Wednesday, June 6, 2018

Am I diverse yet? Why there are no Jews in diverse books


If you've been out of the loop in the world of children's publishing, you may not be aware that the big, huge deal right now is Diverse Books. The battle cry for this movement is "We need diverse books."  Diverse books are good because they show kids "people who look like themselves" in the pages of children's literature.

Google "diverse books" and you'll see all kinds of cute pictures of kids--utterly heartwarming.  This is a Very Good Thing, as far as I’m concerned.

Here are a few examples:


(From We Need Diverse Books website)


(From The JJK Blog)


(From the We Need Diverse Books Indiegogo page)

Cute, right?  All of them are cute.  Just to recap: what do we see

Monday, June 4, 2018

Why translation isn’t magical: What you MUST know before you translate your book into English…


The US market needs diverse books, and that includes the voices of those who live elsewhere, speaking other languages, and living different lives. It’s also great that authors are willing to invest money, time, and effort. If you believe that strongly in your book, there’s a chance it can succeed.

But not if you rush into submitting it the second it’s translated into English.

Working as a translator for the last four years, unfortunately, I’ve met many writers who believe that all it takes to break into the U.S. market is to translate their book into English and sit back waiting for offers to roll in.

Unfortunately, translation isn’t a magic bullet that’s going to shoot your story straight into the heart of an agent or publisher.  And even if you self-publish, having your story translated into English is not a guarantee of success.  It’s not a magic wand that you wave to let those big US bucks start rolling in.

So I want to ask you to pause, just for a second, and ask yourself: Is my book ready to translate? Am I giving it the best possible chances of success?

Here are three issues you might want to consider first.

1. Physical expectations

Be absolutely certain that you know what publishers in the U.S. market are expecting. The standard for picture books is 32 pages, and word count ranges between 600 and 800 words (plus or minus). However wonderful your book is, if it doesn’t look and feel like what they’re expecting, agents and editors will be far more likely to say no without giving you a fair chance.*

To be submission-ready, your book should also be in “bare naked” format—a plain font like Arial or Times New Roman, 12 points, double-spaced, with no fancy graphics. Understand the basics of English punctuation, which may be different from what you’re used to. Sure, your translator should know this, but

Friday, February 9, 2018

What the Cat taught me: Lessons for authors from yesterday’s book covers


Do you have a favourite book from childhood?  You can probably visualize its cover, right? 
Just picture it in your mind's eye and maybe feel the nice, contented feeling that comes with curling up with a delicious book...

Well, this morning, I came across one of my preteen favorites sitting open on the floor where my daughter had left it when she went to school:  The Cat Ate My Gymsuit, by Paula Danziger:


This book meant a lot to me as a kid.  I think it was because of its open acknowledgment that life is sometimes lousy when you’re a teenager but also the gentle message that (thanks, Dan Savage!) it gets better.  That there is a light at the end of the tunnel.  And it does all that with the good-natured humour that the late Paula Danziger brought to all her books.image

I posted this picture on Facebook because it brought back so many memories.  But I also started thinking about both how dated the cover looks (it's from 1978) and also how I doubted publishers would put a picture like this, showing a slightly overweight, slightly depressed teen on the cover of a book today.

Searching Google to find a history of this book cover, and I discovered I was right.  The most current version of this book, on Amazon, just shows

Wednesday, February 7, 2018

Make Research Pay: Turn “leftover” ideas into nonfiction children’s magazine articles


Do you groan whenever anybody suggests that your story needs more research?
Does the idea of diving into books and Wikipedia pages, old newspapers or archives bring back nightmares from high school, college, or some other period in your life?

I've been doing a lot of research lately for a chapter book I'm writing that takes place in medieval Egypt.  The subject is fascinating, I love it, but along the way, I've accumulated a ton of information locked up here in my mind... and nowhere to let it out.

Sure, I could write another book.  But I was looking for a quick way to use that information in a way that could help my career as a children's writer.  So I sold it to a kids' magazine, and now those ideas will have new life and reach a lot more kids than my book probably will.

