Guest Blog by Meg Lysaght Thacher

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​Every year, over 700 writers, illustrators, agents, and editors converge on Springfield, MA, to meet and learn and talk about their favorite thing: children’s books. If you’re heading to Springfield next month, here’s how to make the most of your conference experience.
 
First, go read Francine Puckly’s Essential Conference Preparation Checklist.

Your First Conference
About a third of conference attendees are first timers. (You can recognize them by the subtle “First Conference” labels on their badges.) If you are one, be sure to attend the conference orientation on Friday afternoon. You’ll get information and advice that’s even more useful than what you’ll read here, plus you’ll meet the conference coordinators and the New England SCBWI team.
 
Workshops
Listen well. Take notes. Participate! Don’t sit in the back—this isn’t high school.
 
Critiques
Go into your one-on-one agent/editor meeting with an open mind. No matter how many times you’ve polished your work, no matter how many critique partners have read it, an editor or agent will probably see something that needs improvement. You paid for this advice. You will get your money’s worth by listening.
Visit the critique prep and support room. There will be a moderator and other attendees who can give you an idea of what to expect in your meeting, or help unpack your 15 minutes of advice.
 
Conference Extras
There will be talks by lots of famous authors. Do not miss Jane Yolen’s keynote address. Just trust me on this one. It will be short, sweet, inspiring, and you will finally learn what BIC* means.
Other events include panels, open mic, peer critiques, an interview with Patricia MacLachlan…um, I don’t think the 24Carrot folks have enough space for me to talk about it all. Read your conference schedule!
 
Networking Basics
* Behave like a professional.
SCBWI has recently adopted anti-harassment guidelines for its conferences. Would you like to be a professional writer? Behave in a professional manner. The NESCBWI conference is a place to learn, network, and hang out with fellow writers. It is not a singles bar.
* Meet new people.
Sit down at a table with someone you don’t know at least once. When you meet someone new, tell them your name, age group you write for, genre(s), and current project. Don’t just read each others’ nametags.
* Do not pitch unless requested.
There are 600 people at the conference, and all of them have at least two projects they’re dying to pitch. We could all stand around pitching for the entire conference, and we would not have a single human conversation. That being said, it’s fine to pitch when someone asks you to.
* Treat the agents and editors like the human beings they are.
​There’s plenty of time after the conference to send them your manuscript and perfectly polished query letter. Would you rather that query letter started with “Remember me? I’m the one who monopolized your time during the Friday night mixer!” or “I really enjoyed chatting with you about our favorite classic fantasy novels”?
 
Volunteering
This is an excellent way to get involved, feel like you belong, help the conference to run smoothly, and meet folks. Plus, there’s free food on Saturday night, and you get to learn the secret volunteer handshake.**
 
Take Care of Yourself
You can always tell the people who don’t get enough food or sleep at a conference. By the last day, they have glazed eyes, are speaking complete gibberish, and have probably introduced themselves to you three times. Don’t stretch yourself so thin that you can’t make a good impression. There are quiet spaces listed in the conference schedule. Use them if you need to decompress or regroup.

And drink plenty of water!
 
Beware of False Comparisons
At any given NESCBWI conference, about a quarter of attendees are published authors or illustrators. Everyone else is “pre-published.” We’re all here to improve our writing and learn. Comparing yourself to other people will get in the way of that. Embrace your you-ness.
 
After the conference
A major benefit of attending a conference is that you get a list of agents and editors who will accept your query for a few months after the conference. The list includes people who don’t normally accept unsolicited queries. Follow the directions on the list. Show them how easy you will be to work with. Make sure you submit only a polished manuscript. You’ll learn a lot at this conference. Apply it! And never share the list with non-attendees. You paid for this privilege. And we don’t want to swamp the faculty inboxes.
 
Final words
Approach your conference with a growth mindset. Everyone is there to learn—even the faculty. Even the editors and agents. And especially you. So learn!
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~ Meg
 

Meg Thacher will be attending her eighth NESCBWI conference this April. She teaches astronomy at Smith College and writes nonfiction for Highlights and the Cricket Magazine group. This is her first blog post of any kind.


