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                    W R I T I N G   W O R L D

A World of Writing Information - For Writers Around the World

                  http://www.writing-world.com

Issue 11:19           12,462 subscribers          October 6, 2011
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IN THIS ISSUE:
=================================================================
 
THE EDITOR'S DESK: Why We Mumble, by Moira Allen 
THE INQUIRING WRITER: Using Pseudonyms, by Dawn Copeman 
NEWS FROM THE WORLD OF WRITING 
FEATURE: Eight Things Picture Book Editors Don't Want, 
by Penny Lockwood Ehrenkranz 
COLUMN: Free Stuff for Writers: Blogging Free, by Aline Lechaye
THE WRITE SITES -- Online Resources for Writers
The Author's Bookshelf

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FROM THE EDITOR'S DESK
=================================================================
Why We Mumble
-------------
When you're at certain types of gatherings, do you boldly and
cheerfully proclaim that you're a freelance writer?  Or, when
someone asks you what you do, do you tend to avoid eye contact,
mumble something about "working at home" and quickly change the
subject?

Chances are, you mumble.  And with good reason.  Many of us have
learned that one admits to being a writer at one's peril.  To do
otherwise is to risk "the pounce."

I learned my lesson at a church luncheon.  I was new in the area
and wanted to get to know people, so of COURSE I declared that I
was a writer.  I'll never forget the gleam that came into the eye
of the woman sitting opposite me.  It wasn't a "Oh, how
interesting, you must be a fascinating person!" gleam.  It was the
sort of gleam you might get if you'd just spotted a winning lottery
ticket on the sidewalk, or a particularly lovely bargain at
Nordstrom's.

"Oh," she declared, "I have a WONDERFUL idea for a book and I just
need someone to write it for me."  To which, I'm sure, she thought
my answer would be, "Well, sure, I'm not doing anything much this
afternoon, let me just whip that off for you..."

The pounce often comes with an offer that is obviously considered
too tempting for a poor, starving writer to pass up: "I give you
the ideas, you write the book, and we SPLIT THE PROFITS!!!"  Small
wonder we mumble...

Pouncing isn't limited to social occasions, however.  I regularly
receive inquiries from people with a story to tell, a book to write
-- but who are experiencing considerable difficulties actually
WRITING it.  And so, the inquirer asks, can I recommend someone who
can handle that task?  My usual response is to point out that what
one is looking for in this instance is a "ghostwriter" -- something
easily located in a Google search.  

However, there is more to the story than that -- and if you are
that person with a story to tell, a book to write, and (you perhaps
hope) a fortune to be made, there are some things you need to know
about the business of having someone ELSE write your book.  I
recently interviewed several ghostwriters for an article for The
Writer (which will be appearing in the November issue, and in these
pages sometime thereafter).  Because I do receive so many inquiries
about "finding someone to write my book," I asked these
ghostwriters what would-be authors ought to know about the
business.  Here are some hard, cold facts:

1) Ghostwriters do not write your book for a share of your profits.
 Ghostwriters expect to be paid up front, before your book is
published.  Generally, payment is expected in installments -
perhaps 1/3 when the contract is signed, 1/3 when the book is
half-completed, and 1/3 at completion, or else half when the
contract is signed and half at completion.

2) Ghostwriting is expensive.  Browsing through a variety of
ghostwriters' websites, I found quotes for a full-length book
ranging from $15,000 to $25,000 (and more).  Keep in mind that a
great deal of ghostwriting is done for celebrities, business
moguls, notable experts, politicians and others who have (a) a fair
amount of money and (b) a book contract IN HAND for their memoir or
expertise.  Such services are rarely within the reach of us
ordinary folks.

3) Ghostwriters will not help you obtain a book contract.  All of
my respondents were very clear about this: Getting published is the
author's responsibility.  As I said in the previous point, many (if
not most) ghostwriting contracts are undertaken for projects for
which the author has already found a publisher, usually because the
"author" has sufficient fame and "name value" to be assured of
publication.