The Problem with Research

I want to explain how, but let's back up a step or two for a second to talk about research overall -- and then I'll share some ideas for how you can make your research pay.

Even if you love writing, heck, even if you love how research gives your writing more depth and authenticity, you probably know at least three things about research already:
1) It's a lot of work - even if you love the topic
2) It eats up a lot of time - especially if you wind up going down all kinds of rabbit holes, as always happens to me
3) You can't just dump all your research into your manuscript or you'll kill readers with boredom!

This last point is most important:  even the most important research isn't always relevant to the story you're telling.  Which means that a lot of research, fascinating as it may be, is going to turn out to be a waste of time.


(This is me, researching my book!)

imageIn this interview with Writers' Digest, Andy Weir, author of The Martian and now Artemis, talks about his in-depth research process.  You can see there how much work he has put into researching every single detail for Artemis, the economics of the moon colony and space travel and whatnot, just like he spent years (while working full-time doing something else!) researching the science of Mars exploration for The Martian.

Dealing with “Leftovers”

Now, if Weir had tried gathering up everything he discovered and tossed it into the story, he wouldn't be the bestselling author he is today. 

So what do you do with everything you find when you research?

Well, you weave it

Tuesday, November 21, 2017

Finishing your book–the “nibbled to death” way


I'm working on a book.  I've been at it for a while, in fact.  Years.  And guess what?  I'm on page 11 already!

So... okay. 

Go on. 

Say it to my face - exactly what you're thinking.

Which is probably something like, "That's not much for years of work."

"Page 11?  That's not very good."

"Eleven pages?  I could do better than that."

"A turtle could do better than that."

Yes, it's true.  Page 11 is not very far into a book.  It's going to take a loooong time to finish.  A year, to be exact.

But I will finish, I do know that.  And in a year, I will have a book under my belt.

When I started looking for images to use as the heading for this post, I was thinking seriously about a turtle, because a turtle is a great symbol for slow and steady winning the race.  We all recognize this guy from the Aesop’s Fable story, right? 


Yeah, yeah, turtles.

But really, a better image is ducks.  This guy:


There’s an expression I hadn’t heard before a few years ago, and it sums up my strategy for getting this book DONE, and that is:  "Nibbled to death by ducks." 

What does it mean?  Well, look at that duck.  He's pretty cute, right?  That beak totally doesn’t mean business.  He looks like a lightweight for sure.  If you let him nibble at you, he wouldn’t do much damage.  Unless he kept nibbling.  Just kept nibbling and nibbling and nibbling…

Well, okay, that’s getting a little gross.  My point being, one nibble by one duck doesn’t do much damage, but

Sunday, October 22, 2017

How to write more productively - by writing slower


Trying to figure out how to write faster?  Maybe you need to slow down.

I know, I know... that probably feels like the exact OPPOSITE of the advice you're looking for.

But maybe you've heard about the SLOW trend?
It's epitomized by the Slow Food movement, but in general it's a trend towards handmade, artisanal, more authentic living.

Last week, I sent out an email to friends on my list (join me by signing up at the bottom of this post!) with a call for YOU to tell me your biggest writing challenges. 

One writer wrote back that he struggles with writing regularly.  Not that he can't get what he calls his “butt in the chair,” but that he senses that writing at the computer is not as efficient as it's cracked up to be.  On the other hand, he said, any other approach (I guess this means writing by hand, but perhaps also dictation), means writing twice as much as necessary.

I can relate.  But still - I want to address two things:

  1. Yes, the computer is not terribly efficient unless you're one of these super-disciplined people who shuts down every background app, turns off your phone, maybe blasts some music, and writes non-stop for a timed session.  If you do, kudos to you.  Most of us can't do that.
  2. Writing by hand doesn't HAVE to be inefficient.

That’s what I want to talk about in this post.  How despite my love for writing on the computer – which I’m doing this second as I craft this post - I have also discovered the joy of writing by hand. 

