My book signing at Joseph-Beth Booksellers

WRITE A KILLER QUERY LETTER Do you dream of being a published writer, meeting your audience, and doing a book signing?   Most of us know the path to publication is not easy.  It is usually predicated by signing with an agent.  That means you have to get the attention of an agent, and one way to do that is to write a killer query letter.   Let's dive in to writing that impressive query:          The Five Parts of a query letter    Greeting: use the first and last name of the agent. Personalization: show why you've chosen this agent. (Maybe you like one of her client's books or your manuscript is a good match for her manuscript wish list.) Opening:  hook the agent: give title, genre, word count, and a brief, compelling description of the story that sets your book apart from others.   Book description:  Give a  brief summary of the story (often about 4–8 sentences) that introduces the main character, their goal or problem, the central conflict, and the stakes. Provide a sense of the plot and voice without revealing the ending or major twists.       Picture books are often shorter—sometimes only a few sentences—because the manuscript itself is short. The description should highlight the character, the emotional journey, the problem, and what makes the story unique. If you’re an illustrator, explain how the text and art work together to show emotion, character, and information beyond words.       Middle grade and YA are usually closer to a short jacket-style description, focusing on the protagonist, their age, the inciting incident, what they want, what stands in their way, and what happens if they fail. Avoid giving a chapter-by-chapter summary, a list of themes, or a full synopsis.  But do include the protagonist’s name, age (when relevant), what they want, what stands in their way, and why the reader will care. Comp titles:  Comp titles are recent books (published in the last 3 years) that are similar to your manuscript in some meaningful way. Choose two or three titles that show similar themes and tone. Avoid using blockbuster titles. For illustrators, use comps that reflect the story, audience and sometimes the visual style.   Comp titles are books you can point to and say, “Readers who enjoyed this book may also enjoy mine.” They are not copies of your story—they are examples of where your book belongs on the bookstore shelf. MY BOOK has the imaginative world-building of (Title, publishing company, date) with the emotional depth of (Title, publishing company, date).  Give your book in caps and the comps in italics along with the publishing company and publishing year in paratheses.   Bio: Write in first person.  Include relevant writing credentials and awards, publishing history, professional experience, portfolio information, or personal background that connects to the book.   Show why your background, experience, or perspective gives you authority or a meaningful connection to the story.  If you have no publishing credits, share relevant experience or simply state that this is your debut work. Closing:                                                                                                                                                    Thank the agent for their time and consideration. Include your name and contact information if it is not already provided in the query form or email signature. (Many agents receive queries through forms like Query Manager, where contact information is collected separately.) Keep the closing brief and professional. Here are a few suggestions: Keep your query short, about 400 words.   Follow the submission guidelines—don't query the agent if she's closed.   Read your query out loud and have someone read your query to check for mistakes. Agent Adria Goetz suggests: Please be dogged. Please be strategically stubborn. Don't spend too much time or energy being frustrated about the agents you haven't heard back from yet, or the doors that have been closed.  Focus on what's next:  the next query you're going to send, the next story you're going to write, the next step forward you're going to take.  Wishing you all the best as you query and move forward on the path to publication.  ✌ and ♥

 

 

                                                                                                                                           Photo: https://gnhusa.org

 ESSENTIAL WRITER'S RESOURCES 

I hear you—publishing for kids is f*cking hard.  And navigating the world of querying can be confusing as all get-out.  So, where do you turn when you want to find agents open to queries?  What contests can you enter to get your work in front of agents?  

I've compiled some resources that may help you along your writing journey, whether it's finding publishers and agents and/or entering contests.  

Agents: 

Manuscript Wishlist: https://www.manuscriptwishlist.com/  where agents and editors reveal the genres, topics, and writing styles what they want to find in their inboxes

MS Wishlist:  https://mswishlist.com/ provides information, tools, insights, and agent manuscript wishlist topics

Querytracker:  https://querytracker.net/ where authors can find agents and discover their query reply rate, their response time and have the opportunity to submit a query on a Query Manager form

Bitsy Kemper: https://bitsykemper.com/publishers/ posts a list of over 100 children's book publishers 

Published...and other forms of insanity:  https://publishedtodeath.blogspot.com/ a website that lists agents seeking clients, calls for submissions, contests, writing conferences and more 

SCBWI (requires membership):  https://www.scbwi.org/ a membership organization dedicated to children's book creators that offers newsletters and podcasts, awards and grants, and a directory of agents  

 Literary Rambles: http://www.literaryrambles.com/ spotlights children's book authors, agents, and publishing 

Reedsy (you must sign in):  https://reedsy.com/marketplace/search?service=editing&subservices=6  Meet world-class publishing professionals; Browse profiles and collaborate on projects. 

