Wednesday, August 29, 2012

Meter Maids Lay Down the Law (of Rhyme!)

Happy Wednesday!

And, happy new school year for many of us!  I returned almost two weeks ago already, and my students are fabulous.  As usual, we laid down the ground rules on the first few days of class.  Here to set the "ground rules" of rhyming stories and picture books are the "police of poetry" -- that is:


Employ These DO’s and You Can’t Lose!
By The Meter Maids

When you read an article about writing in rhyme, you often hear about what you should NOT do.

DON’T invert your syntax
DON’T use imperfect rhymes
DON’T choose predictable rhyming words

As Meter Maids, we constantly urge writers to avoid these crimes of rhyme.

But even if your manuscript is free of these pitfalls, it may not be strong enough to make it out of the slush.  There are certain things you need to DO to elevate your manuscript to a level that will get an editor's attention.. 

You manuscript can’t just be “fine”...  it needs to SHINE! 

It must be rip-roaring, rollicking “fun on the tongue.”

How do you accomplish this?

DO use alliteration  (and the less-often-mentioned assonance and consonance).

The repetition of sounds gives your stanzas some zany, zonky, zip! 

From BEAR SNORES ON by Karma Wilson

An itty-bitty mouse,
Pitter-pat, tip-toe 
Creep-crawls in the cave
From the fluff-cold snow.

DO include internal rhymes.

Extra rhymes here and there always add a lot of flair!


   From OLLIE AND CLAIRE by Tiffany Strelitz Haber (Spring, 2013)

Toe shoes and snow shoes and go-with-the-flow shoes, 
a thingamajig and a kit. 
She mushed and she pushed and she squished it all in 
and then zipped it right up and it fit!

DO play with words.

Not in the dictionary?  Inventify it yourself!  (Who says nouns can't be used as verbs?)

From MY LIFE AS A CHICKEN by Ellen A. Kelley

To the brooding woods I scramble,
Prickly briar’d, bristly brambled.
I am chased by hungry brutes.
I am spooked by swoopy hoots.*

*This line is also a great example of assonance- repetition of a vowel sound

DO vary your sentences lengths.

If you don’t vary your sentence lengths, your stanzas will eventually become monotonous and sing-songy.  Trust us!

From TOM’S TWEET by Jill Esbaum

“Dadburn it!” said Tom.  “You’re too skinny to eat.
Why, you’re nothing but feather and bone.”
He started to leave…
but the shivering tweet
looked so frightened.

Put it together and there is no doubt... you'll have a story that really stands out!

Corey & Tiffany
            Always on patrol.

For more tips on rhyme, visit us at

Corey Rosen Schwartz is the author of HOP! PLOP! (Walker, 2006), THE THREE NINJA PIGS (Putnam, 2012) GOLDI ROCKS AND THE THREE BEARS (Putnam, forthcoming) and NINJA RED (Putnam, forthcoming). Corey has no formal ninja training, but she sure can kick butt in Scrabble. She lives with three Knuckleheads in Warren, NJ.

Tiffany Strelitz Haber is the author of two rhyming picture books: THE MONSTER WHO LOST HIS MEAN (Henry Holt Book for Young Readers, 2012) and OLLIE AND CLAIRE (Philomel, 2013). She will eat any food she is served, be it fried witchetty grubs on a stick or calf’s brain ravioli, and loves to be high in the air or deep in the sea. Tiffany lives in NJ with her two little monsters, Jack Dalton and Travis Hawk.

Comments are OPEN!!

Wednesday, August 22, 2012


It's Writer Wednesday!

First, let's welcome three new judges to Rate Your Story!

1.  Linda Skeers LOVES children's books! She's the author of picture books, children's nonfiction, magazine stories, poems and articles on the craft of writing. She is a former instructor for the Institute of Children's Literature and co-teacher of the annual Whispering Woods Picture Book Writing Workshop. Linda enjoys mentoring aspiring writers and does private manuscript critiques. For more information go to

2.  Mira Reisberg - 

Mira is the Director of the Picture Book Academy where she hosts extraordinary online courses including the upcoming Craft and Business of Writing Children's Picture Books and provides free teaching picture book video reviews on her blog. You can also find her at and on her personal website at You can read her article on plot here or contact her directly at

3.  Lisa Albert - Lisa Albert’s thought-provoking young adult novel, Mercy Lily, debuted from Flux in 2011. Lisa’s also written three nonfiction titles including, Stephenie Meyer: Author of the Twilight SagaLois Lowry: The Giver of Stories and Memories, and So You Want to Be a Film or TV Actor? She’s been a contributing writer for The Children’s Writer’s & Illustrator’s Market where her author profiles and articles on the craft of writing have appeared.

