~by Amanda Smith​

There are few things at 24 Carrot Writing that thrills us as much as celebrating one of our own. Even though Megan is a recent addition to the 24 Carrot team, joining us in 2021 as a regular contributor, she has been “one of our own,” for a long time.

I first met Megan at a critique group organized through the Writers’ Loft. Soon after, I ran into her at the NESCBWI Spring Conference, and later that year we both attended a picture book workshop together. Somehow, during that time frame, each one of the original 24 Carrot founders’ paths crossed with Megan’s at different events, and the following year we all carpooled together to the Spring Conference. Those daily drives back and forth were filled with engaging conversations about writing, and workshops, and dreams. Megan had just signed with her agent, Lindsay Davis Auld from Writers House, and we were excitedly crossing all our fingers and toes for her. And here we are – four years later, celebrating the bright light of Megan’s debut picture book Twinkle, Twinkle, Winter Night (Clarion Books) illustrated by Nneka Myers!
Over the years we have learned many lessons from Megan's approach to writing and her work philosophy. We'd love to share some of those with you.

LESSONS WE'VE LEAREND FROM MEGAN:
Be Gracious:
At that very first critique group, one of those serendipitous, hive-mind, similarly-themed-story flukes popped up. In the past, I’ve witnessed these kinds of situations ruin writerly relationships, but Megan responded with so much grace and this-is-the-business professionalism that it was hardly a blip on the radar. Over the years we’ve witnessed her kind support to the writing community, her willingness to jump in and help at book events, her praise and appreciation for other writers, and as a critique partner, her thoughtful insight and cheerleading of our writing – always with a generous dose of Megan sparkle.

Follow Your Passions:
Before focusing on writing, Megan was a classroom teacher and reading interventionist. Literacy accessibility is one of her biggest passions. She doesn’t just love writing. She loves books, and reading, and kids reading books, and reading books to kids, and making reading available to all. This passion is sprinkled, like star-dust, onto everything she does, her audience always in her mind. Not only does it drive her to write beautifully lyrical picture books, but also to explore other ways of breaking open the written word to children, such as writing for the educational market, classroom poetry, and early readers. As a matter of fact, Megan has the first two books of an early reader series Dirt and Bugsy launching in February and June 2023. Following her passion has led her to all kinds of exhilarating opportunities.

Trust the Process:
The publishing process is long. Very long. Excruciatingly long. Megan signed with her agent in June 2018, and went out on submission later that same month. With a different manuscript. Twinkle, Twinkle, Winter Night was actually her second submission, and between the two, there were two years of ups and downs, very close-calls, and plenty of rejection before signing that contract in 2020. There are so many anxiety-causing stepping stones on the path to publishing, yet Megan trusted her team and her talent, and stayed the course, one step at a time.

Own Your Style:
When we browse bookstores or share library finds, often one of us will pull a book and announce, “This is a Megan-book.” Megan-books feature lovely language, read-aloud-ability, solid rhythm, winks of humor, and oodles of heart. While the style might be recognizable, her voice is uniquely hers. When it comes to writing picture books, Megan is a lyrical writer. She knows it. She owns it. And she excels at it.

We are so excited that we can now pull an actual, very real, totally authentic Megan-book from the shelves. One with her name on the cover! Readers, you and your little ones will fall in love with Megan’s tight writing, her poetic phrasing, and her lilting diction in Twinkle, Twinkle, Winter Night!
​
Dear Megan, we are so excited for you! Shine bright!

Bio: 
Megan Litwin is a children’s book author, a former classroom teacher, and a forever believer in book magic. She holds a Master of Arts in Children’s Literature from Simmons University and lives in Massachusetts with her family.

She will launch Twinkle, Twinkle, Winter Night Friday, September 23 at 6 pm under the twinkly lights of The Unlikely Story. Click here ​for more information on this event and other upcoming bookstore visits.

Ask for Twinkle, Twinkle, Winter Night at your local bookstore or order here.

Guest Blog by Nancy Tandon

Nancy Tandon launched two middle grade novels, including her debut, in 2022.

​24 Carrot Writing is excited to have Nancy guest blog for us today. She is sharing the details behind the creative events she hosted and how she pulled off two very different book launches.
​
Welcome Nancy!

​Speaking at an NESCBWI conference years ago, Jarrett Krosoczka imparted this sage advice to the gathered kidlit writers: “You get one book launch.”
 
He was talking about the fact that your first book launch usually ends up looking very much like an episode of “This Is Your Life,” with friends and family turning out in large numbers to support the culmination of your hard work. My takeaway was: enjoy the heck out of it, and don’t expect to get the same reaction with subsequent launches.
 