4) Ghostwriters will not advise you regarding the marketability or
publishability of your book.  They will help you put your story or
information into words, but they won't make a judgment on whether
those words have the potential to be published.  They won't advise
you on how to make your story "more" publishable or marketable, nor
will they help you find an agent.  (They will, however, do the best
job they can in creating a well written work from your words --
which in itself is likely to make it more publishable than if the
book were written by an inexperienced author.)

Many would-be writers are daunted by the actual task of WRITING. 
Some of the e-mails that I receive mention how DIFFICULT it is to
actually get that book written.  Many of these e-mails also convey
the impression that the writer has, in fact, very little writing
experience.  To these writers or would-be writers, I would add one
final bit of advice or, perhaps, comfort: You're right.  Writing IS
difficult.  It's not just you.  It's not just your inexperience. 
Writing a book is a long, difficult, frustrating, difficult, long,
tough, difficult (did I mention difficult?) process.  Rarely will
you encounter a writer who says otherwise, even if that writer has
years of experience and dozens of books under his or her belt.  

Unfortunately, that's also what makes ghostwriting so expensive: It
IS difficult.  Writers are not people who find writing easy.  They
are people who have managed to press ahead despite the difficulties
of the task.  

And sometimes, it's an awareness of those difficulties that make us
lose patience, just a bit, with the "pouncers" at a gathering who
declare something like "Oh, I have this great idea for a book I'm
going to write someday when I have the time," or worse, "Oh, I have
a wonderful idea and all I need is someone like you to write it for
me!"  Forgive us if we are less than enthusiastic... and forgive us
if we mumble!

-- Moira Allen, Editor

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Read by over 1,000 children's book and magazine editors, this
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The Inquiring Writer: Using Pseudonyms  
=================================================================
By Dawn Copeman

Last month we had an interesting question from Vanessa, who wanted
to learn about using pseudonyms.  She wrote: "How do you pay the
taxes with different names?  Must they be separate?  How do you
keep your identity private and separate when you are sending things
via e-mail?  Do you have different e-mail accounts in different
pseudonyms? How do you keep it all straight with different
pseudonym e-mail addresses?"

Personally, I've never used a pseudonym, so I can't advise on this
topic, but many of you do or have done and you all had lots of
advice for Vanessa. 

Barbara G. Tarn (pseudonym) has this advice for Vanessa. "It is
quite obvious that you pay taxes under your real name. I don't know
if and how you should register the pen-name or pseudonym, but I do
know that when you register with the copyright office, for example,
you put your real name and then the pseudonym if you publish under
another name.

"I have many e-mail addresses, but as author I use one with my
pen-name and one with my real name (and the same signature) because
payments go to my PayPal account that is under my real name.

"Contracts with editors stated My Real Name (writing as Barbara
G.Tarn) and I signed with my real name. On the sites where I
publish (Lulu, Smashwords) they pay through PayPal. Amazon sends a
check, so I made sure I registered with my real name.

"If you plan on going the traditional route and submit to agents
and publishers, simply state in the query letter that you write
as... so they'll make the payments to the correct person! 

"If you really want to keep your anonymity, I guess PayPal is the
only way to go. But again, I doubt you can pay taxes under a
pen-name."
 
Sandra Fitzpatrick has experience of pseudonyms from both sides,
both as someone helping others with their taxes and as a writer who
has used them.  She writes: "I do tax for folks, and you will have
to let the magazine/publisher know your real name, SIN or SSN and
so on. You will pay tax (after writing off any expenses) on the
same form as you use for general tax. There is a business section
to the form. If in doubt, ask a professional tax preparer for
advice.

"Re the e-mail - you're going to be e-mailing the publisher, not
the readership, so you shouldn't need a separate e-mail. If you
think you'll be getting e-mail from readers, yes, set up a Google
or Yahoo account with the other name. Remember to actually check
the account or set it up to forward to your usual e-mail.

"I did use a pseudonym when I also had referred papers in
biochemical journals, but don't bother any more. It added to the
confusion and didn't solve any problems."

Geraldine Walker offers another possible solution to Vanessa. She
wrote: "I applied for another social security number under which I
do freelance business and to which I have checks deposited; my bank
account for that EIN (Employer Identification Number) reads
Geraldine Walker dba Walker Industries.

