Want to Join the Fightin' Bookworms? Trust Me, Your Big Moment Has Arrived!

 

If you've been thinking about subscribing to Children's Book Insider, The Newsletter for Children's Writers, joining the Fightin' Bookworms of the CBI Clubhouse and getting your hands on all the children's writing goodies we offer, your big moment has arrived!

For one week only, we're making public  a special private offer we recently made.  It's as good a deal as we've ever offered.  How good?  How about more than half off the total value of the package!

Here it is:

• One year (12 issues) of Children's Book Insider, the Newsletter for Children's Writers (electronic edition).  This is the acclaimed newsletter we've been publishing for more than 20 years, and it's helped countless aspiring writers get contracts.  Quite frankly, if you're at all serious about getting published, you need to be reading CBI every month.

 

 

• Full access to the CBI Clubhouse (http://cbiclubhouse.com), loaded with audio, video, ebooks, articles, message boards and much more.

 

• Full, unlimited access to the CBI Back Issues e-Archive, featuring every issue of CBI from 2001-2009! That's 108 issues of CBI!

 

• Full access to the CBI Challenge - our step-by-step writing course that takes you from story conception straight through publication.

 

• AND, just to make it a complete no-brainer, a free download of "I Wish Someone Had Told Me That! 64 Successful Children's Authors Give You The Advice They Wish Someone Had Given Them".  This is a *great* ebook and it's yours free as part of this holiday special.

 

That's more than $85 worth of killer for info for...

...are you ready?....





$37.95.





No kidding.

There's only one catch - this offer is *for this week only* and *only* for the nexy 75 new subscribers to reply. First come, first served.



So don't put this off. Go to http://bit.ly/cbicyberspecial now!

 

 

"This resource is incredible! What a bargain. Best use of my money this year."

Judith

 

"I never imagined I would find a website that contains FULL INFORMATION of how to start writing for children! It's like attending an online children's literature college. I'm having so much fun. I feel very blessed to have found the CBI Clubhouse!"

Emy

 

"This site is uber superb! I can barely keep up with all the stuff you give us each month. I am finding all sorts of great information to improve my writing. I can’t wait to see what you will offer next!"

Peg

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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!

Books on Writing Worth Adding to Your Library

If you're looking for some last-minute gifts for the writer in your life (or maybe for yourself), the reviewers for The Writer magazine have listed their favorite books on writing. I'd like to add two of my own to the list:

Hooked: Write Fiction That Grabs Readers at Page One and Never Lets Them Go by Les Edgerton. This book focuses exclusively on those all-important opening pages. And we all know that if an editor isn't captivated by your first scene, she'll never read beyond Chapter 1.

And an oldie but a goodie: How to Write for Children and Young Adults: A Handbook by Jane Fitz-Randolph and Barbara Steiner. It's out of print, so you'll have to search the used book sites for a copy (or you might get lucky and find it in your library). Though some of the market info is obviously out of date (it was last revised in 1980), read it for timeless advice on plotting and developing a writer's mindset.

Add your favorites below. Happy reading!

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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!

Four Ways to Use Collaboration to Inspire Your Writing

Today, the myth that writers are a solitary breed is less popular than ever, thanks to the many forms of communication writers can use as they work with their editors, their publishers, and their readers. Being a writer nowadays doesn't mean you have to struggle in isolation as you build your career. In fact, it doesn't even mean you have to write on your own. One of the greatest ways to create new and interesting stories is to collaborate with another person on a project. So if you've hit a wall and are struggling for more ideas, here are four ways you can take advantage of connections with others in order to write new stories.

Work With Another Writer

Working on a story with another writer is a great way to get the words flowing onto the page. You can bounce ideas off of each other, or you can take turns writing the story to see where it goes. However, if you invite another writer into your creative process, be prepared to lose some control of the project. Make sure you're okay sharing with him or her. It's probably helpful if both of you have similar artistic visions.

Collaborate With An Illustrator

Many children's books are illustrated, so this tip makes perfect sense. If you know an illustrator, then consider asking him or her to collaborate with you on a new project. If you have seen illustrations out there that you like, don't be shy! Write the artist and pitch a new idea. Working with an illustrator up front can lead a project in new directions, especially if you and the illustrator go back and forth on the project and let it grow on its own. If you don't know of any artists, then pick a work of art that you love, and write a story that can take place inside of it. (Note: Use this as a creative writing exercise only unless the art is in public domain. See below for more on public domain works.) The only thing to keep in mind regarding this method of collaboration is that most publishers often do not accept manuscripts that are already illustrated, unless the author is also the illustrator. So if you do want to work with a particular illustrator, you might consider self-publishing the book to retain its artistic integrity.

Rewrite The Work Of A Famous Author

This is a less active collaboration, but it's still a great project. Think of some of your favorite classic stories, and see if you could adapt or retell it in a new way. Think also of all the new books out now that somehow retell a classic story, such as The Penelopiad by Margaret Atwood, which retells Homer's The Odyssey but from the point of view of Penelope, Odysseus' wife. Do you have a favorite story that you could retell for a child? How would you do it? Think of your writing of it as a sort of homage to that famous author or classic book. But first, make sure the original is in the public domain, which means its copyright has expired. This is most common with older works. You will have to make sure the work in question has an expired copyright, which occurs seventy years after the author has died. For more information, check out the U.S. Copyright Office and other sites that can help you find works that are in the public domain, such as Public Domain Works.

Write From Music

Finally, you can write from music or work with a musician to inspire you. Think of the classic children's symphony Peter and the Wolf by Sergei Prokofiev, and you'll know that music can do wonders for children's storytelling. This is the kind of energy you'd like to use to inspire your own stories. (And again, heed the warning to use only music in the public domain, unless you get permission from the creator of any work under copyright.)

Next time you're looking for inspiration on a new project, consider looking beyond yourself. Consider thinking of ways that you can work with other creators and pieces of art in order to come up with something new for children to read.

This guest post is contributed by Kate Willson, who writes on the topics of top online colleges. She welcomes your comments emailed to katewillson2@gmail.com.

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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!

Stop Being Afraid of E-Books

I'm not a gadget geek, but I want the Nook. Unlike many of my author colleagues, I've never had an aversion to e-books, but I've also never had a burning desire to own an e-reader. But the Nook Color looks very cool, and I want it. I'm not a big fan of Christmas lists for adults, but this year I've got one and the Nook's on it.

I am into instant gratification when it comes to books I want to read, portability, and downloading titles from the library without leaving my house. I also don't buy the argument that e-books will be the death of publishing or literature. Maybe publishing as we've known it, but certainly not literature or books in general (as long as our definition of "books" remains fluid). And I think e-books are a boon for authors. Here's why:

On November 30 I was watching The Daily Show with Jon Stewart. Author Susan Casey was the guest, talking about her new book The Wave: In Pursuit of the Rogues, Freaks and Giants of the Ocean. This is not a title I would likely ever pick up if I saw it on the shelves, but hearing the author describe the book, and hearing Stewart rave about it, made me want to read it. If I had an e-reader, I'd have purchased the e-book before the show was over. I can handle a $9.99 impulse buy, and I needed some bedtime reading.

