 Interview by Annie Cronin Romano I was delighted to chat with Leo Landry, the children’s book buyer since 2018 at An Unlikely Story Bookstore, located in Plainville, MA, and owned by Wimpy Kid author Jeff Kinney. Leo is also a published author/illustrator. How did you get your start as a children’s book buyer? I first started at The Children’s Bookshop in Brookline, MA, where I was the manager and did all of the backlist buying as well. I was there for 20 years. I also worked in college bookstores for several years. I arrived at An Unlikely Story in October 2018, initially doing receiving and returns, and soon moved into the role of children’s book buyer. Tell us a little about your process/criteria in terms of choosing what to bring into your store for picture books? Does the artwork catch your eye first? The title? The actual story/text? The broadest view of it is that you really have to consider a few things with all the books you bring in: One is what your community wants—or at least what you think they want—and another is what you like and what you think your collection should reflect. That’s really the fun part. If you went to five different independent bookstores and looked at the kids’ sections, you’ll see, of course, the big books, but you will really be able to see the personality of the buyer. For instance, I tend to like the quieter things and softer artwork. If you made that a homework assignment, you would notice each buyer’s distinct taste store to store. You could profile the book buyer! Yes, you probably could! And in addition to those two points, the other factor is that there’s always things you can’t not have; if there’s an author that is huge, you have to have those books. What I typically do when I meet with a sales rep is first look at our prior season’s order and see how things from that order sold. For instance, when looking at sales history here, I can see that general fiction picture books sell well here, but nonfiction picture books, such as picture book biographies or history-related titles, don’t sell quite as well here. All stores have sales patterns and that’s important to know, to keep an eye on those patterns and watch for changes. When I go through the catalog for any given publisher, I try to read all the picture books as much as I can, whether it’s digital or print, if offered, and I decide in that moment whether I want the book or I don’t. Then I make final decisions once discussing with the sales rep. For YA, I rely on the younger booksellers and the reps for input as well. The toughest part is there are just so many books published. I know I miss a lot of lovely books, but I must consider that books come out every Tuesday and there’s only so much shelf space. A picture book will only have a week or two as a face-out, which I know is disappointing to authors. To help there, we’ve added some end caps at the store, in addition to our new release section for PBs, where we put bookseller favorites for picture books, and those books consistently sell. Would you say for board books, leveled/early readers, chapter books and middle grade, your process is the same? Yes, it is. Obviously you can’t read every middle grade… No, though middle grade is kind of going down sales-wise, sadly, and it has been for four of five years. It’s less so for series; it is still going down, but much less so than middle grade. On the other hand, board books in our store have practically doubled in sales. Early readers and first chapter books are also on the upswing here. Middle grade series and above is on a downward slide, which I think reflects the industry as well. I feel like as those kids [driving the sales in board books through early chapter books] get older, we’ll see an increase in middle grade sales. Many authors worry that if they go with a small/indie publisher, it will be more challenging to market and distribute their work. How much of a role does the size and recognition of a publishing house (i.e., the Big Five) play in your choices, or are you just as likely to purchase from smaller presses? I’m just as likely to buy from smaller presses as long as someone lets us know about it, as long as we can access it. One small publisher that I really love is Graystone Kids. They publish a Cree-Métis illustrator named Julie Flett, who I’m a huge fan of. I’m always buying anything she has coming out. They use a distributor that prints a catalog, so I can access their list easily. As long as small presses are accessible through a larger distributor, that helps. I do believe that if a book is really good, it will find its way even if it is with a tiny publisher, though it might take a little longer. Of course, me saying “if a book is really good” is subjective. Are there topics/themes you feel are lacking in children’s books? What topics/genres/themes would you like to see more of? I can think of things I’d like to see less of… Well, that was my next question! I really want to see solid stories and less preachy, lesson-type books. A good story that’s entertaining. Every publisher every season has a lot of these “I am great, I am wonderful” vague, inspirational books, and I think there’s now too much of that. To me, a good story…you’re going to want to hear it again and again. Of course, the kids aren’t