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Blog Hop is a blog tour showcasing authors and their writing process. I was honored to be tagged by Kristin Lenz, writer of YA and New Adult novels, and all around super fly, groovy chick. (Thank you, Kristin for inviting me!) I tagged another YA writer extraordinaire, Ann Finkelstein, for the next leg of the Blog Hop. You can learn more about Ann at the close of this post.

So, here we go with the Q & A portion of our program.
I hope you are grading on a curve. (And remember, I was promised there would be NO math problems.)

What am I working on now?
I just finished my second contemporary middle grade novel, SHORT CHANGED, at the end of May. Thankfully, as I was wrapping up novel two, ideas for middle grade number three began to percolate. Did I mention Ray, the main character of this novel, is forcing me to learn to knit because he likes to knit? He takes his protagonist role very seriously. I don’t want to disappoint him.

How does my work differ from others in its genre?
It has my voice. What would be the point of imitating anyone else? We already have a Jerry Spinelli and Sharon Creech. I like to blend humor with tenderness (tempered with enough references to boogers or puke to make it believable and boy-friendly).

Why do I write what I do?
Writing middle grade is a sweet spot for me–readers are still young enough to appreciate my dorky sense of humor, but sophisticated enough to handle more complex plot lines, language and themes. But I don’t have to write any “content.” (blushing) I know. I know. I’m such a ninny.

How does my writing process work?
First off, you should know, I never ever intended to write a novel, much less two, going on three. I remember showing my grandpa one of my published magazine stories. He said, “That’s good, Vick. Now, where’s your novel?” I told him flat-out, “I’m not a novelist. There’s no novel in me.” (See? Such a ninny I am.) It wasn’t until a friend asked me to collaborate on a novel with him that I ever thought to attempt such a crazy thing. I mean, novel writing was for, sheesh, I don’t know–novelists. But I reasoned that before I co-wrote a novel, maybe I’d better see if I’m capable of creating a one on my own. And so it began.

My first middle grade novel, SHRINK, germinated from a short scene based on a childhood memory. The story took on a life of its own as I began to ask why–why did the main character say that? Why does he feel this way? Why did he make that decision? To whom is he telling his story? And why? Because I was neon green at novel hatching, I pretty much let the characters run the show, which meant I had a lot of clean up to do on the back side. (Kids are not known for their logic or consistency you know.) I still love the characters in that first novel and even miss them when I see a real-world kid who looks like one of them. I must have done something right.

My second novel was inspired by a stupid idea. I thought it would be clever and ironic to write a novel with the title SHORT STORY. But that, I was wisely advised, would get way too confusing. So, I changed the title to SHORT CHANGED, but kept the basic story. I tried writing this novel on my own, like the first one, while trying to avoid the rookie pitfalls. But eventually, I opted to enroll in a novel-writing course through the Institute of Children’s Literature. The individualized instruction and the built-in deadlines helped me progress. I’d recommend taking an ICL class. If you want to know more, just let me know via my contact page and I’ll get right back to you.

My third novel is unfolding very differently. I want to plot and plan and outline before fully immersing myself in this novel. I am gathering articles and ideas too. And, as I mentioned earlier, I’ve got to take those knitting lessons. I’m also going to “interview” each of my characters in order to create character sketches. I treat characters like they are already fully-formed people. It’s my job to get to know them and create a world for them to live in and circumstances to respond to. (And how “simple” is that?)

Based on what I’ve experienced so far, I love the entire novel-writing process–the first niggling from a new idea, meeting my characters, creating that first draft, revising (ad nauseam), receiving critiques, revising again . . . I love it all. Except when I don’t.

(I hope I got the answers right.)

The next stop on the Blog Hop tour will be hosted by my talented friend and Sock Sister Ann Finkelstein. Ann writes young adult novels in Michigan. She enjoys biking, hiking, cross-country skiing and photographing the great outdoors. Read more about her. You can read Ann’s brilliant answers about her writing process on Friday, June 20. Don’t miss it!

