F1rst Timer

As a novice writer, I have had the opportunity of learning about the publishing industry through my work with the Florida Center for the Literary Arts and the Miami Book Fair International. I have learned even more through my own trials and tribulations on the road to getting published.

I once asked one of my favorite authors what it was like to be such a successful writer. Frank McCourt answered, “It took me over fifty years to get here and a lot of misery and hardship. It wasn’t easy, but it was worth it to share my story.”

Well although I am not yet published, I have had encouraging reaction to my story and marketing approach and I’d like to share this part of the process with you. Here is what has helped me prepare myself for manuscript submission -

First things first, cut the cord! Really, it may sound simple enough but you would be surprised at how difficult it is for many authors, including myself, to let go of the writing process. When the story is finished, you must detach yourself from the writing and change your focus to publishing. It is also important to step away from your work to be able to critique and edit it effectively. It’s your baby after all; you gave birth to a story and developed an intimate relationship with the characters. As wonderful as it seems to you, it will have to be edited and revised before submission. The worst thing a first time writer could ever do is submit their first draft of writing to agents for review. Detachment is also essential to help you appreciate any suggestions you may receive from colleagues and publishing professionals.
Second. See the product. One of my observations as a writer at the Florida Center for Literary Arts is that many authors do not want to look upon their work as a “product”. It isn’t a matter of “selling out”, but understanding how competitive the publishing industry is and how to differentiate yourself. Your manuscript must be defined in business terms, YA or middle grade, picture book or first reader. Investigate the different areas of children’s publishing. Visit your local bookstore and take a look at all the classifications for children’s books. While you are there, notice the positioning of “prime” real estate in the bookstore and which books have the most prominent spaces.
Third. Research, research and after that do more research. Do you know how many books are similar to yours? Do you know what the most popular books are in your book classification? Do you know what publishers are looking for and how your book fits into their needs? If you haven’t researched the market then you can’t even begin to create a persuasive query letter. Know what’s out there now, and what’s in the works. The Internet is an indispensable tool, as are industry magazines (i.e., Publisher’s Weekly) and associations (i.e., ALA or American Library Association) or organizations (i.e., SCBWI or Society of Children’s Book Writers and Illustrators) to find out has had longevity and what’s hot right now and why. Again, looking at your book as a final product, understanding what you are up against can make your pitch to an agent or independent publisher that much more convincing. Read the books that are similar to yours or that are successful in the area you wish to be marketed in. Create a comparative analysis - a listing of similar books, their publisher, their pub date and a summary for least five other books that you will be competing with on the bookshelves once you are published. Sometimes it’s fun just to imagine where you would want to have your book placed in the store, and it also helps inspire you to get published.
Finding Mr./Ms. Right. Reading the books that are similar to yours not only informs you of what’s out there, it can provide valuable information about publishers and agents. In every book, there is an acknowledgement to the agent, publicist, editors and/or others who have made the book possible. Use this information to create a contact list - a great advantage when you start approaching agents and publishers with query letters. It is essential in your query letter to mention reading the book and how you feel this particular agent would suit your type of book. Demonstrate in your query letter how you have specifically chosen this agent through your research. Agents receive hundreds of queries so your first line can lift you out of the slush pile or lead to rejection. Let them know you know their work! Attend seminars, conferences and writers workshops, not only will you be honing your writing skills, you will be networking with others within the industry.
Positive Negatives. Now let’s say you’ve done your legwork and are ready to send out your query letters. With great anticipation and care you mail them out and then you…wait, and wait and wait. The waiting can drive you crazy, but this is just part of the process. Agents and publishers receive thousands of queries and many have staff members who scan and filter out these requests to only those that match their needs. After that the query may not be reviewed for several weeks or even months. Remember, not replying does not mean they are not interested. Research and understand what the basic turnaround times are for that particular agent or publisher. When you get a first response from an agent, it may be difficult to receive a “Thanks but no thanks” letter. Don’t view a “No” as a negative. See it as a learning experience. Receiving a response is important because you know they took the time to not only read, but to consider your submission. I have been lucky to receive great feedback from agents and publishers who chose not to represent me, yet found my work interesting enough to critique and recommend. Looking at “No” letters from another point of view made them valuable in my approach to other agents and publishers. Remember to always respond to their letters with a short but professional thank you. It won’t do any harm and you never know if they might take a second look just because you were courteous.
Don’t give up! Getting published is not easy. It will take patience, creativity, determination and sometimes just being in the right place at the right time. It may take some authors years to find representation. Others may find it in just a few months. Everyone will have a different experience. Don’t judge yourself too harshly if you receive letter after letter of rejection, keep plugging away and try new approaches to your query and your marketing strategy.

Like Frank McCourt, I’ll never give up and look forward to sharing my story with others someday too.

Ana (Annie) Margarita Jones is the Operations Assistant for the Miami Book Fair International and a freelance writer for a national Hispanic magazine. She is currently editing and seeking representation for her first young adult manuscript, “Forever Neverland”. Annie has a background in Finance and an MBA in International Business.

The Three C’s – Break into Publishing the Non-traditional Way with HarperCollins’ Children’s Author, Nina Nelson

Author, Nina (N.A.) Nelson won her first writing contests when she was in eighth grade. She’s been a big believer in contests ever since. In 2005, Nelson entered the Ursula Nordstrom Fiction Contest for First-time Authors and three months after submitting, got THE CALL that her middle grade novel, Bringing the Boy Home was chosen as the winner.

“I am constantly encouraging new authors to enter contests. Yes, query agents and editors, but while you are doing that-enter contests! ”

Nelson regularly speaks about “The three C’s of Breaking into Publishing the Non-traditional Way: Contests, Conferences and Critique Groups.”

THE FIRST C

“The first C is CONTESTS. I won the grand prize for the Ursula Nordstrom Fiction Contest, so I got a publishing contract, but even if you don’t win first place, you have the opportunity to get noticed. Another manuscript of mine won an Honorable Mention in the online SmartWriters WIN contest—not First, Second or Third place, but Honorable Mention; a month after the competition was over, I received emails from both an agent and an editor requesting to see the manuscript when it was finished. The WIN coordinator had asked some editors/agents if they would be interested in looking at the manuscripts and then she passed them on.

THE SECOND C

The second C is CONFERENCES. Go to conferences/retreats. Just by attending, editors and agents open their normally-closed submission doors to allow you to submit to them for a limited amount of time. Once you are at a conference, do three things:

Pay for the one-on-one critiques--you might not get offered a contract on the spot, but you will get face time with an agent or editor. Sometimes they'll even give you their card and say ‘I’d love to take a look at your story when it’s complete.'
Another thing to take advantage of at conferences it the First Page Reading Panel. A First Page Reading Panel is when the agents and editors read the first pages of anonymously submitted manuscripts and comment on what they liked or didn’t like about them. I had an editor contact me a few months after a conference saying “I wanted to see if you would like to send me your manuscript? The one page that I got to read really stayed with me.” I then had to tell her that the story was now being published by HarperCollins, but that I would LOVE to keep the submission door open with her in for my next manuscript. She replied with, ‘I’d be more than happy to look at any of your future projects.'
Volunteer to work at one. You will be amazed at the opportunities that will arise from working at a conference. But…and this is ultra-important—be courteous, professional and respectful. Always. Be someone you’d want to work with if you were an agent or editor. Don’t shove manuscripts into people’s briefcases as you drop them off at the train station.

THE FINAL C

The last C is CRITIQUE GROUPS. Critique groups have so many benefits that I’m not going to go over them all, but for the purpose of breaking into publishing, let’s just say that they are a great way to network, network, network. Your friends—online and in person—are more sets of ears to the ground as to what’s going on in the industry: opportunities, contests, grants, awards, conferences. And if they have an agent and/or editor, they might even offer to introduce you or pass on your manuscript. I’ve had lunch with two agents because a critique group friend invited me along. I was offered an agent introduction when a “congratulations on your great review” email turned into an online friendship. Get involved.

So to reiterate: query agents, send cover letters to editors but in the meantime, try one of the three C’s. I grew up on a farm where I spent a lot of time fishing with my little brother. I visualize publishing a lot like fishing. The more lines you’ve got in the water—and load them up with different types of lures and bait—the better your chance of getting a bite.

Nina (N.A) Nelson’s novel Bringing the Boy Home tells the story of two boys in the Amazon and their quest to become men in their tribe. “I liken it to Lord of the Flies, meets National Geographic meets The Sixth Sense,” she says. Nelson is donating a portion of the profits to the Amazon Conservation Team, http://www.amazonteam.org/index.html whose mission is to work in partnership with indigenous people in conserving biodiversity, health, and culture in tropical America. To learn more about Nina, please visit her at http://ninanelsonbooks.com/.

Conferences

As the year moves forward, you can find conferences and workshops that I will be providing or attending. So check back when you can, and I hope to meet you or see you again soon. And my best wishes that you are published in the New Year!

Eileen Robinson

NYC One-Day Workshop

Just-a-Read Submissions

Does my story come together? Does the plot work? Are my characters intriguing? Do the characters and setting contribute to the plot effectively? Will this story hold the interest of my target audience?

Perhaps you feel stuck and can’t figure out why a particular story has received numerous rejections. You’ve exhausted writing books and conferences. And your critique partners, or other people whose opinions you revere, can no longer offer advice that can move your story forward. Or maybe you want professional advice sooner rather than later.

“Just-a-Read” is just that, with answers to the questions above and how to move forward. This critique includes a discussion by phone rather than a written critique. It does not include line editing, a marketing critique, or extensive fixes as you would find with the regular submissions. This is to help you get unstuck.

The fee is less than a normal critique. Please email eileen.robinson@f1rstpages.com with a description of your work, your concerns, and page count.

Look forward to reading your work!

Revision Submissions

All previous clients will receive 40% off the initial fee they paid for their first critique.

These submissions apply only to:

clients who have already received a critique through F1rst Pages of a complete picture book, chapter book, or novel. Critiques of partial work, pages or chapters, do not apply.
the same work that was seen by F1rst Pages.

Below is the revision fee for Picture Book and Early Reader Authors. Authors of Chapter books, Middle-grade, or Young Adult novels, please email for fee, or if you prefer, you can just take 40% off your original fee and send payment through Paypal.

Do not forget to submit your work by clicking “Submit Here”.

Fee for Revised Picture Book

$99.00

Mid-Winter Revision Boot Camp Schedule

The following dates are for the F1rst Pages Online Boot Camp. In order to keep the momentum and excitement going, Harold Underdown and I will try to meet the deadlines we’ve proposed here and we ask that you do the same. You will have a primary editor. We will choose which of us will be your primary editor throughout the course and the other will offer a second opinion later, if you so choose (see schedule below).

Life has a way of getting in the way and sometimes dates might slip a bit, so if that happens, please don’t hesitate to let us know so that we may work together to help you get the most out of this experience.

This is your own special journey. If you dare to write, you are in the right place.

Welcome!

Deadline for Registration: December 1o

Schedule

Class Duration – January 16 – March 14
(Note: the class officially ends on March 14th with a live chat, and those who choose the Second Opinion option will receive that final opinion approximately 1 week after class ends, unless otherwise notified.)

January 16 – Synopsis due

January 23-25 – General response to story idea and marketing potential

February 2 – Manuscript submissions due (see page count below under submissions)

February 14 – 1st Response Critique to Author

February 22 – Author Revision Due to Editor

March 2 – Revision Response Due to Author

NOTE: At this point, the authors must decide whether they want a Second Opinion or a Line-Edit. The dates for return of your manuscript to the editor will be different for both. There will be a reminder to the class before you get to this point.

March 7 – Manuscripts due back to primary editor for authors who only wish to get a line edit. Line edits only apply to the first 10 pages of a middle-grade or young adult novel, where needed. Picture books will be line edited in their entirety, where needed.

March 14 – Last day of class – Revisions to Secondary Editor you have chosen.

March 23 – 27 – Response from Secondary Editor – …and you may email any questions you have in reference to this response after you receive your manuscript.

Online Chat

There will also be an online chat on March 14th to answer any additional questions or address any concerns about writing, submitting, or the publishing business. We realize that some may not be available at particular times, but we will talk to each of you to get the best time available for everyone, and if you should have to miss this chat, a transcript will be sent to you.

Submissions

If your submission is a:
Picture book – submit the entire work. (Note: Picture Book Authors may submit more than one picture book at a reduced fee for each additional submission. Please inquire.)
Chapter book – submit up to 40 pages of the work.
Middle-grade novel – submit up to 40 pages of the work.
Young adult novel – submit up to 40 pages of the work.

If you have any questions, please email eileen.robinson@f1rstpages.com. Otherwise, you can register on the website by clicking “submit here” to submit your manuscript and clicking the appropriate paypal button for your submission.

Best,

Eileen Robinson
www.f1rstpages.com

Revision Online Class
April 24 - June 20

[Note: Due to popularity the April class is on the horizon! Check out the previous class schedules below and get on the waiting list now.]

Is your manuscript ready for submission? Is it marketable? In this online revision class you have the opportunity to work one-on-one with two professional editors before you submit your first chapters or picture books to agents and editors!

Revise your first chapters and picture books, identifying your strengths and the challenges your story faces. You’ll toggle back and forth with us as we critique through several rounds and give you assignments that will help you build a better story and as a result become better at your craft.

So, spend 8-weeks with Harold Underdown and Eileen Robinson and through vigorous work, let us help you determine if your concept is publishable, if your approach is effective, if the writing works, if you still have more work to do, or if you need to move on to something else.

If you are ready for the challenge, get on the waiting list now. There is limited seating due because we try to keep the class intimate and popularity has soared!

There will be a new link just for this class - kidbookrevisions.com. If there is difficulty linking to the new site, just email eileen.robinson@f1rstpages.com and asked to be put on the waiting list.

Hope to have the opportunity to work with you!

Best,
Eileen Robinson

Chapter Books, Middle-Grade or Young Adult Novels

Picture Books

Past Online Classes

January '09

August '08

AUGUST - SEPTEMBER

END-OF-THE-SUMMER 6-WEEK ONLINE CLASS

Let us help you get those first chapters ready for Fall submissions to publishers and agents through the End-of-the-Summer online class!

Near the end of the summer, Harold Underdown and Eileen Robinson will come together to help you prepare your first chapters and query letters for submission. Submissions can include the first chapters for Middle Grade and Young Adult Novels, and Chapter Books. (See Submission Guidelines Below)

(No picture books or nonfiction at this time please.)

A SPECIAL GIFT: All Class Participants Will Receive a Free, Signed Copy of The Complete Idiot’s Guide to Children’s Publishing by Harold Underdown as well as a writing tool from F1rst Pages’ Eileen Robinson.

For more information on Harold Underdown or Eileen Robinson, scroll down for the links.

GETTING PUBLISHED

This course is not a promise to get you published. But with our years of experience, we hope to get you closer. You will learn more about the marketplace now, your writing, where the challenges are in your beginning chapters that might get you rejected, and how to fix those problems. Plus you’ll have an opportunity to talk with us through a live chat to share your questions and concerns.

EVALUATION OF YOUR WRITING: All authors will have the opportunity to send in the first 5 pages of their submission with registration. We will evaluate your writing and send you our preliminary thoughts before class begins.

(First 5 pages will not be accepted after date of registration.)

CLASS SIZE IS LIMITED. You will be notified that your registration is accepted.

