The Long, Slow Slog Toward Mastery

I started reading Malcom Gladwell’s OUTLIERS this week, and I thought it would be interesting to look at the number of hours we've spent writing. Gladwell talks about how it takes around 10,000 for a person to achieve mastery, in any field. It made me curious to see where I fell on that spectrum.

One of the things that Gladwell also talks about is that any person’s success isn’t only about passion or talent or hard work. More nebulous things like opportunity and access also come into play. Looking over my numbers I see a couple of glaring advantages I’ve had. One, the luxury of having a supportive spouse with excellent health care benefits which allowed me the time to accumulate some of those hours. Also, a job that allowed me to write on the job, and thus practice my craft AND get paid for it as well.

Hours Spent Writing

1994      500 

1995      500 

1996      200 (went back to school for a year)

1997      750 (got a PT job, but one for which writing was a part of what I did)

1998      750

1999      750

2000      600

2001      600

2002      700

2003      1500 (quit to write full time)

2004      1500

2005      1500

2006      1500 (reached my first 10,000 hour mark this year! W00t!!)

2007      1500

2008      1500

2009      1500

2010      1500 (Year end total = 17,350 hours!)

So how about you? How far along are you on your first 10,000 hours of writing?

What Sells Middle Grade Books?

A long time ago in a blogosphere far away, I promised I’d talk about what sells middle grade books.

Then promptly got swept up in writing and revising my YA trilogy. Oh the irony! But today I am finally pulling this topic out of my hat. Since so many of the components of MG sales are teachers, librarians, and school visits, it seems an especially appropriate time to discuss this, now that school is back in session and fall is in the air.

One of the kind of funny things about MG is that when you talk to publishing houses and editors, they all bemoan the lack of MG and talk about how they are on the hunt for great MG books.

But.

It is YA that gets all the sparkly attention—higher advances, bigger publicity push, and often higher sales numbers. In fact, it is rare for a publisher to put a big publicity push behind an MG title unless it is part of a series and already a proven big seller. With YA there is a better chance of hitting the publicity lottery because there are simply more opportunities. If you look at PW’s list of Bestsellers for 2010 which lists 546 titles, only 108 of those were middle grade books. 2009 was had similar numbers, with only 96 middle grade bestsellers out of a list of 500 titles.

Part of that is because YA has a huge crossover potential to adult readers. There are huge numbers of adults who very happily read YA, but not MG. Also, marketing to YA readers is more of a cause and an effect. It’s easier to reach them because they’re older, online, and the role of the gatekeeper is not as much of a driving force in getting the word out about the book.

Also, in general, there are generally lower sales expectations for MG titles and (slightly) more willingness to wait for the slow build that happens as MG filters through the system. Many of the things listed below don’t even happen until a year or so after a book has been out. That means having enough publisher support to keep it in print long enough to find its audience, as well as accruing small sales milestones and accomplishments along the way. It means keeping the book out there long enough for the right people to stumble upon it and begin taking notice. It often means smaller advances, so the publisher has less capital invested upfront and can allow for that slower build.

Tools In The Middle Grade Sales Arsenal:

Write an amazing book. No, seriously. This cannot be said enough. Write a book impossible to ignore, or one that people cannot wait to press into eager readers’ hands.

Good Industry Reviews. Once upon a time, they only had to be good reviews, but a star or two never hurts. Especially with more and more library budgets being cut, they must radically prioritize their purchases and often will rely on starred reviews to do that. (However, do not panic if your book does not garner a star—many don’t and as long as the reviews are good, some sales will follow.) And how does one get starred reviews, boys and girls? That’s right—by writing an amazing book.

Attention from Book Bloggers. More and more, these book loving bloggers are having an impact on spreading the word about great books. There are fewer opportunities for MG out there than there are for YA, but there ARE opportunities.

Gatekeepers. Adults falling in love with your book and hand selling it to young readers. These gatekeepers can be indie booksellers, teachers, librarians, or parents. Even that Aunt who always gives books for birthday presents. I would also include the Junior Library Guild under this category, because they are in essence a gatekeeper for librarians and if they select your book, that recognition is an honor.