Writing in English is the most ingenious torture ever devised for sins committed in previous lives. ~ James Joyce

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You’ve seen those wedding dress shows, right? A bride-to-be goes on a chiffon frenzied quest for the perfect gown while a group of her BFFs sit semi-circled in the salon, waiting to boo-hoo or just boo over her selection. Once in a while, though, the hunter is simply a bride-wanna-be who is willing to throw gobs of moola at a dress, despite her groomlessness. To me, that seems sad, desperate, and at the very least, poorly timed.

When it comes to writers in search of an agent, sometimes it’s really not that different. There’s a time to focus solely on craft, to learning about the industry, reading and networking. But, if this has not yet resulted in a solid, polished product to sell, why would you spend time looking for an agent to represent you?

Let’s say, however, maybe you’re like me, and you’ve been polishing, learning and preparing for quite a spell and you’re wondering if seeking an agent would be a wise next step.Take this quiz to help you decide if you’re agent-ready:

True or False?

____I have at least one thoroughly polished, market-ready manuscript and more in progress.

____I am an active member of a professional organization for writers, such as SCBWI, and follow industry-related blogs, tweets and newsletters to stay current.

____I have a good understanding of the inner-workings of the children’s publishing industry (e.g., the role of publishers, editors, agents, reviewers and authors, the editorial and submission process, how a manuscript becomes a published book, etc.).

____I have sold articles or stories to respected children’s magazines, such as Highlights for Children and/or perhaps even come close to selling a book to a traditional publisher on my own.

____I am actively building a platform via my own web site or blog, as well as social media.

____I am a member of a critique group and/or have a critique partner and/or have received professional critiques from agents or editors.

____I have gone from receiving unsigned form rejection letters to more of the “champagne” variety (personalized notes or letters offering a specific explanation as to why the editor chose to pass on my submission or perhaps offering constructive feedback or an invitation to submit more in the future).

____I understand the role and benefits of an agent, as well as my role as a client.

____I have compiled a list of the qualities and qualifications I am seeking in an agent.

____I have done marketing research to determine where my book fits in the current market and what makes it stand out from similar works. I can explain this in my “elevator pitch” (and I know what an elevator pitch is!)

____I am prepared and enthusiastic to shift from solo writer mode into the role of a professional with a business partner (an agent) so that I can pursue all aspects of a writing career.

____I understand agents, while amazing, do not possess supernatural powers and cannot be expected to read minds, make me stinking rich or fulfill every literary success fantasy I can conjure.

How’d you do?

If you answered with 10 or more “True” responses, consider seeking a literary agent to represent you.

If you answered with 6 to 9 “True” responses, you’re getting closer!

If you answered with 5 or fewer “True” responses, that’s okay. Keep writing, seeking feedback, and using this list as a guide to help prepare yourself to become agent material.

All things are ready, if our mind be so. ~ William Shakespeare, Henry V

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You’re right. I sound presumptuous. But I want to be ready when I get “the call” from a literary agent.

Right again. The call could be a long way off. But being prepared is smart. And besides, I love list-making.

Here’s why I think this preparation is important: it’s easy to focus on what an agent may expect and need from you. But an agent/client relationship, at its best, is designed to be a true business partnership. As an equal partner, you need to think about what you want and need from an agent too. (I shall not digress into tales of wah from eager author wannabes who closed their eyes, asked no questions and became human ankle bracelets for the first agent who expressed interest. You are far to dear and sensitive for such horror stories.)

And so, here’s a list of questions for you to consider as you do your agent homework.

Disclaimer: Please think of this list as a guideline. You’ll want to customize it to suit your style and situation. That’s what I did. Some of these questions are my own, but I also adapted questions from a list used by my generous friend Kelly Barson (who found a wonderful agent!). Also, keep in mind, you may find the answers to some of these questions online (like the answer to question 6). This will give you room to ask other questions instead.

Get your question list ready. Then you’ll be ready when the agent pops the question: do you have any questions for me? (Whoa. I feel dizzy. I wrote myself into a circle there.)