Contests: 

Mindy Weiss PB Party: https://mindyalyseweiss.com/2025-pbparty-annual-contest/

Kaitlyn Sanchez Spring Fling and Fall Writing Frenzy https://kaitlynleannsanchez.com/contests/

Vivian Kirkfield: 50 Precious Words https://viviankirkfield.com/category/50preciouswords-writing-contest/      

Susanna Hill Writing Contests:  https://susannahill.com/for-writers/contests/ 

Whether you're querying or entering a contest, think about your submission objectively.  Is your (fictional) picture book under 500 words?*  Does the plot flow?  Does you manuscript have voice, you know, that special quality that sets the tone for the piece when read aloud?  Does your story stand out and have the potential to be marketable?  This requires balancing what we want to write about with the publishers' needs. 

Finding a publisher is exhausting.  We are constantly searching for agents to query, who accept text-only manuscripts while competing with celebrities, well-established authors, and writers who have referrals.  So, what can you do?  Be unique—write the story that only you can write.  Then peruse agents wish lists.  Does your story match an  agent's interest?  Agents will give your manuscript serious consideration if you write about something they are hoping to find in their in-boxes.

As for contests, learn about what kinds of stories the judges enjoy.  Do they like witty, funny stories?  Are they partial to pieces that embrace diversity?  You might be able to find this information if judges have a blog or website or even on the contest home page.  You can also look at previous contest winners to get a clue about the winning writing styles—are they humorous, lyrical, rhyming, or magical?  If you can create a story in a winning writing style and center it on a topic that judges prefer, you will have a better chance than most to win a prize in a contest. 

Writing for children has never been harder.  You've got to do your homework to prepare for querying and entering contests.  Use the links posted above to help you get started.  I'm rooting for you and wishing you the very best on your writing journey!  

*The word count may vary depending on the contest.  Always check the guidelines to find out the acceptable number of words permitted.

 

                                                                                                                                                             Photo: WHYY

GHOSTED

Last December, an agent (let's call him Stuart) contacted me one day after I queried him!  In one day!  Finally after querying for over five years, I captured the attention of an agent.   

Stuart wrote that he liked my manuscript and wanted to see more of my work.  So, I sent two other pieces and he liked those as well!  Then, he asked me to contact the editor who had reviewed these manuscripts to find out if she would be interested in publishing them—which made me feel awkward,  like he was using me (wasn't he was supposed to do this?)  Anyway, I contacted the editor.  When she didn't answer my email, I informed Steve and...that was the last I heard from him.  

And on a similar note, I heard from another agent (we'll call her Liz) who wanted to know if the manuscript I had queried 11 months earlier was still available.  When I replied that the manuscript could be provided, Liz never wrote back.  Even after I politely followed-up.

What gives?  Stuart and Liz got my hopes up and let me down.  I was ghosted and I was crushed. 

An agent's interest-then-disinterest got me thinking.  Was this kind of behavior common?  Here is an IA Overview: 

It can be incredibly frustrating when a literary agent expresses interest in your manuscript and then goes silent. This is often referred to as "ghosting," and unfortunately, it's not uncommon in the publishing industry.  

Several factors can contribute to an agent's lack of response after requesting a manuscript or expressing initial interest: 

• Heavy workload: Literary agents, especially established ones, receive a high volume of submissions and have a primary focus on their existing clients. They may be behind on reading or get overwhelmed with other tasks.
• Not the right fit: Even if the initial query was strong, the agent may have determined after reading more that the manuscript isn't a good fit for their list or doesn't have the commercial appeal they seek.
• Priorities shift: Their agency's focus or their personal interests may have changed.
• No "no" response: Some agents, unfortunately, operate under a "no response means no" policy, meaning they won't reply unless they are interested in moving forward. 

