![]() by Annie Cronin Romano A few weeks ago, I arrived at a storytime and book signing for my recent picture book, Night Train: A Journey from Dusk to Dawn. I was greeted by one of the booksellers, who informed me they’d been getting sparse attendance at their Saturday kids’ events. I told her not to worry as I realized these types of events were hit or miss. A few minutes passed and, apart from a fellow writer and her friend, no others had arrived. A woman who’d been lingering nearby approached and asked if I was the author doing the event. She said her two teenage sons—a senior and junior in high school—needed to attend an author event for their AP Literature class so she’d brought them to my signing, not realizing that I wrote for children and would be reading a picture book that morning. “Where are they?” I asked. “Upstairs. They don’t want to come down.” I laughed and told her I understood. Personally, I was relieved because at this point, with just a couple minutes until my reading was to begin, zero children had arrived. Nada. This gave me an audience, though not the demographic I’d been expecting. I told her, “Have them come down. I’ll talk to them about my writing process and answer their questions. And I won’t make them sit and listen to me read.” The young men arrived—with hesitation—and I introduced myself and told them a little about my writing. I was about to ask if they had any questions when their mom said, “Really, I’d like you to read your book. That’s why you’re here.” My writing friend wanted to hear me read as well, so I asked the boys to humor me, filled them in on the inspiration for the story, then read. When I finished, the tone shifted as the two teenagers started asking me questions. One after another. First about the story itself. Then about the writing process. Then about publication. We discussed writing in rhyme versus prose, the editing process, and how picture book writing differs from novel writing and the unique challenges it presents. The dialogue was amazing, and the experience of seeing these young men realize that picture books are not babyish as they’d thought was one I will never forget. They realized the significant work that goes into constructing a children’s story, even one just a few hundred words in length, and they seemed to understand that the age of your target audience does not define the level of effort needed to create quality writing. A few minutes later, some little ones arrived and asked to participate in the storytime and craft. I said goodbye to the teenagers and turned my attention to what had been my intended audience. But my heart was already singing at the fact that those teenage boys had come downstairs to the children’s room reluctantly and returned upstairs with a newfound appreciation for what goes into writing for children. A very good--and unexpected--storytime, indeed.
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![]() Interview by Annie Cronin Romano Welcome Ann! We are happy to have you join us to be interviewed by 24 Carrot Writing! How did you come to be a children’s book author? I have always loved to read and write. My father took me to the library every week as a child. He let each of his eight children check out three books a week. Imagine keeping track of that? I was late to learn to read--maybe the end of first grade. He read Madeline to me and I knew how important that book was. After all, my siblings and I walked in lines, just like Madeline. When you write, do you plot out your stories or are you more of a pantser? I suppose I’d describe myself as more of a pantser. I write one sentence telling what my book will be about. Then I dive into the research and build a word/phrase bank. I have had early drafts for picture book that run over 20,000 words. I peel away bit after bit until my story reveals itself to me. Not the most efficient practice, but it works for me. You have two recent releases: PENCIL: A STORY WITH A POINT (Pajama Press, 2/15/19) and WHY SHOULD I WALK? I CAN FLY! (Dawn Publications, 3/1/19). What was your inspiration for these stories? I was cleaning my kitchen junk drawer. I have several more throughout the house. Maybe more than “several”. As I came across each item, I began to wonder if it might have a personality. Like rubber teeth, for instance. What might they say? To whom? For Why Should I Walk? I Can Fly, I had been sitting on my back porch with my husband. Each of us sipping cold coffee. We noticed a baby robin in a tree, on a limb, contemplating that first leap from the nest. Mother and father bird were nearby. ![]() 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? ![]() You have written several early reader books, including the forthcoming TIP AND TUCKER: ROAD TRIP (Sleeping Bear Press, 3/15/19), co-written with Sue Lowell Gallion. What was the process of co-writing like? Co-authoring with Sue is a dream come true! We really think alike and arrive at an ending in the same way. We are willing to defer to one another as we trust where the story will go. I’ve had equally good experience with my sister, Maryann, and with Barbara Stuber. She and I co-authored a book that is still slowly making the rounds. What do you love most about being an author? When I see a child