Finding the Right Container: How a 10-Year Research Rabbit Hole Finally Took Flight by Todd Burleson

Every historical fiction writer knows the danger of the research rabbit hole. You go into the archives looking for a simple background detail to flesh out a scene, and you stumble across a footnote so staggering it derails your entire project.

For me, that footnote was a date: April 26, 1944.

I was working as an elementary school librarian, researching the Wright brothers, when I learned that on this day, Orville Wright stepped onto the tarmac at Wright Field in Dayton, Ohio, to take his final flight. He climbed aboard a Lockheed Constellation, a sleek, futuristic aircraft whose 123-foot wingspan was actually longer than the entire distance of his historic first flight at Kitty Hawk forty years earlier. During the 50-minute flight, Orville even took the controls, later joking, "I guess I ran the whole plane for a minute, but I let the machine take care of itself. I always said airplanes would fly themselves if you left them alone".

As a writer, my brain lit up. The poetic contrast between that fragile 1903 flyer and the massive 1944 wartime transport was irresistible. I was determined to tell this story.

My research journey hit a gold mine when I connected with George Hatcher Jr., the son of Colonel George Hatcher, the pilot who flew Orville that day. George Jr. generously shared his father's firsthand accounts, including articles, personal reflections, and even audio recordings from a local radio station. Having those primary sources, hearing the actual voices and reading the immediate reflections of the people in the cockpit, infused the history with an authenticity I could never have invented.

Armed with this incredible research, I sat down and wrote the story. Because of my background in the school library, I envisioned it as a 1,000-word picture book. I polished it, sent it out on submission, and waited.

It was rejected across the board.

For years, the manuscript sat dormant. I couldn't understand why a story with such incredible, primary-source-backed history wasn't landing.

It took a conversation with a brilliant publishing innovator to help me realize my mistake: the history was solid, but I had put it in the wrong container. That single historical moment was too heavy, too complex to be confined to a 1,000-word picture book. It didn't want to be the entire story; it wanted to be the symbolic anchor for something much larger.

I took the story down to the studs and rebuilt it a dozen times, but it now lives as a middle-grade historical fiction novel, The Secret War.

In the expanded canvas of a novel, Orville’s brief appearance on the tarmac took on a much deeper meaning. To my 12-year-old protagonists, the Lockheed Constellation represents the thrilling dawn of modern aviation, but it also casts the dark shadow of wartime progress. By 1944, the pure dream of flight born in a bicycle shop had evolved into terrifying machinery, while their own hometown of Dayton was secretly processing radioactive "spark plugs" for the atomic bomb. The history finally had room to breathe, perfectly encapsulated by a realization in the book: "The plane was the dream. The cloud was the cost".

It took me more than ten years to realize that a rejected manuscript doesn't always mean a bad idea. Sometimes, our meticulous historical research just needs a bigger canvas.

To my fellow writers: do you have a "failed" prototype or a rejected manuscript sitting in a drawer? If you look at the research you gathered for it, is it possible the story isn't dead, but just waiting for you to build a different container?

---

The Secret War officially launches on April 1st. To learn more about the book, download the free Educator's Guide, or explore more of the history behind the story, please visit my website at toddburlesonwonders.com.

Writing Nonfiction for CRP: Lisa Amstutz Dishes the Inside Scoop ~ Christy Mihaly

Author Lisa Amstutz is an accomplished nonfiction writer who has written several picture books and more than 150 educational books. She recently put her science background to work to write Amazing Amphibians: 30 Activities and Observations for Exploring Frogs, Toads, Salamanders, and More, published this January with Chicago Review Press (CRP). It's full of kid-friendly facts and activities, along with amazing photos and educator resources.

Many GROG readers are familiar with the traditional picture book process: Submit manuscript, wait, weather a storm of rejections, and if you're lucky and persistent, eventually find an editor who loves your story, then wait for an illustrator, and perhaps celebrate publication a few years later.

