It’s the Year of the Rooster! Some astrologers say this will be a powerful year where it’s important to be clear about our intentions. Commitment and hard work will help us achieve our goals.
What do you intend for your writing this year and what will you do to achieve those intentions? Here are four ideas to help you move forward.
1) Resurrect your writing with some writing resolutions.
Take inventory of the way you approach your writing practice. Where do you write? When and for how long each day do you write? Are these practices working for you and if not, how might you change them?
Do you have a goal for your writing each day, each month, each year? Having different goals for different time periods can help keep you on track.
This year I’ve added a paper calendar to my office. I love it. I still use my computer calendar, but this year I bought myself a real paper calendar. I’ve missed that paper calendar. It has an inspirational quote for each month and big squares to write important events. At the top of each month, I’m writing the specific goals I’m focusing on for the month and also a special “word of the month.”
Be specific with your goals. Make a note this week to listen to a video on how to rhyme or focus today on making that weak chapter stronger.
2) Attend conferences early in a new year to get inspired for the whole year.
I’m lucky to have the Regional SCBWI conference in Miami to attend in January. This year attendees listened to Jane Yolen, Heidi Stemple, Lorin Oberweger, Gennifer Choldenko, Mark Teague, and Jacquelyn Mitchard, author of The Deep End of the Ocean, which was the first selection for Oprah Winfrey’s Book Club. Definitely enough inspiration for the year.
Then there’s the February SCBWI winter conference in New York City, always with a marvelous array of talent to guide new writers as well as long-published writers along the path. I really wanted to go this year, but my budget kept me away. Right now with the blizzard blowing into NYC, I’m not completely sad about it.
3) Take a course to hone your skills..
There are many excellent online and in-person courses available. I suggest not getting overwhelmed with course after course after course, but a class to hone your weak areas or a few to get on the right road, if you’re a new write, are a good idea. Just google for a course in an area you need more expertise in or ask for ideas from your Facebook friends. One place to find great courses is at the Children’s Book Academy. If your characters happen to be a little dull lately, I have a self-paced online class on how to write great character-driven stories.
4) Read the award winners.
What else happens at the beginning of the year? The ALA awards! The Newbery and Caldecott are the most well-known, but there are so many others. The Theodor Seuss Geisel award for beginning readers is one of my favorites.
When the awards are announced, many writers run to their independent bookstore to buy the books or to their library to borrow them. Two of the 2017 award winners arrived at my library a few days ago.
The Caldecott Medal is for the most distinguished picture book for children. “Du Iz Tak?,” illustrated and written by Carson Ellis, is a 2017 Caldecott honor book. It’s an imaginative story of the life cycle as it’s never been portrayed before. Ms Ellis has given the insect characters an invented language of their very own. The reader can infer what is being said by the patterns in the text and by the illustrations...kind of. I’m still trying to figure it out, though I’m pretty sure “Du Iz Tak” is “What is that?”
The insects discover a new plant and interact with it as it grows, blooms, wilts, and returns to the earth. So much is happening on the pages, from building a fort in the growing plant, to a spider building its web over the playground, to a bird coming to the rescue, to a moth emerging from a cocoon as a grasshopper plays the violin. It’s magically detailed and totally original, with very strong character development for a story told in what some might call gibberish.
Pura Belpré Awards honor Latino writers and illustrators whose books best portray, affirm and celebrate the Latino cultural experience.
Juana & Lucas written by Juana Medina is the 2017 winner. Juana also illustrated this absolute delight of a book. Shall we say “character-driven?” Yes, we shall. I immediately liked Juana. Afterall, her favorite food is brussels sprouts. And then there’s Lucas, her dog. I fell in love with Lucas, just like Juana did.
“I love Lucas. LOVE. HIM. And here’s why:” This strong statement by Juana is followed by seven reasons why Juana loves Lucas. The first demonstrates the playful mood of the book: “Unlike others, Lucas listens to absolutely everything I have to say, without interrupting – even when the stories get to be a little too long.”
There are many books that do not win one of the ALA awards but are just as dearly loved by children and just as important. So if your book’s title is never listed in the ALA awards, do not despair. Whatever your story is, it chose you to write it. And if you are true to your story and children are positively touched by it, you have succeeded.
May these ideas help you to achieve your dreams in the Year of the Rooster, as we strive to write our best for the children of the world.
by Bryan Patrick Avery
I just got home from Las Vegas and a trip that gave me the opportunity to witness the incredible magic of David Copperfield up close and personal. In all the excitement, I lost track of the days and realized just this morning that it’s February. That means it’s Black History Month, which gives me the chance to talk about some wonderful alternative ways to bring stories to kids. I think these alternative approaches are important because the subject matter can, at times, be difficult to digest.
