Priscilla Alpaugh: Working on the Anthologies was a rare chance to work with such a large group of artists. It was wonderful to see each other’s work and be able to share constructive criticism with one another. It’s a treat to read the poems that the Lofters wrote. So many talented writers! It’s energizing to know that everyone is working towards the same goal.
It is always a challenge to combine different poems on one page or spread. I was lucky and got one of the easier combinations. In each case I went in with a pretty clear idea of what I wanted in the image. Starting with thumbnails for composition and then sketches for content led to a final sketch where I could also consider value. I typically combine watercolor and pencil digitally, but this time it was mostly all digital.

​To learn more about Priscilla, visit http://priscillaalpaugh.com/

Leanne Leutkemeyer: I enjoyed the feeling of community. I love the energy and excitement of being in a room with creative people. I enjoyed being part of the team. This project introduced me to so many wonderful and talented writers and illustrators. The timing of this project was perfect for me. It took my mind off the world and let me escape into oceans, play with whales and stingrays, and make art. The Zoom meetings helped fight feelings of isolation.
However, getting art direction from a group can be a challenge. It can be intimidating to sit shoulder to shoulder with artists you admire. In a meeting full of voices, it’s hard to catch and absorb all of the suggestions as they fly by. I scribbled many notes. It’s more challenging to have group input, but also exciting and inspiring to see the incredible work everyone was putting out.             
In which ways did it stretch me?  I developed new painting techniques to work large and discovered different scanning techniques. I’m excited about the new photoshop skills I’ve picked up through this project. In the past I’ve always fixed mistakes on the illustration as I painted or started over till I got it right. It’s pretty mind-blowing to be able to add an extra tail on a stingray while painting and know that I’ll be able to take the earlier one out that wasn’t working, and not have to repaint the whole illustration.

​To learn more about Leanne, visit ​https://www.leanneluetkemeyer.com/

​Amanda Davis: I was honored to have the opportunity to illustrate several poems in this year’s anthology. It’s the first time my illustrations are appearing in a published children’s book alongside many other talented creators to boot! For this particular anthology, illustrators brought to life the fun and crazy creatures of the sea. I knew I wanted to garner a likeness to the creatures in the poems while also putting my own original spin on them. Typically, my process involves drawing from my imagination or from real-life models or scenes. Since I didn’t have access to real-life models of vampire squids or narwhals, I knew this part of my process was going to be a challenge. With the help of the Loft team, I learned more about properly using reference images, avoiding copyright issues, and finding creative ways to craft original models using materials such as clay.  Because I was illustrating for publication, I also felt an added pressure to get it right. This meant practice, practice, practice and revise, revise, revise! I enjoyed working collaboratively with the other artists and design team who provided me with valuable feedback that helped polish my work. The whole experience was a learning process, and I’m grateful for the knowledge and patience of the Loft community. I can’t wait to share our beautiful, seaworthy collection with the world! 
To learn more about Amanda Davis, visit https://www.amandadavisart.com

Joy Nelkin Wieder: Working as a team was the most exciting and educational process in working on an anthology with other Lofters. I learned so much about marketing a children’s book from others on the team that I was able to apply everything I learned when my own book launched in January. Everything from writing up a press release, to making contacts at local bookstores and media outlets, to participating in book signings and presentations, to creating marketing materials such as flyers and posters. During the marketing of An Assortment of Animals, I took the lead in putting together art exhibitions of our original artwork from the anthology. Our framed illustrations were displayed at the Art and Frame Emporium in Westborough and the Hopkinton Art Center in Hopkinton. We currently have an online exhibit of illustrations with the Acton Memorial Library – check it out here: https://www.actonmemoriallibrary.org/events-programs/art-exhibition/ 

​Visit Joy's website at http://jnwieder.com/ to learn more.

Doreen Buchinski: ​I was honored to design An Assortment of Animals. It was a wonderful opportunity and a chance to challenge myself. As a graphic designer, I’ve created brochures, logos, promotional materials, etc., but hadn’t explored designing picture books. I was excited and terrified of the herculean project ahead. Applying principals of good design to the book layout—like alignment, balance, repetition, contrast, type, and space—was priority. Tasks included: researching fonts, colors, and on-demand printing, managing art files, emails, edits, and file prep, while also completing my own anthology illustrations. Yes, there were days when the project felt overwhelming—but I stayed focused on each day’s priorities. With superb anthology editors, Kristen Wixted and Heather Kelly, the Writers' Loft founder, at the helm, the development and completion of the book was successful. Collaborating with talented illustrators and authors, and displaying their beautiful art and poetry on the pages of the book were experiences I will always treasure. 