What to Do:

• Be patient: Literary agents often have long response times. Give them a reasonable amount of time to review your submission, according to their stated guidelines or general industry averages.
• Check the agent's guidelines: Look for information on their website or in their auto-reply emails regarding response times and follow-up policies.
• Send a polite follow-up (if appropriate): If the agent's guidelines don't prohibit it and a considerable amount of time has passed (generally 8-12 weeks for a query response, potentially longer for a full manuscript), you can send a brief, professional follow-up email.
• Continue querying other agents: Don't put all your hopes on one agent. Keep researching and sending queries to other agents who might be a good fit for your manuscript.
• Consider other avenues: If traditional agent representation doesn't work out, you can explore other options like submitting to publishers directly (if they accept unagented submissions) or self-publishing.
• Seek feedback: If you're consistently experiencing silence or rejections, consider getting feedback on your query letter and manuscript from other writers, critique partners, or professional editors to identify potential areas for improvement.  

Important Reminders: 

• Don't take it personally: Ghosting is common. It often has little to do with you or your manuscript's quality.
• Stay professional: Maintain a polite and respectful tone in all your communications with agents.
• Be persistent: Querying is a numbers game, and success often comes with persistence and refining your approach. 

There you have it.  Ghosting is customary practice in the publishing world.  It's how many agents prefer

to do business because they're swamped.  Or the market has changed and they don't feel they can sell the manuscript.  It totally sucks.  Agents have the power to buildup up hopes, and then dash hopes to pieces.  

Here's the thing:  Not all, but some agents have forgotten that writers are people with dreams and 

feelings, that writers take their craft seriously, that writers put their hearts and souls into their work, that writers want to be treated respectfully.  

It's said that writers have to develop a tough skin—so deal with this new form of rejection.  Buck up.  

We have to get used to ghosting even though it is cruel and cold.  Inconsiderate and downright rude.

It's the way it is.  But don't you think writers deserve better?

 

✌and ♥

                                                                                                                                                  Photo: constant-content.com

BEING A WRITER

We writers are creative folks and we're proud of the stories we've written. But when we receive a rejection, it can feel personal—almost to the point of making us wonder if we should change how we write in order to be accepted.  

This year I've faced a lot of rejections.  At times, I feel like giving up writing.  Maybe you've felt the same way.  

Despite the rejections however, I try to stay positive by writing new pieces, submitting to new agents, studying the market, and by attending webinars to learn more about the publishing business.  Occasionally, I run across inspirational articles.

On that note, I'd like to introduce you to an amazing article "Creativity as an Act of Defiance" by Grant Faulkner.  This piece is empowering, especially if you've faced rejection and are having doubts about your writing.  Below is an excerpt and a link for the entire piece.  May it encourage you and keep you on the writing path.

According to Grant Faulkner: 

"The underlying purpose of deciding to write is to bring forth this mysterious and sacred gift within ourselves, to touch, revere, and express the truth of the way we see this crazy world.  

"Then we have to go even one step further. Being a writer carries with it its own assortment of masks. (What genre do you write in? Who are your favorite authors? Do you have an MFA?) We have to ask ourselves who we are as writers— what rules do we want to follow, and what rules do we want to break?

"If you put your story in a cage of others’ rules, your imagination will always reside behind bars. 

"Therefore, in order to feel the full strength of our creativity, I believe at some point we have to be defiant—defiantly ourselves, you might say. We have to declare, “I am a writer”—say it proudly and loudly, say it with grandiosity and verve, I AM A WRITER—and accept the circumstances of living in whatever Outsiderdom befalls us. 

"In fact, I think rebelling against the rules is actually an act of love and reverence for your voice. Pushing up against the supposed gatekeepers of taste can strengthen resolve.  A writer needs to create with an outlaw sheen to boldly escape the snares of others’ expectations."

I hope you'll look into reading the entire piece.  Most writers face rejection and have doubts about their writing.  Faulkner definitely has a way with words and his article may give you more confidence in  your writing. 

✌ and ♥

For the entire article: Grant Faulkner: Creativity As An Act of Defiance

Grant Faulkner is the co-founder of 100 Word Story, the co-host the Write-minded podcast, and an executive producer on America’s Next Great Author.

SHOULD YOU (or how can you) GET A REFERRAL?

When I query a picture book using a Query Manager form, sometimes there's a section that asks: "If this query is a referral, who referred you?"

I had always left this blank.  I never even considered getting a referral.  But when an agent I'd been wanting to submit to opened her inbox, I began to think about what could happen IF I had a referral.  

Most writers know that a referral can open doors by making a quick introduction to an agent.  

I racked my brains trying to think of who could write me a referral and when I was about to give up, my husband suggested that I contact my former agent.  Mel and I parted amicably when she left agenting to start a publishing company.  I reached out to her politely and she wrote back that she'd be happy to send a referral.  But, she was so swapped with submissions that she asked me to write a draft that she could edit and then send.