That day in the audience, I never imagined that I’d be launching two debut middle grade novels in one year! Like many aspiring authors, I’d been dreaming for a long time about hosting my own book event. But when things became real, I felt a bit overwhelmed about the particulars such as location and what the heck I was actually supposed to do and say if people showed up. Spoiler alert: they did! And people are going to show up for you, too. So, here are a few tips to consider when you are headed into your own countdown.
 
My first novel, THE WAY I SAY IT, arrived on the scene in January 2022. Because the threat of Covid spread was still high, I knew I’d have to get creative with both the location and ways for people to access the event. I wanted attendees to feel safe, but I also desperately wanted to celebrate this long-delayed moment. My local indie bookstore (River Bend Bookshop in Glastonbury, CT) is an amazing but very small space. A winter event in an adorable house-sized bookstore was not going to work.

or example, since you may have folks that cannot attend in person, consider asking the bookstore if they can add a virtual component to your launch. That way you'll be sure even Aunt Sally in Idaho can be there for your big moment. For my hybrid launch, River Bend staff were key in setting up a way for guests to join the event virtually. They created an Eventbrite link, handled the registrations, and on the day of the launch ran all the tech for me. All I had to do was remember to turn to the webcam and smile! And even if technology is not a terrifying black hole for you, let the bookstore staff (or some other competent friend) take the lead on any virtual/high-tech components. That way you can concentrate on being fabulous!

If for any reason your local bookstore’s space isn’t the best setting for you, don’t be afraid to speak to them about partnering at a different venue. Maybe a park, ballfield or a community center would better fit the mood of your book and be more appealing to your launch audience. Libraries are another great (and low-cost) idea, and you may pick up audience members just by centering your event in a book-loving space. Get creative! But do also think about logistics such as bathrooms, acoustics, and seating. Remember, you are hosting guests.

For people showing up in-person at my January launch, I wanted to make leaving their homes on a cold winter day worth it. I had snacks (individually packaged), games, prizes, and a photo booth. Games and prizes were themed to scenes from the book (such as a magnetic dart board because that’s what the main character plays during speech therapy and a “Guess how many M & M’s jar” because those are another character’s favorite candy). ​

I enlisted members of my book club and critique group to run the activity stations for me. Everyone was so helpful! I really could not have done it without them.

I recommend you earmark a book launch “maid of honor” who knows how you want things to run. And, of course, thank all your assistants with cards and/or small gifts afterward. 
​
In the end, I signed a ton of books, enjoyed friends and family, and truly felt like the book had a proper birthday celebration. 

​Again, I relied on local bookstore staff to help with book ordering and sales, and this time used the nearby library’s gorgeous event space. I spread the word to the middle grade-minded audience in the area through my family and friend connections. 

I like to think of a launch from a guest’s point of view, striving to make it more about them and their experience than about selling books. You will want to practice (and time) your presentation, making sure to keep the pace clicking along. I began by thanking my hosts and particular audience members, then read an excerpt from chapter one. After that, we played “Ghost-story Mad Libs” as a group, which was a huge hit. I would encourage you to think of an all-play game you can offer your launch crowd. This gets the audience involved and having fun. 

​Next was another brief reading where I let the audience in on a “family secret” which had made it into the book. Afterwards, many people told me that learning "insider information" was one of their favorite parts. You may want to share or at least hint at some of the hidden gems in your novel as an exclusive treat for the people who came to your event.
 
Finally, I showed examples of the crafts we’d set up at the back of the room and pointed out where I’d be sitting to sign books. This time, family members helped me run my activity stations, which included making ghost bookmarks, building cairn photo holders, and decorating cookies.

That evening, I got to have the “post-launch” party I had to forgo with the first book. The most exciting thing was that we were able to host a dinner at the exact inn that the book’s fictional Home Away Inn is based on. Afterwards, we had a bonfire and told ghost stories. It was a magical, fantastical day.

​Writers, your book will have its own life and celebrations in the weeks and months (and hopefully decades!) to follow the launch. That day is for you to celebrate and share. So, gather the people you love, in a place you love, and do things that will be fun for everyone. I wish you an exciting launch and wonderful memories for years to come! 

Guest Blog by Ana Siqueira

Are you an author who speaks multiple languages? Are you curious about how to write a book using more than one language? 24 Carrot Writing has invited Spanish-language elementary teacher, and award-winning Brazilian children’s author Ana Siqueira to share her tips for writing bilingual books and her thoughts on translated books. 

Welcome Ana! 

