~by Amanda Smith
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For the last three years, I’ve had the incredible privilege of teaching literature to high school students. While studying a variety of literature in a range of genres, I have noticed that certain characters draw students in and engage even the most reluctant readers. Lately, as I'm pondering a new YA idea, I’ve been trying to tease out the commonalties between Gatsby and Montag, Portia and Daisy.

Love to Hate Villains:
First up, are the easily detestable villains. Whether it is Tom Buchanan from The Great Gatsby by F. Scott Fitzgerald or Captain Beatty from Fahrenheit 451 by Ray Bradbury, these characters immediately raise our hackles, because they have such clear character flaws. Every time they appear on the page, we know they will do or say something terrible and their vileness is so…vile that our hatred feels justified. In a world where teens notice evil, but often must suppress rage or judgement, having a common enemy offers a great socially acceptable outlet for pent up anger.
Warning: These characters do not have staying power. They amp up the heat quickly, but they are also forgettable. Keep them to a minimum.

Both Guy Montag from Fahrenheit 451 and Shylock, from The Merchant of Venice by Shakespeare fall in the hate to hate category for a different reason. Their environments restrict their freedom and shape their mindset. Even though they both have deep character flaws and commit heinous acts, young adults understand the desperation to break out of an uncomfortable mold, and therefore they have extreme empathy for these types of characters. Create a moment of vulnerability, or a reason for empathy in your villains. ​​

Will Holloman from Long Way Down ​by Jason Reynolds is another example of a character who wants to do what is right but is unclear about what the right thing might be because of his loyalty towards family and “The Rules” that guide his actions. Likewise, Guy Montag's initial conformity and slow awakening to the world around him leads to internal conflict regarding his ethics. Dietrich Bonhoeffer in The Faithful Spy and Elie Wiesel in Night struggle with the intersection of faith and justice. These conflicts, which are still playing out around the world today, resonate with young readers. Throw something at your characters that might dislodge their moral compass or cause their best intentions to go awry.

The Fool Archetype:
There is a reason the fool is a classic. Young adults adore comic relief and all forms of irony land well with YA readers. For example, Gratiano’s (The Merchant of Venice) snapping sarcasm and quick come backs, as well as the dramatic irony when he unknowingly throws Bassanio under the bus, have students howling with laughter. The biting banter between Ares and Hephaestus, as well as Aphrodite’s sharp jabs (Lovely War) towards self-obsessed Ares add an unexpected layer of humor for the more discerning reader. Go ahead, add a fool, but it is important to remember that the archetypal fool offers wisdom and truth along with laughs. 
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​​Overall, young adult readers respond to lots of layers and complexity. While clear villains provide some short-term venting, ambiguity is what holds these readers’ attention. Middle grade readers mostly still see the world as black and white, but young adult readers live in the gray – they are noticing ambiguity in their friends, parents, teachers, spiritual leaders, political figures, history, and current events. Providing multifaceted characters in fiction helps them figure out how to navigate the complexity they are experiencing in real life. Add a dose of vulnerability like we see in Nick Carraway, Guy Montag, and Will Holloman, and you have a winning recipe for characters young adult readers will adore.

~ by Amanda Smith​
Before leaving on a revision retreat in the summer, I left my two boys with detailed instructions on cleaning their closets. One of the check boxes stated:
Are you ready to get rid of some of the soft toys in your closet? If so, put them in my room.
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No, I am not being unreasonable. Both my boys are on the other side of 16. It’s time. Throughout the years, I'd broached the snuggie-subject, only to be brushed off with a “not right now,” but this time, three days into my trip, my husband sent a picture of two containers, lovingly covered with spread bandanas, like colorful funeral shrouds.

~Guest blog by Michele Regenold

Opportunities abound for your professional growth as a kidlit writer! Conferences, workshops, classes, retreats—in-person and online. Plus books, podcasts, newsletters, and websites, including this one.
But there is another option: You can work one-on-one with a book coach.