​Visit Doreen's website at ​https://www.doreenbuchinski.com/

Sarah Brannen: For me, the first step was picking the creatures I was going to illustrate. I went back and forth with the editors as they sorted out who would make art for which poem. I specifically requested jellyfish and they were kind enough to make that work. I also thought I’d like to do sea glass. I was an avid collector as a child and I still have a jar of my very best pieces, which include even rare colors like yellow and pink. 

Kristen Wixted and I talked a lot about how to group the poems. It was her idea to do a spread of things found on the beach, so that I could do a trompe-l’oeil image of everything spread out on the sand. At the last minute Kristen asked me to illustrate the very last poem in the book, Sea Serenity. My most recent book, A Perfect Day, is set on the ocean and it opens with a very calm image of the ocean at dawn. We both felt that something similar would be perfect to close the anthology as well. I sketched a very old wooden lobster pot buoy that I’ve had since I was little, although I changed the colors to white, blue and green. It’s meant to evoke, in some way, the earth itself. Old buoys have numbers carved into them so I put “2020” on the one in the illustration. 

​My web site is www.sarahbrannen.com.

Jodie Apeseche: When illustration assignments were divvied out, I was super excited. I felt that everything was in my wheelhouse-lobsters, cuttlefish, crabs, sea otters, seahorse and sea dragon-yup those would be fun.
 The tricky part was how to make my illustrations connect to the  poems while keeping in my style of painting. For example, after reading Lobster Rainbow more carefully, I was faced with a predicament. I had not realized that I would have to paint 6 different colored lobsters.  I couldn’t figure out how to do that without making a very cluttered illustration. 
 Solution, I created a lobster grid a la Andy Warhol. Problem solving is such a big part of illustration and I owe gratitude to author, Jean Taft, for pushing me to that end.

​For more about Jodie, visit  jodieapeseche.weebly.com or http://art-jam.net/

FRIENDS AND ANEMONES: OCEAN POEMS FOR CHILDREN is set to launch in November and is chock-full of whimsy, fun, and freaky animal facts that will delight children and adults. To learn more about the Writers' Loft visit  www.thewritersloft.org/ and www.thewritersloft.org/anthology for information regarding previous anthologies.

By Ashley Benham Yazdani
 
In most picture books the characters that we write about are humans, or animals, or at least some kind of organism. But what if you want to tell the story of a place? When writing my nonfiction book, A Green Place to Be: The Creation of Central Park, I sought to tell the story of one of America’s beloved landscapes and its two designers, Frederick Law Olmsted and Calvert Vaux.

Bio: Ashley Yazdani is a picture book author/illustrator, reader, and nature lover. She received her MFA from the Illustration Practice Program at the Maryland Institute College of Art, and her BFA in Illustration from California College of the Arts. She has taught illustration courses at the Maryland Institute College of Art, and Towson University. Her debut book, A Green Place to Be, is currently available from Candlewick Press and can be found at your local bookstore. Her tools of the trade are watercolors, colored pencils, and Photoshop, but she also enjoys embroidery, block printing, and screen printing. When not pushing pigment or pixels around, Ashley can be found reading, sewing, or running around in the great outdoors. She lives in Minneapolis with her husband and son. ​

story is that you care so much about this story you’ll want everything to be perfect, thinking that everything in this story os a reflection of your taste and ability - but the problem is perfectionism kills creativity. Small breaks and critique groups can help during those moments of self-doubt. Though the reward of publishing my very own story makes it all worth it!

- Isabella Kung is the author/illustrator of No Fuzzball! (Orchard Books, August 4, 2020) ​

Watch webinars
I have probably learned the most about the craft of writing/illustrating picture books from webinars—particularly the ones offered by StorytellerAcademy.com and from regional SCBWI chapters. I’ve had the opportunity to learn from top-notch authors/illustrators, art directors, editors, and agents all from the comfort of my own home and for a relatively low cost. I find they often give me the confidence and/or inspiration to go just a little bit outside my comfort zone and try out new story structures, formats or techniques.

​To learn more about The Soaring 20's Picture Book group please visit them here. 

Korrie Leer is an author illustrator whose debut, BIG SIBLING GETAWAY (Albert Whitman & Co.), launches on September 1, 2020. 

We are thrilled to have Korrie join us as we continue to celebrate 24 Carrot Writing's Illustrator Bonanza! 

