By Anna Crowley Redding
 
 
My fourth-grade science classroom is burned into my memory. If I close my eyes, I can still see the glass aquariums in the back of the room that held soon-to-be-hatched snake eggs, turtles, and mice. Adorning the perimeter of the room? The steps to the scientific method. On the board? A parade of brainy topics from the Sputnik to Dr. Jarvik and the artificial heart. The highlight of the year? Walking into the classroom to find the desks have been pushed together, are covered with trash bags and newsprint to accommodate what our teacher picked up from the butcher: a set of bonafide cow lungs. We will all take turns blowing into them to investigate how this organ works in humans. (Tip: If you blow into the wind pipe to inflate the lungs, close your mouth quickly ‘cus what goes in the lung, comes out––only with a new lung-y taste and smell.) It was a time of wonder and first touch with meaningful scientific inquiry. It was an amazing experience.

What I don’t remember from that time? Our textbooks or any science-based picture books. And for good reason. All of the joy of hands-on learning, the pull of a magnetic intellectual journey died in our books. And this was no fault of my marvelous teacher. By and large most nonfiction texts of that day were boring, caught in the trap of regurgitating facts.
 
Luckily, that is no longer the case and thank goodness! Today’s nonfiction books are at turns poignant, jubilant, and fascinating––written with a hook that leaves the reader wanting to go deeper into any topic, whether science, history, social studies, math, art, etc. Not only is this an obvious win for students and young readers but this is a win for writers, too, freed from outdated misconceptions of what nonfiction must look like. Yay!
 
So, as a nonfiction writer where do you begin? Here’s some advice that people have given me along the way that’s made all the difference.
 
When I was a TV news intern in Boston, a more seasoned reporter said to me, "When you are going around in life or learning about something, and you have that thought: ‘OH! I never knew that!’––train yourself to listen to that thought, because you are not alone."
 
That’s tip #1 – If you hear these thoughts-- “Oh, that’s cool!” or  “Gee, I never knew that.” STOP what you are doing, write it down. Write down that cool thing. NOW, look at your paper. You have a story idea! Woohoo.

Now What?
​Well, I learned how to answer ‘Now what?’ from one of my college professors. I took his class as an elective, because I wanted to understand how public policy was made, so that as a reporter, I would recognize flaws. That professor was none other than Governor Michael Dukakis. To this day, he is one of the smartest people I’ve ever had the pleasure of talking to (and one of the most committed to helping young people learn and become public servants).
 
Listening to his process, I realized it applied not only to public policy, but also to reporting and storytelling. Let’s run through it. Tip #2 is Do as Dukakis Does!
 
Step 1 – Take out three sheets of paper. Label the first one “history and background.” So, you have your idea. Put on your investigative hat and start jotting down bullet points that go deeper. Is your story idea about Albert Einstein’s childhood? Find out the important dates. What else was happening in the world then? What were other kids of the day like?
 
Is your topic cannibalistic insects? List them. When were they discovered? What are the facts, as you dive in, that still have you saying “oh, I never knew that!” List them.
 
Fill your page with facts!
 
Step 2 – Grab your second sheet of paper. Label it “Key People/Sources.” Now you are going to list off all the people you and the Google search engine can think of, who might be an expert on your topic or be able to point you to an expert. I say ‘people’ but it can also be museums, websites, books. If your story is about crop-killing bugs, you’ll want to make sure you have farmers on the list. If your story is about the Titanic, you’ll want to read first-hand accounts from survivors. If you are writing about Mars, NASA’s website might be helpful. Brainstorm who you need to talk to, places you need to visit, websites to read, books to check out, etc. Fill the page!
 
Step 3 – Grab that last sheet of paper and write “Connect.” Working from your “Key People/Sources” page, list all the people or places you are going to call, visit, e-mail. This is a working list so you can check them off as you go along. And as they suggest other important contacts or sources, you can keep adding to the lists.
 
