Sorry this is late! I was not feeling well all last week which has thrown everything off. Including this week!
Writers: Describe color to someone who can't see colors.
Artists: Create the feeling of a rainbow without using a color (black, grey and white is ok.)
Monday, November 26, 2018
Monday, November 19, 2018
Monday Prompt
I'm starting Monday Prompts today! These prompts are for artists and illustrators.
Draw or write about:
1. A child's mishap while getting dressed for school.
2. Your favorite holiday outfit/costume.
You can share any of these on Instagram, Twitter or Facebook with #smartdummieschallenge
Draw or write about:
1. A child's mishap while getting dressed for school.
2. Your favorite holiday outfit/costume.
You can share any of these on Instagram, Twitter or Facebook with #smartdummieschallenge
Wednesday, November 14, 2018
What Progress? Changes are coming!
I was pretty sad when I realized that I can't participate in #folktaleweek2018. I've had major burn out this week and I have some family issues come up. I could have participated, but I wouldn't have any quality work to show. I have gotten some good ideas from the prompts, and will work on some portfolio pieces from these.
EDIT: Please take 2 minutes to fill out this Smart Dummies Survey! https://www.surveymonkey.com/r/GZSXPMF
What I'm Creating:
I've been doing some sketching but no completed pieces. I hope to get some finished work soon.
I have plans for my blog! I want to find time to blog more so I need to make some changing. The linky list is not working, or doesn't work for everyone, so anyone who wants to post their blog links to their "What Progress" post then just post in the comments below!
I've decided to cut Monday Coffee, because I usually don't get enough time Monday to drink my coffee and write a post. I'm changing it to Monday Prompts. This will be one or two prompts that can be used for writers and artists (or at least one for each).
I'm also cutting interviews for now. I'm not against doing them, but the act of finding people to interview is more than I can do right now. I'm considering doing some picture book reviews instead, because they will take less time.
I'm also considering a writing challenge for. Is anyone interested? I'd love to spend more time writing and I think this would be a good time to write! Let me know your thoughts!
If you created a process post this week then please post your link below!
EDIT: Please take 2 minutes to fill out this Smart Dummies Survey! https://www.surveymonkey.com/r/GZSXPMF
What I'm Creating:
I've been doing some sketching but no completed pieces. I hope to get some finished work soon.
I have plans for my blog! I want to find time to blog more so I need to make some changing. The linky list is not working, or doesn't work for everyone, so anyone who wants to post their blog links to their "What Progress" post then just post in the comments below!
I've decided to cut Monday Coffee, because I usually don't get enough time Monday to drink my coffee and write a post. I'm changing it to Monday Prompts. This will be one or two prompts that can be used for writers and artists (or at least one for each).
I'm also cutting interviews for now. I'm not against doing them, but the act of finding people to interview is more than I can do right now. I'm considering doing some picture book reviews instead, because they will take less time.
I'm also considering a writing challenge for. Is anyone interested? I'd love to spend more time writing and I think this would be a good time to write! Let me know your thoughts!
If you created a process post this week then please post your link below!
Friday, November 2, 2018
Margo Sorenson -- Color and Light
Margo Sorenson talks about Color and Light today and everything else that Alessandra finds in Italy in her new book Secrets in Translation. This is not Margo's first rodeo on my blog. I interviewed her back in 2015! Interview is here if you'd like to see! https://daniduckart.blogspot.com/2015/05/interview-with-margo-sorenson.html Since we just had a big art event she thought it would be fun to write about the visuals in "Secrets in Translation"! You can buy her new book here: Fitzroy Books more links after this post.
----------
WHAT ALESSANDRA FINDS IN ITALY, BESIDES COLOR AND LIGHT
By Margo Sorenson
When Dani asked me to write about visual writing to create a sense of place, I was thrilled! After all, who doesn't love to pick up a book and feel transported to another destination? In my newest Young Adult/Crossover Adult (not "cross adults!" 😉), SECRETS IN TRANSLATION (Fitzroy Books), the setting in Italy is vital, because it serves as one of the key motivators for the main character, Alessandra. Italy itself is almost like an actual character in the book, and so I needed to make Italy vibrant and colorful for readers, so they could feel as if they were really there.
