A few months ago, I took on a client to rewrite a chapter book. The draft was so poorly written with unusual elements that I ended up ghostwriting it. But the author was intent on keeping certain aspects of the story intact, even though they didn’t work. To start, it had an odd premise. The protagonist was much too young for a chapter book, and it had a five-year span within the story. In addition, the relationship between the protagonist and the best friend (not human, alien, or animal) made it necessary to create a story around the relationship that made some kind of sense. Along with this, one particular scene toward the end should have been cut; it deviated from the story’s focus. But the author insisted it stay in. I’m sure this all sounds confusing, but I can’t be more specific. The client did agree to have an age-appropriate protagonist and to keep the story within a couple of months. Looking back, this story would have made a better picture book as it could have been much more focused. As a writer for hire, I always do my best to, at the very least, keep the basic elements of a client’s story. I work to have the client’s vision fulfilled. But sometimes, it’s more challenging to accomplish than other times. I’ve seen this problem a number of times as a children’s ghostwriter/rewriter. The client wants a story about a cherished event in their life, their environment, or something their child or grandchild did. While these memories and scenes may be wonderful and should be treasured, they don’t always translate into full story and character arcs. This is where ghostwriting veers off course from writing in general. A client’s vision is involved. And often, the client can’t see past that vision. As the ghostwriter, it’s my job to take what the client wants and weave a story around it. And as I mentioned earlier, it’s not always the best circumstances. So, focusing on the story and characters, what can you do as the author before sending your manuscript off to a professional writer? 1. Read books in the genre you want your story to be in. Read a lot of books in your genre. 2. Pay attention to: -Whether your story will have a market. Having a target market is super important. If the story is focused on a family thing, outside readers may not find it interesting. This means there won’t be a market for the book. -How the beginning of the story works -The age of the protagonist -The secondary characters (especially the protagonist’s best friend or sidekick) -The setting -The time span of the story -The arc of the story and the protagonist -How it’s all woven together into a story that’s engaging and easy to understand for the child -How it all wraps up 3. Belong to a critique group or at least get some beta readers involved. If you go for a critique group, which is the best idea, be sure the group has experienced authors in it. There’s no point in belonging to a group full of beginners; you won’t get valuable insight and feedback. If you want to avoid the commitment and work of a critique group (you need to read the other members’ stories), go the beta reader route. The readers will let you know if the story makes sense and where it goes off track. Whether you use a critique group or beta readers, you’ll receive information you could use. 4. Get a professional review or critique of your story. A professional review or critique will cost money, but if you’re publishing, whether self-publishing or traditionally publishing, it’s money well spent. This review or critique will spot what other readers missed. It will give you a direction for your story. The key point is to listen to the professional. 5. Revise your story. Take all the sound advice you’ve gotten and revise your story. Let it sit for two or three weeks, then read it again. You’ll see it with fresh eyes and spot things you didn’t see when you revised it. If needed, revise it again and again. 6. If you still need help rewriting. If, after all your work, you feel you still need help, the story will be in a much better place for the professional to work with. And the fee should be less. 7. Once your story is where it should be. If you’re working with a ghostwriter or rewriter and you both feel the story hits all the marks: -The scenes you wanted to keep in the story are still there. -The story flows. -It has a full story and character arc. -It’s engaging to you -It’s time to either self-publish or hit the traditional submission road. If you’re going the traditional road, please, please, please understand that not all stories find a home. This is especially true if the story is a bit unusual and the ghostwriter or rewriter needs to make it work. And it’s even truer if you, as a new writer, are aiming for a NY literary agency or one of the Big 5 publishers. According to Google, "For the average writer, you stand a 1 in 1,000 chance of landing an agent. This is where luck comes in (or connections).” Here are two a case studies from Get a Literary Agent: Case Study #1: "Within 4 minutes of sending out my query letter, a top literary agent called on the phone. Less than 30 days later I had three major publishers making offers..." Case Study #2: "When I first contacted you about author coaching, my daughter was in kindergarten--now she's in middle school! I never gave up on querying, and now I have a literary agent..." At Kindlepreneur, it advises, "If you don't have a regular audience of 25,000 or more (and you don't have close connections at a press or agency), just self-publish." Most unusual stories like “Cast Away” with Tom Hanks WON’T find a traditional publishing home. 8. Persevere I’m a proponent of the philosophy of “nothing ventured, nothing gained.” If you believe in your story, persevere, and keep submitting. Just take the time to revise based on feedback you get from agents or publishers. While some authors get a deal quickly, your story may take longer, sometimes a lot longer. And while the saying goes, “There is a lid for every pot,” with traditional publishing, that’s not always the case. I don't mean to be harsh, but these are the realities of the writing world. 9. If you get frustrated, there’s always self-publishing Many ‘good’ authors self-publish. It allows you to tell the story YOU want and to do it quickly. One caveat is that your book should be professionally done, from the writing to the book cover and design. 10. Market, market, market No matter which publishing route you take, you will need to promote your book. Summing It Up I hope this gives you a better understanding of what to expect when publishing a book, whether a ghostwriter is involved or not. An author’s expectations for her book may sometimes be unrealistic. Learn the market you want to write in and learn how to write before attempting to publish a book. If you’re working with a ghostwriter or rewriter, keep in mind that they can only advise. Ultimately, they will write the story as best they can based on your requirements. One last word: If a writer believes a story isn’t publishable at all (traditional or self-publishing), she will let the author know. But most stories can be woven into a publishable book.
I’m a working children’s ghostwriter, editor, and coach. I can help turn your story into a book you’ll be proud to be the author of, one that’s publishable and marketable.
OTHER HELP I OFFER:
FICTION WRITING FOR CHILDREN COURSE
A guided self-study course and mentoring program.
HOW TO WRITE A CHILDREN’S FICTION BOOK
A DIY book to help you write your own children’s book.
WRITERS ON THE MOVE PRESS.
Self-publishing help for children’s authors.
You can contact me at: kcioffiventrice@gmail.com. Or give me a call at 347—834—6700. (Please leave a message- I’ll get back to you as soon as I can.)
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