With longer nonfiction, the process usually begins with a proposal. Publishers vary, but I was interested in Lisa's experience with CRP, so I asked Lisa some questions. Okay, perhaps it's fair to say that I peppered her with questions. Which she graciously answered.

Lisa on a visit to Vermont: Looking for frogs?

Christy Mihaly: At 128 pages and 30,000 words, Amazing Amphibians is longer than many of your previous works, and it's your first with Chicago Review Press (CRP).

What do you want readers to know about this book?

Lisa Amstutz: First of all, amphibians really are amazing! Amazing Amphibians gives an overview of amphibian biology, behavior, and conservation. There are tons of color photos in the book, and each chapter has three hands-on activities related that will be useful for parents and educators.

CM: Amphibians may not be everyone's favorite creatures on Earth, but your enthusiasm for them shines through. How did you get the idea to write this book?

LA: I had seen some of the other books in the CRP "Young Naturalists" series. They seemed like they would be fun to work on and right up my alley as a science writer. After studying CRP’s catalog, I brainstormed ideas for topics that they hadn’t yet covered.

CM: I've heard other authors recommend looking for a gap in a series or pitching to fill a hole in a publisher's catalog. It's great to hear you say that it worked for you.

Why and how did you pitch amphibians to CRP? Was there any back and forth with the publisher to finalize the book outline and treatment?

LA: I actually pitched several ideas to CRP, and the editor at the time was most interested in seeing a proposal for this one. I then wrote up a full proposal and sample chapter and she took it to acquisitions. The final book more or less followed that original outline, but of course went through several rounds of editing before publication.

CM: So you pitched before drafting a complete proposal, which saved time, and then you knew they were interested in your topic before you put in the work. Great! 

Did you enjoy the process of writing this book? How long did it take? How did you stick to your schedule and get it all done?

LA: CRP has been wonderful to work with! The process took about two years from pitch to publication. Writing a book this long can be overwhelming, so I had to assign myself a daily word count, allowing plenty of time for self-editing and peer editing before submission.

CM: I'm sure that discipline was an indispensable part of your process. And yes, I know how important critiques can be! 

Amazing Amphibians includes intriguing activities for kids. How did you come up with them? Were there series guidelines? Did you try all the activities?

One of the 30 activities in Amazing Amphibians

LA: I brainstormed activities based on the topics at hand, and used Google and Pinterest to look for ideas I could adapt as well. I hired my kids to test out the activities for me, which was really helpful! 

CM: Ah, nepotism! I particularly noticed the many gorgeous photos in this book--I think there are about 60 of them. How did you conduct photo research and select photos? Did you contact photographers yourself? And is this the first book you've done where this was required?

Lisa and friend photograph a newt

LA: Yes, this was the first time I’ve had to acquire photos. I found them all online. Some were free on Flickr, Pixabay, or Wikimedia Commons. Others I purchased through stock photography sites like Shutterstock and iStock. For a few of them, I worked out a purchase from individual photographers. The publisher required very detailed documentation of each photo source and permissions, which was a little daunting until I figured out the system!

CM: Whew. This might be intimidating to writers who haven't done it, but I understand it's part of the process for many nonfiction books. 

How were the book's artwork and design developed?

LA: CRP handled all the graphic design. I did supply rough sketches for the activities to show what I had in mind.

Fun Facts and Graphics in Amazing Amphibians

CM: Did you hire an expert to review the text and/or illustrations? What kind of expert background does CRP require its authors to have?

LA: I had an amphibian expert review the manuscript. I’m not aware of specific requirements at CRP, but I think having relevant education or experience is a good selling point for nonfiction topics in general. My science background definitely made me feel more confident in having the background knowledge to tackle this topic. 

CM: Compared with working on an illustrated picture book, were there additional challenges and/or costs involved in putting Amazing Amphibians together? 

LA: I spent a good chunk of my advance on photo permissions. Some of the photos were a challenge to track down—it turns out there aren’t a lot of photos of endangered species available. Probably should have seen that one coming! I could have gotten by with spending a bit less, but wanted the photos to really pop. So I consider that an investment in the book’s success.