Korrie talks about her early rookie missteps, the revision process, how her artist eye informs her writing, and best of all how fan girl art keeps her motivated. 

My journey to becoming an author/illustrator was a long one! I studied elementary education in college and while I loved teaching (especially reading and literature), I found myself daydreaming about creating my own books.  
 
In the beginning, I did everything a new writer is NOT supposed to do. I wrote in rhyme (without any real effort in getting it right). I wrote stories using over 1000 words. I rarely sought feedback and when I did, I was reluctant to make changes. At this point in my writing career, the words came first. I wrote pages and pages in a lot of detail and then drew very obvious illustrations to go with it. The illustrations were showing the same thing the text was telling. (Another big no no.) 
 
After a few rejections from agents, I knew I had to make a change. I put a pause on the actual writing and illustrating, and put all of my energy into researching and learning. I joined Julie Hedlund’s 12x12, SCBWI, and basically read, watched, and listened to everything I could on writing for children. The best thing I did was attended a SCBWI conference. Not only did I learn A LOT from people already in the industry, but I made friends with new writer’s in the same position as myself – people trying to break into the industry.
 
Now, with a little more knowledge under my belt (I still have a lot of learning to do), the words and the pictures seem to come in whatever order they want, filling in in places where the other is lacking. Sometimes, a scene or a character that deserves a story will pop into my mind and I fill the words around it, other times I think of a concept that seems like a good idea and then have to think of the illustrations that can bring it to life. The biggest thing I’ve learned is that an illustration should give information that the text doesn’t.
 
While at first I approached picture books as a simple, straightforward way to tell a story to a child, I’ve come to realize that they’re actually very complex. Layers and layers of hints, and Easter eggs, and meanings are hidden inside each word, each picture. And while it’s much harder to execute, it’s definitely been more fun this way!

My art was MAJORLY revised on the road to publication and the first big critique came from my agent, Samantha Wekstein. The sample illustrations I queried her with had muted colors and characters with huge eyes, and I mean HUGE. They were messy and now looking back at them, probably not ready to be submitted. Luckily, Samantha liked the story enough and, I guess, saw enough potential in my art, to give me a revise and resubmit. (For those who don’t know, agents will sometimes respond to a query with a critique and ask for the author to send their updated materials.) I was so excited when I got that email, but I was also very nervous. I didn’t want to mess up the opportunity. 
 
When I started revising my art for BIG SIBLING GETAWAY, my husband and I were making a cross country move (in our tiny car with 2 cats) from New Jersey to California. I wanted to get back to Samantha as soon as possible. I wanted her to know that I could handle critiques and that I could be a client that would get back quickly. I drew in the car, in hotels in pretty much every state from east to west, and then finally finished an resubmitted when we reached San Francisco. It’s kind of crazy now that I think of it, but it was totally worth it. It’s still so surprising to see how far my art has come from those first few pages. 
 
​Oh yeah! Another giant change was the title. My book was originally titled THE GETAWAY BOX. The title change came from my publisher, Albert Whitman & Co. While I liked my original title, it had been done before and didn’t give potential readers a clear idea about what the book was about. As a writer, I never expected to change the name of my books, but  I love that THE BIG SIBLING GETAWAY addresses older siblings upfront. I wrote the book for them – they should know that! 
 
Below is an example of one of the first illustrations I queried and an example of one of the illustrations that is in the published book. 

  Funny enough, ZOO-MATE WANTED was technically my first book. I originally titled it I Belong in the Zoo. It rhymed (badly) and it’s illustrations were halfheartedly drawn in a sketchbook (also badly). It was… not good. I shelved it almost immediately after I was done writing it and referred to it as my “zoo book.” 
 
Shortly after, I began working on BIG SIBLING GETAWAY. It was only after I went through the major revisions on BSG that I realized that my zoo book might be salvageable. When I was finally ready to show ZOO-MATE WANTED to my agent, it was absolutely nothing like it was originally.
 
To be completely honest, when the idea to change I BELONG IN THE ZOO to ZOO-MATE WANTED came to me, I wasn’t immediately excited about the idea… I was bummed. I knew how much work it was going to be. Everything needed to change: the characters, the plot, the illustrations, the title. Luckily, because I had just done a similar revision (though not as intense) to BSG, I felt confident enough to give it a shot. And thankfully, after a few major revisions, it paid off! 
 
I don’t think experience has necessarily changed my creative process, but it’s definitely given me the confidence and the courage to take something that’s not great and make the changes and put in the work to make it something I’m proud of. I really believe that that is the one thing I would tell someone who wants to publish a book – any story you want to tell can be reworked and rewritten until it’s great, you just have to be willing to put in the work and make the changes. 

