Growing Down – Thinking Like Young Children

On a flight from London to Nice, I came across this article in the inflight magazine and it got me thinking… Little Wins: The Huge Power of Thinking like a Toddler.

It was a review of a book written by Paul Lindley, entrepreneur and founder of Ella’s Kitchen, the company who make those colourful food pouches for tots.

Anything that helps me get into the mind of a pre-schooler before writing is useful. I’m forty something and my children aren’t that small anymore, though we still all love picture books.

Paul Lindley’s approach also made me think a lot more determinedly about how to develop and sell my children’s books and how to get the attention of publishers.

Paul Lindley says: If you think like you did when you were a small child, a load of opportunities open up, because when you were that small child, everything was new, there were no rules and you worked things out yourself.

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He then goes on to list nine ways toddlers think and behave that are a useful perspective for entrepreneurs, and rather helpful for writers too.

CONFIDENCE

Toddlers make their minds up quickly; they are confidant about who they are and what they want to do. And they don’t worry about what people think. They aren’t distracted by second thoughts.

Wouldn’t it be to wonderful to think like that

 And when you are doing something that no one has done before (such as write your book) you need confidence and self-assurance. Because there is going to be a lot of people telling you, you can’t do it than you can.

So true.

GET NOTICED

This is what toddlers do best. They are masters of grabbing attention and getting their message across. They use many strategies.

 I don’t think Paul Lindley literally means jumping up and down and screaming, I can’t imagine many editors being impressed with that, but more the essence of it – being persistent, keeping your message simple, trying different methods until you and your book get noticed.

BE CREATIVE

At the age of 2, 98% of us think divergently, which is a measure of creativity, and by the time we’re 25 it’s 2% (stats: Ken Robinson).

Growing up, Lindley states, kills creativity. Toddlers are life’s great experimenters, always trying new things, giving them a go. They defy convention, they don’t know it exists. And sometimes by doing things differently, they achieve what the rules could never have led them to.

oliverjeffersstuck1 The picture book Stuck, by Oliver Jeffers, sprang to mind. A kite is stuck in a tree. How will the boy get it down? Convention states get a ladder, but when that doesn’t work the boys gets rather creative.

Children’s books should break conventions and snigger at them a bit too.

 BE HONEST

Young children have a bracing, sometimes hilarious honesty… without any fear of the consequences.

As we grow we develop filters, we learn what people want us to say, we tell little white lies to keep the peace, it’s easier to stick to the quid pro quo.  The problem with this is, we stop saying, Why? and What if? – the fundamental questions of creativity.

DIVE RIGHT IN

Toddlers live in the now. They have no past and they don’t really understand the future. So, although their attention spans may be relatively short, when they are in the moment, they are really in it, they dive straight in with gusto. They have no fear of failure.

So, next time you have a light bulb moment and feel the buzz of inspiration – write it, draw it, develop it and develop it. Don’t let learned practicality and doubt pause your creativity.

NEVER GIVE UP

Toddlers are determined because they have to be, says Lindley. They know nothing and suddenly they can walk, talk, smile, hold a conversation…And they can do all these things because they have failed lots and lots of times.

Stoicism about rejection letters springs to mind here. And also, an attitude of, if this idea doesn’t work, never mind, I’ll work on it until it does, and if it still doesn’t work, then I’ll come up with a better idea and a better idea, until one day something sticks.

 HAVE FUN

Having fun is a toddler’s job. They explore the world through imagination and play, and they are very clear about what does and doesn’t interest them. If it isn’t fun they won’t do it.

Roald Dahl had similar sentiments and a fantastic sense of outrageous fun.

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 “Matilda said, “Never do anything by halves if you want to get away with it. Be outrageous. Go the whole hog. Make sure everything you do is so completely crazy it’s unbelievable…” 
― Roald DahlMatilda

I hear so many creative people say, it feels frivolous to spend time sketching or brainstorming plots with multi-coloured pencils and sticky notes, because it doesn’t feel like work. But Lindley says, play fosters the ability to think differently.

 Sometimes desks and computers are the last places we should hang out. Switching environments (I love museums and bookshops) and colourful writing/drawing media always helps me think creatively.

SHOW YOUR FEELINGS

Whether it is a tantrum or uncontrolled excitement, we always know how toddlers feel.

Publishers look for authors who can enthusiastically convey their passion for their story not just on paper, but in person on the publicity trail.

INVOLVE OTHERS

Toddlers are naturally open and trusting. Their ability to make new friends and learn from them puts the most accomplished professional workers to shame.

Although creativity and drafting are solo occupations, there comes a point in the writing process where you can no longer go it alone. Whether it’s professional guidance, or a crit. group,  diversity of opinion on your manuscript and writing style is essential for perspective and improvement.

And it’s rather lovely to have writing friends too. Lots of them. The more the better!

