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The post The Writing Blueprints Holiday Flash Sale is ON! appeared first on WriteForKids - Writing Children's Books.
Wednesday, December 13, 2017
Monday, November 27, 2017
Understanding the “New Adult Fiction” Category
by Jane Choate
What is new adult fiction?
New adult fiction bridges the gap between young adult and adult books. It typically features protagonists between the ages of 18 and 26. The label was first used in 2009 when St. Martin’s Press hosted a contest looking for stories that could be marketed to both young adult and adult readers. The contest described for new adult fiction as books “with protagonists who are slightly older than YA and can appeal to an adult audience.” Put simply, new adult is the age category after YA.
New adult fiction books concentrate on issues such as leaving home, developing sexuality, suffering with chemical depression, coming of age (both legally and emotionally), and wading through a myriad of choices in education and career. The genre has gained popularity rapidly over the last few years, particularly through books by self-published and bestselling authors like Jamie McGuire, Colleen Hoover, Darlene Gardner, Megan Abbott, and Cora Carmack The term has now become widely accepted with most traditional publishers now publishing new adult books and Goodreads, Amazon and Kobo adding it as an official cateory. Entangled Publishing has developed its own NA imprint, Embrace, while Random House had also launched an NA imprint, the digital-only Flirt. Other publishers are marketing the books under their adult or YA imprints.
The chief features that distinguish this category from YA fiction are the perspective of the main character and the scope of his/her life experiences. Parents with kids of this age know that there is a vast difference between a new high school graduate who is barely 18 and a home-for-the-summer 19-year-old who has just returned from two semesters of college.
This difference has less to do with chronological age and more to do with the greater feelings of independence and selfreliance. At the same time, these characters are struggling to find their own place in the world. They question the attitudes and values with which they were raised and are finding out for themselves what they believe, not just what their parents told them to believe.
New adult fiction works to capture the perspective gained as the cares and concerns of childhood fade and life experience is gained, which brings (we hope) greater insight and widom. Characters of this age are building their own lives. They may be living away from home for the first time and handling such problems as dealing with supporting themselves financially, balancing checkbooks, finding themselves overdrawn on their credit cards, and other life experiences.
Another major difference between young adult and new adult fiction is that of content in terms of sexually explicit language, and more mature situations such as suicide, alcoholism, and drug abuse. Though some YA books have dealt with these issues in the past, NA books take a different viewpoint with the characters facing and owning up to poor decisions and their long-term consequences.
Not every NA book will have such content, but many do and make no apologies for it. Other potentially controversial subjects include date rape and sexual assault.
Lighter topics are also addressed such as looking for a first apartment, dealing with roommates, and even finding the perfect wedding planner. No subject is offlimits, whether it be light and whimsical or darker and more serious. Like any fiction, the new adult genre can have crossovers, combining with science fiction, fantasy, romance, historical, mystery, or suspense.
If you have a manuscript featuring an 18 – 26 year old main character who is struggling to find his own identity and growing in self-awareness, consider the new adult market. Editors and agents alike, not to mention readers, are actively seeking new authors who can engage them and speak their language.
The post Understanding the “New Adult Fiction” Category appeared first on WriteForKids - Writing Children's Books.
Thursday, November 16, 2017
Writing for Children & Teens: Simple Steps to Understand Your Readers
by Jane Choate
In various writers’ groups over the years, I have heard a number of writers who say, usually with a certain degree of self-righteousness, “I don’t write for others. I write for myself.” That’s great. For the rest of us, though, those who have struggled to get published and who are struggling to stay published, it doesn’t work. We write for ourselves, yes, but we write for others as well. We want our words to have an audience. Just as a painter or a sculptor wants his works to be viewed and composers want their music to be heard, writers want their work to be read. For it is in the reading that the work comes alive.
But anyone who writes for children and teens must ultimately answer a key question — just who is that audience? Are we writing picture books? In that case, the audience is the toddler and pre-school set; it is also the parents of those children as they are likely the ones to be reading the books to their children. Are we writing for early readers? For the ‘tween set? For young adults? Knowing your audience is key. Knowing their tastes, their needs, their wants, their expectations is vital in penning the kind of stories that will touch their hearts and minds.
If you aren’t certain who your audience is, try one or more of the following steps:
STEP 1: Know yourself. If you don’t know yourself, how are you going to know your audience? Know your comfort zone. Know what makes you uncomfortable. If you aren’t comfortable with angst-filled stories, you may want to steer clear of writing coming-of-age books. Know your likes and dislikes. Know your emotional and spiritual self. If faith is important to you, you may find that you want to write for the growing Christian market.
ACTION: Ask yourself some questions. Do you enjoy being around babies and toddlers and early grade-schoolers, but older children and teens send you running in the opposite direction? If so, don’t be afraid to admit it. Own that and embrace the fact that you are probably most comfortable writing for the preschool and early reader set. Likewise, if you enjoy the humor and sometimes angst of older children, such as ‘tweens and young teenagers, you will want to focus your efforts there. Or maybe you want to create stories for the YA market, to touch the lives of those teens who are on the cusp of adulthood.
STEP 2: Familiarize yourself with what’s being written now for the age group for which you are aiming your work. It’s wonderful to read the classics such as Laura Ingalls Wilder’s Little House series, Mark Twain’s Tom Sawyer, and Louisa May Alcott’s Little Women etc., but it’s imperative that you know what publishers are printing now
ACTION: Read. Read widely in your targeted age group. Go to your library—a librarian can be a writer’s best friend—and ask for a recommended reading list. If you have children or grandchildren in this age group, you have a leg up, as you are already familiar with what kids are reading. Read books in other age groups as well. You want to know the differences between a board book and a book penned for the almost-reader and to understand what sets a middle grade book apart from one written for the ‘tween age group. Pay attention to vocabulary. Books for very little children repeat words over and over. For older children, the vocabulary is more varied. Read pages aloud and listen to the rhythm. This is particularly important in writing for small children who love repetition, not just of words but of sounds and sentence structure.
ACTION: Subscribe to industry periodicals such as Children’s Book Insider. Treat yourself to a current copy of Writer’s Market. Learn what publishers are looking for in the varied children’s and teen markets. Learn what agents are representing the kind of books you want to write and what their targeted audience is.
