Where Unagented Writers Can Directly Submit Picture Books
I’ve authored 16 books without an agent. I’m now actively pursuing one, given the tighter and more competitive climate, but am still pitching solo. It’s not impossible, and I know many other kidlit authors/illustrators that are staying commando. Wait, I mean rogue. Agentless? You know what I mean.
But as I get ready to submit my next round of picture books, I see more and more publishers that USED to be open to submissions are either closed and now agent only, are at capacity and temporarily closed until further notice, or sadly have shuttered down completely. Some have been bought out by larger houses so their policies have changed, some are simply catching up from 2020 and are temporarily overwhelmed.
What that means to me is that aaalll those great lists of picture book publishers I’ve bookmarked and found sooo helpful are now outdated, and a bit frustrating since I have to re-research every link.
Since I’ve been living this research for the past six months, I’m sharing with you all the current info on open publishing houses that I have garnered, so you’re not pulling out as much hair as I have (and perhaps spewing fewer bad words). I’ve spent hours/days/weeks on this list, and I hope you find it as helpful a resource as I do. I refer to it constantly. You’ll notice many are small presses–but by no means lesser. (It makes sense, right? Larger houses are more well-known so more people submit to them, almost forcing them to go agent only. There are only so many hours in a day to open pitch emails.)
I found over 60–strike that–now over 75–open presses, listed below. I tried to include a little detail on each, to avoid you getting excited and clicking the link only to find out they don’t want what you’re having. And okay, sure, maybe the detail is there to remind ME all that stuff so I’m not re-clicking every two days…
I’ve only included mainstream traditional houses, mainly based in the U.S., with the thought they offer the greatest chance of acceptance. Niche such as those accept only stories about folklore or agriculture, specific religion or culture, for example, I haven’t included, since you’ll want/need to do your own targeted research on those. (If it was specific-ish yet still wider sweeping, like “science and math” or “the general Southern region” I kept it, since there are plenty of ways that can go.) Any press that felt too small, such as 1-2 book titles a year or only have a handful of books total, or felt too focused on one author/illo, or hasn’t posted a new release in the past few years, or hasn’t recently updated their website, I didn’t include, as I figured odds were suuuper low there. I purposely did not include any hybrid publishers as that’s a whole other kettle o’ fish.
I decided to add a section at the bottom for houses that are open have a specific open window each year; keep your eye on social media for those kinds of opps and by all means let me know if you hear of any.
Please know it is not 100% comprehensive, it’s just my personal research. It’s not a slight to any house not listed; it’s simply ROI/math as I know how hard it is to put yourself out there and I want to give us the best odds. But on the plus side, I found and included some presses that are BRAND NEW, and several that are not found in anyone else’s list.
As a panelist on the WriteOnCon session “We Were All New Writers Once: Growth on the Journey,” I spent some time reflecting, of course, on my own writing journey.
Here’s the thing: I honestly never thought I’d be a writer.
My daughter disagrees. She says from what I’ve told her, at every turn I was a writer…from the boxes and boxes of saved handwritten letters (each one means I wrote to them first), to papers I claimed to have loved writing in school (including my dissertation), to comedy & theatre sketches, to the way I somehow always ended up writing at work whether it was news releases or ghostwritten technical papers or business plans. She even mentioned the mock Christmas newsletters I used to send out, like when I claimed she toured Europe in sold-out piano concertos (she was 7) and one son had unlocked the secret to the Dead Sea Scrolls (he was 5) and the other had been banned in the Midwest for his expert ninja skills (he was 3). [I guess I was always creative if nothing else.] Yes, I had stints as on-air and newspaper reporters too, but they came as a result of a corporate job where, to make a long story short, I ended up co-writing a syndicated newspaper column on a fluke.
Or was it a fluke?
Did I unknowingly will it to happen? Have I always been a writer?
My daughter’s accusation, if you will, really caught me off guard. But OK. Maybe I really have always been a writer even if I didn’t realize it until this week. Maybe it’s that I never thought I’d be an author. But honestly, aren’t they really the same thing?
I realized I have always been drawn to — what…places? work?… — where writing plays a large role. What a great creative outlet! And you’re in control the whole time. Don’t like what you’ve written? Go back and fix it. Get feedback that what you’ve written isn’t right, or good? Well it’s not like math–right or wrong. It’s subjective. So you don’t have to like what I’ve written. I do! It’s the perfect loophole, lol.
Surely that “you can’t tell me it’s wrong” caveat gets tricky when it comes to being published. The other person HAS to like what you’re writing in order to publish it, unless you are self publishing. Even then, there are grammar rules, punctuation, etc. People have to like your writing in order to buy it. It’s not exactly a free-for-all. But as a writer, I am in control of everything! I write when I want. What I want. I certainly take what others say into consideration. I honor proper English and don’t go rogue on spelling or manuscript formatting or query protocol. I have several critique partners that I couldn’t live without. I definitely do my research, attend conferences, and listen to experts. I learn and adapt. I feel I improve a little every day. I don’t do it for anyone else, any more than someone who practices free shots in their driveway over and over does it for any one other than themselves. (Are they trying to impress the neighbors? Get an NBA contract? No. They just want to get better at free throws. They earn a sense of accomplishment, of work well done.)