What does a book coach do?
A book coach is a smart, experienced editor who provides feedback on your writing. This includes specific suggestions for helping you accomplish your writing goals as well as ongoing encouragement and support as you work toward achieving those goals.
Most book coaches provide both written feedback and oral feedback. For each submission a client sends me, for example, I return to them a short editorial letter with my big picture feedback along with their manuscript to which I’ve added my questions and comments. Then we have a call via Zoom to discuss any questions and reactions to the feedback and plan their next submission.
Book coaching relationships can last from a few weeks to a year or more, depending on the writer’s needs and goals, and the book coach’s approach.

Why would you want to hire a book coach?
Two core elements that a book coach brings to the work are accountability and feedback. Your book coach wants to help you craft the best story you can and accomplish your writing goals.
Some writers want more guidance early in the process and they seek help with the story premise, the characters, the plot, and the first draft. On the other hand, sometimes writers with a completed draft are too close to the story to see it clearly and a book coach can guide them out of their story wilderness.
When to hire a book coach?
​You’ll get the most benefit from working with a book coach when:

• Your critique group has already read several versions of your work and they no longer have fresh eyes.
• You’ve received feedback from an agent or editor critique, revised based on that feedback, and now aren’t sure if your story is better or worse.
• You know your story needs help/work but you’re not sure what to change or how.
• You love your story, want to give its best shot at being published, and are determined to do what’s necessary.

What to look for in a book coach?
Their specialty
Much like literary agents and book editors, book coaches tend to specialize in terms of age group and genre. A book coach for adult mysteries and thrillers wouldn’t take on a writer of picture books, and probably not a writer of middle grade mysteries either, but maybe a writer of young adult mysteries.
For instance, I focus on helping writers of middle grade and young adult novels. In terms of genre, I’ve worked with clients writing MG historical, MG contemporary, MG science fiction, YA fantasy, and YA science fiction. I’d balk at novels in verse, however, since I rarely read them.
Consider what you need the most help with—is it the tropes of your genre or is it targeting the age group of your audience?
The experience level of writers they help
Consider your level of experience as a writer and your understanding of how fiction works. If novel writing is new to you, then seek a book coach who works best with newer writers. They’ll help you learn basic craft elements like the fundamentals of a scene and a character arc. Likewise, if you’ve already written a novel or two, a book coach who works with experienced writers may be a better fit.
The stage of the writing process
Also consider how much of your story has been written—a few pages, a partial draft, a complete draft. Some book coaches prefer to work on revision of an existing draft while others prefer to help you plan and execute a first draft.
The book coach’s credentials
There is no official licensing for book coaches. However, there is a company called Author Accelerator that provides an extensive certification course for people who’d like to become book coaches. They maintain a searchable list of Author Accelerator-certified book coaches.
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Other credentials include advanced degrees, professional writing and editing work and references from clients.

Most book coaches offer a free “discovery” or “intake” call after reviewing your submission packet, which is an opportunity for you to assess whether you are a good match.

If you want to write, but don’t know where to start, or if you are stuck in your work-in-progress and need a different perspective, consider hiring a book coach to help you realize your book-dreams!

~by Amanda Smith

I have always intuitively been aware of writing seasons throughout a year. Some months are naturally filled with demanding family or work commitments, while others provide more writing time. Throughout the years, I have tried to wrangle the seasons, to ignore natural rhythms, in order to be consistently productive each month.

Seasons do not easily conform to human whim. Anyone who has spent a year in New England knows one can cry, and cajole, and yell at March to be springy until the cows come home, but lovely weather does not arrive until mid-April. Similarly, writers can plan and plot and highlight and set timers, but life’s seasons continue to roll one into the other undeterred by our best organization.

So what is a writer to do? Jerry Spinelli famously advised to “write in the cracks,” which I used to embrace with weed-like ferocity. I tried to force my writing into every possible crack, exhausting myself and probably frustrating my family. There were times when I literally ran back to my desk after tossing another load of laundry into the washer, not to waste “a crack” - yelling at March to be warm. I can’t say that was super productive.

This year, I took on a new job that offered zero cracks. If allowed, this job would bleed into every tiny line like red lipstick on the wrinkly lips of my days and weeks and months. Don’t get me wrong, I love my job. But it’s a lot. Even in this tenacious job, the ever-present heartbeat of my writing seasons was present.
So I listened. I paid attention. And when, at a 24 Carrot Writing meeting, Megan mentioned that summer traditionally is a slower writing time for her, I sat up. She also experiences writing seasons? Curiosity overcame me. What really, are my seasons?