From the back cover: "Seventeen-year-old Alessandra returns for six weeks to Italy, where she grew up. Pressured by her parents into babysitting a rebellious twelve-year-old—ruining holiday plans with newfound American friends—Alessandra resigns herself to a tedious summer in Positano. Her babysitting gig, however, turns out to be anything but boring! Not only does Alessandra fall for the handsome son of the Bertolucci family, renowned for their limoncello production, but when a body mysteriously turns up on the beach, the influence of organized crime in Positano become frighteningly real. As Alessandra is drawn further into an elaborate conspiracy, she must risk everything to protect herself, her family, and those that she loves, and in the process, she finds herself—and her Italian heart".
The novel takes place in Positano, which, if you've ever been there, has one of the most stunning, drop-dead gorgeous views in the world.
So, when I set out to write a book with Positano as its background, of course words of sight, touch, scent, taste, and sound became some of my world-building blocks. Positano had to come alive for the readers, so that Alessandra's feelings about Italy and her journey would seem real.
Many of my readers have never been to Italy, so it was key to try and find vivid words for all the senses, beginning with sight. As you know, if you've ever been there, most of Italy looks nothing like the United States, so I had to paint with a detailed brush right at the beginning:
"My feelings churned as I looked out the window at the hills dotted with olive trees, the occasional random, crumbling castle, the tiny villages clustered around an ancient church bell tower, and the AGIP gas signs."
Once Alessandra and her employer family begin the drive to Positano, I wanted the reader to be able to grasp how unusually beautiful the setting is, because that setting actually nudges Alessandra into her realization at the end of the book (not a spoiler!):
"Two hours later, we drove through Sorrento across the Amalfi peninsula to the Amalfi Coast road and began the terrifying drive that I remembered vaguely from previous trips to the coast. The sheer cliffs dropped into the bluest sea imaginable. Tiny villages clung to the steep mountainsides, making me wonder how it was they managed to hang on."
As the drive continues: " Looking out the window, though, at the little shops and restaurants and the signs for each little cliffside town, a feeling of familiarity began to tug at me. The boys hanging out on the street, looking over a motorino. A gaggle of girls whispering outside a store. The plump figure of a nonna all dressed in black, market basket over her arm, making her way gingerly across the cobblestone street."
Readers would know instantly that this setting is so definitely not the United States! That realization is one of the keys to the plot. Once the visual is established, then come the all-important other descriptive words to create the atmosphere in depth, by using touch, sound, taste, and smell:
"But my smile faded as we hiked down the narrow, winding streets to find our apartment. I was back—I was really back. All around us, Italians laughed and gestured as they walked by us on the narrow sidewalks; motorinos and scooters whizzed past, drivers hollering to each other and at pedestrians. The familiar scents of Italy surrounded me—sweaty humanity, ancient buildings, the suddenly pungent fragrance of geraniums in window boxes, the acrid smell of benzina, and fresh bread wafting from bakeries. It was as if I’d never left."
Then, as Alessandra and the family settle in, the word choices need to create a renewed sense of belonging and positive feelings:
"We breakfasted on oranges and hard, crusty rolls and yogurt, sitting at the square table under the window, the Italian sunlight streaming in through the gauze curtains. Through the open window, we could hear the sounds of Positano waking up, people calling to each other, the cars braking and accelerating, and the high-pitched zoom of scooters."
Alessandra starts to relax and begins to enjoy being back in Italy: "I hated to admit it, but being out on the streets in Positano was fun. The fresh, salty breeze met us at open turns, encouraging us to continue down through the town to the shimmering blue sea. Shops displayed their wares on small tables outside their doors. Blue and yellow dishes, decorated with lemons, were stacked alongside woven sandals; light summer dresses, embroidered with lemons and flowers, hung outside the shops and fluttered in the sea breeze. Lemons were everywhere, it seemed."
As Alessandra begins to let her guard down about her Italian feelings, she finds that her journey to find who she really is becomes even more complicated…because of a dangerous conspiracy—and because of, yes, crush-worthy Carlo! As a writer, I hope readers are firmly planted in Italy by now, because of words used as building-blocks of color and light, so they can be with Alessandra on her journey back to Italy. Maybe they will discover their hearts are a little bit Italian, too!
