What to Write if You Want to Get Published

 by Fran Hodgkins

The question is on every aspiring writer’s mind: What should I write so I can get published? After asking this, a lot of writers end up chasing trends based on what they see in the bookstore. “But books about talking pastry are hot!” complains Writer A. “Why isn’t anyone snatching up my manuscript ‘Cassie the Cowpoke Crossaint’?”

 

There may be many reasons. One of them could likely be that one book about talking pastry makes the best-seller list and leads to an editor’s or agent’s inbox exploding with baked-goods-related manuscripts.

 

Same for books about boy wizards, or dragons, or fairies. “That writer did it and caught a wave,” Writer B thinks. “I’ll do the same!” So Writer B sits down and writes about a boy who wants to be a wizard.

 

Sigh.

 

Trends = Sausages

 

You see, it’s hard to get published. It’s even harder if you write your manuscripts based on what’s hot now. (Remember, books come out a year to two years—maybe even more— after the contract is signed.) Writing to trends is like a cartoon dog chasing a string of sausages: You run and you run and for what? 

 

 

 

What you need to write is what you, and only you, can write.

 

 

 I have a good friend who has written several charming books about fairies. The books have done well and are still in print. In so many ways, they were the ideal books for my friend to write; she has a whimsy streak a mile wide. Could I have written a book about fairies? Perhaps. Would it have been charming and whimsical? Absolutely not. You see, in my family tradition, fairies were not something you encouraged to hang around in the yard or move into the house. No, the fae were spirits who could help you and harm you within the same minute. They were to be avoided, or if that was impossible, placated, not encouraged with the building of tiny doorways and miniscule fire pits. My family’s fae were more Scorpio Races than Tinkerbell —not exactly ideal picture-book material!

 

My suggestion is to look beyond the children’s book section in the bookstore. Look at your own to-be-read pile. Yes, the one teetering on your bedside table. What kind of books do you like to read? Historical fiction? Romance? Mystery? It doesn’t matter if the titles on your table are for an adult audience: they show what you enjoy, what you gravitate toward. If you have a stack of mysteries waiting for you, does that mean you shouldn’t try a writing a romantic YA or a compelling MG novel set in the 1960s? Of course not. But it does mean that you shouldn’t disregard writing what you love to read.

 

Think of it this way. If you were reading Anne McCaffrey and Ursula LeGuin when you were young, the elements of fantasy are in your bones. With every Dragonriders of Pern or Earthsea novel you read, you laid now another layer of quality writing — specifically, quality fantasy writing — on your bones, just as if they were the cells that make up your femurs and tibias and ribs. The rhythms and language and structures of these stories have become part of you. They’ve been there so long that they are practically instinctive. Put them to work. Start your story.

 

 The Story Only You Can Write

Start the story that only you can write. This is probably the hardest part of writing. Writing your own, unique story – now I’m not saying you have to write a story that divulges uncomfortable private secrets. What I mean is write the story that grows from you, from your bones, from your family traditions, beliefs, superstitions, experiences.

 

This is really the essence of the advice “Write what you know.” If you have a dog that wanders off, use that a jumping-off point. If your grandmother loved you and her 100^th birthday is one of your fondest memories, there you go—another story seed.

 

Every person has their own stories. What are yours? 

 

Be Yourself

 

It's easy to dismiss yourself as not having worthwhile or interesting stories. But remember these statistics:

 

• Of the nearly 8 billion human beings on this planet, there is only one you. (Here's where my husband would ask, "But what about identical twins?" — we aren't going there.)
• If you go back through your family tree, thousands of people had to meet in order to produce the lovely and talented you. (Don't believe me? Check this out: https://cms9files.revize.com/franklincountync/Community/Library/Genealogy/ancestors1.pdf) 
  

 

 

You came from literally thousands of people, and you are unique. That means you have unique stories. Don't sell yourself short. Don't try to write the next HP or Hunger Games. 

Tell us your story. We want to hear it!

 

 

Writing the Right Way

by Fran Hodgkins

 

 

Everyone hopes to give their manuscript the best possible chance at being published. We check and doublecheck our grammar and spelling, search bookstores for comps, and scour the internet for agents or editors who might fall in love with our creations. Sometimes it can be stressful, and a lot of the time it can be discouraging. Perhaps you’ve thought, “If only I knew the right way to write.”

