My #FirstPictureBook

Did your #firstpicturebook receive any rejection letters?

September 4, 2017

Tags: Emma Bland Smith, Susan Hood, Nancy Churnin, Deborah Freedman, Josh Funk, Ed Masessa, Brittany R. Jacobs, Lori Alexander, Camille Andros, Katey Howes

After three years of rejection, I finally sold my second picture book biography! (Check back in a few weeks to learn more about that project.) Honestly, I stopped keeping track of how many rejection letters it received once it reached 50. “We like it, but we don’t love it” seemed to be the running theme. But it wasn’t until one publisher sent me a long and thoughtful email with specific suggestions, that my manuscript clicked, clicked, CLICKED into place. So to celebrate acceptance after so much rejection, I’m reposting 10 Q&As with these #firstpicturebook authors:

Nancy Churnin: “The rejection letters came in three phases. The first phase was for the version of the story I wrote before I realized I needed to study this craft. There were lots of those! The second phase was after my lovely agent, Karen Grencik, took me on hours after reading the version I had written after taking multiple courses and challenges and gotten help from fabulous critique partners. Those were personalized and regretful rejections which were a big step up from the form letters I had gotten after submitting to the slush piles. The third phase came after I carefully considered a common thread in the comments in the rejections….”

Deborah Freedman: “SCRIBBLE received three rejection letters, for three different versions of the story. After each “pass”, I went back and started all over again. Two years of revisions definitely made the story much stronger, and I’m truly indebted to the two editors who took the time to give me honest feedback.”

Josh Funk: “I sent it to 36 agents. Two responded as if they read it. Ten sent me form rejections. The other 24 were black holes (I never received a response). So I gave up on agents. I sent it snail mail to 10 publishers that accepted unsolicited submissions. One sent back a rejection. 8 never responded. So that all adds up to 45 rejections and ...”

Ed Masessa: “My agent, Marcia Wernick, helped me polish the draft and sent it to a half dozen or so editors over the course of several months. They all came back with a “well done, but…” And all of the ‘buts’ hit upon a central theme – the story dragged. So I kept the bones of the story and went to work on picking up the pace and the fun factor.”

Brittany R. Jacobs: “We had one heckuva time selling the Kraken, and it was because of the artwork. About 20 houses turned us down because they didn't love my illustration style. There was even a point where I considered selling the manuscript and letting someone else do the artwork. Thankfully Pow! saved the day and offered a contract for both text and illustrations, and we ended up with a lovely book.”

Lori Alexander: “Oh, yes! Pre-agent, I sent the early versions to various publishers and ended up in their slush piles. There were a handful of non-responses and some form rejections. I nearly gave up at that point. The process was so slow and I didn’t feel like I was learning enough from the rejections. But the more I read, the more I realized rejections are all part of the business.…”

Camille Andros: “A. Yes! Of course! Probably around two dozen or so from agents and then editors. But I wasn't really shopping Charlotte around as much as I was THE DRESS AND THE GIRL which was the first book I wrote and was more focused on initially. That book got lots and lots of rejections, but each personalized rejection (they weren't all like that of course) and the feedback that came with it was so helpful in improving each manuscript.”

Katey Howes: “Oh, yes! I received at least ten very nice rejection letters for GRANDMOTHER THORN before getting the incredibly exciting call from Rob Broder of Ripple Grove Press. Most of the rejections claimed to love the lyricism and symbolism of the story, but said that it would be a tough sell in the current market because it was “quiet.” Several agents who read GRANDMOTHER THORN asked to see other works from me.”

Emma Bland Smith: “I didn’t receive many rejections for this manuscript, but I want to state that I have received many dozens, maybe even hundreds, of rejections, in total, for all my of manuscripts, over the six or so years I’ve been submitting! And I still am. With JOURNEY, it was a case of the right story getting to the right publisher at the right time. I’m very grateful.”

Susan Hood: “My first version had the same main character and the same ending, but it was a completely different story. A more modern story. My editor thought it had possibilities, but it was rejected in Acquisitions. I was so disappointed, I stuck it in a drawer for years.”

10 Tips on Writing Picture Books

March 27, 2017

Tags: Shana Keller, Ammi-Joan Paquette, Linda Vander Hayden, Lori Alexander, Jodi McKay, Lori Richmond, Annie Silvestro, Wendy BooydeGraaf, Cheryl Keely, Susan Farrington

Shana Keller: Find a topic you love or a person you love and go with it.

Ammi-Joan Paquette: Read as many picture books as you can, especially ones which are debuts and newly released. Familiarizing yourself with what’s out there and what’s selling now is a really valuable tool to crafting your own masterpieces!

Linda Vander Hayden: I try to use active verbs and make sure I’m showing (not telling) how my characters are feeling. I’ve also learned to remember to leave room for an illustrator to work his or her magic.

Lori Alexander: Try alternating the POV of your work-in-progress. You may like what the change does for your story.

Jodi McKay: I am a big advocate for a good story arc and I try to make sure that I hit all of the elements of the arc by asking myself this: Who, Wants, But, So, Then, Sign off.

Lori Richmond: Ask yourself why you like certain books. Analyze how the book is paced. How is the conflict introduced? How is it resolved?

Annie Silvestro: My favorite and most necessary exercise is reading a story out loud so I can really hear the areas that are working and the ones that are not.

Wendy BooydeGraaff: Sit on a bench somewhere and watch the people who pass. Ask questions about them. Where are they going? What job do they do? Once you see someone that sparks your imagination, gather in as many details as possible about that person and then write.

Cheryl Keely: I set a timer (usually 15 minutes) and write whatever comes out in that time.

Susan Farrington: Start with a rough outline of your story, lay it out as it would read over 32 pages. Play with the rhythm until the flow feels right.