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Sally Murphy, Australian author

Writing Quote of the Week

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It’s Monday, so it’s time for another Writing Quote to share with you for this week. Although I’d not come across this quote before, it sums up exactly what I say every time I run a writing workshop. The quote is:

Three Rules for Literary Success:
1. Read a lot.

2. Write a lot.
3. Read a lot more, write a lot more.
(Robert Silverberg)

I like that Silverberg puts reading at number one before writing. It is so important if you want to be published in any genre that you actively read in that genre – and spend at least as much time doing so as you do writing. One thing I’d add to that, is that the majority of that reading should be of recently released books – so that you get a feel for current publishing trends, both in terms of style and subject matter.

I’m lucky – as book reviewer, I get a regular supply of new release books, arriving in my mail box almost daily. But if you’re not a reviewer, you should make your local librarian and your local bookshop owner your best friends!

Have a wonderful week.

No Names Needed

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On every writer’s networking list I am on, or have ever been part of, one of the recurring subjects is that of the names of editors at particular publishing houses. “Does anyone know the name of the editor at XYZ?” someone will ask, or “Is Josephine Bloggs still the submissions editor at ZXY?”

Nine times out of ten someone on the list will know the answer and it is duly proferred and the askee can then send thier submission addressed to that person.

The first time I came across one of these queries, I  had no idea why it was being asked. I had always just sent my manuscripts to the address in the company’s submission guidelines, and they’d mostly been considered and returned, or (occassionally) considered and accepted.  Was this a problem?

I checked this out and found that many websites, chatlists, articles and even books recommend that when you submit a manuscrirpt you should make sure your envelope and letter are addressed to the right person.

Then I checked some more and found that others (though fewer) said it wasn’t necessary – since if it is addressed according to the submission guidelines, which usually state the recipent as ‘Submissions Editor’ or ‘Children’s Publisher’ or similar, then it will get to the right person.

So, I kept doing what I’d always done, submitting in that way without stressing about the correct name. The exception was where I personally knew the person who would be reading my submission – eiethr directly, through having met them, or indirectly through having ‘met’ them online or via correspondence. If I have some semblance of a relationship with someone, I figure, then it is polite to use their name rather than calling them Dear Sir/Madam.

Anyway, that’s how I do it, and when I see requests onlist for names, I generally don’t respond, since I figure it just isn’t necessary. But I must admit to a teensy feeling of being ineffeicient when I see others going to such lengths to get a name. So I was heartened, when reading yesterday’s Pass It On networking newsletter, to find a link to a piece by the amazing Harold Underdown, discussing the topic in detail. You can read Underdown’s opinion here.  I was heartened especially because he agrees with me (or, I suppose I should say I agree with him).

So, if you don’t know the name of the person who’s going to open your manuscript, why not save yourself some time, and simply address it in the way outlined in the publisher’s submission guidelines? After all, if the editor doesn’t know you, and hasn’t reqeusted your manuscript, the reality is it will be treated in just the same way, whoever it is addressed to.

Hot Writing link: SCBWI Australia

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It’s been a while since I shared a link to a great writing resource, but I had an email from an old acquaintance today asking for some tips on getting started  as a children’s author. Among other advice, I suggested she head over to the SCBWI Australia website.  There, among other resources, she’ll find a great series of articles contributed by various SCBWI Australia members on topics including how to get published, how to promote and even how to choose a title.

Check it out here.

10 Sure Signs You are Not Ready to Submit Your Manuscript

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So, you’ve written a children’s book, and now it’s time to get it into the mail to the publisher of your dreams. Congratulations. But wait! Is it really ready? One of the biggest mistakes any writer can make is being too eager to submit a manuscript – and, as a result, submitting a story which is doomed to be rejected.

Whilst not exhaustive, here’s a list of ten signs that you are not yet ready to submit your manuscript. If you meet even one of these criteria, you may want to hold off on sealing that envelope.

1. You just typed the words ‘the end’. If you have just finished writing your story, then you may well feel very eager to get it in the mail and off to a publisher or agent. After all, it’s a masterpiece and the quicker you get it out there, the sooner it will be in print, right? Wrong. No matter how good your story, before you send it out you need to take the time to revise, revise and revise. Let it sit for at least a week, then reread it. The passage of time will help you to see any shortcomings in your work, ready to edit, and rework until it truly is a masterpiece.

2. You have shown your story to your children/grandchildren/neighbour’s cat/mother etc and they LOVE it. Actually, there is nothing especially wrong with showing your manuscript to these people, and, if it’s any good, it is to be hoped that these people (and cats) will like it. But do not rely on the judgement of these people (and cats) as an indication of your story’s worth – and never tell a prospective publisher what your kids/grandkids/blah blah blah think of your offering. Seriously, the feedback of these people is not any indication of your book’s publishability. Just as your next door neighbour is not going to tell you that your newborn baby is ugly, s/he is equally unlikely to tell you that your story is dull. And your mother is SUPPOSED to think you are incredibly clever for writing a novel. But telling a publisher about this feedback in a cover letter marks you as an amateur. He/she doesn’t need to be told that someone else liked the story – let the story speak for itself.

