Understanding Children’s Book Categories from Picture Books to YA

By Guest Author

by Hilari Bell

 

“Children’s Books” is a vast market, including everything from books for infants, with cardboard pages designed to be chewed on, to gritty YA novels full of violence, sex and profanity. Sometimes, when an idea for a story arrives, an author has no idea which subdivision of the field to write it for. Oh, no one’s likely to write a 500 word YA story about a dog that gets lost in the forest—but what about a book where first love goes awry? Is it middle grade, tween or YA? Would a story about the first day of first grade work better in a picture book or a chapter book? What are the various age related categories for children’s books, and what are the differences between them?

 

Here I’ve defined those age related categories, and talk about the differences in writing for various age levels. To make a lot of information simpler to track, I divided each age level into six areas:

 

Length—by and large, the younger the audience, the shorter their attention span.

 

Protagonist—generally kids like to read about kids older than they are.

 

Plot—the older the audience, the more complex the plot they can handle.

 

Character Arc—the longer the book, the more arc you can build.

 

Language—the older the audience, the more esoteric your vocabulary can become.

 

Theme—your story has to deal with the issues that matter to your reader.

 

Finally, I’ve divided the age levels into groups, separated by three asterisks, in the way they’re generally placed in different sections in libraries and bookstores, with all the varieties of picture book together, kids’ books together, and YA together. Because the section they’re shelved in does matter.

 

***

 

Board books & concept books—birth to 4

 

Length: Very short in terms of word count—0 to 100 words, probably less than 10 words per page.

 

Protagonist: Very young child, or an animal. Just one protagonist, and written in the 3rd person.

 

Plot: Almost none. A board book might have a slight rising action and a gentle climax.

 

For instance, a book showing the things a baby does in the morning, waking up, brushing teeth, getting dressed, etc. might climax with a huge breakfast table loaded with great food.

 

Character Arc: Very slight, if any: learning a concept, or a character who is sad becomes happy.

 

Language: REALLY simple. Past or present tense.

 

This is the last age where you’ll be likely to use present tense for a long time, because at this age you’re writing for kids so young that the concept of a past tense story is difficult for them. “Baby wakes up. Baby brushes her teeth. Baby gets dressed.”

 

Theme: Concepts like colors or shapes, or simple events in a young child’s life. Nothing harsh at all.

 

 

Picture books—3 to 8

 

Length: Used to be up to 1000 words, now they’re looking for 500 – 600 words or less—which is insanely tight, but can be done. Rely on your illustrator for all description, and as much storytelling as you can.

 

Protagonist: Probably pre-school age. Possibly kindergarten age. But however young they are, the protagonist must be the one who solves the main story problem, not some helpful adult. May have one or two protagonists—grandmother and granddaughter, for instance—but probably not more. Usually 3rd person, but there can be exceptions.

 

Plot: Needs opening hook, rising action, and climax, which is a lot to get into 500 words. No room for twists or subplots—except in the illustration. There are some wonderful picture books where the text gives you the main storyline, while another story is taking place in the pictures. Almost all action & dialogue, almost no description. Again, that’s what the illustrator is for.

 

Character Arc: You do need a character arc, but it will be pretty basic. The protagonist will learn something, and be made stronger by the story events—but there’s not enough room for a big arc. Hero starts on the bottom, he changes or learns because of story events, and ends up better.

 

Language: These are designed to be read aloud by adults, so the language doesn’t need to be too simple. But you should use words kids can understand—“I won’t fight with you, if you don’t fight with me.” instead of “Let’s form a non-aggression pact.” Usually past tense, but there can be exceptions.

 

This may be the place to point out that one of the worst things you can do with a picture book is to make it “too slight.” Despite the short length, and the youth of the target audience, picture books can be and frequently are incredibly deep, moving stories. And the language gets up off the page and dances. The best picture books aren’t just “books for kids”—they’re works of art.

 

Themes: Things a pre-school age child may be dealing with in their lives: being jealous of siblings, sharing…but also the death of a pet, or a grandparent, and the beauty of nature. Picture books can tackle deep, important themes, as long as they’re presented in a way a kid can grasp. In 600 words or less. No violence, and harsh themes like death have to be handled gently.

 

 

Picture story books—5 to 8 (MUCH harder to sell.)

 

Length: 500 to 1000 words, maybe a tad more. But frankly, word length over 750 words will get you an automatic rejection from a lot of agents and editors.

 

Protagonist: 6 to 8. These will be for older kids. May have one or two protagonists, if they’re in 3rd person, but one protagonist is more common here. First person is unusual. (You’re telling a more complex story, you want to keep the POV simple.)

 

Plot: Hook, rising action, climax—but you’ve got a bit more room to let things play out. No subplots, but possibly a twist. It’s easier to fit the kind of story where the protagonist faces three challenges into this category. Almost all action & dialogue, very little description.

 

Character Arc: There’s room for more complexity at this length, and you’re more likely to be able to introduce a flawed character who overcomes that flaw…but it’s still very tight for that much arc.

 

Language: Same as a picture book—since it’s still intended as an adult read-aloud. Past tense is also more common with these more complex stories.

 

Themes: Slightly older. These kids may be starting school, may be old enough to deal with the effects of poverty, and other harder problems—but still handled with sensitivity.

 

 

Early readers—5 to 7 (Mostly written in-house, by the publisher’s staff—not really an open market.)

 

Length: 200 to 3,500 words. Word length will be tightly controlled by the publisher, for different reading levels—check their guidelines.

 

Protagonist: Will be the age of the reader/reading level, or a year older. Or an animal. May have one or two protagonists, but almost certainly one POV. 1st person is uncommon here.

 

Plot: Hook, rising action, climax. All action and dialog, and virtually no description.

 

Character Arc: An arc is good—it may be necessary in the longer readers—but it’s often a slighter arc than in picture books. In the shorter readers, with just a few words per page, you might not have a character arc at all. And it’s not as essential here, as it is in picture books.

 

The reason plots, arcs and language are less complex in early readers than they are in picture books is because these are the first books kids are reading themselves—so they need to be able to comprehend what’s going on in the story on their own, without adult guidance. And because of that, complexity goes down a notch in every category, even though the reader is actually older.

 

Language: Vocabulary will be even more tightly controlled by the publisher, with reading level in mind—check their guidelines. Present tense would be very uncommon here. All action & dialogue, no description.

 

Themes: More restricted than for picture books and picture story books—this is the educational market, and they’re looking for lighter material.

 

***

 

Chapter books—6 to 7 & 8 to 10

 

Length: 2 levels: early (6 to 7 year olds) 5,000 to 20,000 words / older (8 to 10 year olds) 20,000 to 35,000 words

 

Protagonist: Will be one or two years older than the intended reader. 1st person isn’t common in the younger levels, but you might see it in the older level. Probably still one POV protagonist.

 

Plot: Hook in the beginning, of course, but the rising action will have several twists and challenges. In the older level you’re looking at full three act story structure. Pace, particularly in the older levels, can slow just a bit, and allow for scenes with emotion instead of action—but not many and not long.

 

Character Arc: Is essential, but the ways in which your protagonist grows will be fairly slight, and age appropriate. You’ll seldom see a really flawed protagonist in a chapter book, and you won’t see any “dark nights of the soul.”

 

Language: Pretty controlled by the publisher still, since these are books for kids to read themselves and they’re often given reading levels—but not as strictly controlled as the early readers. Strong focus on action and dialogue, but bits of description now begin to come in, even in the early level chapter books. Toward the upper end of the older level you’ll be writing brief descriptions.

 

Themes: The things kids are concerned about in the first few years of school: fitting in, friendship, overcoming challenges. These books tend not to be too deeply themed, except for books about specific problems—and those are often non-fiction.

 

 

Middle grade novels—8 to 12

 

Length: 30,000 to 45,000 words, for contemporary novels. In all levels, middle grade and above, SF and fantasy novels are allowed to run a bit longer.

 

Protagonist: 2 to 4 years older than the youngest intended readers. Still usually one protagonist, but particularly at the older end you might have two POV protagonists. Usually past tense, but again there might be exceptions.

 

Plot: This is the first level where you’re definitely looking at complete three act story structure with: hook/rising action/end of first act plot twist/rising action/end of second act commitment/final ramp up to climax/climax/denouement. Particularly at the younger end books will have more gentle action, you probably don’t have room for many twists, and sub-plots will be slighter. But at this level you’re writing a novel, even if it’s a short one. Pace can slow a bit more, as emotion and mystery begin to replace non-stop action. Secondary characters start to stand out now.

