Are you over 18 and want to see adult content?
More Annotations
![A complete backup of https://topsport.bg](https://www.archivebay.com/archive6/images/aefcca7d-6e3d-4231-baac-7008eeb8bda0.png)
A complete backup of https://topsport.bg
Are you over 18 and want to see adult content?
![A complete backup of https://honour.co.uk](https://www.archivebay.com/archive6/images/311820af-b5f0-417f-99a5-60a449b8790b.png)
A complete backup of https://honour.co.uk
Are you over 18 and want to see adult content?
![A complete backup of https://maxhetzler.com](https://www.archivebay.com/archive6/images/60c087d0-33e6-4f2c-95d6-3dcda0e00731.png)
A complete backup of https://maxhetzler.com
Are you over 18 and want to see adult content?
![A complete backup of https://buenaconciencia.com](https://www.archivebay.com/archive6/images/63fad578-94ad-4e27-938c-89f52e021726.png)
A complete backup of https://buenaconciencia.com
Are you over 18 and want to see adult content?
![A complete backup of https://koh-phi-phi-hotels.info](https://www.archivebay.com/archive6/images/cf8dadb5-d1ab-4ad9-9da9-f9c8f5744cc1.png)
A complete backup of https://koh-phi-phi-hotels.info
Are you over 18 and want to see adult content?
![A complete backup of https://semantic-mediawiki.org](https://www.archivebay.com/archive6/images/51e18c66-b23a-4e79-885f-229b9a8f910c.png)
A complete backup of https://semantic-mediawiki.org
Are you over 18 and want to see adult content?
![A complete backup of https://sanysidroranch.com](https://www.archivebay.com/archive6/images/1f98210b-cfdc-44d5-9679-05bd9578f9b3.png)
A complete backup of https://sanysidroranch.com
Are you over 18 and want to see adult content?
![A complete backup of https://iabtechlab.com](https://www.archivebay.com/archive6/images/8c6242f6-0616-48d8-b7d4-49bb52fef5df.png)
A complete backup of https://iabtechlab.com
Are you over 18 and want to see adult content?
![A complete backup of https://uniben.edu](https://www.archivebay.com/archive6/images/a73451c4-4fe4-4e8f-9879-0a12f0219e62.png)
A complete backup of https://uniben.edu
Are you over 18 and want to see adult content?
![A complete backup of https://doyouremember.com](https://www.archivebay.com/archive6/images/e0875f85-5216-4834-baa0-00e86a8966de.png)
A complete backup of https://doyouremember.com
Are you over 18 and want to see adult content?
![A complete backup of https://radimov.sk](https://www.archivebay.com/archive6/images/992d9bde-c96f-4650-9dcc-38e270b95cb3.png)
A complete backup of https://radimov.sk
Are you over 18 and want to see adult content?
![A complete backup of https://rtnecommerce.com](https://www.archivebay.com/archive6/images/7867e045-8da5-4939-b954-c68973376476.png)
A complete backup of https://rtnecommerce.com
Are you over 18 and want to see adult content?
Favourite Annotations
![A complete backup of www.artofzoo.com](https://www.archivebay.com/archive5/images/32daf1b6-74f8-42fc-b950-9d9437470007.png)
A complete backup of www.artofzoo.com
Are you over 18 and want to see adult content?
![A complete backup of www.topboard.org](https://www.archivebay.com/archive5/images/3720358e-4197-4501-9282-e7b335ba10e8.png)
A complete backup of www.topboard.org
Are you over 18 and want to see adult content?
![A complete backup of www.thecandidforum.com](https://www.archivebay.com/archive5/images/06fb949c-1ce0-4af7-af52-ed5c97f71f48.png)
A complete backup of www.thecandidforum.com
Are you over 18 and want to see adult content?
![A complete backup of www.www.streamray.com](https://www.archivebay.com/archive5/images/c109b3c4-6f98-4b8f-881e-34ba5d1dd2c8.png)
A complete backup of www.www.streamray.com
Are you over 18 and want to see adult content?
![A complete backup of www.www.zenra.net](https://www.archivebay.com/archive5/images/75b0a75d-effe-4d1f-b1b0-41d7be3ad9d3.png)
A complete backup of www.www.zenra.net
Are you over 18 and want to see adult content?
![A complete backup of www.www.nanabook.com](https://www.archivebay.com/archive5/images/84f832b9-4879-40c5-98a6-66e43d5e347a.png)
A complete backup of www.www.nanabook.com
Are you over 18 and want to see adult content?
![A complete backup of www.dvdgayonline.com](https://www.archivebay.com/archive5/images/f6f0a49d-1fab-472e-a6ca-02136d562c19.png)
A complete backup of www.dvdgayonline.com
Are you over 18 and want to see adult content?
Text
picture book.
CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Great advice. I’ve seen so many fantasy novels that are 100k+ in word length. I struggle with that as a reader. I mean, sure, they have to create an entirely different universe in some cases, that takes description, but, I do struggle with reading really long books, and usually end up skimming some of the descriptive (narrative) parts. HOW TO WRITE EMOTIONS Interiority is access to a protagonist's thoughts, feelings, and reactions. Let's look at how to write emotions in a way that balances interiority and plot. COMP TITLES IN A QUERY AND OTHER QUESTIONS ABOUT BOOKSEE MORE ONKIDLIT.COM
LITERARY AGENT RESPONSE TIMES I think a long delay is more likely to be a good sign with an editor than with an agent. I have several times given up a proposal for dead, only to have the editor finally get in touch to say they ‘love it’, etc. that ‘love’ takes a lot of meetings and checking up toconfirm, it seems:)
COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to WRITING A BULLY CHARACTER Thanks for being so commonsensical and non-hysterical about this; this subject is such a sacred cow recently that it’s getting ridiculous. I’ve always had a policy of only bringing this into a story if it’s relevant and never emphasizing helplessness for pathos points-Mark Petrie in Stephen King’s Salems Lot is the best benchmark I know of-the one place it comes up in the book I’m WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Finally some info on this! I couldnt find anything on how to format it into a manuscript, some things don’t apply to children’s writing, like no space between paragraphs and I’ve always read the 2 space rule but my book is a rhyming one. HOW TO WRITE A PICTURE BOOK QUERY Write a killer picture book query to hook a literary agents. Simple query letter for picture book tips and a sample so you can publish apicture book.
CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Great advice. I’ve seen so many fantasy novels that are 100k+ in word length. I struggle with that as a reader. I mean, sure, they have to create an entirely different universe in some cases, that takes description, but, I do struggle with reading really long books, and usually end up skimming some of the descriptive (narrative) parts. HOW TO WRITE EMOTIONS Interiority is access to a protagonist's thoughts, feelings, and reactions. Let's look at how to write emotions in a way that balances interiority and plot. COMP TITLES IN A QUERY AND OTHER QUESTIONS ABOUT BOOKSEE MORE ONKIDLIT.COM
LITERARY AGENT RESPONSE TIMES I think a long delay is more likely to be a good sign with an editor than with an agent. I have several times given up a proposal for dead, only to have the editor finally get in touch to say they ‘love it’, etc. that ‘love’ takes a lot of meetings and checking up toconfirm, it seems:)
COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to WRITING A BULLY CHARACTER Thanks for being so commonsensical and non-hysterical about this; this subject is such a sacred cow recently that it’s getting ridiculous. I’ve always had a policy of only bringing this into a story if it’s relevant and never emphasizing helplessness for pathos points-Mark Petrie in Stephen King’s Salems Lot is the best benchmark I know of-the one place it comes up in the book I’m WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? KIDLIT | HOW TO WRITE AND PUBLISH CHILDREN'S BOOKS Weave in character backstory in a way that engages readers. How Much Character Backstory to Use. The bare minimum of backstory that you should include in your novel or picture book or memoir is this: enough to get readers plugged into the character. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. HOW TO WRITE EARLY READERS, EASY CHAPTER BOOKS, AND CLEMENTINE is an example of writing great easy chapter books for young readers. How to Write and Publish Early Readers. Early readers are the earliest “chapter” stories that a kid can get. They’re very short in terms of manuscript length (1,500 words max) but are broken up into either chapters or vignettes that will give the reader the feeling of reading a book with real chapters in it. COMP TITLES IN A QUERY AND OTHER QUESTIONS ABOUT BOOK Using comp titles in a query is a smart move, if you do it right. Here's everything you need to know about book comps when you submit toliterary agents.
