Hannah Holt

AN INTERVIEW WITH HANNAH HOLT In this rebroadcast, we talk with Hannah Holt, a children’s author with an engineering degree. Her books, The Diamond &amp; The Boy (Balzer+Bray) and A Father’s Love (Philomel) weave together her love of language and science. When not reading or writing, you can find Hannah running marathons and hiking mountains. We talk about  Biggest misconception writers have about getting an agent and/or a book deal Advice for prepublished writers Hannah’s surveys: what she learned, how she used the input. How she created and researched a picture book about her grandfather Questions about “bare bones” publishing, indie, and traditional publishing. 

AN INTERVIEW WITH HANNAH HOLT In this rebroadcast, we talk with Hannah Holt, a children’s author with an engineering degree. Her books, The Diamond &amp; The Boy (Balzer+Bray) and A Father’s Love (Philomel) weave together her love of language and science. When not reading or writing, you can find Hannah running marathons and hiking mountains. We talk about <ul> <li>Biggest misconception writers have about getting an agent and/or a book deal</li> <li>Advice for prepublished writers</li> <li>Hannah’s surveys: what she learned, how she used the input.</li> <li>How she created and researched a picture book about her grandfather</li> <li>Questions about “bare bones” publishing, indie, and traditional publishing.</li> </ul>

Industry Insider Tips with Hannah Holt | Writng for Children 244

FOUR WAYS TO LEARN TO LOVE NONFICTION Many writers view nonfiction as less: less creative than fiction, less fun than fiction, less interesting to kids than fiction, and definitely something they want to do less often. Some will accept the possibility of writing a little nonfiction to break into publishing, but do not like the idea of doing it steadily. For many, they want to do the important work of fiction.   But nonfiction is important. Especially now. Kids love nonfiction, and it's an important teaching tool in support of school curriculum. And nonfiction can offer children something that can help them long after the book is closed: an appreciation of the value of well-researched, accurate facts. That's why we're bringing this rebroadcast to you today.

FOUR WAYS TO LEARN TO LOVE NONFICTION Many writers view nonfiction as less: less creative than fiction, less fun than fiction, less interesting to kids than fiction, and definitely something they want to do less often. Some will accept the possibility of writing a little nonfiction to break into publishing, but do not like the idea of doing it steadily. For many, they want to do the important work of fiction.   But nonfiction is important. Especially now. Kids love nonfiction, and it's an important teaching tool in support of school curriculum. And nonfiction can offer children something that can help them long after the book is closed: an appreciation of the value of well-researched, accurate facts. That's why we're bringing this rebroadcast to you today.

Four Ways to Learn to Love Nonfiction | Writing for Children 243

LAUNCHING A STORY FROM A TITLE Chances are you fall into one of two camps when it comes to titles: You either love creating them or you dread trying to think up something clever that will catch a reader’s eye. Thanks to Jan Fields, today we’re going to have some fun creating titles. So much fun your new titles just might launch a new story.

LAUNCHING A STORY FROM A TITLE Chances are you fall into one of two camps when it comes to titles: You either love creating them or you dread trying to think up something clever that will catch a reader’s eye. Thanks to Jan Fields, today we’re going to have some fun creating titles. So much fun your new titles just might launch a new story.

Launching a Story from a Title | Writing for Children 242

TOP THREE NARRATIVE NONFICTION MISSTEPS Nonfiction is basically broken into two broad types. Expository nonfiction describes, explains, and informs. Narrative nonfiction uses story elements to convey a factual experience. Narrative nonfiction tells a story through carefully researched, factual recounting. Not all nonfiction books are strictly expository or strictly narrative. Some in fact contain both, but for now, Jan Fields has given us a lead on common missteps when writing narrative nonfiction.

TOP THREE NARRATIVE NONFICTION MISSTEPS Nonfiction is basically broken into two broad types. Expository nonfiction describes, explains, and informs. Narrative nonfiction uses story elements to convey a factual experience. Narrative nonfiction tells a story through carefully researched, factual recounting. Not all nonfiction books are strictly expository or strictly narrative. Some in fact contain both, but for now, Jan Fields has given us a lead on common missteps when writing narrative nonfiction.