I had no idea how to do this.  

So, I searched online and found some basic referral templates.  I discovered the letter should have a greeting and introduction, the writer's qualifications and the relationship to the referrer, and the contact information.  

For my referral letter, the greeting was a simple polite "I hope you're having a great day."  This was followed by a line which explained my connection to Mel.  The second paragraph listed my strongest working traits and accomplishments.  The last paragraph closed with a thank you and Mel's contact information.

All was going well.  The letter looked great and Mel approved it, edited it and sent it to the agent.  Within four days, the agent replied to both me and Mel.  I was surprised to hear back so fast since the general response time is about three months. And though she replied quickly, the news wasn't so great.  The agent appreciated the referral but said that her agency was not open to picture books.

I felt embarrassed and foolish to have asked Mel for a referral.  So, I looked at the agent's guidelines again and confirmed the wording: no picture books would be considered without an industry referral.  Okay, that's exactly what I did.  I sent a referral.

I don't feel awful about this rejection.  Seeing how this all played out made me wonder if this agent was on top of things.  I have my doubts that we would have made a good team.  However, I learned about writing referrals and the benefits of having one.  In this case, it sped up an agent's response time. 

If you're submitting to an agent who uses Query Manager, there may be a section about a referral.  Give this section some serious thought.  Think about who could write you a referral: an editor, a publisher, or a published writer.  Be sure this contact is someone you've worked with and is familiar with your writing.  Ask them politely if they would write you a referral.  

Though having a referral is not necessary when querying, it can set you apart and give you an amazing opportunity.  It's like having a golden ticket.  I know because I've seen how it works.  A referral can speed up the process, introduce you to an agent, and give you the edge on the competition.  So, give it some consideration.  Who do you know who can write you a referral?  

✌ and ♥

At Indeed, you can see some templates for referral letters: https://www.indeed.com/career-advice/resumes-cover-letters/letters-of-referral

 THE INSPIRING JANE YOLEN

A few weeks ago, I received an email from SCBWI (Society of Children's Book Writers and Illustrators) announcing an interview with Jane Yolen, author-extraordinaire.   

In a word, Jane was inspiring.  As I listened to the interview, I discovered she is down to earth, prolific, and gifted.  At the age of eighty-four she's still writing, submitting, and publishing.  She works on an assortment of projects—a short novel, a musical, a possible TV series, and some songs for folk and rock groups.  She revises old picture manuscripts until they are salable. 

I'd like to share Jane's thoughts and philosophy about writing with you.

When asked about the requirements of a picture book, Jane replied there has to be an arc and the story has to touch the heart of a child.  She also reminds writers to think visually about the illustrations and page breaks as they compose their stories.  Jane says page turns can be an uncompleted sentence that gives young ones moments of suspense that build up into a large moment. 

Jane tells us a picture book may take 20 minutes or 20 years to write.  More, Jane revealed that some editors turned down her manuscripts, whereas others picked them up and they became successful children's books—that gives us hope, doesn't it?   

Jane has advice on writer's block:  There's no such thing as long as you work on multiple projects.  

She comments on writing in general and tells us:  Don't be afraid of ideas—if you work at it, you will have many, many ideas for stories.  Don't be afraid of hard work.  Don't forget the writing part is only the beginning—you have to think of the business end: who's looking for what, what are the current themes, is this a story you can legitimately write, is this a story that has been told too many times before, is this is a story that's new and nobody has told it and if not, why not. 

She asks us to remember:  It all starts with WHAT IF?  Then...you have to show up and have the guts to write the book.  Janes says, "And the time? Well no little time fairy is going to drop a package of it on you.  You have to take time.  Steal it by the bucketload from the rest of your life.  Be selfish.  Ignore lunching with friends until the work gets done.  Just write the damn book." 

The process of writing still feels magical for Jane.  Every time.  Isn't that how we writers should feel?

I invite you to learn more about Jane: https://www.janeyolen.com/about-site/  I hope she'll inspire you, too!

✌ and ♥

 

WRITING FROM OUR HEARTS   

How do we write a book from our hearts and make it marketable?  That's the millionaire dollar question.  

We writers usually write about things that move us and we want to share those feelings with others.  We don't know if our work can be sold.  Not even some well-published authors have figured it out.  At times, they are rejected, too.  

