Jan Fields is Web Editor of the ICL Web Site. Green shows names or usernames of people and the questions they asked of our speaker.

Jan Fields: Welcome to the Workshop. We're happy to have you here and excited to hear what you have to say.

Renee Heiss: Thanks, Jan! I look forward to many and varied questions about my passion - nonfiction for young readers.

Ella: Any tips on introducing yourself to publications that mostly farm out their work? Having an editor give you an assignment has its downside, but it also has much to be desired. I've found a publications I'd like to introduce myself to. Any suggestions on how to approach them (and what not to do)?

dunlewy: I'm eager to hear suggestions on this topic, too. I am also about to introduce myself to a potentially work-for-hire gig. I'm so glad you brought this topic up, Ella.

Renee Heiss: I absolutely love those work for hire arrangements because I don't have to pitch something and then have it rejected. The editor assigns a topic, you research, write, and get paid. I LOVE it!

Renee Heiss: Here's how I got my jobs: First you have to do your research. What have they published? For what age? Is the voice formal or informal? Does it look like they use quotes from experts or run straight through the articles without references to expert opinion or quotes from experts? In other words, get to know the market before you begin.

Renee Heiss: Next, know what they want. Are you responding to a call for submissions or assaulting the editor cold? If it's the former, then give them a sample of what they want. If it's the latter, write something similar to what they already have, but on a related topic.

Renee Heiss: Add your credentials for writing for them. Include references they can contact - an editor you've successfully worked with before, a teacher who knows how well you can meet deadlines, etc. If you don't have references, don't say so! Simply omit this part of the package unless they ask for references. Some do, some don't.

Renee Heiss: Finish with a positive statement like I look forward to working with you. Don't ask if they would like to see more samples or cower to the editor by asking if they're interested in using you. Be strong and positive with the editors. After all, you're selling them a product - you!

Renee Heiss: In summary, your package should look like this: Cover letter, writing sample, references, SASE

dunlewy:I'll be working on this over the weekend. I found out that the local Science Exploreum museum is thinking about writing a series of field trip related activities for school groups and teachers. That would be a perfect gig for me. I just have to convince them, and try I will. So thank you for the tips.

Renee Heiss: When you write for school groups, remember that it's just as important to provide an activity PLUS a teacher's guide of related materials, resources, and activities. And it wouldn't hurt to toss in a few standards for good measure. This website will give you everything you need to know: http://www.nsta.org/ By the way don't tell yourself that you'll TRY to convince them, tell yourself you WILL convince them!

writer: Many thanks for your time and insight! When writing from just one's own personal experience - as in hobbies or how-to's - the source is usually the author. However, I'm interested in how to credit the research of others in writing for children, since I (and I'm sure everyone here!) would never want to inadvertently plagiarize, both for ethical and legal reasons.

writer: In articles and books for adults, the names of sources are often used within the text itself, with quotation marks. But how is this handled in children's writing? Is there a general rule for using others' research within the text of my own article or book, other than including it in the bibliography (and in a magazine article, the bibliography isn't published, so the source isn't evident to the reader)? I think I've read that it's okay to use others' exact words without quotes or references if no more than 20 words, or something like that. And if indirectly quoting, such as paraphrasing, how is that handled?

Renee Heiss: My mother worked at the Princeton University Press for many years. I worked there during the summers during college in the billing department. One of the other departments was "permissions." Professors who wanted to use another expert's information in their own text wrote to the PUP, requesting permission to do so. If you ever question the legality of your insertion, definitely write to the permissions department of the publishing press. However, don't do that if you're in a hurry. It could take months to get the permission back from the author.

Renee Heiss: On the other hand, if you write a simple quote taken directly from the author's website, simply say something like this: According to Professor Drake at his website, "Ducks appear in more cartoons than any other animal." You don't need to cite that inline, but you should reference the URL in your bibliography. As a paraphrase it would look like this: Professor Drake of Ducks Limited has found that ducks outnumber dogs in most cartoons. See? No quotes - reworded from the original. As a courtesy, send a copy of your article to the other author or expert. Several times, I've found myself quoted where I least expected to find it! It's all good, though, because I look at it as free publicity for my work.

