Monday, May 8, 2017

Cliffhangers in Picture Books #NaPiBoWriWee

If you did NATIONAL PICTURE BOOK WRITING WEEK - #NaPiBoWriWee - with Paula Yoo, you should have manuscripts in progress. Before you submit any, make sure they're as strong as possible.

When we talk about cliffhangers, most people think of the chapter endings in novels. But even a picture book can have a sort of cliffhanger. Take a look at these first few pages from Police Officers on Patrol, by Kersten Hamilton and illustrated by R. W. Alley.

1.    Uniform! Badge! Radio! Police Officers, getting ready to go!
2.    Squad report—Sergeant Santole. “People need help! Let’s rock and roll!”
3.    A broken light might cause a crash! Who can help? Who is fast?

Hey, look at those last two sentences — they make a cliffhanger! The first three pages act as a sort of chapter, ending in the cliffhanger question, “Who will help prevent the crash?” This 144-word picture book has three of these episodes, each with its own cliffhanger. If you write picture books and have been told your work is "Too quiet," or if you have trouble writing a picture book under 1000 words, study Kersten Hamilton to see how much action a skilled writer can pack in to a few words.

Let's look at an even trickier example, a nonfiction picture book, Blind Tom: The Horse Who Helped Build the Great Railroad, written by Shirley Raye Redmond and illustrated by Lois Bradley. This is the story of a blind horse who worked on the transcontinental railroad. Here's an excerpt from a few pages in:

     But the workers needed help. They had to move heavy iron rails and spikes, which were piled onto flatcars. The cars were very hard to pull.
     What do you suppose could help pull the flatcars?

—Again, a question acts as a cliffhanger. We turn the page to find out the answer...

     Horses!

This page continues with some new information, ending in yet another question. The entire narrative follows this kind of question and answer format.

In both these picture book examples, questions act as cliffhangers. If the reader thinks she knows the answer, she'll turn the page to find out if she's right. If she doesn't know the answer, she'll turn the page to find out what it is. Kersten Hamilton notes that with novels, the questions at the chapter ends are implied. With picture books, the author asks the questions outright—you are teaching children how to read and understand a story.

Questions aren't the only possible cliffhangers, of course. Action or other dramatic moments can be used, just as in novels. In Stellaluna, written and illustrated by Janell Cannon, Stellaluna gets separated from her mother. One early page ends like this:

     By daybreak, the baby bat could hold on no longer. Down, down again she dropped.

Of course we are going to turn the page to find out where she lands.

Illustrators can use cliffhanger techniques as well. According to another writer, David Weisner said that in his award-winning wordless picture book Flotsam, he used images as cliffhangers. Take a look at the book and see what you think.

Exercise: Grab a stack of published picture books. Go through them slowly, looking for the cliffhanger moments. How many are there? How do they work to encourage the reader to turn the page? If you don't find a cliffhanger, could you rewrite the text to add dramatic tension to certain moments?

Chris Eboch is the author of over 40 books for children, including nonfiction and fiction, early reader through teen. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting. Learn more at www.chriseboch.com or her Amazon page.

You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers is available for the Kindle, in paperback, or in Large Print paperback.

Remember the magic of bedtime stories? When you write for children, you have the most appreciative audience in the world. But to reach that audience, you need to write fresh, dynamic stories, whether you’re writing rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or something else.

In this book, you will learn:

How to explore the wide variety of age ranges, genres, and styles in writing stories, articles and books for young people.
How to find ideas.
How to develop an idea into a story, article, or book.
The basics of character development, plot, setting, and theme – and some advanced elements.
How to use point of view, dialogue, and thoughts.
How to edit your work and get critiques.
Where to learn more on various subjects.


Whether you’re just starting out or have some experience, this book will make you a better writer – and encourage you to have fun!

Monday, May 1, 2017

The Long Road to Short Fiction, by Catherine Dilts

Welcome guest author Catherine Dilts! A mystery novelist, Catherine offered to share her experience writing short fiction. (If you would like a guest spot on this blog, leave a comment.) Here's Catherine:

The Long Road to Short Fiction

One tidbit thrown into the avalanche of advice given to new writers is, “Write and publish a short story to draw attention to your long fiction.” As though short fiction is a stepping stone to the ultimate goal, the novel.

