Let's Ask - Question 14

 

It's Let's Ask Thursday again! Please welcome Jenny S. Morris. She writes YA and is represented by Brittany Booker of Corvisiero Literary Agency.

 

My question for Jenny:

 



Before your receiving your fantastic news about getting an agent "CONGRATS by the way" how did you know which agent was the right one for you? Did you have to do much research?

 

 



 

Photo of Jenny S. Morris

Jenny's answer:

 

"Already There" was my second book to query. So I already had a decent list of agents I'd researched before. And the Co-Author of "Already There," Kelley Lynn, had her own list. We also asked our critique partners who they suggested. Which is how we found our agent Brittany Booker. She signed our CP, Cassie Mae, right around when we started to query. We kind of got the inside scoop at how fabulous Brittany is. Then when we talked to her on the phone it sealed the deal. Kelley and I called each other after our conference call and both of us agreed that no matter who else offered we wanted to go with Brittany. She loves the story and she's wants our careers to succeed.

BIO: Jenny Morris is six of seven children, born in the north but raised in the south. Growing up you wouldn’t find her snuggled up with a book but instead out running the fields pretending. She discovered her love for writing after the birth of her second son when she realized she wanted to create characters that would live forever between the covers of a book. Jenny now lives in the Pacific Northwest where she would love to run away to the coast and while away the days writing her next book. But until that happens you will find her at home trying to write while her two boys light saber duel with their father. 

Jenny's blog: http://jennysimaginaryworld.blogspot.com/ 

Jenny's Twitter Link:  https://twitter.com/JennySMorris

Jenny's Facebook page: http://www.facebook.com/#!/JennyS.Morrs 

Let's Ask - Question #13

My Let's Ask questions for Mira Reisberg:

With your extensive background in teaching children's picture book writing and illustration, would you be able to share why it is important and useful for writers to use a storyboard while editing? Also, I’ve noticed there’s more than one type of storyboard with different page counts, is one more preferable to work with than another? If you could give one piece of advice to a picture book writer what would be the most important inside tip on creating a publishable and re-readable story?

Mira Reisberg

    Beginning children’s picture book writers are always hearing: “Show, don’t tell.” Now while this mostly refers to using active rather than passive language, it also refers to deleting everything that the illustrator can show and that you don’t have to tell. This is why making a storyboard or writer’s dummy is really helpful. There are so many things you can do with these.

Now you might be wondering, what’s the difference between a storyboard and a dummy? A storyboard is basically a sheet of paper with 32 blocks where you write in what happens on each page as a kind of summary. You can also put little sketches in these blocks depending on what size storyboard you are using. A dummy is when you make a little mock-up of any size of your story where you can physically turn the pages. Using stick figures is totally fine with these and what they do is tell you the writer what the illustrator can show and what you don’t really need in your text. It also shows you how your page turns and pacing in terms of flow. Clearly, a writer’s dummy is more helpful for this, but you can stick with a storyboard if you don’t want that extra step. Is there a bunch of unnecessary description, are there characters that takes us out of the main thrust of the story that we can kill off and if needed include more problems or obstacles for our protagonist or hero on her/his journey or any other, more critical path information?

A standard picture book is 32 pages. Generally this includes 1 page for the introductory half-title, 2 facing pages for either the full title or the beginnings of the book and then an additional 14 or 15 double spreads to make the rest of the book ending on page 32 with either an authors note or some kind of twist.  Sometimes there are 24 pages or even 40, or even 64, but this is less common. However, it always comes to some number multiplied by 8. This is because the text and art are printed on large sheets of paper that are folded to make signatures of 8 pages each and then stitched, glued or stapled together. Generally, as a beginning writer, you want to tailor your story to 32 pages and this is what your dummy or storyboard should reflect. If it goes over this number, sometimes the publisher will pay the extra money to print on the endsheets that hold the book together, but  as a new person, don’t count on this.

If I could give one piece of advice to a picture book writer at the beginning of their career, don’t send your work out until it’s absolutely the very very best, most lyrical, beautiful, funny, soulful, or whatever the essence of it is, to a publisher. If you’re really committed, join the Society of Children’s Book Writers and Illustrators, consult with experts (even experts consult with each other), critically read other’s successful children’s picture books and learn from them without copying, and either watch my free teaching children’s picture books reviews or study with me at www.picturebookacademy.com Ooops, that’s four things. Oh well : )

BIO: Dr. Mira Reisberg received her MFA from Mills College in Painting and Digital Art. She received her PhD in Education and Cultural Studies from Washington State University writing a 370 page dissertation on children’s picture books and the healing power of creativity. She subsequently taught children’s literature courses at the university level.

