Natasha Yim Teaches Us How to Read... in Public!

Today I'm happy to be the first stop on Natasha Yim's blog tour celebrating the release of her latest book, Sacajawea of the Shoshone, part of the Thinking Girl's Treasury of Real Princesses series published by Goosebottom Books! Natasha's book, Cixi, the Dragon Empress, is also published by Goosebottom. Her picture book, Otto's Rainy Day, is published by Charlesbridge, plus she has a forthcoming book from Charlesbridge titled Goldy Luck and the Three Pandas. So, Natasha knows quite a bit about having to read in public! And when I say having to, I think most of you know what I mean. Getting up in front of a crowd is something most of us don't enjoy and something many of us think just might kill us! But, Natasha understands, and she has some great tips to get us up there, connecting with readers!

READ IN PUBLIC? WHO ME?

By Natasha Yim

Recently, I presented my new book Sacajawea of the Shoshone (Goosebottom Books, 2012) at the Sonoma County Book Festival. I even dressed as Sacajawea for the occasion. My stomach churned uncontrollably. I kept telling myself: “Get a grip! You’ve done this before. You know her story. Why are you so nervous?”

Well, that’s because for most of us authors, public speaking doesn’t come naturally. It’s something you have to work at. There are always things I worry about: I won’t speak clearly enough, my topic won’t engage the audience, I look ridiculous in this costume, I’ll trip and stumble on my way to the stage (this happened to me once), nobody will show up (this has also happened to me at an event). Unfortunately, Marketing and Promotion is a big part of being an author these days. After all, how are people going to find your book if they don’t know it exists?

When I had my first reading and signing at a book store for my first picture book, Otto’s Rainy Day (Charlesbridge Publishing, 2000), I was petrified! I had to ask my brother-in-law to read the book! School visits were even more terrifying. Speaking in front of 50, 100, 150 kids? Forget it. I avoided doing school visits for the longest time. I’ve come a long way. I’ve done quite a few public speaking engagements now and managed to have fun at most of them. And even though I can read my own books and get to the stage without stumbling, the nervousness never goes away.

So, here are a few tips about public speaking I’ve learned on my way to the podium. They may not make you a great orator, but it’ll help you manage your sweaty palms, hammering heart, and the urge to throw up all over your audience.

1. The only way to get a handle on your fear of public speaking is to just DO IT. Over...and over...and over again. The more you do, the less terrifying it becomes (note I’m not saying you won’t be terrified, I’m saying you’ll be less terrified).

2. Don’t think sales or marketing. Yes, you’re putting yourself out there and forcing yourself into this misery called public speaking because, in part, you’re promoting your book. But ultimately, what you’ll get the most joy and satisfaction from is connecting with your audience.

3. Use visuals. Power Point...best invention, ever! Actually, I have an Apple computer, so I use Keynotes which is more intuitive than Power Point, but you can include fun graphics and pictures, make them move across the page, shimmer or sparkle. Kids love the little airplane icon that flies across the map of the world from South East Asia to California when I talk about my childhood and journey to the US. You can enlarge the pages you’re reading from so they can see the illustrations better. And it takes the focus off of you as the speaker. When and if Power Point isn’t feasible, copy, blow up and laminate images, illustrations and graphics that relate to your book. Tip: pictures of pets are always a great hit.

4. Go with the flow. Sometimes, you’ll appear at an event and you’ll have one person in the audience or none at all, or the bookstore owner didn’t order enough books (or as the case may be—any books). I’ve turned book events into one-on-one chats (hey, she took the time to come), or signed free bookmarks for the attendees who didn’t want or couldn’t afford to buy the book. Make your time worthwhile, no matter how small.

5. Have a sense of humor. A friend of mine presented her book for ages 9 - 13 at an event where most of the kids who came were barely in pre-school, and the Q & A segment went something like this: “When is the skater lady going to be here?” (Olympic gold medalist Kristi Yamaguchi was also scheduled to read her children’s book that day). You never know, those embarrassing moments could be the start of a new book! At any rate, they’ll make great stories to tell your grandkids...or your writer friends...who then put it in a blog post...

