Answers to questions writers frequently
ask
By Robin Michal Koontz
with contributions by Phyllis Pollema-Cahill, Collyn Justus, Patricia Pfitsch,
Sue Bradford Edwards, Esther Hershenhorn, Cheryl Zach, and Shirley Burns
For responses click on underlined items or scroll
down
1. I have written a children's story (or several
children's stories) and want to know how to get published.
2. What should my query letter say? What should
my cover letter say?
3. Should I get someone to illustrate
my picture book before I submit it?
4. Okay, I researched and networked and sent out
my manuscript. All I'm getting back, if anything, are form
rejections. What's wrong?
5. A publisher wants to publish my book, but they
want me to pay for some of the expenses.
6. An editor wrote that she saw promise in my
manuscript but wanted it revised. I think it's perfect the
way it is. What should I do?
7. I sent my manuscript to a publisher and haven't
heard a word. Should I call or write? Or will that make them
mad and they'll send my work back without reading it?
8. My manuscript has been making the rounds
for a year, and still no sale. What now?
9. Would it help if I got an agent?
10. And finally: How much money will I make
on my first book?
Here are some common quions and hopefully helpful answers to
people who are new to children's book publishing:
1. I have written a children's story
(or several children's stories) and want to know how to get published. 1.
I have written a children's story (or several children's stories)
and want to know how to get published.
Research by studying contemporary children's books and magazines
and learning how your story fits into today's market. Is your story
age appropriate? Does it have a compelling plot and characters?
Read FROM KEYBOARD TO PRINTED
PAGE to learn how to prepare your manuscript and gauge where
your story belongs. Study publishers' catalogs and review publications
such as Booklist and Hornbook (send
off for them or see if the library will share). Picturebooks are
usually 8, 16, 24 or 32 pages. Magazine publishers have specific
word counts.Your manuscript will have a much better chance for
success if you study and follow existing standards.
Network by joining SCBWI and attending meetings and conferences
on a national level or through your local chapter. Obtain publishers'
guidelines before submitting (SCBWI publishes an updated market
guide each August for members). Make sure your work is professionally
presented. Revise, edit, rewrite, revise some more. Join and stay
in a critique group. Polish your work before submitting, and never
tell an editor, "This is just a rough draft." Always
include a self addressed stamped envelope (SASE) with enough postage
for your work to be returned to you, and never send more than one
story to a publisher unless they request otherwise.
Don't worry about copyrighting your unpublished work. See SCBWI's
handout Copyright Facts for Writers, free to members for
a 33¢ SASE. The law is on your side, and legitimate editors
do not steal manuscripts. Besides, you cannot copyright an idea,
only your version of that idea. There are no original stories,
only original ways to present them.
Solicited vs unsolicited manuscripts: Solicited means that
the editor requested to see the manuscript. Your manuscript can
have solicited status either through an agent, an editor you may
have met at a conference, or you queried the editor according to
their guidelines and got the okay to submit your manuscript. Otherwise,
do not submit your work to a publisher who does not accept unsolicited
submissions. It will not be read.
Exclusive vs multiple submissions: Exclusive submission
means that you will not present your project to any other publisher
while this publisher has it. These days, most publishers who still
accept unsolicited manuscripts also allow multiple submissions.
They just want to be told. Make your submission status very clear
in your cover letter.
The book "Children's Writer's and Illustrator's Market" lists
publisher's needs, payment policies and addresses. It's available
from Writer's Digest Books. There are many books available
that give additional information on writing for children such as,
Uri Schulevitz's "Writing with Pictures" and Lee Wyndham's "Writing
for Children & Teenagers". Also see Now
How Do I Find a Publisher? by Mary Peace Finley.
Guidelines are available online at:
Children's Publisher Guidelines http://www.signaleader.com/chldwrit.html
Writer's Digest's searchable submission guidelines http://www.writersdigest.com/guidelines/index.htm
Publisher's sites and catalogs are available at:
Links to all children's publishers sites http://209.235.102.9/~sig16425/chldwrit.html
Children's Publishers and Booksellers on the Net http://www.ucalgary.ca/~dkbrown/publish.html
Publisher's Catalogs - One of the most comprehensive directories of
publishers on the Internet - arranged geographically. http://www.lights.com/publisher/index.html
The following handouts are available free to SCBWI members by
sending a 10"X13" SASE affixed with the indicated amount
of postage to the national office: SCBWI, Attn: Publications, 8271
Beverly Blvd., Los Angeles, CA 90048.