Foreign and Subsidiary Rights sales. (audio, movie, foreign rights) Nothing builds demand like perceived success (hence the huge smoke and mirror component to marketing.)

Bookclubs and book fairs. Again, this is a bit like hitting the lottery since there is only one game in town as far as these are concerned, but if your book is picked, it can really go. The downside is, especially with book fairs, it can also sit in relative obscurity as kids flock to the movie and media tie-ins and chotske toys and merchandise bookfairs also offer.

School visits, school visits, school visits. This is key and probably one of the biggest things a middle grade author can do to move books. However, these have to be set up properly. The author can’t just appear at the school, do their gig, and expect books to move. The book sales need to be an integral part of the visit. Usually the easiest way to do this is through presales arranged by the librarian, either through a local indie or a distributor or the publisher itself. I know a number of authors who have kept their MG books in print simply through their school visit sales.

Skype visits: These are happening more and more and possibly taking the place of school visits in some cases. They have a disadvantage in that you can’t (usually) set up presales of books. They can be especially effective for making sure readers know about subsequent books, however. (If any of you out there doing Skype visits do have a way you bring book sales into the picture, please let us know in the comments!)


Mass Market Bingo. No doubt about it, having your book selected to be featured at Target or Costco or any of the big wholesale outlets can have a huge jump in your sales.

State library and school readings lists. This is partly tied to the gatekeepers, but still deserves an entry of its own because it usually comes later in a books’ life, and it can be huge. A state list generates word of mouth in a way that few single librarians or teachers can. The other thing about state lists is that they are compiled by librarians and often have more breadth than starred reviews or literary favorites. Many are chosen for kid appeal or to reach certain reluctant reader niches. These aren't really something you can personally control, but they make a big difference in your sales numbers.


Social Media. Social media doesn’t have the same direct sales impact on MG that it does on YA. HOWEVER, it is still an important tool. Many of the above elements are initiated by one person loving your book; whether it is a librarian, the bookfair selection committee, the book buyer at Target, or a book blogger with a wide reach. And THAT is why it’s important to have some sort of social media/web presence—because it gives you a larger opportunity to connect with those people. In one of my favorite books, DRUID, by Morgan Llewellyn, the main character talks about needing to put yourself in the path of the gods in order for things to happen to you, and that’s how I view social media for MG books—you are putting yourself in the paths of the gods, widening your circle of acquaintances, being a part of the conversation.

Guest Blogger Audrey Vernick: The Rodent Brain Approach

I’ve been known to say I’m figuring all this book-publicity stuff out as I go, but I think that might a little optimistic. I have no idea if I’m figuring it out. But I am definitely going.

In the beginning, I mostly had a stomach ache about all the things I knew I should be doing but wasn’t. Then I started to do some things—mailings, building an online presence, commissioning a book trailer, planning big events—and the source of my stomach ache shifted a bit. I was still worried about all I wasn’t doing, but now I was able to spread the worry out, as I had no idea if there was any worth to what I was doing. My picture books were all over the map—two nonfiction and two about a buffalo—heading to kindergarten and learning to play drums.

And now I’m in the funny position of trying to take the things that may or may not be working to help promote my picture books and applying them to my brand-spanking-new-to-the-world novel.

Oh! The Stomach Aches You’ll Suffer!

I know that for picture books, I need to appeal to the parents, teachers, librarians and booksellers who help match books with children. The same is still largely true with middle grade, but in a different way that I haven’t been able to wholly figure out yet. I spend a fair amount of time thinking about this.

Allow me, if I may, to draw your attention for just one moment to the psychological theorist Jean Piaget, who studied his own children as the basis for his child-development theories.

I have a twelve-year-old girl, a reader, right here in my house!

What attracts the twelve-year-old Vernick to a particular book?

