Category: Picture Books

AN INTERVIEW WITH AUTHOR MIRANDA PAUL

5/6/2019

~by Amanda Smith

I have been following Miranda Paul's career for many years and celebrate along with her as her fifteenth book will be released this year. Her picture books inspire young readers to take care of the earth and one another. She invests generously in the kidlit community as founder of RATE YOUR STORY and co-founder of WE NEED DIVERSE BOOKS. Her generosity also spills over in other walks of life in local and international communities, where she invites others to come alongside her and spark change. I am honored to welcome Miranda to 24 Carrot Writing to tell us about her newest book-baby.

NINE MONTHS: Before a Baby is Born (illustrated by Jason Chin) released on April 23, 2019. You have said of this book, “My heart is full to have this very special book received with love. It's been in development for ten years, and I may cry upon its ‘birth.’” Please share with our readers the journey of NINE MONTHS and why it is so close to your heart.

Nine Months is the book I wanted when I was pregnant with my second child. Sometimes that’s why you write a book—the one you want doesn’t exist yet. While every day I was getting access to weekly updates on the status of my baby, where was the scientifically-accurate yet age-appropriate book for my two-year-old daughter who was as curious as I was about each stage of her new sibling’s development? And while there were plenty of great picture books about where babies come from or emotional picture books about how much love a new baby gets, I struggled to find one that struck the right balance between the two. It only took ten years, but Nine Months is exactly the book I wanted. The science of human life is as miraculous as the love families have for each other. This book compromises neither one, and it’s also a reflection of the diversity of our world’s families.

Your books are diverse in theme, yet many deal with social/environmental issues. Why do you gravitate towards telling these kinds of stories?

Diversity and environmentalism are important aspects of my life, and my work is an extension of who I am and what I believe. As a white woman, I am keenly aware of my privilege and how representation in society can elevate or diminish someone’s opportunities. On a more personal level as a mom, raising biracial, multi-ethnic children who are also nature lovers is my everyday joy and task. Having traveled, lived, and made friends with people in more than a dozen countries has afforded me the discovery that human beings are more alike than we are different, and that our planet is a superbly beautiful place worth protecting. All children need to be reflected in and honored by the stories we tell, and our planet should be given a voice.

You are such a prolific writer, and you do school visits and many other public appearances as well. How do you structure your writing time? Do you write on specific days or do you write every day?

I get this question a lot. Many people don’t know that I’ve been writing most of my life, so when I began in children’s books I had a body of work and experience writing for other kinds of publications. My structure isn’t exactly the same day-to-day (what working mother can say this? What person, for that matter?). But just as any other self-employed person I set schedules and have honed my self-discipline. I do most of my school visits in spring and fall, and therefore a lot of new writing and researching naturally falls in the winter and summer months. There’s no magic equation. Everyone who is an aspiring writer—even if you’re working another job (like I was when I began) or taking care of children or elderly—must find the motivation and momentum to fit the work into the “cracks of life,” to use a phrase I heard from writer Susan Manzke. You may not have entire days to write, but you might have snippets here and there. Enough snippets put together make a book.

Here at 24 Carrot Writing we are big on setting goals as a way to stay motivated and on task. Do you use writing goals to keep focused? Would you mind sharing your goals or 2019?

Just before my debut book One Plastic Bag released, I had a moment in which I knew I was exactly where I needed to be. The feeling was exhilarating; it’s hard to describe. So for the past couple of years, my goals have leaned toward enjoying the process and keeping on the same path. Of course, I also have personal goals for growth and pushing myself to try new things. Not all of them have to do with writing, which is what I find most meaningful. The more I work on having the life I want, the better I seem to be doing professionally. I get to write—and live—what I believe. Keeping that realness is at the top of my list of goals, because I hope it’s an inspiration to my children that exploring who you are, staying active in areas that matter to you, and developing your passions are all measures of success, regardless of the outcome.

What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share?

Remember that even though you may pour your heart into your work, ultimately you and your work are separated once it goes out into the world. A rejection or critique is about the words on the page—not you, personally. So yes, you can keep creating. Yes, you are good enough. And yes, your voices and visions matter enough to share. It’s really that simple.

Thank you for sharing your heart and wisdom with 24 Carrot Writing, Miranda.

New and Upcoming Books by Miranda Paul:

Released April 23, 2019

Release date: September 3, 2019

Bio:
Miranda Paul is the award-winning author of One Plastic Bag, Water is Water, and I Am Farmer, all Junior Library Guild selections. Whose Hands Are These? was named a 2017 ILA Teacher's Choice and Are We Pears Yet? won the 2018 Award of Excellence in Children and Young Adults Literature from the Council on Botanical and Horticultural Libraries. Her most recent release, Nine Months: Before a Baby is Born, received three starred reviews from Kirkus, Booklist, and Publisher’s Weekly. Miranda Paul is an annual faculty member at the Highlights Foundation and a co-founding member of the nonprofit organization We Need Diverse Books, for which she currently serves as Mentorship Chair. Visit her at mirandapaul.com.

