Iceland: Facts for Fiction

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.

Unfiltered photo from my camera! Copyright Bitsy Kemper

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):

  1. 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…
  2. Space: The population of the ENTIRE COUNTRY is about 340,000, of which about 220,000 live in the capital area of Reykjavik. Think about that…there are fewer living in all of Iceland than in the city of Raleigh, NC; the capital has about as many people as Chesapeake, VA. Average capital city commute time? 11 minutes. (Not a typo. Eleven minutes, door to door. Can you imagine the luxury?) [https://www.worldometers.info/world-population/iceland-population/,
    http://worldpopulationreview.com/world-cities/reykjavik-population/,
    https://www.icelandreview.com/news/commuting-takes-an-average-11-6-minutes/]
  3. 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!
  4. 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.
  5. Landscape:
    • 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]
    • You’ll find one of the biggest glaciers in Europe on the island.
      [https://www.icelandontheweb.com/articles-on-iceland/nature/glaciers/vatnajokull] (Honestly makes me wonder how many European glaciers can there be to compare it to?) Great place for a character that leads expeditions, ice hikes, or conservation efforts, wouldn’t you say?
  6. 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.
  7. 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.
  8. Oh–and one more set of random interesting facts: Taco Bell and Dominos are there. McDonalds is not. Nor is Uber. Both are banned.
  9. 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.

Let me know if you do!

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Getting Conference-Ready: 10 Conference Tips for the Introvert, Beginner, and Beginner Introvert

Whether you’re headed to your first conference or your fifth, you’re gonna want to plan ahead. Most writers are introverts, and panic at the thought of being in a room with strangers. Relax! You’re going to be fine. The children’s book industry is wonderfully welcoming and supportive. (I’ve attended and presented at conferences across the U.S., from local to international events, and never cease to be amazed at the kindness.) To help maximize your precious time, and all that coin you’ve already dropped on the event, here are some tips I’ve found most helpful:

image from luckylittlelearners

Conference tips:

  1. Have an overall goal in mind. This might change for every conference. Most people assume they are they are there to get published. But let’s not get ahead of ourselves. You’re not going to get a contract at the conference (seriously, toss that thought right now). Be realistic. Let’s assume you’re there to figure out how to get published. Try to break that down into measurable steps.
    • Maybe your goal for that one conference is to find an agent, or to find out how to get an agent, or simply bust out of your comfort zone. OK. Can you make it even more specific? If you’re looking for in an agent, for example, what qualities or skills are important to you? Figure that out before you go so you know what to look for in the agents that are there, and you’ll be able to better size up and decide if anyone there is right for you. No sense submitting to an agent you don’t want to work with, right? If you want to break out of your comfort zone, list out two or three specific actions–like initiate a conversation with two strangers, attend that awards banquet by yourself, and/or refuse to sit in your room doing email every night.
    • Center all your time/schedule decisions around that one overall goal. Attend only those sessions that fit your goal, for example. It will help you manage your time AND challenge yourself to achieve that specific goal. (Next conference you can attend the other sessions that sounded equally good–odds are you’ll have a difference goal by then.)
  2. Get ready to smile and say hey. I hate the slimy connotations of the word networking, but conferences are really about the people. Otherwise you’d stay at home. What I mean by that is don’t just focus on the workshop topics, look at who’s teaching them. Read their bios. Try to read the book of the keynote speaker and/or whoever you’re taking classes from beforehand, so you know their background and you’re not coming in cold. That’s how you feel like a insider! By doing your homework you’ll feel like you already have an edge. Odds are you’ll be eager to meet the presenters. When else will you have the chance to meet them, and see what they’re really like? You can take just about any class online these days, but meeting these professionals in person? That’s why you’re there.
  3. Have your “elevator pitch” ready! You’ll be using it throughout the conference, that is, if you’re taking the conference seriously and are out there meeting people. (Here’s a good primer to get yours shiny.)
  4. Pack with a theme in mind. Not as in 1800s or hippy, but something that is consistent. It not only helps make packing easier, but makes it much easier for people to find and remember you every day, as well as afterwards. “I’m the one in polka dots” or “I was the one with pink striped hair.” You won’t be in the same thing everyday but people will start to recognize you by how you dress.
  5. Get your class act together. Speaking of clothes…at writer’s conferences you don’t have to dress to impress, but c’mon, this isn’t your mom’s basement. Make an effort. Dress like you’re going out to eat, not like you just woke up. If you look like you’re taking this seriously–others will take you seriously too. (But skip the heels, ladies, that’s one fashion item that’s just silly at a conference.)
  6. A simple trick: stick business cards (people still use them!) in your badge holder, so they’re handy. Make sure your website and whatever social media handles/hashtags you use are included–if not, write them in with pen. Consider adding a QR code to your card that allows a cell phone to take people directly to your contact info, including your website URL, without them ever having to type a thing. https://www.youtube.com/watch?v=WS7jdYZomu0 tells you how to create a free vcard. https://blog.4colorprint.com/great-designs-for-business-card-layout-inspiration has ideas for unique looking biz cards. [Note: I have no affiliation with either of them whatsoever]
  7. You never know who you’ll be sitting next to so be nice to everyone you meet. Author and illustrator Debbie Ridpath Ohi has some great conference tips on “making the first move” – you need to suck it up and introduce yourself around! Remember the part abut people being the reason you’re there? [See more of Debbie’s advice, including charming comics about being an introvert, at her website here.] Since most of us will be attending the conference alone (even if we traveled with a friend), it can get nerve racking. Wracking even. Take some “survive attending a conference alone” tips from themuse.com here. [Again, no affiliation]
  8. Be open to learning. If you’ve attended a hundred conferences before and find yourself saying “I already know this” at every session/workshop, then you’re preventing yourself from learning anything new. I mean, if you already know everything, why are you there? (<— remind me of this one, ok? I’m always the one rolling my eyes saying I knew that, when, hmm, maybe I didn’t)
  9. Prepare ahead of time. Review the schedule. Figure out why the keynoters are keynoters and not session presenters. Plan your day(s). Choose your workshops carefully so it’s not a last-minute choice made in haste. (They need to support your goal, remember?)
  10. Speaking of preparing…if you’re a true beginner, and are looking for basic tips on writing your first children’s book so you don’t feel out of place at your first conference, check out a video I made for the beginning picture book writer. It’s fun. Really. https://bitsykemper.wordpress.com/2014/03/19/179/

I joke about lotion-ing up so you’re not remembered as the hand shaker with the rough skin. But bottom line: do your homework. And get ready to smile. You’re going to have a great time!

He’s following me, isn’t he?



Do you Want to Write For Hire? Take This Quiz to Decide

workforhireagreementredquestionmark

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.

Quiz time:

  • 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.

College Applications, Manuscript Submissions, and Lessons Learned

There was a big College Information Night at my son’s high school. There are still years to go before he’s ready, but he’s a planner.

auditorium benches chairs class

Photo by Pixabay on Pexels.com

So we went.

Approximately 50 reps from colleges all over the country were there. They ran from big and big name schools (UCLA–the most-applied to school in the entire Unite States) to so small I don’t know how else we would have heard of them (Holy Cross–921 students, total).

We talked to lots of them, asking most of the same questions about GPA needed, acceptance rate, majors offered, class size, etc. The school my son most wants to go to had one of the biggest lines (guess others want to go there too). We waited quite a while to talk to the rep, who patiently repeated the same information over and over. (Seriously, why weren’t the parents just listening in while they were in line? But I digress.) While we waited, we grabbed their college brochure and started flipping through it. We noticed some more obscure majors listed for the school, ones my son was sorta interested in, and wondered if applying for one of those would make sense, instead of those which were sure to be the most popular/crowded/competitive. So we asked the rep, if our son were to major in, say Japanese, would that up his odds of getting accepted, as opposed to him majoring in engineering.