I pulled out my trusty bullet journals of the last four years and ran some stats. And here is what I learned, regardless of my career change. For me, January, February, and November are my most productive writing months (hello winter)! The summer months have their own rhythm, but are a close second, while, surprisingly April, and December are not too far behind. However, like clockwork, writing grinds to an alarming halt every March (maybe it’s all that yelling at the cold!) and May.

“How is this information useful?” you ask.

Knowing my natural writing seasons helps me embrace them rather than fight them, and that brings contentment to my writing schedule. When setting yearly goals, understanding writing seasons helps me plan big tasks for the predictably productive months. It allows me to be kind to myself during the months that are clearly already stacked with other responsibilities. Rolling with the seasons also helps prevent burn-out.
If you are a long-time 24 Carrot Writer, you probably have records of your achieved writing goals somewhere. I would like to invite you to browse your journals, and see if you can identify your writing seasons.
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Because just like nature needs to take a break from all its blooming and growing and producing and buzzing, sometimes life demands that the writer takes a rest. Through rest comes restoration. And even though progress is not visible in those off seasons, just like tree roots go deep and sap flows beneath the surface, your stories are being nourished, gaining strength, becoming ready to bloom when you reach your proverbial mid-April!

by Amanda Smith

​The first time I heard these words by St. Francis of Assisi, they lit me on fire. I couldn’t shake them from my head. I planned my year’s writing goals around them, and I even wrote a blog in January of 2018 to spark some fire in you, dear reader. You may read it here, but the SparkNotes version is: Let’s do this! Let’s start with the necessary, then set goals for the possible, and in true Robert Browning fashion, let our “reach exceed our grasp” as we strive for those impossible dream-goals. Rah-rah!
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During December 2023, as I did my yearly goal review and planning, I pondered the peg on which to hang my 2024 writing goal hat. St. Francis’ words fizzled somewhere deep in the synapses of my long-term memory. I pushed down that thought.

“Now listen here, St. Francis,” I told the holy friar from Assisi, “life looks different than it did in thirteenth century Italy. It even looks different than it did in 2018.”

Back then I had two boys in elementary and middle school. My stay-at-home mornings were mostly my own. Back then I could easily accomplish the necessary, reach past the possible, and plan for the impossible.
But this is 2024. After eighteen years at home, I’ve been given the opportunity to return to the classroom and finally teach what I’ve always wanted to: High School Literature and Composition. Even though it is fulfilling and exciting, it certainly leaves little head-space for doing beyond what is urgent. I also have a husband who works from home, a college kid on a completely different schedule than the rest of us, and a high schooler that wants to do EVERYTHING.

Post-pandemic 2024-me is telling 2018-me, “Girl, take a chill pill.”

But the old saint is relentless: “Start by doing what is necessary…” he whispers.
As I stare at the fresh new-year page of my beloved bullet journal, I calm my inner-skeptic and make space for his words. And would you know it? St. Francis’ wisdom hits differently than it did way back then:

The wonder of doing the necessary, is that the unnecessary gets stripped away.

We’ve all established goals and routines throughout the years of building our careers, but somehow, mine had become a heavy list of expectations that weighed me down and plucked the wings of my dreams.
Do I need to track all my reading in two places?
Do I need to persist in a monthly querying practice that gobbles up precious writing time, proves ineffective, and sucks the joy out of creating or is there a more sensible way?
Do I really need to plot my writing life months ahead, or is it okay to just draw pencil hearts in my journal on the days that might likely offer an hour or two of writing?

In the beginning of this new year, it is worth asking yourself whether your writing routines and goals still serve you and to strip away the excess until only the necessary remains.
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Now, if you are in the place where I was six years ago, where you can Robert Browning it, go for it. Please do. “Or what is a heaven for?”
But even then, add some St. Francis frugality to your writing goals.
What is truly necessary?
To write.
Let’s start there.
The prophet Zechariah said, “Do not despise the day of small beginnings.”
Small beginnings. One foot in front of the other.
Write.
And then do the next thing.
“Start,” St. Francis said.
That’s it.
Just start.