But I didn't have an e-reader (yet!) so my options were to go to the book store (the next day--if I had time--and fork over $27.95 plus tax for the hardcover, not a viable option when I had Christmas presents to buy), or order the book online (about $20 plus shipping) and wait for it to arrive. Or (most likely) I'd talk myself out of buying it altogether and order it from the library. It's a new book, so I might not get it right away. And by the time it came in, my enthusiasm for reading it may have waned.

Which option benefits the author the most?

Considering that most publishers are giving fairer, higher royalty rates on e-books than in the past, and the e-book price point doesn't have nearly the sticker shock of the hardcover, I'd think authors would demand that all their books be available in both formats. I still love hardcover books, but if I want to try out a new author or genre, have a more portable option, or get it immediately, e-books are a must. And if you're self-publishing, it's a no-brainer. The cost for producing an e-book is minuscule compared to a hardcover. If a parent's buying books for three different kids, this is a huge consideration.

The key is in the marketing. I discover new fiction through print reviews and blogs, but I tend to find out about nonfiction via radio and television interviews. If I hear an author passionately talking about her subject, I want to read the book. And while not every author can be on The Daily Show, numerous radio and smaller television interview shows (local and national) book authors as guests. One good interview is all you need to get the ball rolling.

I'm convinced that we'll always have hardcover and paperback books, because so many readers love the weight of the book on their lap and the feel of turning the page. I do too. But I think e-books deserve as much respect and an equal place in the market. If you shun e-books, you're losing your impulse buyers, and customers who want to try you out for less money before investing in your hardcover books. I don't know any authors who would willingly give up that kind of cash.

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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!

Best Book Lists Highlight Year's Top Kids' Titles

If you're reading this blog I probably don't have to sell you on the idea of giving a child you know a book this holiday season. But how can you filter out what's good from the thousands of new titles this year? Consult the experts. Here are two useful links:

Publishers Weekly best children's books of 2010

School Library Journal's list of the best picture books, fiction and nonfiction of 2010

And thanks to reader Tina Sans for sending the link to The Top 50 Sci-Fi Novels for Kids and Young Adults on, of all things, the Best Universities blog. This list was compiled from recommendations by librarians and sci-fi fans, and is broken into Classics and Possible Future Classics for middle graders and young adults.

Happy reading!

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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 YA View: Keeping it Real with Teen Dialogue

Editor's note: Audrey is a 13-year-old student from California who is currently working on her own novel between school, sports and choir. She's also a Contributing Editor to Write4Kids, focusing on middle grade and YA literature. If you have writing-related questions for Audrey, or want to suggest a topic for a future column, please contact Laura at Laura@write4kids.com.

 

Hey!

This is my second column, and I’m totally like, taking on the topic of like, slang, n’ stuff.

I’ve critiqued manuscripts written for a YA audience before, and one of the major things that stand out to me about these manuscripts is dialogue. Nothing is better than reading a manuscript in which the author really knows his/her audience and the way they talk. Other times, I’m wincing while I read—the author has no clue.

One of the worst things (in my opinion) an author can do with teen language is mess up the characterization. Say you’re writing a novel about a girl named Anaìs. So, Anaìs is a child prodigy, who lives in Seattle, and is reserved and sort of icy.

How would Anaìs say hi?

If you said, “Ayy, girl, wassup?!”, it wouldn’t fit her character, right? However, some authors tend to try and oversimplify teen language, or they give every character the same way of speaking.

Anaìs would probably say something like, “Hello (insert name of other character here). How are you?” Something a bit more reticent and subdued.

Another thing I’ve seen authors do is have every character in a novel talk like this: "OMG, that’s totally, like, really cool, like, I can’t believe it, ya know?!” Sorry, but teenagers don’t really talk like that. I, for one, have overused the word ‘like’ before. But no one wants to read my tendency to stutter ‘like…like… like’ when I don’t know what to say.

An insanely annoying thing that A TON of authors do is spell things phonetically based on the way their character speaks. For example, “Ohmuhgawd, I cannawt bee-lieeve she’d do thaht.”

For some reason, that phonetic-spelling thing is probably my biggest language pet peeve. Don’t do it. Please. It feels sort of tacky and also a bit patronizing. It’s okay to say “so-and-so had very affected speech” but please don’t write her speech affectation.

Also, another thing that annoys me is when your protagonist is 17 years old and talks like she has a Ph.D. from Harvard. I know you’re trying to make her seem all sophisticated and smart, but come on. No true teenager talks like that. Unless she’s a 173 year old vampire, in which case… never mind.

Slang is hard. I strongly advise against writing a novel not set in your city (or fictional city like yours) or state. It’s really annoying when a person tries to write a novel set in your city, and they get it all wrong.

Podcast: Conversations With Laura, Featuring Author Maggie Stiefvater

Maggie Stiefvater's bestselling young adult novel Shiver generated more buzz than a hive of bumble bees. Here's the description:

For years, Grace has watched the wolves in the woods behind her house. One yellow-eyed wolf-her wolf-is a chilling presence she can't seem to live without. Meanwhile, Sam has lived two lives: In winter, the frozen woods, the protection of the pack, and the silent company of a fearless girl. In summer, a few precious months of being human . . . until the cold makes him shift back again. Now, Grace meets a yellow-eyed boy whose familiarity takes her breath away. It's her wolf. It has to be. But as winter nears, Sam must fight to stay human-or risk losing himself, and Grace, forever.

Laura had the opportunity to visit with this talented young author for an exclusive audio chat, in which Maggie offers some truly fascinating insight.

 

Conversations With Laura, Featuring Author Maggie Stiefvater - Right Click and Select "Save As" to Download

or listen online:

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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 Christian Fiction for Today?s Market

Agent Chip MacGregor had a recent guest post on the Guide to Literary Agents blog that nicely sums up the new breed of Christian/Inspirational fiction. And though he's writing about the adult market, I think his words apply to the children's/YA market as well. I was especially taken with the following points: "...more Christian publishers are releasing generally redemptive novels with more subtle faith messages in place of the overt expository approach....The conversation has largely shifted from one of 'message' to one of 'craft.' "

Writers for children, many of whom can hardly restrain themselves from planting all kinds of messages in their books, need to take these comments to heart. The new Christian fiction for kids is "fiction" first, "Christian" second. It's mysteries, contemporary school stories, fantasy series, sci-fi novels. The characters struggle with all kinds of dilemmas, which may include crises of faith. They learn and grow and use whatever tools they have to solve their problems, which may include prayer, or seeking advice from religious leaders, or befriending peers with strong religious beliefs. The point of the books, however, is broader than imparting a particular religious dogma to readers.

Of course, trade publishers are apt to want more subtle and non-denominational messages than religious publishers. And Christian nonfiction for kids is a different discussion entirely. But if you want to write Christian fiction for children or teens, study some of the books on these lists to see just how important it is to layer the message under a good story.

Inspirational and Religious Fiction for Children

Christian Fiction for Children

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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!

Lingering Thoughts on Banned Books Week

Almost two months after banned books week, I was sorting out links and bits of articles I'd collected and came across two I have to share. This is not going to be a post on censorship, or how one parent doesn't have the right to dictate to all parents what literature should be available to their children, or on the right for a parent or child to decide whether or not they want to read a particular book (though I believe all those things). These two tidbits are about the people the books touch, for better or worse.