 

Character Arc: This is also the age where you can introduce more complex character arcs—you can have a flawed protagonist. (Artemis Fowl comes to mind.) You have room to have your protagonist fall from grace, making a major mistake that really hurts someone, and struggle to redeem themselves. The way your protagonists change and the things they do must still be age appropriate…but middle grade protagonists are old enough to grow through suffering.

 

Language: No technical limits, but (again, particularly at the younger levels) you’ll want to keep vocabulary reasonable, and sentences not too convoluted. Usually past tense, but present tense can be used here too, particularly at the older end. Generally no profanity.

 

Themes: Same as chapter books—age appropriate challenges and concerns—but at the upper age levels you can push them a bit further. You can have complex relationships in middle grade novels, and characters who aren’t entirely right or wrong. And in middle grade, humor, particularly broad crude humor, works very well. This is the last age where you’re probably pre-romance, though at the older levels character may be experiencing first kisses. Violence can happen in these stories, but it’s usually superficial—the good guy punches the bad guy and the fight ends, instead of violence that has real consequences.

 

 

Tween novels—10 to 14

 

Because tween novels fall between middle grade and YA in age level, bookstores and libraries have a very real dilemma about where to shelve them—and this in turn makes them a bit harder to sell to a publisher. On the other hands, kids this age need a novel that’s for kids older than 9, but younger than 15.

 

Length: 40,000 to 55,000 words, for contemporary novels.

 

Protagonist: 2 to 5 years older than the youngest intended reader. One protagonist is still more common, but there are more exceptions at this age level. 1st person is appearing more often, though 3rd person is still standard.

 

Plot: Full three act structure, with fuller subplots beginning to come in. Pace can be slower yet, as plot complexity expands. Secondary characters assume more prominence.

 

Character Arc: You can take a 12 year old reader through much heavier material than an 8 year old, and the tween character arc reflects this. On the other hand, 10 to 14 year olds aren’t quite as into drama and angst as teenagers are, and the character arc and themes will reflect this. An important secondary character may also need an arc, though it will be slighter than the protagonist’s.

 

Language: At this point, readers can be pretty sophisticated. They might look up words they don’t know or they might skip over them, but except for extremely obscure language you don’t really have to hold back. You’ll still get dinged for profanity, unless it’s a “gritty” contemporary. 3rd person is still more common than 1st.

 

Themes: Really any themes at this point, though things like rape would have to be handled very carefully. Violence can be a bit tougher than in middle grade, but still not full-out description. First-love romance can start coming in, though not sex.

 

***

Younger YA novels—13 to 16 and up

 

Length: 50,000 to 70,000-ish words. Somewhat flexible on the upper end, and again, contemporary and romance novels are generally shorter than SF and fantasy.

 

Protagonist: 15 to 17, maybe 18.

 

Plot: Full novel plot, three act structure, and you probably need a subplot or two to make the novel full enough. All the twists and complexities you care to work in. Secondary characters must be fully fleshed out—including your villains. The only real difference between YA and adult books in story structure is that in YA the pace will be faster, and there will be fewer long descriptive passages.

 

Which is why a lot of adults like reading YA. Including me.

 

Character Arc: We’re now into full “dark night of the soul” territory. You not only need a complete arc, but for teens, the more suffering, drama and angst the better. In fact, you need a deeper character arc in YA than you do in adult books, because this is when almost everyone “comes of age.” And important secondary character will also need to grow. On the flip side of all that angst, this is also when first love occurs.

 

Language: No vocabulary limits except in the use of profanity. If it’s a gritty contemporary novel you can use language true to the characters and plot—some schools may ban it, and you’re probably out of luck with Christian publishers. But most YA editors don’t expect teens from rough backgrounds in tough situations to say, “Golly, shucks.” On the other hand, if you’re writing genre books where a character doesn’t have to use profanity to stay true to their background and situation, you’re probably better off not to use profanity, or at least keep it mild.

 

Themes: Any, and for YA it’s almost the grimmer the better—though young YA will be less graphic when it comes to sex and violence than older YA. This is coming of age territory, so your themes will involve the things people need to learn, and the ways they grow, when transitioning from child to adult. YA books, in just about any genre, will deal with life-changing events. And first-love/sexual attraction is a theme in most YA books—because, well, hormones.

 

 

Older YA novels—15 to 18 and up

 

Length: Any, except not too short. At this point, less than 40,000 words would probably be a novella.

 

Protagonist: 17 to 19. In contemporary novels, the protagonist will still be in High School, but they may have siblings or friends who’ve started college.

 

Plot: Still a faster pace than adult books, but aside from that it’s a full novel, full sub-plots, developed secondary characters…the whole deal.

 

Character Arc: Full out character arc, and arcs for important secondary characters, too. These will be protagonists who may have more adult flaws, and will be overcoming them in more mature ways. Their arcs may actually be slighter than in younger YA, and some of these older readers require a bit more sense from their protagonists, instead of having them simply wallow in angst. Not that angst is out—the hero just has to pull himself together and get on with it a bit more quickly.

 

This is the age at which, if you give them too many pages of “my life sucks,” these older reader will roll their eyes and say. “Get over it!”

 

Language: Less concern about profanity, though that concern is still there. Most people acknowledge a difference between a 13 year old reader and a 17 year old reader in that regard…but they’re shelved in the same section.

 

Themes: Similar to younger YA, but sometimes a bit less grim. Sex appears here (though not usually fully described) and fully described violence. Older YA is less about leaving childhood behind, and more about assuming a place in the adult world. Your older protagonists, and readers, are beginning to get past the stage where drama is all consuming, and are coping more with the adult world, with a bit more maturity.

 

 

New adult—17 to mid-20s

 

Length: Any, except not too short. At this point, less than 40,000 words would definitely be a novella.

 

This is yet another tricky-to-shelve category. Sometimes it ends up in YA, sometimes in the adult section, and the way you write it might tip that decision one way or the other—so think about where you want your book shelved when you make your writing choices.

 

Protagonist: Early 20’s—they’re in college, or just graduated and starting careers.

 

Plot: Full plot, just like an adult novel. I’d say with full description, but so far the genre mostly deals with romance, which generally goes lighter on description and has a faster pace than non-romance novels. So I don’t know if the faster pace is because it’s new adult, or because it’s romance. We’re now beyond first love, and dealing with ongoing romantic relationships that may require some maintenance.

 

Character arc: Because these books are romances the arcs may be slighter—but they still have to be there.

 

Language: No restrictions, except good taste—these are romances, for the most part. But sex is as much a part of these books as it is in adult romance, and as fully described.

 

Themes: As I said, for the most part new adult books are either romances or have a strong romance element in the plot. Technically my Knight & Rogue series fits the age bracket, but I hesitate to try to sell them as NA because they’re primarily action adventure, with a slight romance in the last two books—and I’m afraid of disappointing readers, who would expect a full-blown romance as part of the story. Beyond that, though romance may be essential, it helps if there’s more to the story. These are people (both readers and characters) who are growing into adult relationships and taking their place in the adult world, without the safety-net of adult supervision. The challenges they encounter should reflect this.

 

***

 

Final note: These categories, and the limitations on them I’ve listed, aren’t unalterable rules—they’re more like guidelines. There will be published exceptions to everything I’ve said, some of them will be hugel y successful. However, there are reasons for most of these guidelines, and if you try to write something that runs outside the norm it should be for a good reason—and even if you have a good reason, your book will still probably be harder to sell. But that said, the most important thing, across all age categories and genres, is to tell a great story as well as you can tell it—because that’s what matters most.

 

For more on the difference children’s book genres, check out Know Your Genre Before You Write, and Which Age Group Should I Write For?

 

 

Hilari Bell writes “ethically ambiguous” science fiction and fantasy for young adults. Her series include the Knight and Rogue series, the Goblin books, the Raven books, the Farsala series, and the Shield, Sword and Crown series. See her books and more of her writing tips at www.hilaribell.com

 

This is a post from writeforkids.org. Read the original post: Understanding Children’s Book Categories from Picture Books to YA

Five Minutes to Change Your Life Forever

By Jon Bard

I recently heard something that has impacted me in a profound way.  I wanted to share it because it might do the same for you.

 

It’s from an author named Hal Elrod, who said this:

 

Where you are today is the result of choices you made in the past.

