I settled on a simple, functional format, with a little pretty on each page. I do not spend more than an afternoon a month to prep the next month’s tracking pages. (I would not recommend setting up your entire journal at the beginning of the year. As you and your journal grow together and get used to one another, you are going to want the freedom to tweak the format.)
Also consider size here. I wanted room to spread out and use sticky notes and notecards, so my journal is 7X10 inches.

3. What do you need in your journal to move you towards reaching your goals?
I took some time over my Christmas break last year to research other writers’ bullet journals and noted which components would be helpful to me. Inspired by M.M Chouinard, I jotted down what I wanted to track in my journal.

Here is where I landed:

A Writing Dashboard with all my projects and in which stage of the writing journey they are - an overall view of all my current projects. I love using sticky notes on my dashboard, because I can easily move projects from the “Drafting” heading to the “Revision” heading as the project moves along. 
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A place to track yearly and monthly goals. The image shows my monthly goals for September, but I also have a page in the front of the journal where my yearly goals are listed. I check in on those quarterly to see if I am on track.
​I like to tally reading with my monthly goals. Some writers have separate book logs in their bullet journals, while others like to use a coloring sheet glued into the journal.
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Towards the front of the journal I have a page to track overall progress in my individual projects. For novels I mark progress by scenes. For picture books, I check a box every time I do a revision.
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For every month I have a writing log to jot down daily word count. For revisions I write the section/ scene I revised and its changed word count. Notice the celebratory sticker at the end of the month? Don't forget to reward met goals with happy carrots!
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On the page next to my writing log, I use Five Things a Day to track other writing related work such as agent research and days spent on querying, critiques, blogs, research, and so forth. Even though I hardly ever fill all five boxes for the day, I do learn a lot from looking back at these pages. I have learned, for instance, that I prefer not to write and revise on the same day.
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I have a section designated for monthly blog meeting notes and blog related business. If you do not have a blog, you might want a designated space for website planning and maintenance, or social media strategies. 
A grid with sticky notes keeps track of queries for each project. I still keep detailed records in a spreadsheet, but with this tool I know at the drop of a hat exactly where which manuscript is.
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Having everything writing related in one place made this a super productive writing and querying year for me. What do you need to track your progress and other writing related notes? I would like to encourage you to take some time over the next few months to come up with a custom-made system that will empower you in your writing journey.
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Illustrating for a Collaborative Project

8/31/2020

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~Hosted by Amanda Smith
​
The Writers' Loft in Sherborn, MA is a community dedicated to helping writers achieve greatness. They have a quiet, drop-in writing space and a community room for special events or just hanging out. They are also on the cusp of releasing their third anthology, FRIENDS AND ANEMONES: OCEAN POEMS FOR CHILDREN featuring writers and illustrators from the Loft. Many of these Lofters also worked on the first poetry anthology AN ASSORTMENT OF ANIMALS. 24 Carrot Writing asked the illustrators about the experience of working on a joint project.

This anthology is a collaborative project involving 30+ creative souls. What did you enjoy about working alongside other creatives? What was easy? What was challenging? In which ways did it stretch you? What aspects did you have to take in consideration as you created and edited your artwork?
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Priscilla Alpaugh: Working on the Anthologies was a rare chance to work with such a large group of artists. It was wonderful to see each other’s work and be able to share constructive criticism with one another. It’s a treat to read the poems that the Lofters wrote. So many talented writers! It’s energizing to know that everyone is working towards the same goal.
It is always a challenge to combine different poems on one page or spread. I was lucky and got one of the easier combinations. In each case I went in with a pretty clear idea of what I wanted in the image. Starting with thumbnails for composition and then sketches for content led to a final sketch where I could also consider value. I typically combine watercolor and pencil digitally, but this time it was mostly all digital.