Author of thirty traditionally-published books, Margo Sorenson spent the first seven years of her life in Spain and Italy, devouring books and Italian food and still speaks (or tries!) four languages. A former middle and high school teacher, Margo has won national recognition and awards for her books, including ALA Quick Pick Nominations, recommendations from Multicultural Review, and was named a finalist for the Minnesota Book Award in YA Fiction. After having lived in Hawaii and Minnesota, Margo and her husband live in Southern California.
----------
----------
WHAT ALESSANDRA FINDS IN ITALY, BESIDES COLOR AND LIGHT
By Margo Sorenson
When Dani asked me to write about visual writing to create a sense of place, I was thrilled! After all, who doesn't love to pick up a book and feel transported to another destination? In my newest Young Adult/Crossover Adult (not "cross adults!" 😉), SECRETS IN TRANSLATION (Fitzroy Books), the setting in Italy is vital, because it serves as one of the key motivators for the main character, Alessandra. Italy itself is almost like an actual character in the book, and so I needed to make Italy vibrant and colorful for readers, so they could feel as if they were really there.
 |
| Lemons on the Amalfi Coast |
From the back cover: "Seventeen-year-old Alessandra returns for six weeks to Italy, where she grew up. Pressured by her parents into babysitting a rebellious twelve-year-old—ruining holiday plans with newfound American friends—Alessandra resigns herself to a tedious summer in Positano. Her babysitting gig, however, turns out to be anything but boring! Not only does Alessandra fall for the handsome son of the Bertolucci family, renowned for their limoncello production, but when a body mysteriously turns up on the beach, the influence of organized crime in Positano become frighteningly real. As Alessandra is drawn further into an elaborate conspiracy, she must risk everything to protect herself, her family, and those that she loves, and in the process, she finds herself—and her Italian heart".
The novel takes place in Positano, which, if you've ever been there, has one of the most stunning, drop-dead gorgeous views in the world.
 |
| Photo Credit: Nicki Storey @NickiPositano on Instagram |
So, when I set out to write a book with Positano as its background, of course words of sight, touch, scent, taste, and sound became some of my world-building blocks. Positano had to come alive for the readers, so that Alessandra's feelings about Italy and her journey would seem real.
Many of my readers have never been to Italy, so it was key to try and find vivid words for all the senses, beginning with sight. As you know, if you've ever been there, most of Italy looks nothing like the United States, so I had to paint with a detailed brush right at the beginning:
"My feelings churned as I looked out the window at the hills dotted with olive trees, the occasional random, crumbling castle, the tiny villages clustered around an ancient church bell tower, and the AGIP gas signs."
 |
| Chianti Hills |
Once Alessandra and her employer family begin the drive to Positano, I wanted the reader to be able to grasp how unusually beautiful the setting is, because that setting actually nudges Alessandra into her realization at the end of the book (not a spoiler!):
"Two hours later, we drove through Sorrento across the Amalfi peninsula to the Amalfi Coast road and began the terrifying drive that I remembered vaguely from previous trips to the coast. The sheer cliffs dropped into the bluest sea imaginable. Tiny villages clung to the steep mountainsides, making me wonder how it was they managed to hang on."
 |
| Positano from Treville |
As the drive continues: " Looking out the window, though, at the little shops and restaurants and the signs for each little cliffside town, a feeling of familiarity began to tug at me. The boys hanging out on the street, looking over a motorino. A gaggle of girls whispering outside a store. The plump figure of a nonna all dressed in black, market basket over her arm, making her way gingerly across the cobblestone street."
Readers would know instantly that this setting is so definitely not the United States! That realization is one of the keys to the plot. Once the visual is established, then come the all-important other descriptive words to create the atmosphere in depth, by using touch, sound, taste, and smell:
"But my smile faded as we hiked down the narrow, winding streets to find our apartment. I was back—I was really back. All around us, Italians laughed and gestured as they walked by us on the narrow sidewalks; motorinos and scooters whizzed past, drivers hollering to each other and at pedestrians. The familiar scents of Italy surrounded me—sweaty humanity, ancient buildings, the suddenly pungent fragrance of geraniums in window boxes, the acrid smell of benzina, and fresh bread wafting from bakeries. It was as if I’d never left."
