David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Tag: The Essential guide ot getting your book published

Miami Books & Books Pitchapalooza The Book Doctors Sat May 7 2PM

Miami Writers: Come pitch your book to the Book Doctors at Books & Books Arsht Pitchapalooza!

Saturday May 7 2pm  1300 Biscayne Blvd Miami, FL

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Webinar Postponed til 2/12 Get Your NaNo Novel Published Successfully!

The Book Doctors show you how. 2/12, 4PM PST


The Book Doctors Bring Pitchapalooza to San Antonia Book Festival

Pitchapalooza April 15, 2015!


Low Riders in Space: Cathy Camper on Graphic Novels, Low Riders, & Diversity

The Book Doctors  first met Cathy Camper at a Pitchapalooza (think American Idol for Books) at one of our favorite book stores, Powell’s in Portland, Oregon. As soon as she pitched us her graphic novel, Low Riders in Outer Space”, we knew this was a great book waiting to happen. And now it has. So we thought we’d pick her brain on what it was like to go from talented amateur to professionally published author.

Lowriders in Space_FC_HiRes Raul the Third (credit Elaine Bay) Cathy Camper_headshot_photo (c) Jayson Colomby_sm

The Book Doctors: Did being a librarian influence your writing & your approach to publication?

Cathy Camper: In 2006, I moved to Portland, OR and was working as a youth services outreach librarian. I’d bring books to schools and I got really angry. I was seeing diverse groups of kids, but all the books were about white suburban children. As an Arab-American, I know what it’s like not to see yourself in books. Plus, so many books that feature kids of color are old, or not written for the world kids live in today, but for the past, their parents’ world. The 2050 census says one third of the U.S. will be English-Spanish speaking households – that’s our audience! I also wanted a book for boys, since boys literacy rate is dropping. And I love science, and there’s a big push to get more science in school curriculums. I aimed my book and my pitch at these big audiences, and told publishers why it they were important.

TBD: Tell us about your long & winding road to publication.

CC: First I wrote the book, from 2006 to 2009. Then I emailed Raul Gonzalez, the artist, who was working as a fine artist, and asked if he’d ever considered doing a kids’ book? He said, yes, and so I sent him the script. He wrote back, “This is the book I wanted to read as a kid, “ and within days, he was sending me sketches of the characters. It was just plain luck that we were so well matched; we have a similar sense of humor, similar sensibilities and the same work ethic. We put together a pitch. I found lists of agents who repped graphic novels online, and sent it out as cold calls. It was right as the recession was hitting, and no one wanted it. On the plus side, people loved the art and writing, so I knew that wasn’t the issue…but I’d hear things like “too marginal an audience,” or “not quite right (white enough?) for our audience.” Also I got lots of warnings that bringing in my own artist would be a problem; though it’s common in the world of comics, it’s not done in the children’s book world.

I reached the end of the list of agents, and was lying awake nights wondering what to do. Then I heard about the Book Doctors Pitchapalooza. It’s funny, but I never realized there was a prize, or maybe I thought you just won a free copy of a book or something. I entered thinking, wow, I can test how good my pitch really is, because I didn’t know the judges, the audience, no one. Ironically, the day I did my pitch, I’d just done book talks as a librarian for six classes. So I thought, why not do it for my own book? It wasn’t until the judges were actually conferring that it occurred to me I might actually win.

The Book Doctors were the ones who connected the book to Chronicle Books and to our agent Jennifer Laughran. They made it happen. I think all publishing is like this – part talent, part hard work, and part luck. All creators can control is honing the talent and doing the work. But it’s important to do, because when luck comes your way, you want to be ready.

TBD: Why did u decide to do a graphic novel?

CC: Actually the book could have been a picture book, or a floppy comic, but graphic novels felt like the best fit, so I tried that first. I love comics- how both text and pictures tell the story. Plus graphic novels are hot! When graphic novels first came out, libraries and books stores didn’t know what to do with them. But now there are so many good graphic novels for kids, and they’ve become so popular, I think they’re figuring it out. Both Raul and I love comics and the flexibility they allow – it’s like making a movie where anything can happen – on a budget of Bic pens!

TBD: What were some of the joys and challenges of blending your words with an artist’s images?