Mira is also an editor, instructor/mentor and picture book consultant whose students’ award-winning books, including New York Times best sellers, have sold over a million copies. Mira is the director of The Picture Book Academy www.picturebookacademy.com where she will be teaching “The Craft and Business of Writing Children’s Picture Books” e-Course starting August 27th. For more information visit www.mirareisberg.com or http://www.picturebookacademy.com/writing-childrens-picture-books.html

You can find Mira on Twitter at @MiraReisberg, on Facebook at Mira Reisberg Art and Education, or at miraguy@gmail.com

You are also invited to join Mira's tribe of creative adventurers to receive free gifts and other goodies here http://eepurl.com/hJCmQ

Let's Ask - Question #12

This week's Let's Ask question

is for the wonderful, Kirsten Larson

Jennifer: Your children’s stories tend to have an environmental and earth science theme, where does your inspiration come from?

Kirsten: Thanks so much for having me, Jennifer. Like any writer, my inspiration comes from a variety of sources: my children, books I read, places I visit. I read lots of nonfiction myself, and I'm a museum junkie. Plus my children are always asking me to explain things them, which forces me to rely on analogies that sometimes result in book ideas. For example, a recent zoo visit with my family had me explaining how a zebra's stripes, African wild dogs' patterns and a spectacled bear's "spectacles" are like a human's fingerprints. Each pattern is unique to the individual animal. I added it to my ever-growing list of book ideas.

Because I have a business degree, I often think of marketability first when I decide which ideas to pursue. In nonfiction, just because an story has been written once doesn't mean it can't be written again. Think of how many children's books there are about George Washington or dinosaurs. The key is to offer a fresh take or a unique hook that makes your book marketable. When vetting ideas, I search Amazon and library card catalogs to see what angles have already been pursued and to make sure I'm offering something unique and salable.

Jennifer: While creating nonfiction stories for children, what does your writing process look like? Do you research information first and then invent the story?

Kirsten: Sometimes my book ideas are fully formed: I begin with the hook, for example the animal pattern/fingerprint idea, and then it's just a matter of doing the research to find the examples that support the idea. Those are the easier books to write. Other times, the content comes through first. I do lots of research, and then search for the hook. Should it be an alphabet book? Free verse? Is the book for a budding reader or a fifth-grader? This is often harder because I end up writing the manuscript a number of different ways. For example, I read Dava Sobel's LONGITUDE about John Harrison, who invented a sea-worthy clock allowing sailors to calculate their east/west position at sea. My children love maps, so I thought a navigation book for early elementary students might be fun. I did a lot of research, wrote it as a second-person narrative, and it's still in the file waiting for a rewrite.

In terms of research, I normally check out a host of adult and children's books on a topic I'm researching. That helps me see how the story's been treated in the past, plus I can flip to the bibliography to discover additional sources. I also use my public library's online databases extensively since I can research from home. This is a lifesaver with two small children under foot. Often, I try to talk to an expert in the field as well for information and to review my work. Generally, I try to find a fact in two to three sources before using it.

Jennifer: Can you share some tips on how to craft a nonfiction story into picture book that informs and entertains children without being too “wordy?”

Kirsten: That's the hard part. Generally, nonfiction picture books can be longer than fiction (up to 1,500 words), and target audiences can be 10 or 11 years old. Even though these books are longer, the information has to be interesting and age-appropriate. I use THE CHILDREN'S WRITER'S WORD BOOK and Okapi! (http://www.lefthandlogic.com/htmdocs/tools/okapi/okapi.php) to check readability for my target audience, especially if the book is aimed at students who are reading on their own. I use analogies that children can relate. I often imagine myself explaining the ideas to my boys and write the piece that way. For example, a child might not understand how cold it is in Antarctica. But, if you compare the temperature to the freezer in her kitchen, she'll understand.

