Photo by:  Ariel

WINNING OR NOT WRITING CONTESTS

I'm beginning to have doubts about entering writing contests. 

For more than twenty years, I have entered contests as a way to build my resume.  Now, I'm unsure whether to continue the practice.  

The piece I entered in the 2023 Tennessee Mountain Writer's (TMW) annual competition had received compliments from several agents.  In fact, based on this piece agents have asked me to send them more manuscripts.  So, I know from their reactions and from the comments of my critique partners that this manuscript was strong.  I was sure this piece was going to win a prize.  But I found out that my story didn't win an award.  It didn't even receive an honorable mention.

At first, I was shocked and angry.  

I reviewed the contest guidelines and then checked my submission.  It looked fine. Then I went back to the contest website to double check the winner's names.  There were only two:  first and second place.  That was it.  No other prizes.  I've entered the Tennessee Mountain Writers Contest for over fifteen years and have always, always won a prize.  So, having entered a prize-worthy manuscript, I was stumped that it didn't receive any award. 

This slight, this insult got me thinking about writing competitions.  Some people believe it's important that winning a writing contest will impress agents.  But after querying for many years, I'm starting to feel differently.  I think that being a member of a professional writing association, having work published in magazines, attending writer's conferences, and working with critique partners make a better resume.  

I'm not trying to discourage anyone from entering a contest.  Getting your work before judges could give you some indication of the strength of your work.  That is, if you trust the contest and the judges.  I would urge you to look into contests that don't charge too much and those that state the names of the judges.  

I realize judging writing is subjective.  In my case, perhaps the judge* didn't like my lyrical writing style.  Maybe the judge didn't like the story because character change was too subtle.  Or because it was about cats.  Who knows?  I contacted the contest chairwoman asking why nobody won third place or honor mention.  She didn't have an answer, but she assumed that the judge felt no other submission was worthy of a third place or an honorable mention.

Writers pay money to enter a contest and have their best work judged.  Writers are proud of the pieces they've selected for a competition.  So, if I could I'd ask the judge to put herself in the place of the writers.  How would she feel if she had submitted her best manuscript to a writing contest and found out that it had not won a prize and no honorable mentions had been awarded?  Bear in mind, in most cases honorable mentions do not win a cash prize.  Then I would ask her:  Who would it have hurt to have given one or two writers this honor?  

After the winners had been announced for the Tennessee Mountain Writers Contest, I tried to find the names of the judges.  I wanted to check their resumes.  What were their credentials?  Were they published?  But the judge's names were missing.  Maybe they had been listed while the contest was running and now, the names have been removed.  I find this troubling.  Even after the contest, the names of the judges should be listed along with the names of the winners.  

You might think I'm bitter over this, but I'm not.  I've learned through this situation.  I don't need a contest to validate my work.  All I need is a decent bio, and I have that.  So, it feels like now after twenty years it's time to be more discriminating about contests.  It's time to enter contests that are fair to writers.  Sadly, after winning so many awards from TMW, it's time to accept the fact that I will never enter this contest again.  

✌ and ♥

*Arbitrarily assigning the pronoun her.

                                                                                                                                                      Photo by: bhavanalearning.com

VENTING AND VAGUENESS

Here I am at the beginning of this post, and I'm not sure where it will be going or what the point will be.  All I know is that I need to vent and I hope you'll hear me out. 

So, this is what set me off.  I sent a manuscript to an agent I had never queried before.  She runs a very small business and only works with two other agents.  According to QueryTracker, she accepts picture books and responds to all of the queries in her inbox.

To submit to this agent, writers are required to fill out a form on Query Manager.  This is no big deal—I'm used to these submission forms which ask for a query letter, the pitch, the word count plus similar books (at least two published in the last 5 years) and the intended audience.

But this particular agent wanted more.  She asked for the number this book represented in a series— which threw me off.  Like many other picture books, my submission was a stand-alone.  In addition, she also wanted to know who had edited the book and if you were participated in a critique group. 

I didn't pay to have this book professionally edited.  For crying out loud, it's a 300-word book, I'm a college grad, been writing for over 20 years, been published in the Christian Science Monitor, Highlights, Mothering Magazine and scientific journals.  But I answered politely:  Yes, I belong to a critique group. My critique partners and my first reader helped me edit this work. 