"That way money made as an independent contractor is deposited in
that account, keeping it separate from money from regular job
source and making it simpler at tax time for me to know from whence
various monies come. For instance, eBay sales monies are deposited
in this account so I use this account for mileage reimbursement,
that is, driving to and from post office for eBay shipments. Sounds
piddly, I know, but we all have to be accountants sometimes, just
another hat we wear, right? Don't know if this might be of some
help to the person wondering about using a pseudonym. You can apply
online for this EIN."

Sometimes, pseudonyms choose the writer, as Colin Hall explains.
"When I retired, my wife and I moved to Spain, living on a
campsite. I got into singing (something to do), and the compare
would introduce me as 'Colin from the campsite.' One night he
slipped up and said, 'The next singer is Colin Campsite.'  It
stuck, and when I started writing, (for something else to do), I
used the pseudonym, 'Colincampsite'.

"People come up to me and say, 'You are Colin Campsite.' (My picture
accompanies my regular newspaper columns.) I have often been asked
if I ever thought about moving, but Colin Apartment or Colin Villa
has not got the same ring to it.

"You can see that even I am confused. I don't know whether I am one
name or two. So if I should ever start getting paid for my
writings, which is a very unlikely event in Spain, heaven help the
taxman, I say.

"I know this doesn't help Vanessa, but I thought you might like to
know." 

Michael Bracken has lots of experience of writing under a
pseudonym.  He wrote: "I've sold almost 900 short stories, and many
of them have been published under pseudonyms. Every payment is made
to me, not to my pseudonyms, because I do not hide my identity from
my editors, and have never had a reason to. (In fact, several times
the use of a pseudonym has been an editor's decision rather than
mine.)

"So the question back to Vanessa is: Why does she want to hide her
identity from editors? How would she benefit by doing this?"

Good point, Michael, and one that is taken up by Moira Allen. Moira
kindly agreed to write a piece on pseudonyms for the column.  

"The first thing Vanessa needs to consider is her goal in using a
pseudonym in the first place.  Why does she wish to write under a
different name or identity?  There are many reasons for using
pseudonyms.  Some authors write in different genres, and use
different names to keep their different writing areas separate. 
For example, a writer who writes both mysteries and romance novels
might write each genre under a different name.

"Even within a genre, a writer may use different names for
different 'series' or types of books.  Mystery author Cleo Coyle
comes to mind.

"Some writers use pseudonyms because their writing may conflict in
some way with their personal or professional life.  A professor of
Literature at a prestigious university might NOT want to be known
as a writer of torrid erotic romances (though that's less an issue
now than it might have been a decade ago).

"Some writers use pseudonyms to disguise their gender.  You'll
rarely see a romance novel written by 'Michael Smith' - but that
doesn't mean there aren't a lot of men writing romance novels!  

"Another common reason for pseudonyms is to present a single
identity for a writing team or collaboration, such as a
husband-and-wife team (again, Cleo Coyle comes to mind, as she
writes with her husband).  Maan Meyers, another mystery 'author,'
is a pseudonym for a husband/wife team.

"Finally, some writers use a pseudonym because they don't feel
their own name represents them effectively in the writing field. 
'John Smith' might prefer something more dramatic; if, conversely,
your name were Stephen King, you might want to change it for your
own writing.

"Note that most professional writers don't use a pseudonym simply
to 'conceal their identity.'  If that's a writer's primary reason,
it suggests a hint of paranoia - why DON'T you want people to know
who you are?  Is there a reason why you don't want anyone to be
able to identify you?  Is it a valid reason or is it an issue of
insecurity?

"Since most writers aren't concerned with actually concealing their
identity from the world, the 'legal' issues of pseudonyms raised in
this question generally don't enter into the picture.  The only
people that the writers want to 'fool' with an alternate identity
are readers.  They aren't concerned about concealing their identity
from editors, publishers, banks and the IRS.  There is generally no
REASON to do so.

"Thus, if you use a pseudonym, generally all you need to do is
inform the editor that you wish the work to be published under the
by-line you have chosen.  The EDITOR needs to know who you really
are.  Your contracts need to be signed under your legal name. 
Checks are issued to YOU (not your pseudonym) and you pay taxes
under your own name. In short, all the 'behind the scenes' stuff
that goes on in the writing business is done in your own name; the
pseudonym is only a 'front,' a stage name that you project to the
readers (who have nothing to do with your taxes and contracts).

