It’s happened to all of us. The dreaded b l o c k.
It’s the intersection of panic and dread, with a little bit of ack thrown in for good measure. You’ve tried every writing prompt in your Prompt A Day calendar, texted each of your writer buddies for exercises, and Googled multiple variations on “what to write when you’re out of words.”
And nothing helps.
Never fear. We’ve compiled a few tried and true, last-ditch efforts to help you thwart Block Brain.
Change your physical location
Sometimes, for your brain to bust out of its rut, you have to take it on a little field trip. You can do this by going for a walk – which is scientifically proven to help creativity, by the way. Or by taking a shower, which relaxes the body, distracts the brain, and releases dopamine all at once. It’s the trifecta of creativity. Trying something brand new, whether that’s going to a coffee shop you’ve never been or taking a staycation in a hotel you’ve never stayed, or going for a short drive down a road you’ve never traveled. Giving your brain a brand new experience to process can spur new ideas.
Unplug
Yes, you heard me correctly. Disconnect from the internet, the phone, the tv, the video games, all the things. Reduce the noise for an hour, or a day, or a week if you can. Multitasking is a creativity killer, so eliminate the temptation to respond to every notification and scroll every feed for as long as you can.
Fold your laundry (or wash dishes, or mow the yard)
Performing a repetitive task puts your body on autopilot and sets your brain free to roam. And a roaming brain is a creative brain. So fold those socks, knit one and purl two, or polish the silver and see what breakthroughs unfurl.
Get sketchy
Take a pad and pencil to your favorite park, art museum, or even your own backyard, and spend an afternoon sketching. Another idea is to snap photos of random things in your world – pigeons on the sidewalk, cats napping in a sunbeam, or grasshoppers in the flowerbed, then sketch your photos. Observing, thinking, and drawing can spur a new set of thoughts and reflections that can re-inspire your writing.
Do you have any go-to methods for breaking through writer’s block? Have you tried any of the exercises mentioned here? What did you think? Let us know in the comments.
As always, happy writing!
When Kelli McKinney and her family aren’t exploring national parks, she can be found sipping cinnamon tea, struggling to keep houseplants alive, or chucking a toy across the backyard for her English Mastiff. She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling career in corporate marketing before wandering off to be a writer. Now, she is a part-time copywriter and blogger, a full-time mom, and a children’s author. JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is her debut novel. She can be reached through her website for events, visits, and questions at www.kellimckinney.com.
You’ve worked hard to write your middle grade novel, and now you’re ready to sell it to a publisher. Except you’ve been told you must describe your entire 50,000 book in 30 to 150 words.
Welcome to what the writing community calls “the pitch.”
A pitch is a short description of your book that highlights what makes your story unique.
I’ve taken online classes, read articles, and listened to conference talks about how to write a pitch. When it comes to elements every pitch should contain, most presentations boil down to this: The pitch needs to identify the main character in a manner that shows their goal, the obstacles that stand in their way, and what might happen if they don’t succeed.
Let’s use the technique (protagonist, goal, obstacles, fallout) with a well-known story: The Hobbit by J.R.R. Tolkien.
Start with the Protagonist. Bilbo is a hobbit, a race of short people living in middle earth, a land with magical creatures.
What is his goal? He will aid the dwarf king, his faithful subjects, and a wizard on a quest to reclaim the dwarves’ ancestorial home.
What are the obstacles? The company runs into trolls, goblins, giant spiders, and wood elves. Aided by Bilbo’s magic ring and a river town, the heroes kill the dragon who took over the kingdom. However, a battle between five armies breaks out over the treasure the dragon guarded.
What might happen (fallout)? If Bilbo cannot negotiate peace between the various factions, his whole company might die.
Now put the ideas together.
Bilbo is a hobbit, a race of short people living in middle earth, a land with magical creatures. He will aid the dwarf king, his faithful subjects, and a wizard on a quest to reclaim the dwarves’ ancestorial home. The company runs into trolls, goblins, giant spiders, and wood elves. Aided by Bilbo’s magic ring and a river town, the heroes kill the dragon who took over the kingdom. However, a battle between five armies breaks out over the treasure the dragon guarded. If Bilbo cannot negotiate peace between the warring factions, his whole company might die.
This pitch rings in at 97 words, which will work for most conference pitches. However, if your selected entity wants it even shorter, watch me trim the idea to 41 words and still keep the heart of the story.
Aided by Bilbo, thirteen dwarves go on a quest to reclaim their ancestral kingdom, which is guarded by a dragon. When the beast is killed, five armies converge to claim the treasure left behind. Bilbo must negotiate peace or die trying.
Sure, you say. Simple to do with a well-established story. But will it work for me? Let’s see. Using my method, here’s a 52-word pitch for my newest release, Offsides.
Danielle expected a challenging senior year with her final season of soccer, a strained friendship, and a new crush. What she didn’t expect was to uncover a human trafficking ring in her town. When an older man starts grooming her neighbor, Dani intervenes. But her actions may make her the next target.
Intrigued? That’s the power of a pitch. Good luck crafting your own. (And please, make my day and check out Offsides.)
Lori Z. Scott is known for her bestselling Meghan Rose series. Besides these humorous children’s chapter books, Lori has published over 200 articles, short stories, devotions, and poems for magazines like Brio and Focus on the Family. She has also contributed to 15 books, including Writing and Selling Children’s Books in the Christian Market. In 2022, Lori introduced a new YA series. The first book, Inside the Ten-Foot Line, is a Carol Award semi-finalist, the Golden Scroll Youth Book of the Year winner, and an Illumination Book Award medalist. The second book, Offsides, promises even more action and humor. You can connect with Lori on Instagram @Stories.by.Lori
If you love middle grade novels, you’re probably familiar with some of the unique characteristics of this genre. You don’t have to go far to find writing tips on expected word counts, use of age-appropriate language and topics, and developing a middle-grade voice. In fact, when I first started writing for this age group, I explored what the experts had to say about middle grade book parameters. In my research, several articles pointed out that this age group doesn’t have as much emotional maturity as a young adult audience.
Middle grade emotions typically manifest in physical actions and responses.
And while a young adult book will also show these emotions externally, the writing often includes more introspective reflections.
This surprised me. After all, kids of all ages grapple with hardships that vary in severity (from getting grounded to being abused). To help me better understand the difference, I envisioned a middle grade versus a young adult version of Little Red Riding Hood.
In the middle grade version:
I expect Ms. Hood might react to being swallowed by displaying physical indicators of distress, like weeping or chewing her nails.
In the young adult novel:
In addition to Ms. Hood weeping and chewing her nails, I expect her to agonize over life choices that led to the current predicament (being lodged in the stomach of a wolf.) Her internal reflection might read something like this:
Why do I always fail no matter how much I long to make Mother proud by doing the right thing? What is wrong with me? How could I not see through the wolf’s charm and recognize his true intentions? Will anyone notice my disappearance? Will anyone care?
Picturing it that way clarified the concept for me.
But that brought a follow up question. If it’s true that we should tone down introspective thoughts in middle grade novels, should MG writers avoid tackling topics that dive deeply into emotion?
I believe the answer is no. Don’t avoid the tough stuff. But always, always, always keep your target audience in mind, and keep it age appropriate.
Case in point.
Where the Red Fern Grows by Wilson Rawls is a powerfully emotional MG novel. The book follows the struggles of Billy, who makes multiple sacrifices to buy and care for two dogs. The dogs return his devotion by sacrificing their lives to keep Billy safe. The reader is so invested in the relationship between the characters that the dogs’ gut-wrenching demise hits close to home. Though fictional, it brings to light real world struggles children grapple with, like death and grief and remorse. But the story also offers the reader hope, because when Billy revisits his beloved dogs’ grave, he reflects on how he dealt with the loss.
I read the story when I was in sixth grade. In our classroom, the imaginary world provided a springboard to talk about and process crippling real-world emotions some of my peers knew all too well. As for me, I loved every bit of the book and cried my eyes out at the end. Billy’s closing words were some of the most poignant ones I’d ever heard, and I carried them close to my heart for years.
In today’s world:
It’s accurate to say that many children have experienced hunger, divorce, neglect or other traumatizing events. And I believe they can better process the emotions that go with these burdens when a storybook character shows them they aren’t alone in their feelings… and that there is a path through the situation. So don’t shy away from heavier topics in your middle grade writing. Some kids grow up fast, whether or not they are emotionally mature enough to handle it. Your words may serve as a blueprint or even a lifeline for these tweens seeking to make sense of their world.