buying the picture books; the parents are, and they often want those social-emotional books. But if you think of the picture books with characters you love and want to go back to, those are memorable stories. That’s not to say you don’t need that social-emotional angle. To me, a really good example of a picture book that is a great story and also has that social-emotional angle is the book Truman (Atheneum Books for Young Readers, 2019). Those emotional themes are baked into the story, but that’s not the only thing there. It’s a good story with the underlying message; those types of books I always welcome. When it’s just a vague attempt at making everybody feel good, those books come and go. Do you feel there are any themes lacking in middle grade and YA? Or is there an uptick in needed themes? I feel like middle grade has a lot going on right now, which makes it sad that sales are down there. It’s much more mainstream to have middle grade with LGBTQ+ characters, characters with Native American authors, BIPOC authors and characters. They’re keeping up. It’s still very low, but it’s miles more than it used to be. In YA right now, fantasy rules. A lot of YA is fantasy, but it keeps selling. Also, horror is growing. I’ve also noticed in the last year or two that historical fiction in YA and in middle grade, too, is creeping back in. Is there a genre of children’s books that kids just can’t seem to get enough of? Dinosaurs, trucks, mermaids and fairies for the young kids. It never ceases to amaze me—especially dinosaurs, that one just keeps going! What were some recent children’s books whose success surprised you? In the YA world, it’s all because of TikTok. There’s a title, Powerless (Simon & Schuster Books for Young Readers, 2023), a YA fantasy novel, that took off here because of TikTok. And it doesn’t even have to be a recent book. Something that came out five years ago can have a jump because of TikTok. Also, in all areas the booksellers can make a huge difference in a book’s success. For instance, our bookseller Cassie, when she started last year, asked if I could bring in some picture book titles that were her favorites. I brought them in and she sells the heck out of them. I’m surprised because they’re books that we had when they were new and didn’t get back in after they sold through, but now she sells four or five a week. What else was a surprise…well, every now and then, there will be a picture book that will take off and I didn’t expect it, like last year’s Sleepy Sheepy (Flamingo Books, 2023). It’s very cute and sweet, and we sold a lot of them, but I didn’t anticipate that. Another one that was sort of a surprise that I’ve reordered several times was Buffalo Fluffalo (Random House Studio, 2024). I also didn’t anticipate The Three Little Tardigrades (Godwin Books, 2024) would sell as well as it has. It’s a rewritten fairytale that also has STEM connections, so people really liked that about it. That sold out immediately. What are the biggest challenges you face in being a children’s book buyer? To me, it’s the shelf space. I wish our entire store was all children’s books, to be honest. I went once to Powell’s in Portland [Washington state] and I talked with one of the buyers there, and their children’s book area is 10,000 square feet. I was just in awe of that! I can’t imagine. So yes, for me, it’s shelf space, especially because here things really sell well when face out. How does your experience as a published children’s author/illustrator influence your process in terms of buying? I try to not be as dismissive as I may have been in my younger days because I respect what goes into the making of any book, and I know how hard everyone works on it, from the author, the illustrator, the editor, the marketing people, etc., and they all believe in that book. Before I turn something down, I really try to consider, based on my experience, if there is even the smallest audience for this book that we could reach. Because I know what goes into the making of a book, I try to be as respectful as I can. I also feel my 20 years working with The Children’s Bookshop owner Terri Schmitz influenced me greatly. She’s legendary amongst the reps who’ve been around a while for being the ultimate test of what would sell. She read everything, from picture books to YA, and she was just very thorough. I learned from her over the years to always look for quality. What is your favorite part of being a children’s book buyer? Definitely going back into the picture book area and just messing about. Sorting and putting things in order. I’ll say to my coworkers when I’m about to do that, “If you need me, I’m gonna be back with my friends.” That is just so awesome, rifling through everything, making sure it’s all in order, reminding yourself, “Oh my gosh, I forgot about this book. I’ll have to recommend this next time I think of it.” Just being with the books is my favorite part. Leo Landry is the children’s book buyer at An Unlikely Story in Plainville, MA and a published author/illustrator. His books include: Homerun, Touchdown, Basket, Goal (Henry Holt & Co., 2019), Grin and Bear It (Charlesbridge, 2011), and Let's Sign Baby with Kelly Ault, author (Clarion Books, 2010). To see more of his work, visit his website at www.leolandry.com.
