Tag Archives: children

Do you Want to Write For Hire? Take This Quiz to Decide

Posted in Writing Children's Books by

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You may have wondered if Work For Hire is right for you. If you’re considering writing in the children’s book industry, I’ve created a quiz that might help. It’s based on my personal experiences as well as several colleagues I interviewed. [To give you some perspective on collective experience that I’m drawing from: I’ve written 16 kidlit titles for hire so far; picture books, chapter books, and YA–most of them as part of an existing series where the other titles were written by several other people. The fellow writers I talked to have authored close to 100 for-hire titles total.] We’ve all written for different editors and publishers, on different topics, in different genres, with different parameters. Every contract was in some way unique. But generally speaking, Work For Hire has similarities that differ from traditional publishing.

It’s not for everyone.

Is it for you?

First, a definition. “Writing for Hire” means a contract from a publisher or third party—usually from an outline, writing samples, or pitch—to write a book as assigned. For them. It

—might have pre-established characters and settings

—might be ghostwritten under someone else’s name

—might include a “tie-in” or “media-related” connection to an existing product, entity or trademark, such as a movie, comic book, game (typically referred to as intellectual property rights, or i/p)

Lawyers define it as “an exception to the general rule that the person who creates the work owns the copyright. If a work is made by an employee within the scope of their employment or if it was a specially commissioned contribution…it may be a work-for-hire. The employer or hiring party is considered to be the author and thus the copyright owner. A work-for-hire agreement must be signed by both parties before the creation of the commissioned work.” (emphasis mine)

Sometimes you work directly for a publisher. Sometimes you work for a middleman, called a book packager or book producer, who in turn works for the publisher. The book or series might be your idea, but is more likely their in-house idea that they are hiring out for–usually part of a series such as early readers featuring popular TV characters like Spongebob or a history series for K-3rd grade.

Bottom line is: you write it, they own it.

Quiz time:

  • Do you prefer innovation over purely-from-scratch invention? (More like, say, creating a collage than painting)
  • Can you work with a pre-existing format, one you didn’t create?
  • Can you write in someone else’s voice, and/or match the general tone/voice and target age range of an existing series?
  • Are you okay handing over your work and having someone else do whatever they want to before going to print–even though it (probably) has your name on it?Do you take direction well? (See earlier reference to pre-existing format and matching voice)
  • Are you good at research, note taking, keeping files of resources and interviews?
  • Can you handle rewrites without arguing? (See all of the above)
  • Are you good with deadlines–possibly short ones? (Typically in the six-eight month range, start to finish)
  • Can you handle someone else telling you exactly what needs to be done, then possibly changing gears midstream?
  • Are you okay getting a flat fee, with no royalties? (Note: there is a chance you’ll come out ahead this way. Slim chance, sure, but a chance.)
  • Are you okay with the fact that even though it has YOUR name on it, the contents and everything about it may not have been your preference or decision?

If most answers are Yeses, you might be on the right track.

If most questions made you clench, well, relax. Before you get too nervous, know that the publisher isn’t out to screw you. They don’t want to mess up your work on purpose. Their goal–like yours–is to get the best possible product in the hands of their customer/reader; but the main caveat is it’s usually the best product possible created in the shortest amount of time. You might disagree on what the best product ultimately looks/reads like. (It doesn’t matter though. They have final say. On everything.) Just know they really do have the best interest of the customer in mind. They want to sell books! This is their business! They fully understand a crappy book won’t sell as well as a well-written one. They don’t want to put their reputation on the line for shoddy quality. They have your back; their name is on the cover, too.

There are feel-good questions to ask yourself about Work For Hire too:

  • Would you like a shorter time to market? (That is–getting your book on the shelf faster? Most WFH is on the shelf within a year, vs up to potentially 2 to 5 or even 7 years later going the traditional route.)
  • Would you like getting paid in a timely manner? (Many pay half the fee upon acceptance of contract and the other half upon submission/completion of the work)
  • If the project is cancelled, would you still like to get paid some of the contracted amount? (Make sure you’ve got a “kill fee” in your contract!)
  • Do you like direct feedback on how to make your assigned work better?
  • Do you like taking an idea and running with it? (Assuming you are okay when they need to rein you back in)
  • Do you like a clean set of rules, with a detailed schedule, giving you less time to goof off online and on social media? [Maybe that’s just me, lol]
  • Do you like being in control of which projects you agree to and which you decline? (It’s always okay to say no thanks)
  • Do you like researching and choosing which publishers and packagers you work with?
  • Do you like having a built-in opportunity to work with the same WFH people again? (Assuming you’re not a jerk to work with…)
  • Do you like learning about new topics you may have never considered writing about?

And most importantly:

  • Do you want to get published?!

If you took this quiz and are a yes (wo)man, then Writing For Hire is for you! Give it a try!

How to go about finding Writing For Hire opportunities will be the topic of my next blog… Hint: it takes just as much effort as pitching your current manuscripts! But worth it.