What emotionally charged middle grade novels have you read lately?
Let me know in the comments! Until later!
Teacher and author Lori Z. Scott writes fiction because she’s like an atom. She makes everything up. She also has two quirky habits: chronic doodling and lame joke telling. Neither one impresses her boss, but they still somehow inspired Lori to accidentally create a ten-title bestselling children’s book series and on purpose write over 175 other publications. She continues penning stories as an excuse to not fold her laundry. Find her silly drawings, poems, and whatnot on Instagram @Lori.Z.Scott and look for her debut YA novel Inside the Ten-Foot Line coming October 2022.
In middle grade novels, do you know what gets my goat? Stories riddled with clichés.
Let’s address the elephant in the room: cliches often come across as lazy writing. Cliches can make dialog as flat as a pancake and cause your labor of love to become as dull as dishwater. Worse, an ill-fitting cliché can throw the reader out of the story world you’ve created. Mark my words, your writing will improve if you weed out these overused sayings. But how?
Once upon a blue moon (and for a different website), I wrote a longer article detailing six ways to deal with this issue. But here, I’d like to focus on just one tried and true method that works especially well for middle grade stories. Consider it my “two-cents worth” approach because it adds humor to your story and gives you more bang for your buck.
Are you ready for this tip? It’s “Run with the cliché.”
I can explain it best like this: Take an old phrase and give it a middle grade twist by adding onto the end of it. The result may tickle your funny bone.
Look at my examples and then try this method for yourself.
That problem was as old as time… but not nearly as old as the Twinkie Mom packed in my lunch today.
Sweet Sally. She’s always bending over backwards for people. Literally. She’s a gymnast.
I was left with one burning question. I guess that’s what happens when you set your homework on fire and your best friend douses the flames at the last second.
In my homeroom, finding a friendly face used to be a dime a dozen. Not with today’s inflation.
It’s hard for grandma to jog her memory. It’s more like a crawl.
If the shoe fits, it’s probably not on sale.
It takes two to tangle. Unless you’re my mom, and then you’re too exhausted to do anything.
You can’t hold candle to a good book. Well, you can, but it will burn.
Sometimes I feel like I’m all thumbs. Which comes in handy when you’re playing video games but not so much when picking your nose.
Now it’s your turn.
Go out on a limb. Think outside the box. Put the pedal to the medal. Take your favorite cliché and run with it. I’d love to hear what you come up with. Post it in the comments. I’m all ears.
Teacher and author Lori Z. Scott writes fiction because she’s like an atom. She makes everything up. She also has two quirky habits: chronic doodling and lame joke telling. Neither one impresses her boss, but they still somehow inspired Lori to accidentally create a ten-title bestselling children’s book series and on purpose write over 175 other publications. She continues penning stories as an excuse to not fold her laundry. Find her silly drawings, poems, and whatnot on Instagram @Lori.Z.Scott and look for her debut YA novel Inside the Ten-Foot Line coming October 2022.
When I first started writing, I assumed publishing occurred as writers often presented in Hollywood films. Authors complete a first draft of a story and send it to a publisher, who is anxiously waiting for the manuscript. Then, a team of people publicize the story. Talk show hosts call, bookstores hold signings for crowds of adoring fans, news reporters request interviews, the book sells a million copies, and everybody lives happily ever after.
Reality is so different.
Authors work hard.
We craft a story (sometimes through years of labor) and then revise it multiple times. We research into the wee hours of the morning. We hire beta readers to give us feedback, and then go through the process again. When the manuscript is finally ready, we can’t just send it out, lest it land in the bottomless slush pile of submissions from which few ever return. Some publishers require an agent, so off we go, hunting for someone to believe in us and our vision. We send query letters and book proposals. We attend conferences, read articles, build a brand and platform, and the list goes on.
Yet even we they understand all the work involved, authors still pick up the pen and write. Why?
Perhaps because authors have learned the value of perseverance. If we continue with determination and dedication, we can succeed.
So today, let’s examine three ways we can persevere in our writing journey.
Set Goals
If you work full time like I do, your writing time is limited. I try to my redeem time by focusing on a big objective that might take longer and several smaller goals that can aid in accomplishing the bigger goal. It’s a method that has helped me survive life’s demands.
Consider a few smaller goals you can finish in a week. For example, Offsides, my upcoming YA fiction novel, will soon hit the market. When it does, I want pre-sales to be up, a launch team in place, and blog interviews booked. (Any takers? Asking for a friend…) Over the next several months, I’ll dedicate time each week to contact people, create social media posts, and market to my target audience. Being ready for the release is not something I’m going to complete on a short timetable. Instead, to reach my big goal, I’ll work on smaller goals each week, such as ‘Compile a list of endorsers,’ or ‘Contact libraries and bookstores.’ The ability to complete weekly small tasks will give me a great deal of confidence, and those little things will build into the bigger event: the release itself.
Take Breaks
Inspired or not, I often force myself to sit down at the computer. I love the challenge of writing, but I still wrestle with guilt for not being more productive. But here’s a secret: It’s okay to take a break. Shut down Word and go for a walk, go out for dinner with a friend, paint a picture, do the laundry, or find some other outlet for your mind. The change might actually be good for you. Medical studies show that downtime with limited stimulation helps replenish the brain’s ability to focus, create, make connections, and process information. I can’t tell you how many times a plotline problem resolves itself while I doodle a cartoon.
Adopt the Long View
Life makes many demands on us. Sometimes things don’t go according to plan. And that’s okay. Unless you’re doing freelance editing or working on a publisher’s staff, you aren’t likely to be a fulltime writer, so when the unexpected pops up, it’s okay to make room for it. As much as you love writing, it will never love you back the way family and friends will. You want to write, but does that trump every other area of your life? Hopefully not. What if it’s a unique writing opportunity? Then yes, jump on it! But make sure your loved ones understand your situation and are on board. Initiate a conversation to explore your expectations and their needs so you can avoid hurt feelings.
I would define the long view as pursuing your writing dreams one manageable step at a time. Find balance. Say yes whenever possible and no whenever necessary and don’t stress about any self-imposed deadline. Flexibility frees the writer to create in the tiny slivers of open time without missing out on major life events.
“All of my writer friends and I have one thing in common: We didn’t listen to the naysayers. We kept writing. And eventually we have all been published.”
Author, Davi S. Laskar
So, when it comes to writing, set your goals, take breaks, and adopt the long view. Your perseverance will pay off.
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing. Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .
When it comes to writing middle grade fiction, authors might wonder what works best for this 8-12 years old age group. After all, it encompasses a large audience. Consider the developmental differences between an eight-year-old (3rd grade) and a twelve-year-old (7th grade). Height, puberty, social/emotional awareness, goals, interests… there is a lot of room for variation here. Narrowing down a story idea can prove challenging.
Here’s the good news: middle grade readers enjoy all genres. Historical fiction, science fiction, contemporary fiction, fantasy, mystery, graphic novels, and action-adventure.
What are some elements that work well with this age group?
Stories that are Character-Driven
Make your protagonist the same age as your reader. Let them face authentic challenges and struggles and push them to actively resolve these problems independent of an adult. They need to be likeable and relatable. Show your reader their hopes, their fears, their best friend, their worst day, and their thought process. Remember, at this age, kids make a lot of mistakes, and that’s okay. Keeping it real can lead to entertaining outcomes and set the MC up for major character growth. For example, in the book Wonder, author R.J. Palacio introduces the reader to a child with a severe and very visible facial deformity. Not only is he phasing from homeschool to public school, but he’s doing it at a time when this age group typically hyper-focuses on looks. In laughable fashion, he thwarts a few bullies who underestimate him. At the same time, he faces prejudices and obstacles that help stir empathy in the reader. These factors make the reader open to the valuable but organic lessons housed in the tale, such as you can choose happiness or don’t judge people by their appearance.
Stories with Humor
Light-hearted banter or outright ridiculousness works well with this age group. The book itself doesn’t have to be geared for humor. Writers can sprinkle this in through relationships, exaggerated situations or characters, word play, or crazy reactions. Kids are more likely to pick up on themes or messages you want to get across if it’s couched in humor. Editors love this aspect too.