So, how can we write what we love and sell it?  Here are three ways that can help: 

• Join a critique group 
• Hire an editorial consultant
• Work with a published writer who offers critique services 

I've done all three options.  I regularly receive creative and constructive criticism from my critique partners, who show me ways to improve my manuscripts.  And in 2016, I worked with editorial consultant Mary Kole, who helped me tweak a story that landed an agent.   

Recently, I had the opportunity to have a critique/Zoom session with Brian Gehrlein, an amazingly talented author.  He pointed out how to rev up the tension, how to develop the character arc, and how to improve formatting.  In addition, he showed me ways to beef up my query letter.  Overall, he helped me take my manuscript to the next level so it could be submitted to agents. 

Even still, doubt crept in.  

After Brian's critique, after suggestions from my critique partners, and after the revision of my manuscript, I wondered if an agent would like it.  Would my polished, well-crafted story resonate with her?  And, could she sell it to a publishing house?  It will take querying to find out.  

Brian tells me to showcase my voice and style, to experiment, to trust my gut, to be different, and to make the writing fun and authentic.  His optimism and advise gives me the courage and confidence to continue despite the doubts. 

He affirms what I feel:  write the stories that come from my heart.  To create a unique story, only a story that I can tell.  To get feedback.  To revise my manuscripts.  But the rub is, no one knows if the time or money I've spent will pay off.    

As you probably know, there are never any guarantees our work will be published.  We don't have a crystal ball to tell us yes, this is THE manuscript that will turn into a book.  Writers endure the pain of rejection while we hold on to the hope of success.  We keep going because writers must be patient and persevere.  Despite the uncertainties we must strive to write what we love and have faith that one day, an agent will love it, too.      

✌ and ♥

                                                                                                                                                                                                   Photo: Anita Jankovic 

WRITING FOR KIDS ISN'T AS EASY AS IT SEEMS 

Before the pandemic, Baxter's Corner had expressed interest in publishing my children's book titled Tajo Speaks Out.  When I informed people of the news, some of them said, "Anyone can write a children's book.  Writing for kids is easy."   

Those of us who write for kids would strongly disagree.  And here's why.  Writing and publishing for children can be broken down into two parts:  the creative process and the submission process.  For the creative process a writer must develop a manuscript that is about 500 words, that allows for illustrations, and that centers around a theme relatable to young kids.  It must be engaging, marketable, and revised multiple times.    

The submission process is every bit as arduous.  A writer must compose a professional query letter and research agents that are open to picture book submissions.  Submitting to an agent doesn't guarantee an acceptance.  It can take years to find an agent.  On top of that, if a writer signs with an agent, the agent must submit the work to publishers.  The whole process, from initial idea to publishing a book can take up to two years.  

Since I had met the publisher of Baxter's Corner, I could skip the submission process.  But creating that book wasn't a walk in the park.  There were tight guidelines.  Specifically, I had to choose an animal character the company had developed and assign a moral value to this character.  Okay you say, select a character and the value and get on with writing the story.  But it wasn't that simple.  

Photo: Johnny McClung 

Before the first word of the story could be written, I was asked to develop the objectives.  This involved describing the character's problem, the rising conflict, the solution, and the resolution.*  After writing the objectives, I sent them to the publisher and she discussed them with her team of consultants.  When everyone made their assessment, the publisher sent me their suggestions. Then publisher and I went back and forth many times over many months to polish the objectives.    

Once this step was nailed, I got the green light to write the story.  Here's the catch:  Baxter Corner books are written in rhyming couplets, but the rhymes could not be repeated.  Also, the meter or beats (syllables) had to be even so that the story wouldn't sound forced or choppy when read aloud.  I checked to make sure the rhyming was smooth and then moved on to the next phase of the process.  

My beta reader critiqued Tajo.  After implementing his suggestions, I sent the story to the publisher so she and her team could study it.  The draft was heavily criticized and returned to me for more revision.  I tweaked the story and I sent it to the publishing staff so they could review it again.  After I made some minor changes, the team approved the final version and it was ready to be professionally edited and illustrated.  Finally, this project was getting closer to publication.  

And then...COVID hit.  As the pandemic raged, the market changed, the focus of Baxter's Corner shifted, and Tajo was put on the back burner.   

This outcome was not a surprise to me.  I sensed the direction Baxter's Corner was taking on Facebook. The company had been making posts about the themes in its upcoming books—themes which varied greatly from Tajo.  So, when the publisher called to tell me my book had been shelved, I was prepared for the heart-breaking news.  Still, this setback sucked.  