Top 3 Narrative Nonfiction Missteps | Writing for Children 241

INTERVIEW WITH A CONTEST JUDGE In this rebroadcast, we interview frequent ICL contest judge and longtime instructor Nancy Coffelt. As well as being a multi-published picture book author and illustrator, Nancy is a fine artist and has been showing in galleries across the country since 1984. Her work is included in personal, public and corporate collections around the world.  Nancy also writes and illustrates books for children. Her books include Catch That Baby, Fred Stays with Me, and The Big Eclipse. 

INTERVIEW WITH A CONTEST JUDGE In this rebroadcast, we interview frequent ICL contest judge and longtime instructor Nancy Coffelt. As well as being a multi-published picture book author and illustrator, Nancy is a fine artist and has been showing in galleries across the country since 1984. Her work is included in personal, public and corporate collections around the world.  Nancy also writes and illustrates books for children. Her books include Catch That Baby, Fred Stays with Me, and The Big Eclipse.

Why Entering Contests Helps YOU | Writing for Children 240

TIPS FOR YOUR WRITER WEBSITE Every author needs a website—yes, even if you're not published yet. In the Internet age, your website acts as your online business card for readers and even prospective agents and editors. In this rebroadcast, we discuss tips for keeping your website user friendly and keeping them coming back for more.

TIPS FOR YOUR WRITER WEBSITE Every author needs a website—yes, even if you're not published yet. In the Internet age, your website acts as your online business card for readers and even prospective agents and editors. In this rebroadcast, we discuss tips for keeping your website user friendly and keeping them coming back for more.

8 Tips for Your Writer Website | Writing for Children 239

5 QUESTIONS ABOUT AUTHOR PLATFORM A while back I sent out a one-question survey. Writers could submit any one question about author platform and marketing. I learned a ton from reading all the questions that were submitted, but there were definitely some common themes. Today, we’re diving into the five most common questions writers have as they start building their platform.

5 QUESTIONS ABOUT AUTHOR PLATFORM A while back I sent out a one-question survey. Writers could submit any one question about author platform and marketing. I learned a ton from reading all the questions that were submitted, but there were definitely some common themes. Today, we’re diving into the five most common questions writers have as they start building their platform.

5 Questions About Author Platform | Writing for Children 238

INTERVIEW WITH VICTORIA BOND Victoria Bond is a writer and professor. Her novel, Zora and Me, co-written with T.R. Simon, won the John Steptoe/Coretta Scott King Award for New Talent and was nominated for an Edgar Award in the category of Juvenile Fiction, as well as being a Junior Library Guild Selection. Victoria holds a MFA in poetry. The occasional essayist on issues both personal and political, she teaches first year writing at John Jay College, The City University of New York. WE TALK ABOUT  How Victoria and her co-writer start working together How they created the series together What’s based on reality and what did the authors invent How much reality should one use when writing historical fiction How far can you go when creating new information based on someone’s actual life 

INTERVIEW WITH VICTORIA BOND Victoria Bond is a writer and professor. Her novel, Zora and Me, co-written with T.R. Simon, won the John Steptoe/Coretta Scott King Award for New Talent and was nominated for an Edgar Award in the category of Juvenile Fiction, as well as being a Junior Library Guild Selection. Victoria holds a MFA in poetry. The occasional essayist on issues both personal and political, she teaches first year writing at John Jay College, The City University of New York. WE TALK ABOUT <ul> <li>How Victoria and her co-writer start working together</li> <li>How they created the series together</li> <li>What’s based on reality and what did the authors invent</li> <li>How much reality should one use when writing historical fiction</li> <li>How far can you go when creating new information based on someone’s actual life</li> </ul>

Interview with Victoria Bond | Writing for Children 237

FINDING YOUR CHILDLIKE VOICE Voice is the number one thing that can make or break your children’s story. So, let’s see how to find a childlike voice that appeals to your audience. Readers love dialogue. It lightens the page, making the whole story feel easier to read. It allows us to hear the characters directly, helping us to know them. And it is often the best place to sprinkle in some tasty humor. Unfortunately, it's also one of the quickest ways to lose the reader. In this rebroadcast, we're discussing three ways to find your character's childlike voice.