CC: When I start writing the script, I have to be very descriptive in the sense that the script is all there is for the artist, editors and art director to work with. So I work very hard to build a world, characters and pictures in their minds. When Raul draws the thumbnails, a lot of the words I’ve written (not just dialog, but description, innuendo, expressions etc.) are now part of the illustrations, and there’s no need to have them in the text. So lots of text gets cut because it’s redundant when the art is there. Raul and I were lucky that we had great freedom to riff off of each other’s ideas, like jazz musicians, and to take as many pages as we needed to make it work. On the downside, we sometimes struggled with not being able to work together in the same place, at the same time…email and different time zones create extra hurdles when you have unwieldy edits to do.

TBD: From the first we heard your title Low Rides in Outer Space we loved it. How’d you come up with it?

CC: I don’t remember the exact moment it hit me, but it was very early on. I think it was a natural extension of the concept, which was that these characters would have a lowrider that got detailed by outer space. It’s only recently that a friend pointed out the cool little twist inherent in the title, the idea of a car designed to go low – that blasts into the highest place there is – space!!

TBD: How did you come up with the idea for the book?

CC: Daydreams. I’m a prolific daydreamer, and all my books start with stories I tell myself. That’s how the story came about. I also noted as a librarian that books on lowriders were super popular, but we only had three or four of them for kids, all nonfiction. I tried to find a book like mine, but when I saw it didn’t exist I thought, well, I’ll have to try to write it myself.

TBD: There’s been a lot of talk about diversity in publishing. What’s your take on that?

CC: We need more diverse kids books, and I’m so glad there’s pressure to change things. At Multnomah County Library where I work, we recently made a booklist of good picture books for African American kids. There wasn’t one set on the West Coast – from these books you’d think African Americans only live in brownstones in Brooklyn! Way too many were dire historical stories about slavery or hard times – where are the books about kids of color building forts, playing make believe, just doing things that kids do?

We need this book primarily so kids of color see themselves in books, but also so white culture isn’t always primary. If a book is about a generic kid, why is that kid always white? It’s important that white readers see kids of color too. I sometimes joke – when a book like Diary of a Wimpy Kid is about a girl wearing hijab – you’ll know things are changing!

TBD: How did you learn to be a writer?

CC: On my Arab side, my dad and uncle were writers, and so I grew up with the idea that writing was cool, something I’d want to do. So I’ve been writing since I was a kid. I carried a notebook around, took classes, went to conferences, was involved in writing groups and recently participated in VONA/VOICES writing workshops for people of color. But it was always self-driven, I never got an MFA, in part because I think it changes a writers voice, and also because, as Junot Diaz recently pointed out, MFA programs aren’t that supportive of writers of color.

TBD: What’s your advice for writers, both as a writer & a librarian?

CC: One crucial tip I’ll pass on is that so much of the quirky DIY stuff I did for many years for free ended up being what led to this book. For example, for decades I’ve written reviews of books for School Library Journal, Kirkus and Lambda Literary. I’ve also written and published zines and supported them as a zine librarian. I didn’t see it until now, but those things not only honed my writing skills, they created two huge support networks of people who knew my work. The adventures I’ve had and the people I’ve met via DIY vs. mainstream connections are equal. Don’t underestimate the value of what you do just because it’s not mainstream.

Also, as a librarian, I’d tell writers, don’t write in a bubble. Be aware of the market your book will fall into, its audience, and the reason why people will read it. If you’re going to spend time writing a book, do research, talk to librarians and bookstore folk about what people are reading, read other books in your category so you’ll know who your competition is. Think about what would make a publisher sink time and money to back your work. Your book may fall in a large category everyone already reads or it might be the first to fulfill a long-felt need, but that should to be part of your pitch, and an intrinsic part of the book you write.

TBD: Has Robert Rodriguez called yet?