Our own Kelli McKinney uses humor in her book Jeff Pennant’s Field Guide to Raising Happy Parents. McKinney gives the reader an inside scoop on the thoughts of the main character, Jeff, who is often egocentric and overly focused on a single goal. The conversation between the reader and the author makes Jeff’s actions and reactions hilarious.
Stories with Action
Keep the romance to a minimum but drum up the action. Use natural-sounding dialogue to maintain the fast pace that keeps readers engaged and use the old “show don’t tell” adage when using description. Short chapters, especially ones that end with cliffhangers, will keep readers turning the pages. Look at what author Peter Brown does with The Wild Robot. The chapters average 3 pages. Some are a single page. In addition, each chapter contains a single, pivotal event that propels the story forward. The action itself fits the audience. There are confrontations, problems, and challenges, but those situations are more about pace and chase than it is about violence and graphic details.
In conclusion
One of the best ways to familiarize yourself with strong characters, good humor, and middle grade action is to read, read, read. Visit your local library and request copies of new releases and popular titles like the ones listed here. What are some good middle grade books you would recommend?
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing. Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .
As an aspiring middle grade author, you’ve probably heard this before – if you want to write compelling, relevant stories, you have to know your audience inside and out.
Today we’re going to talk about that inside part- the emotional and social developmental milestones of kids. Although there are many ways of considering developmental milestones, one way is to take a look at the middle grade reader from the perspective of the grandfather of child psychology, Erik Erikson.
Erikson’s work categorizes the developmental stages of growth into eight stages from Infancy to Late Adulthood.
Within each stage, he says, there is a central conflict. The way in which the person overcomes this conflict affects his or her social and emotional development. If for some reason the person doesn’t develop the skills needed to succeed, they may struggle in the next stages of their development.
Middle grade readers are generally between eight and twelve years old. This places them firmly in Erikson’s stage four – Industry vs. Inferiority.
When he uses the term ‘industry,’ Erikson isn’t talking about working the factory line or a particular economic segment. He’s talking about hard work. He’s referring to becoming an industrious person – someone who practices a skill until they master that skill.
This stage is all about building competence and confidence. And as the name of stage four suggests, if a child doesn’t develop competence and confidence, they will move into stage five feeling inferior.
Stage four kids begin comparing themselves to the world around them and asking questions like “How do I measure up?” “What am I good at?”
For kids this age, the world around them is their school environment and their home, but friends and classmates begin to take on more influential roles. Plus, instead of playing and learning for fun, now kids are being graded on their abilities by teachers, and rated on their performance by other kids.
Erikson emphasizes the importance of adults in positive psychosocial development. Kids need trustworthy, reliable people to come alongside them as they work to solve their own problems. Adults should emphasize effort rather than outcome.
We know that in real life, adults are not always helpful and encouraging. Also in real life, sometimes well-meaning adults can be too helpful and remove the child’s opportunity to develop their own skills. As a middle grade author, we know that kids want to see themselves as the hero in their stories, so we want to be careful about how much/what kind of adult interaction we write.
So what does this have to do with writing for middle grade readers? Understanding these developmental stages can help us weave authentic environments, characters, and plot points for middle graders.
Ask yourself:
Does my main character have realistic struggles? What is my MC good at? What challenges him/her?
Are there opportunities for the MC to try and fail at something? What are the other characters’ reactions to this?
Do the adult characters help build (or obstruct) the MCs sense of competency? Do they try to solve the MCs problem for them, or give them adequate space to try and fail?
Understanding developmentally appropriate stages can help authors craft realistic and compelling stories that readers will love.
When Kelli McKinney and her family aren’t exploring national parks, she can be found sipping cinnamon tea, struggling to keep houseplants alive, or chucking a toy across the backyard for her English Mastiff. She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling career in corporate marketing before wandering off to be a writer. Now, she is a part-time copywriter and blogger, a full-time mom, and a children’s author. JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is her debut novel. She can be reached through her website for events, visits, and questions at www.kellimckinney.com.
What motivates the main character in your middle grade manuscript? If you struggle to pinpoint what drives them, you reader will too. I found this out the hard way. After sharing a chapter from my WIP, one critique partner asked, “Why do I care if your protagonist reaches her goal? And why is she so determined to win anyway? What’s her motivation?”
What indeed.A character’s motivation matters. It drives the plot, explains why a character behaves a certain way, and gives the reader a reason to root for a favorable resolution.
Without it, the story falls flat.
Lack of motivation is not an uncommon issue. Many writers plop a character into an adventure without considering why must their story be told by this person.
Take another look your work in progress. Starting with the first chapter, analyze your character—how she responds to her environment and other people. Can you identify what’s motivating her in one or two sentences?
If not, ask why questions to keep digging deeper. Do external forces (like survival or competition) or internal desires (like power or revenge) drive the character? What backstory might you need to develop in order to reveal and explain these actions and aspirations? As you hone in on what drives your character, put obstacles, challenges, and limitations in their path. Make her respond in a manner consistent with this motivation.
You can also practice identifying motivation by reading a few well-written middle grade novels. Identify words, phrases, and actions the author uses to communicate what’s driving the main character. You can even borrow the character (for practice purposes only, of course!) and put them into the first chapter of your book. How does a difference character change your story? Put your story into their story. What happens?
Returning to my experience, when I addressed the deep motivations of my main character in my book Inside the Ten-Foot Line, she came alive. She morphed into someone more likable, relatable, and compelling. Because of that, the story broadened in depth, complexity, and impact. And when she finally met her goal, the reader was left with a sense of satisfaction.
So, get motivated! Unlock your character’s full potential and reveal what drives them.
Hey, all! Now that the winter holidays are past, it’s high time to focus on goals for the upcoming year.
#1 Carve Out Writing Time
It takes discipline to sit down in front of a computer (or pick up pen and paper for old-school fans), block out distractions, and tap into the creative juices.
But we must. Because if we don’t make writing a priority, it won’t happen. (You know I’m right!)
Set a goal to write at least three days a week. Pick out a time that works best for you to write distraction free. Rise an hour before the family and type away. Or slate late night after meeting the day’s obligations. I used to write in notebooks while waiting for my child’s practice to end or I dictated my ideas on my phone to revisit later. Identify your best time, set it, and protect it.
#2 Join a Critique Group
Because of my experience with a faithful team of writers, I can, without hesitation, recommend that you set a goal of joining a critique group. Getting regular feedback on your manuscript can prove invaluable. Our partners spot plot holes, areas that lack clarity, and errors in grammar.
Not every group is a good fit. I encountered many mismatches before discovering my ideal team. But don’t give up! Set a goal to find supportive writers like you. If needed, this link provides a list of organizations that set up critique groups.
#3 Devote Time to Create or Maintain a Platform
Writers need a platform to increase visibility and market their work to a target audience. But “platform” poses a huge obstacle for many people. It’s a time sucker. It’s daunting. There are too many options to consider, like Facebook, Twitter, Tik Tok, Pinterest, Instagram, blogs, podcasts, and websites. Where do you start?
Instead of trying to engage in multiple arenas (which can lead to quick burnout), try focusing on one or two. Take time to explore various options. Then, set a goal to post or engage in the media bi-weekly or more. Keep your brand in mind. I found this article addressing platform-building from Denise Wakeman helpful.
#4 Educate Yourself
The writing profession encompasses many elements: researching, drafting, and revising; querying agents, publishers, and magazines; organizing book launches, interviews, and speaking engagements; participating in conferences, critique groups, and professional organizations; engaging in social media, podcasts, and advertising; writing blogs, articles, and newsletters. How overwhelming is that?!
#5 Set a goal to educate yourself on one area.
I’ve found it’s best to create an achievable goal with a narrow focus. For example, I need to improve communication, so I’ll educate myself—perhaps through online courses, how-to articles, or conferences—on how to use emails lists and newsletters to reach my target audience.
So, there you have it. Four practical writing goals for any author. What goals are you setting? I’d love to hear about them in the comments!
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing.
Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori also contributed to over a dozen books.
Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .
Christmas is my favorite. I adore everything about it. I love the decorating, the baking, gathering with friends and family, but I especially love reflecting on the mystery and wonder that is the birth of Christ.
I’ve often thought about writing a Christmas middle grade book, but every time I think about it, I recall the advice an editor shared at a writing conference several years ago: the first book you sell won’t be a seasonal book.
It sounds harsh, but it’s true. Debut authors are no match for established names when it comes to selling holiday books.