Wait, that’s a lot of work. What’s the point?
It helps you get your arms around your story idea and research quickly and comprehensively, adding structure to the process.
 
So, you have a ton of information. Now, what?!
 
Tip #3 – Find Your Hook
 
Now, you need to think about your hook! In that mountain of research, what really got your attention? What do you find yourself thinking back on over and over again? When I was in journalism school, this little sentence was offered as an exercise to find the hook. Here’s the cleaned-up version:
 
“HOLY MOLY! I just found out that . . . !”
 
When you complete that sentence, you know what your hook is.
 
Sometimes your first paragraph is centered around your hook. But sometimes you need to set it up. To understand which group your story idea fits in to, break your story down into moments. If your story is about a person, typically the moments of their life start with 1) potential 2) effort 3) setback 4) growth 5) another setback and repeats like this until 6) Eureka! Breakthrough. This is a similar story arc to fictional stories.
 
If your topic is about science or math, it may too have this arc, or you might be organizing ideas together in a way that tells a story.
 
Tip #4- Play story time leader!
 
But imagine this, you are sitting in a rocking chair at story time, and you begin to talk to the wide-eyed, riveted children seated at your feet. They want to hear all about your book. Using your very best story time voice, where do you naturally begin? Full disclosure: This particular author is not above grabbing stuffed animals and acting out this scenario. It helps.
 
Even when you are writing for middle schoolers and young adults, you still have to tell a story.

Wait! I just realized . . . you came up with a story idea, researched it, and figured out where to start and what your hook is! I guess we better end here so you can get busy writing, because we want to read your book!
 
In the meantime, I am hoping in my time machine to drop off some books to my fourth-grade classroom. I think I’ll take …
 
Terrific Tongues by Maria Gianferri, Volcano Dreams: A Story of Yellowstone by Janet Fox, Two Truths and a Lie by Ammi-Joan Paquette and Laurie Ann Thompson.


​​
Before diving into the deep end of writing for children, Anna Crowley Redding was as an Emmy-award winning investigative reporter, TV anchor, and journalist. The recipient of multiple Edward R. Murrow awards and recognized by the Associated Press for her reporting, Anna now focuses her stealthy detective skills on digging up great stories for younger readers―which, as it turns out, is her true passion. Her book, Google It: A History of Google, is available now in a bookstore near you.

To learn more, visit Anna's website at https://annacrowleyredding.com/

Guest Post by Lisa Rogers

Please welcome author and librarian Lisa Rogers to 24 Carrot Writing. 

Lisa is an elementary library teacher in a K-5 school in Wellesley, Massachusetts. Her debut picture book, 16 WORDS: WILLIAM CARLOS WILLIAMS AND THE RED WHEELBARROW (Random House/Schwartz & Wade Books) will hit shelves in the spring of 2019. 

From her unique seat as both an author and a librarian, we asked Lisa to share her thoughts on how books are selected for classroom and school library shelves. 
 
Thank you so much for joining us Lisa! 
​

How do librarians and teachers choose their books? And how can you get your book in front of them?

Here’s how I choose: Readers, teachers, budget and time. Ideally, I would know and be able to read all of the new books and order the ones I think my readers would most enjoy. I preview as many books as possible before ordering and I've been focusing on books that offer characters and perspectives that reflect our diverse world. It all comes down to choices.

First, my readers. What do students want? What do they like, and what might I present to them? Sometimes, choices are simple: yes, that new Fenway and Hattie; Jasmine Toguchi, definitely. When School Library Journal advises grades 5-8 for a middle grade book that sounds amazing, I request it from the public library and read it before buying. And, I must think about readers like the first-grader who desperately sought nonfiction truck and tank books. For that, I dug into my book distributors, Mackin and Follett, and used their filters and previewing tools to make sure the books I chose were age-appropriate and had enough information to satisfy my student.

