I’ve Got a Contract!

By Christina Laurie

Jun

29

June 29, 2012

I’m so excited! My “C is for Cape Cod” book has been accepted by a publisher! Two years of research, another of writing the text and creating 4-line poems for each letter, and then another year searching for a publisher are now behind me.
Here’s how it happened.
One day I sent for and read the catalog for Islandport Press in Yarmouth, ME, looking for Christmas books for my grandchildren. I happened to see a beautiful book, “A is for Acadia,” about Mount Desert Island off Boothbay Harbor. As a child I accompanied my parents on trips to Acadia National Park while we vacationed in Maine and I loved the whole island.
I thought, “If they’ve done an A-B-C book on Acadia, maybe they’ll be interested in one on Cape Cod.” I didn’t get my hopes up, because other publishers, although they liked the concept, had rejected it because it was too regional. My arguments were that people from all over the world come to Cape Cod and would love a book that appeals to two- to 12-year-olds. But no one seemed to agree with me. So I sent my query with six letters (including Q and X) and said a prayer as I hit “send.” The three-month waiting period seemed to go fast, but I was involved in the fourth rewrite of my middle grade ghost story.
Then came an email: “Please send us the whole book.” Off it went in the return mail. Exactly three months to the day, the reply came. I was impressed.
Following the acceptance, came the contract which we discussed over several emails. When I received my copy back with the president’s signature, I KNEW I had a published book! Now come the rewrites and revisions. But the hard work is over, and I am excited to have my first (fourth I’ve written) children’s story on the way to the book store shelves.
SO – when can we buy this fantastic book? You ask. Spring 2014!! That long to wait? Yup! Seems like forever, but I’m already collecting addresses for announcements and books stores to line up for signings. If you’re interested in a copy, email me your information and I’ll include you on the list!
Creatively,
Christina

CAROL CHITTENDEN’S VIEW OF CAPE COD MEMORY MAKERS

By Joan Walsh

Jun

26

Saturday, June 30, 11 a.m. Author Joan Walsh and Illustrator Anne Sessions Barber pay a visit to Eight Cousins on Main Street in downtown Falmouth with their book, Cape Cod Memory Makers: Explore the Town of Falmouth. We’d love this book even if it didn’t have Eight Cousins’ façade and alphabet chair on the front cover, because it’s a great way for kids to get acquainted with special local places, and record their own impressions, memories, drawings and photos right in the book.

 Walsh and Barber are delightful people to meet, they have funny stories about the genesis, progress and success, and they’re now starting on similar books about other beloved Cape locations.

JOAN

A Day For Kudos!

By Linda Bartosik

Jun

20

Today the online women’s magazine, Cape Women Online, featured an article on my author and friend, Joan Walsh, the founder of the Cape Cod Children’s Writer’s group that I belong to. A year ago she was working very hard to get her book, Cape Cod Memory Makers Explore the Town of Falmouth, published. I stand in awe of Joan for never giving up. She got her book written, illustrated, and now, published. A huge investment of time, money, and painstaking work. Now, one year later, it sits on the bookshelves of many area stores.

What if Joan didn’t pursue her dream? A year would have gone by anyway and she’d still be in the same spot, without a published book.

This morning when I went to yoga class my friend, Shirley, was there. I hugged her and stood in awe of her. I hadn’t seen her in nine weeks because she was in teacher training in LA. Shirley blogged her journey each week and I felt like I was there with her. She accomplished a Herculean task both physically and mentally. A year ago Shirley was tossing around the idea of attending teacher training. Now, one year later, she stands in front of me a certified Bikram yoga teacher.

What if Shirley didn’t pursue her dream? The year would’ve gone by anyway, and she’d still be in the same spot, but not a certified teacher.

Today is June 20, 2012. Where do you want to be on June 20, 2013? Do you have a dream? Do you have a goal? Do you want to make a life change? Do you have a vision? Decide today to stop putting it off. Take the first step, no matter how small, toward it. Even if it’s only making a phone call, writing an inquiring email, searching the Internet, or even just writing down what you want to do and taping it up on the bathroom mirror.

You know the old saying – a journey of 1000 miles begins with a single step. I watched both of these women take their first step. They are both my heroes. Because of them, I took my first steps to writing and publishing my picture book and starting a small business to support that. By June 21, 2013, I want my book submitted to at least ten publishers and I’d like my business to be pulling in at least $4000 a month. The year IS going to go by anyway. It’s just a matter of where I want to be at the end of it.

