Wednesday, December 23, 2009
Tuesday, December 22, 2009
►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....
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
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!
Monday, December 21, 2009
► 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
Sunday, December 20, 2009
Friday, December 18, 2009
Thursday, December 17, 2009
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
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!
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!
Tuesday, December 15, 2009
Author's Guild on Random House/ebook rights: http://is.gd/5oNTj #books Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!
Monday, December 14, 2009
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!
Thursday, December 10, 2009
► Tough news -- Kirkus Reviews to close: http://is.gd/5ilOc Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms
Wednesday, December 9, 2009
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.
Tuesday, December 8, 2009
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!
Sunday, December 6, 2009
* 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!
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!
Friday, December 4, 2009
Thursday, December 3, 2009
Fightin' Bookworms: December's issue of "Children's Book Insider, the Newsletter for Children's Writers" is up! http://is.gd/5btt7
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