Karen Hammond: Well, first of all console yourself that we've all done this or something similar. I have a good editor friend with lots of professional expertise behind her, who once sent out a letter looking for freelance work indicating that she had years of editing and profreading experience. You can imagine how she felt! In your case, if you do not receive a follow-up to your second email after three or four weeks, I would resend the original with the correct date in the subject line. But do this just once. After that, consider it a lost cause, probably not because of the error but because the piece just wasn't right for them. And I'd wait a bit before sending them something else--maybe a month or so, by which time I assure you they will have forgotten the whole thng, er, thing.

ColoradoKate: I get in a quandary sometimes about wanting to be polite and friendly vs. wanting to be professional in my communications with editors. For instance, if I get a helpful, personal rejection that's clearly not asking for revision and resubmission... it might be nice to reply with a thank-you note, but my understanding is that wouldn't be professional. Editors get overwhelmed with emails, and would rather not get extra ones--right? Another example: I've gotten emails that say something about replying IF I have any concerns, any issues with the edits they've done to my story... that kind of thing. So, having no issues, I have followed the instructions literally, and haven't replied... and then stewed about it, wondering if I should have replied anyhow! What can you share with us about professionalism in our communications?

Karen Hammond: Kate, this is an excellent question. If you get a rejection, there's no need for any follow-up, for all the reasons you have listed. On the other hand, if an editor says something along the lines of, "Nice writing, but not this time. Feel free to contact us with future work," you should follow up as soon as you can--not with a thank you but with another article or story. The point here is that you want to submit another piece while the editor still remembers your name in a positive light. As you your second question about replying if you have any issues about the edits, here a quick follow-up along the lines of "The story looks great. Thanks so much" would be fine. Keep it short and to the point, just to let the editor know that you did get the email and have no concerns.

ColoradoKate: Thanks, Karen... and, oops! Next time I'll reply.

EV: I'm with Kate here. I hesitate to write a thank you to editors or agents, because I know they're overwhelmed with emails or regular mail and I assume they'd prefer not to have one more unnecessary communication. But I've wondered if my thinking is wrong. Specific example: I attended a conference last fall and paid to have a manuscript critiqued. I really appreciated the agent who did the critique. I wanted to write her a thank you note but didn't for the reason stated above. Recently I heard another author mention having written a thank you note to someone who'd done her critique at a conference, and I wondered if I'd been unprofessional in not following my initial instincts. I know that if I'd queried or subbed to this agent after the event, that I would obviously have thanked her at that point, but I decided shortly after that event not to try to get an agent. So...please, Karen, give me your best professional advice about this kind of situation. And thank YOU for being here with us this week to answer our questions!

Jan Fields: I've heard agents say they would like to avoid "thank you" emails. BUT, if you sent a thank you note by mail (if one had the mailing address) I would think that would be totally different. It doesn't clog up the inbox and it tends to look like a note (and not a manuscript or query) so seems like it would be a day brightener. I HAVE heard agents who got notes through the mail who thought they were very special since so few people send things like that through the mail any more.

Karen Hammond: If an agent specifically requests no thank-you notes, I wouldn't write one, but honestly, I've never heard of that. A good middle road, and one I've used when I know the editor is extremely busy, is to write a message in the subject line of the email that says "Thanks so much--no other message." That way, the editor doesn't even have to open the email. That said, I attend a lot of conferences and meet with a lot of agents and editors, and I almost always follow up with a brief thank you by email or regular mail thanking them for their time and reminding them briefly of what we discussed, as in "Thanks so much for meeting with me at the ASJA Conference last week to discuss my book, XXXX, which I understand that it doesn't fit into your current publishing plans. I appreciate your offer to look at other things I'm currently writing. I've enclosed a synopsis of two current projects with this note." I also do manuscript critiquing myself and virtually always get thank-yous. Just keep them simple.

Okami: After my last round of agent querying was a bust, I'm seriously out of people to try, but despite what many have advised, I'm not feeling all that confident that going to publishers directly would fare any better. For one, there are fewer publishers now compared to agencies, the publishers who actually rep what I write are not open to un-agented submissions, and you can be waiting twice as long, only to get a form letter or "No response means not interested" after X date. Plus, it seems the only agents I haven't tried and feel would be the right only take submissions from attendees at writer's conferences, which I just can't afford to go to, which leaves me out in the cold, so to speak. If there really are viable publishers who don't require you to be represented by an agent, I can't find many of them, and those I do find either turn out to be scams I run far away from, or their books don't look all that professional. I'd like to be proven wrong in this regard. That said, I did my best in searching, no one can take that away from me.