CC: Wouldn’t that be great? I hear he loves lowriders, and Raul and I are huge fans of his movies, and how he funded them in early days, from the ground up. We love that he made Spy Kids, and that he knows how important it is for kids of color to have and be in good films too. I hope he reads our comic, it’s seems like it’d be something he’d like

Cathy Camper is the creator of Bugs Before Time: Prehistoric Insects and Their Relatives. Her work has also been featured in Simple Times: Crafts for Poor People, by Amy Sedaris, as well as in Wired, Cricket, Cicada, Primavera, Women’s Review of Books, Utne Reader, and Giant Robot. She is a graduate of VONA/Voices writing workshops for people of color in Berkeley, California. She reviews graphic novels online for Lambda Literary and is a librarian for Multnomah County Library in Portland, Oregon, where she does outreach to schools and kids in grades K-12. She lives in Portland, Oregon.

Raúl the Third’s work is drawing much acclaim and was featured in four recent exhibits: The Community Arts Initiative at the Museum of Fine Arts, Boston; Carroll and Sons Art Gallery; the Fitchburg Art Museum; and his first solo museum exhibition at the Museum of Art, University of New Hampshire. He teaches classes on drawing and comics for kids at the Museum of Fine Arts, Boston; the Maud Morgan Arts community arts center in Cambridge; and Young Audiences of Massachusetts. Influenced by his youth in the border town of El Paso-Juarez, Raúl’s artwork recalls the old Mercado Cuauhtemoc and its many booths filled with old curiosities, etchings by José Guadalupe Posada, and the ballpoint pen–detailed fan art found in issues of Lowrider magazine. He lives in Boston, Massachusetts.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010).



Lee Wilson on Memoir, Ballet, Broadway, Editors and Choreographers

The Book Doctors met Lee Wilson at a Pitchapalooza (think American Idol for books) at a fantastic bookstore called pages: a book store, in Manhattan Beach, California. She was so warm, funny, passionate and professional. And she had excellent posture! Turns out that was no accident. She had been a professional dancer at the highest level. She blew us away with her pitch. We helped her with her proposal, and with the help of the amazing Toni Bentley, we hooked her up with a fantastic publisher, University Press of Florida, who does the exact kind of book she was proposing. And now, the book, Rebel on Pointe: A Memoir of Ballet & Broadway is coming out. So we thought we’d pick her brain about books, publishing, writing, and dancing.
Wilson, Lee - credit, Lesley Bohm Rebel_on_Pointe_RGB
The Book Doctors: Is it harder to be a professional dancer or writer?

Lee Wilson: I made my professional debut as a classical ballet dancer when I was sixteen. At that time, and for the next ten or fifteen years, it would have been harder to be a writer. I didn’t have the life experience, the perspective, the knowledge, or the patience I have today. At sixteen, I wanted to be financially independent. I wanted to tour the world with a ballet company and work with great dancers, like Nureyev, Bruhn, and Hightower. And I did. I danced for royalty in Monte Carlo, gun-toting revolutionaries in Algeria, American aristocrats at the Metropolitan Opera, and a galaxy of stars on Broadway, and I loved every minute of it. But the highpoints of my dance career are past, so today I would find it difficult to be a professional dancer. On the other hand, as a writer, I’m just getting started. I’ve written for TV, but Rebel on Pointe is my first book. Everything about publishing is new and exciting. Every day brings a new challenge — every day a new thrill. So today, I’d rather be a writer.

TBD: What made you decide to write a memoir?
LW: People have been telling me ever since I was twenty-one that I should write my life story, but I didn’t think about it seriously until 2008 when I was finishing my degree in Performing Arts through St. Mary’s College of California. I was writing about the subculture of dance and the great dancers and choreographers of the late 20th century, and I saw how my personal story intersected with the story of women’s rights and the transformation of American dance during the 1950s and 60s, and I thought that was a very interesting story.

TBD: What were some of the difficulties and pleasures of writing about your life?

LW: The biggest difficulty was getting a balance among the stories — personal, political and dance — because they’re all intertwined: I decided to become a dancer not only because I loved to dance, but also because I wanted to live in a community where men and women were equally respected and equally paid, and in the 1950s, that rare community was dance. While I was writing the book, I wanted to make sure that even young readers would understand the culture of the 1950s when the majority of American women were housewives, and it was legal and common to deny women jobs simply because they were women. Getting the right balance of information was tricky.

The greatest pleasure of writing about my life was reliving and reassessing the highlights of my dance career and recognizing how very fortunate I was to be a professional dancer and to live in the multicultural community of dance.