Lisa has presented workshops on writing and the publishing industry for the Society of Children’s Book Writers & Illustrators and has appeared events held by the American Library Association, the American Association of School Librarians, the Wisconsin Book Festival, and the Southeast Wisconsin Festival of Books.
In addition to being an author, Lisa is a Library Assistant at a K-8 school library and loves being surrounded by books and children every day.  

Find out more about Lisa’s services as a manuscript consultant and critique provider at 

And now, for the continuation of last week's article from:

The Chester County Children's Writers Group!

Linda Brewster, Ellen Ramsey, Jane Resides, and Shannon Wiersbitzky  


by The Chester County Children's Writers Group:
 Linda Brewster, Ellen Ramsey, Jane Resides, and Shannon Wiersbitzky 

In this post, we continue our discussion of what we've learned through many years of critiquing together. If you missed the first half, you can catch up here on Cheerleading, Regular Writing and Critiquing, Information and Brainstorming, and the Tough in Tough Love. Now for the last four letters in CRITIQUE--  

I: Ideas and inspiration 

Group collaboration is splendid way to gain inspiration and shape ideas. One of us came to a critique meeting with the kernel of an idea. When she shared the idea, within a few minutes the kernel turned into a bushel basket full of ideas.  

In Jonah Lehrer’s book Imagine: How Creativity Works, he explains how this works. It isn’t just a group collection of individual talents. Instead, it is a chance for those talents to exceed themselves, to produce something greater than anyone thought possible. When the right mixture of people collaborate in the right way, what happens often feels like magic. Sharing ideas and creating new ideas is part of the magic of a critique group. 

Q: Questions to ask your characters and yourself

You're writing a story. You know what you are going to have your character do -- but do you know your character?  Critique group members frequently ask questions that prompt you to explain a character's motivation, change a scene, or alter your plot. 

Questions to ask yourself:
What do you want to accomplish with this story?
Do you know how your characters feel in every situation?  
Do your characters have any weaknesses? 
Is there something you don't know about your characters and wish you did? 

Questions to ask your characters:
What do you really want? 
What do you do best? 
What scares you? 
Do you have a secret? 
What do you hate doing?

The art of critiquing is the art of asking the right questions--questions that get to the heart of characters and the heart of the story.

U: It's not about you; it's about the work. 

Check your ego at the door and listen. It's not by chance that "silent" and "listen" have the same letters—listen for the "why" behind the comments. 

And remember….it's business! The one person in your group who never “gets” your work and is always critical….no, they don’t hate you personally. They are simply expressing their opinion, and their opinion likely represents that of thousands of other readers…so listen!   

Not defending is hard. We all want to jump in and say, “but, this is why it HAS to be that way.” But in reality, it doesn’t. 
Someone thinks your character is unlovable…WHY? What gives them that sense? A plot twist comes out of the blue….WHY is it so surprising? WHAT made someone think it would go in another direction?

Listening to critique comments is your chance to hear how others have responded to the words you put on paper. 

E: Editing expertise and objectivity

“The only real writing is rewriting.” So says Miss Butler, teacher in Richard Peck’s A Year Down Yonder. Critique group comments are an excellent way to guide rewriting. 

When it’s someone else’s words, it's easier to spot inconsistencies and to suggest ways to cut and trim and speed up the pacing. 
Consider carefully comments, even those you may disagree with at first. Try alternative suggestions about plot lines and characterization. You can't tell whether something will work for your story until you try it. 

Avoid the perils of trying to respond to every critique comment. You don't want to lose the focus of your story or end up with a manuscript that sounds like it was written by a committee. 

Take the comments from your critique group, digest them, see how you can use them to create a stronger, more exciting, more moving story. 

Go Forth and Critique! Please share with us your best critiquing ideas. 

Wednesday, August 15, 2012

TOUGH LOVE - Chester County Children's Writers Group

Look, new LOGOS!  Thank you to the wonderfully talented DANA ATNIP.  Shower her with praise.