The first is an article about how Penguin Young Readers Group took out a full page ad in the New York Times defending Speak by Laurie Halse Anderson, a young adult novel about a rape victim that had been called "soft pornography" in an op-ed piece in the Missouri News-Leader. What most touched me was a comment by a reader at the end of the article:

The irony that this man chose to try and censor a book in which the main character responds to her rape and the way her high school peers treat her afterwards by not speaking was evidently lost on him. He tried to silence the silent and, I hope, much to his surprise, the roar was heard around the world. Silence is the enemy of the abused. Silence is what allows abusers and abusive situations to flourish. I know this to be absolutely true because, as a child, I was abused by my father. I tried to tell and was either told that I was a liar, that I was making things up or in one memorable case, that I must have deserved what I got. So I gave up trying. That was before I found books like SPEAK and CHINESE HANDCUFFS and authors like Laurie Halse Anderson, Chris Crutcher and every other writer who has had their works threatened or banned. Silence is not the answer and that is the message I want my granddaughter and every abused and traumatized person to know.

Silence isn't the answer, unless you have no idea what you're talking about. In Banned Books Week: 10 Banned Books You Might Not Expect, the Texas Board of Education banned the beloved classic Brown Bear, Brown Bear, What Do You See? by Bill Martin, Jr. in January of this year because it (mistakenly) thought the book was written by the same Bill Martin who penned the nonchildren's book Ethical Marxism: The Categorical Imperative of Liberation.

Enough said.

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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!

Free Kindle Download of Writing Fiction for Dummies

From November 15-19, 2010, Amazon is offering a free download of the Kindle edition of Writing Fiction for Dummies. And if you don't have the Kindle e-book reader, you can download a free app to read the book on your Mac or PC here.

This offer is only good for Amazon customers in the United States.

Of course they're doing this to offer you other products (such as Dummies' author Randy Ingermanson's Snowflake Pro novel-writing software). I've not read Writing Fiction for Dummies (though I was Technical Editor on Writing Children's Books for Dummies), but a deal's a deal, and you never know when that one piece of advice will put your writing over the top.

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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!

A success lesson for creative folks. Very inspiring stuff! *http://amplify.com/u/f0xo

Picture Books: Why They Must be Saved...and How to Do It

By now many of you have seen the New York Times' article from last month: Picture Books No Longer a Staple for Children. It's caused quite a stir in the book writing community, in particular (not surprisingly) among picture book writers and illustrators. Newbery Honor-winning illustrator Marla Frazee spoke at Pittsburgh's Fall Festival of Children's Books and said, “The reporter should have talked to teachers and librarians who are in the trenches with kids. They understand that picture books are crucial rungs on the ladder to literacy.”

She's right about picture books being crucial to building literacy skills, but I don't think the reporter was disputing that. In fact, the article quotes several booksellers and publishers who underscore the role picture books play in learning to read and comprehend stories. To me, the article highlighted three reasons picture book sales are down:

The economy. Picture books are expensive to produce, and expensive to buy.

The booming young adult market. Publishers and booksellers go where the money is: YA. That's just a fact of the business when you have finite dollars and shelf space.

Parents. To me, this is the most alarming reason. Parents are pushing their children to read at an earlier age, moving kids as young as four years old from picture books to chapter books.

Easy readers are great. Chapter books are wonderful. But is it necessary to rob young children of the pleasure of being read a picture book (not to mention the joy of gazing at extraordinary illustrations while hearing a compelling story) before they're ready to move on? Picture book plots are far more complex than easy readers, and their vocabulary and sentence structure is close to that of chapter books. Kids are learning from these books, and not getting stressed out in the process.

It seems to me that authors, illustrators and booksellers need to band together and work to educate well-meaning parents on the literary value of picture books. If you're doing a book signing, mention how kids can learn to follow a plot and expand their vocabulary when they're hearing your story read out loud. When you're speaking at schools, ask teachers to use your book as part of their literacy curriculum. Blog about it, put this information on your web sites. Create a grassroots, pro-picture book publicity campaign. Parents want to love picture books, and if you give them reasons to keep buying them even after their kids start reading on their own, they'll do it. For the authors, illustrators and booksellers, it's essential that you start talking up these reasons now.

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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!

Prepare for Author Presentations with this Handy Checklist

Like many people, writers are searching for ways to supplement their incomes. Some have turned to giving workshops and speaking to libraries, school classes, and other groups to earn extra money. An added plus is that speaking to such groups is a great way to promote your book. Consider having a friend or family member critique your presentation. You may even ask someone to tape you. Listen to the feedback and made any needed corrections. After all, you want to be invited back. Physical appearance

• Are your clothes appropriate for the setting? You will probably not be dressed “to the nines” for an informal chat at an elementary school or the local library. You want to look approachable and friendly.

• Could you dress in some kind of costume that relates to your book? Is your chapter book about a young girl’s journey west on a wagon train? Could you dress in pioneer garb? Have you written a “tween” novel about a Civil War era girl who befriends a slave? Could you fashion some kind of Civil War costume? (If you aren’t handy with a sewing machine, try visiting a thrift shop. I find thrift shops a great place to look for costumes or special clothing.)

Props

• Do you have props or visual aids? Children respond to things they can see and touch. A poster of your book (provided by your publisher) is always good, but can you incorporate something else? What about having something to hand out, such as bookmarks or some other token that is a reminder of your book? (There are companies who specialize in making giveaways for authors.) Younger children love to have something to take with them.

• If your book features an animal, can you make arrangements to bring one to your presentation? Use your imagination to come up with intriguing ideas.

Special considerations for speaking to a school class

• How many children are expected? You will want to know this before you show up so you can have the necessary number of bookmarks or other tokens to give out.

• What is the age of the children to whom you’ll be speaking?

• Will a microphone be available?

• How much time will you have?

• Will you be sharing the time with other speakers?

• Can you make a power point presentation on how you created your book? Children love “how-to” presentations.

• Can you find a way to involve the children in your presentation? Could you have them act out a scene from your book? Or could you read a passage from your book?

• Have you left time at the end of your talk for questions? Chances are you will be peppered with questions from your young listeners.

Miscellaneous

• Do you give your note cards an occasional glance rather than reading them?

• Have you given in to nervous gestures, such as fingering your hair, stuffing your hands in pockets, or scratching your nose? These are common behaviors, ones that you may well not be aware of.

• Do you maintain eye contact with the children?

• Do you occasionally sweep the room with a glance?

• Are you smiling?

• Are you clearly enthusiastic about the subject? Children sense when a speaker is enthusiastic about her subject.

• Do you project your voice?

• Do you vary your pitch and tone? A monotonous tone will likely lull your listeners to sleep or, at the very least, bore them.

Speaking before a group isn’t for everyone. However, even the most reclusive writer can learn a few simple techniques to improve her presentation skills and become a sought-after speaker. Jane McBride Choate is a Contributing Editor to Children's Book Insider, and an author. Her newest books include Bride Price and Eden's Garden from Avalon Romance.

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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!

"Write a Marketable Children's Book in 7 Weeks"....Our Exclusive Interview With the Authors

 

As you might imagine, we get many press releases and review copies of "how to" books for children's writers.  Most are "just OK", but once in a rare while we see a real winner and decide to add it to our product line.  And this is most certainly one of them.