ACTION: Go to places where you can find your audience and hang out with them. For example, picture book writers can volunteer in a preschool or kindergarten. Teachers LOVE volunteers. Don’t be afraid to pick the brain of a teacher. Teachers know what kids like to read and what they avoid like the plague. If you’re writing stories for the middle-grade group, go to a third or fourth grade classroom. If you belong to a church, offer to teach Sunday School. If you don’t have children or grandchildren of your own, volunteer to tend the children of a busy young mother. Not only will you learn more about children, you’ll be doing a tremendous service for a woman who works harder than any brick-layer!
Young adult writers need to be online where teens are hanging out (teen book bloggers are a good place to start). Watch current TV shows for different age groups, especially MG (middle grade) and YA. Pay attention to the commercials that are sponsoring the shows. You can learn a great deal from what products are being advertised and how they are marketed. Go to movies. Find out who the current super heroes are and who the heartthrobs are.
For picking up on teen language and behavior, there’s no better place than a mall where kids roam the stores in packs. Settle in at a food court and listen. Be prepared to take notes, but don’t spend all your time scribbling in a notebook. Absorb the nuances of interaction between the teens. Identify the leader and the followers and watch the “pecking order” in action. Note what the kids are wearing. Fashion is a spot-on commentator. Each generation has its own style. The ripped jeans and cold shoulder tops of today are the poodle skirt and twin set of the ‘50s
STEP 3: Fit in. No, I’m not suggesting you try to join a clique of middle-schoolers. (As if they’d let you in!) Once you’ve established your audience, learn what is appropriate for the different age groups. You wouldn’t pen a gritty story of a child watching his parents’ marriage dissolve into a bitter divorce for a picture book, but you might write such a story for a ‘tween audience. What is right for a YA novel won’t be right for a middle grade one. Note: I’m not saying that you can’t tackle tough subjects for younger children, only that your tone, vocabulary, and other aspects will be entirely different than they would be for an older audience.
ACTION: Read again. Read this time with an eye and ear to the subtleties in language and style and tone and subject matter in books for various age groups. At what age can you talk about sexual activity and LGBT issues? What about cutting and other forms of self-mutilation and eating disorders? When is it okay to use curse words? Or is it ever okay? (This goes back to knowing yourself and what you’re comfortable with. For myself, I couldn’t use offensive language in writing for children of any age.)
Learning to know your audience is like any other writing skill, such as crafting characters, strengthening conflict, and writing sparkling dialogue You become better with practice. The best way to do that is to write and to keep writing.
The post Writing for Children & Teens: Simple Steps to Understand Your Readers appeared first on WriteForKids - Writing Children's Books.
Wednesday, October 25, 2017
Here’s an Extraordinary Submissions Opportunity
“With Children’s Book Insider on my side, I went from being unpublished straight to the bestseller list! If you dream of writing for children or teens, CBI is the place for you.” – Ken Derby, author, The Top 10 Ways to Ruin the First Day of School
If you want to become a successful children’s author and you’re not currently subscribing to Children’s Book Insider, the Children’s Writing Monthly, you’re making your life much harder than need be.
To help set things right, we have three big reasons to become an Insider now:
* A once-in-a-lifetime submissions opportunity with a publishing powerhouse
* The chance to get your questions answered on a regular basis by one of children’s writing’s most renowned experts — free.
* A big, big discount.
First, the incredible publishing opportunity:
Throughout the year we offer Insiders exclusive Above the Slushpile™ submissions codes. These are secret codes that, when included with your submission to top editors and agents, allow you to jump over the slushpile and get immediate attention. And sometimes, we even get a code that will get your submission read at houses that aren’t even accepting unsolicited submissions!
The November issue of CBI features one such code. A two month window to submit your work directly to an editor at…..
Wow. Just so you understand — Simon & Schuster Books for Young Readers is closed to unsolicited submissions. This is the only way to submit if you don’t have an agent.
And only if you’re a CBI Insider. (Keep reading to find out how to become one — at a big discount — before November and get this Above the Slushpile™ code!)
Now, the free help from an expert….
We just had one of our regular “Ask Laura Anything” sessions for Insiders. Laura spent almost two hours answering every question our Insiders had.
Imagine if you had the regular opportunity to — at no additional cost — have one of children’s writing’s most renowned and respected experts answer your questions?
Once you’re an Insider you won’t have to imagine any more. You’ll be invited to attend these regular Ask Laura Anything sessions. It’s included in your membership!
To show you just how great these sessions are, we’d like to gift you the entire session from this week! It’s packed with insight and advice and, by itself, is worth far more than the pittance it costs to become an Insider.
Here’s the link — watch and enjoy!
And the BIG DISCOUNT…..
The regular price to become an Insider is just $49.95 for the full year. That includes:
* 12 downloadable issues of Children’s Book Insider, the Children’s Writing Monthly, packed with market news about publishers, agents and contents, in-depth instruction, interviews with top editors and agents, and much, much more.
* Above the Slushpile™ submission opportunities that give your submissions priority status at top publishers and agents.
* The Children’s Writing Knowledge Base, our giant searchable library filled with answers to all your writing questions.
* Our private Facebook groups for support and community.
* Seven years of back issues!
* Regular “Ask Laura Anything” sessions.
* b, including complete courses, ebooks, webinars and more, all waiting for you as soon as you join.
Yep, $49.95 is really cheap for that kind of value. But you know what’s even cheaper?
$39.95
That’s right — for a very limited time you can become an Insider for just $39.95 and get everything (including the upcoming November issue with the Simon & Schuster Above the Slushpile™ code)
So let’s do this — it’s the perfect time to get your career in gear and start earning the success you deserve.
We leave you with the words of a longtime subscriber:
“I can’t imagine not subscribing to CBI and taking myself seriously as a children’s writer”
Amen to that! Come join us now at
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We can’t wait to welcome you to the Insiders!
The post Here’s an Extraordinary Submissions Opportunity appeared first on WriteForKids - Writing Children's Books.
Thursday, October 19, 2017
Writing Groups 101 – Which Kind is Right For You?
by JEN Garrett
When writers think of joining a group, they often think of joining a critique group. But this is only one type of writers’ group. Other reasons writers may join a group include accountability, networking, and brainstorming. All of these aspects are important to your writing journey, and can be a boon to your critique group. But not all writing groups focus on critiquing, even if they call themselves “critique groups”.