Don’t worry, I won’t try to turn you into a luddite who shuns computers altogether (like I said, here I am!), but I do want you to start thinking of your hand as yet another writing tool, one which can help you write better and even (gasp!) more productively.

Hand writing as a discipline

Here’s how I was sold on the value of hand writing.

I haven't really mentioned here, but I'm 8/11ths of the way through a master's degree in Writing and New Media which I started in 2016 (yay, me!) and as part of that, I had to do a course in "developmental writing."  That means therapeutic writing, writing for personal development, writing as therapy, whatever you want to call it.

To pass that course, I had to take on a 3x/weekly practice of writing by hand for 20-minute sessions with a candle, a timer, and a playlist of baroque cello music by Yo Yo Ma. 

I wish I was joking.

You have to understand how hard this was for me.  I type somewhere between

Sunday, October 8, 2017

How to create home-run stories with a perfect pitch sentence


I’ve talked before about the importance of the “pitch.”  This is a single sentence you can haul out whenever anyone asks you to describe your book.  Here, I’m going to give you my secret “formula” for creating awesome and compelling pitch sentences.

But first – why do you need a pitch?

  • For talking to agents or editors, if you ever get a face-to-face meeting
  • For including in your cover letter
  • For chatting with friends and other children’s writers
  • For writing your back-cover synopsis if you’re self-publishing

Most importantly, though, the pitch helps YOU. 

If you can’t sum up your picture book in a single sentence, you’re either trying to cram too much into your story, or you don’t have a clear enough idea what it’s about.

So here’s my secret formula – and it’s actually

Thursday, July 27, 2017

If you want to write kids’ books–read, read, READ! (with 6 of this summer's favourites)


What’s the best way to ensure that you’re writing kids’ books that are relevant to today’s readers? 

When I say readers, by the way, you can assume I also mean all the gatekeepers between you and your readers: editors, agents, publishers, and anyone else who gets to vet your book before it’s approved for publication.

And the best way to make sure you’re writing the books they want to see is… to READ kids’ books.  A LOT of kids’ books.

Now – just to be very, very clear here, I’m not telling you a) to read books in order to copy them, or b) to read books in order to write more marketable books.  You probably shouldn’t be thinking about marketability as you’re actually writing your book.

But reading what’s out there on the children’s-book shelves will give you an edge in a few ways, by helping you answer the following questions for yourself:

  • Who are the protagonists of kids’ books today?
  • What kind of situations do they find themselves in?
  • What’s the art like?
  • How wordy are they?  (hint: not very!!!)
  • What kind of vocabulary do they use?
  • What kinds of resolutions / messages do publishers seem to prefer?

Now, if you’re like me and you live in a non-English speaking country, all of this puts you at a distinct disadvantage.  And even if you live in a totally English-speaking country, there are a few reasons you might not have visited your local bookstore or library lately. 

For example, many children’s authors are older parents or grandparents – you may have read a lot of kids’ books at one point, like when your kids were younger.  You just haven’t checked out new books recently.  But why should you bother?  Classics are classics are classics, and what makes a book great doesn’t change from one generation to the next… right?


Even when it’s difficult, you must check out what kids’ books are out there, not just to scope out the competition but to make your own stories stronger and more contemporary-feeling.

Here’s one tip that I sent around to my local SCBWI chapter a few months ago:  search for current popular kids’ books on YouTube.  We had just had a Skype meeting with a publisher in L.A., so everybody was fired up about writing books for a U.S. audience, but many people in the crowd weren’t really sure what that entailed. 

Fortunately, there are MANY popular kids' books being read aloud by native English speakers on YouTube, including many of the books the agent had placed on her recommended-reading list for authors submitting to her. 

Wondering what books she suggested???  Here are the two books she mentioned most:  Llama Llama Misses Mama ( (along with all the other Llama Llama books by Anna Dewdney!) and Dragons Love Tacos (  I'm betting that whoever can write the next book like those will get a sweet deal from her publishing company!