A great example of this is the graphic novel series March, written by Congressman John Lewis and Andrew Aydin, and illustrated by Nate Powell. The first graphic novel to receive the John F. Kennedy Book Award, March tells the inside story of the Civil Rights Movement as lived by Congressman Lewis.
The story is compelling and the artwork is engaging which pulls readers, young and old, into the story of a key movement in our nation’s history. It is written in a style that is accessible to all, and a shining example of sequentiall storytelling, as evidenced by the 2016 Eisner Award it received. If ever there was a way to make such a complex and challenging topic interesting to kids, this is it.
Another great way to expose kids (and adults, too) to Black History is through the poetry of African-Americans through the centuries. From Phillis Wheatley, who in 1770 became the first published African-American to Maya Angelou, perhaps the most well-known African-American poet, there are endless resources available to read and hear the voices of the American-American experience.
One of the greatest African-American poetic voices is that of Langston Hughes. My favorite poet, Hughes used his poetry to describe the emotions and challenges associated with being Black in America. His poems “I, Too” and “Harlem (What Happens to a Dream Deferred?)" are classics and can be easily understood by, and discussed with, kids.
My personal favorite is the Carol of the Brown King. As a child, I would recite it every Christmas Eve for my family after our traditional creole feast. It, and many of Hughes poems, are a reminder of the desire we all share to see ourselves in important stories. I’d recommend checking out Selected Poems of Langston Hughes for sampling of this master poet’s work. You won’t be disappointed.
In addition to poetry, there’s a vast array of reference books available that families can use to get a clearer picture of African-American history. The African-American Archive, edited by Kai Wright, has occupied a prominent place on our bookshelf for a long time. It includes transcripts of documents and speeches, poems and novel excerpts starting in the 1600s and leads all way to the current century. It is an eye opening look into the forces and experiences that have shaped African-Americans and the country.
Inside, you’ll find a treatise describing the best place to find slaves (see “Negroes Might Easily Be Had on the Coast of Guinea”), the full text of Dr. Martin Luther King, Jr.’s “I Have a Dream Speech”, and Bill Clinton’s 1997 apology for the so-called Tuskegee Experiments. While not all the subject matter is pleasant, it is an historical record of 400 years of African-American history and can provide children, parents, and writers a window into the African-American experience.
There are, of course, many other resources. I’ve always believed that African-American history should be viewed as more than just a set of facts. There is a rich, diverse experience from which everyone can learn. Learning more about the African-American experience may help you write more authentically, and with more compassion and insight. And that’s pretty magical.
When you are a writer, you begin to understand that writing is not quite like any other fields. There are those who consider it an art, and yet in some arts communities others do not. In Missouri, arts grants are often reserved for those who create something visual. I could easily argue that writing is visual, but I digress. Writing is hard work and as writers, we are artists creating something from nothing in an attempt to delight, or inspire, or create a reaction in the reader.
As a result, new writers sit down at a blank screen or white paper and enthusiastically craft a new world or story they want to present to the world. You take classes on writing and pacing and plotting. You go to conferences and cling to every word of an editor or agent in the hopes of finding the holy grail of publishing: THE contract!
But there's another side of publishing that many don't see until you're on the other side of the curtain. Writing is a business. And you will bear the weight of it full force. So get ready and get prepared:
1. Your office.
I'm lucky enough to have an extra bedroom which I turned into a fully functioning, dedicated space for writing. Some of my friends have sheds in their backyards. They're not fancy, but they're sanctuaries for writing. Other friends have carved out a nook in the kitchen, or a closet or someplace where they can feel that the space is reserved for allowing them to immerse in their manuscripts.
Find your space and claim it. Writing is work. Create an office even if it's only a 2 foot by 4 foot table in the corner of a room. Pinterest is filled with people who created innovative solutions.
2. Your equipment.
You need a good working computer. It doesn't have to be new. Here in Kansas City, for example, there's a wonderful nonprofit called Surplus Exchange which refurbishes donated computers from local companies and sells them inexpensively. You also need a reliable printer. You don't always want to read your work on the screen. You'll sometimes have to print and send hard copies. You can unlock a different part of your brain if you occasionally print your work out to read and revise. Laser printers can be more cost effective than inkjet. They're also faster. But regardless of what you choose, writers should acquire tools of their trade. I have two 4-color commercial laser printers (one regular, one wide format) and a fax machine. And yes, I still use all three. Most sane people will only need one printer.
