# data[].attributes.body
I have just found your web site and what a joy reading all the advice and articles. 

# data[].attributes.body
Hi Tara! I have been loving your website since I discovered it a few months back. Thank you for sharing so many great resources for fellow writers/illustrators. When submitting dummy books to agents/editors, how "clean" should the illustration be? I had read it could be "sketchy" and unfinished, but when I scan in my work, I feel tempted to go through and clean up the darker marks created by smudges or the paper itself. Any thoughts?

# data[].attributes.body
It was a pleasure meeting you in Fort Wayne today. Thanks for attending the Young Authors. Hope they gave you a cookie at our airport!

# data[].attributes.body
I have just found your web site and what a joy reading all the advice and articles. I need a little bit of advice.  New to writing for children, and have been working on 8 very different stories, picture book level. At what point should you look for support from an agent? When all the stories are complete, or as complete as you feel they can be, or whilst writing?  I have two on third draft and not sure I can revise without further input.  Without knowing if these have a chance, should I be aiming to send three to a selection of agents or publishers? I love your idea of 30 day ideas and will try this whilst I am moving home.  I am going to France and starting a new life, including writing and illustration.
Thanks Judi Castille

# data[].attributes.body
Tara, I hadn't realized this had started this month. Is there a way to participate, I know I wouldn't be eligible for prizes because of the late entry. I learned so much from RhyPiBoMo and as someone who's only been pursuing this dream for almost 2 years. I would love to do this. Thank you for putting together such a great learning tool and sharing it with all of us.

# data[].attributes.body
Actually, my friend and fellow picture book author Josh Funk just published some articles about how to get started. I'll give you the link below.

I always tell new children's writers to get involved with SCBWI.org. Seek out your local chapter, attend workshops and networking events. Read crafts books as well as books in your desired genre.

Check out the many blog posts on my site taralazar.com and here's Joshs's 12-step guide to writing picture books: http://www.joshfunkbooks.com/#!resources-for-writers/co7m

Good luck!

Tara

# data[].attributes.body
I am thinking about writing books for babies/ children. Have no idea where to start. I read about you and how you bring so much joy to your readers. Would be great to hear from you with any suggestions of where to start who to contact etc. Thank you for reading my email.

Kindest Regards

Nicola

# data[].attributes.body
Hi Tara, I accidentally came across your blog and I'm so happy I did. I began writing children's stories because I had to put my life on hold for a while due to a recent illness and surgeries. I've now completed 8 books and working on my 9th....and I don't know what to do with them. I sent a query letter to a friend who forwarded to her friend who works in the publishing industry. Aside from that, I don't know where to begin to get my books out there. And they are in the travel/educational niche. Any advice? Thanks so much!

# data[].attributes.body
Tara,  I just found your website tonight and love the PiBoIdMo idea.  I finished NaNoWriMo last year and wondered if there was something like this in kid lit and here it is.  How do you prioritize when the ideas keep coming and concepts from another (or others) intrude on your when you're doing serious work on another?  I guess, how do you decide to forego working on one project for another?

# data[].attributes.body
Dialogue/Thank you Tara! I'm also reminded of James Marshall, a personal favorite, who used dialogue and very sparse text. As you pointed out, it comes down to STORY, STORY, STORY. :)

Happy Holidays and Thank you!

# data[].attributes.body
Dialogue/Thank you

# data[].attributes.body
First off, sorry, Brian, for taking so long to answer. Padlet is supposed to email me when a new question is posted! I didn't receive a notification.

My opinion on this is that a strong story trumps all. My next book, I THOUGHT THIS WAS A BEAR BOOK, is told ONLY in dialogue. It's like a mini comic-book, with speech bubbles. There was plenty of opportunity for fun illustrations, as the story is about an alien from another book who crash-lands into the story of Goldilocks and the Three Bears. He has to find his way back to his own tale before his planet is destroyed.