Puffy stickers on a Trapper Keeper, a smile glistening with strawberry Kissing Potion, and a pencil box filled with scratch-and-sniff markers, and you were off to a great start for the school year. But how do you restart your writing after a summer of listening to the Pretty in Pink soundtrack on your Walkman? This Back-to-School Retro Summer post  has the perfect checklist. 

As much as we itch to get back to writing, finding our groove after the summer can be challenging. Here are a few strategies that help me focus my writing for the last quarter of the year.

• Find your desk

This is always my starting point. Finding my desk includes the filing of papers, and shelving of books, and general cleaning of my office. It is organizing files in ways that work for me. It is getting a physical space ready for productivity, whether it is a mostly stationary space like mine, or a portable one, like Francine’s. (the-portable-office.html) But it is more than that. It is also finding where I left off. I often read through the last couple of stories I had worked on before I had left my desk. I revisit my submission spreadsheets and query letters. It is mostly about finding my inner-desk, that place in my brain that is all about writing

• Aggressive goals

Once my space is in order, I like to pull close my goals and schedule.  On my schedule, I black out days that I know will be writing duds, such as holidays or scheduled work days, and then I aggressively write the remainder of my yearly goals into my schedule. Now, I know I might not make it. Yes, the unexpected will happen. I most likely will be called in to work more often than I anticipated. But I have my best-case scenario set up.

~ by Amanda Smith

As a substitute teacher I often walk into an emergency, with lesson plans drawn up quickly by someone whose mind was in a much more urgent place. On one such a day, the art teacher left me, in her words, “sketchy plans” – most of which involved students finishing current projects followed by open studio. Now, I’m all for open studio and free draw, but first grade had no projects to finish first. That meant 45 minutes of free draw: The definition of chaos.

Thankfully, I had a planning period. And an ally in the school librarian. After thinking for a second or two, she pulled Harry the Dirty Dog by Gene Zion off her shelf.
“You know,” she said, “kids love dogs. And they always enjoy Harry’s adventures.”
Together we studied Margaret Bloy Graham’s illustrations, and a lesson plan was born.

​Fast forward to the first-grade class. I read the book. The kids were delighted. Then I held up Harry the Dirty Dog. “We are going to draw Harry,” I said.
Shock and mayhem.
“What!”
“We can’t draw like that!”
“That’s impossible.”
I turned a deaf ear to the protests as I handed out a sheet of paper with a rectangle already drawn on it. I explained that we would have to work together to draw Harry, as it is a step by step process.  Then the students and I drew Harry using the parameters of a rectangle. 

As their dog drawings took shape, their joy was contagious. And here’s the thing: even though they all followed my instructions, not one of the dogs looked the same. We had skinny, long nosed dachshunds, and pudgy, round nosed puppies. We had droopy eared dogs and shaggy tailed dogs. Boy Harrys with spiky collars and girl Harrys with pink bows. Every student loved their own Harry, and was amazed that they could indeed draw like that.
Here’s what I learned by drawing Harry, and how it pertains to writing:

1. Know the shape of your story. Harry is drawn in and around a rectangle. Once the students could see that, they could follow the steps to draw him. Identify the internal structure of your book.
2. Take it one step at a time. Those first graders looked at the cover of the book, and were done in by the details of it all, but once we broke the task down into steps, it was completely doable. Don’t stress about the revision process or the rewrite if you haven’t written the first draft yet. When you get to the next step, you will be ready for it, because you already did the groundwork. Follow the process.
3. You are capable of more than you think. Just like those first graders, you may look at an idea and think that you cannot possibly do it. Yet, each and every one of them drew a Harry. They loved their pictures and they celebrated their neighbor’s pictures. As a collective, they were in awe that the ability to draw that dog was INSIDE of them.
4. Listen to your heart and tell your story your way. Remember how the students’ dog drawings were all different? Even if an idea has been done before, your execution of it will be unique.
5. Also, librarians rock!

So, as you take the steps to shape your book, follow your heart and believe in the creativity you already have inside of you. Go ahead, unleash your inner-Harry.