If only you had the magic formula. The “open sesame” that would unlock the door to your dreams.

But I will tell you a secret: there’s no one way to write. And because there’s no one way, that means there’s no right way.

Am I dismissing all the books about writing that are out there? Of course not. Not every book’s method will be a good fit for you. Writing is very individual, very personal. No two writers work exactly the same way because no two writers are identical.

What you need is to find what works for you.

Photo by Helena Lopes: https://www.pexels.com/photo/two-women-sitting-on-chairs-in-front-of-each-other-887723/Photo by Helena Lopes: https://www.pexels.com/photo/two-women-sitting-on-chairs-in-front-of-each-other-887723/Photo by Helena Lopes, via Pexels
 

For example, your writing environment can be a major factor.

·               Some people prefer to work in silence, or as close as they can get to it. For these folks, the library and noise-cancelling headphones are great choices.

·               Others prefer music, or just the normal sounds of life around them. Working at home may suit you, or writing in a café or coffee shop.

·               Some people prefer to write alone, while others enjoy getting together either in person or online for a quiet group writing session.

How do you find out what works for you? Try them all! You may find that the library is too quiet, and the local coffee shop is a bit too loud. Maybe it’s not the place, but the time. I just Googled my local coffee shop and checked the “popular times” chart. It’s quite busy on Sundays between 10 and noon, but on Monday afternoons, it’s not too bad. So it might be worth checking out on those less-busy days.

For me, writing is best done at home. I’m fortunate enough to have an office (which right at this moment is also occupied by two cats and a dog). I can close the door to cut down interruptions, but everyone in the house is old enough to be busy doing their own thing without Mom to entertain them. And just in case things get noisy, I have noise-cancelling headphones.

 

“How much should I write every day?” writers ask. We’ve all heard the advice:

You must do morning pages.

You must carry a notebook at all times.

You must stay at the keyboard until you’ve written X number of words.

You must sit in front of your screen until X minutes or hours have passed.

Nonsense.

Each of these rules has those writers who adhere to it. Some swear by morning pages, which is fantastic. But what if you’re a single parent trying to get your kids out the door to school and then get to work? Not everyone’s life accommodates these rules. I used to write on the train, in longhand, going in to work; it was great. But what if I had been driving to work? Not so productive!

 

If you can write every day, great. If you can’t, don’t beat yourself up. But even if you can’t write five or seven days a week, do your best to make time for your writing. Maybe it will be just a paragraph or two before you fall asleep with a cat in your lap after a long day. Maybe it will be a chapter every time you escape to the library or coffee shop, or when you have a chance to have your home to yourself. (Note: When family members/roommates are absent, please please please don’t spend your time doing laundry or cleaning out the fridge! These opportunities are gifts and they must be seized!)

And guess what? Thinking counts! That time in the shower when you’re puzzling about the best name for your character, or the time standing in line at the DMV thinking about your main character’s favorite color — it all counts. Writing is as much an effort of the mind as it is an effort of the fingers tapping across the keyboard. And as a result, sometimes you may find that 500 or 1000 to 2000 word-goal that you had for your writing that day stays frustratingly out of reach. To me, that means that you need to do more thinking. Shut off the computer or close the notebook. Do something else – take the dog for a walk, dig in the garden, go food shopping. Try different things. Try different tools, environments, genres. Try getting up early or staying up late. You need to give your mind time to lay the groundwork while you explore. When the groundwork is ready, the words will come. And then you can decide on what goal works for you – the number of words, the number of hours. Because you will have found your own right way to write.

And don’t forget – have fun.

Your Work Deserves It: Conferences to Consider

 

by Fran Hodgkins

Writing can be a lonely business. Does this story work? Is this idea a picture book or a novel? Am I even any good at this? Questions like these pester us daily, like blackflies in May in my beloved Maine. 

 

You don’t need bug repellent, though; going to a conference can make all the difference. Even for the most introverted among us, conferences can make a huge impacts. Inspiring keynote speeches, targeted workshops, and the chance to meet kindred spirits can change your life.