CM: Ah. Note to self: Write about commonly photographed species. 

So Lisa, what else should writers know before submitting to CRP? Any additional words of advice?

LA: As with any publisher, study their catalog and look for holes you could fill. Check out some of their recent books to get a sense of their style, especially if you’re targeting an existing series. Their submission guidelines are on the website, so read and follow those carefully. 

Best of luck!

CM: Thanks, Lisa, for your words of wisdom. 

And best wishes and health to all our readers.

Lisa Amstutz is the author of more than 150 children's books, including Applesauce Day, Finding a Dove for Gramps, and Amazing Amphibians. PLANTS FIGHT BACK (Dawn Publications) will be released in October 2020, and MAMMAL MANIA (Chicago Review Press) in 2021. Lisa specializes in topics related to science and agriculture. Her background includes a B.A. in Biology and an M.S. in Environmental Science. She lives on a small-scale farm in Ohio with her family. 

For more information about Lisa’s books as well as her critique and mentorship services, see www.LisaAmstutz.com.

And find Lisa here:

Twitter: @LJAmstutz

Instagram: @slow.simple.green

Facebook: facebook.com/AuthorLisaAmstutz

Eileen Meyer Launches A. LINCOLN (and a Giveaway)! ~ by Patricia Toht

Eileen R. Meyer's new book, THE SUPERLATIVE A. LINCOLN: POEMS ABOUT OUR 16TH PRESIDENT, begins with a definition:

"superlative - 

adjective 

1. of the best or highest quality; supreme..."

The word applies to Abraham Lincoln, the beloved American president, in so many ways. But it also applies to author Eileen R. Meyer. She is one of the most dedicated and hardest working authors I know. Her research skills are impeccable. Her poetry is prime. Come discover her sources of inspiration, her methods of research, and her clever ideas for marketing.

PT: I'm so excited that your new book, THE SUPERLATIVE A. LINCOLN: POEMS ABOUT OUR 16TH PRESIDENT, was released yesterday, Eileen! What drew you to Abraham Lincoln as the subject of this book?

Eileen: Thank you, Patty! I'm excited, too, that this book is now available to young readers. A number of years ago, I read an adult biography about Abraham Lincoln. (As an Illinois native, I've always admired our state's most famous leader.) While reading the book, it struck me that there were still so many interesting stories about Lincoln that could be shared with children. Most young readers know the basic framework of Lincoln's life, but they're probably not as familiar with other stories about him. That was the first germ of an idea for this picture book.

PT: Your three earlier books were picture books, but THE SUPERLATIVE A. LINCOLN is a 48-page, nonfiction, poetry collection. Quite a change! What did you enjoy most about writing it? What were the biggest challenges for you?

Eileen: This book IS quite a change, Patty! I adore writing poetry. I began my writing career by selling poems to magazines, such as Highlights, High Five, Ladybug, and others. Though it is an unusual approach, I wanted to tell true stories within the framework of a poetry collection, highlighting a different story with each poem.

Text by Eileen Meyer
Illustration by Dave Szalay

Why poetry? Poetry provides the reader with an opportunity to slow down, pause, and reflect. Using lyrical language, sound, rhythm, and form, a poem can engage a reader in a very special way. Additionally, most poems are what I would call "bite-sized" - they include plenty of white space on the page - which allows readers to form their own connections.

What did I enjoy most about writing this book? Learning more about Abraham Lincoln! When you undertake a nonfiction project, you know that you'll be spending oodles of time immersed in your subject matter. Reading and spending a lot of time in thought about Abraham Lincoln was a delight!

As for my biggest challenge? With many books about Lincoln in the market, I needed to find a way to tell stories about Lincoln's life that was both fresh and interesting. The "superlative" theme and writing poetry was my "aha!" moment. 

PT: This book required extensive research. How did you go about finding resources? Any tips on organizing your research? And how did you decide which information to include in the book's back matter?