​My books BELLA’S RECIPE FOR SUCCESS (art by Geraldine Rodriguez- Beaming Books 2021), IF YOUR BABYSITTER IS A BRUJA (art by Irena Freitas - Simon&Schuster 2022), ABUELA’S SUPER CAPA (art by Elisa Chavarri- HarperCollins 2023) and ROOM IN MAMI’S CORAZON (art by Nomar Perez - HarperCollins 2024) are all bilingual books. ​

What are the tricks to writing a bilingual book that readers can understand, even when they don’t know the language? My tips are:

1. Use Cognates - For example, instead of adventures, you can use aventuras. Take advantage of these super similar words. 
2. Use Words That Can Be Illustrated - For example, if you write - Los gatos attack - and the art shows cats attacking, the readers will decode the meaning of this word.
3. Use Both Languages In One Sentence - For example - If your new babysitter zooms on a broom, wearing a sombrero and cackling like a crow. Run! ¡Corre! She might be a witch! ¡A bruja! - You can see here that not only do readers understand the word bruja, because the word witch was right before it, but also the context would give readers enough clues to get this meaning even without the word witch.  

Remember that bilingual books are different than translated books. 

​Some of my bilingual books will be published simultaneously in English and Spanish. IF YOUR BABYSITTER IS A BRUJA will be CUANDO TU NIÑERA ES UNA BRUJA,  ABUELA’S SUPER CAPA will be LA SUPERCAPA DE ABUELA
and ROOM IN MAMI’S CORAZÓN will be translated, but we don’t have a title translation yet.  

I am proud of having these books published in Spanish. Children can read in their own language and that makes me excited. I can’t wait to hear parents’ voices proudly telling stories in their own language. ​

I relied on her experience writing and translating in Spanish to help me with that task. When you translate a picture book, you can’t only translate the words. You must work on flow, rhythm, and structure. So Mariana and I had to go back and forth many times  to translate sentences, rhythm, and flow.

For my book IF YOUR BABYSITTER IS A BRUJA, the Spanish version is also bilingual, that is the text is mostly in Spanish sprinkled with words in English.

Here is the first page of the Spanish version:
​Si ya es casi Halloween y tienes una nueva niñera…¡Cuidado!
¡Podría ser una bruja! A witch!
Si vuela en una escoba, con un sombrero negro en la cabeza, graznando como un cuervo…
Run! ¡Corre!  

When the books get published, I will learn the challenges of marketing both versions. It’s naturally easier to market the version in English. So where can I market the Spanish version? That’s something I need to research and work on.  

The third challenge, for me, is how to get these books translated into Portuguese. I would love to see Brazilian children reading it in their own language. This is a battle I will be pursuing. 
​ 
But no matter if readers choose to read my bilingual version or the Spanish version, I hope they can have fun and learn an important lesson: Don’t judge a bruja by her sombrero.

Ana Siqueira is an award-winning author from Brazil. In addition to Bella’s Recipe for Success and If Your Babysitter Is a Bruja, Ana has also published a Spanish early reader for the education market. Ana was born in Rio, Brazil and lives in Tampa with her Cuban husband. When she’s not writing or reading, she is playing with her Cuban-Brazilian-American grandkids. To learn more about Ana visit her website here. 

~ Guest blog by Samantha Gassman

In January 2020, I was flying high. After 5 months of querying literary agents with my picture book manuscripts, I had an offer of representation in hand and my first book on submission with publishers. But as the months dragged on, it became clear that my hope of seeing my book in print was not going to happen.
During the course of 12 months, my first manuscript was rejected by 30 publishing houses — big ones, small ones and everything in between.

Here’s what I learned:

1. Rejection doesn’t stop after you have an agent
When I received my first offer of representation, I was equal parts thrilled and relieved. I was ready to be out of the query trenches and into the big time! Instead, I traded in the “your work isn’t the right fit for me” rejections from agents for “It’s cute but I’m afraid it didn’t quite capture my attention as I was hoping. I’m afraid I’m going to have to pass” rejections from editors. Ouch!

Not only do the rejections continue after landing an agent, publisher rejections sting even more. When I was querying agents, I convinced myself it was “just to see what would happen.” Like a schoolchild picking daisy petals: maybe they’d like me, maybe they wouldn’t. But when a publisher rejects your work, they’re saying it’s not worth their time or money to publish your story.

On that note...

