Goodreads Giveaway!

My adorable puppy who I still love even though she eats everything just bit through my charging cord so I'm going to make this quick! There's a giveaway for Kick! Jump! Chop! The Adventures of the Ninjabread Man on Goodreads. Go enter! :)

Goodreads Book Giveaway

Kick! Jump! Chop! The Adventures of the Ninjabread Man

by Heather Ayris Burnell

Giveaway ends December 21, 2017.
See the giveaway details at Goodreads.

Enter Giveaway

Escargot!

Not too long ago I followed someone on Twitter because she looked interesting. I found her because she entered the giveaway for my book, KICK! JUMP! CHOP! THE ADVENTURES OF THE NINJABREAD MAN, that was happening through Ninjas Read. Miss Gee, known as @MsGeeLvsBooks on Twitter, is a 2nd grade teacher and an aspiring teacher-librarian. Sounds just like my type of gal! When I followed Ms. Gee I had no idea I was entering a contest. And a really cool one at that! Not long after I received this tweet:

@heatherayris you're my 100th follower! So cool! My class is going to pick their favorite picture book to mail to you 😆 DM an address ❤️📚 pic.twitter.com/89LVi4vK9D

Unexpected and exciting! I got in touch with Ms. Gee and soon this cute little pink package arrived. I had run to the post office before work so I went straight to my favorite part of the library, the children's section amongst the picture books, of course, to find out what was inside the package!

I opened it up and there was the most adorable snail I had ever seen! (I put the book up on my shelf to admire it while I read the card!) Ms. Gee's class chose ESCARGOT written by Dashka Slater and illustrated by Sydney Hanson as their favorite book!

Now, I see a lot of books every single day in my work at the library and I was super excited not only because of the beautiful illustrations and the fact that this is a book about a snail. I love snails! I was excited because I had never seen this book before and oh my gosh do I love the story! You see Escargot is a beautiful snail from France and he simply wants two things: to be your favorite animal and to eat the fabulous salad at the end of the book. But wait! There is a carrot and that is trouble. Big, big trouble!


Oooo, la la! I cannot wait to share this story with the kids who come to the library for storytime and tell them about Ms. Gee's 2nd grade class in Virginia and how they chose this very book as their favorite!


Want to hear one more amazing thing? Miss Gee won the copy of my book in the Ninjas Read giveaway. I had absolutely nothing to do with picking the winner on that. It was completely run by the amazing ninja writer, Corey Rosen Schwartz. I'm no mathematician but there has got to be a mathematical lesson in probability on that! Maybe Corey could help us out. Her new book, TWINDERELLA, is a mathy fractioned fairytale.

Mathematics aside, I love that luck, Ninjas Read, and Twitter connected me with this fun new book and let me have a peek into what a second grade class on the other side of the United States from me loves.

A huge THANK YOU to Ms. Gee and her second grade class! You are magnifique!

I've Written a Picture Book, Now What?

It's pretty common when you're starting out writing picture books to have written a picture book and not know what to do next! I get questions about it all the time. So, here are some basics things you should do when you have written a children's book but are not quite sure how to go about getting it published:

1. Get critiques. Just because you wrote a picture book doesn't mean it's ready to send out into the world. Once you've made the story the best you can make it find some other picture book writers to trade with. Getting thoughts and opinions from others writing in the same category as you will help you see your work in a new light. Getting professional opinions from those who are working in the field can be eye opening as well. My recommendation would be to trade with critique partners and when you are ready, to spring for that professional opinion. (To find critique partners you are welcome to join my Sub It Club Critique Partner Matchup. If you are ready for a professional opinion, check out my critique services.)
2. Revise. Revise, revise, always revise! Revise to make your manuscript the best that you possibly can. Revise before getting critiques. Revise after critiques. Ha! Seriously though, putting your manuscript away for a few weeks then taking a new look at it can help your see it with fresh eyes. Picture books take lots of rounds of revisions.
3. Read Picture Books. In between all of those revisions and even when you are revising, read loads of picture books. Reading newly published ones from the larger publishing houses will help you know what the market is looking for. Although there are definitely some good books published by smaller publishers, don't automatically take them to be the general consensus on what publishers are looking for. Sometimes small publishers are able to make allowances that the big publishers don't. Self-published don't make good guides either as the author has no guidelines they have to follow.
4. Read books about writing for children. Get them from your library. Order them from your book store. Just read them!
5. Read blog posts about picture book writing. There is a lot of good information out there. I have some posts about picture book writing. Author Josh Funk has a great Guide to Writing Picture Books. Author Pam Calvert has Picture Book University where you can also learn a lot. All of these resources are free and they are just the tip of the online iceberg!
6. Do numbers 1 - 5 so many times that you can't even count how many times you have done them.
7. Do NOT try to find an illustrator. I put that one in red because it is such a common misconception. If you want to sell your picture book manuscript to a publisher it is their job to find the illustrator for the book. They want to do this. You having the manuscript illustrated counts against you, not for you. If you yourself are not a professional illustrator, write the best, submission-ready, illustratable manuscript you can. Then send it out for consideration. 
8. Learn about what publishers, and therefore agents, are looking for. When you start delving into the world of children's publishing you will know things like #7, for instance. You will know that to give your picture book manuscript a better shot it just might be best to keep it under 700 words. A high-concept can be a good thing too. (Tip #8 here is a little repetitive but I felt like it needed saying. You can learn about what publisher and agents are looking for by doing #'s 3, 4, & 9!)
9. Learn about querying.