DEADLINE FOR REGISTRATION: JULY 18, 2008

DEADLINE FOR FIRST 5 PAGES: JULY 18, 2008 (This is optional but we recommend you take advantage.)

DEADLINE FOR FULL SUBMISSIONS: JULY 27, 2008

(If your submissions are not received by the deadline, we will have to delete you from the class as we need time to read and comment thoroughly.)

SUBMISSION GUIDELINES:
Submit the first 4 chapters (or up to 40 pages).
OR
Submit the first 3 chapters (or up to 30 pages) plus query letter.

(No query letter included if submitting 4 chapters.)

DURATION OF CLASS: See class formats below.

TWO EDITORS – ANOTHER VIEWPOINT

CASH IN YOUR SECOND OPINION CARD!

Wouldn’t you love to have two experienced editors discuss your work at the same time - for the same fee?

Editors agree on many things but since we all bring our personal needs to a story, mixed with that of the marketplace and our publishing plan, that means one thing for you in this class…

An opportunity to build the strongest and most engaging work possible!

So How Does it Work? You will work intensely with one editor during the course and then have an opportunity to cash in for a second opinion with the other editor on one of the dates of your choice, as noted under “Class Format” below. There are two options but only one chance to cash in.

(You will be reminded in advance of the dates so that you can decide.)

CLASS FORMAT

July 18: Submit first 5 pages (optional)

July 21 – 26: Receive brief preliminary analysis on
writing, based on first 5 pages submitted.

July 27: Deadline for chapter submission (Submissions cannot be accepted after deadline)

August 16: Receive feedback

August 23: Turn in new draft according to editor’s comments

August 30: Receive feedback

September 6: Turn in new draft (Option to use Second Opinion Card here; see above)

September 13: Receive feedback

September 20: Turn in final draft (Option to use Second Opinion Card here; see above)

September 30: Final feedback

ONLINE CHAT DATES

August 30, Sept. 6, Sept. 13, Sept. 20

Participants will receive more specifics and chat times in August.

CHAT TOPICS

Manuscript and Submission Basics
Acquisitions and Contracts
Working with An Editor and Publisher
The Revision Process

If you have a topic that you would like to see covered, please email eileen.robinson@f1rstpages.com once you have enrolled. It will be considered.

FAQ's

For Frequently Asked Questions, please click the following link.

http://www.underdown.org/er-faq.htm

MORE INFORMATION ON EDITORS

For a short bio on Eileen Robinson, click the About Us tab.
Email eileen.robinson@f1rstpages.com with questions.

For more on Harold Underdown, go to http://www.underdown.org

CLASS REGISTRATION FEE: $350 (Click Pay Pal button below)

REFUNDS: Full refund if canceling before July 27. No refunds once program begins.

In NYC

Last year the Council of Literary Magazines and Presses [clmp] inaugurated LWC/NYC, a conference to serve writers of fiction, poetry, and literary nonfiction. Rather than address the craft of writing, this conference brings together professionals from throughout the publishing community to help literary writers maneuver in the marketplace. The second annual LWC/NYC (Literary Writers Conference/New York City) will take place November 8 - 10 at The New School.

Follow this link for more information...

» http://www.clmp.org/lwc

December Submissions

F1rst Pages will be closed for December 2007. Any work submitted in December will be reviewed after the New Year. Please feel free to submit and I will contact you during the first couple of weeks after the New Year to get you on my calendar.

Any work you would like a response to before the New Year should be submitted as follows:

Picture Books and Early Readers: Send in by November 1st

Chapter Books, Middle Grade, Young Adult: Send in by November 15th (No more than 3 chapters or up to 30 pages)

All those that submit on time will receive their critique by November 30th.

If you need a critique for a complete chapter book, middle grade or young adult novel, please contact me at eileen.robinson@f1rstpages.com

Best,

Eileen Robinson

THE 2^nd ANNUAL BROOKLYN BOOK FESTIVAL – It’s coming - September 16, 2007! Be There.

The second annual Brooklyn Book Festival will take place at historic Borough Hall on Sunday, September 16, 2007. Last year’s inaugural festival was a tremendous success, featuring 10,000 visitors, 80 publishers and presses from across the country, and readings and discussions by renowned authors.

The festival has quickly established a reputation for presenting innovative and exciting programming. This year, A.M. Homes, Pete Hamill, chef David Bouley, Mary Gaitskill, Uzodinma Iweala, George Saunders, children’s author/illustrator Mo Willems, George Packer, Ana Castillo, Alisa-Valdes-Rodriguez, Colson Whitehead, Reverend Run, Gloria Naylor, Stephen Carter, actor Mike Farrell and Jim Carroll are among the many authors who will grace the stages and reading rooms of the festival.

Hosted by Brooklyn Borough President Marty Markowitz at historic Brooklyn Borough Hall, outdoors on its beautiful plaza, and at the nearby Brooklyn Historical Society, the day-long festival showcases local and national retailers, publishers, authors and literary organizations.

Multiple stages and indoor venues will feature adult and children’s programming, spirited panel discussions and spoken word performances.

Festival partners include Brookyn Academy of Music, the Brooklyn Historical Society, the Brooklyn Public Library, Housing Works and the National Book Foundation. Sponsors are Target, the Independence Community Foundation and Time Out New York.

For additional information visit the festival website at www.brooklynbookfestival.org.

Your Cluesletter for Rejection-less Writing

What do you fear most about your writing?

Rejection.

No matter how we try to put a positive spin on the word, it still echoes in our subconscious - “It’s just not good enough.” And since writing is such a personal and sometimes lonely and confining job, that phrase sounds more like “YOU are not good enough.”

So how can you learn to subject yourself to rejection and turn it into a positive?

Let’s hear what editors at your favorite publishing houses think.

Why do they reject many of the stories they read?
How do they see the craft: plot, voice, style, tone, character, etc.?
What are the best ways to avoid rejection?
What are the next steps to success after rejection?
Which kinds of stories are in? Which kinds are not?

Then dig into your Fuelbox and take the month’s writing challenge. You can win writing tools to develop your writing, or just something for plain old inspiration, and there will be advice waiting for you from your fellow published writers.

So hear what editors have to say and join in some creative fun, too! Join now for your first cluesletter in September 2007.

And if you get on the list by August 10th, you’ll receive 15% off your first pages, first chapters, picture books, early readers or chapter books. But the deadline for submissions of manuscripts is September 15, 2007.

Click here to join f1rstpages
Click to join f1rstpages

Your Fuelbox

Your monthly writing challenge will appear here. By entering your work, you agree to let F1rst Pages post your critique in The UnRejected™ cluesletter if you should win.

Beyond posting the first name and state of the author (which will also be posted on the site), F1rst Pages will not post any personal information.

The UnRejected™ cluesletter is free but not necessary to enter the monthly challenge.

Response Time:

Depending on volume, critiques should be received; from the date I contact you, within the time frames indicated below. If there are delays with your manuscript, I will contact you to let you know what is happening and where I am in the process.

First Pages: 1-4 weeks

First Chapters: 2-6 weeks

1 chapter: 2-3 weeks
2 to 3 chapters: 3-6 weeks

Early Readers: 1-4 weeks

Picture Books: 1-4 weeks

Middle Grade Novels: 4-12 weeks

Young Adult Novels: 4-12 weeks

**Note to all writers - please make sure to read the important notice at the end of this page.

Middle-Grade and Young Adult Novels

Submissions, Format, Fees and More:

If your manuscript is completed or near completion, but you feel it is still not quite ready to submit to a publisher or you're "stuck" somewhere in the writing process and need additional guidance, I can help you get to the next step.

Whether that be marking up your manuscript or giving marketing advice, recommending books, writing classes, links or even other professionals that can help you further, I am here to give you the tools you need to get published.

When you have a moment, click on the Middle-Grade List tab on the top bar to get a feel for middle-grade novels with a list to build your library and your knowledge.

Do you have middle-grade or young adult novel in you?

Here's what you need to do:

Click the "Submit Here" link here or at the bottom of the left-hand page. Fill out the form and attach the first 5 pages of your manuscript.

In the "Additional Comments" section of the form, please feel free to let me know any concerns you have about the manuscript, or if you have specific questions about your story that have been nudging you. These we will discuss during our initial phone conversation. I will then get back to you with a quote and how to submit both manuscript and payment.

Once you have sent in your complete manuscript and payment for your critique is received, the next step will be a pre-critique phone conversation about your concerns.

When submitting, please use proper manuscript format as if you were submitting to a publisher. [See "Formatting Rules"] Submissions include fiction and nonfiction. No scripts please.

All manuscripts are submitted and returned by email. All manuscripts are critiqued in Word using the track and change feature so that you can easily see my editorial decisions as you would if I took a red pencil to paper.

Fees for Middle-Grade and Young Adult Novels

As mentioned above, you will fill out the submission form, submit 5 pages and I will get back to you with a quote. Once you have paid for your critique, you will receive a response time. [See Response Times Tab on left-hand page] If this critique is crucial to an upcoming conference held before our normal response time, please let me know in the additional comments section when you submit your pages.

IMPORTANT:

You've got 10 - 25 years of experience working for you here. Many editors contribute to F1rst Pages to bring you the best guidance possible, giving you the tools you need succeed. I critique most manuscripts and if I am uneasy about an answer to a question, there is probably someone whom I work with or have worked with that can answer it.

If you want a serious, honest, and professional critique of your work from professional editors, you are coming to the right place. If you cannot take criticism or are easy to take offense, this is not the right place. The editors and contributors at F1rst Pages have worked at major publishers like Scholastic, Harcourt, Chelsea House, Children's Press, Highlights, HarperCollins, and Simon and Schuster to name a few, and they offer information to help you.

We know editors because we are editors and have published many like you during our careers, and we know what editors are looking for. There is no way for anyone to guarantee you'll get published, but we can help you increase your chances for success.

**Note to all writers - please make sure to read the important notice at the end of this page.

Early Readers and Picture Books

Submissions, Format, Fees and More:

I know that picture book editors, especially, will appreciate me sharing what seems to be difficult for authors to absorb -

The children's book market is flooded with young readers.

That doesn't mean you don't write one. But, after you've been inspired by an idea, ask yourself - Are there other books like this on the market? Chances are there are. Read every one you can.

And if you are still inspired to keep going on a topic that is well worn, then - What is it about your story that makes it stand out?

The creative process is different for every writer, but at some point, you will need to know what your competition is. It's important to selling your work.

If your manuscript is completed or near completion, and you need a professional critique, I can help you get to the next step.

But remember to aim for 2000 words or less.

When you have a moment, click on the Picture Book List tab on the top bar to get a general sense about picture books and a list to build your library and your knowledge.

Early readers, also called beginning readers or emergent readers, can vary in word count, depending on the product the publisher is creating.

Here's what you need to do:

Submit a short synopsis or cover letter with the complete manuscript. [See Fees and Payment Buttons below, after proper formatting, for more specific information]

Please use proper manuscript format as if you were submitting to a publisher. [See "Formatting Rules"] Submissions include fiction and nonfiction. No poetry or scripts please.

Submit by clicking the "Submit Here" link in this location or at the bottom of the site navigation page [left-hand page]. If you have more than one submission, you must send it separately. In the "Additional Comments" section of the form, please feel free to let me know any concerns you have about the manuscript, or if you have specific questions about your story that have been nudging you.

At this time, the submission link and payment buttons are different - one will not lead you to the other. So whichever you do first, remember to come back to F1rst Pages to submit payment.

All pages should be submitted by email and are returned by email. All pages are critiqued in Word using the track and change feature so that you can easily see my editorial decisions as you would if I took a red pencil to paper.

Every critique includes a phone call. I believe nothing can take the place of personal contact. It's like what you would receive at a conference, only better, because you are not competing with other writers, and you get more attention and more time.

I love talking with my clients so when you receive your critique, you'll receive possible times to discuss it. This helps you get any additional questions answered, allowing me to point you in the best direction possible.

Fees for Early Readers and Picture Books

$165

Once you have paid for your critique, you will receive a response time. [See Response Times Tab on left-hand page] If this critique is crucial to an upcoming conference held before our normal response time, please let me know in the additional comments section when you submit your pages.

Shooting Stars

When you think of beloved children's book authors, what names come to mind? J.K. Rowling? Kate DiCamillo? Maybe even Theodor Seuss Geisel, better known as Dr. Seuss?

But there's a name missing from this list. It's Kansas City, Missouri, children's book author Christine Taylor-Butler.

Not familiar with this writing sensation? Give it time. You--and your children--will be soon.

Editors, agents, and publishers consider this former Hallmark Cards executive a rising star in the children's book industry.

And there's no mystery why.

Since she left the corporate world in 1999, Taylor-Butler has:

Written more than 30 fiction and non-fiction books for early readers. Her works include "A Mom Like No Other," which won the 2005 "Best of the Best-For Kids Only" in Black Issues Book Review; "A Pony To Love," by Sterling Publishing; "Water Everywhere," by Children's Press; and "Earth" and several other planet books for Scholastic News;
Penned a four-part fantasy series titled "The Lost Tribes," which is being considered by a major publishing house;
Written for Scholastic's Read and Rise and National Geographic's Young Explorer magazines;
Organized three writing conferences in Kansas City, Missouri;
Served as President of the Missouri Writer's Guild;
Become an Instructor for the Institute of Children's Literature;

What's the secret to her success? "I work really hard and treat my writing like a business," says Taylor-Butler, who graduated from the Massachusetts Institute of Technology with degrees in civil engineering and art and design.

She's also learned from the mistakes she made early in her career. "When I first started doing this, I did spreadsheets on all the publishers and listed what they wanted and didn't want. I did it like an engineering model. It was all very logical. But publishing doesn't have any logic to it...it doesn't work that way."

That's when she took a different approach--one that ultimately led to her first writing contract. "I decided to become a student of the publishing industry. I researched the business. I spent time learning how to submit my work, how the publishing houses are different, and who to send my work to. If you send your work to the wrong editor, it may kill the chances of the book ever being published."

While doing this research, Taylor-Butler learned about the Highlight Foundation's annual children's writing workshop in Chautauqua, New York. The week-long conference features the top children's authors and editors in the country.

"Going to Chautauqua was my big break. That's where I met Bernette Ford (Founder and CEO of COLOR-BRIDGE BOOKS - www.color-bridge-books.com). I never pitched her any stories when I was there. I just asked her professional questions about the business. She e-mailed me after the conference and asked if I'd be interested in writing for a new series."

That e-mail led to Taylor-Butler's first contract and national exposure as an up-and-coming children's book author. "I wrote 'No Boys Allowed' and 'A Mom Like No Other' for Bernette. We did a big book signing at the Hue-Man Bookstore & Café in Harlem, New York. Bernette also referred me to other editors. Several of my contracts have come from referrals from Bernette. She gave me my first sale...she gave me my first big break."

This talented and high-energy writer also developed relationships with other editors, agents, and authors in children's publishing. "You can submit to a slush pile or you can develop relationships with people you like, Taylor-Butler says, adding she met her agent at a children's writing conference in Houston. Literary agent Erin Murphy signed Taylor-Butler as a client after reading two chapters of "The Lost Tribes." "I go to conferences and I network with people. I treat them like professionals and ask them questions about the industry. I listen and learn from them."

And she freely shares this information--and insight into children's publishing--with other writers. She's an active member of the Juvenile Writers of Kansas City, a mentor to scores of writers nationwide, and her Web site (www.christinetaylorbutler.com) is filled with tips for aspiring children's book authors.

