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I heart the Society of Children Book Writers & Illustrators! This was my first conference and I'm so glad I was there because my friend Marie won an honorable mention for her YA novel/work in progress. My conference notes are behind the cut.
Society of Children Book Writers & Illustrators
Chapter: Los Angeles
Writer's Day
April 12, 2008
I. Let Me Hear You Heart: Figuring Out Narrative Power
By Patricia Lee Gauch (Editor)
“How do we interpret what we see? We must see not only with our eyes but with our hearts.”
“Writers shouldn't imitate life--writers should learn to interpret it through their stories.”
“A good story is like a summer storm: there should be the promise of a storm with dark clouds, a sudden and alarming stillness, a pouring climax, a thunderous conclusion and the sky should slowly turn blue again at the end.”
“Have your character in the eye of the storm. Storms can also be quiet moments.” (She gave an example from the grasshopper scene in Laura Ingalls Wilder's novel On the Banks of Plum Creek.)
“Take time each day to engage your heart. If you're walking down the street and suddenly notice a sunset--stop and take it all in. Doing so will infuse your heart with the passion you'll need for good storytelling.”
“Don't write sensibly. Write with your heart instead. Writing from your head is the hardest route to take.”
“Show and don't tell doesn't always work. You need to do both when appropriate. Writers often stage scenes like directors.”
“Passion and love for the ideas of a story comes through the pulse of the words, showing the writer's heart.”
“Eighty percent (80%) of writers don't go to the heart of their stories. Go far enough to create a fresh and original piece until every word is your own. An editor wants to feel and see your passion; give in and go far! You must not flinch, no matter how uncomfortable things get in your story.”
“Writers should develop a habit of reading the works of poets. Poetry has precision, something many writers could use in their own stories.”
“Write with an authorial voice to make people listen.”
“Your heart should beat not only for the story but for your character too.”
“Your readers will get to know your character by seeing through his or her slant on the world.”
“Some readers want to know that your character has courage or will have learned values by the end of the story.” (She used the fight scene from the novel The Chocolate War by Robert Cormier as an example.)
“A reader needs to care about and/or love your character. This can only come from showing us how much you care about your story and character.”
“Editors want to see surprises, hairpin turns, and great climaxes. Take us to exciting places emotionally.”
“A story is not a still life. Do not imitate life. Writers must get their narrative wings up.”
“Engage your inner child.”
II. Things You Need to Know about Contracts
By Mary Flower (Lawyer)
A.) Territory: Territory is what countries (UK, Italy, etc.) and what kind of markets (print, electronic, audio, etc.) your book can be published in. The publisher usually does not negotiate on this with a new writer on his or her first book. Publishers like to keep these rights because it will make publishing reprints easier.
B.) Advances: Publishers create P&L (Profit and Loss) reports to estimate how many copies they will sale of your book. This gives the publisher an idea of how many books to print. Publishers do not include the print run numbers in a contract. For new writers, the advance is usually small. Advances are usually paid in 2 or 3 installments (2 for large houses, 3 for smaller publishers). Payment #1 is at signing; Payment #2 is at acceptance (acceptance means your manuscript doesn't need any more edits and can now go to print); Payment #3 is on publication (the day your book is released).
C.) Royalty Rates: If your book is published in hardcover, your royalty will usually be around 12.5% from every book sold. There are also two ways a publisher will pay royalties--on net or on list price. Being paid on list price gives you more money because publishers will often sell books to bookstores at a bulk discount. You want to see if your agent or lawyer can get your contract to state you want royalties off the list price! Royalties are only paid after escalation (escalation means that the publisher has seen a return on its investment and is now making money in excess of what it cost to publish the book). Therefore, royalties are paid out much later after a book is released; depending on the publishing house, royalty checks may come twice a year, four times a year, etc. The royalty rate for paperbacks is usually around 10%. Escalation is rarely seen with paperbacks so it's better if the publisher releases your novel as a hardcover!