I am! And I’m super excited about it. Right now I’m working on a few hand painted canvas bags that I want to use in a preorder giveaway campaign. I love the idea of swag and I’m hoping that people will appreciate something handmade. Plus, I’m having a great time making them.
 
I’m also fully stocked up on bookmarks and bookplates! Right now, I’m still waiting on my local bookstores and libraries to decided how they’re going to handle their fall events with the current situation, but I’m confident I’ll find a way to get these goodies out into the world. 
 
I’ll definitely be sending some out from my twitter page - @korrieleer

​ I’m very passionate about my novel. I’ve been working on it for about 2 years now. (Writing is so hard! Lol) It’s been strange to go back and forth, working on picture books and the novel, mainly because in picture books I’m so used to limiting the text and letting the pictures give the majority of the information. While this habit of limiting text can be a challenge, I do think my illustration skills benefit my ability to craft a story with words in other ways. For example, because I do see these elements of my story so vividly in my mind, as if they were illustrations in a book, I know exactly what I want out of my writing – it just takes a little longer to pull the right words together. But I will say, I feel pretty accomplished when I feel that I’ve crafted the character or setting I see in my head successfully.
 
I also have a less relevant way my illustration skills benefit my novel writing – creating my own fan art. (Embarrassing but true!) If I’m feeling weighed down or stuck in a rut on my book, I find it really motivating if I have visuals. For example, in the middle of writing my first draft I didn’t think I would ever finish. I couldn’t imagine actually writing the entire book – I had major writer’s block. I took a break. During the break, I fantasized about the book being done and being real. I envisioned the cover, and it made me so excited, I drew it! I printed out my imaginary book cover and pinned it on the bulletin board over my desk. Having the “finished product” in sight gave me the motivation to keep going. Now, during my revision process, I’ll occasionally take a break and doodle a character or two. I found that having this related, but external outlet to the actual book has allowed me to see the book in different ways – plus it’s super fun!

Besides this novel doodling hobby, I do draw for fun – often! The main reason for that though, is not for myself. I actually babysit three kids (Hunter, Wiley, and LJ – hi, guys!) and they ALWAYS ask me to draw for them. For LJ – usually adorable animals, Wiley – army men and ships, and Hunter – athletes and sports scenes. The three of them have been my biggest fans and are usually the first people to see a new picture book idea. (I’m sure they’ll be super pumped when I show them their names in this.) So yes, I do draw often and when it’s not for a book it’s usually something I’m working on for one of them – and I absolutely love doing it! Plus, I usually get a special drawing back from them as well (:  
​

To learn more about Korrie visit her at https://www.korrieleer.com/. Click here to pre-order a copy of a BIG SIBLING GETAWAY. 

​Guest interview of illustrator Qing Zhuang

Often there is a cloak of mystery surrounding the relationship between an author and an illustrator. When illustrator Qing Zhuang signed on to illustrate How Long Is Forever?, I did what every good author is instructed to do. I sat down and zipped my lip. The idea, and it is a smart one, is to allow the illustrator freedom within their creative process without being hampered or interrupted by the pesky author.
 
It was hard. And I was grateful when the editor sent me sketches and asked for my feedback. But I wonder, what did that process feel like from Qing’s perspective? Let’s ask.

A few months after Charlesbridge bought How Long Is Forever?, I received an email from editor Karen Boss letting me know the Art Department had identified three potential illustrators for the book. I went into major cyber stalk mode. All three were fantastic, but the drawings on your website had me convinced that you were the best pick. Did you know I wrote a four page email back with pics from your website as proof? How did you first hear of the project? And what made you sign on?

I wish I could read why you liked my work best out of the three! The competition is SO fierce! I signed on because of how simple but deep it is. This is a story that can be as sweet or thought provoking as you want it to be. I just remember gazing up at the sky as a child getting lost pondering the nature of time and forever-ness.

“How Long is Forever?” Can spur such a philosophical discussion with young ones but it can also be about the down to earth experiences of familial love and the creature comforts we share with the people we love. 

It can be about losing a grandparent. When I showed the manuscript to my now husband, he started tearing up. He said it reminded him of his own grandfather who used to make him Chinese pancakes and that was his favorite memory that he will keep forever of this person whom he loved so much. I knew that this story can potentially mean something special to each reader so I was excited to be a part of it!  ​

​Qing Zhuang is an illustrator and elementary educator based in New York City. She holds a BFA in Illustration from Maryland Institute College of Art, Baltimore, and a MA in teaching from School of Visual Arts, New York. How Long Is Forever? is her debut as an illustrator. She is represented by Wendi Gu of Sanford Greenburger Associates. Qing's debut as both author and illustrator, Rainbow Shopping will launch from Holiday House in the summer of 2022. To learn more about Qing, visit her website at www.qingthings.com. 