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 This week's throwback blog was first posted in 2018. This rad post recognizes that you may be looking to catch a wave this summer, but offers tips to make sure your don't wipeout on those writing goals! Enjoy as our RETRO SUMMER continues!  By Annie Cronin Romano Summer is here. It’s a time for sun, sand, and sangria! A time for hanging out with friends and family, relaxing vacations, and outdoor fun. So, my fine writer friends, where does your writing fit into the summertime equation? Because, as most of us know, summer is also notoriously known as a time for slacking. Don’t be a slacker, my writer friends! This is where those writing goals come in handy. Hopefully you included that “forgiveness clause” into your writing goals (see Set Your Writing Goals With a Little Forgiveness, 1/23/18). But if you didn’t, or if you haven’t set your summer writing goals yet, here are some tips for keeping the ink flowing while enjoying this active time of year. Tip #1. Going on vacation? Take a journal with you and write in it daily. It doesn’t have to be long. Just a few reflections on your day, or perhaps a description of a scene that you don’t want to forget. Maybe you came up with some story ideas. Jot them down. Keep your writer’s mind active even when you’re not working on an actual story. Tip #2. Read! What better way to become a better writer than to read consistently. Writers hear it all the time and, naturally, love books, so there’s a good chance you read regularly anyway. But in case time is more elusive for you the rest of the year, take some time this summer to crack the spine on a few books you’ve been wanting to dive into. You may notice some new writing approaches or styles along the way. Tip #3. Use your phone’s note-taking app. Even if you don’t have time to do much extended writing, sparks of inspiration may strike, and you probably won't have your laptop or notebook available if you’re at the amusement park or on a hike. So pull out your phone and type yourself a brief note. Store that idea or inspiration away for another time. Tip #4. Take pictures, especially of unusual things. Vacations are full of picture taking opportunities, but step away from the selfies and snapshots of family, and take some random “slice of life” shots. Then use those images later as writing prompts. I know. Brilliant, right? You never know what the lens will capture. Your next story gem could lurk in those precious photos! Tip #5. Enjoy! After all…it’s summer! Happy writing! ~Annie  by Annie Romano Form submissions such as Query Manager have become the new normal for writers submitting to agents. Fading are the days of email queries (though some agents still accept them). At a glance, it seems like completing a submission form is straightforward: Fill in the blanks. Easy, right? But there are common missteps that might create a negative impression for agents before they even read your sample pages. What follows is a walk-through of the most encountered submission form features with notes on common errors or shaky habits. Avoiding these missteps will help your submission present as professional and polished. (Note: Since agents can customize their forms, only the most common fill-in-the-blank features are covered here. Also, agents have their own style of considering submissions. Some read the query letter first; others jump right into the sample pages. These are simply tips to help you ensure your submission shines.) WORD COUNT: Approximate word count is fine. If your word count is 97,256 words, 97,000 will suffice. This isn’t a make-or-break issue by any means; just something to be aware of. GENRE: This IS important. Writers sometimes try to fit a genre that agents don't accept into their inbox by choosing another category. For instance, I do not represent science fiction, so there’s no “Science Fiction” option in my genre dropdown menu, but I’ll often get submissions for this genre submitted under the “General Fiction” category. Once I read that query/pages and it becomes clear the manuscript is sci-fi, I’m not going to accept it. And it’s not because it’s not well-written; it’s because I don’t represent sci-fi. It’s simply not in my wheelhouse, and writers should want their work represented by someone who knows the market for their genre and is familiar with what editors are seeking for that particular category. QUERY LETTER: Yes, it’s a form, and yes, you clicked this specific agent’s link and typed in your name in the spaces above, but the query letter should still be a letter. In other words, it should be addressed to someone. (Some agents might not care about this detail, but to me it shows you’re taking care with your submission.) Include the agent's name: Dear “X,” and be sure it’s the correct name! Even with a form link, I still get query letters addressed to other agents. In the body of your query letter, provide your pitch/hook, brief book/project description, and any biographical information that is relevant to your writing (some agents have a separate section for your bio). If you don’t have any specific writing credentials or publications to include here, consider mentioning the inspiration for your story or why you're querying that particular agent (i.e., because they’re seeking “x” genre or because they represent books similar in tone to yours). A simple statement indicating you’ve researched an agent’s interests goes a long way in helping your query stand out. SYNOPSIS: A synopsis should be approximately one page in length (single-spaced) and should give an overview of the storyline. It should include spoilers. If I receive a fiction synopsis that’s slightly longer than a page, that doesn’t bother me. But if it’s clear the writer doesn’t know how to write a synopsis (i.e., the synopsis is only a few sentences, or it's twelve pages long with character sketches and a chapter-by-chapter breakdown), that leads me to question the writer’s preparedness. Writing a synopsis can be challenging, which is why a solid effort is impressive. If you’re not sure how to write a novel synopsis, do some research and educate yourself on it before submitting. For picture book writers, one brief paragraph