My journey to short fiction began precisely in that manner. I was seeking an agent and/or publisher for my novel-length fiction. I had cranked out half a dozen horrible novels up to that point, and had finally written something I had hope would be publishable.

There came that advice again. The pearls of wisdom I’d ignored years ago. Write a short story, get it published, and agents and editors will notice you. THEN you can get your novel published.

But I wasn’t interested in short stories. I liked reading, and writing, novels. I finally decided to heed the advice when it came from a successful short story author. I was concerned about taking time away from my novel-length writing, but I could at least test the waters.

I attempted writing several 700 word short mysteries for a women’s magazine, Woman’s World. They were all rejected, but I learned several valuable lessons.

Writing short is hard! Mark Twain is attributed with saying, “I didn’t have time to write a short letter, so I wrote a long one instead.” Writing a successful short story, as opposed to a novel, turned out to be nearly as time consuming, and considerably more difficult.

Writing short stories is liberating! When writing a novel, or a novel series, you are tied into a setting and characters for a long time. Perhaps years. Short stories offer more opportunity for creativity and spontaneity. You can play with off-the-wall characters, different points of view, noir, humor, or whatever strikes your fancy.

Writing short stories is rewarding! If you are a small press, Indy, or self-pubbed author, kudos if you’re turning out a novel a year, and even more so if you’re making a profit. In a recent article, one multi-published short story author spelled out in cold, hard numbers the financial aspects of writing short. For some of us, writing short fiction may be just as financially rewarding as writing novels.

Short fiction is a thriving art form! From traditional magazines, to e-zines, to anthologies, short stories are enjoying a revitalized status in the fiction world. I have listed below some of the current outlets. In order to write short, you need to read short. Treat yourself to a steady diet of short fiction, and I’ll just bet you become addicted.

I no longer see short stories as a stepping stone to that loftier goal, the novel. Writing short stories taught me how to be concise. How to make every word count. How to write a coherent plot that drives to a logical conclusion.

After several false starts and failed attempts, my first fiction sale was to Alfred Hitchcock Mystery Magazine in 2013. I have since had five more published by AHMM, including "Unrepentant Sinner," appearing in the May/June 2017 issue on sale now. My story "The Chemistry of Heroes" is a Derringer finalist.

If you are one of those writers who believes you can’t write short, I challenge you to give it a try. I didn’t think I could, or wanted to, write short stories. Now short fiction is my personal success story.

Mystery Short Story outlets:

Alfred Hitchcock Mystery Magazine
Mystery Weekly
Ellery Queen Mystery Magazine
The Strand
King’s River Life - mystery section - novel reviews and short stories
Women’s World - a short mystery in each issue
Sherlock Holmes Mystery Magazine
​Bouchercon - annual anthology
Mysterical-e
Flash and Bang - annual anthology by SMFS

Catherine Dilts is the author of the amateur sleuth Rock Shop Mystery series, set in the Colorado mountains. Her short story “The Chemistry of Heroes” (May 2016 - Alfred Hitchcock Mystery Magazine) is a Derringer Award finalist. Watch for her story “Unrepentant Sinner” in the AHMM May/June 2017 issue, on sale now. Catherine has a day job as an environmental regulatory compliance specialist. You can learn more about Catherine at http://www.catherinedilts.com/.

Tuesday, April 18, 2017

Writing Nonfiction Books for Children: Market Research for #NaPiBoWriWee

#NaPiBoWriWee - National Picture Book Writing Week – is coming up, May 1-7. Perhaps you already have some ideas from STORYSTORM (formerly known as Picture Book Idea Month). If your ideas include nonfiction topics, you’ll need a good understanding of what editors are buying. Even if you are writing purely for your own enjoyment, or to share your memories with your family, studying other children’s literature will make you a better writer. It may also inspire new ideas!

The following is excerpted and adapted from You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers.

