What Book Changed Your Life?

Last weekend, at the Rutgers One-on-One Conference, author Bruce Coville discussed a fan letter he had received. A reader credited him with her decision to join the Peace Corps. She loved his book so much, she even cited it in her application essay. It’s clear that My Teacher Is an Alien changed that young woman’s life.

Everyone has a book like that, one that absolutely changed your life. I remember the greatest compliment I ever received came from an African-American actress, Dee Watson, who said, “You’d make a good Atticus Finch.”

Why was that the greatest compliment? Because To Kill a Mockingbird changed my life.  It has stayed with me decades after I first read it, and while it’s impossible to live up to the standard set by Atticus, it’s not impossible to model your life after the example set out in Harper Lee’s masterpiece.

Life-changing books  are common in young adult stories as teens enter their formative years. It’s also true of books like To Kill a Mockingbird, originally written for adults but that serve as de facto YA on high-school reading lists. Lives, decisions, and character are shaped every year by classics like Black Like Me, 1984, Pride & Prejudice, Crime & Punishment, etc. And no list, no matter how complete, includes the thousands of picture books, middle-grade and

YA titles children cling to every day.

Fortunately, adults can find books that reach them, too; maybe even make them see the world in a whole  new way. I recently re-read Tommy Moore’s A Ph.D. in Happiness From the Great Comedians. It lifts your spirits in a way far beyond “the healing power of humor;” it can change your entire outlook by presenting practical steps drawn from the world of stand-up comedy. It my case, it even justifies the years I spent in comedy and the fact that humor remains my primary tool for dealing with problems and reaching people. One book – a how-to book taken from the ways legendary comics view and treat the world – really can help you understand how you can live your life.

But it’s children’s authors and their books that have the biggest influence. Adult personalities are largely shaped and readers seek out books of interest to them, but children, particularly young children, are an (largely) empty canvas. They’ll face new ideas, new concepts, new challenges. They’ll read a book ten times (or have it read to them!) and still pick it up an 11^th time. Even books that aren’t particularly challenging but that are delightful nonetheless – Fox in Socks, Don’t Let the Pigeon Drive the Bus, etc. – still create lifelong readers.

So whether it’s My Friend Flicka, Tom Sawyer, Encyclopedia Brown, Nancy Drew or something no one has heard of (or you’re too ashamed to admit – hey, I loved The Five Chinese Brothers as a kid), there was a book that changed your life.

So let me know – what book changed your life?

KidLit Buzzwords: What Does It Mean to Be Commercially Unpublishable?

It’s one thing to be unpublishable; it’s another to be commercially unpublishable.

Unpublishable means you can’t write. The work is drivel and probably deserves a place in the dustbin.

Commercially unpublishable means you can write, your work is really good and probably deserves a place in the dustbin.

Commercially unpublishable is far more kind and perhaps that’s why it’s being tossed around so much. It came up at least twice at the 2011 Rutgers One on One, and I’d heard it used several times before that.

What Commercially Unpublishable Means in Children’s Literature

Commercially unpublishable means that there’s no demand in the market for it. This doesn’t mean the piece isn’t good; it doesn’t even mean the intended audience wouldn’t love. It’s just that agents or editors don’t see a place fore it in the market. Take this example:

A picture book is written for children 5-8 years old. The intended audience will love it, says the editor or agent, but the picture book market for 5-8 year olds is dead because parents believe children that age should be reading chapter books so they can start getting ready for college.

Five or ten years ago, that manuscript might have been publishable. It’s well-written, has a great story arc and follows certain picture book precepts. It might even be publishable in another 5 years, if the market changes. But right now, it’s commercially unpublishable.

Consider other "dead" children’s markets:

Young Adult: vampires (market is glutted)

Middle Grade: historical fiction (sales down)

Picture books: Halloween (market is glutted), rhyming books

At least that’s what I’ve been told by various editors. They simply aren’t looking for them, though they always add the caveat: “Of course, there’s always room in the market if it’s well done.”