Eileen: I LOVE research projects! Generally, I begin by reading books about my topic. I take lots of notes to ensure there is enough fresh content before I move forward with the project. Truly, I find that the books help steer my path. The books' authors always reference special collections, museums, historical sites, historians, and other topical experts throughout their book text and in the footnotes. That helps direct the next steps of my research.

Eileen at the Lincoln Memorial
Photo by Carol Stalun Photography

Though it takes more time, I'm a big believer in personally visiting important historic sites to conduct research. For this book, I traveled throughout Illinois and also visited Washington, DC. I spent time at the Abraham Lincoln Presidential Library and Museum, Lincoln's New Salem State Historic Site, the National Museum of American History, the National Portrait Gallery, and the Lincoln Memorial. By visiting many of these important sites, I was able to form a deeper understanding of Abraham Lincoln and his impact on others.

University of Illinois Library,
1891 book compiled by
Secretary of State Seward's son

As for organizing my research, I take a lot of photos when I visit historic sites and I take good notes. I keep my notes in 3-ring binders for easy reference. My photos are kept on my laptop computer; I might also print out some key photographs.


Regarding the back matter, I had a conference call with my editor early on in the project and we outlined those elements. The author's note, timeline, resources (books and websites), quotation sources, and selected bibliography were all key components. I'm especially excited about "The Superlative YOU" page in the back matter. It encourages young readers to consider the ways in which they, too, are superlative.

PT: You and fellow Grogger Julie Phend wrote a terrific post about promotional book swag. How are you using swag for THE SUPERLATIVE A. LINCOLN?

Eileen: I think book swag is so much fun! Some folks hire publicists for their marketing. Some plan fancy launch parties. I decided that I wanted to use my marketing budget for some innovative pre-order swag. Folks who pre-ordered copies of my book were able to contact me and receive this swag package:

• "Be Superlative - Be Like Abe!" youth-sized silicone wristband
• One-of-a-kind Lincoln cork coaster for your coffee (a great way to start the day with a reminder to "Be Superlative!")
• A snazzy Lincoln pencil
• An author-signed bookplate to place inside the book
• Two bookmarks featuring illustrator Dave Szalay's awesome art
• Activities (only available in this offer) for a young reader 
• A lucky Lincoln penny

Another plus of the swag is that I can continue to use it at promotional events to come. It was fun to create a little excitement leading up to the launch!

PT: Are you able to tell us what's next for you?

Eileen: Thanks for asking, Patty. I'll only say that I've started researching another history topic and I'm in the preliminary stage where I'm reading books. I've also visited a key historic site. My husband is a good sport, and on a recent trip to the National Book Festival in Washington DC (to listen to some fabulous KidLit authors present programs), we took a little side trip. Traveling for research projects is lots of fun!

Eileen at the Library of Congress

PT: Thank you, Eileen, for a post that's "the most"!

Discover more about Eileen: 
Website - www.EileenMeyerBooks.com
Facebook - eileen.r.meyer children's author
Twitter - @Writer_Meyer
Instagram - eileenmeyerbooks

**** GIVEAWAY ALERT! ****

For a chance to win a copy of
THE SUPERLATIVE A. LINCOLN,
comment below.
For an additional chance, 
share this post on social media
and tag Eileen 
(handles listed above this alert).

Suzanne Slade Talks Picture Book Biographies (and a Giveaway!) ~ by Patricia Toht

Kidlit friends, are you familiar with Suzanne Slade? If not, it's time you've met!

Suzanne is the award-winning author of over 100 books! Her picture book biographies are mainstays in schools and libraries. Her newest is DANGEROUS JANE, a lovely and lyrical look at Jane Addams, who devoted her life to social reform and helping the poorest in society. She was co-founder of Hull House, the first settlement house in the US, and won a Noble Peace Prize in 1931.