 

Where you will be tomorrow will be the result of the choices you make today.

 

Wow.

 

Here’s what it means to me:

 

We tell ourselves things about ourselves all the time as if they are set in stone.  Stuff like…

 

“I’m terrified of putting myself out there and being judged….”

“I’m not disciplined enough to write every day….”

“I’m too shy to ever speak in public…”

“I’m not meant to stand out or be famous.  That’s for other people, but not me…..”

“I’m too old to succeed….”

“I’m not educated enough to succeed….”

“I’m not talented enough to succeed….”

 

                                                        and on and on and on.

 

We view these statements as objective truths, as if someone out there has decreed them and we have no choice but to live our lives in accordance with them.

 

But wait — that’s really not at all true!    We are the ones who have decreed these things, and we are the ones who choose to remember them every day and live small lives as a result of these phony beliefs.

 

And — here’s the key thing — if we choose to believe them, we can also choose to discard them!

 

Since hearing Hal say that, I’ve started making a list of the “truths” about myself that I’ve always believed – just 5 minutes here and there as they occur to me.

 

Things about my commitment to health, success and living a bigger life that have kept me from reaching my potential.  Stuff that was ingrained in me at a young age by things people may have said, and things that I’ve told myself over the years to stay inside my comfort bubble.

 

And, for each one, I’m simply asking:

 

• Is this actually true or is it a false belief that I can discard?
• How can I choose today to leave this belief behind and move forward boldly?

 

It’s an exciting process, and very, very illuminating.   I invite you to do the same as you think ahead toward the New Year.

 

You might just find that most of the “facts” you’ve come to believe about yourself are little more than falsehoods that you choose to believe about yourself.

 

Try leaving them in the dust and choosing something different, and watch your career — and your life — blossom in 2016.

 

Fondly,

 

PS:  I have a hidden motive for talking to you about this.  As writers for children and teens you are uniquely capable of sharing this thinking with young people, who can benefit greatly from leading lives without phony self-limiting beliefs.  How can you inform your writing with this message, and spark your readers on to great things?

 

Something to ponder, isn’t it?

This is a post from writeforkids.org. Read the original post: Five Minutes to Change Your Life Forever

Trick Yourself into Finding Time to Write

By Guest Author

by Suzanna E. Henshon, Ph.D.

 

How do you find time to write?  Many people struggle through their day-to-day lives, only to discover at the end of the week they haven’t taken five minutes away from the madding crowds. But writers need to write on a regular basis.

 

Conditions are rarely optimal.  While we fantasize about writing a few hours a day, this isn’t reality for most people.  Very few people make their living entirely from writing, and even those who do have to deal with the business side of it—from sending out query letters to answering fan mail.

 

So, how do you deal with it? Many writers have a variety of other responsibilities to deal with, yet they still manage to finish projects.  A perfect example is Jane Yolen, who has more than 300 books in print.  What can we learn from these literary superstars?

 

Here’s an idea: Trick yourself into thinking you have time to write.  But is it that simple?

 

I decided to try an experiment.  I was grading papers at a local bookstore. I had 30 papers to grade that night, and realistically I didn’t have time to write.  I only had time to correct, correct, correct.

 

However, I took a 15 minute creativity break. It saved my sanity.  Taking that break was better for everyone, including my students; it allowed me to give them better comments on the papers they worked so hard on. Even if I didn’t finish all 30 papers in one night, it wasn’t the end of the world; it turned out not be a very realistic goal to begin with!

 

So, how can you trick yourself into finding writing time? Here are some tips.

 

Give yourself five minutes.  You’d be surprised at what you can do in five minutes.  Pull out a pen and let your thoughts unravel.  Remember, five minutes isn’t even one percent of a day.  Now, how do you feel afterward?

 

Find ten minutes here and there.  Now that you’ve managed to snag five minutes out of the day, why not try for ten minutes?  Don’t you deserve a short break every day?  I’ve seen physical fitness plans for sale on QVC which highlight a ten minute workout, once or twice a day.  Why not try this approach?  It’s far more manageable than you may think.

 

Write while you are doing other things.  If you are watching your child’s baseball game, why not pull out a notebook and write between plays? Many times you feel like that two hour period is booked solid, but there are short breaks. Between innings, you can write your heart out without missing a single pitch.

 

Write to a prompt.  Sometimes it’s less intimidating if you write to a prompt. You don’t have to commit to even writing a page response; just write a paragraph.  You can even do this between commercial breaks, if you are watching TV.  Why not give it a try?  You’d be surprised how much you can accomplish in just a few minutes.

 

Take a careful look at your schedule. Chances are you aren’t using your time as wisely as you could.  For instance, how often do you check your email?  Couldn’t you spend this time writing?  If you are checking your email ten times a day, try to cut it to three times day and utilize this time for writing instead.

 

Be realistic. If your goals are too lofty, you may not be able to accomplish anything.  So be realistic with your expectations, and hope for the best.  You may not be able to write an entire book series, but you could start working on a picture book.

 

Write on a consistent basis, and don’t feel badly if you don’t write every day.  The best projects are accomplished one day at a time.  If you write regularly, you’ll make great progress on your larger goals.

 

Just do it.  If you think of excuses not to write, you’ll never get anything done. Think of how many great books never would have been written if their authors had turned on a television every night. Just write!

 

Dr. Suzanna E. Henshon teaches full-time at Florida Gulf Coast University and is the author of several young adult and middle grade books, and two collections of writing exercises. Her newest book, Andy Lightfoot and the Time Warp, is available for the Kindle on Amazon.

 

This is a post from writeforkids.org. Read the original post: Trick Yourself into Finding Time to Write

Ask Writer Alice: Three Top Picture Book Writing Mistakes

By Laura Backes

Best-selling author Alice Kuipers reveals the three mistakes you should avoid as an aspiring picture book writer. Sign up for Alice’s monthly writing tips here.

 

 

Be sure to check out Alice’s other informational videos on writeforkids.org, such as Which Age Group Should I Write For?, Making Your Story Original, and Writing Dialogue for Children and Teens.

 

This is a post from writeforkids.org. Read the original post: Ask Writer Alice: Three Top Picture Book Writing Mistakes

FULL WEBINAR: How to Create Your Own Children’s Book App

By Jon Bard

 

 

Our full webinar with Karen Robertson, children’s app author, founder of the Book App Alliance and author of the The Author’s Guide to Book Apps.

 

 

 

 

 

The WriteForKids special price ends Wednesday, November 25 and will not be repeated.

 

Click here to download notes for this webinar

 

Thanks to Karen for an amazing webinar!

 
 

(If for any reason you have problems watching this video, click here to view it on YouTube).
 
 
 

This is a post from writeforkids.org. Read the original post: FULL WEBINAR: How to Create Your Own Children’s Book App

One Author/Illustrator’s Route to Self-Publishing

By Guest Author

by Stewart Mckenzie

 

Soccer Sami and the Big Meanie Coach is the story of an enthusiastic little hippo named Sami, who loves to play soccer. She joins her friends on a young girls’ soccer team only to be bullied by a big meanie coach. The coach only cares about winning so he never plays Sami… until he has to, in the championship game. It’s a fun book about sportsmanship, teamwork and compassion for everyone from toddlers to young readers.

 

I first got the idea for this book while walking my dog. The basic concept just sort of struck me as I was wandering the trails of Mt. Seymour. It took a bit of work after that to form it into a viable story, but I was pretty excited about the process.

 

I had done some writing in the past—songs, ads, promotional materials—but never a children’s book. As an illustrator I realized that I had to stay focused on story first, visuals second. Editing was huge. I wrote all sorts of passages for Sami’s world only to visit them later and realize that they did not move the story along. I went through a whole box of red pens on this book. I had originally written the book in prose but it seemed to be falling flat. I was initially reluctant to go with a rhyming scheme because of the obvious comparisons I knew it would draw to Dr. Seuss, but I figured there are plenty of other rhyming books, so why not.

 

The first major version of the completed story had a completely different ending than what it is now. I had the protagonist fail and feel like a loser but her team still loved her anyway. My wife Sharon never did like that version and always said that everybody likes a happy ending. I showed this draft to a writer friend of ours, Nancy Warren and she agreed with my wife that the ending just wasn’t working. I went away, knowing in my heart they were probably right, and ran various scenarios through my head. Like most things with this project, an answer presented itself within about two weeks. I think I was probably driving when the inspiration hit me. Both Sharon and Nancy really liked the revised second half, and they were right, it has a much better feel.