Some of her favorite words of writing wisdom include:

Treat your writing like a business-because it is;
Research the industry;
Don't send your manuscript to every editor and publisher. Target your submissions to those who publish the type of book you're writing;
Be patient. (Taylor-Butler started writing full-time in 2000, but didn't make her first sale until 2003;)
Remember there are no short-cuts in this industry. It takes hard work and dedication. Taylor-Butler, for example, started writing her break-out novel "The Lost Tribes" in 2001 and has made 20 revisions to the story;
Invest in your career;
Never underestimate a child's intelligence. They're smarter than you think;
Read children's literature;
Never ask authors you don't know to critique your work;

What's the best advice this 47-year-old author has received? "Jerry Spinelli told me to stop thinking about the market and write what you like. I thought of it today when I was working on my book "Hillcrest," and it's the best stuff I've done. I want to write a page-turner and not follow traditional patterns. If I followed conventional wisdom, I'd end up with a book that's like everyone else's...or worse, it would be boring and stilted."

And that's definitely not Taylor-Butler's style. This engaging writer can spark a child's imagination with just a few words, which she does in "Ah-choo," "Water Everywhere," and her other books for early readers.

In the "The Lost Tribes" she takes older readers on an intriguing journey around the world. Consider the tease for her novel-it's enough to whet any teenager's imagination: "What would you do if you discovered that your entire life was a lie? And that the fate of the world rested on your shoulders? Would you flee to safety...or face an uncertain future and almost certain death?"

The heroes in "The Lost Tribes" are the types of kids Taylor-Butler says are missing from too many books now on the market. They're kids from various ethnic backgrounds-African-American, Indian, Asian.

"My girls are huge consumers of fiction, but kids like them aren't heroes in those books," says Taylor-Butler, who is married and has two children. "They aren't even the side-kicks. They never take center stage. These kids have it pounded in their heads that they're only descendents of slaves. I want to deflect kids' attention from that idea to the idea that their history is thousands of years old and includes empire building, math, and languages."

Those who've worked Taylor-Butler--and read her work--are certain this Cleveland, Ohio, native will become a best-selling children's book author.

"Christine is brilliant," says COLOR-BRIDGE's Bernette Ford. "She's educated herself about the industry, about the markets, about who's who and who is where. (But) I think what sets her apart from other writers is her boundless energy and enthusiasm for children's books."

Taylor-Butler, she says, is also a wonderful writer. "I tell people all the time that if you're really good, your writing will stand out and you will get published. I think Christine is one of those writers. I'm sure she's going to be famous."

When--not if--that happens, Taylor-Butler says her life won't change.

"I got into this business so I could write books...books that kids want to read. My ultimate goal is to write novels full-time. Whatever happens, I'm going to keep writing."

KC Radio Interview

Publishers and Publishing News

http://www.cbcbooks.org/about/ourmembers.aspx
http://www.bookmarket.com/childrens.htm
http://www.signaleader.com
http://www.underdown.org/chchange.htm
http://www.underdown.org/childrens-writers-market.htm
http://www.publishersweekly.com

Welcome to the F1rst Pages Conference!

For those of you who are eager to register, you will be able to do so by June 9, 2008. For those who are registered, you'll see what new and exciting possibilities await you.

Thank you all for being patient as I want to give you the best opportunities possible.

Best,

F1rst Pages Conference
- hosted by JWKC (Juvenile Writers of Kansas City)

Many of you have been waiting to register! Here is the registration information up front for your convenience. If this is new to you, scroll for more information on the panel and tracks. Have a question or don’t see something here? Email me at eileen.robinson@f1rstpages.com

This is a downloadable form for participants
paying by check, credit card payments below.

Track 1: The Latino Explosion!	Track 2: Licensing Fever
Track 3: Everyone was a Beginner Once	Track 4: Before You Send It Out
The Crit Nook – Single Critiques	Sunday Workshop

Note on registration: Participants can only sign up for a track with an editor or a single critique session (see The Crit Nook), since these are given at the same time. See information on editors and tracks below. Anyone may sign up for Sunday’s workshop.

Note on payments: Credit card payments are faster because they are made the same day. Since there is limited seating, this method is recommended, but checks will be accepted. Valid registration will be based on the day your payment is received, not by postmark should you decide to send a check.

Neither F1rst Pages nor JWKC will be responsible checks sent by a service that requires a signature. If you’d like to confirm that we received your check, you can put a delivery confirmation on it so that you will receive notice from the carrier when your check is delivered.

Cancellation policy: 50% refund before Sep. 17, 2007 ---- No refund afterwards.

• • •

This is a Revision Workshop Conference for both published and unpublished authors - beginners and experienced. With the exception of the Licensing Workshop, where there is an opportunity to learn a new craft, you are expected to submit work that has been revised at least once in a professional setting, i.e., critique group or conference/private consultation with an editor.

(Registration form will tell you where and when you can begin submitting. Please do not send any manuscripts to F1rst Pages before you have registered. They will not be accepted.

In addition, if you submit more pages than what the editor has requested, your manuscript, or portion of it, might not be accepted. Please follow the guidelines given here and those that will follow in the upcoming brochure.)

Come ready to dig in! In the workshops for children’s authors, our editors will test your writing skills, giving you hands-on experience and tips to help you become a better writer and marketer of your work.

When: Saturday, October 27, 2007 – workshops and critiques, Sunday, October 28, 2007 – additional workshop
Location: Kansas City, Missouri
Booking Your Travel and Hotel: See Links for suggestions

Panel includes:

Jon Goodspeed
Editorial Director
Penguin (Children's)

Adriana Dominguez
Executive Editor
Harper Collins (Children's)

Marcela Landres
Editor recently with Simon & Schuster
Editorial Consultant
Adult Books Only

Harold Underdown
Editorial Director recently with CharlesBridge
Editorial Consultant
Children's

Get Ready to Choose Your Track:

Track 1: The Latino Explosion! - with Adriana Dominguez

Workshop Topic:

So You Think You Know the Latino Market? A Close-Up Look

Workshop Preparation:

You must be familiar with the Latino/Spanish publishing industry and know what the Pura Belpre and Americas Awards are and who has won them. In addition, come prepared to talk about what genre you want to write in and whether your work will be English, Spanish or Bilingual.

In a group critique session, you will participate in a creative discussion of your peer’s manuscripts. You will receive the manuscripts ahead of the conference and should be familiar with them in order to participate effectively in the workshop. All names will remain anonymous.

Pre-Conference Assignment :

Adriana Dominguez will review complete picture books, and the first 10 pages, with a synopsis, of middle-grade and young adult novels. Adriana does not publish nonfiction so please do not submit nonfiction manuscripts. All manuscripts submitted will ultimately be addressed as part of a group workshop with Adriana.

Who is Adriana Dominguez and what is she looking for?

While HarperCollins has a number of imprints to which the mainstream author has access, take a look at Rayo, an imprint of HarperCollins, which opens the door of this major publisher to Latino authors. Hence, Adriana Dominguez is looking for “…originality, a keen awareness of the qualities that make a good children's book, and for Rayo in particular, background: I am very interested in material written by Latino authors in Spanish, English, and bilingually.”

Having worked with many noted Latino authors, such as Lulu Delacre of Rafi and Rosi fame and the writing team of Alma Flor Ada and Isabel F. Campoy, this is a prime opportunity for Latino authors with Latino themed stories to not only meet the Executive Editor of the fastest growing imprint in the Latino children’s book market, but to learn how to break in and get published in a tough market.

If you are looking for a crash course in publishing, this is not the workshop for you.

Adriana says, “I’d like to reach a happy group of folks who have been published (ideally), or authors who are familiar with the basic publishing process and have made sincere attempts to get published and want feedback.”

Track 2: Licensing Fever - with Jon Goodspeed Cancelled

(for more information, email Eileen at eileen.robinson@f1rstpages.com)

Workshop Topics:

Is it Licensed or is it Trade? The Difference.

Making Licensed Product: The Publishing Process

But it’s a Great Character! Training for and Breaking into the Licensing Market

Workshop Preparation:

Authors must read a few books in each of the following series: Angelina Ballerina, Strawberry Shortcake, Charlie and Lola.

Try to find the following standard licensed formats and become familiar with their make-up, design, and topics:

8 x 8 storybooks
Readers
Coloring and Activity
Picture Books
Jr. Novels
Novels
Early Chapter Books
Novelty Books
Board Books

Pre-Conference Assignment:

Watch a few episodes of the Charlie and Lola - episodes are available on DVD or at specific times on the Disney channel. Now that you’ve become familiar with the books and televised program, use them as your guide to create your own story based on these licensed characters in the standard format, page count, and line count of an 8X8 book.

Who is Jon Goodspeed and what is he looking for?

Jon has worked in licensed book publishing for more than a decade—first at Scholastic and now at Penguin. He is currently editorial director at Grosset & Dunlap/Price Stern Sloan, where he is lucky enough to oversee the development of many licensed publishing programs, including: Strawberry Shortcake, Angelina Ballerina, Charlie & Lola, Franny’s Feet, and Max & Ruby. He also produces many publishing programs tied to movies.

Jon says, “I first look for writers who have experience in licensed publishing. If they don’t, I would look for someone who has strong writing skills and who has been previously published, and someone who really wants to break into licensed publishing—an area that is not for everyone.”

Track 3: Everyone Was a Beginner Once - with Harold Underdown

Workshop Topics:

Don't Do That-- Do This! 10 Things You Need to Know

From Phone Call to Print: The Publishing Process

Workshop Preparation:

Harold will open with a look at common mistakes and how to avoid them. A group manuscript critique session before lunch will lead into new writing or ideas and feedback on them after lunch.

The day will close with "The Publishing Process." Be sure to have read five recent books of the same type as the one you have written, and know what books have won the Caldecott and Newbery in the past few years.

(NOTE: Since this is a group critique session, you will receive the manuscripts of your writing peers and are required to read them, or at least be familiar with them, in order to participate effectively in the workshop. No written comments are needed nor should you correct grammar – just simply be familiar. The names of authors on manuscripts will remain anonymous.)

In addition, become familiar with The Complete Idiot's Guide to Children's Book Publishing by Harold Underdown.

Pre-Conference Assignment:

For critique, submit the following:

One cover letter (if you are inexperienced with cover letters or want additional advice, refer to the following link - http://www.underdown.org/covlettr.htm

Picture books or early readers (one manuscript, up to 2000 words)
Middle-grade or Young Adult novels (first chapter - no more than 10 pages)
Nonfiction (one complete picture book or 10 pages of a longer work)

Who is Harold Underdown and what is passionate he about?

Harold Underdown is a freelance editorial consultant. He has worked at Macmillan, Orchard, and Charlesbridge, and has experience in trade and educational publishing. He is also the author of The Complete Idiot's Guide to Children's Book Publishing and runs "The Purple Crayon," a web site with information about the business at www.underdown.org.

Harold says, "I have a weakness for good storytelling. Pull me into a narrative with a compelling plot and characters I can care about and I am lost and happy."

Track 4: Before You Send it Out - with Marcela Landres

Workshop Topics:

I Want to Write--What Do I Do Now? - Getting Started

What Makes a Knockout Proposal - An Editor’s Advice

Workshop Preparation:

Authors must be familiar with recent trends in the adult book market.

Pre-Conference Assignment :

Submit the first 10 pages of your manuscript for critique. Fiction and nonfiction welcome. Please remember to include your name, address, phone, and email on your pages.

Who is Marcela Landres and what is she passionate about?

Marcela Landres is an Editorial Consultant who edits manuscripts, critiques proposals, and advises on how to launch and manage a writing career. She was formerly an editor at Simon & Schuster and is the creator of Latinidad, one of Writer’s Digest magazine’s 101 Best Web Sites for Writers. A member of the Women’s Media Group, she has acted as a judge for the PEN/Beyond Margins Award and speaks frequently for organizations such as The Learning Annex. For more information, please visit http://www.marcelalandres.com/.

Marcela says, “I get excited about writers who are as professional about their careers as they are passionate about their craft.”

Bonus: Your (Less Than) 30-Second Pitch - for all workshop participants

So you’ve got a great idea, plot, or story line? Well, good, bad, or ugly, here’s your opportunity to stand up and show everyone your stuff and get real feedback from the panel. And the catch? You’ve got less than 30 seconds! Well, really, you won’t know how much time you have until you stand up. Just like the first pages of your story, you’ve got very little time to engage. It’s a wonderful opportunity to not only get professional advice, but learn from those around you. No pressure - just come prepared to give your best and there might be a prize in your future!

The Crit Nook

(These sessions here are for all those who are not participating in a track or general conference and would just want to breeze in for a one-on-one critique.)

Eileen Robinson will run 45-minute critiques that include:

Critique one complete picture book, or first 10 pages with synopsis of a middle-grade or young adult novel, prior to conference (K-3 nonfiction is also welcome)
Critique two pages of a new story on the spot (no cover letters)
Give on the spot writing exercise that addresses a particular challenge related to that author’s writing
From craft to marketing to breaking in - Q&A

The UnRejected™ - In addition to Saturday’s Conference, Eileen will be holding an intense hands-on writing workshop, so come prepared to write and revise - Sunday, October 28th, 8:30am-1:30pm...

[This is open to all authors. There will be a separate registration fee. Seating is limited...]

In this half-day workshop you will:

Write and revise individually and in groups, using prompts that will encourage originality and fresher imagery.
Learn what characterizes a good scene.
Learn the elements of writing a good first page or chapter and use them.
Discover what will kill your writing and the fixes.
Short Q&A on marketing.

Want to get closer to becoming UnRejected? Well, all you need is a pad and pencil.

Your homework: Get a good night’s sleep so you can be at your creative best!

NOTE: This workshop focuses on writing for children – only. Both published or unpublished authors are welcome. This workshop is great for beginners and intermediate authors. Nonfiction writers are also welcome.

Eileen says, “I get inspired by authors who are not just good at their craft, but have taken the time to learn the business, and who know the etiquette and importance of building relationships.” Learn more about Eileen Robinson in the About Us section.

If you have any questions in the meantime, email eileen.robinson@f1rstpages.com.

Shooting Stars

A funny thing happened on the way to the publisher for Susan Vaught and her young adult novel, Stormwitch.

It’s something the author of six children’s books can laugh about now.

“But it was NOT fun at all when it happened,” she says.

Vaught’s agent sold her historical fantasy novel to a major publishing house. Vaught received half of her advance, made initial revisions and sent in the manuscript. Then her editor went on maternity leave and never returned. The publisher decided not to keep Vaught’s story.

Even worse, the publisher wanted Vaught to return her advance money.

Vaught remembers, “Oh, my God, I spent that two days after I got it.”

Luckily for Vaught, her agent was Erin Murphy, who reminded the publisher that her client had not defaulted or failed to complete her part of the contract. Murphy turned right around and sold Stormwitch again, to Bloomsbury USA.

“I have never been more grateful to have an agent,” says Vaught, who signed with Murphy’s Arizona-based agency in 2001.

Since its publication in January 2005, Stormwitch has attracted attention, including a nomination for the first-ever Andre Norton Award created by the Science Fiction and Fantasy Writers of America. The novel also won the Carl Brandon Kindred Award that recognizes works of fiction about race and ethnicity issues.