1. If you work within a house, would I be considered your client or a client of the house? (In other words, if the agent moves on, are you connected to that house or will you move with him/her?)

2. Do you offer a representation contract or a verbal agreement? (Some writers might be uncomfortable with formal contracts, while others would feel too vulnerable with a verbal agreement. You need to ask for what’s best for you.)

3. You’re basing a decision to represent me on one work. What if you don’t love the next project? Do you refuse to send it out? Do you try to find it a home anyway? Do I have the latitude to branch into another genre (e.g., from MG novels to picture books)?

4. What will my working relationship with the you look like?

5. How far do you typically go editorially? Do you request in-depth rewrites? A little tweaking? None at all?

6. Are you a member of AAR? (The Association of Author Representatives member agencies agree to abide by a code of ethics.)

7. How much communication do you provide? And how will you typically provide it–email, phone, telepathy? (Some agents only talk to you when there’s a deal to discuss or if there’s a problem brewing. They leave you alone to write. Others are more hands-on determining the next project, checking in during the writing process, giving feedback, updating on submissions, etc. You need to decide how much autonomy you want or if hand holding through the initial stages is exactly what you need.)

8. Will I be dropped if my work doesn’t sell right away or are you committed, no matter how long it takes? Is there a time limit? At what point would you ask me to move on to something else (or to someone else)?

9. What are your greatest strengths as an agent? (If you’re feeling brave–ask about weaknesses too, but be prepared to answer the same question yourself!)

10. Could you describe your ideal client?

BONUS NEWS . . .

Not quite ready to begin your agent search? Here’s a fabulous opportunity to learn the fine art of revision. You’ll know how to make your work as polished as possible before you start your hunt.

Revision Retreat 2014 with Harold Underdown and Eileen Robinson

In this working retreat, Harold Underdown and editor Eileen Robinson will teach proven techniques for self-editing and revising and work with writers on their manuscripts. Mornings will be dedicated to revision techniques and afternoons to model critique groups, individual meetings, and writing time.

Hurry! Spaces are limited to allow for individualized attention.

I would advise anyone who aspires to a writing career that before developing his talent he would be wise to develop a thick hide. ~ Harper Lee

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Liminality, as I understand it, is that betwixty/betweenish space in life. A waiting room. Life’s belly button. An incubator. But it’s more than that. I see liminality as a place of active, intent anticipation intended to transform and prepare us for what’s to come. Wow. Pretty deep, huh?

Soon I will be leaving my preparing place to bounce into a new phase in my publishing pursuits– querying agents and editors. Up to this point, I’ve been writing/revising/researching/daydreaming in a liminal space that exists between the time I decided to become serious about writing and the stage to come when others will see my work and choose to love it or leave it. This long season of liminality has been challenging (to put it politely), but I believe say I am a better person for it (and sheesh, let’s hope a better writer!)

Thanks to my stint in the Land of Liminality, these words mean much more than mere words to me:
Patience
Encouragement
Empathy
Resourcefulness
Bravery
Boldness
Kinship
Stubbornness
Optimism
Humor
Priorities
Focus
Generosity
Humility
Sacrifice
Persistence
Opportunity
Chocolate

Oh, sure. I know the minute I hit “send” on the first query I submit, I will slip into a new level of liminality, but now I feel more prepared for the transition. And between you and me, I believe the outcome will be worth the wait.

The mind can go in a thousand directions, but on this beautiful path, I walk in peace. With each step, the wind blows. With each step, a flower blooms. ~ Thích Nhất Hạnh

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Writers, the real ones I mean, are magnets for neuroses, paranoia, depression, fits of rage, and yes, occasional bouts of constipation and anal seepage. (I tried, but there was no way to pretty that up.) It’s a wonder we have enough strength to smother our sorrows in Haagan Dazs.

