1. I have read my picture book to my kindergarten class, my grandchildren, and my neighbor's children. They love it! How do I get it
published?
_____Send it to all the children's book publishing houses listed in
Writers Market or Literary Marketplace,
along with a cover letter stating how much the children
love the story. Go to No. 29.
_____Don't send it anywhere yet. Jump to No. 18.
2. Wrong answer. See 26.
3. I'm sooo depressed, I even chewed all the ears off my kids' Easter bunnies (and now I'm picking hare from between my teeth). My middle grade
novel has been rejected by 13 major publishers. I should line the bunny cage
with my manuscript. Right?
_____Right. First call the SPCA, then go to 32.
_____Wrong. Go to 17.
4. Politically incorrect... but it has been alleged by anonymous sources close
to the Pentagon that the reason editors want multiple submissions labeled as
such is so that they can put them at the bottom of the slush pile or the top of
the cheap-photocopy-rejection-slip pile. If this is true (and we cannot say that it is), it would probably be because multiple submissions tend to be badly targeted. Do not multiply submit as a substitute for market research. Jump to number 3.
5. An adorable story entitled "Billy Bunny's Bad Day" came flowing out of me completely in rhyme! How do I get it published?
_____Take a look
at a rhyming book.
Find the publisher
and send to him or her.
(When you send it,
don't bend it.
Don't hesitate,
go to 38.)
_____I know well,
most rhyme don't sell.
(For number 35
you should strive.)
6. I'm SOOO excited! I just finished writing my first children's
story, "The Kitten That Roared," which I want to be a picture book, but I
wouldn't mind if it got in a magazine first. It is a total of approximately
2,578 words long. (Do a, an, and the count as words?) It's a
true story that really happened. Where should I send it?
_____It's easier to break into magazines, so send it to Highlights for
Children. Go to approximately 36.
_____Try the publisher of your favorite picture book of approximately 2,578
words. Go to 25.
7. If only I knew the hot topics and trends in children's books, I'm sure I
could write a best seller, or at least a book that would sell.
_____True. Go to 11.
_____False. Go to 34.
8. Shame on you! Few writers/illustrators have the luxury of working
full-time at their craft. They juggle paying jobs, parenting and other
responsibilities. Bruce Degen, an artist and author, has said that it takes
about ten years of consistent book sales before you can quit the day job. John
Gardner said that the craft can be pursued full-time--if you have someone
else to support you. Try 20.
9. This is the politically correct answer. Send multiple submissions only to
those houses that say they read them, provided you 'fess up in the cover
letter. But inquiring minds want to know what's at 4.
10. Wrong. See 21.
(However, a cover letter isn't necessary with magazine submissions by
unpublished authors who have no pertinent information to relay.)
11. You get the gong this time. Once a trend or hot topic has been identified
as such, it's too late for a newcomer to jump on it. Besides, a new writer has
better chances of breaking in with something that isn't being done all
over the place, something fresh, new, irresistibly original. Publishable
writing usually comes from the desire to tell a particular story, not from the
desire to get published. We desire you to go to 23.
12. That's right. Editors don't take the time to suggest specific changes to
manuscripts unless they (or their authors, at least) have clear publication
potential. You should feel encouraged; you're making it to the top of the
slush pile! Turn to 27.
13. Are cover letters necessary--do editors even read them?
_____Yes. Go to 21.
_____No. Go to 10.
14. Editors expect to schmooze and be schmoozed at conferences, but be
careful how you go about it: first impressions do count. One editor we
interviewed said he likes meeting people, as long as he doesn't have to meet
all of their characters at the same time. Introducing yourself, "I've written
a story about _______, and it goes like this, only
better:_________________________________
_________________________________________________..."
is a bad idea. It's difficult for the editor to respond adequately on the
spot, and it's also difficult to forget that uncomfortable spot when faced
later with the actual manuscript.
Form rejections are frustrating, that's for sure. But, as disagreeable as it
may be to admit, form rejections may be telling you something very specific
about your writing: it simply isn't good enough to compete at a professional
level--yet. To find out how you can improve, go on to number 31.
15. I think the editor has hibernated with my teddy bear story. He's had
it for a year! Enough already! I've decided to send the story out to the 10
editors I think would be most interested in publishing it. But should I tell
them it's a multiple submission?
