• ~Guest post by Kristine Asselin

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

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

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

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

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

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

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

Query strategies:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 
If you want to make the most money you can:

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

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

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

~by Amanda Smith

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

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

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

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

~by Amanda Smith

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.

 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.

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.

~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. 

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.

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.

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!

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.

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.

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.

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/

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/

​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

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.

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/

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.

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/

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.

By Ashley Benham Yazdani
 
In most picture books the characters that we write about are humans, or animals, or at least some kind of organism. But what if you want to tell the story of a place? When writing my nonfiction book, A Green Place to Be: The Creation of Central Park, I sought to tell the story of one of America’s beloved landscapes and its two designers, Frederick Law Olmsted and Calvert Vaux.

Bio: Ashley Yazdani is a picture book author/illustrator, reader, and nature lover. She received her MFA from the Illustration Practice Program at the Maryland Institute College of Art, and her BFA in Illustration from California College of the Arts. She has taught illustration courses at the Maryland Institute College of Art, and Towson University. Her debut book, A Green Place to Be, is currently available from Candlewick Press and can be found at your local bookstore. Her tools of the trade are watercolors, colored pencils, and Photoshop, but she also enjoys embroidery, block printing, and screen printing. When not pushing pigment or pixels around, Ashley can be found reading, sewing, or running around in the great outdoors. She lives in Minneapolis with her husband and son. ​

~ By Amanda Smith​
 
Our final classroom take-over for the 2019/2020 school year comes from an amazing group of 7th and 8th graders. Back in the fall when I had asked them about their favorite books, none of us could have imagined the way this school year would end. Missing them as I work through their responses, I am reminded why I write for children. Our readers, these kids, draw hope and strength from our stories. They escape into fantasy worlds where they learn how to deal with reality. They gather compassion and empathy, grow strong and kind. And they become our heroes.

As I worked through the questionnaires, I found it interesting that the majority of 7th and 8th grade students focused their answers on characters and endings. So, as writers, we should make sure we listen and give them well rounded characters and satisfying endings. Let’s see what they have to say.

What kind of characters do you like?

Relatable characters:
Adrienne—I recently read the book WE ARE OKAY by Nina Lacour, where the main character is always there for her friends. I like this character because of the way she cares for and loves her friends. I would be friends with this character because she is sweet and loving, and matches my personality.

Avery – In MATCHED by Ally Condie, I like the main character, Cassie because she is relatable. I can connect to her and know what she feels when she doesn’t want to follow the rules.

Ella H. – In WINGS OF FIRE, Tui T. Sutherland creates a character named Sunny. Sunny is a small nightwing-sandwing hybrid and she is always happy and optimistic. I would be friends with her because she is basically the dragon version of me.

Ella K. – I look for depth in characters’ feelings, details of characters’ thoughts and an elaborate display of characters’ motives for the decisions they make. I look for these things, because it makes me feel connected to the main character and the people around them.

Claire – Glory is my favorite character form WINGS OF FIRE. She is a dragon who can change her color and spit venom with her fangs. She is not aggressive, but will fight when it is necessary. I think if she was real, we would be good friends.

Sebz -- Ben Ripley from SPY SCHOOL is a character I like, because he is sarcastic.

Marley – The character in JELLY BEAN SUMMER by Joyce Maghin is a young girl like me and I liked her so much, because her inner thoughts were very funny. I would be friends with her because she is kind and clever.

Elyssa – I would be friends with Frances from RADIO SILENCE by Alice Oseman, because she is relatable and headstrong.

Carolyn – I liked Raina in GUTS (Raina Telgemeier), because she is a good friend and sounds like she would be easy to get along with.
​
Caden – I think I would be friends with Oliver in THE UNEXPECTED LIFE OF OLIVER CRAMWELL PITTS (Avi) because he is nice and very kind.