Outside readers are invaluable for providing feedback about whether what I'm writing makes sense and holds interest. I have a fantastic critique group I've met through Julie Hedlund's 12 x 12 in 2012 challenge. I've also attended critique events through the Society of Children's Book Writers and Illustrators. And I was even lucky enough to receive a critique from a published children's author once, which was invaluable for finalizing the draft.

Thanks so much for having me Jennifer! Children's nonfiction writing is a challenge, but it offers endless opportunities for creativity.

Jennifer: Thank you for all your help Kirsten!

 

Bio: Kirsten W. Larson is a former NASA PR princess turned college instructor, freelance children's writer and mom to two curious boys. She blogs at CreatingCuriousKids.Wordpress.com

Thank you for your visit!

Let's Ask - Question 11

This week's Let's Ask question 
was for the lovely Carter Higgins!

Me- What advice would you give to an aspiring picture book writer/illustrator who wants to turn their hobby into a career?

CH- First, HI! Fun to be here today, Jen, thanks for having me!

   I love this first question because at first glance it seems irrelevant to anyone who is unpublished. Which I am! But then I started to think about the differences between a hobby and a career...and I think the traits that bind and slice the two are ambition and discipline.

Sure, I have goals in my hobbies (like the elusive pirouette!) and I work hard and focus on making those goals happen. But the ambition and discipline in driving a career includes necessity. If I can't perfect that darn pirouette, fine. I'll work on a better arabesque instead. When it comes to cultivating my career as a picture book writer, I absolutely just have to do it. It's a part of me, deep inside, completely attached to every cell in my body and each beat of my heart.

So while hobbies and careers are fluid in their 'job description,' turning your hobby into your career takes stone cold desire. If you can't separate that hobby from who you are, if they are so stuck together that you just can't NOT do it? Welcome to your new career. The clichéd advice that's jumbled around in all of that is to just do it. Here's a story for you of what that might look like...

Me- Have you had any personal experiences that you now know should have been avoided or have you had any important revelations on your journey that you could share?

CH- It was the winter of 2002 (or maybe 2003?!), and I was a school library media specialist. My roommate and I were snowed in, and so we wrote. Any subject, any style, just whatever came to mind. We had never done anything like this before, so it still strikes me as the beginning of some serious kismet. Of course, since I was a librarian, I knew everything about writing picture books. Right?

Ha.

I had some good instincts and ideas, but I had no idea what I was doing. I thought it was the greatest creation of all time. It was so amazing that I never even tried to write another manuscript. That over-800-word-entirely-written-in-limericks (seriously) manuscript sat on my computer collecting digital dust until last summer. I found out about SCBWI and just weeks before the summer conference in LA signed up for a roundtable manuscript consultation. That was the greatest decision ever made on a whimsy. The agent wrote smily faces on it and called it 'unique' and 'fresh,' even though the story was a clearly a dud.

The positive feedback was exhilarating though, which was a comforting realization that I was doing all the right things to learn about this industry, and also taking the time to get serious about my craft. This is where I took a long forgotten hobby and began shaping it into a career. In the year since, I've completely rewritten this little piece of history, and when I'm ready to begin submitting, this is not-so-secretly the one I love the most.

So the revelation here is twofold. You have to spend time on your craft in order for it to be fruitful. I'm not sure what I expected an eight year drought to produce. And also, there will still be some duds along the way. Ask me about the story I wrote from the perspective of a shoebox banjo. Huh? Exactly.

Me- Also, why is the book, The Stinky Cheese Man such an inspiration to you?

CH- This question makes my toenails smile.

I got this book sometime in the fuzzy years between high school and college, and carried a copy with me each time I made a move in those years. It's college, and temporary is the name of the game, so that was a lot of STINKY CHEESE MAN packing and unpacking.

I don't have strikes of lightning to prove it, but I really think that this book carved both of my main careers. The book drove me to be a librarian, to read rowdy stories with little ones, and to marvel at the intricacies of the book, its characters and its innards. And then later, with a more developed sense of design, I started to notice how the design of this book helps tell its stories. There's the page with the text getting smaller and smaller and smaller until you can't even read it. There's the title page that's upside down and my brain instantly perks up: why the heck is it upside down but that's hilarious and I don't even care why but I'll strain my neck anyway.

This book is just everything I love about stories and words and graphic design.

And it took 10 months, but I finally have both Jon Scieszka and Lane Smith's autographs. Such a treasure.

