I'm going to take a couple of weeks off from posting. Please rejoin me for regular Friday posts starting in January--and bring your friends. I have plenty more to talk about, from novel revisions to genres to making a career out of writing. I may even get into promoting your work, writing your bio, networking and school visits. Please help get the word out if you'd like to see this blog continue!
Enjoy your holidays, and may the new year help your writing dreams come true.
Chris
Friday, December 17, 2010
Friday, December 10, 2010
Market Research: Making it Pay Off
This is my fourth post on market research--yes, it takes time! I've been discussing how to go beyond the market guide to do targeted research. Once you have all that market information, you can use it in your queries to show the editor that you understand her needs.
“My queries are always specific,” says Molly Blaisdell, author of Rembrandt and the Boy Who Drew Dogs. “I met you at the XYZ conference. I read about you on XYZ blog. You edited XYZ book. I love that book and feel a connection to my work because of XYZ. I’m sending to you because you like XYZ.”
“I made sure my submission fit their format,” Janet Fox says of Get Organized Without Losing It. “They like email queries as opposed to snail mail. I learned the name of their submissions editor and used it. I tailored my cover letter to them. I let them know they were my first, and at the time only, choice for submission.”
“I get a sense from the submission whether the writer or artist is familiar with Scholastic’s Trade division,” said Eleni Beja, who was then Associate Editor at Scholastic. “If they mention why they’re submitting to Scholastic, and to me, and those reasons make sense, then they’ll have my attention, and gratitude. If I love the project and choose to pursue it, my efforts to get support for it can only be helped by an author’s convincing pitch.”
She gives an example: “I know you’re interested in politics and moviolas, and Scholastic published Hugo Cabret. So my illustrated novel about a girl who fixes radios, set against the backdrop of Watergate, seems like a perfect fit for you.”
On the other hand, Dial Editor Alisha Niehaus said, “I don’t need to hear about Dial or Penguin and what we publish—I know that. I want to know what makes your story exciting, original, and publishable, in as concise and entertaining a fashion as you can say it. For me, since Dial accepts full picture book manuscripts and the first ten pages of a novel, the shorter the cover letter the better.” If you’ve done your research, that will speak for itself.
For Edward Necarsulmer IV, Director of the Children’s Department at literary agency McIntosh and Otis, if someone mentions a book he agented, it makes an impression. You can use your research on publishers here as well, but only if you have something special to say. “I don’t really care what the writer says about where they want to publish,” Necarsulmer says. “But if you’ve met an editor at a conference or retreat, and they’ve asked about your work, absolutely tell me.”
Marileta Robinson, Senior Editor at Highlights for Children, says, “Information that is useful in a cover letter includes any experiences or background that make the writer especially qualified to write the story or article, and reference to any research the writer did beyond the ordinary. Although we publish many first-time authors, a writer’s published credits, especially in similar markets, make an impression.”
Even extensive market research doesn’t guarantee success, Blaisdell notes. “I think it is important to realize that we actually have no control over the sale of books. What we can control is who we offer our books to and the execution of those offers. I believe that this marketing focus will get you out of slush piles and open doors that would otherwise be closed to you.”
EXERCISE: You may not have completed your market research, but it's not too early to draft a query letter. Working on it now will help you figure out which gaps you need to fill with more research.
MORE ON QUERIES
Guide to Literary Agents by Chuck Sambuchino, had a recent series of guest agents discussing query letters, synopses and proposals.
Miss Snark, the literary agent, stopped updating her blog in 2007, but it still informative and entertaining to browse her nearly 100 posts on query letters.
Query Shark lists actual query letters with comments from the agent -- often harsh, but but insightful.
WriteOnCon has a page on Writing A Query Letter by author Jodi Meadows
Molli Nickell provides 25 REALLY Dumb Query Letter MistRakes and How to Avoid them
“My queries are always specific,” says Molly Blaisdell, author of Rembrandt and the Boy Who Drew Dogs. “I met you at the XYZ conference. I read about you on XYZ blog. You edited XYZ book. I love that book and feel a connection to my work because of XYZ. I’m sending to you because you like XYZ.”
“I made sure my submission fit their format,” Janet Fox says of Get Organized Without Losing It. “They like email queries as opposed to snail mail. I learned the name of their submissions editor and used it. I tailored my cover letter to them. I let them know they were my first, and at the time only, choice for submission.”
“I get a sense from the submission whether the writer or artist is familiar with Scholastic’s Trade division,” said Eleni Beja, who was then Associate Editor at Scholastic. “If they mention why they’re submitting to Scholastic, and to me, and those reasons make sense, then they’ll have my attention, and gratitude. If I love the project and choose to pursue it, my efforts to get support for it can only be helped by an author’s convincing pitch.”
She gives an example: “I know you’re interested in politics and moviolas, and Scholastic published Hugo Cabret. So my illustrated novel about a girl who fixes radios, set against the backdrop of Watergate, seems like a perfect fit for you.”
On the other hand, Dial Editor Alisha Niehaus said, “I don’t need to hear about Dial or Penguin and what we publish—I know that. I want to know what makes your story exciting, original, and publishable, in as concise and entertaining a fashion as you can say it. For me, since Dial accepts full picture book manuscripts and the first ten pages of a novel, the shorter the cover letter the better.” If you’ve done your research, that will speak for itself.
For Edward Necarsulmer IV, Director of the Children’s Department at literary agency McIntosh and Otis, if someone mentions a book he agented, it makes an impression. You can use your research on publishers here as well, but only if you have something special to say. “I don’t really care what the writer says about where they want to publish,” Necarsulmer says. “But if you’ve met an editor at a conference or retreat, and they’ve asked about your work, absolutely tell me.”
Marileta Robinson, Senior Editor at Highlights for Children, says, “Information that is useful in a cover letter includes any experiences or background that make the writer especially qualified to write the story or article, and reference to any research the writer did beyond the ordinary. Although we publish many first-time authors, a writer’s published credits, especially in similar markets, make an impression.”