"If you have a PROFOUND reason to write under a false identity, you
would need to set yourself up as a business entity, which would
involve getting a 'doing business as' identity in the name you wish
to use, paying for a business license, setting up a bank account
under your business identity, and paying taxes for that business. 
But generally this is far more than you need to worry about!"

I hope that helps all of you who are considering using pseudonyms.  
Now "Here's a funny question. When I say I'll have a snack to
'tide' me over until dinner... should it be 'tie' me over? 'Tied?'
Or is it something else? And if it's 'tide,' then what is the
past-tense? 'Tided'? That doesn't sound right. I honestly cannot
find this in the dictionary, and online opinions vary."  Asked
Terrie Todd "(who had a big lunch that tided me over quite nicely.)"

Well, any ideas on the correct use of this word?  Or do you have
any other questions to put to the writing community? E-mail me at
editorial@writing-world.com with the subject line 'Inquiring
Writer.'

Until next time, 

Dawn

Copyright 2011 Dawn Copeman

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NEWS FROM THE WORLD OF WRITING
=================================================================

New Self-Publishing System Launched by Perseus
----------------------------------------------
Perseus has launched a new system of self-publishing ebooks for
authors who are represented by one of their partner agencies.  With
Perseus authors will receive 70% of royalties, and the publisher
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In UK Children's Books Do Best in 2011
--------------------------------------
Figures from Nielsen BookScan have revealed that the sector of the
publishing industry that did the best so far in 2011 is children's
fiction, where sales were only down 1% on 2010. The best performers
in the field of children's books were pre-school titles, up by 6%
and textbooks, up by 13%.  For more on this story visit:
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DC Re-launch has Revitalised Sales
----------------------------------
Since the launch of its new 52 series on August 31, sales of DC
comics have risen impressively.  The first issue of the new Justice
League sold over 200,000 copies, as compared to its pre re-launch
sales of around 46,000 copies.  Many of the re-launch comics have
passed the 100,000 mark. For more on this story visit: 
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Writing Jobs and Opportunities
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Result Jelly seeks fantasy, science fiction, poems and comics
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Result Jelly is for lovers of the fantastic, the weird, the alien,
and the epic. We are currently creating and editing our first issue
for release both in print and Kindle/Tablet-friendly editions.
We are accepting fantasy, science fiction, comic, generally
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Comic submissions should be original characters and stories. Comics
should be ready to be submitted digitally; we will not scan/edit
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but keep in mind the goal of the magazine.

Pay for story submissions is 5 cents per word up to 15,000 words;
for stories longer than 15,000 words we will provide an offer upon
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acceptance. 

Please send your submissions via e-mail to: submissions [at]
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Homebound Open to Submissions
-----------------------------
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FEATURE:  Eight Things Picture Book Editors Don't Want

===============================================================
By Penny Lockwood Ehrenkranz

In my capacity as an acquisitions editor, I've read a number of
picture book manuscripts that never should have left home.  There
are many articles telling writers how to write a picture book, but
here are eight types of stories publishers don't want to see.

One: Rhyming stories. 
---------------------
You've all seen them, so you know publishers will publish a story
in rhyme.  As a beginning writer, you should bear in mind that most
editors cringe when they see a rhyming story in their slush pile. 
Why?  Because so many of them are badly written.  
        
Putting together a string of rhyming words doesn't make a story.
Writers who try to do this put more time into finding words that
rhyme than actually crafting a story which has the main elements of
a good tale -- a beginning, middle, and an end, as well as problems
for the main character to solve.  
        
Imagine an editor's chagrin if this came across her desk:  

Cute little Lizzy 
ran around in a tizzy.  
She ran in huge circles, 
hoping for miracles,
before she fell in a heap
smelling like dirty feet.  
        
Yes, this rhymes, but it isn't a story.  Unfortunately for the
beginning writer, it's difficult to craft a rhyming picture book an
editor will want to publish.  You must be very gifted at telling a
story in rhyme to be successful.  New writers will add unnecessary
words just to keep the rhyme going in their story.  They may add
characters and events, too, which don't contribute to the story,
other than making a good rhyme.  It isn't just about the rhyme --
it's about a well-crafted story.