Carter Higgins is a motion graphics designer and a former elementary school librarian. When she is not creating graphics for TV, writing picture books, or making book trailers, Carter teaches design courses in color, layout, and composition, as well as Adobe Illustrator, Photoshop, and After Effects. All of these interests combine in her blog at http://designofthepicturebook.com/, or you can find her on Twitter at http://twitter.com/carterhiggins.

Thanks for your visit!

Let's Ask - Question 10

This week's Let's Ask question was for the talented Rena J.Traxel.

RJT- Thanks Jenn for having me on your blog today.


Me- Hi Rena! I'm so glad you agreed to help me out - thanks so much for the fantastic answers.

Me- You are a writer of more than one genre. Would you advise others to try to write in a totally different genre to improve their craft ? If so, why would that be constructive? 

RJT- YES! Take a look at the books on your shelves. I bet you that some of the books you own mix genres and form.  The Wolves of Mercy Falls by Maggie Stiefvater mixes fantasy with romance with a dash of poetry. The Hunchback Assignments by Arthur Slade mixes historical fiction with fantasy. Frankie Pickle series by Eric Wright mixes the graphic novel with the chapter book. Hugo Cabret by Brain Selznick mixes the art of the picture book with the art of a novel.  I could go on. The point is all these books are bestsellers.  Perhaps that picture book, or whatever project you are working on, needs a touch of horror or romance to make it stand out to publishers.  Perhaps your picture book would be better if it was a novel. Studying other genres will help you add in dashes here and there and will likely make your writing better.

Plus dabbling in other genres will help you assess your strengths and weakness. I can’t write romance to save my life unless of course it’s a satirical piece or a poem for a loved one. You will learn what you like to write. Maybe you have knack for writing humour or romance, but you’ll never know if you don’t give it a try.

Me- Which genre do you find to be more challenging to write for? Why?  

RJT- Every writing project comes with its own challenges.  One of the challenges I face is switching between projects. Most of the picture books I write involve animals and pre-school age kids while the novel I’m working on is for eight-and-up and is a fantasy novel/graphic novel hybrid. Going from the mindset of a three year old or a dog, to a mindset of a thirteen year old, or going from a picture book where you don’t typically tell the illustrator what to do to writing a graphic novel where you are suppose to give instructions to the illustrator can be disorienting.  Recently I was working on a concept series involving sounds. While I was writing this series, my novel set on the sidelines because I was stuck in non-fiction mode and couldn’t get into fantasy writing mode.

Writing for adults is much harder than writing for kids, at least when it comes to writing fiction. I find that there is more room for creativity when writing for kids versus adults.  Trying to find the balance between what a parent wants and what a kid wants to read in a picture book can be difficult versus MG novel where I’m only thinking about the kids.  Writing fantasy is much easier than writing non-fiction. I can stretch the truth when writing fantasy, but in non-fiction you have to stick with the facts.

Fantasy of the fairy tale variety is my preferred genre with poetry coming in second. Writing anything outside my preferred genres presents a challenge for two reasons—1) I don’t get enough practice writing in other genres. 2) Most of the books I read fall under the fantasy or poetry genre.

Me- Where does your inspiration come from while writing for children? Older audiences?


RJT- My inspiration comes from three places. 1) From the material I read. I generally like to spend a bit of time reading in a particular genre before writing in it.  I mentioned above that I had a hard time switching from non-fiction to fantasy well this usually doesn’t happen because reading in a genre before writing in it helps get my head in the game.  2) My husband. He is my muse.  I’m constantly bouncing ideas off him, which usually sparks new ideas.  3) Being challenged. Writing to me is about solving a problem akin to algebra (I know I’m one of the few writers out there that actually likes math).  Recently a writing friend posted a picture of basket full of socks. She said something along the lines of I bet you will think of some sort of monster story. Sure enough a week later I had produced a poem about a sock monster.  

Bio: Beware of the fiery haired writer that calls herself Rena J. Traxel. She spends her days brewing up a batch of fantastical stories. She also blogs about writing, shares poetry and downloadable activities @ www.renajtraxel.com

Thank you for your visit today!

Let's Ask - Question # 9

This week's Let's Ask question was for the marvelous Beth Stilborn.