Find out more about Meg:
Website: Megthacher.com
Twitter handle: @MegTWrites
 

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2017 meeting stats courtesy of Shirley Pearson (who will remind you to fill out your post-conference evaluation). Thanks, Shirley!
 
*Nope. Not going to tell you. Listen to Jane.
**There is no secret volunteer handshake. Maybe we should make one up! 

by Francine Puckly

Conferences and workshops are invaluable to our development as writers and illustrators, but their disruption to our normal work schedules can be anxiety provoking. We launch into a frenzy of polishing manuscripts, digging through closets in search of clothing-beyond-yoga-pants, sharpening pencils, and buying really cool journals for note taking.
 
Knowing that some of the spring conferences are already upon us, I wanted to share the preparation checklist I’ve used for many years for the workshops and conferences I attend. I hope this guideline will take some of the angst out of planning for your next event!
 
Three Months Before the Conference:

• If possible, before you register for a workshop or conference, take time to set specific learning goals for the conference and decide which of your manuscripts or illustration projects you have in mind for each breakout session you’ll attend. Having a grasp of the knowledge you seek will help you wade through the many offerings and make the best selections.
• It goes without saying, but make up your mind early regarding which conferences you plan to attend and register early to avoid being closed out of small and/or popular breakout sessions.

 
Two Months Before the Conference:

• Order new business cards. Be sure your email address, website, and other social media details are up-to-date.
• Figure out your networking goals for the conference. Check out Robbie Samuels’ invaluable bestselling book Croissants vs. Bagels: Strategic, Effective & Inclusive Networking at Conferences (www.robbiesamuels.com/2010/07/croissants-vs-bagels/). It’s a quick read packed with everything you need to think about before, during and after a networking event. A must-read before you set off!
• Prepare for conference keynoters and workshop presenters by reading a selection of their published books, blogs and interviews.

 
One Month Before the Conference:

• Email friends, colleagues, and anyone else you know who might be attending the event. Make plans to catch up over coffee or a glass of wine.
• Assess your wardrobe. Be sure all of your outfits have pockets (men need not worry) and if not, make sure you have a cross-body bag to hold your cell phone and business cards. You’ll want one hand free for your beverage and the other available for handshakes when you’re mingling and visiting at the mixers and socials at the conference.

 
Two Weeks Before the Conference:

• Practice your pitches for when colleagues and acquaintances ask about your current projects. Haven’t completed a pitch? Check out Nathan Bransford’s How to Write a One Sentence Pitch (blog.nathanbransford.com/2010/05/how-to-write-one-sentence-pitch) and then put them all together with Kelly’s Create a Pitch Ring blog (www.24carrotwriting.com/-blog/create-a-pitch-ring).
• Get that toothache and any other nagging problems taken care of before you set off for the conference so you’re free to stay focused.

 
One to Two Days Before the Conference:

• If you work full time and must pack at night, pack two nights before your scheduled departure. Trust me on this one. This will help ensure you’ll get plenty of rest the night before.
• If you’re flying to your conference, your carry-on bag should include the essentials to get you through 24 hours in the event your luggage is lost. This includes toiletries and cosmetics, important business papers, laptop, and a spare shirt (or complete outfit if you can manage it).
• If you’re driving, why not pack light and leave room for your favorite pillow for a good night’s sleep?
• If you think you’ll have free time to work, pack up the essential materials you’ll need. Check out The Portable Office (www.24carrotwriting.com/-blog/the-portable-office) for a reference list.

 
And Don’t Forget to Pack:

• A conference survival bag. Mine includes: mints/gum, headache relief, makeup/lip balm for dry hotel air, music device and earbuds, snacks and refillable water bottle, teabags, and charging cords.
• Layered outfits for each day of the conference so that you can ride the wave between overheated or overcooled rooms. (Don’t ever underestimate a hotel’s air conditioning system! Always have a sweater, blazer or wrap.)
• A book or magazine that will bring peace of mind in the evening as you wind down from a busy day.
• An extra collapsible bag for speaker books and swag you’re bound to collect.

 
Happy Conferencing!
 