TBD: How did you go about finding a publisher?

LW: The publisher found me — thanks to you! I went to Pitchapalooza at {pages} bookstore in Manhattan Beach because I knew that when you heard my quick pitch for my memoir, you could make it better. You not only improved the pitch, but after we refined my book proposal, you sent the proposal to Toni Bentley, who sent it to the University Press of Florida. Bingo! I had a publisher.

TBD: What was it like working with your editor and publisher? How did it compare to working with a director in your dance career?

LW: I loved working with both of my editors. My acquiring editor, Meredith Morris-Babb, is the Director of the University Press of Florida. She worked with me on the big picture–content and tone. She also sent the manuscript to dance historians and gave me the benefit of their comments. After that, my project editor, Nevil Parker, worked with me on the details.

The writer/editor and the dancer/director relationships are both collaborations, but the dynamics are different. As the writer of a memoir, I was telling my own story, and the editors advised me on how to tell it. As a dancer, I was working with directors to help them tell their stories or someone else’s story.

TBD: What life lessons did you learn from being a dancer?

LW:1) Hard work is essential for success. If you don’t work hard, you can’t compete.
2) Auditions are never a waste of time. The job you don’t get today might lead to a job tomorrow.
3) Find your passion. Passion will give your life meaning and direction and will lead you to a community where the passion of others will reinforce your own.

TBD: What life lessons did you learn from being a writer?

LW: 1) Writing about a subject–no matter how well you know it–gives you greater insight.
2) Make sure the big decisions are right because if they aren’t, the little ones don’t matter.
3) When you start down a road where you’ve never been, find people who know the road and let them guide you.

TBD: What advice do you have for dancers?

LW: Dance will enrich your life whether or not you have a career as a professional dancer. I’ve never met anyone who said, “I wish I’d spent less time dancing,” but I know many who say, “Dance is the joy of my life.”

TBD: What advice do you have for writers?

LW:In his iconic book Screenplay, Syd Field wrote, “The ending is the first thing you must know before you begin writing.” For me, this has been excellent advice. I know that some writers like to throw their characters into the ocean and see what happens. I don’t. When my characters hit the water, they’re swimming toward a specific point in the distance. They may take interesting detours; they may flash forward and flashback, but the end is a defined place, and my characters are moving toward that place from the moment I write “Chapter One” or “Fade In.”

Lee Wilson made her debut as a classical ballet dancer in a command performance for Prince Rainier and Princess Grace in Monte Carlo. She toured Europe with the Hommage au Marquis de Cuevas, was première danseuse of the Bordeaux Opera Ballet, and danced with the Metropolitan Opera Ballet. Her Broadway shows include Hello, Dolly!, How Now Dow Jones, You’re a Good Man, Charlie Brown, and Meet Me in St. Louis. Lee wrote and produced the award-winning TV movie, The Miracle of the Cards. Her website is leewilsonpro.com

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010).

Self-Publishing Literary Fiction: the Good, the Bad & the Ugly: Cari Noga Reveals All to The Book Doctors

The Book Doctors met Cari Noga in 2011, when she won our National Novel Writing Month Pitchapalooza (think American Idol for books). Her pitch was spectacular, haunting and superbly crafted. Her story is about a 12-year-old boy with autism who witnesses the Miracle on the Hudson plane crash, and how he and other crash witnesses and survivors find their lives intersecting and transformed by the extraordinary event—and by each other. We worked with her on her novel Sparrow Migrations and discovered it was a richly wrought tapestry of human emotion, both beautifully plotted and a delightful read. The novel was a semifinalist in the 2011 Amazon Breakthrough Novel Award contest, and the spring 2013 winner of the ForeWord Firsts contest sponsored by ForeWord Reviews. Cari herself was already a published author (Road Biking Michigan with Globe-Pequot Press in 2005). When we sent her book out to our agent and publishing contacts, we were shocked that no one snapped it up. The problem is she’s not famous. There are no zombies or werewolves in her book. No S&M involving rich people. Just a great story with great characters about a world-famous event. So Cari decided to self-publish in April, 2013. Sparrow Migrations was just named a literary fiction category semi-finalist in the Kindle Book Review’s 2014 Kindle Book Awards. So we thought we’d pick her brain and the beauties and terrors of self-publishing literary fiction.