​To learn more about Priscilla, visit http://priscillaalpaugh.com/

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Leanne Leutkemeyer: I enjoyed the feeling of community. I love the energy and excitement of being in a room with creative people. I enjoyed being part of the team. This project introduced me to so many wonderful and talented writers and illustrators. The timing of this project was perfect for me. It took my mind off the world and let me escape into oceans, play with whales and stingrays, and make art. The Zoom meetings helped fight feelings of isolation.
However, getting art direction from a group can be a challenge. It can be intimidating to sit shoulder to shoulder with artists you admire. In a meeting full of voices, it’s hard to catch and absorb all of the suggestions as they fly by. I scribbled many notes. It’s more challenging to have group input, but also exciting and inspiring to see the incredible work everyone was putting out.             
In which ways did it stretch me?  I developed new painting techniques to work large and discovered different scanning techniques. I’m excited about the new photoshop skills I’ve picked up through this project. In the past I’ve always fixed mistakes on the illustration as I painted or started over till I got it right. It’s pretty mind-blowing to be able to add an extra tail on a stingray while painting and know that I’ll be able to take the earlier one out that wasn’t working, and not have to repaint the whole illustration.

​To learn more about Leanne, visit ​https://www.leanneluetkemeyer.com/

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By Leanne Leutkemeyer
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Deb O’Brien: The artists had several challenges in this anthology. We received a lot more poems this year, which meant several poems per spread. Not only did our illustrations have to support each poem, we had to make sure that the art and the poem fit on the page.
Another challenge was the Corona virus. Normally, the artists and designers would get together several times to discuss color palettes, design, and layout. This time, we had to do it all via Zoom. We made it work, but it wasn’t easy.
Some artists couldn’t even think about art. I was grateful I had this assignment; it gave me focus, direction and deadlines. I was able to block out the world and dive into my work. I’m very proud to be a part of the anthology and can’t wait to see the published piece.

​To learn more about Deb, visist
 
https://deb-obrien.com/


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By Deb O'Brien

What did you learn about yourself, your creative process, book-making, and/or marketing while working on the anthology?
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​Amanda Davis:
 
I was honored to have the opportunity to illustrate several poems in this year’s anthology. It’s the first time my illustrations are appearing in a published children’s book alongside many other talented creators to boot! For this particular anthology, illustrators brought to life the fun and crazy creatures of the sea. I knew I wanted to garner a likeness to the creatures in the poems while also putting my own original spin on them. Typically, my process involves drawing from my imagination or from real-life models or scenes. Since I didn’t have access to real-life models of vampire squids or narwhals, I knew this part of my process was going to be a challenge. With the help of the Loft team, I learned more about properly using reference images, avoiding copyright issues, and finding creative ways to craft original models using materials such as clay.  Because I was illustrating for publication, I also felt an added pressure to get it right. This meant practice, practice, practice and revise, revise, revise! I enjoyed working collaboratively with the other artists and design team who provided me with valuable feedback that helped polish my work. The whole experience was a learning process, and I’m grateful for the knowledge and patience of the Loft community. I can’t wait to share our beautiful, seaworthy collection with the world! 
To learn more about Amanda Davis, visit https://www.amandadavisart.com

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Joy Nelkin Wieder: Working as a team was the most exciting and educational process in working on an anthology with other Lofters. I learned so much about marketing a children’s book from others on the team that I was able to apply everything I learned when my own book launched in January. Everything from writing up a press release, to making contacts at local bookstores and media outlets, to participating in book signings and presentations, to creating marketing materials such as flyers and posters. During the marketing of An Assortment of Animals, I took the lead in putting together art exhibitions of our original artwork from the anthology. Our framed illustrations were displayed at the Art and Frame Emporium in Westborough and the Hopkinton Art Center in Hopkinton. We currently have an online exhibit of illustrations with the Acton Memorial Library – check it out here: https://www.actonmemoriallibrary.org/events-programs/art-exhibition/ 

​Visit Joy's website at http://jnwieder.com/ to learn more.