NOVEL OUTLINE TEMPLATE By very, very, very popular demand, here’s a PDF download of a novel outline template. You have been asking for one for years, but the closest I’ve ever written is this short article on a novel synopsis.Well, I’ve rectified that today! AUTHORIAL VOICE AND THIRD PERSON VOICE What’s the difference between authorial voice, third person voice, and character voice? Basically, it’s a balance. There is the author’s own voice, and then the narrative voice, which is informed by POV character, at least slightly. WHAT LITERARY AGENTS WANT WHEN EVALUATING FULL What literary agents want when evaluating a full manuscript. What Literary Agents Want. And as publishers have tightened lists and as my own experience with editors and published books and writing and marketing grows, my standards have risen even higher. INTRODUCING THE SUCCESSFUL QUERY LETTERS: QUERY LETTERS Forty-three real query letters from every category, with in-depth analysis and resources. Forty-Three Real Query Letters From Real Writers. One drawback of being a querying writer is that you don’t have access to a slush pile, so you don’t know what everyone else isdoing.
WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? SUBMITTING MULTIPLE QUERIES TO MULTIPLE AGENTS Recently, an editorial client of mine wrote in with the following awesome question about submitting multiple queries to multiple agents:. Is it ok to query two books at the same time to different agents? A novel and a picture book? HOW TO WRITE A PICTURE BOOK QUERY Write a killer picture book query to hook a literary agents. Simple query letter for picture book tips and a sample so you can publish apicture book.
PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Finally some info on this! I couldnt find anything on how to format it into a manuscript, some things don’t apply to children’s writing, like no space between paragraphs and I’ve always read the 2 space rule but my book is a rhyming one. HOW TO WRITE EMOTIONS Interiority is access to a protagonist's thoughts, feelings, and reactions. Let's look at how to write emotions in a way that balances interiority and plot. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to LITERARY AGENT RESPONSE TIMES I think a long delay is more likely to be a good sign with an editor than with an agent. I have several times given up a proposal for dead, only to have the editor finally get in touch to say they ‘love it’, etc. that ‘love’ takes a lot of meetings and checking up toconfirm, it seems:)
MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Great advice. I’ve seen so many fantasy novels that are 100k+ in word length. I struggle with that as a reader. I mean, sure, they have to create an entirely different universe in some cases, that takes description, but, I do struggle with reading really long books, and usually end up skimming some of the descriptive (narrative) parts. WRITING A BULLY CHARACTER Thanks for being so commonsensical and non-hysterical about this; this subject is such a sacred cow recently that it’s getting ridiculous. I’ve always had a policy of only bringing this into a story if it’s relevant and never emphasizing helplessness for pathos points-Mark Petrie in Stephen King’s Salems Lot is the best benchmark I know of-the one place it comes up in the book I’m WHAT IS THE BEST TIME OF YEAR TO QUERY A LITERARY AGENT Sweet post! I was going to spend Dec revising and hanging at the beach so now I’m all sorted. I wonder if querying in Jan is a good ideabecause
WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? HOW TO WRITE A PICTURE BOOK QUERY Write a killer picture book query to hook a literary agents. Simple query letter for picture book tips and a sample so you can publish apicture book.
PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Finally some info on this! I couldnt find anything on how to format it into a manuscript, some things don’t apply to children’s writing, like no space between paragraphs and I’ve always read the 2 space rule but my book is a rhyming one. HOW TO WRITE EMOTIONS Interiority is access to a protagonist's thoughts, feelings, and reactions. Let's look at how to write emotions in a way that balances interiority and plot. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to LITERARY AGENT RESPONSE TIMES I think a long delay is more likely to be a good sign with an editor than with an agent. I have several times given up a proposal for dead, only to have the editor finally get in touch to say they ‘love it’, etc. that ‘love’ takes a lot of meetings and checking up toconfirm, it seems:)
MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Great advice. I’ve seen so many fantasy novels that are 100k+ in word length. I struggle with that as a reader. I mean, sure, they have to create an entirely different universe in some cases, that takes description, but, I do struggle with reading really long books, and usually end up skimming some of the descriptive (narrative) parts. WRITING A BULLY CHARACTER Thanks for being so commonsensical and non-hysterical about this; this subject is such a sacred cow recently that it’s getting ridiculous. I’ve always had a policy of only bringing this into a story if it’s relevant and never emphasizing helplessness for pathos points-Mark Petrie in Stephen King’s Salems Lot is the best benchmark I know of-the one place it comes up in the book I’m WHAT IS THE BEST TIME OF YEAR TO QUERY A LITERARY AGENT Sweet post! I was going to spend Dec revising and hanging at the beach so now I’m all sorted. I wonder if querying in Jan is a good ideabecause
WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? KIDLIT | HOW TO WRITE AND PUBLISH CHILDREN'S BOOKS Weave in character backstory in a way that engages readers. How Much Character Backstory to Use. The bare minimum of backstory that you should include in your novel or picture book or memoir is this: enough to get readers plugged into the character. HOW TO WRITE EARLY READERS, EASY CHAPTER BOOKS, AND CLEMENTINE is an example of writing great easy chapter books for young readers. How to Write and Publish Early Readers. Early readers are the earliest “chapter” stories that a kid can get. They’re very short in terms of manuscript length (1,500 words max) but are broken up into either chapters or vignettes that will give the reader the feeling of reading a book with real chapters in it. NOVEL OUTLINE TEMPLATE By very, very, very popular demand, here’s a PDF download of a novel outline template. You have been asking for one for years, but the closest I’ve ever written is this short article on a novel synopsis.Well, I’ve rectified that today! CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. COMP TITLES IN A QUERY AND OTHER QUESTIONS ABOUT BOOK Using comp titles in a query is a smart move, if you do it right. Here's everything you need to know about book comps when you submit toliterary agents.
INTRODUCING THE SUCCESSFUL QUERY LETTERS: QUERY LETTERS Forty-three real query letters from every category, with in-depth analysis and resources. Forty-Three Real Query Letters From Real Writers. One drawback of being a querying writer is that you don’t have access to a slush pile, so you don’t know what everyone else isdoing.
SUBMITTING MULTIPLE QUERIES TO MULTIPLE AGENTS Recently, an editorial client of mine wrote in with the following awesome question about submitting multiple queries to multiple agents:. Is it ok to query two books at the same time to different agents? A novel and a picture book? WHAT LITERARY AGENTS WANT WHEN EVALUATING FULL What literary agents want when evaluating a full manuscript. What Literary Agents Want. And as publishers have tightened lists and as my own experience with editors and published books and writing and marketing grows, my standards have risen even higher. WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? QUERY LETTER TIPS: DON'T PUT THE CART BEFORE THE HORSE Pitching your project to an agent or publisher doesn’t have to be scary! Make it easy (well, easier) with our free Manuscript Submission Cheat Sheet: 27 pages of friendly, helpful information for writers ready to take the next step. HOW TO WRITE A PICTURE BOOK QUERY Easy peasy. No need to write an elaborate picture book query letter. Just present the main characters, the main problem, and the resolution, then work in a hook (“great friendship hook,” above), and sign off like you normally would with a novel query. This PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Picture Book Format. Picture book manuscript format tends to vary WIDELY. Some writers have it down. Others think they’re paginating correctly if they allocate a separate manuscript page to each line, resulting in a 32-page Word document that contains 300 words. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH Children’s book manuscript chapter length consistency is what sort of keeps the engine of your pacing going. And when I’m reading, I definitely notice, you know, with my editorial clients, I have manuscripts in front of me all the time. I definitely notice when a chapter is a lot shorter or a lot longer than sort of what has beenestablished.
MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Early Reader — 1,500 words is the max. Chapter Book — This varies widely, depending on grade and reader level, usually starting at 4,000 words and 15,000 words max. Young Middle Grade or MG — 15,000 to 25,000 words. Middle Grade or MG — 45,000 words max for contemporary, mystery, humor. WRITING RHYMING CHILDREN'S BOOKS Writing Rhyming Children’s Books. Rhyming children’s books were the bane of my existence as an agent, honestly, because not many people are that great at writing rhyming picture books. I had one rhyming PB client out of maybe fifteen PB “generalists.”. And yet 8 out of 10 picture book manuscripts that came into the slush were inrhyme.
HOW TO WRITE EMOTIONS How to Write Emotions: Find a Balance. My rule of thumb is to use what’s necessary and find a balance. As with anything, balance doesn’t come easily. Some writers err on the side of too much interiority, some writers barely scratch the surface of their character’s rich inner lives, even in first person. The imbalance oftoo much
LITERARY AGENT RESPONSE TIMES Decoding Literary Agent Response Times. I can see why a lot of writers would think this with regard to literary agent response times. Blogs and forums are full of sexy stories: “My agent offered representation the same day!” or “An editor read it overnight and pre-empted with a huge deal!”. It’s a little less exciting to geton your
WRITING A BULLY CHARACTER Writing a bully character doesn’t mean you’re exempt from all the tips out there on creating multidimensional, complex characters. Especially if they’re the primary antagonist. But most of the bullies I see are invariably large, physically, dull, mentally, and disturbed, emotionally. The girl versions are always mean, pretty, andpopular.
COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED When An Unagented Submission Becomes Agented. I’ll answer the first part first, and I don’t know if this is what you want to hear. If you want to find a better offer than the one you received on your unagented submission, you will have to decline the present offer. The offering publisher expects you to get back to them within a reasonable HOW TO WRITE A PICTURE BOOK QUERY Easy peasy. No need to write an elaborate picture book query letter. Just present the main characters, the main problem, and the resolution, then work in a hook (“great friendship hook,” above), and sign off like you normally would with a novel query. This PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Picture Book Format. Picture book manuscript format tends to vary WIDELY. Some writers have it down. Others think they’re paginating correctly if they allocate a separate manuscript page to each line, resulting in a 32-page Word document that contains 300 words. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH Children’s book manuscript chapter length consistency is what sort of keeps the engine of your pacing going. And when I’m reading, I definitely notice, you know, with my editorial clients, I have manuscripts in front of me all the time. I definitely notice when a chapter is a lot shorter or a lot longer than sort of what has beenestablished.
MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Early Reader — 1,500 words is the max. Chapter Book — This varies widely, depending on grade and reader level, usually starting at 4,000 words and 15,000 words max. Young Middle Grade or MG — 15,000 to 25,000 words. Middle Grade or MG — 45,000 words max for contemporary, mystery, humor. WRITING RHYMING CHILDREN'S BOOKS Writing Rhyming Children’s Books. Rhyming children’s books were the bane of my existence as an agent, honestly, because not many people are that great at writing rhyming picture books. I had one rhyming PB client out of maybe fifteen PB “generalists.”. And yet 8 out of 10 picture book manuscripts that came into the slush were inrhyme.
HOW TO WRITE EMOTIONS How to Write Emotions: Find a Balance. My rule of thumb is to use what’s necessary and find a balance. As with anything, balance doesn’t come easily. Some writers err on the side of too much interiority, some writers barely scratch the surface of their character’s rich inner lives, even in first person. The imbalance oftoo much
LITERARY AGENT RESPONSE TIMES Decoding Literary Agent Response Times. I can see why a lot of writers would think this with regard to literary agent response times. Blogs and forums are full of sexy stories: “My agent offered representation the same day!” or “An editor read it overnight and pre-empted with a huge deal!”. It’s a little less exciting to geton your
WRITING A BULLY CHARACTER Writing a bully character doesn’t mean you’re exempt from all the tips out there on creating multidimensional, complex characters. Especially if they’re the primary antagonist. But most of the bullies I see are invariably large, physically, dull, mentally, and disturbed, emotionally. The girl versions are always mean, pretty, andpopular.
COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED When An Unagented Submission Becomes Agented. I’ll answer the first part first, and I don’t know if this is what you want to hear. If you want to find a better offer than the one you received on your unagented submission, you will have to decline the present offer. The offering publisher expects you to get back to them within a reasonable KIDLIT | HOW TO WRITE AND PUBLISH CHILDREN'S BOOKS The fewer and tighter your flashbacks, the better. On the whole, it’s perfectly okay to leave elements on the “cutting room floor” as you prioritize action and conflict over heavy character backstory, especially at the beginning of your story. Your openingpages
WRITING RHYMING CHILDREN'S BOOKS Writing Rhyming Children’s Books. Rhyming children’s books were the bane of my existence as an agent, honestly, because not many people are that great at writing rhyming picture books. I had one rhyming PB client out of maybe fifteen PB “generalists.”. And yet 8 out of 10 picture book manuscripts that came into the slush were inrhyme.
HOW TO WRITE EARLY READERS, EASY CHAPTER BOOKS, AND CLEMENTINE is an example of writing great easy chapter books for young readers. How to Write and Publish Early Readers. Early readers are the earliest “chapter” stories that a kid can get. They’re very short in terms of manuscript length (1,500 words max) but are broken up into either chapters or vignettes that will give the reader the feeling of reading a book with real chapters in it. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH Children’s book manuscript chapter length consistency is what sort of keeps the engine of your pacing going. And when I’m reading, I definitely notice, you know, with my editorial clients, I have manuscripts in front of me all the time. I definitely notice when a chapter is a lot shorter or a lot longer than sort of what has beenestablished.
AUTHORIAL VOICE AND THIRD PERSON VOICE This is the voice of your character. In first person POV (“I said”), that is also the voice you’re writing in. In third person, it is widely preferred in contemporary fiction to let your character’s voice inflect the narrative, especially if you are writing in close third person on that one character. This basicallymeans that you are
INTRODUCING THE SUCCESSFUL QUERY LETTERS: QUERY LETTERS Forty-three real query letters from every category, with in-depth analysis and resources. Forty-Three Real Query Letters From Real Writers. One drawback of being a querying writer is that you don’t have access to a slush pile, so you don’t know what everyone else isdoing.
WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED When An Unagented Submission Becomes Agented. I’ll answer the first part first, and I don’t know if this is what you want to hear. If you want to find a better offer than the one you received on your unagented submission, you will have to decline the present offer. The offering publisher expects you to get back to them within a reasonable COMP TITLES IN A QUERY AND OTHER QUESTIONS ABOUT BOOK The ideal number of comp titles in a query is two or three. I recently read a query with six book comps mentioned. That writer had clearly done their research, but they need to tone it down. Two strong comps are better than four lukewarm comps and way better than six comps that just all happen to be in the same category. WHAT LITERARY AGENTS WANT WHEN EVALUATING FULL What Literary Agents Want When Evaluating Full Manuscripts. Written during my agenting days, this post details what literary agents want. This past year, I’ve built up a great client list and sold some great books. What are literary agents looking for changes often, as I mentioned on Alice Pope’s blog a few weeks ago. QUERY LETTER TIPS: DON'T PUT THE CART BEFORE THE HORSE Writers, one of the most valuable query letter tips I can give you is not to put the cart before the horse in terms of what you’re pitching. When I was a literary agent, sometimes I’d see writers who’d say, “I have such and such project that would make a great app. And then this other project just screams to be developed into atouring
KIDLIT | HOW TO WRITE AND PUBLISH CHILDREN'S BOOKSABOUTRESOURCESWHAT ARE YOU WRITINGCATEGORIESMIDDLE GRADEYOUNG ADULT Weave in character backstory in a way that engages readers. How Much Character Backstory to Use. The bare minimum of backstory that you should include in your novel or picture book or memoir is this: enough to get readers plugged into the character. PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Finally some info on this! I couldnt find anything on how to format it into a manuscript, some things don’t apply to children’s writing, like no space between paragraphs and I’ve always read the 2 space rule but my book is a rhyming one. HOW TO WRITE A PICTURE BOOK QUERY Write a killer picture book query to hook a literary agents. Simple query letter for picture book tips and a sample so you can publish apicture book.
