Blog

It’s a 21st-century twist on the traditional over-the-transom manuscripts: Twitter pitch events.

While authors have been making initial connections online with agents for several years, since author Brenda Drake launched the Pitch Wars contest in 2012, Twitter events have exploded in popularity in the last year or two. Besides #PitMad, the Twitter offshoot of Pitch Wars, these days authors and agents can establish a connection via #DVPit (for diverse books), #PitDark (horror/mysteries), #PBPitch (picture books), #KidPit (children’s literature, from board books to YA), #SFFPit (Science Fiction and Fantasy), and other hashtags.

“All these wonderful books I was seeing in Publishers Marketplace, and they weren’t submitting to me, because they didn't know I wanted manuscripts in their genre,” Jessica Sinsheimer, an agent at the Sarah Jane Freymann Literary Agency, recalled. Since she launched #MSWL on Twitter in 2013, which has morphed into a website with a searchable database and an online writers academy, the hashtag has become a generic short-hand in the industry for agents’ wish lists. “I knew other agents in the same boat. Why not tell the world what we want? We have the technology.”

While agents all have their wish lists, many say that the Twitter events yield better results than simply posting what they would like to see in queries from writers. “[Twitter events] give us an opportunity to see something we may not have seen in our queries,” noted New Leaf Literary agent Suzie Townsend.

Kat Cho, a Korean-American writer based in Chicago who is the author of a YA fantasy novel, Gumiho, inspired by a Korean fable, pointed out that many writers are unable to attend conferences and other networking events, due to geographic, financial, physical, or other limitations. Twitter events makes pitching more accessible to people from a variety of diverse backgrounds. After participating in the first #DVPit in 2016, Cho signed on with Beth Phelan, now with Gallt & Zacker Literary Agency, who launched that Twitter event while she was at the Bent Agency.

“It’s great being able to do this from the comfort of your own home,” Cho said. “A lot of people can’t afford to go to pitch events in person. There’s so much knowledge concentrated in New York City, but writers are everywhere.”

#PitMad and #DVPit: The 'Gold Standard'

Twitter pitching has become so popular, in fact, that several agents disclosed that they avoid social media fatigue by being extremely selective as to which Twitter events they follow. Every agent contacted by PW who accepts children’s books, however, said that they follow #PitMad and #DVPit, describing both as well-organized events with a focus, rather than simply, as Janklow & Nesbit agent Brooks Sherman puts it, organizers “blasting” tweets at agents and “wasting your time—not just agents and editors, but also wasting the time of writers.”

“How is this Twitter contest going to elevate material you are not going to otherwise see?” Sherman explained that he asks himself before participating in any social media event. Sherman’s cautious approach towards social media has paid off: he has found several clients there who have subsequently nabbed lucrative deals with large houses, most famously New York Times bestselling author Angie Thomas (The Hate U Give). More recently, after initially connecting last year with Jennifer Dugan on #DVPit, Sherman sold at auction this past summer her debut YA novel, Hot Dog Girl, to Putnam in a two-book deal.

#PitMad is, in the words of several agents, the “gold standard” in terms of Twitter events, and is held quarterly, for a day each time. Writers describe their completed and unpublished projects in 280 characters or less (up from 140 characters previously, thanks to Twitter’s relaxation of its character count). Agents tweet their own preferences and can scroll through the tweets, indicating their interest in projects by “liking” the tweets they want to know more about, and bypassing the others. Authors then follow up by submitting according to that particular agent’s guidelines. While #PitMad is the general hashtag, due to the quantity of submissions, writers are instructed to include age categories and genre/subgenre hashtags along with the #PitMad hashtag to make it easier for participating agents—as well as, increasingly, editors at publishing houses—to refine their searches.

“It’s a whole new way to see a larger amount of premises in a short amount of time,” #PitMad team member and author Heather Cashman explained. She stated that #PitMad was created to accommodate writers who were unable to participate in Pitch Wars, which is by-invitation-only and highly competitive. While Cashman, who monitors the Twitter feed, hesitated to quantify how many writers participate in #PitMad each quarter, she estimates that “tens of thousands” of tweets are generated each time. #PitMad’s website contains testimonials from more than 40 writers who have obtained representation via #PitMad, although there are many more. Cashman said that the organizers do not keep track of their successes.