I’m very lucky to be in Toronto visiting family right now, so I took this opportunity to walk into my local library last week to scope out (aka “take home half of”) the kids’ picture-book section. 

Here’s my haul:


These are all fairly recent.  I’d heard of two of these beforehand and was psyched to see them in stock:  School’s First Day of School by Adam Rex, and Yaffa and Fatima: Shalom, Salaam by Fawzia Gilani-Williams, from Kar-Ben, the same publishing company that published my book Yossi & the Monkeys.

The first of these, School’s First Day of School, has been on my wish list

Tuesday, July 4, 2017

Blog tour for SCRIBBLE & AUTHOR! by Miri Leshem-Pelly


I am so, so thrilled to be hosting today’s stop on the month-long blog tour for my real-life friend and faithful critique group companion Miri Leshem-Pelly… and her new book, Scribble & Author (Kane-Miller Picture Books, 2017)!  Check out yesterday’s stop at PUYB Virtual Book Club – as well as tomorrow’s stop, when it’s posted, at Interview at Literarily Speaking.  So much fun!!!

As children’s writers all know, though, the book isn’t really about us, the writers.  It’s about our CHARACTERS.  And that’s why, for today’s blog tour stop, I decided to host an interview not with Miri herself (check out this interview for that, or Miri’s website, if you’re interested!) – but with her character, Scribble!

Why did I want to talk to Scribble?  Well, take a look and see for yourself:


Isn’t she adorable???  Just so sweet and full of spunk.  Miri is an author/illustrator – so she gets to create her own characters.  I’m so jealous.  But it’s not enough to CREATE a character – as writers we know that we have to put our character in fascinating situations. 

Here's what the book is about, in a sweet little nutshell (from the publisher):

In Scribble & Author, Scribble's journey starts on a peaceful shore called THE BEGINNING, continues to the rough, adventurous MIDDLE, and leads finally to the gate of THE ENDING, but it's not at all what Scribble expected...
Scribble is a scribble and Author is an author, but who really gets to tell the tale?
An innovative picture book about finding your own voice, making your own decisions, and writing your own story.

Most importantly, as Scribble learns in the book, whether we’re illustrating our story or not, we also have to CHALLENGE our characters – even though we love them, we have to put them in plenty of danger and then let them find their own way out.

All of which is to say, it’s not easy being a character in a children’s picture book – especially given that element of danger.  So naturally, Scribble had lots and lots to say about her own adventures and being a character in this amazing book. 

Let’s listen in:

WKB: Hey, Scribble. It’s great to meet you! How does it feel now that you’re getting all this attention?

Thank you! Finally somebody’s paying attention to me – the main character! You know, the name of the book is Scribble & Author, not Author & Scribble, but for some reason, all other bloggers chose to interview the author instead of me!

WKB: Can you tell me how you first met Author?

When I first opened my eyes I saw Author, right there in front of me. I was very excited to discover that I was inside a book. But let me tell you something - I’m the only one who gets to see Author. Readers don’t see Author. They can read what Author says but they don’t really know who Author is: a man or a woman? Maybe a boy or a girl? I’m the only one who knows. And I’m not telling! It’s my secret.


WKB: Tell us the truth. Does it tickle when you’re being drawn?

You bet it is. I love being

Monday, May 15, 2017

Becoming a writer: Why knowing your strengths and weaknesses MATTERS


Are you feeling discouraged and thinking of giving up?  Or maybe you’re thinking about writing something but you just can’t get started?  Maybe you figure it won’t come out right – so why even bother.  Does any of that sound like you?

Maybe you just don’t know what you’re good at.

I talk a lot on this site about not just writing a book (just one book?) but about becoming a writer – looking at writing as a career (even if you already have a career!).  And part of becoming a writer is figuring out what you’re great at doing… and what doesn’t come so easily for you.

I think I’m good at writing – but when it comes to marketing, which is a big part of being a writer today (like it or not), I don’t think that’s one of my strengths.  What about you?