D.) Subsidiary Rights: This section of a contract includes the royalty rate (usually 12.5% for hardcovers and 10% for paperbacks), audio rights, electronic rights, and licensing rights to a third party, which covers dramatic/movie rights, commercial rights, and translations of your book into foreign languages. This section usually can't be changed, especially if the contract covers your first book. Publishers usually want to split the sale of subsidiary rights 50/50. Writers can sometimes get the dramatic/movie rights pushed up to 60/40 or even 70/30 (this is because publishers don't usually believe most books will be purchased by production companies and turned into movies). When it comes to dramatic/movie rights, you can usually get in the contract that you want a consultation with the producers. Full approval of dramatic/movie rights (i.e. approving the script, approving all the actors, approving the director, etc.) is very rare for a writer to get. Settle for consultation instead so you can share your vision with the producers!
E.) Copies of the book: Usually, the number of free copies an author will receive is in the contract. The usual amount is between a dozen but first time writers have been known to get the contract pushed up to 30 copies instead. You can also have them put into your contract that you want licensed editions of your book (audio books, e-books, foreign language books).
F.) Copyright: Most of the time, the copyright will be in the author's name. The exception to this rule is when a writer has written something as “work for hire.” (Many classroom textbooks are written by "work for hire" writers. Another example is when a company like Disney wants to retain all the rights to say, Finding Nemo. If they hire someone to write a follow-up paperback to the movie, that author will not own the copyright to that book.) Also, writers don't need to register their work before submitting it to agents/editors. There's something called “common law copyright.” Keep records of where you send your work and make sure your name is on all manuscripts (this is why submitting work in manuscript format takes care of any ownership questions).
G.) Revisions to Text: Revisions to your book can occur in two places. 1. Working with the editor before it goes to print. 2. Revisions made to update a book. (This last example can be made with or without you. You can have it put in your contract that the publisher needs your approval or the approval of an heir if you're dead.)
Ask publishers to add a line in the contract that says: “No changes can be made to the final without my approval.” This keeps your editor from changing something at the last minute before going to print. You will be charged to do edits after the proofs have been made. Editors and agents often charge you back for the work they do, which is then taken out of your payments from the publishers. Agents are paid automatically from your payments from the publisher.
H.) Illustrations: Publishers don't like to put the writer and illustrator in contact with each other. This is because they don't want the writer to influence the illustrator's vision and creative process. If writers make a big fuss about not liking the illustrations, this can damage their reputations/relationships with editors and publishers. Writers usually get to see the final art and that's it. The only exception is with graphic novels. Those tend to be more collaborative.
I.) Deadlines: Your deadline to complete your manuscript and all revisions is written in the contract. If you need more time to complete your book--then ask for your contract to be updated. It's always best to communicate with your editor and be honest.
Sample contracts are included in the welcome packet for any SCBWI member who joined within the last 2 years. If you joined before 2006, write SCBWI and ask for the sample contract. You will only need to pay for shipping.
III. Easy to Read, Not So Easy to Write: Early Readers
By Erica Silverman (Author)
“Good writers break rules.”
“Early readers are not meant to be teaching tools. They're not meant to be skill and drill books. They are not meant to be phonics exercises for children.”
“Early readers are not picture books. Picture books are meant for adults to read to children. This means the sentences can be longer in picture books and the author can also use more unusual words.”
“The early reader is meant to be a bridge. Take away the difficulty of reading so the child can feel confident and have an emotional experience while reading. Use words that are familiar in a child's every day experience.”
“Think of the early reader as a book with training wheels.”
“The font in early readers is large, clear, and simple to read.”
“Characters in early readers should be memorable, vulnerable, quirky, have needs and have problems we can all identify with.”
“Early readers don't need subplots but they do need conflict. The needs of characters should work together and clash against one another at times.”
“Early readers tend to have a twist or punchline at the end.”
IV. Random Routes--Three Authors' Journeys to Publication
Sally Jones Rogan, Cecil Castellucci, and Caroline Hatton
Sally
Brenda Bowen from Atheneum (an imprint of Simon & Schuster) asked for her manuscript at the time. After 2 weeks, she got a reply that said the human characters weren't believable. This puzzled Sally because the characters in her book were all animals! She went over her manuscript and realized that she didn't pay attention to the minor details (she referred to hands rather than paws). She was extremely embarrassed and put the manuscript away for good. One day, she got a call from a friend who was at the SCBWI national summer conference. Her friend wanted her to meet an editor attending the summer conference. Finally, after going to 4 different houses, she got an offer and the rest is history. She recommends: “Don't listen to mom. Don't put your writing away in a drawer like I did. Use an outline even if you think you don't need it. Attend at least one SCBWI event per year.”
