She has written spooky stories for Avon's multi-author Spinetinglers series as well as middle grade fantasy, second and third grade level chapter books and picture & tape read along books. She is now working on American Diaries #8 (Evie Peach), Survival! #4, (Titanic), a nonfiction book proposal with Mary Barnes, a chapter book sequence of four titles, and has proposals being considered at several other publishers.
The qualities of a good, publishable children's book are the same as for any other kind of book. For fiction: The book must be well written, in a style that will be accessible and interesting for its intended audience. The characters and plot have to make readers want to turn a page, then another page, then another, all the way to the end. The story must seem real (even if it's a fantasy), exciting, involving. For nonfiction: The book must be well written, well organized. It must be accessible for the intended reader, interesting, fun and engaging, pulling the reader from one section to the next.
I wish there were a "trade secret" kind of answer to this question, but if there is, I don't know it. To sell a book, you have to write a very good book. Then you have to mail it out to enough editors to find one who understands and likes it (tastes differ, of course), thinks it can make money for the company, and who can fit it into an already tight schedule. There is a luck factor. But you have to get good enough to enter the lottery.
2) If you have a story in mind, how do you decide which age group you should customize it to?
When a story idea comes, the appropriate age of the protagonist often settles the question of what age level to write for. Every rule has been broken successfully, but generally speaking, kids like to read about characters their own age or just a little older. So if a story idea seems best with a twelve year old in the protagonist's role, I would likely aim it at "middle grade" knowing that fourth, fifth and sixth graders would read and enjoy it. If a protagonist's adventure is more appropriate for a second grader or third grader, I'd write at that level. A smaller child's experience might best be expressed through a picture book. A story starring a fourteen year old or older will be slotted as YA, probably, though with the market shifting they way it is, some of these are called middle grade now. Or "cross-over" as with Norma Mazer's newest. The grittiness and toughness of the story will often determine which way these are pushed. YA books often deal with life's tougher aspects. This is no hard-and-fast rule and there is gray area between the obvious divisions, but if you look through the children's section in your local bookstore, you will see it's almost universal. The age and maturity of the protagonist determines the audience age. Poring through publishers' catalogues will help you see the differences in cover (and interior, or lack of interior) art, prose tone, content and styles for different age groups. I always let the protagonists' age direct the reading level of the prose, and the maturity level of the plot. People tell me I tend to write at the high end of whatever age group I choose. If that's true it's probably the result of an effort to never write down to kids.
3) Are historical diaries a hot topic in publishing for the 8-10 year olds? Does it help to sell a manuscript if you plan a series from the beginning, instead of one stand alone book? Is there any historical period which is UNDERREPRESENTED in the current offerings?
3-A. The short answer is, no, probably not now. The long answer is this: Trying to define hot topics in publishing is tricky. The book world moves like molasass. What you see in the bookstores has finally made it to the lip of the jar and spilled out where you can see it. The pouring process probably took almost two years. The genre's and topic trends you see in brand new books are often old news in New York. Historic diaries have always been of interest to kids. The current trend in historicals of all stripes was sparked by the amazing success of the Pleasant Company's books and dolls. Publishers nearly always try to learn from each other's risks. They are mostly corporate structures, after all. People in the biz tell me that the "what's next" marekting/acquiring focus surged after GOOSEBUMPS made such a fiscal splash. At one point Scholastic was selling millions of Stine books a month. Now their numbers are falling and many who jumped into the horror genre is jumping out. I have been told by industry folks that various new trends seem to be on the horizon including SF, insects, mysteries, urban settings, girl/adventure, romantic fantasy, quest fantasy etc.,etc. NOBODY KNOWS!!!
Publishers seem to see others's efforts as test marketing, then try to find an angle, an age group, a market to target with books similar enough, yet different enough... OR, they try to be the first with a new area of interest, find some unusual and intriguing new manuscript, perhaps from a new author--OR simply buy manuscripts that amaze and delight them and publish quality work when and as they can. At every house I have ever dealt with, there is a mixture of all three approaches.
For someone trying to write and sell books, this can be dizzying. It is to me. I often ask editors what they are looking for, where the holes are in the schedule, if they are light in say, boy books or would they consider a series now. Often, they give me helpful information. Sometimes, they are annoyed at my obvious commercial orientation and tell me to "follow my heart." I do, I do. But I want to write--and sell--many, many good books.
3-B. Both my series were conceived, pitched and sold as a series ideas. Series are "hot" just now. They are harder to sell--more risk money for the publisher in committing to more than one book. Your idea will be scrutinized even more closely, as will your writing skill. You will probably need to complete at least one book, and have a group of strong follow-up synopses to prove that the concept will ignite story after story. I don't think it makes an easier sell, no. But if you have an exciting series idea, try to market it as such. The market seems to be series friendly right now.
3-C. American History has certainly been explored lately, from the pilgrims onward. I am still finding nooks and crannies to write about and you certainly could too. Global history is fascinating, but middle graders don't have school exposure to ground them in the settings--so you must do your job superbly, both research and writing.
4) How did you become an author?
It was my ambition in the third grade. I seriously pursued it when my kids were five and three, writing from ten at night until two am, napping with them every afternoon to make up the sleep. (I got up with them at six am) It took five years to sell a book. I did magazine work, ad copy, anything anyone would hire me to do before that. My first book came out when I was forty-one--I'm forty six now. In the last four years, working at it full-and-a-half time, I have written and sold twenty-one children's novels--and twelve mass-market picture books--not all under my own name. I have written three books I haven't managed to sell, yet. One I think is flawed--the others I still have hope for. People become authors through hard work and persistence. That's the good news. It means it's possible, achievable, if you will only do the work. And most of the work is interesting and fun!