Which is the point Jon Sciezska, Harold Underdown and others made at Rutgers : it’s only commercially unpublishable until it’s published and someone buys it. Sciezska struggled to publish The True Story of the 3 Little Pigs, but it turned out it was commercial after all. Mo Willems struggled to see Don’t Let the Pigeon Drive the Bus in print and then it took off, launched a series, and spawned a terrific career.

The market may not have known it, but it was commercially publishable after all.

Summary: Commercially unpublishable is frustrating but not as bad as unpublishable. At least it means you can write, but the market has no idea what to do with you.

Or so  I've been told.
Good luck!

What I Learned At Rutgers – Not the University, the Council on Children’s Literature

I attended the 42nd annual Rutgers Council on Children’s Literature this past weekend. It is a writers conference of high renowned and in that regard, did not disappoint.

Before we get into the words of wisdom and the what-editors-are-looking-for nuggets, let me say that I was happy to see three other children’s writers from the Capital District (yeah, us!) in attendance. Heather Schwartz (Women of the U.S. Air Force; The Foul, Filthy American Frontier), Victoria DeAngelis and Dan Masucci, all talented in their own right.

Rutgers One on One

My One on One was with Emma Ledbetter, assistant editor at Atheneum. We went over Leaping Lemmings for about 20 minutes or so. She provided several good ideas and seemed adept at working with writers, asking me for my input, etc. It was less a lecture or critique and more of a collaborative effort. We then talked about other projects I’m working on. She seemed most impressed with an middle grade I’m working on which is good, because starting that project was inspired by another editor at Atheneum. I’ll have to get back to that middle-grade manuscript very soon.

Rutgers Five on Five

Emma, of course, was also part of the five professionals in our five-on-five, in this case four editors and one author. Let’s hit the highlights of what they agreed on are industry trends.

• Mash-Ups. Everyone’s in love with mash-ups, you know, those books that take two archetypes and bring them together. Everyone was looking for the next Shark vs. Train (kids love sharks and trains. It’s a natural), or something similar to a new book from Atheneum, Zombies in Love (can be promoted on Halloween and Valentine’s Day).
• Crossovers. Something that can be sold in more than one genre, particularly with undiscovered adult appeal. A lot of YA has this (adults love dystopian almost as much as teen-agers), but so do some picture books, like It’s a Book. Also Zombies in Love. The book is shaped like a coffin for that reason, and filled with dating references and frustrations adults (zombie or otherwise) will get.
• Trends in Children's Literature. All the editors are looking 3-5 years out to figure out what the next big thing is. For instance, if three years ago you guessed food as this year’s hot topic for teens, you’re a big winner. I’m guessing if the economy doesn’t improve, food will continue to be big in three years. And so will starvation.
• Interactive Apps. No one seems to know exactly which way the e-book industry is headed, but it’s certainly going to continue to grow and print books will someday be a novelty item. With that in mind, editors are keeping an eye open for books that come with all sorts of bells and whistles to keep young readers entertained. Probably easiest for the board book, picture book, chapter book, and non-fiction markets, but all books can have pop-ups, links, maps, graphs, etc. Even dark, dystopian YA. After all, readers need to know their way around those mean streets, too.

Finally, I’d be remiss if I didn’t say a word about the day’s keynote speaker, Jon Scieszka. His speech was funny (as expected), but had its underlying serious side, first with Guys Read, an organization he began 10 years ago to encourage boys to find the books they enjoy. As he said, he read Dick and Jane in school, but home had the books he couldn’t put down. As boys fall further and further behind girls in school, particularly in reading, it’s an important message and important work.