LITERARY AGENT RESPONSE TIMES I think a long delay is more likely to be a good sign with an editor than with an agent. I have several times given up a proposal for dead, only to have the editor finally get in touch to say they ‘love it’, etc. that ‘love’ takes a lot of meetings and checking up toconfirm, it seems:)
MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Great advice. I’ve seen so many fantasy novels that are 100k+ in word length. I struggle with that as a reader. I mean, sure, they have to create an entirely different universe in some cases, that takes description, but, I do struggle with reading really long books, and usually end up skimming some of the descriptive (narrative) parts. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. HOW TO WRITE EMOTIONS Interiority is access to a protagonist's thoughts, feelings, and reactions. Let's look at how to write emotions in a way that balances interiority and plot. INCLUDING ILLUSTRATION NOTES IN YOUR CHILDREN'S BOOKBOOK ILLUSTRATION JOBSBOOK ILLUSTRATION STYLE Thanks, Mary. I always get nailed from my critique group about the illustration notes thing, but I recently went to a conference where the very-in-demand author said the sweet spot for PB word count is now around 500 (wow!) and that because of that, you almost have to useillustration notes.
WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? WHAT IS THE BEST TIME OF YEAR TO QUERY A LITERARY AGENTEXCEL SQL QUERYJPA NATIVE QUERYQUERY DATABASESPRING DATA CUSTOM QUERYUNDER QUERYMEANING
Sweet post! I was going to spend Dec revising and hanging at the beach so now I’m all sorted. I wonder if querying in Jan is a good ideabecause
KIDLIT | HOW TO WRITE AND PUBLISH CHILDREN'S BOOKSABOUTRESOURCESWHAT ARE YOU WRITINGCATEGORIESMIDDLE GRADEYOUNG ADULT Weave in character backstory in a way that engages readers. How Much Character Backstory to Use. The bare minimum of backstory that you should include in your novel or picture book or memoir is this: enough to get readers plugged into the character. PICTURE BOOK FORMAT AND HOW TO FORMAT YOUR MANUSCRIPT Finally some info on this! I couldnt find anything on how to format it into a manuscript, some things don’t apply to children’s writing, like no space between paragraphs and I’ve always read the 2 space rule but my book is a rhyming one. HOW TO WRITE A PICTURE BOOK QUERY Write a killer picture book query to hook a literary agents. Simple query letter for picture book tips and a sample so you can publish apicture book.
LITERARY AGENT RESPONSE TIMES I think a long delay is more likely to be a good sign with an editor than with an agent. I have several times given up a proposal for dead, only to have the editor finally get in touch to say they ‘love it’, etc. that ‘love’ takes a lot of meetings and checking up toconfirm, it seems:)
MANUSCRIPT LENGTH: HOW LONG SHOULD A CHILDREN'S BOOK BE Great advice. I’ve seen so many fantasy novels that are 100k+ in word length. I struggle with that as a reader. I mean, sure, they have to create an entirely different universe in some cases, that takes description, but, I do struggle with reading really long books, and usually end up skimming some of the descriptive (narrative) parts. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. HOW TO WRITE EMOTIONS Interiority is access to a protagonist's thoughts, feelings, and reactions. Let's look at how to write emotions in a way that balances interiority and plot. INCLUDING ILLUSTRATION NOTES IN YOUR CHILDREN'S BOOKBOOK ILLUSTRATION JOBSBOOK ILLUSTRATION STYLE Thanks, Mary. I always get nailed from my critique group about the illustration notes thing, but I recently went to a conference where the very-in-demand author said the sweet spot for PB word count is now around 500 (wow!) and that because of that, you almost have to useillustration notes.
WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? WHAT IS THE BEST TIME OF YEAR TO QUERY A LITERARY AGENTEXCEL SQL QUERYJPA NATIVE QUERYQUERY DATABASESPRING DATA CUSTOM QUERYUNDER QUERYMEANING
Sweet post! I was going to spend Dec revising and hanging at the beach so now I’m all sorted. I wonder if querying in Jan is a good ideabecause
KIDLIT | HOW TO WRITE AND PUBLISH CHILDREN'S BOOKS Weave in character backstory in a way that engages readers. How Much Character Backstory to Use. The bare minimum of backstory that you should include in your novel or picture book or memoir is this: enough to get readers plugged into the character. CHILDREN'S BOOK MANUSCRIPT CHAPTER LENGTH When worrying how many words in a chapter, keep a close eye on pacing. So yeah, I would say that chapter consistency above all is key. Make sure your children’s book manuscript chapter length is consistent, look for outliers, so chapters that are too long or too short based on the length that you set for yourself where you fall most of the time when you’re writing. AUTHORIAL VOICE AND THIRD PERSON VOICE What’s the difference between authorial voice, third person voice, and character voice? Basically, it’s a balance. There is the author’s own voice, and then the narrative voice, which is informed by POV character, at least slightly. COMP TITLES: COMPARING YOURSELF TO OTHER WRITERS IN A Kristen asked the following comparative titles or “comp titles” question a few weeks ago about a post I did on how to write a simple, compelling query. Here goes: What about jumping straight into the query synopsis after the “Dear (Agent)” salutation, and sticking the “I am seeking representation for X” at the end? Also, Continue reading "Comp Titles: Comparing Yourself to WHAT MAKES RELATABLE CHARACTERS? A New Yorker article that made the rounds a while back questioned the merit of relatable characters. “The Scourge of ‘Relatability’” by Rebecca Mead is a great think piece. It goes into a brief history of the word “relatable,” takes some pot shots at Ira Glass, and completely denounces the concept of relatability as the act of readers or viewers demanding “a flattering COMP TITLES IN A QUERY AND OTHER QUESTIONS ABOUT BOOK Using comp titles in a query is a smart move, if you do it right. Here's everything you need to know about book comps when you submit toliterary agents.
MELODRAMATIC VS DRAMATIC WRITING How to hit the right emotional note to attract a reader—or melodramatic vs dramatic—is a key consideration of writing relatable fiction. It’s a juicy question! SHOULD YOU REVISE AND RESUBMIT TO THE SAME AGENT? Oh YEAH! I totally remember Zolten the Zebra! Submission Deja Vu. Other comments joked about writing agents and their all-remembering powers. Since we see thousands of submissions a year, it’s a funny idea that we’d remember them, right? WHEN AN UNAGENTED SUBMISSION BECOMES AGENTED I want to follow up my post about getting a book deal with more detail about shopping around an unagented submissionand then getting an agent.. Reader MM asks: If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? SUBMITTING MULTIPLE QUERIES TO MULTIPLE AGENTS Recently, an editorial client of mine wrote in with the following awesome question about submitting multiple queries to multiple agents:. Is it ok to query two books at the same time to different agents? A novel and a picture book?Get custom advice!
Skip to content
Kidlit
How to Write and Publish Children's BooksMenu
* About
* Resources
* What Are You Writing? Expand child menu* Picture Book
* Middle Grade
* Young Adult
* Categories Expand child menu* Advice
* Literary Agent
* How to Publish
* Query Letter
* Revision and Editing* Writing
* Webinars and Events* My Book
Posted on April 15, 2020April 15, 20200
GAIL CARSON LEVINE PODCAST AND GIVEAWAY! I had the incredible pleasure of interviewing Gail Carson Levine for the Good Story Podcast. Her episode debuts today and I’d love for you to have a listen! As part of the interview, I’m giving away my ARC copy of Gail’s latest, _A Ceiling Made of Eggshells,_ debuting on May 12th, 2020,for HarperCollins.
