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DISCOURAGED

The other day, I spent most of the morning filling out a Query Manager form.  In less than 24 hours after submitting it, an agent rejected my manuscript.  That really stung and once again, I felt discouraged about my writing.

I had double-checked and triple-checked the form (Had I spelled the agent's name correctly?  Was the pitch enticing?  Did my bio show I was an accomplished and dedicated writer?)  and said a prayer before sending it (Don't we all?)  This time, this time I had hoped an agent would like my work since it was based on her wish list needs.    

But interpreting what an agent wants can be tricky.  In most cases, an agent's manuscript wish list is general.  It may not reveal her specific wishes—which can be difficult to express.  She may even like something that's not on her list!  But the one true thing is the piece has to touch her heart, and she has to be able to sell it.

That said, the best I can do is write a killer query and send a story targeting her needs.  Still, there's no guarantee that strategy will work.  The piece may get turned down for some unknown reason.  

When my work is not accepted, I could stop writing and protect myself from rejection.  But writing brings me joy so, I want to keep creating stories that I'm passionate about.   

Before querying again, I sat back and reflected.  How could I make my query more intriguing?  How could I revise the story to bring out more emotion?  Where could I search (in addition to the Official Manuscript Wish List) to find an agent who will be a better match for my work?   

The biggest question is could I handle more rejection?  It is always an unwelcome possibility.

All I know is to be positive and to have faith, to surround myself with people who believe in me, and to not be discouraged for too long.  There will be opportunities and there's always hope.  Margarita Montimore's manuscript (Oona Out of Order) was fished out of the slush pile, so one never knows.  

I reached out to my mentor for some encouragement.  He told me (as he would tell any writer), "Your voice deserves to be heard. Keep knocking. Doors only open to those who knock." 

His words inspired me.  A few days later, I selected one of my favorite manuscripts, a strong piece my critique partners liked.  I filled out the query form.  I said a prayer.  This time, this time...this one may be the one.

✌ and ♥

November Writers Digest article:  "10 Dos and Don'ts of Being Rejected" 

https://www.writersdigest.com/getting-published/the-10-dos-and-donts-of-being-rejected?utm_campaign=WDG%20-%20NL%20-%20Publishing%20Insights&utm_medium=email&_hsmi=280884590&_hsenc=p2ANqtz-_7O98cs_NI5wbzH6tcjCj61WpEArt9PIoolzn5S7o6IMvQFJ52Wc9Gtm5BxyWS0EZCmzmuaQzRcfF-4NQbqDwXmq-nmA&utm_content=280884590&utm_source=hs_email

                                                                                                                                                         Photo Lulia Mihailov

TAKEAWAY VALUE 

Do your stories have takeaway?  Should they have takeaway?  What is takeaway anyhow?  

Story takeaway can be defined as a main point or key message to be learned or understood. 

So, how important is takeaway in children's literature and how does one create takeaway in a story for children?  

Editorial expert Mary Kole says, "Picture books, more than any other category of kidlit, are about character change, a moral, or a lesson.  A strong takeaway is expected because we want our young readers to be eating a little bit of medicine (the moral) with their syrup (the story).  Like those cookbooks for moms who want to sneak veggies into brownies.  But how do we do this effectively, without turning readers (and agents and publishers) off with too much lecturing?  It’s all about character!"

I agree with Mary that takeaway comes with character and how that character changes.  I would add takeaway leans on a story's theme and conflict.

For instance, let's say you have a story about a child who catches a king spreading a lie.  The conflict is: how can (or should) a child confront the deceitful king?  The theme of the story centers on bravery and the takeaway highlights the importance of being truthful.     

And as simple as that may seem to get this point across, a writer has to delicately handle the moral takeaway.  The lesson cannot be didactic.  In fact, Mary cites moralizing as one of the main reasons agents pass on a picture book project.  "One of the biggest challenges I encounter in my editorial practice is picture books that show character change in a clumsy or overbearing way."  

So how do we write picture books that show character change without explicitly stating the lesson?  Mary says, "It’s a rather simple answer:  let the character have some realizations and then act upon them.  At the same time, do not explain what the character is learning."  

In other words, writers must allow a character to discover something special about himself (or herself/themselves) so the dilemma can be solved in a personal way. 

Going back to the story of the boy and the king, though the child wrestles with a powerful authoritative figure, he eventually realizes that just because he's young doesn't mean he can't speak out and be heard.  Once the young boy understands this, he changes.  He discovers a way to speak the truth.  

"Transformation happens with little choices and in small steps, as that honors the real life process of behavioral change," says Mary.  "Your character CAN learn something in your story, but the best picture books that show character change are subtle and character-driven, instead of moralizing."

If a writer carefully crafts takeaway, children will subtly absorb the lesson.  Through stories, they may soak up how to believe in themselves, how to be adventurous, how to be a good friend, or how to be generous and kind and brave.  When you express the morale gently, children will learn a valuable lesson that never feels like a lesson at all.  

 ✌ and ♥