Institute Childrens Literature

Rx for Writers

Transcripts

PART 2

Steve: When is it correct to just query for a topic? What goes into a good query?

Speaker Mel Boring: You would query IF the publisher's listing states that's what they prefer. OR, if you're not sure of interest in the topic, like the infrared, for instance. A good query LETTER uses the same "teasings" and entertainment and come-ons you'll use in the book with children. The first paragraph of my query letters is often like the opening of the book or article with a "hook" in place, maybe a bit modified to "hook" an adult editor from what it will be to "hook" children. Then I explain briefly in the letter how I will present it (for example, unbuilding the Empire State Building) then I will explain what I've found that's available or not available on the subject, based on research I've done. Then ask the editor if they'd like to look at a sample. ALONG with the query letter, I send a ONE-page outline, chaptered, and with a few sentences explaining the content of each chapter. Again, I'm always trying to "hook" editors' interest in the way I present it. Then on a third page, I'll send a SOURCES (I don't call it a "Bibliography") in the three-page package. I follow the "3 Second Rule": If you can hook an editor's interest for just three seconds, she/he'll give you 30 seconds. But I STILL want to sustain their interest after that very first "hook" that might take an editor 3 seconds to read. If the editor gives you 30 seconds he/she'll probably give you three minutes--so I keep pumping up their interest, right through the middle of the query package of three pages right to the end. Editors are busy, or course, so you really have to, I think, work harder at "grabbing them by the ears" than you have to work to "grab kids by the ears."

MODERATOR: Mel, can you talk for a minute about current trends in nonfiction for middle grade children?

Speaker Mel Boring: There are two basic kinds of nonfiction book "types" in the market today, what I've recently heard called "Institutional," and what are called "Retail" nonfiction. The Institutional go to schools and libraries, where they want them closely tied in with curriculum, so they want specifically, terrifically FOCUSED books, one book for one animal species or one planet. That's why my INCREDIBLE CONSTRUCTIONS wouldn't "fly" as an Institutional book today, ten chapters about ten different constructions. But an Institutional book about the Statue of Liberty alone would "fly". But for the Retail Nonfiction in bookstores, a general survey such as ten constructions would have a better chance of "flying."

MarilynA: I am interested in knowing your take on agent representation for the nonfiction market. Do you see agents as a necessity for nonpublished authors?

Speaker Mel Boring: I don't yet, but in ten years or less, I think ALL writers will HAVE to have an agent.

MODERATOR: I'm sorry to have to interrupt, but we've run out of time this evening. Mel, thank you so much for coming and sharing tonight. This type of "nuts and bolts" information--being really specific--is so helpful.

Speaker Mel Boring: Thank YOU, Kristi. I always learn more than I share.

MODERATOR: Please join us next week to hear Patricia Hermes talk on the subject of "Plotting for Publication." Pat Hermes is the author of over thirty books for children and young adults, many of them award-winners. Come and learn from Pat the difference between a good idea that is just an incident, and one that could develop into a publishable story or book. If you want to know how to plot winning fiction, be sure to come back next Thursday night! And for now, good night, everyone!

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