From the Editor's Desk - Questions Most Frequently Asked by Writers of Children's
Books 33¢
From Typewriter to Printed Page - Facts you Need to Know 33¢
Overview of Types of Publishers 33¢
Publishers of Books for Young People / Market Survey $1.21
Directory Guide to Educational Markets 55¢
Directory Guide to Magazine Markets $1.21
Guide to Foreign Markets 55¢
Guide to Small Press Markets 55¢
Guide to the Religious Book Markets 55¢
2. What should my query letter say? What should
my cover letter say?
A query letter is what you send to see if there is interest in
your project. Most publishers require a query for a non-fiction
project or novel. Your query should adhere to the publisher's guidelines;
never include more than they request. It should present your project
succinctly, much like the preview you read on the inside of a book
jacket, along with brief information about your publishing experience,
if any. If the publisher requests sample chapters with your query,
send the first pages, not your favorite parts. If they ask for
chapter outlines, keep them simple.
A cover letter is what you include with your manuscript and should
not be more than one page, if that long. If you have already queried
the publisher, you can simply remind them that they requested to
read your manuscript and tell them you look forward to their response
(and let them know if it is exclusive or multiple). If you did
not query first, then your cover letter should be like a query
-- with brief information about the project and yourself. Do not
include a resume unless it is a non-fiction project and your resume
reflects your expertise in the subject you are writing about. In
any case, your writing will speak for itself. Most editors will
tell you that they can tell if a project interests them by reading
the first three sentences. They do not need to be told that your
kids, grandkids, students, or dog loved your story, so don't even
go there.
Linda Arms White, past Regional Advisor for the Rocky Mountain
Chapter, has edited a new book on cover and query letters "AUTHOR
TO EDITOR: QUERY LETTER SECRETS OF THE PROS" available through Children's
Book Insider.
3. Should I get someone to illustrate
my picture book before I submit it?
Almost always: no. The editor who purchases your picture book
manuscript will ultimately choose the illustrator. Publishers have
oodles of illustrator samples and it's their job to match your
manuscript with the perfect illustrator. They may commission a
famous name illustrator to increase the sales potential of a new
author's book.
Except in rare circumstances, it is seldom a good idea to collaborate
with an illustrator. Submitting a manuscript with sketches or art
done by someone other than yourself also puts the publisher in
an awkward position. They may love your manuscript and not love
the illustrations. Sometimes it's easier to reject the entire package
rather than deal with hurt feelings. If the illustrator is your
friend or mate, this could cause problems you'd rather not deal
with.
Illustrators are better off researching the market and submitting
their portfolios for assignments. Don't illustrate it yourself
unless you are a professional. There is also no need to describe
the illustrations in your submission. If your manuscript doesn't
come to life visually without your explaining it, then the writing
probably needs work. If the story is intended to be told by the
illustrations, then mention that briefly in your cover letter;
don't clutter the manuscript with explanations.
4. Okay, I researched and networked and sent
out my manuscript. All I'm getting back, if anything, are form
rejections. What's wrong?
Most manuscripts are first reviewed by a reader, who is usually
an Associate Editor. If he/she doesn't see any promise in your
manuscript for their publishing needs, she will return it with
a form rejection letter which usually says something along the
lines of, "Not right for our list." Don't be discouraged
if you've done your homework. Keep sending it. If you get several
rejections, see question #8.
5. A publisher wants to publish my book, but
they want me to pay for some of the expenses.
These are called Vanity Publishers and they are to be avoided.
Though they might tell you they will put up 50% of the costs, their "costs" are
grossly over-inflated. You are better off publishing the book yourself.
You can find excellent resources about how to begin this process,
how much it will cost, etc. at the library or bookstore. Two helpful
books are THE COMPLETE GUIDE TO SELF-PUBLISHING by Tom and Marilyn
Ross (Writer's Digest Books) and THE SELF PUBLISHING MANUAL by
Dan Poynter (Para Publishing). Also check out Dick Lutz's online
column on self-publishing.
Here's another self-publishing resource that offers a free booklet
on the printing process http://www.rjcom.com.
6. An editor wrote that she saw promise in
my manuscript but wanted it revised. I think it's perfect the
way it is. What should I do?
"Revision is like wrestling with a demon, for almost anyone
can write; but only writers know how to rewrite. It is this ability
alone that turns the amateur into a professional." -- William
Knott
Unless her comments are so far from your vision you can't see how you could
possibly rework the manuscript the way she suggests, then take her comments
to heart and get to work. Then, send it back to her and remind her that she
has read it before.
