FINDING YOUR TARGET AUDIENCE

I sent a picture book manuscript to my agent a couple weeks ago. She thought it was a "darling" story, but told me that in today's market, it wasn't enough anymore for a story to be good and well-written. Editors want to know: Who is your target audience? She wasn't sure who the target audience was for this book.


Which got me thinking. Picture book. Kids, 4 - 8? Isn't that who the target audience is? Not anymore, apparently. Now, writers have to narrow their audience more specifically. Is it for boys or girls? Disabled kids? Kids who are bullied? Kids who live on farms? So, how do you decide who your target audience is and finding the right publisher for your manuscript?


Here are some links on the issue:
  Finding the right publisher for your children's book
   Publicize your Book: Target Audience


If anyone finds any other sites that are helpful in determining the target audience of a children's book, please let me know or post a comment.

PLAYING WITH KNIVES, SHORT+SWEET SYDNEY

Here is Short+Sweet Sydney's Production of Playing with Knives.

FROM THE DOLDRUMS TO THE PEAK

      It's amazing how the publishing world can turn on a dime! On March 15, I received an email from Ammi-Joan Paquette of the Erin Murphy Literary Agency declining to represent me. I then sent my manuscript to agent Karen Grencik, who's impressive in her response times, and how quickly she replies to emails. She said she thought the story was adorable, and by March 21, I had signed my first agent contract!
   In the meantime, I received an email from Alyssa Pusey at Charlesbridge Publishing, and she's very interested in Goldy Luck and the Three Chans. She had some editorial suggestions to develop the story further for "acquisitions", so we've been tossing some ideas back and forth, and I'm currently revising the manuscript. But if all goes well, I may have found a new home for Goldy Luck after Random House unceremoniously abandoned it.
   However, based on that experience, I shouldn't let myself get too excited until I actually see the book in print! 

AU REVOIR, TRICYCLE PRESS

   I went to the Tricycle Press send-off party in Berkeley on Friday. Despite the sad reason for the gathering (to say goodbye to the Tricycle staff), the mood was generally upbeat. I got to meet my editor, Joanne Taylor, see writing friends/acquaintances, and meet some lovely new people, one of whom is literary agent, Karen Grencik, who I thought was very open, friendly, and warm. I'd love to have her as my agent, but I think I should wait for Ammi-Joan Paquette's response first since she's asked for more of my work for consideration. We did exchange business cards, though.
   I discovered that, depressing as my case may be (Random House cancelled my contract shortly after I signed it), there were other writers who were in a worse situation—some who received their very first publishing contract, one author's book was slated for a fall 2011 release and was just about to go into production, another whose book already had all the illustrations completed. All these were not retained by Random House.
   Ahh...so turns the cruel, cruel world of publishing...

IN SUNNY DOWN UNDER

Harbor Bridge across Sydney Harbor

     I'm out here in sunny Sydney, Australia for the Short+Sweet Ten-Minute Theatre Festival to see the production of my play, Playing with Knives, a special gift from my parents who have travelled here from their home in Kuala Lumpur, Malaysia, to meet me. 
    We arrived on Australia Day, kind of like our Independance Day, a national holiday, so people were out in droves enjoying the various parades/festivities, and the music venues set up along the picturesque waterfront.
   We checked into a performance at the Sydney Opera House (they're doing Madame Butterfly), but only the $300 tickets were left. Ouch! We did walk over there though, and had a dinner at a café under the opera house.

Sydney Opera House

   My dad's cousins live in Sydney, so they acted as our very gracious tour guides, introducing us to restaurants and neighborhoods not frequented by tourists. We also met up with my ex-brother-in-law, Graeme, who also lives here. We had lunch and dinner in Chinatown, and he came along with us to see my play at the Newtown Theatre.

   Unfortunately, the theatre was up two flights of stairs so my dad, who is in a wheelchair, could not get up to see it. The good thing was that Playing with Knives was the second play after intermission, so Mom sat at the outdoor café next door with Dad while Graeme and I watched the first half, then Mom came up after intermission and got to see the play. I'll have to post the play on YouTube when I get the DVD, so Dad can catch it then.  All in all, it was a well-done production/performance, and we enjoyed it. 