What are you super-good at?  I bet you know already, but maybe you haven’t spent enough time basking in it.  This could be something you’ve heard from a whole bunch of people.  Maybe you’re secretly proud but don’t want to seem like you’re gloating.

Take the time to enjoy your strengths.  In the table below, you’ll find a bunch of different writing tasks and you’ll have a chance to see exactly how many things you are probably quite good at doing.

Unfortunately, unlike in many careers, you can’t just work on a sub-specialty and ignore the rest.  You will eventually have to deal with everything I’ve listed in the table below – and then some.  But there are some very good reasons to go into writing with your eyes open – with a keen awareness of your own strengths and weaknesses.

Why figure out your strengths?

Identifying your strengths makes you feel good about yourself!  I’m not big into self-esteem just for self-esteem’s sake.  But if you genuinely ARE good at something, you deserve

Thursday, May 4, 2017

Be grateful for editors!


Yesterday, I got the phone call I was dreading – a call from my EDITOR.  I spent half an hour on the phone yesterday with the person in charge of editing my next children’s book, and I have to admit, I had been dreading her call for a while.

I got an email from her when the book was first accepted by the publisher (yay – details to come, I promise!) saying, basically, “We love your book, but naturally, we’re going to have to make some changes to the text.”  Which is their prerogative, right?  I can’t force them to publish my book as-is, no matter how much I love the text, so my best bet if I want to be published is to roll with things.

So.  I was prepared to roll with things.  But that doesn’t mean I was looking forward to her call, in which we would “discuss the changes.”

Ugh.  Did she not realize how much I’d sweated over every single word of that story?  Written, revised, erased, gotten it to the point where it was just about perfect?

Let me tell you – I didn’t feel particularly grateful about the spectre of her call.

When you read a commercially-published book, you’ll often see a bit at the beginning or the end where the author thanks her family, her agent, and then her editor (or editors).  I always took that part for granted until I started working as a novice journalist and working with editors who actually hacked and slashed and carved up my writing to find the most important points within it and bring those to the fore. 

And at first, dealing with those editors, what I felt was mostly ingratitude.  How dare they tell me how to write?  Isn’t writing supposed to be an art form?  And if so, would they swipe their red pens across a Degas or Van Gogh if they didn’t like what they saw on the canvas?

I was being – feel free to slap me now – frankly ridiculous.

Oh, I was gracious enough.  I wanted to keep making money and getting published, so I rolled with it, like I said, and even said “thank you.”  But I wasn’t feeling it.  Oh, boy, was I not.

But gradually,

Sunday, February 5, 2017

From Manuscript to Commercially-Published Book in 12 VERY Easy Steps


Have you ever asked the question – if I self-publish, does that mean I’m stuck self-publishing forever?

A lot of writers think they’re stuck defining themselves as one or the other, either a “self-published writer” or a “commercially-published writer.”  I hope you haven’t fallen into that trap!

In fact, you don’t have to pigeonhole yourself that way, as I hope I’ve proved with the release of my first book from a commercial publishing company, Yossi & the Monkeys (Kar-Ben, 2017).

So what’s it like having a book commercially published after so much self-publishing experience?

It’s weird, that’s all I can say.  It’s all about sitting back, relaxing, and WAITING, because this thing took – well, forever.

But still – I thought it would be fun to break it into steps, like in my last post, so you can see what was involved along the way.  So here we go… with Step 1.

Step 1.  Contest submission.

It all started back in 2014 with a Jewish kids’ story contest at Barbara Krasner’s website.  I entered, didn’t win, didn’t even come close.  But a real editor was reading!

Trouble was, my story came in at around 10,000 words (what was I thinking???).  It had 10 chapters, it was an EPIC.  Oops… wayyyyy too long!  Here’s Chapter One.


2. Contest rejection

Well, needless to say, this 10,000-word behemoth was rejected – with just about the nicest rejection note I have ever, ever seen:


She liked it!  She really did!  Considering I hadn’t paid anything to enter this contest, it was a delight to receive a positive reply like this.

Only trouble was… how to get the story down THAT small?  10,000 words to 850 words???