Cecil
She was 22 years old when she decided she wanted to write a children's book. At the time, she was in a punk rock band. One night, she got drunk with friends. Other peoples friends were there too and one person in the group happened to be an editor at Dial Children's Books. Many years passed after that drunken night before Cecil realized she still hadn't written that children's book. One day, she wrote a letter to Madeleine L'Engle to tell her how much she loved her books. Cecil also wrote in the letter “One day, I'm going to write a children's book.” Madeleine L'Engle wrote her back a reply that included the following sentence: “What are you waiting for?”
Eight years later, Cecil finished her first novel so she looked up the woman she got drunk with that night. At that point, the woman was working as an editor at Harper. Cecil called her up, reminded her of that drunken night (which the woman actually remembered), and asked if she could send her the manuscript. The editor told her to send it to her assistant, which Cecil did. The assistant loved the manuscript but the editor didn't. A month and a half after sending the manuscript to that editor at Harper, she got a 3-page email with helpful notes and suggestions on how to improve her novel. Cecil did some revisions but she decided to turn her attention to a second novel. Seven years later, after her second book couldn't be sold to a publisher, she started her novel Boy Proof, which an editor read at an SCBWI working writer's retreat. Boy Proof sold! Also, Cecil said she worked with her first agent for 3 years before finally getting the courage to drop him. She recommends that writers find agents who are enthusiastic and passionate about their clients work. Also, Cecil recommends that all authors have web sites and/or MySpace.
Caroline
She works part time in the science field. She needed an outlet for writing. Her science research inspired her novel The Night Olympic Team. She says writers should “light the fire within.”
V. Abracadabra!
By Gail Carson Levine
“In fantasy, your reader is willing to go anywhere with you.”
“When you write fantasy, write lists of possibilities. For example is there going to be a jewel in the mysterious suitcase? A letter? Possibly someones clothes?”
“If you google the rules for writing fantasy, some interesting things will come up but most of it is too formulaic. Take this advice with a grain of salt.”
“I screw up point of view all the time!”
“Rewriting is always worth it.”
“Wishes are lovely ways into fantasy. What do you wish for? Money, world peace, a way out, etc.”
“Wishes get the reader into the story right away. This is true for magical objects. There should be a downside to a magical object. For example, if a wand can do good, it must do harm as well. In fantasy, there should be some sort of transformation in a character and a single super power. The setting is also important in fantasy.”
“The wand/super power/magic in your fantasy can't solve the problem. The character must do this.”
“In general, the longer you delay the elements of fantasy, the harder it is to get your reader to believe it when it finally appears.”
“Beginnings in fantasy are often the hardest to write. The beginning of a fantasy story should do two things: introduce the action and introduce some form of the magic right away.”
It took Gail Carson Levine 9 years to get her first novel Ella Enchanted published.
“Fantasy can take place in any geographical setting at any historical time. Use whatever location and time period you want in your novel!”
“Critique groups are helpful for fantasy writers because they'll help you find out what people don't understand in your story.”
“Make fantasy real by using details like smell, sight, and sound. Don't use invisible elements in fantasy. You're cheating your readers this way.”
“Try not to use names with more than 3 syllables in your fantasy novel.”
“You can tackle tough subjects in fantasy novels.”
“Young adult fantasy can have a tragic or mixed ending. YA fantasy can also be darker.”
“Length isn't an issue in books these days. Make your fantasy as long as you need it to be.”
“Research is key for fantasy writers.”
“Fantasy goes to the heart of things, gets into deep territory. Kids must feel empowered in fantasy. Kids should act in fantasy books in ways they can't in other books or in real life.”
“Never discard criticism from your critique members. A writer is in more danger of disregarding good critique so don't be worried about losing your voice if you take someone else's advice in critique.”
Gail Carson Levine admitted that she writes in short spurts multiple times a day. She likes to eat while she writes.