 

Many conferences and workshops are held virtually, which allows you to attend conferences around the world. Travel and hotel costs are no barrier to attending, and if your health presents a problem or you are still leery of crowds, virtual conferences are an excellent choice. 

 

Not only can you attend sessions that will help you improve your writing, but conference attendees often get the chance to submit their work (for a given period of time, such as three months), to editors whose publishing houses are normally closed to non-agented submissions.

 

Here’s a roundup of some of the conferences GROG Blog members have found especially valuable.

 

 

Big Sur Writers Workshop

California, USA

February, 2025

Founded by Andrea Brown, Executive Director and President of the Andrea Brown Literary Agency, Inc., this workshop gives you access to noted writers, editors, and agents. Writers get the chance to work one on one with industry professionals and get personalized feedback.

 

By attending this workshop, you’ll meet some of the leading editors and writers working in children’s books today. You’ll also meet agents from the ABLA and get the chance to share your work with them.

The ABLA team has also hosted “Big Sur on Cape Cod” in the past, but that won’t be offered again until after 2025.

 

To learn more, visit https://www.bigsurchildrenswriters.com/

 

 

Society of Children’s Book Writers and Illustrators Annual Conferences

New York, NY  – Winter

Los Angeles, CA -- Summer

SCBWI brings together top professionals in the children’s publishing world twice each year at the annual Summer and Winter Conferences. These annual events feature renowned authors and illustrators as well as top editors, art directors, and agents in the field of children’s publishing. The Summer and Winter Conferences are excellent networking opportunities for those already established in and just starting to enter the world of children’s book writing and illustrating. There are several tracks available to choose from; illustrators have their own track, as do PAL (published and listed) members, beginners, and intermediate writers. Writers can choose from workshops in fiction, nonfiction, poetry, picture books, marketing, and more. 

 

As of today, the Summer conference will be held remotely, and there will be a remote option for the in-person New York Winter conference. To find out more, visit SCBWI.org.

 

SCBWI Regional workshops

SCBWI has regions around the country and around the world, and they offer a rainbow of learning opportunities—literally something for everyone! A few upcoming sessions include Strengthening Voice in Narration and Illustration (SCBWI New Mexico); Creative Approaches to Revision (SCBWI Rocky Mountain); and Harnessing the Marketing Power of Pinterest (SCBWI Indiana). Fees apply, and most sessions are remote and open to people around the country. 

Generally, you’ll get limited-time access to recordings of the sessions, and you may also be able to submit to editors and agents who attend for a certain period of time. You can find current listings at https://www.scbwi.org/regional-virtual-events, or visit the individual regions’ sites. 

 For a personal take on attending a conference, visit Tina Cho's GROG Blog entry from April 24!

 

Rutgers One-on-One Conference

 Rutgers University

New Brunswick, NJ

From the website: “The unique one-on-one format gives writers and illustrators a rare opportunity to share their work with an assigned mentor from the children's publishing world, whether it be an editor, agent, art director, or published author or illustrator. These professionals generously volunteer their time to not only critique the work of new and talented writers and illustrators, but also to share constructive information about the overall business of publishing. Every attendee is guaranteed a forty-five minute one-on-one manuscript or portfolio review session, and there are additional opportunities to network with our faculty members.” 

 

Are you convinced yet? If not, let me add that this conference is hosted by the Rutgers University Council on Children's Literature at the university's Cook Student Center. You won't stay on campus, but there are plenty of hotels nearby.

 

And did I mention the faculty? Past mentors include

 

•   Linda Pratt, Agent, Wernick & Pratt Agency
•  Orlando Dos Reis, Editor, Scholastic Press
•  Maria Russo, Minerva/Astra Books for Young Readers
• Jamie Ryu, Editor, HarperCollins
•  Sara Sproull, Assistant Editor, Abrams Books for Young Readers
•  Gaby Taboas-Zayas, Assistant Editor, Penguin Young Readers
•  Beth Terrill, Editor, NorthSouth Books
•  Marietta Zacker, Agent, Gallt & Zacker Literary Agency
•  Andrea Cascardi, Agent, Transatlantic Media
•  Rachel Orr, Agent, Prospect Agency  Diana Pho, Editor, Tor Teen/Starscape/Macmillan

This one-day conference includes breakfast, lunch, and guest speakers. In addition to a one-on-one session, attendees will take part in five-on-five sessions with like-minded authors, illustrators, editors, and/or agents. Please note: you must apply and be accepted to this conference. 