Our journeys, theirs and mine, are not easy. There are obstacles along the way, but knowing that didn’t stop Joan and Shirley. They just put their boots on and started walking. Joan, Shirley, – thank you both for being such an inspiration to Cape women everywhere.

And so, as another day goes by, please check out Joan’s article in Cape Women Online (link below), think seriously about putting on those shoes and taking that first step along with me this year, and …I have written.

Cape Women Online

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STORY TEMPLATE

By Joan Walsh

Jun

14

I am sharing Amy’Deardan’s four story pillars mentioned in her book entitled THE STORY TEMPLATE: Conquer Writer’s Block

The Four Story Pillars

A story (novel or screenplay) is often thought of as having two arms: outer and inner story. The outer story covers the external plot: what readers will summarize when asked what your story is about. The inner story describes the emotional journey of one or more characters.

 Romance or literary work often focuses on inner story, while a mystery or action-adventure usually emphasizes outer story. 

 Story involves two tiers of construction: concrete and abstract. The concrete describes the actual events and characters, whereas the abstract sheds light on the applications of how story fits into society, relationships, and life.

 Within concrete and abstract are the four story pillars: PLOT is the actual story line with story goals and external obstacles. CHARACTER the inner emotional journeys of one or more characters. STORY WORLD the specific environment in which the story takes place. MORAL the theme; message that the story conveys.

                                                                     OUTTER STORY         INNER STORY

CONCRETE                                                PLOT                              CHARACTER

ABSTRACT                                                 STORY                            MORAL

 The STORY PREMISE, is the pillar that drives the story.

For example:

Plot Pillar – Iron Man, Jaws

Character Pillar – Forest Gump, Rocky

Moral Pillar – Facing the Giants, Ender’s Game

Story World Pillar – Fellowship of the Ring, Harry Potter

 Although the story centers around one pillar, the other pillars are developed to a greater or lesser extent in order to make your story grip readers.

 PLOT: What is your story question? What is your story goal? What are the stakes of your story (the bad things that will happen if your protagonist doesn’t achieve his goal)? What is the main obstacle (usually the antagonist) blocking your protagonist from reaching his goal? What are some other obstacles?

 CHARACTER: Who is your protagonist? What does he want in the story? Does he have a secondary protagonist? (The secondary protagonist works with the protagonist as a team to achieve the story goal, and is often a love interest). What is your protagonist’s “hidden” (emotional) need that will be fixed in the story? Who (or what) is the antagonist? What goals are your protagonist and antagonist competing for?

 STORY WORLD: What is the time and place of your story? What are common social customs? What do buildings and structures look like? What do your characters eat, wear, and use? What is the weather like? 

 MORAL: What is the ONE universal principal that you want to explore in your story? Some examples of moral might be:

 Romeo and Juliet: Great Love Defies Death.

Forest Gump: Unconditional Love Redeems the Rebel.

Fellowship of the Ring: Willingness to Relinquish Power Leads to Preservation.

The Godfather: Family Ties Overcome Individual Virtue.

Rocky: Courage and Persistence Lead to Significance.

The Incredibles: Working Together Allows Each Individual to Shine.

JOAN

REVISION

By Joan Walsh

Jun

11

When an agent suggests you make changes to your manuscript, revise and resubmit. Your work has not been rejected, nor has it been offered representation. The agent or editor is telling you your work shows promise.

 Take your time and make changes you understand and agree with for the most part. Have your critique group give you feedback on your edits before you resubmit. Many sets of eyes will help you carry your changes throughout your manuscript.

 Thank the agent or editor, and ask questions if you do not understand their suggested comments. Then try to give them an expected time-frame for your revision process.

Remember, courage is going from failure through revision without losing enthusiasm.

JOAN

 