NINE MONTHS: Before a Baby is Born, as well as Miranda's other book are available at these retailers:
Indiebound: https://www.indiebound.org/book/9780823441617
Barnes and Noble:https://www.barnesandnoble.com/w/nine-months-miranda-paul/1129200776?ean=9780823441617#/
Amazon:https://www.amazon.com/Nine-Months-Before-Baby-Born/dp/082344161X/ref=sr_1_2?keywords=Nine+Months&qid=1556288387&s=gateway&sr=8-2

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An Interview with Ann Ingalls, Children's Writer

4/1/2019

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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.

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An Interview with Lori Mortensen

2/19/2019

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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.

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AN INTERVIEW WITH LAURA RENAULD

12/11/2018

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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.

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I Want To Write Children's Books Too!

12/7/2018

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By Kelly Carey

Often, when a family member, friend, or acquaintance learns that you are a children’s writer they comment back, “I’ve always wanted to be a children’s writer,” or “I’ve written a children’s book too”. As a seasoned member of the KidLit community you will want to be helpful and encouraging while still providing realistic and practical advice and information.

The following blog is a post that you can share with folks you meet who want to become children’s book writers. Share it as a way to kick-start their writing journey and provide them with the first step information every writer needs to move from thinking about being a children’s writer to becoming a children’s writer.

Becoming a Children’s Author

The dream of becoming a children’s author is a wonderful bubble that floats into the heads and hearts of many creative people. The trick is to take that dream and make it a reality.

But how?

There are three key first steps that every dreamer needs to take in order to kick start their writing journey and move it from a thinking about phase to a doing phase.

Step One: Write

The first step to becoming a children’s author is to write.

This may seem like common sense, but this is the point where many writing dreams sit stagnant. Aspiring writers may think about a story, and have a desire to be a writer, but often they will not take the time to sit down and put pen to paper or fingers to keyboard.

To become a published writer you have to sit down and write. It can’t be on a whim or as a hobby. It has to be a real endeavor. Until you decide to make writing a priority, everything and anything - kids, family, chores, appointments, friends - can and will derail your efforts and interrupt your progress. Think of writing as a job that requires your undivided time and attention.

To put true intention into your writing ambition, layer measurable goals into your dream:

Commit to Writing a Set Number of Hours per Week or Day
Set Aside an Entire Day(s) A Week for Writing
Commit to Writing a Set Number of Words or Chapters per Week or Day

Jane Yolen is a prolific and respected children’s author and is credited with the phrase “butt in chair”. Yolen’s advice emphasizes the need to actually sit down and do the work of writing in order to become an author. As Yolen says, “Write, write and write some more. Think of writing as a muscle that needs lots of exercise.”

For help setting your writing goals check out the posts under the Writing Goals section of the 24 Carrot blog archives.

Step 2: Find Your Tribe

Writing can be a very solitary business. You’re not working for a company. There is no boss or co-worker. It is you alone with a laptop or a notebook. BUT you cannot work in a vacuum. You will need a group of fellow writers on your journey for the following reasons:

Constructive & Qualified Feedback: Although you can share your writing with a spouse, parents, kids or friends, your writing will need honest, qualified, and constructive feedback. This is the type of feedback you can only get from other writers. Finding a trusted group of fellow writers and building a critique group will be essential to your writing journey.
Support and Encouragement: This is a tough business. Most manuscripts will be rejected multiple times before they find publishing success and many authors will tell you that their first manuscripts were never published, but rather it was their eighth picture book, or second or third novel that found publishing success. You will need support from other folks in the trenches during this time.

There are some practical ways to find your writing tribe. For example:

Join a Professional Writing Organization
- The Society of Children’s Book Writers and Illustrators (SCBWI): An international professional organization for authors and illustrators of children’s books. https://www.scbwi.org/
Seek Out Local Writing Groups
- The Writers’ Loft: A community space in Sherborn, MA for writer’s to connect and take classes. https://www.thewritersloft.org/
- Grub Street: A creative writing center in Boston. https://grubstreet.org/
Follow Writer Created Blogs and Facebook Groups
- 24 Carrot Writing: A weekly blog and Facebook group designed to help writer’s set goals and explore the craft of writing. http://www.24carrotwriting.com/
- KidLit411: An online site that organizes articles, blog posts, interviews and information about writing and illustrating for children in one spot. http://www.kidlit411.com/
- Writers’ Rumpus: A site that shares ideas, tips, news, and information of interest to children’s writers and with the wider children’s publishing community. https://writersrumpus.com/
Participate in Online Writing Challenges
- Storystorm: Annual challenge in January that encourages picture book writers to create a picture book idea every day in the month of January. The challenge provides online support from industry professionals. https://taralazar.com/storystorm/
- Julie Hedlund’s 12x12 Challenge: Annual challenge with registration in December and January that challenges picture book writers to draft 12 manuscripts in 12 months. The challenge provides an online community, webinars, and support from industry professionals. http://12x12challenge.com/
- National Novel Writing Month (NaNoWriMo): Challenge takes place in November and offers online support and local writing events. https://nanowrimo.org/

Engage in the community of writers in order to find valuable critique partners and a support system. For more help finding a writing tribe, check out the posts under the Writing Community section of the 24 Carrot blog archives.

Step 3: Read

There is a difference between reading a book as a reader for enjoyment and entertainment and reading a book as writer. Readers will enjoy a book, while writers will study why a book was enjoyable. In order to become a published writer, you need to read like a writer.