smile, laugh, wonder, and learn from one of my books, I think I have done my job. That really is what keeps me writing. I plan to do this until my last breath. What is the most challenging part of being an author? For me that would be keeping all my files in order. I have many, many versions of each manuscript before it becomes a book. I study and compare them and see if there is any bit of magic in one before I discard it. ![]() What is your editing process like? Do you belong to a critique group? I do belong to a critique group. Jody Jensen Shaffer and Sue Lowell Gallion and I try to meet up every couple of weeks or so. We read exemplars (recently published) and then share our own work. We may read each piece 2 or 3 times slowly and carefully. Then we play with possibilities and word choices, story arc, tension, etc. It is the most satisfying experience. We also talk about the publishing world, share our disappointments and successes. All very, very good. You have published over 25 books. Are there any particular favorites which hold a special place in your heart? I'm really proud of J IS FOR JAZZ. It was vetted by three important jazz historians and is accurate. I really loved studying jazz history and making it come alive with a bit of jazz slang. I hope my readers feel the same way. As you have many book launches under your belt, do you have any words of wisdom for debut authors regarding marketing/publicizing their new book babies? I’m not especially good at promotion. Thank heavens my publishers are. I do lots of school and library visits and sell books there. I have been to several conferences for librarians. These are very good. SCBWI conferences and literary festivals other good way to connect with parents, teachers, and students. I’d love to do another conference or festival this year. Maybe someone reading this will ask me to present. Here’s hoping. :) What advice would you give to writers out there in the query/submission trenches? Study the marketplace. Before I did this seriously, I had very few sales. Since that time, I’ve had nearly 40 more sales. I take about 15 minutes a day and search for editors’ wish lists, publishers’ lists, and names of new publishers. This really helps me direct my submissions. Be prepared for rejections. Take the bad with the good. What were some of you favorite books as a child? I loved the Cherry Ames, Student Nurse books and read them over and over hoping one day to actually be a nurse. As an early childhood and special education teacher, I did bandage plenty of knees and elbows from playground mishaps. My grandmother read A. A. Milne to me. I completely love his work, most especially the poem that goes, "When I was one, I had just begun…" What are a few of your favorite books as an adult? Louise Penny and Gary D. Schmidt are my all time favorite authors. They are in categories of their own making. I will admit to reading each of their books at least twice. Three time for OKAY FOR NOW. We’d love to know what you’re working on now. Any projects coming up? I am working with Jane True on a bio about Eunice Kennedy Shriver. Hoping to wrap that up this weekend and send it out. We have an editor with interest. Please cross your pinkies! I am also going to be writing two more Tip and Tucker books with Sue Lowell Gallion for Sleeping Bear and I have another silly book in the works that may go to Pajama Press. And a book idea, not yet fleshed out for Dawn Publications. Thanks so much for sharing your experiences with 24 Carrot Writing, Ann! Ann Ingalls writes for both children and adults and is the author of over twenty-five books. She loves chocolate, swimming, playing Bridge, and traveling. To learn more about Ann and her work, visit her website, www.anningalls.com. She is also on Twitter @AnnIngallsBooks. ![]() Interview by Annie Cronin Romano Welcome Lori, and congratulations on your latest picture book, AWAY WITH WORDS: THE DARING STORY OF ISABELLA BIRD, which hits shelves March 1st! Thanks, Annie. Writing about Isabella Bird was its own adventure and I’m delighted to have the chance to tell you more about it. How did you come to be a children’s book author? Although I was always an avid reader, writing didn’t occur to me until I was a stay-at-home mother of three. When I was re-introduced to children’s literature, I wondered what I could write. I’ve been writing ever since. Can you share the inspiration for AWAY WITH WORDS? What drew you to share Isabella Bird’s story? Since Isabella Bird lived during the Victorian Age, like many people, I hadn’t heard about her. However, when I began searching online for women’s firsts, such as first woman doctor, first woman astronaut, etc. I discovered Isabella Bird was the first woman inducted to the Royal Geographical Society. Once I delved into some research, I knew I wanted to tell her unique and exciting story. AWAY WITH WORDS is a nonfiction picture book biography. What are some of the ways your process with this manuscript was different from that of your fiction work? Writing fiction and nonfiction has more similarities than one might imagine. In both cases, the author needs to bring the character to life and create an underlying theme that will be meaningful for young readers. For nonfiction, it requires