To purchase a copy of How Long Is Forever? click here. 

by Kelly Carey

​My debut picture book launched in April of 2020, a little more than two years from the day I sold the book. Some folks balked bug eyed when I said the book would not be out for 24 months, but not me. I was thrilled that I had two years to learn everything I could about book marketing and put a plan into action.

I made plans. Some spot on and some ridiculous and untenable that I scrapped. I filled a huge binder with loads of information. Trust me when I tell you that I have reorganized this binder multiple times and it is still a cumbersome beast; which is a perfect description for marketing. It is a cumbersome beast.

The trick is to tame the beast. Manage your own expectations. Believe in your product. And most importantly, find infectious joy in the process.

Great, you’re thinking. How the heck do I do that?
​
Take it in small chunks and find a place to start that feels familiar. At one point you have probably planned a party whether it was a birthday, wedding, or family bbq. Good. If you have ever planned a party, you can plan a book launch. Let’s get started. And you can all start NOW! Whether you just signed your contract, are querying, or still working on your manuscript, today is the day to start planning your party. 

While I don’t have an independent bookstore in my town, I do have wonderful bookstores within a thirty minute radius of my home. Since your launch will mostly feature your local friends, family and writing colleagues, pick a spot nearby that it is an easy distance for your guests and offers a good space for your event.

​You can ask the marketing team at your publisher to help you make contact with the bookstore; however it is best if you already have a relationship with the bookseller. That means you’ve spent your pre-published time visiting your local indie bookstores, attending events, and have become a part of the bookseller’s patron base (aka – you buy books!).
​
Virtual flip: Your wonderful event has gone virtual? No problem. That same bookstore can host your event virtually. But you still need a good location. Your guests will not want to look at your messy kitchen! Do not pick a wall of windows as your background; while that looks lovely in person, the backlighting will be a problem. Turn on every light in the room and consider how comfortable the spot will be for you. Add some colorful and interesting props: your book, flowers, and possibly an item related to the theme or subject of your book. 

Plan on attending launch events at both your chosen venue and at other venues. Watch how the bookstore manages the event.  Notice how the audience reacts to how authors and illustrators present their books. What worked? What didn’t work? Create your own “best practice” guide based on what you think would work best for your presentation style and for your book.

Virtual flip: Tune in to a variety of virtual events and get a sense for how the technology works. It will be helpful to consider the event as a participant versus a speaker as you think about how you want your presentation to work. For example, do you want to hold your book and read it or share a power point as you read the book? Attending events will help you formulate the best plan for you. 

Just like any good party, your launch will be a success if folks know about it and actually come! The bookstore will market the event, but your friends, family and writing colleagues will be more excited to attend if you send them a personal invitation. I sent out evites and news of the event to my newsletter subscribers. An evite is easy and you can use emails you have already collected BUT I highly recommend that you spend the time between signing your contract and the launch to build up an email subscriber list using Mail Chimp. For more information on building an email list of fans see this wonderful post by marketing expert Colleen Riordan.
Send out your invitations about a month before your event and be sure to send out a reminder a day or two before your launch. Blast info about your event on all your social media. 

Virtual Flip: When your live event has to go virtual, you’ll rely on that evite program and your newsletter platform to let everyone know the new plan. 

From the moment you announce your book deal, people are going to be excited for you. You will not leave the house without someone stopping you at the grocery store, lacrosse field, or school event to ask about your book. The closer you get to the publication date, the more people will ask, “How can I get a copy?”


You will want a good answer to this question. First, invite these folks to attend your launch. But you will also want to make it easy for these folks to purchase your book. Ask a local indie bookstore to facilitate autographed pre-orders and include information in your evite and newsletter about pre-orders. This way fans that are farther away and might not be able to travel to your launch can still get your book. Send those folks an evite anyway – they will be grateful you have an option to allow them to purchase the book even if they cannot attend your launch.

Virtual flip: I used my newsletter email list to let folks know that they could pre-order autographed copies from my local indie that would be shipped to their homes. The bookstore allowed me to sign copies alone in the store to fulfill orders. Bookstores may also prefer that you offer signed bookplates that you can mail in bulk to the store rather than coming into the store. I have seen authors offer to mail individual signed bookplates if a book is bought, but your profit on each book is so small, I don’t believe this is cost effective. If the bookstore cannot help you facilitate autographed copies, I would not offer it as an option. 