The cover. Definitely. And the recommendation of a trusted friend. (Two factors that have strong effects on adult-reader-me, too.) And two factors that writer-me has no control over.
This is why I try not to think too much. But I have the kind of brain that gnaws at things: a rodent brain.

All this is a dizzying roundabout way of saying that though my path here has been heavily weighted and full of rodent-think, I ultimately arrived at a philosophy akin to the Shrinking Violets message: for now, until I figure out more, I’m doing the things that come naturally.
For a long time, blogging was not on that list. I was repeatedly told I had to start a blog. I started one in conjunction with my nonfiction baseball picture book and quickly learned that the world really doesn’t care how much I hate Yankees pitcher A.J. Burnett. Also: I am passionate about baseball, but I didn’t really enjoy blogging about it.

I was disheartened.

I was encouraged to try again. It’s possible I was a little bullied, too—pushed to try again even though I didn’t want to.

Still, I jumped in, reluctantly. I started a blog about literary friendships—real-life writer-friends and the friends people find in children’s books. I figured until I found my footing, I’d interview other writer and illustrator friends and shine a light on them.

I discovered some things that delighted me: a shocking number of children’s writers wanted to be young Laura Ingalls; Roald Dahl, a writer whose books were not on my childhood radar, had a profound impact on many of the writers and illustrators whose work I admire; and everyone, like me, seems to love James Marshall’s George and Martha.
My rodent brain, ever-gnawing, doubts there’s a direct connection between my blog and finding readers for my books. Unfortunately, I think my rodent brain is right.


I think the knowledge comes, but it comes slowly, more on a year-by-year basis than the week-by-week schedule I’d prefer. So I’ll keep gnawing and doing what feels right. And worrying about the things I’m not yet doing. And the efficacy of the things I am.

But I’m also taking pleasure in the connections I’m forging with authors and illustrators through my blog. By learning how inspired they were by the authors and illustrators who came before them—authors and illustrators who probably didn’t worry about social media expectations and effective platforms.

And really, this whole game, at its heart, is about connection. Chew on that, rodent brain.

~  ~  ~

In addition to writing for children, Audrey Vernick has published more than a dozen short stories for adults in a variety of magazines and literary journals. She receive an mfa from Sarah Lawrence College and has been honored twice by the New Jersey State Council of the Arts with its prestigious fiction fellowship. She also blogs about literary friendships.

Guest Blogger Jennifer Nielsen: The Rules of Readings

When my kids were little, long before I was published,  I used to volunteer in their classrooms and read out loud. More than once, other adults stopped, thinking they were listening to an audiobook or tape recording. However now that I have books of my own?  My reading-out-loud skills seemed to have gone the way of the dodo.

Truly, I suck at reading my own stuff out loud. Which is why I was so thrilled when Jen Nielsen offered to share some tips for this most critical author skill!

# # #

Last spring, I was invited to do a reading from my forthcoming novel, The False Prince, to the sales and marketing team members from Scholastic. I was nervous, but reminded myself that I’d done plenty of readings before, and that after all, I was a theater major. And yet as I practiced in my hotel room, I stumbled over words, gave pauses where it made absolutely no sense to hesitate, and convinced myself that babbling incoherence was an inevitable part of my future.

Remember the rules, I told myself. You know what to do.

And thanks to those rules, the reading went well.

Doing a public reading can be challenging to every author – not just shrinking violets. Some people are naturally better at oral reading, some have stronger voices, and some are more comfortable in front of an audience. But regardless of where your talents are, everyone can give a good public reading. Here are some tips that can help.


1.  Choose the right passage.  For any audience, it’s best to choose an excerpt that’s heavy on action and dialogue, or emotional weight, and light on description and backstory. Be careful not to choose something that gives away spoilers.
You’re also looking for something that will run a total of two to four minutes. That may not sound like a lot of time, but you’re going to put a lot of energy into it, so that’s plenty.

Finally, from beginning to end, it should be a complete scene, including conflict, rising action, and a great climax (Hint: Some authors end the reading right at the climax and tell people to read the book to find out what happens).