What kinds of endings do you like?
Just as with the 6th graders we hosted in March, these students appreciate a good cliff-hanger - provided a sequel is close at hand. But don’t leave them hanging with unresolved threads.  Like Ella B. said, “You can’t just end a book with a major cliff hanger and never write another book explaining what happens.” What I have noticed, though, is that these discerning readers expect an ending to deliver more than just a neatly wrapped up story.
Take a look:
Rosemary – The ending of THE KINDOM (Jess Rothenberg) was great. It did not end with a “happily ever after.” It ended with a nice resolution to the plot, but left the rest to the readers’ imagination.

Erin – I liked the ending of THE OUTSIDERS (S.E. Hinton). The ending is similar to the beginning.

Grace – I liked the ending of WHITE BIRD, because it had a good message and made me think of what I can do to change the world.

Corbin – REBOUND by Kwame Alexander ended in a way that linked up well with the first book THE CROSSOVER.

Emelyn – The ending of AN INQUISITOR’S TALE (Adam Gidwitz) revealed identities of mysterious characters and tied the whole book together really well.

CJ – I liked the ending of TYRANT’S TOMB (Rick Riordan), because it ended with a battle. I don’t like books that end with “happily ever after,” because it makes it feel as if nothing had changed since the beginning.

Hannah – TO CATCH A KILLER by Sheryl Scarborough ended so nicely and all the pieces fit together. It made me feel like life could be like that someday.
​
Seventh and Eighth graders fall in that obscure place in the market – that crossover spot between upper middle grade and young YA, which can make finding the right book tricky. I doubt that they care much about marketing labels. However, they are clear about what they want: Adventure, escape, and hope.  A call to action. Glimpses of who they are. Examples of who they aspire to be. And inspiration to be brave and be the very best version of themselves.

~ By Amanda Smith

In last week’s blog, Lindsay Ward encouraged us to lean into our creativity and reinvest in our goals during this truly bizarre time. For some of us, writing in the midst of quarantine feels like sanity and welcome routine. However, I have heard other writers mention that they are unable to write, that they are not in the head-space to be creative. And others’ writing time is consumed by keeping young children on track with school work, or working longer hours from home. So how do we keep our writing goals?

At 24 Carrot Writing we have always proposed two kinds of goals: Creative goals and craft goals. The beauty of setting these two kinds of goals, is they access different skill-sets and even different brain hemispheres, so we can always keep moving forward in one area when the other seems inaccessible.

 If you are happily plugging along with your creative goals, writing your story and meeting your word-count targets, carry on. You’ve got this! However, I would urge those writers who feel as if their muse is quarantined in a whole different zip code to lean into those craft goals. Here are some ideas:

• Have you always been curious about Scrivener? Now is the perfect time to work through the tutorial and learn this amazing writing tool.
• Were the first couple couple of months of the new year filled with other projects and you missed out on Storystorm and ReFoReMo? Those blogs are still available to read. You may not have access to all the mentor books, but you may use this time to study some of the books you own as mentor texts, and discover why and how they work on a structural level.
• There are a myriad of online classes, webinars and author resources available right now, such as those from SCBWI. If you are experiencing writer’s block, taking some of these classes is a perfect way to develop your craft.
  This piece of advice comes with a caveat, though. The abundance of online resources could be a distraction and might be overwhelming. it’s okay to miss some! My rule of thumb is: Does this webinar fit into my yearly goals or support my WIP? If so, go full steam ahead. If not, you might find yourself like a squirrel in fall, gathering a bunch of nuts, but not remembering where you buried them.
• Speaking of workshops and notes, when was the last time you looked at any? Kelly often wisely says that sometimes we need to stop taking classes and apply what we have learned. This is a great time to pull out your workshop notes on plotting, or tension or whatever, and apply it to your WIP.
• While you are at it, you could also create order in your work space by filing your notes in a way that makes them easy to find again. ( Francine wrote a wonderful blog about taming conference notes a few years ago)
• Offer to be a beta-reader or critique partner for a writing friend. Some of my favorite quarantine hours have been spent reading and critiquing others’ work. Asking Who? What? Where? When? Why? and How? about someone else’s work is easier and less intimidating than trying to muddle through your own. The added bonus is that it trains you to spot these things in your own work as well, strengthening your craft.

