The question I was asked was: What are the particular challenges you think we (meaning children’s book authors, editors, educators, advocates, lovers of children’s literature) face?

This was my response:

“I think one of the challenges is keeping young people’s skill and interest in reading high enough to take advantage of the opportunities that will be waiting for them.

In my book Raising Bookworms: Getting Kids Reading for Pleasure and Empowerment (Beech Tree Books, 2008), I talk about how much reading skills correspond to our ability to be confident, engaged, informed citizens. They affect how well we communicate, succeed in school and in our chosen careers, and ultimately our level of personal fulfillment. In fact, order to participate fully in society and the workplace in 2020 and beyond, we will all need powerful literacy abilities. But with all that competes for our attention these days, from television to the internet to electronic games and social networking, we face the possibility of a serious decline in the reading and writing skills of the next generation.

Our strength as readers and writers is profoundly influenced by how much of it we do – the more we read, the easier it gets. The easier it gets, the more we enjoy it, so the more we read. But we have to start by actually reading – and the key lies in making that activity as attractive as all the other temptations out there. We achieve that by focusing on activities that support the joy in reading (as opposed to reading as chore, or duty)…and by ensuring that what is being read is so good that the reader gets hooked and comes back for more.

That’s why I’m dedicated to supporting children’s book authors in the continued development of their craft. We have a huge responsibility on our hands. It only takes one great book to turn someone on to reading… but those great books need to keep being written and gotten into the hands of children!”

This is why you must write that book. If you have ever felt that nudge… that gentle (or perhaps, at this point, nagging) whisper in your ear to get that idea down on paper, I am here to hold you accountable. We can only keep the next generation (and those after that) reading, and writing – and using creative expression to solve problems and promote awareness, and cultivate compassion, and address the issues before them with artfulness and thought – if we continue to provide them with the tools to do so.  And the first (and best, in my view) is a good book.

So, get writing. Who knows? You may be the next Madeleine L’Engle… but even if your story touches just one child, one heart, that’s reason enough for it to exist.  One might even say you have a responsibility to put it out there.

There are essentially two different types of conferences that children’s book authors should be aware of:

1)    the Sales and Marketing kind, at which booksellers, librarians, educators and publishers gather to confer, and most importantly, shop

2)    the Professional Deveopment/Educational kind, at which authors and illustrators gather to learn from one another and to network.

The first category encompasses the following essential book fairs, expos and festivals:

BEA/Book Expo America – Once a year, every May. Primarily for the trade -  for bookseller’s and publishers to do their “shopping” and promoting to one another. Librarians and educators also frequent BEA.  Authors should be sure their books are being represented there. www.bookexpoamerica.com

SCBWI/Society of Children’s Book Writers & Illustrators – 2 major fairs a year, one in the spring and one in the fall. The fairs are usually in New York, but there are local chapters which send out newsletters and host events that authors should be sure to take advantage of. You can find out more at http://www.scbwi.org

ALA/American Library Association – One enormously important annual fair, attended by librarians, educators and authors from all over the country. Bear in mind that ALA is also in charge of some of the most influential children’s book awards, such as the Caldecott and Newberry.  www.ala.org

Bologna Book Fair – Primarily about selling rights to the international market. http://www.bookfair.bolognafiere.it/en/

Other major national events in the industry include the LA Times Festival of Books in April (http://events.latimes.com/festivalofbooks ), TLA (the Texas Library Association) (http://www.TXLA.org) and the San Francisco Book Festival (http://www.sanfranciscobookfestival.com) – and of course, on a very local basis, there are always annual author events at local schools, bookstores and libraries, plus writers workshops, book fairs, presentations, and signings that may be worthwhile to pursue in your own district.

The second category is all about professional development and your own learning curve. These conferences are strictly for writers to learn from one another, and from editors, agents and publishers in their genre. Many of these offer credit, and afford opportunities to network and build connections that might otherwise be elusive. Some examples:

AWP – The Association of Writers and Writing Programs, which celebrates authors, teachers, writing programs, literary centers, and small press publishers. One of the biggest and liveliest literary gatherings in North America. http://www.awpwriter.org/conference/

The Southampton Children’s Literature Conference – Sponsored by Stony Brook Southampton’s MFA in Writing and Literature. Part of the acclaimed Southampton Writers Conferences (which also include fiction, memoir, poetry, playwriting and screenwriting), and rapidly becoming one of the best writers conferences in the industry. Full disclosure: I’m the director of, and teach for, this Children’s Literature Conference.  http://www.stonybrook.edu/writers

There are also a number of other statewide children’s literature and writing conferences that can be found by Googling “children’s literature conferences” or “writing conferences.”