When all of the fields had been filled in and the form was carefully reviewed, I uploaded my manuscript and submitted the form.

Ten days later I heard back.  It was rejected.  Now, don't get me wrong, I wasn't too upset about her turning down this piece.  Rejections are part of being a writer.  Maybe this agent didn't like the fact that my book wasn't professionally edited.  Who knows?

But the thing that got me was the way she phrased the rejection letter: 

Dear Randi,

I'm sorry, but at this time your project does not fit what I am looking for, and so I will have to pass. Thank you for considering me and best of luck with your future queries.

Though the message was courteous, I got angry because of the vagueness:  your project does fit what I am looking for. 

Who in God's name would know what she's looking for?  This agent posted on her manuscript wish list that she's seeking a fun picture book, so I sent her a light-hearted and humorous piece.  Obviously, she and I differ on our take of fun picture book.  That's okay.  The business of writing humor for kids is subjective.

Here's the thing.  This would have been a great opportunity for her to mention in the rejection letter what she IS hoping to find in her inbox.  To give a brief hint.  A crumb, a morsel, a clue.  But her response was extremely vague and it reeked of arrogance and laziness.  How dare her say it's not what she wants and go no further to give an example of what she would like to find. 

In contrast, many agents go into great detail about their submission wants.  On the Official Manuscript Wish List agents spell out specifically what they hope to find in their inboxes.  This benefits both writers and the agent.  Writers have a better chance to match their manuscripts to the needs of an agent.  

There is something positive that came from this submission/rejection.  It reminds me to look for an agent who gives an explicit wish list.  It reminds me to make a better attempt at matching my manuscripts to an agent's needs.  More, I reminds me to use caution in submitting humorous picture books.  Ah, to live and learn.  To grow and move on.  

All is good.  Thank you for hearing me out.  Done venting.  For now.

✌ and ♥

 

 

Spring Fling Contest 2023

THIRD PLACE CONTEST WINNER

 https://media.tenor.com/uYqqagVKQiUAAAAC/red.gif?t=AAX4WhnpltIIWoy0LQ2t7A

 U DREAMS  

https://sites.google.com/view/springflingwritingcontest/main

                                                                                                                                                 Photo: Thecut.com

70-WORDS 

I have a challenge for you.   

Take your picture book manuscripts (yes, all of them) and see if you can arrange the beginnings so that they are exactly 70 words.  Not a word over the limit.  The beginnings however, can be shorter than 70.  But you can't end in the middle of a sentence.

I learned about this exercise by taking part in Mindy Weiss' PB Party.

To participate, a writer had to submit only the first 70 words of a manuscript.  The idea is to set up the story and introduce the conflict in order to entice the judges to read more. 

For me, that required rearranging the beginnings of nearly all of my work and then selecting the strongest piece.  

Believe me, none of the first seventy words of any of my manuscripts were compelling enough.  I had to do lots and lots of tweaking to lower the word count.  Often, I'd get close but would always go over the limit by just one word.  It was frustrating and yet fun.  It was like working a puzzle, trying to restructure sentences so that the opening was clear and captivating.   After I had pared down all of manuscripts, I had to choose the most intriguing one so that the story would leave the judges begging for more.  

Sound easy?  It's not.  

But I will guarantee when you strive to make the beginnings of your stories shorter, your manuscript will be irresistible.  And agents will want to read further.    

So, I throw down the gauntlet.  What do you say? Are you up to it?  Are you ready to take the 70-word challenge?    

✌ and ♥

                                                                                                                                              Photo: John Schnobrich

THE GOOD, THE BAD AND THE UGLY TRUTH ABOUT MENTORING 

It's not easy helping friends with their writing.  Don't get me wrong.  I love supporting picture book writers.  But the ugly truth is, it can be trying.  Some friends ask too much of me.  It's getting to the point where I'm considering setting some ground rules.

I don't mind waiving my fees for my friends.  But sometimes, they may want me to line edit a chapter book.  They may want to meet multiple times and get feedback with every new draft.  They may even want me to help sell their self-published books.  