2. Acquiring a book is a risk
When a publisher acquires a book, particularly a picture book, the publisher is taking a huge risk on your book’s ability to compete and perform in an over-crowded marketplace. During the acquisition process, there will be a Profit and Loss (P&L) analysis performed by the editor or financial specialist. After all, publishing is a business, not a charity. While writing for children is often portrayed as a whimsical process, if your cute story isn’t worth the manufacturing, design or overhead costs, a publisher will pass.

In my case, the feedback from several editors was exactly that: “The energy is great, but the story doesn’t hit high enough to compete in the market right now.”

3. Agents have a really tough job
Agents get paid when the author gets paid. In other words, after your book is acquired, contracts are signed, advances are paid (or not) and royalties come in. Because publishing is such a slow industry, this means your poor agent doesn’t see any cash for 1–3 years AFTER they sell your book. They weren’t paid to read your query, offer their revisions, or go back and forth with you on edits. They do all of that in hopes that your book will be acquired by a publisher and fly off the shelves. Even then, most agent commissions are only 15–20%. On a $17 hardcover book, that’s only a few bucks.

I will be forever grateful to my first literary agent for her perseverance and patience as we received rejection after rejection. Especially since our agreement was based on her representing this one manuscript, and she had all her figurative eggs in my one basket.

4. Taking a critical eye to your work is important
If you remember nothing else from this post, remember this: Read your manuscript like a publisher. Regardless of what kind of book you’ve written, you must be well- read enough in your genre, age group, etc. to know where your book fits into the market.

What is unique about your book?
Why does there need to be another book on your topic?
What value does it provide the reader?

After the doors to my publishing dreams were closed for this manuscript, I re-read it with the editors’ comments in mind. You know what I found?

They were right.

ARTICHOKIE KARAOKE (great title, right?) is a really cute book. The rhyme style is catchy (similar to Hip Hop Lollipop) and kids would appreciate the premise of being stuck in a boring grocery store with nothing to do. But, as the 30 editors noted in their own way, it is too “slice of life.” The conflict and resolution are too tame, and without the rhyme, the story falls flat. Maybe if I had considered these things before, I could have revised it to be more compelling. Upped the stakes. Increased the friction. Landed the deal.
​
Take a look at your story as objectively as possible and ask yourself those tough questions before it goes on submission. If you know in your heart it could be better, make it better. There is no need to rush.
Seriously. Don’t rush it.

​Samantha Gassman is a children's book author, Air Force veteran, military spouse, and mom to two kids and two cats.  She is the author of DEAR RAINBOW BABY (Aug 22, 2022) and PEANUT AND BUTTER CUP (2024). Visit Samantha’s website to learn more.
​
Preorder DEAR RAINBOW BABY here.

by Kelly Carey

​I love this holiday!

Yes, June Year is a holiday!

When it comes to writing and goals setting this is my favorite holiday. Some like January when you tap out lists of goals and resolutions with the enthusiastic optimism of the diapered New Year’s baby.  But June is the month when the mature goal setter emerges to take stock, assess, and for those who really want it, decides to persevere.

Remember those sparkly goals you set six months ago? What? You forgot about them! ACK!

Get them out. Oh good, some of you remember your writing goals for the year. But, what’s that? You sort of lost track? You petered out in March and now you are aimlessly drifting through writing projects?

Remain calm – the June Year holiday has come just in time!

Get out those annual goals. How are you doing so far? Hey, look, you hit a few! Hooray – party with a few carrots!

You missed some? No worries. You still have a full six months left to hit those targets. Use the June Year holiday to celebrate all you have accomplished so far in and reset your goals for the second half of the year. Get ready to finish the year strong – 24 Carrot Writing strong! 
​
Happy June Year everyone! 

Guest Blog by Carrie Finison
 
As writers, we know that ideas are all around us. Once you get in the habit of noticing them, that cute thing your kid said, the funny thing your dog did last week, even the memories you have from childhood, are all fodder for the story mill.
 
In fact, stories based on things that happen in our real lives can make the most relatable stories. And yet, it can sometimes be hard to move beyond that initial story spark to come up with something truly unique. When ideas come from real-life events, writers can get bogged down by real-life details and outcomes. It can be hard to envision a different ending, different setting, or different characters when we’re telling a story based on our real lives. Often, the key is to push our storytelling beyond the boundaries of what really happened, or even what really could have happened, while still keeping the emotional truth behind the idea. Below are a few tips to help you do that.

Get Emotional Distance from the Story
I remember the precise moment I started the story that became LULU & ZOEY: A SISTER STORY. I was picking up my son from preschool and he complained about his baby sister, who was singing loudly in the car. “She’s ALWAYS too loud,” he said, with his hands over his ears. I replied that she wasn’t ALWAYS loud. Sometimes she was loud, and sometimes she was quiet. All the way home, we made a list of other things, good and bad, that sisters sometimes are. I continued thinking about those ideas, and soon a first draft was born. I revised the draft a few times and even submitted it to a children’s magazine, but it wasn’t accepted.
 