That doesn’t mean we debut and pre-published authors can’t have a little fun, though.
Get out the hot cocoa (or eggnog, your choice), turn on your favorite Christmas playlist, and let’s create some Christmas book titles. Pick your favorite formula:
1. Ye Olde School Christmas Words
This technique is straightforward – combine your favorite Christmas-y or Wintery adjective with a Christmas-y or Wintery Noun and voila!
Example: The (Christmas-y Adjective) (Christmas-y Noun)->The Sparkly Mistletoe
2. Music-Palooza
Put your own twist on your favorite Christmas carol lyric or Christmas song title and see what happens.
Example – lyric
(From Let it Snow!) Oh, the weather outside is frightful ->Hey, Look at the Blizzard!
Example – title
Carol of the Bells -> Tune of the Tinsel
3. Furry and Feathered Friends to the Rescue
Have you noticed that in popular culture Christmas always requires saving? Maybe these stories are intended to be allegoric – Christ was born to save us, after all. Anyway. There’s a certain sweetness to the “fluffy woodland creature saves the day” tale, so here’s another way to generate a Christmas title.
Example: (Adjective) (Animal) (Verb) (Noun)-> Jingly Hamster Salvages the Cocoa
Play around with these and see what sparks your imagination. Write your favorites and file them away for the day when you’ve got a few books published. Then eager publishers will be happy to share your holiday gems with the world.
Until then, Merry Christmas to you and yours, and a blessed 2023!
When Kelli McKinney and her family aren’t exploring national parks, she can be found sipping cinnamon tea, struggling to keep houseplants alive, or chucking a toy across the backyard for her English Mastiff. She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling career in corporate marketing before wandering off to be a writer. Now, she is a part-time copywriter and blogger, a full-time mom, and a children’s author. JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is her debut novel. She can be reached through her website for events, visits, and questions at www.kellimckinney.com.
My co-host Lori Scott has an exceptional series about bringing her YA novel from concept to reality, but for my contribution this month, I’m going straight into celebration mode. I hope you’ll join me! Follow me and drop a like or comment on my Instagram @kellimckinneywrites or Facebook page, Kelli McKinney-Author.
I’m so excited to announce that my debut middle grade novel, Jeff Pennant’s Field Guide to Raising Happy Parents, published on October 1 with Chicken Scratch Books! Here at Almost an Author, I’ve been reporting many of my ups and downs as I’ve worked on my craft these past several years.
As you know, this has been fun, but not always pretty. That’s okay. Growth is messy sometimes. That’s why this celebration is oh-so-sweet and why I’m so happy to share it with you.
Because if I can do it, you can too.
So, my dear friend, I’m thrilled to share my book cover, blurb, and all the upcoming fun things, because it’s been a crazy ride getting to this day. Thank you for coming along with me.
Jeff Pennant’s Field Guide to Raising Happy Parentsis a humorous contemporary middle grade novel about learning to see beyond yourself and recognizing the perspectives of others. Fifth-grader Jeff doesn’t understand why he’s always in trouble with his parents, so he conducts an experiment to help him learn what will make them happy. Along the way and amid the science, video games, and turtle mishaps, he discovers what true friendship and love in a family are.
When Kelli McKinney and her family aren’t exploring national parks, she can be found sipping cinnamon tea, struggling to keep houseplants alive, or chucking a toy across the backyard for her English Mastiff. She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling career in corporate marketing before wandering off to be a writer. Now, she is a part-time copywriter and blogger, a full-time mom, and a children’s author. JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is her debut novel. She can be reached through her website for events, visits, and questions at www.kellimckinney.com.
Last month, I detailed the first half of my journey to publication for my MG/YA sports novel Inside the Ten-foot Line. I discussed where my idea came from, knowing the genre, and drafting the story. This article focuses on what happened next.
Remember, every author’s path to publication differs. My experience might resonate with you or provide an ah-ha moment. You can also visit Kelli’s article on lessons she learned on her way to publication.
Pitch
One of the best ways to get your work in front of an editor’s eyes is by attending a writing conference. Beyond offering classes on the craft of writing, attendees can meet editors and agents and pitch their work. For an extra fee, many allow you to submit a manuscript for feedback. Conferences also hold contests. Winning a category gives you exposure. Best of all conferences allow writers to network with other writers.
I pitched the idea for my series first at the Write-to-Publish conference. At the time, there were few sports novels geared toward girls available. A year later, I pitched it at the Blue Ridge Mountains Christian Writing Conference. This time, I found a publisher who, like me, recognized a gap in the market, and requested a proposal.
After that initial pitch, it took almost another year before a contract went to my agent.
But let’s touch on the debate between traditional publishing and self-publishing. In today’s market, both are valid options. With the traditional route, writers share the profit with their publisher, but they don’t have to carry the burden of cost to produce the product. A good publisher will also handle most of the marketing, something I appreciate.
Self-publishing means writers keep the profit, but they also must hire an editor, illustrator, and do their own marketing. If you’re a go-getter, this may suite you best.
Action: Find out more here to find out more about these options.
Edits
Shortly after turning in the completed work, the manuscript underwent several rounds of editing. That’s all I’m saying on this aspect.
Action: If you are traditionally published, be easy to work with. Listen to suggestions from the professionals assisting you. If you are self-publishing find an affordable and competent freelance editor.
Marketing
“It doesn’t matter how well written your book is if you can’t sell it.”
Truth.
Publishers need to make money. As an author, you must do your part to help your book succeed. That’s where platform comes in.
Even before its release on September 20, 2022, Inside the Ten-foot Line had earned three #1 bestselling banners on Amazon. How? My publisher knows how to market. Among other things, they targeted Amazon Ads and leveraged their newsletter and Instagram accounts to reach my target audience.
On my part, I organized a book launch team, posted on my social media sights, and contacted people with podcasts and or book review sites. I even coordinated ideas with my friend Kelli McKinney since our books were scheduled to release the same month. Her encouragement relieved some of the stress and anxiety I felt over marketing.
Action
If you have not started working on your platform, start! For more marketing ideas, check out this article and/or this one.
I hope seeing my journey helps encourage you on your way to publication. If you have any more ideas to share, please leave them in the comments.
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing.
Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori also contributed to over a dozen books.
Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .
As I wrote this article, I got an email from my publisher letting me know that the pre-order sales of my book Inside the Ten-foot Line earned three #1 bestselling banners on Amazon. Wow! Which leads me to believe I might have an insight or two to offer about the whole publishing process.
Keep in mind, every author’s path to publication differs. Some things I mention might resonate with you. Others may provide an ah-ha moment. You can also visit Kelli’s article on three lessons she learned on her way to publication.
My story is too long for a single post, so this month, I’ll explore the birth of the idea and draft proccess behind Inside the Ten-foot Line, and next month I’ll target what happened after the manuscript was complete.
The Idea
While there is no hard and fast rule for finding an idea for your book, write what you know is a good starting place. I took that advice and made a list of all the topics that interested me. I compared that to a list of topics that might interest my target age group to trim down my options. I mean—I know a lot bedtime routines. And while that’s a great topic for picture books, it’s less palatable for a middle grade novel, right? (Unless I work a hilarious bedtime routine into a scene where my protagonist is dealing with pimples and self-doubt.)
For me, one theme continued to rise to the top and melded well with the interests of my reader. Sports.
Question: What idea rises to the top for you?
Action: Check out another article on content issues from Kelli McKinney.
What’s Out There
Where does your idea fit in the current market? What other books will sit on the shelf next to yours? I found my answer in the local library. Sports had its own special identifying sticker and location in the building, making it easy for me to pull down and compare titles. Books geared for male athletes dominated the genre. However, even though the niche offered only a handful of books for female athletes, the market showed recent growth. And that was promising.
Question: Does your book can fill a gap in the market?
Action: Visit a library and look for books with a similar idea to yours.
Know the Genre
Determined to balance the scales, I read through several books, looking for similarities in plot, mood, and resolution. Most used sports as a setting to deal with larger social or emotional issues. After dissecting a whole stack of novels, I had a good idea of how to move forward.
Question: What genre are you writing? Contemporary? Speculative fiction? Historical fiction?
Action: Do your research. Take time to read books you will find next to yours on the shelf.
Write the Story
I wrote an outline for the plot using one paragraph descriptions for each chapter. Then I took one summary at a time and expanded it into a full chapter. This loosely structured approach left room for my characters to nudge (or throw) the story in a new direction. And trust me—when they take on a life of their own, they will! When that happened, I could easily go back to the summaries and adjust the plot accordingly.