One friend asks me to take a look at her work and then gripes when I point out parts of her beloved stories that need attention.  She doesn't want to hear the truth about her work.  It's her nature to resist revision.  Though she'll make some slight changes, she really would like me to fall in love with the first draft.    

Another friend wants me to give him feedback on his work, but unlike my female friend, he never really listens to my advice and never makes a single change, even if there are grammar or formatting problems.  Ideally, he would like to find a publisher for his children's stories, but he always decides to self-publish his work.  Always.  He only wants my approval and for me to boost his confidence.    

These two examples are rare.  Most of the time, my writer friends don't abuse our friendship. They don't get frustrated and they are open to making revisions.  They make consulting fun and rewarding.

For instance, several years ago a friend needed help with a manuscript he planned to submit to a children's magazine.  I was happy to help him, and in the end, the piece got published in Highlights.  He sent me a copy and I found his story even retained some of my ideas.  Eventually he learned the ropes.  Now, he has been published by Highlights multiple times.  I'm thrilled that my advice has made a difference in his writing career.  

But there will always be a few friends who make my job challenging.  They may get defensive or disregard the suggestions.  Their attitudes frustrate me, and helping them feels like a waste of my time.  

Things have got to change when it comes to helping my friends.  We need to have a conversation.  I need to learn what it is they want from me and then they need to learn how I can help them.  So, here are some of the guidelines I'm thinking about:

• discuss the goals for the consultation
• limit appointments to an hour, whether on the phone or in person 
• offer to look at the first draft, but charge for subsequent help  

I put thought and effort into reviewing manuscripts, and I don't expect all of my suggestions to be used.  But if friends contact me for help on a picture book, I expect that they do some editing and to do so without grumbling about it.  They will need to be considerate and respectful of my time.  I've got to put my foot down.  Would you agree it's time to clue-in my friends?  Would you agree it's time to set a few ground rules?    

 ✌ and ♥ 

 

                                                                                                                                                 Photo: Hannah Olinger

HAVE YOU WRITTEN A PICTURE BOOK OR MAGAZINE STORY?     

How would you feel if a critic said your picture book manuscript was not a picture book?

Recently, that very thing happened to my friend Anne.  As you can imagine, she was upset.  The critic remarked it was more suitable for a magazine.  What's weird is I had worked with Anne on this particular project and I've always considered it a picture book.  

So, how do you know if you've written a magazine story or a picture book?  

Magazine stories have fewer illustrations, have one scene, and are meant to be read once.  

Picture books rely on illustrations, have scenes that advance the plot, and are meant to be read out loud and repeatedly.  

Specifically, picture books:

• Are usually for ages 4 - 8 
• Are usually 32 pages 
• Are about journey and heart (those words that makes us feel)
• Present universal themes (love, friendship, courage, hope, etc.) in a fresh way
• Impart a message without being preachy.  
• Have a rhythm and a flow of the language that invites adults to read the story out loud
• Have an engaging plot that begs the story to be read again and again
• Have well-timed page turns 
• Have lots of visual opportunities for illustrations 

Some picture books are simply a lively romp with lyrical language and energy that’ll entice re-reading for the sheer joy of it.  More often, picture books are character-driven with a strong arc.  These stories center on an inner conflict which leads to character development.    

What if you're still unsure if you've written a picture book?  

You can separate the text of your manuscript into pages and try to envision the art that will support each page. 

When author Debbie Ridpath Ohi pages out her text, she does tiny thumbnail sketches using stick figures to check overall flow.  Debbie says, "You don’t need to be an artist to do this!"

So, what did my friend decide to do?  Anne realized the critic was entitled to her opinion, but she also realized the critic had made some good points, which inspired her to reevaluate her picture book.  Moving forward, Anne plans to edit her work by making the text more joyful to ensure re-readability and by developing more inner conflict that will lead to character growth.   

Anne has the right attitude.  She knows it takes determination to stay positive and to continue after hearing discouraging comments. But what would you do if someone were to give you a disheartening critique about your work, especially if you heard it's not a picture book?  I hope you would question that opinion.  You may need to find others for support.  You certainly have my support.  I will tell you to believe in yourself.  Believe in your writing.  Don't let one opinion get you down.  Be strong.  Keep on going and don't give up.  You know as well as me, it takes perseverance and a thick skin to write for kids. 