Write a Marketable Children's Book in 7 Weeks does exactly what the title promises: it breaks down the daunting task of crafting a children's book into seven thoughtfully designed chunks.  It's so wonderfully simple and well-planned our first reaction was "Why didn't we think of this?"  :)

The link to get this essential book is: http://www.mybookorders.com/order/default.aspx?SiteID=518

But first, check out our exclusive interview with the book's authors, Shirley Raye Redmond and Jennifer McKerley. Shirley and Jennifer have used this approach themselves to write over 30 published books, and say it works for all manuscripts from picture books through middle grade, fiction and nonfiction.

Your book takes a very straightforward, step-by-step approach to writing  fiction. Does this leave room for inspiration and creativity?

Shirley Raye: I think the creativity and inspiration are already there before someone would even be interested in or have need of our workbook. We’re just helping the writer with the production and packaging of her creative idea so that it can be brought to complete fruition and appeal to an editor.

Jennifer: Jane Yolen, the famous author, said, “To write 30 books or 300 books or 3 books? BIC. Butt in chair. Every day.” Creativity and inspiration play a big part in writing, but not as big a part as just doing it. We want those who dream of writing to bite the bullet and get a complete manuscript finished. We know it is an empowering feeling, and if they keep writing, they’ll learn that the writing habit itself triggers inspiration and creativity.

Just posted! [Children's Writing Update] The Best Way to Find a Literary Agent #writing #kidlit *http://amplify.com/u/ein1

Get Published By Creating Magic

Every writer who sticks with a manuscript beyond that initial flash of inspiration knows it: writing is hard. To be more accurate, writing well is hard. Anyone can throw words on a page. But to make those words into something that burrows into the heart of a reader you'll never meet- that takes considerable effort.

This is the point that separates the writers from the wannabes. Here is where you'll learn if writing is something you're meant to do, or if you just thought it would be cool to see your name on a book. There's nothing wrong with the latter; we've all jumped into activities we thought would satisfy some creative need, only to find we were way off base. I have half-finished knitting projects and lopsided ceramics gathering dust in closets as evidence of my own tinkerings. However, if you genuinely believe in your heart you're a writer but feel like you're wading through quicksand, then you may be missing a vital ingredient in the creative process...

CLICK HERE TO READ THE REST OF THIS ARTICLE

The Insider?s Method of Finding a Literary Agent

Agents are some of publishing's true heroes. They're also among the hardest-working folks we know. In their honor, we've prepared a video that will help make their lives easier — and your career more successful.

We've got a little-known technique for finding literary agents who are accepting new clients, along with tips about how to research agents before you contact them – so you don't waste their time with inappropriate submissions. We've also got some steps toward developing a respectful, professional relationship that can lead to representation.

The bottom line? Do your homework, get to know agents' likes, dislikes and needs. Show that you value them as professionals and people. Build relationships and demonstrate respect for their time and their knowledge.

It's how the top authors do it, and, after watching this video, how you can do it to.

Click Here to Watch the Video

The YA View: What We Like in Our Books (and What We Don?t)

Hi! My name is Audrey, I am 13 years old and I live in California. I like to play sports, especially water polo. I sing in a choir and enjoy acting. I love reading and writing. At the moment, I’m reading Bullet Point by Peter Abrahams (and so far, it’s quite captivating), and I’m writing a novel titled The Good Girl’s Guide to Jewel Theft. But that will change, because, starting November 1st, I will be participating in NaNoWriMo (National Novel Writing Month).

For my inaugural column, I chose to interview some of my friends about the aspects of YA lit they especially like.

Caroline C. (14 years old):

• People who are funny and cool (Caroline defines cool as “people who are smart, funny, and maybe a little out there.”)

• Good-looking people (Caroline really hates when the good-looking main character is in love with a “freak of the week”, and she wants at least one beautiful person in a novel, preferably more.)

• Mysteries, theft, and murders

• Sports

• Inside jokes that are funny!

• Characters like Ty from Behind the Curtain by Peter Abrahams and Adam from The President’s Daughter by Ellen Emerson White—Caroline likes male characters who are “nice, smart, funny, confident, and beautiful.”

Eleri Q. (13):

• Beautiful people

• Fantasy worlds that you wish you could see

• Unique names

• Whole worlds made up of new, exciting entities and lives and laws and societies.

• Books that make you want to cry when they’re over—not necessarily because they’re insanely sad, just because you want to be in the world for a little bit longer.

• Mysteries where you have to think/predict what will happen, mysteries that aren’t obvious.

• British accents (Audrey and Caroline agree with this times 20)

• People who are intelligent/smart, and tall, because “I seem to connect with them.”

• Eleri feels really connected to the character if the character in question is super smart but then makes a stupid mistake

• Characters with a really ironic sense of humor, characters who get the humor in bad situations

• Characters who are just a teensy bit wicked!

Kailey S. (13):

• The one character who no one likes because they’re annoying or bratty or just misunderstood

• Characters who speak their minds, characters who are opinionated

• Kailey doesn’t like talking animals because they’re annoying and lame

• Ty from Behind the Curtain by Peter Abrahams

Alex W. (15):

• Alex likes The Hobbit (J.R. Tolkien) because there are funny characters and it’s interesting. It’s interesting because it's fantasy but you can relate to the characters and understand why they made their decisions. He also likes this book because it’s not crazy out-there fantasy.

• He especially likes the Dragon from The Hobbit because he was tricky and smart, but also had flaws. Alex doesn’t like characters that are too perfect.

• Alex likes the Life of Pi by Yann Martel because it was kind of funny and also an adventure. Alex likes adventure stories a lot.

• Alex likes characters who are smart and funny and witty.

Audrey (Me!) (13):

• Interesting explanations of non-interesting things (I swear, The Red Blazer Girls by Michael Beils taught me how to do algebra. Now if someone does a good example on how to factor equations, I will be Set For Life.)

Characters who occasionally talk in other languages (Por ejemplo, I sometimes parle francais, y tu?)

Characters who do relatable things (believe it or not, sometimes teenagers actually have to stay home and study on Saturday nights and miss the party of the year. Pity.)

Books about art theft or jewel theft or the mafia or spies or criminals in general—except for psychopath teenage killers/druggies, they’re boring and way too depressing for me to care about.

Characters who betray other characters

• Characters like Ty (seriously, everyone loves Ty from Behind the Curtain. It’s indisputable.)

• Inside jokes! Seriously, if you’re writing for teens, and you don’t include an entertaining inside joke, I’ll be like “no.”

• In plots: at the risk of sounding cliché, the bigger the better. I like plots with some drama, some intrigue, and a bit of action.

• In characters: I happen to like characters who are unique, who aren’t perfect. I like the character named Allison who lives next door—but secretly, Allison has an alias that supposedly lives in Prague.

To close this, I would like to state what (in my opinion) is over in YA. Vampires—I hope you know that vampires are finally dead. Ditto vampire boarding school. Seriously, how many books must be written about anti-social vampires at boarding school?

Also, the name Damien/Damon/Damion/etc. for the bad-boy love interest irks me. If I read this line ever again—But when she arrives at the Academy, danger is waiting for her, in the form the darkly passionate Damien.—I think I shall die.

I’ve noticed a trend in YA lately—semi-dystopian heroic fiction. I’ve seen a lot of main characters with special powers, be it the power to fly, or the power to morph into a wolf. My opinion is this: it’s not overdone yet, but it looks like it’s heading in that direction.