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Little Wins: The Huge Power of Thinking Like a Toddler by Paul Lindley is published by Portfolio Penguin

 

 

Notes from the London Book Fair

 

I went on the Tuesday and Thursday this year using the SCBWI members three day ticket. Fellow SCBWI’s have been asking if the Fair is worth it and I would say, yes, if you are gearing up for submission, if you want to meet/hear/talk to well known authors and publishers and if you want to find out about new releases and the publishing world in general.

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Little Tiger stand, The Children’s Hub @LBF

There are agents and editors about but unless you know them or have pre-booked the 15 minute pitch slots, it’s unlikely you’ll get time with them. Their priority is selling rights and networking, not new authors. Having said that, I did manage to get 20 minutes with an editor I’ve been having an email conversation with about one of my stories. It is always good to put names to faces.

YA & MEG ROSOFF

Meg is one of my favourite authors and I found her in the Penn Literary Salon talking about writing and her new adult screwball comedy, Jonathan Unleashed. Meg has also just won the prestigious Astrid Lindgren Prize for her YA novels and deservedly so, her characters are quirky and original, and she is superb at first person voice.

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Meg Rosoff: Winner of the 2016 Astrid Lindgren Memorial Award

Meg says she “writes on the edge of reality, where the strange might happen,” weaves into her stories the two big questions teens and young adults are preoccupied with. Will anybody love me? and What will I do with my life?

She says her stories reflect her “cape crusader personality”. She believes in “being good in an unconventional way,” and that life is not about finding happiness, “it’s about being useful and being loved.”

She spends a lot of her day thinking and a small part writing and then rewriting and rewriting and rewriting, until her characters resonate.

Seminar Notes: The Power of Pictures: Working with Picture Book Creators in Primary Schools.

I stumbled upon this talk and I’m so glad I did!

This is a three year Arts Council funded project, from Centre for Literacy in Primary Education (CLPE), where nine author illustrators have worked alongside teachers to help them understand the creative process that goes into writing picture books. The teachers use this experience to support the children in their classes to become better readers and writers. Author/illustrators taking part included Mini Grey, Nicola Davies, Alexis Deacon and Benji Davies.

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“Good picture books are complex”

Charlotte Hacking, the CLPE programme leader, demonstrated the complexity of the picture books chosen and how they communicate subtle layers of meaning through: body language, expression, line of vision, background, context, colour, page breaks, page turns, rhythms and rhymes, the contrast between words and pictures, and so on.

With a teacher or parent’s support, picture books not only entertain children, they encourage them to use their imagination, organise their thoughts and look for deeper meaning in stories. When children engage fully with a story it can help them learn life skills; one of the most important is EMPATHY.

The CLPE aren’t the only ones thinking like this. Agents/editors are currently seeking picture books that feature a life lesson, e.g. loss, worries, standing up for yourself, finding love, etc. Take a look at the latest SCBWI Slush pile challenge; this is exactly what Helen from Bell Lomax Moreton wants.

I asked the sales reps at some of the  children’s publisher stands: “What’s selling well in picture books at the moment – in the UK and aboard?”

And guess what! Books with a life lesson, stories that make children think, stories that evoke emotion and resonate with both children and adults do, and importantly, they must be humourous.

And bonus! They export well, especially in the Far East’s growing markets.

There was a lot of talk about picture books being relevant to ALL ages. Why do we frown on 7+ year old children reading picture books and push novels on them as soon as possible? Charlotte Hacking advocates breadth of reading for all ages: magazines, digital, comics, picture books and novels, because, “breadth of reading builds reading stamina for life.” 

Seminar: The Future of Children’s Publishing

In this later session, there was a warning and an opportunity. Children’s market are still growing, buoyed in part by adults buying children’s books (seeking what they loved as a child and recognizing the great new writing in this market) and super child readers (from affluent middleclass backgrounds) who are consuming more than their weight in books. Overall though, children of 6+ years are spending less time reading due to digital platforms (YouTube and Apps) becoming more accessible and more attractive. Ensuring diversity and breadth of appeal in children’s publishing is key and creative concepts, which can cross formats are a real opportunity.

INSPIRING AUTHORS

I also attended talks by crime author Peter James, children’s writer Judith Kerr, and watched a ‘Dragons Den’ style panel event called the Write Stuff where five brave authors pitched their novels to agents.

Listening to them talk, it was obvious that successful authors pour their life experiences and passions into their books. Peter James enjoys accompanying the police on raids and his real life tales are every bit as fascinating as his fictional ones.

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Peter James, crime writer

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Judith Kerr, 93

Judith Kerr’s novel, When Hitler Stole Pink Rabbit, was based on her childhood experiences as a jewish refugee narrowly escaping Nazi persecution. The winner of the Write Stuff pitched a book about the fallout of a relationship after a soldier arrived home from a conflict zone, psychologically damaged and irrevocably changed. Both the author and her husband have been deployed in the Middle East and it was a story she needed to tell.

This kind of passion is catching and inspiring and sells lots of books.

Lastly, here’s my pile of children’s publisher catalogues featuring current lists and what’s debuting spring and autumn this year!