Even though my book addresses social issues, I also made sure to pack plenty of sports action into the plot. In that way, I catered to my target audience.
Question: Will your story be written in first or third person?
Action: Create a detailed outline for your story.
That’s where the series started for me. How about you? Stop back next month to find out what happened after I completed my manuscript.
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing.
Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori also contributed to over a dozen books.
Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .
“Show, don’t tell” should be the mantra of every writer, especially Middle Grade authors.
What is ‘Telling’?
Telling is often called an information dump. Many times, ‘telling’ shows up in the first few chapters of a book, when the author tries to quickly acquaint the reader with the characters by laying out their backstory and “telling” how they feel.
For example:
Samantha was mad. She had played volleyball since she was in fourth grade. She wasn’t very good when she started, but then she practiced hard until she was able to execute an overhand serve. From there, she worked on her other skills and earned a starting position on her middle school team. But now that mean girl Jennifer had taken her spot. It was so unfair.
What is ‘Showing’?
Showing is when the author dives into what a character is thinking and uses actions and reactions to demonstrate how they feel.
Let’s transform the telling example into showing:
Lips pressed in a thin line, Samantha snatched a volleyball from the cart and stormed over to the wall. Squaring her shoulders, she slammed the ball to the ground over and over, letting it ricochet off the wall and return to her hardened hand. But even the steady precision of the drill could not stop a lump from forming in her throat.
The whistle blew, calling the teams to the court.
Chest heaving, Samantha smacked the ball one last time before it rolled to a stop at Jennifer’s feet.
Smirking, her replacement lifted the ball. “Don’t worry, Sam. I won’t choke on game point like you did.” She pointed at the bench. “So, make yourself comfortable in the seat I warmed up for you.”
When you compare the two examples, the telling stands out. It’s earmarked with passive verbs and a lack of tension. The author tells us how Samantha feels, robbing readers of the opportunity to use inferences and clues to draw conclusions and make emotional connections.
On the other hand, the showing paragraph puts the reader in the middle of the action. As the tension builds, we experience the same emotions as the protagonist, absorbing her reactions as our own. We become invested in the outcome.
How to transform telling into showing
It’s typical for first drafts to contain multiple ‘telling’ sections, but revision is a writer’s best friend. As you go through your manuscript, follow these steps to eliminate telling.
Cut information that isn’t relevant. If it’s important enough to keep, reveal it bit by bit through actions and reactions rather than a dump of facts. For example, the reader didn’t need to know exactly how Samantha got her start in volleyball. That part was trimmed.
Don’t TELL an emotion, SHOW it. Spot these ‘tells’ by searching for the words like happy, mad, scared. Eliminate the name of the emotion and describe it instead. For example, you could tell Samantha was angry by her facial expressions and how she attacked the ball.
One resource to help with this transformation is The Emotion Thesaurus: A Writer’s Guide To Character Expression by Angela Ackerman and Becca Puglisi.
Focus on the emotional impact of your story. Telling informs the brain. Showing dives into the heart. By showing Samantha’s anger and frustration, I actively immersed readers in the story and its outcome.
Changing from telling to showing will require time and effort on your part, but the results will be worth it. Start with one “telling” paragraph, revise it, and then compare it to the original. The results may make a smile stretch across your face as you puff out your chest and say, “Nailed it.”
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing.
Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori also contributed to over a dozen books.
Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .
Behind every book on the shelf, and every story waiting to be published, there’s an author who has experienced the sting of rejection.
My first middle grade book was rejected eight times. My second, soon-to-be-published middle grade was rejected four times before I heard a “yes.”
I’d be lying if I said rejection never hurt. But over the years, through trial and error, I’ve stumbled upon some ways to make it less painful and more empowering. I hope these tips help you too.
Querying is like a marathon job search. Your query letter is your application; your manuscript is your resume. It’s a process that can leave authors feeling vulnerable and anxious, wondering what their dream agent or publisher might think about their work.
In reality, the query is step one of a multi-step path to the shelf. Breaking that path down into steps can help remove some of the emotional pressure along the journey.
Every time you query, you can expect one of four types of messages in return. These responses come in four basic flavors.
1.Yes
This response is my favorite for obvious reasons. As exciting as the yes is, keep in mind that it’s just one part of the puzzle. A yes at the query stage doesn’t guarantee publication. It opens the door to the next step in the process.
2. Constructive no thank you
The constructive response is my second favorite because it offers you a glimpse into the mind of your gatekeepers, the agents and editors. A constructive no thank you is a no that gifts you with actionable feedback about your manuscript. It will read something like this:
Dear Kelli,
Thank you for submitting your work. Although your writing is solid, I had a hard time connecting with your main character. I think your story would benefit from developing a stronger sense of conflict between your MC and his father. I must pass on this project but would like to see anything you may have to share in the future.
Sincerely,
Agent McAgentson
If you receive a few of these, you’ll probably begin to see one or two of the same types of issues rise to the top – and that tells you how to improve. This is useful and good.
3. Destructive no
I haven’t received destructive feedback to a query yet, but some of my writer friends have. A destructive no reads something like this:
Dear Kelli,
Thank you for submitting your work. It’s not for me. Your writing style is abrasive and choppy. If you’d actually read books written by the other authors I represent, you’d know what I meant by ‘voicy fiction.’ This isn’t it.
Good luck,
Agent Rudebelly
The destructive no is hard to read. It’s both less professional and less personable, and it offers no helpful insight or clarity that can help the author improve.
On their websites, most editors and agents will post guidance on their typical response time. For example, Agent McAgentson says that if you haven’t received a request for a full manuscript within 12 weeks of your submission date, you can assume that she’s declined.
4. Silent no thank you
Once you open the email (or the determined number of weeks have passed without an email), you can identify what kind of response you’ve received. Then it’s time for our next tip.
Respond accordingly
Before you respond, feel your feelings and process your emotions. If you need encouragement, seek encouragement, but try not to wallow. When you join the Rejection Club, you’ve joined the ranks of authors everywhere.
If you’re lucky enough to receive constructive feedback with your rejection, accept it with grace. Make note of the agent’s insights and watch for trends – if you receive multiple comments about the same specific aspect of your work, that’s a good sign that you need to revise.
If the agent expresses an interest in looking at your future work, save her contact information and look forward to querying her again.
It might be tempting to reply, especially if you’re feeling angry or upset, but resist the urge. Most agents and editors are too busy to read them. If you are still tempted, consider this:
If you fire off an angry email telling the agent/editor how wrong they are to reject your work and why, you’re guaranteeing they don’t accept any of your future submissions. They can say no without needing to defend their choice. If it isn’t right for them, it’s not right for them – but it will be right for someone else.
If you email them asking if you can resubmit after you’ve made revisions, you’re wasting their time and burning bridges. If they had wanted you to revise and resubmit, they would have told you.
If you email them to tell them Agent/Publisher XYZ accepted this manuscript and it will be published on this date, that’s great, but rather rude and vengeful and will likely ruin your chances for future submissions.
If you’ve received destructive feedback, do not respond. At all. It might be tempting to let this person know your opinion about them, but in the end, responding in anger isn’t helpful. You’re not going to change their heart or mind.
This leads us to what rejection truly is.
Rejection is necessary
The main thing I want to impress on you about rejections is this: They. Are. Necessary. They’re part of the amazing process of being an author. Use rejection as an opportunity to practice patience, hone your craft, and reflect on why you write.
Everyone, from J.K. Rowling to Anne Frank to Kathryn Stockton, receives rejection letters. They are a sign of something incredibly valuable. They’re a sign that you dreamed up a story, wrote it, edited it, and sent it out into the world. That’s huge. That should be celebrated. Don’t ever stop celebrating it.
A rejection is a sign that you’ve accomplished something millions of people only imagine- you completed a book. So go collect all the rejections, because that’s how you make your way to the shelf. One rejection at a time.
See you next time.
When Kelli McKinney and her family aren’t exploring national parks, she can be found on the sidelines at her son’s tennis tournaments, brewing a cup of cinnamon spice tea, or chucking a toy across the backyard for her English Mastiff to chase.
She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling fifteen-year career in corporate marketing before wandering off on her own to be a freelance copywriter.