Sherman praised #DVPit for being “one of the best organized Twitter events out there,” and several agents agreed. Phelan of Gallt & Zacker launched #DVPit in 2016 to focus upon “marginalized authors and illustrators only” on an honor basis, according to its website, because, Phelan told PW, she “wanted to get more diverse authors published, as one agent, can’t do it all.” #DVPit is held twice each year, in April and in October. The first day is devoted to children’s and YA, and the second to adult projects. Participants must use the #DVPit hashtag as well as at least one category or genre hashtag. Like #PitMad, agents and editors are invited to “like” tweets they are interested in, so that authors can follow up according to that agent or editor’s submission guidelines.

To date, close to 60 writers have found representation via #DVPit, and 17 of those have landed publishing deals, including Claribel Ortega, whose most recent project is a middle grade novel, #Ghostbook, inspired by Dominican folk tales. Ortega signed on with New Leaf’s Townsend, who in November sold #Ghostbook to Scholastic. Ortega said that she’d sent out traditional queries with no luck before participating in #DVPit, where she received more than 50 “likes” from agents and, subsequently, seven offers.

“It was an amazing process for me,” Ortega said, noting that there is “a sense of urgency” among agents, which results in a “fast process.” She described the benefits of this kind of pitching for writers, especially those from a diverse background, like her, who might suffer from a lack of self-confidence because they do not regard themselves as being “part of that world.” The only downside to Twitter pitching, she admitted, was that it was “so public: there was added pressure to do well because everyone is watching.”

Noting that “condensing a manuscript to just [280] characters is difficult,” Phelan emphasized that #DVPit is “all team effort.” A group of authors, including, at this time, Rebecca Barrow, J.S. Fields, Lana Wood Johnson, and Judy Lin, are available to do “practice runs” with writers—who are randomly selected via their tweets— and critique their pitches.

“It gives [writers] a confidence boost,” Townsend said. “Sometimes editors will see tweets and tell writers they’d love to see [the project] when they get an agent.” In fact, Townsend added, the visibility of these unpublished projects is “a cool way to get buzz going really early.”

Townsend, as well as the other agents, predicted that social media events connecting agents and writers will continue to evolve and only grow more refined. But, she added, while “Twitter isn’t going anywhere, I don’t think the slush pile is going anywhere either”; the majority of her clients still come from the slush pile.

Social media “has not replaced querying; you still have to have that query letter,” Phelan pointed out. And as for writers who express some trepidation over the possibility of their idea being stolen if they put it out there on social media, #PitMad’s Cashman said that she responds to such fears by pointing out that “their idea might be unique, but they’re going to have to get it out there. Don’t you want agents and publishers seeing this idea? If not, you can go ahead and just query.”

Membership in the SCBWI is open to anyone with an active interest in children’s literature from picture books to young adult novels. We welcome aspiring and published writers and illustrators, librarians, educators, artists, students, dramatists, musicians, filmmakers, and others. A passion for children’s literature is our #1 criterion.

Promotional Opportunities

Increase your sales and readership. Participate in our many marketing and outreach programs, win grants and awards, and boost your visibility. 

Continue reading

Awards and Grants

Apply for our 52 awards and grants, available for authors, illustrators, pre-published members, and students. Exclusive to SCBWI members.

Continue reading

Regional Chapters

Connect with your local SCBWI community. Attend events such as conferences, retreats, meet-ups, and industry talks.

Continue reading

Information Resources

Learn the essentials of publishing children's books, improve your craft, and stay current with industry practices.

Continue reading

News

SCBWI Announces 2018 Golden Kite Winners

The only children’s literary award judged by a jury of peers, the Golden Kites recognize excellence in children’s literatures in six categories: Young Reader and Middle Grade Fiction, Young Adult Fiction...

Continue reading

Winners Announced for SCBWI PJ Library Jewish Stories Award

The winner of the SCBWI PJ Library Jewish Stories Award for 2018 is Audrey Ades, author of Judah Touro Didn’t Want to Be Famous, a beautifully written and compelling picture book...