And as if this crazy cocktail wasn’t enough, many of us succumb to Seasonal Myth Disorder. Not familiar with SMD? Perhaps you are. You just didn’t know it has a name. Let me explain. Assuming we agree life comes in seasons (and not just the April showers variety), it’s important to recognize that with these life seasons come some myth-perceptions, otherwise known as Seasonal Myth Disorder. (Don’t bother looking for it in the DSM V classifications. If you must know, I made it up.)

In any given season of life, especially the ones that ram us down a rabbit hole, it is easy to mistake these three myths for fact:

1. I am alone in this season.
2. No one understands what it’s like to be in this season.
3. This season will last forever.

Let’s myth bust these one at a time, ever so gently, shall we?

1. I am alone in this season. Are you struggling to find time to write, much less produce anything worth reading? Trolling around Facebook will lead you to believe you are the only one who isn’t there yet. Everyone is landing agents, agents are landing contracts, books are launching, movies based on the books are debuting, writers are churning out novellas before tea time . . . and then there’s you. Everyone is wildly successful and you’re nothing but a schlep with digestive issues. NO YOU’RE NOT! (And lay off the Facebook for a while.)

2. No one understands what it’s like to be in this season. HIGH SODIUM LUNCHEON MEAT! (aka BOLOGNA!)

3. This season will last forever. IMPOSSIBLE!

Okay, okay, so maybe that wasn’t so gentle. The point is, these are all myths. You’re a smart, literary person. You know what a myth is. It ain’t true.

You are not alone. In fact, you’re in good company.

Every single writer you can name or will ever know struggles with seasons of despair from time to time (even the super cute ones). Lots of people understand what you’re going through. If you don’t know any, join SCBWI, start a critique group or do something to connect with at least one other writer. You’re sure to find some sympathetic souls.

And no, this season–even though it feels like a six-month-Michigan-winter–will not last forever. You’ll get your groove back. You’ll have some small successes. Heck, maybe even big ones. So, please stop mything all over yourself. You’re too fine a person for that. And you know what that does to your gut. Let this be the start of Be Kind to Me season, okay?

Now, put down the spoon and go write something.

If we had no winter, the spring would not be so pleasant: if we did not sometimes taste of adversity, prosperity would not be so welcome. ~ Anne Bradstreet

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Do you ever sit and plan out your career?

Recently on a listserv, authors were talking about careers. Some knew exactly where they wanted to go and were laser focused. Some were looking all around and trying a bit of this and a bit of that. How do you plan a writing career?

What are you good at?
Which pieces of writing are bringing you the most attention? This is a hard one because some of the writers were having success with nonfiction pieces; yet, they longed to write fiction. (Not many vice versa!) The question became, do you stick with nonfiction to build a career? Some needed the income from their nonfiction and considered it their job; fiction was their passion, but not the bread-winner, so they could only fit it in around other projects.

There’s nothing wrong with this! Good writing is good writing. Why not make money at what you do and do well? Often, we don’t see ourselves and our work clearly. The marketplace has a way of rewarding good work and it’s clearly something to which you should pay attention.

Where do your passions lie?

Are you a frustrated poet? Do you love YA novels? Or do easy readers excite you because you’ll be helping someone learn to love reading? For me, everything I do winds up being teaching. I like to take complex material and simplify it for others so it’s practical and easy to implement. But I also love poetry, writing fantasy and science fiction novels, and writing for this blog. Picture books are especially exciting for me to write. I’m all over the place. When you have a multifaceted set of passions, sometimes you need to prioritize. Or understand that for this season of life, one passion will sell better than anything else.

If you need some tutoring in order to be great at a passion, then get it.

Unique: No One Else Could Do This
One way of thinking about this is to answer this question: What can you do that no one else could do? What’s the one type of writing/publishing in which you could be the best in the world? Top Dog! Why mess around writing mediocre pieces? Instead, find the one thing that you do best and no one else can match you.

Maybe it’s one of these:

• Nature poetry for K-3.
• Erotica for New Adult readers.
• Christian fiction set in NYC for New Adult readers.
• YA dystopian stories set on Mars.
• Picture book family stories for the MidWest.
• Preschool picture books that include a grandparent.
• Vietnam War stories for middle grade girls.