Even extensive market research doesn’t guarantee success, Blaisdell notes. “I think it is important to realize that we actually have no control over the sale of books. What we can control is who we offer our books to and the execution of those offers. I believe that this marketing focus will get you out of slush piles and open doors that would otherwise be closed to you.”
EXERCISE: You may not have completed your market research, but it's not too early to draft a query letter. Working on it now will help you figure out which gaps you need to fill with more research.
MORE ON QUERIES
Guide to Literary Agents by Chuck Sambuchino, had a recent series of guest agents discussing query letters, synopses and proposals.
Miss Snark, the literary agent, stopped updating her blog in 2007, but it still informative and entertaining to browse her nearly 100 posts on query letters.
Query Shark lists actual query letters with comments from the agent -- often harsh, but but insightful.
WriteOnCon has a page on Writing A Query Letter by author Jodi Meadows
Molli Nickell provides 25 REALLY Dumb Query Letter MistRakes and How to Avoid them
Friday, December 3, 2010
Market Research: Personal Connections
For the last two weeks, I've been discussing market research -- not just using a market guide, but studying the markets to find the best fit for your work.
Of course, it's hard to beat a personal connection. “A great way to make contact with editors, especially those that aren't generally open to submissions, is attending writers' conferences,” says Marni McNiff, editor of Book Markets for Children's Writers and Magazine Markets for Children's Writers. “Spending the extra money for a one-on-one chat with an editor can be invaluable to a writer. It's their chance to jump from the slush pile, right into the editors hands.”
Some writers make a special effort to attend conferences hosting an editor they want to meet. Most editors will give extra attention to submissions from conference attendees, but the best way to catch an editor's eye is to sign up for a one-on-one manuscript critique or pitch session. You'll find out if the editor is interested in your work, and if so, the editor will keep an eye out for your submission.
Keeping Connections
Even if you don’t currently have a suitable submission, you might want to keep in touch if you make a personal connection with an editor. I met Mark McVeigh at a conference when he was an editor at Dutton. We had a good rapport, and continued to visit at conferences over the next few years. Some of my writing friends thought I should take advantage of the connection by sending him something—anything. But I was writing historical fiction and fantasy at the time, the two genres he dislikes.
Later, McVeigh moved to Simon & Schuster as Editorial Director at Aladdin. When I again saw him at a conference, he said he was looking for original paperback series. I had just finished one and quickly sent him the proposal and first manuscript. A month later, he called to express his interest in the Haunted series, and the series debuted in 2009 with The Ghost on the Stairs, quickly followed by The Riverboat Phantom and The Knight in the Shadows. In this case, networking paid off—but only because I waited until I had something he wanted, and didn’t waste an editor’s time with a string of inappropriate submissions, just because we had met. (When McVeigh founded his own literary agency, he e-mailed me asking if I wanted to become one of his first clients, so the relationship continues even as the specifics change.)
Edward Necarsulmer IV, Director of the Children’s Department at literary agency McIntosh and Otis, says that in order to maintain good relations, he is careful not to send submissions to the wrong editor. He typically sends picture books exclusively, and may send a novel to a handful of editors at a time. If you think your project is right for 50 different publishers, you’re not being realistic. Necarsulmer says, “Meeting with editors, reading the catalog, studying what’s out there, all leads to that ah-ha moment that this is right for a specific editor.”
EXERCISE: If your budget runs to attending a writing conference this year, check out the SCBWI website or other appropriate writing organization site, to see when and where they are holding conferences in the next year (SCBWI is working on the 2011 pull-out calendar for the Bulletin now). Some will already have the speakers listed. Do some research on those editors and agents to see if they might be a good fit for your work. If the closest conference doesn't sound appealing, look at neighboring states, or anywhere you have family and friends you might want to visit as a combined business/pleasure trip. Figure out the cost so you can start saving now.
TIP: The largest conferences aren't necessarily the best for networking. Though they may have more publishing professionals attending, your chances of meeting those people aren't as good. At a regional conference, you're more likely to be able to sign up for a critique with your preferred editor or agent, or to have a chance to chat with them over coffee or lunch. Plus, regional conferences are often more cost effective.
Of course, it's hard to beat a personal connection. “A great way to make contact with editors, especially those that aren't generally open to submissions, is attending writers' conferences,” says Marni McNiff, editor of Book Markets for Children's Writers and Magazine Markets for Children's Writers. “Spending the extra money for a one-on-one chat with an editor can be invaluable to a writer. It's their chance to jump from the slush pile, right into the editors hands.”
Some writers make a special effort to attend conferences hosting an editor they want to meet. Most editors will give extra attention to submissions from conference attendees, but the best way to catch an editor's eye is to sign up for a one-on-one manuscript critique or pitch session. You'll find out if the editor is interested in your work, and if so, the editor will keep an eye out for your submission.
Keeping Connections
Even if you don’t currently have a suitable submission, you might want to keep in touch if you make a personal connection with an editor. I met Mark McVeigh at a conference when he was an editor at Dutton. We had a good rapport, and continued to visit at conferences over the next few years. Some of my writing friends thought I should take advantage of the connection by sending him something—anything. But I was writing historical fiction and fantasy at the time, the two genres he dislikes.
Later, McVeigh moved to Simon & Schuster as Editorial Director at Aladdin. When I again saw him at a conference, he said he was looking for original paperback series. I had just finished one and quickly sent him the proposal and first manuscript. A month later, he called to express his interest in the Haunted series, and the series debuted in 2009 with The Ghost on the Stairs, quickly followed by The Riverboat Phantom and The Knight in the Shadows. In this case, networking paid off—but only because I waited until I had something he wanted, and didn’t waste an editor’s time with a string of inappropriate submissions, just because we had met. (When McVeigh founded his own literary agency, he e-mailed me asking if I wanted to become one of his first clients, so the relationship continues even as the specifics change.)
Edward Necarsulmer IV, Director of the Children’s Department at literary agency McIntosh and Otis, says that in order to maintain good relations, he is careful not to send submissions to the wrong editor. He typically sends picture books exclusively, and may send a novel to a handful of editors at a time. If you think your project is right for 50 different publishers, you’re not being realistic. Necarsulmer says, “Meeting with editors, reading the catalog, studying what’s out there, all leads to that ah-ha moment that this is right for a specific editor.”