Renee Heiss: Generally, children's literature is less stringent than adult nonfiction because everyone knows that you'll need to reword the source so you can distill it down to a child's level anyway. But it is always good to be safe rather than sorry, especially if you get slammed with a plagairism suit. I don't mean to scare anyone with that last statement, I just think in most cases, it's always better to rephrase rather than pull a quote from someone else's work..

Jan Fields: Yes, absolutely do NOT use a direct quote without quotation marks (and some kind of attribution or it'll just look weird). If a publisher EVER found out you copied something word for word (no matter how short) without putting it in quotes, you aren't likely to get to work with that editor/publisher ever again.

Jan Fields: Fair Use doesn't meant it's okay to copy someone's words directly without attribution or quotes. Fair Use means if your quote is pretty short, you don't have to get PERMISSION (but you still need to use quotes and attribute the quote). If you copy something substantial (even with quotation marks and attribution) -- a full line from a poem or song, more than a paragraph from an essay or article, more than a page or so from a book -- you have to get permission from the copyright holder. That's different from attribution and may involve money.

Jan Fields: So direct quotes need quotation marks and attribution (though it can be something like "According to Dr. Blah" rather than "According to Dr. Blah in his 1998 book BUNDLES OF BLAH" -- so attribution can be short to keep the article flowing and meaningful to kids).

Jan Fields: Paraphrasing needs attribution if any reader might think -- yeah, where'd you get THAT from.

Jan Fields: Common facts really don't ever need attribution. For example: Dogs, Cats, and Ferrets are all warm blooded mammals.

Jan Fields: Everything needs to be sourced in your bibliography (For most magazines, even the "common facts" need to have a source in your bibliography. You'd be amazed at how many "common facts" aren't actually correct. When I was a kid, many people said chimps are monkees, and a couple generations before mine commonly said that whales were fish.

sarakay: 1) I've had several ideas that have become articles, but I've also thought they'd make interesting PBs, maybe written in a slightly different format. How do you know if your idea should be a book or an article? What are the differences between the two? 2) How might one move from NF article writing to book writing? Did you start out writing articles and then move into books, and if so, how did you do that?

Renee Heiss: Good question! When determining whether your work is magazine or book material, consider the illustration potential. If you provide a single concept topic that is easily illustrated with one or two pictures, you have a magazine article. If however, you can expand into 12-18 discreet subtopics, you have a book.

Renee Heiss: What I love most about nonfiction is that you can write a magazine article from your research. Then you can masssage that material to form a different focus for a different article for a different readership. Expand that same research and you get a book. So much fun!

Renee Heiss: Yes, I started writing articles to establish credibility and a professional resume to present to potential book publishers. With most magazine articles, you send the complete manuscript, the editors discuss your prospects, and then accept or reject on the basis of your actual writing ability. Books are different. You usually send the publisher a proposal, which consists of a cover letter, outline, market analysis, and sample chapters. Add a professional resume to that package that says, "Other editors have liked my work" and you raise your proposal up the editorial ladder closer to acceptance and publication.

dunlewy: Renee, could you please speak more on market analysis?

Renee Heiss: The market analysis was the hardest thing I had to conquer. I felt it was the editor's job to do that - after all, they're closer to the industry right? But what I found was that you'll make their job easier if you do some leg work ahead of time. See where the competitive titles lie. Look for titles in the same age group and style that you want to write. Then tell why your title is better - more comprehensive, more unique, citing specific details.

Renee Heiss: HOWEVER, that's the back door approach. If you want to go through the front door, find a hole in their list and fill it. For example, if you find a publisher has a series on wild animals that includes everthing except elephants, that's where you should concentrate your efforts. Here is a good discussion on the topic: http://www.ehow.com/how_6711274_write-market-analysis-publishing-book.html

Renee Heiss: The market analysis is not the most enjoyable part of a book proposal, but it is one section that will get you the most attention from the editors and possibly guarantee the contract.

Ella: Renee, I was so tickled when I looked through your website and found out you were an ICL student a decade ago. I love seeing success stories! Many of us here have had some early successes selling nonfiction; do you have any advice on parlaying that into continued success?