_____Yes. Go to 9.
_____No. Go to 4.
16. Do I need an agent to get published?
_____Yes. Go to 2.
_____No. Go to 26.
17. Right, it may be wrong to line the bunny cage with your manuscript.
Aren't you glad Dr. Seuss and Katherine Paterson and the likes didn't do that
before the publishing world wised up? If you've worked long and hard at your
writing, you've done your market research, and you feel strongly that your book
is publishable--especially if it's getting personal rejections rather than form
letters--then send it out to 13 more publishers.
However, if some of the editors have suggested revisions that you agree will
improve the book, do rewrite before you send the manuscript back out. In fact,
provided that the changes are significant and the editors encouraged you to
send more work, you should send the revision back to the same editors (one at a
time) who offered the suggestions you used. Even if they don't buy that book,
they'll see you're a serious professional who can take criticism
constructively, and your next book might be it. If you haven't seen 32
yet, do before you hop to 40.
18. Good answer!
You're already ahead of many people. Before you send any
picture book manuscript to a publisher, ask yourself some hard questions:
- Is the story as short as it possibly can be--usually no more than 800 words?
- Are they the right 800 words?
- Have you honed the language so that the story reads like a prose poem--every
word moving the story ahead with grace and rhythm?
- Are there enough images to evoke true art--will an illustrator be able to fill
a 32-page book with interesting and different illustrations?
- Is there a strong storyline with a lasting theme, or is the writing just an
amusing anecdote, a slice of life, or a pretty piece of description?
Even the most beautifully written "slight" stories are being rejected in today's
tightening picture book market, where books go out of print faster than you can
say "remaindered." Hop to number 15.
19. In some publishing houses, the slush pile may contain 8,000 or more unsolicited manuscripts per year. What's the trick to making sure that my
novel really gets read?
_____Turn page 52 upside down. Go to 41.
_____It's as easy as fitting a camel through the eye of a needle. Go to 24.
20. That's as close to a right answer as you'll find in your over-committed life. At least dust bunnies are quiet, even if they do tend to multiply as quickly as the real thing. But seriously, the point is to
prioritize. The dust will keep coming back, but the story or drawing idea
might not....
Sometimes writers/artists feel guilty for taking the time they need to
develop--especially when there aren't any bylines or royalties to show for
those endless hours of effort (and to pay for the SASEs). Families, friends,
and even the new writers or artists themselves are often under the
misconception that the contract should come quick because children's books are
simple enough for anyone to do. Nobody says, "Gee, I could do taxes better
than what I see them hawking at H&R Block anymore. This weekend I'm gonna
become an accountant." Obviously, it takes years of study and training before
a new accountant will be accepted into the profession--and the same goes for
becoming a children's book author or illustrator. If you're serious about this
career, you simply must find, make, take the time. Learn to say no to people,
places, and things that usurp the time you could be using to begin/middle/end
that story or picture. Go on to 8 and 37 for additional advice. If you've already read them, skip to 42.
21. You're right. A good cover letter is a necessary part of a complete,
professional marketing presentation, and an editor will read it, as long
as it doesn't begin with the likes of the following:
- The enclosed story was heard with delight by the third grade class at
Lincoln Elementary, which sent me the enclosed thank you letter (which I hope
you won't forget to return to me, as it has sentimental value).
- My name is Jane Smith, and I am a housewife. This is the first book I have
ever written, so I hope you will give me lots of advice.
- Children love to read stories about _______. They need to learn about
______ and ______. They will get all of these things from my story ______.
Please note that it has already been copyrighted in my name so that nobody can
steal my idea.
- I'me pleased to offer your this picutre book with illustrations to publish
and make into a movie to be followed by mass market production of plush action
toys. I realize your busy but I'de appriciate if you send the money ASAP.
Because I all ready had to pay the artist who is a neighbor $1,000 out of rent
money and my husband isnt happy with me.
In such cases, the editor might read the cover letter just for fun but won't
exactly feel compelled to read the manuscript.
A good cover letter is concise and useful--so useful that an editor who
falls in love with your book can use it as a tool to help pitch your book to
others in-house who must approve the acquisition. Don't try to retell your
story in the cover letter, but many professional authors do include a
brief hook into the story--an attention grabber such as the blurbs found
in book club circulars. State the title, genre, and length of the work. If
you have met the editor or are responding to a specific invitation to submit
your work, say so. List any relevant publishing or professional credits
(but don't mention it if you lack any). Read 10, then go on to 44.
