The 43 Old Cemetery Road Series DYING TO MEET YOU Book one in the 43 Old Cemetery Road series. Publisher: Houghton Mifflin Harcourt What happens. New York Times Crosswords of the 's Volu, New York Times .. The Second Law of Dying, Geoff Laundy .. All the Better to See You With!, Margaret Wild Phantom of the Post Office: 43 Old Cemetery Road, Bk 4, Kate Klise. Your local chapter can help you find writer and/or illustrator peers so you can join (or In one of my middle grade novels, a character dies at the end. Tracey Baptiste Thee-Ring Rascals series, Kate and Sarah Klise The Girl in the and games (crosswords, mazes and picture puzzles relating to theme no word finds).
Don t compare your work to something unprecedentedly successful, like the Harry Potter or Twilight series. Those are impossible-to-replicate successes.
Find something more relevant and normal, but still successful. Don t send a picture book manuscript to a teen novel editor. Know editors lists and what they acquire before you submit. Don t follow up less than three to four weeks after submitting a project.
Don t talk about sequels you have planned. Don t say I m a new writer or This is the first book I have ever written. Don t be overly familiar with the editor or agent you are sending a query letter. It can be a somber task to whittle one s beloved story down to its bare essentials. But it can also be exhilarating. Here are some tips to guide you through the process. Attempt to fit the essentials of your story into a neat package between one to three pages though lengths vary depending on the audience.
Synopses plural based on the Latin root are often requested by agents and editors. Writers may or may not be given a word count or page length guide. Either way, a writer does best to ponder the highs and lows of his or her story, the main character s arc, the tone and setting before beginning. Then take a deep breath and begin, knowing that there will be a chance to edit and revise.
Always Use the Third Person Present Tense Regardless of the tense in which the story is written or the voice of the narrator, a synopsis should always be written in the third person, present tense. Write a One Sentence Character Arc Before Starting Write a one sentence arc for the main character before starting, and keep this sentence available for later use, and as a reference guide to keep you on track. Hook the Reader Start your synopsis with a gripping, one sentence summary that captivates and mirrors the tone of the story.
A mystery may use a mysterious question. A synopsis for a middle grade novel or a picture book might require vocabulary more elevated than that used in the story, but the language should not be too overblown. A tone that evokes the story itself is best. The hook provokes thought and forces the reader to ask: It can be the same few sentences used in a query letter. In fact, the beginning of your synopsis might sound very much like the plot-summary paragraph of a query letter.
Highlight the main character s personality with one or two vivid adjectives. This may seem like type-casting, but it a useful tool that allows the reader visualize the character quickly.
Shy, but adventurous Katy longs to discover what is hidden in the old chest in the attic that belonged to her grandmother. But first she must gather up the courage to ask her stern grandfather for the key.
Construct the Body of Your Synopsis Use paragraphs to write out the main events of each chapter. Or pick out the high and low points and chart the story s progression from beginning to end. Major events focus on the rising action and the main character s conflict or goals, and how they are achieved or not achieved. Only details critical for the reader s understanding should be included.
Each paragraph must include: Include thoughts, beliefs, mistaken-beliefs and assumptions, if they are critical to the outcome of the story. Sam takes Jeremy s lunch box at recess. Jeremy runs after him, falls down and skins his knee. Jeremy decides he will take a paper bag lunch from now on and throw it away.
Each new character s name should be written in all capitals the first time it appears, exactly as it appears in the story. Characters mentioned unnecessarily will only take up valuable space. Reveal the Ending Tell the story to the end. Even if the story is a mystery, do not be mysterious with the ending.
State it clearly and briefly. Describe the main character s final struggle and its outcome. Why does this matter? This is the time to state what the main character learns. In the end, Jess makes peace with her brother, pays back the money she stole from him and ends up with a new best friend.
She learns that if you make a mistake, sometimes you get a chance to make it up to the person. Revise and Polish Each sentence must flow and convey the power, excitement, and humor of the story. Use strong adjectives and verbs. Keep revising and editing until the synopsis flows and is the length you desire. You may start with a three to four page summary and whittle it down to one or two pages. The process is a valuable one. Remove Extra Words A synopsis should be quick to read.