Renee Heiss: When I took my first ICL course in 2000, one of the recommendations from that coursework was to set a timeline for success. I considered that valuable advice. By setting a timeline, I forced myself to find ways to meet the interim deadlines like publishing a story within two years and a book within five years. Besides the two ICL courses (I took the book course shortly after completing the introductory course (Writing for Children and Teenagers), I also attended writing workshops. That's where you make the connections and learn the inside story better than any book or instructor can offer. Although it was expensive, I went to the Highlights for Children Workshop at Chautauqua, NY in the summer of 2001. There I met many editors, publishers, and authors who inspired me with their insight into the process of publication for children. It was also there that I received my first inspired nugget that got my first byline in the Highlights for Children magazine. We were at dinner when I commented that today's kids don't understand basic dinner etiquette. An editor at the table remarked, "What a marvelous topic for an article." Aha! So that's what they wanted! I knew I couldn't do the Emily Post approach for kids, so I wrote as if the young person were at a sports banquet and added sporty comments like grabbing across another person to get the rolls would be illegal procedure. After much work, I submitted, the editors accepted, and the rest, as they say in the cliche, is history!

Renee Heiss: Takeaway message from this ramble: Know your goals, make a timeline, and then find ways to energize your path to publication.

dunlewy: You are so helpful and creative. I am getting so motivated by your professional comments. Thank you!

Renee Heiss: Awww... thank you so much, dunlewy! I like what I do and I guess it shows!

Jan Fields: One thing my students tend to have difficulty doing is choosing a good topic...one they can sell. I get hundreds of "lifecycle of the butterfly" articles and "germs are bad so wash your hands" articles. What do you suggest for getting into the right mindset to choose topics that won't replicate every other piece in the editor's slushpile?

Renee Heiss: Hah! You get those butterfly articles, too? I encourage my students to dig for the story behind the story to find a topic that hasn't been tackled in previous years. I also encourage them to create a mind map. You can see examples at http://en.wikipedia.org/wiki/Mind_map. By the end of a mind map session, the author generally finds that nugget of information that will lead to a well-researched, tightly-focussed article which doesn't involve butterflies or germs. For example, let's say you begin with the very general topic of parakeets. You might talk about the care and feeding of a pet parakeet (ho hum!) or the domestication and importation of these tropical beauties (a bit better). However, by the end of a mind map session, you might decide that an article on how to breed parakeets in groups for income would appeal to a magazine looking for entrepreneurial topics.

Okay, how about in the other direction. Is there a topic that is too obscure or bizarre? Or as long as you have a good hook, good information, and are following a magazine's style, is anything game?

Renee Heiss: Interesting question... I'm afraid that nowadays anything goes if you can find a publisher to buy into your bizarre idea. Consider these less than conventional book titles: Everybody Poops, the related The Long Journey of Mr. Poop, Hair in Funny Places (really, folks?), Where Willy Went: The big story of a little sperm (riiiight!), and Standing Up (to teach little boys how to pee like men!). Like I said, anything goes. However, I will say, that for most magazine editors, too bizarre won't sell magazines, just as too mundane won't sell them either. You need the happy medium where you find the slightly unusual or hint of the bizarre without going too far off the deep end into the sea of quirkiness. So yes, the good hook, good information, and following a magazine's style are all you really need to know in addition to good writing.

kimv: I'm stuck. I need to write a cover letter to an editor for a nonfiction ms. I've been told that they want some information in the cover letter about how the ms relates to the core standards in education. I'm wondering the best way to include this information in a short and sweet/non technical way. Any ideas? I need to keep the letter at one page max. Thanks!

Renee Heiss: Core standards is a hot topic right now. Nonfiction authors should align their articles and books with one or more of the standards so that teachers can reference the standard when writing their lesson plans if they use your book with the students. Here is a link to the English and Math standards: http://www.corestandards.org/ At the bottom left of this page, you'll find standards for science and social studies: http://www.corestandards.org/the-standards/english-language-arts-standards

Renee Heiss: I mentioned all that for those viewers who don't know about those standards that schools consider as their educational bibles. To mention the standard in your cover letter, designate a separate paragraph and say something like this: This book supports Social Studies Standards RH.6-8.7 and RH.6-8.9. And then provide a brief reason for each standard. Yes, this involves a bit of investigative work on your part to determine which standards your book supports, but the effort may gain you a book contract. Understand that practically every teacher across the country must designate the applicable standards in their lesson plans. Your information will make their work a lot easier.

