074 PBSummit Dark Picture Books

Podcast – The Appeal of Dark Picture Books

074 PBSummit Dark Picture Books

What is the appeal of dark picture books? Do kids want to read (and re-read) books about tougher topics? How do you make these books kid-friendly?

Julie Hedlund leads our Roundtable discussion about dark picture books, what place they have in children’s lives, and why they’re so important (and re-readable).

Books mentioned in this episode:

    • The Rough Patch by Brian Lies
    • The Longest Letsgoboy by Derick Wilder and Catia Chien
    • Show Way by Jacqueline Woodson and Hudson Talbott
    • Kamau & ZuZu Find a Way by Aracelis Girmay and Diana Ejaita
    • Finding Papa by Angela Pham Krans and Thi Bui
    • Lubna and Pebble by Wendy Meddour and Daniel Egnéus
    • The House Before Falling into the Sea by Ann Suk Wan and Hanna Cha
    • The Skull by Jon Klassen
    • The Cat Man of Aleppo by Karim Shamsi-Basha, Irene Latham, Yuko Shimizu
    • The Circus Comes to the Village by Yutaka Kobayashi

Grab some of these books from your local library and share your picks for dark picture books in the comments below.

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Read-Aloudability Part 3 with Emma Walton Hamilton

Podcast – Read-Aloudability – Part 3

Read-Aloudability Part 3 with Emma Walton Hamilton

It’s time for part 3 of Read-aloudability: The Measure of a Great Picture Book. If you missed our last two episodes, you can listen to those here and here. Our first two installments reveals ways to improve read-aloudability on a story level. In our final installment, Emma Walton Hamilton shares why picture book authors, screenwriters, and playwrights have a lot in common.

With tips to make your (often adult) reader feel like a rockstar, Emma shares how to make your manuscript reader-proof.

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Read-Aloudability Part 2 with Julie Hedlund

Podcast – Read-Aloudability – Part 2

Read-Aloudability Part 2 with Julie Hedlund

Today we bring you part 2 of Read-Aloudability: The Measure of a Great Picture Book. If you missed our last episode, be sure to listen soon. In part one, Emma Walton Hamilton defines “Read-Aloudability” and Katie shares one juicy technique you can use make your book fun to read.

It seems nothing is more fun to read aloud than lyrical or rhyming picture books. When rhyming is done well, it seems like it must be so easy to write. Nothing could be further from the truth.

Our own Rhymer Extraordinaire Julie Hedlund gives examples of what good rhyme and lyrical writing actually is, what makes it work, and how to write it yourself.

This is the second of a three-part series. Look for part 3 in two weeks!

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Showing vs. Telling in Pitches

Showing vs. Telling in Pitches

“Show, don’t tell” is a common piece of writing advice, and it applies to pitches as well as manuscripts. A pitch that shows rather than tells can be more vivid and engaging, reflecting your grasp on the unique craft of picture book writing and capturing the interest of agents and editors.

What Does “Show, Don’t Tell” Mean?

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Theme vs Plot in your pitch

Theme vs. Plot

Sharing the Takeaway in a Pitch Without Spoiling the Ending

One of the trickiest parts of crafting a pitch is knowing how much to reveal. You want to give agents and editors a sense of your story’s theme and takeaway, but you don’t want to spoil the ending, otherwise why bother reading the manuscript? How do you strike the right balance?

The Difference Between Plot and Theme:

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Voice Matters

How to Infuse Your Pitch with Your Story’s Unique Style

Your pitch is more than just a summary of your story—it’s a reflection of your narrative voice. Infusing your pitch with your story’s unique style is the key to making it stand out to agents and editors.

The Importance of Voice: Voice is the personality of your writing. It’s what makes your story unique and memorable. When crafting your pitch, try to capture the same tone and style that you use in your manuscript.

Tips for Finding Your Pitch Voice:

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Read-Aloudability in Picture Books Part 1

Podcast – Read-Aloudability – Part 1

Read-Aloudability in Picture Books Part 1

Picture books are a truly unique genre of literature. Other books CAN be read aloud, but picture books are ENGINEERED exactly for that precise purpose. That’s why read-aloudability is so important.

In this episode, Emma Walton Hamilton defines exactly what read-aloudability is and how important it is in picture books (HINT: it can sway the submission process), while Katie Davis illustrates one impactful way to factor that secret sauce into your writing.

This is the first of a three-part series all about read-aloudability and how it can be your ticket to getting published. Stay tuned!

 

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Podcast – Meet the Gatekeepers

If you can’t get your manuscript past the gatekeepers, you have zero chance of getting published. So who are the gatekeepers? They are often editor and agent assistants. These assistants often take the first pass at the agent’s or editor’s inbox to eliminate manuscripts that don’t follow guidelines or don’t meet their boss’ tastes.

In this episode, Emma Walton Hamilton asks editor and agent assistants AZ Hackett, Claire Tattersfield, and Gaby Caballero all the burning questions from writers and illustrators like you.

 

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Narrative Pitch Formula in Action

In the Picture Book Pitch Formula, we gave you a template to use as a starting point for writing your pitches. As a reminder, this is the template:

Picture Book Summit Narrative Pitch Formula

You’ll notice that this template incorporates all the key components of a great pitch.

  • Who is your HERO?
  • What do they want in the story? What’s their GOAL?
  • What or who is standing in their way? What OBSTACLES/PROBLEMS are getting in the way of pursuing their goal?
  • What ACTIONS DO THEY TAKE to solve the problem?
  •  What do they LEARN or how have they changed by the end?
  • What is the TAKEAWAY OR THEME of your story for the young reader?

The template is powerful because it removes the guesswork around how to fit so much information into just 1-3 sentences.

Let’s show you what this looks like in action by using a classic picture book we’re all familiar with – WHERE THE WILD THINGS ARE.

Pitch Template Where The Wild Things Are

Here’s how all the key components are included in this pitch:

  • Who is your HERO? Max is our hero.
  • What do they want in the story? What’s their GOAL? Max’s goal is to be wild.
  • What or who is standing in their way? What OBSTACLES/PROBLEMS are getting in the way of pursuing their goal? Max’s mother sending him to bed without supper is the obstacle.
  • What ACTIONS DO THEY TAKE to solve the problem? Max’s actions involve embarking on an adventure.
  • What do they LEARN or how have they changed by the end? What is the TAKEAWAY OR THEME of your story for the young reader? By the end, Max learns that being where someone loves you best is even better than being wild.

 

Now try the template with your own picture book pitches!

 

 

 

Want more help with picture book pitches? Grab our FREE Picture Book Summit Pitch Formula HERE!

 

 

 

 

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Shadra Strickland Podcast

Podcast – Shadra Strickland

Shadra Strickland PodcastShadra Strickland might be the most delightful writing workshop presenter on the planet. In this episode, the author/illustrator (and agent!) reveals how to get at the heart of your story by sharing some of her best writing exercises to get your creative juices flowing from your brain to the page.

This is a fun one! Enjoy!

 

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