Reflections on a Summer Spent Writing

There's an old saying in the publishing world: don't submit in August. That's because the New York industry shuts down -- editors and agents go on vacation, catch up on the slush pile or head out to Los Angeles for a few days of sun and fun at the SCBWI Summer Conference.

The saying began when editors responded more quickly to manuscripts, even unsolicited manuscripts. I'm not sure it makes much difference today when no matter what time of year you submit you're looking at a six-month wait, but the old saying stands: don't submit in August!

That doesn't mean as a writer, particularly a writer trying to break into the business, that you should take the month off. Or any part of the summer. Or Labor Day weekend. After all, isn't writing your getaway?

How I Spent My Summer Writing

1. Stayed in Touch with Two Literary Agents. Nothing signed, of course, but one shows great promise, having requested a serious business plan from me that the other did not. We'll see. So I include writing a marketing plan among my summer writing accomplishments (oh, the business side of writing!)
2. Wrote Two Drafts of an Early Chapter Book.  A sequel to an earlier picture book that has been getting some attention. Following the Nick Bruel Bad Kitty model here. Workshopping and writing the third draft now.
3. Outlined a Middle-Grade Novel. Began this at the suggestion of an editor. It was my summer goal to start this book September 1. I did. Finished one chapter. Um, I guess that means 10 to go (a Fall goal!)
4. Attended a Writers Conference. Went to the Eastern NY SCBWI Mid-Hudson Conference in June and was accepted at their November Falling Leaves Workshop, as well as the Rutgers One on One in October. Very excited about both.
5. Submitted a Picture Book Rewrite to an Editor Who Requested It. Even submitted it in August. Guess I just didn't follow that adage.
6. Outlined Two Picture Books. One is a sequel to the requested picture book. Editor wanted to know if I could see it as a series. Of course! Well, I can now...

Maybe that should be another writer's adage: See everything as a series.

Hope everyone else kept busy writing these days, whether putting together a manuscript or attending to business (including conferences). Let me know what you accomplished this summer, and I hope it includes the word contract.

Just probably not with an August signing date...

*Next Up: Reflections on a Summer Spent Reading

 

Determination: Moving From Writer to Author

A writer is one who writes. An author is one who is published.

 

That’s a pretty common and accepted distinction. Plenty of people write, far fewer are published. For some people, making that leap is as easy as a stroll across the back nine, for others it requires building a whole new course. Regardless of the route, crossing the chasm requires two things:

 

1. Finishing the work. This one’s mandatory.
2. Submitting your work. When it's ready. Someone might stumble upon it, but they still have to read it. And like it. And be willing to put up money. 

But there’s one other quality: Determination. Drive. Yes, to do the above two, but also to study, research, know your craft, your genre. Participate. Be involved.

 

In short, to be immersed.

 

I’ve been thinking about that a lot lately, right after realizing that I’ve probably spent my entire first advance going to conferences and book events. And I also realizing it’s worth it. I have to be there professionally and personally.

 

But here’s where it gets muddled. Writers Conferences are a given. Writers go to get better, but mostly they go to gain access to editors and agents. Smart move. But why don’t they ever seem to be at the book events: 1. Doing the same and 2. Supporting authors. Soaking up the ambience. Learning.

 

In short, immersing themselves.

 

I belong to two writers groups (Eastern NY SCBWI and the Glens Falls Writers Group) and several defunct groups. Total membership for all the groups combined? More than 100. And yet I saw one writer – and the same writer at that – at all the book festivals and signings I’ve been to lately (see the Empire State Book Festival and the Hudson Children’s Book Festival entries).

 

I find myself freely talking to authors, watching them work, seeing who's selling books, how they’re selling them, what presentations move and which drag. But beyond that – far beyond that – I simply have to be there. I’m going this weekend to see Jane Yolen* and Mark Teague at Open Door Books in Schenectady . Why? Because I have to. I can’t explain it. Just like I had to see Hemingway’s house when I was in Key West . Some things you have to do.

 

Being around books is mine. I wish more writers looking to make the leap to author felt the same way. Maybe more of them would be published if they were Driven. Determined. Immersed.

 

And no, I’m not published yet. But I feel like I’m getting ever closer (see the Pocono SCBWI entry). But until then – and I’m sure after then, too – I’ll enjoy the next festival as much as the next conference – not to network, but to be surrounded by writers and readers who share my passion: books.

 

“Writers are not paid for their words. They are paid for their perseverance.”