It doesn’t matter that you are the only one in your category and you’ve even invented the category. Vietnam War stories for middle grade girls? Yikes! Unlikely. But it that’s your passion and you can pull it off with integrity and excellence, then do it!

That’s how you build a career. Do something no one else has done and do it with such excellence that no one can turn you down.

Easier said than done? Of course. But a career plan worthy of striving toward. And in the end, that’s all we can do. Butt in chair. Write. You might as well choose to write what will build your career.

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If all it takes to sell a book is talent, work hard and perseverance, more of us would be published. Like it or not, luck is a piece of the process. But can you make your own luck? I think so. You just have to be willing to ask for it, compete, put out, flaunt a little and sell yourself.

1. Ask for it. Whenever I receive a manuscript critique from an editor or agent, I always end the conversation by asking if I can send him or her my manuscript. Pride is too pricey. Go ahead and pop the question the editor or agent is expecting you to ask. (And then make sure you follow through. Send that manuscript and mention the invitation in your cover letter.)

2. Put out. Sweetie, shyness is simply out of your price range. You really must interact with other writers and members of the publishing community via social media. Send cards. Build and cultivate a blog or web site. Comment on other’s blog posts. Be generous and offer your help to others in the form of critiques or feedback. Aside from surrounding yourself with a supportive community of talented people, you never know where those connections may lead.

3. Flaunt a little. Humility is pricey too. You’re going to have to loosen up and show off a little. An author/illustrator friend of mine, Ruth McNally Barshaw, was contacted by an agent after a friend encouraged her to share her sketches online. Ruth wasn’t looking to lure an agent, but posting her work resulted in the start of a fabulous partnership and the launch of her graphic novel series–Ellie McDoodle.

4. Be willing to compete. When was the last time you entered a writing contest? In 2012, I entered a contest sponsored by the National Association of Elementary School Principals. Did I win? Uh, noop. But my picture book manuscript placed in the top 5 out of more than 750 entries. Did that boost my confidence. Yes, indeedy. Children’s Writer and Highlights run themed contests regularly.

But don’t limit yourself to writing contests. If there’s a pricey conference you want to attend, chances are there’s a scholarship contest to go with it. I have had the privilege of receiving funds for both a regional and a national SCBWI conference, as well as for a Highlights Foundation Writers Workshop. And don’t assume you have to be penniless to apply. Check out the requirements to see if you qualify and go for it. Even if you don’t win, oftentimes filling out the application gives you great practice for a query letter or synopsis. So, it’s time well spent even if it doesn’t result in cash.

5. Sell yourself. Have that elevator pitch memorized. Be ready to talk intelligently about whatever you’re working on right now. Know how to introduce yourself as a professional–including a beautiful business card. Work it, Baby.

Make yourself some good luck this week!

Luck is what happens when preparation meets opportunity. ~ Seneca

You know, Hobbes, some days even my lucky rocket ship underpants don’t help. ~ Bill Watterson, Calvin & Hobbes

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What’s with the face? You don’t like honesty? It’s not completely accurate to say I don’t like kids, because I do–on a child-by-child basis. But the species in general? Not so much.

And in case you’re wondering, yes I have two children of my own. Do I love them? With all my heart. Do I want to be surrounded by a battery of wee nose miners on a daily basis? Oh, my. NO.

I knew it. “The face” is back. You’re wondering why I want to write children’s books when I’m not a super fan of kids. Let me explain how I reconcile the apparent disconnect–at least as I understand so far.

Not too long ago I met Andrew Karre, the editorial director for Carolrhoda Books, at a retreat for children’s writers. He told us he believes children’s literature is about children, and not written for children. What’s the distinction? Motivation. Rather than being audience-centric and focusing on pleasing the reader, Karre suggests the drive to create children’s literature needs to focus inward. Intriguing perspective, isn’t it? I had to noodle over it for quite a while, but I think he’s right.