3. You have staked out a spot next to the mailbox so you can be there when the contract comes. Okay – this is not about your manuscript’s readiness, but rather about your understanding of the submissions process. If you are going to sit by the mailbox/computer/telephone waiting for a response, you are going to need a tent, a porta-loo and a LOT of supplies. It is rare to hear anything within the first six weeks, and for most publishers the response time will be closer to six months. And, if the publisher is interested, you are more likely to hear by phone or by email – a letter usually means a rejection. But actually, the key problem with sitting waiting for a reply is that you are much better off putting that time to use by writing your next story. If you want to be a writer, you need to always be working on your next project. If your first manuscript is rejected you then have something else to submit. And, if it’s accepted, you have your follow up offering ready to go.

4. You need to sell this manuscript so you can pay your mounting bills. Again, this one is not so much a reflection of your manuscript’s quality, but rather of your understanding of the publishing industry. For most children’s book authors, the reality is that you are not going to make a big income, especially from your first book. Whilst most of us do hope to earn money from our writing, the reality is that if you are looking for fast money, writing is not the job for you. Even if your manuscript is accepted, it will likely be several months before you see any money. After acceptance, you will need to negotiate a contract. Once that is signed you should be paid an advance against royalties. That advance will be the only income you’ll see before the book is published (generally at least a year down the track) . Once the book is published, the first sales will earn back your advance. After that, future sales will earn you royalties of between 5 and 10% of the book’s cover price. But don’t expect a weekly pay cheque – most publishers pay royalties twice a year, so it’s a long wait between paypackets. If you have mounting bills, you are best off seeking regular paid work – but that doesn’t mean you have to give up on your writing dream. With the financial pressure off, you can use your spare time to pursue that dream, with the goal of having it one day support you.

5. The last children’s book you read was when you were in primary school. If you want to write for today’s children, and be published by today’s publishers, you need to be reading today’s children’s books. And not just occasionally – you need to be spending as much (or more) time reading the books as you spend trying to write them. If you are not up to date with what’s being published, chances are your manuscript is not tailored to today’s market – and so is not ready to be submitted.

6. You think your book is the next Harry Potter/Dr Seuss/Twilight… Yes, every children’s writer wants to be successful (and most of us would like to be rich, too). But if your cover letter tells the publisher that your book is the next Harry Potter, or uses the phrase ‘think XYZ crossed with ABC’ (where XYZ and ABC are the titles of popular books or authors) , or if that is how you think of your book, then there’s a problem. The world doesn’t need another Dr Seuss, or another JK Rowling. What is needed are fresh new voices. Yes, you need to be aware of current trends (see number 5 above), but your manuscript should not repeat or reproduce what is already out there. It must offer something new.

7. You have had your neighbour/best friend/talented child draw the pictures. Yes, many children’s books are illustrated. But, unless you are a professional quality illustrator, you should not be submitting illustrations with your manuscript. Publishers like to choose their own illustrators, matching a manuscript with an illustrator whose style matches their plans for the book. If you are an aspiring illustrator and want to be both author and illustrator, you’ll need to study the craft of illustrating as much as that of writing. If you are hoping to do both, you’ll still not submit a fully illustrated manuscript, because the illustration requirements will change through the editing process. Instead you’ll submit one or two sample illustrations, along with sketches or a storyboard. Submitting your manuscript with ready drawn illustrations by your friend/neighbour/whatever can actually dissuade the publisher from accepting your book.

8. You are printing your manuscript on hot pink paper and stuffing the envelope with glitter. Bright colours and glittery stuff will definitely draw attention to your manuscript – but for all the wrong reasons. An editor who has just had glitter splashed across her desk (and into her cup of coffee) is going to take notice of that manuscript – because it has drawn her ire. Glitter and coloured paper aside, bells and whistles do not show a story to be publishable. Good quality writing, presented professionally in accordance with the publisher’s submission guidelines, is what will impress.

9. You have not read (and followed) the publisher’s submission guidelines. Publishers prepare submission guidelines for a simple reason – they want to see them followed. These guidelines, generally available on the publisher’s website, spell out how they want you to submit your manuscript – and they should be followed. If the publisher asks you to submit by mail, don’t email. If they ask for double spacing, don’t use single or 1.5. Some requirements may seem silly to you, but refusing to follow them suggests to the publisher that you don’t want to do things their way. If you can’t follow their direction at the submission stage, they are likely to wonder how you will respond to direction during the editing process.

10. Every time you reread your manuscript you make another change. I’ve left this one until last because I believe it’s the big one (and actually echoes number one). Put your manuscript aside for a week. If, when you pick it up, you can see changes that need to be made, make them. Then put it aside for another week. Or a month. Don’t send it out until it’s perfect. You only have one shot with each publisher, so don’t send them a manuscript that is not as good as you can possibly make it. If you see a major plot flaw, or even a handful of spelling errors three months after you’ve submitted, it is too late then to change it.