 
These last few ideas are craft/ creative cross-overs:

• Start an idea notebook. (Click here for Annie's blog on how.)  Most writing happens in our heads long before it happens on paper. If you are unable to write, but have thoughts about your WIP, or snippets of dialogue that wake you up in the middle of the night, it is handy to have one place to put it all. For picture books, I recommend Annie’s technique. For novels, have a designated notebook or folder per project. This way you will have your thoughts together for when you get back to writing.
• Do the behind the scenes work on your WIP. Tension charts and scene spreadsheets, story grids and all the analysis. This way you are staying in your novel, working towards your goals, and preparing for when the muse returns.

​

Above all, feed your creative soul with what brings you joy! If writing doesn’t bring you joy right now, that is okay. Step away. Follow a few online watercolor tutorials. Play with clay. Write some poetry. Go dig in the garden. Make music. Sew a few face masks. Because your marvelous mind will be puzzling at your story, carving out your characters, and coming up with fresh ideas, all waiting for you when you are ready to pick up the pen again.
 

~Hosted by Amanda Smith
Welcome to the final installment of 24 Carrot Writing's Graphic Novel Virtual Panel Discussion. Over the last two weeks (Part 1 and Part 2), our talented panelists have shared insights about the strengths of graphic novels and their process as creatives. 
Join our panel as we jump into the last two meaty questions:

Middle school students seem particularly drawn to graphic novels, and often graphic novels are set in middle school. What does that communicate about the market for upper middle grade/ lower young adult readers? Are graphic novels purposefully aimed towards the middle school reader, or is there something in the graphic novel format that perfectly mashes with the middle schooler’s brain?
 
​​Breena Bard: Middle schoolers are taking their first steps toward independence, developing their own beliefs and opinions in a way that they hadn’t before. They are exposed to a diversity of ideas and people, and as they begin to open their minds, they are perfectly primed to receive a radical new method of storytelling. Kids are free of the biases that keep many adults away from comics, and they aren’t pressured to maintain a high-brow reading list. And as long as adults react to graphic novels by wringing their hands or turning their noses up, graphic novels will also have a certain rebellious spirit that might attract middle school readers as well. Plus, comics are just super fun!

What would you like to say to those well-meaning adults who act as gatekeepers regarding graphic novels? To those who see graphic novels as inferior reading?
 
​Kayla Miller: Comics ask readers to use different skills than prose books. To really read a graphic novel, you have to read not only the text, but also to observe environments, body language, and facial expressions. It can be a really engaging and emotional experience. When reading prose, you have to imagine the visuals based on the descriptions given to you and fill in details about the world around the characters, but when you’re reading comics you have to fill in the characters’ inner worlds and use context clues from the art to decipher what they’re thinking and feeling.  I don’t think the skills developed reading comics are any less important or useful than those that students gain while reading prose novels. I also get comments all the time from parents that their reluctant readers become eager readers when it comes to graphic novels. If you believe that fostering a love of reading in younger generations is important, you’re only getting in your own way when you disregard graphic novels.

Breena Bard: They should try reading some :) Really though, the fact that graphic novels are told with pictures should not disqualify them, and in fact makes them more accessible and engages students’ brains in a really unique way. Perhaps there is fear because graphic novels are a relatively new medium, but so were computers and tablets, and most schools utilize those to great success. Take time to read some of the new middle grade graphic novel classics (ask a middle schooler and they will surely have a list for you!) and keep an open mind to the possibilities these stories and this exciting format have to offer. They really are quite wonderful!   
 