To win your copy, all you have to do is share this episode of the Good Story Podcast somewhere on your social media, and supply the URL for your share. (All Facebook posts, Tweets, and Instagram posts, for example, have individual post addresses that you can copy and paste into the form below.) Feel free to use this graphic if you want to blog or post about thisepisode:
To facilitate the giveaway process, I’m linking you to a Google Form to collect your entry, including your mailing address, since this is an ARC giveaway. Once you’re ready, you can fill it out, below. ENTRIES ARE DUE APRIL 22ND, 2020 AT MIDNIGHT, CST!Loading…
Good luck! I can’t wait to share this amazing story with one lucky winner. For more on the wonderful Gail Carson Levine, please check out her Instagram and blog.
Posted on March 29, 2020March 29, 20201
INTRODUCING STORY MASTERMIND Have you ever wanted to take a small group writing workshop intensive program in your pajama pants? Well, here’s your chance! Those of you who know me, know I’m not the most productive person. I take my time. I don’t bite off more than I can chew. JUST KIDDING. I’m a maniac. In fact, I sell a shirt over at Good Story that says “Beast mode is the best mode,” because
this happens to be my personal motto. So, in addition to shepherding my dozens of current editorial clients (and a team of ten) through the current apocalypse, launching a digital learning resource about marketing for writers (more on that soon), and, I don’t know, actively trying not to die, I have developed a new intensive small group writing workshop program calledStory Mastermind !
INTRODUCING STORY MASTERMIND What is Story Mastermind? Well, good question. It’s a small group writing workshop that you can do from home. Originally, my dream was to throw an in-person writing intensive over the course of a long weekend. This is my favorite working style for writers conferences, and so it has always been my dream to launch my own. _The climate for in-person events has recently shifted. Drastically._ I’m no longer dreaming of an in-person opportunity, at least fornow.
Besides, I think we all are learning that we can be productive at home, and it’s less hassle and expense than traveling somewhere. SoI thought …
Why not change with the times and offer this type of opportunityremotely?
I also decided that I could get a lot more teaching done by expanding the scope of the writing intensive. Sure, attendees benefit from one very intense weekend of programming. But what about something that’s between a conference and an MFA program? What if I could promise some REALLY AMAZING DELIVERABLES? Well, I’d need more time with the students. But not two years, like a lot of MFA programs. What about six months? THE STRUCTURE OF STORY MASTERMIND Here is the result of my brainstorm: a six-month writing workshopintensive .
Our initial session is launching July 1st and will run through the end of the year. Another cohort will launch January 1st. Who is this program for? Well, three types of writer, to start: * Novelists working on a new draft * Novelists working on a revision of a draft * Picture book writers For the novelists, I am looking for middle grade and young adult writers only. Other masterminds (adult fiction, individual genre fiction, memoir, etc.) may become available according to demand, but for now, I’m starting in my home base of children’s fiction. For six months, we will do small group video sessions online every other week. (There will be one month of preparation before the class starts so we can all be on the same page with one another’s writing.) These sessions will be mostly workshop driven, with some lecturing from me and one other dedicated staff member. Group sizes will be small: six writers per novel cohort, and twelve writers per picture book cohort. At the end of our time together, the three types of writer will have: * Novel Mastermind students leave with a complete and fully workshopped first manuscript draft * Revision Mastermind students leave with a fully polished and workshopped final manuscript draft and a submission plan * Picture Book Mastermind students will leave with six fully workshopped and polished manuscripts and a submission plan The goal of many MFA programs is to support you in creating one manuscript, which is considered your thesis. Most programs last two years and cost upwards of tens of thousands of dollars—even the remote, low-residency options. That just doesn’t fit our contemporary world, or the lifestyles of a lot of my clients. That’s why I’m so happy to start offering Story Mastermind as an alternate solution for busy modern writers who still want workshop, who still want an industry focus, and who still want to create creative output that will help them reach their goals. LEARN MORE AND APPLY Applications for the first session of Story Mastermind are now live. They are due by April 17th. You can read over the Story Mastermind website, dive into the FAQ, learn about pricing, and access theapplication here .
This is the first session and it will be a learning experience for me and my team, as well as the writers who are accepted into the program. As such, the pricing is be lower than it will ever appear again. Future sessions are going to be priced more competitively, to reflect the incredible amount of work and personal attention that this programdemands.
The great news is that one or two seats per cohort are reserved for a “pay what you can” scholarship–more important now than ever. Applications are already flooding in, and we will have a very tough admissions process on our hands behind the scenes. If you’re at all interested, please check out the Story Mastermind websiteto learn more.
Posted on March 16, 2020March 16, 20209
NOVEL OUTLINE TEMPLATE By very, very, very popular demand, here’s a PDF download of a novel outline template. You have been asking for one for _years_, but the closest I’ve ever written is this short article on a novel synopsis. Well, I’ve
rectified that today! You can also grab it directly via this Google Drive link.
(To use the document in your own Google Drive, simply make a copy of it by going to the File menu, then to “Make a copy”. You won’t be able to edit the original because I want everyone to have thistemplate.)
Fill
in this template to start charting your own novel outline. It’s goodstuff!
To download the PDF version of this file, please click here: NovelOutline Template
Writers want to see examples of a novel outline template because there are so many ways to achieve this. What goes into a novel outline? How do you format it? This is certainly one way to organize an outline, but there are many other writers and writing teachers who have put together comprehensive advice and their own novel outline templates. (Two of my favorites are _Fool Proof Outline_ and _Outlining Your Novel_).
Start here and see where it takes you. Most of my readers know that I’ve been teaching the concept of interiority for years, and so this outline goes into character arc a lot, not just plot arc. I think it’s the best of both worlds, but would love to hear your reactions in the comments when you use it! > As a freelance editor, I do the novel outline edit > all the time. Do all the hard thinking ahead > of time. Kick the tires of your idea. Pressure test your plot and > character arcs. I can do one or multiple rounds to make sure you > have a road map for your future draft nailed down before you sit > down to write. This is honestly one of my favorite services to do > because we can anticipate a lot of issues ahead of time and save you > so much revision heartache. Posted on March 6, 2020March 16, 20201
HIRING EXECUTIVE ASSISTANT! Our admin support is graduating college and leaving the nest, so I’m looking for a dedicated, hard-working, fun, and energetic executive assistant for me as I manage clients, projects, and launch two new businesses this year. Interested in helping Mary Kole Editorial and Good Story Company thrive, and thriving with us? Read on!Look
at how much fun we’re having!JOB SKILLS
I run a high six-figure editorial business with a team of ten and more than 600 projects annually. I’ve developed a system that helps me give my best to all of the amazing writers who want to work with me—but I need someone to help me keep things moving. We will train you up in all of the functions required, but it will help if you’re already comfortable with, proficient in, or at least very driven to learn: * Google Suite: Drive, Docs, Sheets, Slides and Forms * HoneyBook: a _mostly_ automated client management system that we use to move projects through the pipeline, you’ll be monitoring the calendar and inbox here, returning projects on my behalf, as well as sending some manual messages and reminders * Trello: a project management interface where you will set up our editorial team for success * Dropbox: a file management system where you will create clientfolders
* MailChimp: pulling together existing content for email newsletters * YouTube: uploading, describing, and scheduling videos * Zoho: some monthly data entry into a database form * Social Media: Instagram and Pinterest fluency—I’m looking for a design driven person to help with the “visual” social media * Design: Photoshop, InDesign and Canva skills a huge bonus! Fluent and engaging written communication skills are a _must, _as you’re representing a company that is for writers, by writers. Excellent accountability is my top priority. You need to be driven enough to motivate yourself and communicate about any potential problems (like missing a deadline) way ahead of time. I don’t have the bandwidth or energy to chase an assistant around and constantly check in, nor do I want to set up that kind of overbearing dynamic. I want you to be very excited to kick buttindependently!