*Jane Yolen says writing is a matter of 

"butt in chair." Don't make the mistake of using

book festivals to get out of writing. If anything,

write twice as much. Keep writing until you're

behind one of those tables selling your book.

Who knows? I might be there to buy it from you.

What's the last book festival you went to? Who did you go to see? What did you buy?

Balzer and Bray on the Brain

In Honor of New Releases From Balzer + Bray

I’ve been thinking a lot about Balzer & Bray lately. I like the work they do, at least the picture books and middle grade I know. They have two of my favorite authors in Mo Willems and Bob Shea, and two editors who’ve been nothing but nice to me in Ruta Rimas and Alessandra Balzer (yep, one half of B+B).

So I’m kind of excited about this post. No analysis, no breakdowns, just books I love.

The first up is Bob Shea’s I’m a Shark. Shea is the master of the braggadocios four-year old with a whimsical touch of vulnerability. I’m a Shark is every bit as good as Dinosaur vs. Bedtime. Clipped phrases, a boastful main character, with lots of dialogue. An easy read aloud or an easy reader, whichever works best for your little dinosaur (or shark).

The plot: Shark isn’t afraid of anything. Well, there is that one thing, but… I can’t give away the punchline. Let’s just say adults will find Shea’s ending accurate and comical, and children will see more than a little bit of Shark in themselves.

I saw Alessandra discuss (OK, dissect) this book at the SCBWI Winter Conference in New York. Knew from that moment I was going to have to study it. More on the dilemma this presents in my next post).

Mo Willems has a habit of creating characters that can anchor an entire series: Pigeon, Elephant and Piggie, Cat the Cat, and so on. This times he takes a shortcut and puts his series in just one book: a collection of short stories featuring Amanda and her Alligator. Hooray for Amanda & Her Alligator! centers on an imaginative, impulsive child whose best friend is a stuffed alligator. I think I also encountered this book in NYC and found it adorable. (Yes, grown men can use that word when discussing children’s books.)

Amanda has a wild side in her, reminiscent of Pigeon, but there’s a soft side, too, like Piggie. Hard to put all that in a picture book, but Mo does it again.

Both I’m a Shark and Hooray for Amanda & her Alligator! were released today. The third book I’d like to discuss isn’t available until May 3rd: Eric Luper’s Jeremy Bender and the Cupcake Cadets.

Eric’s second book with Balzer + Bray is also his first middle grade. I’ve taken an interest in middle grade lately since Ruta suggested I give it a shot. So will do. I’ll be picking up Eric’s book at Hudson Children’s Book Festival on May 7th. Can’t wait to see him again (and read about Jeremy Bender!).

In the meantime, here’s the book trailer. Enjoy Eric, times two.

After a Week Back from Pocono SCBWI

I’ve been back from Pocono SCBWI for a week, with little time to blog. More on why in a moment.

The weather in the Poconos was fit for football, even if we were talking baseball. And writing. Lots and lots of writing. Which is good. Pocono is a well-run and impressive workshop for children’s book writers. Located a little less than an hour from where I grew up, ten minutes from a place where I’ve performed, and 20 minutes from where my parents took their honeymoon, Shawnee on Delaware, PA, feels like home to me. That helps. Always good to feel at home.

The 2011 faculty was impressive, with two of my favorite editors in attendance: Dianne Hess (Scholastic) and Ruta Rimas (Balzer + Bray). Agents Jennifer Rofé (Andrea Brown) and John Rudolph (Dystel), plus editors Robert Agis (Sterling ) and Liesa Abrams (Aladdin), joined them. In between speeches and presentations, I had a lengthy conversation with Eastern PA Resident Adviser Francesca Amedolia on writing, conferences, and her writing theories (which are both entertaining and accurate!). I also had a great time talking with writers like Laura Weller, Kevin Sheridan and Wendy Latty, all of whom impressed me with a wide variety of talent (YA, non-fiction, and art). I also ran into fellow Eastern NY SCBWI members Karen Orloff and Ruth Roberts (we get everywhere!).

Pocono also does a great job at diversion, with repeated parties, auctions, and other events to network. More importantly, this year's auction proceeds were split with the Japanese chapter of SCBWI to help with earthquake and tsunami relief efforts.