FINDING YOUR CHILDLIKE VOICE Voice is the number one thing that can make or break your children’s story. So, let’s see how to find a childlike voice that appeals to your audience. Readers love dialogue. It lightens the page, making the whole story feel easier to read. It allows us to hear the characters directly, helping us to know them. And it is often the best place to sprinkle in some tasty humor. Unfortunately, it's also one of the quickest ways to lose the reader. In this rebroadcast, we're discussing three ways to find your character's childlike voice.

Finding Your Childlike Voice | Writing for Children 236

AUTHENTIC KID VOICES A while ago on the Institute's Facebook page, someone was asking about dialogue, which made me think again about this important writing tool. Readers love dialogue because it makes a scene and a character come to life. Dialogue puts us into a specific moment within a story and that's a powerful thing for readers. But many writers struggle with dialogue and with making it feel lively, purposeful, and real. So what should you do first in the pursuit of good dialogue? Get a one-on-one mentor to help you write publishable work for today's market!  Click here to let us help you write your book.

AUTHENTIC KID VOICES A while ago on the Institute's Facebook page, someone was asking about dialogue, which made me think again about this important writing tool. Readers love dialogue because it makes a scene and a character come to life. Dialogue puts us into a specific moment within a story and that's a powerful thing for readers. But many writers struggle with dialogue and with making it feel lively, purposeful, and real. So what should you do first in the pursuit of good dialogue? Get a one-on-one mentor to help you write publishable work for today's market!  <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Click here to let us help you write your book.</a>

Authentic Kid Voices | Writing for Children 235

Do you want to learn how to write for children? The Institute of Children's Literature has taught hundreds of thousands of aspiring writers, and the director of ICL is the host of Writing for Children. Bestselling children's author Katie Davis focuses on the craft of writing for children: how to write a children’s book, how to write for children’s magazines, how to get paid, and get published. There are listener questions, with answers from the experts at the Institute, plus hard-to-find resources and links included in every week's show notes. If you want to learn about how to get into children's publishing, Listen!

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Kate DiCamillo

INTERVIEW WITH KATE DICAMILLO Kate DiCamillo's writing journey has been a truly remarkable one. She grew up in Florida and moved to Minnesota in her twenties, when homesickness and a bitter winter led her to write Because of Winn-Dixie—her first published novel, which became a runaway bestseller and snapped up a Newbery Honor. Since then, she has been a National Book Award finalist, won two Newbery Medals and was named National Ambassador for Young People's Literature. She now has almost 30 million books in print worldwide. In this interview, we dig into Kate's newest book Beverly, Right Here and talk about characterization through dialogue, including:  Do you think about showing v. telling while you’re writing, or do you naturally fall into it? What do you find most challenging about writing dialogue? Has your dialogue changed in your protagonists over the years? Is it hard to switch between writing dialogue for kids, teens, and adults?     Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

INTERVIEW WITH KATE DICAMILLO Kate DiCamillo's writing journey has been a truly remarkable one. She grew up in Florida and moved to Minnesota in her twenties, when homesickness and a bitter winter led her to write Because of Winn-Dixie—her first published novel, which became a runaway bestseller and snapped up a Newbery Honor. Since then, she has been a National Book Award finalist, won two Newbery Medals and was named National Ambassador for Young People's Literature. She now has almost 30 million books in print worldwide. In this interview, we dig into Kate's newest book Beverly, Right Here and talk about characterization through dialogue, including: <ul> <li>Do you think about showing v. telling while you’re writing, or do you naturally fall into it?</li> <li>What do you find most challenging about writing dialogue?</li> <li>Has your dialogue changed in your protagonists over the years?</li> <li>Is it hard to switch between writing dialogue for kids, teens, and adults?</li> </ul> Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

Interview with Kate DiCamillo | Writing for Children 182

HOW NOT TO GET REJECTED Perhaps the most common question from new picture book authors is, “Why do agents and editors say they hate rhyme when so many rhyming picture books get published each year?” These authors aptly observe that kids love rhyming books, many of them are bestsellers, and Dr. Seuss’s books still sell millions of copies. Here’s the truth. Agents and editors don’t hate rhyme. They hate poorly written rhyme. Inspired by an article from 12 x 12 Writing Challenge Founder Julie Hedlund, let's talk about strategies for developing well-written rhyme.    Let a one-on-one mentor to help you hone your revision skills and polish your work so it shines in your submissions to agents and editors! Get started here!