Flyer for Playing with Knives
They listed me under my married name though

At the Newtown Theatre 

  

BACK OUT INTO THE PUBLISHING WORLD

   Okay, my publication contract has been cancelled. I was now faced with two choices: I can get really depressed and wallow in self-pity, or send the darn thing out into the publishing world again. I figured I had done what I could do: write the story, edit it a zillion times, submit it, work with editors to edit it a zillion more times. Everything else that had to do with Tricycle Press closing was beyond my control, and there was no use harping on it. So, I made the revisions that Joanne Taylor had suggested, and sent it to my former editor, Yolanda Scott, at Charlesbridge Publishing (Charlesbridge doesn't publish many folk tales/fairy tales, but Yolanda thought the multi-cultural twist was interesting so asked me to send it on), and to three agents: Stephen Barbara at Foundry Literary+Media, whom I had met at the Asilomar Writer's Conference, Ammi-Joan Paquette of the Erin Murphy Literary Agency, and Kelly Sonnack of the Andrea Brown Literary Agency, both of whom I met (at different times) at the SCBWI Northern California Writer's Conference at Mills College.
   Stephen emailed back very quickly and said the work wasn't a match for his list. Ammi-Joan thought it was a cute story, and asked to see more of my work. And Kelly Sonnack never responded which, according to the Andrea Brown Lit. Agency website, means they're not interested in representing you. 
   I sent Ammi-Joan another picture book manuscript and the 1st three chapters of my Young Adult novel for review. 
   Sigh. More waiting...

I'M GOING GLOBAL!

   My ten-minute play, Playing with Knives, has been chosen for the Short+Sweet Festival in Sydney, Australia! They get 1500 submissions a year, and I've submitted to them before, so I feel very honored to have been included this time around. 

BAD NEWS

  There are no guarantees in the World of Publishing. Not even after you've inked a contract (legally binding in most professions, but in the writing world, anything goes). After carefully (and proudly, I might add) negotiating my publishing contract with Tricycle Press/Random House, I signed it and sent it back with all the appropriate tax forms. That was on a Friday. On Monday, I received a phone call from my editor telling me that Random House had decided to shutter Tricycle Press. It was a big shock for everyone. Didn't they just move to new larger offices back in the Spring? Didn't they have an Open House a month ago? The editors received the news a week before they sadly informed their authors. At the end of January 2011, they'll no longer have a job, and Tricycle Press, publisher of beautiful, eclectic children's books for 18 years, will no longer exist. The writers whose books are coming out in Spring 2011 would still see their books in print. Everyone else was a BIG question mark. All the editors were to submit a package detailing the merits of the books they were handling for Random House's consideration. In the end, out of 36 or so books slated for publication through fall 2011, 2012 and 2013, only 2 or 3 were retained by Random House Children's Books.
   Goldy Luck and the Three Chans was not one of them. So, after three and a half years, three editors, and the excitement of an offer of publication, it's back to square one.
   

GOOSEBOTTOM BOOKS LAUNCHES "THE THINKING GIRL'S TREASURY OF REAL PRINCESSES"

   I attended the official launch of Goosebottom Books and its new series, The Thinking Girl's Treasury of Real Princesses at Books, Inc. in San Francisco on Oct. 2. The turn out was decent, but not great by any means, but the books definitely generated much interest for those who were there. Publisher and author, Shirin Yim Bridges, introduced the original thinking girl who inspired the stories of real princesses—my daughter, Tiegan!—and talked about how the concept for the books took shape. A few were disappointed that there was no reading, but the limited time-frame did not allow for that. She signed books and answered questions, while illustrator, Albert Nguyen, drew princesses on demand for girls who attended the event. Boys, on the other hand, made the usual requests for spiderman pictures.
   I ran into an old acquaintance I hadn't seen for 30 years! Okay, the brother of my high school boyfriend, if you must know. And met up again with Susan McCombs, the editor at Tricycle Press who first took my manuscript Goldy Luck and the Three Chans to an editorial meeting. It was nice to chat about the book, royalty contracts, and all things literary. 
   Attendees got to munch on sushi, crackers and cheese, topped off with champagne, wine, and coffee for teetotalers like me. 
   After the event, the family and I went to dinner at Max's cafe next door. It was a very enjoyable evening, and I much admired Shirin's hardwork and efforts in promoting her new business and books.

THE GEESE FLOCK TO THE SONOMA BOOK FAIR

Publisher & author, Shirin Yim Bridges

I hung out at the Goosebottom Books booth at the Sonoma Book Fair this weekend. It was sweltering hot. Thank God, we had a nice booth location in the shade—right next to Barefoot Books. Naturally, I had to get my kids a book...or two...and spent way too much money on books...again! 