This week's throwback ​blog was first posted in 2021 as part of our Road to Publication series and is chockablock with information about preparing your work for publication. Welcome to RETRO SUMMER!  ​

~by Amanda Smith

So, you wrote something. And now you wonder what the steps are for getting it published.

First of all, congratulations! Writing on a consistent basis, to the point where you have a book, is a huge accomplishment. (If you want to write children's books and aren't sure where to start, this blog by Kelly is for you.) Writing a book, however, is only the first step. Sending a freshly written manuscript to an agent or publisher would be like asking Paul and Prue to judge a cake after you had only gathered the ingredients.
 
Here are some basic steps towards publishing:

Critique Partners:
You need someone else's eyes on your work (not family!). Ideally your critique partners should be up to date on the current market and knowledgeable about writing. They will look at content, structure, plot and character development, language use and, if you need, line editing. It is imperative to have someone else read your work. Sometimes we get so caught up in the excitement of a new project, or have read the same words so many times we don't see the plot holes, unclear details, or glaring mistakes.
Where to find critique partners?
SCBWI
Local writing organizations 
Online groups such as Kidlit 411, Storystorm, Children’s Book Authors & Illustrators, 12X12, to name a few.
Craft workshops and courses
 
Revisions:
If your critique partners are worth their salt, you will receive lots of revision notes. Depending on the depth of the notes, you will have to revise or, in some cases, even rewrite. Regardless of the scope of revisions, you will likely have a couple of critique-revision rounds. Do not skip this step! It is during this phase that your work continues to mature and become the best it can be. It is hugely rewarding to dig deep and polish away the rough edges of your story.
 
Beta Readers: (Not necessary for picture books)
After critiques and revisions, you need Beta readers, who consist of readers the age of your intended audience or readers deeply familiar with your genre (think teachers, librarians). A beta reader questionnaire is a helpful tool for gathering focused feedback. Another round of revisions will likely follow beta readers.
 
Publishing choices:
Once you have completed these steps and you feel that your work is ready to send out, you need to decide whether you want to take the traditional publishing route or explore independent publishing? 
The rest of today's post will focus on traditional publishing. Next time we will learn about independent (self) publishing. Make sure you know the pros and cons of each option. 

If you choose traditional publishing, you should know that it can take months or even years. Most of the bigger publishers are closed to unsolicited submissions and you need an agent to represent your work.
Some publishing houses however, do accept unagented submissions. Books, such as THE CHILDREN’S WRITER’S & ILLUSTRATOR’S MARKET, can provide guidance as to which publishing houses are open to unagented submissions. Always check the publisher’s website for their latest guidelines. 
​ While you can certainly do research online and through publishing trade journals to find publishers who are open to unagented or unsolicited manuscripts, it is very helpful if you have a more personal contact with an editor at the publishing house. One of the best ways to make this connection is to attend a class or workshop taught by the editor. Also, editors who attend writing conferences will often accept unsolicited submissions from conference attendees for a limited time, so be sure to look into this possibility when attending these events.  Always do your research to be sure a specific publisher publishes the genre/age level you write. 
 
Agents:
A good literary agent will help you polish and edit your story, send submissions to publishing houses, negotiate contracts, and handle advances and royalties. They are super knowledgeable about the industry, and know what editors are seeking. Your agent is your ally and business partner. Therefore it is important to carefully research agents, not only for what genres they represent or what their interests are, but also whether they will be a good match for you. Once you have narrowed down agents you would like to approach, you need to query. 
Places to research agents:
SCBWI The Book
Agency websites
Manuscript wishlist (www.manuscriptwishlist.com/)
#MSWL (https://www.manuscriptwishlist.com/​)
QueryTracker (querytracker.net/)
Publishers Marketplace (https://www.publishersmarketplace.com/​)
Some writing websites also offer a treasure trove of information in the form of agent interviews and guest blogs. A few to browse are http://www.literaryrambles.com/, https://www.pbspotlight.com/, and The 12x12challenge
Most agents are active on social media
Acknowledgements of books you have read
  
