by Kelly Carey Are you ready for the question? You will be asked it by fellow writers at workshops, at conferences, by agents, even by the local librarian. You need to be ready with your answer. You will be asked, “What are you working on?” or “What do you write?” This should be a simple question to answer. But when put on the spot, you will get tongue tied, suffer a burst of bashfulness, and probably freeze up with mini stage fright. The result will be a mumbled and botched response. Worse, it will be a missed opportunity to market your manuscript and explain your writing prowess. Don’t fret. I have the solution. You need a Pitch Ring. Do you remember the flashcards you used in elementary school? The ones you might be using today with your own kids for sight words and math facts? It’s time to employ that method for your manuscripts and create a Pitch Ring. You will need:
On each index card write the title of your manuscript and then paste or tape your one sentence pitch followed by your one paragraph synopsis to the index card. For help creating your one sentence pitch, check out this great post by author Nathan Bransford. The longer synopsis paragraph can be grabbed right from your query letters. Punch a hole through your index cards, and clip them together on your loose leaf ring. Now, every day, review your flashcards. Practice your pitches until they become as automatic as flipping on a light switch when you enter a dark room. As a bonus, create an introduction flashcard for yourself. This introduction card will help with the more generic “what do you write?” question and can include the information you put in the final bio paragraph in your query letters. Now when asked the question, “What are you writing?” or “What is your story about?”, you will have a practiced and professional response that will have just the right ring to it – a perfect Pitch Ring!
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by Kelly Carey During his Oscar acceptance speech for Best Animated Feature, Pete Docter, the director of Inside Out, made me realize that I’ve been wasting my bad moods. I don’t write when I’m mad, angry, upset or scared. Instead, I wait to be in the perfect mood before I sit at the computer to write. What a huge mistake! Every mood should be my perfect writing mood. Tapping into all my emotions, by writing when I’m sad, mad, or nervous, instead of just relaxed and happy, will give my characters greater emotional depth and their stories more range and universal appeal. I should use the entire Inside Out mood board. Thanks to Pete’s words, I will no longer wait for both a quiet house and a quiet mind to write. He made me realize that I am missing out if I don’t grab the opportunity to write when I’m annoyed, upset or hurt. As Pete advised, “there are days you’re going to feel sad…angry…scared. That’s nothing you can choose. But you can make stuff. Make films, draw, write – it will make a world of difference.”
I am done using the excuse of my mood as a reason not to write. Instead, I’m going to embrace my mood as a reason to write. As Pete Docter said, “we are so lucky because we get to make stuff”. Funnel all your feelings into your characters and their stories; use your mood as an impetus to capture the full range of human emotions. As a bonus, when you have gifted your characters with your less than perfect mood, you will hit save on the computer and whistle away from your workspace feeling accomplished, and happy. In the words of my fellow blogger Amanda, "It's like exercise. Just less sweaty!". Writing in a bad mood will not only enrich your writing, but improve your day. Now that’s happy writing. by Kelly Carey Nothing gets me more motivated than a snappy little acronym and a manageable task list. With that in mind, I've decided to give my writing the WRQS! Pronounced “works”, WRQS stands for Write, Revise, Query and Submit. These four tasks are the Four Horsemen of Writing Success. (By the way, they are much better than the Four Horseman of the Writing Apocalypse; Waiting, Regretting, Quitting and Sobbing. Don’t do those!) Every month you can apply the WRQS to your writing in an easy weekly focus. Week One - Writing Your writing endeavors during the first week of every month will focus on “W” - Writing. This is a beauty of the blank page week. Open a new file and write a fresh sentence, the first draft of a picture book or a new chapter for your middle grade novel. The key this week is to write something brand new. You can bounce off an idea you jotted down during PiBoIdMo or perhaps one you wrote in the condensation on the bathroom mirror (where do you think WRQS was born?). Give yourself the first week of every month to create freely. Let go of marketing distractions and the pressure to revise. Instead, find your happiest writing self and put your wonderful words down on paper. This is your week to indulge in creating. (See Amanda’s post http://www.24carrotwriting.com/-blog/writing-a-purposeful-luxury. ) Week Two – Revise During the second week of every month you will concentrate on “R” – Revise. This is a week where you become your own critical editor and with a ruthless purpose, cut, paste and re-imagine an existing manuscript. I recommend that you pull out a manuscript you’ve let steep for a few weeks or more. Don’t pick the new piece you worked on during