I also have a dedicated office phone line with it's own answering machine. But most people don't need to go that far. I find it convenient not to mix business messages with a family machine where someone else will play the message and forget to tell me (like the time I missed a publishing inquiry because the message wasn't relayed to me for two days).
You should have a bookcase (or two, or three) filled with books on writing craft and books by authors you admire. You can't write if you're not reading. It's a process. Load up on nutritious calories.
YOU MUST have a back-up hard drive. MUST. They're less than a hundred dollars. I was on deadline and my computer's hard-drive died. I was dead in the water. But because I set my computer to back-up to an external drive each night I had a copy of all of my work. Just make sure you frequently save the files while working so the back-up drives have the most current versions.
Also back up your manuscript on a flash drive in case the external back-up drive laughs at you and dies days later. :-)
3. Software for writing
If you have a tiny budget and if you can't find a computer that already has writing software loaded on it, download: Open Office, which can read and write MS docs, and Scrivener. Mac people can use Pages (iWork) and Scrivener.
I write almost exclusively in Scrivener, now. I can export an MS word file for my editor. I edit files in Pages (which is a Mac program because both my publisher and their book designer can open).
Scrivener has been life changing and a lot of professional authors are switching to it. The cost is low but it's like having a Swiss Army knife, especially when writing a novel with a lot of characters and moving parts. There is a short learning curve, but once you get the hang of it you probably won't go back to the old way of drafting your work. And when you quit it automatically creates archive back-ups for emergencies.
4. Software other:
I write full time. Which means as a business owner I have other responsibilities. I have to create a website and blog. Book trailers. Book marks. I could hire out many of those things but writers are business people with limited budgets. I'm lucky enough to have two art kids in my family. But when they're too busy with classes to do my book trailers, etc,and when threats of withholding tuition doesn't sway them, I have to learn how to do them myself. As a result, my office software includes video editing software, Adobe Master Collection (Photoshop, Illustrator, Dreamweaver, After Effects, etc...) When I needed a 72" tall banner I made one myself in the correct resolution for Fedex/Kinkos to print and load in a stand. I had no choice. A good friend had her own banner made by someone at Fedex. We were appearing at the same event. So i made one too. And we both sold out of books because you could see our banners for miles away in that convention hall. So there are multiple ways to work through this if you're starting. But in this business, tools are important. Borrowing ideas from colleagues is also effective if you are stuck.
If this sounds overwhelming, find a student at a local college and pay them for help. Art students already have the software on their computers and can design things for you. Pay them. Be fair. They have to eat too.
Get a comfortable chair. Sure, you can start with a dining room chair, but eventually, find a sale, or a surplus place and get a good chair that lets you change height and has lumbar support because your bottom will be sitting in that chair for a long time. Find a table or desk that you don't have to share and that you can dedicate to your business of writing. Cats and dogs won't respect the space, but hopefully your family or significant other will. Get a file cabinet. Yes - writing can be electronic, but contracts are hard copies. You will want to file those and receipts for tax purposes.
While the industry loves to tell you stories of first-book authors who go into auction for a book deal, that's not the norm. That's the 0.00000001% of the industry. The rest is a hustle. So take classes. Could be an MFA, could be a workshop and a creative writing class at the local college. But there is no free lunch here. Take class. Even the most experienced authors know that writing is like ballet. You maintain muscle memory by investing in continuous education. Ask your doctor how many CME (Continuing Medical Education) credits they must take to stay board certified. Plan accordingly to accumulate writing CME's even though we don't call them that and no one is keeping track of what you do.
Writing doesn't pay like medicine (you've been warned), but it requires the same discipline.
Here's where most authors get stopped cold. Creating a market. I have gotten three invitations to speak in the last week that ended with, "While we can not cover your travel expenses or offer an honorarium, we find most authors relish the opportunity to meet a new audience. And some publishers often cover the cost."
Here's a newsflash. That's a myth. Most authors get NO marketing subsidy from their publishers. None. Nada. Many are printing their own bookmarks and paying someone to design it. They're paying for their own travel. They get 5-10 books from the publisher as part of the contract and have to pay to buy additional copies at an author's discount (40%) off. Those books are exempt from royalty payments even though bookstores and Amazon buy at the same discount and you DO get a royalty from those sales. So marketing is on you. YOU and not the publisher will set up a website, and Instagram, a professional Facebook page and a Twitter. YOU will create outreach to schools and libraries after the initial launch. YOU will need to engage with the audience and keep their interests. You'll have to talk to local librarians and bookstores.
Why bring this last part up?
