✔ Tips for Writing in Rhyme: http://is.gd/5z1wi #writing #books

►Collection of children's bestseller lists: http://is.gd/5xAH2 #books Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Interview w/author Julia Donaldson: http://is.gd/5xA6G #writing #books Jon, http://cbiclubhouse.com, Where Children's Writers Meet

New Scottish YA imprint: http://is.gd/5xzQB #books #writing Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

To Write Children's Books, Go to the Movies!

The big screen is filled with great storytelling techniques that you can employ to improve your own writing. Here's just some of that you can lift from your favorite films....

Problems viewing the video? You can also see it at DailyMotion, Viddler, 5Min, Zoopy, BlipTV and Graspr

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

writing

New PW children's book reviews: http://is.gd/5xzT3 #books #writing Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

CPSIA holds off lead testing on #books for another year: http://is.gd/5xzFI Jon, http://cbiclubhouse.com, Where Children's Writers Meet

S&S Children's & actor Nick Cannon ink book deal: http://is.gd/5xA07 Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

► New #kidslit imprint @Putnam: http://is.gd/5xzLL #books #writing Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Kids #books from Soviet Russia: http://is.gd/5xzwq #writing Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

► Hey Fightin' Bookworms! New video: "Multiple vs. Simultaneous Submissions" http://is.gd/5wIZa #writing #books

► Children's Writers: Checked out the CBI Clubhouse yet? You really should have a look... http://cbiclubhouse.com #writing #books #kidlit

A World of Children's Writing Info.....

For much more about writing for kids, visit this informative site:

Children's Book Writing

► New Video: Children's Book Writers - Get Published By Going Hollywood! http://is.gd/5rOho

► New Video: Children's Book Writers - Get Published By Going Hollywood! http://is.gd/5rOho

► New Video: Children's Book Writers - Get Published By Going Hollywood! http://is.gd/5rOho

Videos for Children's Book Writers!

Enjoying our videos about writing children's books and submitting them to publishers? Here are some more that you may have missed!

Children's Books: How to Find a Publisher for Your Story

Get an Editor's Attention: Break Out of Your Writing Rut

Write for Success: 7 Tips For Children's Book Writers

How to Write a Picture Book That Shines

Writing Tips - 3 Ways to Ramp Up the Tension in Your Story

What It Takes to Make It Writing Children's Books

More info.....

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Interview with Simon & Schuster Art Director Laurent Linn http://ow.ly/N5BM Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Cool Links....

Children's Writing Articles, Videos & More

Tips for Getting your Children's Book Written

Writing Articles from Laura Backes

Even more great articles on writing a children's book

► New Video: Children's Book Writers - Get Published By Going Hollywood! http://is.gd/5rOho

Nonfiction Books for Curious Readers http://ow.ly/N5sV Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Designing a Children's Book Author or Illustrator Website http://ow.ly/N5mA Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Random House Claims E-Book Rights on Backlist Titles http://ow.ly/N5gD Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Five Benefits to Attending Writers' Workshops http://ow.ly/N4Zz Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Could this gadget save magazines? http://is.gd/5rwSp #writing Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Do Self-Publishers Really Make Money? http://ow.ly/N4Y7 Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Tips on How to Build Blog Readership http://ow.ly/N4V6 Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Author's Guild on Random House/ebook rights: http://is.gd/5oNTj #books Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Jon Scieszka on the state of #kidslit http://is.gd/5np7P Jon, http://cbiclubhouse.com, The Essential Children's #Writing Resource

Children's Reading News Round-Up http://ow.ly/M057 #writing Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Librarians pick books to give kids http://is.gd/5noDa Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms! #kidslit #writing

PWs Children's Book reviews: http://is.gd/5noML #writing Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

The 10 Most Depressing Christmas Songs http://is.gd/5no6z Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

✔ "Inside the Mind of a Children's Book Editor" http://is.gd/5irRe #writing #write #books

✔ "Inside the Mind of a Children's Book Editor" http://is.gd/5irRe #writing #write #books

✔ "Inside the Mind of a Children's Book Editor" http://is.gd/5irRe #writing #write #books

► Tough news -- Kirkus Reviews to close: http://is.gd/5ilOc Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms

Rules Beginning Children's Book Writers Should Not Break

I often talk about the “rules” of writing for children and sending manuscripts to children's book publishers, citing proper page lengths and story types for different age groups. A better term would probably be “guidelines”; these rules exist only to tell you what, in general, editors want to see in the manuscripts sent to them. And, of course, for every rule there are a number of exceptions. But while we’d all like to think our mansucript is strong enough to override the guidelines, this is usually not the case. Here are some rules that shouldn’t be broken until you really know what you’re doing:

Don’t Write Picture Books in Rhyme

Yes, you’ve seen them in the stores and kids like them. But children also like picture books that aren’t written in rhyme. It takes a lot of skill and hard work to craft an original story, complete with unique characters, in about 1000 words. It takes a different skill entirely to tell that story in rhyme. If you’ve got it, great. But don’t assume that because your story is targeted at young children it has to rhyme. Always try to write it in prose first. Once you’ve got the story on paper, decide if the rhyming format will add to the text. If the answer is yes, make sure it’s strong rhyme: it has a consistent meter, uses no clichés or extra words, and has a rhythm that is easy to read aloud.

Don’t Ignore Designated Word Lengths

No editor is going to turn down a terrific book just because the text length falls outside the average guidelines. If your young adult novel is as good as it can be at 100 pages, there’s no sense padding the manuscript simply because most YAs are longer. But length guidelines are there for a pirpose - -publishers have determined about how much text kids of different ages can read, and so it behooves you to try to stay as close to those guidelines as possible. And if you’ve ever tried to get a group of 4-year-olds to sit still for a 2000-word picture book, you’ll understand why editors prefer shorter texts in the youngest age brackets. When submitting to magazines, it’s absolutely essential that you stick to the requested word limits because articles must fit within a finite amount of space on the page. Too long, or too short, can mean instant rejection.

Don’t Provide Testimonials in Queries

It’s nice to have lots of neighborhood kids read your manuscript and give you positive feedback, but your potential editor doesn’t need to hear about it. Frankly, editors don’t pay much attention to testimonials from readers who may be family or friends of the author. Also, don’t clutter up the query letter with arguments for why children need your book or what they’ll learn from it. This is up to the editor to decide. (One exception: You're querying a nonfiction book and can show that there aren’t any other books in print that cover the same subject). Keep your query letter tight, short, and to the point. Provide an intriguing plot synopsis or nonfiction outline, relevant information about yourself, and enclose a self-addressed, stamped envelope. Sell your book, not your reasons for writing it.

Don’t Write a Series Before Selling the First Book

I’ve critiqued many manuscripts from writers who say, “I’ve got six more books written with these characters. Should I mention that to the editor when I submit my manuscript?” My answer is always no. Unless an editor is specifically looking for new series proposals, and the books were written from the start to form a series, this is a not a good idea. Understand that series are created as a group of books that are tied together by some sort of hook; in fiction, it might be a club the main characters form, a part of town they all live in, or a cause they champion. In nonfiction, it’s a topic (wildlife, biographies) and an age group. It's rare to see a picture book fiction series. What might happen is a character may become very popular with readers and the author is asked to write another book featuring the same cast. These fiction “series” actually grow over time, one book at a time.