My question for Beth:

For those of us who are struggling on the path of being a published children’s book author can you share 3 or 4 resources you found most beneficial for growth as a writer that supply answers, writing challenges, incentives and inspiration?

     Thank you, Jennifer for inviting me to be a part of this series, and thank you for asking me to share resources! As anyone who knows me (whether online or in person) can attest, I love to find and share resources – with no formal training in education or librarianship, I find I have spent my life teaching and finding just the right resource to suit the situation.

Limiting myself to 3 or 4 resources is tricky, so I’m cheating. (Does it count as cheating if one freely admits to doing it?)

1.   Emma Walton Hamilton. Emma is an author, educator, freelance editor, and the driving force behind three of the resources I most want to share with all emerging writers.

a)  The Children’s Book Hub http://www.childrensbookhub.com

     The Hub is a subscription-based resource and virtual salon for writers and illustrators, emerging and established. It offers a myriad of resources to members. There is an online forum where members can form community, sharing and learning from each other.

Above all, there are monthly Expert Interviews in which members are able to listen in online to an interview conducted by Emma, with interviewees such as picture book author/illustrator Peter H. Reynolds, middle grade author Kate McMullan, YA author Patricia McCormick, editor Emma Dryden, marketing consultant Susan Raab – the list goes on.

Two weeks later, every month, there is a Question and Answer session with Emma alone, exploring the topic of the month more deeply. Members submit questions for both these teleseminars, and so the information gleaned from them is just what people need at the time.

Four Hub members (including myself) who attended SCBWI LA last year found that many of the break-out sessions intended for emerging writers were too elementary for us, as we had learned so much from Emma’s teleseminars.

I know that money is tight for a lot of people, but I strongly urge you to invest in your writing career by coming up with the $19.95 per month that it costs to belong to the Children’s Book Hub.

The Hub’s Facebook presence: I also must include a plug for the Children’s Book Hub Facebook Group, which Emma and I co-administer. It’s free of charge, and is a gathering place for children’s writers, illustrators and editors to share resources and encouragement. You can request to become a member of our Facebook Group at https://www.facebook.com/groups/childrensbookhub/

b)  Just Write for Kids http://www.justwriteforkids.com

     This is an online/home study course in writing picture books that Emma developed a few years ago and recently revamped. I have taken this course, and can vouch for its efficacy in teaching me how to write a picture book. I return to the lessons again and again as I work on new picture book projects, as well as other writing projects.

Over the course of eight weeks, lessons arrive in your email inbox, but you can proceed at your own pace. There is opportunity for questions, interaction, and feedback on the website. I found Emma’s knowledge to be solidly grounded, and her boundless enthusiasm was immensely encouraging. It was well worth the cost, in my opinion.

c)   Emma’s blog http://www.emmawaltonhamilton.com

     Emma’s blog is a treasure trove of information for emerging writers. I particularly recommend her series of posts on writing picture books, especially if you cannot afford the Just Write for Kids course. This series formed the basis of JWFK although, of course, JWFK goes into much more depth. The series begins with the post “Who’s Your Hero?” and the other posts in the series are listed in a box along the right side of the post. http://www.emmawaltonhamilton.com/q-whose-your-hero-a-your-reader/

     To learn more about Emma and her work, please see the interview posted on my blog on June 6, 2012: http://www.bethstilborn.com/emma_walton_hamilton_interview/

     By my count I’ve only shared one resource so far, so I get to share a couple more. (I stopped believing in math in second grade, so my counting is creative, to say the least.)

2.   Cheryl Reifsnyder’s blog  http://www.cherylreif.com/

    Cheryl Reif Writes: How to Thrive on the Writer’s Road is an inspiring, information-filled, fun blog. The information about herself on her blog indicates that she writes “fun science stuff for children and adults” but she also blogs knowledgeably about writing, marketing, and the plethora of other issues that come up as a writer tries to learn all that is required in the complex world of authorship.

3.   The book Second Sight: an editor’s talks on writing, revising & publishing books for children and young adults by Cheryl B. Klein

Through a series of talks given at various conferences and other venues, the author gives practical advice, useful examples, workable exercises on nearly every topic that could occur to an emerging writer – writing in various genres; creating query letters; character, plot and voice; revision techniques – all written in an easily accessible style.