~ Francine

“The universe buries strange jewels deep within us all,
and then stands back to see if we can find them…
The often surprising results of that hunt--
that’s what I call Big Magic.”  - Elizabeth Gilbert
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By Francine Puckly
 
Happy New Year from all of us at 24 Carrot Writing! We hope your holiday celebrations were filled with laughter and joy, friends and family, and a little quiet time to reflect on all that you accomplished in 2017. We are excited to have you join us as we seek the possibilities 2018 holds for each of us!
 
One of my goals for 2017 was to give myself the gift of time to celebrate the holidays (sans guilt) and to muse about opportunities forthcoming in 2018. I spent many long morning walks, as well as afternoon teas, pondering this wonderful but oftentimes frustrating creative life I have chosen to lead.
 
I dug up two precious nuggets of truth over the many miles I wandered. The first is that I’m wildly inaccurate with my goal estimations as it pertains to the time a project will take. I mean, I’m not even close. I’m way off the mark when I guess at how quickly I can complete everything—a blog, an outline, a chapter, an entire draft. So laying out Gantt charts with detailed deadlines is no longer a practice I choose to embrace. It works for many, many people, but it results in failure for me. The second discovery is that I spend too much time alone. I need to be around people, even if we are all working independently and may never speak to each other. In order to grow contentment and joy in my life, these are my focus areas for 2018.
 
But what does this mean as I set my goals? It means that it is important to me that I be a writer. That I show up for work every day and take my job seriously. I have scheduled hours of work Monday through Friday. It’s my job. As long as I show up to my job, I will accomplish much. How much? It doesn’t matter this year. I’m just going to go to work everyday and see where it takes me.
 
And where, exactly, is my place of work? I have plotted out various writing locations that involve seeing other human beings (libraries, cafes, and bookstores). My portable office and daily packing list are ready to go (the-portable-office.html).  
 
Keeping the 24 Carrot Writing categories of Writing Goals and Craft Goals in mind, my work falls accordingly:
2018 Writing Goals:

• Revise current contemporary YA manuscript
• Complete Draft 1.5 of a new historical piece
• If time permits and inspiration strikes, rewrite a contemporary YA manuscript that has been resting in a nearby drawer.

2018 Craft Goals:

• Manage social media, blogs and website (weekly)
• Read novels and research materials that support my projects (weekly)
• Expand my workshop repertoire/develop new presentations (monthly)
• Invest in workshops and talks that will fill my educational well (monthly)

 
That’s it! It’s simple, it’s thorough, and most importantly, it’s doable!
 
I wish each of you joy as you set your creative goals and the luxury of time to focus on all that you love!
 
Happy Goal Setting and Happy New Year!
~ Francine

By Francine Puckly
 
As I reflect on the year as it comes to a close, I am reminded by how important it is to be encircled in a loving, supportive writing community. I am grateful for the daily and weekly buoying by my 24 Carrot Writing peeps, my New England SCBWI team, my accountability genie, and many other writing friends and partners. These wonderful people are my sherpas—leading me up, up, up as I scale the mountain. They encourage me to keep going when I want to turn around and ride a toboggan back down to the bottom and forget the whole thing.
           
But I have other guides on this journey. Voices from the past. Voices in the present. A stack of books by other writers that I read, reread, and then read again. These mentors offer practical, detailed advice about perplexing aspects of drafting and revising, precious guidance in making plots and characters spring to life, and words of wisdom and encouragement when the journey feels long. I would be lost without these “friends” who accompany me on this pilgrimage as well. 
           
So just in case your loved ones are still asking you what you’d like for Hanukkah or Christmas, here are 30 of my favorite books to add to your Writer’s Book Shelf:
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 Finding Your Way and/or Thoughts on the Journey:

1. The Artist’s Way by Julia Cameron
2. Bird by Bird: Some Instructions on Writing and Life by Anne Lamott
3. The Writing Life by Annie Dillard
4. If You Want to Write by Brenda Ueland
5. On Writing by Stephen King
6. How I Write: Secrets of a Bestselling Author by Janet Evanovich with Ina Yalof
7. A Room of One’s Own by Virginia Woolf
8. Walking on Water: Reflections on Faith and Art by Madeleine L’Engle
9. The Courage to Write: How Writers Transcend Fear by Ralph Keyes
10. Becoming a Writer by Dorothea Brande
11. Why I Write by George Orwell
12. The Right to Write by Julia Cameron
13. Write Away by Elizabeth George