2.  Treat the manuscript like a monologue. For your audience, listening to you is much like listening to a movie that’s on in the other room. They can hear the dialogue and the action. But they can’t see the scenery or follow the movement of the characters. All of that is meaningless to them.


So prepare for some surgery on the excerpt. Eliminate anything that doesn’t add to your reading, even if it’s an important thread to the overall plot. This includes long descriptions (of anything), and backstory references irrelevant to this excerpt. They’d feel like moving through mud while you’re reading. It also will include dialogue that may make sense within the total context of the story, but that is extraneous within the small passage you’ll be reading.

3.  Narrow your characters.  Remember that the excerpt should be a complete scene in itself. Very often the chosen passage has a line or two of dialogue that is vital to the scene, but that is spoken by a character who doesn’t matter in your excerpt. Unless the audience is already familiar with all of your characters, if you can attribute that dialogue to another character just during the reading, it will be less confusing to the audience. Sometimes to accomplish this, you may need to make a slight adjustment to the plot. Go ahead. Unless you’re JK Rowling and the world is paying attention to every syllable you utter, it won’t matter.

4.  Practice aloud. Forget about “reading” and focus on the emotional center of the story. Your reading should capture the emotion, not the plot. Each word can be a tool that reaches inside the audience and holds them captive. To do this, say the words as what they are. “Cold” should be spoken as if your breath was made of ice, and “warm” would be the opposite. If your character is hurrying, read it faster. If your character is hiding, your voice may become softer.

This is a technique known as “coloring words,” and it is the biggest difference between an ordinary reading and an unforgettable one.

Feel free to mark up your excerpt as you practice. I underline words I want to emphasize, put slash marks between places I want to pause, and draw arrows to show where I want to go faster. They work like stage directions for me as I’m reading.

5. Prep your audience. Part of every reading is first orienting the audience to the scene. The setup should be brief and clear. The audience needs to have a basic idea of who the protagonist is, a general idea of the book’s plot, the more specific circumstances of the scene, and finally, a brief introduction to the other characters they’ll meet. Rehearse this orientation so that it’s just as fluid as your reading.

6.  Read with your whole heart. A good reading is a little bit of theater. Dive into it, holding back nothing. It’s the people who keep one foot in the safe zone who end up looking ridiculous. Don’t worry about overplaying it. You don’t have the benefit of costumes, scenery, or fellow actors, so all you have is how you read. Pour everything you have into it, bringing the scene alive.
And have fun. Because even if your reading isn’t perfect, if you’re having fun, then the audience will too.

The second book in Jennifer Nielsen’s Underworld Chronicles series, Elliot and the Pixie Plot, was recently released with Sourcebooks. She will also release the first book in the Ascendance Trilogy, The False Prince, with Scholastic in April 2012.  Learn more about Jennifer and her books at www.jennielsen.com


Thank you so much, Jen! I have some upcoming school visits and I cannot wait to put these tips to the test!





Also, thanks so much to all of you who weighed in last week! It was great to hear what everyone has been up to. And ::drum roll, please:: the winner of last weeks comment drawing is Susannah Leonard Hill! (See? You weren't too late at all!) Email me with your address and I will get your prize right out to you!

End of Summer Milestone Monday Check In

One of my favorite commercials of all time was that Staples commercial that had the father dancing around the Staples store, loading up his back to school cart and singing, “It’s the most won-der-ful time of the year…”?

 

Honestly, September has always felt much more like the start of a new year for me rather than January. I am a big fan of those academic calendars that let me buy new versions in July or August, because for more of my life than not, my calendar has been ruled by school calendars. First as a student myself, then as a parent.

I suspect this may be true of the internet as well, because I’ve heard a lot of people talking about how they had cut back on their blog reading and interacting online over the summer. We’ll see if that changes now that September has rolled around.

Of course, that means that I will need to be online more as well.