Besides CHARLIE AND LOLA, take a look at PERFECTLY ARUGULA. That's another picture book heavy on dialogue, with speech bubbles and thought bubbles. ELEPHANT AND PIGGIE early readers are also told in dialogue.

You're right in that the dialogue has to move the story along. There can't be any meaningless banter between the characters. Each speech has to drive the story forward. And as long as you've got a compelling premise that's well written, then that's all that matters.

You will hear not to have too much dialogue in picture books, but that's a rule that can be broken, obviously, if you tell the story well. Good luck!

# data[].attributes.body
Tara, first off, thanks so much for doing PIBoIdMo it's been a fun and great challenge coming up with exciting picture book ideas.

Question: For picture books ages 4-8, do you think the use of heavy dialogue is a turn off for getting published? Most picture books tend to be told in "story" with a few lines of dialogue but, generally not much for two reasons I can think of 1) who wants to watch two characters talking and 2) might not be great outlet for illustrations... That said, the Charlie and Lola series by Lauren Child are dialogue heavy but work and are really fun. If it's a strong story does it matter? What are your thoughts? Thanks!

# data[].attributes.body
Yes, I think I know which company. They use fear and limited-time-only tactics. Don't listen to them. They just want their $4,000. Don't give it to them, it's not worth it. I've seen their marketing and it's pathetic. I've read their poorly-crafted press releases that feature broken links, so if anyone does want more information on the book, they can't find it. I've tried to contact their authors via their website links and never gotten through to a single one. If it's this difficult for someone to purchase a book, then you know selling books is NOT their primary business. Signing authors IS. That's where they spend the bulk of their marketing, so that's where they make their money. They're not interested in selling or marketing your book. They're interested in taking your money and moving to the next author.

Any legitimate publisher who wants your book doesn't provide "limited offers". And if it's the vanity press I'm thinking of, they're laying off most of their US staff and moving editing to Thailand or some other foreign country. Do you really want ESL folks editing your book? Even their native English speakers don't do a good job.

I'm sorry I'm unable to crit your work at this time, but I would really recommend a local critique group of like-minded writers who work in the same genre. I'm not an expert on non-fiction anyway!

# data[].attributes.body
Thanks Tara, yes the self publishing companies are blowing up my phone and e-mail by offering financing. 2 for one offers and in print in 6 weeks or less etc. Tate publishing has been the most annoying so far but I think I'll take your advice. I do have a very cute story line and all the Characters for childrens book but I know I'll never write it. Be happy to share it with a pro if you're interested. It’s a personification but not using animals kind of clever actually. Shoot me a note to F/B at /busboat You may like it

# data[].attributes.body
Chris, the self-publishing company is using a scare tactic and I don't like it. First-time authors DO get published (they mean those who haven't been published before, not those with their first manuscript). Debut authors break in all the time. It's just rare that they break in with their first completed manuscript, because, like anything else in life, practice makes us better. Writing more manuscripts will help hone your writing. Have you joined SCBWI? Attended conferences? Read books on crafting non-fiction for children? Joined a critique group? All these things will help, as will writing more manuscripts. It's rare for an agent to sign an author on one manuscript alone because they want to feel strongly about an author's body of work. So if you want to approach an agent, do so when you have at least 3-5 manuscripts ready to sell. I spent almost 3 years writing before I approached an agent, and when I did, I had 3 picture books and the first few chapters of a MG novel. If you really want to see THIS story in print, work on other stories, too. Then circle back to this one and you'll probably see room for improvement. I wish it were as easy as writing one manuscript and submitting it, but it's just not. It's a profession, it's a career, and those who persevere are the ones who get to hold their book in their hands.

# data[].attributes.body
Hi Tara, yes all three of the self publishing companies told me the same thing "1st time Authors don't get published". Sure they send a letter of acceptance but they are only trying to sell a service for big bucks. Not looking to be famous or cash in and retire just wanted my story in print is all. It's non-fiction under a pen name and if you read it you'd know why. Thanks for your input.