should suffice (though I do not represent PBs, so check individual agent websites for their specific guidelines). If you're submitting an adult nonfiction book proposal, chapter summaries/outlines are acceptable, but again, be sure to check individual agent websites for submission preferences/guidelines. SAMPLE: Regardless of whether the agent has included an upload link or asks that you paste in your sample pages, be sure to include only the page count the agent requests (though most agents don’t mind if you round up or down to the closes section/chapter break). Do not paste 20 pages if the agent asks for five. It shows a lack of respect for the agent’s guidelines. Also, sample pages should begin with the opening pages of your manuscript (or full picture book manuscript) unless otherwise indicated. PITCH: Yes, you probably included this in your query letter, and the form can often feel redundant, but consider this an opportunity to recapture the agent’s attention. Make sure it’s compelling and catchy. Some agents do not care for hypothetical questions as a pitch, so consider rephrasing if your pitch is formatted as a question. Also, read the prompt carefully. If the agent asks for a one-sentence pitch, give one sentence. If they ask for a paragraph, be sure that’s what you include. SIMILAR TITLES: Don’t leave this blank unless it’s optional. If you included comp titles in your letter, simply retype the comp titles in this section. Some authors do not include them in their query, so this question is an agent’s way of ensuring the writer provides them. This prompt shows the agent that the writer has considered the market and where their manuscript sits within it. Writing something like, “nothing compares to my novel,” “I couldn’t think of any,” or “my idea is completely original” isn’t the best way to approach this section. The “similar titles” question isn’t insinuating that your manuscript isn’t unique; it shows that you understand there are categories and genres in publishing and that you are informed regarding where your book would sit on the shelves. TARGET AUDIENCE: This is another way for the agent to gauge your understanding of your manuscript’s appeal. If you’ve written a horror novel dripping with violent scenes and gore, stating it will appeal to children might raise some eyebrows. Of course, that’s an extreme example, but take care to give this prompt some careful thought. Stating your rom-com will appeal to readers of Emily Henry or those who enjoy Nora Ephron films is a solid, sensible response. Stating that your book is “perfect for everyone who loves to read” indicates an unrealistic expectation of your book's appeal. Adhering to an agent’s guidelines and thoughtfully responding to all the sections of their query form will go a long way in showing your effort and respect for the submission process and will help your query stand out from the many submissions agents receive each week. You’ve put in the time and effort to submit a polished, professional query, and now you wait. When you receive a response, hopefully it’s a request. “I’d love to see the full!” is the message writers dream of reading. When that isn’t the case, a form letter is the usual response. Below is a note about the dreaded form rejection. It won’t erase the sting they deliver, but hopefully it will offer some perspective. FORM RESPONSES: We writers tend to be a diligent, detail-oriented bunch, so form letters often send us over the edge. You’ve poured your heart into your manuscript, agonized over your query letter, read dozens of books to find the perfect comp titles, and then…Bam! You receive a form rejection. The nerve! As a writer myself, I understand the frustration with form responses. I receive them, too, and I don’t like them. But as an agent? I understand they’re a necessary evil. When I started agenting, I was determined to send personalized feedback to all who queried me. I soon found myself drowning under the volume of submissions in my inbox and falling behind at an exorbitant rate because I wanted to include specific feedback in each response. I wanted to prove I had considered every query. It wasn’t long before I had to face facts: if I wanted to reply to everyone (and not have a “no response means no” policy), I’d have to incorporate a form letter for passes. It wasn’t an easy decision, but it was necessary. While this is my opinion, other agents have expressed a similar sentiment: It gives them no pleasure to send form rejections, but it’s the only way to keep up with the volume of queries received while still attending to their other agenting responsibilities. So yes, form rejections are frustrating, but they’re a result of time constraints, not a measure of an agent’s respect for your efforts or talent. Please remember that. In summary, making it to publication is extremely difficult, but putting your best foot forward when completing an agent’s submission form will help you get there. When you send a submission, celebrate! You’ve written a book! Don’t forget to embrace that accomplishment. Cheers to you and your writing!  Annie Romano is a literary associate with Olswanger Literary. She represents adult fiction and select nonfiction projects. She is also a published children’s book author and one of the founders of 24 Carrot Writing. You can learn more about her at www.anniecroninromano.com.
 Oh, yes! It's that time of year again. Each year as the holiday season approaches, the 24 Carrot Writing crew asks featured guest bloggers to share their favorite writing and/or illustrating gadgets, tools, or items that help them in the creation of their work. Sometimes they share a favorite tool they use in their daily creating; other times it's an item that brings them comfort, joy, or motivation as they work. It is our hope that this writers' gift list provides you with unique holiday gifting ideas, be it for yourself or for the writers in your life. This year, we're posting our list earlier than we have in the past to allow more time for perusing and, of course, shipping! So take a look, and if you have any favorite items that you use in your writing/illustrating, please share them with us in the comments section. We always love to hear from you!