I wonder what the gaps in the market are…..

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How to write fantastic descriptive passages

Part 1. Places

We’ve had lots of conversations in my critique group lately about how to describe places and people.

So I thought I would check out how children’s greatest and best authors tackle it, starting with place…

Here’s an extract from…

His Dark Materials, by Phillip Pullman.

imagesDirectly ahead of the ship a mountain rose, green-flanked and snow-capped, and a little town and harbour lay below it: wooden houses with steep roofs, an oratory spire, cranes in the harbour, and clouds of gulls wheeling and crying. The smell was of fish, but mixed with it came the land-smell too: pine-resin and earth and something animal and musky, and something else that was cold and blank and wild: it might have been snow. It was the smell of the North.

Isn’t he a master at painting scenes with words!

The passage is packed with detail. He starts by describing what Lyra can see from the deck of the ship and then he explores the smell of the place, slowly, so we are standing right next to Lyra tasting the air with her, trying to identify that part new, part familiar smell. The description also conveys a sense of Lyra’s anticipation and excitement. She has finally arrived in the North.

Also check out the punctuation. He uses a mixture of colons, commas and the conjunction ‘and’ to structure the scene. This variation prevents the passage from feeling blocky. He has also achieved a rhythmical quality with lots of doubled-up descriptions e.g. “green-flanked and snow capped,” “wooden houses and steep roofs,” “pine-resin and earth.” It’s a lovely passage to read aloud.

The Way We Live Now, by Meg Rosoff

images-3This short passage is from an early scene when Daisy arrives at her aunt’s farm jetlagged and overwhelmed. It’s appropriately short, as Daisy literally can’t take everything in. Rosoff describes the farm and its inhabitants in one broad sweep to reflect her character’s mood.

There was a welcoming committee staring at me through the window and in it were four kids, and a goat and a couple of dogs…and in the background I saw some cats scooting around after a bunch of ducks that for some reason or other were hanging out on the lawn.

A few pages later, when Daisy’s had a chance to explore, Meg Rosoff lets her pen flow.

First let’s get it clear that the house is practically falling down, but for some reason that doesn’t seem to make any difference to how beautiful it is. It’s made of big chunks of yellowish stone, and has a steep roof, and is shaped like an L around a big courtyard with fat pebbles set in the ground. The short part of the L has a wide arched doorway and it used to be the stable, but now it’s the kitchen and it’s huge, with zigzag brick floors and big windows all across the front and a stable door that’s left open, Whenever it’s not actually snowing, says Edmond….

 Daisy has a wonderful voice and it’s a neat technique, having your main character give the reader a tour of the house and grounds. A benefit of first person POV.

The passage goes on for two pages, which tells us that Daisy is curious by nature and rather enjoying her change of scene.

Harry Potter and the Philosopher’s Stone, by J.K Rowling.

I have to include Harry Potter because it haHarry Potter landscapes such iconic imagery and fantasy settings are the product of the author’s imagination, so in theory tougher for the writer to convey. What’s particularly interesting about the The Philosopher’s Stone, and typical of J.K Rowling’s style as a whole, are the scattered short descriptive passages. Individually they’re not terribly clever. They don’t have the poetic quality of Philip Pullman or the voice of Meg Rosoff’s, Daisy; but J.K Rowling works another trick here. She weaves her description around the character’s action and dialogue so cleverly, the reader feels as if the story is unfolding in its entirety in front of their eyes. A cinematic quality, which perhaps is the reason the books are so popular with such a wide range of readers.

“Yeh’ll ger yers firs’ sight o’ Hogwarts in a sec,’ Hagrid called over his shoulder, ‘jus’ round this bend here. There was a loud ‘Oooooh!’ The narrow path had opened suddenly on to the edge of a black lake. Perched atop a high mountain on the other side, its window sparkling in the starry sky, was a vast castle with many turrets and windows.  ‘No more’n four to a boat,’ Hagrid called, pointing to a fleet of little boats sitting in the water by the shore.

Checkout that structure! Dialogue/characterisation (with a touch of foreshadowing),then action, reaction, place description, dialogue and place description again.  Great storytelling!

So five things to remember:

  • Show’ a place from the character’s viewpoint (not the author’s). A character’s mood and ability to observe/feel their surroundings can change considerably from scene to scene.
  • Detail, detail detail! Pin sharp detail makes a place seem real. A great setting can influence the mood of your protagonist and set a mood for the whole book. Know your setting’s quirks like you know the quirks of your characters.
  • Utilise all the senses. Authors rely far too much on sight.
  • Think about the descriptive words you use and the structure of your sentences. Similes, metaphors, rhythm and repetition can massively enhance a descriptive passage, as can active verbs and well placed adjectives, and yes, even the odd helpful adverb.
  • Don’t write your descriptive passages in a great lump of prose unless you are very skilled at all the above techniques, in which case, you may be excused as “being literary.”