Drafting and Revising:

1. WordSmithy: Hot Tips for the Writing Life by Douglas Wilson
2. The Plot Whisperer by Martha Alderson
3. On Writing Well by William Zinsser
4. How to Write Bestselling Fiction by Dean Koontz
5. Writing Irresistible KidLit by Mary Kole
6. Hooked: Write Fiction That Grabs Readers at Page One & Never Lets Them Go by Les Edgerton
7. Writing the Breakout Novel by Donald Maass
8. Second Sight by Cheryl Klein
9. Story Genius by Lisa Cron
10. The Positive Trait Thesaurus: A Writer’s Guide to Character Attributes by Angela Ackerman and Becca Puglisi
11. The Art of Fiction: Notes on Craft for Young Writers by John Gardner
12. Stein on Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies by Sol Stein
13. Reading Like a Writer: A Guide for People Who Love Books and For Those Who Want to Write Them by Francine Prose
14. Beginnings, Middles, and Ends: Elements of Fiction Writing by Nancy Kress
15. Steering the Craft by Ursula K. LeGuin

Scriptwriting:

1. Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
2. My Story Can Beat Up Your Story: Ten Ways to Toughen Up Your Screenplay from Opening Hook to Knockout Punch by Jeffrey Schechter

Did I say 30 books? I think we all deserve a holiday bonus this year, and here it is!

The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler
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 Invite a few of these writing masters to guide your journey in the new year!
~ Francine

By Francine Puckly

Like many of you, I take my continuing education and improvement of my craft seriously. I attend numerous workshops and writing conferences each year, and I collect handouts and scribble down pages of helpful notes as presenters take me through plotting and character development exercises, marketing tips and Scrivener tutorials. It’s a wealth of information. But what happens once I’m home? The notes are stacked on a desk or worse…tucked away in haphazard fashion, never to be seen nor heard from again.

by Sue Lowell Gallion, Guest 24 Carrot Blogger
 
I really appreciate how 24 Carrot Writing reminds us to pay attention to both parts of our split personality – writer and author. I’ve focused primarily on my author side in the past year, with my debut picture book, PUG MEETS PIG (illustrated by the amazing Joyce Wan, published by Beach Lane Books/Simon & Schuster), releasing in September 2016 and a second Pug and Pig book, PUG & PIG TRICK-OR-TREAT, which came out July 25.
 
However, I don’t know that my writer self ever considered what it meant to market and promote a seasonal picture book, both for the publisher and the author. I think a lot of us as writers naturally gravitate toward plots that center on a holiday. Holidays are milestones in any child’s or family’s life, as well as our own. I remember holidays and traditions more vividly than the every day, whether it was choosing a Valentine for a boy in my third grade class that didn’t seem mushy (was “pease be my podner” over the top?) or “cooking” in my cousins’ toy kitchen with our hardboiled Easter eggs (until our parents found us. . . )
 
The inspiration for Pug and Pig’s Halloween adventure was my black lab mix’s reaction to the terrier next door dressed in a skin-tight, glow-in-the-dark Halloween costume. That’s not a story starter that works well with other settings. (However, an unexpected plus to the book has been hearing from parents of children with sensory issues that their kids relate to Pug’s dislike of his tight costume and his mask. That’s really exciting!)
 
But the marketing slot for a seasonal book, such as PUG & PIG TRICK-OR-TREAT, is really tight. In bookstores, Halloween books go on display after Labor Day, after Back to School peaks. Last year, I was in a bookstore on the morning of Oct. 31. Halloween was already packed up, replaced by Thanksgiving, Christmas, and Hanukah. Think of the February holidays – Groundhog Day, Valentine’s Day, the Presidents.  The peak time for story times or presentations using these books at schools, stores, and libraries is also less than six weeks.
 