Vaught’s latest book, Trigger, published by Bloomsbury USA in August 2006, also has received praise, including starred reviews from Booklist, Horn Book and Publisher's Weekly.

Trigger is the story of 17-year-old Jersey Hatch’s struggle to rebuild his life -- and his memory -- after a failed suicide attempt leaves him with a damaged brain and a disconnected body. The intense topic is one that Vaught understands first hand. In addition to her writing, she works as a clinical neuropsychologist, specializing in brain-injured youth and adults.

Although she wants to write full time, Vaught’s dedication to her patients makes it difficult to consider giving up her practice. “I have a group of people that I have worked with for a long time,” says Dr. Vaught, who received her Bachelor’s Degree from the University of Mississippi, and earned her Masters and Doctorate degrees from Vanderbilt University. She holds a double major in Clinical Psychology and Mental Retardation Research.

“I have mixed feelings about not serving that population. It wouldn’t be right to abandon them,” she adds.

But her writing is gathering steam.

Currently Vaught, who lives with her family and – at last count – 3 dogs, 8 cats, 3 turkeys, 9 guineas, 9 ducks, 10 peafowl and 80 chickens, on a 40-acre farm in the foothills of the Smoky Mountains of Tennessee, has five books under contract. This 41-year-old whirlwind is working on a contemporary YA novel, an epic fantasy, and a three-book deal for romance novels, which she writes under a pseudonym.

Her romance writing has been a lucrative boost, she says. Last year, for the first time, her writing income outpaced her psychology earnings.

Vaught’s agent isn’t surprised by her client’s rapid ascent in the publishing world.

Murphy recognized Vaught’s potential from her initial submission to the agency. Debbie Federici, one of Vaught’s critique partners, who also happens to be one of Murphy’s clients, referred her friend.

Murphy was amazed by Vaught’s submission. It included a cover letter, a humorous middle grade manuscript (which Murphy admits was not her favorite of Vaught’s available work), and a seven-page list of completed manuscripts and works in progress.

“It was the most amazing seven-page list -- with plot descriptions, submission histories and notes about background or her thoughts on what she needed to do to improve them,” Murphy says.

“I couldn’t believe the range of work – middle grade and YA, contemporary and historical and fantasy and mystery . . . and the ideas were almost all to die for, so rich in character and plot and theme, yet with strong hooks that made them easy to pitch. I immediately felt like I’d hit it big when I read that.”

The mutual admiration between agent and writer is a key component of their successful partnership. But Vaught acknowledges that a good critique group also can be instrumental in a writer’s career.

“It’s important to have people to go through this odyssey with you, or you’ll lose your mind,” she advises.

“Seek critique partners who have no mercy. I started with a larger group, then we got down to four or five. Now I have one or two who see everything.”

How does Vaught come up with her rich characters and plots?

“Sometimes ideas grab me by the ankles, like at a recent conference, and I make notes like mad even though people are talking to me,” Vaught explains.

Stormwitch snuck up on her like that.

“Stormwitch came to me almost whole one night while walking around and around a track,” Vaught says.

“I went home, started it, wrote obsessively, even blew off work, and finished it in about three weeks.”

Vaught doesn’t have a cut and dried system for writing; her method varies from book to book. When she starts a novel, she often begins with – of all things -- the title.

“The title is REALLY important to me.”

Or she might have a first line or a first scene.

“If I have a theme I’m working toward, I’ll write 40-50 pages, stop, and look back. Then I might make an outline – I need to do this and this and this.”

Motivation is no problem for Vaught, whether it’s writing or other challenges. She achieved a personal milestone this past year when she downloaded a diet and exercise program off the internet and lost 130 pounds.

“She's like a bulldog,” says Murphy of her client’s determination. “That seven-page list of projects was just a hint of how hard she works. When she gets an idea, she tackles it. She beats herself up if she only gets 10,000 words written in one weekend! Sometimes I think she must operate without sleep in order to do everything she does.”

What keeps her going?

“Obsession. Obsession helps me write,” Vaught says. She dove into writing in 2002 when she decided to write a novel to occupy her son J.B. until the next Harry Potter book was released. She and J.B., who now is a writer, too, recently completed that manuscript. Their co-authored fantasy book called Oathbreakers is now under contract with Bloomsbury.

“Characters motivate me,” Vaught adds.

“Nailing a voice motivates me. I’ve tried writing for adults, but with respect to literary fiction, my voice seems to come out naturally YA.”

And her stories gravitate toward the world of fantasy and science fiction, which Vaught traces to her youth.

“I had a difficult childhood that included the death of my father when I was five, the loss of my little brother, the emotional breakdown of my mother shortly thereafter, and an ever-after rough emotional climate that often left me alone with my feelings and thoughts.”

To escape the pain, Vaught sought refuge in books. A librarian introduced her to the fantasy world of “tripods,” a science fiction series created by John Christopher. Vaught then devoured every sci-fi and fantasy book she could get her hands on. Her favorite authors were Marion Zimmer Bradley, Ursula LeGuin, Octavia Butler, and Andre Norton.

“Through their works and worlds, I could leave my pains behind and live . . . elsewhere,” Vaught says. “These women were my alternative to suicide, so when I say that fantasy and science fiction saved my life, I’m cold-hard serious about that.”

Vaught’s writing career has given her some of the greatest joys in her life, including the opportunity to meet one of her childhood heroes, author Ursula LeGuin, at the awards banquet for the Carl Brandon Society Kindred Award.

“She was so kind and gracious, shook my hand, and told me she loved the character of the grandmother in Stormwitch. I’m trying to think of something intelligent to say and all I can think is, `She’s talking about MY BOOK. Ursula LeGuin is talking about MY BOOK! It was one of the greatest moments of my life.”

Later, at the awards banquet, Vaught put her admiration into action. As she accepted the $1,000 check for the Kindred Award, she amazed the audience when she announced, “It is with great pleasure that I sign this check back to the Carl Brandon Society for their Octavia E. Butler Memorial Scholarship Fund.”

It was Vaught’s way of supporting young writers and honoring the memory of a woman whose writing helped Vaught survive her traumatic childhood. In return, Vaught asked the society members to sign her copy of Stormwitch.

“They all took such time, wrote notes to me – it took much of the night,” Vaught recalls. “Now THAT – that book, with their words and signatures, and the beautiful crystal statue beside it – those are true prizes.”

From Start to Finish:
A Children's Writing Course for Creating and Molding a Complete Manuscript

hether you are a beginning children's writer or an experienced one, Carol Parenzan Smalley can help. She is a children's writer, editor, library consultant, and college instructor. Her books for children include:

Fats, Oils, and Sweets (Scholastic)
No Hands Allowed: DaMarcus Beasley
A Rookie Reader Biography: Henry Hudson (Scholastic)
Extreme Sports: Riding the Giant
Wave with Garrett MacNamara (Mitchell Lane Publishing)
A Mathematical Walk through an Amusement Park (TouchSmart)
A guide to American Sign Language (Barnes and Noble)
A five-book series on the U.S. government (Perfection Learning), and more.

Carol is also a frequent contributor to publications for writers, and she spends her free time conducting workshops for her many readers.

And, in her spare time, this amazing woman of many talents conducts a highly interactive, hands-on online course, helping beginning authors start and complete their manuscripts and molding the work of experienced authors, while exploring opportunities and markets for their work. Carol says,

"You'll take pen to paper and begin work on your very first fiction or nonfiction manuscript. In the process, you'll explore the changing world of children's literature and understand the various formats--from baby's first books to novels for young adults. You'll get insights from guest authors and editors to gain a better understanding of the needs of today's market."

To contact Carol directly about her course, books, speaking or workshops, email csmalley@frontiernet.net or go to ed2go Online Courses.

My best to you on your writing journey,

From Manuscript to Bookshelf

nce you and your editor have gotten your manuscript as close to perfection as it can get, there's a lot more work to be done. Here we'll show you how your text is transformed, exploring the parts and the players who help get your manuscript to bound book.

Inside Indexing: Making It Easy to Get Information

Pick up nearly any nonfiction book and turn to the back pages. That's where you'll find it-the index, the key to getting what you want. Children and adults alike use this important piece of back matter to locate the information they need fast.

Creating this key to a book's content requires the talents of an indexer. Publishers hire indexers to review the book once it is in page proofs and they can generate an index. Indexers have to work with spatial restrictions and within the publisher's guidelines.

Tim Griffin, a seasoned freelancer, took some time out of his busy schedule recently to give us the inside scoop on everything index. Tim has been an indexer for more than ten years. He got his start with Macmillan Publishing, working on computer books.

"Indexing wasn't something I contemplated until round two of the interview process, when the position was described to me. A little in-house testing during round three proved I'd made the right decision. I was given a few chapters of a book on cooking, and told to 'do what I thought was right' to create an index. After learning all I ever wanted to know about spatulas, I began the process of pulling terms I thought were important, and found I had a knack for the philosophy of indexing. "

After a year, Tim decided to strike out on his own. "I knew there had to be more to this indexing thing than the 1,200-page JavaScript books I'd receive every other week, and I was right. Freelancing for me was the difference between working for someone and working with someone."

In the beginning, Tim worked for computer book publishers, such as Ventana Communications, the Coriolis Group, and Microsoft Press. He also branched out in a new direction: children's nonfiction. He began creating indexes for Grolier (now Scholastic Library Publishing).

"They wanted me to index books on baseball, on English monarchs, and countries I knew I'd never see. I began to once again enjoy what I was indexing. I liked working with unfamiliar topics, and found it made me a better indexer. I was literally in the role of student with many books, so it was easy to make the index accessible to students."

Today he works with several children's books publishers, such as The Child's World, Compass Point Books, Heinemann-Raintree, Scholastic, and Traditions Books.

So how does he do it? He describes the process of indexing as "embarking on a mapmaking expedition. Each new project presents new territory to be explored. The indexer has the privilege of being one of the first to really take a look around, and they create a guide for anyone willing to follow."

"To do this, an indexer utilizes several tools, from simple note cards to complex indexing applications designed to assist with organization on every level. The process is different for every indexer, depending on their style and selected tools. I mostly index from PDF files, adding terms and compiling the final index in PageMaker. It is an almost paperless process." Other computer programs used by indexers include SKY Index, MACREX, CINDEX, and wINDEX.

The first thing Tim does when he gets a set of page proofs is to read through the text, making notes as he goes along. " I like to get a feel for the writing style of the author and the flow of the text. I also want to get an idea of what topics will require extra attention in the index." Sometimes additional research is required and that's when Tim turns to biographical encyclopedias or geographical dictionaries for extra help.

When it comes down to generating the list of terms, Tim lets the text be his guide.

"For the most part, the author determines the terminology, which in children's publishing is ultimately decided by grade level. I remain within the text when indexing. If a word or phrase isn't in the book, it probably won't be in the index, aside from use in cross-references in order to guide the reader to the proper term."

It 's important to note that indexes come in a variety of styles. Tim says that there's a type of index for every type of book.

"There's a run-in style, an indented style, author and title indexes, name and subject indexes, and variations of each. There are even indexes for literary anthologies consisting of lines of poetry. I've never had the pleasure of creating an index like that, but I think it'd be fun. For university press projects, I generally use a run-in style, with subentries separated by semi-colons. For computer books and children's books, I use an indented style, with subentries separated by line breaks."

Tim has a few words of advice for authors about indexes:

"Sometimes authors can give too much. Although keyword lists and copies of prior indexes might seem helpful, in reality they constrict the indexer's ability. Chances are the index will include the content of any suggested keyword list (unless it is filled with suggestions that go against the rules of indexing), so the necessity of an already exhausted author creating a keyword list is questionable. And prior indexes can be helpful, but when the author voices an expectation that the new index closely resemble the old, that too hobbles the process."

In the end, it's best for authors to take a step back and let the indexers work their magic.

"Indexing is about information retrieval. An indexer specializes in knowing what the audience will most likely look for in the index, and knows the most efficient way to deliver them to a point where the author can take over and educate them. It is a partnership, and when it works, it's a beautiful thing."

Wendy S. Mead is a freelance writer and editor based in Greenwich, Connecticut. As an editor at Scholastic, she learned just how many people it takes to make a great book.

First Pages' Events

Please check back frequently in 2007 for upcoming events. You can contact Eileen Robinson about doing a workshop at queries@f1rstpages.com.

Event Archive:
Mini Boot Camp

Writing Workout with F1rst Pages Mini Boot Camp

First Pages Mini Boot Camp:
Old Forge, NY

WHAT: Join Eileen Robinson, children's book editor and Marcela Landres, adult book editor in a day-long workshop that will include editing advice, active writing exercises and one-one-one critiques. All participants will receive personal feedback on their first pages.

(The first 15 to sign up will have the privilege of having an experienced editor read their first two pages ahead of time, with thorough feedback. Call now to reserve a spot.)

Presented by the Adirondack Center for Writing.

WHEN: Saturday, September 30, 9:30 am-4:30 pm

WHERE:

Old Forge Library
220 Crosby Blvd.
Old Forge, NY

WHO: Eileen Robinson, a children's book editor/reading consultant and CEO of F1rst Pages (http://www.f1rstpages.com/), edits manuscripts for both children's and adult audiences, garnering high praise for her ability to bring out the best in every writer.

For more than 10 years, she has acquired, developed and edited children's books for both Scholastic and Harcourt publishers. Publishing many new authors, Eileen believes in helping both newcomers to writing and experienced, unpublished authors get their feet in the door. She has mentored and published many SCBWI and JWKC authors.

Marcela Landres is an Editorial Consultant who edits manuscripts, critiques proposals, and advises on how to launch a writing career. She publishes Latinidad®, an e-newsletter for Latino writers, and was formerly an editor at Simon & Schuster where she acquired and edited the bestselling authors Karen Rauch Carter and Dora Levy Mossanen.

A member of the Women's Media Group, she is on the Literature Panel for the New York State Council on the Arts and has acted as a judge for the PEN/Beyond Margins Award. She speaks frequently for organizations such as the Learning Annex; for more information visit http://www.marcelalandres.com/.

REGISTER: Contact Jennifer White, Adirondack Center for Writing, (518) 327-6278 or adkwriting@gmail.com

About Us & Testimonials

Eileen Robinson is a children's book editor, editorial consultant and creator of F1rst Pages. For almost 10 years, she has acquired, developed, and edited children's books for both Scholastic as Executive Editor, and Harcourt publishers, as Editorial Manager. She has also worked on projects for National Geographic, Santillana USA, Marshall Cavendish, Weekly Reader, and others. Having published many new authors, Eileen believes in helping newcomers get their feet in the door, as well as working with experienced fiction or nonfiction authors.

"Using my editorial skills and business knowledge, as well as that of other professionals, I created F1rst Pages to help authors have a better chance of getting published. It is my hope that the talent and information you find here make you a better writer, a smarter marketer, and savvier about the business of publishing."

Column Writers and Contributing Editors

Christine Florie
Wendy Mead
Pam Zollman
Jan Jugran

Web Design by Chris Serra
Logo Design by Virginia Pope
Illustrations by Adam Ritter

To contact us, please send any mail to:

F1rst Pages
2 Klarides Village Drive
N. 183
Seymour, CT 06483
917-642-0964

Email questions or comments to:

queries@f1rstpages.com

We'd love to hear from you!