Judging A Book By Its Cover

By Linda Williams

Jun

11

Greetings;
When choosing a book, few readers consciously consider a publisher’s reasoning for constructing said book in a particular manner. A book’s cover, much like a story with its beginning, middle, and end is also divided into three parts—a front, a spine, and a back, each with its own job. The front is of prime importance because it displays title, author’s name, and often a concise, one-sentence synopsis of its interior. If done right, the cover convinces us to keep reading; If not, another book will take precedence.
The spine is also important for it provides easy access to title, author, and publisher, when shelved with other books, but its greatest job is to hold the pages together. No spine means papers all over the floor if dropped. (Off- topic, but when a manuscript hasn’t been elevated to spine-status, it’s mandatory to number each page in case one or, OMG, all should take an unexpected trip to the floor and scatter.)
The back cover provides information about the author, a synopsis of the story, and reviews by acclaimed authors. If an author is specifically acclaimed in the genre, he or she makes the front cover. Good business all around. All that work has been accomplished by a publishing company, and the reader has yet to open the book. One other point: If a book becomes a readers’ gem and survives long enough to become a valued antique, the price escalates when the cover has remained in good condition and is still doing its job–protecting its book.
Okay, we’ve been drawn in enough to open the book and what do we find? A blank page stuck to the inside of the front cover. Its job is to attach the cover to its interior pages. They’re called endpapers, which makes me smile, because they’re in the beginning of the book. Also, another title page inside the book? At one time in history, the page was necessary as a front cover to announce title and author, and to protect the first page of the story from damage. It was the norm for authors to distribute their own unbound manuscripts, often selling stories in installments and delivering them door-to-door. When publishing companies took over, permanent covers were designed, but the title page remained, I imagine, for tradition’s sake.
Next, the reader, who still hasn’t arrived at the story, often finds a blank page or two. With modern equipment and automatic presses running off sheets of paper in eight, sixteen, and/or thirty-two sheets per grouping, blank pages are sometimes necessary to complete the number requirement, or so I’ve read. When a reader elevates to author status, he or she completes the cycle from writing one’s first words of a manuscript to books signings, when the title page or a blank one is utilized to thank the writer’s most important friend, the reader.
Finally, the next time we pick up a book let’s take a minute to think about the importance of its cover, and how it led us to its precious cargo. Too often, we take for granted what is right in front of us.
Until next time, stay focused on what or who is guiding you in a specific direction. If it’s a goal, persevere, if it’s a book’s cover announcing some message or release from tensions, be thankful you took the time to read it, and, most importantly, if it’s a person, say thank you. Be well. Linda

Il est finis!!

By Christina Laurie

Jun

10

Phew! It’s done! I’ve finished my middle grade book, “The Ghost of Ridge Hill”. It’s now in the hands of an editor and my next goal is to find a publisher!

What is unusual about this ghost story is that the ghost, a seven-year-old girl, plays an integral part in the book. She lingers around Mattie, 10, who has moved with her parents, a lesbian couple, from Pennsylvania to a small New England town. The ghost scoffs at Anthony, the boy next door who thinks there’s a ghost, isn’t sure he believes in them, but who is intrigued with Mattie and her quest to send the ghost Home to heaven.

In the process, all three characters have father problems. The two kids discuss them. Mattie has never had a father and occasionally, at gatherings like father–daughter dances, is at odds about what to do. Anthony has an alcoholic father who yells a lot. In the process, the two share their problems and serve as sounding boards. Ruby, who has been hanging around since 1913, wants to set straight the record that says her dad killed her.

Old papers come to light answering some questions. A librarian refers the kids to her mother who conducts a séance. A diary is discovered which reveals the lives of the two sisters. An exorcism takes place and Ruby is sent on her way to the Heavenly home to join her father, mother and older sister Ginger.

This happens to be my fourth rewrite. First it was Anthony’s story, then Mattie’s story. Then the ghost came into the picture. Finally is this revision that SEEMS to complete the work. Of course writers know that one has never finished her work. Even when a book is published, we still seem to edit. I am still reworking the haiku from my book “Seasons Rising: A Collection of Haiku”, which was published in 2011. Our work is never done.

But I am celebrating that the major work of writing (I began this book in 2008) is completed. Perhaps by 2014 the book will be between two covers!!!
Creatively,
Christina

Time In The Sandbox

By Linda Bartosik

Jun

5

Yesterday, an hour of what I have now deemed “my writing work time” was spent reading the author interviews in the Children’s Writers & Illustrators Market. This past week I have become obsessed with this book. I have read many “how to” books on everything from editing your own work to how to write a query letter to how to write a children’s picture book. While these books were especially helpful, there’s something special about the way the editor, Chuck Sambuchino, put the information every new writer wants to know, together in this book. If you are a new children’s writer or especially if you’re just thinking you might want to write for children (maybe because you always liked playing in the sandbox – and still do), I strongly suggest you start with this book. Expensive, at about $30, but priceless when it comes to the education it delivers in such a palpable way.

On this particular evening I was reading the author interviews. There’s no better place to gain writing knowledge than from the people who do it successfully for a living. The interviews are in depth, thoughtful, and so, so insightful. Many times I’ve attended author talks and signings where the author talks about their writing process. I often come away so inspired. The problem with the live talk is, it’s gone from my brain the next day. (Not the inspirational aura, but the exact facts that built that aura.) Reading the interviews in this book keeps these authors and their words in my house and in my hands. Like right now when I want to tell you something cool Ally Carter (Heist Society) said, I don’t have to wrack my forgetful brain. I can just turn to her interview and voila! – her inspirational words are right where I left them.