But that's not all, folks.  Today we've got an awesome guest post for anyone who is in (or wants to be in) a critique group, and it's written by

...not one...

...not two...

...not three...

...but FOUR amazing authors!

Buck up and get ready for some tough love with:

The Chester County Children's Writers Group!

Linda Brewster, Ellen Ramsey, Jane Resides, and Shannon Wiersbitzky 

TOUGH LOVE: THE ART OF CRITIQUING: PART 1 (yes, that means more next week)

By The Chester County Children's Writers Group:
 Linda Brewster, Ellen Ramsey, Jane Resides, and Shannon Wiersbitzky

Tough love? We writers need both love ("this is great! keep going!") and toughness ("too much—cut and trim to keep the story moving"). Our critique group has been critiquing together for many years. When we began, none of us had been published in the children's market. Now among us we have two published books and many stories, articles, and poems in magazines and anthologies. In two posts, we'll share what we've learned through hundreds of meetings, thousands of emails, and countless drafts and revisions.

Here's what CRITIQUE means to us--

C: Cheerleading

When you're feeling discouraged by writer's block, depressed by rejection letters, baffled by a recalcitrant hero or a villain too evil to be true, who do you call? Critique group cheerleaders! Critique group cheerleaders help counteract writer's block and writer's blahs, provide motivation, identify writing strengths, and celebrate successes!

To provide motivation, we issue challenges--write a back to school story, enter the Highlights fiction contest. One year we awarded a prize for the most rejection letters in a 6-month period. The critique group member who won also had the most acceptances, which was an impetus to polish our manuscripts and submit them.

And the happy ending--when stories and books are published, critique group cheerleaders spread the word via email, Facebook, Twitter!

R: Regularly scheduled meetings...which means regularly scheduled writing!

Critique group meetings are like writing—if you do it regularly, the group becomes stronger and the quality of the critiquing and the writing soars. Whatever decisions you make about meeting structure, times, and submitting materials, keep the focus on critiquing, not socializing.

In critiquing, focus on the big stuff—Does the story work? Do the characters change and grow during the course of the story? Is the conflict clearly defined and resolved? 

Establish rules for your meetings, but be flexible in adjusting the rules when needed—sometimes brainstorming and building on each other's ideas may help an author resolve a story problem. Remember the "constructive" in constructive criticism—ask questions, be specific about what didn't work for you, suggest alternatives. And remember, critique meetings don’t take vacations!

I: Information and brainstorming

There is a great quote by Owen Arthur, “Often, we are too slow to recognize how much and in what ways we can assist each other through sharing such expertise and knowledge.”

Sharing is critical to a group--it enables us to be more efficient and productive. We don’t all attend the same conferences, but whenever we do go to one, we share what we’ve learned, tips to make our craft better, information about editors and their likes/dislikes.

This requires a great deal of trust. We’ve met authors who wouldn’t share the name of an editor or an agent with their own mother. Our group isn't like that.

And we run a 24-7 advice service. Say one of us has reached a difficult point in a story and is looking for a way for a gerbil to disarm a nuclear weapon. The critique group can be counted on to supply intriguing suggestions!

T: Tough love and honest opinions

Writers need honest opinions. Because what is in our minds is not always what is on the paper. Sometimes we say more than we needed. Sometimes we leave out important information.
As writers, we need to learn that critiques aren't personal. A creative writing professor once said, “Don’t see your words as golden.” When we forget that, responding to critique group comments is almost impossible. Be wary of the reader who loves everything you write. Good critiquers know how to say "cut/delete/not needed" to help keep stories moving along and readers interested.

In the movie The Christmas Story, Ralphie is sure he's written a masterpiece and his teacher will rave about it! Turns out it was just a dream. Ralphie's story needed to be critiqued. 

Tough love may be hard to take, but "running criticism" is essential to ensure that our goal of writing splendid children's stories is more than a dream. 

Check back next Wednesday for Part 2 of Tough Love. And please comment and share your best ideas about critiquing.

Linda Brewster, an author/illustrator and photographer, published her first book, Rose O’Neill: The Girl Who Loved to Draw, in 2009. This book, a biography of America’s first woman cartoonist and Kewpie Doll creator, won two USA National Best Book finalist awards.