If you’ve had experiences similar or in contrast to these Quiz questions, tell me about in in the comments. I love hearing anecdotal WFH stories.

College Applications, Manuscript Submissions, and Lessons Learned

Posted in Writing Children's Books by

There was a big College Information Night at my son’s high school. There are still years to go before he’s ready, but he’s a planner.

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So we went.

Approximately 50 reps from colleges all over the country were there. They ran from big and big name schools (UCLA–the most-applied to school in the entire Unite States) to so small I don’t know how else we would have heard of them (Holy Cross–921 students, total).

We talked to lots of them, asking most of the same questions about GPA needed, acceptance rate, majors offered, class size, etc. The school my son most wants to go to had one of the biggest lines (guess others want to go there too). We waited quite a while to talk to the rep, who patiently repeated the same information over and over. (Seriously, why weren’t the parents just listening in while they were in line? But I digress.) While we waited, we grabbed their college brochure and started flipping through it. We noticed some more obscure majors listed for the school, ones my son was sorta interested in, and wondered if applying for one of those would make sense, instead of those which were sure to be the most popular/crowded/competitive. So we asked the rep, if our son were to major in, say Japanese, would that up his odds of getting accepted, as opposed to him majoring in engineering.

The rep waited not even half a second before answering flatly: “Major what you want to major in. Don’t apply to something you aren’t interested in.” And we felt stupid for considering it, or even asking about it. I did, at least.

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Now bear with me as I cut over to Manuscript Wishlist, an amazing resource where editors and agents tell you EXACTLY what they are looking for. And I mean exactly. It’s a website as well as a “hashtag” (which means you can do an internet search for “#mswl” and up will pop the most recent posts about it). It’s fantastic because if you are working on a book, say, about kids and frogs you can type in “#mswl kids frogs” and see if there is an editorial match. If so, you know who you should add to your sub list! The more specific the less likely you’ll get a hit, but hey it’s worth a shot. One recent post from an editor, I swear, read “High-tech elves with internet while everyone else is trying to figure out the Iron Age.” It’s that specific.

Scanning the posts or website can be a fount of inspiration. Even if you don’t find a perfect match for your current work-in-progress, it can give you manuscript ideas. Knowing there is someone waiting for that topic/character/etc means you’re one step closer to acceptance! I’ve found myself creating and re-creating all kinds of story ideas from trolling around. Sometimes, I’ll see an element an editor shares about him or herself, and I’ll add that character tag to one of my main characters just so I can add in the cover letter, “Emma loves jelly beans just like you.” I’ve raced to complete a final product since I can almost taste the sweet reward of publication from an already-ready editor. Any edge helps, right?

But here’s the rub. It’s never panned out. The problem is, those stories I was working stories weren’t really my stories. The ideas weren’t my ideas. Even if I can run with a concept, my heart isn’t in someone else’s idea of what makes a great plotline. Just like picking a major just to get accepted at the school you might want to get into, a school you might not otherwise have a chance at, writing a story just to get published at a house that might not otherwise notice you is a waste of time. No one wins. Not you, not the editor or agent, and not the story.

The reader suffers too.

In that moment back at the college fair, I was struck by the similarities of the college app and manuscript submission process. We both search and search for the best fit, then send our submission package after years and years of hard work. (We also fret and fret after hitting the send button, having no control and no idea when we’ll hear back…)

All the time I spent creating those MSWL story ideas? It took me away from MY stories, the ones in my soul, the ones I WANT to write. I’ve wasted my time. I thought I was being clever. But I screwed myself. (Is it OK for me to be frank?)

I hope I haven’t been wasting your time with this analogy.  All this is to say: write the story you want to write. Write the story you need to write. Don’t waste your time writing the story that you think will get you a leg up in the industry.

Write the right one.

Yours.

Laptime with our little ones

Posted in Writing Children's Books by

This guest blog post originally appeared on The Bedtime Stories Blog on May 2, 2018 on https://medium.com/bedtime-stories-blog

Turning Classic Fairytales Upside Down

Keeping The Old, With New Modern Twists!

We all know the classics fairytales and storybook rhymes our grandparents taught us or read to us. But do our kids know them? Unless it was made into a movie or TV show, maybe not. If our kids have heard the rest of them, they probably think they’re dated. The challenge: How do we keep these classics, and traditions, alive? We make them relevant to today’s world.

When I think of storybooks or fairytales, I think of a cosy, dusty old room in the back of my grandparent’s house, where my grandmother kept the kid toys we’d play with and books we’d read over and over again when we stayed at their house. There was one book, in particular, that was thick, with gold-rimmed pages (so fancy!) and lots of, well, really weird pictures. Cats wearing tall black boots and kittens wearing mittens and butchers, bakers, and candlestick makers. The stories were crazy too. A man that ate pumpkin all the time. He put his wife in a giant one! A lady that had so many children she didn’t know what to do. And get this — they lived in a shoe. A shoe!! A cracked egg that even kings couldn’t help. Princesses. Oh, the princesses. And riches beyond reason. I couldn’t get enough of that book. I read those pages over and over, the gold trim slowly fading wherever I tended to touch the most. The fact that my grandmother had so many of those rhymes and stories memorized blew my mind. How did she do it?