Karen Hammond: An excellent book by Jeff Herman may give you some help. It's called Guide to Publishers, Editors & Literary Agents. This will help you find legitimate publishers and agents who may be interested in your work. While it's easier to go directly to a publisher with children's fiction than with adult fiction, you are right that many publishers want agented work. The reason for this is that the agents act as screeners who rule out work that is clearly inappropriate.

Okami: This is the only guide I haven't bought, so I'll buy it next week when I have more money on me, wish me luck.

Karen Hammond: Writing guides, including the Herman book, can be found at libraries, thus saving you lots of money. If your library doesn't have a copy, ask about inter-library loan.

Karen Hammond: ] I have one more tip that might be applicable: Are you actively reading work by other children's writers to see if your topics fit with what kids are reading today? Books/stories about other cultures are big, for example, while writers who want to "teach important lessons" to children will have little or no success. I'm curious about your comment that agents only take submissions from attendees at writer's conferences. I've never heard of that. It's true that agents come to conferences hoping to find a great book or story, but if a great book comes in from an unknown author, it's still going to pique the editor's or publisher's interest. I know conferences are expensive, but if you can ever get to one even just for a day, I think you'll find it worthwhile for the contacts with other writers and with publishers and agents. And talk to your tax person--usually such events qualify as business expenses at tax time.

Karen Hammond: I have attended and spoken at many and made wonderful contacts at virtually all of them, including contacts that have resulted in magazine articles and my latest book. They are expensive, I agree, so it is important to study the conference lineup carefully before plunking down your money. There's no point, for example, in attending a conference dedicated to fiction writing if your interest is exclusively nonfiction.

Mikki: Karen, if I may add something to your last comment about tax deductions. We just had our taxes done, and everything relating to my writing was deductible...books I've bought, my last ICL payments, paper, ink cartridges, newsletters, writing magazine subscriptions like for Writer's Digest, and conference fees. The only thing that was not deductible was my office...even though it is dedicated office space, somehow in the weirdly wired brain of the IRS, the only time you can use it as a deduction is if you have had publishing income for that year...I didn't this year, I was concentrating on finishing my last novel and didn't send anything out. But for writers who don't know this, if you keep receipts/records of everything writing-related through the year...AND the writing is NOT a hobby...you can deduct almost everything.

Chippy: Mikki your comment leads me on to another question. You say you couldn't deduct office space because there was no income, yet you could deduct other things, is it not one and the same thing so to speak? I mean at the end of the day its going to the same place - your writing. Your thouhgts too Karen. Oh and I don't know the tax rules here in the UK, so this doesn't necessarily apply to me.

Mikki: Our tax lady said no...again, some kind of weird brain fart for the IRS ! If I had some income last year, supposedly the office space could have been deducted, but since I didn't, it couldn't. It all seems very convoluted...why some writing expenses are deductible and some aren't...but that's the government for you.

Karen Hammond: Obviously I'm not a tax expert and I urge everyone to find a good CPA who understands or is willing to learn about the publishing business. My understanding is that for working writers everything writing related--from conferences to writing magazines to pens is a business expense. Home offices have to be dedicated exclusively to your writing. There are rules about how long you can go without an income before your work becomes just a hobby and expenses are not deductible. Check with your tax expert about these questions--and if you're just starting out, consider setting up a preliminary chat to learn the basics so you'll be prepared for tax time next year.

BethC: Karen, I just want to say THANK YOU for that bit of advice. Too often, people try to do their own taxes (in an effort to save money on paying someone who does this for a living!), and they make mistakes that can be quite costly. As a currently practicing CPA, it's nice to hear people recommend our work! (As a side note, I don't do individual taxes - not even my own - hubby does that. He is also a CPA!). Yes, Mikki, the IRS has it's moments. Well, Congress does - they write the tax laws. Some things just don't make sense!

Okami: Karen, do you believe all published work counts and is important if you're not paid for it, so long as it's legit, and that if I publish my work in these hard to find small presses it means something? The only ones I find are either only for YA (Of which I don't have anything worth submitting yet) or don't want genre fiction of any kind at all. How do you find these small presses, and did you or other writers you know start that way, was the experience meaningful as I hear it can be? I'm trying to have an open mind, but since writing and polishing my work takes so long, it's hard to just give it away all the time, with no money or recognition to jumpstart my writing career. I honestly don't mean this is a selfish and greedy Scrooge way, please believe me.

Karen Hammond: I used to advise writers never to write for free unless they chose to do so as a charitable donation (such as writing a brochure for a favorite cause). After all, whoever edits and designs and publishes your work is undoubtedly being paid, so why should the writer not be? I realize, though, that sometimes it is hard to jumpstart a career and if you want to write a couple of things for free to get your name "out there" and accumulate a couple of clips, then go for it. Just don't get stuck in a rut of writing for free. If you don't put a value on your work, no one else will.