Hit the Library

Maybe you are already an avid reader of recent children’s nonfiction. If so, great! If not, it’s time to start. You’ll learn a lot and get to enjoy wonderful stories at the same time. The library is an excellent place to explore children’s lit, but make sure you look for recent books or magazines. Styles have changed over the years, so it’s best to focus on books published in the last five years.

Try keeping notes on what you read, if you don’t already. Did you enjoy the book? Why or why not? What aspects did you think worked well, and what could have been stronger? The patterns you pick up will tell you something about the children’s book industry, but they’ll tell you even more about yourself. Maybe you are attracted to humorous articles for younger kids. Or perhaps you love picture book biographies with poetic language. If you are going to write, why not write what you love to read?

If you want to write for publication, you can also start researching agents and publishers here. When you read books you love, or ones that seem similar to your work, make a note of the publisher. You may also be able to identify the author’s agent in the acknowledgments, or from the author’s website. This will help you learn which publishers are producing what type of books. When you have something appropriate to submit, you’ll have a list of agents or publishers that are suitable.

Book Markets

Are you most interested in picture books? There are important differences between a picture book and an article, so you need to know which you are really writing and all the elements a picture book needs!

To prepare to write a picture book, you might review several of your favorite books, or see what’s new at the library or bookstore. It wouldn’t hurt to check out some of those magazines as well. They’re still a good source for understanding the interests and reading abilities of children at different ages. Plus, you might try comparing some magazine stories and some picture books to see if you can identify the differences.

Briefly, picture books are usually under 1000 words, often under 500 words, although nonfiction picture books may be up to 2500 words or so. They should have at least 12 different scenes that can be illustrated. Look for similar books at the library or bookstore and see who publishes them.

You’ll also find nonfiction in Easy Reader books, which are designed to help kids learn to read. They use simple vocabularies and short sentences, appropriate to a particular reading level. They may be a few hundred words long or several thousand words, depending on the reading level. Often they have a few illustrations, maybe one per chapter. Some publishers specialize in this kind of work, while others do not produce these books at all. They may also be called early readers, early chapter books, beginning readers, and so forth. For more on this kind of book, see Yes! You Can Learn How to Write Beginning Readers and Chapter Books, by Nancy Sanders.

Educational nonfiction, typically aimed at the school market, covers all school ages up through high school. Topics are usually chosen by the publisher based on what schools need. If you are interested in this kind of writing, the process is a bit different – you’ll probably need to submit a resume and writing samples instead of a manuscript or proposal. Then the publisher will contact you when/if they have a project appropriate for your skills and interests. You can submit new material every year or two when you have an expanded resume or fresh writing samples. You can still identify these publishers and get a feel for their preferred style by browsing books in the library.

Think about how to organize your notes so they’ll be useful in the future. Should you keep a reading notebook, set up a spreadsheet, or use color-coded index cards? Find a system that works for you.

Market listings:

Children’s Writer’s & Illustrator’s Market

Magazine Markets for Children’s Writers

Book Markets for Children’s Writers

The Society of Children’s Book Writers and Illustrators (SCBWI) provides members with THE BOOK, which includes market surveys and directories for agents. The quarterly SCBWI Bulletin provides market updates.


Stop by next Wednesday for more advice on writing work for hire educational nonfiction – or subscribe to get posts automatically and never miss a post. You can use the Subscribe or Follow by E-Mail buttons to the right, or add http://chriseboch.blogspot.com/ to Feedly or another reader.

You can get the extended version of this essay, and a lot more, in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. Order for Kindle, in paperback, or in Large Print paperback.

Sign up for Chris’s Workshop Newsletter for classes and critique offers

Sunday, April 9, 2017

Middles: Keep Your Novel Moving

With a brother who writes screenplays and teaches script writing, it's no surprise that I sometimes include script writing advice on this blog.

Because my local SCBWI group is talking about "maddening middles" this month, let's consider what movies have to teach us about keeping readers turning the pages through the middle of our novels.

Consider each scene in your novel. How can you make it bigger, more dramatic?

“Imagine the worst thing that could happen, and force the issue,” says Don Hewitt, who co-wrote the English-language screenplay for the Japanese animated film Spirited Away with his wife Cindy.