SparrowMigrations_LowRes CNoga_Color_LowRes

The Book Doctors: The general wisdom is that self-publishing literary fiction is especially difficult. Do you agree with this wisdom? If so, how have you gotten around these difficulties? If not, why not?


Cari Noga: I think publishing anything that isn’t directly aimed at a genre-specific audience is more difficult, whether you go the self-pub route or traditional. The upside is that if you do reach a literary audience, the potential is much wider. I seem to have found a niche with book clubs, starting right in my own community, and rippling outward—I just did a Skype chat with a club in Phoenix. My town has a strong sense of locavorism –people like to buy local, eat local, etc. I think that extends to reading, too. One suggestion to make locavorism work for you: Check whether your library offers book club kits – multiple copies of the same book, available for simultaneous checkout. Mine does, and when I did an appearance, I asked that they create a kit

TBD: What has been the single most difficult thing about self-publishing?

CN: Retail distribution. I was aware that I would  have to offer discounts, but I did not appreciate enough the importance of offering returns. My book is available through Ingram & Baker and Taylor, but as a POD book there is no way to return it.

TBD: What has been the single best thing?

CN: Hearing from readers, especially in the book club settings. Free time is my own most prized resource, so to know that people are spending theirs reading my book is incredibly gratifying. Hearing that they like it, that the characters resonate authentically, and that they’ve learned something – whether about autism, birds, or something else – is like having my cake, icing and ice cream, too.

TBD: What marketing strategy has been most successful? What has been least successful?

CN: Most successful by a longshot: Kindle giveaways. I’ve done two (June 2013, 5,400 copies downloaded; Jan. 2014, 33,600 copies downloaded.) Paid sales increased after each and reviews soared. The January one was advertised on Bookbub, which I also recommend.

Least successful: Advertising in trade journals like PW Select. Not because the ads were bad or poorly designed, but the brick-and-mortar bookseller audience that reads them are predisposed against self-published books, especially POD like mine, due to the inability to return unsold copies and the inconvenience of dealing with an individual publisher.

Book clubs are still proving a good audience – I’m a guest at three different live discussions here in town next month and my first by Skype, with a club in Phoenix that somehow latched onto it.

TBD: How have you convinced independent bookstores to carry your book?

CN: Goes back to locavorism. I have two indie stores in my town that are both eager to work with local authors. I had a relationship with one (Horizon Books) going back to a nonfiction book (Road Biking Michigan) I published traditionally ten years ago and was fortunate to have one staff member be a beta reader. They have two other stores in northern Michigan as well. The other newer store is Brilliant Books, a cozy, customer-centric place that hosted my launch. I showed them both copies while in proof stage, asked them to carry it and offered industry standard discounts. Another store contacted me after reading local media coverage. A few other stores have been receptive to cold calls.

TBD: Would you still like to see your book published by a major publisher? If so, why?

CN: I would like to see my book in more bookstores. At the book clubs I visit, more people bring paper copies than Kindle, so I’m concluding there’s more potential for the paper copy than I’m getting in my half-dozen stores and on Amazon. However, I’d be much more cautious about the deal I’d sign than I would have two years ago. More than a publisher, right now I would like an agent who could advise me about the best moves to make not only for this book, but career-wise.

TBD: Are you working on a next book? If so, what is it about? Tentatively titled Tres Vidas, my next novel is, like Sparrow Migrations, a story about relationships. The three lives that intersect are Lucy, a suddenly-orphaned 9-year-old who must leave her NYC home to live on a northern Michigan farm with her prickly aunt Jane, and Miguel, a migrant worker who becomes a bridge between the two.

CN: How did you get 180 reviews of your book on Amazon?

TBD: Reviews spiked after the giveaways. After the initial release in April 2013, when I ran into people who told me they liked the book – in person, by email, on social media –my standard reply was to ask them to write a review on Amazon or Goodreads. A surprising number actually did, and I got up to about 20 reviews that way. That doubled after the first giveaway. After the second giveaway, timed to the fifth anniversary of the Miracle on the Hudson plane crash, which is the starting incident in the book, they just came pouring in. I’ve not solicited any reviews in months.