Chris

# data[].attributes.body
Hi Heidi. It could mean that your book doesn't have a strong enough "hook". Every picture book typically has a topic and a theme. A topic is what your book is about on its surface--a ballerina, a dump truck, an alien, a duck, an airplane. The theme is the underlying emotional truth, like friendship, fitting in, the importance of family, being true to oneself, etc. The hook is those two things together. Pick up best-selling books and try to identify their topic and theme. "Goodnight, Goodnight Construction Site" is about construction vehicles AND it's a bedtime book, a strong pull for young boys (and some girls, too). Everyone needs a going-to-bed book and this one has trucks! Your book also might not be commercial if it's too common a theme, like the first day of school or getting a new baby in the family. These themes have been done over and over again and therefore, the market is saturated with these kinds of stories. The exception is books like Tammi Sauer's "Me Want Pet!" It's about getting a new pet, but the main character is a caveboy and the tale is told in caveman language. So it's an original twist on something familiar, and therefore very marketable. Make a habit of reading the best-selling picture books and identifying things about them that make them irresistible and you'll soon better understand how to write a more marketable story--one that's cute AND commercial.

# data[].attributes.body
What does it mean if someone gets back to you that your PB manuscript is cute, but not commercial enough?

# data[].attributes.body
Good luck with it! I just heard about another newly contracted early MG/long CB that is illustration-heavy. I think this is going to be a trend. Pictures are cool!

# data[].attributes.body
Thank you so much for your response Tara. The theme that ties my stories together certainly can be expanded and seems at the right grade level (bullying and lost of self-confidence). And I'm glad to hear I can still do black and white illustrations for the inside pages. I'm not sure about the age level of my animal characters. I will have to ask my critique group about that.

# data[].attributes.body
You're welcome. I'm glad I could help!

# data[].attributes.body
Thanks Tara. I am going to try and look at both versions objectively again (tough to do when I have such a strong opinion to start with). I will concentrate on making the story stronger and stop worrying about the POV. As always, thanks for your help. I appreciate your generosity. :)

# data[].attributes.body
I first wrote THE MONSTORE in first person, from Zack's POV. My editor asked me to change it to 3rd because she wanted a repetitive refrain of "Zack demanded a refund!" and then Zack actually saying "I demand a refund!" So it worked to the story's advantage. But I truly believe to write your story the way your heart tells you to--that way the passion behind your project shines through. If the story is great and an editor loves it, if they really want to change the POV they'll ask you to, and you might find out that the change isn't all that bad. I know I was hesitant to change from 1st to 3rd, but in the end, I realized it made the story better. I don't think a POV is going to make or break your book. First and foremost, the editor is looking at the overall story. They know POV isn't all that difficult to change if need be. So write it like you FEEL IT and worry about POV later. At least, that's my opinion!

# data[].attributes.body
Here to pick your brain again. :) I know that the suggested POV for PBs is 3rd/past. Can she shed any light on how wide-spread this preference is? I know that younger children have some difficulty with this because they are not there yet developmentally, but .... :(     I changed my current PB to 3rd/past after the recommendation of an established writer, but I just don't like it. I don't feel that I can infuse the same emotion from the MC. Thoughts?

# data[].attributes.body
A good question. The best thing to do is look at your main character(s). What age are they? If they are above age 6 or 7, and the voice of your writing sounds older, and the story is more complicated, then it's probably best to pursue it as a chapter book. I don't think one is necessarily easier or harder than the other--it's all about your story fitting into the proper format for the age and being compelling, having a great hook. Chapter Books are usually sold as a series, though, and it helps if you have a known name. (Perhaps CBs are a bit harder because there is a narrower age range for them, 7 to 9, and therefore less slots to fill.) There is a new CB series by Laurie Keller based on her picture book character Arnie the Dougnut and they are highly illustrated--they're like long B&W picture books. Check them out--they're really fun (although only the first one is out now: BOWLING ALLEY BANDIT). So you might indeed still get to do all the fun illustrations if you pitch the project like that! I think the market is wide open for something like that, due to the popularity of illustrated novels like WIMPY KID, DORK DIARIES and ELLIE MCDOODLE, as well as graphic novels. Kids really don't want to lose pictures when they move to CBs. I say give the kids what they want and they'll continue to love reading!