Our booth did attract quite a few passersbys. Albert Nguyen (the illustrator) did a "Draw me a Princess" activity which, naturally, was quite popular with the little girls. My friend and fellow "goose", Gretchen, and I were assigned the task of roaming the book fair and handing out postcards to girls and their parents inviting them to have a "princess" drawn. Interestingly, the activity also attracted a group of tween boys who hovered around until the last of the girls left, then asked Albert to draw them a few "boy" pictures—Spiderman, Ninja Mutant Turtles, to name a few.

Super postcard hander-outer geese,
Natasha Yim and Gretchen Maurer

Illustrator Albert Nguyen drawing a princess
for an attentive "fan"

Towards the end of the day, the rest of the Dastardly Dame ladies (the authors of Goosebottom Books' next series The Thinking Girl's Treasury of Dastardly Dames) showed up, and we trooped off to Cabianca, an Italian restaurant in a picturesque Victorian in downtown Santa Rosa, for a fine Italian meal.

AT GREEN GULCH WRITING RETREAT

Aah...Green Gulch retreat! I love, no, LOVE this SCBWI writing retreat! It's in this fabulous zen setting—peaceful, quiet, you can hear birds singing in the trees and inhale the wonderful scent of Eucalyptus. I get a lot of writing done here. Over the years, I've written a 10 min. play (which was produced in Ukiah and Los Angeles), worked  on my Young Adult novel (still in progress), and revised two picture books, including Goldy Luck and the Three Chans (soon to be published by Tricycle Press/Random House). 


This time, I'm working on Cixi, the Dragon Empress (the last empress of China) for Goosebottom Books. It's a non-fiction biography for their The Thinking Girl's Treasury of Dastardly Dames series. I've completed the research, and now it's time to pull all the facts together, and write it in such a way that's not a dry, chronology of information—that's the real challenge. I've spent all day writing though, and have made some headway, although it's fairly slow at this point. I think I'll write it chronologically, then figure out how to embellish the interesting details later.


My sister, Shirin Yim Bridges, publisher of Goosebottom Books and my friend, Gretchen Maurer, are also at the retreat. It is inspirational to be all working on the same thing at the same time (books for the Dastardly Dames series). We conducted our own mini-critique group to review each other's work and provide guidance/support. Another big plus at the retreat this time around? Internet access!! When you're writing non-fiction, it makes it so much easier to have that if you need to look up something on the web.


At home, I'm trying to snatch bits and pieces of writing time between running kids to school, fixing lunches, and soccer games, so it's nice to have a chunk of uninterrupted time. Plus, no cooking and cleaning (all vegetarian meals are provided for)—you an't beat that!

ON THE OTHER SIDE!

Well, I crossed that bridge, and got to the other side. And I survived my first contract negotiation! I did get a higher advance—not as much as I had asked for, but a higher one at any rate; I got to keep some of my subsidiary rights; didn't get royalties on cover price, but two out of three ain't bad! The question for me was: how much back and forth does one do in a contract negotiation? Do you just accept the counter? Or try to negotiate more? I decided that for my first time in this realm, once was good enough, and successfully navigating the negotiations and getting some of what I asked for is a coup d'etat in itself. There's so much else to look forward to—finding the illustrator, final revisions of the manuscript, marketing and publicity (not my forte, but it means the book's out!). So, onwards and forwards!

STANDING ON THE EDGE OF A CLIFF

Okay, I'm going it alone. I sent a query to Laura Rennert of the Andrea Brown Literary Agency, and received no response which means she's either really busy or not interested in representing me. So, after going through agent Kristin Nelson's very informative "Agenting 101" blogs—a must-read for all writers negotiating their own contracts—I've submitted my counter to the publishing terms Joanne Taylor offered me. I've always believed in the motto, "If you don't ask, you don't get"—well, not always. There was a time in my very shy high school years, when I didn't ask for anything—and got left behind in the dust. Let's just say, if you weren't born into the world a really assertive person, becoming a really assertive person is no easy task! It's doable though. I've learned to be a much more assertive person, especially when it comes to marketing my own books and writing—but that's a whole other blog.


Anyway, back to negotiating contracts. It's like standing on the edge of a very steep cliff, and you have to cross the swaying, rickety wooden suspension bridge to get to the other side. Why? That's not important. You could be chased by a tribe of cannibals, searching for hidden treasure, running from your ex-husband, whatever. You just have to get to the other side. Stepping on that rickety wooden bridge is terrifying. Are those wooden planks going to hold? Will you fall through and plunge headlong into the abyss? But if you don't at least make an attempt, you won't get anywhere. 