From the time I recognized myself as a writer an ice age ago, I knew I wanted to write children’s books. Isn’t that odd? So specific. So narrow. Children’s literature has an innate openness, optimism, humor, bravery and tenderness that makes it irresistible to me, as a reader and a writer. Those are the qualities I want funneling through my brain, my heart and my imagination. Writing about children allows me to experience that. I am so lucky. Knowing a child may enjoy what I love to write is a spectacular bonus.

What about you? Why does children’s literature call to you?

(And by the way, if you like kids, it’s okay. I still accept you.)

A children’s story that can only be enjoyed by children is not a good children’s story in the slightest.
~ C.S. Lewis

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Maybe you didn’t know it (and maybe it doesn’t show), but in addition to being a writer, I’m an editor. Part of my job as a Communication Specialist is to edit other people’s work. I think about a lot of things when I’m editing, but I guarantee you there’s one thing I never think about . . .

Let me backtrack a sec. Just so you know, there are a lot of things I do think about when I’m editing a piece of non-fiction. For my job, I pour over articles, letters, brochures, ads, scripts and the like. Here are the kinds of questions I ask myself during the editing process:

Who’s the audience for this piece?
What’s the bottom line—the message—to be conveyed?
Does this truly communicate the message or is it a lot of pretty words strung together?
Is there a simpler way to say it?
Could this be tighter? Is there fluff or useless repetition or verbosity . . . (oops, now I’m doing it!)
Is this the best format for this piece? Would subheads help, for example?
Is there a flow and connection throughout?
Is the tone and language appropriate to the message and the audience?
Is there proper use of grammar and punctuation?

Quite a list, isn’t it? So, what “don’t” I think about? I do not think about the author. Hold on. I should be more specific. Maybe it sounds heartless, but I don’t think about the author’s feelings. Sure, when I’m editing, I do try to keep the author’s intent and style in mind. I don’t want to edit to the point that the piece no longer sounds like the author. But as I’m editing, the last thing I care about is the author’s feelings. It’s not even part of the equation.

Here’s what I care about: answering my list of questions above to the best of my ability so that the end product is a clean, eloquent, effective piece of communication. That’s it. I never once ask myself if it would hurt the author’s feelings if I take out an entire paragraph or reorder the piece or change silly things like utilization to a perfectly fine, simpler word like use. And even though that might sound cold, it’s truly a marvelous thing. Think about it–would you rather have your byline attached to a solid piece of writing or a so-so piece? C’mon. Let me hear you say it. Mm-hmm. I thought so.

Why am I telling on myself? I want you to remember this the next time your work is edited or you’re swirling in a vortex of editor comments. Your editor isn’t heartless. Your editor wants to make your work shine. And sometimes that means hauling out the sandblaster and pick ax. It can be painful at the time. But, baby, it’s for your own good. So, try not to take it personally. It really isn’t about you. It’s about making your work better. And what’s not to like about that?

Just don’t touch “my” work!

Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, ‘How can I help this writer to say it better in his own style?’ and avoid ‘How can I show him how I would write it, if it were my piece?’ – James Thurber

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I'm thrilled to have Carolyn Howard-Johnson as a weekly blogger for the month of September! How great is that. The author of The Frugal Book Promoter and The Frugal Editor is here for a full month of Fridays. Okay, lets get to it. Carolyn is a deep well of information. How to Jazz Up a Writing Career with Holiday Promotions By Carolyn Howard-JohnsonHave you heard of The Christmas Box by

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Create Your Writer Platform: The Key to Building an Audience, Selling More Books and finding Success as an Author -- Chuck Sambuchino

www.chucksambuchino.com

I’ve read several books on author platform but have to confess never fully grasping the term until reading Chuck Sambuchino’s CREATE YOUR WRITER PLATFORM. At its simplest level, a platform is an author’s visibility and reach -- the framework an author has and continues to build that let’s others know of his or her work.