But...it would not defeat me. 

I will move forward and use this experience to become a better writer.  A stronger, more resilient person.  Undaunted.  I will write in spite of rejections or the shifts in the market.  I will write in spite of the notion people say it's easy.  There will always be disappointments, setbacks and ignorance.  And spite of it all, I will write for kids.    

✌ and ♥

* Jotting down the objectives is a great exercise and it can help in developing the structure of your story.

                                                                                                            Publisher of Baxter's Corner and grandson

A WRITING OPPORTUNITY    

You know the proverb all good things must come to an end.  One could say that about my first book Maggie and the Summer Vacation Show-and-Tell.  As a book produced by a small press, it actually sold very well and it was time to move on to other projects.  But I wasn't sure what those would be until an opportunity fell into my lap. 

When I attended the Kentucky Book Fair in Lexington to acquaint the public with Maggie, I met the publisher of Baxter's Corner, a small press located outside of Louisville.  Mary Ellen sat next to me selling her company's books, but we didn't have the chance to talk much until after the event.  As we packed up, she gave me a copy of Gerome Sticks Out His Neck.  This book takes a novel approach by telling an educational story in rhyme. I was impressed by the book and told her I'd love to write for Baxter's Corner. 

Two months later, we met for lunch.  I learned more about Mary Ellen's life, her goals and her company.  As we waited for our food to be served, she pulled out a book contract.  It felt surreal, magical, and empowering.  She wanted me to write books for her company that would have a positive effect on kids.

Baxter’s Corner uses storytelling as a way to affect positive behavioral choices for children from birth to eight years old.  The books highlight specific themes such as respect, anti-bullying, compassion, determination, and overcoming obstacles. 

Each book focuses on making good choices in difficult or confusing situations and using the endearing animal characters to make the point.  These cute creatures show children how to think and dream, how to be curious and courageous, and how to be kind and compassionate.   

The goal of Baxter's Corner is to put value-based books into the hands of children and to give caregivers, who may be reading to the child, strong examples that teach approaches to some of the struggles that children face in today’s world. 

My role with Baxter's Corner would be to assign a value to a specific character and write a 32-page story in rhyme while capturing the unique personality of that character. 

Six of the animal characters have been featured in books.  The newest characters, an orangutan and a tarantula, needed to have stories written about them.  I gravitated to the tarantula.  At first, I thought I'd never be able to write his story because spiders creep me out, but I changed my mind upon seeing how this furry creature had been rendered.  Tajo is not scary-looking.  He is actually an adorable character.  

After going back and forth with the publisher on pinpointing the objective, I got the green light to develop a story for the meek but courageous tarantula.  Six months later, the publisher accepted Tajo Speaks Up and then—the pandemic struck.  Unfortunately, as COVID ran rampant, Baxter's Corner pushed back its publishing schedule and therefore, my book was put on hold. 

It was disappointing because I had put so much work and love into this book.  But all was not lost.  I learned a lot about publishers and most of all, about the significance of opportunity.

Opportunity presents itself everywhere.  It takes being aware and taking advantage of what comes our way.  When we do, we have the potential to allow good things to happen.  The key is to develop the vision to see it.  For writers, good things can happen if we continue to submit, take a workshop, communicate and connect with other writers, go to book signings, join critique groups, or participate in literary fairs.   

The ability to discover opportunities depends on luck and chance as well as awareness and a positive attitude.  The ability to make the most of opportunities depends on not waiting for something better to come along, but to take advantage of the situation as soon as it presents itself.  

Taking part in the Kentucky Book Festival presented me with an amazing opportunity to meet a publisher and to write a children's book.  And I jumped on the chance to make something good happen.

I don't know what will become of my book for Baxter's Corner.  There's a possibility it may get published.  After all, the publisher has the completed version and she may feel inclined to move forward with it.  If that doesn't happen, I will consider it a valuable experience which has helped me grow as a writer.    

One could say good things came to an end with Maggie and quite possibly for Tajo.  But maybe not.  With eyes wide open for opportunities, good things will continue to happen.

✌ and ♥

How to Take Advantage of Opportunities on a Daily Basis

DEALING WITH AN UNETHICAL PUBLISHER

About five years ago, a small press published my book Maggie and the Summer Vacation Show-and-Tell.  I was on cloud nine.  Nothing could go wrong.  But, well...things did go wrong, and therefore I feel the need to inform my readers. 