Continue reading

Dear Ursula:

Thank you for being the conscience of writers everywhere. The one who stood up to the powers, who never turned her gaze away from the eclipse. Thank you for writing the stories that became iconic paths for the rest of us to tread...

Continue reading

Submissions Open for Happy Book Birthday Program

Submissions are now open for the March 2018 edition of the Happy Book Birthday program. This new SCBWI program invites members to celebrate and promote their newly published work...

Continue reading

Remembering Julius Lester, Author, Activist, Professor

The SCBWI is saddened to report the passing of Julius Lester, author, poet, photographer and civil rights activist. Mr. Lester died yesterday at his New England home. He was 78.

Continue reading

Meg Medina Joins SCBWI Board of Advisors

Award-winning author Meg Medina has joined the SCBWI Board of Advisors. A recipient of the Pura Belpré Award and Ezra Jack Keats Award, she is known for her picture books, middle grade, and young adult titles...

Continue reading

 

 

FAQ

How do I get discovered as an illustrator?

How do I copyright my work?

How do I publicize my book?

How do I find an illustrator for my unpublished work?

How do I self-publish my book?

 

 

 

Information & Support

The Internet is flooded with information about publishing, much of it inaccurate or linked to predatory publishing companies. We bring you trusted, current information about the field in our online publication The Book, through our quarterly Bulletin and through our monthly digital newsletter, Insight.  In addition, the SCBWI serves an advisory function for its members. We gladly provide advice, information, and counsel via phone or e-mail. The SCBWI prides itself in taking a personal interest in the careers of its professional membership. As a member, you will find support both from headquarters and your local chapter.

The Book

When you join you have instant access to The Book: The Essential Guide to Publishing For Children.  We update The Book weekly throughout the year so that you always have access to the most up-to-date information in the field. The Book is filled with up-to-the-minute market surveys, information on maximizing social media, creating book trailers, enhancing your career though school visits, best practices in independent publishing, grassroots promotion and much more. Members can also order a hard copy of The Book for the cost of printing and shipping.

The Bulletin

The SCBWI Bulletin is a quarterly publication containing comprehensive and current information in the field of children’s literature. In addition to features each month, regular departments include the latest market reports, information on school visits, book reviews, art tips, information on contests and awards, information on the illustration market, news of SCBWI members, and information about ongoing SCBWI activities throughout the world. Two hundred and fifty issues of SCBWI’s Bulletin, representing forty-two years of articles and advice, are now archived and easily searchable.

Awards & Grants

The SCBWI presents several annual awards to recognize works by SCBWI members that exhibit excellence in writing or illustration, and genuinely appeal to the interests and concerns of children.  In addition, the SCBWI provides grants and scholarships to encourage continuing excellence in the creation of children’s literature. Grants are awarded throughout the year and provide financial assistance to members to finish works-in-progress, polish portfolios, attend conferences, market published books and more.

Insight

The SCBWI INSIGHT is monthly, digital publication featuring current children's book news, hot topics, helpful hints, exclusive interviews and monthly contests. Members receive the SCBWI INSIGHT in their inbox the first of every month as a supplement to our quarterly Bulletin.

Podcasts

SCBWI is in production on regular thirty to forty-five minute podcasts, with interviews from leaders in our field—from editors and art directors to authors and illustrators. The podcasts are available for free download to SCBWI members. 

Networking

Being a writer or illustrator can often be a lonely profession. With the SCBWI you instantly have colleagues around the world to support your career, whatever the stage.

Conferences

Award-winning authors, esteemed illustrators, editors, agents, and publishers present lectures, conduct workshops, and give individual manuscript and art consultations at SCBWI conferences around the world. These conferences are excellent networking opportunities for those already established in children’s literature, as well as for those new to the fantastic, demanding world of children’s book writing and illustrating.

Regional Chapters

When you join SCBWI you automatically become a member of your local Regional Chapter. We have over is 80 regions within the United States and throughout the world. Through your local chapter you can meet other writers, attend events and get local support.

Online Community

SCBWI Members can connect with other authors and illustrators though our Illustrator Gallery, Speaker's Bureau, Bookstore and Discussion Boards.