My brother Doug stresses the effectiveness of “set pieces—the big, funny moment in a comedy, the big action scene in an action movie. The ‘wow’ moments that audiences remember later. Novelists can give readers those scenes they’ll remember when they put the book down.”

Yet even in big scenes, you must balance action and dialogue. Long action scenes can be dull without dialog or characterization. “When you look at the page, it shouldn’t be blocky with action,” says Paul Guay, who co-wrote screenplays for Liar, Liar, The Little Rascals and Heartbreakers.

Hewitt adds, “Try to be as economical as you can with the action, and as precise as you can. Break it up with specific dialogue to strengthen it.”

Don’t let dialog take over either. Any long conversation where nothing happens is going to be boring. David Steinberg, who wrote the screenplay for Slackers and co-wrote American Pie 2, says, “Movies are about people doing things, not about people talking about doing things.” Even in comedies, he says, dialogue must be relevant to the plot. “Dialogue is funny because of the situation, not because it’s inherently funny.” The same goes for novels, too.

So throughout your novel, make sure you have a mixture of action and dialogue. And make sure both move the story forward. If your character is alone during the scene, you can use his or her thoughts in place of dialogue.

Think Movie

Try thinking cinematically as you sketch out a scene. Imagine your book made into a movie. Will it be a bunch of talking heads, people sitting around in an ordinary setting having a conversation? Try putting your characters someplace interesting instead, and maybe even giving them something to do while they talk.

In the original version of Sweet Home Alabama, Doug set some dialogue scenes in the main character’s parents’ trailer. But during filming, the scenes were shot at a Civil War re-enactment, which added Southern flavor to the movie. Apply this approach to your novel. “In a novel, you can get away with just people talking,” Doug says. “But give people something more interesting to do while talking than just drinking coffee. It makes the scene more alive.”

Here’s an example from my middle grade novel, The Eyes of Pharaoh. Reya, a 16-year-old soldier, warned his friends Seshta and Horus that Egypt is in danger from foreign nomads. He promised to tell the more at their next meeting. Seshta has been waiting anxiously:

At last Seshta reached the dock. Horus sat on the end of it, trailing a fishing line in the water.

Seshta trotted across the wooden boards. “Where’s Reya?”

“I’m glad to see you, too. Reya’s not here yet.”

“Oh.” Seshta flopped onto her back and stared at the sky. A hawk soared in lazy circles overhead. Seshta remembered her dream, and her ba fluttered in her chest. She rolled over and stared at the river.

Horus watched his fishing line, seeming content to sit there forever. Downstream, laundrymen sang as they worked at the river’s edge. Two men washed clothes in large tubs, their shaved heads glistening and their loincloths drenched. Two others beat clothes clean on stones, and one spread the garments out to dry.

Seshta sighed. “What do you think of his story yesterday? His big secret?”

“Probably just showing off to impress you. But with Reya, you never know.”

“Well, we’ll find out when he gets here. He’s not putting me off today!”

Horus glanced at her and smiled. “No.”

“I wish he’d hurry.” She slapped out a rhythm on the dock. “This is boring.”

“He’ll be here when he gets here. You can’t change time.”

Seshta sighed. Once she knew Reya was safe, she could curse him for distracting her and get back to more important matters. She needed to concentrate on dancing, not waste her time worrying about strange foreigners.

Ra, the sun god, carried his fiery burden toward the western horizon. Horus caught three catfish. A flock of ducks flew away quacking. Dusk settled over the river, dimming shapes and colors until they blurred to gray. The last fishing boats pulled in to the docks, and the fishermen headed home.

But Reya never came.
__________

This is a slow scene by its nature, because they’re waiting for something that doesn’t happen. But the unusual setting makes it more interesting. Hopefully you can see the scene, and you get a feeling for the characters’ different personalities by the way they behave in that situation. We get character, setting, and plot all together.


Visit Doug’s fabulous scriptwriting blog, Let’s SchmoozeDoug's books, The Three Stages of Screenwriting and The Hollywood Pitching Bible, have great advice for novelists as well. Learn more or link to retailers at Screenmaster Books.