So, unless you’ve conceived your books as a traditional series and are able to creaft a thought-out series proposal to the editor, stick to selling one book. When an editor sees you have many manuscripts featuring the same characters and similar plots, she may feel that you’ve spent too much time writing new material and not enough time revising what you’ve already written. And keep in mind that each book – series or not – must stand on its own. It needs a strong beginning, well-developed middle, and powerful end. No fair leaving the ending incomplete with the intention of continuing the story in the next book.

children's book publishers

Self Publishing Children's Books http://ow.ly/K08E #writing #kidlit Jon, http://cbiclubhouse.com, Where Children's Writers Meet

20 Tips For Winning #Writing Contests http://ow.ly/K05V Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

50 Things a Writer Shouldn't Do http://is.gd/5gcUJ #writing Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

10 Best Books for Writers http://is.gd/5gcOs #writing Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Self-Publishing for the Kindle http://ow.ly/JZXj #writing Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Interview w/YA Writer Selene Castrovilla http://ow.ly/JZW3 #kidslit #writing Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Poll: The future of children's books http://twtpoll.com/kvd4if #writing #books #kidlit Jon, http://cbiclubhouse.com

An Agent on Writing Kids' Fiction http://ow.ly/JZUb #writing #kidslit Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

* Article just posted: "Children’s Book Fiction: Don’t Lose the Plot!" http://is.gd/5eoYP #writing #kidslit

Children's Book Fiction: Don't Lose the Plot!

I've read several picture book manuscripts recently that don't have plots. They have terrific ideas, charming scenes, even unique characters. But these particular manuscripts were missing that thread of story that starts on page one and tugs at the reader to continue turning the pages until the end. The events weren't connected--they may have involved the same characters, but there was no cause-and-effect relationship that made one event logically follow another.

When writing children's book fiction, it's sometimes difficult to tell the difference between a plot point and an incident. Incidents stand alone; they may lend themselves to vivid scenes, but they have no connection to what came before in the book, and have no effect on what happens on the next page. A plot point, on the other hand, couldn't exist without everything that preceded it, and if you remove that plot point from the story, everything that happens afterwards wouldn't make sense. Each point is a link in a chain. Break one, and the whole thing falls apart.

Incident stories also tend to lack conflict and tension. That's because these books are more about conveying a mood, a place, or a point in time. They show a day in the life of a particular child, what a bunny sees on his first tour of the backyard, the comforting bedtime routine of a toddler. Many picture books of previous generations were actually incident books, and in fact this type of story is still being published today as books for children up to age three. But for the mainstream, hardcover picture book crowd--those kids ages four to eight--incident books won't cut it anymore.

You can blame television, publishing conglomerates concerned with making money, or large bookstore chains that only want titles that fly off the shelves, but the bottom line is if you're a first-time author writing a picture book, it needs to have a plot to sell. And let's face it, plots are a good thing. They allow children to become emotionally invested in the story, wondering what's going to happen next. They hold kids' attention (even before television, young children didn't have the longest of attention spans). They invite rereading, and retelling, over and over.

If you study newer picture books, you'll see that some of the plots are very subtle. David Shannon's Duck on a Bike, for example, seems at first glance like an incident story. Duck finds a bike on the farm and slowly rides past all the animals. As he passes each animal, it comments on the sight of a duck on a bike. This pattern is repeated several times until suddenly a bunch of kids come down the road on their bikes, park them by the farm house, and go inside. The next spread is wordless, showing all the animals staring at the bikes. The following illustration depicts all the farm animals careening around the barnyard on bicycles with silly grins plastered to their faces. As the story ends, the animals return the bikes to the house, And no one knew that on that afternoon, there had been a cow, a sheep, a dog, a cat, a horse, a chicken, a goat, two pigs, a mouse, and a duck on a bike.

The repetition of Duck pedaling past each animal on the bike paved the way for the story's climax. It couldn't have happened without all the scenes that came before.

Oh sure, you say, but what about a book like Ian Falconer's Olivia? That's a series of incidents in the life of a spunky girl pig. Yes, it is, and this popular book proves that for every rule there's an exception. And though it doesn't have a conventional plotline, it does have emotion (What child hasn't seen him or herself in Olivia, and laughed at her approach to life?) and tension (Will Olivia get in trouble for drawing on her bedroom wall? Will she convince her mother to read her four bedtime stories instead of two?). It also has exquisite illustrations by the author (if you can write and illustrate, and do both well, you're given a bit more room to stretch the rules). But most of all, it has a strong main character. Olivia is real, multilayered, and charming. The author took the time to develop the character first, so the reader will immediately identify with Olivia and be interested in the incidents that make up her day.

If you're just starting out as a children's book writer, or are writing your first picture book, do yourself a favor and create a story with a plot. But before you begin, develop your main character. If you have a real character with emotions, strengths and weaknesses, that character will inevitably want something. How that character goes about getting what he or she wants will lead you to your plot. It's really that simple.

Now all you have to do is write the book.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Fightin' Bookworms: New video - "Create Your Own Facebook Fan Page in Minutes!" http://is.gd/5crae

► "The 10 Greatest Jewish Rock Stars!" http://is.gd/5bzLS #rock #music #jewish

Fightin' Bookworms: Just posted - "How to Write in Rhyme w/ Author Janet Lawler" http://is.gd/5bw0O

Fightin' Bookworms: December's issue of "Children's Book Insider, the Newsletter for Children's Writers" is up! http://is.gd/5btt7

►Just posted: "Four Steps to Becoming a Better Writer" http://is.gd/58evX

► Just Posted on the Blog: "Quick Steps to Becoming a Better Writer" - http://is.gd/58bXI #writing #kidslit

How to Be a Better Writer

I was recently asked "Can I get published as a children's book author if I'm not a good writer?" I was caught off guard at first, but the more I thought about it, the more I appreciated the question. The sender is aware of her limitations, but dreams of getting published anyway. She's not suffering under the delusion that she's the next Judy Blume, and I admire that. She's going to look at her work with a critical eye, and search for ways to make it better. This is assuming that it's possible to learn to write well. I believe that it is.

Very few writers have the natural ability to create vibrant, relevant, compelling stories right out of the gate. Most have to work at it. And those who see writing as a skill that is never quite mastered, requiring an ongoing devotion to the learning process, will be most successful. Where this gets tricky is that unlike other skills - such as baking a cake - there is no foolproof way to learn how to write. So while I can't give you a one-size-fits-all method, I can give you some ideas on how you can find the path that works best for you.

Read, read, read. Why are editors always advising aspiring authors to read piles of children's books? Because they give you a concrete representation of what works. Be sure you read good books (check reviews or ask a librarian or teacher for recommendations). By simply reading, you'll learn about the ebb and flow of a story, how a character is introduced and grown, the types of conflicts appropriate for each age group, how to build tension in scenes and chapters, the relation of sub-plots to the main storyline, how dialogue moves the plot along, and much more. You'll experience firsthand how a skilled author utilizes sensory images to immerse the reader completely in the story. By comparing several authors writing for the same age group, you'll hear different literary voices.