HOW NOT TO GET REJECTED Perhaps the most common question from new picture book authors is, “Why do agents and editors say they hate rhyme when so many rhyming picture books get published each year?” These authors aptly observe that kids love rhyming books, many of them are bestsellers, and Dr. Seuss’s books still sell millions of copies. Here’s the truth. Agents and editors don’t hate rhyme. They hate poorly written rhyme. Inspired by an article from 12 x 12 Writing Challenge Founder Julie Hedlund, let's talk about strategies for developing well-written rhyme. Let a one-on-one mentor to help you hone your revision skills and polish your work so it shines in your submissions to agents and editors! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

How to Write a Rhyming PIcture Book That Won't Get Rejected | Writing for Children 195

CREATING CHARACTERS INSPIRED BY REAL LIFE One way to find great characters is to look in the world around you. This seems relatively simple but may actually be harder than it sounds. Why? Because the key to creating vivid characters is writing them objectively and letting the reader draw their own conclusions. What does it mean to be objective when writing about your characters? In this episode, we work through an ICL exercise to help you see the world, and the characters in it, more objectively.    Get a one-on-one mentor to help you get your characters in shape for publication! Get started here!

CREATING CHARACTERS INSPIRED BY REAL LIFE One way to find great characters is to look in the world around you. This seems relatively simple but may actually be harder than it sounds. Why? Because the key to creating vivid characters is writing them objectively and letting the reader draw their own conclusions. What does it mean to be objective when writing about your characters? In this episode, we work through an ICL exercise to help you see the world, and the characters in it, more objectively. Get a one-on-one mentor to help you get your characters in shape for publication! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

Creating Charaters Inspired by Real Life | Writing for Children 153

GIVE YOUR CHARACTERS SOMETHING TO DO Summed up to its essential core, a plot is the result of applying pressure to a character to the degree that the character must act in reaction to the pressure. The pressure you apply and the reaction to it will be directly tied to the character you’ve created. An impulsive, brave, active child will take very little pressure to be pushed into an adventure, but an “easy” plot like that is rarely very satisfying for the reader. Let's talk about ways to up the pressure and keep your readers engaged.    Let a one-on-one mentor help you get those characters out of your head and onto the page. Get started here!

GIVE YOUR CHARACTERS SOMETHING TO DO Summed up to its essential core, a plot is the result of applying pressure to a character to the degree that the character must act in reaction to the pressure. The pressure you apply and the reaction to it will be directly tied to the character you’ve created. An impulsive, brave, active child will take very little pressure to be pushed into an adventure, but an “easy” plot like that is rarely very satisfying for the reader. Let's talk about ways to up the pressure and keep your readers engaged. Let a one-on-one mentor help you get those characters out of your head and onto the page. <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

Set Up Your Plot | Writing for Children 149

A CHILDLIKE VOICE Kids are far more discerning than many writers suspect. They know a "fake kid" when they hear one, so your dialogue must feel like real words spoken by a real kid. At the same time, it cannot include all the affectations (um, so like, um, what?) that might be part of real speech but would drag the story down. So how do you learn how to write real dialogue? Glad you asked. Here is a three-step process that will help you transform your dialogue.    Join the Institute of Children's Literature Community! Get our weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

A CHILDLIKE VOICE Kids are far more discerning than many writers suspect. They know a "fake kid" when they hear one, so your dialogue must feel like real words spoken by a real kid. At the same time, it cannot include all the affectations (um, so like, um, what?) that might be part of real speech but would drag the story down. So how do you learn how to write real dialogue? Glad you asked. Here is a three-step process that will help you transform your dialogue. Join the Institute of Children's Literature Community! Get our weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

Finding Your Character's Childlike Voice | Writing for Children 184

CREATE YOUR AUTHOR PLATFORM What IS a platform? It’s your visibility. The wider your reach, the more books you can sell. What you do with your platform is try to reach (in an authentic way) your target audience. It’s all about connecting—with people on a real level and because of your reach, you are able to sell books. It’s not about being in people’s faces and hollering about buying your book. So, who needs a platform and where do you begin? Let's talk about it in this episode.    Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