How does a writer find experts for his/her article? How do you tell them that you're submitting the article as an unsolicited manuscript, or do you?

Renee Heiss: Experts litter the Internet! Years ago, it was very difficult to find an expert reviewer. Now, all you need to do is a keyword search, include Dr. or expert in the list of words and see what you get. Let's try something - you want to write an article on birdwatching for a nature magazine. You go beyond the common birdwatching topics, focus on wrens, and narrow your topic to this: How do you know the difference between the house wren and other similar wrens? You do the research, finding the subtle differences that children will understand. But you still need the expert review. I put these words into my browser: ornithology children dr. I scrolled down to the Cornell Lab of Ornithology. There you have a virtual photo album of potential experts. Pick the one most likely to review your piece (I'd pick Mark Chao because he's the only listed who says he has young children), send it to that person, explain that you're writing an article for XYZ Magazine and see what you get. I think you'll be pleasantly surprised at how agreeable people are when they think you're interested in the same things they find dear. Yes, definitely be up front with your potential expert. Say you're writing an article for a course, on speculation, or on assignment.

Jan Fields: How often do you sell to magazines you've never read? When I first started writing for magazines, I only submitted to magazines I'd read and I sold pretty close to everything I wrote (I also just wrote nonfiction for adults then). I always recommend my students begin with magazines they know (or get to know the magazines where they want to begin) because that increases your odds of success so much. But I have to admit, in the years since...I've sold to a few magazines that I didn't read. And at least one I'd never even seen. I think it's a little easier now because the Internet has so much information on most magazines. We can see websites, sometimes check out sample content, and usually AT LEAST see the look of the magazine and read what they have to say about themselves. What about you? What's your experience?

Renee Heiss: Seven years ago, I got my first writing "gig." Crinkles Magazine was looking for articles on Philadelphia. Since I live a short driving distance from the city, I decided to send them an article on Old Philly, the heart of the historic district. I researched that puppy to death! I read the magazine, studied its style, noted its format, and oh yeah, I researched the topic using a very strong resource written by a noted Philadelphia historian. The effort took way longer than I anticipated, but it was worth it. The editor rewarded me with a contract for two articles in every issue. She provided the topics, and the staff of writers she used regularly picked their preference. I was in author heaven for six years until the magazine caved to economic pressures last year. (sigh!)

Renee Heiss: However, at other times, I simply matched my interest and writing style with what I thought would match a magazine's listing in the Magazine Markets for Children's Writers. This met with mild success, partly because I didn't send out a bazillion copies of my articles to every publisher in the book; rather I targeted a few that I thought would fit. Two things happened - I concistently got rejection slips from some publishers and I managed to get my foot into some publishers' board rooms. I think it all depended on the whim of the editors, whether they already published a recent article on the same topic (which I could have avoided with a little research into EBSOChost), or they had a backlog of articles (no way of second guessing that one!)

Renee Heiss: So, potential nonfiction authors, if you want to avoid rejection slips, do your homework and study the magazines, perfect your nonfiction writing skills, and submit to targeted publications. You don't need to be at the whim of the literary roulette wheel when you submit to editors, especially with the advent of the Internet, where many publishers post sample copies on their website.

Okami: Did you always know nonfiction was your thing at the start? Or did you fall into later after trial an error? Is there any hope for those of us who feel lost in the nonfiction world?

Renee Heiss: When I trained to be an ICL instructor, I was the only nonfiction author in a sea of fiction authors. During dinner conversation, I felt left out because my skill set did not include characters, plots, and settings. Rather, my skill set lay with research, finding the hook, and engaging young readers in facts. That wasn't always the case. When I took my first ICL course, I thought I wanted to write picture books for preschoolers. Then I figured out that my natural writing style targets the middle school reader. Finally, I saw how much fun the nonfiction assignment became as I massaged the facts into an article called "Where's Your Smart Part" based on the Theory of Multiple Intelligences. I had found my niche - nonfiction for middle school readers! That assignment eventually appeared as "I'm Smart, You're Smart" in the January 2002 issue of Listen Magazine.