JOB DETAILS
This is a remote position. You can work from anywhere, but for tax reasons, you will need to be based in the US and legally eligible to work. This is a contractor position, so tax withholding is not provided. You are responsible for withholding your own income taxes and reporting your earnings to the IRS. You will receive a 1099 instead of a W2 each year. Since we do not provide benefits like health care or a 401k, I make it a point to provide learning, growth, personal, and professional development opportunities. My marketing person is currently enrolled in about $10,000+ worth of classes. Two weeks ago, I hosted an all expense paid four-day retreat in Arizona for my entire team. Hourly wages are based on qualifications. I am looking for a firm commitment of 10-15 hours per week. I am also looking for someone who can be dedicated to this job and this company for years. I love my team to bits. I hate making changes to my team or suddenly being left with a position to fill. If you’re committed to us, we will be 100%committed to you.
We welcome the opportunity to hear from diverse applicants!COMPANY CULTURE
I’m Mary and I have been in the publishing business for 10+ years. I started Kidlit in 2009, published my book _Writing Irresistible Kidlit_ in 2012, founded Mary Kole Editorial in 2013, and Good StoryCompany in 2019.
At Mary Kole Editorial and Good Story Company , we believe in helping all writers unlock their potential. We’re also passionate about doing good. This year, I launched the Good Story Grant and gave away an award of $2,000 to one writer to enable them to make an amazing dream come true for her project, and $500 so a runner up could take a very important trip. I can’t wait to see what kind of creativity the Good Story Grant facilitates in the future! I’m a female founder working my way up in the business world and building a company that makes a difference. My team is a fun and motivated crew of writers, creatives, nerds (said with so much love!) and more. Our work, from the editorial team to the marketing team, is highly creative. But we’re successful, too, and only working tobecome more so!
More than anything, I want to inspire my future executive assistant and give you the tools and firsthand experience of what it means to run an amazing independent business. My dream for you is that you stay with me for a long time, but then maybe go on to build something yourself, using what you’ve learned!HOW TO APPLY
THANK YOU SO MUCH FOR YOUR INTEREST, BUT THIS OPPORTUNITY IS CLOSED. I’M LEAVING THIS PAGE UP IN CASE ANYONE EVER WANTS TO LEARN MORE ABOUT GSC AND WHAT WE DO! Posted on February 17, 2020February 17, 20207
WRITING THE PREMISE OF A STORY BEFORE WRITING THE STORY Ever thought about writing the premise of a story before writing the actual story? No? Well, put on your open-mindedness hats, guys, because it’s about to get real. (_Agents hate her! Learn the one writing secret to save yourself years of frustration!_) No, butseriously…
It’s
a pitch. Get it? The premise of a story is also known as the pitch, but I’m not calling it that because pitching makes writers nervous. WHAT IS THE PREMISE OF A STORY? The premise of a story is what your story is about. Simple. Oh, you want more? Okay… I give this talk on self-editing for fiction writers (which you can play on-demand on Udemy or wait for the free webinar) and
I always start the talk very, very, very zoomed out. I ask writers about their “Mission Statement,” which is another way of talking about the premise or the “what is your story about”. Basically, it’s a combination of your character’s main transformational experience (do characters have to change?),
the story that takes them to that experience, and a sense of yourtheme.
For example:
> A girl who is accidentally infused with moon magic must fight for > the ones she loves, in a society bent on seeing her and the witch > who saved her life as the enemy. That’s _The Girl Who Drank the Moon _by Kelly Barnhill. You’ll notice it’s not the whole story, but we have a sense of the character, what the character has to do (or how the character has to change), what the character is up against, and any other key characters or story elements. In this case, the witch (Xan) gets a mention, as does the society that “sacrificed” Luna to the witch when she was a baby. What is your story about? Who is at the center? What do they have to do, or how do they have to change? What is the main conflict? (Or, if not the main conflict, a big conflict?) What is your theme? Now, imagine that you’re not just doing this for your book after thefact…
STARTING WITH THE PREMISE OF A STORY Let’s say that you’re actually creating the premise _before_ you create the book. This is a smarter, more efficient way of writing. Remember, the first thing I ask of my revision students is: What’syour premise?
You’re going to have to know it eventually. But _most writers_ don’t even start putting their premise together until long after they’ve written their story. Maybe even long after they’ve revisedit.
MOST WRITERS DON’T THINK ABOUT THEIR PREMISE UNTIL IT’S TIME TOPITCH.
Why is this an issue? Well, you don’t want to spend five years on a novel only to realize that you may not have enough story to attract agents, publishers, or readers. (Even if you publish independently, you still have to attract readers. You still need to be able to tell them what your story’s about so that they click that all-important“Buy” button!)
What if you don’t have enough story to truly turn out a compelling, saleable project? This is why I highly recommend writing a premise (or the bones of one) for the project you’re about to start workingon _first_.
Is there enough meat? Does it sound exciting? Or is your premise loose and vague, like, “A coming of age story about a boy who has to learn the true meaning of friendship.” I’d contest that there’s not enough meat on that bone yet. The story needs some additional layers, some specificity, some action, so that it doesn’t sound so much like a lot of other stories I’ve read.TRY IT BACKWARDS
Before you sit down to work on your next project, as you work on your current project, or before you revise a draft manuscript, stop what you’re doing immediately—do not pass GO, do not collect $200—and write out a premise. You’re only doing it for yourself. You’re not pitching. There’s no agent hovering over your shoulder, watching you. Write out what your story is ABOUT. Is there enough? Do you have a solid premise of a story? Are you focused? Or do you need to add more layers, action, tension, and/or meaning to your work? Catching potential issues and course correcting at this highest, most zoomed out level could literally save you years of work, and keep you from following a misguided path all the way to a disappointingconclusion.
If you haven’t tried this yet, you have nothing to lose, andeverything to gain.
What do you think of this bass-ackwards approach? > If you’re struggling to pressure test your story and see if > there’s enough substance, or if you want to catch pitfalls and > opportunities at the outline level, hire me as your developmental > editor . Let’s get at it together!>
>
Posted on February 5, 2020February 11, 202010
OPPORTUNITY FOR WRITERS I’m putting together a bit of a thing. Does that sound vague? It’s intentional. A secret thing for writers. (This secret thing for writers is not a sales or marketing thing, don’t worry.) Good Story Company is trying to figure out a way to give writers more to do and higher odds at success. Right now, I’m looking to connect with writers who consider themselves to be in one of these three groups: * I HAVE MORE IDEAS THAN TIME TO WRITE THEM. You aren’t precious about each idea that comes across your imagination. After all, there are so many! If you’re brimming with story worlds and potential projects but don’t want to do the actual sweaty craftsmanship of writing each one, reach out. * I’LL WRITE ANYTHING, JUST GIVE ME AN OUTLINE AND A DEADLINE. You aren’t precious about each word you write or each draft of a project. They’re all means to an end. Writing’s a business and you just want to get out there. You can write about anything, and write well. You just struggle with the conceptual part. * I GOT VOICE ON TOP OF VOICE BUT DON’T KNOW WHAT TO DO WITH IT. Everyone compliments you on your voice, but you haven’t yet made it truly sing on a project that’s gone anywhere. Maybe, with a little guidance, you can shine. If you’re curious about this even in the slightest, let’s connect. No pressure. Nobody’s taking anything away from you. Nobody’s asking for anything for free. This is not, I repeat, any kind of sales or marketing. I’m just looking for a small group of likeminded writers because I have a vision—and I realize how woo-woo that sounds. For this super vague call-out, I’m looking for writers who think this sounds woo-woo and weird in a good way, not woo-woo and weird in a negative or suspicious way. (This opportunity, at present, is for novelists only, not picture book writers.) Remember, I’m your friend. I have loved the hell out of my writers for over a decade. And with one notable exception , I’ve treated you right. So go out on a limb with me here. If you’re already published or represented, especially, I want to hear from you. Nothing is being signed and no ideas are changing hands, except one that, I hope, will change the right handful of writers’ careers. Email me: mary@goodstorycompany.com Posted on January 29, 20200
CRAFT AND BUSINESS TOPICS POLL I’d love to have your thoughts on the topics you’re most interested in learning on this blog and in the other content I’m making. (If you haven’t yet, check out my YouTube videos aboutvarious topics!)