CREATE YOUR AUTHOR PLATFORM What IS a platform? It’s your visibility. The wider your reach, the more books you can sell. What you do with your platform is try to reach (in an authentic way) your target audience. It’s all about connecting—with people on a real level and because of your reach, you are able to sell books. It’s not about being in people’s faces and hollering about buying your book. So, who needs a platform and where do you begin? Let's talk about it in this episode. Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

Create Your Author Platform | Writing for Children 157

6 STEPS TO SUBMISSION SUCCESS These days a vast majority of publishers and agents accept submissions online, whether through email or a website form. There are a few holdouts, but these days it sounds strange to hear anyone say they don't take digital submissions. This means we all need to learn how to put our best foot forward in online submissions. Adapted from an article by Jan Fields, here are six steps to submission success.    Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

6 STEPS TO SUBMISSION SUCCESS These days a vast majority of publishers and agents accept submissions online, whether through email or a website form. There are a few holdouts, but these days it sounds strange to hear anyone say they don't take digital submissions. This means we all need to learn how to put our best foot forward in online submissions. Adapted from an article by Jan Fields, here are six steps to submission success. Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

6 Steps to Submission Success | Writing for Children 175

BREAK INTO PUBLISHING Writing is a noble proposition, in and of itself. Published writing is something else entirely. And paid published writing—whoa, Nellie, that’s just glorious! In order to get published though, you need to put yourself “out there” in the world, and get your writing in front of people who are in charge of accepting items for publication … preferably in places that will pay you for your work. Inspired by an article from Rita Reali, let’s look at different ways to break into publishing today.    Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

BREAK INTO PUBLISHING Writing is a noble proposition, in and of itself. Published writing is something else entirely. And paid published writing—whoa, Nellie, that’s just glorious! In order to get published though, you need to put yourself “out there” in the world, and get your writing in front of people who are in charge of accepting items for publication … preferably in places that will pay you for your work. Inspired by an article from Rita Reali, let’s look at different ways to break into publishing today. Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

Break into Publishing | Writing for Children 176

10 THINGS THAT MAKE EDITORS CRINGE Nobody wants to make an editor (or anyone) cringe when they read your manuscript. Inspired by a post from Jamie K. Schmidt, we’re covering 10 things that make editors cringe and tips to avoid them. Be sure to head to writingforchildren.com/187 to download the show notes because many of these tips will be easier to see in writing. Everybody knows to use spellcheck or Grammarly when going over their writing. However, some mistakes aren’t generally caught by these two programs. And if you want to stop an editor’s eyes from rolling to the back of her head, you should check your writing for these errors.    Let a one-on-one mentor help you hone your revision skills and polish your work so it shines in your submissions to agents and publishers! Get started here!

10 THINGS THAT MAKE EDITORS CRINGE Nobody wants to make an editor (or anyone) cringe when they read your manuscript. Inspired by a post from Jamie K. Schmidt, we’re covering 10 things that make editors cringe and tips to avoid them. Be sure to head to <a href="http://writingforchildren.com/187" rel="nofollow" target="_blank">writingforchildren.com/187</a> to download the show notes because many of these tips will be easier to see in writing. Everybody knows to use spellcheck or Grammarly when going over their writing. However, some mistakes aren’t generally caught by these two programs. And if you want to stop an editor’s eyes from rolling to the back of her head, you should check your writing for these errors. Let a one-on-one mentor help you hone your revision skills and polish your work so it shines in your submissions to agents and publishers! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

10 Things That Make Editors Cringe | Writing for Children 187

POINT OF VIEW AS A TOOL This and last week’s podcast is based on an article written by author and former ICL instructor Chris Eboch which touches on engaging your reader and gives some strong examples. In our episode 150, we talked about using vivid nouns and verbs instead of vague description to engage your reader in your story. In part two, we’re delving into using point of view for the purposes of showing.    Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

POINT OF VIEW AS A TOOL This and last week’s podcast is based on an article written by author and former ICL instructor Chris Eboch which touches on engaging your reader and gives some strong examples. In our <a href="https://www.instituteforwriters.com/sophisticated-show-and-tell-part-1/" rel="noopener nofollow" target="_blank">episode 150</a>, we talked about using vivid nouns and verbs instead of vague description to engage your reader in your story. In part two, we’re delving into using point of view for the purposes of showing. Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