Finally, I have a request. Write a normal love interest for us. Someone who isn’t all mysterious and dark and brooding. Someone who doesn’t have eyes that convey hidden depths or battle scars that form weird tattoos. Someone who doesn’t display exceedingly stalkerish traits and isn’t illogically overprotective. Someone who isn’t named Damien.

Audrey is a Contributing Editor to Write4Kids and Children's Book Insider: The Newsletter for Children's Writers. She'll be writing on middle grade and young adult literature topics about once a month. If you have questions for Audrey or topics you'd like her to cover, send an email to Laura@write4kids.com.

From the CBI Vault: Great Advice From Judy Blume & Barbara Seuling

Recently, we took the opportunity to look back at some of the many author interviews we’ve presented over the years. What caught our eye was some of the priceless advice these authors shared with our readers.

Here are two quick — but powerful — lessons from our archives:

Judy Blume on writing from the heart (August 1990):

What happened when I first started–as in Are You There God? It’s Me, Margaret, which is the first book that was really mine–is I was just telling the stories that I knew. I knew what it was like to be in sixth grade, and to be in Margaret’s body, because that was my body. Slow growing, slow to develop….So that’s what I wrote about, because it wasn’t there for me when I was young.

I didn’t know if anyone would publish it, but it was from the heart. The only thing that works with writing is that you care so passionately about it yourself, that you make someone else care passionately about it. Books that are written to order are awful. It can’t work. Children will see through that and they won’t read it.

Barbara Seuling on common mistakes (December 1994):



The main character is a big one. So often beginning writers will use boy and girl twins as the main character, or use more than one main character, such as a pair of boys going off to have an adventure and you can’t pick out which one is the hero of the story. There should be one viewpoint to the book, and this rule hasn’t changed since children’s books first began. You can occasionally get away with it if you shift the focus to another character when you start a new chapter, but you have to do this very carefully. Point of view is another one. I always feel you should know how to use point of view so you can break the rules. There are a lot of cases where the rules of point of view are broken very successfully, such as in Charlotte’s Web. You can bend the rules but you have to be as good as E.B. White to do it.

There are two ways to approach talking animal characters. The big differentiation depends on the story. Either the animals have to truly be animals, or they are really kids that happen to look like animals. If you’re writing a story that just needs a substitute child, then you can decide if it’s a soft furry animal or a funny-looking animal. It’s funny to see a pig in children’s clothes, but they always have some pig-like characteristic, such as a large appetite. If you’re writing that kind of story, then it’s fine to have the animal act like humans.

In a book like Charlotte’s Web the animals were very true to their natures, and it was important that they were. Even Templeton the rat was not a sympathetic character. In a story where you’re getting close to the animal world, you need to keep animals as true to their natural selves as possible. What you don’t want is the animals doing animal-like things part of the time when it’s convenient to the story, but then at other times have hands or stand upright to talk to each other. That never works.

To read these — and many more — CBI interviews in their entirety, check out In Their Own Words: The Best of CBI’s Interviews.

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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 For Teens - Finding Humor Among the Melodrama

It seems when kids turn 13, one word sums up their lives: melodrama. Emotions hover on the surface; every event is huge. Adults are idiots who don't understand them, and their classmates are constantly watching to make sure they don't do anything stupid (which includes wearing the wrong clothes to saying the wrong thing to listening to the wrong music). Oh. My. God. As adults on the receiving end of this hysteria, we may roll our eyes or deliberately show up at Back to School Night with wet hair, just to see our child's response. But as authors, we can mine the drama for its flip side: humor.

Read more of Laura's article at EzineArticles.......

Children's Book Publishers - How to Wow Them With a Perfect Query Letter

In an ideal world, you'd be able to pitch your manuscript to an editor over a leisurely cup of coffee. But we're forced to inhabit the real world, where you've got about 10 seconds to hook an editor at a children's book publisher before she decides to continue reading or reach for her form rejection slip. And more and more, this "hook" must come in the form of a query letter.

A query is a business letter asking permission to send the project described. It is either sent without an accompanying manuscript, or with two or three sample chapters (the publisher's guidelines will state which form the query should take). If the query letter stands alone, it's your only chance to sell the editor on your book. Many authors hate the task of writing a query, but it's a necessity in today's publishing industry. Editors, overwhelmed by the sheer number of submissions they receive, need a quick way to weed out the good from the not-so-good. A well-crafted query has a better chance of leading to a well-crafted manuscript.

The first rule of query writing is that the letter must fit on one page. That's one side of one page (no cheating and printing a double-sided letter). Type it single spaced, but leave sufficient white space at the top and bottom so the letter looks uncluttered and appealing. Why such length limitations? If you can't sum up your book in less than a page, you haven't sufficiently clarified your idea.

Your first paragraph (two paragraphs if you've written a longer novel) conveys to the editor what your book is about. Think of this as the copy that would go on the jacket flap. You don't want to give away all the surprises, but you do want to entice the reader to buy the book. For fiction, establish your main character in a sentence or two, present the character's primary problem or conflict, mention one or two things the character plans to do to resolve the problem, and bring up some of the obstacles that will stand in his way. Hit the high points upon which the action is based. The synopsis should also reflect the tone of the book-humorous, scary, action-packed, somber, etc.

Don't discuss the theme, or the underlying message of the book. This should be obvious to the editor through the plot.

In nonfiction queries to children's book publishers, begin by stating an interesting fact about your topic that helps establish a market for your book (Did you know Jello, in its many shapes and forms, is eaten by 3 million people a day?) Follow this by describing what your book is about and your particular slant on the topic. In a few sentences explain your approach and how it's appropriate for the intended age group, the questions you'll raise and answer, and any additional materials your book would have (photographs, maps, activities, etc.) You can add a paragraph explaining your research and any unusual information you've uncovered. List good firsthand sources available to you or new data that hasn't ever appeared in a children's book.

After your synopsis, list the book's title, word count, age group and genre (historical fiction, humorous mystery, science activity book, etc.) Explain why you've chosen to submit to this publisher (show that you've done your market research and describe in one sentence why your book would fit in with this publisher's list). For nonfiction, also state how your book would be different from other books on the market on the same topic.

Your next paragraph is about you. Give any information pertinent to writing children's books (previous publishing credits, memberships in writing organizations, writing classes you've taken, professional experience with children of the age group for which you want to write). Nonfiction credentials may include extensive experience with or study of the topic. If you don't have any relevant information, skip this paragraph. Editors know that everyone has to start somewhere.

Finally, ask the editor if you may send the entire manuscript, and thank her for her time. Attach sample chapters if indicated in the publisher's guidelines (nonfiction publishers may also request a chapter-by-chapter outline). Enclose a self-addressed, stamped envelope for the editor's reply. If you're sending a letter only, the SASE can be a business size envelope. If you're including sample chapters, your SASE should be large enough to return the entire packet.

Always address the letter and envelope to a specific editor whenever possible. Use good stationery with your name, address, phone number and email printed at the top. Send by regular mail-brightly-colored envelopes, trinkets or treats included in the package, or Fed-Ex delivery won't increase your chances.

Then, drop your query in the mail and start on your next manuscript!

Laura Backes is the Publisher of Children's Book Insider, the Newsletter for Children's Book Writers. Want to learn how to become a successful children's book author? Come hang with the Fightin' Bookworms at http://cbiclubhouse.com. Whether is writing picture books, chapter books, young adult novels, finding children's book publishers - or anything else - you'll find all the answers at The CBI Clubhouse.