Volunteer Opportunities

Members of SCBWI can give back to their community though various volunteer opportunities. Whether it is mentoring other writers and illustrators, helping put on a conference or reading your books to kids at a local school. If you are interested in volunteering please see the Volunteer Guidelines and contact your Regional Advisor for current opportunities.

Exposure

The key to success is "discoverability." When you are just starting out you want editors, art directors and agents to see your work, once published you want people to find your book so that you can create a fan base. The SCBWI helps you increase your visibility in the market. 

Inclusion in the SCBWI Online Bookstore

SCBWI members with a published book (both traditionally and independently published) can list their book in our online bookstore. For members who are independently published and have sought alternative means of selling books, the online bookstore will meet your needs.  For those who are traditionally published and distributed, it will provide one more place where both your in-print and out-of-print work can be discovered.

Feature your blog on our homepage

All members, whether published or pre-published, are eligible to list their blog in our blog roll. Those seeking to reach blogs about children’s books will have a centralized table of contents where they can find your blog.  In addition, each month we will select from this listing ten member blogs to feature on our homepage.  It’s a huge opportunity to drive traffic to your blog.

Illustrator Gallery

All illustrator members can display their portfolios in our online gallery, which is visited by art directors and others looking to hire illustrators. Each month we select an illustrator member to feature. Your art will appear on our homepage and be featured all month on the illustrator gallery page.

Art Spot

Illustrator members are invited to submit spot art to our Bulletin to be featured each issue. The Bulletin is seen by our 22,000 members including top industry professionals.

Speaker’s Bureau

Published members (both traditionally and independently) can be included in the Speaker’s Bureau, a searchable collection of authors and illustrators available for school visits. The Speaker’s Bureau is used by teachers and librarians around the world.

Discounts 

In addition to discounts at SCBWI events and conferences, members of SCBWI also receive discounts at Book Expo America and services such as Nielsen BookScan, Scrivener and Scapple software licenses, Publishers Weekly subscriptions, and Squarespace website design and hosting.

Discounts and coupon codes for members only  (You must be logged in to view)

I was one in the fortunate audience at the 1987 Florida Library Association Conference, immersed in this man's performance of the magical book Jim Flying High by Mari Evans, illustrated by Ashley Bryan. The experience is clearly imprinted on my mind's eye. His spirit is imprinted on my soul, as is his love on my heart. By the time I reached the front of the line to his table, copies of the book were sold out. Mr. Bryan began taking orders and checks from the rest of us.  

Shortly after the conference, the USPS brought my copy with his inscription:

For Mary Alice Deveny

Best Wishes!

We be Family!

Peace, Joy, Love

Ashley Bryan, Islesford, Maine, May 1987 

His bio page on the Ashley Bryan Center website describes the experience like this:

Ashley Bryan doesn’t speak his stories, he sings them, fingers snapping, feet tapping, his voice articulating. His entire body is immersed in the tale.

Biography

Renowned artist, writer, storyteller, humanitarian

Ashley Bryan himself tells us his secret for inspiring our hearts:

At every moment I strive for connection. If you are in the moment, you are stretching out to reach that which you recognize in others. That’s my secret. —  Ashley Bryan

As Mari Evans says, "Then everybody draw a deep breath and we all be happy too!"  "WE BE FAMILY."

Born in 1923, Ashley was raised in the Bronx, NY. At seventeen, he entered the tuition-free Cooper Union School of Art and Engineering, having been denied entry elsewhere because of his race. Encouraged by supportive high school teachers, Ashley was told, “Apply to Cooper Union; they do not see you there.” Admission was based solely on a student’s exam portfolio.

Drafted out of art school into the segregated US army at age nineteen, Ashley preserved his humanity throughout World War II by drawing, stowing supplies in his gas mask when necessary. After the war, Ashley completed his Cooper Union degree, studied philosophy and literature at Columbia University on the GI Bill, and then went to Europe on a Fulbright scholarship, seeking to understand why humans choose war. In 1950, renowned cellist, Pablo Casals, agreed to break the vow of silence he had taken after Franco came to power in his native Spain. Ashley was permitted to draw Casals and his fellow musicians during rehearsals in Prades, France, where Casals was in exile. Through the power of Casals’ music sessions, something “broke free” for Ashley: “I found the rhythm in my hand.”