week one. That gem needs time away from your brain before you can look at it with a fresh perspective. Besides, that writing was your major accomplishment last week, don’t trash it already! Enjoy that victory. Pick a different manuscript to trash .... err, I mean careful revise. Week Three – Query Week three of every month should be set aside for “Q” – Query or Inquiry. This is the week for either writing query letters to agents and/or editors or doing some research or inquiry into what agents or editors may be a good fit for you and your manuscript. If you have a submission ready manuscript, and you’ve done your research and found an agent or editor that would like your piece, use this week to write a query letter. However, if your manuscripts still need a little R&R (rest and revision), this is the perfect week to troll the webpages and blogs of agents and editors to discover who they are and what they want. While weeks one and two of WRQS focused on you and your writing, week three is a time to look outward and find your publishing match. Week Four - Submit You will never be published if you don’t submit your work. Use the last week of every month to put yourself and/or your writing out into the universe by making it an “S” – Submit week. This can be accomplished in a variety of ways. The biggest leap is to submit a manuscript to an agent or editor. A word of caution, don’t do this until your manuscript has already received your best WRQ (work); write, revise, query. If your manuscript isn’t ready for submission, use this week to send your manuscript to a critique group. If you don't have a manuscript that you are ready to share, you can embracing the “S” – Submit week by marketing yourself. Work on a blog or your webpage or open yourself up by taking a class or workshop. Either way, the theme for this week is to put yourself out there and be ready for some feedback. This is your take-a-leap week. Go ahead. You can do it. Next week the month starts over and you can snuggle back into the writing cocoon and “W” – Write because you are back to week one! The WRQS method asks you to focus on a different aspect of your writing endeavors each week of the month, BUT you should be writing every week. The WRQS is a way to manage the balance of a successful writing career. I hope you join me in giving your writing the WRQS this year. We can celebrate at the end of each month with a treat (what we at 24 Carrot Writing call a carrot) - like an ice cream sundae. Just be sure to order it with the WRQS - you earned it! by Kelly Carey Alicia Potter is an award-winning Boston-based author who has published both fiction and non-fiction picture books. Mrs. Harkness and the Panda, garnered Potter the Cybils Award for Best Nonfiction Picture Book 2012 and Jubilee! One Man’s Big, Bold, and Very, Very Loud Celebration of Peace, published in 2014 by Candlewick Press, was part of the “One Story Draws Another” exhibit at the Burns Library at Boston College. On the fiction side, the clip-clomping antics of a goat in Fritz Danced the Fandango, published in 2009 by Scholastic Press, and winner of the Oppenheim Toy Portfolio Gold Award, was followed by this year’s Miss Hazeltine’s Home for Shy and Fearful Cats. This talented author graciously agreed to share her thoughts on writing and her insights into how to go from “almost published to actually published” with the readers of 24 Carrot Writing. You have a copy of the first story you ever wrote, about a sailor cat, that you illustrated with cut outs from a Meow Mix box. Many people will say, in a wistful way, I want to be a writer, and some may even write a first story, but only a few will actually become published writers. How did you make the jump from dreaming about being a writer to becoming an award-winning published author? Enrolling in the MFA in Writing for Children and Young Adults Program at Vermont College of Fine Arts (VCFA) was definitely the turning point for me. Up until then, I had been writing for a few years and received a fair share of personal rejection letters. But I had no idea how to unravel a story and make major changes. Pretty much, if I wrote it, then that was it – I was “done.” But in my first semester of the program, my advisor set forth a rather formidable goal: I was to write two new picture book manuscripts and revise two picture book manuscripts a month. Needless to say, I became way, way more productive than I ever was on my own. Through sheer practice and smart feedback, I became much more comfortable with true revision; that is, jettisoning good chunks of a story or even starting from scratch. I began to understand the types of questions that I needed to be asking to create a more polished piece of work. After my two years in the program, I was finally ready to go from being almost published to actually published. Within a year of graduating, I sold my first picture book, Mrs. Harkness and the Panda, to Knopf. It was one of the stories that I wrote during my first semester at VCFA and that I continued to revise (and revise!) throughout my time there. My second sale, Fritz Danced the Fandango (which ended up coming out before Mrs. Harkness), also was written during the program. You have written and published both fiction and non-fiction books for children. Can you talk about how the writing process for those two