Want to hear more from Natasha?
Connect with Natasha on her website: www.natashayim.com
Her blog: www.writerslife2.blogspot.com (You can find the next stops on her blog tour in the sidebar.)
Pinterest: www.pinterest.com/natashayim
Facebook: www.facebook.com/natashayim.author
and check out the fan pages for Sacajawea of the Shoshone and Cixi, The Dragon Empress.


And if you're in the bay area, Goosebottom Books will be launching Sacajawea of the Shoshone and 2 other fall releases (Njinga, The Warrior Queen, and Horrible Hauntings) at Reach and Teach bookstore, San Mateo, on Oct. 27, 4 pm. Come join us for a Halloween-themed book party with scary treats, a scariest reading contest (the audience gets to pick the scariest reader), book readings and enter the best Sacajawea look-alike contest. More details on Natasha's blog to come.

How Diana Murray got Her Agent, plus an interview with Brianne Johnson of Writers House

Not too long ago I featured Brianne Johnson of Writers House on my Monster List of Picture Book Agents. That led me to talking to Diana Murray, a fabulous picture book author who is represented by Brianne. Today I am happy to have Diana here to share with us how she signed with her agent. (I can't help but love hearing about her kicking the cyber-street to the curb!) Diana and Brianne were also kind enough to do a little question and answer for us! First, here's Diana's post:

How I Got My Agent

At first, I wasn’t even sure I wanted an agent. For one thing, I had always heard that getting an agent for picture books if you weren’t a) already published, b) also writing novels, and/or c) also an illustrator, was pretty much impossible. On top of that, I wrote exclusively in rhyme. Seemed like a sure recipe for rejection, according to the word on the cyber-street. In addition, I’d read about many agented writers who seemed unhappy or frustrated. Why bother? I figured I might as well continue subbing to publishers on my own. But then...
December 22

I read about Brianne Johnson on Verla Kay’s blueboards and headed over to the Writers House website to investigate further. It was like reading a personal ad and thinking, “Hey! I like long walks on the beach too!” I immediately felt in my gut that it might be a good match. Also, I felt particularly excited about the prospect of working with a go-getter junior agent at a big house. Seemed like a great opportunity. I decided to sub immediately, even though it was just days away from Christmas.

January 17

After a few weeks, I was excited to see an email from Brianne in my inbox. I did a double-take to make sure I wasn’t imagining things. It was true! Brianne said she really liked my manuscript and was getting some reads from colleagues. In the meantime, she wanted to see if I had any other work. Luckily, I had written lots of other picture book manuscripts over the years. But how to choose? I based my decision mostly on the feedback I had received during various SCBWI events, and on reactions from my own critique group. I chose to send her five. One manuscript was similar to the first one she liked (it was character-driven, wacky, had plenty of conflict, and was in the range of 500-700 words). Three of the manuscripts were much shorter, younger, and simpler. And the last manuscript was a humorous poetry collection.

I reset my email program to check for new mail “every 1 minute”. And I waited...

Feb 6

Twenty days later, I received a response! But before opening it, I had to go make a sandwich. I couldn’t face this news on an empty stomach, especially since no matter the outcome, there would probably be some cabernet involved.

When I finally opened that email, I read that Brianne liked my writing and wanted to speak with me!

Feb 7

On the phone, Brianne immediately made me feel comfortable and we had a great conversation. That was another good sign that we could work well together. She was enthusiastic and complimentary, but didn’t promise me the moon. Brianne was clear that rhyming picture books were a tough sell in the current market, and I didn’t disagree. By that night, I was signing a contract with her. Within a few months, she sold one picture book to Roaring Brook Press and then another (in a two-book deal) to Katherine Tegen Books.

Take that, cyber-street!

And now I’ve changed my mind about agents. It’s true that they’re not an absolute necessity when you write picture books. But when you find the right agent for you, it can make all the difference in your career.

Here are a few answers from Brianne Johnson at Writers House:

What kinds of picture book manuscripts tend to catch your eye?