Ashley returned to the United States, teaching art at several schools and universities, retiring in the 1980s to Maine’s Cranberry Isles as professor emeritus of Dartmouth College.

Meanwhile, Ashley published books—more than fifty to date.

Writes his editor, Caitlyn Dlouhy: He had discovered a hole in children’s literature. There were no introductory books of African American spirituals. There were no stories from the African oral tradition. The translations he found were academic. Dust in the throat. … He couldn’t duplicate the oral traditions of Africa, so he set out on a mission to create something for a new audience: beautiful books to be read and shared aloud … Ashley had bridged time and space, bringing past and present together to create a new voice, born of an ancient one.

Among Ashley’s awards are the Coretta Scott King–Virginia Hamilton Lifetime Achievement Award, Laura Ingalls Wilder Medal, and the New York Public Library’s Literary Lions award. Throughout the United States and Africa, libraries, children’s rooms, and literary festivals are named for him. As much as Ashley is humbled by these honors, it is the joy of creation, the excitement he sees in children’s eyes, that delights him most.

*Caitlyn Dlouhy’s words are taken from her article, “Ashley Bryan” in The Horn Book Magazine.

Ashley Bryan Center
PO Box 263
Islesford, Maine 04646
info@ashleybryancenter.org
(413) 687-2762

More than five hundred unique presentations by the world’s most influential writers are available in the KWLS audio vault, for use by educators, students, and readers worldwide. You can play many recordings immediately on our site, while others are available by request. Select a name from the index to begin, or browse our featured audio for highlighted selections with full liner notes.

This site also includes an online journal as well as information about the seminar, workshops, scholarships, and patrons circle.  Inimitable Judy Blume is a member of the Key West Literary Seminar Board of Directors.

Several selected recordings, such as the one below, include a brief introduction, with biographical information about the speakers and a summary of the material. We encourage educators worldwide to use these unique resources and share them with your community of readers.

David A. Kaufelt: “The Peter Pan Theory”

“I have a theory why we all live here—it’s called the Peter Pan theory. Freud said we’re at our most creative before we’re five years old. That’s where we are here. We wear shorts, we ride bicycles, we have the water, a great symbol of the unconscious, and we’re free to be children here and let our spirits go.”  ....

Below is a sampling of the treasures waiting to be discovered by aspiring children's writers.

Also, here you can find some masterful storytelling!

A children’s picture book may seem simple, but creating a brilliant one is no easy task. How do you make yours smart, engaging, and fun — rather than clichéd, saccharine, and didactic? 

by Michael Gallant for BookBaby Blog

If you’re looking for charm, education, inspiration, and that unmistakable warm-and-fuzzy feeling, there’s nothing quite like a well-crafted children’s picture book. Classics like Corduroy, The Lorax, or Goodnight Moon continue to engage new young readers and delight older ones — while many intrepid picture book fans strive to add their own creative works to the canon.

Jill Santopolo (Executive Editor at Philomel Books)

While picture books may seem simple, creating an effective one is no easy task. How do you make your own book smart, engaging, and fun — rather than clichéd, saccharine, and didactic?

Jill Santopolo is the Executive Editor at Philomel Books, an imprint of Penguin Young Readers Group; she is also the author of the Alec Flint mystery series, and an adjunct writing professor at McDaniel College. Here are some of her thoughts on how to conceive and craft your first children’s picture book.

Know the field

Before you dive into writing your own picture book, take some time to peruse what’s already out there, suggests Santopolo. “Once you read through a lot of stories, you’ll be able to see the type of story you want to write yourself,” she says. “The more you read, the more easily you’ll be able to internalize the sorts of rhythms and story arcs that other authors have used successfully. Then you can move forward and make that knowledge work for you when you’re writing your own story.”

Spending a few hours in the children’s sections of local bookstores and libraries will help you get much of the background you need. And if you happen to speak more than one language, don’t limit yourself to stories written in English; children’s picture books from France, Nigeria, Chile, or beyond can tell stories in inspiring ways that you may have never otherwise thought of.

