SO YOU WANT TO GET PUBLISHED?
1. Join a
Professional Writer's Association
2. Subscribe to
Newsletters and Writing Magazines
3. Set
Goals—Give Yourself Daily Assignments—Enter Contests
4. Read Books on the Craft of Writing
5. Read and Study Current
Children's Books
6. Set Up or Join Critique Groups
7. Be Prepared to Spend Some Money
8. Take Classes or
Intensive Live or Online Workshops
9. Attend Seminars & Conferences
10. Get a Good Guide to the
Publishing Market
11. Do a
Mentorship (one-on-one program) with a Published Author
12. Get Your Best
Manuscript Critiqued by Published Author
13. Commit to Submit
14. Prepare to Wait
15. Never Give Up
FORMAT FOR SUBMITTING A MANUSCRIPT
I. SO YOU WANT TO GET PUBLISHED . . .?
If you really want to be a published writer, keep this in mind: It's not easy! Getting published requires a lot of time, patience, dedication, courage, determination, hard work, love for your craft, thirst for learning your craft, love of books and reading, a refusal to accept no or rejection in general, tenacity, a very tough skin, and a refusal to give up. Just because you or your wife just had a baby or you have kids and you've been making up bedtime stories every night for years, doesn't necessarily mean you can sit down and write a children's book and get it published right away. Or maybe you've had this one children's story bouncing around in your head for a while—should you take the time to write it down and try to sell it? Only if you're willing to devote the rest of your life to writing even if this one book doesn't sell. Writing for the purpose of getting published isn't a one-book endeavor. And just because you have kids doesn't make you an automatic children's book writer. Only hard work and long hours can do that. And even then, it may not be enough to get you published.
So if you're willing to devote the long hours and hard work, what CAN get you published? Well, I don't have the answer to what will work for you, but here's what worked for me:
1. Join a Professional Writer's Association.
The Society of Children's Book Writers and Illustrators (SCBWI) is the only international writing organization devoted exclusively to the craft of writing for children. Through it you can attend workshops and conferences at discounted prices and make contact with many successful writers, agents, and editors in the children's field of literature. In addition, many publishers will only accept manuscripts from published authors AND SCBWI members. At $50.00 per year, it is the best bargain around. The people in it are helpful, caring and extremely informative. Currently, it costs $60 to join for a year and then it is $50 to renew thereafter. I met ALL my editors either at an SCBWI conference or as a result of attending one. Most successful children's authors will agree it's one of the most helpful steps they ever took.
Depending on the sub-genre that you like to write in, you may also wish to join other writers associations, like the Mystery Writers of America. In California you may also join the California Writer's Club to meet other writers and attend monthly local seminars and meetings.
2. Subscribe to Newsletters and Writing Magazines.
Writer's magazine and newsletters contain excellent articles written by professional writers and writing instructors. They also contain the latest information on publishers, trends and changes in the publishing markets, announcements of awards and upcoming contests and the results of these, news about publishers, editors, agents, and authors. One of my favorites is ByLine Magazine because it contains short, easy-to-understand articles about writing that can help even established authors. ByLine also holds great monthly contests, which I highly recommend Two others that are helpful are:
If you join the SCBWI, you automatically get their bimonthly newsletter, The SCBWI Bulletin. If you can't afford another newsletter, The Bulletin is enough. The following are additional children's writers newsletters. I've listed them in order of value to a beginner if you can only afford one or two:
· Children's Writer, published by The Institute of Children's Literature
3. Set Goals—Give Yourself Daily Assignments—Enter Contests.
If your dream is to write and write well, you need to set up a regular routine—as if you're in school. Write every day. Set up a daily schedule. Set specific goals for yourself: Give yourself daily writing assignments, even if it's only 20 to 30 minutes per day. Maybe one day, you write in your journal, the next day, you do a writing exercise, and the next you write a story or an article. While I was working fulltime at another job, I set a goal of writing every day a minimum of 2 pages or 2 hours per day after work, whichever came first. When I retired to write fulltime, I kept that goal. Two pages may not sound like a lot, but I stuck with it and finished a rough draft in 2 ½ to 3 months each time I started a new novel. I've completed 7 novels so far. With that schedule I also finished either a short story, short article, picture book, or folktale per week when I wasn't writing a novel.