Karen Hammond: There are small presses across the country and you can find them by googling. Here's one database of small presses, for example: http://www.pw.org/small_presses?perpage=* I think these may mostly be for adult writing, but this will give you an idea of what's out there. And do look around in your own area. There may be a small press in your city, region, or state that would love to work with a local writer. And yes, small presses are well respected. They are different from vanity presses in which you pay to have your work published. Small presses will pay you a royalty and sometimes an advance--not what you would make from the likes of a major NYC publisher, but they will pay you, rather than the other way around.

Okami: Thanks for clarifying that, Karen, I've heard too many mixed messages on other forums and websites that caused induced more confusion than information.

Jan Fields: Also, something to keep in mind about conflicting "rules" for publication. Writers come at their careers from all different directions. And some folks get stuck in the "my path is THE path" rut, which can result in hearing many different ideas stated as "the way." The reality is there isn't a single "the way." There are bunches of ways and each one has worked for SOME ONE, even really crazy ideas sometimes pay off for someone.

Jan Fields: Some folks start off publishing in free magazines, get stuck there because it's not scary and never move on...others start off publishing in free magazines, get a few clips, but always keep pushing to get better and better published the free publishing becomes just one step in their journey.

Jan Fields: Some people keep polishing and working and sending to the top markets and not getting published ANYWHERE, collecting rejection after rejection until they quit. Others keep polishing and working and sending to the top markets and not getting published ANYWHERE, collecting rejection after rejection and writing more and more things -- and then *bang* they get an agent and end up in a bidding war and make a mint on their "first" book (which was secretly their tenth book, but the first published thing).

Jan Fields: And the people who go their way and make it...they'll tell you how they did it and it might be absolutely 100% the opposite of someone else's "way" but it worked for them. There is no "WAY" that is gonna work for everyone but every single "WAY" has these elements...
1. Don't give up on yourself as a writer.
2. Don't get overly married to one piece.
3. Keep writing.
4. Keep submitting.
5. Keep writing.

Jan Fields: No one who gave up ever made it. Quitting is the only way to make it the "end" of the journey. But the journey to "success" however you define it can make Pilgrim's Progress look like a summer stroll.

Okami: Since you want an agent to be the best representer for the kind of writing you do, what happens if an agent you're interested in querying doesn't rep some of what you write or one day will write. I mostly write middle grade now, but I also write poetry, picture books, and I'm giving writing (Gulp) YA fiction another chance. But what if none of the prospective agents don't rep picture books, either at all, or only from authors who also illustrate? I know some writers have two agents, one who handles children's books, and the other handle their adult books, but if they don't rep some of the categories you write in, either for children/teens or adults, what do you do? Especially since so many publishers only want submissions through agents now.

Lizardmaker: Okami, that question has occurred to me, too. Thanks for posting it!

Karen Hammond: You will need to find an agent who reps the kind of work you are writing now....not what you might write someday. Take things one step at a time. If you absolutely cannot find an agent, focus on finding publishers who will accept direct submissions and publish the kinds of things you are writing now. If you find an agent now and publish a book, and down the road you write something she doesn't handle, you can work that out amicably. If your first book is a success, she might rep you anyway. Or she might suggest that you find another agent for your other work. If you go directly to a publisher and get something published, and later you need an agent, your published work will make you more appealing. For now, though, concentrate on that first step -- getting published.

Okami: That first step is a battle in and of itself. That's all I can say.

Karen Hammond: It is indeed--it's hard work, no doubt about it. As I mentioned, it might be time to more on to another project. And do consider some small presses or little publishing companies in your local or state area. They are often much easier to break into than the major publishing companies.

Okami: have a torturous relationship with query letters. They're either too specific, not specific enough, or just boring, no matter how many times I redo it. My current WIP alone has over 50+ attempts that all failed, resulting in only getting beyond the query stage once in two years, not hopeful statistics are they? In light of this, are there any resources you can recommend that will help me produce better queries that don't cost thousands of dollars I don't have to spend?

Karen Hammond: I'm guessing that it may not be the query letters as much as it is the markets you are targeting. But let me run through the basics of a professional query. First, address it to a particular person. No letters to "The Editor" even if their guidelines say it's OK. Do a little research and find out who the editor (or agent, or whatever) is. Next, be sure to spell his or her name correctly. (You'd be surprised at how how often writers goof this up--and how seriously editors take it, seeing it as carelessness that will transmit into the manuscript.)

Karen Hammond: As to the body of the letter, introduce yourself as a freelance children's writer (not a student, and not "unpublished" -- just a writer). Introduce your story, article, or book in a few sentences. Indicate what you assume will be the approximate word count. If you have real life experience that is relevant to the story, indicate that. Example: If you are writing about sea creatures and work at an aquarium, those credentials would be relevant. If you're a banker, it won't matter to the editor. Finally, thank the editor for considering your work and enclose an SASE if you are submitting by mail. Then, before you mail the query, check it carefully for spelling and grammar errors.