Congrats, Marie! Can't wait to see that novel of hers on bookstore shelves and in reader's hands!
Society of Children Book Writers & Illustrators
Chapter: Los Angeles
Writer's Day
April 12, 2008
I. Let Me Hear You Heart: Figuring Out Narrative Power
By Patricia Lee Gauch (Editor)
“How do we interpret what we see? We must see not only with our eyes but with our hearts.”
“Writers shouldn't imitate life--writers should learn to interpret it through their stories.”
“A good story is like a summer storm: there should be the promise of a storm with dark clouds, a sudden and alarming stillness, a pouring climax, a thunderous conclusion and the sky should slowly turn blue again at the end.”
“Have your character in the eye of the storm. Storms can also be quiet moments.” (She gave an example from the grasshopper scene in Laura Ingalls Wilder's novel On the Banks of Plum Creek.)
“Take time each day to engage your heart. If you're walking down the street and suddenly notice a sunset--stop and take it all in. Doing so will infuse your heart with the passion you'll need for good storytelling.”
“Don't write sensibly. Write with your heart instead. Writing from your head is the hardest route to take.”
“Show and don't tell doesn't always work. You need to do both when appropriate. Writers often stage scenes like directors.”
“Passion and love for the ideas of a story comes through the pulse of the words, showing the writer's heart.”
“Eighty percent (80%) of writers don't go to the heart of their stories. Go far enough to create a fresh and original piece until every word is your own. An editor wants to feel and see your passion; give in and go far! You must not flinch, no matter how uncomfortable things get in your story.”
“Writers should develop a habit of reading the works of poets. Poetry has precision, something many writers could use in their own stories.”
“Write with an authorial voice to make people listen.”
“Your heart should beat not only for the story but for your character too.”
“Your readers will get to know your character by seeing through his or her slant on the world.”
“Some readers want to know that your character has courage or will have learned values by the end of the story.” (She used the fight scene from the novel The Chocolate War by Robert Cormier as an example.)
“A reader needs to care about and/or love your character. This can only come from showing us how much you care about your story and character.”
“Editors want to see surprises, hairpin turns, and great climaxes. Take us to exciting places emotionally.”
“A story is not a still life. Do not imitate life. Writers must get their narrative wings up.”
“Engage your inner child.”
II. Things You Need to Know about Contracts
By Mary Flower (Lawyer)
A.) Territory: Territory is what countries (UK, Italy, etc.) and what kind of markets (print, electronic, audio, etc.) your book can be published in. The publisher usually does not negotiate on this with a new writer on his or her first book. Publishers like to keep these rights because it will make publishing reprints easier.
B.) Advances: Publishers create P&L (Profit and Loss) reports to estimate how many copies they will sale of your book. This gives the publisher an idea of how many books to print. Publishers do not include the print run numbers in a contract. For new writers, the advance is usually small. Advances are usually paid in 2 or 3 installments (2 for large houses, 3 for smaller publishers). Payment #1 is at signing; Payment #2 is at acceptance (acceptance means your manuscript doesn't need any more edits and can now go to print); Payment #3 is on publication (the day your book is released).
C.) Royalty Rates: If your book is published in hardcover, your royalty will usually be around 12.5% from every book sold. There are also two ways a publisher will pay royalties--on net or on list price. Being paid on list price gives you more money because publishers will often sell books to bookstores at a bulk discount. You want to see if your agent or lawyer can get your contract to state you want royalties off the list price! Royalties are only paid after escalation (escalation means that the publisher has seen a return on its investment and is now making money in excess of what it cost to publish the book). Therefore, royalties are paid out much later after a book is released; depending on the publishing house, royalty checks may come twice a year, four times a year, etc. The royalty rate for paperbacks is usually around 10%. Escalation is rarely seen with paperbacks so it's better if the publisher releases your novel as a hardcover!