Funny ones! I love clever, character-driven, LOL-funny manuscripts that leave a lot of room for art, feature somewhat offbeat protagonists, and hold up to repeat readings. In that sense, Diana and I are a truly great match (that, and our shared love of long walks on the beach). When I first read her work I could really see them as picture books, and her sense of humor is amazing. Absolutely no one can read NED THE KNITTING PIRATE or GRIMELDA without literally laughing out loud… I’ve read them both about a million times and LOL every time. You’ll see!

What are some common mistakes you see in query letters for picture books?

Not including the manuscript pasted below the letter! You’d be surprised how many queries I get that leave off the MS itself and just include the pitch. To be honest, with picture book queries, I skim over the letter quickly—paying attention mostly to the intro (big points for a personalized letter) and the bio, particularly if there’s previous publishing experience listed—and skip down to let the manuscript speak for itself. If the manuscript is really great I’ll go back and read the letter more carefully.

Are there certain picture book topics you’re particularly tired of seeing in your submissions pile?

Personally, I’m probably not the best fit for super-oozy-sweet, I-love-you-my-baby-muffin kind of manuscripts. I mean, I’ll always take a look, but I tend to gravitate toward somewhat edgier, funnier stories. Who knows, though? My query scouting style is largely instinct-based and very subjective. Try me! If I love it, I love it.

For those who write both picture books and novels, what do you recommend they query with first?

Probably the novel, although it’s worth mentioning in the letter that you have a picture book text or two up your sleeve.

-----
Diana Murray is the author of forthcoming picture books, NED THE KNITTING PIRATE: A SALTY YARN (Roaring Brook Press/Macmillan, 2014) and GRIMELDA, THE VERY MESSY WITCH (Katherine Tegen Books/HarperCollins, 2014). Diana was awarded the 2010 SCBWI Barbara Karlin Grant and has many poems published and forthcoming in magazines including Spider, Highlights for Children, and Highlights High Five, as well as the And the Crowd Goes Wild! sports-themed poetry anthology. Diana lives in New York City with her husband, two children, and a goldfish named Pickle. You can find Diana on her website, www.dianamurray.com and on Twitter.

Sharing the Love

Wow. This was our second weekend having the cafe & gallery open and it was hoppin'! I was so tired on Saturday that I fell asleep around 7pm! I have to say, this new venture makes me even happier that I have the fabulous Karen Grencik working to sell my books. I have to use my spare minutes to write! I did find the time to share some love over at Kai Strand's blog for Share the Love month. I talk about my friend/librarian and how she has gently pushed me into being a more outgoing author. I mean, it's not everyone that will get you up infront of a group of librarians while a well known book reviewer flips through the pages of your book for you! Anyhow, if you want to read about my library adventures, or even learn how you can help push an introverted author in the outgoing direction, head on over and check out my post at Strands of Thought.

My Favorite Picture Books

I'm so excited! I'm featured on Sergio Ruzzier's blog today! I love Sergio's books. I can so relate with AMANDINA and I love, love, love THE ROOM OF WONDERS.

Sergio asked me if I would share my list of favorite picture books with him. Of course, I said yes! It was hard to narrow it down, but I got the list down to ten I really love. If you want to check out my list you can see it on Sergio's blog.

I'd love to check out some of your favorite picture books if you want to share them with me in the comments. I'm always up for new favorites!

Speaking Spanglish--Why I Chose to Write a Bilingual Picture Book, guest post by Suzanne Santillan

Suzanne Santillan's bilingual picture book GRANDMA'S PEAR TREE/EL PERAL DE ABUELA was published by Raven Tree Press this spring. It's a cute story with beautifully sweet illustrations by Atilio Pernisco. Her book has just been nominated for the California Book Award and a Cybil! Since Suzanne is a fellow Raven Tree Press author I've been lucky enough to get to talk with her a bit and she was nice enough to stop by today to tell us about how she came to write GRANDMA'S PEAR TREE...