Karen Hammond: Re the markets: Be sure you are spending sufficient time studying and targeting markets that publish work similar to yours. Many writers like the "scattergun" approach, but it never works. Marketing, as any working writer will tell you, often takes as much or more time as writing. Let me know if you have more questions about this.

Okami: really think it's my query letters that are not doing enough, bad queries are bad queries no matter if I pick the right markets or not, but i DID.

Karen Hammond: I'd still suggest the guide or another like it to help you target appropriate publishers. And the bottom line may be that what you are pitching may just not be what publishers are buying these days. It might be time to put that project on the back burner and begin a new one.

Okami: What if you don't want to write about politics, terrorism, sex or abuse? A book about any of those things, and sometimes all of them, came out once every month last year, and frankly there not my interest. But I know they're popular. I only have this one WIP that's worthy of querying, and it took seven years to get it that good, and I'm still revising it after two years of hearing no from all the agents I've tried. The only way I can see my "Next project" being better received is to write about something that simply makes me uncomfortable, but I know is of interest and is selling now.

Karen Hammond: I would never recommend writing about something that doesn't interest you. Not only would that be a long slog, but the lack of interest is bound to affect your writing. I'd really suggest trying to find another project -- perhaps an article based on the topic of your book. If you get that published and there is some positive response to it, you might see more interest from a book publisher. If your book is fiction, try to get a short story or two published. Many a short story has later been expanded into a book.

Jan Fields:Also, If you're writing for CHILDREN, there is little or nothing about terrorism or politics and none of it is popular. If you're writing for older teens, you will see books with abuse or sex...at least sex...but I didn't think you wanted to write for older teens? But sometimes it can be hard to see patterns in books, especially since not many of us have time to read everything that comes out and access to the books still in ARC. Now I have seen the front list for at least ten publishers in ARC for the last few years, so having seen darn close to ALL the books, this is what I've seen:

What IS popular for picture books right now? Whimsical characters with lots of humor and action.
The same as the above but with authors who are also illustrators.
Whimsical characters with lots of humor and action and some tie in to school -- such as Upstart's picture books that all tie into libraries in some way. Having a school tie means automatic sales.
Also, books with a strong appeal to parents like the "I loved you forever" and the "spending time with mom/dad/grandad" sentimental books -- again, because they sell.

What IS popular for middle grade right now? Humor and action with male protagonists
Humor and action and friendship issues with female protagonists
Humor and spooky
Humor and adventure
Humor and zombies or other creature books
The thing is MOST middle grade popular books right now are meant to be funny. The sales are almost all coming out of funny books when the kids pick their own books.

Historical fiction is starting to see a TINY nudge upwards because of sales to schools/homeschool buyers -- and they're popular with libraries too but right now library budgets suck so that doesn't help much.

Multicultural is holding it's own...not a big seller, but there will always be a market for books that introduce kids to cultures outside the "majority" in the US. There was a huge upswing in Muslim books for a while, but now not so much. This has never been a super easy area to sell, but it's always there.

And the standard "award bait" books about overcoming something -- an autistic/mentally ill/physically ill/dead sibling/parent -- while navigating the difficult waters of friendship/school. Those books don't sell a ton, but they get awards so schools buy them which means sales. Plus, publishers LIKE to be able to say they have some award winning books. But ACTUALLY abuse and sex are pretty darn close to nonexistant in middle grade and definitely not popular.

What IS popular with young adult right now? Historical fiction with a paranormal twist -- this is really still very hot. So if you have a regancy romance with a ghost...that kind of book.

Romance -- this is eternal. Romance will always be a main feature of young adult because most BUYERS of young adult books are young females and many (if not most) like a bit of romance.

Paranormal fiction is still doing well, it had taken much of the niche away from Urban fiction...so fairies are less hot. Mermaids never turned out to be as hot as publishers hoped. Zombies are waning here (though they're still doing well in middle grade). Vampires will always be able to be sold, but only if you can do something unusual (and not at all Twilightish) with them.

Historical fiction with a romance twist -- this is picking up, in fact.

Historical fiction set in foreign cultures with either paranoral elements, romance elements or both.

I've seen a lot of thrillers in the last year -- thrillers with a technological slant, thrillers with a paranormal slant -- lots of action, blindingly fast pace

Dystopian was super hot for a while, I think it's cooling a bit but you'll still see it with a kind of adventure/thriller angle with lots of breath-taking action.

Humor with male protagonists -- really if you want to sell to teen boys, the hot properties are almost all humor mixed with other genre.