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The Joys of (Slightly) Subversive Children's Books

Ever since Max went on a wild rumpus in 1963 in Maurice Sendak's Where the Wild Things Are, picture books have quietly ventured away from stories of sweet, happy, safe childhoods into more subversive territory. Sure, plenty of gentle, value inspired books still line the shelves (and some of them are quite good), but tucked between the tales of liking yourself just the way you are and comforting bedtime stories young children can journey to imaginative, exciting and sometimes scary places. Places where no grown-ups are allowed.

When I tell people that I teach children's book writing classes, the response is often, "That's good, because there are so many bad children's books out there." I used to agree, but I've come to learn that as long as a book has a big enough audience to justify keeping it in print, it deserves a place on the shelves. That's because everyone's definition of "bad" is different. Personally, I hate picture books whose sole purpose is to teach children a lesson or moral. It's as if kids don't deserve to be entertained, but simply preached to. The worst are books written by celebrity authors, who think because their names are household words they have the authority to tell kids how to behave. To top it off, the books almost never follow the standards of good writing editors require of their lesser-known authors. But a few publishers and a lot of adults have determined these books are "good" enough to buy. And so they exist.

My favorite books operate outside the box. They offer a new way of looking at the world; they don't tell a child what to think but show a child how to think. They acknowledge all the emotions of childhood, from anger to pride to fear to silliness. It takes a special dedication to write this kind of book for the youngest children. These are the kids parents most want to protect, and who adults most want to control. Some adults are afraid of books that allow young readers to think like kids as opposed to grown-ups in training. And so I greatly admire the new crop of forward-thinking picture book creators. Here's a sampling:

Big Momma Makes the World by Phyllis Root, illustrated by Helen Oxenbury (Candlewick, 2002). What if the world was created by a woman? And what if that woman brought forth the light and the dark, the sea and the sky, with a baby on her hip and the laundry piling up in the corner? Root's Mama is a no-nonsense Earth Mother who makes the planet for her baby to crawl upon and people to swap stories with while she's sitting on her front porch. When they got out of line, she admonishes "Better straighten up down there," but most of the time she smiles and says, "That's good. That's real good."

This book is not for every family, especially if it conflicts with religious beliefs. And that's fine, because no book can be perfect for all children. But I love that's it's out there delightfully pushing boundaries for anyone who wants to read it. The Wolves in the Walls by Neil Gaiman, illustrated by David McKean (Harper, 2003). Lucy is sure the sounds she hears in the walls of her old house are wolves. But her family doesn't believe her: "You know what they say...If the wolves come out of the walls, then it's all over." But Lucy's right, and one night a pack of wolves clamors through the walls, forcing Lucy's family to flee to the garden. After two nights outside the family's had enough, and Lucy leads them to the house where they creep into the walls and watch the wolves destroy their home with a wild party. Finally the family bursts through the walls, scaring the wolves away. Life returns to normal after several days of clean-up, but then Lucy hears other sounds one night, "...exactly like an elephant trying not to sneeze." Should she tell her family? No, they'll find out soon enough.

This book, with its dark, surreal illustrations, is too scary for many kids. But older picture book readers who like to be spooked will love it. I appreciate that the message is not the pragmatic "Don't let your imagination run away with you," but rather "Sometimes, your worst fears will come true. But you'll be able to handle it."

Achoo! Bang! Crash! The Noisy Alphabet by Ross MacDonald (Roaring Brook Press, 2003). An alphabet book that begs to be shouted out loud, each letter is expressed through sounds that match humorous illustrations. "M" is depicted by a huge Meow! coming from a small cat, while a frightened cow runs off uttering a smaller Moo! "N" is NO! yelled by a father as his blindfolded son tries to pin the tail of a donkey on dad's back side instead of the poster. "O" is the boy's OH! and oops! while watching Dad yell OW... and stagger off in pain, tail firmly in place.

Little triumphs over big in this book, often at the expense of adults. Preschoolers will appreciate the physical humor that sometimes borders on naughty, as in the illustration of an exposed rear end of a lion tamer after the lion removes his clothes with a ROAR! and a RIP! The words, set in 19th Century wood type and printed on a handpress, give the art a nostalgic feel reminiscent of old circus and "Wanted" posters.

The Day the Babies Crawled Away by Peggy Rathmann (Putnam, 2003). A proud mother recalls the day her child (who looks to be four or five years old) saved a group of babies when they crawled away from their parents who were occupied by a pie-eating contest. The babies chased butterflies over a hill, explored a cave filled with bats, and got stuck in a tree while imitating birds. The savior wisely fed the babies a snack of blackberries and dew and let them nap in a pile before returning them to their worried parents. The black silhouette figures against a technicolor sky allow any child to imagine him or herself in the place of the brave young child in a firefighter's hat.

While this book doesn't shout "subversive," when I first read it I could imagine parents gasping at the thought of a story depicting helpless babies wandering around unsupervised, or munching on berries growing in the wild. But rather than scare children, I think this book empowers them. Kids know when they're entering the world of make-believe, and every preschooler deserves to fancy him or herself a hero once in a while.

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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!

Submitting to Children’s Book Publishers: 3 Steps to Avoiding Rejection Letters *http://amplify.com/u/97uf

The Cheap & Easy Way To Digitize Your Vinyl - and Have It Sound Great - Rock and Roll Tribe *http://amplify.com/u/97ud

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Are You Writing In The Most Efficient Way Possible? | Get Paid to Write Online *http://amplify.com/u/97u8

11 tip-filled articles about marketing and promoting your nonfiction book *http://amplify.com/u/97u7

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Digging Deeper - More Great Research Sites for Writers | Children's Writing Web Journal http://www.write4kids.com/blog/2010/07/15/digging-deeper-more-great-research-sites-for-writers/

Digging Deeper - More Great Research Sites for Writers *http://amplify.com/u/7r9u

YouTube - Writing Jobs Online - 4 Sites to Help You Find Freelance Opportunities http://www.youtube.com/watch?v=wzHa8wGj-so

Writing Jobs Online – 4 Sites to Help You Find Freelance Opportunities - The CBI Clubhouse - a Community for Children's Book Writers http://cbiclubhouse.com/2010/06/writing-jobs-online-4-sites-to-help-you-find-freelance-opportunities/

Writing Jobs Online - 4 Sites to Help You Find Freelance Opportunities | Children's Writing Web Journal http://www.write4kids.com/blog/2010/06/21/writing-jobs-online-4-sites-to-help-you-find-freelance-opportunities/

Writing Jobs Online - 4 Sites to Help You Find Freelance Opportunities | Children's Writing Web Journal

I've just posted a new video over at The CBI Clubhouse about resources to help you find writing jobs online. If you're looking to earn a few dollars while you develop your children's writing career, you kust might find the answer at the sites I highlight.

From: http://www.write4kids.com/blog/2010/06/21/writing-jobs-online-4-sites-to-help-you-find-freelance-opportunities/

YouTube - Create iPad-compatible children's ebooks for free!

From http://cbiclubhouse.com a look at a new free service that can help authors create iPad ebooks from any existing children's book.