My daughter had a point. Maybe my journey started before I even knew I was on board, and all that time I spent writing earlier in life helped land me where I am now.
And my journey isn’t over. Far from it.
Maybe your journey started years ago too. Maybe it’s starting right now. No matter when it began, your writing journey can go wherever you want it to! You are in control, my friend.
Your writing is yours. Only you can write what you write, from your perspective, with your voice, with your knowledge base. And so too is your writing journey. Only you can decide where and how to map it out. Only you decide how often you write, how often you edit, how seriously you take professional feedback and direction. It might be up to another person to say yes or no as far as a contract, but its up to you to get your work to the point where they simply can’t say no! Write once in a while? Great. Just don’t expect grand success if you’re not hammering away regularly. Even the best natural writers won’t succeed unless they–wait for it–SIT DOWN AND WRITE.
It takes time. Probably more time that you’re gonna want it to take. Other people will succeed before you. But that’s their journey, not yours. Keep at it. You might not have all the time in the world right now. No one does. It might be really hard to see how to get from point A to point B if you can’t even make it through the day. We’ve all been there! If you can only afford a few hours a week for now, that’s okay. Relish those few hours a week! Work smarter so those 20 minute a day can be even more productive than an open day where “let me just finish this last email” leads to three hours of wasted time. It’s your time, respect it. It doesn’t have to be strictly in front of your computer. Block off time on the calendar and temporarily cut off the internet. Eat lunch alone outside under a tree and speak your notes into your phone. Brainstorm while folding laundry. Find a pen-pal to swap ideas and manuscripts with (note: be upfront with what you are looking for: do you want ongoing positive reinforcement or true honest feedback?)(not that they are mutually exclusive!). Try to do one thing every day to move your path forward, even if it’s one tiny step…but don’t beat yourself up if you miss a day. Or three.
Your journey can only move forward if you’re in motion!
Mainly: take yourself seriously. Allow yourself that daily distraction-free time, even if nothing immediately usable comes of it. Nothing creative is wasted anyway. You’ll reuse it in some form, either by learning from it (finding out it’s not a direction you want the story to go, for example, is great progress!) or from the positivity you just allowed yourself to embrace.
Don’t forget the “journey” part of the writing journey means it’s a process, not a one-time event. The journey might be spotty and frustrating at times, but it will also be rewarding and wonderful. Stick with it, even if it’s just for fun. Not everything we write has to have the ultimate goal of being published. Some of our best writings never have to be read by anyone but ourselves. We can be proud of our work no matter where it sits. The important thing is that we’re writing–present tense.
Writers tend to doubt themselves, amiright? “I’m not a real writer if I’m not published yet” or “Sure, I’m published, but compared to so-and-so I wouldn’t really consider myself a writer.” Knock it off. If you write, you’re a writer.
In Feb (2020) I held a “You’re Still a Writer If…” blog event at WriteOnCon. In honor of that event, I’m giving a quick preview list of the opposite…ways you can tell if you are NOT a writer. Hopefully you do not check any of these boxes, my friend.
You’re NOT a writer if…
You’ve posted a FANTASTIC blog/tweet/chapter and are waiting to go viral (or be discovered)
Yeah, sorry. No one is going to just happen upon you, discover your brilliance, and offer you a million-dollar book deal. That’s not how it works. Publishing isn’t a passive sport. You need to get off your duff and hit the virtual pavement. You need to find THEM. You need to seek out the best editor or publisher or agent for your work. Chronicle Books, for example, gets over 1,000 kidlit submissions A MONTH. You think those hard-working editors have time to proactively scour the internet looking for a diamond in the rough? If only. You are the captain of your ship, the coach of your team, the driver of your bus, the director of your movie, the beater of your drum. You can’t sit there and wait.
Wanna call yourself a writer? Then don’t just sit there, man. Go out and get ‘em.
Let’s say you now submit your story, but you’re not a writer if…
You cranked out a story in record time
I always say writing a picture book is easy. Writing a good one is hard. There are formulas and formats and industry standards and protocols…things you can only learn by putting in your time.
Can you wake up one morning, never having run a day in your life, and win the Boston Marathon? (Uh, correct answer is No. Nice try, optimists.) Writing is the same way. You have to train: do your homework, hone your craft, edit, rewrite, edit some more. Perfection can be simple, but it’s never easy. Writing crappy stuff doesn’t make you a writer. Not to me at least.