For me, the publishing process was daunting, frustrating at times, but overall thrilling.  I even got to audition illustrators for my book.  The best part was knowing my story would have the potential to entertain and educate kids.  Having a book published was a dream come true.  But now it's a bit of a nightmare.  

The publisher stated upfront that she would only do a few things for promotion.  She said she would get an ISBN number, sell it on Amazon, and write a press release.  That's it.  The author is supposed to do everything else:  design and pay for bookmarks, attend book fairs, market on social media (Facebook, Pinterest, LinkedIn, Instagram), get newspapers to write an article, persuade libraries to carry the book, arrange book signings and more.  I knew this from the get-go, and was up to the task.  

And even though I knew the publisher would do very little promoting, I wished she would have been more supportive when I informed her of the write-up in a literary magazine, the many positive reviews, and my television appearance and participation in a prestigious book fair.  I was hoping she might pay a small portion of my marketing expenses, or at the very least, promote my book on the company's website.  None of this happened for me. 

In fact, the opposite happened.

My publisher got angry at me for not selling all of the books the organizers had ordered for the Kentucky Book Festival.  She tried to coerce me into paying for the returned books and told me my contract stated that I was responsible for the unsold books.  Actually, it was not in the contract.  And I refused to be intimidated and comply.  

So, a punishment was dealt out to me:  she removed my books from the publishing company's online library and stopped carrying them on Amazon.

Wow.  How can someone be that mean, that childish?  Don't you think she could have found a way to work with me to promote and sell the extra copies?  No, she had to get even.  Revengeful.  

So, you might ask, what can I do now?  Lots.  I can edit my Amazon profile to direct people to my website where they can order a book.  Since I have a pdf of the story, I can upload it to Amazon and print copies.  What else can I do?   I can leave Google reviews.  I can report the company to Editors and Predators and to Writer Beware.  I can warn writers on Facebook and Absolute Write.  I shed light about the company's practices on LinkedIn. 

Don't get me wrong.  I was ecstatic to have a book published.  I only wished the publisher could have been more professional and honest.    

To sum up, when a publisher fails to be supportive, the author loses.  Actually, the publisher and the author lose.  No, the public loses, too, because a children's book has been removed from places where it can be printed and bought.   

I don't know how often a publisher gets vindictive.  But I want to bring this issue to light.  I want to warn others.  If ever you find yourself interested in working with a small press, here's what you need to know:  Research the publisher.  Read what others have to say about them before signing the contract.  Scrutinize the contract and be sure you will not be responsible for books that aren't sold.  Lastly, be sure that the publisher wants to help promote your book.  That she wants to make it successful.   And above all, that she wants to put your book in the hands of a child.   

✌ and ♥

                                                                                                                                                      Photo:  Ben White

REJECTION—IT'S NOT PERSONAL  

I can probably tell you how many times my hopes of finding an agent have been dashed.  I keep very good records of my submissions.  And of my rejections. 

I try my best to limit rejection by visiting the Manuscript Wish List. On this website, I can match my work to the kind of manuscripts agents are craving.  Even still, that doesn't guarantee the agent will say yes.  Crazy, huh?   

A rejection is usually polite and may read as follows (pick one):

• This is not a good fit for my list
• I am not connecting with the voice
• I'm not the right agent for this project
• I have no vision where to pitch this
• I can't see where this would sit in the market
• It's not in my wheelhouse

How do you interpret any of this when you've sent the agent (in your opinion) exactly what she hopes to find?  Here's what I discovered after years of submitting:  a rejection indicates that your story just didn't resonate with the agent.  It means she didn't fall in love with it or feel confident enough to sell it to a publisher.  

So, what do you do when you've received nothing but rejections and you've exhausted your list of agents?  It may be time to put your manuscript aside for a while. 

In the meantime, work on other writing projects.  Learn about publishing from BookEnds Literary Agency.  Read recently published picture books—these could even spark new ideas for you!  

When the time feels right, dust off the story that has been put on hold.  Read it over and revise.  Have your first reader, critique partners, or a consultant take a look.  Revise the piece again based on the critiques and then target the agents who are wanting something similar to what you've written.  

That's what happened with my book Maggie and the Summer Vacation Show-and-Tell.

After 50 rejections, I shelved Maggie and worked on other pieces.  But five years later, there was an opportunity to have a manuscript critique by a highly respected editorial consultant.  I revised Maggie because I hadn't seen it in years and then submitted it for a professional critique.  When I received the consultant's notes, I revised the story again and sent it out again to five more agents.  