Chris Eboch is the author of over 40 books for children, including nonfiction and fiction, early reader through teen. Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Learn more at www.chriseboch.com or her Amazon page

Saturday, April 8, 2017

Resources for Children’s Book Writers

This is the handout for my workshop at the UNM writing conference.

Books: The Idiot’s Guide to Children’s Book Publishing, by Harold Underdown, explains everything from the genres to how to find a publisher. Underdown also has FAQs about the children’s book industry, and publisher updates, on his website. The Way to Write for Children, by Joan Aiken, is also recommended.  The Writer’s Bookstore and Writer’s Digest offer books on writing for children and basic writing craft, plus market guides.

You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, by Chris Eboch, offers an overview on writing for young people. Learn how to find ideas and develop those ideas into stories, articles, and books. Understand the basics of character development, plot, setting, and theme – and some advanced elements, along with how to use point of view, dialogue, and thoughts. Finally, learn about editing your work and getting critiques.

You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers is available for the Kindle, in paperback, or in Large Print paperback.

Chris Eboch’s Advanced Plotting is designed for the intermediate and advanced writer: you’ve finished a few manuscripts, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work.

This really is helping me a lot. It's written beautifully and to-the-point. The essays really help you zero in on your own problems in your manuscript. The Plot Outline Exercise is a great tool!


The Society of Children’s Book Writers and Illustrators  (first year $95, then $80 yearly) provides informational publications on the art and business of writing and illustrating. SCBWI also publishes a bimonthly newsletter and offers awards and grants for published works and works in progress. SCBWI members can join discussion boards. The SCBWI has an annual Summer Conference in Los Angeles and events around the US and the world. Learn more, or find out what’s happening in your region, via the organization’s main website.

SCBWI-New Mexico, our regional branch, sends out weekly e-lerts (email notices) about our programs, other local events, and industry information. Contact elerts to get on the mailing list. We also put out a quarterly newsletter on the web site. Visit the region’s page at the organization’s main website for activities and our latest newsletter.

We have monthly Shop Talks in Albuquerque, the second Tuesday of each month, from 7-8:30 at North Domingo Baca Multigenerational Center. These feature short workshops or discussions, followed by social time. Topics and location are announced through the e-lerts.

A peer critique group meets on the third Saturday of the month, from 1:30 to 3:30 at the Erna Ferguson Library community room.


Helpful blogs:
  • KidLit.com: Agent Mary Kole runs this blog for readers and writers of children’s literature.


Critiques by Chris: $2 per page for novels; $40 for works up to 1000 words (picture books, stories, or articles). This provides a critique letter of editorial comments on plot, characterization, flow, language, etc. (1-2 pages for short work, 4-6 pages for novels), plus notes written on the manuscript. Learn more at her website “for writers” page.

Chris Eboch is the author of over 40 books for children, including nonfiction and fiction, early reader through teen. Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog.

Saturday, February 25, 2017

Ancient Egypt Speaks to Kids Today: #History and Mystery for the Middle Grade Classroom

The Eyes of Pharaoh by Chris Eboch: This mystery set in 1350 BCE Egypt, for ages nine and up, introduces young readers to an ancient world. The dangers and intrigues of the time echo in the politics of today, while the power of friendship will touch hearts both young and old.

Great for Classroom Use


The Eyes of Pharaoh is ideal for use in elementary and middle school classrooms or by homeschooling students studying ancient Egypt. 

Suzanne Borchers says, “I teach a gifted class of fourth and fifth graders. Using this historical fiction is a window into Ancient Egypt—its people, culture, and beliefs. My class enjoyed doing research on Egyptian gods and goddesses, and hieroglyphs. Projects extended their knowledge of this fascinating time and place. I also highly recommend it for its fast paced plot, interesting and ‘real’ characters, and excellent writing.”

Lesson Plans for CCSS


To help teachers in the classroom, extensive Lesson Plans provide material aligned to the Common Core State Standards. View them here.

f you are a teacher or librarian interested in finding out if this novel would work in your school, contact me through my website to get a free digital copy for review.