Testimonials

I submitted my first manuscript to Eileen Robinson. I am a new writer overwhelmed by the process required to be published. The critique was the most benefical step I could have ever taken at this point in my publishing journey. Eileen was very thorough, nuturing, and positive. Although my manuscript was not as developed as I had thought, I was never made to feel I had failed. Instead, her critique of my work left me feeling determined and motivated to develop my writing skills. I am seeing my story from a completely different angle and it is exciting. I appreciate the time Eileen spent explaining her suggestions and re-routing my journey. Without her, I would have submitted an incomplete manuscript and faced many unnecessary rejections. For now, submitting to a publishing company must wait, but I am confident I will reach that point someday. I feel very fortunate to have been helped by Eileen Robinson, and I will look to her for more advice and direction in the future.
- Emily O'Connor, Aspiring Children's BookAuthor-South Dakota

"I'm always trying to grow as a writer. Last year, I dared to try a new style -- writing a rhyming picture book. Eileen Robinson came highly recommended as someone who could give me a good critique. She delivered that and more.

Eileen sent me her feedback and followed up with a phone call. She offered insight about the industry and suggestions for making my story more distinct. She spent time getting to know me and listening to my writing dreams. Eileen is a caring editor and a writer's friend."
- Kelly Starling Lyons, Author of One Million Men and Me and NEATE: Eddie's Ordeal

I wrote a middle grade fantasy novel about four years ago, which I tried to sell. It went nowhere. I stuck the manuscript in a drawer and began working on other projects. Six months ago, when I pulled out my dusty manuscript to try to revise it, I knew I needed a professional’s advice on how to make my work sing. I sent Eileen the first three chapters to critique. She did an amazing job! Her expertise was apparent from her precise and substantive suggestions. She clearly spent a considerable amount of time and effort reviewing my work. As a result, the quality of her suggestions was truly excellent. So much so I am now planning to send her my entire manuscript to review.

Thank you Eileen, you have made my opening pages pop.
- Allison Morse

“I have plugged away for a decade trying to improve my writing so I could be a published author of children's books. I went to all the conferences. I worked in critique groups. I took informative classes. And along the way I submitted my manuscripts (268 rejections). But I wouldn't give up. This was a real dream for me. I learned I was working hard, but I needed to work smarter. I needed higher ground. I needed someone who had insight into what the publishing companies and literary agents were looking for. I needed someone who could give my writing that edge. That is where Eileen Robinson came in.

I collaborated with Eileen on a picture book. She had incredible insight on the work. I mulled over her comments for several weeks. Made changes. Submitted my book to only a few places and was delighted that within a week I received an email from an NYC literary agent who wanted "exclusivity" on the submission until she decided whether to agent the work or not. YES! That was the break I needed. And now I am continuing my writing experience by taking the Mid-Winter Revision Online Boot Camp.

Eileen Robinson gave me that edge my writing needed. My writing is now at a new level. Mission (almost) accomplished! Thanks Eileen.”
- Jessica DeHart, PB Author, Alabama

“As a newcomer to the writing world, I have a great deal to learn about the business of publishing. After reading various 'How to get published' articles and books it seems almost impossible to break in without having an agent or already being published. But I realized that learning all the ins and outs of the business wouldn’t get me anywhere without a great manuscript.

Having a few written, I decided to contact Eileen for her professional services. I got insight and direction on how to bring the best out of my stories and ideas. I appreciate that her critiques were honest and “to the point” without being diminishing or disrespectful. She was very approachable and truly interested in helping me find my way. I look forward to future conversations with her and am very appreciative of her kind and helpful manner. If I ever get published, and I will try, she will be at the top of the list to thank.

Thanks again, Eileen.”
- Sue Pinto, Aspiring Picture Book and Young Reader Author, New York

"I began writing about ten years ago, thinking that my great stories would get published in no time at all and soon, I’d be enjoying a career as a published author. Well…after submitting several stories to different publishers and getting rejected over and over, I decided about four years ago to stop submitting stories and start concentrating on my writing skills. Obviously, something was missing. I just didn’t know what. I knew that it was time to get the advice of a professional to see exactly what I was doing wrong. That’s when I found Eileen’s website, took a chance and sent her a picture book story. When I got her critique, I didn’t know whether to laugh or cry. It was full of so many red marks that I felt like I was back in school and I failed a test! But, as I read her comments and after we spoke, I decided to use everything she gave me to rewrite the story. And, I have to say for the first time, I felt like I finally “got it”.

That feeling of something missing was no longer there. I sent Eileen the improved version of the story and received a second critique that is helping me to tighten it up and get it ready for submission. I feel like I have grown more as a writer from the two critiques that Eileen has done, than in the entire ten years that I have been writing! Eileen’s advice and guidance has been invaluable and I would not have the confidence or desire to continue pursuing my goal to become a published author if it were not for her. Eileen will always have a special place in my heart. She is an angel to me and I feel honored to have had the opportunity to work with her."

Yes, I mean every word! Thank you from the bottom of my heart! Love always!
- Aida Castro-Henix, Picture Book Author, NY

I am extremely impressed with the seriousness and thoroughness with which Eileen approaches her critiques. Feeling stuck after several drafts of a piece, I was able to use Eileen's feedback to radically rework the material into a much better story. Eileen's enthusiasm is uplifting, and I found her delightful to work with.
- Michael Sussman, Picture Book Author

"Eileen's professional insights were of enormous help as we moved into new territory, publishing our first YA/Middle-grade book. And she was also a great pleasure to deal with."
- Josh Bartok, Wisdom Publications

I sold my first novel to a publisher that had global reach but had never published a youth novel. Previously, I'd been introduced to Eileen Robinson by children's author Christine Taylor-Butler. From the start, Eileen impressed me. She is a warmhearted person who really knows her stuff and cares about the people she works with. I was thrilled when my publisher took my recommendation to contract her editing services.

By following Eileen's critique suggestions, I developed my story into one that was even was stronger, smarter, deeper, and more fun to read than it was when I originally sold it. She helped me make my main character more complex and authentic, develop my secondary characters into real people, and tighten my writing. Not only that, but Eileen sent my publisher a detailed market analysis, explaining where my novel and its protagonist fit into to the big picture of the children's literature business and their strengths in terms of maximizing their potential for success and longevity.
- LaVora Perry, Children's Book Author

I knew my mss needed a trip to the ER. And it came to life under Eileen's caring and critical direction. My dream is to find a publisher. If I do, the credit goes to Eileen Robinson. I must say that I have had a first-rate writing course with an energetic, optimistic and truly gifted teacher. It's been a wonderful experience with a real professional.
- Jo Tanenbaum, aspiring picture book author

Investing in the critique services of F1rst Pages is one of the best decisions I have made yet in my writing career.

That's what I had to say last year about the value of my association with F1rst Pages and Eileen Robinson. The critiques I received from her put my career on a whole new trajectory! I am happy to say that the quality of my writing has improved so much, that I was recently offered representation by Andrea Brown Literary Agency (which I ecstatically accepted)!

This is an exciting advancement for me, and F1rst Pages is definitely on my short list of those to thank! Eileen, your critiques were detailed and insightful...and your expression of enthusiasm about my writing kept me going through many a rejection! I am so happy to be associated with this stellar organization!
- Tameka Brown, PBs/Early Readers

"As an aspiring picture book writer, I realized that I had a lot to learn about the world of children's book publishing. But what I didn't realize was just how much. Of course I knew that I needed a great story...with interesting characters...a plot that keeps moving...etc., but there is so much more involved.

My critique from F1rst Pages not only helped to make my story stronger, but it also guided me through the submission process. In order to stand out in a very competitive market, it is crucial to look professional. Eileen's advice ranged from the very simple, but necessary, suggestion of choosing a different font...to more complex advice, such as knowing my audience and suggestions for making my story more age-appropriate.

Eileen's critiques are tough, but honest, and she manages to inspire rather than discourage. I really enjoyed my experience with F1rst Pages, and I highly recommend her service."
- Sheri Dillard, Atlanta, GA

"WOW! We heard about Eileen's amazing reputation while working on what will be the first of a series of children's books. Her ability to take words and bring them to life is truly a gift. Because of Eileen's diligent & insightful editing, we now have two world-renowned agencies interested in our project. I would recommend that anyone looking to publish a book work with Eileen...she not only knows the in's and out's of this industry, but she is extremely personable, friendly and wonderful to work with. She not only edits, but she goes WAY beyond and helps writers breathe life into their story. Without a doubt, I am truly honored to have had a chance to work with Eileen and can't thank her enough for her time and assistance."
- Melissa Leonard, Picture Book Author, NY

"Eileen Robinson set my career in motion. We met at a conference, where Eileen rightly stressed that aspiring authors learn the business of publishing as well as the craft of writing. She displayed a keen ability to spot what works in a manuscript and what will sell in the marketplace.

Eileen acquired my first children's book, an early reader, and I deeply appreciate the start she gave me as a published author. Now I have an agent and we've just sold a picture book. Consider F1rst Pages for your project, and imagine the doors Eileen Robinson could open for you."
- Hester Bass, Children's Author and Workshop Speaker, www.hesterbass.com

"I just received a revision request for the first story I sent to F1rstPages. I'm thrilled and wanted F1rst Pages to know that your feedback really works!

Working with F1rst Pages is an intensive learning experience. Through this service, which is endorsed by HarperCollins and run by long-time editors with experience across genres, I received comments on a cover letter and the first two pages of a manuscript. This exchange allowed me to see from an editorial standpoint whether my writing was age-targeted and ready for submission.

The comments on the cover letter will help my professional approach; the manuscript comments pointed out some blind spots yet also encouraged me to shore up and better use my strengths. All costs are clearly spelled out on the easy-to-navigate web site. Serious writers will appreciate the genuine assistance from the pros at F1rst Pages."
- Amy N. Thomas, Picture Book Author

"Eileen is definitely well worth the wait. Her critique was right on target. And, I will surely be sending another manuscript in the future."
- Bonnie Crow, Texas

"Eileen Robinson is an insightful, gifted editor. I am new to children's writing, and I believe her critiques have given me a leap forward in developing my craft.

Her in-depth analyses zero in on my "big-picture" manuscript problems, and she never misses a beat in her line-by-line editing. Eileen's critiques have helped me make substantial revisions, allowing me to produce manuscripts that no longer belong in my drawer!"
- Lea Clifton, Picture Book Author, AZ

"When I first came to Eileen as a new writer, I didn't know what to expect. I thought a professional review would be helpful but I never expected the total transformation that resulted - my story went from a cute story to a colorful, expressive, visually appealing piece where I could hear, smell, see, and feel. I could now relate to my character as if everything were happening before my eyes.

The best way to describe what happened to my piece is to explain that "the before" was like looking at a picture of an event; somewhere in the middle, it was like watching a video and the final stages were like being a part of the action, in the front row, and pulling up a seat with the main character. Eileen's advice, expertise, limitless examples and direction s helped me bring to life what I saw in my minds eye but hadn't completely expressed.

Even though I had to learn how not to be offended by or afraid of the red, now, I welcome and look forward to her advice."
- Natashia Saunders, Picture Book Author, CA

"Investing in the critique services of F1rst Pages is one of the best decisions I have made yet in my writing career. I received very detailed analyses of multiple cover letters and manuscripts--each containing insightful comments that not only served to improve the works reviewed, but my writing skills overall.

F1rst Pages respected my individuality as a writer, and did not try to force me "inside the box." I strongly recommend F1rst Pages to anyone serious about improving their writing skills. I'll definitely be back!"
- Tameka Brown, Early Readers

"If I could choose a dream editor they would have all the qualities of Eileen Robinson. Her enthusiasm is contagious. She demands excellence and makes you believe that you can achieve it. The insightfulness and attention to detail she gives to her critiques far outweigh the cost and I have found them to be invaluable."
- Sharon Pavon, Picture Book Author, CT

"As an author just beginning my quest for publication I have had the great fortune of discovering Eileen Robinson. From our initial contact it was obvious that I was dealing with a professional, but just how good she is became crystal clear as I reviewed her comments regarding my novel.

With a few suggestions (and a few slashes with her delete button), she helped me tighten up my intro dramatically, something I had struggled unsuccessfully with for months.

Eileen shares her amazing knowledge of children's book publishing graciously, never talking down to those of us who still have so much to learn. I am thrilled and excited to have discovered Eileen's service and especially to actually have the opportunity to have an on-going dialogue with someone so knowledgeable and kind!"
- Karen Hamilton, Young Adult Author, WA

"Eileen Robinson is one of the most nurturing editors I've worked with. Her knowledge of the industry is top notch and her suggestions were a tremendous help early in my career. She has personally mentored scores of new authors who have gone on to publish.

Eileen appeared as a guest lecturer at several local workshops and, more recently, was a surprise guest at the annual state writing conference. She was an instant hit with our authors. I highly recommend her service. She's one of the best!"
- Christine Taylor-Butler, author and President of Missouri Writers Guild - published works at www.christinetaylorbutler.com

"I made an instant connection with Eileen. A paid critique at a conference eventually led to a book assignment geared toward my interests. It was a thrill to work with Eileen on this science early reader from Children's Press.

I was also delighted when Eileen chose to mentor me. Eileen led me through some of the most innovative, thought-provoking, creative writing tasks I've ever experienced. They allowed my writing to stretch into unchartered waters. I'll never be able to thank Eileen enough for the integral role she's played in my life as a writer."
- Karin Lindstrom, Nonfiction and Picture Book Author

"Eileen Robinson is simply the best editor any children's author could have the good fortune to meet and work with on a project.

She's a phenomenal editor who has an uncanny ability to bring out the best in every writer. Her knowledge of writing for children-- in a way that inspires their imaginations - is incredible.

I thought my 20 years as a journalist taught me how to write a tight, engaging story. Working with Eileen on five biographies opened my eyes - and mind - to a whole new world of writing. It's a more creative world where you can take children on an exciting, fact-filled adventure--in less than 400 words.

Eileen's enthusiasm for the craft of writing for children is inspiring. Her energy is contagious. And her kindness and compassion for her writers is unprecedented in this industry.

Any children's writer who wants to improve his or her craft should run - not walk - if they have the opportunity to work with Eileen Robinson."
- Lisa McCormick, Newspaper Journalist and Children's Book Author

"Eileen Robinson knows how to bring out the best in a writer, and how to get rid of the worst - through her superb editing skills. My first published book was developed from a 15-minute writing exercise at one of her workshops. My series of six books on animal classification for Children's Press came to life because she took a chance on me, an inexperienced but enthusiastic writer. She took my words and made them work.

When I was selected for a mentorship with Eileen, I wasn't sure what to expect. A critique or two, a pat on the back, and a bit of encouragement seemed reasonable. Instead, I was pushed and prodded, coaxed and coached into writing the beginning, ending, and most of the middle of my first novel. It was thrilling to watch my character and story line develop through her exercises and feedback.

I would recommend Eileen as an editor, mentor, teacher, critic or coach because whatever her role, she will go above and beyond what's expected. And in the process, she will help the writer stretch above and beyond his or her own expectations to reach new heights.
Because of Eileen's expertise and encouragement, I have published nine books. And when book number 10 is finished, I know where I will send it for editing. Eileen is tough, but thorough, and I am a better writer because of her guidance."
- Mary Schulte, Newspaper Photo Editor and Book Reviewer, Kansas City Star, and Children's Book Author

"I have been very fortunate to have a two-fold relationship with Eileen Robinson. As my editor, Eileen oversaw the publication of my first three children's books -- one fiction early reader and two non-fiction early readers -- from Children's Press. Then came the excitement of being chosen by Eileen for a mentorship!