Then I put it away for six years.
 
In that time, I learned a lot about picture book writing, and wrote many other stories. When I finally came back to this one. I was ready to look at it with fresh eyes. Instead of a general list of sisterly traits, I knew I needed to create two specific characters, and include a story arc – some specific conflict and resolution that they might have. Because so much time had passed, I was no longer emotionally tied to the actual events that started the story in the first place, and I felt free to make changes. I changed the characters from the brother and sister--mirroring my two kids--to two sisters, and I changed many of the details from the initial draft. What I kept was the emotional heart of the story: that siblings sometimes have ups and downs in their relationships, but they’re always a part of each other’s lives.
 
You may not have time to put your story away for that long, but even a month or two can make a world of difference – especially if you spend that time immersed in other projects. Both the time and the shift in focus to new projects can give you the emotional distance you need to make changes.

Change the Setting and/or Characters
My book HURRY, LITTLE TORTOISE, TIME FOR SCHOOL! was also based on real life events and emotions. Ironically, the spark for this story also involved picking my son up from school. This time, it was during the daily pick up from elementary school. My daughter, then 4, would be dragged along with me. Of course, it was at the worst possible time in the afternoon when she really needed to be resting, and so getting her ready to go was a huge chore. I felt like I was constantly saying, “Hurry! Hurry!” and pushing her to go faster than her natural, tortoise-like pace. The story idea grew out of this experience, but I knew that a story about a mom yelling at her daughter to hurry wouldn’t feel unique or sustain interest across 32 pages.
 
I turned to animal characters to help me get some separation from the real-life inspiration for the story. In the book, Little Tortoise really wants to be on time for school — maybe even the first one there — but, as one might expect, she is NOT built for speed. In a twist, she encounters her new teacher, Mr. Sloth, who similarly struggles with being on time. Using animal characters enabled me to push the story into the realm of fantasy while still keeping the heart of what I wanted to say — many of us struggle with being on time, adults and kids alike, and we can show each other grace.
 
When thinking of characters and settings in this way, think REPRESENTATIONAL and LARGER-THAN-LIFE. What animals, objects, or mythical creatures best represent the characteristics you are trying to portray? What settings might allow you to explore your topic even better than a real-world setting? The beauty of picture books is they can be set anywhere — under the sea, outer space, inside a refrigerator — and those places are fun to see illustrated as well.

Find a Partner or Two and BRAINSTORM
It’s tried-and-true, but — as your 7th grade English teacher told you — brainstorming is a great way to come up with ideas. However, sometimes when you are too close to the real events that your story is based on, it’s even better to brainstorm with a partner or group. Find partners who are NOT invested in the true story-behind-your-story. If possible, I’d suggest not even sharing the backstory behind your idea. Then spend 10-15 minutes coming up with new characters, plot twists, endings, whatever you need to push your story outside the realm of the real.
 
Once you have a list of ideas, pick one that resonates with you, start a NEW DOCUMENT, and rewrite your story from scratch based on the new idea. I know it sounds hard to throw away everything from your previous drafts and start over, but I promise, those old words are still there. You can always go back to them if you need to. But starting something completely new, while keeping the heart of your real-life story in mind, might help you break through to a story that truly shines.
 
I hope some of these ideas help you grow your next story from the real-life spark into a light that makes it unique and memorable while still being relatable to readers.

​There are at least two parts of the writing process that I replicated across both books, and that I go through for all of my projects. This aspect of my process is reassuring to realize when it can sometimes feel like each book involves learning how to write all over again!
 
The first is research. While I Love You for Miles and Miles is a sparse love poem, it was built on a foundation of information-gathering. I read truck catalogues, rode on cranes and trains, and observed construction sites. I wanted to find specific details that could convey the size and strength of vehicles in love metaphors. And I needed to know which truck is actually the biggest. (The dump truck!)

For Bottle Tops, I spent a lot of time listening to videos of El Anatsui’s talks. He has a very poetic way of describing his work, and I incorporated his specific descriptions—for example, the “language” of the marks made by a chainsaw, or how a new pot made from an old pot “acquires the strength” of the old pot. I paid close attention to how he characterizes his work and included several quotes from him in the book. My aim was to assemble these phrases into story beats and structure the story around them.