The Eyes of Pharaoh is available in paperback, hardcover, and e-book via book retailers and distributors, including Amazon.

Chris Eboch is the author of more than 60 books for young people, including The Well of Sacrifice. This historical drama set in ninth-century Mayan Guatemala is used in many schools as supplemental fiction when students learn about the Maya. Kirkus Reviews said, “The novel shines not only for a faithful recreation of an unfamiliar, ancient world, but also for the introduction of a brave, likable and determined heroine.”

The Eyes of Pharaoh is sure to reach readers in the same way. Ms. Eboch’s other titles include The Genie’s Gift, a middle eastern fantasy; the Haunted series, about kids who travel with a ghost hunter TV show; the fictionalized biographies Jesse Owens: Young Record Breaker and Milton Hershey: Young Chocolatier (part of Simon and Schuster’s Childhood of Famous Americans series); and many nonfiction titles.

Learn more at www.chriseboch.com or my Amazon page.

Wednesday, January 4, 2017

The Genie’s Gift - Middle Grade Novel - for free


The Genie’s Gift is a lighthearted action novel set in the fifteenth-century Middle East, drawing on the mythology of The Arabian Nights.
           
Thirteen-year-old Anise, shy and timid, dreads marrying the man her father chooses for her. Her aunt tells her about the Genie Shakayak, the giver of the Gift of Sweet Speech. He lives high atop Mount Quaf, many weeks’ journey across a barren desert. The way is barred by a dozen dangers and trials. But those few who cross the desert and defeat the guardians of the mountain receive their reward. From that day forward, their words drip like honey from their lips, charming all who hear them, and no one can deny them anything they ask.


Anise is determined to find the genie and ask for the gift, so she can control her own future. But the way is barred by a series of challenges, both ordinary and magical. How will Anise get past a vicious she-ghoul, a sorceress who turns people to stone, and mysterious sea monsters, when she can’t even speak in front of strangers? Will she ever reach the top of Mount Quaf—and if she does, can she convince the Genie to give her the gift?

The Genie’s Gift is available on InstaFreebie for free until January 15. You can download your choice of ePub, mobi, or PDF.

If you enjoy it, please leave an honest review! Reviews help other readers (including teachers and librarians) find great books.

Chris Eboch is the author of over 40 books for children, including nonfiction and fiction, early reader through teen. Chris Eboch’s novels for ages nine and up include The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Monday, December 26, 2016

The Mad Monk's Treasure, Romantic Suspense #99c Sale 12/22-12/29

Did you get a new Kindle or an Amazon gift card recently? Time to fill up your device! Here’s an option for only $.99. (If you got a KDP Select membership, you’ll find many of my books there – free for you to read with your membership.)

The Mad Monk’sTreasure

Romantic Suspense #99c Sale Dec. 22-29

The lost Victorio Peak treasure is the stuff of legends—a heretic Spanish priest’s gold mine, made richer by the spoils of bandits and an Apache raider. When Erin, a quiet history professor, uncovers a clue that may pinpoint the lost treasure cave, she prepares for adventure. But when a hit and run driver nearly kills her, she realizes she’s not the only one after the treasure. And is Drew, the handsome helicopter pilot who found her bleeding in a ditch, really a hero, or one of the enemy?

Erin isn’t sure she can trust Drew with her heart, but she’ll need his help to track down the treasure. She heads into the New Mexico wilderness with her brainy best friend Camie and a feisty orange cat. The wilderness holds its own dangers, from wild animals to sudden storms. Plus, the sinister men hunting Erin are determined to follow her all the way to the treasure, no matter where the twisted trail leads. Erin won’t give up an important historical find without a fight, but is she ready to risk her life—and her heart?

“The story has it all - action, romance, danger, intrigue, lost treasure, not to mention a sizzling relationship....”

“Great balance of history, romance, and adventure. Smart romance with an “Indiana Jones” feel.”

“Well-written with an attention to detail that allowed me to picture exactly in my head how a scene looked and played out.” 