But then he talked of rejection, a big topic at every conference, as publishing houses struggle to turn a profit and seem to sign fewer and fewer writers, or keep signings close to the vest. He discusses his own struggles in the late ‘80s, with plenty of rejections for The True Story of the 3 Little Pigs and The Stinky Cheese Man. He kidded the four or five dozen editors in the room with the pain of that time. At least it felt that way, because editors often made absurd suggestions about his submitted manuscripts. Called them “commercially unpublishable” (another buzzword at the conference. It came up at least twice, plus I heard it on Thursday from an agent). He told them they “need to get out more” and said, only half-jokingly, “you are the enemy.”

Can’t say I’d go that far, but I understand the sentiment, even if, for him, it’s coming 20 years later.

To sum up, while Rutgers didn’t turn out to be my best networking conference, it turned out to be the second-most instructive and the most business-oriented. I think I’ll apply next year. Maybe with that middle grade Emma seemed to like…

Matching Your Manuscript to Publisher and Editor

It can be maddening matching your manuscript to the right publisher, and even harder to the right editor. I encountered this again while deciding between two picture books to send a particular publisher, a normally closed house, but one where I managed to meet the editor at a conference.

That doesn't solve my dilemma. This house publishes a lot of easy readers, focusing largely on books for boys. Check. I can do that. But they also love dialogue-friendly stories, and only one of my two choices falls into that category, and it's not, by definition, and easy reader. None of the usual repetitive phrases that drive home a point and teach word structure and usage. I could be splitting the difference here, but, as always, I want to get this choice right.

It may come down to a gut choice, or even, as sometimes happens, the one with the best pitch – in this case, the story told entirely in dialogue and illustrations. Unfortunately, the other one is probably a better piece. Ahh, the dilemma!*

In the meantime, while I pore over details a five year old won't use to decide his favorite story (but that are still very important to make everything just right), here's a list of considerations when picking a publisher or editor to pitch.

Submitting to a Publisher

1. Do they publish authors you like? Probably the most common trick, but one often overlooked. Find out who publishes your favorite author.
2. Are there similarities between your work and theirs? Just because they publish your favorite author, do they publish work like yours? That is, is your work really similar to your favorite authors’? I love Faulkner, but I don’t write what he wrote. Find work similar in theme, style, voice, etc., and approach those publishers.
3. What to they publish most? A big house may publish everything, a small house a select line. Just because they publish everything from board books to young adult doesn’t mean they don’t have a preference.
4. Books for Boys or Girls? Are there more boy books or girl books? Most houses publish some of both and certain books can be for either, but is there more of one than the other?
5. Age range? Sure picture books are for younger children than middle grade and so on, but even those genres are divided into ever-increasing niche markets. Is your middle grade for 8-12 year olds or 10-14 year olds? Is your YA for 13-16 or 15-18, and so on. Even picture books can 2-6 or 4-8. Marketing has been doing this for years; publishing has caught up.
6. Voice? Are most stories first person or third? Dialogue or text heavy? Present tense or past? Male or female narrator? Clipped sentences or lengthy literature? Try to match up wherever you can. Don't change your style to match theirs. After all, you need an original voice or you'll never get published. You just want to be close to a given house's history

And with that said, stick to what they've published in the past few years. Publishing, like the digital world, is getting a shorter history. Two years can be out of date.

Submitting to an Editor

Once you have a publisher or two picked out, you'll need to submit to a particular editor. Sending it to Dear Editor is a sure trip to the bottom of the slush pile. The very bottom. Of course, particular editors have particular tastes. Agents know these and follow these, but like researching a publisher, you have to rely on old-fashioned leg work (and by old-fashioned I mean the Internet). Find interviews with them, blogs they write, tweets they send, podcasts they've joined, and most importantly, conferences. Some editors are virtually anonymous on the web, but most do conferences and they come with one important answer:

“So what are you looking for?”

They hear it a hundred times. They have an answer prepared. When you approach them, be prepared, too. Explain why you think your work is right for them. Do your homework!

And good luck.

*Briefly discussed in my post Balzer and Bray on the Brain

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

Writing for Children vs. Writing for Adults

A polite response to Martin Amis...

Martin Amis writes compelling, complex prose. That doesn’t make his oral arguments convincing. 