The rep waited not even half a second before answering flatly: “Major what you want to major in. Don’t apply to something you aren’t interested in.” And we felt stupid for considering it, or even asking about it. I did, at least.

blur business close up composition

Photo by Pixabay on Pexels.com

Now bear with me as I cut over to Manuscript Wishlist, an amazing resource where editors and agents tell you EXACTLY what they are looking for. And I mean exactly. It’s a website as well as a “hashtag” (which means you can do an internet search for “#mswl” and up will pop the most recent posts about it). It’s fantastic because if you are working on a book, say, about kids and frogs you can type in “#mswl kids frogs” and see if there is an editorial match. If so, you know who you should add to your sub list! The more specific the less likely you’ll get a hit, but hey it’s worth a shot. One recent post from an editor, I swear, read “High-tech elves with internet while everyone else is trying to figure out the Iron Age.” It’s that specific.

Scanning the posts or website can be a fount of inspiration. Even if you don’t find a perfect match for your current work-in-progress, it can give you manuscript ideas. Knowing there is someone waiting for that topic/character/etc means you’re one step closer to acceptance! I’ve found myself creating and re-creating all kinds of story ideas from trolling around. Sometimes, I’ll see an element an editor shares about him or herself, and I’ll add that character tag to one of my main characters just so I can add in the cover letter, “Emma loves jelly beans just like you.” I’ve raced to complete a final product since I can almost taste the sweet reward of publication from an already-ready editor. Any edge helps, right?

But here’s the rub. It’s never panned out. The problem is, those stories I was working stories weren’t really my stories. The ideas weren’t my ideas. Even if I can run with a concept, my heart isn’t in someone else’s idea of what makes a great plotline. Just like picking a major just to get accepted at the school you might want to get into, a school you might not otherwise have a chance at, writing a story just to get published at a house that might not otherwise notice you is a waste of time. No one wins. Not you, not the editor or agent, and not the story.

The reader suffers too.

In that moment back at the college fair, I was struck by the similarities of the college app and manuscript submission process. We both search and search for the best fit, then send our submission package after years and years of hard work. (We also fret and fret after hitting the send button, having no control and no idea when we’ll hear back…)

All the time I spent creating those MSWL story ideas? It took me away from MY stories, the ones in my soul, the ones I WANT to write. I’ve wasted my time. I thought I was being clever. But I screwed myself. (Is it OK for me to be frank?)

I hope I haven’t been wasting your time with this analogy.  All this is to say: write the story you want to write. Write the story you need to write. Don’t waste your time writing the story that you think will get you a leg up in the industry.

Write the right one.

Yours.

How do I Find an Agent?