# data[].attributes.body
PB vs CB

I have written three picture book manuscripts. I wanted to do PBs because I am an illustrator and I wanted to illustrate my own PBs. Now I am rethinking my decision. The stories may be better as chapters in a chapter book. They all have the same characters and variations on a theme.

My question: Is it easier to sell a CB vs a PB? I have a great critique group, I have not yet asked them if my stories would work as chapters. I wouldn't get to do all the fun illustrations, but I'm busy enough illustrating for other right now.

# data[].attributes.body
Lauri, I thought the same thing a few years ago, before I was published. I wanted to get some children's magazines credits in order to create a more compelling cover letter/query. So I took a story I had written and tried to find the right venue for it. It took at least a week's worth of research to find the right [obscure] magazine and the right issue, and that issue wasn't going to be published FOR FOUR YEARS! So I realized, I cannot take what I have already written and find a spot for it, I have to look at issue themes and write something according to a magazine's needs. But then I realized that would take a lot of the fun out of writing for me--I want to come up with an idea myself--plus these magazines were still buying stories years in advance of publication. It seemed like a lot of work and a long time to wait just to get some credentials.

Then I realized that even if I did have these credits, they really wouldn't matter. If I submitted a PB to an agent or an editor and they didn't want it, the magazine credits would never change their mind. And if they did want my manuscript, sure, the credits are nice to have, they show you're a dedicated professional, but they're not necessary. If you submit a compelling PB, you will be offered a contract even if you have no other credits. Everyone has to start somewhere! (Just make sure you can be found online. Editors sometimes check out blogs and personal sites when they're interested in your manuscript.)

So I found that magazine writing, for me, was a waste of time and it diverted my attention from my desired goal of having a published picture book. Of course, I'm not discouraging magazine writing in general--it's just not something that I wanted to do, and I found it wouldn't help with reaching my goal, other than perhaps getting in some writing practice.

Remember, you don't need a lengthy bio to get a contract. All I had on my bio at the time I was offered my first contract was that I was a member of SCBWI and another local writing group. The end. Bottom line: the story's the thing. If you've got a good manuscript, that's all you need.

# data[].attributes.body
Hi Tara, Have you written for children's magazines? I'm interested in pursuing magazines to get some credibility, but at the same time it's another distraction (add to twitter, blogging, feeding my children) to learning to write picture books well. I would be interested in your perspective...which is why I'm asking the question here on your snazzy padlet site :)

# data[].attributes.body
Yes, you're on the right track! Best wishes!

# data[].attributes.body
Thanks, Tara! I really appreciate your time. I am waiting on answers from the "Blue Board" folks and a post on SDBWI right now! I'm glad I'm on the right track!

# data[].attributes.body
That's a great question, and something I didn't even consider until I was already a year into my critique group. I started realizing my groups' comments often conflicted with the information and advice I'd heard at SCBWI events. For instance, they kept telling me to describe what my character looked like. Nope, not necessary. (Unless their appearance is crucial to the storyline, and even then, it can go into an art note.) You can ask what kind of experience people in your group have. Actually, when I joined my first group, I asked if anyone was published, and the answer was no. That surprised me, and I should have taken it as a clue that maybe I needed to find a more experienced group. But at that time, I was brand new, too!