So, what did she say that sent me happily back to the sandbox and caused me to pick up my stylus and tap out this blog? She said:

“And, as you mentioned, there are more stakes overall – just more riding on me and the books – and on the days when the writing isn’t going well (which is most days, to tell you the truth), I long for the time when I was an unpublished writer – when it was me and a story and a pen and I could work at my own pace and for my own satisfaction. Really, that is a blessing, and I hate to see so many people wishing those days away like I did.”

Ally wishes she was back in the sandbox, where time and imagination were hers and hers alone. Through her success, she’s now a grown-up in the writing world, with grown-up responsibilities to her writing. She made me realize with this statement that I am having my time in the sandbox. She also made me stop and really love this season of my writing career. None of us, as new writers, knows how long our time to get to play with our pens and paints and wild and lovely characters in the sandbox will last.

Last night I was alone in my lovely cape cottage. My stories and pictures and characters were there with me. There is no pressure to finish them off and hurry to send them away. Thank you, Ally Carter, for inspiring me to enjoy this season of my writing career and for showing me it’s a special place, sort of like kindergarten, and that once you leave it, you can never go back to it again.

And so, as another day goes by, I appreciate and respect my time in the sandbox, and…I have written.

Researching A Query

By Linda Williams

Jun

3

Greetings;
A query should be a concise, one-page letter, written to a specific person. “Dear Editor:” shows the writer hasn’t bothered to research the publishing company. A current acquisition editor’s name is listed in reference books like Book Markets for Children’s Writers 2012—a necessary tool for serious children’s writers. Eg. Flashlight Press, 527 Empire Boulevard, Brooklyn, NY 1122 5 www.flashlightpress.com states the editor is “Shari Dash Greenspan.” The press is a “picture book publisher” for “ages 4-8” targeting “…touching and humorous stories of about 1,000 words that revolve around universal themes related to family and social situations.” Couldn’t be clearer. Not wanted: “…not interested in any category except story picture books—no concept books, early readers, chapter books, or novels, and no holiday stories.
Listed, current titles are a must pre-read before submitting one’s work to see what is currently accepted. I’m using the adverb, “currently” because of its importance. What was accepted last year is not always what is asked for now.
“Only e-mail queries are accepted” and “must include story description and word count.” (No attachments and no hard copy submissions.) They respond in one month if interested. Now the writer knows what will be considered, and what won’t. Researching saves valuable time because your work will now go where it belongs.
It’s time to write the query. I can’t over-state its importance; if the e-mail doesn’t interest an editor, the story you spent so much time on will never be seen. You’ve researched and found the editor’s name—a good beginning. (Please, spell it correctly.) The first sentence, like the first sentence of a story, must include a hook because it’s your best chance to interest an editor. Remember, editors must plow through myriad queries every week. (A recent article stated editors can receive 1200 queries in one week.) It your first sentence doesn’t trigger interest, the e-mail will be deleted, and in essence, your story—brutal, but true.
What makes your story unique? Can you set the synopsis into one paragraph? Supply the ending so the editor can see you have followed the story rules of a beginning, a middle, and an end, and that your ending unravels the conflicts of the plot. (The denouement.) Does the age group and subject you are targeting fit the publisher’s requirement?
The query letter also gives the editor a sample of HOW you write, your unique voice, and whether you have researched a subject enough to know what you’re writing about.
When listing qualifications for writing a children’s story, keep it brief. Don’t waste valuable space including published books written for adults. Include only child-based organizations. Eg. “I’m a graduate of The Institute of Children’s Literature, a member of the New England chapter of SCBWI (No need to spell the words; children’s editor know them.) and the Cape Cod Children’s Writers. Published children’s books include… If your profession gears or geared around children, list it. Eg. “I taught first grade for thirty years,” or “I’m a pediatric nurse specializing in child psychology with a BS degree in literature.” List whatever proves you know something about children and writing.
Close with a note of thanks. Eg. “Thank you for considering my work.”
“Sincerely,”
When sending a “snail mail” query, it’s not mandated, but I leave an extra space here and sign my name in cursive, my idiosyncrasy of showing there is a real person writing the letter.
“Print your full name.”
Writing is fun, but building a precise query is a necessary part of the job. When it’s completed, put it away for a few days, and then re-read it. Errors, not seen at first, will leap from the page like grasshoppers, just as they would have had you sent the query off to an editor.
Until next time, smile at children; they need it. Be well. Linda