Pocono SCBWI Highlights (for me):

1. I attended Dianne Hess' presentation on what she's looking for at Scholastic. OK, so she didn't specifically say my book, but that's what I heard. Actually, Dianne did say she'd get to Spaghettisburg and The Bossy Witch (both of which she requested earlier this year) soon. I also found out Dianne's a vegetarian. I share this nonwriting tidbit because I always like meeting fellow vegetarians and promoting the cause.
2. I attended two sessions with Jennifer Rofé, back to back. The one on book marketing was the most helpful for me (I will write up some of what I learned in a future post. No, really. I promise). The presentations had an informal feel to them, and she has great energy. Really dynamic, that way. Her 5 years as a school teacher showed. Her session on Editing With an Agent was a bit less helpful to me, but only because I'm in the middle of doing that now. That said, it was great to get another perspective on it.
3. Sid Fleischman Humor Award Winner Donna Gephart (How to Survive Middle School) gave an interactive workshop on writing quirky and humorous characters. Largely aimed at YA and middle-grade authors, I thought it wouldn't help me much. I mean, I did stand-up for 20 years and can write a joke, and I don't write YA or MG. Yeah, I thought that right up until...
4. I met with Ruta Rimas Saturday night. She paid my writing a great many compliments, but for the moment is passing on Leaping Lemmings (at least until I can get an agent to submit it for me). I won't go into great detail, but at least the story is still on the table (thankfully!). Ruta then wondered if I ever considered middle grade. No, no I haven't Well, not until the drive home. Four hours is a long time to kill in a car, so I began crafting a middle grade story. Title, main character, beginning and ending. Working on the rest now. And one of the big reasons I haven't blogged. Only so much time, and stories take precedence. Particularly if there's an opening for it.

What I like most about Pocono is that it is workshop heavy; a chance for writers to learn, or at least sharpen, their craft. I may go back next year. We'll see. In the meantime, I'm considering their November event in Gettysburg (a town I love, by the way. Hey, I have Spaghettisburg ready to go!).

And I'm ready to go, too. I'll leave you with these positive words from Ruta.

Ruta: “Children's publishing is a small community.”

Me: “I know. And I want to get in.”

Ruta. “You will. You definitely will.”

I hope she's right, whether that be with my first love – picture books – or perhaps a new love, middle grade. There's no timeline, I guess, just a goal line. I'm still inside the one, inching ever closer. I just don't want to fumble...

Highlights of the Empire State Book Festival

The 2nd annual Empire State Book Festival escaped bad weather but not poor attendance. At least it appeared that way; I suppose we'll have to wait for official numbers.

Which is too bad. There were plenty of great authors in attendance, including Ann Martin (of The Baby-Sitters Club), who gave the opening remarks, and Rosanne Cash, who gave the keynote address. In between there was plenty to do, for book buyers, lit lovers, and aspiring authors.

Empire State Book Festival Highlights

My own personal list:

1. The Illustrator's Panel. Artists discussed their approach to picture books in the Picture This presentation. Featuring Julia Gorton, Daniel Kirk and Steven Petruccio (and a host of technical problems), I found this the most informative of all the panels I attended. Julia Gorton is probably the most experimental of the three, and Steven Petruccio's rich, detailed work impressed me greatly. I've long been a fan of Daniel Kirk's Library Mouse books. I found his approach to his work similar to mine, even if his art is far better. But then that's why I attended this panel.
2. Words Come First. A panel featuring two writers (Susanna Hill and Amy Axelrod) and one writer-illustrator (Iza Trapani, who I saw last year), on the idea that story comes first. And while there are some exceptions to this (Mo Willems created the drawing of Pigeon before he ever wrote a word), I generally agree with the premise here. The writer writes and the illustrator gives it added life. Examples of artistic disagreements and wonderful working relationships abounded. Spoke briefly with Susanna Hill afterword, because I like both Punxsutawney Phyllis and Can't Sleep Without Sheep. Looking forward to getting her new book April Fool, Phyllis.
3. Rosanne Cash. Her speech was heartfelt but also full of a seasoned performer's tricks (audience participation, a brief break into song, etc. -- plenty of ways to keep people engaged). Best of all, she didn't use a PowerPoint presentation. Authors always seem to rely on visual gimmickry rather than words to hold their audience. Long been a pet peeve of mine, and I often wonder, should my writing career gets to the point where I'm doing presentations, if I'd rely on such technology. Have audiences come to rely on it, too? Can the power of words alone hold them? Is there a fresh way to do this? Or like Rosanne, would I rely on the tricks of a seasoned performer? Great to watch her work.
4. SCBWI Members. Ran into a few Eastern New York SCBWI members, some presenting, some buying, all supporting each other. Picked up a copy of Liza Frenette's Dead End, and spoke briefly with Coleen Praratore (hopefully you'll soon see her The Wedding Planner's Daughter as a TV movie). I also greatly enjoyed talking with young adult writer Eric Luper and getting his thoughts on my agent situation, the business, etc. I'm forging relations with some of the same people with whom he regularly works. Eric graciously answered my questions, and I guarantee I will be picking up a copy of his newest book, Jeremy Bender and the Cupcake Cadets when it comes out in May. It will be a summer reading project for Johnny K.