Keep length in mind

As you read more and more picture books, you may notice a pattern when it comes to book length. “Nearly all new picture books are less than 1,000 words, and most run from 250 to 750,” says Santopolo. “In general, shorter is better. If you look at published picture books, they’re usually 32 pages long, which means just 16 spreads.” When you’re paging out your own story, she recommends, keep those numbers in mind, while remembering that you also need space within your page real estate for title, dedication, and copyright.

If you’re planning on publishing purely in the eBook realm, considerations like spreads matter less, so feel free to experiment with length and format. Just remember to be aware of the patterns and standards that have proven successful in the world of physical children’s books as you make your choices.

Choose a fresh topic

While it can be quite helpful to absorb as many children’s stories as possible before writing your own, Santopolo warns against imitating any existing work too closely. “Try to avoid writing books on topics that already have successful books written about them,” she says. “If you’re putting together a bedtime story, remember that you’re competing against Goodnight Moon and every other successful bedtime book that’s been around for decades.”

If you’re writing purely for personal reasons, the point is moot — but if you hope to sell copies far and wide, search for something original. “Unless you have a completely new twist on a topic that’s already out there and selling well, it’s hard to get your book to grab a piece of that market,” says Santopolo.

See your book as a Haiku

Santopolo likens writing a picture book to writing good poetry. “It’s incredibly difficult,” she says. “You have to get the exact right words to say the exact right things, since you don’t have the luxury of talking around a topic.”

A poignant haiku is difficult to write, she continues, because of the highly limited amount of words and syllables you’re able to work with. “It’s the same with a picture book. Writing something that’s really touching, powerful, and engaging — and keeping things within a word count that’s appropriate for a picture book — makes it even harder than writing a longer form story.”

If you find yourself with too many words, try stepping away from the story for a bit and returning with your editor’s hat on. Read through your work and remove any words that don’t feel absolutely essential. Could a certain phrase be written in a simpler, shorter way? Do it and see how the story flows afterwards. Chances are that, the more you hone your picture-book haiku, the more focused and effective it will be — but just in case, save all of your drafts separately as backups.

Don’t dumb it down – and think like a storyteller

Children’s books are a simple, right? All you have to do is make up a silly series of events about a lima bean and a piece of tin foil and you’re done. E. Z.

Not so, says Santopolo. “First off, children aren’t dumb, so don’t write as if you’re writing for someone who is,” she says. “And you could probably create a very successful book about a lima bean and a piece of tin foil if it had a good plot arc and emotional arc, and if the lima bean was a cool character who did interesting things with his buddy Tin Foil.”

People write successful books about all kinds of interesting objects, she continues, but the core elements of storytelling are still key. “The most successful books have an external plot, an internal plot, and a relatable character,” she describes. “With Where the Wild Things Are, the external plot is Max getting in trouble and going to visit the wild things, being part of the rumpus, and coming home. The internal plot is how he feels, the emotional changes that he experiences through that journey.”

When it comes to constructing your own internal and external stories, Santopolo advises that writers can start at pretty much any point and fill in the blanks. “There are two sorts of writers,” she says. “Some prefer to start and say, ‘here are my plot points, this is what I want to get across emotionally, and now I’m going to put this together with a story.’

“Then, other writers say, ‘this is my story, and now that I have a first draft, let me check for plot, emotional connections, and how I can enhance everything.’ It works both ways. Just at some point, writers have to think about all of these things.”

Don’t force rhyme

Just as great songs often avoid conforming to the same beat, so should every picture book follow its own proverbial drummer — especially when it comes to rhyme schemes, or lack thereof.

“Trying to force a book into rhyme, when there isn’t any particular reason for it to rhyme, isn’t usually a good idea,” says Santopolio. “Rhyme is phenomenal when it’s done well, but it’s also difficult to do well, and it’s just not a necessary thing in a children’s book.”

As you’re putting your book together, remember that it all comes back to the story. If you feel like rhyming your words elevates your tale and gives it a powerful flow and tone, go with it; if you find yourself turning to the thesaurus or rhyming dictionary with frustration for every other word, chances are the story will be better off without it.