I also recommend her website and blog. Both can be found at http://cherylklein.com/

     I could go on and on listing resources, but I’ll stop at just “three.”

Bio: Beth Stilborn lives, writes, blogs and searches for resources in her aerie on the prairie (one floor below the pigeons’ penthouse). She writes picture books, chapter books, middle grade fiction and adult fiction, but all too frequently forgets to write grocery lists. While publication in any of these genres, including grocery lists, is still in the future, Beth believes wholeheartedly that the possibility of publication is far closer thanks to the wonderful resources and opportunities listed above, and also thanks to the support of the incredible kidlit community.

You may find Beth

(when she’s not functioning as a scare-pigeon on her balcony)

at the links below:

Her blog: http://www.bethstilborn.com

Her facebook page: https://www.facebook.com/bethstilbornwrites

Her twitter presence: https://twitter.com/#!/bethstilborn

Thanks for all your help today Beth!

Let's Ask - Question # 8

This week's Let's Ask question was for my friend and critique partner Cheryl Velasquez.

My question for Cheryl:
 
   You are constantly reading picture books to your class of second graders. Would you share some advice on how you get them engaged during story time?

Cheryl writes:

      The first thing I like to do is look at the cover of the book and get children to start thinking about the character. So I engage my students by asking probing questions like... I wonder why? Did you notice? What does this remind you of ? As the story unfolds I love to read the characters in different voices. This is really fun with stories that have repeating lines. Children WILL join in. The illustrations are important too! It’s the illustrations that help my students stay engaged. Visual images are key to telling a story. I like to end each book with this question: If the character was real would you be friends with them. By asking this question, I am making my students think about the character, and what the author was trying to portray. Their answers are quite amusing, because kids will always tell it like it is. I hope these suggestions help with your next story time.

The second part of my question for Cheryl:

What was one of their favorite books you've read to them?

Cheryl writes:



There was only one way for Chester to do things
 - his own way. Wilson did things the same way;
 they were best friends. From double-knotting their
 shoes to cutting their sandwiches diagonally,
Chester and Wilson were two of a kind.
 -Amazon book review

     This is a very hard question. ( Gees, thanks Jennifer!) I read at least 180 books a year to my students. I like to pick books that teach children some kind of lesson. This year’s favorites were books by Kevin Henkeys especially Chester’s Way.

Just one more questions for Cheryl:

What is your favorite type of children’s book you like to write most and why?

Cheryl writes:

    It took me a little while as a writer to find my passion. I find myself drawn to stories that are fiction placed in a historical settings or time periods. I love history and I love to travel. But, I also love to write in rhyme. I haven’t mastered it yet but it is fun to write. I love to play with words. There is nothing more entertaining that a story written in rhyme that makes children laugh. Honestly, I have to say most of my drafts come to me in rhyme. I never get tired of reading books in rhyme and some of my fondest memories as a child were reading Dr. Seuss.

Thank you Cheryl for all your help today!

    For those of you who would like to read more about Cheryl's classroom adventures and book reviews check out her blog - Cheryl's Nook Book.

Cheryl's Bio:

Cheryl has a Bachelor of Science in Elementary Education. She has been teaching young children for almost 20 years and writing for the last three. In her spare time she loves to travel! Cheryl's Blog- http://cherylvelasquez.blogspot.com/ her facebook page- http://www.facebook.com/#!/pages/Cheryl-Velasquez-Book-Nook/353522251326758

Let's Ask - Question # 7

This week's Let's Ask question was for the fabulous Susanna Hill.

Thank you Susanna for sharing with us today!



My question for Susanna:  


One piece of advice I keep hearing is write what you know. You have a variety of children's books already published. Do you mind sharing how each book idea came about and which ones were your most fun to write?


Susanna writes:


There is no doubt that I write what I know. Family holidays and traditions, sibling rivalry, childhood milestones, new babies, sore throats, loose teeth, bad dreams, and life with pets.
Feelings (not just childish!) of joy, disappointment, discovery, wanting to be understood, anxiety, doubt, needing to feel important, surprise, accomplishment, and wonder.
Learning to count and tie shoes and ride a bike and make friends and play piano.
Planting a garden. Sleepovers. Baking cookies. Splashing in puddles. Losing a grandparent.
The everyday is where stories begin because that is where shared human experience lies.


