Greetings;
Imagination: Every writer must have a creative (inventive) mind in order to hold a reader’s attention. Webster’s Dictionary describes imagination as “An act or process of forming a conscious idea or mental image of something never before wholly perceived in reality by the imager.”
Constructing a story from one’s own feelings and observations, connected through vivid descriptions and, hopefully, a novel idea is a good BEGINNING. Joining those thoughts into a plot whereby readers can believe, “that could happen” is where skill steps in. So how does a writer gain such skills? In order to write words, each of us had to learn individual letters (alphabet) first for without basics there is no clear path to increased knowledge. The basics for new writers include becoming a part of a writers’ group for learning is more fun when several creative minds work together.
Reading is also an essential basic. The more one reads, the more skills are absorbed, often subconsciously. A skilled writer shows in the plot how to direct a scene with specific word choices. Someone once noted in a writing class, “…what’s the use of reading someone else’s work. Those aren’t my words or my thoughts.” The instructor replied with a smile, “It’s like priming a water pump in order for new water to burst forth. The more one reads, the more creative thoughts germinate in a writer’s mind.”
There have been many times, while I’m reading, when a certain phrase or circumstance triggers long-forgotten sensory memories. Sometimes, it’s so strong I must put down the book, open my notebook (always close by) and detail my new thoughts before they drift away into some ethereal haze and are lost. (It does make it difficult to keep reading a good author’s book, but learning should never cease for a writer.)
Another basic: Never be far from some device to record a new idea or feeling, whether it’s a notebook, recorder, or computer. Some great ideas for stories are lost because those tools aren’t handy. I keep a notebook and pen on my bedside table and a small one in my pocketbook. When a certain person speaks, or a scene unfolds, or a weather condition explodes, you’re there to witness and record those realities. Later, when writing, include those realities to make your story more believable. Combining imagination with real life happenings and your own on-going learning process will make you a better writer.
Have a great day today and smile. It makes people wonder what you’re up to. Linda

Greetings:
Stop and think for a moment about whether you have been speeding through the publishing process. If as writers we get too caught up in the need to sell our manuscript rather than in perfecting it, the process will backfire. Stop writing and read! Take time to study how-to books like, HOW TO WRITE A BOOK PROPOSAL by Michael Larson. In the long run, you will save time because improperly written proposals and manuscripts will result in rejections. Keep in mind, a rejection doesn’t mean your work has no merit. Visit websites for current rules for publishing. What isn’t chosen by one editor may be welcomed by another, so don’t waste precious time sending a juvenile story to a publisher or agent who doesn’t accept juvenile stories! Go to your local bookstore or library and connect with books like CHILDREN’S WRITERS & ILLUSTRATORS MARKET edited by Alice Pope. Most importantly, connect with the children’s books being published now. Children’s tastes change, as does the market.
The waiting game between send-out and acceptance or rejection is best spent in perfecting writing skills on another project. Editors don’t need problems; they want the best you can give them and they will—if they spy a gleam of talent there—pay more for it if there are no problems. So how can you tell when the work is good enough? Put it away for a week or so and then re-read it aloud. Trust your instincts. Is it really as good as you thought it was on first completion? Use your computer’s grammar and spell-check, and PLEASE make sure the editor’s name is spelled correctly. The general consensus is if you didn’t care enough to spell the editor’s name right, you don’t care enough about details.
When it’s finally the best you can do, provide the editor with a word count to give a sense of the book’s size. Don’t be too concerned with the number of pages; that’s the editor’s job. For example, non-fiction manuscripts usually run from 50,000 to 100,000 words and between two hundred and four hundred pages. The length of your book will be listed in your contract. And speaking of contracts, they are NOT all the same. I rejected a contract on my non-fiction memoir because the editor wanted “World Rights”. In other words, I would have no further say about my own manuscript because it would no longer belong to me. Read up on those rights. For example, “First North American Rights” means that after your book is published, the rights return to you and the publisher is allowed to market the book only in North America. It’s a good idea to become familiar with such details.
Years ago, a pessimistic Manhattan publisher told me “…unless one is famous or notorious, it’s doubtful your book will be accepted because the bottom line is profit. Where adult titles sell millions, the average range of sale for a good young children’s book is two hundred and fifty thousand. Big difference.” Good thing J.K Rowling didn’t listen to him! Good thing I didn’t listen to him, either, or my children’s book, WERFUL AND THE CAPTAIN wouldn’t be displayed in the window of EIGHT COUSINS book store in Falmouth center now. Once you are published, marketing one’s own book is essential today. Use every means at your disposal like radio programs, public TV, newspaper ads, or even note it in a blog! Most of all, write something every day, even if it’s only a sentence. Every book begins with one.
Have a fun day and smile at a child; it feels good. Linda