EXERCISE: If your budget runs to attending a writing conference this year, check out the SCBWI website or other appropriate writing organization site, to see when and where they are holding conferences in the next year (SCBWI is working on the 2011 pull-out calendar for the Bulletin now). Some will already have the speakers listed. Do some research on those editors and agents to see if they might be a good fit for your work. If the closest conference doesn't sound appealing, look at neighboring states, or anywhere you have family and friends you might want to visit as a combined business/pleasure trip. Figure out the cost so you can start saving now.
TIP: The largest conferences aren't necessarily the best for networking. Though they may have more publishing professionals attending, your chances of meeting those people aren't as good. At a regional conference, you're more likely to be able to sign up for a critique with your preferred editor or agent, or to have a chance to chat with them over coffee or lunch. Plus, regional conferences are often more cost effective.
Friday, November 26, 2010
Market Research: A Reader's Approach
Last week, I talked about the importance of going beyond market guides when researching potential publishers for your work. Since most authors are also devoted readers within the genre they write, your reading time can be part of your research.
Molly Blaisdell, author of Rembrandt and the Boy Who Drew Dogs (Barron’s Educational Series, 2008), starts market research with “a reader’s approach. I have a book journal [with notes]. I learn about books all over—networking at conferences, going to bookstores, chatting with folks online. I don’t look at trends. I don’t care how much the advance was. I only look at what I like. Did I care enough to read this book? If I did, I might want to do business with these people.”
After gathering this information, Blaisdell keeps it organized with a submission spreadsheet. “I start a new line every time I learn the name of a new house or editor that I am interested in. After some research I will add the title of my book that I think best connects with that house. I gather hard concrete evidence about what these editors and agents like: books, genres, etc. That stuff goes in the comments. If I glance down my spreadsheet, my last 20 submissions all led to personal responses [such as] requested manuscripts or at the least a wish to see more work.”
Blaisdell gives an example of how market research worked for her. “I wanted to write an art book. I looked into what houses sell those kinds of books. Then I heard a tip at a conference, from a writer, that one house was considering publishing more art books. I wrote a one paragraph query letter on the basis of my research and that conference tip. I was able to convey in very few lines that I knew the exactly what kind of books this house published and I was aware of the publishing house’s goal.” The query led to the sale of Rembrandt and the Boy Who Drew Dogs.
Online or at the Library
All this research can sound overwhelming, but, Blaisdell says, “You have to be pretty lazy these days to not target houses. Just Google the editor’s name! Don’t know the editor? Google the name with ‘editor’ and the book title and the author’s name. Nine times out of ten you are done. Research has become very simple. I have several bookmarked websites that I check on a regular basis. If the editor or agent that you are interested in has a blog, you need to become a faithful reader and post on it sometimes.”
Don't neglect old-fashioned research either—at the library. Shutta Crum, a retired librarian and author of A Family for Old Mill Farm (Clarion, 2007), says, “I am always amazed about how little some writers use their public libraries for research. Not only are the important titles, like the Literary Market Place, in most reference collections, but many libraries subscribe to databases that are worthwhile for authors. Often these databases are available to home users by simply inputting their library card number and a pin number.”
Is market research starting to sound exhausting? It is a lot of work. With all the information available, beware of getting carried away by market research. “The tricky thing is not wasting your time,” Blaisdell says. “You should be working toward creating a list of targeted editors. Do not collect any information about anyone that is not a real connection. Do not put a name in your spreadsheet without a reason!”
EXERCISE: Take the list of publishers you developed last week and start doing further research, either online or at the library. Make a short list of books from each publisher—ones in the same genre and age group as yours, which you've read or plan to get and read.
Next week: We'll discuss how the value of personal connections—how to use them and not abuse them.
Research Help
World Catalog lists books in collections around the world (non-fiction and some fiction). Do a subject search to see what has already been written on your topic.
Books in Print and Books Out Of Print, by Gale Research Company, available through many libraries, are also good places to check on titles and subjects.
NoveList is a fiction database with reviews, annotations, and more, searchable by author, title, plot and series. It’s available at many libraries.
CYNSATIONS has fabulous editor and author interviews.
Robin Friedman has more editor interviews.
Verla Kay’s message board is a popular site for networking and information.
Molly Blaisdell, author of Rembrandt and the Boy Who Drew Dogs (Barron’s Educational Series, 2008), starts market research with “a reader’s approach. I have a book journal [with notes]. I learn about books all over—networking at conferences, going to bookstores, chatting with folks online. I don’t look at trends. I don’t care how much the advance was. I only look at what I like. Did I care enough to read this book? If I did, I might want to do business with these people.”
After gathering this information, Blaisdell keeps it organized with a submission spreadsheet. “I start a new line every time I learn the name of a new house or editor that I am interested in. After some research I will add the title of my book that I think best connects with that house. I gather hard concrete evidence about what these editors and agents like: books, genres, etc. That stuff goes in the comments. If I glance down my spreadsheet, my last 20 submissions all led to personal responses [such as] requested manuscripts or at the least a wish to see more work.”
Blaisdell gives an example of how market research worked for her. “I wanted to write an art book. I looked into what houses sell those kinds of books. Then I heard a tip at a conference, from a writer, that one house was considering publishing more art books. I wrote a one paragraph query letter on the basis of my research and that conference tip. I was able to convey in very few lines that I knew the exactly what kind of books this house published and I was aware of the publishing house’s goal.” The query led to the sale of Rembrandt and the Boy Who Drew Dogs.
Online or at the Library
All this research can sound overwhelming, but, Blaisdell says, “You have to be pretty lazy these days to not target houses. Just Google the editor’s name! Don’t know the editor? Google the name with ‘editor’ and the book title and the author’s name. Nine times out of ten you are done. Research has become very simple. I have several bookmarked websites that I check on a regular basis. If the editor or agent that you are interested in has a blog, you need to become a faithful reader and post on it sometimes.”