a lot of research before I discover how I want to tell their story. Since picture books can’t and shouldn’t include everything about someone’s life, picture books have to be very focused and cut to the chase. I love picture biographies because they are so focused, illuminating the most fascinating aspects of someone’s life and his/her accomplishments. When I write fiction, however, it’s all up to me to come up with an appealing character and storyline. This involves a lot of introspection and exploration to discover the story I want to tell. Tell us about your road to publication for AWAY WITH WORDS. Was it bumpy? Smooth sailing? Just like Isabella Bird, this picture book manuscript had its own journey with a lot of twists and turns. I began writing the manuscript 10 years ago and it went through many revisions. However, none of them seemed quite right in spite of an agent’s interest and input. In time, the agent and I parted ways, and I put the manuscript away. However, a few months later, I decided to take another look since I still believed in Isabella’s story. When I revised this time, a metaphor sprang to mind that became the heart of the story. “Isabella was like a wild vine stuck in a too small pot. She needed more room. She had to get out. She had to explore.” This comparison created a unique theme that brought Isabella’s story to life in a way that other versions hadn’t. Along the way to publication, there was a new agent, new editors, and a search for the perfect illustrator. After more than 100 years, I’m delighted that Isabella is off on a new journey as young readers discover her exciting story. In terms of your writing process, do you plot before you write or are you more of a pantser? Oh, wouldn’t it be nice if I knew where I was going when I begin to write? Sometimes I do, but most of the time I am a pantser---writing by the seat of my pants until I figure out where I’m going. My manuscripts usually start with the crumb of an idea—a title, a character, an illustration—then I go this way and that until I find my way. What is your editing process like? Do you belong to a critique group? I spend a lot of time writing and revising. It takes time to develop a character, storyline, and theme, as well as a lively, read-aloud text. With each revision, the manuscript gets better. New ideas come to mind, I understand the character better, and language begins to flow. Once I’ve completed a manuscript to the best of my ability, I share it with my critique groups—one that meets in person, and another online. Over the years, I’ve found that trusted critique groups are invaluable. They not only celebrate the things that work, they point out areas that don’t make sense and offer suggestions. After I get feedback, I revise again until I’m happy with the result. We don’t always agree, but that’s okay. Writing is a subjective endeavor and, in the end, an author must follow their heart. What do you love most about being an author? When I look back on the books I’ve published, I’m so delighted to be part of the picture book community. For me, there is something magical about shaping words into stories, seeing them come to life through the eyes of extraordinary illustrators, then sitting down, book in hand, and reading those stories to young readers. What is the most challenging part of being an author? Coming up with stories on a regular basis and all the rejection that’s part of every author’s life. On your website, you mention some of your favorite books as a child, including Where the Wild Things Are and A Wrinkle in Time. What are some of your favorite books now? These days, I have so many favorites, it’s impossible to name them all. However, some of my favorite picture book authors include Oliver Jeffers, Julie Fogliano, Liz Garton Scanlon, Don Brown, and Alex Latimer. You have published over 100 books. Are there any that are particular favorites of yours or hold a special place in your heart? As you can imagine, they’re all meaningful to me because I spend so much time on each manuscript. However, one reader favorite is Cowpoke Clyde and Dirty Dawg published by Clarion. It’s a wild, rambunctious read aloud, illustrated by wonderful Michael Allen Austin, that became one of Amazon’s Best Picture Books in 2013. 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. ![]() Hosted by Annie Cronin Romano Welcome Laura, and congratulations on the publication of your debut picture book, PORCUPINE’S PIE! How did you come to be a children’s book author? I’ve always loved to read, but it wasn’t until I taught third grade and used picture books as teaching texts across the curriculum that I decided I wanted to try my hand at writing. I was fascinated by how a 32-page illustrated book could encourage, inspire, or inform. I was hooked! Can you share the inspiration for PORCUPINE’S PIE? Was there a particular reason you chose a porcupine as the main character of your story? And do you enjoy baking? I was inspired by Tammi Sauer’s post during PiBoIdMo 2014 (Now Storystorm, hosted by Tara Lazar), which challenged writers to frame a story as a How-To Book. My brainstorming that day included this jot in my notebook: “How to make porcupine pie (or a pie for a porcupine)”. Even though it did not evolve