findAgent
Google “how to find a literary agent for children’s books” and you’ll get 1,580,000 hits. Over one and a half million! And that’s just in the kidlit world. There are many, many theories on how to find one, just like there are many many theories on how to write the perfect picture book. Many roads will take you there, my friend. You just need to start walking. THEY AREN’T GOING TO COME TO YOU.
First things first. You need to make sure your manuscript is print ready. Never send something that isn’t perfect/finished! Has it been copy edited? Have you had more than one other person review it–do you have a reliable/experienced critique partner/group? Have you been working on it for longer than, say, a month? The ironic thing here is that the next thing I’m going to say is be prepared to make changes if necessary which contradicts the “make sure it’s perfect/finished” statement. An agent might have suggestions on how to make your manuscript better, and you might need to make those changes before he or she agrees to represent you. (It’s ALWAYS up to you to decide if and how those changes will be implemented. It’s your manuscript, afterall. Feel free to say “No, thanks” and move on to the next agent on your list if the recommend changes don’t feel right to you.)
research_desk
Second, you need to research the right agent FOR YOU, one that will like/accept not only your genre and age range but fits your style. That means your style of writing as well as your style of a working relationship. You do that by researching reputable agencies online and reading up on every agent that reps the kind of manuscript you have–based on what they have already sold and based on what they say they are looking for. Have they represented authors that have books similar to yours? That’s what you are looking for. This may be the only time you don’t want uniqueness. You want someone with relevant experience so they can get you the best deal and offer you the best, most applicable guidance. A super YA agent, for example, might be a crappy picture book agent. It’s a different world. Maybe it’ll work out–see what else they’ve sold. The good news is they will tell you directly on their page what they are looking for and have sold but that bad news is it’s a lot of work b/c there are so many agencies and so many agents.
How to get started researching, you may ask?
  • https://janefriedman.com/find-literary-agent/ gives an excellent overview on finding agents. It’s not specific to kidlit, but is worth reading every word. This post is from 2015 but still very much valid. Jane gives tips on checking an agent’s track record, what to expect from a good agent (are they members of AAR?), and explains submission guidelines piece by piece. READ IT. I’m not kidding.
  • The very first blog page on that Writer’s Digest site that I’d recommend you read is http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/pubtips. Editor Chuck Sambuchino culled advice from real agents, who Tweeted their top tips on what to do and how to do it. For example, some advice from 2013 that still stands is from agent Jacquie Flynn’s (@BookJacquie): “Check out an agent’s website, tweets, & blog posts to get a sense of her style & taste before you query. Customize for best results.”
  • Speaking of Twitter…I’ll go ahead and quote Chuck from that same blog, who says, “Many, many agents are on Twitter. And by reading their tweets, you can get a deeper understanding of what they seek as well as what kind of writing excites them. Use an agent’s online footprint and research them. Read their blog interviews. Review their website. This helps you better target agents to query, and it also helps you learn more about each rep, giving you information you can use to begin your query letter. For example, ‘Dear Ms. Flynn, I saw your tweet about how you seek irreverently humorous young adult books such as Spanking Shakespeare. For this reason, I think you would like my YA comedy of errors, [Title].'”

Social Media

Social media is your friend when researching agents

  • And speaking of matching up agents with what they’ve already said they like…Have you heard of MSWL? If not, write it down! There is a great website/resource called MSWL — Manuscript Wish List  — where agents regularly Tweet out exactly what they are hoping to find, and the results are tallied and searchable here: http://www.manuscriptwishlist.com You can do a search for exactly what you’ve written, such as #magic #chapterbook #unicorns, and see if there are any matches. It’s worth coming back to again and again.
  • If you’re a member of SCBWI (and if you’re not, don’t be an idiot, join already!), start looking up names and agencies with “The Book” that is online to members http://www.scbwi.org/online-resources/the-book/. Go to the Agents section. It lists websites for every agency that’s worth reviewing. [“The Book” also lists all major kidlit publishing houses, and gives websites and contact information as well as if they accept unagented or “unsolicited” manuscripts (unsolicited means you need to end a query first), if you decide against pursuing an agent.] Narrow down the agencies you like, then look at their agents, and if the agent reps your age range and/or genre and you think you’d get along, then give them a whirl. There are other sources online that charge for this information and may be worth looking into if you don’t have SCBWI access. Either way, always verify your searches with the agent websites and/or agent social media accounts. Do that with a basic Google search.
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  • Wondering about warning signs, such as contests disguised as paid editing services or agents asking for a reading fee? NEVER PAY AN AGENT TO READ YOUR MANUSCRIPT! RUN AWAY, RUN AWAY! [The exception is legit conferences where you submit your work for a fee in exchange for a critique/feedback, or fundraisers like #PensforPaws where agents (or editors) donate their time to giving you feedback and the money goes to charity. These are NOT solicitations for representation so don’r count as creepy agent maneuvers.] Tally up sleeze-meter readings with help from this list created by “Writer Beware” http://www.sfwa.org/other-resources/for-authors/writer-beware/agents/
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In all honesty, you don’t NEED an agent in the children’s book industry. If you ask me (and you did) I suggest you take all that time researching agents and spend it perfecting your manuscripts. You can submit to many editors and publishing houses directly.  The key is always quality writing, not the agent that submits it. 
The bottom line is: just like when writing your manuscript, DO YOUR HOMEWORK. Perfect your work. Research out a few solid agents that will work FOR YOU, submit per their exact submission guidelines, and see what they say. If they all pass b/c they say your manuscript isn’t ready, well, you know what your next steps will be.
If they like it, well, wasn’t all that work worth it?
Write on!