But first things first! Because it has been MONTHS, let’s do a violet check in! I would love to hear what you all have been up to, what you worked on during the summer, what you didn’t work on, any milestones you achieved, epiphanies you had, or break throughs reached. All that good stuff. Also, if you are a regular reader and have a book coming out, please send me a jpeg and release information. I am WAY past due for updating the sidebar there at the side. [Note, if you sent it to me earlier, and it hasn’t appeared, PLEASE send it again as it is buried somewhere deep in my computer folders.]

And, to entice you, if you leave an update in the comments, you will be entered to win a copy of Donald Maass's The Breakout Novelist:  Craft and Strategies for Career Fiction Writers.  

As for me, I have had a very emotionally intense summer. I have been writing the second teen medieval assassin book, which is dark! Darker even than the first book. Plus, I’ve got an actual deadline now so I’ve been trying to trick the muse into thinking she’s had the same stewing, fermenting, and playing time she got with the first book. This was also the last summer before the last child leaves for college, so I’ve been doing lots of living in the moment, enjoying the last few weeks and soaking them up.

I have also been redesigning my website and creating a new one for the medieval teen assassin books. Neither are live yet, but it has certainly made me think a lot about internet presences and connecting to our readers and what they are looking for from us. Lots more on that in the weeks to come. Also in the weeks to come, some way cool interviews and guest posts.

Looking forward to hearing what all you've been up to!

An Autumn Muse

 

In honor of the changing seasons. And because I have muses on the mind, and Aunt Leaf seems like a most excellent muse... 

Aunt Leaf by Mary Oliver

Needing one, I invented her -
the great-great-aunt dark as hickory
called Shining-Leaf, or Drifting-Cloud
or The-Beauty-of-the-Night.

Dear aunt, I'd call into the leaves,
and she'd rise up, like an old log in a pool,
and whisper in a language only the two of us knew
the word that meant follow,

and we'd travel
cheerful as birds
out of the dusty town and into the trees
where she would change us both into something quicker -
two foxes with black feet,
two snakes green as ribbons,
two shimmering fish - and all day we'd travel.

At day's end she'd leave me back at my own door
with the rest of my family,
who were kind, but solid as wood
and rarely wandered. While she,
old twist of feathers and birch bark,
would walk in circles wide as rain and then
float back

scattering the rags of twilight
on fluttering moth wings;

or she'd slouch from the barn like a gray opossum;

or she'd hang in the milky moonlight
burning like a medallion,

this bone dream, this friend I had to have,
this old woman made out of leaves.

Tranformative Change

One of my very favorite writing books, which isn't really a writing book at all, is The Hero Within written by Carol Pearson. In it, the author talks about transformative change as we move through the different stages of our journey.

Transformative change. 

For some reason that phrase has really resonated with me, always in the back of my mind as I write. Probably in no small part because I've reached the point in the manuscript when everything is building to that big moment when my character sheds her old skin and steps into her new self. When she is truly and completely transformed by the events of the novel.


Then on twitter a while ago, I came across this quote by @Quotebelly:  

"The pessimist complains about the wind; the optimist expects it to change; the realist adjusts the sails." - William Arthur Ward

And it hit me; the act of adjusting the sails is not just about being realistic; it is also about being open to transformative change. A mere realist would batten down the hatches and hold on. But the act of adjusting the sails, of preparing yourself to accommodate what life is about to send your way, is a much more profound act of acceptance.

For some people, those bumps on life's road completely derail them or make them bitter or cause them to feel victimized. And while I hate tragedy and mishap as much as the next person, one of the only ways I can put my head down and get through it, is to try and see the situation as an opportunity for that sort of deep rooted change. To extract the life lesson that the universe is sending me. In doing that, in finding some nugget of wisdom to take from the incident, I feel that no matter what I have lost, I have also won.

The thing is, no one taught me that; not my parents or a church or a therapist. I have managed to learn that concept though stories.

Which is why in fiction, as writers, it is so vital that things in our story make sense, that the events in our stories are pushing our characters toward this transformative change. That is one of Story's most important roles in our lives, showing us what that sort of deep change looks like, feels like, how to recognize and respond to the opportunities when they arise.