 

Now that I had most of the story written I started doing what animators do: I used storyboards. They really help to see how the plot unfolds, as well as getting a good feel for how the book will look. I was lucky enough to take a week off of work and hide away in a friend’s cabin in Whistler British Columbia, allowing me the time to outline the illustrations and block in the basic colors. The rest of the work came over the next few months. I had always seen the images in my head so the illustration portion was kind of fun. Visually I was aiming at something between the vibrancy of “Yellow Submarine” and the looseness of “A Charlie Brown Christmas”. It doesn’t look like either of those but I was happy with the results.

 

In late summer 2015 I finally had my first book. Now what do I do? I did my homework on publishers and the general consensus from blogs, reps and other authors is that unless you have an incredibly well connected agent, your manuscript will most likely go straight into the trash. I do know a few authors and book reps and they agreed that the “gatekeepers” were pretty closed to unknown newcomers. Most publishers posted that they were not even accepting illustrated children’s books.

 

We watch the television show Shark Tank quite regularly and the common thread throughout those shows is that you should have some sales figures behind you before you knock on those big doors. I felt that if I could generate some interest through friends, the web and some local merchants, the book might get some traction. That’s when I made the decision to self-publish.

 

I happened upon a YouTube video by Joanna Penn who was interviewing Laura Backes about self publishing children’s picture books (check out the video at https://www.youtube.com/watch?v=gdioOgKU5Ks). Laura was talking about the then new Kindle Kids’ Book Creator software and how she was very optimistic about this new opportunity. Laura actually said. “This is a game changer.” This being the first bit of good news I had heard, I thought I’d see who Laura Backes actually is. I found that Laura and her husband Jon Bard operate not only the WriteforKids.org site but also Children’s Book Insider, helping new and budding authors get a good start. The course they offered that caught my attention was Picture eBook Mastery, which takes you step-by-step on how to upload and market your eBook to Amazon. I’m not one that usually buys into online courses but it did seem to offer an awful lot of answers as well as streamlining the KKBC process. Both Laura and Jon were very quick to respond to any questions I had, and I did have some. It was a very worthwhile experience.

 

The book got uploaded, I built my street team, built my email list, and I joined Beau Blackwell’s authors group to share stories and experiences. I also got to know John Dorey who writes and reviews books. These were both great connections I made through joining the Picture eBook Mastery course.

 

Soccer Sami and the Big Meanie Coach is available at http://www.stooart.com/ in both ebook and print versions. When all is said and done, I had a wonderful time writing and drawing this book. Whether it’s a printed book or an eBook, there is nothing that parents enjoy more than to cozy up with their young ones and reading them a good story.

 

What’s your story? If your path to publication (either self-publishing or submitting to publishers) has information that would be helpful to other aspiring writers, let us know. Email Laura@writeforkids.org.

This is a post from writeforkids.org. Read the original post: One Author/Illustrator’s Route to Self-Publishing

Teens Review What Works, What Doesn’t in New Books

By Laura Backes

In this article from School Library Journal, five reviewers from the Kitsap (WA) Regional Library, ranging in age from 12 to 15, give their thoughts on the latest books from popular authors. Though titles vary from dystopian to horror to humor, the reviews have some interesting similarities. The readers spent a lot of time analyzing the books’ covers (pay attention, indie authors), and tend to poke holes in the believability of some characters. A must-read for anyone writing middle grade and young adult fiction.

 

Click here to see the full article.

 

This is a post from writeforkids.org. Read the original post: Teens Review What Works, What Doesn’t in New Books

Writing the Modern Fairy Tale: Use a Twist

By Guest Author

by Suzanna E. Henshon, Ph.D.

 

How do you update an old story?  Fairy tales have been popular for hundreds of years, and recently Red Riding Hood, Beastly, and Juliet Immortal have dominated young adult fiction.  Meanwhile, girls ages 8-12 love books like Ella Enchanted, Just Ella, Princess Academy, Snow in Summer, The Wide-Awake Princess, and Once Upon a Curse.  Why are fairy tales so popular?  Can you write a modern fairy tale with a twist that will enchant young readers?

 

To a certain extent, the plot of the fairy tale is established by the original story, yet you have the capacity to stretch the tale beyond its original sphere. And you have the advantage of starting with a well-known story has brand-name recognition for millions of potential readers.

 

Here are some tips for writing modern versions of fairy tales.

 

1. Reread the old story.  No matter how familiar Cinderella might seem, you still need to reread the Charles Perrault version (not the Disney film).  Or you need to rediscover Hans and Gretel through the Brothers Grimm.  When you reread the old story, you’ll see there are layers of meaning that you missed years ago as a child reader.

 

2. Study how other writers have modified and worked with the fairy tale.  If you want to rewrite Cinderella, read Ella Enchanted, Just Ella, Cinder, Cindy Ella, and Cinderella (as if you didn’t already know the story).  If you want to retell the Trojan legend, read Nobody’s Princess and Troy High.  Not only is it fun to see what other writers have done, you’ll be able to market your work more effectively if you understand what’s already out there.

 

3. Think honestly.  Do you have a new version of this story?  Why would someone want to read another version of Sleeping Beauty?  When you read Alex Flinn’s Beastly, you will discover it is a wonderfully modern blend of Beauty and the Beast, complete with a computer chat room.  When you read The Princess Diaries, you’ll discover Mia Thermopolis suffers the modern angst of adolescence (5’9″, flat-chested, with poor grades in math) while trying to assume her new role as a ruler of Genovia.  Be honest, and ask yourself if you are trying to cash in on an old brand—or if you have a new and wonderful story to tell.

 

4. Sketch out a plot.  Even if you are using an old tale, you’ll need to add new twists and turns to transform it from a fairy tale into a novel.  For a great example of how to transform an old tale, read Red Riding Hood by Catherine Hardwicke.

 

5. Sketch out the characters.  You’ll also need to do character sketches.  Using the old characters as a launching point, you must be innovative and creative as you breathe new life into Rapunzel, Snow White, or Beauty.

 

6. Write with a twist.  Whether this twist is telling the story through the princess’s voice (Ella Enchanted) or crafting your own fairy tale (Once Upon a Toad), you’ll need to draw the reader in through vivid details.  Or you could allow your character to visit fairyland as a tourist (The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making).  Whatever you decide to do, remember you can’t just retell the old tale. Change the setting, the age of the characters, or the time period. In short, give it your own twist!

 

7. Finish writing your story.  Then sit down and read it.  Does it follow enough of the original story to justify a connection?  Or have you written so far off the track that you should give your story a different title?

 

8. Edit to perfection.  When you write a modern fairy tale, the stakes are higher than you think.  You are not only writing in the tradition of an ancient tale, you are competing with modern rewrites that are currently on the marketplace.  Whether you craft a modern princess (Letters to Rapunzel) or a historic princess (Nobody’s Prize), you need to write with vivid details, bringing your favorite characters to life upon the page in a way she’s never been seen before.

 

9. Study the marketplace. How does your story compare? Have you written a story that girls 8-15 will fall in love with, or have you simply tried to cash in on a familiar story? If you have written a unique work, submit your piece. Then, see if your dream of your fairy tale of getting published comes true!

 

Dr. Suzanna E. Henshon teaches full-time at Florida Gulf Coast University and is the author of several young adult and middle grade books, and two collections of writing exercises. Her newest book, Andy Lightfoot and the Time Warp, is available for the Kindle on Amazon.

 

This is a post from writeforkids.org. Read the original post: Writing the Modern Fairy Tale: Use a Twist

Dealing with (and Learning From) Rejection

By Guest Author

by Suzanna E. Henshon, Ph.D.

 

Have you ever received a rejection letter?  At some point, every writer has her work rejected.  Madeleine L’Engle, JK Rowling, and Beatrix Potter suffered countless rejections before hitting the literary jackpot.  Dealing with rejection is never easy, and it can feel very personal.  But it isn’t the end of the world, and what really matters is how you progress toward becoming a better writer.

 

So, you just received a rejection letter in the mail.  Maybe someone wrote a bad review of your latest novel.  Or you were turned down by a literary agency.  There may be nothing worse than slaving away at a novel for years, only to receive a three-star rating by a casual reader who writes, “It was okay” as their review on Amazon.  But it happens all the time to writers.