Please see the poll below to give me your feedback:Loading…
Posted on January 13, 20201
MIDDLE GRADE CRITIQUE: WORKSHOP SUBMISSION #8 Thank you to our last writer of this workshop series, E.S. This is an early draft of a middle grade fantasy.Get
the creepy factor across with action, rather than telling. THE WORKSHOP SUBMISSION It started when the two faceless men knocked at the back door. If I’d known it was them, I would never have answered. > The potential for some solid tension here. The one thing I’d keep > an eye out for, however: “I would never have answered” leaves > the present moment. There’s this “If I’d only known” vibe. > We go into some hazy, undefined future, from which the narrator is > writing. It risks pulling the reader out of the moment to wonder, > “When are we relative to the present moment?” My preference is > to only use tension that’s available in the present. But since we > don’t really know what’s going on in the present yet, I’ll> allow it.
Usually I wouldn’t have answered. I hate answering the door. It’s never anyone for me, anyway. All I want is to be left alone to mind my own business and have everyone else mind theirs. > “I wouldn’t have answered” and “I hate answering the door” > are redundant. Consider this post about writing description> . We get even
> more into the same point with the discussion of minding one’s > business. This is also telling about the character, which I’d much> rather avoid.
But I figured it was Mom with her arms full of groceries or something, so I answered the door. Because who else would come around the building and through the gate in the fence and past our sorry excuse for a backyard and knock on the back door? Anyone else would go to the front door. And Mom should have been home already, anyway. It was way past the time she usually gets home from work, and she hadn’t even called. She can be a real pain like that. > This is much more relevant to the present moment. I think that Mom > not being home yet (tension) meets the element that it’s the back > door, not the front door (tension) should be played up from the > beginning, eg, “Nobody ever knocks on the back door. Only Mom > comes in that way, and Mom would never knock…” Though I do love > “our sorry excuse for a backyard” for voice purposes. This could > be cherry-picked and used to start the novel. So I just unlocked the back door and opened it. I expected Mom to come bustling into the kitchen, saying, “Samantha, young lady, have you finished your homework?” and puffing loose hair out of her face. But it wasn’t Mom. It was two tall, faceless men. > The difference between this opening and what the writer currently > has is that this opening is in action. Samantha is expecting Mom > (neutral) but it’s not Mom (tension!), it’s two faceless men > (tension!!!!!!!). Give it to us in the moment. All the discussion of > wanting to be left alone and blah blah blah is just telling. Give us > the action instead. Maybe they actually did have faces under all that bristly hair, but it was impossible to tell. Plus their tall furry hats were jammed down so far on their little heads that the hats would’ve covered any faces they had. Their arms and legs look like giant pipe cleaners. Creepy. And not brand new pipe cleaners either. > The rambling here (the long sentence about the tall furry hats) and > the humor (though I love humor) undermine the shock or tension of > the moment. Two random strangers have shown up at Samantha’s back > door, and you ideally, I think, want the reader to be scared. But by > making fun of their hats and faces and head shapes, you let the true > fear out of the moment. Is she meant to be scared? This would be > better for tension. Or is she just going to hang back and poke fun? > This would be better for voice but … for the beginning, tension > should be king. THAT’S ALL THEY WROTE! THANK YOU SO MUCH FOR JOINING ME FOR THIS WORKSHOP SERIES, AND THANK YOU TO ALL THE WRITERS WHO HAVE FURNISHED YOUR OPENINGS FOR POTENTIAL WORKSHOP. I’M PLANNING THE NEXT ONE ASWE SPEAK.
> If you’re struggling with your beginning, bring me on board as a > novel editor and trusted writing partner. Posted on December 30, 2019December 29, 20191
YOUNG ADULT CRITIQUE: WORKSHOP SUBMISSION #7 Let’s reenter our workshop series, here with a submission from writer C.C. I hope you all had some amazing holiday times with loved ones. Now it’s time to buckle in and head into 2020 writing. And if you want to, you can shout to the world that you’re Too Kidlit ToQuit
in 2020.
Some
beautiful imagery is always nice in a novel opening, but too much candistract.
THE WORKSHOP SUBMISSION No one remembers a beginning. Even though a beginning is one of the most important times in an existence. Not the existence, but aspecific one.
> I worry that this opening is too vague-sounding to really hook > readers. I’m not interested in “an existence” in general, or > philosophizing about beginnings. I’m interested in getting an > actual beginning on the page. This sounds like a bit of throat > clearing, with the writer not knowing where to start, I’m afraid. It was an ocean. Then it was a river. It was whales and sharks. Nautiloids, ammonites, horseshoe crabs—forever it was assumed. > What is the first “it” referenced? What is the last “it” > referenced? Specifics are key when starting a story, and here, you > refer to two different “it” subjects, but I’m not clear on > either. Consider that confusion is not the same as mystery> .
But then something shifted. A shrinking. It got colder, then warm again. The salt drained out, replaced with fresh water from mountains far north and from all the rain. The porous limestone banks hold testament to their existence. A scrapbook, a social media before there was a way to capture images for the future to see. > What is the “it” that gets colder? Is this the same “it” or > a different it? I feel like the writer is using “it” to stand in > for general “things” or “the atmosphere,” but since “it” > is used so often, IT is hard to keep IT straight. Also, what is > “their” in the limestone sentence? The banks “hold testament > to their existence”? I see the grandiose scale that this > writer is trying to evoke, but it’s too slippery, I’m afraid, > for me to latch onto. I’d much rather start in specific action, in > a specific setting, with a specific character. I do see some very > lyrical writing here—the writer clearly has a strong sense of the > writing itself! But sometimes, by leaning on this strength, they > could have a blind spot elsewhere. In this example, a sense of > action and character is lacking. Sturgeon still swim to the salty water to spawn. The armored fish were once as plentiful as the frills on her gills, but thanks to their delicious eggs and their sportsmanship when it came to dying, they’d been hunted to almost extinction. Humanity will be the cause of the sixth major extinction, no doubt. > I really like “their sportsmanship when it came to dying,” this > is a really interesting turn of phrase. But who is “her” (the > one with the gills)? Is it the sturgeon’s gills? The gills of a > main character not yet named? The pronoun really throws me here. But she’s digressing, trying to get to the topic of humanity. Humans who have changed her river with their farming and industry. Such diligent creatures like the ants who pontoon on the rivers’ surface to float from one side to the other. > It’s amazing how often writers include “notes to self” in > their own prose. Here, this writer says that the narrator (I’m > guessing this is the “she” here, but whether that’s the same > “she” as the one with gills is still unclear) is > “digressing,” but I think the writer is aware on some > subconscious level that they’re the ones digressing. ALWAYS LISTEN > TO YOUR GUT! The inclusion of ants here only muddies things for me. > I’m waiting for the focal point, and I’m not seeing one yet,> I’m afraid.