​Next, teachers. What can I buy that might help them fill a hole, refresh an old reading list or invigorate a lesson?  That takes curricular familiarity as well as a deep knowledge of my own library’s strengths and shortcomings. When Carolyn Crimi’s The Louds Move In came out, I knew it would be perfect for the third-grade teacher looking for onomatopoeia-based picture books. Miranda Paul’s Water is Water, I knew, would fit in two places: kindergarten study of the water cycle and third-grade nonfiction genre study.
​

​We are thrilled to welcome Rob Broder, co-founder of Ripple Grove Press, to 24 Carrot Writing.
 
Ripple Grove Press is an independent, family-run children’s book publisher. Their list includes picture books like the award winning Grandmother Thorn, Seb and the Sun, and Monday is Wash Day.
 
I had the chance to meet Rob at the book launch of Ripple Grove Press’s newest picture book, Iver & Ellsworth. The book was in hot demand and luckily Rob had extra copies in his car!
 
Ripple Grove Press is looking for its next book and Rob graciously offered to share his thoughts on the submission process from the publisher’s side of the desk.  
 
 
1.       Can you talk about the unique perks and challenges of being a family run independent children’s book publisher?
 
Since it’s just Amanda and myself doing everything to run Ripple Grove Press, we face challenges with reaching as many bookstores, libraries, and parents as possible.  We don’t have a separate marketing team.  We are the marketing team.  So while reading submissions, promoting our current and backlist titles, communicating with our printer and distributor and working on books for next year, we do wish we had some extra hands helping out.  But we love it, and the best perk is finding that next writer and illustrator we are passionate about, who has a wonderful story we resonate with.
 
2.       Querying writers, who are looking for publishers, sometimes forget that publishers are looking for them too! And while groups of writers can often be heard discussing the angst of having a manuscript out on submission, what is the process like for the publisher on the hunt for the next great manuscript?
 
For us, it’s just going through the hundreds of email submissions we receive a month and finding one that just clicks.  Perhaps one where I like the title, I like the first few lines and then I just keep on going.
 
3.       While writers understand that the volume of submissions received by editors makes it unfeasible to respond to every submission, how can a writer know the difference between a complete miss as opposed to a submission that was very close? Writers are willing to put in the work, but sometimes it is hard to know if a submission is just not quite a good fit for a particular editor or if it is in need of major revision. 
 
There have been times where I love the story, but it’s just not for us for some reason. I want to reply to that person and say, “Your story is great.  But do you have something else?” or “Keep writing and you’ll get there.”.  But I just don’t have the time. And if I reply, it might give the wrong signals to that person.  With RGP, as long as the person follows our submission guidelines, I want them to know your story has been read and considered.
 
4.       When you get excited about a manuscript, you are also deciding to get excited about the author. Could you describe the ideal prep work an author should do before submitting to Ripple Grove Press, both in terms of working a draft to a submission ready place and in preparing themselves to be knowledgeable about the industry?
 
Yes, please be professional.  Please be open to editorial suggestions.  We become just as passionate as you are about your story and we are working together to make the most beautiful book, the most wonderful story possible.  So please have an open mind.  Be knowledgeable about children’s picture books.  If you don’t read current and old titles, it will show in your writing and your professional etiquette when discussing picture books. 
  
5.       Once a writer has revised a manuscript and taken it through a cycle of feedback from critique partners, what other steps can and should an author take to make sure the manuscript is submission ready?
​
Have a close friend read the story out loud to you.  But with emotion.  What and where does your
friend think certain words should have emotion.  When should they shout, or whisper, and perhaps make your voice sad.  It really helps hear where your story should be from another perspective.

​6.       Sometimes the best way to learn is by example.  Can you share examples of opening lines that made you excited to keep reading a submission? And what are some opening lines that made you put the submission down before you finished the manuscript?
 