And "award bait" stories like the ones about overcoming abuse or horrendous circumstances -- these actually sell a bit better for teens than for middle grade. Teens like some angst now and then. And though most publishers know these don't sell with the numbers of the above listed books, they do get awards and decent sales...so they do try to put out a couple every year. They're not hot, but they're steady.

Now, if you're bucking trends entirely like going for a Redwall type fantasy series -- it can be done. The Guardians of Gahoole have done super (and is now branching into wolves). The Warriors series has done super. But their numbers still aren't enough to call these "hot" so to make the sale, the story would have to have something amazing. And it would have to have plenty of action, strong characterization, preferably some humor (because humor makes anything sell better).

Jan Fields: So if you're bucking trends to write in a genre that isn't the hot thing, the key is to make sure SOMETHING about your book triggers one of the "sure sales" switches in an agent's head...like HUMOR, or strong adventure and action, or characters that grab you.

Okami: Given the trends I've seen in books in general, I'm probably one of the rare few people under 40 who don't think gross out gags, jokes about the mentally ill, and getting hit in private parts funny, and if I'm wrong, it feels that way sometimes. I know not all books use that kind of humor, but if we're talking about what sells and what's popular today, I'm hard pressed to think of more than one or two books where this kind of humor doesn't exist.

Jan Fields: I don't find that sort of thing funny either, but there are still a LOT of books being published with humor that are nothing like that. Humor can be all kinds of things to all kinds of people.

Karen Hammond: Jan has provided a lot of specific information that I would urge everyone to read. Two things stood out -- the need for books for boys, which is ongoing, and the necessity of moving away from "Twilightish" stuff when writing about vampires.

Karen Hammond: First: Traditionally boys are more reluctant readers than girls, so you need to grab them from the first sentence, keep the action moving, and provide plenty of humor (and yes, sometimes gross helps here--within the boundaries of what most parents will tolerate). At a certain age, boys seem to find all bodily functions---from burping to, well, we won't go there, but you know---hilariously funny.

Karen Hammond: Second: A common beginners's mistake is to try to replicate something hot on the market. Wizards at a wizarding school is selling big? I'll write about that,too. Vampires who fall in love with humans? I'll try that. Nope. Doesn't work. If you want to write about vampires--and the concept is indeed still popular--find your own unique tale to tell.

Fancy: Jan, thanks for the summary of what's popular now. I'm working on an historical fiction idea for assignment 10a & b, so I'm glad to hear there might be some interest. Maybe I'm being naive, but isn't the first requirement for publication that you have to tell a good story? Are we really so specialized that the genre counts more than the quality?

Karen Hammond: Good point, Fancy. Good writing and a good story are vital, of course, but writers must also keep an eye on trends in this ever-more-fast-paced world. Putting them all together spells success!

Jan Fields: One thing to keep in mind is that publishers and writers tend to have different goals. Writers want to write what they want to write -- which is fine and good. In fact, your writing tends to be better when you write what you want to write. Publishers want to publish what kids, parents or schools/libraries want to BUY. Pouring thousands of dollars into a book that kids don't want to read is just bad economics for a publisher. So how do they know what kids/parents/libraries want to buy? They judge by what is selling in a big way.

Jan Fields: That doesn't mean that if they get a wizard school novel that goes crazy that they want another wizard school novel. But the publishers and agents have looked hard at what elements seemed to draw the reader to buy the book. And they're looking for those things. For Harry Potter -- complex fantasy with a contemporary feel but with a very strong "friendship" angle. For Twilight -- seeing yourself as "boring" but then being "discovered" by the guy you'd never expect to get. For Diary of a Wimpy Kid -- being able to use humor to get through the pain of middle school. And it's worth analyzing what makes hot novels hot in a very objective way in case YOUR book has some of those elements, isn't a bad idea. And that means, not looking at hot novels as crap or nothing like you want to do...but looking at them and asking yourself NOT "what sucks about this book" but "what is really appealing about this book?" Then look at your novel and ask, what's appealing about MY book? Not appealing to YOU, appealing to young readers.

Jan Fields: That's why some of the "award bait" books end up with totally inappropriate covers that suggest the book is adventure or romance or humor when it's not. That's because they want to get as many sales as possible out of the book and they're not above a little "bait and switch." Publishers have analyzed the hot books and seen what elements THEY BELIEVE made them hot, then they are looking for books with those elements or else...they try to make it look like all their books have those elements (even the ones that sorta don't).

Jan Fields: Does this mean we need to write to trends? Nope. Does it mean you'll sell a book quicker if your query suggests some kind of market angle -- oh yeah. Thus, if your book has humor -- say it. If it has fast-paced action -- say it. If it has one of the things that are in the "big sellers" then it's worth it to push that into the query because it's something the agent or editor can use to push the book through the acquistion process.

