Posted in Business Side of Writing, Guest Post, Market Prep, The Nitty Gritty of Children's Writing

How to Start Querying an Agent

letterbox.jpgguest post by author Jan Fields

First, of course, you need to find an agent you feel good about and learn what the agent wants. My favorite place for this is www.literaryrambles.com by Casey McCormick. If you look on the left-side column on Casey’s site, you’ll see agents grouped by what they represent. She’s spotlighted many agents and looked at what each agent represents and how the agent wants to be contacted. It’s really a treasure trove of help.

Now, after you’ve picked an agent. Try a Google search with just that agent’s name. Sometimes you can pull up even more information to help you really know what the agent wants to see from you (and sometimes the agent even has a blog where she/he puts queries that really snagged his/her attention. These are really priceless examples because they show how to effectively pitch to that agent. If the specific agent you’ve chosen doesn’t have that…poke around in Casey’s list to find some who do. It’s invaluable to check out examples.

Now, in the query/pitch itself, you can find wonderful, wonderful help on Nathan Bransford‘s site. Nathan isn’t agenting anymore but he has spent a massive amount of time helping writers to do this stuff right.
Here’s his query formula.
And help with formating an email query.
Really, you’ll find a ton of help on Nathan’s site.

Former agent who has given tons and tons of help is Mary Kole who has a site called Kidlit.com. There she has: help with queries and more.

Agent Jennifer Laughran has a great bit about your author bio that goes in your query.

So, that’s a good bit of reading but it should really get you going on your agent hunt. Good luck!


Jan’s Brief Bio

“Since my first magazine publication in the 1980s, I have been steadily writing for money in some form. Today I have over twenty books in print and still more in the pipeline – books for children and adults. I’ve also written for magazines, educational publishers and even a toy company! Writing is the only thing I’ve ever done really well that didn’t eventually become more like work than fun.”
To read more go to Jan’s site.

Jan is also the editor of the Writing for Children blog from the Institute of Children’s Literature. If you aren’t getting it, you’re missing out!

Thanks to Clarita on morguefile.com for the above image.

Posted in Craft, Guest Post, The Nitty Gritty of Children's Writing

Nancy I. Sanders on Writing Nonfiction

June 5 SandersI keep running into writers who want to write nonfiction and have more questions than I can answer, so here’s an interview with Nancy I. Sanders who is well-established in this area:
What led you to write nonfiction?
In my book, Yes! You Can Learn How to Write Children’s Books, Get Them Published, and Build a Successful Writing Career, I explain a strategy I call the “Triple Crown of Success.” For this I always recommend writers be working on three separate manuscripts to meet three separate goals:
1) the goal to get published,
2) the goal to earn income, and
3) the goal of writing for personal fulfillment.

As I started to build my writing career, I discovered I could earn nice income writing nonfiction so I always try to be working on at least one nonfiction project while I’m working on manuscripts to meet my other two goals.

How do you usually get to write nonfiction books? Do you come up with the idea first or does the publisher? Or does it vary?
Sometimes a publisher sends an idea my way. The way I got the idea to write Frederick Douglass for Kids, however, was very typical of the way I come up with ideas for nonfiction books. I was browsing through a current catalog of this publisher and exploring the titles of their “For Kids” series. I noticed they had various famous Americans in their series such as George Washington for Kids and Benjamin Franklin for Kids. I realized they had a hole in their series and didn’t yet have a title on Frederick Douglass, one of the greatest leaders in America. So I queried the publisher and asked if they’d like to see a proposal on a potential new title called Frederick Douglass for Kids. They said “Yes!” and the rest is history.

What chances does a nonfiction children’s writer have of writing another book about a topic that already has numerous books written about it?
Actually, the chances are quite good, if you do your homework.
First, check the product line of the publisher you’d like to target. If they already have a book on this topic, perhaps they’d like one written with a fresh, unique angle.
And if your publisher doesn’t yet have a book on the topic you want to write about…chances are that if it’s a common topic, your publisher would like to have a book in their product line written on that topic, too! That was the case with this book.