After a talk I gave about how to start writing children’s books, a young man and his lady friend came up to me. Or should I say he swaggered over and she quietly followed. He proudly announced he had just written a children’s book, how he had never written one before, and how excited he was about it. His lady friend was duly impressed. I congratulated him. He told me he knew it was good because it took him “only about three minutes.” I tilted my head, paused, and said something about how that’s a great start and encouraged him to consider spending some more time on it, maybe joining a critique group and getting feedback before going any further. He shook his head and waved his hand at me as he said “No need,” and proceeded to tell me because it came to him “just like that” <with a snap of the fingers>, that meant it was good. Finished.
Now you have to understand, in the hour-long presentation he had just attended, I talked about reading 100 (current) children’s books to get a feel for the industry, how you still need a solid plot, the importance of word choices and word count, to set aside your first few drafts for a few weeks, etc. But this guy here, having perhaps (I’m guessing) read his last children book 13 years ago when he was five, was convinced he wrote The Next Great Picture Book in three minutes.
I wished him well, and he swaggered off into the proverbial sunset.
I am sure he was well intended.
He was not a writer, though. He was a poser.
Let’s say you now take time to edit, but you’re not a writer if…
You listen too hard to other people
Heck, maybe that person is me. I never saw that guy’s manuscript, maybe it IS genius. <insert shrug emoji lol> Writing is subjective, sure. What works for you might not work for me or someone else. Just because I don’t read magical realism, for example, doesn’t mean there isn’t value in it. But you’d be best off getting a critique partner that knows (and likes) the genre rather than someone unfamiliar with it.
There are certain aspects and styles and formats and rules that we all need to follow to some degree, though. I always say follow the rules the first time, and once you’re “in,” break all the rules you want. Even that advice might not work for you. Remember when I said you’re the captain of your ship, the driver of your own bus, etc? You still need to be in charge of your own writing and editing. It’s yours!
OF COURSE other people’s opinion’s matter—that’s how books are sold (how any product is, really—people need to like or want it). You need to listen to the right people. I know, I know, that’s the tricky part—figuring out whose advice can best steer you in the right direction. It’s been said that a critic suggested F. Scott Fitzgerald “get rid of that Gatsby character,” and we’ve all heard how many times the Harry Potter series was rejected because it was too long, not kid friendly, considered not commercial enough, blah blah. Clearly those writers knew well enough to toss those kernels of advice. When you ask for feedback, such as at critique groups or a paid conference critique, please keep an open mind when people give you feedback, especially in the beginning, and consider what other people have to say; I’m not saying to toss all of it. (I do listen to unsolicited advice from well-intended friends that aren’t in the industry, because almost all readers are potential buyers and they might actually be my target audience one day, but just like taking parenting advice from someone that’s never had kids? Please.) The longer you’re in the industry, the better you get at discerning valid feedback (“Wow, I never thought of that, thanks!) vs opinions that are not in line with your vision (“Gee thanks, I’ll try to keep that in mind…”).
But if you listen too much and change TOO MUCH (your style or genre or main character’s motivation or whatever), then you’re not a writer. You’re a robot.
Let’s say you now have a solid story, but you’re not a writer if…
You don’t read
Read, read, and read some more. It’s not about knowing what your competition is up to (they aren’t your competition anyway, this industry honestly isn’t like that, they are your colleagues). It’s staying on top of what’s trending, what to avoid, and knowing who is who. You’re educating yourself on the book industry overall, the one you plan to play a large role in some day. Don’t you want to know what’s going on? You gotta stay educated.
Reading can give you inspiration. It can offer effective roadmaps that you don’t have to (re)create from scratch. It shows you tricks like layering or effective use of metaphors or good old distractions that allow for a spectacular twist ending. I mean, you can read a How to Write a Mystery manual, but there’s no better teaching method than reading an actual mystery that’s well done and watching it unfold before your own cute little eyes. Can you imagine taking your driver’s test having only read the DMV manual, without ever being in a moving vehicle or having seen a car? [Wait, in that case I’m saying you can’t just read a book and then do it but I think you see what I’m saying…] You have to experience it, not just hear someone tell you about it.
You can’t be a writer without being a reader.
“If you want to be a writer, you must do two things above all others: read a lot and write a lot.”
Let’s say you now read lots, but you’re not a writer if…
You don’t write
“Writer” is a verb, not just a title.
Stop making excuses! Taking a break is fine, but breaks have end points. Stop spending so much time finessing your bio about how you’re writer that you’ve left no time to actually write. Stop surfing social media. [Seriously. Give yourself a window, and ONLY check in at those times. I try to check in midmorning, AFTER I’ve done some work, and later in the afternoon. Sometimes at night too, but never late b/c it tends to agitate me and disrupt my sleep (there’s so many distractions!).]
Yas needs ta write to be a writer! If you’ve stopped, start again. If you are just getting started and are frozen in fear, dude get over it. Start writing. Anything. Outlines. Summaries. Notes. Story ideas. Character names. Backstory. A list of potential future titles (I have a friend that has written TWO books after a cool title popped into her head). Anything that will get your pen to paper or fingertips to keyboard. You don’t need an arbitrary daily word count or daily number of minutes/hours toiling at your desk; not every successful writer has them. You don’t need to write every single day; not every successful writer does. You don’t need to feel like writing; not every successful writer is magically inspired at every given moment. But you know what all successful writers have in common?