Too often writers believe the best way to gain publication is to
emulate another writer.  Many times that writer is the beloved Dr.
Seuss. He was a master in his field, but it's been said he wrote
over a 1,000 pages for every 64 pages he published.  

Consider Dr. Seuss' Green Eggs and Ham.  The main character (MC) is
approached by Sam and asked to eat green eggs and ham.  The MC
refuses, but Sam continues to pester him and offer him any number
of ways to try green eggs and ham.  Finally, the MC agrees, only to
find he likes green eggs and ham.  This is a delightful story
children love.  It has a beginning, middle, and an end. The MC has
to overcome his disgust at eating green eggs and ham, and he does
so by the end of the story.

Remember, to create a rhyming book editors will love, you need a
good story that happens to rhyme.  You need a main character
(preferably a child or animal), who has a problem that he needs to
solve.  Along the way, the child has obstacles that he must
overcome. Finally, he solves his problem by himself without the aid
of an adult.                

Two: Stories of inanimate objects.  
----------------------------------
While you may think a story about a shoe that has traveled a
thousand miles makes a fun read, children cannot relate to an
animated shoe.  Sure, the shoe may need to find its way from New
York to Los Angeles and may encounter all kinds of disasters along
the way, but please don't submit it to a publishing house.  Keep
your main characters to children, birds, and animals.  
        
There are a few successful stories that have machine driven
characters.  Remember the classic The Little Engine That Could and
more recently the Thomas the Tank Engine stories.  If your story
can only work by using a character other than a child or an animal,
try using a machine-driven object, such as a lawnmower.  Don't
write a story about a rake trying to figure out how to get all the
leaves in the yard piled up so the neighbor kids could jump into
them.  Kids won't be interested, and an editor won't buy it.
        
There are also books, such as Pinocchio and Toy Story, where the
main character is a toy.  The reason toys work as main characters
is that they commonly have a face, like the rabbit in The Velveteen
Rabbit.  Children relate to their toys, often as imaginary friends.
 It's easy, then, for them to imagine the toy in the story becoming
real.

Three:  Slice of life stories.  
------------------------------
Slice of life stories are probably the ones that most often cross
an editor's desk.  These are cute little vignettes that often have
the potential to become a full-fledged story; however, they fall
short.  Imagine a story where there is no conflict.  For example,
Janie wakes up one morning and decides to go for a walk.  On her
walk, she finds a flower, and a stone, and a playground.  At the
playground, she stops to swing on the swing and play on the slide. 
When she gets hungry, she goes home to eat lunch.  This is not a
story.  Janie has no problems in her life.  She has no obstacles to
overcome.  Imagine instead that Janie has a fear of spiders.  On
her walk, she encounters a spider in a web right in the path.  She
has to figure out a way to go past the spider.  On one side of the
path there is a barking German Sheppard.  On the other side of the
path, there is a steep slope and a pond.  Now, Janie has a problem;
she has obstacles to overcome.  The story is no longer just a slice
of Janie's life.

Four: Stories with dream endings.  
---------------------------------
Imagine you and your child are reading along, both of you are
fascinated with the story and can't imagine how the main character
will get out of his predicament when you come to the fatal words,
"and he woke up."  Just as you would be disappointed with this
conclusion, so, too, will an editor be disappointed looking at the
manuscript.  This is not an ending an editor wants to see.  Your
character needs to solve his or her problems.  Waking up from a
dream is not a solution.  Give your characters real problems and
real ways to solve those problems.

Five: Stories with morals.  
--------------------------
Aesop got away with telling moral tales, but today's modern writer
won't.  Neither children nor editors want to read a tale loaded
with moral platitudes.  If you feel you have a mission to teach
morals to children, volunteer at your church; don't put those
teachings into a picture book intended for the general public.  It
won't get published, unless you, as the author, decide to
self-publish.  
        