• Join me at Sub It Club. We talk about all the things that have to do with submitting manuscripts for publication. We post lots of submission information on the blog and have a very active private Sub It Club Facebook group with loads of super fantastic writers and illustrators where you can learn and ask questions, get help on your query letters, and more.

• Check out the Monster List of Picture Book Agents where you can start learning about agents and what they are looking for. (Hint: agents who represent picture books often like to know what else you have if they are interested in the manuscript you have queries with, so it can be good to have a few polished manuscripts ready to go when querying. But keep in mind, there are no hard and fast rules here. Use your judgement.)

• Check out the Monster List of Picture Book Publishers with links directly to publisher's submission guidelines so you can see what you need to do to ask them to consider your work. (Hint: If you are interested in working with an agent, you should submit your work to them first as they don't like a manuscript to be too shopped around. But you can definitely submit your work straight to publishers who are open to unsolicited submissions.)

• You can join the Society of Children's Book Writers and Illustrators. SCBWI is an international professional organization for writers and illustrators of children's literature. They have tons of resources and put on great workshops and conferences. Peruse their website to see all the things they offer.

• Become a member of the SCBWI Blueboards. This is a message board where tons of writers and illustrators hang out. You can learn so much there! You do not have to join SCBWI to take part in the boards.

Please realize that all of these things take time. Picture books may seem short and simple but they take a lot of work and thought to be great. That beautiful picture book you see on the shelf has most likely been years in the making. But, they are definitely worth it!

If you have a specific question feel free to contact me. If I can I will answer your question on the blog here. 

Some Picture Book Writing Tips

I've come across a few good sites with some helpful picture book writing tips as of late, so I wanted to pass them along. I know so many of you reading my blog are working hard on your picture book manuscripts!

Author Josh Funk has put together a Guide to Writing Picture Books that breaks the important parts of picture book writing into short, easy to digest posts. I know that a lot of you like to write in rhyme so be sure to check out Don't Write in Rhyme where Josh point out many of the common rhyming mistakes. You can also find loads of good rhyming tips at RhyPiBoMo like this one on multi-syllabic ending rhyming words by agent Sally Apokedac.

Mem Fox has so many great books. I happened upon her website and found that she has a whole bunch of hints for writers. She has 4 links in the sidebar on the page. Her hints are nice and straightforward. Love them!

I also really enjoyed DON'T DO IT! - how Not to write a picture book by Malachy Doyle on the Picture Book Den blog. Funny post title but true enough!

It can be good to take a break and refresh your picture book writing knowledge with posts like these and then dive back into writing. I myself am off to dive into picture book revisions again now.

When you think you are ready for new eyes on your manuscript check out my Critique Services. I love helping new and seasoned picture book writers and can always make time for a picture book critique!

How to Format Illustration Notes

I recently talked about illustration notes and when you should and shouldn’t use them. Today I’m going to share with you how to format those notes. But first, some rules:

·         Keep your notes simple

·         Do your best to make your illustration notes flow with the story so you don’t interrupt the text

·         Don’t use colored text for your illustration notes (or any of your manuscript for that matter)

·         Revise, edit, and proofread your notes as you do the rest of your manuscript. This includes reading them out loud

·         Never use illustration notes to dictate anything that isn’t crucial to your story. Ever. The illustrator is a partner in your book and will put their creativity to work from what your story brings to their mind. You have to trust in this

Okay, no matter how much we writers try not to use them, sometimes illustration notes are necessary. You definitely want them to be formatted in an easy to read and understand way. They shouldn't take center stage or be overpowering. They should be there because they must.

There are a few ways that I have formatted illustration notes in my picture book manuscripts. Almost every time I simply put them in italic parenthesis in line with the text like this: (Illustration note: Jim is a dog.) Placement is important. You want to put the note by the text that the illustration needs to make clear but you don't want to break a sentence or paragraph up and make it choppy. I usually opt to place the note at the end of the paragraph.

