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 ♥

 

                                                                                                                                         Photo courtesy Shutterfly   

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 ♥

CAN YOU WRITE A RHYMING PICTURE BOOK? 

My client Patty thinks writing a rhyming picture book is a piece of cake.  She's not alone—many people feel the same way.  But it's much harder than it looks.  The rhymes and meter should flow like a gentle river.  On top of that, a rhyming book, like all children's books should have some tension and a steady pace so the story moves along effortlessly.  

Patty had composed 30 couplets to tell the story.  When I read her work, I found a few places where the story dragged.  Some stanzas needed to be removed to improve the pace or flow of the story.  It was important to cut unnecessary lines that didn't advance the plot.  

Next, I began to concentrate on the meter (or beats).  Throughout the piece the meter was uneven.  This is kind of like clapping out of time to a song.   

For example, one line may have had ten beats (or stressed syllables) and the following line may have had eight.  That's a problem.  The rhythm was off.  The couplets needed to have the same number of syllables or the story would not sound smooth when read out loud.  

Once the meter was adjusted, I focused on the rhyme at the end of each couplet.  Rhyme has to be spot on, no cheating.  For instance, day and stage is not a true rhyme, but day and say would work.  Using a website like Rhymezone can help writers find better rhyming choices.

Then after improving the meter and the rhyming, I read the piece again to see if there was enough tension.  In Patty's story, the main character had a problem, but she solved the problem too easily.  Patty needed to make it more difficult for the character to reach her goal.  So, with this story a stanza or two had to be created to bring about more tension.   

As you can see with this example, meter, rhyme, tension, and flow are important factors to consider when writing a rhyming picture book.  

If you are interested in writing a rhyming story, here are some more things to keep in mind: 

• Know that when you query a rhyming picture books, agents may be less likely to accept it.  Agents are leery of rhyming books and they are on the lookout for forced rhyme that does not advance the plot.   

• Read other rhyming picture books to see how to achieve perfect rhyme.  Learn from other writers how they managed to pull off rhyme.

• Find another trusted to person to read your work.  Get their thoughts and revise accordingly.

• Read your work aloud.  If you find places where you stumble on a word or the rhythm is choppy, it's time to rethink those phrases.  When you read the story out loud, it should flow effortlessly, as smoothly as a gentle river.

A lot of people think it's easy to get a picture book published.  But the truth is, writing for kids is tough.  Writing a rhyming picture book is even tougher.  But if you can perfect the meter and rhyme and create enough tension and flow, you will have the essentials for writing a rhyming children's book. 

✌ and ♥

Here is an excellent article on writing rhyming books for kids:

https://brookevitale.com/blog/anapestic-and-iambic-tetrameter-in-rhyming-childrens-books

                                                                                                                                                                  Photo: Md Mahdi

AM I A GOOD WRITER? 

The title of this blog is personal.  Though I've been published in national magazines, won literary awards, and had a picture book published, I still question my talent.  Crazy, huh? 

Receiving rejections gives me doubts.

Failing to place in a writing contest gives me doubts. 

Reading about writers signing agents on Twitter give me doubts.

These doubts add up and take a toll on me.  Doubts kill my confidence in finding an agent.  

I'm smart enough to realize being negative will get me nowhere.  I have to move on and look at the positive aspects of writing.  

My critique partner (a published writer) tells me she loves and believes in my manuscripts. 

An agent sent me a lengthy email gushing about my strength as a writer.   

Another agent ask to see more of my manuscripts.   

Surely, all of these positive things are signs that I'm on the right path to finding an agent who'll believe in my work.  The hardest thing for me is to believe.  There are several things that help:

I give it my all every day.

I stay true to my voice while keeping my young audience in mind.  

I seek critiques and then revise.

I do my homework to submit to agents who would be open to my style.  

I surround myself with encouraging people and writers.

While my husband Jim and I were taking a walk, we talked my frustrations and all of the obstacles that make finding representation difficult.  Agents close their submission windows frequently or they want author/illustrators or they only want referrals.  And these days, chances of getting an agent are greater for LGBTQ+ authors and writers of color.  Don't get me wrong, I'm not jealous.  Their voices need to be heard.  

Jim encourages me to have fun writing new pieces and enjoy the journey.  I try to keep that in mind, but deep down inside I have a burning desire to be represented by an agent.  

The road to publication will always have challenges.  There will be highs and lows.  The trick is to not dwell too long on the lows, but to celebrate the highs.  To cherish them.  To savor them.  When I think of my achievements and how much I've grown as a writer, my confidence grows.  If I can focus on accomplishments and stay steady on my path, I will be able to leave the doubts behind.  

✌ 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 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.