When I was young, my father thought it was important for his children to speak Spanish. Growing up in Southern California, I can see why he thought this would be a good thing. I remember sitting at our favorite Mexican restaurant while dad taught us the Spanish words for spoon, fork, chips, etc… This information would help me later in life when I became a manager at a restaurant and I was required to communicate with some of the employees. Thanks to my dad I was able to state such valuable phrases as; “No lechuga in the sink” or “Clean the baño, por favor.” Yes, I had truly mastered speaking “Spanglish.”

Years later, I was grateful when I was easily able to speak with my mother-in-law who lapses from English to Spanish in the blink of an eye. I would find myself translating her “Spanglish” for my husband and my children nearly every conversation. I began to see the wisdom of teaching my children basic Spanish vocabulary, if only so that they could understand their grandmother just a little bit better.



Taking inspiration from real life, I wrote a simple story about a boy who gets his ball stuck up in a tree and has to find a way to get it back down and added a few twists and turns. The end result was a humorous story that taught 16 Spanish words and the phrase “Aye Caramba!”

It is my hope that this story will help children in the future so that when they have to communicate they can say in true “Spanglish” style; “Throw el gato into the tree” or “Use la escoba to get your things down.”

You can find out more about Suzanne and her book, GRANDMA'S PEAR TREE, at her website suzannesantillan.com and at her blog, Writing on the Sidewalk. You can also find her on Twitter @suesantillan.

You Sick of Me Yet?

I have an interview up at Suzanne Santillan's blog where I talk about my writing process, procrastination, tropical paradise, and also, rollerskating. You can check it out at Writing on the Sidewalk, if you aren't too sick of me yet!

Authors Now!

My Author Spotlight interview is up at Authors Now! where I answer some great questions about who might identify with Bedtime Monster and how the book can be used in the classroom. Stop by and say hi!

It's Been a Long Road

It's been a long road on my way to the publication of BEDTIME MONSTER. The book actually comes out in three days, so I guess it's safe to say that the road to publication part has finally come to an end on this project while the path of promotion seems to be something that goes on indefinitely. This hit me this summer when I saw Nina Laden at the library and she'd brought along all of her books, including the first she'd ever published, THE NIGHT I FOLLOWED THE DOG. Guess which one my little guy chose? Yup, 16 years and the book is still selling.

Corey Schwartz actually asked me a while back if I would write about my road so she could share it on her blog. I finally was able to do this since I think it's safe to say that I've officially reached the end. My story was so long that she's split the post into two parts. Since when did I get so long-winded!?! You can read part one here on Corey's blog, Thing 1 and Thing 2, if you're interested.

Why I Blog

I never really thought that deeply about the reasons that I blog. It's just become something that I do when I get a chance. Sally Murphy gave me the opportunity to think about why I blog and she's just posted my first online interview ever! I'm her featured blogger for Featured Blogger Friday. I mention in the interview that I used to freak out that people would read my writing. I am trying not to freak out about having an interview online. There was a time when I would have gone and hidden under a rock. Today when I saw it, my face didn't even turn red. Yes, that happens when I read things about myself online from time to time. Okay, it used to happen. A lot. I think I just may be getting to be outgoing.

Tips On Writing & Drawing Comics for Kids

I've been stoked to feature John Lechner as my Illustrator of the Month for April. John is a fabulous illustrator, writer, animator, and designer with tons of experience and expertise. To wrap up his frolic on my blog, John is sharing some tips on writing and drawing comics for kids, something he knows a lot about. John has two comic style books for kids published by Candlewick Press, Sticky Burr: Adventures in Burrwood Forest, and Sticky Burr: The Prickly Peril. He also posts an ongoing Sticky Burr web comic, which is lots of fun.


Tips On Writing & Drawing Comics for Kids
by John Lechner

All comic artists have their own ways of working and theories about comics. I'm going to share some of my own thoughts and ideas, drawn from my own experience.

To write successfully for children, you need to apply all the rules of good writing, but even more so. The same applies to comics. When you write and draw comics for children, you need to strive for the most clear, well-scripted, well-paced and dynamic story you can create. I don't mean that comics for kids should be constrained or conventional, only that they should be good.