Sophisticated Show & Tell Part 2 | Writing for Children 151

BEING INSPIRED BY EVERYDAY OBJECTS It's human nature to become attached to things. We connect specific memories to objects: when we received it, who we received it from, how we've used it. Also, objects are wonderfully concrete and specific, we feel the weight of them in our hands and see the effects of age on the object. As a result, objects can also make wonderful story and poetry starters.    Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

BEING INSPIRED BY EVERYDAY OBJECTS It's human nature to become attached to things. We connect specific memories to objects: when we received it, who we received it from, how we've used it. Also, objects are wonderfully concrete and specific, we feel the weight of them in our hands and see the effects of age on the object. As a result, objects can also make wonderful story and poetry starters. Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

Being Inspired by Everyday Objects | Writing for Children 154

Emma Walton Hamilton

INTERVIEW WITH EMMA WALTON HAMILTON Emma Walton Hamilton is a best-selling children’s book author, editor, and writing coach.  With her mother, actress/author Julie Andrews, Emma has co-authored over thirty children’s books, nine of which have been on the NY Times Bestseller list, including The Very Fairy Princess series. She is Director of the Children’s Lit Fellows program at Stony Brook University. She served as the Editorial Director for the Julie Andrews Collection imprint at Harper Collins for six years. So, she's seen submissions from both sides of the desk. We talk about: • What are common mistakes new writers make when submitting? • How do you find the right place to submit to? • Do all writers need an agent? • How do you get an agent? • Do any houses accept unsolicited at this point?    Join the Institute of Children's Literature Community! Get our weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

INTERVIEW WITH EMMA WALTON HAMILTON <a href="http://emmawaltonhamilton.com/" rel="noopener nofollow" target="_blank">Emma Walton Hamilton</a> is a best-selling children’s book author, editor, and writing coach.  With her mother, actress/author Julie Andrews, Emma has co-authored over thirty children’s books, nine of which have been on the NY Times Bestseller list, including The Very Fairy Princess series. She is Director of the Children’s Lit Fellows program at Stony Brook University. She served as the Editorial Director for the Julie Andrews Collection imprint at Harper Collins for six years. So, she's seen submissions from both sides of the desk. We talk about: • What are common mistakes new writers make when submitting? • How do you find the right place to submit to? • Do all writers need an agent? • How do you get an agent? • Do any houses accept unsolicited at this point? Join the Institute of Children's Literature Community! Get our weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

Interview with Emma Walton Hamilton | Writing for Children 173

Emma D. Dryden

AN INTERVIEW WITH EMMA D. DRYDEN Emma D. Dryden founded drydenbks LLC (www.drydenbks.com), a premiere children’s editorial &amp; publishing consultancy firm, after 25 years experience as editor and publisher of Margaret K. McElderry Books and Atheneum Books for Young Readers, imprints of Simon &amp; Schuster Children’s Publishing. We are thrilled to bring you her expertise on setting and world building in this month's interview. We talk about:  The best way to help your reader feel like they’re in your world without “telling” and creating prolonged descriptions. Great metaphors for emotions (and a way to show not tell). How to avoid cliched characters. What to do when readers tell you they’re not believing your character. The biggest mistakes Emma often sees when people are trying to set the stage.     Let a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

AN INTERVIEW WITH EMMA D. DRYDEN Emma D. Dryden founded drydenbks LLC (<a href="http://www.drydenbks.com" rel="nofollow" target="_blank">www.drydenbks.com</a>), a premiere children’s editorial &amp; publishing consultancy firm, after 25 years experience as editor and publisher of Margaret K. McElderry Books and Atheneum Books for Young Readers, imprints of Simon &amp; Schuster Children’s Publishing. We are thrilled to bring you her expertise on setting and world building in this month's interview. We talk about: <ul> <li>The best way to help your reader feel like they’re in your world without “telling” and creating prolonged descriptions.</li> <li>Great metaphors for emotions (and a way to show not tell).</li> <li>How to avoid cliched characters.</li> <li>What to do when readers tell you they’re not believing your character.</li> <li>The biggest mistakes Emma often sees when people are trying to set the stage.</li> </ul> Let a one-on-one mentor to help you write publishable work that agents and publishers are looking for! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