Don’t force a moral

“One mistake I see a lot is that many people feel like picture books have to teach lessons,” says Santopolo. “The most successful picture books don’t do that. But they do subtly and slyly convey their message to children.”

A good example? “There’s a book called Diary of a Worm that basically talks about the fact that you can be important even if you’re very small,” she continues. “That’s not what the book comes out and says, but it’s what you can take away from the book when you read it.”

Illustrate (or outsource) with care

“A picture book is a marriage of words and pictures,” describes Santopolo. “The most successful illustrations are the ones that take a story to another level. They don’t just illustrate the words. They add something else to them.”

Santopolo cites a picture book called Two Eggs, Please as a prime example. “The entire text is just ‘two eggs, please’ until you get to the very end. The art tells the story. That’s an incredibly extreme example, but I think in the most successful picture books, the art does a lot of the work.”

Unless you’re a professional-level artist yourself, you may want to turn to a talented collaborator, rather than trying to draw the art yourself. Teaming up with a friend who has skill and experience, but who isn’t quite working as a professional artist yet, could be a good way to go; another option is to look through some of your favorite children’s books, note the illustrators who have a style that fits with the vibe of your own work, and reach out to them directly. While some professional illustrators will likely be expensive to work with or too busy to collaborate, you never know when your story will resonate and you’ll receive a “yes” when you expected a “no.” Also, even if the artist of your dreams isn’t available, he or she might know of a talented student or colleague who could do an equally outstanding job bringing your picture book to life.

Test your story out

“When you’re the author, it can be hard to tell if your story is interesting or not, since you’re so deeply involved with it,” says Santopolo. “That’s why it’s good to get it in front of a group of kids, preferably ones you don’t know, and observe their reactions to your story.”

Once you have a dummy of the book mocked up, with the words and layout basically done, find a preschool for your target age range and ask if the teacher might be open to reading your book for the kids. While it may be tempting to read your own story, Santopolo recommends letting a teacher do it, so you can sit back and observe.

“Pay careful attention to when the kids are spacing out, paying attention, laughing, or getting so bored that they start poking each other,” she says. “Take notes and adjust the story or the art accordingly.”

Don’t give up

When your book is read in front of a room full of children, do they all fall asleep or start crying? Even if your first trial run is less than a total success, try to learn from such experiences and not let them shake your confidence. Like any artistic endeavor, writing solid picture books is a skill that can be practiced and cultivated. Also, remember that even the most minor of tweaks can often reframe a story, giving it a fresh outlook, flavor, and level of appeal to your single-digit audience.

Where authors, self-publishing pros and the media meet to discuss, share and network

Happy to see George Slowik and Jane Friedman on the Advisory Board of BookWorks!

I respect and admire this publisher, whom I met at the first annual Global Kids Connect conference in New York City in 2015.

I respect and admire this writer and editor, and I'm looking forward to meeting her in March at the Association of Writers & Writing Programs 2018 annual conference in Tampa.

by Josh Althauser, for Website Magazine  Issue 121 December 2017

Human beings are ruled by certain biological rhythms that govern thought processes and behaviors. These rhythms are often subconscious, occurring naturally throughout a person’s life. For creative professionals, these rhythms are crucial, since they can be closely tied to the quality of the work.

Ultradian rhythms are one of those rhythm types, along with circadian rhythms, diurnal rhythms, and infradian rhythms. While circadian rhythms are ruled by daylight and darkness in 24-hour cycles, ultradian rhythms occur in a shorter timeframe and include everything from hunger cycles to the number of blinks a person makes per second. The multiple sleep cycles a person has each night is also an example of ultradian rhythms, since the cycles are repeated throughout the night.

Ultradian Rhythms and Design

Today’s designers put in long hours staring at computer monitors, determined to complete projects while they’re feeling inspired. This goes against the body’s built-in need to take a breather at certain intervals, leading to hours spent staring blankly ahead or, worse, creating subpar work.

