I have two questions related to an article I read recently. The article, which can be found at www.write4kids.com/nonceleb.pdf, suggested that new children's book writers spend time getting published in "magazines, e-zines, websites, community parenting publications..." in order to build credits that will "speak to my professionalism". Let me illuminate my background a bit before detailing my questions.
My writing experience thus far comes from my profession as a full-time Youth Director. I have written an article for our church newsletter every month for the last four and a half years. I also write and deliver sermons four to five times a year. I have consistently received rave reviews over my writing, have often heard that people forward my articles/sermons on to others and have been told countless times that I am able to make complicated theological matters understandable (and enjoyable!) to the very young. I often write in allegories or use everyday objects or situations to explain difficult concepts. It is my community's passionate reaction to my writing style accompanied by my love of learning and children's literature which has prompted me to research the idea of writing books for children.
That background having been established, my two questions are as follows: One, would my writing experience thus far equate to the credit building that the article mentioned above recommends? And two, if it does not, how does one write children's stories for magazines, e-zines, newsletters etc. effectively without even an illustrator?
1. No. It's better than "my grandchildren love my stories," but not a lot better. A magazine editor has to find material that is not just better than the average free sermon-- she has to find material that people want to PAY for. That's what your credentials are supposed to bring across: a history of creating work that people will pay for, on the deadlines of the people who publish such work.
2. Well, how would you write a children's story for a
book without an illustrator? If you do not know the answer to this question, I would strongly suggest that you do not know how to write a picture book yet. Please find your local SCBWI and take some classes.
ok, so im really confused i dont know how to become a professional writer and yes i know my spelling isnt the best, or my grammer but i think i have some great ideas and i hardly understand any of the crap that is on the internet about it. So please can u explain in a simple way how do i get something published or become a known writer, i wanna know now so that im prepared for the future.
I sympathize about there being a great deal of information and advice (sometimes conflicting advice) available about the craft of writing and about the publishing industry. However, there isn't a single best path to published authorship, and the advice you need could fill several blogs-- it's not something I can give you in one blog post. You could certainly start by reading Harold Underdown's
The Complete Idiot's Guide to Publishing Children's Books.
Good luck!
I am searching for information on how to submit/send a manuscript to a Publishing House(s).
I have written a whimsical,magical Children's Picture Book. I love the book and I think the query letter is ready to go!
I have the 2010 Writers Market Guide, and I can find who does and who does not accept what and when! I can't find how to physically mail the manuscript to those publishers that specify:'Send query and manuscript'.
I need some very basic info e.g. Should the manuscript be loose? Does it go in a folder, or an envelope, or an envelope inside another envelope? Where should the writer's name be written on the manuscript? Are there specific rules somewhere? Is this a secret club?
I think writing the book was the easy part! What do I need to do to accommodate editors?
I need an on-line class called: "Get Me To The Post Office with the Correct Folders, Envelopes and Stamps!"
I don't even like asking you to respond to such elementary questions. Is there a book called Envelopes and Manuscripts For Dummies?
First: Calm down.
Second: Remember that you're sending business correspondence. Look at the publishers' submission guidelines, and obey them. Past that, make what you send us simple, straightforward, easy to read, and no-frills. Interact with publishers like a fellow professional, and you won't go wrong.
The reason there seem to be a lot of "rules" out there is that we get correspondence from a hell of a lot of people who think they're sending their manuscript:
a. To people who should be
flattered and
grateful for the 9,574th piece of slush to arrive in the office this year (rather than feeling a much more likely ambivalence). No, they didn't send us an SASE or read our submission guidelines, but we should still be willing to spend $18 to put their oversize original art in the mail back to them. And if not we should be willing to listen to lengthy tirades in which they threaten us with legal action.
b. To the fairies. Which is why it's printed in Curlz, bound in ribbons, and shipped with a pound of loose glitter in the box.
c. To their 5th grade teacher, who was SO IMPRESSED when they turned in their report with their own "illustrations", and bound in a plastic folder. We will be impressed by plain paper, and no illustrations. There is no A for effort in publishing--what you're selling us is the writing, and any attempt to distract from that is very, very transparent.
d. To a class of kindergartners. Which is why the cover letter launches into a gooey exploration of the kinds of dreams unicorns probably have, rather than telling us directly what the manuscript is about and why you think we'd want it.
e. To god knows who. I haven't the faintest idea who people think is on the other end of submissions that include stuffed animals, baked goods, clothing, dental molds, intimate photos of themselves, q-tips, five kinds of rice, or a bunch of pressed insects.
Third: Now go to the post office.
http://www.bankstreet.edu/onlinecourses/tews681n.html
Children's Book Publishing 101
TEWS 681N
Ever wonder how a children's book gets published? Bank Street College Children's Librarian Lisa Von Drasek will tell you in this exciting overview of children's book publishing. What does an editor do? Do I need an agent? Is there a market for my idea? How do I submit my manuscript? What is a book proposal? What is the deal with self-publishing? We will follow the process of children's book publishing from manuscript to bound book in the bookstore.
Please note: This course is an introduction only. Manuscripts will not be reviewed.
Prior to earning her MLS, Lisa Von Drasek was a children's book buyer and worked at publishing houses in Sales and Marketing. In addition her work as the Bank Street College Children's Librarian, she has been a children's book reviewer contributing to Kirkus Reviews, The New York Times, The Washington Post, The Barnes and Noble Review, Nick Jr., and The Bark. Her essays have appeared in Knowledge Quest, Library Journal, Teaching K-8 and Library Sparks. She blogs at EarlyWord.com EarlyWord Kids. Ms. Von Drasek earned an MLIS from Pratt Institute, and her BS from Skidmore College.