Authors make the process look easy. We often employ smoke and mirrors to make the process seem more glamorous than it is. Workshops and classes cover the craft of writing but not the business. I've met a lot of people who have stars in their eyes about the prospect of being published and are wholly unprepared for the "business" black hole that follows. A business part whose expense and time commitment can have the potential to swamp the writing/joy part. The reality is both frustrating for new authors (and old ones), but equally frustrating for editors and agents who found joy in acquiring a work only to find out that the author is not marketing, or has assumed the publisher is going to take care of it.
True story, I've encountered people who ask how soon before they can get money after they send in an unsolicited manuscript. Book as a path to a vacation villa in Turks and Caicos is a myth.
8. Register a URL. NOW!
I used a free Earthlink website for years. By the time I'd published 10 or so books I got the courage to register my name: www.ChristineTaylorButler.com only to find that someone had bought it and wanted me to pay for it. I had to register a complaint with ICANN to get it back. I made the case I had been operating commercially for years and the owner didn't have the rights to a site with my unique name. I got it back with no payment owed to the person. But don't wait. As soon as my publisher acquired The Lost Tribes, I registered www.TheLostTribesSeries.com and several iterations.
Start engaging on social media. No time for a website, then use a wordpress blog as the starting point and point your domain name at it. Warning: DO NOT hard sell your books on social media. It's obnoxious. There's a bazillion people doing the same thing because some "how to" blog told them it would work. It doesn't. Make personal connections. Enjoy and discuss the works of other people. The latter will net you more long term good will. Coming on to say "I'm writing a book" or "buy my book on Amazon" will result in psychic daggers being aimed in your direction. Notice how few "likes" those posts get.
9. Organize your finances.
You got an advance? Good news. Now that pesky bad news. Don't spend it on Turks and Caicos. Invest it back in your career. Remember the other info above? That's where it goes. Get an envelope and throw every receipt in it. The printer and the printer paper, the Sharpies, the office phone, the internet costs, the website, the computer costs, the software, the classes, the post-it notes, the airfare to conference, the hotel, the Uber, taxi or the shuttle. It's all deductible when you publish. You'd be surprised how the costs add up.
None of the above is reimbursed by your publisher. You are the business owner/writer. These are some of the costs.
You will be responsible for your own taxes. You'll pay both the employer and the employee portion of Social Security and Medicare. April 15th is the National Day of Mourning for self-employed, full-time authors. The government still expects their fair share even though they didn't rep you or critique your manuscript.
10. Getting paid.
There are two general options if you sell work to a commercial publisher:
The first is selling to a publisher with a royalty based contract. Even if the contract is for what seems like a large amount, you won't get it all up front. Many contracts call for a third on contract signing, a third when the manuscript is turned in, and a third when the book is ready to be printed. That can be 6 months from start to finish in the case of my first book, or a year or more in the case of a more complicated project. Even longer if you write a picture book and the illustrator is famous and booked for several years.
You won't get any additional money until the publisher has sold enough books for your royalty to cover the money you were paid in advance. And afterwards the payments will likely come six months in arrears. So the statement for January through June may not come until December or January. If you have an agent they will need time to process their client's statements and deduct their commission.
So you will be paid twice a year and the amount is not predictable. Budget appropriately. It may also not include 100% of what you are owed because distributors and publishers keep a reserve in the event that bookstores return unsold books they purchased from the publisher. And here's another hint, many authors do NOT earn out their advances. So it is likely that your advance will be the sum total of your revenue and earnings in the future will be small. Unless you are marketing your assets off - but we've already covered that.
If you take on a book as "work for hire," you will receive a flat fee. The publisher will own the copyright and all revenue remains with them. Some publishers pay half the flat fee on contract and half on manuscript completion. You'll have to invoice them. Watch the contract terms carefully. I'm now see ing terms that pay 60-90 days AFTER you send in a contract. That's a long time to wait for work you completed on time. But - I do a lot of work for hire because the fees are often more than an advance on a similar sized book and I don't have to worry about waiting years for royalties. I have paid a lot of school tuition for the girls by working on client books this way.
If you think you can avoid the stress by self-publishing, think again. You still have to do all of the above, plus now you, not a publisher, will pay for a good artist (read my lips, good well trained cover designer, not friend who dabbles), copyeditor, book designer, etc. Yes - that's on you if you self-publish and you can't skip that step. There are no shortcuts if you try to bypass commercial publishing's submission/rejection black hole.
10. Lastly, know your worth.
Why this last one. It's the whole purpose of this blog entry. The flood of authors coming into the market because they believe the process is "intuitive" is also driving down the fees publishers are willing to pay. I've seen significant wage stagnation which makes it hard for writers and artists to sustain a living wage, something that was possible years ago. There are going to be times when it makes sense to turn work down. Reach out to other authors and don't ask what they are paid, but do ask if the amount you were offered was reasonable. Would you honestly take a job if you know the time commitment meant you were being paid less than a waiter and you don't get tips to supplement. But the person who is asking you to work for that rate has a salary, medical and a retirement package?