Now, she is a part-time copywriter, full-time mom, and a children’s author. She lives in Texas but a huge piece of her heart belongs to Oklahoma. Her debut novel, JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is forthcoming in late 2022 with Chicken Scratch Books.
Kelli loves to hear from readers and writers. She can be reached through her website at www.kellmckinney.com or on Instagram @klmckinneywrites .
My first middle grade book was rejected eight times. My second, soon-to-be-published middle grade was rejected four times before I heard a “yes.”
I’d be lying if I said rejection never hurt. But over the years, through trial and error, I’ve stumbled upon some ways to make it less painful and more empowering. I hope these tips help you too.
Spot the type
Querying is like a marathon job search. Your query letter is your application; your manuscript is your resume. It’s a process that can leave authors feeling vulnerable and anxious, wondering what their dream agent or publisher might think about their work.
In reality, the query is step one of a multi-step path to the shelf. Breaking that path down into steps can help remove some of the emotional pressure along the journey.
Every time you query, you can expect one of four types of messages in return. These responses come in four basic flavors.
Yes
This response is my favorite for obvious reasons. As exciting as the yes is, keep in mind that it’s just one part of the puzzle. A yes at the query stage doesn’t guarantee publication. It opens the door to the next step in the process.
Constructive no thank you
The constructive response is my second favorite because it offers you a glimpse into the mind of your gatekeepers, the agents and editors. A constructive no thank you is a no that gifts you with actionable feedback about your manuscript. It will read something like this:
Dear Kelli,
Thank you for submitting your work. Although your writing is solid, I had a hard time connecting with your main character. I think your story would benefit from developing a stronger sense of conflict between your MC and his father. I must pass on this project but would like to see anything you may have to share in the future.
Sincerely,
Agent McAgentson
If you receive a few of these, you’ll probably begin to see one or two of the same types of issues rise to the top – and that tells you how to improve. This is useful and good.
Destructive no
I haven’t received destructive feedback to a query yet, but some of my writer friends have. A destructive no reads something like this:
Dear Kelli,
Thank you for submitting your work. It’s not for me. Your writing style is abrasive and choppy. If you’d actually read books written by the other authors I represent, you’d know what I meant by ‘voicy fiction.’ This isn’t it.
Good luck,
Agent Rudebelly
The destructive no is hard to read. It’s both less professional and less personable, and it offers no helpful insight or clarity that can help the author improve.
Silent no thank you
On their websites, most editors and agents will post guidance on their typical response time. For example, Agent McAgentson says that if you haven’t received a request for a full manuscript within 12 weeks of your submission date, you can assume that she’s declined.
Once you open the email (or the determined number of weeks have passed without an email), you can identify what kind of response you’ve received. Then it’s time for our next tip.
Respond accordingly
Before you respond, feel your feelings and process your emotions. If you need encouragement, seek encouragement, but try not to wallow. When you join the Rejection Club, you’ve joined the ranks of authors everywhere.
If you’re lucky enough to receive constructive feedback with your rejection, accept it with grace. Make note of the agent’s insights and watch for trends – if you receive multiple comments about the same specific aspect of your work, that’s a good sign that you need to revise.
If the agent expresses an interest in looking at your future work, save her contact information and look forward to querying her again.
It might be tempting to reply, especially if you’re feeling angry or upset, but resist the urge. Most agents and editors are too busy to read them.
If you are still tempted, consider this:
If you fire off an angry email telling the agent/editor how wrong they are to reject your work and why, you’re guaranteeing they don’t accept any of your future submissions. They can say no without needing to defend their choice. If it isn’t right for them, it’s not right for them – but it will be right for someone else.
If you email them asking if you can resubmit after you’ve made revisions, you’re wasting their time and burning bridges. If they had wanted you to revise and resubmit, they would have told you.
If you email them to tell them Agent/Publisher XYZ accepted this manuscript and it will be published on this date, that’s great, but rather rude and vengeful and will likely ruin your chances for future submissions.
If you’ve received destructive feedback, do not respond. At all. It might be tempting to let this person know your opinion about them, but in the end, responding in anger isn’t helpful. You’re not going to change their heart or mind.
This leads us to what rejection truly is.
Rejection is necessary.
The main thing I want to impress on you about rejections is this: They. Are. Necessary. They’re part of the amazing process of being an author. Use rejection as an opportunity to practice patience, hone your craft, and reflect on why you write.
Everyone, from J.K. Rowling to Anne Frank to Kathryn Stockton, receives rejection letters. They are a sign of something incredibly valuable. They’re a sign that you dreamed up a story, wrote it, edited it, and sent it out into the world. That’s huge. That should be celebrated. Don’t ever stop celebrating it.
A rejection is a sign that you’ve accomplished something millions of people only imagine- you completed a book. So go collect all the rejections, because that’s how you make your way to the shelf. One rejection at a time.
See you next time.
When Kelli McKinney and her family aren’t exploring national parks, she can be found on the sidelines at her son’s tennis tournaments, brewing a cup of cinnamon spice tea, or chucking a toy across the backyard for her English Mastiff to chase.
She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling fifteen-year career in corporate marketing before wandering off on her own to be a freelance copywriter.
Now, she is a part-time copywriter, full-time mom, and a children’s author. She lives in Texas but a huge piece of her heart belongs to Oklahoma. Her debut novel, JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS, is forthcoming in late 2022 with Chicken Scratch Books.
Kelli loves to hear from readers and writers. She can be reached through her website at www.kellmckinney.com or on Instagram @klmckinneywrites .
I recently read a few middle grade novels I could not put down, even when sleep called loud and clear. What compelled me to keep turning pages? Instead of giving me an easy stopping place, the authors ended most chapters with a hook that made me want to know more.
So, what is a hook and how can you use it to help you achieve the same effect?
The Hook
A hook is when an author deliberately crafts the last few lines in a chapter in a manner that pulls the reader into the next chapter. Think of it like a fish lured by a promising dinner prospect, only to find itself hooked and unable to swim away.
Let’s look at four different ‘hooking methods’ used in middle grade books I’ve read recently.
Ask a Question
Mom said they died in an accident when she was a teenager. But was that true?
Wraithwood, Chapter 3, by Alyssa Roat
In this chapter, Roat reveals some mysteries about the main character’s past. Rather than verifying these nuggets as truth, she asks a question that plants doubt in the reader’s mind, making them want to explore further and seek the answer.
Asking a question is how advertisers (and scammers) often slip past our defenses too. Ever pick up a call and hear, “Do you know when your homeowner’s insurance expires?” The listener feels compelled to answer, which draws them into a conversation with the seller. That’s how it works in writing too. We are naturally wired to seek answers to questions.
Look through your own work in progress. Are there chapters you could end with a question to plant seeds of curiosity?
Stop in the Middle of Action
Right as she did so, something grabbed her leg.
The Cassandra Curse, Chapter 7, by Hope Bolinger
Ending a chapter in the middle of action, commonly known as a cliffhanger, is another great hook an author can use. We think we’re about to learn something important to the plot when the chapter suddenly ends. Are we going to stop reading there? Of course not! We’ve got to know who or what grabbed her, and what happened after that. Leaving the issue unresolved puts an itch under the reader’s skin that must be scratched by continuing to read. Television series often employ this trick in their storylines, and I can’t count how many times that has led me to binge watch an entire series.
If you have a large chunk of action, this might be a great technique for you to use. Instead of a longer chapter with a resolution at the end, break the action into two or more chapters, leaving your main character in a dire predicament in the final lines.
Raise the Tension
She still couldn’t shake the feeling that the blurry shapes were following her home.
Legend of the Storm Sneezer, Entry 4, by Kristiana Sfirlea
Raising the tension is not a case of a break in action. In the example above, the action is slowing as the character heads home. The words, “she still couldn’t shake the feeling” sharpens the scene’s mood and the reader’s apprehension. It causes the tension to rise, and the reader can’t walk away from the book without knowing what happens next.
To use this method, look for chapters you have ended in a manner that could lead to closing the book—like going to bed or saying goodbye. Then add one more comment that will cause the reader to wonder. Select words that paint an appropriate tone for the next chapter.
Introduce a New Character or Upcoming Event
A tall, dark figure had been coming down the hall toward her, a black cloak flapping behind him, his boots thumping on the creaking floorboards.