Critique Group
Most writers have an emotional cycle in their writing. We write because we are passionate about something and have a message to share. Then we try to get what is in our head on the paper and it sucks. We begin to doubt our ability, doubt that we have talent, doubt that we ever had inspiration in the first place. At this point, the smart writers walk away. But not forever. When we come back, the manuscript still sucks. But there’s something there that doesn’t suck. And now that we are looking at it with fresh eyes, we can detect the parts that don’t suck. We try to fix it as best we can on our own, but we’re still too close to the story. We need someone else. Maybe several someones. That’s where critique groups come in.
A critique group’s main focus is to give and receive feedback on manuscripts. Good critique groups help the writer revise their manuscript by pointing out its strengths and weaknesses in a kind and polite way. Writer continues to grow and hone their craft in the process. Good critique groups have stated goals and rules for exchanging manuscripts. These are established as soon as the group is formed, and revisited periodically to maintain order. When you have no manuscripts to critique, you may find you need a different type of writing group to continue on your writing journey.
Cheerleading Groups
Let’s say you have one published book or series, and now find yourself at the height of your writing career, with no desire to produce any more manuscripts. You probably don’t need a critique group anymore. What you might want instead is a writer’s group that will congratulate you and help you find more followers. You might need a “Street Team” to rave about your book, attend your book signings, and tweet about your success.
If you are pre-published, you may need extra encouragement to submit your polished manuscripts. Bringing them to your critique group, or to any group for that matter, would be a waste of time. But joining a writing group that cheers you on without reading your work can give you the confidence you need to keep going. These cheerleading groups are more likely to be found on social media than in person.
Write-Ins and Accountability Groups
Critique groups are great when you are revising a manuscript, but not so helpful when you simply need the motivation to keep your butt in chair and hands on keyboard (or pencil on paper, etc.). For these type of encouragement, I suggest instead looking for a “Write-In”.
Write-Ins are groups that meet together to, well, write! These groups can be in person or online, and usually include a specific amount of time for silent sustained writing. On Twitter, for example, you can join writing sprints under the hashtag #writingsprint. Simply tweet how long your sprint will be, or reply to another writer. After the sprint, tweet out your word count or mention something that surprised you. Other write-In groups might meet at a local cafe to socialize and encourage each other.
Similar to write-in groups are accountability groups. These groups tend to be more long-term than the write-ins, with each member keeping a running word count over a few days or weeks. NaNoWriMo.org, for instance, challenges writers to write 50 thousand words in 30 days. Some accountability groups meet via social media while others send running totals through email or direct messaging.
Brainstorming
Brainstorming is an important step in the writing process. From the initial spark to each revision pass, brainstorming can take a mediocre manuscript to a level of brilliance. However, a good critique group can separate brainstorming sessions from critique sessions.
As an incorrigible brainstormer, I sometimes fall into this trap when I critique. Instead of focusing on helping other writers find their own voice, I sometimes offer rewrite ideas disguised as “solutions”.
For example, if the manuscript says, “The scientist was sad because he failed.”
A good critiquer might comment, “How could the scientist’s feelings about failure be revealed instead of explained? Can you show us how he failed?”
But a brainstormer might say, “How about the scientist throws the beaker across the room? And couldn’t the scientist be a girl?”
The “solutions” offered by the brainstormer imply dangerous behavior that the original author may never have intended. And at this point the gender of the character is irrelevant to the problem. On the other hand, the critiquer is offering direction through questions that allow the author to find their own solutions.
My awesome critique group politely redirects me when I start sliding into brainstorming mode, and because of that I’ve learned to focus on critiquing. If, however, your writers’ group doesn’t seem to recognize the difference, then it’s probably actually a brainstorming group rather than a critique group.
Social Club
While it’s important to get to know the other members of your group, good critique groups don’t spend entire critique sessions socializing. There are, however, organizations that often do have regional social events. SCBWI, for example, have local events with such titles as “Mix and Mingle”, “KidLit Mingle”, and “Coffee and Chat”. Other socializing writers groups in your area might be found on Meetup. Like most professionals, writers need other writers who can empathize. Social events can provide imaginary water coolers where writers swap experiences and build camaraderie.
Writers can also find these kinds of writers’ social clubs online. Social media has the word ‘social’ in it for a reason. For example, when your polished manuscript keeps getting rejected and your thick skin is looking a little scarred, you may need to know that your experience is not unique. And trust me, it’s not. Reaching out in a tweet, posting a meme through Instagram, or posting about it in Facebook will elicit sympathetic likes and replies from your online network. Some websites, such as Goodreads, also have social forums where you can connect with other understanding writers.
The word of caution here is to always be professional and polite in these social situations. Make sure your interactions are mostly positive, and are never adversely directed toward any specific person. Receiving a form rejection is a normal part of the writing journey. And, yes, it hurts. But that’s never a good reason to insult the agent or agency that rejected your work.
Why Choose Just One?
Many writers need more than one type of writing group depending on their writing journey. It’s essential to prioritize your needs and decide which groups will best fill those needs. Also, consider your schedule and writing strengths. For example, I belong to several writers’ groups, but only have one that meets regularly in-person. I have found that my other writing needs are better met by online groups and the occasional in-person event.
Check all that Apply
Critique: I need a group of writers that will help me revise and polish my manuscripts
Cheerleading: I need a group of friends who can encourage me to meet my goals without knowing all the specifics of my writing journey.
Accountability: I need a group to whom I can report my writing progress.
Brainstorming: I need a group to help me come up with new ideas or to help me develop my manuscript.
Social: I need other writers with whom I can celebrate and commensurate the ups and downs of my writing journey.
JEN Garrett writes for, about and around children all day. But sometimes she finds time to do the dishes at her home in Northern California. She also finds time to be the SCBWI Critique Carousel Coordinator for her region, query agents, and read mountains of books. How? We don’t know. You can find more about her at http://ift.tt/2yyCFfN
The post Writing Groups 101 – Which Kind is Right For You? appeared first on WriteForKids - Writing Children's Books.
Tuesday, October 17, 2017
Let’s Celebrate these CBI Insiders!
Our CBI Insiders are taking the publishing world by storm! Here’s some of what our Children’s Book Insider subscribers are accomplishing (with just a little help from CBI!):
🤗 Longtime Insider Dandi Daley Mackall is an unstoppable force of nature! Here’s what she’s published so far this year:
Rock Away Granny (Sky Pony)
Wow! (Tyndale House)
Larger Than Life Lara (Tynedale)
Just Sayin’ (Tynedale)
One Small Donkey (HarperCollins)
Learn more at dandibooks.com
🤗 Insider Catherine DePino has been busy too! Here are her latest releases:
Helping Kids Live Mindfully: A Grab Bag of Classroom Activities for Middle School Students (Rowman and Littlefield)
Elliot K. Carnucci is a Big, Fat Loser: A Book About Bullying (Rogue Phoenix Press)
A Place of Learning: A Teacher’s Story (Rogue Phoenix Press)
Learn more at catherinedepino.com
🤗 Insider Donna Driver has some great news:
“My new middle grade novel about bullying and autism, No One Needed to Know, has won the Children’s Literary Classics Seal of Approval, Honorable Mention in the 2017 Purple Dragonfly Children’s Book Awards, and now is a finalist in the Children’s Literary Classics Book Awards.”