I can’t believe I have to say this…but you’re not a writer if you don’t write.
End of story.
Are ya with me? What you need to do RIGHT NOW is stop reading this, and get back to work.
I was presenting at a workshop where they held agent pitch appointments, also called Agent Meet & Greets. Several attendees ended up disgruntled. And they shouldn’t have been.
Let me take a step back.
What’s an “agent meet and greet,” you may ask? At this one, attendees paid a certain amount of money for 10 glorious minutes of face time with any or all of the agents that were attending the one-day conference. Writers weren’t allowed to hand over their manuscript directly, but could:
ask about the agent (are you editorial–do you give feedback on manuscripts or do you only submit as is? how many clients are you actively subbing right now? what kinds of stories do you like and tend to submit: humor, sci fi, YA, etc)
ask about the agency (how long has it been around? where is it headquartered and is that where you are located? how many are in the office? [<–technically they should have already looked up that info but I digress] are you autonomous or does the Director play a strong role?)
ask about the industry (do you see many historical fictions these days? are picture books selling well?)
Mostly, though, (smart) writers were there to use the 10 minutes to talk about their manuscript and ask for feedback. If we’re going to call a spade a spade, mostly people were hoping that after discussing the manuscript, the agent would say “sounds interesting, send it my way, I’ll have a look.” They were there to pitch their story to the agent in hopes of getting representation. And that’s fair–nothing wrong with that. Agents know that coming in–in fact, that’s why there are there too! They are looking for new talent/work. Win win.
But as in every potential relationship, not all work out. Even when they were SURE this one would.
Several people lamented to me that their agent meetings “didn’t go well” because the agent didn’t like the manuscript, or didn’t ask for them to send it in. They felt they wasted their time and their money. But that’s not true!! That meeting still went well. In fact, it almost went better than if they asked for the entire manuscript to be sent in.
Listen. If the agent wasn’t a fan of your submitted work/idea, or if you didn’t get the feels, THEN SHE ISN’T THE AGENT FOR YOU! You 100% still had a good meeting. How? You now know that agent isn’t for you. The last thing you want is someone not committed to you or work work, or a contract with someone you don’t get along with. An agent is someone you’re going to be working with for a long time–you want a good working relationship based on mutual trust and effort. If she isn’t into you or your work, it’s GREAT that she let you know (and I’m sure it was a gentle let down). It’s now a confirmed data point vs an unknown.
This applies to interviewing almost anyone for anything–once you’ve said or heard no to/from that person, you are that much closer to saying yes to the right one. This “No thanks” was time well spent. In the case of the writing world, you aren’t getting your hopes up by emailing a proposal or query or manuscript to someone that on paper looked perfect only to wait six months to get a form rejection letter back. You already know this isn’t the agent. Seriously, that is good information. In other industries and situations, you can confidently say, “we avoided making a mistake by hiring that one.” It’s not idle effort. The important thing is that you’re getting yourself out there, seeking.
I once had a dream agent that I found out about, read all I could about her, practically memorized the agency website as well as her bio page, and followed on her on Twitter. She was hilarious. We had the same sense of humor. I KNEW we’d be a great match. I couldn’t wait to meet her at a conference. But once I met her in person…wow. Does. Not. Equal. We were sooo not a match. While she was a great agent for others, there was no way I wanted to work with her. And I never would have known for sure had I not met her in person. It was not a waste of time. It saved me time.
Think of if this way: now you can get moving focusing on someone else to grow old with. The right someone else.
If you’re considering Iceland as a setting for your next book, I highly recommend, it. As one friend put it, it’s “otherworldly.” It’s known for amazingly beautiful, natural underground hot springs like Blue Lagoon. Fantastically colorful cityscapes. Volcanoes. A geyser (Geysir) from which all other geysers are named. The spot where European and North American continents split (tectonic plates). Waterfall after waterfall. Some great music. Black sand beaches. And sure, where Game of Thrones has filmed.
Having recently spent a week there, I want to share some ways this landscape can make for an interesting background–if not supporting character–in your next book. Here are some random facts as told to me by historians and locals (that I backed up by other sources):
Names: Besides being crazy long with letters that look like a fly got stuck on the page, there are some things you need to know before you name your Icelandic character:
Parents who want to give their child a name that’s never been used in the country before have to get it approved by a governing Icelandic Naming Committee. Really.[https://www.island.is/en/icelandic-names/] I’ve heard they are pretty easy going, as long at it’s not disparaging or derogatory (or, I’m guessing, something like Moon Unit [sorry Frank Zappa] or YouTube). Imagine the fun you’d have with the backstory of the first person named Jane or Pepe!