When I’ve had manuscripts that contain italicized thoughts I have bolded my illustration notes instead of italicizing. This seemed to not be too overpowering since there were only a couple of notes amongst a lot of text. I suppose you could use ALL CAPS if you wanted as well but I suspect that might be a bit overpowering. Take a look at overall manuscript and decide on how it works best aesthetically. 

If you have one overall illustration note for the story that needs to be told a good place to put it is right up at the top right corner header on your manuscript under your word count. (If you don't know how to format a picture book go here.) I have seen it said to put the note in your cover letter but if readers need to know that information for your story to work (which I assume they do otherwise you shouldn’t be using the note) you want it on that manuscript. Things get separated, may not be read at the same time, etc.

Of course you could use other words besides "Illustration note" such as Illustration suggestion, Art or Art note. You could use [brackets] instead of parenthesis. The basics are not too big of a deal. What is important is how and when you choose to use illustration notes. Choose wisely! Any questions?

Using Illustration Notes in Picture Book Manuscripts

             You may have heard that using illustration notes in your picture book manuscript is a big no no. Why? Illustration notes can get a bad rap when writers are too heavy handed and try to dictate illustrations. The thing is, picture books are a visual medium. While it is best to use none or as few illustration notes as possible there can definitely be things conveyed in your story by the illustrations that aren’t part of the text. Sometimes, as writers, we have to give a clue as to what is happening in the story when it can’t be taken from the words. So when is it okay to use illustration notes?

When something critical to the storyline happens that is not evident in the text. This means that if an agent, editor, or illustrator is reading your manuscript that the image your words will bring to mind is different or even opposite of what you have said.

For example: You’re text says, “Meredith put the book back nicely onto the shelf.” But really, Meredith does not put the book onto the shelf nicely at all because there’s going to be a catastrophic book pile up that comes crashing down and it is all Meredith’s fault. Perhaps this scenario could use an illustration note. Perhaps! It depends on what else you have happening in the story.

Or maybe Jake put his very best clothes on because he has something important to do, but yikes! He has put on two different colored socks and is going to be very embarrassed when he sits down for his recital and people start to laugh. He doesn’t know that his socks are two different colors, so the text doesn’t say it. This might be a good place for a note, depending on how the story unfolds, of course.

I used an illustration note in my manuscript for Bedtime Monster because Dad being a bit of a monster himself wasn't evident in the text. At all. Would the editor and illustrator have known that (spoiler alert!) dad had a tail at the end of the story? Definitely not. I put in a very simple, straight to the point note: (Illustration note: Dad has a tail.)

Some of my picture book manuscripts have a lot going on visually that is not hinted to in the text so, yes, they are a bit illustration note heavy. This has been fine with my agent and with editors. They need to see a complete story and sometimes I need illustration notes to make the story complete. Others of my manuscripts have no illustration notes at all. The story doesn't need them. Each manuscript is different. You have to choose what is right for each one.

• Hint: Let the manuscript with notes rest. Read it through without the notes. Do you still see places you need them? If not then take them out. Read the manuscript with the notes. Are they 100% necessary? If not, cut them. Be brutal!

• Another hint: Have your illustration notes critiqued right along with your story. It can be eye opening to have someone who is not close to your story as you are give their opinion on your notes.

No matter what, I work just as hard on my illustration notes as I do the rest of my manuscript. I revise and edit them, putting them to the same rigorous test as I do the rest of my words. You should too.

For do's and don'ts and how to format notes in your manuscript click here!

Writing a Picture Book? Don’t Do These Things

A while back I posted Querying a Picture Book? Don't Do These Things because I get a lot of picture books submissions from people who *gasp* apparently don't do their research. (As most of you reading know, I am not an agent or a publisher.) Many times these people submitting their work to me send their manuscripts as well. I see a lot of common mistakes in those too. 

You have got to have a strong manuscript to compete in today's market! And good format? It's a must in my opinion. Here are some things to think about along with some big no no's when it comes to picture book manuscripts:

• Don’t write in rhyme--unless you have worked extremely hard at it and are very good at it. No, I don’t mean that you just think you are good at it. You have studied the rules of rhyme. You have gotten critiques. You are all Corey Rosen Schwartz and YOU KNOW RHYME like a boss! (Check out The Meter Maids for some great rhyming advice.)

• Do not over describe things. You need to leave room for the illustrations. Pictures are at least half of the story in picture books.

• Don't overuse adverbs and adjectives. 

• Do not number what you see as the pages of your book within your manuscript.That's great while you're figuring out your page turns. (You can dummy like this. Or like this.) Editors and agents who work in picture books can see where the page turns will be if you have done a good job. Use standard manuscript format.

• Do not use colored ink! No, not even to show where there are different speakers. Again, if you have done your job well, those you are querying will be able to follow the story perfectly fine in black and white.