If no one in your group is attending regular children's books events, nor reading craft books, nor has anything published, you can pretty much be assured you're not getting the best critique possible. Join SCBWI.org and you can find partners on their online forum as well through your local chapter. Many chapters have a "critique coordinator" who helps writers find open groups. You might find another writing organization nearby with a children's book group. You might post on Verla Kay's "Blue Boards" forum to find an online critique group (and perhaps even a local one). Be sure you join a group for PB writers, because MG and YA writers don't necessarily know the proper format, structure and "rules" for PBs.

Good luck!

# data[].attributes.body
Hi Tara. Thanks so much for doing this. My question involves CPs. This is a bit sensitive, because I don't want to sound... harsh, but..... How do you know if someone who has offered to read for you has enough knowledge to offer an educated opinion? With PBs, I think any opinion is somewhat helpful, at least in respect to its readability, but beyond that????? I am always unsure how seriously to take the opinions of others. Certainly, there are many out there who have the experience/knowledge, but may not have the time to offer the needed help. What is the best way to find good CPs? Sorry for the long-winded question. :) Thanks again!

# data[].attributes.body
Jenny, sounds like you're very close if you're getting such good feedback from agents and editors. They have no reason to sugar-coat things. So if they express interest, they are being genuine. There's a difference, though, between liking a story and taking you on as a client. It's not just about like. It's about LOVE. It's about love so deep they feel like they cannot live without your story.

But if the agent expressed interest and hasn't responded yet, this could be telling you a few things. First, it's summer. The agent might be on vacation. Or, the agent might be very busy. But maybe the being busy is a sign they're overextended. Hard to tell. Again, it *is* summer and publishing is a traditionally "slow" business. It's not unheard of to wait months to hear back about an agent submission. I think a monthly follow-up is reasonable, although I might be inclined to now wait until September, given the vacation season.

In any case, I wish you all the best!

# data[].attributes.body
My groups are very inexperienced. I'm pretty sure I've been writing longer and take it more seriously than most. One other writer is published, but she, like me, has only published in magazines so far. Two of the unpublished writers have agents. We have a great personal rapport, but yes, I definitely think it's time to explore. Thanks for helping me see that!

I have received very useful feedback from class instructors and at conference critiques, though to be honest a lot of that feedback was positive too. The conference I attended did its critiques as roundtables, and I wonder if agents/editors are as honest in that kind of setting as they might be in a one-on-one critique. One agent seemed to love the story I shared yet has completely ignored my submission (and two monthly followup emails). Sigh. I digress.

Thank you for the suggestions and best wishes on your next project!

# data[].attributes.body
Michelle, if you're intent on getting an agent, you should not submit to both agents and publishers at the same time. If an agent finds out a project they love has already been widely shopped without success, they are going to think they won't be able to sell it. After all, they cannot resubmit the same story that's already been rejected by a specific editor unless it's gone through *considerable* revision.

There are ways to submit to agents who are only open through referral, other than asking authors you don't know to refer you. I will say, please don't do this. I receive many emails a month from people whose work with which I'm not familiar, asking me to refer them. I cannot do this, as I wouldn't have the time for my own work! Instead, attend SCBWI events or join a critique group. Network and meet people every chance you get--both in person and online. It's a small world. Turns out I received a referral to my agent through TWO friends who knew her. Authors will not refer you unless they're familiar with your work and confident you would be a good match. I have referred many people to agents because I've seen their work (multiple samples) and think an agent I know would be interested. We all do it naturally, but not when confronted by a complete stranger.

Finally, I will say you don't need credits to your name to get an agent. I had none when I got my agent. The story's the thing. Have a strong manuscript and everything else does not matter. If they don't like the story, they're not going to sign you, no matter how many credits you have. And if they love the story, the credits will be nice, but they won't matter either. They may check them out to see if they like your style, but they won't necessarily cinch the deal. You can get the deal without them.

I recommend having 3-5 manuscripts ready to go before approaching an agent. If they like your initial submission (one manuscript), they will ask to see more. So you'd better have more! It can be rare to get signed on one picture book alone. The agent wants to know they feel strongly about your body of work.

Good luck!