Brothers and sisters have different last names. That’s because the child takes the FIRST name of the dad and adds -son if it’s a boy and -dóttir (daughter) if it’s a girl. A family might have kids named Christopher Vincentson, George Vincentson, and Carolyn Vincentdóttir. (Of course their names wouldn’t be so Anglicized but you get the idea.) The mom can choose to not acknowledge the father and use only her name, although it’s not very common. In that case they’d be Christopher Elisabethson, George Elisabethson, and Caroyln Elizabethdóttir. Rarely, the child can use both names…Christopher Vincentson Elizabethson. [https://wsimag.com/culture/2248-the-peculiarities-of-icelandic-naming]
Phonebooks list names alphabetically by first name! Wouldn’t that be a great nugget to sneak into your novel? Well…assuming it’s in a time period when phonebooks were still commonly used…
Capital: The city looks more like a town with homes that have been there for generations, with many of the same families living in them since they were hand built. Although there is a (small by US standards) industrial area with high rises, the main part of town has homes and historic buildings side by side everything else. Everything is accessible. Even the Prime Minister’s office is smack in the middle of town, a lovely but nondescript two-story building with no guards or parking lot, that anyone can walk up to. (Due to the high wind, almost no buildings in the main downtown are taller than a few stories.) But even though the capital city is lovely and beautiful and the only “real” city on the island, do you really want to write out “Reykjavik” 600 times? Consider picking a smaller town outside the capital so you don’t have to spell it over and over–or force your reader into trying to read and pronounce it in their head over and over. (FWIW “ray-kuh-vek” is the simplified way to say it…RECK or REYK-ya-vek or REYK-ja-vick with a very soft/minor j sound is how I’ve heard locals say it.) Just know almost all towns have equally awkward names, spellings, and pronunciations, at least by American standards. Maybe make up your own city name. Your call. P.S. The cathedral in the center of the capital city is a landmark that seems to be one many people recognize, and is a common tourist meeting place since it can be seen from far distances and is easy to find while walking from almost any point around town. The church was built in an art deco style of the New York Chrysler Building and is supposed to resemble their famous erupting geysir. P.P.S. The city, and well, island, is pretty darn windy, no bad hair jokes!
Weather: beware of stereotyping.
You picture a vast snow-covered land, right? Well surprisingly, there is very little snowfall! And even less accumulation. Reykjavik only gets an average of two to three inches of snow per month in the winter. Due to the natural warm springs resting underground, most snow melts soon after it lands, making for little need to shovel driveways or pave roads. Compare that to Alaska, that might get two feet in January! Virtually no snow May to Oct. Note: it rains often throughout the year in Iceland. Precipitation numbers will be different from snowfall. [https://weatherspark.com/y/31501/Average-Weather-in-Reykjav%C3%ADk-Iceland-Year-Round]
“Don’t like the weather? Wait five minutes.” Since it does rain at least a little bit almost every day–or at least it seems like it, that doesn’t mean it’s a hard rain. It might be a light mist while cloudy or while sunny. Or ten minutes of hard rain that fades out like nothing ever happened. Given the year-round island wind (told you it was windy!), no one but a tourist carries an umbrella, as it’ll just be blown inside out or down the street. I like that a variety of same-day weather might make for a fun backdrop, especially if your character is wishywashy or their future uncertain.
There are 600 different types of moss covering land and rocks. [https://grapevine.is/mag/articles/2017/12/07/the-life-and-death-of-icelandic-mosses/] They’ve been around since the Ice Age. Some take 100-150 years to regrow if disturbed, kids are told, so they are taught at a young age to respect and stay away from it. Don’t have characters running off the beaten path. Or if they do, it’s has to be hugely significant.
There’s a saying that if you ever get lost in an Icelandic forest, just stand up. 🙂 The Norse deforested most of the original land when they arrived a thousand years ago, using trees for ships, warmth, housing, etc. Around 1950 a plan was put into place to start replanting. Most trees are relatively new to the island, and therefore not very tall. So don’t create any dense forest scenes! Hmm, actually, a pre- and post-1950s landscape might make for some interesting comparisons in character growth. [https://guidetoiceland.is/best-of-iceland/the-forests-of-iceland]
Drinking: How’s this for a fun fact? Beer was banned in Iceland from 1915 until 1989. Seriously. [https://www.bbc.com/news/magazine-31622038] Overall, I found Icelanders to not be big drinkers. Or drinkers at all. Stats agree; studies show they drink less than other cultures: in 2014 there was a reported lifetime abstinence for 14.1% of the drinking age population, and 32.1% of not drinking in the past 12 months, compared to, say, Denmark that had 4.5% and 11.4%. [https://www.who.int/substance_abuse/publications/global_alcohol_report/msb_gsr_2014_2.pdf?ua=1] Any bar scenes you put in might need to have a larger percentage of visitors with the local beer (say, Gull–pronounced sorta like ‘gulsh’) or vodka (say, Reyka) in their hands. Don’t ask me how I know, lol. Drinking age is 20.