​The biggest difference in writing the two books came in the final stages. With Bottle Tops, there were additional steps to ensure accuracy. I sent drafts to El Anatsui and his archivist, Amarachi Okafor, and worked closely with my editor, Kandace Coston, while incorporating revisions.

I’ve been inspired by El Anatsui’s work ever since I first saw one of his wood sculptures at the Artist’s Alliance Gallery in Accra, Ghana in 1995. I was a college student on a semester abroad and researching contemporary Ghanaian art. El Anatsui was living in Nigeria but his work was on display in the gallery, and it made a lasting impression on me.

​Many years later when I started writing for children, I thought his bottle top sculptures were an ideal topic for a picture book. They are so visually appealing and have a tactile quality that invites viewers to look at how they’re made. Up close, you can see how the metal is folded and shaped and connected by wire. The sculptures’ massive size is exciting. Stepping back, they transform from individual pieces of metal into a flexible form resembling cloth.
 
In addition, El Anatsui’s artistic journey holds many lessons about how an artist can seek out their creative voice. He works with a material that’s close at hand and that evokes his history and environment. He has experimented over decades and is still finding new ways to make art. Artistic journeys are lifelong ones.
 
El Anatsui is an acclaimed contemporary artist, and picture books are an important form to introduce children to major cultural figures. During my research for Bottle Tops, I saw how few picture books about African artists are currently on our library and bookstore shelves. We need many more. Black Artists Shaping the World by Sharna Jackson is a wonderful new resource that includes profiles of several contemporary African artists, and I encourage readers to seek out this book too.

​If you can’t tell already, I love research—especially rabbit holes. It’s hard to say whether there were rabbit holes that ate up unproductive time because I think it’s important to pursue a number of ideas and dig deep. I don’t really know what’s going to show up in the narrative until I start writing, so I want to be immersed.
 
El Anatsui is a renowned artist and I was able to find many wonderful sources. While reading books and articles and watching videos, I searched for evocative images—the snapshots that could carry parts of the story. For example, when I learned that as a child, El Anatsui was fascinated with the forms of letters and copied the names he saw on doors before he could read, this felt like an important image to include to show his development as a visual thinker. Another image that stuck in my mind was how he assembled large sculptures by arranging patches on his studio floor while photographing the possibilities. I love Elizabeth Zunon’s gorgeous illustration of this moment—a bird’s-eye view on the creative process.

​At some point when writing a biography, you have to take that leap and reach out to the person you are writing about, or another close source. Once I had a polished manuscript, I contacted the October Gallery in London which represents his work, to see if they would put me in touch with El Anatsui. I’m so grateful that they made an introduction! The response from him was the most exciting part of the process--and also the most necessary for my decision about whether I would pursue this project.
 
Because El Anatsui is a contemporary artist, he continues to make new work, and during the time I was writing this book, additional sources became available too. I added quotes, but I’m glad I had focused on a specific time period. While his story continues, the book needed an arc. If I had left that open it would have been too tempting to include other work that he’s made since then.

​Write about what doesn’t let you go.
 
Find your writing community to share and read works-in-progress, and to be a part of each other’s writing journey.

​I’m reading Bottle Tops at The Silver Unicorn in Acton, Massachusetts on June 11th at 11 am for an outdoor storytime.
 
I’ll join illustrator Elizabeth Zunon for an event at the Book House of Stuyvesant Plaza in Albany, New York on July 9th at 1:30 pm.

In addition to picture books, I’m writing a middle grade Jewish historical fantasy inspired by Yiddish folktales. I’ve been thinking a lot about El Anatsui’s concept of drawing from the past to tell new stories, and applying it to my own history and culture. I’m finding many rabbit holes!
 
When I’m not deep in the research, you can find me online (and links for where to find my books) at www.alisongoldberg.com, Twitter @alisongoldberg, and Instagram at @alisongoldbergbooks.
 
Thanks so much for having me on 24 Carrot Writing!

​by Amanda Smith

One of the ladies in my ceramics class, let’s call her Dee, recently made a set of cat dishes for her friend, each dish featuring one letter of the cat’s name, Mozart.

One fine day in class, we were all struggling. Like really struggling. Unable to center. Unable to throw. Exasperated, Dee left her wheel for the kiln room to check whether the set of dishes had been fired. She reappeared, holding four dishes that spelled Z-A-R-T.
“We’ve lost Mo,” she said. “That’s what’s wrong. Our Mo-jo went missing.”

And we were stuck with Zart.