5) I often worry about the words I use in my writing. I wonder if children are going to understand words like betroth or din. I've been told before to stay away from such, but the teacher in me says it would be upbuilding to a child's vocabulary, and even excite a child to find out new words. What has been your experience with this?
I use many "hard" words writing for kids. Just make sure the context defines the word so that the story doesn't stop dead for those who don't want to run for the dictionary.
6) Was it difficult stepping into an existing series like SPINETINGLERS and writing books that fit a preconceived format? Any tips for matching your style to a series that's already underway?
Spinetinglers gave its writers so much leeway that it wasn't hard to adapt at all. Other series, with established characters and settings are harder, until you have the venue down pat. Then they are easier. This kind of series wriitng is a good "day-job" that hones your skills and pays the bills. Imitating a style is easy, really. I have written in the "voices" of many other people in my "day job" writing. You simply immerse yourself, like an actor, in the persona, the tone. It can be fun and will teach you flexibility. Just don't ever write anything badly, even if no one cares but you, and don't get stuck there. Chase your own dreams.
7) When writing historical fiction, how extensively to you research (as much as nonfiction?) and do you have liberties to make up dialogue, events, etc.?
I research my books within an inch of my life. If I say there was a circus in town on March third, 1857 St. Louis, there was and I can name the juggler. I make everything as accurate as I possibly can, and what I can't prove and I can certainly prove the possibility of. I make up my protagonists, and but make them and their stories as realistic as I am able. Research takes up MOST my time. I read many books, talk to many people, use the internet, contact museums and universities, use all the primary source I can find and double check everything. I'm sure I make mistakes, but my effort not to is enormous. Kids will believe what a novel tells them about history: I try hard to make it true, in fact and in spirit, within the limitations of my cast of characters.
8) How would you judge the state of the business today for new writers? While it seems like a lot of mediocre books get published, I always read about editors saying that the craft of writing is more important than being able to market your work. Are editors stricter with new writers than established authors?
I think it's hardest to sell your first book. But it does not ever get easy. Marketing your work is extremely important, of course. That begins with writing quality. And writing quality is first demonstrated in query letters, then, with longer works, a synopsis and sample chapters--then in the whole work. Many writers resent having to learn how to write these sales-tools. I think its smarter to spend the energy getting good at it. It does not stop there. I spend huge amounts of time in bookstores, at schools, and on the phone talking about my books, my intent, how the books can be used in schools, in reading groups, etc. An oyster might as well resent the tide. It's the world writers live in, it feeds us. Even if you can write wonderfully, you will still have to market your work, or get someone else to do it. You still have to promote, or hire someone else to do so. The first three times I spoke in front of groups I threw up first. If I can learn this end of things, anyone can.
9) Are there any aspects of writing that are unique to chapter books for second and third grade that would be different from writing a middle grade novel?
Chapter books for second and third graders have a very distinct feel and tone. The language is simpler, sentences shorter, pages have much more white space. If you want to write them, read them first for pleasure, then analytically. Count the words on a page. Multiply it out and see how many pages it would be typewritten. There will be a range that most books fall between. Look at the plots, the number of characters, the settings, the way dialogue is handled. How long are the chapters? How many incidents are in each? Whose viewpoint is the story told from? How much narration do you see? Read several authors this way. Read the low end of this varied audience's reading skill, then a little higher. (I recommend going to a good specialty children's bookstore for this. In a library you are often looking at books that are twenty years old. Some are classics, others are just still on the shelf and you can't tell which really had the lasting power...) Then take everything you learned, run it through your own unique system and write a story that kids that age would love, in a way they will enjoy. Borrow children of the appropriate age group, or become a classroom volunteer or get whatever other exposure to your potential readers you can grab. Watch them. Get their moves down. What makes them laugh? sigh? feel good? feel bad? Third grade is very different than in a fourth grade classroom. Second grade is even more distinct. Lower level chapter books are fun to write. I love them and am trying to sell more right now.
10) How much of yourself do you put in your books? Do you base characters or plots on your own life?
I find I am in every book, one way or another. I rode horses growing up, lived in a rural area. I was back-to-the-lander hippie...and recently a woman said to me, "I can just FEEL the heat of that colonial hearth in SARAH ANNE HARTFORD. Anyone would swear you've cooked over an open fire for years."
Yeah. Well. I did. For years I lived without electricity. I used candles, lanterns, made bread, goat cheese, heated bath water on a wood stove...and felt the rhythms of a life without much technology. I wondered if all those experiences would ever seem relevent later in my life. Turns out they make me a good writer of historical fiction. And I am getting better...
Every bit of who you are will appear in your work. Every experience you've had will show up directly or indirectly, clearly or in disguise, if you write long enough. It's organic and unavoidable and it's part of the fun. Sometimes I don't understand where something came from until years later. It can make me laugh aloud when I look at a character and see some trade-mark aspect of my first boyfriend, or one of my kids, when I thought I had "created" him.
Questions and answers from Author/Poet/Columnist Charles Ghigna (aka "Father Goose").
Questions and answers from legendary author Lois Lowry.
Questions and answers from the Nonfiction writing team Mary Bowman-Kruhm
& Claudine G.
Wirths .
Questions and answers from Author Dian Curtis Regan.
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