• Don’t be didactic. If you don’t know what that word means, no, you are not ready to query.

• Do not write “to be continued” and list other manuscripts at the bottom of your manuscript. That’s just silly. You want the reader to focus on the manuscript they have right there, right now in front of them. You sell that one and you’ll have the opportunity to talk about more.

• Don't write THE END at the end of the story. It is obviously the end as the story has, um, ended.

• Don’t put a copyright on the manuscript. Once you write something down it is automatically copyrighted. Doing so just makes you look like an amateur.

And for heaven’s sake, proofread your manuscript. Revise. Edit. It makes your writing better. Really. It does.

Any questions? Or other things you've seen in manuscripts that are no no's? I'm sure there are more things we could add to the list!

Agent John Cusick of Greenhouse Literary Talks Picture Books

Not too long ago I featured John Cusick of Greenhouse Literary Agency on the Monster List of Picture Book Agents. He's an agent at Greenhouse Literary Agency representing Young Adult, Middle Grade, and of course, picture books. 

Unfortunately, finding picture book specific information when trying to make an informed decision whether or not your work might be right for an agent can be tough. While I was putting together John's post, I had picture book-centric questions that I wondered about. I asked John if he might answer them. Fortunately for us, John was happy to. 

So, my lucky people on the agent hunt, read on to find out what John is looking for when it comes to picture books, learn about his agenting style, and more. If he sounds like he might be a good match for you and your work, give him a try. John is a super nice person, and that's the best kind to work with!

Why do you choose to represent picture book authors?

I love picture books. They’re deceptively simple and deeply sophisticated. Part prose, part poetry, they distill story and character down to their essential elements. And they’re fun! My first week in publishing I saw an editor and an agent leave a party to gush over galleys for a new picture book they’d both worked on. They were so excited, like little kids. And I thought “yep, this is what I want to do.”

What do you look for in a client?

I’m looking for someone who loves to write and create, who is eager to work on many projects, and many different kinds of projects. An author with a single book-of-their-heart who will never write another story probably isn’t the best fit for me. I’m looking for career-clients interested in growing and developing over time.

How would you describe your agenting style?

I’m a very editorial agent. I like working creatively with my clients, from the idea stage to line-level tweaks. I’m also very communicative. I like chatting with my folks by phone, email, text, whatever. I also hope to pair authors with the perfect editor. When an editor and a client totally hit it off, creatively and personally, I know I’ve done my job. Finally, when I say I want career-clients, that’s another way of saying I like to manage and develop the trajectory of an author’s career, to help build their audience and hone their craft from book to book.

If you take on a client because of their mass market appeal picture books, would you also represent other things they wrote if they had merit?

Absolutely. If a client writes or illustrates in multiple mediums or markets, all the better! Some of my clients illustrate as well as maintaining careers in character design and commercial artwork. I have clients that write picture books as well as middle-grade and y.a. Versatility is never a bad thing.

What types of stories do you see a place for in today’s picture book market?

Stories with a universal theme told in a fresh way. A picture book with a clever concept will (usually) only go so far without a deeper conflict, some pain or tension that the reader can relate to and has experienced. At the same time, a familiar story, for example, “a child’s first day of school,” might be relatable, but will likely feel too generic to stand out in our competitive marketplace. It has to be both familiar yet fresh.

In general, how much revision do you do with clients to get their picture books submission ready?

It varies, but often a client and I will go through several revisions before I send a project to editors. Those revisions might include story level changes, the arrangement of spreads (if the client is an illustrator or author/illustrator) and line edits.

What are some of the elements you think a picture book needs to be successful?

I think stringent prose is essential. Picture book texts are so short— typically fewer than 800 words— that every syllable counts. Humor goes a long way as well. Not every picture book must be funny, but I’m personally drawn to clever and quirky styles, and I think many editors are as well. Finally, to me, picture books need tension— a conflict our protagonist solves for himself or herself (without Mom and Dad sweeping in to save the day).

What types of picture books are you not looking to represent?

I’m very picky about rhyming picture books, which I think are difficult to do well. When I see a rhyming text, my first question is, “What is the rhyme adding to the story?” Are the rhymes interesting? Is the meter engaging? If not, I may ask the author whether the story might be stronger if told in straight prose. I don’t represent spiritual or denominational projects. I’m all for a positive message, but story and character come first. I typically don’t represent what I call “lovey-dovey” picture books, where focus is how much or in what way a mother loves a child or vise-versa. There are some beautiful examples of these already on bookshelves, but these aren’t what I’m looking for, personally.

What do you like to see in a query letter? Do you have any submission pet peeves?

When I read a query, I’m looking for a brief description of your project: who is the main character, what is the conflict? I’m also looking for a bit about you, your background, and publishing history (if any).