Learn more at dgdriver.com
🤗 Insider Janet Smart has a wonderful new credit:
Her middle grade historical fiction book Duck and Cover has published by Saguaro Books. It takes place during the tension-filled days of the Cuban Missile Crisis.
Learn more at janetsmart.blogspot.com
🤗 Insider Sonja Anderson has cool news to report:
“My middle-grade novel, Sophie Topfeather, Superstar! (Sunpenny Publishing), was named a finalist in this year’s Cascade Writing Contest! Also, my book Mount Rainier’s Historic Inns and Lodges was released by Arcadia Publishing.”
Learn more at sonjaandersonbooks.com
🤗 Insider Linda Whalen is now a published author!
“I’m so excited, after several years my debut picture book Little Red Rolls Away was released by Sleeping Bear Press. I was able to acquire an endorsement from Joey Travolta! Not only is he a Hollywood director, producer, actor, etc. he works with special needs children to help them be all they can be through Inclusion Films of which he is founder and creative director. I got it in time for it to be printed on the jacket. YAY!”
Learn more at lindawhalenauthor.com
We’ll have lots more good news to report soon. Do you want to get in on the fun of being a successful published author? Then do what these folks did — become a CBI Insider by subscribing to Children’s Book Insider, the Children’s Writing Monthly!
For just pennies a day, you’ll receive fresh market leads, special “Above the Slushpile” submission codes to top editors and agents, state of the art instruction, community support and much, much more.
Check out our special offer now at http://ift.tt/1qF7aDW and join the fun!
The post Let’s Celebrate these CBI Insiders! appeared first on WriteForKids - Writing Children's Books.
Thursday, October 12, 2017
A 12 Step Program for Rejected Writers
Every month, we’ll share a free article that recently appeared in the pages of Children’s Book Insider, the Children’s Writing Monthly. To learn more about the magazine and get a special offer, go to http://ift.tt/2wG9fNN/
This month, we present a fantastic piece by Jane McBride that will give you the tools to not only overcome rejection, but thrive as a result of it. It’s extremely empowering, and we’re sure you’ll love it.
This article originally appeared in the October, 2017 edition of Children’s Book Insider.
by Jane McBride
Having had a family member go through the 12 step program originated in AA, I have always had the highest esteem for this inspired program and have witnessed the miracles it can work.
With many rejections under my belt, including one scathing one where an editor suggested I find a different career path, I have looked for ways to deal with the sometimes crippling effects of rejection. I came up with my own 12 step program for writers who are dealing with their work having been rejected by agents or editors:
1. Admit to ourselves we do not have control over rejection.
2. Come to believe that we can take back some control by working to improve our writing.
3. Make a decision to do the work necessary to improve.
4. Make a searching inventory of our strengths and weaknesses in writing.
5. Admit to ourselves the exact nature of where we went wrong in a particular project.
6. Are ready to work to improve our writing in any way we can.
7. Humbly accept that our writing needs improvement.
8. Make a list of all the ways we could improve.
9. Make plans to address our weaknesses, as in taking a workshop, attending a conference, seeking out a critique partner, etc.
10. Continue to take inventory of our strengths and weaknesses in writing.
11. Seek to improve our writing skill by continuing to write, take classes, and other means.
12. Try to help other writers whenever we can.
Let’s take these steps one at a time and see how we can apply them to dealing with rejections.
Step 1: Admit to ourselves that we do not have control over rejection. I own up to the fact that I am a bit of a control freak. I want to know that if I do A, then B will happen. In the case of my writing, I want to know that if I write the best book of which I am capable (A), the book will sell (B). The fact is, these two do not always go together. I’ve sold thirty-six books over the course of my writing career of, coincidentally, thirty-six years. However, I have written many more books than thirty-six, books which did not sell. No matter how hard I tried to make these books as good as possible, they failed to sell. Much of that was my fault in that I didn’t possess the talent or skill early in my career to write a publishable book. Some of the reasons the books didn’t sell were changing market condition and change of editors. Though I do have control over developing my talent and skill, I didn’t possess those at that time.
Step 2. Come to believe that we can take back some control by working to improve our writing. As stated above, I didn’t possess the skill to write salable books at the beginning of my writing, but I knew that I could learn.
Step 3. Make a decision to do the work necessary to improve. I resolved that I would develop my story- telling and writing talents. This took years, but I persevered. Though I have given up on other self-improvement goals, I knew I could not give up on this one. Writing was and is too important.
Step 4. Make a searching inventory of our strengths and weaknesses in writing. I have been told by editors and readers that I have a talent for writing dialogue and developing characters. Similarly, I have been told, mostly in rejection letters, that I lack plotting talents. (Even after all these years, I still lack these, but I’m getting better.) I determined that I would showcase my strengths, i.e. dialogue and characterization, and learn to make my plotting better.
Step 5. Admit to ourselves the exact nature of where we went wrong on a particular project. In one very ambitious project, a 100,000 word suspense novel, I finally had to admit that I had not thought the story all the way through and that the plot inconsistencies were too many to overcome. In addition, I was trying to balance too many points-of-view.
Step 6. Are ready to improve our writing in every way we can. I joke with writer friends that what I lack in talent, I make up for in sheer stubbornness. I refused to give up writing, even when the rejections came so quickly that I could hardly keep them straight. I have watched friends who were talented drop out of writing, unable to keep up the commitment and dedication necessary to succeed.
Step 7. Humbly accept that our writing needs improvement. This is a hard one. Admitting and accepting that our writing is not perfect requires maturity and humility. The editor whom I referenced at the beginning of this article was right to reject the book I submitted to her. (I still think she could have done it more kindly, but she was right: the book was terrible.) Accepting that took me a long time, a period where I sulked and pouted instead of working on improving my writing.