D.) Subsidiary Rights: This section of a contract includes the royalty rate (usually 12.5% for hardcovers and 10% for paperbacks), audio rights, electronic rights, and licensing rights to a third party, which covers dramatic/movie rights, commercial rights, and translations of your book into foreign languages. This section usually can't be changed, especially if the contract covers your first book. Publishers usually want to split the sale of subsidiary rights 50/50. Writers can sometimes get the dramatic/movie rights pushed up to 60/40 or even 70/30 (this is because publishers don't usually believe most books will be purchased by production companies and turned into movies). When it comes to dramatic/movie rights, you can usually get in the contract that you want a consultation with the producers. Full approval of dramatic/movie rights (i.e. approving the script, approving all the actors, approving the director, etc.) is very rare for a writer to get. Settle for consultation instead so you can share your vision with the producers!
E.) Copies of the book: Usually, the number of free copies an author will receive is in the contract. The usual amount is between a dozen but first time writers have been known to get the contract pushed up to 30 copies instead. You can also have them put into your contract that you want licensed editions of your book (audio books, e-books, foreign language books).
F.) Copyright: Most of the time, the copyright will be in the author's name. The exception to this rule is when a writer has written something as “work for hire.” (Many classroom textbooks are written by "work for hire" writers. Another example is when a company like Disney wants to retain all the rights to say, Finding Nemo. If they hire someone to write a follow-up paperback to the movie, that author will not own the copyright to that book.) Also, writers don't need to register their work before submitting it to agents/editors. There's something called “common law copyright.” Keep records of where you send your work and make sure your name is on all manuscripts (this is why submitting work in manuscript format takes care of any ownership questions).
G.) Revisions to Text: Revisions to your book can occur in two places. 1. Working with the editor before it goes to print. 2. Revisions made to update a book. (This last example can be made with or without you. You can have it put in your contract that the publisher needs your approval or the approval of an heir if you're dead.)
Ask publishers to add a line in the contract that says: “No changes can be made to the final without my approval.” This keeps your editor from changing something at the last minute before going to print. You will be charged to do edits after the proofs have been made. Editors and agents often charge you back for the work they do, which is then taken out of your payments from the publishers. Agents are paid automatically from your payments from the publisher.
H.) Illustrations: Publishers don't like to put the writer and illustrator in contact with each other. This is because they don't want the writer to influence the illustrator's vision and creative process. If writers make a big fuss about not liking the illustrations, this can damage their reputations/relationships with editors and publishers. Writers usually get to see the final art and that's it. The only exception is with graphic novels. Those tend to be more collaborative.
I.) Deadlines: Your deadline to complete your manuscript and all revisions is written in the contract. If you need more time to complete your book--then ask for your contract to be updated. It's always best to communicate with your editor and be honest.
Sample contracts are included in the welcome packet for any SCBWI member who joined within the last 2 years. If you joined before 2006, write SCBWI and ask for the sample contract. You will only need to pay for shipping.
III. Easy to Read, Not So Easy to Write: Early Readers
By Erica Silverman (Author)
“Good writers break rules.”
“Early readers are not meant to be teaching tools. They're not meant to be skill and drill books. They are not meant to be phonics exercises for children.”
“Early readers are not picture books. Picture books are meant for adults to read to children. This means the sentences can be longer in picture books and the author can also use more unusual words.”
“The early reader is meant to be a bridge. Take away the difficulty of reading so the child can feel confident and have an emotional experience while reading. Use words that are familiar in a child's every day experience.”
“Think of the early reader as a book with training wheels.”
“The font in early readers is large, clear, and simple to read.”
“Characters in early readers should be memorable, vulnerable, quirky, have needs and have problems we can all identify with.”
“Early readers don't need subplots but they do need conflict. The needs of characters should work together and clash against one another at times.”
“Early readers tend to have a twist or punchline at the end.”
IV. Random Routes--Three Authors' Journeys to Publication
Sally Jones Rogan, Cecil Castellucci, and Caroline Hatton
Sally
Brenda Bowen from Atheneum (an imprint of Simon & Schuster) asked for her manuscript at the time. After 2 weeks, she got a reply that said the human characters weren't believable. This puzzled Sally because the characters in her book were all animals! She went over her manuscript and realized that she didn't pay attention to the minor details (she referred to hands rather than paws). She was extremely embarrassed and put the manuscript away for good. One day, she got a call from a friend who was at the SCBWI national summer conference. Her friend wanted her to meet an editor attending the summer conference. Finally, after going to 4 different houses, she got an offer and the rest is history. She recommends: “Don't listen to mom. Don't put your writing away in a drawer like I did. Use an outline even if you think you don't need it. Attend at least one SCBWI event per year.”