It must not slow down. It is all exposition, but it must not drag even the tiniest bit. The bare bones of the story speak for itself now, with no flowery details or quirky dialogue to break up the sentences. Though, it is possible that a quote or two might appear in a synopsis, this would be if the words said by a character are themselves part of the plot. Check for the Main Character s Arc Your main character need not change dramatically, but the change should be meaningful.
Maybe he or she learns a new way of looking at the world, overcomes a fear or repairs a broken relationship. Something thought lost should be regained. The synopsis should reflect the main character s journey through the story. Read it Aloud Does the synopsis sound like the story only shorter? If yes, then you have done a good job. Reading aloud is the best way to hear your writing. It can be to an audience or to yourself.
Good luck and enjoy! Tugeau, LLC, Even with the big changes in the publishing world going on today, it is still true that some of the best art to be seen is in children s books! It is also a constantly changing challenge. The market by nature is competitive and cyclical. Artists need to be aware of this fact and plan for it.
There is very little room for any mediocrity. What was acceptable just years ago is not good enough today. Artists need to continually learn, grow, and change. Don t follow trends make them! Be the very best you can be as an artist and a promoter of your talent, and cherish your passion for your craft. What should I put in my portfolio? Let the art do the talking! It s your style, your characters, your color palette, your conceptual thinking, your design sense, that will attract the attention of art buyers.
The purpose of a portfolio, whether in a book, online, or in a mailing package, is to get the best you have to offer into the hands of the buyers who might want to hire you. These samples must do the right kind of talking for you. You will want to present a competent, consistent style and attitude. Include about ten to fifteen strong pieces of art that show the range and consistency of your talents. It seems obvious, but show only your best work. Any weakness will be spotted by the buyers, and they will pass.
You may show original artwork during a personal visit to a publisher, but never leave or send original artwork for viewing. If you cannot get in the door and it s harder and harderhave a copy portfolio with reproductions only that you can leave behind and pick up later. Better yet, have printed sheets of samples you can leave for them to keep with contact information, website, and blog links. Show character development by having the same characters in different narrative settings, doing different activities, and showing different expressions and moods.
Remember to avoid presentation poses generally for trade work. Picture book action is going on within its own world. Your images should reflect this. Some educational work and greeting cards may use the presentation posture more often. If you are interested in doing jacket art for middle grade or young adult YA novels, you should also include images of preteens and teens in appropriate settings.
Perhaps design and show mock jackets with titles as well. For middle grade chapter books, include black-and-white line and tone action vignettes.
This is particularly true if you have not been published. The dummy may reassure them that you are knowledgeable of the overall design of picture books.
If you have a printed book, do include pages from it perhaps the cover with text. They might ask for information about how the book sold, as the bottom line is more important than ever now. For the dummy, you might illustrate a favorite fairy tale, folktale don t be triteor original story, or reillustrate another book just for show.
Use written text as part of your design and layout. Include one or two finished color pieces of art. Work should be highly original, unique, and provocative, but at the same time kid-friendly and accessible. Think about reproduction, too; be careful of grays, browns, and muddied colors. The dummy should also show your ability to draw the same characters consistently and believably, in a variety of settings, positions, and attitudes. They will want the illustrations to relate to the manuscript text but give the reader more than just what the words would convey alone.
THE BOOK know that you are at least somewhat familiar with the size, formats, number of pages, text placement possibilities, etc. If you have sent your portfolio and want it returned, send an SASE along as well, but I discourage you from sending portfolios these days.
Always keep in mind that it is the art that they will remember Meeting you, the person behind the art, will tell them a lot about how it might be to work with you, but ultimately it is your art that will make or break the connection.
How do I show my work to a publisher? You must be seen to be hired. Go to libraries, bookstores, and Google to get familiar with the many different publishers and their past and current book lists.
Study the books you particularly like in order to understand what makes them successful. What mediums are used? How do the illustrations show the story? Notice the pacing of the page turns. How have they made their characters interesting and believable?
Send for publishers catalogs. Current lists of names, addresses, s, etc. Check out the publishers websites. Turnover is high in the industry at times.
If you cannot visit the house and that is very difficult todaysend a sample packet for them to keep in order to introduce yourself. This can be a single page or deluxe postcard with multiple images, or several printed glossy sheets.