 Lindsay Ward is an author illustrator from Ohio. Her most recent book Scooper and Dumper launched from Two Lions in November of 2020. Her work has been reviewed in Kirkus Reviews, Publisher’s Weekly, and The New York Times and she is the founder of Critter Lit, a free online picture book manuscript and illustration critique service for up-and-coming authors and illustrators.
Each year, I use a simple composition notebook as a modified bullet journal, and I typically buy them at the beginning of the school year when they are on sale. I use my glue gun to add an elastic loop for my pen and a ribbon bookmark to track my place. I am not a diehard bullet journaler, but I always include a table of contents in the front so I can track story ideas, work on different drafts, notes from webinars, and from meetings with my agent, etc. In the back, I include an ongoing list of every single annual accomplishment/celebration, as small as finishing a draft or a school Skype visit, and as big as a book sale or a major review. Author Michelle Cusolito has wonderful blog post about bullet journaling for writers: https://www.12x12challenge.com/bullet-journaling-for-writers/. At the end of each year, I look forward to reviewing my accomplishments and making a plan for the new year.  Kirsten Larson is the author of WOOD, WIRE, WINGS: EMMA LILIAN TODD INVENTS AN AIRPLANE (Calkins Creek, 2020) and the upcoming A TRUE WONDER: The Superhero Who Changed Everything, illus. Katy Wu (Clarion, 2021) and THE FIRE OF STARS: The Life and Brilliance of the Woman Who Discovered What Stars are Made Of, illus. Katherine Roy (Chronicle, 2022). Learn more about Kirsten at kirsten-w-larson.com.
 Carrie Finison is the author of DOZENS OF DOUGHNUTS (illustrated by Brianne Farley), released in 2020 from G.P. Putnam's Sons Books for Young Readers, and the upcoming picture book DON’T HUG DOUG which will arrive on shelves in January, 2021. Find out more at https://www.carriefinison.com.
 Terri Libenson is a New York Times bestselling children’s book author and award-winning cartoonist of the syndicated daily comic strip, The Pajama Diaries, which ran from 2006-2020. BECOMING BRIANNA, the fourth book in her Emmie & Friends series released in 2020. Find out more at http://terrilibenson.com.
It's intended use is to keep track of weekly appointments and such, but I use it to create a visual representation of how much work I've done by marking each completed task with a stamp at the end of the day. When doing the art for a book that's 200-plus pages, the ritual of marking my achievements and watching them stack up over the course of the month feels rewarding... and always having the pad on the corner of my drafting table lets me know when I need to get my butt into gear to meet a deadline.  Kayla Miller is the author and illustrator of the best-selling Click series of graphic novels. The fourth book in the series, CLASH releases in 2021. Learn more about Kayla at https://www.kayla-miller.com.
They're small enough to carry everywhere, so as long as you've got a pocket and a pen or pencil, you're good to go. Sometimes I make my own notebooks, but these are very nice ones from the CW Pencil Enterprise, one of my favorite small businesses - they used to be dedicated to selling only pencils (plus erasers and sharpeners), but are about to expand to carrying a variety of other writing tools as well, "prioritizing brands that are local, small and have great sustainability and ethics practices". Excellent! For a really special treat I'm eyeing this bright book.  I use watercolors for my illustration work, and am always excited to find a new paint to try out. A few years ago in San Francisco I stumbled across a tiny shop dedicated to handmade watercolors called Case For Making, and I've finally treated myself to a palette and some paints from them. Each color is blended and made by hand in their San Francisco shop, and the business is very small, woman-run, and speaks out about important causes, so I feel good supporting them. Many of their colors are unique, filling gaps I didn't even realize existed in my well loved watercolor palette.  Ashley Yazdani is a picture book author/illustrator, reader, and nature lover. Her Golden Kite Award winning debut book, A Green Place to Be, is currently available from Candlewick Press and can be found at your local bookstore. To learn more, visit http://www.ashleyyazdani.com.
 Qing Zhuang is the illustrator of “How Long is Forever?” (written by Kelly Carey and published by Charlesbridge 2020). She is currently writing and illustrating a new book tentatively titled “Rainbow Shopping” due to be released by Holiday House Summer 2022. Visit www.Qingthings.com and follow her on Instagram @Qingthings for more news and information!
 Jordan Standridge is a Marketing Associate at Charlesbridge Publishing. He makes sure authors, illustrators and books gets out into the world! To learn more about Charlesbridge and the books Jordan works with visit the Charlesbridge website by clicking here.
 Kelly Carey is a co-founder of 24 Carrot Writing and the author of How Long Is Forever? (Charlesbridge, April 2020). Learn more about Kelly by visiting her website.