In today's market, it is possible to embed a moral into the plot of
your story, as long as you're not preaching to the reader.  An
example of this is Lilly's Purple Plastic Purse, by Kevin Henkes. 
In this story, Lilly loves school.  One day, Lilly brings a pair of
sunglasses, three quarters and a plastic purse that played music to
school. Lilly's teacher asks her to put away her purse, but she
loves it so much. To her horror, Mr. Slinger confiscates her purse
until the end of the day.  Later that day, Lilly is so angry she
draws a terrible picture of Mr. Slinger.  When it's time to leave
school, Mr. Slinger gives Lilly back her precious purse.  When she
opens the bag and sees all of her things, plus a note from Mr.
Slinger and a bag of treats, she's so upset, she runs home and
tells her parents.  That night, on her own, she draws a new picture
of Mr. Slinger and writes an apology which Mr. Slinger accepts.
        
While Mr. Henkes doesn't preach to his readers, he cleverly tells
his story in a way that will enable children to understand the
significance of jumping to conclusions.  Everything is not always
what it seems and tomorrow will be a better day.  Only if you can
weave a moral into your plot should you consider doing this.

Six: Stories that haven't been proofread.  
----------------------------------------
It is amazing how many writers will slap together a group of words,
leave the proofreading to the spell checker, and send off the
manuscript hoping to be published.  While writing a picture book
may seem like an easy task, most picture book writers will take
over a year to craft a 32-page book.  One of the manuscripts I
received contained numerous spelling errors.  Yes, the words were
correctly spelled, but they were the wrong words, such as "her" for
"here" and "there" for "their."  Other errors included sentences
that should have ended with a question mark but ended with a period
instead.  I have also seen dialogue with unclosed quotation marks. 
Editors have hundreds of manuscripts from which to choose.  A
sloppy manuscript will not get past the first reader.

Seven: Stories with lots of description.  
----------------------------------------
A picture book is just that -- a book reliant upon pictures.  The
reader knows what's happening in the book from the visual on the
page.  A picture book isn't a novel or a 1,500-word short story.  A
picture book editor doesn't want to know what your character looks
like or what color shorts she's wearing.  He doesn't need to know
what race your character is.  Neither does she need a description
of the house or the yard where your character lives and plays.  If
you have to write those descriptors in your first drafts, go ahead,
but before you send off the story to a publisher, remove all
references to how someone or something looks.

Eight: Long, drawn-out stories.  
-------------------------------
Remember that the standard for picture books is only 32 pages.  On
those 32 pages, there needs to be room for pictures.  Keep your
story to a short time-frame and write with a strong active voice. 
Eliminate adjectives and filler words.  This isn't an essay you're
padding for your English class.  This is a compact story where the
fewer the words, the better the chance of acceptance.

Now that you know what an editor doesn't want to see, explore what
is already written.  Spend time at the library and in children's
book stores.  Read published picture books.  Learn from others, and
then write your own unique story.
  
 >>--------------------------------------------------<<

Penny Lockwood Ehrenkranz has published more than 80 articles, 60
stories, two e-books, a chapbook, and her stories have been
included in two anthologies. She writes for both adults and
children. Her fiction has appeared in numerous genre and children's
publications and her non-fiction work has appeared in a variety of
writing, parenting, and young adult print magazines and online
publications. She works as an acquisitions editor with 4RV
Publishing and a line editor with MuseItUp Publishing. Her writing
blog is available at http://pennylockwoodehrenkranz.blogspot.com/
 
Copyright 2011 Penny Lockwood Ehrenkranz 

For more information on writing for children visit: 
http://www.writing-world.com/children/index.shtml

****************************************************************

EBOOK SELF-PUBLISHING EXPLAINED
An epublishing revolution is sweeping the industry. We explain what
is happening and show you how to self-publish your own ebooks.
http://www.PublishYourOwnEbooks.com

***************************************************************

Free Stuff for Writers: Blogging Free

===============================================================
By Aline Lechaye

Whether it's something they've found and are passing on, or
something they've come up with by themselves, bloggers (and blog
posts) are great sources to get news of cool free stuff for
writers. That's because most people who blog are cheerful,
enthusiastic people who love to share their findings -- and good
news in general -- with the world. Most of those who post about
free stuff for writers are writers themselves, or people who work
in writing-related fields.  

This month, courtesy of four writer-bloggers, I'll be bringing you
news of free ebooks, writing courses, writing tools, and even a
just-for-fun writing aptitude test. 