Then, as Alessandra and the family settle in, the word choices need to create a renewed sense of belonging and positive feelings:
"We breakfasted on oranges and hard, crusty rolls and yogurt, sitting at the square table under the window, the Italian sunlight streaming in through the gauze curtains. Through the open window, we could hear the sounds of Positano waking up, people calling to each other, the cars braking and accelerating, and the high-pitched zoom of scooters."
Alessandra starts to relax and begins to enjoy being back in Italy: "I hated to admit it, but being out on the streets in Positano was fun. The fresh, salty breeze met us at open turns, encouraging us to continue down through the town to the shimmering blue sea. Shops displayed their wares on small tables outside their doors. Blue and yellow dishes, decorated with lemons, were stacked alongside woven sandals; light summer dresses, embroidered with lemons and flowers, hung outside the shops and fluttered in the sea breeze. Lemons were everywhere, it seemed."
 |
| Positano Street Scene |
 |
| Positano Plate |
As Alessandra begins to let her guard down about her Italian feelings, she finds that her journey to find who she really is becomes even more complicated…because of a dangerous conspiracy—and because of, yes, crush-worthy Carlo! As a writer, I hope readers are firmly planted in Italy by now, because of words used as building-blocks of color and light, so they can be with Alessandra on her journey back to Italy. Maybe they will discover their hearts are a little bit Italian, too!
Author of thirty traditionally-published books, Margo Sorenson spent the first seven years of her life in Spain and Italy, devouring books and Italian food and still speaks (or tries!) four languages. A former middle and high school teacher, Margo has won national recognition and awards for her books, including ALA Quick Pick Nominations, recommendations from Multicultural Review, and was named a finalist for the Minnesota Book Award in YA Fiction. After having lived in Hawaii and Minnesota, Margo and her husband live in Southern California.
----------
SECRETS IN TRANSLATION is available here:
Fitzroy Books
Barnes & Noble
Amazon
Margo's website: www.margosorenson.com
Twitter: @ipapaverison
Pinterest: http://pinterest.com/margosorenson/,
Goodreads: http://www.goodreads.com/author/list/60982.Margo_Sorenson
Facebook: http://www.facebook.com/YAItalia
LibraryThing http://www.librarything.com/author/sorensonmargo
Fitzroy Books
Barnes & Noble
Amazon
Margo's website: www.margosorenson.com
Twitter: @ipapaverison
Pinterest: http://pinterest.com/margosorenson/,
Goodreads: http://www.goodreads.com/author/list/60982.Margo_Sorenson
Facebook: http://www.facebook.com/YAItalia
LibraryThing http://www.librarything.com/author/sorensonmargo
Tuesday, October 30, 2018
Research and Resources for Submission
I know a lot of people are asking me where to send their work, but I can't give a generalized answer to a very broad audience. Even if everyone who read my blog was submitting picture books, it's there isn't one answer to give. My biggest piece of advice is to do research. I may not know exactly where you should submit, but I can give ideas where to start researching.
Identify Your Needs
First you should identify what you are planning on researching. I'm planning on searching for an agent rather than an editor/art director when I'm working to get a book published. My last blog post: https://daniduckart.blogspot.com/2018/10/who-should-receive-your-work.html talks about agents and other general people who might receive your work. I'd like to find someone who likes humor, fantasy, superhero, LGBTQIA+ and animal books. I will also be sending my portfolio work/mailers to art directors/editors so I can possibly get illustration jobs as well. For both of these I want to see what kinds of books they look for, research as much as I can about the company/individual and try to look for someone who has a need I can fill.
Submission Research
There is a lot of information online. For agents: find interviews about them and read their bio. Social media as is important as well. You can tell a lot about a person from their social media! For publishing companies (and agents) look to see what they've done in the past and see how your work fits into what they already do.