Every single story I've written has been based, at least partly, on something I know. But many of them have other elements too, because you don't have to stick completely with what you know - there is plenty of room for learning things, and for imagination :)

    I have never been a groundhog, but I know what it's like to want people to believe in you (Punxsutawney Phyllis.). I'm not a witch and I can't do magic, but I know what it is to have talents that are completely different from the rest of your family (Millicent's Magic - not published but a story I love!) I don't have direct experience operating heavy machinery, but I understand the fascination it held for my son, and I was able to educate myself about it enough to write a book about machines and people working together to build a house (The House That Mack Built).

    So I take the things I know, and spin them with the things I learn or imagine.


    Punxsutawney Phyllis came to me in the car on a gray, wintery Groundhog Day. I was driving my kids to school, and the radio DJ mentioned that Punxsutawney Phil had declared 6 more weeks of winter. Where I live, it seems like we always have 6 more weeks of winter. I thought to myself, gee it would be nice if for once we could have an early spring! Then I remembered that one of the best things about being a writer is that you get to call the shots. So I thought, I'll write a story where Punxsutawney Phil predicts an early spring! But then I got to thinking some more and I thought, hmm... why does Punxsutawney Phil always have to be a boy? A girl could certainly do the job just as well! I put the two ideas together, and voila! Punxsutawney Phyllis!

    Not Yet, Rose is about my daughter waiting for my son - two years old and no real way to imagine the impact of a new sibling on her little world. I wanted to help her understand that having a brother or sister would be different than being by herself, but that different doesn't necessarily mean bad and in fact, can be quite wonderful.

     No Sword Fighting In The House - well, I have actually said that in my house on many occasions! :) There is a certain magic in sword fighting, apparently, that makes it fun whether you have wooden swords and shields (yes, my husband made my 5, 3 and 1 year olds wooden swords!) or plastic light sabers or cardboard wrapping paper tubes or sticks - as long as a lot of jumping on the furniture and yelling is involved it can't be beat :) In addition, kids (at least my kids) have a talent for taking things literally. So when you say "no sword fighting in the house" meaning "no violent games", they are perfectly capable of whacking each other outside instead and then saying, "But you said no sword fighting in the house! We weren't in the house!" Put the two together, and you've got a story.

    And Can't Sleep Without Sheep is about a little girl who has trouble falling asleep because her mind is so busy. It is my son who has the busy mind, but I have daughters also, so the main character is a combination - my son's sleep habits, my daughters' gender. Apparently I spend too much time in the car with the radio on, because this story also owes itself, in part, to something I heard on the radio - a commercial for mattresses that said something along the lines of, "Mattress uncomfortable? Tired of counting sheep? Come get our mattress." And I thought, what if there was a child (like my son) who had trouble falling asleep, and had to count sheep so much that the sheep got tired of being counted? And there it was - Can't Sleep Without Sheep :)


    I don't think I can pick out which ones were most fun to write. I have loved writing all my books - they have all been fun! - and my favorite tends to be whatever I'm working on at the moment because it's fresh and I feel excited about it, although I will always have a soft spot for Phyllis, Rose, and Can't Sleep!


So yes, I guess I write what I know!
And I love every minute of it!


Bio: Susanna Leonard Hill wrote her first book in 2nd Grade. It is called "The Girl and The Witch" and she will read it to you if she comes to your school! She is the author of 17 books for children (10 traditionally published although 1 is in Dutch :) and 1 digitally published with 6 more digital books forthcoming from A Story Before Bed.) She is a mom as well as a children's author. She loves reading, writing, and visiting schools to share her stories and her passion for writing with kids. She also loves horses and her two rescue dogs. Susanna is always happy to hear from readers, so please visit her website (http://www.susannahill.com), FaceBook page (http://www.facebook.com/SusannaLeonardHill), and blog (http://susannahill.blogspot.com) Twitter http://twitter.com/#!/SusannaLHill!

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Thank you for visiting today!



Let's Ask - Question # 6

This week's Let's Ask question is for wonderful Julie Hedlund.
First, I wanted to thank Julie for being on today to answer my questions
and also give her a big birthday shout out!
HAPPY BIRTHDAY JULIE!!!!

Julie Hedlund
See below for bio

My question for Julie:

Why do you think it is so important to attend a writer's conference and at what stage of your writing career should you do so?