If the opening line has a good simple narrative, it usually resonates with me and I want to keep reading.
​
Like: Ellsworth is a rooftop bear.
or
Grandmother Thorn lived in the very first house on the very straight road to Shizuoka Village.
or
Rain or shine, Monday is wash day.
 or
The gentleman bat, with his gentleman’s cane, went out for a walk one night in the rain.
or
Seb lived in a sleepy coastal town far in the north.

​7.       At the end of the day, it’s all about the writing. But, where does the query letter fit in? Do you read it first? Second? What do you really want to see in that query letter and what do you never want to see?
 
It is all about the writing, so I do go straight to the story.  The main reason for that is I don’t have time to read every query and submission together.  I wouldn’t get through my pile.  If I like your story, I absolutely read your query.  I open every submission hoping to say “Yes! This is it!”  And sometimes, I get excited about the query because it’s so well-written, but then the manuscript doesn’t have the same feel as the query.  I’d like to get excited about your manuscript first, instead of getting excited about your awesome query.
 
8.       Can you share the journeys that brought Iver & Ellsworth and/or Grandmother Thorn from submission discovery to published book? 
 
These two stories came to us through our submission inbox.  And when a story gets moved over to our “Lets Discuss” folder, it . . . well… gets discussed.   We read it over and over before contacting the author.  We read the story to ourselves, we reread it out loud, we read it with the emotion we feel it should have.  We talk about alternate endings, even if we don’t change the ending, we always say “what if this happened.” just to see how it sounds.  We discuss what type of art we see with this story.  We go for walks and visualize how this book might look. 
​
We usually like stories that capture a moment, and both of these stories do.  Proud to say, Grandmother Thorn won the 2018 Anna Dewdney Read Together Award Honor.

9.       Seb and The Sun is a companion book to Jami Gigot’s debut picture book Mae and the Moon.  How is the submission process different for an established author?  Does Ripple Grove Press actively look to publish multiple books by the same author?
 
Mae and the Moon at the time was our best selling and most reviewed book.  And when Jami approached us (actually had a celebration drink over Mae and the Moon) about a companion book titled Seb and the Sun, it was just a concept at the time.  I boy collects bottles, in a dark coastal town and searchers for the sun.  Since we loved working with Jami, we knew how the process was going to be.  So we asked for a rough draft and some sketches. It came together beautifully, earning three starred reviews and becoming our most reviewed book to date.  So yes, building a strong relationship helps.  We know how hard you work to make the book, but it also helps to know how hard you work promoting the book and yourself.

I’ve always written a bit here and there over the years.  When something comes to me I jot it down.  And since starting RGP, I have read so many submissions, that I wrote down a story about a boy who receives a ukulele. Perhaps because I wasn’t seeing a simple ukulele story submitted to us.  And when I showed the story to Amanda, she liked it.  And when we saw Jenn Kocsmiersky’s portfolio, I said what if Paul was a fox and not an actual boy… and it fit.  It worked.
 

Guest blog by Ellen Mayer

We are excited to introduce author and early literacy specialist, Ellen Mayer to our 24 Carrot Writing family. 

Ellen is the author of the Small Talk Books collection published by Star Bright Books that includes Red Socks, A Fish to Feed, Cake Day, Rosa's Very Big Job, and Banana for Two. She is  a member of the TERC Storytelling Math community, a former education researcher at Harvard Graduate School of Education studying how families engage in children's learning, and she worked as an early literacy specialist with diverse and immigrant young children and their parents.  

We've invited Ellen to share her knowledge of writing math-related fiction picture books for children. 

Enjoy! 


​Interested in trying your hand at writing a math-related fiction picture book for preschoolers?