Don't neglect old-fashioned research either—at the library. Shutta Crum, a retired librarian and author of A Family for Old Mill Farm (Clarion, 2007), says, “I am always amazed about how little some writers use their public libraries for research. Not only are the important titles, like the Literary Market Place, in most reference collections, but many libraries subscribe to databases that are worthwhile for authors. Often these databases are available to home users by simply inputting their library card number and a pin number.”
Is market research starting to sound exhausting? It is a lot of work. With all the information available, beware of getting carried away by market research. “The tricky thing is not wasting your time,” Blaisdell says. “You should be working toward creating a list of targeted editors. Do not collect any information about anyone that is not a real connection. Do not put a name in your spreadsheet without a reason!”
EXERCISE: Take the list of publishers you developed last week and start doing further research, either online or at the library. Make a short list of books from each publisher—ones in the same genre and age group as yours, which you've read or plan to get and read.
Next week: We'll discuss how the value of personal connections—how to use them and not abuse them.
Research Help
World Catalog lists books in collections around the world (non-fiction and some fiction). Do a subject search to see what has already been written on your topic.
Books in Print and Books Out Of Print, by Gale Research Company, available through many libraries, are also good places to check on titles and subjects.
NoveList is a fiction database with reviews, annotations, and more, searchable by author, title, plot and series. It’s available at many libraries.
CYNSATIONS has fabulous editor and author interviews.
Robin Friedman has more editor interviews.
Verla Kay’s message board is a popular site for networking and information.
Friday, November 19, 2010
Making the Most of Market Research
New market guides are coming out soon. Maybe you've put one on your holiday wish list, or maybe you'll visit the library to browse one there. That's a good starting place for market research, but it isn't enough. The next few posts will discuss how you can help your submission rise out of the slush pile. These posts are excerpted and adapted from an article first published in Children's Writer's Guide to 2009.
Eleni Beja, who was then Associate Editor at Scholastic, said she saw few submissions that are perfectly targeted. “For every ten,” she said, “I’ll see about two that are right for Scholastic. Of the two, I’ll see nil-to-one that are right for Scholastic and me.”
Dial Editor Alisha Niehaus said, “I’ve only seen something truly inappropriate a couple of times. More commonly, someone will send a project that’s too commercial for Dial, or on a topic in which we have a strong backlist—things which, no matter what their merit, won’t fit on our list.”
The same “close but not quite” holds true for magazines, according to Marileta Robinson, Senior Editor at Highlights for Children. “The majority of submissions we see are in the ballpark of meeting our guidelines. That’s not to say that the majority are right for Highlights. Tone, length, writing quality, age appropriateness, and subject matter have a great deal to do with a manuscript’s chances of success.”
Digging Deeper
A market guide is a great place to start. They list hundreds of publishers, with details about what the editors want. Most include a category index. According to Marni McNiff, editor of Book Markets for Children's Writers and Magazine Markets for Children's Writers, “Using the extensive category index in the back of the book can help you to narrow your market selections based on age range and topic. Writers should read through several listings that they feel would be a good fit for their piece [and] follow their writers' guidelines carefully.”
After identifying a few publishers, authors should do more targeted research, Robinson suggests. “Reading the guidelines and current needs posted on our web site and studying several issues of the magazine can help a writer learn what we are and are not looking for.”
Edward Necarsulmer IV, Director of the Children’s Department at literary agency McIntosh and Otis, does some research “the old-fashioned way”—drinks or lunch with editors. Authors don’t have that option, but they can use his other techniques. “Publisher’s catalogs are enormous resources for us. I can really see an imprint’s style.” Catalogs also let him know about the publisher’s other policies, such as what rights they’re buying. Authors can find publisher’s catalogs online, request them from the publisher, or ask bookstores and libraries to pass along the ones they’ve used.
Janet Fox describes the research she did to sell Get Organized Without Losing It (Free Spirit Publishing, 2006). “My book idea was non-fiction, for middle grades, and for kids who have trouble getting and staying organized. I looked at existing books on organizational skills for older kids and adults, talked with teachers and librarians, and analyzed the demand for the type of book I proposed.” She checked Books in Print and found nothing current for her target audience.
“Then I researched publishing houses. I was looking for a publisher that specialized in books for kids and adults, whose focus was on self-help. That is Free Spirit’s mission statement. Of course, I looked at their online and paper catalog, and had already seen a number of their books, and felt that the manuscript I was drafting fit hand in glove with their other offerings, which included a book for older teens on study skills.”
EXERCISE: Use the category index in your market guide to make a short list of publishers appropriate for one of your manuscripts. Then prepare to do more research over the following weeks.
Next week: book journals, submission spreadsheet and Google.
Market Guides
Book Markets for Children's Writers and Magazine Markets for Children's Writers list hundreds of publishers, with information about submission policies and needs.
Children's Writer's & Illustrator's Market offers similar information.
Writer's Market also has an online subscription option with a searchable database.
The Society of Children's Book Writers and Illustrators has many market guides, updated yearly, available online to members. “Edited By” lists books edited by particular editors. The Bulletin newsletter has frequent updates.
Eleni Beja, who was then Associate Editor at Scholastic, said she saw few submissions that are perfectly targeted. “For every ten,” she said, “I’ll see about two that are right for Scholastic. Of the two, I’ll see nil-to-one that are right for Scholastic and me.”
Dial Editor Alisha Niehaus said, “I’ve only seen something truly inappropriate a couple of times. More commonly, someone will send a project that’s too commercial for Dial, or on a topic in which we have a strong backlist—things which, no matter what their merit, won’t fit on our list.”
The same “close but not quite” holds true for magazines, according to Marileta Robinson, Senior Editor at Highlights for Children. “The majority of submissions we see are in the ballpark of meeting our guidelines. That’s not to say that the majority are right for Highlights. Tone, length, writing quality, age appropriateness, and subject matter have a great deal to do with a manuscript’s chances of success.”