     I think writers should attend conferences as soon and as often as they can, budgets permitting. There are writing conferences for every topic and genre under the sun, so writers have a great deal to choose from. My advice is to select the conference or conferences that address issues and topics that are closely aligned with your goals as a writer. Recognize that those goals will change, and adjust your conference attendance accordingly.

     I went to my first SCBWI Regional conference after I'd written my first PB manuscript. Not only did I learn a great deal about the craft of writing, but I started learning about the publishing landscape and how I might think about formulating a career. I learned about the importance of critique groups and set about finding one right away.

     Shortly thereafter, I went to the SCBWI National conference in New York. By then I was ready to learn the ins and outs of publishing, submitting, the difference in roles between agents and editors, etc. Since then, digital publishing has exploded and become a viable option for writers, so I attended a regional conference on digital publishing in Austin last year and then the Tools of Change conference in Bologna this year.
With several submission-ready manuscripts under my belt, I am now actively looking for an agent, so in June I am going to the New Jersey regional SCBWI conference. Being so close to New York, many agents and editors are able to attend, and I am fortunate that I was planning on being on the East Coast at that time anyway.

     I also find conferences, workshops or retreats for specific areas of craft I need to work on. I just got back from a Highlights Foundation workshop on poetry. As a picture book writer (especially one who likes to write in rhyme), I feel it is essential to understand poetic form and to study the lyricism of poetry. I had been intimidated by poetry in the past, even though I loved it, so I felt it was a way for me to stretch myself and improve.

     Now, I had a fairly long and lucrative career before I came to writing, and my husband travels so much for work that we never have to purchase plane tickets. Not all writers are in this situation, and we all have budgets. Nonetheless, all writers can find ways to attend conferences - either in person or online - with planning. Here are some ideas:

• Decide on your budget for conferences and remember that the cost of a conference (in-person or online) is a tax-deductible business expense if you are actively working toward being published - even if you are not writing full time. Think about carpooling and sharing hotel rooms in order to keep costs down.
• Now take a look at where you are in your writing career and what you most need to learn. Look for conferences that focus on these topics so you get the most for your money.
• If you are unable to travel for a conference, look at local and online options. The fabulous crew of WriteOnCon puts on a FREE online conference focused on children's writing in August. It's hard to argue with a price of free, and having attended the past couple of years, I can assure you the quality is every bit as high as a paid conference. Other organizations, such as Writer's Digest, offer webinars on a wide range of topics. You can also join online communities such as the Children's Book Insider (CBI), Children's Book Hub, the Verla Kay Blueboards, and even the 12 x 12 group (when it reopens later this year). Some of these organizations charge a monthly fee, but they are always reasonable and perhaps easier to budget for than a larger one-time fee for the in-person conferences. In other words, there are options for EVERY budget. All you have to do is find ones that work for you.
• When you do attend in-person conferences, make the most of them. Take advantage of the networking opportunities. Talk to and meet as many people as you can. Take business cards so people have a way to stay in touch with you - even if (perhaps especially if) you are pre-published. Be friendly, be yourself, but also be professional. If you meet agents and editors, don't pitch to them unless they invite you to. If you do have a critique or pitch session, come prepared and be willing to listen and take feedback. Don't take more time than you're given and don't expect an offer on the spot. That rarely happens. The good news is you've had the chance to establish a relationship now and into the future. 

Could you tell us a bit about your time at the Bologna Children's Book Fair and what your favorite experience was?

     I am very child-like when it comes to conferences, in that I still get starstruck when I meet authors I love and admire. The excitement of meeting a "famous" author never gets old. So, getting the chance to meet and talk to Katherine Paterson, one of my all-time favorite writers and a childhood hero, was most definitely the highlight. For CBI members, I wrote an article summarizing what I learned about the state of digital publishing today, and there will be another one coming in the SCBWI Bulletin in July. I'm also working on another article for CBI on what it's like to be an author at a book fair. So stay tuned for those!

Bio: Julie Hedlund is a picture book author, a member of SCBWI, CBI and Children's Book Hub, a monthly contributor to author/illustrator Katie Davis’ Brain Burps About Books podcast, and the founder and host of the 12 x 12 in 2012 picture book writing challenge. Julie’s can be found on her website at http://www.juliehedlund.com/