As many kidlitters may know, publisher Charlesbridge recently issued a call for submissions as part of the Storytelling Math project, (https://www.charlesbridge.com/pages/storytelling-math-guidelines) seeking manuscripts for fiction picture books that weave together engaging story lines, mathematical themes, and diversity. The Storytelling Math project is spearheaded by TERC, the non-profit STEM education center in Cambridge, MA (https://www.terc.edu/display/Projects/Storytelling+Math) and is funded by the Heising-Simons Foundation.
​
I was a participant in the pilot phase of the project that included publisher Star Bright Books, and I created two playful math-infused board books for under-threes with diverse characters. Banana for Two features a toddler learning about amounts of one and two with Mama while they shop for groceries and then share a snack together. Clean Up, Up, Up! features a toddler learning about spatial relations with Daddy as they clean up the toddler’s room together and then sit down to dinner with Mommy. Both have stunning art by the illustrator Ying-Hwa Hu.

by Kelly Carey

Looking for comparative or comp titles for your manuscript can sometimes seem counterproductive.  Editors are looking for unique books and if you are able to provide a list of books just like yours, then how can you argue that your book is original?

If you can find piles of books just like yours in tone, character, plot, theme and narrative quality then perhaps your manuscript lacks that special original spark.  The hunt for comp titles can help you assess the originality of your work.  No sense wasting time and energy revising and submitting a manuscript that will fall short of publication because editors will say it already sits on the shelf. 

But, beware. Readers will always crave books on certain topics and if you have added your own twist and voice to the manuscript, then your manuscript will be unique. See my blog http://www.24carrotwriting.com/-blog/find-your-own-bear for a discussion on originality. The trick with creating fresh manuscripts and finding comp titles is to locate books that share one common thread with your manuscript rather than the entire knitted fabric.

When searching for comp titles consider the following hunting tactics:

1. Character: Look for books that have a main character that would be best friends with your main character or for whom your MC shares major traits or flaws. For example, it could be argued that Katniss Everdeen would be best friends with Han Solo, and that Bruce from Ryan Higgins’ Mother Bruce and Mike from Michelle Knudsen’s Big Mean Mike would be best buddies.  However Star Wars and The Hunger Games, while comparable, are very different stories. And while both Bruce and Mike share similar qualities and themes that make them comparable, the plot and humor found in those stories are original.  
2. Theme: Is your story about perseverance, confidence or bullies? Look for books that handle the same topic explored in your manuscript but with a different tone, delivery, and plot.  For example, The Book of Mistakes and Tyrannosaurus Rex vs. Edna both present themes of confidence, however one uses lyrical language and a gentle plot while the other uses humor and an active plot. Similarly, The Big Bed and In Your Hands are both stories that revolve around the child/parent relationship. However, The Big Bed uses humor and a spunky main character while In Your Hands uses lyrical language and heartstring tugging text. These manuscripts are thematically similar and, as a result, are comparable titles, but they are still unique.  
3. Style: Perhaps your manuscript uses rhyme, humor, or Meta to deliver the story. Josh Funk’s Albie Newton uses a fun rhyme and a capable and determined main character to present a science-centered theme about imagination and creation, while Ashley Spires’ The Most Magnificent Thing presents an imagination themed main character using a narrative style. Both share similar themes and Albie and Spires’ main characters would be pals, but Funk and Spires use totally different writing techniques. Clearly the two books are both comparable and unique.

 
It is important to know what you are looking for when you set out to find comp titles, but it is also helpful to know where to look. The best spots to find those elusive comp titles include:

1. Advice from Crit Partners: Sometimes a reader who can take a step back from your manuscript is a fabulous resource when searching out comp titles. Take advantage of the reading knowledge your writing buddies can offer and share your own suggestions on their manuscripts
2. Librarians & Booksellers: These folks are trained to offer advice on finding titles that match a reader’s taste and topic desire.  Ask “Do you have any picture books with a quiet character searching for confidence?”  or even more simply “Do you have any humorous picture books about trucks?”.
3. Internet Searches: Type in searches like “picture books about sharks” and you will be amazed at the lists that pop-up. Amazon, to Goodreads, to wonderful blog posts titled “25 Best Kid Books About Sharks” will have you running to the bookstore or library finding great comp titles.
4. You!: Read and read heavily in your genre. You will accumulate, in the most fun way, the best catalog of comp titles when you keep track of the books you have read and enjoyed. I like to manage my own reading list in Goodreads (see my blog post use-goodreads-to-build-your-virtual-library.html). Whether in Goodreads, in a spreadsheet, or on notecards, build your own comp library with shelves and topic headers that read “picture books about snow”, “picture books about confidence”, or “picture books about girl power”. Those personal lists become gold mines when searching for comp titles.