Digging Deeper
A market guide is a great place to start. They list hundreds of publishers, with details about what the editors want. Most include a category index. According to Marni McNiff, editor of Book Markets for Children's Writers and Magazine Markets for Children's Writers, “Using the extensive category index in the back of the book can help you to narrow your market selections based on age range and topic. Writers should read through several listings that they feel would be a good fit for their piece [and] follow their writers' guidelines carefully.”
After identifying a few publishers, authors should do more targeted research, Robinson suggests. “Reading the guidelines and current needs posted on our web site and studying several issues of the magazine can help a writer learn what we are and are not looking for.”
Edward Necarsulmer IV, Director of the Children’s Department at literary agency McIntosh and Otis, does some research “the old-fashioned way”—drinks or lunch with editors. Authors don’t have that option, but they can use his other techniques. “Publisher’s catalogs are enormous resources for us. I can really see an imprint’s style.” Catalogs also let him know about the publisher’s other policies, such as what rights they’re buying. Authors can find publisher’s catalogs online, request them from the publisher, or ask bookstores and libraries to pass along the ones they’ve used.
Janet Fox describes the research she did to sell Get Organized Without Losing It (Free Spirit Publishing, 2006). “My book idea was non-fiction, for middle grades, and for kids who have trouble getting and staying organized. I looked at existing books on organizational skills for older kids and adults, talked with teachers and librarians, and analyzed the demand for the type of book I proposed.” She checked Books in Print and found nothing current for her target audience.
“Then I researched publishing houses. I was looking for a publisher that specialized in books for kids and adults, whose focus was on self-help. That is Free Spirit’s mission statement. Of course, I looked at their online and paper catalog, and had already seen a number of their books, and felt that the manuscript I was drafting fit hand in glove with their other offerings, which included a book for older teens on study skills.”
EXERCISE: Use the category index in your market guide to make a short list of publishers appropriate for one of your manuscripts. Then prepare to do more research over the following weeks.
Next week: book journals, submission spreadsheet and Google.
Market Guides
Book Markets for Children's Writers and Magazine Markets for Children's Writers list hundreds of publishers, with information about submission policies and needs.
Children's Writer's & Illustrator's Market offers similar information.
Writer's Market also has an online subscription option with a searchable database.
The Society of Children's Book Writers and Illustrators has many market guides, updated yearly, available online to members. “Edited By” lists books edited by particular editors. The Bulletin newsletter has frequent updates.
Friday, October 1, 2010
Paragraphing for Cliffhangers
I've talked a lot about cliffhangers in recent months. I've explored how to find your cliffhanger moments, then how to draw those out by focusing on suspense rather than surprise and using lots of detail. One step remains: paragraphing for maximum dramatic impact.
My favorite writing book ever, Self-Editing for Fiction Writers, by Renni Browne and Dave King, has a whole chapter on paragraph breaks. They note that you can add tension to a scene by using short paragraphs. With short paragraphs, the reader's eyes move more quickly down the page, subconsciously giving a sense of speed. Short paragraphs—and short sentences—also mimic the way we speak when we are upset, anxious, or in a hurry.
Let's look at an example from Haunted 2: The Riverboat Phantom. This chapter ending could be done as one full paragraph, as only one person speaks, and the action only takes a few moments.
“Wait!” Tania shrieked as she stumbled forward, arms reaching out. I leapt toward her to catch her but realized too late that she wasn’t talking to me, or reaching for me. Her hand moved like she was grabbing an invisible arm, then she gasped and pulled back, hugging the hand to her body. My momentum carried me forward, even as I tried to stop. I felt the cold first on my arms, like icy vice grips squeezing my biceps, then waves of cold flowed down to my hands, up to my shoulders, and all through my body. I tried to breathe, but my chest felt too tight. My vision blurred and darkened. The last thing I saw was Tania’s horrified face, before I fell.
But that big paragraph with long sentences gives a feel of rambling narrative. In comparison, the following version (as published), uses shorter paragraphs and shorter sentences, focusing down to a single three-word sentence in the final paragraph, which gives each moment clarity and impact.
“Wait!” Tania shrieked. She stumbled forward, arms reaching out. I leapt toward her to catch her.
Too late, I realized she wasn’t talking to me, or reaching for me. Her hand moved like she was grabbing an invisible arm. She gasped and pulled back, hugging the hand to her body.
My momentum carried me forward, even as I tried to stop. I felt the cold first on my arms, like icy vice grips squeezing my biceps. Then waves of cold flowed down to my hands, up to my shoulders, all through my body.
I tried to breathe, but my chest felt too tight.
My vision blurred, darkened. The last thing I saw was Tania’s horrified face.
And I fell.
Exercises: Study a few published books. Flip through a chapter, not reading it, but looking at the white space. Does it change toward the end of the chapter, with shorter paragraphs? Then look at sentence lengths—do they change toward the end of the chapter?
If the book you're studying does not change (and many published books do not), try rewriting the chapter ending using the cliffhanger techniques I've been discussing —suspense rather than surprise, plenty of detail, and finally short paragraphs and short sentences.
Then look at some of your own work. Can you add drama to the chapter endings with these techniques? Good luck!
My favorite writing book ever, Self-Editing for Fiction Writers, by Renni Browne and Dave King, has a whole chapter on paragraph breaks. They note that you can add tension to a scene by using short paragraphs. With short paragraphs, the reader's eyes move more quickly down the page, subconsciously giving a sense of speed. Short paragraphs—and short sentences—also mimic the way we speak when we are upset, anxious, or in a hurry.
Let's look at an example from Haunted 2: The Riverboat Phantom. This chapter ending could be done as one full paragraph, as only one person speaks, and the action only takes a few moments.
“Wait!” Tania shrieked as she stumbled forward, arms reaching out. I leapt toward her to catch her but realized too late that she wasn’t talking to me, or reaching for me. Her hand moved like she was grabbing an invisible arm, then she gasped and pulled back, hugging the hand to her body. My momentum carried me forward, even as I tried to stop. I felt the cold first on my arms, like icy vice grips squeezing my biceps, then waves of cold flowed down to my hands, up to my shoulders, and all through my body. I tried to breathe, but my chest felt too tight. My vision blurred and darkened. The last thing I saw was Tania’s horrified face, before I fell.