There are three primary reasons why writers read in their genre:

To Study the Writing & Find Mentor Texts: Books that are examples of strong writing will become your guides as you hone your writing skills and work through your own manuscripts.
To Understand the Market: It is important to understand what books are currently on the shelves so that you can understand what editors and booksellers are looking for, and also to be sure your manuscript is original. You will want to be able to identify where your own writing will fit and also how it is offering something fresh and new. To do this you will need to read currently published books in your genre.
To Find Comp Titles: When it comes time to present your work to an agent or editor, they will ask you to name a few recently published titles that can guide them in understanding how your manuscript fits with the current market. In order to be able to name comparable titles, you will need to be well read on current books in the market.

Read as a way to study books and understand the craft and techniques that authors employ to create their stories and to understand the current market. A wonderful way to have a guide as you sharpen your ability to read as a writer is to participate in Reading For Research Month (ReFoReMo). ReFoReMo is an annual online event during the month of March where industry professionals recommend books to study as mentor texts. http://www.reforemo.com/p/reforemo-mission.html

For more help becoming a writer who reads, check out the posts under the Read section of the 24 Carrot blog archives.

If you have been thinking about becoming a children’s writer take these first steps.

Write, Find a Tribe, and Read.

Good Luck on your journey!

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ENDINGS WITH A TWIST

10/24/2018

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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.

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My Debut Launch Experience: Lessons Learned

10/11/2018

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Guest Blog by Casey W. Robinson

I had the pleasure of meeting Casey at the NE-SCBWI conference as she was preparing for the release of her debut picture book, Iver & Ellsworth (Ripple Grove Press, 2018). Since then I’ve been to her launch and watched the buzz of her picture book grow. We are thrilled to have Casey join us to share the lessons she learned as she introduced her debut book to the world.

Welcome Casey!

My debut picture book, Iver & Ellsworth (Ripple Grove Press), came out in May and I held two debut events to celebrate: a morning reading at the Harvard Coop Bookstore in Cambridge, MA followed by an afternoon book launch party at the Silver Unicorn Bookstore in Acton, MA.

As exhilarating as it was to celebrate, I found the process of planning and anticipating these events to be a little daunting! For those of you who are looking forward to, or are in the midst of, planning your debut launch, I share some lessons learned.

I’M GLAD I …

Leaned on my debut group. My group, Epic 18 (epiceighteen.weebly.com), was an invaluable source of crowd-sourced ideas and advice from others who were in the same boat. We shared swag vendor recs, menu choices, craft activities, and fretted over whether to splurge on custom cookies (I did). Most importantly, we cheered each other on.
Opted for a smaller scale party. At first I envisioned doing something at a local restaurant whose funky atrium would’ve made a memorable book signing area. But the logistics of this were quickly overwhelming and required a level of time, attention, and budget I did not have. So I approached a local indie bookstore that was planning to open shortly before my book launch. They enthusiastically agreed to host a launch event. The cross-promotion was wonderful, and because I wasn’t doing a food event, there were actually very few things to plan. Plus, what better décor than copious amounts of books?
Found a perfect pen. I signed an early copy of my book to a friend and realized with horror that the Sharpie I was using bled through the page. I swapped that copy for a fresh one (signed in trusted ballpoint pen) and used the Sharpied copy to test out a bunch of pens at my local stationery store. (Pen of choice was Le Pen.) Tip: buy multiple!
Hired a photographer. The photographer was actually a gift from a dear friend who couldn’t make it to the event. And truth be told, I don’t know that I would’ve spent the money on hiring one. But the pictures she took were incredible and I’ve been able to use many of them for book promotion, social media posts and headshot requests. She also came early to take some group family photos, which I’m so grateful to have. If you have any photographer connections, it’s worth considering.
Remembered to breathe.

I WISH I HAD …

Written down my prepared thoughts. My nerves took over when it came time to greet my captive audience. I’m quite sure I forgot to thank someone important … (though I’m also sure no one but me cared).
Had extra copies of my book in my trunk. Unbelievably, the bookstore sold all its copies of Iver & Ellsworth. My friend and fellow picture book author Josh Funk wisely told me that I should always have a stash of extra copies in my car. You never know when you’ll need them and emergency book sales are good!
Booked more downtime afterward. All that adrenaline, excitement, anticipation, talking, smiling, signing, and celebrating was exhausting! The day after the launch I was useless. Do me a favor and set aside more than 20 minutes for a nap.

When it was all over, I asked my daughters to tell me their favorite part of the weekend. I expected them to say “Cookies!” They said it was seeing me so happy. “You had your really big smile on all day long, mom.”

Don’t forget your book, your story, your day will also be special and significant to others who get to be a part of it. Whatever the format, whatever the size, mark this moment in time and celebrate together. HAVE FUN. You only get one debut!

To learn more about Casey please visit her at www.caseywrobinson.com. To order a copy of Iver & Ellsworth go to www.indiebound.org/book/9780999024911.

Thanks for joining us Casey!

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An Interview with Traci Sorell

10/1/2018

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Hosted by Kelly Carey

We are thrilled to welcome author Traci Sorell to 24 Carrot Writing. Traci’s debut picture book, WE ARE GRATEFUL: OTSALIHELIGA (Charlesbridge, 2018) received a starred review from Kirkus who called the book a “gracious, warm, and loving celebration of community and gratitude”. And more picture books are coming with AT THE MOUNTAIN BASE (Penguin/Kokila) in the fall of 2019 and POWWOW DAY (Charlesbridge) in the spring of 2020.