Writing can be a lonely business, so wherever you are drawn to, confer, confer, confer!

Manuscripts that are overwritten, under-developed, derivative, riddled with mistakes, or out of touch with the marketplace often won’t make it past the pre-screener’s desk – so it’s imperative that yours is in the best possible shape before you even think of submitting it for publication or agent consideration.  The best way to do that is by hiring a freelance editor to give it the once over before you submit. It can actually make the difference between a book getting selected for publication or not.

I work with freelance editors regularly myself. Even though I am one, I can’t edit my own work – and I don’t see the weaknesses in my writing that I can spot in other people’s.  I recently got a comprehensive, page-by-page evaluation of a picture-book manuscript I’m working on that included a round of follow up questions. It was invaluable, and well worth the investment.

There are a number of editorial services to choose from.  A manuscript evaluation gives you comprehensive written feedback as to what the strengths and weaknesses of your story are, as well as recommendations for character and plot development, assessments of theme and structure, and so forth. Armed with this evaluation, you then conduct your own rewrite.  Content- or line-editing means line-by-line recommendations for changes to words, sentence structure and grammar, as well as refinements in plot, character development, theme, and narrative. This service is obviously more expensive, but depending on your needs may be more helpful.  Copy-editing is generally proof-reading and fact checking.

Finding the right editor is a little like finding the right athletic coach or teacher for your child.  You need to feel safe about placing your cherished manuscript in their hands, and trust that it will be nurtured and supported in its development and be the stronger and better for it. There are several good places to conduct a search. One is the Editorial Freelancers Association, which most freelance editors are members of. You can also find editors on Elance and Guru as well as through Media Bistro.  If you are a member of the Society of Children’s Book Writers and Illustrators (and if you aren’t a member, you should be) they will give you a pdf list of member editors they recommend. The latter is probably your best guarantee of quality.  Of course, you can also conduct a Google or other search-engine search – simply enter the words “childrens book editors” or “freelance editors” and explore the websites that come up.

The following are six steps to help you identify and select the right editor for you:

1)    Decide what type of editing service you need: manuscript evaluation, content or line editing, or proof-reading. When in doubt, go for an evaluation first. Most editors will give you a break on the price of follow-up line-editing if they have provided an evaluation first, and this can be the most cost-effective way to get the best result.

2)    Look for someone who has significant experience in the children’s book industry, either as an author or an editor – preferably both – and specifically in the genre you are writing in.

3)    Ask to see samples of their work.  Some editors will share anonymous examples of their evaluations, others will offer to line-edit two or three pages of your manuscript so that you can get a sense of whether their style and approach is simpatico with yours.

4)    Review any testimonials and endorsements, or ask for references you can contact.

5)    Ascertain their pricing structure, and be very clear about understanding what you will get for that price. If you are getting an evaluation, will it be in writing so you can refer to it later as needed?  Are you allowed any follow-up questions? Will they give you a projected schedule for completion of their work? How about a discount off of any future services?

Once you’ve researched your options, narrow it down – and then go with your gut as to who feels the most accessible, professional and right for your particular project.

The following is some basic information on social networking for children’s books… but the field is morphing so fast, that there are scores more opportunities in this area out there that even I don’t know about… so I hope those of you who are using these resources will take the time to comment and share what you know.

The prime social networking sites these days are Facebook, Twitter and LinkedIn.  (If you’re a YA writer, then MySpace is also worthwhile.) The real power comes from connecting these sites to each other (or to your blog), so that you need only post information in one place and it goes out to all of them. One way to do this is through Ping.fm – though you will also find ways on the sites themselves to connect with eachother.

Here’s the basic info:

1)  Facebook is the most used social network worldwide.  Users maintain a database of friends and update their personal profiles to notify friends about their activities. Users can also join special interest networks and groups, and become ‘fans’ of certain pages (such as the Society of Children’s Book Writers and Illustrators.)  If you are a published author, you need to have not only a basic Facebook identity but also a Facebook fan page, in order to separate your friends from your fans. You can then link these to your Twitter account…

2) Twitter is a social networking/microblogging service, through which users send (and read) messages known as tweets. Tweets are brief updates of up to 140 characters, displayed on the author’s profile page and delivered to the author’s subscribers, known as followers. ‘Tweeting’ means posting regular news updates about your activities to your followers. This can be purely social, or it can be a powerful marketing tool -  a way to build your list, and get your followers to come to your events, buy your book, etc. Bear in mind that, if you are a children’s book author, you need to be selective as to who you allow to become a follower. I have had the experience of allowing anyone to follow my tweets, then looking more closely at a follower’s icon or identity and discovering they were clearly somebody with a different agenda. You want to be sure your followers are authentically interested in children’s literature. The way to do that is to click back through to a would-be follower’s profile before you approve them as a follower. This way you can see what their information says about them.