 

During a recent interview on the BBC’s Faulks on Fiction, Mr. Amis dismissed writing for children as “anathema to him.” Why? Because in his view, “fiction is freedom and any restraints on that are intolerable.” Fair enough. Of course, by not writing for children, he’s placing restraints on himself. He writes for adults, generally a certain kind of adult, which is its own restraint.

 

Of course, in fairness to Mr. Amis, he did say he’d write for children if he had “a serious brain injury.” Well, I hope it wasn’t too serious, but I think there must have been a small brain injury somewhere along the line.

 

Follow me here…

 

Writing for Adults vs. Writing for Children 

1. Mr. Amis, I doubt any editor has ever said to you, “This is juvenile! Are you writing for seven year olds?” but I have had my editor say, “This is a bit too adult. Could you tone it down?” And do you know why no editor has told you that, Mr. Amis? Because you’re writing with an audience in mind, and that audience is adults. Otherwise your work would be a scattershot, cob-jobbed piece of fiction. It’s not, because you place restraints upon yourself. Your audience may be a reflection of you, or it may be a wide range of adults you wish to reach or offend or transform, but they’re certainly all out of short pants. Now, I know my audience, too, generally boys 3-8, but like Mr. Amis, I like when people outside that narrow demographic read my work. Yes, Mr. Amis, we children’s authors write for a particular audience, just like you, even if you don’t recognize it (and yours doesn’t curl up with a parent to enjoy delightful stories and breathtaking artwork).
2. I am sure, Mr. Amis, that most parents sensibly shield their children from your work, even their teens, but writing Young Adult means getting to have an adult fan base. Sometimes a rabidly adult fan base. Just ask J.K. Rowling, Stephanie Meyer, Rick Riordan and plenty of others. We get to transcend audiences, rather than write for that specific audience you openly crave.
3. Anything you can write, we can write, too. Oh, the language is different, but the subject matter can be just as difficult. You can be serious? So can we. Funny? Yep. Satirical? You betcha. Dramatic? Of course. Our characters run the gamut of emotions, and if you read YA, you'll notice they have plenty of adult thoughts on sex, suicide, revenge, drugs, alcohol, you name it. If you want to dismiss picture books as unworthy, they've covered death, disease, gay marriage, gay adoption, racism, sexism, physical challenges, mental challenges and well, you get the picture. Yes, the stories are aimed at children, but for children to enjoy and discuss with adults.
4. You write for minds that are already shaped; we write for minds that are being shaped. Psychologists say our personalities are hard-wired by the age of four, no later than six, anyway. You're generally writing for people who agree with you; we're writing for those experiencing the world anew. As a case in point, someone who reads one of your books but doesn't like it is unlikely to pick up another one you've written. A child who doesn't like one of our books may love the next one. That next book is new to them, or perhaps they grew into it.
5. To sum up, Mr. Amis, one can easily extrapolate your argument to say that you don't write for a specific audience. That you write for adults, correct? Adults of every shape, size, and stripe, while we foolishly limit ourselves to children. Oh, and their parents. And grandparents. And teachers. And librarians. Of all shapes, sizes, and stripes. Sounds to me, Mr. Amis, like you're writing for a very narrow audience, while we keep a very large audience in mind.

Of course, that's getting a bit far away from your original point. You meant adult fiction provides freedom within the context of the story, and perhaps we are a bit limited in what we can say and how we can say it, but we are less limited in imagination and far less limited in audience. I will take that trade.

I'm sorry this is so long-winded, Mr. Amis, like one of your novels. I write pithy, sparse picture books where every word, every punctuation and pause, has to matter. I feel they do here, too.

I've written for children and adults, without casting aspersions on either. I enjoy both. All I will say is that the audience is different and the stories are different, but then you know that because you restrain yourself by writing for adults. Good luck with that. I'll keep writing for children, with this caveat -- your audience is not anathema to me because I welcome them. You cannot welcome mine.