Join us as we talk with Traci about her path to publication, her debut picture book, the story of how she found her agent, and how her ancestry as a member of the Cherokee Nation and her search for accurate books about her heritage fueled her writing journey.

Welcome to 24 Carrot Writing, Traci!

Congratulations on your debut non-fiction picture book WE ARE GRATEFUL: OTSALIHELIGA (Charlesbridge, Fall 2018)! Writers find inspiration and motivation to write from a variety of places. You have commented that you were motivated to write your book because you were struggling to find contemporary and culturally accurate books about Cherokee and indigenous people to share with your son. Can you talk about how this search turned into a desire to become an author?

Wado (wah-doe)! “Thank you” in Cherokee. I am beyond thrilled for the publication of this book.

I have an extensive picture book collection with many featuring Native American Nations, their cultures and traditional stories. After I had read those to my son, I thought why aren’t there more books showing Cherokee and other indigenous people in modern life. I found some, but a small amount compared to those centering life pre-1900.

As a Native American Studies major in college, I most enjoyed studying history, law and politics of post-1900 life as experienced by Native Nations in the United States. After researching that there was plenty not told in children’s books (or textbooks for that matter), I realized I could be busy the rest of my life writing books and recruiting other Native creators to do the same.

Your first foray into writing began as the author of legal codes, testimony for Congressional hearings, federal budget requests and grants. Once you decided to write a contemporary Cherokee story, what helped you find your picture book voice and what skills did you borrow from your grant writing days?

I’m grateful for all the editing I received in my undergraduate, graduate and legal education. It helped my professional writing immensely. Writing starts out solitary, but ultimately it’s a collaborative process once it is to be shared with the world. The more trained eyes on a grant application, graduate thesis, legal code or brief and books for children, the better. I do a lot of self-editing before I give it to others to read, but my work always improves when great editors (critique partners, my agent, book editor) read it.

Also, I read a lot of picture books written in the last few years to learn what the market wanted. That helped me shape and edit my own voice to write sparse, lyrical text that sell in the marketplace. I benefitted from reading Ann Whitford Paul’s Writing Picture Books and connecting with published authors in my local KS-MO chapter of SCBWI who provided solid critiques and guided to me beneficial workshops to further develop my voice and craft.

You have credited friends from graduate school and SCBWI for helping you find success in your writing journey. What is your networking advice to fellow authors?

Networking is critical in this business. I’m a firm believer in doing homework and research on your genre(s), who publishes what you write, who else writes what you write and, if appropriate, who illustrates what you write. Then follow those folks on social media. If there’s an opportunity to meet them in person, introduce yourself, ask about their work, and strike up a conversation.

It’s important to take time to make an authentic connection. There are so many generous people in this industry who will share their knowledge if you just ask. But don’t pester. Be respectful of their time and person. I would not be here without the support of others who have already established themselves in this industry. They helped me get the foundation I needed. Then I branched out from there to meet other creators across the nation.

You were blessed with multiple offers for representation and with multiple offers for your book. How did you decide which offers to accept?

I sold We Are Grateful: Otsaliheliga to Charlesbridge from the slush pile, which means I submitted it unagented and unsolicited. Three of the ten publishers I submitted to in December 2015 expressed interest. One of them was waiting for my answer when Karen Boss, Associate Editor at Charlesbridge, called. Their intern had read my manuscript and put in on her desk in March 2016.

I had hoped that I would hear from them because they published Itse Selu: Cherokee Harvest Festival over twenty years ago. That picture book features Cherokee and English words in the text like my manuscript, and including the language is important to the story and to me personally. Charlesbridge still has that picture book in print, which also impressed me. I want We Are Grateful: Otsaliheliga to have that kind of longevity and publisher support.

As for getting an agent, that process took longer. When I initially tried to query agents before and after that sale, I kept hearing, “Well, if you also want to write middle grade, get back in touch after you have a novel done.” I wanted someone to be enthusiastic about what stories I had ready to submit, which were all picture books, and not after my middle grade novel was ready. So I took a little time off. At the end of summer, I queried a few more agents. The universe must have shifted in the meantime as I received two offers of representation on the same day!

Traci's agent - Emily Mitchell, Wernick & Pratt Agency

Traci's editor - Karen Boss, Charlesbridge

When I spoke with Emily Mitchell, Wernick & Pratt Literary Agency, I knew that we would be a good fit. Her prior background as a senior editor and contracts manager at Charlesbridge met my preferred criteria of a having an editorial agent. She reps fiction and nonfiction across all genres. Exactly what I was looking for! In October 2013, I heard Emily present at the Oklahoma SCBWI conference—the first writing conference I ever attended. I wasn’t ready though at that time to be the client she was looking for; but, by the time I queried her three years later, I felt that I was. We’re a good team, both of us know our roles in this partnership. I’m very grateful.

What do you wish to accomplish with WE ARE GRATEFUL: OTSALIHELIGA?