Cecil
She was 22 years old when she decided she wanted to write a children's book. At the time, she was in a punk rock band. One night, she got drunk with friends. Other peoples friends were there too and one person in the group happened to be an editor at Dial Children's Books. Many years passed after that drunken night before Cecil realized she still hadn't written that children's book. One day, she wrote a letter to Madeleine L'Engle to tell her how much she loved her books. Cecil also wrote in the letter “One day, I'm going to write a children's book.” Madeleine L'Engle wrote her back a reply that included the following sentence: “What are you waiting for?”
Eight years later, Cecil finished her first novel so she looked up the woman she got drunk with that night. At that point, the woman was working as an editor at Harper. Cecil called her up, reminded her of that drunken night (which the woman actually remembered), and asked if she could send her the manuscript. The editor told her to send it to her assistant, which Cecil did. The assistant loved the manuscript but the editor didn't. A month and a half after sending the manuscript to that editor at Harper, she got a 3-page email with helpful notes and suggestions on how to improve her novel. Cecil did some revisions but she decided to turn her attention to a second novel. Seven years later, after her second book couldn't be sold to a publisher, she started her novel Boy Proof, which an editor read at an SCBWI working writer's retreat. Boy Proof sold! Also, Cecil said she worked with her first agent for 3 years before finally getting the courage to drop him. She recommends that writers find agents who are enthusiastic and passionate about their clients work. Also, Cecil recommends that all authors have web sites and/or MySpace.
Caroline
She works part time in the science field. She needed an outlet for writing. Her science research inspired her novel The Night Olympic Team. She says writers should “light the fire within.”
V. Abracadabra!
By Gail Carson Levine
“In fantasy, your reader is willing to go anywhere with you.”
“When you write fantasy, write lists of possibilities. For example is there going to be a jewel in the mysterious suitcase? A letter? Possibly someones clothes?”
“If you google the rules for writing fantasy, some interesting things will come up but most of it is too formulaic. Take this advice with a grain of salt.”
“I screw up point of view all the time!”
“Rewriting is always worth it.”
“Wishes are lovely ways into fantasy. What do you wish for? Money, world peace, a way out, etc.”
“Wishes get the reader into the story right away. This is true for magical objects. There should be a downside to a magical object. For example, if a wand can do good, it must do harm as well. In fantasy, there should be some sort of transformation in a character and a single super power. The setting is also important in fantasy.”
“The wand/super power/magic in your fantasy can't solve the problem. The character must do this.”
“In general, the longer you delay the elements of fantasy, the harder it is to get your reader to believe it when it finally appears.”
“Beginnings in fantasy are often the hardest to write. The beginning of a fantasy story should do two things: introduce the action and introduce some form of the magic right away.”
It took Gail Carson Levine 9 years to get her first novel Ella Enchanted published.
“Fantasy can take place in any geographical setting at any historical time. Use whatever location and time period you want in your novel!”
“Critique groups are helpful for fantasy writers because they'll help you find out what people don't understand in your story.”
“Make fantasy real by using details like smell, sight, and sound. Don't use invisible elements in fantasy. You're cheating your readers this way.”
“Try not to use names with more than 3 syllables in your fantasy novel.”
“You can tackle tough subjects in fantasy novels.”
“Young adult fantasy can have a tragic or mixed ending. YA fantasy can also be darker.”
“Length isn't an issue in books these days. Make your fantasy as long as you need it to be.”
“Research is key for fantasy writers.”
“Fantasy goes to the heart of things, gets into deep territory. Kids must feel empowered in fantasy. Kids should act in fantasy books in ways they can't in other books or in real life.”
“Never discard criticism from your critique members. A writer is in more danger of disregarding good critique so don't be worried about losing your voice if you take someone else's advice in critique.”
Gail Carson Levine admitted that she writes in short spurts multiple times a day. She likes to eat while she writes.
Congrats, Marie! Can't wait to see that novel of hers on bookstore shelves and in reader's hands!
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