Ellen L. Ramsey writes fantasies, mysteries, and humorous stories. Her work has been published in magazines like Highlights and Hopscotch, and one of her poems is included in And the Crowd Goes Wild!: A Global Gathering of Sports Poems (published in August 2012). She won the SCBWI 2012 Magazine Merit Award for Poetry for "Hippity Zippity," published in Highlights High Five.

Jane Resides writes poetry, picture books, and historical fiction. She has published stories, articles, and poetry in Highlights, Once Upon a Time, Penn & Ink, and When I Can’t Get to Sleep, a West Chester Library poetry book. Her husband and grandson are beekeepers, and her article “Emme Loves Bees” was published in Highlights.

Shannon Wiersbitzky was born in North Dakota, but grew up all over the place. Her first middle-grade novel, The Summer of Hammers and Angels, was published by namelos in July 2011. It is the story of an amazing summer in a girl's life, a summer of surprises and challenges, discoveries and friendship, and loneliness and community.

Thursday, August 9, 2012

Back from SCBWI-LA Conference: Why Attend? Guest Post with Lori Degman

Happy Wednesday!

Wait, no.  It's Thursday.  Oops.

If you've ever attended a big writing conference, perhaps you'll understand my current state of "about a day-and-a-half-behind" in everything.  I just returned from the 41st Annual Society of Children's Book Writers and Illustrators  (SCBWI) Annual Summer Conference and my head is spinning in so many directions (illustrators want to try your hand at depicting that?).

At the beginning of the conference, we were told to find a nugget or two of information that would be useful.  Well, I flew home with a boulder.  Thank God the airline didn't charge me extra for the baggage.

Anyway, my apologies go out to the dozens of you who have been anxiously awaiting this blog post with a recap of the SCBWI-LA conference and Lori Degman's guest post on why attending conferences is important if you want to be a published writer (and a BIG NEWS Announcement from her -- so make sure to read all the way to the end)

The wait is over. 

Here you go:

Miranda's SCBWI-LA Conference Recap

Since pretty much everyone Tweeted the whole conference live (visit Twitter hashtag #LA12SCBWI), there's not much to recap.  However, let me share the most important things I learned:

1) Most publishing (traditional) market numbers are UP.  There is hope if you write for children and teens.  Deborah Halverson said the market is "cautiously optimistic."  This is good news.

2) Read all the writing advice, then stop.  Break the rules (once you've learned them).  Be fresh.  And don't be in a hurry.

3) Writing Early Readers, Beginning Readers, Leveled Readers, etc. is much different than picture books, and quite a bit more challenging than most people think.  There are very specific guidelines and if you want to write leveled readers for young children, it's important that you take a class or attend a workshop.  You're not going to figure it out on your own.

4) Emotion, character, and voice is often the "selling point" of a book, not its plot or content.  Character-driven was probably the word/phrase I heard more than any other term during my five days in LA.

5) The publishing industry really IS small.  I've been hearing this for years.  It is true.  And other authors make the greatest of friends.  So glad to have met other RYS judges and many of you who submit your stories to us!  You are WONDERFUL and I feel privileged to know more of you now.

Now, a quick bit of RYS NEWS:

We have four new RYS judges who will be coming on board.  Watch for the announcement next week!

And here it is...the moment you've really been waiting for, Lori's guest post!

Why I Attend Writing Conferences
By Lori Degman

Oh The Places You’ll Go (Where the Wild Things Are)
When Miranda asked me to write about the benefits of attending conferences and workshops, I figured it would be easy - after all, I’ve been to a zillion of them (a slight exaggeration)! I love going to conferences but, until I sat down to write this post, I never really thought about why. So, I thought back to the different conferences I’d attended, from my local SCBWI monthly meeting to our statewide full-day conference to the SCBWI LA four day mega-conference, and thought about what I had gained from them. 

I’ve listed the benefits of attending conferences, based on my experiences. I don’t want to rate their importance (it will vary depending on the conference), so I’ve put them in alphabetical order by title. 

Are You My Mother?
I go to conferences to find an editor or agent who will be a perfect fit for me and my stories. Don’t be shy - introduce yourself - put yourself out there. Most editors and agents I’ve met at conferences have been very kind and open to meeting attendees - just make sure you’re not trying to strike up a conversation while they’re on the way to their session or the washroom! One perk of most conferences is, it allows you to jump over the slush pile and submit directly to the speakers! ** 

Caps For Sale
I go to conferences to learn how to market my books. In addition to gaining tips from successful marketers, at some events, you can display and/or sell your books. 