I have a couple of hopes. First, I hope that Cherokee children will enjoy seeing their contemporary culture reflected in the book and want to learn and do all the things featured in the book, including speaking our language (if they don’t already). For other children, I hope it provides them a window into a culture they may not be too familiar with because the Cherokee and other tribal nations are mostly invisible in modern U.S. culture. We’re still here, yet most children aren’t taught that we exist after 1900—either in their own homes or at school. I hope the book helps all children think about their cultures and teachings, whether that be about gratitude or some other value, and how cultivating those could be helpful to them in navigating daily life.

What is your dream for yourself as an author?

I have many dreams. First, I want to continue improving and deepening my craft in every book. I would like to publish a board book, a novel-in-verse, and a graphic novel in addition to my other current projects. I like the challenge of figuring out the puzzle—what is the best word, structure, or format to use. There are so many stories untold that I’ll be busy the rest of my life, working on these.

I also want to ensure that Native and other marginalized children in this country are no longer invisible and accurately represented in children’s literature. There are books published in this industry every year that have not done the work necessary to get it right. That needs to stop. It is incumbent upon everyone – writer, illustrator, editor, art director, sales, marketing, management – to examine what they are putting out in the world and asking if it is accurate, will this harm young readers, etc.

With my graduate and legal training, I’m used to having my work critically examined. I always consult experts and have sources for why I’ve written what I have, why the world was constructed, or characters formed this way, etc. regardless of whether it is fiction or nonfiction. My dream is to help raise awareness in this industry for other creators to have that same approach to both fiction and nonfiction works for children.

As a debut author, what have you found most rewarding and surprising about the experience?

So many things have been rewarding and surprising. It’s all new to me because I don’t have any professional writers in my family. I’ve been most surprised by how generous people have been in the industry. Several friends who write for adults tell me their side of the industry generally isn’t as supportive as it is in children’s literature. I’m glad I’m where I am.

Another rewarding aspect has been meeting fellow Native creators – writers and illustrators. It nourishes my soul. There really is a push to get more accurate books in the hands of children and teens, so I’m doing my part to recruit talented Native folks to work in the industry. I attend Kweli’s annual Color of Children’s Literature conference in New York City each spring. The conference brings together Native and POC writers and illustrators with agents and editors. Every year, the number of Native writers and illustrators attending grows. Most of us are from different tribal nations across the continent, so it’s great to get together. Usually it’s the only time many of us are in the same place. It’s magical.

How have you approached marketing your debut book? What lessons have you already learned?

I am grateful to be part of Epic Eighteen, a group of debut picture book authors and illustrators with books published in 2018. We have shared marketing tips, best deals for designing/purchasing book swag, and how to handle the logistics of marketing (soliciting interviews if necessary, referring each other to bloggers, etc.) when our main focus has been on our writing. This group has relieved a lot of my anxiety. I know there are also groups for debut novelists too. I would recommend being a part of such a group.

While it’s not always possible (financially or logistically), one of the things I did and highly recommend is to visit the publisher’s office in person. I went to Charlesbridge’s office in early April. I sat down separately with the marketing and the sales staff. We talked about what they were doing, what I should be doing, and I found I had a lot of information about potential sources for press release distribution or locations for sales that are pertinent to a Native American focused book that they did not have on their list. We also established a closer working relationship because we spent that time together.

I’d recommend at least trying to video conference with the staff so that you make that human connection. You’re all in the same community, working to make your book as marketable and successful as possible. So putting faces, names and personalities together is always a plus in my book. Ultimately though, you will be responsible for doing most of the legwork around marketing your book through social media, being interviewed on blogs, via radio, etc.

At 24 Carrot Writing we are big on goal setting. Do you set detailed writing goals, broad yearly goals or do you fly by the seat of your pants?

I do set writing goals. I don’t have a daily word count or anything like that. But I do keep a list of projects that I’m working on with a timeline of when I want each completed and moving on the next phase, i.e., what needs to be drafted, what is being revised and what is on submission. Then, I also keep a list of what I want to write further down the road. Sometimes I want to write something, but my knowledge base or skill set isn’t there yet to tackle the genre. So those projects go on that last list.

I also have yearly goals. I’m learning to be gentler with myself because life intervenes a lot. I’m in the sandwich generation right now. My husband and I have a young son, and we also have parents that are needing more of our help. All of them are the priority over our careers. 2018 has been a particularly challenging year so far. I’m hopeful this upcoming book launch season will be a celebratory time, but I’ll also have time to get a few more projects out the door. Regardless of whether I hit my goals or not, the key for me is to keep the faith and create.

October is 24 Carrot Writing’s Trick or Book Treat Party. Would you like to celebrate with us by sharing your favorite writing trick or tip or treating your fellow writers to a book recommendation?

There are many books I would love to recommend, but Undocumented: A Worker’s Fight by Duncan Tonatiuh and published by Abrams is one of my favorite picture books in 2018. The narrator is a Mixteco indigenous man from Mexico who comes to the United States after his father dies. He stays with his uncle and sends money back to his mother and siblings. I LOVE that this shows that so many undocumented people here are actually indigenous folks from elsewhere on the American continents! I haven’t seen that reality reflected in other picture books. Duncan tells a very accessible story for children about this man through the context of his workplace where he and his coworkers are exploited, his personal life and his growing empowerment to address the injustice. I just love it! Plus, the story is told via the Mixtec code format in an accordion style layout and concludes with a powerful Author’s Note. So beautiful. Get to your bookstore or library and check it out now.