✌ and ♥

 

To writers everywhere: believe and never give up.

Tags: Hope

Sweet ol' Ollie

WHAT'S IN A NAME? 

Coming up with a great name for a character is one of the hardest tasks a writer will face.  I always explore the meaning of names to make the job a little easier and more fun.  And, having had practice naming characters for my stories, I assumed I'd have the honor of naming our cat.  

My daughter Abby however, didn’t want to hear any of my ideas.  She decided to call our cat Ollie.  And I’m not sure why.  Maybe she liked the sound of it.  Maybe it was the first name that popped into her head.  Maybe the cat looked like an Ollie to her.

Being a writer, I wanted to know the significance of his name.  So, I looked up the meaning of Ollie.  According to www.babynamewizard.com, Ollie is the pet form of Oliver, derived from the French word olivier or olive tree.  Which begs the question: why would anyone name a person or a pet after an olive tree?  I read on.  Some think the name Ollie has a Germanic origin composed of the words alf (elf) and hari (army). Whatever that's supposed to mean.  Regardless of the meaning, Ollie ended up being a fitting name for our cat. 

Our second cat is named Ozzie.  This time, it was my choice since Abby was 400 miles away in college.  I adopted him from the Lexington Humane Society several months after Ollie died.  Originally, Ozzie was named Polo, meaning brave wanderer—which he actually became seven years later when he escaped our house last Thanksgiving*.  But Ozzie didn't look like a Polo.  I wanted to pay homage to Ollie, so I decided to use a similar name using a double consonant.  After naming him, I discovered that Ozzie is Hebrew for strong and Old Norse meaning bear god.  Ozzie is neither.

Ozzie, not Polo 

I keep the bestowing of names to a minimum, for family, pets, and fictional characters. 

Some people get a little carried away and give names to their cars, boats, appliances, and laptops.  I knew a gal who gave her plants the names of Shakespeare characters.   

Some people name body parts.  I'll just leave it at that.    

Writer Geraldine DeRuiter, travel writer and blogger of The Everywhereist, gave her brain tumor a name.  

"As for why I named it Steve... well, duh. What else was I going to name it? There is no one to whom I am particularly close who is named Steve. I’ve never kissed a boy named Steve. I’ve never uttered the phrase, “Steve, I love you.” And Steve is nice and short and easy to add to a long list of unrepeatable words. Behold:  Fucking goddamn miserable piece-of-shit Steve.” 

As you know, names are important to writers.  We want our characters to be memorable and we want the names to reflect their personalities.  But sometimes, we choose names just because we like them and the name seems fitting regardless of what they mean.  

Which brings me back to our pet's name.  I think Ozzie is perfect for our cat.  However, my husband tells me if he had been given a choice, he would have decided upon something different.  Something shorter.  In fact, it's even something he calls Ozzie from time to time.  Yes, Geraldine, my husband thinks like you, although his usage is less profane.  If he had been given a vote, he would have named our cat Steve. 

✌ and ♥

*Last year, Ozzie escaped on Thanksgiving evening.  Being an indoor cat, he didn't have the skills to survive outside.  We had given up hope of every seeing him again.  But two months later, someone posted a picture online of a lost cat that looked like our cat. Long story short, we were reunited with a very skinny, but unharmed (and grateful) Ozzie. 

                                                                                                                                                           Photo: Josh Applegate

THE ESSENSE OF YOUR STORY

When agents and editors read your work, they are not only looking for character and plot, they want to get a sense of the theme.  Theme is a word or two that gives the essence of your story.  It touches on what the main character learns and how that character changes in the process of the story. 

That said, can you identify the theme or themes in your picture book stories?  For me, two themes often appear in my picture books:  bravery/courage and kindness/empathy  

Why do I choose these themes?  It's kind of like the sorting hat in Harry Potter, where the hat chooses the wizard. I don't choose a theme; the theme becomes apparent after the first draft of the story. 

When I write a children's book, I concentrate on character and plot.  The theme turns up when most of the story has been developed.  

For instance, in one of my picture books, a young girl wants to find a way to help a homeless person.  This story, based on a true experience, honors my daughter who gave her umbrella to a penniless person.  As the story developed, the theme of empathy emerged by showing the actions of the main character.  