Renee Heiss: That's not to say that I don't also write fiction because I have a middle grade novel coming out later this month. However, since it's an historical novel, it is riddled with historical tidbits - the little facts that make a historical novel so believable and which places the young readers into the setting so effectively. So much fun to research, yet so time-consuming!

Renee Heiss: I don't think I've answered your question yet - how do you overcome the nonfiction hurdle? First, begin by journaling in a nonfiction format. Each day, pick a different topic and write everything you know about it. Next, go back to that topic several days, weeks, or months later and add cold hard research to support your facts. Then, filter out the mundane and find the nugget that will interest young readers. Finally, write the article based on your journaling, research, and filtering. I think you'll like this process

Okami: Thanks so much, Renee, I'm glad you understand where I'm coming from. The biggest challenge with either straight nonfiction and historical fiction is NOT to sound like a textbook, but not twist facts and real events.

Renee Heiss: I'm so glad I made your day. Definitely, you can't twist facts and maintain your credibility. The best way to avoid encyclopedia-ism is through a comparison or unique point of view. Here's an example of the unique point of view: Let's say you want to write about Colonial American life. Take your young reader on a tour of the house. Let him imagine that he's in the 17th century during the middle of winter. He walks through the door. What does he see? Where does he go? Where's the bathroom? Why are there ten quilts on the bed? What's in the stew pot? This is the unique POV because it's a you-are-there approach. Now let's try the metaphor concept. You're writing about how power plants work. If you compare the power plant to the human digestive system, the kids will understand the new concept through the metaphor of something they already understand.

Renee Heiss: And THAT is what makes nonfiction entertaining - the unique twist. I wrote biography of Bob Dylan several years ago for Crinkles Magazine. It's still my favorite piece of nonfiction because I incorporated the titles of many of his songs throughout the article, then provided a little activity as a sidebar to find all the song titles. What fun - both for me, the readers, and the editor.

Renee, I really like what you say here about comparing nonfiction concepts to things the readers already know so they "get" it. I think that also applies to the author. The writer, of course, does better writing when they REALLY understand what they are writing about. I sold a nonfiction story about Pueblo kids when I was working on a pueblo in New Mexico. It was almost easier writing than fiction because I was in the middle of, and living, what I wrote about. The details make all the difference, and if you don't know them or don't include them, it will raise doubts about the author's credibility.

Renee Heiss: cellent observation, Dunlewy. The old adage continues to hold true - write what you know!

Mikki: I've just finished an historical novel for middle grade/younger teens, with two file cabinet draws full of nothing but my research and resources' bibliography. I know that much is unnecessary for nonfiction, certainly not for an article. How many resources do you recommend for most articles, in case a magazine publisher wants to know, or does it depend mostly upon what you are writing about?

Ella: This is a question that plagues me, too. I am currently a doctoral student, and before that I was a researcher at a medical school. When I write nonfiction for kids, I usually research it in a way that could pass peer-review in an academic journal. It's exhausting. I theoretically love the idea of writing nonfiction, but I tend to suck all the fun out of it by over researching, and then get burned out. I'd love to know what is "good enough."

Renee Heiss: First of all, I applaud you for the thoroughness of your research! I've found there are two kinds of researchers - those like yourselves who exhaust a topic before beginning to write about it, and others who get cursory information and think they are experts. The best place to be is somewhere in the middle. First get a general idea using the general enyclopedia (don't list the encyclopedia in your bibliography; it's not necessary). Next, assemble 3-5 strong sources. After you read those sources, begin to write about the topic using the information in your head, rather than glancing back and forth to your sources. That's the best way to insert your own creative juices into the article. Finally, go back through the article and check the details. Then, if you need more backup for a particular fact, you can add another source. Magazine editors are busy people. They don't want to wade through a doctoral thesis of sources to confirm your facts. So be concise yet complete with your resources.

Mikki: One idea I'd like to pass along is contacting an expert. When my editor and I were going over an article I had submitted to ODYSSEY magazine, she suggested I find an expert to look over what I had written about dung beetles. One of my resources was from a professor of Entomology at the University of Montana. I emailed him, figuring the worst that could happen was for him to ignore me, told him about my article and asked if he would critique it.