# data[].attributes.body
Is it an acceptable practice to submit PB manuscripts to both publishers and agents at the same time? Ultimately, I'd like to have an agent, but I feel like I'm "supposed to" submit to publishers independently first since I don't yet have a lot of children's writing credits to my name yet. Also, I feel a bit caught between a rock and a hard place because many of the agents and publishers that I feel would be most appropriate for my work do not accept unsolicited work/queries, and I would feel awkward asking favors of my more established writer friends to get me in the door. Thanks Tara!

# data[].attributes.body
Carol, that's really interesting, because I, too, skew a bit on the older side of picture books, and I've been told that my voice sometimes sounds too old. I just finished revising a 1200-word picture book, which is LOOOONG these days. And by 1200, I mean I really NEED all those words to tell the full tale. (I can easily write in 500 words or less, but this story has more "meat".) But it looks as though it's unpublishable because its peg doesn't fit neatly into one of publishing's square holes.

Between PB and MG you have chapter books, which are typically geared toward kids around 2nd grade or so. There's not a wide audience for chapter books because it's for so specific an age range (like 7-9), so there's fewer of them, and they tend to be written in series, around 5,000 words on average. There is a great new chapter book series from Laurie Keller, author of the ARNIE THE DOUGHNUT picture book. Arnie is now starring in his own chapter books, and they're highly illustrated, so they remind me of really long picture books.

Go to your library and ask to see some chapter book series. They are usually character-driven, meaning there is a compelling main character with unique personality traits to follow thru the books. Like "Cam Jensen" is about a girl who has a photographic memory and solves mysteries (her nickname is "Cam" for "camera".) Sudipta Bardhan-Quallen is coming out with a series called "The Spectacles of Destiny" about a girl named Destiny who gets magic glasses that see into the future. There's also the wildly popular "Junie B. Jones" series, and my daughter was hooked on the "Rainbow Fairies" series--but those are a bit different because they are published under the name "Daisy Meadows" but Daisy is actually a stable of work-for-hire authors.

# data[].attributes.body
Hi Tara,  I have been studying, writing and submitting Picture Books (nothing published yet) mostly ones that would be 32 pages.  A recent one I wrote seems too "old" but I don't really want to get into Middle Grade Chapter Books. Is there anything in between?

# data[].attributes.body
Jenny, that's a sure sign that you're not in the right critique group. A pat on the back does not help you grow as an artist. How much experience does your group have? They should be giving you at least one or two critical comments (really much more), and if they're not, they're either inexperienced or they're afraid to hurt your feelings. I did have one crit partner who only told me positive things about my work, and it was frustrating. If you're not satisfied with their help, then it's time to move on. SCBWI's online forums are a great place to find an online or in-person group. Also try Verla Kay's "Blue Board". Your local SCBWI chapter (mine is NJ-SCBWI) might even have a "critique coordinator" who can help you find an active group. My first group was actually thru a local writing organization called Women Who Write. You might find something similar in your area. Good luck!

# data[].attributes.body
Thank you, Tara! I appreciate your taking the time to answer questions here. (Also: What a cool format this padlet is.) Your point about finding the right critique group really hits home. I mostly get quite positive feedback from my critique groups, so I never entirely trust it. I want harsher, more honest (or maybe just more experienced) critics! I'm somewhat new to SCBWI but may look for more serious folks there, as you suggest. Thanks again and happy writing.

# data[].attributes.body
You don't need to copyright your work. The simple act of writing it down makes it yours. You will always have the proof that you created it first if it's on your computer or in your notebook.

I get this question a lot from newer writers, and what I've learned over the years is that we're most excited by our own ideas, not someone else's. I've read many clever stories but since they were not my creation, I don't have the passion for them in the way the author does. So I have never wanted to swipe a story idea, and I think that's true for everyone who's creative. It's the people who are not born writers, not born creative folks that you have to worry about.