 Annie Cronin Romano is a co-founder of 24 Carrot Writing and the author of two children's books: Before You Sleep: A Bedtime Book of Gratitude (Page Street Kids, 2018) and Night Train: A Journey from Dusk to Dawn (Page Street Kids, 2019). To learn more about Annie, visit her website at www.anniecroninromano.com.
 I am also absolutely in love with my DesignSter Resin Bird Coat Hooks. They are awesome for office organization, and a whimsical place to hang library totes.  Amanda Smith is a co-founder of 24 Carrot Writing. Her poems "Stingray" and "Cuttlefish" can be found in the Writers' Loft's newest illustrated anthology FRIENDS AND ANEMONES: Ocean Poems for Children. Learn more about Amanda at AmandaSmithWrites.  by Annie Cronin Romano
You’ve heard the advice: read what you write. Do you write nonfiction picture books? Read hundreds of them. Are you a middle grade fantasy writer? Read all the fantasy MG you can get your hands on. Write dystopian young adult? You get the picture. Let me be clear. This is good advice. Solid advice. It is imperative to be aware of what is getting published in the area in which you write. It’s important to study it. What makes those books work? Why did it make it to the shelves? What is unique about the concept? But what writers often overlook is that it is just as important to nourish our reading souls as it is our writing knowledge. That means reaching for that book outside the genre in which you write and reading for pleasure. Grab that commercial book club novel. Dive into that mystery or psychological thriller. Itching to check out a sci-fi series? Go for it. Pour a glass of wine and crack the spine on that romance. I write picture books and middle grade, and I read as much as I can in both those areas. For quite a while, that’s all I read. But since working in a bookstore and a library for nearly a year, I’ve been reading a lot more YA and adult books of all stripes. I needed to be familiar with what was on the shelves beyond just the children’s sections. When customers and library patrons come in, I have to be prepared to offer tips and guidance in a broader range of areas. And—Surprise! Surprise!—I discovered I could learn a lot from those books that–despite not being the type of books I write--offered a window into strengthening my own writing, regardless of the genre. I found myself considering pacing, character development, plot, setting: the elements that are required in any story, inspired from a different perspective. I wondered how I could try different styles and points of view, how I could switch up my characters and make them more engaging, how I could play with setting and voice. I was still reading for pleasure, of course, but I realized that even though a book isn’t specifically a mentor text to what I write, I can still learn about the art of writing from reading it. Eureka! Of course, no matter what I read, I’m always enjoying myself. But often, I felt locked into a particular genre because it aligned with what I wrote. Now I read more outside my writing genres because it feeds my reader’s soul and, I firmly believe, makes me an even better writer. So yes, continue to read mentor texts and study the areas in which you write, but go beyond that, too. Make time to read whatever catches your fancy. Your inner reader and your thoughtful writer will thank you for it.  By Annie Cronin Romano If you’ve ever taken a workshop on novel revision, there’s a good chance you’ve heard your fellow writers mention doing frequency checks on words that are often overused. These “weed words” are words or phrases that pop up over and over in your manuscript without adding texture to your narrative. Using the “find” feature, you type in the word you want to check and then edit accordingly. But did you know the exercise of a frequency check can and should go beyond merely deleting or changing an overused word? It can help you catch stereotyped phrasing and increase your awareness of varying descriptions and vocabulary. Recently, I was completing frequency word checks while editing my middle grade novel. When I first started the revisions, I kept a running log of words I noticed I was using frequently. Rather than interrupt my flow when writing, I'd simply jot down the word in my log to check later. However, it was while doing the common words frequency check that I discovered my own personal “weed words.” For instance, I never realized how frequently I used the words “hand” "reached," and “turned” in this particular manuscript until I started the frequency check. They kept showing up! I was astounded at how often I used certain words I didn’t think of as overly-common. In finding those words, I also picked up on similarities in many of my descriptions. (Didn't she "roll her eyes" three paragraphs ago?) As I edited, my weed word list grew from about 40 words on my running list to over 100 words (i.e., adding "roll" and "eyes"), and the task at hand became much more than a find-and-replace drill. I delved deeper into my writing, examining my voice and style as I edited. Questions I began asking included, “How can I convey that feeling differently?” "Is this truly how the character would say this?" “What else can my character do to show that reaction?” and “Is this line essential/moving the story forward?” What started as a basic editing drill led me to reexamine my overall writing technique and how it impacted my story as a whole. The result was a significantly stronger manuscript. I have included a frequency words list below, which includes words I discovered I use too often (my own personal "weed words") as well as some of the usual suspects ("very," "really," "seems," etc.). Your list may look quite different, but this will give you a place to start. Sometimes your weed words may be project-specific (i.e., if you're working on a book that takes place in the desert, check for words like "sand," "dry," and "arid"). You don't have to eliminate every instance of these words; use the list as a tool to ensure you vary your vocabulary and minimize common phrasing and descriptions.  The next time you’re editing your work, consider going beyond the find-and-replace approach to thinning out your weed words, and dig down further to bring out the best in every line. Weeding, when paired with conscientious revision, will make every word sing!
