Institute Childrens Literature

Rx for Writers

Transcripts

PART 2 OF VICKI BERGER ERWIN'S INTERVIEW

DebO: You mentioned earlier sending writing samples. What exactly to you include when you submit a sample?

Vicki: When I mentioned writing samples, I was referring to samples that were "trying out" for the series. Existing series like Sweet Valley, Nancy Drew, etc. are looking for writers all the time. You can write to the publisher or packager and request series guidelines and they will send a packet that gives relevant information -- character descriptions, synopses of previous books, setting descriptions. Sometimes they will send a one page synopsis of a book from the series and want you to write the first chapter. The first chapter of a series book is the easiest to write because it introduces the characters and the plot for that book. You can go to prior books and see the pattern and try to match it. The sample in these cases is to see if your writing style fits with the series you are wanting to write for. If you're submitting an original series, again I think you'll have to write one book to show the editor that you can unless you've written for him/her before and they know you can do it.

TammyR: Will a series publisher use unpublished writers?

Vicki: Yes, definitely. It's a good way to get experience and publishing credits. I've learned lots about plotting from writing for series and I have friends who got their start that way. The key is to read lots of the books in the series and figure out the pattern and style. Series publishers may be looking for originality in ideas (and I did get some of the work because I was willing to submit ideas) but they don't want an entirely new style. Readers don't always realize that the author isn't the person listed on the cover so the books have to be somewhat the same.

Norene: Is it easier to break in to series writing than other types?

Vicki: I think it's tough all around. Series writing has to be done quickly and sometimes you don't get name credit. Again, the key is to keep trying, to write well, and to keep trying to improve.

pmjv: Did you publish shorter work before you were successful at books?

Vicki: No, I'm abysmal at short work! I'd love to have magazine credits.

pmjv: Have you quit your day job?

Vicki: Nope, haven't done that yet either.

MODERATOR: What are packagers? Where do you find a list of packagers?

Vicki: Packagers are businesses that put together books for publishing houses. Sweet Valley High is packaged. The packager does all the editing and maybe even printing, but the book is published by BDD (I think). The publishing house also has input into the project, and that's one of the things that can make working for a packager hard. There are two bosses who don't always agree and the writer is in the middle. SCBWI has a list of packagers available or you can look at the copyright page of series books and see who holds the copyright. Some packagers are Daniel Weiss, Parachute Press, Mega-Books. There's probably a list in the writers guide, too.

Nyla: Is a packager like an agent?

Vicki: Not really. You can submit series ideas to a packager who will in turn sell it to a publisher, but the packager tends to want to come up with the idea or own the idea and hire people to write the books. Often work for a packager is done on a "work for hire" basis. That means that you write the book and are paid, but you give up all rights to it and there are no royalities.

Ducky: Are series books the only thing you would submit to a packager?

Vicki: Sometimes they do single titles. You'd have to look at the guidelines to see what they'll take.

pmjv: Is a literary agent either necessary or desirable? Have you ever worked with an agent?

Vicki: In the children's field, an agent is less necessary than in the adult field. I've had two agents and neither one sold anything for me. The first was predominantly an adult agent and didn't understand the children's market. She almost cost me my relationship with Scholastic. The second retired.

pmjv: So, would you say that in any market one is just as well off going straight to the publisher?

Vicki: In the children's market you can do that. It's as hard to interest an agent as it is a publisher. Once you have some publishing credits, an agent will be more willing to talk to you. It's the age old problem of "you can't get a job without experience and you can't get experience without a job." But I think you can get published without an agent.

punesoon: Are series built around animals still popular? I would like to try writing a series about a cat and his fellow animal buddies. Is anthropormorphism old and outdated? Is the market willing to publish books like these still?

Vicki: If the book is good enough, I think the market is willing to publish anything. I do think there is a bias against books with talking animals and animals that act like humans. These kinds of books may have to be even better than the others to overcome that bias. Bunnicula is very popular and has a new book coming out this season. Bill Wallace also has a new series with talking animals. So, they are being published.