Comics and picture books have a lot in common, they both use words and pictures to tell a story, and the words and pictures usually share the load. The main difference is that in comics, the story is depicted in real time -- that is, the time it takes to read one page is roughly the time it would take for the scene to actually occur. The drama plays out in front of you like a movie or play. This requires many images, so the page is divided up into panels which are read in sequence; hence the term "sequential art".

Because of this unique quality, not all stories lend themselves to comics, just as not all stories make good picture books, or poems, or films. It helps if the story is not too wordy and has some “visual drama” -- that is, scenes that are especially dramatic when you see them played out in front of you. A comic about people having conversations is harder to pull off, though these can work well for older readers if the dialog is good. For younger children, visual action and humor that take advantage of the "real time" nature of comics can be very effective. (For instance, showing cause and effect, or a progression of events.)

Speech balloons are another key ingredient of comics. They don't merely show what is being said, they control the flow and pacing of a page as well. Their placement is just as important (if not more) than that of the images and panels on the page. When reading a page of comics, the eyes should be able to follow a simple and logical path from one balloon to another. If the order is difficult to decipher, it slows down the reader and brings them out of the story. When drawing your comic pages, if you find that your word balloons don't follow a logical path, you may need to change the artwork. And if you find you have so many words that you don't have room for the characters, you may need to trim.

So what distinguishes a comic for kids, as opposed to a comic for older teens or adults? Partly content, and partly simplicity of form and layout, just as a picture book or early reader uses well-spaced text and easy-to-follow pages. Believe it or not, simplicity is even harder to achieve with comics, because you have to convey so much information visually, and perhaps this is why comics for young readers are so hard to pull off.

And just as traditional books often bend the rules and make readers stretch, so can comics as long as you don’t lose your reader in the process. Every word, panel and line should contribute towards telling the story, there’s no room for anything superfluous in comics. It’s an amazing and versatile medium that I’m still learning about myself, and hope to be exploring for a long time to come.

A huge THANK YOU to John for taking the time to share his work here throughout the month. You can read more from John at his Illustrator of the Month interview and read his post on Creating a World in a Picture Book. Plus, you can learn all sorts of things about John and his work at his website http://www.johnlechner.com/
I'm certain we'll be seeing lots of great things from John. I can't wait.

Creating a world in a picture book

by John Lechner

How does an illustrator create a world? There are many ways to do this, and every illustrator has their own individual tricks and techniques. Here are a few of the methods I use to create a world in my picture books.



1. Establishing Shot
This is a term often used in filmmaking, but pertains to books as well, and helps create context for your story. In my book A Froggy Fable, the setting and the frog's place in it was very important to the story, so I wanted to establish it early. You don't always need to do this at the beginning of the book, as long as it comes at a point when it's important to the story in order to give continuity to the world.



2. Time of Day/Year
When does your story take place? A specific time of day or season of the year can really help make a world come together. My book The Clever Stick takes place in the springtime. My first Sticky Burr book takes place in the summer and the second one in the autumn, and I tried to draw each scene accordingly.



3. Different Perspectives
Different viewpoints – high/low/near/far – not only add variety to scenes, but allow the viewer to see more of your world, and can heighten the drama. Looking down from above, up from below, or from the viewpoint of your main character, can completely change the flavor of your story. But don't go crazy, try to use perspective where it helps the story.



4. Atmosphere
By atmosphere I mean both the physical and the psychological one – are you depicting a happy scene or a scary one? Giving the viewer an emotional reaction to a scene draws them in and makes them a part of it. In this image from Sticky Burr: The Prickly Peril, I used a limited palette and jagged lines to enhance the mood.



5. Continuity
It's important to make your world and your characters look consistent from page to page. But consistency of style is often even more important than consistency of character. If the overall style of your drawings is consistent from page to page, your world will feel like it all fits together. Style is not easy to develop, and is best when it comes naturally. I find when I focus on the story and climb inside of it, the style follows on its own.

Those are just some of the ways an illustrator can create a tangible and believable world in a picture book. Can you think of others? Leave your suggestions in the comments!

You can learn more about author/illustrator John Lechner at his Illustrator of the Month interview and on his website www.johnlechner.com