I suggest reading books similar to those you wish to write, as well as books one level younger and one level older. So, if your plan is to write a middle grade mystery for ages 8-12, also read mysteries for ages 7-10 and 10-14. In this way, you'll become educated about exactly what makes up a middle grade novel and how it's different from fiction for older and younger readers. You might even discover that your story isn't really for middle grades after all.

Another reason for checking out a lot of quality books is that you need a yardstick against which to judge your own work. You'll learn which "rules" can't be broken and those that have a bit of wiggle room. For example, you'll be hard pressed to find a 60-page picture book in the stores, even by a well known author. If your picture book's that long, you'll have no choice but to rethink the story and fit it into 32 pages. However, you can experiment with unconventional characters and unexpected viewpoints. And the older the reader, the fewer rules apply. But no matter what you do with your plot, characters or writing style, make sure you know why you're doing it. Don't write the story in present tense unless it needs to unfold in real time for the reader. Don't incorporate flashbacks unless they're vital for understanding what's going on in the story now.

Find a system that works for you. The first step toward learning to write is figuring out the best way for you to learn. Some authors I know are very left-brained; they enjoy charts and graphs and lists. They thrive on tracking their scenes and plotting out their book on every level before they start to write. Those left-brainers will analyze published books and count the words per page, note which scene contains the plot's catalyst, graph out where the tension rises and falls in each chapter. Others prefer to learn more intuitively. They read books, absorb the different writing styles, and maybe make notes with overall impressions or key points they want to remember. They have a general idea of where their own story is going, and aren't afraid to experiment and take detours along the way.

If you don't know where you fall on the spectrum, try different approaches and see what feels right. Remember that there is no one way of doing this, and every method has its pros and cons. Plotting out your story beforehand can prevent you from wandering off track, but the lists can become an evasive technique to keep you from actually writing the book. Letting the words spill onto the page with no grand plan feels very creative, but usually results in huge first drafts that have to be significantly trimmed and shaped. If you write long enough you'll discover your weaknesses and devise ways to work around them. Maybe you outline first, then put it away while you write your first draft. Maybe you lay out your scenes on a plotline after each chapter, then revise as needed before moving on to the next chapter. If your dialogue tends to wander in circles before coming to the point, you'll learn to get it on paper and then tighten it in the second draft.

Recognize your strengths. Some authors are brilliant nonfiction writers but are unable to sell a fiction story. Others write wonderful picture books but can't deal with the layers to a novel. Instead of trying to force a style that isn't you, start with what you're naturally good at. You don't have to publish fiction to be a successful author. You may dream of writing picture books, but if you have a knack for relating to teenagers, maybe young adult novels are your future.

Uncovering your strengths involves experimenting with several writing styles and age groups. If you're not certain where to start, think about the kinds of children's books you most like to read. Then fiddle around with writing dialogue or scenes for the same age group. If you're naturally drawn to nonfiction, make a list of topics that excite you. Begin by writing about one of the subjects in the style of some of your favorite children's magazines.

Above all, practice. Over the years I've worked with writers who have gotten published through sheer force of will. They've pored over manuscripts again and again, taking them from mediocre to polished. They've put aside ideas that simply didn't work and turned to something new. And they never submitted the first or second draft to an editor, because those manuscripts could always be improved. They weren't very good writers when they began, but they learned. And you can too.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Simple Steps to Becoming a Better Writer

I recently opened up my email to find this message: "Can I get published as a children's book author if I'm not a good writer?" I was taken aback at first, but the more I thought about it, the more I appreciated the question. The sender is aware of her limitations, but dreams of getting published anyway. She's not suffering under the delusion that she's the next Judy Blume, and I appreciate that. She's going to look at her work with a critical eye, and search for ways to make it better. This is assuming that it's possible to learn to write well. I believe that it is.

Very few writers have the natural ability to create vibrant, relevant, compelling stories right out of the gate. Most have to work at it. And those who see writing as a skill that is never quite mastered, requiring an ongoing devotion to the learning process, will be most successful. Where this gets tricky is that unlike other skills - such as baking a cake - there is no foolproof way to learn how to write. So while I can't give you a one-size-fits-all method, I can offer up some ideas on how you can find the path that works best for you.

Read. And then read some more Why are editors always advising aspiring writers to read piles of children's books? Because they provide a concrete representation of what works. Be sure you read good books (check reviews or ask a librarian or teacher for recommendations). By simply reading, you'll learn about the ebb and flow of a story, how a character is introduced and grown, the sorts of conflicts appropriate for each age group, how to build tension in scenes and chapters, the relation of sub-plots to the main storyline, how dialogue moves the plot along, and much more. You'll experience firsthand how a skilled author utilizes sensory images to immerse the reader completely in the story. By comparing several authors writing for the same age group, you'll discover different literary voices.

I suggest reading books like those you wish to write, as well as books one level younger and one level older. So, if your goal is to write a middle grade mystery for ages 8-12, also read mysteries for ages 7-10 and 10-14. In this way, you'll become educated about precisely what makes up a middle grade novel and how it's different from fiction for older and younger readers. You might even learn that your story isn't really for middle grades after all.

Another reason for checking out a lot of quality books is that you need a yardstick against which to judge your own work. You'll learn which "rules" can't be broken and those that have more wiggle room. For example, you're quite unlikely to find a 60-page picture book in the stores, even by a well known author. If your picture book's that long, you'll have no choice but to rework the story and fit it into 32 pages. However, you can experiment with unconventional characters and unexpected viewpoints. And the older the reader, the fewer rules apply. But no matter what you do with your plot, characters or writing style, make sure you know why you're doing it. Don't write the story in present tense unless it needs to unfold in real time for the reader. Don't incorporate flashbacks unless they're vital for understanding what's going on in the story now.

Find a system that's right for you. The first step toward learning to write is figuring out how you learn the best. Some authors I know are very left-brained; they love charts and graphs and lists. They thrive on tracking their scenes and plotting out their book on every level before they start to write. Those left-brainers will study published books and count the words per page, note which scene contains the plot's catalyst, chart out where the tension rises and falls in each chapter. Others prefer to learn more intuitively. They read books, absorb the different writing styles, and maybe jot down a few notes with overall impressions or key points they want to remember. They have a general idea of where their own story is going, and aren't afraid to experiment and take detours along the way.

If you don't know where you fall on the spectrum, try different approaches and see what feels right. Remember that there is no one way of doing this, and every method has its pros and cons. Plotting out your story beforehand can prevent you from wandering off track, but the lists can become an evasive technique to keep you from actually writing the book. Letting the words spill onto the page with no grand plan feels very creative, but usually results in huge first drafts that have to be significantly trimmed and shaped. If you write long enough you'll discover your weaknesses and devise ways to work around them. Maybe you outline first, then put it away while you write your first draft. Maybe you lay out your scenes on a plotline after each chapter, then revise as needed before moving on to the next chapter. If your dialogue tends to wander in circles before coming to the point, you'll learn to get it on paper and then tighten it in the second draft.