My local librarians confirm that Halloween books, as well as other holiday books, are checked out all year long. My kids chose holiday picture books any time of the year, too. I probably can still recite most of CRANBERRY THANKSGIVING by Wende and Harry Devlin, and that isn’t because we read it only in November. Kids aren’t particularly concerned with the calendar versus how they respond to a particular book.
 
A seasonal book may be more attractive for guest blog posts, because bloggers like timely and topical posts. But once the holiday is past, promotion will likely seem out of place. In contrast, a birthday book or an afraid of the dark book, or any more universal theme or experience, can be promoted any time.
 
I’m having a ton of fun with the Halloween book, although this is a crazy six weeks.  Because Pug and Pig wear skeleton costumes, of course I hunted for a skeleton costume of my own. Finding something that wasn’t going to scare little kids turned out to be a challenge. It’s hard to find a friendly-looking skull. A skeleton apron seemed to be the best option. I start events without the apron on.  If the kids are really young, I may stick with orange and purple beads.
 
There’s always that tension between what we write and whether there might be a market for that manuscript. “Write what you love” doesn’t always match “there’s a place for that book on our list.” I’d be interested to know how many debut books actually are holiday books. My speculation is that a holiday book is more likely marketable after an author has other books out, or if it is a companion book or sequel featuring characters in an existing book.
 
Come November, I’ll be focusing more on my writer self. I plan to be more organized about goal setting for writing and revising as well as my author/business responsibilities.
However, as I make my way through this hectic October, I’ve rediscovered that candy corn is a fine carrot for me. And fortunately, it’s on the shelf all year long.

by Francine Puckly
 
Many of us are blessed with dedicated writing and creating spaces. The rest of us are not. Or maybe we are required to work in a difference place for a brief period of time or perhaps we’ve decided to go on a writer’s retreat. Regardless of the reason, it pays to have our projects organized for portability, whether we’re traveling to the living room, the library, or another state.
 
While I have a dedicated writing space (my bedroom), I often squeeze my writing in and around the rest of my family’s schedule. That could be at a baseball field, the dance school parking lot or the dentist’s office. I also love to sprawl out at parks or outdoor cafes on mild days, hunker down at the local library on rainy days, or get into a groove at the local bookstore while I tackle plot or character development issues.
 
Prior to this summer, I probably had an 80% success rate of packing the correct work material when I worked away from home. Sometimes I caught the oversights while still in the garage. But other times I would be settled at a library table when I discovered missing pieces. I knew this summer had to be different. I had to have a 100% success rate.
 
After an extensive knee reconstruction, my college-aged, working-in-Boston, can’t-drive-for-seven-weeks daughter would need me to taxi her—and wait for hours at a time—on a daily basis. It was unacceptable for me to be stranded somewhere waiting for her without the proper writing materials. But I also didn’t want to waste time packing, unpacking, and repacking my files—and worrying that I was forgetting something. There was way too much room for error with that system.
 
Order, complete order, was needed. I spent the better part of May organizing my electronic files and then turned my attention to my paper files. Every last piece of paper was filed. And my paper files mirrored my electronic files, so that items could be located quickly.
 
But to be truly portable, my paper files required the right equipment. After consulting internet resources and a few organizing books, I decided the tools required to make this happen were extra-capacity, reinforced hanging folders, manila (or decorative!) files, and a portable hanging file tote.

Switching between projects became a snap. All of my hanging files were organized the same way, and I could pop a file in or out of the tote.
 
The last step to peace of mind was establishing a list of all the little items that had to come along with me each day in a separate messenger bag. I “laminated” this list using packaging tape. Your list might look different than mine, but these were my essentials:

• Blue/black pens
• Index Cards
• Post-it Notes
• Wide-Ruled Composition Notebook
• Tissues
• Pain Reliever
• Water bottle
• Lunch/snacks
• Wallet
• Sunglasses
• Glasses
• Lip balm
• Sunscreen
• Umbrella
• Sweater for overzealous air-conditioning and/or jacket for rainy days
• Laptop, case, cords
• iPod/earbuds
• One magazine

 
While this level of detail might seem like overkill, I only had to create the list once. Each morning I scanned  my bag and checked off the list. I took the thinking out of packing and poured that energy into my manuscripts instead.
 