Where to Find Markets
Children's Writer's and Illustrator's Market -- Give great information on a number of publishers. Is big but doesn't cover everything. The Artist's Market and Writer's market have some of the same Children's Markets, but has additional market info as well. This is one of my favorite market books. Mine always come with digital access as well, but I haven't used it that much! http://www.writersmarket.com/
The Book Essential Guide to Publishing for Children The digital guide is free and the printed copy is inexpensive (at least in the US) to have shipped to you. This book is much like the Children's Writer's and Illustrator's market, but has huge chapters on marketing your book, and what you need to do before you send out anything. It's 317 pages, so not at all a small guide. https://www.scbwi.org/
#MSWL on Twitter #MSWL is not for submitting anything, but for you to find out what editors, publishers, agents etc. are looking for in a book. Submission goes by their individual guidelines. This is very much more weighted to the adult/writing market. Even then there are lots of agents looking for kidlit and a few looking for illustrators. With the website you can skip Twitter altogether and search directly on their sites for agents you want. http://www.manuscriptwishlist.com/ Be aware that some agents don't certain hashtags so it helps to search similar terms (some will use PB, #PB or Picture Book) it may take several tries to find all the markets for your book. I've also found the unofficial website to be useful: http://mswishlist.com/
#PBpitch on Twitter This is where you pitch your work on Twitter using #pbpitch in the text. These happen I believe quarterly (check their website for more info). They also have a huge list of Literary Agents on their website! http://www.pbpitch.com/ You do need Twitter to participate.
Kidlit411 Tons of information for everything kidlit all on one site! I use this website
frequently: http://www.kidlit411.com/
#kidlitart on Twitter I was not able to pay attention to much of the market chat on #kidlitart last Thursday. If you missed it as well you can read the recap here: https://wakelet.com/wake/0aea40d6-ae48-4b8e-9973-f339c5fa5326 To particpate in the weekly chats just log into Twitter on Thursdays at 6pm PST/ 9pm EST and search for #kidlitart. Remember to use #kidlitart in your tweets!
Query Tracker This is only towards the bottom of my list because I haven't used it yet! I've heard a lot of my friends using this and they've raved about this. This helps you find publishers and agents for your book. https://querytracker.net/
I know I missed a lot of information, but maybe it's because there are things I don't know! Let me know in the comments what I've missed.
Identify Your Needs
First you should identify what you are planning on researching. I'm planning on searching for an agent rather than an editor/art director when I'm working to get a book published. My last blog post: https://daniduckart.blogspot.com/2018/10/who-should-receive-your-work.html talks about agents and other general people who might receive your work. I'd like to find someone who likes humor, fantasy, superhero, LGBTQIA+ and animal books. I will also be sending my portfolio work/mailers to art directors/editors so I can possibly get illustration jobs as well. For both of these I want to see what kinds of books they look for, research as much as I can about the company/individual and try to look for someone who has a need I can fill.
Submission Research
There is a lot of information online. For agents: find interviews about them and read their bio. Social media as is important as well. You can tell a lot about a person from their social media! For publishing companies (and agents) look to see what they've done in the past and see how your work fits into what they already do.
Where to Find Markets
Children's Writer's and Illustrator's Market -- Give great information on a number of publishers. Is big but doesn't cover everything. The Artist's Market and Writer's market have some of the same Children's Markets, but has additional market info as well. This is one of my favorite market books. Mine always come with digital access as well, but I haven't used it that much! http://www.writersmarket.com/
The Book Essential Guide to Publishing for Children The digital guide is free and the printed copy is inexpensive (at least in the US) to have shipped to you. This book is much like the Children's Writer's and Illustrator's market, but has huge chapters on marketing your book, and what you need to do before you send out anything. It's 317 pages, so not at all a small guide. https://www.scbwi.org/
#MSWL on Twitter #MSWL is not for submitting anything, but for you to find out what editors, publishers, agents etc. are looking for in a book. Submission goes by their individual guidelines. This is very much more weighted to the adult/writing market. Even then there are lots of agents looking for kidlit and a few looking for illustrators. With the website you can skip Twitter altogether and search directly on their sites for agents you want. http://www.manuscriptwishlist.com/ Be aware that some agents don't certain hashtags so it helps to search similar terms (some will use PB, #PB or Picture Book) it may take several tries to find all the markets for your book. I've also found the unofficial website to be useful: http://mswishlist.com/
#PBpitch on Twitter This is where you pitch your work on Twitter using #pbpitch in the text. These happen I believe quarterly (check their website for more info). They also have a huge list of Literary Agents on their website! http://www.pbpitch.com/ You do need Twitter to participate.