Suzanne began writing this book in prose form in May 2013. Her files are filled with 82 revisions of that early piece, titled "Unstoppable Jane." She then decided to change the main theme to "dangerous," and created 18 different versions of DANGEROUS JANE. In August 2014 (after 15 months of revisions), she decided to try the story in free verse. After 26 more revisions in free verse, it found a publishing home at Peachtree Books. Now THAT'S dedication to a project!

I love picture book biographies, and I fancy writing one some day. But I admit that I am completely intimidated by the research! Well, since we have an expert in our midst today, let's pose a few questions to Suzanne:

Q: Hi, Suzanne! Thanks for stopping by! My first question is, what inspired you to write about Jane Addams?

S: For as long as I can remember, I've admired Jane Addams and how she helped found Hull House in Chicago to help struggling immigrant families. Several years ago, I stumbled upon the fact that she was the first American woman to win the Nobel Peace Prize, and I was surprised I didn't know anything about Jane's important peace work. Curious, I began researching in earnest. When I mentioned my discoveries about her tireless work for peace to my friends, not one was aware of her peace work either. 

So I decided I needed to share her tumultuous, true story with young readers -- how Jane went from being a beloved humanitarian, to the FBI's "Most Dangerous Woman in America," to the first American woman to win the Nobel Peace Prize. I hope her fascinating story inspires a new generation to be kind to all people, regardless of their backgrounds, and to never stop striving for peace. 

Q: As a nonfiction writer, how do you organize your research? Do you use a program like Scrivener? Or do you use notecards or binders?

S: My organization "system" is rather old school. It consists of three items for each book:

1. Email folder - This contains all the email correspondence with experts/historians, permissions to use photos/artwork, etc.
2. Paper folder - I fill this with hand-written notes from telephone interviews, brochures or papers from museums, photocopies of research materials, and various story drafts.
3. Source doc - This is a lengthy, ever-growing computer document I'm continually updating which contains website links (below each link I copy significant paragraphs from that site), book sources (below each book title I note page numbers with specific facts found on each page), links to online books I couldn't get in hard copy from library, and a list of sources where I found pertinent quotes. This document also has a photo sources list, along with a small copy of each photo for reference. Since Sources docs often become rather long and unwieldy, I bold the facts that end up in the story so I know exactly where I found each one. The length and size of Sources docs for different projects varies greatly. The last story I wrote had a 14-page Sources doc. Another for a space project was 35 pages and had so many hi-res photos that the file was too large to email!

Suzanne's DANGEROUS JANE folder contains a brochure
from her Hull House visit, hand written notes from that visit,
copies of 1917 newspaper articles, a 'book dummy',
various story drafts, and more.

Q: At what point in your research do you conduct interviews?

S: I generally do interviews after I've finished a fair amount of research and have a completed rough draft. That way, I'm asking somewhat educated questions and will hopefully gather the facts and details really needed for the story. Of course, I also note extra information the expert may expound upon so I have that background info. But I don't want to waste the expert's time, so I try to think of all the questions I may need answered before we talk. For DANGEROUS JANE, I interviewed several Hull House staff, and conducted email interviews with Jane Addams experts from the Swarthmore College Peace Collection, the Cedarville Historical Society, and a few notable historical authors, and others.

Now if the subject of my story idea is alive, I will try to contact him or her earlier in the draft process -- after creating a story outline, but before writing a complete first draft. For example, when I proposed a leveled reader project to one publisher about Alan Bean, the fourth man on the moon, I knew we'd want to include photos of his artwork (he now paints moon scenes). So I contacted astronaut Bean early on to see if he'd be willing to participate in the project. Fortunately, he said yes, and I had the privilege of chatting with one of the twelve brave explorers who has walked on the moon. Definitely an out-of-the-world experience for me!

Q: You juggle so many different projects, sometimes releasing multiple books a year. How do you do it all? One book at a time, or multiple projects? (And do you ever sleep?!)

S: If things are going well, I'm generally juggling several books which have been acquired and are at various stages in the publishing process. (I have six books-in-the-works right now with five publishers.) I only work on one or two brand new stories at a time. Meaning, I may have one I'm fine-tweaking and/or submitting and another that's in the earlier researching/writing phase.