What is up next for you?

With this debut book launch, I’ve got a lot of travel for book signings and school visits coming up this fall. I’m looking forward to spending time with children and sharing the book with them. This is what I’ve been looking forward to since I wrote the story.

On the publication front, since I’ve signed with Emily, we’ve sold two picture books and some shorter works (poems, chapters, short stories) in anthologies. In fall 2019, my first fiction picture book, At the Mountain’s Base, illustrated by Weshoyot Alvitre (Tongva), will be published by Kokila, the newest imprint of Penguin Random House. Then in the spring of 2020, my second one, Powwow Day, illustrated by Marlena Myles (Spirit Lake Dakota/Mohegan/Muscogee Creek) will be published by Charlesbridge. I’ve got several other projects in the works that I’m eager to share with the world when I can.

To learn more about Traci visit her website at www.tracisorell.com.

To purchase a copy of WE ARE GRATEFUL: OTSALIHELIGA click on the button below:

Indie Bound

Wado Traci!

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Choice Additions: Tracking Publishing Trends and Choosing Books for a Smaller Library

9/24/2018

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24 Carrot Writing is pleased to host Andrew Jenrich, Director of the Taft Public Library in Mendon, MA. All four of us have benefited from Andrew's comprehensive knowledge of the publishing industry, as well as his ability to place "just the right book" into our hands (as well as the many library patrons' hands!). We hope you'll find his perspective on what he's acquiring, and what he hopes to acquire in the future, helpful in your writing process.

Guest Post by Andrew Jenrich

As Director at the Taft Public Library one of the most rewarding tasks I have is developing the library’s book collection for children and young adults.   That’s not to say it isn’t a daunting job, especially since so many new titles release weekly.  If there is any frustration in the collection development work I do, it stems from the nagging feeling that I’ll forever be chasing the publishing game and will never quite catch up.

We are a smaller library and, since the shelf space in our library is limited, I realized long ago that I would need to be particularly selective about what winds up on our shelves. So, what determines the choices I ultimately make for our library?  What catches my eye and peaks my interest enough to convince me to part with the library’s dollar?  Those are interesting questions.  I do know the criteria I use for evaluating a board book vs. a chapter book vs. upper-level juvenile fiction for purchase are different. There is no one method I employ. And there probably shouldn’t be. Audiences for each format vary and publishers have become very savvy about what appeals to different age groups.  The challenge for me is in anticipating what our patrons will want of what does get published.

Some of the selection process is straightforward – series books for characters like Fancy Nancy, Pinkalicious, Pete the Cat, and Dog Man always circulate and they, along with series like Wimpy Kid, I Survived, and Spirit Animals take up a fair bit of space on the shelves.  Add in books by renowned authors – your Rick Riordans, Mo Willemses, J.K. Rowlings, and Kate DiCamillos – and that’s a significant portion of the collection.  But having those titles does not mean every interest of our library patrons has been met.  There is still plenty of room for diversifying, for growing the collection beyond the core popular titles.  Below is a synopsis of what I look for when selecting titles for the Children’s and Young Adult collections at our library.  I’ve broken it down roughly by age group and, within each entry, I’ve tried to highlight some of the current trends I’m seeing and, where possible, pointed out the genres, subject matter, and storylines that seem too prevalent in some of these categories.

Board Books and Picture Books
I’m a fairly visual person so I admit that the first thing that draws me to a board or picture book are the illustrations.  They don’t need to be a certain style. In fact the good news in publishing for the very young is that there are many styles illustrators can employ that work effectively.  Sure there’s a bit of mimicry here and there, but there are plenty of illustrators whose style is unique and distinct. So, yes, I’m drawn to the illustrations. That said, there’s nothing more disappointing than a picture book which delivers on the illustrations but is weak on storyline and content.  The words do matter.  When I was a Children’s Librarian and hosted storytimes I have to say I gravitated to titles with less text (kids can only sit still for so long). The books I liked most in those situations were the ones that “brought the silly.”  Mo Willems, Jules Feiffer, Jon Agee, and Jan Thomas were always a hit.  If a book could bring the silly and convey a lesson, well, all the better.  Some books with more text did work during storytimes (Tomie DePaolo’s Strega Nona and Michelle Knudsen’s Library Lion worked far better than I imagined, Marla Frazee’s books were great too), but those instances were rare.

What have I seen too much of in storybooks the last few years?  Dragons, dinosaurs, princesses, penguins, mice, and bears.  Don’t get me wrong, we still purchase titles with all of the above precisely because they circulate, but there’s entirely too much of it.  And I do like anthropomorphism (Valeri Gorbachev and Peter Brown’s humanized animals are favorites of mine), but give me characters, animal or otherwise, I don’t normally see. Give me Lady Pancake, Sir French Toast, and Crayons that quit.  I’ll likely take notice.