differs? Not all that much, really! I tend to hand write the first third of any manuscript, so that I’m not going back and editing every five words. Then if it feels solid enough, like I’m not going to immediately get stuck, I start typing out a rough draft. For a nonfiction book, I might also do an outline to see how the essential scenes will flow within the picture book format. But I outline for fiction stories too. I plot out the main scenes or emotional beats or I sketch them out as spreads. I use outlining throughout my writing process, both as part of early drafting and revision. Midway through, once I have a strong draft, I also create a version of the story in which I isolate all the sentences that reflect emotion. I can then see if they build in a way that’s logical and moving. I do this for both types of manuscripts since true stories need to have all the same storytelling elements as fiction. For my nonfiction books, I’ll also do several rounds of fact checking. But I’ll check facts for fiction too – I recently needed to find out if my depiction of a hermit crab’s house-hunting habits was correct. For a fiction writer, the thought of the research required for a non-fiction book is intimidating. Can you offer a pep talk to the research wary? One reason to love research: you can be productive without writing a word! I work on my nonfiction and fiction stories at the same time, so it’s nice to have something to research when I’m mulling next steps for a fiction manuscript. Still, I should add that I’m not researching huge topics. I tend to gravitate toward more obscure events or people, so I’m not facing the same daunting mountain of source material as, say, a writer researching George Washington. But there are still plenty of small, exciting moments. It sounds kind of corny, but I actually get a little burst of adrenaline when I uncover some strange or funny detail or great emotional moment in the research. I’ve learned to really pay attention to my own reactions, because, ultimately, I hope that the reader will interact with the material in the same way. And there’s something satisfyingly nostalgic about sitting in a library and taking notes. When I visit schools, I show kids that my research process hasn’t changed since third grade – I love taking notes in regular old spiral notebooks! Picture book word counts are very tight. How did you approach the task of whittling down Patrick Gilmore and Ruth Harkness’s life stories to those essential moments that told their whole story in a picture book format? A lot of it again comes down to paying attention to those moments of emotion, because those are going to lead to a better story. As I put together the key story arc, I look to keep any moment that I find surprising, funny, or moving. Also anything that speaks directly to kids’ own experiences or their sense of empathy — for example, Ruth Harkness wanting to cry because her boots were blistering her feet, or Patrick Gilmore having to deal with lots of people telling him “no.” If I am really torn about a fact, I cut it and move it to a separate document for possible use in the book’s author note. In Jubilee!, we ended up having to chop some text from the main story and it became part of the back matter. And what doesn’t survive the author’s note often turns into school visit anecdotes. Usually there’s one child who wants to know about a fact that didn’t make it into the book. I’m now able to share that, on the day of the National Peace Jubilee, President Grant enjoyed a lunch of salmon, peaches, and grapes. You had initially envisioned Miss Hazeltine differently than how illustrator Birgitta Sif drew her. Can you talk about that experience and perhaps comment on how you release control to an illustrator? Have you ever stopped yourself from popping in an illustrator note? When I was drafting the story, in my head, Miss Hazeltine was this expressive, bendy old lady with long, skinny legs who was spry enough to climb trees and pounce — sort of the cat lady version of Granny from “The Beverly Hillbillies.” But I love that Birgitta imagined her as childlike and whimsical in her high tops, because it gives kids another strong point of identification in addition to the kitten Crumb. The young Miss Hazeltine makes for a much better book. She’s less expected, and therefore, subverts the stereotype of the cat lady. I’m probably much too literal when it comes to imagining the illustrations, so I’m fine to say goodbye to a lot of the images that have been floating around in my head while writing. The illustrator brings so, so much to the story — just this incredible level of detail and meaning and another layer of humor. And for this, I’m extremely grateful! In Fritz Danced the Fandango, the illustrator, Ethan Long, added a recurring red bird character. Kids always zero in on the bird during school visits, but it wasn’t mentioned at all in my manuscript. For Mrs. Harkness and the Panda, Melissa Sweet traveled to China and went on to incorporate real coins and vintage postcards and maps into her gorgeous collage illustrations. But perhaps my favorite illustrator backstory for my books is for Jubilee!, a picture book biography about Irish-American bandleader Patrick Gilmore and his efforts to put on the world’s largest concert in the 1860s. I did a school visit with Matt Tavares and he