For that reason, I advise writers never to post any story ideas or in-progress work on their blog or website. Anyone in the world can see it and anyone in the world can steal it. (Editors and agents are not searching websites to locate talent. Enough projects land right in their lap, so there's no reason to post work you intend to sell on your blog. Some publishers might even consider it already published if it's online, even on a personal site.)

But critique partners you've found thru a local writing organization or SCBWI are usually ambitious, creative people already invested in their own projects, just like you are. They are not going to want to steal anything from you.

Editors and agents are professionals and will not steal your ideas, either. Just be sure you're not submitting to someone who's listed on "Editors & Preditors" (sic) or someone for whom you can find no professional information. There's a wealth of knowledge online about who's legitimate and who's not.

Finally, even if someone does steal your idea--which frankly I've never heard of happening--the difference is in the execution. Your idea will spill upon the paper with a lot more passion than the person who swiped it. At least that's what I think!

# data[].attributes.body
How does one protect their book idea when submitting it to so many people?

Thank you for doing this!

# data[].attributes.body
My process is different for every manuscript. Sometimes I'm so excited by a new idea, I have to sit down and write it out immediately. Other times, I have to let the idea "marinate" in my mind, so I just jot down the idea and come back to it later. Your subconscious will actually "work" on it while you go take care of daily life, I truly believe that. Some stories just spill out nearly perfect the first time while others are more laborious and go throw umpteen revisions over the course of months (or even years). And then there's everything in between!

Before I had an agent, I would share manuscripts with a critique group who would help me to deem if they were "ready". However, my first group wasn't very experienced, so they really didn't know when something was indeed ready. I had many manuscripts "approved" by them, but now I look back and know those stories needed a lot more work. (They were all rejected.) So it's important to find a critique group with serious writers, those on the same level as you are--and those more experienced as well.

Now that I have an agent, she lets me know when she thinks something is ready vs. when it needs more work. I trust her radar. Although she's an "editorial" agent who helps me to polish my work, she doesn't like to see first drafts. So I still use critique partners, all of whom are also published authors, so they have pretty good radar, too.

The best way to get better radar is to attend as many SCBWI events as you can, read craft books, read picture books and soak in the knowledge. You will get better with every story, and you'll learn for yourself when something is working vs. when it's failing. Also network to find other writers with whom to share work.

Also put manuscripts aside for a while if they aren't working. I recently went back to a project from last year and absolutely cringed at how terrible it was! I had done so many revisions trying to get it right that it veered dangerously off course, getting further and further away from my original intention. Now that I have some distance, I was able to see its problems and I've begun rewriting, starting all over again with a similar premise, just slightly altered.

I will say that my most successful manuscripts have been the ones that I've written more quickly with less revision. Sometimes I just get it right--right away. The ones I revise over and over don't seem to work as well as the ones for which I know the direction on day one of writing. That's why I think the "marinating" is so important to my process. If the idea doesn't flick a switch right away, I know I need to wait before writing.

# data[].attributes.headline
Jenny/Writing Process & Knowing When You're "Done"

# data[].attributes.subject
Jenny/Writing Process & Knowing When You're "Done"

# data[].attributes.body
I'm curious about your creative process. I'm always interested in hearing how writers write! How do you go from initial idea to finished manuscript, and how long does that take? Is the process different every time? Also how do you know when something's ready to send out (or that it's time to abandon it)?

# data[].attributes.body
Good to know. So I don't need to know their favorite color. (Jk). So just a light touch. Hugs

# data[].attributes.body
Hey Maria, I grew up in the NY metro area, so I know "kiss up"! LOL!

I got a referral to Joan from two author friends, so that's all I wrote that was "personal". Joan was relatively new at the time, so she didn't have a long track record to refer to. I think the agent does want to know that you chose them for a particular reason and that they're not just "agent #42" on your list. So it is good to mention other clients, recent deals, or something that shows you're targeting them and not just blasting out your manuscript to everyone. You're being selective. You can refer to online interviews, perhaps, where they say they're seeking "high-concept humor" or "sweet rhyming books". I recommend getting a subscription to "Publisher's Marketplace"--it's $20 per month but you'll see every announced picture book deal and get a sense of who reps what. Show the agent you're informed, not just kissy-kissy, LOL.