 by Annie Cronin Romano March is National Reading Month, and in honor of this auspicious occasion, we at 24 Carrot Writing have decided to share some of our favorite kidlit books. I'm starting off this series by highlighting five books which have reached into my reader/writer's heart and made it skip a beat.  THE DARK DESCENT OF ELIZABETH FRANKENSTEIN, a young adult novel by Kiersten White, kept me enthralled from chapter one. This YA retelling of Mary Shelley's FRANKENSTEIN is told from the perspective of Elizabeth Lavenza and takes the reader on a journey of darkness, devotion, love, and survival that leads one to wonder who the monsters among us truly are. Atmospheric and haunting!  I adored R.J. Palacio's WHITE BIRD. This middle grade graphic novel depicts the horrors of one Jewish girl's experience during the Holocaust with tenderness and hope. Engaging illustrations add to the vividness of this story. Readers who have enjoyed WONDER and AUGGIE & ME will appreciate the connection to those stories as this story is narrated by Julian's grandmother.  One of my all time favorite middle grade novels is Sharon Creech's WALK TWO MOONS. Salamanca Tree Hiddle is a 13-year-old on a journey from Ohio to Idaho with her grandparents. During the trip, Sal entertains her grandparents with the tale of her friend, Phoebe Winterbottom, and their quest to find out why Phoebe's mother abandoned her family. Sal's story emerges through the narrative, which alternates between Sal's memories of her own mother and her telling of Phoebe's story. Layered and bittersweet, this Newbery Medal winning book of family ties, loss, and understanding the experiences of others is a must read.  If you need a smile, then reach for A LIGHT IN THE ATTIC, by Shel Silverstein. This humorous collection of poetry and sketches will add a bit of joy to any day. Full of Silverstein's imagination and whimsy, these poems grasp the minds and hearts of young readers, leading them to laugh and ponder. You're certain to crack the spine of this book again and again for another dose of wit and insight.  Enjoy a good laugh and and unexpected heroine? Than grab TYRANNOSAURUS REX VS. EDNA THE VERY FIRST CHICKEN. Tyrannosaurus Rex may frighten all the other dinosaurs, but he cannot scare Edna! This hilarious picture book, written by Douglas Rees and illustrated by Jed Henry, shows that just because you're small doesn't mean you're weak. The defiant Edna will leave you cheering! Kelly and Amanda will share some of their favorite kidlit titles in the coming weeks. In the meantime, please tell us what some of your favorites are!
~Annie  by Annie Cronin Romano The holiday season has arrived. When my children were young, one of our favorite activities to do was cuddling on the couch reading holiday picture books. Sometimes there were old favorites; other times they were the latest arrivals at our local library or bookshop. This post is a mix of holiday classics and newer arrivals to the shelves. Hopefully you'll find a few titles to add to your "must read" list (links are included with the cover images). Please share your favorite holiday picture books in the comments! SANTA MOUSE, by Michael Brown, illustrated by Edfrieda DeWitt MR. WILLOWBY'S CHRISTMAS TREE, by Robert E. Barry PICK A PINE TREE, by Patricia Toht, illustrated by Jarvis RED AND LULU, by Matt Tavares CHRISTMAS FARM, by Mary Lyn Ray, illustrated by Barry Root OSKAR AND THE EIGHT BLESSINGS, by Richard Simon & Tanya Simon, illustrated by Mark Siegel THE TREE THAT'S MEANT TO BE, by Yuval Zommer HANUKKAH BEAR, by Eric A Kimmel, illustrated by Mike Wohnoutka OLIVE, THE OTHER REINDEER, by J. Otto Seibold and Vivian Walsh SEVEN SPOOLS OF THREAD: A KWANZAA STORY, by Angela Shelf Medearis, illustrated by Daniel Minter DASHER, by Matt Tavares THE TREES OF THE DANCING GOATS, by Patricia Polacco             Happy Holidays from all of us at 24 Carrot Writing!