Not all buyers like to receive samples online, so don t do this without checking first. You do not want to annoy them. Mark each piece with your name and contact information and website Include a short cover letter in this packet if you are combining several sheets. You might give some brief background information about yourself if you really think it might be helpful in filling their needs. Again, your art does the talking for you and will or will not make the desired impression.
If you want your samples returned, include an SASE, but avoid this as they do not like it. You might try sending a small, self-stamped postcard with easily checked-off response possibilities, but you probably won t hear back unless they have an assignment or want to see more. Buyers have precious little time. Do keep sending samples until they tell you to stop!
Dying to meet you book genre crossword
If you are able to make a trip to New York City, where the majority of publishers are based, do so! It s a great learning experience and will show them that you are serious about illustrating for this market.
This is a good way to actually get firsthand feedback and suggestions. Call or write at least three to four weeks in advance, and then confirm the day and times a few days to a week before the visit. Editors and art directors are extremely busy, and emergency meetings and crises come up throughout the day. Some houses will not see individual artists, but take advantage of their drop-off days.
Try to allow plenty of time between appointments for travel around the city. Group visits near each other or within the same building whenever possible. Get a good bus and subway map taxies are the easiest way to travel, but expensive. Ask what floor your meetings are on and where the reception area is located.
Security is tight, and sometimes you have to wait on the ground floor. Should I present a book idea if I have one? Your submission should include: This gives the buyer an idea of your characters in action, the flow of the pages, and your knowledge of bookmaking in general.
Start the numbering of the main story usually on the left-hand page. A page book usually includes fourteen double-page spreads and a single final page, a title page, a credit page, a cover possibly a wrap jacketand sometimes endpapers. See paragraphs on ebooks and apps for more presentation information. Why these numbers of pages? It is the most economical way to produce a printed picture book.
A single sheet with multiple book pages on it is put through the press, then cut and folded into a complete book. What techniques are used for illustrating children s books? Of course, today we have to define book! But let s talk here about traditional, printed books. Any medium or technique that can be reproduced on a printed page is suitable for picture books. Choose any that are comfortable for you and that suit the type of book you are doing. If you are not sure about the medium, or it s reproduction, be sure to discuss this with the art director.
The most common mediums used today: If you use hard, nonflexible board, films, pastels, or other high-maintenance media or backings, be sure to share this with the art director before beginning. With the common use of today s sophisticated electronic equipment for color separation, publishers are printing full-color books as a matter of course. Artists have more freedom than ever to work in any medium they choose. Electronic equipment can require flexible surfaces, but there are reproduction solutions that may add to the cost of production.
Always check before starting your finishes if you have any doubts. What is color pre-separation? Artists rarely need to consider pre-separating colors; it is done inexpensively by very sophisticated electronic equipment, or by layering programs used by the artists on their home computers.
The occasional two-color book or educational job may require separation, but the buyer will tell you how they wish this to be done. If you are interested in the time-consuming old-school methods, you can Google it!
It is never necessary to have an artist agent represent you There are several reasons for wanting to work with an agent. If you do not live near enough to visit the larger NYC and Boston publishing houses, an agent may do this visiting for you.
Many houses now do not accept unsolicited artwork or manuscripts from writers or artists, but will always do so from an agent. Agents have ongoing business relationships with editors and creative directors and can encourage them to try their talent group. Editors will occasionally send manuscripts to respected agents literary and artist agents to have them suggest artists who might work for their story.
There is a certain professionalism that is assumed when an artist is represented. If the artist is a poor businessperson, an agent can be invaluable. It is unusual to be picked up by a representative early in your art career. Artists need to do their own homework and research to learn about the market s they wish to work in. This learning process helps with gaining a more realistic expectation of the market. Artists need to work at their style development to learn what they do best.
A good agent will continue to work on the artist s personal artistic development and expand the market possibilities as their relationship continues. Not all agents do, however. Finding a good match with an agent can be as time-consuming as getting published on your own.
Some agents represent artists only in the children s markets, some in advertising and editorial as well, or exclusively. Some are literary and artist agents. Some are very large operations with many reps, and others are single rep agencies offering much personal contact. Even when you find the perfect marriage possibility, the rep might not have room to take you on at the present time.