Let’s be real. The last couple of years had offered more than enough incentive for Mo to pack his inspirational bags and seek greener pastures. Some of us lost our creative Mo early on in the pandemic, while others had managed to hold on, tooth and nail, for longer. But I haven’t met a single creative over the last two years that hadn’t at some point felt stuck with Zart. Deflated. Incomplete.

So what happened in the studio when we discovered the loss of Mo? Each of us dealt with the bad pottery spell differently. Dee is a power-through kind of person. She kept throwing. At the end of the three hours, she had four sloppy piles of clay drying on the plaster table – evidence of four collapsed pots. But she also had two lovely bowls.

Peg decided to abandon the wheel for the day and instead focused on glazing some of her vessels that had been bisque-fired– a differently challenging skill, and a good change of pace.

I turned my back on the blasted wheel and affixed handles to mugs that I had thrown and trimmed previously. On a whim, I decided to carve designs on the mugs. I got lost in the joy of line and form and measurable progress.

The next open studio, Mo was still missing. Dee, Peg and I together decided to hand-build little cheese boards. Collectively we figured out the process, fine-tuned each other’s technique, got expert tips from our studio’s resident master hand-builder and made something pretty cute. Confidence somewhat restored, and bravery bolstered by mutual encouragement, we left the studio rejuvenated that day.

So why am I sharing my ceramic woes with you, dear writer?
Because, just like me, you might have lost your writing Mo. What to do until Mo returns?

1. Keep throwing. Like Dee, you can power through. Keep writing. It might be slow-going. Your word count might be lower than usual. You’d likely have some evidence of discarded efforts. But in the end, you will have progress.
2. Like Peg, you could move on with other necessary work that might require a different skill-set or less creative Mo-jo, but needs doing anyway. Do you have correspondence to work through? Records to update? Research? Keep moving forward by tackling the less glamorous stuff, so when your Mo returns, you will have uncluttered time to write.
3. Like me, you could channel your creativity into the frivolous. Did the mugs need carving? Nope. Did it fill my creative well? Yup. Write poetry. Play around with words and ideas, scribble, doodle, dabble. Even if it leads nowhere. Even if it serves zero purpose beyond filling your well.
4. Collaborate. Get together with writing friends for an impromptu writing day.  Or meet a fellow writer for a cup of coffee and get rejuvenated. Attend a class or brainstorming session. Host a picture book book-club for fellow picture book writers. Get your writing-bravery bolstered by mutual encouragement.

Last week, Dee returned from the kiln room hugging two celadon cat dishes to her chest. Mo had been found. We all smiled with deep satisfaction as she placed six dishes on the table:

Guest blog by Elisa Boxer

First of all, I’m delighted to be here! 24 Carrot Writing has felt like a friend from the very beginning. It was the first blog I turned to for insight, inspiration and community when I was pre-published, fielding rejections (that one hasn’t changed), and wondering whether my words would ever become books.
 
With two picture books in the wild, three on the way this year, and three more under contract, I’m here to tell you to keep at it, and keep the faith!
 
In this busy year of launches, writing, and revising, I’ve had to be extra diligent about organizing, prioritizing and protecting my writing time. And while I wasn’t completely aware of any concrete process I’d been using to do that, thinking about a topic for this blog post has actually helped clarify a three-pronged method that I have been loosely following, that I will now follow even more specifically, and that I am happy to be able to share!
 
I’ve broken it down into three questions:
 
1.     What wants to be worked on?
2.     What time can I carve out for it?
3.     What intention do I have for it?

What wants to be worked on?
 
I’ve phrased that in the dreaded passive voice for a reason. To me, each project has its own feel; its own energy. Like a living thing. And it’s our job to tap into that energy.
 
Try this: Think of one of your works in progress. Really focus on it. How do you feel about it mentally? Emotionally? Do you feel a sense of possibility? A spark? A readiness to connect with it and move it forward, even in some small way?
 
Or do you feel resistance, like this one might be better put aside for the time being so you can work on something else?
 
Now how do you feel physically? I measure this by a sense of expansion and contraction in my solar plexus. When you think of this project, do you feel lightness and openness (this is the one!), or tightness and constriction (maybe not this one right now).
 
I go through each project and assess each one, paying attention to these feelings. Kind of like I’m opening the door to check on them. This all goes out the window, of course, if I’m meeting a deadline. Then I just have to plow through any resistance. But for example, I’m writing this blog post two weeks before it’s due, because I woke up and felt that niggle of “write meeee!” even though I had planned to work on something else this morning.

What time can I carve out for it?
 
This is a helpful re-frame for questions like: What do I have time for? and Where can I slot this in? The truth is, we’re all so busy and have so much going on, the only writing time we get is the time we proactively carve out for it.
 
