I’d like to get back to a few more posts this months on writing for children.
In this great video, Jon Bard speaks to us about how to make it in the writing for children market:
Children’s Writing
All posts tagged Children’s Writing
Today we have yet another great article by Laura Backes Be sure and check out her bio at the end of the article.
In a perfect world, you’d be able to pitch your manuscript to an editor over a leisurely cup of coffee. But we’re forced to inhabit the real world, where you’ve got about 10 seconds to hook an editor before she decides to continue reading or reach for her form rejection slip. And more and more, this “hook” must come in the form of a query letter.
A query is a business letter asking permission to send the project described. It is either sent without an accompanying manuscript, or with two or three sample chapters (the publisher’s guidelines will state which form the query should take). If the query letter stands alone, it’s your only chance to sell the editor on your book. Many authors hate the task of writing a query, but it’s a necessity in today’s publishing industry. Editors, overwhelmed by the sheer number of submissions they receive, need a quick way to weed out the good from the not-so-good. A well-crafted query has a better chance of leading to a well-crafted manuscript.
The first rule of query writing is that the letter must fit on one page. That’s one side of one page (no cheating and printing a double-sided letter). Type it single spaced, but leave sufficient white space at the top and bottom so the letter looks uncluttered and appealing. Why such length limitations? If you can’t sum up your book in less than a page, you haven’t sufficiently clarified your idea.
Your first paragraph (two paragraphs if you’ve written a longer novel) conveys to the editor what your book is about. Think of this as the copy that would go on the jacket flap. You don’t want to give away all the surprises, but you do want to entice the reader to buy the book. For fiction, establish your main character in a sentence or two, present the character’s primary problem or conflict, mention one or two things the character plans to do to resolve the problem, and bring up some of the obstacles that will stand in his way. Hit the high points upon which the action is based. The synopsis should also reflect the tone of the book-humorous, scary, action-packed, somber, etc.
Don’t discuss the theme, or the underlying message of the book. This should be obvious to the editor through the plot.
In nonfiction queries to children’s book publishers, begin by stating an interesting fact about your topic that helps establish a market for your book (Did you know Jello, in its many shapes and forms, is eaten by 3 million people a day?) Follow this by describing what your book is about and your particular slant on the topic. In a few sentences explain your approach and how it’s appropriate for the intended age group, the questions you’ll raise and answer, and any additional materials your book would have (photographs, maps, activities, etc.) You can add a paragraph explaining your research and any unusual information you’ve uncovered. List good firsthand sources available to you or new data that hasn’t ever appeared in a children’s book.
After your synopsis, list the book’s title, word count, age group and genre (historical fiction, humorous mystery, science activity book, etc.) Explain why you’ve chosen to submit to this publisher (show that you’ve done your market research and describe in one sentence why your book would fit in with this publisher’s list). For nonfiction, also state how your book would be different from other books on the market on the same topic.
Your next paragraph is about you. Give any information pertinent to writing children’s books (previous publishing credits, memberships in writing organizations, writing classes you’ve taken, professional experience with children of the age group for which you want to write). Nonfiction credentials may include extensive experience with or study of the topic. If you don’t have any relevant information, skip this paragraph. Editors know that everyone has to start somewhere.
Finally, ask the editor if you may send the entire manuscript, and thank her for her time. Attach sample chapters if indicated in the publisher’s guidelines (nonfiction publishers may also request a chapter-by-chapter outline). Enclose a self-addressed, stamped envelope for the editor’s reply. If you’re sending a letter only, the SASE can be a business size envelope. If you’re including sample chapters, your SASE should be large enough to return the entire packet.
Always address the letter and envelope to a specific editor whenever possible. Use good stationery with your name, address, phone number and email printed at the top. Send by regular mail-brightly-colored envelopes, trinkets or treats included in the package, or Fed-Ex delivery won’t increase your chances.
Then, drop your query in the mail and start on your next manuscript!
Laura Backes is the Publisher of Children’s Book Insider, the Newsletter for Children’s Book Writers. Want to learn how to become a successful children’s book author? Come hang with the Fightin’ Bookworms at http://cbiclubhouse.com. Whether is writing picture books, chapter books, young adult novels, finding children’s book publishers – or anything else – you’ll find all the answers at The CBI Clubhouse.