I have a sister who has written 3 tween girl books. She recently sent me a contract she received from an agency for my review. In researching this agency it was not hard to uncover that it is a fee based scam sort of operation. I would love for my sis to have a real opportunity to get some healthy and professional critique on her writing. Unfortunately my rolodex is a little thin on literary industry folks. What's the best way to obtain information on reputable children's/ tween freelance editors that I could hire to work with her?
She should join the SCBWI to start with-- that will put her in contact with a whole community of people whom she can ask for advice. My readers may have suggestions in the comments, too.
Hi, I was reading your blog about basic picture book contruction - which I understand and find very helpful in sharing with writers who want me to illustrate their books. What I am wondering is, if they ask me to prepare their layouts with their text so that they can shop them to editors/publishers, do I lay their books out so that pages 2 and 3 are on the same layout or so that pages 2 and 31 are on the same sheet? Thanks so much for your time and any assistance you can provide!
The answer you asked for: 2 and 3 are on the same spread.
The answer you didn't ask for: WHY ARE YOU DOING THIS?! Publishers do not want to receive manuscripts that are already illustrated. Publishers want to choose the illustrator themselves.
I have made peace with the fact that you cannot stop some authors from thinking they are artists and can illustrate their own work.
But you can stop authors who think their work needs to be illustrated by someone else before they submit it.
Publishers do not want to receive manuscripts that are already illustrated.
You are either ignorant of this fact (and possibly doing this work on spec, in which case: get yourself out of that situation ASAP!), or you're taking advantage of ignorant authors when you take their money for doing something that will not help their manuscript get published and more likely will hurt its chances. Whichever it is, STOP.
Hello, I have a few small stories and ideas for children's book. But I can not find anything that tells me what I need to do or where to submit ideas and pieces. Could you please give me some pointers? I have book from the library on editors and agents, but its has nothing in it about children's books. Is there another book somewhere or a website or something that I can get to? I also need it to
I know a number of people who are skillful writers of adult nonfiction, who do specialized writing as part of a job. This is a different set of skills from being able to write a captivating story for young children. You also need to know the market, what's already been published, and how the business works. Read a few books on writing for children and explore Harold Underdown's website (and read the articles). That will get you started.
Good advice. So many people have the itch to write, but don't know where to start. I would also suggest attending a regular round-table critique group. Your local library might have one or know of one, or you can look for writer's groups at meetup dot com.
The articles and interviews that can be found in the Chilren's Writers and Illustrators Market are also an excellent source of information and advice. You should be able to find a copy at the library.
The more you read, the more you'll learn!
God luck.
Another reason to pursue freelance writing or illustration work, besides "building credits" or a resume - is to learn what it takes to be an actual working professional in those areas. The more professional freelance work you do, the less steep your learning curve once you land a book contract. And believe me, the book curve is steep even when you have lots of experience under your belt in related media areas. Even though many people do things in their communities, churches and schools that involve writing or illustrating, even if on schedule or for an audience - doing what it takes to go out and do paid writing and illustrating work will take your skillset to another level.
I personally believe that the recommendation to new children's book writers to first publish in magazines, e-zines, websites, etc. is overrated because a) if they write a standout book, their prior experience just won't matter, and b) the kind of material required by magazines etc. isn't quite the same as that which will do well as a book. Just as writing romance isn't quite the right preparation for writing crime, writing for magazines and e-zines isn't qite the right preparation for writing books. My advice - if it's books you want to write and publish, just go ahead. WRITE BOOKS.
Actually, as someone with children's magazine writing credits who has NOT yet managed to sell a novel, and who knows lots of people who sell novels who haven't had credits, I have to say:
As a 'getting a foot in the door' tool, credits are overrated. And writing good short stories does NOT translate automatically to writing a good novel. Writing credits are not a silver bullet that suddenly makes the pain and sweat of hunting for agents turn to fields of flowers and butterflies.....
HOWEVER, if you have a great short story idea, write it as a short story. Learn the difference between a poem, a picture book, a short story, a novella and a novel. Submit your work to the appropriate markets. Realize that a good short story will not work as a PB, and that a novel is more than a string of short stories.
Also, Magazine acceptances CAN provide a small influx of cash and a large influx of self-esteem. BUT the time you spend on short stories and poems is time you're not spending on your novel. So, if your writing time is limited, going after magazines may actually DECREASE your odds of selling a novel. Writing publishable stories is time consuming, even when the stories themselves are under 800 words!
So, if you want to write for magazines, write for magazines. But don't use the credits as a step on the "sell my novel" ladder. That's not efficient or particularly helpful.
Instead, write an awesome novel that will draw readers in and make them request fulls. Noone is going to request a full of a crummy novel, even if you have good magazine credits.
Duotrope, Duotrope, Duotrope.
Why it can be good to get real work experience in related areas of the commercial arts:
Over the years, I have known several different writers / artists who blew possible opportunities to be published because they didn't handle initial acquisition inquiries professionally or realistically. Yes, this was after book publishers expressed interest in their work. What happened? They were basically smart and talented people [they had obviously been able to make it that far in the process!], but none understood the simple basics of actually working in the commercial arts. Their mistakes were a combination of lack of experience and not educating themselves about book field basics. They each inadvertently responded in ways that made them look unprofessional, ungrounded or possibly high maintenance and they each never heard back. Cringe material. I don't think it is totally necessary, but if you have professional commercial experience it will surely help you relate in ways that don't inadvertently sound alarms.