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By Joy Nelkin Wieder
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Doreen Buchinski: ​I was honored to design An Assortment of Animals. It was a wonderful opportunity and a chance to challenge myself. As a graphic designer, I’ve created brochures, logos, promotional materials, etc., but hadn’t explored designing picture books. I was excited and terrified of the herculean project ahead. Applying principals of good design to the book layout—like alignment, balance, repetition, contrast, type, and space—was priority. Tasks included: researching fonts, colors, and on-demand printing, managing art files, emails, edits, and file prep, while also completing my own anthology illustrations. Yes, there were days when the project felt overwhelming—but I stayed focused on each day’s priorities. With superb anthology editors, Kristen Wixted and Heather Kelly, the Writers' Loft founder, at the helm, the development and completion of the book was successful. Collaborating with talented illustrators and authors, and displaying their beautiful art and poetry on the pages of the book were experiences I will always treasure. 

​Visit Doreen's website at ​https://www.doreenbuchinski.com/

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What was your approach when you first received the poem(s) you were to illustrate? Walk us through your process.
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Sarah Brannen: For me, the first step was picking the creatures I was going to illustrate. I went back and forth with the editors as they sorted out who would make art for which poem. I specifically requested jellyfish and they were kind enough to make that work. I also thought I’d like to do sea glass. I was an avid collector as a child and I still have a jar of my very best pieces, which include even rare colors like yellow and pink. 

Kristen Wixted and I talked a lot about how to group the poems. It was her idea to do a spread of things found on the beach, so that I could do a trompe-l’oeil image of everything spread out on the sand. At the last minute Kristen asked me to illustrate the very last poem in the book, Sea Serenity. My most recent book, A Perfect Day, is set on the ocean and it opens with a very calm image of the ocean at dawn. We both felt that something similar would be perfect to close the anthology as well. I sketched a very old wooden lobster pot buoy that I’ve had since I was little, although I changed the colors to white, blue and green. It’s meant to evoke, in some way, the earth itself. Old buoys have numbers carved into them so I put “2020” on the one in the illustration. 

​My web site is www.sarahbrannen.com.

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By Sarah Brannen
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Jodie Apeseche: When illustration assignments were divvied out, I was super excited. I felt that everything was in my wheelhouse-lobsters, cuttlefish, crabs, sea otters, seahorse and sea dragon-yup those would be fun.
 The tricky part was how to make my illustrations connect to the  poems while keeping in my style of painting. For example, after reading Lobster Rainbow more carefully, I was faced with a predicament. I had not realized that I would have to paint 6 different colored lobsters.  I couldn’t figure out how to do that without making a very cluttered illustration. 
 Solution, I created a lobster grid a la Andy Warhol. Problem solving is such a big part of illustration and I owe gratitude to author, Jean Taft, for pushing me to that end.

​For more about Jodie, visit  jodieapeseche.weebly.com or http://art-jam.net/

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By Jodie Apeseche
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Liz Goulet Dubois: When I first received my poem from Lynda, I was surprised! I was expecting perhaps a short, pithy poem. What I received was an epic tale of a seal, underwater dentistry and a duplicitous shark! I approached illustrating this the same way I would approach a picture book. I distilled the text down to what I thought were the key scenes, and created individual sketched vignettes in pencil that could wrap around and enhance the text. The drawing was challenging also because of the scale differences in the characters depicted: everything from a blue whale down to a jumbo shrimp! After the sketches were settled and approved, I scanned them and colored them digitally, which is my usual method. Hopefully readers will be amused by the sight of a shark brandishing dental tools, and wearing a bib!
​
​To learn more about Liz, visit  
https://www.lizgouletdubois.com/

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FRIENDS AND ANEMONES: OCEAN POEMS FOR CHILDREN is set to launch in November and is chock-full of whimsy, fun, and freaky animal facts that will delight children and adults. To learn more about the Writers' Loft visit  www.thewritersloft.org/ and www.thewritersloft.org/anthology for information regarding previous anthologies.
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