Remember, when in doubt, know your worth, and what it will cost you to sustain the business costs of writing. I've seen a lot of really talented authors derailed because their families saw the hard work but didn't see the "imaginary" riches materialize after the book was published. They didn't know that book sales build slowly and require investment of time, energy and money to grow an audience. They didn't know that their favorite authors on Oprah probably started by selling two copies at a book signing or out of the trunk of their car.
It's a process with an Everest sized hill to climb.
DOES THAT SCARE YOU?
Then let writing be a hobby. Write with joy. Writing is sometimes about the process of crafting words and that's enough.
Then forewarned is forearmed and welcome to a family that includes those who have crossed the publishing threshold and those still waiting. These professionals know it's a business and that the investment isn't guaranteed to pay off, but the journey is worth taking. Editors and agents are also running business. You're not a client. Upon acquisition, you're now a business partner with obligations.
Respect for the process is key. Those authors you admire are running a business with financial profit and loss statements, contracts, and negotiations. They're their own marketing department, sales team, graphic designers and webmasters. The best writers who have not yet published are still doing the same things as those who have. And for those who are serious, sharing means we are all stronger for the process.
Welcome to the journey. May you find joy and blessings along your path.
Friends. It’s one of the most common themes in children’s picture books. In fact, it’s so common, it might even be considered overdone. “Not another book about friendship!”
Yet friends are always in fashion. Some people like lots of friends, others enjoy just one special friend. But we all need friends at some time in our life: someone to spend time with, someone to have adventures with, someone who always “has your back.” As James Taylor wrote in the song You’ve Got A Friend, “You just call out my name, and you know wherever I am, I’ll come running...to see you again.”
Although it might be a challenge, there are always new ways to write about a subject. Over the holidays, I discovered three new books about friendship that are excellent examples of this.
We Are Growing, by Laurie Keller and Mo Willems, is delightful and distinctive. Eight blades of grass are growing, all in their unique, friendly way. Each blade is special in some way as are all of us. Afterall, “We are all the SOMETHING-EST.”
Horrible Bear by Ame Dyckman and illustrated by Zachariah OHora is a book I was not initially drawn to. The title disturbed me. You will never see a book from me titled Nasty Nan or Mean Little Gene (Hey! That last one’s kind of good.). Just not my style. But I kept hearing praise for the book and when I did read it, I applauded. First, the illlustrations and text work so well together, supporting each other as they tell the tale. The girl shouts “Horrible Bear,” but Bear is not horrible and the thought of revenge grew in his soul. An accident drew them apart. Another accident drew them together and allowed them to ‘patch things up,’ something all friends must learn to do.
Then there’s the totally imaginative, totally wonderful Best Frints in the Whole Universe. It portrays the ins and outs of friendship on planet Boborp. They are surprisingly similar to those on Earth. Author/illustrator Antoinette Portis has even created a Boborp language.
To me, it’s always a bonus when there’s a depth to a friend picture book. I think...I hope...that my last two friend books have that depth: Lost. Found. with Bear bringing quarreling woodland creatures and an unraveled scarf together, and Waiting for Snow where friends support and wait with Badger until the first snowflake arrives.
Friend stories always manage to snuggle their way into our minds and our work. I’m actually completing two new “friend” manuscripts now. One is simple and fun. The other is more complex, with a definite message. I hope both of them find a home in the future. We can never have too many friends...or friend books.
So feel free to take up the challenge too. Write that book about friends you’ve been thinking about. Just be sure to make it unique.
Marsha Diane Arnold loves reconnecting with old friends as well as making new. Her popular course Writing Character-Driven Picture Books can be found at http://www.childrensbookacademy.com/writing-character-driven-stories.html.
Meet the Friday Blogonauts
First Fridays will feature Bryan Patrick Avery, published writer , man of mystery, and professional magician among other things.
Second Fridays will feature awesome multi-award winning author Marsha Diane Arnold who will be writing about character-driven and/or nature-based books and/or anything she likes :)
Third Fridays will feature independent Aladdin/Simon & Shuster editor Emma Sector who has helped bring many books into the world.
Fourth Fridays will feature the great Christine Taylor-Butler who has published over 70 award-winning fiction and non-fiction and nonfiction books including the acclaimed new middle grade series - The Lost Tribes.
Fifth Fridays will feature the fabulous Carl Angel award-winning multi-published Illustrator and graphic designer.
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