Step 8. Make a list of all the ways we could improve. I mentioned my difficulties in plotting. I continually struggle to strengthen my plotting techniques. I also have a problem of using the same word over and over again. I have a list of my “pet” words, words I try to avoid using very often, and yet they still find their way into my writing.
Step 9. Make plans to address our weakness by taking a workshop, attending writers’ conferences, seeking a critique partner, etc. Over the years I have attended many workshops and conferences. I belong to a writers’ group where I am fortunate enough to have a wonderful critique partner. In short, I am doing every thing I can to make my writing better.
Step 10. Continue to take inventory of our strengths and weaknesses in writing. Improvement is not a destination. It is a continuing journey. Understand that if you want to succeed, you must always be striving.
Step 11. Seek to improve our writing skill by writing, taking classes, and others. One long-time writer friend once asked me why I continued to attend workshops and conferences when I was already multi-published. I replied that I hoped I would never stop learning or wanting to learn. When we do that, we stagnate and our writing reflects it.
Step 12. Try to help others whenever we can. Most writers are incredibly generous with their talents. I have had many successful writers offer encouragement and help to me along the way. In turn I try to pass this along by helping others, mentoring a young writer in middle school, appearing at school classes which are studying writing, critiquing those who ask for feedback. In helping others, I am not only passing along the good which was done for me but also strengthening my own skills by teaching and mentoring.
Whatever level you are at in your writing career at the moment, I hope you will find at least a few of these steps helpful. For real writers, writing is not just what we do, it is who we are. We need to arm ourselves for the inevitable rejections and hardships that a career in writing entails.
The post A 12 Step Program for Rejected Writers appeared first on WriteForKids - Writing Children's Books.
Wednesday, August 23, 2017
Kendra Levin of Viking Children’s Books: A Day In The Life of Executive Editor
Every month, we’ll share a free article that recently appeared in the pages of Children’s Book Insider, the Children’s Writing Monthly. To learn more about the magazine and get a special offer, go to http://ift.tt/2wG9fNN/
This month, we present an interview with Kendra Levin, Executive Editor of Viking Children’s Books. It’s an invaluable look inside the work life of an editor that offers some excellent insights for all submitting writers.
The interview was conducted by CBI Contributor P.J. McIlvane, and appeared in the April, 2017 edition of Children’s Book Insider.
If you’ve wondered what an “executive editor” does (and who hasn’t, including me?), wonder no more.
Kendra Levin is an executive editor at Viking Children’s Books, an imprint of Penguin Random House. Since 2005, she has worked on a wide range of children’s literature from picture books to young adult novels. She has edited New York Times bestseller Rebel of the Sands by Alwyn Hamilton, Printz Honor winner The Passion of Dolssa by Julie Berry, Theodor Seuss Geisel award winner Don’t Throw It to Mo! by David A. Adler, Society of Illustrators Gold Medal winner The Lost House by B.B. Cronin, and the work of authors including Janet Fox, Deborah Freedman, and others. In addition, Kendra helps writers as a teacher and certified life coach, and is the author of The Hero is You, a grounded selfhelp guide to a healthier writing process. You can visit her at kendracoaching.com and follow her on Twitter (@kendralevin).
PJ McIlvaine: Your bio is quite eclectic: from playwright to Executive Editor for Viking Children’s Books (Penguin Random House). Can you elaborate on your professional journey?
Kendra Levin: I wasn’t someone who always dreamed of working in publishing. I grew up surrounded by books, but I’m not sure I thought much about the people who created them, beyond the authors and illustrators.
My goal as a kid and teen was to be a writer. When I had just moved to New York to study playwriting at NYU, I got an email from an editor at Scholastic, David Levithan (whom I’d never heard of), asking my permission to include a short story of mine that had won a Scholastic Writing Award a couple years earlier in an anthology of student work he was putting together.
That email led to an internship at Scholastic, where I fell in love with editing children’s books under the wonderful mentorship of Joy Peskin (now Editorial Director at FSG), who introduced me to the world of publishing. I was amazed to discover a job that allowed me to use the skills I’d been honing for years in writing workshops—constructive critique, story analysis, stuff like that. So I really lucked into the perfect line of work for me. Out of college, I got a job at the Scholastic Book Clubs, a great place to learn more about the industry, and then transitioned to an editorial role at Viking Children’s Books in 2005, and I’ve been there ever since.
PJ: Can you give us a behind the scenes idea of what a day in the life of an executive editor really is?
KL: Part of what keeps me in this job is that fact that there’s no average day—every day is different. Currently, though, I’m feeling like I spend most of my days answering emails and attending meetings. It’s a funny but very common phenomenon that the elements of being an editor that most characterize the job—reading and editing manuscripts—wind up being relegated to evenings and weekends. Luckily, I love the social aspects of being an editor, so I don’t mind spending more of my day communicating and problem-solving than actually editing books.
PJ: What parts of your job do you like the best? And the least?
KL: I love to help people, so my favorite parts of the job are the ones that allow me to do that, whether I’m guiding an author through a tricky revision or advising a colleague on a challenging situation. To me, the most frustrating part of the job is when, for whatever reason, a book I love and believe in just doesn’t seem to resonate. It’s disappointing for the author and for me, too—and hard to see something you’ve put so much work into fail to reach people.
PJ: What surprised you the most about the publishing process?
KL: Like most people, I always imagined being an editor was a quiet job– reading and editing all day. In fact, I have to do most reading and editing in my own time outside of the office, because it’s definitely NOT a quiet job! Most days are full of meetings, phone calls, discussions, problem solving, and other kinds of running around and being social. Luckily, I really enjoy that!
PJ: Is there a common thread in the books you ultimately decline to pursue, for example, like not ready for prime time, editing errors, etc.?
KL: It’s hard to find one common thread among them all and much easier to see what’s common among the books I do acquire. To put it in perspective, I decline several hundred manuscripts each year. I acquire between one and five. So it’s easier for me to look at what all the ones I do acquire have in common. What tends to tie them together is an element of reader empowerment. I love books that inspire and empower kids and teens, that show them they can solve their own problems, that they are stronger than they realize, and that there’s a lot they can do despite constantly being told they are “just” children.
PJ: Do you have a favorite genre?
KL: One of the pleasures of working on books for young readers is that you get to be kind of a Unitarian of genres and try everything. I love the variety. But I do find myself most drawn to books that take place in a realistic world, either contemporary or historical, but have magical elements. I like books that transport me to a version of reality where magic is real.
PJ: You’ve edited many books, from picture books to young adult. Does each genre have a different publishing process?