Another great way to help yourself set writing goals is to enter writing contests. ByLine Magazine (see #2, above) has monthly contests, sometime several each month. If you can't afford to take a writing class or there are none near you, writing contests are the next best thing. A contest gives you a writing assignment, a goal, and a specific deadline. The entrance fee for most contests is only a few dollars ($3 to $20) for each submission. If you win, you get that money back and then some. Some contests even offer a written critique of your work if you don't win (those tend to be more expensive).
Entering contests also gets your name and work in front of people who might someday take an interest in your career. The first year I retired to write fulltime, I entered a minimum of one contest per month. Most of the ones I entered were sponsored by ByLine, but I also entered the annual California Writer's Club Conference Contest and the Mary Malloy Grant. I won several First Place Awards and even made the finals in the Mary Malloy Grant, which got me a personal letter of introduction from one of the judges—Alix Reid, now Editorial Director at HarperCollins and one of my editors. It also gave me something to put on my résumé when I still hadn't published a children's book.
Contests also offer a lonely writer that much-needed validation and confirmation that you're on the right track and that your writing is taking on the polish that publishers are looking for. After years of rejection letters, imagine how I felt to receive a check and a letter notifying me I'd won First Place in ByLine's Juvenile Short Story contest.
Contests are listed in various reference books on publishing, most of which are available in your local public library. Or you can purchase a copy of Children's Writer Guide to 2002 (or whatever the current year), published by The Institute of Children's Literature. For a list of the monthly ByLine contests, click here.
In addition to contests, do short writing assignments from books on the craft of writing. Most books have writing exercises at the back of each chapter or the back of the book.
4. Read Books on the Craft of Writing.
There are many books on the craft of writing. Most are available at your public library if you can't afford to buy them. But if possible, invest in your favorites so you can reread them as you begin to learn your craft. Some techniques simply may not be immediately grasped by a beginner. Set a goal to read at least one per month (more when you're first starting).
Most books on writing contain excellent exercises that will help you hone in your writing skills. As part of your daily or weekly assignments (see #3, above), set a goal to complete some of the exercises at the end of each chapter or at the end of the book.
The following are some excellent books on the craft of writing:
· The Art of Writing for Children, by Connie C. Epstein
· Writing and Publishing Books for Children in the 1990's, by Olga Litowinsky
· Structuring Your Novel, by Robert C. Meredith & John D. Fitzgerald
· Characters Make Your Story, by Maren Elwood (The Writer, Inc.)
· Bird by Bird, by Anne Lamott (Bantam Books, 1995)
· Writing From the Body, by John Lee (St. Martin's Press)
· On Becoming a Novelist, by James Gardner (Harper & Row, 1983)
· Writing With Pictures: How to Write and Illustrate Children's Picture Books, by Uri Shulevitz
· Elements of Style, by Strunk & White
· Word into Type
5. Read and Study Current Children's Books.
The best, most fun "homework" you'll ever do is reading books in your genre. And if you want to be a writer you MUST read. And read and read and read. It is the only way to learn what you will then put to practice when you write. You can study all the best books on writing, but if you don't read to see and analyze examples of what you've been taught in the texts, you'll never quite grasp the techniques.
Read the classics, read the award winners, but also, make sure you read the recently published picture books and novels. The publishing world is constantly changing. You need to stay current. Not with trends—trends come and go. What you need to study are the subtly changing styles in writing and what publishers are looking for now. Set a goal each year to read all the award winners as well as other books in you genre. I try to read at least 5 middle-grade or YA novels per month. It may sound like a lot, but my list of "books to read" is much longer, and I'm always falling behind.
6. Set Up or Join Critique Groups.
Critique groups are important for several reasons. First, being in a critique group gives you instant feedback on your work and helps you fine tune you manuscripts. Second, writing is a lonely career. Being in a critique group gives you contact with other writers who understand what you're going through and can share your ups and downs. Who else can truly understand the difference between a "good" and "bad" rejection?
If you're a joiner, join an existing critique group. If you can't find one and you're like me, and you like to have some control over the type of group you join, start your own. Over the years I've started three critique groups. But each time, I tried to make sure that the others in my group were either published or more accomplished than myself. I've found that the best size for a "working" critique group is 3 or 4. More takes up too much time and less only gives you one point of view.
I avoid critique groups in which you read you manuscript aloud each session. I prefer that each member be given a copy of the other members manuscripts, take them home, study them, and provide some written as well as a verbal critique during the next meeting. That way, the other members can comment on each issue and either agree or disagree. There are several advantages to this approach. When you read a manuscript aloud, people's minds wander and you don't get a well-analyzed, well-thought-out critique. On the other hand, when you read someone else's manuscript alone and take time to study and analyze it, you learn a great deal about the writing process. It helps you learn to analyze and edit your own manuscripts.