Jan Fields: None of that has much to do with professionalism though, and I apologize for high-jacking Karen's workshop. But I do worry that we don't always look at our market study with the right eye. Don't look for the lowest element of the hot book. Ask what about it appeals?

Jan Fields: We write for US. But we have to market for the READER who is not us. So after we've written the book, we need to be able to look at it with the eyes of the reader...not the writer. The better we learn to do that, the better we can present our books in a way that grabs the interest of editors/agents/publishers.

Kim: What about the 'tone' of your query letter? I just attended a workshop in NJ and a couple of editors and agents said they enjoyed query and cover letters that were friendly. They of course restated all the keep it simple, keep it short, etc. But one stated the friendly and then all seemed to agree. They said if you were talking to a friend/acquaintance and were describing your story for the synopsis or updating them as to what you are doing now, what would you say to them? Do you think the majority of agents/editors would agree? Of course that was the last comments before the day was over and so no one asked what that would sound/look like? How do you make it sound friendly but keep it professional?

Karen Hammond: The editors gave very good advice -- write as if you were describing your project to a friend while of course including all the pertinent information we have discussed earlier. By friendly, they mean it's not necessary to be stiff and overly formal. Editors like it when a little personality shines through. The challenge is in finding that balance between too formal and getting cutesy. Let the tone fit the project when you can -- obviously a humor article would call for a different tone than a pitch for an article on a serious topic. Sometimes I open my queries with the first paragraph of my article, which has actually worked out quite well. Of course I write the second paragraph of the letter very carefully so that there's a logical transition that ties the paragraphs together. Editors seem to like this because it gives them a good glimpse of my writing style.

KimP: If you picked one communication tool for someone to start out with which would it be? or in other words for someone to start being more professional with their writing and communication which do you feel would be more helpful for them? A website? a blog? twitter? facebook? And as a backup question, do most authors keep a public facebook and a private facebook? When so much of what goes on Facbook deals with family/friends, I am surprised by the few I know who have both on one page and some fairly unprofessional things are said on that page when replying to family/friends that can be a bit shocking. I know someone who has picturebooks published and has an agent and yet the things posted on her Facebook are not meant to be read by any children. How should something like this be handled?

Karen Hammond: Definitely a website. This gives you an easy presence on the Internet and a good place to showcase some of your work. At conferences, I have heard more than one editor say that the first thing they do when they get a query from a writer they don't know is see if they have a website. Today, I think it's as basic as having business cards.

Karen Hammond: As for other social media, I agree with you that it's best to keep business and pleasure separated. We've all heard about people losing out on jobs because interviewers went on their Facebook page and saw something they didn't like--comments about a wild party or whatever. I'm sure the same holds true with editors--if they look you up, they want to see a professional presence. So yes, a personal one and a private one is a good idea.

Karen Hammond: A blog can be great if you have time to keep it up, but first decide what its purpose is--such as promoting a book or snippets of your writing. I'm not personally a big fan of Twitter, which I feel is a huge time drain. I'm sure others disagree but I've never really known anyone to get a writing job based on their tweets. If you have a lot of free time and want to give it a shot, there's certainly nothing to be lost, but personally I'd rather be writing for pay!

KatieC: So a website is a must, eh? Darn. I am so not good at that sort of thing! Any advice as to what should go on your website?

Karen Hammond: Katie, I'm not good at this kind of thing either and although there are lots of tools out there for do-it-yourselfers, this is a part of my writing life that I leave to the experts. There are many people out there who will design a simple website (all you need to get started) very inexpensively and either show you how to update it or update it for you for a minimal fee. Ask around--along with the obvious, like looking on line or even in the phone book for a local guru, good places and people to look into include whoever fixes your computer (he or she probably doesn't design websites but may recommend someone); your local newspaper where these talented folks often advertise; the computer department of your local community college or university where they may provide a reference or better yet, a talented college student who would love to make a few dollars; a local writer's group or writer's organization where others have solved the problem of getting a website up and running.

Karen Hammond: As for what should go on it -- a brief bio, some photos (keep them professional), information about what you write, links to clips when you have something published, and of course a way to contact you by email (and phone, if you wish). These are the basics. You have a fancier website later as your career develops.

Lizardmaker: Personally, I started with a blog. Then I added Facebook, then Squidoo, then Twitter, and I'm currently trying to get a website in shape to make it public. That's just me, but blogs are so easy to set up, and I just wanted a daily or weekly voice that was really me, so doing a blog first made sense. Facebook has been really helpful though, frankly better for attracting new readers than my blog. The upside of FB is you're digging up and connecting with people whom you've met (at least to start with), so they pay attention to you. And many of them turn out to have kids who love to read. The downside is deciding how private or public to make your FB.