showed this funny photograph that he took of himself in bed wearing a nightcap, with the sheets pulled up to his chin and an expression of intense anxiety on his face. The photo became the basis for the illustration of Patrick “wide awake with worry.” When the photo and illustration are shown side by side, you can see the exacting level of detail Matt achieves, right down to the creases in the linens. As for art notes, I try to use them sparingly and mostly when I’m pretty sure that a reader isn’t going to otherwise understand some element of the plot or humor. Running a manuscript by my critique group helps me find the places where the notes are absolutely necessary. Your published works have been inspired from your work in an animal shelter to a chance reading of an article about Patrick Gilmore in a local newspaper. As a writer, do you see stories everywhere? Can you talk about how you collect your ideas? I live right in the city and there’s always something strange or funny or quietly amazing to see. The other morning, I saw a man riding to work on a unicycle, then later on, a West Highland terrier wearing a hot pink derby. I collect the most interesting of these, as well as ideas for titles and characters and plot scenarios, in pretty notebooks (nicer than my research notebooks) or “story scrap” files (usually filled with little torn-out pieces of paper with a few words on them). Sometimes I add a drawing or a few sentences that will later help me recapture the moment that made me write the idea down in the first place. How do you balance your work as a freelance writer, a book reviewer and a picture book writer? And the big question for every writer, how do you make sure you make time to write? It can be tough! But I find that my different roles inform each other. I might interview a person for an article who gets me thinking about a different perspective on the world. And as a reviewer, I’m getting boxes and boxes of new books delivered to my doorstep (there are so many, I have to keep some in my kitchen). Reviewing also allows me to really analyze another picture book creator’s stories. I learn a ton from this process, as well as which houses are publishing what. Because I’m juggling a lot, I may not work on my own children’s stories every day. But I certainly think about them, which is important, as writing is essentially thinking. I get ideas or work through story problems when I’m out running or walking or on the subway or bus. This thinking time helps me when I do sit down to write – I find that my ideas are more formed. I also love writing while traveling, whether it’s local or a vacation (I know, not really a vacation, right?). Being out and about and going somewhere makes me feel very connected to the world — a feeling I hope to reflect in my books. To get more connected to Alicia and her books, please visit her website at http://www.aliciapotterbooks.com/ and read her latest blog. You can find a review of the fabulous MIss Hazeltine's Home for Shy and Fearful Cats in the book pick section of this blog. Even if you are allergic to cats, like I am, you will love curling up with this picture book!
By Kelly Carey I always write in a solitary environment. While I enjoy my writing community, when it comes to the act of writing, I don’t go to the library or a café or anywhere in public. My fragile first drafts, those timid beginning sentences, need privacy while they mature into a shareable manuscript. When I get in the writing zone, I don’t want to be interrupted by thoughts of someone else reading my work. Hearing a cough or movement about the house, would surely pop me out of the zone. When my 24 Carrot Writing partner, Annie, gave us the opportunity to escape for an entire weekend of writing, my initial thought was extreme trepidation. Could I be creative with other writers watching? Or would I feel inhibited? There are many moments along the path from first draft to a submission ready manuscript where you feel silly. Doubt tells you that you’re crazy to think you can create art on a blank page. I believed that I was able to push through these moments because I tapped into my creative chutzpa. It’s what allows me to sing loudly in the shower, dance in my pajamas, and daydream about being interviewed by Oprah. But I don’t let anyone see me doing these things. I thought having an audience for this creative process would leave me frozen. Our writing retreat showed me that other writers, rather than cramping my style, invigorate my writing process. They worked hard. So I worked hard. I got more done because we rode a tsunami of creative activity and no one was going to turn on the TV, distract us with requests for meals, race to move the laundry along at the sound of the buzz, or goodness forbid vacuum (lucky for us the vacuum broke the day before we arrived – phew). We couldn’t even get lost in Facebook because there was no Wi-Fi (yes, it was scary at first, but it made the weekend so much more productive). Instead of feeling lost in the swirl of their writing energy, I felt inspired. When doubt crept in, I had like-minded people to tell me this type of insanity is a good thing. By the end of the weekend I had once again been reminded of the power of a supportive writing community, and the benefits of stepping outside your normal writing routine. I discovered the