into a How-To Book, that was the humble beginning of PORCUPINE’S PIE! Since the title came first, I think it was the alliteration of Porcupine’s Pie that spoke to me, rather than there being a particular reason that a Porcupine became my main character. I do enjoy baking and the idea that food brings people together was an important theme for my story. Tell us about your road to publication for PORCUPINE’S PIE. Was it bumpy? Lots of twists and turns? Smooth sailing? I got serious about writing for children in 2011 when I joined SCBWI. I’ve written about 90 stories and received approximately 120 rejections since I started tracking them in 2015. I wrote my first draft of Porcupine’s Pie in 2014, won the Beaming Books Picture Book Writing Contest in 2016, and am holding it in my hands and sharing it with kids in 2018. A long journey, but well worth it! In terms of your writing process, do you plot before you write or are you more of a pantser? Both! For Porcupine’s Pie, I brainstormed a few possibilities for the plot since my idea started with the title. But as I drafted, I veered off my plotted path and came up with a much better story. What do you love most about being an author? Connecting with kids and being a small piece of the puzzle that gets them excited about reading and writing. And being part of the amazing kidlit community. What is the most challenging part of being an author? The waiting! What were some of you favorite books as a child? I was going through my childhood picture books recently and rediscovered Panda Cake by Rosalie Seidler. It struck me how similar the title is to Porcupine’s Pie! That book must have planted a story seed in my head long ago. 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! ![]() Laura Renauld is a former third grade teacher who now spends her days imagining and creating. When she is not writing picture books about porcupines, pirates, and pickles, Laura can be found on a trail, at the library, or in the kitchen. She lives in Northern Virginia with her husband and their two story-telling sons. This is her debut picture book. ![]() Guest Post by Lori Mortensen 24 Carrot Writing is pleased to welcome Lori Mortensen, award-winning children’s author of more than 70 books and over 350 stories and articles. If you’re like me, one of the favorite parts of a picture book is the little surprise at the end. After following the intriguing story page by page, I’m always looking forward to see how the author will wrap it up. Will the ending be ho-hum predictable, or will the author create a wonderful ending that’s often described as “unexpected, yet inevitable”? Exceptional endings not only satisfy the story problem, but they fulfill it in a surprising and unexpected way. At first, simply solving the story problem might seem like the obvious way to bring a story to a satisfying close. For example, if Sally wants a pet, she gets a pet. If Sam loses his kite, he gets it back, etc. But exceptional stories take that extra step. In my rhyming picture book, Cowpoke Clyde and Dirty Dawg that became one of Amazon’s Best Picture Books of 2013, Clyde wants to catch his dog for a bath. So, the obvious ending would be Clyde catching his ol’ dirty dawg and giving him a bath, right? However, as I wrote the story, I knew that predictable ending wouldn’t feel satisfying. There had to be more than Clyde just getting his way. As I wrote, I became excited about where the story could lead. With each successive page turn, I showed Clyde trying to catch his dog, each attempt more comical and disastrous than the last. I told myself, Clyde would get so frustrated he would …. What would he do? I wondered. ![]() I was delighted when I instantly realized things would get so bad, Cowpoke Clyde would scrap the whole idea. Oh, no! I thought. How is Clyde going to bathe his dirty dog now? I was just as eager to find out what would happen as I hoped future readers would be. Moments later, I knew what my ending with a twist would be. Instead of Clyde actually catching his dog, he’d scrap the whole idea, then take the bath himself. Whoa! I didn’t see that coming, but it felt absolutely perfect. As Cowpoke Clyde scrubbed and crooned in the tub, Dirty Dawg joined him with a tremendous SPLASH! At this point, I realized the story wasn’t about Clyde checking off a laundry list of chores. It was about them---Cowpoke Clyde and Dirty Dawg. Once Clyde stopped trying to finagle his dog into the tub, the duo discovered that taking a bath was something they both enjoyed. I avoided a didactic ending where Cowpoke Clyde showed Dawg who was boss and turned it into a satisfying friendship story that drew Cowpoke Clyde and Dirty Dawg together. I was just as pleased with this unexpected ending as I knew the reader would be. ![]() Another example is my counting picture book, Mousequerade Ball, illustrated by Betsy Lewin. In my original story, mice arrive at a ball in ascending numbers from one to 10. At the climax, a cat shows up and scares them away in descending order back to one. A fun idea, but after several rejections, I knew it needed a more satisfying ending with an unexpected twist. But what? I decided the solution rested with the cat. Instead of arriving as a threat, the cat shows up only wanting to