From: http://www.youtube.com/watch?v=r1mrAu2JwBs

How to Create an eBook for the iPad – Free! http://cbiclubhouse.com/2010/06/how-to-create-an-ebook-for-the-ipad-free/

Writing Lesson Plan - A Children's Writing Lesson Plan For Beginners http://ezinearticles.com/?Writing-Lesson-Plan---A-Childrens-Writing-Lesson-Plan-For-Beginners&id=4422807

* How to Write a Picture Book that Shines http://www.youtube.com/watch?v=fulThAHIU8Q

Try this Picture Book Editing Checklist | Children's Writing Web Journal http://www.write4kids.com/blog/2010/06/03/try-this-picture-book-editing-checklist/

Project Save Rock and Roll – If Rock & Roll Has Saved Your Soul, It's Time to Return the Favor http://www.projectsaverockandroll.com/2010/02/detonate/

Write Like a Pro! How to "Show, Don't Tell" http://ezinearticles.com/?Write-Like-a-Pro!-How-to-Show,-Dont-Tell&id=4337506

Fightin' Bookworm Blog http://cbiclub.blogspot.com/

Free eBook: The Non-Celebrity’s Guide to Getting a Children’s Book Published - The CBI Clubhouse - a Community for Children's Book Writers http://cbiclubhouse.com/2009/03/free-ebook-the-non-celebritys-guide-to-getting-a-childrens-book-published/

YouTube - 3 Steps to Finding a Children's Book Publisher for Your Manuscript http://www.youtube.com/watch?v=IV2HeZLX3JM

Writing Fiction: Understanding the Essential Archetypes of Storytelling

A wise owl. A trickster fox. An innocent heroine who needs a brave warrior knight to save her. How many stories can you name that have versions of these characters?

Throughout the ages, writers from William Shakespeare to George Lucas have drawn from archetypes, or prototypical characters, to populate their stories. Certain character types have always fit into the literature that's been passed down over time. Psychiatrist Carl Jung said archetypes are part of our collective unconsciousness. And scholars such as Joseph Campbell point to archetypal characters in mythology and folklore to explain universal story structures such as the hero's journey.

Author Christopher Vogler gives writers a handy guide in his book The Writer's Journey: Mythic Structure for Storytellers and Screenwriters. Vogler describes seven character archetypes:

Hero: This is the classic protagonist with whom the reader identifies. The Hero ultimately embodies our most cherished values, though may have to go through a period of learning or transition to get there. Heroes can be willing or unwilling, deliberate or accidental.

Mentor: The Mentor assists the Hero in some way, giving him advice or teaching him skills. Mentors can appear at crucial moments, or be present in large chunks of the story. Mentors symbolize wisdom, knowledge and experience.

Threshold Guardian: This is a character who shows up to pose an obstacle to the hero at a transitional point in the story (a gatekeeper would be a classic Threshold Guardian). In classic myths, the guardian often required the Hero to answer a riddle, give a gift, or even fight the guardian before proceeding on his journey. When the Hero passes the Guardian and crosses the threshold, he's achieved a significant point of growth.

Herald: The Herald provides the information that triggers the Hero into action. The Herald can be a person, a letter, a phone call, a newspaper article; anything that sets the Hero's story in motion.

Shapeshifter: The Shapeshifter represents uncertainty and change. He may be a character who keeps changing sides or whose allegiance is uncertain. Shapeshifters can combine with other characters (such as the Trickster or Mentor) to keep the Hero on his toes.

Shadow: The Shadow creates the tension in the story. The Shadow is often opposes the hero and is typically the main antagonist. They may also be people who provide obstacles along the way, although not as a guardian. The shadow also represents the darker side of our own nature.

Trickster: The Trickster provides entertainment in the story. Tricksters can be silly, clever or even wise. They often keep the Hero a bit off balance.

These are not the only archetypes recognized in literature. In her book The Hero Within: Six Archetypes We Live By, Carol Pearson identifies the Innocent, Orphan, Wanderer, Warrior, Martyr, and Magician. She expanded on these ideas in Awakening the Heroes Within: Twelve Archetypes to Help Us Find Ourselves and Transform Our World. Type the keyword "archetypes" in Amazon.com, and you'll pull up dozens of other listings. It's easy to get lost in academic studies of archetypes and what they mean to our shared human history. But the bottom line is this: certain characters have always struck a chord with storytellers because they represent different aspects of our own nature. This is especially true with science fiction and fantasy, where stories contain many symbolic elements (think of The Wizard of Oz and Star Wars). If we throw these often-competing aspects into the same pot and stir it up, we get some interesting results.

A word of caution: Don't rely on standard archetypes exclusively when developing your characters, or you'll quickly devolve into stereotypes. We all know these characters inside and out because we've seen them so often. So while it's useful to have a general understanding of archetypes and how they react to one another, use them as inspiration but take them in unexpected directions. As a starting point, try combining two archetypes into one character: a Martyr/Shapeshifter (a jealous boyfriend who pretends to support a girl's dream of being an actress, but really sabotages it); a Shadow/Trixter (an antagonist who uses humor to work against the Hero); a Wanderer/Hero who craves independence and autonomy but must learn to work with others to get what he wants.

If you see your characters reflected closely in the definitions of literary archetypes, you haven't worked hard enough to make them unique. Use these definitions as a tool: learn what purpose each character serves in the story, understand how the characters react to each other, see what happens to the plot when a new archetype enters the scene. Then trust that an intuitive knowledge of archetypes is part of your storyteller's DNA, and just write.

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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!

Will Publishing & The Music Industry Share a Similar Fate?

Thirty years ago, the music industry was largely controlled by a handful of major labels: Atlantic, Warner Brothers, MCA and the like. Power was centralized and access to creating a record that anyone would hear was extremely difficult to come by. It was a tough slog for aspiring artists but, on the positive side, this meant that quality was more consistent and, if an artist did manage to score a contract, the chances of being heard -- and potentially making a fair sum of money -- was pretty decent.

Fast forward through decades of revolution -- the compact disc, the rise of indie and DIY labels and ultimately, digital downloading -- and the music world is a vastly different place. On the one hand, almost anyone can record and release music, sharing it with listeners around the world with little or no expense. The catch? With millions of people creating and releasing music, it's nearly impossible to cut through the clutter, especially when the once monolithic music market has become so wildly segmented. Thirty years ago, a band that sold 50,000 albums would be considered an abject failure. Today, they're stars.

So what does this have to do with publishing? A great deal if history repeats. At issue: what if the rise of eBooks has the same impact on publishing as the compact disc and the MP3 had on music?

The Good:

* Content will become easier and cheaper to create and distribute, opening publishing doors for anyone with an idea and the desire to create a book.

* Niche (and even micro-niche) audiences will be well served with a wide variety of content options.

* Digital technology will allow creativity to soar, as eBook readers incorporate sound, touch and (before too long) smell into a formerly 2D medium.

The Bad:

* Without traditional gatekeepers (i.e. editors) in place, the signal to noise ratio is likely to get out of hand. Don't believe me? Try bouncing around Myspace and listening to new pop music artists. What's the batting average when seeking true talent amidst the dross?

* Content will lose its value. Stripped of the packaging and context of traditional albums, music became another overly abundant commodity. If it's paid for at all, it's for a measly sum. Ebooks could suffer the same ultimate fate.

So It's All Bad News?