7. Be Prepared to Spend Some Money.
If you're just learning to write or if you don't have a degree in English or didn't study creative writing in college, you need to be prepared to spend some money to learn your craft. Classes, books, professional critiques cost money. But if you win a few contests, apply for grants, and try to get some articles or stories published you can offset the cost and learn your craft at the same time. You can also minimize your costs by checking out books at the library, haunting used bookstores, or using online resources through the Internet. Maybe you have a skill that you can trade with a professional author for a free critique (see #12, below).
8. Take Classes or Intensive Live or Online Workshops.
The SCBWI Bulletin lists classes, one- or two-week intensive workshops, writing retreats, or one-day seminars that are sponsored or approved by the SCBWI. Also many colleges, community colleges, and universities hold classes on children's book writing or children's literature. Often a local author will hold classes at a local college. There are also various online workshops on the Internet (some are announced by your local chapter of the SCBWI or in the Bulletin). I was writing children's books for seven years, while also holding a fulltime job, but I felt like I was spinning my wheels because I couldn't find a local children's book writing class. I had so many questions that even books couldn't answer. Finally, Mills College in Oakland, CA, sent me an announcement of a one-week intensive workshop taught by two published and well-known children's book authors. At the time I had recently retired, so I could afford the time, but could barely afford the $500 it cost. Still, I applied and it was the best money I ever spent. Most of my questions were answered. I got feedback and critiques from the pros, and I met other writers (two of those became my 3-person critiques group). I also worked out a one-on-one mentorship program with each of the two instructors (see #11, below).
If you can afford it, The Children's Literature Institute offers a correspondence course in children's writing. It's very expensive, but I've heard the classes are excellent. I've never taken their classes. I decided instead to try to teach myself by doing what I've set forth in these steps (reading on my own, taking the classes and workshops that became available to me locally, and taking one-on-one mentorship programs).
Another well-respected intensive one-week workshop is the annual summer workshop at Chautauqua, New York, sponsored by the Highlights Foundation, Inc. (the publishers of Highlights Magazine). For information on upcoming workshops, call (570) 253-1192 or e-mail contact@)highlightsfoundation.org and ask for a workshop information kit.
The Highlights Foundation also holds a series of children's writer's workshops at various time of the year. For registration information, contact Maggie Ewain at (570) 253-1192 or e-mail her at maewain@)highlightsfoundation.org.
The Children's Book Insider sponsors several weekend-long fiction writing workshops at different locations, led by Laura Backes, Publisher of Children's Book Insider, and children's book author Linda Arms White. For information on times and locations, click here.
A FREE online children's writer workshop is available on the Barnes and Noble web site. Just click on the "Online Courses" button on the horizontal bar near the top of the home page, then click on "Browse All Courses." Next click on the "Writing for Children" link under Literature and Language, and register. The course was designed by children's author Tracy Dils.
9. Attend Seminars & Conferences.
If you join the SCBWI (see #1, above), you will be informed of the dates and locations of all SCBWI seminars and conferences. The National SCBWI Annual Summer Conference is always held in Los Angeles, CA, and usually takes place in the beginning of August for four days. The Annual Winter Conference is held in New York in February. The SCBWI Bulletin lists the smaller one- or two-day conferences and seminars that are sponsored by local SCBWI chapters. At these conferences and seminars you will learn more about your craft from experienced, published writers and instructors, you will meet and hear from editors, learn about current trends and publisher needs, you will establish excellent contacts, and meet new friends. As I mentions above, I met ALL my editors either at an SCBWI conference or as a result of attending one.
10. Get a Good Guide to the Publishing Market.
I know of two excellent guides to the publishing market. The first is the Children's Writer's & Illustrator's Market, published by Writer's Digest Books. In it, you will find wonderful tips and hints on how to get started writing for children, as well as the most comprehensive listing of publishers of children's literature currently available. It also lists agents, contests, awards, conferences and workshops. Finally, it tells you how and where to submit your work.
The second is the Children's Writer Guide to 2002 (or whatever the current year), published by The Institute of Children's Literature. This guide has a different focus and purpose. It does not list publishers and their addresses. It is more of a working writer's tool kit, containing articles on trends in publishing for that particular year, profile of influential editors, and news items from children's publisher over the past year. There is a section with articles on writing style and technique, a section on submissions, and another on the business and career of writing. It also contains sections with articles on idea generation and reference and research. Finally, it also lists information and addresses of writing conferences and contests and awards.