Know your strengths. Some authors are brilliant nonfiction writers but are unable to sell a fiction story. Others write wonderful picture books but can't deal with the layers to a novel. Instead of trying to force a style that isn't you, start with what you're naturally good at. You don't have to publish fiction to be a successful author. You may dream of writing picture books, but if you have a knack for relating to teenagers, maybe young adult novels are your future.

Discovering your strengths involves experimenting with differnt writing styles and age groups. If you don't know where to start, think about the kinds of children's books you most like to read. Then fiddle around with writing dialogue or scenes for the same age group. If you're naturally drawn to nonfiction, make a list of topics that excite you. Start by writing about one of the subjects in the style of some of your favorite children's magazines.

Practive, Practice, Practice. Over the years I've worked with writers who have gotten published through sheer force of will. They've pored over manuscripts again and again, taking them from mediocre to polished. They've put aside ideas that simply didn't work and turned to something new. And they never submitted the first or second draft to an editor, because those manuscripts could always be improved. They weren't very good writers when they began, but they learned. And you can too.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

RT @DebNg 42 Helpful and Terrific Blogs for Writers http://is.gd/4EbAq Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

3 Free MP3s of Your Choice @ Amazon http://ow.ly/FmZd Jon, http://cbiclubhouse.com, Where Children's Writers Meet

► Fightin' Bookworms - Just posted: "Getting Started Writing for Magazines" http://cbiclubhouse.com

Do You Really Need That Apostrophe? #Writing http://ow.ly/DVC0 Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

► The new Children's #writing Update e-zine is online. It's free & packed w/info! http://grsnip.com/VdzO #kidlit

The New "Children's Writing Update" is Online!

The new issue of our free e-zine, Children's Writing Update, is now online. This issue features some great market tips for YA writers, a treasure trove of writing advice from the late Allen Ginsberg, and article on creating great titles for your children's books and much more.

Go check it out at http://www.getresponse.com/archive/cwupdate/Childrens-Writing-Update-The-Best-Writing-Tips-Ever-3302265.html

Enjoy!

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

► The new Children's Writing Update e-zine is online. It's free & packed w/info! http://grsnip.com/VdzO

Writing tips from Allen Ginsberg: http://is.gd/4WEMS Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

✔ New Video: How to Find the Right Children's Book Publisher for Your Manuscript http://is.gd/4WDC1

✔ New Video: How to Find the Right Children's Book Publisher for Your Manuscript http://is.gd/4WDC1

►Current vote re: future of kids books: Paper will always rule: 43% Ebooks will take over: 28% Vote now @ http://is.gd/4WEzx

✔ New Video: How to Find the Right Children's Book Publisher for Your Manuscript http://is.gd/4WDC1

LooChildren's Book Publishers: How to Find the Right One for Your Manuscript

Looking to send a manuscript to children's book publishers? Here's an easy three-step approach to help you find just the right publisher for your story!

Note: If you're having trouble viewing this video, you can also see it DailyMotion, BlipTV , 5Min , Graspr and Viddler.

Feel free to embed this video (or any of our videos)! Go to http://youtube.com/cbiclubhouse for lots of great videos you can use on your blog or website.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Librarians reflect on banned books http://ow.ly/CNVN Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Children's Book Reviews: 11/16/2009 - Publishers Weekly http://ow.ly/CNTo Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Children's Literacy and News Round-Up from the Reading Tub http://ow.ly/CNS5 Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

How to Publish a Children's Book -- a Plot Guide http://ow.ly/CNOX Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Why Johnny Won’t Read and What To Do About It http://ow.ly/CNMA Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

The Pros and Cons of a Writing Critique Group http://ow.ly/CNKY Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Like J.K. Rowling, Another Thrilling Success Story? http://ow.ly/CNJa Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Getting Boys into Reading Through Fiction http://ow.ly/CNWS Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Site links authors and agents http://is.gd/4TsFV Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Self publishing tips: http://is.gd/4TN64 Jon, http://cbiclubhouse.com, Where Children's Writers Meet #writing #kidslit

Blog offers monthly poetry writing prompts http://davidlharrison.wordpress.com Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Drool over Laurie Halse Anderson's writer's cabin http://ow.ly/BF3y Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Picture Books Revisited as Educational Tool http://ow.ly/BEOo Jon, http://cbiclubhouse.com, Where Children's Writers Meet

About "Curious George" Authors HA Rey and Margret Rey http://ow.ly/BEI6 Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

A Discussion of the Transgressions of Fictional Teens http://ow.ly/BEFx Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Writing For a Strong Middle http://ow.ly/BEAW Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

Literary agent seeks MG/YA novels http://ow.ly/BExv Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Huge list of magazine markets: Duotrope’s Digest http://ow.ly/BEvJ Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Turn Internet Exposure Into Book Sales http://is.gd/4SII4 Jon, http://cbiclubhouse.com #writing #kidslit

New Poll! Will children's books primarily be electronic or remain mostly on paper? http://twtpoll.com/kvd4if #kidslit #writing #twtpoll

This blog features uber-cool kids books http://is.gd/4SIxq Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms! #kidslit #writing

Sex Ed. Through Kid Lit? http://is.gd/4SIsf Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms! #writing #kidslit

Comic books are good for you! http://is.gd/4SICS Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms! #kidslit #writing

Nice roundup of new YA novels http://ow.ly/Bp6Y Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms! #writing #kidslit

Use Twitter’s Lists Feature for Writing http://ow.ly/Bp4i Jon, http://cbiclubhouse.com, Where Children's Writers Meet #writing #kidslit

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New Poll: 30 years from now, will children's books primarily be electronic or remain mostly on paper?

Which way are children's books heading?

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Solid research tips: http://ow.ly/Bp2a Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms! #writing #kidslit

Establishing Setting in Your Novel http://ow.ly/Bp0j Jon, http://cbiclubhouse.com, Where Children's Writers Meet #writing #kidslit

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Mixing writing & parenthood http://is.gd/4SHgW Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms! #writing kidslit

* Writing Children's Fiction: Let Go Of Your Ending to Take Your Readers on a Wonderful Journey http://is.gd/4S6qH

Learn How to Write Rebus Stories for Children http://ow.ly/B4hs Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Children's Writing: Let Go Of Your Ending to Take Your Readers on a Wonderful Journey

One of my favorite snippets of wisdom found in William Least Heat-Moon's Blue Highways: A Journey into America (including the first line: Beware thoughts that come in the night.) is included in an exchange Heat-Moon had with a man he met in Tennessee. The man asked him, "Where you headed from here?" Heat-Moon replied, "I don't know." Grinning, the man pronounced, "Cain't get lost then."

There's something incredibly liberating about not knowing where you're going. We rarely have this freedom in our daily lives. We have to plan the next project for work, or whose turn it is to bring the kids to school, or what we need to pick up at the grocery store for dinner. So when we have the chance to actually let go and float with the current, we should take it. For writers of children's fiction, it's essential to embrace the unplotted course.