First and foremost, you’ll read your book at your launch. But, folks can do that on their own. You want to offer them something MORE when they are at your launch event.

​I shared some behind the scenes secrets with my guests, talked to them about how the main character got his name, why the story features a blueberry pie instead of an apple pie, and why the tractor was so special. Be careful when you consider these extras that you keep your reader in mind. It might be tempting to talk in depth about your writing and revision process but that will likely be best for a school visit or a program for fellow writers. Keep your reader in mind!  
​
Consider this. If I come to tour your home and you tell me about the trip where you found that interesting carving, or why you have so many bird pillows, or who the people are in that black and white photograph, then I will be amused and charmed. BUT if you take me to the basement and show me your hot water heater, open up the cabinet under the sink to tell me about your favorite cleaning products, and open up the closet where you stashed all the clutter before my visit, I will still be amused but no longer charmed. Keep your reader charmed! 

A party with fun food, a game that gets the crowd involved, and a craft that acts as a party favor all add to a guest’s enjoyment. My book features a blueberry pie and I had planned to hand out individual TableTalk pies to guests. I used Megan Dowd Lambert’s Whole Book Approach to think about how to actively read my book and came up with a “find the cat” game kids could play as I shared the story. Finally, I scoured Pinterest to find an easy craft kids could do at the event. I recommend a very simple craft without many steps. Even a coloring page of a character or scene in your book is a crowd pleaser.

Virtual Flip: I still offered a craft during my virtual events. The publicity before the event listed the supplies needed and I reminded folks about those at the beginning of the presentation so that they had time to collect materials. A great website will be helpful for you virtual events. You can point viewers to a website where they can find activity sheets, directions to crafts, and even recipes to make their own book-themed food. 

You will be nervous on launch day. Like industrial strength deodorant nervous. The best way to quell the nerves and to mitigate their negative effect, is to practice! Stand in front of a mirror and rehearse. Keep notes so that you don’t forget to mention things or lose your place. Go to the bookstore and if the event space is separate, practice your presentation in the space. 

Virtual Flip: Technology can be scary and challenging. Be sure to practice on the platform of your event- Zoom, Crowdcast, Facebook Live, or Instagram Live. The bookstore that hosted my launch offered a practice session the day before and I was grateful that we knocked out some kinks. If the bookstore cannot accommodate that, consider your own practice session. Set up your own Zoom meeting with a few trusted friends and practice that tricky toggle between your camera and sharing your computer screen. If things go wrong on the day, just breathe. Folks understand that technology is finicky and while the delay may feel like hours to you, it will likely only be mere minutes for your guests. It’s all good. 

The launch is about you and your book, but be sure to notice the folks who made the book and the day possible. Mention your illustrator, editor, publisher, and agent. Thank the bookstore and tell folks why it is such a great place to visit and plug an event or feature at the bookstore. I like to mention the cafes in bookstores, special gift items that they carry, and encourage folks to attend future events.
​
Send folks to your website to learn more about you, print off activity guides, find recipes, and book you for future events.  

You may be asked what books you like to read or what other books you recommend. Be ready to answer this question and use it to feature books by your friends! I was happy to hold up books written by my writing partners and books launching from my publisher, and I think my writing partners and publisher were thrilled that I made that effort.  

​The more you can prepare ahead of time, the more you will enjoy your launch day; whether it is live or virtual!

​But remember, while it is your special day, you want to share the moment and more importantly, your wonderful book with readers. Keep those readers as the focus as you plan your launch party and it will be a success.  

​Kirsten W. Larson is the author of WOOD, WIRE, WINGS: Emma Lilian Todd Invents an Airplane (Calkins Creek) and THE FIRE OF STARS: The Life and Brilliance of the Woman Who Discovered What Stars Are Made of (Chronicle, 2021), as well as 25 books for young readers. Learn more at kirsten-w-larson.com and follow her on Twitter/Instagram/Pinterest @KirstenWLarson

Click here to order a copy of WOOD, WIRE, WINGS: Emma Lilian Todd Invents an Airplane. 