Easy Readers and Early Chapter Books
Some authors like Jan Thomas and Mo Willems have successfully moved into easy reader territory and we carry their titles.  What’s nice is they continue to do work that isn’t text-heavy.  I’ve found that text-heavy easy readers have a very limited appeal.  If a child is looking for more text often they just move up to early chapter books like Nick Bruel’s Bad Kitty series or Doreen Cronin’s Chicken Squad books.  Illustrations still matter in easy readers and early chapter books. In fact more and more books from both these categories seem to be taking a cue from graphic novels incorporating full page panel layouts, word and thought bubbles and other comic book devices.  Scholastics’ line of early chapter books called Branches does this very well.  They’re intended as a bridge between leveled readers and regular chapter books.  Kung Pow Chicken, Monkey and Me, and Owl Diaries are all Branches titles that kids gravitate to here at the library. There’s plenty of text, it’s just that it’s often presented in comic book format with splashy engaging illustrations.

What would I like to see more of in easy readers and early chapter books?  I’d like to see more nonfiction easy readers and rebus readers where pictures occasionally take the place of common nouns throughout the story.  Based on patron requests there’s a demand for both. I’d also like to see early chapter books with a bit more heft and content to them.  The great thing about series like J.C Greenburg’s Andrew Lost or Osborne’s Magic Tree House is that you learn something in the process.

Juvenile Fiction
With Wimpy Kid, Big Nate, and the Dork Diaries series you’re seeing hand-drawn diary and graphic novel techniques infiltrating juvenile (chapter book) fiction too.  It’s clear publishers think kid culture is much more visual now and, based on readership of those series and others, it’s hard to argue they’re not right. We purchase all of the above and countless other series.  Realistic fiction titles (school stories, family stories) seem to be on the increase due to the popularity of the Wimpy Kid and Dork Diaries books.  Most juvenile fiction series (and, believe me, publishers are obsessed with making everything into a series now) fall into the fantasy and adventure categories though.  I loved the Harry Potter series but so many publishers started to roll out fantasy series during and after Harry hoping to “catch lightning in a bottle” that the result was a fair bit of forgettable fiction, though authors like Rick Riordan, Brandon Mull, and Pseudonymous Bosch capitalized.  Bosch’s Secret series and Mull’s Fablehaven books are both very worthy and most everyone knows what a hit Percy Jackson has been with younger readers.

What’s lacking in juvenile fiction?  I don’t think there are enough mystery and compelling historical fiction titles written for preteens.  Every so often a series like I Survived stokes the imagination of young readers, but it doesn’t happen enough. More sports novels for girls would be helpful too.  Mike Lupica, Tim Green, and John Feinstein write excellent sports novels, but they feature boy protagonists in male-dominated sports.

Young Adult Fiction
In my twelve years at the library no one area has grown so much as young adult fiction. The number of titles has grown and the category itself has matured. I think YA fiction suffered under the assumption that much of it was bleak and focused on hyper-dysfunctional families and relationships.  There is a percentage of it that still does (and dysfunction provides drama), but I see authors taking more chances with genre now.  Yes, YA literature had its vampire and werewolf phase (thanks Twilight) and it still clings desperately to its Hunger Games-inspired dystopias.  Veronica Roth’s Divergent series, Alexandra Bracken’s The Darkest Minds, and Neal Shusterman’s Arc of the Scythe series all mine this territory and do it fairly well. But I like when an author takes an even bigger chance like Ryan Graudin does in Wolf by Wolf and its sequel Blood for Blood, novels that take place in Nazi Germany and feature a girl protagonist who is also a shape-shifter intent on assassinating Hitler.  It sounds like a lot to swallow, and it is, but Graudin pulls it off beautifully.  If an author is going to imagine an alternate world I like it when they go all in.  Thankfully more of that is happening.

There is still plenty of room, of course, for realistic and topical teen fiction.  I’ve been happy to see more teen mystery and suspense titles recently and it’s nice when historical fiction series like Laurie Halse Anderson Seeds of America books receive recognition and a devoted readership.  I’ve also been particularly pleased that recent multicultural titles like Angie Thomas’s The Hate U Give and Tomi Adeyemi’s Children of Blood and Bone have found a wider audience.

In truth there is so much good stuff out there now for children and teens to enjoy.  Some of the best work being done right now across the juvenile and teen book landscape is in graphic novels.  Shaun Tan, Gene Luen Yang, Raina Telgemeier, Noelle Stevenson – I could go on ad nauseum about the brilliant work they’re doing.  Perhaps another time.

Right now I have orders to place, so if I could kindly ask that publishers sit back and take a short break?  I really need to catch up!

The Taft Public Library is located at 29 North Avenue in Mendon, MA.

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GOALS FOR PROMOTING YOUR DEBUT PICTURE BOOK

7/9/2018

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Guest Post By Alison Goldberg

As I started thinking about this post, I asked critique partners and friends for their questions about promoting a debut picture book. In addition to nuts and bolts questions about swag and event planning and blogs, one person asked: What if you (secretly) don’t want to promote?

And I kept thinking about this question, since it underlies a lot of conversations I’ve had with writers on this topic.

For many of us, creating a promotion plan for a first picture book can feel intimidating, at times overwhelming. It requires diverting precious time away from writing and/or illustrating. The activities involved may demand a different set of skills from the ones honed to polish a manuscript for publication. Just the idea of marketing ourselves can be challenging, and for the introverts among us, particularly exhausting.

My first picture book, I Love You for Miles and Miles, released from Farrar, Straus and Giroux on December 26, 2017. During the past year I’ve tried several different strategies to promote my book. I have also not tried several different strategies to promote my book.