But that big paragraph with long sentences gives a feel of rambling narrative. In comparison, the following version (as published), uses shorter paragraphs and shorter sentences, focusing down to a single three-word sentence in the final paragraph, which gives each moment clarity and impact.
“Wait!” Tania shrieked. She stumbled forward, arms reaching out. I leapt toward her to catch her.
Too late, I realized she wasn’t talking to me, or reaching for me. Her hand moved like she was grabbing an invisible arm. She gasped and pulled back, hugging the hand to her body.
My momentum carried me forward, even as I tried to stop. I felt the cold first on my arms, like icy vice grips squeezing my biceps. Then waves of cold flowed down to my hands, up to my shoulders, all through my body.
I tried to breathe, but my chest felt too tight.
My vision blurred, darkened. The last thing I saw was Tania’s horrified face.
And I fell.
Exercises: Study a few published books. Flip through a chapter, not reading it, but looking at the white space. Does it change toward the end of the chapter, with shorter paragraphs? Then look at sentence lengths—do they change toward the end of the chapter?
If the book you're studying does not change (and many published books do not), try rewriting the chapter ending using the cliffhanger techniques I've been discussing —suspense rather than surprise, plenty of detail, and finally short paragraphs and short sentences.
Then look at some of your own work. Can you add drama to the chapter endings with these techniques? Good luck!
Friday, September 10, 2010
Cliffhanger Cheats
Yes, we're still talking about cliffhangers (I love them so much!) But there are some I don't love—the cheats. These can do more harm than good.
Cheat cliffhangers come in two flavors. The first involves a fake or misleading cliffhanger moment. I remember reading an older book about a certain famous girl detective. She and her friends were investigating mysterious happenings in an old castle. In one chapter, they were standing on a cliff, looking at the castle. Suddenly a storm blows up! Lightning hits the tree next to them! A branch falls!
…. And at the start of the next chapter, they leaped out of the way, then go about their business. The storm had nothing to do with the plot, and wasn't even set up. This kind of random, forced cliffhanger is more likely to leave the reader feeling baffled than excited.
The lesson here: Cliffhangers should fit naturally into the plot. If you don't have a cliffhanger moment, revise your plot to add one, rather than trying to force one in. (It can be fun to occasionally have tense moments that turns silly, such as a vicious-looking dog that leaps toward your main character, only to cover her face with slobbery kisses. This builds tension, then releases it with comic relief. Don't use these so often that your readers come to expect them, though, or they won’t believe in the danger.)
The second kind of weak cliffhanger is the "If I had known" ending. You see it far too often -- everything seems to be going well, but the narrator says, "If I had known then what would happen, I never would have gone," or something similar. These endings pull me out of the story. I was right there with the narrator, in the present. But wait, now she's talking from future knowledge? When is now? It’s even more clunky when it's a third person narrator. Don't jump through time to give us insight that the character doesn't have yet. It's lazy, and feels like the author is saying, "I know it's not exciting right now, but just wait! It gets better!" Don't tell me it will be exciting, make it exciting now.
So what do you do if you have to end a chapter when things are going well? Even in good times, you can still have foreboding. In the (not yet published) fourth Haunted book, I had a moment where everything seemed under control, but I ended the chapter like this:
I still had a bad feeling. I tried to shake it off. What did I think I was, psychic?
But I didn't have to be psychic to know that nothing comes easily, or without a price.
This keeps us in the moment, in Jon's head, but because he feels uneasy, the reader gets the sense that things aren't so great after all. (See my post two weeks ago for more on how to end a chapter in a quiet moment, and still have a sense that the story is driving forward.)
But what if you want your character to mistakenly believe that everything is fine, with no sense of danger ahead? This can lead to even greater drama, when the character’s expectations are cruelly disappointed. Here's a neat little trick. From our experiences in reading, we expect reversals. When we hear "Nothing could possibly go wrong now," what do we expect? Yes, we expect chaos and destruction to follow. In literature, the sense that everything is perfect actually leads us to expect the opposite (except at the very end of the book). Note that this works for middle grade through adult readers, but not for younger readers, who don't have the story experience to expect reversals.
Next week—cliffhangers in picture books!
Cheat cliffhangers come in two flavors. The first involves a fake or misleading cliffhanger moment. I remember reading an older book about a certain famous girl detective. She and her friends were investigating mysterious happenings in an old castle. In one chapter, they were standing on a cliff, looking at the castle. Suddenly a storm blows up! Lightning hits the tree next to them! A branch falls!
…. And at the start of the next chapter, they leaped out of the way, then go about their business. The storm had nothing to do with the plot, and wasn't even set up. This kind of random, forced cliffhanger is more likely to leave the reader feeling baffled than excited.
The lesson here: Cliffhangers should fit naturally into the plot. If you don't have a cliffhanger moment, revise your plot to add one, rather than trying to force one in. (It can be fun to occasionally have tense moments that turns silly, such as a vicious-looking dog that leaps toward your main character, only to cover her face with slobbery kisses. This builds tension, then releases it with comic relief. Don't use these so often that your readers come to expect them, though, or they won’t believe in the danger.)
The second kind of weak cliffhanger is the "If I had known" ending. You see it far too often -- everything seems to be going well, but the narrator says, "If I had known then what would happen, I never would have gone," or something similar. These endings pull me out of the story. I was right there with the narrator, in the present. But wait, now she's talking from future knowledge? When is now? It’s even more clunky when it's a third person narrator. Don't jump through time to give us insight that the character doesn't have yet. It's lazy, and feels like the author is saying, "I know it's not exciting right now, but just wait! It gets better!" Don't tell me it will be exciting, make it exciting now.
So what do you do if you have to end a chapter when things are going well? Even in good times, you can still have foreboding. In the (not yet published) fourth Haunted book, I had a moment where everything seemed under control, but I ended the chapter like this:
I still had a bad feeling. I tried to shake it off. What did I think I was, psychic?
But I didn't have to be psychic to know that nothing comes easily, or without a price.