Continuing on in our children’s writing series, here is a short video from Jon at CBI Clubhouse.
How many of these apply to you?
Let’s hear your thoughts and comments!
We’re kicking off the Children’s Writing Month with a post from Laura Backes over at Children’s Book Insider. Be sure to check out her bio at the bottom this post.
My son’s been taking karate for 4 years, and every time he tests for the next rank (he’s up to his brown now), fewer kids who started with him as white belts test alongside him. It’s not that Matt’s necessarily a better athlete than they are, but karate is more important to him. He likes learning the forms, and he enjoys surviving a two hour, physically grueling test knowing that most of his friends would have been flattened in the first 20 minutes. When aspiring writers start identifying themselves as authors, just as Matt sees himself as a martial artist, they’ve taken that first big step toward success.
But there’s a difference between wanting to see your name on a book, and wanting a career as a children’s book author. Anyone with a few bucks can publish their own story, and many books are perfectly suited to be self-published titles given to family and friends. The career mentality, however, is more complex. Check out some common characteristics below and see how you measure up:
Humility: When I get emails from people saying, “I’m going to be the next Dr. Seuss,” I cringe. Confidence is fine, but don’t compare yourself to someone like Dr. Seuss right out of the gate. In fact, don’t compare yourself to anyone. Work on finding your own style and voice. And know that you don’t have to become a literary institution to be a success. Learning to write well is a lifelong process, and the writers who get published understand that each manuscript, whether it sells or not, teaches them something. They’re not afraid to be critiqued or edited. They’ve put their heart into a book or article, and then removed their ego. They understand that if their critique group or editor says a plot is too predictable, it’s far better to chuck the storyline and start over than to fight to preserve a mediocre manuscript. And they’re grateful for the input that saved them from dozens of rejection letters.
Will Work for Resumé: Successful authors know that their query letters are more impressive if they can list some publishing credits. They’re willing to write for little or no money at first, because the experience of meeting a deadline and working with an editor is invaluable. They may decide to sell one story to a magazine that buys all rights so their next story can be sold to a bigger publication that purchases first rights only. They’ll submit to local magazines, regional publishers and small presses as they perfect their manuscripts intended for larger, national publishers. Well-published authors don’t overlook any market that might be right for a particular work. And when you’re just starting out, seeing your byline in a local parenting publication is just as satisfying as appearing in Highlights for Children.
‘Tensity: Matt’s karate teacher urges him to be intense about his practice, and Matt’s dubbed this mindset “‘tensity.” The prolific writers I know think the same way. Though most have families and jobs, they live, eat and breathe writing. Any spare moment is devoted to working on a manuscript. Free weekends are spent at conferences and workshops. When they’re not writing, they’re reading children’s books. As soon as they get one manuscript in the mail, they start the next one. In fact, super successful authors work on several manuscripts at once. If they’re uninspired to revise a scene from their novel, they’ll write a query for an article idea or do research for a picture book biography.
You don’t have to maintain this level of activity to become published. Most writers don’t. But if you want to make a living as a children’s book author, if you want your web site to list 50 or more books in print, then it’s practically required.
Plays the Field: Well-published authors don’t limit themselves to one genre. They’ll write picture books, novels, short stories for magazines, poetry, nonfiction, and material for adult markets such as parenting magazines or writing newsletters. After one book comes out they don’t wait for their editor to ask for another manuscript; they create what inspires them and if it’s not right for their current editor, they market it someplace else. In fact, it’s more difficult to get widely-published if you only write one type of book. A publisher carries a limited number of titles per season, and the editor of your middle grade novel might not appreciate your having another novel for the same age group come out with a different publisher simultaneously. But a magazine article or nonfiction picture book won’t compete with a book for older kids, and still gets your name in front of reviewers and book buyers.
Successful authors don’t dabble in writing now and then, they embrace it and do whatever it takes to get published because it’s what they want more than anything else. So dive in, work with ‘tensity, and send us a quote for our web site when you hit the jackpot.
Laura Backes is the Publisher of Children’s Book Insider, the Newsletter for Children’s Book Writers. Want to learn how to become a successful children’s book author? Come hang with the Fightin’ Bookworms at http://cbiclubhouse.com. Whether it’s writing picture books, chapter books, young adult novels, finding children’s book publishers — or anything else — you’ll find all the answers at the CBI Clubhouse!