3) LinkedIn is a business-oriented social networking site, in which users maintain a list of people they know and trust in business (called Connections). This list creates a network that consists of direct connections, the connections of each of their connections, and the connections of second- and third-degree connections (talk about six degrees!), which can then be used to explore news, jobs, and business opportunities. LinkedIn users can also join groups (such as “Childrens Publishing” or “SCBWI Members”) for news and networking with like-minded business colleagues.

4) Other Sites – There are a few other key sites for children’s book authors. Among them are JacketFlap, SCBWI.org, WritersDigest.com, and MediaBistro.com. Each of these sites requires the user to create a profile, and affords unique opportunities for users to connect and network with one another, posting and promoting news items.

Bear in mind that social networking is only as good as your profile on each site: how complete and detailed it is, and how often you update it. It is also time consuming.  For those of us looking for excuses to avoid writing, it’s a really good distraction. Because I manage Facebook and Twitter sites relative to my own stuff as well as the Julie Andrews Collection and Southampton Children’s Literature Conference, I have to give myself goals in terms of how many tweets or posts I make a week or a month relative to each of these things in order to avoid drowning in the details.

That said, there is no doubt that there is no better – or cheaper – way to build your list, or to market yourself, or your product, than to utilize this powerful resource.

The truth is, writing well for young people is a challenge.  The best authors in the genre are masters of economy and action, which can take a lifetime of study and practice to achieve. But there are a few common traps that even the most fledgling author can learn to steer clear of.

Here, then, are the six mistakes I regularly see being made by aspiring children’s book authors:

1. Wrong protagonist – Children’s books should have heroes (whether human, or anthropomorphic animal/object) of the same age or emotional spirit as their intended audience. Kids have no interest in reading about grown-ups (except for in classic fairy tales), and publishers generally won’t acquire books that make this mistake.

2. Overwriting – Standard picture book length is 32 pages, including title, dedications and acknowledgements, and no more than 1000 words. Here are some ways to strengthen and economize your writing for this market:

• Don’t write what the illustrations will show.  Art and text should complement and inform one another, not mirror.
• Start your story immediately, and with action – don’t take up time with settings or descriptions.
• Avoid excessive use of adjectives. Use juicy verbs, and distill your storytelling into as few words as possible, artfully chosen. 
• Focus on showing through character action and dialogue rather than telling (or describing).

3. Verse issues – Young readers appreciate the music and fun of verse, but many aspiring authors neglect story structure for the sake of rhyme.  If you write in verse, take a critical extra step: craft a prose version as well.  Make sure you’ve addressed all the key issues: character, plot structure, pacing, theme etc., before converting back to verse. Verse should be the frosting on the cake, not the cake itself.   Also, take care that the verse is first-rate, with true rhymes and consistency of meter. Never try to bend the phrasing or emphasis to accommodate a rhyme.

4. Lack of conflict – I am astounded by how many writers don’t understand this basic aspect of plot structure. Your hero must have a conflict, a problem to solve. Without this there is no drama, no reason to turn the page and find out what happens next. A series of events strung together is not a story. It’s just more of the same.

5. Teaming up with an illustrator. Many aspiring children’s book authors assume it is their responsibility to find an illustrator, or think it will enhance their chances of publication to do so.  In fact, publishers pride themselves on identifying the right illustrators for projects – and will often reject submissions that come with an artist attached.  Unless you are an author/illustrator, submit text only, and in standard manuscript format. (See blog post “Marketing Mondays #6, Submissions 101 for details on submission format.)

6. Submitting a manuscript before it’s ready. A large number of my editing clients come to me after they’ve already been rejected by a host of agents and editors. It’s that much harder to go back to an agent or publisher, even with a revised version of a manuscript, if you’ve already been rejected once. An editorial review or a line edit can make all the difference between a submission-worthy manuscript and a reject. Whether you hire an editor, take a class, or join a writer’s group, make sure the manuscript is in the very best shape it can be before you submit it anywhere.

But first – let me ask you a question:

*Have you ever dreamed of writing a children’s book?

*Do you have an idea for a story but don’t know where to start?

*Have you written a book, but don’t know what the next step should be?

*Would you like to join the multi-million dollar children’s book industry, but have no idea how?

Perhaps you know me as the author of many best-selling children’s books written in partnership with my mother, Julie Andrews.