​Kelly Carey presents a guest interview with Jordan Standridge, Marketing Associate, Charlesbridge Publishing

Prior to the release of my debut picture book, many colleagues had warned me that the marketing work for my book would fall squarely and heavily on my shoulders. That was a bit terrifying! I was new to this rodeo and the marketing bulls were rippling with scary muscles and fuming with bad smoky breath. I dove into research, determined to be a marketing bronco buster, and then along came Jordan Standridge, Marketing Associate at Charlesbridge Publishing. And suddenly, I was no longer alone.
 
I have been incredibly relieved to find that Jordan has proved to be both a partner and champion in marketing my book – which is really our book! I’ve invited Jordan to join us for 24 Carrot Writing’s July Marketing Month to explain how authors can help market their book, what they can expect from their publishing house, and how to have a good marketing partnership with your publisher.
 
Thanks for joining us Jordan!

Thanks for having me, Kelly! It’s been such a pleasure working with you on How Long is Forever?. 

​As the Marketing Associate for Charlesbridge, I work closely with authors. So really, anything that falls under that umbrella: I’m in touch with indie bookstores across the country, and help get events set up; I submit authors and their books for festivals, if timing and fit are there, and organize the planning leading up to it; I reach out to various outlets/influencers for publicity opportunities, and mailing out advance/complimentary copies; I pitch upcoming books at bookseller regionals/conferences, too! Basically, if you’re an author with book releasing with us, we’re going to be working together.

​Many debut authors don’t know where to begin in marketing their book. What are some essential first steps debut authors should take in preparing for a book release? 
 
As much as I am going to help get your book out there in the world, it’s so helpful to have an author to work with that is willing to put in the work, right there with me. So how can a debut author be a partner to market their book?

• Introduce yourself to your local indies, and get to know the kids’ department staff (supporting these stores is a great idea, too). Don’t force anything, but be genuine about it. It shouldn’t be a one-time deal, but an over time, thing. I worked at Powell’s Books in Portland, OR as the Kids’ Lead for a number of years, and we had a bunch of local kid lit creators come through and we’d talk picture books. Usually, it wasn’t even about their books, but the new releases that just came out. When it gets closer to your own release, they’ll be much more likely to order copies and want to host you for an event. So possibly higher quantities, and signing opportunities, too?
• Be willing to put yourself out there. This is definitely connected to the first idea. What I thought was really cool about Portland’s kid lit community was how they all supported one another. When someone had a new book coming out, they all went to the bookstore event and bought a copy. Go and mingle with your fellow local creators — get to know them, and let them get to know you. Do you have a card? Some will likely be active on social media and champion other kid lit work, or have a kit lit blog, and they could be a supporter of you — but they have to know who you are first!
  
• Have a social media presence and your own website. Some self-promotion is key! Let people know when your book is coming out; when and where you have upcoming bookstore events; if you’re also the illustrator, share your illustrations. It can’t always be about you, so share the release dates of your new creator friends and their events. Show support for your local bookstores — cool kids’ book displays, purchases you made. What’s happening soon — Children’s Book Week? Independent Bookstore Day? Get yourself in the mix.
  
• Plan and practice a presentation, and have a tie-in activity. I hope you like public speaking! If that gives you anxiety, start preparing and practicing. Plan a presentation beyond reading the book. How can you engage with a young audience, and make it a little more interactive? What might be a fun (possibly, even educational) tie-in activity you could do together? The more lively the event, the likelier for sales.

The more we have worked together, the braver I’ve become in asking for marketing help. For example, I came up with some classroom activity ideas to go along with the book, but I couldn’t make them look professional. I reached out to you, and the Charlesbridge team designed a spiffy looking activity guide to accompany the book. I’ve also reached out to ask if Charlesbridge would supply books for giveaway campaigns – you did! What sort of support should authors feel comfortable asking for? What support do publishers want to give? And what makes the marketing partnership between an author and publisher work? 
 
I think the most successful marketing partnership between author and publisher is when it can be a more collaborative experience. If you, the author, have relevant kid lit/book subject contacts that would help promote the book, tell us — we’d send out copies. Are you already tight with certain bookstores, and have the event coordinators’ contact info? Pass that along. And yeah, you had an idea for a tie-in activity guide that you would then be able to use at all your events. The publisher sees the value in that material, so of course we helped bring it to life! If you have a reasonable ask, that would help sell copies of the book, the publisher will try to help make it happen.

I’ve been thrilled that you have reached out to bookstores to find me virtual gigs. What helps you get an invitation for an author? What can an author do to help?
 
Those essential first steps I mentioned earlier are the building blocks for this question, too.