Wraithwood, Chapter 1, by Alyssa Roat
When you pass a stretch of highway and spot flashing lights and a car, how often do you rubberneck—stare to find out if it’s an accident or an arrest or speeding? That’s the idea behind this method. You give a brief snapshot, like the highway accident, and let the reader’s curiosity drive them forward.
Look for opportunities to use this technique in your manuscript. End your chapter by showing us the new character but save all the details or even their true identity for the chapters that follow.
The power of a hook cannot be underestimated. Re-read some of the books you love, the ones you stayed up reading late into the night. Study the final lines of each chapter and look for how the author hooks you into reading the next chapter. Learn from these masters and catch yourself an audience!
Do you have an example of a great hook? If so, please share in the comments below. You might just hook me into reading your story.
Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing.
Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori also contributed to over a dozen books.
Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Lori.Z.Scott.
You’ve poured hours into building a plot, developing characters, and revising. Now that your baby is written, how do you land a contract? One way is through platform because it makes your work more attractive to editors and makes marketing easier.
But what is platform? Simply put, it’s a network used to market books. This may include social media outlets, connections to organizations, blogs or podcasts, people who endorse our work, or paid advertising. While exceptions exist, in general, the bigger the platform, the greater the chance an editor will look at your manuscript. Two popular platform-building methods include social media outlets and networking through conferences.
Get Started on Instagram
Earlier, I posted on how to get started on Instagram part one and part two. If you’re new to social media, Instagram is a great place to build platform. Besides finding a target audience, you can also connect with other writers. Look for profiles of people who have successfully marketed their MG novels or accounts that feature/review MG books. Follow and interact with those accounts. For Christian readers, here are a few accounts to check out.
@hopebolinger–This prolific author/editor has over 14k followers and offers solid advice for authors.
@kristianasquill—This author shows some creative marketing ideas she employed for her award winning debut novel.
@mesontagauthor—This MG historical fiction writer has several posts and links showing how she markets her novels.
@kellimckinneywrites and @lori.z.scott—Hey, we’re both writing for A3 here, so you’ll see some of marketing ideas in our posts.
@endgamepress and @chickenscratchbooks- these small but growing publishers might be the perfect fit for your middle grade novel.
Throw in a Conference
Writing conferences were crucial to my publishing journey. Through them, I learned about writing opportunities, made friends with other writers who support my endeavors, found an agent, and landed a book contract. Outside the social aspect of these literary treats, each conference offers workshops to help aspiring writers learn the ropes and veteran writers hone their craft. Here are a few of the larger ones that offer strong faculties with multiple opportunities for attendees to pitch book ideas. The scenic locations allow writers a relaxing atmosphere to network with each other and leaders in the industry.
This brief look at platform doesn’t encompass all the avenues available to writers. That’s where you come in! Please post your platform building ideas in the comments below. Maybe together, we can create a supportive community of middle grade writers.
Teacher and author Lori Z. Scott writes fiction because she’s like an atom. She makes everything up. She also has two quirky habits: chronic doodling and lame joke telling. Neither one impresses her boss, but they still somehow inspired Lori to accidentally create a ten-title bestselling children’s book series and on purpose write over 175 other publications. She continues penning stories as an excuse to not fold her laundry. Find her silly drawings, poems, and whatnot on Instagram @Lori.Z.Scott and look for her debut YA novel Inside the Ten-Foot Line coming October 2022.
I’ve guest blogged on A3 (Almost An Author several times, and I’m happy to announce that I’m teaming up with regular contributor Kelly McKinney to explore writing for the middle grade audience.
Middle grade books are set apart from other genres by a few things. We’ve talked about these in other posts – content and voice are two important distinctives. Today I want to talk about pace. How do we pace our story in a way that connects with middle grade readers and keeps them turning pages?
Pace is the way in which your story’s elements unfold. It affects the mood of your story, the tension within your story, and sets expectations for what the reader can expect as they turn each page.
Speeding up the pace can signal humor, danger, or conflict. Slowing down the pace can signal a character’s internal growth or show us more about the character’s world. Both of these are important, because like adults, kids need variety to keep them reading.
Let’s talk about some “gas pedal” techniques to accelerate pace:
Dialogue Bursts
This is about using a short dialogue exchange and action tags to create urgency and drop important information. Example:
“Hear that?” Jack froze.
“What?” Mary stuffed the map in her pocket and grabbed another armful of jewelry from the trunk.
“Exactly. It’s too quiet.”
“You’re paranoid. Come on.”
“They’re on to us.” Jack clutched his flashlight.
“Are you gonna help me or not?” Mary tossed him an empty backpack. “Get moving.”
Cliffhangers
Create uncertainty and tension by ending a chapter with something that makes them wonder what could happen next.
Short Sentences
When you’re building tension, try shortening the sentence length. Shorten it again. It works.
Now, let’s look at ways to ‘pump the brakes.\
Internal responses
When you need to slow things down, even if only for a moment, show readers your character’s internal life. This could be as simple as a sentence or two in which the main character has an emotional reaction to their situation. It could also be a paragraph of them reflecting on a choice they made or thinking though their next action.
Description
Nobody wants to read purple prose, middle grade readers included. But that doesn’t mean your main character can’t describe anything. If your MC has a unique way of viewing the world (and they should), they probably also have a unique way of describing their world and the actions within it.
Flashbacks
Memories are a great way to add breathing room to your pace. A little backstory can serve as color and context, and it can also be a useful way to weave in clues about an event yet to come.
A few words about any kind of pace adjustment-
Make sure that whatever you do moves the story forward. If you add a flashback scene, make sure it adds important information that’s relevant to a character’s motive or conflict.
Read it out loud. If you can, ask a middle grade reader to read it too.
Read more middle grade books to see other approaches.
Like anything else in writing, pace is a tool in a writer’s toolbox that gets more powerful each time you practice. What are some of your favorite pacing techniques? Let us know in the comments below, and happy writing!
When Kelli McKinney and her family aren’t exploring national parks, she can be found on the sidelines at her son’s tennis tournaments, brewing a cup of cinnamon spice tea, or chucking a toy across the backyard for her English Mastiff to chase.
She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling fifteen-year career in corporate marketing before wandering off on her own to be a freelance copywriter.
Now, she is a part-time copywriter, full-time mom, and a children’s author. She lives in Texas but a huge piece of her heart belongs to Oklahoma. Her debut novel, JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is forthcoming in late 2022 with Chicken Scratch Books.
Kelli loves to hear from readers and writers. She can be reached through her website at www.kellmckinney.com or on Instagram @klmckinneywrites .
Ten years, one month, and twelve days after I left my full-time corporate job to become a freelance copywriter, I signed my first publishing contract.
*pause for frenzied happy dancing*
You know what I realized after I signed the contract? All those years of work up to that moment were just the beginning. They were endurance training, I think. I have learned boatloads on this journey – some lessons I learned the hard way, others were less painful.
Here are the most important things I’ve learned about becoming an author.
1) Be teachable.
From high school English to journalism school to my corporate advertising and marketing career, I was surrounded by people who told me I could write, and I believed it.
I was so confident in my abilities, in fact, that I sent first drafts of manuscripts to agents. I entered first drafts in contests. And had no idea why they were being rejected.
Thankfully, my eyes opened at my first writing conference when I learned about revisions and critique partners. I heard other writers’ paths to publication. And I became something I hadn’t been in a long time – teachable. That’s when I started making progress.
2) Be generous.
Over the past several years, I’ve had the incredible good fortune of meeting some of the kindest writers. They’ve come alongside me (and numerous others) and offered advice, encouragement, and inspiration.
That’s the type of writer I am trying to be. I have a lot to learn, but when I meet other writers, I try to be a good resource. I’m still learning, of course, but I have found that encouraging other writers, sharing what (little) I know grows the type of community that I want to be part of.
3) Be persistent.
I’m not going to sit here and tell you I never thought about giving up. Some days the words are easy. Other days it’s like trying to tunnel through an iceberg with a spoon. Writing is hard. But it’s not impossible.
You know when it becomes impossible? When you decide to stop trying. So keep trying. Even if it’s only two sentences a day. Keep going. You know how. If I can do it, you can too.
I have another year or so before my book publishes. It will be a year filled with revisions, platform-building and marketing, not to mention I have another WIP to polish and a couple of ideas for new books to draft.
But I didn’t want this exciting moment to pass without reflecting on the ups and downs that brought me here.