In the books you write, do you use both primary and secondary sources?
It depends on each project. For this book, I used numerous primary sources that included Frederick Douglass’s autobiographies as well as many little-known books written by African American solders who fought during the Civil War as well as African American women who supported the troops as nurses or spies. I found amazing facts and stories I’d never read in any other history book about the Civil War! Plus I had lots of secondary sources of more current books that helped give an overview about the history of this era.

Do you have any favorite “go to” sources when you start a new project?
I like to gather other children’s nonfiction books on my new topic. This helps me develop my outline by referring to the table of contents in these books. Children’s books capture the top ten essential ingredients about a topic, so they’re great resources for developing an outline and a proposal in a short amount of time.

Then, if the proposal is accepted, I gather encyclopedias and primary sources on my topics to really dig in depth. Since I specialize in writing African American history for kids, I own over 200 research books in my own personal library that I’ve built over the years. It’s so helpful when I start a new project because I already have these resources at hand. My favorite resource is numerous books by Dr. Henry Louis Gates, Jr. including his encyclopedia set I own, African American National Biography.

How do you organize your research notes? On 3×5 cards, a notebook, on your computer?

The system that works best for me is that I first sit in a comfortable chair to read research books and jot down notes by hand on paper for about an hour to start my day.

Then I move over to my computer and type these notes into an ever-growing working outline. Then I print out these notes and other important notes such as information I’ve found and printed out from the Internet that day. I store these notes each day in a file folder, one file folder per chapter (or section within a chapter for a really long book). I store all these file folders in a pocket folder for handy reference when I need something from a specific chapter that I’ve printed out. This usually takes me another hour.
Then I sit at my computer and type new material for my book project for another hour or so, based on the research I just did.

This gives me at least 3 solid hours of writing each day.

Do you have any advice you’d give to someone who is just starting out and wants to write nonfiction?
Don’t be a “Lone Ranger” writer. Learn how to be a “piggyback” writer. I explain all about how this works in my book for children’s writers, Yes! You Can Learn How to Write Children’s Books… In a nutshell, if you want to experience breakthrough as a nonfiction writer, study publishers’ catalogs and look for series that are written by multiple authors and the copyright to each book is in the author’s name. Brainstorm 3-5 ideas for topics that can fit within that series. Then send a query to that publisher asking if they’d like to see a proposal on any of those topics to fit into their current series.
Not only does this help you land a contract to write a nonfiction book, but when your book comes out, everyone who is already buying the other books in the series will buy yours too, and you’ll see great sales! This is what I call being a “piggyback” writer. It’s in stark contrast to what I refer to as a “Lone Ranger” writer who just tries to find a publisher for her own idea and if it does get published has to try to market it on her name or that title alone with slow sales as a result.

What are you doing to celebrate the release of your book, Frederick Douglass for Kids?
I’m hosting a two-week virtual Book Launch Party! There are prizes to win, fun facts to learn, and lots of inside peeks and helpful tips about how a book is born. Stop by my site today to join in the party.
FrederickDouglassCover

Book Synopsis
Few Americans have had as much impact on this nation as Frederick Douglass. Born on a plantation, he later escaped slavery and helped others to freedom via the Underground Railroad. In time he became a bestselling author, an outspoken newspaper editor, a brilliant orator, a tireless abolitionist, and a brave civil rights leader. He was famous on both sides of the Atlantic in the years leading up to the Civil War, and when war broke out, Abraham Lincoln invited him to the White House for counsel and advice.
Frederick Douglass for Kids follows the footsteps of this American hero, from his birth into slavery to his becoming a friend and confidant of presidents and the leading African American of his day. And to better appreciate Frederick Douglass and his times, readers will form a debating club, cook a meal similar to the one Douglass shared with John Brown, make a civil war haversack, participate in a microlending program, and more. This valuable resource also includes a time line of significant events, a list of historic sites to visit or explore online, and web resources for further study.