Next post: How to write fantastic description – Part 2. People

 

 

 

How to evoke emotion in your readers?

Karl Iglesias in Writing for Emotional Impact, states we can experience three different types of emotion when we read books or watch movies.

Voyeuristic emotions relate to our curiosity about new information, new worlds and the relationship between characters. In this mindset we are interested onlookers but perhaps not fully emotionally engaged.

Vicarious emotions are when we identify so closely with a character, we feel what they feel. Their struggle is our struggle.

Visceral emotion is an intense physical (stomach clenching) sense of curiosity, anticipation, tension, surprise, fear, excitement, laughter, and so on (a real page turner!)

Great books evoke all these emotions.

So first ask yourself, what’s the heart of my story?

And by heart I mean emotional truth. That little nugget of familiarity, which has your reader identifying with your character and his situation, that spark of recognition that makes your character feel believable and real.

For every hurdle your character faces, ask yourself, what would I feel and what would I do in that situation (at that age and that time)? Life experience is invaluable, but research can help fill the gaps: first person letters/autobiographies/live film footage.Failing that, a keen perception, a good imagination and a way with words!

These are the three ways I build a connection between readers and my characters. 

Recognition (understanding and empathy) To identify with a character we must feel (or have felt) the same as they do. If a character is well drawn (and the author understands human nature well) readers can empathise with and share the characters situation, feelings and motives, and then experience the story directly through the characters eyes.

Fascination (interest) We are attracted to what’s different and unusual. It’s human nature to be curious. A multidimensional villain, flawed hero or quirky sidekick are great hooks, as are the magical or dangerous worlds they inhabit.

Mystery (curiosity, anticipation and tension) Children’s books are full of characters with mysterious origins, super powers and secrets to be unlocked.

Think about Harry Potter.

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What character and story elements did J.K Rowling use to help us identify with and care about Harry?

He’s an orphan. He lives in the cupboard under the stairs. The horrendous Dursley’s. The scar on his forehead. The mystery of his parent’s death. Wizards on the front lawn. Magic… and that’s only in the first two chapters!

So how exactly do we show a character’s emotional reaction on the page.

After every event (action) there is a reaction.

As a writing exercise, note all the emotional highs and lows you have in a single day and your physical, verbal and emotional reactions to them.

Use all the usual writing techniques to show, don’t tell, and mix them up a little.

Internal monologue (voice)

Dialogue

Body language/behaviour

Action

This extract is from We Were Liars by E. Lockhart16143347 – 14-year-old Cadence describes how she felt when her father walked out on her and her mother.

My father put a last suitcase in the back of the Mercedes and started the engine. Then he pulled a handgun and shot me in the chest. I was standing on the lawn and I fell. The bullet hole opened wide and my heart rolled out of my rib cage and down onto a flowerbed. Blood gushed rhythmically from my open wound then from my eyes, my ears, my mouth, it tasted like salt and failure. The bright red shame of being unloved soaked the grass in front of our house…

This scene is three pages into the book and sets up Cadence’s state of mind. You can feel her pain.

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Even the fast moving, criminally cool, Artemis Fowl (Eoin Colfer), “felt a lump in his throat. Most uncharacteristic,” at the mention of his missing father and “blinked back a few rebellious tears,” at his mother’s mad ramblings. (Chapter 2)

 

 

Picture books

At Christmas, I watched 50 Best Children’s Books, presented by David Walliams and guests. Winnie the Pooh was in the top spot. Julia Walters read an extract and it struck me how emotive the writing is.

“We’ll be friends forever won’t we, Pooh?” Asked Piglet.th-7

“Even longer,” Pooh answered. “Sometimes the smallest things take up the most room in your heart.”

I’ve read a lot of picture books lately (drafts and published) that completely omit emotional content. There’s lots of colourful action but no point to it at all. Very young children cannot articulate moods and emotions but they certainly do feel and show them. Picture books are an important aid to learning and talking about feelings. They teach empathy.

Here is a great guide to structuring picture books because it makes space for the character to feel, react and learn.

Spread 1: Intro character/world

Spread 2: Establish problem (worry/dilemma/misunderstanding/first experience)

Spread 3-8: Action

Spread 9: Crisis moment (show immediate emotional reaction- Shock/laughter/confusion)

Spread 10: Examine feelings

Spread 11: Solve problem (new understanding put into practise)

Spread 12: Emotional resolution (answers the stories emotional problem)

Courtesy of Hodder/Hachette (with a little elaboration)

Character emotions vs. reader emotions

There is one final point I want to make about evoking emotion.

Authors don’t always want their readers emotional experience to mirror the characters. An unreliable narrator or an inexperienced, over confident or haphazard character can make the reader feel wonderfully superior and knowing. Humour also works this way. A clumsy character might trip over and fall into things with hilarious consequences. We will be laughing, but the character won’t be. It’s a very effective devise, if done well. It makes the reader feel clever, and flattery, as they say, gets you everywhere.

