Two of your nonfiction picture books involve jazz music: THE LITTLE PIANO GIRL: THE STORY OF MARY LOU WILLIAMS, JAZZ LEGEND and J IS FOR JAZZ (such a fun read)! Can you share what sparked these stories? Are you a musician yourself?  

I can play the sticks if pressed into it. I do love music and still love to dance even though I’m a bit arthritic these days. I got the idea for both books on a day I subbed for my music teacher friend who had an ongoing unit on jazz. I wondered if a jazz alphabet book had ever been written. As I pondered who or what to use for the letter W, my jazz historian friend reminded me of Mary Lou Williams, the First Lady of Jazz. As I began to read about her, I was totally hooked. My sister, Maryann Macdonald, paired with me in the writing of that book. It sold first and about 3 years later, J is for Jazz sold.
​
FAIRY FLOSS: THE SWEET STORY OF COTTON CANDY is another of your nonfiction picture books. What lead you to write this delicious story? 

​Sonal Fry at Little Bee asked me to write this book. She gave me lots of freedom in deciding what to write. When I learned that the Electric Candy Making Machine was first introduced at the 1904 World’s Fair in St. Louis, I was hooked. I did quite a bit of the research at the UMKC Dental School Library since one of the inventors was a dentist. He also wrote books for children. How cool is that?
​

​We’d love to know what you’re working on now. Any projects coming up?

I have some wonderful projects coming up. In 2020, Houghton Mifflin Harcourt will release another picture book biography that will be illustrated by the talented Chloe Bristol. Because its publication date is still a year out, mums the word about the subject for now. But I’m especially looking forward to sharing this individual’s unique and curious story. I’m also excited about the recent sale of a new fiction picture book. I’ll be able to share more details in the coming months once the illustrator has been selected. 

What advice would you give to writers out there in the query/submission trenches?

Read the genre of stories you want to write. Study story structure, beginnings, middles, and endings. Study character and voice. Then, keep trying. Be persistent. Persistence is key. As you keep writing, your manuscripts will get better. Don’t be in a rush to submit. Rather, focus on making each manuscript the best that it can be. When it’s irresistible, success is only a submission away.

Thanks so much for sharing your experiences with 24 Carrot Writing, Lori!

Lori Mortensen is an award-winning children’s book author of more than 100 books and over 500 stories and articles. Her upcoming picture book biography, Away with Words, the Daring Story of Isabella Bird (Peachtree), is about a Victorian traveler who defied society’s boundaries for women and became the first woman inducted into the Royal Geographical Society. Recent picture book releases include If Wendell Had a Walrus (Henry Holt), Chicken Lily (Henry Holt), Mousequerade Ball (Bloomsbury) illustrated by New York Times bestselling illustrator Betsy Lewin, and Cowpoke Clyde Rides the Range (Clarion, 2016) a sequel to Cowpoke Clyde & Dirty Dawg, one of Amazon’s best picture books of 2013. When she’s not letting her cat in, or out, or in, she’s tapping away at her computer, conjuring, coaxing, and prodding her latest stories to life. For more information about her books, events, critique service, and upcoming releases, visit her website at www.lorimortensen.com. ​

​What are a few of your favorite books as an adult?
The Giver by Lois Lowry
Prodigal Summer by Barbara Kingsolver
A Monster Calls by Patrick Ness

We’d love to know what you’re working on now. Any projects coming up?
I’m pleased to share that my next book, a nonfiction picture book biography about Mister Rogers will be published in Fall 2019 by Atheneum. It is called Fred’s Big Feelings: The Life and Legacy of Mister Rogers, illustrated by Brigette Barrager.

I always have multiple manuscripts in progress. Some of the ones I’m working on now involve robots, rabbits, and puppets.

What advice would you give to writers out there in the query/submission trenches?
If you are serious about getting published, do everything you can to improve your craft, build your personal kidlit community (i.e. critique group), and, importantly, cheer others on. Once your stories are the best they can be, submit, submit, submit! Compile a list of agents and editors you’d love to work with. Track your submissions. Celebrate your rejections. (It means you’re getting responses!) For most people, it takes years to connect with the right agent or editor for your work. Be determined. Be persistent. Be in it for the long haul.