 

I used to feel badly about receiving rejections until I saw Phyllis Reynolds Naylor present on receiving 10,000 plus rejections at a conference.  It’s unbelievable to think that a woman this talented could be turned down so many times before receiving the Newbery Medal.  What were these editors thinking?  Naylor realized it was part of her learning and growth as a writer.  And she learned so well that she eventually wrote Shiloh, a novel which received the highest award in children’s literature.  Shouldn’t we follow her example?

 

Dealing with rejection is never easy, but it’s important to put it in perspective.  It doesn’t mean your idea was bad or unsellable; it only means that one person didn’t gravitate toward your story. Realistically, it may mean your story isn’t quite ready to go.  You may think it is wonderful, but there are flaws that will only be visible to you with time.

 

So, what is the best way to deal with a rejection?

 

First of all, be professional.  In many industries, people’s work is rejected. It doesn’t mean you won’t work with this person in the future, or that they won’t someday publish your book. It just means that they aren’t interested in working with you now.  It may be painful, but you have to try to let it go and move on. Don’t write back and argue with the editor or agent about their decision—that’s a sure way to close that door to future submissions.

 

Rejection can take a variety of forms these days.  In the past, everything was done by mail. Authors received a written rejection, often as a form letter. Now rejection can be done by email, or not at all. Some agents and publishers are saying if you don’t hear back on your submission within a certain time, you can assume it’s been rejected.

 

Remember that rejection is a subjective process.  A manuscript rejected by one editor could be accepted somewhere else. That’s why persistence is an essential quality for a successful author. Finding the right fit between author, editor and story can take some time.

 

Don’t forget that rejection is also about timing.  If you are trying to get a manuscript published that is similar to what is already available, you are doomed to rejection.  To get accepted, you need to write something innovative and new.  Don’t query an editorial board with an idea that is too close to what they have recently published.

 

Accept the fact that rejection is part of the writing process.  Rejection can happen at any moment in time.  It can happen at the query level, at the synopsis level, or even at the full manuscript level.  And though making it through the query stage only to have your full manuscript rejected is tough, it’s also an opportunity to learn.

 

So, what can you learn from getting rejected?

 

Try to determine why you are getting rejected.  Once you’ve put your work aside for a while, take it out and study it carefully.  Is it possible your picture books aren’t appropriate for young children?  Does your contemporary young adult novel sound dated? It’s impossible for any writer to be completely objective when reading their own work, so search out a critique group you can join, or hire a freelance editor to point out your manuscript’s flaws. Work hard to fix them. Then give the submissions process another shot, or move on to self-publishing.

 

Remember that writing is a long apprenticeship.  Many people expect immediate success, when writing is a long-term process.  Most successful writers consider their first few manuscripts to have been “practice”, teaching them how to write. Eventually they gained the skills to write a publishable book. So it’s important not to expect the first thing you write to become a bestseller.

 

Consider that you may not get published by a traditional publisher.  Only 1% of writers get published by traditional publishers. So the chances that you are going to be in this group are pretty slim, especially if your book appeals to only a small slice of the market. Self-publishing has become a viable option for many writers these days. It’s still important that your book be of high quality, but you can bypass the submissions process altogether.

 

Move on.  The biggest mistake that beginners make is writing just one piece, sending it out, and never starting another story. Being a writer means two things: crafting your manuscript, and getting your work in front of readers. You need to be participating in both parts of the process at all times. If you use rejection as fuel to become a better writer and to find the right editor or agent for your book, then each rejection will bring you one step closer to publication.

 

Dr. Suzanna E. Henshon teaches full-time at Florida Gulf Coast University and is the author of several young adult and middle grade books, and two collections of writing exercises. Her newest book, Andy Lightfoot and the Time Warp, is available for the Kindle on Amazon.

This is a post from writeforkids.org. Read the original post: Dealing with (and Learning From) Rejection

Why Teachers Make Great Children’s Book Writers

By Laura Backes

by Laura Backes

 

You’re a teacher. You spend your day around kids, reading to them, teaching them how to write, helping them find books of their own to love. You catch yourself noticing little events in your students’ lives and jotting them down. Your ears are tuned to scraps of dialogue on the playground. You spend hours choosing just the right books to bring into your classroom, ones that will open up the minds of your students, teach them about the world, and spark their imaginations. And through it all, a little voice inside your head keeps asking, “Could I write a children’s book?”

 

Absolutely!

 

As a teacher, you’ve got a terrific advantage over other aspiring writers for several reasons:

 

You know your audience. You spend hours every work day with your future readers. You know what they like, and what they don’t. You can observe all the dynamics of kids and teens interacting with their peers, and often get a glimpse into their family lives as well. You understand the social pecking order, current trends, and how a student who is a wallflower in gym class can blossom in science or art. Simply paying attention to who your students are gives you a big step up for creating believable, interesting characters for your stories.

 

You have a window into your readers’ minds. Listening to how students talk to their friends, their adversaries, and to you and other teachers gives you a good sense of how they feel about themselves. You’ll also have a handle on writing dialogue that doesn’t sound like it’s coming from an adult. When students are involved in creative activities like art or writing, you get a glimpse at how their minds work and what’s important to them. This helps you write books that are relevant to your readers.

 

You see what excites young thinkers. No matter what subject you teach, you have to engage your students. In doing so, you learn how to present your topic in the most interesting way. Whether it’s a class of preschoolers watching a caterpillar morph into a butterfly, or eighth graders learning about the civil rights movement, you’ll be the first to grasp what makes students want to learn more. You’ll also know instantly when they tune out from boredom. This inside information will give you plenty of ideas for new books.

 

You love kids. The bottom line is, if you want to be a successful children’s book writer, you have to actually like your audience. You have to understand, and respect, how they see the world and get through their day. I’m guessing these are some of the reasons you went into teaching in the first place. So you’re already half-way there! And the next step is easy:

 

Click here to get our free ebook, Teacher to Teacher: Advice for Educators Who Want to Write from Educators Who Already Do! Packed with information and inspiration from teacher/writers, this ebook will start you on your way to turning your teaching experience into a career as a children’s book writer.

 

So teachers, let’s review: You’ve got the mindset of a children’s book writer, you’ve got access to your future readers, and plenty of inspiration for books. What are you waiting for?

 

This is a post from writeforkids.org. Read the original post: Why Teachers Make Great Children’s Book Writers

Know Your Genre Before You Write

By Laura Backes

 

 

If you’re new to writing, sorting out all the different fiction genres, and figuring out where your writing fits, can be a daunting task. In this video, our Writer’s Coach Teresa Funke explains the various writing genres and how to choose which genre is right for you. For more terrific information from Teresa, including downloadable writing tools, click here.

 

 

This is a post from writeforkids.org. Read the original post: Know Your Genre Before You Write

Why I Write Teen Books with Diverse Characters

By Guest Author

by Michael J. Bowler

 

As a high school teacher for twenty-five years, I primarily taught kids of color. And yet, in the books and stories we read, almost all of the characters were Caucasian, and most with reasonably stable home lives. I decided as an author to write about the kids I knew best – kids of color, gay kids, marginalized kids, poor kids, kids with disabilities, gang members, and incarcerated kids – because I want all youth to see themselves represented in a positive light within the pages of teen literature.

 

To that end, I crafted a five-book series called The Children of the Knight Cycle that takes a fantasy concept – King Arthur resurrected in modern-day Los Angeles – and uses it to showcase a laundry list of crimes this society perpetrates against kids who don’t “fit the norm,” or won’t be shoehorned into the “one size fits all” mentality of public education, or don’t want to be a mini-me version of their parents. Virtually all the main characters in my series are teens of color, including Native Americans. Some of them are gay. But all are dynamic, memorable individuals that readers can relate to. Every day in America such kids are kicked to the curb. We don’t want them in our homes or classrooms or in our books. We’d rather they just disappear. In recent decades, we’ve decided we like putting them in prison. A staggering number of states incarcerate children younger than ten and charge them as adults for imitating the anti-social examples of adults, or for copying illicit behaviors popular media models every day.

 

I present these kids as real human beings with the same hopes, fears, needs, and wants as everyone else. My characters benefit from adults who choose to love them no matter what and who show them how to do what’s right, rather than what’s easy. The kids learn that every one of them can make a positive difference in this world, and that’s a message the students in my urban, working-class high school seldom got from the books I was forced to teach them. In those books, only “white” kids succeeded.