22. My friends and relatives and my son's Sunday School teacher (who should know!) tell me my stories are better than most of the trash being published, but I have enough form rejections to put Charmin out of business. How
am I ever going to break in if nobody will tell me how to fix my stories?
_____Corner an editor at your next conference. Go to 14.
_____Find a critique group, writing class, or other source of professional
criticism. Go to 31.
23. My neighbor's daughter-in-law's cousin is an artist, and we want to
collaborate on a picture book. Shouldn't it be easier for me to find a
publisher since I already have the artist?
_____Yes. Go to 28.
_____No. Go to 33.
24. Sad, but true. Editors say that less than 5% (400 out of 8,000) of all
those submissions are worth serious consideration. The really good writers
give themselves away on page one, so that tells you how far most of the other
95% get read. Of those 400 consideration-worthy manuscripts, the publisher may be able
to find room on the list for one or two. So the real trick to getting your
manuscript read is to write a book that's publishable. After that it's just a
matter of time before your masterpiece winds up in the hands of one of the less
than 5% of all editors who will fall in love with it. Now go to 22.
25. Why not...if you can find a publisher of a picture book of approximately
2,578 words. If this answer is Jabberwocky to you, you'd better go back to 18.
If not, flip to 13.
26. You're right. Any book that an agent can sell, the author can sell.
However, some publishers do claim that they don't read unagented material, and
you won't be able to sell your work there--unless you're creative enough to
bend the rule. Now to 7.
27. I have a great idea for a book, but I have no time to write or draw.
Where or how do I find the time?
_____When you retire from your day job. Go to 8.
_____Let dust bunnies collect under the furniture. Go to 20.
_____Stop taking this quiz right this minute and go write one page or sketch
something. Go to 37.
28. Sorry. And it's a good thing you're taking this quiz. Asking this sort
of question in a group of professional writers may tag you as an amateur.
Here's the way it usually works: First you write the story. Before you label
it as a picture book or a magazine story or an easy reader or a chapter of a
novel, just write it. Let the story be what it has to be. When you're done
and have revised until your eyes are crossed, look at your manuscript closely
to determine its most suitable genre or market.
Publishers receive thousands of "picture books" that aren't, really. Try
making your book into a "dummy" to see if there are enough page breaks with
enough various illustrations for a 32-page picture book. Then, revise some
more and research the market. When you have found a publisher of works with a
similar flavor, send them your manuscript, without any page breaks or
illustrations (unless, of course, you're an author-illustrator). If the
publisher wants your book, the editor and art director will carefully select
the best possible illustrator they can; oftentimes, a new writer's manuscript
will be given to a "known" artist to help ensure positive review attention and
boost sales. But at this point you might suggest that your editor take a look
at your neighbor's daughter-in-law's cousin's portfolio. Who knows where that
will lead? Go to 19.
29. Wrong answer. Children usually DO love being read to by an enthusiastic
adult or being given an author's pre-published story to read. That's
coo-ull! Praise from kids doesn't necessarily indicate that your
manuscript is publishable. It's the editor's job to know what has kid-appeal
and what her particular house can market successfully, and she doesn't need you
to tell her how much kids love your book--even if it's true and your book is
destined to best-sellerdom. Too many amateurs make such claims for them to
mean anything to the slush pile reader.
Send the manuscript out only after your critical literary sense and your
research of the market both suggest that the manuscript is good enough to
warrant a publisher's investment. Keep in mind that a picture book costs the
publisher $30,000 or more to produce. Is your story really worth it?
Don't send your manuscripts out to just any publisher; you'll be wasting your
paper, postage, and time. Target submissions selectively to publishers
who are actively seeking the sort of work you do. To find these publishers,
rely only in part on market listings such as the SCBWI survey; also scrutinize
publishers' catalogues, guidelines, recent books, and reviews to get a real
feel for the tastes behind the lists of individual houses. Go back and try
number 1 again.
30. Good choice. At 39 you'll find out why.
31. That's right! Look for any and all opportunities to receive--and learn to
give--professional criticism. As a bonus, you'll make friends with common
interests. Find a critique group or start one of your own. Enroll in a
writing class (for the price of a SASE, the SCBWI national office can provide
members with a list of institutions across the country that offer children's
writing classes). Find conferences that offer manuscript critique services.