 by Annie Cronin Romano Most writers keep a pen and paper handy to record story ideas when inspiration strikes. You see something that captures your imagination or overhear a phrase that causes your writing detector to go on high alert, and you quickly scribble it down. Perhaps you write it a in a small notepad, or maybe you jot it down on a napkin or placement. You may even write it on your hand if there’s no paper available. I have done all of those things. Sometimes I tear out a newspaper article that has sparked a story idea or print out a news story or photograph that made my writing radar start beeping. Eventually, most writers have a folder or notebook stuffed with scraps of paper—a collection of golden story nuggets waiting to be mined for their potential. But when you finally cull through those ideas, it can be a daunting task. I recently decided to take on my “idea folder.” I took it out of my file cabinet and placed it on my desk. Where it sat. Staring at me. Cruelly. Mockingly, even. Then one day I was out browsing in a home store and spotted a display of home office supplies. As a writer, desk and stationary supplies are like candy to me, so I walked over to explore. There, on top of the pile of journals, was a hard cover spiral notebook with the words “BIG IDEAS” (typed in extremely small print, ironically) on the cover. It was fate. I bought the notebook and took it home to introduce it to my idea folder. Big Ideas notebook, meet Idea Folder. Idea Folder, I love you, but you’re a mess. Meet Big Ideas notebook.  I went through my scraps of idea notes and, one by one, began writing those sparks at the top of each notebook page. I left the rest of the page blank. One idea per page with the blank page below for brainstorming. As I have time, I open to a page, read the idea at the top, and brainstorm story thoughts, plots, characters...anything that comes to mind. Sometimes it’s a doodle. Sometimes it’s a list. Sometimes it’s a diagram or several sentences. Whatever it takes to play with the idea and see what potential stories I can tease out of it. This notebook system keeps my ideas in one space, like a folder, but organized for easy access with blank space for development. It has become the garden where I plant my story seeds and then tend to them to see what sprouts.
So go buy yourself a notebook for your Big Ideas--you know you love shopping for office supplies! Maybe even get some colorful pens to add to the joy! Then organize those randomly scattered idea gems into the notebook. Remember, just one per page. And let the brainstorming begin! Who knows where those sparks will take you. You may get a new story blazing before you know it!  By Annie Cronin Romano October is well under way with leaves of amber and crimson, cool, crisp evenings, apple cider, winding corn mazes, and, of course, Halloween! Whether it’s carving pumpkins or choosing what costume to wear trick or treating, most families have traditions they enjoy throughout the fall season. As you embrace Halloween preparations, don’t forget to visit your library or bookstore to snag a few Halloween and seasonal books, and add some new favorite reads to your October rituals. This list contains just a sampling of the entertaining spooky and autumn-themed kidlit books to be discovered. Included are both older classics and newer releases. Most I have read and enjoyed myself. A few were suggested by other avid readers. Pick one or all of them, and dive into these stories of pumpkins, scarecrows, and things that go “Boo!” in the night! PICTURE BOOKS MR. PUMPKIN’S TEA PARTY by Erin Barker ROOM ON THE BROOM by Julia Donaldson, Illustrated by Axel Scheffler THE SCARECROW by Beth Ferry, Illustrated by the Fan Brothers LOS GATOS BLACK ON HALLOWEEN! by Marisa Montes, Illustrated by Yuyi Morales SAMURAI SCARECROW: A VERY NINJA HALLOWEEN by Rubin Pingk OAK LEAF by John Sandford BIG PUMPKIN by Erica Silverman, Illustrated by S.D. Schindler THE LITTLE OLD LADY WHO WAS NOT AFRAID OF ANYTHING by Linda Williams, illustrated by Megan Lloyd
MIDDLE GRADE THE NIGHT GARDENER by Jonathan Auxier THE JUMBIES by Tracey Baptiste WATCH HOLLOW by Gregory Funaro THE GRAVEYARD BOOK by Neil Gaiman TOOK: A GHOST STORY by Mary Downing Hahn SCARY STORIES FOR YOUNG FOXES by Christian McKay Heidicker GHOST: THIRTEEN HAUNTING TALES TO TELL, a collection by Illustratus
 And a few YOUNG ADULT… MARY’S MONSTER: LOVE, MADNESS, AND HOW MARY SHELLEY CREATED FRANKENSTEIN by Lita Judge MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN by Ransom Riggs PUMPKIN HEADS: A GRAPHIC NOVEL by Rainbow Rowell, Illustrated by Faith Erin Hicks
Please share some of your favorite kidlit Halloween/fall season books in the comments.
And HAPPY HALLOWEEN! |
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