Before I begin a new story, I make sure I have at least two weeks without author events or any other interruptions, so that I can really get into the research and writing, and stay immersed until I have a full rough draft. As an aside, it's a scary sight when I'm wrestling down a first draft of a story. I pace around my house with uncombed hair, talking out loud, and asking myself questions. I hand write my first drafts, so handwritten pages with scribbly sentences and huge crossed-out sections are strewn everywhere, along with thick books filled with hundreds of sticky notes. 

I usually get a fair amount of sleep. I do lose sleep, though, when a story is not quite working and I can't figure out why. I keep a pad of paper and pen by my bed because sometimes I suddenly wake up with an idea to "fix" a story. Actually, some of my best ideas strike in the middle of the night. I also don't sleep particularly well before a school visit. But that's okay because the night after a visit, I sleep like a log!

Q: How much backmatter is the right amount? What do you think of sidebars? Do they distract from the telling of a story?

S: This is a tough question because the amount of backmatter depends on several things: the topic of the story, the amount of information covered in the main text, the personal preferences of the editor and publisher, and the length of the book (number of pages). For DANGEROUS JANE's backmatter, we included a great quote by Jane, two outstanding photos of Jane doing what she did best (caring for children and fighting for peace), an Author's Note with more details about her peace work, a Timeline, Selected Bibliography, Sources for quotes, and Acknowledgments of those who graciously helped with the research.

Backmatter from DANGEROUS JANE

Sometimes the amount of backmatter isn't decided until the book designer lays out the book to see what fits. Even then, things can change. For example, my book THE INVENTOR'S SECRET was originally slated for 40 pages (I think), then was bumped out to 48 pages so it would have 9 (yes, NINE!) pages of backmatter. There was so much cool science content in the story that we knew curious readers would enjoy -- like early car models, inventions, patents, etc. -- that we ended up sharing more than we originally planned.

As far as what backmatter to include in a story submission, I suggest a writer simply provide the content he or she thinks is extremely interesting and pertinent to the main topic(s) of the story, knowing that the publisher may or may not decide to include it all in the book. 

Regarding sidebars, personally I'm not a big fan of sidebars in a picture book. But for some topics and layout styles, they work extremely well. Again, it depends on the topic and vision of the publisher. If an author thinks that sidebars would be great with a story, there's no harm in including them. Then just see what the publisher thinks of them and edit accordingly.

Q: Do you share your research with the illustrator? Or does the illustrator do his or her own research?

S: I always email my Sources doc to the editor after acquisition so he or she has the option of sharing it with the illustrator.  So far, every editor has forwarded my sources to the illustrator. I also ask the editor to let the illustrator know I'm happy to answer any questions as best I can.

Illustration of the interior of Hull House with period details
in clothing, home decorations, etc.

Of course, illustrators do their own research to learn about settings, buildings, clothing, and hair styles, etc., but at least my notes give them a list of reliable sources (and experts) to start with, which hopefully saves them time. Alice Ratterree, who illustrated DANGEROUS JANE, did a great deal of her own research, which really shows in her gorgeously detailed and accurate illustrations.

Wow, Suzanne! Thank you so much for shedding light on the research process, as well as tips on writing and organizing a picture book biography.

And now, readers, I have a special treat! 

It's time for a 

GIVEAWAY!

For your chance to win a copy of DANGEROUS JANE, please  comment below and tell us the best way to reach you. 

Good luck!

To find out more about Suzanne Slade, visit her website.

Blasting Through Writer's Block ~ by Christy Mihaly

When faced with the dreaded Writer’s Block . . . what should a working writer do?

Pyre-Vulpimorph: http://fav.me/d5xoc7s

(a) sit and stew

(b) scream and shout

(c) swear: "I'll never write again!"

OR 

(d): Read this post, and get yourself out of that funk. 