I can't count how many manuscripts I've read where it's very clear that the writers began with the ending. They knew where they wanted to end up; the lesson they wanted to impart, or the message they needed to convey. Then they worked backwards, manipulating their characters and plots to arrive at preconceived destinations. This always — always! — results in manuscripts that are heavy-handed, contrived, and often don't make sense.

Rather, I suggest to these writers that they start with their protagonist, and brainstorm from there. Ask "What if?" What if this character reacted to the problem differently. What if another character worked against him. What if you swapped some character traits, from confident to shy, from bookish to musically gifted, from being a football player to a skateboarder. Where might you end up?

Some authors can't let go of their ending. It's too scary, not knowing where they're going. They need assurance that their work will have a purpose before they invest the time and effort to write it. What if they try a new direction and it doesn't pan out? Then they'll have to begin all over again. Or (and this is really scary for some authors), what if they embrace a new direction, and the whole meaning of their book changes? Instead of teaching kids that everyone should be valued for their special talents, their book might evolve into a story about not taking life too seriously. And that's not the message they want kids to hear.

Sadly, these writers probably won't get published. To them, the theme is more important than the plot. The message more vital than the story. The destination takes precedence over the journey. What they don't understand is that when a child opens a book, it's the journey she's looking forward to. The ending has to be good, but getting there must be great.

Magical, unforgettable journeys aren't always planned. Sometimes they occur by accident. If you have the heart and soul of a writer, this shouldn't scare you. In fact, it's exciting. If you're open to working a long time on your protagonist, so you know this character inside and out and he has many facets to his personality, then at some point the protagonist takes over. He'll show you where the story needs to go. If you're comfortable with brainstorming and actually putting any idea that pops into your head down on paper without editing, you'll make subconscious connections between ideas that you didn't even know you had. And if you're committed to story, not message, you could end up with a book that's bigger than anything you ever imagined.

We often talk about the structure of fiction: a character who has a problem to solve, a catalyst that gets the plot moving, an ending that resolves the problem in a believable way. These techniques are still a vital part of writing, but don't worry about them until you know exactly who your protagonist is and what that character needs. If you try to think of a catalyst before you know what your character wants, you can't possibly put that character in a situation that drastically effects his life. Wander around and explore your options before you worry about your story's foundation. Let yourself get lost before you find the perfect place to settle down.

What about nonfiction? Surely you need to know where you're going when you're writing factual material, right? In this case, you probably will know where you have to end up; what topic you're going to explore, or what points you want to make. But how you get there is still up for grabs. Do you want to write about medieval life from a humorous perspective, with short bursts of information interspersed with jokes, trivia and quizzes? How about a day in the life of a 12-year-old peasant? Maybe a collection of recipes for everything from celebratory feasts to common dinners to medicinal concoctions? As you're researching, keep an open mind. You may stumble across a gem that completely changes the direction of your book for the better. Or, you'll amass so much material that you'll have a book and five articles, all with a different focus.

One of the perks of writing for children is that your options are endless. Getting there is half the fun. As long as you're open to infinite possibilities, you'll never lose your way.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

✔ Children’s Fiction: Let Go Of Your Ending to Take Your Readers on a Wonderful Journey http://is.gd/4S6sk #writing #kidslit

SLJ roundup of best children's lit blogs http://ow.ly/B49F Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

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Tips for Writing Historical Dialogue in Fiction http://ow.ly/B403 Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Interview w/ Author Jan Brett http://ow.ly/ANy5 Jon, http://cbiclubhouse.com, Where Children's Writers Meet

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New Publisher's Weekly Children's Book Reviews http://ow.ly/ANqO Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Five Reasons Why You Can?t Make It As A Writer (And Why None Of Them Are True)

I have a very tidy house. I vacuum almost daily, regularly scour my silverware drawer for crumbs, and organize my closets at least 3 times a year. What’s my secret? I’m a writer who works from home.

Like many writers, when deadlines loom I hover around my laptop, finding excuses not to get started. But because I do consider myself a writer (and my Mexico vacation depends on it), eventually I plop myself in the chair and get to work. And yet I’m one of the lucky ones. I hear from a lot of people who long to call themselves writers, but have generated all sorts of reasons never to try. So here’s a list of the top five dreamdashers, and why none of them are worth believing:

I have no time to write. Every beginning writer is time-challenged, because until you’re getting paid for your writing, you’re probably spending a big part of each day doing something else. But consider this: author Claudia Mills, who has two sons and works as a college professor, said at a workshop that she writes every morning while her family is still asleep. Many days, she only gets in 5-15 minutes of writing. But those are actual writing minutes; not minutes spent thinking about writing, or worrying about writer’s block, or staring at a blank piece of paper. When she assembles all those little bits of intensive writing over several weeks, she ends up with a book. Check out her results at http://www.claudiamillsauthor.com

I’m too old. Editors won’t know how old you are if you don’t tell them. Your readers won’t know if you don’t put your picture on the book cover. If you write well, your voice will be ageless. I know of a woman who promised herself on her 65th birthday that she’d pursue a lifelong dream of writing a children’s book. She followed the advice to “write what you know,” and at age 69 earned her first contract for a middle grade novel based on events from her childhood.

I don’t have a college degree. Guess what? If you're a children's writer, neither do your readers. Sure, it’s necessary to know the basic rules of grammar and how to express yourself on paper, but hopefully you mastered that by junior high. The best education you can give yourself as a potential children’s book writer is to read children’s books––many children’s books, especially those similar to the kind of books you want to write. And don’t let your lack of knowledge about a nonfiction topic stop you from writing about it. If you’re a skilled writer who enjoys research, you can teach yourself enough about many subjects to write about them, or find experts to help you fill in gaps in your knowledge.

Everything’s been written about. You’re probably right, but next season the shelves will be filled with brand new books. Why? Because though it feels like we’re approaching the saturation point on new ideas, the way those ideas are presented can constantly change. You have a unique way of looking at the world that no one else can duplicate. So play around with those worn out ideas until you hit on something fresh.

Publishers are afraid of controversial topics/religion/men writing for kids/books that teach a lesson…. The only thing publishers are afraid of is not selling books. Do cutting edge, issue-driven books get attention? Take a look at major awards lists. Does religion sell? Go to any chain bookstore and note that even trade publishers are bringing out fiction and nonfiction with religious themes. Do male writers need to use female pseudonyms? Again, I refer you to prestigious awards lists. Can a children’s book contain a moral these days? If you do it in an entertaining way without preaching, parents will snap up your work.

If you’re tempted to start a sentence with “Publishers are afraid…,” it probably means one of two things: you haven’t walked into a bookstore recently, or it’s easier to blame a pile of rejection letters on timid editors than to figure out why your manuscript isn’t selling. Though editors are under pressure to show a profit (publishing is a business, after all), they’re always looking for the next manuscript that will turn children’s books in a new direction. If you’re going to be that writer, in the end all you really need to do is plant yourself in the chair and get to work.