Be sure to ask a lot of questions, know their expectations, and know how that meshes with yours. Talk to a couple of their other artists and clients perhaps with permissionstudy their contract obligations carefully, and be somewhat patient once the relationship begins it takes time to get your work known! Keep the interactive communications very open and honest always.
Ethical, professional behavior is expected on both sides, and also assumed by the buyers using agents to find artists. The SCBWI has a good listing of agents in this market, and you can research them further online, too.
Do spend time on their websites to get to know them before sending off samples. What should I do if asked to illustrate an uncontracted manuscript? I m flattered, but no. Do not work for an author directly unless you understand that the author has no authority to hire you as an illustrator for a publisher. Editors choose the illustrators for their books. They have the experience and knowledge to match the right illustrator with the right manuscript and demand a free hand in doing this. Many beginning writers will think that presenting art with their picture book manuscript will help their chances of publication, when actually it will probably hurt it.
Books are manuscriptdriven, meaning that the manuscript is bought first on its own merits, and then the artist is chosen for the project Self-publishing has grown to such an extent as to now be a viable option for authors. And artists might want to consider participating if the payments and rights are competitive and appropriate. Your time and talent have value.
Few self-publishers can afford the price for art for a page picture book on their own. But if they can, and you reach a fair agreement of terms, it might be a good practice project.
THE. The ESSENTIAL GUIDE to PUBLISHING for CHILDREN
Keep in mind there is less legal protection for the artist in these cases. Distribution is always a challenge, so the books may not get into bookstores or sell well. But the artist will have a published book to show off. What fees or royalties can I expect for illustrating a children s book? The standard book royalty is 10 percent of the retail price of the book, shared between author and illustrator. For olderchildren s books that include illustration and some board books, either a small percentage of the royalty is given to the illustrator or a flat fee is worked out.
All payments to authors and illustrators are figured from projections made by the publisher indicating costs against the number of books the publisher believes they can sell. No offer is arbitrary. The range occurs because each book is projected differently with its own distinct costs and sales potential.
These offers might be a bit negotiable. The Graphic Artists Guild 90 John Street, SuiteNew York, NY recommends certain fees for illustrations based on the market norms and averages for trade and mass market illustrated books. You can obtain from them their publication, The Graphic Artist Pricing and Ethical Guide Handbook, which holds a wealth of helpful industry information.
These are ideal figure ranges from their thirteenth edition fourteenth edition coming January from a random sampling, and the publishers may offer lower or higher fees than the Guild recommends. It is professional and expected. Read the contracts carefully and ask if you do not understand the terminology.
Many editors don t understand all of their contracts, either! You may not be able to change anything, but don t be intimidated about educating yourself. The purpose of contracts is to spell out expectations and legally protect both the publishers and the artists and writers. There will be legal talk about indemnity and such, and you need to read and understand all of this.
Most is typical language. You should be selling one-time reproduction rights only. If the publisher wishes to use the artwork again, he should pay for its use. Ask for printed copies of the finished project Though it is rare these days to get educational printed samples. Do not ask to retain subsidiary rights you cannot sell yourself. The publisher is set up to sell these rights that will financially benefit you and them, so let them do their job. Perhaps you may wish to limit the time frame of the unknown and future rights, such as for digital books, but most publishers frown on this.
Simply make sure you receive a fair share of any income received from such sales typically 25 percent or more on most sub rights. Take note of the royalty statement and payment clauses. Be sure the contract guarantees the safe return of your original artwork. It belongs to you and it has value separate from the printing of the book. The copyright is usually placed in your name for trade books.
Be sure to ask for ten to fifteen free copies of all printed editions in the contract, and a reduced contributors ordering cost normally 50 percent off. Educational Contracts and Market: Educational publishers produce books and supplemental projects for classrooms and library use.
The programs include reading, social studies, math, science, music, art, etc. Different programs are updated in cyclical year patterns. Many illustrators find this is their bread-and-butter work. Much of the actual art assigning is outsourced by the publishers to design and production studios. It is very hard for independent artists to find these studios, but send sample sheets to the publishers and they will pass on styles they approve.
Schedules are tight, and needs are very specific. Electronically produced and transmitted finishes are the norm these days Illustrator, Photoshop, etc. These contracts are a bit different, as they are normally flat fees and often work for hire WFH.
