Best known for creating the hilarious Charlie and Lola in addition to the Clarice Bean series, Lauren Child is an award-winning author and illustrator from England. Her body of work includes many other equally funny and creative books that I adore, such as her brilliant retelling of  The Princess and the Pea and Goldilocks and the Three Bears. She uses mixed media, combining endearing child-like sketches with collage and photos in a totally unique yet instantly recognizable style. As Lola might say, “I am an absolutely hugely enormous and big fan.”

So when I opened up Clarice Bean, That’s Me, I was particularly struck – and inspired – by the inside flap copy.

For anyone who ever loses faith that they might yet get their children’s book published one day, here’s a little gift from Lauren Child (in as close to her font/style as I could capture):

A word or two from Lauren Child about this actual Clarice Bean book…

This book was sent to lots of PUBLISHERS
Some people liked the words
Some people liked the pictures
Not many people liked them both together
Hardly anyone liked the t y p e
A few thought it shouldn’t be written from a child’s point of view
No one thought it would work as a book
the way it was
I DIDN’T WANT TO CHANGE IT

I waited for five years

I STARTED MAKING LAMPSHADES

I MIXED PAINTS FOR AN ARTIST

I BECAME A RECEPTIONIST

NOTHING happened. . .

F  i  n  a  l  l  y   I got a letter
It said, Yes
I still have it
It was one of the most exciting things
that has ever happened to me

(For more on Lauren, visit her wonderful website: www.milkmonitor.com)

I found this list particularly inspiring, and thought I would try my hand at riffing on each word, and why it’s so important to children’s book authors, over the next few blog posts.

Herewith, my humble attempt at translating the first word in Jane’s list:

Lyricism

Jane defined this as lyric sensibility, resonance and singability.  I’d add rhythm, musicality, emotion and style.

It’s the difference between “Grandfather Twilight lived among the trees” (from Grandfather Twilight by Barbara Berger) and “Once upon a time there was an old man named Grandfather Twilight who lived in the forest.”

It’s “The night Max wore his wolf suit and made mischief of one kind and another his mother called him “WILD THING!” (Where the Wild Things Are, by Maurice Sendak) versus “One night a boy named Max dressed up in a wolf suit, behaved badly and got into trouble.”

Picture books are written and designed to be read aloud with a child, so the aim of lyricism is readability. We want the text to engage the ear as much as the imagination.

Let’s look at a few other examples:

“Good night to the old lady whispering hush,” (Goodnight Moon, by Margaret Wise Brown) is so much better than “Good night to the nanny in the rocking chair,” or even, “Good night, old lady who tells me to hush.” It’s more sing-song in rhythm (of course this is a rhyming book, so it has to be) and “whispering” evokes the quiet of the room and the character of the old lady as well as of the little bunny telling the story.

“Oh, how Willie wished he could whistle!” (Whistle for Willie, by Ezra Jack Keats) is much more lyrical than “Once there was a little boy named Willie who wished he could whistle.” It’s direct, personal, emotional (the “Oh!” suggests extra passion) and the alliteration makes it totally musical.

Do you see how the lyrical sentences have style, rhythm, and/or evoke a feeling, rather than simply telling the story? The lyric quality makes them that much more fun to read, as well as to listen to.

Two last important points:

Lyricism doesn’t require wordiness (remember, the next word in Jane’s list is “compression!”), but it does require imagination and style.

Lyricism doesn’t need to be at the expense of humor. Just because something is poetic or musical doesn’t mean it can’t also be scathingly funny (just ask Shel Silverstein.)

The venerable Lois Lowry gave a superb keynote on finding ideas (during which I suddenly had a brainstorm for a new picture book idea!).  There was a very informative picture book panel led by Jane Yolen, Mark Teague and Patricia Lee Gauch. Jane shared ten words every picture book author must know – lyricism, compression, child centeredness, focus, hook, words, ‘illustratability’, motion, emotion and resolution (thank you, Jane – this gives me weeks worth of blog topics!). Mark spoke about art that has depth, and provokes wonder and a sense of mystery for the reader as to what might be going on beyond the borders of the page.  Patricia talked about “letting go to story,” the miracle of page turns and the dramatic arc as a wave, that must rise and crest and resolve itself.

The breakout sessions with editors, agents and art directors were hugely informative, and provided attendees with rare opportunities for manuscript submissions.  There was much discussion about the opportunities as well as the challenges being brought about by new technology, and there was general agreement that most editors have seen enough manuscripts about dystopian societies, vampires and psychic teens, thank you very much.  Everyone agrees that strong, simple premises, compelling and true characters and beautiful – or witty – writing will always be in demand.  Hilarious keynotes by R.L. Stine and Jules Feiffer rounded out the day’s delights.

Thank you, Lin Oliver, Stephen Mooser and everyone at SCBWI for forty years of unmatched service and support for children’s book authors and illustrators!