Mikki: He not only critiqued it, he added a few things not in his own article, told me how glad he was that I was writing for children about insects, as it was something he couldn't do, and then asked me for a copy of the magazine when the article was published. Of course, I was happy to oblige!

Mikki: Many writers don't know where to find the experts they are requested to have, but I emailed this professor cold, and he was very receptive. I think most people who write scientific and professional articles that we all use as NF sources would be willing to grant the same kind of email interview and/or critique that I asked for, if we just contacted them. At best, we will have the expert the editors want, and at worst, all we'll have is another rejection...and most of us are used to that.

Mikki: Excellent advice, Mikki. I asked a professor to write the foreword for my book, Feng Shui for the Classroom. Not only did he agree to write the foreword, he also recommended my book as an adjunct text to his class in the Teacher Education department. What a coup! Most professors are very knowledgeable about their subject but few can distill it down to the level of a child's understanding. That's our job as children's nonfiction authors - to take strong research and revise it into an article children can understand.

Ella: I want to ditto Mikki and Renee's experience. I have had the most gracious and informative responses from experts that I emailed cold, and I think it boils down to what Mikki said: they are passionate about what they do, and are glad that someone is helping share/spread that passion.

Anita3: This is a weird question, but: When you email an expert cold, what do you write in the subject line? Thank you.

Renee Heiss: LOL - I simply put Question in the subject line - it piques their interest every time.

Mikki: I've read so many articles about 'creative nonfiction,' and none of them seem to say the same thing. One article was by someone who apparently sells a lot of nonfiction books, and his idea of creative nonfiction is that it is a story with nonfiction facts thrown in. Please tell us what your definition of creative nonfiction is, and the best way to write it for publication.

Renee Heiss: What a wonderful question! Yes, the information on creative nonfiction can be very conflicting. My definition is this: Creative nonfiction is the skillful manipulation of facts to engage the young reader so he or she becomes immersed in the topic. Therefore, if I were a nonfiction editor, I wouldn't accept made-up dialogue in nonfiction. Nor would I conside it necessary to have a plot, setting, and characters. I would, however, look for a beginning, middle, and end. The beginning should have a hook to draw in the readers. The middle should present the facts in an organized and interesting manner. And the end should wrap everything up with a nonfiction bow, tying together all loose ends.

Renee Heiss: Story with nonfiction facts tossed in becomes what I call factual fiction. It's still fiction and should remain on that shelf in the library with books like The Red Badge of Courage. I firmly believe that this genre requires more research than true nonfiction because you must be very careful to avoid anachronisms.

Jan Fields: It's important to note that although some general, commercial book publishers DO publish informational fiction/factual fiction (like THE MAGIC SCHOOLBUS or some picture book biographies that contain lots of made up stuff in their scenes about real people) that doesn't do a really great job of separating fact and fiction -- and those commercial, general interest publishers might even CALL that "creative nonfiction" -- that's NOT the norm amoung all publishers by ANY means.

Jan Fields: Virtually ALL magazine markets and educational publishers have a distinct definition of nonfiction. Nonfiction is all facts. The second you mix in made-up elements, you have fiction and you're bound by the rules of fiction (sound plot, strong characters, dialogue, showing) even if you mix in some facts. If you pitch informational fiction as "creative nonfiction" to a magazine publisher or educational book publisher, they'll reject you because they'll think you're not sure of the difference between nonfiction and fiction -- which means they won't trust your scholarship on the nonfiction bits.

ColoradoKate: I know how important voice is when writing fiction, and that magazines often seem to have their own tone or voice in the stories they print. Does this apply to nonfiction articles as well? I know we want to avoid using an "encyclopedia" sort of voice, but could you give us some hints, please, about how to add the right kind of voice to our articles?

Renee Heiss: My best advice on this topic is to read, read, read samples from your targeted publication. Your own "voice" may be way different from what the editors want. I like to say that authors must be literary ventriloquists because our voice needs to mirror that which a specific publication needs. For example, if you write for Highlights for Children, your nonfiction voice will be rather informal, as if you were talking to a seven-year-old on a park bench. However, the editors at the Cobblestone family of magazines look for a more formal approach to nonfiction for an older audience.