 

 

Ahoy! SCBWI conference low-down

 

My second conference with amazing SCBWI BI…

Started with some wise words from Natascha Biebow about evoking empathy not sympathy in our writing, and the importance of being in touch with our inner child.

(The amount of piratey costumes at the launch party suggests the inner child part isn’t a problem for most SCBWIs.)

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Me with the fearsome Sally Rowe

And continued amusingly, with Sarah Mcintyre and Philip Reeve dressed up, as I’m not sure what, to talk about creating their three illustrated books for young readers, which sold out on the book stand in 30 seconds  afterwards.

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The unforgettable Sarah Mcintyre and Philip Reeve

I did manage to nab an Oliver and the Seawigs. Thank you for adding the extra sea monkey, Sarah.

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Then on to a Picture Book/Illustrated Fiction Industry Panel with publishers Hodder, Faber and Faber, Otter Barry Books, and agent Felicity Trew (Carolyn Sheldon.) They all stressed how important it is for picture books to appeal to supermarkets (promo slots) as well as international markets, otherwise they don’t make money. A good title is important for Internet sales and a series concept is more likely to attract publishers (particularly for illustrated young readers).

After lunch, the amazing Jonny Duddle, Pirate Cruncher extraordinaire took to the stage and demonstrated that sometimes life takes you in unplanned and unusual directions. But it’s all rather useful material for future books. Though, he did seem to be destined to be a pirate from the very beginning.

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Jonny worked on a real pirate ship for a year  – yes, that one there.

BTW you can learn pirate talk from handy websites like this one: http://the-pirate-ship.com/piratedictionary.html

Jonny thinks up stories and rhymes while out running/cycling in the welsh hills. I wonder if the Chilterns have the same magic air.

It was lovely to meet the SCBWI’s who have launched their books this year at the Mass Book Launch Party. Thank you for all those signed copies! My children feel very spoiled.

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Go SCBWIs!

On Sunday morning, publisher David Fickling got us all up and dancing to Pulp Fiction, and then he shouted money money money. Yes please, David, that would be a nice change.

Agents Julia Churchill (A.M Heath) and Penny Holroyde (Holroyde Cartey) gave a great session on everything an agent does (which is a lot more than I appreciated). Penny also shared a page of her golden notebook – subjects/genres publishers are short of at the moment. Yes, gold dust indeed. My lips are sealed. Book SCBWI events to find out about these tips!

Somewhere in the middle of all that, I had a one to one with an editor from Frances Lincoln and a crit session on a picture book that won’t behave, but now might, thanks to my critiquers insightful comments.

Lots of contacts, lots to follow up on and writing enthusiasm at warp speed 10.

Thank you SCBWI-BI Team.

Writing Humorous Picture Books

I thought this an excellent addition to the notes on my blog about writing picture books. Thank you Rebecca and Laurie for sharing. Love that hat.

Laurie J. Edwards ~ Author, Artist, Dreamer...

Rebecca witch 1Today I have the great pleasure of hosting my friend Rebecca Colby, an awesome picture book writer, whose book, It’s Raining Bats & Frogs, released this month. She’s agreed to give share some secrets for writing funny picture books. And as a special bonus, if you read through the post, you’ll find a clue for her Scavenger Hunt. Be sure to collect all of the clues to be eligible for a prize.

And here’s Rebecca…

Show Them the Funny: Writing Humorous Picture Books

Everywhere I look on editor and agent submission wish lists these days, I read the following: WANTED: Funny, Quirky Picture Books. Why? Because everyone enjoys a laugh—kids and adults alike. Laughing makes people feel good, and as a result, funny sells.

But if you’re not the kind of person who automatically sees the funny side of life, you may find writing humorous picture books…

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Children’s picture book publishers accepting unsolicited manuscripts

Big picture book publishing houses don’t accept unsolicited submissions but many of the smaller independent ones do. If you want to publish without getting an agent, see the list below.

Note – all these publishers have websites and it is a very good idea to look closely at their catalogue and read their books, as they often focus on one area of the market, e.g. board books, novelty books, colouring books, educational, series, younger children, etc… and there is often a very clear house style. Submission guidelines and word count vary a lot, so check out their guidelines or ask for them and tailor each submission accordingly.

Most of these publishers also publish young readers, middle grade, teen and non-fiction

Anderson Press

Maverick Books (currently they are overwhelmed and have closed their doors but will probably be open to submissions again at some point)

Nosy Crow (traditional publishing and digital)

Firefly Books

Templar books

Hinkler Books

Francis Lincoln books

Oxford Uni Press

Walker Books (if you look closely at their submissions page they don’t accept unsolicited manuscripts for any other age group, but they do from picture book illustrators and writers, but don’t expect a reply unless an editor absolutely loves it! The slush pile mountain is legendary!)

Sweet Cherry Publishing (series reads only)

Newish publishers to look out for:

Fourth Wall Publishing

Flying Eye Books

Old Barn Books

Barefoot Books (not sure how open to new writers/illustrators they are but checkout their interactive studio in Oxford!)