So if you’re taking your writing on the road, I hope these suggestions will help make your portable life stress-free! And happy writing…wherever the day may take you.
 
~ Francine

by Milanka Reardon
 
My first children’s book illustration job had a non-traditional start.
 
Eric Bennett, the owner of a penguin gift shop in Western Massachusetts, found my portfolio on my website through a friend in one of my SCBWI critique groups. He was working on a sequel to his 2014 self-published book about a penguin (Noodles) and a fish (Albie). I had been asked to work on self-published books before, but I had been advised to be wary of agreeing to projects that did not have the commitment of an agent or a publishing house for all the traditional reasons: the risk of low sales, a high workload, uncertain paychecks, and stigma from traditional publishers. But the first Noodles and Albie had sold almost 1,000 copies already, and I was looking for an opportunity to expand my portfolio and gain experience. I decided to read the manuscript.
 
In the sequel, Noodles and Albie’s Birthday Surprise, Albie is looking for the perfect birthday present for Noodles, whose birthday happens to be on Christmas Eve. Albie settles on a compass—just the device a frustrated Kris Kringle needs when his GPS fails and leads him off course! And as soon as I read the manuscript, my mind began working through illustration possibilities: mid-way through the book, Noodles and Albie visit an underwater amusement park. While the text did not describe it in much detail, I could already see the “Octowhirl” in my head—a giant octopus ready to spin the characters around as if the tips of his tentacles were seats on a ride. I was in.
 
Traditionally, the art director at a publishing house chooses the illustrator, not the author. But working with an author in the self-publishing realm allowed me to learn a great deal about the process of visual story-telling, communication about the direction of the book, and working through contracts. I reached out to one of my Rhode Island School of Design Continuing Education teachers, who gave me a sample contract that I could use as a guideline and adjust it to meet the specifics of my project. The contract specified payment details, including my upfront fee, when I would be paid, and what percentage of royalties I would earn if the book sold a certain number of copies. It also specified the finals timeline and the number of revisions I was willing to do. I made sure I maintained the right to my original artwork, that I would be able to use the illustrations for promotional materials, and that there was a “kill fee”—an amount we agreed I would be paid if I finished the illustrations and the book did not go to print. The part about maintaining the right to my original artwork was important to me. Aside from loving the story and having fun coming up with ideas for the text, one of the reasons I decided to take this particular self-publishing job was to add new illustrations to my portfolio that will hopefully attract art directors or future collaborators. 
 
Within days, the contract was signed and accepted. I was ready to start illustrating my first picture book!
 
Now to the fun part - the illustration process! I was ready to create the main characters and did a lot of sketching. However, the images of Noodles and Albie were already set up in the first book. This was my first big dilemma: should I imitate the original book, or work on the characters in a way that felt truer to my own illustration style? Luckily, the author gave me artistic freedom. He said that he envisioned the characters a little bit older in the sequel. Instead of being a baby penguin with grey colors, Noodles is a spunky 6- or 7-year-old in this book, and his coloring is that of a one-year-old penguin: black and white. But I still had to work with the guidelines that the author gave me, such as the detail that Noodles always wears a blue baseball hat. In self-publishing, the author acts as the de facto art director.
 
Here are some first sketches of the main character, Noodles:

​And this is how Noodles looks in one of the final sketches and the final painting in the book:

​Milanka Reardon is Co-Illustrator Coordinator for New England Society of Children’s Book Writers and Illustrators. She recently illustrated her first picture book, Noodles' and Albie's Birthday Surprise by Eric Bennett. Her illustration of "A Beary Special Friend" won the R Michelson Galleries Emerging Artist Award at the NESCBWI 2016 conference. She lives with her family in Uxbridge, Massachusetts. You can see more of her artwork at MilankaReardon.com.

By Brook Gideon
 
I am asked a lot of questions regarding my first book job, illustrating the chapter book Azalea, Unschooled by Liza Kleinman. How did I get the job? Did the illustrator choose me? Did we submit together? How much say did I have in the design and how much say did the author have in my illustrations? As all writers and artists know, the journey isn’t a straight shot.

​©2016 Right Click Photography