Queries:
A query is a letter in which writers pitch their work and introduce themselves to an agent. It is a business letter that follows a specific form. Stay tuned for a guest blog regarding query letters by the Query Godmother, Kris Asselin, later this month.
Queries are used for picture books, both fiction and nonfiction, as well as all other fiction. Nonfiction writers send a cover letter, proposal with outline, and some writing samples.
Each agent or agency has their own rules regarding submissions. It is very important that you read and follow each specific agency's submission guidelines. Not only does it streamline the process for them, but it also reflects well on you, their future client, and your ability to take direction. 
Be prepared for several rounds of querying. If an agent would like to represent you, they will contact you and usually schedule a phone call with you to further discuss the details. Remember, not only is the agent interviewing you to see whether they want to take you on as a client, but you are also interviewing the agent to see whether they will be a good match for you.
Once you have received an offer of representation and contracts have been signed, you and your agent may go through another round of revisions before they submit your manuscript to publishers. There might be several rounds of submissions before you receive an offer for your book.
 
At this point the process is out of your hands. You have baked your cake to perfection. You've trimmed and filled and frosted. You've decorated and delicately flavored.  Editors, acquisition boards, and marketing departments are your proverbial judges, and once your delectable offering hits the right palate, you will get your Hollywood-handshake: A published book!

~by Amanda Smith

A couple of months ago, I was prattling my mental to-do list aloud while my husband patiently listened. “… and I still have to write down my monthly goals before our 24 Carrot meeting tomorrow,” I said, running out of breath, and steam. And time.

His eyes glinted mischievously. “Just copy last October’s goals,” he said.
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Wrapped up in my busyness, I retorted, “If I could just copy last year’s goals, that means our method doesn’t work very well, does it?”


But wait? Does it? His silly suggestion intrigued me. 24 Carrot Writing celebrated its eighth birthday this year. For eight years (more actually, because we were an accountability group before we were a blog) I’ve religiously set monthly goals, checked them off, and reported back to my partners. Our whole premise is rooted in the idea of setting monthly goals and rewarding ourselves for reaching those goals. But the elephant in the room asks: Does it actually work?

I always check my yearly goals around this time of the year to see where I hit the mark, where I missed, and where, perhaps the road turned in a different direction. We also encourage our readers to check those goals mid-year with our June Years Eve blogs, making sure we are on track. But never have I ever checked a random month from the previous year to see how it lined up with my current journey. In the day-to-day work of writing, does setting monthly goals actually move me markedly forward? Color me curious!
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So, with a hint of trepidation, I flipped back to October 2021 in my beloved bullet journal to reread my goals. 

In the past Kristi had a running list of tasks she’d cross off upon completion, but in January 2022 she joined our accountability group and took up monthly goal setting. One of her January goals was to revise a picture book. Her goal for this manuscript was to send it to Gnome Road publishing when their submission window opened in March. ALPACHAS MAKE TERRIBLE LIBRARIANS will hit the shelves in 2024, published by Gnome Road!

The trend is consistent: projects that were started are now complete, rewrites and revisions occurred, picture books went from concept to query (with all the appropriate in-between steps!), some projects carried over from month to month (oops), but eventually, they get done (or end up in the “darlings file”).

Beautiful, inspiring forward motion.

By Jove! It works!

Would we have done some of these things, even if we hadn’t set them as monthly goals? Likely. But would we have done all of them in a timely manner? Definitely not. To be certain, the smaller things, such as those poems, would have fallen off my radar, and I would have missed out on the joy of this anthology to come.

When our kids sometimes feel overwhelmed by the size of a task, my husband would ask: “How do you eat an elephant?”

One bite at a time.
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In the elephantine cycle of writing, revising, critiquing, polishing, querying, waiting, signing, selling, marketing, promoting, doing-it-all-over-again, monthly goals are manageable bites.

So this January, yes, dream big and set those yearly goals! But then commit to bite-sized monthly goals, break them up in daily tasks, and keep moving forward. And every once in a while, peek back and see your progress – the biggest, sweetest, brightest carrot of all!

To learn more about my bullet journal, and how you can also keep track of things like monthly and yearly goals, check out this blog.

About the art:
Janine Nel is a South African artist whose preferred medium is oil, using a photorealistic style. However, she enjoys experimenting with various mediums and paints a multitude of subjects. To learn more, visit her website here, or follow her on her Facebook art page.