dance. This unexpected twist gave the story a new meaning and level of satisfaction. It wasn’t simply a book that counted mice up and down. It became a story about friendship and inclusion. ![]() One of my favorite picture book endings with a twist is Z is for Moose by Kelly Bingham. In this story, Zebra directs alphabetical characters to their correct place on the page and Moose can’t wait to be featured with the letter “M.” However, when “M” comes along, Mouse gets the coveted spot, much to Moose’s dismay. As the alphabet continues, Moose becomes more and more distraught when it looks as if he’s never going to get a chance to fit in. Then, Kelly dazzles the reader with her own special brand of “unexpected, yet inevitable” magic. When the reader finally gets to “Z,” it reads, “Z is for Zebra’s friend, Moose.” Awww! This unexpected ending not only fulfilled Moose’s desire to be in the alphabet, but it cemented Zebra’s and Moose’s friendship in a surprising and touching way. ![]() This year, my picture book If Wendell Had a Walrus hit the bookshelves. In this story, a boy named Wendell wants a walrus. Of course, the obvious ending would be Wendell getting a walrus. However, as I wrote along, a different ending came to mind. As soon as I wrote it, I knew it was the perfect ending with a whale of a twist. Would Wendell get a walrus? What do you think? So, the next time you’re puzzling over a manuscript, think about your favorite picture book endings and why they work. Did they have an “unexpected, yet inevitable” ending with a twist? Then play around. You may not find the right ending right away. It may take time to sort through all the options that spring to mind at first. But keep at it. If you do, one day an author may be writing a blog about your book and its wonderful “unexpected, yet inevitable” ending with a twist. Lori Mortensen is an award-winning children’s author of more than 70 books and over 350 stories and articles. Recent releases include If Wendell Had a Walrus, illustrated by New York Times bestselling illustrator Matt Phelan (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), 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, teacher activities, critique service, events, and upcoming releases, visit her website at www.lorimortensen.com. ![]() 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. ![]() It is because of all of those qualities that we find ourselves where we are today—announcing Annie’s debut picture book! (Before You Sleep is this week’s Book Pick.) But over and above those wonderful attributes, Annie is our friend. So, yes—Yes!—we celebrate her publishing success and debut book, but we also raise a glass to honor what we love most about Annie—her bravery, her perseverance, her compassion, her kindness, her sense of humor, and her pluck. Congratulations, Annie! From all of us at 24 Carrot Writing – Francine, Kelly and Amanda ![]() Guest post by Anika Denise Launching a new book into the world is worthy of a grand celebration. Whether it's your first book or your fiftieth — it's important to mark the occasion with fanfare. Throw a bash! Invite your friends! Revel in the moment! You earned it. But successfully launching a book involves more than just party planning. The work of finding and connecting with readers who will be motivated and excited to buy YOUR book ideally begins months and months before publication. From building your website, to networking with educators, to creating extension activities, to printing swag, to blogging, to tweeting, to baking cupcakes and ordering balloons — managing the myriad tasks associated with book launches can be overwhelming, especially for debut authors. After my first two books entered the world without much fanfare or support, it hit me that I had a marketing degree and experience in promotion. So, um…why wasn’t I putting those skills to work launching my books? When my picture book Monster Trucks was acquired, I made a point to keep track of all my promotional tasks and when I’d completed them; as well as what worked, what didn’t, and what I’d learned from the process. My documented “from-book-deal-to-publication” experiment eventually became the basis for a marketing workshop: BEYOND THE BOOK LAUNCH PARTY, to help authors create and execute their own book launch strategies. The response I hear most frequently from workshop attendees is: OH-MY-GOSH-I-SO-NEEDED-THIS! And I tell them: so did I. To stay organized (and sane), l needed a promotional checklist I could follow for each new book. And hopefully, in being more methodical and digging deeper into my book’s unique content, I’d engage more readers, generate greater awareness of my “brand” as an author, and boost book sales. So… did it work? YES! While there are many variables that affect how a book sells, and I don’t have scientific data tracking back each promotional activity’s effectiveness, I do have my royalty statements. And the titles I’ve launched with coordinated marketing attention have done better. Significantly. With all the hurdles to surmount on the path to publication, a published book is like a tiny miracle. That’s why I try to do my small part in giving my books their best chance at success. And why I’m happy to share what I’ve learned. Here’s