Simeon’s Gift – a story we wrote together when I was a child

The Great American Mousical – A mouse in my mother’s dressing room once in a Broadway theatre, plus countless mice in the theatre I ran for many years

Dragon: Hound of Honor – an entry found in a Reader’s Encyclopedia

Little Bo series – a ship’s cat we encountered once on vacation when I was a child

Julie Andrews’ Collection of Poems, Songs and Lullabies – a trusted editor

The point is, children’s book authors pull ideas from any number of areas. You can mine for story fodder from your own kids, kids you know, or from your own childhood. Try going through childhood photo albums and journals, looking at mementos, thinking about childhood friends, toys you loved, activities you used to engage in, hurdles you faced or challenges you overcame.  Home movies or scrapbooks are great resources for ideas. Often it takes just one hook – one ticket stub, one photo – to spark an idea for a story.

Other people’s children can provide great material as well – grandkids, cousins, nieces, nephews, students, neighbors – even a child you see in a restaurant or on the street.  Get in the habit of kid-watching whenever you’re out and about (try to be discreet – “I’m a children’s book writer!” only goes so far when confronted with the glares of suspicious parents or policemen…) It’s hugely important to spend time with or observing kids on a regular basis so as to stay current with how they think and talk, and what their interests and concerns are. If you don’t have ready access to kids of the age you are writing for, find a way to connect with them, perhaps by joining a Big Brother/Big Sister program or volunteering to read at a local library or school.

As you troll for ideas, don’t be daunted by whether or not the subject has already been tackled by another author. Very few ideas are truly unique. While there are hundreds of children’s books about bunnies, pigs, ducklings and princesses, the more important question is, what distinguishes yours from the others? It’s all about your unique perspective, your take on the subject.

I am very excited to announce a brand new center of information, resources and support for children’s book authors – The Children’s Book Hub!

The Children’s Book Hub is a membership-based ‘virtual salon,’ featuring lively, ongoing discussion about writing and publishing for children and young adults, as well as all the latest trends in the children’s book industry.  My goal as ‘Hub Host” is to provide the best, most valuable information, education, news and resources for established and aspiring children’s book authors of all kinds, all year long. Hub members have access to…

* Free monthly teleseminars featuring Expert Interviews with authors, editors, agents and other notable members of the children’s book industry, plus recordings of each call after the event. (Among the industry experts lined up in the coming months are marketing and public relations expert Susan Salzman Raab of Raab Associates, bestselling children’s book author Kate McMullan (“I Stink!”) and esteemed literary agents Jennie Dunham of Dunham Literary and George Nicholson of Sterling Lord Literistics.)

* Free monthly Q&A calls during which I address specific member questions, plus recordings of each call.

* A monthly Newsletter focusing on items of interest in the areas of writing, editing, marketing, publishing and selling your books.

* A ‘brain trust’ community of support via a Members’ Forum.

* News about industry trends and resources, such as conferences, workshops, festivals, organizations and associations specific to children’s literature.

* Invaluable resource materials, such as lists of publishers that accept unsolicited manuscripts, editing checklists, submission information, marketing tools and ideas,  and more.

If you’re ready to start the New Year with a powerful commitment to take the next step in your publishing dreams, then join us at the Children’s Book Hub today.  Visit www.childrensbookhub.com for details.

If you’d like to take a test run and see more of what the Hub has to offer, please join me for a Free Q&A call on Tuesday, January 11 at 7 PM EST. Click here for details.

Whether you’re an established children’s book author looking for a “think tank” community of support, or an aspiring writer who longs to touch the hearts and minds of the next generation, the Hub will help you fulfill your vision.

Here’s to a year in which all your creative dreams come true!

One of the most powerful ways to get something done is to establish the goal first.  The simple act of committing a goal to written form and then sharing it with one or more other individuals can dramatically increase the likelihood of success.

I have several different goals lists with respect to family, health, and other areas of my life – but the following are my writing-related goals for 2011. By sharing them here, I am committing to them openly and wholeheartedly:

1)   To write and deliver the two next installments in The Very Fairy Princess book series with my lovely Mom.

2)   To complete the first leg of a new book project designed to get kids writing with my good friend and other writing partner, Mariah Bruehl.

3)   To continue to provide valuable resources, support and learning for fellow children’s book authors through this blog, my editorial services, my role at the Southampton Children’s Literature Conference, and through my new Children’s Book Hub membership site – officially launching next week.

4)  To develop the next installment of my Just Write for Kids program – a middle grade writing course.

5)  To maintain a trajectory of growth as a writer through the continued pursuit of my MFA in Writing and Literature, as well as through reading, learning from, and dialoguing with, other writers.

What are your writing goals for 2011? Let’s hold each other accountable.

And a very Happy New Year to all!

Here are the details:

EVENT: Children’s Book Author Q&A Call with Emma
DATE & TIME: Tuesday, December 14th at 7:00pm EST
FORMAT: Simulcast! (Attend via Phone or Webcast — it’s your choice)
FOR FURTHER DETAILS AND TO POST YOUR QUESTIONS, CLICK THIS LINK…
http://InstantTeleseminar.com/?eventid=16461993

Please join me… and be sure to post your questions before AND during the call. If you are unable to make the live call, send me your questions nonetheless. I will attempt to answer all questions, and you can access the recording of the call after the event.
I look forward to hearing from you!

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.