Kelly, you’ve been not only willing, but excited, to help promote your book! Do you remember our early conversations around author events (pre-Covid-19), and you essentially said "I’ll drive to any bookstore events you set up in MA and the states that touch it." Haha. That’s dedication. I knew then that you would be awesome to work with. While I don’t expect that level of determination, I admire the spirit, and it was nice to know you gave me the green light to really go for it. When events were starting to go virtual, you adapted, and even learned all of the various platforms that bookstores threw our way. You also worked on your presentation (you had a couple, depending on what the situation called for), even offering a meaningful and easy craft kids at home could make, so it definitely made my job easier.

​When you’re a debut, bookstores don’t have a backlist/sales to consider when making event decisions. However, if you’re putting in the extra work, I can better attempt to paint a picture in an event coordinator’s mind on what an event with this author will look like, what we can offer, and how that would be a draw for their community’s families. So, in short, be willing to open up your schedule and prepare!

Thanks Jordan! 

Guest post by Author Carrie Finison

​Please join me in my DeLorean as we travel back in time…
 
On June 7, 2019, I woke up with BIG plans for the day. My 8th grader would be graduating from middle school on June 11. My 4th grader would be in school for only another week after that. Mama had a mile-long to-do list to accomplish before the busy, distracting days of summer arrived! 

​But a brief Twitter check stopped me in my tracks. #NationalDoughnutDay was trending. How could I, author of a soon-to-be-released picture book entitled DOZENS OF DOUGHNUTS, have forgotten about this important national holiday? As I scanned through the tweets in my feed, one thing became clear. People like to talk about doughnuts. A LOT! It was a festive atmosphere and I wanted to jump in with both feet. 

​At that point, I had officially been on Twitter for six years, since 2013, but I rarely used it. I had joined only to participate in pitch contests when I was seeking an agent. I didn’t spend much time tweeting and didn’t have a large following. But one of my goals in advance of my July 2020 book release was to grow my connections on Twitter. And I wanted to do so in a genuine way, not by participating in many of the “follow fests” that I saw happening. Without knowing the words for it at the time, I was seeking “audience engagement” rather than numbers.
 
Normally, I’m a planner. I second-, third-, and fourth-guess most of the things I do. But right then, I needed to get two kids to school and get on with my day. With no time to play guessing games, I posted the following: 

​Then I packed up the kids and left the house.
 
I’m not sure what I expected. Maybe some fun pictures of doughnuts to fill my news feed? Maybe a few more followers? I was pretty surprised when I came home, checked Twitter, and found over a dozen responses to my tweet. As I started responding to them, more responses came. Everyone, it seemed, wanted to share their favorite doughnut.
 
I tossed my plans – whatever they were – aside and spent most of the morning on Twitter. At some point, I realized my plan to offer a critique needed some parameters, and posted a quick update:

So what were my takeaways? There were some practical things I learned. Keeping track of a lot of responses all at once is tough. The logistics of doing a fair drawing from retweets can be a little complicated. Tweeting on a hashtag that’s already trending (#NationalDoughnutDay) can greatly boost your visibility. But, just as with making a delicious batch of doughnuts, some of the intangible lessons were more important:

1.Don’t rush the doughnuts! Engagement takes time.
You want followers who are interested in you and want to engage, and that means you need to take the time to reciprocate. Offer something of value and people will respond - and that doesn’t necessarily mean monetary value like a critique or a book. I think people had fun that day and valued the interaction as much as (if not more than) the chance at a critique.

2.Just add sprinkles! It’s more fun when you have fun.
This particular giveaway didn’t feel like “work” or a drain on my time because I was engaging with people over a topic we all loved – doughnuts!
​
3.Don’t overmix your batter! Don’t overthink it.
Probably a life lesson for me, but I’m not sure this would have gone as well as it did, if I had spent time planning it in advance. For good or bad, Twitter is a very spontaneous medium and that can work to your advantage.
 
Just to quickly illustrate an example of #3, let’s jump back in the DeLorean and zoom forward to 2020. This year, I planned a big preorder giveaway for DOZENS OF DOUGHNUTS, scheduled to launch on National Doughnut Day – June 5. However, when the day came we were in the midst of major social upheaval and protests against racism and police brutality in the wake of the murder of George Floyd and…well, it didn’t feel like a good moment for self promotion or talk of something frivolous like doughnuts. So, just as spontaneously as I had jumped into the National Doughnut Day celebrations in 2019, I pulled out of them in 2020, and waited for a different moment to announce my giveaway.
 
Twitter can keep you on your toes, for sure, but keeping things spontaneous and real will help you grow your audience in a genuine way – and have fun while you’re doing it!