Verb Consciousnsess

By Christina Laurie

Jun

2

June 2, 2012

Recently I‘ve been working with an editor, Patty Jameson from Mobile, for my middle grade ghost story, The Ghost of Ridge Hill. Perhaps the most important tidbit I’ve gleaned from our work together so far is how important verbs are.
My children’s co-writer, Linda Williams, calls them “dead words”, like the verb “to be”. The game was won by the home team is stronger when you write The home team won the game. Or: The prelude was performed by the string orchestra becomes shorter when you write The string orchestra performed Chopin’s prelude. The “to be” verb can also signal places where sentences can be combined. She searched for her ball. It was under the coats in the toy box. A stronger sentence is: She found her ball under the coats in the toy box.
Other dead verbs are walk, make, see, take, hear, go, look, have, put, do. Stronger words show more about the action. (Remember “show, don’t tell”?) Instead of “walk”, you may meander, stroll, hike, tramp, stride, even worm. Better than “look” is to stare, glare, peer, regard, check out. “Put” can be replaced by place, set, deposit, plunk, drop, plop. You get the point. (The Thesaurus is my best friend.)
Words that introduce dead words also can be transformed. For instance, “began, tried, wanted, hoped” don’t take us any place. They can be ferreted out by looking for the word “that” which often follows that dead verb. He began to walk toward the barn; She tried to explain her reasons; He wanted to go with them; He hoped to be the next one. Stronger sentences might be: He loped toward the barn; She struggled with the reasons she knew well; “I want to go with them,” he though,.
Part of the verb consciousness is rewriting. Go back over your manuscript and check every verb. Does it say the most it can? Does it show action? Is it concise yet descriptive? Read your story out loud and some of these problems will become clear.
Another mistake new writers make with verbs is to over explain. John stomped away angrily can be shortened by dropping angrily. Another sentence: She sat in the chair heavily could be restated She plunked down in the chair.
Author and literary agent Donald Maas says, “Create tension on every page,” because this keeps the reader reading. Verbs are an integral part of that tension.

Creatively,

Christina

Field Trip!

By Linda Bartosik

Jun

1

I’m beginning to feel, for the first time, that writing is my “job” now. I have set hours and lists of things to do. It’s a wonderful feeling to finally have this direction. Today I spent my first hour finishing researching all the publishing houses in the Children’s Writers and Illustrators Market book. Then, since it was a gorgeous cape afternoon, I decided to take myself on a field trip (artist date) and walk down to Titcomb’s Bookshop on 6A.

I spent my last two hours reading picture books and noting publishers. The exciting part was every book I found similar to mine, was published by one of three publishers, but the best thing was that due to my research, I actually remembered and recognized their names, where three days ago I wouldn’t have had a clue. I couldn’t wait to get back home and look them up and see if they were ones I had highlighted in the CWIM book.

On my walk back home I was reminded about something I read in that book:

“So you’ve written a book. And now you want an agent. If you’re new to publishing you probably assume that the next step is to send your finished, fabulous book out to agents, right? Wrong. Agents don’t want your finished, fabulous book. In fact, they probably don’t even want part of your finished, fabulous book – at least not yet. First they want your query.”
~Kara Gebhart Uhl

Today, after my field trip, I’m beginning to see why each author has to go through the process of researching the houses and figuring out how to write a good query letter. My own book is a product of my personality. My research and education on queries and publishing houses is going to reflect my book. My query letter, when I finally do write one, is going to be very personal to my work, as well as tailored to each publisher I choose to send it to. No one can do this for me. I have to go through the research process. No one can write my query letters. I am the one responsible for making a publisher feel I’m offering “a project that has a unique bent to it – be it subject matter, writing style, or illustrative technique” as stated by Chronicle Books in the CWIM. No one can do that for me.

I feel safe and secure in this journey because I have a wonderful support team in my colleagues on this site. They are all seasoned, published wonderful writers. (Please click on “Our Website” on the right, then go up to Meet Us on the toolbar and check out their bios.)
Though I know I have to be the one to do the work and put in the time, I also know they are there to ask for help when I hit the bumps in the road that I know for certain are there.

I always knew writing was a very personal process, but I never dreamed the “getting published” part was just as personal.

And so, as another day goes by, field trips are a fun part of this job, I love and appreciate my fellow writers on this site for showing me a writer’s journey is not a lonely one, and…I have written.

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