Having strong comp titles can help you sell your book to an editor, help your editor sell your book to the acquisitions board, help booksellers promote your book to bookstores, and ultimately give the reader a wonderful incentive to pick your book up and read it. Don’t miss the opportunity to link your manuscript to the perfect comp titles.

You’ll be glad you did! 

Hosted by Kelly Carey
​
Tami Charles' debut middle grade novel launches this month and the buzz is already high for LIKE VANESSA (Charlesbridge).  The novel is a Junior Library Guild selection and has earned a Kirkus starred review that praises the work as "a treasure: a gift to every middle school girl who ever felt unpretty, unloved, and trapped by her circumstances".

24 Carrot Writing is thrilled to have author Tami Charles join us for a candid interview exploring her path to publication, networking and marketing advice, and some thoughts on how she approaches working in different genres and with different editors. 
​
A big 24 Carrot Writing welcome to Tami. Thank you so much for joining us. 


Congratulations on the publication of your debut middle grade novel, LIKE VANESSA (Charlesbridge, Spring 2018)! Can you tell us a bit about your journey from teacher, to freelance writer, to author of a Kirkus starred review middle grade novel? (With ahem…more happy buzz and more books on the way!)

First of all, thanks so much for including LIKE VANESSA on your blog! I was a teacher for 14 years, beginning as a substitute teacher and then an elementary teacher of third and fifth grades. I’d always loved to read and write as a child. As I grew older, I sort of forgot about my dream of becoming an author. Once I became a teacher and started reading wonderful books with my students, my passion was reignited and my students encouraged me to write again. I’m so thankful for them! So, I started writing stories, picked up a few freelance article gigs along the way, which taught me discipline, and once I finished writing LIKE VANESSA, I knew I had to take the plunge.

​In an online article, you credited your husband with the quote “If you want to be great at something, you have to surround yourself with people who are doing it and doing it better than you.” How did you act on that advice and how has it made a difference both for your pre-published self and for you now as a debut author?

My husband is one of the smartest (and funniest) people I know. When he told me this, I did the research and found the SCBWI and Women Who Write. Who knew there were organizations out there that supported aspiring writers? I had no clue! Joining these groups put me in touch with critique groups where I had the opportunity to have my work read by other writers. This level of feedback was crucial to improving my craft. I’m certain that being in a critique group played a role in my publishing journey. To this day, I still have online critique partners. The give-and-take is invaluable.

You once wrote “Having the talent is a HUGE part of making it in this industry, but don’t rule out the power of networking.” What is your networking advice? Can you give the 24 Carrot Writing crew a do’s and don’ts list?

To me, networking is everything! My grandmother used to say, “Closed mouths don’t get fed.” And she was right! You’ll get what you need to progress if you have the courage to ask for it.  My two cents on networking: A thank you note goes a long way (this can be hard copy snail mailed or a quick email). Study the bios of who will appear at writer’s conferences. Get to know the editors’ and agents’ work to see if they’re the right fit for your work. Last but not least, don’t be pushy. Your work should be able to speak for you. If you get a rejection, take it with a grain of sugar. More craft, more work, and your time will come!  
 
​What do you wish to accomplish with LIKE VANESSA?

I’d love for readers to take away that no matter what hardship they may face in life, there’s always something beautiful waiting for them if they stay focused on the journey. This, I feel, is what Vanessa learns in the story.  
For a bit more on LIKE VANESSA, check out this Author Discussion video. 