If you've never negotiated a publishing contract before, how much can/should you ask for? What's reasonable? There's a difference between assertiveness and aggressiveness. One can get you what you want, the other might lose you the contract altogether. There's no simple answer. A lot depends on the relationship you have with your editor, your publishing history (obviously writers with many books under their belts have more clout), and your own personal style.


I can tell you what I did though. I asked for a higher advance, to keep some of the subsidiary rights, and whether I can get royalties based on cover price rather than net price. Stay tuned to find out how that went!

TO GET AN AGENT, OR NOT TO GET AN AGENT

Got my contract in my inbox today! I now feel legitimate! If I can only decipher the gobbledy gook!! This is where agents come in handy. But I've had contradictory advise on that front.


PROS:

1. They can handle all contract negotiations, taking on the "bad guy" role and getting you a better contract while you, the writer, can be the "good guy" and play nicey-nicey with the editor while you both happily revise your masterpiece.
2. They can represent you on future projects, making submissions and contacting publishing houses on your behalf, thus saving you countless amount of time researching markets.
3. They can bypass the slush pile.
4. They probably get faster responses.
5. Many publishers are closing their doors to unsolicited submissions.

CONS:

1. They take 15% of what is usually not a whole lot of pay to begin with.
2. In children's books, an agent is not a requirement to getting published.
3. According to Harold Underdown, in Five Reasons Why You Don't Need to get an Agent , not many agents specialize in picture books.

However, just because my first published book and this current one are picture books, and I'm working on a picture book project for Goosebottom Books, doesn't mean I specialize in them either. I have a multicultural Young Adult novel in progress and a couple of middle-grade fiction ideas/manuscripts sitting on the back burner. I'm definitely looking towards completing longer works. Which makes getting an agent more worthwhile.

The question is this: should I get one now? Would having an offer on the table make it easier for me to interest an agent? Agent Kristin Nelson said on her blog that she doesn't just accept a writer because he/she has an offer; she has to love that author's work. So, this reasoning is no guarantee I'll land an agent. At least not in time to negotiate this contract.

Should I go it alone? An editor friend of mine suggested that since I've waited so long and done all the work in getting the contract, I should keep the commission and try to negotiate this myself.

I have been waffling on this issue the past couple of days, doing all the research I can on publishing contract negotiations. Incidentally, anyone in this position MUST check out Kriston Nelson's Agenting 101 series on her blog where she breaks down the terms and terminology, what they mean, what to watch out for, danger signals, and tips for negotiations. It is great! Informative, helpful, and puts the legalese in words you can understand.

I've already spent two whole days on trying to figure out all this contract language and what terms they are actually offering me instead of finishing up the research on my Last Empress of China book. Which is making me lean towards the side of seeking an agent.

However, since I already have a contract, should I save the agent for my YA?

Anyone with comments or suggestions on this can contact me.

In the meantime, I should make a decision by Monday. Will let y'all know.

PERSISTENCE DOES PAY OFF!

Woo Hoo! Just got back from vacation and got a voice mail message from Joanne Taylor. She's making me an offer on my picture book! Words cannot describe how jazzed I am. After three and a half years, three editors, multiple story transformations, and a gazillion revisions, I finally have an offer. For all you writers out there, this is a good example of persistence, hard work, and never giving up—it really does pay off.


When I was driving to Sacramento airport (about three hours from my town) at 3 am., on my way to Montana, I was relishing the quiet and solitude while my husband and kids were snoozing in the car when a flash of light streaked across the night sky. A shooting star!, I thought. I'll have to make a wish.


And I did.


Guess what it was?


Yes!!! That Goldy Luck and the Three Chans will be published.


A happy coincidence? Or maybe there's some truth to this old superstition ...

ONE STEP CLOSER...

Got an email from Joanne Taylor of Tricycle Press today. Her boss has finally given her the green light to move forward with my picture book. Yay! But because Random House bought out Tricycle's parent company Ten Speed Press last year, they have the final say. So, she's sending an acquisitions package to the New York Director.

Phew! No wonder this business is so slow—there are so many hoops to jump through. 

Thank God, I'm on vacation with my family in Montana and visiting Yellowstone National Park—so much to see and do—so no time to wait by the phone with bated breath!

This huge guy can certainly make you forget about writing for awhile...

A FASCINATING READ

I just finished reading Sterling Seagrave's book, Dragon Lady, the Life and Legend of the Last Empress of China. I really enjoyed it. I have to say it's one of the best biographies I've read with clearly drawn characters and visual descriptions of the time period and the traditions and etiquettes of the Manchu court. He makes a convincing case of why Cixi, the last Empress of China, has been unjustly villified over the years.