KL: Any children’s books editor would tell you that the process for making picture books is very different from that of novels. One of my favorite aspects of the picture book process is getting to work closely with the art director. I love collaborating with someone who has a totally different skill set and area of expertise—I learn so much from that process. Novels come to me a little more naturally, so I feel lucky that in the area where I’m less confident, picture books, I get to rely on a partner in the work.
PJ: What do you look for in a book that you’re considering publishing?
KL: What every editor looks for, I imagine—writing that absorbs me and make me forget the world around me, coupled with a concept or idea that I can succinctly explain to our sales and marketing folks in a way that’ll get them excited about the project. I look for something that hasn’t been done before in quite the same way. I look for work that will empower its readers and give them a sense of their own potential and strength—to me, that’s one of the most important reasons to publish books for children to begin with.
PJ: Do you primarily accept submissions through agents and/or referrals, or do you still find hidden gems in the slush pile/queries?
KL: At this stage of my career, I mainly accept submissions that come from agents, though I’d love to connect with something unrepresented. As a house, Penguin is closed to unsolicited submissions, mainly because it would take many full-time staff members to deal with the sheer volume—we just don’t have the bandwidth.
By focusing on work that is represented by agents, we are asking writers to really do their homework: study their craft, have a knowledge of the marketplace, develop resilience—all crucial for becoming an author. That said, I do open my mailbox to unrepresented submissions from writers who attend conferences and retreats for which I’m a faculty member, and each event has its own guidelines.
PJ: What publishing trends do you foresee? Is there something you’d like to see, or see more of?
KL: I try not to chase trends. I’d rather create them than try to predict them! For example, historical fiction has always been challenging, but if you look at this year’s ALA awards, you can see the genre getting quite a lot of attention, including a book I edited, The Passion of Dolssa by Julie Berry, which won a Printz Honor. When I acquired the book, I certainly didn’t think that historical fiction would be a trend by the time the book came out. And, arguably, it still isn’t! But the genre also seems to be rising to the surface in ways it wasn’t two or three years ago. As far as what I’d like to see more of, I’m just always looking to be surprised— which could mean anything. I like to keep my options open.
PJ: Being a writer yourself, how easy—or difficult—is it for you to go into editing mode on material that was created by someone else?
KL: Many editors are also writers, and the ones I know seem to fall into two camps. Either they are incredibly driven and just find a way to switch back and forth between “editor brain” and “writer brain” so it becomes habit, or they struggle mightily with making that boundary. I definitely fall into the latter camp. I find writing extremely difficult because I have a tough time turning that mental editor off. Editing comes very naturally to me, at this point; it’s writing that is more of a battle. The only writing project I’ve finished since becoming an editor is The Hero Is You, my book about the creative process, which came out in 2016, and it reflects six years’ worth of work.
PJ: How important is branding/or a social media platform for writers?
KL: Social media acuity is not essential for writers. However, being good at some form of self-promotion is important for authors. If you are a writer who wants to become a published author, do not invest too much of your time worrying about stuff like branding and social media—focus instead on your craft and becoming the best writer you can possibly be. While you are doing that, pay attention to what forms of communication seem to come most naturally to you, and allow those to be your platform. It’s better to do one form of social media (or other kind of self-marketing) well than to do many without genuine interest.
So if you find that you want to save all your writing for your actual work but you like to share images, maybe Instagram is a good platform for you. If you aren’t comfortable with any social media but you love talking in front of groups, focus any self-promotional energies on getting lots of speaking engagements. If you can show in some way that you have some connection to other people, publishers will look favorably on that. But none of this is a deal-breaker; I don’t know any editor who has turned down a wonderful, hooky manuscript because the author didn’t tweet.
PJ: You’ve also branched out into being a life coach for writers. How did that evolve?
KL: I became a life coach in 2008 when I was still an assistant in publishing. I enjoyed my job but had a bit of an “is this it?” feeling about my work and life—wanting more meaning. A number of my close friends happened to all have crises at the same time and I found that I was dropping everything and racing to the side of each upset friend with a little too much enthusiasm. Then I was at a party where I struck up a conversation with a friend of a friend and when I asked her “What do you do?” she said, “I empower women.” I asked her out for coffee to hear more about her work as a life coach, and it sounded like a great fit for me, so I ended up taking a year-long certification course. Almost a decade later, it’s still something I do on the side but has evolved to become very much part of my work as an editor as well. And I use coaching techniques in the workshops I run for writers all over the country and in my book, The Hero Is You.
PJ McIlvaine is a published writer/produced screenwriter/kid lit author/blogger/journalist. In a former life she was a great baker of Europe. PJ’s websites are http://ift.tt/2osgWzM and http://ift.tt/2o03G8Q. She is represented by Jen Corkill Hunt of The Booker Albert Literary Agency.
The post Kendra Levin of Viking Children’s Books: A Day In The Life of Executive Editor appeared first on WriteForKids - Writing Children's Books.
Thursday, July 27, 2017
A Peek Inside the Workings of an Independent Bookstore
interview by Sharon Blumberg
Nathan Montoya’s route to owning the charming Village Lights Bookstore in Madison, Indiana was anything but direct. After an interesting life that included driving a taxicab in New York City, working as a manager at the renowned Cafe Figaro in Greenwich Village, performing with the Martha Graham Ensemble and the Pearl Lang Dance Company, and then serving as ballet and modern dance master and resident choreographer for the dance companies of opera houses Germany, Nathan and his wife returned to the States and eventually settled into the role of bouquiniste, a dealer of secondhand books. He specializes in world religions, science fiction, poetry, literary fiction (for adults and children), and antiquarian tomes. He currently serves on the Board of Directors of the Great Lakes Independent Booksellers Association and the Award Panel for the Indiana Authors Award.
Village Lights Bookstore prides itself on having the ambiance of an independent store while offering the services of much larger establishments. Customers can buy both new and used books, and can order print, audio and ebooks through the store’s website, with 99 cent shipping on phyical products (or free in-store pick-up). The store also features antiquarian and rare book valuation, bookbinding and repair, poetry readings, author events, an art gallery, an 1897 Steinway grand piano, live music events, courtesy coffee, comfy chairs, free Wi-Fi, and three bookstore cats. In short, the kind of place where every author wants to spend a long afternoon.
If you’re an author hoping to set up an event with an independent bookseller, or an aspiring writer who is curious about what the young customers of independent stores are buying, Nathan Montoya offers some tips and advice below:
Sharon Blumberg: What kinds of books are popular with kids right now at Village Lights Bookstore?