7. I sent my manuscript to a publisher and
haven't heard a word. Should I call or write? Or will that make
them mad and they'll send my work back without reading it?
If you did your homework and only submitted your manuscript to
editors who are actively acquiring books such as yours, you should
have an idea of how much time the publisher asks to review a manuscript.
If they say three months, then by all means after three months
have passed, send them a note. Wait another month, and if you don't
hear anything, then call. Most editors will contact you if your
manuscript is being seriously considered, but not all. The large
publishing companies have a lot of hoops an editor must jump through
in order to sell your book. These things take time.
8. My manuscript has been making the rounds
for a year, and still no sale. What now?
Do not make the common mistake of spending more energy trying
to get published than trying to become a good writer. Perhaps it
is time to revise again. Hopefully you have been working on new
projects and have them out there as well, once they are polished
and ready for submission. You have a much better chance of getting
published if you prove yourself to be a career writer, not just
a flash in the pan. Publishers are more likely to invest in an
author who promises to be fresh and prolific. Chances are your
newer projects are better than the first! That is what usually
happens with time and dedication. You might find that you will
first sell your tenth book, then you will go back and revise the
previous nine and sell them as well.
9. Would it help if I got an agent?
Though you don't need an agent to submit to many publishers, many
others only accept agented material. However, finding a good agent
can be as difficult as finding a publisher. Most will not be interested
in you until you have a contract. This is a good time to get an
agent, to help you through that process. The best way to find a
good, reputable agent is to network with other agented authors
and see if one will read your manuscript, and if they like it,
they might be willing to recommend it to their agent. The best
way to do this is to attend conferences and writers' workshops.
Generally speaking, agents want to represent someone with a good
track record, someone they can make money on. Literary agents usually
take a 15% commission. (Illustrator's agents take 25%-30%.)
There are many things to consider and research before even contacting
an agent. Many successful writers don't use an agent. They use
a literary lawyer if necessary. Whether you have an agent or not,
it's to your benefit to learn as much as you can about the market,
contracts, rights and negotiating. Agents can get your work before
editors that don't accept unsolicited manuscripts. This advantage
is becoming more and more important.
If you find an interested agent, ask them for references--both
writers they represent and publishers they work with. Some agents
offer written contracts. Some have more informal arrangements with
clients. Ask prospective agents about contracts to know what to
expect. Be careful to choose a reputable agent. Agents should be
members of AAR (the Association of Artists' Representatives), and
should never require up front reading fees to evaluate your manuscript.
Beware of agents who solicit through the mail. Also, in choosing
an agent, remember that that person works FOR you; he/she should
have your best interest at heart. Interview and screen prospective
agents as carefully as you would employees of your own business.
The handout "SCBWI Guide to Agents" contains a listing
of literary agents specializing in the children's market and much
more detailed information. This is available free to members by
sending a 10"X13" SASE affixed with $ .77 postage to
the national office: SCBWI, Attn: Publications, 8271 Beverly Blvd.,
Los Angeles, CA 90048. There's also a book published by Writer's
Digest Books "GUIDE TO LITERARY AGENTS AND ART/PHOTO REPS"
There are also listings of agents at:
Booktalk: Literary Agents Listing and Topics http://www.booktalk.com/agents1.asp
Writers Net Literary Agents http://www.writers.net/agents.html
Agent Research & Evaluation http://www.agentresearch.com
10. And finally: How much money will I
make on my first book?
Let's put it this way: Don't quit your day job. Writing for the
children's book market is seldom as lucrative as writing for the
adult market. For a 32 page picture book, you can expect to split
50/50 a $3,000-$8,000 advance with the illustrator, then each of
you will get 3.5%-5% royalties against your advance (your advance
must be earned back before you receive any royalties). Most picture
books sell from 5,000-10,000 copies in hardcover and go out of
print within fourteen months. Few go into paperback. Easy readers
are about the same. The royalties are not split on a novel, so
you could receive approximately a $5,000 advance against 7-10%
royalties. Royalties are usually based on the retail price of the
book, however some publishers go by "net price" which
is the price of the book after their expenses are figured in, which
means, less money. Read your contract very carefully. Compensation
for magazine articles varies widely depending on the publication,
its circulation and the type of piece being submitted, but payment
can often range between $25 - $200.
In the end, writers write because they love creating stories and
making words sing, and they love to see children enjoy the stories
and books and poems and articles they have created. These are the
true riches that a writer for children will garner. You don't have
to be published to achieve this goal.