# data[].attributes.body
Okay, last question. So I can give someone else a chance to ask a question. This might sound like a stupid thing to ask. When you queried did you say something personal about that agent? I find it a lot of work to pinpoint the right thing to say and you don't want to sound like you're just kissing up, lol. I find a lot of people just do a lot of name dropping, and if I was the agent I'd feel they're trying to kiss up. (NY slang, lol)

# data[].attributes.body
I honestly don't think you know someone is the right agent for you until you begin working together. That's the tricky part. I know plenty of authors who have switched agents. However, Joan and I really clicked on the telephone. She was excited about ALL my work, not just one or two stories (she had asked to see more after THE MONSTORE and I sent 2 more PBs and the 1st chapter of a MG novel). She answered all my questions well--like I wanted to know how much she expected of me. How many manuscripts a year? Joan said she didn't have any requirements for that, which was good by me, because my children were still small and I didn't know how much time I'd have to be prolific. Turns out that wasn't anything to worry about, as I have continually produced work for her to sell. You can research agents online now--it's so great to see interviews and resources like Casey McCormick's "Literary Rambles" so you know who the best folks are to target. But frankly, don't expect to know everything about your agent until you begin work together. And don't be afraid to change agents if need be. I'm more than satisfied with Joan so no need to change for me.

# data[].attributes.body
How did you know she was the right agent?

# data[].attributes.body
Before THE MONSTORE, I sent my picture book manuscripts unsolicited to publishers. Then after so many rejections, I got gun shy and didn't submit at all. Then with THE MONSTORE, I sent it to a NJ-SCBWI Mentoring Conference and received wonderful feedback from an editor at Marshall Cavendish, who invited me to revise and submit to her. A few author friends had also expressed their love of the story, so I knew it was time for me to get an agent. I had done a lot of thinking and knew I wanted an agent--I found the submission process to be so tedious and time-consuming. I wanted to focus on writing, not submitting. So I queried agents with THE MONSTORE and got quite a few interested, but got an offer from Ammi-Joan Paquette and signed with her in the spring of 2010.

# data[].attributes.body
Did you send your picture book to agents? Or did you send directly to unsolicited houses?

# data[].attributes.body
Yeah, Carter, something new to try out! Wheeeee! LOL

# data[].attributes.body
I don't have a question yet. Just eavesdropping on the party. This is fun!

# data[].attributes.body
Honestly, achingly slow! I signed the contract for THE MONSTORE in May 2010 and it pubbed in June 2013. Three years is a long time to wait for your baby. But, there were exciting things along the ride--like seeing character sketches for the first time, then the various dummies, then the cover, then early reviews...and finally, the release. My next book is also taking three years. I got the offer for I THOUGHT THIS WAS A BEAR BOOK in October of 2011 and it looks like it will be a Fall 2014 release. I watched a talk with Seth Godin recently and he said that in publishing you have to be "impatiently patient" or "patiently impatient" and now I know what he means. There's a hurry-up-and-wait kind of atmosphere. There's deadlines you must meet, but then you must wait for the finished product. But, I will say, it is all worth it in the end!

# data[].attributes.body
Did the period of time between book deal and publication seem to go quickly, or achingly slowly?

# data[].attributes.body
The most surprising thing on my first book was how little I was consulted about sketches. (And I didn't mind one bit, as the illustrator certainly didn't need any input from me!) And the most surprising thing about my second was how much I've been involved with the illustrative process! So I suppose the answer is how different things can be from one book to the next, even with the same editor/publisher!

# data[].attributes.body
What was the most surprising thing you learned about the process of making a picture book?