Nathan Montoya: Children often come in looking for Scholastic books like the ones featured in school book fairs. Middle graders are reading all of the Harry Potter book series, the Warriors books by Erin Hunter, and books by Kate DiCamillo. Skila Brown’s novels in verse: Caminar, The Donner Party, and To Stay Alive. The graphic novels by Raina Telgemeier are also popular. These books are: Drama, Ghosts, Sisters, and Smile.
In young adults books, The Absolute Diary of a Part-Time Indian by Sherman Alexie is popular, as well as Lois Lowry’s five books in the series of The Giver, Mike Mullin’s Ashfall Trilogy, the Divergent and Hunger Games series, as well as classic science fiction by Ursula K. LeGuin and the Tripod trilogy by John Christoper. Dystopian books that have a message for teens sell well, such as the three-book XVI by Julia Carr, set in a future Chicago. Her stories which expose sexism and gender bias.
SB: Why do you think these books are selling right now?
NM: I would say because of the high adventure and inner messages they convey with young adults. The classics are always popular with children, because children have a high desire to read them along with enjoying the illustrations.
SB: Are there any types of books or subject matters that you wish authors would write more about?
NM: I like to stock books that nurture self-confidence and foster respect and compassion for one another. In younger readers, I like books that offer a sense of humor while not being preachy. Also, books that deal with issues of diversity are great. A fine example of this is Heather Has Two Mommies by Leslea Newman.
SB: Do you carry self-published books from local authors?
NM: I don’t accept self-published books by CreateSpace because they are part of Amazon, a big competitor of ours. But regarding other self-published books, we will accept wholesale distributors such as Baker & Taylor and IngramSpark.
Also, we will not accept books that convey the message of hate speech in any form.
SB: Do you have any advice for authors who are setting up book signings or live events in independent book stores?
NM: We’d like to know if the authors have a website. The authors need to do their research to see if our store is a good fit for them, and see what kinds of books we want to sell. There is also a form they can download on our site for carrying their books on consignment.
SB: What is the best way for an author to approach you for either setting up a live event or carrying their books in your stores? Do you prefer a one-sheet with book information, a press release, a review copy, etc.?
NM: They should use the form on our website. We are a mom and pop store with few workers, so we don’t accept review copies. For an author event, a one-sheet is fine. We don’t generally offer author events for self-published authors, but we do offer a mini author fair for self-published authors.
For author events we require a headshot of the author, a digital press release, and a one-sheet PDF.
So the next time you are passing through Madison, Indiana, stop in at Nathan’s cozy and quaint Village Lights Bookstore. You will encounter small-town hospitality and the ultimate book lover’s paradise!
Sharon Olivia Blumberg is a recently retired school teacher, having taught Spanish and English for over 20 years. In addition, she is a writer and voiceover artist. She is a contributing author to My First Year in the Classroom, edited and compiled by Stephen D. Rogers, Kids Imagination Train, Guardian Angel Ezine for Kids, Foster Focus, and Voya Magazine. Visit her website at: http://ift.tt/2pur6ni
The post A Peek Inside the Workings of an Independent Bookstore appeared first on WriteForKids - Writing Children's Books.
Tuesday, July 11, 2017
Writing Children’s Book Dialogue That Flows
On July 19th, renowned author and writing coach Teresa Funke will be hosting a live online workshop about crafting high-level dialogue for young readers. We’ll have more details in the next few days. Right now, to get the ball rolling, here’s a piece by Laura Backes that lays the groundwork for creating excellent dialogue.
Writing dialogue is something that should come naturally. After all, most of us spend at least a portion of each day in conversation with other people. But creating dialogue is more than simply transcribing actual speech. It’s even more complicated in children’s books, because the age of the reader must also be taken into consideration.
Written dialogue is a compressed form of real speech; it’s the meat of the conversation with all the fillers removed. Picture books and easy readers–books written for children ages eight and under–are told primarily through action, and the dialogue reflects this action. The characters’ speech in these books must give a sense of their personalities, but also clue the reader into what’s happening in the story. Just as plot has a forward direction, so must the dialogue.
In Arthur’s Loose Tooth, an easy reader by Lillian Hoban, Arthur’s dilemma is presented to the reader through a portion of a conversation with his sister:
“Guess what we are having for dessert,” said Violet. “It is your favorite treat! It is
taffy apples!” “Taffy apples!” said Arthur. “I can’t eat taffy apples with a loose tooth!
It might get stuck in the taffy!” “Well, if it gets stuck, you can pull it out,” said Violet.
“I don’t want to pull it out,” said Arthur.
Using simple, complete sentences necessary in an easy reader, the author has revealed the story’s action through natural-sounding dialogue. As stories get longer and more complicated, the back-and-forth chatter between characters can be less linear. In real life, each person bring his or her own viewpoint into the conversation and gets something different out of the exchange. Allowing the dialogue to bounce around naturally can add humor to the scene and go a long way toward character development. However, the author still needs to be mindful of giving the reader new information that supports the plot.
In this excerpt from Marvin Redpost: Alone in His Teacher’s House, a chapter book for ages 6-9 by Louis Sachar, Marvin is dog sitting for his third grade teacher:
“Let me see the key,” said Stuart. “Did you look in her closet?” asked Nick. “No,” said
Marvin. Why would he look in her closet? “How about her refrigerator?” asked Nick.
“Did you at least look in her refrigerator?” “Let me see the key,” Stuart said again.
“How about her bathroom?” asked Nick. “I don’t remember,” said Marvin. “You don’t
remember if you saw her bathroom?” asked Nick. “Let me see the key,” said Stuart.
Dialogue is a chance for the character to speak in his own voice. But real dialogue is not exclusively something that’s said out loud. The speaker is also carrying on an internal conversation at the same time. In middle grade and young adult novels, this inner dialogue of the main (viewpoint) character can also be shown to the reader. It’s the author’s perfect chance to allow the character to divulge deeper elements of her personality without stopping the forward movement of the plot.
Rachel Vail’s The Friendship Ring series offers terrific examples of seventh grade dialogue. In this excerpt from Zoe, the first book in the series, Zoe and a classmate are talking about best friends:
“Well,” CJ said slowly. “I was best friends with Gideon Weld when we were little, but
then, you know, we figured out he was a boy and I was a girl, so that ended that.”