While I still believe the Empire State Book Festival is a worthwhile cause, it was not without its problems. Authors only receive one hour to sign books, a move perhaps limited by space, but one that seemed to frustrate some of them. They would have gladly enjoyed staying throughout the day to meet readers and fans, and still take time off to do their presentations. This is the way most book festivals operate, so rather odd that this one does not. Also, some authors are scheduled to sign books after the keynote address. A keynote speech generally means THE END, so walking down the hallway afterward was depressing. The booksellers and vendors had all packed up, making the Egg feel deserted. A long line waited to see Rosanne Cash, but the other authors were largely ignored. Some earlier authors had signings schedule right after their presentations (which makes sense), but others did not. There was no feeling of immediacy, of striking while the iron is hot.

All in all, I like this festival. The talent is amazing, the vendors varied, non-profits are encouraged to attend (had a wonderful time chatting with The Children's Literacy Connection), and it's great for downtown Albany, but a few kinks need to be worked out. Hopefully come season three.

I'll be there.

THE END

Writers Conference Review

It's been a week since I returned from the SCBWI Winter Conference in New York, but I've had little time to post, although some time to reflect. Plenty of the professional writers who spoke (among them R.L. Stine, Jules Feiffer, and Jane Yolen) mentioned the opportunity this writers conference offers to network, to meet editors and find closed houses open to you -- if only for a submission or two.

They're right, of course. SCBWI opens up opportunities to meet editors who are all but unreachable otherwise. The majority of your networking, however, will be with other writers and illustrators. Not bad, mind you. They can make you better at your craft, send tips your way (and rumors!), and open even more doors. Conferences, recommendations and writers groups are wonderful things.

Of the three workshops I attended, I found Alessandra Balzer's of B+B (hey, that first B is for Balzer!) the most helpful. It was on book marketing. Most of what she relayed I already know or am doing, but there was one gem that got my wheels spinning. Not so much the advice -- "find something the market doesn't have, something it needs but doesn't know it needs" -- but how to pitch something that falls in that vein suddenly formed in my head. Something that the kidlit market has little of, but maybe, just maybe, I can fill. Will have to talk with Scholastic Press more on this one. Later in the day, I threw Alessandra a one-line pitch, based on her suggestions of the typical Hollywood this meets that pitch: Leaping Lemmings as Naked Mole Rat meets Humpty Dumpty. She said she loved Naked Mole Rat and couldn't wait to see my manuscript. B+B already has it, but it seemed like the right pitch anyway.

I was also impressed that Ms. Balzer remembered me from the night before -- at the SCBWI VIP party. She was making the rounds with Mo Willems. Yeah, that Mo Willems. Mo and I talked about stand-up comedy for maybe ten minutes. When Alessandra and Mo approached, I was talking with Mo's agent, Marcia Wernick, who just that week started her own agency. OK, yes, I freely admit it. The best part of  SCBWI NY was the VIP party. It's where the real networking gets done. I ran into Dianne Hess from Scholastic Press again, and Nancy Castaldo and I attempted to recruit her for the Capital District SCBWI Conference Falling Leaves this November. I talked Type I diabetes with Arthur Levine, also from Scholastic. I ran into Ruta Rimas, from B+B, who has Lemmings, and I spoke briefly with Rotem Moscovich. Well, I had to. Not only did she provide a great critique of The Bossy Witch some time ago, but I received a rejection letter from Cartwheel telling me she was no longer there. Turns out she jumped to Disney/Hyperion. Good to know. I also talked at great length to the very talented Katia Wish, the winner of the Tomie de Paolo art award. Great party (um, yeah, open bar... why do you ask?), good conversation, and I am thrilled -- absolutely thrilled -- to have attended.

Now about next year...