You can also obtain a free, current listing of children's book publishers, magazine markets, and agents from the SCBWI.
11. Do a Mentorship (one-on-one program) with a Published Author.
If you can possibly afford it, find a well-known published writer who is willing to work with you and take a one-on-one class with that person. It can run you from $500 or more for a three- to six-month program. But I found it was well worth my time and money. I took one three-month private correspondence course from a well-know time-travel mystery and suspense writer (since that's my favorite genre) and I did a six-month mentorship program, followed by another three-month program, with a different well-known mystery and horror writer. Both writers are also experienced writing teachers at local colleges. These programs gave me set goals (assignments), wonderful feed-back, hand-holding, and I was able to sell all the novels I wrote during those periods. If you decide to do this, I highly recommend that you find a writer who writes in your genre AND who is also a teacher.
12. Get Your Best Manuscript Critiqued by Published Author.
If you can't find a published author-teacher who's willing to commit three to six months to mentoring you, the next best thing is to have your manuscript critiqued by a published writer. Since mentorship programs and critique services are expensive, only do this if you're committed to getting a particular manuscript published and you've sent it out and had it rejected various times. Alternatively, if you can easily afford a critique and want to make sure your manuscript is ready for submission, then go ahead and get it critiqued first.
But beware of critiquing services. Ten years ago, I spent $250 to have my first novel critiqued by an editor who'd been down-sized from Simon & Schuster. I thought she would do a wonderful job and tell me what I'd done wrong and how to fix it—she was a professional children's book editor, after all! She sent me back a one-and-a-half page, doubled-spaced letter that told me nothing but that she was an idiot, and so was I for not checking her out first. She's still an editor, so I'm not naming names. Not that I'd ever send her anything! I've since discovered that the best critiques are given by published writers who have either been or are editors or teachers or both. You are paying to get in depth analysis of you work, what's wrong, whether it can be fixed and how, whether it is a marketable manuscript or ever can be. This analysis should be in the form of a written critique, and I would hope that for your money it is single spaced and more than one page. One really good critique can be as valuable as a whole class or a workshop.
Click here for information on having me critique your manuscript.
13. Commit to Submit.
Don't squirrel away your manuscripts in a desk drawer, afraid to turn your babies over to a publisher. And don't submit willy-nilly to any and every publisher on the list, but DO multiple submit (or you'll be submitting posthumously). Once you have a manuscript in shape, research which publishers might be best for it and SEND it. If it comes back, SEND IT AGAIN—immediately. Don't let a day go by when you don't have at least ONE manuscript on an editor's desk. If you receive some helpful criticisms, revise accordingly and SEND AGAIN. Getting published is not easy, but one thing is CERTAIN—a manuscript tucked away in your desk will never get published.
For a simple, but efficient method of tracking your submissions, click here.
14. Prepare to Wait.
And wait. And wait. And wait. This is probably one of the hardest things to get used to. This is a SLOW business. But it's part of the publishing world, so you'd better get used to it.
To speed things up a bit, I have a tickler system. After exactly two months, I send the editor an e-mail or a letter with an enclosed stamped postcard, requesting a status check on my manuscript. The editor usually sends back the postcard with an apology and lets me know how much longer it will take. I usually receive an my rejection or acceptance the next month. If not, I send another status letter or e-mail.
15. Never Give Up.
This is the ONLY common denominator among those who are published. There are countless stories of multi-published authors who have wallpapered their offices with hundreds of rejection letters. Rejection is part of the business for everyone. So keep writing, keep grinning, keep submitting, and keep your rejections—you may be famous someday or you book might win an award and can thumb your nose at the editor who rejected your manuscript.
II. FORMAT FOR SUBMITTING A MANUSCRIPT
1. Use 12 pt font.
2. Always leave 1 inch borders all the way around each page.
3. Format for First Page: Place you name, address, and phone number on the TOP left-hand side of the first page. Place the approximate number of words on the TOP right-hand side of the page. Center the title and your byline. Start the first paragraph of the story about ¾ of the way down the first page (see example at end of this packet).
4. Following Pages: Place your last name and the title of your book at the TOP left-hand side of each page, and the page number on the TOP right-hand side of each page, like this:
Montes, A CIRCLE OF TIME Page 2
5. Spell-check your manuscript before printing.
6. Make sure each page is neat and legible. Think professional! Look professional!