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?

How about all three? Ha! I do make it a habit to wake up, Monday through Friday, at 4:30 a.m. This is my best time to write when the whole house is sleeping and no one is bothering me for a snack. If I’m on a deadline, I do set (and try to stick to) my goals. But if not, I absolutely just go with the flow.  

How have you approached marketing your debut book? What lessons have you already learned? What are you going to do again and what might you avoid next time? Has your experience as a teacher helped you construct school relevant material and visits?

Being a teacher for 14 years really guided my marketing decisions. Ultimately, I write for children, so I knew I wanted to incorporate a strategy that involved young readers and their responses regarding what they got out of the book. I learned a lot in creating this campaign—how to write a script, secure participants, budget, and edit. I don’t regret a second of it. Moving forward, I’m sure I will come up with new ideas.  

In the meantime, I’d love to share a reader’s response video below: ​

You write both fiction and non-fiction, both PB and MG, and I hear that a YA is in the works. Can you talk about the different skill sets you employ to write in those different genres and for those different age groups? 

Let me just say that I haven’t written a new picture book since last summer and I MISS THEM SO BADLY!!!! I’ve been busy writing MG and YA these days. And you’re right, I need a different mindset for those. For my current YA, it’s set in 1984, so I had to research slang, clothes, fads and watch way too many old school movies to capture the essence of the story. 
​
Voice is important no matter what you write. To fully immerse myself, I can only work with one category at a time. I find the voice to be snarkier with middle grade than YA. With YA, I can cross certain lines that I can’t with middle grade. There are times I’ll write a swear word and I’ll cringe just a bit, but then I remind myself it’s totally allowed in YA.
 
With picture books, I have to become a student to capture the inner child as best as I can. This involves reading lots of mentor texts and Disney watching!

How did you find your agent? What have you found most surprising, most rewarding, and/or most daunting about working with an agent?

I found my agent the old fashioned way. I queried her. I can’t say enough about Lara Perkins. I have no clue how she manages to carry her client load and still make me feel like I’m her ONLY client, which I know isn’t true. She has quite the roster of successful authors! Lara is a cheerleader and she gives me a good kick in the literary butt when I need it. Her advocacy for my work has been the greatest reward!  

So many writers spend years writing without the input from an editor. How did you find working with an editor? Did the experience differ between editors? And has the experience with your MG been different from working on your PB, FREEDOM SOUP (Candlewick, Fall 2019)? 

Picture books are a different animal from middle grade. A lot of the work is in the hands of the illustrator and that takes time. I find the editing to be heavier with middle grade because there are no pictures to rely on. I’ve done some edits on FREEDOM SOUP and there will likely be further small edits once the art is in place. On the other hand, the edits for Vanessa were pretty ongoing and extensive. May I also add that I adore both Karen Boss and Carter Hasegawa? It’s been a great experience!

What is up next for you? And where can readers find you and your books? 

Right now, I am revising the follow up to LIKE VANESSA. This will be a companion YA novel featuring Beatriz Mendez, who is a secondary character in LIKE VANESSA. She comes across as a bully in the first book, but in the follow up, we learn her backstory and see her passion for dance reignited. I also have a middle grade novel, DEFINITELY DAPHNE, publishing with Capstone in October. 

Thank you Tami. We wish you continued success with LIKE VANESSA and in all your writing endeavors.

If 24 Carrot Writers would like to purchase a copy of Tami's debut novel LIKE VANESSA, please click on the links below. To learn more about Tami, please visit her website at https://tamiwrites.com/ .  
​

by Francine Puckly

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

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

 
Two Months Before the Conference:

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

 
One Month Before the Conference:

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

 
Two Weeks Before the Conference:

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

 
One to Two Days Before the Conference:

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

 
And Don’t Forget to Pack:

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

 
Happy Conferencing!
 
~ Francine