Where can people learn more about you and your book?
You can find me on the web at laurarenauld.com and on social media:
Twitter - @laura_renauld
Facebook – @kidlitlaura
Instagram - @laurarenauld 

Thanks so much for sharing your experiences with 24 Carrot Writing, Laura!

​24 Carrot Writing is beyond excited to announce that our blogging partner and co-founder, Annie Cronin Romano, will launch her debut picture book, Before You Sleep: A Bedtime Book of Gratitude, this Sunday, October 14, 2018 at 2:00 p.m. at the Silver Unicorn in Acton, MA. 
 
We’ve been on the writing and publishing journey with Annie for over six years—none of us really knows when we came together, but it was long before 24 Carrot Writing was a thing. Since we convened as a writing support and goal-setting group, we have revised numerous drafts of picture books, magazine articles and MG and YA novels. We’ve deleted a few labors of love along the way, killed off a handful of darlings, and critiqued each other’s many drafts that appeared to us in rough or polished form—and everything in between. The four of us have amassed dozens of rejections individually and hundreds collectively.
 
Through all of this, Annie has been the model of persistence. Even though writing is the job of her heart, it is her second job. Despite a demanding day-job and juggling three teenagers’ schedules, Annie never stops writing. Her focus is laser-like when we have writing retreat days, and she continues to crank out at least one picture book manuscript a month. Her commitment to writing speaks of true passion.
 
Annie is also the Goddess of Boomeranging—that noble art of sending out a query quickly on the heels of rejection. On the rare occasion when Annie would be wounded by rejection and we worried she would cash in her chips, push back from the poker table and declare loudly and publicly that she had bet enough of her life’s time and energy on snagging the elusive publishing contract, she would find a ray of hope, cling to a hint of encouragement, tackle another revision, and fling another query out into the universe. Annie’s querying is relentless, and she does not wallow in despair. She painstakingly researches appropriate agents and editors and steadily sends out queries each month. And you won’t find a more organized submitter. Her tracking spreadsheets and detail of publisher data would put Sheldon Cooper’s string theory notes to shame. 
 
If you were to take the time to go through the thread of Annie’s blogs on our website, you’ll find her journey…slogging through the emotionally-draining query trenches; balancing writing with social media when she was trying to establish her web presence; turning harsh critique into positive feedback; being happy and joyful about other people’s successes, but still wondering when her break might come; taking control of her goals, but then giving herself the gift of compassion when she couldn’t hit all the pedals from the demands of life, day-job , and writing. 

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

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

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

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

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

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

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

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

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

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

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

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

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

by Annie Cronin Romano
​
Goals.

It’s a word that’s thrown around quite a bit, isn’t it? We are always supposed to have a plan. We need to know where we’re going. We have to visualize the finish line.  

At 24 Carrot Writing, our primary focus is to keep you motivated and on track via solid goals and self-recognition and to give you the support to do this. The importance of goals and the skill of goal setting has been the thread of this month’s blogs. But what if the idea of setting writing goals makes your stomach churn? What if you are one of those folks who won’t make New Year’s resolutions for fear of breaking them? You’re probably not about to set any specific writing goals because you may not meet them. Setting writing goals can be intimidating.  But it is a vital step in the writing process, because it sets the tone of accountability. 
​
So if you were not planning to set any writing goals this year, I urge you to rethink. Don’t be afraid. We are not going to let you out of it. Strive to be realistic in your goals. As Amanda Smith wrote in her blog (“Doing the Necessary” January 12, 2018), look carefully at where you are now in your writing journey and what is a realistic next step. 

And I am going suggest one additional step for those fearful of the goal setting process. Add a forgiveness clause at the end. Yes, you read that correctly. Forgiveness clause. This clause should state that if you do not completely meet any of your goals, you will not self-flagellate, wail, or grind your teeth. You will not put yourself down or state that you should give up on writing because you’d have better success selling steaks to a vegan grocery. Basically, this forgiveness clause will cut you some slack for any twists and turns that may take you off your intended path and keep you from sitting down on that pity pot. 

You may not meet all your writing goals. I may not either. But if you don’t set them, you have no plan. No direction. You won’t know where the finish line is. And that can make starting the race pretty disconcerting. So give yourself the gift of a plan for your writing this year. Do your best to stay on track. But know that even if you don’t meet every writing goal you set, you are moving closer to the finish line by drawing yourself a map of how to get there. And that is a key step in your writing success.