An Interview with Emma D. Dryden | Writing for Children 147

HOW TO EVOKE DETAIL IN YOUR WRITING Today we’re talking about the art of description. This episode is inspired by Assignment 3 in the Writing for Children and Teens course. We’re going to focus on evoking in detail a particular place you remember from your childhood. That word “detail” is important, because, if you think about it, specifics are what bring a subject to life on the page—and the elements that make for interesting reading.    Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

HOW TO EVOKE DETAIL IN YOUR WRITING Today we’re talking about the art of description. This episode is inspired by Assignment 3 in the <a href="https://www.instituteforwriters.com/writing-for-children-and-teens/" rel="noopener nofollow" target="_blank">Writing for Children and Teens course</a>. We’re going to focus on evoking in detail a particular place you remember from your childhood. That word “detail” is important, because, if you think about it, specifics are what bring a subject to life on the page—and the elements that make for interesting reading. Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

What Goes Into Effective Description | Writing for Children 148

WHAT TO EXPECT WHEN YOU'RE EXPECTING TO GO TO A WRITING CONFERENCE PART 2 In last week's episode, we talked about how to choose the conference you want to go to. This week, we'll touch on what to expect when you get there, what to wear, what to take, and what not to do.   Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

WHAT TO EXPECT WHEN YOU'RE EXPECTING TO GO TO A WRITING CONFERENCE PART 2 In <a href="https://www.instituteforwriters.com/setting-conference-expectations-part-1/" rel="noopener nofollow" target="_blank">last week's episode</a>, we talked about how to choose the conference you want to go to. This week, we'll touch on what to expect when you get there, what to wear, what to take, and what not to do. Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

What to Expect From a Writing Conference Pt 2 | Writing for Children 163

5 TIPS TO REV UP YOUR OPENING When a reader picks up your book, you don't want them to put it down. Here are five tips for energizing your opening sequence and pulling in your reader.   Let a one-on-one mentor help you hone your revision skills and polish your work so it shines in your submissions to agents and publishers! Get started here!

5 TIPS TO REV UP YOUR OPENING When a reader picks up your book, you don't want them to put it down. Here are five tips for energizing your opening sequence and pulling in your reader. Let a one-on-one mentor help you hone your revision skills and polish your work so it shines in your submissions to agents and publishers! <a href="https://www.instituteforwriters.com/assessment/" rel="nofollow" target="_blank">Get started here!</a>

Revision Power Tips | Writing for Children 178

RESHAPING YOUR STORY PART 1 You’ve finished a draft (or several drafts) of a story you’re excited about. You set it aside to cool for several days, then reread it. While you’re still pleased with the story, you have to admit it needs more work—not just polishing, but re-engineering for better pace, suspense, and focus. If you’re like most writers, you may also find it’s run considerably over the word length you were aiming for, an important consideration if you’re planning to submit the story to editors. Today we talk about where to begin reshaping your story.   Be sure to catch Reshaping Your Story Part 2 here!

RESHAPING YOUR STORY PART 1 You’ve finished a draft (or several drafts) of a story you’re excited about. You set it aside to cool for several days, then reread it. While you’re still pleased with the story, you have to admit it needs more work—not just polishing, but re-engineering for better pace, suspense, and focus. If you’re like most writers, you may also find it’s run considerably over the word length you were aiming for, an important consideration if you’re planning to submit the story to editors. Today we talk about where to begin reshaping your story. Be sure to catch Reshaping Your Story Part 2 <a href="https://www.instituteforwriters.com/reshaping-your-story-part-2/" rel="noopener nofollow" target="_blank">here</a>!

Reshaping Your Story Part 1 | Writing for Children 167

EVALUATING YOUR SOURCES Today’s episode comes from the IFW book Searching: A Research Guide for Writers, now available in our bookstore. Whether you’re writing fiction or nonfiction, research is an important piece of having an authentic article or manuscript that connects with editors and readers. In this episode, we’re talking about how to evaluate the information you find in your research for credibility and reliability. Questions to Ask Never accept a web page at face value; always evaluate the information. Here’s a checklist of basic things to consider: • Who is the author? What credentials does this person or organization have?  • What is the purpose of the website or publication? Is it intended to inform, inspire, entertain, or persuade? What is the historical context of the information? • How comprehensive is the coverage? Is it an overview or does it delve deeply into your topic?  • Is the source impartial or does it emphasize paid links? For more questions to ask about your source, listen to the full episode.   Grab your copy of  Searching: A Research Guide for Writers in the ICL Bookstore!