 

In my teen horror thriller, Spinner, I highlight the other forgotten kids I taught for many years – those with disabilities. These kids tend to be the most overlooked of all high schoolers because it is “assumed” by adults that they will never amount to much in life. Kids with physical or learning disabilities are no different from those without them – they can learn and achieve, but maybe not in the same cookie-cutter fashion teachers like to employ. I know what I’m talking about because I have a disability of my own – hearing loss. I’ve lived with a severe sensorineural hearing impairment my whole life, and did not even have access to hearing aids until I was in college.

 

I also didn’t know a single kid with hearing loss until after graduate school. I was one of a kind growing up, and that can be a very isolating feeling. However, my isolated childhood gave me true empathy for every youngster who is “different” in some way, and likely directed me to seek out such kids and work with them. After graduate school, I joined the Big Brothers Big Sisters program, wherein adults mentor kids with no father in the home. I was matched to a 14-year-old boy with hearing loss, and the experience was revelatory. Even as an adult, the relief, almost, that I felt to finally know someone who grew up like me was palpable. Imagine what it’s like for kids like me to see themselves in books they read, to understand that they aren’t alone or broken or crippled, to see hope for their lives because they see others like them achieving greatness. We all need to know that being different is not wrong. In fact, being apart from the norm is most often a net positive. My disability never defined me, and I want kids to see that theirs don’t define them, either.

 

We spend way too much time in this country focusing on what we perceive to be the weaknesses or differences in others. The teen characters in my books prove that our strengths always outweigh our weaknesses, and our diversity, i.e. our differentness, is to be celebrated, not hidden away. If more adults would focus on the natural talents and gifts of kids instead of always trying to make everyone “fit in,” then all children would have a real chance to soar. As a writer of teen lit, my goal is to empower every kid, not just the ones most Americans “look like.” Hopefully, other authors will do the same.

 

Visit Michael J. Bowler’s website here, check out his Facebook page, and follow him on Twitter @BradleyWallaceM.

This is a post from writeforkids.org. Read the original post: Why I Write Teen Books with Diverse Characters

Sneaky Marketing for Self-Published Authors

By Laura Backes

If you’re a self-published author, the idea of being writer, editor, publisher, art director and promoter for your book can be intimidating. But when it comes to marketing, don’t try to reinvent the wheel. If you don’t have a marketing staff, take a look at what the big publishers are doing, and put your own spin on the process.

 

Here’s one terrific example:

 

In order to create a buzz for the paperback edition of Dreams of Gods and Monsters, the final installment of Laini Taylor’s Daughter of Smoke and Bone young adult fantasy trilogy, Little, Brown devised a way to give readers a window into the author’s writing process. The publisher is asking fans to tweet their favorite quote from the series, with the hashtag #UnlockLainiTaylor. Once 613 hashtags are reached (the same number as the page count of the book), the publisher will unlock a bonus chapter written by Taylor, which has never been released.

 

Using Genius (the company that started “Rap Genius“, which allows users to annotate rap lyrics), the unlocked chapter will have Taylor’s own annotations about her writing. By clicking on highlighted bits of text, fans gain insight as to how this early chapter inspired the series, and see comments on her process as she developed the story and characters.

 

Of course, this works best if you’ve got a fan base to start from. It’s a natural for series, but could work for a first book if you have an online following before the book comes out. For tips on the one best way to build a fan base, check out Jon Bard’s Easy Author Marketing video.

 

Another publicity trick (which works especially well for picture books and easy readers), is to show video of young fans enjoying your book. These videos can be embedded on your blog or website, Tweeted, or even posted on an Amazon review. (Note: Always get signed permission from the child’s parents before you post anything online, and remember that someone else has to post the review on Amazon. It can’t come from you.)

 

Take a look at this adorable two-year-old gleefully “reading” Not a Box by Antionette Portis in this Amazon review. I defy any grandparent to watch this and then resist immediately purchasing the book for their grandchild. It’s physically impossible!

This is a post from writeforkids.org. Read the original post: Sneaky Marketing for Self-Published Authors

Free eReport – Overcome Your Fear of Author Marketing!

By Jon Bard

A few weeks back we talked about author marketing. Many of you have made great strides since then, but I know that marketing is still an intimidating proposition for most writers.

 
 

So, I’ve got a freebie for you…

 
 

It’s my new free report:

 
 

 
 
 

It’s called The 10 Minute Turnaround: Overcome Your Fear of Marketing and Start Connecting with Readers Now!

 
 

It’s 100% free and I think you’ll really like it. Hopefully, it’s what gets you over the final hurdle and helps put you into action.

 
 

To download your free copy right now, go to http://ift.tt/1UJ2dvc

 
 

Enjoy!  (And tell anyone you know who might benefit from it.  This report is free for everyone.)

 
 
 

This is a post from writeforkids.org. Read the original post: Free eReport – Overcome Your Fear of Author Marketing!

The Author and the Future of Children’s Books

By Guest Author

by Suzanna E. Henshon

 

Over the past ten years, the business of publishing children’s books has changed. Large chain bookstores are consolidating or going out of business. Independent booksellers are catering to specific niches or adding non-book products to stay relevant. And kids are just as likely to read a book on an e-reader or smart phone as in print.

 

How will books change in the 21st century?  Specifically, how will the market of children’s books change?  And what do you need to know as you write your novel, short story, or poetry for children? While none of us can look into a crystal ball and see the future, we can prepare for changes and “guesstimate” the marketplace.  There are steps you can take to prepare yourself for success in what is quickly shifting into an ebook and app world. Here are some tips for getting published in 2015 and beyond.

 

Write a good story.  First and foremost, focus on writing a compelling narrative.  Whether your book comes out as an ebook, an app, in hardcover, or something that combines several media forms, you need to maintain the reader’s interest. Getting young readers to “turn the page” requires creating suspense whether you are writing a story that will be published electronically or on paper. So learn how to tell a great story!

 

Write for the modern reader. Children today are more sophisticated than in the past. Even young children learn about diverse cultures in school, understand different family structures, and are introduced to complex learning concepts much sooner than their parents and grandparents. Most teens have a Facebook page, a Pinterest, Twitter or Instagram account, frequent YouTube, and get the latest news online. Even if a child or teen has lived a fairly sheltered, conflict-free life, he is aware that events exist outside of his experience. Don’t be afraid to give your stories some heft and substance.

 

Understand the new story forms. Most writers aren’t aware that books have evolved into graphic forms, that novels can be written in verse, as email or text messages, and even Post-It notes. Many middle grade and young adult novels have companion blogs or websites that extend the written story. Children also experience stories through movies and video games.  You are writing for a child who is well-versed in diverse media. Write for the child who text messages in the morning, plays video games in the afternoon, and uses her e-reader at night. But don’t forget that these kids also experience the same childhood events that we did–playground friendships and rivalries, competing in sports, having a best friend, and discovering their identity through music, fashion and other passions.

 

Don’t overuse technology.  Most kids these days have a cell phone and are comfortable on a computer. A contemporary story with characters older than age 10 who can’t type a text message won’t feel authentic. But unless the story revolves around technology, keep it as just one detail of your characters’ everyday lives.

 

Look into working with small publishers.  Big publishers will continue to prosper, but it will be more difficult for new writers to break in. As a new writer, you may have more success reaching your readers through small presses or self-publishing. So be prepared to write, publish, and market your own work directly to an audience rather than waiting to be discovered.

 

Start to create an audience through a blog or website.  Young readers are growing up in the internet world, so they will discover stories and writers through different sources.  Facebook, blogs, and other social media are used to market books.  Writers have online chats to publicize their books, rather than relying on the traditional book signing.

 

Kids will not only “consume” books, but they’ll determine what gets published, based on the websites that are popular with young people. Consumers are just as important as editors in steering the publishing marketplace. This applies even if you’re writing picture books. Focus on selling directly to the parents of your readers by writing quest posts for parenting blogs, or providing resources for parents and teachers on your website.

 

Develop your entrepreneurial skills. Writers now write, market, and publish their own books.  Even if they work with traditional publishers, today’s writers bear the primary responsibility to “get the word out” on their books.

 

Develop your own brand or franchise. Rather than just looking for a good book or story, many editors and agents are seeking stories (and characters) that can be branded and turned into successful franchises like The Hunger Games.  Even self-publishers are capitalizing on their brands by creating apps, ebooks and other spin-offs of their original stories.