Kidlit411 Tons of information for everything kidlit all on one site! I use this website
frequently: http://www.kidlit411.com/
#kidlitart on Twitter I was not able to pay attention to much of the market chat on #kidlitart last Thursday. If you missed it as well you can read the recap here: https://wakelet.com/wake/0aea40d6-ae48-4b8e-9973-f339c5fa5326 To particpate in the weekly chats just log into Twitter on Thursdays at 6pm PST/ 9pm EST and search for #kidlitart. Remember to use #kidlitart in your tweets!
Query Tracker This is only towards the bottom of my list because I haven't used it yet! I've heard a lot of my friends using this and they've raved about this. This helps you find publishers and agents for your book. https://querytracker.net/
I know I missed a lot of information, but maybe it's because there are things I don't know! Let me know in the comments what I've missed.
Friday, October 19, 2018
Who Should Receive Your Work?
Starting With the "Who"
There is so much to talk about. Today I want to write about the general people who should receive your dummy. Much of this is my opinion and in many cases doing something different may not be wrong. Obviously what I write on my blog is my opinion, but in some of these cases I will be talking about my preferences. Please do your own research and know that you can find success if you disagree with me on any of these points.
If you are planning to send out your dummy there are a lot of things to think about. Who wants your dummy? How do they want it? When do they want it? All these are great questions. Today I'm going to talk about the "Who".
Recently I listened to Jennifer Laughran's Literaticast. You can find her podcast here: https://itunes.apple.com/ca/podcast/literaticast/id1261036909?mt=2 The podcast is absolutely wonderful and this one in particular is the most current one: "Schmagents get a Schmackdown with guest agent Kelly Sonnack" (@literaticat and @ksonnack on twitter) Near the end of the podcast Kelly talked about how if you want to work with an agent you should send the work to an agent first! If you shop your work around too much first, then you agent wont have any place to send your work! If an agent gets to you first they may offer invaluable advice about your manuscript. Also in most cases they will share the work with other agents within their agency. (This whole podcast is great and talks about what an agent should do for you and how to get an agent.)
It should be noted that an agent will usually review your manuscript and get back to you more quickly than a publisher. Some publishers get back to people quickly but it's not uncommon for them to take a year (or more) to get back to you. I believe that it's usually assumed by agents that you are sending your work out to several other agents, while publishing houses it's assumed that the work is only being sent to them. Because of that you may not need to tell an agent that you have a simultaneous submission, but you will need to tell a publisher. Also many publishers do not accept simultaneous submissions. Be sure to check the guidelines for more information!
Agents After the Fact
If you do decide to send your work out to an editor or art director then you still have a chance to get an agent after receiving a contract (but before signing the contract). I have two friends who recently went with this method and both got an agent quickly after the fact. This somewhat decreases options as you will have to go with the house that has offered you a contract.
Small Publishers
There is the option to send work to smaller publishers. They are a bit easier to publish through. Advances and royalties may be expected to be lower (at least at first). A popular Small Press book may be in run for decades and may be a good source of passive income.
PAL Memberships
Make sure that your publisher is a PAL member. PAL membership allows you to become a full member of the SCBWI. Do your research. Just because a publisher is a PAL member it does not mean that it's the right fit for you. If you have friends who have published with a particular publisher first ask them about their experience. PAL publishers have a list of guidelines to follow. These do not mean that a publisher is perfect by any means. To read more about these guidelines look here: https://www.scbwi.org/about/pal-guidelines/ There is also a list of pal publishers here: https://www.scbwi.org/list-of-pal-publishers/
Sending Out Work
If you want to send your illustrations for publishers to consider for their books you can send that directly to publishers. I asked on #kidlitart chat on Twitter (Follow @kidlitart and search #kidlitart Thursday nights at 9pm ET and 6pm PT) and everyone who was asked said they sent their work directly to both art directors and editors (you could do the same with the full dummy). It should be also noted that many publishing companies have Acquisitions editors that have the ability to acquire books for their publishing companies.