Writing time, in my experience, doesn’t ever present itself. It has to be actively dug out of a busy schedule. So, each week and each night, I will look ahead and pen in blocks of space for works in progress. Some days it’s only a 15-minute block for a writing sprint in between calls, meetings and appointments. Other days it’s a 2-3-hour block for deep work.
 
But if I don’t commit to carving out time in advance, specifically for writing, other things will move in and take over that space.

What intention do I have for it?
 
Once I’ve identified the project that’s calling out for progress, I set an intention for it. Sometimes that intention is a short writing sprint where I set a timer, close all open tabs, turn off all notifications, and write nonstop, as much as I can, in the allotted minutes. Examples of other intentions include: Writing a thousand words, brainstorming titles, doing a revision, coming up with a more detailed secondary character, or putting together a bibliography.
 
Some days my intentions are things like securing photo permissions, organizing my research files, or lining up interviews with sources. The key to setting intentions, for me, is to make sure they’re do-able. Kind of like writing items on a to-do list that you know you can complete. If something is more of a stretch, I consider that a goal, rather than an intention. Goals are great too, but intentions, to me, are more manageable day-to-day.
 
I am sending you so much good energy for whichever project wants to be worked on, the amount of time you can carve out for it, and whatever intentions you decide to set for it!

Elisa Boxer is an Emmy and Murrow award winning journalist whose work has been featured in publications including The New York Times, Fast Company and Inc. magazine. She has reported for newspapers, magazines and TV stations, and has a passion for telling stories about people finding the courage to create change. She is the author of The Voice That Won the Vote, A Seat at the Table, and the forthcoming One Turtle's Last Straw. Elisa lives in Maine, and she has several more picture books on the way. Visit her at https://www.elisaboxer.com/ . 

Pre-Order Elisa's upcoming 2022 books, ONE TURTLE'S LAST STRAW coming in May, SPLASH! coming in July, and COVERED IN COLOR coming in August, at Print: A Bookstore and get pre-order bonuses like prints and stickers! 

~by Megan Litwin
 
Hello! Thank you to 24 Carrot Writing for hosting me here as I share the cover of my debut picture book, Twinkle, Twinkle, Winter Night! I am absolutely over the moon about the cover art by Nneka Myers. I love the dreamy color palette, and the way Nneka captures the peaceful beauty of the winter world…yet with a hint of festive sparkle in the distance. I can’t wait for the rest of her brilliant work to be seen!
 
And now that the cover is out, I’ve been thinking…
 
It is ironic that a finished book cover is the result of months or years of work, because at the same time, it also represents a new beginning…the beginning of this last stretch until the book is out in the world. And the “Six-Month Stretch” (as I’ve begun calling it) brings new work to light.

There is a lot of talk about all the things an author can do to promote a book pre-launch, and to be honest, it can be pretty overwhelming. So I’m taking the advice of veteran writer friends who have shared some wisdom about how to use this time. The underlying theme is “do what feels right to you.” I’m going to couple that with one of my own favorite mantras: “keep it simple.” And in the spirit of 24 Carrot Writing’s goal-setting mission, I have formed a plan.
 
Here are the five main things I’m going to focus on in my “Six Month Stretch”:

1. Seek out blog guest spots on blogs I enjoy reading myself (like this one!)
2. Send out my first author newsletter – for me, this is going to be a seasonal thing, because I like to keep things simple and because I love organizing my life by the seasons! It will feature book news, book events, and “book magic” (fun tips for growing readers).
3. Offer an educator giveaway – I love connecting with teachers and being in the classroom, and so offering a free virtual visit in combination with subscribing to my upcoming newsletter is the kind of giveaway that feels most natural to me.  
4. Mention to others that they can now put my book on their ‘want to read’ list…  
   AND THEN…
5. Celebrate with a BOOK PARTY!!! I’ll be launching Twinkle, Twinkle, Winter Night at An Unlikely Story under their very own twinkly lights!! And after that, hopefully I’ll be visiting all my other favorite bookstores for more events throughout the season. I hope to see you at one of them.

 
Thank you, 24 Carrot readers and writers, for sharing this exciting moment with me!
- Megan

Shimmer, glimmer, glowing light.
Twinkle, twinkle, winter night.
 
Celebrate winter with this magical twist on a beloved nursery rhyme that brings
​the shimmering season of lights to life.

​To learn more about Megan or to subscribe to her newsletter, visit her online at www.meganlitwinbooks.com.
 
To learn more about Nneka Myers and her art, visit her online at www.nnekamyers.com.