 

Dr. Suzanna E. Henshon teaches full-time at Florida Gulf Coast University and is the author of several young adult and middle grade books, and two collections of writing exercises. Her newest book, Andy Lightfoot and the Time Warp, is available for the Kindle on Amazon.

 

This is a post from writeforkids.org. Read the original post: The Author and the Future of Children’s Books

Which Age Group Should I Write For?

By Alice Kuipers

Best-selling author Alice Kuipers is back to answer another Ask Writer Alice question: “Which age group should I write for?”

 

Be sure to catch more advice from Alice on her other videos, such as Writing Dialogue for Children and Teens, Making Your Story Original, and Trends and Great Books on Writing.

 

Alice Kuipers is the author of four young adult novels and a picture book. Visit her website to get more tips for writers.

 

This is a post from writeforkids.org. Read the original post: Which Age Group Should I Write For?

We Need More Diverse Books!

By Guest Author

by Tracy Bryan

 

I am a relatively new children’s author, but from where I stand, (way down here looking up) there seems to have been a lot of transition within children’s literature over the last few years.

 

This isn’t news to any seasoned veteran of the industry, but to a novice like me, it has been quite overwhelming joining this almost circus-like trade. I seem to witness a constant flux in the publication world every week due to major changes in traditional publishing, the rise of Amazon, the growth of e-books and the emergence of vanity publishers. You can’t hold me back though, now that I’ve had a taste of it, I’m here to stay and changes I intend to (hopefully) make.

 

Why more changes? Although there are many beautifully illustrated and well-written books in the current children’s book market, the majority of these books lack diversity in their characters and theme. Why do we need more diversity in these books? While people, families and the world become increasingly more diverse, so does the need for books that children can actually relate to.

 

I belong to several writing organizations- regional and national. I attend writing conferences, follow many social media groups and try to stay current with any news in the children’s publishing industry. As a contributing and informed member of the children’s literature industry, I believe we all have our hearts in the right place and we have good intentions. My Facebook groups alone have some incredibly passionate, insightful and genuinely remarkable authors, illustrators and children’s book industry people- there is definitely a “diversity movement” that continues to grow in this writing community. Yet…where are all the diverse books?

 

Regardless of how many trendy literacy campaigns that are being run and how many times we use this new “buzz word”- diversity is still quite a stigma in North America and many parts of the world. We have a long way to go in society as a whole, so it may be time to kick it up a notch and inspire more diversity in the books that we write.

 

I myself am a straight, white, middle class, female- not exactly your first pick as an appropriate mascot or ally for people of diversity! However, I am also open-minded, compassionate, non- judgmental, daring, spirited and willing to think outside the box! I aspire to write about what matters in this world- people. There really are so many wonderful children’s books out there that do inspire and entertain kids, some even have a great message–but there could be so many more books that offer much more honesty in terms of diversity with people.

 

Why are there so many picture books that explain people problems and issues through the use of cute animals? To not have a more direct approach of storytelling about these difficult topics is almost a little insulting to kids. These are the same kids that are living in families of diversity, going to schools of diversity and living everyday life diversely-why wouldn’t they want to read books that are more diverse?

 

It’s okay to demonstrate to them that all people have problems, issues and shortcomings. We all do! The important message to these kids should be how we accept and cope with these challenges within ourselves and in others –that’s what matters. If we can teach them to accept their differences and accept other people’s differences as well, there will be a lot less discrimination, labeling and shame in the world. Diversity will be the constant.

 

Is this too idealistic? Maybe, maybe not… Perhaps if we start publishing books for kids that guide them in real life and with real people, they may just grow up to be well adjusted, less stressed, non anxious or depressed and be able to conquer and embrace their limitations and appreciate the same in other people.

 

I write mostly about self-esteem building, mindfulness, emotions and generally I try to inform kids about ways to cope with their problems and how to find simple happiness in life. Ironically, my best selling books this year have been about how to understand anxiety. That’s scary! I wish that more kids could relate to the cute animals, but unfortunately, the current children need to be reassured and to read that it’s okay to be different, in fact it’s quite wonderful!

 

What the children’s literature market needs are books that address all the topics that currently effect kids – regardless of how uncomfortable they are to discuss. We need to demonstrate to kids how to recognize people for who they are, not what they are. Furthermore, kids need to be reminded that all people are similar, yet so totally, awesomely different from each other- so diverse. Now let’s stop talking and start writing- let’s inspire them!

 

Tracy Bryan is a self-published children’s book author. She writes whimsical picture books that teach and inspire children of all ages. Tracy specializes in writing about self-esteem, life skills, social issues and diversity. To preview any of her books please visit her at tracybryan.com. Tracy can also be found at TracyBryanAuthor on Facebook.

This is a post from writeforkids.org. Read the original post: We Need More Diverse Books!

Sneak Preview: The Full First Unit of Easy Author Marketing!

By Jon Bard

Are you ready to change your mind about marketing once and for all?   Great — let’s do it!

 

Here’s the complete first unit of my new program Easy Author Marketing.   It’s just the tip of the iceberg, but it’s filled with ideas that will inspire and motivate you to take your writing career to the next level.

 

Click Play and let’s begin this exciting journey.

 

For more information about the Easy Author Marketing system, click here

 

This is a post from writeforkids.org. Read the original post: Sneak Preview: The Full First Unit of Easy Author Marketing!

Terrified by Marketing? Then Don’t. Do This Instead…

By Jon Bard

I get it.  You’re a writer, not a marketer.  You’re not excited by the notion of “hawking your wares” or “pushing your book”.  You think that, every time you ask someone for money, a little piece of your soul dissolves.

 

In today’s publishing environment, those who get the shakes at the thought of self-promotion have been given two choices when it comes to their fear of book marketing:

 

1. Get Over It

2. Become extinct.

 

May I offer a third choice?

 

 

Forget about book marketing, forget about promotion, forget about selling.

 

 

Instead, focus on advocating.

 

 

Here’s what I mean:

 

You’ve written (or you’re planning to write) a book, app or eBook that will bring something meaningful to the life of readers. Perhaps you have a message to share, important information to teach, an inspirational tale to tell or you just want to give your new friends a few giggles to brighten a day.
That’s a pretty important contribution, and it deserves to flourish.

 

So let me ask you this: How, exactly, will that reader ever be impacted by your work if no one tells her about it? How will her life be changed by your words if you keep everything to yourself?

 

It’s up to you to reach her. In fact, you’re doing her a great disservice by not reaching her!

 

How do you reach her? By marketing. No, scratch that — by advocating for your work.

 

By bringing people together with a goal not only to sell your book, but to improve their life experience. By going to where your prospective readers are hanging out (or, perhaps where their parents are hanging out) and becoming part of their world. (And then having them become part of your world.) By moving forward with a certainty that you have something important to share and you’re bound and determined to share it.

 

Let me be clear:  if you have created something that will enhance another person’s life, you owe it to them to tell them about it!

 

If you’re truly a writer, the opportunity to advocate for yourself and your work should thrill you.  Heck – it’s right in your wheelhouse.  You’re a communicator, and this is about communication.  You’re a wordsmith, and this is about putting words together on a  blog, on Facebook and on Twitter.  You love young people, and this is a further opportunity to connect with them and learn from them.

 

What’s so scary about that?  In fact, if you’re like most writers, you’ll find that advocating for your work is rewarding, fun and full of surprises.

 

So, there it is — if you’re not cut out to be a marketer, then don’t become one.  Instead, become an advocate.

 

And then go change the world!

 

 

Tomorrow, I’ll be back with an exclusive video sneak peek from my new course Easy Author Marketing.  I think it will really open your eyes — so stay tuned!

 

 

 

This is a post from writeforkids.org. Read the original post: Terrified by Marketing? Then Don’t. Do This Instead…

The M Word Revisited – Marketing’s Most Important (and Overlooked) Element

By Jon Bard

Photo by Sam Howzit. Creative commons licence

 

 

Well, well, well.  Looks like my hypothesis was correct:  writers really are freaked out about marketing.

 

And that’s fine.  In fact, that’s great.  Because it tells me that you understand how important it is, and that you’re desperate for some clarity.  And that’s an excellent place to be!

 

 

Today, I want to introduce you to the most important aspect of successful marketing.  And it’s something almost no writers pay attention to.  (Perhaps that’s why most writers fail at marketing).

 

Here it is:

 

 

Your success in any marketing endeavor is directly related to the amount of value you give your customers.