Next – I need to have a conversation with the powers-that-be about changing the name of this website from “Almost an Author” to “You’re an Author, Now What?” (Just kidding)
Where are you on your path to publication? Do you want a travel partner? The A3 community is here for you. Reach out in the comments below and let us know what’s on your mind.
When Kelli McKinney and her family aren’t exploring national parks, she can be found on the sidelines at her son’s tennis tournaments, brewing a cup of cinnamon spice tea, or chucking a toy across the backyard for her English Mastiff to chase.
She earned her bachelor’s degree in journalism from the University of Oklahoma and her graduate degree in radio/tv/film from the University of North Texas. She enjoyed an eclectic-yet-fulfilling fifteen-year career in corporate marketing before wandering off on her own to be a freelance copywriter.
Now, she is a part-time copywriter, full-time mom, and a children’s author. She lives in Texas but a huge piece of her heart belongs to Oklahoma. Her debut novel, JEFF PENNANT’S FIELD GUIDE TO RAISING HAPPY PARENTS is forthcoming in late 2022 with Chicken Scratch Books.
Kelli loves to hear from readers and writers. She can be reached through her website at www.kellmckinney.com or on Instagram @klmckinneywrites .
Today’s authors must have a platform to market their books. In addition to a personal website, email lists, speaking engagements, and traditional book signing events, publishers expect to see your presence on social media. The bigger the numbers of people you have following your account, the better chance you have of a publisher considering your proposal. They want those contacts to turn into sales.
One of the top places to develop platform is Instagram, a popular photo and video networking service. Instagram has millions of active users across the globe on a daily basis. Many of those viewers make purchases based on someone they encountered on Instagram. Those are two compelling reasons to get started!
I’m not tech savvy, so I approached the whole project with trepidation. However, knowing the role it played in my overall writing journey, I kept at it. Step by step, I learned mistakes to avoid and techniques to succeed.
I came to love my Instagram community. And I’ve enjoyed benefits from it. I got hired as an article writer for Story Embers through an Instagram ad. I conduct interviews with authors through Instagram. I’ve paired with other authors to promote their books. I even met Kelli McKinney, the writer I’m guest blogging for today, through Instagram! Best of all, when I put a book proposal together, my followers are a cornerstone for the marketing section.
But what if you don’t know the basics of Instagram? Where do you start? And how do you build momentum? In this part one of a two part article, I will explore how to get started.
You’ve Got to Actually Sign Up
This seems like an obvious first step, but for those not familiar with the service, the whole process can be intimidating. However, YouTube provides many practical ‘how-to’ videos to guide you through the sign-up process. I used this link. Just remember, authors need a public business account. It provides a breakdown of statistics, including new followers, profile views, number and reach of your posts, and more.
Your Username and Bio
When you sign up, you’ll need a username. And writers, YOU are the brand, so using your name is perfect. If possible, keep the same username across all your social media platforms.
Next, create a short bio. Instagram limits the word count. Many authors use a catchphrase that sums up what they are all about. Mine is love, laugh, learn. That makes sense since I post positive affirmations, write humor, and teach. Along with the catchphrase, you can include who represents you, what you write, or book titles. Always include a link to your website.
Engaging Posts
Engaging posts will do much to boost your followers. But a word of caution: don’t push your product too much. Instagrammers often lose interest in authors who post picture after picture of their book. Instead, share more authentic posts—your crazy pet, a funny poem, a favorite Scripture verse, or an emotional hardship/victory. Be real. That’s what readers crave.
But I’m an author. That is true. So of course, you want to share projects you’re working on or the good news about an award you won. But couch that in the broader picture of the everyday you. Because if your audience doesn’t know you, they won’t be interested in what you have to sell.
What else?
Post an attractive feed. Use quality pictures with your brand in mind. Try free photo based apps like Unsplash or Pixaby.
Put words on your image. I use an app called Phonto to add text to my images.
Use filters to create a custom color scheme for your posts. Think branding.
Videos (Reels). Readers have short attention spans. Cater to that by recording and posting a Reel, which is a 15-second multi-clip video with audio tracks and other features. This short guide on YouTube might be helpful.
Stories. Like Snapchat, the images disappear after 24 hours. Interested follows access your stories by clicking on your profile picture. Here is a how-to guide.
Now you know enough to get started on Instagram. In part two of this article, I will tackle how to grow your audience.
Elementary school teacher Lori Z. Scott usually writes fiction because, like an atom, she makes up everything. Her down time is filled with two quirky habits: chronic doodling and inventing lames jokes. Neither one impresses her principal (or friends/parents/casual strangers), but they do help inspire her writing.
Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 150 short stories, articles, essays, poems, and devotions. Lori also contributed to over a dozen books, mostly so she would have an excuse to give people for not folding her laundry. (Hey! Busy writing here!)
Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Lori.Z.Scott.
Ready or not, September means it is time for heading back to school. As an adult, the phrase “back to school” triggers a spectrum of feelings and behaviors. For teachers, it signals classroom preparation season and team meetings. Parents take “back to school” time as their cue to ready school supplies, new shoes and school clothes, and meal prep.
But for the kids who read middle grade books, going back to school means far more than to-do lists and shopping. School life is a monumental part of kids’ life experience. It’s no surprise, then, that school plays a substantial part in a large number of middle grade works.
Does your work in progress involves scenes at school, about school, or reflecting about school? You may want to read a few of these middle grade titles. Each of these authors incorporate school life in different ways.
There’s a Boy in the Girls’ Bathroom! by Louis Sachar
A poignant tale of a “troubled” boy and the counselor who sees him for who he is. Sachar has a knack for revealing the inner life of a character.
Fish in a Tree by Linda Mullaly Hunt
Heart-rending depiction of struggles with dyslexia aside, Hunt builds a delightfully relatable ragtag crew of sixth grade girls.
Because of Mr. Terupt by Rob Buyea
The first book of this series introduces readers to seven fifth grade students in Mr. Terupt’s class who must learn how to get along despite their differences. Buyea develops authentic characters, relatable problems, and maintains an engaging pace.
As a new school year begins, I cannot help but wonder whether the effects of a certain virus might linger in how kids experience school. Will we read stories whose main characters wear matching face shields? Will plexiglass dividers be incorporated into epic cafeteria food fight scenes? Time will tell.
Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.
I had grand aspirations for this month’s post, involving a poll, some original photography and maybe even a snappy headline and subhead. Yes indeed. Grand aspirations.
But then the events in Parkland, Florida happened. I’m going to be real with you here. I confess that over the past couple of weeks, I’ve spent less time writing. Instead I’ve journaled, prayed, cried, scrolled, prayed again and journaled some more, trying to process this tragedy. As we weep with those who are weeping, we empathize with those who lost loved ones.
My son is approaching high school age. He went through his first lockdown drill three days after Sandy Hook. He experienced an actual lockdown a year later, thanks to an armed robbery a quarter mile from his elementary school.
At the end of that lockdown, teachers released the kids to their parents one at a time, under the supervision of police officers. We weren’t allowed to get out of our cars, so I white-knuckled the steering wheel and waited for my charge to appear in the doorway. When he did, he had the expression of a determined warrior, not the goofy child I’d dropped off that morning. He sprinted to the car, climbed in, hugged me and announced, “I had my first real lockdown today.” I pray that it remains his only real lockdown ever.
This is the world our kids are growing up in.
My intention isn’t to get political or overly personal. The point I’m trying to make is this: Kids need to be equipped to deal with the realities of life and stories – the ones we tell – can help them do that.
As writers, we have an enormous responsibility to the children for whom we write. We owe them not just a feel-good snapshot of the world, but a truthful one – one that isn’t necessarily easy, because we aren’t promised a life without trouble, and we must learn how to cope with that. One way kids learn how to cope with challenges is through identification with characters in stories.
My prayer for all of us writing for middle grade readers (as well as younger kids and young adults) is that we use our voices stories to reach minds and hearts and point them toward grace, truth, and hope. I pray that our gifts of imagination and creativity speak into our young readers and lead them toward the One who created them. There’s no better time than now to plant seeds of peace and understanding.
Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.
One of the first writing rules I learned in journalism school is that you have to know your audience. This rule applies to writing children’s fiction every bit as much as it does to news, only there’s a catch.
When you’re writing for children, it’s important to remember you’re writing for two audiences: the young reader and the adult gatekeeper. Whether that gatekeeper is a parent, grandparent, teacher or librarian, there’s almost always another set of discerning eyes on work intended for middle grade readers.