Curious George
I go to conferences to learn more about different genres. I signed up for Sonya Sones’ Novel in Verse intensive at this year’s LA conference, even though I’d never read one before. In preparation, I read some novels in verse - both by Sonya and other authors. I loved the genre so much, I’m working on my own novel in verse now! (I really tried to find a way of writing that without so many “novel in verse” but I couldn’t - sorry!) 

50 Shades of Grey
I’ll save that for another post :-) 

George and Martha
I go to conferences to meet other writers, many of whom have and will become close friends. Some have also become wonderful critique partners and great resources and supports. Hopefully, they’d say the same about me :-) There’s nothing like spending extended periods of time, from several hours to several days, with people who understand your passion for writing. Writing can be very isolating, so get out there and mingle! 

The Giving Tree
I go to conferences to learn from others and to help others. One thing I’ve learned is that children’s writers and illustrators are some of the most generous, giving people I’ve ever met! Just look at what SCBWI founders, Lin Oliver and Steve Mooser, have created for their fellow artists!

Harold and the Purple Crayon
As a writer, I typically attend conference sessions about writing, but getting an illustrator’s side of the story can be extremely insightful and helpful! So, when choosing which sessions to attend, don’t write-off (pun intended) sessions about illustration. 

How the Grinch Stole Christmas
I go to conferences for the professional critiques. The feedback is not always positive, but I’ve found value in every critique I’ve had - good or bad. Whether it’s a written critique or a face-to-face, remember the comments are one person’s opinion - think them through thoroughly (how’s that for alliteration?) before making changes based on their comments. 

The Little Engine That Could
I go to conferences to motivate myself to keep going. Most speakers will take you down their personal road to publication. I have been inspired by their successes and encouraged by their perseverance in the face of rejection. 

Not a Box
I go to conferences to improve my craft and to remind myself to think outside the box and put my own spin on the stories I write. I can’t tell you the number of new story ideas, or twists to my works in progress I’ve come up with while listening to speakers at conferences.
So, there you have it - my reasons for attending conferences and workshops. I’m sure there are others that I didn’t think of so ask your friends why they attend them. Even if you only get a fraction of these things out of a conference, it will be well worth it! 

SPECIAL NEWS FROM LORI ******As I was in the process of putting together this post, I received an email from an editor I had submitted to, after meeting her at a writing retreat. She made an offer to publish my story!!

Congratulations, LORI!  (Since we all really believe the reason we go to conferences is to get published, right? :)

Now...go make your own story HAPPEN! Comments (and submissions) now open!

Wednesday, August 1, 2012

Getting A Book Published is Not 'The End' - It's Just the Beginning!

It's Wednesday!

And the first day of August!  Where does the time go?

Tomorrow I'm jetting out to LA on a plane to join a bunch of other writers desperately searching the key to getting traditionally published.  Because, after all, getting published is the ultimate end goal, right?  And after that we get to finally relax?

Uh, no.

At least that's the word from today's guest poster. According to her, getting published (in any format) is really just the beginning of a whole lot of promotion!

So...while I scoot out to play work in LA, I welcome in the always-on-task, Margot Finke!

Your Book is Published, Now You Can Relax.  WRONG!

By Margot Finke

Writing books is the easy part. Promoting them often makes you want to tear out your hair.  YIKES!!

Promotion needs to start long before your book is published. Set up a blog or a website that chronicles the progress of your upcoming book. You want to whet the appetite of prospective readers.  The idea is to design your BRAND.  You want people to associate your name with being an Author of Books for Kids. 

If your book has a particular theme or unique aspect or topic, try to find games, puzzles, and other crafts that will tie in and interest kids.  All this takes time and research, so begin now.  Design a business card and some bookmarks that have your name, book and web address on them.  Kids love a bookmark gift, and hand out those business cards to everyone – the butcher, the doctor and the priest.  Everyone you come in contact with is a potential buyer of your book. Plan your book trailer.  If you can do that yourself – fine.  If not, Blazing Trailers do an awesome job for a very reasonable fee.

Being ACTIVE on Facebook, Twitter, Linkedin, JacketFlap and Google+ helps  “Brand” you as an author.  Active means contributing comments and answers as well as asking questions.  Your name being seen often in relation to books for kids will begin to register over time. Join groups on Linkedin and Facebook that cater to those wanting to learn about book promotion. Ask questions, pick brains, and read everything to do with how to promote books.