EVALUATING YOUR SOURCES Today’s episode comes from the IFW book <a href="https://www.instituteforwriters.com/product/searching-a-research-guide-for-writers/" rel="noopener nofollow" target="_blank">Searching: A Research Guide for Writers</a>, now available in our bookstore. Whether you’re writing fiction or nonfiction, research is an important piece of having an authentic article or manuscript that connects with editors and readers. In this episode, we’re talking about how to evaluate the information you find in your research for credibility and reliability. Questions to Ask Never accept a web page at face value; always evaluate the information. Here’s a checklist of basic things to consider: • Who is the author? What credentials does this person or organization have?  • What is the purpose of the website or publication? Is it intended to inform, inspire, entertain, or persuade? What is the historical context of the information? • How comprehensive is the coverage? Is it an overview or does it delve deeply into your topic?  • Is the source impartial or does it emphasize paid links? For more questions to ask about your source, listen to the full episode. Grab your copy of <a href="https://www.instituteforwriters.com/product/searching-a-research-guide-for-writers/" rel="nofollow" target="_blank"> Searching: A Research Guide for Writers</a> in the ICL Bookstore!

Pitfalls of Research | Writing for Children 171

ASSEMBLING YOUR SUBMISSION PACKAGE When it comes to becoming a published writer, queries are quintessential. They represent the bridge from your creative endeavors to becoming a professional. Sure, some submissions require cover letters or website forms, but every writer must conquer the query above all. And the query is a key part of a writer’s platform. This episode will look at queries, cover letters, and the other elements that make up submission packages.   Get the ICL Submission Prep Package FREE! Get our weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news 

ASSEMBLING YOUR SUBMISSION PACKAGE When it comes to becoming a published writer, queries are quintessential. They represent the bridge from your creative endeavors to becoming a professional. Sure, some submissions require cover letters or website forms, but every writer must conquer the query above all. And the query is a key part of a writer’s platform. This episode will look at queries, cover letters, and the other elements that make up submission packages. Get the ICL Submission Prep Package FREE! Get our weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: <a href="https://www.instituteforwriters.com/icl-news" rel="noopener nofollow" target="_blank">www.instituteforwriters.com/icl-news</a>

Assembling Your Submission Package | Writing for Children 174

Renee LaTulippe

INTERVIEW WITH RENEE LATULIPPE Renée M. LaTulippe has poems published in many anthologies including School People (ed. Lee Bennett Hopkins), and National Geographic's The Poetry of US and Book of Nature Poetry (both ed. J. Patrick Lewis) to name a few. Renée developed and teaches the online course The Lyrical Language Lab: Punching Up Prose with Poetry and blogs on children’s poetry at NoWaterRiver.com. We talk about:  What are common mistakes new writers make? How do you eliminate too much description but still give readers the flavor of your character and setting? Should all writers study poetry or just writers writing in rhyme? Favorite revision tips?     Let a one-on-one mentor help you hone your revision skills and polish your work so it shines in your submissions to agents and publishers! Get started here!

INTERVIEW WITH RENEE LATULIPPE Renée M. LaTulippe has poems published in many anthologies including School People (ed. Lee Bennett Hopkins), and National Geographic's The Poetry of US and Book of Nature Poetry (both ed. J. Patrick Lewis) to name a few. Renée developed and teaches the online course The Lyrical Language Lab: Punching Up Prose with Poetry and blogs on children’s poetry at <a href="http://NoWaterRiver.com" rel="nofollow" target="_blank">NoWaterRiver.com</a>. We talk about: <ul> <li>What are common mistakes new writers make?</li> <li>How do you eliminate too much description but still give readers the flavor of your character and setting?</li> <li>Should all writers study poetry or just writers writing in rhyme?</li> <li>Favorite revision tips?</li> </ul> Let a one-on-one mentor help you hone your revision skills and polish your work so it shines in your submissions to agents and publishers! <a href="https://www.instituteforwriters.com/assessment/" rel="noopener nofollow" target="_blank">Get started here!</a>

Interview with Renee LaTulippe | Writing for Children 165

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