Over the course of several months, through a series of well-crafted writing exercises, Eileen coached and encouraged me through the development of my first middle grade novel. These exercises helped me to identify my target audience, develop well-rounded characters with realistic dialogue and meaningful motivation, and place those characters in a believable setting.

Eileen showed me how to choose just the right words to draw my readers into the story, build conflict and resolve that conflict to a satisfying ending. My association with Eileen has been both a pleasure and a privilege."
- Judy Hyde, Author

"Working with Eileen took my writing to the next level, even after years as a professional freelancer for children and adults. By giving a skillfully selected range of fiction assignments, she was able to coax my true voice to the surface. Then, she gave me feedback that helped me see that voice and nurture it.

Our work together has improved both my fiction and nonfiction, by helping me understand who I am as a writer and where my strengths lie. Her coaching is masterful--tough, but always respectful, loving and encouraging."
- Julie Mettenburg, Author

"Eileen Robinson makes you work and therefore let's your work make itself better. She sees what you are capable of and encourages your creativity. She is an editor who has the goal in sight but doesn't forget the writer who is working with her toward that goal.

In my case, Eileen took my joy of math and allowed this differential equation gal to make math a kick to beginning readers, too. That is the best 'advance' ever."
- Melanie Chrismer, Nonfiction Author - published works at www.melaniechrismer.com

Air/Hotel Stay

YOUR HOTEL STAY, SHUTTLES, AND AIRLINE HELP for F1RST PAGES CONFERENCE - Norwalk, CT., April 26, 2008

*For clients considering Bradley International Airport, please see important note below before booking a flight.

F1rst Pages is working with both the Hilton Garden Inn Norwalk and the Norwalk Inn and Conference Hotel Center for your stay in Norwalk Connecticut. Both are great hotels that boast their own styles for those that have particular tastes.

As promised, both are offering discounted rates at $89 per night and complimentary shuttle service to and from the conference at Lockwood Mathews Mansion Museum, as well as other amenities (see details below). You can also click on the hotel's link to get a quick view of where you will be staying.

IMPORTANT: Please note that both hotels are catering specifically to F1rst Pages' conference attendees. The Hilton Garden Inn Norwalk has a special link that you must click below in order to get the special rate. The Norwalk Inn and Conference Hotel Center has a special 800 number that is for F1rst Pages attendees only to receive the special rates.

*IMPORTANT: If you planning to fly into Bradley International (BDL) in Hartford, CT., note that there is no shuttle service and you can try Evereadytransportation.com - also listed below but they may not accommodate.

If you need help with shuttles from the airport to the hotel or booking your flight, you can also find that information below.

If you have any other specific questions, please contact the hotels below.

Hilton Garden Inn Norwalk
560 Main Avenue
Norwalk , CT 06851
(203) 523-4000 phone
(203) 523-4050 fax
Norwalkhilton.com

The Hilton Garden Inn Norwalk is pleased to provide specially priced rooms for attendees of the F1rst Pages Conference and their guests.

Rooms are available from April 25 through April 27, 2008 at the rate of $89.00 per night. Complimentary full American breakfast, shuttle to conference venue, access to 24-hour gym, pool, whirlpool, business center and high speed internet access are included in the rate.

Hotel is located across from Starbucks, Planet Pizza, Tuscan Oven and Quiznos and is walking distance to Walmart.

In order to secure the F1rst Pages Children's Publishing Conference group rate, reservations must be made by April 16, 2008.

To make your reservations, please click on the link below.
Hiltongardeninn.hilton.com

Norwalk Inn Hotel and Conference Center
99 East Avenue Norwalk, CT 06851 USA
Phone: (203) 838-2000 & Toll Free: (800) 303-0808

While at the Inn, guests receivefree complimentary bottled water and guest room wireless internet. We appreciate your business and look forward to welcoming your gueststo our city.
All guests will receive complimentary shuttle service to and from Lockwood Mathews Mansion throughout the weekend.

The Inn is conveniently located near East Norwalk, South Norwalk Train station, Maritime Center, Lockwood Mathews Mansion Museum the city hall, and Norwalk's beaches.

Airport Shuttle Information:

Red Dot Airport Shuttle: 1-800-6RedDot (1-800-673-3368); Ridethedot.com

Service from JFK & LGA to Hilton Garden Inn Norwalk or Norwalk Inn between 7:30 am & midnight.
Service from Hilton Garden Inn Norwalk to JFK & LGA between 3:35 am & 8:15 pm.

Cost: $60 per way. Advance reservations required.

Prime Time Shuttle Service can be seen online at: Primetimeshuttle.com
Eveready Transportation: 1-800-399-3556; for attendees flying into Hartford...Evereadytransportation.com (Please see important note above first)

Car Service:
Car Service to and from area airports to Hilton Garden Inn Norwalk or Norwalk Inn.

White Plains/Westchester Airport (HPN) - $73.92 tolls and gratuities included
Kennedy Airport (JFK) - $139.61 tolls and gratuities included
La Guardia Airport (LGA) - $123.77 tolls and gratuities included
Newark Airport (EWR) - $168.02 tolls and gratuities included

Advanced reservations required.

BOOKING FLIGHTS
The following travel service listed for your convenience. This service is unable to provide traveling deals for conference attendees. But, they will work with your travel dates to get you the best airfares possible. There is also an additional link below if you'd like to search for your own fares.

Harris Travel Service, Inc.
Contact: Alexandria Texidor
5884 Sunset Drive
South Miami, Florida 33143
Tel: (305) 666-3907 Ext. 210
Fax: (305) 663-6628
Toll Free: (800) 245-7287
Email:alex@harristravelservice.com

Searching for your own airfare, try: Ezairport.com ***Recommended lowest fares.

Picture Book Authors

hether it's a picture book or an early reader, fiction or nonfiction, almost every author I meet thinks they can write one.

It looks easy. Doesn't it?

But during the writing process, or perhaps as the pen hits the page for the first time, you suddenly realize, because of the brevity of the piece, the writing is a little more challenging than you'd first imagined.

And usually it is the beginning of the story that falls flat. While at Scholastic, I reviewed many manuscripts but published very few because the story, fiction and nonfiction, failed to engage me. Yes! Nonfiction must be interesting, too.

There are many ways to begin your story - with an event, a character, or an action. But one thing is indisputable; you must capture your reader's attention on that first page. Whether the reader is the editor or the child, neither have patience for a boring story.

So if you aspire to publish picture books, peruse some of the titles below. Pay attention to the first few pages. Ask yourself:

How does the author capture and keep the reader's attention?
What words or elements does the author use to show rather than tell?
Look at the details the author chooses to give and those he chooses not to expose right away, or perhaps ever - how does this create a better story?
What words does the author use to make his sentences tighter, stronger?
What elements, overall, make the story successful?
Take note of your emotions as you read the story. Which parts stick with you? What do they make you feel? Children feel intensely. Find a way to tap into that.

If you are a beginning writer, consider the following list a starting point for building your knowledge and possibly your library. It is crucial to study the market and become a voracious reader of what you are trying to write.

How can you publish into a market you know nothing about? How can you write, if you don't read, read, and read some more?

It is important to remember that books compete with many other forms of media. So the look and "sound" of picture books today is quite different from those published decades ago. Compare them. You'll see that a good story is still a good story whether it was published forty years ago or one year ago.

Whether you come to F1rst Pages or choose another route, stay committed, persistent, and receptive.

New titles will be added to this list every month. I look forward to your return.

Enjoy.

Picture Book Selections
(recent additions to list are highlighted)

Art by Patrick McDonnel, Little, Brown and Company, 2006
Follow the Line by Laura Ljungkvist, Viking, 2006
Big Chickens by Leslie Helakoski, Dutton, 2006
Scribbleville by Peter Holwitz, Philomel, 2005
The Aminal by Lorna and Lecia Balian, Star Bright, 2005
Chicks and Salsa by Aaron Reynolds, Bloomsbury, 2005
Mama Panya's Pancakes by Mary and Rich Chamberlain, 2005
Wild About Books by Judy Sierra, Alfred A. Knopf, 2004
Kitten's First Full Moon by Kenvin Henkes, HarperCollins, 2004
The Snail and the Whale by Julia Donaldson, Dial Books, 2004
Something to Tell the Grandcows by Eileen Spinelli, 2004
Skippyjon Jones by Judy Schachner, Dutton, 2003
Suki's Kimono by Chieri Uegaki, Kids Can Press, 2003
Don't Wake Up the Bear! by Marjorie Dennis Murray, Marshall Cavendish, 2003
It's Snowing by Olivier Dunrea, Farrar Straus Giroux, 2002
No Trouble at All by Sally Grindley, Bloomsbury, 2002
Down by the Cool of the Pool by Tony Mitton, Orchard, 2001
Fox Tale Soup by Tony Bonning, 2001
With Love, Little Red Hen by Alma Flor Ada, Atheneum, 2001
The Yellow Star by Carmen Agra Deedy, Peachtree, 2000
Raising Dragons by Jerdine Nolen, Silver Whistle, 1998
No, David! by David Shannon, Scholastic, 1998
How to Make an Apple Pie and see the World by Marjorie Priceman, Knopf, 1994
The Bootmaker and the Elves by Sudan Lowell, Orchard, 1997
Trouble by Jane Kurtz, Gulliver Books/Harcourt, 1997
Lilly's Purple Plastic Purse by Kevin Henkes, Greenwillow, 1996
The Ghost of Nicholas Greebe by Tony Johnston, Dial Books, 1996
Swamp Angel by Anne Isaacs, Dutton, 1994
The Library Dragon by Carmen Agra Deedy, Peachtree, 1994
Martha Speaks by Susan Meddaugh, Houghton Mifflin Company, 1992
Tar Beach by Faith Ringgold, Crown, 1991
We're Going on a Bear Hunt by Michael Rosen, McElderry, 1989
Balloon Farm by Jerdine Nolen, Lothrop, Lee & Shepard Books, 1989
A Place for Ben by Jeanne Titherington, Greenwillow, 1987
Grandaddy's Place by Helen V. Griffith, Greenwillow, 1987
Very Last First Time by Jan Andrews, McElderry, 1986
The Boy Who Was Followed Home by Margaret Mahy, 1986
Flossie & the Fox by Patricia C. McKissack, Dial Books, 1986
The Very Worst Monster by Pat Hutchins, Greenwillow, 1985
The Paper Crane by Molly Bang, Greenwillow, 1985
We Can't Sleep by James Stevenson, Greenwillow, 1982
The Wind Blew by Pat Hutchins, Macmillan, 1974
Benjamin and Tulip by Rosemary Wells, Doubleday, 1973
Mr. Gumpy's Outing by John Burningham, Henry Holt, 1971
The Very Hungry Catepillar by Eric Carle, Philomel, 1969
Where the Wild Things Are by Maurice Sendak, HarperCollins, 1963
The Snowy Day by Ezra Jack Keats, Viking, 1962
Bedtime for Frances by Russell Hoban, HarperCollins, 1960
The Quiet Noisy Book by Margaret Wise Brown, HarperCollins, 1950
The Important Book by Margaret Wise Brown, HarperCollins, 1949
Caps for Sale by Esphyr Slobodkina, HarperCollins, 1947
Goodnight Moon by Margaret Wise Brown, Harper, 1947
The Indoor Noisy Book by Margaret Wise Brown, HarperCollins, 1942
The Runaway Bunny by Margaret Wise Brown, HarperCollins, 1942
Make Way for Ducklings by Robert McCloskey, The Viking Press, 1941
Snippy and Snappy by Wanda Ga'g, Coward-McCann, 1931/First University of Minnesota Press edition 2003
Wynken, Blynken and Nod by Eugene W. Field, Cartwheel Books, (Year)
Millions of Cats by Wanda Ga'g, Coward-McCann, 1928

Middle Grade and Young Adult Authors

ere are some novels with first pages that will whet your appetite. Some of these novels have transcended time - printing after printing, they continue to entertain generation upon generation.

In the pages of the selections that follow, you will experience the many ways to keep readers enthralled. A moment to consider how one beginning that captures the spirit of a novel and moves its reader to turn the page, may inhibit the progression of another, is worth probing.

And, remember, the standard(s) by which children's writing is judged has been changing over time as educators learn more about children, their ability to absorb information, and what peeks their interest.

Enjoy.

Titles will be added periodically.

Middle-Grade Novels

Year of No Rain by Alice Mead, Farrar Straus Giroux, 2003
A Cool Moonlight by Angela Johnson, Dial, 2003
The Window by Michael Dorris, Hyperion, 1997
The Midwife's Apprentice by Karen Cushman, Clarion, 1995
Words of Stone by Kevin Henkes, Greenwillow, 1992
The Goats by Brock Cole, Farrar Straus Giroux, 1987
Harriet the Spy by Louise Fitzhugh, HarperCollins, 1964
The Wolves of Willoughby Chase by Joan Aiken, Doubleday, 1963
The Enormous Egg by Oliver Butterworth, Little, Brown and Company, 1956
The Hobbit by J.R.R. Tolkien, Houghton Mifflin, 1937
Little House in the Big Woods by Laura Ingalls Wilder, HarperCollins, 1932

Young Adult

Scorpions by Walter Dean Myers, Harper, 1989
Tuck Everlasting by Natalie Babbit, Farrar Straus and Giroux, 1975
The Pigman by Paul Zindel, Harper, 1968
The Outsiders by S.E. Hinton, Viking, 1967

**Note to all writers - please make sure to read the important notice at the end of this page.

Submissions, Format, Fees and More:

Submit a short synopsis or cover letter with the first one to three chapters of your Chapter Book, Middle-Grade or Young Adult novel only. [See Fees and Payment Buttons below, after proper formatting, for more specific information]

Please use proper manuscript format as if you were submitting to a publisher. [See "Formatting Rules"] Submissions include fiction or nonfiction for children in any genre. No poetry or scripts please.

At this time, the submission link and payment buttons are different - one will not lead you to the other. So whichever you do first, remember to come back to F1rst Pages to submit payment.

Fees for First Chapters
(Chapter Books, Middle-Grade and Young Adult Novels only):

$145 - 1 chapter (or up to 15 pages); $220 - 2 chapters (or up to 25 pages); $275 - 3 chapters (or up to 35 pages) (your synopsis or cover letter is in addition to this page count)

For 1 Chapter:

For 2 Chapters:

For 3 Chapters:

Lesser fees with more chapters: Note that if you send in more than one chapter at once, you receive a $70 off the regular fee for your 2nd chapter and $130 off for your 3rd chapter. [If you submit more than one chapter, they all have to be received on the same date; otherwise the discounted fee does not apply.]

We know editors because we are editors and have published many like you during our careers, and we know what editors are looking for. There is no way for anyone to guarantee you'll get published, but we can help you increase your chances for success.

Industry Leaders Speak

Erin Murphy: The Accidental Agent

or Erin Murphy, the journey to becoming a literary agent was an unusual one.

The Flagstaff, Arizona-based agent started out on the editorial side of publishing. She was the editor in chief at Northland Publishing and then went out on her own. While working as a freelance editor, Murphy discovered her latest calling. Eventually she stopped editing and became a literary agent full time.

And it only takes a few moments with her to discover how much she loves her work, especially her clients. "I love that my loyalty and responsibility are to the author alone."