There is so much to talk about. Today I want to write about the general people who should receive your dummy. Much of this is my opinion and in many cases doing something different may not be wrong. Obviously what I write on my blog is my opinion, but in some of these cases I will be talking about my preferences. Please do your own research and know that you can find success if you disagree with me on any of these points.
If you are planning to send out your dummy there are a lot of things to think about. Who wants your dummy? How do they want it? When do they want it? All these are great questions. Today I'm going to talk about the "Who".
Who should receive your dummy? It use to be an easy answer. About 20 years ago the answer was almost always Editors and Art Directors. Agents back then usually came after the first book. I know this information came from at least one of the Writer's Digest books back in the day, and may have even came from one of the "Writer's Market" books.
Agents
Recently I listened to Jennifer Laughran's Literaticast. You can find her podcast here: https://itunes.apple.com/ca/podcast/literaticast/id1261036909?mt=2 The podcast is absolutely wonderful and this one in particular is the most current one: "Schmagents get a Schmackdown with guest agent Kelly Sonnack" (@literaticat and @ksonnack on twitter) Near the end of the podcast Kelly talked about how if you want to work with an agent you should send the work to an agent first! If you shop your work around too much first, then you agent wont have any place to send your work! If an agent gets to you first they may offer invaluable advice about your manuscript. Also in most cases they will share the work with other agents within their agency. (This whole podcast is great and talks about what an agent should do for you and how to get an agent.)
It should be noted that an agent will usually review your manuscript and get back to you more quickly than a publisher. Some publishers get back to people quickly but it's not uncommon for them to take a year (or more) to get back to you. I believe that it's usually assumed by agents that you are sending your work out to several other agents, while publishing houses it's assumed that the work is only being sent to them. Because of that you may not need to tell an agent that you have a simultaneous submission, but you will need to tell a publisher. Also many publishers do not accept simultaneous submissions. Be sure to check the guidelines for more information!
Agents After the Fact
If you do decide to send your work out to an editor or art director then you still have a chance to get an agent after receiving a contract (but before signing the contract). I have two friends who recently went with this method and both got an agent quickly after the fact. This somewhat decreases options as you will have to go with the house that has offered you a contract.
Small Publishers
There is the option to send work to smaller publishers. They are a bit easier to publish through. Advances and royalties may be expected to be lower (at least at first). A popular Small Press book may be in run for decades and may be a good source of passive income.
PAL Memberships
Make sure that your publisher is a PAL member. PAL membership allows you to become a full member of the SCBWI. Do your research. Just because a publisher is a PAL member it does not mean that it's the right fit for you. If you have friends who have published with a particular publisher first ask them about their experience. PAL publishers have a list of guidelines to follow. These do not mean that a publisher is perfect by any means. To read more about these guidelines look here: https://www.scbwi.org/about/pal-guidelines/ There is also a list of pal publishers here: https://www.scbwi.org/list-of-pal-publishers/
Sending Out Work
If you want to send your illustrations for publishers to consider for their books you can send that directly to publishers. I asked on #kidlitart chat on Twitter (Follow @kidlitart and search #kidlitart Thursday nights at 9pm ET and 6pm PT) and everyone who was asked said they sent their work directly to both art directors and editors (you could do the same with the full dummy). It should be also noted that many publishing companies have Acquisitions editors that have the ability to acquire books for their publishing companies.
Monday, October 15, 2018
Even More Winners!
I'll have some more info for you this week. Weekend was crazy here! Birthday celebration and all. Here's are the last of the winners!
a Rafflecopter giveaway
a Rafflecopter giveaway
a Rafflecopter giveaway
a Rafflecopter giveaway
a Rafflecopter giveaway
a Rafflecopter giveaway
Want to make a one time donation?
Buy me a coffee from Kofi:
Subscribe to:
Posts (Atom)