Kris Bock writes novels of suspense and romance with outdoor adventures and Southwestern landscapes. The Mad Monk’s Treasure follows the hunt for a long-lost treasure in the New Mexico desert. In The Dead Man’s Treasure, estranged relatives compete to reach a buried treasure by following a series of complex clues. In The Skeleton Canyon Treasure, sparks fly when reader favorites Camie and Tiger help a mysterious man track down his missing uncle. Whispers in the Dark features archaeology and intrigue among ancient Southwest ruins. What We Found is a mystery with strong romantic elements about a young woman who finds a murder victim in the woods. In Counterfeits, stolen Rembrandt paintings bring danger to a small New Mexico town.

Read excerpts at www.krisbock.com or visit her Amazon pageSign up for Kris Bock newsletter for announcements of new books, sales, and more.

Monday, December 12, 2016

Formatting Print Interiors for Self-Publishing

I write a column for the SCBWI Bulletin with tips on self-publishing children’s books. The winter Bulletin includes my column on interior design for print books. Because I did not have enough space to include instructions for formatting using Microsoft Word, I’m including some detail here. Although, after writing all this, I found some other online sources that are even better. So you may want to skim over my instructions, and then click on the first couple of links below. See which one looks like the best fit for your learning style.

Microsoft Word is an adequate tool for doing the interior layout for novels with no or minimal interior images. (Professional designers generally prefer Adobe InDesign, but it’s very expensive. You probably already have Word.) The process is not necessarily easy or intuitive, so schedule some time, and take a break if you’re getting frustrated. You may also want to take notes on any tweaks you need to make for your preferences or your system. That way you’ll have those instructions for the next book you format.

I’m currently using Windows 10, but these instructions should work for most recent versions of Word.

Basic Setup

First of all, save a new version of your manuscript to format for print, because you will not want all these things in the version you use for the e-book.

Start by setting up your page size (equal to the book’s trim size) and your margins:

Under the “Page Layout” tab, click on Size and then choose the size you want your print book to be. Five or 5 1/2 inches wide is good for a children’s novel and no more than eight inches high.

Mirror margins mean I can put page numbers at the outsides
and different headings (name on left, title on right)
Next click on Margins– Custom Margins – Multiple Pages – Mirror Margins. Your interior margin must be at least .375” for books up to 150 pages, and .75” for books with 151 to 400 pages. Other margins must be at least .25 inches but you may want them larger for aesthetics. Measure the margins in some published books you like to see the difference it can make. Larger margins will also mean a bigger page count. That could be good if you have a short book and want to make it a bit thicker, but if you have a long book, more pages could mean you need to charge a higher price for it.

You may also have to adjust your header and footer distances to get the margins you want.

In Word, it looks like my title page is on the left
of a two-page spread
Front Matter

Front matter – that’s the stuff before the main text, the title page, copyright page, dedication, etc. – may be center justified. Choose a nice (stylish but readable) font and adjust the size appropriately You probably want a fairly large title, for example. Again, choose some traditionally published books and copy the type of content they have as well as the formatting.

The first page of novel text should be on the right-hand side, with a blank page opposite. If you view two pages at a time, remember that they won’t be the same two-page spreads that show up in the printed book. Rather, your first page will be a left-hand page when viewed in Microsoft Word, but a right-hand page in the print book.

Odd-numbered pages should always be on the right.

Headings

The title page is actually a right-hand page
because the first printed page faces up
Some books have the author name, the book title, and/or the chapter title at the tops of the pages. You’ll see it both ways in traditionally published books though, and setting this up is a bit complicated, so you might want to skip it. If you do want to use these headings, the first page of each chapter should not have a heading. Also, front matter and back matter (author’s note or whatever you have the back after the main text) should not have a heading. If you’re using headings, use section breaks (not page breaks) between chapters. This allows you to set up a different first page header (a blank header) for each chapter.

To put in a heading, double-click at the top of the page, above the main text, and Word should switch to into viewing the Header and Footer. You can then type in those spaces and format (left, right, center; change the font and the font size; etc.) Make sure to click the box that says Different First Page, and do not type anything in the first page. Also click Different Odd & Even Pages so you can put the book title on one side and the author name or chapter titles on the other side.