WRITERS CONFERENCE CHECKLIST



SCBWI 2009 Conference
by Rita Crayon Huang



As the saying goes, writers write. And they should write down everything, including a writers conference checklist. I’m two days out from leaving for the SCBWI Winter Conference and here’s what I’ve done so far…

 

1. Written a one-line pitch for every book. This is a pitch. Keep it short and hook ‘em right away. I’ve seen editors and agents drift away (not to mention potential readers and buyers!) as authors launch into some long-winded description about their book. "It's about a boy, um, raised by wolves after his parents died, only his parents are actually living with a clan of bears, which is a problem because the humans, who live in a nearby village, have turned to their spirit gods to forever separate man and animal, and..." Bored yet? So are most people, even if they listen politely. Get to the point. Every manuscript can be described in one line, two at most.
2. Written a three-line pitch for every book. If they’re intrigued after one line...
3. Read interviews with some of the attendees. A few are on the SCBWI blog, a few in other places. Unlikely I’ll meet any of these people among the thousands in attendance, but you never know. One of my favorite PBS hosts (John Forde, Mental Engineering) sat at my table during a media luncheon. He was impressed that I knew who he was (and that I genuinely loved his show). We hung out for three days after that. Be ready.
4. Memorized pictures of people I hope to meet. OK, this sounds creepy, but I want to know what they look like, not, “So that's what you look like. I should have been warned about that scar…” and I definitely don’t want to walk around looking at everybody’s chest trying to read their nametag. Turns out, that’s creepy, too. I blunt this one by saying "hope to meet." Otherwise it’s stalking (and editors and agents hate that).
5. Figured out what I’m going to say to the people I have scheduled to meet. Work ahead. If you can meet someone, do it. What has an editor worked on? Who does an agent represent? Read something of theirs. Even a snippet is better than nothing. But know what you’re going to say when you get there. Like the one-line pitch…
6. Made two copies of my hotel and conference registrations. I will lose one. I promise.
7. Cleaned out my portfolio. It gets messy in there. Taking only what I need. A few stories, a pen, paper, and business cards that are easy to pull out. Be quick. Like the one-line pitch.
8. Found my extracurricular activity. I always make plans to do one outside – yet writing-related – activity. In this case, visiting Scholastic’s bookstore. It’s legendary. Perhaps the best children’s bookstore in the country. It’s like Mecca for me, only in SoHo . I want to experience it, see it, feel it. And maybe send good karma my way as they considering two of my manuscripts. OK, I don’t believe in karma, but rather hard work and diligence, but like throwing salt over your shoulder, it can’t hurt.

Well, that’s some of what I do for every conference and some of what I’ve done specifically for this one. I’ve had good luck at conferences. I plan ahead but also keep no rigid schedule (except as need be). The subject of another post, I suppose. My credo at these events? Be loose yet diligent, fun yet practical, and be ready to talk with everyone. You don't have to always be "on" like a bad comic, but be prepared like a Boy Scout. Oh, and have the work to back up your words. Oral and written. Why pitch if you can't provide?

 

I’ve been to several small SCBWI conferences, but New York is huge. I hope the results are, too.

 

So, how do you prepare for a conference? Any tips? Any advice?

Today Show Snookers Children's Books

In a bizarre decision, the Today show decided to abandon a more than decades-long tradition of interviewing the Caldecott and Newberry Medal winners after the prizes were awarded. Producers decided to go in a slightly more controversial direction and pick someone less representative of their audience and more representative of the Jersey Shore... actually The Jersey Shore -- Snooki. Now, I have nothing against Ms. Polizzi, or her appearing on the show. She needs an audience and they need ratings, but really, NBC -- in place of two talented authors (Clare Vanderpool and Erin Stead) who serve much of what your viewers find worthwhile -- their children and grandchildren?

I'm trying to guess the Today show's logic...

1. Producers figure Snooki's audience is still up from the night before.
2. She reads at a YA level.
3. With a name like Snooki, it has to be good.
4. It's tough to change channels when you're getting the kids on the bus.
5. They thought "Snooki" was an actual children's book character.
6. Ms. Vanderpool and Ms. Stead won't punch you in the face if they get canceled.

I'm sure the producers had their reasons, and I'm sure it comes down to money and "exciting television," because Ms. Polizzi, who is also promoting a book, will be more outrageous (and less educational). I think they call it "interesting,". Still, class, culture, and top-notch writing deserve a place on television, mainstream television, not just in spots reserved for PBS and niche channels on the upper end of the broadband. I hope Today reconsiders its decision and quickly books award-winning authors Clare Vanderpool and Erin Stead rather than lightweight, orange-toned pugilists who step from the pages of overwrought fiction and very bad television.

Hey, that's it! Maybe the producers grabbed Snooki as a cautionary tale... a chance to feel better about yourself before breakfast... or a reminder to have carrot juice in the morning... or...

SCBWI has taken to writing The New York Times and The Los Angeles Times to get these authors rescheduled. Here's hoping the Today show does it. To read more about it (in a serious vein), visit SCBWI's home page.