THE. The ESSENTIAL GUIDE to PUBLISHING for CHILDREN - PDF
This means that you sign away all your copyrights, and often the ownership of the original artwork thus digitally sent art is best! These educational assignments are wonderful for experience, honing skills, and sometimes a more consistent source of income. The market has been terribly slow these past few years as they transfer to the digital age needs of schools. Agents and artists had traveled a long way into convincing the publishers to use the more fair school rights only SRO contracts, where they buy only the rights they need for the educational market.
Now with so little work, they most often only offer WFH. There are several articles, blogs, and books about contracts, particularly digital rights that seem to change so often!
Try to keep up with what is the market norm. All of the preceding information, including pricing, generally pertains to photo-illustrating as well. The only additional hint would be to use signed model releases for any minor or adult included in your photography.
This will protect you against invasion-of-privacy lawsuits and libel suits. You may want to be sure you allow for extra model and shooting costs as well. What are ebooks, and how can I get into illustrating them? Most ebooks digitally enhanced books read on electronic devices are not original at this point. Publishers are mostly reformatting backlists and classic books. Some enhancements might be added, but no new art is needed.
Once backlists are done, publishers will be looking for new stories that may appear only as ebooks. Most likely these will often be offered as printed books as well, but the future will tell that tale. The field is in development. A big limiting factor is actually the devices themselves, as they need to advance further, and they are improving monthly. There is really no presentation guideline for these ideas at this time.43 Old Cemetery Road Kate Klise/Book Series/Fun book!
A PDF dummy book as you might do with a printed book dummy is fine. What are apps, and how can I get into this exciting new industry? Dryden children s editorial and publishing consultant with drydenbks says, Apps are not books. Nor are they ebooks They are something else entirely, that require a great deal of complex production and design.
We are all asking good questions to which there are many convoluted, complex answers. It s one answer one day, one publisher, and a very different one the next. It s a time of exciting and expensive experimentation and rights battles in this industry.
Artists should continue to watch and read. There are few paying opportunities in this field at this time, but that could change overnight. Again, the devices are limiting at this point As Alex Knapp in a Forbes article mentioned recently, We are at the dawn of the tablet era now.
If you want to try to enter this area, you still need to start with a solid story line, just like any book, that includes a plot, characters pacing, and an arc says Dryden. The best apps are like the best books: They engage and appeal to kids! It s still all about the story before all the bells and whistles. Artists have an advantage in getting into this area, as it s very visual.
You will strive to expand and deepen the story experiences. To present an idea, work up a layered thumbnail visual dummy, just like a picture book dummy. You are not limited to a certain page count, but you must still keep the child and his interactivity with the story in the forefront of your imagination.
Besides the traditional methods of training, such as local art schools and private consultations with local artists and critique groups, study the works of past and current illustrators.
Note their use of color, form, space, and other visual elements. How do they solve the problems of technique, character development, and story pacing?
There are many older books about writing and illustrating for the children s publishing market, and new ones are coming out all the time. There are many blogs by reps, writers, illustrators, and SCBWI regional advisors with a multitude of interviews, hints, and how-to articles. The industry and trends are constantly changing, but much of the information about illustrating remains age-old truths.
Good art is good art. No way around that. And, I will admit that after listening to the show twice, I did start to like it a lot more. Regardless, I really enjoyed the way this story was set up. There were many different small sections that seemed unrelated but then united in a rather unusual way. Alain notices how all the young girls walk around with their navels showing and he wonders about the seductiveness of the navel.
He compares the navel to the thighs as a center of desire long thighs indicate the long road towards pleasure or the buttocks signifying brutality, the shortest road to the goal or breasts the center of female seductive power. But what of the navel? Then he reflects back on the last time he saw his mother. He was ten years old, she touched his navel, maybe gave him a kiss and was gone. She thinks she is unnoticed, but as she jumps someone shouts to her and runs to her rescue.
But during the rescue, she subdues the man and forces him under. She survives now having killed someone. It turns out that she is pregnant and did not want the baby.
But having killed an adult she no longer feels that she can kill the fetus as well. As the woman hurries back to her hotel dripping wet, she bumps in to Alain. It is then that he wonders why he apologized and why he apologizes all the time. He calls a friend to find out why he feels the need to apologize so much.