For anyone interested in the history of China and biographies, I highly recommend this book. It's quite a tome at 560+ pages, but a fascinating read.

GREEN GULCH FARM WRITER'S RETREAT STILL HAS OPENINGS

There are still some openings at the SCBWI Kitteridge Retreat at Green  Gulch Farm in Marin County, north of San Francisco.

Space is still available! Kittridge Retreat  Green Gulch Farm Sept. 17 to 19 Optional SUNDAY night stay on Sept. 20

Creative Get-away Retreat Green Gulch Farm, Sept. 17  to Sept. 19 (Friday and Saturday nights, departing on Sunday Sept. 20, 2010) Optional SUNDAY night stay, Sept. 20 The April 2010 retreat sold out, so please register early! No speakers, no programs, just time to write or draw surrounded by the beautiful scenery of West Marin, plus informal evening readings and critiques.

Green Gulch Farm is part of the San Francisco Zen Center. The farm is located off of Highway 1 north of the Golden Gate Bridge, in a valley that opens out onto the Pacific Ocean. The accommodations for the retreat are at the Lindisfarne Guest House. The Guest House is a distinctive octagonal building with twelve rooms on two floors surrounding a 30-foot skylit atrium. The atrium provides a relaxing skylit sitting area where guests often gather to read or sit with a cup of tea by the fire. The building is constructed in a traditional Japanese style and heated with a central wood-burning stove and passive solar system. The guest rooms are simply, yet comfortably furnished, with large windows opening onto landscaped grounds. Each pair of rooms shares a bathroom and there is a centrally located shower. Snacks are always available in the guest house kitchen. Vegetarian meals are included in the price of the retreat. Single rooms, including meals, are $279.  Optional Sunday night, Sept. 20, is $100. There is limited availability for this night. Please check with Margaret before you sign up for it. Refunds will only be made if a substitute can be found. This retreat is available only to SCBWI members. Note: The retreat begins at 3 PM Friday, and ends at 1 PM Sunday. The optional Sunday night ends after lunch on Monday. Directions to Green Gulch Farm: Take Highway 101 to the Highway 1/Stinson Beach exit. Turn left at the Arco station onto Highway 1 (Shoreline Highway). Follow the green signs for Highway 1/Stinson Beach. After 2.5 miles the road forks - bear left towards Muir Beach. Go 2 more miles and you'll see a eucalyptus grove and large sign on the left indicating the driveway, "Zen Center/Green Gulch Farm/Wheelwright Center."  Questions? E-mail Margaret Speaker Yuan at books4women(at)yahoo.com (replace (at) with @)  Be sure to check with Margaret before you register for the Optional Sunday night. Availability is limited. Fall Retreat / $279  Fall Retreat / Sunday night $100

KEEPING MY FINGERS CROSSED

Just got an email from Joanne Taylor. Her boss is still on the fence about my picture book, but they'll be meeting on Aug. 12 to talk about acquisitions. Joanne says, "I'm  doing my best. I promise!" When an editor goes to bat for you or your manuscript, that's half the battle!
Still keeping my fingers crossed.

GREEN GULCH FARM RETREAT

Another Kittridge Writer's Retreat has been scheduled for Green Gulch Farm in Marin County just North of San Francisco for Sept. 17 - 19. It's coming at a good time—two weeks before the Cixi manuscript is due—so, I'll need all the uninterrupted work time I can get to finish writing and polishing the first draft to submit to Goosebottom Books by Oct. 1. 

I love this retreat! It's in the lush, beautiful surroundings of Green Gulch farm where we get three great vegetarian meals served to us, all the coffee and tea we can handle to propel us through a flurry of creativity, cozy accommodations, and the company of other writers with whom we can share our work, publishing successes and woes. 


My sister has also signed up for the retreat, and my friend and fellow writer and co-member of the Ukiah Writers' Salon, Gretchen Maurer, will also be attending. Gretchen is also working on a book for  The Thinking Girl's Treasury of Dastardly Dames. Her project is on Bloody Mary, Mary I of England, so it will be fun and inspiring to be able to discuss and dissect our manuscripts in a supportive and relaxing setting.


Anyone interested in signing up for this retreat, can contact Margaret Speaker Yuan at books4women@yahoo.com. There are only slots for 15 writers, so sign up quickly. It's a retreat you won't forget! However, it's only open to SCBWI members. For more information about joining SCBWI, go to the Society of Childrens' Book Writers and Illustrators website.