Proud of her authors, Murphy shares some of her success stories.

One client, Janette Rallison, has done five humorous novels with Walker & Co. and has more under contract with Walker and with GP Putnam's Sons.

"When her first one came out, she had one lukewarm review (among several good ones) that said, 'no angst, no pain, no suffering,' as though that were a bad thing, and I remember Janette saying, 'Yes! That's what I was going for! Let's put that on the jacket!' Each book has been entertaining fun, her sales have been very strong, and one of her most recent novels was reviewed in TEEN magazine by a TV star."

Another client, Susan Vaught, wrote a historical fantasy, Stormwitch-the work was to be her big breakout novel with a big publishing house. Unfortunately, it was cancelled after her editor went on maternity leave and ended up not returning to work.

Murphy describes the experience as heartbreaking. She helped find the work a new home at Bloomsbury with Victoria Wells Arms. Vaught's novel won the first annual Carl Brandon Award for speculative fiction and Murphy expects that her most recent book, Trigger, is "going to blow everybody's socks off."

It's not all about awards or best sellers, Murphy explains, "Successes come in all forms. I'm equally proud of the clients who quietly work at their craft and emerge on a new level." She admires "the many who persevere through rejection and depression and other tough times and just keep writing."

Murphy believes that is "the biggest victory of all-to just keep writing."

For those interested in writing, Murphy has two very crucial remarks.

One: First and foremost - Read, Read, Read. Write, Write, Write. Repeat. Reading is a crucial part of being a writer. If you want to write children's books or suspense novels or historical fiction, then read what's out there now.

Two: Join a writer's group. Feedback and support from other writers is so important. Any work sent out for consideration should be the best it can possibly be.

While Murphy does not accept unsolicited manuscripts, she does have some suggestions for how new authors can break into the world of books.

One: Study the work of the particular agent or editor you want to work with. Be sure, from what you can see, that you're a match for them.

Two: Approach them at a conference.

Three: Network and talk with someone who knows them.

Four: Get a recommendation from someone respected in the industry.

Five: Simply write a 'charm-the-socks-of' query letter."

Murphy admits a powerful query letter or stellar submission from an author, who didn't go through the usual channels, sometimes sways her but only "when it's clear that they know what they're doing" and "they've been at it awhile, submitting manuscripts with some success, revising, and participating in a critique group," she explains.

When she looks at the first page of a manuscript, Murphy says the voice of the piece is an important part of her decision to either turn the page or stop reading.

When looking for projects to represent, "the stories have to be marketable, for one thing-not just solid or 'nice reads,' but they have to be the right stories at the right time, with that extra something that will get people's attention," she explains.

Murphy thinks that one of the biggest mistakes aspiring authors make is looking for an agent for their work too soon.

"It's true that doors are closing all the time to unpublished authors, but there are still lots and lots of ways to gain experience in children's publishing without an agent."

She suggests that aspiring authors attend writing conferences and get professional as well as peer critiques of their work and encourages them to participate in chats with editors and agents at conferences and events.

"You should feel pretty sure of the world of children's books, and your manuscripts (note the plural; there should be more than one in most cases) should have had time to age and be honed to their very best, before you approach an agent."

When the time comes to look for an agent, be selective in making a decision. There are so many different types of agents with different working styles and personalities.

"Before you commit to an agent, you should have a conversation about what to expect from the agent, and know what the agent expects from you," Murphy explains. Signing with an agent is creating a legally bound relationship, not unlike a marriage, so it is not something to be taken lightly.

For Murphy, the personalities need to be a good fit. "I have to really like the people I sign-enjoy them and respect them and feel that we're a good match for the rest of our lives," she says.

Murphy also encourages authors to:

One: Know where their work fits in what's being published right now.

Two: Keep their eyes on what the trends are and what subject areas publishers are most interested in.

She also shares a few observations on today's marketplace. She thinks that there's not much of a market for new chick lit authors or sarcastic, world-weary YA voices.

"But a lot of genres that haven't been covered in awhile are waiting for new breakouts," she says. She believes that there are opportunities for young romance, mysteries, and fiction that offer "a strong cultural point of view".

Also, the young adult market "has grown tremendously in the last few years, but everybody is hungry for middle-grade novels, which are the heart and soul of the industry," she says.

As for picture books, Murphy encourages aspiring authors be innovative.

"It's just a matter of selling the best and the brightest only. Stop shopping those old raggedy things around and write something new and wonderful. Picture storybooks are still a really, really tough sell, too."

On her own time, Murphy practices what she preaches. A voracious reader, she enjoys fantasy books, especially Phillip Pullman, Garth Nix, and Tamora Pierce.

She also loves the work of Janet Tashjian, Polly Horvath, Kimberly Willis Holt, Julie Anne Peters, Meg Cabot, Christopher Paul Curtis, Jean Ferris, David Levithan, Jennifer Donnelly, and Claudia Mills.

In the realm of picture books, she is a fan of Peggy Rathmann, Barbara Cooney, David McPhail, Patricia Polacco, Karma Wilson, Meghan McCarthy, Rob Scotton, Mo Willems, and Mini Grey among others.

Murphy also travels to New York regularly to check in with editors there and attends numerous conferences during which she often meets with potential authors.

Wendy S. Mead is a freelance writer and editor based in Greenwich, Connecticut. As an editor at Scholastic, she learned just how many people it takes to make a great book.

Pre-Conference Analysis

oing to the Missouri Writers' Guild 91st Annual Conference? If you are serious about writing, you should be. And, if you'd like a pre-conference analysis before you attend, let us help you make a good first impression. The editors and agents on this faculty are even more impressive than the year before, with over 100 other authors, like yourself, who will be there to share common interests and goals. You'll have a rare opportunity to show your talent and build long-lasting relationships. Connect to the conference by clicking on the logo below.

"Mastering the Craft"
April 28-30, 2006
Hilton Hotel
8801 NW 112th Street
Kansas City, MO 64153

One of the people to whom you'd want to make an introduction is the host of this conference, Christine Taylor-Butler. She's written under strenuous deadlines and has been exposed to the inside workings and pressures of publishing.

As a result of her talent, adventurous spirit, and unwavering commitment, she's written picture books, early readers, nonfiction, and pre-K fiction and keeps her pencil sharpened, exploring new directions... ...not to mention the whispers of a new fantasy novel called "The Lost Tribes." Here are a few goodies from Christine, and you can check out her website to learn more. Just click on her photo. Hope to see you at the conference!

Dare to Write

As a former Executive Editor at Scholastic, with over 10 years in children’s publishing, I’m here to share my knowledge and get you closer to your goals.

So if you dare to write for children, you’ve come to the right place.

These wonderful human beings go from listening to stories for the first time and chomping on board books to exploring the colorful world of picture books to reading various levels of chapter books – having become successful readers of course. Then they begin snatching up titles in their favorite middle-grade series, and suddenly, when no one seems to be looking, they start reaching for young adult novels, transitioning into yet another part of their lives. Each stage is very different, introducing them to fiction and nonfiction. Each stage has its own level of discovery.

And writing for each age group is very different too and not as easy as it looks. You discover this as you devour every children’s book you can get your hands on (I hope), and as you struggle to put your own ideas into story form.

Some of you are just beginning. Others are just stuck. Still others are ready to tear their hair out! Wherever you are in the writing process at the moment, one thing I can assure you – you will move forward. (Scroll down in the About Us section to see how others have moved forward. And take a look at Awesome Authors and Agents to get inspired. )

So welcome to F1rst Pages - Your next step to getting published!

Remember -

For the publisher, it’s an investment.
For the reader, it’s the connection.
For you, it’s success.

I look forward to working with you!

Best,

Eileen Robinson
Editor/ceo

Great Beginnings

NCE UPON A TIME, you listened in rapt fascination as someone read you a story. "What will happen next?"

You wondered to yourself as you listened, spellbound. "How is this going to end?" "Hurry up and turn the page" you probably silently exhorted the reader, "so I can learn what is to come."

As you got older, you learned to read to yourself, but the spell, the charm, of a great story never lost its power. Now it was you who seemingly couldn't read fast enough, couldn't turn the pages fast enough to find out what was going to happen, to find out who did it or whether there would be a happy ending.

You didn't want to put the book down, take time away from it for your other responsibilities. The story was just that seductive. "Just a couple of more minutes," perhaps you told your mom or dad when they gently shouted in to you to turn off the light and go to sleep, you had to get up for a school in the morning.

Or maybe it was a husband or wife who was urging you to stop reading and come to bed, or was that your own inner voice you heard saying that it was time to put the book down and attend to the daily chores?

The point is that few of us can resist the lure of a well-written story. And just as a long journey begins with a first, few steps, a great book begins with a great beginning. It begins exerting its wonder, its magic, its pull on us right from the first few words.

We all remember the timeless allure of "Once upon a time . . . ," but think of some others.

How about "It was the best of times, it was the worst of times . . ." from Charles Dickens' A Tale of Two Cities, (Signet Classics). Who wouldn't want to keep reading to find out what times Dickens was talking about, and what events and personages made them so powerfully contrary? What about "Call me Ishmael" from Herman Melville's Moby Dick, (Bantam Classics)?

Leo Tolstoy's Anna Karenina, (Penguin), is generally considered one of the greatest novels of all time; not coincidentally, it begins with what is generally considered to be the greatest first line in a novel: "All happy families are alike; each unhappy family is unhappy in its own way."

The famous first line of Franz Kafka 's brilliant and creepy story, The Metamorphosis, (Bantam Classics), unapologetically sets the parameters for the surreal events that will follow: "As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect."

Similarly, the great beginning of Edgar Allan Poe's The Cask of Amontillado, (Bantam Classics) -- "The thousand injuries of Fortunado I had borne as I best could, but when he ventured upon insult I vowed revenge" -- pricks the readers interest while simultaneously setting the stage immediately for the grotesque and horrifying events that are to ensue.

And, the strange emotional flatness of the events in Albert Camus's The Stranger, (Vintage), as narrated by its affectless protagonist, is evident from the book's famous opening words: "Mother died today. Or yesterday maybe, I don't know."

Marcel Proust's immortal novel Remembrance of Things Past, (Vintage), is thousands of pages long, yet few ever forget its opening sentence: "For a long time I used to go to bed early."

And we get to hear the cantankerous, disaffected, rebellious voice of Holden Caulfield, the alienated narrator and protagonist of J. D. Salinger's immortal The Catcher in the Rye, (Little, Brown) immediately, in the book's opening sentence:

"If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth."

"I am an invisible man," Ralph Ellison proclaims at the opening of his timeless tale of the black American experience, The Invisible Man, (Vintage), making us immediately want to read further in order to learn how such a plight befell him, while Ford Madox Ford in The Good Soldier: A Tale of Passion , (Oxford University Press), claims boldly at the beginning, "This is the saddest story I have ever heard." Few readers have been able to resist reading farther in order to learn what events and experiences could lay stake to such a claim.

No doubt you can think of many others. What all these great beginnings have in common is that they somehow, sometimes mysteriously, manage to encapsulate enough of the themes and concerns of the story that is to follow to stimulate our interest, while leaving enough unsaid to arouse questions in our mind -- questions that can only be answered by our reading further. It is a skill that any writer -- for any age group, in any format, on any subject matter -- needs to master, and one that F1rst Pages, with its growing team of vastly experienced professional writers and editors, can help you with. Are you looking to create work that demands to be read? This is the place to start.

For the past 20 years, Sean Dolan has been on both sides of the fence, with over 40 titles that bear his name and many more that he's edited, revised, or practically rewritten, while working for major publishers like Scholastic, Chelsea House, Harcourt and others.

**Note to all writers - please make sure to read the important notice at the end of this page.

Submissions, Format, Fees and More:

Submit a short synopsis or cover letter with the first two, three or five pages of your Chapter Book, Middle-Grade or Young Adult novel only. You can find submissions for Picture Books under the Early Readers and Picture Books tab on the left-hand page.

At this time, the submission link and payment buttons are different - one will not lead you to the other. So whichever you do first, remember to come back to F1rst Pages to submit payment. [Fees and payment buttons for your first pages are below after proper formatting]

Fees for First Pages
(Chapter Books, Middle-Grade and Young Adult Novels only):

$45 - 2 page critique; $50 - 3 page critique; $70 - 5 page critique (your synopsis or cover letter is in addition to this page count)

1 Submission - 2 Pages

1 Submission - 3 Pages

1 Submission - 5 Pages

Once you have paid for your critique, you will receive a response time. [See Response Times Tab on left-hand page] If this critique is crucial to an upcoming conference held before our normal response time, please let me know in the additional comments section when you submit your pages.

IMPORTANT:

You've got 10 - 25 years of experience working for you here. Many editors contribute to F1rst Pages to bring you the best guidance possible, giving you the tools you need succeed. I critique most manuscripts and if I am uneasy about an answer to a question, there is probably someone whom I work with or have worked with that can answer it.

If you want a serious, honest, and professional critique of your work from professional editors, you are coming to the right place. If you cannot take criticism or are easy to take offense, this is not the right place. The editors and contributors at F1rst Pages have worked at major publishers like Scholastic, Harcourt, Chelsea House, Children's Press, Highlights, HarperCollins, and Simon and Schuster to name a few, and they offer information to help you.

The Red Pencil

Why is my manuscript riddled with hieroglyphics?

Don't panic. They're all for the better good of your book. Each seemingly indecipherable symbol indicates an operational instruction to the keyboarder who will be keying in (or inputting) the editorial changes to your manuscript.

One very common symbol that appears throughout an edited manuscript is the insert symbol. This symbol looks like an inverted letter "v."

The insert mark indicates to the keyboarder where new and additional text is to be inserted within a line of text. It can also indicate where additional space is needed in a line of text when the "number" symbol:

is placed before and after the insert symbol:

# ^ #

Christine Florie has been in publishing for over 17 years. Her career spans from academic and scholarly publishing to children's, where she specializes in the acquisition and development of children's nonfiction. Christine also has three fiction titles that bear her name.

Links to Past Articles:

Deletion Marks

Codes.
Lines.

hat do they mean?

Each mark on an edited manuscript is an instruction for action to take place at a certain spot on a manuscript. Proofreader's marks create a system of deletions, insertions, and movements to the text in a universal language for editors, proofreaders, and designers to follow. These marks are usually placed in the margin of the manuscript, with the action shown within the body of the manuscript.

A common symbol is the delete mark.

This operational sign, a straight line with a small loop on the right end, instructs the typesetter to delete whatever is under it.

It is commonly followed by a close-up sign, which indicates to delete the extra space left by whatever was deleted. The close-up sign looks like a half circle with an upside down half circle on top of it.

The Production Process

Step 2, Part One: First Pass Pages

Your masterpiece is in print!

Your editor has approved the interior design of your book and the designer has laid out the manuscript into first pass pages. Depending on your publisher, you may have the opportunity to review this pass.

Before first pass pages leaves your editor's desk, he or she will closely review them. It's key for the aesthetic value of the book that your editor check the mechanical features of the project at this stage of production.