the plan I follow. It includes advice on how to reach readers and considerations to explore when allocating your precious promotional budget. Use it. Share it. And feel free to reach out with questions or suggestions. ANIKA’S BOOK LAUNCH TIPS & TASKS TIMELINE Before the book deal... * Create an author website (include an e-mailing list sign up) * Network with the children’s book community – in person and online * Be active on social media, but give thought to AUDIENCE when choosing how and where to spend your time. Are you targeting parents? Librarians? Teens? Where does your audience spend the most time? * Don’t just talk about YOU; use your channels to AMPLIFY OTHERS Pro-tip: Focus this time on establishing a professional author presence and getting to know your tribe. Attend conferences. Introduce yourself to local librarians. Be visible and make friends. And YES, include a mailing list sign-up on your site, even if your book isn’t out yet. Your e-mail list will be the foundation upon which you build a direct relationship to readers who opted-in to learn more about YOU and your books! Just after you've signed the contract... * Make a list of 8-1o topics and/or themes that are in your book * Research and identify blogs, websites, and organizations that ALSO care about the topics you listed * Are there opportunities to get involved? Guest post? Volunteer? * Take this time to introduce yourself and build relationships * Always begin with what you can do for them – not what they can do for you Pro-tip: Meaningful connections grow out of equitable partnerships. Begin any pitch with what you can bring to the table, rather than simply asking them to promote your book. Here's the list I made for Starring Carmen! The goal of this exercise is to find readers based on commonality and shared interests. One great example of this for me, was Boys & Girls Clubs of the Midlands, in South Carolina. The tagline for their after-school performing arts program is: Be inspired! Be talented! Be creative! This could easily be the tagline for Starring Carmen!. By offering to do presentations at their locations, I connected with both the gatekeepers (arts educators at BGC) and young readers — who, because of our common interests and values, are likely to be interested in reading the book.
12 months prior to publication... * Set your promotional budget * Identify book festivals and speaking opportunities that line up with your pub date; make note of deadlines for applications * Consider partnering on promotion with other authors who have books in your genre or release year like the Electric Eighteens * Look for HIVE MARKETING opportunities and book discovery platforms, such as Curious City's Bunk Reads & Trick or Reaters Pro-tip: You can find yourself down a rabbit hole, spending large sums of money on book promotion. Deciding how much you are willing to spend and prioritizing which strategies are most worthwhile for your book is important. Ask yourself, am I going to enjoy doing this? And is this likely to move the needle on books sales? 9 months prior to publication... * Outline your reading guide or activity kit * Plan and draft blog posts related to the themes in your book (Check out Sarah Albee's and Betsy Devany's blog for examples of fun, engaging content-related blogging.) * Check in with the in-house publicist to review the marketing plan for your book Pro-tip: Publicists are BUSY. Each new season brings a fresh crop of books to promote, and the window for promoting an individual title can be limited. What you can expect varies from house to house, and book to book. So it's important to ask (kindly) what they have planned, in order to determine what you'll need to do yourself. In my experience, the more willingness I show to roll up my sleeves on publicity, the more support and attention they will jump in and give. 6 months prior to publication... * Design and print book swag (if the cover is final) * Schedule a cover reveal * Reach out to bloggers to arrange a blog tour * Contact stores to schedule signings * Connect with schools and offer presentations * If you are considering a book trailer, make notes on a treatment and hire your vendors Pro-tip: Creating a high quality book trailer can easily blow your promotion budget, and won't (necessarily) sell more books. My strategy has been to find creative ways to produce them, at low cost. For Baking Day at Grandma's, we kept costs down by working partially in barter, and shooting it all in one day. For Monster Trucks, my local school librarian asked one of her students to create the book trailer as a part of a school library project. Consider getting local schools involved and/ or hosting a reader-produced trailer contest. Author (and book promotion wizard) Josh Funk creates his own book trailers. I love Josh’s trailers because they showcase his humor and brand personality, and really make you want to run out and read the book. If you have mad iMovie skills (or know someone who does) try putting together a trailer yourself. 