Sambuchino describes his book as “a guide for all the hardworking writers out there who want a say in their own destinies.” Though there is no one-size-fits-all approach to establishing a platform, Sambuchino says the need for platform cannot be ignored, even for those of us who write fiction. The book is divided into three sections: The Principles of Platform, The Mechanics of Platform, and Author Case Studies. At the end of each chapter, literary agents weigh in on the chapter’s topic, giving readers perspectives outside of the author’s. One of the most helpful aspects of the book is the Case Study section, where twelve different authors from a variety of genres (memoir to self help, fiction to reference) reflect on the choices they made in building their platforms -- what worked, what they wish they’d done differently, what they believe makes them stand out from others in their field.

Sambuchino is also quick to say “this is a resource for those who realize that selling a book is not about blatant self-promotion.” It is more about relationships, the sharing of expertise, and supporting others along the way. Though written for the aspiring author, a lot of things resonated with me, a newly published author, such as the wisdom behind an author newsletter, establishing an “events” page on my blog, and always, that kindness and generosity go a long way.

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Writing is a solitary profession. Sitting on our bed, laptop balanced on a pillow, wearing mismatched jammies all day (well, that’s how I work, anyway), we don’t gab at an office water cooler or take swanky lunches with colleagues. We’re alone with our characters—who can drive us nuts! We’re alone with our ideas, our words, and a vat of java.

Most writers I know are hard on themselves. We are our worst critics–we’re very hard on ourselves. We can spend all day writing and feel as though we’ve accomplished nothing. It’s nice to hear someone say what we’ve written has potential, has vision, has made someone spit all over their keyboard in laughter (the highest compliment, I think).

So today I bring you the story of three kidlit friends who came together with one goal in mind—to take an author’s career to the next step. To provide an encouraging, supportive environment in which she can thrive. Folks, you gotta have friends. Luckily, the kidlit community includes some of the best people around.

Please welcome author Brenda Reeves Sturgis, consulting editor Emma Dryden, and agent Karen Grencik!

TL: Brenda, your debut picture book TEN TURKEYS IN THE ROAD was released by Marshall Cavendish last year and quickly earned both critical and commercial success. Most people think you publish one book and you’ve got it made. But you felt your career needed a boost. How did you come to this conclusion?

BRS: Thank you for this thoughtful blog post, and for interviewing the three of us.

I sold 10 TURKEYS IN THE ROAD in 2008 and at that time I was represented by another agent, but in 2010 we parted ways and I was left trying to navigate the children’s lit world, alone.

I queried for many months and got personal, kind rejections. After a long period of going it alone, I knew that I needed to find out what was holding me back from finding my perfect-for-me agent. I had heard of Emma Dryden for years, and had great respect for her. She was and is knowledgeable in all aspects of publishing. I was confident that by hiring Emma she would know what needed tweaking, and what I needed to do to progress in my quest. I contacted Emma and she agreed to consult, we set up a phone call, and I sent her my manuscripts.

TL: Emma, what was your reaction when you read Brenda’s work? What did you propose as the next step in her career?

ED: When Brenda first contacted me, she explained her situation—she was a new writer with one book under contract; she’d been with an agent and was currently seeking a new agent; she was “trying to do everything right,” but it didn’t seem to be paying off and she was starting to question how she could keep her dream of being a children’s book author alive. There’s nothing that concerns and upsets me more than to hear an author or artist is questioning their dream. Coming up with a strategy to find an agent would be the easy part; helping a distressed author regain their confidence and adjust their outlook was

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I often wonder why I chose this life as a writer. Or, did being a writer chose me? I've been at this for so long it's difficult to remember the sequences that led me to where I am today. How about you? Do you remember why you chose a writing career?

Reading has always been a great passion of mine. Even the mundane parts of reading manuals or instructions. I always found the mistakes in written words and found it aggravating that words were mispelled or used inappropriately, while other folks shrugged as if saying, "who cares? We're putting this thing together not editing a best seller." Yet I find reading my new phone instruction manual impossible to follow. And I wonder where my skill as an editor disappeared to! Then I re-evaluate the situation and I worry about the experts who wrote such a manual, appalled at their lack of writing skills.