“Right,” I said, like obviously you couldn’t be best friends with a boy. I’m just friends
with anybody. Nothing of my own. Why didn’t that ever bother me before? “And since
fourth grade, it’s been Morgan, although, sometimes, lately, I feel like she doesn’t
understand me,” CJ whispered. “But yeah, I guess it’s Morgan. Who’s yours?” “I don’t
know.” I faced away from her, toward the door, and folded my pillow over. “I don’t
have one.”
Strong written dialogue that’s convincing and interesting is so much more than the words that come out of characters’ mouths. How a character speaks–complete with pauses and sentence fragments–can show his emotional state. How a character moves while talking adds layers of meaning to the dialogue. The setting within which the conversation takes place can affect the discourse. Dialogue is intricately connected to every other element of writing, and only when it’s seamlessly woven into the fabric of the story does the book become whole.
The post Writing Children’s Book Dialogue That Flows appeared first on WriteForKids - Writing Children's Books.
Monday, July 3, 2017
‘The Best Things in Life Are on the Other Side of Terror’
If fear is holding you back from pursuing your dreams, listen to what Will Smith has to say.
The post ‘The Best Things in Life Are on the Other Side of Terror’ appeared first on WriteForKids - Writing Children's Books.
Monday, June 5, 2017
Narrative Nonfiction: Making Facts into a Story
By Guest Author
by Natasha Wing
When editors say they are looking for narrative nonfiction, what does that mean?
Narrative nonfiction is creative nonfiction yet while both are fact-based, narrative nonfiction is also about storytelling, not just presenting facts in a clever way. It gives people, places and events meaning and emotional content – without making anything up. If you make up dialog or alter facts, then it becomes fiction.
The primary goal of the narrative nonfiction writer is to communicate information, like a reporter, but to shape it in a way that reads like fiction.
So how do you do that?
– Set the tone with opening images or word usage or even a juicy quote. My book, An Eye for Color, starts out: “Josef Albers saw art in the simplest things.” I wanted to set the tone that this story was about art, but simple art that kids could relate to. As the story unfolded, I connected to that idea of keeping it simple.
– Voice. Avoid the dull, droning textbook voice that makes you feel like you’re reading a reference book. Perky, fast-paced and humorous works better to capture your reader right from the start.
– Don’t give away the point you’re trying to make, build up to it. Use obstacles and rising stakes. Ask yourself, if this thing doesn’t happen, then what?
– Use poetic language rather than dry statements. Using my new biography, When Jackie Saved Grand Central, as an example, I wanted to say that Jackie was mad and she wanted to join the protestors so I wrote: “Like a powerful locomotive, Jackie led the charge to preserve the landmark she and New York City loved.” This language ties into the train theme.
– Use active verbs! Trim out phrases like: decided to. For example, She decided to build another model. Change to: She built another model.
– Build your world or era. But do it quickly! Don’t spend a lot of opening text on setting up the year, the location, or the era. Here’s how the Jackie story starts out: “When Jackie became First Lady of the United States in 1961, she moved into the White House with President John F. Kennedy and their children.” Nuff said. I didn’t have to tell you when Jackie was born, or how many kids she had and their names, or what number president John Kennedy was, or that the White House was in Washington, D.C.
– Find tension. Does your main character have a competitor who is trying to beat your guy to the patent office? Is the event something that could change the world? Is the main character full of doubt which could sabotage everything?
– Find “aha” moments. Did your character have a breakthrough on her invention? Did the artist discover something he’d never seen before in his paintings that made him follow a new path? Did your character get an idea while observing ladybugs that helped solve his problem?
– Is there an emotional journey for the main character? How does she succeed or grow? This works great for inventor stories. Why did the person want to invent something in the first place? Did he have a sick mother? Was a machine too cumbersome? During his journey did he ever want to give up? Did he have a breakthrough, or a break down? Did he get the recognition he wanted, or choose to live alone in a cabin instead?
– Is there a kid-friendly or universal theme? Historic preservation is a tough theme to sell to younger kids, so I had to make it about saving buildings people love to use rather than pontificating about the value of restoring the architectural integrity of a landmark. See the difference?
– Make us care about the person or object or invention. In my Jackie book, the biggest breakthrough in my revisions came when I started looking at the object that Jackie was trying to save – Grand Central Terminal – as something people cared about. Rather than just describing the building, I showed examples where people attended dances there, where politicians gave speeches, and friends met for lunch. That way the reader could have an emotional attachment to the building and therefore care if it was going to be destroyed or not.
– Limit use of facts. This sounds odd when you’re writing nonfiction, but too many facts can drag down the poetic flow of the text. Choose the facts that support your theme or opinion about the topic. Interesting nuggets that are visual or help children relate to the topic are keepers.
And don’t pile them up in one giant paragraph. Sprinkle them throughout the story, and use quotes to break up stretches of text. Visually, quotes give the eye something different to see, therefore re-investing the reader in your story.
If you still think some facts are pertinent, put them in the endnotes instead.
When you’re writing narrative nonfiction, always keep in mind, is it kid friendly and am I telling a story? Then weave those facts into your story so that readers will learn while also being entertained.
Before you start writing keep these things in mind:
How can you connect kids to your topic? For example, how does an invention affect their lives today?
Does your story have an unusual slant?
Is your biography of someone not heard about or someone kids should know about?
Check to see what other books have been done on that topic and how the author treated the telling and incorporated the information. Check out their sidebars and endnotes, too.
Is yours different and fresh?
Has new information come out on that topic to warrant a new book? Such as when a new president is elected. Or a new technology invented. How does this new bit of information make what’s out there obsolete – the topic could use a freshening up.
Has the publisher you work with already published that topic? Then don’t submit to them.
Did you publish a chapter book on a topic that would make a good picture book? If so, choose one through line and simplify and use poetic language. Choose one thing the person did and focus on that.
Is there an anniversary coming up in 4-5 years that you can hook your topic to? Start gathering research now.
Make sure you document where every fact is from so you can easily find it when you need to revise with an editor, or when you need proof where you got a quote.
Keep a list of experts you contacted so they can vet your manuscript before you submit it.
Natasha Wing is a best-selling author who has been writing for 25 years. She is best known for her Night Before series, but also has written several narrative nonfictions. When Jackie Saved Grand Central: The True Story of Jacqueline Kennedy’s Fight for an American Icon (HMH Books for Young Readers) received starred reviews from Booklist and Kirkus.
This is a post from writeforkids.org. Read the original post: Narrative Nonfiction: Making Facts into a Story
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