I’m also a writing teacher, Director of the Southampton Children’s Literature Conference, and a freelance editor – as well as being Editorial Director for the Julie Andrews Collection publishing program.

I know first-hand how many aspiring authors dream of breaking in to the children’s book market but are stumped as to how to do so.

I want to help you make your dream of writing children’s books come true!

Introducing…

Just Write for Kids!

A Unique Home-Study Course in Writing Picture Books for Children

Whether you are starting from scratch, have an idea for a book in mind or already have a manuscript in progress, this 8-week course will turn your dream into reality. Each week, you will receive a specific lesson in writing and editing your picture book, with corresponding assignments and worksheets.

In just 8 weeks, you will have a completed manuscript in hand, ready to submit to agents and publishers and all from the comfort of your own home!

Within 8 weeks, you will…

• Learn the fundamental aspects of writing for children, including:
  • How and where to find idea’How to develop characters, map a plot and identify themes
  • How to write engaging narrative, effective dialogue, and successful beginnings, middles and endings
  • How to deal with issues like anthropomorphism, verse vs. prose and word play
  • How to edit your manuscript
• Master the language and understand the standards of today’s children’s book market
• Write a complete, submission-worthy picture-book manuscript,
• Be on your way to submitting your manuscript to agents and and publisher

Learn more at Just Write For Kids.

Joyful reading experiences are among the most important gifts we can give our children – and the children’s book market needs a fresh influx of quality books every year.

Now you can join the rewarding children’s literature business and touch the hearts and minds of the next generation.

Take the first step toward making your dream come true TODAY!

Go to Just Write For Kids!

Question: How can you turn one book into multiple sources of income, and continue to promote the original book at the same time?

Answer: Re-purpose it!

Re-purposing means converting the content from your book(s) into as many other formats as you can. Could your book make an audio book? An E-book? A web game?  Is there a possibility for a sequel? Can you turn it into a series? Can you make a picture book or graphic novel version of your novel? Can you re-purpose the same story for a younger audience, or an older audience? Can you adapt it into a song? Can you turn it into a play, or a musical? Can you create a workshop or build speaking engagements around the subject?  Can you offer teleseminars or webinars? What about a teacher’s guide? Articles for magazines or e-zines?  Is there a toy, a board game or another activity you could create? Can you make it the basis for a blog?

How many ways can you re-purpose one product?  In this way, you get paid anew for material you have already created, you offer your audiences greater value and opportunities to discover your message, and you gain more opportunities to promote the original work  – all at the same time.

Here are just some of the ways in which we have re-purposed our own books (and we’ve only begun to scratch the surface.) I hope this list might spark your own ideas as to how your story could be re-purposed as well:

The Dumpy the Dump Truck Series:

• Currently under consideration for a TV series
• Pajamas packaged with books for “Books to Bed”
• Fire safety and awareness package created for Dumpy and the Firefighters

Simeon’s Gift:

• Webgame based on the story (at www.julieandrewscollection.com)
• Teacher’s Guide
• Adapted into a musical for family audiences
• Further adapted into a symphonic performance

The Great American Mousical

• Webgame (www.julieandrewscollection.com)
• Song (“The Show Must Go On”)
• Teacher’s Guide
• Currently being adapted into a stage musical for family audiences

Raising Bookworms: Getting Kids Reading for Pleasure and Empowerment

• Blog
• Workshops and speaking engagements
• Articles for e-zines and literacy websites
• E-book

By the way, this principle doesn’t just apply to books. Never lead a workshop or give a presentation without recording it – then get the recording transcribed. You’ve now got the material for blogposts, articles, workshops and more. Always be on the lookout for the ways in which you can parlay your existing materials into new sources of income, and new ways to reach your audience with your idea.

The answer to the first question is: Ideally, yes. Agents handle everything from submitting your manuscripts to publishers, to negotiating contracts  and overseeing royalty statements, in exchange for which they take a 10-20% commission from your earnings.   Most publishers do not accept “unsolicited manuscripts,” which essentially means “un-agented manuscripts.”  There are some publishers who will accept unsolicited manuscripts directly from writers, but they are the exception rather than the rule. So your first task should be to try to find an agent to represent your work. Which brings us to the “How.”

You get an agent the same way your book finds a publishing house – by impressing them with the quality of your work. So, when submitting your work to agents for representation you need to show that you can write, that you are dedicated, and that you are capable of writing more than one book , because if they take you on they want to know that you’re going to have an ongoing relationship with them.