This keeps us in the moment, in Jon's head, but because he feels uneasy, the reader gets the sense that things aren't so great after all. (See my post two weeks ago for more on how to end a chapter in a quiet moment, and still have a sense that the story is driving forward.)
But what if you want your character to mistakenly believe that everything is fine, with no sense of danger ahead? This can lead to even greater drama, when the character’s expectations are cruelly disappointed. Here's a neat little trick. From our experiences in reading, we expect reversals. When we hear "Nothing could possibly go wrong now," what do we expect? Yes, we expect chaos and destruction to follow. In literature, the sense that everything is perfect actually leads us to expect the opposite (except at the very end of the book). Note that this works for middle grade through adult readers, but not for younger readers, who don't have the story experience to expect reversals.
Next week—cliffhangers in picture books!
Friday, September 3, 2010
A Little Change for A Lot More Tension
If you've been following this blog, you know I'm a fan of cliffhanger chapter endings, whether that means pausing in the middle of an action scene, or simply ending in a quieter moment that still looks forward. So once you've chosen your cliffhanger moment, how do you make the most of it?
Sometimes you may need to add a little new material -- new thoughts, new dialogue, or even a twist in the action -- in order to build a proper cliffhanger moment. As a bonus, this may take your story in new and interesting directions.
Examples:
In Haunted: The Ghost on the Stairs, I had a scene where the kids call their father. He is a scientist who does not believe in ghosts, so they are trying to get advice on how he would research ghosts, without letting him know what's going on. To add more tension—and a cliffhanger ending—I had Mom walk in during the conversation and get upset over what she heard and misunderstood. That's much more powerful than just having the kids say goodbye to Dad and hang up. Plus, it adds a twist to the story as Mom, feeling guilty about neglecting her kids, decides to spend the whole next day with them, interfering with their plans.
In Haunted: The Riverboat Phantom, I didn’t have this ploy of Tania’s in the original outline, but needed to end the chapter with something more than just having the kids walk off.
“I wish we could do something about Madame Natasha,” Tania said. “She makes Mom unhappy, and she’s poking in our business. We’ve just got to get rid of her.”
I rubbed my hands over my face and yawned. I still felt kind of weak after my ghost encounter. “One thing at a time, OK? Let’s deal with Henry O’Brien [the ghost] first.”
Tania got that look in her eyes. The one that means trouble ahead. “But maybe they’re not separate problems. Mr. O’Brien seems ready to believe the worst of everybody. And if there’s one person who deserves it, it’s Madame Natasha!”
“You want to sic Henry O’Brien on her?”
“Why not? It’s about time a ghost did us a favor.”
This encourages the reader to turn the page, to find out just how they sic the ghost on the fake psychic, and whether it works.
Exercise: Look over your chapter endings and see if a minor tweak to the action could create a more powerful cliffhanger. (See my June posts on cliffhangers for more help.)
Next week -- keeping your cliffhangers honest.
Sometimes you may need to add a little new material -- new thoughts, new dialogue, or even a twist in the action -- in order to build a proper cliffhanger moment. As a bonus, this may take your story in new and interesting directions.
Examples:
In Haunted: The Ghost on the Stairs, I had a scene where the kids call their father. He is a scientist who does not believe in ghosts, so they are trying to get advice on how he would research ghosts, without letting him know what's going on. To add more tension—and a cliffhanger ending—I had Mom walk in during the conversation and get upset over what she heard and misunderstood. That's much more powerful than just having the kids say goodbye to Dad and hang up. Plus, it adds a twist to the story as Mom, feeling guilty about neglecting her kids, decides to spend the whole next day with them, interfering with their plans.
In Haunted: The Riverboat Phantom, I didn’t have this ploy of Tania’s in the original outline, but needed to end the chapter with something more than just having the kids walk off.
“I wish we could do something about Madame Natasha,” Tania said. “She makes Mom unhappy, and she’s poking in our business. We’ve just got to get rid of her.”
I rubbed my hands over my face and yawned. I still felt kind of weak after my ghost encounter. “One thing at a time, OK? Let’s deal with Henry O’Brien [the ghost] first.”
Tania got that look in her eyes. The one that means trouble ahead. “But maybe they’re not separate problems. Mr. O’Brien seems ready to believe the worst of everybody. And if there’s one person who deserves it, it’s Madame Natasha!”
“You want to sic Henry O’Brien on her?”
“Why not? It’s about time a ghost did us a favor.”
This encourages the reader to turn the page, to find out just how they sic the ghost on the fake psychic, and whether it works.
Exercise: Look over your chapter endings and see if a minor tweak to the action could create a more powerful cliffhanger. (See my June posts on cliffhangers for more help.)
Next week -- keeping your cliffhangers honest.
Friday, August 27, 2010
More on Cliffhangers
I've discussed cliffhangers before, but it's a subject worth revisiting. I read many manuscripts and even published books that don't take advantage of the power of a good cliffhanger. Back in June, I discussed how to focus on suspense rather than surprise for a cliffhanger. But what if your book doesn't have big physical action scenes? Or what if you need to end a chapter in a quieter moment, because that moment will be followed by a large jump in time or place?
You can still use a version of a cliffhanger. Try to focus on a moment that is powerful emotionally, and still looks toward the future, whether because of anticipation of what comes next or disappointment over what just happened.
Examples:
In The Amethyst Road, by Louise Spiegler, the main character spends much of the book searching for her mother. She believes finding her mother will solve her problems, but instead of a joyful reunion, their meeting goes like this:
“Her gaze swept over me. The hollows in her cheeks and under her eyes stood out like smudges of dirt. It had been three years since I’d seen her, but she’d aged at least ten. Her expression was measuring, distrustful. She moved as if expecting harm.
I fell back. Did she fear me? Was it possible—did she not know who I was?
Serena pushes on, making contact, and finally explaining her problem to her mother. Serena's sister has had a baby, who has been taken by "The Cruelty," a sinister version of child protective services. This chapter ends with another twist against Serena's expectations and hope, a severe disappointment which will force her to start solving her problem from scratch:
Mother’s smile vanished. "But, Serena, how can I help? The Cruelty won't even let me care for my own children." She raised her face to mine. "Look at me. I can hardly help myself, daughter. How can I help you?
