Tag Archives: writing

Alison Goldberg’s Big Moment!

alisons-author-photoIt is my great honor to host Alison Goldberg today as she reveals the cover for her debut picture book, I LOVE YOU FOR MILES AND MILES, coming from Farrar, Straus and Giroux next December. (How will we wait??)

Alison, this is so exciting! I’ve watched this book transform from an idea to a manuscript. Now it’s almost a real book. How did you first get the idea?

Between the ages of two to four, my son was deep into trucks. My daughter loved building complicated train tracks. We lived and breathed vehicles for a few years. The bedtime game, “How much do you love me?” turned into a comparison of the size, strength, and length of all things that go. After many nights of coming up with these examples for my own children, I thought this could be a fun take on a love book.

I LOVE YOU FOR MILES AND MILES is *perfect* for children who love trucks, boats, planes, and trains! It’s sure to be a favorite of caregivers too, with enough heart to make story time a sweet, snuggly experience again and again.

With no further ado, here’s the gorgeous cover!

loveyouformiles_biblio

What did you think when you first saw the cover, Alison?

I was absolutely thrilled! There is so much movement and so much sweetness in Mike Yamada’s illustrations. The perspective of the plane flying toward the reader is incredible. And I love those bears!

Heavy-duty vehicles zoom, soar, and dig on every page. Mike Yamada’s dynamic, vibrant illustrations are packed with page-filling excitement! Here’s a bigger sneak peek:

 I especially like how I LOVE YOU FOR MILES AND MILES offers readers—both child and adult—the profound reassurance that, “Love can be stronger than the strongest excavator” and “steadier than the steadiest tugboat.” I can’t wait to preorder it and share it with the trucks-and-trains kids in my life.

So, do you have any advice for new picture book writers?

Revise, revise, revise.

 Also, finding critique partners to share the challenges and the joys of this process is so important. When you go to classes, conferences, or events, don’t be shy about approaching people.

 Hayley, we met in NYC at a SCBWI conference, even though we both live in the Boston area. I remember hearing you read a fabulous picture book manuscript at a roundtable and thinking, I need to connect with her!

I remember feeling the exact same way at the time, and now here we are! Congratulations, my friend!

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More about Alison:

Alison Goldberg is based in Cambridge, Massachusetts. Before becoming a children’s book author, Alison worked for economic justice organizations and wrote a resource guide about social change philanthropy. These days, she blogs about activism in children’s literature and loves researching everything from marine life to contemporary art for her books. Alison is also a board member of the Food Research and Action Center, an organization committed to ending hunger in the United States.

Alison participates in Picture the Books, a group of picture book creators with 2017 debuts and is a member of The Writers’ Loft (thewritersloft.org) in Sherborn, MA. She is represented by Kathleen Rushall of Andrea Brown Literary Agency.

Learn more about Alison and I LOVE YOU FOR MILES AND MILES at www.alisongoldberg.com or on Twitter @alisongoldberg.

 

The Almost ABCs of Your First SCBWI Conference

You’re doing it. Maybe you’ve meant to for a long while. Maybe it was a New Year’s resolution. Maybe you’ve just learned that a professional organization for children’s literature exists and you want to check it out. At any rate, you’ve decided to attend your first SCBWI conference.

Terrific!

The conference I know best is hosted by the New England chapter of SCBWI, or NESCBWI.

Don’t try to say it. Just. Don’t.

Anyway, NESCBWI is the largest regional conference in the country. Attendees are mostly from the New England states but not exclusively. Last year’s conference had visitors from Tennessee and South Dakota, if I remember correctly, and bookish people like editors, agents, and art directors come from all over. Prominent writers and others in the business swoop in from NYC, California, and even abroad to offer workshops, participate in panel discussions, and deliver keynotes.

None of this is free. Conferences, even regional ones, are expensive. You want to make the most of it and to help you do just that, I’ve assembled a list of tips. They are in sort-of alphabetical order. Know a good tip for K? Q? Feel free to chime in!

A is for Attire—Attire at conferences tends to the casual side of professional. Think spiffy and stylish but not fancy. Layers are a good idea. Why? The temperature varies from room to room. You’ll be sitting for long periods and then quickly moving between workshop rooms. Consider comfortable shoes. If feasible for you, taking the stairs is much quicker than waiting for a crowded elevator. You’ll bless me for suggesting you forgo the stilettos.

B is for Business cards—A must. There are lots of low-cost options. If you can, have them printed well before the conference to make sure they are correct and legible. Be sure to include all of your contact info including your (possibly brand-new) Twitter handle.