Author Platform: Maximizing Social Media

Social Media

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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.

If you need to take a step back and get a basic primer on Twitter, check out https://bitsykemper.wordpress.com/2014/07/15/twitter-101-the-basics-for-writers/

General social media tips to support your Author Platform:

  1. Be you, all the time.
  2. 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?
  3. 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.
  4. 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

Creating an Author Platform

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Quick quiz: You’re told you need to work on your “Author Platform.” You:

  1. Smile politely, then go back to searching online for cute cat outfits
  2. Nod, smile, then furiously Google “Writers’ d” hoping you’re not the last to know what the heck that is
  3. Think “Oh, yeah it really is time I update my Facebook, Twitter, blog and website,” then dig right in
  4. B or C but definitely not A (unless it was a really good sale)

Correct answer: D.

What is an Author Platform? And why do you need to care?

Let’s break it down. Author. Platform. It’s like a compound word. (Author Platforms or Writer Platforms, no matter what you call it, are the same thing, don’t get hung up on author vs writer. For the sake of ease, we’ll use the terms synonymously here. I’m also capitalizing the words here for effect, which is unnecessary elsewhere.) A writer or an author is someone who has written something. A platform is a raised surface, something you’d stand on for better visibility. Like a stage. Put the words together and you’ve got an image of a writer standing on a, well, platform, a little taller than everyone around them. They stand out; you can spot them in a crowd.

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That’s the writer you want to be.

You want to be the writer/author that people can find easily or can recognize…the one that stands out. And you’ll need a platform on order to do it.

“Author Platform: your visibility as an author, utilizing your personal ability to sell books through who you are, the connections you have, and the media outlets you use.” –Writer’s Digest

I think of the term as a less-commercial way of saying “author branding.” It means how you present yourself to the public, and how you are seen/viewed by readers, agents, editors, fellow writers/artists and anyone else paying attention. It’s a way of showing your unique qualities that “brand” you as a person, as a writer, or artist…with the ultimate goal of leading to book sales.

Don’t confuse it with image. Image implies something perceived. You’ll be putting the real, flawed you out there, just like you do for your main characters. An Author Platform should be based on truth. You’re not an actor hiring a publicity agent to get media attention. You’re you, showing who you are, with the ultimate goal that the likeable you is worthy of following or noting or reading or acknowledging, and it will at some point lead to book sales. Isn’t that why school visits, book signings, special promotions, launch parties and all that exist, to sell books? Well you’re the in-person version of that, the walking billboard, the neon sign, open 24/7. Except when you’re asleep. Or whatever. You know what I mean.

You are NOT shaking hands and asking people to buy your book all th
e time, oh no, you’re missing the point. No one is going to follow or buy the book from a guy that’s sending pestering Tweets or spamming Facebook posts or always standing up in groups asking people to buy their books after the meeting. Boy is that annoying or what? I hate that guy. What I’m saying is you are your brand. You represent you. So be respectable. Make me like you. Make me WANT to buy your book. If you do it right, you will probably never have to say the words “Buy my book.” I’ll decide I want to on my own.

 

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Note this is a Writer Platform, not a book platform. This is about you, not your book. Why?
Because you’re more than one book. If you brand yourself too closely with one title, on the next book you’ll have to do it all over again. That confuses people. They can handle lots of books, but they only want one you. Brand yourself correctly and all your books will easily fall under that one umbrella…you!

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Everything you post online becomes a part of your brand. Your Tweets, your FB posts, your blog updates. Your forwards, your shares, your likes. It all shapes the person people see. Those who have never met you can only form an opinion based on what they see. And that’s based on what you do. How you reply to comments. What you post or repost. It’s not always what you say, but how you say it. Continue reading