Prices and food: Ah, gee, don’t get me started. Prices are out of control.
A pint of that draft Gull beer? $12-$15 (1450-1800 krona). FOR ONE. Mojito? That’ll be $24, please. I got a vodka soda and was charged the equivalent of $22 for the vodka, and an additional $5 for the cute little bottle of seltzer. Dinner meals will cost a solid $40 each for nothing too fancy. Chinese food, Italian, Mexican, etc, all available. And all AT LEAST $25 a meal; most closer to $35. If you’re itching for just a burger and hit a version of a TGIFridays, you’ll get a pretty good burger and fries (only served medium/medium rare) for $25. Iced tea (no refills) $3-$5. I bought a large bottle of Icelandic water in California before I left, for $2, and the exact same one IN ICELAND was almost $4. Explain that to me? But I digress.
Their economy seems to be doing well, although some still understandably complain about inflation. <No political discussion will be had here!>
Their meal staples are lamb (pretty gamey I hear, since they are only fed a clean diet of grasses) and lots of fish dishes. They are vegan and vegetarian friendly, but are quick to make jokes about the lifestyle (as are the rest of the world, it appears!). Lots of farming generations there…sheep and cows…so the older generations are slower to warm up to meat-free diets.
Also they breed special Icelandic horses too but not for eating! It’s a pretty big exporting business; the horses can fetch upwards of $8,000-$20,000 each (told you everything there is more expensive!). They are smaller than other horses but have a unique gait.
Oh–and one more set of random interesting facts: Taco Bell and Dominos are there. McDonalds is not. Nor is Uber. Both are banned.
Ack, I could go on and on but I started this three weeks ago and keep thinking of new things to add. You get the picture, right? If not, see below 🙂 I think this is good enough for now. I hope you do too. Time to hit the PUBLISH key.
One stereotypical and broad-sweeping comment I will make is that I found the Icelandic people to be truly kind and nice and open. While once a secluded country, it’s slowly getting more diverse with people from all over the world moving in and finding a happy home, whether it’s in the fishing industry, aluminum, retail, educational, tourism, whatever. So if you’re looking for a unique main or supporting character you don’t have to limit yourself to the “typical” Icelander. Because just like with every other country in the world, there isn’t one.
There are plenty of ways to make your characters and setting stand out. Iceland just might be one of the better ways.
You may have wondered if Work For Hire is right for you. If you’re considering writing in the children’s book industry, I’ve created a quiz that might help. It’s based on my personal experiences as well as several colleagues I interviewed. [To give you some perspective on collective experience that I’m drawing from: I’ve written 16 kidlit titles for hire so far; picture books, chapter books, and YA–most of them as part of an existing series where the other titles were written by several other people. The fellow writers I talked to have authored close to 100 for-hire titles total.] We’ve all written for different editors and publishers, on different topics, in different genres, with different parameters. Every contract was in some way unique. But generally speaking, Work For Hire has similarities that differ from traditional publishing.
It’s not for everyone.
Is it for you?
First, a definition. “Writing for Hire” means a contract from a publisher or third party—usually from an outline, writing samples, or pitch—to write a book as assigned. For them. It
might have pre-established characters and settings
might be ghostwritten under someone else’s name
might include a “tie-in” or “media-related” connection to an existing product, entity or trademark, such as a movie, comic book, game (typically referred to as intellectual property rights, or i/p)
Lawyers define it as “an exception to the general rule that the person who creates the work owns the copyright. If a work is made by an employee within the scope of their employment or if it was a specially commissioned contribution…it may be a work-for-hire. The employer or hiring party is considered to be the author and thus the copyright owner. A work-for-hire agreement must be signed by both parties before the creation of the commissioned work.” (emphasis mine)
Sometimes you work directly for a publisher. Sometimes you work for a middleman, called a book packager or book producer, who in turn works for the publisher. The book or series might be your idea, but is more likely their in-house idea that they are hiring out for–usually part of a series such as early readers featuring popular TV characters like Spongebob or a history series for K-3rd grade.
Bottom line is: you write it, they own it.
Do you prefer innovation over purely-from-scratch invention? (More like, say, creating a collage than painting)
Can you work with a pre-existing format, one you didn’t create?
Can you write in someone else’s voice, and/or match the general tone/voice and target age range of an existing series?
Are you okay handing over your work and having someone else do whatever they want to before going to print–even though it (probably) has your name on it?Do you take direction well? (See earlier reference to pre-existing format and matching voice)
Are you good at research, note taking, keeping files of resources and interviews?
Can you handle rewrites without arguing? (See all of the above)
Are you good with deadlines–possibly short ones? (Typically in the six-eight month range, start to finish)
Can you handle someone else telling you exactly what needs to be done, then possibly changing gears midstream?
Are you okay getting a flat fee, with no royalties? (Note: there is a chance you’ll come out ahead this way. Slim chance, sure, but a chance.)