You may have thought that you'd left the SATs behind forever, but
what about the WSATs? Try out this fun little aptitude test created
by writer/editor/producer/coach Greg Miller. Basically, you
self-evaluate your writing skills, and then compare the results to
someone else's evaluations of your work. You may be surprised at
what you find out! And who knows, it may just be the thing that
gets your muse thinking. Take the test at http://tinyurl.com/65kur8n
It's written out in the middle of the blog post, so I'd recommend
copying and pasting just the test bit onto a word document for
easier reading.

Freelance writer and editor Alicia Sparks of 
http://writingspark.com/ is currently running a 7-day mini course
on her site titled, "Free Tools for Freelance Writers: Save BIG
While Starting Your Writing Business." The posts so far discuss
tools for word processing and setting up your own writing-related
blog/website. By the way, as long as you're at the site, you might
as well stay for a minute to read some of Alicia's other blog posts
for more free tools, writing tips and freelancing advice. 

And from the blog of writer/teacher/coach Chris Garrett, we have an
amazing list of freebie ebooks and courses. The freebies may not
all be writing-related, but you're free to pick and choose which
ones you're going to take away with you (or, if you like, take them
all!) My top three picks from the list are: 

"The Art of YouTube Marketing - A 20-part Course," which you can get by signing up for
the free Smart Marketing newsletter at 
http://smartmarketingsmallbusiness.com/get-smart-marketing/

"The Author 2.0 Blueprint: How to write, publish, sell and promote your
book online" (you can get that at 
http://www.thecreativepenn.com/blueprint/, and if you feel
inclined, The Creative Penn isn't a bad place to hang around for a
while)

"Your Website Is Ugly - 10 things your friends won't
tell you but your web designer wants you to know" (which you can
get at http://pintsizedsites.com/your-website-ugly-but-can-fix/).
Or simply head over to http://www.chrisg.com/awesome-free-stuff/
for the complete list of freebies. 

A shorter, but nevertheless extremely useful list of freebies comes
to us from writer Emily M. Akin's blog. The resources are more
writing related here: there are ebooks and handouts on publishing,
social media, and blogging. Head over to 
http://emilyakin.com/free-stuff-for-writers/ to read the full list. 

And there you have it. Hopefully these free goodies have given you
lots of new ideas for your writing, marketing, and publishing
activities!

 >>--------------------------------------------------<<

Aline Lechaye is a translator, writer, and writing tutor who
resides in Asia. She can be reached at alinelechaye@gmail.com.

Copyright 2011 Aline Lechaye


*****************************************************************

THE WRITE SITES
=================================================================

The Internet Writing Workshop
-----------------------------
If you don't belong to a writers' group or circle because you can't
make it to regular meetings or there isn't one you like in your
area, then the Internet Writing Workshop could be just what you've
been looking for.  You need to be prepared to critique works to
have yours critiqued too.  
http://www.internetwritingworkshop.org/

Mr Thompson's Guide to Never Getting Published
----------------------------------------------
This is a very amusing and reflective blog.  I particularly liked
the excuses for not writing today post!   
http://mrthompsonsguide.blogspot.com/

NathanBransford.com
-------------------
This is an excellent site with lots of handy tips on getting
published. Check out the Essential Publishing Advice as well as the
writing questions database.  
http://nathanbransford.com/

****************************************************************

WIN PRIZES AND GET PUBLISHED! Find out how to submit your stories,
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US and internationally. Newly updated for 2010, WRITING TO WIN by
Moira Allen is the one-stop resource you need for contests and
contest tips. Visit Writing-WorldCom's bookstore for details:
http://www.writing-world.com/bookstore/index.shtml

*****************************************************************

AUTHOR'S BOOKSHELF: Books by Our Readers
=================================================================

Knight Sky, by Lee Henschel

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just click on the link below to list your book.
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Writing World is a publication of Writing-World.com
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Editor and Publisher: MOIRA ALLEN (editors "at" writing-world.com) 

Newsletter Editor: DAWN COPEMAN (editorial "at" writing-world.com) 

Copyright 2011 Moira Allen




 
 
 
 
 




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