The brain isn’t designed to focus intently for long periods of time. In fact, the mind can only focus for 90 to 120 minutes before needing a break. This length of time matches the 90-minute sleep cycles a person has each night, experts note. Sleep researcher Nathan Kleitman labeled this the “basic rest-activity cycle,” noting that in wakefulness, humans also need 90 minutes of productivity before taking a break.

Design and Time of Day

Many creative types can easily recite a time of day when they’re most productive. Whether they do their best work in the early morning hours before the rest of the world is awake or they prefer to burn the midnight oil, those professionals may not realize that they can actually access that same creativity throughout the day. The key is to time the periods of productivity so that they’re on for 90 minutes, then resting for an hour or so before diving back into work again.

The benefits of ultradian rhythms in the creative process was demonstrated in a 1993 study of young violinists. In the study, a performance researcher noted that the top violinists practiced in three increments of 90 minutes each every morning, with a break between each practice session. Instead of practicing for hours of time without a break, the violinists were able to maximize their productivity by following their body’s ultradian rhythms.

The Eight-Hour Workday

Unfortunately, ultradian rhythms go against the manmade work cycles professionals are expected to follow today. If a designer works in an office with other designers, there may be pressure to put in three to four solid hours of work before taking a break for lunch. Even if a designer can do a day’s worth of work in three ninety-minute bursts each day, that designer’s supervisor and co-workers may not understand the process unless the designer can somehow talk the entire team into changing their work styles.

When professionals push themselves to work when their energy is low, they risk subpar performance. For designers and others in creative occupations, when they don’t do their best work, they risk damage to their hard-earned reputations. Over time, it might even hurt their careers.

90-Minute Work Shifts

Instead of sitting at their desks for hours at a time, designers should try following their ultradian rhythms as they begin work each day. Even if it means taking a short walk around the block or spending a few minutes talking to a coworker every 90 minutes, they’ll likely find they return to their desks for the next 90-minute session feeling refreshed and ready to tackle the next step of their current project.

For those dealing with a skeptical supervisor, what better expert than NASA to prove that the rest-activity cycle improves productivity? In the 80s and 90s, the space agency worked with the Federal Aviation Administration (FAA) to determine the impact of naps on pilot performance. Their research found that pilots who took a 40-minute nap during the cruise portion of a flight were able to better maintain their reaction speed on that flight and on subsequent flights than those who didn’t. The number of performance lapses also decreased following a nap.

Crunching the Numbers

As Tony Schwartz, president and CEO of The Energy Project, points out, the math on ultradian rhythm-driven performance clearly demonstrates its benefits. An employee who multitasks from 9 a.m. to 7 p.m. without a break will work at 80 percent capacity until dropping to around 60 percent in the early afternoon hours. The last couple of hours of the day will be spent working at a capacity as low as 40 percent.

A similar employee who works the same shift using ultradian rhythm-inspired breaks will have no problem working at 90-percent capacity for each 90-minute stretch, knowing a break will be ahead. The breaks could include a 15-minute mid-morning break, a midday break for lunch, a brief nap in the midafternoon, and a 15-minute walk before finishing up the final 90 minute-sprint of the day.

Ultradian Rhythms and Creativity

How does this apply specifically to the creative process? Interestingly, for design professionals, ultradian rhythms could work in reverse. One study found that a person is at his or her creative peak in those early moments of wakefulness. Even stepping away from work for that 15-minute coffee break in the morning could lead to a great idea that a designer can put to use during the next work period.

For those who prefer a trip to the gym or a brisk walk around the block during break time, exercise has been proven to inspire great ideas, as well. During exercise, blood pressure and blood flow increase, boosting the flow of oxygen in the brain. When the brain has more oxygen, ideas flow more freely.

Designers face unique challenges in their daily work performance. Not only are they responsible for finishing projects on deadline, but they also must provide quality work in everything they do. By following the science of ultradian rhythms and taking frequent breaks throughout the day, they can not only be more productive, but the quality of their work will improve, as well.

Josh Althauser is an entrepreneur with a background in design and M&A. He's also a developer, open source advocate, and designer. You may connect with him on Twitter.

Still going strong two years later: "Print is alive and well in the children's book space."

Your Source for Publishing Intelligence

5 Trends Affecting Children’s Literature By Ellen Harvey December 8, 2015