A query is a brief, professional letter between you and a potential future business partner. So avoid gimmicks or whacky styles in the hopes of standing out. Never write your query in the voice of your protagonist. Let your creativity and originality shine through in your writing; let your query be simple and to-the-point.

Are there common mistakes you see in picture book submissions in particular?

Texts that are too long (over 800 words), poorly done rhyme and meter, overly-familiar stories without fresh twists (monsters under the bed, first day of school), and unprofessional illustrations are the most common reasons I reject picture books.

The Greenhouse Literary website says to allow up to 6 weeks for a response and if you haven’t got back by then, email the agent again. Do you send out many personal rejections? What does a form rejection letter mean to you?

I send out very few personal rejection letters. If I’d like to see a revision, I’ll ask for one specifically. However, I’m usually open to future projects. If you get a no the first time, please do query again. That’s a good way to develop a relationship with an agent. We like to see authors and illustrators developing with each new project. Sometimes the second or third try is the one that wins me over.

What picture book authors do you represent? Have any upcoming projects you can share with us?

I represent several authors, illustrators, and author illustrators, including Julie Bayless, and Lisa Marnell. Vin Vogel’s debut picture book THE THING ABOUT YETIS will be published by Dial early next year; Vin is also illustrating Brooklyn kiddie-rocker David Weinstone’s debut picture book, MUSIC CLASS TODAY, coming from Farrar, Straus, Giroux.

A huge THANK YOU to John for the wonderful interview! To learn more about John, be sure to check out his listing on the Monster List of Picture Book Agents. You'll find lots of great links for further research. 

Formatting Picture Books

When you're ready to send your picture book out on submission, using the correct format is important. There are standards you need to follow, although things can vary a bit. Here's how I format mine:

• Standard 8 1/2 x 11" paper size
• Set margins to 1 to 1 1/2 inches
• Times New Roman 12 point font
• Black ink only

Single Space for:

• Header - 1st page, left:

Name
Street Address
City, State, Zip Code
Phone number
Email address

•  Header - 1st page, right

Word count: (enter number)

• Drop down 14 spaces (you  generally want do be about halfway down the page)
• Enter Title
• Drop down two spaces and put by (so there is one space between Title and by)
• Drop down another two spaces and put your name
• Drop down four spaces

Switch to double spacing

• Begin manuscript

You want your manuscript in paragraph form. Don't break it up into published book pages as you see them. Agents and Editors who know picture books have a keen eye for page turns and illustratable images.

Header for the rest of the manuscript pages (use the option for different first page when formatting your header)

• Left - In Italics Last Name/Manuscript Title 
• Right - Page Number (also in italics, use the option for page numbering and it will automatically put the correct number on your page)

That's it! Pretty simple once you get the hang of it. You could even get all fancy and make yourself a template if you wanted to.

The Dummy's Dummy

I'm revising a picture book that I've probably revised 692 times already. It has lots of moving parts, so to speak. Characters doing things. Things doing things. I can't really elaborate (although I would love to blab on and on about it!)

Anyway, I have the scenes and most of the dialogue. It's the order that I keep messing around with. I need to get the build up right. I want the tension in the story to keep going up like a mountainside until the climax and boom! wrap it up with that satisfying ending. I have never written a story before where the scenes feel so interchangeable as they do in this one, and I was getting a little sick of writing the same things down and cutting and pasting and all of that moving around until I came up with a good way to play with my pages.

It's stupidly simple but I'm procrastinating on revisions so humor me.

I took some sheets of paper, folded them, and tore them into fourths. (You could get all fancy and measure and cut them if you like. You could even use those snazzy scissors with the shaped edges. Oooh la la.--I can enable procrastination like a boss!)

Picture books are generally 32 pages so I am using 15 pieces of paper, looking at each as a two page spread, leaving a couple of pages for title, pub info, and such.

I hand wrote each page's words on a separate piece of paper. (Picture books are short, so you can make all your words fit. You could also actually just use bigger pieces of paper but I like ripping paper and I'm lazy so that's the way I'm doing it.) This can take some time but it also helps you go through your words again and see if they are working. Plus it helps with procrastination you find your way to your vision if you write things really fancy and draw little pictures to go with it.

Done? *makes cookies
How about now? *watches an episode of Regular Show
Now? *checks watch
Ahem. *eats cookies...lots of cookies.

Okay... finally. You did it! Now you can move your pages around easily. 

Woohoo!

You can also crumple them up and rewrite something but it's not a big deal because it's just on a little piece of paper! Amazing, I tell ya! And environmentally friendly--sort of. I'm calling it the dummy's dummy.

Okay kids, have fun with my *cough cough* brilliant idea. I've gotta go back to figuring this story out. I think I may try the throw it up in the air and see how it pans out when it lands method.