 

 

Now, by “value”, I don’t mean money.  I mean things like:

 

* memorable experiences

* positive feelings

* connection

* usefulness

* reinforcement, and so on.

 

Think about the artists, musicians, authors and businesses you really enjoy.  Does the value they provide you begin and end with the price you pay for their goods and services?  Or is there something deeper, something bigger that your relationship with them provides you?

 

 

Here’s a classic example:  Jimmy Buffet hasn’t had a hit record in more than 30 years.   And yet, his concerts sell out large venues.  He’s built an empire of restaurants, music venues and merchandise (including his own tequila brand) under the Margaritaville umbrella and he’s an icon to millions of fans.

 

How’d he do it?   By giving massive value.  And by building a Tribe to keep the connection growing.

 

When his Tribe (Parrotheads) gather, folks who may have had a rough week in the office get to put on Hawaiian shirts and silly hats and feel like they’re on a beach in the Caribbean.  The feel connection with each other (for which they are eternally grateful to the man who set the Tribe up) and they feel connection to the artist.

 

Between shows, the value continues.  Videos, Tweets, blog posts, books, emails — all reinforcing the common bond that draws his fans together.

 

 

Now consider how most authors market their books:

 

They start by releasing their book and then just flail around trying to get some attention. If you ask them “What value are you giving prospective readers?”, they might say “The value is in how good my book is!”

 

Well, that’s nice.  But no one has read your book yet.  And so, you’ve given absolutely zero value.  No wonder you aren’t selling books!

 

 

Now, let’s look at a different scenario:

 

The same author develops a Tribe and showers them with value.  Fun tips, great quotes, freebies, a platform for Tribe members to share their feelings and experiences, a place for likeminded folks to meet each other, and so on.

 

Then the author releases her book.

 

And what happens?

 

Her Tribe repays the value she’s provided them many times over.  They are rooting for her.  They are excited for her.  They buy her book and go on a  quest so that others will buy the book (and join the Tribe).

 

 

I’m going to be blunt here, so forgive me if this rubs you the wrong way, but….

 

No one cares about you and your book.  At least they don’t right now.

 

You need to make them care.  And you cannot do that if you spend all day posting your book’s Amazon link all over Twitter and Facebook and expecting people to buy it.  And you can’t do that by setting up a blog and then posting one article a year to it.

 

The way to make them care is to give them value before you even talk about your book.  If you can get someone to say “Boy, I’m really glad this person is in my life”, you have officially achieved a status 99% of writers never reach.

 

 

Look, if all I did was spam you with “SUBSCRIBE TO CBI!” messages all day, you wouldn’t be reading this right now.  You’re here because I give you value.  You’re here because (I hope) I add something to your writing life and you appreciate that.  And when I do have a product I think you might like to know about, you receive the message with an open mind, knowing that you can trust me to always give you value — whether it’s something you pay for or not.

 

 

 

So right now, you need to ask yourself this very important question about your current marketing efforts:

 

Are you giving prospective readers any value, or are you just pushing

your book in their direction in hopes they’ll buy it?

 

If you’re doing the latter (and almost every writer is), you need to stay tuned for what’s coming next week.

 

 

I’ll be back on Monday with more thoughts about marketing.  In the meantime, use the comments section to share your takeaways.

 

 

PS: Those of you who write for young children may be asking “how do I grow a Tribe of 6 year olds?”  The answer:  you don’t.  You grow a Tribe of parents, teachers and librarians — the folks who are the purchasing decision makers when it comes to books for children and pre-teens.

 

 

PPS:  A fair amount of the feedback on yesterday’s post was from authors asking if this or that technique works, and what they should be doing.  I understand where you’re coming from, but I’m going to ask you to relax a bit.   Here’s why:  right now, I’m putting the finishing touches on a new course that will explain the simplest author marketing technique imaginable.  And since it’s the same Tribe-building technique that Laura and I have used to grow Children’s Book Insider into a  successful business (we just celebrated our 25th anniversary doing this!) I know it works. It’s not theory, just fact.

 

So stay tuned.  Clarity is coming, and it won’t cost you an arm and a leg, I promise.

 

 

 

This is a post from writeforkids.org. Read the original post: The M Word Revisited – Marketing’s Most Important (and Overlooked) Element

We Need to Talk About the M Word

By Jon Bard

Let’s talk about something most of you would rather not talk about.

 

It’s the “M word”……  Marketing.

 

(cue the sound of wailing, moaning and gnashing of teeth!)

 

Now, deep down you know that, to succeed as a writer in today’s environment, you have to market yourself and your work.  And you’re probably not too thrilled about that.

 

Look, I get it.  You want to write, not promote.  If you’re like a lot of writers, you view marketing as being pushy…inauthentic…kind of “icky”.

 

And when you add to it all the stuff that’s been thrown at you about social media and blogging and author platforms and all kinds of other things, I expect you end up looking something like this:

 

 

 

So, I’d like to help you out a bit, and see if I can change your mind about marketing.

 

Over the next few days, I’ll be sharing some thoughts about marketing that will help you see things in a  new light.  One that will hopefully get you inspired to go out and spread the word about you and your work.

 

Before I launch into my first set of thoughts, a bit of background about me that you may not know:

 

Before partnering with Laura on Children’s Book Insider, I was the creative supervisor at a major NY public relations firm.  I then co-founded my own PR agency (we helped promote clients like Pictionary, Ertl and Little Golden Books).  For the past 25 years, I’ve been consulting with and mentoring entrepreneurs on marketing and promotion.

 

But I have one big secret weapon:  you guys.  Because I spend my life helping writers, I understand your unique issues with marketing, and why it can be so difficult for you.  In other words, I get you. And I think I can help bridge the gap between where you are and where you need to be.

 

 

OK then, let’s begin….

 

 

THOUGHT 1:  AUTHOR MARKETING IS NOT ABOUT PUSHING THINGS AT PEOPLE.  IT’S ABOUT DRAWING PEOPLE TO YOU.

 

This is a major hangup for lots of folks.  They say “I don’t want to be pushy” or “I don’t want to hawk my wares”.  Well, that’s good. Because that’s not what you should be doing.

 

The point of author marketing shouldn’t be to sell a particular book.  It should be to develop a fan base.  A community.  A Tribe.

 

You can only do that by giving folks the opportunity to get closer to you — not force yourself upon them.

 

And how do you draw people to you?  By giving them things they enjoy.  By giving them points of connection.   By demonstrating shared values.

 

To put it another way, it’s about honoring them as human beings and inviting them to be part of something bigger, and wonderful.

 

That’s connecting.  And yes, it is marketing.

 

 

 

THOUGHT 2: THE TIME TO START MARKETING YOURSELF IS BEFORE YOU’RE PUBLISHED.

 

This is one of the greatest secrets I can share.  Most writers think “I don’t have to worry about marketing — I don’t even have anything published yet!”.  What a huge mistake they’re making.

 

Here’s why:  When the day comes that you first book, app or eBook is released, what would you rather the situation be:

 

a.  You have no fanbase, no way to reach potential readers (or their parents, if you write for young children) and no one to help spread the word about your wonderful new release.

 

or

 

b. You announce the release to your devoted Tribe, who eagerly buy copies and then start spreading the word.

 

Pretty obvious, isn’t it?  Start building your Tribe now.  You’ll thank me later.  

 

 

 

THOUGHT 3:  MARKETING SHOULD BE SIMPLE, AND IT SHOULDN’T TAKE MUCH OF YOUR TIME AT ALL.   AND IT SHOULD COST VERY LITTLE.

 

There’s so much nonsense surrounding marketing.  Flashy new techniques, the “hot social network of the week”, massive websites with all the bells and whistles that need to be built….

 

Balderdash.

 

You don’t have time for all that, and you don’t need to worry about it.   If author marketing is really just about building a Tribe, than that’s what you should focus on.  And it’s not brain surgery.

 

I’ll have more to say about what works in upcoming posts.  But, for now, I just invite you to relax and trust me when I tell you that marketing isn’t that hard at all.  In fact, if you do it right, it’s fun, rewarding and very, very human.

 

Keep an eye out for more thoughts on this vital subject tomorrow.  And, oh yeah, thanks for being part of our Tribe!  

 

PS: Please don’t fret about the hows and whys of this kind of simple author marketing, I’ve got all of that covered.  I’ll have more that I can share with you next week about that…..

 

This is a post from writeforkids.org. Read the original post: We Need to Talk About the M Word