Renee Heiss: So, you can take the back door approach and find a magazine that matches your customary voice. Or you can up your chances for publication by transforming your voice for each magazine you target for your article.

Renee Heiss: And yes, definitely avoid that encyclopedia voice where you tell all you know about car motors for young mechanics. Instead, focus on what caused the death sentence of the spark plug. A narrow focus with a twist always attracts more editorial attention than the encyclopedic approach.

Jan Fields: I get a lot of students who want to do essays instead of informational nonfiction. Personally, I never see essays in print in children's magazines. And I only see them in teen magazines when they're written by teens. But you have more experience than I do -- so what do you recommend when someone seems to want to write essays instead of articles? I generally suggest they look into parenting topics or other adult possibilities...but maybe I'm missing some other option?

Renee Heiss: ACK - essays! People have become so accustomed to writing essays for high school literature classes, that they lose sight of the real issue - education through entertainment. When I taught 7th grade language arts, I told my students they wouldn't be writing essays. They all cheered! When I told them they would be writing nonfiction to entertain their teacher, they looked at me quizzically. Then I explained that after they picked their topic, they needed to write it in such a way that would make me smile. Sometimes I smiled and sometimes I frowned when I read what they had written.

Renee Heiss: Here are some ways you can make a potential editor smile:
1. Compare two somewhat dissimilar topics (how are inventions like hybrid roses)

Renee Heiss: 2. Write a how-to, using a common concept and turning it into something new (scrapbooking with senior citizens)

Renee Heiss: 3. Find a buried treasure in your local museum and write about it with the help of the curator

Renee Heiss: 4. My favorite, and I don't find it often, is to use a metaphor to explain a common topic. For example, suppose I want to write about how to write nonfiction ( ). I would use a train metaphor - the engine pulls the topic, the middle cars are all different, but related to the topic, and the caboose summarizes what came before it. Metaphors use what children already know to explain a new topic, which is why they are so valuable.

Renee Heiss: So the antidote to essay writing is to find the unique in the mundane somehow and use your creative spin to write about it.

Jan Fields: Can you give us some rules to good sources. When do you need sources? When do you know? And how do we judge a good source in this digital age?

Renee Heiss: Let me begin with the bad sources: (1) Wiki-anything because the general public can change the information contained on those websites like Wikipedia, (2) Children's books already in print because those books are not considered "primary" sources, and (3) Encyclopedias because they are a plethora of general knowledge and not specific about any. However, all three are a good starting point for nonfiction research.

Renee Heiss: So, now let's look at what editors do consider acceptable and desirable. Most science editors like Andy Boyles at Highlights for Children not only prefer, they require an expert source. For example, if you're writing about the life cycle of a mushroom, you'd need to get input from a mushroom farmer or biologist. History editors like to see historical documents in the bibliography. That shows you've really gotten to the source of the information. One of my favorite ways to get information on a particular time period is to use a newspaper archive. By reading the newspapers of the 1930s, I got plenty of information on how people spoke during that time, what they bought, and how they lived. Now I'm going to contradict myself for a moment and send you to http://en.wikipedia.org/wiki/Primary_sources where you'll find a marvelous discussion about primary sources.

Renee Heiss: Remember to take good notes on the sources of your information. If you need help building a bibliography list, go to www.easybib.com. My high school students (naturally they would find the easy out ) showed me that site where you simply plug in the information and the software sets up your bibliography, ready for inclusion at the end of your article on a separate page.

anita3: Renee, I wanted to thank you for helping me understand the complexities of researching, writing, and selling the nonfiction article. I definitely learned a lot.

Jan Fields: Yes, thanks so much for coming to share with us during this hyper-busy time of year. You're answers were great. And I'm always a fan.

Renee Heiss: Thanks, Jan - This has been tons of fun and I hope I have encouraged many readers, even those who did not participate directly, to dip their toes into the nonfiction pool.

Renee Heiss: Sidebar: I have a HUGE problem definining my craft by what it is NOT. Nonfiction is more than the absence of fiction! It's a factual exploration of our world. I wish someone would come up with a universal term other than nonfiction. Just sayin!

Jan Fields: An excellent way to look at it. Thanks again.