There are countless ways to tackle book promotion. As I reflected on this question, I realized that a big part of making this process feel manageable, accessible, and worthwhile—something that I actually wanted to do--was to come up with my own goals for success.

Book promotion isn’t just about trying to sell more books, but I think sometimes the resistance to promotion is the feeling that’s the only thing we’re supposed to be doing. But there are so many other reasons to leverage the opportunity of a book launch to promote--especially as a debut. It can be empowering to redirect our focus to goals that support our ongoing careers as published authors, help us develop new skills, strengthen our communities, and connect us to kids, families, librarians, booksellers, and teachers.

Just like each of our writing journeys will vary, each of our book promotion paths will vary. What do you hope will happen when you send your new book out into the world? Who do you want to share it with? Who do you want to connect with? What skills do you want to develop? What steps can you take with your debut that will help you launch your next book? How can you use the opportunity of this book launch to support your community?

When launching a picture book debut, I think it’s worth taking the time to step back and come up with book promotion goals that feel true to you. As an example, I share my book promotion goals below. Your plan can be as big or as small as you want it to be. It can involve a whole team of people or just a few. It can involve lots of cookies or no cookies at all. The important part is that it includes what you want to do.

My Book Promotion Goals:

1) Develop infrastructure for my writing business
As a new children’s writer, I had invested a lot of time and resources in developing my craft, far less in developing my writing business. One goal was to use the opportunity of my launch to create more business infrastructure. What did this look like for me? I overhauled my website, and created contact lists for email outreach to friends and family and a postcard mailing to bookstores and libraries. All of this was pretty time consuming, and the website was resource intensive, but these things will be in place for my next book launch too.

2) Tell my story as a debut
At every step in my writing journey I have read the profiles of writers, often in the form of blog posts hosted by other writers. Another goal I had was to tell my story as a debut in order to give back to this supportive children’s writing community with content of my own. This was easy to do, free, and great preparation for a media interview request when it came along. (Here are those posts and interviews.)

And telling my story as a debut connected back to my goal of developing business infrastructure. I wanted to establish a greater presence online to make it easy for potential readers, reviewers, and editors to learn more about me as a writer.

3) Connect with my local bookstores and libraries.
I love my local indies. I love my local library. A big part of my excitement for launching my book was the chance to connect with and support bookstores and libraries in this new role. I prioritized events in these venues and this has been a highlight for me--a chance to get to know more bookstores in my area and share my book (and crafts and cookies) with kids and families.

Pretending to be airplanes during storytime at The Curious Reader

Truck Storytime at Belmont Books with Toni Buzzeo

4) Expand my writing community
I found that launching a debut was a terrific opportunity to meet more children’s writers. I joined an amazing debut group, Picture the Books, and connected with other writers and illustrators with 2017 picture book debuts. We shared information and strategies, circulated advance copies, and supported each other throughout our debut year. I also connected with agent-mates with 2017 release dates and a broader community of writers on social media.

I knew that my events would be more fun for me if I planned them with other picture book creators. Expanding these networks helped me to find authors and illustrators to team up with.

Picture Book Fair at Wellesley Books with Jannie Ho, Gaia Cornwall and Gina Perry (all members of Picture the Books).

5) Support an issue
I’ve been involved in the Campaign to End Childhood Hunger for decades and saw the opportunity of my picture book launch as a chance to raise some money and exposure for this work. I included this information in my book trailer and on my website, and I’m exploring ways to build this support into future events.

6) Experiment
Finally, I had a goal to experiment with strategies throughout the year, to stretch myself and learn about a variety of tactics for my next book launch. For example, even though I decided I wouldn’t plan school visits for this release, I volunteered to lead a storytime at my children’s former preschool to learn more. Since I was curious about the potential reach of a book trailer, I went to conference workshops for advice and ended up working with an animator to make one. I’ve never participated in a book festival before so I recently sent in some applications.

Alison Goldberg is the author of the picture book I Love You for Miles and Miles, illustrated by Mike Yamada (Farrar, Straus and Giroux, 2017). Before becoming a children’s writer, she worked for economic justice organizations and co-wrote the resource guide, Creating Change Through Family Philanthropy: The Next Generation (Soft Skull Press, 2007). To learn more about Alison visit her website at alisongoldberg.com/

To purchase I Love You for Miles and Miles go to:
www.indiebound.org/search/bookkeys=i+love+you+for+miles+and+miles or
www.amazon.com/I-Love-You-Miles/dp/0374304432/ref=sr_1_1?ie=UTF8&qid=1528207432&sr=8-1&keywords=i+love+you+for+miles+and+miles

Signed copies are available through www.portersquarebooks.com/alison-goldberg

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AN INTERVIEW WITH AUTHOR MIRANDA PAUL

New and Upcoming Books by Miranda Paul:

An Interview with Ann Ingalls, Children's Writer

An Interview with Lori Mortensen

AN INTERVIEW WITH LAURA RENAULD

I Want To Write Children's Books Too!

Becoming a Children’s Author

ENDINGS WITH A TWIST

My Debut Launch Experience: Lessons Learned

An Interview with Traci Sorell

Choice Additions: Tracking Publishing Trends and Choosing Books for a Smaller Library

GOALS FOR PROMOTING YOUR DEBUT PICTURE BOOK

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