Monday, April 30, 2018
Trying to stay calm...
...but an agent is interested in my picture book called CONFETTI THE YETI! I AM SO EXCITED!!!
Sunday, April 29, 2018
My Interview With Kathy Doherty on her first book!
I met Kathy in 2011 when we attended the Highlights event in Chautauqua, New York, and we've been friends ever since. We went to two more workshops together at the Highlights' barn in Pennsylvania, and she sent me cards and gifts all through my cancer treatment in 2014. In the picture below, she's on the left and I'm the bald woman in the hat! She has a wonderful heart and great sense of humor, and I couldn't be happier for her with her first published picture book, DON'T FEED THE BEAR!
Hi, Kathy! Congratulations on your book coming out in April, DON'T FEED THE BEAR! You are an inspiration to those of us in our 50s and 60s who wonder if we still have a chance to be published. Can you tell us about your writing experiences that led up to this book? When did you start writing and submitting picture books?
I started by writing poems, short stories, and rebuses for Highlights. I've been published a total of 20 times in their magazines. But my first Highlights sale of six poems was never published. After that first sale, I got 10 rejections in a row. I didn't give up. Being in Highlights gave me confidence to try my hand at picture books. I like the tight writing that picture books require. I started submitting picture books through an agent in 2012. But she wasn't a hungry agent.
Can you tell us how you found an agent? Did you use an agent for this book?
My writing coach introduced me to her agent, and the agent took me on. She had me sign a contract. In the three years we were together, she only submitted two manuscripts. We parted in 2014 but she told me I could continue to show her manuscripts until I found a new agent. I showed her DON'T FEED THE BEAR, and told her it could be submitted to an agent at Sterling whom I had just met at an SCBWI conference. My ex-agent said the story was cute, but she didn't think it would sell. I submitted it to him and he bought it two months later. I was not under the agent's contract, so the sale was all MINE! I hired a literary property lawyer to negotiate the sale.
Have you worked closely with the illustrator? Did the editor ask for many changes?
I have had NO say in the illustrator's work. I've never even talked to him [Chip Wass] via email. Most of the time an editor will ask for a revision BEFORE he/she offers to buy the manuscript. I went through two revisions with Peachtree before they bought the story. [I don't have a publishing date for that book.] The Sterling editor bought the book without asking for any revisions. We put the finishing touches on the book in about four days.
Do you feel agents and editors are more open or less open to older writers, or does age matter to them?
This is a good question. If we are above average writers, age shouldn't matter. I'm finding agents want illustrator/author clients instead of just picture book authors. I've been rejected by 25 agents. So I've given up on that for awhile. I go through spurts.
Any tips for us as we continue to submit and hope?
Thanks so much for sharing your thoughts, Kathy! And I just know your book will be a great success! --Deb
My biggest tips would be to make sure your language is extra special. Those are the manuscripts that sell. I'm most often rejected because my word choice isn't stellar. So now I read my stories aloud, and sometimes tape record them and play them back to listen closely. I always make a dummy of 14 page spreads to see if I have 14 different scenes. Another tip is to leave room for the illustrator.
I wrote the following list for KidLit College's blog last year:
PICTURE BOOK WRITING TIPS for aspiring authors—
Rhythm
At first I’d get rejected because the language I used wasn’t special enough. So I read poetry and tons of picture books—still do—to study how authors put words together. Now I try harder to make my words dance across the page and let my personality shine through [voice].
Humor
When writing humor, I use words that contain these consonants: p, b, t, d, k, and hard g [as in goat]. Notice how these letters explode off your tongue and produce funny sounds. That’s why the word underpants is funnier than underwear.
Visualization
I make sure every sentence I write can be illustrated. I think of my story as an escalator, always moving and changing with each line. My words only tell half the story to leave room for the illustrator.
Intertextuality
I loved how Roahl Dahl used made-up words in THE BFG like whizzpoppers, frobscottle, and snozzcumbers. I borrowed that idea and made up words in the first two picture books I sold. Borrowing an idea or concept from another author and reworking it to make it your own is called intertextuality.
Stepping Stones
Rejection letters happen. Eileen Spinelli got 27 rejections on SOMEBODY LOVES YOU MR. HATCH. Jerry Spinelli never sold his first novel. Rejection letters are steppingstones to something bigger and better. After my first sale to Highlights in 2006, the magazine’s submissions editor sent me 10 rejection letters in a row before she bought a second story.
Professionalism
I use personalized stationery with my name, address, phone number, and email printed at the top so I can submit professional-looking cover letters. I paper clip my cover letter [short and succinct] to my story. I never fold or staple my submission.
Revision
When I think my manuscript is ready to submit, I tape record it. Then I play it back over and over listening for rough and boring spots. Then it’s revision time!
Page Turns
I make a dummy and read my story aloud. I emphasize the page turns as I read. I ask myself: Do I have 14 different scenes? Will readers care about my main character? Did I rush the beginning? Is my ending satisfying?
Craft
I’m always looking for feedback and ways to take my writing to the next level. I attend SCBWI conferences, take workshops, and belong to a critique group. I read books on craft. And I type out my favorite picture books to study them.
Perseverance
Perseverance is probably more important than talent. I’m living proof. Writing doesn’t come easy for me. Most writers let a rough draft flow off their fingertips. Not me. I agonize over every word and revise as I write. Every author is different. Candace Fleming writes in longhand before she gets out of bed in the morning. Beverly Cleary never reads other children’s books because she doesn’t want them to influence her. Eve Bunting likes to know the last line of her picture book before she begins. And Jane Yolen writes to find out how her story will end.