It’s not just the topic of humans though that she’s trying to get to. Her mind is like the river. It is always flowing in one direction, yes, but there are cypress knees to get around. Topics come up like bubbling underground springs. > Some truly lovely writing, don’t get me wrong. But, like the > river, this opening meanders. I’m not sure what I’m supposed to > latch onto, as the reader. My hunch is that this writer hasn’t > found their true opening page yet, and that’s totally okay. This > provides some nice imagery, and some potential places to start. THAT’S ALL THEY WROTE! TUNE IN NEXT WEEK FOR MORE WORKSHOP. > Struggling with your beginning? Hire me as your novel editor > for in-depth developmental advice. You can > also sign up for my Crafting Irresistible First Pages webinar>
> with Jane Friedman on January 15th! Posted on December 16, 2019December 18, 20192
WRITING FANTASY: THE KISS OF LIFE BY GAIL CARSON LEVINE I’m very excited to present this article on writing fantasy, exclusively for Kidlit by Gail Carson Levine.The
key to writing fantasy is relatable detail. THE MAGIC OF FANTASY WRITING The great thing about reading fantasy (and writing fantasy) is that we get to have experiences not available to us in ordinary life. The great thing about writing fantasy is that we’re able to take a deep dive into what those experiences might be like. As a reader, I feel disappointed when the dive is a belly flop. For example, an invisible force field hitting an invisible, immovable object frustrates me, especially if the hero I’m rooting for is trapped behind the object. How can she engage with it if she doesn’t know what it is? Then, if she does engage and it gives way but I don’t know how, I’m doubly annoyed. I can’t rejoice with her if I don’t understand her triumph. Here’s a confession: I don’t believe in magic or elves or fairies. SEVEN SUGGESTIONS FOR WRITING FANTASY So I know that I face a high bar to persuade at least some readers to buy what I’m laying out. How do we do it? Here are seven suggestions for writing fantasy: * Start the fantasy early, before the reader has time to imagine a realistic world. Take _Ogre Enchanted_, my latest novel, a prequel to _Ella Enchanted_. My main character, Evie, is a dedicated healer, but her methods wouldn’t survive scrutiny by the American Medical Association. I introduce the magic in the first sentence of the book, when Evie’s friend Wormy forgets to mash her inglebot fungus—there’s no such thing as inglebot. Grimwood, a fever remedy, shows up a page later, and, soon after, pig bladder, which certainly exists, but no one uses it to heal sprains!On page 5, the adolescent giant Oobeeg is mentioned, though he’s too large to fit through Evie’s mother’s front door–a mite of sensory information. Oobeeg is there because his mother’s leg was gashed by an ogre and a healer is needed. Now we have giants and ogres. On page 9, Evie herself is turned into an ogre by the fairy Lucinda of _Ella Enchanted_ fame. Giants, fairies, ogres, and weird medicine. The world taking shape and we’re just on page 9. * WRITING FANTASY ELEMENTS THAT DEVELOP CHARACTERS. With Evie’s transformation, I give the reader an understanding of how it might feel to be an ogre. Coarse hair grows on Evie’s hands. Her fingernails are long and filthy. She’s bigger than she was before, so seams have split; her apron is squeezing her stomach; the soles of her shoes are flapping. Significantly, she’s ravenous, even though she had breakfast only a little while earlier. Even more significantly, she calls Wormy’s earlobes “the sweetest part.” Not much later, I let the reader know how easily she gets angry, which is unlike her human self. Rather than an invisible force field, Evie’s ogre side becomes one of her antagonists. The way she deals with it, including what she eats and doesn’t eat, are important indefining her.
* SET THINGS UP BEFOREHAND TO PREPARE THE READER. Much later in _Ogre Enchanted_ I need Evie to get the better of a dragon, and dragons in this world are vastly bigger than ogres, plus they have flames and flight. It took me a while to figure out how to do this when writing fantasy, but when I did, I introduced on page 82 a historical enmity between dragons and ogres, and I showed the over-the-top reaction of Evie and the ogre band she’s with to the sight of just a dragon’s tooth. When she faces an entire dragon forty pages later, the reader is ready to believe she can survive. * INCLUDE DETAIL, ESPECIALLY SENSORY DETAIL. Sensation puts the reader there. Once we’ve made our world solid with sight, sound, touch, and smell, we can’t write an invisible force field, because it won’t fit.Smell isn’t our species’ strongest sense, but it’s uniquely tied to our emotions. In her ogre form, Evie sweats copiously–and stinks. Baths last only briefly. Her ogre side likes the smell, but her human side wants to crawl out of her hairy skin. * MAKE THE HUMANS AND THE CREATURES RELATABLE. Evie, who craves relief from her isolation from humans, is painfully aware of her looks and her odor. And she can barely tolerate the terror she strikes in people. Anyone who’s ever felt unwanted, even for a moment, suffers with her.Not that appearance is the only way to make readers identify with fantasy writing. They feel for Ella in _Ella Enchanted_ because of her curse of obedience–we’ve all many times had to do what we don’t want to. In my Princess Tale, _For Biddle’s Sake_, the very flawed fairy Bombina (who loves to turn people into toads) is sympathetic because of her desperate love for a girl named Parsley. * WRITING FANTASY THAT EMBRACES THE READER WITH TOUCHES OF WONDER. In _The Two Princesses of Bamarre_, sorcerers are born when lightning strikes marble, which ignites a flame that contains the new sorcerer, who rockets into the sky. Just dreaming up this kind of thing makes me happy, a feeling I hope readers will share. * INVENT YOUR OWN CREATURES. DON’T GO WITH STEREOTYPES. Dragons don’t have to be big, and elves don’t have to be small, as Tolkien proved. At a conference, I once mentored a young writer who had a charming voice. My only criticism about his fantasy writing was that he leaned on stereotypes. When describing a certain wizard, he used direct address to say to the reader, “You know how wizards are.” I don’t. I have my own ideas, but this was his story, and I wanted tomeet his wizard.
WRITING FANTASY ISN’T EASY, BUT IT’S WORTH IT Just saying, all of this isn’t easy. Maybe none of it is. A young writer I know has an ongoing dispute with her brother about which is harder, writing or basketball. Writers know, and it isn’t even close. But it’s a joy to invent worlds with creatures who live under an unknown sun and to invite readers to share the fun.FIND GAIL ONLINE:
* Website
> .
POSTS NAVIGATION
Page 1 Page 2 … Page 62Next page
SEARCH THE ARCHIVES
Search for: Search
WRITING IRRESISTIBLE KIDLIT _WRITING IRRESISTIBLE KIDLIT: The Ultimate Guide to Crafting Fiction for Young Adult and Middle Grade Readers_
is available from Writer's Digest Books! Click to purchase, and be sure to add it to your shelf and write a review on Goodreads!
This book wouldn't be possible without my lovely blog readers and your support over the years!EDITORIAL SERVICES
If you’d like more in-depth and personalized advice that I can give on this blog, please visit my Mary Kole Editorial website , to learn how you can work with me directly on your query letter, manuscript, or other writing-related project. Editorial inquiries can be sent directly to marykoleeditorial@gmail.comWRITING BLUEPRINTS
Dedicated readers know that I don’t advertise on this blog. There’s only one exception: If I find a resource that I fully believe is worth your time and money, I will absolutely share it. That’s exactly the case with Writing Blueprints online courses, created by Children’s Book Insider. There are
courses for picture book,
chapter book
,
MG and YA
,
self-publishing
,
marketing
,
and more.
And now, you can buy my very own Manuscript Submission Blueprint,
with over ten hours of instruction, 35+ handouts, sample query letters, and interviews about all facets of the submission process to agents and publishers for all writers, for writers in all categories. If you’re curious, you can find free trial versions of all the Manuscript Blueprints here.
QUESTIONS?
Writing and publishing can be confusing. Not only do you have to hone your writing craft in today’s market, you also have to become savvy about the business end of things. I’d love to answer any questions you have. Please remember, anything you send can be featured on the site. Reach out here: mary@kidlit.com Just a note: I will only answer GENERAL questions about the craft of writing, agents, editors or publishing. Do not ask for feedback or critique, please. Also, please keep your questions to a reasonable length. If you find you have a more involved question that will benefit from you reading your work ahead of time, please feel free to book a paid consultation using my calendar.
UPCOMING WEBINARS
I give free and paid webinars every month on topics like queries, novel writing, picture books, and more! Paid webinars always include a custom critique of your work. Click the webinar titles to learn more and register for each class. If you can’t make the webinar date or time live, register anyway. You will receive a link to the presentation to watch at your leisure. You can watch as many times as you’d like, with no expiration date. Check out all of my upcoming webinars and events here.
JOIN MY MAILING LIST! Sign up for my email list so that I can occasionally send you news and updates. I will never, ever sell or rent your information to anybody. You can unsubscribe from my list at any time. * indicates requiredEmail Address *
First Name *
SUPPORT QUALITY CONTENT FOR WRITERS FROM KIDLIT AND GOOD STORY COMPANYHide
Show
Close
AddThis
AddThis Sharing
SHARESFacebookTwitterPrintAddThisDetails
Copyright © 2024 ArchiveBay.com. All rights reserved. Terms of Use | Privacy Policy | DMCA | 2021 | Feedback | Advertising | RSS 2.0