Cutting

Cutting words is important. You know it's true.

I understand that it can sometimes be hard to do, but cutting can be a big part of revision. Yes, I know it might hurt. They're your words and ideas. You don't want to do cut them and no one can make you!

Well that's true too. You don't HAVE to take your words out. But sometimes, maybe many times, cutting words can make your story better. This may especially be true in the case of picture books where trends are skewing to shorter texts that let illustrations take a huge role in telling the story. I made a list of unnecessary words, but cutting can involve so much more.

I recently revised (okay, re-re-re-revised) a picture book. I loved the characters. The dialogue. The jokes! But I realized I needed to focus on the main character and his story. The other characters were taking away from that focus. So, as much as it hurt I had to chop the princess, nix the cat, and banish the bird. Oh, and take out the gumballs. (My son wasn't too happy about that!)

Is the story more focused? I think so. Is it shorter? Definitely. But in taking away I added new elements, stronger conflict, and a stronger arc. Sure, I miss the old characters a little but I like the new direction the story is heading.

Don't be afraid to cut your words or even entire characters. Cutting can take your manuscript to new places you hadn't thought of before. And don't worry, you can always put the words back if you need them. That's what cut and paste is for!

Words!

In the front of my writing notebook I have some notes I’ve gleaned from here and there. Words. Little notes reminding me of the things that need to find their way into what I write if I want to have a salable book. Of course, they aren’t all required, they just help. Here’s what I’ve got:

Spunky character

Narrative arc

Great hook

Commercial plot

Likable characters

Witty dialogue

Layers

Heart

I also have the word breakout. Can’t really plan that can you. But still, it's a good reminder of something to strive for. I feel like I need more words to add to my list!  What words do you use to remind yourself of all those elements you need to have in your manuscripts?

Bran Muffins of Doom? An Interview with Author & Illustrator Marty Kelley

Marty Kelley is a recovering second grade teacher living in New Hampshire. What does one do when recovering from being a teacher? Write and illustrate for kids, of course!

Marty has illustrated a number of books for kids, two of which he has also written. He is represented by Red Fox Literary Agency. Marty is frolicking by to give us the low down on his writing and illustrating. I even asked him how his unique book tour and how he feels about illustration notes.

How long have you been writing and illustrating for kids?

My first book, Fall Is Not Easy was published in 1998, so it’s been a while. Before that I worked as an illustrator and cartoonist for several small newspapers and magazines.

What are some of your favorite things to illustrate?

People, people, people. I love painting them. When I’m not doing children’s books, I actually create commissioned fine art portraits of people.

Do the things you enjoy illustrating affect what you decide to write about?

I have a terrible time with landscapes and tend to try to have my illustrations happen indoors, but that obviously doesn’t always work out. I don’t consciously adjust my writing to what I think the illustrations will be. In fact, it has happened that I’ve had a story written and then realized that I have no idea how I’m going to do the illustrations.

As an illustrator, how do you feel about an author putting illustration notes in a manuscript?

Unless it’s something very important to the story, I prefer that the author sit back and let me do my job. I completely understand how nerve-wracking it must be to not have any control over the look of something that you worked so hard on, but when authors start micro-managing, all the fun of creation gets sucked out of it for me. I’m glad to say that it’s only happened once or twice.

You did a tour of seafood restaurants for CRUSTACEAN VACATION, (which is awesome!) how did that opportunity come about? Do you think alternative venues are a good avenue for authors and illustrators to use when promoting their books?

That was a weird one and while I enjoyed it, I have had my fill of chowder for a while. It actually started because a manager at one restaurant of a local seafood chain called and asked me if I’d like to come in on their kids’ night and sell books. They didn’t ask for a cut of the profits and they offered to feed me. How could I say no? It actually went better than some of the signings I’ve had at bookstores over the years. I went back and did it a few more times and it always went well enough to make it worthwhile.

I mentioned the event to Melissa Kim, the editor at Islandport who worked on Crustacean Vacation with me. She jumped on it and arranged a tour of the 13 restaurants that the author and I split. A few of them went very well and some of them were dreadful, just like any event, I suppose.

I think the alternative venues are a great idea for anyone - not just authors and illustrators. You have to be flexible and willing to try whatever you can if you want to succeed. If nothing else, some of the odder events make good stories to tell your friends later.

You’ve written and illustrated a number of picture books, and your chapter book, FAME, FORTUNE, AND THE BRAN MUFFINS OF DOOM, was recently published by Holiday House. How was it to create a chapter book after previously focusing your work on picture books?

I loved it. It was difficult and the book–because of a long and occasionally unpleasant series of events–took almost 5 years to be published. I worked with Sylvie Frank at Holiday House. She was enthusiastic and full of great ideas. There were parts that were definitely a steep learning curve for me. The illustrations, done in pencil, were a big challenge and I learned the hard way about the difference between full color reproduction quality and black&white reproduction quality.