If you Link to Previous, each chapter will have the same headers and footers as the previous chapter. For front matter and back matter, un-click Link to Previous and erase anything in the headers and footers.

If your header or footer seem too large, make sure you don’t have an extra blank line above or below any text.

Text Design

For the main text, use full justification as opposed to ragged right. (This is under the Paragraph tab.) This will spread the text between the margins on the left and right. However, you may wind up with large gaps between some words. You will need to look for these gaps in your final review (below).

Choose your font and size. Garamond is a nice font for a novel. You can get fancy, but don’t get too fancy – use a readable font. It’s simplest if you use one you already have included with Microsoft Word, so you don’t have to worry about buying or licensing a specialty font or making sure it’s properly embedded in the PDF.

Adjust the leading (space between lines) by selecting all the relevant text, going to the Home Tab – Paragraph – Line Spacing and choosing Exactly and then the leading you want. 12.4 and 13.3 are common for leading, but you may want more or less depending on the font and font size. Make sure you’re not cutting off hanging letters from the line above – double check in the PDF, as it may be different from the Word version.

If that sounds too complicated, you can simply single space – but do not ever double space for a novel! (Yes, I’ve seen that in a self-published book.)

You may want to decrease your tab or first-line indent size so paragraphs aren’t indented as much. If you haven’t been able to break the habit of using five periods to indent, use the Search – Replace function and get rid of those.

Chapters

No headings on the first page of the chapter!
Add your chapter headings (whether this is just Chapter One or a chapter title). You can center the chapter headings and adjust the size. You may want the first word or letter of a chapter to be larger or bold. Study other books for ideas.

Of course you want all your chapter headings to be the same throughout. I found the simplest way to do this is to use the Format Painter button – the little paintbrush in the upper left-hand corner. Double-click on the paintbrush, and then scroll down to the next chapter heading. Click to the left of it and the line should adjust to the same formatting. Scroll down farther and repeat.

Final Polish

If you have any interior art, add it using the Insert button. Microsoft Word apparently compresses art, so it won’t be as high quality. This means it’s not ideal for books where the images are very important, but you can use simple line art.

Scan through every page looking for large gaps between words, and add hyphenation or otherwise adjust the formatting to get rid of them. Look for widows and orphans as well and get rid of them.

Save a copy as a PDF -- make sure you have chosen “standard” format. Choose ISO option if it’s not embedding the fonts. Double-check that all your formatting came through, such as italics. Be sure all your formatting is consistent.

Now you are ready to upload your document!

Troubleshooting

If my tips don’t seem to be working, or you need to know something else, do an Internet search for what you want to do and you should come up with plenty of tutorials, both written and video. They are often better than the Help menu in Word. You might also be able to find a tutorial that simply walks you through lots of the options.

One incredibly valuable tool is the Replace option. You’ll find it in the upper right corner of the Home tab. It can be used to fix all those problems that come from old habits. For example, search for two spaces and replace with one space. Click on the “More” button and then “special” to see many more options. If you have a document with tabs and you want to use the indent formatting instead, you can Replace “tab” (there are symbols that indicate these things; you don’t actually use the word) with nothing.

I always use the Replace function and replace " with " – the symbols look the same, but it will ensure that all quotes are “smart” or “curly” rather than straight. I do the same with the apostrophe.

And don’t forget the Undo button in case you do something wrong! If things are going well but you want to experiment with something risky, it might be a good idea to save the document in a new version before you start playing with it.

If you are overwhelmed, you have other options, such as hiring a professional or using a template. Print on demand companies may supply a template. You can buy more advanced preformatted templates available for Microsoft Word and Adobe InDesign. TheBookDesigner has some for children’s books starting at $37.


Chris Eboch is the author of 40+ traditionally-published books and 10 self-published titles, including You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers and Advanced Plotting. Visit her Amazon page or website.



Additional resources:

How to format a book in Microsoft Word (with videos and lots of images)



How To Make A Professional Standard Print Book Interior With Joel Friedlander, The Book Designer