One of them sent me a message:  I like your book! 

It's difficult to stay positive when you receive rejections.  But remember that the whole submitting process is subjective.  If you believe in every aspect of it of your story—the main character, the plot, the voice, and the takeaway message—then don't give up.  Assume and persist.  Imagine the wish fulfilled.  All things are possible.  Don't think about what could go wrong.  Think about what could go right.  It only takes one agent to say yes.


✌ and ♥

When the world says, "Give up," hope whispers, "Try it one more time." 

REIMAGINING A BETTER QUERYING EXPERIENCE 

Guest post by - Humayun Khan, writer and founder of QueryCats 

Let’s face it.  Querying sucks!  First you have to do research, short-list agents, then tailor your query over and over and over again.  

There’s a lot of rejection or passes and well, it can be pretty darn stress-inducing.  

Of course, nothing compares to the elation of waking up to a full manuscript request, a contract, and that blessed day when you ink your signature and get to put repped by @soandso in your Twitter bio.  

But what if the whole experience could be a little more fun and what’s more fun the getting support from the world’s most loved animal (biased opinion) while you’re on this journey?  

Like many writers, I poured my blood, sweat, and tears into a manuscript for a young adult novel only to get to the querying phase and finding out how hard it was to get representation. 

It’s a very confusing experience. Everything in my gut was telling me that what I wrote was worthy of seeing the light of day in a bookstore. I then discovered it's an entirely different skillset to pitch and market what I wrote in a way that would make it appealing for an agent. 

And I get it, agents are ridiculously busy, underpaid, often working multiple jobs, and working with their existing clients. Reading through queries from unsigned writers is at the bottom of their to-do list.

But I persevered and eventually found the perfect agent who helped shape my manuscript into something that would get picked up by a big publishing house. I never would’ve been able to achieve what I did without her. 

With my experience and day job as a software designer, I wanted to create an agent directory from the ground up that would take some of the sting out the querying process for other writers. That meant creating an application that was easy on the eyes, simple to use, and not something remnant of websites circa 1991. 

My hope for QueryCat is to make it easier for writers to research and shortlist agents while being able to easily track their queries.

You might be wondering, why cats? I think the bigger question is, why not cats? Querying is literally the most stressful experience and if there’s one thing that can help writers get through bleak moments, it’s photos of cats.

Don’t take my word for it, check it out at https://www.querycat.co.

✌ and ♥

 

 

                                                                                                                                                                                                                   Photo: Erik Witsoe

THREE STEPS BEFORE SUBMITTING  

I can show my clients how to craft a children's story and how to compose a query letter.  But the one thing I can't show them is how to slow down and be thorough when submitting to a publisher. 

All of my clients want to get published, but Gail seems more desperate than the rest.  I believe her desperation causes her to be impetuous.  And when she's impetuous she rushes and gets careless about submitting her work.  This worries me.   Her impulsive behavior may sabotage the dream of seeing her work in print.   

So, when we work on her projects, I remind Gayle of the three steps every writer should do before submitting to a magazine: 

1.  Adhere to guidelines.  The submission requirements may list the word count, the formatting specifics, the magazine's focus, and the age range of the audience.    

2.  Study a few back issues.  Take a look at the topics to get an idea of the subjects that are published.    Note the tone (serious or light) and the formatting to see if subheadings are used and shape the work similarly.  

3.   Edit and polish the manuscript.  Have a second reader review it to catch grammar or spelling errors and to give ways to improve the piece.   

No matter how often I remind Gayle of those three steps, she still rushes the process.  And because of that, her latest submission did not have a happy ending. 

Gayle submitted a piece to a children's magazine.  But within six weeks, she received a rejection.  The editor replied he did not publish the kind of work Gayle had sent him. 

I felt bad for her.  She revised and edited her work and wrote a professional query letter, but she submitted a piece that wasn't a good fit for this market.  It could be the guidelines were vague, though I got the feeling that she didn't notice that a good portion of the magazine was written by children. 

Needless to say, Gayle feels defeated.  But no matter how frustrated she gets, I believe she has potential.  I feel it in my bones she'll be published.  She just needs to listen to sound advice and slow down.  Writing for publication is not a race.  I'm hoping she'll realize this.  Because when she learns to take her time and adhere to the steps of submitting, her publication dreams will come true.   

✌ and ♥