Most agents as well as publishers have very specific and strict submission guidelines, which are posted on their websites. Unfortunately it is NOT one size fits all.  Your best resources when it comes to finding an agent or a publisher is either the latest Literary Marketplace (best borrowed from the library as it is so large and expensive) and Children’s Writers and Illustrators Market (worth the annual investment to purchase the latest edition.)  These volumes are updated each year, and include comprehensive information as to names, addresses and submission guidelines for every publisher and agent in the industry. The annual turnover rate in this market is very high – it can be breathtaking how quickly editors move from one house to another. So you want to be sure that you’re looking at the latest version of who is who at which house before you submit.

Whether you’re shopping for an agent or a publisher, you may submit to more than one at the same time – but do make sure they know that you’re doing that.  For instance, if there is an agent you really want to work with, or that you have an inside connection to, you can flatter them by saying “I’m submitting this for your exclusive review. I would appreciate your response.” This lets them know you consider them to be special and you’ll wait to hear from them before you send it to anyone else.  And don’t forget to include your cover letter, SASE, bio, etc. from the Submissions 101 post of two weeks ago!

-  Be brief and respectful of the agent or editor’s time and expertise. Don’t try to be hip, funny or bossy…  a simple “Enclosed please find my manuscript submission for your consideration” is far better than forced cleverness or wit.

-  Define your market. i.e. “The book is intended for young readers between the ages of 5 and 9 / toddlers / teenage boys.”  Better yet, demonstrate your knowledge of the genre by indicating whether it is a picture book, middle grade novel, YA, etc.

-  Do your homework as to what the other books are in your genre, or your particular market (either via Amazon or your local library or bookstore.) Find out who wrote them, what they’re about and how well they sell/sold, so that you can show there is a market for your subject and also articulate how your approach is unique.

-  If you intend to turn your book into a series, indicate as much, and include your ideas for other titles in development within the series.

-  Always include a self-addressed, stamped return envelope. This is known in the industry as an SASE, and is a matter of respect.

Some agents and publishers require a “query letter” first. In other words, you must first ask if they want to see your manuscript before you submit. The query letter contains basic information about you and your manuscript, much like the cover letter, but is sent without the manuscript. Some offices will ask for a few sample pages of the manuscript along with your query, others just want a synopsis (check the website before you submit).  Be prepared – know which pages of your manuscript you would send as a sample if requested.

Finally, do not be surprised to hear quickly in response to your query letter, and then not hear from them again for months once they have asked to see the manuscript. Saying “yes” or “no” to a query is much easier and quicker than considering a manuscript!

Standard white paper – Don’t even think of using colored paper!

Black ink – Don’t even think of using colored ink!

Double-spaced narrative text. No dummies or proposed lay-outs.

Times or Times New Roman, #12 font. Arial and Cambria are okay too, as they’re close enough to the size of Times New Roman, but you’re really safe with Times.

1¼ inch margins (1.25) on either side, justified left and ragged on the right. That means all straight on the left margin, and uneven on the right.

Paragraphs and dialogue indented, with quotation marks around all dialogue. Every time a new person starts to speak, it’s a new indent.

Title page – a separate sheet attached to the front of your manuscript, which includes not only the working title of the manuscript and your name but also your contact information, the date, and the word count. (Yes, you must include the word count. Microsoft Word has a handy word count tool under “Tools.”) Title and byline should be centered, and contact info, date and word count are on the bottom right. (The date is the last time you edited it, not the first time you sat down to write it. And don’t worry about putting “copyright” or a copyright symbol… it can be construed as amateurism.)

Pagination – all pages numbered, either bottom center or bottom right.

Footer including your last name, and the title of the book. The reason for this is so that if your manuscript pages ever get separated in the editor’s office they can be reassembled – and it’s clear who the pages belong to.

One staple, in the top left corner.

No illustrations, and no art directions.  Just the text. This is critical – unless you are an author/illustrator. Your publisher considers it his or her job to pair a writer with the right illustrator, so absolutely DO NOT include illustrations, whether by someone you have hired, your spouse, your best friend, or your kid. The only exception here is for author/illustrators… and if you are unknown, convey your willingness to bring in a third-party illustrator (or author, if art is your forte) if need be.  I can’t tell you how many manuscripts I’ve seen get turned down because they “loved the art, but hated the text” or vice versa.

No comments or directives on the text. Don’t suggest what the art should look like, or how the pages should be broken up. Again, editors/publishers consider this part of their job, and are irritated at best (and insulted at worst) by neophyte authors who include these suggestions with their submissions. Respect the agent’s or publisher’s imagination and intelligence (and show them that you are a pro) by submitting text only, in the format described above.

Next week we’ll talk about cover and query letters – and after that, finding an agent.