If any of the above ten criteria describes you/your manuscript, consider taking the time to rectify the problem BEFORE you submit. And, when you finish your next manuscript, take a deep breath, remember that the publisher is not going anywhere, and wait until it is truly ready to be submitted.

Say It Once: Then Stop

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Somewhere in my recent reading I read a piece of writing advice that spoke a little at the time, but resonated further later on. The writer, speaking about poetry, advised writers to be succinct – to say what they want to say and then stop. Too often, he said, a poet will presume the reader is a little stupid, and not only say what they want to say, but then say it again differently, or even interpret what they’ve had to say.

Yesterday, I wrote my daily poem from the perspective of a child whose mother is an author. I imagined the poem giving all sorts of examples of how the child appears in his mother’s books. But, in line ten, before I got to the list, I wrote ‘those characters are me.’ Suddenly, that earlier advice came back to me. A list would be nice, it would certainly make the poem longer, but was it necessary? I’d just made the point of the poem: The kid sees himself in the stories his mum tells. So, I stopped.

Then, just to be sure, I read the poem to my kids – and guess, what? They got it. They didn’t need me to explain that the kid sees himself in those stories. Just saying ‘those characters are me’ was enough.

I wish I could remember exactly who offered the advice I read (I’ve been doing quite a bit of reading lately) so I could properly attribute it, but, like so much good advice, it took a little while to make its mark and so someone is missing out on the credit. But I wanted to share it, because, whether you write poetry or prose, it’s advice that bears heeding, especially when writing for kids.

Children are smart. They can interpret things for themselves. Give them the information and let them have the satisfaction of arriving at the answer, the emotion, the response. Use your dialogue, your description, or your rhythm to create that response – then leave them to it.

And I’m going to say no more – for fear of not taking my own advice.

Choosing the Writing Advice Book for You

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Yesterday I talked about why you should consider buying books of writing advice in addition to using the wide range of advice available online. All well and good, but with so many books available to buy, it can be hard to know which ones to buy. So, here are some quick pointers to selecting the right book for your writing needs.

1. Is It Aimed at You? Not every writing book is aimed at the same audience. Read the back cover blurb or the online description, and consider whether it is aimed at beginning or more experienced writers and whether it covers the genre you are interested in. For example, I’m a published author of children’s picture books, poetry and verse novels, so I am less likely to be interested in a book called How To Write Picture Books, than I am in one called Perfecting Your Prose. If you are new to writing children’s poems, you would get more benefit from Writing in Rhyme than, perhaps, a book called Tightening Your Verse.

2. What are the Author’s Credentials? On the book’s blurb, or isnde the book, there should be some information about the author’s background. If someone is going to tell you how to write a chidlren’s book, you would like to think that they are themselves a children’s book author, or editor or perhaps a reviewer. The advice they then give will likely come from experience, and be tried and tested.

3. What Do You Want from the Book? I admit to having a preference for books which actually give me some exercise to do. I want to be told to sit down and write, and given a challenge or starter which gets me going. You might feel the same, or you might want something different. For example, if you are trying to market your work you might be looking for a book which lists publishers and other markets. Or you might want something technical – a grammar guide, perhaps.

4. Recommendations. Before you spend your hard-earned money on a how-to book, it is good to hear from people who have already bought and used it. Ask your writer friends for recommendations, or search online. If you browse an online bookstore like Amazon, you’ll find reader reviews and recommendations. (Note, if, like me, you live in Australia and would prefer to support a local bookstore, you can still use Amazon as a source of recommendations before seeking the books locally)

5. Date of Publication. The more recent the book, the more up to date the advice and information. This is especially pertinent to market information, which changes all the time. With a ‘how-to’ book, the advice does tend to stay relevant longer, but even then, things can change. For example, where once picture book manuscripts averaged 1000 words, the preferred length now is 600 words or fewer. However, a popular book will often be updated when it is reprinted and some books go on speaking to readers for many years.

You’ll notice that in both this and yesterday’s article I have not actually pointed you to any specific books, because I wanted to give some more general advice. However, I will close by sharing a brief list of some of my favourite writing books. If you have a favourite which isn’t listed, feel free to leave a comment below.

The Writing Book: A Manual for Fiction Writers, by Kate Grenville (1990) ISBN 0-04442124-9 (Not specifically about writing for children, but lots of wonderful writing exercises)

Children’s Writer’s & Illustrator’s Market, by Alice Pope (Produced Annually) (Essential if you want to get published in the US or Canada especially)

Poetry Matters: Writing a Poem from the Inside Out, by Ralph Fletcher (2002) ISBN 978-0380797035 (I’m reading this one at the moment and am only half way through but love it. It is aimed at young poets but has lots to offer adult writers and teachers)

Poemcrazy: Freeing Your Life with Words by Susan G. Wooldridge (1997) ISBN 978-0609800980 (Gets you writing poetry and playing with words)

Okay, that’s a very short list because these are the four I use regularly. Perhaps I’ll build on this list from time to time.

sallymurphy.com.au