Are you okay with the fact that even though it has YOUR name on it, the contents and everything about it may not have been your preference or decision?
If most answers are Yeses, you might be on the right track.
If most questions made you clench, well, relax. Before you get too nervous, know that the publisher isn’t out to screw you. They don’t want to mess up your work on purpose. Their goal–like yours–is to get the best possible product in the hands of their customer/reader; but the main caveat is it’s usually the best product possible created in the shortest amount of time. You might disagree on what the best product ultimately looks/reads like. (It doesn’t matter though. They have final say. On everything.) Just know they really do have the best interest of the customer in mind. They want to sell books! This is their business! They fully understand a crappy book won’t sell as well as a well-written one. They don’t want to put their reputation on the line for shoddy quality. They have your back; their name is on the cover, too.
There are feel-good questions to ask yourself about Work For Hire too:
Would you like a shorter time to market? (That is–getting your book on the shelf faster? Most WFH is on the shelf within a year, vs up to potentially 2 to 5 or even 7 years later going the traditional route.)
Would you like getting paid in a timely manner? (Many pay half the fee upon acceptance of contract and the other half upon submission/completion of the work)
If the project is cancelled, would you still like to get paid some of the contracted amount? (Make sure you’ve got a “kill fee” in your contract!)
Do you like direct feedback on how to make your assigned work better?
Do you like taking an idea and running with it? (Assuming you are okay when they need to rein you back in)
Do you like a clean set of rules, with a detailed schedule, giving you less time to goof off online and on social media? [Maybe that’s just me, lol]
Do you like being in control of which projects you agree to and which you decline? (It’s always okay to say no thanks)
Do you like researching and choosing which publishers and packagers you work with?
Do you like having a built-in opportunity to work with the same WFH people again? (Assuming you’re not a jerk to work with…)
Do you like learning about new topics you may have never considered writing about?
And most importantly:
Do you want to get published?!
If you took this quiz and are a yes (wo)man, then Writing For Hire is for you! Give it a try!
How to go about finding Writing For Hire opportunities will be the topic of my next blog… Hint: it takes just as much effort as pitching your current manuscripts! But worth it.
If you’ve had experiences similar or in contrast to these Quiz questions, tell me about in in the comments. I love hearing anecdotal WFH stories.
I dreamt that I was in IKEA, looking for a replacement piece for something from my kid’s room. I look all over the warehouse, up and down every aisle. You know how big that place is! Had people helping, looking part numbers up on the computer, nothing. Two hours. I’m out of options, on the ground floor near the register, when I decide to look a little closer, turn it upside down…and… It’s a Lego piece.
Isn’t that how writing is sometimes? You exhaust every option trying to figure out a story arc or plot point or character tic, get nowhere, only to one day–usually in the middle of the night when you have no pen and paper nearby–look at it from a different angle, and realize all this time you’ve been shopping at IKEA for a Lego piece.
Sometimes the hardest thing to do is STEP AWAY. We think we need to WORK THRU IT. We can do this. MARCH ON. We got this. MAKE IT WORK, DANG IT. We won’t be defeated!
And yet, by powering on, we might be getting in our own way. We are so focused on fixing the problem–the FIX–that we aren’t examining THE PROBLEM. We aren’t holding it in our hands, placing it up to the light, looking at it from different angles. If our eyes are only set on the finish line, we can’t see the road we’re on, or we forget WHY we’re on the road in the first place. And we’ll stumble and fall and make all kinds of messes, not to mention waste all that time (ours as well as other people’s).
So how about this: the next time you’re struggling with something, set it down. Don’t think about it.
Go for a walk. Nietzsche said “All truly great thoughts are conceived by walking.” A Stanford University study confirmed it. Walking boosts the creative formation of ideas, both in real time and shortly after (“Give Your Ideas Some Legs: The Positive Effect of Walking on Creative Thinking” by Marily Oppezzo and Daniel L. Schwartz, American Psychological Association, 2014). Neuroscientists say exercise, even mild forms like a walk around the block, releases dopamine, which helps us feel relaxed and all around in a better mood. That makes the chances of having great ideas more likely. Ditto for taking a shower, hopping on a bike, or going for a drive.
Work on something else. Set your work down for a while. Literally place it in a file and don’t plan to look at it for two months. OK, fine, six weeks. What’s the rush? Ben Baldwin, who created a company that helps predict who will succeed at which job and why, points to the benefits of freeing your mind for a bit. “The subconscious mind runs in the background, silently affecting the outcome of many thoughts. So, take a break and smell the flowers, because while you’re out doing that, your mind may very well solve the problem that you are trying to solve or spark a solution to a problem you hadn’t considered before,” he said in a WSJ article packed with advice from entrepreneurs about creating ideas.