Nope. Some music artists have figured it out, and they're clearing a path for authors to study. Consider Derek Vincent Smith a.k.a. Pretty Lights, a hip-hop/techno artist who has released three CDs -- and has never sold a single copy. That's because he gives them away, in exchange for the fan loyalty and exposure they bring. The result? He scores huge appearance fees to perform live, sells lots of merchandise and, generally, does a whole lot better than his contemporaries going the traditional route.

This isn't to say that authors should prepare to give their work away (although they may consider it at some point) but to point out that income earned from live appearances, merchandise, licensing, blog advertising and other sources is every bit the legal tender that royalties are. The successful writers, musicians and artists of tomorrow are those who understand that their overall brand is what will provide a good living, not simply one or two pieces of content.

How to Submit Your Manuscript to Children's Book Publishers

Here's a no-nonsense guide to submitting your children's manuscript to children's book publishers.

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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 For Children: How To Get Your Foot in the Door

In this video, we explore a segment of children's publishing that offers less competition and more opportunity for beginning writers -- nonfiction magazine writing. If you're looking for a quick, fun and rewarding way to build publishing credits and experience, we've got all the info you need!

Having trouble viewing the video? You can also find it at Dailymotion, Metacafe, 5Min, Graspr and Howcast.

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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 Critical Elements of Writing Children's Fiction

All good children's fiction contains basic elements around which the plot revolves. Though each story is different, there are certain "checkpoints" found in all novels. Paying close attention to these areas will help you pace the action of your story and keep the plot moving.

The beginning. Your story should start at the point in your character's life where his or her everyday world changes. Don't waste the first chapter describing your character or the setting of the book; most of that information won't be necessary to the story, and if it is it can be worked in later. Begin the book with action or dialogue.

The first chapter. By the end of the first chapter, your readers should know something about your main character and what problem, or conflict, that character will be facing in the book. In middle grade and young adult novels the conflict sometimes changes during the course of the story, but the first conflict (that pulls the character out of his everyday world) should be evident early on. Your readers must know enough at this point to believe the conflict is valid and to care about the character.

Chapter endings. If chapters end in the middle of a scene, your reader will want to turn the page and see what happens next. This is especially true with chapter books for readers ages 7-10. Ending a chapter with action or dialogue helps to keep the momentum of the story going.

The story's climax. The climax of the book, when your main character comes face-to-face with the conflict, should be a natural outcome of everything that's happened up to this point. Too many beginning writers draw out the climax, diluting its impact. Ideally, the climax is contained within a scene, or a chapter at the most. The height of the climax, like the peak of a roller coaster, occurs at the end of a chapter.

The story's resolution. The resolution must be brought about by the main character. It occurs directly after the plot's climax, and is also contained within a chapter. The resolution must be believable and, ideally, a surprise to the reader.

The ending. The story ends soon after the resolution has been reached. Often the resolution occurs in the last chapter, with only a few paragraphs that follow showing how life returned to normal for your character. Padding the ending is a common mistake with beginning writers; the resolution itself should be a satisfying conclusion to the book, and anything extra will simply take away from all that's gone before.

Other points to consider. Is the point of view consistent throughout the book? Does one character emerge as the focus of the story? Too often, two or three characters are vying for the reader's attention, especially in chapter books. And finally, is the conflict important or intriguing enough for your readers to want to see how the story turns out? When in doubt, make the conflict bigger rather than smaller. Remember, you're asking your readers to invest time and energy in your book. Give them a problem they'll care about, and they'll gladly oblige.

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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!

Are You Really Ready to Send Your Manuscript to a Children's Book Publisher?

At a recent session of the Children's Authors' Bootcamp workshop that I co-teach with author Linda Arms White, one of the attendees asked me how an author knows when her story is ready to submit to children's book publishers. My facetious, off-the-cuff answer had something to do with a beam of light shining down from above, illuminating the manuscript. I then went on to try to answer the question in earnest, ending with, "The first time you think your manuscript is finished, it never is."

There isn't a writer alive who hasn't wished for some sort of literary oven in which to place their manuscript, knowing when the timer goes off it's done. Unfortunately, there is no such objective measurement for good writing. Therefore, the best advice I can give is to get as much input on your completed manuscript as possible before putting it in the mail.

Writing is a solitary endeavor, with authors carefully guarding their ideas and feeling tremendous ownership of the finished project. As they should. But in order for a manuscript to become a book, it has to pass muster with many people, from editors to sales reps to accountants to art directors. Once in book form, those ideas must then appeal to reviewers, bookstore owners, librarians and consumers, not to mention kids. No matter how stellar you think your writing is, if others don't share your opinion, your manuscript will never make it farther than your file cabinet.

The first "second reader" of what you write is you. You need to remove your author's hat and adopt the reader's viewpoint. You can't do this as soon as you've written the last word of the manuscript. Put some distance between yourself and the project. Take time off, start working on something else. Then read the work and try to measure it against what you consider to be high standards. Does the pacing compare to a published work in the same genre by an author you admire? Are the characters as fully developed as those by acclaimed authors writing for this age group? Does the dialogue actually sound like words real, live people you know might say? If you wrote an outline for your book, compare the finished plot to what you intended to write from the outline. Did you leave out any important elements? Did you add anything that's unnecessary? If you're writing nonfiction, did you do enough research, or did you have to pad areas with "filler"?

Then, take your book out into the world. The first stop should be your writer's group. Ideally, this is comprised of people who are all writing and/or studying children's books. Listen to their comments and take them seriously. You don't have to make any suggested changes, but you should consider the reasons for changes offered by the readers. If more than one reader doesn't understand a plot twist, doesn't believe a character would act a certain way, can't accurately visualize a setting, it's your problem, not theirs. It doesn't matter how inspired the idea is inside your head; if you can't accurately communicate this idea on paper, no one will ever pick up your book. This process of frank editing and honest critique can take several rounds before the book is "done." Ending the process too soon will only lead to frustration and rejection letters. Declaring "I just have to find an editor who understands my book" can be just as bad. Yes, a good author/editor fit is important to the success of any book, but once you decide you want to get your work published, it ceases to be a solitary exercise. You have to know that your story makes sense to other people, and the only way to do this is to get input from outside yourself and consider it carefully.

In the end, no book is ever really finished. I've spoken with many published authors who wish they could take back their books for one more run though the editing mill. Every time we write we improve our skills a little more. One final aspect then, of knowing when a book is done, is learning to walk that fine line between making it better and letting it go. Learn to recognize when a manuscript is as strong as you can make it, and then send it out and begin your next masterpiece

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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!

How to Tell if a New or Small Children's Book Publisher is Legitimate

It seems like every day you can open up a trade journal and read about new children's book publishers entering the children’s book scene. While most of these publishers are well-funded and have some sort of background in the industry, a few may be bad risks for an author or illustrator. Here are some ways you can check out a publisher before signing a contract.

Full article here: http://cbiclubhouse.com/2010/03/how-to-tell-if-a-new-or-small-press-is-legitimate/

How to Tell if a New or Small Children's Book Publisher is Legitimate

It seems like every day you can open up a trade journal and read about new children's book publishers entering the children’s book scene. While most of these publishers are well-funded and have some sort of background in the industry, a few may be bad risks for an author or illustrator. Here are some ways you can check out a publisher before signing a contract.


Full article here: http://cbiclubhouse.com/2010/03/how-to-tell-if-a-new-or-small-press-is-legitimate/