If you're struggling with theme, consider what Writers Write has to say:  

"A theme can be chosen by answering one or both questions:

1. What does the protagonist learn about him or herself in the story?
2. What does the protagonist learn to cope with in the story?"

Writers Write identifies 10 Powerful Recurring Themes In Children’s Stories:

1. Courage
2. Friendship
3. Belonging/Identity
4. Family
5. Loss/Grief
6. Growing Up.
7. Anger
8. Suffering
9. Jealousy
10. Love

Of course, there are many other choices, as listed here: 

https://www.almostanauthor.com/31-universal-themes-childrens-literature/  

Most memorable children's books revolve around a theme.  For example, the theme of Horton Hears a Who is taking a stand and the value of hard work is the theme in The Little Engine That Could.

But don't let finding a theme pressure you.  Relax, don't overthink it.  I suggest that you pour out your story and let it evolve.  Have confidence that a theme will appear.     

But...a word of caution:  If you're ready to submit your picture book, avoid pointing blatantly to the theme of your story.  This can be a bit of a turnoff to an agent.  Rest assured that when you describe the actions of your protagonist, you'll be able to convey the theme.    

Often, I've found that the themes in my picture book books end up being things I care deeply about.  They are issues I want to explore and causes I want to shed light on.  This may be the case for you, too.  Themes emerge when you write about something you're passionate about.  So, take a look at the pieces that you've written and the actions of the main character.  Can you identify the themes in your stories?  

✌ and ♥

                                                                                                                                                                            Photo: Nong V

                            
GIVE AGENTS WHAT THEY WANT

This week, a client sent me two picture book manuscripts that were beautifully written but lacked the basic elements of a story:  character and conflict.  It's very likely that these manuscripts will be rejected by agents.  Most agents crave stories with character and conflict.    

Let's take a look at these two pieces.  In one of them, the story is about fencing, an activity the writer had loved as a child and still enjoys as an adult.  The writer describes the uniform, the épée (sword), the stance, the attack and the three main moves.  This goes on for about 500 words.  And that's it.  Descriptions.  There isn't a main character who confronts a problem.  

In the other story, we have two characters, best friends, who go on an adventure.  Picture books can have more than one character, but one of them should be the central character and this central character should have a problem.  But in this piece, the conflict was unclear.  I couldn't tell what the main character wanted, what got in her way, and how she would resolve the problem.  To me, the story was an imaginative playful journey with no major conflict.  

Most books, whether they are picture books, middle grade, young adult, memoirs, or novels, have character and conflict.  They go hand in hand.  Conflict is born out of a character wanting something—and having trouble getting it.  

I had the fortune to listen to five agents on a SCBWI webinar panel weigh in on the subject.  They agreed a story should have a good sense of the main character (MC), plot, what the MC wants, and what stands in the way (conflict).  

An agent from the Andrea Brown Literary Agency states writers must find a way to connect with young readers not by story, but with the MC. She explains writers must create a relatable character that elicits emotion and develop a story arc which shows character growth or change.  

Children's author Margot Finke writes that conflict is on the checklist for picture books.  She states that "the main character needs to be in conflict with something or someone for the story to grip small readers. Have some problem that bothers, or gnaws, or leads to trouble. The hero/heroine gets to solve the problem over the course of the story. The solving is the meat in your story."

So, returning to the two manuscripts, what can the writer do to improve the books?  For the fencing story, the writer can keep the fencing descriptions, but she must develop a character who cares deeply about the sport.  She must describe how the character feels about fencing.  It's all about emotion.  Once that is established, then the writer can devise a problem the fencer faces and has to solve.  

In the adventure story, the writer can take the main character that has already been developed and invent a specific problem that gets in the way of what this character wants.  That conflict should be obvious and challenging to solve.   

These solutions may seem obvious to more seasoned writers.  But some newbies may struggle with character and conflict.  When that happens, I have a few exercises that might help.  

For character:  Set the plot aside and focus on the protagonist.  Let the imagination run wild and think of the first character that pops in your head.  Then cast that character as the star in the story.  This initial character will probably not be the best choice, but it gets the creative juices flowing and it will lead to finding the perfect character as the piece is revised.      