TBD: You enrolled in Amazon’s KDP select program. Was the exclusivity they requested worth it?

CN: Yes – see the giveaway results above. I do plan to expand to other platforms (Nook, Kobo) this year.

TBD: We can’t help but ask how you view the Amazon/Hachette tug of war since you used Amazon’s publishing program. Thoughts?

CN: I think there are far more shades of gray to the situation than have emerged in the mainstream narrative (Amazon: evil corporate behemoth; Hachette, guardians and saviors of literature.)

J.A. Konrath http://jakonrath.blogspot.com/ says that in this mad, crazy publishing world of the moment, the only two people who matter are the writer and the reader. Everyone else in a middleman who has to prove their value. Right now, Amazon is connecting those two best. They also treat authors better financially (Both my books are priced at $14.95. I get about $4 per novel sold vs. 75 cents for my Road Biking book, which was taken out of print.*) More people are reading, thanks to the Kindle, which has added another revenue stream for authors.

Meanwhile, the ranks of indie bookstores are actually growing as they embrace what they do best: curation and customer service. In my town, Brilliant Books, for example, offers free shipping. At Horizon, membership program fees drop by a dollar every year, encouraging renewals. Healthy marketplaces do generally have more players vs. fewer, so I hope Hachette and the Big Five can survive. But in terms of blame for the situation they’re in, as others have said (See exhibits A was, B and C ) I’d point to the mirror as much as Amazon.

Cari Noga self-published her debut novel, Sparrow Migrations, in April 2013. The novel was a semifinalist in the 2011 Amazon Breakthrough Novel Award contest, the spring 2013 winner of the ForeWord Firsts contest sponsored by ForeWord Reviews, and was just named a literary fiction category semi-finalist in the Kindle Book Review’s 2014 Kindle Book Awards. A former journalist, she also traditionally published Road Biking Michigan with Globe-Pequot Press in 2005. Read her blog or sign up for her author newsletter at www.carinoga.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of  The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010).

Jane Yolen, America’s Hans Christian Anderson, on Rejection, Reading Out Loud & the Keys to Writing Great Books for Kids

To read on Huffington Post click here.

One of the great things about attending a great writer’s conference is that you get to bask in the glow, and imbibe the wisdom of, great writers.  The New England Society for Children’s Book Writers and Illustrators Conference was just such a conference.  For anyone who loves writers, writing, books, and/or wants to be a writer of books, to be in the company of great thinkers and writers who are willing and able to articulate some of the truths that they have uncovered along the way is like being invited backstage at a convention for wizards, gods and goddesses.  Since this was our first SCBWI where we were going to present, we were a little nervous.  But everyone was so welcoming, kind and nice.  And one of the true gems of our time at the conference was getting to listen to Jane Yolen talk about writing, books and never giving up.

The Book Doctors:  Let’s start at the very beginning: how the heck did you get into the crazy business of writing books for kids?
Jane May2011_6_JS_110506_01479780142421970SnwSmmrSALES_CV.indd
Jane Yolen: I began as a journalist for my pocketbook and a poet for my soul. Turns out I was a lousy journalist, so began working for (in order) Newsweek (research department), This Week magazine (researching facts checking), Saturday Review (in the production department,) Gold Medal Paperback Books (an Associate Editor go-fer and first reader).

Took a children’s book writing course, sold a nonfiction book for middle grades on women pirates and a rhymed concept picture book both to David McKay & Co, and they came out in 1963. The rest is history.

So in order to make a living, I worked for a children’s book packager for a year, then Knopf as Asst. Children’s Book editor for three and a half years, selling six more books to Macmillan, Seabury, and Funk & Wagnalls children’s books departments, went to Europe in a VW bus with my husband for almost a year (well, it WAS the 60’s after all!). Came home eight months pregnant, moved to Mass. and was a freelance writer for real after that.

That’s the short form.

TBD: You seem so unbelievably prolific, how do you find the time to do everything you’re doing?

JY: I love my work, have always been able to lose myself in stories and poems, and have been incredibly lucky as well.

TBD: Do you find there are difficulties with producing so much work?