Year after year I realized she did it the same way I was doing it…by hearing them read over and over by my grandmother. She must have had them read to her over and over by HER grandmother too. As I grew, I was reading them on my own, over and over, to the point it became ingrained in my brain much the same way I can still remember her home phone number (Mohawk5–1104). Those stories aren’t just something written in a book, they are something I shared, and treasured, with my grandmother. I grew up without a mom, so she was the closest adult to me, and that bond over reading is absolutely life changing and irreplaceable. Parent to child, or grandparent to grandchild.

That’s how tradition becomes tradition, and classics become classics.

Yet somehow, we’ve lost that sense of tradition. The classics, unless they’ve been turned into a movie, Broadway musical, or (often unbearable) TV show, are no longer retold. Don’t get me wrong — I understand why. Those classics are often horrifying! They’re awful, and weird, terribly politically incorrect, and not something I ever read to my own kids. Lots of kids getting eaten. Child brides. I mean, some versions of the original Sleeping Beauty are so horrific, I can’t even tell you. And the very beginning of the Snow White movie when the queen sends the squire to bring back Snow’s White’s HEART?? Oh my gosh, when I bought that CD for my daughter I had to fast forward through that part every time, I had completely forgotten.

We have to admit the classics might not be worth retelling AS-IS in today’s modern world. I think we as parents realized we didn’t want our kids hearing that stuff anymore, and we stopped retelling the stories.

The bad part of that is we lost tradition. We lost that part of “let me tell you a story that I heard from my mom who heard it from her mother who heard it from her grandmother…”

What happened in the meantime is someone else started telling our kids stories. Some one, or some thing. Our kids are watching these stories on TV or on their iPad or reading it piecemeal off someone’s Twitter feed. They aren’t sitting on our laps anymore. Or not as much as they could be.

I think it’s time to take lap time back. Take those classics back, too. But hang on a second, let‘s turn those classics on their heads. Make them fun and relevant — something a kid today WANTS to listen to. Something that both parents AND kids can have fun with.

That’s why I wrote the Bedtime Stories series “Kid Joey: Fairytale Detective” They take conventional storybook rhymes and fairytales, but add a twist. So the story you THINK you know, the story you’ve heard over and over, has a new ending or new twist, or new angle — with lots of laughs along the way. It’s fun for adults because they don’t know the ending or details either, and they get to experience the story in a new way, together with the child.

I figured it would be fun to take those same stories we know so well, and add some unexpected perspectives and new twists. These “new” stories let kids of today relate to the classics while parents and grandparents get to see, and enjoy them, in a new light. And not be horrified! What if we met PRINCE Midas, before he was King and before he turned into a selfish jerk? What if the 3 Little Pigs were a set of chatty girl triplets? I mean, an egg sitting on a wall makes no sense, and it spilling its guts all over the places is terrifying. But what if Humpty Dumpty was a football player, and his defense strategy was called “The Wall”? What if there was another kid named Joey who made it his mission to make sure Humpty did NOT have a great fall? I mean, sure, it’s still a leap of faith that a giant egg is walking around school, let alone playing football, or that pigs can talk, etc, but there is a certain degree of creative license fairytales allow us. It works. The fun comes in when we turn those fairytales upside down, on their heads, and see what shakes out. Let’s have a laugh while we read these stories. (Spoiler alert: there are no guts splayed about! No evil stepmoms either. (You’re welcome.))

What’s extra fun about the series is it gives parents, grandparents, and caregivers the chance to open up a dialogue about the old fairytale and storybook tales. Maybe it‘s the chance to tell the story for the first time. For example, in one story, Jack Spratt is mentioned, but no reference to him eating no fat and/or his wife eating no lean is brought up. Ask your kids “Do you know who Jack Spratt is?” When they say “No,” which they are bound to reply, pause for a minute and recite the silly rhyme. Share the story with them. Embrace that laptime. We all know it’ll be gone in a flash.

Let’s start the conversation back up, and have fun doing so!

About the Author

You may have seen author Bitsy Kemper on CNN, profiled in Writing Children’s Books For Dummies, or in literally hundreds of American TV news programs, newspapers and magazines. Maybe you passed her at the airport and didn’t even know it! Author of over 16 books, from picture books to chapter books to YA, she has enjoyed resuscitating old fairytales and bringing Joey to life in these (hopefully charming!) bedtime stories.

She enjoys dark chocolate, yoga, and church — but is careful to never indulge in all three at the same time. Busy raising three kids (four if you count her husband), she loves presenting at schools, libraries, and conferences all around the world.

Find out more at www.BitsyKemper.com.