For conflict:  Think about putting yourself into the story and running into a problem you'd never want to face.  Or even better, have a conversation with the MC and have her tell you about the problem she's encountered and how she plans to solve it.

As a writer, you are free to write whatever you're craving to write.  Even if it's a description of an activity you love doing.  Or a wacky or wondrous adventure.  But like many agents, I believe that manuscripts must have the basic elements of a story.  So, if you want to publish a picture book, take an honest look at your work.  Does it have character and conflict?  

✌ and ♥

                                                                                                                                                      Photo: Dmitry Schemelev 

FINDING THE COURAGE TO WRITE 

From time to time, I question whether I should stick with writing.  This doubt arises when my work is rejected or worse ignored, which makes me wonder if my submissions were ever received.  

It's hard to remain positive, even though many authors say never give up.  

Disappointment lingered (so real I could almost touch it), but I shoved it aside to work on a fictional story and a nonfiction picture book.  I toggled back in forth between the manuscripts, editing the pieces but felt they would never be completed, never reach perfection (in my mind), never become what they should become.  I moved sentences around, deleted words, added dialogue, and I am so f*cking brain-tired and full of doubt.   

The week before had been easier.  I submitted two picture manuscripts to agents, one playful and the other more serious.  These stories have unique characters, memorable opening lines, good flow, strong tension, and story arc.  I believe they are different than what agents expect to find in their inboxes.  But will an agent be open to something different?  Will they get my writing and share my vision?  Will an agent fall in love with my work?  

Ozzie relaxes behind my computer and I give him a chin rub.  Lizzie climbs in my lap for attention.  They are a nice distraction.  I need it.  My cats help keep the depression at bay. 

I take a break.  I work a Wordle.  I move on to Quordle.  I solve them both quickly. 

At times, I wonder why I continue to write when publication has changed so much over the years.  At first, writers only had to compete with the celebrities and published authors.  Now days, writers have to compete with author-illustrators and with writers who have a referral.  Lately, we compete with the LBGTQ and marginalized authors and I applaud them because it's time their voices are heard.  But submitting has never been tougher.  

On top of the competition, writers must match their manuscripts to an agent's wish list.  But it's like trying to read an agent's mind.  I do my best to send an appropriate piece and end up with replies that say, "it's not a good fit," or, "it's not what I'm looking for."  I feel defeated.  And I don't want to feel this way.  

By chance, I noticed an online class on querying. Though I've been submitting for years, I signed up.  One can always learn something new and useful.  

Instructor Kathy van Eecke revealed 20 common query mistakes (yep, I had made one) and ways to correct them.  She advised us to take a look at Query Shark, a website that critiques queries.  Most of all, she encouraged us to rethink our queries.  She said it probably wasn't our books that needed help, it was our hooks. 

The timing of this workshop could not have been better.  It was the boost I needed.  After watching the webinar and studying a lot of query examples, I scrutinized the hooks of the five books I had written.  They were good, but they needed to be exceptional.  They had to grab agents and make them want to keep reading.  

So, I inserted a teaser (a captivating line or quote) before the book description.  I also reworked the book descriptions so that the first line of each one indicated three things: the main character, the inciting action, and the dilemma.  I found this would require concise writing.  But within a few days, I had jazzed up the five queries. 

I don't know how agents will feel about my submissions.  They are a picky crew and have very specific tastes in what they want to acquire.  But at least I know my queries are more intriguing and even a bit mysterious.  Having taken my queries to the next level, I have more belief in my hooks and in my books.  I am hopeful.  More positive.  Encouragement flows in, so real that I can almost touch it.         

✌ 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.

 

I GO, YOU GO, WE ALL VAN GOGH

Dear faithful readers,

You have an opportunity to let your voice be heard, to get involved, to try to sway an author (that would be me).

I would love to write a biography for kids about a young woman named Jo, who was the wife of Theo van Gogh, the younger brother of Vincent van Gogh.  She was married for only two years when Theo passed away.     

Jo was left with a child, her husband's correspondence with Vincent, and hundreds of Vincent van Gogh's paintings. 

After reading her diaries (Diaries Jo Bonger (bongerdiaries.org) I discovered Jo was terribly depressed.  She poured over Theo's letters, hoping to feel her husband's spirit.  In doing so, she learned how deeply Theo cared about his older brother.  