Force connections. Just for fun, force your main character to do something, well, out of character. Place them in a situation they shouldn’t be in, in a predicament they would hate, or trapped in a room with the person they dislike the most. Writer’s Digest suggests “forcing your character into a corner,” among other creative tips. See what happens. You don’t have to keep the scene, but you may find a side of the character you didn’t notice before. Maybe there is a descriptive part of the location–a balcony or city–that you can keep and use elsewhere. Even if you use none of it, you’ve forced your own creative brain out of its comfort zone. Odds are, your brain needed that push!
The point is, when faced with a challenge, the answer isn’t always to power through. Sometime it’s better to let go, just for a little while, to get a better look at the situation. Maybe you’ve been barking up the wrong tree.
Don’t waste your time at IKEA when what you really need is a Lego piece.
Last post we defined Author Platforms. So tell me, what is an Author Platform, do you remember? It’s how you show your unique qualities that “brand” you as a writer or artist…with the ultimate goal of leading to book sales. It’s a long term goal, not a RIGHT NOW CLICK HERE goal. No one likes the CLICK HERE RIGHT NOW guy, amiright?
Social media is one of the main ways you create your brand. Since most of your readers will never meet you in person, it’s how most of your readers get to know you. This post is gonna look at ways to maximize social media so you can give yourself the best platform. We’ll talk through some real examples, screenshotted below.
General social media tips to support your Author Platform:
Be you, all the time.
Have fun! Every tweet/post doesn’t have to have something to do with writing or illustrating, but each one should still reflect who you are and what you stand for. Remember the part about the real you needing to shine through?
Sorry to say this, but people are people. And by that, I mean selfish. I’m not judging. It’s fact. We are always asking ourselves WIIFM? As in, What’s In It For Me? No one has time, and we make decisions in a snap. You need to do whatever you can to convince me, quickly, that what you have to say will benefit me. And then come through. So don’t just tell me your book trailer is finished and give me a link. Tell me what the trailer is about, what I’ll see, why it’s worth watching. I need to know WIIFM or I’m not going to click. Even if I like you. I just don’t have time.
Other people are selfish–but you need to be giving. Stop talking about how great your product is. Let us figure that out on our own. Your book really should be able to speak for itself…or at least let others do the talking. A tweet like”Another great review, my work is profiled yet again! Click to see the latest url.2937y5/iji…” gives me no incentive to click. It’s blatant bragging. But what about “What an honor to be included in this roundup, check out the other Best 2016 Reads by Buzzfeed at url.8724r34r/…” or “Thanks for the kind review, Donna, it was nice being your guest blogger this month. I bet no one can guess how many puppies were harmed in the making of that video! [link to Donna’s website].” Do you see the difference? One is “Look at me!!” Another–the preferred method–is “There’s something in this for you, have a look.” You want to be of service. Your book or link or review just happens to be one way to help. [See #6, below.] Continue reading →
I’m headed to one of the largest children’s book writing conferences in the world: the SCBWI Winter Conference (why our annual winter conference is in NY [where it’s supposed to be 8° this weekend] and the summer conference is in LA, I’ll never understand, but that’s another topic.) And OVER A THOUSAND fellow writers and illustrators will be there too. The event boasts many top (dare I say famous) editors, agents, art directors, authors & illustrators in the children’s publishing world. It’s going to be a fantastic few days of learning, inspiration, and friend making.
The large mix of attendees is weighted a little heavily towards the beginner, with many in the intermediate and many many in what I’d call the “seasoned professional” category. The NY conference is a little different from other SCBWI conferences in that, given the proximity to so many publishing houses, it practically rains editors and agents. You’ll see them at conference keynotes, intensives, panels, awards ceremonies, heck, even elevators. Some of them just show for the Art Show or Gala Dinner. Many of them are either new or overworked and don’t travel much, so you won’t see them elsewhere.
If you’ve never been, and have wondered if it’s worth it, I have to give it a hearty YES YES, two cramped writing thumbs up. And not just because I love my NY roots and will find any excuse to go back. But because it’s a writing experience like no other. It’s not a pore-over-your-workshop-notes-and-guarantee-yourself-an-aha-moment. It’s a wow-I’m-really-a-writer-surrounded-by-other-writers-and-this-is-where-I-want-to-be-moment. If you don’t have one of those while you’re there, well, you might not be a writer after all. And that’s OK, too. Isn’t that an important learning moment as well? No matter what you walk away with, I promise you won’t regret your decision to attend. There’s a reason a thousand people from around the world will be at this thing.
Now if you happen to be one of these thousands of fellow conference attendees this week or sometime in the future, and are fearing for your life because you’d rather be in your jammies creating in the privacy of your home and not in the middle of a grand ballroom surrounded by all these cat ladies, here are some conference tips to maximize your trip.
You’re not going to get a contract(seriously, toss that thought right now), but you WILL make contacts. These connections might lead to a contract some day. But don’t pressure yourself, or others. Listen. Learn. Be present. Follow some new people on Twitter and Facebook (follow this blog!). It’s kind of like college-you aren’t really there to memorize the Periodic Table; you’re Continue reading →