Made in Me (digital books)

Ginger books

You can circumvent the ‘no unsolicited manuscripts rule’ with the big publishers by talking to them at writing conferences or any other author/publisher/agent events they might attend. Also look out for competitions, they are often sponsored/judged by an editor from a publishing house that would otherwise be closed to new writers. At the SCBWI conference, I handed a Little Tiger Press editor two stories after she facilitated a picture book writing session and she was kind enough to give me some very good feedback within two weeks! My stories would have been ignored otherwise.

If you get feedback, it is like gold dust, no matter what it says. Thank editors profusely for their time.

Good luck.

Notes from a SCBWI Masterclass with Eric Huang – Picture books for the digital age

I first heard Eric Huang speak at the SCBWI Winchester conference last October. I was inspired by the creativity of the apps, characters and stories Made in Me were developing for Me Books – but what particularly struck a chord, was Eric’s suggestion that authors and illustrators should start thinking about themselves as creators.

In the digital and marketing age, characters and the worlds we create for them, can live beyond the page, in fact they can jump about and talk or even make an appearance as a stuffed toy in Tesco.

Exciting and inspiring?  Yes, I think so. So when I saw a SCBWI masterclass scheduled with Eric, I jumped at the chance to learn more.

Eric Huang

Eric Huang

Made in Me doesn’t think about publishing in the way traditional publishers do.

Most publishers don’t market themselves; they market their books and their authors (and sometimes not even this). Penguin is one of the few publishers that do.

In contrast, games, TV, film and comic book creators (and just about any other consumer facing brand) consider branding very early on in the development process.

They build characters and a world for the characters to live in. They think about the UX (the user experience) and the user interactivity with the brand. This might include: apps, games, stationary, toys, clothing or food. Moshi Monsters is a good example.

Eric pointed out that a lot of entertainment brand profits come from rights, licensing and merchandise, and these big entertainment brands, more often than not, originate from books, e.g. How to Train Your Dragon, Paddington.

So when creating a picture book, think about it’s potential.

These are some of the questions Eric suggests creators ask themselves.

  • Can the characters and world live beyond a single story? If not, how can you make the concept stronger?
  • Do you want your name or the characters/book series to be the brand?
  • How do you want your creation to be treated? Eric suggests writing a brand bible. Creators should always think carefully before signing away creative rights.

Eric pointed out the benefits of writing story apps.

  • It’s a good test market. Concepts can be adjusted until they work.
  • Think big. Start small and brand build.
  • Interactivity doesn’t just mean audio or animation. Handheld devices feature microphones, video and cameras. These can be utilised interactively to enhance the UX and link the digital world with the physical world. The best digital experiences are those that tap into existing behaviours and patterns of play.
  • Creative partnerships (illustrator/writer/animator combos) are welcome to pitch.
  • THERE ARE NO RULES
Pitching a concept to Eric

Pitching a concept to Eric

Eric’s marketing tips.

  • Build a brand website.
  • Achieve search engine optimization.
  • Think when and how people are using digital stories.
  • Concepts that generate an emotion response work best, e.g. on the Moshi Monsters website, children can decorate their own room. Also look at name, a personalised digital book.

For inspiration Eric suggested the following:

Obviously www.madeinme.com where you can visit Stomp! and Trevor the Troll and www.mebooks.co which is the downloadable story app.

Also:

www.caribuapp.com  (Skype for book readers)

www.nosycrow.com/apps (more story apps )

www.teachyourmonstertoread.com (a learning to read interactive game)

Eric is accepting submissions. Email: eric@madeinme.com

Eric Huang is Development Director at Made in Me, an award winning digital publisher in London specialising in children’s entertainment. He looks after IP development and partnerships around creating and launching digital brands

Happy masterclass attendees

Happy masterclass attendees

Look up http://britishisles.scbwi.org to see SCBWI events and scheduled masterclasses and http://www.wordsandpics.org for the fabulous on-line magazine Words and Pictures, with, oh, so much, information for children’s authors.

Being creative with words. The picture book writers tool kit.

A picture book writer’s tool kit is awesome, it’s why I write picture books. Playing with these techniques is great fun.

Remember, picture books are meant to be read out loud. So go to town – bold and wacky is good.

But remember the audience. Keep the concept and structure simple. And short!

Rhyme

There is some negativity in the industry about rhyme because of the difficulties of translation. The bigger publishers are more accepting of rhyming stories but the story has to be original and the rhyme perfectly structured and metered.

An appreciation and understanding of the techniques of rhyming poetry is essential if you are going to attempt a whole story in rhyme. If you don’t know what I mean by meter, foot and stressed/unstressed syllables, don’t attempt rhyme. There are so many easier techniques to use that are just as effective.

One option is to write the story predominantly in prose but have a short chorus in rhyme. See, The Ginger Bread Man.