Design a signature line that you put at the end of everything you write or send out – on e-mails, letters, posts on ALL social networks, the gas bill, and your son’s dentist bill.  The more your name is associated with Books for Kids the faster sales will come. 

Think of it this way: they may be old and wrinkly – but they have grandkids who read.  Or young and single – but they have younger siblings or nephews who need a birthday gift.  You don’t have to be parents to need access to wonderful books for the kid in your life – everyone has them!

Does your book have a wide appeal, or is it more of a niche item – or both?  If you write about domestic animals, then your niche could be Vets, animal rescue, or some such – depending on the plot.  Christian themes do well in church clubs, etc.  See what I mean?  Every book you write has its own niche somewhere. It is your job to find that niche, and work it ‘till it squeals!  Look for local events or craft fairs where you can set up a stall and SELL! SELL! SELL!  The Internet can help you look for niches that fit the particular theme or message your story offers.  Are you out of breath yet?

Master the art of the KILLER Press Release - one page + a short Bio. It must encapsulate, in an attention grabbing way, all about your upcoming book, and you the author. Add a great cover shot.  FOCUS on your main message, and aim for tight and terrific.   

Get your book on Amazon - and in Kindle etc, if it is a MG or YA. Spend time on Amazon discovering the different ways they give you to promote your book, and get your message across to buyers.  Don’t forget B and N and their Nook reader either.

Online children’s writing lists are a great way for new writers to find book reviewers.   A terrific book review on Amazon can mean more sales!  Ask members for recommendations to reviewers who do a great job and have a wide readership.  Hunt for readers who will give you terrific reviews you can post on your blog or website, and on Amazon and other places.   Offer a FREE copy of your book to one lucky commenter on your blog.  Have downloadable coloring sheets online for your picture books.  Kids love this.  Interview one of your main characters on your blog.  Kids love when the interviewee is a critter.  Be creative about the content of your blog.  Think out of the box.  Go for the WOW factor!  Blog often to keep readers HOOKED.

Make that phone book work for you.  Schmooze for radio, TV, and local newspaper interviews about you and your book.   Make notes of your major points before you dial. That way you won’t forget to mention them.  If there are any small bookstores left in your area, visit and offer a book signing.   Give them a nice sign for their window, ahead of time, and leaflets to hand out to customers.  Make sure they have a supply of your books. On the day, bring balloons, a sign for your table, some pens, and at least one door prize.  Let the local paper know about the event date.  This is also free publicity for the bookstore, so tell them about it.  

Contact schools in your county, and set up school visits.  Plan a fun and informative presentation, along with a reading of your book.  Discuss at length what you are prepared to offer with the teacher, and what the teacher wants from you.  Be prepared to negotiate everything, including your fee.  Strapped schools can’t pay much, but more affluent ones can, and should pay for your time and talent.  People (and schools) value what they pay for.  So always ask for something.  Your time IS worth their money.  The longer you stay, and the more classes you visit, the higher your fee.  My advice is never go below $50.00.   $150 and up is reasonable for one day – often more.  The more books you publish, and the better your presentation, the more you can charge.  Word travels fast among teachers.  And never more than 3 classes in one day.  It is fun and wonderful work, but more than 3 classes per day means you arrive for the 4th class dragging your feet.

For both schools and book signings anywhere, NEVER leave it up to them.  They forget sometimes even that you are coming!!  Check back to make sure what they promised IS going to be there.  And of course Virtual School Visits – Skype Makes it Happen is a whole other article. . .

Marsha Freidman of EMSI has a fantastic website full of helpful advice and clues about all aspects of book promotion.  Here is a link to one of her articles. 

The promotion game rules are the same for whatever genre you write.  Do your homework, know your audience, and get out there and REEL them in. Writing a book is a task that has a beginning and an end.  Once polished and published, it’s DONE! 

Promotion, however, is a never ending game of you trying to find new stores, organizations,  or moms, grand-moms, and other buyers for your book.

Gird your loins (love that phrase) for the long haul, mate: promotion, like death and taxes, is always with us!!

Margot Finke
Books for Kids – Manuscript Critiques -

Comments are open!  And join us next week for Lori Degman's recap of the SCBWI Annual Conference in LA!