Your editor will:

examine chosen fonts, or size and style of type throughout the book to make sure they are used consistently. A couple of examples are heads or section titles, photo captions, and chapter design
check pagination - the sequential numbering of pages
review text to ensure nothing has been dropped, or inadvertently left out
review placement of photographs and artwork (if any) to make sure they are placed correctly
look for bad line or page breaks - when a word at the end of a line is not hyphenated correctly or when type on a page is poorly arranged either at the top or bottom of a page
scan for loose lines - too much space between words
check text alignment of facing pages making sure the first and last lines on facing pages align with one another

If the first pass is not laid out to the editor's approval or too many of the mechanical elements are awry, your editor may send it back to the designer for remakes. When the pages are laid out to your editor's approval, he or she will send the pages to you and a proofreader.

Please be sure to visit Behind the Ink in February for Step 2, Part Two of First Pass Pages.

Links to Past Articles:

Step 1: Choosing an Interior Design

The Production Process

Step 1: Choosing An Interior Design

ou've spent days, weeks, months, possibly even years creating the perfect manuscript. Your editor has spent just as long tweaking and polishing it. It's perfect!

It's now time to put the manuscript into production, the process of moving the manuscript from raw manuscript to bound book. Depending on the publisher's schedule, the production process takes, on average, six months.

Some editors assign the final manuscript to a production editor who will oversee the process. Other editors will oversee the process themselves. Either way, the manuscript will be sent to a designer who will format the page layout of the book.

The editor will provide specifications such as:

subheads
extracts
sidebars
image placement

And, the designer and editor will come together to choose the -

typeface and size
chapter opener design
caption design and other interior elements

Sample pages usually go through several rounds of review before the interior design is approved. Once approved, the designer will produce first pass pages.

Next up: Step 2 - First Pass Pages.

The Editor's Corner
Marcela Landres: A One Woman Editorial Powerhouse

You can hear the passion in her voice. And sense her energy-even if you're thousands of miles away. Editorial consultant Marcela Landres is on a personal crusade to help aspiring authors-especially Latino writers.

But this former Simon & Schuster editor doesn't want writers to just be published. She wants them to be published - happily.

And, yes, there is a difference.

"In my experience, writers who think their only job is to only be worried about writing will not be happily published," Landres says during a recent interview from her home in Brooklyn, New York. "Writers who invest 100 percent of their time on the writing craft are actively earning their rejections. That's why the world is full of unhappy writers."

How can writers break this cycle? Landres says they must learn the business side of publishing - the money side of the industry; the side few authors understand.

Or appreciate.

But this fast-talking, sharp-witted, 38-year-old Barnard College graduate knows it well. Consider her background:

Assistant to former American Lawyer magazine Editor Karen Dillon;

Editor in the adult paperback division of Simon & Schuster for seven years;

Acquirer and editor of Dora Levy Mossanen, author of "Harem" and "Courtesan," and Karen Rauch Carter, who wrote "Move Your Stuff, Change Your Life: How to Use Feng Shui to get Love, Money, Respect and Happiness;"

Responsible for much of Simon and Schuster's Spanish imprint, Libros en Español;

What Landres has learned during her career--and what she's not shy about telling authors--is the harsh truth about getting published: it's not just about writing beautiful prose.

"It's a money thing with publishers. Writers must convince an editor--specifically an acquisition editor because they're the ones who decide who is rejected or accepted --that their book will make money for the publishing house. They must also inspire the publisher to invest in--and promote--their book. To me, this is as important as editing the manuscript," Landres says.

That's a tall order to fill. But not an impossible one, Landres says, if writers:

Research which agent and editor is the right person for their book. "Most writers think every agent, every editor, is a good fit for them. That's not the case. Writers have to look at the submission process the same way they'd look at applying to a college."

Focus on why their book will make money for an agent, editor, and publishing house;

Develop a marketing plan on how they'll promote their book. This should include bookstores and libraries that will host signings and authors or professionals who will laud their work.

Write a cover letter that touts their credentials--or their platform (their reputation and their rolodex). The cover letter should include awards, special achievements, any writing classes they've taken, publications where their work has appeared, and quotes from authors about their work.

Too many writers, Landres says, downplay the importance of a powerful cover letter.

"But that's the First Page that matters. That first sentence must articulate why the writer chose that editor or agent to submit their work to. If you're submitting your work to an editor because their last name begins with an "A", that's not appropriate. But if you say 'I'm submitting my proposal to you because you represented a cookbook for dogs and I've written a cookbook for cats,' that shows you've done your research."

Before drafting a cover letter, though, writers must compile a submission list. They must know who they're going to submit their work to and why. Landres used this no-nonsense business approach to land her job in book publishing.

"Most people didn't choose publishing, they fell into it," says Landres, who started college as a pre-med major and switched to English Literature. "But I had a plan and a strategy. I'm different from the typical publishing person from that perspective. I chose this field."

After working for American Lawyer, Landres discovered magazines weren't her passion.

"The love I have for books I didn't have for magazines. So I took out my credit card and took a publishing course at Columbia University. And every person who came to speak to us, I handed my resume to them and got their business card. I went in with the idea that I wanted to get a job before anyone else. Half way before the course was over, I had a job at Simon and Schuster."

And not by accident.

"I had my eye on Simon & Schuster because they had a Spanish line. They also had an eclectic list of books. I wanted to work in New Age and not many houses had New Age books. I also wanted to work in the paperback division and Simon & Schuster had a great paperback division. "

The one aspect of her career she didn't plan--or choose--was her departure from that publishing house.

"I was restructured out. "I went home and then went to the park and hung out with my dog (a Westie named Gracie). When I went back to my office the next day, my phone would not stop ringing. Some people called and said this was the best thing that could happen to me; others offered advice on what to do next."

One call came from an agent, who asked Landres to edit a manuscript. "And thus, my freelancing career was born. What I do now landed in my lap. But I could not have planned it better."

As an editorial consultant, Landres works with fiction and non-fiction writers for the adult market. She focuses on "structure, plot, voice, dialog and the things that either make or break the reading experience." She also critiques book proposals and advises authors on how to launch and maintain a successful writing career.

"Half of what I do is developmental editing," says Landres, whose fees are based on the project and the writer's experience. "I take a manuscript and tear it apart. I write a long editorial letter suggesting the author move this here or there. Half of my letter is about the manuscript. The other half is about the business of publishing."

Author Dora Levy Mossanen, who worked with Landres on her two novels, says she's an "editor extraordinaire."

"She looked at the first page of "Harem" and took a pencil and crossed out the first two paragraphs and said: 'this is where the reader is immediately thrust into the heart of the story.

"With my second book, "Courtesan," she read the manuscript, moved chapters around, and said 'this is where you should start,' " Mossanen says, adding Simon & Schuster hired Landres on a freelance basis to edit that novel. "I looked at what she did and said: 'that's really ingenious.' "

Mossanen says Landres has an uncanny ability to bring out the best in writers-and their work. "She has this optimism about her that is so contagious and makes you believe that you can succeed. And what's so important with Marcela is that she can edit and polish your book, but she never touches your true voice."

What's the best advice Landres gave her? "To put a portfolio together that showed I could promote my book. That's what actually sold my book."

Landres, she says, initially rejected Harem. "She sent me a lovely rejection letter and said this is a pager-turner, I love it, but the author should be 110 percent in love with their book," Mossanen recalls. "It was so compassionate that I called her and asked if I could visit with her in New York.

When we met, the business side of her came in. She told me she wanted a portfolio that showed I had connections to libraries, synagogues, other writers, and heads of the community who were ready to have book signings and promote my book. She said if I'd do that, she'd resubmit my book."

Two months later, Mossanen flew back to New York-armed with her portfolio. "And I remember exactly Marcela's words. She said: 'go out and buy yourself something you love. This is wonderful.' Marcela resubmitted the manuscript and it was accepted. I actually got a two book deal with Simon & Schuster."

Mossanen is now writing her third novel. "And I will not send it to an editor at a publishing house until I have Marcela read it. That's how much I trust her."

"It's a blessing that there is a freelance editor like Marcela who writers can send their work to before sending it out into the world. I would highly recommend her services to others...and I have."

Writers who hire Landres come from a variety of backgrounds. But this daughter of Ecuadorian immigrants--who grew up in the projects of Long Island City, Queens--is passionate about working with Latino authors.

On authors of color, Landres says, "Latinos are ten steps behind African Americans in everything. African Americans have made so much money in the book world. But the Latino market is not at that level yet. I find that Latino writers have their own challenges, but every challenge is an opportunity."

To turn those challenges into opportunities, Landres Web site (http://www.marcelalandres.com/) lists job openings, calls for submissions, writing tips, and has an online newsletter, Latinidad ®, designed to help Latino writers get published.

"Writers from any background can benefit from this information," says Landres. "But I do have a lot of information specifically for Latino writers that I think they need to take advantage of."

Is she optimistic about the future for Latino writers-and those from any ethnic background?

"Some writers still think it's someone else's job to make them successful. I'm not optimistic about those writers. But I'm very optimistic about writers who embrace the responsibility for the success of their writing career."

Those are the writers, Landres says, who will be happily published!

Lisa McCormick is a Newspaper Journalist and Children's Book Author.

Links to past articles:

Adriana Dominguez, HarperCollins' Executive Editor.

Rayo: A Great Home for Latino Writers

t HarperCollins's New York offices, editors are on the lookout for innovative and engaging Latino children's books. One such editor, Adriana Dominguez, was hired in 2005 to help HarperCollins expand its Rayo imprint. Adriana wants to publish materials to serve the Latino community, now the largest minority in the United States.

"Latino children deserve what every other child does: books that are relevant to their experience and background; books in which they can see themselves, while still wanting to share them with others," she explains.

Adriana feels especially fortunate to be working for Rayo publisher, Rene Alegr'a, who has entrusted her with the children's portion of his imprint and shares her vision for making quality materials widely available for the Latino market.

As executive editor, Adriana's responsibilities include "creating Rayo children's publishing plan, overseeing the overall quality of our books and translations, and ensuring the cultural relevance of all children's books that bear the Rayo logo."

Featuring a mixture of original titles and translations of some of HarperCollins's best-sellers, Rayo will publish approximately 20 to 22 titles per year.

Adriana brings strong editorial skills and a sharp critical eye to her work. Before becoming executive editor at Rayo, she was the children's review editor at Cr'ticas, the monthly review magazine of Spanish-language books. Adriana has also worked for such publishers as Scholastic, McGraw-Hill, and Santillana U.S.A.

Since joining Rayo, Adriana has worked with many noted Latino authors, such as Lulu Delacre of Rafi and Rosi fame and the writing team of Alma Flor Ada and Isabel F. Campoy. She also enjoyed working on the Spanish edition of Kevin Henkes's Kitten's First Full Moon (La primera luna llena de Gatita).

When looking for new authors, Adriana says that "past publishing experience is always great." But most important to Adriana is engaging stories and meaningful content.

"I look for originality, a keen awareness of the qualities that make a good children's book, and for Rayo in particular, background: I am very interested in material written by Latino authors in Spanish, English, and bilingually," she says.

In terms of subject matter, Adriana says that she is "interested in all types of appealing material, from chic lit and fantasy novels to innovative ideas for board books and bilingual titles."

Adriana expects that the future for the Latino children's book market will only get brighter. There is an urgent need for high-quality materials, and publishers are starting to step up to meet the increasing demand.

"I think that Latino and Spanish-language publishing are beginning to improve as the larger market becomes aware of the need to have a Latino publishing industry in the United States."

She notes that there is room for improvement. "Many of the market's needs have not yet been fulfilled with relevant, high-quality books, but we're working on it. That is why I think that the work we are trying to do here at Rayo is so important."

Adriana and the rest of the Rayo editorial staff have already rolled up their sleeves and are working hard to make their mark on the world of Latino children's books.

Wendy S. Mead is a freelance writer and editor based in Greenwich, Connecticut. As an editor at Scholastic, she learned just how many people it takes to make a great book.

Astonishing Authors

Spotlight on authors like you - coming soon

What is Proper Format?

Here's the short list:

Name, address, other contact info (email, phone) in top left-hand corner of the first page of your manuscript.
Genre and word count in top right-hand corner of the first page of your manuscript.
Title should be about 1/4 of a page down from the last line of the info at the top of your manuscript.
At least two lines between the title and the beginning of the story.
Acceptable fonts are Times and Times New Roman. Some options are Palatino and Georgia. (You always want to use a clear serif font, not a font like Arial, which is sans serif. Serif fonts are not glaring and the eyes pass more quickly as the "curly-cues" on the tips of each letter serve as connectors so the eyes move over the words more quickly and easily.) Please No Courier - see how bad that looks? We are not in the age of typewriters.
Fonts should be 12 point. In some cases where fonts might come a little smaller in 12 point than the traditional Times New Roman, you can venture to 14 point.
Hmmm... I guess I should mention that manuscripts should not look like presentations for near-sighted board members! Don't send anything in landscape and in 24-point font. It would be excellent to follow this rule when submitting to a publisher, too. Forget about the infamous slush pile, it'll get you thrown in the garbage if you don't...
... and no colored fonts or highlighted lines. Yes it's eye-catching but not in an attractive way.
Manuscripts should be double-spaced.
Manuscripts should have one-inch margins on all sides.
Page numbers preferably bottom center. As long as they are identifiable but out of the way (although I would not place them on the left-hand top or bottom of the page), you can choose.
If you have headers and footers, don't have them appear too close to the story text on each page. It is distracting.

Payments

All payments can be made by credit card through Paypal, by clicking the appropriate button below or going to the particular section of the type of book you are submitting, i.e., Early Readers and Picture Books, etc.

If you would prefer to send a check, please contact me at eileen.robinson@f1rstpages.com.

Fees for First Pages
(Chapter Books, Middle-Grade and Young Adult Novels only):

$45 - 2 page critique; $50 - 3 page critique; $70 - 5 page critique (your synopsis or cover letter is in addition to this page count)

1 Submission - 2 Pages

1 Submission - 3 Pages

1 Submission - 5 Pages

Fees for First Chapters
(Chapter Books, Middle-Grade and Young Adult Novels only):

$145 - 1 chapter (or up to 15 pages); $220 - 2 chapters (or up to 25 pages); $275 - 3 chapters (or up to 35 pages) (your synopsis or cover letter is in addition to this page count)

For 1 Chapter:

For 2 Chapters:

For 3 Chapters:

Fees for Early Readers and Picture Books

$165

Online Class

Chapter Books, Middle-Grade or Young Adult Novels

$370

Picture Books

$275

Conferences

Just-a-Read Submissions

Revision Submissions

Mid-Winter Revision Boot Camp Schedule

Schedule

Online Chat

Submissions

Publishers and Publishing News

Other Interesting Links

Welcome to the F1rst Pages Conference!

Get Ready to Choose Your Track:

Track 1: The Latino Explosion! - with Adriana Dominguez

Track 2: Licensing Fever - with Jon Goodspeed Cancelled

Track 3: Everyone Was a Beginner Once - with Harold Underdown

Track 4: Before You Send it Out - with Marcela Landres

Bonus: Your (Less Than) 30-Second Pitch - for all workshop participants

The Crit Nook

What is Proper Format?

Payments

Fees for First Pages (Chapter Books, Middle-Grade and Young Adult Novels only):

Fees for First Chapters (Chapter Books, Middle-Grade and Young Adult Novels only):

Fees for Early Readers and Picture Books

Online Class

Chapter Books, Middle-Grade or Young Adult Novels

Picture Books

Fees for First Pages
(Chapter Books, Middle-Grade and Young Adult Novels only):

Fees for First Chapters
(Chapter Books, Middle-Grade and Young Adult Novels only):