Karen Hammond: Very good points. All I can say is that editors say over and over again that they google for a website. In fact, just the other day one told me, "When a writer calls me, I'm usually talking and pulling up her website at the same time to see what she's all about." I think the advantage is that a website lays the basics out in an easy to read format. But of course everyone should do what works for them personally. Thanks for sharing your experience with this!

chippy: A good place for a DIY website is webs.com. A number of board members have websites there.

Karen Hammond: Yes, that's an excellent site. Thanks for mentioning it.

Mikki: Hi Karen, and thanks for being here to answer all our questions. Katie C just asked which tool was best, and you said a website. I've heard or read so many differing opinions about that, and the main idea seems to be that if you have published a book, or have one accepted, or if you have an agent, a website is a good idea for the reasons you stated. Okay...I have a blog. I try to make it professional, and a helpful tool for other writers. My posts are usually on things like: "Cloudy With a Chance of Rain: Using Weather in Your Writing," or on Character development, the use and overuse of adverbs and adjectives, and so on. Occasionally I will write something personal, but not too often. I'm published, but don't yet have an agent or a novel published, so if I changed my blog to a website, umm...what would be the advantage, and what should I put on it? I'm not too keen on posting "excerpts" from unpublished work; I've done a few book reviews on my blog, but too many of those gets old...so I really don't know what I would do on a website, other than what I do on my blog...at least, until I get an agent or an editor

Karen Hammond: Lots of people who write just for magazines and newspapers have websites with links to their work so that editors can easily see their published writings, so having a book is certainly is not a prerequisite. Most writers find it very helpful to have a website that indicates what they write and gives some biographical and contact information (probably not something you include in your blog). See my recent post for more on what to include in a basic blog and where to find help. A very simple website is fine, especially when you're starting out, and certainly does not preclude your having a blog, too.

Chippy: You mention talking about being professional even though you are unpublished. Regarding childrens stories, that is exactly where I am at the moment. I was just thinking. I just happened to come across a book signing at one of our local bookshops and got talking with the author. I mentioned that I was a writer and, of course, she wanted all the info about what etc. I was wondering how to be professional even when you haven't been published, haven't had to do book signings etc., basically haven't had all the exposure and experience that a published writer might have had?

Karen Hammond: It's always fine to mention that you are working on, or have just finished, your first children's book and actively looking for a publisher. Writers are usually very good about helping other writers, and a published writer might well be able to give you some tips about an agent or publisher. He or she might not be able to engage in a long conversation at a book signing, but might be willing to take your business card to communicate by email. You do have business cards, right?! This writer sounds very open, so she would be an especially good person to approach.

KatieC: You say business cards, Karen. Is this something you consider very important, then, professionally? What, exactly, should one include on a business card?

Chippy: Thank you for your answer Karen. Like Katie I'm interested to know about business cards. Many times people say don't bother. Is it worth carrying a few cards around that have your contact details on so you can hand them to people such as this author? Also, if we should carry some, what is the best way to get them made, and what sort of information should go on them?

Karen Hammond: Business cards are a must, in my opinion. Keep them classy and simple--white or buff or ivory paper and black lettering are always good choices. Just list your name, address and contact information -- phone, email address, website if you have one (and if you don't, think about getting one), and if you're on any social media you can list those too if you wish. If you write children's lit exclusively, you could add Children's Writer under your name. If you are writing for adults, too, you would want to leave that off so that you can use the cards anywhere. As for getting them made, any printer or office supply shop can make them up for you inexpensively. Hand them out to anyone who might be a good resource in the future and definitely bring a good stack to any writer's conferences you may attend.

Mikki: I carry business cards in my purse all the time. I made them myself on my printer, and they are professional looking. At the top I have my name...under that, Children's Fiction and Non-Fiction...and under that, my contact information, name, address, phone, email. If you have a website, that URL should go on it, too. I only have a blog, which I didn't have at the time I made the cards, so I'm seriously considering making new ones and adding it. Karen may differ with me, so I hope she responds, too, but my personal opinion is that you don't have to have cards made up by a professional printer to have them look professional.

Karen Hammond: Oh, definitely. If you know how to make them yourself and have a good eye for design, go for it! I should have mentioned do-it-yourself--I just usually leave such things to others so I can concentrate on writing. Big office stores like Staples will make them up very inexpensively if it's not a job you want to take on.

Ev: I'm another one like Mikki. I designed my own and print them on my own printer. They look professional and it's easy, convenient, and inexpensive. I include my website, email address, and city and state, but I don't include the rest of my street address or my phone number. I used to make two versions of my business cards (again, easy to do if you're designing and printing your own). One had that extra info and one didn't. I would give them out according to the situation. I give cards out to total strangers sometimes, people whom I wouldn't want to have my personal information. I decided after a while to go with just the ones with limited information. People can get in touch with me through email. If I want to give them my phone number, I just write it on the back when I'm giving it to them.