So I pause for a moment, readjust my thinking, noting that the writer/editor/critquer called DL Larson has taken over and has the urge to fix the broken sentences to repaired. Call me a word mechanic, I can't help myself, it bugs me to see broken structure when it comes to words.

The other day I saw a toddler having a tantrum. It was nothing serious, just a little guy frustrated at not getting his way or not having the skill to express his wishes or maybe Mom was determined to get her way for once. I don't really know, but I had to smile when Mom said, "Use your words." I wanted to ask her if she was a writer.

Since I can't think of anything I'd rather be, being a writer suits me fine. I knew when I was ten years old I had a story to share. I still haven't written the story that perked my interest toward putting words to paper. Maybe someday I will accomplish that goal. It took a few more decades before I finally settled down to the business of writing as a career. There's been struggle, challenge and satisfaction, and always the urge to keep trying.

So tell us, why did you chose a writing career?

Til next time ~

DL Larson

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I make a living as a writer, a freelance writer, and have done so for about 15 years. But what I really want is to make a living as a children's author. That's a bit more difficult. Agent, Rachelle Gardner has a great post that talks about why it's hard and what you have to be able to do make a living as an author. www.rachellegardner.com/2012/03/make-a-living-as-a-writer-part-1/

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When I was about eight, I decided I was going to be a poet when I grew up. This decision was justified with some early publishing success. At age nine, my poem, Jinx’s Shop, was printed in the local newspaper. A fact I am still so proud of that I carry the battered paper around with me whenever I do school talks – even if I do have to explain that yes, human beings had already inhabited the planet as long ago as 1976.

My early publishing success, and creative peak for about 25 years

In my teenage years, after I’d got bored of getting caught smoking and skiving lessons, I fell in love with poetry again. I immersed myself in ee cummings, John Clare, Louis Macneice and many, many others, believing the poets were the only ones who really understood the truth, and told it. I still wrote it, too. The tortured, unrequited, angst-filled poetry that only a 17-year-old can write. And then I read something in the newspaper that changed everything.

Apparently, poets were twenty times more likely to go mad than anyone else.

Suddenly, I wasn’t quite so sure of my long-term career plans. I didn’t really like the idea of throwing myself into something that promised me a lifetime of mental instability.

So I became a teacher instead. And then a journalist, and then a combination of the two. The poet quietly sloped away without making a fuss.

But whatever I did, the writer was always there in the background. Finally, about ten years ago, I left everything else behind and put myself on the line. I was a writer, and damn it, I was going to make a living being one.

But that statistic never went away. Even though I wasn’t writing poetry, I was writing – and surely all writing is a form of poetry anyway? Perhaps I wasn’t twenty times more likely to suffer mental illness than everyone else if I was writing full pages at a time rather than rhyming couplets. But I was pretty sure the odds were still fairly strong.

And sure enough, over ten years of writing, my mental health has felt a bit ropey at times. Nothing too awful – although there have been some bad times. But I am definitely prone to high levels of anxiety, insecurity, even panic attacks, and I worry about everything. And I don’t think I’m alone in this.

A writer buddy and I have this joke about our mental state. We call it Writer’s Brain Tumour. OK, so maybe that doesn’t sound such a great joke. But the idea is that whilst ‘normal’ folk will get a little twinge of a headache and pop a couple of paracetamol and get on with their day without thinking about it, we are instantly consumed with thoughts of bleeds inside our brain. A tiny itch to most people means they’ve brushed a nettle. To us, it can only mean the most dramatic of tropical diseases. Even if we’ve never been anywhere tropical. It is impossible for us to have a minor ailment without escalating it in our minds to catastrophic levels.

But it’s not our fault. Making huge leaps of imagination, upping the stakes, thinking of the most unlikely and unusual scenario - this is our day job! This is how our minds need to work in order to do our jobs properly. If we sat down and wrote about a girl who accidentally walked into some nettles and got a rash, no one would be interested. But give her a tropical disease and a mystery person who gave her the disease, and an exciting adventure that she has to g

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