 

Visit the website https://www.ruccl.org/conference/about-one-on-one-plus.html for more information.

 

 

Highlights Foundation

Boyds Mills, PA

I admit it: I’m crazy about the Highlights folks. I attended my first conference at Chatauqua and have attended several more both in-person and online. Today, in-person workshops are held at the founders’ home in Boyds Mills, PA. The Foundation offers working retreats across all genres, as well as Summer Camps, one for writers and one for illustrators. If you want to kickstart your work, the summer camp provides one-on-one mentoring (sorry, this year’s camps are already full, but there’s always next year!).

 

The in-person workshops include not only learning programs, but also food and lodging, either in the cabins on the property or in the “Barn” – the conference center. You are free to wander the grounds, a great way to relax and give your subconscious a dose of peace and inspiration.

 

Online workshops are scheduled all year, and range from one- or two-night minis to six-week programs. Upcoming virtual workshops include:

 

• Shape Your Story: A 6-Week Novel Intensive with Author & Agent Linda Epstein
•  From Idea & Sketch to Dummy & Submission: An Author/Illustrator Online Course
• Picture Book Plotting from A-Z: A Five-Week Course for Writers

 

Highlights offers scholarships to support and encourage creators of all kinds and levels of experience, in addition to having a general scholarship fund. 

 

To find out more, visit highlightsfoundation.org; you can also talk to an ambassador who can help you decide what suits your needs.

 

***

This list isn’t exhaustive – if it was, I could probably fill an entire website. I hope I’ve gotten you thinking. If you want to improve your writing, make friends, and have some fun along the way, a conference is a great place to start. Maybe I'll see you there!

 

 

 

Grammar Goblins by Fran Hodgkins

Besides writing, I do a lot of manuscript editing. Recently, I've run across many instances of one particular group of goblins: misused homophones. These words sound alike, but are spelled differently and have different meaning. They can be sneaky.And that’s what makes them goblins.

 

You’re probably familiar with two sets of familiar goblins: to/too/two and their/there/they’re. They’ve been addressed in other places and I won’t be reviewing them here. Instead, I’m shining a light on some homophone goblins are more elusive.

 

Pour and pore. Pour is what you do to orange juice, and a pore is a tiny hole in your skin. And this is where the goblin strikes: there’s actually another pore — a verb that means to study closely. When you’re reviewing stacks of papers, you’re poring over them. And yes – pore as in study closely always travels with the word over.

 

Flare and flair. This pair also makes trouble. When you dress with style, you have flair. When something bursts into flame, it flares up. Horses’ nostrils flare when they run. Bell-bottom jeans flare at the ends of the legs. If you’re in trouble on a boat, you set off a flare (which, in turn, flares brightly). And a brand of felt-tip pen is a Flair.

 

Flaunt and flout. When someone shows off their fat wallet, they are flaunting their wealth.  They’re showing off. Although they’re being annoying, there’s no law against it. However, if there was a law against showing off and they defied it, they’d be flouting that law—flouting the anti-flaunting law. Hm, I may be getting a bit carried away.

 

Assure, ensure, and insure.  This tricky trio confuses many people – mostly because they may have heard of two out of the three. Let’s start with insure: that means to take out an insurance policy to protect something against loss. Ensure means that you’re making sure of something; for example, you fill your gas tank before a trip to ensure that you don’t run out of gas. And assure? That’s when you tell someone that something is true or is definitely happening.

 

Loose and lose. Two o’s or one? That makes a difference. Lose is a verb (“I might lose my polar bear in the snow”). Loose is an adjective – such as in “a loose end” or “My polar bear is on the loose.”

 

So, why worry about the goblins? Will they stop an editor from buying your work? Every editor is different; some are more forgiving than others. But remember: you’re worked hard on your words. You deserve to give your work the best chance possible.