Assonance is a form of rhyme called ‘vowel rhyme.’ It is the repetition of similar vowel sounds in a sentence. E.g. Each Peach Pear Plum (also alliteration here, see below)

Consonance is the repetition of the same consonant two or more times in quick succession. E.g. pitter-patter, Chicken Licken.

Rhythm

Every sentence we speak has syllables that are stressed and unstressed. Rhythm is a pattern of stressed and unstressed syllables within a line of verse or prose. Rhythm and rhyme are natural partners but rhythm works fine on its own. The king of rhythm without rhyme is Michael Rosen. Check out, We are going on a Bear Hunt, and Little Rabbit Foo Foo. The Bear Hunt has a chanting feel to it. An ear for music/poetry really helps here.

We're going on a Bear hunt

Repetition

Often used alongside rhyme and rhythm (as a chorus or refrain) but also appears in narrative texts to give structure and emphasis. Breaking a repetitive pattern as the story climaxes, flags to the reader/listener something exciting is about to happen. Children learn through repetition. They find familiarity reassuring and comforting.

Onomatopoeia

Sound effects! Comics and cartoons use them to great effect and so can picture books. Children love to copy sounds. Many picture books and early readers have characters names that are onomatopoeic, e.g. Plop in The Owl Who was Afraid Of The Dark by Jill Tomlinson

For inspiration, check out this website www.writtensound.com

 Alliteration

This can be a lot of fun to write. But don’t over do it when naming characters or thinking up titles. Big Bad Bunny and Horton Hears a Who? are great examples but beware of Sammy Squirrel, Richard Rabbit, they have been done, done, done! Julia Donaldson wears the alliteration crown (as well as the rhyme, rhythm and repetition one!)

 Anthropomorphism or Personification

Is the attributing of human qualities to an animal or object. Okay there are lots of animals in picture books but not so many objects. A recent hit is, The Day the Crayons Quit by Drew Daywalt. Each crayon writes a letter to Duncan, each has a distinct voice.

thedaythecrayons quit

 Hyperbole

Exaggeration is everywhere in picture books – language, art and character. Roald Dahl’s characters are a perfect example. Also check out Levi Pinfold’s Black Dog. The illustration of the black dog literally spills off the page. He’s big!

theblackdog

I love overblown concepts, for example, The Incredible Book Eating Boy by Oliver Jeffers. You want to read about him don’t you!

To name or not to name your character

Children love to name their pets and toys, even if that name is very simple. Hands up how many of you own a toy called Bear or Rabbit. It is not necessary to write it in the story The child can see perfectly well it’s a Bear from the picture. So whether you go with Boy, Mr. Tiger or something more imaginative such as The Almost Fearless Hamilton Squidlegger by Timothy Basil Ering (a frog), the most important thing is that your character has character and attitude, after all, most three year olds have plenty.

Remember if the name is unique, it’s memorable and ownable – alas this kind of light bulb moment doesn’t happen everyday.

Catchy titles

Titles encapsulating the story’s main character or the theme are great – but if standout is an issue, think about these alternative approaches.

Instructions: How to Wash a Woolley Mammoth by Michelle Robinson, How to Catch a Star by Oliver Jeffers,

An invitation: You Choose by Pippa Goodhart, Guess How Much I love You by Sam McBratney

A question: Where’s Spot? By Eric Hill, Have you seen my dragon? By Steve Light

Orders: Calm Down, Boris! By Sam Lloyd, Oi! Get off our Train by John Burningham, Eat your Peas by Kes Grey

Opposite to expectations: Goldilocks and the three Dinosaurs by Mo Williams

Provocative statements: Giraffes Can’t Dance by Giles Andreae and Dogs Don’t do Ballet by Anna Kemp, This is not my Hat by Jon Klassen

Unusual names and concepts: The Tin Forest by Helen Ward, The Gruffalo by Julia Donaldson

Ridiculous and funny: This book just ate my dog! by Richard Byrne Shh! We have a Plan by Chris Haughton. Do not let the Pigeon Drive the Bus by Mo Williams

thisbookjustatemydog

Tense

There are no rules about tense, go with your instinct. Try them out and see how it changes the story.

Present tense feels immediate, faster paced, the story is happening now. I use this for action-packed or wacky stories.

Past tense is more traditional, we are being told a tale so it feels slower paced and cosy. Perfect for reassuring bedtime stories and traditional narratives.

Future tense. Huh? I hear you say. Actually it’s rather fun. Haven’t you ever said, what if…

Who’s telling the story anyway?

The 3rd person

The narrative voice is the traditional form of story telling. Most picture books are told this way and the narrator tends to stay in the main characters head.

To refresh an old fairytale considering changing the POV character e.g. The True Story of the Three Little Pigs! By A Wolf. By John Scieszka

Omniscient 3rd Person

Head jumping can be confusing, especially for little ones. But if executed carefully with a simple concept, it could work. Knowing what someone else is thinking can be amusing, reassuring or surprising e.g. Big Pumpkin by Erica Silverman

The 1st person

I or we can be told in rhyme, narrative, letter or diary form. There’s lots of scope for originality in the first person and it’s all about voice. The Day the Crayons Quit is composed of seven letters written by the seven crayons. Each Peach Bear Plum, I spy Tom Thumb, is a rhyme in first person. The storyteller invites the listener to spy with them. We’re going on a Bear Hunt is an adventure told by a family.