The book took something of a beating by a few big reviewers, but the feedback from kids has been completely and overwhelmingly positive. They’re the audience, so I’m happy with that.

You are signed with Abigail Samoun of Red Fox Literary, how has your career changed since obtaining representation?

You mean besides the jet-pack and the hot tub and the multi-million dollar advances? Other than that, it’s just about the same.

Abi edited a book I did with Tricycle called Twelve Terrible Things and I enjoyed her slightly twisted sense of humor. She helped hammer out the initial version of the chapter book. In fact, she is the one who kept pushing me in that direction.

It’s nice to have someone to look things over before they go out to publishers. She’s way more in tune with what editors want than I will ever be, so she can help guide the work that I do.

What are you working on now?

I’ve actually got several projects going at the same time. It’s not my favorite way to work, but you do what you have to do. I’m finishing up my final edits on another chapter book that I’m hoping Abi can get me that six figure advance for. I’ve also been working on a few beginning reader books. With 50-75 words and a very concise vocabulary, it’s a fun challenge to try to come up with an engaging, well-crafted story. I also have a few new picture book ideas that I’m still forcing into submission in my sketchbook.

You can find more from Marty Kelley on his website, www.MartyKelley.com and at his blog martykelley.blogspot.com. He also has a website for his book, Fame, Fortune, and the Bran Muffins of Doom called Simon's Plans where you can download the first chapter of the book, play the Bran Muffins of Doom Game, watch the book trailer, and more! And don't miss Marty's Free Books for Life offer. It's quite a deal.

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.

Cutting Words in a Picture Book Manuscript

Chop chop! Word counts for picture books are tight. Every word has to count. Before you even think of submitting a manuscript to an agent or publisher, be sure every word makes the cut.

• Think about what the illustrations will show. Do you really need to say that your character is sitting by a stream? (Don't be afraid to use an illustration note if you need to, but only use them if absolutely necessary!)
• Can you say with one word (better) something that you've said in two... or three... or four?
• Contractions! Going though your manuscript and changing they are to they're and I am to I'm, etc.,  can cut quite a few words. Of course, you don't have to contract everything contractable. Use your judgement on what sounds best in your story. Remember to watch for it is. It's it's not its!
• Check your descriptions. Can they be tightened?
• Are there sentences that can be combined? 
• Can words that end in -ed be changed to -ing, omitting the pronoun?
• Don't be afraid to go even further. Can you rid the story of any scenes, characters or dialogue? If it isn't moving the story forward get rid of it!
• Try Twitter. It's really great for helping make one aware of cuttable words. When you're trying to fit a thought into so few characters you can really see what needs to go!
  
  
  Here are some common word offenders to be on the lookout for:

the

and

at

was
that
so

as/as they
suddenly
however
quite

And of course: adjectives and adverbs!

My biggest offender? The horrible! The horrifying! Just. Oh how that word seems to make it into every single one of my manuscripts.

What are your biggest offenders? I'll add them to the list!

For more on cutting your picture book manuscript read STOP! Cut Picture Book Mss by 1/3 at Darcy Pattison's blog,  and Six Steps to Make Your Children's Story Sparkle by Laura Backes.

Of course, it can be hard to see what can be changed in our own work after we've looked at it for so long. If you've done your best to cut and still have a manuscript that's too long, ask a critique partner to look at it with an eye towards cutting!

The Pressure of the Idea

In the past few weeks I have done a lot of things. I've weeded acres of garlic. I've thinned apple trees. Planted a garden. Run in a race and took first place. (It was a small race... very small. Don't be too impressed.) I've gone on long, lingering bike rides, been to the lake and had a run in with some leeches, read books in the sun. I've filled out a long, confusing application to get our farms certified organic. I've agreed to buy a rundown cabin. I've helped an art client get her social media up and running. I even dug out an old young adult novel I wrote a couple of years ago and started revisions.

One thing I haven't done? Come up with a new picture book idea. Why? Well, I like to think that my brain has been too busy doing all of these other things. On the one hand it bugs me. Why haven't I had an idea? I'm always full of ideas. On the other hand I wonder why I think I need a new idea. I have a bajillion in the filing cabinet, and many more lying around here and there. Really, I need more? Well, yeah. Of course I do! You never know when one will be great.

I do think that sometimes we picture book writers can put a lot of pressure on the idea and forget that the follow through is just as important. And honestly, for me, sometimes my ideas just need to sit a while until I figure them out. I recently finally finished a book whose concept I came up with at least a couple of years ago. I adored the concept but couldn't make it work. When I pulled the manuscript out a couple of months ago I finally figured out how the story needed to play out. It's nothing like what I had come up with at first save one major (and crazy!) plot detail. It's such a better story now and I believe it's ready to face the world.