3-4 months prior to publication... * Send Advance Release Copies (ARCS) to colleagues, friends, and family, and ask them to consider reviewing and sharing your book online * Create a “press kit” section on your website with your blurb bio, high-res book cover, author photo, and event poster template * Send a draft of your reading guide/ activity kit to your publisher for review and approval Pro-tip: As with trailers, a great deal goes into drafting and designing a quality classroom guide. Your publisher may create one for you, but if not, you can outsource to an expert. Not sure where to begin or what a discussion guide looks like? Scholastic.com has guides readily available for download. Spend some time familiarizing yourself with the format. 1 month prior to publication... * Finalize contests and giveaways (Goodreads requires 7 days in advance) * Design a graphic for both your blog tour and store appearances, with dates and locations * Share positive reviews on social media and add them to your website * Finalize details and send reminders about your LAUNCH PARTY! * Pop the Champagne (or sparkling cider) and enjoy! Pro-tip: Consider going LIVE on Facebook during a portion of your book talk or reading, to amplify your launch party's reach. And my final pro-tip? Don't get so caught up in promotional tasks that it keeps you from doing your first job, which is to write amazing books. Strike a balance. Set a few hours aside each week for book launch planning. Use this timeline as a guide, but do what works best for you. Additional Resources: Curious City facilitates children's literature discovery by creating marketing tools that engage readers with story. They create activity kits, write and produce book trailers, host book discovery platforms — they've even planned tours for fictional bands! — all for the noble purpose of helping kids and books "meet." Find out more at http://www.curiouscity.net and this post which includes a link to Curious City's "Creating Discovery" worksheet, which I highly recommend downloading and completing. Author Gaia Cornwall also designs and creates super-cute (affordable!) author swag and book trailers. Check out Marcie Colleen's awesome Teacher’s Guides. And finally, here's a list of upcoming book festivals from Book Reporter. Anika Denise a former marketing and public relations executive. She’s also the celebrated author of many books for young readers including Lights, Camera Carmen!, Starring Carmen!, Monster Trucks, Baking Day at Grandma’s, Bella and Stella Come Home, and Pigs Love Potatoes. In 2019, to coincide with Women’s History Month, HarperCollins will publish her forthcoming picture book, Planting Stories: The Life of Librarian and Storyteller Pura Belpré, illustrated by Paola Escobar. Other titles coming in 2019 include The Best Part of Middle, illustrated by Christopher Denise, and The Love Letter, illustrated by Lucy Ruth Cummins. To learn more about Anika’s books and workshops, visit her website at anikadenise.com. ![]() 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 When I finish a book, I usually pop onto Goodreads to jot down a few brief notes and mark the book as "read" on my shelf. I have been using Goodreads for several years. It’s a great tool for saving your “must read” list and tracking and organizing books you’ve already finished (See Kelly’s post: Use Goodreads to Build Your Virtual Library). I usually rate the books I read, primarily for my own reference, and I write brief comments in the “private notes” section to use to when looking for comp titles or mentor texts (i.e., rhyming PB, theme of overcoming fears, etc.). Until recently, I rarely wrote any reviews. But during the past few weeks, I’ve started writing down more detailed thoughts and observations about the books I’ve read, and some of those have morphed into reviews. In doing this, I discovered something interesting: reviewing a book--writing down the specific reasons why a book appeals to me (or doesn’t)--helps me examine my own writing in a more critically constructive manner. By delving beyond basic notations on style or theme, I often hit on the core of what may or may not be working in my own manuscripts. Simply reading books and making a few quick annotations about style, POV, or theme didn’t give me that same insight. It wasn’t until I started writing down more reflective thoughts on the books themselves that I began to consider how those opinions carried over to my own work and could help me in strengthening my craft. The comments may include my thoughts on plot development (Is there a strong hook? Sufficient tension? An effective plot twist?), character (Are the characters relatable? Well-developed?), and use of language (Did the writer effectively use language to evoke mood? Was the dialogue effective?). My review may also refer to how I felt after reading the story. Would I want to read it again? Would I recommend it? Why or why not? Writing down specifically what I think a story’s strengths are and what didn’t work for me helps me apply those strategies and techniques to my own writing. The takeaway? When you finish reading a book, be it a picture book or young adult novel, write a constructive review. You can share it on Goodreads if you'd like or simply write it for your own benefit. Then keep your eyes open for what you can learn from your own observations. ![]() 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. |
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