adrenalin rush that comes from sharing a common goal and sense of purpose. Not to mention a completed draft of a middle grade novel I've been working on for years. I have been writing for decades and have never taken a writing retreat. While I recognize that they don’t come along that often and can be costly, look for opportunities to share in the act of writing with a community. Check out the drop in Scribe & Snack days offered at The Writer’s Loft in Massachusetts http://www.thewritersloft.org/events/write-ins/. Or seek out write in events hosted by NaNoWriMo http://nanowrimo.org/come-write-in. Don’t be afraid to write in public. Last month, Annie’s blog reminded us to share our success; this Writing Retreat Weekend taught me that we can also share our process. Write together. And if you're fortunate, do it by the ocean with a superb group of fellow writers. by Kelly J. Carey Fired up after Carrie Charley Brown’s ReFoReMo this past March, the 24 Carrot Writing gang has started going on bookstore field trips. The bookstore is probably your happy place and I’m sure you go there as often as you hit the library. But have you gone there with a group of writing friends and scoured the shelves together? Have you read and shared your thoughts and opinions on the books that are displayed like a flash mob book club? Try it! You will love it! We usually hit the café for a brief chat and to fuel up and then we hit the stacks. You’ll feel a little less out of place sitting crisscross applesauce with a pile of picture books next to you when three other adults are joining you. Then we read. We share books like you‘d share bites of a fantastic dessert at your favorite restaurant. When we find a book that we love, we can instantly share it and dissect its writing genius. We’ve found comp titles for a critique partner’s work in progress. We have collectively given books a thumb down and recognized that not every book out there will touch every heart. More importantly, we have pooled our book industry knowledge and read with purpose and insight. Annie might know this author’s agent. Amanda will point out that this publisher accepts unsolicited manuscripts and Francine will probably have met the agent, author or publisher because the girl is SCBWI plugged in! Writing is a solitary endeavor, but reading for research can be a fantastic time to enjoy your writing community. So while you are planning your summer trips, make sure to plan a bookstore trip and enjoy a Flash Mob Book Club with your writing friends. Dancing is optional, but you will not be able to resist buying a book or four! By Kelly Carey While I am never happy when an editor asks me to rewrite a story, I have learned that if I can quell my bad attitude for a smidgen of time, the end result will be a better manuscript. A few years ago, an editor asked me to flip a Christmas themed story centered on gift giving to fit with a February issue of the magazine. The story was titled “The Gingerbread Shop”. I thought she was insane. Then I decided she was mean. Then I was just really mad. How do you take what is clearly a December Christmas story and rework it to fit in a February issue? The request to revise always leaves me feeling defeated. By the time I submit a manuscript, I have already revised a bajillion times, had it critiqued, rewritten it again and fallen madly in love with my brilliant work. I send it off to the editor or agent like a perfect present. Asking me to rewrite it is like someone returning a gift I bought them. Only worse, they are asking me to return it and get them something else - something better. How rude! Grumble, grumble, curse and spit. I came dangerously close to refusing to rewrite my gingerbread story. Instead, I took a few days to stomp around my house, complained to my writing buddies, derided the absurdity of the editor’s request, BUT I sent my editor an email reply that read, “Of course, I’d be happy to revise my story.” After venting and still unconvinced that any revision could improve on my perfect pearl, I reluctantly mustered the will to sit down and give the rewrite a try. The result was a better story, a more unique manuscript and a piece I was more proud to present. The revised story sold as “Dolphin Queen Valentine” and it never would have happened without the request to rewrite. Just last month, I was asked to revise a manuscript and I have my routine down. I curse, stomp around my house with a scowling face that leaves with me with a self- inflicted unibrow, and I send the editor an email that says, “Of course, I’d be happy to rewrite”. When I finish the revision,my unibrow disappears in happy haze of contentment and the recognition that the request to rewrite was the perfect present. by Kelly Carey In January, bubbly with champagne excitement and intoxicated by the shimmering crystal ball in Time’s Square, we all set down our writing goals for 2015. Since writers are ambitious dreamers, we probably set very lofty goals. To that I say, good for us! That drive and stamina to succeed will get our manuscripts published. But did you over promise? Did some unforeseen event steal time and attention from your writing? Did your January va-va-voom sput-sput-sputter somewhere in March? Then I would like to be the first to wish you a Happy June Year’s Eve! June marks the mid-year point and is an excellent