More About Nancy

Nancy I. Sanders is the bestselling and award-winning author of over 80 books including America’s Black Founders, A Kid’s Guide to African American History, and D Is for Drinking Gourd: An African American Alphabet. She teaches other writers how to launch their career to the next level based on material found in her book for writers mentioned above. Nancy’s writing buddies, Sandman and Pitterpat (who just happen to be cats–see picture above) help bring laughter to her days. Learn more about Nancy here.

Posted in Guest Post, The Nitty Gritty of Children's Writing, The Publication Process

Heartbroken?

heartbroken.jpgIf you’re heartbroken, don’t let it stop you from writing and submitting, at least without great thought. Be encouraged by this guest post by Krista Van Dolzer:

When Cupid* asked me to share a little advice and encouragement about the querying process, my first thought was that I was the perfect person to write this post 🙂 I queried my first manuscript in 2008, and here it is, 2012, and I’m just landing an agent, almost four years exactly after I sent my first query.

To be honest, I thought my last manuscript was going to be the One. It was the third manuscript I’d queried, so I definitely knew what I was doing, and my request rate was well over fifty percent. I received multiple revision requests and got all kinds of positive feedback, but in the end, nobody loved it enough to offer.

I was devastated, heartbroken. I’d thrown myself over the cliff, certain my parachute was finally going to open, but instead, I slammed into the pavement in full-scale freefall. The rejections hurt more because I knew how close I was.

I started querying my fourth manuscript in a weird in-between place. I felt good about the project, really good (one of my critique partners read the whole thing in one sitting, and another couldn’t wait to recommend it to her agent), but I was well aware of the fact that querying, like life, usually doesn’t turn out the way we expect it to.

And so it was with Steve. (That’s what I call him around the house, since THE REGENERATED MAN AND ME is a little more of a mouthful.) I’d imagined getting an offer within a couple of weeks from one of the fast responders I’d queried, but that didn’t happen.

As it turned out, what did happen was way better than anything I could have planned.

A few weeks ago, I signed with Kate Schafer Testerman, the agent who was literally at the top of my list, and I couldn’t be more excited. She’s the agent I would have picked if I could have picked anyone, and she picked me.

I’m not going to tell you to keep going, to never give up, because when you’ve been going for a while and you’re still waiting for that miracle, that’s the last thing you want anybody to tell you. Sometimes taking a step back, at least for a while, is the best thing to do, and that’s okay. But what I am going to say is that you never know when life will surprise you. We writers should know better than anyone that the best stories are the ones you don’t try to force.


*This post first appeared on Cupid’s Literary Connection on April 23rd and is used by permission.
Picture is courtesy of Anita Patterson on morguefile.com.
Read more about Krista on her blog.

Posted in Guest Post, The Nitty Gritty of Children's Writing, The Publication Process

Ouch! Thin Skin!

Authoress2Guest post by Authoress
Excerpts* from her Miss Snark’s Next Victim blog on April 23rd:

Lots of people in this business won’t mince their words. If it’s something you’re not used to, it’s time to get used to it.
It doesn’t mean you suck.
It doesn’t mean you should give up.
It doesn’t mean the universe is ending.
What it means is: Some people won’t mince their words. That is all. You may be expecting something other than what you receive. You may feel stunned or numb or flabbergasted when you read someone’s response to your work–especially if that “someone” is an agent or editor with whom you were hoping to find some level of favor.
Welcome to the World of Showing People What You’ve Written.
It’s not fun. It’s not something that most of us can get used to overnight. But the Thick Skin is an important part of our journey, so if you haven’t started growing yours yet, now’s the time.
I don’t have a big magenta eraser for editing less-than-tactful critiques and comments. I may not like them, but they are a reality for us as writers.
fisherman-2576631_640We need to reel them in with the rest of the fish, and cast them away if they don’t serve a purpose. Interestingly, often they do serve a purpose–if only to teach us to rise above our emotions and keep pressing on.

*photo above and text used by permission


Isn’t that well said? I especially love the line about reeling those comments in with the rest of the fish.
I’d like to add this quote by another writer, Julia Sorel: “If you’re never scared or embarrassed or hurt, it means you never take any chances.” So take the chances that come your way, sort through the fish that are caught, and keep the ones that improve your writing. (Remember, they may not be the easy ones.)