GROG readers, take heart! Yes, sometimes it seems as if the Muse has flown, never to be seen again. We've all been there. But if you're looking for a way out of the mire, select option (d), and consider these tried-and-true secrets for blasting through that block.

1. Move! Get up from your dreary desk, and try one (or more) of these potentially productive options for movement:

Christian Gonzalez, flickr:
  https://www.flickr.com/
photos/full-aperture/8265272536    

a. Take a walk. Some writers call this “walking the story.” It’s smart to carry a notebook and pencil, or some other way to record your thoughts, because inspiration often shows up on long walks.

b. Move to a different writing space. Maybe it’s just to a comfy chair in the den. Maybe you can sit with your laptop under the spreading oak. You’ll benefit from  looking at the world from a new perspective.

c.  Run some errands. If it’s stuff you have to do anyway, don’t think of it as wasting time . . . just be sure to keep your mind open to creative thinking while driving or walking or riding. And if you have to pull over and write something down – do it.

d. Take a shower. Sometimes, ahem, we at-home writers might “forget.” Look down. Are you still wearing your pajamas at 2:00 p.m.? Perhaps a nice shower and a change of clothes would get the blood flowing to the brain.

2.     Find Fresh Inspiration. There are many ways to recharge your writing batteries and collect new writing ideas.

a.  Read.  Read mentor texts. Read poetry. Read anything. Notice what works and doesn’t work, yes. But read, read, read, for the pleasure of it.

b.  Watch kids. Don't be creepy, but if you’re a writer for children, you must understand how kids operate to write authentically about and for them. Sit by a playground or park, if you can, or spend time observing your own children or grandchildren.

c.  Fill the well. If your creativity is running dry, consider visiting an art show or a museum, or drawing or painting or playing some music or singing or doing whatever it is that feeds your artist’s spirit.

Leonid Pasternak, “The Passion of Creation”  [wikimedia]

d.  Call a writing buddy. Commiserate with someone who understands. Ask your friend to hold you accountable for your writing. Talk over some ideas that might work.

e.  Work on your craft. Are you thinking about signing up for a course or a workshop? Perhaps it’s a good time to buy a book about the craft of writing, and start working through it.

f.   Stretch your writing muscles. Switch it up with some writing exercises. If your picture book isn’t working, try making a picture book dummy. Compose a poem in your main character’s voice. Or change your story from the past tense to the present. Find the fun!

 https://www.flickr.com/photos/theilr/5360570788    

3. Productive procrastination. You must, of course, avoid regular procrastination -- the time-wasting kind. But in a pinch, a bit of writing-related procrastination may prove profitable. So if creative energy eludes you, try some tasks that use other parts of your writing brain.

a. Pursue the business of writing. Update (or write) your lists, your spreadsheet of manuscripts, your chart of submissions. Send a reminder to someone who has been holding your manuscript or query for six months; submit a piece if it’s ready.

b. Organize your files. Be on the lookout for a prior draft or an old manuscript that calls to you. Is it time for a fresh revision? Is this just what an editor wants now? Can you breathe new life into this piece?

 Sharon Drummond, https://www.flickr.com/photos/dolmansaxlil/4487159833    

c.  Check your deadlines. Maybe you have another project that’s due soon, or the contest you've meaning to enter is about to close. Deadlines can be highly motivating.

d.  Research. Maybe you need to do library or field research or photo research, for fiction or nonfiction work. Maybe you can work investigate possible publishers, agents, markets, or theme lists, doing research can inspire new writing ideas. Completing a bibliography can feel very productive, too, and remind you just how much you know about your topic.

e.   Plan a presentation. Have you been meaning to schedule a school visit or bookstore presentation? Think about working on this.

f.  Consider your writing plan. Identify your writing priorities. Do you want to sign up for a writing course? Read a book on craft? Do you want to try a different genre? Join a writing group? Volunteer for SCBWI? All these actions can move your writing forward . . . and get you out of the block.

And, finally, one of my personal favorites. . . write a blog post! 

If you have your own writer's block remedies to share, let us know in the comments.  And happy writing!