time to track our progress and make sure we are well positioned for writing success. On June 1, 2015 writing goals and resolutions everywhere can be given a solid scrubbing and be reset, recharged and REVISED for success. You set New Year’s resolutions, now is the time for June Year’s resolutions. As writers, we are not only intimately aware of the power of revision, but we are also experts at revising. It is time to apply that skill not to our manuscripts, but to our writing goals. Read through your goals, keep what is working and toss those goals that just don’t fit or make sense anymore. Maybe that middle grade novel whispered to you on a cold day in March (which frankly could have been any day in March since they were all cold) and you put aside your picture book plans. Perhaps you had a light bulb moment while attending a conference, reading a blog, or while brushing your teeth (true story, just ask Amanda!). Great! Time to make your 2015 writing goals match that reality. Just reminding yourself of the promises you made and the plans you had will refocus your energy for the next six months. This is not a bash session. Do not beat yourself up over missed goals. You are not giving up, you are revising. What writer would forsake revision? I’d like to clink a glass with you on New Year’s 2016 in celebration of hitting our 2015 writing goals. The best way to make this happen is with a serious mid-year goal revision. Happy June Year’s Eve and happy goal revising! by Kelly Carey When you are reviewing your monthly goals and bemoaning the targets you failed to hit (or even shoot at), don’t forget to congratulate yourself on the bulls-eyes and the good shots! We seem to do an excellent job of recalling our failings but we downplay or forget our successes. Don’t fall into this trap. I have sat at monthly meetings with my 24 Carrot Writing teammates and heard us say, “I didn’t really do much this month.” This is usually followed by a checklist of things that we all know our writing friend did accomplish. It’s fine to recognize that you missed your goal to add 3000 words to your MG novel, but don’t discount the fact that you added 1000 words. You may have hoped to rewrite three manuscripts in a month, and found that only one got done. Don’t hang your head in despair; instead rejoice that you rewrote one manuscript. In an industry that is ripe with rejection and criticism, don’t miss the opportunity to applaud your victories. As you stridently work to set goals, use them to motivate not to castigate. They are there to inspire and encourage but never as ammunition for those ridiculous voices in your head to make you feel less. Did you take even one step toward one goal this month? Then celebrate and get on with next month. In an April 2015 interview in Children’s Book Insider, author Anne Tews Schwab said, “It's ultimately much easier, psychologically speaking, to write than it is to berate myself for not writing.” She is right. Quiet the goal police in your head. You will not hit every goal you set each month. I would argue that if you did then you need to set tougher goals. And when you don’t quite hit each goal, there is no detention, no ticket and no go directly to writing jail and feel crummy about yourself spot on the monopoly board of writing. And if your writing game board has that spot, throw it out and get a better game. by Kelly Carey This year I’m excited to participate in Carrie Charley Brown’s ReFoReMo. ReFoReMo stands for Read for Research Month and it invites picture book writers to read picture books every day during the month of March. Exploring picture books currently on the shelves is a key component in improving your own writing. Just last month, at a craft chat at The Writers’ Loft, writer and agent Ammi- Joan Paquette encouraged writers to read books in their genre. I have heard this advice often and I heed it - my local librarians can attest to the fact that I take out about a dozen picture books every week. While it is hardly a hardship to snuggle in and read a pile of picture books, you need to be sure you are reading with the critical eye of a writer. In a recent post, Caldecott winner Mac Barnett said, “Don’t just spend an afternoon in the children’s section of a bookstore. Read seriously. The more you read, the more aware you’ll be of why books work or don’t work, and the better your book will be.” http://www.buzzfeed.com/macbarnett/how-to-write-a-picture-book-i066#.irAJWNAZjd ReFoReMo gives picture book writers the opportunity to read with a community and with the guidance of daily author-educator blogs to make sure your reading is guided and impactful. With ReFoReMo you will read with purpose and enhance your craft. ReFoReMo is recommending that you track the books you read in a notebook. I would also encourage you to add them to your Goodreads book shelf. I love Goodreads as a way to build a virtual library and create a great reference for comp titles. See my November 2014 post for more on Goodreads http://www.24carrotwriting.com/-blog/use-goodreads-to-build-your-virtual-library . ReFoReMo is free and the sign up is easy. Just make sure you sign up before March 1! Check out the ReFoReMo site at http://www.carriecharleybrown.com/reforemo , join a community and spend the month of March reading. |
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