Fancy: What a good idea - business cards for my "writing job". I already have them for my "day job" but it never occurred to me to use them for my writing self. D'uh. Thank Karen, for this simple, affordable (and deductible) idea!

Lizardmaker: I second (or third or fourth) the idea of business cards. Recently I attended a conference, and couldn't believe how many of the less experienced writers had no cards. I saw several get very embarrassed about this when they were offered someone else's. I've also handed mine to people I've met in passing who seem interested in what I do, and you never know when it will turn into blog followers, new fans willing to click links to your e-pubs, or even better book sales. Microsoft Office has a good set of business card design templates. A great thing about printing them out yourself on Avery business card sheets is you can do just ten at a time, and if your info changes, it's a snap and practically free to edit them.

Karen Hammond: Yes, you would feel awkward at a conference without business cards. And your idea of making a few at a time is a good one, especially since you can customize them. for example, if you write children's fiction but also write travel articles for adults, you can make up appropriate cards.

sharonda: Hello Ms. Hammond! I don't want to sound dumb but I don't really see the purpose that business cards are going to do for someone like me. I'm published in like 5 or 6 mazagines. They aren't any big magazines either like Highlights. It's very small magazines. I'm not well known by many editors, I'm sure. I don't have books out there as of right now either. I'm not a big person in the publishing world. So why would an editor want my info? How would a business card or website benefit me? I don't have impressive publishing credits to show off so is it really necessary that I go to all those extents? Thanks! Also, I'm not going to be going to any conferences. I'm in college so I don't have time for that right now. I also don't write as much as I used to because I'm always doing assignments for school and studying. So my publishing credits haven't really been increasing much lol. Thanks again for your help!

Karen Hammond: I understand that you are a college student with a lot of demands on your time. If and when you decide to turn your energies toward writing as a career or even as an adjunct to a day job, you'll want a website to showcase your bio and highlight some of your work. There are still a lot of publishers, believe it or not, who like to be contacted by mail and in this case it's common to include a business card along with a query letter. And as Lizardmaker pointed out earlier, you would feel awkward at a conference without cards when everyone else is exchanging them. Writers often exchange them between themselves when they meet a companionable person or someone writing similar works, so they are useful for more than handing out to editors. And who knows--you may well find yourself at a writing conference soon than you think. Many colleges and universities run them and often offer scholarships so that students can attend.

Sharonda: Thank you for your help! I never knew that colleges and universities do that! Something to think on! I'll look into starting a website and getting business cards out there. Thanks again for your help and time!

Okami: I greatly appreciate you taking the time chat with us the last three days. I learned a lot from you and Jan, even though a lot of the advice was hard to hear, and easier said than done for me.

Karen Hammond: You're very welcome. And I do know how frustrating it can be to get started. Don't be afraid to start small--a little story in the kids' column of your local newspaper, for example. As soon as you have one thing published, you are a "published writer" and other editors will take a closer look at your work. I took my own advice. My first published work was in the Sunday supplement of my local newspaper--an article about teaching my little daughter to ice skate. The public response was good and the editor asked for more. A few weeks later I wrote a humorous article about being short. I used those to clips to accompany a query to a magazine, and I used that magazine piece to start querying larger markets. Most writers have some similar trajectory in their careers.

KimP: I will add my Thank you here also. You've given us a lot to think about and keep in way of references. I appreciate the comments on business cards as last year, I was one of the ones feeling like a deer in the headlights when an editor asked all of us sitting at her table if she could have our business cards. I was the only one unprepared and I wanted to crawl under the table. So I now make my own business cards and carry them everywhere I go. I don't ever want to lose out on an opportunity because I didn't feel I was ready for that step. Thank you for giving us the facts that we need to value ourselves and our writing as professionals even if we are unpublished.

ColoradoKate: Yes, thank you, Karen... come again, any time!

Karen Hammond: Thanks for the kind words, everyone, and Kim, I hope everyone will read your post. It's always best to be prepared and it's so easy to have business cards and even a few resumes on hand in case you need them.

Karen Hammond: Thank you everyone for your insightful questions and obvious enthusiasm for writing. I wish you all lots of success. Remember to take things one step at a time and build from there. Success won't happen overnight, but it will happen if you persevere. If anyone is interested in New England travel, I have a book coming out this spring called Backroads and Byways of New England. It's full of insider information about the 6-state area and has tips for all ages from traveling retirees to those of you traveling with children

Jan Fields: Thanks for everything and I wish you the best with your new book -- since I live in New England, I'll be watching for that one. I could use some help getting around up here.