JY: Of course. No one publisher sees me as “their” author, which means I often get short shrift in the promotion department. Also, it’s hard to sustain a body of work that’s spread about so widely and wildly dissimilar.  When you realize my best selling books are Owl Moon, the How Do Dinosaur books, and Devil’s Arithmetic, how can the public make sense of that! I have fans who think I only write picture books or only write SF and fantasy. I have fanatics of my poetry and are stunned to find out I write prose, too!

TBD: In your incredibly inspirational keynote speech at the annual New England Society for Childrens Writers and Book Illustrators, you mentioned that, despite having won so many awards and published so many books, you sometimes will get five rejection letters in a day.  I found that strangely and incredibly comforting.  How do you deal with rejection?

JY: Knowing that an editor is not rejecting me but is rejecting the work, helps. Remembering that Owl Moon was turned down by five editors, that Sleeping Ugly was turned down by thirteen, and they are both still in print 25 plus years later. Knowing that Madeleine L’Engle’s A Wrinkle in Time was turned down by 29 publishers and then won the Newbery.  That Dr. Seuss’s To Think I Saw It on Mulberry Street by even more publishers and almost 50 years later is still a bestseller also helps. And, as my late husband used to remind me, it’s harder to sell a great book to a publisher than a good one.

TBD: What you think are the keys to writing a successful picture book?

JY: Compression, lyricism, child-centeredness, and leaving room for glorious pictures.

TBD: How you go about promoting and marketing your books?

JY: I speak at conferences, do library readings, am loudly on FaceBook and Twitter, work with SCBWI, do interviews with anyone who asks (!), have Susan Raab as a publicist, write essays for places like Huffington Post, send a poem a day to 400+ subscribers, etc etc. Just like everyone else, I scramble. At 75 my scrambling is a bit slower than it’s been before, but it doesn’t stop me as much as it should!

TBD: Does being a poet influence your writing, both in picture books, and in longer works of prose?

JY: Absolutely. In picture books, it helps with the lyricism and compression that is so much a part of good picture book writing. But it is also a hallmark of my novel writing as well. I read everything aloud, novels as well as picture books. I believe the eye and ear are different listeners. So as writers, we have to please both.

TBD: What is the editing process like when you’re working on a picture book?

Reading it aloud over and over. Reading it to my critique group and listening to what they say. Showing it to my daughter Heidi Stemple who is a fabulous (and thorough-going) editor with great judgment. (As I used to show it to my husband when he was alive.) Trusting them and my agent to be honest with me.

TBD: I hate to ask you this, but what advice do you have for writers?

JY: Join SCBWI, the best money you will ever spend. Don’t be afraid to go to conferences,critique groups, have a beta reader (or several), but in the end trust your own judgment. Read what’s out there, then read and read some more to get a sense of how your work runs with or exceeds the pack. Don’t ever write just for a trend or fad because it’s a moving target and by the time you get your work out there, the trend or fad is gone. Dig deep, don’t be afraid to write fiercely, expose your heart. Also while you must remember publishing is a business and has to make money to stay in business, that shouldn’t be your motivation. Writing the book in your heart should be. But still you need to go armored into the publishing world, understand it, not be overwhelmed by it. Consider the editor your voice at the company while always being aware that she is also EMPLOYED by the company. It’s a tightrope for them. Don’t expect they will necessarily be on your side in every battle, even as they publish you. Don’t treat the editor as an adversary, but also don’t expect her to be your best friend. When doing business, put on your shark hat. When writing, put on your storytelling hat.


Jane Yolen, often called “the Hans Christian Andersen of America,” is the author of over 360 books, including OWL MOON, THE DEVIL’S ARITHMETIC, and HOW DO DINOSAURS SAY GOODNIGHT. The books range from rhymed picture books and baby board books, through middle grade fiction, poetry collections, nonfiction, and up to novels and story collections for young adults and adults.