So, I need to not worry. I know more picture book ideas will come eventually. They always do. I have plenty of other things to work on. And maybe with some focus I could even finish that YA. Now wouldn't that be something.

A First Grade Interview with Ame Dyckman & Dan Yaccarino, creators of BOY + BOT!

BOY + BOT is the story of a boy and a robot who become friends. It is created by one fabulous duo, Ame Dyckman and Dan Yaccarino.

I brought this great book to school, along with a giant BOT, to share with some of my friends in first grade. And thanks to my nice friend Ame Dyckman, the kids got to interview the author and illustrator of a book, which was very exciting!

                            


First I told the kids about BOY + BOT's illustrator and showed them a selection of books Dan has illustrated and written, along with some of the stuff he's done for television. Television is impressive, of course, but the kids really ooohed and ahhed over all of the books that Dan has done. Pretty cool.

Then I told the kids about Ame and showed them her photo. Did they love her hat with ears? Affirmative. Did they love that she has pink hair? They certainly got excited about it! Did they think it was cool that she wrote a book and they got to ask her questions? Absolutely. And they were even more amazed when I showed them on the globe that Ame (and Dan too) live all the way across the United States far away from us here in Washington.

I think we got a lot of learning done just by talking. We talked about what authors and illustrators do. How they can work anywhere. How they work together along with the publisher. What a publisher is. We even got some geography in there. And we hadn't even started the book yet! But when we did there was lots of wiggling, giggling, and excitement!

After the applause died down, and we talked about misunderstanding and friendship(which is what BOY + BOT is all about), we did some creating of our own and made Bot inspired robots! The kids really got into it and enjoyed coming up with their own robot designs. Some even made baby bots to accompany their big bots. How cool is that! And, of course, the kids came up with questions they wanted to ask Ame and Dan. They wrote them on the giant Bot!

Here is Mrs. VanWoert's first grade reading class' interview:


How did you decide what Boy + Bot were going to look like? –Skyler

Dan: I just drew what my favorite robot would look like.


How long did it take to figure out what Bot was going to look like? -Laurelii

Dan: A few days.


How did you color the pictures? –Katelyn

Dan: I used a special paint called gouache (pronounced "gwash").


What did you use to make the illustrations? –Dakota

Dan: A paint called gouache on watercolor paper.


Dan, were you good at drawing when you were seven? –Reagan

Dan: Not as good as I am now, but I drew every day, so I got better.


How did you learn to draw? –Victor

Dan: By drawing every day.


Why is Bot red? –Katey

Dan: I like red. All robots should be red.


Why do you choose to illustrate other authors books as well as your own? -Heather (Okay, I couldn't resist asking Dan and Ame each a question as well.)

Dan: It's fun.


What is your favorite color? –Kayla

Dan: All of them.

Ame: My favorite color is blue, like the sky. (And often, my hair!)



What does Boy + Bot = ? -Jasper

Ame: Best friends forever!


I like your book. Why did Bot go swimming? –Kyra

Ame: Thanks Kyra! I like you name. Why did Bot go swimming? It was hot. (Don't worry. Bot is waterproof!)


How did you think of the story? –Kylar

Ame: I love robots. And I love friendship stories. I thought, "I'll write a robot friendship story!" And once, when I rolled down a hill, I got poked by a rock. So, I wrote that in, too.


Do Boy + Bot have names? –Jasper

Ame: Bot's real name is Bot. Boy hasn't told me what his name is yet.


Does the inventor have any other inventions? –Elijah

Ame: Lots! Right now, the Inventor is working on an automatic swinging hammock. (He's been a little dizzy lately.)


Does Bot have to work for the inventor or does he just get to play? –David

Ame: Bot has chores. When his chores are done, he gets to play. Watt (the little light bulb robot) is the Inventor's helper. This makes Watt happy.


You did an Unread interview with me way back in 2009! Now that you are a published author, how have things changed for you? -Heather

Ame: Now I get to write my name in a book and not get in trouble. But what do I love best? When kids and grandparents and teachers let me know they like Boy + Bot. That's the greatest thing ever!

And mine and Ame's definite favorite question:
Did it take more than one day to make the book? -Joey

Dan: Yes, it took me about three months to make the paintings.

Ame: And Joey, if you count the whole entire process (from the day I finished the 1st draft of the text for BOY + BOT to the day it went on sale), it was about 1,225 days! Do I hope you like our book? Affirmative!

*You may have noticed a lack of kids in the photos of this post! That is because there are rules and there was no time to deal with permission slips and all that. I do have permission to show one kid, who happens to be my personal helper on all things first grade related.