Johanna van Gogh Bonger and son Vincent

She also began to understand Vincent's dark moods and passions.  She realized his genius.   

After perusing the letters, Jo realized her life's mission.  She felt Vincent's paintings needed to be hung in galleries and appreciated by the public.  Jo devoted her life to promoting the art Vincent van Gogh—this from a young woman with no art or business education.  And she succeeded!

So, here's where you fit in.  

I need help in with choosing an opening.  Will you please take time to vote on your favorite?  I am torn between all three.

You may respond in the comments or at my email address: Rlmrvos (at) gmail (dot) com 

Ready?  Get set.  Vote!

1.  In the days when artists shied away from dark colors, set up easels outside, and painted their impressions of nature, there lived a young woman who grew to believe in a man, an artist named Vincent Van Gogh.  

2.  Jo spreads the canvases on a table, runs her fingers over the brushstrokes and makes a few selections. She keeps the most brilliant, her favorites at home, for Jo van Gogh Bonger has a plan.

3.  Jo kneeled in a cemetery upon a tangle of ivy and whispered to her husband's stone, "What shall I do with 400 paintings that were painted by Vincent van Gogh?"

4.  When Jo was young, she loved to write and she put down her thoughts in a diary. She never guessed that one day her words would touch others, like the art of Vincent van Gogh.

Thank you for helping!  

✌ and ♥

                                                                                                            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: Brooke Cagle

JOINING A CRITIQUE GROUP

I'll be honest. Being part of a critique group has never been my cup of tea.  I prefer to get critiques from my beta reader, my husband.  He cheers me on and he gives me great advice—I don't need others to weigh in on my work.  However, about five years ago, I got curious about a writing group that met at a library close to my home.    

When I arrived for the meeting, I discovered aspiring picture book writers eager to get published.  They were passionate about the stories they had written, and because they seemed professional, I made a commitment to join them.  It felt good connecting with local writers, helping them on their stories, and getting feedback on my own manuscripts.  We met one day a month to discuss our work and to give constructive critiques.  But before long, the group fell apart as people's schedules got complicated.  I hated seeing this group dissolve.  From what I observed, many members got a lot out of the sessions.   

Since then, several years passed and I never gave any thought to joining another group.  And then I meet a person through Mindy Alyse Weiss' Picture Book Party New Draft Challenge and Critique Train, an online event where writers were paired with critique partners.  By luck, this person invited me to join a critique group called Friday Minds. 

Friday Minds meets twice a month on Friday afternoons via Zoom.  I'm the only writer on the east coast.  Four of the others live in California and another gal lives in western Canada.  Friday Minds is composed of teachers, poets, moms, and of course, picture book writers. 

Before we dive into the manuscripts, we chat about what's going on in our personal lives, what we may have learned through workshops or webinars, writing events we may have participated in or hope to participate in, and what picture books we have read and loved.  Then, we get down to business and one person reads a manuscript aloud.  Next, we all give positive comments on the piece.  Afterward, the members take turns pointing out the parts that are unclear or might need editing.     

Friday Minds is a good fit for me. I was unsure at first, but the more I got to know everyone, the more I wanted to be part of this group.  Everyone is talented, fun to hang out with, and offers great advice and insight.  Now, I'm aware that other writers may feel differently about joining a critique group.  Some writers simply like to work alone.  Hey, I did that for years.  However, if you're curious (or tired of rejections) sit in on a meeting and consider these questions:     

• Does the group give positive feedback, discuss what works, and address the strengths? 
• Do they give constructive criticism on the areas that need improvement?
• Do they give detailed comments on plot, character, word choice, pacing and page-turns? 
• How do the members handle criticism?  
• Is there chemistry and respect among members?

I'm thrilled to be part of this critique group.  We brainstorm and offer new ideas to improve each other's stories.  We help each other navigate the waters of publication.   We commiserate over rejection and rejoice in our successes.  

Being a writer is a hard, lonely profession.  Now, my supporters have grown.  I have five more people who want to hear my stories.  I never thought I'd stick with a critique group, but Friday Minds encourages me.  They give me confidence in my writing.  They want to see me succeed.  Like my husband, Friday Minds is always there to cheer me on.          

✌ and ♥