A graduate of Smith College, with a Masters in Education from the University of Massachusetts, she teaches workshops, encourages new writers, lectures around the world. Her books and stories have won an assortment of awards–two Nebulas, a World Fantasy Award, a Caldecott Medal, the Golden Kite Award, three Mythopoeic awards, two Christopher Medals, a nomination for the National Book Award, and the Jewish Book Award, among many others. She is also the winner (for body of work) of the Kerlan Award, the World Fantasy Assn. Lifetime Achievement Award, Science Fiction Poetry Association Grand Master Award, the Catholic Library’s Regina Medal,  the du Grummond Medal, and the Smith College Medal. She was the first woman to give the St Andrews University’s Andrew Lang lecture since the lecture series was started in 1927. Six colleges and universities have given her honorary doctorates. Also worthy of note, her Skylark Award–given by NESFA, the New England Science Fiction Association, set her good coat on fire. If you need to know more about her, visit her at jane.yolen.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). Arielle Eckstut has been a literary agent for 20 years at The Levine Greenberg Literary Agency. She is also the author of eight books and co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 16 books, on a wide variety of subject including memoir, sports, YA fiction and reference. His books been translated into 10 languages, and he’s been featured on the front cover of the Sunday New York Times Book Review.  They have taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared everywhere from The New York Times to NPR’s Morning Edition to USA Today. Twitter: @thebookdoctors

The Book Doctors Pitchapalooza @ Jersey City Word Bookstore’s

To read online click here.

photo4Last night, May 22, 6:30 p.m., Word Bookstore in Jersey City was abuzz. People quickly filled up chairs lined up in the back or stood in huddles, shooting the breeze. Taking my seat, I looked around and noticed a woman sitting in the row behind mine. In her hands she clutched The Essential Guide to Getting Your Book Published and her lips move silently—rehearsing. I say rehearsing, because she was there to pitch her novel.

In fact, most, if not all of the people attending were there to pitch their books. Last night was Pitchapalooza, an event started by David Henry Sterry and Arielle Eckstut—the authors of The Essential Guide to Getting Your Book Published—to give twenty writers, picked at random from a pool, the opportunity to pitch their book ideas. Participants get their pitch critiqued (kindly and constructively), receive a twenty minute consultation from David and Arielle themselves, and for one lucky winner, get a meeting with a publisher or agent who is appropriate for their work.

Some of you may have read my interview a few weeks back with David Henry Sterry about the publishing industry and Pitchapalooza. If you did, you know how difficult it is to navigate the publishing world and what a wonderful resource Pitchapalooza and the guide are for aspiring writers. By demystifying the publishing industry and providing valuable insider advice on how to properly market one’s idea, writers get a fairer shake at publishing.

I got to say, last night’s Pitchapalooza was super impressive and inspiring to watch. The first person to get called up was a seventeen year old. He was actually seated beside me, visibly nervous, his muscles tense, dreading what he so obviously was there to do. The kid nailed it! Did I mention that participants only get one minute to pitch? Well in one minute, this kid laid down an interesting, well-structured, and tight pitch for a Young Adult novel.

The panel, comprised of David, Arielle and Jenn—the Events Director of both Word Bookstores—were impressed, but certainly not without comment. What came up often in the critiques was the importance of addressing what the protagonist of one’s novel is like, which often gets neglected while trying to articulate the plot. It’s also very helpful to give comparable titles, basically describing your book by saying what books it’s similar to. This helps publishers get an idea of how to market your book, which is a great comfort to them.

I can’t say anyone at Pitchapalooza had a bad pitch. I expected more bumbling and awkwardness, but it appeared that everyone was pretty well prepared. Even a ten-year-old girl got up to the podium and blew everyone away with a shy, yet well thought out pitch. A ten year old! It was great being a part of that crowd, among writers who were supportive and respectful of each others’ dreams and ambitions.

In the end, the victor of Pitchapalooza was Val Emmich, a writer, musician and actor based in Jersey City. It was a well deserved victory, but Pitchapalooza did not have the feel of a competition. It was more about sharing one’s ideas with others, learning how to effectively sell a pitch and getting together as a community of writers. In end, everyone left with valuable insight and a card for a free twenty minute consultation with The Book Doctors themselves—David Henry Sterry and Arielle Eckstut.


The Book Doctors on Books, Writing, How to Get Published, & May 22 Pitchapalooza at Word Bookstore Jersey City

The Book Doctors talk about publishing, pitching, how to successfully get your book published, & May 22nd Pitchapalooza at Word Bookstore Jersey City, in the Digest.



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