C is for Critiques—You’ll have to pay for these, so be smart and prepare your manuscript and/or portfolio ahead of time. These opportunities fill up fast and if you’re not ready to submit your stuff right away, you might miss your chance. Read the directions carefully so you’ll know what to do.

D is for Dog—Tons of children’s books are about dogs. They are universally beloved.

E is for Etiquette—The children’s literature world is a small one. Very small. Everyone knows everyone and no matter how excited you are to reveal your work to a waiting world, you must not follow an agent or editor into the restroom and pitch it. You are a professional. Act like one. Speech over.

F is for Food—Give a thought to food, especially if you have particular dietary limitations. Conference organizers do their best to please the crowd but can’t possibly attend to every need. Familiarize yourself with which meals are offered by the conference and which meals are not. Conferencing is hungry work and room service is pricey. Bring healthy snacks. Will your room have a fridge? If so, hooray! Make any necessary dinner reservations in advance. Include an extra spot or two to allow for serendipity. You’ll be meeting new people and they’d probably love to join you for dinner.

G is for Giraffe—Fewer books are about giraffes but they are still perfectly nice animals.

H is for Hotel—If you plan to attend all or most of the conference, you’ll need a hotel room. Reserve yours right away as conferences frequently sell out. There are good reasons to stay on-site. First of all, a lot of the meeting-and-greeting at a conference happens in the hallways and elevators. The fun doesn’t end when the last workshop is over. There are social events of all kinds at night. Open mic readings, illustration challenges, regional meet-ups where you can make solid connections, and quiet rooms for visiting. Here’s another truth: conferences are tiring. You’ll be glad to have a retreat when there’s a break in your schedule or when you simply need some alone time. Many writers also try to squeeze in  some writing. One last thing: If you’d like to save some serious money, consider arranging to split a room with another conference attendee.

H is also for Homework—Please do your homework! Workshop presenters and keynotes are announced ahead of time for a reason. Look up people and their work. Read some of the writers’ work, if you can. Check out illustrators’ galleries (hello, Pinterest!) and study agent bios. You’ll get a lot more out of the conference if you do.

I is for Introvert—Lots of creative, bookish people are introverts. They are also super-friendly and welcoming. Say hello. Ask to join a lunch table. Whether you’re an introvert, and extrovert, or in-between-vert, you’ll be glad you did.

J, K,L,M…

N is for Nametag. Wear it for the whole weekend. You never know who’s sitting next to you.

O, P, Q…

R is for Registration—Once again, be ready. Look at the workshops ahead of time so you can make quick choices. Popular ones fill fast so be sure to know your second and third choices. Know your SCBWI membership number to get the member rate. You do not HAVE to attend each and every workshop period. Maybe you’d like to get some rest (see R) or wander the bookstore. That’s perfectly okay.

R is also for Rest—Don’t be afraid to take a break now and then. Take a careful look at your schedule for appropriate break times. Drink some water. Breathe. You’re doing great!

S is for Social media—such as Twitter, Facebook, Tumblr, and Pinterest.

At a minimum, I suggest you get a Twitter account. It is an easy and professional way to stay connected with your new colleagues after the conference and to learn about others in the field. Make sure you put your Twitter handle on your business card. If you have old business cards, take a few minutes and jot your Twitter handle on the back. Follow the people you meet.

Facebook is trickier for some, especially teachers and others involved in the care of young children, but consider signing up for an account. You can keep it exclusively for professional contacts if you like. It’s an easy and fun way to get to know people on a more personal basis and there are lots of relevant writing and illustrating groups to explore.

Tumbler, Pinterest, Instagram, and others are rich resources for writers and illustrators. Check them out.

V is for Victory. V is also for Volunteer. I beseech you to volunteer. Most of the jobs are easy-peasy and take little or no time out of your conference. It is the quickest (and most appreciated) way to feel like you belong. I guarantee you’ll learn at least one person’s name and feel that much more at home.

Y is for Yellow. Illustrators love yellow. Me too.

Z is for Zzzz… You’ll need it after the conference to get ready for next year.

If you are serious about your work—your writing, your illustration, your craft— you owe it to yourself to join SCBWI and attend a conference. You’ll find your people there. See you soon.

Enjoy the day!

Hayley

 

 

 

500 Words or Less

I enjoyed my first reading of Stephen King’s ON WRITING. As a matter of personal taste, I’m not a fan of his fiction, mostly because I was the anti-self-censoring kid. I clearly remember many, many books (like CARRIE) that should have been yanked out of my sweet little mitts. He’s an excellent writer, but make my King non-fiction.