MODERATOR: What about trends in marketing? What series ideas are "in"--and what are "out"?

Vicki: I'm not sure it's a good idea to try to decide what to write based on trends. I work for a book wholesaler and right now Harry Potter is in. I expect to see more fantasy, especially fantasy featuring wizards, magic, etc. any day now. Another thing that seems to be gaining popularity are series that are "real". There's one that's based on diaries written by high school students. Another called REal Kids REal Adventures. And others are media tie-ins -- Star Wars, Rockett's World, Blue's Clues, the Nickolodeon TV tie-ins, Full House... Animorphs is still very big.

Ducky: Do you sell everything you write?

Vicki: I wish! Sometimes I get asked the question, how many books have you written? I always respond with the question do you mean how many have I published or how many have I written? I have as many unpublished as I have published.

pmjv: Does it ever happen that a publisher will like the general idea, but suggest a change of setting, etc.? And then give you a chance to rewrite it?

Vicki: If an editor really likes a book, he/she may ask for revisions. One reason goes back to what I've said before. Before the publisher invests in the book, he/she wants to make sure you can do the job. Usually the revisions don't involve changing setting, but smoothing the plot, enhancing the character. If an editor asks for revisions, it's a good sign.

pmjv: Was your first published story a mystery?

Vicki: JAMIE AND THE MYSTERY QUILT was my first published work, a middle grade mystery.

Ducky: Did your first book get rejected at all?

Vicki: It didn't, but that wasn't necessarily a good thing. I would have learned more, and more quickly, if it had. And my second book has never sold.

Ducky: What is the most rejections you have had on one piece of writing?

Vicki: I've had a picture book that's been rejected 12 times. I've decided it isn't a picture book at all and plan to revise it and turn it into a beginning chapter book.

Norene: What are the least negative rejections you get?

Vicki: The manuscript that I've most recently sent out -- it made it all the way to the editorial committee. The editor wrote lots of good comments about how they liked it and what they liked. But the final thing was that they felt it wasn't the type of book they did well. There was a request for more. And anytime you get a request from an editor to see something else, or as I mentioned to revise, a personal note of any sort is a "good rejection."

pmjv: What do you think is the ideal word length for a middle-grade mystery?

Vicki: I know you're supposed to know how many words are in a manuscript, but I think in pages rather than words. Mine are usually 100 to 110 pages in manuscript format, unless the publisher wants something different.

bernie: Do you plot out all your clues and red herrings or do some come as you write?

Vicki: The clues are the hardest part, in my opinion. I plot out some of them ahead of time, but some come up as I write. The hard part is balancing -- giving the reader enough information without giving too much.

Norene: So many times the child's attention span is too short to sit and read much; how do you hook them right off?

Vicki: I like to make sure that the reader knows it's a mystery from the very first so I set it up right away.

DebO: When an editor uses words like "shows promise" and "has merit" but says nothing other than it doesn't fit their list, are they just being nice? Or are they telling you to hone? Any ideas?

Vicki: If an editor says either one of those things, it probably means something. So DO keep trying.

MODERATOR: I'm sorry, but our time is at an end. Thank you so much, Vicki, for carving time out of your very busy schedule to share with us about series writing. You've given us a lot of valuable, helpful information. Thank you!

Vicki: Thanks for all the good questions!

MODERATOR: Do come back next week to hear Karen O'Connor speak on "A Call to Integrity: How to Build and Maintain Your Writing Vision Regardless of the Circumstances." Karen has written over 35 books for children and adults and over 300 magazine articles. According to Karen's experience, many writers (new and veteran) jump ship because of disappointment, discouragement, demands from outside sources, and dilemmas they don't know how to manage. Karen O'Connor is a voice of encouragement, exhorting writers to see writing as a 'call,' not just a pastime or a way to make money. If you want to remain a writer "for the long haul," come hear Karen's inspirational interview on shifting focus in order to write from the inside out. And now...good night, everyone!

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