Importance
We picture book writers are important people. Be proud! We start children on the wonderful path of reading. Visualize a dad reading your book to his daughter at bedtime, or a grandmother buying your book for her grandson’s birthday. My dream has always been to read my picture book aloud to the children at St. Jude’s Children’s Research Hospital. I’M GETTING CLOSER!
Hi, Kathy! Congratulations on your book coming out in April, DON'T FEED THE BEAR! You are an inspiration to those of us in our 50s and 60s who wonder if we still have a chance to be published. Can you tell us about your writing experiences that led up to this book? When did you start writing and submitting picture books?
I started by writing poems, short stories, and rebuses for Highlights. I've been published a total of 20 times in their magazines. But my first Highlights sale of six poems was never published. After that first sale, I got 10 rejections in a row. I didn't give up. Being in Highlights gave me confidence to try my hand at picture books. I like the tight writing that picture books require. I started submitting picture books through an agent in 2012. But she wasn't a hungry agent.
Can you tell us how you found an agent? Did you use an agent for this book?
My writing coach introduced me to her agent, and the agent took me on. She had me sign a contract. In the three years we were together, she only submitted two manuscripts. We parted in 2014 but she told me I could continue to show her manuscripts until I found a new agent. I showed her DON'T FEED THE BEAR, and told her it could be submitted to an agent at Sterling whom I had just met at an SCBWI conference. My ex-agent said the story was cute, but she didn't think it would sell. I submitted it to him and he bought it two months later. I was not under the agent's contract, so the sale was all MINE! I hired a literary property lawyer to negotiate the sale.
Have you worked closely with the illustrator? Did the editor ask for many changes?
I have had NO say in the illustrator's work. I've never even talked to him [Chip Wass] via email. Most of the time an editor will ask for a revision BEFORE he/she offers to buy the manuscript. I went through two revisions with Peachtree before they bought the story. [I don't have a publishing date for that book.] The Sterling editor bought the book without asking for any revisions. We put the finishing touches on the book in about four days.
Do you feel agents and editors are more open or less open to older writers, or does age matter to them?
This is a good question. If we are above average writers, age shouldn't matter. I'm finding agents want illustrator/author clients instead of just picture book authors. I've been rejected by 25 agents. So I've given up on that for awhile. I go through spurts.
Any tips for us as we continue to submit and hope?
Thanks so much for sharing your thoughts, Kathy! And I just know your book will be a great success! --Deb
My biggest tips would be to make sure your language is extra special. Those are the manuscripts that sell. I'm most often rejected because my word choice isn't stellar. So now I read my stories aloud, and sometimes tape record them and play them back to listen closely. I always make a dummy of 14 page spreads to see if I have 14 different scenes. Another tip is to leave room for the illustrator.
I wrote the following list for KidLit College's blog last year:
PICTURE BOOK WRITING TIPS for aspiring authors—
Rhythm
At first I’d get rejected because the language I used wasn’t special enough. So I read poetry and tons of picture books—still do—to study how authors put words together. Now I try harder to make my words dance across the page and let my personality shine through [voice].
Humor
When writing humor, I use words that contain these consonants: p, b, t, d, k, and hard g [as in goat]. Notice how these letters explode off your tongue and produce funny sounds. That’s why the word underpants is funnier than underwear.
Visualization
I make sure every sentence I write can be illustrated. I think of my story as an escalator, always moving and changing with each line. My words only tell half the story to leave room for the illustrator.
Intertextuality
I loved how Roahl Dahl used made-up words in THE BFG like whizzpoppers, frobscottle, and snozzcumbers. I borrowed that idea and made up words in the first two picture books I sold. Borrowing an idea or concept from another author and reworking it to make it your own is called intertextuality.
Stepping Stones
Rejection letters happen. Eileen Spinelli got 27 rejections on SOMEBODY LOVES YOU MR. HATCH. Jerry Spinelli never sold his first novel. Rejection letters are steppingstones to something bigger and better. After my first sale to Highlights in 2006, the magazine’s submissions editor sent me 10 rejection letters in a row before she bought a second story.
Professionalism
I use personalized stationery with my name, address, phone number, and email printed at the top so I can submit professional-looking cover letters. I paper clip my cover letter [short and succinct] to my story. I never fold or staple my submission.
Revision
When I think my manuscript is ready to submit, I tape record it. Then I play it back over and over listening for rough and boring spots. Then it’s revision time!
Page Turns
I make a dummy and read my story aloud. I emphasize the page turns as I read. I ask myself: Do I have 14 different scenes? Will readers care about my main character? Did I rush the beginning? Is my ending satisfying?
Craft
I’m always looking for feedback and ways to take my writing to the next level. I attend SCBWI conferences, take workshops, and belong to a critique group. I read books on craft. And I type out my favorite picture books to study them.
Perseverance
Perseverance is probably more important than talent. I’m living proof. Writing doesn’t come easy for me. Most writers let a rough draft flow off their fingertips. Not me. I agonize over every word and revise as I write. Every author is different. Candace Fleming writes in longhand before she gets out of bed in the morning. Beverly Cleary never reads other children’s books because she doesn’t want them to influence her. Eve Bunting likes to know the last line of her picture book before she begins. And Jane Yolen writes to find out how her story will end.
Importance
We picture book writers are important people. Be proud! We start children on the wonderful path of reading. Visualize a dad reading your book to his daughter at bedtime, or a grandmother buying your book for her grandson’s birthday. My dream has always been to read my picture book aloud to the children at St. Jude’s Children’s Research Hospital. I’M GETTING CLOSER!
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