Read as much as you can. In fact, read number 5 right now.
32. You may be right, especially if the manuscript came back each time with the
infamous form rejection slip. All writers have produced bunny-cage lining,
especially in early drafts. Is it possible that you are sending your work out
before it's ready to compete with the work of other aspiring authors who have
labored over 5 or 10 or 15 drafts--to say nothing of the seasoned pros? How
does your book really compare with those being published today? For a
publisher to risk taking on a new writer nowadays, he has to expect good
reviews from major outlets such as BOOKLIST, HORN BOOK, and SCHOOL LIBRARY JOURNAL. It's a good idea to study some well-reviewed new releases and
honestly assess how your work rates in comparison.
Then again, you may be wrong, in which case it's the rejection letters you
should use to line the bunny cage. See 17 and then hop to 40.
33. Good for you! But go back and read 28 anyhow.
34. You got it. News at 11.
35. Outta sight, you got it right! Rhyme is difficult to sell because it's
difficult to write well--even more difficult than publishable prose. Editors
say they're inundated with bad verse--poetry with forced rhymes, disfigured
grammar, and singsongy meter, usually bopping along to an asinine storyline.
Rhyming text still has to tell a strong story, and if the poetry doesn't scan,
it isn't going to sell.
Get your kicks on question 6.
36. Egads, no! A little market research will show that "The Kitten That
Roared" has too many words (including a, an, and the) for
most magazines, especially given the age of the likely readership.
However, many of the "picture book" manuscripts submitted to publishers
would be better suited to magazines because the writing lacks the poetic
and illustrative qualities necessary for an expensive picture book that parents
won't be bored reading out loud over and over again. It can be easier
to break into magazines than books, and publishing credits with top magazines
can present a favorable impression to some book editors. This is
not to say that the standards of magazines are low; there's stiff competition
at quality magazines. You should never send to a magazine without first having
read its writer's guidelines and several back issues. Go back to 6.
37. This answer is half-correct. (We really want you to finish the quiz,
though.) One trick that works for many writers is to assign yourself a number
of pages to complete each day, come hell or high water or other cliche. Think
about it: if you write three pages a day for 40 days, you'll have a flood. No,
a first draft of a novel. This works well if a friend or two give themselves
the same assignment and you set a deadline to exchange manuscripts for
critique. Now, make us happy and read 20 and 8 before you go on to 42.
38. Wanna improve your life?
Go to 35.
39. Nope. This is another one of those things that label beginning writers as
amateurs. Only those who can pass as professionals get published, and the pros
know to let their stories stand alone so that the artist's fecund imagination
will remain uncramped and dream up pictures beyond a writer's wildest dreams.
But how else will the artist know to make the characters look like my three
beautiful children?
You're confusing picture books with your photo albums.
But what if the illustration is a visual pun on the words, or it depends on some trick that's
not mentioned in the text?
Okay, that's an exception. You won't be cramping the illustrator's style by
giving some art direction. But keep this sort of thing short and infrequent.
But what if the story is about anthracite coal mines or the geography of New
Zealand--shouldn't I explain all the details in the margins, at least?
A good artist will do her own research for the job. But you can certainly
discuss your concerns with the editor after he accepts the book, and you can
negotiate to see the dummy or rough sketches to check for technical accuracy.
You're halfway through the quiz now. Move on over to number 16.
40. Hurray! I finally got a personalized rejection. The editor has even
suggested some changes. What do I do next?
_____Write the revision and mail it back to the same editor. Go to
12.
_____Call an agent. Go to 43.
41. Bad idea. If your average slush-pile reader gets this far, she'll leave
page 52 the way she found it and skip immediately to page 127, where she will
"accidentally" spill her Orange Crush. Try 19 again.
42. I've written a picture book. Should I indicate the page breaks and
insert directions for the illustrator?
_____Yes. Go to 39.
_____No. Go to 30.
43. Reject this answer. A personalized rejection doesn't indicate that the
manuscript is publishable, and agents only take on works they're pretty sure of
selling. Most agents only take on new clients who already have a publishing
history. Besides, you don't need an agent to sell your work. Now try number
12 to see what your personalized rejection does indicate.
44. Congratulations! Now you know how to get it published. Go do it.
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