A young child’s perspective on the world can be charming for adults and an instant hit with children. Hoorah. they think, a book that talks my language! E.g. Good morning toes, Good morning feet, tangled up between my sheets (Hello Toes, Hello Feet by Ann Whitford Paul.)

2nd Person

Using the You POV is a lot less common but why not consider it as an option, it involves the reader directly in the story and children love to participate. Lots of authors use this technique for titles e.g. How to Train Your Dragon, but the main story is written in 3rd person. I can only think of You Choose, as an example of a current second person rhyme. The simple rhyme repeats the invitation ‘you choose’ on every spread. I also remember the “Choose Your Own Adventure,” books from my childhood. In these books, the reader made decisions throughout the book about how the story should progress, so it was written with the reader as the viewpoint character.

91dNESLgqJL._SL1500_

Time and place

Don’t just think about the here and now. There’s a whole world (or universe) out there to set your story in. Real or imagined. Past, present or future. Mix it up a little.

Phew. Have I missed anything out?

Oh, yes! Lots of sticky notes, coloured pens and pencils, a decent eraser, a plain sheet artist’s notebook and a dictaphone or someone else to read it back to you, even a child if you have one handy.

Ann Whitford Paul has written a very helpful book entitled, Writing Picture Books. Her explanation of meter and poetry techniques is particularly useful for the rhythmically challenged.

Next post: Evoking emotion in characters and readers (adult and children)

It’s darn tricky I can tell you.

How to develop a picture book idea – structure and layout

Part 1 – Structure and Layout

Before we get creative let’s talk about structure and layout.

Picture books are fairly formulaic.

Most picture books have 32 pages of which around 24 pages make up the story. In theory up to 30 of the pages could be used for the story.

There are also 24 page picture books with 16 pages for the story. These books have a simple premise and tend to be for 1-3 year-olds.

So as a starting point aim to create a 24-page story or to use the industry lingo, 12 double page spreads.

A standard structure

  • The main character should be introduced on the first spread. (If not, let it be for a very good reason!)
  • The problem should appear on the first or second spread.
  • The character’s problem escalates until…
  • Spread 8 or 9, when there should be a twist or pace change
  • The story climaxes on spread 10
  • Resolution follows on spread 11
  • End note or final twist on spread 12

When you get used to drafting a story to this outline, it does highlight plot holes or over complicated plots.

Picture books are simple. There tends to be one very clear theme. If you have more than one theme and many characters, the story naturally lengthens and the number of pages and words increase.

About word count…

I keep hearing from agents and publishers: “under 500 words.”

Why is this?

– Parents don’t want to read very long bedtime stories (sadly!)

– Books with fewer words are easier and cheaper to export and translate and publishers rely on co-editions to make a profit.

– Most importantly, picture books with minimal words empower children to interpret the story for themselves, use their imaginations and ask questions. Thus the story is more involving than if it were told to a child and the child is more likely to pick the story up and ‘read it’ again because they feel empowered to do so.

Picture book writers need to view themselves as story creator’s not just writers. It’s hard as writers to have the confidence to put zero words on some pages and let the pictures do the telling. But you know the saying… a picture speaks a thousand words… absolutely, it does.

Take a look at the spreads of a picture book best seller where a story climaxes or resolves. Often this is where there are the least words. The story creators know this gives the maximum impact. A spread with no words shouts, ‘STOP AND TAKE THIS IN, SOMETHING BIG IS HAPPENING.’

Dummy Book & Illustrations

The best way to structure a picture book is to create a dummy with 24 blank pages. You will probably have a few key scenes in your head, hopefully the problem and the climax of the story. Using the outline above as a guide, scribble where these should go in the dummy and build the story around them. Don’t worry about the exact words at this point. Worry about getting a good scene-by-scene flow to the story. Either, write illustration notes as you go or sketch how you imagine the illustrations might work with the text. Everyone can draw stick figures. This exercise will reveal where you need to adjust the plot and how the pictures could tell the story. Think about creating anticipation and revelation with a page turn.

Illustration notes should be brief and only include what is not obvious from the text. E.g. setting, basic character information, action and most importantly irony (where the picture tells a different story to the words.)

An illustrator determines the illustration style, creates the setting and develops the idiosyncrasies and detailed actions of the character. The writer is often not consulted and your illustration notes may be ignored. The publishing editor and layout designer have the final say.

It is really important to understand how illustrators think and work. YouTube has some great video clips posted by picture book illustrators. I recommend Lynne Chapman.

Next post:

Developing Picture Book Ideas Part Two

Getting creative – the picture book writer’s tool kit.