Laura Backes publishes Children’s Book Insider, the Newsletter for Children’s Writers. For info about writing children’s books, free articles, market tips, insider secrets & more, visit http://Write4kids.com.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Fightin' Bookworms: November's "Children's Book Insider, the Newsletter for Children's Writers" is online! http://cbiclubhouse.com

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Current Publishers Weekly #kidlit reviews http://ow.ly/xbml Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Van Allsburg's Lifetime Achievement Award http://ow.ly/xbkE #writing #kidlit Jon, http://cbiclubhouse.com, Join the Fightin' Bookworms!

The Cybils YA Nominations http://ow.ly/xbjF #kidlit #writing Jon, http://cbiclubhouse.com, Where Children's Writers Meet

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#writing #kidlit Useful site re: children's books http://is.gd/4Glqv Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Check out this charity that ties writing and reading to helping kids in developing nations. Very cool! http://writetogive.com

#Writing #kidlit How to Analyze a Children's Book Publisher's Catalog for Submission Opportunities http://is.gd/4EvlG

How to Find Submission Opportunities in a Children's Book Publisher's Catalog

Before sending off your manuscript, it's essential that you study children's book publishers' lists to find the best fit for your manuscript. Your first stop is Children's Writer's & Illustrator's Market published by Writer's Digest Books. Note which publishers do the type of book you've written, and are also accepting submissions from new writers. Then send for a current catalog.

Let's look at the picture books from two hypothetical publishers:

Publisher A:

Total picture books: 26.
Picture books by type: 8 talking animal stories; 4 concept books; 2 realistic stories; 2 humorous stories; 2 fantasy; 1 holiday book (Easter); 3 nonfiction (2 animal/nature, 1 religion); 4 poetry collections.
Age range of books: 6 for ages 2-5, 12 for ages 4-7, 6 for ages 6-10.
Types of authors: Established authors (two or more books published)–5; famous authors (significant name recognition/ awards)–11; reissues of classic books–5 (3 poetry collections); new authors–5.
Percent of list from new authors: just over 19%.

Publisher B:

Total picture books:14
By type: 4 talking animals; 1 concept book; 2 realistic stories; 3 humorous stories; 4 nonfiction (history, biography).
Age range of books: 3 for ages 3-6; 11 for ages 4-8 or 4-9.
Types of authors: Established authors– 7; famous authors–3; new authors– 4.
Percent of list from new authors: 28.5%

Suppose you have a picture book featuring talking animal characters. Even though Publisher A has fewer new authors, it publishes a greater percentage of talking animal stories. And you really want Publisher A to do your book. Should you submit? First, look at the authors in Publisher A's stable. More than half are famous or authors of classic books (which means instant sales for the reissued editions). Plus, after studying the bios of the authors in the catalog, you discover that 3 out of the 5 new authors are either celebrities or renowned illustrators writing their first books. Clearly, this publisher prefers authors with some name-recognition. Does this mean you shouldn't submit here?

Not necessarily, but slide it down your list. Publisher B has a higher percentage of new authors (no celebrities and only one known illustrator), a fair number of animal stories, and a greater number of humorous books. Since your talking animal story has ironic humor that is likely to appeal to older picture book readers (who make up the majority of this publisher's audience), Publisher B looks like a good fit.

Other things we've learned: Publisher B favors books about history and real people, as indicated by the nonfiction titles and the fact that the realistic fiction books are both based on public figures (you'll learn this by reading the plot descriptions). So your picture book fiction incorporating real events set at the turn of the century might appeal to these editors.

On the other hand, Publisher A has published a holiday book and a religious book, whereas Publisher B has neither. So a religious picture book might fit best with Publisher A, unless the book is a biography of a religious leader.

Clearly, analyzing publishers' catalogs isn't an exact science, but it can help increase your chances of finding a good match with an editor down the road.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

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KidLitCon 2009 Recap #kidlit http://ow.ly/wfak Jon, http://cbiclubhouse.com, Where Children's Writers Meet

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How to Publish a Children's Book Even If You're a Non-Celebrity

Yep, it's frustrating. You work tirelessly on your manuscript, revise, re-write and revise again. You send it off to publishers and get a mailbox full of rejections. Meanwhile, some rock star or athlete gets a big money deal to write a children's book without lifting a finger.

Well, that's the way the world works. No need to get depressed. Just get to work. Non-celebrities get book deals every day. Here's how you can do the same.

Step 1: Learn the Rules.

If you're not famous, your children's book fiction or nonfiction manuscript or query letter takes the same path as the rest of the non-famous. It gets dropped, as part of a huge pile, on the desk of an underpaid, overworked editorial assistant (or a freelance reader). Her job is to sift through the pile of dross and find a few nuggets of gold, and then pass them on to an equally overworked and underpaid editor. The editor then reads through the smaller pile, pulls out the submissions that catch her eye, and brings them to an editorial meeting. If the overall consensus is "yes, this is a book we want to publish", you're on your way to partying it up with Madonna in the special "Children's Writers' VIP Lounge" at the Viper Room.

Buried in that timeline is some bad news, and some good news. First the bad news: The editorial assistant weeds out up to 95% of the submissions that arrive. In other words, the great majority of submissions to a publishing house never even make it to a person in a position to publish it. Why not? They may, of course, simply be awful submissions, laden with poor grammar, misspellings and hackneyed writing. They may be the clear work of amateurs, handwritten on lined paper with childish drawings. Or, and this is where there's some hope, they may simply get rejected because they're the less obvious work of amateurs.

More subtle things, such as using single spacing rather that double spacing, or a manuscript whose word count is out of kilter with the "norm" is sometimes all it takes for an EA to say "Beginner". Rejection."

So here's the good news: simply by learning the specific, but not wildly arcane, rules of children's publishing, you can leapfrog over the madding crowd. When an EA or reader sees a manuscript that comes from someone who clearly knows how it's done, they're far more likely to give it a fair reading, and far less squeamish about turning it over to the boss.

Step 2: Write to the Publisher's Needs.

The problem with many beginning children's book writers is that they have a specific idea from which they won't budge. To be honest, it's usually a pretty dumb idea and, even if it's halfway decent, chances are it's been done many times already. Look, I know your dream is to write that book about the talking scrubber brush and his sinkside pals, but put the dream on hold for a bit. The absolute best way to get published is to figure out what publishers want - and give it to them.

Here's an example: Schools desperately need fiction and nonfiction books that integrate into curricula. Publishers, thus, are eager to provide said books, as schools are big and dependable customers who are likely to buy directly from the publisher, offering even a better profit margin.

And you're response to this is..? Hopefully, it's "Hey, I'm gonna write some books that tie in with school curricula!"

This is just one example - publishers have all sorts of often unglamorous niches they need filled. How to find out? Send for their guidelines and catalog. Often, they're quite straightforward about their needs, other times you need to read between the lines of the catalog to figure it out. But the answer is usually there.

And, seriously, let's see Brad Pitt try to write an exciting thriller about the passage of the Smoot-Hawley Tariff Act.

Step 3: Learn to Craft a Great Query Letter.