In I Am Jack by Susanne Gervay, Jack is having a problem at school, and desperately needs help. Even the frustration of not being able to get a mother's attention can provide a cliffhanger, as you see by this Chapter 1 ending:
At last, Mom to myself. “Mom, Mom.” She is making dinner already and Samantha’s helping her with the pasta sauce.
“Later, Jack darling. When I’m finished making dinner.”
“Don’t call me darling, Mom.” I slump onto the couch. Later. That’s a joke. Rob will be here soon and then there will be dinner, washing up and I have to have a shower and there’s homework and television. Mom will be tired. There’ll be NO time and I HAVE to talk to Mom.
I think I’m in BIG trouble.
Sometimes you may even have a dramatic cliffhanger moment, but if you end the chapter there, you have only a couple of paragraphs before jumping to a new scene. It may feel more natural to end the chapter at the end of the scene or end of the day. That’s fine, if you still set up anticipation, as Joni Sensel does in The Farwalker's Quest:
They worked out a plan. After Pres left them to sleep, Ariel and Zeke only lay back and gazed at the ceiling. His toes, warm against her calf, seemed to say all that was needed between them. This night in a real bed would be the last for long time to come.
That last sentence emphasizes that their challenging journey isn't over yet. It's a quiet moment, but it promises more action to come. So go ahead and end in a quieter moment sometimes—so long as you're still looking forward.
Exercise: Go through your manuscript, or even a published book. Look for quiet chapter endings. Do they still drive the story forward, with anticipation for the future? If not, can you rewrite them so that they will?
Check back over the next two weeks for suggestions on minor story adjustments that can put power behind your cliffhangers, followed by a discussion of cliffhangers in picture books.
You can still use a version of a cliffhanger. Try to focus on a moment that is powerful emotionally, and still looks toward the future, whether because of anticipation of what comes next or disappointment over what just happened.
Examples:
In The Amethyst Road, by Louise Spiegler, the main character spends much of the book searching for her mother. She believes finding her mother will solve her problems, but instead of a joyful reunion, their meeting goes like this:
“Her gaze swept over me. The hollows in her cheeks and under her eyes stood out like smudges of dirt. It had been three years since I’d seen her, but she’d aged at least ten. Her expression was measuring, distrustful. She moved as if expecting harm.
I fell back. Did she fear me? Was it possible—did she not know who I was?
Serena pushes on, making contact, and finally explaining her problem to her mother. Serena's sister has had a baby, who has been taken by "The Cruelty," a sinister version of child protective services. This chapter ends with another twist against Serena's expectations and hope, a severe disappointment which will force her to start solving her problem from scratch:
Mother’s smile vanished. "But, Serena, how can I help? The Cruelty won't even let me care for my own children." She raised her face to mine. "Look at me. I can hardly help myself, daughter. How can I help you?
In I Am Jack by Susanne Gervay, Jack is having a problem at school, and desperately needs help. Even the frustration of not being able to get a mother's attention can provide a cliffhanger, as you see by this Chapter 1 ending:
At last, Mom to myself. “Mom, Mom.” She is making dinner already and Samantha’s helping her with the pasta sauce.
“Later, Jack darling. When I’m finished making dinner.”
“Don’t call me darling, Mom.” I slump onto the couch. Later. That’s a joke. Rob will be here soon and then there will be dinner, washing up and I have to have a shower and there’s homework and television. Mom will be tired. There’ll be NO time and I HAVE to talk to Mom.
I think I’m in BIG trouble.
Sometimes you may even have a dramatic cliffhanger moment, but if you end the chapter there, you have only a couple of paragraphs before jumping to a new scene. It may feel more natural to end the chapter at the end of the scene or end of the day. That’s fine, if you still set up anticipation, as Joni Sensel does in The Farwalker's Quest:
They worked out a plan. After Pres left them to sleep, Ariel and Zeke only lay back and gazed at the ceiling. His toes, warm against her calf, seemed to say all that was needed between them. This night in a real bed would be the last for long time to come.
That last sentence emphasizes that their challenging journey isn't over yet. It's a quiet moment, but it promises more action to come. So go ahead and end in a quieter moment sometimes—so long as you're still looking forward.
Exercise: Go through your manuscript, or even a published book. Look for quiet chapter endings. Do they still drive the story forward, with anticipation for the future? If not, can you rewrite them so that they will?
Check back over the next two weeks for suggestions on minor story adjustments that can put power behind your cliffhangers, followed by a discussion of cliffhangers in picture books.
Friday, August 13, 2010
The Story Chart, with John Martin
I'm visiting today with John Martin, author of The Bird and founder of Boys Read, an organization whose mission is “to transform boys into lifelong readers.” Here John shares his Story Chart, a tool for writers.
How and why did you come up with the Story Chart?
After watching an interview between Bill Moyer and Joseph Campbell, I got really interested in Campbell’s mythology books. I read Hero With a Thousand Faces and The Power of Myth. I later took a screenwriting course and was introduced to Christopher Vogler’s book, Hero’s Journey [links go to brief summaries]. At this point, I had a head full mythology and story structure, but had no way to apply it to my own writing, much less teach it to others. I decided I wanted to teach a writing workshop based on Campbell’s work. In my corporate life, I had used structured templates for teaching adults conceptual methodologies. By combining corporate teaching experience with writing experience, I was able to come up with the framework for my Story Chart. [Click on chart to see it full size.]
How has it helped you with your own work?
My Story Chart helps me as a plotting and rewrite tool. I use the Story Chart in the beginning of the writing process. It helps guide me through the rough water of getting a story launched from harbor and into open sea. As a rewrite tool, I can often quickly identify where my vessel is drifting off course and where my lines need tightening to give my sails a little more boost.
Do you have any tips for using the chart?
Start by reading Vogel’s Hero’s Journey. It’s easily understood. If things click for you, go further with Campbell’s teaching. Also, watch for the timeless structure in movies that you rent. It’s very easy to spot in movies, especially with kids movies, modern and classics.
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