I expected him to be funny. He is. He’s also emotionally honest, appreciative of his family, and warmly encouraging. If I ever meet him–I saw him at a Maine rest stop once–I’ll be glad. I generally pay no attention to celebrities, and I wouldn’t recognize Justin Bieber if he ran up and slapped me, but when I saw Stephen King step out of his car and walk toward Dunkin’ Donuts, I knew it. He’s a recognizable fellow. He must dread stopping on the Maine Turnpike.

King has a lot to teach writers. He expects us to shun the passive voice. He doesn’t truck with adverbs. For dialogue, “said” will do most of the time. He recommends a bracing dose of Larry McMurty to show us how much can be accomplished with “said.” I agree.

Except… I write for children and that leaves me in a tricky spot. Accepted word count for a picture book text is 500 words or less. Preferably much less. Good picture book writers wield that tight word limit like a plastic surgeon wields a scalpel. They carve out  stories that offer well-developed characters, clear story arcs, zingy tension, and satisfying resolutions. The very best examples, in my opinion, have something more. Delicious, nutritious language.

A favorite read-aloud in our house was Charlotte Pomerantz and James Marshall’s THE PIGGY IN THE PUDDLE. It was a treasure trove of fun words and my children delighted in Little Piggy’s rebellious adventures. They cheered as she would, “…waddle, plump and little, in the very merry middle.” Gently and naturally, the book expanded my kids’ vocabularies and fed their love of reading. The adorable illustrations and lilting language were an Astaire-and-Rogers team. We loved it.

Stephen King wasn’t talking about picture books. He was talking about–and to–grown-up writers who use corn-fed filler words that sap the strength of their prose. Still, as picture book word counts become more and more limited, we have to wonder what we stand to lose as the scalpel nears the bone.

Children need to read adverbs. They need to read adjectives. They need to read and learn lots of ways to say “said” without saying “said.” They need words like they need vegetables and plenty of them.

Most writers I know lament the scarcity of long, luxurious picture books. They still occasionally happen, and we all hope they’ll experience a renaissance. Candlewick’s gorgeous CLOUD TEA MONKEYS, written by Mal Peet and Elspeth Graham and illustrated by Juan Wijngaard, is a recent example. Books like this, however, are as rare as snow leopards.

So, with the help of ON WRITING, I’ll sharpen my scalpel and have at it with my 500 words. But I hope I see more snow leopards.

Enjoy the day.

Some Things Never Change

Thankfully, some things never change. Like horses. Horses never change. I fell in love with them when I was two years old, and they are the very same creatures now as then. In a world whirling with change, that’s pretty precious. They smell the same, sound the same, act the same. They are as gorgeous, fragile, and dangerous as ever.

When I was a kid, the horses I knew were ponies. Down and dirty, backyard ponies housed in old sheds. They were fenced in with a motley assortment of boards and wire.  They received only rudimentary vet care. They were hardly trained and could be very unpredictable. They were good teachers, though. Nothing will teach you to hold your seat in the saddle like a sudden left-hand turn at a full gallop. Their lives were simple. They were happy and healthy animals, loved by their people, and content to trot kids through the woods for hours.

Now I ride at a beautiful, beautiful barn. It was designed and built for the management of well-bred dressage horses. Every possible care was taken to make sure they would be comfortable and safe. The horses have a live-in manager to watch over them. They get dental care. Massages. Acupuncture.  

But you know what? They are no different in most ways from the shaggy little guys I knew and loved. They are still creatures of flight that will flee from imagined danger into very real danger in the blink of an eye. You still have to win their trust. You still have to remember to watch out for their hooves and their teeth.

When I was a pony-mad girl, I only knew I loved horses and wanted to be near them. Now I know how they nourish me.

For one thing, horsemanship and riding are difficult. Anyone can provide basic care for a horse, but to really understand them takes a lifetime of devotion. I love that. I’ll never, ever, learn enough and that’s okay. To ride well, whatever the discipline, takes patience and focus. To persuade a horse to participate as a partner rather than force him to obey takes delicacy and respect. Even the littlest is huge–a miniature horse can weigh 250 pounds–and they are both strong and opinionated. They do not suffer fools. 

My work as a writer nourishes me in a similar way. Writing is difficult and takes a lifetime’s worth of learning. I love that. I’ll never, ever, learn enough and that’s okay. Writing requires patience and focus. Even the littlest bit of writing–a 250 word picture book–is huge and opinionated. To try to force words to do anything is both foolhardy and likely fruitless. They’ll run away from you every time and once loose, are hard to capture again. Beautiful writing, like beautiful riding, takes delicacy and a respectful attitude. 

So I try. I try to ride well, despite achy joints and the many pressures of life. I try to write well, despite the same achy joints. Both disciplines are difficult. Both are beautiful. Some things never change, and for that, I’m grateful.

Enjoy the day.