Posted in Craft, Guest Post, The Nitty Gritty of Children's Writing

4 Ways to Make Your Characters “Talk Different”

Guest post by the wonderful Bruce Hale!
aka The Writer Guy


Have you ever read a manuscript where everybody talks alike, and you can’t tell the characters apart without a constant “said Jack”? I have. This problem crops up again and again in unpublished manuscripts I’ve critiqued, and it’s one of the things keeping those authors from getting published.

But it doesn’t have to be that way.

If you want to make your characters stand out and be unique (i.e.: see the light of day in a published book), first try running your dialog through the cliché detector. Figures of speech can be so common you don’t even notice them – phrases like, “we’re not out of the woods yet,” or “don’t count your chickens before they hatch” tend to slip right past our radar. Don’t let them.
Make your dialog better than that, more original. In your dialog revision, take the time to establish a voice, even a lexicon for each of your main characters. It’ll make them stand out from each other, and more, it’ll make them jump off the page. Here are four ways to make your characters “talk different.”
talk.jpg
1. ATTITUDE:

Is your character defensive, combative, a know-it-all, a joker? Make sure that her dialog consistently reflects this.
Let your character’s attitude inform every utterance. As an example, take Deborah Wiles’ EACH LITTLE BIRD THAT SINGS. The obnoxious little boy, Peach, could have just said, “Good morning, Comfort,” when he came into her room. Instead he says, “It’s morning and I’ve come to see you!”
That little tweak shows us his quirky personality, as well as his attitude. Is he excited to see Comfort? Oh, yes. (Is she excited to see him? Not so much — and her dialog reflects this.)

2. EDUCATION:

Your characters’ level of education determines so much of their speech, from word choice to sentence length and complexity. Make sure that you take this into consideration and use it to set characters apart from each other.
Have the smart characters use bigger words than the rest; have the not-as-smart-as-they-think-they-are characters MISuse bigger words. In my book, FAREWELL, MY LUNCHBAG, janitor Maureen DeBree aspires to a more sophisticated means of expression than her education allows. That’s why she says things like “Don’t cast nasturtiums” instead of “Don’t cast aspersions,” and advises the detectives to use their powers of “reduction,” instead of “deduction.”

3. FRAME OF REFERENCE:
What does your character obsess over? What kind of background did he come from? What kind of world does she live in? These considerations will inform what your characters say and how they say it.
For example, in EACH LITTLE BIRD THAT SINGS, Comfort’s older brother, Tidings, is obsessed with all things military. When he greets her, he says, “Easy, Private!” When asked where the visitors are, he says, “The troops are reconnoitered in the back parking lot.” It’s never a challenge to know when Tidings is speaking, and his dialog reveals a lot about who he is and what his aspirations are.

4. EXCLAMATIONS

What kind of character would say, “Criminently”? What character would say, “Eeww, gross”? (Hint: probably not the same character.) Exclamations are a small touch, but if you use them right, they can help the reader zero in on the personality of whoever is speaking in a heartbeat.
For example, in the Dresden Files series by Jim Butcher, the hero, Harry Dresden, is a wizard/private investigator. He uses phrases like “Hell’s bells” and “Stars and stones” as exclamations, giving him a uniquely wizardly way of expressing himself. If he just said “damn” and “holy moley,” it wouldn’t have the same effect.
Take these four considerations into account, the next time you’re taking a closer look at dialog. And I guarantee, to paraphrase David Sedaris, that your characters will “talk pretty one day.”


BIO
bruce_hale.jpgEdgar-nominated author-illustrator Bruce Hale is passionate about inspiring reluctant readers to open books (and read them). He has written or illustrated more than 25 seriously funny books for children, including the award-winning Chet Gecko Mysteries series, Snoring Beauty (one of Oprah’s Recommended Reads for Kids), and the comics-novel hybrid, Underwhere. Read more about the books on Bruce’s website.
An actor and Fulbright Scholar in Storytelling, Bruce is in demand as a speaker, having presented at conferences, universities, and schools all across North America.
Plus, he’s one nice guy.