Your query letter (used if you're submitting a few sample chapters of a longer manuscript) or cover letter (used to accompany and introduce a complete manuscript) is your chance to really earn the sale. Almost always, it's a wasted opportunity filled with irrelevance (I'm the mother of three and I've always dreamed of writing a children's book!), pleading (It would mean so much to me to have this book published!) and ludicrous assertions (Everyone tells me I'm the next J.K. Rowling!).

A good query letter is basically this: a powerful sales letter meant to convince a publisher that it is in its best interests to publish your book. Essentially, you need to tell them that your book fits their needs and will sell to their current market and will expand into new markets. Tell them, specifically, how you will be able to deliver readers (e.g. I have a weekly blog read by more than 30,000 parents and my website attracts 60,000 visitors a month) and how there is a defined need for your book and how you will reach the target customers (e.g. There are more than a half million foster children in America. These children, their foster parents and foster siblings need books like mine to help make sense of their situations. I will promote my book directly to them through organizations, conferences, newsletters and websites.)

To succeed in publishing, you must strip away the romantic nonsense you've been brought up with and see things as they are. Children's books aren't published by magical elves. They're published by business people (albeit, business people who, thankfully, often genuinely love the books they publish). Display to an editor that your book will be an artistic and financial success and you're taking a big step in the right direction.

Step 4: Write to an Existing, Underserved Market.

Sometimes the concept of writing to a publisher's needs can be turned on its head. Perhaps there's a sizeable, outstanding market that no one is serving and you can convince a publisher that its just the one to serve it. It could be anything - children of interracial marriage, girls who like jazz, boys who play piano, American kids who dig the game of cricket - if there are enough of them out there and are too few books for them to read, you may very well be introducing a publisher to a potentially lucrative market.

Do your research. Talk to trade associations, government experts, owners of websites that serve specific markets or anyone else who can give you some supporting backup on the size of your target group. Search Books in Print for already existing titles that target the group. Speak with librarians and booksellers to get their viewpoint on needs. And include it all in a great query letter.

Step 5: Listen to the Pros.

There's no need to go it alone. Take the time (and spend a few bucks) to listen to others who have made the journey. Writing conferences, workshops (visit wemakewriters.com for an excellent one), books and newsletters (such as Children's Book Insider) can dramatically increase your chances of getting published by helping you avoid typical mistakes and pitfalls.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

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New line of Children's Books for Ninetendo DS http://is.gd/497nH Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

When Writing Fiction Children's Books, Simplicity is a Virtue

A student of mine recently thanked me for reminding her that query letters are most impactful when they’re short and to the point. A published writer, she said she’d strayed from the KISS method of querying (Keep It Simple, Stupid).

The more I thought about her acronym, the more I realized it applied to all aspects of writing children’s book fiction. When dealing with kids one-on-one, we grownups often give them information on a need-to-know basis. When asked, “Why do I have to change my socks every day?” we could go into detail about germs or proper hygiene, but instead answer, “Because you’re starting to stink.” It gets the point across with minimal verbiage. And that age-old parental justification –”Because I said so”–sometimes is the only reason needed.

So why do we get so complex when writing for children? Why do our picture book plots span several weeks and contain characters with large extended families and numerous friends? Why do our magazine articles attempt to cram a subject’s entire life into 800 words? Kids are masters of cutting through the fog and getting right to the point. Here are some ways we can learn from our audience:

* Cut back on adjectives and adverbs. If your nouns and verbs are strong, you won’t need to add extra words to describe them. "He trudged up the hill" says the exact thing as "He walked slowly and steadily up the hill, placing his feet heavily with each step", only more directly. Instead of describing a house as huge, grand, or enormous, let your character do it with one word: Jason gazed at Grandma’s house. “It’s a castle,” he thought. A single, well-chosen noun draws a picture in your reader’s mind better than several general adjectives.

* Write your plot direction in one sentence. In our Children’s Authors’ Bootcamp workshops, Linda Arms White and I teach writing a story line as a tool for plotting (This a story about __________, who wants more than anything to ________, but can’t because ____________.) This story line identifies the main character, his/her greatest goal, and what’s standing in the way of the character achieving that goal. Regardless of the length of your story, the age group, or whether you have subplots and chapters, the story line works to keep the action of your plot on track. The key: Keep it to one sentence (there’s no wiggle room on this one).

What if you’re not writing about your character achieving his greatest goal, or its flip side, your character avoiding facing his greatest fear? A plot about something your character sort of wants isn’t good enough. A conflict involving a minor annoyance isn’t as compelling as a life- changing event. Maybe your character is up against so many obstacles that the reader can’t figure out which one is the most important. As the author, you need to boil your story down to the one aspect of your character’s life that’s going to take center stage for the remainder of the book. Remember, you’re not writing about your character’s entire existence, just the period of time covered byencapsulated in your story. One goal shines above the rest. All subplots and secondary characters are stepping stones toward that goal. Some lead your character in the right direction, some take detours, but all ultimately end up in the same place.

* Give your reader only the information he required right now. Don’t throw in details about a character unless it’s directly related to the current action of the story. This often happens with secondary characters, who suddenly develop a phobia or acquire an annoying sibling in the middle of a scene. Such dangling attributes feel contrived and only raise distracting questions in the reader’s mind. The same goes for a character’s life before the story began. We generally don’t need to know the past of every person who appears in the book. Reveal as much information as the reader must have to understand what’s happening at each point of the plot, and cut the rest.

* Use the “need-to-know” philosophy with query letters. When composing a query letter or cover letter to an editor, include only the information an editor needs to judge whether he or she may be interested in reading your manuscript. Your motivation for writing the story doesn’t matter; your ability to summarize the plot in a few sentences does. Your experience as a parent or grandparent doesn’t guarantee you’ll write a strong article; your adherence to the magazine’s word limit shows you’ve done your research. Editors are busy people who love short letters with lots of white space. Respect the simplicity of presenting your work with minimal buildup and letting your manuscript speak for itself.

Above all, keep your message clear and age-appropriate. A picture book about poverty is too broad and abstract for a six-year-old to understand, but a story about a child who is embarrassed because she gets free lunch at school is more specific. Whatever age you’re writing for, use one well- defined character to represent the bigger issue. Smaller, intimate stories are more relevant to the reader. Nonfiction that shows the reader how the topic relates to his life, or focuses on one aspect of a subject, makes a greater impact. And remember, if you want your manuscript to sell, start with a KISS.

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

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Fightin' Bookworms: The next module of the CBI Challenge children's writing course is up! Here's the link: http://ow.ly/sOIp

Fightin' Bookworms: October's "Children's Book Insider, the Newsletter for Children's Writers" is online! http://cbiclubhouse.com

How to Get Started Writing Picture Books | Children's Writing Web Journal http://is.gd/3Ll6K

Fightin' Bookworms: New "Tori Stellar: Children's Book Author" comic strip! http://is.gd/3LjPR Jon, http://cbiclubhouse.com

Writing Picture Books 101

Many beginners believe writing picture books are a breeze, but it requires a great deal of skill to pack a story into a few words. If your dreams include writing a picture book, here are some tips to consider before you begin:

* Keep it simple. You should be able to sum up your picture book's plot in three sentences. Not every detail, of course, but the broad strokes. Create one sentences to capture the beginning (naming your main character and the problem or conflict he’ll face in the story), one for the middle (describing the gist of the efforts your character makes to solve his problem), and one for the end (how he finally resolves the conflict and reaches his goal). If three sentences doesn’t capture the essence of your plot, then it’s probably too complex for a picture book.