Terri Libenson: It couldn’t be further from the truth (and if it helps, I avidly read comics as a kid, and now I read such a wide range of books, from non-fiction to fiction, including – yes – graphic novels for adults!). As I mentioned, graphic novels can be quite layered as well as visually stunning and rich in story. And then some are just plain fun, and that’s okay. Graphic novels vary just like prose books. And they are, indeed, BOOKS. 
 
Tom Angleberger: I think people are hung up on word-count. They assume 100,000 words is better than 1,000. Or 100. Or zero, in the case of wordless graphic novels. Well, that’s just dumb. Do they also assume that a novel by Joe Smedlap is better than a sonnet by Shakespeare?
I think we should judge books on how many brain cells they light up. Trust me, Dog Man lights up a lot more brain cells than Tom Sawyer Abroad. (I was forced to read Tom Sawyer Abroad in 7th grade and am still mad.)
 
Terry Ebbeling :  I would tell those reading “gatekeepers” of graphic novels that there are different strokes for different folks in all areas of life, including reading. If students enjoy graphic novels, they are READING! Yay! I do not recommend a steady diet of any one genre, including graphic novels. But, if this genre gets kids into books, then let’s allow and encourage graphic novels. ​

Thank you to Terri, Breena, Kayla, Tom, and Terry for a fabulous discussion. I know I am paying closer attention to details in the settings and characters, as well as other context clues when I read graphic novels. I am also inspired to think visually and cinematically about the scenes I write, and I cannot wait to get my hands on our panel's new releases in May (if I can pry them from my own middle schooler's hands!)

Terri Libenson  is the cartoonist of the internationally syndicated daily comic strip, The Pajama Diaries, and the author of the best-selling illustrated middle grade novels, Invisible Emmie, Positively Izzy, and Just Jaime.  She was also an award-winning humorous writer for American Greetings for 22 years. 
The Pajama Diaries launched with King Features in 2006 and currently runs in hundreds of newspapers throughout the country and abroad. Pajama Diaries has been nominated four times for the Reuben Award for “Best Newspaper Comic Strip” by the National Cartoonists Society and won in 2016.
Terri lives with her family in Cleveland, OH. Her newest novel, Becoming Brianna will be available in May 2020.  To learn more about Terri, visit http://terrilibenson.com/

Breena Bard writes and illustrates comics, drawing inspiration from her childhood in Wisconsin, and the stacks of graphic novels on her bedside table. Her graphic novel debut, Trespassers, is set to release May 5, 2020. She lives in Portland, Oregon, with her husband, two kids, and cranky but lovable cat. Visit http://www.breenabard.com/about-1 to learn more.

Tom Angleberger  is the author of the New York Times, USA Today, and Wall Street Journal bestselling Star Wars Origami Yoda series. He is also the author-illustrator of Fake Mustache and Horton Halfpott, both Edgar Award nominees, and the Qwikpick Papers series, as well as many other books for kids. But he always wanted to draw comics and he’s finally gotten the chance to draw with Geronimo Stilton and the Sewer Rat Stink! (Available May 5, 2020) He’s married to acclaimed graphic novelist Cece Bell, who wrote and illustrated El Deafo. To learn more visit  https://origamiyoda.com/the-books/
​

Kayla Miller is the author and illustrator of the best-selling Click series of graphic novels. The third book in the series, Act, is coming out in May 2020 and a fourth book is currently in the works. To learn more about Kayla, visit https://www.kayla-miller.com/
​

Terry Ebbeling has been teaching grades 7 and 8  ELA for the past eighteen years. She enjoys delving into reading and writing with her students and finds young-adult literature far more riveting than adult literature!

This week's reading list:
CLICK and CAMP by Kayla Miller
​INVISIBLE EMMIE, POSITIVELY IZZY and JUST JAIME by Terri Libenson
SMILE, SISTERS, and GUTS by Raina Telgemeier
DOG MAN by Dav Pilkey

​