Discusses what editors expect from children's book authors and offers advice on writing and submitting a manuscript, marketing and publicizing one's own work, and dealing with agents, contracts, and writers' rights.
This is a very useful book for newbie kidlit authors, although some of the material is dated (for example, we have a lot more information now on how self-publishing works for children's book authors, the mergers among publishers and dominance of online retailers has continued, submissions are now *almost* entirely online, etc.). I don't think authors with experience will learn much but that's not really the point of the book. I wish the writing advice had gone a tiny bit deeper.
This is a bit dated, but still a helpful writing and publishing guide. The author worked in several different roles in the children's book field - editor, agent, and author - so has a unique perspective. I especially enjoyed learning more about what happens at a publishing house after a manuscript has been acquired.
I enjoyed learning about the picture book publishing history and getting behind the scenes glimpses of the process once a book is signed. Definitely a must read for any aspiring kidlit creator.
Highly recommended for anyone interested in writing children's books. Although slightly dated, Olga offers strong and concrete recommendations for writing, editing, and publishing a children's book. The introduction covers a history of the children's publishing industry. The bulk of the book offers specific ideas and pointers for the unpublished writer. Olga uses "Gus" to describe the process and provide tips on navigating from idea through to published copy. The chapters are well-organized and it is easy to read only specific sections based on the needs of the prospective author.
Specific ideas: -- Don't be SCAD: Sentimental, Condescending, Anthropomorphic, or Didactic. Although there are exceptions, any of these may cause a publisher to reject the book. In particular, if you are going to be anthropomorphic, make sure you understand the species well enough to keep it in the realm of suspension of disbelief. -- Universal themes are important. What are the universal themes of your book? -- The protagonist must solve the problem. Your book must have a central conflict and the protagonist must solve it. No one wants to read a story where the adults or someone else step in to save the day -- Begin in media res - in the middle of the story. Don't waste time -- There should be conflict and distinct/realistic characters -- A picture book will probably be 32 pages, of which 26 will be story - to see what it looks like, fold 8 pieces of paper in half. (Then write out your story on them - every page should have roughly the same amount of text.) Make sure there are scene changes - the illustrator has to have something to work with. <1000 words -- Chapter books are 25-60 pages with pictures on most pages. They are aimed at 1st-2nd graders -- Middle Grades novels are 96-192 pages. (96=32x3) Age 10-14. Narrator usually more mature than 14, but may not be older -- The protagonist must act, grow, and change in the book. -- There should be a coherent plot around a strong conflict. Each action must have purpose. -- Show emotion in action and crisp dialogue. Don't tell in long dialogue. After you're done, use the find feature to look for "felt" and rewrite all those sentences. While you're at it, look for the passive voice. -- In chapter books there should be 1 action per chapter. A major event should occur by chapter 5 -- To organize yourself, list the plot, theme, and characters. Then determine the time frame - 1 month? 1 season? 1 year? Outlines are helpful - it is good to know where you're going -- Each scene or incident should advance plot or character. Don't waste time. -- There are no perfect characters - make sure your characters are rich and realistic.
The only reason this book got three stars instead of four from me is that it's hard for me to get excited over nonfiction. That said, this was a highly readable, moderately entertaining guide to writing, selling and promoting children's books from the point of view of a former children's book editor. While the author writes children's books herself, she inhabits the persona of editor more easily, I think, than that of author. She uses characters to represent a typical author, agent and editor, then tells the story of one book's publication referring to them. The reader is meant to identify with Gus, the writer. Though a writer myself, I identified more easily with Annabelle, the editor, and even more with who I imagined Olga Litowinsky, the editor, to be: an exacting yet humane, valiant yet pragmatic champion of books and the people who bring them into being.
I checked this book out from the library, but it's something I'd like to have on my shelf as a reference -- more useful in many ways than the Children's Writer's and Illustrator's market I bought recently. Though I'm not primarily a children's writer, I found the portrait of the publishing industry here fascinating from the point of view of any writer.
Although some of the info is slightly out of date, such as the fluidity of the publishing industry these days, this book is an excellent and informative resource. The author covers everything an author or potential author needs to know. My only problem was that self publishing is only briefly mentioned, which has come a long way in just the last few years, and was still in infancy when the book was published just a decade ago.