Note: You’re concerned here on plot (the action of the story), rather than theme (the underlying message). Don’t get into describing theme when you’re summarizing your plot. The theme shouldn’t even be an issue at this point. You want to construct the story so the character’s actions, and how he changes because of those actions, presents a lesson to your readers.

* Think in pictures. The term “picture books” says it all: the illustrations are just as important as the words. The average picture book is 32 pages long, with about four pages of front matter (title page, copyright page, etc.) So you have 28 pages of text and illustration. If you shoot for 1000 words to tell your story (the average length of picture book text), that gives you about 36 words per page (some pages will have more words, some less, depending on the pacing of your story). While you don’t want to be a slave to precise word counts when you’re writing early drafts of your manuscript, do keep in mind that every page of your book needs to inspire a different illustration. So count out 36 words from your manuscript and note how big a block of text that is on the page. That’s about how many words you can devote to each illustration. After that, your characters have to do something— move around, change locations— so the illustrator will have a new picture to draw.

One way to think visually is to convey the character’s problem, and her efforts to solve that problem, in concrete, visual terms. If your character is having trouble memorizing facts for school, that all takes place inside her head. But if she’s embarrassed because she can’t swim, then her attempts to learn are easily illustrated.

Note: Some illustrations will span two facing pages, called a two-page spread. In this case, you’ll have about 70 words for that one illustration. But picture books are a mix of single page illustrations and two-page spreads, so keep the action moving at a good pace.

* Maintain a childlike outlook. Picture book characters can be children, adults, animals or fantasy characters. But all main characters must embody the sensibilities of a child between the ages of 4-8. This means the problem your characters faces needs to be relevant and important to your target audience. The way your character tackles that problem must fit with the way a child would tackle it. Don’t create an adult main character just so you can impose some adult wisdom on your readers. Grown-up characters using the emotional, illogical and sometimes messy coping strategies of children can be a very effective, and funny, storytelling technique. Above all, the character must be the one to solve the problem, using methods that are accessible to children. If readers view themselves in your main character, then they’ll understand the underlying message of your story.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to write children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com and the CBI Clubhouse at http://cbiclubhouse.com

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Key points from Writer's Digest conference http://ow.ly/qITA Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms! #kidlit

Public Domain& Copyright Issues for Writers http://ow.ly/qISG Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms! #kidlit

#1 Mistake Self-Publishers Make http://ow.ly/qIS8 Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms! #kidlit

Beginner's Guide to Tricking Out Your WordPress Blog http://ow.ly/qIQq Jon, http://cbiclubhouse.com, Where Children's Writers Meet

27 Most Used Apps in a Writing Business http://is.gd/3BysZ Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

article on YA author Dale E. Basye http://ow.ly/qIHk #kidlit Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Nifty overview of 1950's Illustration http://ow.ly/qIJm Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

✔ How to Write Children’s Book Mysteries http://is.gd/3Bx4j Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms! #kidlit

info on Pittsburgh #kidlit fest http://ow.ly/qIG8 Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Children's Literacy Round-Up #kidlit http://ow.ly/qxpx Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

all about upcoming "Teen Read Week" http://is.gd/3zn0S Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

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What YA Lit is and isn’t http://is.gd/3zmR1 Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Author Laurie Halse Anderson on her books being banned/challenged: http://ow.ly/qxje Jon, http://cbiclubhouse.com

Elsie the Cow gets her own children's book http://ow.ly/pwoW #kidlit Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Interview with author/illustrator Matt Phelan http://ow.ly/pwod #kidlit Jon, http://cbiclubhouse.com, Where Children's Writers Meet

The Next Big #kidlit Thing Has Feathers http://ow.ly/pwnl Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

S & S Launches Site for Librarians http://ow.ly/pwme #kidlit Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Recapt of Princeton Children’s Book Festival http://ow.ly/pwlk #kidlit Jon, http://cbiclubhouse.com, Where Children's Writers Meet

The Benefits of Copyright Registration http://ow.ly/pwib Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

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New blog post: How to Write Self-Help Articles for Children's Magazines http://bit.ly/Nac1R

Writing Tips: Get Published With Self-Help Pieces for Children's Magazines

Unlike their parents, when children look for advice they don't usually turn to Oprah. Most kids get everyday, self- improvement type information from children's magazines. If you're brimming with ideas for articles on how to teach kids to help themselves or develop new skills, here are some tips:

* Select a topic based on your audience and age group Each magazine has a clear focus--some are health-related, others might concentrate on the activities of a specific organization. Make sure your advice fits with the magazine's editorial slant. Also, pay attention to the age of the targeted audience. A piece on why spreading gossip is a bad thing is relevant to teen and preteen readers. A piece about being a responsible pet owner could appeal to any age group, depending on how it's written. So check out potential markets before you sit down to write.

* No Preaching. You're giving advice, so it's tempting to lecture or preach to the reader. Don't. You'll lose your audience faster than you can say Dr. Phil. rather, acknowledge what your readers face in their lives and let them know you're on their side. "The hard truth is, sharing DNA with your siblings is no guarantee that you're always going to like each other," is a better approach to an article about resolving sibling rivalry than, "Brothers and sisters are supposed to love each other. Fighting just drives your parents crazy. Let it go!"

* Don't try to sound "hip." Use a normal conversational tone when writing advice for kids, as if you're speaking to agroup of them in person. Don't throw in slang or pop references unless they routinely roll off your tongue. On the other hand, opening your article with an anecdote, unusual statement, or humorous question can be an attention- grabber. Just make sure those anecdotes are about other kids, and don't begin with, "When I was your age...."

* Talk directly to the reader. This is one of those rare situations where the second person point of view works. Address the readers directly (The first time you walk into a new school, you may feel nervous. You might even think everyone's looking at you. Don't worry--all new students feel this way.) Put the readers right into the article so they can see how your advice can be useful in their lives.

* When possible, combine the advice with a "how-to" approach. After explaining to the readers how to make an improvement in their lives, show them. Either as part of the article or as a standalone sidebar, give how-to, step-by-step instructions that can be seen at a glance. For example, if you're writing a piece for teens on being financially aware, you can include a how-to sidebar on finding a summer job, complete with tips for filling out applications and doing interviews.

Use other self-help and advice articles in your targeted magazine markets as templates for how you should write your article. Pay attention to style, length, and whether the information is presented in small bites or large chunks. Then unleash your best advice, and one day you too may be on Oprah!

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to write children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com and the CBI Clubhouse at http://cbiclubhouse.com

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New Children's Literacy Roundup http://ow.ly/pkEr #kidslit Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

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